Rane AD22S User manual

AD22S
AUDIO DELAY
CONTENTS (in order of appearance)
Important Safety Instructions
AD22S Manual
AD22S Data Sheet
Sound System Interconnection
Rane Professional Live Sound Products
Warranty
Declaration of Conformity
22265
1: 88.8 FRAMES 23.976 fps MEM: A* 2: 88.8 FRAMES 24 fps MEM: A
AD22S
AUDIO DELAY
DISTANCE
ALIGNMENT
CURSOR
OL
SIG
VIDEO
BYPASS
STORE
MEMORY
RECALL
FINE
COARSE
1
2
1
2
1
2
CHANNEL
CHANNEL 1
CHANNEL 2
LINK

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

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

Manual-1
OPERATORS MANUAL AD22S
AUDIO DELAY
QUICK START
Your AD22S is out of its box, and now it’s time to integrate it
with your audio setup. But wait! What are these buttons for?
What do all those numbers on the display mean? is guide in-
tends to help you quickly learn the basics and familiarize you with
the device so there’s no delay before you delay.
FRONT PANEL CONTROLS
e rst thing to decide is which alignment mode to use. If you’re
using the AD22S to synchronize audio with video, then select
Video mode. Otherwise select Distance alignment. e DIS-
TANCE and VIDEO buttons on the left hand side of the unit
switch between the two modes. Display settings and delay values
are controlled by using the CHANNEL button to toggle between
channels 1 or 2, and by using the CURSOR buttons to select
the value you wish to change. e COARSE and FINE buttons
increment or decrement the value currently selected.
DISTANCE ALIGNMENT
One of the main applications for the AD22S is synchronizing
an audio signal coming from separate sources at two dierent
distances. Say, for example, you want the music emanating from
a stack of loudspeakers on the lawn at an amphitheater to get to
your audience at exactly the same time as sound coming from
the speaker arrays on stage. e amount of delay needed is the
time it takes sound to travel from the stage to the lawn. While in
DISTANCE mode, this can be displayed in feet, meters, or mil-
liseconds.
VIDEO ALIGNMENT
e AD22S is also excellent for synchronizing audio with video
feeds, especially in a live environment where video processing
typically adds several milliseconds to the signal that can have a
noticeable eect on the nal output. To assist in this application,
the AD22S can show your delay value directly in terms of frames.
All common frame rates for NTSC and PAL/SECAM are sup-
ported, and the audio stream can be delayed with a precision of
0.5 frames to line up perfectly with any video stream.
WEAR PARTS: is product contains no wear parts.
RANE AD22S AUDIO DELAY
AD22S
AUDIO DELAY
DISTANCE
ALIGNMENT
CURSOR
OL
SIG
VIDEO
BYPASS
STORE
MEMORY
RECALL
FINE
COARSE
1
2
1
2
1
2
CHANNEL
CHANNEL 1
CHANNEL 2
LINK
SETTING DELAY
Use the CURSOR buttons to select the unit type, then
press the COARSE or FINE buttons to cycle through options. In
Distance mode, choose between feet, meters, or milliseconds; in
Video mode the delay is shown in frames or milliseconds. If you
know the distance between the sources you are summing, set the
units for feet or meters.
e ambient temperature also aects the speed of sound. To
set the temperature, use the CURSOR buttons to select either °C
or °F, then set the value to the approximate temperature at your
speaker location. e AD22S calculates the correct delay based on
your environment.
Note: Changing units from distance to time does not change
the output delay. For example, if you are viewing the settings for
channel 1 in meters, a change from meters to milliseconds keeps
the same amount of delay but shows it in milliseconds rather than
distance.
LINKING CHANNELS
e LINK button connects the controls so that all changes apply
to both channels. Channels do not need to share the same setting.
While linked, incrementing or decrementing a value changes the
delay for both channels at once. To treat the channels as a stereo
pair, rst set the delay value to the same setting on both channels
before pressing the LINK button.
MEMORY FUNCTIONS
Each channel has two memory banks, A and B. e *character
at the right of the display indicates that the current setting does
not match what is stored in memory.
Pressing STORE copies the current settings into the selected
Memory, clearing the *character. e cursor must be over the
Memory Bank eld before pressing STORE. To activate a stored
setting, press RECALL to change the active delay to the value
stored in the memory location shown. If channels are linked, both
will be recalled.
Additional features are described in Operation
Details on page Manual-4.

