advertisement
DXJ112 Digital Guitar Amplifier
Welcome. Please, Read This:
We at Crate extend our sincere “welcome” into a whole new world: a world where the legendary performance of a musician-made Crate amplifier combines with the wonders of digital amp modeling and effects. We bring you the only amplifier you’ll ever need: the
Crate DXJ112. The heart and soul of sixteen different amplifiers have been captured through the miracles of digital software engineering and placed into the DX amplifier. Not only does the amp sound like the originals, it performs like the originals, with the same tones and character of all your favorites – from vintage British grit to today’s heavy metal – with a wide variety in between.
Along with digital amp modeling comes sixteen digital effects, all designed to rock your world from here to Sunday. And, you can tweak each effect to your heart’s content!
Got your own favorite effects? Not to worry – the DX amps have stereo line in and line out jacks for use as a stereo effects loop, or for connecting to an external stereo power amp. It’s like having your cake and eating it, too – with extra icing!
The DX amplifier is programmable and can be controlled in a number of ways, including through the front panel keypad, with the optional Crate Foot Controller, or via MIDI.
Within the pages of this Operating Guide you will find all sorts of pertinent, useful and sometimes technical information which we at Crate felt you ought to have. Please indulge us a bit and take the time to actually read through this Guide at some point. Until then, for those of you who just can’t wait to plug in and go, we offer you:
d G o!!
There you’ll find just enough information to get you started. If you run into any situation that isn’t covered in the Quick Start section, you might have to – guitar gods forbid – read this guide first.
We at Crate thank you for choosing the DXJ112 Digital Guitar Amplifier!
i
DXJ112 Digital Guitar Amplifier
Important Safeguards and Precautions:
All Crate products are designed for continuous safe operation, as long as common sense is used and steps are taken to help avoid certain problems. Abiding by the following rules can help prevent damage to your amplifier, yourself and others.
•
The amplifier is equipped with a three-pronged AC power cord. To reduce the risk of electrical shock, NEVER remove or otherwise attempt to defeat the ground pin of the power cord.
•
Connect the amplifier ONLY to a properly grounded AC outlet of the proper voltage for your amp.
•
Avoid sudden temperature extremes, rain and moisture. Also, avoid sudden and intense impact. (If the unit has been subjected to any of the preceding abuses, have it looked at by an authorized service center.)
•
NEVER set the amplifier on a support that might give out under its weight.
•
Always keep the total speaker impedance at or above the rated load.
•
Unplug the amplifier before cleaning it. NEVER spray liquid cleaners onto the amplifier. Wipe it with a slightly dampened, lint-free cloth to remove dirt and film.
•
Do not use the amplifier if it has sustained damage to the chassis, controls, or power cord. Refer the unit to an authorized service center for inspection.
•
Amplifiers capable of producing high volume levels are also capable of inflicting permanent hearing loss or damage, if the exposure to such levels is prolonged.
Such damage is progressive and irreversible! Consider using quality hearing protection devices.
Manufacturer’s Name:
Production Facility:
Production Facility:
Shipping Facility:
Office Facility:
Product Type:
Complies with Standards:
LVD:
Safety:
EMC:
Declaration Of Conformity
#37, Effective 01-01-2001
SLM Electronics
11880 Borman 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
Audio Amplifier
92/31/EEC, 93/68/EEC, & 73/23/EWG
EN60065
EN55013, EN55020, EN55022, EN61000-3-2,
& EN61000-3-3
Supplementary information provided by your local Sales & Services Office or:
SLM Electronics - R & D Engineering
1901 Congressional Drive, St Louis, MO 63146, USA
Tel.: 314-569-0141, Fax: 314-569-0175
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE
THIS APPARATUS TO RAIN OR MOISTURE. TO REDUCE THE RISK OF ELECTRIC
SHOCK, DO NOT REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER
SERVICING TO QUALIFIED SERVICE PERSONNEL.
PRECAUCION
RIESGO DE CORRIENTAZO
NO ABRA
PRECAUCION: PARA REDUCIR EL RIESGO DE INCENDIOS O DESCARGAS ELECTRICAS, NO PER-
MITA QUE ESTE APARATO QUEDE EXPUESTO A LA 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.
ATTENTION
RISQUE D'ELECTROCUTION
NE PAS OUVRIR
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.
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”
(75CM) 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 OPERATION AND TO AVOID INJURY.
• THIS APPARATUS DOES NOT OPERATE NORMALLY AND REQUIRES SERVICE WITH ANY PHYSICAL DAMAGE FROM IMPACT OR ANY EXPOSURE TO 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 PERMA-
NENT HEARING IMPAIRMENT OR LOSS. USER CAUTION IS ADVISED AND EAR PROTECTION IS RECOMMENDED IF UNIT IS OPERATED AT HIGH VOLUME.
EXPLANATION OF GRAPHICAL SYMBOLS:
EXPLICACION DE SIMBOLOS GRAFICOS:
EXPLICATION DES SYMBÔLES GRAPHIQUES:
=
"DANGEROUS VOLTAGE"
“VOLTAJE PELIGROSO”
"DANGER HAUTE TENSION"
=
"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" ii
DXJ112 Digital Guitar Amplifier
Contents
Quick Start: Plug In and Go!
Making Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
A Look at the Front Panel Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
A Look at the Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Making the Right Connections
The Input Jacks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
The Stereo Line In and Line Out Jacks . . . . . . . . . . . . . . . . . . . . . . . . . . .7
Using a MIDI Footswitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Using the Crate Foot Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
The MIDI Out/Thru Jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
The Stereo Headphones Jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
The Amp Models
Descriptions of the Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Equalization and Channel Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
The Digital Effects
Descriptions of the Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
Effects Selection and Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Bypassing the Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
The Keypad
Recalling The Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
Saving New Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
The Tap Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
The Manual (“MAN”) Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Restoring Factory Default Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Playing Favorites
Factory Presets 1–10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
User Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Appendices
A. Designer’s Note: Amplifier Modeling . . . . . . . . . . . . . . . . . . . . . . .25
Block Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
B. MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
C. Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28 iii
1
DXJ112 Digital Guitar Amplifier
d G o!!
