Korg Microcassette Recorder CR 4 User Manual

Owners Manual  
1
 
3
 
Introduction  
...............  
• The CR-4 itself  
• An AC power adapter  
Your warranty card and other service infor-  
mation.  
Contact your KORG dealer if any of these  
items are missing.  
Ampworks guitar effects  
The integrated Ampworks guitar effects pro-  
vide you with a wide range of guitar and bass  
amplifiers, that include high-quality profes-  
sional-sounding digital effects such as reverb,  
delay, chorus, etc. Just plug into the CR-4 and  
go!  
Unpacking your CR-4  
When you first open the packing for your CR-  
4, you should find the following (as well as this  
manual):  
And you can use the Ampworks effects with  
the CR-4 to feed a larger amplification system,  
or practice your favorite licks and riffs using  
the CR-4 on its own.  
Save the packing in case you ever need to  
return the CR-4 for service.  
Other Ampworks effects  
The CR-4 also provides two microphone mod-  
els, allowing you to simulate the sound of two  
of the world’s most famous microphones, as  
well as an “acoustic” model bypass effect. The  
built-in 3-band EQ features a sweepable  
midrange frequency control for these modes.  
Only use the AC adaptor supplied with  
your CR-4, and make sure that the voltage  
marked on the adapter matches your  
household AC voltage. If you are in any  
doubt, consult your KORG dealer.  
Built-in amplifier and speakers  
...............  
To cut down on the number of cables and con-  
nections you need to record, you can use the  
built-in bass-reflex speaker system.  
About this manual  
In this manual, we’ll use the following conven-  
tions :  
• Steps that you follow are marked in order,  
like:  
Or, if you get a bit carried away, you can keep  
your playing to yourself (and a friend!) using  
the dual headphone facilities—this means that  
a singer and guitarist can both use headphones  
at the same time.  
1
2
Connect the power.  
Switch on the power switch.  
• When we mention a control or indicator on  
the CR-4, we put it in brackets, like [PLAY].  
Easy operation  
The CR-4 has been designed to be as easy as  
possible to operate. If you can use a stereo cas-  
sette deck, you can use the CR-4 to make your  
own recordings.  
Read through this manual to find out what you  
can do with the CR-4, and how to do it.  
• This symbol  
• This symbol  
indicates a caution.  
indicates advice.  
• We’ll point you to other pages in the man-  
ual like this: (p.6).  
...............  
Features of the CR-4  
...............  
A few dos and don’ts  
Key features of the CR-4 include the following:  
There are some basic safety precautions at the  
beginning of this manual which you should  
read and note. In addition, please note the fol-  
lowing:  
High-quality multitrack cassette tape deck  
The CR-4 includes a multitrack cassette tape  
deck, allowing you to use everyday low-cost  
cassette media to make your own multitrack  
recordings. You can record up to four tracks at  
a time, mixing guitars, bass, keyboards, and  
microphone inputs before creating your own  
mixes using a stereo cassette deck, CD, or even  
to a computer where you can make your own  
MP3s.  
• Keep the tape heads clean using cassette  
head cleaning kits—available from most  
electronic stores.  
• Cassette tapes are sensitive to magnetic  
fields. Don’t use the CR-4 near TV sets or  
computer monitors, and don’t store the  
cassettes anywhere near these devices, or  
near equipment with large electric motors.  
4
 
