Rane MLM82S User manual

MLM82S
MIC & LINE MIXER
CONTENTS (in order of appearance)
Important Safety Instructions
MLM82S Manual
MLM82S Data Sheet
Sound System Interconnection
Warranty
Declaration ofConformity
22356
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ATTENTION: RISQUE DE CHOCS ELECTRIQUE - NE PAS OUVRIR
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION
To reduce the risk of electrical shock, do not open the unit. No user
serviceable parts inside. Refer servicing to qualied service personnel.
e symbols shown below are internationally accepted symbols
that warn of potential hazards with electrical products.
is symbol indicates that a dangerous voltage
constituting a risk of electric shock is present
within this unit.
is symbol indicates that there are important
operating and maintenance instructions in the
literature accompanying this unit.
WARNING
IMPORTANT SAFETY INSTRUCTIONS
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any ventilation openings. Install in accordance with manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, registers, stoves, or other apparatus (including ampliers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A
grounding-type plug has two blades and a third grounding prong. e wide blade or third prong is provided for your safety. If the provided plug
does not t into your outlet, consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord and plug from being walked on or pinched particularly at plugs, convenience receptacles, and the point where it exits from
the apparatus.
11. Only use attachments and accessories specied by Rane.
12. Use only with the cart, stand, tripod, bracket, or table specied by the manufacturer, or sold with the apparatus. When a cart is used, use caution
when moving the cart/apparatus combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or when unused for long periods of time.
14. Refer all servicing to qualied service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply
cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does
not operate normally, or has been dropped.
15. e plug on the power cord is the AC mains disconnect device and must remain readily operable. To completely disconnect this apparatus from
the AC mains, disconnect the power supply cord plug from the AC receptacle.
16. is apparatus shall be connected to a mains socket outlet with a protective earthing connection.
17. When permanently connected, an all-pole mains switch with a contact separation of at least 3 mm in each pole shall be incorporated in the
electrical installation of the building.
18. If rackmounting, provide adequate ventilation. Equipment may be located above or below this apparatus, but some equipment (like large power
ampliers) may cause an unacceptable amount of hum or may generate too much heat and degrade the performance of this apparatus.
19. is apparatus may be installed in an industry standard equipment rack. Use screws through all mounting holes to provide the best support.
WARNING: To reduce the risk of re or electric shock, do not expose this apparatus to rain or moisture. Apparatus shall not be exposed to dripping
or splashing and no objects lled with liquids, such as vases, shall be placed on the apparatus.
NOTE: is equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules.
ese limits are designed to provide reasonable protection against harmful interference in a residential installation. is equipment generates, uses
and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio
communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful
interference to radio or television reception, which can be determined by turning the equipment o and on, the user is encouraged to try to correct
the interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit dierent from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Changes or modications not expressly approved by Rane Corporation could void the user's authority to operate the equipment.
CAN ICES-3 (B)/NMB-3(B)
WARNING: is product may contain chemicals known to the State of California to cause cancer, or birth defects or other reproductive harm.

ATTENTION: RISQUE DE CHOCS ELECTRIQUE - NE PAS OUVRIR
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION
An d’éviter tout risque de choc électrique, ne pas ouvrir l’appareil.
Aucune pièce ne peut être changée par l’utilisateur. Contactez un
SAV qualié pour toute intervention.
Les symboles ci-dessous sont reconnus internationalement
comme prévenant tout risque électrique.
Ce symbole indique que cette unité utilise un
voltage élevé constituant un risque de choc
électrique.
Ce symbole indique la présence d’instructions
d’utilisation et de maintenance importantes dans le
document fourni.
ATTENTION
INSTRUCTIONS DE SÉCURITÉ
1. Lisez ces instructions.
2. Gardez précieusement ces instructions.
3. Respectez les avertissements.
4. Suivez toutes les instructions.
5. Ne pas utiliser près d’une source d’eau.
6. Ne nettoyer qu’avec un chion doux.
7. N’obstruer aucune évacuation d’air. Eectuez l’installation en suivant les instructions du fabricant.
8. Ne pas disposer près d’une source de chaleur, c-à-d tout appareil produisant de la chaleur sans exception.
9. Ne pas modier le cordon d’alimentation. Un cordon polarisé possède 2 lames, l’une plus large que l’autre. Un cordon avec tresse de masse possède
2 lames plus une 3è pour la terre. La lame large ou la tresse de masse assurent votre sécurité. Si le cordon fourni ne correspond pas à votre prise,
contactez votre électricien.
10. Faites en sorte que le cordon ne soit pas piétiné, ni au niveau du l, ni au niveau de ses broches, ni au niveau des connecteurs de vos appareils.
11. N’utilisez que des accessoires recommandés par Rane.
12. N’utilisez que les éléments de transport, stands, pieds ou tables spéciés par le fabricant ou vendu avec l’appareil. Quand vous utlisez une valise de
transport, prenez soin de vous déplacer avec cet équipement avec prudence an d’éviter tout risque de blessure.
13. Débranchez cet appareil pendant un orage ou si vous ne l’utilisez pas pendant un certain temps.
14. Adressez-vous à du personnel qualié pour tout service après vente. Celui-ci est nécessaire dans n’importe quel cas où l’appareil est abimé : si le
cordon ou les ches sont endommagés, si du liquide a été renversé ou si des objets sont tombés sur l’appareil, si celui-ci a été exposé à la pluie ou
l’humidité, s’il ne fonctionne pas correctement ou est tombé.
15. La che du cordon d’alimentation sert à brancher le courant alternatif AC et doit absolument rester accessible. Pour déconnecter totalement
l’appareil du secteur, débranchez le câble d’alimentation de la prise secteur.
16. Cet appareil doit être branché à une prise terre avec protection.
17. Quand il est branché de manière permanente, un disjoncteur tripolaire normalisé doit être incorporé dans l’installation électrique de l’immeuble.
18. En cas de montage en rack, laissez un espace susant pour la ventilation. Vous pouvez disposer d’autres appareils au-dessus ou en-dessous de celui-
ci, mais certains (tels que de gros amplicateurs) peuvent provoquer un buzz ou générer trop de chaleur au risque d’endommager votre appareil et
dégrader ses performances.
19. Cet appareil peut-être installé dans une baie standard ou un chassis normalisé pour un montage en rack. Visser chaque trou de chaque oreille de
rack pour une meilleure xation et sécurité.
ATTENTION: an d’éviter tout risque de feu ou de choc électrique, gardez cet appareil éloigné de toute source d’humidité et d’éclaboussures quelles
qu’elles soient. L’appareil doit également être éloigné de tout objet possédant du liquide (boisson en bouteilles, vases,…).
REMARQUE: Cet équipement a été testé et approuvé conforme aux limites pour un appareil numérique de classe B, conformément au chapitre 15
des règles de la FCC. Ces limites sont établis pour fournir une protection raisonnable contre tout risque d’interférences et peuvent provoquer une
énergie de radiofréquence s'il n'est pas installé et utilisé conformément aux instructions, peut également provoquer des interférences aux niveaux
des équipements de communication. Cependant, il n'existe aucune garantie que de telles interférences ne se produiront pas dans une installation
particulière. Si cet équipement provoque des interférences en réception radio ou télévision, ceci peut être detecté en mettant l'équipement sous/hors
tension, l'utilisateur est encouragé à essayer de corriger cette interférence par une ou plusieurs des mesures suivantes:
• Réorienter ou déplacer l'antenne de réception.
• Augmenter la distance entre l'équipement et le récepteur.
• Connecter l'équipement à une sortie sur un circuit diérent de celui sur lequel le récepteur est branché.
• Consulter un revendeur ou un technicien radio / TV expérimenté.
ATTENTION: Les changements ou modications non expressément approuvés par Rane Corporation peuvent annuler l'autorité de l'utilisateur à
manipuler cet équipement et rendre ainsi nulles toutes les conditions de garantie.
CAN ICES-3 (B)/NMB-3(B)
Cartons et papier à recycler.

