RANE MP 24Z (01) PDF Document

The manual strongly advises against quick-starting the RANE MP 24Z. It is compared to trying to quick-start a 747. It is highly recommended that you read the entire manual front-to-back to familiarize yourself with the many intricacies of the mixer and to avoid making mistakes.

POWER “ON” indicator: Illuminates when the MP 24z is connected to a power source.

SOURCE CONTROL selectors: Select between Phono and Line inputs for each mixing channel.

Input channel faders: Control the relative levels of each of the four input mixing channels.

Channel CUE selectors: Engaging a CUE button sends that channel’s program to the Headphone Cue section. An adjacent yellow LED illuminates when active.

CROSSFADE ENGAGE switch: Activates the CROSSFADER and disables manual mixing. An adjacent green LED illuminates when the Crossfader is active.

Left-hand CROSSFADE ASSIGN switch: Assigns the left side of the Crossfader to any of the four Input Channels when the Crossfader is engaged.

Right-hand CROSSFADE ASSIGN switch: Assigns the right side of the Crossfader to any of the four Input Channels when the Crossfader is engaged.

ACTIVE CROSSFADER: Controls the levels of the two channels assigned to it when the ENGAGE switch is activated.

ENGAGE MIC switch: Enables the Microphone inputs to feed the Booth, Zone, and Main Outputs. A red LED flashes when the switch is down. It also activates a “ducker” circuit for the Booth Output.

MAIN MIC LEVEL control: Sets the level of the balanced low impedance MAIN MIC input.

AUX MIC LEVEL control: Sets the level of the unbalanced high impedance AUX MIC input.

Microphone equalization controls: Adjusts the frequency contour (Treble, Mid, Bass) of both Microphone inputs.

LOOP ENGAGE switch: Controls the Switchable Effects Loop. When pressed, it routes the main signal through a processor connected to the SWITCHABLE LOOP connectors on the rear.

MASTER LEVEL fader: Determines the program and mic level at the Main Outputs.

BOOTH LEVEL control: Adjusts the program and mic level at the Booth Outputs. This output has a “ducking” circuit that reduces the mic level when the MIC ENGAGE switch is pressed.

ZONE LEVEL control: Adjusts the program and mic level of the Zone Outputs.

PROGRAM EQUALIZER controls: Contours the frequency response (Bass, Mid, Hi-Mid, Treble) of the program at the Main, Booth, and Zone Outputs.

PROGRAM EQUALIZER ENGAGE switch: Enables the Program Equalizer when pressed in. The Equalizer is bypassed in the out position.

HEADPHONE LEVEL CONTROL: Increases the headphone volume when rotated clockwise.

HEADPHONE PAN CONTROL: In STEREO mode, it changes the relative levels of Cue and Program mixed in both earcups. In MONO mode, it changes the balance between Mono Cue in the left earcup and Mono Program in the right.

HEADPHONE CUE mode switch: In the up position, it feeds STEREO Program and Cue to both earcups. In the down position, it provides MONO Cue to the left ear and MONO Program to the right.

HEADPHONE output jack: A tip-ring-sleeve stereo jack for connecting stereo headphones.

PEAK PROGRAM METER: Provides a visual indication of the program output voltage level.

For heavy use in harsh environments, faders may need lubrication. The fader assembly must be removed for proper cleaning. The recommended cleaning solutions are Caig Cailube MCL 100% spray lubricant, Caig Cailube MCL 5% spray cleaner, or CRC 2-26.

A. Fader assembly removal

1. Remove the two (2) 3mm screws.

2. Draw the fader assembly out through the hole.

3. Remove the ribbon cable.

B. Fader cleaning

1. Hold the fader assembly away from the mixer.

2. Position the fader at mid-travel.

3. Spray cleaner/lubricant into both ends of the fader.

4. Move the fader over its full travel back and forth a few times.

5. Shake excess fluid from the fader assembly.

6. Wipe off excess fluid.

BALANCED MAIN OUTPUT connectors: Provides a fully balanced Main Output signal via XLR. Pin 2 is (+), pin 3 is (-), and pin 1 is signal ground.

UNBALANCED MAIN OUTPUT connectors: Provides MAIN OUTPUT signals on ¼” TS (tip-sleeve) unbalanced connections.

BOOTH OUTPUT connectors: The Left Output supplies a mono BOOTH monitor Output. Connecting to both Left and Right provides a stereo Output.

