Rane MP-25 Manual

Rane Blandekonsol MP-25

Læs gratis den danske manual til Rane MP-25 (28 sider) i kategorien Blandekonsol. Denne vejledning er vurderet som hjælpsom af 19 personer og har en gennemsnitlig bedømmelse på 4.7 stjerner ud af 10 anmeldelser. Har du et spørgsmål om Rane MP-25, eller vil du spørge andre brugere om produktet?

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MP25

CLUB MIXER

MIC 1

MP25

CLUB MIXER

MIC 2

CUE

SPLIT CUE

PHONES

BOOTH

LEVEL

PAN

PGM 1

CUE

PGM 2

PGM 3

ZONE

MAIN

PGM 4

FLEXFX

CUE

LEVEL

A B

POST

A B

POST

A B

POST

A B

CONTOUR

POST

MIC ON

TALKOVER

FLEXFX

MIC ON

TALKOVER

FLEXFX

SOURCE

D1 A3

A4P1

A1 A2

SOURCE

D2 A3

A4P2

A1 A2

SOURCE

D3 A3

A4P3

A1 A2

SOURCE

D4 A3

A4P4

A1 A2

LEVEL

HIGH

PAN

LOW

LEVEL

HIGH

PAN

LOW

FLEXFX

SEND

RETURN

LEVEL

MID

HIGH

LOW

MID

HIGH

LOW

MID

HIGH

LOW

MID

HIGH

LOWFILTER

LEVEL

FILTER

LEVEL

FILTER

LEVEL

FILTER

BALANCE

FLEXFX FLEXFX FLEXFX FLEXFX ON

CUE

FLEXFX

MONO

USB LOOP

EXT LOOP

RIGHT

LEF T

CUE MAIN

HIGHLOW

-3

-12

-6

-18

OFF

RIGHT

LEF T

RIGHT

LEF T

HIGHLOW

OFF

OPERATORS MANUAL

21589

Contents

Important Safety Instructions 2

Specifications 4

General Description 5

Connecting the Mixer 6

Mixer Controls 8

USB Drivers 11

Software 13

Faders 14

Sound System Interconnection 15

How-to Properly Set Level Controls 23

Declaration of Conformity 25

Warranty 26

ATTENTION: RISQUE DE CHOCS ELECTRIQUE - NE PAS OUVRIR

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION

To reduce the risk of electrical shock, do not open the unit. No

user serviceable parts inside. Refer servicing to qualied service

personnel.

e symbols shown below are internationally accepted symbols

that warn of potential hazards with electrical products.

is symbol indicates that a dangerous voltage

constituting a risk of electric shock is present

within this unit.

is symbol indicates that there are important

operating and maintenance instructions in the

literature accompanying this unit.

WARNING

Important Safety Instructions

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

7. Do not block any ventilation openings. Install in accordance with manufacturer’s instructions.

8. Do not install near any heat sources such as radiators, registers, stoves, or other apparatus (including ampliers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A

grounding-type plug has two blades and a third grounding prong. e wide blade or third prong is provided for your safety. If the provided plug

does not t into your outlet, consult an electrician for replacement of the obsolete outlet.

10. Protect the power cord and plug from being walked on or pinched particularly at plugs, convenience receptacles, and the point where it exits

from the apparatus.

11. Only use attachments and accessories specied by Rane.

12. Use only with the cart, stand, tripod, bracket, or table specied by the manufacturer, or sold with the apparatus. When a cart is used, use

caution when moving the cart/apparatus combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning storms or when unused for long periods of time.

14. Refer all servicing to qualied service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply

cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture,

does not operate normally, or has been dropped.

15. e plug on the power cord is the AC mains disconnect device and must remain readily operable. To completely disconnect this apparatus from

the AC mains, disconnect the power supply cord plug from the AC receptacle.

16. is apparatus shall be connected to a mains socket outlet with a protective earthing connection.

17. When permanently connected, an all-pole mains switch with a contact separation of at least 3 mm in each pole shall be incorporated in the

electrical installation of the building.

18. If rackmounting, provide adequate ventilation. Equipment may be located above or below this apparatus, but some equipment (like large power

ampliers) may cause an unacceptable amount of hum or may generate too much heat and degrade the performance of this apparatus.

19. is apparatus may be installed in an industry standard equipment rack. Use screws through all mounting holes to provide the best support.

WAR NING : To reduce the risk of re or electric shock, do not expose this apparatus to rain or moisture. Apparatus shall not be exposed to drip-

ping or splashing and no objects lled with liquids, such as vases, shall be placed on the apparatus.

NOTE: is equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules.

ese limits are designed to provide reasonable protection against harmful interference in a residential installation. is equipment generates, uses

and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio

communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful

interference to radio or television reception, which can be determined by turning the equipment o and on, the user is encouraged to try to correct

the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit dierent from that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

CAUTION: Changes or modications not expressly approved by Rane Corporation could void the user's authority to operate the equipment.

is Class B digital apparatus complies with Canadian ICES-003.

WAR NING : is product may contain chemicals known to the State of California to cause cancer, or birth defects or other reproductive harm.

ATTENTION: RISQUE DE CHOCS ELECTRIQUE - NE PAS OUVRIR

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION

An d’éviter tout risque de choc électrique, ne pas ouvrir l’appareil.

Aucune pièce ne peut être changée par l’utilisateur. Contactez un

SAV qualié pour toute intervention.

Les symboles ci-dessous sont reconnus internationalement

comme prévenant tout risque électrique.

Ce symbole indique que cette unité utilise un

voltage élevé constituant un risque de choc

électrique.

Ce symbole indique la présence d’instructions

d’utilisation et de maintenance importantes dans

le document fourni.

ATTENTION

Instructions de Sécurité

1. Lisez ces instructions.

2. Gardez précieusement ces instructions.

3. Respectez les avertissements.

4. Suivez toutes les instructions.

5. Ne pas utiliser près d’une source d’eau.

6. Ne nettoyer qu’avec un chion doux.

7. N’obstruer aucune évacuation d’air. Eectuez l’installation en suivant les instructions du fabricant.

8. Ne pas disposer près d’une source de chaleur, c-à-d tout appareil produisant de la chaleur sans exception.

9. Ne pas modier le cordon d’alimentation. Un cordon polarisé possède 2 lames, l’une plus large que l’autre. Un cordon avec tresse de masse pos-

sède 2 lames plus une 3è pour la terre. La lame large ou la tresse de masse assurent votre sécurité. Si le cordon fourni ne correspond pas à votre

prise, contactez votre électricien.

10. Faites en sorte que le cordon ne soit pas piétiné, ni au niveau du l, ni au niveau de ses broches, ni au niveau des connecteurs de vos appareils.

11. N’utilisez que des accessoires recommandés par Rane.

12. N’utilisez que les éléments de transport, stands, pieds ou tables spéciés par le fabricant ou vendu avec l’appareil. Quand vous utlisez une valise

de transport, prenez soin de vous déplacer avec cet équipement avec prudence an d’éviter tout risque de blessure.

13. Débranchez cet appareil pendant un orage ou si vous ne l’utilisez pas pendant un certain temps.

14. Adressez-vous à du personnel qualié pour tout service après vente. Celui-ci est nécessaire dans n’importe quel cas où l’appareil est abimé : si le

cordon ou les ches sont endommagés, si du liquide a été renversé ou si des objets sont tombés sur l’appareil, si celui-ci a été exposé à la pluie ou

l’humidité, s’il ne fonctionne pas correctement ou est tombé.

15. La che du cordon d’alimentation sert à brancher le courant alternatif AC et doit absolument rester accessible. Pour déconnecter totalement

l’appareil du secteur, débranchez le câble d’alimentation de la prise secteur.

16. Cet appareil doit être branché à une prise terre avec protection.

17. Quand il est branché de manière permanente, un disjoncteur tripolaire normalisé doit être incorporé dans l’installation électrique de

l’immeuble.

18. En cas de montage en rack, laissez un espace susant pour la ventilation. Vous pouvez disposer d’autres appareils au-dessus ou en-dessous de

celui-ci, mais certains (tels que de gros amplicateurs) peuvent provoquer un buzz ou générer trop de chaleur au risque d’endommager votre ap-

pareil et dégrader ses performances.

