Rane Car Stereo System DC225 User Manual

OPERATORS MANUAL  
DC 22S  
STEREO COMPRESSOR  
INPUT  
GATE  
COMPRESSOR  
OUTPUT  
INPUT  
GATE  
COMPRESSOR  
OUTPUT  
3
6
3
6
-50  
-10  
2
0
-50  
-10  
2
0
1
2
-60  
-70  
-80  
-40  
-30  
-20  
-20  
-30  
-40  
0
1.7  
1
3
-6  
-12  
-15  
6
-60  
-70  
-80  
-40  
-30  
-20  
-20  
-30  
-40  
0
1.7  
1
3
-6  
-12  
-15  
6
DC 22S  
DYNAMIC  
CONTROLLER  
LINK  
12  
24  
12  
24  
10 1.2  
10  
12  
15  
10 1.2  
10  
12  
15  
+4 OL  
+4 OL  
20  
20  
dBu  
THRESHOLD  
dBu  
THRESHOLD  
:1  
RATIO  
GAIN  
REDUCTION  
dB  
LEVEL  
dBu  
THRESHOLD  
dBu  
THRESHOLD  
:1  
RATIO  
GAIN  
REDUCTION  
dB  
LEVEL  
LEVEL  
BYPASS  
MASTER  
SLAVE  
LEVEL  
BYPASS  
POWER  
QUICK START  
INPUTS with a balanced signal (tip-ring-sleeve), set the Input  
Gain switch to +4 dBu (in). When driving this input with an  
unbalanced signal (tip-sleeve), set this switch to –10 dBv (out).  
Regardless of the type of Input, you might need to set this switch  
so the INPUT LEVEL LEDs light correctly.  
Now increase the COMPRESSOR RATIO to something  
useful, like 2:1 (with the control set at 2, the Ratio is 2:1; at 5, it  
is 5:1.) Adjust the COMPRESSOR THRESHOLD to the point  
you want the Compressor to kick in. e GAIN REDUCTION  
meter reads the amount of signal compression.  
If you want the quiet parts to be even quieter, increase the  
GATE THRESHOLD so only higher levels make it through the  
Gate.  
Both Gates and Compressors will activate by the source  
material applied to either channel if the LINK switch is on. is  
is the preferred setting for stereo program material. e chan-  
nel 1 controls set both channels to the same adjustments, as the  
channel 2 controls go dormant and the LEDs extinguish. If  
the LINK switch is off, then both channels are independently  
controllable.  
Shredded, this document makes excellent packing material. In  
its present form, it makes interesting and useful reading. If you  
run out of patience quickly, at least read this part to make sure  
you don’t exterminate everything within a two mile radius by  
doing something wrong.  
First, be sure the POWER switch is off. Attach one or two  
channels of Inputs and Outputs to the respective connectors on  
the rear. is device uses low impedance balanced line drivers. Do  
not connect the XLR “+or “–” output pins to ground, as this may  
cause the power supply to shut down. For unbalanced use, leave the  
unused output pin (“+or “–”) unterminated. OK, now you can  
power up your sound system, volumes down, amp turned on last.  
With the GATE THRESHOLD turned all the way down to  
-80 dBu, COMPRESSOR THRESHOLD turned all the way  
up to 20 dBu, COMPRESSOR RATIO turned all the way  
down to 1, and the OUTPUT LEVEL control in the center at 0  
dB, you have an expensive patch cord.  
While sending a signal to the DC 22S, adjust the output  
level of the previous device so the +4 dBu LED lights occasion-  
ally, but the OL LED does not light. If you are driving the ¼"  
WEAR PARTS: is product contains no wear parts.  
Manual-1  
Rear Panel Description  
WIRING  
3-PIN XLR:  
• PIN 2 = (+), • PIN 3 = (–),  
• PIN 1 = CHASSIS (SHIELD)  
OUTPUT  
INPUT  
2
2
1/4" PHONE, BALANCED:  
• TIP = (+), • RING = (–),  
• SLEEVE = CHASSIS (SHIELD)  
-10 dBV  
+4 dBu  
82  
1/4" PHONE, UNBALANCED:  
• SEE THE RANENOTE: SOUND  
SYSTEM INTERCONNECTION  
BALANCED  
BAL/UNBAL  
BALANCED  
BAL/UNBAL  
INPUTS 1 and 2: Choose between the balanced XLR or the balanced/unbalanced ¼" TRS jacks, but only use one. Inserting a ¼"  
TS jack will work—however—we recommend using balanced lines, especially when connecting any cable over 10 feet (3 meters)  
in length. Consult the Sound System Interconnection RaneNote provided with this manual.  
