MUSIC-CENTER-FILIBE - CRATE CA125DG Telluride Acoustic Combo CRATE CA-125DG Telluride Acoustic Combo 125W CA120DG

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CRATE CA-125DG Telluride Acoustic Combo 125W

MSRP 729,00 EUR
our price 549,00 EUR
incl. 20 % Tax excl.
Weight: 22.00

Product No.: CA120DG

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Shipping time:

1-3 Weeks

CRATE CA-125DG Telluride Acoustic Combo 125W

Crate is introducing an entirely new range of acoustic amplifiers. The technology in the new Crate acoustic series is unique, with preamp circuits you can tailor for piezo or active systems. Crate ussses special studio monitor-style speakers with polypropylene cones and rubber surrounds in ported cabinets for tight, even bass response. Every CA amp has a high frequency component for crisp, clear highs. All CA models include a wide array of reverbs, delays, chorus and multiple effects settings.
The Instrument channel:
1: Input. The signal output from your acoustic instrument may be connected
here by means of a shielded instrument cable.
2: Piezo/Active. 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. 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 control. 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 natural-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 control, please read the section entitled “To Eliminate Instrument Feedback” on page 6.
10: Cut. Use this control along with the Freq control (#9) to eliminate instrument feedback. For information on the proper use of this control, please read the section entitled “To Eliminate Instrument Feedback” on page 6.
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. 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/Mic channel:
15: Low-Z. 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: High-Z. The signal output from a high impedance microphone or a line level signal may be connected here by means of a shielded signal cable terminated with a 1/4” tip/sleeve connector.
17: Gain. This serves as the input level control for the Vocal/Mic 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/Mic channel.
The Aux channel:
19: High-Z. The signal output from a high impedance microphone or a line level signal may be connected here by means of a shielded signal 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: Mode. Use this control to select the type of Digital Signal Processing effect applied to the output signal.
23: Rev. Level. Use this control to adjust the amount of the internal DSP effect
– the further you turn to the right the deeper the effect.
24: Eff Return. Use this control to adjust the amount of effect applied from an
external signal processor (if used).
The Master Section:
25: Graphic EQ. Use these sliders to control the output frequencies indicated 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 CA125D to best suit your tastes and to compensate for room acoustics.
26: Level. Use this control to set the overall output level of the amplifier.
27: Power. Use this switch to apply power to the amplifier: the amp is on when the top of the switch is depressed, off when the bottom of the switch is depressed. This switch will illuminate when the amplifier is on.

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