Rane TTM 56S User manual

TTM 56S
PERFORMANCE MIXER
17812
Contents
Important Safety Instructions 2
Quick Start 3
Rear Panel Hook-up 4
Mixer Controls 5
Maintaining Magnetic Faders 8
Block Diagram 10
Specifications 12
Dimensions 13
Serato Scratch Live 14
Sound System Interconnection 17
Warranty 25
Declaration of Conformity 27

2
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 incorpo-
rated 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 perfor-
mance of this apparatus.
WARNING: To reduce the risk of re or electric shock, do not expose this apparatus to rain or moisture. Apparatus shall not be
exposed to dripping or splashing and no objects lled with liquids, such as vases, shall be placed on the apparatus.
NOTE: is equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of
the FCC Rules. ese limits are designed to provide reasonable protection against harmful interference in a residential installation.
is equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instruc-
tions, 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.
is Class B digital apparatus complies with Canadian ICES-003.
Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada.

3
TTM 56S
PERFORMANCE MIXER
Quick Start
Congratulations! You are the proud owner of an exceptional
performance instrument. Experienced turntablists will nd 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 mag-
netic, non-contact faders. is means No travel noise – No bleed
– Ever! e electrical performance of the faders is unaected
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 dierent from what you are used to. Be sure and read the Q
and 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 cross-
fader 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.
WEAR PARTS: is product contains no wear parts.
• Auxiliary Inputs and Outputs, with independent level controls, give session mixing ability.
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 eects loop. e eects loop is post-fader. You get great
results when using the program faders or crossfader with reverb or other delay eects. For instance, reverb and echo tails are still
heard after the fader is o. e WET/DRY pan lets you control how much of the eect 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 trans-
form the EQ eect.
• Two 10-segment meters provide Dual-Mono-Cue or Stereo-Master operation.
• Yes, we included a power switch on the rear.
e exibility of the TTM 56S can result in some initial confusion. e CHANNEL SWAP switch, KILL switches, REVERSE
switches, Faders and Crossfader are all dierent 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 o . 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 dierent settings,
with REVERSE on and o. Once you understand the controls, start creating!

4
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 POW-
ER switch is just above the power connector. You know what to
do with this, but leave it o 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 compen-
sation, push the corresponding switch up to PHONO. For all
other sources such as CD or MP3 players, push the correspond-
ing 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 o if they are over-rotated, so be
careful not to spin them o 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 Crossfader and FlexFX loop.
MIC INPUT is a balanced input specically 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 (Insert Cable)
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.
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 unbalanced. It is wired for ¼"
TRS, meaning Tip=Send, Ring=Return and the Shield or Sleeve.
is is an independent Eects Loop for the Mic. ere is no en-
gage switch, so the Mic signal is always processed when you have
a plug inserted and an eects box connected. If you are connect-
ing to an eects processor with a Send/Return (sometimes called
Insert) jack, a single TRS cable will work. If your eects proces-
sor 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 unbalanced 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
provide the output to your eects processor. e RETURN jacks
provide input for the signal returning from your eects proces-
sor. If you have an eects 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 distances 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 Intercon-
nection” if you need to convert between balanced and unbal-
anced or run long distances.

