DC22S
DYNAMICS CONTROLLER
CONTENTS (in order of appearance)
Important Safety Instructions
DC22S Manual
DC22S Data Sheet
Sound System Interconnection
Rane Installation Audio Products
Schematics
Warranty
Declaration of Conformity
22320
IMPORTANT SAFETY INSTRUCTIONS
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any ventilation openings. Install in accordance with manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, registers, stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A
grounding-type plug has two blades and a third grounding prong. The wide blade or third prong is provided for your safety. If the provided plug
does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord and plug from being walked on or pinched particularly at plugs, convenience receptacles, and the point where it exits from
the apparatus.
11. Only use attachments and accessories specified by Rane.
12. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution
when moving the cart/apparatus combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or when unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply
cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does
not operate normally, or has been dropped.
15. The plug on the power cord is the AC mains disconnect device and must remain readily operable. To completely disconnect this apparatus from
the AC mains, disconnect the power supply cord plug from the AC receptacle.
16. This apparatus shall be connected to a mains socket outlet with a protective earthing connection.
17. When permanently connected, an all-pole mains switch with a contact separation of at least 3 mm in each pole shall be incorporated in the
electrical installation of the building.
18. If rackmounting, provide adequate ventilation. Equipment may be located above or below this apparatus, but some equipment (like large power
amplifiers) may cause an unacceptable amount of hum or may generate too much heat and degrade the performance of this apparatus.
19. This apparatus may be installed in an industry standard equipment rack. Use screws through all mounting holes to provide the best support.
WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture. Apparatus shall not be exposed to dripping
or splashing and no objects filled with liquids, such as vases, shall be placed on the apparatus.
WARNING
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOCS ELECTRIQUE - NE PAS OUVRIR
To reduce the risk of electrical shock, do not open the unit. No user
serviceable parts inside. Refer servicing to qualified service personnel.
The symbols shown below are internationally accepted symbols
that warn of potential hazards with electrical products.
This symbol indicates that a dangerous voltage
constituting a risk of electric shock is present
within this unit.
This symbol indicates that there are important
operating and maintenance instructions in the
literature accompanying this unit.
WARNING: This product may contain chemicals known to the State of California to cause cancer, or birth defects or other reproductive harm.
NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules.
These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses
and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio
communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful
interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct
the interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Changes or modifications not expressly approved by Rane Corporation could void the user's authority to operate the equipment.
CAN ICES-3 (B)/NMB-3(B)
INSTRUCTIONS DE SÉCURITÉ
1. Lisez ces instructions.
2. Gardez précieusement ces instructions.
3. Respectez les avertissements.
4. Suivez toutes les instructions.
5. Ne pas utiliser près d’une source d’eau.
6. Ne nettoyer qu’avec un chiffon doux.
7. N’obstruer aucune évacuation d’air. Effectuez l’installation en suivant les instructions du fabricant.
8. Ne pas disposer près d’une source de chaleur, c-à-d tout appareil produisant de la chaleur sans exception.
9. Ne pas modifier le cordon d’alimentation. Un cordon polarisé possède 2 lames, l’une plus large que l’autre. Un cordon avec tresse de masse possède
2 lames plus une 3è pour la terre. La lame large ou la tresse de masse assurent votre sécurité. Si le cordon fourni ne correspond pas à votre prise,
contactez votre électricien.
10. Faites en sorte que le cordon ne soit pas piétiné, ni au niveau du fil, ni au niveau de ses broches, ni au niveau des connecteurs de vos appareils.
11. N’utilisez que des accessoires recommandés par Rane.
12. N’utilisez que les éléments de transport, stands, pieds ou tables spécifiés par le fabricant ou vendu avec l’appareil. Quand vous utlisez une valise de
transport, prenez soin de vous déplacer avec cet équipement avec prudence afin d’éviter tout risque de blessure.
13. Débranchez cet appareil pendant un orage ou si vous ne l’utilisez pas pendant un certain temps.
14. Adressez-vous à du personnel qualifié pour tout service après vente. Celui-ci est nécessaire dans n’importe quel cas où l’appareil est abimé : si le
cordon ou les fiches sont endommagés, si du liquide a été renversé ou si des objets sont tombés sur l’appareil, si celui-ci a été exposé à la pluie ou
l’humidité, s’il ne fonctionne pas correctement ou est tombé.
15. La fiche du cordon d’alimentation sert à brancher le courant alternatif AC et doit absolument rester accessible. Pour déconnecter totalement
l’appareil du secteur, débranchez le câble d’alimentation de la prise secteur.
16. Cet appareil doit être branché à une prise terre avec protection.
17. Quand il est branché de manière permanente, un disjoncteur tripolaire normalisé doit être incorporé dans l’installation électrique de l’immeuble.
18. En cas de montage en rack, laissez un espace suffisant pour la ventilation. Vous pouvez disposer d’autres appareils au-dessus ou en-dessous de celuici, mais certains (tels que de gros amplificateurs) peuvent provoquer un buzz ou générer trop de chaleur au risque d’endommager votre appareil et
dégrader ses performances.
19. Cet appareil peut-être installé dans une baie standard ou un chassis normalisé pour un montage en rack. Visser chaque trou de chaque oreille de
rack pour une meilleure fixation et sécurité.
ATTENTION: afin d’éviter tout risque de feu ou de choc électrique, gardez cet appareil éloigné de toute source d’humidité et d’éclaboussures quelles
qu’elles soient. L’appareil doit également être éloigné de tout objet possédant du liquide (boisson en bouteilles, vases,…).
ATTENTION
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOCS ELECTRIQUE - NE PAS OUVRIR
Afin d’éviter tout risque de choc électrique, ne pas ouvrir l’appareil.
Aucune pièce ne peut être changée par l’utilisateur. Contactez un
SAV qualifié pour toute intervention.
Les symboles ci-dessous sont reconnus internationalement
comme prévenant tout risque électrique.
Ce symbole indique que cette unité utilise un
voltage élevé constituant un risque de choc
électrique.
Ce symbole indique la présence d’instructions
d’utilisation et de maintenance importantes dans le
document fourni.
REMARQUE: Cet équipement a été testé et approuvé conforme aux limites pour un appareil numérique de classe B, conformément au chapitre 15
des règles de la FCC. Ces limites sont établis pour fournir une protection raisonnable contre tout risque d’interférences et peuvent provoquer une
énergie de radiofréquence s'il n'est pas installé et utilisé conformément aux instructions, peut également provoquer des interférences aux niveaux
des équipements de communication. Cependant, il n'existe aucune garantie que de telles interférences ne se produiront pas dans une installation
particulière. Si cet équipement provoque des interférences en réception radio ou télévision, ceci peut être detecté en mettant l'équipement sous/hors
tension, l'utilisateur est encouragé à essayer de corriger cette interférence par une ou plusieurs des mesures suivantes:
• Réorienter ou déplacer l'antenne de réception.
• Augmenter la distance entre l'équipement et le récepteur.
• Connecter l'équipement à une sortie sur un circuit différent de celui sur lequel le récepteur est branché.
• Consulter un revendeur ou un technicien radio / TV expérimenté.
ATTENTION: Les changements ou modifications non expressément approuvés par Rane Corporation peuvent annuler l'autorité de l'utilisateur à
manipuler cet équipement et rendre ainsi nulles toutes les conditions de garantie.
CAN ICES-3 (B)/NMB-3(B)
Cartons et papier à recycler.
OPERATORS MANUAL
DC22S
STEREO COMPRESSOR
INPUT
1
GATE
-60
OL
LEVEL
COMPRESSOR
-40
-30
-70
+4
-50
-80
-20
dBu
THRESHOLD
-20
-30
-10
0
1.7
2
10 1.2
-40
20
dBu
THRESHOLD
6
10
1
:1
RATIO
OUTPUT
INPUT
0
2
3
3
12
24
GAIN
REDUCTION
-6
-12
-15
BYPASS
6
12
dB
LEVEL
LINK
-70
+4
15
 MASTER
SLAVE 
GATE
-60
OL
LEVEL
-50
COMPRESSOR
-40
-30
-80
-20
dBu
THRESHOLD
-20
-10
1.7
0
2
10 1.2
-30
-40
20
dBu
THRESHOLD
OUTPUT
3
6
3
10
1
:1
RATIO
12
24
GAIN
REDUCTION
-6
0
-12
-15
BYPASS
DC22S
6
DYNAMIC
CONTROLLER
12
dB
LEVEL
15
POWER
QUICK START
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. This 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 DC22S, adjust the output
level of the previous device so the +4 dBu LED lights occasionally, but the OL LED does not light. If you are driving the ¼"
WEAR PARTS: This product contains no wear parts.
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. The 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. This
is the preferred setting for stereo program material. The channel 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.
Manual-1
Front Panel Description
INPUT
INPUT LEVEL indicators: With signal applied, the +4 dBu
LED may light occasionally. If the OL (overload) LED flashes,
turn the output level down on the previous device.
1
GATE
-50
-60
CO
-70
+4
GATE THRESHOLD control sets the point at which the Input
signal level causes the Gate to become active.
_____________________________________________
OL
-20
-40
-30
-80
-20
dBu
THRESHOLD
LEVEL
-10
0
-30
-40
20
dBu
THRESHOLD
COMPRESSOR THRESHOLD control sets the point at
which the Input signal level causes the Compressor to become
active. See Figure 1 on page Manual-4.
COMPRESSOR RATIO control: Once the Threshold is
exceeded, the Ratio of input change to output
change is deterINPUT
GATE
mined by this control. The compressor has no effect when set
at 1:1. But at 10:1, it takes a 10 dB input signal increase above-50
1 Gain.
-40
-60See
the Threshold to produce a 1 dB increase in Output
Figure 2 on page Manual-4.
GAIN REDUCTION LEDs show the amount of average -80
signal
-20
reduction in dB. This aids in setting the THRESHOLD and dBu
LEVEL
THRESHOLD
RATIO controls by showing how much compression is occuring.
