Rane MP 2016A User manual

Manual-1
MP 2016a
ROTARY DJ MIXER
OPERATORS MANUAL
QUICK START
You asked for it, you got it! e MP 2016a now has Split Cue! If you don’t know what that is, we suggest you take the time to read
this entire manual so you learn lots of other things to get the best sound and features out of your new mixer. But if you know what
Split Cue is, at least read this section to refresh your knowledge of the rest of the MP 2016a.
ere are four dedicated phono preamplifiers. One each for Input channels 1-4. Switches on the rear panel set each preamplifier
for LINE or PHONO operation. Make sure you have these switches set correctly for your application.
ere are two dedicated MIC preamplifiers, one each for Input channels 5-6. Rear panel switches set each preamplifier for LINE
or MIC operation. Make sure you have these switches set correctly. MIC GAIN controls adjust each preamplifier for the correct sen-
sitivity. With a MIC selected and ENGAGED, set the front INPUT GAIN control to “10” and adjust the rear MIC GAIN to just
keep the Input Channel SIG / OL indicator green, not red. Set the rear panel tone controls as desired. e MIC ENGAGE switch
ducks the BOOTH Output by 12 dB unless defeated with internal jumpers.
Before installing this mixer permanently, be sure to read the MIC / LINE INPUTS section on page Manual-6.
All five stereo line-level AUX Inputs are available for each of the six Input Channels.
Adjust the INPUT GAIN controls so they blink the green SIG / OL indicators. If an indicator is red, the INPUT GAIN control
is set too high. is provides optimum signal to noise, dynamic range and MIX LEVEL control consistency.
e BOOTH may select CUE or MASTER as its source. CUE allows monitoring Inputs in the booth without headphones.
e XP 2016a switch engages the optional XP 2016a processor. If the XP 2016a is not connected, the switch has no effect.
e EFFECTS LOOP switch switches the Loop in (up) or out (down). If nothing is connected to the EFFECTS LOOP RE-
TURN, the switch has no effect.
e MASTER MONO / STEREO switch influences both BOOTH and HOUSE OUTPUTS. It does not affect the EFFECTS
LOOP or TAPE OUTPUTS.
Two TAPE OUTPUTS are provided. One is a PRE-EFFECTS Loop and one is a POST-EFFECTS Loop. e POST-EF-
FECTS Loop Tape Output has a LEVEL control and may be used as a pre-tone control AUX Output.
e MP 2016a Master Output uses Accelerated Slope ™ tone controls that provide full “kill” for TREBLE, MID and BASS.
e MASTER SIG / OL indicator monitors the master mix before and after the tone controls. is indicator should light green
most of the time. It is OK for it to flash red on occasion. is provides optimum signal-to-noise and dynamic range. HOUSE and
BOOTH are the only level controls that do not affect the MASTER SIG / OL indicator.
e HOUSE OUTPUT has both balanced (XLR) and unbalanced (RCA) Outputs. To avoid hum, always use the balanced
(XLR) Outputs for longer cable runs (typically greater than 10 feet, or 3 meters).
Headphone cueing allows monitoring MASTER or CUE sources. If MIX LEVEL controls are operated at less than “7”, be sure
to turn the PHONES LEVEL down before selecting a CUE as it may be much louder than the Master Mix. e Headphone Output
is low-impedance high-current, so do not short the tip and ring together or to ground.
Never connect anything except an approved Rane power supply to the red thing that looks like a telephone jack on the rear of the unit.
is is an AC input and requires a power supply exactly like the one originally packed with your unit.
WEAR PART
e MP 2016a contains no wear parts. e XP 2016a contains the following wear part subject to the ninety (90) day warranty
period described on page Service-1: (1) Active Crossover Assembly F 60.