ZONE OUTPUT connectors: The Left Output supplies a mono ZONE OUTPUT. Connecting to both Left and Right provides a stereo Output. These are Post-EQ by default.

MAXIMUM OUTPUT GAIN REDUCTION control: Decreases the maximum level of the MAIN OUTPUTS as it is rotated counter-clockwise.

METER SENSITIVITY ADJUST: Clockwise rotation decreases the full-scale sensitivity of the PEAK PROGRAM METER.

SYSTEM MONO/STEREO switch: Converts all outputs (except tape and loops) to MONO when engaged.

EQ RANGE switch: In the out position, the equalizer’s boost/cut is ±8 dB. In the in position, the range is reduced to ±4 dB.

LIGHT CONTROL OUTPUT jack: Provides a transformer-coupled mono program signal for a lighting controller via a balanced ¼” output.

LIGHT OUTPUT LEVEL attenuator: Reduces the output level at the LIGHT CONTROL OUTPUT jack when rotated counter-clockwise.

TAPE OUTPUT jacks: One pair of RCA jacks provides pre-EQ, pre-LOOP Program Outputs. The other pair provides pre-EQ, post-LOOP Program Outputs. Mic signals are not available here by default.

SWITCHABLE LOOP SEND/RETURN jacks: Use these ¼” unbalanced connections for sending to and receiving from an effects processor activated by the front panel LOOP button.

MAIN EFFECTS LOOP SEND/RETURN jacks: ¼” TS unbalanced connections for a signal processor that is not switched from the front panel. Connecting only to the LEFT SEND provides a mono output.

Balanced MAIN MIC Input jack: XLR jack to connect a balanced dynamic or condenser microphone.

Unbalanced high-impedance AUX MIC Input jack: ¼” jack to connect an unbalanced wireless or other high-impedance mic.

MIC LOOP jack: A ¼” TRS tip-send, ring-return jack for inserting external signal processing in the microphone circuit only.

PHANTOM POWER switch: Applies +15 V Phantom Power to the balanced (XLR) MAIN MIC input when engaged.

BOOTH DUCKER switch: In the ACTIVE position, the ENGAGE MIC switch reduces the Mic level at the Booth Outputs. In the DEFEAT position, the Mic level is not reduced.

AUX/PHONO & PHONO/AUX input jacks: Stereo RCA input pairs for moving-magnet cartridges or line-level sources, convertible via internal jumpers.

LINE 1 & 3 through 6 Input jacks: Unbalanced RCA connectors for line-level devices.

LINE 2 Input jacks: A fully balanced, ¼” TRS (Tip-Ring-Sleeve) line input.

GROUNDING POST terminal: A connection point for turntable ground wires to eliminate hum.

Chassis ground point: A screw point to connect the chassis to an earth ground.

GROUND LIFT SWITCH: Separates chassis ground from signal ground. Normally left in the LIFT position, but can be moved to eliminate hum and buzz.

POWER input connector: For connecting an 18 volt AC center-tapped transformer (model RS 1 or other approved supply).

Input Connections:

For turntables, connect the one furthest to the left to Phono 1 and proceed left to right. For commercial-grade line devices with balanced outputs, use the LINE 2 input. Other line-level devices can be connected to the remaining LINE 1 and 3-6 RCA inputs based on where you want them to appear on the source switches.

Output Connections:

For the MAIN OUTPUTS, choose between XLR balanced and ¼” unbalanced. Use balanced cables if the run is longer than 10 feet or if the destination input (equalizer, crossover, amplifier) is balanced. For shorter runs to unbalanced inputs, you can use the ¼” unbalanced connectors.

The TAPE OUTPUTS are unbalanced RCA connectors. Connect to your recording device’s inputs. Choose between PRE-LOOP or POST-LOOP outputs depending on whether you want effects loop processing in your recording.

The Zone and Booth Outputs are automatic mono/stereo. For a mono signal, connect only to the LEFT OUTPUT jack. Plugging a cable into the RIGHT OUTPUT jack automatically makes the output stereo. These are unbalanced connectors.

