Crate Amplifiers CA60 manual Front Panel, Feedback

On the

Front Panel:

	Active						Instrument						Rev/Eff			Chorus					Vocal / Aux							Rev/Eff			Rev	Master
Input		Gain			Low		Mid	High		Freq		Cut				Depth		Rate		Low-Z	Hi-Z				Low	High						Level		Power
													Send									Gain						Send		Return
	Piezo																				Phantom
					0		0		0	500Hz		-15dB													0		0
	Shape	0	10	Peak –15	+15	–15	+15	–15	+15	80Hz 4kHz	0	–30dB	0	10	Chorus	0	10	0	10		Chorus	0	10	–15	+15	–15	+15	0	10	0	10	0	10
																															Crate Acoustic CA60
1	2 3		4	5	6		7		8	9		10		11	12		13	14		15	16 17 18		19		20		21		22		23	24		25

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 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.

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 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.

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.