Crate Amplifiers Musical Instrument V50 112 User Manual

V50-112  
Two-Channel Tube Guitar Amplifier  
with Reverb  
Owner’s Manual  
 
V50-112 Tube Guitar Amplifier with Reverb  
Introduction  
Congratulations! You are now the proud owner of a Crate V50-112 tube guitar amplifier. This  
combo amplifier packs a whole lot of vintage tube sound and classic spring reverb into its  
compact cabinet, providing you with an amp that is portable and easy to operate, yet still pro-  
duces incredible sounds!  
The V-Series amps offer the versatility required for many different musical styles, and have  
the unique tonal purity of a hot-rodded tube amp. The V50-112 is a dual-channel amplifier with  
channel switching between clean and overdrive sounds, treble/mid/bass tone controls, global  
boost and presence controls, and an internal spring reverb. It cranks out 50 watts of power  
from a pair of 6L6GC tubes into a single 12" speaker.  
Like all Crate products, your V50-112 amplifier is designed by musicians and built using only  
the best components. Each amplifier is tested to confirm that it meets our specifications, and  
we believe that this amplifier is the absolute best that it can be.  
In order to get the most out of your new amplifier, please read this manual before you begin  
playing.  
And thank you for choosing Crate.  
Here are some of the features packed into your new V50-112 Combo Amplifier:  
• Two 6L6GC power vacuum tubes for smooth overdrive sound  
• 50 watts rms power output  
• 1 x 12" speaker  
• Extension speaker output for adding additional speakers  
• Two-channel operation (Clean and Overdrive)  
• 3-band shared EQ  
• Boost switch for increased midrange  
• Proprietary Presence switch adds punch to the output  
• Reverb control  
• Effects loop  
• 2-Function footswitch option for remotely selecting Channel and Boost  
3
 
V50-112 Tube Guitar Amplifier with Reverb  
The Front Panel  
V O L U M E  
G A I N  
L E V E L  
T R E B L E  
M I D D L E  
B A S S  
R E V E R B  
5
5
5
5
5
5
5
4
6
4
6
4
6
4
6
4
6
4
6
4
6
O N  
O N  
3
1
3
1
3
1
3
1
3
1
3
1
3
1
7
9
7
9
7
9
7
9
7
9
7
9
7
9
2
8
2
8
2
8
2
8
2
8
2
8
2
8
I N P U T  
0
10  
C H A N N E L  
0
10  
B O O S T  
0
10  
0
10  
0
10  
0
10  
0
10  
S TA N D B Y  
P O W E R  
P R E S E N C E  
1
2
3
4
5
6
7
8
9
10  
11  
12  
13  
14  
10. PRESENCE: Use this to adjust the over-  
all brightness and punch of the output  
signal.  
1. INPUT: Use this jack to connect your  
guitar to the amplifier using a shielded  
instrument cable.  
11. REVERB: Use this to adjust the amount  
of reverb for the selected channel. Fully  
counter-clockwise is “dry” (no reverb).  
Rotate clockwise to increase the  
amount of reverb.  
2. VOLUME: Use this to adjust the output  
level of the Clean Channel.  
3. CHANNEL Select: Depress this switch  
to activate the Overdrive channel. The  
Clean channel is active when the switch  
is in the out position.  
12. LAMP: This illuminates when the ampli-  
fier is turned on.  
4. GAIN: Use this to adjust the gain for  
the Overdrive channel. With the control  
turned counter-clockwise, the gain is  
low and very little distortion is present.  
As you rotate it clockwise, the gain  
increases, producing more overdrive  
distortion, and a higher output volume  
level.  
13. ON/STANDBY Switch: Use this switch  
to activate the amplifier after the On/Off  
switch (14) is turned on.  
Always turn this switch OFF first, and  
ON last! Turn the On/Off switch (14) on  
at least 30 seconds before turning on  
the standby switch.  
5. BOOST: Push this switch in to boost the  
output by 10 dB at 900 Hz. This adds  
more punch to the midrange frequen-  
cies.  
During short breaks, you should turn  
this switch off, and leave the On/Off  
switch on. This will help prolong the life  
of the amplifier tubes.  
6. LEVEL: Use this to adjust the output  
14. ON/OFF SWITCH: Use this switch to  
level of the Overdrive channel.  
turn the amplifier on and off.  
7. TREBLE: Use this to adjust the output  
Always turn this switch ON first and OFF  
last! Turn the Standby switch (13) on at  
least 30 seconds after turning on the  
On/Off switch.  
level of the high frequencies of the  
selected channel. The adjustment range  
is 12 dB at 6 kHz.  
8. MIDDLE: Use this to adjust the output  
level of the mid frequencies of the  
selected channel. The adjustment range  
is 10 dB at 1 kHz.  
9. BASS: Use this to adjust the output  
level of the low frequencies of the  
selected channel. The adjustment range  
is 8 dB at 150 Hz.  
4
 
