Rane HC6S User manual

HC6S
HEADPHONE CONSOLE
CONTENTS (in order of appearance)
Important Safety Instructions
HC6S Manual
HC6S Data Sheet
Sound System Interconnection
Warranty
Declaration ofConformity
22340
MONO
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PHONES
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PHONES
SIG
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LEVEL
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LEVEL
SIG
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LEVEL
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LEVEL
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LEVEL
SIG
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STEREO
LEVEL
MASTER
HC6S
HEADPHONE
CONSOLE
POWER

ATTENTION: RISQUE DE CHOCS ELECTRIQUE - NE PAS OUVRIR
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION
To reduce the risk of electrical shock, do not open the unit. No user
serviceable parts inside. Refer servicing to qualied service personnel.
e symbols shown below are internationally accepted symbols
that warn of potential hazards with electrical products.
is symbol indicates that a dangerous voltage
constituting a risk of electric shock is present
within this unit.
is symbol indicates that there are important
operating and maintenance instructions in the
literature accompanying this unit.
WARNING
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 ampliers) 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. e wide blade or third prong is provided for your safety. If the provided plug
does not t 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 specied by Rane.
12. Use only with the cart, stand, tripod, bracket, or table specied 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 qualied 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. e 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. is 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
ampliers) may cause an unacceptable amount of hum or may generate too much heat and degrade the performance of this apparatus.
19. is 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 re or electric shock, do not expose this apparatus to rain or moisture. Apparatus shall not be exposed to dripping
or splashing and no objects lled with liquids, such as vases, shall be placed on the apparatus.
NOTE: is 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.
ese limits are designed to provide reasonable protection against harmful interference in a residential installation. is 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 o 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 dierent from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Changes or modications not expressly approved by Rane Corporation could void the user's authority to operate the equipment.
CAN ICES-3 (B)/NMB-3(B)
WARNING: is product may contain chemicals known to the State of California to cause cancer, or birth defects or other reproductive harm.

ATTENTION: RISQUE DE CHOCS ELECTRIQUE - NE PAS OUVRIR
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION
An d’éviter tout risque de choc électrique, ne pas ouvrir l’appareil.
Aucune pièce ne peut être changée par l’utilisateur. Contactez un
SAV qualié 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.
ATTENTION
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 chion doux.
7. N’obstruer aucune évacuation d’air. Eectuez 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 modier 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 l, 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 spéciés 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 an 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 qualié pour tout service après vente. Celui-ci est nécessaire dans n’importe quel cas où l’appareil est abimé : si le
cordon ou les ches 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 che 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 susant pour la ventilation. Vous pouvez disposer d’autres appareils au-dessus ou en-dessous de celui-
ci, mais certains (tels que de gros amplicateurs) 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 xation et sécurité.
ATTENTION: an 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,…).
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 diérent de celui sur lequel le récepteur est branché.
• Consulter un revendeur ou un technicien radio / TV expérimenté.
ATTENTION: Les changements ou modications 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.

Manual-1
HC6S
HEADPHONE CONSOLE
OPERATORS MANUAL
QUICK START
Okay, you’re in a hurry. Well this section’s just for you. It explains enough of the HC6S’s workings to keep you out of trouble. It al-
lows operation without reading the whole manual. Please read at least this section to ensure reasonable operation of the unit.
e HC6S operates from either a common stereo or mono source, or from individual stereo sources. For a common stereo source,
plug the left and right input plugs into the respective MASTER INPUTS jacks. e Inputs accept balanced or unbalanced sources.
Just plug them in. is source is now routed to each of the six input channels to drive all of the Outputs.
For a single mono source feeding all headphones, connect it to one of the MASTER INPUT jacks and engage the STEREO/
MONO switch. Set the overall input level with the MASTER LEVEL, and use the channel LEVEL controls for individual head-
phones. ese Inputs may also be converted to balanced mono inputs by moving internal jumpers. See page Manual-4.
Use the separate stereo IN jacks when driving a pair of headphones with dierent program material than what is on the
MASTER INPUTS. Connecting a plug into these jacks automatically disconnects that channel from the Master Input program
material.
HC6S CONNECTION
When rst connecting the HC6S to other components, leave the
power o. is gives you a chance to make mistakes and correct
them without damage.
1. With the power switch in the o position, plug the power line
cord into the rear panel.
2. Plug the outputs from a mono or stereo source into the
MASTER INPUTS. For unbalanced systems use a standard
¼" TS cable. For balanced operation, use a stereo ¼" TRS
connector with pin 2 (+) wired to the Tip; pin 3 (–) wired
to the Ring; and pin 1 (ground) wired to the Sleeve. Please
consult the RaneNote, “Sound System Interconnection”
(enclosed) for additional wiring arrangements.
3. When rack mounting the HC6S, you may wish to permanent-
ly wire the rear headphone Outputs to remote jack locations,
such as in walls of a studio or other rooms. Use the front panel
Outputs for local or control room monitoring.
4. You might also consider wiring the six direct stereo INs
permanently to a patch bay or monitor mixer, but only if you
do not plan to use the MASTER INPUTS as well. Whenever
a plug is inserted into any individual stereo IN, the MASTER
INPUTS are bypassed for that particular channel. So for
maximum exibility, we suggest that only the MASTER
INPUTs be permanently wired and that the direct stereo INs
be patched as necessary.
WEAR PARTS: is product contains no wear parts.
MONO
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PHONES
PHONES
PHONES
PHONES
PHONES
PHONES
SIG
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LEVEL
LEVEL
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SIG
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STEREO
LEVEL
MASTER
HC6S
HEADPHONE
CONSOLE
POWER

