OPERATORS MANUAL TTM 54i PERFORMANCE MIXER Quick Start For experienced turntablists, ninety percent of the operation of the TTM 54i Performance Mixer is obvious -- however, the TTM 54i also has many unique features. These new features will be mastered more quickly if you read the entire manual. Right! We know some of you can't resist jumping right in, so please read at least this portion of the manual. It will help you get a good start. · GAIN TRIM: These controls are intended to set the signal level before the Crossfader. Always set the GAIN TRIM controls to indicate an average signal level of +4 on the meter with the Program Faders set to maximum. Never use the GAIN TRIM controls to set the output level. Always use the MASTER LEVEL control to set the output level. This is a very simple thing, yet makes a huge difference in the performance of your mixer. · EFFECTS: The assignable effects loop allows insertion of a stereo effects processor into: · Pre-Program Fader PGM 1....... Engage PGM 1 EFFECTS only. · Pre-Program Fader PGM 2....... Engage PGM 2 EFFECTS only. · Post-Crossfader MASTER........ Engage both PGM 1 and PGM 2 EFFECTS switches. · Read sections and for more information. · PHONES: The headphone output of the TTM 54i is a high power output stage (unlike most you have used before). There are some notable differences... · The headphone output of the TTM 54i delivers very high volume into your headphones. · To avoid pain, never put headphones on your head and then plug them in. · 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. The TTM 54i gives you high power but does not allow shorting. · MIC LEVEL: For best performance, keep this control at 0 when not in use. · For instructions on rotating Phono/Line switches to the desired location, see page Manual-6. · Do not spray cleaner or lubricant into the front of the Program Faders or Crossfader. The fluid will just run out the bottom of the unit. Never use unapproved cleaner or lubricants such as skateboard wheel lube, as corrosive damage may result, voiding the warranty. See page Manual-6 for cleaning and replacement instructions and cleaner recommendations. · Never connect anything except an RS 1 Rane AC power supply to the thing that looks like a telephone jack on the rear. This is an 18 VAC center-tapped power unit. Consult the Rane factory for replacement or substitution. · WEAR PARTS: This product contains the following wear parts subject to the ninety (90) day warranty period described on page Warranty-1: FT 45 Crossfader & Channel Fader Assembly(3); ST 2 Phono/Line Switch Assembly (2). Manual-1 Front and Rear Panel Descriptions PGM 1 and PGM 2 input GAIN TRIM controls adjust the input level. With the Program Faders () at maximum, set GAIN TRIM to give a peak reading of +4 on the meter. Set the MASTER LEVEL () to minimum while adjusting). It is always best to run the input level at +4 to +7. Use the MASTER LEVEL to adjust the volume at the MASTER OUT (). BASS and TREBLE controls provide deep cut, Accelerated SlopeTM EQ for PGM 1 and PGM 2. This unique EQ design makes it possible to eliminate the "sizzle" or "bass beat" without changing the vocal range. The graph in Figure 1 indicates the response of the filters. BALANCE controls are used for LEFT/RIGHT balance of PGM 1 and PGM 2 or for LEFT/RIGHT Pan effect. Push the control to the left and sound moves to the left channel. Push the control to the right and sound moves to the right channel. EFFECTS engage switches are provided for PGM 1 and PGM 2. These two switches determine the location of a single, assignable, stereo EFFECTS LOOP. · PGM 1 & PGM 2 EFFECTS both out: EFFECTS is not engaged. · PGM 1 EFFECTS switch in only: EFFECTS inserted pre-Program Fader PGM 1. · PGM 2 EFFECTS switch in only: EFFECTS inserted pre-Program Fader PGM 2. · PGM 1 & PGM 2 EFFECTS both in: EFFECTS inserted post-Crossfader Master. CONTOUR switches provide three tapers for PGM 1 and PGM 2 Program Faders. The numbers 6, 20 and 30 indicate the mid-point attenuation. Settings can provide smooth fade or cut and scratch effects. Note in Figure 2, the 6 dB setting provides a quick on contour for cut and scratch (0% travel is with Program Fader up). When used with the HAMSTER reversal switch, the Program Fader operates very similar to the Crossfader, allowing the same hand motion for cut and scratch operation. The 20 dB setting provides a normal audio taper while the 30 dB setting provides a more rapid fade out. HAMSTER switches reverse the operation of the adjacent PGM 1 and PGM 2 Program Faders. 