Rane MM 42 User manual

Manual-1
OPERATORS MANUAL MM 42
MONITOR PROCESSOR
WEAR PARTS: This product contains no wear parts.
–36
dBFS
PEAK
+8
–12
–24
dBu dBu
0
–3
+4
+8
–12
–24
0
–3
+4
PROCESSOR
MONITOR
10
–12
–24
–8
10 3 16
–4
–36
–12
–24
–8
–4
–36
–12
–24
–8
–4
–36
–12
–24
–8
–4
31
dB
6
100
2
4
8
6
PUSH:
FINE PUSH:
SELECT
MM 42
DATA OUTPUTINPUT PHONES
GAIN REDUCTION
CONFIG
FILTER/SUB
A
MEMORY UTILITIES CUE BUS
BCD
12
LEVEL
COMPRESS EQ LIMIT
ENTER CANCEL
FILTERS, COMPRESSOR, PARAMETRIC EQ, LIMITER
FOR PERSONAL MONITOR APPLICATIONS
Quick Start
We know you’re excited about the purchase of your new MM 42. But trust us: take your earphones out for a moment
and read this Quick Start. It covers the basics to get you tweaking your ear mixes into submission in no time. The following
paragraphs assume you’re working with a stereo (left/right) mix. For more advanced applications you’ll have to dig a bit
deeper into this manual.
First, the hardware. Connect the console aux/groups corresponding to the left and right ear mixes to the MM 42’s LINE
INPUT A and LINE INPUT B respectively. Send the MM 42 a good, healthy signal, aiming to keep the loudest peaks
around the -8 dBFS mark (yellow LEDs) on the INPUT meters. Running the Inputs “into the red” is only cool with old-
school analog gear. If needed, make further adjustments using the INPUT controls.
Turn the PHONES LEVEL all the way down and plug your earphones or headphones directly into either the 1/4" or
1/8" PHONES jack. Slowly turn up the PHONES LEVEL to a comfortable listening volume. Not hearing anything? Press
the CUE BUS button.
Press the COMPRESS button and use the Previous  and Next  cursor keys to navigate to the M-BAND param-
eter. Rotate the DATA control clockwise until SET starts flashing. Don’t panic; instead, press the ENTER key to go to the
crossover frequency page. Adjust the frequency splits for each range, pushing and turning the DATA control to make fine
adjustments. Press the ENTER or COMPRESS key to return to the Compressor page. Adjust the THRSH parameter until
you see a few blinky lights on the Gain Reduction meter. Press the COMPRESS button again to move on to band 2, and
again to move to 3, merrily making adjustments. No, you’re not hallucinating – the GAIN REDUCTION meter does
indeed switch automatically to show you what’s happening within each frequency band.
Okay, if you’re comfortable with getting around the various pages then the dry run is over. If you’re using a wireless
transmitter, connect the MM 42’s main OUT 1 and OUT 2 to the inputs of the transmitter and adjust the transmitter’s input
gain to a nominal level. If you’re using a hardwired beltpack, connect the MM 42’s main Outputs directly to the beltpack
inputs, making sure the beltpack level is turned all the way down. Plug your earphones into the beltpack and slowly turn its
level up to a comfortable listening volume.
That’s it! You’re ready to rock. Or folk. Or country. Or polka….whatever your musical style. Tweak each processing
section to taste, making sure you go to the MEMORY page once satisfied and store your hard work to one of the 16
available Memory (preset) locations.
There’s plenty more you can do with the MM 42. The rest of this manual covers important topics like using the SUB
Output to augment an earphone mix with onstage subwoofers or “shakers”, handling two independent mono mixes with one
MM 42, linking and unlinking parameters, connecting multiple MM 42s together via the Cue Bus, and the wonderful world
of MIDI, just to name a few. So don’t stop here - keep reading! You still have 3 hours until show time...
Contents
Front Panel ....................................................................... 2
Rear Panel ........................................................................ 3
Connection Examples ................................................... 4
Welcome Page ................................................................ 7
Basic Navigation & Editing .......................................... 7
Output Chain Configuration ........................................ 7
Adjusting Input & Output Levels ................................ 8
Signal Processing .......................................................... 9
Filters & Subwoofer ....................................................... 10
Multi-Band Compressor ............................................... 11
Parametric Equalization ............................................... 12
Multi-Band Peak Limiter............................................... 12
Using the Cue Bus .......................................................... 13
Storing and Recalling Memories (Presets) ............. 14
Utilities .............................................................................. 14
Cue Bus Configuration .................................................. 14
Gain Reduction Meter Mode ....................................... 15
MIDI Configuration & Transfer .................................... 15
Name Device .................................................................... 16
Firmware Update ............................................................ 16
Restoring Factory Defaults .......................................... 17
Appendix: Additional Resources ................................ 17
MIDI Implementation Chart ......................................... 18

Manual-2
MM 42 Front Panel
Button Details
ENTER: Press this button to confirm flashing selections.
   Cursor buttons: The Previous  and Next  buttons move the cursor through each of the parameter fields on a
page. Alternately, push and release the DATA (햳) control to “bump” from one field to the next. The currently selected
parameter field is always displayed with either an underscore or with “<” and “>” brackets.
CANCEL: Exits the current edit page and displays the welcome page. Also used to abort various operations.
FILTER/SUB: Displays the edit pages for the Filter and Subwoofer sections.
COMPRESS: Displays the edit pages for the 3-band Compressor.
EQ: Displays the edit pages for the 5-band Parametric Equalizer.
LIMIT: Displays the edit pages for the 3-band Limiter.
CONFIG: Displays the edit page for Input and Output routing.
MEMORY: Displays the edit page for storing and recalling Memories (Presets).
UTILITIES: Displays the edit pages for Cue Bus Configuration, Gain Reduction Meter, MIDI Configuration, MIDI
Transfer, Name Device and Firmware Update functions.
CUE BUS: Activates the selected Output(s) on the Cue Bus for soloing purposes. The CUE BUS indicator lights when the
Cue Bus is active.
햲Edit Pages: The 2x40 backlit LCD screen displays the edit pages for all MM 42 functions.
햳DATA control: Adjusts the currently selected parameter. Turning the DATA control clockwise increases the parameter, and
turning it counterclockwise decreases the parameter. Push and turn the DATA control for fine adjustment of some param-
eters. The DATA control can also be “bumped” (push and release) to move the cursor between parameter fields.
햴INPUT Level controls: are digital trims to adjust each of the four Input gains.
햵INPUT Meters: are peak-reading, showing input headroom in dBFS. 0 dBFS equals +24 dBu.
햶GAIN REDUCTION Meters: Show the amount of gain reduction being applied to the currently selected Compressor or
Limiter band, or the overall Compressor + Limiter gain reduction. (Depends on the currently selected Meter Mode. See the
Gain Reduction Meter Mode section on page Manual-15 for details).
햷OUTPUT Meters: Averaging (rms) meters showing output level in dBu.
햸OUTPUT Level. Digital trim adjusts the main output levels. Also selects Outputs for cueing and editing in 2-Mono mode.
햹PHONES Level. Analog trim adjusts level of front panel PHONES jacks.
햺PHONES jacks. Stereo 1/4" and 1/8" jacks allow direct connection of headphones or earphones to monitor the CUE BUS.
–36
dBFS
PEAK
+8
–12
–24
dBu dBu
0
–3
+4
+8
–12
–24
0
–3
+4
PROCESSOR
MONITOR
10
–12
–24
–8
10 3 16
–4
–36
–12
–24
–8
–4
–36
–12
–24
–8
–4
–36
–12
–24
–8
–4
31
dB
6
100
2
4
8
6
PUSH:
FINE PUSH:
SELECT
MM 42
DATA OUTPUTINPUT PHONES
GAIN REDUCTION
CONFIG
FILTER/SUB
A
MEMORY UTILITIES CUE BUS
BCD
12
LEVEL
COMPRESS EQ LIMIT
ENTER CANCEL
RANE MM 42
PERSONAL MONITOR PROCESSOR
1 2 73
4
6 6 9
5 8
See Button Details below