V50-112 Tube Guitar Amplifier with Reverb  
The Rear Panel  
D E S I G N E D I N S T. L O U I S M O , U S A . M A N U FA C T U R E D I N C H I N A , FA B R I Q U E E N C H I N E  
2 0 0 7 L O U D T E C H N O L O G I E S I N C  
c
F O O T S W I T C H  
E F F E C T  
S E N D  
E F F E C T  
R E T U R N  
E X T E N S I O N  
S P E A K E R  
S P E A K E R  
8Ohms  
R E V E R B  
IN OUT  
15  
16  
~120-240VAC  
50-60 Hz  
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT  
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO  
USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.  
N222  
AVIS: RISQUE DE CHOC ELECTRIQUE  
NE PAS OUVRIR  
C
US  
3031613  
CONFORMS TO  
IEC 60065  
SERIAL NUMBER  
MANUFACTURING DATE  
This device complies with part 15 of the FCC Rules. Operation  
is subject to the following two conditions:  
(1) This device may not cause harmful interference, and  
(2) This device must accept any interference received, including  
interference that may cause undesired operation.  
17  
18  
19  
20  
21  
22 23  
15. AC LINE CORD: The grounded power  
cord should only be plugged into a  
grounded power outlet that meets  
19. EFFECT RETURN: Use this 1/4" TS  
jack to return the signal from an exter-  
nal effects box.  
all applicable electrical codes, and is  
compatible with the voltage, power, and  
frequency requirements stated on the  
V50-112 rear panel. Do not attempt to  
defeat the safety ground connection.  
A Closer Look: The Effect Send and  
Effect Return create an Effect Loop,  
where the guitar signal is sent out to  
an external effects box (like a digital  
delay), and the processed signal is  
returned to the amplifier.  
16. Voltage Select Switch: Set this switch  
to “115” for 120 VAC mains, and to  
“230” for 220-240 VAC mains.  
Note: The Effect Return jack discon-  
nects the signal from the preamplifier  
stage of the V50-112, so only the sig-  
nal at the Effect Return jack is sent on  
to the power amplifier.  
With the amplifier power cord  
unplugged, use the tip of a small flat-  
blade screwdriver to slide this switch to  
the proper position.  
20. EXTENSION SPEAKER: Use this 1/4"  
TS jack to connect the amplifier to an  
8 ohm extension speaker. The internal  
speaker remains active when an exten-  
sion speaker is connected.  
17. FOOTSWITCH Jack: Use this 1/4"  
TRS jack to connect the cable of the  
optional VSFS-2 footswitch. This allows  
for remote control of channel switch-  
ing and the boost effect (Tip = channel  
select, Ring = boost on/off).  
21. SPEAKER 8 OHMS: The V50-112 is  
shipped with a cable connected from  
this jack to the internal speaker.  
18. EFFECT SEND: Use this 1/4" TS jack  
to send the signal to an external effects  
box.  
22. REVERB IN Jack: The V50-112 is  
shipped with a cable connected from  
this jack to the input of the internal  
spring reverb.  
Note: The Effect Send jack can be  
used as a line-level output from the  
preamplifier stage of the V50-112 to  
a mixer or recorder. The signal comes  
after the EQ stage but before the  
reverb stage.  
22. REVERB OUT Jack: The V50-112 is  
shipped with a cable connected from  
this jack to the output of the internal  
spring reverb.  
5
 
V50-112 Tube Guitar Amplifier with Reverb  
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 evacuated 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 Valve” and the vacuum tube was a fact of life. The door to elec-  
tronic 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, scientists, 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 pro-  
duced by a “transistor” amplifier is significantly different from that produced by a tube ampli-  
fier with identical design specifications. 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 simu-  
late the distortion characteristics 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 (they can 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 impor-  
tant 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 produce 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 recommend-  
ed that you consult with a qualified service center.)  
6
 
