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My first manual from Owner-Manuals.com but not the last! I am very satisfied with the easy ordering and promt delivery of a manual I did not find anywhere else.
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This manual is very helpfull to use the Power Supply. All technical information has been available.
For service use the circuit diagrams are very good.
Thanks .
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Very comprehensive document which is a must-have for any Satellit 2100 owner whose set up is somewhat intricate. Due to the bad quality of the pictures that are rather dark and a bit blurred I gave 4-star feedback.
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The manual was missing 2 pages but when I presented the problem to the company they made every attempt to get the 2 pages to me, when they couldn't they refunded my money. A very pleasing and easy transaction. The manual they provided was the original, it was concise and to the point. I plan to do business with this company again when should the need arise.
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The owners manual is very good. all my how to questions were answered in detail.
Mono channels
U
Stereo channels
U
-10dBV C GAIN MI
TRIM
TRIM
EQ: (28 through 34)
The mixer has low shelving, mid peaking and high shelving EQ. �Shelving� means that the circuitry boosts or cuts all frequencies past the specified frequency. For example, boosting the LOW EQ knob boosts bass frequencies at 80Hz and below. �Peaking� means that only a selected �hill� of frequencies surrounding a center �hilltop� frequency is affected by the EQ control. All EQ gain controls provide up to 15dB of boost (clockwise) or cut (counter-clockwise). They are flat (no boost or cut) at their center detents, effectively bypassing their circuits. Note: EQ boost is a form of level boost. With excessive amounts, the signal may become too hot and overload subsequent circuitry. Should this happen, either back off the EQ gain, or repeat the SET THE LEVELS on page 8. The following graphs show how the frequency response changes when the various controls are adjusted.(The graphs are simplified for entertainment and enlightenment purposes only).
31. HI MID and 32. LOW MID
The stereo channels employ a 2-stage fixedfrequency midrange EQ:
+15 +10 +5
20
-20 +20
U U
21 22
AUX 1 PRE
O O
0 60 +15dB -45dB
AUX 1 PRE
O O
+15
U
+15
U
0
�5 �10 �15 20Hz 100Hz 1kHz 10kHz 20kHz
LOW MID
2
PRE
O O
2
PRE
O O
LOW MID is centered at 800Hz.
+15
U
+15
U
3
O O
3
O O
+15
U
+15
U
+15 +10 +5
4
O O
4
O O
0
�5 �10
HI MID
HI MID is centered at 3kHz
+15
+15
U
PRE
U
PRE
�15 20Hz 100Hz 1kHz 10kHz 20kHz
POST
O O
5
POST
O O
5
Midrange EQ is often considered the most dynamic, because the frequencies that define any sound are almost always found in this range.
+15
U
+15
U
POST
O O
6
POST
O O
6
+15
+15
U
EQ
12k
HI
U
EQ
12k
HI
33. LOW
This control is centered at 80Hz and below. This frequency represents the punch in kick drums, bass guitar and fat synth patches.
+15 +10 +5
-15
U
+15
-15
U
+15
MID
-15 +15 -15
U
HI MID
+15 3k
600
150 1.5k FREQ
800Hz -15
U
LOW MID
100
U
8k
+15
LOW
80Hz -15 LOW CUT 75 Hz 18dB/OCT OL +15 -15 +15
LOW
80Hz
28. HI
This control is centered at 12kHz and above. Boost it to add sizzle and definition to sounds with high-frequency transients, such as cymbals. Reduce it to attenuate sibilance or to mask tape hiss.
�5
0
LOW
�10 �15 20Hz 100Hz 1kHz 10kHz 20kHz
This graph shows various settings of the LOW control, with LOW CUT not engaged.
OL
34. LOW CUT
This switch (only on the mono channels) cuts the bass frequencies below 75Hz at a rate of 18dB per octave. Low Cut is also known as High Pass (low cut dress=high pass rate). To prevent muddy mixes, use low cut on every mono channel except those which carry kick drum, bass guitar or other bass-intensive sounds. Low cut can also help reduce the possibility of feedback in live situations and it helps to conserve amplifier power.
+15 +10 +5
L
R
-20
L
R
-20
+15 +10 +5
PAN
PAN
MUTE
MUTE / SOLO
dB
20
21 22
MUTE
MUTE / SOLO
dB
0
�5 �10 �15
HI
10 5 U 5
SOLO
10 5
SOLO
20Hz
100Hz
1kHz
10kHz 20kHz
1-2
U 5
1-2
29. MID and 30. FREQ
The mono channels employ a semiparametric mid-sweep EQ. The gain is set via MID (29), and then �aimed� at a specific frequency, from 100Hz to 8kHz, via FREQ (30).
+15 +10 +5
3-4 10 20 30 40 50 60
O O
3-4 10
L-R
20 30 40 50 60
O O
L-R
0
�5 �10 �15 20Hz 100Hz 1kHz 10kHz 20kHz
LOW
This graph shows various settings of the LOW control, with LOW CUT engaged.
0
�5 �10 �15 20Hz 100Hz 1kHz 10kHz 20kHz
MID
Desirable low frequencies can be boosted whilst undesirable lower frequency stage rumble, mic handling clunks and P-p-pops are attenuated.
FREQ
20
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