INPUTS 1 and 2 Gain Trim Switch: In its +4 dBu position, the Input gain of the respective channel is unity. In the -10 dBV posi-  
tion, the input gain is increased by 12 dB (although mathematically suspicious, it really is 12 dB, not 14 dB) to compensate for  
certain recording devices. is switch must be in the +4 dBu position for front panel calibration accuracy.  
OUTPUTS 1 and 2 are delivered by the balanced XLR or the unbalanced ¼" TS jacks. Using both types of Outputs are permissible  
to drive two devices, such as an amplifier and a recorder. is device uses low impedance balanced line drivers. Do not connect the  
XLR “+or “–” output pins to ground, as this may cause the power supply to shut down. For unbalanced use, leave the unused output pin  
(“+or “–”) unterminated.  
OUTPUTS  
LEFT RIGHT  
INPUTS  
LEFT  
RIGHT  
0
10  
LEVEL  
0
10  
LEVEL  
RIGHT SPEAKER  
STEREO AMP, HIGH  
HIGH OUT  
LOW OUT  
CH  
2
IN  
STEREO 2-WAY  
HIGH OUT  
LOW OUT  
CH  
1
IN  
AC 22S  
MADE IN U.S.A.  
RANE CORP.  
COMMERCIAL AUDIO  
EQUIPMENT 24TJ  
WATTS  
100-240  
50/60 Hz  
V
This device complies with Part  
15 of the FCC Rules. Operation  
is subject to the following two  
conditions: (1) this device may  
7
SUBWOOFER SWITCH MUST  
BE SET TO 2-CHANNEL  
FOR MONO 3-WAY  
PIN 2: POSITIVE  
PIN 3: NEGATIVE  
PIN 1: CHASSIS GND  
R
not  
cause  
harmful  
interference, and (2) this  
device must accept any  
MODE  
SUBWOOFER  
2-CHANNEL MONO SUB  
ACN 001 345 482  
interference  
received,  
including interference that may  
cause undesired operation.  
MONO SUB: OMIT  
MID OUT  
MONO SUB OUT  
LOW OUT  
MONO  
3-WAY IN  
HIGH OUT  
OMIT MONO  
MONO 3-WAY  
OMIT MONO  
AC 22S STEREO 2-WAY CROSSOVER  
100-240  
50/60 Hz  
V
ME 15S  
MADE IN U.S.A.  
RANE CORP.  
CHANNEL  
2
WIRING  
CHANNEL  
1
LEFT SPEAKER  
This device complies with Part 15 of  
the FCC Rules. Operation is subject  
to the following two conditions:  
(1) this device may not cause  
harmful interference, and (2) this  
device must accept any interference  
received, including interference that  
may cause undesired operation.  
7
WATTS  
COMMERCIAL AUDIO  
EQUIPMENT 24TJ  
OUTPUT  
INPUT  
OUTPUT  
INPUT  
TIP  
RING  
/
PIN  
PIN  
2
3
=
POSITIVE  
/
= NEGATIVE  
SLEEVE  
PIN  
=
SIGNAL GROUND  
1
=
CHASSIS GROUND  
R
ACN 001 345 482  
ME 15S STEREO EQUALIZER  
WIRING  
DC 22S  
OUTPUT  
2
INPUT  
2
OUTPUT  
1
INPUT  
1
3-PIN XLR:  
COMMERCIAL AUDIO  
EQUIPMENT 24TJ  
MADE IN U.S.A.  
RANE CORP.  
This device complies with Part  
15 of the FCC Rules. Operation  
is subject to the following two  
conditions: (1) this device may  
not cause harmful interference,  
and (2) this device must accept  
any interference received,  
including interference that may  
cause undesired operation.  