19. Cet appareil peut-être installé dans une baie standard ou un chassis normalisé pour un montage en rack. Visser chaque trou de chaque oreille de

rack pour une meilleure xation et sécurité.

ATTENTION: an d’éviter tout risque de feu ou de choc électrique, gardez cet appareil éloigné de toute source d’humidité et d’éclaboussures

quelles qu’elles soient. L’appareil doit également être éloigné de tout objet possédant du liquide (boisson en bouteilles, vases,…).

REMARQUE: Cet équipement a été testé et approuvé conforme aux limites pour un appareil numérique de classe B, conformément au chapitre 15

des règles de la FCC. Ces limites sont établis pour fournir une protection raisonnable contre tout risque d’interférences et peuvent provoquer une

énergie de radiofréquence s'il n'est pas installé et utilisé conformément aux instructions, peut également provoquer des interférences aux niveaux

des équipements de communication. Cependant, il n'existe aucune garantie que de telles interférences ne se produiront pas dans une installation

particulière. Si cet équipement provoque des interférences en réception radio ou télévision, ceci peut être detecté en mettant l'équipement sous/hors

tension, l'utilisateur est encouragé à essayer de corriger cette interférence par une ou plusieurs des mesures suivantes:

• Réorienter ou déplacer l'antenne de réception.

• Augmenter la distance entre l'équipement et le récepteur.

• Connecter l'équipement à une sortie sur un circuit diérent de celui sur lequel le récepteur est branché.

• Consulter un revendeur ou un technicien radio / TV expérimenté.

ATTENTION: Les changements ou modications non expressément approuvés par Rane Corporation peuvent annuler l'autorité de l'utilisateur à

manipuler cet équipement et rendre ainsi nulles toutes les conditions de garantie.

Cet appareil numérique de classe B est conforme à la norme Canadienne ICES-003.

Cet appareil numérique de classe B est conforme à la norme Canadienne NMB-003.

MP25

CLUB MIXER

Speciﬁcations

Parameter Speciﬁcation

Phono/Line, Aux, FlexFX Inputs 4 stereo unbalanced RCA jacks

.....Phono or Line Level Rear panel switch for each Phono/Line input

.....Phono Response RIAA curve ±1 dB, Gain = 36 dB @ 1 kHz

.....Max Phone Input 63 mV @ 1 kHz

.....Max Line Input 4 Vrms

Mic Inputs Balanced ¼˝ TRS & XLR combination jacks

.....Mic 1 Front and rear panel jacks

.....Mic 2 Rear panel jack with Mic/Line-level switch

.....Max Input (Mic Level) 185 mVrms (-12.5 dBu)

.....Max Input (Line Level) 3.7 Vrms (13.6 dBu)

.....EIN (Equivalent Input Noise) -110 dBu

FlexFX Unbalanced ¼˝ TS

.....Send Auto-mono, Left and Right Output jacks

.....Return Auto-mono, Left and Right Input jacks

Outputs: Main, Zone, Booth, Record, FlexFX Balanced XLR & ¼˝ TRS, unbalanced RCA & ¼˝ TS

.....Frequency Response 20 Hz to 20 kHz, +0.25 dB / -1.5 dB

.....THD+N <0.03% re 0 dBFS, 20 to 20 kHz, 20 kHz BW

.....Max Output (RCA and Unbalanced ¼˝ TS) 4 Vrms

.....Max Output (XLR and Balanced ¼˝ TRS) 8 Vrms

.....Zone/Booth Auto-mono, left and right jacks

.....Main Output Mono switch, rear panel attenuator (0 to -24 dB)

Dynamic Range, Line Input to Line Output 100 dB A-weighted

Analog to Digital Converters (ADCs) 24-bit, 48 kHz; Dynamic range 101 dB A-weighted

Digital to Analog Converters (DACs) 24-bit, 48 kHz; Dynamic range 107 dB A-weighted

Digital Signal Processing (DSP) 48 kHz, 32-bit, oating-point

USB Audio 48 kHz, 32-bit, oating-point

.....Stereo Record Channels 6

.....Stereo Playback Channels 5

Universal Internal Power Supply 100 to 240 VAC, 50 Hz to 60 Hz, 12 W max

USB Power Mixer is self-powered

Unit: Conformity FCC, CSA

..........Construction All Steel

..........Size (Inches) 7˝ (4U) H x 19˝ W x 4.6˝ D

..........Size (Metric) 17.8 cm x 48.3 cm x 11.7 cm

..........Weight 9.1 lb (4.14 kg)

Shipping: Size (inches) 21.5˝ L x 11.875˝ W x 7.25˝ D

..........Size (metric) 54.6 cm x 30.2 cm x 18.4 cm

..........Weight 14 lb (6.35 kg)

Notes: 0 dBu=0.775 Vrms. All specications are typical unless otherwise stated.

MP25

CLUB MIXER

ere's no “Quick Start” here, we recommend you read this rela-

tively short manual to get all this mixer is capable of.

Connecting the Mixer

Leave the power unplugged until everything else is connected

Inputs

Phono/Line Inputs (P1-P4)

e MP25 has four stereo Phono/Line inputs ( , , , P1 P2 P3 P4).

Any of these analog inputs may be set for Phono Input or Line

Input (for CD players) using the push switches located on the

rear panel. Unused inputs are best set to . Attach your turn-Line

table’s ground wires to the connectors. Each of the Phono Ground

four program strips has access to one of the Phono/Line Inputs

using the program strip’s Source selector.

Auxiliary Inputs (A1-A4)

e MP25 has four stereo Auxiliary analog inputs ( , , , A1 A2 A3

A4). Each of the four program strips has access to all of the Aux-

iliary Inputs using the program strip’s Source selector.

Mic Inputs (MIC 1 and MIC 2)

e Mic Inputs accept XLR 3-pin plugs, balanced ¼" TRS

(tip-ring sleeve) plugs or unbalanced TS (tip-sleeve) plugs. Mic 1

has two input jacks, one on the front panel and one on the rear.

Only use one input jack at a time. has a switchable Mic 1 Mic 2

line-level option.

Outputs

Main/Zone/Booth

All analog outputs come from the same “Main Mix” signal.

Main, Booth and Zone Outputs each have their own Level con-

trol.

e output is from unbalanced RCA and balanced Main

XLR jacks with pin 2 “hot” per AES standards (XLR preferred*).

If the Main output feeds a mono PA system, engage the Mono

switch on the rear of the MP25. If the Main output is able to

clip the input to the PA system when the front panel Main Level

control is at maximum, reduce the maximum output level using

the rear panel Max Out control.

e outputs are from balanced ¼Booth and Zone ˝ TRS (tip-

ring-sleeve) jacks. Booth and Zone outputs include auto-mono on

both left and right connections. Plug in only one side to receive a

mono signal. Plug into both jacks to receive a stereo signal.

*Rane recommends balanced wiring for the strongest signal

and rejection of hum and noise. If your cable to the amp rack

is less than 10 feet (3 meters), you can usually get away with an

unbalanced cable with RCA or ¼ TS (tip-sleeve) plugs. If it's ˝

longer than that, use balanced XLR and/or TRS cables. See the

RaneNote “Sound System Interconnection” included with this

manual or at for details on cable wiring. See "Sound rane.com

System Interconnection" on page 15.

Record Outputs

Record outputs are a direct feed from the main mix. ere are

no level controls between the mix and these outputs. e main

mix is available in three dierent formats for recording: unbal-

anced analog RCA, 24-bit 48 kHz S/PDIF, and USB (on record

channel six).

MAIN OUTS

RECORD OUTS

MAX OUT dB

XLR WIRING

PIN 2 = POSITIVE

PIN 3 = NEGATIVE

PIN 1 = GROUND

100-240 V

50/60 Hz 12 WATTS

STEREO

-240

MONO

A3A4FLEXFX

SEND RETURN

ANALOGS/PDIFUSB

DIGITAL INPUTS

D1-D4

MP25

CLUB MIXER

RANE CORP.

