User’s Guide
for the
BV-60H / BV-120H
All Tube
Guitar Amplifiers
by
Musician-Made in the U.S.A.
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BV-60H / BV-120H All Tube Guitar Amplifiers
Introduction:
The BV-60H/120H are all-tube, feature-packed professional stage performers' amplifiers. Rugged con-
struction, reliable American craftsmanship and two powerful channels of pure tube power are some of the
trademarks of these new and impressive pieces of musician's equipment. Both amplifiers feature two dis-
tinctly different 12AX7 tube-driven channels: one with classic tube rhythm sounds and one offering you some
of the finest lead and overdrive sounds of any stock amplifier.
Each channel features an all-tube preamp section with separate reverb level controls and three bands of
equalization for total tone control. The master Presence control lets you custom tailor the sound of your gui-
tar to suit your particular needs. The effects loop can be quickly bypassed via the front panel switch or an
optional footswitch and features a switchable “pad” for use with either floor pedals or rack-mounted effects.
The Line Out signal is tapped directly from the speaker outputs, then attenuated and frequency-compen-
sated to replicate the sound of a miked speaker cabinet. Dual speaker jacks and an impedance selector
switch allow the use of multiple cabinets totalling 8 or 16 ohms. The BV-60H packs a solid 50 watts of out-
put power; the 120H a whopping 100 watts.
Features:
Here's a quick overview of the BV-60H/120H's features and controls. Additional information can
be found on the pages indicated.
• All-Tube Preamp and Power Amp: Classic tube sounds with Crate’s legendary performance and
reliability.
• Two Completely Separate Channels: Independent level, tone and reverb controls (page 4).
• Presence Control: Provides even greater tone control and flexibility by allowing you to vary the
upper harmonics of your guitar (page 4).
• Footswitch Control: Remote channel selection and Effects Loop On/Off is available through the
use of an optional two-button footswitch (such as Crate’s CFP-2) (page 5).
• Switchable Effects Loop with Pad: Footswitch or front panel button controlled, the external
effects loop can be switched in or out with ease. A switchable pad provides optimum performance
from line-level rack mounted effects as well as floor-dwelling foot pedals (pages 4,5).
• Impedance Selector Switch: Proper impedance matching is essential for optimum performance
and life expectancy of a tube amplifier. These amps allow the use of 8 or 16 ohm speaker config-
urations (page 5).
• Line Out Jack: Taken directly from the speaker output jacks, the Line Out signal is frequency
compensated to sound like a “miked” speaker cabinet. Use this jack to connect to the house mix-
ing board, a recording console or another performer’s powered monitor (page 5).
• DC Filament Supply: The first preamp tube has a DC filament supply for reduced hum.
• High Cosmetic Appeal and Stage Presence: The unique cosmetics of the BV-60H/120H serve
as a tribute to your good taste in musical equipment.
• Musician Made in the U.S.A.
3
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BV-60H / BV-120H All Tube Guitar Amplifiers
REVERB
5
CHANNEL 2
O
CHANNEL 1
O
CHANNEL
SELECT
EFFECTS LOOP
PAD (12dB)
5
5
5
O
O
5
O
O
5
4
6
4
6
4
6
4
6
4
6
4
6
3
7
3
7
3
1
7
3
7
3
7
3
7
2
8
2
8 2
8
2
8
2
8
2
8
ON
OFF
2
1
1
9
1
9
9
1
9
1
9
1
9
O
1O
O
1O
O
1O
O
1O
-5
+5
-5
+5
-5
+5
O
1O
-5
+5
-5
+5
-5
+5
O
1O
EFFECTS LOOP
POWER
STANDBY
PRESENCE
LEVEL
2
LEVEL
1
VOLUME
LOW
MID
HIGH
GAIN
LOW
MID
HIGH
VOLUME
INPUT
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
The Front Panel:
Channel 2:
Channel 1:
1. POWER (not shown): This switch applies
AC voltage to the amplifier, and should always
be turned on first. The switch illuminates when
the AC power is on.
