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all the upper harmonics of your guitar. The amount of sibilance will depend on the speakers
used. To keep both channels totally independent, the ACOUSTIC PRESENCE is switched by
relay only into clean channel 1. The effect of the ACOUSTIC PRESENCE will seem ever so slight,
however, the result is added sibilance only to the ultra-high frequencies.
used. To keep both channels totally independent, the ACOUSTIC PRESENCE is switched by
relay only into clean channel 1. The effect of the ACOUSTIC PRESENCE will seem ever so slight,
however, the result is added sibilance only to the ultra-high frequencies.
14. EFFECTS LOOP
For the lowest possible noise from an effects processor, use the effects loop instead of plug-
ging the guitar into the effects and then into the amp. To use the EFFECTS LOOP, plug the INPUT
of your effects into the SEND jack and the OUTPUT of your effects into the RETURN jack. Use
shielded cables, not speaker cables. It’s normal to have a slight gain reduction of several dB
with some effects units. However, the amp has plenty of gain to overcome any loss.
of your effects into the SEND jack and the OUTPUT of your effects into the RETURN jack. Use
shielded cables, not speaker cables. It’s normal to have a slight gain reduction of several dB
with some effects units. However, the amp has plenty of gain to overcome any loss.
15. FS22 FOOTSWITCH
Most foot pedals with 2 switches, a stereo cord and plug will work. However, Carvin’s FS22 is
recommended because of the correct identification label on the foot switch. First, the channel
SELECT switch on the front panel must be selected to channel 1 before the footswitch will work.
Now that you are connected correctly, the channels and reverb can be switched remotely. If a
hum is heard in the speakers, the select switch is in the wrong position.
SELECT switch on the front panel must be selected to channel 1 before the footswitch will work.
Now that you are connected correctly, the channels and reverb can be switched remotely. If a
hum is heard in the speakers, the select switch is in the wrong position.
16. VOICED LINE OUT
The LINE OUT 1/4” jack is “CABINET VOICED” to prevent excessive bass or highs going to
your mixer. This greatly aids in sound quality because you do not have to move your mixer
EQ setting to the extreme. The 1.5 VAC output (reference to 100 watts output at 8 ohms) is
more than adequate to drive any professional mixer or power amp.
EQ setting to the extreme. The 1.5 VAC output (reference to 100 watts output at 8 ohms) is
more than adequate to drive any professional mixer or power amp.
17. SPEAKER IMPEDANCE SWITCH
The IMPEDANCE SWITCH offers the selection of 4, 8 or 16
Ω
to match your speaker system.
Set the rear impedance switch to the following impedance: 8
Ω
for the Vintage 33™ and Nomad
112™, 4
Ω
for the 212 Bel Air™ combo and 8
Ω
for the 410 cabinet. In the case of adding another
extension cabinet, set the impedance switch to 4
Ω
.
18. SPEAKER JACKS
Two 1/4” SPEAKER JACKS are featured to operate several speaker systems at the same time.
Move the IMPEDANCE SWITCH to the correct setting.
HELP SECTION
a) FEEDBACK FROM THE LEAD CHANNEL
The VINTAGE TUBE SERIES will feedback when the LEAD volume, DRIVE, TREBLE and PRES-
ENCE are turned all the way up. Like other highly modified tube amps, this is normal. To help
reduce feedback and noise, keep the DRIVE control set around 5 to 7 on the dial. Some of the
best lead saturation will be at around 5—not 10. Sometimes replacing V1 (12AX7A) can help
reduce feedback.
reduce feedback and noise, keep the DRIVE control set around 5 to 7 on the dial. Some of the
best lead saturation will be at around 5—not 10. Sometimes replacing V1 (12AX7A) can help
reduce feedback.
b) TUBE REPLACEMENT GUIDE
It is not uncommon for tubes to malfunction during shipping. If your amp is not working
properly, please call or refer to the following replacement guide to replace tubes.
1) The 12AX7A preamp tubes are located in the following order on your chassis: V1, V2, V3,
V4, V5. To start with, V1 is located next to the outside of your chassis behind the output
transformer. It is recommended to turn your amp upside down to replace tubes. Replacing
V1 will help reduce feedback in channel 1. Replacing V2 and V3 can also help but V1 is the
main tube to replace. Replacing V4 will correct problems with the reverb system unless
there is a defective reverb tank or tank cables. If the power amp is not functioning, check
or replace the EL84 power tubes and check V5 by inserting a signal into the Effects RETURN
jack. All tubes are keyed in the same direction.
transformer. It is recommended to turn your amp upside down to replace tubes. Replacing
V1 will help reduce feedback in channel 1. Replacing V2 and V3 can also help but V1 is the
main tube to replace. Replacing V4 will correct problems with the reverb system unless
there is a defective reverb tank or tank cables. If the power amp is not functioning, check
or replace the EL84 power tubes and check V5 by inserting a signal into the Effects RETURN
jack. All tubes are keyed in the same direction.
2) The EL84 power tubes are located in the following order on your chassis: V6, V7, V8, V9.
Normally you’ll want to replace these tubes as a set. Please call for our latest prices. Sometimes
you can spot defective power tubes when they are glowing red-hot along with an audible
hum in the speaker when the amp is idling. If this happens, shut the amp down immedi-
ately. After they have cooled down, push the hold-down clamp over the top of the tube and
pull out to remove. It is recommended to turn your amp upside down to replace tubes.
