Rane TTM 56S User manual

Manual-1
TTM 56S
PERFORMANCE MIXER
OPERATORS MANUAL
Quick Start
Congratulations! You are the proud owner of an exceptional per-
formance instrument. Experienced turntablists will find the TTM
56S comfortable and familiar. e TTM 56S has many unique
features which are mastered quicker if you read the manual. Right!
We know you can’t resist jumping right in, but please read at least
this portion of the manual. It will help you get a good start.
About the faders: e program faders and crossfader are magnetic,
non-contact faders. is means No travel noise – No bleed – Ever!
e electrical performance of the faders is unaffected by use. Old
habits are hard to break, but you really don’t have to mess with
these faders. e magnetic faders in this mixer are very different
from what you are used to. Be sure and read the Qand Asection
on page Manual-6.
Special Features:
• KILL switches behave like transform controls, to quickly cut a
signal in or out. Be sure these switches are up to get sound!
• Separate CONTOUR controls for each fader and the crossfader
allow continuous adjustment from smooth blend to fast cut.
• e CHANNEL SWAP switch allows the left-hand or right-
hand fader to control PGM 1 or PGM 2.
• Auxiliary Inputs and Outputs, with independent level controls,
give session mixing ability.
WEAR PARTS: is product contains no wear parts.
AUX Inputs may be used for a drum machine, keyboard, etc.
AUX Input comes in after the Crossfader and after the FlexFX loop.
AUX Outputs may be used for recording, booth monitoring, or a second zone.
AUX Output is the same mix as the Master.
• FlexFX™allow individual assignment of PGM 1, PGM 2 or both to the effects loop. e effects loop is post-fader. You get great results
when using the program faders or crossfader with reverb or other delay effects. For instance, reverb and echo tails are still heard after
the fader is off. e WET/DRY pan lets you control how much of the effect is in the mix.
• ree-band Accelerated-Slope™ EQ allows full cut of each band. e EQ engage switches lets you A/B compare or quickly transform
the EQ effect.
• Two 10-segment meters provide Dual-Mono-Cue or Stereo-Master operation.
• Yes, we included a power switch on the rear.
e flexibility of the TTM 56S can result in some initial confusion. e CHANNEL SWAP switch, KILL switches, REVERSE switches,
Faders and Crossfader are all different ways to cut the signal. We recommend trying one thing at a time. Check that the KILL switches
are ON (up position). Make sure the CHANNEL SWAP switch (and its yellow LED) is off . Start by changing the Contour of each fader,
one at a time. See the diagrams on page Manual-5 to understand the fader responses under different settings, with REVERSE on and off.
Once you understand the controls, start creating!

Manual-2
Rear Panel Hook-up
Power
e TTM 56S features an internal
universal switching power supply that
operates on any AC mains 100 to 240
VAC, 50 or 60 Hz (most places in
the world). All that is required when
traveling is the appropriate IEC line
cord available in each country. e
universal supply is a major plus for the
traveling DJ. e POWER switch is
just above the power connector. You
know what to do with this, but leave it
off until everything is connected.
Inputs
PGM 1 and PGM 2 each have two
inputs, each assignable PHONO or
LINE. For a turntable input with
RIAA compensation, push the cor-
responding switch up to PHONO. For
all other sources such as CD or MP3
players, push the corresponding switch
down to LINE.
PHONO GROUNDS provide
independent ground connect points
for turntables. It is very important
that each turntable have a very good
ground connection to one of these
terminals. e thumbscrews will come
off if they are over-rotated, so be care-
ful not to spin them off and lose them.
AUX IN may be used with a drum
machine, groovebox, sampler, or
another mixer’s output for session mix.
is Input is mixed after the Cross-
fader and FlexFX loop.
MIC INPUT is a balanced input
specifically designed for a dynamic mic
(a condenser mic will not work).
1-CONDUCTOR SHIELDED CABLE
1-CONDUCTOR SHIELDED CABLE
T = SEND R = RETURN S = SHIELD
++SEND
RETURN
++
SHIELD SHIELD
SHIELD
Send/Return Cable Wiring
AUX
PHONO
GROUNDS
POWER
PGM 1
PGM 2
4
3
2
1
4
4
3
3
2
2
1
1
4
3
2
1
100-240V
50/60 Hz
20 WATTS
ACN 001 345 482
MADE IN U.S.A.
RANE CORP.
