Genz-Benz shen pro Betriebsanweisung
ACTIVE 3 BAND EQUALIZATION – Each channel of the Shenandoah™ Acoustic Pro contains a separate 3 band
(with sweepable mids) active equalizer. These equalizers, similar to those found on professional sound consoles,
are very useful tools when used correctly.
(with sweepable mids) active equalizer. These equalizers, similar to those found on professional sound consoles,
are very useful tools when used correctly.
LOW FREQUENCY EQ - The corner frequency of the low frequency section is 85 Hz, with a shelving curve type
and provides cut or boost of 15 db. This frequency is particularly handy when dealing with low frequency feedback
from a big dreadnaught guitar, cello or upright bass. With a “boomy” instrument on a small stage, a combination
of volume reduction and turning down the low frequency control will generally get good results. The low frequency
control is also handy for adding some “bottom” to a baritone sax and “chunk” to many stringed instruments.
and provides cut or boost of 15 db. This frequency is particularly handy when dealing with low frequency feedback
from a big dreadnaught guitar, cello or upright bass. With a “boomy” instrument on a small stage, a combination
of volume reduction and turning down the low frequency control will generally get good results. The low frequency
control is also handy for adding some “bottom” to a baritone sax and “chunk” to many stringed instruments.
3
COMBINING XLR & ¼” INPUTS – A unique feature of the Shenandoah™ Acoustic Pro is the ability to mix the
XLR balanced and ¼” unbalanced inputs on each channel. In many situations, this effectively makes the amplifi er
function as a 4-channel amplifi er. The most effective way to use this feature is to set the volume on the channel
using the XLR microphone input and then adjusting the level control on the instrument itself (assuming that it has
one) to blend levels between the two inputs. Equalization will be common to both inputs on the channel.
XLR balanced and ¼” unbalanced inputs on each channel. In many situations, this effectively makes the amplifi er
function as a 4-channel amplifi er. The most effective way to use this feature is to set the volume on the channel
using the XLR microphone input and then adjusting the level control on the instrument itself (assuming that it has
one) to blend levels between the two inputs. Equalization will be common to both inputs on the channel.
ON-BOARD ALESIS™ DIGITAL EFFECTS – The Shenandoah™ Acoustic Pro contains two genuine Alesis™ 15
program digital effects processors. Unlike other amplifi er manufacturer’s built-in digital effect units, we chose to
use an industry leader in processing with an undisputed reputation for realistic, high quality effect algorithms. Not
all effects will be suitable for all types of instruments or playing styles, but everyone should fi nd a good selection
of solid, useable programs. Just keep in mind that a program that doesn’t work well for your quick acoustic guitar
or mandolin work (long lush reverbs for example) may be the perfect program for jazz guitar, sax or fl ute. Effects
volume differences are normal when switching between different effects programs. Adjust the effects send and
master levels accordingly.
program digital effects processors. Unlike other amplifi er manufacturer’s built-in digital effect units, we chose to
use an industry leader in processing with an undisputed reputation for realistic, high quality effect algorithms. Not
all effects will be suitable for all types of instruments or playing styles, but everyone should fi nd a good selection
of solid, useable programs. Just keep in mind that a program that doesn’t work well for your quick acoustic guitar
or mandolin work (long lush reverbs for example) may be the perfect program for jazz guitar, sax or fl ute. Effects
volume differences are normal when switching between different effects programs. Adjust the effects send and
master levels accordingly.
One of the most powerful features of the Alesis™ DSP engine is its ability to process a large amount of audio data
in real-time. This allows us to take advantage of several important concepts in generating a believable acoustic
image. By delaying a portion of the signal by an “early refl ection ratio”, applying DSP processing to this signal,
then summing it back with the original signal and returning the mix to the program bus, the resulting sound is big,
lush and exceptionally stable. A ¼” TRS effects cancel jack is provided on the back panel to mute the internal
effects via footswitch. Any standard 2-button latching footswitch may be used. The effects signal is muted when
the switch is closed, shorting tip (or ring) to sleeve.
in real-time. This allows us to take advantage of several important concepts in generating a believable acoustic
image. By delaying a portion of the signal by an “early refl ection ratio”, applying DSP processing to this signal,
then summing it back with the original signal and returning the mix to the program bus, the resulting sound is big,
lush and exceptionally stable. A ¼” TRS effects cancel jack is provided on the back panel to mute the internal
effects via footswitch. Any standard 2-button latching footswitch may be used. The effects signal is muted when
the switch is closed, shorting tip (or ring) to sleeve.
PROGRAM DESCRIPTION