All tubes are keyed in the same direction. Running defective power tubes could damage
the amp. It is recommended that you have a spare set of power tubes along with several
12AX7A preamp tubes.
you can spot defective power tubes when they are glowing red-hot along with an audible
hum in the speaker when the amp is idling. If this happens, shut the amp down immedi-
ately. After they have cooled down, push the hold-down clamp over the top of the tube and
pull out to remove. It is recommended to turn your amp upside down to replace tubes.
All tubes are keyed in the same direction. Running defective power tubes could damage
the amp. It is recommended that you have a spare set of power tubes along with several
12AX7A preamp tubes.
Vintage Guitar Magazine
212 Bel Air Review—By Stephen Patt
...The fact that this American business has not only toughed it out for the past 50-odd years but is thriv-
ing reflects their devotion to quality, cutting edge manufacturing technology, and the ability to look at what
people want and give it to them...Using gain circuits designed in collaboration with noted guitarist Allan
Holdsworth, deriving their basic formula from the original Carvin tube amps of the 1950’s, the Bel Air is a
nifty combo amp rated fifty watts, housing two vintage Carvin 12” speakers, and packing all the punch of
a mule. The power section, comprised of a quartet of matched EL84s, is easily accessible and shows neat
work both inside and out. Thoughtfully placed integral wire clips retain the power tubes and the five 12AX7s
safe from loss and vibration, and all the parts, including heavy-duty tube sockets, are high quality.
people want and give it to them...Using gain circuits designed in collaboration with noted guitarist Allan
Holdsworth, deriving their basic formula from the original Carvin tube amps of the 1950’s, the Bel Air is a
nifty combo amp rated fifty watts, housing two vintage Carvin 12” speakers, and packing all the punch of
a mule. The power section, comprised of a quartet of matched EL84s, is easily accessible and shows neat
work both inside and out. Thoughtfully placed integral wire clips retain the power tubes and the five 12AX7s
safe from loss and vibration, and all the parts, including heavy-duty tube sockets, are high quality.
Externally, the overall impression of the Bel Air is Tweed with a Capital T...Really, I’m a sucker for a tweed
combo. But this one sounds as good as it looks. A single input jack sits next to the dual channels on the
front panel, and each channel has its own bass/mid/and treble controls, with the addition of a hidden weapon
against the doldrums on the back panel; an “acoustic presence” control affecting the 8K-20K range on the
clean channel only. It works as well in practice as in theory—with a Tele cranked through Channel One, the
Presence control lends a glossy sheen to the high end, very Fendery and sweet to the ears (featured only
on the Nomad & Bel Air)...The “soak”, another word for gain...works on Channel Two only, and adds any-
where from a gritty overdrive reminiscent of Waddy Wachtel’s punchy guitar on Warren Zevon’s “Lawyers,
Guns, Money”, all the way up to a Skunk Baxteresque crunch a la “Reelin in the Years”. Pretty versatile,
and the element of the power tube distortion comes into play when this baby gets cranked, making for some
realistic tube distortion, unmistakable live or recorded...A brief word about the reverb, which has a depth
and lack of boinginess often associated with spring reverbs—this is Carvin’s own circuit, designed to sound
smooth and lush by pre-filtering the active signal and letting the tail decay naturally. We demo’d several of
our VG test guitars through the Bel Air...The Bel Air sounded great at low volumes, with a firm bottom end
one expects from twin 12s, and a tone that was classic and balanced. Channel One sounded natural and
clear even at increasingly high volume levels...and a bit of a pleasing growl was detected when the hum-
buckers were put to use, which softened when the Jaro’s volume was rolled down from ten to eight. Cool.
The Fenders retained their classic twang in the normal channel, and when we switched over to the over-
drive channel, a convincing ballsy-crunch became apparent, depending on each increment of the “Soak”
control. The switching is predictably silent, with none of the annoying ‘pops’ heard on some amps.
front panel, and each channel has its own bass/mid/and treble controls, with the addition of a hidden weapon
against the doldrums on the back panel; an “acoustic presence” control affecting the 8K-20K range on the
clean channel only. It works as well in practice as in theory—with a Tele cranked through Channel One, the
Presence control lends a glossy sheen to the high end, very Fendery and sweet to the ears (featured only
on the Nomad & Bel Air)...The “soak”, another word for gain...works on Channel Two only, and adds any-
where from a gritty overdrive reminiscent of Waddy Wachtel’s punchy guitar on Warren Zevon’s “Lawyers,
Guns, Money”, all the way up to a Skunk Baxteresque crunch a la “Reelin in the Years”. Pretty versatile,
and the element of the power tube distortion comes into play when this baby gets cranked, making for some
realistic tube distortion, unmistakable live or recorded...A brief word about the reverb, which has a depth
and lack of boinginess often associated with spring reverbs—this is Carvin’s own circuit, designed to sound
smooth and lush by pre-filtering the active signal and letting the tail decay naturally. We demo’d several of
our VG test guitars through the Bel Air...The Bel Air sounded great at low volumes, with a firm bottom end
one expects from twin 12s, and a tone that was classic and balanced. Channel One sounded natural and
clear even at increasingly high volume levels...and a bit of a pleasing growl was detected when the hum-
buckers were put to use, which softened when the Jaro’s volume was rolled down from ten to eight. Cool.
The Fenders retained their classic twang in the normal channel, and when we switched over to the over-
drive channel, a convincing ballsy-crunch became apparent, depending on each increment of the “Soak”
control. The switching is predictably silent, with none of the annoying ‘pops’ heard on some amps.
Overall, there was a familiar and versatile feel to the Bel Air, and it proves to be a great all-around amp
for club dates, recording, and loud gigs where that smaller amp you have just won’t cut it...Way to go Carvin!...