SIG / OL
CUE
1
CUE
2
ENGAGE
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
65
7
4
2
3
9
1 10
8
65
7
CUE PGM
POWER
STEREO
XP 2016a
MASTER
CUE
EFFECTS
LOOP MONO
BOOTH
+6OFF
0 TREBLE
1 2
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
AUX 5
AUX 4
AUX 3
PHONO /
LINE
PHONO /
LINE
PHONO /
LINE
PHONO /
LINE
MIC 1
ENGAGE
MIC 2
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
CUE
3
3
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
CUE
4
4
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
CUE
5
5
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
CUE
6
6
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
4
8
6
8
6
22
4
4
2
3
9
1 10
8
65
7
LEVELMONITOR PHONES
4
2
3
9
1 10
8
65
7
HOUSE
4
2
3
9
1 10
8
65
7
MASTER
ROTARY
MIXER
MP 2016a
+6OFF
0 MID
+6OFF
0 BASS
STEREO
MONO

Manual-2
MP 2016a FRONT PANEL CONTROLS
INPUT SELECTORS 1-4
Each six-position Input Selector chooses a dedicated PHO-
NO / LINE preamplifier, or one of five stereo line-level AUX
Inputs as its Input Channel source. (PHONO / LINE switches
are on the rear panel).
INPUT SELECTORS 5-6
Each six-position Input Selector chooses a dedicated mono
MIC Input, or one of five stereo AUX Inputs as its Input Chan-
nel source. (MIC GAIN trim, MIC / LINE switch and MIC
tone controls are located on the rear panel).
MIC ENGAGE
MIC 1 and MIC 2 ENGAGE switches allow switching a
mic on (up) or off (down). A MIC Input must be selected and
MIC ENGAGE on to activate a MIC Input. When a mic is not
in use, be sure to switch MIC ENGAGE off. e MIC EN-
GAGE switches also activate the Booth Ducker. is attenuates
the Booth Output -12 dB whenever a MIC ENGAGE switch
is on, even if MIC Input is not selected (internal jumpers allow
disabling the Booth Ducker—see Mic/Line Inputs on page
Manual-6).
INPUT GAIN
INPUT GAIN controls allow the user to match input levels.
Adjust these to make the SIG / OL indicator flash green. If the
indicators turn red, reduce the INPUT GAIN. Adjusting the
INPUT LEVEL controls correctly maximizes dynamic range
and provides consistent MIX LEVEL response.
Input SIG / OL
ese dual-color indicators provide help in setting correct
input levels. A flashing green indication is optimal. A red light
that lasts more than a flash is a request to turn down the INPUT
GAIN.
MIX LEVEL
ese studio-grade controls determine the Master MIX LEV-
EL. For optimum performance, set the INPUT GAIN controls
as indicated previously, and then operate MIX LEVELS between
“7” and “10” for full volume. Use the HOUSE and BOOTH
LEVEL controls to set the output levels. Always set the MIX
LEVEL controls to minimum when not in use.
CUE
e CUE signal is selected using CUE 1-6 switches in any
combination. e associated yellow indicator lights when a CUE
is active.
SIG / OL
CUE
1
CUE
2
ENGAGE
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
65
7
4
2
3
9
1 10
8
65
7
CUE PGM
POWER
STEREO
XP 2016a
MASTER
CUE
EFFECTS
LOOP MONO
BOOTH
+6OFF
0 TREBLE
1 2
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
AUX 5
AUX 4
AUX 3
PHONO /
LINE
PHONO /
LINE
PHONO /
LINE
PHONO /
LINE
MIC 1
ENGAGE
MIC 2
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
CUE
3
3
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
CUE
4
4
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
CUE
5
5
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
CUE
6
6
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
4
8
6
8
6
22
4
4
2
3
9
1 10
8
65
7
LEVELMONITOR PHONES
4
2
3
9
1 10
8
65
7
HOUSE
4
2
3
9
1 10
8
65
7
MASTER
ROTARY
MIXER
MP 2016a
+6OFF
0 MID
+6OFF
0 BASS
STEREO
MONO
SIG / OL
CUE
1
CUE
2
ENGAGE
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
65
7
4
2
3
9
1 10
8
65
7
CUE PGM
POWER
STEREO
XP 2016a
MASTER
CUE
EFFECTS
LOOP MONO
BOOTH
+6OFF
0 TREBLE
1 2
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
AUX 5
AUX 4
AUX 3
PHONO /
LINE
PHONO /
LINE
PHONO /
LINE
PHONO /
LINE
MIC 1
ENGAGE
MIC 2
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
CUE
3
3
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
CUE
4
4
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
CUE
5
5
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
CUE
6
6
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
4
8
6
8
6
22
4
4
2
3
9
1 10
8
65
7
LEVELMONITOR PHONES
4
2
3
9
1 10
8
65
7
HOUSE
4
2
3
9
1 10
8
65
7
MASTER
ROTARY
MIXER
MP 2016a
+6OFF
0 MID
+6OFF
0 BASS
STEREO
MONO

Manual-3
HEADPHONE MONITOR
MONITOR determines the source of the PHONES signal.
