Electro-Voice Entertainer Series 200M User manual

200M ENTERTAINER SERIES
OWNER’S MANUAL

200M ENTERTAINER STEREO MIXER
OWNER’S MANUAL
TABLE OF CONTENTS
FEATURES AND DESCRIPTION.2
SPECIFICATIONS.3
BLOCK DIAGRAM.*.4
OPERATION.5
INPUT CHANNEL CONTROLS.5
OUTPUT SECTION CONTROLS.6
MASTER SECTION CONTROLS.7
EQUALIZER CONTROLS.7
METER SECTION.8
CONNECTOR PANEL.9
REAR PANEL CONTROLS AND CONNECTIONS.11
APPLICATIONS.12
STEREO PA WITH S-200 EQUAUZER.12
MONO PA.13
USING A TAPE RECORDER.15
USING A TAPE PLAYER OR TURNTABLE.16
HOOKING UP INSTRUMENTS DIRECTLY.17
EXTERNAL EFFECTS.17
RE-PATCHING THE EQUALIZERS.17
RE-PATCHING THE AMPUFIERS.18
MONITORS.18
SERVICE.23
PRIMARY WIRING CONFIGURATION.23
IN CASE OF DIFFICULTY.25
REPLACEMENT PARTS UST.26
SCHEMATIC DIAGRAMS.27
WARRANTY.40
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS
EQUIPMENT TO RAIN OR MOISTURE.

200M ENTERTAINER STEREO MIXER
OWNER'S MANUAL
FEATURES
Inputs 1 Through 8
• Transformerless balanced mic/line input
• Gain control
• Clip indicator
• Monitor send
• Effects send
• Three-band EQ, with mid-frequency sweep
Input 9
• Auxiliary input for high-impedance or line-level
sources
• Monitor send
Master Section
• Lexicon 16-bit digital effects processor with
thirty programs built-in
• Two nine-band graphic equalizers with
Constant Range ™ for reduced interaction be¬
tween frequency bands
• Two ten-segment peak-responding LED
bargraph meters
• 40-volt phantom power for condenser
microphones
• Mono output master control
• Patching access jacks for mixer, equalizers
and amplifiers
• Effects send and return system for external
effects
Power Amplifier Section
• Two Class-AD switching power amplifiers
• Compressor prevents distortion from clipping
• Power amplifier assign switch which changes
between normal stereo operation and mono
operation with monitors
DESCRIPTION
The 200M Entertainer mixer is a stereo mixer with
nine input channels and two built-in power amplifiers.
The unit has a lightweight and durable chassis with
a recessed front panel for control knob protection.
The mixer’s lightweight design combined with its
high-power amplifiers make it a step ahead of the
competition.
The mixer consists of eight channel inputs which may
be used as either a balanced mic input or a high-im-
pedanceline input. Each of these channels has a gain
control, clip LED, independent monitor send, a three-
band equalizer with mid-frequency sweep, effects
send, pan control, and slide fader.
The mixer also contains one auxiliary input channel
for high-impedance or line-level sources. This chan¬
nel has an monitor send, pan control, two-band
equalizer, and slide fader.
The master section of the mixer is made up of two
nine-band graphic equalizers, a Lexicon digital ef¬
fects processor and master internal effects level
controls. The Lexicon processor has thirty user-
selectable programs which include echo, reverb, and
special effects.
A power amplifier assign switch allows switching
between normal stereo operation and mono opera¬
tion with monitors. The power amplifier assign switch
assigns amplifiers and equalizers with no patching
required.
Two Class-AD switching power amplifiers deliver 300
watts per channel into 4 ohms. Power Lock ™ cir¬
cuitry prevents amplifier clipping. The amplifiers
have short circuit and thermal protection.
Three Electro-Voice accessories complement the
200M mixer. The 200M is compatible with all Electro-
Voice Stage systems, however, because of its light
weight and small size, the S-200 is the recommended
speaker for use with the 200M. The speaker system
is a two-way constant-directivity system with a 300-
watt long-term power-handling capacity. The system
features the EVM® -12S Pro-Line woofer and a high-
output version of the Super-Dome ™ 1.5-inch tweeter.
The S-200 equalizer extends the low-frequency
response limit of the S-200 speakers by almost one
octave, from 90 to 50 Hz, while providing 4 dB of
increased efficiency. A carrying case for the mixer
(EPC-200M) is also available.
two