PIN  
PIN  
2
1
=
=
(+),  
PIN  
3
=
(–),  
CHASSIS (SHIELD)  
1/4" PHONE, BALANCED:  
-10 dBV  
+4 dBu  
-10 dBV  
+4 dBu  
R
TIP  
SLEEVE  
=
(+),  
=
RING  
=
(–),  
CHASSIS (SHIELD)  
ACN 001 345 482  
1/4" PHONE, UNBALANCED:  
100-240  
50/60 Hz  
V
SEE THE RANENOTE: SOUND  
7
WATTS  
SYSTEM INTERCONNECTION  
BALANCED  
BAL/UNBAL  
BALANCED  
BAL/UNBAL  
BALANCED  
BAL/UNBAL  
BALANCED  
BAL/UNBAL  
DC 22S STEREO COMPRESSOR  
MONO SUBWOOFER  
COMMERCIAL AUDIO  
EQUIPMENT 24TJ  
TTM 56S  
MADE IN U.S.A.  
RANE CORP.  
R
U.S. PATENT 6,813,361  
ACN 001 345 482  
PHONO  
GROUNDS  
MASTER  
MIC  
OUTPUTS  
FlexFX  
L
BALANCED  
AUX  
PGM 2  
3
PGM 1  
1
L
OUT  
IN  
IN  
4
2
TTM 56S MIXER  
L
L
L
L
RETURN  
SEND  
PHONO EFFECTS  
4321  
R
R
R
R
R
R
OUTPUTS  
LEFT RIGHT  
INPUTS  
100-240V  
50/60 Hz  
20 WATTS  
LEFT  
RIGHT  
BALANCED  
OUT  
UNBALANCED  
4
3
2
1
4321 TIP  
LINE RING  
=
SEND  
RTN  
=
0
10  
LEVEL  
0
10  
LEVEL  
MONO OR BRIDGED AMP, MONO SUB  
System wiring example for a DJ system  
Manual-3  
COMPRESSOR THRESHOLD  
OPERATING INSTRUCTIONS  
e threshold is the point at which gain adjustment begins. When  
the input signal is below the threshold, the Compressor section  
acts like a straight wire. When the signal is loud enough to cross  
the Compressor reshold, the compressor is active and turns  
the volume down. Various reshold points are illustrated in  
Figure 1. How much it gets turned down is determined by the  
RATIO control ( Figure 1 shows a Ratio set at 2:1).  
A PRIMER  
Let’s start with what a compressor actually does. No matter how  
you cut it, this is an automatic volume control. It is a hand on  
a knob, turning the volume down and turning it up again. e  
hand is really quick and really accurate, but it’s just turning a  
volume control.  
When the input signal reaches a level set by the COMPRES-  
SOR THRESHOLD control, the compressor begins turning  
down the signal by an amount determined by the RATIO  
control. e DC 22S, like most compressors, operates by mak-  
ing the loud signals quieter, but does not make the quiet parts  
louder. However, by keeping the loud signals under control, the  
entire system may be turned up when necessary to make the  
quiet parts louder.  
RATIO  
AUDIO PRECISION  
20  
AMPL(dBr) VS AMPL(dBu)  
09 AUG 101 14:34:57  
10  
0
10  
0
O
U
-10  
-20  
-30  
-40  
T -10  
P
U -20  
PRE-FLIGHT CHECKLIST  
Before proceeding, it’s a good idea to turn the control knobs to  
the following positions:  
T
-30  
d
B -40  
u
1. GATE THRESHOLD control .....fully counterclockwise  
2. COMPRESSOR THRESHOLD ...fully clockwise  
3. COMPRESSOR RATIO ..............fully counterclockwise  
4. BYPASS switches.....................ACTIVE (out)  
5. OUTPUT LEVEL........................0 dB  
is renders the DC 22S with no compression, allowing sig-  
nal through at unity gain. No change occurs with the BYPASS  
switch in or out.  
-50  
-60  
-60  
-50  
-40  
-30  
-20  
-10  
0
10  
20  
INPUT (dBu)  
Figure 2. With the Ratio set to ∞, the DC 22S acts as a Limiter. This  
graph shows Limiter gain reduction above various Compressor  
Thresholds at 10 dBu, 0 dBu, -10 dBu, etc.  
Once the reshold is exceeded, the increase in output compared  
to the input signal increase depends on the RATIO setting. An  
ordinary preamp set for unity gain or a straight wire has a ratio  
of 1:1, that is, the output level tracks the input level perfectly. A 2  
dB change at the input produces a 2 dB change at the output.  
