Genz-Benz 80 LT ユーザーズマニュアル

ACTIVE EQUALIZATION - The Shenandoah

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 Stereo 80LT 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 - 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 re-

duction 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 - 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 con-

trol. 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 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 com-

mon 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.

DIRECT OUTPUTS - The Shenandoah

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 Stereo 80LT 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

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 Stereo 80LT 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

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 Stereo 80LT 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.