Rane MP 22z User Manual

Page 8

Manual-6

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 all rotary con-

trols 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 IN-

PUT 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 an-

cillary 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 sum-

ming ampliﬁers.

INPUT TRIMS

The TRIMS allow various devices to drive each Input equal-

ly. 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 22z 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

down. There are two choices of listening to the CUE. With the

STEREO/MONO switch down, you get Mono Cue in the Left

ear and Mono Program in the Right, and 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/PROGAM switch is down, 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 CROSSFADER

The volume of the two Input Channels begins from the fad-

ers 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. With the CROSSFADER CONTOUR set to

the full ccw position, the sound pressure level does not change

as this transition progresses. See Figure 1 on page Manual-1 for

response curves.

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 am-

plifers 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 will get MIC and AUX signals in ZONE 1.

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