MP25

MIC 2P1P2 MIC 1

PHONO

GROUND

MIC

LINE

PHONO

BOOTH OUTZONE OUT

L R L

LINE

PHONO

LINE

PHONO

A1A2

FlexFX Send/Return

e MP25’s FlexFX Loop includes an analog insert loop for use

with outboard eects processors. e Send and Return signals

are on stereo unbalanced ¼ TS jacks. e Left and Right Send ˝

jacks provide auto-mono operation. Simply plug in one side for

mono, or both sides for stereo. e Return jack provides similar

operation. Plugging into either the left or right return jack sends

the signal to both the left and right FlexFX Loop return chan-

nels. Plugging into both jacks separates the left and right return

channels.

USB

Connect your computer to the USB port on the MP25 to send

up to twenty-two channels of audio to/from your favorite multi-

track mixing, beat-making, looping, sampling, and record-

ing software applications. Install the MP25 ASIO (Windows)

or Core Audio (Macintosh) drivers (instructions later in this

manual), so that your computer recognizes the MP25.

Digital Inputs

e MP25’s USB audio interface includes ve stereo playback

channels. Playback channels are audio streams from the com-

puter to the MP25. Four of these ve channels are - , the D1 D4

MP25’s digital program inputs. Each of the four program strips

has access to one of the four digital input channels using the

Source selector on the program strip. e fth stereo playback

channel is the return channel of the FlexFX USB insert loop.

Digital Outputs

e MP25’s USB audio interface includes six stereo record chan-

nels. Record channels are audio streams from the MP25 to the

computer. Four of these ve channels are post-fader record chan-

nels from the MP25’s program strips. ese four record streams

may be used to multi-track record your set for post-production

editing and mix-down. e fth USB record channel is the send

channel of the FlexFX USB insert loop. e sixth record channel

may be used to record the Main Mix (default), Mic 1, or Mic

2. Select the record source for USB record channel 6 using the

MP25 driver control panel on your computer.

MIDI

In addition to being an audio interface, the MP25 front panel is

also a USB MIDI controller. e Zone Level, Main Balance and

Main Level controls are the only front panel controls not MIDI

enabled. See MIDI Implementation later in this manual.

Power Supply

e MP25 features an internal universal switching power supply

that operates on any AC mains 100 to 240 VAC, 50 or 60 Hz

(most places in the world). All that is required when traveling

between dierent countries is the appropriate power cord, which

is usually readily available.

MP25

CLUB MIXER

Mixer Controls

Mic Inputs

Two Microphone Inputs are fully independent, each with these

controls:

• Level control.

• the signal from Left to Right.Pan

• / 2-band, full-cut tone controls. e range is O to High Low

+6 dB, with unity gain at 12 o’clock.

• Assign takes the signal out of the Main Mix and sends FlexFX

it to the FlexFX Loop.

• adds the Mic to the Main Mix as a program input. If Mic On

Talkover is engaged on the other Mic, this Mic is ducked like

any other program input.

• Talkover engages the Mic in the Main Mix and ducks all

program inputs. If Talkover is engaged on the other Mic, this

Mic is not ducked.

• Peak signal / rms meter displays the signal level with peak-

hold.

• front panel connector is intended for a wired dynamic Mic 1

mic. A gooseneck mic is not recommended as it could damage

the jack and not be covered under Rane’s Warranty.

• allows selection of a Mic- or Line-level input via the Mic 2

rear panel switch. Line-level is usually for wireless mics.

• Mic 1, Mic 2, or the Main Mix may be recorded via USB

Record-6. Record source selection is made in the computer’s

MP25 driver control panel.

Program Strips

Four program input strips include the following controls:

• Source selection: Each program input may select from , x Px

Dx, A1, A2, A3, or A4.

• adjustment is O to +12 dB, with unity gain at 12 Level

o’clock.

• / / 3-band, full-cut tone control range is O to High Mid Low

+6 dB, with unity gain at 12 o’clock.

• Filter with Low-pass and High-pass:

• Flat response is in the center at 12 o'clock.

• Low-pass lter cut-o moves from 20 kHz toward 20 Hz as

the knob is turned counter-clockwise.

• High-pass lter cut-o moves from 20 Hz toward 20 kHz

as the knob is turned clockwise.

• e lter resonance can be switched high or low in the

computer’s MP25 driver control panel.

• e A-B-Post switch assigns the program channel to A-side,

B-side, or Post-Crossfader.

• assign takes the channel out of the Main Mix and FlexFX

sends it to the FlexFX Bus (post-fader).

• select assigns the channel to the headphones (pre-fader).Cue

• Peak signal / rms meter displays a mono signal level with

peak-hold.

• A 60 mm long-throw program fader controls the level of the

program channel in the Main Mix.

• PGM 1-4 post-fader, stereo program channels are streamed

to the computer via USB record channels 1-4. ese channels

may be recorded for post production editing and mix-down.

MIC 1

MIC 2

CUE

SPLIT CUE

PHONES

BOOTH

LEVEL

PAN

PGM 1

CUE

PGM 2

PGM 3

PGM 4

CUE

A B

POST

A B

POST

A B

POST

A B

POST

MIC ON

TALKOVER

FLEXFX

MIC ON

TALKOVER

FLEXFX

SOURCE

D1 A3

A4P1

A1 A2

SOURCE

D2 A3

A4P2

A1 A2

SOURCE

D3 A3

A4P3

A1 A2

SOURCE

D4 A3

A4P4

A1 A2

LEVEL

HIGH

PAN

LOW

LEVEL

HIGH

PAN

LOW

FLEXFX

MID

HIGH

LOW

MID

HIGH

LOW

MID

HIGH

LOW

MID

HIGH

LOWFILTER

LEVEL

FILTER

LEVEL

FILTER

LEVEL

FILTER

FLEXFX FLEXFX FLEXFX

RIGHT

LEFT

CUE MAIN

HIGHLOW

OFF

RIGHT

LEFT

HIGHLOW

OFF

MP25

CLUB MIXER

Phones

e Headphone Monitor provides stereo or mono Split Cue

operation.

• In Stereo operation, the control pans between stereo Cue Pan

and the stereo Main Mix.

• In Split Cue operation, the Pan control pans between Mono

Cue in the left ear and mono Main Mix in the right ear.

• Individual Cue buttons are provided for PGM 1, PGM 2,

PGM 3, PGM 4 and the FlexFX Loop.

• e Headphone control sets the level in both the front Level

panel 3.5 mm and ¼˝ output jacks.

• e headphone output includes 2-band full-cut tone controls.

Tone control range is O to +6 dB. ese headphone tone

controls are adjusted from the computer using the MP25

driver control panel.

Main Mix and Main/Zone Outputs

e Main Mix is made from MIC 1, MIC 2, PGM 1, PGM 2,

PGM 3, PGM 4 and the FlexFX Mix.

• Mono the Main Mix by pressing the front panel Mono but-

ton. To mono only a specic output, use the rear panel Mono

switch on the Main Outs, or the single plug feature auto-mono

of the Zone and Booth Outs.

• Apply eects to the entire Main Mix by engaging the Main

Mix (blue) button. is button instantly sends PGMs FlexFX

1-4 and Mic 1-2 to the FlexFX Bus.

• e Main Mix is metered using a stereo rms/peak signal meter

with peak-hold.

e Main Mix feeds these outputs:

• Main Outs

• Front panel controls manage the relative Balance and Level

(left/right) and overall levels respectively.

• e rear panel switch combines the left and right Mono

channels of the Main output, and an attenuator controls

the Max Out dB from 8 Vrms (0 dB) to 0.5 Vrms (-24 dB).

• e Main Output is available on balanced XLR and unbal-

anced RCA connectors.

• Booth and Zone Outs

• Front panel Booth and Zone controls adjust the cor-Level

responding output level.

• Booth and Zone Outputs are available on balanced ¼ ˝

TRS jacks. Left and right jacks automatically provide a

mono signal if the other plug is not inserted.

• Record Outs

• Stereo unbalanced RCA and S/PDIF outputs.

• e S/PDIF output is a 24-bit 48 kHz digital output.

• e Main Mix, Mic 1, or Mic 2, may be recorded via USB

record channel six. Record source selection is made in the

computer’s MP25 driver control panel.

Magnetic Crossfader

e MP25’s crossfader is a eld replaceable, no-noise, no-bleed

magnetic fader.

