GENZBENZ ACOUSTIC100
Instrukcja Obsługi

ON-BOARD ALESIS® DIGITAL EFFECTS � The Shenandoah� Acoustic 100 contains a genuine Alesis® 15
program digital effects processor. Unlike other amplifier manufacturer�s built-in digital effect units, we chose to use 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 send and master levels accordingly. The effects level control on each channel adjusts the send level to both the digital effects processor and the ¼� effects send jack on the back panel. The digital effects level in the master section only controls the effects return level from the on-board processor.

EFFECTS LOOP�A parallel effects loop is provided so an out-board effects processor can be used with or in place
of the on-board ALESIS DSP unit. The return level from an external processor into the ¼� effects return jack should be adjusted using the controls of the external processor. A ¼� effects cancel jack is provided on the back panel to mute both internal and external effects via footswitch. Any standard single button latching footswitch (with shielded cable) may be used. Signal is muted when the switch is closed. The on-board effects can be turned off by using the program labeled �bypass�. All other on-board effects on the Shenandoah� Acoustic 100 can be used in conjunction with an out-board effects unit plugged in to the effects loop.

ACTIVE EQUALIZATION � Each channel of the Shenandoah� Acoustic 100 contains a separate 3 band (with
sweep mid) active equalizer. These equalizers, 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 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. The �sweep 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.

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 3:00 o�clock positions.

DIRECT OUTPUTS � The Shenandoah� Acoustic 100 contains the most comprehensive direct output section
available on any acoustic instrument amplifier. Both 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� Acoustic 100 to drive very long cable lengths (250+ feet) without problems or added noise. The XLR balanced direct outputs can be �ground lifted� with the global ground lift switch. This switch lifts pin 1 on all of the XLR balanced outputs to break ground any loops between the Shenandoah Acoustic 100 and a PA system. Separate Channel 1 and Channel 2 outputs are post channel volume/pre effects (to take advantage of the dual inputs on each channel) while the Channel 1+2 output is post master volume/post eq/post effects to aid in sending a �finished� mixed signal to a PA system or external power amplifier.