         
Introduction  
Avoid smoking, eating or drinking over the  
CR-4. Smoke particles, food crumbs and  
spilled liquids are the enemies of fine audio  
gear.  
• Use the best possible new cassettes (Type  
II) wherever possible, for high quality  
results.  
• Use shorter tapes whenever you can. Avoid  
C-90 (or longer) tapes if possible because  
the tapes are thin, and may stretch or even  
break. Because the CR-4 only plays tapes in  
one direction, you will get half the stated  
recording time on a tape.  
• Keep the listening levels low. High levels  
can destroy hearing (and you never get it  
back!).  
(left and right of side B) are played back  
with the tape traveling in the other direc-  
tion. With the CR-4, all four tracks play in  
the same direction. Also, the CR-4 does not  
feature noise reduction.  
...............  
About the Ampworks effects  
When you play an electric guitar or bass, part  
of the total sound comes from the instrument  
itself, and a significant part comes from the  
amplifier and speakers.  
Although you may love the sound of your  
favorite guitarist, you know that it’s going to  
be difficult to set up a massive stack of tube  
amplifiers and speakers in your home to sound  
just like him.  
The Ampworks effects in your CR-4 simulate  
some of the world’s most famous and best-  
loved amplifier/speaker combinations, allow-  
ing you to get just the sound you want without  
the large heavyweight stacks.  
In addition, there is a digital effects unit allow-  
ing you to add reverb, delay and so on, giving  
that extra professional touch to your playing.  
Full tone controls, and gain and volume con-  
trols, just like on a full-sized guitar amplifier,  
give you complete control.  
When you use an acoustic guitar, the two  
microphone models and the “acoustic” setting  
provide you with added flexibility and control.  
Full instructions on how to make the most of  
this feature are provided in this manual  
...............  
About multitrack recording  
As we mentioned earlier, the CR-4 allows you  
to perform multitrack recording. Multitrack-  
ing allows you to record the different parts of a  
piece of music separately, meaning that if you  
play a perfect guitar solo, but make a mess of  
the vocals, you don’t have to record everything  
again—just the vocals.  
There are three basic phases to multitrack  
recording: tracking, overdubbing and mix-  
down. We’ll explain a sample session in this  
manual (p.9) and also give tips on more  
advanced recording you can do with your CR-  
In tracking, the basic foundations of the song  
are recorded.  
Most people find it easiest to record the  
rhythm parts (for example, drums and per-  
cussion, bass and rhythm guitar first, and  
then add the lead and vocal lines).  
When overdubbing, you add other parts on top  
of the basic parts you recorded earlier.  
And when you mix down, you adjust the level  
of the individual parts and their position in the  
stereo field (their “pan” position) and make a  
stereo recording on a separate “master” cas-  
sette, MD or CD recorder.  
Note that if you try play back the CR-4  
tapes in an ordinary stereo cassette deck (or  
the other way round), on an ordinary ste-  
reo cassette two tracks (left and right of  
side A) are played back with the tape trav-  
eling in one direction and the other two  
5
 
   
Finding your way around the CR-4  
Use this “road map” as a quick guide to find  
important features of your CR-4.  
Connect the AC power adapter  
here, and turn the CR-4 on and off  
with this switch  
Stereo mastering  
cassette, CD, etc. is  
connected here  
Speakers: turn these on and  
off with the rear panel  
switch. You can also use  
headphones as an alterna-  
tive monitoring method.  
4-track cassette  
deck and  
transport controls.  
Cassette transport  
controls are just  
the same as on  
any cassette deck.  
Ampworks effect. Use this to  
give your playing a distinc-  
tive sound.  
Stereo head-  
phones go in  
here  
Mixer section. Controls the  
input levels, record enabling,  
and output levels of the tracks,  
as well as the effects for the  
tracks, and the pan positions.  
Guitars, basses, microphones, synthesizers and  
so on go into these 1/4-inch jacks.  
6
 