V50-112 Tube Guitar Amplifier with Reverb  
Important Information About Tubes and Tube Products (continued):  
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 perfor-  
mance/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 6L6, the EL34 distorts more quickly, exhibits a “looser” low-end response  
and produces more harmonics at mid and high frequencies (“creamier” sound). These differ-  
ences become more noticeable at higher volumes.  
The EL84 is similar to the EL34 but produces less output power. It can be easily driven into  
distortion and is characterized by a smooth, sweet tone with excellent touch sensitivity.  
6L6 tubes produce a big low-end thump and have a very good dynamic range. They offer a  
more traditional “American Rock” sound. The 6V6 tubes produce a creamy sound with nice  
distortion. On the other hand, the KT88 produces a big low-end but sounds more like an EL34  
in the mid and high frequencies.  
6550 power tubes are more rugged and stay cleaner-sounding even at full power. When they  
do distort, 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 opti-  
mum performance 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 envelope 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 crucial that they (if there is more  
than one) be replaced by a matched set. If you’re on the road a lot, we recommend 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 appar-  
ent 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.  
7
 
V50-112 Tube Guitar Amplifier with Reverb  
Important Information About Tubes and Tube Products (continued):  
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 Importance of Proper Biasing”, below for more information).  
• We highly recommend that you replace the driver tube(s) as well. The driver tube deter-  
mines 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).  
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 nega-  
tive 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 (over biased), 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 typi-  
cally 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 adjustment controls on its rear panel. However, the bias adjustment should be performed  
only by qualified service personnel with the proper, calibrated test equipment.  
8
 
V50-112 Tube Guitar Amplifier with Reverb  
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 contribute 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 gener-  
ated 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 “selfbiasing 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 distorted 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 signifi-  
cantly 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.  
9
 
V50-112 Tube Guitar Amplifier with Reverb  
Some Suggested Settings  
Sweet ‘n Clean:  
OUT  
(Clean)  
V O L U M E  
G A I N  
L E V E L  
T R E B L E  
M I D D L E  
B A S S  
R E V E R B  
5
5
5
5
5
5
5
4
6
4
6
4
6
4
6
4
6
4
6
4
6
3
2
3
1
3
1
3
1
3
1
3
1
3
1
7
9
7
9
7
9
7
9
7
9
7
9
7
9
8
2
8
2
8
2
8
2
8
2
8
2
8
1
I N P U T  
0
10  
C H A N N E L  
0
10  
B O O S T  
B O O S T  
B O O S T  
B O O S T  
0
10  
0
10  
0
10  
0
10  
0
10  
P R E S E N C E  
P R E S E N C E  
P R E S E N C E  
P R E S E N C E  
Just a ‘Lil Nasty:  
IN  
(Overdrive)  
V O L U M E  
G A I N  
L E V E L  
T R E B L E  
M I D D L E  
B A S S  
R E V E R B  
5
5
5
5
5
5
5
4
6
4
6
4
6
4
6
4
6
4
6
4
6
3
1
3
1
3
3
3
3
3
7
9
7
7
7
7
7
7
2
8
2
8
2
8
2
8
2
8
2
8
2
8
9
9
9
9
9
9
1
1
1
1
1
I N P U T  
0
10  
C H A N N E L  
0
10  
0
10  
0
10  
0
10  
0
10  
0
10  
Politely Gritty:  
IN  
(Overdrive)  
V O L U M E  
G A I N  
L E V E L  
T R E B L E  
M I D D L E  
B A S S  
R E V E R B  
5
5
5
5
5
5
5
4
6
4
6
4
6
4
6
4
6
4
6
4
6
3
1
3
1
3
1
3
1
3
1
3
1
3
1
7
9
7
9
7
9
7
9
7
9
7
9
7
9
2
8
2
8
2
8
2
8
2
8
2
8
2
8
I N P U T  
0
10  
C H A N N E L  
0
10  
0
10  
0
10  
0
10  
0
10  
0
10  
Down ‘n Dirty:  
IN  
(Overdrive)  
V O L U M E  
G A I N  
L E V E L  
T R E B L E  
M I D D L E  
B A S S  
R E V E R B  
5
5
5
5
5
5
5
4
6
4
6
4
6
4
6
4
6
4
6
4
6
3
1
3
1
3
3
3
3
3
7
9
7
9
7
9
7
9
7
9
7
9
7
9
2
8
2
8
2
8
2
8
2
8
2
8
2
8
1
1
1
1
1
I N P U T  
0
10  
C H A N N E L  
0
10  
0
10  
0
10  
0
10  
0
10  
0
10  
10  
 