200M ENTERTAINER STEREO MIXER
OWNER’S MANUAL
SPECIFICATIONS
CONDITIONS
1. All noise measurements are made through mic
inputs with: 150 Q source, 20 Hz - 20 kHz noise
bandwidth.
2. 0 dBu = 0.775 V rms across any impedance.
POWER OUTPUT
4 Q load: 300 W/per channel
8 Q load: 200 W/per channel
FREQUENCY RESPONSE
Power Amplifier: 20 Hz - 20 kHz ± 1 dB with a
4 Q load
Mixer: Microphone input to any output, EQ flat,
gain controls nominal 20 Hz - 20 kHz ± 1 dB
THD
Power Amplifier: < 1 % at maximum rated power
with a 4 to 8 Q load
<0.2 % at 100 W with a 8 Q load
Mixer: <0.1 % at+20 dBu, 20 Hz-20 kHz (
NOISE LEVEL
-123 dBu EIN-equivalent input noise, microphone
input (150 Q termination)
-90 dBu residual at MAIN OUT, MONITOR OUT,
SUB L , SUB R (all gain controls at minimum)
-70 dBu residual at MAIN and MONITOR; all input
gain controls at minimum, MAIN and MONITOR
at 0 dB
INPUT CHANNEL EQUALIZATION
± 15 dB low boost/cut centered at 90 Hz
± 12 dB mid boost/cut sweepable from 300 Hz to
5 kHz
± 15 dB high boost/cut centered at 10 kHz
SUBMASTER INSERTS
1/4-in. stereo phone jack, tip send, ring return
MICROPHONE INPUTS
Type: low-impedance, balanced, pin 2 positive
Maximum Input Level: +14 dBu (3.9 V rms)
Input Impedance at 1 kHz: 2 kQ
CLIP INDICATOR THRESHOLD
2 dB below preamp clipping
LINE INPUTS
Type: high-impedance, balanced, tip positive
Maximum Input Level: +30 dBu (24.5 V)
Input Impedance at 1 kHz: 20 kQ
TAPE INPUTS
Types: high-impedance, unbalanced, tip
positive, RCA phono jack, 1/4-in. stereo phone
Input Impedance:
RCA phono: 6 kQ
1/4-in. phone: 20 kQ
GRAPHIC EQUALIZER
9-band, Constant Range12 dB boost/cut
Center Frequencies: 50,100, 200, 400, 800,1600,
3150, 6300, 12,500 Hz
MAXIMUM VOLTAGE GAIN (± 3 dB)
79 dB-MIC IN to MAIN OUT
69 dB - LINE IN to MAIN OUT
79 dB - MIC IN to MONITOR OUT
69 dB - LINE IN to MONITOR OUT
86 dB-MIC IN to EFX SEND
76 dB - UNE IN to EFX SEND
46 dB - TAPE IN(RCA phono) to MAIN OUT
36 dB - TAPE IN (1/4-in.) to MAIN OUT
79 dB-MIC IN to SUB Lor R
69 dB-UNE IN to SUBLorR
CROSSTALK
-75 dB - Adjacent inputs: 1 kHz
-75 dB - Input to output: 1 kHz
-50 dB - All combinations: 20 Hz - 20 kHz
EFFECTS PROCESSOR
16-bit digital, stereo, 15-kHz bandwidth, 30
user-selectable programs
MAXIMUM POWER INDICATOR (FOR EACH
CHANNEL)
Ughts when compression circuit is activated by
clipping
DIMENSIONS
Height: 7.94 in. (20.2 cm)
Depth: 18.25 in. (46.4 cm)
Width: 19.5 in. (49.5 cm)
WEIGHT
38 lb (17.3 kg)
POWER REQUIREMENTS
100/120/220/240 V ac, 50/60 Hz (internal setting)
CASE
Black polyethylene with detachable line cord
OPTIONAL ACCESSORIES
EPC-200M carrying case
S-200 equalizer
S-200 speakers
Specifications subject to change without notice.
three

