Crate Amplifiers CA112D Musical Instrument Amplifier User Manual
Contents
1. About the Crate Acoustic CA112D esigned for the performing artist DES CA112D Acoustic Amplifier gives you more of what you want More power More clarity More control And more freedom Imagine microphone quality sound without feedback And without being chained to a mic stand More power twin 50 watt RMS power amplifiers drive a specially designed dual voice coil 12 low frequency transducer for plenty of volume and low end punch More clarity a separate 25 watt RMS power amp drives a highly efficient Piezo tweeter for clean crisp highs and natural midrange blend A tweeter level control on the rear panel allows you to adjust the high frequency output to suit your taste More control three independent channels each with its own gain and reverb effects controls The main Instrument channel fea tures an Active Piezo switch to properly match the pickups of your instrument plus a three band rotary EQ with variable contour for total control of the critical midrange fre quencies An easy to use feedback elimination circuit with frequency select and cut controls lets you kill feedback without sacrificing sound quality Plus a footswitchable chorus with depth and rate controls The Vocal Aux channel offers both low and high impedance inputs for both kinds of microphones with phantom power on the Low Z input The third Aux channel allows the use of a rhythm machine background tape or another2. amplifying acoustic instruments especially in small environments is feedback Acoustic instruments typically have inherent qualities which cause reso nant feedback at specific frequencies Instrument tone controls and sound board equalizers are helpful in getting rid of the problem but they typical ly operate around relatively wide frequency bands This almost always means the musician must sacrifice sound quality in his quest to do away with feedback Crate s feedback elimination circuit isolates only the offend ing frequency Consequently instrument feedback from the amplifier can be eliminated without affecting the overall sound Chances are you may not have a problem with feedback at all In that case set the amplifier s Freq and Cut controls fully counter clockwise However if you do encounter feedback while playing set the Cut control to 30dB fully clockwise and adjust the Freq control until the feedback is gone Reduce the Cut to the 12 o clock position and readjust the Freq con trol as needed Continue reducing the Cut control and readjusting the Freq control until there is no more feedback with the Cut control as far counter clockwise as possible This approach effectively eliminates instrument feed back without sacrificing the quality of your sound On the Rear Panel 35 34 33 32 31 30 27 28 A er Ce Level Gnd Low Z E Migh Z Return Send Reverb Lift Bal al Chorus III 27 Footswitch Connect the supplied
3. channel 19 Hi Z input The signal output from a high impedance microphone or a line level signal may be connected here by means of a shielded sig nal cable terminated with a 1 4 tip sleeve connector 20 Gain This serves as the input level control for the aux channel of the amplifier Adjust this control for the best mix with the signals from the other channels 21 Rev eff send Use this control to adjust the amount of internal reverb and or external effect if used for the aux channel The Effects Section 22 Rev Ret Use this control to adjust the amount of the internal reverb the further you turn to the right the deeper the effect 23 Eff Ret Use this control to adjust the amount of effect applied from an external signal processor if used The Master Section 24 Graphic EQ Use these sliders to control the output frequencies indi cated below each control The center position of each control is flat no boost or cut Use the graphic EQ to adjust the output of the CA112D to best suit your tastes and to compensate for room acoustics 25 Level Use this control to set the overall output level of the amplifier 26 Power Switch Use this switch to apply power to the amplifier the amp is on when the top of the switch is depressed off when the bot tom of the switch is depressed This switch will illuminate when the amplifier is on To Eliminate Instrument Feedback One of the most common problems encountered when