• Assign each PGM channel to the A-side, B-side or Post-Cross-

fader with switches in the program strips.

• Select one of three crossfader slopes with the Contour switch.

Crossfader Questions and Answers

Q: Can I install magnetic crossfaders in any other mixer?

A: e connectors may be similar, but the circuits are very dier-

ent. Connecting the fader to anything other than the intend-

ed cable in the MP25 could permanently damage it.

Q: Can I install another crossfader in my MP25?

A: No. e cable connections are specially designed for Rane

magnetic faders.

See "Faders" on page 14.

MP25

CLUB MIXER

ZONE

MAIN

FLEXFX

LEVEL

CONTOUR

SEND

RETURN

LEVEL

BALANCE

FLEXFX ON

CUE

FLEXFX

MONO

USB LOOP

EXT LOOP

-3

-12

-6

-18

RIGHT

LEFT

MP25

CLUB MIXER

FlexFX

e FlexFX architecture in the MP25 is more powerful than

typical eect insert solutions. e architecture includes the

FlexFX Bus, an auxiliary bus routed to the FlexFX Loop which

includes two independent eects inserts. Any combination of

PGM 1-4 and Mic 1-2 may be routed to the FlexFX Bus. Any

combination of external analog and USB eects may be applied

within the FlexFX Loop. It is possible to cue and meter the

FlexFX Loop return. You can bypass the entire FlexFX Loop us-

ing a single button to instantly punch in and out a combination

of eects. e nal FlexFX Output Level controls the level of

the FlexFX audio in the Main Mix. e exibility of the FlexFX

architecture makes it a very powerful tool. So, it is important

to take some time to understand FlexFX signal routing and

controls.

e order of processing in the MP25’s FlexFX architecture is:

1 Independent FlexFX assign for PGM 1-4 and Mic 1-2, or as-

sign all sources simultaneously with the Main FlexFX button.

2 Ext. Analog Insert, with Send and Return Levels.

3 USB Insert.

4 FlexFX Loop return Cue and Meter.

5 FlexFX On (FlexFX Loop Bypass).

6 FlexFX Mix Level control.

1 e buttons in the PGM and MIC strips assign the FlexFX

post-fader audio to the FlexFX Bus when on, and to the Main

Mix when o. is allows multiple inputs to the FlexFX Bus,

and allows drumming dierent signals into and out of an ap-

plied eect.

e button in the Main Mix section assigns all PGM FlexFX

and Mic channels to the FlexFX Loop, applying eects to the

entire mix.

2 e Ext Loop button engages or bypasses

the analog eects insert. Use the Send

level to avoid clipping the input of your

eects processor. e Return level allows

you to bring the signal of the aected

output back up to your normal mix level.

e FlexFX Bus is always output on the

analog loop send, even if is Ext Loop

bypassed. is means you may always use

the analog Send to record the dry FlexFX

mix.

3 e USB Loop button engages or bypasses the USB eects

insert. e USB insert uses USB record-5 and playback-5 to

form an eects loop. Even when the USB insert is bypassed,

the audio from the external analog loop is sent to the USB

Send. erefore, when the analog loop is bypassed, USB re-

cord-5 can serve as an audio output for recording the FlexFX

mix on your computer.

4 e FlexFX Cue and Meter are located at the return of the

FlexFX Loop, after the analog and USB inserts and before the

FlexFX ON switch. is allows cuing the FlexFX mix and

any applied eects before they are heard in the Main Mix.

5 e FlexFX On button toggles between wet and dry versions of

the FlexFX mix. When this switch is o, the FlexFX Loop is

bypassed and the dry FlexFX mix is routed to the Main Mix.

is allows applying and cueing any combination of eects

in the FlexFX Loop before hearing those eects in the Main

Mix. When you’re ready to listen to the aected audio, engage

the FlexFX On button (green) and the wet signal is applied to

the Main Mix (as long as the FlexFX Level is up).

6 e FlexFX Level controls the level of the FlexFX audio in the

Main Mix. Turn down the to keep the FlexFX FlexFX Level

audio out of the Main Mix. en, you can the FlexFX Cue

mix and eects. When the mix is correct and the eects are

set up, turn up the to bring the FlexFX mix into FlexFX Level

the Main Mix.

FLEXFX FLEXFX FLEXFX FLEXFX FLEXFX FLEXFX FLEXFX

PGM 1 PGM 2 PGM 3 PGM 4MIC 1 MIC 2 MAIN

EXT LOOP

SEND

FLEXFX ON

BYPASS

ONRETURN

FLEXFX SEND

LEFT

RIGHT

RETURN

LEFT

RIGHT

SEND

RETURN

USB

Record

USB

Playback

Main

Mix

USB LOOP

Cue

Bus

FLEXFX

CUE

LEVEL

MP25

CLUB MIXER

USB Drivers

e MP25 includes high-performance, high-stability ASIO and

Core Audio device drivers. e driver allows audio applications

to play and record audio via the MP25’s ve stereo playback

and six stereo record USB channels. e drivers are designed

for incredibly low audio latency, eliminating perceptible delay

between control input to audio applications and the resulting

audible eect.

Applications may also connect to the MP25 MIDI Out and

MIDI In ports. Control changes on the mixer’s front panel are

sent out the MIDI Out port. Some mixer features may be con-

trolled by sending MIDI messages to the mixer’s MIDI In port.

Change the MIDI channel number for MIDI In and MIDI Out

messages using the driver’s control panel.

e driver is available on the MP25 installation CD that is

shipped with the mixer. Check for the latest driver from dj.rane.

com.

ASIO (Windows)

Multi-client ASIO allows dierent audio software applications

to simultaneously stream audio to and from the MP25. If the

same playback channel is selected in more than one application,

the driver mixes the audio from the dierent applications before

streaming it to the mixer.

Installation

1. Connect the MP25 to your computer and power it on.

2. Locate the setup executable, either on the installation CD or

where you downloaded the driver from www.rane.com.

a. 32-bit Windows: RaneAsioMp25x86Setup.exe

b. 64-bit Windows: RaneAsioMp25x64Setup.exe

c. If you install from the CD that came with your MP25,

launch the Rane MP25 Setup.bat le and it automatically

chooses the right installer.

3. Double-click the setup le.

4. Follow the prompts on the screen.

5. Reboot your PC, and you are ready to go!

Uninstall

e MP25 ASIO drivers may be uninstalled from the Windows

control panel. Open the list of installed programs then locate

and double-click “Rane MP25.”

Windows XP: Start > Control Panel > Add or Remove Programs

> Rane MP25.

Windows Vista: Start > Control Panel > Programs and Features

> Rane MP25

Windows 7: Start > Control Panel > Programs > Programs and

Features > Rane MP25

Launching the Control Panel

e driver control panel may be launched from the Windows

Control Panel. Select Start > Control Panel > Rane MP25.

Core Audio (Macintosh)

e MP25 uses a low-latency, Core Audio device driver to inter-

face with applications on Macintosh operating systems.

Installation

1. Locate the le, either on the installation CD or MP25.pkg

where you downloaded the driver from www.rane.com.

2. Double click the package le.

3. Follow the prompts on the screen.

4. Reboot your Mac, and you are ready to go!

Launching the Control Panel

Open the System Preferences window. Locate the MP25 in the

“Other” section, and click the MP25 icon to launch the panel.

Control Panel

e MP25 driver control panel allows you to set some prefer-

ences for your MP25 Mixer. ere are three pages in the control

panel: Preferences, PGM Inputs 1-4, and MIDI Channel Selec-

tion. You can switch between these pages by pressing the button

in the upper left-hand corner. e button displays the name of

the next page.

Preferences

e Preferences page allows you to control these features:

• 2-Band Headphone Tone Controls adjust the level of head-

phone output high and low frequencies from +6 dB to O.

• USB-6 Record source selection routes the specied signal

within the MP25 to the USB-6 Record channel. e available

options are Main Mix, Mic 1, and Mic 2. Main Mix is the

default setting.

• Button backlighting is on by default, but may be turned o

using the Button Backlight control. When the backlight is

on, buttons toggle between dimly lit and fully lit. When the

backlight is o, buttons toggle between dark and fully lit.