Jr'put
I
200M ENTERTAINER STEREO MIXER
f our
OWNER’S MANUAL

200M ENTERTAINER STEREO MIXER
OWNER’S MANUAL
Pictorial 1- Input
Channel Diagram
OPERATION
INPUT CHANNEL CONTROLS
(refer to Input Channel Diagram,
Pictorial 1)
Each input channel will accept a sig¬
nal source which may be equalized,
have internal or external effects
added, sent to a monitor system and
sent to the main system for the
audience to hear. The input chan¬
nels have low-impedance mic inputs
(the 3-pin female XLR-type connec¬
tor) and high-impedance mic/line in¬
puts (1/4-inch phone jack). The line
input will accept signals from either
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 plugging or unplugging
input sources.
1. GAIN control: The GAIN control
adjusts the amplification of the input
stage. This is necessary to accom¬
modate the wide variation in signal
strength presented to the mixer by a
variety of signal sources. The GAIN
control allows the amplification for
each input source to be optimized.
This results in the best signal-to-
noise ratio and best freedom from
overload distortion.
2. EQ controls: Equalization can be
more simply described as tone con¬
trol. The 200M tone controls are of
the bandpass type; therefore, ex¬
tremely high and low (inaudible) fre¬
quencies are not affected by these
controls.
A. HIGH EQ: 10 kHz Boost/Cut
± 15 dB
This control adjusts the treble
content of the input signal.
B. MID FREQ: 300 Hz-5 kHz
This control sets the center fre¬
quency of the MID EG (the fre¬
quency of the maximum peak or
dip).
C. MID EQ: 300 Hz-5 kHz Boost/Cut ±12 dB
This control adjusts the midrange content of the
input signal.
D. LOW EQ: 90 Hz Boost/Cut ±15 dB
This control adjusts the low-frequency content
of the input signal.
3. FX Send control: The FX Send control determines
the amount of input signal sent to the effects bus. It
is affected by the channel tone controls and the
channel fader.
Since each channel has its own FX control, some
channels can have internal or external effects and
others none. Note that since the internal and exter¬
nal effects share a common send, they will always
have the same sources. Therefore, it is not possible
to have internal effects on one input source and
external effects on another input source at the same
time. It is possible to have internal and external
effects simultaneously on both input channels, how¬
ever.
The FX control may also be used as a mono send.
This might be useful for a tape recorder send, for
example.
4. MONITOR control: The MONITOR 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 EQ
controls or the channel fader. Thus, it is not affected
by changes in the main mix.
5. PAN control: The PAN control allows the
channel’s input signal to be placed within the stereo
image by assigning more or less of the signal to the
SUB L or SUB R controls.
Turning the PAN control to the left of 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 "pan¬
ning" a mic away to the loudspeaker on the opposite
side of the stage.
6. Channel Fader: This control adjusts the channel
level in the main mix. The normal setting for this
control is around the 0-dB mark on the scale.
five

200M ENTERTAINER STEREO MIXER
OWNER’S MANUAL
7. CLIP indicator: The channel CLIP indicator
monitors the entire input channel circuit for clipping
or overload. If the LED lights, the signal is bordering
on distortion. This might be caused by excessive
equalization on the channel tone controls, a gain
control setting that is too high for the input signal, or
a channel fader that is set too high. Generally, reduc¬
ing the GAIN control will eliminate clipping.
8. Channel 9 (tape input): The tape input is a high-
impedance line input. It may be used for a tape deck,
cd player, keyboard, drum machine, or other instru¬
ment. See page 8, Pictorial 4.
OUTPUT SECTION CONTROLS (refer to Output
and Master Section Controls, Pictorial 2)
9. Effects Section:
A. EFX SEND Master control: The EFX SEND
master control sets the level of the signal at the
EFX 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
digital effects system. The source for this signal
is the individual FX level controls on input chan¬
nels 1 through 8.

