Genz-Benz SHENANDOAH. 60LT User Manual

OWNERS MANUAL

FEA TURES:

▪Lightweight 29 lb Design ▪Stereo 60 Watt Power
▪24-bit Stereo Studio Quality Digital Effects ▪XLR & ¼” Inputs
▪Two Channels w/ 3 Band EQ w/ Sweepable Mids ▪Dual 6.5” Woofers & Bullet Tweeters
▪Compact Monitor Shape Cabinet Design ▪XLR Direct Outputs (left & right)
▪Phantom Power for Condenser Mics ▪Speaker Stand Adaptor

PRODUCT DESCRIPTION -The lightweight Shenandoah™ Stereo 60LT is configured as a 2 channel stereo 60

watt acoustic instrument amplifier featuring stereo digital effects. Each channel is equipped with a ¼” unbalanced line
input and channel 1 is also equipped with an XLR balanced microphone input (with phantom power). The 2 inputs on
channel 1 are summed (mixed) together at a 1:1 ratio. Each channel offers a 3 band equalizer with a sweepable
midrange frequency control. Equalization centers were carefully selected for use with acoustic instruments.
Each channel also contains individual send controls to the stereo digital effects circuit. The channel signals are then
summed together, mixed with the digital effects return and passed on to the internal dual 30 watt power amplifier (60
watts total). The back panel contains stereo XLR balanced outputs with ground lift switch, stereo unbalanced line
outputs, two 1/4” speaker jacks, a headphone output, and an effects cancel jack.

FRONT PANEL
INPUTS -The Shenandoah™ Stereo 60LT is equipped with two types of input jacks. The ¼” input is unbalanced and

“line/instrument level” with a useable sensitivity from 50 mV to 1.6 volt. The input impedance is 220 k ohms. The ¼”
input will also accept most active balanced line sources, automatically unbalancing them by recognizing the tip portion
of the balanced signal. If an instrument offers an unbalanced output it should be connected to the unbalanced input of
the 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 useable sensitivity from –
60 dBv to -30 dBv. It is not a line level input. It contains a precision full range differential microphone preamp with
phantom power. For use with higher-level sources (such as the balanced line level output from a keyboard or other
instruments), 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.

COMBINING XLR & ¼” INPUTS -A unique feature of the Shenandoah™ Stereo 60LT is the ability to mix the XLR

balanced and ¼” unbalanced inputs on channel 1. In many situations, this effectively makes the amplifier function as a
3 channel amplifier. The most effective way to use this feature is to set the volume on the channel using the XLR
microphone input and then adjust the level control on the instrument itself (assuming that it has one) to blend levels
between the 2 inputs.

ON-BOARD STUDIO QUALITY STEREO DIGITAL EFFECTS -The Shenandoah™ Stereo 60LT contains a 24-bit,

16 program stereo digital effects processor. We chose to use an industry leader in digital effects processing for
realistic, high quality effects algorithms. Level differences are normal when switching between different effects; just
adjust the channel send and master level controls accordingly. The effects level control on each channel adjusts the
send level to the digital effects processor. The digital effects level in the master section controls the effects return level
from the processor. Turning up the channel effects send will yield lusher effects response. Running the channel effects
send lower and the master level higher will yield softer effects response.

PROGRAM DESCRIPTION

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 Stereo chorus (Tonal variations in pitch and volume)

Flange Stereo flanger for jet wash effects.

Delay 1 125ms slapback delay

Delay 2 190ms slapback delay

Chorus/ Plate Chorus with reverb plate

Chorus/ Room Auto-wah guitar effect with reverb

Reverse Scoop Mid-range scoop tone

Pitch Shift Rotary Rotary speaker emulation

ACTIVE EQUALIZA TION - 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 - 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 - 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
control. This filter is typically (but not always) used to reduce or remove offending frequencies in the instrument’s pick­up 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 -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.