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ACTIVE EQUALIZATION –The Shenandoah
®
Compak 300 offers a 3 band (with sweepable mid) active equaliz-
er 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 utes 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 lter is continuously user adjustable from 250 Hz to 5 kHz with a single control. This lter 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 be-
comes second nature, but soon you will nd out just how quick it can be. You will hear a clear and obvious accentua-
tion 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 nd 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.
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