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ACTIVE EQUALIZATION
–The Shenandoah Compak 300 offers a 3 band (with sweepable mid) active equalizer
for each channel. This equalizer network, 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 12 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 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 350Hz, the 12 O’Clock position is 1KHz and the 3 O’Clock
position is 2.5KHz.
EFFECTS VOLUME
– This control adjusts the amount of the effects signal return. Adjust this inconjunction 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 digital). Typically, best results are obtained when this control is operated between the
9:00 o’clock and 2:00 o’clock positions.