8. MASTER: Set the output signal level of
channel 2 with this control. At the "0" position
(full left) very little or no signal will be heard; as
you rotate the control clockwise (towards cen-
ter) the output level of channel 2 increases. Use
this control along with your guitar's volume and
the channel 2 gain control (#12) to produce a
wide variety of sounds.
14. LOW: Adjust the bottom end response with
this control. The low control covers a range of
16dB at 100Hz. This sets the amount of bass
heard (and felt) from the amp.
2. STANDBY (not shown): This switch acti-
vates the amplifier, and should always be turned
on last. The switch illuminates when the high
voltage power is passing through to the tubes.
15. MID: Adjust the midrange response with this
control. The mid control covers a range of 20dB
at 300Hz. This controls the “voice” of your guitar.
16. HIGH: Adjust the high end response with
this control. The high control covers a range of
10dB at 10kHz. This controls the “bite” of your
guitar.
9. LOW: Adjust the bottom end response with
this control. The low control covers a range of
15dB at 100Hz. This sets the amount of bass
heard (and felt) from the amp.
NOTE: When you first power up this
amplifier, leave the Standby switch OFF
for at least 20 seconds. This gives the
power tubes a chance to prepare them-
selves for action.
17. VOLUME: Set the output volume level of
channel 1 with this control.
10. MID: Adjust the midrange response with this
control. The mid control covers a range of 13dB
at 500Hz. This controls the “voice” of your guitar.
3. PRESENCE: Increase the level of upper har-
monics with this control. The presence control
allows a boost of up to 5dB at 10kHz.
18. INPUT: Connect your guitar or wireless
receiver into this standard 1/4" jack by means of
a shielded instrument cable.
11. HIGH: Adjust the high end response with
this control. The high control covers a range of
10dB at 10kHz. This controls the “bite” of your
guitar.
4. EFFECTS LOOP PAD: This switch activates
a 12dB pad on the effects send signal and cor-
responding gain recovery on the return. In the
out position the signal is full strength which is
best suited for line level rack mountable effects.
With the switch depressed the signal is lower
which is best suited for foot pedal type effects.
12. GAIN: Adjust the overdrive (distortion) level
with this control. With the control towards “0” (to
the left) the signal is relatively clean. As you
rotate the control clockwise the distortion
increases, along with the overall output level.
Rotate the control towards “10” and you’ll
increase the distortion even more.
5. EFFECTS LOOP SWITCH: This switch con-
trols the effects return signal of the effects loop.
The loop is only active when the switch is
pressed in. When a footswitch is used, this
switch is disabled. The adjacent yellow LED illu-
minates when the loop is in use.
13. CHANNEL SELECT: Switch between chan-
nels with this push-button switch. The adjacent
amber LED illuminates when channel 1 is
selected (switch in the out position), the red
LED illuminates when channel 2 is selected
(switch depressed). When a footswitch is used
for channel switching, this switch is disabled.
6,7. REVERB 2, REVERB 1: Adjust the amount
of reverberation on each channel with these
controls: at the "0" position the signal is "dry"
(no reverb). As you rotate the control clockwise,
the amount of reverb increases.
4
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BV-60H / BV-120H All Tube Guitar Amplifiers
125VAC, 50/60Hz
250VAC, 50/60Hz
T5A SLO-BLO
T2.5A SLO-BLO
SPEAKERS
100 WATTS RMS
EFFECTS
LOOP
IMPEDANCE
SELECTOR
CAUTION
FOOTSWITCH
RISK OF ELECTRIC SHOCK
DO NOT OPEN
DE CHOC ELECTRIQUE.
AVIS:RISQUE
NE PAS OUVRIR
WARNING: TO REDUCE THE RISK OF FIRE OR
ELECTRICAL SHOCK, SO NOT EXPOSE THIS EQUIP-
MENT TO RAIN OR MOISTURE.
8
16
MAIN
EXT.
LINE OUT
RETURN
SEND
S
(USE FIRST)
T
R
S
T
R
M a d e i n t h e U . S . A . b y
1 4 0 0 F e r g u s o n A v e .
