Crate Amplifiers Musical Instrument Amplifier V32H User Manual

U S E R ’ S G U I D E  
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V32H GUITAR AMPLIFIER HEAD  
Table of Contents:  
The Front Panel...................................................................................4  
The Rear Panel....................................................................................5  
Piggy Back Mounting onto the V212 Speaker Cabinet ...................6  
Important Information About Tubes and Tube Products  
A Brief History Of The Tube ..........................................................7  
Tube Types and Usage................................................................7,8  
The Nature of Tubes: Why (and When) to Replace Them .......8,9  
The Importance of Proper Biasing................................................9  
Survival Tips For Tube Amplifiers ..............................................10  
System Block Diagram .....................................................................11  
Technical Specifications ...................................................back cover  
CAUTION  
PRECAUCION  
ATTENTION  
RISK OF ELECTRIC SHOCK  
DO NOT OPEN  
RIESGO DE CORRIENTAZO  
NO ABRA  
RISQUE D'ELECTROCUTION  
NE PAS OUVRIR  
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC  
SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOIS-  
TURE. TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT  
REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE.  
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.  
PRECAUCION: PARA REDUCIR EL RIESGO DE INCENDIOS  
O
DESCARGAS  
LA  
ATTENTION: PROTÉGEZ CET APPAREIL DE LA PLUIE ET DE L'HUMIDITÉ  
AFIN D'ÉVITER TOUT RISQUE D'INCENDIE OU D'ÉLECTROCUTION. 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.  
ELECTRICAS, NO PERMITA QUE ESTE APARATO QUEDE EXPUESTO  
A
LLUVIA  
O
LA HUMEDAD. PARA DISMINUOIR EL RIESGO DE CORRIENTAZO.  
NO ABRA LA CUBIERTA. NO HAY PIEZAS ADENTRO QUE EL USARIO PUEDO  
REPARAR DEJE TODO MANTENIMIENTO A LOS TECHNICOS CALIFICADOS.  
IMPORTANT SAFETY INSTRUCTIONS  
READ, FOLLOW, HEED, AND KEEP ALL INSTRUCTIONS AND WARNINGS.  
DO NOT OPERATE NEAR ANY HEAT SOURCE AND DO NOT BLOCK ANY VENTILATION OPENINGS ON THIS APPARATUS. FOR PROPER OPERATION,  
THIS UNIT REQUIRES 3” (75mm) OF WELL VENTILATED SPACE AROUND HEATSINKS AND OTHER AIR FLOW PROVISIONS IN THE CABINET.  
DO NOT USE THIS APPARATUS NEAR SPLASHING, FALLING, SPRAYING, OR STANDING LIQUIDS.  
CLEAN ONLY WITH LINT-FREE DAMP CLOTH AND DO NOT USE CLEANING AGENTS.  
ONLY CONNECT POWER CORD TO A POLARIZED, SAFETY GROUNDED OUTLET WIRED TO CURRENT ELECTRICAL CODES AND COMPATIBLE WITH  
VOLTAGE, POWER, AND FREQUENCY REQUIREMENTS STATED ON THE REAR PANEL OF THE APPARATUS.  
PROTECT THE POWER CORD FROM DAMAGE DUE TO BEING WALKED ON, PINCHED, OR STRAINED.  
UNPLUG THE APPARATUS DURING LIGHTNING STORMS OR WHEN UNUSED FOR LONG PERIODS OF TIME.  
ONLY USE ATTACHMENTS, ACCESSORIES, STANDS, OR BRACKETS SPECIFIED BY THE MANUFACTURER FOR SAFE OPERA-  
TION AND TO AVOID INJURY.  
WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK OR FIRE, DO NOT EXPOSE THIS UNIT TO RAIN OR MOISTURE.  
SERVICE MUST BE PERFORMED BY QUALIFIED PERSONNEL.  
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.  