5
Mixer Controls
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
minimum 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 ashes
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 eect when the
controls are set to their center
detent (12 o'clock).
+12-12
+12-12
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
PANHIGH
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
FAST SLOW
FADER 2 CONTOUR
FASTSLOW
CROSSFADE CONTOUR
FAST
MIC LEVEL
CHANNEL
SWAP
REVERSE
REVERSEREVERSE
EQ
PAN
KILL KILL
STEREO HOUSE
MONO PGM1 / PGM2
PGM 1 PGM 2
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 o )
PGM 2 inputs are sent to the right side of the crossfader.
(with the Fader 2 Reverse switch out and LED o )
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 dierence in mixer performance.
EQ switches engage the 3-band tone controls. EQ switches
may be used in conjunction with the High, Mid and Low con-
trols as “kill” switches by turning any or all of them O. Set the
rotary controls and ip the switch.
AUDIO PRECISION vs
-40
-35
-30
-25
-20
-15
-10
-5
0
5
10
AMPL(dBr)
20 100 1k 10k 50k
FREQ(Hz)
Summed Response
HighMidLow
Low Off,
Mid 0,
High Off
Low 0,
Mid Off,
High Off
Low 0, Mid 0, High 0
Low Off,
Mid Off,
High 0
AUDIO PRECISION vs
-40
-35
-30
-25
-20
-15
-10
-5
0
5
10
AMPL(dBr)
20 100 1k 10k 50k
FREQ(Hz)
Low Off,
Mid 0,
High Off
Low 0, Mid +6, High 0
Low 0,
Mid Off,
High 0
Low +6, Mid 0, High +6
The three tone controls and the at summed response The interactive operation of the three tone controls

6
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 direction 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.
HIGH tone controls aect frequencies above 4 kHz. e
range of control is +6 dB to O (full kill). e center detent
position leaves this lter inactive. is lter is just above the vo-
cal range, and can make small tonal changes, or eliminate high
frequency signals.
MID tone controls aect frequencies from 300 Hz to 4 kHz
(vocal midrange). e range of control is +6 dB to O (full kill).
e center detent position leaves this lter inactive. Use for small
tonal changes or to cut midrange signals.
LOW tone controls aect frequencies below 300 Hz. e
range is +6 dB to O (full kill). e center detent position leaves
the lter inactive. ese lters inuence 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 switches 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 eects loop. e eects loop is
post-fader and post-crossfader. You get great
results when using the program faders or cross-
fader with reverb or other delay eects. e
eects loop provides separate stereo send and
return jacks. e green indicator 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
eect, WET gives maximum eect.
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.
Faders
e program faders and crossfader are mag-
netic, non-contact faders. is means No travel
noise or bleed ! e electrical performance of
the faders is unaected by use. e program
faders and crossfader each have their own Con-
tour and Reverse (hamster) controls. Magnetic
faders are very dierent from what you are used
to. Read"Maintaining Magnetic Faders" on
page 8.
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

7
+12-12
+12-12
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
PANHIGH
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
FAST SLOW
FADER 2 CONTOUR
FASTSLOW
CROSSFADE CONTOUR
FAST
MIC LEVEL
CHANNEL
SWAP
REVERSE
REVERSEREVERSE
EQ
PAN
KILL KILL
STEREO HOUSE
MONO PGM1 / PGM2
PGM 1 PGM 2
Meters
Meters provide switchable true stereo Master Mix or dual-mono
PGM1 / PGM2 indication of Pre-Program fader 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.
Headphone Cueing
PHONES Level control sets the output level of the headphone
amplier.
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 aected by the
Master Level control.
Use CUE (in) to monitor the Program Input signal before
fading in. is signal is not aected by the Program Faders or
Crossfader. Because the Eects Loop is after the Fader, you will not
hear eects in the Cue.
CUE slider Pans between PGM 1 and PGM 2 in the head-
phones when the CUE switch is depressed. When the switch is
released, this control has no eect.
e headphone amp in the TTM56S has a high power
output (unlike most you have used before). ere are notable
dierences…
• 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.
HEADPHONES

8
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 unaected. 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 DuPont™ Teon®
Multi-Use Lubricant
.
See the Teon® Multi-Use Lubricant page at the Dupont
website for a list of retailers. For online orders, we recommend
www.midwayautosupply.com. Make sure and follow all direc-
tions and warnings on the bottle.
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
lubrication 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 Fader Q and A
Q: Will I damage the faders if I spray them with bad stu 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 aect 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
dierent. Connecting the faders to anything other than the
intended 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
magnetic faders.
Q: Can I install a dierent 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 calibra-
tion, 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 nally get to say yes.
Sensors
Magnetic Slider Rail Cleaning
a. Move the carrier all the way to one side.
b. Use a soft lint-free cloth to wipe o 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.

