Electro-Voice 100M Entertainer User manual
ElecIroT/bice®
STEREO
POWERED
MIXERS
OWNER’S
MANUAL
100M
ENTERTAINER
OWNER’S
MANUAL
100M
ENTERTAINER
STEREO
MIXER
TABLE
OF
CONTENTS
FEATURES
AND
DESCRIPTION.2
SPECIFICATIONS.3
BLOCK
DIAGRAM.4
OPERATION.6
FRONT
PANEL
CONTROLS.6
INPUT
CHANNELS.6
MASTER
SECTION.7
EQUALIZER
SECTION.7
METER
SECTION.8
REAR
PANEL
CONNECTIONS.9
INSTALLATION.13
STEREO
PA.13
MONO
PA.14
USING
A
TAPE
RECORDER.15
USING
A
TAPE
PLAYER
OR
TURNTABLE.16
HOOKING
UP
INSTRUMENTS
DIRECTLY.18
EXTERNAL
EFFECTS..18
RE-PATCHING
THE
EQUALIZERS.19
RE-PATCHING
THE
AMPLIFIERS.19
MONITORS.19
SCHEMATIC
DIAGRAMS.25
SERVICE/WARRANTY
INFORMATION.34
WARNING:
TO
REDUCE
THE
RISK
OF
FIRE
OR
ELECTRIC
SHOCK,
DO
NOT
EXPOSE
THIS
EQUIP¬
MENT
TO
RAIN
OR
MOISTURE.
100M
ENTERTAINER
STEREO
MIXER
OWNER’S
MANUAL
FEATURES
INPUTS
1
THROUGH
8
•
Transformerless
balanced
mic/line
input
•
High-impedance
mic
input
•
Gain
control
with
overload
LED
•
Independent
monitor
send
•
Effects-reverb
send
•
Three-band
EQ
INPUTS
9
AND
10
•
Aux
inputs
for
high-impedance
or
line-level
sources
•
Independent
monitor
send
MASTER
SECTION
•
Two
independent
power
amplifiers
•
Two
eight-band
graphic
equalizers
•
Flourescent
bargraph
meters
•
Peak-limited
spring
reverb
•
Master
reverb
level
and
contour
controls
•
Reverb
footswitch
jack
•
48-volt
phantom
power
for
condenser
microphones
•
Patented
Maximum
Power
circuitry
-
prevents
amplifier
clipping
•
Mono
output
master
control
•
Patching
access
jacks
for
mixer,
equalizers
and
amplifiers
•
Effects
send
and
return
system
for
external
ef¬
fects
•
Stereo/Mono
mode
switch
•
Switch
between
normal
stereo
operation
and
mono
with
monitors
DESCRIPTION
The
100M
Entertainer
Mixer
is
a
stereo
mixer
with
ten
inputs
and
two
built-in
150-watt
(peak)
per
channel
power
amplifiers.
The
unit
has
a
balanced,
lightweight
and
durable
chassis
with
a
recessed
front
panel
for
control
knob
protection.
The
mixer
consists
of
eight
channel
inputs
which
may
be
used
as
either
a
balanced
mic
input
or
a
high-im¬
pedance
mic
input.
Each
of
these
channels
have
a
gain
control
with
an
overload
LED,
independent
monitor
sends,
a
three-band
equalizer,
effects-
reverb
sends,
and
slide
faders.
The
mixer
also
contains
two
auxiliary
input
channels
for
high-impedance
or
line-level
sources.
These
channels
have
indepedent
monitors
sends,
pan
pots
and
slide
faders.
The
master
section
of
the
mixer
is
made
up
of
two
power
amplifiers,
two
eight-band
equalizers,
peak-
limited
spring
reverb
and
master
reverb
level
con¬
trols.
A
stereo/mono
mode
switch
allows
switching
between
normal
stereo
operation
and
mono
with
monitors.
The
mode
switch
assigns
amplifiers
and
equalizers
with
no
patching
required.
2
OWNER’S
MANUAL
100M
ENTERTAINER
STEREO
MIXER
3
OWNER’S
MANUAL
4
OWNER’S
MANUAL
100M
ENTERTAINER
STEREO
MIXER
SUB
R
Pictorial
1
-
Front
Panel
Diagram
5
<o
100M
ENTERTAINER
STEREO
MIXER
OWNER’S
MANUAL
OPERATION
Front
Panel
Controls
(refer
to
Front
Panel
Diagram,
Pictorial
1)
INPUT
CHANNEL
CONTROLS
The
input
channel
is
the
beginning
of
the
mixer.
Each
input
channel
will
accept
one
signal
source
which
may
then
be
equalized,
have
reverb
or
other
effects
added,
sent
to
a
monitor
system,
and
sent
to
the
main
system
for
the
audience
to
hear.
Each
input
has
a
low-impedance
mic
input
(the
3-pin
female
XLR-type
connector)
and
a
high-impedance
mic/line
input
(1/4-inch
phone
jack).
The
line
input
will
accept
sig¬
nals
from
an
instrument,
high-impedance
microphone,
tape
deck,
drum
machine,
or
almost
any
other
audio
source.
Always
be
sure
that
the
channel
fader
or
master
faders
are
down
before
plug¬
ging
or
unplugging
input
sources.
1.
GAIN:
This
control
adjusts
the
gain
or
amplifica¬
tion
of
the
input
amplifier.
This
is
necessary
to
ac¬
commodate
the
wide
variation
in
signal
strength
presented
to
the
mixer
by
the
variety
of
signal
sour¬
ces.
