user manual - Warehouse Sound Systems
Contents
1. LACK J S SHIELD III sheo N 7 2 CONDUCTOR SHIELDED CABLE BLACK om sheo p CHV re OFF THE SHELF CABLE 2 CONDUCTOR SHIELDED CABLE CONDUCTOR SHIELDED CABLE x El m RED_ conpuctor SHIELDED caste BEB I CJ SHIELD _ SHIELD Ee t OFF THE SHELF CABLE x RED T RED 1 CONDUCTOR SHIELDED CABLE VAT s sHiELo CI SHIELD sut Ds 1 OFF THE SHELF CABLE RED T RED BLACK 2 CONDUCTOR SHIELDED CABLE lt J S BLACK C a RED T RED 2 CONDUCTOR SHIELDED CABLE BLACK W S BLACK SHIELD D gt Y oso T RED 1 CONDUCTOR SHIELDED CABLE S SHIELD OFF THE SHELF CABLE SHIELD t 12 SHIELD 2 RED 3 BLACK T RED R BLACK S SHIELD 1 SHIELD 2 RED 3 BLACK T RED R BLACK S SHIELD T RED S BLACK 3 BLACK T RED R BLACK S SHIELD 1 SHIELD 2 RED 3 BLACK T RED S SHIELD 1 SHIELD 2 RED 3 BLACK S SHIELD INPUT TO Manual 92. 0 dBu A reference point equal to 0 775 V 4 dBu Standard pro reference level equal to 1 23 V 0 dBV A reference point equal to 1 0 V 10 dBV Standard reference level for consumer and some pro audio use equal to 0 316 V RCA phono connectors are a good indicator of units operating at 10 dBV dynamic range The ratio of the loudest signal to the quietest signal in a unit or system as expressed in decibels dB expander A signal processing device used to increase the dynamic range of the signal passing through it Expanders complement compressors For example a compressed input dynamic range of 70 dB might pass through a expander and exit with a new expanded dynamic range of 110 dB Modern expanders usually operate only below a set threshold point i e they operate only on low level audio The term downward expander describes this type of applica tion ground Any electrical reference point for measuring voltage levels Usually a large conducting body such as the earth or an electric circuit connected to the earth Chassis should always be at earth potential WARNING SHOCK HAZARD Never use an AC line cord ground lifi adapter or cut off the 3rd pin It is illegal and dangerous headroom The level in dB between the typical operating level and clipping For example a nominal 4 dBu system that clips at 20 dBu has 16 dB of headroom hum Unwanted sound contaminating audio paths due to EMI electro magnetic interference caused by
3. In use you can get tripped up at two places If you have a phono signal into one of the four PH LN inputs be sure the PH LN switch is in the PHONO position in likewise when using a tape deck or CD into these inputs be sure the switch is in the LINE out position If you plug into the PROGRAM LOOP the internal signal path is broken Be sure that a complete loop is made to and from an outside device Couldn t be easier right Never connect anything except a Rane power supply to the thing that looks like a telephone jack on the rear or the unit This is an AC input and requires special attention if you do not have a power supply exactly like the one originally packed with your unit See the full explanation of the power supply requirements elsewhere in this manual Manual 1 FRONT PANEL DESCRIPTION foe FNS SUN PASS JA EN A IN A UA EN We INC CE CN 1X 1231 RY 7 15 A 4 7 S 2 4 J 5 ey 4 U3 4 19 19 LA PH LN1 2 OFF O UNE2 TREBLE 15d8 15dB 2 PHAN3 or O LINEA TREBLE 15dB 15dB PH LNS _ OFF UNE TREBLE 1 MID oto 15dB 1508 4 PH LN7 EN ort O LINE TREBLE 1 MID sas Q Q MASTER LEVEL A 10 1o LEFT RIGHT LL CUE PROG gt WY ACTIVE CROSSFADER 2 6 8 o 4 wy r CUE 14 CUE 24 CUE 35 CUE 44 E a Hy 6 O
4. AC power lines amp transformers getting into unbalanced poorly shielded or improperly grounded connecting cables Hum has a definite smooth sine wave repetitive sound based on the harmonics of 50 60 Hz such as 100 120 Hz and 150 180 Hz interpolating Term meaning to insert between two points If a graphic equalizer s adjacent bands when moved together produce a smooth response without a dip in the center they are interpolat ing between the fixed center frequencies levels Terms used to describe relative audio signal levels mic level Nominal signal coming directly from a microphone Very low in the microvolts and requires a preamp with at least 60 dB gain before using with any ine level equipment line level Standard 4 dBu or 10 dBV audio levels instrument level Nominal signal from musical instruments using electrical pick ups Varies widely from very low mic levels to quite large ine levels limiter A compressor with a fixed ratio of 10 1 or greater The dynamic action prevents the audio signal from becoming larger than the threshold setting Linkwitz Riley crossover The most preferred active crossover design It features steep 24 dB octave slopes in phase outputs and flat amplitude response Due to the in phase outputs the acoustic lobe resulting when both loudspeakers reproduce the crossover frequency is always on axis not tilted up or down and has no peaking noise 1 nterconnect Unwanted sounds contaminating
