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D
esigned for the performing artist,
Crate’s CA60D Acoustic Amplifier
gives you more of what you want.
More power. More clarity. More control. And,
more freedom. Imagine: microphone quality
sound, without feedback. And without being
“chained” to a mic stand!
More power: twin 30-watt RMS power
amplifiers drive a pair of specially designed
high fidelity 6-1/4” transducers for plenty of
volume and low end punch.
More clarity: a highly efficient Piezo tweeter provides clean crisp highs and natural
midrange blend. A tweeter on / off switch on
the rear panel allows you to deactivate the
high frequency driver if desired.
More control: two independent channels,
each with its own gain and reverb/effects
controls. The Instrument channel features an
“Active/Piezo” switch to properly match the
pickups of your instrument, a “Shape” switch
for a richer soumd, and a three-band rotary
EQ. An easy-to-use feedback elimination circuit with frequency select and cut controls lets
you kill feedback without sacrificing sound
quality. Plus a footswitchable chorus with
depth and rate controls.
The Vocal/Aux channel offers both low
and high impedance inputs and allows the
use of a rhythm machine, background tape, or
another mic or instrument.
Still more: The master section features
reverb return control and the master level
control. A footswitch jack on the rear panel
provides control for reverb and chorus.
Level-controllable XLR and 1/4” balanced
line outs allow you to patch into house sound
boards or recording consoles, plus an effects
loop line-in/line-out setup allows connection
of external effects.
Enough already? Not for us. The CA60D
features Crate’s Digital Signal Processing
(DSP) for a variety of digital reverbs, effects
and delays specifically designed for acoustic
instruments.
The CA60D was designed, evaluated,
tweaked and redesigned by musicians and
music loving engineers. Highly sophisticated
computer driven assembly machines and
highly skilled assemblers use only the finest
components to produce each amp. Every cabinet is hand-built and hand-covered by trained
craftsmen. The final assembled product is
tested – and played – by skilled musician/
technicians. It is only after the amplifier has
passed this barrage of picky people that it
gets packed up and shipped out.
The CA60D Acoustic Amplifier. Designed
to be its best, so you can sound your best!
About the Crate Acoustic
CA60D:
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Output Power Rating: 60 watts RMS total system power
Woofer Amp: 2 x 30 watts RMS @1% THD
Inst. Channel: Low: +/-15dB @ 80Hz
Mid: +/-15dB @ 650Hz
High: +/-15dB @ 10kHz
Shape: -25dB @ 600Hz
Input Impedance: 25k ohm (Active), 2.2M ohm (Piezo)
Input Sensitivity: 22mV RMS (Active), 9mV RMS (Piezo)
Sens. to Eff Send/Line out: 70mV
Max Input Signal: 6v RMS (17v peak to peak)
Feedback Elimination: Freq: variable from 80Hz to 4kHz
Cut: variable from -0 to -30dB
V
oc./Aux Channel: Low: +/-15dB @ 80Hz
High: +/-15dB @ 10kHz
Input Impedance: 3k ohm (Lo-Z), 20k ohm (Hi-Z)
Input Sensitivity: 3mV RMS (Lo-Z), 15mV RMS (Hi-Z)
Effects Loop: Line Out 1v RMS,
Line In 1v RMS
Eff Return to Line Out Sens:
50mV
Eff Return In. Impedance: 11k ohm
Eff Send Out. Impedance: 2.2k ohm
Line Out Out. Impedance: 220 ohm (Lo-Z), 2.2k ohm (Hi-Z)
Internal Woofers: 2 x 6-1/4” w/polypropylene cones,
rubber surrounds, 17.7oz magnet,
1” voice coil, 4 ohms, 50w RMS,
95dB 1w 1m
Internal Tweeter: High efficiency Piezo,
110dB 1w 1m
Internal Crossover: Passive type
Power Requirements: 120VAC, 60Hz, 60VA;
100/115VAC, 50/60Hz, 60VA;
230VAC, 50/60Hz, 60VA
Size and Weight: 13-1/2”H x 21-3/16”W x 10-1/4”D,
42 lbs.
Technical
Specifications:
Crate Acoustic amplifiers are
Made With Pride in the U.S.A.
To get this amplifier to sound its best,
read this owner’s guide prior to its use.
To keep this amplifier looking its best,
avoid abrasive cleansers. Wipe the cabinet clean using a slightly dampened
cloth. Never use brass cleaners on the
hardware since they could damage
their protective coatings.