WARNING: THIS UNIT REQUIRES A SAFETY GROUNDED OUTLET WIRED TO CURRENT ELECTRIC CODES HAVING THE LINE SUPPLY VOLTAGE,  
POWER, AND FREQUENCY IDENTIFIED ON THE REAR OF THE UNIT. THE OUTLET MUST REMAIN ACCESSIBLE TO DISCONNECT THE UNIT IF A  
FAULT SHOULD ARISE WHILE IN USE. THIS UNIT SHOULD BE UNPLUGGED WHEN NOT IN USE.  
EXPLANATION OF GRAPHICAL SYMBOLS:  
EXPLICACION DE SIMBOLOS GRAFICOS:  
EXPLICATION DES SYMBÔLES GRAPHIQUES:  
"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"  
"DANGEROUS VOLTAGE"  
“VOLTAJE PELIGROSO”  
"DANGER HAUTE TENSION"  
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V32H GUITAR AMPLIFIER HEAD  
Congratulations!  
You are now the proud owner of a Crate V32H Guitar Amplifier Head. This  
amplifier packs a whole lot of vintage tube sound into its compact cabinet  
– giving you an amp that’s portable and easy to operate yet still produces  
incredible sounds! Hidden underneath the amp’s cabinet are a pair of  
heavy duty slide-out mounting brackets which can be used to “piggy back”  
the amplifier onto the top of the Crate V212 Guitar Speaker Enclosure -  
see page 6 for additional information.  
Like all St. Louis Music amplifiers, your V32H is designed by musicians,  
and built using the finest components available. Extensive testing confirms  
that this amplifier is the absolute best it can be.  
In order to get the most out of your new amplifier, we strongly urge you to  
read the information contained in this manual before you begin playing.  
And Thank You for choosing a Crate amplifier!  
3
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V32H GUITAR AMPLIFIER HEAD  
The Front Panel:  
1
2
3
4
5
6
7
8
9
10  
11  
12  
13  
14  
1. Input: Connect your instrument here by  
9. Presence: This switch, when  
depressed, increases the output level of  
the high frequencies by 8dB at 10kHz, giv-  
ing a more “glassy” sound to the amplifier.  
This helps the output of the amplifier cut  
through “acoustically dead” rooms.  
means of a shielded signal cable.  
2. Clean Volume: Use this control to adjust  
the output level of the Clean Channel.  
3. Clean/Overdrive: This switch, when de-  
pressed, selects the Overdrive Channel.  
When this switch is in the out position, the  
Clean Channel is selected.  
10. Overdrive Level: Use this control to  
adjust the output level of the Overdrive  
Channel.  
4. Overdrive Gain: Use this control to  
adjust the gain of the Overdrive Channel.  
With the control towards the counter clock-  
wise position, the gain is low and very little  
distortion is present. As you rotate the con-  
trol clockwise the gain increases, produc-  
ing more overdrive distortion and a higher  
output volume level.  
11. Reverb: Use this control to adjust the  
amount of reverberation applied to the sig-  
nal. With the control fully counter clockwise  
no reverb is applied. As you rotate the con-  
trol clockwise the amount of reverb increas-  
es.  
12. Lamp: This lamp illuminates when the  
amplifier is turned on.  
5. Treble: Use this control to adjust the out-  
put level of the high frequencies. This con-  
trol provides 12dB of cut or boost at 6kHz.  
13. On/Standby: Use this switch to acti-  
vate the amplifier. The On/Off switch (#14)  
should be turned on first. Allow 20 seconds  
for the amplifier to warm up before turning  
the Standby switch on.  
6. Boost: This switch, when depressed,  
increases the output by 10dB at 900Hz,  
giving the middle frequencies more punch.  
14. On/Off: Use this switch to turn the  
amplifier on and off. This switch should be  
turned on at least 20 seconds before turn-  
ing the Standby switch (#13) on.  
7. Mid: Use this control to adjust the output  
level of the middle frequencies. This control  
provides 10dB of cut or boost at 1kHz.  