5. O 3 A 18 1 MAIN MIC ON switch This switch puts the Main Mic signal into the mixer signal path When the switch is pressed in the Main Mic is on and the adjacent red LED blinks 2 Front panel MAIN MIC input This 3 pin XLR input connects a balanced microphone A parallel Main Mic input is on the rear of the unit Do not connect microphones to both front and rear Main Mic inputs 3 MAIN MIC LEVEL control This control adjusts the level of the Main Mic input 4 MIC OVERLOAD indicator This red LED monitors both microphone signals before and after Mic EQ It lights when the signal exceed the Mic section s output capability 3 dB below clipping Occasional flickering is acceptable however steady lighting requires a reduction in the Mic LEVEL control to prevent distortion 5 AUX MIC ON switch This switch puts the Aux Mic signal into the mixer signal path The adjacent red LED blinks when the switch 1s pressed in indicating that the Aux Mic is on 6 AUX MIC LEVEL control This control adjusts the level of the Aux Mic input 7 MIC EQ These controls are used to contour the frequency response of the summed Main and Aux Microphone inputs 8 Source Input Select switch This switch selects either a Phono Line or Line input for the channel In the center position the channel input is muted 9 Source EQ These controls are used to contour the frequency response of the selected source input 10 Source Input fader
6. TURNING THE LEVEL UP 6 dB FEMALE 1 NC ow RED Y 2 RED qJ soy BLACK J BLACK V Uo i e FEMALE ein 1 NC w 2 RED amp sy BLACK 3 BLACK F oS l FEMALE 1 SHIELD RED C i 39 sagip Wi 1 CONDUCTOR SHIELDED CABLE RED SHIELD W ID THIS CONFIGURATION CAUSES A 6 dB SIGNAL LOSS COMPENSATE BY TURNING THE LEVEL UP 6 dB FEMALE 1 SHELD n RED RED fs c U ie No SHIELD 1 CONDUCTOR SHIELDED CABLE RED LAT SHIELD 5 C 2 CONDUCTOR SHIELDED CABLE 2 CONDUCTOR SI ED CABLE RED BLACK mi T RED RED R BLACK U inf BLACK s c lt I IIA Z T RED RED c R BLACK T BLACK m aa sc lt I lE c SHIELDI a THIS CONFIGURATION CAUSES A 6 dB SIGNAL LOSS COMPENSATE BY TURNING THE LEVEL UP 6 dB RED D suiELDN Bs 1 CONDUCTOR SHIELDED CABLE T RED RED R BLACK RED BLACK 2 CONDUCTOR SHIELDED CABLE BLACK SHIELD S SHIELD LACROSS COUPLED OUT ONLY CONNECT RING TO SLEEVE e Jo AT THIS END AND SET GROUND LIFT SWITCH TO GROUNDED IF PRESENT MALE RED N RED easy BLACK m BLACK 2 CONDUCTOR SHIELDED CABLE BLACK ors mi ferace 7 yD s sHiELD C I she SHIELD X o Ay OFF THE SHELF CABLE E N RED
7. This is not a telephone jack Never use a power supply with your unit other than the one supplied or a replacement approved by Rane Corporation Using any other type of supply may damage the unit and void the warranty Chassis ground point This screw is provided for grounding purposes This unit comes with an outboard power supply which does not ground the chassis through the line cord The MM 8x can be grounded either to another chassis which is earth grounded or directly to the grounding screw on an AC outlet cover with a wire connected to this chassis screw PHONO GROUND screw These screws provide a place to connect the ground wire from a turntable PHONO LINE switch These switches change the input stage from a PHONO pushbutton in to a LINE pushbutton out PHONO LINE INPUTS These stereo pairs of RCA connectors are an input for a PHONO RIAA stage for magnetic cartridges or a LINE stage suitable for any device such as a CD player LINE INPUTS These stereo pairs of RCA connectors are an input for any LINE level device PROGRAM LOOP jacks These 1 4 TRS jacks allow stereo external processing of the PROGRAM signal The tips connect the sends to the processor inputs and the rings connect the returns from the processor These are switching jacks always complete the loop when connecting a send and return or no sound will be heard MAIN OUTPUTS These 1 4 TRS jacks provide a balanced line level output TAPE OUTPUTS This s