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.
THIS EQUIPMENT HAS BEEN DESIGNED AND ENGINEERED TO PROVIDE SAFE AND
RELIABLE OPERATION. IN ORDER TO PROLONG THE LIFE OF THE UNITAND PREVENT
ACCIDENTAL DAMAGES OR INJURY, PLEASE FOLLOW THESE PRECAUTIONARY
GUIDELINES:
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT OPEN CHASSIS; DO
NOT DEFEATOR REMOVE THE GROUND PIN OF THE POWER CORD; CONNECTONLY
TO A PROPERLYGROUNDED AC POWER OUTLET.
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE
THIS EQUIPMENT TO RAIN OR MOISTURE.
CAUTION: NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED
SERVICE PERSONNEL.
CAUTION: OUR AMPLIFIERS ARE CAPABLE OF PRODUCING HIGH SOUND PRESSURE
LEVELS. CONTINUED EXPOSURE TO HIGH SOUND PRESSURE LEVELS CAN CAUSE
PERMANENT HEARING IMPAIRMENT OR LOSS. USER CAUTION IS ADVISED AND EAR
PROTECTION IS RECOMMENDED IF UNIT IS OPERATED AT HIGH VOLUME.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER.
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
"IT IS NECESSARY FOR THE USER TO REFER TO THE INSTRUCTION MANUAL"
“ES NECESARIO QUE EL USUARIO SE REFIERAALMANUALDE INSTRUCCIONES.”
"REFERREZ-VOUS AU MANUAL D'UTILISATION"
"UNBEDINGT IN DER BEDIENUNGSANLEITUNG NACHSCHLAGEN"
EXPLANATION OF
GRAPHICAL SYMBOLS:
"DANGEROUS VOLTAGE"
“VOLTAJE PELIGROSO”
"DANGER HAUTE TENSION"
"GEFAHLICHE SPANNUNG"
=
=
ATTENTION
RISQUE D'ELECTROCUTION
NE PAS OUVRIR
VORSICHT
ELEKTRISCHE SCHLAGGEFAHR
NICHT OFFENEN
ATTENTION: POUR REDUIRE D'ELECTROCUTION NE PAS
ENLEVER LE COUVERCLE. AUCUNE PIECE INTERNE N'EST REPRABLE
PAR L'UTILISATEUR. POUR TOUTE REPARATION, S'ADRESSER A UN
TECHNICIEN QUALIFIE.
VORSICHT: ZUR MINIMIERUNG ELEKTRISCHER SCHLAGGEFAHR NICHT
DEN DECKEL ABENHMEN. INTERNE TEILE KONNEN NICHT VOM
BENUTZER GEWARTET WERDEN. DIE WARTUNG IS QUALIFIZIERTEM
WARTUNGSPERSONAL ZU UBERLASSEN.
Page 4
On the
Front Panel:
Mid
0 10
High
0
–15 +15
Low
0
–15 +15
Rev/Eff
Send
0 10
Depth
0 10
Rate
0 10
Gain
0 10
Low
0
–15 +15
High
0
–15 +15
Rev/Eff
Send
0 10
Level
0 10
Rev
Mode
Return
0 10
Chorus
Phantom
Low-Z
Hi-Z
Power
Freq
Cut
GainInput
-15dB
Piezo
Active
Shape
Instrument
Chorus
Vocal / Aux
Master
80Hz 4kHz
0 –30dB
SPR
LAR
SAR
DLY
Multi
500Hz
Crate Acoustic CA60D
Peak
Chorus
0
–15 +15
1 3 4 6 7 8 9 10 13 14 15 1611 1252 18 19 20 21 22 23 24 25 2617
The Instrument channel:
1: Input. The signal output from your acoustic instrument may be con-
nected here by means of a shielded instrument cable.
2: Active/Piezo switch. Use this switch to select the type of pickup on
your instrument. For active electronic pickups, set the switch to
“active” (switch out). For passive/magnetic pickups, set it to “piezo”
(switch depressed).
3: Shape. This switch, when depressed, serves as a mid-cut control,
adding fullness to the sound of your instrument.
4: Gain. This serves as the input level control for the instrument channel
of the amplifier. For the best signal to noise ratio set this control so the
Peak LED (#5) flashes when playing your instrument fairly hard.
