user manual - Warehouse Sound Systems
Contents
1. PROGRAM EQUALIZER ENGAGE switch Enables the Program Equalizer to function when pressed in The Equalizer is bypassed in the out position HEADPHONE LEVEL CONTROL Clockwise rotation of this rotary control increases the headphone drive level HEADPHONE PAN CONTROL Serves two purposes In the STEREO mode it changes the relative levels of the Cue and Program mixed together in both earcups In the MONO mode it changes the balance between the Mono Cue in the left ear cup and the Mono Program in the right HEADPHONE CUE mode switch In the up position this switch feeds STEREO Program and Cue to both earcups in the down position the Headphone circuit provides MONO Cue to the left ear and MONO Program to the right HEADPHONE output jack A tip ring sleeve stereo jack provides for the insertion of stereo headphones PEAK PROGRAM METER provides a visual indication of program output voltage The calibration of the indication is user adjustable See Rear Panel Fader Cleaning With heavy use in harsh environments the faders may need lubrication This treatment extends longevity and can make used faders as good as new The fader assembly must be removed from the MP 24z for proper cleaning We recommend any of the fol lowing cleaning solutions Caig DeoxIT FaderLube F100 spray lubricant www caig com Caig DeoxIT FaderLube F5 spray cleaner www caig com CRC 2 26 www crcindustries com Order CaiLube MCL from CAIG Laborator2. B Rear Panel SOURCE CONTROL selectors Provide Input selection between the various Phono and Line Inputs for their respective mixing channels Input channel faders Control the relative Levels of each of the four Input mixing channels Channel CUE selectors Engaging any single or combination of CUE pushbuttons sends any program present at the respective channel s SOURCE CONTROL selector to the Headphone Cue section The yellow LEDs adjacent to each CUE select button illuminate when the switch is engaged CROSSFADE ENGAGE switch Activates the CROSSFADER and disables manual mixing capabilities The adjacent green LED illuminates whenever the Crossfader is active Left hand CROSSFADE ASSIGN switch Assigns the eft side of the Crossfader to any of the four Input channels when the Crossfader is activated by its ENGAGE switch Right hand CROSSFADE ASSIGN switch Assigns the right side of the Crossfader to any of the four Input channels when the Crossfader is activated by the ENGAGE switch ACTIVE CROSSFADER Controls the Levels of any two channels assigned to it by the left and right Crossfade ASSIGN switches when the ENGAGE switch is activated The entire Crossfader assembly is replaceable from the front panel without disas sembling the entire unit See Service Information on page Manual 9 ENGAGE MIC switch Enables the Microphone Inputs to feed the Booth Zone and Main Outputs The adjacent red LED flashes whene
3. controls is 8 dB In the iz 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 offisolation of the faded channel is greatly increased Ac tive Crossfad
4. CONTROL GUE PGl ANE 3 I i a RANG 5 F60 a 3 simo A Sak A Ac 8 SZ s LIT z SE O ASSIGN ASSIGN MASTER LEVEL o 10 MONO CUE LEFT A vo 8 m PGMRIGHT QUICK START Don t Quick starting an MP 24z is like trying to quick start a 747 Its just not something you do Trust us you don t want to make mistakes with this sucker So just this once please we highly recommend you read this entire manual front to back every single page every single word It will familiarize you with the many intricacies of the MP 24z not to mention all the nooks and cran nies WEAR PART This product contains the following wear part subject to the ninety 90 day war ranty period described on page Warranty 1 1 Active Crossover Assembly F 60 Manual 1 FRONT PANEL DESCRIPTION SOURCE CONTROL NINE 3 NINE 3 NINE 6 NINE 6 5 0 ce O EJ 8 O N o 10 BOOTH LEVEL 6 PEAK PROGRAM METER LerOOOOOOOOOOOO 20 15 10 7 5 3 1 0 l 3 5 8 dB Rett OOOOOOOOO0OO0O00O s s HEADPHONE CONTROL CUE PGM 16 N i SA o 10 O MONO CUE LEFT _ ski RIGHT 8 LQ POWER ON indicator Illuminates anytime the MP 24z is connected to an appropriate power source see
5. LHOIY Wd 14373N3 ONOW O3u3aLS TOYLNOD ANOHddVAH ap 8 G t T OWE Y3LIW WYY9O0Yd AYJd CELE QIW I aiw ssva XVI NIN XVN NIW XVN NIW XVW NIW z z ZE mye BoE Da YAZITWNDA NVYDOHd CLUB MIXER E MP 242 AN TS3A31 YALSVN T3A51 SNOZ N ISSY 0 9 3NIT XNW Hd 3NIT S INI pN z aN 71041LNO9 33YNOS Hd KNW EINT i 4NI1 T 3N T Hd XNV DIW EPLENE EBLEDEI 14131 DIW To gt NIVW XVW NIW Se 26 73437 SI XNY XVW NIW ssva XVW NIN Q z e Gin XVW NIW 0 I a z z TOULNOD JIW IMPORTANT SAFETY INSTRUCTIONS For the continued safety of yourselfand others we recommend you read the following safety and installation instructions Keep this document in a safe location for future reference Please heed all warnings and follow all instructions Do not use this equipment in a location where it might become wet Clean only with a damp cloth This equipment may be installed in an industry standard equipment rack We recommend that all mounting holes be used providing the best physical support The equipment may be used as a table top device although stacking of the equipment is dangerous and not recommended Do not directly block any of the ventilation openings If rackmount ing please provide adequate ventilation Equipment may be located directly above or below this unit but note that some equipment like large power amplifiers may cause an unacc
