OPERATORS MANUAL MP 2016 ROTARY DJ MIXER QUICK START The MP 2016 is not a UREI! The MP 2016 has many features absent in the UREI. To fully realize all of the benefits provided by these additional features, please read the entire manual. For those of you who should read the manual, but won't, here's the short version. There are four dedicated phono preamplifiers. One each for Input Channels 1-4. Switches on the rear panel set each preamplifier for LINE or PHONO operation. Make sure you have these switches set correctly for your application. There are two dedicated MIC preamplifiers, one each for Input Channels 5-6. Rear panel switches set each preamplifier for LINE or MIC operation. Make sure you have these switches set correctly. MIC GAIN controls adjust each preamplifier for the correct sensitivity. With a MIC selected and ENGAGED, set the INPUT GAIN control to "10" and adjust MIC GAIN to just keep the Input Channel SIG/OL indicator green, not red. Set the tone controls as desired. The MIC ENGAGE switch ducks the BOOTH Output by 12 dB unless defeated with internal jumpers. All five stereo AUX Inputs are available for each of the six Input Channels. Adjust INPUT GAIN controls so they blink the green SIG/OL indicator. If an indicator stays red, the INPUT GAIN control is set too high. This provides optimum signal to noise, dynamic range and MIX LEVEL control consistency. The BOOTH may select CUE or MASTER as its source. CUE allows monitoring Inputs in the booth without headphones. The XP 2016 switch engages the optional XP 2016 processor. If the XP 2016 is not connected, the switch has no effect. See page Manual-7 for XP 2016 features. The EFFECTS LOOP switch switches the Loop in (up) or out (down). If nothing is connected to the EFFECTS LOOP RETURN, the switch has no effect. The MASTER MONO/STEREO switch influences both BOOTH and HOUSE OUTPUTS. It does not affect the EFFECTS LOOP or TAPE OUTPUTS. Two TAPE OUTPUTS are provided. One is PRE-EFFECTS Loop and one is POST-EFFECTS Loop. The POSTEFFECTS Loop Tape Output has a LEVEL control and may be used as a pre-tone control AUX Output. The MP 2016 uses high performance tone control circuits that isolate the signal into three bands. The level of each band is independently controlled, and then recombined. This topology provides full "kill" for TREBLE, MID and BASS. The MASTER SIG/OL indicator monitors the master mix before and after the tone controls. This indicator should light green most of the time. It is OK for it to flash red on occasion. This provides optimum signal-to-noise and dynamic range. HOUSE and BOOTH level controls do not affect the MASTER SIG/OL indicator. The HOUSE OUTPUT has both BALANCED and UNBALANCED Outputs. Always use the BALANCED Outputs for longer cable runs (typically greater than 10 feet, or 3 meters). Headphone cueing allows monitoring MASTER or CUE SOURCE. If MIX LEVEL controls are operated at less than "7", be sure to turn the PHONES LEVEL down before selecting CUE SOURCE as it may be much louder than the Master Mix. The Headphone Output is low-impedance high-current, so do not short the tip and ring together or to ground. Never connect anything except an approved Rane power supply to the red thing that looks like a telephone jack on the rear of 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. WEAR PART The MP 2016 contains no wear parts. The XP 2016 contains the following wear part subject to the ninety (90) day warranty period described on page Service-1: (1) Active Crossover Assembly F 60. Manual-1 MP 2016 FRONT PANEL CONTROLS INPUT SELECTORS 1-4 Each six-position Input Selector chooses a dedicated PHONO/LINE preamplifier, or one of five stereo AUX Inputs as its Input Channel source. (PHONO/LINE switches are located on the rear panel). INPUT SELECTORS 5-6 Each six-position Input Selector chooses a dedicated mono MIC Input, or one of five stereo AUX Inputs as its Input Channel source. (MIC GAIN trim, MIC/LINE switch and MIC tone controls are located on the rear panel). MIC ENGAGE MIC 1 and MIC 2 ENGAGE switches allow switching a mic on (up) or off (down). MIC Input must be selected