U.S. PATENT 6,813,361
OUT
IN
OUT
IN
MIC
BALANCED
MASTER
OUTPUTS
R
L
R
L
R
L
R
L
R
L
R
L
LINE
PHONO
TTM 56S
COMMERCIAL AUDIO
EQUIPMENT 24TJ
R
EFFECTS
SEND
UNBALANCED
FlexFX
RETURN
TIP = SEND
RING = RTN
BALANCED
4321
O
N
Effects Loops
MIC EFFECTS insert jack is un-
balanced. It is wired for ¼" TRS,
meaning Tip=Send, Ring=Return
and the Shield or Sleeve. is is an
independent Effects Loop for the Mic.
ere is no engage switch, so the Mic
signal is always processed when you
have a plug inserted and an effects box
connected. If you are connecting to an
effects processor with a Send/Return
jack, a single TRS cable will work.
If your effects processor has separate
Send and Receive jacks, you need a
“Y” cable. You can buy a Send/Return
cable from your local music store, or
you can make one of your own, as
shown below.
FlexFX EFFECTS jacks are unbal-
anced mono ¼" TS (Tip and Sleeve).
is stereo loop is used for output
to (send) and input from (return) an
eects processor. e SEND jacks pro-
vide the output to your effects proces-
sor. e RETURN jacks provide input
for the signal returning from your
effects processor. If you have an effects
device with a single ¼" TRS, tip=send,
ring=return jack, you need a “Y” cable,
as shown below.
Outputs
AUX OUT may be used for recording,
booth monitoring, a second playback
zone, or connecting another mixer for
session mix. AUX OUT is the same
signal as the Master Mix with its own
Level control.
MASTER OUT includes two sets
of stereo outputs: e ¼" TRS jacks
provide balanced (Tip-Ring-Sleeve)
output. Use this balanced output
whenever driving equipment with a
balanced input, or when running dis-
tances greater than 10 feet (3 meters).
Never use a mono ¼" Tip/Sleeve (no
ring) plug in this jack. Use the RCA
unbalanced outputs for shorter runs
connecting to unbalanced devices. See
the RaneNote “Sound System Inter-
connection” if you need to convert
between balanced and unbalanced or
run long distances.

Manual-3
Mic Section
MIC LEVEL sets the gain of the
Mic Input. e range is o to +44
dB. ere is no engage switch, so set
the Mic Level to zero (0) when you
aren't using it. e Mic Input mini-
mum gain is 26 dB, so a line-level mic
source (such as a wireless receiver)
must be padded.
e OL indicator lights 6 dB before
clipping. Adjust the Mic Level so the
OL indicator flashes only when you
really shout into the mic.
MIC HIGH and LOW tone controls
provide as much as 12 dB of boost or
12 dB of cut. ese controls have no
effect when the controls are set to their
center detent (12 o'clock).
+12- 1 2
+12- 1 2
OL
100
RL
+6OFF
100
64
2 8
64
2 8
100
64
2 8
OL
+8
+4
+2
0
–4
–2
–8
–16
–24
PERFORMANCE MIXER
100
64
2 8
+6OFF
+6OFF OUT
IN
OUT
RL
OUT
IN
OUT
+6OFF
+6OFF
+6OFF
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
MIC LOW
MIC HIGH
AUX IN
OUTPUT
LEVELS
MAIN
SOURCE
PGM 1 PGM 2
21
AUX OUT
PA NHIGH
PHONES
MID
EQ
GAIN GAIN
LOW
SOURCE
43
HIGH
MID
LOW
TTM 56S
A B
PGM 1
CUE
PGM 2DRY
FlexFX
WET
MASTER
CUE
SLOW
FADER 1 CONTOUR
FA ST SLOW
FADER 2 CONTOUR
FA STSLOW
CROSSFADE CONTOUR
FA ST
MIC LEVEL
CHANNEL
SWAP
REVERSE
REVERSEREVERSE
EQ
PA N
KILL KILL
STEREO HOUSE
MONO PGM1 / PGM2
PGM 1 PGM 2
EQ switches engage the 3-band tone
controls. EQ switches may be used
in conjunction with the High, Mid
and Low controls as “kill” switches by
turning any or all of them Off. Set the
rotary controls and flip the switch.
HIGH tone controls affect frequencies
above 4 kHz. e range of control is
+6 dB to Off (full kill). e center de-
tent position leaves this filter inactive.
is filter is just above the vocal range,
and can make small tonal changes, or
eliminate high frequency signals.