Manual-1
MLM82S
MIC & LINE MIXER
OPERATORS MANUAL
MLM82S CONNECTION
When connecting the MLM82S to other components in your
system for the rst time, leave the power cord for last. is
gives you a chance to make mistakes and correct them without
damage to your fragile speakers, ears and nerves.
MIC/LINE INPUTS 1-4
e four XLR jacks provided on the MLM82S are balanced
MIC/LINE inputs. ey will also accept unbalanced connectors.
Use only shielded cable for inputs. For best noise rejection
use two-conductor-plus-shielded wire, even for unbalanced
operation. Connect the shield at both ends to help insure proper
grounding. See the Sound System Interconnection RaneNote
included with this manual for all cable adaptations. Rane follows
the AES recommended practice of pin 2 positive, pin 3 negative,
and pin 1 to shield. Switch any input connected to a microphone
to the MIC position (out) using the associated switches on the
rear panel. When connecting line level signals, switch the input
to the LINE position (in). A single phantom power switch is
provided for the four MIC inputs. If LINE is selected, Phantom
Power is disabled for that input.
QUICK START
is section is provided as a convenience for those in a rush. If you are experienced with this unit or other Rane products, these few
words will refresh your memory.
INPUTS 1 through 4 may be microphone or line level. e choice between the two is made by setting the LINE push buttons
on the REAR of the unit next to the MIC/LINE INPUT JACKS. Each microphone input may be assigned to A, Bor A+B outputs
using the front panel ASSIGN switches.
INPUTS 5 through 8are stereo line inputs which may be set to mono using the recessed MONO switches located on the front
panel.
Internal switches allow setting output signal levels for MIC or LINE. e factory default setting is LINE. If the MLM82S
is connected directly to a power amplier, equalizer or recorder input, choose LINE level. If the MLM82S is connected to a
microphone jack of an existing sound system, choose MIC level.
Once Inputs, Outputs, and power are properly connected, with the OUTPUT LEVELS counterclockwise (o ), set the Input
LEVELS as high as possible without causing the SIG/OL indicators to blink red except during extreme signal peaks. Now slowly
raise the OUTPUT LEVELS as desired.
STEREO LINE INPUTS 5-8
e ¼" connectors are line-level balanced/unbalanced Inputs.
If the MLM82S is to be used with unbalanced sources, consult
the Sound System Interconnection RaneNote included with this
manual for proper wiring. Stereo Inputs use both A and B jacks
at each INPUT. INPUTS 5 through 8 also serve as mono Inputs
when the front panel MONO switch is engaged.
OUTPUTS
e MLM82S’s OUTPUTS are balanced. e same wiring
conventions as the XLR Inputs apply. e type of device follow-
ing the MLM82S must be considered when setting the internal
Output Level switch. Choose between LINE (0 dB) or MIC (-40
dB) output, the factory setting is LINE. If the MLM82S is con-
nected directly to a power amplier input, choose LINE level. If
the MLM82S is connected to a microphone jack on an existing
sound system, choose MIC level. For unbalanced OUTPUT
connections do not tie pin 3 (i.e. “–”) to ground.
WEAR PARTS: is product contains no wear parts.
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MLM82S
MIC / LINE MIXER
POWER
OUTPUTS
1
MONO MIC / LINE INPUTS
5
STEREO LINE INPUTS
OL
A+B
ASSIGN
MONO
SIG / OL
2
A+B
ASSIGN
SIG / OL
3
A+B
ASSIGN
SIG / OL
4
6
MONO
7
MONO
8
MONO
A
OL
B
A+B
ASSIGN
SIG / OL
LEVELLEVELLEVELLEVELLEVELLEVELLEVELLEVELLEVELLEVEL