200M ENTERTAINER STEREO MIXER
OWNER’S MANUAL
B. EFX RETURN control: The EFX RETURN
level control determines the level of externally
generated effects signals in the main mix. This
signal is mixed into the left and right submaster
outputs. It will mix into the mono output.
C. EFX PAN control: The EFX PAN control
adjusts where the externally generated effects
are placed in the stereo image.
10. Internal Effects section: A Lexicon 16-bit stereo
digital effects system is built into the 200M mixer.
Thirty programs may be selected fordifferent internal
effects. The available programs are described in
Table 1, page 22.
A. IFX SELECT switch: This switch is used to
select the number of the desired internal effects
program (1 through 30).
B. IFX LEVEL control: This control adds internal
effects to the main (stereo and mono) outputs
from any input channel signal (inputs 1 through
8) whose FX control is turned up.
C. IFX BALANCE control: This control adjusts
the left-to-right balance of the digital effects sys¬
tem.
11. POWER indicator: This green LED indicates
whether the mixer is on or off.
12. PHANTOM POWER indicator: This green LED
indicates the presence of 40 volt phantom power at
the microphone inputs (XLR connectors only).
Phantom power is turned on and off from a switch on
the rear panel. Phantom power allows the simul¬
taneous use of dynamic and condenser
microphones, while eliminating the need for the bat¬
teries sometimes associated with powering con¬
denser microphones.
MASTER SECTION CONTROLS (refer to Output
and Master Section Controls Diagram, Pictorial 1,
page 5)
13. SUB L control: This control adjusts the level of
the left stereo output channel. In mono mode, the
control is used as the left submaster.
16. MONITOR Output control : This control adjusts
the level of the monitor output signal. The monitor
output is a mix of the individual channel monitor
sends.
17. IFX TO MON control: This control adds internal
effects to the monitor mix.
EQUALIZER CONTROLS (refer to Equalizer Sec¬
tion Diagram, Pictorial 3)
18. Dual 8-Band Graphic Equalizers: The Dual
9-Band Graphic Equalizers in the 200M enhance its
versatility. While graphic equalizers are typically
used for feedback reduction, they may also be used
as a tone control system for special tonal effects or
perhaps just the overall shaping of the sound
system’s response. The equalizers are Constant
Range 7* which provides optimum coverage of the
intended frequency range at all control settings.
Each of the graphic equalizers can boost or cut any
(or all) of the 9 bands up to 12 dB.
14. SUB R control: This control adjusts the level of
the right stereo channel. In mono mode, it is also
used as the right submaster.
15. MAIN Master control: The Main output is a mix
of the left and right submaster outputs. The MAIN
Master controls the level of the mono output.
The equalizers are connected to the 200M’s mixer
section output through the POWER AMP ASSIGN
switch. The POWER AMP ASSIGN switch deter¬
mines the usage of the equalizer channels, along with
the power amplifier channels.
seven

200M ENTERTAINER STEREO MIXER
OWNER’S MANUAL
METER SECTION (refer to the Out¬
put and Master Section Controls,
Pictorial 2, page 6)
19. METER ASSIGN switch: The
METER ASSIGN switch allows the left
and right bargraph displays to be as¬
signed in either of two ways:
A. If the METER ASSIGN switch is
in the In position, the left bargraph
will indicate the main output level,
while the right bargraph will indi¬
cate the monitor output level.
B. If the METER ASSIGN switch is
22 in the Out position, the left
bargraph will indicate the left
(SUB L) output level, while the
right bargraph will indicate the
right (SUB R) output level.
20. Left and Right Bargraph dis¬
plays: The meter section uses dual
ten-segment (peak-responding) LED
bargraph displays. The displays are
calibrated in dBu. + 9 dBu on the dis¬
play corresponds to full power from
the internal amplifiers.
21. Left and Right MAXIMUM
POWER indicators: These indicators
signal the activation of the anti-clip¬
ping circuit. The output of each
amplifier is monitored individually for
clipping (distortion). When clipping is
detected, the amplifier gain is auto¬
matically reduced just enough to keep
the amplifier output from clipping. If
the input signal should increase fur¬
ther, the gain is reduced further, but
just enough to prevent clipping.
Occasional flashing of the LEDs is nor¬
mal. Sustained operation of the LEDs,
while not harmful in itself, is an indica¬
tion of amplifier overdrive (operating
the system beyond its limits); the out¬
put level should be reduced. With the
indicators on continuously or most of
the time, the 200M will not get sig¬
nificantly louder, regardless of how
much travel is left on any of the volume
8 controls. One possible cure is to
simply turn the SUB L and SUB R
controls down. Another possibility is
Pictorial 4 - Channel 9
Controls
MAXIMUM
POWER
LEFT
©30CW 40
RIGHT
| ©30CW 40
INTERNAL
DIGITAL
EFFECTS
PROGRAM
12 v_ ' «
- 15 -15
LOW EQ
I \_/ 9
PAN '
- to—
- 2 0 —
- 3 0 —
- 4 0 —
to obtain additional power amplifiers and speakers if
more volume and/or coverage is needed.
Remember, the MAXIMUM POWER LEDs do not
indicate amplifier clipping, rather, they indicate the
activation of the protection circuitry. If it weren't for
the protection circuitry, the signal would have been
clipped, causing distortion.
22. INTERNAL DIGITAL EFFECTS PROGRAM
display: This digital display indicates the number of
the selected internal effects program. The available
programs are described in Table 1, page 22.