MID tone controls affect frequencies
from 300 Hz to 4 kHz (vocal mid-
range). e range of control is +6 dB
to Off (full kill). e center detent po-
sition leaves this filter inactive. Use for
small tonal changes or to cut midrange
signals.
LOW tone controls affect frequen-
cies below 300 Hz. e range is +6
dB to Off (full kill). e center detent
position leaves the filter inactive. ese
filters influence signals below the vocal
range. Use to adjust or eliminate bass
beats.
PAN controls adjust the Left and
Right balance of PGM 1 and PGM 2.
KILL switches provide quick program
mute, much like the Transform switch-
es on the previous TTM 56. e signal
is ON in the up postion, the straight
out position Kills the signal.
Aux Input
AUX IN adds another line-level input
to the mix. is input comes in after
the Crossfader and FlexFX Loop.
FlexFX Loop
FlexFX switches send PGM 1, PGM 2
or both to the stereo effects loop. e
effects loop is post-fader and post-
crossfader. You get great results when
using the program faders or crossfader
with reverb or other delay effects. e
effects loop provides separate stereo
send and return jacks. e green indi-
cator lights when FlexFX is engaged
for either Program.
WET/DRY pan control lets you set
the amount of eect in the mix. DRY
equals no effect, WET gives maximum
effect.
Output Levels
MASTER control sets the level for
both the unbalanced and balanced
Master Outputs.
AUX OUTPUT control sets the level
going to the Auxiliary Outputs.
AUDIO PRECISION vs
-20
-18
-16
-14
-12
-10
-8
-6
-4
-2
0
2
4
6
8
10
12
14
16
18
20
AMPL(dBr)
20 100 1k 10k 50k
FREQ(Hz)
Low +12, High +12
Low 0, High 0
Low -12, High -12
Combined response of the Mic tone controls
Program Sections
PGM 1 inputs are sent to the left side
of the crossfader. (with the Fader 1
Reverse switch out and LED off )
PGM 2 inputs are sent to the right
side of the crossfader. (with the Fader 2
Reverse switch out and LED off )
SOURCE switches select which inputs
are assigned to each of the Programs.
PGM 1 can switch between inputs 1
and 2. PGM 2 can switch between
inputs 3 and 4.
GAIN controls adjust the signal level
before it gets to the Faders. Set the
Gain controls to indicate an average
signal level of +4 on the meter with the
program faders set to maximum. Don't
use the Gain controls to set the output
level...use the Main Level control to set
the output level. is is a very simple
thing, yet makes a huge difference in
mixer performance.

Manual-4
HEADPHONES
Faders
e program faders and crossfader
are magnetic, non-contact faders. is
means No travel noise or bleed ! e
electrical performance of the faders
is unaffected by use. e program
faders and crossfader each have their
own Contour and Reverse (hamster)
controls. Magnetic faders are very dif-
ferent from what you are used to. Read
Maintaining Magnetic Faders on
pages Manual 8-9.
CHANNEL SWAP switch allows
the left-hand or right-hand Fader to
alternately control PGM 1 or PGM 2.
(Don't confuse with the REVERSE
switches, see below.)
CONTOUR controls allow smooth,
continuous adjustment of contour. e
range of control is from SLOW blend
to FAST cut, adjustable independently
for each fader and the crossfader. See
the illustrations on the next page.
REVERSE switches change the direc-
tion of the faders. When a Reverse
switch is engaged on a PGM fader,
up is down and down is up (hamster).
When the Reverse switch is engaged
on the Crossfader, PGM 1 goes to the
B side and PGM 2 goes to the A side.
Meters
Meters provide switchable true stereo
Master Mix or dual-mono PGM1 /
PGM2 indication of Pre-Program fad-
er signal levels. Ten-segment resolution
is provided with a one second, peak
hold. Use the meter to set the GAIN
controls. With the program fader set to
maximum, the input GAIN should be
set to indicate an average level of about
+4 dB.
• e headphone output of the TTM
56S delivers very high volume.
• To avoid pain, never put headphones
on your head before plugging them in.
• Always start with the PHONES Level
turned down, and then turn it up.
• Because of the high current and low
output impedance, never short one
side to ground, or short left and right
together as is possible with mono cup
headphones.
• Low power headphone stages typically
use large resistors on their outputs,
which allow shorting, but prevent high
power. e TTM 56S gives you high
power, but does not allow shorting.
