Rane MP26 User manual

1
MP26
CLUB MIXER
MIC 1
MP26
CLUB MIXER
MIC 2
CUE
SPLIT CUE
PHONES
BOOTH
LEVEL
LEVEL
LEVEL
PAN
PGM 1
CUE
LEVEL
PGM 2
PGM 3
ZONE
MAIN
PGM 4
FLEXFX
CUE
LEVEL
CUE
LEVEL
LEVEL
LEVEL
A B
POST
A B
POST
A B
POST
A B
CONTOUR
POST
MIC ON
TALKOVER
FLEXFX
MIC ON
TALKOVER
FLEXFX
LEVEL / DEPTH
BEAT CUE
FILTER
BEAT
TIMETAP
PHASERFLANGER
ROBOTECHO REVERB FLEXFX ON
LEVEL
HIGH
PAN
LOW
LEVEL
HIGH
PAN
LOW
FLEXFX
SEND
RETURN
LEVEL
FILTER
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
BALANCE
FLEXFX
FILTER
FLEXFX
FILTER
FLEXFX FLEXFX
MONO
USB LOOP
EXT LOOP
FILTER
SOURCE
D1 A3
A4P1
A1 A2
SOURCE
D2 A3
A4P2
A1 A2
SOURCE
D3 A3
A4P3
A1 A2
SOURCE
D4 A3
A4P4
A1 A2
CUE MAIN
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
HIGHLOW HIGHLOW HIGHLOW HIGHLOW
OL
+6
+3
0
-3
-12
-6
-18
MAXMIN
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
RIGHT
LEFT
+6
OFF
+6
OFF
10
0
2
4
8
6
RIGHT
LEFT
RIGHT
LEFT
+6
OFF
+6
OFF
FLAGGELATIONS
BPM: 120
TIME: 125MS BEAT: 1/4
[-------|-----------]
OPERATORS MANUAL
20445
Contents
Important Safety Instructions 2
Specifications 4
General Description 5
Features 5
Software 7
Connecting the Mixer 8
Mixer Controls 10
FlexFX 11
Internal Audio Effects 13
USB Drivers 14
The MP26 Control Panel 15
Dimensions 17
Faders 18
Sound System Interconnection 19
How-to Properly Set Mixer Levels 27
Declaration of Conformity 29
Factory Authorized Service 30
Warranty 30

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 drip-
ping 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.
is Class B digital apparatus complies with Canadian ICES-003.
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 pos-
sède 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 ap-
pareil 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.
Cet appareil numérique de classe B est conforme à la norme Canadienne ICES-003.
Cet appareil numérique de classe B est conforme à la norme Canadienne NMB-003.

4
MP26
CLUB MIXER
Specifications
Parameter Specification
Phono/Line, Aux, FlexFX Inputs 4 stereo unbalanced RCA jacks
.....Phono or Line Level Rear panel switch for each Phono/Line input
.....Phono Response RIAA curve ±1 dB, Gain = 36 dB @ 1 kHz
.....Max Phone Input 63 mV @ 1 kHz
.....Max Line Input 4 Vrms
Mic Inputs Balanced ¼˝ TRS & XLR combination jacks
.....Mic 1 Front and rear panel jacks
.....Mic 2 Rear panel jack with Mic/Line-level switch
.....Max Input (Mic Level) 185 mVrms (-12.5 dBu)
.....Max Input (Line Level) 3.7 Vrms (13.6 dBu)
.....EIN (Equivalent Input Noise) -110 dBu
FlexFX Unbalanced ¼˝ TS
.....Send Auto-mono, Left and Right Output jacks
.....Return Auto-mono, Left and Right Input jacks
Outputs: Main, Zone, Booth, Record, FlexFX Balanced XLR & ¼˝ TRS, unbalanced RCA & ¼˝ TS
.....Frequency Response 20 Hz to 20 kHz, +0.25 dB / -1.5 dB
.....THD+N <0.03% re 0 dBFS, 20 to 20 kHz, 20 kHz BW
.....Max Output (RCA and Unbalanced ¼˝ TS) 4 Vrms
.....Max Output (XLR and Balanced ¼˝ TRS) 8 Vrms
.....Zone/Booth Auto-mono, left and right jacks
.....Main Output Mono switch, rear panel attenuator (0 to -24 dB)
Dynamic Range, Line Input to Line Output 100 dB A-weighted
Analog to Digital Converters (ADCs) 24-bit, 48 kHz; Dynamic range 101 dB A-weighted
Digital to Analog Converters (DACs) 24-bit, 48 kHz; Dynamic range 107 dB A-weighted
Digital Signal Processing (DSP) 48 kHz, 32-bit, oating-point
USB Audio 48 kHz, 32-bit, oating-point
.....Stereo Record Channels 6
.....Stereo Playback Channels 5
Universal Internal Power Supply 100 to 240 VAC, 50 Hz to 60 Hz, 12 W max
USB Power Mixer is self-powered
Unit: Conformity FCC, CSA
..........Construction All Steel
..........Size (Inches) 8.75˝ (5U) H x 19˝ W x 4.4˝ D
..........Size (Metric) 22 cm x 48.3 cm x 11 cm
..........Weight 10.1 lb (4.58 kg)
Shipping: Size (inches) 21.5˝ L x 11.875˝ W x 7.25˝ D
..........Size (metric) 54.6 cm x 30.2 cm x 18.4 cm
..........Weight 15 lb (6.8 kg)
Notes: 0 dBu=0.775 Vrms. All specications are typical unless otherwise stated.

5
MP26
CLUB MIXER
General Description
e Rane MP26 mixer satises the audio and ergonomic de-
mands of performing DJs in a 19˝rack format preferred by night-
clubs, with a shallow design that drops into a mobile rig. e
MP26 (4U high) and MP26 (5U high) come from the same USB
mixer design, with the the MP26 adding internal digital eects.
Sporting two microphone inputs, four studio-grade phono
preamps, four analog aux inputs, four low-latency stereo USB
inputs, analog and USB eects insert loops, internal eects
processor, and a variety of analog and digital outputs; the MP26
remains rooted in analog tradition while reaching new heights of
digital connectivity.
Reliable, low-latency, multi-client ASIO and Core Audio
drivers interface the MP26’s twenty-two USB audio channels
directly to your favorite multi-track mixing, beat-making, loop-
ing, eects, and recording applications. Additionally, the MP26’s
front panel controls are MIDI enabled, allowing manipulation of
software parameters directly from the mixer’s control surface.
Features
INPUTS
• Four individually switchable stereo Phono/Line inputs.
• Four stereo Auxiliary inputs.
• Four stereo USB playback inputs.
• Two microphone inputs with optional Talkover ducking:
•One with front and rear panel connectors.
•One with a line-level input option.
OUTPUTS
• Stereo Main Outputs on balanced XLR and unbalanced RCA:
•Rear panel Mono/Stereo switch and Max Out level attenuator.
• Stereo balanced ¼” TRS Zone and Booth outputs:
•Auto-mono output on both Left and Right jacks.
• Stereo Record outputs on RCA, S/PDIF and USB.
USB
• Four stereo playback channels stream audio from your favorite
playback, mixing, and beat-making applications to the MP26’.
• Four stereo record channels stream the four post-fader program
channels to your audio application for multi-track recording.
A fth stereo record channel streams Mic 1, Mic 2, or the Main
Mix to your recording application.
• The USB Eects Loop enables insertion of stereo computer-
based eects processors into the MP26’s powerful FlexFX bus.
• Low-latency ASIO / Core Audio drivers eliminate delay between
the control input to audio software and the audible result.
• Most of the leading DJ and DAW applications are supported
with ASIO / Core Audio drivers. Multiple software applications
can simultaneously stream audio to and from the mixer.
• The MP26 MIDI device exposes the MP26 front panel as a MIDI
controller, allowing control of audio application parameters
using the mixer’s control surface.
• Sync MP26 eects to audio applications using MIDI beat clock.
WEAR PARTS
is product contains no wear parts as described in the Warranty.

