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OWNER'S MANUAL
100M ENTERTAINER STEREO MIXER
sound on volume peaks. This might be caused by ex¬
cessive equalization on the channel tone controls, a
gain control setting that is too high for the input sig¬
nal, or a channel fader that is set too high. General¬
ly, readjusting the GAIN control will suffice.
7. CHANNEL FADER: This control adjusts the input
level in the main mix. The normal setting for this con¬
trol is around the 0-dB mark on the scale.
8. TAPE INPUTS (CHANNELS 9 AND 10): The Tape
inputs are high-impedance line inputs. They may be
used for a tape deck, keyboard, drum machine, high-
impedance microphone or other instrument.
OUTPUT SECTION CONTROLS (refer to Front
Panel Diagram, Pictorial 1, page 5)
9. EFX SEND MASTER: The EFFECTS SEND
MASTER control sets the level of the signal appear¬
ing at the EFFECTS SEND output jack going to any
type of outboard effects devices such as a delay. It
does not affect the signal being sent to the internal
reverb system. The source for this signal is via the in¬
dividual EFX/REV SEND level controls on input chan¬
nels 1 through 8.
10. EFX RETURN LEVEL: The EFFECTS RETURN
level control determines the loudness of externally-
generated effects signals in the main mix. This signal
is mixed equally into the left and right stereo main
outputs. It also appears at the mono output.
11. REVERB SECTION: Reverberation is the natural
decay of sound in a closed space (room). The reverb
system in the 100M simulates this effect. The reverb
section gets its input signals from the EFX/REV SEND
control on the input channel.
A. REV LEVEL: This control adds reverberation
to the main (stereo and mono) outputs from any
input channel signal (inputs 1 through 8) whose
EFX/REV control is turned up.
Turning the control to the right increases the
amount of reverb present in the main (stereo and
mono) outputs.
B. REV EQ: This control varies the timbre of the
reverb. Turning the knob to the left emphasizes
the lower frequencies in the reverb sound,
giving a warmer tonal quality. Turning the knob
to the right emphasizes the higher frequencies
in the reverb sound.
12. PHANTOM POWER INDICATOR: This LED in¬
dicates the presence of 48 V phantom power at the
microphone inputs (XLR connectors only). Phantom
power is turned on and off via a switch on the rear
panel. Phantom power allows the simultaneous use
of dynamic and condenser microphones, while
eliminating the need for the batteries sometimes as¬
sociated with powering condenser microphones.
MASTER SECTION CONTROLS (refer to Front
Panel Diagram, Pictorial 1, page 5)
The master section controls affect the overall opera¬
tion of the 100M.
13. SUB L: The LEFT SUBMASTER control adjusts
the volume of the left stereo output channel. In mono
mode, it is used as a subgroup master.
14. SUB R: The RIGHT SUBMASTER control adjusts
the volume of the right stereo channel. In mono
mode, it is also used as a subgroup master.
15. MAIN MASTER: The MAIN output is an mix of
the left and right stereo outputs. The Main Master
controls the volume of the main output.
16. MONITOR MASTER: This control adjusts the
volume of the monitor output signal. The monitor out¬
put is a mix of the individual channel monitor sends.
EQUALIZER CONTROLS (refer to Front Panel
Diagram, Pictorial 1, page 5)
17. DUAL 8-BAND GRAPHIC EQUALIZERS: Each
of the graphic equalizers can boost or cut any (or all)
of the 8 frequencies by 12 dB.
The equalizers are connected to the lOOM's mixer
section output via the Power Amplifier Assign Mode
switch. The mode switch determines the usage of
each channel of the equalizer section. The equalizers
may also be used to extend the bass response of the
100S speaker system by an additional 1/3 octave.
Adjust the 63-Hz slider of the appropriate graphic
equalizer to a setting of +3 dB. This setting results
in the overall flattest bass response and extends the
low-frequency cutoff to approximately 60 Hz. In
some situations the additional low-frequency
response may be neither desirable nor beneficial.
The extra low-frequency boost places additional
demands on the lOOM's power amplifiers. This may
cause premature activation of the anti-clipping cir¬
cuitry. If this is the case, using less boost might be
considered.
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