Manual-3
MM 42 Rear Panel
햲LINE INPUTS A through D: Accept balanced or unbalanced, ¼" phone or XLR-style line-level inputs.
햳DIRECT OUTS A through D: are active balanced pass-throughs of corresponding Line Inputs. Use the DIRECT OUTS to
daisy-chain common mixes to multiple MM 42s.
햴Main OUTPUTS: Balanced, line-level, XLR connections for OUT 1 and OUT 2. Wiring convention is pin 2 positive, pin 3
negative (return), pin 1 is shield chassis ground. Refer to the Sound System Interconnection RaneNote (included with this
manual) for correct wiring when connecting to unbalanced destinations.
햵SUB Output: is balanced (tip-ring-sleeve). Connect to a subwoofer, amp/speaker combination or tactile “shakers” to add
low-end thump to ear mixes. Refer to the Sound System Interconnection RaneNote when connecting to an unbalanced
destination.
햶CUE OUT 1 and 2: is a balanced (tip-ring-sleeve), line-level Cue Bus Output. Connect to a spare transmitter or console
inputs to monitor the Cue Bus signal. Signal is identical to the front panel PHONES jacks. The Cue Out level is not affected
by the Phones Level control.
햷CUE BUS jacks: are RJ 12 (telephone-style) for interconnecting multiple MM 42s for cueing (soloing) purposes.
햸MIDI OUT/THRU jack: Incoming MIDI data is automatically merged with outgoing MIDI data and passed to the OUT/
THRU if MIDI Merge mode is set to ON (see page Manual-15).
햹MIDI IN jack: Connect this input to the output of another MIDI device (sequencer, controller, MIDI-equipped PC, another
MM 42, etc.) to accommodate data transfers, firmware updates, and external control.
햺Power connector: Uses the standard cord provided. The MM 42 has a universal internal switching power supply that
accepts 100 to 240 VAC at 50 to 60 Hz, allowing it to work in most countries.
ACN 001 345 482
THIS DEVICE COMPLIES WITH
PART 15 OF THE FCC RULES.
MADE IN U.S.A.
RANE CORP.
CUE BUS
50/60 Hz
20 WATTS
100-240V
OUT / THRUIN SUBCUE OUT 2 OUT 2
CUE OUT 1
OUT 1
DB
DCB
OUTS
CA
DIRECT
A
MM 42
OUTPUTSMIDI LINE INPUTS
COMMERCIAL
AUDIO
EQUIPMENT
24TJ
R
CUS
LISTED
FOR CONTINUED
GROUNDING PROTECTION
DO NOT REMOVE SCREW ALL BALANCED – TIP / PIN 2 = (+); SLEEVE = SIGNAL GROUND; PIN 1 = CHASSIS GROUND
ALL BALANCED
9 8 7 6 3 2 15 4

Manual-4
Group/Aux Out 1
Mix Left
Group/Aux Out 2
Mix Right
CONFIG
CONFIG | MODE OUTPUT1 OUTPUT2 SUB
| STEREO A B A+B
*
ACME Mixing Console
SUB OUT
(optional)
To powered subwoofer
or bass shaker.
Monitor
Engineer
*
Input 1 Input 2
LINE INPUT A LINE INPUT B
OUTPUT 1 OUTPUT 2
–36
dBFS
PEAK
+8
–12
–24
dBu dBu
0
–3
+4
+8
–12
–24
0
–3
+4
PROCESSOR
MONITOR
10
–12
–24
–8
10 3 16
–4
–36
–12
–24
–8
–4
–36
–12
–24
–8
–4
–36
–12
–24
–8
–4
31
dB
6
100
2
4
8
6
PUSH:
FINE PUSH:
SELECT
MM 42
DATA OUTPUTINPUT PHONES
GAIN REDUCTION
CONFIG
FILTER/SUB
A
MEMORY UTILITIES CUE BUS
BCD
12
LEVEL
COMPRESS EQ LIMIT
ENTER CANCEL
ACME In-Ear
Stereo Transmitter
(or wired beltpack)
Connection Examples
The MM 42 is intended to be connected in-line between a mixing console and a wireless transmitter, hardwired beltpack or
headphone amplifier.
Stereo Mix with Optional Mono Subwoofer Output (default)
In this configuration a standard Left/Right mix from the console is processed. The Left and Right signals (Inputs A and B)
are summed to mono and assigned to the SUB Output.

Manual-5
CONFIG
CONFIG | MODE OUTPUT1 OUTPUT2 SUB
| 2-MONO A B A
ACME In-Ear
Mono Transmitter 1
(or wired beltpack)
SUB OUT
(optional)
To powered subwoofer
or bass shaker.
INPUT A Assigned to
SUB OUTPUT (optional)
INPUT B Assigned to
SUB OUTPUT (optional)
Monitor
Engineer
ACME Mixing Console
*
*
CONFIG
CONFIG | MODE OUTPUT1 OUTPUT2 SUB
| 2-MONO A B B
*
Group/Aux Out 1
Mono Mix 1
Group/Aux Out 2
Mono Mix 2
Input
ACME In-Ear
Mono Transmitter 2
(or wired beltpack)
Input
OR
LINE INPUT A LINE INPUT B
OUTPUT 1 OUTPUT 2
–36
dBFS
PEAK
+8
–12
–24
dBu dBu
0
–3
+4
+8
–12
–24
0
–3
+4
PROCESSOR
MONITOR
10
–12
–24
–8
10 3 16
–4
–36
–12
–24
–8
–4
–36
–12
–24
–8
–4
–36
–12
–24
–8
–4
31
dB
6
100
2
4
8
6
PUSH:
FINE PUSH:
SELECT
MM 42
DATA OUTPUTINPUT PHONES
GAIN REDUCTION
CONFIG
FILTER/SUB
A
MEMORY UTILITIES CUE BUS
BCD
12
LEVEL
COMPRESS EQ LIMIT
ENTER CANCEL
Two Independent Mono Mixes with Assignable Subwoofer Output
In this configuration two independent mixes are processed separately. The SUB Output is fed from either Input A or Input B.

