INPUTS
– The
Shenandoah™ JR
is equipped with 2 types of input jacks. The ¼” input is unbalanced and
accepts instrument level to line level with a useable sensitivity from 100 mV to 1 volt. The input impedance is 300 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. Additionally, the precision input scaling preamp contains a 50 Hz,
(radio frequency interference) to eliminate unwanted noise. The XLR input jack is balanced and “microphone level”,
with a useable sensitivity from –60dBv to –30 dBv. 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), a
balanced pad network will be necessary to use the balanced input. Phantom power is 13.6 volts, compatible with
virtually all commonly used condenser microphones. Dynamic microphones can be used with no ill effect.
COMBINING XLR & ¼” INPUTS
– A unique feature of the
Shenandoah™ JR
is the ability to mix the XLR
microphone input and then adjusting the level control on the instrument itself (assuming that it has one) to blend
levels between the 2 inputs.
ON-BOARD ALESIS® DIGITAL EFFECTS
– The
Shenandoah™ JR
contains a genuine Alesis® 15
an industry leader in processing with an undisputed reputation 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.
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ACTIVE EQUALIZATION
– The
Shenandoah™ JR
contains a master 3 band (with sweepable mid) active
equalizer. This equalizer, similar to those found on professional sound consoles, are very useful tools when used
correctly. 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. 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
players in loud club situations. The “sweepable mid” section features 12 dB of cut or boost with a bandwidth
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
