Rane CP 52S User manual

CP52S
COMMERCIAL PROCESSOR
INSTALLATION GUIDE
LEVEL
4k
630
1.6k
40
100
250
PROGRAM
SELECT
OL
SIG
LIMIT
10k
PRIORITY
LIMIT
THRESHOLD
LIMIT
LEVEL
LINE 1
LINE 2
LINE 3
ACTIVE
INPUT
TRIM
OL
LINE
MIC
ON
OFF
DETECT
THRESHOLD
DUCKER
DEPTH
CP52S
COMMERCIAL
PROCESSOR
POWER
ZONE
EQ
PROGRAM INPUT LEVELS
PAGING
LIMIT
THRESHOLD
REMOTE
L1
P
L2
L3
+60+30
12
•
6
•
•
•
6
12
0
+
+8
–3
+20–20
+16
+8
–3
+20–20
+16
10
0
2
4
8
6
2
8
10
0
4
6
10
0
4
6
10
0
4
6
10
0
4
6
10
0
2
4
8
6
PROGRAM SELECT
LEVEL
82
100
4 6
L1
L3L2
P
SCP1S Equalizer Security CoverZR1 Program and
Level Remote
Contents
Important Safety Instructions 2
Quick Start 4
General Description 5
CP52S Front Panel 6
CP52S Rear Panel 7
CP52S Connections 8
ZR1 Remote 8
Recommended Calibration Procedure 10
Example System: Restaurant and Lounge 14
15
16
17
25
29
31
Example System: Cardio Fitness Room
Technical Support
Sound System Interconnection
Block Diagram
Limited Domestic Warranty
Declaration ofConformity
The schematic is downloadable at rane.com/cp52s.html 22274

2
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 drip-
ping 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.

3
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 pos-
sède 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 ap-
pareil 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.

4
CP52S
COMMERCIAL PROCESSOR
Quick Start
If you were the type that cheated on school book reports by just
skimming through the reading assignments, then this section is
for you! It gives you not quite enough information to really know
what you’re doing. But, if you follow the recommended set up
procedure, you should get at least a “B.”
Keep the ampliers and the CP52S turned o until all con-
nections are made.
PAGE INPUT
Connect the PAGING INPUT to the Euroblock on the rear
panel. On the front, select the appropriate MIC or LINE switch
position. en set the gain with the INPUT TRIM control,
then set the PAGING DETECT THRESHOLD and nally the
PAGING LEVEL. MIC PHANTOM POWER, HIGH/LOW
CUT FILTER and PAGE LEVEL TRACKS ZONE LEVEL
switches are located on the rear panel.
PROGRAM INPUTS
Connect line level program sources to the RCA PROGRAM
INPUT jacks (LINE L1,L2, L3 & PRIORITY). If you have a
priority program, like a jukebox, connect it to the PRIORITY
Input. e rear panel PRIORITY switch turns priority override
ON or OFF. e Priority program is automatically selected when
signal is detected at its Input. Set the rear panel PROGRAM
DETECT THRESHOLD and RELEASE TIME as desired.
WEAR PARTS: is product contains no wear parts.
LEVEL
4k
630
1.6k
40
100
250
PROGRAM
SELECT
OL
SIG
LIMIT
10k
PRIORITY
LIMIT
THRESHOLD
LIMIT
LEVEL
LINE 1
LINE 2
LINE 3
ACTIVE
INPUT
TRIM
OL
LINE
MIC
ON
OFF
DETECT
THRESHOLD
DUCKER
DEPTH
CP52S
COMMERCIAL
PROCESSOR
POWER
ZONE
EQ
PROGRAM INPUT LEVELS
PAGING
LIMIT
THRESHOLD
REMOTE
L1
P
L2
L3
+60+30
12
•
6
•
•
•
6
12
0
+
+8
–3
+20–20
+16
+8
–3
+20–20
+16
10
0
2
4
8
6
2
8
10
0
4
6
10
0
4
6
10
0
4
6
10
0
4
6
10
0
2
4
8
6
EXPAND OUTPUT
Wire the EXPAND OUTPUT Euroblock as required to a mono
feed delivering PAGE-only, PROGRAM-only or ZONE (both)
signal depending on the switch setting. is Output uses a cross-
coupled line driver and may be used balanced or unbalanced.
Adjust the EXPAND OUTPUT LEVEL trim as desired.
ZONE OUTPUT
e ZONE OUTPUT uses a cross-coupled line driver and may
be used balanced or unbalanced. Set the front panel LIMIT
THRESHOLD as required. Depress the rear panel MONO
switch for a mono Zone.
ZR1 REMOTE
You may use one ZR1 Remote (sold separately) with the CP52S.
Wire it to the ZONE REMOTE Euroblock as indicated. If a
ZR1 remote is not used, any simple switch closure to ground will
work for the D0 and D1 pins. ese pins are TTL compatible (0
to 5 VDC). e logic is inverse Gray Code. Any ground refer-
enced 5 volt DC control may be used as the input to Vc. Do not
ground the Vr pin.
READ ME
e CP52S is very versatile. While this makes a large number of
system applications possible, it also results in complexity. For this
reason, it is important to use an organized approach for setup and
calibration. A highly recommended setup is at "Recommended
Calibration Procedure" on page 10. Please follow it to encoun-
ter fewer problems and reduce the need to increase our collective
phone bills.