6. Output signals on 4 TS tip sleeve unbalanced connections BOOTH OUTPUT connectors The Left Output only supplies a mono Booth Monitor Output connecting to both Left and Right provides a stereo Output ZONE OUTPUT connectors The Left Output only supplies a mono Zone Output connecting to both Left and Right provides a stereo Output The Zone Outputs are located Post EQ which includes the Microphone Output An internal jumper block pro grams the Zone to Pre EQ and no mic if required See Service Information on page Manual 9 MAXIMUM OUTPUT GAIN REDUCTION control Decreases the maximum Level of the balanced and unbalanced MAIN OUTPUTS of the MP 24z as it is rotated counter clockwise METER SENSITIVITY ADJUST Clockwise rotation decreases the full scale sensitivity of the PEAK PROGRAM METER as indicated by the full scale voltage calibrations around the control SYSTEM MONO STEREO switch Engaging this pushbutton converts all Outputs except tapes and loops to MONO regard less of the nature of the Input signals EQ RANGE switch In the out position the maximum boost cut available from the Program Equalizer is 8 dB In the switch s in position this range is reduced to 4 dB LIGHT CONTROL OUTPUT jack Provides a transformer coupled mono program signal for use by a lighting controller s trig ger input This is a balanced 4 output the tip is positive the ring is negative and the sleeve is floating LIGHT O
7. These Tape Outputs do not contain any signal from the Micro phone section If you need to record the Mic use the Unbalanced Main Outputs Zone Output or the Booth Output with the Booth Ducker circuit defeated If none of these are available see Service Information on page Manual 9 for internal jumper chang ing instructions Manual 6 The front panel switchable LOOP is for stereo devices only so consider which effects are connected where Some proces sors such as delays and reverbs have only one mono input and two outputs This is accommodated automatically by using the MONO Output of the MAIN EFFECTS LOOP The Zone Outputs and the Booth Outputs are the auto matic mono stereo type If mono is required simply connect only to the LEFT OUTPUT Inserting a plug into the RIGHT OUTPUT automatically renders it stereo All of these Output connectors are unbalanced Attempting to run TRS balanced on any of these results in an open leg on the receiving component and causes problems This is a good place to discuss the problems encountered in connecting the MP 24z to all of the different types of cables and connectors that one finds when basing a system on consumer goods the pieces of equipment with the RCA connectors commercial audio products 4 XLR etc and no telling what else In consumer audio devices one rarely finds ground lift capabilities or any of the other hum prevention devices normally provided on commercial equipment Cha
8. UTPUT LEVEL attenuator Counter clockwise rotation reduces the Output Level at the LIGHT CONTROL OUT PUT jack Manual 4 TAPE OUT jacks One pair of RCA jacks provides pre EQ pre LOOP Program Outputs The other pair supplies pre EQ post LOOP Program Outputs The microphone signals are not available at these Outputs however they are selectable using an internal jumper block See Service Information on page Manual 9 SWITCHABLE LOOP SEND jacks Use these 4 unbalanced Left and Right Outputs for driving the inputs of a processor activated by the LOOP button front panel SWITCHABLE LOOP RETURN jacks Use these 14 unbalanced Inputs for receiving the outputs of the above processor MAIN EFFECTS LOOP SEND jacks Provide drive to the inputs of a signal processor which is not to be switched from the front of the mixer Connecting only to the LEFT Effects Send provides a mono Output connecting to both LEFT and RIGHT pro vides a stereo feed These are 4 TS Tip Sleeve unbalanced connections MAIN EFFECTS LOOP RETURN jacks Receiving the processed signal generated from the Main Effects Loop SENDs These are 4 TS unbalanced connections Balanced MAIN MIC Input jack Connects a balanced microphone of any impedance either dynamic or condenser Unbalanced high impedance AUX MIC Input jack Connects an unbalanced wireless or other high impedance mic MIC LOOP jack Inserts external signal processing in the microphone circuit o
