Crate CA-1PD Owner's manual

Brand: Crate

Model: CA-1PD

Category: Musical Instrument Amplifier

Type: Owner's manual

This manual is also suitable for

CA-1P

Crate CA-1PD

The Crate CA-1PD Acoustic Preamplifier is a versatile and feature-rich preamp designed for acoustic guitarists. It offers two independent channels, each with its own gain, EQ, and reverb/effects controls. Channel one features an "Active/Piezo" switch to properly match the pickups of your instrument, a "Shape" control for a richer sound, and a 3-band rotary EQ. Channel two offers both low and high impedance inputs, allowing you to connect a variety of sources such as microphones, rhythm machines, or other instruments.

The CA-1PD also includes a built-in chorus effect with depth and rate controls, and a feedback elimination circuit with frequency select and cut controls. This allows you to eliminate feedback without sacrificing sound quality. Additionally, the CA-1PD features an effects loop, allowing you to connect external effects pedals or processors.

Crate CA-1PD

CA-1P/1PD

ACOUSTIC

PREAMPLIFIER

OWNER’S

GUIDE

esigned for the performing artist as

well as the studio musician, Crate’s

CA-1P/1PD Acoustic Preamplifier

gives you more of what you want: micro-

phone-quality sound, without feedback. And

without being “chained” to a mic stand!

The CA-1P/1PD features two independ-

ent channels, each with its own gain, eq

and reverb/ effects controls, contained in

an easily interpreted single rack space pack-

age. Channel one features an “Active /

Piezo” switch to properly match the pick-

ups of your instrument, a “Shape” control

for a richer sound and a 3-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 foot-switchable chorus with

depth and rate controls.

Channel Two offers both low and high

impedance inputs and allows the use of a

rhythm machine, background tape, a high

or low-Z mic, or another instrument.

On the rear panel, a footswitch jack is pro-

vided for the reverb and chorus. Level-con-

trollable XLR and 1/4” balanced line out-

puts 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. In addition,

there’s a stereo Headphone jack, direct

Channel Output jacks, and a Stereo Input

jack.

Our optional On-Board Digital Sound

Processing (DSP) offers a variety of digital

reverbs, effects and delays specifically

designed for acoustic instruments, and

available on Crate’s CA-1P/PD.

The CA-1P/1PD was designed by musi-

cians and music-loving engineers. Highly

sophisticated computer-driven assembly

machines and highly skilled assemblers use

only the finest components to produce each

preamp. The final assembled product is test-

ed – and played – by skilled musician/tech-

nicians. It is only after the preamp has passed

this barrage of testing by very particular peo-

ple that it gets packed up and shipped out.

The CA-1P/1PD Acoustic Preamplifier.

Designed to be its best, so you can sound

your best!

About the

CA-1P/1PD:

Crate products are

Made With Pride

in the U.S.A.

To get this preamp to sound its best,

read this owner’s guide prior to its use.

To keep this preamp looking its best,

avoid abrasive cleansers. Wipe the unit

clean using a slightly dampened cloth.

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 DEFEAT OR REMOVE THE GROUND PIN OF THE POWER CORD; CONNECT ONLY

TO A PROPERLY GROUNDED 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 REFIERAAL MANUAL DE 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.

The DSP Section (CA-1PD only):

SAR

LAR

SPR

DLY

MULTI

Crate’s On-Board Digital Sound Processing (DSP)

offers a wide range of different digital reverbs, effects

and delays designed specifically for use with acoustic

instruments and vocals. Select the type of effect desired

by rotating the Rev 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:

Gated Reverb Reverb tail “cut off”

Reverb/Predelay Reverb with a 130ms predelay

Y: Slapback, short 125ms delay + reverb

Slapback, Med-short 240ms delay + reverb

Slapback, Medium 350ms delay + reverb

Slapback, Long 530ms delay - 600’ travel time

MUL

TI: Chor-Delay 400ms delay w/modulation

Chorus Modulation

Flange Short chorus

Delay 1 125ms delay + reverb w/20% regen

Delay 2 125ms delay + reverb w/25% regen

Instrument Doubler Sim. second track slightly out-of-sync

On the Front Panel:

INPUT

GAIN

ACTIVE

PIEZO

SHAPE

PEAK

010

LOW

-15

+15

MID

-15

+15

HIGH

-15

+15 0

-15dB

-30dB

FREQ

80Hz

500Hz

4kHz

1. 2k

175

CUT

CA-1P ACOUSTIC GUITAR PREAMP

CHORUS REVERB

REV/EFF

SEND

010

DEPTH

010

RATE

LOW-Z

HI-Z

010

GAIN

010

PHANTOM

CHORUS

LOW

-15

+15

HIGH

-15

+15

REV/EFF

SEND

010

RETURN

MODE

010010

SAR

LAR

SPR

DLY

MULTI

INPUT

GAIN

ACTIVE

PIEZO

SHAPE

PEAK

010

LOW

-15

+15

MID

-15

+15

HIGH

-15

+15 0

-15dB

-30dB

FREQ

80Hz

500Hz

4kHz

1. 2k

175

CUT

CHORUS

EFFECTS

SEND

010

DEPTH

010

RATE

LOW-Z

HI-Z

010

GAIN

010

PHANTOM

CHORUS

LOW

-15

+15

HIGH

-15

+15

EFFECTS

SEND

010

CHORUS

CA-1P

ACOUSTIC GUITAR

PREAMP

CHANNEL ONE CHANNEL TWO

MASTER

LEVEL

CHANNEL ONE CHANNEL TWO

MASTER

LEVEL

1 32 18174 5 6 7 8 9 10 11 12 13 14 15 16 19 20 21 22 23 24 25

Channel One:

1: Input. Plug a patch cord from your instrument’s output jack here.

2: Active/Piezo switch. Set this switch to match the type of pickup

device on your instrument: for active electronic pickups, set the

switch to “active” (out). For passive/magnetic pickups, set it to

“piezo” (in).

3. Shape. This switch serves as a mid-cut control when pressed in,

adding fullness to the sound of your instrument.

4: Gain. Set this control near its center position for starters, then

adjust to suit your playing style and instrument’s output level. For

the best signal-to-noise ratio, the nearby Peak LED (#5) should

flash occasionally when you play.

5: Peak LED. This indicator LED will light when the input signal is

near the limits of the amp’s input stages. Adjust the Gain control

(#4) so this LED flashes occasionally.

6: Low. 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. Adjust this control to get the best projection and midrange

tones for your instrument.

8: High. Adjust this control so your high notes and harmonic over-

tones are lively but not overpowering.

9: Freq. Used in conjunction with the Cut control (#10), this control

allows you to eliminate feedback at the most offending frequency.

For proper use, read the section entitled “To Eliminate Feedback”

to the immediate right.

10: Cut. Use this control along with the Freq control (#9) to eliminate

feedback, as described in the section entitled “To Eliminate

Feedback” to the immediate right.

11: Effects Send (CA-1P) / Rev/Eff Send (CA-1PD). Adjust the level of

the signal sent to an external effect (if the rear-panel effects loop is

used) or the amount of internal DSP reverb (CA-1PD) for Channel

One with this control.

12: Chorus On/Off switch. Activate the internal chorus by pushing

this switch into its locked-in position; press the switch again

(switch out) to turn the chorus off. This switch is bypassed when a

footswitch is used (see #36, rear panel).

13: Chorus Depth. Adjust how much chorus effect is applied by rotat-

ing this control – the further you turn to the right the greater the

intensity of the effect, pitch wavering up and down.

14: Chorus Rate. Adjust the speed of the chorus effect by rotating this

control – the further you turn to the right the faster the effect.

Channel T

wo:

15: Low-Z input. Connect a low impedance mic cable here for vocals.

16: Hi-Z input. Connect a high impedance mic cable, a rhythm

machine, the output of your backup tape machine or an instrument

here.

17. Phantom. Some low impedance mics require power to be applied

to their signal pins for proper operation. When using this type of

mic, press this switch in. The phantom switch applies 15V to pins

2 and 3 of the low-Z input jack (#15). (Mics not requiring phantom

power will not be affected by the phantom power switch.)