_____________________________________________
-70
+4
12
OL
LEVEL
-30
-30
10 1.2
10
0
-30
OL
BYPASS switch compares the compressed and non-compressed
signal. There is one for each channel. The INPUT LEVEL
indicators remain active regardless of switch position.
INPUT
GATE
COMPRESSOR
OUTPUT LEVEL control increases or decreases the output
2
gain-50
of each
Channel by
15 -10
dB. In0the center
detent,
gain will
1
-60
-40
-20
1.7
3
be unity.
-10
-20
-30
-70
+4
COMPRESSOR
1.7
2
10 1.2
-40
20
dBu
THRESHOLD
OUT
3
6
3
10
1
:1
RATIO
-6
12
-12
24
GAIN
REDUCTION
-15
OUTPUT
3
6
0
-6
12
-15
BYPASS
INPU
2
6
-12
LINK switch activates both Compressors when either channel’s 24
-80
-20
-40
20
1
signal
exceeds
the set Threshold,
:1 imaging.GAIN
dBu
dBu preserving stereo
Switch
this
ON
when
using
stereo
material.
The
channel
1
THRESHOLD
THRESHOLD
RATIO
REDUCTION
controls become the Master when this switch is active, rendering the channel 2 controls and indicators dead.
_____________________________________________
12
dB
LEVEL
LINK
+4
15
 MASTER
SLAVE 
Channel 2 controls duplicate the controls in channel 1. These
are not active if the LINK switch is engaged.
INPUT
LINK
2
 MASTER
SLAVE 
-60
-70
+4
5
GATE
OL
LEVEL
-50
COMPRESSOR
-40
-30
-80
-20
dBu
THRESHOLD
-20
-10
1.7
0
2
10 1.2
-30
-40
20
dBu
THRESHOLD
OUTPUT
3
6
3
10
1
:1
RATIO
12
24
GAIN
REDUCTION
-6
0
-12
-15
BYPASS
DC22S
6
DYNAMIC
CONTROLLER
12
dB
LEVEL
15
POWER
When the POWER LED is lit, the DC22S is connected to a
100-240 VAC source and ready to rock.
Manual-2
d
LE
BYPASS
LEVE
Rear Panel Description
INPUT
CLASS 2 WIRING
3-PIN XLR:
2
• PIN 2 = (+), • PIN 3 = (–),
• PIN 1 = CHASSIS (SHIELD)
-10 dBV
+4 dBu
OUTPUT
INPUT
1
1
-10 dBV
+4 dBu
1/4" PHONE, BALANCED:
• TIP = (+), • RING = (–),
• SLEEVE = CHASSIS (SHIELD)
1/4" PHONE, UNBALANCED:
• SEE THE RANENOTE: SOUND
SYSTEM INTERCONNECTION
BAL/UNBAL
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 position, 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. This 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. This 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
AC22S
COMMERCIAL AUDIO
100-240 V
EQUIPMENT 24TJ
50/60 Hz 7 WATTS
HIGH OUT
LOW OUT
CH 2 IN
STEREO 2-WAY
RANE CORP.
SUBWOOFER SWITCH MUST
BE SET TO 2- CHANNEL
FOR MONO 3-WAY
R
MODE
HIGH OUT
MONO SUB: OMIT
MID OUT
MONO 3-WAY
OMIT MONO
HIGH OUT
LOW OUT
CH 1 IN
OMIT MONO
MONO SUB OUT
LOW OUT
PIN 2: POSITIVE
PIN 3: NEGATIVE
PIN 1: CHASSIS GND
SUBWOOFER
2-CHANNEL
MONO SUB
MONO
3-WAY IN
AC22S STEREO 2-WAY CROSSOVER
100-240 V
50/60 Hz 7 WATTS
ME15S
COMMERCIAL AUDIO
EQUIPMENT 24TJ
CHANNEL 2
OUTPUT
RANE CORP.
WIRING
INPUT
LEFT SPEAKER
CHANNEL 1
OUTPUT
TIP / PIN 2 = POSITIVE
RING / PIN 3 = NEGATIVE
SLEEVE = SIGNAL GROUND
PIN 1 = CHASSIS GROUND
R
INPUT
ME15S STEREO EQUALIZER
DC22S
COMMERCIAL AUDIO
EQUIPMENT 24TJ
RANE CORP.
R
100-240 V
50/60 Hz 7 WATTS
WIRING
3-PIN XLR:
OUTPUT
INPUT
2
2
• PIN 2 = (+), • PIN 3 = (–),
• PIN 1 = CHASSIS (SHIELD)
1/4" PHONE, BALANCED:
OUTPUT
INPUT
1
1
-10 dBV
+4 dBu
• TIP = (+), • RING = (–),
• SLEEVE = CHASSIS (SHIELD)
-10 dBV
+4 dBu
1/4" PHONE, UNBALANCED:
• SEE THE RANENOTE: SOUND
SYSTEM INTERCONNECTION
BALANCED
BAL/UNBAL
BALANCED
BAL/UNBAL
BALANCED
BAL/UNBAL
BALANCED
BAL/UNBAL
DC22S STEREO COMPRESSOR
MONO SUBWOOFER
TTM 56S
COMMERCIAL AUDIO
EQUIPMENT 24TJ
RANE CORP.
U.S. PATENT 6,813,361
R
POWER
TTM56S MIXER
MASTER
OUTPUTS
L
AUX
OUT
FlexFX
L
IN
PHONO
GROUNDS
PGM 2
4
L
1
L
R
R
BALANCED
2
L
SEND
RETURN
R
100-240V
50/60 Hz
20 WATTS
MIC
OUT
R
IN
UNBALANCED
4
R
3
BALANCED
PGM 1
3
L
PHONO
4321
EFFECTS
4321
LINE
TIP = SEND
RING = RTN
R
2
OUTPUTS
1
LEFT
RIGHT
INPUTS
LEFT
RIGHT
0
10
LEVEL
0
10
LEVEL
MONO OR BRIDGED AMP, MONO SUB
System wiring example for a DJ system
Manual-3
OPERATING INSTRUCTIONS
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. The
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 COMPRESSOR THRESHOLD control, the compressor begins turning
down the signal by an amount determined by the RATIO control. The DC22S, like most compressors, operates by making 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.
PRE-FLIGHT CHECKLIST
Before proceeding, it’s a good idea to turn the control knobs to
the following positions:
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
This renders the DC22S with no compression, allowing signal through at unity gain. No change occurs with the BYPASS
switch in or out.
INPUT LEVEL
Before making any Threshold 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 Thresholds.
GATE THRESHOLD
The threshold is the point at which gain adjustment begins. When
the input signal is below the threshold, the DC22S attenuates
the signal at a 2:1 ratio, making the quiet parts twice as quiet.
When the signal is above the Gate Threshold, the Gate is open,
like a straight wire.
AUDIO PRECISION amp
0
AMPL(dBr) vs AMPL(dBu)
09 AUG 101 14:51:28
-10
RATIO
AUDIO PRECISION
20
AMPL(dBr) VS AMPL(dBu)
09 AUG 101 14:34:57
10
10
O 0
U
T -10
P
U -20
T
0
-10
-20
-30
-30
d
B -40
u
-40
-50
-60
-60
-50
-40
-30
-20
-10
INPUT (dBu)
0
10
20
Figure 2. With the Ratio set to ∞, the DC22S acts as a Limiter. This
graph shows Limiter gain reduction above various Compressor
Thresholds at 10 dBu, 0 dBu, -10 dBu, etc.
Once the Threshold 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 Threshold, occurs at ∞:1. Figure 3 illustrates various
Ratios.
AMPL(dBr) vs AMPL(dBu)
AUDIO PRECISION
20
09 AUG 101 14:45:47
-60
d -30
B
u -40
-70
-50
-50
-80
-80
-70
-60
-50
-40
-30
INPUT (dBu)
-20
-10
0
Figure 1. With a fixed Ratio set to 2:1, this graph shows gain reduction
below various Gate Thresholds at -20 dBu, -30 dBu, -40 dBu, etc.
Manual-4
-60
1:1
1.2:1
10
O
U 0
T
P -10
U
T -20
O -20
U
T -30
P
U -40
T
d
B
u
COMPRESSOR THRESHOLD
The 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 Threshold, the compressor is active and turns
the volume down. Various Threshold 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).
1.5:1
2:1
3:1
6:1
∞:1
-60
-50
-40
-30
-20
-10
INPUT (dBu)
0
10
20
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.
LIMITING
A limiter is a special form of compressor set up especially to
reduce peaks for overload protection. In other words, it’s a compressor with a maximum ratio. A compressor is used to change
the dynamics for purposes of aesthetics, intelligibility, recording or broadcast limitations. Once the threshold of a limiter is
reached, no more signal increase is allowed. The DC22S acts as a
limiter when set at a very high ratio of 10:1.
LINKING IN STEREO
When using the DC22S as a true stereo processor, with left
signal in Channel 1 and right signal in Channel 2, it is recommended 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, maintaining correct stereo imaging. Only Channel 1's controls are
active, Channel 2 becomes the slave.
DC22S APPLICATIONS
TWO CHANNEL COMPRESSOR/LIMITER
In this case, the audio path on Channel 1 is completely separate 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 Threshold
is reached, both channels compress equally, preserving the stereo
image. Channel 1’s Threshold and Ratio settings will affect both
Channels.
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. This allows the bass
signal to be affected by the pre-amp first, then the comp/limiter,
and then sent to the power amp. This can be desirable with tube
pre-amps.
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”.
The DC22S gives you more control and a less tortured sound,
and keeps instruments sounding “up-front.” In digital recording,
compress an extremely wide dynamic range into a signal that
won’t go into digital overload, i.e. severe clipping. This is really
valuable during a live digital recording when you just don’t know
how loud it may get, and digital distortion can ruin an otherwise
good take. Set both the COMPRESSOR THRESHOLD and
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. The higher tones
require more breath and can seem much louder than lower
pitches. Another good application would be a drum mix or vocal
submix.