Manual-2
FRONT PANEL DESCRIPTION
1Front panel PHONES Output jacks are in parallel with the rear panel stereo OUT jacks. Use them to monitor any of the six
channels for level or mix adjustments, or for easy access when the HC6S is rack mounted. Plugging into these front jacks does not
disengage the rear Outputs.
2SIGnal present indicators light (green) with any input signal above -20 dBu. See OPERATING INSTRUCTIONS (on page
Manual-4) for details.
3Individual LEVEL controls set the volume for each set of headphones, regardless of whether they are driven from the MASTER
INPUTS or from the direct stereo INs. When using the front and rear panel headphone jacks together, this control varies the level
of each headphone simultaneously.
4MONO / STEREO switch converts the MASTER INPUTS from stereo to mono so that a single input cable drives both sides of
the headphones.
5MASTER LEVEL sets the volume simultaneously to all headphones driven from the MASTER INPUTS. is does not alter the
volume on any headphones driven from the direct stereo INs.
6POWER switch. Your basic, straightforward power switch. When the yellow LED is lit, the HC6S is ready to go.
MONO
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PHONES
PHONES
PHONES
PHONES
PHONES
PHONES
SIG
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LEVEL
LEVEL
SIG
2
LEVEL
SIG
3
LEVEL
SIG
5
LEVEL
SIG
6
LEVEL
SIG
4
STEREO
LEVEL
MASTER
HC6S
HEADPHONE
CONSOLE
POWER
1 2 3 4 5 6

Manual-3
REAR PANEL DESCRIPTION
Figure 1. Dual Mono to Stereo TRS Wye Cable.
See 2above.
1MASTER INPUTS are automatic balanced/unbalanced Inputs, which accept either a ¼" TRS (tip-ring-sleeve) plug for balanced
operation, or a ¼" TS (tip-sleeve) plug for mono operation. You do nothing dierent when hooking up balanced or unbalanced
lines. e HC6S is one smart dude. He knows what you are doing so you better watch out.
2Direct Stereo INs allow each stage to be driven separately, from any source. Whenever a plug is inserted into one of these Inputs,
the MASTER INPUTS are disconnected from that stage (and only that stage). I told you the dude be smart!
ese are ¼" TRS (tip-ring-sleeve) Input jacks, each accepting both left and right channels. If you plug a regular TS (tip-sleeve)
into this jack, you will only connect the left channel.
To feed this input with an unbalanced mono signal, use a TRS plug and wire the tip and ring together.
To build a cable that will combine separate left and right cables into a single ¼" TRS, follow the diagram below, connecting all
shields. RCA connectors can be substituted for the ¼" connectors.
To use balanced mono sources, set the internal jumpers as shown on page Manual-4.
3Stereo Headphone OUTs allow any headphone with an impedance from 32 to 600 Ω. en kick back and enjoy. (Lower and
higher impedance headphones may be used; they just won’t be very loud.)
4Universal Voltage Input: via a miniature IEC 60320 C6 appliance inlet. is mates with an IEC 60320 C5 line cord (USA
domestic). Do not lift the ground connection! e wide voltage range of this input allows it to be powered almost anywhere in the
world.
RIGHT
LEFT
RIGHT
SHIELD
T=LEFT
R=RING
S=SHIELD
LEFT
HC6S
RANE CORP.
Balanced
Tip = Positive (+), Ring = Negative (–),
Sleeve = Shield
Unbalanced Line Inputs: Tip = Left, Ring = Right, Sleeve = Ground.
All audio jacks are Class 2 wiring.
RIGHT
LEFT
IN
IN
IN
IN
IN
IN
OUT
OUT
OUT
OUT
OUT
OUT
MASTER
INPUTS
6
5
4
3
2
1
100-240 V
50/60 Hz 12 WATTS
COMMERCIAL AUDIO
EQUIPMENT 24TJ
R
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. CAN ICES-3 (B)/NMB-3(B)
1 2 33