α
Ω
Clean
Acoustic
Blue Voodoo
Vintage Club
Top Mount
High Power
Studio Tweed
Black Face
Large Tweed
Flexwave
Ampeg VL
60s Era UK
70s Era UK
Calif Mod Fuzzbox
Tube Rectifier
α Ω α Ω α Ω α Ω α Ω
Comp/Echo
Comp/Chorus
Touch Wah
Bypass/Comp
Tremolo
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Echo
Vibrato
Chorus
Flanger
Delay α Ω α Ω α Ω
Connect your guitar
Start low, turn up as desired
Try out the different amp models
Adjust for more or less gain
Change the tone and volume
Choose a digital effect
Modify the chosen effect
Change reverb amount and depth
DXJ112 Digital Guitar Amplifier
Try out the factory presets
(bank A,1 – 5; bank B, 6 – 10)
• You may want to start out with the Master control turned down low, since this amp can get LOUD.
• Connect your guitar, plug in the amp and turn it on. (The power cord and power switch are on the back of the amplifier.)
• Select the manual mode by pressing the
MAN button on the keypad.
• Adjust the Gain control to get the amount of gain you want.
• Try out the amp models by turning the
Amp Selector knob.
• Use the Bass, Mid, Treble and Channel
Level controls to change the tone and volume. The EQ settings will vary depending on the amp model you choose.
• Choose a digital effect by turning the
Effects Selector knob.
• Modify the chosen effect by turning the
Effect Adjust control.
• Adjust the reverb by turning the Reverb
Level and Depth controls.
• Try out the factory presets by pressing the numbered buttons and the A/B button on the Keypad.
When the amp is first turned on, the A/B button on the keypad is not illuminated, and the numbered buttons will recall presets 1-5 (bank A). When you press the A/B button it illuminates, and the numbered buttons will recall presets 6-10 (bank B).
2
3
DXJ112 Digital Guitar Amplifier
d G o!!
ell C ollss::
1 2
α Ω
Top Mount
Clean
Acoustic
Blue Voodoo
Vintage Club
High Power
Studio Tweed
Black Face
Large Tweed
Flexwave
Ampeg VL
60s Era UK
70s Era UK
Calif Mod
Tube Rectifier
Fuzzbox
α Ω α Ω α Ω α Ω α Ω
3 4 5 6 7 8 9
Comp/Echo
Touch Wah
Bypass/Comp
Comp/Chorus
Cmp/Flg/Echo
Tremolo
Vibrato
Cmp/Cho/Echo
Cmp/Vib/Echo
Chorus
Flanger
Flange/Echo
Chor/Echo
Rotating Spkr
Delay
Echo
α Ω α Ω α Ω
10 11 12 13 14
DXJ112 Digital Guitar Amplifier
1, 2. High & Low In: Use High In for standard pickups, Low In for “hot” pickups and/or on-board active electronics.
3. Master: Sets the overall output level. The
Master volume is the only non-programmable setting on the amplifier.
4. Amp Model Selector: Chooses the desired amp model.
5. Gain: Adjusts the input gain.
6, 7, 8. Bass, Mid, Treble: Adjusts the signal tone.
9. Channel Level: Sets the output level of the current preset.
10. Effects Selector: Chooses the effect applied to the signal.
11. Effects Adjust: Changes one or more parameter of the current effect.
12. Reverb Level: Sets the amount of reverberation applied to the signal.
13. Reverb Depth: Changes the depth and high-frequency damping of reverberation, from a very small room (fully counter-clockwise) to a very large hall (fully clockwise).
14. Keypad: Recalls and saves presets, using the numbered buttons and the A/B button.
otte d ffo orre ess d essccrriip
– tthhiiss ggo ess ffo
R err tto
“The Input Jacks” – page 7,8
“Descriptions of the Models” – page 11,12
“Equalization and Channel Level” – page 13,14
“Equalization and Channel Level” – page 13,14
“Equalization and Channel Level” – page 13
“Descriptions of the Effects” – page 15,16
“Effects Selection and Adjustment” – page 17,18
“Description of the Effects” – page 15,16
“The Keypad” – page 19,20 ett y ouu ssttaarrtte ell,, tto o..))
4
5
DXJ112 Digital Guitar Amplifier
A LLo okk aatt tthhe Paanne
POWER
MADE IN THE U.S.A.
BY SLM ELECTRONICS
1400 FERGUSON AVENUE
ST. LOUIS. MO 63133
15 16
MODEL
DXJ112a
D-112/212
SERIAL#
CAUTION
RISK OF ELECTRIC
SHOCK – DO NOT OPEN
AVIS: RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT EXPOSE THIS EQUIPMENT TO RAIN
OR MOISTURE.
CAUTION:
CHASSIS
SURFACE HOT.
ATTENTION:
SUPERFACIE
DE CHASSIS EST
CHAUDE.
STEREO
HEAD
PHONES
STEREO
LINE
OUT
STEREO
LINE
IN
STANDARD
MIDI
CRATE
FOOT
CONTROLLER
MIDI
THRU/
OUT
MIDI IN/
FOOT
SWITCH
17 18 19 20 21 22
DXJ112 Digital Guitar Amplifier e R eaarr P
15. Power Switch: Depress the top of this switch to turn the amplifier on. (Allow a few seconds for the amp to respond.)
16. ACLine Cord: Plug the male end of this cord into a properly grounded AC outlet of the correct voltage. DO NOT DEFEAT THE
GROUND PIN OF THE AC PLUG!
17. Stereo Headphones: For those private moments, plug a pair of stereo headphones into this jack. The internal speaker is muted when headphones are used. (Can also be used for recording.)
18. Stereo Line Out: Connect this output to a stereo amplifier or effects unit.
19. Stereo Line In: Connect the output of an external effects unit here.
20. Standard MIDI/Crate Footswitch
Controller: This switch lets you choose how you control your DXJ112 – via MIDI or with the optional Crate Foot Controller.
21. MIDI Thru/Out: Connect to another
MIDI device you wish to control with the foot controller.
22. MIDI In/Foot Switch: This jack either accepts a standard MIDI input or lets you use the Crate Foot Controller.
R err tto
“Stereo Headphones Jack” – page 9,10
“The Stereo Line In and Line Out Jacks” – page 7,8
“The Stereo Line In and Line Out Jacks” – page 7,8
“Using the Crate Foot Controller” – page 9,10
“The MIDI Thru/Out Jack” – page 9,10
“Using a MIDI Footswitch” – page 9,10
Thhaatt’’ss aallll w e’’rre e y ouu ffo w!! T ott m orre off tthhiiss gguuiid e!!))
6
7
DXJ112 Digital Guitar Amplifier
Riigghhtt C eccttiio
α Ω
Top Mount
Clean
Acoustic
Blue Voodoo
Vintage Club
High Power
Studio Tweed
Black Face
Large Tweed
Flexwave
Ampeg VL
60s Era UK
70s Era UK
Calif Mod
Tube Rectifier
Fuzzbox
α Ω α Ω α Ω α Ω α Ω
Comp/Echo
Touch Wah
Bypass/Comp
Comp/Chorus
Cmp/Flg/Echo
Tremolo
Vibrato
Chorus Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Echo
Flanger
Delay α Ω α Ω α Ω
POWER
MADE IN THE U.S.A.