The
GAIN
control
allows
the
amplification
for
each
input
source
to
be
optimized.
This
results
in
the
best
signal-to-noise
ratio
and
at
the
same
time,
best
freedom
from
overload
distortion.
2.
MONITOR
SEND:
The
MONITOR
SEND
control
sets
the
level
of
that
input
signal
in
the
monitor
mix.
It
is
independent
of
all
input
channel
controls
except
the
GAIN
control.
It
is
not
affected
by
the
channel
tone
(EQ)
controls
or
the
channel
fader.
Thus,
it
is
not
affected
by
changes
in
the
main
mix.
3.
EFX/REV
SEND:
The
EFFECTS/REVERB
SEND
control
determines
how
much
reverb
from
the
inter¬
nal
spring
and/or
external
effects
is
added
to
that
input
signal.
It
is
affected
by
the
channel
tone
con¬
trols
and
the
channel
fader.
4.
EQ
CONTROLS:
Equalization
can
be
more
simp¬
ly
described
as
tone
control.
The
EQ
circuits
used
in
the
100M
have
a
tremendous
amount
of
boost
and
cut
capability.
This
extreme
range
can
be
a
bonus
when
dealing
with
instrument
signals,
bad
acoustics
or
other
problems.
Use
them
sparingly
for
best
results.
A.
HIGH
EQ:
10
kHz
Shelving
Type
_±.
15
dB
This
control
adjusts
the
treble
content
of
the
input
signal.
Turning
the
control
counter¬
clockwise
decreases
the
amount
of
treble,
clockwise
increases
it.
B.
MID
EQ:
3
kHz
Peak/Dip
i12
dB
This
control
adjusts
the
midrange
content
of
the
input
signal.
Turning
the
control
counter¬
clockwise
decreases
the
amount
of
midrange,
clockwise
increases
it.
C.
LOW
EQ:
100
Hz
Shelving
Type
.±.15
dB
This
control
adjusts
the
bass
content
of
the
input
signal.
Turning
the
control
counter¬
clockwise
decreases
the
amount
of
bass,
clockwise
increases
it.
Since
each
channel
has
its
own
EFX/REV
SEND,
some
channels
can
have
reverb
or
effects
and
others
none.
Note
that
since
the
internal
reverb
and
exter¬
nal
effects
share
a
common
send,
they
will
always
have
the
same
sources.
That
is,
it
is
not
possible
to
have
reverb
on
one
input
source
and
effects
on
another
input
source
at
the
same
time.
It
is
possible
to
have
reverb
and
effects
simultaneously
on
both
input
channels,
however.
The
EFX/REV
SEND
may
also
be
used
as
a
mono
send.
This
might
be
useful
for
a
tape
recorder
send,
for
instance.
5.
PAN:
This
control
allows
the
channel’s
input
sig¬
nal
to
be
placed
within
the
stereo
image
by
assign¬
ing
more
or
less
of
the
signal
to
the
left
or
right
main
volume
controls
(SUB
L
and
SUB
R).
Turning
the
PAN
control
to
the
left
of
the
center
moves
the
apparent
source
toward
the
left
speaker,
turning
it
to
the
right
moves
the
source
to
the
right
speaker.
Centering
the
control
makes
the
apparent
source
centered
between
the
speakers.
If
all
inputs
are
panned
center,
the
result
is
mono.
Proper
use
of
the
PAN
control
can
sometimes
help
to
control
acoustic
feedback
in
a
sound
reinforcement
system
by
"panning"
a
mic
away
to
the
loudspeaker
on
the
opposite
side
of
the
stage.
6.
CHANNEL
CLIP
INDICATOR:
The
CHANNEL
CLIP
indicator
monitors
the
entire
input
channel
cir¬
cuit
for
clipping
or
overload.
If
it
lights,
the
signal
is
bordering
on
distortion.
A
harsh,
blaring
noise
will
6
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.
M
O
NITOR
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.
7
100M
ENTERTAINER
STEREO
MIXER
OWNER’S
MANUAL
By
100M
ENTERTAINER
_
RTFFFO
powfrfp
MIXFR
i
-20
-15
-10
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_1
1
i
i
i
1
2
Pictorial
2
-
Dual-Display
Meter
Diagram
METER
SECTION
(refer
to
the
Dual-Display
Meter
Diagram,
Pictorial
2)
1.
LEFT
AND
RIGHT
BARGRAPH
DISPLAY:
The
meter
section
uses
a
dual-channel
fluorescent
bargraph
display.
The
display
is
calibrated
so
that
0
VU
on
the
display
corresponds
to
+4
dBu
(1.23
V
rms)
at
the
Stereo
or
Monitor
outputs
(depending
on
the
setting
of
the
MODE
switch)
and
+
3
VU
on
the
display
corresponds
to
the
100-watt
(8-ohm)
output
from
the
internal
power
amplifiers.
The
meters
monitor
the
output
of
the
graphic
equalizers.
The
actual
sources
monitored
depend
on
the
setting
of
the
MODE
switch.
Depending
on
the
setting
of
the
MODE
switch,
the
meter
will
indicate
two
different
situations:
If,
the
MODE
switch
is
in
the
In
position,
the
left
bargraph
will
indicate
the
main
output
level,
while
the
right
bargraph
will
indicate
the
monitor
output
level.
If
the
MODE
switch
is
in
the
Out
position,
the
left
bargraph
will
indicate
the
left
stereo
output
level,
while
the
right
bargraph
will
indicate
the
right
stereo
output
level.
2.