9. e AC power supply approved by Rane Manual 5 MP 242 CONNECTION Even though the system variations are limitless in most ap plications where the MP 24z is used an installer must follow some basic interconnect guidelines Unfortunately even though the system and the primary components such as mixers proces sors and amplifiers are of commercial grade most of the source components i e turntables disc players tape decks and so on are consumer grade with consumer interconnect limitations Therefore on the input side of the MP 24z RCA connectors will prevail with unbalanced lines thereto attached It is recom mended for no scientific reason that the turntable furthest to the left be connected to Phono 1 and proceed from left to right with Phono 2 and then Phono 3 if used See Service Information on page Manual 9 to convert any PHONO level Input into a LINE level Input When determining which Line Inputs to use for what the process becomes a bit more difficult Obviously if one of the line devices feeding the MP 24z is of the commercial variety sport ing balanced outputs use Line 2 for this due to its unique ability to accept such foreign substances The rest of the assignments are pretty much a matter of what you want to appear where on the source switches As you can see Lines 1 through 3 appear only on Input Channels 1 and 2 Lines 4 through 6 appear only on Input Channels 3 and 4 So the layout will depend on how heavily you
10. ed feature When the ENGAGE MIC switch is activated the gain of the BOOTH OUTPUT ducks down 13 5 dB to prevent feedback from the booth speakers If this Output is used for something else and this feature is undesired a BOOTH DUCKER DEFEAT switch is provided on the rear panel Be sure this switch is in the ACTIVE position if booth speakers are used SOME FURTHER HINTS Set the Input Channel faders near their maximum levels to preclude required excessive gain from the Output stage Opti mum noise performance is achieved 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 IMPORTANT NOTE CHASSIS GROUNDING The MP 24z is supplied with a rear mounted ground lift switch The unit is shipped with this switch in the grounded position tying circuit ground to chassis ground If after hooking up your system it exhibits excessive hum or buzzing there is an incompatibility in the grounding configuration between units somewhere Here are some things to try 1 Try combinations of lifting grounds on units that are supplied with 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 the rack screws to another grounded chassis 3 This units outb
11. eptable amount of hum or may generate too much heat and degrade the performance of this equipment Protect the power cord and plug from damage caused by being walked on or pinched Protect the line cord where it exits the unit from excessive strain Only use attachments and accessories specified by Rane Unplug this equipment during lightning storms or when unused for long periods of time Referall servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as power supply cord or plug damage spilled liquid fallen objects into an opened chassis exposure to rain or moisture a dropped unit or abnormal operation 108385 ANE OPERATORS MANUAL MP 242 DJ MIXER MIC CONTROL SOURCE CONTROL PROGRAM EQUALIZER 2 2 LINE 1 LINE 2 LINE 1 LINE 2 LINE 4 LINE 5 LINE 4 LINE 5 3 F n AUX PH 1 LINE 3 AUX PH 2 LINE 3 PH AUX 3 LINE6 LINES LINE 6 ZONE LEVEL EQ E TE T Z GR ac s F os 4 4 4 AOR A e Y O Z o 10 O MN MAS MIN IN Max 2 6 6 O Mx MI MIN MAX CUE O CUE MID HI MID TREBLE BASS BOOTH LEVEL 4 6 8 10 PEAK PROGRAM METER LETOOOOOOOOOOOO 20 15 10 7 5 3 4 0 41 43 5 48 de amp o 2 HER RieHr O OOOOOOOOOOO MIN MAX AUX MIC LEVEL 2 f ACTIVE CROSSFADER ax MIN M main Oot HEADPHONE
12. er Booth Zone by engaging the SYSTEM MONDO switch on the rear panel When engaged the SYSTEM MONO switch sums the Left and Right buses together In this situation if only one of the stereo Inputs on any of the three Phono or six Line sections is driven the ap plied signal appears in equal quantities at both Left and Right OUTPUT connectors USING THE LIGHTING CONTROL OUTPUT The mono LIGHT CONTROL OUTPUT allows use of lighting systems designed to be triggered from an audio source A LIGHT OUTPUT LEVEL control adjusts the output level appropriate for the lighting controller There appears to be a wide variety of sensitivities in different brands of controllers therefore some adjustment is likely required In the full CW position of the LIGHT OUTPUT LEVEL control the signal delivered is amplified 20 dB relative to the pre master fader level If this is excessive CCW rotation of the LIGHT OUTPUT LEVEL control decreases the drive amount None of the LEVEL controls past the Input Channel faders affect this drive level Manual 8 BOOTH AND ZONE OUTPUTS The ZONE OUTPUT is an additional Stereo Output with it s own ZONE LEVEL control that can be routed to an am plifer that feeds the bar another tape recorder etc This output is Post EQ which means also that the mic is heard from the Zone Outputs along with any Program EQ changes This can be changed with an internal jumper block The BOOTH OUT PUT operates much the same way with an add
13. er 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 reali