6
MP26
CLUB MIXER
MIC 1
MP26
CLUB MIXER
MIC 2
CUE
SPLIT CUE
PHONES
BOOTH
LEVEL
LEVEL
LEVEL
PAN
PGM 1
CUE
LEVEL
PGM 2
PGM 3
ZONE
MAIN
PGM 4
FLEXFX
CUE
LEVEL
CUE
LEVEL
LEVEL
LEVEL
A B
POST
A B
POST
A B
POST
A B
CONTOUR
POST
MIC ON
TALKOVER
FLEXFX
MIC ON
TALKOVER
FLEXFX
LEVEL / DEPTH
BEAT CUE
FILTER
BEAT
TIMETAP
PHASERFLANGER
ROBOTECHO REVERB FLEXFX ON
LEVEL
HIGH
PAN
LOW
LEVEL
HIGH
PAN
LOW
FLEXFX
SEND
RETURN
LEVEL
FILTER
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
BALANCE
FLEXFX
FILTER
FLEXFX
FILTER
FLEXFX
FLEXFX
MONO
USB LOOP
EXT LOOP
FILTER
SOURCE
D1 A3
A4P1
A1 A2
SOURCE
D2 A3
A4P2
A1 A2
SOURCE
D3 A3
A4P3
A1 A2
SOURCE
D4 A3
A4P4
A1 A2
CUE MAIN
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
HIGHLOW HIGHLOW HIGHLOW HIGHLOW
OL
+6
+3
0
-3
-12
-6
-18
MAXMIN
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
RIGHT
LEFT
+6
OFF
+6
OFF
10
0
2
4
8
6
RIGHT
LEFT
RIGHT
LEFT
+6
OFF
+6
OFF
FLAGGELATIONS
BPM: 120
TIME: 125MS BEAT: 1/4
[-------|-----------]
Two Mic Inputs
• Mic 1 allows connection to either front or rear jack.
• Pan and 2-band full-cut tone controls.
• Mic 2 allows switchable Mic or Line level Input.
• Record Mic 1, Mic 2, or the Main Mix via USB.
Each Mic includes
• FlexFX bus assignment to eects.
• Talkover mode engages the mic and automatically
ducks all other program inputs by 10 dB.
Four Program buses each include
• Selection of a Phono / CD Input, USB playback
Input, or any of the four Aux Inputs.
• 3-band full-cut tone controls.
• Sweepable Low-Pass / High-Pass lters.
• Crossfader A, B, or Post assignment.
• FlexFX bus assignment.
• Pre-fader cue bus assignment.
• 60 mm long-throw program fader.
The Crossfader is a no-noise,
no-bleed magnetic fader
with three contour settings.
The Booth Output includes
a Level control and auto-mono
balanced 1/4” TRS outputs.
Phones accept both 1/4” and 3.5 mm plugs.
Level, Pan and Split Cue controls support
dierent monitoring styles.

