CARVIN AG100D2003 Operating Manual
AG100D SERIES III ACOUSTIC AMP SPECIFICATIONS:
Frequency Response: Mic or Line Inputs: 20Hz-20KHz ±2dB
Total Harmonic Distortion: Less than 1%
Output Power: 100 Watts RMS @ 8ohms
Phantom Power: Channel 3 only for use with condenser mics
Channel 1: 3 band active
LOW: 80Hz ±12dB
Acoustic Sweep: 300-3KHz ±12dB
HI: 10KHz ±12dB
Channel 2&3: 2 band active,
LOW: 80Hz ±12dB
HI: 10kHz ±12dB
Graphic EQ.: 5 Band: 100Hz, 250Hz, 800Hz,
6kHz,and 12kHz ±10dB
Input ch. 1&2: 1/4” Phone Jack
Mic/Line Input ch. 3: Balanced XLR input with phantom power,
1/4” Phone Jack
Power Consumption: 150VA @ 120/240VAC
Power Requirement: 100 to 240 VAC, 50-60Hz
Size: 17.5Wx12Dx22H, 33Lbs.
SPEAKER SPECS: 12” PS12 or 15” PS15 woofer (depending on model purchased)
High frequency tweeter with adjustable L-Pad on crossover.
12” Cabinet Response: 63Hz to 16.5kHz
76-01019 0801
12340 World Trade Drive, San Diego, CA 92128
(800) 854-2235
www.carvin.com
For your records, you may wish to record the following information.
Serial No._____________________ Invoice Date_______________
CONNECTING AC POWER TO YOUR AG100D
•Use only a grounded (3 prong) power outlet to prevent a shock hazard. This also gives
the quietest grounding for the amplifier
CONNECTING INPUTS TO YOUR AG100D
• Channel one is specially designed for acoustic and electric guitars using a 1/4” phone
shielded cable.
•Channel two is an instrument/line input. Any unbalanced device such as another guitar,
tape recorders, drum machine, or keyboard can be plugged in using a 1/4” phone
plug shielded cable.
• Channel three is a microphone & line input. Plug a microphone or line level device
into the balanced XLR MIC input using an XLR shielded microphone cable and a 1/4”
shielded cable from your tape machine. Both can be used at the same time.
TURNING ON YOUR AG100D
• Adjust all three channel volume controls to their off position (full counter clockwise).
•Turn the Gain control to “0” on Channel 1
• Adjust all “EQ” tone controls to their center detent position.
• Adjust all channel effects sends return to their off “center” position.
•Turn the AG100D on by the power switch on the front panel and watch for the power
LED to come on.
• Plug in your instruments and microphone into the appropriate channels, and adjust
the volume controls to the desired playing level. (For detail on the individual channel tone controls and the graphic equalizer, see the appropriate sections in this manual.)
CARVIN ENGINEERING DATA OPERATING MANUAL
AG100D ACOUSTIC/PA AMP Series III
RECEIVING INSPECTION—read before getting started
INSPECT YOUR AMP FOR ANY DAMAGE which may have occurred during shipping. If any
damage is found, please notify the shipping company and CARVIN immediately.
SAVE THE CARTON & ALL P ACKING MATERIALS. In the event you have to re-ship your unit,
always use the original carton and packing material. This will provide the best possible protection during shipment. CARVIN and the shipping company are not liable for any damage caused
by improper packing.
SAVE YOUR INVOICE. It will be required for warranty service if needed in the future.
SHIPMENT SHORTAGE. If you find items missing, they may have been shipped separately.
Please allow several days for the rest of your order to arrive before inquiring.
RECORD THE SERIAL NUMBER on the enclosed warranty card or below on this manual
for your records. Keep your portion of the card and return the portion with your name and
comments to us. Or you may register online at www
.carvin.com/registration
Congratulations on your purchase of the AG100D Series III amplifier . W e’ve
included all of the great features a solo performer needs, such as three independent channels with separate volume and EQ, MID sweep control, phantom
mic power and 5 band Graphic EQ. Then we added our dual 24 Bit Digital Effects
Processor. Additional features include, mid & HI Contour switches on channel 1, Bass and Mid Contour switches on channel 2.