•
S L M E L E C T R O N I C S
TIP
=
CHANNEL SELECT
EFFECTS LOOP
SLEEVE GROUND
AC LINE IN
•
S t . L o u i s , M O . 6 3 1 3 3
RING
=
=
19
20
21
22
23
24
25
26
27
The Rear Panel:
19. IMPEDANCE SELECTOR: For the best
performance and least strain on your amplifier,
you MUST properly match the impedance of
your amplifier to that of your speaker cabinet(s).
Set the selector switch to the 8 or 16 ohm posi-
tion, depending on the total impedance of your
speaker cabinet(s). The chart below can help
you determine that impedance based on the fol-
lowing combinations of speakers connected in
parallel.
22. LINE OUT JACK: This 1/4” jack supplies a
line-level output signal from the power amp for
patching into a mixing board, recording console
or external amplifier. The signal is tapped direct-
ly from the speaker outputs, then attenuated
and electronically compensated to simulate the
sound of a “miked” cabinet.
25. FOOTSWITCH JACK: Connect a stereo
1/4” (tip/ring/sleeve) here from a two-button
footswitch (such as the Crate CFP-2) for remote
control of channel switching and the effects
loop. The tip of the jack is for the channel
switching; the ring is for the effects loop. When
a footswitch is connected here, the front panel
channel select and effects loop switches are
disabled.
23. EFFECTS LOOP RETURN: Connection
from an external effects device is made via this
jack. Connect a shielded instrument patch cord
from the output jack of the effect to the return
jack. This jack is active only when the effects
loop is switched in. The return jack also doubles
as a "power amp in" jack, to feed a line-level
signal directly into the BV-60H/120H's internal
power amp. This is useful when "slaving" two
amplifiers together.
26. AC LINE IN: This grounded power cord is to
be plugged into a grounded power outlet, wired
to current electric codes and compatible with
voltage, power, and frequency requirements
stated on the rear panel. Do not attempt to
defeat the safety ground connection.
CAB. IMP.
8 OHMS
16 OHMS
16 OHMS
32 OHMS
32 OHMS
# OF CABS.
TOTAL IMP.
8 OHMS
16 OHMS
8 OHMS
16 OHMS
8 OHMS
1
1
2
2
4
27. FUSE: This fuse protects the amplifier
against damages caused by overload condi-
tions in the unit. If the fuse fails, replace it only
with the same size and type as indicated on the
rear panel. If the fuse fails continually, the line
voltage may be incorrect, or the amp may need
servicing.
20. MAIN SPEAKER JACK: Use this jack to
connect the amplifier to your primary speaker
cabinet by means of a heavy gauge speaker
cable. Always keep the impedance at 8 or 16
ohms, with the impedance selector switch (#19)
at the proper setting.
24. EFFECTS LOOP SEND: Connection to an
external effects device is made via this jack.
Connect a shielded instrument patch cord from
the send jack to the input jack of the effect. This
jack is always active. The send jack also dou-
bles as a "preamp out" jack, to feed a post-eq,
pre-amplified signal to a mixing board, record-
ing console or external amplifier.
NOTE: Use the MAIN SPEAKER jack first.
Then, if an extension speaker is desired,
connect it to the EXT. SPEAKER jack.
21. EXT. SPEAKER JACK: Use this jack to
connect the amplifier to a secondary speaker
cabinetby means of a heavy gauge speaker
cable, after a speaker has been connected to
the main speaker jack (#20).
5
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BV-60H / BV-120H All Tube Guitar Amplifiers
Important Information About Tubes And Tube Products:
A Brief History Of The Tube:
In 1883, Edison discovered that electrons would flow from a suspended filament when enclosed in an evacuated lamp. Years later, in 1905,
Fleming expanded on Edison's discovery and created the "Fleming Valve". Then, in 1907, Dr. Lee de Forest added a third component – the grid
– to the "Fleming's Valve" and the vacuum tube was a fact of life. The door to electronic amplification was now open.