4. mic or instrument Still more The master section features reverb and effects return controls a five band graphic EQ and the master level control A footswitch jack on the rear panel provides control for reverb and chorus Level control lable XLR and 1 4 balanced line outs allow you to patch into house sound boards or recording consoles plus an effects loop line in line out setup allows connection of exter nal effects Enough already Not for us The CA112D features Crate s Digital Signal Processing DSP for a variety of digital reverbs effects and delays specifically designed for acoustic instruments The CA112D was designed evaluated and tweaked by musicians and music loving engi neers Highly sophisticated computer driven assembly machines and highly skilled assem blers use only the finest components to pro duce each amp Every cabinet is hand built and hand covered by trained craftsmen The final assembled product is tested and played by skilled musician technicians It is only after the amplifier has passed this barrage of picky people that it gets packed up and shipped out The CA112D Acoustic Amplifier Designed to be its best so you can sound your best To get this amplifier to sound its best read this owner s guide prior to its use To keep this amplifier looking its best avoid abrasive cleansers Wipe the cab inet clean using a slightly dampened cloth Never use brass cleaners on the h
5. two button footswitch here for remote on off control of the internal reverb and chorus When connect ed the footswitch overrides the front panel chorus on off switch Note This is a STEREO jack tip controls the chorus ring controls the ne sleeve is ground Use only a footswitch equipped with a stereo 1 4 plug 28 Effects 5 Send When using an external signal processor connect this jack to the input of the effect by means of a shielded signal cable 29 Effects Loop Return When using an external signal m connect this jack to the u of the effect by means of a shielded signal cable 30 High Z Bal Use this jack to connect a high impedance line level signal to a house sound board a recording console or an external power ampli fier by means of an 1 4 stereo plug terminated cable Ring is signal tip is signal and sleeve is ground 31 Low Z Bal Use this jack to connect a low impedance line level signal to a house sound board a recording console or an external power amplifi er by means of an XLR terminated cable Pin 1 is ground pin 2 is signal and pin 3 is signal 32 Ground Lift This switch when depressed electronically disconnects the low Z balanced output jack s chassis ground connection If you expe rience excessive noise when using the low Z balanced output jack depress this switch 33 Line Out Level Use this control to adjust the output level of the line out signal This control works independentl
6. 2 Chorus On Off switch This switch when depressed applies the internal chorus effect to the instrument channel 13 Chorus Depth Use this control to adjust the magnitude of the chorus effect Rotating this control clockwise increases the intensity of the effect 14 Chorus Rate Use this control to adjust the rate of the chorus effect Rotating this control clockwise increases the rate at which the effect occurs The Vocal Aux channel 15 Low Z input The signal output from a low impedance microphone may be connected here by means of a shielded balanced microphone cable terminated with an XLR connector The Low Z jack has 15 volts phantom power applied to pins 2 and 3 Mics not requiring phantom power will not be affected 16 Hi Z input The signal output from a high impedance microphone or a line level signal may be connected here by means of a shielded sig nal cable terminated with a 1 4 tip sleeve connector 17 Gain This serves as the input level control for the vocal aux channel of the amplifier Adjust this control for the best mix with the signals from the other channels Pp tT Rev Eff 12 13 14 Master Depth Rate ey y Ly G O Graphic Eq Power 1 NS 1 ka 12dl 0 10 0 10 Level LJ ON BOABD Effects Rev Ret Eff Ret Q x 10 rate Adoustic CAA2D 18 Rev eff send Use this control to adjust the amount of internal reverb and or external effect if used for the vocal aux channel The Aux