With the MONITOR MONO switch out, the control pans
between stereo CUE and stereo PGM signals. e PGM signal
follows the HOUSE Output (same signal going to the Master
House).
With MONITOR MONO selected (in), the MONITOR
control pans between mono CUE (left ear) and mono PGM
(right ear).
e Phones LEVEL control determines the headphone out-
put level. If you are mixing with the MIX LEVEL controls below
“7”, be sure to turn the Phones LEVEL down before selecting a
CUE source as it may be much louder than the Master Mix.
e PHONES output is very low impedance and high
current so do not short tip and ring together or tie to ground, as
is common with many low- cost mono cups. Use resistors of
300 to 600 Ω in series with each output for mono applications,
although this significantly reduces output power.
BOOTH CUE / MASTER switch and Level
e BOOTH CUE / MASTER switch selects MASTER
mix or CUE selection as the Booth source. is allows CUE
monitoring in the Booth without headphones. e BOOTH
Level controls the volume to the Booth Output.
MASTER HOUSE Level
is studio-grade control sets the HOUSE Output level.
MASTER MONO / STEREO switch
is sets the MASTER mix signal to MONO or STEREO
operation. It effects both BOOTH and HOUSE Outputs.
MASTER SIG / OL indicator
is dual color indicator helps set correct MASTER mix
levels. A flashing or steady green indication is optimal. e red
indicator may flash only briefly on rare occasion...regular flash-
ing or steady-on means that distortion is imminent and Levels
need reducing.
XP 2016a switch
is engages the optional XP 2016a External Processor. If
the XP 2016a is not connected, the switch does nothing. If an
XP 2016a is connected and the switch is on (up), it routes the
MIX LEVEL Outputs to the XP 2016a and returns a stereo
MASTER signal to the MP 2016a.
EFFECTS LOOP switch
is engages the EFFECTS LOOP when up. If nothing is
connected to the EFFECTS LOOP RETURN, the switch has
no effect.
TREBLE tone control
Allows adjusting the amplitude of frequencies above 4 kHz
from +6 dB to OFF (full kill).
MID tone control
Allows adjusting the amplitude of frequencies between 300
Hz and 4 kHz from +6 dB to OFF (full kill).
BASS tone control
Allows adjusting the amplitude of frequencies below
300 Hz from +6 dB to OFF (full kill).
POWER indicator
is yellow indicator lights whenever AC power is connected
to the unit.
SIG / OL
CUE
1
CUE
2
ENGAGE
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
65
7
4
2
3
9
1 10
8
65
7
CUE PGM
POWER
STEREO
XP 2016a
MASTER
CUE
EFFECTS
LOOP MONO
BOOTH
+6OFF
0 TREBLE
1 2
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
AUX 5
AUX 4
AUX 3
PHONO /
LINE
PHONO /
LINE
PHONO /
LINE
PHONO /
LINE
MIC 1
ENGAGE
MIC 2
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
CUE
3
3
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
CUE
4
4
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
CUE
5
5
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
CUE
6
6
SIG / OL
MIX LEVEL
4
INPUT GAIN
2
3
9
1 10
8
AUX 5
AUX 4
AUX 3
65
AUX 2
AUX 1
7
4
2
3
9
1 10
8
65
7
4
8
6
8
6
22
4
4
2
3
9
1 10
8
65
7
LEVELMONITOR PHONES
4
2
3
9
1 10
8
65
7
HOUSE
4
2
3
9
1 10
8
65
7
MASTER
ROTARY
MIXER
MP 2016a
+6OFF
0 MID
+6OFF
0 BASS
STEREO
MONO
T = LEFT
R = RIGHT
S = GROUND TO MONO PHONE

Manual-4
REAR PANEL INPUTS & OUTPUTS
POWER jack
e power jack receives the cable from the RS 1 power sup-
ply shipped with the unit. e chassis ground screw located just
above the jack is intended for earth grounding the chassis.