5
CP52S
COMMERCIAL PROCESSOR
General Description
e CP52S is a versatile commercial preamplier designed for
use in restaurants, bars, health clubs and oces. e CP52S
serves one stereo Zone. One gated Paging Input and four stereo
Program Inputs are provided. A Port allows expansion of Page,
Program or Zone signals. ree levels of priority are supported:
1. Page
2. Program Priority
3. Non-Priority Program
e Paging Input is summed after Zone Level, Zone EQ
and Zone Limiter circuits. If the Page Level Tracks Zone Level
switch is on, the Page level tracks the Zone Level.
One of four stereo Program Inputs may be selected. Each line
level Program Input features an independent Level control.
A gated Program Priority Input is provided. When the rear
panel Priority switch is ON and signal is detected at the Prior-
ity Input, it overrides any non-priority Program selection. e
detector features adjustableDetect reshold and Release Time
controls.
e SCP1S is an optional EQ-slider-only security cover. Any
front panel control knobs may be removed and replaced with
hole plugs provided with the SCP1S.
Gated Paging Circuit Features
• Mic/Line Selection with Gain Trim
• Phantom Power Switch
• Low / High Cut Filter Switch
• Adjustable Detector Threshold with Active LED
• Paging Level Control
• Switchable Page Level Tracks Zone Level
• Page Input Servo-Locked™ Limiter
Zone Output Features
• Level Control
• 1 of 4 Program Select
• Ducker On/O with Depth Control
• Output Servo-Locked™ Limiter
• 7-Band Equalizer (±12 dB)
• Wired Zone Remote Port for Level and Program Selection
Special Features
• Page Initiated Program Ducking
• Gated Stereo Program Priority Input
• Page/Program/Zone Expansion with Level Control
• Universal internal switching power supply (100-240 VAC)
SCP1S Equalizer Security Cover

6
CP52S Front Panel
1PAGING INPUT TRIM control adjusts the Page Input preamplier gain to match the microphone / source in use. e range is
30 dB to 60 dB.
2PAGING INPUT MIC / LINE switch selects a 30 dB Input pad when set to LINE. Phantom Power is disabled when LINE is
selected.
3PAGING DETECT THRESHOLD sets the Page signal level required to gate a Page on and illuminate the ACTIVE indicator
(see 5). e range is -∞ (on) to +4 dBu.
4PAGING OL Overload) indicator lights when the Page Input preamplier comes within 3 dB of clipping.
5PAGING ACTIVE indicator lights when the Page signal level reaches the PAGING DETECT THRESHOLD. A Page is always
Active when the PAGING DETECT THRESHOLD is set to minimum (ccw).
6PAGING LEVEL control adjusts the Paging Level in the Zone.
7PAGING LIMIT THRESHOLD control sets the maximum output level for a Page. is is a true voltage Limiter circuit with a
ratio of 15:1. e reshold range is -20 dBu to +20 dBu. e LIMIT indicator lights during limiting.
8PROGRAM INPUT LEVELS allow independent adjustment of level for each Program Input.
9ZONE DUCKER DEPTH control sets the Ducker Depth (the amount of Program attenuation during a Page) from 50 dB (ccw)
to 6 dB (cw). e Ducker release is ramped.
0ZONE DUCKER OFF / ON switch turns the Ducker ON or OFF.
qZONE PROGRAM SELECT switch assigns one of four Program Inputs to the Zone Output, only when wis out.
wZONE REMOTE switch, when pushed in, turns control of Zone Level and Zone Program Selection over to the Zone Remote
Port. Front panel ZONE LEVEL and ZONE PROGRAM SELECT controls are inactive when REMOTE is selected. An optional
wired ZR1 remote may be connected to the Zone Remote Port. An object smaller in diameter than the switch button is required to
engage the REMOTE switch.
eZONE LEVEL control adjusts the overall Level for the Zone Output. If the rear panel PAGE LEVEL TRACKS ZONE LEVEL
switch is ON, this control also eects the Paging Level. ZONE SIG and OL indicators assist in setting the LEVEL control, il-
luminating with Signal present at -20 dBu and Overload at +16 dBu (4 dB before clipping) respectively.
rZONE LIMIT THRESHOLD control sets the maximum level for the Zone Output. is is a true voltage Limiter circuit with a
ratio of 15:1. e reshold range is -20 dBu to +20 dBu. e LIMIT indicator lights during Limiting.
tGraphic Equalizer controls are “stereo,” with each slider controlling the response of both Left and Right channels. ese controls
allow ±12 dB adjustment of seven ISO center frequencies on 11/3-octave centers.
yPOWER indicator illuminates when the CP52S is connected to a proper power source.
LEVEL
4k
630
1.6k
40
100
250
PROGRAM
SELECT
OL
SIG
LIMIT
10k
PRIORITY
LIMIT
THRESHOLD
LIMIT
LEVEL
LINE 1
LINE 2
LINE 3
ACTIVE
INPUT
TRIM
OL
LINE
MIC
ON
OFF
DETECT
THRESHOLD
DUCKER
DEPTH
CP52S
COMMERCIAL
PROCESSOR
POWER
ZONE
EQ
PROGRAM INPUT LEVELS
PAGING
LIMIT
THRESHOLD
REMOTE
L1
P
L2
L3
+60+30
12
•
6
•
•
•
6
12
0
+
+8
–3
+20–20
+16
+8
–3
+20–20
+16
10
0
2
4
8
6
2
8
10
0
4
6
10
0
4
6
10
0
4
6
10
0
4
6
10
0
2
4
8
6
2 10 4 5 12 168 15
1 3 9 11 133 146