7
MP26
CLUB MIXER
MIC 1
MP26
CLUB MIXER
MIC 2
CUE
SPLIT CUE
PHONES
BOOTH
LEVEL
LEVEL
LEVEL
PAN
PGM 1
CUE
LEVEL
PGM 2
PGM 3
ZONE
MAIN
PGM 4
FLEXFX
CUE
LEVEL
CUE
LEVEL
LEVEL
LEVEL
A B
POST
A B
POST
A B
POST
A B
CONTOUR
POST
MIC ON
TALKOVER
FLEXFX
MIC ON
TALKOVER
FLEXFX
LEVEL / DEPTH
BEAT CUE
FILTER
BEAT
TIMETAP
PHASERFLANGER
ROBOTECHO REVERB FLEXFX ON
LEVEL
HIGH
PAN
LOW
LEVEL
HIGH
PAN
LOW
FLEXFX
SEND
RETURN
LEVEL
FILTER
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
BALANCE
FLEXFX
FILTER
FLEXFX
FILTER
FLEXFX FLEXFX
MONO
USB LOOP
EXT LOOP
FILTER
SOURCE
D1 A3
A4P1
A1 A2
SOURCE
D2 A3
A4P2
A1 A2
SOURCE
D3 A3
A4P3
A1 A2
SOURCE
D4 A3
A4P4
A1 A2
CUE MAIN
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
HIGHLOW HIGHLOW HIGHLOW HIGHLOW
OL
+6
+3
0
-3
-12
-6
-18
MAXMIN
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
RIGHT
LEFT
+6
OFF
+6
OFF
10
0
2
4
8
6
RIGHT
LEFT
RIGHT
LEFT
+6
OFF
+6
OFF
FLAGGELATIONS
BPM: 120
TIME: 125MS BEAT: 1/4
[-------|-----------]
Two Mic Inputs
• Mic 1 allows connection to either front or rear jack.
• Pan and 2-band full-cut tone controls.
• Mic 2 allows switchable Mic or Line level Input.
• Record Mic 1, Mic 2, or the Main Mix via USB.
Each Mic includes
• FlexFX bus assignment to eects.
• Talkover mode engages the mic and automatically
ducks all other program inputs by 10 dB.
Four Program buses each include
• Selection of a Phono / CD Input, USB playback
Input, or any of the four Aux Inputs.
• 3-band full-cut tone controls.
• Sweepable Low-Pass / High-Pass lters.
• Crossfader A, B, or Post assignment.
• FlexFX bus assignment.
• Pre-fader cue bus assignment.
• 60 mm long-throw program fader.
The Crossfader is a no-noise,
no-bleed magnetic fader
with three contour settings.
The Booth Output includes
a Level control and auto-mono
balanced 1/4” TRS outputs.
Phones accept both 1/4” and 3.5 mm plugs.
Level, Pan and Split Cue controls support
dierent monitoring styles.
MIC 1
MP26
CLUB MIXER
MIC 2
CUE
SPLIT CUE
PHONES
BOOTH
LEVEL
LEVEL
LEVEL
PAN
PGM 1
CUE
LEVEL
PGM 2
PGM 3
ZONE
MAIN
PGM 4
FLEXFX
CUE
LEVEL
CUE
LEVEL
LEVEL
LEVEL
A B
POST
A B
POST
A B
POST
A B
CONTOUR
POST
MIC ON
TALKOVER
FLEXFX
MIC ON
TALKOVER
FLEXFX
LEVEL / DEPTH
BEAT CUE
FILTER
BEAT
TIMETAP
PHASERFLANGER
ROBOTECHO REVERB FLEXFX ON
LEVEL
HIGH
PAN
LOW
LEVEL
HIGH
PAN
LOW
FLEXFX
SEND
RETURN
LEVEL
FILTER
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
BALANCE
FLEXFX
FILTER
FLEXFX
FILTER
FLEXFX
FLEXFX
MONO
USB LOOP
EXT LOOP
FILTER
SOURCE
D1 A3
A4P1
A1 A2
SOURCE
D2 A3
A4P2
A1 A2
SOURCE
D3 A3
A4P3
A1 A2
SOURCE
D4 A3
A4P4
A1 A2
CUE MAIN
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
HIGHLOW HIGHLOW HIGHLOW HIGHLOW
OL
+6
+3
0
-3
-12
-6
-18
MAXMIN
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
RIGHT
LEFT
+6
OFF
+6
OFF
10
0
2
4
8
6
RIGHT
LEFT
RIGHT
LEFT
+6
OFF
+6
OFF
FLAGGELATIONS
BPM: 120
TIME: 125MS BEAT: 1/4
[-------|-----------]
FlexFX™ Bus
Routes all assigned audio channels
to individually selectable analog,
USB and internal eects loops.
The analog loop provides Send
and Return Level controls,
and auto-mono unbalanced
1/4” TS connectors.
The eected signal may be
assigned to the Cue bus.
Main Output (XLR and RCA)
includes Balance and Level
controls, and rear panel Mono
and 0-24 dB attenuation controls.
Zone Output
with a Level control
and auto-mono
balanced 1/4” TRS
outputs.
The Main Mix may be
assigned to the FlexFX
bus and Monoed.
Six Internal Eects,
with seamless switching between eects.
Software
Most DJ and DAW software are compatible with the included ASIO
and Core Audio drivers. e MP26 includes a low-latency, USB 2.0,
high-speed, 10-input, 12-output audio interface. e MP26 front
panel controls are MIDI-mappable in supporting software.
e MP26 ASIO and Core Audio drivers require the following mini-
mum system:
• PC: Windows XP, Vista, 7 or 8, with 32-bit and 64-bit support.
• Mac: OS X 10.5.8 to 10.8.x. 32 bit or 64 bit kernel.
• System Memory: 2 GB or more.
• Processor: 2 GHz single core or better.
Visit the MP26 page at dj.rane.com for the most recent drivers.
Windows XP, Vista and 7 are either a registered trademark or a trademark of Microsoft Corporation in the USA and/or other countries.
Apple, Mac, and Macintosh are trademarks of Apple Computer, Inc., registered in the USA and/or other countries.

8
MP26
CLUB MIXER
ere's no “Quick Start” here, we recommend you read this rela-
tively short manual to get all this mixer is capable of.
Connecting the Mixer
Leave the power unplugged until everything else is connected
Inputs
Phono/Line Inputs (P1-P4)
e MP26 has four stereo Phono/Line inputs (P1, P2, P3, P4).
Any of these analog inputs may be set for Phono Input or Line
Input (for CD players) using the push switches located on the
rear panel. Unused inputs are best set to Line. Attach your turn-
table’s ground wires to the Phono Ground connectors. Each of the
four program strips has access to one of the Phono/Line Inputs
using the program strip’s Source selector.
Auxiliary Inputs (A1-A4)
e MP26 has four stereo Auxiliary analog inputs (A1, A2, A3,
A4). Each of the four program strips has access to all of the Aux-
iliary Inputs using the program strip’s Source selector.
Mic Inputs (MIC 1 and MIC 2)
e Mic Inputs accept XLR 3-pin plugs, balanced ¼" TRS
(tip-ring sleeve) plugs or unbalanced TS (tip-sleeve) plugs. Mic 1
has two input jacks, one on the front panel and one on the rear.
Only use one Mic 1 input jack at a time. Mic 2 has a switchable
line-level option.
Outputs
Main/Zone/Booth
All analog outputs come from the same “Main Mix” signal.
Main, Booth and Zone Outputs each have their own Level con-
trol.
e Main output is from unbalanced RCA and balanced
XLR jacks with pin 2 “hot” per AES standards (XLR preferred*).
If the Main output feeds a mono PA system, engage the Mono
switch on the rear of the MP26. If the Main output is able to
clip the input to the PA system when the front panel Main Level
control is at maximum, reduce the maximum output level using
the rear panel Max Out control.
e Booth and Zone outputs are from balanced ¼˝TRS (tip-
ring-sleeve) jacks. Booth and Zone outputs include auto-mono on
both left and right connections. Plug in only one side to receive a
mono signal. Plug into both jacks to receive a stereo signal.
*Rane recommends balanced wiring for the strongest signal
and rejection of hum and noise. If your cable to the amp rack
is less than 10 feet (3 meters), you can usually get away with an
unbalanced cable with RCA or ¼˝TS (tip-sleeve) plugs. If it's
longer than that, use balanced XLR and/or TRS cables. See the
RaneNote “Sound System Interconnection” included with this
manual or at rane.com for details on cable wiring. See "Sound
System Interconnection" on page 19.
Record Outputs
Record outputs are a direct feed from the main mix. ere are
no level controls between the mix and these outputs. e main
mix is available in three dierent formats for recording: unbal-
anced analog RCA, 24-bit 48 kHz S/PDIF, and USB (on record
channel six).
MAIN OUTS
RECORD OUTS
MADE IN U.S.A.
RANE CORP.
MP26
MIC 2P1P2 MIC 1
L
R
LR
MAX OUT dB
PHONO
GROUND
MIC
LINE
LINE
PHONO
XLR WIRING
PIN 2 = POSITIVE
PIN 3 = NEGATIVE
PIN 1 = GROUND
100-240 V
50/60 Hz 12 WATTS
P3
BOOTH OUTZONE OUT
P4
R L R L
LINE
PHONO
LINE
PHONO
STEREO
-240
MONO
A1A2
A3A4 FLEXFX
SEND RETURN
ANALOGS/PDIFUSB
DIGITAL INPUTS
D1-D4