During World War II, data gleaned from their intensive research on the detectors used in radar systems led Bell Telephone Laboratories to the
invention of the transistor. This reliable little device gained quick support as the new component for amplification. The death of the vacuum tube
seemed imminent as designers, scientists, and engineers reveled in the idea of replacing large, fragile glass tubes with these small, solid-state
devices.
However, there were (and still are) many serious listeners who realized that the sound produced by a "transistor" amplifier is significantly differ-
ent from that produced by a tube amplifier with identical design specifications. They considered the sound produced by these new solid-state
devices to be hard, brittle, and lifeless. It was determined that solid-state devices produced a less musical set of harmonics than tubes. When
pushed past their limits, they tend to mute the tone and emphasize the distortion.
Tubes, on the other hand, produce a more musical set of harmonics, the intensity of which can be controlled by the player. This characteristic
adds warmth and definition to the sound which has become the hallmark of tube amplifiers. When tubes are driven into clipping, the harmonic
overtones can be both sweet and pleasing or intense and penetrating, depending on the musician’s musical taste and playing technique.
Over the years, application engineers have designed a number of outstanding solid-state amplifiers that sound very, very good. Some use spe-
cial circuitry which enables them to simulate the distortion characteristics of a tube amplifier. However, the tube amplifier, still held in the high-
est esteem by many musicians, offers a classic "vintage" sound in a contemporary market.
Tube Types And Usage:
Tube amplifiers are based primarily on two types of tubes – preamplifier tubes and power tubes. The tubes used in preamplifiers (12AX7,
12AU7, 12AT7, etc.) are smaller than the power tubes. These tubes amplify the signal from your instrument and shape the sound. They are
inherently microphonic (mechanically pick up and transmit external noises). Since these tubes are used in the critical first stages of a tube
amplifier's circuitry, it is very important to use high-quality, low noise/low microphonic tubes for this application. Although tubes of this quality
may be difficult to find and typically cost more than "off-the-shelf" tubes, the improvement in performance is worth the investment.
Preamplifier tubes are also used to drive the power tubes. When used in this application, a 12AX7 will produce a more distorted tone than a
12AT7, which produces a clearer, sweeter sound. A 12AU7 is even cleaner and brighter than a 12AT7, giving more definition to the sound. (In
some cases it is possible to change the sound by changing the type of preamp and/or driver tubes. When making any modification to your
equipment, it is highly recommended that you consult with a qualified service center.)
The power tubes are the largest tubes used in an amplifier. These tubes convert the low-level, conditioned signal from the preamplifier into a
level that is sufficient to drive the speakers. There are several types of power tubes available, each of which offers a different
performance/sound characteristic. For example, the EL34 power tube produces a great Classic rock sound. When an EL34 is driven into dis-
tortion it produces a unique sound ("crunch"). When compared to the 6L6, the EL34 distorts more quickly, exhibits a "looser" low-end
response and produces more harmonics at mid and high frequencies ("creamier" sound). These differences become more noticeable at high-
er volumes.
The 6L6 tubes produce a big low-end thump and have a very good dynamic range. They offer a more traditional "American Rock" sound. The
6V6 tubes produce a creamy sound with nice distortion. On the other hand, the KT88 produces a big low-end but sounds more like an EL34
in the mid and high frequencies.
The 6550 power tubes are more rugged and stay cleaner sounding even at full power. When they do distort, the sound produced is more solid
and has a tighter low end; more of a "heavy metal" type distortion with lots of power.
Some tubes are available in matched sets. These tubes have been extensively tested for optimum performance and longevity.
6
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BV-60H / BV-120H All Tube Guitar Amplifiers
Important Information About Tubes And Tube Products (Continued):
The Nature Of Tubes: Why (And When) To Replace Them:
Tubes are made up of a number of fragile mechanical components that are vacuum-sealed in a glass envelope or bubble. The tube's longevi-
ty is based on a number of factors which include how hard and often the amplifier is played, vibration from the speakers, road travel, repeated
set up and tear down, etc.
Any time you notice a change in your amplifier's performance, check the tubes first.