+12- 1 2
+12- 1 2
OL
100
RL
+6OFF
100
64
2 8
64
2 8
100
64
2 8
OL
+8
+4
+2
0
–4
–2
–8
–1 6
–24
PERFORMANCE MIXER
100
64
2 8
+6OFF
+6OFF OUT
IN
OUT
RL
OUT
IN
OUT
+6OFF
+6OFF
+6OFF
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
MIC LOW
MIC HIGH
AUX IN
OUTPUT
LEVELS
MAIN
SOURCE
PGM 1 PGM 2
21
AUX OUT
PA NHIGH
PHONES
MID
EQ
GAIN GAIN
LOW
SOURCE
43
HIGH
MID
LOW
TTM 56S
A B
PGM 1
CUE
PGM 2DRY
FlexFX
WET
MASTER
CUE
SLOW
FADER 1 CONTOUR
FA ST SLOW
FADER 2 CONTOUR
FA STSLOW
CROSSFADE CONTOUR
FA ST
MIC LEVEL
CHANNEL
SWAP
REVERSE
REVERSEREVERSE
EQ
PA N
KILL KILL
STEREO HOUSE
MONO PGM1 / PGM2
PGM 1 PGM 2
Headphone Cueing
PHONES Level control sets the out-
put level of the headphone amplifier.
MASTER / CUE switch is used to
select the headphone monitor source:
Use MASTER (out) to rehearse your
performance. is signal is the same as
the Master Out, but is not affected by
the Master Level control.
Use CUE (in) to monitor the Program
Input signal before fading in. is
signal is not affected by the Program
Faders or Crossfader. Because the Effects
Loop is after the Fader, you will not hear
effects in the Cue.
CUE slider Pans between PGM 1 and
PGM 2 in the headphones when the
CUE switch is depressed. When the
switch is released, this control has no
effect.
e headphone amp in the TTM 56S
has a high power output (unlike most
you have used before). ere are no-
table differences…

Manual-5
Fader Response
Channel faders and Crossfader illustrating the eects of the Reverse and Contour controls.
FULL ON
OFF
FULL ON
OFF
FULL ON
OFF
FULL ON
OFF
SLOW
FADER 1 CONTOUR
FAST
REVERSE
SLOW
FADER 2 CONTOUR
FAST
REVERSE
SLOW
FADER 1 CONTOUR
FAST
REVERSE
SLOW
FADER 2 CONTOUR
FAST
REVERSE
SLOW
CROSSFADE CONTOUR
FAST
REVERSE
SLOW
CROSSFADE CONTOUR
FAST
REVERSE

Manual-6
Maintaining Magnetic Faders
ere are no electrical contacts to clean!
e faders in the TTM 56S are designed with materials highly
resistant to corrosion and most chemicals. While the faders will
handle millions of operations, they may become dirty over time.
Bad things may be spilled or sprayed into the faders. In either case,
the faders are not damaged and the sound quality is unaffected.
Cleaning is only required to maintain the feel of the faders.
e faders are self-lubricating and with normal use, should
not require additional lubrication. If you wish, you can use a light
silicone lubricant rated for use with electrical parts. is will help
maintain the feel. We recommend Caig DeoxIT FaderLube F100
spray lubricant.
Order DeoxIT® F100 from CAIG Laboratories, Inc.
12200 atcher Ct.
Poway, CA 92064
Phone [phone]
Fax [phone]
Web www.caig.com
Never use a heavy lubricant or grease. Doing so will not
damage the faders, but can undo the feel. If grease was used, it may
be removed by following the cleaning instructions. Light lubrica-
tion is possible with the Lexan plate on. A couple of drops or a
short spray are all that is required. Make sure the products you use
are suitable for use with electrical parts that contain plastic.
Magnetic Slider Rail Cleaning
a. Move the carrier all the way to one side.
b. Use a soft lint-free cloth to wipe off rails.
c. Add a drop of silicone lubricant (or quick spray from aerosol) to the center of each rail.
d. Move the carrier back and forth to distribute lubricant.
e. Do not bend torsion spring or touch sensors.
Magnetic Fader Q and A
Q: Will I damage the faders if I spray them with bad stuff or
spill bad things in them?
A: No. e faders in the TTM 56S are designed with materials
highly resistant to corrosion and most chemicals. ere are no
electrical contacts to clean or damage. While bad things may
change the feel of the faders, bad things will not affect the
sound. To clean faders that have had a bad thing put in them,
follow the simple instructions on page Manual-8.
Q: Can I install magnetic faders in any other mixer?
A: Sorry. e connectors may be similar, but the circuits are very
different. Connecting the faders to anything other than the in-
tended cable in the TTM 56S could permanently damage them.