Channels 1’s voicing is designed for standard electric or acoustic guitars while
channels 2 and 3 will also accommodate line level signals from keyboards, tape
decks, drum machines and a balanced microphone, making the AG100D well
suited for a “One-Man-Band” stage set-up.
We haven’t neglected the bass player with the bass tuned enclosure and high
frequency tweeter, combined with 100 watts RMS of power—ideal for acoustic
or electric basses. You can play bass and guitar simultaneously without degrading the guitar signal. Just plug the bass into channel 2 and start thump’n!
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2
3
AG100D FRONT & REAR PANEL CONTROLS
4 4 3 11 3 125 8
9
1
6
CHANNEL 1 FEATURES
1. INPUT 1 JACK & CONTOUR SWITCHES
The INPUT jack is designed for instruments such as acoustic or electric guitars. The MIDswitch cuts the mid range frequency 10dB at 400Hz which results
in an enhancement of the bass and treble response. This can be an ideal setting with acoustic guitars. Use the HI switch to enhance the high frequencies
(10dB boost at 10kHz) perfect for brightening up an acoustic guitar.
2. VOLUME CONTROL
The VOLUMEcontrol adjusts the volume of the channel heard in the speaker,
the line out jack and the headphone jack.
3. EFFECTS CONTROL FOR CH 1,2 & 3
Each channel features an EFF control. The EFFECTS control adjusts the volume
of the channel going to the one of the internal DSP processors. T urning counterclockwise to the left will send the channel’s signal to EFF 1 and turning clockwise to the right will send the channel’s signal to EFF2. The effects control is
post (or after) the volume control. Watch the PK (peak) LED on EFF 1 and 2 in
the master section. T urn down the channel EFF level if it the LED starts to flash.
4. LO AND HIGH TONE CONTROLS
The LO and HI tone controls are used to shape the bass and treble sound of
the input signal. Start out with the tone controls in their center positions where
they do not effect the signal. Then, as needed, turn the tone controls (turn to
the right to boost, or to the left to cut) to change the sound.
5. ACOUSTIC SWEEP TONE CONTROLS (FREQ. AND GAIN)
The FREQ and GAIN controls make up the MID sweep control. The way to
get familiar with these controls is to set the GAIN control to near full clockwise, and turn the FREQ control through its full rotation while playing chords
or notes on an instrument. Then try it again with the gain control to near full
counter clockwise to hear the difference. A suggested setting for electric guitars is to place the GAIN control at +6 and set the FREQ control at 800Hz. This
setting will remove the mid frequencies for a crisper sound.
CHANNEL 2 FEATURES
6. INPUT 2 JACK & LO/MID CONTOUR SWITCHES
The INPUT phone jack is designed for instrument or line level inputs such as
a drum machine, tape deck, another guitar or bass guitar , a keyboard, an unbalanced mic, etc.. The LO switch is a 10dB low freq. boost at 60Hz & the MID
switch is a 10dB mid cut at 400Hz. These “pre-shape” filters can help eliminate
the guess work when dailing in the tone of your instrument. You can then fine
tune your sound with the EQ knobs.
7. VOLUME CONTROL
The VOLUME control adjusts the level of the channel heard in the speaker,
the line out jack, and the headphone jack. The gain structure of this channel
is designed to handle both instrument and line level inputs. The result is some
instruments, such as a single coil electric guitar , may need the VOLUMEcontrol turned up to 7 or higher to match the other channels. Also, for the same
reason some line level inputs, such as a CD player may need the VOLUME control less than 1 to match the other channels.
8. LO AND HI TONE CONTROLS
The LO and HI tone controls are used to shape the bass and treble sound of
the input signal. It is suggested that the tone control settings start in their
center positions where they do not effect the signal. Then, as needed, turn
the turn to the right to boost, or to the left to cut to change the sound.