1. Make sure all faders are set to zero.

2. Ensure the MIC, LOOP, EQ, and ACTIVE CROSSFADER are all disengaged (switches in the “out” position).

3. Check that all rotary LEVEL controls are either fully counter-clockwise (CCW) or in their center detents.

4. Assuming a turntable is connected to PHONO 1, select PHONO 1 on Input Channel 1.

5. Simultaneously raise the Channel 1 fader and the MASTER LEVEL fader.

6. You should hear the results before the faders have traveled far. If not, shut everything down and recheck connections, power to the mixer (look for the yellow POWER light), and power to ancillary devices like EQs and amplifiers.

7. Once output is established, you can proceed to test other inputs and settings.

METER SENSITIVITY ADJUST:

1. Set your sound system to its maximum level, usually just short of amplifier clipping.

2. Play audio through the system at this maximum level.

3. Turn the METER SENSITIVITY ADJUST control so that the highest peaks on the PEAK PROGRAM METER occasionally hit the +8 dB indicator. This will warn the operator if the system is being overdriven.

MAXIMUM OUTPUT GAIN REDUCTION:

1. With the MASTER LEVEL fader at “10”, the meter should respond as it did in the previous step.

2. To make this adjustment, turn the rear panel MAX OUTPUT GAIN REDUCTION control all the way down.

3. Push the MASTER LEVEL fader all the way up and set a normal mix level on an Input fader.

4. Turn up the MAX OUTPUT GAIN REDUCTION control on the rear panel until the required output level is attained.

EQ RANGE switch:

This controls the maximum deviation of the Program Equalizer. In the `out` position, the range is ±8 dB. In the `in` position, this range is reduced to ±4 dB, which is considered safer for preventing damage to drivers.

1. Ensure signal is present at one of the inputs.

2. Depress the CUE switch for the desired Input Channel. The adjacent LED will illuminate.

3. Select your listening mode with the STEREO/MONO CUE switch:

– **Up Position (Stereo):** Feeds Stereo Program and Stereo Cue to both ears.

– **Down Position (Mono):** Feeds Mono Cue to the left ear and Mono Program to the right ear.

4. Rotate the HEADPHONE PAN control to vary the mix between the Cue and Program signals. Counter-clockwise rotation increases the Cue Level, while clockwise rotation increases the Program Level.

5. Control the overall headphone volume with the rotary HEADPHONE LEVEL control.

1. For normal operation, press the Crossfade ENGAGE switch. The green LED next to the switch will illuminate.

2. Use the left ASSIGN switch and right ASSIGN switch to determine which two Input Channels are mixed by the Crossfader. For example, set the left ASSIGN switch to 1 and the right ASSIGN switch to 2.

3. With these settings, the mix faders on Channels 1 and 2 are now controlled by the Crossfader.

– When the Crossfader is in its left-most position, only Channel 1 will be heard at the outputs.

– When the Crossfader is in the middle, both Channels will be present in equal levels.

– When the Crossfader is in its right-most position, only Channel 2 will be heard.

4. You can re-assign channels on the fly. For example, to fade from Channel 2 to Channel 4, simply pull the Channel 1 fader to zero, set the left ASSIGN switch to Channel 4, cue up your audio on Channel 4, set the level on fader 4, and then slide the Crossfader from right to left to fade into Channel 4.

1. Connect your microphone to the appropriate connector on the rear panel (XLR for balanced, ¼” for unbalanced).

2. If using a condenser microphone, set the PHANTOM POWER switch to the `on` position. For dynamic mics, leave it off.

3. Leave the MASTER LEVEL fader in its current position from playing music.

4. Press the MIC ENGAGE switch (the red LED will flash).

5. Slowly adjust the MAIN MIC (or AUX MIC) LEVEL control to set the microphone volume.

6. Adjust the tonal balance of the mic using the MIC EQ controls (Bass, Mid, Treble) located above the LEVEL controls. These controls only affect the microphone signal.

7. If the red OL (Overload) light illuminates, the microphone preamp is being overloaded. Lower the appropriate MIC LEVEL control and increase the MASTER LEVEL fader to restore the desired volume.

8. When the microphone is not in use, release the MIC ENGAGE switch to its upward position.

To obtain a mono output signal on all outputs (Master, Booth, Zone), engage the SYSTEM MONO switch on the rear panel. This sums the Left and Right buses together. When engaged, if only one side of a stereo input is driven, the signal will appear in equal quantities at both the Left and Right output connectors.