If it's been a while since the tubes were replaced and the sound from your amplifier lacks punch, fades in and out, loses highs or lows or pro-
duces unusual sounds, the power tubes probably need to be replaced. If your amplifier squeals, makes noise, loses gain, starts to hum, lacks
"sensitivity", or feels as if it is working against you, the preamplifier tubes may need to be replaced.
The power tubes are subjected to considerably more stress than the preamplifier tubes. Consequently, they almost always fail/degrade first. If
deteriorating power tubes aren't replaced they will ultimately fail. Depending on the failure mode, they may even cause severe damage to the
audio output transformer and/or other components in the amplifier. Replacing the tubes before they fail completely has the potential to save
you time, money and unwanted trouble. Since power tubes work together in an amplifier, it is crucial that they (if there is more than one) be
replaced by a matched set. If you're on the road a lot, we recommend that you carry a spare matched set of replacement power tubes and
their associated driver tubes.
After turning off the power and disconnecting the amplifier from the power source, carefully check the tubes (in bright light) for cracks or white
spots inside the glass or any other apparent damage. Then, with the power on, view the tubes in a dark room. Look for preamplifier tubes that
do not glow at all or power tubes that glow excessively red.
Whenever you replace the power tube(s):
• Always have the amplifier's bias voltage checked by a qualified service center. Improper bias voltage will cause degradation in performance
and possibly damage the tubes and/or the amplifier. (See the section below entitled, "The Importance of Proper Biasing", for more information
on this subject).
• We highly recommend that you replace the driver tube(s) as well. The driver tube determines the shape and amplitude of the signal applied
to the power tube(s) and has to work almost as hard as the power tube(s).
You can check your preamplifier tubes for microphonics by turning the amplifier on, turning up the gain and tapping lightly on each tube with
the end of a pencil or a chop stick (my favorite). You will be able to hear the tapping through your speakers, which is normal. It is not normal
for a tube to ring like a bell after it’s tapped. If it does ring then it’s microphonic and should be replaced. Remember to use only high quality,
low microphonic tubes in the preamplifier section.
Even though power tubes are rarely microphonic, you should check them anyway. The power tubes can be checked for microphonics just like
pre-amp tubes.
In the case of very high gain amps, you may be able to reduce the amount of noise generated by simply swapping the preamp tubes around.
The Importance Of Proper Biasing:
For the best performance and longest tube life, proper biasing is imperative. Bias is the negative voltage which is applied to the power tube’s
control grid to set the level of idle current. We cannot over emphasize the difference in warmth of tone and dynamic response that come with
proper biasing. If the bias is set too high (overbiased), the sound from the amp will be distorted at all levels. If the bias is set too low, (under
biased) the power tubes will run hot (the plates inside the tubes may glow red due to excessive heat) and the sound from the amplifier will
lack power and punch. The excessive heat greatly reduces tube life – from a few days to as little as a few hours in extreme cases. Setting the
bias on your amp is like setting the idle on your car. If it’s too high or hot it’s running away with you and if it’s too low or cold it will choke when
you step on it.
The bias is adjusted at the factory in accordance with the type of power tube(s) installed in your amplifier. It is important to point out that tubes
of the same type and specification typically exhibit different performance characteristics. Consequently, whenever power tubes are replaced,
the bias voltage must be checked (unless the amplifier is equipped with "self-biasing circuitry) and readjusted to accommodate the operating
parameters of the replacement tubes.
Depending on the model and amplifier type, there may be hum balance controls, trim pots, or bias adjustment controls on its rear panel.
However, the bias adjustment should be performed only by qualified service personnel with the proper, calibrated test equipment.
7
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BV-60H / BV-120H All Tube Guitar Amplifiers
Important Information About Tubes And Tube Products (Continued):
Survival Tips For Tube Amplifiers:
To prolong tube life, observe these tips and recommendations:
• Match the impedance of your speaker cabinet(s) to your amplifier. Improper impedance matching will contribute to early tube degradation and may
cause premature tube failure.
• Make sure the speaker(s) are properly connected prior to turning on the amplifier.
