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About the Crate Acoustic
CA60:
use of a rhythm machine, background tape, or
another mic or instrument.
esigned for the performing artist,
Crate’s CA60 Acoustic Amplifier gives
you more of what you want. More
D
Still more: The master section features a
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.
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 tweet-
er provides clean crisp highs and a natural
midrange blend. A tweeter on/off switch on
the rear panel allows you to deactivate the
high frequency driver if desired.
The CA60 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 cabi-
net 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.
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 sound, and a three-band rotary
EQ. An easy-to-use feedback elimination cir-
cuit 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
The CA60 Acoustic Amplifier. Designed to
be its best, so you can sound your best!
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Crate Acoustic amplifiers are
Made With Pride in the U.S.A.
Technical
Specifications:
To get this amplifier to sound its best,
read this owner’s guide prior to its use.
Output Power Rating: 60 watts RMS total system power
Internal Amp: 2 x 30 watts RMS @1% THD
Inst. Channel: Low: +/-15dB @ 80Hz
Mid: +/-15dB @ 650Hz
To keep this amplifier looking its best,
avoid abrasive cleansers. Wipe the cab-
inet clean using a slightly dampened
cloth. Never use brass cleaners on the
hardware since they could damage
their protective coatings.
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
Voc./Aux Channel: Low: +/-15dB @ 80Hz
High: +/-15dB @ 10kHz
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
Input Impedance: 3k ohm (Lo-Z), 20k ohm (Hi-Z)
Input Sensitivity: 3mV RMS (Lo-Z), 15mV RMS (Hi-Z)
Sens. to Eff Send/Line out: 9mV (Lo-Z), 50mV (Hi-Z)
Max Input Signal: 10v RMS (28v peak to peak)
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER.
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
ATTENTION
VORSICHT
RISQUE D'ELECTROCUTION
NE PAS OUVRIR
ELEKTRISCHE SCHLAGGEFAHR
NICHT OFFENEN
Effects Loop: Line Out 1v RMS,
Line In 1v RMS
ATTENTION: POUR REDUIRE D'ELECTROCUTION NE PAS
ENLEVER LE COUVERCLE. AUCUNE PIECE INTERNE N'EST REPRABLE
Eff Return to Line Out Sens: 50mV
PAR L'UTILISATEUR. POUR TOUTE REPARATION, S'ADRESSER
TECHNICIEN QUALIFIE.
A
UN
Eff Return In. Impedance: 11k ohm
VORSICHT: ZUR MINIMIERUNG ELEKTRISCHER SCHLAGGEFAHR NICHT
DEN DECKEL ABENHMEN. INTERNE TEILE KONNEN NICHT VOM
BENUTZER GEWARTET WERDEN. DIE WARTUNG IS QUALIFIZIERTEM
WARTUNGSPERSONAL ZU UBERLASSEN.
Eff Send Out. Impedance: 2.2k ohm
Line Out Out. Impedance: 220 ohm (Lo-Z), 2.2k ohm (Hi-Z)
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:
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
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT OPEN CHASSIS; DO
NOT DEFEAT OR REMOVE THE GROUND PIN OF THE POWER CORD; CONNECT ONLY
TO A PROPERLY GROUNDED AC POWER OUTLET.
Internal Tweeter: High efficiency Piezo,
110dB 1w 1m
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE
THIS EQUIPMENT TO RAIN OR MOISTURE.
Internal Crossover: Passive type
Power Requirements: 120VAC, 60Hz, 60VA;
100/115VAC, 50/60Hz, 60VA;
CAUTION: NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED
SERVICE PERSONNEL.
230VAC, 50/60Hz, 60VA
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.
Size and Weight: 13-1/2”H x 21-3/16”W x 10-1/4”D,
42 lbs.
"DANGEROUS VOLTAGE"
“VOLTAJE PELIGROSO”
"DANGER HAUTE TENSION"
"GEFAHLICHE SPANNUNG"
EXPLANATION OF
GRAPHICAL SYMBOLS:
=
"
NES.”
"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"
=
"UNBEDINGT IN DER BEDIENUNGSANLEITUNG NACHSCHLAGEN"
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.
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On the
Front Panel:
Instrument
Vocal / Aux
Gain
Phantom
Chorus
Depth
Master
Level
Active
Rev/Eff
Send
Rev/Eff
Send
Rev
Power
Low-Z
Hi-Z
Input
Gain
Low
0
Mid
High
Freq
500Hz
Cut
-15dB
Rate
Low
0
High
0
Return
Piezo
0
0
Shape
Chorus
0
10
–15
+15
–15
+15
–15
+15
80Hz
4kHz
0
–30dB
0
10
0
10
0
10
0
10
–15
+15
–15
+15
0
10
0
10
0
10
Peak
Chorus
Crate Acoustic CA60
16 17 18 19
20
21
22
23
24
25
1
2 3
4
5
6
7
8
9
10
11 12 13
14
15
The Instrument channel:
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.
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).
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 phantom power to pins 2 and 3 of the Low-Z input jack (#15), for
proper operation of microphones requiring phantom power. (Mics not
needing phantom power will not be 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
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 the 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.
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 con-
trol, 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 con-
trol, 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.
The Master Section:
23: Rev Return. Use this control to adjust the amount of internal reverb –
rotate the control clockwise to increase the effect, counter-clockwise to
decrease it.
24: Level. Use this control to set the overall output level of the amplifier.
25: 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.
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On the
Rear Panel:
33: 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.)
Effects
Loop
Foot
Line Outputs
Switch
Not Shown:
Off
On
0
10
Gnd
Lift
Power cord. Connect the end of this cord to a suitable source of line volt-
age. 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!
Level
Low Z
Bal.
High Z
Bal.
Return
Send
Reverb/
Chorus Tweeter
33
32
31 30 29
28
27 26
26: Tweeter On/Off swtich. This switch, when depressed, deactivates the
CA60’s internal tweeter.
27: Footswitch. Connect the supplied two-button footswitch here for
remote on/off control of the internal reverb and chorus. (When connect-
ed, 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.
28: 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.
29: 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.
30: Ground Lift. This switch, when depressed, electronically disconnects
the low Z balanced output jack’s chassis ground connection. If you expe-
rience excessive noise when using the low Z balanced output jack,
depress this switch.
31: 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 ampli-
fier by means of an 1/4” stereo plug-terminated cable. (Ring is signal +,
tip is signal -, and sleeve is ground.)
32: 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 amplifi-
er by means of an XLR-terminated cable. (Pin 1 is ground, pin 2 is signal
+, and pin 3 is signal -.)
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 res-
onant 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 CA60 can be eliminated without affecting the overall sound.
Chances are, you may not have a problem with feedback at all. In
that case, set the CA60’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
counter-clockwise as possible. This approach effectively eliminates
instrument feedback without sacrificing the quality of your sound.
CA60 Block Diagram:
left right
line out
effects
instrument
effects
send
channel
chorus
input
filter
tones
chorus
on
on
rev/
effect
send
active piezo
reverb
return
freq cut
gain
low mid high shape
depth rate
spring reverb
peak
phantom
power
high pass
filter
line out
high
low
tweeter
on/off
rev/
effect
send
vocal/aux
channel
low-z
input
hi-z
bal.
on
chorus
right
left
tones
low-z
bal.
level
30w
master
level
effects
return
gain
low high
hi-z
input
low
30w
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©1999 SLM Electronics
A Division of St. Louis Music Co.
1400 Ferguson Avenue
P/N 47-941-01
09/99
St. Louis, MO 63133
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