8. an external effects device and returning the signal back to the mixer Use a special TRS send return cable tip send ring return sleeve ground Refer to the wiring diagram below Remember these are switching jacks always complete the loop when connecting the send to and return from an external device Two sets of outputs can provide convenient connections for recording equipment The TAPE OUTPUT unbalanced RCA jacks provide an output for recording program material If you want signal processing via the Program Loop to have an effect on the recording let out the PRE POST Record push button to the POST position The TAPE OUTPUT does not contain any signal from the Mic or Aux In sections If you need to record the mics use the Aux Out for your recording signal this output is a composite of the Program Micro phone and Aux Inputs an RED uds Se 1 CONDUCTOR S Ne SEND R RETURN p S SHIELD ED TE sy 9 SHIELD Ky oc N RED SEND HIELDED CABLE REND pm Json y gt RED RETURN HIELDED CABLE x A SHIELDI P gt Send Return Cable Wiring OPERATING INSTRUCTIONS SOURCE SELECTION The MM 8x is able to mix together four sources Each source is switchable between two line inputs one of which may be switched to a phono input The center OFF position of the Source Input Select switch mutes the source input to the mixer PH LN 1 or LN 2 combine with PH LN 3 or LN 4 for A m
9. and Meter Cue sections The adjacent yellow indicator illuminates when the switch is depressed 19 HEADPHONE PAN control This control adjusts the relative levels of Cue and Master signals mixed together in stereo for the headphones Counterclockwise rotation increases the amount of Cue signal clockwise rotation increases the amount of Master signal 20 HEADPHONE LEVEL control This control adjusts the volume for the headphones as they are driven from the Master and Cue signals 21 HEADPHONE Output jack This stereo 1 4 TRS jack accepts 1 4 TRS stereo headphone plugs do not use mono plugs 22 POWER ON indicator When the yellow LED is lit the MM 8x is ready to go Fader Care With heavy use in harsh environments the faders may need lubrication Rane recommends spraying one or two bursts of CaiLube MCL into the fader Work the fader back and forth a few times after spraying This treatment extends longevity and can make used faders as good as new Order CaiLube MCL from CAIG Laboratories Inc 12200 Thatcher Ct Poway CA 92064 Phone 619 486 8399 Fax 619 486 8398 Web www caig com Manual 3 TOP REAR PANEL DESCRIPTION w UA D m d Remote POWER Supply Input The unit is supplied from the factory with a Rane Model RS 1 remote power supply suitable for connection to this input Jack The power requirement of the unit specifies an 18 volt AC center tapped trans former only
10. audio dealer can recom mend such a transformer The goal of transformer 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 Another way to create the necessary isolation is to use a direct box Originally named for its use to convert the high impedance high level output of an electric guitar to the low impedance low level input of a recording console it allowed the player to plug directly into the console Now this term is commonly used to describe any box used to convert unbal anced 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 The 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 Do not be tempted to use 3 prong to 2 prong cheater adapters to lift grounds This is a danger ous and illegal practice It is true that connecting both ends of the shield is theo retically 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 1s not often practiced since doin
11. audio paths RFI radio frequency interference caused by broadcast signals leaking into unbalanced poorly shielded or improperly grounded connecting cables Also by light dimmers motor controls and computers 2 Music A random mix of audio frequencies not harmonically related sounding like radio static polarity A signal s electromechanical potential with respect to a reference For example a microphone has positive polarity if a positive pressure on its diaphragm results in a positive output voltage polarity vs phase shift polarity refers to a signal s reference NOT to its phase shift Being 180 degrees out of phase and having inverse polarity are DIFFERENT things We wrongly say something is out of phase when we mean it is inverted One occurs over a period of time the other occurs instantaneously Q upper case Quality factor Defined to be the ratio of the center frequency f divided by the bandwidth BW for a bandpass filter signal to noise ratio The ratio in dB between a reference level and the noise floor For example a signal to noise ratio of 90 dB re 4 dBu means the noise floor is 90 dB below a 4 dBu ref unbalanced line An audio interconnect scheme using one wire with an overall shield The shield must perform two functions act as the return signal path ground and to protect the conductor from noise shield Consequently this method is vulnerable to hum amp noise problems unity gain A gain setting of one The