9
MP26
CLUB MIXER
MAIN OUTS
RECORD OUTS
RANE CORP
.
MP26
MIC 2P1P2 MIC 1
L
R
LR
MAX OUT dB
PHONO
GROUND
MIC
LINE
LINE
PHONO
XLR WIRING
PIN 2 = POSITIVE
PIN 3 = NEGATIVE
PIN 1 = GROUND
100-240 V
50/60 Hz 12 WATTS
P3
BOOTH OUTZONE OUT
P4
R L R L
LINE
PHONO
LINE
PHONO
STEREO
-240
MONO
A1A2
A3A4 FLEXFX
SEND RETURN
ANALOGS/PDIFUSB
DIGITAL INPUTS
D1-D4
FlexFX Send/Return
e MP26’s FlexFX Loop includes an analog insert loop for use
with outboard eects processors. e Send and Return signals
are on stereo unbalanced ¼˝TS jacks. e Left and Right Send
jacks provide auto-mono operation. Simply plug in one side for
mono, or both sides for stereo. e Return jack provides similar
operation. Plugging into either the left or right return jack sends
the signal to both the left and right FlexFX Loop return chan-
nels. Plugging into both jacks separates the left and right return
channels.
USB
Connect your computer to the USB port on the MP26 to send
up to twenty-two channels of audio to/from your favorite multi-
track mixing, beat-making, looping, sampling, and record-
ing software applications. Install the MP26 ASIO (Windows)
or Core Audio (Macintosh) drivers (instructions later in this
manual), so that your computer recognizes the MP26.
Digital Inputs
e MP26’s USB audio interface includes ve stereo playback
channels. Playback channels are audio streams from the com-
puter to the MP26. Four of these ve channels are D1-D4, the
MP26’s digital program inputs. Each of the four program strips
has access to one of the four digital input channels using the
Source selector on the program strip. e fth stereo playback
channel is the return channel of the FlexFX USB insert loop.
Digital Outputs
e MP26’s USB audio interface includes six stereo record chan-
nels. Record channels are audio streams from the MP26 to the
computer. Four of these ve channels are post-fader record chan-
nels from the MP26’s program strips. ese four record streams
may be used to multi-track record your set for post-production
editing and mix-down. e fth USB record channel is the send
channel of the FlexFX USB insert loop. e sixth record channel
may be used to record the Main Mix (default), Mic 1, or Mic
2. Select the record source for USB record channel 6 using the
MP26 driver control panel on your computer.
MIDI
In addition to being an audio interface, the MP26 front panel is
also a USB MIDI controller. e Zone Level, Main Balance and
Main Level controls are the only front panel controls not MIDI
enabled. See MIDI Implementation later in this manual.
Power Supply
e MP26 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
between dierent countries is the appropriate power cord, which
is usually readily available.

10
MP26
CLUB MIXER
Mixer Controls
Mic Inputs
Two Microphone Inputs are independent, each with these controls:
• Level control.
• Pan the signal from Left to Right.
• High / Low 2-band, full-cut tone controls. e range is O to
+6 dB, with unity gain at 12 o’clock.
• FlexFX Assign takes the signal out of the Main Mix and sends
it to the FlexFX Loop.
• Mic On adds the Mic to the Main Mix as a program input. If
Talkover is engaged on the other Mic, this Mic is ducked like
any other program input.
• Talkover engages the Mic in the Main Mix and ducks all
program inputs. If Talkover is engaged on the other Mic, this
Mic is not ducked.
• Peak signal / rms meter displays the signal level with peak-
hold.
• Mic 1 front panel connector is intended for a wired dynamic
mic. A gooseneck mic is not recommended as it could damage
the jack and not be covered under Rane’s Warranty.
• Mic 2 allows selection of a Mic- or Line-level input via the
rear panel switch. Line-level is usually for wireless mics.
• Mic 1, Mic 2, or the Main Mix may be recorded via USB
Record-6. Record source selection is made in the computer’s
MP26 driver control panel.
Program Strips
• Source selection: Each program input xmay select from
Px, Dx, A1, A2, A3, or A4.
• Level is O to +12 dB, with unity gain at 12 o’clock.
• High / Mid / Low 3-band, full-cut tone control range is O to
+6 dB, with unity gain at 12 o’clock.
• Filter with Low-pass and High-pass:
•Flat response is in the center at 12 o'clock.
•Low-pass lter cut-o moves from 20 kHz toward 20 Hz as
the knob is turned counter-clockwise.
•High-pass lter cut-o moves from 20 Hz toward 20 kHz
as the knob is turned clockwise.
•e lter resonance can be switched high or low in the
computer’s MP26 driver control panel.
• e A-B-Post switch assigns the channel to A-side, B-side, or
Post-Crossfader.
• FlexFX assign takes the channel out of the Main Mix and
sends it to the FlexFX Bus (post-fader).
• Cue select assigns the channel to the headphones (pre-fader).
• Channel meter displays mono signal level with peak-hold.
• A 60 mm long-throw program fader controls the level of the
channel in the Main Mix.
• PGM 1-4 post-fader, stereo program channels are streamed
to the computer via USB record channels 1-4. ese channels
may be recorded for post production editing and mix-down.
MIC 1
MP26
CLUB MIXER
MIC 2
CUE
SPLIT CUE
PHONES
BOOTH
LEVEL
LEVEL
LEVEL
PAN
PGM 1
CUE
LEVEL
PGM 2
PGM 3
ZONE
MAIN
PGM 4
FLEXFX
CUE
LEVEL
CUE
LEVEL
LEVEL
LEVEL
A B
POST
A B
POST
A B
POST
A B
CONTOUR
POST
MIC ON
TALKOVER
FLEXFX
MIC ON
TALKOVER
FLEXFX
LEVEL / DEPTH
BEAT CUE
FILTER
BEAT
TIMETAP
PHASERFLANGER
ROBOTECHO REVERB FLEXFX ON
LEVEL
HIGH
PAN
LOW
LEVEL
HIGH
PAN
LOW
FLEXFX
SEND
RETURN
LEVEL
FILTER
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
BALANCE
FLEXFX
FILTER
FLEXFX
FILTER
FLEXFX
FLEXFX
MONO
USB LOOP
EXT LOOP
FILTER
SOURCE
D1 A3
A4P1
A1 A2
SOURCE
D2 A3
A4P2
A1 A2
SOURCE
D3 A3
A4P3
A1 A2
SOURCE
D4 A3
A4P4
A1 A2
CUE MAIN
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
HIGHLOW HIGHLOW HIGHLOW HIGHLOW
OL
+6
+3
0
-3
-12
-6
-18
MAXMIN
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
RIGHT
LEFT
+6
OFF
+6
OFF
10
0
2
4
8
6
RIGHT
LEFT
RIGHT
LEFT
+6
OFF
+6
OFF