LONG DISTANCE LINE DRIVER
The DC22S is excellent as a line level amp for driving long lines
(from the mixer to the stage for instance). With the COMPRESSOR switch in the BYPASS position, the INPUT LEVEL
control and the output amplifiers remain in the circuit. This
provides a very low distortion, low noise line driver. Balanced
XLR connections are recommended for the long run from the
DC22S'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 DC22S
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.
SOUND SYSTEM WITH COMPRESSION
Let’s run a stereo system with compression. See the wiring diagram on page Manual-3.
Patch the DC22S Compressor Inputs from the program
source or mixer outputs, and send the DC22S 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 CHANNEL 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.
DRIVER PROTECTION
To individually limit Low and High drivers in a biamped system,
connect the Crossover Low Output into one DC22S Input, and
the High Output into the other DC22S Input. The DC22S
Outputs go right to the respective low and high frequency power
amplifier inputs. For a stereo configuration use two DC22S
Stereo Compressors. Be sure the LINK switch is OFF. Set the
RATIO controls to 10:1.
Assuming your input signal has peaks in excess of -20 dBu,
you should be able to rotate the COMPRESSOR THRESHOLD controls and see some GAIN REDUCTION meter action.
You should begin to hear the difference. Leave these controls at
whatever level is appropriate for your application. For the most
precise settings, see the section on the next page.
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? Then 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 DC22S 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 98275-5000 TEL 425-355-6000 FAX 425-347-7757 WEBrane.com
Manual-6
All features & specifications subject to change without notice.
DATA SHEET
DC22S
DYNAMIC CONTROLLER
General Description
A cure for compression confusion is here. Quit guessing and anguishing over proper compressor and gate settings. Get on with
what is important, your work. Rane has created a compressor
gate using high quality log rms detectors and Voltage Controlled
Amplifiers (VCAs). The DC22S combines quality compression and gate functions with simplicity. No more compression
headache!
Lets start with what a compressor actually does. No matter
how you cut it, this is an automatic volume control... a hand on
a control, turning it down and turning it up again. The hand is
fast and accurate, but it is just turning a volume control.
When the input signal reaches a level set by the Threshold
control, the compressor begins to turn the signal down by an
amount determined by the Ratio control. The DC22S, like most
compressors, operates by making 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.
There is more than just a stereo compressor working here.
The adjustable Gate is a downward expander, acting like a compressor running in reverse, making the quiet parts quieter. This
is valuable in reducing system background noise. The Ratio is
fixed at 2:1. When the signal drops below the set Threshold, the
Gate Threshold indicator lights and the output level is reduced
by 2 dB for every 1 dB the input signal level drops.
When using the DC22S as a true stereo processor with left
and right signals, activate the Link switch. In Link mode, channel 1 becomes the Master and channel 2 the Slave. Gate Threshold, Compression Threshold, Compression Ratio and Output
Level are all controlled by channel 1. This ensures that both
channels track perfectly, maintaining perfect balance and image.
The channels are totally independent with the Link switch off.
The DC22S offers performance and simplicity not found (until now) in this price range. Designed for the working musician
or club system, The DC22S provides reduced complexity without
compromise in audio quality or dependability.
Features
•
•
•
•
Two Independent Gates
Two Independent Compressors
Two Independent Output Level controls
True Master / Slave operation in Link Mode
•
•
•
•
-10 dBV / +4 dBu Input Sensitivity Switch
+4 dBu and Overload Indicators
Balanced XLR & ¼" TRS Connectors
Internal Universal Power Supply (100-240 VAC)
Data Sheet-1
DC22S
DYNAMIC CONTROLLER
Features and Specifications
Parameter
Specification
Limit
Units
Conditions/Comments
Gain
0 / +12
±0.2
dB
+4 dBu / -10 dBV sensitivity
Detector: Type
Log rms
..........Response
80 dB per second
Fixed
Compressor:
..........Threshold Range
+20 to -40
±2
..........Ratio
1:1 to infinity:1
10%
..........Threshold
-20 to -80
±2
..........Ratio
2:1
10%
dBu
Gate:
dBu
Fixed
Inputs:
..........XLR
Active Balanced
Pin 2 “hot” per AES standards
..........¼" TRS
Active Balanced/Unbalanced
..........Impedance
20k
1%
Ω
..........Maximum Level
+22
1
dBu
Common mode each leg to ground
Outputs:
..........XLR
Active Balanced
100 Ω impedance each leg
..........¼" TS
Active Unbalanced
300 Ω impedance
..........Maximum Level
+20
1
dBu
..........Gain Range
±15
±1.5
dB
Frequency Response
20 Hz - 40 kHz
+0/-.5
dB
R load > 2 kHz
THD+Noise
0.02
typ.
%
1 kHz @ +4 dBu
..........vs Amplitude
0.05
max.
%
0 to +20 dBu @ 1 kHz
..........vs Frequency
0.02
max.
%
+4 dBu, 20 Hz to 20 kHz
Signal-to-Noise Ratio
100
typ.
dBr
Unity gain, re +4 dBu, 20 kHz BW
Common Mode Rejection Ratio
40
min.
dB
Universal Line Voltage
100-240 VAC, 50/60 Hz
Unit: Conformity
CE, FCC, CULUS
Unit: Construction
All Steel
..........Size
1.75"H x 19"W x 5.3"D (1U)
(4.4 cm x 48.3 cm x 13.5 cm)
..........Weight
5 lb
(2.3 kg)
Shipping: Size
4.25" x 20.3" x 13.75"
(11 cm x 52 cm x 35 cm)
..........Weight
8 lb
(3.6 kg)
Note: 0 dBu = 0.775 Vrms
Data Sheet-2
VAC
2k Ω
7W
DC22S
DYNAMIC CONTROLLER
DC22S Block Diagram
LEFT OUTPUT
+ 2
–3
1
+4 dBu OL
GAIN
–10 dBV +4 dBu
n.c.
RATIO
THRESHOLD
+20 1:1
:∞
–40
LEFT INPUT
2 3+
–
1
GAIN REDUCTION
COMPRESSOR
24 12 6
3
THRESHOLD
CH 1
MASTER
THRESHOLD THRESHOLD
CH 2
SLAVE
GATE
GAIN
–10 dBV +4 dBu
+15
–15
OUTPUT LEVEL
LINK
NORMAL
RATIO
THRESHOLD
:∞
+20 1:1
–40
RIGHT INPUT
2 3+
–
1
LINK
NORMAL
GAIN REDUCTION
DISABLE CHANNEL 2
LEDS IN LINK MODE
COMPRESSOR
24 12 6
3
THRESHOLD
THRESHOLD
THRESHOLD
GATE
LINK
NORMAL
+15
–15
OUTPUT LEVEL
+4 dBu OL
RIGHT OUTPUT
+ 2
–3
1
n.c.
DC22S Applications
• Two-Channel Compressor/Limiter and Gate
•
•
•
•
•
Guitar & Bass Compression with Gate
Post Production Dynamics Control
Sound System with Compression and Gate
Driver Protection
Long Distance Line Driver
Reference
For details on what the DC22S can do for your sound, see the
RaneNote Dynamics Processors — Technology & Application Tips
available at the Rane website.
Data Sheet-3
DC22S
DYNAMIC CONTROLLER
Rear Panel
Architectural Specifications
The Dynamic Processor shall be a two-channel unit with
separate Gate Threshold, Compression Threshold, Compression
Ratio and Output Level controls. A Link switch shall provide
true Master / Slave operation of Gate, Compression and Output
Level functions. Gate and compression threshold indicators shall
be provided. A four-segment meter shall indicate compression
gain-reduction for each channel.
The Compressors shall provide a threshold range of +20 dBu
to –40 dBu and a ratio range of 1:1 to ∞:1. The Gates shall operate with a threshold range of –20 dBu to –80 dBu with a fixed
ratio of 2:1. The response time of the detector shall be 80 dB/
second.
Each Input shall feature XLR and TRS connectors, active
balanced input buffer, RFI filtering and –10 dBV / +4 dBu
sensitivity switch. Input levels shall be monitored by +4 dBu and
overload indicators. Each channel shall feature a bypass switch
that disconnects the dynamics processing and connects the buffered input to the output amplifiers.
Each output shall feature XLR and TRS connectors, active
balanced line drivers and RFI filtering.
The unit shall be capable of operation by means of its own
built-in universal power supply operating at 100-240 VAC and
meet CE requirements. The unit shall be UL and cUL listed. The
unit shall be entirely constructed from cold-rolled steel. The unit
shall occupy one rack space in height.
The unit shall be a Rane Corporation Model DC22S.
©Rane Corporation 10802 47th Ave. W., Mukilteo WA USA 98275-5000 TEL 425-355-6000 FAX 425-347-7757 WEB rane.com
Data Sheet-4
All features & specifications subject to change without notice. 1.-2015
RaneNote
SOUND SYSTEM INTERCONNECTION
Sound System
Interconnection
• Cause & prevention of ground loops
• Interfacing balanced & unbalanced
• Proper pin connections and wiring
• Chassis ground vs. signal ground
• Ground lift switches
Rane Technical Staff
Introduction
This note, originally written in 1985, continues to be
one of our most useful references. It’s popularity stems
from the continual and perpetual difficulty of hooking
up audio equipment without suffering through all sorts
of bizarre noises, hums, buzzes, whistles, etc.— not to
mention the extreme financial, physical and psychological price. As technology progresses it is inevitable that
electronic equipment and its wiring should be subject
to constant improvement. Many things have improved
in the audio industry since 1985, but unfortunately
wiring isn’t one of them. However, finally the Audio
Engineering Society (AES) has issued a standards
document for interconnection of pro audio equipment. It is AES48, titled “AES48-2005: AES standard
on interconnections —Grounding and EMC practices
— Shields of connectors in audio equipment containing
active circuitry.”