CHANNEL 3 FEATURES
9. XLR MICROPHONE & 1/4” INPUT JACKS
The MIC input is designed for balanced low impedance ( microphone ) input
signals. The Balanced input will reduce the common noise picked up on the
microphone cables. The XLR connector is wired as per the industry standard;
pin 1 is ground, pin 2 is positive and pin 3 is negative. Phantom power is available on the XLR input jack. This allows condenser microphones to be run directly
without the need for batteries or other external phantom power supplies. The
1/4” jack is designed for unbalanced high impedance signals (guitar , tape deck,
drum machine, etc.). Both of these inputs can be used at the same time.
10. VOLUME CONTROL
The VOLUMEcontrol adjusts the volume of the channel heard in the speaker,
the line out jack, and the headphone jack.
11. LO AND HI TONE CONTROLS
The LO and HI tone controls are used to shape the bass and treble sound of
the input signal. It is suggested that the tone control settings start in their
center positions where they do not effect the signal. Then, as needed, turn
the turn to the right to boost, or turn to the left to cut to change the sound.
12. DIGITAL SIGNAL PROCESSING
The 24 bit processor will provide a host of awesome sounding effects that include:
Flange, Reverb, Echo, & Chorus. The master EFFECT 1 & 2 control will adjust
the volume level of the selected effect. Remember each channel has its own EFFECT
send level that will adjust the amount of signal sent to the effects processor . The
red PK LED will indicate when the effects signal is clipping. Lower the channel
EFFECTcontrol until the PK LEDstops flashing. (Note: When adjusting the effects
on either channel, an audible noise may be heard).
EFFECT PARAMETERS
Each of the four effects has a variable parameter that can be easily adjusted.
ECHO: When the top SELECT control is at the “7 O-clock” position, it is selected
to the first ECHO setting where you get a single repeat echo (minimal regeneration). T urning the PARAMETERcontrol to 1 will provide the shortest delay time
between the original signal and the echo. Increasing the PARAMETERcontrol to
the right will increase the time delay between the original signal and the echo.
You can get a maximum of .5 second delay. To increase the number of echoes,
turn the SELECT control clockwise to “9 O-clock” (maximum regeneration).
REVERB: When the SELECT control is at the “10 O-clock” position, it is selected
LO
3
6
9
12 12
INPUT 1
0
3
6
9
FREQ
MID
1K
800
2K
300 3K
MID HI
VOLUME
4
3
2
19
010
5
GAIN
3
6
9
12 12
6
7
8
303
6
9
EFF
OFF
HIGH
6
9
12 12
33
66
99
EFF2EFF1
LO HI LO HI
303
303
6
6
6
9
12 12
INPUT 2
6
9
9
LO MID
9
CH 1 CH 2 CH 3
0
3
6
9
12 12
VOLUME
5
4
3
2
19
EFF2
6
33
66
99
7
8
EFF1 EFF2
C
B
R
E
V
E
R
O
H
C
E
5
4
3
2
19
010
PK PK
5
4
3
2
19
010
H
O
R
U
S
R
F
O
L
A
H
N
C
G
E
PARAMETER
6
7
8
2
LEVEL
6
7
2
8
B
R
E
V
E
E
4
3
19
010
4
3
19
010
C
H
O
R
U
S
F
L
A
N
G
E
5
6
7
8
5
6
7
8
+
12
8
4
0
4
8
12
-
DUAL 24-BIT EFFECTS
GRAPHIC EQ
250 800100
6K 12K
AG100D
ACOUSTIC GUITAR AMP
POWER
5
4
6
3
7
2
8
19
010
MASTER
EFF
OFF
33
3
303
6
6
9
12 12
MIC
9
6
9
12 12
TAPE/CD
66
99
EFF2
EFF1
6
7
8
0
3
6
9
EFF1
VOLUME
3
2
19
EFF
OFF
5
4
010010
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