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CA120D Acoustic Amplifier

Table of Contents:

IMPORTANT SAFETY INSTRUCTIONS

•

READ, FOLLOW, HEED, AND KEEP ALL INSTRUCTIONS AND WARNINGS.

•

DO NOT OPERATE NEAR ANY HEAT SOURCE AND DO NOT BLOCK ANY VENTILATION OPENINGS ON THIS APPARATUS. FOR PROPER OPERATION, THIS UNIT REQUIRES 3”
(75CM) OF WELL VENTILATED SPACE AROUND HEATSINKS AND OTHER AIR FLOW PROVISIONS IN THE CABINET.

•

DO NOT USE THIS APPARATUS NEAR SPLASHING, FALLING, SPRAYING, OR STANDING LIQUIDS.

•

CLEAN ONLY WITH LINT-FREE DAMP CLOTH AND DO NOT USE CLEANING AGENTS.

•

ONLY CONNECT POWER CORD TO A POLARIZED, SAFETY GROUNDED OUTLET WIRED TO CURRENT ELECTRICAL CODES AND COMPATIBLE WITH VOLTAGE, POWER, AND
FREQUENCY REQUIREMENTS STATED ON THE REAR PANEL OF THE APPARATUS.

•

PROTECT THE POWER CORD FROM DAMAGE DUE TO BEING WALKED ON, PINCHED, OR STRAINED.

•

UNPLUG THE APPARATUS DURING LIGHTNING STORMS OR WHEN UNUSED FOR LONG PERIODS OF TIME.

•

ONLY USE ATTACHMENTS, ACCESSORIES, STANDS, OR BRACKETS SPECIFIED BY THE MANUFACTURER FOR SAFE OPERATION AND TO AVOID INJURY.

•

WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK OR FIRE, DO NOT EXPOSE THIS UNIT TO RAIN OR MOISTURE.

•

SERVICE MUST BE PERFORMED BY QUALIFIED PERSONNEL.

•

OUR AMPLIFIERS ARE CAPABLE OF PRODUCING HIGH SOUND PRESSURE LEVELS. CONTINUED EXPOSURE TO HIGH SOUND PRESSURE LEVELS CAN CAUSE PERMA-
NENT 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

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE
THIS APPARATUS TO RAIN OR MOISTURE. TO REDUCE THE RISK OF ELECTRIC
SHOCK, DO NOT REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER
SERVICING TO QUALIFIED SERVICE PERSONNEL.

PRECAUCION

RIESGO DE CORRIENTAZO

NO ABRA

PRECAUCION: PARA REDUCIR EL RIESGO DE INCENDIOS O DESCARGAS ELECTRICAS, NO PER-
MITA QUE ESTE APARATO QUEDE EXPUESTO A LA LLUVIA O LA HUMEDAD. PARA DISMINUOIR EL
RIESGO DE CORRIENTAZO. NO ABRA LA CUBIERTA. NO HAY PIEZAS ADENTRO QUE EL USARIO
PUEDO REPARAR DEJE TODO MANTENIMIENTO A LOS TECHNICOS CALIFICADOS.

ATTENTION

RISQUE D'ELECTROCUTION

NE PAS OUVRIR

ATTENTION: PROTÉGEZ CET APPAREIL DE LA PLUIE ET DE L'HUMIDITÉ AFIN D'ÉVITER TOUT
RISQUE D'INCENDIE OU D'ÉLECTROCUTION. 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.

'IT IS NECESSARY FOR THE USER TO REFER TO THE INSTRUCTION MANUAL'

“ES NECESARIO QUE EL USUARIO SE REFIERA AL MANUAL DE INSTRUCCIONES.”

'REFERREZ-VOUS AU MANUAL D'UTILISATION'

EXPLANATION OF GRAPHICAL SYMBOLS:

EXPLICACION DE SIMBOLOS GRAFICOS:

EXPLICATION DES SYMBÔLES GRAPHIQUES:

'DANGEROUS VOLTAGE'

“VOLTAJE PELIGROSO”

'DANGER HAUTE TENSION'

=

=

Declaration Of Conformity

#33, Effective 01-01-2001

Manufacturer’s Name:

SLM Electronics

Instruction Manual

Production Facility:

1901 Congressional Drive, St. Louis, MO 63146, USA

Production Facility:

700 Hwy 202 W, Yellville, AR 72687, USA

Shipping Facility:

1400 Ferguson Ave., St. Louis, MO 63133, USA

Office Facility:

1400 Ferguson Ave., St. Louis, MO 63133, USA

Product Type:

Audio Amplifier

Complies with the following Standards:

Safety:

EN60065, E60065, C22.2, UL6500 and/or UL813

EMC:

Directive 89/336/EEC, EN55103, EN55013, EN61000,
and/or FCC 47CFR 15B clA

Supplementary information provided by:

SLM Electronics - R & D Engineering

1901 Congressional Drive, St Louis, MO 63146, USA

Tel.: 314-569-0141, Fax: 314-569-0175

2

About the Crate Acoustic CA120D . . . . . . . . . . . . . . . . . 3

The Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

The Rear Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

To Eliminate Instrument Feedback . . . . . . . . . . . . . . . . . 6

The DSP Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

System Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Technical Specifications. . . . . . . . . . . . . . . . . . back cover

About the Crate Acoustic

CA60D:

Designed 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.

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.

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.

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!

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.

Master

Crate Acoustic CA60D

The Instrument channel:

1:Input. The signal output from your acoustic instrument may be connected 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 control. 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 Vocal/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 processing 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.

On the

Rear Panel:

34 33 32 31 30 29 28 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.)

User Manual For Iphone

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!

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).

Crate Acoustic Ca-60d User Manual Crate.com Youtube

User Manual Template

The following chart provides a list of the DSP settings along with a brief description of each effect.

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CA60D Block Diagram:

www.crateamps.com

©1999 SLM Electronics

A Division of St. Louis Music Co.

Crate Acoustic Ca-60d User Manual Crate.com Online

1400 Ferguson Avenue

St. Louis, MO 63133

P/N 47-941-03

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