The supernova power of the Blue Voodoo series makes these award-winning tube amps some serious ordnance. Its sparkling clean tones, throaty rhythm contours and gain-fueled drive dramatically expand the potential of the sought-after tube sound. Blue Voodoo's explosive aftershock even reaches industry experts: Music and Sound Retailer Magazine awarded the Crate Blue Voodoo "Most Innovative Amplifier of the Year" in January of 1996—the same year, in no small coincidence, we championed "Amp Line of the Year."
With new black and silver cosmetics matching the BV150 and BV300, the BV120HB is Stacked with 120 Groove Tube Watts. Generating enough power to run a full stack of eight 12" speakers to their breaking point and still have room for pie, the BV120H has been designed to perform on a professional level. Each BV 120 Head uses four 6L6/5881 and four 12AX7 tubes for solid tube tone and classic breakup. Player Type: A favorite amp of professional musicians, the BV120 is respected for its ability to deliver outstanding tone, while standing up on the road. Dial in your settings, then stand back!
1. Power
This switch turns the amplifier on in the right position and off in the left position.
2. Standby
This switch activates the amplifier, and should always be turned on last. The switch lights up when the high voltage power is passing through to the tubes.
3. Presence
Increase the level of upper harmonics with this control. The presence control allows a boost of up to 5dB at 10kHz.
4. Effects Loop Pad
This switch activates a 12dB pad on the effects send signal and corresponding gain recovery on the return. In the "out" position the signal is full strength which is best suited for line level rack mountable effects. With the switch "in" the signal is lower which is best suited for foot pedal type effects.
5. Effects Loop Switch
This switch controls the effects return signal of the effects loop. The loop is only active when the switch is pressed in. When a footswitch is used, this switch is disabled. The adjacent yellow LED glows when the loop is in use.
6. Reverb: Level 2
Adjust the amount of reverberation on each channel with these controls: at the "0" position the signal is "dry" (no reverb). As you bring the control up, the amount of reverb increases.
7. Reverb: Level 1
Adjust the amount of reverberation on each channel with these controls: at the "0" position the signal is "dry" (no reverb). As you bring the control up, the amount of reverb increases.
8. Volume
controls the sound level
9. Low
Adjust this control to get the best sounding bass response for your instrument. Excessive boost of the low control can cause an unnatural howling and should be avoided.
10. Mid
Adjust this control to get the best projection and midrange tones for your instrument. The center point of the mid control is chosen by the setting of the contour control.
11. High
Adjust the high end response with this control. The high control covers a range of 10dB at 10kHz. This controls the 'bite' of your guitar.
12. Gain
This control sets the amount of compression and distortion from the amplifier. With the control towards the far left, the sound will have a thick compressed quality. As you turn the control to the right the amount of distortion increases.
13. Channel Select
Toggle this switch to the desired channel: up for Channel A, down for Channel B. A footswitch also may be used to select channels, in which case this switch is bypassed _ see #25, rear panel.
14. Low
Adjust this control to get the best sounding bass response for your instrument. Excessive boost of the low control can cause an unnatural howling and should be avoided.
15. Mid
Adjust this control to get the best projection and midrange tones for your instrument. The center point of the mid control is chosen by the setting of the contour control.
16. High
Adjust the high end response with this control. The high control covers a range of 10dB at 10kHz. This controls the 'bite' of your guitar.
17. Volume
controls the sound level
18. Input
Connect your instrument's output jack here.
Atsushi Nakagawa
Balzac
Balsac the Jaws of Death and Flattus Maximus
GWAR
Bill Nershi
String Cheese Incident
Billy F. Gibbons
ZZ Top
Billy Graziadei
Biohazard
Bo Diddley
Bob Weir
The Dead, Rat Dog
Bobby Adams
7 Seconds
Brian Baker, Greg Hetson
Bad Religion
Brian Henneman
Bottle Rockets
Bridget Regan
Flogging Molly
Buck Dharma
Blue Oyster Cult
C.C. Deville
Poison
Clinton Calton
D.I.
D.H. Peligro
Peligro
David Hidalgo
Los Lobos
DJ Lethal
Limp Bizkit
Don Herron
Bob Dylan, BR5-49
Earl Slick
David Bowie Band
Edsel
Dope
Ezra Idlet
Trout Fishing in America
Jahred
hed(PE)
Jake Kolatis
The Casualties
Jerry Douglas
Alison Krauss and Union Station
Joe Shipman
Biblical Proof of UFO's
Joe Walsh
Eagles
Johnnie Johnson
Johnnie Johnson Band
Jorma Kaukonen
The Jefferson Airplane/Hot Tuna
Kid Rock
Kid Rock
Little Dave Teague
The Dickies
Liz Berlin
Rusted Root
Louie Perez
Los Lobos
Marcos Curiel
Accident Experiment
Marty Friedman
Matt Hensley
Flogging Molly
Matty Lewis
Zebrahead
Max Cavalera
Soulfly
Mem Shannon
Mem Shannon & the Membership
Michael Falzarano
Hot Tuna
Mike Clark
Suicidal Tendencies
Mike DeWolf
Taproot
Mike Palm
Agent Orange
Pat O'Brien
Cannibal Corpse
Paul Phillips
Puddle of Mudd
Pete, Scruff and Mel
the Adicts
Peter Mayer
Jimmy Buffet Coral Reefer Band
Peter Moon
Peter Moon Band
Phil Keaggy
Session Player
Rick Lopez
The Casualties
Ritchie Blackmore
Robert Randolph
Robert Randolph & the Family Band
Roger Miret
Disasters/Agnostic Front
Rusty Pistachio
H2O
Sammy Hagar
Sammy Hagar
Sheldon Reynolds
Earth, Wind & Fire
SIN
SOCIETY1
Stacey Blades
L.A. Guns
Stan Lee
The Dickies
Stephen Egerton
All / Descendents
Tim O'Brien
Session Player
Travis Meeks
Days of the New
Vernon Reid
Living Colour
Victor Johnson
Sammy Hagar & the Waboritas
Warren Haynes
Gov't Mule
3900 Fiscal Ct, Suite 200
West Palm Beach
Florida 33404
USA
Telephone:1-877-778-7845 Toll Free
or 561-842-7451 Fax: 561-840-9032E-mail Us! Hours: Mon-Fri 10 am -7 pm EST, Sat 10 am -5 pm EST