5: Peak LED. This LED flashes when the signal level into the preamp
approaches clipping. Adjust the Gain control (#4) until a strong signal
from your instrument causes this LED to flash.
6: Low. This serves as the instrument channel’s primary bass control.
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.
7: Mid. This serves as the instrument channel’s primary midrange con-
trol. Adjust this control to get the best projection and midrange tones
for your instrument.
8: High. This serves as the instrument channel’s primary treble control.
Adjust this control so your high notes and harmonic overtones are lively but not overpowering.
9: Freq. Use this control along with the Cut control (#10) to eliminate
instrument feedback. For information on the proper use of this control,
please read the section entitled “To Eliminate Instrument Feedback.”
10: Cut. Use this control along with the Freq control (#9) to eliminate
instrument feedback. For information on the proper use of this control,
please read the section entitled “To Eliminate Instrument Feedback.”
11: Rev/Eff send. Use this control to adjust the amount of internal reverb
and/or external effect (if used) for the instrument channel.
12: Chorus On/Off switch. This switch, when depressed, applies the
internal chorus effect to the instrument channel.
13: Chorus Depth. Use this control to adjust the magnitude of the chorus
effect. Rotating this control clockwise increases the intensity of the
effect.
14: Chorus Rate. Use this control to adjust the rate of the chorus effect.
Rotating this control clockwise increases the rate at which the effect
occurs.
The V
ocal/Aux channel:
15: Low-Z input. The signal output from a low impedance microphone
may be connected here by means of a shielded, balanced microphone
cable terminated with an XLR connector.
16: Hi-Z input. The signal output from a high impedance microphone or
a line level signal may be connected here by means of a shielded signal cable terminated with a 1/4” tip/sleeve connector.
17: Phantom Power switch. This switch, when depressed, applies 15 volts
pahntom power to pins 2 and 3 of the Low-Z input jack (#15), for proper operation of microphones requiring pahntom power. (Mics not
needing phantom power will not ne affected by this switch.)
18: Chorus On/Off switch. This switch, when depressed, applies the
internal chorus effect to the vocal/aux channel. (Chorus is only available for this channel when the instrument channel’s chorus switch,
#12, is depressed.)
19: Gain. This serves as the input level control for the vocal/aux channel
of the amplifier. Adjust this control for the best mix with the signals
from the instrument channel.
20: Low. This serves as the vocal/aux channel’s primary bass control.
Adjust this control to get the best sounding bass response for this channel. Excessive boost of the low control can cause an unnatural howling
and should be avoided.
21: High. This serves as the vocal/aux channel’s primary treble control.
Adjust this control so your high notes and harmonic overtones are lively but not overpowering.
22: Rev/eff send. Use this control to adjust the amount of internal reverb
and/or external effect (if used) for the vocal/aux channel.
The Master Section:
23: DSP Mode. Use this control to select the type of digital signal process-
ing applied to the output signal. For a listing of the effects, please see
the section entitled “The DSP Section.”
24: Rev Ret. Use this control to adjust the amount of the internal reverb –
the further you turn to the right the deeper the effect.
25: Level. Use this control to set the overall output level of the amplifier.
26: Power Switch. Use this switch to apply power to the amplifier: the
amp is on when the top of the switch is depressed, off when the bottom of the switch is depressed. This switch will illuminate when the
amplifier is on.
To Eliminate Instrument Feedback:
One of the most common problems encountered when amplifying
acoustic instruments, especially in small environments, is feedback.
Acoustic instruments typically have inherent qualities which cause resonant feedback at specific frequencies. Instrument tone controls and sound
board equalizers are helpful in getting rid of the problem, but they typically operate around relatively wide frequency bands. This almost always
means the musician must sacrifice sound quality in his quest to do away
with feedback. But since Crate’s feedback elimination circuit isolates only
the offending frequency, instrument feedback from the CA60D can be eliminated without affecting the overall sound.
Chances are, you may not have a problem with feedback at all. In that
case, leave the CA60D’s Freq and Cut controls fully counter-clockwise.
However, if you do encounter feedback while playing, set the Cut control
to -30dB (fully clockwise) and adjust the Freq control until the feedback is
gone. Reduce the Cut to the 12 o’clock position and readjust the Freq control as needed. Continue reducing the Cut control and readjusting the Freq
control until there is no more feedback with the Cut control as far counterclockwise as possible. This approach effectively eliminates instrument feedback without sacrificing the quality of your sound.