LEFT
AND
RIGHT
MAXIMUM
POWER
IN¬
DICATORS:
These
indicators
signal
the
activation
of
the
anti-clipping
circuit.
The
output
of
each
amplifier
is
monitored
individually
for
clipping
(distortion)
con¬
ditions.
When
clipping
is
detected,
the
amplifier
gain
is
automatically
reduced
just
enough
to
keep
the
amplifier
output
from
clipping.
If
the
input
signal
should
increase
further,
the
gain
is
reduced
further,
but
just
enough
to
prevent
clipping.
Occasional
blinking
of
the
indicators
is
normal.
Sus¬
tained
operation
of
the
indicators,
while
not
harmful
in
itself,
is
an
indication
of
amplifier
overdrive
(operat¬
ing
the
system
beyond
its
limits)
and
should
be
ad¬
justed.
With
the
indicators
on
continuously
or
most
of
the
time,
the
100M
will
not
get
significantly
louder,
regardless
of
how
much
travel
is
left
on
any
of
the
volume
controls.
One
possible
cure
is
to
simply
turn
the
master
volume
down.
Another
possibility
is
to
ob¬
tain
additional
power
amplifiers
and
speakers
if
more
volume
and/or
coverage
are
needed.
Remember,
the
MAXIMUM
POWER
LEDs
do
not
in¬
dicate
amplifier
clipping,
rather,
they
indicate
the
ac¬
tivation
of
the
protection
circuitry.
If
it
weren’t
for
the
protection
circuitry,
the
signal
would
have
been
clipped,
causing
distortion.
8
OWNER’S
MANUAL
100M
ENTERTAINER
STEREO
MIXER
5A
5B
6A
6B
BALANCED
LOWUMHEOANCE
MICROPHONE
INPUTK
El
■
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nOiNM
VIPVT9
Pictorial
3
-
Rear
Panel
Diagram
OPERATION
Rear
Panel
Connections
(refer
to
Rear
Panel
Diagram,
Pictorial
3)
1.
HIGH-IMPEDANCE/LINE
INPUTS:The
HIGH-IM-
PEDANCE/LINE
inputs
(channels
1
through
8)
ac¬
cept
a
1/4-inch
standard
phone
plug.
Use
shielded
cable
for
these
connections.
The
inputs
may
be
used
for
any
of
the
sources:
a.
high-impedance
microphones
b.
CD
player
c.
keyboards
or
synthesizers
d.
drum
machines
e.
tape
machines
(playback)
f.
turntables
(with
external
RIAA
preamp)
g.
signals
from
another
mixer
h.
any
source
with
an
output
level
from
-40
to
+
26
dBu
or
.01
to
15
volts
2.
BALANCED
LOW-IMPEDANCE
MICROPHONE
INPUTS:
The
MICROPHONE
input
jacks
(channels
1
through
8)
are
designed
to
accept
signals
from
a
balanced,
low-impedance
source,
such
as
a
microphone.
Be
careful
not
to
connect
or
disconnect
microphones
with
the
volume
(channel
or
master)
controls
turned
up.
Loud
noises
will
result.
Shielded
cable
must
be
used
for
all
microphone
connections.
These
inputs
will
accept
any
of
the
following
sources:
a.
balanced,
low-impedance
dynamic
microphones
b.
balanced,
low-impedance
condenser
microphones
c.
phantom
power
compatible
condenser
microphones
d.
balanced,
low-impedance
outputs
from
instru¬
ments
e.
the
balanced,
low-impedance
output
of
a
direct
box
f.
any
balanced,
low-impedance
microphone-level
source
Each
of
these
inputs
has
phantom
power
available
for
powering
certain
condenser
microphones.
Dynamic
microphones
(or
any
of
the
above
sources)
may
be
used
simultaneously
without
damage.
Since
phantom
power
is
a
compatible
system,
one
switch
is
provided
for
all
inputs.
3.
TAPE
INPUTS:
The
TAPE
Inputs
(channels
9
and
10)
will
accept
inputs
of
about
-10
dBu
or
200
to
300
mV.
Each
input
is
provided
with
a
RCA
phono
jack
and
a
standard
1/4-inch
phone
jack.
These
inputs
can
be
used
for:
a.
CD
or
tape
player
b.
turntables
(with
suitable
RIAA
preamp)
c.
effects
returns
d.
some
keyboards
(if
they
have
enough
output)
e.
another
mixer’s
output
signal
f.
the
output
signal
from
a
movie
projector
g.
drum
machines
h.
a
line-level
input
Like
the
other
mixer
inputs,
shielded
cable
must
also
be
used
here.
4.
OUTPUT
TO
SPEAKERS
(see
Pictorial
4,
page
10
):
These
jacks
are
the
outputs
of
the
two
internal
100-watt
(8-ohm)
power
amplifiers.
The
total
load
presented
to
each
amplifier
must
be
no
lower
than
4
ohms,
however
the
8-ohm
load
is
recommended
(for
example,
two
Electro-Voice
100S
speakers).
Any
of
9
100M
ENTERTAINER
STEREO
MIXER
OWNER’S
MANUAL
4
RIGHT/MAIN
SPEAKER
FUSE
3
AMP
9LO-BLO
ON
ON
□
□
PHANTOM
MAIN
POWER
44
V
POWER
1
.
1
CAUTION
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100
120
u
CAUTION
DO
MOT
OPERATE
AMPLIFIER
WTTM
LESS
THAN
4-OHM
COMPLIED
LOAD
IMPEDANCE.