 
Setting up the CR-4  
To use the CR-4, you need to make enough  
room on a level firm surface for the unit itself,  
and also leave enough space for connections.  
There are two kinds of connections to make (as  
well as the power connection): the audio con-  
nections to the CR-4 and the connections from  
the unit.  
...............  
Connecting the power  
Making sure that the AC adapter is the correct  
voltage for your region, connect the plug of the  
power cord to the power inlet of the CR-4, and  
the plug of the adapter to an AC outlet.  
Switch on any rhythm machines, synthesizers  
or other input devices connected to the CR-4.  
Then switch on the CR-4.  
You may want to look at the “road map”  
(p.6) before going much further.  
Connections to the CR-4  
Connections to the CR-4 include microphones,  
guitars, synthesizers and rhythm units, etc.  
Now you can switch on the recorder, if this is  
connected.  
We always recommend switching on  
equipment starting with the source, and  
finishing with the final destination. Switch  
off equipment in the reverse order, ending  
with the source.  
All of these are made through the 1/4" jacks on  
the front panel.  
We always suggest that you connect and  
disconnect equipment to and from the CR-  
4 and turn equipment on and off with the  
headphone and speaker [MASTER] vol-  
ume turned down. This protects your ears,  
as well as the speakers and headphones.  
...............  
Inserting the tape  
It’s a good idea to invest in a tape-cleaning  
kit, and clean the heads of the CR-4 before  
and after every recording session (we do  
not suggest that you use dry cassette-type  
head cleaners—cotton swabs and tape  
head and rubber cleaning fluid kits are  
ideal). This will help you maintain a high  
standard of recording, and will make your  
work sound much better.  
...............  
Connections from the CR-4  
The connections that you need to make from  
the CR-4 are the headphones and the connec-  
tions to the master stereo recorder.  
Connect headphones to the 1/4" [PHONES]  
jacks on the front panel. Use the [MAIN] jack if  
you are only connecting one pair of head-  
phones (the [SUB] output doesn’t work on its  
own).  
You may also want to consider the use of a  
tape head demagnetizer. Follow the  
instructions of the demagnetizer for opti-  
mum results.  
Remember to use only CrO2 tape (Type II)  
tapes.  
Connect any standard cassette recorder, etc.  
using the RCA jacks on the rear panel of the  
CR-4. These should be connected to the [REC  
IN] or [IN] of the recorder.  
7
 
         
Setting up the CR-4  
You may want to take up any slack in the tape  
cassette, using a pencil, before you load it into  
the CR-4.  
1
Lift the cassette lid (use your fingers—  
there’s no eject button).  
2
Mark the tape with your project (song)  
name and the date, and add “CR-4” so that  
you know in the future that it’s a multi-  
track tape.  
3
Insert the tape, fully rewound to the start  
(with the full spool on the left side).  
It’s a good idea to always use the same side  
(side A) of tapes for multitrack recording.  
That way, you won’t be confused in the  
future.  
4
5
Close the cassette lid.  
Press [PLAY] to play the tape for about ten  
seconds, press [STOP] and press the tape  
counter reset button.  
This prevents you recording on the non-  
recording leader tape at the start of cas-  
settes.  
You are now ready to start recording as  
explained below (p.9).  
8
 
Making your first recording  
For this recording, let’s assume that you are  
starting with a bass and drum part on the first  
two tracks and the drum sounds will come  
from a rhythm (drum) machine.  
Set the [TRIM] and faders of tracks 1, 3 and  
4 to their minimum levels (this prevents  
any unwanted noise from intruding on  
your recording).  
The bass guitar will be recorded on track 1, and  
the drum part on track 2. There’s also one gui-  
tar part (track 3) and one vocal part (track 4).  
Of course, your arrangement may be different,  
but we suggest you read through and follow  
this example as closely as you can.  
4
Press the [REC/OL] button for track 2, so  
that the [REC/OL] indicator flashes green.  
Play the rhythm machine again. If the indi-  
cator turns red, the signal is too loud. Pull  
down the fader a little.  
We’ll record the bass using the Ampworks  
effects. We’ll record the rhythm machine  
first with no effects, and then play the bass  
part, backed by the recorded rhythm  
machine, using the Ampworks effects.  
5
Adjust the [MASTER] fader for a comfort-  
able monitoring level from the headphones  
and the speakers.  
...............  
Recording the rhythm machine  
1
Connect the mono output of the rhythm  
machine to the [TR 2] input.  
2
Adjust the level, etc. of the the rhythm  
machine and play it. Adjust the CR-4’s  
track 2 [TRIM] control so that the red indi-  
cator lights very briefly on only the very  
loudest parts.  
Be careful not to damage your hearing (or  
the speakers or headphones).  
6
7
Stop the rhythm machine. If you need to  
“rewind” it to the start of the song, do so.  
Press the [RECORD] button (which also  
presses the [PLAY] button. The tape starts  
moving and recording starts on track 2.  
Start the rhythm machine.  
3
Move the fader up for track 2 so that it’s  
between [7] and [8] (the unity gain posi-  
tion).  
You can also use the [PAUSE] button to  
prepare for recording without actually hav-  
ing the tape moving (press and hold the  
[RECORD] button and press the [PAUSE]  
button).  
9
 