20PM ENTERTAINER STEREO MIXER
OWNER’S MANUAL
Pictorial 5 - Connector Panel Diagram
OPERATION
CONNECTOR PANEL (refer to Connector Panel
Diagram, Pictorial 5)
1. B alanced High-Impedance/Line inputs (BAL
HIGH-Z LINE IN): The High-Impedance/Line inputs
(channels 1-8) accept a standard 1/4-inch phone
plug. A 3-conductor or 2-conductor plug may be
used. With a 3-conductor plug, the tip is + and the
ring is —. A 2-conductor plug will unbalance the
input. Use shielded cable for these connections.
The inputs may be used for any of the following
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. B alanced Low-Impedance Microphone inputs
(BAL LOW-Z MIC IN): The Low-Impedance input
jacks (channels 1-8) accept signals from a balanced,
low-impedance source, such as a microphone. Do
not 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. b alanced, 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. T APE inputs: The TAPE inputs are all unbalanced,
high-impedance jacks. The RCA phono jacks will
accept inputs with a nominal level of -10 dBu (con¬
sumer audio equipment). The standard 1/4-inch
phone jack will accept inputs with nominal levels of
+ 4 dBu (pro audio gear). The RCA and 1/4-inch
jacks may be used simultaneously; their signals will
be summed together. Use the output level controls
on the individual input devices to adjust the relative
levels between the two signals. Only 2-conductor
plugs may be used with these unbalanced inputs.
These inputs can be used for:
a. CD or tape player
b. turntables (with suitable RIAA preamp)
c. effects returns
d. keyboards
e. another mixer's output signal
f. output signal from a movie projector or VCR
g. drum machines
h. any line-level source

200M ENTERTAINER STEREO MIXER
OWNER’S MANUAL
Like the other mixer inputs, shielded cable must also
be used here.
4. EFX SEND and RETURN connections: These
jacks allow external effects such as a reverberation
unit, chorus unit, or digital delay device to be con¬
nected to the 200M.
A. EFX SEND connector
This jack sends the output signal from the mixer
to an external effects device.
B. EFX RETURN connector
Once the signal has been sent to an effects unit
for processing, it must be returned to the mixer.
The EFX RETURN jack requires a standard 1/4-
inch phone plug. The signal from this jack is
controlled by the EFX RETURN control.
Regardless of the effects used with the 200M, 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 EFX RETURN is
used.
5. SUB L INSERT connector: This jack is for adding
external signal processing devices to the left sub¬
master mix. The plug should be a tip-send, ring-
return type.
6. SUB R INSERT connector: This jack is for adding
external signal processing devices to the right sub¬
master mix.
7. SUB L OUT connector: This output is the sum of
all the inputs (channels and external) which are as¬
signed to the left submaster bus.
8. SUB R OUT connector: This output is the sum of
all the inputs (channels and external) which are as¬
signed to the right submaster bus.
9. LEFT AMP IN, RIGHT AMP IN, LEFT EQ OUT,
RIGHT EQ OUT connectors: These jacks allow
patching between the 200M's graphic equalizers and
power amplifiers. 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
c. separate the internal amplifiers completely
from the 200M's mixer and equalizer 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, such as the S-200
The equalizers' output jacks and the amplifier input
jacks are "normaled"; therefore, patch cords are not
needed for operation. The equalizer output jacks
may be used without disrupting the signal flow to the
internal power amplifiers, however, the amplifier
input jacks will interrupt the signal coming from the
graphic EQ section when a plug is inserted.
The signals at the equalizer output jacks are line level
and can drive power amplifiers or other line-level
devices.
The power amplifier input jacks require line-level
signals ( + 10dBuforamp clipping).
Use shielded cable for all connections at this point.
10. MONITOR OUTPUT connector: The MONITOR
OUTPUT is the mix of signals from the channel
MONITOR Send controls.
11. MAIN OUTPUT connector: The MAIN OUTPUT
is a mix of the left and right (SUB L and SUB R)
outputs. It is affected by the settings of the SUB L
and SUB R controls. The mix level is adjusted by the
MAIN control. This output may be used simul¬
taneously with the SUB L and SUB R outputs (see
above) or any of the other outputs.
The Main output can also be used to advantage
where the 200M has to drive an external sound
system. For example:
a. the 200M is used in a large room and the
"house system" could be used for additional
coverage.
b. the 200M 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, through a direct box or a high-
to low-impedance transformer such as the EV 502
CP. Plug the high-impedance side of the transformer
into the mono output of the 200M. Plug the low-im¬
pedance side of the transformer into the house PA.
Adjust the output level to house PA with the MAIN
master control. A relatively low Setting will be re¬
quired.
ten