Manual-2
FRONT PANEL DESCRIPTION
1SIGnal present/OverLoad LED. is bi-color LED lights green for a -30 dBu signal, and turns red when the Input is within 3
dB of clipping.
2MONO MIC/LINE INPUT LEVEL controls 1-4 determine the MIC/LINE preamp gain and mix level to be assigned to the A,
A+B, B Outputs.
3ASSIGN switches determine between the A, A+B or B Outputs for each MIC/LINE input.
4STEREO LINE INPUT LEVEL controls 5-8 determine the amount of stereo or mono line Input routed to the Outputs.
5MONO switch mixes the A and B sides of each STEREO LINE input together. When active, the associated LED lights, and the A
and B Inputs for that channel have exactly the same level.
6OUTPUT OverLoad LED illuminates within 3 dB of an approaching overload condition. To avoid this, the associated OUT-
PUT LEVEL control may be decreased, or the problem-causing individual Input Level may be lowered.
7A and B OUTPUT LEVEL controls set the Output Level for A and B outputs.
8POWER LED is lit whenever adequate power is applied to the unit.
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MLM82S
MIC / LINE MIXER
POWER
OUTPUTS
1
MONO MIC / LINE INPUTS
5
STEREO LINE INPUTS
OL
A+B
ASSIGN
MONO
SIG / OL
2
A+B
ASSIGN
SIG / OL
3
A+B
ASSIGN
SIG / OL
4
6
MONO
7
MONO
8
MONO
A
OL
B
A+B
ASSIGN
SIG / OL
LEVELLEVELLEVELLEVELLEVELLEVELLEVELLEVELLEVELLEVEL
2 3 4 51 7 86

Manual-3
REAR PANEL DESCRIPTION
1MIC/LINE INPUTS 1 through 4. ese XLRs connect either balanced Microphone or Line signals, depending on the LINE
switch setting (see 3). Rane adheres to the international and U.S. standard for balanced pin congurations: Pin 1 is chassis
ground (neutral), pin 2 is positive (+), and pin 3 is negative (–).
2PHANTOM POWER switch applies 15 V Phantom Power to any Inputs 1-4 that are set for MIC Input.
3LINE Input selectors switch the sensitivity and input impedance for either a microphone or line level input. If LINE is chosen,
Phantom Power is deactivated for that Input.
4¼" LINE INPUTS. ese stereo pairs of balanced inputs accommodate stereo line-level signals. ese TRS (Tip-Ring-Sleeve) ¼"
jacks handle either balanced or unbalanced signals. In most cases an unbalanced signal may use a mono ¼" plug (Tip-Sleeve). See
the Sound System Interconnection RaneNote included with this manual for proper connection.
5A and B OUTPUT jacks. ese balanced XLR’s provide the A and B mixed output. INTERNAL OUTPUT LEVEL switches
allow setting the output level for MIC or LINE level. Pin connections are the same as above in 1.
6Power connector: e internal universal switching power supply 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.
B
LINE
RANE CORPORATION
A
LINE
LINE
LINE
15V
PHANTOM
POWER
MLM82S
5
B
A
6
B
A
7
B
A
8
A
B
OUTPUTS
1
3
4
2
LINE INPUTS
MIC / LINE INPUTS
BALANCED: PIN 3 = (–), PIN 2 = (+), PIN 1 = (G)
CLASS 2 WIRING
BALANCED: PIN 3 = (–), PIN 2 = (+), PIN 1 = (G), CLASS 2 WIRING
100-240 V
50/60 Hz 7 WATTS
COMMERCIAL
AUDIO
EQUIPMENT
24TJ
R
6 23
514

Manual-4
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5000 TEL [phone] FAX [phone] WEB rane.com
OPERATING INSTRUCTIONS
MONO MICROPHONE/LINE LEVEL INPUTS 1-4
e microphone preamps in the MLM82S have a combination
gain trim and Level control. e LEVEL control adjusts both
the input dynamic range and mix level. ere is no need for the
typical independent gain trim control found on most mixers. e
PHANTOM POWER switch activates 15 volt Phantom Power
for all Inputs selected for microphone use. With LINE selected,
Phantom Power is defeated only in that Input. 15 volts is su-
cient power for all but the most esoteric condenser microphones.
If in doubt, check the manufacturer’s microphone specs.
SIGNAL PRESENT/OVERLOAD INDICATORS
e MLM82S has four bi-color indicators for Signal Present/
Overload (green/red). Green indication occurs when there is a
signal present above -30 dBu. is lamp should be glowing green
when signal is present. If this lamp is o, check these possibili-
ties:
A. e Input may not be connected.
B. ere is little or no signal present at the moment.
C. ere is a Mic connected to a channel switched to LINE.
D. e Mic needs Phantom Power (See Rear Panel, 2).
E. e LEVEL control needs to be increased (clockwise).
F. e cable is not wired properly (See the Sound System Inter-
connection RaneNote).
A red glowing LED indicates that the levels are so high that
distortion due to clipping is occurring or imminent.
Check these conditions:
A. e LEVEL control may be turned too high.
B. e Output of the preceding device may need to be reduced.
C. e Input may be switched to MIC with a line-level source.
Switch the Input to LINE.
STEREO LINE INPUTS 5 through 8 do not have overload
indicators. Because 12 dB of gain is added after the STEREO
LINE INPUT LEVEL controls, it is possible to overload a line
input without an overload indication. e A and B OUTPUT
OL indicators can overload from the Line Inputs if the OUT-
PUT LEVEL controls are set to 10. Although a single Input may
be at unity gain, multiple active Inputs mixed together can cause
an overload. If the OL indicators illuminate, just turn down the
OUTPUT LEVELS until the overload stops—mix ratios will
not change.
STEREO LINE LEVEL INPUTS 5-8
e STEREO LINE INPUT LEVEL controls adjust both A and
B Inputs equally. Use the OUTPUT LEVEL controls together
for overall output adjustment, or separately to control balance.
A single mono input may be used for the A and/or B inputs.
Any mono source connected to A will go to the A output. Any
mono source connected to the B input will go to the B output.
If you wish one or two mono sources to go to both A and B
outputs, press the MONO switch. If you wish to mono a single
stereo source and have it present in A and B outputs, press the
mono switch. STEREO LINE INPUTS 5-8 may each be inde-
pendently set for mono operation.
HOLE PLUGS
To protect the setting of any rotary control, remove the knob by
simply pulling it o, and snap in one of the hole plugs included
with your unit.

