User manual RANE TTM 54I

[. . . ] · Always start with the PHONES LEVEL turned down and then turn it up to the desired level. · Because of the high current and low output impedance, never short one side to ground or short left and right together as is possible with mono cup headphones. Note: Low power headphone stages typically use large resistors on their outputs, which allow shorting, but prevent high power. · MIC LEVEL: For best performance, keep this control at 0 when not in use. [. . . ] When engaged, signal is off with the Program Fader up, and maximum with the Program Fader down. PHONO / LINE source select switches are provided for PGM 1 and PGM 2. These are "clickless" switches suitable for "transform scratch" applications. Program Fader controls for PGM 1 and PGM 2 are ultra low noise, long-life, monorail devices. The control element is completely isolated from the audio using VCA circuits (voltage-controlled amplifier), providing the highest reliability and performance. PGM 1 and PGM 2 Meters provide true L+R Dual Mono indication of PostProgram Fader signal levels. Ten segment resolution is provided with a one second peak hold indication. With the Program Fader set to maximum, set the input GAIN TRIM to indicate an average level of about +4. As with the Program Faders, all audio is isolated from the control element, greatly extending the life and performance of the control. See page Manual-6 for cleaning and replacement. MIC 4 2 0 10 6 8 2 1 PGM 1 LEVEL GAIN TRIM 4 6 8 2 OL TREBLE BASS 0 10 TREBLE BASS 2 -8 +8 BASS -40 -8 +8 +10 -40 +10 -40 + 3 LEFT EFFECTS BALANCE RIGHT LEF 4 CONTOUR TTM 54i PERFORMAN 6 20 30 5 HAMSTER PHONO LINE 6 7 8 9 0 2 4 6 8 10 10 8 6 4 2 0 +10 +7 +4 +2 0 -2 -4 -7 -10 -20 HAMSTER 0 2 4 6 8 10 PGM 1 10 8 6 4 2 AUDIO PRECISION FRQ_UB 20 15 10 5 0 -5 -10 -15 -20 -25 -30 -35 -40 -45 -50 -55 -60 -65 -70 -75 -80 20 2-CHAN(dBr) vs FREQ(Hz) 11 AUG 98 10:34:42 100 1k 10k 20k Figure 1. PGM Bass & Treble Controls Manual-2 % TRAVEL 0 0 10 10 20 30 40 50 60 70 80 90 100 6 dB PGM 2 GAIN TRIM 4 6 PHONES 2 8 0 10 8 13 15 dB ATTENUATION LEVEL 4 6 20 30 40 50 60 70 80 20 dB 30 dB 0 10 PAN TREBLE CUE 1 CUE 2 6 dB 20 dB 30 dB MASTER/CUE 10 -40 +10 MASTER CUE 14 RIGHT EFFECTS 90 100 BALANCE T Figure 2. Contour Switch CROSSFADER CONTOUR control allows adjusting the "shape" of the Crossfader response from a gentle curve for smooth, long running fades, to the steep pitch required for top performance cut and scratch effects shown in Figure 3. CROSSFADER HAMSTER control allows reversing the operation of the Crossfader. With the combination of ActiveFaderTM, CONTOUR control, and HAMSTER control, the TTM 54i provides a level of flexibility and performance previously unavailable. PHONES LEVEL control adjusts the loudness of the Headphone output signal. Always start with the LEVEL at minimum (CCW) and increase to a comfortable level with signal present and your headphones on. This prevents tearing them off after you plug them in with the level set too high. This Headphone Amplifier delivers very high sound pressure levels (SPL) into most headphones. Because of the high current and low output impedance, never short one side to ground or short left and right together as is possible with mono cup headphones. Note: Low power headphone stages typically use large resistors on their outputs, which allow shorting, but prevent high power. MASTER / CUE switch selects the HEADPHONES monitor source: · Use MASTER to rehearse your performance. This signal is the same as that at the MASTER OUT, but is not affected by the MASTER LEVEL control. [. . . ] 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, or tied to the ground screw located just above the POWER jack. This unit's 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 our web site) for further information on system grounding. Manual-4 23 The MIC INPUT is a balanced input specifically designed for a dynamic microphone. MIC 4 6 8 0 10 LEVEL MIC EFFECTS jacks are unbalanced mono ¼" Tip/Sleeve. Place the fader assembly in position with the ribbon connector to the right side or top, as shown. [. . . ]