Rane MP 22 Manual
OPERATORS MANUAL
MP 22
DJ MIXER
QUICK START
If you won’t read the manual (we know how it is) here are a few basic “plug it in and get signal thru it” facts. The MP
22 has all unbalanced RCA connectors, except for the XLR & ¼" Mic Inputs, and ¼" Mic Loop. Be sure your amplifier is
off while making connections. On the front panel, set all controls to the middle of their travel. Set all pushbuttons to their
out position, slide the MASTER LEVEL all the way down. Turn the INPUT SELECT switch for Channel A or B to an
Input with material playing. Turn your amplifier on. Now slowly turn up the MASTER LEVEL and see the material on the
meters and hear it from the MASTER OUTPUT jacks.
There are two places where you can get lost. If you bring a phono signal into PH/LN 1 or 2 be sure to keep the LINE/
PHONO switch set to PHONO; likewise when using a CD player be sure this switch is set to LINE. If you plug into the
MASTER LOOP RETURN the signal path thru the unit is broken, since these are switching jacks. They are looking for
the return from an outside device that got its signal from the MASTER LOOP SEND, so only use these when you can
make a complete loop. Now that was a pretty quick start, right?
Never connect anything except a Rane RS 1 to the thing that looks like a red telephone jack on the rear of the MP 22.
This is an AC supply and requires some special attention if you do not have an operational power supply exactly like the
one that came with your unit. Consult the Rane factory for a replacement or substitution.
Manual-1
FRONT PANEL DESCRIPTION
1. Front panel MAIN MIC input: Use this three pin connector for connecting a balanced microphone of any impedance.
2. MIC EQ controls: These two controls adjust the frequency contour of both Microphone Inputs. They have no effect on any
other Inputs. Positioning these controls to the “12 o'clock” position turns the Mic Equalization off.
3. CHANNEL A & B EQ ENGAGE switches: Engaging this switch enables the Channel Equalizer to function. In the out
position, the Equalizer is bypassed.
4. CHANNEL A & B EQ level controls: These four rotary controls, when enabled with the EQ ENGAGE switch, are used to
contour the frequency response of the selected Input Channel. This is not designed to be the only Equalizer in the system,
this is intended to provide EQ between varying program materials. We recommend an external graphic equalizer for best
overall system sound, connected between the MASTER OUTPUTS and the amplifier.
5. CUE A or CUE B switch: Engaging any single or combination of CUE pushbuttons sends any program present at the
respective Channel's INPUT SELECT selector to the Headphone and meter cue sections. The yellow LEDs adjacent to each
CUE select button illuminate when the switch is engaged. Not recommended for beat sync lights. See OPERATING
INSTRUCTIONS.
6. INPUT SELECT A & B: These four position rotary switches provide Input selection between the various phono/line inputs
for their respective mixing Channels.
7. AUX LEVEL control: This rotary control adjusts the LEVEL from the AUX LINE IN jacks.
8. ZONE LEVEL controls: Control the output LEVEL of ZONE 1 and ZONE 2.
9. PEAK dBu CUE/PROGRAM meter: This meter can switch between two display modes. Refer to the CUE/PROGRAM
switch description below.
10. Meter CUE/PROGRAM switch: In the out position, the meter indicates Master Program output level in PEAK dBu in
LEFT and RIGHT stereo. In the in position, mono CUE level is displayed on the LEFT side and mono ProGraM level is
displayed on the RIGHT side.
11. MAIN MIC ENGAGE switch: This pushbutton ENGAGES the MAIN MIC Input. The adjacent red LED flashes whenever the switch is pressed in, signalling that the Main Mic is on.
Manual-2
12. MAIN MIC LEVEL control: This control adjusts the LEVEL of the front panel MAIN MIC Input.
13. MAIN & REMOTE MIC OVERLOAD indicator: This red LED monitors both Microphone Inputs, before and after the
MIC EQ. It lights whenever these levels exceed 4dB below clipping. Occasional flickering is normal; however, it should
not be allowed to light steadily.
14. REMOTE MIC ENGAGE switch: This pushbutton ENGAGES the REMOTE MIC Input. The adjacent red LED flashes
whenever the switch is pressed in, signalling the Remote Mic is on.