Rane’s policy is to accommodate rather than dictate. However, this document contains suggestions for
external wiring changes that should ideally only be
implemented by trained technical personnel. Safety
regulations require that all original grounding means
provided from the factory be left intact for safe operation. No guarantee of responsibility for incidental
or consequential damages can be provided. (In other
words, don’t modify cables, or try your own version of
grounding unless you really understand exactly what
type of output and input you have to connect.)
RaneNote 110
© 1985, 1995, 2006, 2007, 2011 Rane Corporation
Interconnection-1
Ground Loops
Almost all cases of noise can be traced directly to
ground loops, grounding or lack thereof. It is important
to understand the mechanism that causes grounding
noise in order to effectively eliminate it. Each component of a sound system produces its own ground internally. This ground is usually called the audio signal
ground. Connecting devices together with the interconnecting cables can tie the signal grounds of the two
units together in one place through the conductors in
the cable. Ground loops occur when the grounds of the
two units are also tied together in another place: via
the third wire in the line cord, by tying the metal chassis together through the rack rails, etc. These situations
create a circuit through which current may flow in a
closed “loop” from one unit’s ground out to a second
unit and back to the first. It is not simply the presence
of this current that creates the hum—it is when this
current flows through a unit’s audio signal ground that
creates the hum. In fact, even without a ground loop, a
little noise current always flows through every interconnecting cable (i.e., it is impossible to eliminate these
currents entirely). The mere presence of this ground
loop current is no cause for alarm if your system uses
properly implemented and completely balanced interconnects, which are excellent at rejecting ground loop
and other noise currents. Balanced interconnect was
developed to be immune to these noise currents, which
can never be entirely eliminated. What makes a ground
loop current annoying is when the audio signal is affected. Unfortunately, many manufacturers of balanced
audio equipment design the internal grounding system
improperly, thus creating balanced equipment that is
not immune to the cabling’s noise currents. This is one
reason for the bad reputation sometimes given to balanced interconnect.
A second reason for balanced interconnect’s bad
reputation comes from those who think connecting
unbalanced equipment into “superior” balanced equipment should improve things. Sorry. Balanced interconnect is not compatible with unbalanced. The small
physical nature and short cable runs of completely
unbalanced systems (home audio) also contain these
ground loop noise currents. However, the currents in
unbalanced systems never get large enough to affect
the audio to the point where it is a nuisance. Mixing
balanced and unbalanced equipment, however, is an
entirely different story, since balanced and unbalanced
interconnect are truly not compatible. The rest of this
note shows several recommended implementations for
all of these interconnection schemes.
The potential or voltage which pushes these noise
currents through the circuit is developed between the
independent grounds of the two or more units in the
system. The impedance of this circuit is low, and even
though the voltage is low, the current is high, thanks to
Mr. Ohm, without whose help we wouldn’t have these
problems. It would take a very high resolution ohm
meter to measure the impedance of the steel chassis or
the rack rails. We’re talking thousandths of an ohm. So
trying to measure this stuff won’t necessarily help you.
We just thought we’d warn you.
BALANCED OUTPUTS
+
–
BALANCED INPUTS
RED
BLACK
SHIELD
+
RED
BLACK
SHIELD
2-CONDUCTOR SHIELDED CABLE
–
G
MALE
G
FEMALE
RED
2
BLACK
3 C 3
SHIELD
1
1
2
T
R
S
CHASSIS
GROUND
Interconnection-2
RED
BLACK
SHIELD
2-CONDUCTOR SHIELDED CABLE
RED
BLACK
SHIELD
2-CONDUCTOR SHIELDED CABLE
RED
BLACK
SHIELD
Figure 1a. The right way to do it.
MALE
2
1
3
FEMALE
2
C 3
1
T
R
S
CHASSIS SIGNAL
GROUND GROUND
The Absolute Best Right Way To Do It
The method specified by AES48 is to use balanced lines
and tie the cable shield to the metal chassis (right where
it enters the chassis) at both ends of the cable.
A balanced line requires three separate conductors, two of which are signal (+ and –) and one shield
(see Figure 1a). The shield serves to guard the sensitive
audio lines from interference. Only by using balanced
line interconnects can you guarantee (yes, guarantee)
hum-free results. Always use twisted pair cable. Chassis tying the shield at each end also guarantees the best
possible protection from RFI [radio frequency interference] and other noises [neon signs, lighting dimmers].
Neil Muncy1, an electroacoustic consultant and
seasoned veteran of years of successful system design,
chairs the AES Standards Committee (SC-05-05)
working on this subject. He tirelessly tours the world
giving seminars and dispensing information on how to
successfully hook-up pro audio equipment2. He makes
the simple point that it is absurd that you cannot go
out and buy pro audio equipment from several different
manufacturers, buy standard off-the-shelf cable assemblies, come home, hook it all up and have it work hum
and noise free. Plug and play. Sadly, almost never is
this the case, despite the science and rules of noise-free
interconnect known and documented for over 60 years
(see References for complete information).
It all boils down to using balanced lines, only balanced lines, and nothing but balanced lines. This is why
they were developed. Further, that you tie the shield to
the chassis, at the point it enters the chassis, and at both
ends of the cable (more on ‘both ends’ later).
Since standard XLR cables come with their shields
tied to pin 1 at each end (the shells are not tied, nor
need be), this means equipment using 3-pin, XLR-type
connectors must tie pin 1 to the chassis (usually called
chassis ground) — not the audio signal ground as is
most common.
Not using signal ground is the most radical departure from common pro-audio practice. Not that there
is any argument about its validity. There isn’t. This is
the right way to do it. So why doesn’t audio equipment
come wired this way? Well, some does, and since 1993,
more of it does. That’s when Rane started manufacturing some of its products with balanced inputs and
outputs tying pin 1 to chassis. So why doesn’t everyone
do it this way? Because life is messy, some things are
hard to change, and there will always be equipment in
use that was made before proper grounding practices
were in effect.
Unbalanced equipment is another problem: it is
everwhere, easily available and inexpensive. All those
RCA and ¼" TS connectors found on consumer equipment; effect-loops and insert-points on consoles; signal
processing boxes; semi-pro digital and analog tape
recorders; computer cards; mixing consoles; et cetera.
The next several pages give tips on how to successfully address hooking up unbalanced equipment.
Unbalanced equipment when “blindly” connected with
fully balanced units starts a pattern of hum and undesirable operation, requiring extra measures to correct
the situation.
The Next Best Right Way To Do It
The quickest, quietest and most foolproof method to
connect balanced and unbalanced is to transformer
isolate all unbalanced connections. See Figure 2.
Many manufacturers provide several tools for this
task, including Rane. Consult your audio dealer to explore the options available.
The goal of these adaptors is to allow the use of
standard cables. With these transformer isolation
boxes, modification of cable assemblies is unnecessary.
Virtually any two pieces of audio equipment can be
successfully interfaced without risk of unwanted hum
and noise.
UNBALANCED
COMMON (WRONG) PRACTICE
(+)
CASE
RECOMMENDED PRACTICE
2
2
3
(–)
3
1
CHASSIS
GROUND
(+)
CASE
OPTIONAL
(–)
NOT CONNECTED
AT CHASSIS
(PLASTIC JACK)
TRANSFORMER
1/4”
TIP-SLEEVE
1
SIGNAL
GROUND
CHASSIS
GROUND
CHASSIS
GROUND
Figure 1b. Recommmended practice.
BALANCED
2
3
1
EARTH GROUNDED
METAL ENCLOSURE
CASE LUG MAY
CONNECT TO
CHASSIS
(NOT REQUIRED)
CHASSIS IS
GROUNDED TO PIN 1
Figure 2. Transformer Isolation
Interconnection-3
Another way to create the necessary isolation is to
use a direct box. Originally named for its use to convert
the high impedance, high level output of an electric
guitar to the low impedance, low level input of a recording console, it allowed the player to plug “directly”
into the console. Now this term is commonly used to
describe any box used to convert unbalanced lines to
balanced lines.
The Last Best Right Way To Do It
If transformer isolation is not an option, special
cable assemblies are a last resort. The key here is to
prevent the shield currents from flowing into a unit
whose grounding scheme creates ground loops (hum)
in the audio path (i.e., most audio equipment).
It is true that connecting both ends of the shield is
theoretically the best way to interconnect equipment
–though this assumes the interconnected equipment is
internally grounded properly. Since most equipment is
not internally grounded properly, connecting both ends
of the shield is not often practiced, since doing so usually creates noisy interconnections.
A common solution to these noisy hum and buzz
problems involves disconnecting one end of the shield,
even though one can not buy off-the-shelf cables with
the shield disconnected at one end. The best end to disconnect is the receiving end. If one end of the shield is
disconnected, the noisy hum current stops flowing and
away goes the hum — but only at low frequencies. A
ground-sending-end-only shield connection minimizes
the possibility of high frequency (radio) interference
since it prevents the shield from acting as an antenna
to the next input. Many reduce this potential RF interference by providing an RF path through a small capacitor (0.1 or 0.01 microfarad ceramic disc) connected
from the lifted end of the shield to the chassis. (This is
referred to as the “hybrid shield termination” where the
sending end is bonded to the chassis and the receiving
end is capacitively coupled. See Neutrik’s EMC-XLR
for example.) The fact that many modern day installers still follow this one-end-only rule with consistent
success indicates this and other acceptable solutions to
FEMALE
2
C
3
1
RED
BLACK
SHIELD
RF issues exist, though the increasing use of digital and
wireless technology greatly increases the possibility of
future RF problems.
If you’ve truly isolated your hum problem to a specific unit, chances are, even though the documentation
indicates proper chassis grounded shields, the suspect
unit is not internally grounded properly. Here is where
special test cable assemblies, shown in Figure 3, really
come in handy. These assemblies allow you to connect
the shield to chassis ground at the point of entry, or to
pin 1, or to lift one end of the shield. The task becomes
more difficult when the unit you’ve isolated has multiple inputs and outputs. On a suspect unit with multiple
cables, try various configurations on each connection
to find out if special cable assemblies are needed at
more than one point.