MLM82S
MIC & LINE MIXER
Data Sheet-1
General Description
e Rane MLM82S features four balanced, studio grade, Mono
Mic/Line Inputs with XLR jacks and 15 VDC phantom power.
Each of the four Mic/Line Inputs may be assigned to A, A+B or B
Outputs. Independent Level/Gain Trim controls and Signal/
Overload indicators are provided for each Mic/Line Input. e
Phantom Power switch and the Mic/Line switches are located on
the rear panel. Phantom power is removed from any Input set for
Line operation.
e MLM82S also features four stereo line level inputs with
12 dB of line gain. Each Stereo Line Input features a recessed
Mono switch with indicator and Level control. ese Inputs may
also be used with four Mono A Inputs and four Mono B Inputs.
You get the picture… this mixer is very versatile.
A and B Output Level controls set the master mix level
independently for A and B Outputs. e mix ampliers feature
independent overload indicators. To correct any overload condi-
tion, the entire mix can be reduced and/or individual Input Lev-
els adjusted. A and B mix Outputs each have an internal switch
for padding the output signal to Mic level. e factory default is
Line level.
Features
• Four balanced Mic/Line Inputs (XLR) with…
• 15V Phantom Power
• Bi-Color Signal Present/Overload indicators
• Trimless Mic Stage Preampliers
• A / A+B / B Assign Switch
• Four Balanced Stereo Line Inputs (TRS) with…
• Independent Mono switch
• 12 dB of Line Gain
• Two balanced Outputs (XLR) with…
• Independent Overload indicators
• Independent Level controls
• Internal Pad for Mic level output
• Individual Level Control Hole Plugs Included
• Internal Universal Power Supply (100-240 VAC)
DATA SHEET
Applications
With features like Mic/Line A / A+B / B Assign switches, inde-
pendent Stereo Line Input Mono switches and additional line
gain, the MLM82S is now one of the most versatile mixers in
its class. It is ideal for installations requiring ease of use, com-
pact size, low cost, high performance and security. Applications
include, but are not limited too, hotels, churches, conference
rooms, schools and rental sound systems. e studio-grade speci-
cations of the MLM82S allow many other applications such as
sub-mixing, recording and post-production.
e Mic/Line Assign switches and independent Mono
switches for each of the Stereo Line Inputs make the MLM82S a
true, dual zone capable mixer, i.e., the Outputs may be thought
of as two independent zones or a single stereo zone.

MLM82S
MIC & LINE MIXER
Data Sheet-2
Features and Specifications
Parameter Specication Limit Units Conditions/Comments
I nput s: Ty p e Active Balanced
..........Mic Connectors XLR pin 2 = (+)
..........Stereo Line Connectors ¼" TRS tip=(+), ring=(–), sleeve=GND
Mic / Line Input Impedance 1k / 96k 1%  Balanced 500+500 / 48k + 48k
..........Mic Gain Range o to +60 ±1.5 dB
..........Line Gain Range o to +20 ±1.5 dB
..........Equivalent Input Noise -128 typ dBu 20 kHz bandwidth, 150  termination
..........THD & Noise 0.02 max % Gain=40 dB, +4 dBu @ 1 kHz, 80 Hz BW
..........Frequency Response 30 Hz - 35 kHz -3 dB
..........Maximum Input 11.9 typ dBu Minimum Gain (3 Vrms)
.....@ Mic Level 38.6 typ dBu Maximum Gain (9.1 mVrms)
Stereo Line Input Impedance 20k min 
..........Gain Range o to +12 ±1 dB
..........Signal-To-Noise Ratio 90 typ dB Unity gain, output @ +4 dBu, 22 kHz BW
..........Frequency Response 10 Hz - 35 kHz -3 dB
..........THD & Noise 0.007 max % +4 dBu at 1 kHz, 80 kHz BW
Outputs: Type Active Balanced
..........Connectors XLR
..........Impedance 200/100 1%  Line level Out/Mic level Out
..........Gain Range O to +6 ±2 dB
..........Drive Level +24 dBu 600  load balanced
Phantom Power +15 4% VDC
Output Cable Length 150 0 typ feet Line-level, <50 pF per foot
Crosstalk -75 @ 1 kHz max dB re +4 dBu any channel to any channel
Power Supply Requirement 100 to 240 10% VAC 50/60 Hz, 7W
Unit: Conformity CE, FCC, UL
Unit: Construction All Steel
..........Size 1.75"H x 19"W x 5.3"D (1U) (4.4 cm x 48.3 cm x 13.3 cm)
..........Weight 4 lb (3 kg)
Shipping: Size 4.25" x 20.3" x 13.75" (11 cm x 52 cm x 35 cm)
..........Weight 8 lb (5 kg)
Note: 0 dBu=0.775 Vrms