8. Bass: Use this control to adjust the out-  
put level of the low frequencies. This con-  
trol provides 8dB of cut or boost at 150Hz.  
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V32H GUITAR AMPLIFIER HEAD  
The Rear Panel:  
16  
17  
18  
19  
15. AC Line Cord (not shown): The  
grounded power cord should only be  
plugged into a grounded power outlet  
that meets all applicable electrical codes  
and is compatible with the voltage,  
power, and frequency requirements stat-  
ed on the rear panel. Do not attempt to  
defeat the safety ground connection.  
16. Footswitch: Use this jack to connect  
the supplied two-button footswitch for  
remote control of channel switching and  
the Boost function. The front panel  
Clean/Overdrive and Boost switches  
18. Line In: Use this 1/4” jack to connect  
the output of an external effects proces-  
sor to the amplifier.  
19. 8 Ohm Speaker: Use this jack to  
connect the external cabinet to the  
amplifier by means of a heavy duty  
Class 2 wiring speaker cable terminated  
with 1/4” plugs. The total impedance rat-  
ing for the external speaker(s) must be 8  
ohms.  
WARNING: The speaker output of this unit  
can exceed 10 Watts and could be a shock  
injury. Connection to speakers should be  
performed by a skilled person in compliance  
with local building codes. Class 2 wiring is  
required for speaker cables. Use of external  
speakers outside the ratings stated at the  
speaker jack may result in a shock injury or  
damage to the unit.  
(#3,#6) are inoperative when  
footswitch is connected.  
a
17. Line Out: Use this 1/4” jack to send  
a line level signal to a mixing board,  
external power amplifier or powered  
monitor, or to the input jack of an exter-  
nal signal processor.  
5
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V32H GUITAR AMPLIFIER HEAD  
Piggy Back Mounting onto the V212 Speaker Cabinet:  
The  
V32H amp head is  
designed to “piggy back” mount  
onto Crate’s V212 enclosure. The  
V32H has slide-out mounting  
hardware which lock onto the  
posts on the top of the V212.  
Loosen the knobs on the posts,  
slide the amp in place and lock  
down the knobs.  
The piggy-backed amp can  
be rolled around on its casters  
by the amp head’s handle, but  
do not try to pick the combo up  
by the amp head or its handle  
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V32H GUITAR AMPLIFIER HEAD  
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 evac-  
uated 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 vac-  
uum 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, sci-  
entists, 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 "tran-  
sistor" amplifier is significantly different from that produced by a tube amplifier with identical design specifica-  
tions. 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 special circuitry which enables them to simulate the distortion characteris-  
tics of a tube amplifier. However, the tube amplifier, still held in the highest 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 pro-  
duce 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 distortion it produces a  
unique sound ("crunch"). When compared to the EL84 and 6L6, the EL34 distorts more quickly, exhibits a  
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V32H GUITAR AMPLIFIER HEAD  
Important Information About Tubes and Tube Products (continued):  
"looser" low-end response and produces more harmonics at mid and high frequencies ("creamier" sound).  
These differences become more noticeable at higher volumes.  
The EL84 and 6L6 tubes produce a big low-end thump and have a very good dynamic range. They offer a  
more traditional "American Rock" sound. The EL84 and 6V6 tubes produce a creamy sound with nice dis-  
tortion. 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 dis-  
tort, 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 perform-  
ance and longevity.  
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 enve-  
lope or bubble. The tube's longevity 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 produces 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 cru-  
cial that they (if there is more than one) be replaced by a matched set. If you're on the road a lot, we rec-  
ommend 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).  
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V32H GUITAR AMPLIFIER HEAD  
Important Information About Tubes and Tube Products (continued):  
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 adjust-  
ment controls on its rear panel. However, the bias adjustment should be performed only by qualified service  
personnel with the proper, calibrated test equipment.  
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V32H GUITAR AMPLIFIER HEAD  
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 con-  
tribute 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 dis-  
torted 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 incorrectly 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 voltages that are typically present in tube circuitry.  
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