   
Making your first recording  
8
9
When you reach the end of the rhythm  
track, stop the rhythm machine, press the  
[PAUSE] button, and then press the [STOP]  
button. Rewind the tape to the zero posi-  
tion (where you started the recording).  
Turn down track 2’s [TRIM] control and  
disconnect the rhythm machine .  
There is no “right” or “wrong” model to  
choose here; different amplifier models suit  
different guitars and playing styles. Experi-  
ment until you find the basic sound that  
suits you best.  
4
You can add an effect such as chorus, to  
thicken up the sound, using the Ampworks  
rotary control:  
IMPORTANT! Press the [REC/OL] button  
for track 2 to make it safe, and prevent you  
from recording over it.  
When you start recording, you will record  
on any “armed” track, with its [REC/OL]  
button pressed, even if nothing is con-  
nected to the track inputs! Remember to  
“disarm” (or “safe”) a track when you have  
finished recording it.  
Use the Ampworks controls to adjust the  
tone of the bass, as well as the gain and  
amount of effect if you use one.  
...............  
Recording a bass  
For full details of how to use the Amp-  
works effect, see the appropriate section  
1
Connect your bass to the [TR 1] input.  
5
6
Prepare the track for recording (“arm” it)  
using the [REC/OL] button, and adjust the  
fader as you did for the rhythm machine  
(so that the [REC/OL] indicator barely  
lights on the loudest bass passages).  
Press [PLAY] and play the bass part along  
with the recorded rhythm part.  
2
Play your bass and adjust the [TRIM] con-  
trol for track 1 so that the [TRIM] indicator  
only lights briefly on the very loudest  
notes.  
3
Now we’ll use the effects. Turn on the effect  
for track 1, using the track’s [EFFECT]  
switch.  
Use the fader of track 2 (the rhythm track)  
to adjust the relative levels, so that you can  
hear the bass, while still having the rhythm  
section loud enough to play in time.  
7
Record the bass part as you did the rhythm  
part. Remember to “safe” the track by  
pressing the [REC/OL] button when  
you’re done.  
Select an amplifier/speaker model using  
the Ampworks rotary control:  
10  
 
 
Making your first recording  
............... ...............  
Recording a guitar  
Recording vocals  
This is almost the same as recording the bass.  
Use track 3 for the guitar part. Unplug the bass  
from input 1, and connect the guitar to input 3.  
Adjust the [TRIM] as you did for the bass (and  
don’t forget to turn down the [TRIM] on track  
1).  
For this track (track 4), use a microphone for  
the vocals. If you use speakers while you  
record with a microphone, there’s a risk of  
feedback. Turn the speakers off, using the  
switch on the rear panel, and use headphones  
for this track.  
You will probably want to choose another  
Ampworks amp/speaker combination and  
effect for the guitar as well as adjusting the  
tone controls, etc. (p.14).  
Remember to turn track 3’s [EFFECT] switch  
on and track 1’s [EFFECT] switch off (a maxi-  
mum of one [EFFECT] switch can be on at a  
time—you can turn off all [EFFECT] switches  
by pressing the switch that’s on lightly to turn  
it off).  
When you have adjusted the guitar recording  
volume using fader 3, you should use faders 1  
and 2 to adjust the playback volume of the pre-  
viously-recorded bass and rhythm to match the  
volume of the guitar. Remember that this is  
only to help you play in time—when you’re  
ready for the final mixdown, you can adjust the  
volumes as you want.  
When you use the [TRIM] control to adjust the  
input volume, you will probably have to turn it  
clockwise in order to get the correct level  
(microphones have lower levels than other  
input sources).  
There are two built-in microphone modelers  
(VOCAL1 and VOCAL2) which you can use  
with your vocal line as well as the acoustic (AC  
EQ) position, but you can use other models if  
you want.  
You will probably want to add a little reverb or  
echo to your vocal line to make it sound a bit  
more spacious.  
Make sure the track 4 [EFFECT] switch is on to  
enable the models and/or effects.  
Use the [REVERB] or the [DELAY] setting here  
and adjust the tone, etc. so that it suits your  
voice (you may want to make a few test record-  
ings and listen to them to see how you really  
sound. Remember to turn the [REC/OL but-  
ton] on while you’re recording, and off when  
you’re playing back).  
Let’s take a look at the [PAN] controls.  
These allow you to position the tracks  
between the left and right speakers (or all  
in the left or right speaker, if you want).  
When you’re recording, especially when  
you’re using headphones, you may find it  
helpful to play back the previously  
recorded tracks in one channel, and the  
track you’re recording in the other.  
You don’t need to record all the vocals in  
one take. You can record the first verse and  
chorus, for example, stop the tape, record  
the next verse, etc. This works as long as  
there is a short space between the vocal  
passages, otherwise the vocals will start to  
sound a little “patchy”.  
Turn down the track 3 [TRIM] control, and  
unplug the guitar. Turn the track 3 [EFFECT]  
switch off, and “safe” the guitar track when  
you’re done, so you don’t accidentally record  
over the top of it.  
Once you’ve recorded the vocals, you’re ready  
to start mixing down to make a stereo record-  
ing. Once again, remember to “safe” the vocal  
track so you don’t record over it!  
To prevent any accidental recording on  
your multitrack cassette, you can punch  
out the write-protect tab from the recording  
side (side A).  
11  
 