9
Fader Removal
For more eective 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. 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: 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 stub-
born 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.

10
TTM 56S
PERFORMANCE MIXER
Block Diagram
15 Hz HP
RIAA
PHONO
LINE
GAIN
OFF +44 dB
LOW HIGH
EQ
-12
+12
OL
EQ +6
OL
SEND
RETURN
PGM 4
LEFT
3
SOURCE
4
PGM 3
LEFT
LOW MID HIGH
LOW MID HIGH
EQ OFF
OFF
+6
OL
CH 1 FADER
CHANNEL
SWAP
CH 2 FADER
+5
+5
+12-12
+12-12
LEFT MASTER OUT
AUX OUT
+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
WET
DRY
RIAA
PHONO
LINE
RIAA
PHONO
LINE
PGM 2
LEFT
1
SOURCE
2
PGM 1
LEFT
RIAA
PHONO
LINE
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
VCA
CONTROLLER
TOP
BOT
TOP
BOT
CH 2 VCA RIGHT
LEVEL
LEVEL
PGM 1L
PGM 2L
PGM 1R
PGM 2R
MIX LEFT
MIX RIGHT
PGM 1 MONO
PGM 2 MONO
LEFT
RIGHT
HEADPHONE
OUTPUTS
CUE PAN
CUE / MASTER 1/4”
3.5 mm

11
TTM 56S
PERFORMANCE MIXER
15 Hz HP
RIAA
PHONO
LINE
GAIN
OFF +44 dB
LOW HIGH
EQ
-12
+12
OL
EQ +6
OL
SEND
RETURN
PGM 4
LEFT
3
SOURCE
4
PGM 3
LEFT
LOW MID HIGH
LOW MID HIGH
EQ OFF
OFF
+6
OL
CH 1 FADER
CHANNEL
SWAP
CH 2 FADER
+5
+5
+12-12
+12-12
LEFT MASTER OUT
AUX OUT
+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
WET
DRY
RIAA
PHONO
LINE
RIAA
PHONO
LINE
PGM 2
LEFT
1
SOURCE
2
PGM 1
LEFT
RIAA
PHONO
LINE
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
VCA
CONTROLLER
TOP
BOT
TOP
BOT
CH 2 VCA RIGHT
LEVEL
LEVEL
PGM 1L
PGM 2L
PGM 1R
PGM 2R
MIX LEFT
MIX RIGHT
PGM 1 MONO
PGM 2 MONO
LEFT
RIGHT
HEADPHONE
OUTPUTS
CUE PAN
CUE / MASTER 1/4”
3.5 mm

