Owner’s Manual
FEATURES:
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Ultra Lightweight Compact Designs |
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SMPS/Class D Power Amplification Technology |
• Two Pre Amp Channels w/Active EQ |
• Neodymium Loudspeaker and Compression Tweeter |
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Input Phase Reverse Switch |
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24-Bit Studio Quality Digital Effects |
• Phantom Power for Condenser Mics |
• Bottom-mounted Tilt Foot |
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PRODUCT DESCRIPTION – The Shenandoah® Compak 300 series of acoustic amps delivers warm, rich tone and phenomenal output in surprisingly compact, lightweight cabinets. Each model produces 175 watts as a combo and 300 watts with an 8 ohm extension cabinet. The amplifier is configured as a 2 channel – 3 input platform and each channel is equipped with a ¼” unbalanced line input. Channel 2 offers an XLR balanced microphone input (with phantom power) as well. The 2 inputs on Channel 2 are summed (mixed) together at a 1:1 ratio, so they can be used simultaneously. Each channel then passes through independent 3 band equalizers with a sweepable midrange frequency. Equalization centers were carefully selected for use with acoustic instruments. Each channel also contains individual send controls to the on-board 24-bit 15 program digital effects circuit. The back panel contains 3 direct outputs with ground lift switch, an effects loop, auxiliary input, headphone jack, effects cancel jack, and 2-1/4” speaker jacks.
FRONT PANEL
INPUTS – The Shenandoah® Compak 300 is equipped with 2 types of input jacks. The ¼” input is unbalanced and “line level” with a usable sensitivity from 100 mV to 1.6 volt. The input impedance is 270 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, 12dB/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 usable sensitivity from -60dBv 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® Compak 300 is the ability to mix the XLR balanced and ¼” unbalanced inputs. 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. Equalization will be common to both inputs on the channel.
INPUT O/L LED –This red O/L LED senses the input signal to the preamp section and warns of input overload. For the cleanest signal possible, this LED should only flash with the strongest signal peaks. Adjust this sensitivity with the volume control of your instrument and the Shenandoah® Compak 300’s channel volume. Adjust the final overall volume with the amps master volume.
PHASE SWITCH – Each channel is provided with a phase reverse switch. By reversing the phase of the input signal, feedback tendencies can be reduced if caused by sympathetic vibrations between the speaker and the instrument. Under some conditions, changing the phase can drastically improve the acoustic output from the amplifier and can improve the playability of some instruments.
ON-BOARD STUDIO QUALITY DIGITAL EFFECTS – The Shenandoah® Compak 300 contains a studio quality 24-bit, 15 program digital effects processor. Using pro audio industry digital processing hardware, we have achieved 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. In general, turning up the channel effects send will yield more lush effects.
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 |
ACTIVE EQUALIZATION –The Shenandoah® Compak 300 offers a 3 band (with sweepable mid) active equalizer for each channel. These equalizer 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 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 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.
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.
EFFECTS VOLUME – This control adjusts the amount of the effects signal return. Adjust this in conjunction with the channel effects level control.
MASTER VOLUME – 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.
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