• e USB driver buer size may be increased to achieve higher

stability at the cost of higher latency. e MP25’s drivers are

designed to run very reliably at latencies below 10 millisec-

onds. However, computer performance and available resources

(number of applications running) may adversely aect the

computer’s ability to stream audio reliably. If pops and clicks

are heard in the USB audio, try increasing the buer size to

eliminate them.

• If the MP25 rmware installed on your computer is newer

than the rmware in your MP25, the Update Device Firm-

ware panel is enabled. Pressing the Update Firmware button

will update the MP25 rmware to the newer version installed

with your driver.

PGM1-4 Inputs

• e Filter controls on the program strips each have two Filter

Resonance values. e Filter resonance may be set High or

Low using the control panel.

MP25

CLUB MIXER

MIDI Channel Selection

e MP25’s front panel controls are MIDI enabled. Changes to

front panel controls may be sent via MIDI to audio applications

on the computer. By default, the MP25 uses MIDI channel 1

to send MIDI messages. However, you can change the output

channel number using the MIDI Out control. Some MP25

features may be controlled via MIDI. By default, the MP25 does

not accept MIDI input. However, you can enable MIDI input to

the MP25 by setting the MIDI In channel number.

MIDI Out Controls

All MP25 front panel controls with the exception of the Main

Balance, Main Level, and Zone Level send MIDI output mes-

sages when changed.

• Buttons output a MIDI Note On message when pressed and a

MIDI Note O message when released.

• Pots and faders output a MIDI control change message when-

ever they change value. e value is a number in the range 0

to 127 (counter-clockwise to clockwise, down to up, or left to

right).

• Switches produce control change messages when they change

value. e following table lists MP25 switches and their con-

trol values.

Switch Control Change Values

PGM Source Selector 1=Px, 2=Dx, 3=A1, 4=A2,

5=A3, 6=A4

Crossfader Assign 1=A, 2=B, 3=Post

Crossfader Contour 1=Slow, 2=Medium, 3=Fast

MIDI In Controls

e mixer parameters controlled via the MP25 driver control

panel are also available for control via MIDI Input. All MIDI

Inputs are control change messages. e following table lists the

MP25 MIDI Input parameters and their control values.

MP25 Parameter Control Change Values

Low/High Headphone Tone

Controls 0-127, 0 = O, 127 = +6 dB

USB-6 Record Source 1 = Main Mix, 2 = Mic 1,

3 = Mic 2

Button Backlight 0 = O, 1 = Dim

PGM 1-4 High-pass/Low-

pass Filter Resonance 0-64 = Low, 65-127 = High

MIC 1

MP25

CLUB MIXER

MIC 2

CUE

SPLIT CUE

PHONES

BOOTH

LEVEL

PAN

PGM 1

CUE

PGM 2

PGM 3

ZONE

MAIN

PGM 4

FLEXFX

CUE

LEVEL

A B

POST

A B

POST

A B

POST

A B

CONTOUR

POST

MIC ON

TALKOVER

FLEXFX

MIC ON

TALKOVER

FLEXFX

SOURCE

D1 A3

A4P1

A1 A2

SOURCE

D2 A3

A4P2

A1 A2

SOURCE

D3 A3

A4P3

A1 A2

SOURCE

D4 A3

A4P4

A1 A2

LEVEL

HIGH

PAN

LOW

LEVEL

HIGH

PAN

LOW

FLEXFX

SEND

RETURN

LEVEL

MID

HIGH

LOW

MID

HIGH

LOW

MID

HIGH

LOW

MID

HIGH

LOWFILTER

LEVEL

FILTER

LEVEL

FILTER

LEVEL

FILTER

BALANCE

FLEXFX FLEXFX FLEXFX FLEXFX ON

CUE

FLEXFX

MONO

USB LOOP

EXT LOOP

RIGHT

LEF T

CUE MAIN

HIGHLOW

-3

-12

-6

-18

OFF

RIGHT

LEF T

RIGHT

LEF T

HIGHLOW

OFF

105

109

110

104

123

103

122

102

121

101

120

119

118

117

116

100

Control Change Note On / Off MP25 MIDI Controls

MP25 Audio Driver Control Panel

–

Device Firmware Version: 1.00

USB-6 Record

PGM Inputs 1-4 Preferences

Headphone Tone

Update Device Firmware

Main Mix

Mic 1

Mic 2

Off

Buffer Size

High

Low

14 ms

Update firmware

Off

Button Backlight

MP25 Audio Driver Control Panel

–

High

Low

MIDI PGM Inputs 1-4

PGM 1 PGM 2 PGM 3 PGM 4

Filter Resonance

High

Low

Filter Resonance

High

Low

Filter Resonance

High

Low

Filter Resonance

22 25 28 31

35 34 33 36

MP25

CLUB MIXER

Faders

Maintaining the Magnetic Crossfader

ere are no electrical contacts to clean!

e crossfader in the MP25 is designed with materials highly

resistant to corrosion and most chemicals. While the crossfader

will handle millions of operations, it may become dirty over

time. Bad things may be spilled or sprayed into the crossfader. In

either case, the crossfader is not damaged and the sound quality

is unaected. Cleaning is only required to maintain the feel of the

crossfader.

e crossfader is self-lubricating and with normal use, should

not require additional lubrication. If you wish, you can use a

light silicone lubricant rated for use with electrical parts. is

will help maintain the feel. We recommend Caig DeoxIT Fader-

Lube

F100 spray lubricant.

Order DeoxIT® F100 from CAIG Laboratories, Inc.

12200 atcher Ct.

Poway, CA 92064

Phone 858-486-8388

Fax 858-486-8398

Web www.caig.com

Never use a heavy lubricant or grease. Doing so will not dam-

age the faders, but can undo the feel. If grease was used, it may

be removed by following the cleaning instructions.

Crossfader Removal and Replacement

For cleaning and lubrication, follow these directions:

1. Required tools: #1 Philips screwdriver and a pair of clean

hands.

2. Disconnect the power.

3. Remove only the two 4-40 screws attaching the crossover

faceplate as pointed out below.

4. Remove the crossfader from the mixer, and carefully remove

the ribbon cable from the back of the circuit board.

Sensors

5. Move the carrier all the way to one side.

6. Use a soft lint-free cloth to wipe o the rails.

7. Add a drop of silicone lubricant (or quick spray from aerosol)

to the center of each rail.

8. Move the carrier back and forth to distribute lubricant.

9. Do not bend the torsion spring. Do not disturb the position of

the small sensors at each end of the Fader. If you accidentally

do, make sure the parts are standing straight before reinstall-

ing.

10. CAUTION: Sugary liquids may damage the crossfader

beyond repair. You might be able to save it by removing the

crossfader and thoroughly rinsing it in hot water. Make sure

the part is clean and dry before lubricating or reinstalling.

11. Removal of grease or other stubborn debris may require

alcohol or contact cleaner. Make sure the part is clean and dry

before lubricating or reinstalling.

12. Problems? Contact Rane Corporation customer service at

425-355-6000 or email us at info@rane.com.

Channel Fader Cleaning

With heavy use in harsh environments, the channel faders may

need lubrication. is treatment extends longevity and can make

used faders as good as new. We recommend any of the following

cleaning solutions:

• Caig DeoxIT FaderLube

F100 spray lubricant

• Caig DeoxIT FaderLube F5 spray cleaner

• CRC 2-26 (www.crcindustries.com)

Order CaiLube MCL® from CAIG Laboratories at the same

address previously listed.

1. Position the fader at mid-travel.

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

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

4. Wipe o excess uid.

If cleaning does not x sny fader, please contact Rane Corpora-

tion customer service at 425-355-6000 or email us at info@rane.

com if you are in the U.S.A. Outside the U.S.A, please contact

your distributor for service.

Interconnection-1

Introduction

is note, originally written in 1985, continues to be

one of our most useful references. It’s popularity stems

from the continual and perpetual diﬃculty of hooking

up audio equipment without suﬀering through all sorts

of bizarre noises, hums, buzzes, whistles, etc.— not to

mention the extreme ﬁnancial, physical and psycholog-

ical price. As technology progresses it is inevitable that

electronic equipment and its wiring should be subject

to constant improvement. Many things have improved

in the audio industry since 1985, but unfortunately

wiring isn’t one of them. However, ﬁnally the Audio

Engineering Society (AES) has issued a standards

document for interconnection of pro audio equip-

ment. It is AES48, titled “AES48-2005: AES standard

on interconnections —Grounding and EMC practices

— Shields of connectors in audio equipment containing

active circuitry.”