12. into their equipment setup Since most source components e g turntables disc players tape decks used with the mixer are consumer grade the MM 8x features unbalanced RCA source input connec tors PH LN 1 or LINE 2 are combined with PH LN 3 or LINE 4 for the A mix and PH LN 5 or LINE 6 are combined with PH LN 7 or LINE 8 for the B mix When using the PH LN inputs be sure the adjacent switch is in the correct position for the connected device pushbutton in for phono out for line level Ground screws attach the turntable ground wires which help eliminate hum or buzz The front and rear panel Main Microphone inputs are XLR connectors for use with a balanced output microphone of any impedance Use only one mic at a time in the front or rear jack Effects can be inserted in the Main Mic signal path thru the 1 4 unbalanced TRS MAIN MIC LOOP jack Use a special TRS send return cable tip send ring return sleeve ground Refer to the wiring diagram below The Auxiliary Mic input is 4 balanced TRS jack useful for wireless mics and other high impedance sources The MAIN OUTPUTS are 4 balanced TRS connectors which provide good hum rejection and allow long greater than 10 feet lengths of interconnect cable without significant losses see Sound System Interconnection on page Manual 10 for proper wiring of connector cable The PROGRAM LOOP has left and right 1 4 unbalanced TRS connectors for sending the source program signal to
13. level out equals the level in Manual 7 SOUND SYSTEM INTERCONNECTION Rane s policy is to accommodate rather than dictate 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 operation No guarantee of responsibility for incidental or consequential damages can be provided Tn 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 THE ABSOLUTE BEST RIGHT WAY TO DO IT 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 conductors two of which are signal and and one shield The 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 Chassis tying the shield at each end also guarantees the best possible protection from RFI radio frequency interference and other noises neon signs lighting dimmers THE NEXT BEST RIGHT WAY TO DO IT The quickest quietest and most foolproof method to connect balanced and unbalanced is to transformer isolate all unbalanced connections Your
14. MM 8x MIXER ANE OFERATORS MANUALE s MOJO PH LNT PHAN3 2 PH LNS PH LN7 2 orr O orr O ort O or O LINE2 LINEA 7 LINE6 LINES TREBLE TREBLE TREBLE TREBLE ota oto oto oto MASTER LEVEL W Z wf Q 10 10 A5d8 15dB sdb db eid Q as Q MID H MD 8 oe 15dB 15dB ACTIVE CROSSFADER V 2 4 8 10 e ee bot Polisi p CUE 14 CUE 25 CUE 34 CUE 44 G d EL 5 6G G O O AURIC i x u _ O Vo Vo YO MM 8x mixer C QUICK START Here are a few basic plug and play steps to get you performing If you are a first time DJ mixer user please do yourself a favor and at least read this section Begin by making sure your amplifier is off before making connections The MM 8x has all unbalanced connectors except for the 1 4 balanced main outputs and XLR microphone inputs Plug a source component such as a CD player into one of the four LINE inputs on the rear Connect the MAIN OUTPUTS to your amplifier Set all front panel controls to the middle of their travel and all pushbuttons to their out position Slide the MASTER LEVEL down to 0 Set an INPUT SELECT switch to your active source input Plug in the MM 8x s power supply and see the PWR indicator illuminate Turn on your source and amplifier Slowly turn up the MASTER LEVEL and see the meters lighting and hear music from your speakers