Manual-4
OPERATING INSTRUCTIONS
MASTER STEREO INPUTS
Apply a source program to the MASTER INPUTS and turn
up the MASTER LEVEL until the green signal-present LEDs
light up. Further adjustment of this control raises or lowers the
volume level in all headphones simultaneously, i.e., all those be-
ing driven from the MASTER INPUTS. e MASTER LEVEL
does not aect channels driven from the direct stereo INs.
INDIVIDUAL LEVEL CONTROLS
ese adjust the level in each set of headphones to the desired
loudness. When using a direct stereo IN, only this control aects
the volume in the headset—the MASTER LEVEL is bypassed.
DIRECT STEREO INPUTS
ese allow completely independent operation of up to six dier-
ent stereo programs. ese Inputs are stereo only, and wired to
accept unbalanced signals, using the tip=left, ring=right conven-
tion. Unbalanced mono sources require using a stereo ¼" TRS
plug and shorting the tip and ring together.
Any channel not directly driven is automatically driven from
the MASTER INPUTS.
When using balanced mono sources, internal jumpers must
be moved as in Figure 2 below. Jumpers are wired at the factory
for stereo. Jumpers must be moved for balanced mono operation.
Each jack is jumpered separate, so any combination of input
types is possible within a single HC6S. SHOCK HAZARD
WAR NING: Any service requiring access to the inside of the
unit (including changing jumpers and switch settings) should be
done by qualied service personnel.
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5000 USA TEL [phone] FAX [phone] WEB rane.com
SIGNAL-PRESENT LEDS
ese light up with any signal input above -20 dBu. ey are
located in the signal path after the MASTER INPUTS and
before the individual LEVEL controls. is means that adjusting
the MASTER LEVEL aects the SIG LEDs, while adjusting the
individual LEVEL controls does not. When using a direct stereo
IN, the LED responds to that Input only. is means these
indicators aid in quickly identifying which stages are driven by
the MASTER INPUTS and which by the direct stereo INs:
Simply turn the MASTER LEVEL up and down and observe
which LEDs respond. ese are the channels being driven by the
MASTER INPUTS.
STEREO / MONO SWITCH
is serves the basic function of allowing both Left and Right
channels of all headphones to be driven from a mono MASTER
INPUT. In some instances a stereo program can be confusing
for live monitoring purposes, due to extreme separation and the
increased diculty in perceiving several dierent volume levels.
Using the MONO / STEREO switch converts the system to
mono operation to better suit these particular monitoring needs.
FRONT PANEL OUTPUT JACKS
ese jacks parallel the rear OUTs, providing easy access patch-
ing into any channel for cueing or additional monitoring. When
using more than six sets of headphones at once, keep two things
in mind:
1. ere are still only six LEVEL controls. Additional headsets
must double up with those already in use. To avoid intolerable
volume dierences to two listeners on the same channel of the
HC6S, use headphones of the same make and model.
2. e HC6S has limited power output. e more headphones
you connect to it, the less power there is available to each
set, and the more strain on the HC6S. Blasting 10 or 12 sets
of low impedance headphones is asking too much from the
HC6S. To lessen the power drain from the HC6S, use only
high impedance (100 Ω or greater) headphones when parallel-
ing.
Figure 2. Stereo Unbalanced / Mono Balanced Jumpers
Shipped as Stereo Unbalanced.
To channels 2 - 6