IMPORTANT NOTE: CHASSIS GROUNDING
If after hooking up your system it exhibits excessive hum or
buzzing, there is an incompatibility in the grounding configura-
tion between units somewhere.
If your equipment is in a rack, verify that all chassis are tied
to a good earth ground, either through the line cord grounding
pin or the rack screws to another grounded chassis.
is unit’s outboard power supply does not ground the chas-
sis through the line cord. Make sure that the unit is grounded
either to another chassis which is earth grounded, or directly to
the grounding screw on an AC outlet cover by means of a wire
connected to a screw on the chassis with a star washer to guaran-
tee proper contact.
Please refer to the RaneNote “Sound System Interconnection”
supplied with this manual and available from our website for
further information on system grounding.
INPUTS 1-4 RCA jacks
INPUTS 1-4 provide dedicated preamplifiers for Input
Channels 1-4 respectively. Each may operate in RIAA PHONO
or LINE mode.
PHONO / LINE switches
ese switches set Input Channel preamplifiers 1-4 for
PHONO or LINE mode. Make certain these switches are set
correctly for your source.
PHONO GROUND
ese lugs are provided to connect ground wires from turn-
tables. When using a turntable, proper grounding is essential.
MIC 1 and MIC 2 XLR jacks
e MIC 1 Input provides a dedicated balanced preamplifier
for Input Channel 5, while MIC 2 provides the preamplifier for
Input Channels 6. Each may operate in MIC or LINE mode.
Each of these preamplifiers features GAIN trim with BASS and
TREBLE tone controls.
MIC / LINE switches
ese select MIC or LINE mode for the MIC Inputs. In
MIC mode, the gain range is 20 to 50 dB. In LINE mode, the
gain range is 0 to 30 dB. In addition to setting the proper gain
range for MIC or LINE level Inputs, these switches also select
the proper Input impedance.
MIC GAIN trim
ese controls adjust the preamplifier for optimum dynamic
range. Each has a range of 30 dB, allowing a wide range of
sources to be used. To properly set this control, set the associated
front panel INPUT GAIN to “10”, turn the MIC ENGAGE
switch on and adjust the MIC GAIN so that the input SIG / OL
indicator flashes red only during very loud peaks. e front panel
INPUT GAIN control can then be adjusted as required ac-
cording to the instruction outlined above under INPUT GAIN
control.
MIC TREBLE and BASS controls
Separate TREBLE and BASS tone controls are provided for
each MIC preamplifier. ese allow adjustment of the tonal re-
sponse of each Mic or Line source at the MIC Inputs. If you add
a significant amount of boost, you may need to readjust the rear
panel GAIN trims as outlined before.
CLASS 2 EQUIPMENT
ACN001.345.482
U.S. PATENT PENDING
MADE IN U.S.A.
RANE CORP.
HOUSE
OUTPUTS
EFFECTS LOOP
OUTPUTS
BOOTH
MP 2016a
MIC 2
4
TAPE
OUTPUTS
XP 2016a
EXTERNAL
PROCESSOR
5 3 2
AUX INPUTS
1
MIC 1
4
INPUTS
3 2 1
GAIN
RIGHT
LEFT
R
L
R
L
R
LEFTRIGHT
L
RETURN SEND
TREBLE
-12-12 +12
0
BASS
MIC
LINE
+12
0
+12-12
0
-12 +12
0
GAIN
BASS TREBLE
R
EFFECTSEFFECTS
LEVEL
POST PRE
L
RRRR
LLLL
—PHONO GROUND —
LINE
PHONO
R
L
R
L
R
L
R
L
MIC
LINE
750mA
POWER
XLR WIRING
PIN 2 = POSITIVE
PIN 3 = NEGATIVE
PIN 1 = CHASSIS GROUND
CLASS 2 EQUIPMENT
ACN001.345.482
U.S. PATENT PENDING
MADE IN U.S.A.