Manual-6
Using the Direct Outputs
The rear panel Direct Outputs provide a unity-gain pass-through of each input signal, pre-processing — allowing you to
share a common aux/group feed across multiple MM 42s or to feed elsewhere.
For example, create a single or stereo “full band” mix for a group of background singers, and send this feed from the
console to Line Inputs A and B of the MM 42. Augment each person’s mix with an individual feed to Line Input C of each
MM 42. Connect Direct Outs A and B to Inputs A and B of another MM 42. Repeat the process to daisy chain multiple MM
42s together. Use the front panel Input Levels to set the relative balance between mix elements (full band versus solo instru-
ment) for each performer.
–36
+8
–12
–24
0
–3
+4
+8
–12
–24
0
–3
+4
PROCESSOR
MONITOR
10
–12
–24
–8
10 3 16
–4
–36
–12
–24
–8
–4
–36
–12
–24
–8
–4
–36
–12
–24
–8
–4
31
dB
6
100
2
4
8
6
MM 42
DATA OUTPUTINPUT PHONES
GAIN REDUCTION
CONFIG
FILTER
A
MEMORY UTILITIES CUE BUS
BCD
12
LEVEL
COMPRESS EQ LIMIT
ENTER CANCEL
Stereo
Transmitter
Stereo
Transmitter
Lead
Vocals
Keyboard
Analog Audio
Cue Bus
CUE BUS
CUE BUS
CUE BUS
Monitor
Engineer
ACME Mixing Console
Stereo
Transmitter
Background
Vocal 1
Stereo
Transmitter
Background
Vocal 2
–36
+8
–12
–24
0
–3
+4
+8
–12
–24
0
–3
+4
PROCESSOR
MONITOR
10
–12
–24
–8
10 3 16
–4
–36
–12
–24
–8
–4
–36
–12
–24
–8
–4
–36
–12
–24
–8
–4
316
100
2
4
8
6
MM 42
DATA OUTPUTINPUT PHONES
GAIN REDUCTION
CONFIG
FILTER
A
MEMORY UTILITIES CUE BUS
BCD
12
LEVEL
COMPRESS EQ LIMIT
ENTER CANCEL
–36
+8
–12
–24
0
–3
+4
+8
–12
–24
0
–3
+4
PROCESSOR
MONITOR
10
–12
–24
–8
10 3 16
–4
–36
–12
–24
–8
–4
–36
–12
–24
–8
–4
–36
–12
–24
–8
–4
316
100
2
4
8
6
MM 42
DATA OUTPUTINPUT PHONES
GAIN REDUCTION
CONFIG
FILTER
A
MEMORY UTILITIES CUE BUS
BCD
12
LEVEL
COMPRESS EQ LIMIT
ENTER CANCEL
–36
+8
–12
–24
0
–3
+4
+8
–12
–24
0
–3
+4
PROCESSOR
MONITOR
10
–12
–24
–8
10 3 16
–4
–36
–12
–24
–8
–4
–36
–12
–24
–8
–4
–36
–12
–24
–8
–4
316
100
2
4
8
6
MM 42
DATA OUTPUTINPUT PHONES
GAIN REDUCTION
CONFIG
FILTER
A
MEMORY UTILITIES CUE BUS
BCD
12
LEVEL
COMPRESS EQ LIMIT
ENTER CANCEL
Aux 6
Keyboard
Mix
Aux 5
BG 2
Vocal
Mix
Aux 4
BG 1
Vocal
Mix
Aux 3
Lead
Vocal
Mix
Aux 2
Band
Mix
Left
LINE
INPUT
A
LINE
INPUT
C
LINE
INPUT
C
LINE
INPUT
C
LINE
INPUT
C
LINE
INPUT
B
DIRECT
OUTPUT
A
DIRECT
OUTPUT
B
INPUT: AB
INPUT: AB
DIRECT: AB
DIRECT: AB
INPUT: AB
Aux 1
Band
Mix
Right
CONFIG
CONFIG | MODE OUTPUT1 OUTPUT2 SUB
| STEREO A+C B+C A+B+C
*
*
*
*
*

Manual-7
MM 42 Welcome Page
RANE CORPORATION MM 42
PERSONAL MONITOR PROCESSOR
The welcome page displays the device name. This is the
default page on power-up and any time the CANCEL button
is pressed. The Name Device page of the UTIL menu is used
to enter custom text to suit your liking – “MY GOLDEN
EARS,” for example. See page Manual-16 for details.
Basic Navigation & Editing
The Previous  and Next  buttons move the cursor
through each of the parameter fields on a page. Parameter
values are changed by rotating the DATA control.
Repeatedly pressing a button cycles through all pages
associated with a particular function. Each of the five
Parametric EQ filters is a separate page within the EQ
section, for example.
In most cases parameter changes happen – and are heard
– instantly. In the few cases where they are not (when you are
first prompted to answer a question, for example) the value
flashes until the  ENTER button is pressed. Pressing the
 CANCEL button on a flashing parameter automatically
discards that parameter change.
Coarse versus Fine Parameter Adjustment
Parameters covering a large range – frequencies from 20
Hz to 20 kHz, or a Compressor Threshold from 0 dB to -60
dB for example – are adjustable in coarse and fine incre-
ments. Coarse adjustments help get you “in the ballpark”
quickly, and are made by turning the DATA control in its
normal out position. Fine adjustments allow you to really
hone in on the parameter of interest (if you prefer the sound
of 631 Hz instead of 630 Hz, for example) and are made by
pushing in and holding the DATA control while turning it.
The steps for coarse adjustment of frequencies follow the
soundperson-friendly, 1/3-octave ISO (International Stan-
dards Organization) values you can undoubtedly recite in
your sleep: 40, 50, 63, 80, 100, 125, 160, 200, 250…and so
on. The steps for fine value adjustment of frequencies are
broken into three ranges, as follows:
Range Coarse Fine
20 - 999 Hz ISO centers 20 - 800 Hz 1 Hz
1.0 kHz - 9.9 kHz ISO centers 1k - 8k 0.1 kHz
10 kHz - 20 kHz ISO centers 10k - 20k 1 kHz
If a frequency is currently set to a non-ISO value, making
a coarse adjustment bumps the frequency to the next ISO
center. For example, if a frequency is set at the non-ISO
value of 75 Hz, increasing it by one coarse adjustment
changes the frequency to the next ISO center of 80 Hz.
noitarugifnoCniahCtuptuO
retemaraPeulaVnoitpircseD
EDOM
oeretS
sretemarap;edomoeretS
gnissecorphcaenihtiw
yllacitamotuaeranoitces
.2+1TUOsadeknil
onoM-2
;edomonomlauD
hcaenihtiwsretemarap
eranoitcesgnissecorp
sadeknilnuyllacitamotua
.2TUOdna1TUOetarapes
1TUPTUO A,B,B+A ,
C+A ,D+A ,
tupnIynA.cte
noitanibmocro
51(stupnIfo
)latotsnoitpo
roftnemngissatupnIsteS
.niahclangis1tuptuOeht
2TUPTUO roftnemngissatupnIsteS
.niahclangis2tuptuOeht
BUS roftnemngissatupnIsteS
.niahclangistuptuObuS
Output Chain Configuration
The MM 42 features four line-level Inputs, labeled A
through D, which are assignable in any combination to either
or both of the output signal chains and the SUB Output. Such
an arrangement allows tremendous flexibility in setting up
mixes.
Press the CONFIG button. The default configuration is:
CONFIG | MODE OUTPUT1 OUTPUT2 SUB
| STEREO A B A+B
The MODE parameter is highlighted by default. Rotate
the DATA control to select between STEREO and 2-MONO
(two independent mono mixes) mode.
Assign one of the fifteen (!) input combinations to each
output by selecting OUTPUT 1 or OUTPUT 2 and turning
the DATA control to scroll through the various combinations.
Repeat the process for the SUB output, if this output is being
used to drive an external subwoofer or bass shaker.

Manual-8
sleveLtupnI
retemaraPeulaVnoitpircseD
TUPNI
D/C/B/A
Bd0.21+ ot
Bd0.04-
.tnemtsujdaleveltupnI
rofleveLTUPNInruT
dnahsuP.stnemercniBd1
.stnemercniBd5.0rofnrut
Adjusting Input Levels
The Input Levels page is automatically displayed any time
an INPUT A/B/C/D control is adjusted.
INPUT | A B C D
LEVELS | 0.0dB 0.0dB 0.0dB 0.0dB
Adjusting Output Levels
The Output Levels page is automatically displayed any
time the OUTPUT control is adjusted. This page differs
slightly depending on the currently selected configuration
mode. In STEREO mode, use the  and  keys or bump
(push and release) the OUTPUT control to navigate between
the Output LEVEL and Left/Right BALANCE parameters.
Rotate the OUTPUT control to adjust each parameter.
OUTPUT | LEVEL <BALANCE>
LEVEL | 0.0dB |<———————|———————>|
)edoMoeretS(sleveLtuptuO
TUPTUO
LEVEL
Bd0.21+ ot
Bd0.04- ro
ffo
leveltuptuooeretS
TUPTUOnruT.tnemtsujda
.stnemercniBd1rofleveL
Bd5.0rofnrutdnahsuP
.stnemercni
ECNALAB ottfellluF
thgirlluf
.ecnalaboeretS
In 2-MONO mode, use the  and  keys or bump
(push and release) the OUTPUT control to navigate between
the Output 1 and Output 2 Level parameters. Rotate the
OUTPUT control to adjust each parameter.
OUTPUT | 1 2
LEVELS | 0.0dB 0.0dB
)edoMonoM-2(sleveLtuptuO
1TUPTUO
LEVEL
Bd0.21+ ot
Bd0.04- ro
ffo
.tnemtsujdalevel1tuptuO
rofleveLTUPTUOnruT
dnahsuP.stnemercniBd1
.stnemercniBd5.0rofnrut
2TUPTUO
LEVEL
Bd0.21+ ot
Bd0.04- ro
ffo
.tnemtsujdalevel2tuptuO
rofleveLTUPTUOnruT
dnahsuP.stnemercniBd1
.stnemercniBd5.0rofnrut
To view a level setting without changing it simply push
and release the control without turning it. The DATA control
has no effect when adjusting Input and Output levels.

