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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.
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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.
dbx 160A COMPRESSOR / LIMITER
�MASTER�
�SLAVE�
160A
INPUT OUTPUT
STEREO STRAPPING TO RIGHT INPUT FROM RIGHT OUTPUT TO LEFT INPUT FROM LEFT OUTPUT
160A
INPUT OUTPUT
STEREO STRAPPING
TRS �STEREO� CABLE (Shield plus two conductors)
Figure 6: Multi-Channel Connections
Using External Level Detector Inputs To control the compressor by signals other than the audio input (via an auxiliary device), connect the auxiliary device's output to the 160A's DETECTOR INPUT jack, and feed the auxiliary device's input with the same signal fed to the 160A's INPUT (Figures 4 and 5). This requires a Y-adaptor, unless the input signal has already been split (e.g., some synthesizers can send the same signal to two outputs). In certain situations, the auxiliary device may need to be inserted in the signal path, not in the detector path. In such cases, signal is fed to the input of that device, and also to the DETECTOR INPUT, and the auxiliary device's output is fed to the 160A INPUT (e.g., using a delay line to create �negative� attack times).
Specific System Connections
The 160A has balanced inputs and outputs, and can be used with any line-level device. Some common examples include: mixing consoles, musical instruments, patch bays, and other signal processors. Mixing Board If you wish to compress a particular track of a multitrack recording or one channel of a live performance, connect the 160A INPUT to the audio source's output jack while the 160A OUTPUT can be directly connected to a line input jack (balanced or not) or the 160A's INPUT and OUTPUT can be wired to an Insert point. In the latter case, the signals will most likely be unbalanced.
Note: The amount of compression is directly related to the level of the input signal. However, depending upon your system's setup, it may not always be crystal clear as to what volume controls in your chain affect input level and which affect output level. If the 160A, in relation to your mixer channel's volume controls, is �pre-fader� (i.e., the 160A is connected to mixer inserts so that the compression effect occurs before the mixer channel's volume fader), you can boost or cut the input level by adjusting the source's volume control (e.g., a synthesizer's volume control) and boost the track's output level using the 160A's OUTPUT GAIN control or the mixer's volume fader (the latter here is great for track fade-outs). If the 160A, is �post fader� (i.e., the 160A is connected to mixer inserts so that the compression effect occurs after the level set by the mixer channel's volume fader), adjusting the mixer's volume fader changes the input level and the amount of compression. If you would rather have this volume fader control output, we suggest you set up the compressor directly between the source and the mixer channel's input. This way, you can use the instrument's volume control to define the input level and amount of compression and the mixer's volume fader to change only the overall volume of the track.
Musical Instruments (e.g., Electric Guitar, Bass, Keyboards, Electric-Acoustic Instruments) The output of an electric guitar is sometimes not �hot� enough to drive the 160A's INPUT. When this is the case, you should use the �PREAMP OUT� of your guitar amp (if so equipped), or the output of some other device that is designed to accept low-level instrument inputs (including various foot pedal effects, acoustic pickup preamps, and rack mount audio products, like the dbx 163X, 263X, and 563X). Such sources can be balanced or unbalanced -- this is no problem for the 160A. Microphones, bass guitars, and electric-acoustic instruments, also typically have low-level outputs. With most setups they require signal boost to drive the 160A's INPUT. For example, when recording voice directly to a portable tape deck, a mic preamp placed between the mic and the 160A (which is then fed to one of the recorder's inputs) can boost the signal for the 160A as well as provide a high level signal to the tape deck. Keyboards, samplers, drum machines and sound modules typically produce a line-level signal and can be connected directly from the instrument's output to the 160A's INPUT.
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