BY SLM ELECTRONICS
1400 FERGUSON AVENUE
ST. LOUIS. MO 63133
MODEL
DXJ112a
D-112/212
SERIAL#
CAUTION
RISK OF ELECTRIC
SHOCK – DO NOT OPEN
AVIS:
TO REDUCE THE RISK OF ELECTRIC SHOCK,
OR MOISTURE.
CAUTION:
CHASSIS
SURFACE HOT.
ATTENTION:
SUPERFACIE
DE CHASSIS EST
CHAUDE.
STEREO
HEAD
PHONES
STEREO
LINE
OUT
STEREO
LINE
IN
STANDARD
MIDI
CRATE
FOOT
CONTROLLER
MIDI
THRU/
OUT
MIDI IN/
FOOT
SWITCH
DXJ112 Digital Guitar Amplifier
The Input Jacks:
The DXJ112 has two input jacks – High In (straight) and Low In (padded) – to accommodate a wide range of pickups and playing styles. The jack you use depends on your type of pickup(s) and the sounds you’re after.
For example, most players will plug their guitars into the High In jack. These players include those with “normal output” pickups and some players with “hot” pickups who are looking for some added distortion.
Some players will choose the Low In jack. These players are mostly those with “hot”/active pickups who want a cleaner sound, with more headroom for the Gain control.
When nothing is plugged into either input jack, the DXJ112 mutes its internal speaker.
The Stereo Line Out/In Jacks:
The DXJ112 has a Stereo Line In and Line Out jack (rear panel), for use as a stereo effects loop, or to send a preamplified signal to an external stereo power amp.
To use an effects loop, connect the Line Out jack to the input of the effects device, then connect the output of the device to the Line In jack.
To send a preamplified signal, connect a stereo signal cable from the Line Out jack to the input of the stereo power amplifier.
The jacks are wired as follows: TIP = left channel, RING = right channel, SLEEVE = ground.
The Line Out jack signal is post master, post eq, and post effects.
•If you want to connect a DXJ112 to another guitar amplifier for stereo sound, you’ll need to make a custom patch cable like the one shown to the right. Use this cable to connect your
DXJ112 Line Out jack to the Line In jack of the second guitar amp AND the DXJ112 Line In jack.
1 from DXJ112
Line Out jack
RING TIP
SLEEVE
2 to DXJ112
Line In jack
RING
SLEEVE
TIP
TIP
SLEEVE
3
1
2
3
TIP
2T, 2R
1T, 2R
1R
RING SLEEVE
3T 2S,3S
2T 1S,3S
(N/A) 1S,2S to second guitar amp's Line In jack
8
DXJ112 Digital Guitar Amplifier
DII FFo wiittcchh::
POWER
MADE IN THE U.S.A.
BY SLM ELECTRONICS
1400 FERGUSON AVENUE
ST. LOUIS. MO 63133
MODEL
DXJ112a
D-112/212
SERIAL#
CAUTION
RISK OF ELECTRIC
SHOCK – DO NOT OPEN
AVIS:
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
TO REDUCE THE RISK OF ELECTRIC SHOCK,
OR MOISTURE.
CAUTION:
CHASSIS
SURFACE HOT.
ATTENTION:
SUPERFACIE
DE CHASSIS EST
CHAUDE.
ott C onnttrro
POWER
MADE IN THE U.S.A.
BY SLM ELECTRONICS
1400 FERGUSON AVENUE
ST. LOUIS. MO 63133
MODEL
DXJ112a
D-112/212
SERIAL#
CAUTION
RISK OF ELECTRIC
SHOCK – DO NOT OPEN
AVIS:
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
TO REDUCE THE RISK OF ELECTRIC SHOCK,
OR MOISTURE.
CAUTION:
CHASSIS
SURFACE HOT.
ATTENTION:
SUPERFACIE
DE CHASSIS EST
CHAUDE.
STEREO
HEAD
PHONES
STEREO
LINE
OUT
STEREO
LINE
IN
STANDARD
MIDI
CRATE
FOOT
CONTROLLER
MIDI
THRU/
OUT
MIDI IN/
FOOT
SWITCH
OUT
STEREO
HEAD
PHONES
STEREO
LINE
OUT
STEREO
LINE
IN
STANDARD
MIDI
CRATE
FOOT
CONTROLLER
MIDI
THRU/
OUT
MIDI IN/
FOOT
SWITCH
IN
9
POWER
MADE IN THE U.S.A.
BY SLM ELECTRONICS
1400 FERGUSON AVENUE
ST. LOUIS. MO 63133
MODEL
DXJ112a
D-112/212
SERIAL#
CAUTION
RISK OF ELECTRIC
SHOCK – DO NOT OPEN
AVIS:
DO NOT EXPOSE THIS EQUIPMENT TO RAIN
OR MOISTURE.
CAUTION:
CHASSIS
SURFACE HOT.
ATTENTION:
SUPERFACIE
DE CHASSIS EST
CHAUDE.
erre o H
POWER
MADE IN THE U.S.A.
BY SLM ELECTRONICS
1400 FERGUSON AVENUE
ST. LOUIS. MO 63133
MODEL
DXJ112a
D-112/212
SERIAL#
CAUTION
AVIS:
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT EXPOSE THIS EQUIPMENT TO RAIN
OR MOISTURE.
CAUTION:
CHASSIS
SURFACE HOT.
ATTENTION:
SUPERFACIE
DE CHASSIS EST
CHAUDE.
STEREO
HEAD
PHONES
STEREO
LINE
OUT
STEREO
LINE
IN
STANDARD
MIDI
CRATE
FOOT
CONTROLLER
MIDI
THRU/
OUT
MIDI IN/
FOOT
SWITCH
STEREO
HEAD
PHONES
STEREO
LINE
OUT
STEREO
LINE
IN
STANDARD
MIDI
CRATE
FOOT
CONTROLLER
MIDI
THRU/
OUT
MIDI IN/
FOOT
SWITCH
DXJ112 Digital Guitar Amplifier
DII FFo wiittcchh::
You can store and recall a total of 128 presets when using a MIDI footswitch. These presets are accessed by MIDI program numbers 0 through 127. (Also, see the MIDI Implementation Chart,
Appendix B, page 27.)
!
