Ecler SCLAT100 User manual

USER MANUAL
MANUAL DE INSTRUCCIONES
NOTICE D’EMPLOI
BEDIENUNGSANLEITUNG
SCLAT100
ECLER
AUDIO CREATIVE POWER

2

3
3
1
2
010
5
4 6 7
9
8
L R
C
MUTE
XFA
XFB
LINE
PHONO
GAIN
TREB
MID
BASS
BAL
AUX
PEAK
SP
FADER
0
1
2
3
4
5
7
6
8
9
10
0
0
0
0
131
PFL
3
1
2
010
5
4 6 7
9
8
L R
C
MUTE
XFA
XFB
LINE
PHONO
GAIN
TREB
MID
BASS
BAL
AUX
PEAK
SP
FADER
0
1
2
3
4
5
7
6
8
9
10
0
0
0
0
131
PFL
3
1
2
010
5
4 6 7
9
8
L R
C
MUTE
XFA
XFB
LINE
PHONO
GAIN
TREB
MID
BASS
BAL
AUX
PEAK
SP
FADER
0
1
2
3
4
5
7
6
8
9
10
0
0
0
0
131
PFL
3
1
2
010
5
4 6 7
9
8
L R
C
MUTE
XFA
XFB
LINE
PHONO
GAIN
TREB
MID
BASS
BAL
AUX
PEAK
SP
FADER
0
1
2
3
4
5
7
6
8
9
10
0
0
0
0
131
PFL
RL
C
MICRO
LINE
GAIN
TREB
MID
BASS
BAL
AUX
SP
PEAK
FADER
9
1
0
2
3
6
5
4
7
8
10
10
10
2
9
8
5
34 6 7
0
0
0
0
132
XFA
XFB
PFL
MUTE
RL
C
MICRO
LINE
GAIN
TREB
MID
BASS
BAL
AUX
SP
PEAK
FADER
9
1
0
2
3
6
5
4
7
8
10
10
10
2
9
8
5
34 6 7
0
0
0
0
132
XFA
XFB
PFL
MUTE
RL
C
MICRO
LINE
GAIN
TREB
MID
BASS
BAL
AUX
SP
PEAK
FADER
9
1
0
2
3
6
5
4
7
8
10
10
10
2
9
8
5
34 6 7
0
0
0
0
132
XFA
XFB
PFL
MUTE
RL
C
MICRO
LINE
GAIN
TREB
MID
BASS
BAL
AUX
SP
PEAK
FADER
9
1
0
2
3
6
5
4
7
8
10
10
10
2
9
8
5
34 6 7
0
0
0
0
132
XFA
XFB
PFL
MUTE
3
1
2
010
5
467
9
8
LR
C
MUTE
XFA
XFB
LINE
PHONO
GAIN
TREB
MID
BASS
BAL
AUX
PEAK
SP
FADER
0
1
2
3
4
5
7
6
8
9
10
0
0
0
0
131
PFL
3
1
2
010
5
467
9
8
LR
C
MUTE
XFA
XFB
LINE
PHONO
GAIN
TREB
MID
BASS
BAL
AUX
PEAK
SP
FADER
0
1
2
3
4
5
7
6
8
9
10
0
0
0
0
131
PFL
3
1
2
010
5
467
9
8
LR
C
MUTE
XFA
XFB
LINE
PHONO
GAIN
TREB
MID
BASS
BAL
AUX
PEAK
SP
FADER
0
1
2
3
4
5
7
6
8
9
10
0
0
0
0
131
PFL
100 100 100
R
L
C
MICRO
LINE
GAIN
TREB
MID
BASS
BAL
AUX
SP
PEAK
FADER
9
1
0
2
3
6
5
4
7
8
10
10
10
2
9
8
5
3467
0
0
0
0
132
XFA
XFB
PFL
MUTE
R
L
C
MICRO
LINE
GAIN
TREB
MID
BASS
BAL
AUX
SP
PEAK
FADER
9
1
0
2
3
6
5
4
7
8
10
10
10
2
9
8
5
3467
0
0
0
0
132
XFA
XFB
PFL
MUTE
EC ELR
REC
LINE
R
L
C
R
L
C
R
L
C
030 dB
0.1 3 s
PFL
L+R
SPLITON
VOL
BAL
VOL
VOL
VOLTIME
EFF
RTN
SND
BAL BAL
MASTER
10
10
2
9
8
5
34 6 7
10
10
2
9
8
5
34 6 7
10
10
2
9
8
5
3467
10
10
2
9
8
5
34 6 7
10
10
2
9
8
5
3467
10
10
2
9
8
5
3467
LINE
AUX
PHONES
OUT 1 OUT 2
BOOTH
SCLAT 1
HIGH PROFILE MODULAR MIXING CONSOLE
TALKOVER
PFL
L+R
00
160
0
1
2
3
4
5
7
6
8
9
10
CROSSFADE
A
B
ECELR
REC
LINE
RL
C
RL
C
RL
C
030 dB
0.1 3 s
PFL
L+R
SPLITON
VOL
BAL
VOL
VOL
VOLTIME
EFF
RTN
SND
BAL BAL
MASTER
10
10
2
9
8
5
34 6 7
10
10
2
9
8
5
3467
10
10
2
9
8
5
34 6 7
10
10
2
9
8
5
3467
10
10
2
9
8
5
34 6 7
10
10
2
9
8
5
34 6 7
LINE
AUX
PHONES
OUT 1 OUT 2
BOOTH
SCLAT 1
HIGH PROFILE MODULAR MIXING CONSOLE
TALKOVER
PFL
L+R
00
160
0
1
2
3
4
5
7
6
8
9
10
CROSSFADE
A
B
10
RL
dB
LR
ON
4
10
30
38
20
7
2
0
2
7
4
VU
12
10
RL
dB
LR
ON
4
10
30
38
20
7
2
0
2
7
4
VU
12