7
CP52S Rear Panel
1PAGING INPUT Euroblock connector may be wired per instructions in"CP52S Connections" on page 8.
2MIC PHANTOM POWER switch, when ON, enables +15 volt Phantom Power to the PAGING INPUT connector. If the front
panel LINE switch is selected, Phantom Power is defeated.
3 LOW / HIGH CUT FILTER switch, when IN, limits the bandwidth of the Paging Input from 100 Hz to 7 kHz, improving
intelligibility in some installations. e Paging detector is always bandlimited to 100 Hz to 7 kHz.
4 PAGE LEVEL TRACKS ZONE LEVEL switch, when ON, forces the Paging level to track the Zone level. When OFF, Paging
level and Zone level are independent.
5 Four PROGRAM INPUTS are provided. ree are non-priority Inputs — the fourth is a Program PRIORITY Input. When
signal is detected at this Input, it is automatically selected as the Program Input source regardless of the front panel PROGRAM
SELECT setting.
6PRIORITY DETECT THRESHOLD control allows adjusting the threshold from -∞ (signal on) to -35 dBu (typ). e factory
setting is -50 dBu.
7PRIORITY OFF/ON switch allows disabling the automatic priority override function when in the OFF position.
8PRIORITY RELEASE TIME control sets the delay time from last detected signal to release of automatic priority override. e
range of control is 5 seconds (ccw) to 20 seconds (cw).
9EXPAND LEVEL trim adjusts the signal level delivered to the ZONE EXPAND OUTPUT.
0 EXPAND SOURCE switch assigns PAGE-only, PROGRAM-only or full ZONE (both) as the source for the Expand Output.
qEXPAND OUTPUT features a balanced line driver with a Euroblock connector. is mono Output may be wired balanced or
unbalanced per the instructions in "CP52S Connections" on page 8.
w ZONE MONO switch, when pressed in, sums the left and right signals to provide a mono Zone signal available at both Left and
Right Outputs.
eZONE OUTPUT Port features a balanced line driver with a Euroblock connector. ese Left and Right Outputs may be wired
balanced or unbalanced per the instructions in"CP52S Connections" on page 8.
rZONE REMOTE Port provides the wiring interface for the optional ZR1 wired remote. e ZR1 remote provides remote con-
trol of Zone Level and Zone Program Select functions. See "ZR1 Remote" on page 8.
t Universal 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!
PRIORITY
3
2
1
+
–
+
–
+
–
+
–
+
–
+
–
+
–
+
–
D1
D0
D1
D0
Vr
Vc
Vr
Vc
DETECT
THRESHOLD
RELEASE
SEC
PAGING INPUT
R
L
R
L
5
20
ZONE REMOTE
ZONE OUTPUT
MIN
MAX
PROGRAM
INPUTS
RIGHT
LEFT
MONO
EXPAND
LEVEL
PROGRAM
LEVEL
OFF
ON
100-240 V
50/60 Hz 12 WATTS
ZONE
PAGE
SOURCE
PROGRAM
INPUT
LOW / HIGH
CUT
FILTER
PAGE LEVEL
TRACKS
ZONE LEVEL
MIC
PHANTOM
POWER
IN
OUT
OFF
ON
OFF
ON
100 Hz / 7 kHz
+15V
EXPAND OUTPUT
COMMERCIAL AUDIO
EQUIPMENT 24TJ
R
ALL AUDIO AND REMOTES ARE CLASS 2 WIRINGRANE CORPORATION
CP52S
15 14 13 11 10 8 7 6 4 3 2 15 12 9