MLM82S
MIC & LINE MIXER
Data Sheet-3
1
23+
-
1
2
3
1
2
3+
+
–
–
1
23+
-
1
23+
-
1
23+
-
+15V
M
O
N
O
M
O
N
O
M
O
N
O
M
O
N
O
OL
OL
40 dB
PAD
40 dB
PAD
1 2 31
2 3
LINE MIX
LINE MIX
MASTER MIX
MASTER MIX
PHANTOM POWER
INPUT 2
INPUT 1
INPUT 3
INPUT 4
INPUT 5
INPUT 6
INPUT 7
INPUT 8
OUTPUT A
OUTPUT B
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
40 dB
PAD
RFI
FILTER
RFI
FILTER
RFI
FILTER
RFI
FILTER
RFI
FILTER
RFI
FILTER
RFI
FILTER
RFI
FILTER
RFI
FILTER
RFI
FILTER
RFI
FILTER
RFI
FILTER
40 dB
PAD
40 dB
PAD
40 dB
PAD
A / A+B / B
A / A+B / B
A / A+B / B
A / A+B / B
SENSE
OL
SENSE
OL
SENSE
OL
SENSE
OL
GRN
SIG
RED
OL
GRN
SIG
RED
OL
GRN
SIG
RED
OL
GRN
SIG
RED
OL
12 dB
12 dB
A
BAL/
UNBAL
LINE
B
A
BAL/
UNBAL
LINE
B
A
BAL/
UNBAL
LINE
B
A
BAL/
UNBAL
LINE
B
Block Diagram

MLM82S
MIC & LINE MIXER
Data Sheet-4 All features & specications subject to change without notice. 9-2015
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5000 USA TEL [phone] FAX [phone] WEB rane.com
Rear Panel
Architectural Specifications
e mixer shall have four studio-grade mono mic/line inputs
each with XLR input jack, 15 V phantom power, line pad, A
/ A+B / B mix assign switch, level control and signal/overload
indicator. A single switch shall make phantom power available
to all four microphone inputs. Phantom power shall be removed
automatically from any mic/line input set for line input. For ease
of use, mic/line preampliers shall use a single control for input
gain trim and mix level.
e mixer shall feature four stereo line inputs each with ¼"
TRS input jack, level control and pre-level control mono switch.
e inputs shall provide for dual mono operation with four
mono signals available for the A mix and four mono inputs avail-
able for the B mix.
A and B mix outputs shall feature overload indicators,
independent A/B level controls, internally selected 40 dB pad for
microphone level output and XLR output jacks.
Security features shall include placement of the phantom
power and line switches on the rear panel, recessed assign switch-
es, internally located pad switch for selecting line or microphone
output level and recessed stereo line input mono switches with
position indicators. In addition, each of the front panel level
control knobs may be removed and replaced with a security plug.
Four security plugs shall be provided for this purpose.
e unit shall be capable of operation by means of its own
built-in universal power supply operating at 100-240 VAC and
meet CE requirements. e unit shall be UL and cUL listed.
e unit shall be constructed entirely from cold-rolled steel, and
mount into a standard EIA relay rack occupying 1 rack-space.
e unit shall be a Rane MLM82S Mic & Line Mixer.
IN 1 A / A+B / B
STEREO /
MONO
IN 2
IN 3
IN 4
OUT “A”
MIC / LINE
OUT “B”
MLM82S
“B”
CONFERENCE
SEND
“A”
LOCAL
AMPLIFIER
MIC
1
MIC
2
MIC
3
MIC
4
L
R
LAPTOP
L
R
MP3
L
R
DVR
L
R
DVD
Application Diagram

Interconnection-1
Introduction
is note, originally written in 1985, continues to be one
of our most useful references. It’s popularity stems from
the continual and perpetual difficulty of hooking up audio
equipment without suffering through all sorts of bizarre
noises, hums, buzzes, whistles, etc.— not to mention the
extreme financial, physical and psychological price. As tech-
nology progresses it is inevitable that electronic equipment
and its wiring should be subject to constant improvement.
Many things have improved in the audio industry since
1985, but unfortunately wiring isn’t one of them. However,
finally the Audio Engineering Society (AES) has issued a
standards document for interconnection of pro audio equip-
ment. It is AES48, titled “AES48-2005: AES standard on
interconnections —Grounding and EMC practices — Shields
of connectors in audio equipment containing active circuitry.”
Rane’s policy is to accommodate rather than dictate.
However, this document contains suggestions for external
wiring changes that should ideally only be implemented by
trained technical personnel. Safety regulations require that
all original grounding means provided from the factory be
left intact for safe operation. No guarantee of responsibility
for incidental or consequential damages can be provided. (In
other words, don’t modify cables, or try your own version of
grounding unless you really understand exactly what type of
output and input you have to connect.)
Rane Technical Staff
RaneNote 110
© 1985, 1995, 2006, 2007, 2011, 2015 Rane Corporation
Sound System
Interconnection
• Cause & prevention of ground loops
• Interfacing balanced & unbalanced
• Proper pin connections and wiring
• Chassis ground vs. signal ground
• Ground lift switches
RaneNote
SOUND SYSTEM INTERCONNECTION