Manual-9
(to account for an artist’s hearing difference between right
and left ears, for example) or to process two completely
independent mono mixes.
To Link or Unlink an individual processing section:
1. Select the desired processing section.
2. Navigate to the Selected Output(s) field
3. Rotate the DATA control to select between adjusting
parameters for OUT1+2 (linked) operation, OUT 1 only, or
OUT 2 only.
PEQ ON | EQ GAIN FREQ BW (Q)
OUT 1+2| 1 0dB 100Hz 1/3 (4.3)
When OUT1+2 is selected, Output 2’s parameters are set
to match those of Output 1. Note that OUT 2’s settings are
not permanently overwritten. Switching back to OUT 2
restores them to their previous values.
Bypassing Processing Sections
A wise man once said “it’s not a feature if you can’t turn it
off.” Each processing section in the MM 42 can be turned off,
allowing for quick before-and-after comparisons, or to bypass
an unused section altogether.
To bypass a processing section:
1. Navigate to the status area of the processing section.
2. Rotate the DATA control counter-clockwise until off is
displayed.
PEQ off| EQ GAIN FREQ BW (Q)
OUT 1+2| 1 0dB 100Hz 1/3 (4.3)
If parameters are unlinked (OUT 1 or OUT 2, instead of
OUT1+2), only the processing section for the currently
selected output is bypassed.
INPUTS dBFS
HIGH/LOW
CUT/SHELF
FILTERS
3-BAND
COMPRESSOR
5-BAND
PARAMETRIC
EQUALIZER
3-BAND
PEAK
LIMITER
OUTPUTS dBu
INPUT
MIXER
OUTPUT
LEVEL
OUTPUT
LEVEL
SUB
BANDPASS
FILTER
–36
–12
–24
–8
–4
1010 3 16316
GAIN REDUCTION
dB
ABCD
INPUT
MIXER
INPUT
MIXER
HIGH/LOW
CUT/SHELF
FILTERS
3-BAND
COMPRESSOR
5-BAND
PARAMETRIC
EQUALIZER
3-BAND
PEAK
LIMITER
OUTPUT
LEVEL
OUT 2
SUB
OUT 1
INPUTS
A
B
C
D
+8
–12
–24
0
–3
+4
+8
–12
–24
0
–3
+4
Block Diagram – Main Inputs, Outputs and Sub Output
Signal Processing
Overview
So what does the MM 42 have under the hood you ask?
Plenty! Routing options allow the assignment of any combi-
nation of the four Inputs to any of the three Outputs:
OUT 1, OUT 2 and SUB.
Each of the processing chains for OUT 1 and OUT 2
features (in this order): Shelf/Cut Filters, a 3-band rms
Compressor with fully adjustable crossover frequency points,
5-band fully Parametric EQ, and a 3-band Peak Limiter, also
with fully adjustable crossover frequency points. The SUB
output processing chain is completely independent of the
main outputs and features adjustable Low- and High-Cut
Filters for maximizing onstage thump.
Why is the Output Level located before the Limiter?
Placing the Output Level before the Limiter allows you to
turn up a compressed and equalized mix while maintaining
the Limiter’s brick wall protection. Note that there may be
some interaction between the output level and limiter,
depending on how the limiter is set. For example, if the
limiter is set up to catch the occasional peak and you then
turn the output level up by 6 dB, expect to see more limiting
as the entire mix is now 6 dB closer to the threshold.
Linking and Unlinking Parameters within
Processing Sections
Parameters within each processing section can be linked
or unlinked, depending on the application. Adjusting param-
eters in linked mode affects both outputs simultaneously and
is particularly useful when working with Stereo mixes, as it
allows you to change one set of parameters and affect both
sides of the mix identically. Unlinking parameters allows you
to make individual adjustments to each side of a stereo mix,

Manual-10
Filters & Subwoofer
Parameters
Pressing the FILTER/SUB button displays this edit page:
FLT ON | LOW SHELF HIGH SHELF
OUT 1+2| 100Hz 0dB 10kHz 0dB
Pressing the FILTER/SUB button again displays the
SUBWOOFER SETTINGS edit page:
SUB | LOW CUT HIGH CUT LEVEL
| 20Hz 200Hz 0.0dB
SGNITTESNIAM:SRETLIF
2FO1
retemaraPeulaVnoitpircseD
TLF sutats
NO ehtrofNOsretliFsnruT
.)s(tuptuOdetceles
ffo )ssapyb(FFOsretliFsnruT
.)s
(tuptuOdetcelesehtrof
TSR
)teseR(
otRETNEsserpdnatceleS
.sgnittestluafederotser
)s(tuptuOdetceleS
2+1TUO
tsu
jdadnaweiV
htobrofsretemarap
.ylsuoenatlumisstuptuO
.edom”dekniL“
1TUO
tsujdadnaweiV
1tuptuOrofsretemarap
.ylno
2TUO
tsujdadnaweiV
2tuptuOrofsretemarap
.ylno
WOL retliF
FLEHS flehSwoLehtselbanE
.retliF
TUC tuCwoLehtselbanE
.retliF
ffo woLehtselbasiD
.retliFflehS/tuC
ycneuqerfwoL otzH02
zHk0.1
renrocretliFehtsteS
.ycneuqerf
niagwoL
)ylnoedomflehS(
otBd51-
Bd21+ .tsoobrotucfotnuomA
HGIH retliF
FLEHS flehShgiHehtselbanE
.retliF
TUC tuChgiHehtselbanE
.retliF
ffo hgiHehtselbasiD
.retliFflehS/tuC
ycneuqerfhgiH zHk0.1
zHk02ot
renrocretliFehtsteS
.ycneuqerf
niaghgiH
)ylnoedomflehS(
otBd51-
Bd21+ .tsoobrotucfotnuomA
Description
Shelf/Cut Filters tailor the upper and lower frequency
ranges of personal in-ear monitors.
A Low-Cut (aka High-Pass) Filter is often used to remove
frequencies below the lower limit of the transducer . Use the
Low-Cut Filter to remove low frequencies that tend to bottom
out less expensive earphones. Judicious use of the Low-Cut
Filter together with the SUB Output and a tactile thumper or
seat shaker can tidy up an in-ear mix considerably.
A High-Cut (aka Low-Pass) Filter is used to remove
frequencies above a particular frequency. You might use the
High-Cut Filter to limit the frequency range to the upper
cutoff of 15 kHz common to many wireless transmitters.
Low- and High-Shelf Filters are similar to the simple bass
and treble tone controls found on most home stereos. Due to
those pesky laws of physics, some in-ear monitors benefit
from a slight boost in the bottom end using the LOW SHELF
filter centered around 100 Hz or so. Similarly, a slight boost
in the 8 kHz to 12 kHz range of the HIGH SHELF filter helps
brighten and add some “air” to the overall mix.
SGNITTESREFOOWBUS:SRETLIF
2FO2
retemaraPeulaVnoitpircseD
TUCWOL
ycneuqerf zHk1otzH02
renrocretliFehtsteS
tesebt’naC.ycneuqerf
hgiHehtnahtret
aerg
.ycneuqerftuC
TUCHGIH
ycneuqerf zHk1otzH02
renrocretliFehtsteS
tesebt’naC.ycneuqerf
tuCwoLehtnahtrewol
.
ycneuqerf
LEVEL Bd04-otBd21+
fforo .tucrotsoobfotnuomA
Figure 1. Shelf/Cut Filter Characteristics
-30
+14
-28
-26
-24
-22
-20
-18
-16
-14
-12
-10
-8
-6
-4
-2
0
+2
+4
+6
+8
+10
+12
20 20k50 100 200 500 1k 2k 5k 10k
d
B
Hz
SHELF
CUT
SHELF