CAUTION
THIS
UNfT
R
EQUIPPED
WITH
A
UN€
VOLTAGE
SWITCH.
CONSULT
MANUAL
OP
OUALnCO
SERVICE
CENTER
TOP
PROPER
SETTING
M
YOUR
AREA.
IMPROPER
SETTING
WILL
RESULT
IN
DAMAGE
TO
UNIT.
LEFT/MONITOR
speaker
fuse
3
AMP
SIO-BLO
DO
NOT
OPERATE
AMPLIFIER
WITH
LESS
THAN
4-OHM
COMBINED
LOAD
IMPEDANCE.
Pictorial
4
-
Speaker
Output
Panel
the
following
combinations
will
work
(examples
refer
to
ONE
of
the
two
amplifiers):
a.
one
8-ohm
speaker
b.
one
4-ohm
speaker
c.
two
8-ohm
speakers
d.
two
4-ohm
speakers
(wired
in
series)
e.
four
16-ohm
speakers
f.
any
combination
of
speakers
whose
total
im¬
pedance
is
4
ohms
or
more
Operation
of
the
internal
amplifiers
with
loads
below
the
4-ohm
minimum
(i.e.
2
ohms)
may
damage
the
amplifiers.
Such
damage
is
not
covered
by
the
war¬
ranty.
Use
high-quality
cable
and
plugs
(Switchcraft
#280)
to
connect
your
speakers
to
the
100M.
For
most
pur¬
poses,
18-gauge
"zip
cord"
is
sufficient.
For
long
runs
(more
than
50
feet)
heavier
wire
is
recommended
(16
or
14
gauge).
For
heavy-duty
applications,
consider
using
type
SVT
or
SJ
portable
cordage.
It
is
much
better
suited
to
putting
up
and
tearing
down
than
zip
cord.
Shielded
cable
is
neither
necessary
nor
desirable.
***CAUTION***
DO
NOT
USE
COILED
GUITAR
CABLES
FOR
SPEAKER
CONNECTIONS.
THEY
ARE
UNRELI¬
ABLE
AND
WILL
WASTE
AMPLIFIER
POWER.
5.
STEREO
AND
MONO
MIXER
OUTPUTS:
The
STEREO
and
MONO
outputs
are
the
outputs
of
the
mixer
section
of
the
100M.
They
may
be
used
for
tape
recording,
external
amplifiers,
broadcast
feeds,
and
other
external
equipment.
Each
of
these
jacks
are
line-level
outputs.
The
signal
level
is
+4
dBu
or
1.23
V
rms
when
the
fluorescent
bargraph
display
reads
0
VU.
These
outputs
are
not
affected
by
the
graphic
equalizers
or
the
Mode
switch.
The
jacks
may
be
used
at
any
time
without
interrupting
the
signal
flow
through
the
100M.
If
plug¬
ging
into
one
of
these
does
interrupt
the
signal,
the
cable
is
bad.
A.
MIXER
OUT,
LEFT
AND
RIGHT:
These
are
the
lOOM’s
stereo
mixer
outputs.
Use
them
for
simul¬
taneous
recording
or
any
of
the
other
uses
sug¬
gested
above.
If
external
power
amplifiers
are
connected
here
and
recording
is
desired,
use
a
Y
cord
to
connect
them
ail.
NOTE:
Do
not
connect
the
outputs
together
with
a
Y
cord
at
any
time.
10
OWNER’S
MANUAL
100M
ENTERTAINER
STEREO
MIXER
B.
MAIN
OUTPUT:
The
MAIN
output
is
a
mix
of
the
left
and
right
stereo
outputs.
It
is
affected
by
the
set¬
tings
of
the
SUB
L
and
SUB
R
controls.
The
level
of
this
mix
is
adjusted
by
the
MAIN
control.
This
output
may
be
used
simultaneously
with
the
stereo
mixer
outputs
(see
above)
or
any
of
the
other
outputs.
The
MAIN
output
can
also
be
used
to
advantage
where
the
100M
has
to
drive
an
external
sound
sys¬
tem.
For
example:
a.
the
100M
is
used
in
a
large
room
and
the
"house
system"
could
be
used
for
additional
coverage
b.
the
100M
is
used
for
a
keyboard
mixer/amplifier
with
a
large
PA
system
Both
of
these
situations
can
be
covered
by
the
use
of
the
mono
output,
via
a
direct
box
or
a
high-im¬
pedance
to
low-impedance
transformer.
Plug
the
Hi-
Z
side
of
the
transformer
into
the
Mono
output
of
the
100M.
Plug
the
Lo-Z
side
of
the
transformer
into
the
house
PA.
Adjust
the
output
level
to
house
PA
with
the
mono
master.
A
relatively
low
setting
will
be
re¬
quired.
5.
EFX
SEND
AND
EFX
RTN:
The
EFFECTS
SEND
and
EFFECTS
RETURN
jacks
allow
external
effects
devices
such
as
echo
machines,
chorus
units
and
digital
delay
devices
to
be
connected
to
the
100M.
A.
SENDS:
To
facilitate
the
connection
of
the
various
types
of
devices
available
to
the
musician,
two
send
jacks
are
provided:
HIGH
LEVEL
1/4"
phone
jack
+
4
dBu
level
LOW
LEVEL
1/4"
phone
jack
-16
dBu
level
Use
the
EFX
SEND
HIGH-LEVEL
jack
for
studio-
type
effects
devices
capable
of
operating
at
line
levels
(about
1
volt).
Use
the
EFX
SEND
LOW-LEVEL
jack
for
guitar-type
devices.