Rane’s policy is to accommodate rather than dic-

tate. However, this document contains suggestions for

external wiring changes that should ideally only be

implemented by trained technical personnel. Safety

regulations require that all original grounding means

provided from the factory be left intact for safe op-

eration. No guarantee of responsibility for incidental

or consequential damages can be provided. (In other

words, don’t modify cables, or try your own version of

grounding unless you really understand exactly what

type of output and input you have to connect.)

Rane Technical Staff

RaneNote 110

Sound System

Interconnection

• Cause & prevention of ground loops

• Interfacing balanced & unbalanced

• Proper pin connections and wiring

• Chassis ground vs. signal ground

• Ground lift switches

RaneNote

SOUND SYSTEM INTERCONNECTION

Interconnection-2

Ground Loops

Almost all cases of noise can be traced directly to

ground loops, grounding or lack thereof. It is important

to understand the mechanism that causes grounding

noise in order to eﬀectively eliminate it. Each compo-

nent of a sound system produces its own ground in-

ternally. is ground is usually called the audio signal

ground. Connecting devices together with the inter-

connecting cables can tie the signal grounds of the two

units together in one place through the conductors in

the cable. Ground loops occur when the grounds of the

two units are also tied together in another place: via

the third wire in the line cord, by tying the metal chas-

sis together through the rack rails, etc. ese situations

create a circuit through which current may ﬂow in a

closed “loop” from one unit’s ground out to a second

unit and back to the ﬁrst. It is not simply the presence

of this current that creates the hum—it is when this

current ﬂows through a unit’s audio signal ground that

creates the hum. In fact, even without a ground loop, a

little noise current always ﬂows through every inter-

connecting cable (i.e., it is impossible to eliminate these

currents entirely). e mere presence of this ground

loop current is no cause for alarm if your system uses

properly implemented and completely balanced inter-

connects, which are excellent at rejecting ground loop

and other noise currents. Balanced interconnect was

developed to be immune to these noise currents, which

can never be entirely eliminated. What makes a ground

loop current annoying is when the audio signal is af-

fected. Unfortunately, many manufacturers of balanced

audio equipment design the internal grounding system

improperly, thus creating balanced equipment that is

not immune to the cabling’s noise currents. is is one

reason for the bad reputation sometimes given to bal-

anced interconnect.

A second reason for balanced interconnect’s bad

reputation comes from those who think connecting

unbalanced equipment into “superior” balanced equip-

ment should improve things. Sorry. Balanced inter-

connect is not compatible with unbalanced. e small

physical nature and short cable runs of completely

unbalanced systems (home audio) also contain these

ground loop noise currents. However, the currents in

unbalanced systems never get large enough to aﬀect

the audio to the point where it is a nuisance. Mixing

balanced and unbalanced equipment, however, is an

entirely diﬀerent story, since balanced and unbalanced

interconnect are truly not compatible. e rest of this

note shows several recommended implementations for

all of these interconnection schemes.

e potential or voltage which pushes these noise

currents through the circuit is developed between the

independent grounds of the two or more units in the

system. e impedance of this circuit is low, and even

though the voltage is low, the current is high, thanks to

Mr. Ohm, without whose help we wouldn’t have these

problems. It would take a very high resolution ohm

meter to measure the impedance of the steel chassis or

the rack rails. We’re talking thousandths of an ohm. So

trying to measure this stuﬀ won’t necessarily help you.

We just thought we’d warn you.

Figure 1a. The right way to do it.

–

RED

BLACK 2-CONDUCTOR SHIELDED CABLE

2-CONDUCTOR SHIELDED CABLE

SHIELD

RED

BLACK

SHIELD

RED

BLACK

SHIELD

RED

BLACK

SHIELD

RED

BLACK

SHIELD

RED

BLACK

SHIELD

CHASSIS

GROUND

CHASSIS

GROUND

SIGNAL

GROUND

–

BALANCED OUTPUTS BALANCED INPUTS

MALE FEMALEMALE FEMALE

2 2

C 3

Interconnection-3

The Absolute Best Right Way To Do It

e method speciﬁed by AES48 is to use balanced lines

and tie the cable shield to the metal chassis (right where

it enters the chassis) at both ends of the cable.

A balanced line requires three separate conduc-

tors, two of which are signal (+ and –) and one shield

(see Figure 1a). e shield serves to guard the sensitive

audio lines from interference. Only by using balanced

line interconnects can you guarantee (yes, guarantee)

hum-free results. Always use twisted pair cable. Chas-

sis tying the shield at each end also the best guarantees

possible protection from RFI [radio frequency interfer-

ence] and other noises [neon signs, lighting dimmers].

Neil Muncy1, an electroacoustic consultant and

seasoned veteran of years of successful system design,

chairs the AES Standards Committee (SC-05-05)

working on this subject. He tirelessly tours the world

giving seminars and dispensing information on how to

successfully hook-up pro audio equipment2. He makes

the simple point that it is absurd that you cannot go

out and buy pro audio equipment from several diﬀerent

manufacturers, buy standard oﬀ-the-shelf cable assem-

blies, come home, hook it all up and have it work hum

and noise free. Plug and play. Sadly, almost never is

this the case, despite the science and rules of noise-free

interconnect known and documented for over 60 years

(see References for complete information).

It all boils down to using balanced lines, only bal-

anced lines, and nothing but balanced lines. is is why

they were developed. Further, that you tie the shield to

the chassis, at the point it enters the chassis, and at both

ends of the cable (more on ‘both ends’ later).

Since standard XLR cables come with their shields

tied to pin 1 at each end (the shells are not tied, nor

need be), this means equipment using 3-pin, XLR-type

connectors must tie pin 1 to the chassis (usually called

chassis ground) — not the audio signal ground as is

most common.

Figure 1b. Recommmended practice.

CASE

(+)

(–)

COMMON (WRONG) PR TICE RECOMMENDED PR TICEAC AC

(–)

(+)

OPTIONAL

CASE

3 3

CHASSIS

GROUND

SIGNAL

GROUND

CHASSIS

GROUND

CHASSIS

GROUND

Not using is the most radical depar-signal ground

ture from common pro-audio practice. Not that there

is any argument about its validity. ere isn’t. is is

the right way to do it. So why doesn’t audio equipment

come wired this way? Well, some does, and since 1993,

more of it does. at’s when Rane started manufac-

turing some of its products with balanced inputs and

outputs tying pin 1 to chassis. So why doesn’t everyone

do it this way? Because life is messy, some things are

hard to change, and there will always be equipment in

use that was made before proper grounding practices

were in eﬀect.

Unbalanced equipment is another problem: it is

everwhere, easily available and inexpensive. All those

RCA and ¼" TS connectors found on consumer equip-

ment; eﬀect-loops and insert-points on consoles; signal

processing boxes; semi-pro digital and analog tape

recorders; computer cards; mixing consoles; et cetera.

e next several pages give tips on how to suc-

cessfully address hooking up unbalanced equipment.

Unbalanced equipment when “blindly” connected with

fully balanced units starts a pattern of hum and unde-

sirable operation, requiring extra measures to correct

the situation.

The Next Best Right Way To Do It

e quickest, quietest and most foolproof method to

connect balanced and unbalanced is to transformer

isolate all unbalanced connections. See Figure 2.

Many manufacturers provide several tools for this

task, including Rane. Consult your audio dealer to ex-

plore the options available.

e goal of these adaptors is to allow the use of

standard cables. With these transformer isolation

boxes, modiﬁcation of cable assemblies is unnecessary.

Virtually any two pieces of audio equipment can be

successfully interfaced without risk of unwanted hum

and noise.