Manual-11
-20
+20
-18
-16
-14
-12
-10
-8
-6
-4
-2
0
+2
+4
+6
+8
+10
+12
+14
+16
+18
-20 [phone] +5 +10 +15
d
B
O
U
T
P
U
T
dB INPUT
Multi-Band Compressor
The Compressor may be used in either full-range (M-
BAND off) or multi-band (M-BAND on) modes. Repeatedly
press the COMPRESS button to move through each fre-
quency band when M-BAND is set to ON.
Pressing the COMPRESS button displays the following:
CMP ON |BND THRSH RTO ATCK REL M-BAND
OUT 1+2| 1 0dB 2.0 10ms 100ms ON
* Important note: the front panel Gain Reduction meter
automatically switches to display the amount of gain
reduction being applied to the currently selected band.
Adjusting Crossover Points in Multi-Band Mode
To view or adjust crossover frequencies:
1. Navigate to the M-BAND parameter.
2. Rotate the DATA control to select SET and press ENTER.
3. Select a band crossover point and adjust with the DATA
control. Press ENTER to return to the COMPRESSOR.
CMP |--------X---------X----------|
OUT 1+2| BND1-2=200Hz BND2-3=2.0kHz
ROSSERPMOC
retemaraPeulaVnoitpircseD
PMC sutats
NO ehtrofNOrosserpmoCsnruT
.)s(tuptuOdetceles
ffo )ssapyb(FFOrosserpmoCsn
ruT
.)s(tuptuOdetcelesehtrof
TSR
)teseR(
otRETNEsserpdnatceleS
.sgnittestluafederotser
detceleS
)s(tuptuO
2+1
TUO
rofsretemaraptsujdadnaweiV
.ylsuoenatlumisstuptuOhtob
.edom”dekniL“
1TUO rofsretemaraptsujdadnaweiV
.ylno1tuptuO
2TUO rofsretemaraptsujdadnaweiV
.ylno2tuptuO
DNB
)dnaB( 3,2,1
ehtgnisserpyldetaepeR
selcycnottubSSERPMOC
3ehtfohcaehguorht
nehwsdnabrosserpmoC
.NOottessiDNAB-M
HSRHT
)dlohserhT(
otBd06-
Bd0
hcihwevobalevellan
gisehT
.srucconoisserpmoc
OTR
)oitaR(
ot0.1
FNI
emulovtuptuofotnuomA
emulovtupnirepnoitcuder
.dlohserhTehtevo
baesaercni
,noitcuderon=0.1
.noisserpmocdrah=FNI
KCTA
)kcattA(
otsm5.0
sm001
ehtylkciuqwohsenimreteD
ecnodecu
dersiemulovtuptuo
ehtsdeecxeemulovtupnieht
.dlohserhT
LER
)esaeleR(
otsm1
ces5
ehtylkciuqwohsenimreteD
lamronotsnruteremulovtuptuo
emulovtupniehtecno)ytinu(
.dlohserhTehtwolebspord
DNAB-M
NO .NOedomdnaB-itluMsnruT
TE
S
weivotRETNEsserpdnatceleS
dnab-itlumehttsujdaro
.seicneuqerfrevossorc
ffo
.FFOedomdnaB-itluMsnruT
ehtrevoskrowrosserpmoC
.egnarzHk02otzH02eritne
EGAPYCNEUQERFDNAB-ITLUM
retemaraPeulaVnoitpircseD
2-1DNB
)2-1dnaB(
otzH02
zHk02
.ycneuqerFrevossorCdiM/woL
ehtnahtretaergtesebt’naC
.y
cneuqerF3-2DNB
3-2DNB
)3-2dnaB(
otzH02
zHk02
.ycneuqerFrevossorChgiH/diM
ehtnahtrewoltesebt’naC
.ycneuqerF2-
1DNB
Description
Custom tailoring of the program material dynamics is
possible using the multi-band compressor. The audio signal is
divided into distinct frequency ranges, which are then
individually compressed as desired before being recombined
to form the processed signal.
A common application for multi-band compression is to
compress low frequencies more (or otherwise differently)
than the mid and high frequencies. How many times have you
heard this: “Why do the vocals disappear with every bass
drum hit? It gives my mix this weird pumping sound.” This
phenomenon is likely due to using a full-range (broadband)
compressor across the entire mix. In this scenario the low
frequency energy from the bass drum triggers the compres-
sor, dragging all frequencies down evenly with every hit.
Multi-band compressor to the rescue! Try adjusting the
compressor’s crossover frequency point to compress just the
low frequency range (say, 200 Hz and below) while keeping
the vocals and guitars strong and present.
The multi-band compressor used in the MM 42 is of the
rms (root mean square) variety with a soft-knee characteristic
for a pleasant, musical response.
Figure 2 Compressor Characteristic (various Ratios)

Manual-12
Parametric Equalization
Parameters
Repeatedly press the EQ button to move through each of
the five EQ bands.
PEQ ON | EQ GAIN FREQ BW (Q)
OUT 1+2| 1 0dB 100kHz 1/3 (4.3)
Multi-Band Peak Limiter
Parameters
The Compressor may be used in either full-range (M-
BAND off) or multi-band (M-BAND on) modes. Repeatedly
press the COMPRESS button to move through each fre-
quency band when M-BAND is set to ON.
Pressing the LIMIT button displays this edit page:
LIM ON |BND THRSH ATCK REL M-BAND
OUT 1+2| 1 0dB 10ms 100ms ON
NOITAZILAUQECIRTEMARAP
retemaraPeulaVnoitpircseD
QEP sutats
NO detcelesehtrofNOQEPsnruT
.)s(tuptuO
ffo rof)ssapyb(FFOQEPsnruT
.)s(tupt
uOdetceleseht
TSR
)teseR(
otRETNEsserpdnatceleS
.sgnittestluafederotser
detceleS
)s(tuptuO
2+1TUO
rofsretemaraptsujdadnaweiV
.ylsuoenatlumisstuptuOhtob
.edom”dekniL“
1TUO rofsretemaraptsujdadnaweiV
.ylno1tuptuO
2TUO rofsretemaraptsujdadnaweiV
.ylno2tuptuO
QE ,3,2,1
5,4
QEehtgnisserpyldetaepeR
fohcaehguorhtselcycnottub
.sdnabQEevifeht
NIAG otBd51-
Bd21+ .tucrotsoobfotnuomA
QERF
)ycneuqerF(
otzH02
zHk02 .ycneuqerfretnecretliF
WB
)htdiwdnaB(
4ot42/1
sevatco .)Q(htdiwdnabretliF
Description
Use the 5-bands of fully parametric equalization (PEQ) to
smooth out the frequency response of personal monitors, to
sweeten the overall mix, or to compensate for an artist’s
hearing loss.
Handy tip: you can equalize each side of a stereo mix
differently by selecting and adjusting the OUT1 and OUT2
parameters individually instead of selecting OUT1+2.
Figure 3 Parametric EQ (various Q settings)
-20
+20
-18
-16
-14
-12
-10
-8
-6
-4
-2
0
+2
+4
+6
+8
+10
+12
+14
+16
+18
-4 +4-3.5 -3 -2.5 -2 -1.5 -1 -0.5 0 +0.5 +1 +1.5 +2 +2.5 +3 +3.5
d
B
Hz
* Important note: the front panel Gain Reduction meter
automatically switches to display the amount of gain
reduction being applied to the currently selected band.
RETIMILKAEP
retemaraPeulaVnoitpircseD
MIL sutats
NO ehtrofNOretimiLsnruT
.)s(tuptuOdetceles
ffo rof)ssapyb(FFOretimiLsnruT
.)s(tuptuOdetceleseht
TSR
)teseR(
otRETNEsserpdnatceleS
.sgnittestluafederotser
detceleS
)s(tuptuO
2+1TUO
rof
sretemaraptsujdadnaweiV
.ylsuoenatlumisstuptuOhtob
.edom”dekniL“
1TUO rofsretemaraptsujdadnaweiV
.ylno1tup
tuO
2TUO rofsretemaraptsujdadnaweiV
.ylno2tuptuO
DNB
)dnaB( 3,2,1
TIMILehtgnisserpyldetaepeR
ehtfohcaehguorhtselcycnottub
DNAB-Mnehw(sdnabretimiL3
.)NOottessi
HSRHT
)dlohserhT(
otBd06-
Bd0
hcihwevobalevellangisehT
.sru
ccognitimil
KCTA
)kcattA(
otsm5.0
sm001
ehtylkciuqwohsenimreteD
siemulovtuptuos’retimiL
emulovtupniehtecnode
cuder
.dlohserhTehtsdeecxe
LER
)esaeleR(
otsm1
ces5
ehtylkciuqwohsenimreteD
snruteremulovtuptuos’retimiL
tupn
iehtecno)ytinu(lamronot
.dlohserhTwolebspordemulov
DNAB-M
NO .NOedomdnaB-itluMsnruT
TES weivotRETNEsserpdna
tceleS
.seicneuqerfrevossorctsujdaro
ffo
.FFOedomdnaB-itluMsnruT
eritneehtrevoskrowretimiL
.egnarzHk02otzH02