WARNING: The MIDI In/Crate Foot Controller button must be in the OUT position for MIDI operation. (The IN position applies power to the Crate Foot Controller which could cause damage to a different type of MIDI footswitch.) e FFo ott C
The optional Crate Foot Controller (model DXFC) lets you store and recall a total of 128 presets and allows foot control of the tap tempo function. The controller gets its power straight from the amplifier, so no external power source or batteries are needed!
Plug the connecting cable into the MIDI In/Foot Switch jack and set the MIDI In/Crate Foot Controller button to the IN (foot controller) position. This applies the power needed for the Crate Foot Controller.
(See the Foot Controller’s User’s Guide for more complete information – when you get one!)
The MIDI Out/Thru jack lets you control other MIDI devices with the Foot Controller. Connect this jack to the MIDI In jack of the device you wish to control.
The MIDI Thru works with either a standard MIDI input (footswitch) or with the Crate Foot Controller plugged into the MIDI In jack, since the Crate Foot Controller sends standard MIDI messages.
erre o H
Plug a pair of stereo headphones into this jack, for private listening. The internal speaker is disconnected when headphones are used. The headphones signal is speaker compensated for a realistic sound even without a guitar speaker cabinet. Since this amp can play LOUD, be careful when using headphones – prolonged exposure to those high dB levels can wreak havoc on your eardrums! (See warnings and OSHA regulations about noise exposure levels on page ii.)
The Headphones Jack can also be used as a stereo direct out for recording.
10
11
DXJ112 Digital Guitar Amplifier
p M de
e M de
α Ω
Top Mount
Clean
Acoustic
Blue Voodoo
Vintage Club
High Power
Studio Tweed
Black Face
Large Tweed
Flexwave
Ampeg VL
60s Era UK
70s Era UK
Calif Mod
Tube Rectifier
Fuzzbox
α Ω α Ω α Ω α Ω α Ω
Comp/Echo
Touch Wah
Bypass/Comp
Comp/Chorus
Cmp/Flg/Echo
Tremolo
Vibrato
Chorus Cmp/Cho/Echo
Cmp/Vib/Echo Flanger
Flange/Echo
Chor/Echo
Rotating Spkr
Delay
Echo
α Ω α Ω α Ω
The DXJ112 is actually 16 different amplifiers in one! The software inside the DXJ112 convinces the signal that it’s going through the electronic components of the selected amplifier, giving it all of the characteristics of that amp! (More or less – it’s really a lot more technical than that, but you get the picture. For a slightly more technical description, see Appendix A on page 25.)
Use the amp model selector knob to choose which amp model you want. The chart on the following page lists the name we gave the amp model, the “make and model” of the amp we emulated, and a brief description of the original amp.
Top Mount
Clean
Acoustic
High Power
Studio Tweed
Blue Voodoo
Vintage Club
Black Face
Large Tweed
Flexwave
Ampeg VL
60s Era UK
70s Era UK
Calif Mod Fuzzbox
Tube Rectifier
DXJ112 Digital Guitar Amplifier
Model Name
Top Mount
High Power
Modeled After the...
Vox AC 30
Hi Watt DR
Brief Description
Bright with a great clean sound at low gain, distorts smoothly at high gain settings – an early 60’s amp with lots of 2nd and 3rd order harmonics, favored by the Beatles for the rhythm and lead tracks in their early days
An early 60’s “upmarket” alternative to the popular Marshall amp – louder and cleaner than most
Studio Tweed Fender Deluxe 5E3
Black Face Fender Deluxe Reverb AA763 The classic tube amp – one of the first amps with reverb, a mid-60’s staple to the rock and roll diet (considered by some to be one of the best amps ever made)
Large Tweed Fender Bassman 5F6-A
The sound from which Rock ‘n’ Roll was born – Fender’s early 50’s claim to fame
60s Era UK
70s Era UK
Marshall 1959
Marshall JCM 800
Originally designed for bass, favored by guitarists for its big sound – a late
50’s classic
The renowned “brown sound” – a softer, smoother Marshall than the more modern creations
The sound of ROCK! – loud and powerful with a definitive edge
Fuzzbox Dallas-Arbiter Fuzz Face Jimi would be proud – the classic stomp box distortion of his day
Tube Rectifier Mesa-Boogie Dual Rectifier Barre chord Heaven – the beginning of the modern high-gain amp era
Calif Mod Mesa-Boogie Mark IIC+
Ampeg VL Ampeg VL-501
Tons of overdrive and sustain; the sound of Santana! – the hot-rodded powerhouse Simul-Class amplifier
A hot-rodded Marshall-style amp – powerful, lots of distortion and multiple gain stages
Flexwave Crate GX-140C The massively overdriven, solid state Crate sound preferred by Metal-
Heads everywhere – a solid-state competitor for most classic tube amps due to Crate’s proprietary FlexWave circuitry
Vintage Club Crate VC-60 A unique combination of both modern high-gain and classic tube amps
– bringing back the “vintage” sound of the early days of rock
Blue Voodoo Crate BV-60
Acoustic
Awesome modern high-gain tone – smooth, clean, and powerful
Boss AC-1 Acoustic Simulator Makes your electric guitar sound like an acoustic
Clean Crate GX-140C Clean Jazz sound – just enough of a an edge to get your message across
A l l - i m p o r t a n t , l e g a l , “ c o v e r - o u r - r e a r - e n d s ” b l u r b !
Vox, Hi Watt, Fender, Marshall, Dallas-Arbiter, Mesa-Boogie, Boss, and the names of their respective products are all trademarks of their respective companies, and have no affiliation with Crate and/or SLM Electronics, or with the DXJ112 amplifier. These companies and their products are acknowledged herein because we listened to their stuff and modeled some of their sounds into our amplifier.
Also, the above descriptions are paraphrased synopses of many of our own experiences with the amplifiers, along with information from the
“The Tube Amp Book, 4th Edition.”
12
p M od
DXJ112 Digital Guitar Amplifier
α Ω
Top Mount
Clean
Acoustic
Blue Voodoo
Vintage Club
High Power
Studio Tweed
Black Face
Large Tweed
Flexwave
Ampeg VL
60s Era UK
70s Era UK
Calif Mod
Tube Rectifier
Fuzzbox
α Ω α Ω α Ω α Ω α Ω
Comp/Echo
Touch Wah
Bypass/Comp
Comp/Chorus
Cmp/Flg/Echo
Tremolo
Vibrato
Chorus Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Echo
Flanger
Delay α Ω α Ω α Ω
13
Each DXJ112 amp model has its own specifications and placement in the signal chain for its Gain,
Bass, Mid, and Treble. (In other words, the controls affect the signal the same in the amp model as they do on the original amplifier.)