See Figure 4 for suggested cable assemblies for your
particular interconnection needs. Find the appropriate output configuration (down the left side) and then
match this with the correct input configuration (across
the top of the page.) Then refer to the following pages
for a recommended wiring diagram.
Ground Lifts
Many units come equipped with ground lift switches.
In only a few cases can it be shown that a ground lift
switch improves ground related noise. (Has a ground
lift switch ever really worked for you?) In reality, the
presence of a ground lift switch greatly reduces a unit’s
ability to be “properly” grounded and therefore immune to ground loop hums and buzzes. Ground lifts
are simply another Band-Aid® to try in case of grounding problems. It is true that an entire system of properly grounded equipment, without ground lift switches,
is guaranteed (yes guaranteed) to be hum free. The
problem is most equipment is not (both internally and
externally, AC system wise) grounded properly.
Most units with ground lifts are shipped so the unit
is “grounded” — meaning the chassis is connected to
audio signal ground. (This should be the best and is
the “safest” position for a ground lift switch.) If after
hooking up your system it exhibits excessive hum or
2-CONDUCTOR SHIELDED CABLE
RED
BLACK
SHIELD
MALE
2
3
1
TEST
WIRE
Figure 3. Test cable
Interconnection-4
GROUND CLIP
buzzing, there is an incompatibility somewhere in the
system’s grounding configuration. In addition to these
special cable assemblies that may help, here are some
more things to try:
1. Try combinations of lifting grounds on units supplied with lift switches (or links). It is wise to do this
with the power off!
2. If you have an entirely balanced system, verify all
chassis are tied to a good earth ground, for safety’s
sake and hum protection. Completely unbalanced
systems never earth ground anything (except cable
TV, often a ground loop source). If you have a mixed
balanced and unbalanced system, do yourself a favor
and use isolation transformers or, if you can’t do
that, try the special cable assemblies described here
and expect it to take many hours to get things quiet.
May the Force be with you.
3. Balanced units with outboard power supplies (wall
warts or “bumps” in the line cord) do not ground the
chassis through the line cord. Make sure such units
are solidly grounded by tying the chassis to an earth
ground using a star washer for a reliable contact.
(Rane always provides this chassis point as an external screw with a toothed washer.) Any device with
a 3-prong AC plug, such as an amplifier, may serve
as an earth ground point. Rack rails may or may not
serve this purpose depending on screw locations and
paint jobs.
Floating, Pseudo, and Quasi-Balancing
During inspection, you may run across a ¼" output
called floating unbalanced, sometimes also called psuedo-balanced or quasi-balanced. In this configuration,
the sleeve of the output stage is not connected inside
the unit and the ring is connected (usually through a
small resistor) to the audio signal ground. This allows
the tip and ring to “appear” as an equal impedance,
not-quite balanced output stage, even though the output circuitry is unbalanced.
Floating unbalanced often works to drive either a
balanced or unbalanced input, depending if a TS or
TRS standard cable is plugged into it. When it hums, a
special cable is required. See drawings #11 and #12, and
do not make the cross-coupled modification of tying
the ring and sleeve together.
Winning the Wiring Wars
• Use balanced connections whenever possible, with
the shield bonded to the metal chassis at both ends.
• Transformer isolate all unbalanced connections
from balanced connections.
• Use special cable assemblies when unbalanced lines
cannot be transformer isolated.
• Any unbalanced cable must be kept under 10 feet
(3 m) in length. Lengths longer than this will amplify all the nasty side effects of unbalanced circuitry's
ground loops.
Summary
If you are unable to do things correctly (i.e. use fully
balanced wiring with shields tied to the chassis at both
ends, or transformer isolate all unbalanced signals
from balanced signals) then there is no guarantee that
a hum-free interconnect can be achieved, nor is there a
definite scheme that will assure noise-free operation in
all configurations.
References
1. Neil A. Muncy, “Noise Susceptibility in Analog and Digital Signal Processing Systems,” presented at the 97th AES
Convention of Audio Engineering Society in San Francisco, CA, Nov. 1994.
2. Grounding, Shielding, and Interconnections in Analog
& Digital Signal Processing Systems: Understanding the
Basics; Workshops designed and presented by Neil Muncy
and Cal Perkins, at the 97th AES Convention of Audio
Engineering Society in San Francisco, CA, Nov. 1994.
3. The entire June 1995 AES Journal, Vol. 43, No. 6, available
$6 members, $11 nonmembers from the Audio Engineering Society, 60 E. 42nd St., New York, NY, 10165-2520.
4. Phillip Giddings, Audio System Design and Installation
(SAMS, Indiana, 1990).
5. Ralph Morrison, Noise and Other Interfering Signals
(Wiley, New York, 1992).
6. Henry W. Ott, Noise Reduction Techniques in Electronic
Systems, 2nd Edition (Wiley, New York, 1988).
7. Cal Perkins, “Measurement Techniques for Debugging
Electronic Systems and Their Instrumentation,” The Proceedings of the 11th International AES Conference: Audio
Test & Measurement, Portland, OR, May 1992, pp. 82-92
(Audio Engineering Society, New York, 1992).
8. Macatee, RaneNote: “Grounding and Shielding Audio
Devices,” Rane Corporation, 1994.
9. Philip Giddings, “Grounding and Shielding for Sound and
Video,” S&VC, Sept. 20th, 1995.
10. AES48-2005: AES standard on interconnections —
Grounding and EMC practices — Shields of connectors
in audio equipment containing active circuitry (Audio
Engineering Society, New York, 2005).
Band-Aid is a registered trademark of Johnson & Johnson
Interconnection-5
To Input
CABLE
CONNECTORS
MALE
BALANCED XLR
FEMALE BALANCED XLR
(NOT A TRANSFORMER,
NOR A CROSS-COUPLED
OUTPUT STAGE)
From Output
FEMALE BALANCED XLR
(EITHER A TRANSFORMER
OR A CROSS-COUPLED
OUTPUT STAGE)
¼” BALANCED TRS
(NOT A TRANSFORMER,
NOR A CROSS-COUPLED
OUTPUT STAGE)
¼” BALANCED TRS
(EITHER A TRANSFORMER
OR A CROSS-COUPLED
OUTPUT STAGE)
¼” FLOATING UNBALANCED
TRS (TIP-RING-SLEEVE)
(SLEEVE IN UNIT = NC)
¼” OR 3.5 mm
UNBALANCED
TS (TIP-SLEEVE)
UNBALANCED RCA
(TIP-SLEEVE)
BALANCED
EUROBLOCK
¼" BALANCED
TRS (TIP-RING-SLEEVE)
¼" OR 3.5mm
UNBALANCED
TS (TIP-SLEEVE)
UNBALANCED RCA
1
2
3
4
1
2
5
6
B
B
BALANCED
EUROBLOCK
+ to +
– to –
SHIELD NC
+ to +
– to –
SHIELD NC
+ to +
– to –
7
8
9
10
7
8
11
12
21
22
11
12
GROUND to GROUND
13
14
15
16
23
17
18
19
20
23
+ to +
– to –
+ to +
– to –
24
+ to +
– to –
A
SHIELD ONLY
TO XLR PIN 1
A
SHIELD ONLY
TO TRS SLEEVE
B
A
A
24
B
A
A
SHIELD ONLY
TO EUROBLOCK
+ to +
– to –
SHIELD NC
+ to +
– to –
GROUND to GROUND
Figure 4. Interconnect chart for locating correct cable assemblies on the following pages.
Note: (A) This configuration uses an “off-the-shelf” cable.
Note: (B) This configuration causes a 6 dB signal loss. Compensate by “turning the system up” 6 dB.
Interconnection-6
2-CONDUCTOR SHIELDED CABLE
2
FEMALE
1=SHIELD
RED
2
2=RED
BLACK
C 3
3=BLACK
SHIELD
1
2-CONDUCTOR SHIELDED CABLE
3
FEMALE
1=SHIELD
RED
2
2=RED
C 3
B 3=NC
SHIELD
1
1-CONDUCTOR SHIELDED CABLE
4
FEMALE
1=SHIELD
RED
2
2=RED
C 3
B 3=NC
SHIELD
1
1-CONDUCTOR SHIELDED CABLE
From Output
5
6
FEMALE
1=SHIELD
RED
2
2-CONDUCTOR SHIELDED CABLE
2=RED
BLACK
C 3
3=BLACK
SHIELD
1
CROSS-COUPLED OUTPUT ONLY: CONNECT PIN 1 TO PIN 3 AT THIS END
AND SET GROUND LIFT SWITCH TO ‘GROUNDED’ (IF PRESENT).
7
RED
BLACK
SHIELD
2-CONDUCTOR SHIELDED CABLE
8
T=RED
R=BLACK
S=SHIELD
RED
BLACK
SHIELD
2-CONDUCTOR SHIELDED CABLE
9B
T=RED
R=NC
S=SHIELD
T=RED
10B R=NC
S=SHIELD
T=RED
R=BLACK
S=SHIELD
RED
1-CONDUCTOR SHIELDED CABLE
RED
SHIELD
RED
BLACK
SHIELD
1
3
1=NC
2=RED
3=BLACK
RED
T=RED
S=SHIELD
SHIELD
RED
T=RED
S=SHIELD
SHIELD
RED
BLACK
T=RED
S=BLACK
RED
BLACK
RED
BLACK
N/C
T=RED
S=BLACK
MALE
2
1
3
1=NC
2=RED
3=BLACK
RED
BLACK
N/C
T=RED
R=BLACK
S=NC
RED
T=RED
S=BLACK
RED
1-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
2
T=RED
R=BLACK
S=NC
SHIELD
SHIELD
MALE
RED
BLACK
N/C
FEMALE
1=SHIELD
RED
2
2-CONDUCTOR SHIELDED CABLE
BLACK
2=RED
C 3
SHIELD
3=BLACK
1
CROSS-COUPLED OUTPUT ONLY: CONNECT PIN 1 TO PIN 3 AT THIS END
AND SET GROUND LIFT SWITCH TO ‘GROUNDED’ (IF PRESENT).