Figure 2. Transformer Isolation

NOT CONNECTED

AT CHASSIS

(PLASTIC JACK)

EARTH GROUNDED

METAL ENCLOSURE

CHASSIS IS

GROUNDED TO PIN

1/4”

TIP-SLEEVE

CASE LUG MAY

CONNECT TO

CHASSIS

(NOT REQUIRED)

TRANSFORMER

UNBALANCED BALANCED

Interconnection-4

Another way to create the necessary isolation is to

use a Originally named for its use to convert direct box.

the high impedance, high level output of an electric

guitar to the low impedance, low level input of a re-

cording console, it allowed the player to plug “directly”

into the console. Now this term is commonly used to

describe any box used to convert unbalanced lines to

balanced lines.

The Last Best Right Way To Do It

If transformer isolation is not an option, special

cable assemblies are a last resort. e key here is to

prevent the shield currents from ﬂowing into a unit

whose grounding scheme creates ground loops (hum)

in the audio path (i.e., most audio equipment).

It is true that connecting both ends of the shield is

theoretically the best way to interconnect equipment

–though this assumes the interconnected equipment is

internally grounded properly. Since most equipment is

not internally grounded properly, connecting both ends

of the shield is not often practiced, since doing so usu-

ally creates noisy interconnections.

A common solution to these noisy hum and buzz

problems involves disconnecting one end of the shield,

even though one can not buy oﬀ-the-shelf cables with

the shield disconnected at one end. e best end to dis-

connect is the receiving end. If one end of the shield is

disconnected, the noisy hum current stops ﬂowing and

away goes the hum — but only at low frequencies. A

ground-sending-end-only shield connection minimizes

the possibility of high frequency (radio) interference

since it prevents the shield from acting as an antenna

to the next input. Many reduce this potential RF inter-

ference by providing an RF path through a small ca-

pacitor (0.1 or 0.01 microfarad ceramic disc) connected

from the lifted end of the shield to the chassis. (is is

referred to as the “hybrid shield termination” where the

sending end is bonded to the chassis and the receiving

end is capacitively coupled. See Neutrik’s EMC-XLR

for example.) e fact that many modern day install-

ers still follow this one-end-only rule with consistent

success indicates this and other acceptable solutions to

RF issues exist, though the increasing use of digital and

wireless technology greatly increases the possibility of

future RF problems.

If you’ve truly isolated your hum problem to a spe-

ciﬁc unit, chances are, even though the documentation

indicates proper chassis grounded shields, the suspect

unit is not internally grounded properly. Here is where

special test cable assemblies, shown in Figure 3, really

come in handy. ese assemblies allow you to connect

the shield to chassis ground at the point of entry, or to

pin 1, or to lift one end of the shield. e task becomes

more diﬃcult when the unit you’ve isolated has multi-

ple inputs and outputs. On a suspect unit with multiple

cables, try various conﬁgurations on each connection

to ﬁnd out if special cable assemblies are needed at

more than one point.

See Figure 4 for suggested cable assemblies for your

particular interconnection needs. Find the appropri-

ate output conﬁguration (down the left side) and then

match this with the correct input conﬁguration (across

the top of the page.) en refer to the following pages

for a recommended wiring diagram.

Ground Lifts

Many units come equipped with ground lift switches.

In only a few cases can it be shown that a ground lift

switch improves ground related noise. (Has a ground

lift switch ever worked for you?) In reality, the really

presence of a ground lift switch greatly reduces a unit’s

ability to be “properly” grounded and therefore im-

mune to ground loop hums and buzzes. Ground lifts

are simply another Band-Aid® to try in case of ground-

ing problems. It is true that an entire system of prop-

erly grounded equipment, without ground lift switches,

is guaranteed (yes ) to be hum free. e guaranteed

problem is most equipment is (both internally and not

externally, AC system wise) grounded properly.

Most units with ground lifts are shipped so the unit

is “grounded” — meaning the chassis is connected to

audio signal ground. (is should be the best and is

the “safest” position for a ground lift switch.) If after

hooking up your system it exhibits excessive hum or

Figure 3. Test cable

TEST

WIRE

GROUND CLIP

FEMALE

MALE

RED

BLACK

SHIELD

RED

BLACK

SHIELD

2-CONDUCTOR SHIELDED CABLE

Interconnection-6

Figure 4. Interconnect chart for locating correct cable assemblies on the following pages.

Note: (A) This conﬁguration uses an “off-the-shelf” cable.

Note: (B) This conﬁguration causes a 6 dB signal loss. Compensate by “turning the system up” 6 dB.

To Input

MALE

BALANCED XLR

¼" BALANCED

TRS (TIP-RING-SLEEVE)

¼" OR 3.5mm

UNBALANCED

TS (TIP-SLEEVE)

UNBALANCED RCA BALANCED

EUROBLOCK

From Output

1 2 3 4

6521

10987

121187

12112221

16 23

151413

2424

191817

B B

A A

FEMALE BALANCED XLR

(NOT A TRANSFORMER,

NOR A CROSS OUPLED-C

OUTPUT STAGE)

FEMALE BALANCED XLR

(EITHER A TRANSFORMER

OR A CROSS OUPLED-C

OUTPUT STAGE)

¼” BALANCED TRS

(NOT A TRANSFORMER,

NOR A CROSS OUPLED-C

OUTPUT STAGE)

¼” BALANCED TRS

(EITHER A TRANSFORMER

OR A CROSS OUPLED-C

OUTPUT STAGE)

¼” FLOATING UNBALANCED

TRS (TIP-RING-SLEEVE)

(SLEEVE IN UNIT = NC)

¼” OR 3.5 mm

UNBALANCED

TS (TIP-SLEEVE)

UNBALANCED RCA

(TIP-SLEEVE)

CABLE

CONNECTORS

BALANCED

EUROBLOCK

+ + to

– to –

SHIELD ONLY

TO XLR PIN 1

+ to +

– to –

SHIELD NC

+ + to

– to –

SHIELD NC

+ + to

– to –

SHIELD ONLY

TO EUROBLOCK

+ + to

– to –

SHIELD NC

+ + to

– to –

SHIELD ONLY

TO TRS SLEEVE

+ + to

– to –

GROUND

+ + to

– to –

GROUND

Interconnection-7

S=SHIELD

R=NC

T=RED

S=SHIELD

R=NC

T=RED

S=SHIELD

R=BLACK

T=RED

S=SHIELD

R=BLACK

T=RED

MALE

3=BLACK

BLACK

3=NC

2=RED

1=SHIELD

SHIELD

FEMALE

3=BLACK

2=RED

1=SHIELD

MALE

S=NC

R=BLACK

T=RED

S=SHIELD

R=BLACK

T=RED

CROSS OUPLED OUTPUT ONL-C Y: CONNECT PIN 1 TO PIN 3 THIS ENDAT

AND SET GROUND LIFT SWITCH TO ‘GROUNDED (IF PRESENT).’

CROSS OUPLED OUTPUT ONL-C Y: CONNECT PIN 1 TO PIN 3 THIS ENDAT

AND SET GROUND LIFT SWITCH TO ‘GROUNDED (IF PRESENT).’

CROSS OUPLED OUTPUT ONL-C Y: CONNECT RING TO SLEEVE

AT THIS END AND SET GROUND LIFT SWITCH TO ‘GROUNDED (IF PRESENT).’

To Input

From Output

RED

BLACK

RED

BLACK

SHIELD

RED

BLACK

FEMALE

3=BLACK

2=RED

1=SHIELD RED

RED

SHIELD

RED

SHIELD

RED

BLACK

N/C

RED

BLACK

RED

SHIELD N/C

BLACK

RED

BLACK

RED

3=NC

2=RED

1=SHIELD

2=RED

1=SHIELD

3=BLACK

2=RED

1=NC

3=BLACK

2=RED

1=NC

3=BLACK

2=RED

1=SHIELD

SHIELD

FEMALE

RED

SHIELD

RED

BLACK

SHIELD

RED

BLACK

RED

BLACK

RED

SHIELD

RED

SHIELD

RED

SHIELD

RED

SHIELD

RED

BLACK

2-CONDUCTOR SHIELDED CABLE

1-CONDUCTOR SHIELDED CABLE

S=NC

R=BLACK

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

S=BLACK

T=RED

S=BLACK

T=RED

S=BLACK

T=RED

S=BLACK

T=RED

S=SHIELD

R=BLACK

T=RED

S=BLACK

T=RED

CROSS OUPLED OUTPUT ONL-C Y: CONNECT RING TO SLEEVE

AT THIS END AND SET GROUND LIFT SWITCH TO ‘GROUNDED (IF PRESENT).’