4
SCLAT100 USER MANUAL
1. IMPORTANT REMARK 05
2.INTRODUCTION 05
3. EXTERNAL POWER SUPPLY 05
3.1. Considerations 05
4.INSTALLATION 06
4.1. Placement and Mounting 06
4.2. Rack-mounting 06
4.3. Substituting a module 06
4.4. Adding a new module 06
5. CONSIDERATIONS 07
5.1. Ground loops 07
5.2. Audio connections 07
5.3.Noise 07
5.4. Cleaning 07
6. STEREO PHONO/LINE INPUT MODULE 08
7. STEREO MICRO/LINE INPUT MODULE 10
8.MASTERMODULE 13
9.DIAGRAMS 55
9.1. Technical characteristics 55
9.2. Figures 56
9.3. FA50 Function List and diagram 60
9.4. Phono/Line Module function list and diagram 62
9.5. Micro/Line Module function list and diagram 64
9.6. Master Module function list and diagram 66
9.7. Block diagram 69
All data subject to changes due to production tolerances. ECLER S.A. reserves the right to modify or enhance the production process,
which could affect the above specifications.

5
1. IMPORTANT REMARK
Congratulations! You are the owner of a carefully designed and manufactured equipment. We
thank you for having purchased our SCLAT100 mixer.
It is VERY IMPORTANT that you read this manual before connecting the mixer in order to
obtain its maximum performance.
We recommend our authorised Technical Services whenever any maintenance task should be
needed so that optimum operation shall be achieved.
2. INTRODUCTION
Since ECLER presented in 1984 the SCLAT10, in 1987 the SCLAT8 and in 1994 the SCLAT4,
the SCLAT name has been related to the reference regarding professional high performance mixers.
Renowned for its flexibility, sonic quality and reliability, the by this time third generation of SCLAT
mixers confirms ECLER as the European leader in mixing desks.
The SCLAT100 mixer combines all the requirements a technician demands from a mixing
desk regarding available features and operating safety together with the functionality DJs demand
from a high end mixer. With the SCLAT100, ECLER makes another step forward, foreseeing again
the features the market of high-end club mixers needs today.
General features
 Modular mixer with maximum capacity for 8 dual-input modules
 Totally modular construction
 Standard 19'' rack size, 8 units high
 Two standard configurations available: SCLAT100-8, 8 modules for 16 inputs and
SCLAT100-5, 5 modules for 10 inputs
 Circuit boards designed with SMD (Surface Mounting Device) technology
 Angled control panel (15°) for comfortable operation
3. FA50 EXTERNAL POWER SUPPLY
The SCLAT100 mixing console uses an external power supply which delivers all necessary
voltages to the mixer for its correct operation. These voltages are conveniently stabilized against
power consumption and mains voltage variations. They are also totally protected against short
circuits.
3.1. Considerations
As the FA50 is equipped with a quite powerful transformer (50VA), it has to be considered that
this can produce unwanted hum and cause thermal disturbance and electromagnetical interference
on other devices placed below or on top of the power supply. For that reasons it's recommended to
separate the power supply from electromagnetical interference sensitive devices and facilitate its
cooling. In order to protect this power supply from eventual overloads in the mains voltage or
occasional consumption peaks o the internal circuits, it features a temporized 400 mA fuse (3).
Should it ever blow up, unplug the unit from mains and replace it with an identical one. If the
new fuse blows again, DO NOT INSTALL A HIGHER RATED FUSE and contact immediately
with our Authorized Technical Service.

6
The FA50 power supply mounts a 9 pin SUB-D type socket (9) for the voltage outputs. The
power switch (1) serves also as a visual indication, as it lights up when the power is switched on. The
Earth Link or Ground Link Switch (4) has to be used to avoid ground loops originated when several
devices in the same signal chain are connected to earth simultaneously. This switch lets you isolate
the electrical ground of the circuit board from the mechanical (chassis) earth. In case a ground loop
appeared (hum noise), use either this switch or the equivalent "Earth Link" switches found on the
devices in the signal chain.
4. INSTALLATION
4.1. Placement and Mounting
The main pursuit one has to approach when deciding the placement for the mixer has to be
the maximum comfort for the operator at the same time as permitting an easy access to the
connections for testing and plugging-unplugging the cables. Remember that the mixer will be both a
source and a destination of audio signal from other devices.
Due to the high gain of the PHONO and MIC input stages, you should try to install the mixer
away from potential noise sources (mains transformers, motors, etc.) and kept apart from mains
cables. For that reason you should never remove the metallic cover plate of the device.
4.2. Rack-mounting
In order to avoid damaging the mixer when mounting it on the profiles, the mounting kit
includes a set of plastic and metal washers.
4.3. Substituting a module
The procedure for adding, substituting or changing a module's position is quite simple. To
complete the procedure, follow these steps:
 Disconnect the power supply.
 Remove the rear piece by unscrewing the three screws securing it.
 Unscrew and remove the three screws which secure the front panel and the back panel.
 Take the module out first by pulling the GAIN and AUX knobs and then pulling the chassis
itself.
 Remove the multipin connector (bus) which makes the connections to the rest of modules.
Now you can freely take out the module.
4.4. Adding a new module
 Disconnect the power supply.
 Remove the rear piece by unscrewing the three screws securing it.
 Remove the front and back panels of the blank module in case this exists. To do this,
simply unscrew the three screws securing the blank module.
 Plug in the bus connector which links the new module to the other modules.
 Insert the new module in its position. Sustain it at its three screws.
 Place the rear angular piece and fix it with its three screws.