14. evel devices such as the audio outputs of DVD players CD players iPods radio tuners drum boxes keyboards etc These RCA connectors pairs are unbalanced line level Inputs only LINE 2 Input jacks Are a fully balanced 4 TRS Tip Ring Sleeve line Input The tip of the jack is the ring is and the sleeve is ground GROUNDING POST terminal Provided to facilitate your hum chasing buzz eliminating experiments Its purpose is to provide a place to connect those extra wires coming out of the turntables Chassis ground point Since the MP 24z does not get chassis ground through the AC cord this point is provided in case your system does not have another earth ground such as the rack rails A 6 32 screw and toothed washer is provided for chassis ground See Chassis Grounding on page Manual 8 for details GROUND LIFT SWITCH Separates chassis ground from signal ground Normally this switch should be in the LIFT position In some circumstances moving it to the opposite position eliminates stubborn hum and buzz problems If you are tempted to move this switch with your power amplifiers turned on and cranked up don t Always turn your system levels down before changing your grounds around and then bring them up slowly POWER input connector No this is not where Commissioner Gordon plugs in his Bat phone in fact it is not a telephone jack at all The MP 24z uses an 18 volt AC center tapped transformer Use only a model RS I remot
15. f these should be con nected for optimum signal to noise sometimes both sometimes none The rule is Whatever works works 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 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 hi
16. ghest 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
17. ies Inc 12200 Thatcher Ct Poway CA 92064 Phone 858 486 8388 Fax 858 486 8398 www caig com CLEANING INSTRUCTIONS A Fader assembly removal 1 Remove 2 3mm screws 2 Draw fader assembly out through hole 3 Remove 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 Manual 3 REAR PANEL DESCRIPTION ONO UNBALANCED LEFT YIELDS L R L MONO CAUTION ya O r LDS NEGATIVE DO NOT UNDER ANY CIRCUMSTANCE UNBALANCED BOOTH x x Pi RTING PLUGS OU nonor soer MONO bak p TRANSFORMER COUPLED POSITIVE ci 3 NEGATIVE ASE CHASSIS l HI Z ONLY MC f USE FOR LOOP WIRELESS qip SEND MICS RING RETURN MAX WAR GAIN REDUCTION 3 5 4 I PHANTOM POWER 15V LIGHT OUTPUT LEVEL BOOTH POWER DUCKER SIG GND 28 27 26 O HB 8 60 9 9 8 BALANCED MAIN OUTPUT connectors Provide a fully balanced Main Output signal pin 2 is pin 3 is and pin 1 is signal ground Pin 3 must never be grounded for unbalanced operation Use only pin 2 as hot and pin 1 as return for any unbalanced operation UNBALANCED MAIN OUTPUT connectors Provide Main
18. nly This is a 4 TRS tip send ring return con figuration This feature does not affect the operation of the Main Program channels PHANTOM POWER switch Engaging this pushbutton applies 15 V Phantom Power to the balanced XLR MAIN MIC Input only It has no effect on the Aux Mic Input The adjacent red LED illuminates whenever Phantom Power is active BOOTH DUCKER switch When in the ACTIVE position the ENGAGE MIC switch front panel reduces the Micro phone level at the Booth Outputs When in the DEFEAT position Microphone level is not reduced AUX PHONO input jacks Use these stereo Phono Input pairs for connecting any moving magnet type cartridges to the mixer Internal jumpers are provided to convert these into Line level Inputs See Service Information on page Manual 9 AUX PH 1 and AUX PH 2 jumpers are set at the factory for PHONO The PH AUX 3 jumper is set at the factory for a LINE level input When these jumpers are set to PHONO never use these Inputs for any other purpose due to the amount of gain and RIAA equalization present Any unused Phono Input should have the Phono Shorting Plug installed to prevent interference from an outside source Do not put any of the Phono Shorting Plugs into the Tape Out jacks as this will short a the Outputs PHONO AUX 3 input jacks As in 6 above Note this Input is shipped with the internal jumpers in the LINE position LINE 1 amp 3 through 6 Input jacks Are suitable for all line l
19. oard power supply does not ground the chassis through the line cord Make sure that this unit is grounded either to another chassis which is earth grounded or directly to the grounding screw on an AC outlet cover by means of a wire connected to a screw on the chassis with a star washer to guarantee proper contact Please refer to RaneNote Sound System Interconnection supplied with this manual and available at www rane com for further information on system grounding
