User manual RANE MP 24

[. . . ] 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 24, not to mention all the nooks and crannies. Manual-1 FRONT PANEL DESCRIPTION 1. POWER "ON" indicator: This yellow LED illuminates anytime the MP 24 is connected to an appropriate power source (see #28, Rear Panel). SOURCE CONTROL selectors: These four position rotary switches provide Input selection between the various Phono and Line Inputs for their respective mixing Channels. [. . . ] 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. Use only a model RS 1, or other remote AC power supply approved by Rane. Manual-5 SYSTEM CONNECTION Even though the system variations are limitless in most applications where the MP 24 is used, an installer must follow some basic interconnect guidelines. Unfortunately, even though the system and the primary components such as mixers, processors 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 24, RCA connectors will prevail with unbalanced lines thereto attached. It is recommended, 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 Schematic-1 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 24 is of the commercial variety sporting 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. Some processors, 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 automatic mono/stereo type. Inserting a plug into the RIGHT OUTPUT automatically renders it stereo. 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 24 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 (¼", 3-pin balanced 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. Chassis 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, oscillations, or other stray characters from your system is to tell you to experiment. If you think lifting the ground on the MP 24, crossovers, equalizers or power amplifiers might help, go ahead and try it. [. . . ] 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 applied 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. [. . . ]