Interconnection-2
Ground Loops
Almost all cases of noise can be traced directly to ground
loops, grounding or lack thereof. It is important to under-
stand the mechanism that causes grounding noise in order
to effectively eliminate it. Each component of a sound
system produces its own ground internally. is ground is
usually called the audio signal ground. Connecting devices
together with the interconnecting cables can tie the signal
grounds of the two units together in one place through
the conductors in the cable. Ground loops occur when the
grounds of the two units are also tied together in another
place: via the third wire in the line cord, by tying the metal
chassis together through the rack rails, etc. ese situations
create a circuit through which current may flow in a closed
“loop” from one unit’s ground out to a second unit and back
to the first. It is not simply the presence of this current that
creates the hum—it is when this current flows through a
unit’s audio signal ground that creates the hum. In fact, even
without a ground loop, a little noise current always flows
through every interconnecting cable (i.e., it is impossible to
eliminate these currents entirely). e mere presence of this
ground loop current is no cause for alarm if your system
uses properly implemented and completely balanced inter-
connects, which are excellent at rejecting ground loop and
other noise currents. Balanced interconnect was developed
to be immune to these noise currents, which can never be
entirely eliminated. What makes a ground loop current an-
noying is when the audio signal is affected. Unfortunately,
many manufacturers of balanced audio equipment design
the internal grounding system improperly, thus creating bal-
anced equipment that is not immune to the cabling’s noise
currents. is is one reason for the bad reputation some-
times given to balanced interconnect.
A second reason for balanced interconnect’s bad reputa-
tion comes from those who think connecting unbalanced
equipment into “superior” balanced equipment should
improve things. Sorry. Balanced interconnect is not compat-
ible with unbalanced. e small physical nature and short
cable runs of completely unbalanced systems (home audio)
also contain these ground loop noise currents. However, the
currents in unbalanced systems never get large enough to
affect the audio to the point where it is a nuisance. Mixing
balanced and unbalanced equipment, however, is an entirely
different story, since balanced and unbalanced interconnect
are truly not compatible. e rest of this note shows several
recommended implementations for all of these interconnec-
tion schemes.
e potential or voltage which pushes these noise cur-
rents through the circuit is developed between the indepen-
dent grounds of the two or more units in the system. e
impedance of this circuit is low, and even though the voltage
is low, the current is high, thanks to Mr. Ohm, without
whose help we wouldn’t have these problems. It would take
a very high resolution ohm meter to measure the impedance
of the steel chassis or the rack rails. We’re talking thou-
sandths of an ohm. So trying to measure this stuff won’t
necessarily help you. We just thought we’d warn you.
The Absolute Best Right Way To Do It
e method specified by AES48 is to use balanced lines and
tie the cable shield to the metal chassis (right where it enters
the chassis) at both ends of the cable.
A balanced line requires three separate conductors, two
of which are signal (+ and –) and one shield (see Figure 1a).
e shield serves to guard the sensitive audio lines from
interference. Only by using balanced line interconnects can
you guarantee (yes, guarantee) hum-free results. Always use
twisted pair cable. Chassis tying the shield at each end also
guarantees the best possible protection from RFI [radio fre-
quency interference] and other noises [neon signs, lighting
dimmers].
Neil Muncy1, an electroacoustic consultant and seasoned
veteran of years of successful system design, chairs the AES
Figure 1a. The right way to do it.
+
–
G
T
R
S
RED
BLACK 2-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
2-CONDUCTOR SHIELDED CABLE
SHIELD
RED
BLACK
SHIELD
RED
BLACK
SHIELD
RED
BLACK
SHIELD
RED
BLACK
SHIELD
RED
BLACK
SHIELD
CHASSIS
GROUND CHASSIS GROUND SIGNAL GROUND
S
R
T
G
–
+
BALANCED OUTPUTS BALANCED INPUTS
MALE FEMALEMALE FEMALE
1
2
3
C
1
3
2 2
C3
1
2
1
3

