Shenandoah 300 LT Manual - Genz Benz

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INPUTS - The Shenandoah 300-LT is equipped with two types of input jacks. The ¼” input is unbalanced and“line/instrument level” with a usable sensitivity from 80 mV to 1.6 volt. The input impedance is 220k ohms. The ¼” inputwill also accept most active balanced line sources, automatically unbalancing them by recognizing the tip portion ofthe balanced signal. If an instrument offers an unbalanced output it should be connected to the unbalanced input ofthe Shenandoah amp. Additionally, the precision input scaling preamp contains a 45 Hz, 12 dB/octave high pass filter(more effective and less intrusive than the more common 6 dB filters) and an “RFI” filter (radio frequency interference)to eliminate unwanted noise. The XLR input jack is balanced and “microphone level”, with a usable sensitivity from-60dBv to -30 dBv. It is not a line level input. It contains a precision full range differential microphone preamp withphantom power. For use with higher-level sources (such as the balanced line level output from a keyboard or otherinstruments), a balanced pad network will be necessary to use the balanced input. For instance, a Rapco “Pad Blox”,-20 or -30 pad or similar product could be used.PHANTOM POWER - An internal phantom power source (13.6 volts) is provided for use with condenser mics. Thispower source is on at all times and does not affect the standard operation of the amp, even when a condenser mic isnot used. We use the DIN 45-596-P12 volt standard, which will operate virtually all of the live sound reinforcement condensermicrophones on the market. Some “boutique” externally biased condenser mics will not be compatible and willrequire 48 volt phantom power. We suggest live sound condenser mics: AKG, Audio Technica, CAD, Shure and Crown.PREAMP GAIN CONTROL – This level control sets the amount of gain at the input of the preamp. Use thiscontrol to set the input level in conjunction with the CLIP LED indicator.INPUT O/L LED – The red CLIP LED senses the input signal to the preamp section and warns of input overload.For the cleanest signal possible this LED should only flash with the strongest signal peaks. Adjust this sensitivity withthe input gain control.PHASE SWITCH – Each input is provided with a phase reverse switch. By reversing the phase of the inputsignal, feedback tendencies can be reduced if caused by sympathetic vibrations between the speaker and theinstrument. Under some conditions, changing the phase can drastically improve the output from the amplifier and canimprove the playability of some instruments.PAN CONTROL – Each input channel is provided with a pan control, which adjusts the balance of the input signalbetween the left and right output amplifiers. This control does not affect the assignment of the effects send signals.COMBINING XLR & ¼” INPUTS – A unique feature of the Shenandoah 300-LT is the ability to mix the XLRbalanced and ¼” unbalanced inputs on each channel. In many situations, this effectively makes the amplifier functionas a 4 channel amplifier. The most effective way to use this feature is to set the volume on the channel using the XLRmicrophone input and then adjust the level control on the instrument itself (assuming that it has one) to blend levelsbetween the 2 inputs. Equalization will be common to both inputs on the channel.
ON-BOARD STEREO DIGITAL EFFECTS – The Shenandoah 300-LT contains 2 genuine studio quality16 program stereo digital effects processors. We chose industry standard digital signal processing for realistic, highquality stereo effects algorithms. Not all effects will be suitable for all types of instruments or playing styles, buteveryone should find a good selection of solid, useable programs. Just keep in mind that a program that doesn’twork well for your acoustic guitar or mandolin work (long lush reverbs for example) may be the perfectprogram for jazz guitar, sax or flute. Effects volume differences are normal when switching between different effectsprograms. Adjust the effects send and master levels accordingly.One of the most powerful features of the DSP engine is its ability to process a large amount of audio data in realtime.This allows us to take advantage of several important concepts in generating a believable stereo image. Bydelaying a portion of the signal by an “early reflection ratio”, applying DSP processing in stereo to this signal, thensumming it back with the original signal and returning the mix to the program bus, the resulting stereo image is big,lush and exceptionally stable.The “Effects Send A” control on each channel adjusts the send level to digital effects processor “A” and the “EffectsSend B” control on each channel adjusts the send level to digital effects processor “B”. The “Digital Effects Level”control in the master section adjusts the effects return level from the corresponding processor. The effects returnsignals are summed and routed directly to the left and right amplifiers.A ¼” TRS effects cancel jack is provided on the back panel to mute the internal effects via footswitch included. Anystandard 2 button latching footswitch may be used. Ring controls Effects Return A and Tip controls Effects Return B.The effects signal is muted when the switch is open. LED’s show when the effects are active.PROGRAM DESCRIPTIONSNAMEHall 1Hall 2Room 1Room 2Room 3Plate 1Plate 2Plate 3ChorusFlangeDelay 1Delay 2Chorus/PlateChorus/RoomSonic EnhancePitch Shift RotaryDESCRIPTIONBright hall reverbWarm hall reverbHardwood studio reverbAmbient room reverbWarm room reverb for guitars and rhythm instrumentsClassic plate reverb for lead vocals and instrumentsSizzling bright plate reverb for vocalsShort “vintage” plate reverbChorus (Tonal variations in pitch and volume)Flanger for jet wash effects125ms slapjack delay190ms slapjack delayChorus with reverb plateAuto-wah guitar effect with reverbMid-Range scoop toneRotary speaker emulationACTIVE 4 BAND EQUALIZATION – Each channel of the Shenandoah 300-LT contains a separate 4 band(with 2 sweepable mids) active equalizer. These equalizers, similar to those found on professional sound consoles, arevery useful tools when used correctly.LOW FREQUENCY EQ - The corner frequency of the low frequency section is 125 Hz, with a shelving curve type.This frequency is particularly handy when dealing with low frequency feedback from a big dreadnaught guitar, cello, orupright bass. With a “boomy” instrument on a small stage, a combination of volume reduction and turning down the lowfrequency control will generally get good results. The low frequency control is also handy for adding some “bottom” to abaritone sax and “chunk” to many stringed instruments.
Page 1: OWNERS MANUALFEATURES:• New Light
Page 5 and 6: CHANNEL INSERTS / EFFECTS LOOP - Th
Page 7 and 8: CAUTION!• Never set an amplifier

Shenandoah 300 LT Manual - Genz Benz

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