11
MP26
CLUB MIXER
Magnetic Crossfader
e MP26’s crossfader is a eld replaceable, no-noise, no-bleed
magnetic fader.
• Assign each PGM channel to the A-side, B-side or Post-Cross-
fader with switches in the program strips.
• Select one of three crossfader slopes with the Contour switch.
• See "Faders" on page 18.
Phones
e Headphone Monitor provides stereo or mono Split Cue
operation.
• In Stereo operation, the Pan control pans between stereo Cue
and the stereo Main Mix.
• In Split Cue operation, the Pan control pans between Mono
Cue in the left ear and mono Main Mix in the right ear.
• Individual Cue buttons are provided for PGM 1, PGM 2,
PGM 3, PGM 4 and the FlexFX Loop.
• e Headphone Level control sets the level in both the front
panel 3.5 mm and ¼˝output jacks.
• e headphone output includes 2-band full-cut tone controls.
Tone control range is O to +6 dB. ese headphone tone
controls are adjusted from the computer using the MP26
driver control panel.
Main Mix and Main/Zone Outputs
e Main Mix is made from MIC 1, MIC 2, PGM 1, PGM 2,
PGM 3, PGM 4 and the FlexFX Mix.
• Mono the Main Mix by pressing the front panel Mono but-
ton. To mono only a specic output, use the rear panel Mono
switch on the Main Outs, or the auto-mono single plug feature
of the Zone and Booth Outs.
• Apply eects to the entire Main Mix by engaging the Main
Mix (blue) FlexFX button. is button instantly sends PGMs
1-4 and Mic 1-2 to the FlexFX Bus.
• e Main Mix is metered using a stereo rms/peak signal meter
with peak-hold.
e Main Mix feeds these outputs:
• Main Outs
•Front panel Balance and Level controls manage the relative
(left/right) and overall levels respectively.
•e rear panel Mono switch combines the left and right
channels of the Main output, and an attenuator controls
the Max Out dB from 8 Vrms (0 dB) to 0.5 Vrms (-24 dB).
•e Main Output is available on balanced XLR and unbal-
anced RCA connectors.
• Booth and Zone Outs
•Front panel Booth and Zone Level controls adjust the cor-
responding output level.
•Booth and Zone Outputs are available on balanced ¼˝
TRS jacks. Left and right jacks automatically provide a
mono signal if the other plug is not inserted.
• Record Outs
•Stereo unbalanced RCA and S/PDIF outputs.
•e S/PDIF output is a 24-bit 48 kHz digital output.
•e Main Mix, Mic 1, or Mic 2, may be recorded via USB
record channel six. Record source selection is made in the
computer’s MP26 driver control panel.
FlexFX
e FlexFX architecture in the MP26 is more powerful than
typical eect insert solutions. e architecture includes the
FlexFX Bus, an auxiliary bus routed to the FlexFX Loop which
includes two independent eects inserts. Any combination of
PGM 1-4 and Mic 1-2 may be routed to the FlexFX Bus. Any
combination of internal digital, external analog and USB eects
may be applied within the FlexFX Loop. It is possible to cue
and meter the FlexFX Loop return. You can bypass the entire
FlexFX Loop using a single button to instantly punch in and out
a combination of eects. e nal FlexFX Output Level controls
the level of the FlexFX audio in the Main Mix. e exibility of
the FlexFX architecture makes it a very powerful tool. So, it is
important to take some time to understand FlexFX signal rout-
ing and controls.
MIC 1
MP26
CLUB MIXER
MIC 2
CUE
SPLIT CUE
PHONES
BOOTH
LEVEL
LEVEL
LEVEL
PAN
PGM 1
CUE
LEVEL
PGM 2
PGM 3
ZONE
MAIN
PGM 4
FLEXFX
CUE
LEVEL
CUE
LEVEL
LEVEL
LEVEL
A B
POST
A B
POST
A B
POST
A B
CONTOUR
POST
MIC ON
TALKOVER
FLEXFX
MIC ON
TALKOVER
FLEXFX
LEVEL / DEPTH
BEAT CUE
FILTER
BEAT
TIMETAP
PHASERFLANGER
ROBOTECHO REVERB FLEXFX ON
LEVEL
HIGH
PAN
LOW
LEVEL
HIGH
PAN
LOW
FLEXFX
SEND
RETURN
LEVEL
FILTER
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
BALANCE
FLEXFX
FILTER
FLEXFX
FILTER
FLEXFX
FLEXFX
MONO
USB LOOP
EXT LOOP
FILTER
SOURCE
D1 A3
A4P1
A1 A2
SOURCE
D2 A3
A4P2
A1 A2
SOURCE
D3 A3
A4P3
A1 A2
SOURCE
D4 A3
A4P4
A1 A2
CUE MAIN
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
HIGHLOW HIGHLOW HIGHLOW HIGHLOW
OL
+6
+3
0
-3
-12
-6
-18
MAXMIN
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
RIGHT
LEFT
+6
OFF
+6
OFF
10
0
2
4
8
6
RIGHT
LEFT
RIGHT
LEFT
+6
OFF
+6
OFF

12
MP26
CLUB MIXER
e order of processing in the MP26’s FlexFX architecture is:
1Independent FlexFX assign for PGM 1-4 and Mic 1-2, or as-
sign all sources simultaneously with the Main FlexFX button.
2Internal Digital Eects.
3External Analog Insert, with Send and Return Levels.
4USB Insert.
5FlexFX Loop return Cue and Meter.
6FlexFX On (FlexFX Loop Bypass).
7FlexFX Mix Level control.
1e FlexFX buttons in the PGM and MIC strips assign the
post-fader audio to the FlexFX Bus when on, and to the Main
Mix when o. is allows multiple inputs to the FlexFX Bus,
and allows drumming dierent signals into and out of an ap-
plied eect.
e FlexFX button in the Main Mix section assigns all PGM
and Mic channels to the FlexFX Loop, applying eects to the
entire mix.
2e six eect buttons both turn on and sync an internal ef-
fect. By keeping this separate from the FlexFX On button, it
is possible to turn on, sync and cue eects, before you hear
them in the Main Mix. Only one internal eect is selected at
a time. With six independent buttons, it is possible to drum in
dierent eects all with independent beat multipliers, without
interruption.
3e Ext Loop button engages or bypasses the analog eects in-
sert. Use the Send level to avoid clipping the input of your ef-
fects processor. e Return level allows you to bring the signal
of the aected output back up to your normal mix level. e
FlexFX Bus is always output on the analog loop send, even if
Ext Loop is bypassed.
is means you may
always use the analog
Send to record the
dry FlexFX mix.
4e USB Loop button engages or bypasses the USB eects
insert. e USB insert uses USB record-5 and playback-5 to
form an eects loop. Even when the USB insert is bypassed,
the audio from the external analog loop is sent to the USB
Send. erefore, when the analog loop is bypassed, USB re-
cord-5 can serve as an audio output for recording the FlexFX
mix on your computer.
5e FlexFX Cue and Meter are located at the return of the
FlexFX Loop, after the analog and USB inserts and before the
FlexFX ON switch. is allows cuing the FlexFX mix and
any applied eects before they are heard in the Main Mix.
6e FlexFX On button toggles between wet and dry versions of
the FlexFX mix. When this switch is o, the FlexFX Loop is
bypassed and the dry FlexFX mix is routed to the Main Mix.
is allows applying and cueing any combination of eects
in the FlexFX Loop before hearing those eects in the Main
Mix. When you’re ready to listen to the aected audio, engage
the FlexFX On button (green) and the wet signal is applied to
the Main Mix (as long as the FlexFX Level is up).
7e FlexFX Level controls the level of the FlexFX audio in the
Main Mix. Turn down the FlexFX Level to keep the FlexFX
audio out of the Main Mix. en, you can Cue the FlexFX
mix and eects. When the mix is correct and the eects are
set up, turn up the FlexFX Level to bring the FlexFX mix into
the Main Mix.
FLEXFX FLEXFX FLEXFX FLEXFX FLEXFX FLEXFX FLEXFX
PGM 1
1
3 4 5 7
6
PGM 2 PGM 3 PGM 4MIC 1 MIC 2 MAIN
EXT LOOP
SEND
FLEXFX ON
BYPASS
ON
RETURN
FLEXFX SEND
LEFT
RIGHT
RETURN
LEFT
RIGHT
SEND
RETURN
USB Record
USB
Playback
Main
Mix
USB LOOP
Cue
Bus
FLEXFX
CUE
LEVEL
BEAT 
FILTER
BEAT
TIMETAP
PHASERFLANGER
EFFECTS ENGINE
ROBOTECHO REVERB
PHASER
BPM:120 * 8:1
4000 MS