8
CP52S
COMMERCIAL PROCESSOR
ZR1 Remote
e CP52S supports a wired remote for Zone Level and Zone
Source selection. Wire lengths of up to 1000 feet (300 meters) are
possible. A brief list of suitable wire types is provided here in the
Wire Types section.
e ZR1 remote provides Zone Level and Source Selection,
allowing local control from inside the Zone. If only one of the
two controls is used, you may wish to remove the unused knob
and cover the hole with one of the plugs provided in the kit. If
you require one ZR1 remote to control more than one unit, sim-
ply wire the ports in parallel. is may be done with the Selector
only, Level only or both.
Be sure Power to the CP52S is o while all remote connec-
tions are made. It is important to ensure that the CP52S Remote
Port is not subjected to sustained voltages outside the range of 0
to 5 volts DC or high levels of static. Inputs are protected—how-
ever, caution is the better part of... you know. It is a good idea to
install the wiring, connect it to the remote assemblies and then
make the nal connections at the CP52S. Do not short the Vr
pin to ground. Although the pin is current limited, excess heat
will be generated in the 5 volt supply if a short occurs. Never
subject the Vr pin to voltages above 5V.
If a ZR1 remote is not used, any simple switch closure to
GND will work for the D0 and D1 pins. ese pins are TTL
compatible (0 to 5 VDC). e logic is inverse Gray Code. Any
ground referenced 5 volt DC control may be used as the input to
Vc. Do not ground the Vr pin.
Remote Selector Remote Volume
11=LINE 1 2 k pot, reverse-log taper
10=LINE 2 Or any GND referenced 0-5 VDC.
00=LINE 3 Attenuation=64 mV/dB.
01=PRIORITY Range 0V to +5V (0 to -87 dB).
CP52S Connections
All Input and Output connections are made with Euroblock
connectors except for the RCA Program Inputs. When wiring
to Euroblocks, a minimum wire gauge of 22 is preferred for
reliability. If the ground or shield wire is left shorter, it acts as
a strain relief for the other wires. Cable with a exible jacket is
easier to use and less likely to damage the connections. Avoid
stripping excess insulation. Inspect wires for nicks that may lead
to wire breakage. Fully insert each wire in the appropriate socket
and tighten the screw.
e Page Input is a true instrumentation amplier and oper-
ates balanced or unbalanced. Expand and Zone Outputs are
driven by high quality cross-coupled line drivers and operate bal-
anced or unbalanced. Wiring is usually the same for both Inputs
and Outputs. Balanced operation is recommended, and neces-
sary when wire lengths are greater than 10 feet (3 meters). Bal-
anced wiring is logical, (+) to (+), (–) to (–) and shield to shield.
For unbalanced operation, we recommend using two conduc-
tor cable with shield. e cable is wired to the CP52S the same
as for balanced operation. At the other end of the cable, connect
the (+) wire to signal “hot,” and both the (–) and shield wires to
ground (important).
If you use single conductor cable with shield, connect the
shield/gnd wire to both the (–) and shield pins at the CP52S. At
the other end of the cable connect the (+) wire to the signal “hot”
and the shield/gnd wire to ground. When unbalanced wiring is
used, it is very important for the CP52S and any other unit in
the system to have good earth or technical grounds. If a unit is
located more than 10 feet (3 meters) away from the CP52S or
is of a type that might create grounding problems, use isolation
transformers.
When connecting any CP52S Output as unbalanced, use (+)
and ground — leave (–) oating.
Depending on building grounding, an occasional source of
system hum is powering sources and ampliers on dierent elec-
trical circuits. Try connecting everything on the same circuit.
Refer to the included RaneNote, "Sound System Intercon-
nection" on page 17 for more information on proper wiring
procedures.
PRIORITY
3
2
1
+
–
+
–
+
–
+
–
+
–
+
–
+
–
+
–
D1
D0
D1
D0
Vr
Vc
Vr
Vc
DETECT
THRESHOLD
RELEASE
SEC
PAGING INPUT
R
L
R
L
5
20
ZONE REMOTE
ZONE OUTPUT
MIN
MAX
PROGRAM
INPUTS
RIGHT
LEFT
MONO
EXPAND
LEVEL
PROGRAM
LEVEL
OFF
ON
100-240 V
50/60 Hz 12 WATTS
ZONE
PAGE
SOURCE
PROGRAM
INPUT
LOW / HIGH
CUT
FILTER
PAGE LEVEL
TRACKS
ZONE LEVEL
MIC
PHANTOM
POWER
IN
OUT
OFF
ON
OFF
ON
100 Hz / 7 kHz
+15V
EXPAND OUTPUT
COMMERCIAL AUDIO
EQUIPMENT 24TJ
R
ALL AUDIO AND REMOTES ARE CLASS 2 WIRING
RANE CORPORATION
CP52S

9
CP52S
COMMERCIAL PROCESSOR
VR1 LEVEL REMOTE
Rane provides the VR1 Volume Remote for applications that re-
quire a remote level control without the program selector found
in the ZR1. It contains the same 2k RD taper pot, and connects
as shown in the ZR1 schematic.
With the front panel REMOTE switch, all selection and lev-
el is done either on the front panel or at the remote; never both
locations. Connecting just a VR1 to the CP52S remote control
terminals will allow level adjustment. However without a source
selector, the unit will default to source one. If the PRIORITY
/ L4 INPUT automatic switching is enabled, then the unit will
select the L4 signal when present and L1 at any other time. us
if only a jukebox (P/L4) and other line source (L1) are used, the
remote volume control will work just ne.
REMOTE MOUNTING
e ZR1 or VR1 remote assembly mounts in a standard U.S.
electrical box with a minimum depth of 2.25". Be sure to note
the wire color of each input in order to facilitate correct wir-
ing to the CP52S. Connect each wire to the connector by fully
inserting it in the correct socket and tightening the screw. Make
sure the cable jacket is stripped back suciently to allow it to lie
in the electrical box with the remote assembly inserted. Use the
at head #6 screws supplied with the kit to mount the remote
PROGRAM SELECT
LEVEL
82
100
4 6
L1
L3L2
P
Decora plate (not included)
1
2
3
4
5
S1A
6
7
8
9
10
S1B
2
3
4
1
5
J1A
5 POS TERM
GND
GND
GND
D1
D0
Vc
Vr
ZONE REMOTE (ZR 1)
CW
2
1 3
R1
2KRD
ZR1
Zone / Level
VR1
Level
assembly and silk-screened front panel to the electrical box (see
diagram, next page). Note the “UP” arrow screened on the
printed circuit board of the remote (mount it pointing up).
Install each knob so that the line on the knob is properly
aligned with the silk-screening on the front panel of the remote
assembly. Install any Decora plate of your choice. For a secured
installation, you may wish to leave the knobs o and use a blank
Decora plate to cover the remote after adjustment.
WIRE TYPES
ough variations in wire type do not greatly aect the perfor-
mance of the remote controls, 22-gauge stranded wire with a
exible jacket is recommended. You may use 5-conductor un-
shielded remote control signal cable for short runs (less than 200
feet [60 meters]) or 4-conductor (2 pair) shielded remote control
signal cable (use the shield as the ground return) for long runs
(200 to 1000 feet [60 to 300 meters]). e type of wire required
is inuenced by your installation and local electrical codes.
Rane Corporation does not provide or source cable. Please
contact your local retail or wholesale outlet, not the factory. e
following is a short list of suitable cable types:
CONSOLIDATED ELECTRONIC WIRE AND CABLE
Plenum cable:
Unshielded remote control signal cable CAT. # 9896
Shielded remote control signal cable CAT. #9877, CAT. #9852
WEICO WIRE & CABLE INC.
Communication and control cable:
Multiconductor, unshielded CAT. #7606
ALPHA
Communication and control cable:
Multiconductor, unshielded CAT. #1175C
BELDEN
Unshielded remote control signal cable CAT. # 88741
Shielded remote control signal cable CAT. # 88723
4
0
2
6
8
10
LEVEL