7
5. CONSIDERATIONS
5.1. Ground loops
Ensure at all times that no signal sources reaching the mixing desk and no devices connected
to its output have their earths interconnected; that is, earth should never reach them via two or more
different paths, as this could lead to humming which could even interfere with sound reproduction
quality. In order to avoid earth loops, ensure that the shielding of cables, if connected to the chassis,
are never connected with each other.
5.2. Audio connections
As a general rule of thumb, make the signal connections as short as possible and use the best
connectors and cable available. Cables and connectors are frequently held cheap, forgetting that a
bad connection can result in a poor sound quality. Use low capacity cables
5.3. Noise
The use of active circuitry can yield, depending on the configuration, to a significant noise
level. The SCLAT100 mixer has been designed for the minimum possible noise. Anyway, the noise
level will always depend on the correct use and installation of the mixer.
It is not the same setting up the FADER at "2" and the MASTER at "10" that the other way
round; FADER at "10" and MASTER at "2". In the first case you get a poor signal to noise ratio that
will be fully amplified by the master while on the second case we have a good signal to noise ratio
only amplified by "2". As a result, the background noise is greater in the first case than in the second
one.
5.4. Cleaning
The control panel must not be cleaned with any dissolvent, abrasive or petroleum derivated
substance else paint and silk-printing of the modules could be damaged.
Whenever cleaning should be necessary, use a soft cloth slightly wet with water and neutral
liquid soap or with a solution of water and alcohol at 50%. Be careful that no liquid gets into the mixer.
Never use sharp or erosive objects to scratch the control panel.
Should any liquid get into the mixer, do not use any cleaning sprays; send the unit to the
nearest ECLER Technical Service.

8
6. STEREO PHONO/LINE INPUT MODULE
Inputs and Sensitivity
This module features a stereophonic input stage with RIAA compliant pre-amplifier for phono
signal levels (1.77 to 56.2mV) and a line input stage (0.100 to 10V). Selecting one of these two inputs
(featuring RCA connectors) is done with the PHONO/LINE push-button switch. This selects one of the
input pairs on the rear panel. A green indicator lights up when the PHONO input is selected and a
yellow indicator does when the LINE input is selected. The nominal input sensitivity of the PHONO
input is 10mV (-40dB). To this input you can connect a turntable equipped with a phono cartridge
capable of delivering between 1.77 and 56.2mV. This input has a quite large overload capacity, thus
admitting higher output cartridges. Regarding the LINE input, its nominal input sensitivity can be
switched from -5dBV to +5dBV, via the LOW/HIGH switch found on the rear panel. For high signal
levels such as CD players, DATs or MINIDISCs use +5dB. For low signal levels use -5dB (Cassette
players, tape recorders, tuners...)
GAIN (4) Input Gain Adjustment
On the front panel you can find a channel gain potentiometer which is common for both inputs.
Its adjustment range is ±15dB. This control is useful when compensating for level differences in the
signals to mix with already on-air music or music on another channel. This operation can be
accomplished either visually (via the left VU-METER) or by pre-listening via headphones (comparing
both signals successively using the PFL buttons).
Each module additionally features a set of internal jumpers (see fig. 1) which allow you to
reduce the gain range from ±15dB to ±5dB, thus minimizing the risk of damage of transducers in "high
risk" installations.
ATTENTION: The modification of the input gain range must be carried out by a qualified
technician.
TREB (5), MID (6), BASS (7) Tone Control
Three band tone control with -30dB to +10dB adjustment range for bass and treble and -25dB
to +10dB range for the mids.
Each module additionally features a set of internal jumpers (see fig.1) which allows you to
reduce the upper gain limit from +10dB to +6dB, minimizing the potential risk of putting such broad
gain ranges for all three bands in hands of a novice operator. This type of mixer usually drives
expensive high performance power audio systems. A +5dB gain limit practically eliminates any
possibility of damage.
ATTENTION: The modification of the tone control gain limit must be carried out by a qualified
technician.
BAL (8), Balance control
Its mission is to adjust the signal level between the left and right channel

