Manual-4
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Operating Instructions
Using the 3-position Output Assign switches, select either the
A Input, the B Input, or A+B Inputs. If the sum of both Inputs is
selected, but only one Input is driven, the Output is reduced by
6 dB compared to the Output being assigned to only the driven
Input. Since normally the Output would be assigned to both
Inputs only if both Inputs are driven, this isn’t usually an issue.
With the sum of the Inputs available in this way, the DA216S
may be used as a two-input mixer with 16 assignable Outputs.
Each Output has an independent Gain control which ranges
from
off
to +6 dB gain in the output stage. Coupled with a maxi-
mum gain of +10 dB for the MASTER LEVEL controls, a total
of +16 dB gain is available with the OUTPUT LEVEL controls.
The INPUT GAIN switch provides for an additional 20 dB gain
increase.
MIC-LEVEL
For optimum noise performance with microphones, obtain as
much gain as possible in the Input stage of the DA216S without
overdriving the unit.
1. Set the appropriate INPUT PAD switch to MIC (
out
).
2. Set the appropriate INPUT GAIN switch to 40 dB (
in
).
3. Set the MASTER LEVEL controls fully counterclockwise.
4. Set the OUTPUT LEVEL controls midway.
5. Adjust the MASTER LEVEL clockwise until the OL
LED just blinks on the loudest expected program material. If
the MASTER LEVEL is turned all the way up and the OL LED
is not lighting, set the INPUT GAIN to 60 dB and adjust the
MASTER LEVEL again. Adjust the OUTPUT LEVELs for
the desired output level. If the OL LED is
not
lit, adjusting the
OUTPUT LEVEL cannot cause clipping within the DA216S.
The user may still want to turn down the OUTPUT LEVEL to
avoid overloading downstream equipment.
LINE-LEVEL
In the LINE-level configuration, start with unity gain.
1. Set INPUT PAD switch to LINE position (
in
).
2. Set appropriate INPUT GAIN switch to 0 dB.
3. Set MASTER LEVEL controls fully counterclockwise.
4. Set OUTPUT LEVEL controls midway.
5. Adjust the MASTER LEVEL clockwise until the OL
LED just blinks on the loudest expected program material. If
the MASTER LEVEL is turned all the way up and the OL LED
never comes on, set the INPUT GAIN switch
out
to the 20 dB
position. Adjust the MASTER LEVEL control as before for
optimum gain, then adjust the OUTPUT LEVEL controls for
the desired output level.
DA216S Connection
When connecting the DA216S to other components in your
system, leave the power supply for last. This gives you a chance to
make mistakes and correct them without announcing what you
did to the whole world and without damaging “downstream”
equipment. Remember this when setting INPUT PAD, INPUT
GAIN and PHANTOM POWER switches. These switches
should never be changed in a live system. Suddenly changing
the gain by 40 dB can have a profound impact on the ears of the
listening audience.
INPUTS
The two Inputs on the DA216S are balanced. They may also be
used in an unbalanced configuration. However, if used unbal-
anced,
do not engage Phantom Power
. Use only shielded cable
for the Inputs. This cable should always be two conductors plus
shield, even for unbalanced operation. If you
must
use shielded
single conductor, keep the cable as short as possible (under 10
feet [3 meters]) to avoid hum or radio pick up.
When connecting Inputs, use all three Input terminals. For
unbalanced, the “hot” Input goes to the “+”, and the common
wire goes to the “–” while the shield connects the ground. Since
the common wire and shield are to be tied together at one end
in an unbalanced system, this connects the “–” Input to chassis
ground. In a balanced system (highly preferred), the “+” Input
connects to the “+” Output of the previous equipment. The “–”
Input then connects to the “–” Output and the shield goes to the
chassis ground. These Input connections may be reversed if it is
necessary to reverse the polarity of the Input signal.
Be aware, if a microphone is used which requires Phantom
Power, the shield must be connected to chassis ground to complete the
Phantom Power circuit.
Remember, a dynamic mic will likely be
damaged if used unbalanced while the Phantom Power is turned
on. At the very least, it will saturate the mic’s output transformer
and spoil the sound quality. With the INPUT PAD switched to
LINE, Phantom Power is disabled for that Input only. That is, a
balanced, Phantom Powered mic may be used at one Input and a
line input at the other without problems.
See the RaneNote “Sound System Interconnection” for ad-
ditional information on grounding and shielding.
OUTPUTS
The DA216S’s Outputs are balanced and quite substantial. They
will easily drive long cables and 600 Ω loads to full level. The
same wiring conventions as the Inputs apply. For unbalanced
Outputs, “hot” goes to the “+”, and the shield connects to chassis
ground. When wiring unbalanced Outputs, do
not
tie the un-
used terminal (normally “–”) to Ground — leave it floating.
32 Unbalanced Outputs Tip:
The (“–”) Output may also be
used as an unbalanced line driver, albeit inverted. The balanced In-
put terminals of the next stage must be reversed (+) for (–) to correct
for the inversion. This nets a total of 32 Outputs!
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