T=RED
R=BLACK
S=SHIELD
11
RED
BLACK
N/C
SHIELD
RED
BLACK
To Input
1
FEMALE
1=SHIELD
RED
2
2=RED
BLACK
C 3
3=BLACK
SHIELD
1
T=RED
S=SHIELD
T=RED
S=BLACK
CROSS-COUPLED OUTPUT ONLY: CONNECT RING TO SLEEVE
AT THIS END AND SET GROUND LIFT SWITCH TO ‘GROUNDED’ (IF PRESENT).
12
T=RED
R=BLACK
S=SHIELD
RED
RED
2-CONDUCTOR SHIELDED CABLE
BLACK
BLACK
SHIELD
CROSS-COUPLED OUTPUT ONLY: CONNECT RING TO SLEEVE
AT THIS END AND SET GROUND LIFT SWITCH TO ‘GROUNDED’ (IF PRESENT).
T=RED
S=BLACK
Interconnection-7
From Output
14
RED
BLACK
N/C
2-CONDUCTOR SHIELDED CABLE
T=RED
S=BLACK
RED
BLACK
N/C
2-CONDUCTOR SHIELDED CABLE
15A
T=RED
S=SHIELD
16A
T=RED
S=SHIELD
17
18
T=RED
S=BLACK
T=RED
S=BLACK
19A
T=RED
S=SHIELD
20A
T=RED
S=SHIELD
RED
SHIELD
RED
SHIELD
RED
BLACK
1-CONDUCTOR SHIELDED CABLE
RED
1-CONDUCTOR SHIELDED CABLE
SHIELD
1=SHIELD
3 2=RED
3=BLACK
1
2
T=RED
R=BLACK
S=SHIELD
RED
T=RED
S=SHIELD
SHIELD
RED
1-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
MALE
RED
BLACK
SHIELD
T=RED
S=SHIELD
SHIELD
RED
BLACK
SHIELD
2-CONDUCTOR SHIELDED CABLE
RED
BLACK
MALE
2
1
3
RED
T=RED
S=SHIELD
RED
1-CONDUCTOR SHIELDED CABLE
SHIELD
T=RED
R=BLACK
A S=SHIELD
RED
BLACK
SHIELD
2-CONDUCTOR SHIELDED CABLE
22A
T=RED
R=BLACK
S=SHIELD
RED
BLACK
SHIELD
2-CONDUCTOR SHIELDED CABLE
23
(ANY UNBALANCED CONNECTOR)
RED
BLACK
T=RED
S=BLACK
2-CONDUCTOR SHIELDED CABLE
T=RED
S=SHIELD
SHIELD
RED
BLACK
SHIELD
RED
BLACK
SHIELD
1=SHIELD
2=RED
3=BLACK
T=RED
R=BLACK
S=SHIELD
RED
BLACK
SHIELD
SHIELD
RED
21
RED
BLACK
SHIELD
To Input
13
T=RED
S=BLACK
MALE
2
1
3
1=SHIELD
2=RED
3=BLACK
T=RED
R=BLACK
S=SHIELD
(CHECK: NO STANDARD POLARITY ON EUROBLOCKS)
RED
+
BLACK
SHIELD
–
(CHECK: NO STANDARD POLARITY ON EUROBLOCKS)
24
–
+
RED
BLACK
SHIELD
RED (ANY UNBALANCED CONNECTOR)
T=RED
BLACK
S=BLACK
CROSS-COUPLED OUTPUT ONLY: CONNECT BLACK TO SHIELD AT THIS END
AND SET GROUND LIFT SWITCH TO ‘GROUNDED’ (IF PRESENT).
2-CONDUCTOR SHIELDED CABLE
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5000 USA TEL 425-355-6000 FAX 425-347-7757 WEB www.rane.com
Interconnection-8
DOC 102907
-
+
J3
+
2
3
1
2
3
1
GND
GND
3pin FEM XLR
J1
CH 1 BAL INPUT
CH 1 BAL/UNBAL INPUT
ST SW TH
-
J4
GND
GND
3pin FEM XLR
J2
CH 2 BAL INPUT
CH 2 BAL/UNBAL INPUT
ST SW TH
11/17/2011
C:\CAD Projects\DC22S\DC22S-1.SCHDOC
D18
1SMB15CAT3
GND
D19
1SMB15CAT3
D41
1SMB15CAT3
GND
D42
1SMB15CAT3
2200pF
Z1
R10
10.0k
GND
R11
2
3
R9
10.0k
R12
C1
47pF
+15
U1A
1
-15
33078
10.0k C2
GND
47pF
C36
R26 47pF
10.0k
Z2
2200pF
2200pF
Z3
R27
-15
33078
47pF
10.0k C35
R29
+15
U3A
1
10.0k
2
3
10.0k
GND
R28
10.0k
Z4
2200pF
GND
C7
R13
+15
22/16v 10.0k
-15
C67
C68
0.1
0.1
GND
GND
C8
R30
+15
22/16v 10.0k
-15
C69
C70
0.1
0.1
GND
GND
+4 dBu
R64
R66
13.3k
40.2k
U1B
6
5
2P2T
S2A
C4
47pF
7
2P2T
S3A
GND 33078
+4 dBu
R65
R67
13.3k
40.2k
U3B
6
5
GND 33078
C33
47pF
7
-10 dBV
C19
D1
10.0k
R16
R33
-15
R17
10.0k
R68
3.74k
R70
1.00k
-15
R34
10.0k
R69
3.74k
R71
1.00k
GND
2
5
6
3
2
5
6
3
U2B
33078
-15
R18
-15
D4
RED
OL
GND
+4 dBu
2P2T
S5B
S5A 1
2
3
2P2T
C24
GND
C20
10.0k
R20
3.32k
R82
R22
10.0k
R21
U5B
47pF
C10
10.0k
2
3
22/16v
GND
R24
6
R83
10.0k
5
R37
R38
C3
47pF
-15
+15
R91
51.1
C29
820pF
GND
R89
C71
C72
0.1
0.1
GND
GND
R88
R23 51.1
10.0k
GND
R90
51.1
C30
820pF
GND
2200pF
Z5
GND
2200pF
Z6
GND
D20
GND
1SMB15CAT3
+
+
-
-
4
4
CH 1 BAL OUT
CH 2 BAL OUT
CH 1 UNBAL OUT
3pin MALE XLR
J7
2
3
1
GND
D21
GND
1SMB15CAT3
J5
ST SW TH
GND
2
3
1
GND
D44
GND
1SMB15CAT3
J6
GND
ST SW TH
CH 2 UNBAL OUT
3pin MALE XLR
J8
D43
GND
1SMB15CAT3
D46
1SMB15CAT3
2200pF
Z8
GND
2200pF
Z9
GND
1 of 3
SHEET:
114386
IN/OUT DC22S
GND
D45
1SMB15CAT3
GND
2200pF
Z7
R25 51.1
10.0k
GND
R99
GND
+15
GND
2200pF
Z10
51.1
C32
820pF
GND
R95
51.1
C31
820pF
GND
R93
C73
C74
0.1
0.1
GND
GND
R92
R94
R40 51.1
10.0k
GND
22/16v
C18
R42 51.1
10.0k
R101
GND
22/16v
R100
150
150
C44
330pF
GND
10802 47th Avenue West
RWJ Mukilteo WA 98275-5098
7
5.11k
CHECKED BY:
-15
150
150
C43
330pF
GND
R98
22/16v
C16
22/16v
+15
GND
U5A
C15
1
33078
-15
C9
47pF
R86
7
5.11k
C37
47pF
47pF
C11
33078
-15
+15
GND
U6A
C17
1
GND 33078
C23
3.32k
10.0k
U6B
47pFR87
C12
R39
R41
10.0k
GND 33078
5
6
10.0k
2
3
10.0k
RJ
RI TO SMT CONVERSION
WAS 111576
DRAWN BY:
ACTION:
22/16v R32
10.0k
OL
+4 dBu
GND
22/16v
22/16v R15
10.0k
C21
BYPASS
RED
D3
OUT LEFT
+15
U2A
1
-15
33078 10.0k
R35
10.0k
-15
BYPASS
GRN
R19 D5
10.0k
+15
7
-15
7
+15
GRN
R36 D6
33078 10.0k
+15
U4A
1
OUT RIGHT
C84
C85
0.1
0.1
GND
GND
U4B
33078
-15
C86
C87
0.1
0.1
GND
GND
S4A 1
2
3
2P2T
2P2T
S4B
GND
R81
100k
GND
R80
100k
2P2T
S2B
R14
10.0k
GND
IN LEFT
C5
1/50v
GND
2P2T
S3B
C6
1/50v
IN RIGHT
GND
R31
10.0k
GND
+
22/16v
5817
-10 dBV
C22
D2
10.0k
22/16v
5817
+
GND
Main
8
4
8
4
4
5
6
8
4
4
5
6
8
4
4
5
6
4
5
6
1
2
3
1
2
3
8
4
8
4
IN LEFT
S1D 12
11
10
4P2T
R156
-15
C51
GND
GND
IN
OUT
7
+15
-5V
R160
2.21k
R158
2.49k
-15
+2.5
R162
3.16k
+15
R123
6.04k
124k 124k
GND
2 R139 R138
+15
-5V
-15
R159
2.49k
R161
2.21k
R163
3.16k
R122
6.04k
124k
2 R136
COMP
THRESHOLD
+20 dBu
R1A
20kB
125mV/dB
C45
3
GND 2
R130
124k
D22
7
U11B 4148
47pF
6
5
GND 33078
R47
+15
U21A
1
33078
-15
D23
4148
R3A
20kB
GND
D31
YEL
2
INF:1
1:1
R46
47pF
+15
U22A
1
33078
-15
D37
4148
R7A
20kB
RATIO
+15
-15
INF:1
2
1:1
GND
R52
-15
5
6
3
2
GND
U21B
R4A
3
3
7
7
10.0k
+15
7
D30
YEL
D32
YEL
TOP
3 dB
+15
D10
GRN
R51
10.0k
R72
2.00k
6 dB
D9
GRN
R48
10.0k
R146
2.00k
7
+15
+15
12 dB
1
LM339
R164
4.02k
R111
1.10M
1
4.02k
R165
LM339
U20B
-1.5 V
6
7
R150
2.00k
C56
C40
0.1
0.1
GND
GND
D13
GRN
R54
10.0k
-15
C61
C41
0.1
0.1
GND
GND
LINK CH2
RJ
D8
GRN
R49
10.0k
-3.0 V
D12
GRN
R55
10.0k
-3.0 V
C25
20.0k
R118
D7
GRN
22/16v
24 dB
R50
10.0k
-15
LM339
U15A
2
1.10M
+15
R107
R147
2.00k
5
4
-15
R166
33.2k
R135
R120
124k
20.0k
1
+15
C59
0.1
U9
2180
0.1
C58
-15 GND
R154
5.11k
1
R127
U10
2180
+15
0.1
C64
-15
33078
+15
U14A
1
6.04k
0.033
C66
6.1 mV/dB
2
3
GND
C27
D11
GRN
22/16v
24 dB
0.1
C63
-15 GND
R155
5.11k
R126
RWJ Mukilteo WA 98275-5098