10
Recommended Calibration Procedure
e CP52S is a very versatile instrument. While this allows it to conform to the requirements of a large number of system applica-
tions, it also results in complexity. For this reason, it is very important to use an organized approach to system calibration. Once the
system is connected, take the time for proper calibration. e following is an ordered list of system adjustments to make calibration
easy with optimum performance results.
is procedure assumes that a microphone is used for the Page. e procedure (except for the exact wording) is the same for other
Page sources.
Make sure the POWER is o!
PREFLIGHT CONTROL SETTINGS
PAGING SETTINGS:
• MIC/LINE Pad As required (front panel)
• INPUT TRIM 12:00 (center) (front panel)
• DETECT THRESHOLD Min (ccw, Active) (front panel)
• PAGING LEVEL Min (front panel)
• LIMIT THRESHOLD +20 dBu (front panel)
• MIC PHANTOM POWER As required (rear panel)
• LOW / HIGH CUT FILTER As required (rear panel)
• PAGE LEVEL TRACKS ZONE LEVEL OFF (rear panel)
PROGRAM INPUT SETTINGS:
• Input Levels Min (front panel)
• PRIORITY DETECT THRESHOLD Set to -50 dBu at factory (range -∞ to -35 dBu; rear panel)
• PRIORITY RELEASE TIME Set to 12 sec. at factory (range 5 to 20 sec; rear panel)
• PRIORITY OFF / ON OFF (rear panel)
ZONE SETTINGS:
• DUCKER DEPTH 2:00 (about 15 dB) (front panel)
• DUCKER OFF / ON OFF (front panel)
• PROGRAM SELECT LINE 1, 2, 3 or P (Any active Input; front panel)
• REMOTE Out (local control) (front panel)
• Zone LEVEL Max (front panel)
• LIMIT THRESHOLD +20 dBu (front panel)
• Equalizer Flat (front panel)
• Zone Output MONO As required (rear panel)
• Expand ZONE/PROGRAM/PAGE As required (rear panel)
SYSTEM CONNECTIONS
• Connect page microphone or line level paging source
• Connect Program sources
• Connect Output to amps
• Connect ZR1 Remote control (if required)
...You are now ready to calibrate the CP52S (continued on next page...)
LEVEL
4k
630
1.6k
40
100
250
PROGRAM
SELECT
OL
SIG
LIMIT
10k
PRIORITY
LIMIT
THRESHOLD
LIMIT
LEVEL
LINE 1
LINE 2
LINE 3
ACTIVE
INPUT
TRIM
OL
LINE
MIC
ON
OFF
DETECT
THRESHOLD
DUCKER
DEPTH
CP52S
COMMERCIAL
PROCESSOR
POWER
ZONE
EQ
PROGRAM INPUT LEVELS
PAGING
LIMIT
THRESHOLD
REMOTE
L1
P
L2
L3
+60+30
12
•
6
•
•
•
6
12
0
+
+8
–3
+20–20
+16
+8
–3
+20–20
+16
10
0
2
4
8
6
2
8
10
0
4
6
10
0
4
6
10
0
4
6
10
0
4
6
10
0
2
4
8
6
PRIORITY
3
2
1
+
–
+
–
+
–
+
–
+
–
+
–
+
–
+
–
D1
D0
D1
D0
Vr
Vc
Vr
Vc
DETECT
THRESHOLD
RELEASE
SEC
PAGING INPUT
R
L
R
L
5
20
ZONE REMOTE
ZONE OUTPUT
MIN
MAX
PROGRAM
INPUTS
RIGHT
LEFT
MONO
EXPAND
LEVEL
PROGRAM
LEVEL
OFF
ON
100-240 V
50/60 Hz 12 WATTS
ZONE
PAGE
SOURCE
PROGRAM
INPUT
LOW / HIGH
CUT
FILTER
PAGE LEVEL
TRACKS
ZONE LEVEL
MIC
PHANTOM
POWER
IN
OUT
OFF
ON
OFF
ON
100 Hz / 7 kHz
+15V
EXPAND OUTPUT
COMMERCIAL AUDIO
EQUIPMENT 24TJ
R
ALL AUDIO AND REMOTES ARE CLASS 2 WIRING
RANE CORPORATION
CP52S