Use the Preset Parameter controls (Gain, Bass, Mid, Treble, Channel Level) to change the gain, tone, and volume of the selected amp model. The chart on the following page lists the model name and the specifications/placement for the Gain and EQ controls.
(TIP:) When using the Acoustic or Clean amp models, set the Channel Level to maximum and use the Gain control for your volume level.
GAIN CHANNEL
LEVEL
Top Mount
Clean
Acoustic
Blue Voodoo
Vintage Club
High Power
Studio Tweed
Black Face
Large Tweed
Flexwave
Ampeg VL
60s Era UK
70s Era UK
Calif Mod
Tube Rectifier
Fuzzbox
α Ω
(Use as volume control)
α Ω
DXJ112 Digital Guitar Amplifier
Name
Top Mount
High Power
Studio Tweed
Black Face
Amplifier Modeled
Vox AC 30
Hi Watt DR
Fender Deluxe 5E3
Fender Deluxe Reverb AA763
Simplified Representation of EQ Position in Signal Chain
GAIN EQ GAIN
GAIN
EQ
(TREBLE)
EQ
EQ
GAIN
GAIN
GAIN
EQ
(MID/BASS)
GAIN
Large Tweed Fender Bassman 5F6-A GAIN EQ GAIN
60s Era UK Marshall 1959 GAIN EQ GAIN
70s ERA UK Marshall JCM 800 GAIN GAIN EQ
Fuzzbox Dallas-Arbiter Fuzz Face GAIN EQ
Tube Rectifier Mesa-Boogie Dual Rectifier GAIN GAIN EQ
Calif Mod
Ampeg VL
Mesa-Boogie Mark IIC+
Ampeg VL-501
EQ
GAIN
GAIN
GAIN
GAIN
EQ
Flexwave
Vintage Club
Blue Voodoo
Acoustic
Crate GX-140C
Crate VC-60
Crate BV-60
Boss AC-1 Acoustic Simulator
GAIN
GAIN
GAIN
EQ
GAIN
GAIN
EQ
GAIN
EQ
EQ
Clean Crate GX-140C EQ GAIN
A l l - i m p o r t a n t , l e g a l , “ c o v e r - o u r - r e a r - e n d s ” b l u r b ! A g a i n !
Vox, Hi Watt, Fender, Marshall, Dallas-Arbiter, Mesa-Boogie, Boss, and the names of their respective products are all trademarks of their respective companies, and have no affiliation with Crate and/or SLM Electronics, or with the DXJ112 amplifier. These companies and their products are acknowledged herein because we listened to their stuff and modeled some of their sounds into our amplifier.
14
15
DXJ112 Digital Guitar Amplifier
D pttiio
α Ω
Top Mount
Clean
Acoustic
Blue Voodoo
Vintage Club
High Power
Studio Tweed
Black Face
Large Tweed
Flexwave
Ampeg VL
60s Era UK
70s Era UK
Calif Mod Fuzzbox
Tube Rectifier
α Ω α Ω α Ω α Ω α Ω
Comp/Echo
Touch Wah
Bypass/Comp
Comp/Chorus
Cmp/Flg/Echo
Tremolo
Vibrato
Chorus Cmp/Cho/Echo
Cmp/Vib/Echo Flanger
Flange/Echo
Chor/Echo
Rotating Spkr
Delay
Echo
α Ω α Ω α Ω
The DXJ112 has 16 built-in digital effects, each with one or more adjustable parameters. The chart on the following page lists the name of the effect and gives a brief description.
Comp/Echo
Touch Wah
Bypass/Comp
Tremolo Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Vibrato
Chorus
Cmp/Vib/Echo Flanger
Flange/Echo Delay
Chor/Echo
Rotating Spkr
Echo
NOTE: The DXJ112 has built-in noise reduction to ensure a more quiet operation. This circuit is always active when the amp is on.
DXJ112 Digital Guitar Amplifier
Effect
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
Rotating Speaker
Chorus/Echo
Flange/Echo
Compressor/Vibrato/Echo
Compressor/Chorus/Echo
Compressor/Flange/Echo
Compressor/Chorus
Compressor/Echo
Reverb Level and Depth
(separate from the
Effects Selector knob)
Stereo?
Yes
Yes
Yes
Yes
Yes
Yes
Description
Functions as an Auto-Wah (Touch Wah) or normal wah-wah when used with an expression pedal and the optional Crate Foot Controller
Bypasses the digital effects (see page 19), also limits the dynamic range of the signal – increases the apparent sustain of the signal (applied preamplifier model)
Modulates the amplitude of the signal
Modulates the pitch of the signal
Thickens the original signal with slowly pitch-modulated and delayed versions of the original signal
Adds a slowly time-varying version of the original signal
Adds a delayed version of the signal
Adds a delayed signal with regeneration
Reproduces the classic sound of a Leslie rotating speaker
A combination of chorus and echo
A combination of flange and echo
A combination of compressor (pre-amplifier model) and vibrato and echo (post-amplifier model)
A combination of compressor (pre-amplifier model) and chorus and echo (post-amplifier model)
A combination of compressor (pre-amplifier model) and flange and echo (post-amplifier model)
A combination of compressor (pre-amplifier model) and chorus (postamplifier model)
A combination of compressor (pre-amplifier model) and echo (postamplifier model)
Reproduces the sound of a reverberant room
Ye t a n o t h e r i m p o r t a n t l e g a l b l u r b !
Leslie is a registered trademark of Hammond Suzuki USA, Inc.
16
DXJ112 Digital Guitar Amplifier d A djjuussttm
α Ω
Clean
Acoustic
Blue Voodoo
Vintage Club
Top Mount
High Power
Studio Tweed
Black Face
Large Tweed
Flexwave
Ampeg VL
60s Era UK
70s Era UK
Calif Mod Fuzzbox
Tube Rectifier
α Ω α Ω α Ω α Ω α Ω
Comp/Echo
Touch Wah
Bypass/Comp
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Tremolo
Vibrato
Chorus
Flanger
Flange/Echo Delay
Chor/Echo
Rotating Spkr
Echo
α Ω α Ω α Ω
Each of the digital effects has one or more parameters you can change by using the Effects
Adjust control. All of the effects (except the compressor and the Touch Wah) can also be changed by using the Tap function – either through the Keypad, or with the Crate Foot
Controller. The chart on the following page lists the effects along with the parameter(s) affected by the Effects Adjust knob and the Tap button.