GND
GND
2 of 3
SHEET:
8
8
6
5
C13
7
47pF
R119
20.0k
U14B
C14
47pF
R121
20.0k
U19B
7
+15
+15
C57
C42
0.1
0.1
GND
GND
-15
GND 33078
6
5
-15
GND 33078
C62
C83
0.1
0.1
GND
GND
20kB
R2B
5
20kB
R6B
5
OUT LEFT
OUT RIGHT
20kB
R3B
5
20kB
R7B
5
20kB
R4B
5
20kB
R8B
5
20kB 20kB 20kB 20kB 20kB 20kB 20kB 20kB
R1C R2C R3C R4C R5C R6C R7C R8C
GND
20kB
R5B
5
20kB
R1B
5
114386
COMPRESSOR DC22S
-15
33078
+15
U19A
1
6.04k
0.033
C65
6.1 mV/dB
2
3
GND
R56
10.0k
-15
7
5
10802 47th Avenue West
124k
R134
33.2k
-15
R167
LM339
U20A
2
1.10M
+15
R112
R151
2.00k
5
4
S1A
4P2T
3
NORM
2
1
LINK
CHECKED BY:
RI TO SMT CONVERSION
WAS 111576
DRAWN BY:
ACTION:
12 dB
-1.5 V
U15B
R106
14
1.10M
U15C
R105
9
LM339
-750 mV
6
1.10M
LM339
R45
LINK CH2
R110
6 dB
R75
+V
D14
GRN
R57
10.0k
1.10M
U20C
LM339
2.00k
R153
-750 mV
8
9
R149
2.00k
2.00k
+15
R78
1.00k
14
1.00k
TOP
3 dB
R113
1.10M
13
LM339
U20D
8
R108
13
-15
1.10M
R148
2.00k
GND
GND
+15
C75
C76
0.1
0.1
GND
GND
-15
R79
1.00k
-375 mV
10
11
R152
2.00k
C77
C78
0.1
0.1
GND
GND
-15
R76
1.00k
-375 mV
10
COMP
U15D
THRESHOLD 11
R169
15.8k
U12B
10.0k
R172
15.8k
U17B
+15
7
COMP
THRESHOLD
+V
+15 dB
+15
GND 33078
R142
124k
5
6
47pF
C50
33078
-15
+15
U13A
1 R63
33078
R168
15.8k
R170
15.8k
1
R8A
GND 33078
R143
124k
5
6
47pF
C49
33078
-15
+15
U18A
1 R62
33078
U22B
LEVEL
-15 dB 20kB
5
6
3
2
GND
R171
15.8k
R173
15.8k
1
Main
-15 dB 20kB
+15 dB
LEVEL
-15
33078
+15
U17A
1
C39 10.0k
47pF
+V
-15
33078
+15
U12A
1
C38 10.0k
GND
3
2
RATIO
R131
D35
4148
U13B
10.0k
3
GND 2
R132
124k
D36
U16B 4148
7
GATE
THRESHOLD
10.0k
D24
4148
+15
U11A
1
33078
-15
5
6
47pF
C47
125 mV/dB
GND 33078
5
6
125mV/dB
R124
6.04k
124k
GND 33078
R53
2
3
GND
YEL
D40
GATE
THRESHOLD
R133
D39
7 R60
10.0k
6
125mV/dB
D38
4148
+15
U16A
1
33078
-15
4148
U18B
124k
-40 dBu
C48
47pF
2
3
7 R61
124k
-40 dBu
C46
47pF
2
3
GND
R5A
20kB
2 R137
COMP
THRESHOLD
+20 dBu
GATE
THRESHOLD
+15
U8
2252
22/16v 1.00k
C54 R77
-80 dBu
R2A
20kB
-20 dBu
U7
2252
1.00k
C52 R74
+15
7
GND
0.1 511k
C53
C81
C82
0.1
0.1
GND
GND
-15
6.1mV/dB
-15
C55 R116
IN
OUT
1.10M 22/16v 22/16v
R104
LEFT CHANNEL IS MASTER
IN LINK MODE
FOR GAIN AND DYNAMIC CONTROL
C26
1
R114
20.0
S1B 6
5
4
4P2T
22/16v 12.4k
+V +15
LINK
Eino = -20 dBu
NORM
S1C 9
8
7
LINK 4P2T
D16
YEL
1
1.10M 22/16v
R109
SLAVE
D15
YEL
R59
10.0k
-15
-15
R157
C60 R117
+2.5
+15
R125
6.04k
124k 124k
GND
2 R141 R140
GND
10.0k
4
4
3
2
3
2
R58
10.0k
-15
C28
22/16v 12.4k
R115
GND
0.1 511k
+15
6.1mV/dB
-15
-15
C79
C80
0.1
0.1
GND
GND
-20 dBu
R6A
20kB
-80 dBu
GATE
THRESHOLD
+15
5
GND 33078
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
6
8
4
7
5
8
4
3
12
3
12
8
4
2
8
3
1
3
1
MASTER
IN RIGHT
Eino= -20 dBu
20.0
11/17/2011
C:\CAD Projects\DC22S\DC22S-2.SCHDOC
8
4
4
2
8
4
8
4
8
3
1
3
1
4
8
4
8
4
3
+
GND
3
+
GND
3
8
V+
BIAS
2
1
3
1
+
CAP
6
V-
8
V+
BIAS
2
SYM
5
+
4
CAP
6
V5
SYM
4
11/17/2011
C:\CAD Projects\DC22S\DC22S-3.SCHDOC
J11
3
H
2
G
1
N
IEC PWR
P1
27.0
C195
0.0022 X1Y2
C196
0.0022 X1Y2
C201
H3
1
C197
4
0.33 X2
H2
GND
0.0022 X1Y2
H1
GND
T1
20mH
R144
10.0k
2
3
3
4
+
C192
1/50v
C200
0.001 X1Y2
DRAIN
VIPER50
C187
0.068
S
Vdd
OSC
U38
C199
0.001 X1Y2
2
1
C188
0.0022
R260
1.00k
Main
2
3
4
SLOW BLOW
F3
T 1A 250V
H6
GND
COMP
5
+
D33
DF06M
1
+
C193
22/400v
D25
P6SMB160AT
D26
MURS160
D27
5
8
9
T2
4
10
D28
+
MURS160
D29
130
R236
+
C202
470/25v
C203
470/25v
R258
10.0k
C185
0.1
R238
1.24k
MURS160
R235
GND
130
0.001 X1Y1
6
5
6
7
8
2
LED
4148
FB
R234
NC
COMP
36.5
C
7
600uH
C190
E
GND
1
NC
U36
C189
47/50v
1
2
3
4
FOD2741
GND
ACTION:
RJ
CHECKED BY:
R145
51.1k
L5
10uH
L6
10uH
+
C110
150/25v
+
TP1
TP2
TP3
GND
+15
R44
10.0k
+15
-15
R43
10.0k
POWER
D17
YEL
-15
3 of 3
SHEET:
114386
POWER SUPPLY DC22S
C111
150/25v
10802 47th Avenue West
RWJ Mukilteo WA 98275-5098
RI TO SMT CONVERSION
WAS 111576
DRAWN BY:
WARRANTY
FACTORY AUTHORIZED SERVICE
Your unit may be serviced by the Rane Factory or any Authorized Rane Service Center. To find a Service Center near you, please call
the Rane factory, or check the Rane website. Please do not return your unit to Rane without prior authorization.
Rane Corporation
To obtain service or a Return Authorization, please phone 425-355-6000
or Fax 425-347-7757
The current list of U.S. Rane Authorized Service Centers is found on our website: www.rane.com/service.html
LIMITED DOMESTIC WARRANTY
RANE CORPORATION WARRANTS ALL RANE PRODUCTS (EXCEPT THOSE ITEMS CLASSIFIED AS WEAR PARTS, AND LISTED ON THE
MANUAL-1 PAGE OF EACH OPERATORS MANUAL) PURCHASED IN THE USA AGAINST DEFECTS IN MATERIAL OR WORKMANSHIP
FOR A PERIOD OF TWO (2) YEARS. WEAR PARTS ARE LIMITED TO A PERIOD OF NINETY (90) DAYS FROM THE INITIAL DATE OF
RETAIL PURCHASE FROM AN AUTHORIZED RANE DEALER—WEAR PARTS REQUIRE PROOF OF PURCHASE DATE. This limited
warranty extends to all purchasers or owners of the product during the warranty period beginning with the original retail purchase. Rane Corporation
does not, however, warrant its products against any and all defects: 1) arising out of material or workmanship not provided or furnished by Rane, or
2) resulting from abnormal use of the product or use in violation of instructions, or 3) in products repaired or serviced by other than authorized Rane
repair facilities, or 4) in products with removed or defaced serial numbers, or 5) in components or parts or products expressly warranted by another
manufacturer. Rane agrees to supply all parts and labor to repair or replace defects covered by this limited warranty with parts or products of original
or improved design, at its option in each respect, if the defective product is shipped prior to the end of the warranty period to any Rane authorized
warranty repair facility in the U.S. or to the Rane factory in the original packaging or a replacement supplied by Rane, with all transportation costs and
full insurance paid each way by the purchaser or owner.
