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
Gain
Input
-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
16
11 12
5
2
18
19
20
21
22
23
24
25
26
17
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 live-
ly 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 sig-
nal 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 prop-
er 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 avail-
able 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 chan-
nel. 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 live-
ly 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 bot-
tom 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 reso-
nant feedback at specific frequencies. Instrument tone controls and sound
board equalizers are helpful in getting rid of the problem, but they typical-
ly 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 elim-
inated 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 con-
trol as needed. Continue reducing the Cut control and readjusting the Freq
control until there is no more feedback with the Cut control as far counter-
clockwise as possible. This approach effectively eliminates instrument feed-
back without sacrificing the quality of your sound.
Содержание CA 60D
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