HC6S
HEADPHONE CONSOLE
Data Sheet-1
Features
• Six Stereo Headphone Ampliers
• Master Balanced/Unbalanced Stereo Inputs
• Six Unbalanced Stereo Inputs
• Six Output Level Controls
• Master Input Level Controls
• Stereo/Mono Switch
• Front and Rear Output Jacks
• Internal Universal Power Supply (100-240 VAC)
General Description
e Rane HC6S is one of the most indispensable products in
today’s audio industry. Featuring six stereo headphone ampliers,
the HC6S performs a number of necessary tasks, not all of which
are headphone related.
e HC6S provides Master stereo Inputs which can be used
to drive any or all of the 6 stereo headphone ampliers. A Mono
switch is provided on the front panel to drive both channels of
all 6 ampliers from a common mono source. Six individual
unbalanced stereo Inputs are available to drive any individual
amplier from a separate stereo source. ese Inputs can be
converted to mono balanced Inputs through internal jumpers
if required. Outputs for all six channels are provided on the
front panel and on the rear panel so that headphones may be
connected on either side based on the requirements of a given
installation. Two pairs of headphones may be driven from each
channel, one pair connected to the front and one to the rear.
e HC6S is capable of delivering up to 500 milliwatts into
headphones with rated impedances between 32-600 ohms. e
precise amount of power depends on the exact impedance of
the headphone in use and the number of headphones connected
to the unit. Under most conditions, the HC6S produces sound
pressure levels in excess of 120 dB. is level is more than ad-
equate for most listeners.
DATA SHEET

Data Sheet-2
HC6S
HEADPHONE CONSOLE
HC6S Specifications
Parameter Specication Limit Units Conditions/Comments
Power Output: 1 Channel Driven Max average rms power, 20-20 kHz
500 5% mW 32  headphones
500 5% mW 50  headphones
500 5% mW 100  headphones
300 5% mW 200  headphones
200 5% mW 300  headphones
120 5% mW 600  headphones
6 Channels Driven
250 5% mW 32  headphones
250 5% mW 50  headphones
250 5% mW 100  headphones
200 5% mW 200  headphones
100 5% mW 300  headphones
120 5% mW 600  headphones
(Note: Above values produce loudness levels of 120 dB in most headphones)
Headphone Impedance Range 32-600 10% For best performance
I np ut s: Ty p e Active Balanced/Unbalanced
………Connectors ¼" TRS
………Impedance 20k 1% 
………Maximum Level +20 1dBu
Outputs: Type (6) Stereo Ampliers (6) Outs front + (6) Outs rear
………Connectors ¼" TRS Tip = Left, Ring = Right
………Impedance 0.25 typ. Headphone Outputs
Overall Gain Range O to +20 1 dB
LED reshold: Signal Present -20 1dBu Input Level
Ultrasonic Filter 20 kHz, 6 dB/octave 5% Hz Linear phase
Frequency Response 20-20 kHz +0/-3 dB
THD+Noise @ 1 kHz 0.002 .002 % 150 mW / 200 , 1 channel
THD+Noise 20-20 kHz 0.02 .01 % 150 mW / 200 , 1 channel
IM Distortion (SMPTE) 0.03 .01 % 60 Hz / 7 kHz, 4:1, 150 mW / 200 
Signal-to-Noise Ratio -96 2dB re 150 mW / 200 , A-weighted
Mean Time Between Failure 20,500 Hrs Mil Hdbk-217D, Section V
Universal Line Voltage 100-240 VAC, 50/60 Hz VAC 12W
Maximum Power 12 W
Unit: Conformity CE, FCC, UL
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 (1.9 kg)
Shipping: Size 4.25" x 20.3" x 13.75" (11 cm x 52 cm x 35 cm)
………Weight 9 lb (4.1 kg)
Note: 0 dBu = 0.775 Vrms