These
are
units
that
are
normally
patched
between
an
instrument
and
its
amplifier.
The
low-
level
send
allows
the
guitar-type
device
to
operate
at
its
optimum
level
for
low
distortion
and
yet
still
be
hot
enough
to
be
relatively
noiseless.
Both
the
high-
and
low-level
jacks
may
be
used
simul¬
taneously.
B.
RETURN:
Once
the
signal
has
been
sent
to
an
ef¬
fects
unit
for
processing,
it
must
be
returned
to
some
point
within
the
mixer.
The
EFX
RETURN
jack
ac¬
cepts
a
standard
1/4-inch
phone
plug
and
will
accept
signals
from
both
high-
and
low-level
effects.
The
sig¬
nal
from
this
jack
appears
at
the
EFX
RETURN
con¬
trol.
Regardless
of
the
effects
used
with
the
100M,
it
is
extremely
important
that
any
"Blend"
control
on
the
effects
unit
be
set
at
100%
or
full
effect.
If
not,
expect
overall
volume
changes
when
the
effects
return
con¬
trol
is
varied.
Since
most
"pedal
'-type
effects
lack
this
control,
their
use
with
the
100M
(or
any
other
effects
send/return
system)
is
not
recommended.
7.
MONITOR
OUT:
The
MONITOR
SEND
output
is
the
mix
of
all
the
individual
monitor
send
controls.
It
is
not
affected
by
the
graphic
equalizers
regardless
of
the
setting
of
the
MODE
switch.
This
is
a
line-level
output
(
+
4
dBu
nominal)
and
is
capable
of
driving
power
amplifiers
or
other
line-level
inputs.
It
can
also
be
used
for
making
a
recording
that
is
not
affected
by
the
other
mixer
controls
or
as
a
send
to
an
external
sound
system.
8.
AMPLIFIER
AND
EQUALIZER
PATCHING
JACKS
These
jacks
allow
the
amplifiers
and/or
equalizers
in
the
100M
access
to
the
outboard
equipment.
The
jacks
may
be
used
to:
a.
patch
both
internal
amplifiers
to
one
graphic
EQ
output
b.
patch
either
graphic
EQ
output
to
an
external
amplifier(s)
c.
separate
the
internal
amplifiers
completely
from
the
lOOM’s
mixer
circuitry
d.
patch
from
the
graphic
EQ
output
directly
to
a
tape
recorder
for
recording,
where
the
effect
of
the
EQ
is
desired
e.
patch
in
external
equalizers
The
Equalizer
output
jacks
(GRAPHIC
EQ
OUT)
and
the
Amplifier
input
jacks
(AMP
IN)
are
"normaled."
That
is,
they
don’t
require
patch
cords
for
operation.
The
equalizer
output
jack
may
be
patched
into
any
time
without
disrupting
the
signal
flow
to
the
internal
power
amplifiers.
The
amplifier
input
jacks
interrupt
the
signal
coming
from
the
graphic
EQ
section
when
a
plug
is
inserted
into
them.
11
100M
ENTERTAINER
STEREO
MIXER
OWNER’S
MANUAL
The
signals
at
the
GRAPHIC
EQ
OUT
jacks
are
line
level
to
drive
power
amplifiers
and
other
line-level
devices.
The
AMP
IN
jacks
require
line-level
signals
(+
8
dBu
for
amplifier
clipping).
Use
shielded
cable
for
all
connections
at
this
point.
9.
AC
POWER
REQUIREMENTS
AND
FUSE
IN¬
FORMATION
***CAUTION***
Hazardous
voltages
and
currents
may
be
en¬
countered
within
the
chassis.
The
service
infor¬
mation
contained
within
this
document
is
for
use
by
Electro-Voice
authorized
warranty
stations
and
qualified
service
personnel
only.
The
100M
can
operate
on
100,120,
220
or
240
V
ac,
50/60
Hz.
For
90-110
V,
60
Hz,
use
the
100-V
setting
(Japan).
For
108-126
V,
60
Hz,
use
the
120
V
setting.
For
198-
231
V,
50/60
Hz,
use
the
220-V
setting.
For
216-252
V
50/60
Hz,
use
the
240-V
setting.
Replace
the
ac
mains
fuse
with
a
3-A
Slo-Blo,
type
MDL
3
fuse
only
(Export
models,
refer
to
the
fuse
data
label
on
rear
of
the
unit).
Repeated
fuse
blowing
is
a
sign
of
internal
trouble
and
will
only
be
aggravated
by
replacing
the
blown
fuse
with
one
of
larger
value.
10.
POWER
ON/OFF
SWITCH:
Turns
the
entire
100M
on
and
off.
11.
PHANTOM
POWER
SWITCH:
The
PHANTOM
POWER
switch
controls
the
interna!
48
V
phantom
power
supply.
Phantom
powering
is
a
compatible
system,
that
is,
normally
used
dynamic
microphones
may
be
used
along
side
phantom
powered
con¬
denser
microphones
without
damage.
Phantom
powering
imposes
certain
demands
on
cables
and
microphones
used.
Since
microphone
cables
carry
the
electrical
power
that
operates
the
microphones,
all
solder
connections
within
the
mic
connectors
must
be
of
the
highest
quality.
Otherwise,
extraneous
noise
may
occur.
Some
microphones
may
exhibit
random
noise
(cracking,
sputtering
or
popping)
when
used
in
a
phantom-powered
system.
This
problem
is
due
to
the
transformer
or
the
microphone
cartridge
developing
a
leak
to
the
case.