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On the
Rear Panel:
Tweeter
Gnd
Lift
On
Off
Line Outputs
Return
Send
Level
0 10
Low Z
Bal.
High Z
Bal.
Reverb/
Chorus
Effects
Loop
Foot
Switch
34 2930 283233 31 27
27: Tweeter On/Off switch. This switch, when depressed, deactivates the CA60D’s
internal tweeter.
28: Footswitch. Connect the supplied two-button footswitch here for remote on/off
control of the internal reverb and chorus. (When connected, the footswitch overrides the front panel chorus on/off switch.)
Note: This is a STEREO jack: tip controls the chorus, ring controls the reverb,
sleeve is ground. Use only a footswitch equipped with a stereo 1/4” plug.
29: Effects Loop Send. When using an external signal processor, connect this jack
to the input of the effect by means of a shielded signal cable.
30: Effects Loop Return. When using an external signal processor, connect this jack
to the output of the effect by means of a shielded signal cable.
31: Ground Lift. This switch, when depressed, electronically disconnects the low Z
balanced output jack’s chassis ground connection. If you experience excessive
noise when using the low Z balanced output jack, depress this switch.
32: High Z Bal. Use this jack to connect a high impedance, line level signal to a
house sound board, a recording console or an external power amplifier by
means of an 1/4” stereo plug-terminated cable. (Ring is signal +, tip is signal -,
and sleeve is ground.)
33: Low Z Bal. Use this jack to connect a low impedance, line level signal to a house
sound board, a recording console or an external power amplifier by means of an
XLR-terminated cable. (Pin 1 is ground, pin 2 is signal +, and pin 3 is signal -.)
34: Line Out Level. Use this control to adjust the output level of the line out signal.
(This control works independently from the amplifier’s master level control.)
Not Shown:
Power cord. Connect the end of this cord to a suitable source of line voltage.
Refer to the voltage information on the back of the amplifier for its voltage and
current requirements.
Note: This is a grounded plug. To avoid the possibility of electric shock, DO
NOT defeat the ground connection in any way!
CA60D Block Diagram:
instrument
channel
input
active piezo
freq cut
filter
gain low mid high
peak
shape depth rate
chorus
rev/
effect
send
vocal/aux
channel
low-z
input
hi-z
input
phantom
power
tones
effects
line out
left right
rev/
effect
send
low high
tones
gain
effects
return
left
master
level
30w
low
right
30w
low
high pass
filter
high
reverb
return
mode
effects
send
DSP
low-z
bal.
hi-z
bal.
level
line out
chorus
on on
chorus
on
The DSP
Section:
The CA60D features Crate’s On-Board Digital Signal Processing
(DSP) technology that was designed specifically for use with acoustic
instruments and vocals. This provides a large selection of digital
reverbs, effects and delays. Select the type of effect desired by rotating
the Mode control (#23). This control is divided into five sections: Small
Area Reverbs (SAR), Large Area Reverbs (LAR), Special Reverbs (SPR),
Delays (DLY) and Multiple Effects (Multi).
The following chart provides a list of the DSP settings along with a brief
description of each effect.
SAR:
Small Room 8’ x 8’ empty room w/hardwood floor
Small Rehearsal Hall 20’ x 40’ hall, wood floors, hard walls
LAR:
Large Hall 50’ x 100’ hall, about 50 persons
Concert Hall 5000-seat hall, full crowd
SPR:
Plate Reverb Simulates studio steel plate reverb
Spring Reverb Simulates multi-spring reverb tank
DL
Y: Slapback, short 125ms delay + reverb
Slapback, Med-short 240ms delay + reverb
Slapback, Medium 350ms delay + reverb
Slapback, Long 557ms delay - 630’ travel time
Multi: Short Med. Surface 280ms delay w/21.8% regen + reverb
Medium Hard Surface 335ms delay w/26.5% regen + reverb
Chor-Delay 400ms delay with modulation
Chor-Verb Hall reverb w/modulated pre-delay
Slap-Verb Medium hall w/200ms pre-delay
Instrument Doubler Simulates second track slightly out-of-sync
Mode
DLY
SPR
LAR
SAR
Multi
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www.crateamps.com
©1999 SLM Electronics
A Division of St. Louis Music Co.
1400 Ferguson Avenue
St. Louis, MO 63133
P/N 47-941-03
09/99
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