For a 10:1 Ratio, a 10 dB blast at the input would rise only  
1 dB at the output – heavy compression. Kinder, gentler ratios  
are in the 2:1 to 3:1 range. Limiting, with no increase in signal  
above the reshold, occurs at ∞:1. Figure 3 illustrates various  
Ratios.  
INPUT LEVEL  
Before making any reshold adjustments, set the ouput level of  
the previous device so the +4 dBu LED lights occasionally, and  
the OL LED does not light. Be aware that changes to the Input  
Level will affect the resholds.  
GATE THRESHOLD  
e threshold is the point at which gain adjustment begins. When  
the input signal is below the threshold, the DC 22S attenuates  
the signal at a 2:1 ratio, making the quiet parts twice as quiet.  
When the signal is above the Gate reshold, the Gate is open,  
like a straight wire.  
AUDIO PRECISION amp  
0
AMPL(dBr) vs AMPL(dBu)  
09 AUG 101 14:51:28  
AUDIO PRECISION  
20  
AMPL(dBr) vs AMPL(dBu)  
09 AUG 101 14:45:47  
1:1  
1.2:1  
1.5:1  
2:1  
-10  
-20  
-30  
-40  
-50  
O 10  
O
U
T
U
T
0
P -10  
U
T -20  
P
U
T
3:1  
d -30  
B
-40  
6:1  
d
B -60  
u
:1  
u
-70  
-50  
-60  
-80  
-80  
-70  
-60  
-50  
-40  
-30  
-20  
-10  
0
-60  
-50  
-40  
-30  
-20  
-10  
0
10  
20  
INPUT (dBu)  
INPUT (dBu)  
Figure 1. With a fixed Ratio set to 2:1, this graph shows gain reduction  
FIgure 3. Threshold at -40 dBu. Ratios of 1:1, 1.2:1, 1.5:1, etc.  
Vertical axis = output level, horizontal axis = input level.  
below various Gate Thresholds at -20 dBu, -30 dBu, -40 dBu, etc.  
Manual-4  
RATIO relatively high, just enough to limit the peaks. Set the  
GATE THRESHOLD very low, though you might want to raise  
it just above the noise floor to get rid of tape hiss or processor  
noise.  
Of special interest are instruments which have large level  
differences in their tonal ranges. String pops on a bass are one  
example, shrill peaks on a flute are yet another. e higher tones  
require more breath and can seem much louder than lower  
pitches. Another good application would be a drum mix or vocal  
submix.  
LIMITING  
A limiter is a special form of compressor set up especially to  
reduce peaks for overload protection. In other words, it’s a com-  
pressor with a maximum ratio. A compressor is used to change  
the dynamics for purposes of aesthetics, intelligibility, record-  
ing or broadcast limitations. Once the threshold of a limiter is  
reached, no more signal increase is allowed. e DC 22S acts as  
a limiter when set at a very high ratio of 10:1.  
LINKING IN STEREO  
When using the DC 22S as a true stereo processor, with left  
signal in Channel 1 and right signal in Channel 2, it is recom-  
mended to turn the LINK switch on to prevent large balance  
and image shifts. While LINKed, both Channels attenuate by  
exactly the same amount when either Compressor works, main-  
taining correct stereo imaging. Only Channel 1's controls are  
active, Channel 2 becomes the slave.  
LONG DISTANCE LINE DRIVER  
e DC 22S is excellent as a line level amp for driving long lines  
(from the mixer to the stage for instance). With the COM-  
PRESSOR switch in the BYPASS position, the INPUT LEVEL  
control and the output amplifiers remain in the circuit. is  
provides a very low distortion, low noise line driver. Balanced  
XLR connections are recommended for the long run from the  
DC 22S's outputs (anything over 10 feet [3 meters]). A balanced  
piece of equipment (equalizer or amplifier) must be used at the  
receiving end of this long line.  
For unbalanced systems, use the ¼" inputs on the DC 22S  
and use the balanced XLR outputs to run the long distance. See  
the RaneNote “Sound System Interconnection” included with  
this manual for proper cable wiring.  