The
leakage
causes
the
noise,
not
the
phantom
power.
Possible
solu¬
tions:
A.
Turn
off
the
phantom
power.
B.
Replace
the
mic.
C.
Repair
the
mic.
Be
careful
not
to
plug
in
or
unplug
microphones
with
phantom
power
present.
Always
turn
the
channel
fader
or
the
master
down
before
plugging
in
or
un¬
plugging
microphones
to
avoid
loud,
unpleasant
noises
which
could
be
harmful
to
speakers.
12.
POWER
AMPLIFIER
ASSIGN
MODE
SWITCH:
This
switch
controls
the
assignment
of
the
10OM’s
in¬
ternal
graphic
equalizers
(and
amplifiers,
if
not
reas¬
signed
by
patching).
In
the
Stereo
mode,
the
Left
equalizer
is
assigned
to
the
Left
stereo
output,
while
the
Right
equalizer
is
assigned
to
the
Right
stereo
output.
In
the
MONITOR/MONO
mode,
the
Left
equalizer
is
assigned
to
the
MONITOR
output,
while
the
Right
equalizer
is
assigned
to
the
MONO
output.
13.
REVERB
FOOTSWITCH
JACK:
The
REVERB
Footswitch
jack
allows
the
internal
reverb
to
be
switched
on
and
off
remotely
from
the
100M.
Use
any
footswitch
that
connects
the
phone
plugs
hot
wire
to
ground
(this
includes
99%
of
all
standard
footswitches).
The
footswitch
cable
does
not
need
to
be
shielded.
The
reverb
is
switched
on
when
the
hot
wire
is
grounded.
14.
HEADPHONE
JACK:
The
HEADPHONE
jack
is
located
on
the
rear
panel.
It
monitors
the
outputs
of
the
internal
power
amplifiers.
It
is
suitable
for
stereo
phones
with
a
rated
impedance
of
8
to
20,000
ohms.
OWNER’S
MANUAL
100M
ENTERTAINER
STEREO
MIXER
INSTALLATION
This
section
will
deal
with
some
of
the
more
common
setups
for
the
100M.
Each
one
will
begin
with
the
basics
and
end
with
additional
refinements
or
special
situations.
STEREO
PA
The
100M
is
ideal
as
a
stereo
mixer-amplifier.
Its
ver¬
satility
allows
it
to
stand
alone,
or
be
the
nucleus
of
a
much
larger
system.
In
this
system,
each
microphone
feeds
one
input
on
the
100M.
One
speaker
is
driven
from
each
amplifier
output.
The
MODE
switch
is
set
to
the
UR
MAINS
(stereo)
posi¬
tion.
The
mono
mixer
output
could
be
used
to
drive
an
external
system.
An
external
amplifier
is
needed
for
monitors,
if
used.
Procedure:
1.
The
following
equipment
is
needed:
the
100M,
two
100S
speakers
and
microphone(s).
2.
Set
the
speakers
up
on
each
side
of
the
stage
area.
3.
Place
the
100M
in
a
convenient
location.
4.
Plug
the
lOOM’s
power
cord
into
an
ac
outlet,
but
do
not
turn
the
unit
on.
5.
Plug
the
100S
speakers
into
the
LEFT
and
RIGHT
13
100M
ENTERTAINER
STEREO
MIXER
OWNER’S
MANUAL
amplifier
output
jacks.
6.
Set
the
SUB
L
and
SUB
R
controls
to
their
lowest
setting
and
both
graphic
equalizers'
controls
to
the
0-dB
mark
(centered).
7.
Set
the
MODE
switch
to
the
LVR
MAINS
position.
8.
If
condenser
microphones
are
connected,
turn
the
PHANTOM
POWER
switch
on.
9.
Turn
on
the
100M.
10.
Adjust
the
GAIN
controls
to
the
12
o’clock
posi¬
tion.
11.
Set
the
channel
PAN
and
EQ
controls
to
about
the
12
o’clock
position.
12.
Set
the
channel
FADERS
to
the
0-dB
setting
on
their
scale.
13.
Bring
up
the
SUB
L
and
SUB
R
slowly
while
speaking
into
one
of
the
microphones
until
sound
is
heard.
14.
If
the
CLIP
indicators
on
any
channel
illuminate,
use
a
lower
GAIN
control
setting.
15.
If
feedback
is
heard
before
sufficient
volume
is
reached,
use
the
equalizers
to
minimize
it.
16.
Monitors
will
require
an
external
equalizer
(op¬
tional)
and
amplifier.
MONO
PA
The
100M
is
also
ideal
as
a
mono
mixer-amplifier.
Again,
its
versatility
allows
it
to
stand
alone,
or
be
the
nucleus
of
a
much
larger
system.
Use
the
mono
mode
of
the
100M
in
situations
where
seating
or
other
physical
constraints
prevent
audience
members
from
hearing
both
loudspeaker
systems.
Use
of
the
stereo
mode
in
this
situation
might
cause
some
listeners
to
only
hear
part
of
the
material.
14
OWNER’S
MANUAL
100M
ENTERTAINER
STEREO
MIXER
In
mono
use,
the
two
stereo
mixing
channels
of
the
100M
may
be
used
as
subgroups,
allowing
the
various
inputs
to
the
mixer
to
be
grouped;
for
ex¬
ample,
the
vocals
and
instruments.
To
group
the
vocals
and
instruments:
1.
Assign
vocals
to
the
left
submaster
(SUB
L)
bypanning
all
vocal
sources
to
the
left
using
the
input
channel
pan
control.