9
AUX (9) Auxiliary Send
The PHONO/LINE module of the SCLAT100 features a stereo bus for auxiliary sends, AUX.
This send is by default configured as post-fader, i.e. the position of the channel FADER (16) affects
the signal level sent to the AUX SND bus.
This behaviour can be internally modified and converted to pre-fader by just repositioning the
jumpers indicated in figure 1.
ATTENTION: The modification of the pre-fader or post-fader setting must be carried out by a
qualified technician.
PFL (17) Pre-Fader Listening button
Activates the visual monitoring on VU 1 and audio monitoring of the input signal on the
corresponding channel. See paragraphs: Visual and audio monitoring in the MASTER Module
chapter.
MUTE (18) Switch
Cuts the channel signal just before reaching the fader, letting you execute any gain or tone
adjustment through the monitoring system (VU METER or Headphones). In order to maximize the
signal to noise ratio of the mixer, it's recommended to mute all unused channels. Unmuting a channel
with a raised fader instantly activates the channel. A visual indication lights up when the channel is
muted.
XFA (19), XFB (20) Crossfader assignment buttons
The MASTER module of the SCLAT100 features a horizontally positioned fader. This device -
called CROSSFADER - lets you make a transition between any channel signals in a very easy way.
The two push-button found below the MUTE button let you assign the current channel either to
the A Crossfader channel (XFA) or to the B Crossfader channel (XFB). A visual indication shows if the
current module is assigned to channel A or B of the crossfader. If a module is not assigned to any
crossfader channel, the signal will be sent directly to the main mix bus. if both push-buttons are
depressed, the module will be assigned to XFA
PEAK (14) and SP (15) Indicators
The PEAK indicator lights up when signal clipping is imminent. The signal is not yet clipped
but the real clipping threshold (saturation) is almost reached. The PEAK indication may sporadically
light up to the rhythm of the music (bass frequencies) or during a "shout". It should under any
circumstances keep lit permanently. The peak indicator activates at +10dB above the nominal input
level. The SP (Signal Present) indicator directly monitors the input signal before the GAIN control. Its
threshold is set at -40dB. This indication is an excellent quick reference for verifying that the signal
source is actually working.
Channel FADER (16)
The SCLAT100 only employs high quality professional 60 mm faders.

10
7. STEREO MICRO/LINE INPUT MODULE
Inputs and Sensitivity
This module offers an input suitable for connecting balanced microphones having a -50dBV
(3.16mV) nominal input sensitivity. It admits levels between 0.56 and 17.7mV. The module also
features a line input (0.100 to 10V), identical to that in the PHONO/LINE module.
Selecting one of these two inputs is done with the MICRO/LINE push-button switch. This
selects one of the input pairs on the rear panel. A green indicator lights up when the MICRO input is
selected and a yellow indicator does when the LINE input is selected.
The MICRO input connectors are XLR-3 type sockets. These microphone inputs admit
balanced operation. For that, it respects following connection scheme:
Hot or direct signal > Pin 2
Cold or inverted signal > Pin 3
Ground > Pin 1
Microphones should have a low impedance (200 to 600) and be monophonic. For non-
balanced operation, Pin 3 must be shorted to ground.
Regarding the LINE input, its nominal input sensitivity can be switched from -5dBV to +5dBV,
via the LOW/HIGH switch found on the rear panel. For high signal levels such as CD players, DATs or
MINIDISCs use +5dB. For low signal levels use -5dB (Cassette players, tape recorders, tuners...)
Phantom (23)
This module includes a switch, which activates the "Phantom" power supply for the
microphones requiring it. The Phantom switch is located at the rear connection panel.
GAIN (4) Input Gain Adjustment
On the front panel you can find a channel gain potentiometer, which is common for both
inputs. Its adjustment range is ±15dB. This control is useful when compensating for level differences
in the signals to mix with already on-air music or music on another channel. This operation can be
accomplished either visually (via the left VU-METER) or by pre-listening via headphones (comparing
both signals successively using the PFL buttons).
Each module additionally features a set of internal jumpers (see fig. 2) which allow you to
reduce the gain range from ±15dB to ±5dB, thus minimizing the risk of damage of transducers in
"high risk" installations.
ATTENTION: The modification of the input gain range must be carried out by a qualified
technician.

11
TREB (5), MID (6), BASS (7) Tone Control
Three band tone control with -30dB to +10dB adjustment range for bass and treble and -25dB
to +10dB range for the mids.
Each module additionally features a set of internal jumpers (see fig. 2) which allows you to
reduce the upper gain limit from +10dB to +6dB, minimizing the potential risk of putting such broad
gain ranges for all three bands in hands of a novice operator. This type of mixer usually drives
expensive high performance power audio systems. A +5dB gain limit practically eliminates any
possibility of damage.
ATTENTION: The modification of the tone control gain limit must be carried out by a qualified
technician.
BAL (8) Balance Control
In case the LINE input is selected, its function is to distribute the signal level between the left
and the right channel. In case of a monophonic microphone input, the BAL potentiometer will act as a
PANORAMA knob, placing the sound source in a point in space in between the two speakers.
AUX (9) Auxiliary Send
The MICRO/LINE module of the SCLAT100 features a stereo bus for auxiliary sends, AUX.
This send is by default configured as post-fader, i.e. the position of the channel FADER (16) affects
the signal level sent to the AUX SND bus.
This behaviour can be internally modified and converted to pre-fader by just repositioning the
jumpers indicated in figure 2.
ATTENTION: The modification of the pre-fader or post-fader setting must be carried out by a
qualified technician.
PFL (17) Pre-Fader Listening button
Activates the visual monitoring on VU 1 and audio monitoring of the input signal on the
corresponding channel. See paragraphs: Visual and audio monitoring in the MASTER Module
chapter.
MUTE (18) Switch
Cuts the channel signal just before reaching the fader, letting you execute any gain or tone
adjustment through the monitoring system (VU METER or Headphones). In order to maximize the
signal to noise ratio of the mixer, it's recommended to mute all unused channels. Unmuting a channel
with a raised fader instantly activates the channel. A visual indication lights up when the channel is
muted.