13
MP26
CLUB MIXER
Internal Audio Effects
e internal eects engine is located in the FlexFX Loop. is
allows assigning any combination of PGM 1, PGM 2, PGM 3,
PGM 4, MIC 1 and MIC 2 to an eect. e FlexFX Loop
supports recording, cueing and Main Mix level control of an
aected signal. is has several advantages over conventional
eects assignment.
Note: Individual eects are turned on/o using the eects but-
tons. e FlexFX Loop (which includes the two external inserts)
is turned On/O with the FlexFX On button (o functions as a
loop bypass).
Six built-in eects:
• Filter • Flanger • Phaser • Hold Echo • Robot • Reverb
General Behavior
• e eect time is saved for each eect.
• Changing BPM for one eect changes the BPM for all eects.
• Tapping the BPM requires at least two taps.
• Changing the Beat multiplier results in an immediate change
in the eect time.
• Changing the eect time adjusts the multiplier for other ef-
fects so that the new multiplier is as close as possible to the
saved eect time.
Effects Display and Match Indicator
e eects display shows the current BPM, beat multiplier and
time for a selected eect. A bar graph represents the eect time
relative to its range. If no eect is selected, the information for
the last eect is displayed.
e eect time is normally a product of the BPM and the
Beat multiplier. If the left (<) or right (>) arrow appears, there
is an inequality between the BPM*Beat and time. e arrow
indicates which way to adjust the Beat to correct the inequality
and get the closest possible time. If an asterisk (*) is displayed,
the BPM*Beat results in the correct time as displayed.
For example, 120 BPM with a 4/1 beat multiplier would
result in an eect time of 2000 ms. If the time is adjusted to
a dierent value, such as 2097 ms, an arrow indicates that the
product of the displayed BPM and multiplier does not result in
the displayed eect time. For this example, 2000 ms is below
2097 ms, so hitting the < Beat button will snap to 120 * 4/1 and
change the time to its product, 2000 ms.
A ashing bar graph indicates that the requested eect time
is out of range. For example, if a BPM of 120 is used with a beat
multiplier of 4, the resulting time is 2 seconds. If the multiplier
is set to 16, the resulting time would be 8 seconds, which is out
of range. In this case, the time remains at 2 seconds and the bar
ashes.
Effects Synchronization
e mixer can synchronize its internal eects to a MIDI Beat
Clock. Tell the MP26 to track a MIDI Beat Clock by holding
the Tap button while pressing the Time encoder. In MIDI Beat
Clock mode, the Match Indicator displays a ashing “M.” e
mixer continues to track the MIDI Beat Clock until the Tap but-
ton is pressed or the Time encoder is turned. MIDI Beat Clock
reception is enabled by default, but may be disabled using the
MP26 driver control panel.
e MP26 also sends a MIDI Beat Clock to the computer
that may be used to synchronize audio applications to the
MP26’s BPM. is BPM may result from tapping the BPM or
receiving a MIDI Beat Clock from another ASIO or Core Audio
application. Sending the MIDI Beat Clock is disabled by default,
but may be enabled using the MP26 driver control panel.
MIC 1
MP26
CLUB MIXER
MIC 2
CUE
SPLIT CUE
PHONES
BOOTH
LEVEL
LEVEL
LEVEL
PAN
PGM 1
CUE
LEVEL
PGM 2
PGM 3
ZONE
MAIN
PGM 4
FLEXFX
CUE
LEVEL
CUE
LEVEL
LEVEL
LEVEL
A B
POST
A B
POST
A B
POST
A B
CONTOUR
POST
MIC ON
TALKOVER
FLEXFX
MIC ON
TALKOVER
FLEXFX
LEVEL / DEPTH
BEAT CUE
FILTER
BEAT
TIMETAP
PHASERFLANGER
ROBOTECHO REVERB FLEXFX ON
LEVEL
HIGH
PAN
LOW
LEVEL
HIGH
PAN
LOW
FLEXFX
SEND
RETURN
LEVEL
FILTER
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
BALANCE
FLEXFX
FILTER
FLEXFX
FILTER
FLEXFX
FLEXFX
MONO
USB LOOP
EXT LOOP
FILTER
SOURCE
D1 A3
A4P1
A1 A2
SOURCE
D2 A3
A4P2
A1 A2
SOURCE
D3 A3
A4P3
A1 A2
SOURCE
D4 A3
A4P4
A1 A2
CUE MAIN
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
HIGHLOW HIGHLOW HIGHLOW HIGHLOW
OL
+6
+3
0
-3
-12
-6
-18
MAXMIN
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
RIGHT
LEFT
+6
OFF
+6
OFF
10
0
2
4
8
6
RIGHT
LEFT
RIGHT
LEFT
+6
OFF
+6
OFF