RANE CORP.
HOUSE
OUTPUTS
EFFECTS LOOP
OUTPUTS
BOOTH
MP 2016a
MIC 2
4
TAPE
OUTPUTS
XP 2016a
EXTERNAL
PROCESSOR
5 3 2
AUX INPUTS
1
MIC 1
4
INPUTS
3 2 1
GAIN
RIGHT
LEFT
R
L
R
L
R
LEFTRIGHT
L
RETURN SEND
TREBLE
-12-12 +12
0
BASS
MIC
LINE
+12
0
+12-12
0
-12 +12
0
GAIN
BASS TREBLE
R
EFFECTSEFFECTS
LEVEL
POST PRE
L
RRRR
LLLL
—PHONO GROUND —
LINE
PHONO
R
L
R
L
R
L
R
L
MIC
LINE
750mA
POWER
XLR WIRING
PIN 2 = POSITIVE
PIN 3 = NEGATIVE
PIN 1 = CHASSIS GROUND

Manual-5
AUX INPUTS 1-5 RCA jacks
ese five stereo AUX Inputs are unbalanced, line level In-
puts available for selection on all six Input channels.
XP 2016a EXTERNAL PROCESSOR
e XP 2016a port provides the required socket for connect-
ing the ribbon cable (supplied with the optional XP 2016a). If
an XP 2016a is not connected, the front panel XP 2016a engage
switch has no effect. If ribbons longer than that supplied with
the XP 2016a are used, crosstalk may increase and immunity to
RF, magnetic and conducted interference may be compromised
— don’t do it.
TAPE OUTPUT – PRE-EFFECTS RCA jacks
is unbalanced line-level Output is located before the EF-
FECTS LOOP and tone controls for recording the Master Mix.
MIC Inputs are mixed as any other source and will be present at
both TAPE OUTPUTS.
TAPE OUTPUT – POST-EFFECTS RCA jacks
is unbalanced line-level Output is located after the EF-
FECTS LOOP and before the tone controls. is may be used
as an Auxiliary Output. For this application, as well as for more
flexibility when recording, a LEVEL control has been provided
as described below.
TAPE OUTPUT – POST-EFFECTS LEVEL control
is adjusts the POST-EFFECTS TAPE OUTPUT from
unity gain to off, allowing optimum sensitivity adjustment for
recording or for an Auxiliary Output.
EFFECTS LOOP SEND ¼" jacks
SEND Outputs are unbalanced standard ¼" tip-sleeve jacks.
ey provide a line level Output for external signal processing or
effects units. If effects are not being used, these outputs may be
used as Auxiliary Outputs.
EFFECTS LOOP RETURN ¼" jacks
RETURN Inputs are unbalanced standard ¼" tip-sleeve
jacks. ey provide the Input from external signal processing or
effects units. Switching jacks are used so there is no loss of signal
if the front panel EFFECTS LOOP switch is active with no
effects connected. RETURN Inputs are not appropriate for Aux-
iliary Inputs as this signal is only selected when the front panel
EFFECTS LOOP switch is active, at which time Master signal
is derived only by the signal present at the RETURN Inputs, the
mix signals are disconnected.
BOOTH OUTPUT RCA jacks
e unbalanced stereo BOOTH OUTPUT is normally used
for booth monitoring. As previously outlined, very flexible source
selection is provided as well as MIC ducking. Remember, the
BOOTH OUTPUT is attenuated by 12 dB whenever one of the
front panel MIC ENGAGE switches is active (unless ducking
has been defeated with the internal jumper. See Mic/Line Inputs
on page Manual-6).