HC6S
HEADPHONE CONSOLE
Data Sheet-3
Block Diagram
Application Information
At rst glance the HC6S looks like any other headphone dis-
tribution amplier. Indeed, it performs superbly all the basic
functions of such an instrument. Two balanced Inputs provide
a master stereo signal to six stereo headphone ampliers, with
individual stereo Level controls. e Master Level control allows
adjustment of the main stereo Input level for proper matching
to any source. In addition, a Stereo/Mono switch converts the
stereo Inputs to mono operation when required.
However, several unique features of the HC6S allow perfor-
mance well beyond the limits of standard headphone distribution
ampliers. Besides the stereo Master Inputs, the HC6S provides
separate stereo Inputs for each of the six headphone ampliers.
Whenever a signal is plugged into the individual stereo Input,
the Master stereo signal automatically disconnects from that
amplier, allowing the remaining stages to be fed either from
the Master stereo Inputs or likewise from another separate input.
is feature opens new applications for the HC6S, allowing
operation as either a standard distribution amplier or as six
separate ampliers, or any combination of both. By connecting
the six Inputs to a monitor mixing console, or to sub-master
sends, or even to a patch bay, the HC6S converts any size studio
to a custom headphone monitor mixing system. You now can
give each vocalist more of their voice for increased clarity; or
add more kick drum to the bassist (without giving everyone else
a headache); or let the producer monitor the straight mix all at
the same time. is feature proves equally valuable to broadcast
facilities, video production studios, language labs and other
educational facilities.
e HC6S provides Output jacks on both the front and
rear panels. e front jacks (paralleled with the rear jacks) add
considerable exibility and ease of operation. is feature allows
permanent rack-mounting while maintaining instant access to
any of the Outputs. Cueing becomes a snap; a must for monitor
mix adjustments, and allows additional monitoring or routing
without the use of a patch bay. Or, for language labs and other
demo purposes, this feature means up to 12 headphones may be
driven simultaneously.
e HC6S makes a valuable tool for any band wanting to
practice anywhere, anytime, at any volume, without disturbing
a soul. By connecting the HC6S directly to the mixer outputs
and using headphones instead of amps and speakers, the entire
band can perform at ear shattering levels, with no feedback, with
amazingly cleaner, clearer sound. e HC6S is a very cost-eec-
tive alternative to renting a practice studio for every rehearsal.
SIGNAL
SENSE SIGNAL PRESENT
FRONT
REAR
HEADPHONE
JACKS 1
TIP
RING
TIP
RING
LEFT
RIGHT
+28 dB
+28 dB
HEADPHONE
LEVEL
TO STAGES 2-6
*
IN 1
STEREO*
RIGHT
MASTER
INPUT
0 dB
0 dB
LEFT
MASTER
INPUT 0 dB
0 dB
MASTER
LEVEL
MONO
CONSULT MANUAL FOR MONO BALANCED SOURCES

Data Sheet-4
HC6S
HEADPHONE CONSOLE
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5000 USA TEL [phone] FAX [phone] WEB rane.com
Architectural Specifications
e headphone console shall have six (6) stereo inputs and two
(2) master inputs driving six (6) stereo ampliers wired to six (6)
outputs on the front panel, in parallel with six (6) outputs on the
rear chassis. Sucient output power shall be provided to drive
most stereo headphones to levels of 120 dB SPL.
Automatic switching shall be included such that driving any
of the separate inputs disconnects that one channel from the
main stereo driving bus internally, allowing separate program
material to be processed through the driven channel.
Input level controls shall be provided on all inputs with a
gain range from o to +28 dB. A stereo/mono switch shall be
located on the front panel.
e master inputs shall be active balanced/unbalanced de-
signs terminated with ¼" TRS (tip-ring-sleeve) connectors. e
outputs shall be ¼" TRS connectors wired tip-left, ring-right,
sleeve-common.
Ultrasonic lters shall be built-in, and LEDs provided to
indicate Signal Present conditions on all amplier inputs.
e 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. e unit shall be UL and cUL listed. e
unit shall be entirely constructed from cold-rolled steel.
e unit shall be a Rane Corporation Model HC6S.
Rear Panel
All features & specications subject to change without notice. 9-2015
Headphone Sensitivity
Headphone manufacturers specify a “sensitivity” rating for their
products that is very similar to loudspeaker sensitivity ratings.
For loudspeakers, the standard is to apply 1 watt and then mea-
sure the sound pressure level (SPL) at a distance of 1 meter. For
headphones, the standard is to apply 1 milliwatt (1 mW = 1/1000
of a watt) and then measure the sound pressure level at the ear-
piece (using a dummy head with built-in microphones). Sensitiv-
ity is then stated as the number of dB of actual sound level (SPL)
produced by the headphones with 1 mW of input; headphone
specications commonly refer to this by the misleading term
“dB/mW.” What they really mean is dB SPL for 1 mW input.
ink about these sensitivity denitions a moment: head-
phone sensitivity is rated using 1/1000 of a watt; loudspeaker
sensitivity is rated using 1 watt. So a quick rule-of-thumb is that
you are going to need about 1/1000 as much power to drive your
headphones as to drive your loudspeakers since both of their sen-
sitivity ratings are similar (around 90-110 dB SPL). For example,
if your hi- amp is rated at 65 watts, then you would need only
65 mW to drive comparable headphones. (Actually you need less
than 65 mW since most people don’t listen to their loudspeak-
ers at 1 meter.) And this is exactly what you nd in hi- receiv-
ers—their headphone jacks typically provide only 10-20 mW of
output power.
Take another moment and think about all those phones and
MP3 players. ey sound great, and loud. Why, you can even
hear them ten feet away as the teenage skateboarder that ran over
your foot escapes.
Power output? About 12 mW.