   
Making your first recording  
...............  
tracks hard left and hard right to keep the orig-  
inal stereo image produced by the source.  
Typically, the aim is to make the listeners feel  
as though they are “really there”, listening to  
the original performance, but you can often use  
pan positions for special effects, and an unnat-  
ural pan position (or change to the pan posi-  
tion) is an attention-grabber. Remember that  
people listening on mono equipment (AM  
radio, etc.) won’t hear the benefits of this,  
though.  
Mixdown  
For mixdown, it’s a good idea to use speakers,  
rather than headphones, so turn the speakers  
back on.  
Unplug the headphones to achieve the best  
sound quality from the [LINE OUT].  
Mixing levels  
When you’re mixing down, make sure that the  
master meter’s [+6] indicator is only lighting in  
the louder passages. If it is continuously lit,  
you will overload the amplifier of the CR-4 and  
cause distortion.  
Making the mix  
When you’ve adjusted the level, you should:  
1
Rewind the CR-4 tape to a little before the  
start of your recording.  
If you’re recording to a digital recorder (such as  
a CD or MD recorder), remember that digital  
distortion is extremely unpleasant—you  
should adjust the input levels of your recorder  
or (if it has no recording level controls) the  
[MASTER] fader).  
On the other hand, if you make the recording  
too quiet, you may hear background noises  
and tape hiss which you don’t want.  
You may want to move the [MASTER] fader to  
about the [4] position, and get a balance before  
adjusting the master level.  
2
If you’re mixing to a tape, rewind the ste-  
reo tape to a little before you want to start  
the mix (you don’t need to do this if you’re  
recording to disc). Put your stereo recorder  
in record ready mode.  
3
4
Play back the CR-4 tape, and if your stereo  
recorder has meters, watch them carefully  
at the loudest parts to make sure that you  
are not recording at too high a volume.  
Adjust the recording level (or if your stereo  
recorder has no recording level controls,  
lower the CR-4’s [MASTER] fader).  
Rewind the CR-4 tape to a little before the  
start of your song.  
5
6
Play back your CR-4 tape.  
Start recording on your stereo recorder in  
the quiet passage before the song actually  
starts.  
7
8
At the end of the song, stop your recorder,  
and then stop the CR-4 tape.  
You can now listen to the mixed tape. It’s  
quite possible that you will not get it per-  
fectly right first time, so be prepared to do  
it again (and again!) until you get it right.  
There are no absolute rules for mixing, but you  
should try to avoid making one part too loud at  
the expense of all the others.  
When you’ve finished, we suggest you  
clean the tape heads of your CR-4 before  
turning it off and putting it away.  
Mix positions  
You can also use the [PAN] controls to position  
the different tracks in the mix.  
Typically, lead vocals reside in the center,  
equally balanced between the left and right  
channels.  
If you have recorded a stereo source (stereo  
rhythm machine, synthesizer, etc.) on two  
tracks, you will probably want to pan these  
12  
 