and MIC ENGAGE on to activate a MIC Input. When a mic is not in use, be sure to switch MIC ENGAGE off. The MIC ENGAGE switches also activate the Booth Ducker. This attenuates the Booth Output -12 dB whenever a MIC ENGAGE switch is on, even if MIC Input is not selected (internal jumpers allow disabling the Booth Ducker--see Mic/Line Inputs on page Manual-6). INPUT GAIN INPUT GAIN controls allow the user to match input levels. Adjust these controls to make the SIG/OL indicator flash green. If the indicators turn red, reduce the INPUT GAIN. Adjusting the INPUT LEVEL controls correctly maximizes dynamic range and provides consistent MIX LEVEL response. Input SIG/OL These dual color indicators provide help in setting correct input levels. A flashing green indication is optimal. The red indicator should remain off during normal operation. MIX LEVEL These studio-grade controls determine the Master MIX LEVEL. For optimum performance, set the INPUT GAIN controls as indicated above, and then operate MIX LEVELS between "7" and "10" for full mix. Use the HOUSE and BOOTH LEVEL controls to set the output levels. Always set the MIX LEVEL controls to minimum when not in use. Manual-2 MASTER HOUSE Level This studio-grade control sets the HOUSE Output level. MASTER SIG/OL indicator This dual color indicator helps set correct MASTER mix levels. A flashing or steady green indication is optimal. The red indicator may flash only briefly on rare occasion...regular flashing or steady-on means that distortion is imminent and Levels need reducing. XP 2016 switch This engages the optional XP 2016 external processor. If the XP 2016 is not connected, the switch does nothing. If an XP 2016 is connected and the switch is on (up), it routes the MIX LEVEL Outputs to the XP 2016 and returns a stereo MASTER signal to the MP 2016. EFFECTS LOOP switch This engages the EFFECTS LOOP when up. If nothing is connected to the EFFECTS LOOP RETURN, the switch has no effect. MONO/STEREO switch This sets the MASTER mix signal to MONO or STEREO operation. It effects both BOOTH and HOUSE Outputs. TREBLE tone control Allows adjusting the amplitude of frequencies above 4 kHz from +10 dB to OFF (full kill). MID tone control Allows adjusting the amplitude of frequencies between 300 Hz and 4 kHz from +10 dB to OFF (full kill). BASS tone control Allows adjusting the amplitude of frequencies below 300 Hz from +10 dB to OFF (full kill). PWR indicator This yellow indicator lights whenever AC power is connected to the unit. MASTER BOOTH Level This studio-grade control sets the BOOTH Output level. BOOTH CUE/MASTER switch The BOOTH CUE/MASTER switch selects MASTER mix or CUE selection as its source. This allows CUE monitoring in the BOOTH without headphones. PHONES SOURCE selector The PHONES SOURCE selector determines the CUE source to be monitored by the headphones (or the BOOTH if CUE is selected as its source). PHONES CUE/MASTER switch The PHONES CUE/MASTER switch determines if the MASTER or CUE selection is monitored by the headphones. This switch does not affect the BOOTH source. PHONES LEVEL This studio-grade control determines the headphone output level. If you are mixing with the MIX LEVEL controls below "7", be sure to turn the PHONES LEVEL down before selecting CUE source as it may be much louder than the Master Mix. PHONES jack Plug your headphones in here. The headphone output is very low impedance and high current so do not short tip and ring together or tie to ground, as is common with many lowcost mono cups. Use resistors of 300 to 600 ohms in series with each output for mono applications, although this significantly reduces output power. Manual-3 REAR PANEL INPUTS & OUTPUTS MIC 1, MIC 2 XLR jacks The MIC 1 Input provides a dedicated balanced preamplifier for Input Channel 5, while MIC 2 provides the preamplifier for Input Channels 6. Each may operate in MIC or LINE mode. Each of these preamplifiers features GAIN trim with BASS and TREBLE tone controls. MIC/LINE switches These select MIC or LINE mode for the MIC Inputs. In MIC mode, the gain range is 20 to 50 dB. In LINE mode, the gain range is 0 to 