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. The switches are replaceable and may be rotated. See page Manual-6 for rotation and replacement instructions. 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. See page Manual-6 for cleaning and replacement. 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. Crossfader is implemented using Ranes' VCA design. 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. The TTM 54i gives you high power but does not allow shorting. 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. · Use CUE to monitor the Program Input signal, so you can "Cue" a signal before fading it in. This signal is not affected by the Program Faders or Crossfader. PHONES PAN control is only active when CUE is selected. This control allows you to PAN between PGM 1 or PGM 2. HEADPHONES jack provides a high current output, capable of driving headphones between 8 and 600 . Because the amplifier is capable of high current drive, it is important that the outputs are not shorted together or to ground. Do NOT use single cup phones that short tip and ring. MASTER LEVEL adjusts the MASTER OUTPUT level for both the balanced and unbalanced outputs. CE MIXER PHONO LINE 6 20 30 CONTOUR HAMSTER 10 8 6 4 2 0 0 2 4 6 8 10 10 PGM 2 0 A dB Attenuation 0 20 40 60 80 100 CrossFader Contour travel B Slow limit Fast limit CROSSFADER HAMSTER CROSSFADER CONTOUR HEADPHONES MASTER LEVEL PWR Figure 3. Crossfader Contour control 11 12 16 17 Manual-3 TTM 54i MADE IN U.S.A. RANE CORP. PHONO GND MIC INPUT 22 23 24 MASTER OUT ACN001.187.837 EFFECTS L PGM 2 LINE 2 L PHONO 2 PGM 1 LINE 1 L PHONO 1 EFFECTS SEND POWER L R R RETURN R R 750mA CLASS 2 EQUIPMENT BAL UNBAL SEND RETURN U.S. PATENT PENDING 18 19 20 21 POWER connector. This is not a telephone jack! Connect only the Rane RS 1 power supply included with your TTM 54i. MASTER OUT includes two sets of stereo outputs: · The ¼" TRS jacks provide high current BALanced output, which should be used whenever driving equipment with a balanced input or running distances greater than about 10 feet (3 meters). Due to the high drive capability and low impedance, never use a mono ¼" Tip/Sleeve (no ring) cable in this jack; this grounds one side of the balanced output. · Use the UNBALanced output for shorter runs, such as connecting to a recorder, looping to another mixer, or to other local signal processing or amplifiers. EFFECTS jacks are unbalanced mono ¼" Tip/Sleeve. This stereo loop is inserted in the signal path as in section . · The SEND jacks provide the output to your effects processor. · The RETURN jacks provide an input for the signal returning from your effects processor. 21 · · · · · 22 PGM 1 and PGM 2 inputs include both PHONO and LINE input. PHONO 1 and PHONO 2 inputs are RIAA compensated inputs with 18 dB per octave, 20 Hz rumble filters. LINE 1 and LINE 2 inputs are unbalanced line level inputs with a nominal sensitivity of -10 dBV. PHONO/LINE selection is made as described in . PGM 1 inputs are sent to the left side of the Crossfader. (HAMSTER switch out) PGM 2 inputs are sent to the right side of the Crossfader. (HAMSTER switch out) PHONO GND terminals provide an independent ground connect point for two turntables. It is very important that each turntable have a very good ground connection to one of these terminals. The thumb screws are not captivated, so use care not to spin them off and lose them. Important Note CHASSIS GROUNDING If your system exhibits excessive hum or buzzing, there is an incompatibility in the grounding configuration between units somewhere. Here are some things to try: 1. Check that the turntable grounding wires are connected to the PHONO GND posts ( 22 ). 2. Try combinations of lifting grounds on units that are supplied with ground lift switches or links. 3. 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. 4. 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. This is an independent Effects Loop for the mic. There is no engage switch, so the mic signal is always processed when you have an effects box connected. · The SEND jack provides the output to your effects processor. · The RETURN jack provides an input for the signal returning from your effects processor. 25 24 25 OL 2 TREBLE MIC LEVEL sets the gain of the Mic Input. The range of oper ...