gOOM ENTERTAINER STEREO MIXER
OWNER'S MANUAL
12. POWER AMP ASSIGN switch: The POWER
AMP ASSIGN switch controls the assignment of the
200M's graphic equalizers (and amplifiers if not reas¬
signed by patching).
If the POWER AMP ASSIGN switch is in the down
position, the left equalizer is assigned to the left
submaster (SUB L OUT) output and the right
equalizer is assigned to the right submaster (SUB R
OUT) output.
If the POWER AMP ASSIGN switch is in the up
position, the left equalizer is assigned to the main
(MAIN OUT) output, and the right equalizer is as¬
signed to the monitor (MONITOR OUT) output.
REAR PANEL CONTROLS AND CONNECTIONS
(refer to Rear Panel Diagram, Pictorial 6)
1. POWER switch: This switch turns the entire 200M
on and off.
2. PHANTOM POWER switch: The PHANTOM
POWER switch controls the internal 40-volt phantom
power supply. Phantom powering is a compatible
system, therefore normally used dynamic
microphones may be used alongside phantom-
powered condenser 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 high quality. Otherwise, ex¬
traneous noise may occur.
3. Left and Right Amplifier Output Connectors:
These 1/4-inch jacks are for connecting the
speakers.
4. Fuse Holder: This fuseholder requires a 6-A, fast-
blow fuse.
5. lECConnector: This connector is for the supplied
ac power cord.

200M ENTERTAINER STEREO MIXER
OWNER'S MANUAL
APPLICATIONS
This section deals with some of the more common
setups for the 200M. Each one will begin with the
basics and end with additional refinements or special
situations.
each microphone feeds one input on the 200M. One
speaker is driven from each amplifier output. The
POWER AMP ASSIGN switch is set to the
LEFT/RIGHT (stereo) position. The mono mixer out¬
put could be used to drive an external system. An
external amplifier is needed for monitors, if used.
STEREO PA WITH S-200 EQUALIZER (See
Figure 1)
The 200M may be used as a stereo mixer-amplifier,
its versatility allows it to stand alone, or be the
nucleus of a much larger system. In this system,
Procedure:
1. The following equipment is required: the
200M, two S-200 speakers one S-200 equalizer
and microphone(s).
RIGHT INPUT | S-200 I LEFT OUTPUT
EQUALIZER
RIGHT OUTPUT
OPTIONAL
EXTERNAL
MONITOR
SYSTEM
TO SPEAKERS
300 H 40 MIN EV
EXTERNAL
MONITOR AMP
E/
twelve