BLACK

SHIELD

RED

BLACK

RED

2-CONDUCTOR SHIELDED CABLE

Interconnection-8 DOC 102907

MALE

(ANY UNBALANCED CONNECTOR)

(CHECK: NO STANDARD POLARITY ON EUROBLOCKS)

MALE

To Input

From Output

S=SHIELD

R=BLACK

T=RED

S=SHIELD

R=BLACK

T=RED

S=SHIELD

R=BLACK

T=RED

S=SHIELD

R=BLACK

T=RED

S=SHIELD

R=BLACK

T=RED

S=BLACK

T=RED

S=BLACK

T=RED

S=BLACK

T=RED

S=BLACK

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

3=BLACK

2=RED

1=SHIELD

3=BLACK

2=RED

1=SHIELD

3=BLACK

2=RED

1=SHIELD

SHIELD

BLACK

SHIELD

RED

BLACK

SHIELD

RED

BLACK

RED

SHIELD

BLACK

RED

SHIELD

BLACK

RED

SHIELD

BLACK

RED

SHIELD

BLACK

RED

SHIELD

BLACK

RED

SHIELD

RED

SHIELD

RED

SHIELD

RED

SHIELD

RED

BLACK

RED

N/C

BLACK

RED

BLACK

RED

BLACK

RED

SHIELD

RED

SHIELD

RED

SHIELD

RED

S=BLACK

T=RED

CROSS OUPLED OUTPUT ONL-C Y: CONNECT BLACK TO SHIELD THIS ENDAT

AND SET GROUND LIFT SWITCH TO ‘GROUNDED (IF PRESENT).’

BLACK

SHIELD

RED

BLACK

RED

2-CONDUCTOR SHIELDED CABLE

S=BLACK

T=RED

SHIELD

BLACK

RED

BLACK

RED

2-CONDUCTOR SHIELDED CABLE

1-CONDUCTOR SHIELDED CABLE

–

MP25

CLUB MIXER

How-to Properly Set Mixer Level

Controls

Correctly setting DJ mixer level controls is one of the most

important contributors to creating an excellent sounding system.

Once you master the fundamental principles you'll know how

to get the best possible audio quality from your Rane DJ mixer.

To ensure proper level setting, Rane DJ mixers are designed with

a professional audio metering syste much like you’d nd in a

studio grade mixing console. If you’re familiar with pro-audio

mixing consoles, Rane DJ mixer metering will be a no-brainer,

but if this is your rst introduction to professional audio meter-

ing it may be a bit dierent from what you’re accustomed.

DJ mixers have a lot of level controls (wouldn’t be much of

a mixer without them). Knowing the proper setting for each

control is a bit confusing, especially when adding a software

program to your system. Luckily, audio software and DJ mix-

ers include similar controls. Both include individual gain/trim

controls, level meters for each channel, and a master output level

control.

Follow the golden rule and keep your level meters out of the red.

ink of a level meter as a trac light. Green means you’re ok to

proceed, yellow means caution and red means stop. Your goal is

to turn the gain controls up so that your level meters are peak-

ing in the high yellow- almost to red but not quite. When level

meters hit red, you run the risk of clipping or simply distorting

the heck out of the audio. In case you’re wondering, both sound

terrible.

When using a software program it’s important to adjust your

level controls properly within the program before tweaking the

level controls on your mixer. Once the level meters within the

software are adjusted properly (i.e., no red), you’re ready to adjust

the level controls on your mixer.

Using Rane mixer metering

Rane mixers use Quasi-Peak meters with peak hold. What the

heck is quasi-peak you ask? Quasi means, having a likeness to or

resembling something, so quasi-peak refers to the peak-like me-

ter function of the Rane meter. e fast responding quasi-peak

value (lower portion of the meter) shows you what signal is doing

real-time, relative to the dynamic range of the mixer. Audio

transients can be relatively fast, making it easy to miss brief over-

load events, so the meters are designed to hold the maximum

value for at least half a second (top portion of the meter).

Like other peak hold meters, the ones found on Rane DJ mixers

will appear to have gaps between the average level and the peak

levels. is can throw DJs o at rst, thinking the meters are

malfunctioning, but this is not the case. e LED oating above

the rest represents the peak level of the audio and the LEDs

below the peak represent the quasi-peak audio level.

e basic idea behind using peak hold meters is identical to

using peak meters; keep the top meter out of the red. Using the

PGM gain controls on your mixer, adjust the level so that your

meters barely hit the red and then back the level down until out

of the red. Repeat this process for each PGM channel.

MP25

CLUB MIXER

Rane master level controls and master meter levels

e main dierence DJs may notice about the master output

level meter is that the master level control has no aect on the

meter levels (see above picture). is may seem a bit weird when

compared to other DJ mixers, but there’s a very good reason

behind this design. With Rane professional DJ mixers, the mas-

ter output level meter is the summed total of all PGM channel

levels. In other words, the master output meter is a true represen-

tation of your combined output mix level. As long as the output

level meters stay out of the red, you won’t be in danger of clip-

ping or distorting audio, not that you can clip or distort a Rane

mixer anyway, but that’s beside the point. You can still blow the

sound system speakers (and your chances of getting booked to

play that venue again).

Calibrating your Rane mixer with a sound system

It was mentioned earlier that the main level control has no aect

on the master level meter, and this is by design. e design in-

tent is to use the master level control to calibrate the mixer with

a sound system. Ideally, during sound check, the sound tech

running the sound system will calibrate the system to the output

level of the Rane mixer, so that red meters on the mixer indicate

red (or almost red) on the main sound board and/or near clip-

ping of the ampliers.

1.Start with the master level control knob all the way down.

2.Make sure the audio levels meters within the software you’re

using are not peaking red.

3.Start with the PGM channel 1 fader all the way up and adjust

the upper rotary gain/level control so that your meters barely

hit the red and then back the level down until out of the red,

giving yourself a little room for sudden level peaks. Repeat

the same process for PGM channel 2, if using more than two

channels, PGM channel 3 and PGM channel 4.

4.While playing audio, using each PGM channel, check the

master output level meters. If the master output level meters

are in the red make small adjustments to each PGM channel

gain control until the master level meter is peaking into the

yellow. Now that your mixer level controls are properly set,

you’re ready to turn up the master level control.

5.Here’s where you grab the sound tech running the sound sys-

tem. e tech may have you do one of the following:

Increase the mixer’s master level control until you’re told to stop.

If you stop at 8, this is your maximum level output for the mixer

and you do not want to exceed this level setting. Increasing the

master level control past 8 may cause the sound tech to give you

dirty looks, or worse, damage the sound system.

Turn the mixer’s master level control all the way up. Once

your master level control is at max, the sound tech will slowly

increase the level on the main sound board until the sound

system is at the peak level. When it comes to preventing damage

to the sound system this is the sound techs safest way to calibrate

a mixer to the system.

Wrapping up

Optimum sound quality requires correctly setting software level

and DJ mixer level controls. e correct procedure begins by

properly setting software level controls and then mixer gain level

controls. Once your mixer levels are properly set, calibrating the

master output level control with the sound system is the last step.

Following these simple steps ensures you'LL get the best possible

audio quality from your Rane DJ mixer.

LEARN SOMETHING? MORE ARTICLES LIKE THIS ARE IN

THE KNOWLEDGE BASE AND BLOG AT DJ.RANE.COM.

Produkt Specifikationer

Mærke:	Rane
Kategori:	Blandekonsol
Model:	MP-25
Bredde:	302 mm
Dybde:	184 mm
Højde:	546 mm
Vægt:	6350 g
Produktfarve:	Sort
Equalizer:	Ja
Strømforbrug (typisk):	12 W
Frekvensområde:	20 - 20000 Hz
Equalizerbånd, antal:	5
Mikrofonindgang:	Ja
Antal kanaler:	4 kanaler
Prøvetagningshastighed:	20 kHz
Digital lydbehandling:	32 Bit
DJ mixer:	Ja
Phono-indgange (RCA):	4