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INPUTS – The Shenandoah™ 200 is equipped with 2 types of input jacks. The ¼” input is unbalanced and “line/
instrument level” with a useable sensitivity from 50 mV to 1 volt. The input impedance is 150 k ohms. 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 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.
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 indicator.
INPUT O/L LED – The Red Overload LED senses the input signal to the preamp section and warns of input
sensitivity with the input gain control.
PHASE SWITCH – Each input is provided with a phase reverse switch. By reversing the phase of the input
signal, feedback tendencies can be reduced if caused by sympathetic vibrations between the speaker and the
can improve the playability of some instruments.
PAN CONTROL – 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 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. Equalization will be common to both inputs on the channel.
ON-BOARD ALESIS™ STEREO DIGITAL EFFECTS – The Shenandoah™ 200 contains 2 genuine
we chose to use an industry leader in processing with an undisputed reputation for realistic, high quality stereo
effects algorithms. Not all effects will be suitable for all types of instruments or playing styles, but everyone should
quick acoustic guitar or mandolin work (long lush reverbs for example) may be the perfect program for jazz guitar,
effects volume 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 advantage of several important concepts in generating a believable stereo image.
summing it back with the original signal and returning 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 effects processor “A” and the “Effects
Send B” control on each channel 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 corresponding processor. The effects return
A ¼” TRS effects cancel jack is provided on the back panel to mute the internal effects via footswitch. Any standard 2
button latching footswitch may be used. Ring controls Effects Return A and Tip controls 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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