Crate Amplifiers Ca112 Users Manual

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D

esigned for the performing artist,

Crate’s CA112 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 another 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.

The CA112 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 CA112 Acoustic Amplifier. Designed to

be its best, so you can sound your best!

About the Crate Acoustic

CA112:

Crate Acoustic amplifiers are

Made With Pride in the U.S.A.

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

hardware since they could damage

their protective coatings.

Crate continually develops new products, as well as improves

existing ones. For this reason, the specifications and information

in this manual are subject to change without notice.

THIS EQUIPMENT HAS BEEN DESIGNED AND ENGINEERED TO PROVIDE SAFE AND

RELIABLE OPERATION. IN ORDER TO PROLONG THE LIFE OF THE UNITAND 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 CAN CAUSE

PERMANENT HEARING IMPAIRMENT OR LOSS. USER CAUTION IS ADVISED AND EAR

PROTECTION IS RECOMMENDED IF UNIT IS OPERATED AT HIGH VOLUME.

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.

"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"

EXPLANATION OF

GRAPHICAL SYMBOLS:

"DANGEROUS VOLTAGE"

“VOLTAJE PELIGROSO”

"DANGER HAUTE TENSION"

"GEFAHLICHE SPANNUNG"

=

=

ATTENTION

RISQUE D'ELECTROCUTION

NE PAS OUVRIR

VORSICHT

ELEKTRISCHE SCHLAGGEFAHR

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.

Output Power Rating: 125 watts RMS total system power

Woofer Amp: 2 x 50 watts RMS @1% THD

Tweeter Amp: 25 watts RMS @1% THD

Inst. Channel: Low: +/-15dB @ 80Hz

Mid: +/-15dB @ 400–1.2kHz (Contour)

High: +/-15dB @ 10kHz

Input Impedance: 25k ohm (Active), 2.2M ohm (Piezo)

Input Sensitivity: 22mV RMS (Active), 9mV RMS (Piezo)

Sens. to Eff Send/Line out: 70mV

Max Input Signal: 6v RMS (17v peak to peak)

Feedback Elimination: Freq: variable from 80Hz to 4kHz

Cut: variable from -0 to -30dB

Voc. Ch: Input Impedance: 3k ohm (Lo-Z), 20k ohm (Hi-Z)

Input Sensitivity: 3mV RMS (Lo-Z), 15mV RMS (Hi-Z)

Sens. to Eff Send/Line out: 9mV (Lo-Z), 50mV (Hi-Z)

Max Input Signal: 10v RMS (28v peak to peak)

Aux. Ch: Input Impedance: 20k ohm

Input Sensitivity: 15mV RMS

Sens. to Eff Send/Line out: 50mV

Max Input Signal: 10v RMS (28v peak to peak)

Master EQ’s: +/-12dB @ 80Hz, 330Hz, 1kHz

4kHz, 10kHz

Effects Loop: Line Out 1v RMS,

Line In 1v RMS

Eff Return to Line Out Sens:

50mV

Eff Return In. Impedance: 11k ohm

Eff Send Out. Impedance: 2.2k ohm

Line Out Out. Impedance: 220 ohm (Lo-Z), 2.2k ohm (Hi-Z)

Internal Woofer: 12” dual voice coil w/polypropylene

cone, foam surround, 40oz magnet,

1” voice coil, 2x8 ohms, 100w RMS,

95dB 1w 1m

Internal Tweeter: High efficiency Piezo,

110dB 1w 1m

Internal Crossover: Active electronic type

Power Requirements: 120VAC, 60Hz, 160VA;

100/115VAC, 50/60Hz, 160VA;

230VAC, 50/60Hz, 160VA

Size and Weight: 21-1/2”H x 21”W x 12”D, 44 lbs.

Technical

Specifications:

On the

Front Panel:

0 10 0 10

0 100 10 0 100 100 100 10

0 10 500Hz 1.2kHz

0

–15 +15

0

–15 +15

0

–15 +15 0 10

Rev Ret

Effects

Eff Ret

Depth

ChorusInstrument

RateGain

Input

Low Mid Contour High Freq Cut Rev/Eff

Send

0 –30dB

–15dB

Hi ZLow Z Gain

Vocal / Mic

Rev/Eff

Send

Off

On

Active

Peak

Piezo

100Hz 330Hz

1kHz

4kHz 10kHz

+12dB

–12dB

0

+12dB

–12dB

0

Graphic Eq Power

Master

0 10

Level

Crate Acoustic CA112

500Hz

175 1.2k

80Hz 4kHz

GainHi Z

Aux

Rev/Eff

Send

1 2 3 4 5 6 7 8 9 10 11 12 13 14

15 16 1817 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.

On the

Rear Panel:

Return Send

Low Z

Bal.

Gnd

Lift

High Z

Bal.

Reverb/

Chorus

Line OutputsTweeter Effects

Loop

Foot

Switch

Level

0 10

Level

-50dB 0dB

-6dB

34 33 31 30 29 28 2732

27: Footswitch. Connect the supplied 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

reverb, sleeve is ground. Use only a footswitch equipped with a stereo

1/4” plug.

28: Effects Loop 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 processor, connect

this jack to the output 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.

CA112 Block Diagram:

effects line out

master

instrument

channel

input

aux channel

active piezo freq cut

filter

gain low mid cntr

peak

high

rev/

effect

send

vocal/aux

channel

low-z

input

hi-z

input

phantom

power

tones

80 330 1k

Hz 4k 10k

level

graphic EQ

rev/

effect

send

hi-z

input

gain

gain

effect

return

effect

return

master

level

50w

25w

high pass hi freq

driver

dual

voice coil

low freq

driver

reverb

return

effects

send

spring reverb

low-z

bal.

gnd

lift

hi-z

bal.

level

line out

rev/

effect

send 50w

depth rate

chorus

on off

low pass

foot

switch

To Eliminate Instrument Feedback:

One of the most common problems encountered when 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 typi-

cally 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 offending 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-clock-

wise. 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 control as needed. Continue reducing the Cut control and read-

justing the Freq control until there is no more feedback with the Cut con-

trol as far counter-clockwise as possible. This approach effectively elimi-

nates instrument feedback without sacrificing the quality of your sound.

33: Line Out Level. Use this control to adjust the output level of the line out

signal. (This control works independently from the amplifier’s master

level control.)

34: Tweeter Level. Use this control to adust the signal output level from the

CA112’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!

www.crateamps.com

©1999 SLM Electronics

A Division of St. Louis Music Co.

1400 Ferguson Avenue

St. Louis, MO 63133

P/N 47-840-01

10/99