Manual-13
Adjusting Crossover Points in Multi-Band Mode
To view or adjust crossover frequencies:
1. Navigate to the M-BAND parameter.
2. Rotate the DATA control to select SET and press ENTER.
3. Select a band crossover point and adjust with the DATA
control. Press ENTER to return to the LIMITER page.
LIM |--------X---------X----------|
OUT 1+2| BND1-2=200Hz BND2-3=2.0kHz |
EGAPYCNEUQERFDNAB-ITLUM
retemaraPeulaVnoitpircseD
2-1DNB
)2-1dnaB(
otzH02
zHk02
.ycneuqerFrevossorCdiM/woL
ehtnahtretaergtesebt’naC
.y
cneuqerF3-2DNB
3-2DNB
)3-2dnaB(
otzH02
zHk02
.ycneuqerFrevossorChgiH/diM
ehtnahtrewoltesebt’naC
.ycneuqerF2-
1DNB
Peak Limiter Description
The three-band peak Limiter sets the maximum signal
level allowed to pass through to the main Outputs. Unlike a
Compressor, which acts to maintain an average (rms) signal
level about a Threshold, the Limiter acts quickly to prevent
any signal — such as the transient from unplugging a
phantom-powered microphone — from exceeding a set
Threshold. As is done in the Compressor section, the signal is
split into three user-defined ranges, each with its own
Threshold, Attack and Release controls. The Limiter and
Compressor do not share a common crossover. It is possible
to choose completely different frequency settings for the
Limiter than the Compressor.
Handy Tip: For vocal-heavy mixes try limiting the mid
frequencies slightly more than the low and high frequencies.
This should help smooth things out during the loud part at the
song’s climax, just before the big key change.
Figure 4 Peak Limiter Characteristic
-20
+20
-18
-16
-14
-12
-10
-8
-6
-4
-2
0
+2
+4
+6
+8
+10
+12
+14
+16
+18
-20 [phone] +5 +10 +15
d
B
O
U
T
P
U
T
dB INPUT
Using the Cue Bus
Monitor engineers rejoice! The on-board CUE BUS
allows you to solo mixes from one or more MM 42s without
having to constantly re-patch headphones between units.
Simply connect the multiple MM 42s together using the CUE
BUS jacks, plug your headphones into any MM 42 (it doesn’t
matter which one), and press the front panel CUE BUS button
on the unit you wish to monitor. The signal from that unit is
automatically routed to the Cue Bus and can be monitored
from any MM 42 using the PHONES or CUE OUTs.
See the Cue Bus Configuration section on page Manual-
14 for details on setting up the various Cue Bus functions and
operating modes.
Connecting Multiple MM 42s
Connect multiple MM 42s together on the Cue Bus using
the included telephone-style cable. There are no dedicated
“in” or “out” connections – either jack can be used to daisy-
chain the Cue Bus of one MM 42 to the next.
Note: it is NOT necessary to create a loop between the
first MM 42 in the chain and the last.
There’s no need to panic if you happen to lose a Cue Bus
cable while on tour in Boise, Idaho…at 8 PM…on a Sunday.
Simply find the nearest unused telephone and borrow the
cable. Check to make sure the cable has at least the four
middle conductors (metal prongs) connected on each end.
And don’t forget to return the cable at the end of the tour.
Using the Cue Bus Outputs (rear panel)
In addition to appearing on the front panel PHONE jacks,
the CUE BUS signal appears on the rear panel CUE OUT 1
(left) and CUE OUT 2 (right) jacks.
Connect these Outputs to a spare transmitter/beltpack so
you always monitor the signal exactly as the artist hears it.
Also, should the artist’s transmitter or receiver ever fail, you
can save the day (and ensure your position as monitor
engineer to the stars for years to come) by cueing up their
MM 42 mix, running onstage in the official “crouched
roadie” position, and swapping in the spare beltpack.
Alternately, connect the CUE OUTs to unused inputs on
the monitor console so you can cue individual input channels
(kick, snare, etc.) and the processed ear mixes directly from
the mixing console. Simply solo the appropriate channels on
the monitor console, then use the MM 42’s front panel CUE
BUS button to switch between different mixes.
Working in 2-MONO mode
When working in 2-MONO mode the Cue Bus signal
automatically follows the currently selected output. To select
an output to monitor and/or edit:
• Change the Selected Output parameter on any processing
page - Filter/Sub, Compress, EQ, Limit; or
• Quickly double-bump (push-release, push-release) the
OUTPUT control.