• After playing the amplifier, allow sufficient time for it to properly cool down prior to moving it. A properly cooled amplifier prolongs tube life due to the
internal components being less susceptible to the damage caused by vibration.
• Allow the amplifier to warm up to room temperature before turning it on. The heat generated by the tube elements can crack a cold glass housing.
• Replace the output tube(s) before the performance degrades or the tubes fail completely. Replace the tube(s) on a regular basis (at least once per
year or as often as every 4 to 6 months if you play long and hard every day).
• Always have the bias checked after replacing the output tubes (unless the amplifier is equipped with "self-biasing circuitry"). This should be done
ONLY at a qualified service center. Improper biasing could result in the tubes running too hot, which greatly reduces the life of the tubes – or too
cold, which results in distorted sound regardless of level settings. Do not play the amplifier if it exhibits these symptoms – get the bias
checked/adjusted immediately to prevent tube failure and/or other damage.
• If the locating notch on the base of a power tube breaks off, replace the tube. This significantly reduces the risk of damaging your amplifier by incor-
rectly inserting the tube.
• Protect the amplifier from dust and moisture. If liquid gets into the amplifier proper, or if the amplifier is dropped or otherwise mechanically abused,
have it checked out at an authorized service center before using it.
• Proper maintenance and cleaning in combination with routine checkups by your authorized service center will insure the best performance and
longest life from your amplifier.
CAUTION: Tube replacement should be performed only by qualified service personnel who are familiar with the dangers of hazardous volt-
ages that are typically present in tube circuitry.
8
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BV-60H / BV-120H All Tube Guitar Amplifiers
Some Suggested Settings:
CRUNCHY EDGE:
CHANNEL 2
SPARKLING CLEAN:
CHANNEL 1
REVERB
5
CHANNEL
SELECT
EFFECTS LOOP
PAD (12dB)
5
5
5
O
O
O
5
O
O
O
5
4
6
4
6
4
6
4
6
4
6
4
6
3
7
3
7
3
1
7
3
7
3
7
3
7
2
8
2
8 2
8
2
8
2
8
2
8
ON
OFF
2
1
1
9
1
9
9
1
9
1
9
1
9
O
1O
O
1O
O
1O
O
1O
-5
+5
-5
+5
-5
+5
O
1O
-5
+5
-5
+5
-5
+5
O
1O
EFFECTS LOOP
PRESENCE
LEVEL
2
LEVEL
1
VOLUME
LOW
MID
HIGH
GAIN
LOW
MID
HIGH
VOLUME
(AS NEEDED)
(AS NEEDED)
ROCK RHYTHM:
FAT CLEAN:
CHANNEL 1
REVERB
5
CHANNEL 2
O
CHANNEL
SELECT
EFFECTS LOOP
PAD (12dB)
5
5
5
O
O
5
O
O
O
5
4
6
4
6
4
6
4
6
4
6
4
6
3
7
3
7
3
1
7
3
7
3
7
3
7
2
8
2
8 2
8
2
8
2
8
2
8
ON
OFF
2
1
1
9
1
9
9
1
9
1
9
1
9
O
1O
O
1O
O
1O
O
1O
-5
+5
-5
+5
-5
+5
O
1O
-5
+5
-5
+5
-5
+5
O
1O
EFFECTS LOOP
PRESENCE
LEVEL
2
LEVEL
1
VOLUME
LOW
MID
HIGH
GAIN
LOW
MID
HIGH
VOLUME
(AS NEEDED)
(AS NEEDED)
MASSIVE METAL:
REVERB
5
CHANNEL 2
O
CHANNEL 1
O
CHANNEL
SELECT
EFFECTS LOOP
PAD (12dB)
5
5
5
O
O
5
O
O
5
4
6
4
6
4
6
4
6
4
6
4
6
3
7
3
7
3
1
7
3
7
3
7
3
7
2
8
2
8 2
8
2
8
2
8
2
8
ON
OFF
2
1
1
9
1
9
9
1
9
1
9
1
9
O
1O
O
1O
O
1O
O
1O
-5
+5
-5
+5
-5
+5
O
1O
-5
+5
-5
+5
-5
+5
O
1O
EFFECTS LOOP
PRESENCE
LEVEL
2
LEVEL
1
VOLUME
LOW
MID
HIGH
GAIN
LOW
MID
HIGH
VOLUME
(AS NEEDED)
(AS NEEDED)
9
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BV-60H / BV-120H All Tube Guitar Amplifiers
System Block Diagram:
CH.1
CH.2
TUBE
STAGE
INPUT
CHANNEL
SWITCHING
LOW MID HIGH VOLUME
TUBE
STAGE
TUBE
TUBE
STAGE
TUBE
STAGE
TUBE
STAGE
GAIN
STAGE
LOW MID HIGH VOLUME
PAD
SWITCHING
MAIN
SPKR
OUT
SEND
RETURN
POWER
AMP
IMPEDANCE
SELECTOR
EFFECTS
SWITCHING
EXT.