15. REMOTE MIC LEVEL control: This control adjusts the LEVEL of the rear panel REMOTE MIC Input.
16. A & B Input Channel faders: These faders control the Levels of the Input selected on each Channel.
17. CROSSFADER: This fader controls the relative level of the Inputs assigned to the A and B Channels. When this fader is at
its far left, only Channel A is heard from the Outputs. As the fader is moved toward the right, the volume of Channel B is
increased. When the fader is centered, both Channels deliver equal volume. As you might expect, at the far right only
Channel B is heard from the Outputs. The entire crossfader assembly is replaceable from the front panel without disassembling the entire unit.
18. MASTER LEVEL fader: This control determines the final LEVEL at the MASTER and ZONE OUTPUTS. Unity gain is
approximately “6”.
19. HEADPHONE PAN control: This control serves two purposes. When the Headphone Mode switch (see #21) is in
STEREO mode, this controls the relative levels of the CUE and ProGraM mixed together in Stereo. When the Mode is
switched to MONO, this controls the balance between Mono CUE in the left earcup and the Mono ProGraM in the right.
20. HEADPHONE LEVEL control: Clockwise rotation of this rotary control increases the Headphone drive LEVEL.
21. HEADPHONE mode switch: In the out position, this switch feeds STEREO CUE and ProGraM to both earcups. In the in
position the headphone circuit provides MONO CUE to the Left ear and MONO ProGraM to the Right ear.
22. HEADPHONE Output jack: A ¼" tip-ring-sleeve stereo jack provides for the insertion of stereo headphones.
23. POWER “ON” indicator: This yellow LED illuminates anytime the MP 22 is connected to an appropriate power source
(see #14, rear panel).
Fader Care:
With heavy use in harsh environments, the faders may need lubrication. Rane recommends spraying one or two bursts of
CaiLube MCL into the fader. Work the fader back and forth a few times after spraying. This treatment extends longevity and
can make used faders as good as new.
Order CaiLube MCL® from:
CAIG Laboratories, Inc.
16744 W. Bernardo Drive
San Diego CA 92127-1904
Phone 619-451-1799
Fax 619-451-2799
Web www.caig.com
Manual-3
REAR PANEL DESCRIPTION
1. REMOTE MIC/LINE INPUT: This ¼" tip-sleeve INPUT is for wireless mics or other high-impedence sources.
2. MICROPHONE LOOP jacks: These ¼" tip-sleeve connectors are for inserting external signal processing in the microphone circuit only. These jacks do not effect the other INPUTS.
3. PHONO GROUND screw: This GROUND SCREW can facilitate your hum chasing, buzz eliminating experiments. This
provides a place to connect those extra wires coming out of the turntables. See CHASSIS GROUNDING note, next page.
4. PHONO/LINE 1 & 2 INPUTS: These stereo Inputs are switchable from a PHONO (RIAA) stage for magnetic cartridges to
a LINE level INPUT suitable for any line level device such as a CD player. Each INPUT may be adjusted with its TRIM
control for level matching purposes if desired.
5. LINE 3,4,5 & 6 INPUTS: These stereo pairs of RCAs connect LINE level INPUTS only. Each INPUT may be adjusted
with its TRIM control for level matching purposes if desired.
6. MASTER LOOP SEND & RETURN: These stereo pairs of RCA connectors are for inserting external signal processing in
the MASTER, ZONE and HEADPHONE circuits. This feature does not affect the operation of the MIC or AUX INPUTS.
These are switching jacks—always finish the loop when connecting send or return. Only connect to a device that is capable
of returning signal back to the MP 22.
7. AUX LINE INPUT: This stereo pair of RCA connectors is an extra set of LINE level Inputs with an independent front
panel LEVEL control (see #7, Front Panel).
8. TAPE OUTPUT: These RCA connectors are line level Outputs intended for use with a tape recorder, but not necessarily
restricted to that purpose. You may be creative. These Outputs are not affected by the MASTER LEVEL fader.
9. MIC & AUX TO TAPE OUT switch: In the YES position the MIC and AUX signals with all INPUTS are routed to the
TAPE OUTPUT. In the NO position only program material from INPUTS 1 through 6 will appear at the TAPE OUTPUT.
10. MIC & AUX TO ZONE 1 switch: In the YES position the MIC and AUX signals along with all INPUTS are routed to the
ZONE 1 OUTPUT. In the NO position only program material from INPUTS 1 through 6 will appear at the ZONE 1
OUTPUT. Note: MIC and AUX are never routed to the ZONE 2 OUTPUT.
