Rane FPM 44 Handleiding
Rane
Mengpaneel
FPM 44
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Pagina 1/4
driven. If an unbalanced characteris-
tic is what you desire, use the “+”
terminal and one of the grounds for
return. Do not short the “–” terminal
to ground.
FLEX BUS IN. The 7-pin DIN
bus connectors are used primarily
with other Flex modules. These are
not MIDI connectors. Use only the
supplied DIN cable. If for some reason there is not a cable in
the FPM 44 box, please contact Rane for a replacement. If
you are in a bind, a 5-pin DIN may be used instead of a 7-pin.
The two outside pins (6 & 7) are spares on the FPM 44 and
have been included for possible future compatibility reasons.
All pins should be wired straight through, i.e., 1 to 1, 2 to 2,
etc. This Input is to be used when combining the FPM 44 with
the bus outputs of other modules such as another FPM 44, an
FMI 14, etc. Bringing in bus signals allows the FPM 44’s mix
to add to the bus and be routed on to the next unit, and so on.
FLEX BUS OUT. Cable precautions covered in the
preceding paragraph apply to the outputs as well. The FLEX
BUS OUT of the FPM 44 may be connected to other Flex
mixer modules to complete a system. The receiving device
may be any Flex module with a FLEX BUS IN. See the Flex
Users Guide for additional details.
OPERATING / SERVICE MANUAL
QUICK START
This section provides for those with limited reading patience, and/or a high level of technical
expertise. It familiarizes you enough with the FPM 44 to allow operation without wading through
the rest of the text. You owe it to yourself to read at least this section to ensure reasonable
operation of the unit.
Begin with the INPUTS. They are to be connected to the terminal strips on the rear. Follow
the indications screened adjacent to the connectors. Balanced sources connect to the respective
“+” “–” GND and INPUTS. Connect all incoming shields to the nearest terminal. Unbalanced
inputs connect between the “+” terminal and GND.
Connect the AUX A/B OUTPUTS as required to the piece of equipment to be driven. Use the
unbalanced “+” outputs and the nearest GND terminal. Set the internal Pre/Post Aux Assign
switches as necessary (shipped “PRE”). The A and B MASTER OUTPUTS may drive balanced
or unbalanced sources. Unbalanced output uses only the “+”GND and terminals.
Connect the Flex bus cables to the appropriate source for the FLEX BUS IN and the next unit
for FLEX BUS OUT.
Set the GAIN switches on the front of the module so the desired level is obtainable from your
sources without illuminating the red OL (overload) LEDs on the channels. Set the A and B
LEVEL controls on each input for the desired level. The single AUX SEND level control routes
signal from each input channel to both AUX A and B OUTPUTS equally.
The MASTER A/B output level controls affect only the signal level at the direct outputs of
the unit. They have no affect on the main output added to the FLEX BUS OUT.
NEVER CONNECT ANYTHING EXCEPT AN APPROVED RANE POWER SUPPLY
TO THE RED THING THAT LOOKS LIKE A TELEPHONE JACK ON THE REAR OF
THE UNIT. This is an AC input and requires special attention if you do not have an operational
power supply exactly like the one that was originally packed with your unit. See the full explana-
tion of the power supply requirements elsewhere in this manual.
SYSTEM CONNECTION
When connecting the FPM 44 to other components in your
system for the first time, leave the power supply for last. This
gives you a chance to make mistakes and correct them
without damage to your fragile speakers, ears and nerves.
INPUTS. The four channel inputs on the FPM 44 are
balanced. They may also be used in an unbalanced configura-
tion. It is a good idea to use crimp-on spade connectors on the
ends of the cables connected to the Ins and Outs of the mixer.
Using stripped or tinned wire makes an unreliable union. Use
only shielded cable for inputs and outputs. This wire should
always be two-conductor plus shield, even for unbalanced
operation. Balanced inputs should be connected to both the
“+” and “–” for signal hot and return. The shield should be
tied to the nearest ground terminal on the strip. A neutral “pin
1” ground is not necessary. For unbalanced use, connect the
hot side of the input cable to “+” and signal return and shield
to a ground terminal. It is never necessary on any Rane Flex
module to ground the “–” Input in the unbalanced mode. It
won’t, however, hurt anything if you do. If the input is
coming from another piece of equipment in the signal path,
connect the shield only at the receiving end to help prevent
ground induced hum. If a microphone is being connected to
the unit, the shield may be connected to the case of the mic as
well as to the ground terminal on the unit.
OUTPUTS. The FPM 44’s MASTER A and B OUTPUTS
are balanced. Connect a shielded cable to the device(s) being
FPM 44
PROGRAM MIXER
FRONT PANEL DESCRIPTION
1. INPUT LEVEL CONTROLS. These concentric LEVEL controls set the level of
each input to be routed to the MASTER A/B OUTPUTS and Flex Bus. The inner
knob controls the level to be sent to A, the outer knob controls the signal applied
to B. Rotating the knobs together creates a “pan centered” effect. Leaving one off
and increasing the other emulates a full pan to one side.