20. ssis ground and signal ground are normally the same thing a situation which may cause problems when the two species get on the same bus The best we can do to try to help you eliminate hum oscil lations or other stray characters from your system is to tell you to experiment If you think lifting the ground on the MP 24z crossovers equalizers or power amplifiers might help go ahead and try it There is science involved in de humming a system however it is sometimes faster to just experiment Occasion ally directly grounding the chassis of the mixer to the power amplifiers with a large gauge wire helps And by the same token isolating the two when they are installed in the same rack may have a quieting effect A word of caution Don t do anything with Level controls up power on or under any condition that could cause damage to delicate loudspeakers and ears Make your changes with the system off then power up carefully to make sure you haven t made matters worse Bring up Level controls slowly and with great caution Surprises are nice on birthdays and Christmas and rarely any other time If hum problems only exist on the Phono Inputs there is always a possibility for experimental troubleshooting at this end also Experience has shown that just because the manufacturers put ground wires on them they are not always connected Some turntables even have two ground wires one for the tone arm and one for the chassis Sometimes only one o
21. ver the ENGAGE MIC switch is down and locked This switch also activates a ducker circuit in the Booth Output SeeFront Panel and Rear Panel Q 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 often used for wireless mics QQ Microphone equalization controls Adjust the frequency contour of both Microphone Inputs They have no effect on any other program material Manual 2 LOOP ENGAGE switch Controls the Switchable Effects Loop pressing it to its down and locked position routes the main signal through the processor attached to the SWITCHABLE LOOP connectors on the rear See Rear Panel and MASTER LEVEL fader Determines the program and mic level at the Main Outputs Unity gain is approximately 4 5 BOOTH LEVEL control Adjusts the program and mic level at the Booth Outputs Unity gain is approximately 6 5 This Out put utilizes a ducking circuit reducing the mic level when the MIC ENGAGE switch is pressed See Rear Panel 60 ZONE LEVEL control Adjusts the program and mic level of the Zone Outputs Unity gain is approximately 6 5 PROGRAM EQUALIZER controls Contour the frequency response of the program at the Main Booth and Zone Outputs This is not designed to be the only equalizer in the system this is intended to provide EQ between varying program materials
22. will use the Phono Inputs and how many line level devices you will be using On the Output side things are a bit less restrictive On the MAIN OUTPUTS you have been given a choice between XLR balanced and 14 unbalanced Which you use should be derived from some consideration of how far the cable has to run from the mixer to the next component how much ambient noise there is in the local atmosphere Radio Moscow in the next building 36 000 SCR controlled light dimmers in the next rack and any other possible encumbrance on the quality of the audio inside the jacket Most experienced installers and users of commercial sound equipment have a good handle on which to use in a given situation The general rule is if the Output from the MP 24z is running longer than 10 feet 3 meters use balanced cables If the input to your system equalizer crossover or power amplifier is balanced go balanced If you keep the cable length short and your destination has unbalanced inputs you can probably get away with using the 4 unbalanced connectors The TAPE OUTPUTS are unbalanced RCA connectors the assumption being that most readily available tape recording equipment such as would be used in a club situation would be of similar type Simply determine whether you want the signal processing in the Effects Loops to have an effect on the recording being made and connect the record inputs left and right to the appropriate PRE LOOP or POST LOOP TAPE OUTPUTS
23. ze 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 Manual 7 MICROPHONE OPERATION To use the mic connect it to the appropriate connector and set the PHANTOM POWER switch to the desired mode it s a good idea to have the Phantom Power in the om position for condenser mics off for dynamics 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 and slowly adjust the MAIN MIC or AUX MIC LEVEL Once this has been accomplished the tonal balance may be adjusted via the MIC EQ controls located above the LEVEL controls Modifying the sound of the mic in this way won t affect the EQ of the music in the system The two Equalizer sections Mic and Program are totally independent When the microphone is not in use release the MIC ENGAGE switch again to its upward position When the switch is down the red LED flashes When off the LED will be out If the microphone preamp becomes 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 MONO OPERATION There may be situations where a mono output signal is preferable to a stereo output If this is the case mono outputs may be obtained on all of the Outputs Mast
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