NOTE: On multi-effects, modulation speed and echo time are set simultaneously by the Tap button.
17
By e EEffffe
To bypass the digital effects, turn the Effect Adjust control fully counter-clockwise and select the
Bypass/Comp effect. (Notice the chart on page 18: There is no compression with the Effect Adjust knob full counter-clockwise, therefore no effects are applied to the signal – thus, “effects bypass.”)
EFFECT
ADJUST
Comp/Echo
Touch Wah
Bypass/Comp
Tremolo Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Vibrato
Chorus
Cmp/Vib/Echo Flanger
Flange/Echo Delay
Chor/Echo
Rotating Spkr
Echo
α Ω
DXJ112 Digital Guitar Amplifier
Effect
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
Rotating Speaker
Chorus/Echo
Flange/Echo
Compressor/Vibrato/Echo
Compressor/Chorus/Echo
Compressor/Flange/Echo
Compressor/Chorus
Compressor/Echo
Effect Adjust knob controls:
Sensitivity (Auto-Wah only)
Ratio (See Below * )
Depth of Amplitude Modulation
Depth of Pitch Modulation
Level of Chorused Signal
Max. Time Delay: 0–5ms
Level of Delayed Signal
Regeneration
Depth of Amplitude/Pitch Mod’n
Chorus Level, Echo Regeneration
Echo Regeneration
Vibrato Depth, Echo Regeneration
Chorus Level, Echo Regeneration
Echo Regeneration
Chorus Level
Echo Regeneration
Tap button controls:
——
——
Speed: 2 cycles/tap
Speed: 2 cycles/tap
Speed: 1 cycles/tap
Speed: 1/4 cycle/tap
Time: .033–1.12 sec
Time: .033–1.12 sec
Speed: 2 cycles/tap
Chorus Speed: 1 cycle/tap,
Echo Time: .033-1.12 sec
Flange Speed: 1/4 cycle/tap,
Echo Time: .033-1.12 sec
Vibrato Speed: 2 cycles/tap,
Echo Time: .033-1.12 sec
Chorus Speed: 1 cycle/tap,
Echo Time: .033-1.12 sec
Flange Speed: 1/4 cycle/tap,
Echo Time: .033-1.12 sec
Chorus Speed: 1 cycle/tap
Echo Time: .033-1.12 sec
See Note(s)
1
2
2
2
1,2
2,3
2,3
1,2,3
2,3
2,3
Note 1: Mix fixed at 50%
Note 2: Tap periods exceeding 1.12 seconds are automatically adjusted to an allowable echo/delay time that fits the current tempo
Note 3: Compression ratio fixed at 10:1
*
The table to the right shows how the Effect Adjust control changes the compression ratio when the
Compressor ONLY (“Bypass/Comp”) is selected.
approx rotation of
Effect Adjust control (%)
60
70
80
90
100
0
30
40
50 compression ratio
1:1
2:1
3:1
4:1
6:1
10:1
20:1
(no compression)
100:1
∞
:1
18
19
DXJ112 Digital Guitar Amplifier
e K yp
α Ω
Clean
Acoustic
Blue Voodoo
Vintage Club
Top Mount
High Power
Studio Tweed
Black Face
Large Tweed
Flexwave
Ampeg VL
60s Era UK
70s Era UK
Calif Mod Fuzzbox
Tube Rectifier
α Ω α Ω α Ω α Ω α Ω
Comp/Echo
Touch Wah
Bypass/Comp
Comp/Chorus
Cmp/Flg/Echo
Tremolo
Vibrato
Chorus Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Echo
Flanger
Delay α Ω α Ω α Ω
The DXJ112’s Keypad is used to recall and save presets as described below.
Recalling the Presets:
There are ten presets accessible from the keypad, in two banks of five per bank: with the A/B button off (not lit), the numbered buttons to recall presets 1–5 (bank A); with the A/B button lit, the buttons recall presets 6–10 (bank B). Each preset stores its own set of parameters (amp selection, tones, level, effect, etc.). Once a preset is selected, turning a knob will change that knob’s setting only – the other settings will electronically remain at their virtual positions until you change them.
>
?
“What’s a virtual position?” (Good Question!) It’s the setting that the amp remembers for each knob when a preset is stored. Example: Let’s say the Gain control was at
10:00 when preset 1 was saved, then changed to the 3:00 position. The actual setting for the knob is 3:00. Recall preset 1 and even though the knob is physically pointing to 3:00, the amp acts as if the knob were set to the 10:00 position – because that’s the virtual position for that knob in preset 1. (Got it?)
Saving New Presets:
Once you get a sound setting you want to keep, assigning it to a preset button is easy: press and hold the desired button (1–5, bank A; 6–10, bank B) until the keypad flashes (about 3 seconds).
The settings are now stored at that preset location.
(NOTE: The charts on pages 23 and 24 give you a place to record the settings for your presets.
Presets 1–10 are accessible through the keypad, presets 11–128 are accessible by use of the optional Crate Footswitch Controller)
DXJ112 Digital Guitar Amplifier
The Tap Button:
The Tap button lets you match the delay time and modulation speeds of the effects (except for the compressor, which has no delay or modulation) to the tempo of the piece you’re playing. Just tap your finger in time to the beat, on the Tap button of course, and the selected effect will change accordingly. The Tap button flashes in time with its tempo.
(NOTE: The chart on page 18 lists specifically what the Tap button controls for each effect setting.)
The Manual (“MAN”) Button:
When you call up a preset, the preset remembers how the controls were set when the preset was stored (their virtual positions), and basically ignores their current settings. Pressing the Manual button makes the amp pay attention to the actual positions of the controls and applies their settings to the sound.
• Restoring Factory Default Presets: To restore the presets to their original factory settings, press and hold the Manual button and button #5 until the keypad flashes (about 3 seconds). Then turn the amp off, wait five seconds, and turn it back on. The presets are now restored to the original factory settings.
!!
WARNING! Restoring the factory presets wipes out any and all changes you’ve made and any new presets you’ve stored, so use it carefully.
Other things you should know about the illuminated buttons:
• As soon as you change any of the controls (except for the Master volume), the preset button starts flashing. That’s its way of saying “Hey! You’ve changed me!” A tap on the flashing button returns the preset to its original parameters – and makes the button stop flashing. Of course, you can save the changes, as described under “Saving New Presets” on the facing page.
• When you change banks, the preset button will go out as soon as you press the A/B button, but no other changes are made until another numbered button is pressed. In other words, although there is a visual change, the amp won’t store the preset or switch to a different one
(depending on how long you press the numbered button) until you want it to.