200M ENTERTAINER STEREO MIXER
OWNER’S MANUAL
2. Set the speakers up on each side of the stage
area.
3. Place the 200M in a convenient location.
4. Plug the 200M’s power cord into an ac outlet,
but do not turn the unit on.
5. Plug the S-200 speakers into the left and
right amplifier output jacks.
6. Connect the LEFT EQ OUT jack to the left input
of the S-200 equalizer. Similarly, connect the
RIGHT EQ OUT jack to the right input of the
S-200 equalizer.
7. Plug the LEFT AMP IN jack of the 200M to the
to the left output of the S-200 equalizer. Simi¬
larly, plug the RIGHT AMP IN jack of the 200M
to the right output of the S-200 equalizer.
8. Set the SUB L and SUB R controls to their
lowest setting and all graphic equalizer con¬
trols to the 0-dB mark (centered).
9. Set the POWER AMP ASSIGN switch to the
LEFT/RIGHT position.
10. If condenser microphones are connected, turn
the PHANTOM POWER switch on.
11. Turn on the 200M.
12. Adjust the GAIN controls to the 12 o’clock
position.
13. Set the channel PAN and EQ controls to
about the 12 o’clock position.
14. Set the channel faders to the 0-dB setting
on their scale.
15. Bring up the SUB L and SUB R controls slowly
while speaking into one of the microphones
until sound is heard.
16. If the CLIP indicators on any channel il¬
luminate, use a lower GAIN control setting. If
the GAIN setting is too low, turn the GAIN
control up until the CLIP indicators just begin
to light, then turn them down slightly.
17. If feedback is heard before sufficient volume
is reached, identify the frequency range of the
feedback and pull down the corresponding
equalizer control until it stops.
18. M onitors will require an amplifier. An external
equalizer is optional.
MONO PA (See Figure 2)
The 200M may also be used 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 200M 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.
In mono use, the two stereo mixing channels of the
200M 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 by panning
all vocal sources to the left using the input
channel PAN control.
2. Assign all instrument sources to the right
submaster by panning all instrument
sources to the right using the input channel
PAN control.
3. The left submaster is now the vocals master
and the right submaster is the instruments
master. Control the overall level using the
MAIN Master control.
In this system, stage monitors are shown. They are
driven from one of the internal power amplifiers. The
MAIN/MONITOR mode of the POWER AMP ASSIGN
switch on the back panel must be selected. No
additional patching is required.
The monitor speakers used with the 200M can be any
high-quality monitor speaker. The S200 speakers
make excellent monitors. Remember, any of the
following 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
200M. Additional monitors or more powerful
amplifiers can be connected.
Procedure:
1. The following equipment is needed: the 200M,
two S-200 speakers and microphones. Monitor
thirteen

200M ENTERTAINER STEREO MIXER
OWNER’S MANUAL
speakers are optional. 10. Adjust the GAIN controls to about the 12
o’clock position.
2. Set up the speakers on each side of the stage
area. 11. Set the PAN and EQ controls to about the 12
o'clock position.
3. Place the 200M in a convenient location.
12. Set the channel faders and the SUB L and
4. Plug the 200M’s power cord into an ac outlet, SUB R controls to the 0-dB setting on their
but do not turn the unit on. scales.
5. Plug the S-200 speakers into the left and right 13. Turn up the MAIN Master slowly while
amplifier outputs. speaking into one of the microphones until
sound is heard.
6. Set the SUB L and SUB R controls to their
lowest setting. Set all graphic equalizer controls 14. If the CLIP indicators on any channel light,
to the 0-dB mark (centered). use a lower GAIN control setting. If the GAIN
setting is too low, turn the GAIN control up un-
7. Put the POWER AMP ASSIGN switch in the til the CLIP indicators just begin to light, then
MAIN/MONITOR position. turn them down slightly.
8. If condenser microphones are connected, turn 15. If feedback is experienced before a sufficient
the PHANTOM POWER switch on. , volume is reached, identify the frequency range
of the feedback and pull down the corre-
9. Turn the 200M on. sponding equalizer control until it stops.

200M ENTERTAINER STEREO MIXER
OWNER'S MANUAL
16. Connect monitors to the right amplifier output.
Set up a monitor mix using the individual moni¬
tor pots. Slowly bring up the MONITOR Master
control. Use the right graphic EQ to minimize
feedback.
USING A TAPE RECORDER (See Figure 3)
There are several points at which a tape recorder can
be hooked up to the 200M in order to record:
1. stereo outputs
2. mono output
3. equalizer outputs
4. monitor send
5. effects send
The stereo and mono outputs are not affected by the
graphic equalizers in the 200M. 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 EFX SEND is
affected by nearly all the input channel controls. Use
either of these when a special mono mix goes to the
tape recorder. For example:
1. A conference is being recorded and all
microphones connected to the 200M need to go to
the tape recorder regardless of the settings of the
individual 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).
fifteen