V50-112 Tube Guitar Amplifier with Reverb  
System Block Diagram  
12AX7A  
V1B  
12AX7A  
V2A  
12AX7A  
V2B  
12AX7A  
V1A  
CHANNEL  
SELECT  
GUITAR  
INPUT  
OVERDRIVE  
GAIN  
TREBLE MID BASS  
BOOST PRESENCE  
CLEAN  
VOLUME  
PHASE  
SPLITTER  
6L6GC  
EFFECTS EFFECTS  
CHANNEL  
SELECT  
12AX7A  
SEND  
RETURN  
V3A  
OVERDRIVE  
LEVEL  
12AX7A  
V3B  
8 OHM  
INTERNAL  
SPEAKER  
6L6GC  
REVERB  
IN  
REVERB  
OUT  
8 OHM  
EXTENSION  
SPEAKER  
REVERB  
LEVEL  
Declaration Of Conformity  
Manufacturer:  
LOUD Technologies Inc.  
16220 Wood-Red Rd. NE  
Woodinville, WA 98072, USA  
Product Name:  
Product Type:  
Complies with Standards:  
LVD:  
Crate V50-112  
Audio Amplifier  
92/31/EEC, 93/68/EEC, & 73/23/EWG  
EN60065  
EN55013, EN55020, EN55022, EN55103, EN61000-3-2,  
& EN61000-3-3  
Safety:  
EMC:  
The official Declaration of Conformity for this product is kept on file at:  
LOUD Technologies Inc., 16220 Wood-Red Road NE, Woodinville, WA 98072 • Tel: 1-866-858-5832  
11  
 
V50-112 Tube Guitar Amplifier with Reverb  
V50-112 TECHNICAL SPECIFICATIONS  
Output Power Rating  
Signal-to-Noise Ratio  
Gain  
50 W rms @ 5% THD, 8 ohm load, 120 VAC  
70 dB, Typical (Clean Ch only)  
Overdrive Ch  
Clean Ch  
98 dB, all controls @ 10  
58 dB, all controls @ 10  
EQ  
Treble: 12 dB range @ 6 kHz  
Middle:10 dB range @ 1 kHz  
Bass: 8 dB range @ 150 Hz  
Boost  
10 dB @ 900 Hz  
Presence  
Speaker Specs  
8 dB range @ 10 kHz  
12", 50 W, 8 ohm, 1.75" voice coil diameter,  
30 oz magnet  
Extension Speaker  
Preamp Tubes  
8 ohms minimum nominal impedance  
(3) 12AX7A  
Power Tubes  
(2) 6L6GC  
Power Requirements  
90-132 VAC, 60 Hz, 150 VA  
220-240 VAC, 50 Hz, 150 VA  
Size (H x W x D)  
Weight  
19.0 in/48.3 cm x 24.0 in/61.0 cm x  
11.0 in/27.9 cm  
48.5 lb/22.0 kg  
The V50-112 is covered with a durable fabric-backed vinyl material. Wipe it clean with a lint-free cloth.  
Never spray cleaning agents onto the cabinet. Avoid abrasive cleansers which would damage the finish.  
Crate continually develops new products, as well as improves existing ones. For this reason, the specifications  
and information in this manual are subject to change without notice.  
“Crate” is a registered trademark of LOUD Technologies Inc. All other brand names mentioned are trademarks or  
registered trademarks of their respective holders and are hereby acknowledged.  
Service Information  
If you are having a problem with your V50-112, you can go to our website (www.crateamps.com)  
and click on Support for service information, or call 1-800-898-3211 during business hours  
(7 am to 5 pm PST, Monday-Friday). If you are outside of the U.S., contact your local distribu-  
tor for technical support and service.  
@2007 LOUD Technologies Inc.  
16220 Wood-Red Road NE • Woodinville, WA 98072  
Part No. 0024425 Rev. A1 04/07  
12  
 

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