Interconnection-1
Introduction
is 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 tech-
nology 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 equip-
ment. 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.)
Rane Technical Staff
RaneNote 110
© 1985, 1995, 2006, 2007, 2011, 2015 Rane Corporation
Sound System
Interconnection
• Cause & prevention of ground loops
• Interfacing balanced & unbalanced
• Proper pin connections and wiring
• Chassis ground vs. signal ground
• Ground lift switches
RaneNote
SOUND SYSTEM INTERCONNECTION

Interconnection-2
Ground Loops
Almost all cases of noise can be traced directly to ground
loops, grounding or lack thereof. It is important to under-
stand the mechanism that causes grounding noise in order
to effectively eliminate it. Each component of a sound
system produces its own ground internally. is 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. ese 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). e mere presence of this
ground loop current is no cause for alarm if your system
uses properly implemented and completely balanced inter-
connects, 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 an-
noying is when the audio signal is affected. Unfortunately,
many manufacturers of balanced audio equipment design
the internal grounding system improperly, thus creating bal-
anced equipment that is not immune to the cabling’s noise
currents. is is one reason for the bad reputation some-
times given to balanced interconnect.
A second reason for balanced interconnect’s bad reputa-
tion comes from those who think connecting unbalanced
equipment into “superior” balanced equipment should
improve things. Sorry. Balanced interconnect is not compat-
ible with unbalanced. e 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. e rest of this note shows several
recommended implementations for all of these interconnec-
tion schemes.
e potential or voltage which pushes these noise cur-
rents through the circuit is developed between the indepen-
dent grounds of the two or more units in the system. e
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 thou-
sandths of an ohm. So trying to measure this stuff won’t
necessarily help you. We just thought we’d warn you.
The Absolute Best Right Way To Do It
e 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).
e 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 fre-
quency 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
Figure 1a. The right way to do it.
+
–
G
T
R
S
RED
BLACK 2-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
SHIELD
RED
BLACK
SHIELD
RED
BLACK
SHIELD
RED
BLACK
SHIELD
RED
BLACK
SHIELD
RED
BLACK
SHIELD
CHASSIS
GROUND CHASSIS GROUND SIGNAL GROUND
S
R
T
G
–
+
BALANCED OUTPUTS BALANCED INPUTS
MALE FEMALEMALE FEMALE
1
2
3
C
1
3
2 2
C3
1
2
1
3

Interconnection-3
Standards Committee (SC-05-05) working on this subject.
He tirelessly tours the world giving seminars and dispens-
ing 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 sever-
al 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. is 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 ar-
gument about its validity. ere isn’t. is 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. at’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 equip-
ment in use that was made before proper grounding prac-
tices were in effect.
Unbalanced equipment is another problem: it is ever-
where, 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.
e 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.
Figure 1b. Recommmended practice.
CASE
(+)
(–)
COMMON (WRONG) PRACTICE RECOMMENDED PRACTICE
(–)
(+)
OPTIONAL
CASE
1
2
33
1
2
CHASSIS
GROUND SIGNAL GROUND CHASSIS GROUND CHASSIS GROUND
The Next Best Right Way To Do It
e quickest, quietest and most foolproof method to con-
nect 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.
e 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.
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 un-
balanced 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. e 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 theo-
retically 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 prob-
lems involves disconnecting one end of the shield, even
though one can not buy off-the-shelf cables with the shield
disconnected at one end. e 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 fre-
quency (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
Figure 2. Transformer Isolation
NOT CONNECTED
AT CHASSIS
(PLASTIC JACK)
EARTH GROUNDED
METAL ENCLOSURE
CHASSIS IS
GROUNDED TO PIN 1
1/4”
TIP-SLEEVE
CASE LUG MAY
CONNECT TO
CHASSIS
(NOT REQUIRED)
TRANSFORMER
UNBALANCED BALANCED
3
1
2

