Genz-Benz 60LT ユーザーズマニュアル
ACTIVE EQUALIZATION
- The Shenandoah™ Stereo 60LT contains a 3 band (with sweepable mid)
active equalizer on both channels 1 and 2. These EQ networks, similar to those found on professional sound
consoles, are very useful tools when used correctly.
LOW FREQUENCY EQ -
consoles, are very useful tools when used correctly.
LOW FREQUENCY EQ -
The corner frequency of the low frequency section is 125 Hz, shelving curve. This frequency
is particularly handy when dealing with low frequency feedback from a big dreadnaught guitar. A combination of
volume reduction and turning down the low frequency control will generally get good results. Become familiar with the
action of the controls since their effective gain range is quite large. The low frequency control is also handy for adding
some “bottom” to a baritone sax and “chunk” to a mandolin or mando-cello.
HIGH FREQUENCY EQ -
volume reduction and turning down the low frequency control will generally get good results. Become familiar with the
action of the controls since their effective gain range is quite large. The low frequency control is also handy for adding
some “bottom” to a baritone sax and “chunk” to a mandolin or mando-cello.
HIGH FREQUENCY EQ -
The corner frequency of the high frequency section is 8 kHz, shelving curve. This frequency
is especially useful for taming the bright harshness of some mandolins, violins, brass, and reeds. It can also be used
to help acoustic guitars, cellos, and flutes cut through other players in loud club situations.
MID FREQUENCY EQ -
to help acoustic guitars, cellos, and flutes cut through other players in loud club situations.
MID FREQUENCY EQ -
The “sweepable mid” section features 15 dB of cut or boost with a bandwidth approximately 1
octave wide. The center frequency of this filter is continuously user adjustable from 250 Hz to 5 kHz with a single
control. This filter is typically (but not always) used to reduce or remove offending frequencies in the instrument’s pick-
up response. Removing only the minimum amount necessary will yield the most acoustically rewarding results. The
easiest and most repeatable way to determine the offending frequency range is to boost the mid level somewhat (but
not to the point of feedback) and while playing, sweep the frequency control slowly across its range. You may need a
third hand until it becomes second nature, but soon you will find out just how quick it can be. You will hear a clear and
obvious accentuation of the ugliness you want to remove. The ear is a most sensitive and discriminating piece of test
equipment when used in this manner, another good reason to protect them! This is the way many touring sound
engineers equalize, since it is quick, accurate and repeatable. Occasionally, you will find need to use the mid section
in “boost” mode, particularly common when adding higher mids (bite) to an otherwise dull instrument, or adding low
mid “body” to an otherwise thin sound. Spend some time experimenting so that the process becomes creative as well
as corrective. The 9 o’clock position is 300 Hz, the 12 o’clock position is 1.25 K Hz and the 3 o’clock position is 3 K Hz.
MASTER VOLUME
control. This filter is typically (but not always) used to reduce or remove offending frequencies in the instrument’s pick-
up response. Removing only the minimum amount necessary will yield the most acoustically rewarding results. The
easiest and most repeatable way to determine the offending frequency range is to boost the mid level somewhat (but
not to the point of feedback) and while playing, sweep the frequency control slowly across its range. You may need a
third hand until it becomes second nature, but soon you will find out just how quick it can be. You will hear a clear and
obvious accentuation of the ugliness you want to remove. The ear is a most sensitive and discriminating piece of test
equipment when used in this manner, another good reason to protect them! This is the way many touring sound
engineers equalize, since it is quick, accurate and repeatable. Occasionally, you will find need to use the mid section
in “boost” mode, particularly common when adding higher mids (bite) to an otherwise dull instrument, or adding low
mid “body” to an otherwise thin sound. Spend some time experimenting so that the process becomes creative as well
as corrective. The 9 o’clock position is 300 Hz, the 12 o’clock position is 1.25 K Hz and the 3 o’clock position is 3 K Hz.
MASTER VOLUME
- The master volume control adjusts the overall volume of channel 1, channel 2 and the effects
return. Typically, best results are obtained when this control is operated between the 9 o’clock and 3 o’clock positions.
REAR PANEL
DIRECT OUTPUTS
DIRECT OUTPUTS
-The Shenandoah™ Stereo 60LT is equipped with left and right XLR balanced direct outputs
and unbalanced ¼” line level outputs. The left direct output also serves as a mono send. Both the XLR balanced
and ¼” unbalanced outputs make “real world sense” when connecting with other equipment. The ¼” unbalanced
outputs are true professional line level (+4 dBv) with an output impedance of 1k ohm and can drive virtually
any line level input, including power amplifiers. The XLR balanced output is “hot” mic level, rated at -30 dBv. This
configuration allows the Shenandoah™ Stereo 60LT to drive very long cable lengths (250+ feet) without problems or
added noise. The XLR balanced direct outputs can be “ground lifted” with the switch provided. This switch lifts pin 1
on the XLR balanced output to break any ground loops between the Shenandoah™ Stereo 60LT and a PA system.
Both outputs are post master volume/post EQ/post effects to aid in sending a “finished” mixed signal to a PA system
or external power amplifier.
and ¼” unbalanced outputs make “real world sense” when connecting with other equipment. The ¼” unbalanced
outputs are true professional line level (+4 dBv) with an output impedance of 1k ohm and can drive virtually
any line level input, including power amplifiers. The XLR balanced output is “hot” mic level, rated at -30 dBv. This
configuration allows the Shenandoah™ Stereo 60LT to drive very long cable lengths (250+ feet) without problems or
added noise. The XLR balanced direct outputs can be “ground lifted” with the switch provided. This switch lifts pin 1
on the XLR balanced output to break any ground loops between the Shenandoah™ Stereo 60LT and a PA system.
Both outputs are post master volume/post EQ/post effects to aid in sending a “finished” mixed signal to a PA system
or external power amplifier.