30 dB. In addition to setting the proper gain range for MIC or LINE level Inputs, these switches also select the proper Input impedance. MIC GAIN trim These controls adjust the preamplifier for optimum dynamic range. Each has a range of 30 dB, allowing a wide range of sources to be used. To properly set this control, set the associated front panel INPUT GAIN to "10", turn the MIC ENGAGE switch on and adjust the MIC GAIN so that the input SIG/OL indicator flashes red only during very loud peaks. The front panel INPUT GAIN control can then be adjusted as required according to the instruction outlined above under INPUT GAIN control. MIC TREBLE and BASS controls Separate TREBLE and BASS tone controls are provided for each MIC preamplifier. These allow adjustment of the tonal response of each Mic or Line source at the MIC Inputs. If you add a significant amount of boost, you may need to readjust the rear panel GAIN trims as outlined before. INPUTS 1-4 RCA jacks INPUTS 1-4 provide dedicated preamplifiers for Input Channels 1-4 respectively. Each may operate in RIAA PHONO or LINE mode. PHONO/LINE switches These switches set Input Channel preamplifiers 1-4 for PHONO or LINE mode. Make certain these switches are set correctly for your source. PHONO GROUND These lugs are provided to connect ground wires from turntables. When using a turntable, proper grounding is essential. IMPORTANT NOTE CHASSIS GROUNDING If after hooking up your system it exhibits excessive hum or buzzing, there is an incompatibility in the grounding configuration between units somewhere. 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. This unit's outboard power supply does not ground the chassis through the line cord. Make sure that the 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 on request at no charge separately) for further information on system grounding. Manual-4 EFFECTS LOOP SEND ¼" jacks SEND Outputs are unbalanced standard ¼" tip-sleeve jacks. They provide a line level Output for external signal processing or effects units. If effects are not being used, these outputs may be used as Auxiliary Outputs. EFFECTS LOOP RETURN ¼" jacks RETURN Inputs are unbalanced standard ¼" tip-sleeve jacks. They provide the Input from external signal processing or effects units. Switching jacks are used so there is no loss of signal if the front panel EFFECTS LOOP switch is active with no effects connected. RETURN Inputs are not appropriate for Auxiliary Inputs as this signal is only selected when the front panel EFFECTS LOOP switch is active, at which time Master signal is derived only by the signal present at the RETURN Inputs, the mix signals are disconnected. BOOTH OUTPUT RCA jacks The unbalanced stereo BOOTH OUTPUT is normally used for booth monitoring. As previously outlined, very flexible source selection is provided as well as MIC ducking. Remember, the BOOTH OUTPUT is attenuated by 12 dB whenever one of the front panel MIC ENGAGE switches is active (unless ducking has been defeated with the internal jumper. See Mic/Line Inputs on page Manual-6). HOUSE OUTPUT jacks Both balanced (XLR) and unbalanced (RCA) jacks are provided. For long runs, we highly recommend using the BALANCED outputs. The UNBALANCED outputs are intended for short runs of less than 10 feet (3 meters). Both may be used simultaneously if required. POWER jack The power jack receives the cable from the RS 1 power supply shipped with the unit. The chassis ground screw located just above the jack is intended for earth grounding the chassis. (see Chassis Grounding note.) AUX INPUTS 1-5 RCA jacks These five stereo AUX Inputs are unbalanced, line level Inputs available for selection on all six Input Channels. XP 2016 EXTERNAL PROCESSOR The XP 2016 port provides the required socket for connecting the XP 2016 ribbon cable (supplied with the optional XP 2016). If an XP 2016 is not connected, the front panel XP 2016 engage switch has no effect. If ribbons longer than that supplied with the XP 2016 are used, crosstalk may increase and immunity to RF, magnetic and conducted interference may be compromised. Don't do it. TAPE OUTPUT ...