Rane DA 216a (2003 version) - Manual (Page 6)

Manual-
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OPERATING INSTRUCTIONS
Using the 3-position Output Assign switches, select either
the A Input, the B Input, or A+B Inputs. If the sum of both
Inputs is selected, but only one Input is driven, the Output is
reduced by 6 dB compared to the Output being assigned to only
the driven Input. Since normally the Output would be assigned
to both Inputs only if both Inputs are driven, this isn’t usually
an issue. With the sum of the Inputs available in this way, the
DA 216a may be used as a two-input mixer with 16 assignable
Outputs. Each Output has an independent Gain control which
ranges from off to +6 dB gain in the output stage. Coupled with
a maximum gain of +10 dB for the MASTER LEVEL controls,
a total of +16 dB gain is available with the OUTPUT LEVEL
controls. The INPUT GAIN switch provides for an additional
20 dB gain increase.
MIC-LEVEL
For optimum noise performance with microphones, obtain as
much gain as possible in the Input stage of the DA 216a without
overdriving the unit.
1. Set the appropriate INPUT PAD switch to MIC (out).
2. Set the appropriate INPUT GAIN switch to 40 dB (in).
3. Set the MASTER LEVEL controls fully counterclockwise.
4. Set the OUTPUT LEVEL controls midway.
5. Adjust the MASTER LEVEL clockwise until the OL
LED just blinks on the loudest expected program material. If
the MASTER LEVEL is turned all the way up and the OL LED
is not lighting, set the INPUT GAIN to 60 dB and adjust the
MASTER LEVEL again. Adjust the OUTPUT LEVELs for
the desired output level. If the OL LED is not lit, adjusting the
OUTPUT LEVEL cannot cause clipping within the DA 216a.
The user may still want to turn down the OUTPUT LEVEL to
avoid overloading downstream equipment.
LINE-LEVEL
In the LINE-level configuration, unity gain is the best place
to start.
1. Set INPUT PAD switch to LINE position (in).
2. Set appropriate INPUT GAIN switch to 0 dB.
3. Set MASTER LEVEL controls fully counterclockwise.
4. Set OUTPUT LEVEL controls midway.
5. Adjust the MASTER LEVEL clockwise until the OL
LED just blinks on the loudest expected program material. If
the MASTER LEVEL is turned all the way up and the OL LED
never comes on, set the INPUT GAIN switch out to the 20 dB
position. Adjust the MASTER LEVEL control as before for
optimum gain, then adjust the OUTPUT LEVEL controls for
the desired output level.
DA 216a CONNECTION
When connecting the DA 216a to other components in your
system, leave the power supply for last. This gives you a chance to
make mistakes and correct them without announcing what you
did to the whole world and without damaging “downstream”
equipment. Remember this when setting INPUT PAD, INPUT
GAIN and PHANTOM POWER switches. These switches
should never be changed in a live system. Suddenly changing
the gain by 40 dB can have a profound impact on the ears of the
listening audience.
INPUTS
The two Inputs on the DA 216a are balanced. They may
also be used in an unbalanced configuration. However, if used
unbalanced, do not engage Phantom Power. Use only shielded
cable for the Inputs. This cable should always be two conduc-
tors plus shield, even for unbalanced operation. If you must use
shielded single conductor, keep the cable as short as possible to
avoid hum or radio pick up. When connecting Inputs, use both
Input terminals. For unbalanced, the “hot” Input goes to the “+”,
and the common wire goes to the “–” while the shield connects
to one of the chassis grounds. Since the common wire and shield
are to be tied together at one end in an unbalanced system, this
connects the “–” Input to chassis ground. In a balanced system
(highly preferred), the “+” Input connects to the “+” Output of
the previous equipment. The “–” Input then connects to the “–”
Output and the shield goes to the chassis ground. These Input
connections may be reversed if it is necessary to reverse the po-
larity of the Input signal. Be aware, if a microphone is used which
requires Phantom Power, the shield must be connected to chassis
ground to complete the Phantom Power circuit. Remember, a dy-
namic mic will likely be damaged if used unbalanced while the
Phantom Power is turned on. At the very least, it will saturate
the mic’s output transformer and spoil the sound quality. With
the INPUT PAD switched to LINE, Phantom Power is disabled
for that Input only. That is, a balanced, Phantom Powered mic
may be used at one Input and a line input at the other without
problems.
See the RaneNote “Sound System Interconnection” for ad-
ditional information on grounding and shielding.
OUTPUTS
The DA 216a’s Outputs are balanced and quite substantial.
They will easily drive long cables and 600 Ω loads to full level.
The same wiring conventions as the Inputs apply. For unbal-
anced Outputs, “hot” goes to the “+”, and the shield connects
to one of the chassis grounds. When wiring unbalanced Out-
puts, do not tie the unused terminal (normally “–”) to Ground
— leave it floating.
32 Unbalanced Outputs Tip: The (“–”) Output may also be
used as an unbalanced line driver, albeit inverted. The balanced In-
put terminals of the next stage must be reversed (+) for (–) to correct
for the inversion. This nets a total of 32 Outputs!
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