Manual-
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 on 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 (Master, Booth, Zone) by
engaging the SYSTEM MONO 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.
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 added 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 outboard 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.