HOUSE OUTPUT jacks
Both balanced (XLR) and unbalanced (RCA) jacks are
provided. For long runs, we highly recommend using the bal-
anced XLR outputs. e unbalanced RCA outputs are intended
for short runs of less than 10 feet (3 meters). Both may be used
simultaneously if required.
CLASS 2 EQUIPMENT
ACN001.345.482
U.S. PATENT PENDING
MADE IN U.S.A.
RANE CORP.
HOUSE
OUTPUTS
EFFECTS LOOP
OUTPUTS
BOOTH
MP 2016a
MIC 2
4
TAPE
OUTPUTS
XP 2016a
EXTERNAL
PROCESSOR
5 3 2
AUX INPUTS
1
MIC 1
4
INPUTS
3 2 1
GAIN
RIGHT
LEFT
R
L
R
L
R
LEFTRIGHT
L
RETURN SEND
TREBLE
-12-12 +12
0
BASS
MIC
LINE
+12
0
+12-12
0
-12 +12
0
GAIN
BASS TREBLE
R
EFFECTSEFFECTS
LEVEL
POST PRE
L
RRRR
LLLL
—PHONO GROUND —
LINE
PHONO
R
L
R
L
R
L
R
L
MIC
LINE
750mA
POWER
XLR WIRING
PIN 2 = POSITIVE
PIN 3 = NEGATIVE
PIN 1 = CHASSIS GROUND

Manual-6
OPERATION
RIAA PHONO/LINE INPUTS
Input channels 1 through 4 each have a dedicated preamplifi-
er. A rear panel switch allows setting these preamps for PHONO
or LINE level signals. Make sure you have the switch in the correct
position for your application. e source selectors for Input chan-
nels 1 - 4 may select the dedicated PHONO / LINE preamplifier
or one of the five stereo AUX Inputs as the source.
With normal program material playing, set the INPUT
GAIN control to a level that causes the SIG / OL indicator to
flash green. e SIG / OL indicator should not flash red. is
will ensure optimum signal to noise ratio and dynamic range. If
INPUT GAIN controls are set too high, you may not have the
required headroom for mixing multiple Inputs. If your levels are
set too low, signal-to-noise ratio is compromised.
In addition to optimizing noise and dynamic range, prop-
erly setting INPUT GAIN allows the MIX LEVEL control to
operate predictably over its entire range. e taper of the MIX
LEVEL control is non-linear and will have different attenuation
verses rotation characteristics depending on its position. As can
be seen in the figure below, if you are mixing between 30% and
60% of rotation, MIX LEVEL will behave much differently than
if operated between 65% and 95% of rotation.
the INPUT GAIN SIG / OL indicator to accurately indicate the
signal level. Adjust the MIC GAIN so the red OL indicator just
stays off during the highest signal peaks (if a microphone is in
use, yell into it). e MIC GAIN control should only have to be
set once for the source in use. Use the front panel INPUT GAIN
control for trimming the gain after installation.
Next adjust the rear panel MIC 1 and MIC 2 BASS and
TREBLE controls for the desired tonal quality. If you add a lot
of BASS or TREBLE boost, you may want to readjust the MIC
GAIN control to avoid possible overloading.
MIC 1 and MIC 2 each have an ENGAGE switch to the
right of the Input Selector. For a mic signal to be active, the
selector must be set to MIC and the MIC ENGAGE switch set
to ENGAGE (up).
When either of the switches is set to the ENGAGE posi-
tion, the BOOTH OUTPUT is ducked (attenuated) by 12 dB
(about ¼th ) to reduce potential feedback. If you do not want the
BOOTH OUTPUT to duck when a MIC source is engaged,
you can remove the top cover and set the internal jumper accord-
ingly. ere is an independent Ducker select jumper for MIC 1
and MIC 2.
It sounds like a lot of trouble to set the input stages up cor-
rectly, however, you will be amazed at how much better your
performance sounds.
MIX LEVEL
With the Input stages properly adjusted, you are free to
use the MIX LEVEL control for mixing. For most applica-
tions, channels will be mixed at about 70% to 100% rotation.