12
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5000 USA TEL [phone] FAX [phone] WEB dj.rane.com
Parameter Specification Conditions & Comments
Program Inputs: Phono: Switchable Line / Phono Unbalanced RCA jacks
..........Response RIAA ±1 dB
..........Gain 40 dB 1 kHz
..........Input Impedance 47.5 kΩ, 200 pF
.....Line: Switchable Line / Phono Unbalanced RCA jacks
..........Gain O to +12 dB 1 kHz
..........Input Impedance 20 kΩ 1 kHz
.....Tone Control (EQ) 3-Band, Accelerated-Slope™ Full Cut, see gures on next page
Auxiliary Input: 1 stereo Unbalanced RCA jacks
..........Input Impedance 20 kΩ 1 kHz
..........Gain O to +10 dB 1 kHz
FlexFX Return: Stereo Unbalanced ¼" TS (tip-sleeve) phone jack
..........Input Impedance 12 kΩ Minimum
..........Gain Unity 1 kHz
Mic Input: Active Balanced Balanced ¼" TRS (tip-ring-sleeve) phone jack
..........Input Impedance 20 kΩ 10 kΩ, each leg to ground
..........Gain 44 dB 1 kHz, Master Out, max gain
..........Frequency Response 30 to 20 kHz +0, -3 dB, max gain
..........CMMR >40 dB 1 kHz, max gain
..........S/N 76 dB Re +4 dBu, max gain, @ insert, 20 kHz BW
..........Tone Control 2-Band See Figure in Manual
..........Eects Insert Loop ¼" TRS, Tip=Send, Ring=Return Unbalanced mono
Master Output: Stereo balanced / unbalanced ¼" TRS phone / RCA jacks
..........Output Impedance 300 Ω balanced each leg 301Ω unbalanced
..........Gain 6 dB balanced 0 dB unbalanced
..........Frequency Response 10 Hz to 30 kHz +0, -3 dB
..........THD+N <0.05% re +4 dBu, 20 to 20 kHz, 20 kHz BW
..........S/N (balanced output) 101 dB re +4 dBu, 20 kHz BW, unity gain
94 dB re +4 dBu, 20 kHz BW, 12 dB gain
Auxiliary Output: Stereo Unbalanced RCA jacks
..........Output Impedance 301 Ω
..........Gain O to +6 dB
FlexFX Send: Stereo Unbalanced ¼" TS phone jack
..........Output Impedance 301 Ω Unity Gain
General Specications:
..........Control Feed-through -80 dB re +4 dBu, all controls
..........Crosstalk -70 dB re +4 dBu, 1 kHz
Unit: Agency Listing UL/cUL/CE
..........Universal Line Voltage 100-240 VAC 50-60 Hz
..........Maximum Power 20 W
Unit: Front Panel Size 13.3"H x 10"W (33.8 cm x 25.4 cm)
..........Con Depth 3" (see detail) (7.7 c m)
..........Weight 9 lb (3.7 kg)
Shipping: Size 7.75"H x 12.75"W x 19.25"D (19.7 x 32.5 x 49 cm)
..........Weight 12 lb (5.5 kg)
Note: All specications are typical unless otherwise stated.
Specifications

13
TTM 56S
PERFORMANCE MIXER
Dimensions
Rear View
Front View
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.
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
3.1”
3”
9”
10”
12.55"
3.0"
13.05"
.7" MAX PROJECTION
(WITHOUT CABLES)
.3" MAX
PROJECTION
.8" MAX
PROJECTION
Views are 50% actual size
HEADPHONES
3.1”
3”
9”
10”
Side View