Interconnection-4
a small capacitor (0.1 or 0.01 microfarad ceramic disc) con-
nected from the lifted end of the shield to the chassis. (is
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.)
e fact that many modern day installers still follow this
one-end-only rule with consistent success indicates this
and other acceptable solutions to 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 in-
ternally grounded properly. Here is where special test cable
assemblies, shown in Figure 3, really come in handy. ese
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. e 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 con-
nection to find out if special cable assemblies are needed at
more than one point.
See Figure 4 for suggested cable assemblies for your par-
ticular 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.)
en 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.
e 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. (is 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 buzzing, there is an
incompatibility somewhere in the system’s grounding con-
figuration. 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 transform-
ers 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.
Figure 3. Test cable
TEST
WIRE
GROUND CLIP
FEMALE MALE
1
C
2
3
1
2
3
RED
BLACK
SHIELD
RED
BLACK
SHIELD
2-CONDUCTOR SHIELDED CABLE

Interconnection-5
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. is 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 bal-
anced or unbalanced input, depending if a TS or TRS stan-
dard 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 bal-
anced connections.
• Use special cable assemblies when unbalanced lines can-
not 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 bal-
anced 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 intercon-
nect 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 Digi-
tal Signal Processing Systems,” presented at the 97th AES
Convention of Audio Engineering Society in San Fran-
cisco, 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. e entire June 1995 AES Journal, Vol. 43, No. 6, available
$6 members, $11 nonmembers from the Audio Engineer-
ing 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 (Wi-
ley, 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 eir Instrumentation,” e Pro-
ceedings 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-6
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.
To Input
MALE
BALANCED XLR
¼" BALANCED
TRS (TIP-RING-SLEEVE)
¼" OR 3.5mm
UNBALANCED
TS (TIP-SLEEVE)
UNBALANCED RCA BALANCED
EUROBLOCK
From Output
1 2 3 4
6521
10987
121187
12112221
16 23
23
151413
20
2424
191817
B B
BB
AA
AA
A A
FEMALE BALANCED XLR
(NOT A TRANSFORMER,
NOR A CROSS-COUPLED
OUTPUT STAGE)
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)
CABLE
CONNECTORS
BALANCED
EUROBLOCK
+to +
– to –
SHIELD ONLY
TO XLR PIN 1
+to +
– to –
SHIELD NC
+to +
– to –
SHIELD NC
+to +
– to –
SHIELD ONLY
TO EUROBLOCK
+to +
– to –
SHIELD NC
+to +
– to –
SHIELD ONLY
TO TRS SLEEVE
+to +
– to –
GROUND to GROUND
+to +
– to –
GROUND to GROUND