BOOTH and HOUSE level controls then set the output volume.
e MASTER SIG / OL indicator displays the signal level of the
mix. e Green SIG indicator should flash or remain on. e
Red OL indicator should remain off (it may flash occasionally,
but if it is on every beat it is too hot). To correct an overload con-
dition, one or more of the MIX LEVEL controls must be turned
down. e MASTER SIG / OL indicator monitors the signal
before and after the tone control, so if you use a lot of boost,
remember to monitor this indicator.
TONE CONTROLS
e MP 2016a uses high-performance tone control circuits
that isolate the signal into three bands. e level of each band
is independently controlled, and then recombined. is topol-
ogy provides full “kill” for TREBLE, MID and BASS. If all
three bands are set to the same level, there will be no change in
frequency response, only amplitude. It is the difference in settings
that determines the tonal quality of the signal. ese advanced
tone controls provide excellent dynamic response with fixed
phase shift. Control is smooth and predictable. e tone controls
can isolate beats, vocals and “high-hat,” as well as adjust general
tonal quality. Remember that the dedicated Mic tone controls
(on the rear panel) are used to equalize the Microphone Inputs.
MIC / LINE INPUTS
Input channels 5 and 6 each have dedicated preamplifiers. A
rear panel switch allows setting these Inputs for MIC or LINE
level signals. Make sure you have the switch in the correct position
for your application. While these Inputs are designed for use with
dynamic microphones (no phantom power) or wireless micro-
phones with line level output, they will accept just about any
mono signal. While balanced operation is highly recommended,
these Inputs may be operated unbalanced with short cables to
the source (less than 10 feet or 3 meters). e source selectors for
Input channels 5 and 6 may select the dedicated MIC / LINE
preamplifier or one of the five stereo AUX inputs.
Prior to permanent installation, adjust the preamplifier
GAIN, BASS and TREBLE controls (located on the rear panel)
for the intended source.
In addition to the MIC / LINE switch, each preamplifier has
a rear panel MIC GAIN trim. To properly set the MIC GAIN,
set the front panel INPUT GAIN control to “10.” is allows
Mix Level Taper
Rotation
10
10
0
20
20
30
30
40
40
50
50
60
60
70
70
80
80
100
100
90
90
Attenuation

Manual-7
OPTIONAL XP 2016a EXTERNAL PROCESSOR
Combining the optional XP 2016a EXTERNAL PROCES-
SOR with the MP 2016a adds three-band, full-cut, Accelerated-
Slope™ tone controls and A-POST-B Crossfader Assign switches
for each of the six Input channels. You also get a high-perfor-
mance Active-Crossfader™ with full-range Contour control and a
stereo 10-segment peak dBu Master / Cue Meter with peak hold.
With these added features, the system accommodates the diverse
needs of virtually all DJ mixing styles.
e post MIX LEVEL signals from the MP 2016a are routed
to the XP 2016a, processed by the tone controls, then assigned to
the A side of the fader, B side of the fader or post fader. e mixed
signal is returned to the MP 2016a. If the XP 2016a engage
switch is active, the MASTER signal gets the XP 2016a mix. If
the XP 2016a engage switch is not active, the MASTER signal
just gets the MP 2016a mix.
CHANNEL 1-6 TREBLE
Allows adjusting the amplitude of frequencies above 4 kHz
from +6 dB to OFF (full kill).
CHANNEL 1-6 MID
Allows adjusting the amplitude of frequencies between 300
Hz and 4 kHz from +6 dB to OFF (full kill).
CHANNEL 1-6 BASS
Allows adjusting the amplitude of frequencies below 300 Hz
from +6 dB to OFF (full kill).
CHANNEL 1-6 A/POST/B Assign
ese switches assign each of the six input channels to the A
side of the Crossfader, B side of the Crossfader or POST Cross-
fader.
CROSSFADER
is implements using Ranes’ proprietary Active Crossfader™
design. All audio is isolated from the control element, greatly
extending the life and performance of the control. See page
Manual-8 for cleaning and replacement instructions.
CROSSFADER CONTOUR
is control allows adjusting the “shape” of the Crossfader
response from a gentle curve for smooth long running fades, to
the steep pitch required for performance cut and scratch effects.