SERATO SCRATCH LIVE • DATA SHEET 1
File Preparation
Build waveform overviews, check for le
corruption and use Scratch Live’s optional
auto-gain and BPM calculation with the
Analyze Files button.
Use the Ofine Player to prepare crates,
audition tracks, and set cue and loop
points, without needing to have Rane
hardware connected.
Crates and Smart Crates
Create Crates and Subcrates to group
tracks within for quick recall and simple
organisation. You can merge these
crates onto an external drive for simple
migration to another laptop. Smart Crates
let you set rules and keywords for crates,
automatically updating when relevant
tracks are added or removed from your
library.
Keylock
When Key Lock is on, the key or pitch of
the song stays locked at what it would be
if the track was playing at normal speed,
regardless of the platter speed of the
turntable or CD player.
History
The history button opens a complete
log of all the tracks you have played
and allows you to export Scratch Live
session information as a data le for future
reference.
Serato Playlists export track play
information to your user prole on serato.
com. This can be done using the History
export function post-set, or you can
choose to live update during your set.
Cues and Loops
Create up to ve Cue
Points with labels for
each track to mark
and trigger key parts
of your songs.
Create and save
up to nine Loops per
track, either manually
or using the Auto-Loop function.
Classic Vertical Mode
Serato Scratch Live combined with
Rane hardware is the ultimate solution
for professional DJs, giving you the
freedom to take your entire digital music
collection on the road and equipping you
with advanced features that add extra
creativity to your DJing.
This intuitive system replicates the
traditional DJing experience for “real feel”
usability. With unparalleled performance,
sound quality and stability, you’ll soon see
why thousands of DJs worldwide choose
Serato Scratch Live.
• Load music les onto Virtual Decks for
playback.
• Browse your music collection by custom
categories and album art.
• Prepare audio les for playback with
auto-gain and BPM calculation.
• Organise music with crates, subcrates
and smart crates.
• Choose from multiple play and display
modes to suit your performance style.
• Use visual aides, cues and loops to
perfect your mixing.
• Add extra creativity to your sets with DJ-
FX, the SP-6 Sample Player and other
Scratch Live plug-ins.
Supported File Formats
Scratch Live supports multiple le
formats: xed and variable bit-rate MP3,
MP4, Ogg Vorbis, AAC, ALAC, FLAC,
AIFF, WAV and Whitelabel (wl.mp3) le
types*. M3U playlists are also supported.
*See whitelabel.net about wl.mp3 files.
NOTE: Older iTunes Music Store DRM
les cannot be played back by Scratch
Live. iTunes Plus les are DRM-free.
Importing Music
Importing music is done simply by
navigating to your hard drive(s) via Scratch
Live’s File pane. You can also drag and
drop les directly from Explorer (Windows)
or Finder (Mac). iTunes users have the
option to integrate existing iTunes libraries
and playlists into their Scratch live library.
Importing audio les to your computer
is highly recommend, however you can
play les directly from CD and CD-ROM.
Stack Mode with the Rane SL4 and Rane Sixty-Eight

SERATO SCRATCH LIVE • DATA SHEET
2
Track Overview Display shows an
overview of the track waveform, which
is useful for nding transitions in a track
and for jumping quickly to any part of the
song.
Colored Waveforms are by frequency
for visual identication of instruments and
vocals.
Scratch Live Plug-Ins
Optional plug-ins can be switched on and
off, allowing you to choose extra features
you would like to use when DJing.
SP-6 Sample Player allows triggering up
to six additional audio sources (e.g. sound
effects, drops). Store samples in multiple
sample bank slots, and choose output
options for each slot.
DJ-FX give you control of two FX units,
each with three chained effects slots per
unit. Customize and save preferred effect
parameter settings for quick recall.
Serato Video is an optional software
plug-in for Scratch Live which adds
the ability to play and mix video les.
Manage a variety of video clips from
within the Scratch Live library and load
them onto a virtual deck for control with
either vinyl or CD. Mix clips with a variety
of transitions, as well as apply exciting
effects to each clip. The mixed output
is sent to your laptop’s second display
output, connecting to external monitors or
projectors. Serato Video is supported and
available only from serato.com.
The Bridge allows you to combine
elements of Ableton Live with
Serato Scratch Live to create unique
performances. The Bridge is free-of-
charge for users of Ableton Live/Suite 8.2
or above. Visit serato.com/thebridge.
Scratch Live users get free access to
the Serato Whitelabel Delivery Network,
allowing you to receive fresh releases at
no charge and play them to crowds within
moments of downloading, bringing back
the meaning “for promotional use only”.
Visit serato.com/whitelabel.
Minimum System Requirements
for Serato Scratch Live
PLEASE NOTE: These are the minimum
requirements to run Scratch Live.
For best performance and for use in
professional situations we recommend
you buy a higher spec computer. We also
recommend Intel processors.
• Available 2.0 USB port.
• 1024 x 768 screen resolution.
• 5400 RPM hard drive. 7200 RPM for
high-resolution audio playback.
• 2 GB RAM (more for a large library).
MAC
• Intel 1.83 GHz Core Duo or better.
• OSX 10.5.8 or higher.
WINDOWS
• Intel processor, 2.2 GHz Core Duo.
• Windows XP with Service Pack 3.
• Windows Vista with Service Pack 2.
• Windows 7, recommended over Vista.
NOTE: Before buying a new computer,
read the FAQs at serato.com.
NOTE: If you use Scratch Live’s system-
intensive features like the DJ-FX plug-in,
you may need a higher spec computer or
an optimized system. Read the Computer
Optimization Guide at serato.com.
Scratch Live is licensed exclusively to
Rane Corporation.
Virtual Decks
Music les are
loaded onto the
Virtual Decks, which
rotate as the music
plays, much like
regular turntables or
CDJ decks.
The Virtual Deck shows everything
about the speed and position of a track.
As the vinyl rotates, so does the line on
the label. The circular progress bar around
the edge is a visual representation of the
position within the song. The Virtual Decks
display pitched BPM information, and the
time and remaining time are displayed in
minutes and seconds.
Serato Control Vinyl and Control CDs
are included with Rane hardware. These
each contain the Serato NoiseMap™
Control Tone, a unique control signal
which allows Scratch Live to track the
motion of the record, simulating the same
movement with digital audio.
Visual Aids
When a track is playing several waveforms
and visual aids are displayed.
Tempo Display provides a helpful tool
for beat matching - each peak represents
the beats within a track. As you change
the pitch of a song, these peaks shift
position. When track tempos are in-time,
these peaks will be aligned.
Beat Matching Display emphasizes the
position of beats within a track alongside
the waveform display, for quick beat
matching.