Q: Can I install other faders in my TTM 56S?
A: No. e cable connections are specially designed for Rane mag-
netic faders.
Q: Can I install a different magnetic fader in my mixer or swap
the position of my faders?
A: No. In order to achieve the highest possible accuracy, each
magnetic fader is factory calibrated for the location in which it
was shipped. For information about replacement or calibration,
contact Rane Customer Service. If you remove the faders for
cleaning, make sure you mark them. is helps you to put them
back in the same location.
Q: Is the same fader used in the TTM 56 as the TTM 56S?
A: Yes. We finally get to say yes.
Sensors

Manual-7
Fader Removal
For more effective cleaning and lubrication, follow the directions outlined below:
1. Required tools: #1 Philips screwdriver and a pair of clean hands.
2. Disconnect the power.
3. Remove the fader caps by pulling them away from the Lexan faceplate.
4. Remove the four 4-40 screws attaching the Lexan faceplate.
5. Remove the Lexan faceplate. See the picture and instructions. e fader rails are now accessible for normal cleaning and lubrication.
6. If more thorough cleaning is required, or the fader needs replacing, remove the fader by removing the two #4 screws securing it.
7. NOTE: Do not disturb the position of the small sensors at each end of the Fader. If you do, make sure the parts are standing straight before
reinstalling.
8. NOTE: In order to achieve the highest possible accuracy, each magnetic fader is factory calibrated for the location in which it was
shipped. If you remove all the faders for cleaning, make sure you mark them. is helps you to put them back in the correct location.
9. Disconnect the ribbon cable, noting the orientation of the red stripe.
10. Sugary liquids spilled into a fader may be removed by thoroughly rinsing the part in hot water. Removal of grease or other stubborn
debris may require alcohol or contact cleaner.
11. Make sure the part is clean and dry before lubricating or reinstalling.
12. To reassemble, reverse the disassembly procedure.
13. Problems? Contact Rane Corporation customer service at 425-355-6000.
Remove #4 screws
on both fader sides
Sensors
Mark the location
before disconnecting
the ribbon:
PGM1
PGM2
XFADER
Remove the ribbon,
noting the polarity of
the red stripe.
Torsion
spring

Manual-8
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 USA TEL [phone] FAX [phone] WEB www.rane.com
111500
TTM 56S Block Diagram
15 Hz HP
RIAA
PHONO
LINE
GAIN
OFF+44 dB
LOWHIGH
EQ
-12
+12
OL
EQ +6
OL
SEND
RETURN
PGM 4 LEFT
3
SOURCE
4
PGM 3 LEFT
LOWMID HIGH
LOWMID HIGH
EQ OFF
OFF
+6
OL
CH 1 FADER
CHANNEL SWAP
CH 2 FADER
+5 +5
+12-12 +12-12
LEFT MASTER OU
T
AUX OUT
LEVEL LEVEL
+10
+7
-2 -4 -7
-20 -10
+4 +2 +0
+10
+7
-2 -4 -7
-20 -10
+4 +2 +0
CONTOUR
CONTOUR CONTOUR
A B
CH 1 LEFT CH 2 LEFT
MIC INPUT
CH 1 FLEXFX CH 2 FLEXFX
FLEXFX LOOP
MIC EFFECTS
TIP = SEND RING = RETURN
CH 1 VCA RIGHT
VCA VCA
PGM 1L PGM 2L
PGM 1R PGM 2R
MIX LEFT
MIX RIGHT
PGM 1L PGM 2L
WET DRY
RIAA
PHONO
LINE
RIAA
PHONO
LINE
PGM 2 LEFT
1
SOURCE
2
PGM 1 LEFT
RIAA
PHONO
LINE
PGM 1 MONO PGM 2 MONO
REVERSE
REVERSE
REVERSE
UN-BAL
GAIN TRIM
KILL
ON
KILL
ON
CH 1 BAL
CH 1 RIGHT
PGM 1 MONO PGM 2 MONO
MIX RIGHTMIX LEFT
CROSSFADER
MIX LEFT
AUX
OUTPUT
LEVEL
MAIN
OUTPUT
LEVEL
GAIN
CH 2 BAL
CH 2 RIGHT
AUX INPUT LEVEL
AUX INPUT
LEFT
RIGHT
HEADPHONE OUTPUTS
CUE PAN
CUE / MASTER
VCA
CONTROLLER
TOP
BOT
TOP
BOT
CH 2 VCA RIGHT
1/4”
3.5 mm