(See the graph in the Data Sheet.)
PEAK PROGRAM / CUE METER
e stereo 10-segment Cue Meter on the XP 2016a moni-
tors the same signal as the headphones. See the HEADPHONE
MONITOR section on page Manual-3.
POWER indicator
is yellow indicator lights whenever AC power is connected.
A POST B
BASS
MID
TREBLE
CROSSFADER
CONTOUR
RIGHT / PGM
LEFT / CUE
POWER
1
A POST B
BASS
MID
TREBLE
2
A POST B
BASS
MID
TREBLE
3
A POST B
BASS
MID
TREBLE
4
A POST B
BASS
MID
TREBLE
5
A POST B
BASS
MID
TREBLE
6
CUE METER
XP 2016a
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
EXTERNAL
PROCESSOR
-20 -7-10 -4 0-2 +2 +7+4 +10
F 60
A POST B
BASS
MID
TREBLE
CROSSFADER
CONTOUR
RIGHT / PGM
LEFT / CUE
POWER
1
A POST B
BASS
MID
TREBLE
2
A POST B
BASS
MID
TREBLE
3
A POST B
BASS
MID
TREBLE
4
A POST B
BASS
MID
TREBLE
5
A POST B
BASS
MID
TREBLE
6
CUE METER
XP 2016a
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
+6OFF
0
EXTERNAL
PROCESSOR
-20 -7-10 -4 0-2 +2 +7+4 +10
F 60

Manual-8
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 TEL [phone] FAX [phone] WEB www.rane.com
107893
MP 2016a Mixer Port
is is the required socket to connect the XP 2016a to the
MP 2016a, using the ribbon cable supplied with the XP 2016a.
If a ribbon longer that that supplied with the XP 2016a is used,
crosstalk may increase, and immunity to RF, magnetic and con-
ducted interference may be compromised. So don’t do it!
POWER
is power jack receives the cable from the RS 1 power sup-
ply shipped with the unit. e chassis ground screw located just
above the jack is intended for earth grounding the chassis (see
the Chassis Grounding note on page Manual-4).
XP 2016a Ribbon Connections: (PIN 1 marked Ñ)
1) GND
2) GND
3) MIX RIGHT OUT
4) MIX LEFT OUT
5) GND
6) METER LEFT IN
7) METER RIGHT IN
8) GND
9) CH 6R IN
10) CH 6L IN
11) GND
12) CH 5R IN
13) CH 5L IN
14) GND
15) CH 4R IN
16) CH 4L IN
17) GND
18) CH 3R IN
19) CH 3L IN
20) GND
21) CH 2R IN
22) CH 2L IN
23) XP 2016 ENABLE (GND)
24) CH 1R IN
25) CH 1L IN
26) GND
Fader Cleaning
With heavy use in harsh environments, the faders may need
lubrication. is treatment extends longevity and can make used
faders as good as new. e fader assembly must be removed from
the XP 2016a for proper cleaning. We recommend any of the
following cleaning solutions:
Caig DeoxIT FaderLube F100 spray lubricant (www.caig.com)
Caig DeoxIT FaderLube F5 spray cleaner (www.caig.com)
CRC 2-26 (www.crcindustries.com)
Order DeoxIT® from:
CAIG Laboratories, Inc.
12200 atcher Ct.
Poway, CA 92064
Phone [phone]
Fax [phone]
Web www.caig.com
CLEANING INSTRUCTIONS
A. Fader assembly removal
1. Remove (2) 3mm screws.
2. Draw fader assembly out through hole.
3. Remove ribbon cable.
B. Fader cleaning
1. Hold the fader assembly away from the mixer.
2. Position the fader at mid-travel.
3. Spray cleaner/lubricant into both ends of the fader.
4. Move the fader over its full travel back and forth a few times.
5. Shake excess fluid from the fader assembly.
6. Wipe off excess fluid.
CLASS 2 EQUIPMENT
750mA
POWER
MP 2016a
MIXER
ACN 001 345 482
U.S. PATENT PENDING
MADE IN U.S.A.
RANE CORP.
XP 2016a