15. This fader controls the level of the input selected for the channel 11 ACTIVE CROSSFADER This fader controls the relative output level from the summed A and B mixes When the fader is at its far left only the A mix is heard from the outputs As the fader is moved toward the right the amount of B mix is increased and the amount of A mix is decreased When the fader is centered equal amounts of A and B mixes are routed to the outputs Fully right is all B mix at the outputs Manual 2 12 Meter and Mode switch This peak dBu reading meter displays one of two modes depending on the switch position In the out position the meter indicates the stereo level in LEFT and RIGHT Main Output In the in position mono CUE level is displayed on the LEFT side and mono PROGRAM level is displayed on the RIGHT side 13 MASTER LEVEL fader This control determines the output level at the Main Outputs 14 AUX OUT LEVEL control This control adjusts the level of the Aux Output signal 15 AUX IN LEVEL control This control adjusts the level of an Auxiliary input 16 AUX INPUT This stereo pair of RCA connectors is an extra line level input which sums with other signals before the Master Level controls 17 AUX OUTPUT This stereo pair of RCA connectors provides an extra line level output mix This is the same signal as the Main Outputs 18 CUE switches Pressing in any or all of the CUE pushbuttons routes the respective channel signal to the Headphone
16. als and presented to the Master Level fader Aux Out Level control headphone amplifier and peak meter The Master Level fader should be set at the lowest position while still achieving overall desired sound output level The least amount of gain in the output stage will avoid amplifying unavoidable noise and provide the cleanest output For unity gain in the output stage set the Master Level fader at the 0 dB marking MICROPHONE OPERATION Connect the microphone to the appropriate connector The Main Mic input on the front panel allows the use of a goose neck mounted microphone The connector is rotated such that a right angle connector may be used when connecting via mic cable Use only one of the front or rear Main Mic inputs both are not operable simultaneously Leave the Master Level fader in roughly the same position as it was for music Press in the Mic On switch lighting the adjacent LED and adjust the Main Mic or Aux Mic Level The tonal balance of the Manual 6 Main and Aux Mic inputs may be adjusted via the Mic EQ controls Modifying the sound of the mic in this way won t affect the EQ of the music thru the mixer When the mic is not in use release the Mic On switch to its out position to disconnect the mic signal and extinguish the LED Should the mic preamp become overloaded the Overload indicator will light By reducing the appropriate Mic Level control and increasing the Master Level fader the desired microphone le
17. at the output of the source input fader just before the cross fader The source input fader of a cued channel will need to be advanced to see level indication on the meter Mono Program level is measured at the output of the crossfader Pre Master summing and Master Level fader This arrangement allows matching of A mix and B mix source levels and beat prior to crossfading Note that if two sources are to be inan A or B mix both need to be cued for the meter to reflect the combined levels MOJO GLOSSARY balanced line The recommended method of interconnecting audio equipment A balanced line requires three conductors a twisted pair for the signal positive and negative and an overall shield The shield must be tied to the chassis at both ends for hum free intercon nect bandwidth 4bbr BW The numerical difference between the upper and lower 3 dB points of an audio band clipping What occurs when a unit tries to produce a signal larger than its power supply The signal takes on a flat topped or clipped shape When an amplifier tries to go above its max power it clips compressor A signal processing device used to reduce the dynamic range of the signal passing through it For instance an input dynamic range of 110 dB might pass through a compressor and exit with a new dynamic range of 70 dB The modern usage for compressors is to turn down or reduce the dynamic range of just the loudest signals Other applications use compressors
18. g so can create noisy interconnections Manual 8 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 The best end to disconnect is a matter of personal preference and should be religiously obeyed choose inputs or outputs and always lift the side you choose our drawings happen to disconnect the outputs 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 one end only shield connection increases the possibility of high frequency radio interference since the shield may act as an antenna Many reduce this potential RF interference by providing an RF path through a small capacitor 0 1 or 0 01 microfarad ceramic disc connected from the lifted end of the shield to the chassis The fact that many modern day installers still follow this one end only rule with consistent success indi cates 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 See the following page for suggested cable assemblies for your particular interconnection needs Find the appropriate output configuration from either your mixer output or the MX 22 output down the left side and then match this with the correct balanced or unbalanced inpu