20
DXJ112 Digital Guitar Amplifier
FFA CT RY REESSEET 5 -- B AN K A
(A/B BUTTON NOT LIT)
These two pages show the first ten factory presets for your DXJ112 amplifier. Use the numbered buttons and the A/B button on the keypad to access them. (The following pages provide you with charts for your favorite presets.)
Preset #
1
AMP MODEL:
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
We call it:
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
“Unplugged”
α
GAIN
Ω α
BASS
Ω α Ω
TREBLE
α Ω
EFFECT:
CHANNEL
LEVEL
α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
TAP =
N/A beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
Preset #
2
AMP MODEL:
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
We call it:
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
“60’s Rock”
α
GAIN
Ω α
BASS
Ω α Ω
TREBLE
α Ω
EFFECT:
CHANNEL
LEVEL
α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
TAP =
102 beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
Preset #
3
AMP MODEL:
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
We call it:
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
“Live at Leeds”
α
GAIN
Ω α
BASS
Ω α Ω
TREBLE
α Ω
EFFECT:
CHANNEL
LEVEL
α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
TAP =
114 beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
Preset #
4
AMP MODEL:
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
We call it:
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
“Voodoo Child”
α
GAIN
Ω α
BASS
Ω α Ω
TREBLE
α Ω
EFFECT:
CHANNEL
LEVEL
α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
TAP =
N/A beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
21
Preset #
5
AMP MODEL:
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
We call it:
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
“Arena Rock”
α Ω α Ω α Ω α Ω
EFFECT:
CHANNEL
LEVEL
α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
TAP =
62 beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
CT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
DXJ112 Digital Guitar Amplifier
FFA CT Y P REESSEET 6– 10 AN
(A/B BUTTON LIT)
Preset # 6
AMP MODEL:
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
We call it: “Jazzy Chorus”
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
α
GAIN
Ω α
BASS
Ω α Ω
TREBLE
α Ω
EFFECT:
CHANNEL
LEVEL
α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
TAP =
61 beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
Preset # 7
AMP MODEL:
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
We call it: “British Invasion”
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
α
GAIN
Ω α
BASS
Ω α Ω
TREBLE
α Ω
EFFECT:
CHANNEL
LEVEL
α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
TAP =
162 beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
Preset # 8
AMP MODEL:
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
We call it: “Smoky Bar Blues”
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
α
GAIN
Ω α
BASS
Ω α Ω
TREBLE
α Ω
EFFECT:
CHANNEL
LEVEL
α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
TAP =
275 beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
Preset # 9
AMP MODEL:
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
We call it: “Space Rock”
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
α
GAIN
Ω α
BASS
Ω α Ω
TREBLE
α Ω
EFFECT:
CHANNEL
LEVEL
α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
TAP =
44 beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
Preset # 10
AMP MODEL:
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
We call it:
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
“Full Metal Jacket” (Crank it!!)
α
GAIN
Ω α
BASS
Ω α
MID
Ω
TREBLE
α Ω
EFFECT:
CHANNEL
LEVEL
α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
TAP =
N/A beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
22
DXJ112 Digital Guitar Amplifier
R P TSS orriitte
These blank charts are provided for you to record the knob settings of your favorite presets. We suggest making photocopies of these charts before you fill them in so you can have places to record as many presets as you desire.
Preset #
AMP MODEL:
(CHECK ONE)
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
I think I'll call it:
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
α
GAIN
Ω α
BASS
Ω α
MID
Ω
EFFECT: (CHECK ONE)
TREBLE CHANNEL
LEVEL
α Ω α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Set TAP for beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
Preset #
AMP MODEL:
(CHECK ONE)
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
I think I'll call it:
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
GAIN
α Ω
BASS
α Ω α
MID
Ω
EFFECT: (CHECK ONE)
TREBLE CHANNEL
LEVEL
α Ω α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Set TAP for beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
Preset #
AMP MODEL:
(CHECK ONE)
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
I think I'll call it:
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
GAIN
α Ω
BASS
α Ω α
MID
Ω
EFFECT: (CHECK ONE)
TREBLE CHANNEL
LEVEL
α Ω α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Set TAP for beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
Preset #
AMP MODEL:
(CHECK ONE)
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
I think I'll call it:
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
GAIN
α Ω
BASS
α Ω α
MID
Ω
EFFECT: (CHECK ONE)
TREBLE CHANNEL
LEVEL
α Ω α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Set TAP for beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
23
Preset #
AMP MODEL:
(CHECK ONE)
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
I think I'll call it:
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
GAIN
α Ω
BASS
α Ω α
MID
Ω
EFFECT: (CHECK ONE)
TREBLE CHANNEL
LEVEL
α Ω α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Set TAP for beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
DXJ112 Digital Guitar Amplifier
R P TSS
Preset #
AMP MODEL:
(CHECK ONE)
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
I think I'll call it:
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
GAIN
α Ω
BASS
α Ω α Ω
EFFECT: (CHECK ONE)
TREBLE CHANNEL
LEVEL
α Ω α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Set TAP for beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
Preset #
AMP MODEL:
(CHECK ONE)
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
I think I'll call it:
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
GAIN
α Ω
BASS
α Ω α Ω
EFFECT: (CHECK ONE)
TREBLE CHANNEL
LEVEL
α Ω α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Set TAP for beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
Preset #
AMP MODEL:
(CHECK ONE)
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
I think I'll call it:
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
GAIN
α Ω
BASS
α Ω α Ω
EFFECT: (CHECK ONE)
TREBLE CHANNEL
LEVEL
α Ω α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Set TAP for beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
Preset #
AMP MODEL:
(CHECK ONE)
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
I think I'll call it:
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
GAIN
α Ω
BASS
α Ω α Ω
EFFECT: (CHECK ONE)
TREBLE CHANNEL
LEVEL
α Ω α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Set TAP for beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
Preset #
AMP MODEL:
(CHECK ONE)
(Keypad looks like:)
Clean
Acoustic
Blue Voodoo
Vintage Club
Flexwave
Ampeg VL
Calif Mod
Tube Rectifier
I think I'll call it:
Top Mount
High Power
StudioTweed
Black Face
Large Tweed
60s Era UK
70s Era UK
Fuzzbox
GAIN
α Ω
BASS
α Ω α Ω
EFFECT: (CHECK ONE)
TREBLE CHANNEL
LEVEL
α Ω α Ω
Comp/Echo
Comp/Chorus
Cmp/Flg/Echo
Cmp/Cho/Echo
Cmp/Vib/Echo
Flange/Echo
Chor/Echo
Rotating Spkr
Set TAP for beats/minute
Touch Wah
Bypass/Comp
Tremolo
Vibrato
Chorus
Flanger
Delay
Echo
EFFECT
ADJUST
α Ω
REVERB
LEVEL
α Ω
REVERB
DEPTH
α Ω
24
25
DXJ112 Digital Guitar Amplifier
A pe
Designer’s Note: Amplifier Modeling:
Building an amplifier model is really not much different than building an actual amplifier. With an actual amplifier you start with components like tubes, transformers, resistors, capacitors, and a speaker, and put them together to create an amplifier. With a virtual amplifier you start with virtual components and put them together to create an amplifier model.