11
CP52S
COMMERCIAL PROCESSOR
LEVEL
4k
630
1.6k
40
100
250
PROGRAM
SELECT
OL
SIG
LIMIT
10k
PRIORITY
LIMIT
THRESHOLD
LIMIT
LEVEL
LINE 1
LINE 2
LINE 3
ACTIVE
INPUT
TRIM
OL
LINE
MIC
ON
OFF
DETECT
THRESHOLD
DUCKER
DEPTH
CP52S
COMMERCIAL
PROCESSOR
POWER
ZONE
EQ
PROGRAM INPUT LEVELS
PAGING
LIMIT
THRESHOLD
REMOTE
L1
P
L2
L3
+60+30
12
•
6
•
•
•
6
12
0
+
+8
–3
+20–20
+16
+8
–3
+20–20
+16
10
0
2
4
8
6
2
8
10
0
4
6
10
0
4
6
10
0
4
6
10
0
4
6
10
0
2
4
8
6
PRIORITY
3
2
1
+
–
+
–
+
–
+
–
+
–
+
–
+
–
+
–
D1
D0
D1
D0
Vr
Vc
Vr
Vc
DETECT
THRESHOLD
RELEASE
SEC
PAGING INPUT
R
L
R
L
5
20
ZONE REMOTE
ZONE OUTPUT
MIN
MAX
PROGRAM
INPUTS
RIGHT
LEFT
MONO
EXPAND
LEVEL
PROGRAM
LEVEL
OFF
ON
100-240 V
50/60 Hz 12 WATTS
ZONE
PAGE
SOURCE
PROGRAM
INPUT
LOW / HIGH
CUT
FILTER
PAGE LEVEL
TRACKS
ZONE LEVEL
MIC
PHANTOM
POWER
IN
OUT
OFF
ON
OFF
ON
100 Hz / 7 kHz
+15V
EXPAND OUTPUT
COMMERCIAL AUDIO
EQUIPMENT 24TJ
R
ALL AUDIO AND REMOTES ARE CLASS 2 WIRING
RANE CORPORATION
CP52S
CALIBRATION
1. Connect the power supply and verify the POWER indicator lights.
2. Verify the Zone LEVEL control is set to maximum and that an active source is playing for each of the Program Inputs intended
for use. Select each Program Input and adjust its Input Level control to be the very loudest you would ever desire.
3. Adjust the Zone LIMIT THRESHOLD so that it just starts to audibly reduce the output level. is ensures that the level will
never be louder than the maximum level just set.
4. Turn the Zone LEVEL control down to a comfortable listening level.
5. Note that with the Paging LEVEL set to minimum, the following Page will not be heard. Speak very loudly (bark) into the Paging
mic. Adjust the INPUT TRIM control so that the Paging Overload indicator just lights. It is important to set the gain of the pre-
amp before setting the Paging Detect reshold.
6. Speak into the Paging mic in a normal voice and adjust the Paging DETECT THRESHOLD so the ACTIVE indicator lights
only during speech. If the Paging Detect reshold is set too low, the Pager may gate on due to background sound.
7. With an active Program source playing, speak into the Paging mic. Adjust the Paging LEVEL control to provide the correct Page-
to-Program mix. If the Paging Detect reshold is set too high, there may be a delay before speech is heard. To correct this, lower
the Paging Detect reshold setting.
8. Set the Paging LIMIT THRESHOLD to limit the maximum Page level to the loudest desired volume.
9. Set the DUCKER switch to ON. With an active Program source playing, speak into the Page mic and adjust the DUCKER
DEPTH to the desired level of Program during a Page.
10. Set the rear panel Program PRIORITY OFF / ON switch as required. If an automatic Program Priority override is not required,
set this switch to OFF. e front panel PROGRAM SELECT switch will select the “P” Program Input just like any other non-
priority Input.
11. If using a ZR1 Remote, press the ZONE REMOTE switch in and verify that the remote functions correctly (see page 6).
12. Adjust the Equalizer as desired.
SECURITY
Rane oers options to protect the settings you just made.
To protect the equalizer section, use a Rane SCP1S security cover.
To protect the setting of any rotary control, remove the knob and replace with one of the hole plugs included with the SCP1S.
You’re all set. Enjoy.

12
CP52S
COMMERCIAL PROCESSOR
Parameter Specification Limit Units Conditions/Comments
MIC/LINE PAGING INPUT
..........Input Type Balanced Instrumentation amplier
..........RFI Filter Yes
..........Gain range +30 to +60 2 dB Continuously adjustable
..........Frequency Response 30 to 40k typ Hz Maximum gain, +0, -3 dB
..........Input Referred Noise -125 1dBu Gain: 60 dB, Rs:150 , BW: 20 kHz
..........CMRR 40 min dB 20 Hz to 20 kHz
..........THD+NS .05 .01 % Gain: 30 dB, +4 dBu out, 1 kHz, BW: 80
kHz
..........Phantom Power +15 4% VDC
..........“Mic” Input impedance 500 1%  Each leg to ground
..........Line Pad 30 1dB Defeats phantom power
..........“Line” Input impedance 14.5k 1%  Each leg to ground
..........Signal Detector Attack 10 typ msec Fixed; 10 dB overdrive
..........Signal Detector Release 3typ sec Fixed
..........Overload Detector +16 1dBu 4 dB before clipping
..........Low Cut / Hi Cut Filters 100 & 7k 5 Hz Selectable In/Out
..........Paging Zone Level Adjust O to 0 dB
..........Page Limiter: reshold Range -20 to +20 typ dBu Continuously adjustable
...............Attack Time 20 typ msec For a 10 dB step; xed
...............Release Time 250 typ msec For a 10 dB step; xed
...............Ratio 15:1 typ Soft knee
PROGRAM INPUTS All controls duplicated for each input
..........Number of Inputs Four Stereo
..........Input Type Unbalanced RCA connector
..........Input Level Adjust O to 0 dB
..........Frequency Response 10 to 50k typ Hz +0, -3 dB
..........Input Impedance 10k 20 
..........Priority Program Input
...............Input Detector Range typ dBu On rear panel; factory set to -50 dBu
...............Release Time Range 5 to 20 typ sec On rear panel; factory set to 15 seconds
...............Attack Time 50 typ msec For a 20 dB step; xed
Specifications