12
XFA (19), XFB (20) Crossfader assignment buttons
The MASTER module of the SCLAT100 features a horizontally positioned fader. This device -
called CROSSFADER - lets you make a transition between any channel signals in a very easy way.
The two push-buttons found below the MUTE button let you assign the current channel either
to the A Crossfader channel (XFA) or to the B Crossfader channel (XFB). A visual indication shows if
the current module is assigned to channel A or B of the crossfader. If a module is not assigned to any
crossfader channel, the signal will be sent directly to the main mix bus. if both push-buttons are
depressed, the module will be assigned to XFA
PEAK (14) and SP (15) Indicators
The PEAK indicator lights up when signal clipping is imminent. The signal is not yet clipped
but the real clipping threshold (saturation) is almost reached. The PEAK indication may sporadically
light up to the rhythm of the music (bass frequencies) or during a "shout". It should under any
circumstances keep lit permanently. The peak indicator activates at +10dB above the nominal input
level. The SP (Signal Present) indicator directly monitors the input signal before the GAIN control. Its
threshold is set at -40dB. This indication is an excellent quick reference for verifying that the signal
source is actually working.
Channel FADER (16)
The SCLAT100 only employs high quality professional 60 mm faders.

13
8. MASTER MODULE, OUTPUTS
OUT1 (43-47), OUT2 (39-40) Outputs
OUT1 and OUT2 are two electronically balanced stereo outputs for the main mix. They are
present on XLR-3 sockets with following connection scheme:
Hot or direct signal > Pin 2
Cold or inverted signal > Pin 3
Ground > Pin 1
The balanced circuitry simulates the behaviour of a transformer. If you wanted to use one of
the outputs OUT1 or OUT2 in non-balanced mode, you need to connect to ground the output terminal
not being used. Otherwise, the output signal would not have the necessary level or quality.
Each of these outputs feature an independent volume control; a sliding FADER (34) for OUT1
and a rotative potentiometer (31) for OUT2.
Both outputs additionally feature a balance control BAL (9 and 28) and a L+R push-button (26
and 30) which sums both signals. This is an extremely useful feature in case that during a session
one channel of a sound source fails. Activating this button sends the L+R signal to both speakers. So
the problem gets unnoticed by most of the audience.
The SCLAT100 is adjusted by default at 0dBV(1V) output level. This can be internally modified
to +6dBV(2V). See figures 3 and 4.
ATTENTION: The modification of the output gain must be carried out by a qualified technician.
BOOTH Output (42)
This is an asymmetric stereo output. It carries identical information to that on the OUT1/2
outputs and is specially suited for monitoring the master signal inside the DJ's booth. So, the DJ has a
real reference signal for what's happening on the dancefloor, being totally independent from the pre-
listening system and having a dedicated level control. The nominal output level is 0dBV(1V).
REC1 (48), REC2 (41) and REC (21) Recording Outputs
All these outputs use RCA type connectors. REC1 and REC2 are placed on the back
connection panel, while the REC output is located on the control surface.
The REC1 output carries the programme mix, the REC2 and the REC output on the front
panel carry the same programme mix with the exception of the microphones assigned to talkover. The
REC2 and REC outputs are connected in parallel, but can be nevertheless used simultaneously. The
nominal level of all three outputs is 0dBV(1V).
AUX SND (45) Auxiliary Send Outputs
This stereo output found on the back panel carries on its RCA connector the mix of the AUX
levels set on each channel. This output features its own general volume SND (11) and balance BAL
(10) controls. The nominal level is 0dBV(1V). To this output you may wish to connect power amplifiers
for monitoring purposes or for musical ambient in different zones with the same or a different musical
programme. It is also useful for sending a portion of the signal to external effect units such as
electronic echoes or reverbs.

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MASTER MODULE, INPUTS
AUX RTN (46) Input
Placed on the back connection panel, this input is specially suited for injecting back into the
main mix of the mixer a signal which has passed through an external effect unit (electronic echoes or
reverbs). Thanks to its sensitivity, 0dBV(1V), you can also use it as an auxiliary line level input. It
features a dedicated volume control and pre-listening activation button for audio monitoring.
MIX (49) Input
Direct access to the main mix bus without level control. For interconnecting various mixing
desks we recommend to use this input found on the back panel.
LINE AUX (22) Input
Located on the control panel and with an +5dBV input sensitivity, it is specially suited for
connecting high level audio sources such as CD players, DATs, MiniDiscs or MP3 Players. This input
has a dedicated level control VOL (25) and PFL activation button (24).
OTHER FEATURES
CROSSFADER (38)
This transversally mounted high quality potentiometer allows a smooth transition between the
channels with activated XFA/XFB buttons. The crossfader is submodular, i.e. it can easily be replaced
by removing the two outermost screws placed on the control surface.
 1 - Remove the two outermost screws which fix the crossfader to the front control panel.
 2 - Pull the crossfader out of its mounting hole.
 3 - Unplug the cabling from the old crossfader and connect the new one.
 4 - Place the new crossfader in the mounting hole and tighten the screws.
TALKOVER (15-16-17-18)
This device automatically dampens the musical signal when the ON switch of this module (18)
is activated. The damping amount can be adjusted from 0 to 30dB via the EFF (15) knob and begins
at the first voice hit. The time in which the musical signal recovers its original level can be adjusted
from 0.1 to 3 seconds via the TIME knob.
The SCLAT100 is pre-configured in such way that MICRO/LINE module nearest to the
MASTER module acts as talkover activator. This setting may nevertheless be overridden, so that any
other module(s) could activate the talkover.
For a MICRO/LINE module to activate the talkover, internal assignment jumpers must be
changed from the "MUSIC" bus setting to the "MICRO" bus (see fig. 2).
ATTENTION: The modification of the talkover assignment must be carried out by a qualified
technician.