SERATO SCRATCH LIVE • DATA SHEET 3
Serato Control Vinyl & CD
Serato Control Vinyl and Control CDs are included with Rane
hardware. These each contain the Serato NoiseMap™ Control
Tone, a unique control signal which allows Scratch Live to track
the motion of the record, simulating the same movement with
digital audio.
Official Serato Accessories (optional)
Serato has certied a select range of new generation controllers
with USB connectivity. Scratch Live can send track information to
supported hardware on-board displays. Use the platters, buttons
and sliders instantly, as supported hardware has pre-mapped
controls for a no-fuss setup.
These models are Serato Approved USB Controllers:
• Denon DJ DN-HC1000S • Denon DJ DN-HC4500
• Novation Dicer • Vestax VFX-1
• Pioneer CDJ-350 • Pioneer CDJ-850
• Pioneer CDJ-2000 • Pioneer CDJ-900
• Pioneer CDJ-400 • Pioneer MEP-7000
Hardware Features SL2 SL3 SL4 Sixty-
One
Sixty-
Two
Sixty-
Eight
USB 1.1
USB 2.0 ••••••
Two USB ports • • •
Mic input (¼" or XLR) •••
Phantom-power Mic in •
Second Mic input •
Mic Input FlexFX •••
3-band full cut EQ •••
Magnetic faders •••
FlexFX loop •••
USB insert for DJ-FX •••
Built-in mixer effects • •
USB bus powered •••
Self-powered •••
USB In for SP-6 Out • •
SP-6 trigger buttons •
Cue trigger buttons • •
Loop controls • •
Library / Load controls • •
Aux/Session Inputs •••••
Aux/Session Outputs •••••
Software Thru Outs •••
16-bit converters
24-bit converters ••••••
44.1 kHz USB audio • •
48 kHz USB audio ••••••
96 kHz USB audio •
Serato Video compat. ••••••
Main outputs (XLR) • •
Main outputs (¼") •
Booth outputs (¼") • •
Two Headphone outs
(¼" and 3.5 mm) •••
Split cue headphone •••
Software Features SL2 SL3 SL4 Sixty-
One
Sixty-
Two
Sixty-
Eight
2 Deck mixing • • • • • •
3 Deck mixing • • •
4 Deck mixing • •
Visual Beat Matching • • • • • •
Key lock • • • • • •
Censor button • • • • • •
Repeat button • • • • • •
5 cue points • • • • • •
9 loop slots • • • • • •
DJ-FX • • • • • •
SP-6 Sample Player • • • • • •
Additional SP-6 out • • • •
Virtual Deck trims • • • • • •
Master gain trim • • • • • •
Core Audio/ASIO • • • • • •
MIDI mappable controls • • • • • •
MIDI beat clock send and
receive •
SL2 SL3 SL4 Sixty-One Sixty-Two Sixty-Eight
Serato Scratch Live Hardware Comparison