 
More advanced techniques  
Here are a few more techniques that you can  
use to help with your recording.  
3
Connect the [LINE OUT] of the stereo  
recorder to inputs 1 and 2 of the CR-4. You  
may not want to add any effects to these  
tracks just yet, so make sure all [EFFECT]  
switches are off.  
Arm all the CR-4 tracks from 1 through 4  
(so that you write over the previously  
recorded tracks). Move the [TRIM] controls  
and the faders of tracks 3 and 4 to their  
lowest level (all the way down).  
Play back the stereo recording, and adjust  
the [TRIM] controls of tracks 1 and 2.  
Start recording on the CR-4 and play back  
the mixed stereo recording from the begin-  
ning. Disconnect the stereo recorder from  
the CR-4 inputs, and safe all CR-4 tracks.  
...............  
Multi-track recording  
The CR-4 allows you to record four tracks at  
once. The example we gave above only  
recorded one track at a time.  
4
If you are recording a group of musicians, you  
can record more than one track at once, and  
adjust the balance later.  
You can record on a pair of tracks (either 1+2 or  
3+4). Press one [REC/OL] button, and then the  
other [REC/OL] button of the pair to arm. You  
can also arm and record on all four tracks by  
using four fingers to press all four [REC/OL]  
buttons together.  
5
6
If you’re using a cassette recorder as your  
stereo recorder, you can take the mixed cas-  
sette from the stereo recorder and put it in  
the CR-4. The stereo tracks will become  
tracks 1 and 2 on the CR-4. Remember you  
cannot use noise reduction on your stereo  
cassette recorder, and because the track lay-  
out of the CR-4 is different to that of an  
ordinary cassette recorder, you must use  
only one side of the stereo cassette.  
If you are recording on more than one track,  
remember that only one track at the most can  
use the Ampworks effects. Don’t try to press  
more than one [EFFECT] switch at the same  
time.  
...............  
Expanding the inputs  
You can use a small mixer to mix together sev-  
eral different instruments (for example, a ste-  
reo chorus rhythm guitar and a buttonboard  
with the bass), and use this to feed two tracks.  
The other two tracks can then be used for lead  
guitar and vocals.  
7
Now you can use tracks 3 and 4 for new  
tracks, along with the previous tracks now  
bounced onto 1 and 2.  
Once you’ve mixed your first four tracks to  
stereo, there’s no way of separating them  
again! So if you decide after recording  
tracks 5 and 6 that the bass is too quiet (or  
you notice a wrong note!), there’s not a lot  
you can do about it. You may want to use a  
new cassette for the bounced tracks, and  
preserve your first four tracks on the origi-  
nal cassette.  
Typically, you’ll create a stereo sub-mix using  
the small external mixer, and record the left  
and right outputs of the mixer on two tracks.  
When you come to mix down, you’ll pan these  
two tracks hard right and hard left.  
...............  
Expanding the number of tracks  
The CR-4 is restricted to four tracks on a cas-  
sette, but you can record more than four tracks  
in a song if you use a mixdown stereo recorder.  
...............  
Using the noise reduction  
As part of the Ampworks effector, there is a  
noise-reduction system built in. If you’re play-  
ing a noisy guitar, or using a microphone in a  
noisy situation, this allows you to cut out the  
unwanted sound in quiet passages while let-  
ting through the wanted sound when the  
threshold level is reached.  
It’s probably best to use a digital (CD or  
MD) recorder as your stereo recorder, to  
avoid tape hiss and noise building up.  
1
2
Record the first four tracks as described  
Mix down to the stereo recorder(p.12)  
and rewind your CR-4 tape to the start of  
the recording (or insert a new tape).  
Adjust the threshold level by pressing and  
holding the [TAP] button and turning the  
[EFF. DEPTH] control.  
13  
 