Manual-14
Utilities
On Bus
When connecting multiple MM 42s via the Cue Bus, set
each unit’s ON BUS parameter to match the number of
connected units, to a maximum of 4. For example, if three
MM 42s are connected, the ON BUS parameter of all units
would be set to 3. This parameter is especially important if
you need to precisely match the gain settings of a spare
transmitter/beltpack to those of the primary transmitter/
beltpack.
It is possible to connect more than four MM 42s to the
Cue Bus, but be aware that there will be a slight loss in the
Cue/Phones signal for each additional connected device. This
loss equates to 6 dB per doubling of the number of devices,
and can be compensated for by turning up the PHONES level
or by adjusting the input gain of the spare transmitter/beltpack
if using the CUE outputs.
Important note: The main outputs (OUT 1, 2 & SUB) are
not affected by adding or removing MM 42s to or from the
CUE BUS. Only the front panel PHONES and rear panel
CUE OUTs are affected.
NOITARUGIFNOCSUBEUC:LITU
6fo1EGAP
retemaraPeulaVnoitpircseD
SUBNO4ot1 detcennocs24MMforebmuN
.subeucehtot
SENOHP/EUC
OERETS
2TUO/1TUO(ximthgir/t
feL
ehtottnessi)tnemngissa
.senohP/euC
1ONOM slennahchtobottnessi1TUO
.senohP/euCehtfo
2ONOM slennahchtobott
nessi2TUO
.senohP/euCehtfo
GNISSECORP roERP
TSOP
senohP/euCehtrehtehwstceleS
.gnissecorptsopro-erpsilangis
E
DOM roHCTAL
TNEMOM
rognihctalneewtebstceleS
.edomsuBeuCyratnemom
Repeatedly pressing the UTILITIES button cycles through
the following useful pages.
Cue Bus Configuration
CUE BUS| CUE/PHONES PROCESSING MODE
1ON BUS| STEREO POST LATCH
Storing and Recalling Memories
(Presets)
The current CONFIG settings and parameters for all
processing sections (filter/sub, compressor, EQ, and limiter)
are saved when you store a Memory. Input and output levels
and all UTILITIES settings are not stored.
Pressing the MEMORY button displays this edit page:
MEMORY |STORE : 1 STEREO DEFAULT
|RECALL: 1 STEREO DEFAULT *MOD
To store all processing and configuration settings to a
Memory location:
1. Press the  key once to navigate to the STORE field.
2. Rotate the DATA control to select a Memory number to
STORE to and press ENTER, producing this screen:
NAME MEMORY 1: MEM 1
CANCEL
3. Give the Memory a meaningful name. Use the  and
keys to move between character fields. Select the
characters by rotating the DATA control. A maximum of
16 characters is permitted.
4. Press ENTER to move the cursor to the flashing STORE
field. Press ENTER to complete the operation.
The Memory store operation can be cancelled at any time
by pressing the CANCEL button.
To recall a stored Memory:
1. Navigate to the RECALL field.
2. Rotate the DATA control and select the Memory to be
recalled.
3. Press ENTER.
The audio outputs mutes briefly when a Memory is
recalled.
Warning: the current processing and configuration
settings will be overwritten with the content of the selected
Memory.
YROMEM
retemaraPeulaVnoitpircseD
EROTS61ot1 .otderotsnoitacolyromeM
LLACER61ot1 .morfdellacernoitacolyromeM
DOM*
nehws
raeppagalfDOM*ehT
degnahcneebevahsretemarap
rollaceRyromeMtsalehtecnis
.erotSyromeM

Manual-15
MIDI Configuration
MIDI | Rx Tx MERGE/THRU
CONFIG | OMNI 1 off
MIDI Rx (receive): in OMNI mode the MM 42 will
respond to MIDI data received on all MIDI channels.
MIDI MERGE/THRU: if MERGE/THRU is ON, incom-
ing MIDI data is merged with MIDI data from the MM 42
and sent to the MIDI OUT/THRU port.
MIDI Transfer
It is possible to transfer an individual Memory or all
Memories from the MM 42 to another MM 42 or other MIDI
device.
MIDI | MODE MEMORY
TRANSFR| SEND 1 SEND
NOITARUGIFNOCIDIM:LITU
6fo3EGAP
retemaraPeulaVnoitpircseD
xR ,61ot1,ffo
INMO lennahceviecerIDIM
xT61ot1,ffo lennahctimsnartIDIM
URHT/EGREMNO,ffo sutatsurht/egremIDIM
REFSNARTIDIM:LITU
6fo4EGAP
retemaraPeulaVnoitpircseD
EDOM
refsnarT(
)edoM
roDNES
EVIECER
ottinugnittimsnartehtteS
tinugniviecerehttes,DNE
S
.EVIECERot
YROMEMLLA,61ot1 ebotnoitacolyromeM
.deviecer/tnes
/DNES
EVIECER
sinoitca(
)gnihsalf
sserpdnanoitca
tceleS
.refsnartnigebotRETNE
Transferring Memories between MM 42s
Connect the MIDI OUT/THRU of the transmitting MM 42
to the MIDI IN of the receiving MM 42.
Be sure the MIDI Rx and Tx of both units is not set to off.
On the receiving MM 42:
1. Set the receiving device to RECEIVE mode on the MIDI
TRANSFER page.
2. Select the MEMORY (1 through 16 or ALL) location in
which to store the incoming data.
3. Select the RECEIVE action (flashing) and press ENTER.
The following screen appears:
AWAITING MIDI DATA
PRESS CANCEL TO ABORT
Processing
The PROCESSING parameter determines whether the
cued signal is monitored pre- or post-processing. This feature
is especially useful for doing a before-and-after comparison
to hear the effect of the channel processing and only affects
the Phones and CUE Outputs – the Main Outputs (OUT 1,
OUT 2) and SUB Output are always post-processing. Did you
really get that low-end compression properly dialed in? Is the
PEQ adding enough air to the mix? Use the pre/post feature
to hear for yourself – without disrupting the artist’s mix.
Mode
When LATCH mode is selected, pressing the CUE BUS
button once routes the MM 42’s signal to the Cue Bus and the
front panel PHONES jacks. Pressing the CUE BUS button
again removes the signal from the Cue Bus. It is possible (but
potentially confusing) to have multiple MM 42s active on the
Cue Bus at the same time. To avoid audio mayhem, always
remember to deactivate one MM 42 (by pressing its CUE
BUS button) before cueing another.
When MOMENTARY mode is selected the MM 42’s
signal is routed to the Cue Bus and front panel PHONES
jacks only as long as the CUE BUS button is pressed and
held. Use this mode once the mixes are fully dialed in and
you just need to do the occasional spot check.
Gain Reduction Meter Mode
GAIN | <METER MODE>
REDUCTN| COMPRESSOR+LIMITER
Important note: When the Compressor or Limiter is being
edited, the Gain Reduction meter automatically switches to
display the amount of gain reduction being applied to the
currently selected band of that processing section. At all other
times the Gain Reduction meter follows the selected METER
MODE in the UTILITY menu.
RETEMNOITCUDERNIAG:LITU
6fo2EGAP
retemaraPeulaVnoitpircseD
RETEM
EDOM
ROSSERPMOC
RETIMIL+
niagmumixamsyalpsiD
rosserpmoCllafonoitcuder
.sdnabre
timiLdna
ROSSERPMOC
niagmumixamsyalpsiD
rosserpmoCllafonoitcuder
.sdnab
RETIMIL
niagmumixamsyalpsiD
retimiLl
lafonoitcuder
.sdnab