14
MP26
CLUB MIXER
USB Drivers
e MP26 includes high-performance, high-stability ASIO and
Core Audio device drivers. e driver allows audio applications
to play and record audio via the MP26’s ve stereo playback
and six stereo record USB channels. e drivers are designed
for incredibly low audio latency, eliminating perceptible delay
between control input to audio applications and the resulting
audible eect.
Applications may also connect to the MP26 MIDI Out and
MIDI In ports. Control changes on the mixer’s front panel are
sent out the MIDI Out port. Some mixer features may be con-
trolled by sending MIDI messages to the mixer’s MIDI In port.
Change the MIDI channel number for MIDI In and MIDI Out
messages using the driver’s control panel.
e driver is available on the MP26 installation CD that is
shipped with the mixer. Better yet, install the latest driver from
dj.rane.com.
ASIO (Windows)
e MP26 uses a low-latency, multi-client, ASIO device driver
to interface with applications on Windows operating systems.
Multi-client ASIO allows dierent audio software applica-
tions to simultaneously stream audio to and from the MP26. If
the same playback channel is selected in more than one applica-
tion, the driver mixes the audio from the dierent applications
before streaming it to the mixer.
Installation
1. Connect the MP26 to your computer and power it on.
2. Locate the setup executable, either on the installation CD or
where you downloaded the driver from www.rane.com.
a. 32-bit Windows: RaneAsioMP26x86Setup.exe
b. 64-bit Windows: RaneAsioMP26x64Setup.exe
c. If you install from the CD that came with your MP26,
launch the Rane MP26 Setup.bat le and it automatically
chooses the right installer.
3. Double-click the setup le.
4. Follow the prompts on the screen.
5. Reboot your PC, and you are ready to go!
Uninstall
e MP26 ASIO drivers may be uninstalled from the Windows
control panel. Open the list of installed programs then locate
and double-click “Rane MP26.”
Windows XP: Start > Control Panel > Add or Remove Programs
> Rane MP26.
Windows Vista: Start > Control Panel > Programs and Features
> Rane MP26
Windows 7: Start > Control Panel > Programs > Programs and
Features > Rane MP26
Launching the Control Panel
e driver control panel may be launched from the Windows
Control Panel. Select Start > Control Panel > Rane MP26.
Core Audio (Macintosh)
e MP26 uses a low-latency, Core Audio device driver to inter-
face with applications on Macintosh operating systems.
Installation
1. Locate the MP26.pkg le, either on the installation CD or
where you downloaded the driver from www.rane.com.
2. Double click the package le.
3. Follow the prompts on the screen.
4. Reboot your Mac, and you are ready to go!
Launching the Control Panel
Open the System Preferences window. Locate the MP26 in the
“Other” section, and click the MP26 icon to launch the panel.

15
MP26
CLUB MIXER
The MP26 Control Panel
e MP26 Audio Driver Control Panel allows you to set some
preferences for your MP26 Mixer. ere are three pages in the
panel: Preferences, PGM Inputs 1-4, and MIDI Conguration.
Switch between these pages by pressing the button in the upper
left-hand corner. e button displays the name of the next page.
Preferences
e Preferences page allows you to control these features:
• Headphone Tone controls adjust the level of headphone out-
put high and low frequencies from +6 dB to O.
• USB-6 Record source routes the specied signal within the
MP26 to the USB-6 Record channel. e available options
are Main Mix, Mic 1, and Mic 2. Main Mix is the default.
• Button backlighting is on by default, but may be turned o
using the Button Backlight control. When the backlight is
on, buttons toggle between dimly lit and fully lit. When the
backlight is o, buttons toggle between dark and fully lit.
• e USB driver buer size may be increased to achieve higher
stability at the cost of higher latency. e MP26’s drivers run
very reliably at latencies below 10 milliseconds. However,
computer performance and available resources (number of ap-
plications running) may adversely aect the computer’s ability
to stream audio reliably. If pops and clicks are heard in the
USB audio, try increasing the buer size to eliminate them.
• If the MP26 rmware installed with your driver on your com-
puter is newer than the rmware in your MP26, the Update
Device Firmware panel is enabled. Pressing the Update Firm-
ware button updates the MP26 rmware to the newer version.
PGM1-4 Inputs
e Filter controls on the program strips each have two Filter
Resonance values. e Filter Resonance may be set High or Low.
MIDI Configuration
e MP26’s front panel controls are MIDI enabled. Changes to
front panel controls may be sent via MIDI to audio applications
on the computer. By default, the MP26 uses MIDI channel 1 to
send MIDI messages. You can change the output channel num-
ber using “MIDI Out Port Channel.” Checking “Send MIDI
Beat Clock” causes the MP26 to transmit a MIDI Beat Clock at
the BPM of the MP26 eects engine. Some MP26 features may
be controlled via MIDI. By default, the MP26 does not accept
MIDI input. However, you can enable MIDI input to the MP26
by setting the MIDI In channel number. Checking “Receive
MIDI Beat Clock” allows the MP26 to track the BPM of a soft-
ware application generating MIDI Beat Clock.

16
MP26
CLUB MIXER
MIDI Out Controls
All MP26 front panel controls with the exception of the Main
Balance, Main Level, and Zone Level send MIDI output mes-
sages when changed.
• Buttons output a MIDI Note On message when pressed and a
MIDI Note O message when released.
• Pots and faders output a MIDI control change message when-
ever they change value. e value is a number in the range 0
to 127 (counter-clockwise to clockwise, down to up, or left to
right).
• Switches produce control change messages when they change
value. e following table lists MP26 switches and their con-
trol values.
Switch Control Change Values
PGM Source Selector 1=Px, 2=Dx, 3=A1, 4=A2,
5=A3, 6=A4
Crossfader Assign 1=A, 2=B, 3=Post
Crossfader Contour 1=Slow, 2=Medium, 3=Fast
MIDI In Controls
e mixer parameters controlled via the MP26 driver control
panel are also available for control via MIDI Input. All MIDI
Inputs are control change messages. e following table lists the
MP26 MIDI Input parameters and their control values.
MP26 Parameter Control Change Values
Low/High Headphone Tone
Controls 0-127, 0 = O, 127 = +6 dB
USB-6 Record Source 1 = Main Mix, 2 = Mic 1,
3 = Mic 2
Button Backlight 0 = O, 1 = Dim
PGM 1-4 High-pass/Low-
pass Filter Resonance 0-64 = Low, 65-127 = High
MP26 MIDI Controls
MIC 1
MP26
CLUB MIXER
MIC 2
CUE
SPLIT CUE
PHONES
BOOTH
LEVEL
LEVEL
LEVEL
PAN
PGM 1
CUE
LEVEL
PGM 2
PGM 3
ZONE
MAIN
PGM 4
FLEXFX
CUE
LEVEL
CUE
LEVEL
LEVEL
LEVEL
A B
POST
A B
POST
A B
POST
A B
CONTOUR
POST
MIC ON
TALKOVER
FLEXFX
MIC ON
TALKOVER
FLEXFX
LEVEL / DEPTH
BEAT CUE
FILTER
BEAT
TIMETAP
PHASERFLANGER
ROBOTECHO REVERB FLEXFX ON
LEVEL
HIGH
PAN
LOW
LEVEL
HIGH
PAN
LOW
FLEXFX
SEND
RETURN
LEVEL
FILTER
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
BALANCE
FLEXFX
FILTER
FLEXFX
FILTER
FLEXFX FLEXFX
MONO
USB LOOP
EXT LOOP
FILTER
SOURCE
D1 A3
A4P1
A1 A2
SOURCE
D2 A3
A4P2
A1 A2
SOURCE
D3 A3
A4P3
A1 A2
SOURCE
D4 A3
A4P4
A1 A2
CUE MAIN
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
HIGHLOW HIGHLOW HIGHLOW HIGHLOW
OL
+6
+3
0
-3
-12
-6
-18
MAXMIN
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
RIGHT
LEFT
+6
OFF
+6
OFF
10
0
2
4
8
6
RIGHT
LEFT
RIGHT
LEFT
+6
OFF
+6
OFF
75
99
105
56
76
70
95
64
88
40
109
110
96
1
6
0
104
80
74
123
86
103
79
73
122
85
102
78
72
121
84
101
77
71
120
83
89
6
91
31
4
52
20
15
12
13
11
9
10
8
14
0
119
92
68
65
62
118
91
67
66
71
117
90
66
67
70
116
89
65
68
69
47
100
88
82
94
34
41
46
Control Change Note On / Off
MP26 Audio Driver Control Panel
–
Device Firmware Version: 1.00
USB-6 Record
PGM Inputs 1-4 Preferences
Headphone Tone
Update Device Firmware
Main Mix
Mic 1
Mic 2
50
5
1
20
35
40
45
30
25
15
10
+6
Off
Buffer Size
High
Low
14 ms
Update firmware
On
Off
Button Backlight
MP26 Audio Driver Control Panel
–
High
Low
MIDI PGM Inputs 1-4
PGM 1 PGM 2 PGM 3 PGM 4
Filter Resonance
High
Low
Filter Resonance
High
Low
Filter Resonance
High
Low
Filter Resonance
22 25 28 31
35 34 33 36