Interconnection-3
Standards Committee (SC-05-05) working on this subject.
He tirelessly tours the world giving seminars and dispens-
ing information on how to successfully hook-up pro audio
equipment2. He makes the simple point that it is absurd that
you cannot go out and buy pro audio equipment from sever-
al different manufacturers, buy standard off-the-shelf cable
assemblies, come home, hook it all up and have it work hum
and noise free. Plug and play. Sadly, almost never is this the
case, despite the science and rules of noise-free interconnect
known and documented for over 60 years (see References for
complete information).
It all boils down to using balanced lines, only balanced
lines, and nothing but balanced lines. is is why they were
developed. Further, that you tie the shield to the chassis, at
the point it enters the chassis, and at both ends of the cable
(more on ‘both ends’ later).
Since standard XLR cables come with their shields tied to
pin 1 at each end (the shells are not tied, nor need be), this
means equipment using 3-pin, XLR-type connectors must
tie pin 1 to the chassis (usually called chassis ground) — not
the audio signal ground as is most common.
Not using signal ground is the most radical departure
from common pro-audio practice. Not that there is any ar-
gument about its validity. ere isn’t. is is the right way
to do it. So why doesn’t audio equipment come wired this
way? Well, some does, and since 1993, more of it does. at’s
when Rane started manufacturing some of its products with
balanced inputs and outputs tying pin 1 to chassis. So why
doesn’t everyone do it this way? Because life is messy, some
things are hard to change, and there will always be equip-
ment in use that was made before proper grounding prac-
tices were in effect.
Unbalanced equipment is another problem: it is ever-
where, easily available and inexpensive. All those RCA and
¼" TS connectors found on consumer equipment; effect-
loops and insert-points on consoles; signal processing boxes;
semi-pro digital and analog tape recorders; computer cards;
mixing consoles; et cetera.
e next several pages give tips on how to successfully
address hooking up unbalanced equipment. Unbalanced
equipment when “blindly” connected with fully balanced
units starts a pattern of hum and undesirable operation,
requiring extra measures to correct the situation.
Figure 1b. Recommmended practice.
CASE
(+)
(–)
COMMON (WRONG) PRACTICE RECOMMENDED PRACTICE
(–)
(+)
OPTIONAL
CASE
1
2
33
1
2
CHASSIS
GROUND SIGNAL GROUND CHASSIS GROUND CHASSIS GROUND
The Next Best Right Way To Do It
e quickest, quietest and most foolproof method to con-
nect balanced and unbalanced is to transformer isolate all
unbalanced connections. See Figure 2.
Many manufacturers provide several tools for this task,
including Rane. Consult your audio dealer to explore the
options available.
e goal of these adaptors is to allow the use of standard
cables. With these transformer isolation boxes, modification
of cable assemblies is unnecessary. Virtually any two pieces
of audio equipment can be successfully interfaced without
risk of unwanted hum and noise.
Another way to create the necessary isolation is to use a
direct box. Originally named for its use to convert the high
impedance, high level output of an electric guitar to the low
impedance, low level input of a recording console, it allowed
the player to plug “directly” into the console. Now this term
is commonly used to describe any box used to convert un-
balanced lines to balanced lines.
The Last Best Right Way To Do It
If transformer isolation is not an option, special cable
assemblies are a last resort. e key here is to prevent the
shield currents from flowing into a unit whose grounding
scheme creates ground loops (hum) in the audio path (i.e.,
most audio equipment).
It is true that connecting both ends of the shield is theo-
retically the best way to interconnect equipment –though
this assumes the interconnected equipment is internally
grounded properly. Since most equipment is not internally
grounded properly, connecting both ends of the shield is
not often practiced, since doing so usually creates noisy
interconnections.
A common solution to these noisy hum and buzz prob-
lems involves disconnecting one end of the shield, even
though one can not buy off-the-shelf cables with the shield
disconnected at one end. e best end to disconnect is the
receiving end. If one end of the shield is disconnected, the
noisy hum current stops flowing and away goes the hum
— but only at low frequencies. A ground-sending-end-only
shield connection minimizes the possibility of high fre-
quency (radio) interference since it prevents the shield from
acting as an antenna to the next input. Many reduce this
potential RF interference by providing an RF path through
Figure 2. Transformer Isolation
NOT CONNECTED
AT CHASSIS
(PLASTIC JACK)
EARTH GROUNDED
METAL ENCLOSURE
CHASSIS IS
GROUNDED TO PIN 1
1/4”
TIP-SLEEVE
CASE LUG MAY
CONNECT TO
CHASSIS
(NOT REQUIRED)
TRANSFORMER
UNBALANCED BALANCED
3
1
2

Interconnection-4
a small capacitor (0.1 or 0.01 microfarad ceramic disc) con-
nected from the lifted end of the shield to the chassis. (is
is referred to as the “hybrid shield termination” where the
sending end is bonded to the chassis and the receiving end is
capacitively coupled. See Neutrik’s EMC-XLR for example.)
e fact that many modern day installers still follow this
one-end-only rule with consistent success indicates this
and other acceptable solutions to RF issues exist, though
the increasing use of digital and wireless technology greatly
increases the possibility of future RF problems.
If you’ve truly isolated your hum problem to a specific
unit, chances are, even though the documentation indicates
proper chassis grounded shields, the suspect unit is not in-
ternally grounded properly. Here is where special test cable
assemblies, shown in Figure 3, really come in handy. ese
assemblies allow you to connect the shield to chassis ground
at the point of entry, or to pin 1, or to lift one end of the
shield. e task becomes more difficult when the unit you’ve
isolated has multiple inputs and outputs. On a suspect unit
with multiple cables, try various configurations on each con-
nection to find out if special cable assemblies are needed at
more than one point.
See Figure 4 for suggested cable assemblies for your par-
ticular interconnection needs. Find the appropriate output
configuration (down the left side) and then match this with
the correct input configuration (across the top of the page.)
en refer to the following pages for a recommended wiring
diagram.
Ground Lifts
Many units come equipped with ground lift switches. In
only a few cases can it be shown that a ground lift switch
improves ground related noise. (Has a ground lift switch
ever really worked for you?) In reality, the presence of a
ground lift switch greatly reduces a unit’s ability to be
“properly” grounded and therefore immune to ground loop
hums and buzzes. Ground lifts are simply another Band-Aid®
to try in case of grounding problems. It is true that an entire
system of properly grounded equipment, without ground
lift switches, is guaranteed (yes guaranteed) to be hum free.
e problem is most equipment is not (both internally and
externally, AC system wise) grounded properly.
Most units with ground lifts are shipped so the unit is
“grounded” — meaning the chassis is connected to audio
signal ground. (is should be the best and is the “safest”
position for a ground lift switch.) If after hooking up your
system it exhibits excessive hum or buzzing, there is an
incompatibility somewhere in the system’s grounding con-
figuration. In addition to these special cable assemblies that
may help, here are some more things to try:
1. Try combinations of lifting grounds on units supplied
with lift switches (or links). It is wise to do this with the
power off!
2. If you have an entirely balanced system, verify all chassis
are tied to a good earth ground, for safety’s sake and hum
protection. Completely unbalanced systems never earth
ground anything (except cable TV, often a ground loop
source). If you have a mixed balanced and unbalanced
system, do yourself a favor and use isolation transform-
ers or, if you can’t do that, try the special cable assemblies
described here and expect it to take many hours to get
things quiet. May the Force be with you.
3. Balanced units with outboard power supplies (wall warts
or “bumps” in the line cord) do not ground the chassis
through the line cord. Make sure such units are solidly
grounded by tying the chassis to an earth ground using a
star washer for a reliable contact. (Rane always provides
this chassis point as an external screw with a toothed
washer.) Any device with a 3-prong AC plug, such as an
amplifier, may serve as an earth ground point. Rack rails
may or may not serve this purpose depending on screw
locations and paint jobs.
Figure 3. Test cable
TEST
WIRE
GROUND CLIP
FEMALE MALE
1
C
2
3
1
2
3
RED
BLACK
SHIELD
RED
BLACK
SHIELD
2-CONDUCTOR SHIELDED CABLE