2.
Assign
all
instrument
sources
to
the
right
stereo
master
by
panning
all
instrument
sources
to
the
right
using
the
input
channel
pan
control.
3.
The
left
submaster
(SUB
L)
is
now
the
vocals
master
and
the
right
submaster
(SUB
R)
is
the
instruments
master.
Control
the
overall
level
using
the
MONITOR
master
control.
In
this
system,
stage
monitors
are
shown.
They
are
driven
from
one
of
the
internal
power
amplifiers.
The
Monitor/Main
mode
switch
on
the
back
panel
must
be
activated.
No
additional
patching
is
required.
The
monitor
speakers
used
with
the
100M
can
be
any
high-quality
monitor
speaker.
The
100S
speakers
make
excellent
monitors.
Remember,
any
of
the
fol¬
lowing
combinations
of
monitors
may
be
used:
one
4-ohm
monitor,
two
8-ohm
monitors
or
four
16-ohm
monitors
driven
from
one
channel
of
the
100M.
More
monitors
or
more
powerful
amplifiers
can
be
con¬
nected.
Procedure:
1.
The
following
equipment
is
needed:
the
100M,
two
100S
speakers
and
microphones.
Monitor
speakers
are
optional.
2.
Set
up
the
speakers
on
each
side
of
the
stage
area.
3.
Place
the
100M
in
a
convenient
location.
4.
Plug
the
lOOM’s
power
cord
into
an
ac
outlet,
but
do
not
turn
the
unit
on.
5.
Plug
the
100S
speakers
into
the
RIGHT
AMPLIFIER
outputs.
6.
Set
the
LEFT
and
RIGHT
Submasters
to
their
lowest
setting.
Set
both
graphic
equalizers
to
the
0-dB
mark
(centered).
7.
Put
the
MODE
switch
in
the
MONITOR/MAIN
position.
8.
If
condenser
microphones
are
connected,
turn
the
PHANTOM
POWER
switch
on.
9.
Turn
the
100M
on.
10.
Adjust
the
GAIN
controls
to
about
the
12
o’clock
position.
11.
Set
the
PAN
and
EQ
controls
to
about
the
12
o’clock
position.
12.
Set
the
channel
FADERS
and
the
LEFT
and
RIGHT
SUBMASTERS
to
the
0-dB
setting
on
their
scales.
13.
Turn
up
the
MONITOR
MASTER
slowly
while
speaking
into
one
of
the
microphones
until
sound
is
heard.
14.
If
the
CLIP
indicators
on
any
channel
light,
use
a
lower
GAIN
control
setting.
15.
If
feedback
is
experienced
before
a
sufficient
volume
is
reached,
use
the
graphic
equalizer
to
minimize
it.
16.
Connect
monitors
to
the
LEFT
AMPLIFIER
out¬
put.
Set
up
a
monitor
mix
using
the
individual
monitor
pots.
Slowly
bring
up
the
MONITOR
MASTER
control.
Use
the
left
graphic
EQ
to
mini¬
mize
feedback.
USING
A
TAPE
RECORDER
There
are
several
points
at
which
a
tape
recorder
can
be
hooked
up
to
the
100M
in
order
to
record:
1.
stereo
outputs
2.
mono
output
3.
equalizer
outputs
4.
monitor
and
effects
sends
The
stereo
and
mono
outputs
are
not
affected
by
the
graphic
equalizers
in
the
100M.
Use
these
outputs
for
the
majority
of
recording
hookups,
especially
when
the
equalizers
are
being
used
to
correct
a
feedback
problem
or
poor
room
acoustics.
The
equalizer
outputs
can
be
used
for
a
tape
record¬
ing.
Best
results
from
these
outputs
are
obtained
when
the
equalizer
is
not
being
used,
or
when
it
is
used
for
general
response
shaping.
For
specialized
applications,
the
monitor
and/or
ef¬
fects
outputs
may
be
used.
The
MONITOR
output
has
the
attribute
of
being
independent
of
nearly
all
the
mixer’s
controls.
Conversely,
the
EFFECTS
SEND
is
affected
by
nearly
all
the
input
channels’
controls.
Use
either
of
these
when
you
want
a
spe-
15
100M
ENTERTAINER
STEREO
MIXER
OWNER’S
MANUAL
cial
mono
mix
to
go
to
the
tape
recorder.
For
ex¬
ample:
1.
A
conference
is
being
recorded
and
all
microphones
connected
to
the
100M
need
to
go
to
the
tape
recorder
regardless
of
the
settings
of
the
in¬
dividual
faders.
For
this,
choose
the
MONITOR
SEND,
since
its
signal
source
is
pre
fader,
pre
EQ.
2.
A
recording
of
the
board
output
is
desired,
but
for
one
reason
or
another,
the
mix
available
at
the
mono
output
just
isn’t
quite
right
(some
things
are
too
loud,
other
things
aren’t
loud
enough).
Use
the
EFFECTS
SEND
and
the
individual
EFX/REV
Sends
to
balance
out
the
various
inputs.
Do
this
once
everything
is
rela¬
tively
set
in
the
mains.
Since
the
EFFECTS
SEND
is
post
fader,
post
EQ,
the
recording
will
follow
any
changes
made
in
the
main
mix,
but
with
the
altered
perspective
given
it
by
the
EFX/REV
send
controls.
If
any
of
the
above
outputs
are
being
used
to
drive
an
additional
device,
use
a
Y
cord
to
connect
the
tape
machine.