13
CP52S
COMMERCIAL PROCESSOR
Parameter Specification Limit Units Conditions/Comments
OUTPUTS: Ty p e Balanced Euroblock connector
..........Zone Out Gain: Program In 16 1dB 100 k load
...............From Page Inputs 6 1 dB
..........Expand Out Gain: Zone 16 1dB 100 k load
...............From Page or Program In 6 1 dB
..........Frequency Response 10 to 40k typ Hz +0, -3 dB
..........S/N 84 min dBr re +4 dBu; BW: 20 Hz-20 kHz
..........THD+N .1 max % +4 dBu, 1 kHz, BW: 80 kHz
..........Crosstalk -75 max dB 1 kHz, Rs: 25 , (L/R)
..........Output Impedance 100 1% Each leg
..........Zone Maximum Output 20 typ dBu RL: 600
..........Expand Maximum Output 24 typ dBu RL: 2 k
..........Signal Present -20 typ dBu Maximum
..........Overload Detector +16 typ dBu 4 dB before clipping
..........Ducker: Depth Range -50 to -6 typ dB Continuously adjustable
...............Ramped Release 10 typ sec To full output level
..........Limiter: reshold Range -20 to +20 typ dBu Continuously adjustable
..............Attack Time 20 typ msec For a 10 dB step; Fixed
..............Release Time 250 typ msec For a 10 dB step; Fixed
..............Ratio 15:1 typ Soft knee
EQUALIZER: Boost/Cut Range ±12 .5 dB
..........ISO Center Frequencies 1 1/3 typ oct
UNIT: Maximum Power 12 W
..........Universal Line Voltage 100-240 VAC 50/60 Hz
..........Conformity CE, FCC, UL
..........Construction All Steel
..........Size 1.75"H x 19"W x 8.5"D 1U (4.4 cm x 48.3 cm x 21.6 cm)
..........Weight 5 lb (2.3 kg)
SHIPPING: Size 4.5" x 20.3" x 13.75" (11.5 cm x 52 cm x 35 cm)
..........Weight 9 lb (4.1 kg)
Note: 0 dBu = 0.775 Vrms

14
CP52S
COMMERCIAL PROCESSOR
LOUNGE
LEVEL
PROGRAM
SELECT
8Ω 8Ω
MULTICHANNEL
AMPLIFIER
LEFT
ZONE 1
RIGHT
PRIORITY 2
70V
PRIORITY 1
MIC
-OR-
From a CP64S or
CP52S Expand Output
(Page or Program)
RECEPTION
STATION
CABLE TV
MP3 / PHONE
11 17 70:00
CD JUKEBOX STREAMING
MUSIC SERVICE
12:00
RESTAURANT
DISTRIBUTED
ZR1
PROGRAM SELECT
LEVEL
8
2
10
0
4
6
L1
L3
L2
P
6
12
3
12
6
3
0
0
6
12
3
0
1
2
dB
MA 3
MULTICHANNEL
AMPLIFIER
3
CHANNEL OUTPUT HEADROOM
POWER
POWER
MENU
PRIORITY
3
2
1
+
–
+
–
+
–
+
–
+
–
+
–
+
–
+
–
D1
D0
D1
D0
Vr
Vc
Vr
Vc
DETECT
THRESHOLD
RELEASE
SEC
PAGING INPUT
R
L
R
L
5
20
ZONE REMOTE
ZONE OUTPUT
MIN
MAX
PROGRAM
INPUTS
RIGHT
LEFT
MONO
EXPAND
LEVEL
PROGRAM
LEVEL
OFF
ON
100-240 V
50/60 Hz 12 WATTS
ZONE
PAGE
SOURCE
PROGRAM
INPUT
LOW / HIGH
CUT
FILTER
PAGE LEVEL
TRACKS
ZONE LEVEL
MIC
PHANTOM
POWER
IN
OUT
OFF
ON
OFF
ON
100 Hz / 7 kHz
+15V
EXPAND OUTPUT
COMMERCIAL AUDIO
EQUIPMENT 24TJ
R
ALL AUDIO AND REMOTES ARE CLASS 2 WIRING
RANE CORPORATION
CP52S
Example System:
Restaurant and Lounge
is restaurant has a paging mic from reception, 4 music sources, a remote for source selection and volume control within the lounge.
Program Source - Allows the use of up to 4 stereo sources such as TV audio or a Music service.
Jukebox - is Input allows the Jukebox to automatically override the selected Program source when it is turned on.
Page - will automatically duck the chosen program material. It has rst priority.
ZR1 Zone Remote - Allows remote control of Program Selection and Zone Level within the restaurant or lounge.
Zone 1 - Can be stereo in the lounge.
Zone 2 - Is mono in the restaurant, using a MT 4 or MT 6 for transformer distribution to 70V or 25V speakers.