7. CAN CAUSE PERMANENT HEARING IMPAIRMENT OR LOSS USER CAUTION IS ADVISED AND EAR PROTECTION IS RECOMMENDED IF UNIT IS OPERATED AT HIGH VOLUME DANGEROUS VOLTAGE VOLTAJE PELIGROSO DANGER HAUTE TENSION GEFAHLICHE SPANNUNG IT IS NECESSARY FOR THE USER TO REFER TO THE INSTRUCTION MANUAL ES NECESARIO QUE EL USUARIO SE REFIERA AL MANUAL DE INSTRUCCIONES REFERREZ VOUS AU MANUAL D UTILISATION UNBEDINGT IN DER BEDIENUNGSANLEITUNG NACHSCHLAGEN Technical Specifications Output Power Rating Woofer Amp Tweeter Amp Inst Channel Low Mid High Input Impedance Input Sensitivity Sens to Eff Send Line out Max Input Signal Feedback Elimination Voc Ch Input Impedance Input Sensitivity Sens to Eff Send Line out Max Input Signal Aux Ch Input Impedance Input Sensitivity Sens to Eff Send Line out Max Input Signal Master EQ s Effects Loop Eff Return to Line Out Sens Eff Return In Impedance Eff Send Out Impedance Line Out Out Impedance Internal Woofer Internal Tweeter Internal Crossover Power Requirements Size and Weight 125 watts RMS total system power 2 x 50 watts RMS 1 THD 25 watts RMS 1 THD 15dB 80Hz 15dB 400 1 2kHz Contour 15dB 10kHz 25k ohm Active 2 2M ohm Piezo 22mV RMS Active ImV RMS Piezo 70mV 6v RMS 17v peak to peak Freq variable from 80Hz to 4kHz Cut variable from 0 to 30dB 3k ohm L
8. LY 8 x 8 empty room w hardwood floor 20 x 40 hall wood floors hard walls 50 x 100 hall about 50 persons 5000 seat hall full crowd Simulates studio steel plate reverb Simulates multi spring reverb tank 125ms delay reverb 240ms delay reverb 350ms delay reverb 557ms delay 630 travel time 280ms delay w 21 8 regen reverb 335ms delay w 26 5 regen reverb 400ms delay with modulation Hall reverb w modulated pre delay Medium hall w 200ms pre delay Simulates second track slightly out of sync CA112D Block Diagram instrument neal Dp gain channel ey active A piezo effects input gan effect Fr t hi effect return aux channel da Zu hiz send out gt P gain master line out p hantom f vocal aux power rid low z Gay 2 sale i level master 80 330 1k 4k 10k level Hz effects send high pass 2 W hi fre N diiran level gt low pass dual ro voice coil low freq P driver recyclable www crateamps com 1999 SLM Electronics A Division of St Louis Music Co 1400 Ferguson Avenue St Louis MO 63133 P N 47 841 01 10 99
9. ardware since they could damage their protective coatings CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED SERVICE PERSONNEL ATTENTION VORSICHT RISQUE D ELECTROCUTION ELEKTRISCHE SCHLAGGEFAHR NE PAS OUVRIR NICHT OFFENEN ATTENTION POUR REDUIRE D ELECTROCUTION NE PAS ENLEVER LE COUVERCLE AUCUNE PIECE INTERNE N EST REPRABLE PAR L UTILISATEUR POUR TOUTE REPARATION S ADRESSER A UN TECHNICIEN QUALIFIE VORSICHT ZUR MINIMIERUNG ELEKTRISCHER SCHLAGGEFAHR NICHT DEN DECKEL ABENHMEN INTERNE TEILE KONNEN NICHT VOM BENUTZER GEWARTET WERDEN DIE WARTUNG IS QUALIFIZIERTEM WARTUNGSPERSONAL ZU UBERLASSEN THIS EQUIPMENT HAS BEEN DESIGNED AND ENGINEERED TO PROVIDE SAFE AND RELIABLE OPERATION INORDER TO PROLONG THE LIFE OF THE UNIT AND PREVENT ACCIDENTAL DAMAGES OR INJURY PLEASE FOLLOW THESE PRECAUTIONARY GUIDELINES CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT OPEN CHASSIS DO NOT DEFEAT OR REMOVE THE GROUND PIN OF THE POWER CORD CONNECT ONLY TO A PROPERLY GROUNDED AC POWER OUTLET WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE CAUTION NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED SERVICE PERSONNEL CAUTION OUR AMPLIFIERS ARE CAPABLE OF PRODUCING HIGH SOUND PRESSURE LEVELS CONTINUED EXPOSURE TO HIGH SOUND PRESSURE LEVELS