17
MP26
CLUB MIXER
Side Dimensions
Rear Dimensions
Stereo USB Playback Inputs and Record Outputs 3.7" (9.4 cm)
.7"
(1.8
cm)
2.9" (7.4 cm)
8.75"
(22 cm)
2.45" (6.2 cm)
1.3" (3.3 cm)
4.4" (11 cm)
MIC 1
MP26
CLUB MIXER
MIC 2
CUE
SPLIT CUE
PHONES
BOOTH
LEVEL
LEVEL
LEVEL
PAN
PGM 1
CUE
LEVEL
PGM 2
PGM 3
ZONE
MAIN
PGM 4
FLEXFX
CUE
LEVEL
CUE
LEVEL
LEVEL
LEVEL
A B
POST
A B
POST
A B
POST
A B
CONTOUR
POST
MIC ON
TALKOVER
FLEXFX
MIC ON
TALKOVER
FLEXFX
LEVEL / DEPTH
BEAT CUE
FILTER
BEAT
TIMETAP
PHASERFLANGER
ROBOTECHO REVERB
FLEXFX ON
LEVEL
HIGH
PAN
LOW
LEVEL
HIGH
PAN
LOW
FLEXFX
SEND
RETURN
LEVEL
FILTER
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
MID
HIGH
LOW
BALANCE
FLEXFX
FILTER
FLEXFX
FILTER
FLEXFX FLEXFX
MONO
USB LOOP
EXT LOOP
FILTER
SOURCE
D1 A3
A4P1
A1 A2
SOURCE
D2 A3
A4P2
A1 A2
SOURCE
D3 A3
A4P3
A1 A2
SOURCE
D4 A3
A4P4
A1 A2
CUE MAIN
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
HIGHLOW HIGHLOW HIGHLOW HIGHLOW
OL
+6
+3
0
-3
-12
-6
-18
MAXMIN
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
0
1
3
4
5
6
7
8
9
10
2
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
+6
OFF
10
0
2
4
8
6
10
0
2
4
8
6
10
0
2
4
8
6
RIGHT
LEFT
+6
OFF
+6
OFF
10
0
2
4
8
6
RIGHT
LEFT
RIGHT
LEFT
+6
OFF
+6
OFF
FLAGGELATIONS
BPM: 120
TIME: 125MS BEAT: 1/4
[-------|-----------]
USB 1
USB record outputs
USB 2 USB 3 USB 4 USB 5
USB loop off
Audio Driver Control Panel
USB-6 Record
Main Mix
Mic 1
Mic 2
USB 1
D1 USB 2 D2 USB 3 D3 USB 4 D4 USB 5
USB loop on
USB playback Inputs
Dimensions

18
MP26
CLUB MIXER
Faders
Maintaining the Magnetic Crossfader
ere are no electrical contacts to clean!
e crossfader in the MP26 is designed with materials highly
resistant to corrosion and most chemicals. While the crossfader
will handle millions of operations, it may become dirty over
time. Bad things may be spilled or sprayed into the crossfader. In
either case, the crossfader is not damaged and the sound quality
is unaected. Cleaning is only required to maintain the feel of the
crossfader.
e crossfader is self-lubricating and with normal use, should
not require additional lubrication. If you wish, you can use a
light silicone lubricant rated for use with electrical parts. is
will help maintain the feel. We recommend Caig DeoxIT Fader-
Lube
F100 spray lubricant.
Order DeoxIT® F100 from CAIG Laboratories, Inc.
12200 atcher Ct.
Poway, CA 92064
Phone [phone]
Fax [phone]
Web www.caig.com
Never use a heavy lubricant or grease. Doing so will not dam-
age the faders, but can undo the feel. If grease was used, it may
be removed by following the cleaning instructions.
Crossfader Removal and Replacement
For cleaning and lubrication, follow these directions:
1. Required tools: #1 Philips screwdriver and a pair of clean
hands.
2. Disconnect the power.
3. Remove only the two 4-40 screws attaching the crossover
faceplate as pointed out below.
4. Remove the crossfader from the mixer, and carefully remove
the ribbon cable from the back of the circuit board.
Sensors
5. Move the carrier all the way to one side.
6. Use a soft lint-free cloth to wipe o the rails.
7. Add a drop of silicone lubricant (or quick spray from aerosol)
to the center of each rail.
8. Move the carrier back and forth to distribute lubricant.
9. Do not bend the torsion spring. Do not disturb the position of
the small sensors at each end of the Fader. If you accidentally
do, make sure the parts are standing straight before reinstall-
ing.
10. CAUTION: Sugary liquids may damage the crossfader
beyond repair. You might be able to save it by removing the
crossfader and thoroughly rinsing it in hot water. Make sure
the part is clean and dry before lubricating or reinstalling.
11. Removal of grease or other stubborn debris may require
alcohol or contact cleaner. Make sure the part is clean and dry
before lubricating or reinstalling.
12. Problems? Contact Rane Corporation customer service at
425-355-6000 or email us at [e-mail].
Channel Fader Cleaning
With heavy use in harsh environments, the channel faders may
need lubrication. is treatment extends longevity and can make
used faders as good as new. We recommend any of the following
cleaning solutions:
• Caig DeoxIT FaderLube
F100 spray lubricant
• Caig DeoxIT FaderLube F5 spray cleaner
• CRC 2-26 (www.crcindustries.com)
Order CaiLube MCL®from CAIG Laboratories at the same
address previously listed.
1. Position the fader at mid-travel.
2. Spray cleaner/lubricant into both ends of the fader.
3. Move the fader over its full travel back and forth a few times.
4. Wipe o excess uid.
If cleaning does not x sny fader, please contact Rane Corpora-
tion customer service at 425-355-6000 or email us at info@rane.
com if you are in the U.S.A. Outside the U.S.A, please contact
your distributor for service.

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.
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