11. ZONE OUTPUTS: These stereo pairs of RCA connectors are LINE level OUTPUTS with an independent front panel
LEVEL control (see #8, Front Panel) and are not affected by the MASTER LEVEL control.
12. MASTER OUTPUTS 1 & 2: This stereo pair of RCA connectors provides two identical stereo LINE level OUTPUTS.
13. Chassis ground point: This screw is provided for connection, if required, to chassis ground. See the CHASSIS GROUNDING note on the next page.
14. POWER input connector: This is not a telephone jack! Connect an 18 volt AC center-tapped transformer only. Use only a
Rane model RS 1, shipped with the unit, or other RS 1 compatible power supply approved by Rane.
Manual-4
SYSTEM CONNECTION
When first connecting the MP 22 to other components,
leave the power supply for last. This gives you a chance to
make mistakes and correct them without damaging your
fragile speakers, ears and nerves.
All of the line level inputs are unbalanced RCA connectors. Inputs PH/LN1, LINE 3, LINE 4 and LINE 5 appear on
Channel A; while PH/LN2, LINE 4, LINE 5 and LINE 6 each
appear on Channel B. The only restriction is the assignment
of the PHONO Inputs, one per Channel A and Channel B. So
for you phono only users, Inputs are pretty simple; PHONO 1
is on Channel A and PHONO 2 is on Channel B. If you bring
a PHONO signal into PH/LN 1 or 2 be sure to set the appropriate LINE/PHONO switch to PHONO. Like a mic input, a
phono requires a lot of gain plus RIAA equalization.
The AUX LINE INPUT has its own LEVEL control on
the front panel and basically sums with the other signals
before the MASTER and ZONE LEVEL controls.
The MAIN MIC Input on the front panel allows use of a
gooseneck mounted microphone. The connector is rotated
such that a right angle connector may be used when connect-
ing via mic cable. The REMOTE MIC Input is located on the
rear panel and has enough range on it's Level control to
accommodate MIC or LINE level inputs. The MIC LOOP has
an unbalanced ¼" TS (Tip/Sleeve) Output (send) and a
separate ¼" TS (Tip/Sleeve) Input (return). The effect in this
LOOP affects both Mics simultaneously.
Inserting plugs into the MASTER LOOP RETURN breaks
the signal path thru the unit unless they contain the return
from an outside device that got its signal from the MASTER
LOOP SEND. In other words, these are switching jacks—
only use a stereo effects device that passes signal completely
patched through.
The MIC and AUX can be switched to appear or not
appear on the ZONE 1 Output, and the MIC and AUX can be
switched to appear or not appear on the TAPE Output,
determined by the YES/NO switches on the rear panel.
If you are connecting balanced devices (3 conductor) to
either the Input or Output of the MP 22, consult the included
RaneNote “Sound System Interconnection” for proper wiring
procedures.
IMPORTANT NOTE
CHASSIS GROUNDING
If your system exhibits excessive hum or buzzing,
there is an incompatibility in the grounding configuration
between units somewhere. Your mission, should you
accept it, is to discover how your particular system wants
to be grounded. Here are some things to try:
1. Try combinations of lifting grounds on units that
are supplied with ground lift switches or links.
2. If your equipment is in a rack, verify that all chassis
are tied to a good earth ground, either through the line
cord grounding pin or the rack screws to another
grounded chassis like the amplifier.
3. Units with outboard power supplies do NOT ground
the chassis through the line cord. Make sure that these
units are grounded either to another chassis which is earth
grounded, or directly to a known ground by means of a
wire connected to a screw on the chassis with a star
washer to guarantee proper contact.
Please refer to Rane Note 110, “Sound System
INterconnection included with this manual for further
information on system grounding.
Manual-5
OPERATING INSTRUCTIONS
INITIAL OPERATION
For starters, connect a CD player to LINE 1 input and set
the PHONO/LINE switch to LINE. If a turntable is used, set
this switch to PHONO. Make sure all faders are set to zero,
the MIC and EQ are disengaged (switches out) and that all
rotary controls are either fully CCW (LEVEL controls) or in
their center detents (EQs), whichever applies. Leave the rear
panel INPUT TRIMS at full CW (factory preset). Switch the
Channel A INPUT SELECT to PH/LN 1. Simultaneously
raise the Channel A fader and the MASTER LEVEL fader.