10. ng signal from your instrument causes this LED to flash 5 Low This serves as the instrument channel s primary bass control Adjust this control to get the best sounding bass response for your instrument Excessive boost of the low control can cause an unnatur al howling and should be avoided 6 Mid This serves as the instrument channel s primary midrange con trol Adjust this control to get the best projection and midrange tones for your instrument The center point of the mid control is chosen by the setting of the contour control 7 7 Contour Use this control to set the center point of the mid control 6 Set this control at the frequency which gives you the most natur al sounding midrange tones 8 High This serves as the instrument channel s primary treble control Adjust this control so your high notes and harmonic overtones are lively but not overpowering 9 Freq Use this control along with the Cut control 10 to eliminate instrument feedback For information on the proper use of this con trol please read the section entitled To Eliminate Instrument Feedback 10 Cut Use this control along with the Freq control 9 to eliminate instrument feedback For information on the proper use of this con trol please read the section entitled To Eliminate Instrument Feedback 11 Rev Eff send Use this control to adjust the amount of internal reverb and or external effect if used for the instrument channel 1
11. o Z 20k ohm Hi Z 3mV RMS Lo Z 15mV RMS Hi Z 9mV Lo Z 50mV Hi Z 10v RMS 28v peak to peak 20k ohm 15mV RMS 50mV 10v RMS 28v peak to peak 12dB 80Hz 330Hz 1kHz 4kHz 10kHz Line Out 1v RMS Line In 1v RMS 50mV 11k ohm 2 2k ohm 220 ohm Lo Z 2 2k ohm Hi Z 12 dual voice coil w polypropylene cone foam surround 400z magnet 1 voice coil 2x8 ohms 100w RMS 95dB 1w Im High efficiency Piezo 110dB 1w 1m Active electronic type 120VAC 60Hz 160VA 100 115VAC 50 60Hz 160VA 230VAC 50 60Hz 160VA 21 1 2 H x 21 W x 12 D 44 lbs On the Front Panel 1 23 4 5 6 8 9 10 11 Instrument Contour High Freq Cut Send 0 NE Vocal Mic ER Gain Send The Instrument channel 1 Input The signal output from your acoustic instrument may be con nected here by means of a shielded instrument cable 2 Active Piezo switch Use this switch to select the type of pickup on your instrument For active electronic pickups set the switch to active switch out For passive magnetic pickups set it to piezo switch depressed 3 Gain This serves as the input level control for the instrument channel of the amplifier For the best signal to noise ratio set this control so the Peak LED 4 flashes when playing your instrument fairly hard 4 Peak LED This LED flashes when the signal level into the preamp approaches clipping Adjust the Gain control 3 until a stro
12. y from the amplifier s master level control 34 Tweeter Level Use this control to adust the signal output level from the CA112D s internal tweeter Rotating this control counter clockwise reduces the tweeter s output level Not Shown Power cord Connect the end of this cord to a suitable source of line volt age Refer to the voltage information on the back of the amplifier for its voltage and current requirements Note This is a grounded plug To avoid the possibility of electric shock DO NOT defeat the ground connection in any way The DSP Section The CA112D features Crate s On Board Digital Signal Processing DSP technology that was designed specifically for use with acoustic instruments and vocals This provides a large selection of digital reverbs effects and delays Select the type of effect desired by rotating the Mode control 22 This control is divided into five sections Small Area Reverbs SAR Large Area Reverbs LAR Special Reverbs SPR Delays DLY and Multiple Effects Multi Mode A ON BOARD The following chart provides a list of the DSP settings along with a brief description of each effect SAR Small Room Small Rehearsal Hall Large Hall Concert Hall Plate Reverb Spring Reverb Slapback short Slapback Med short Slapback Medium Slapback Long Multi Short Med Surface Medium Hard Surface Chor Delay Chor Verb Slap Verb Instrument Doubler LAR SPR D
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