It all starts with what many consider to be the "magic" in the sound of many vintage amplifiers: the vacuum tube. We created a tube model flexible enough to emulate different types of vacuum tubes, from preamp tubes such as the 12AX7 to power amp tubes like the 6L6 and the EL84.
Next, we constructed models to duplicate the filtering and equalization that takes place between the gain stages of an amplifier. These equalization models are adaptable to precisely emulate the frequency characteristics of a specific amplifier’s controls. We even created models for the output transformer and power supply sag characteristics.
After extensive research, we discovered that there's really no magic in the tube itself. Much of the tube amplifier sound is a result of not just the tube, but the way the tube interacts with the other components in the amplifier. We created our tube models to interact with the other components in our virtual amplifiers, just like the real thing.
After we developed our component models, we put them together to create our virtual amplifiers.
We sound tested our amplifier models extensively to ensure that they remained true to the sound and feel of the original amplifier. Although we may have taken the magic out of the tube, we wanted to keep the magic of the tube sound.
The diagrams on the following page show the signal chain of the DXJ112 amplifier.
DXJ112 Digital Guitar Amplifier
• The analog signal path, from the input jack to the speaker(s).
0dB
HIGH
IN
LOW
IN
–6dB
DIGITAL
SIGNAL
PROCESSOR
MASTER
LINE
OUT
LINE
IN
PWR AMP
MUTE
HEAD
PHONES
MUTE
• The digital signal path, which is the path the signal takes inside the digital signal processor.
INPUT
NOISE
REDUCTION
COMPRESSOR
GAIN
EFFECTS SELECT
EFFECTS ADJUST
AMP SELECT, GAIN, TREBLE, MID, BASS
AMP
MODEL
CH.
LEVEL
TREMOLO
DELAY
MODULATION
REVERB
STEREO
OUTPUTS
REVERB LEVEL
REVERB DEPTH
TAP BUTTON
• A typical Amplifier Model. This simplified block diagram shows the digital signal path through the many virtual components of the Studio Tweed Amplifier Model. Note that the Fender Deluxe did not have a Mid or Bass control, so we added these controls post-gain.
INPUT
FROM
COMPRESSOR
PREAMP
TUBE
PRE EQ/
VOLUME
GAIN TREBLE
PREAMP
TUBE
PREAMP
TUBE
POWER AMP
TUBE POST EQ*
OUTPUT
TRANSFORMER
CABINET/
SPEAKER
MID BASS
*ADDITION TO
ORIGINAL AMPLIFIER
OUTPUT TO
CH. LEVEL
CONTROL
26
27
DXJ112 Digital Guitar Amplifier
pp diixx B
MIDI Implementation Chart:
[Crate Digital Guitar Amplifier]
MODEL DXJ112
Function
Basic
Channel
Default
Changed
Transmitted
X
X
Mode Default
Messages
Altered
X
X
X
Note
Number True Voice
X
X
Velocity Note ON
Note OFF
X
X
After
Touch
Key's
Ch's
X
X
Pitch Bender Default X
Control
Change
X
X
Prog
Change True Number
X
X
System Exclusive X
System
Common
Song Pos
Song Sel
Tune
X
X
X
System
Real Time
Clock
Commands
X
X
Aux
Messages
Local ON/OFF
All Notes Off
Active Sense
Reset
X
X
X
X
Notes
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
X
X
O
X
X
X
X
X
Recognized
OMNI
X
Mode 1
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
Date: 11/24/99
Version: 1.1
Remarks
0 – 127
O: YES
X: NO
DXJ112 Digital Guitar Amplifier
A pe
Specifications:
Analog:
Output Power Rating
Input Impedance
Line Input Impedance
Line Output Impedance
Headphone Impedance
Internal Speaker
Power Requirements
Size and Weight
60 watts RMS
High gain 80k ohm; Low gain 150k ohm
47k ohm
1k ohm
32 ohm minimum
12” Custom Hornsonic, 8 ohms
120VAC, 60Hz, 200VA
100/115VAC, 50/60Hz, 200VA
230VAC, 50/60Hz, 200VA
18.69”H x 22.25”W x 8.75”D; 33.5 lbs
Digital:
Analog to Digital Conversion
Digital to Analog Conversion
Conversion Rate
Digital Signal Processor
20-bit Delta-Sigma w/64X oversampling
20-bit Delta-Sigma w/128X oversampling
46.875 kHz
24-bit operating at >40 million instructions/second
Final Note:
No oversampling was used in our emulation software, and no animals were harmed during its design and development.
28
29
err’’ss N ess::
DXJ112 Digital Guitar Amplifier
DXJ112 Digital Guitar Amplifier
err’’ss N ess::
30
www.crateamps.com
©2001 SLM Electronics, Inc. • A Division of St. Louis Music, Inc.
1400 Ferguson Avenue • St. Louis, MO 63133
47-067-01
07/01
advertisement
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
Related manuals
advertisement
Table of contents
- 2 Making Sound
- 4 A Look at the Front Panel Controls
- 6 A Look at the Rear Panel
- 8 The Input Jacks
- 8 The Stereo Line In and Line Out Jacks
- 10 Using a MIDI Footswitch
- 10 Using the Crate Foot Controller
- 10 The MIDI Out/Thru Jack
- 10 The Stereo Headphones Jack
- 12 Descriptions of the Models
- 14 Equalization and Channel Level
- 16 Descriptions of the Effects
- 18 Effects Selection and Adjustment
- 18 Bypassing the Effects
- 20 Recalling The Presets
- 20 Saving New Presets
- 21 The Tap Button
- 21 The Manual (“MAN”) Button
- 21 Restoring Factory Default Presets
- 22 Factory Presets
- 24 User Presets
- 26 A. Designer’s Note: Amplifier Modeling
- 27 Block Diagrams
- 28 B. MIDI Implementation Chart