DC 22S APPLICATIONS  
TWO CHANNEL COMPRESSOR/LIMITER  
In this case, the audio path on Channel 1 is completely sepa-  
rate from Channel 2, allowing you to use it as a stereo unit or  
for doing two completely different processes to two completely  
different signals. For stereo use, the front panel LINK switch  
allows you to link Channels. When either Channel’s reshold  
is reached, both channels compress equally, preserving the stereo Let’s run a stereo system with compression. See the wiring dia-  
image. Channel 1’s reshold and Ratio settings will affect both  
Channels.  
SOUND SYSTEM WITH COMPRESSION  
gram on page Manual-3.  
Patch the DC 22S Compressor Inputs from the program  
source or mixer outputs, and send the DC 22S Outputs to the  
system equalizer (if you have one), and then on to the crossover  
inputs (if you have one). Set the equalizer and crossover Inputs to  
unity gain. Set the LINK switch to ON, and adjust the CHAN-  
NEL 1 COMPRESSOR THRESHOLD and RATIO controls  
to keep the entire system dynamic range under control. Locating  
the compressor before the equalizer results in correct spectral  
balance during compression.  
GUITAR & BASS  
Where does the unit go in the signal chain? Well, that depends  
on how you want it to function. If it’s a comp/limiter for the  
input signal, it would go after the guitar (if the guitar has a  
line-level output) and before the preamp. If it’s to function as a  
limiter to protect the speakers in the rig, it would go after the  
preamp and before the power amp. Another method is to insert  
the unit in the effect loop of the preamp. is allows the bass  
signal to be affected by the pre-amp first, then the comp/limiter,  
and then sent to the power amp. is can be desirable with tube  
pre-amps.  
DRIVER PROTECTION  
To individually limit Low and High drivers in a biamped system,  
connect the Crossover Low Output into one DC 22S Input, and  
the High Output into the other DC 22S Input. e DC 22S  
Outputs go right to the respective low and high frequency power  
amplifier inputs. For a stereo configuration use two DC 22S  
Stereo Compressors. Be sure the LINK switch is OFF. Set the  
RATIO controls to 10:1.  
RECORDING  
Use it on bass guitar, piano, drums, or vocals—as an effect or to  
tailor dynamic range for a particular recording medium. Patch  
it between line-level devices or in your mixer inserts or “loops”.  
e DC 22S gives you more control and a less tortured sound,  
Assuming your input signal has peaks in excess of -20 dBu,  
and keeps instruments sounding “up-front.” In digital recording, you should be able to rotate the COMPRESSOR THRESH-  
compress an extremely wide dynamic range into a signal that  
won’t go into digital overload, i.e. severe clipping. is is really  
OLD controls and see some GAIN REDUCTION meter action.  
You should begin to hear the difference. Leave these controls at  
valuable during a live digital recording when you just don’t know whatever level is appropriate for your application. For the most  
how loud it may get, and digital distortion can ruin an otherwise precise settings, see the section on the next page.  
good take. Set both the COMPRESSOR THRESHOLD and  
Manual-5  
DRIVER PROTECTION FINE TUNING  
1. Determine the driver’s maximum continuous average power rating in watts (W) (specified by the manufacturer).  
2. Determine the driver impedance “z” in ohms (specified by the manufacturer).  
3. Using the data in steps (1) and (2) above, calculate the maximum signal level in dBu that the driver can handle.  
Max dBu = 20*log((w*z)/.775).  
4. Determine the gain of the amplifier in dB (if the amplifier has a level control , you may wish to measure the gain). If, i.e., you put  
1V in, how many volts come out? en convert to dB (20 log gain).  
5. Subtract the gain of the amplifier in dB from the answer in step (3) to obtain the correct COMPRESSOR THRESHOLD.  
6. Set the RATIO to 10:1.  
NOTES  
Any change in amplifier sensitivity setting will effect the power limit to the driver.  
If the DC 22S is placed just before the amplifier, no other system levels will effect the power limit setting.  
EXAMPLE  
1. Driver power rating: w = 100 watts.  
2. Driver impedance: z = 4 ohms.  
3. 20*log(√(w*z)/.775) = 28.2 dBu.  
4. Amplifier gain is 30 dB ( 1V in equals 31.6 V out).  
5. Set the COMPRESSOR THRESHOLD control to 28.2 dBu-30 dB = -1.8 dBu.  
6. Set the RATIO control to 10:1.  
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 TEL 425-355-6000 FAX 425-347-7757 WEB www.rane.com  
All features & specifications subject to change without notice.  
Manual-6  

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