Crate Amplifiers CA112 manual Front Panel, Feedback

On the
Front Panel:
1	2	3	4		5		6		7		8		9		10		11	12	13		14
								Instrument								Rev/Eff		Chorus				Master
Input		Gain			Low		Mid	Contour		High		Freq			Cut			Depth		Rate
																Send
					0		0				0		500Hz		–15dB
												175	1.2k								Graphic Eq	Power
	Piezo																	On
												80Hz	4kHz								+12dB	+12dB
		0	10	–15	+15	–15	+15	500Hz	1.2kHz	–15	+15			0	–30dB	0	10	0	10	0	10
			Peak

Active	Vocal / Mic				Aux		Off	Effects
			Rev/Eff			Rev/Eff				0	0
Low Z	Hi Z	Gain		Hi Z	Gain			Rev Ret	Eff Ret		Level
			Send			Send
										–12dB	–12dB

											100Hz	330Hz	1kHz	4kHz	10kHz
0	10	0	10	0	10	0	10	0	10	0	10				0	10

Crate Acoustic CA112

15 16 17 18 19 20 21 22 23 24 25 26

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 strong 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 unnatural 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 natu- ral-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.

12: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.

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 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 CA112 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.