INPUTS – The Shenandoah™ 200 is eq uipped with 2 type s of i nput jacks. The ¼” input is unbalanced and “line/
instrument le vel” with a useable sensitivity from 50 mV to 1 volt. The input impedance is 150 k o hms. The ¼” input
will also accept most active balanced line sources, automatically unbalancing them by recognizing the tip portion of
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 so urces (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 vi rtual ly all
commonly used condenser microphones. Dynamic microphones can be used with no ill effect.
PREAMP GAIN CONTROL – This level control sets the amount of gain at the Input of the Preamp. Use this
control to set the input level in conjunction with the overload LED i ndicator.
INPUT O/L LED – The Red Overload LED senses the i nput signal to the preamp section and warns of input
sensitivit y with the i nput gain control.
PHASE SWITCH – Each input is p rovided with a phas e reverse switch. By reversing the p hase of the i nput
signal, feedback tendencies can be reduced if caused by sympathet ic vibrations between the speaker and the
can improve the playabili ty of some i nstruments.
PAN CONTR OL – Each input channel is provided with a pan control, which adjusts the balance of the input
signals.
COMBINING XLR & ¼” INPUTS – A unique feature of the Shenandoah™ 200 is the ability to mix the XLR
using the XL R microph one input and then adjusting the level control on the instrument itself (assuming that it has
one) to bl end levels between the 2 i nputs. Equalization will be common to bo th inputs on the channel.
ON-BOARD ALESIS™ STEREO DIGITAL EFFECTS – The Shenan doah™ 200 contains 2 gen uine
we chose to use an industry le ader in processing with an undis puted reputation for realistic, high q uality stereo
effects algorithms. Not all effects will be suitable for all types of instruments or playing styles, but everyone shoul d
quick acoustic guitar or mandolin work (long lush reverbs for example) may be the perfect p rogram for j azz guitar,
effects vo lume differences are normal when switching between different effects programs. Adjust the effects send
and master levels accordingly.
One of the most powerful features of the Alesis™ DSP engine is its ability to process a large amount of audio data
in real-time. This allows us to take a dvantage of several important concepts i n generating a believable stereo image.
summing it back with the original signal and returnin g the mix to the program bus, the resulting stereo image is big,
lush and exceptionally stable.
The “Effects Send A” control on each channel adjusts the send level to digital e ffects processor “A” and the “Effects
Send B” contr ol on each ch annel adjusts the send level to digital effects processor “B”. The “Digital Effects Level”
control in the master section adjusts the effects return level from the correspo nding processor. The effect s return
A ¼” TRS e ffects cancel jack is p rovided on the back panel to mute the internal effects via footswitch. Any standard 2
button latching footswitc h may be used. Ring controls Effects Return A and Tip contro ls Effects Return B. The effects
signal is muted when the switch is open. LED’s show when the effects are active.
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