Genz-Benz 300 ユーザーズマニュアル

3

 –The Shenandoah

®

 Compak 300 offers a 3 band (with sweepable mid) active equaliz-

er for each channel. These equalizer networks, similar to those found on professional sound consoles, are very useful 

tools when used correctly. 

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. 

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. 

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 then while playing, sweep the frequency control slowly across its range. You may need a third hand until it be-

comes second nature, but soon you will find out just how quick it can be.  You will hear a clear and obvious accentua-

tion 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.

It may be helpful to know  - The 9 O’Clock position is 300Hz, the 12 O’Clock position is 1.25KHz and the 3 O’Clock 

position is 3KHz.

 –  This control adjusts the amount of the effects signal return. Adjust this in conjunction with 

the channel effects level control.

 – The master volume control adjusts the overall volume of channel 1, channel 2 and the 

effects return (either on-board or out-board). Typically, best results are obtained when this control is operated between 

the 9:00 o’clock and 2:00 o’clock positions.

NAME

DESCRIPTION 

Hall 1 

Bright hall reverb 

Hall 2 

Warm hall reverb 

Room 1 

Hardwood studio reverb 

Room 2 

Ambient room reverb 

Room 3 

Warm room reverb for guitars and rhythm instruments 

Plate 1 

Classic plate reverb for lead vocals and instruments 

Plate 2 

Sizzling bright plate reverb for vocals 

Plate 3 

Short “vintage” plate reverb 

Chorus

Chorus (Tonal variations in pitch and volume) 

Flange

Flanger for jet wash effects 

Delay 1 

125ms slapjack delay 

Delay 2 

190ms slapjack delay 

Chorus/Plate

Chorus with reverb plate 

Chorus/Room

Auto-wah guitar effect with reverb 

Bypass

No effect

Pitch Shift Rotary  Rotary speaker emulation