19. ix PH LN 5 or LN 6 combine with PH LN 7 or LN 8 for B mix SOURCE EOUALIZATION Each selected source s frequency spectrum can be contoured with the Treble Mid and Bass controls These are intended to provide EQ between varying program material The Treble and Bass controls offer 15 dB of boost or cut the Mid control offers 8 dB of boost or cut Positioning any control to the 12 o clock position turns that equalization band off SOURCE FADERS The source faders control the level of the selected input They also provide a means to set relative levels for each input to A and B mixes Set the source faders near their maximum levels 0 dB instead of increasing the gain at the output stage You achieve optimum noise performance by having the majority of the overall gain at the input stages Taking the least amount of gain at the output ensures that the system doesn t have to amplify the unavoidable noise generated by the input buffers and summing amplifiers Unity gain for Line Inputs is achieved with the faders positioned at the 0 dB marking HEADPHONE SYSTEM Depending on the position of the Pan control a mix of stereo Cue or stereo Master is heard through the headphones Fully counterclockwise the sum of selected Cue channels is heard This allows previewing of the full equalized channel signal even while the fader is down Clockwise rotation increases the amount of Master signal The Level control adjusts the headphone outpu
20. t Manual 5 ACTIVE CROSSFADE Channels and 2 and channels 3 and 4 are internally combined after the channel faders into A and B mixes respectively The output of these mixes are under control of the Active Crossfader When the crossfader is in its left most position only A mix channels and 2 appears at the output In the center both mixes are present in equal levels and only B mix channels 3 and 4 is heard once the crossfader reaches its far right position The sound level will not change as this transition progresses This is a constant power crossfader which means that if the two inputs are equal a steady volume level will be maintained no matter where the crossfader is positioned Active Crossfader technology dramatically increases the service life of the crossfader In the unlikely event of cross fader failure there is no loss of signal both mixes are present in equal levels as if the crossfader was in its center position Use the input faders to set the audio levels while the crossfader is out of service If a crossfader should become rough or noisy it is possible to remove and replace hot swap the control during a performance with no interruption of the audio signal MAIN OUTPUT The active crossfader output signal is routed to the Program Loop jack The signal can be fed to external effects units and returned to the MM 8x The Program Loop return signal is combined with the Microphone and Auxiliary input sign
21. t to the MX 22 or the amplifer down the right side An off the shelf cable may be available or modifiable Soldering should only be at tempted by those trained in the art SUMMARY If you are unable to do things correctly i e use fully balanced wiring with shields tied to the chassis at the point of entry or transformer isolate all unbalanced signals from balanced signals then there is no guarantee that a hum free interconnect can be achieved nor is there a definite scheme that will assure noise free operation in all configurations WINNING THE WIRING WARS Use balanced connections whenever possible Transformer isolate all unbalanced connections from balanced connections Use special cable assemblies when unbalanced lines cannot be transformer isolated Any unbalanced cable must be kept under ten feet three meters in length Lengths longer than this will amplify the nasty side effects of unbalanced circuitry s ground loops This information was condensed from Rane Note 110 Sound System Interconnection If you would like the complete note call or email the factory download it from Rane s web site addresses on page Manual 12 or ask your dealer for a copy VARIOUS XLR RCA amp 4 CABLE ASSEMBLIES FROM OUTPUT MALE 2 CONDUCTOR SHIELDED CABLE RED 2 CONDUCTOR SHIELDED CABLE 62 Suec 7 os SHIELD A 1 THIS CONFIGURATION CAUSES A 6 dB SIGNAL LOSS COMPENSATE BY