The mono LIGHT CONTROL OUTPUT allows the use of lighting systems designed to be triggered by an audio source. A LIGHT OUTPUT LEVEL control on the rear panel adjusts the output level for the lighting controller.

In the full clockwise (CW) position, the signal is amplified 20 dB relative to the pre-master fader level. If this is excessive, rotate the LIGHT OUTPUT LEVEL control counter-clockwise (CCW) to decrease the drive amount. The drive level is not affected by any LEVEL controls past the Input Channel faders.

The ZONE OUTPUT is an additional stereo output with its own ZONE LEVEL control. This can be routed to an amplifier for another area, like a bar, or to another tape recorder. This output is Post-EQ, meaning it includes any Program EQ changes and the microphone signal.

The BOOTH OUTPUT operates similarly, with an added “ducking” feature. When the ENGAGE MIC switch is activated, the gain of the BOOTH OUTPUT is reduced by 13.5 dB to help prevent feedback from booth speakers. If this feature is not desired, a BOOTH DUCKER DEFEAT switch is provided on the rear panel. This switch should be in the ACTIVE position if booth speakers are being used.

To achieve optimum noise performance, set the Input Channel faders near their maximum levels. This avoids needing excessive gain from the Output stage. Running the majority of the gain on the Input stages and 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.

The RANE MP 24Z has a rear-mounted ground-lift switch. If your system exhibits excessive hum or buzzing, there may be a grounding incompatibility. Here are some things to try:

1. Try different combinations of lifting grounds on units that have 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 via the rack screws to another grounded chassis.

3. The RANE MP 24Z outboard power supply does not ground the chassis through the line cord. Ensure the unit is grounded either to another chassis which is earth grounded, or directly to the grounding screw on an AC outlet cover. This can be done with a wire connected to a screw on the chassis using a star washer for proper contact.

4. If hum problems only exist on the Phono inputs, experiment with the turntable ground wires. Some turntables have two ground wires (tone arm and chassis). Sometimes only one should be connected, sometimes both, sometimes none. The rule is: “Whatever works, works.”

Caution: Always turn your system levels down before changing your grounds around. After making a change, bring the levels up slowly and with great caution to avoid surprises that could damage equipment or ears.

Several programmable options are available via internal jumper blocks on the Main Board (the top-most PCB). To access them, remove the seven (7) screws from the top cover. Dots on the circuit board indicate the factory default positions.

To change a setting, pull the jumper block straight up, move it over one pin, and push it back down.

The following table outlines the available options:

NOTES:

a. Phono Input becomes Aux Input

b. Aux Input becomes Phono Input

c. DJ Mic signals will record on tape

d. DJ Mic signals will not play on Zone Output

e. Equalizer will not affect Zone Output

Jumper Locations:

PHONO/LINE JUMPERS: Phono 1 jumpers J27 and J28 are behind the PHONO 1 and LINE 1 jacks. Phono 2 jumpers J21 and J22 are behind the PHONO 2 and PHONO 3 jacks. Phono 3 jumpers J23 and J24 are behind the LINE 4 and LINE 5 jacks.

TAPE OUTPUT JUMPERS: Jumpers J25 and J26 are behind the S12 SYSTEM MONO switch on the main circuit board.

ZONE OUTPUT JUMPERS: Jumpers J18 and J19 are behind the R81 BASS pot on the main circuit board.

The Crossfader can be removed from the front of the RANE MP 24Z without any disassembly of the unit itself, and can be performed while the unit is operating with no audio interruption (if you use the input faders to mix while the crossfader is out of service).

1. Remove the two (2) outer screws attaching the crossfader assembly to the front panel.

2. Pull the Crossfader Assembly forward and unplug the ribbon from the connector on the bottom board.

3. Install the replacement assembly by reversing the above instructions.

To access internal components, you may need to remove the chassis. Follow these directions carefully:

1. Remove the three (3) philips-head screws on each side of the front panel.

2. Remove the fourteen (14) nuts from the various ¼” connectors on the rear panel.

3. Remove the five (5) philips-head screws holding the RCA connector assemblies and the one securing the bracket in the center area of the rear panel (near LIGHT OUTPUT LEVEL).

4. Remove the three (3) knobs from the rotary controls protruding through the rear.

5. Carefully lift off the chassis, spreading it slightly so it clears the obstructions created by the circuit boards. If you encounter resistance, re-check for missed screws or sticking connectors.