LIMITED WARRANTY OUTSIDE THE U.S.A.
RANE PRODUCTS ARE WARRANTED ONLY IN THE COUNTRY WHERE PURCHASED, THROUGH THE AUTHORIZED RANE
DISTRIBUTOR IN THAT COUNTRY, AGAINST DEFECTS IN MATERIAL OR WORKMANSHIP, THE SPECIFIC PERIOD OF THIS
LIMITED WARRANTY SHALL BE THAT WHICH IS DESCRIBED TO THE ORIGINAL RETAIL PURCHASER BY THE AUTHORIZED
RANE DEALER OR DISTRIBUTOR AT THE TIME OF PURCHASE. Rane Corporation does not, however, warrant its products against any and
all defects: 1) arising out of materials or workmanship not provided or furnished by Rane, or 2) resulting from abnormal use of the product or use in
violation of instructions, or 3) in products repaired or serviced by other than authorized Rane repair facilities, or 4) in products with removed or defaced
serial numbers, or 5) in components or parts or products expressly warranted by another manufacturer. Rane agrees, through the applicable authorized
distributor, to repair or replace defects covered by this limited warranty with parts or products of original or improved design, at its option in each respect,
if the defective product is shipped prior to the end of the warranty period to the designated authorized Rane warranty repair facility in the country
where purchased, or to the Rane factory in the U.S., in the original packaging or a replacement supplied by Rane, with all transportation costs and full
insurance paid each way by the purchaser or owner.
ALL REMEDIES AND THE MEASURE OF DAMAGES ARE LIMITED TO THE ABOVE SERVICES, IT IS POSSIBLE THAT ECONOMIC
LOSS OR INJURY TO PERSON OR PROPERTY MAY RESULT FROM THE FAILURE OF THE PRODUCT; HOWEVER, EVEN IF RANE
HAS BEEN ADVISED OF THIS POSSIBILITY, THIS LIMITED WARRANTY DOES NOT COVER ANY SUCH CONSEQUENTIAL OR
INCIDENTAL DAMAGES. SOME STATES OR COUNTRIES DO NOT ALLOW THE LIMITATIONS OR EXCLUSION OF INCIDENTAL
OR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU.
ANY AND ALL WARRANTIES, EXPRESS OR IMPLIED, ARISING BY LAW, COURSE OF DEALING, COURSE OF PERFORMANCE, USAGE
OF TRADE, OR OTHERWISE, INCLUDING BUT NOT LIMITED TO IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS
FOR A PARTICULAR PURPOSE, ARE LIMITED TO A PERIOD OF TWO (2) YEARS FROM EITHER THE DATE OF ORIGINAL RETAIL
PURCHASE OR, IN THE EVENT NO PROOF OF PURCHASE DATE IS AVAILABLE, THE DATE OF MANUFACTURE, SOME STATES
OR COUNTRIES DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS, SO THE ABOVE LIMITATIONS
MAY NOT APPLY TO YOU. THIS LIMITED WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS, AND YOU MAY ALSO HAVE OTHER
RIGHTS WHICH VARY FROM STATE TO STATE, COUNTRY TO COUNTRY.
Warranty-1
WARRANTY PROCEDURE - Only Valid in the USA
NOTICE! You must complete and return the warranty card or register your
product online to extend the Warranty from 2 years to 3 years!
TO VALIDATE YOUR EXTENDED WARRANTY: Use the postcard that came in the box with your unit, or go to www.rane.com and
click on New Product Registration. Fill out the warranty completely, being sure to include the model and serial number of the unit
since this is how warranties are tracked. If your Rane product was purchased in the USA, mail the completed card or register online with
to Rane Corporation within 10 days from the date of purchase. If you purchased the product outside the USA you must file your
warranty registration with the Rane Distributor in that country. It is advised that you keep your bill of sale as proof of purchase,
should any difficulties arise concerning the registration of the warranty card. NOTICE: IT IS NOT NECESSARY TO REGISTER IN
ORDER TO RECEIVE RANE CORPORATION’S STANDARD TWO YEAR LIMITED WARRANTY.
WARRANTY REGISTRATION is made and tracked by model and serial numbers only, not by the purchaser’s or owner’s name.
Therefore any warranty correspondence or inquires must include the model and serial number of the product in question. Be sure to fill
in the model and serial number in the space provided below and keep this in a safe place for future reference.
WARRANTY SERVICE MUST BE PERFORMED ONLY BY AN AUTHORIZED RANE SERVICE FACILITY LOCATED IN
THE COUNTRY WHERE THE UNIT WAS PURCHASED, OR (if product was purchased in the USA) AT THE RANE FACTORY
IN THE USA. If the product is being sent to Rane for repair, please call the factory for a Return Authorization number. We recommend
advance notice be given to the repair facility to avoid possible needless shipment in case the problem can be solved over the phone.
UNAUTHORIZED SERVICE PERFORMED ON ANY RANE PRODUCT WILL VOID ITS EXISTING FACTORY WARRANTY.
FACTORY SERVICE
If you wish your Rane product to be serviced at the factory, it must be shipped fully insured, in the original packing box or equivalent.
This warranty will not cover repairs on products damaged through improper packaging. If possible, avoid sending products through the
mail. Be sure to include in the package:
1. Complete return street shipping address (P.O. Box numbers are not acceptable).
2. A detailed description of any problems experienced, including the make and model numbers of any other system equipment.
3. Remote power supply, if applicable.
Repaired products purchased in the U.S. will be returned prepaid freight via the same method they were sent to Rane. Products purchased
in the USA, but sent to the factory from outside the USA must include return freight funds, and the sender is fully responsible for all
customs procedures, duties, tariffs and deposits.
In order to qualify for Rane’s one year extended warranty (for a total of 3
years parts and labor), the warranty must be completely filled out and sent to
us immediately. Valid in USA only.
We recommend you write your serial number here in your owners
manual and on your sales receipt for your records.
SERIAL NUMBER:______________________________________PURCHASE DATE:__________________________________
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5000 TEL 425-355-6000 FAX 425-347-7757 WEB www.rane.com
Warranty-2
108360
Declaration of Conformity
Standard(s) to which
conformity is declared:
Application of
Council Directive(s):
EN60065: 2002/A1:2006/A11:2008/A2:2010/A12:2011
EN55103-1:2009
EN55103-2:2009
EN50581:2012
ENVIRONMENT E2
CE MARK FIRST AFFIXED IN 2009
SERIAL NUMBERS 900000 - 999999
2001/95/EC
2002/96/EC
2004/108/EC
2006/95/EC
2011/65/EU
Manufacturer:
Rane Corporation
10802 47th Avenue West
Mukilteo WA 98275-5000 USA
This equipment has been tested and found to be in compliance with all applicable standards and regulations applying to the
EU’s Low Voltage (LV) directive 2006/95/EC, and Electromagnetic Compatibility (EMC) directive 2004/108/EC. In order
for the customer to maintain compliance with this regulation, high quality shielded cable must be used for interconnection
to other equipment. Modification of the equipment, other than that expressly outlined by the manufacturer, is not allowed
under this directive. The user of this equipment shall accept full responsibility for compliance with the LV directive and
EMC directive in the event that the equipment is modified without written consent of the manufacturer.This declaration
of conformity is issued under the sole responsibility of Rane Corporation.
Type of Equipment: Professional Audio Signal Processing
Brand: Rane
Model: DC22S
Immunity Results:
THD+N: 4 dBu, 400 Hz, BW = 20 Hz - 20 kHz
Test DescriptionSpecification
Conditions
RF Electromagnetic Fields Immunity
80 MHz -1000 MHz, 1 kHz AM, 80% depth, 3V/m
Conducted RF Disturbances Immunity
150 kHz - 80 MHz, 1 kHz AM, 80% depth, 3V RMS
Magnetic Fields Immunity
50 Hz - 10 kHz, 3.0 - 0.3 A/m
< -80 dB
<-76 dB
<-70 dB
<-52 dB
<-64 dB
<-54 dB
<-75 dB
80 MHz - 120 MHz
120 MHz - 155 MHz
155 MHz - 421 MHz
421 MHz - 487 MHz
487 MHz - 736 MHz
736 MHz - 854 MHz
854 MHz - 1000 MHz
< -89 dB
< -88 dB
Power Lines
Signal Lines
< -81 dB
Common Mode Immunity:
Bandpass re: 4 dBu, 1/3-octave
50 Hz - 10 kHz, -20 dBu
< -78 dB
·
I, the undersigned, hereby declare that the equipment specified above conforms
to the Directive(s) and Standard(s) shown above.
Greg Frederick
Compliance Engineer
·
(Full Name)
(Signature)
(Position)
January 15, 2009
Mukilteo WA, USA
(Date)
(Place)
100-240 V
50/60 Hz 7 WATTS
R
COMMERCIAL AUDIO
EQUIPMENT 24TJ
DC22S
RANE CORPORATION
BALANCED
BALANCED
-10 dBV
+4 dBu
BAL/UNBAL
2
2
BAL/UNBAL
INPUT
OUTPUT
• SEE THE RANENOTE: SOUND
SYSTEM INTERCONNECTION
1/4" PHONE, UNBALANCED:
• TIP = (+), • RING = (–),
• SLEEVE = CHASSIS (SHIELD)
1/4" PHONE, BALANCED:
• PIN 2 = (+), • PIN 3 = (–),
• PIN 1 = CHASSIS (SHIELD)
3-PIN XLR:
CLASS 2 WIRING
BALANCED
BAL/UNBAL
1
OUTPUT
BALANCED
-10 dBV
+4 dBu
BAL/UNBAL
1
INPUT
DC22S
DYNAMICS CONTROLLER