Rane MP 24z User Manual

Page 9

Manual-7

OPERATING INSTRUCTIONS

INITIAL OPERATION

Operation of the MP 24z is fairly straightforward, deviating

only slightly from other products of its type. Assuming at least

one turntable is connected and assigned to PHONO 1, opera-

tion consists of the following: Make sure all faders are set to zero,

the MIC, LOOP, EQ, and ACTIVE CROSSFADER are all

disengaged, (switches out) and that all rotary LEVEL controls are

either fully counter-clockwise or in their center detents, which-

ever applies. Select PHONO l on Input Channel 1. Simultane-

ously raise the Channel 1 fader and the MASTER LEVEL fader.

Before much travel is reached on the faders, the results should

be heard. If not, shut everything down and recheck connections,

power to the mixer (look for the yellow POWER light) and

ancillary devices (EQs, crossovers, ampliﬁers, etc.)

Once an output is established from the turntable, go ahead

and try everything else. Assign all Inputs to the Channels they

will be used, and test the system. Once all sources are set as

desired, proceed.

REAR PANEL ADJUSTMENTS

There are some controls on the rear panel which need to be

set. Set the METER SENSITIVITY ADJUST so the system

is at maximum level, (usually just short of ampliﬁer clipping).

Run the system up to this maximum level and turn the METER

SENSITIVITY ADJUST so that the highest peaks on the PEAK

PROGRAM METER occasionally hit the +8 dB indicator. This

warns the operator that further pressure on the throttle will

overdrive the system.

At this point check the MAXIMUM OUTPUT GAIN RE-

DUCTION control so that with the MASTER LEVEL at “10”,

the meter responds as it did in the previous step. This would be

a good time to make the adjustment. This may be accomplished

by turning the rear panel MAX OUTPUT GAIN REDUC-

TION adjustment all the way down, pushing the MASTER

LEVEL fader all the way up, setting a normal mix level on the

Input fader, and then turning up the MAX OUTPUT GAIN

REDUCTION adjustment on the rear until the required output

level is attained. In some cases, make this adjustment with both

the Source Level and the MASTER LEVEL faders all the way

up. This is acceptable only if sources can be adjusted such that

they all have equal output before they reach the Input of the

MP 24z. If this is not possible, full system drive will not come

from some components. To accomplish this feat, use identical

cartridges in all turntables so the phono levels are all the same.

Having done all of this it is possible to use the MAX OUTPUT

GAIN REDUCTION on all of your sources.

The other rear panel adjustment that should be made at this

time has to do with the maximum deviation to the frequency re-

sponse of the system left to the operator. This is controlled by the

EQ RANGE switch. In the out position, the range of all of the

EQ controls is ±8 dB. In the in position, this range is reduced

to ±4 dB. The latter is considered safer in situations where taste

makes waste—in drivers, that is.

THE HEADPHONE CONTROL (CUE) SYSTEM

To use the HEADPHONE CUE System, signal must be

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 Cue ampliﬁer.

An LED illuminates next to the CUE switch, attesting to the

fact that it was indeed pushed down. Now select how to listen to

it — Mono Cue in one ear, Mono Program in the other, Stereo

Program in both ears, or Stereo Cue in both ears. The STEREO/

MONO CUE switch allows this ﬂexibility. To vary the level

between Cue and Program, rotate the HEADPHONE PAN

control in the desired direction. Counter-clockwise rotation in-

creases the Cue Level, clockwise rotation increases the Program

Level. The overall volume of all of this is then controlled by the

rotary HEADPHONE LEVEL control.

USING THE ASSIGNABLE ACTIVE CROSSFADER

Active Crossfader™ technology combines state of the art volt-

age controlled ampliﬁer design with a professional quality cross-

fader control. This combination sets new standards for perfor-

mance, reliability and serviceability. Virtually all crossfader noise

is eliminated. Channel to channel crosstalk is greatly reduced

and the oﬀ isolation of the faded channel is greatly increased. Ac-

tive Crossfader technology dramatically increases the service life

of the crossfader. In the unlikely event of crossfader failure, there

is no loss of signal. If a crossfader becomes rough or noisy, it may

be “hot-swapped” during a performance with no interruption

of the audio signal. Simply use the input faders to set the audio

levels while the crossfader is out of service.

For normal operation, press the Crossfade ENGAGE switch.

The green LED next to the switch illuminates. The Crossfade

ASSIGN switches determine the two Input channels to be mixed

by the Crossfader. As an example, assume the left ASSIGN

switch is set on 1 and the right ASSIGN switch is on 2. This

activates both mix faders on Channels 1 and 2. Their outputs,

however, are under the control of the Crossfader. When in its

left-most position, only Channel 1 appears at the Outputs. Both

Channels are present in equal levels in the when the Crossfader is

brought to the middle, and only Channel 2 is heard once the far

right is reached.

The contour of the Crossfade has been optimized for con-

temporary use. However, the mix of the two input signals will

have an impact on volume level as you fade from one input to the

other.

Once crossfaded to Channel 2, maybe cue up some video and

put the audio on Channel 4. Hard to do? No way. Simply pull

the Channel 1 fader to zero, set the ASSIGN switch on the left

of the Crossfader to Channel 4, Cue up 4, set the level on fader 4

and Crossfade into it. We realize that it’s a bit strange to Cross-

fade from 2 to 4 by sliding the fader to the left, however it’s just

an unavoidable oddity caused by having so much ﬂexibility.