15
CP52S
COMMERCIAL PROCESSOR
PRIORITY
3
2
1
+
–
+
–
+
–
+
–
+
–
+
–
+
–
+
–
D1
D0
D1
D0
Vr
Vc
Vr
Vc
DETECT
THRESHOLD
RELEASE
SEC
PAGING INPUT
R
L
R
L
5
20
ZONE REMOTE
ZONE OUTPUT
MIN
MAX
PROGRAM
INPUTS
RIGHT
LEFT
MONO
EXPAND
LEVEL
PROGRAM
LEVEL
OFF
ON
100-240 V
50/60 Hz 12 WATTS
ZONE
PAGE
SOURCE
PROGRAM
INPUT
LOW / HIGH
CUT
FILTER
PAGE LEVEL
TRACKS
ZONE LEVEL
MIC
PHANTOM
POWER
IN
OUT
OFF
ON
OFF
ON
100 Hz / 7 kHz
+15V
EXPAND OUTPUT
COMMERCIAL AUDIO
EQUIPMENT 24TJ
R
ALL AUDIO AND REMOTES ARE CLASS 2 WIRINGRANE CORPORATION
CP52S
LEVEL
PROGRAM
SELECT
ZR1
CP52S Commercial Processor
PROGRAM SELECT
LEVEL
8
2
10
0
4
6
L1
L3
L2
P
Wireless Mic Receiver
Powered
Speaker
Powered
Speaker
MENU
MP3 /
Phone
DVD or TV Audio
Streaming Music Service
Feed to
Background
Music System
CD Player MENU
Example System:
Cardio Fitness Room
e CP52S oers a few features not found in other aerobic room rack mixers.
All the instructor needs is to turn on the the headset, and start an MP3 dock or other source that's plugged into the Priority input.
e source automatically switches to the Priority music source, and switches back when that source is turned o. A wired remote
control (ZR1) can manually change the source or volume from a wall plate, or mounted on the side of the locked equipment rack.
e CP52S can stay in a secure locked rack. is protects the settings and EQ so the instructor can easily learn and know the system
without surprises. When cardio class isn't in session, the CP52S can supply the club background music from the satellite music ser-
vice to the big speakers in the cardio room at a predetermined input level.
Program Source - Allows the use of up to 4 stereo sources such as TV audio, CD or music service.
MP3 Player - is Priority Input allows a laptop, CD or MP3 player to automatically override the selected Program source when it’s
turned on.
Wireless headset and receiver - can automatically duck the chosen program material by a chosen variable amount, preventing volume
overload to the ears in the class.
ZR1 Zone Remote - Allows remote control of Program Selection and Level to the stereo room speakers.
Expand Output - ough a satellite music service could be one of the inputs, the Expand Output may run to the club background
music system. is allows the music mix to play in the club without the wireless mic signal. A proper hookup assures that both would
not be used at once.

16
CP52S
COMMERCIAL PROCESSOR
Technical Support
How can I hook a re alarm control relay to the unit for
complete muting?
Connect a normally closed relay across the Paging Inputs
(plus [+] and minus [-]) so they are shorted together. When
an alarm condition exists and the coil becomes energized, the
contacts open and the short is removed. e Paging Input
Detect reshold must be adjusted such that the noise oor is
sucient to trigger a paging condition and enable ducking, (i.e.
set the detector just shy of maximum sensitivity – fully counter
clockwise – so shorted turns o the green LED and open causes
it to illuminate). Set the front panel Ducker Depth control fully
counter clockwise so no program material is audible during an
alarm condition.
What are the EXPAND OUTPUT connections for?
ese xed line level outputs are for driving other systems or
"stacking" CP series together for larger applications. e signal
may consist of paging only, program only or a copy of the zone
signal. is output can be used for music on hold as well as
zones not needing level adjustment (i.e. rest rooms, entryways
and similar areas).
What type of wire can I use to connect the remotes?
For runs up to 200 feet any ve conductor wire, 22 gauge or
larger, will suce. Use shielded wire for distances greater than
200 feet.
Can Zone 1 of the CP52S operate in Mono mode?
Yes. e CP52S has a Zone 1 Mono Switch on the rear
panel.
When Zone 1 of the CP52S is in Mono mode, which out-
put LEFT or RIGHT should I use?
Either output will provide a summed LEFT plus RIGHT
mono signal. You can use both LEFT and RIGHT outputs
simultaneously when needed, (like when you want to run two
channels on a power amplier without connecting a Y-cord.)
When the Priority Signal nishes playing, it takes too
long for the music to fade back in. Can I adjust this?
Yes. e rear panel Program Priority Release Time control
can change the interval from ve to twenty seconds.
I just want a remote volume control, not source selection.
Is there a way to do this?
All selection and level is done either on the front panel or
at the remote; never both locations. Connecting just a VR1 to
the CP52S remote control terminals will allow level adjustment.
However without a source selector, the unit will default to source
one. If the PRIORITY / L4 INPUT automatic switching is
enabled, then the unit will select the L4 signal when present and
L1 at any other time. us if only a jukebox (P/L4) and other
line source (L1) are used, the remote volume control will work
just ne.
I just installed a unit and don't get audio. Or I hooked up
the ZR1 source remote but can't get any audio. What hap-
pened?
First check all the wire connections at both ends of the
remote. All ve wires must be connected for proper operation.
Also make sure you didn't "ip" the wiring at one end of the
cable...it happens. Also note that once the front panel RMT but-
ton is pressed "in" both the PROGRAM SELECT and LEVEL
functions only work at the remote. ese two front panel con-
trols are disabled when the RMT switch is engaged. For testing,
push the RMT switch and make sure it's in the "out" position.
en, re-test all functions of the CP52S. If all works ne now,
the problem lies in the remote or wiring to it.
I can't get the page microphone to work. What am I doing
wrong?
First check all the wire connections at both ends of the mic
cable. Next be sure to set the PAGING INPUT MIC/LINE
switch correctly on the front panel. Once you have the setting
correct, turn up – clockwise – the INPUT TRIM control and
see if you can light the OL indicator when you yell into the mic.
Now adjust the DETECT THRESHOLD to get ACTIVE to
illuminate. If all this checks out, it's time to follow the Recom-
mended Calibration Procedure on page 10.
If the above options don't answer your question, or it's
urgent...
Phone [phone], 8 AM to 5 PM PST, Monday through
Friday.
Check the Paging Processors section in the Rane Forum at
rane.com/forum

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