Manual-16
Name Device
An unnamed MM 42 will default with this display:
RANE CORPORATION MM 42
PERSONAL MONITOR PROCESSOR STORE
1. Rotating the DATA control under each character lets you
rename your unit to anything you wish. Use the  and
keys to move between character fields. A total of 52
characters (2 lines of 26 characters each) is permitted.
2. Press ENTER to move the cursor to the STORE field. Press
ENTER to complete the operation.
The Name Device operation can be cancelled at any time
by pressing the CANCEL button.
Firmware Update
Firmware updates may be made available periodically to
address new features or fix reported problems. You can
perform the update using any MIDI device capable of playing
back a downloaded MIDI SysEx data file.
You can run the firmware updater file using any computer
equipped with a MIDI interface. In Windows, the default
.MID player (such as Windows Media Player) works if the
correct MIDI output is selected in Control Panel > Sounds
and Audio Devices > Audio > MIDI Music Playback. Refer
to your MIDI software or interface instructions.
To update firmware:
1. Download the latest firmware MIDI file (MM42*.MID)
from www.rane.com/mm42.html.
2. Press the UTILITIES button several times until the
UPDATE DEVICE FIRMWARE page is displayed.
3. Rotate the DATA control to select YES and press ENTER.
UPDATE DEVICE FIRMWARE? YES
CURRENT FIRMWARE VERSION *.*
4. Re-confirm the action. Rotate the DATA control to select
YES and press ENTER.
UPDATE DEVICE FIRMWARE:
ARE YOU SURE? YES
The MM 42 eagerly awaits for the incoming data…
AWAITING MIDI DATA
PRESS CANCEL TO ABORT
5. Now play the MM42*.MID file. When incoming MIDI
data is detected the MM 42 displays…
FIRMWARE DOWNLOAD IN PROGRESS
…then wait while the firmware is loaded...
…followed by a success message with the new version:
MM 42 FIRMWARE UPDATE SUCCESSFUL
VERSION *.*
On the transmitting MM 42:
1. Select SEND mode on the MIDI TRANSFER page.
2. Select the MEMORY (1 through 16 or ALL) location to
send to the receiving MM 42.
3. Select the SEND action (flashing) and press ENTER. The
following screen appears:
SENDING MIDI DATA
When incoming MIDI is detected the receiving MM 42 says:
RECEIVING MIDI DATA
When the transfer is complete both units display:
MIDI TRANSFER COMPLETE
PRESS CANCEL TO CONTINUE
If the following horrifying display appears on either unit
during the transfer there has been an error. Don't get mad, just
check all connections and settings and try again:
MIDI TRANSFER FAILED
PRESS CANCEL TO CONTINUE
TIP: Memory locations in the transmitting device can be
stored to any Memory location in the receiving device. For
example, the screens to store Memory location 1 from the
transmitting device to Memory location 3 in the receiving
device (so as not to overwrite Memory 1 in the receiving
device) would be as follows:
Transmitting MM 42:
MIDI | MODE MEMORY
TRANSFR| SEND 1 SEND
Receiving MM 42:
MIDI | MODE MEMORY
TRANSFR| RECEIVE 3 RECEIVE
Backing up Memories to a PC or other MIDI Device
Be sure the MIDI Tx of the MM 42 is not set to off.
1. Connect the MIDI OUT of the transmitting MM 42 to the
MIDI IN of the receiving MIDI device.
2. Place the receiving device into “record” or “receive” mode.
Memories are stored as MIDI System Exclusive (SysEx)
data, so be sure to turn off any SysEx filters that may be in
place during record or playback. Consult the Owner’s
Manual of your MIDI device.
On the transmitting MM 42:
3. Select SEND mode on the MIDI TRANSFER page
4. Select the MEMORY (1 through 16 or ALL) location to
send to the receiving MIDI device.
5. Select the SEND action (flashing) and press ENTER.
The screens are the same as when transmitting between
MM 42s (see above).

Manual-17
Restoring Factory Defaults
IMPORTANT: the following procedure resets all param-
eters in the MM 42, INCLUDING all stored Memory
locations (Presets). Follow the instructions in the MIDI
Transfer section for details on backing up user Memory
locations before resetting the unit.
It is also recommended that you remove your earphones
or otherwise turn the signal DOWN before performing a
reset.
The MM 42 can be restored to its original state (minus the
new audio gear smell, of course) by doing the following:
1. Press and hold the UTILITIES button
2. Simultaneously press both the  and keys.
The following screen appears:
RESET TO FACTORY CONFIGURATION? NO
Rotate the DATA control to select YES and press ENTER.
3. The following screen appears:
RESET TO FACTORY CONFIGURATION:
ARE YOU SURE? NO
Rotate the DATA control to select YES and press ENTER
to re-confirm the action.
MM 42 RESET TO FACTORY CONFIGURATION
Mission accomplished! The MM 42 is now reset to its
original factory settings.
Appendix: Additional Resources
Hearing Conservation
Hearing Education & Awareness for Rockers (H.E.A.R.)
PO BOX 460847
San Francisco, CA 94146
Phone: 415-409-EARS or (3277)
Email: [email protected]
Web: www.hearnet.com
Earphone Manufacturers (Custom and Universal Fit)
Future Sonics Incorporated
P.O. Box 187
Pineville, PA 18946-0187
Phone: 877-FSI-EARS or Outside USA +01.598.8818
Email: [email protected]
Web: www.futuresonics.com
Sensaphonics
Hearing Conservation
660 North Milwaukee Ave.
Chicago, IL 60622
Phone: [phone]
Email: [email protected]
Web: www.sensaphonics.com
Ultimate Ears
2657 Windmill Parkway #391
Las Vegas, NV 89074
Phone: [phone]
Toll Free: 800-589-6531
Email: [email protected]
Web: www.ultimateears.com
Westone Laboratories, Inc.
P.O. Box 15100
Colorado Springs, CO 80935
Phone: [phone]
Email: [email protected]
Web: www.westone.com/music
Bass Shaker / Tactile Transducer Manufacturers
Clark Synthesis, Inc.
Clark Synthesis Tactile Sound
8122 Southpark Lane Suite 110
Littleton, CO 80120
Phone: [phone]
Phone: [phone]
Web: www.clarksynthesis.com
The Guitammer Company Inc.
Post Office Box 82
Westerville, OH 43086
Phone: [phone]
Phone: [phone]
Email: [email protected]
Web: www.guitammer.com

Manual-18
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 USA TEL [phone] FAX [phone] WEB www.rane.com
107833
MM 42 MIDI Implementation Chart
noitcnuF dettimsnarT desingoceR skrameR
lennahCcisaB tluafeD
degnahC
1
FFO,61-1
INMO
FFO,61-1
xesyS
dettimsnart:61-1
dettimsnartton:FFO
edoM
tluafeD
segasseM
deretlA
4edoM
x
x
2edoM
x
x
rebmuNetoNxx
yticoleV NOetoN
FFOetoN
x
x
x
x
hcuotretfA yeK
lennahC
x
x
x
x
redneBhctiPxx
egnahClortnoC11-3xo wolebtrahcCCeeS
egnahCmargorP rebmuNeurT
x
x
o
)51-0(61-1 llaceR61-1yromeM
evisulcxEmetsySoo
pmuDeliFxesySlasrevinU
H710000=DI.funaM
HAO=DItcudorP
nommoCmetsyS
.soPgnoS
.leSgnoS
enuT
x
x
x
x
x
x
emiTlaeRmetsyS kcolC
sdnammoC
x
x
x
x
segasseMxuA
lortnoClacoL
ffOsetoNllA
esneSevitcA
teseR
x
x
x
x
x
x
x
x
yloP,nOinmO:1edoM
yloP,ffOinmO:3edoM
onoM,nOinmO:2edoM
onoM,ffOinmO:4edoM
Version 1.2
rellortnoC retemaraP24MMegnaRIDIM
ceDxeH
33 /euC
senohP
nO/ffOeuCNOeuC=721-46;FFOeuC=36-0
44 oeretS/1tuO/ 2tuO0- 34;oeretS=2
4-68;1tuO=58-2tuO=721
55 erPgnissecorPtsoP/tsoP=721-46;erP=36-0
66
tupnI
sleveL
A
0- 04-=3141;Bd- 04-=39Bdot5.0-5.0niBd;spetsBd
49- 0=201301;Bd-0=721Bdt 21o5.0niBdspetsBd.
77 B
88 C
99 D
01A
tuptuO
sleveL
/)onoM-2(1tuO
)oeretS(leveL
Bd5.04-=39-31;ffo=21-0ot5.0-5.0ni
Bd;spetsBd
0=201-49301;Bd-0=721Bdto215.0niBdspetsBd.
11B /)onoM-2(2tuO
)oeretS(ecnalaB
lortnoclevel2tuOroF)onoM-2(.evoba
saemaS:
:lortnoC)oeretS(ecnalaBroF
thgiR=12-0c04-lennahBdto 91-1taBd;lavreppetsBd
thgiR=75-22c81-lennahBdto1-1taBd;lav2re
ppetsBd
85- tfeL,retneC=96/thgiRc 0lennah;Bd
07- tfeL=501c1-lennahBdto 81-1taBd;lav2reppetsBd
tfeL=721-601c91-lennahBdt 04-o1taBdlavreppetsBd.