         
Ampworks effects  
These rotary dials allow you to choose a model  
to add life to your playing, as well as allowing  
you to select a digital effect.  
There is also another “combination” function:  
noise reduction (p.13).  
Modeling type  
...............  
What is REMS (  
)?  
The models available are:  
(Resonant structure and Electronic cir-  
cuit Modeling System) is KORG’s proprietary  
sound modeling technology which precisely  
reproduces the complex character and nature of  
both acoustic and electric instruments as well  
as electronic circuits in real world environ-  
Clean channel of a high-end 100  
watt hand-made amp  
BTQ CLN  
2 x 12 combo amp indispensible  
for country or blues players  
BLK212  
Brilliant channel of a VOX  
AC30TB  
UK-manufactured 100 watt mas-  
ter volume head (from 1983)  
UK-manufactured 100 watt mod-  
ern amp  
AC30TB  
UK ’80S  
UK MDN  
ments.  
emulates a wide variety of  
sound generation characteristics including  
instrument bodies, speakers & cabinets, acous-  
tic fields, microphones, vacuum tubes,  
transistors, etc.  
High-gain amp with metal plate  
NU METAL  
VALVE  
...............  
A tube bass amp with the ULTRA  
LO switch turned ON  
A bass amp that is typical of the  
LA sound  
3-band EQ for direct line input,  
and acoustic guitar  
Widely used Austrian condenser  
microphone sound  
Controls  
[MID-FC/GAIN] With the VOCAL1, VOCAL2,  
VALVE, LA STUDIO and AC EQ modeling set-  
tings, adjusts the mid frequency. With other  
settings, acts as a gain control. The higher you  
turn this control, the more distortion you will  
add to the sound.  
LA STUDIO  
AC EQ  
VOCAL 1  
VOCAL 2  
[TREBLE] adjusts the amplifier high-frequency  
range.  
Standard dynamic microphone  
[MIDDLE] adjusts the amplifier mid-frequency  
range.  
[BASS] adjusts the amplifier low-frequency  
range.  
[VOLUME] adjusts the amp volume.  
[EFF.DEPTH] adjusts the level of the digital  
effects.  
[TAP] sets the speed of some of the digital  
14  
 
       
Ampworks effects  
...............  
Sets the tremolo modulation  
speed, from 65ms to 2 seconds.  
The tap interval is equal to twice  
the modulation speed.  
Sets the delay time, from 80ms to  
1 second. The tap interval is  
TREM  
Effects  
In addition, there are eleven digital effects you  
can apply to your playing and vocals. These  
are listed here:  
DELAY,  
CHO+DL  
exactly equal to the delay time.  
Produces consistent levels and  
sustain  
COMP  
Sets the reverb decay time, from  
about 0.5 seconds to 8 seconds.  
The tap interval is equal to half  
the reverb decay time.  
REVERB,  
CHO+RV  
Auto wah, applying a wah effect  
that responds to picking. When the  
[EFF.DEPTH] control is in the left  
half, this effect produces a down  
sweep, and when in the right half,  
produces an up sweep.  
WAH  
Note that you cannot use the [TAP] button  
with the COMP or WAH effects.  
If you want to use an external amp modeler (or  
record Ampworks effects without modeling),  
turn the [MODELING TYPE ] control to AC  
EQ. This position turns off Ampworks’ amp  
modeling function and allows you to use three-  
band EQ, noise reduction and effects as  
desired.  
Vintage chorus.  
CHORUS  
FLANGE  
PHASER  
TREM  
ROTARY  
DELAY  
Vintage flanging.  
Vintage phasing.  
Vintage tremolo.  
Simulates a rotary speaker.  
Delay  
Simulates a spring reverb  
Vintage chorus and delay  
Vintage chorus and spring reverb.  
REVERB  
CHO+DL  
CHO+RV  
...............  
The TAP control  
Use the [TAP] control to match the timing of  
the digital effects with your music.  
Use it in the following way—press the [TAP]  
button a number of times. The last two taps  
determine the timing of the effect. The indica-  
tor by the [TAP] button shows the current  
effect speed.  
Use tap timing with the following effects:  
Sets the modulation speed for  
these effects, from 80ms to 4 sec-  
onds. The tap interval is exactly  
equal to the modulation speed.  
CHORUS,  
PHASER,  
ROTARY  
Sets the flanger modulation  
speed, from 160ms to 8 seconds.  
The tap interval is equal to half  
the modulation speed.  
FLANGE  
15  
 