15
MUSIC MUTE (44)
This interesting feature lets you integrate the local security system into the sound system. A
minijack connection located on the rear panel operates in such way that when its terminals are
shorted, the talkover feature of the SCLAT100 automatically activates, immediately attenuating the
musical signal to the maximum and giving priority to the microphone channels with assigned talkover.
VISUAL AND AUDIO MONITORING
The visual and audio monitoring system deserves a special mention for its versatility and ease of use.
The visual monitoring system consists of two VU METERS:
VU METER 1 (1) permanently monitors the Main Mix unless one or more PFL buttons are
activated. In that case, the level of the PFL signal or the sum of all PFL signals will be displayed. Two
LEDs indicate whether the monitored signal in VU 1 belongs to the Main MIX (19) or to the PFL (20)
signal(s).
VU METER 2 (2) belongs to the output signals and is associated to the button group at its right
side. If neither the OUT2 (6) or AUX S (7) buttons is depressed, VU 2 displays the level on OUT1.
Pressing one of these buttons will display the selected output level. As above, a group of three LEDs
indicates which output signal is currently being monitored. If both push-buttons should be depressed,
OUT 2 will be monitored.
The system features a "peak hold" function which lets you see the maximum signal level.
Just below the VU Meters is a green LED which indicates that the power supply is delivering
the right voltages to the mixer.
Audio Monitoring
Three are the signals which may be monitored through the intuitive, high output power
headphones monitoring system: the programme signal (Main Mix), PFL or both simultaneously using
the SPLIT feature.
Main programme or Main Mix signal, MIX. Sent to the headphones (33) if neither the SPLIT
switch or any PFL button is activated.
PFL signal(s). Sent to the headphones when the SPLIT function is not activated but one or
more PFL buttons are depressed. In the latter case the sum of all PFL signals will be heard.
If the SPLIT push-button (37) is pressed, the left headphones channel will carry the Main Mix
currently on-air and the right channel will carry the PFL signal(s). The SPLIT function has a higher
priority over the first two modes. This feature lets you easily synchronize incoming tracks to the beat
of the Main Mix.
PHONES (33) Output
In order to obtain the maximum performance, headphones should have a high impedance
(200 to 600). Headphones are connected to the PHONES socket, a normalized 1/4'' stereo jack
socket. The sleeve is ground, the ring is the right channel and the tip the left one.

16
MANUAL DE INSTRUCCIONES SCLAT100
1.NOTAIMPORTANTE 17
2. INTRODUCCIÓN 17
3. FUENTE DE ALIMENTACIÓN EXTERIOR 17
3.1. Consideraciones 17
4.INSTALACIÓN 18
4.1. Ubicación y montaje 18
4.2. Empotrado 18
4.3. Sustitución de un módulo 18
4.4. Inclusión de un nuevo módulo 18
5.CONSIDERACIONES 19
5.1.Buclesdemasa 19
5.2. Conexiones de audio 19
5.3.Ruido 19
5.4.Limpieza 19
6. MÓDULO DE ENTRADA ESTÉREO PHONO/LINE 20
7. MÓDULO DE ENTRADA ESTÉREO DE MICRO/LINE 22
8.MÓDULODEMASTER 25
9.DIAGRAMAS 55
9.1. Características técnicas 55
9.2. Figuras 56
9.3. Lista y diagrama de funcionamiento FA50 60
9.4. Lista y diagrama de funcionamiento módulo Phono/Line 62
9.5. Lista y diagrama de funcionamiento módulo Micro/Line 64
9.6. Lista y diagrama de funcionamiento módulo Master 66
9.7. Diagrama de bloques 69
Todos los datos están sujetos a variación debida a tolerancias de producción. ECLER S.A. se reserva el derecho de realizar cambios o
mejoras en la fabricación o diseño que pudieran afectar las especificaciones.

