Genz-Benz SHENANDOAH 80 LT User Manual

Owner’s Manual

FEATURES:

·Lightweight 29 Lb. Design

·24-bit Stereo Studio Quality Digital Effects

·Two Channels w/ 3 Band EQ w/ Sweepable Mids

·Compact Monitor Shape Cabinet Design

·Phantom Power for Condenser Mics

PRODUCT DESCRIPTION - The lightweight Shenandoah® Stereo 80LT is congured as a 2 channel stereo 80 watt

acoustic instrument amplier 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 40 watt power amplier (80 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.

·Stereo 80 Watt Power

·XLR & ¼” Inputs

·Dual 6.5” Woofers & Bullet Tweeters

·XLR Direct Outputs (left & right)

·Speaker Stand Adaptor

FRONT PANEL

INPUTS - The Shenandoah® Stereo 80LT 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 lter (more

effective and less intrusive than the more common 6 dB lters) and an “RFI” lter (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 80LT is the ability to mix the XLR bal­anced and ¼” unbalanced inputs on channel 1. In many situations, this effectively makes the amplier function as a 3
channel amplier. 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 80LT 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 anger 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 EQUALIZATION - The Shenandoah® 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 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 utes 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 lter is continuously user adjustable from 250 Hz to 5 kHz with a single con­trol. This lter 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 nd 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 nd 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 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 ampliers. The XLR balanced output is “hot” mic level, rated at -30 dBv. This
conguration allows the Shenandoah® 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® Stereo 80LT and a PA system.
Both outputs are post master volume/post EQ/post effects to aid in sending a “nished” mixed signal to a PA system
or external power amplier.