   
Further uses for the CR-4  
...............  
Using the CR-4 as a guitar combo  
To use the CR-4 as a very portable guitar  
combo, with built-in amp modeling and built-  
in effects:  
1
2
3
Connect your guitar to track 1. Press the  
[REC/OL] button and adjust the [TRIM]  
and fader levels (p.10).  
Switch track 1’s [EFFECT] switch on, and  
select your amp/speaker model and effects  
Now you can play. Adjust the overall vol-  
ume with the [MASTER] fader.  
Using the CR-4 as a pre-amplifier  
If the CR-4’s speakers aren’t loud enough for  
you, use the [LINE OUT] jacks to connect to a  
suitable stereo input of another system, allow-  
ing you to use the amp/speaker modeling and  
effects through a larger system.  
Be sure that the input of the other system  
matches the output of the CR-4 (see the  
specifications). You can damage the CR-4  
and the other equipment if they do not  
match.  
Simply press the [REC/OL] button of any  
tracks that you want to output through the  
other system. After setting the [TRIM] levels,  
adjust the pan position [PAN] and level (fad-  
ers) of each track.  
The [MASTER] fader is probably best left at the  
[7] or [8] position. Adjust the overall level with  
the other unit’s volume control.  
You can use the CR-4 to do solo gigs in this  
way, if you’ve recorded your backing on  
two tracks of a CR-4 cassette. Play back  
these backing tracks, with a microphone  
connected to one of the unused tracks, and  
a guitar connected to the other. You can use  
a separate guitar processor or stomp box to  
give one set of effects for the guitar, and use  
the CR-4’s reverb to add some depth and  
warmth to your vocals.  
16  
 
     
Specifications  
...............  
Headphone outputs (1/4" stereo phone jacks)  
Cassette recorder  
10mW + 10mW  
Output level  
30  
Output impedance  
Frequency response  
Signal-to-noise ratio  
4 tracks, 4 channels  
Track format  
Head configuration  
50Hz to 12.5kHz 3 dB  
43 dB  
1 x 4-track record/replay  
head (Permalloy)  
1 x 4-track erase head  
(ferrite)  
Better than 3.0% (at  
1kHz)  
Total Harmonic  
Distortion  
Better than 40 dB (at  
1kHz)  
65 dB (at 1 kHz).  
Channel separation  
1 x DC motor (capstan  
and reel motor)  
1 7/8 in./sec (4.76 cm/  
sec)  
Motor type  
Tape speed  
Erasure  
...............  
0.25%  
Wow and flutter  
Fast wind time  
Effects  
Approx 120 seconds (C-  
60 tape)  
Compact Cassette (rec-  
ommended tape < C-60)  
High-bias (CrO2 TypeII,  
70µs+3180µs only)  
11 models  
Amp/cabinet  
models  
Tape  
11 + noise reduction  
Effects  
EQ  
Bass, midrange and  
treble controls  
...............  
...............  
Physical specifications  
Dimensional drawing  
434 mm  
(17.1")  
Power requirements  
(supplied power  
adapter):  
USA/CANADA/EX:  
120VAC60Hz (KA233)  
UK/EUR: 230VAC,50Hz  
(UK:KA236,EUR:KA239)  
AUSTRALIA/NZ:  
240VAC 50Hz (Not  
included.)  
13 W, via the supplied  
adaptor  
Power consumption:  
434 x 103 x 322 (mm),  
17.1 x 4.1 x 12.7 (in.),  
Physical dimensions  
(w x h x d):  
4.9 kg (10.8 lb)  
Weight (main unit):  
...............  
Audio specifications and performance  
Mic/line inputs (1/4" unbalanced phone jacks)  
–50dBV or higher  
Input level  
1MΩ  
322 mm  
(12.7")  
Input impedance  
Speakers  
Bass reflex, 8 cm (3.1")  
2.5W + 2.5 W  
Speaker type:  
Peak output power  
LINE OUT (2 x RCA jacks)  
–10dBV  
Output level  
10kΩ  
Output impedance  
17  
 
           
Block Diagram  
3
18  
 
 
 
D00802300A  
IMPORTANT NOTICE TO CONSUMERS  
This product has been manufactured according to strict specifications and voltage  
requirements that are applicable in the country in which it is intended that this  
product should be used. If you have purchased this product via the internet,  
through mail order, and/or via a telephone sale, you must verify that this product  
is intended to be used in the country in which you reside.  
WARNING: Use of this product in any country other than that for which it is  
intended could be dangerous and could invalidate the manufacturer's or distribu-  
tor's warranty.  
Please also retain your receipt as proof of purchase otherwise your product may be  
disqualified from the manufacturer's or distributor's warranty.  
 

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