Interconnection-5
Floating, Pseudo, and Quasi-Balancing
During inspection, you may run across a ¼" output called
floating unbalanced, sometimes also called psuedo-balanced
or quasi-balanced. In this configuration, the sleeve of the
output stage is not connected inside the unit and the ring
is connected (usually through a small resistor) to the audio
signal ground. is allows the tip and ring to “appear” as
an equal impedance, not-quite balanced output stage, even
though the output circuitry is unbalanced.
Floating unbalanced often works to drive either a bal-
anced or unbalanced input, depending if a TS or TRS stan-
dard cable is plugged into it. When it hums, a special cable
is required. See drawings #11 and #12, and do not make
the cross-coupled modification of tying the ring and sleeve
together.
Winning the Wiring Wars
• Use balanced connections whenever possible, with the
shield bonded to the metal chassis at both ends.
• Transformer isolate all unbalanced connections from bal-
anced connections.
• Use special cable assemblies when unbalanced lines can-
not be transformer isolated.
• Any unbalanced cable must be kept under 10 feet
(3 m) in length. Lengths longer than this will amplify all
the nasty side effects of unbalanced circuitry's ground
loops.
Summary
If you are unable to do things correctly (i.e. use fully bal-
anced wiring with shields tied to the chassis at both ends,
or transformer isolate all unbalanced signals from balanced
signals) then there is no guarantee that a hum-free intercon-
nect can be achieved, nor is there a definite scheme that will
assure noise-free operation in all configurations.
References
1. Neil A. Muncy, “Noise Susceptibility in Analog and Digi-
tal Signal Processing Systems,” presented at the 97th AES
Convention of Audio Engineering Society in San Fran-
cisco, CA, Nov. 1994.
2. Grounding, Shielding, and Interconnections in Analog
& Digital Signal Processing Systems: Understanding the
Basics; Workshops designed and presented by Neil Muncy
and Cal Perkins, at the 97th AES Convention of Audio
Engineering Society in San Francisco, CA, Nov. 1994.
3. e entire June 1995 AES Journal, Vol. 43, No. 6, available
$6 members, $11 nonmembers from the Audio Engineer-
ing Society, 60 E. 42nd St., New York, NY, 10165-2520.
4. Phillip Giddings, Audio System Design and Installation
(SAMS, Indiana, 1990).
5. Ralph Morrison, Noise and Other Interfering Signals (Wi-
ley, New York, 1992).
6. Henry W. Ott, Noise Reduction Techniques in Electronic
Systems, 2nd Edition (Wiley, New York, 1988).
7. Cal Perkins, “Measurement Techniques for Debugging
Electronic Systems and eir Instrumentation,” e Pro-
ceedings of the 11th International AES Conference: Audio
Test & Measurement, Portland, OR, May 1992, pp. 82-92
(Audio Engineering Society, New York, 1992).
8. Macatee, RaneNote: “Grounding and Shielding Audio
Devices,” Rane Corporation, 1994.
9. Philip Giddings, “Grounding and Shielding for Sound and
Video,” S&VC, Sept. 20th, 1995.
10. AES48-2005: AES standard on interconnections —
Grounding and EMC practices — Shields of connectors
in audio equipment containing active circuitry (Audio
Engineering Society, New York, 2005).
Band-Aid is a registered trademark of Johnson & Johnson

Interconnection-6
Figure 4. Interconnect chart for locating correct cable assemblies on the following pages.
Note: (A) This configuration uses an “off-the-shelf” cable.
Note: (B) This configuration causes a 6 dB signal loss. Compensate by “turning the system up” 6 dB.
To Input
MALE
BALANCED XLR
¼" BALANCED
TRS (TIP-RING-SLEEVE)
¼" OR 3.5mm
UNBALANCED
TS (TIP-SLEEVE)
UNBALANCED RCA BALANCED
EUROBLOCK
From Output
1 2 3 4
6521
10987
121187
12112221
16 23
23
151413
20
2424
191817
B B
BB
AA
AA
A A
FEMALE BALANCED XLR
(NOT A TRANSFORMER,
NOR A CROSS-COUPLED
OUTPUT STAGE)
FEMALE BALANCED XLR
(EITHER A TRANSFORMER
OR A CROSS-COUPLED
OUTPUT STAGE)
¼” BALANCED TRS
(NOT A TRANSFORMER,
NOR A CROSS-COUPLED
OUTPUT STAGE)
¼” BALANCED TRS
(EITHER A TRANSFORMER
OR A CROSS-COUPLED
OUTPUT STAGE)
¼” FLOATING UNBALANCED
TRS (TIP-RING-SLEEVE)
(SLEEVE IN UNIT = NC)
¼” OR 3.5 mm
UNBALANCED
TS (TIP-SLEEVE)
UNBALANCED RCA
(TIP-SLEEVE)
CABLE
CONNECTORS
BALANCED
EUROBLOCK
+to +
– to –
SHIELD ONLY
TO XLR PIN 1
+to +
– to –
SHIELD NC
+to +
– to –
SHIELD NC
+to +
– to –
SHIELD ONLY
TO EUROBLOCK
+to +
– to –
SHIELD NC
+to +
– to –
SHIELD ONLY
TO TRS SLEEVE
+to +
– to –
GROUND to GROUND
+to +
– to –
GROUND to GROUND

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

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