200M ENTERTAINER STEREO MIXER
OWNER’S MANUAL
© 0 0 ©
RIAA PREAMP
L
RIAA PREAMP
R
Connect to
inputs A and
C, B and D,
or any two
marked E.
Figure 4 - Turntable/Tape Recorder Hookup (Play Mode)
Connect to
and C, B
and D, or
any two
marked E.
Use the EFX SEND and the individual FX sends to
balance out the various inputs once everything is
relatively set in the mains. Since the EFX 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 FX send controls.
CAUTION:DO NOT HOOK UP ATAPE RECORDER
TO THE AMPLIFIER OUTPUTS.
USING A TAPE PLAYER OR TURNTABLE (See
Figure 4)
"T" rt rrt mrnl n/>!r>ln rtf lirliinU rt ♦ rt r\ rt monliirw-i r-\r
if any of the above outputs are being used to drive turntable (with RIAA preamp) may be connected to
an additional device, use a Y-cord to connect the play back through the 200M.
tape machine. There’s plenty of drive available from
the mixer’s output. A. through an input channel line input.
B. through a TAPE input
C. through the EFX RETURN
sixteen

200M ENTERTAINER STEREO MIXER
OWNER’S MANUAL
If an input channel is used, the following can be done
to the tape machine signal:
1. Send the signal to the MAIN outputs and pan
it between the speakers.
2. Send the signal into the monitors.
3. Equalize the signal with the tone controls.
4. Add reverb to the signal.
If TAPE input 9 is used, the following 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 EFX RETURN is used, the following can be
done:
1. Send the signal to the main outputs.
If the source is stereo, separate inputs must be used
(one panned left, the other right) to maintain stereo
separation. Otherwise, the sound is monol
HOOKING UP INSTRUMENTS DIRECTLY
Instruments are best connected to the 200M through
one of the eight High-Impedance/Line inputs or to
one of the eight Balanced Low-Impedance
Microphone inputs through a direct box or matching
transformer (EV #502CP).
Instruments having high output levels may be con¬
nected to input 9. If sound levels aren’t high enough,
use inputs 1 through 8.
EXTERNAL EFFECTS (See Figure 5)
External effects are easily connected to the 200M.
Several points in the 200M’s mixer section may be
used for effects returns beside the EFX RETURN
input. These are:
1. Line inputs 1 through 8
2. Line input 9
Using any of these inputs allows the effects signal
into the monitors as well as the mains. Simply turn
up the MONITOR Send control on the effect return
channel.
Be certain that the blend or mix control in the external
effects device is set to the maximum or 100% posi-
seventeen

200M ENTERTAINER STEREO MIXER OWNER’S MANUAL
tion. Failure to do this may result in overall volume RE-PATCHING THE AMPLIFIERS
changes as the effect is brought in and out.
Figures 8 and 9 illustrate the various ways that the
RE-PATCHING THE EQUALIZERS amplifier input jacks can be used.
Figures 6 and 7 illustrate the various ways that the 1. Both amplifiers can run the monitors. See Fig-
equalizer outputs may be used. ure 8.
1. Driving an external monitor amplifier (Main/ 2. Both amplifiers can drive main speakers in mono
Monitor mode). See Figure 6. (See Figure 9).
2. Driving an external amplifier for a stereo system 3. The amplifiers can be separated from the 200M
(Left/Right mode). See Figure 7. mixer section and driven from an external
source.
3. Driving an electronic crossover for biamplified
system. Use LEFT and RIGHT EQ OUT (for MONITORS (See Figure 6)
stereo) or MONITOR OUT (Left/Right mode).
If monitors are used, consider the following:
eighteen

200M ENTERTAINER STEREO MIXER
OWNER’S MANUAL
1. Cardioid (unidirectional) microphones are es¬
sential for vocal and acoustic instrument use.
2. Consider using a pickup for acoustic guitar
instead of a microphone. This will reduce
feedback problems.
3. The sound source must be very close to the
microphone if loud monitors are needed.
4. Position the monitor speaker at the null (dead
zone) of the cardioid microphone. For most
cardioid microphones, this is usually at 180°
or 135° (the rear of the microphone) for maxi¬
mum feedback rejection.
5. Position the main speakers to minimize
spill into the mikes that feed the monitor
speakers.
6. B e careful when using equalization on the
monitor system with a graphic or other
equalizer.
nineteen