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 psycholog-
ical price. As technology 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 dic-
tate. 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 op-
eration. 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 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 understand the mechanism that causes grounding
noise in order to effectively eliminate it. Each compo-
nent of a sound system produces its own ground in-
ternally. is ground is usually called the audio signal
ground. Connecting devices together with the inter-
connecting 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 chas-
sis 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 inter-
connecting 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 annoying is when the audio signal is af-
fected. Unfortunately, many manufacturers of balanced
audio equipment design the internal grounding system
improperly, thus creating balanced equipment that is
not immune to the cabling’s noise currents. is is one
reason for the bad reputation sometimes given to bal-
anced interconnect.
A second reason for balanced interconnect’s bad
reputation comes from those who think connecting
unbalanced equipment into “superior” balanced equip-
ment should improve things. Sorry. Balanced inter-
connect is not compatible 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 interconnection schemes.
e potential or voltage which pushes these noise
currents through the circuit is developed between the
independent 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 thousandths of an ohm. So
trying to measure this stuff won’t necessarily help you.
We just thought we’d warn you.
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
22
C3
1
2
1
3

Interconnection-3
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 conduc-
tors, 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. Chas-
sis tying the shield at each end also guarantees the best
possible protection from RFI [radio frequency interfer-
ence] and other noises [neon signs, lighting dimmers].
Neil Muncy1, an electroacoustic consultant and
seasoned veteran of years of successful system design,
chairs the AES Standards Committee (SC-05-05)
working on this subject. He tirelessly tours the world
giving seminars and dispensing 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 several different
manufacturers, buy standard off-the-shelf cable assem-
blies, 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 bal-
anced 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.
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
Not using signal ground is the most radical depar-
ture from common pro-audio practice. Not that there
is any argument 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 manufac-
turing 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 equipment in
use that was made before proper grounding practices
were in effect.
Unbalanced equipment is another problem: it is
everwhere, easily available and inexpensive. All those
RCA and ¼" TS connectors found on consumer equip-
ment; 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 suc-
cessfully address hooking up unbalanced equipment.
Unbalanced equipment when “blindly” connected with
fully balanced units starts a pattern of hum and unde-
sirable operation, requiring extra measures to correct
the situation.
The Next Best Right Way To Do It
e quickest, quietest and most foolproof method to
connect 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 ex-
plore 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.
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
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 re-
cording console, it allowed the player to plug “directly”
into the console. Now this term is commonly used to
describe any box used to convert unbalanced 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
theoretically 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 usu-
ally creates noisy interconnections.
A common solution to these noisy hum and buzz
problems 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 dis-
connect 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 frequency (radio) interference
since it prevents the shield from acting as an antenna
to the next input. Many reduce this potential RF inter-
ference by providing an RF path through a small ca-
pacitor (0.1 or 0.01 microfarad ceramic disc) connected
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 install-
ers 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 spe-
cific unit, chances are, even though the documentation
indicates proper chassis grounded shields, the suspect
unit is not internally 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 multi-
ple inputs and outputs. On a suspect unit with multiple
cables, try various configurations on each connection
to find out if special cable assemblies are needed at
more than one point.
See Figure 4 for suggested cable assemblies for your
particular interconnection needs. Find the appropri-
ate 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 im-
mune to ground loop hums and buzzes. Ground lifts
are simply another Band-Aid®to try in case of ground-
ing problems. It is true that an entire system of prop-
erly 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
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