18: Chorus On/Off switch. When Channel One’s chorus switch (#12)

is pressed in, this switch controls the chorus for Channel Two.

(Chorus is only available for this channel when Channel One’s cho-

rus switch is pressed in.)

19: Gain. Adjust the level of the Channel Two input signal with this

control for the best mix with Channel One’s signal.

20: Low. 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.

21: High. Adjust this control so your high notes and harmonic over-

tones are lively but not overpowering.

22: Effects Send (CA-1P) / Rev/Eff Send (CA-1PD). Adjust the level of

the signal sent to an external effect (if the rear-panel effects loop is

used) or the amount of internal DSP reverb (CA-1PD) for Channel

Two with this control.

23: Reverb Mode (CA-1PD only). Selection of digital effects is made

with this control. A listing of the available effects settings is given

in the section entitled “The DSP Section.”

24: Reverb Return (CA-1PD only). Adjust the amount of the DSP

reverb effect with this control - the further you turn to the right the

deeper the effect.

25: Master Level. Set the overall output of the preamp with this con-

trol.

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 eq’s are helpful in getting rid of the problem, but since they

operate around relatively wide frequency bands the musician must sac-

rifice sound quality in his quest to do away with feedback. Since Crate’s

feedback elimination circuit isolates the offending frequency, you can

now eliminate feedback without affecting your overall sound.

Chances are, you may not have a problem with feedback at all. In

that case, leave the CA-1P/1PD’s Freq and Cut controls at the fully-

counter-clockwise position. 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 about the

12:00 position and readjust the Freq control as needed. Continue reduc-

ing the Cut control and readjusting the Freq control until there is no

more feedback with the Cut control as far to the counterclockwise posi-

tion as possible. This way you’ve effectively eliminated instrument

feedback without sacrificing sound quality.

CA-1:

CA-1P:

On the Rear Panel:

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK,

DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE.

AVIS:

RISQUE DE CHOC

ELECTRIQUE. NE PAS OUVRIR.

POWER

AC LINE IN

HEADPHONES/

LINE OUT

MASTER LINE OUTPUT

PIEZO

ACTIVE

010

LOW Z HIGH Z LEVEL

CHANNEL OUTPUT EFFECTS LOOP

RETURN SEND REVERB/

CHORUS

FOOT

SWITCH

STEREO INPUT

CA-1P

2018A

MADE IN THE U.S.A. BY SLM ELECTRONICS

1400 FERGUSON AVE., ST. LOUIS, MO 63133

TIP = ONE, RING = TWO

TIP = TWO, RING =ONE

CHANNEL ASSIGNMENT

CHANNEL TWO CHANNEL ONE

3635343332313029282726 393837

CA-1P/1PD Block Diagram:

channel 1

stereo

input

active piezo

freq cut

filter

gain low mid high

peak

shape depth rate

chorus

rev/

effect

send

active

piezo

channel 2

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

right

reverb

return

reverb mode

effects

send

DSP

low-z

bal.

hi-z

bal.

headphones/

line out

level

line out

ch. 1

out

footswitch

chorus

on on

chorus

ch. assign

ch. 2

out

CA-1PD

only

26: Power Switch. Turns the preamp on and off – lights up when the pre-

amp is on.

27: Line In. Connect the female end of the AC line cord here. Connect the

male plug to a suitable source of line voltage. Refer to the voltage

information on the back of the preamp 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!

28: Headphones/Line Out Master. Use this jack to connect a pair of stereo

headphones or to send an high impedance, unbalanced line level

stereo signal to a house sound board, a recording console or an exter-

nal power amplifier by means of an 1/4” stereo plug-terminated cable.

The level at this jack is controlled by the Master Level knob (#25, front

panel).

29: Low Z Bal. Use this jack to connect a low impedance, balanced line

level mono 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 -.) The level at this jack

is controlled by the Line Out Level knob (#31).

30: High Z Bal. Use this jack to connect a high impedance, balanced line

level mono 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.) The level

at this jack is controlled by the Line Out Level knob (#31).