There’s
plenty
of
drive
available
from
the
mixer’s
output.
***CAUTION***
DO
NOT
HOOK
UP
A
TAPE
RECORDER
TO
THE
AMPLIFIER
OUTPUTS.
USING
A
TAPE
PLAYER
OR
TURNTABLE
There
are
several
points
at
which
a
tape
machine
or
turntable
(with
RIAA
preamp)
may
be
connected
to
play
back
through
the
100M.
A.
via
an
Input
Channel
Line
input.
B.
via
High-Impedance/Line
inputs
9
and
10
C.
via
the
Effects
Return
If
an
input
channel
is
used,
the
following
can
be
done
to
the
tape
machine
signal:
16
OWNER’S
MANUAL
100M
ENTERTAINER
STEREO
MIXER
C
D
RIAA
PREAMP]
[RIAA
PREAMP
I
Connect
to
inputs
A
and
B,
C
and
D,
or
any
two
marked
E.
Stereo
Turntable
RIAA
PREAMP
Connect
to
any
input
'marked
A,
B,
D
C,
E
or
F.
Mono
Turntable
Stereo
Cassette
Deck
Connect
to
inputs
A
and
B,
C
and
D,
or
any
two
marked
E.
Connect
to
any
inputs
marked
A,
B,
C,
D,
E
or
F.
Mono
Cassette
Deck
Figure
4
-
Turntable/Tape
Recorder
Hookup
(Play
Mode)
17
100M
ENTERTAINER
STEREO
MIXER
OWNER’S
MANUAL
1.
Send
the
signal
to
the
MAIN
outputs
pan
be
tween
the
speakers.
2.
Send
the
signal
into
the
monitors.
3.
Equalize
the
signal
with
the
tone
controls.
4.
Add
reverb
to
the
signal.
If
the
LINE/AUX
inputs
9
and/or
10
are
used,
the
fol¬
lowing
can
be
done:
1.
Send
the
signal
to
the
MAIN
outputs
and
pan
it
between
the
speakers.
2.
Send
the
signal
to
the
monitors.
If
the
EFFECTS
RETURN
is
used,
the
following
can
be
done:
1.
Send
the
signal
to
the
main
outputs.
via
a
direct
box
or
matching
transformer
(EV
#502CP).
Instruments
having
high
output
levels
may
be
con¬
nected
to
inputs
9
or
10.
If
sound
levels
aren’t
high
enough,
use
inputs
1
through
8.
EXTERNAL
EFFECTS
External
effects
are
easily
connected
to
the
100M.
Be
sure
to
select
the
proper
EFFECTS
SEND
jack
for
your
particular
device.
Several
points
in
the
lOOM's
mixer
section
may
be
used
for
effects
returns
beside
the
EFFECTS
RETURN
input.
These
are:
1.
Line
inputs
1
through
8
2.
Line
inputs
9
and
10
If
the
source
is
stereo,
separate
inputs
must
be
used
(one
panned
left,
the
other
right)
to
maintain
stereo
separation.
Otherwise,
the
sound
is
MONO!
Using
either
of
these
inputs
allows
the
effects
signal
into
your
monitors
as
well
as
the
mains.
Simply
turn
up
the
monitor
send
control.
HOOKING
UP
INSTRUMENTS
DIRECTLY
Instruments
are
best
connected
to
the
100M
through
one
of
the
8
High-Impedance/Line
inputs
or
to
one
of
the
Balanced
Low-Impedance
Microphone
inputs
Be
certain
that
the
blend
or
mix
control
in
the
exter¬
nal
effects
device
is
set
to
the
maximum
or
100%
position.
Failure
to
do
this
may
result
in
overall
volume
changes
as
the
effect
is
brought
in
and
out.
18
OWNER’S
MANUAL
100M
ENTERTAINER
STEREO
MIXER
"Pedal"-type
effects
are
especially
prone
to
this
type
of
problem.
RE-PATCHING
THE
EQUALIZERS
Figures
6
and
7
illustrate
the
various
ways
that
the
equalizer
outputs
may
be
used.
1.
Driving
external
monitor
amplifier
(monitor-
mono
mode).
2.
Driving
external
amplifier
for
a
stereo
system.
3.
Driving
an
electronic
crossover
for
bi-amplified
system.
RE-PATCHING
THE
AMPLIFIERS
Figures
8
and
9
illustrate
the
various
ways
that
the
amplifier
input
jacks
can
be
used.
1.
Both
amplifiers
can
run
the
monitors.
2.
Both
amplifiers
from
the
mono
output.
3.
Amplifiers
separated
from
100M
mixer
section.
MONITORS
If
monitors
are
used,
consider
the
following:
1.
Cardioid
(unidirectional)
microphones
are
essential
for
vocal
and
acoustic
instrument
use.
2.
Consider
using
a
pickup
for
acoustic
guitar
in¬
stead
of
a
mic
that
would
be
more
susceptible
to
feedback.
3.
The
sound
source
must
be
very
close
to
the
microphone
if
loud
monitors
are
essential.
4.
Position
the
monitor
speaker
at
the
null
(dead
zone)
of
the
cardioid
microphone.
For
single-D
microphones,
this
is
usually
at
180°
(the
rear
of
the
microphone)
for
maximum
feed¬
back
rejection.
5.
Position
the
main
speakers
so
as
to
minimize
spill
into
the
mikes
that
feed
the
monitor
speakers.
6.
Be
careful
when
using
equalization
on
the
monitor
system
with
a
graphic
or
other
equalizer.
19
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1
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