2. GAIN SELECT SWITCH. These switches set the maximum gain of the input
stages in each of the four input sections. The 60dB mode is normally used for
most microphones. The 40dB mode would be used for high level microphones or
very weak line level inputs. The 10dB mode is suitable for line level inputs.
Phantom power is automatically defeated in the 10 dB position.
3. AUX SEND LEVEL CONTROL. There is only one of these for both the AUX
A and B sends. It controls the amount of channel input fed equally to the AUX
SEND A and B OUTPUTS. This control’s range is from off to 0dB, i.e., there is
no additional gain after the input stage. The Aux source is selected from either
pre- or post fade via internally located switches. See “4-In 4-Out Modification” to
dedicate any input to only one Aux Output.
4. OVERLOAD INDICATOR. This red LED comes on anytime the input ampli-
fier exceeds a level of 4dB below clipping.
5. MASTER A & B LEVEL CONTROLS. These concentric knobs set the signal
output level of the MASTER A output (inner knob) and the MASTER B output
(outer knob). Their range is from off to +10dB.
6. POWER INDICATOR. Indicates power, as indicated.
REAR PANEL DESCRIPTION
1. CHANNEL INPUT CONNECTORS. These terminal strip points are
used for either microphone or line level inputs. Connect balanced
sources to “+”, “–” and GND terminals. Unbalanced inputs connect to
“+” “–” and GND only. When an unbalanced input is used, the may be
left open or shorted to GND.
2. AUX SEND OUTPUTS. These are unbalanced terminals and non-
inverting with respect to the inputs. Ground return is picked up from the
GND connector located between the output terminals.
3. MASTER OUTPUTS. These “+” “–” and terminals supply a balanced
direct output of Master A/B. If balanced operation is your choice, use
both terminals. If an unbalanced line is required, use “+” and one of the
GNDs located nearby.
4. AUX PRE/POST ASSIGN SWITCHES. Slide switches located inside
the FPM 44. Used to select Aux source to be Pre- or Post- input LEVEL
A/B controls. See the Assembly Diagram. NOTE: AUX ASSIGN
SWITCHES SHIPPED IN “PRE” POSITION.
5. FLEX BUS IN CONNECTOR. This input accepts bus information
from other FLEX mixer modules, such as an FMI 14, FLM 82 or another
FPM 44. This input adds to the program material connected to the FPM
44. The combined results appear at the FLEX BUS OUT jack, as well as
the terminal strip outputs.
6. FLEX BUS OUT CONNECTOR. This seven-pin DIN connector
provides output to other mixer modules, such as another FPM 44, an
FMI 14 or an FMM 42. Signals present here include the AUX of both
this FPM 44 as well as any AUX sends generated by other FLEX mixer
modules connected to the FLEX BUS IN above. The Master A and B
signals are also available, which are the sum of this module and any
other modules connected to the BUS IN.
7. POWER INPUT CONNECTOR. Use only a model RS 1, FRS 8, RAP
10, VC 18 or other remote AC power supply approved by Rane. The
FPM 44 is supplied with a remote power supply suitable for connection
to this input jack.
8. CHASSIS GROUND POINT. A #6-32 ground screw is used for chassis grounding purposes. See the CHASSIS
GROUNDING note on the last page for details.
9. GROUND LIFT SWITCH. On this unit, the GROUND LIFT switch is located along the bottom edge (vertical mounting),
or along the right-hand side (horizontal mounting). Since the switch’s location prevents easy use once installed, it is
suggested you decide which position is required, and set it before installation. The LIFT position is when the switch is slid
toward the rear of the unit.This switch provides the ability to separate chassis ground and signal ground. Normally, this
switch should be in the lift (rearmost) position. In some circumstances it may be necessary to move it to the opposite
position to eliminate stubborn hum and buzz problems. If you are tempted to try moving this switch with your power
amplifiers turned on or turned up, don't be. Always turn your amplifier levels down before changing your grounds around
and then bring them up slowly. Put a speaker re-coner out of work today!
10. MASTER PHANTOM POWER SWITCH & LIGHT. On this unit, the MASTER PHANTOM POWER switch is located
along the top edge (vertical mounting), or along the left-hand side (horizontal mounting). Since the switch’s location
prevents easy use once installed, it is suggested you decide if Phantom Power is required, and set it before installation. The
ON position lights the LED when the switch is positioned to the rear of the unit. Individual internal PHANTOM POWER
switches allow Phantom to be defeated on selected channels. See the Assembly Diagram. For line-level applications,
phantom power automatically dis-engages in the GAIN = 10dB position.
Product specificaties
| Merk: | Rane |
| Categorie: | Mengpaneel |
| Model: | FPM 44 |
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