31: Line Out Level. Adjust the level of the line out signal with this control

- the further you turn to the right the stronger the signal. (This control

works independently from the master level control.)

32: Channel Two output. Use this jack to connect an unbalanced, line level

mono “direct out” signal from Channel Two to a house sound board, a

recording console or an external power amplifier by means of an 1/4”

mono plug-terminated cable. This signal is post-EQ and pre-Master

Level.

33: Channel One output. Use this jack to connect an unbalanced, line level

mono “direct out” signal from Channel One to a house sound board, a

recording console or an external power amplifier by means of an 1/4”

mono plug-terminated cable. This signal is post-EQ and pre-Master

Level.

34: Effects Loop Return. Patch into an external effects device using this

jack and the Effects Loop Send jack (#35). Connect a shielded cable

from the output jack of the external effects unit to this jack.

35: Effects Loop Send. Connect a shielded cable from this jack into the

input jack of the effects unit.

36: Footswitch - CA-1P: Connect a one-button footswitch (such as the

Crate CFP-1) here for remote on/off control of the chorus. When con-

nected, the footswitch overrides the front panel chorus on/off switch.

The footswitch tip controls the chorus; sleeve is ground.

CA-1PD: Connect a two-button footswitch (such as the Crate CFP-2)

here for remote on/off control of the DSP section and chorus. When

connected, the footswitch overrides the front panel chorus on/off

switch. The footswitch tip controls the chorus, ring controls the DSP;

sleeve is ground.

37: Channel Assignment switch. This switch assigns the tip and ring con-

nection of the Stereo Input jack (#39) as follows:

Switch OUT: Tip = Channel One, Ring = Channel Two

Switch IN: Tip = Channel Two, Ring = Channel One

38: Active/Piezo switch. Set this switch to match the type of pickup device

on your instrument: for active electronic pickups, set the switch to

“active” (out). For passive/magnetic pickups, set it to “piezo” (in).

39: Stereo Input jack. For instruments with stereo outputs (such as

acoustic guitars with pickups in the bridge and a built-in microphone),

connect a stereo 1/4” cable here to send one signal (for example, the

bridge pickups) to Channel One and the other to Channel Two. The

Channel Assignment switch (#37) determines which channel receives

which signal.

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.

CA-1P/1PD

Technical Specifications:

1400 Ferguson Avenue • St. Louis, MO 63133

P/N 47-434-02

05/97

Channel One: Low: +/-15dB @ 80Hz

Mid: +/-15dB @ 650Hz

High: +/-15dB @ 10kHz

Input Impedance: 25k ohm (Active), 2.2M ohm (Piezo)

Input Sensitivity: 22mV RMS (Actv), 9mV RMS (Pzo)

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

Channel T

wo: Low: +/-15dB @ 80Hz

High: +/-15dB @ 10kHz

Input Impedance: 3k ohm (Lo-Z), 20k ohm (Hi-Z)

Input Sensitivity: 3mV RMS (LZ), 15mV RMS (HZ)

Sens. to Eff Send/Line out: 9mV (LZ), 50mV (HZ)

Max Input Signal: 10v RMS (28v peak to peak)

Effects Loop: Line Out 1v RMS, Line In 1v RMS

Stereo Input:

Input Impedance: 20k ohm to Ch. 2

25k ohm Active to Ch. 1

2.2M ohm Piezo to Ch. 1

Input Sensitivity: 15mV to Ch. 2

22mV Active to Ch. 1

9mV Piezo to Ch. 1

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)

Ch. 1 Out. Impedance: 10k ohm

Ch. 2 Out. Impedance: 10k ohm

Power Requirements: 120VAC, 60Hz, 14VA;

100/110VAC, 50/60Hz, 14VA;

230VAC, 50/60Hz, 14VA

Size and Weight: 1-3/4”H x 19”W x 7-5/8”D,

9 lbs.

Crate CA-1PD Owner's manual

Brand: Crate

Model: CA-1PD

Category: Musical Instrument Amplifier

Type: Owner's manual

This manual is also suitable for

CA-1P

Crate CA-1PD

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Crate CA-1PD Owner's manual

This manual is also suitable for

Crate CA-1PD Owner's manual

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