Before you cover much travel on the faders you should begin
to hear the results. If you do not, shut everything down and
recheck your connections, power to the mixer (look for the
yellow POWER light) and ancillary devices (EQs, crossovers,
power amplifiers, etc.) Once you have established an output
from whatever is connected to LINE 1, go ahead and try the
other Inputs.
INPUT FADERS
The Input Channel faders should be set near their maximum levels to preclude requiring excessive gain from the
Output stage. Achieve optimum noise performance by
running the majority of the gain on the Input stages. Taking
the least amount of gain on the Output stage ensures that the
system doesn’t have to amplify the unavoidable noise
generated by the input buffers and summing amplifiers.
INPUT TRIMS
The TRIMS allow various devices to drive each INPUT
equally. If you have two CD players, you might want to play
the same CD on each player. Now lower the TRIM on the
louder player (the other one should be up all the way) so the
MP 22 meter peaks match for both players. You can use a
similar method with the same recording on different formats
to match a turntable to a CD, or a cassette to a CD or video
deck. If your source has an Output VU of its own, push the
Input Channel fader all the way up, set the MASTER LEVEL
control to “6” (unity gain), and adjust the TRIM so that both
meters reach 0 dB at the same time.
HEADPHONE CONTROL (CUE) SYSTEM
First, you must have signal present at one of the Inputs.
(Well, at least you do to make sure it works.) Depressing the
CUE switch for the respective Input Channel presents this
signal to the headphone amplifier. An LED illuminates next
to the Input CUE switch, attesting to the fact that it is pushed
dow n. There are two choices of listening to the CUE. With the
STEREO/MONO switch dow n, you get Mono Cue in the Left
ear and Mono Program in the Right, and the PAN controls the
amount of each. With this switch up, you get Stereo Program
in both ears or Stereo Cue in both ears, depending on the
rotation of the PAN control. The overall volume is then
controlled by the HEADPHONE LEVEL control.
When a CUE is active at either Input Channel, and if the
Meter CUE/ProGraM switch is dow n, the monoed Cue signal
is routed to the LEFT side of the PEAK dBu Meter, while
monoed Program is displayed on the RIGHT. This is useful to
match a source before it is faded in to the level of the program
currently playing, or for visual beat matching.
USING THE CROSSFADE
The two Input Channels volume begins from the faders on
Channels A and B. Their outputs are under the control of the
Crossfader. When in its left-most position, only Channel A
appears at the Outputs. In the center, both Channels are
present in equal levels, and only Channel B will be heard
once the far right is reached. The sound pressure level does
not change as this transition progresses. This is a constant
power Crossfader, which means that if the two input signals
are equal, a steady volume level will be maintained no matter
where the Crossfader is positioned from far left to center for
A, and from far right to center for B. Thus it can get a bit
sticky to predict when one song may be in terminal fade-out
as you Crossfade from one to another which is just getting up
to full steam.
MICROPHONE OPERATION.
Connect the mic to the appropriate connector. Leave the
MASTER LEVEL fader in roughly the same location as it
was for the music that’s been playing, press the MIC ENGAGE switch (notice the flashing LED) and adjust the MAIN
MIC (or REMOTE MIC) LEVEL. The tonal balance may be
adjusted via the MIC EQ controls. Modifying the sound of the
mic in this way won’t affect the EQ of the music in the
system. The three Equalizer sections (Mic and Input A and B
Channels) are totally independent. When the mic is not in use,
release the MIC ENGAGE switch again to its up position,
extinguishing the LED. Should the microphone preamp
become overloaded, the red LED OverLoad light illuminates.
If this is a problem, lower the appropriate MIC LEVEL
control and increase the level of the MASTER LEVEL fader
to restore desired microphone level.
ZONE OUTPUTS
The ZONE OUTPUTS are additional stereo Outputs with
their own ZONE LEVEL controls that can be routed to
amplifers that feed the bar, another tape recorder, etc. If you
would like the MIC and AUX signals to be removed from the
ZONE 1 OUTPUT place the rear panel switch in the NO
position. In the YES position, you do get MIC and AUX
signals in ZONE 1.
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 TEL (425)355-6000 FAX (425)347-7757 WEB http://www.rane.com
All features & specifications subject to change without notice. SEP96
Manual-6
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