Interconnection-7
10
9S=SHIELD
R=NC
T=RED
S=SHIELD
R=NC
T=RED
8
7S=SHIELD
R=BLACK
T=RED
S=SHIELD
R=BLACK
T=RED
MALE
6
53=BLACK
BLACK
4
33=NC
2=RED
1=SHIELD
SHIELD
SHIELD
2
FEMALE
13=BLACK
2=RED
1=SHIELD MALE
B
B
B
B
S=NC
R=BLACK
T=RED
S=SHIELD
R=BLACK
T=RED
11
CROSS-COUPLED OUTPUT ONLY: CONNECT PIN 1 TO PIN 3 AT THIS END
AND SET GROUND LIFT SWITCH TO ‘GROUNDED’ (IF PRESENT).
CROSS-COUPLED OUTPUT ONLY: CONNECT PIN 1 TO PIN 3 AT THIS END
AND SET GROUND LIFT SWITCH TO ‘GROUNDED’ (IF PRESENT).
CROSS-COUPLED OUTPUT ONLY: CONNECT RING TO SLEEVE
AT THIS END AND SET GROUND LIFT SWITCH TO‘GROUNDED’ (IF PRESENT).
1
3
2
3
1
C
2
3
1
C
2
3
1
C
2
3
1
C
2
3
1
C
2
3
1
C
2
1
3
2
To Input
From Output
RED
BLACK
RED
BLACK
SHIELD
RED
BLACK
BLACK
FEMALE
FEMALE
3=BLACK
2=RED
1=SHIELD RED
RED
SHIELD
RED
SHIELD
SHIELD
RED
RED
BLACK
N/C
N/C
N/C
RED
BLACK
RED
SHIELD N/C
BLACK
RED
BLACK
RED
3=NC
2=RED
1=SHIELD
2=RED
1=SHIELD
3=BLACK
2=RED
1=NC
3=BLACK
2=RED
1=NC
3=BLACK
2=RED
1=SHIELD
SHIELD
FEMALE
FEMALE
FEMALE
RED
SHIELD
RED
BLACK
SHIELD
SHIELD
RED
BLACK
RED
BLACK
BLACK
RED
RED
SHIELD
RED
SHIELD
RED
SHIELD
RED
SHIELD
RED
BLACK
2-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
1-CONDUCTOR SHIELDED CABLE
1-CONDUCTOR SHIELDED CABLE
1-CONDUCTOR SHIELDED CABLE
1-CONDUCTOR SHIELDED CABLE
S=NC
R=BLACK
T=RED
S=SHIELD
T=RED
S=SHIELD
T=RED
S=SHIELD
T=RED
S=BLACK
T=RED
S=BLACK
T=RED
S=BLACK
T=RED
S=BLACK
T=RED
12 S=SHIELD
R=BLACK
T=RED
S=BLACK
T=RED
CROSS-COUPLED OUTPUT ONLY: CONNECT RING TO SLEEVE
AT THIS END AND SET GROUND LIFT SWITCH TO‘GROUNDED’ (IF PRESENT).
BLACK
SHIELD
RED
BLACK
RED
2-CONDUCTOR SHIELDED CABLE

Interconnection-8 DOC 102907
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5000 USA TEL [phone] FAX [phone] WEB rane.com
22
21
MALE
(ANY UNBALANCED CONNECTOR)
(ANY UNBALANCED CONNECTOR)
(CHECK: NO STANDARD POLARITY ON EUROBLOCKS)
(CHECK: NO STANDARD POLARITY ON EUROBLOCKS)
20
19
18
17
16
15
MALE
A
14
13
MALE
A
A
A
A
A
1
3
2
1
2
3
1
2
3
S=SHIELD
R=BLACK
T=RED
S=SHIELD
R=BLACK
T=RED
S=SHIELD
R=BLACK
T=RED
S=SHIELD
R=BLACK
T=RED
S=SHIELD
R=BLACK
T=RED
23
S=BLACK
T=RED
S=BLACK
T=RED
S=BLACK
T=RED
S=BLACK
T=RED
S=SHIELD
T=RED
S=SHIELD
T=RED
S=SHIELD
T=RED
S=SHIELD
T=RED
S=SHIELD
T=RED
S=SHIELD
T=RED
S=SHIELD
T=RED
S=SHIELD
T=RED
3=BLACK
2=RED
1=SHIELD
3=BLACK
2=RED
1=SHIELD
3=BLACK
2=RED
1=SHIELD
SHIELD
BLACK
SHIELD
RED
BLACK
SHIELD
RED
BLACK
RED
SHIELD
SHIELD
BLACK
RED
SHIELD
BLACK
RED
SHIELD
BLACK
RED
SHIELD
BLACK
RED
SHIELD
BLACK
RED
SHIELD
RED
SHIELD
RED
SHIELD
RED
SHIELD
RED
BLACK
RED
N/C
N/C
BLACK
RED
BLACK
RED
BLACK
RED
RED
SHIELD
RED
SHIELD
RED
SHIELD
RED
24 S=BLACK
T=RED
CROSS-COUPLED OUTPUT ONLY: CONNECT BLACK TO SHIELD AT THIS END
AND SET GROUND LIFT SWITCH TO ‘GROUNDED’ (IF PRESENT).
BLACK
SHIELD
RED
BLACK
RED
2-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
S=BLACK
T=RED
SHIELD
BLACK
RED
BLACK
RED 2-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
1-CONDUCTOR SHIELDED CABLE
1-CONDUCTOR SHIELDED CABLE
1-CONDUCTOR SHIELDED CABLE
1-CONDUCTOR SHIELDED CABLE
–
+
–
+
To Input
From Output