22. tereo pair of RCA connectors is a line level output of source program without mic or aux inputs The signal is unaffected by the MASTER LEVEL fader It is intended for use with a tape recorder but is not restricted to that purpose 10 PRE POST switch With the switch pressed in the PRE in position the TAPE OUTPUTS have the signal before processing by an external device connected to the PROGRAM LOOP Releasing the switch to POST out provides the TAPE OUTPUTS with the signal that has been processed by an external device connected to the PROGRAM LOOP If no plugs are inserted in the PROGRAM LOOP this switch has no effect 11 MAIN MIC LOOP jack This 4 TRS jack is for inserting external mono signal processing in the MAIN MICROPHONE circuit path only The tip connects the send to the processor inputs and the ring connects the return from the processor This is a switching jack always complete the signal loop when connecting a send and return or no sound will be heard 12 AUX MIC jack This 4 balanced TRS input accepts wireless mics or another line level mono source 13 Rear panel MAIN MIC input This XLR input connects a balanced microphone The same Main Mic input is on the front of the unit Do not connect microphones to both front and rear Main Mic inputs Manual 4 MM 8x CONNECTION With the MM 8x s ability to accommodate a wide variety of systems these basic guidelines will assist the user in incorporating this mixer
23. to control the creation of sound When used in conjunction with microphones and musical instrument pick ups compressors help determine the final timbre by selectively compressing specific frequencies and wave forms connectors Audio equipment uses different styles RCA An unbalanced pin connector commonly used on consumer and some pro equipment aka phono plug XLR A 3 pin connector common on pro audio equipment Preferred for balanced line interconnect aka Cannon plug Ya TRS 1 Stereo connector consisting of tip T ring R and sleeve S sections with T left R right and S ground shield 2 Balanced interconnect with the pos amp neg signal lines tied to T and R respectively and S acting only as an overall shield 3 Insert loop interconnect with T send R return and S ground shield Think ring right return Ya TS Mono connector consisting of tip T signal and sleeve S ground amp shield for unbalanced wiring constant Q equalizer also constant bandwidth The bandwidth remains constant for all boost cut levels Since Q and bandwidth are interrelated the terms are fully interchangeable decibel Abbr dB named after Alexander Graham Bell The preferred method and term for representing the ratio of different audio levels Being a ratio decibels have no units Everything is relative So it must be relative to some 0 dB reference point A suffix letter is added to distinguish between reference points
24. vel may be restored without overload distortion The TAPE OUTPUT does not contain any signal from the microphone section If you need to record the mics use the Aux Out for your recording signal this output is a composite of the Program Microphone and Aux input AUXILIARY IN OUT The auxiliary input is an insertion point in the mix for added signals This input combines with the program mix and microphone signal to provide a final mixer output signal Leave the Master Level fader in roughly the same position as it was for program music Adjust the Aux In Level control for the desired sound output The Aux Out provides a final mixer output signal unaffected by the Master Level fader for external devices such as tape recorders and video cameras or for additional zone feeds The Aux Out Level control varies the output signal level METERING The MM 8x s meter displays signal level in peak dBu Two display modes are provided Stereo Master and Mono Cue Mono Program The mode is selected with the meter mode switch With the switch in the out position LEFT RIGHT the meter indicates the level of the left and right Main Outputs as measured at the output jacks what you see is what you hear The Master signal is the sum of Program Microphone and Aux Input signals With the switch in the in position the left meter indicates the sum of selected Mono Cue levels and the right meter indicates Mono Program level Mono Cue levels are measured
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