SPKR
OUT
EFFECTS
LOOP
REVERB
LEVEL 1
PRESENCE
LINE
OUT
FREQUENCY
COMPENSATOR
REVERB
LEVEL 2
10
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BV-60H / BV-120H All Tube Guitar Amplifiers
11
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BV-60H / BV-120H All Tube Guitar Amplifiers
Technical Specifications:
Output Power Rating
BV-60H
BV-120H
50 watts RMS @ 5% THD 8 or 16 ohm load, 120 VAC
100 watts RMS @ 5% THD 8 or 16 ohm load, 120 VAC
Gain
Channel 1
Channel 2
66dB, tones at “10” @ 1kHz
101dB, tones @ “10” @ 1kHz
Tone Control Range
Channel 1
Low
Mid
High
16dB @ 100Hz
20dB @ 300Hz
10dB @ 10kHz
Channel 2
Presence
Low
Mid
High
15dB @ 100Hz
13dB @ 500Hz
10dB @ 10kHz
5dB @ 10kHz
Input Impedance
1M ohm
Maximum Signal Accepted
Tube Types
2.8V peak to peak
Preamp
12AX7A (3)
Power Amp
BV-60H: 12AX7A (1), 6L6GT/5881 (2)
BV-120H: 12AX7A (1), 6L6GT/5881 (4)
Line Out Level
1.2V RMS nominal
Power Requirements
BV-60H
BV-120H
115V 60Hz, 110VA; 2.5A Slo-Blo Fuse
115V 60Hz, 180VA; 5A Slo-Blo Fuse
Size and Weight
12”H x 30.25”W x 10”D, 50lbs.
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.
The BV-60H and 120H are covered with high-quality, durable Tolex®. To keep them looking their best, avoid
abrasive cleansers. Wipe the cabinets clean using a slightly dampened soft cloth. Do not spray cleaners directly
into the amplifier. Never use brass cleaners on the hardware since they could damage their protective coatings.
Declaration Of Conformity
#35, Effective 01-01-2001
Manufacturer’s Name:
Production Facility:
SLM Electronics
1901 Congressional Drive, St. Louis, MO 63146, USA
700 Hwy 202 W, Yellville, AR 72687, USA
1400 Ferguson Ave., St. Louis, MO 63133, USA
1400 Ferguson Ave., St. Louis, MO 63133, USA
Production Facility:
Shipping Facility:
Office Facility:
Product Type:
Audio Amplifier
Complies with the following Standards:
Safety:
EMC:
EN60065, E60065, C22.2, UL6500 and/or UL813
Directive 89/336/EEC, EN55103, EN55013, EN61000,
and/or FCC 47CFR 15B clA
Supplementary information provided by:
SLM Electronics - R & D Engineering
1901 Congressional Drive, St Louis, MO 63146, USA
Tel.: 314-569-0141, Fax: 314-569-0175
©2000 SLM ELECTRONICS • A division of St. Louis Music • 1400 Ferguson Avenue • St. Louis, Mo 63133
P/N 47-631-05 • 111103
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