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1. NOTA IMPORTANTE
Enhorabuena. Vd. posee el resultado de un cuidado diseño y de una esmerada fabricación.
Agradecemos su confianza por haber elegido nuestro mezclador SCLAT100.
Para conseguir la máxima operatividad del aparato y su máximo rendimiento, es
MUY IMPORTANTE antes de su conexión, leer detenidamente y tener muy presentes las
consideraciones que en este manual se especifican.
Para garantizar el óptimo funcionamiento de éste aparato, recomendamos que su
mantenimiento sea llevado a cabo por nuestros Servicios Técnicos autorizados.
2. INTRODUCCIÓN
Desde que en 1984 ECLER presentara el SCLAT10, en 1987 el SCLAT8 y en 1994 el
SCLAT4, el nombre SCLAT se ha asociado a la referencia en mezcladores profesionales de altas
prestaciones. Reconocido por su versatilidad, calidad sonora y fiabilidad hoy llega la tercera
generación del SCLAT de ECLER, el líder europeo en mesas de mezcla.
Con el SCLAT100 se conjugan en un mezclador todo lo que el instalador profesional necesita
de una mesa de mezclas a nivel de recursos y seguridad de funcionamiento y lo que el DJ exige a un
mixer de alta gama. Con el SCLAT100 ECLER se avanza de nuevo a las necesidades del mercado
de los mixers de gran club o discoteca.
Características generales
 Mezclador modular con capacidad máxima de 8 módulos de doble entrada.
 Construcción totalmente modular.
 Tamaño rack standard de 19” y 8 unidades de altura.
 Dos configuraciones standard disponibles SCLAT100-8, 8 módulos y 16 entradas y
SCLAT100-5, 5 módulos y 10 entradas.
 Circuitos montados con tecnología SMD (Surface Mounting Device / componentes de montaje
superficial).
 Panel de control inclinado 15º para facilitar la manipulación.
3. FUENTE DE ALIMENTACIÓN EXTERIOR FA50
La consola SCLAT100 está provista de una fuente de alimentación externa que suministra al
mezclador las tensiones necesarias para su correcto funcionamiento. Las tensiones que alimentan al
mezclador están debidamente estabilizadas ante variaciones de consumo y de la tensión de red. También
están totalmente protegidas contra cortocircuito.
3.1. Consideraciones
Hay que tener en cuenta que al equipar un potente transformador (50VA), éste, puede introducir
zumbidos indeseables y perturbar térmica y electromagnéticamente a otros aparatos que se sitúen bajo o
sobre la fuente. Es por tanto recomendable separar la fuente de aparatos sensibles a interferencias y
facilitar su refrigeración. Para proteger esta fuente de eventuales sobrecarcas en la línea de red o bien
excesos ocasionales de consumo en los circuitos internos, está provista de un fusible temporizado (3) de
400mA. En caso de que éste se fundiera se desconectaría el aparato y se sustituiría por otro de idénticas
características. De volver a fundirse EN NINGÚN CASO DEBE PONERSE UN FUSIBLE DE
VALOR MAS ELEVADO, consulte con nuestro Servicio Técnico.

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La fuente de alimentación FA50 dispone de un conector (6) tipo SUB-D de 9 pins para la salida de
tensiones. El interruptor de puesta en marcha (1) es además indicador óptico de servicio ya que queda
iluminado. El conmutador Earth Link o Ground Link (4) tiene por misión evitar la creación de bucles de
masa, originados cuando se conectan a tierra varios aparatos integrantes de una misma cadena de forma
simultánea. Este conmutador permite la desconexión de la masa eléctrica del circuito de la masa del
chasis. En caso de producirse zumbidos, actuar alternativamente sobre el conmutador de la fuente y
demás conmutadores “earth link” de la cadena de audio.
4. INSTALACIÓN
4.1. Ubicación y montaje
La principal consideración a tener en cuenta en el momento de buscar la ubicación del mezclador
debe ser la total comodidad de trabajo del operador y la de permitir una máxima facilidad en la realización
y comprobación de todas las conexiones de las que el mezclador va a ser punto de partida y de llegada.
Dada la elevada ganancia de las entradas de PHONO y de MICROFONO, debe procurarse situar
el mezclador lo más alejado posible de fuentes de ruido (variadores de tensión, motores, etc...) así como
de cualquier cable de red. Por esta misma razón y bajo ninguna circunstancia deben quitarse las tapas
metálicas del aparato.
4.2. Empotrado
Con el fin de atornillar el mezclador mediante sus perfiles sin dañarlo, se suministran en el kit de
montaje unas arandelas de plástico y otras metálicas.
4.3. Sustitución de un módulo
Las operaciones de adición, sustitución y cambio de situación de los módulos no entrañan
complicación. Para realizar estas operaciones procederemos de la siguiente forma:
 Desconecte la fuente de alimentación.
 Retire el ángulo posterior sacando los 3 tornillos que lo sujetan.
 Desatornille y retire los 3 tornillos que sujetan la carátula y el panel posterior.
 Tire del módulo a través de los potenciómetros de GAIN y AUX. Una vez desencajado el
módulo tire directamente de su chasis.
 Retire el conector multipín (bus) que lo une al resto de módulos. El módulo ya queda libre.
4.4. Inclusión de un nuevo módulo
 Desconecte la fuente de alimentación.
 Retire el ángulo posterior sacando los 3 tornillos que lo sujetan.
 Retire el módulo ciego de existir éste, frontal y posterior. Para esta operación desatornille
simplemente los tres tornillos que sujetan el módulo.
 Conecte el bus que une el módulo con el resto de módulos.
 Inserte el módulo en su emplazamiento. Sujételo mediante sus tres tornillos.
 Coloque el ángulo posterior y sujételo con sus 3 tornillos

