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Crate Acoustic amplifiers are
Made With Pride in the U.S.A.
Technical
Specifications:
To get this amplifier to sound its best,
read this owner’s guide prior to its use.
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
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.
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
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.
Input Sensitivity: 15mV RMS
ATTENTION
VORSICHT
RISQUE D'ELECTROCUTION
NE PAS OUVRIR
ELEKTRISCHE SCHLAGGEFAHR
NICHT OFFENEN
Sens. to Eff Send/Line out: 50mV
Max Input Signal: 10v RMS (28v peak to peak)
ATTENTION: POUR REDUIRE D'ELECTROCUTION NE PAS
ENLEVER LE COUVERCLE. AUCUNE PIECE INTERNE N'EST REPRABLE
PAR L'UTILISATEUR. POUR TOUTE REPARATION, S'ADRESSER
TECHNICIEN QUALIFIE.
A
UN
Master EQ’s: +/-12dB @ 80Hz, 330Hz, 1kHz
4kHz, 10kHz
VORSICHT: ZUR MINIMIERUNG ELEKTRISCHER SCHLAGGEFAHR NICHT
DEN DECKEL ABENHMEN. INTERNE TEILE KONNEN NICHT VOM
BENUTZER GEWARTET WERDEN. DIE WARTUNG IS QUALIFIZIERTEM
WARTUNGSPERSONAL ZU UBERLASSEN.
Effects Loop: Line Out 1v RMS,
Line In 1v RMS
Eff Return to Line Out Sens: 50mV
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:
Eff Return In. Impedance: 11k ohm
Eff Send Out. Impedance: 2.2k ohm
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.
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
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.
Internal Tweeter: High efficiency Piezo,
110dB 1w 1m
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.
Internal Crossover: Active electronic type
Power Requirements: 120VAC, 60Hz, 160VA;
100/115VAC, 50/60Hz, 160VA;
"DANGEROUS VOLTAGE"
“VOLTAJE PELIGROSO”
EXPLANATION OF
230VAC, 50/60Hz, 160VA
GRAPHICAL SYMBOLS:
=
"DANGER HAUTE TENSION"
"GEFAHLICHE SPANNUNG"
Size and Weight: 21-1/2”H x 21”W x 12”D, 44 lbs.
"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"
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.
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On the
Front Panel:
1
2
3
4
5
6
7
8
9
10
11
12
13
14
Instrument
Contour
Chorus
Depth
Master
Rev/Eff
Send
Input
Gain
Low
0
Mid
0
High
0
Freq
Cut
Rate
500Hz
–15dB
175
1.2k
Graphic Eq
Power
Piezo
Active
On
Off
+12dB
0
+12dB
0
0
10
–15
+15
–15
+15
500Hz
1.2kHz
–15
+15
80Hz
4kHz
0
–30dB
0
10
0
10
0
10
Peak
Aux
Gain
Vocal / Mic
Hi Z
Effects
Rev Ret
Rev/Eff
Send
Rev/Eff
Send
Low Z
Gain
Hi Z
Mode
Eff Ret
Level
DLY
–12dB
–12dB
10kHz
SPR
100Hz
330Hz
4kHz
1kHz
LAR
SAR
Multi
0
10
0
10
0
10
0
10
0
10
0
10
0
10
Crate Acoustic CA112D
15
16
17
18
19
20
21
22
23
24
25
26
27
The Instrument channel:
1: Input. The signal output from your acoustic instrument may be con-
nected here by means of a shielded instrument cable.
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.
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 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.”
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 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.
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.
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 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.
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.
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.
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On the
Rear Panel:
35
The DSP
Section:
34 33 32
31
30
27
28
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).
Tweeter
Line Outputs
Effects
Loop
Foot
Switch
-6dB
-50dB
0dB
0
10
Level
Level Gnd
Lift
Low Z
Bal.
High Z
Bal.
Return
Send
Reverb/
Chorus
Mode
DLY
SPR
LAR
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.)
Multi
SAR
The following chart provides a list of the DSP settings along with a brief
description of each effect.
SAR:
LAR:
SPR:
DLY:
Small Room 8’ x 8’ empty room w/hardwood floor
Small Rehearsal Hall 20’ x 40’ hall, wood floors, hard walls
Large Hall 50’ x 100’ hall, about 50 persons
Concert Hall 5000-seat hall, full crowd
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 -.)
Plate Reverb Simulates studio steel plate reverb
Spring Reverb Simulates multi-spring reverb tank
Slapback, short 125ms delay + reverb
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.
Slapback, Med-short 240ms delay + reverb
Slapback, Medium 350ms delay + reverb
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.)
Slapback, Long 557ms delay - 630’ travel time
Multi: Short Med. Surface 280ms delay w/21.8% regen + reverb
Medium Hard Surface 335ms delay w/26.5% regen + reverb
Chor-Delay 400ms delay with modulation
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.
Chor-Verb Hall reverb w/modulated pre-delay
Slap-Verb Medium hall w/200ms pre-delay
Note: This is a grounded plug. To avoid the possibility of electric shock,
DO NOT defeat the ground connection in any way!
Instrument Doubler Simulates second track slightly out-of-sync
CA112D Block Diagram:
master
line out
instrument
channel
effects
input
mode
filter
tones
effects
send
chorus
rev/
effect
send
foot
switch
active
piezo
on
off
freq cut
gain
low mid cntr high
depth rate
DSP
peak
reverb
return
phantom
power
vocal/aux
rev/
channel
effect
send
line out
hi-z
bal.
low-z
input
high pass
25w
hi freq
driver
low-z
bal.
level
gain
effect
return
hi-z
input
level
gnd
lift
effect
return
graphic EQ
rev/
effect
send
low pass
50w
50w
dual
aux channel
hi-z
voice coil
low freq
driver
master
level
80 330 1k 4k 10k
Hz
input
gain
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©1999 SLM Electronics
A Division of St. Louis Music Co.
1400 Ferguson Avenue
St. Louis, MO 63133
P/N 47-841-01
10/99
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