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5. CONSIDERACIONES
5.1. Bucles de masa
Procuraremos en todo momento que todas las fuentes de señal que lleguen a la mesa de
mezclas, así como todos los aparatos que estén conectados a su salida, no tengan las masas
interconectadas, es decir que nunca les llegue masa por dos o más caminos distintos, ya que de esta
manera se podrían producir zumbidos que llegarían incluso a interferir la calidad de la reproducción
sonora. Los blindajes de los cables, de estar conectados a chasis, en ningún momento deben estar
unidos entre sí, de esta forma evitaremos la formación de bucles de masa.
5.2. Conexiones de audio
Como norma general deberemos procurar que las conexiones de señal sean lo más cortas
posible, así mismo se utilizarán conectores y cables de la mejor calidad. Normalmente a los cables y
conectores no se les presta el interés merecido. En muchas ocasiones y debido a una mala conexión
o por el uso de cables de baja calidad, pueden aparecer importantes problemas en la reproducción
sonora. Utilice cables de baja capacidad.
5.3. Ruido
El empleo de circuitería activa puede aportar, según configuración, un nivel de ruido de fondo
más o menos elevado. El mezclador SCLAT100 ha sido concebido para obtener el menor ruido de
fondo posible. Independientemente de la concepción electrónica con que se haya realizado el
mezclador, el nivel de ruido dependerá directamente de la correcta utilización e instalación de la
unidad de mezcla.
No es lo mismo, por ejemplo, tener el “FADER” de una vía a “2” y el “MASTER” a “10” que a la
inversa. En el primer caso, la señal que llega al amplificador de mezcla, que intrínsecamente tiene un
nivel de ruido de fondo propio, es débil, por lo que la relación señal/ruido es baja (poca señal).
Cuando el amplificador de salida sobredimensione indistintamente todo el conjunto tendremos a la
salida un nivel de ruido de fondo muy elevado. En el segundo caso, al estar el “FADER” al máximo la
señal que recibe el amplificador de mezcla es grande y por tanto con una relación señal / ruido
grande también, por lo tanto cuando esta señal llegue al “MASTER” y sea amplificada, guardará
mejor relación que en el caso anterior.
5.4. Limpieza
El panel de mandos no deberá limpiarse con ninguna sustancia disolvente, abrasiva, o
derivada del petróleo; ya que se corre el riesgo de estropear la pintura y serigrafía de los módulos.
Para su limpieza emplearemos un paño ligeramente humedecido en agua y un poco de jabón
líquido, o bien con una disolución de agua y alcohol a partes iguales. Debe tenerse siempre la
precaución de que no caiga líquido por ninguno de los orificios del aparato. Nunca utilizaremos para
“rascar” la placa de mandos objetos punzantes o erosivos.
Si en algún caso entrase algún líquido por los orificios del aparato evitaremos la utilización de
“sprays” limpiadores y acudiremos al Servicio Técnico ECLER más próximo.

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6. MÓDULO DE ENTRADA ESTÉREO PHONO/LINE
Entradas y sensibilidades
Dispone de una entrada estereofónica de señal con previo RIAA apta para niveles de phono
(1.77 a 56.2mV) y una entrada de línea (0.100 a 10V). La selección entre las dos entradas equipadas
con conectores RCA se efectúa mediante el conmutador pulsador PHONO/LINE que selecciona cuál
de las entradas conectadas al panel posterior del módulo es la activa. Un indicador led de color verde
se ilumina cuando la entrada PHONO es la activa y un indicador amarillo cuando lo es la de LINE. La
sensibilidad nominal de la entrada de phono es de 10mV (-40dBV). A ella pueden conectarse platos
giradiscos equipados con cápsula magnética capaz de entregar un nivel de salida entre 1.77 y 56.2
mV. Dado que esta entrada tiene una elevada capacidad de sobrecarga, puede admitir cápsulas de
mayor nivel de salida. Por lo que a la entrada LINE respecta, su sensibilidad nominal es
seleccionable –5dBV o +5dBV según se encuentre el conmutador situado en el panel posterior en
posición LOW o HIGH. Para niveles de línea altos +5dB (CDs, DATs, MINISISCs) para bajos –5dB
(Platinas casette, magnetófonos, tuners).
Ajuste de la ganancia de entrada, GAIN (4)
En el panel frontal existe un potenciómetro de ajuste de ganancia de vía GAIN común a
ambas entradas. Su margen de actuación es de ±15dB. Mediante este control equipararemos el nivel
de señal a mezclar con la que esté sonando ya en directo a través de otra vía. Esta operación puede
realizarse visualmente mediante el VU METER izquierdo y auditivamente mediante los auriculares,
realizando sucesivas comparaciones entre ambas señales a través de los interruptores de PFL.
Cada módulo dispone además de unos “jumper” interiores (ver fig. 1) que permiten reducir el
margen de ganancia de ±15dB a ±5dB con el fin de minimizar el riesgo de roturas de transductores
en montajes de “alto riesgo”.
PRECAUCIÓN: El cambio de la ganancia de entrada debe ser realizado por personal técnico
cualificado.
Control de tonos, TREB (5), MID (6), BASS (7)
De tres bandas con margen de actuación de –30 a +10dB a las frecuencias de graves,
agudos y –25 a +10dB para medios.
Cada módulo dispone además de unos “jumper” interiores (ver fig. 1) que permiten reducir el
margen superior de ganancia de +10 dB a +6dB con el fin de controlar el riesgo potencial que supone
disponer de elevados niveles de ganancia para cada una de las bandas en manos inexpertas. Esta
categoría de mesa de mezcla es normalmente la torre de control de costosos sistemas de sonido de
alta potencia, con el margen superior de ganancia a +5dB la posibilidad de roturas graves por mala
manipulación queda muy minimizada.
PRECAUCIÓN: El cambio de ganancia en los controles de tonos debe ser realizado por
personal técnico cualificado.
Control de balance, BAL (8)
Su misión es regular el nivel de señal entre el canal izquierdo y derecho.