Manual-2
FRONT PANEL DESCRIPTION
1ALIGNMENT MODE buttons: Press DISTANCE for delay in feet, meters, or milliseconds. Press VIDEO for alignment by frames
or milliseconds.
2CHANNEL button: Press this to switch the cursor location between channels. is button has no eect if the channels are linked.
3LINK button: Links channels together so changes made aect both channels at once. To treat the channels as a stereo pair, make
sure settings for each channel are identical before pressing the LINK button. Press the LINK button again to unlink.
4CURSOR buttons: Press left or right cursor to select the value for editing.
5COARSE and FINE controls: ese buttons aect the setting that is currently highlighted to change settings or delay values.
COARSE increments or decrements delay by 1 ms/feet/meters or 1.0 frames, FINE by 0.1 ms/feet/meters or 0.5 frames.
6LCD Display: Shows the current readout of settings for each channel. Fields may be selected using the CURSOR buttons and
changed using the COARSE / FINE controls. See the DISPLAY sections below.
7STORE button: Stores the Delay conguration into current memory for the selected channel. If the asterisk *character is shown
to the right of the display, the current value does not match the memory location.
8RECALL button: Copies the stored delay setting into the active channel. If channels are linked, then both are recalled.
9 BYPASS buttons: Toggle relays for each channel. If LED is on, bypass is enabled and the device functions like a wire. If bypass LED
is o, the channel is active.
0SIGNAL / OVERLOAD LEDs: SIG LEDs indicate signal presence on the input. OL LEDs light red when an input signal is near
the maximum level and may clip.
RANE AD 22S AUDIO DELAY
1 2 3
4
6 8 9
5 7 0
AD22S
AUDIO DELAY
DISTANCE
ALIGNMENT
CURSOR
OL
SIG
VIDEO
BYPASS
STORE
MEMORY
RECALL
FINE
COARSE
1
2
1
2
1
2
CHANNEL
CHANNEL 1
CHANNEL 2
LINK
1: 25.50 Feet 80 °F Mem A *
>2:[ 2.74]Meters 27 °C Mem B
3 4
1
5 6 7 8
29
Distance Mode
>1:[ 2.5]Frames 29.97 fps Mem A *
>2:[ 3.0]Frames 29.97 fps Mem A
3 4
1
5 6 7 8
29
Video Mode
DISPLAY: DISTANCE MODE
1Cursor
2Active Channel(s)
3Channel #
4Delay Setting
5Units (Feet, Meters, ms)
6Temperature
7Temp. Units
8Mem. Bank
9Memory Indicator - * Shown if dierent than stored value
DISPLAY: VIDEO MODE
1Cursor
2Active Channel(s)
3Channel #
4Value
5Units (Frames, ms)
6Frame rate
7Units (Frames per second)
8Mem. Bank
9Memory Indicator - * Shown if dierent than stored value

Manual-3
REAR PANEL DESCRIPTION
1CHANNEL INPUTS: Balanced XLR input jacks, 24 dBu max level.
2 CHANNEL OUTPUTS: Balanced XLR outputs, 600 Ω min. load.
3 REMOTE RECALL terminals: Wire external switches to remotely recall Memory settings or toggle bypass relays. See the
REMOTE RECALL section.
4 FRONT PANEL CONTROL LOCKS: A wired external switch disables the front panel controls to prevent accidental changes.
5 USB FIRMWARE UPDATE: is USB connection facilitates possible rmware upgrades in the future. is port provides no other
functions and should not be connected during normal use. See the FIRMWARE UPDATE section on the next page.
6 UNIVERSAL POWER SUPPLY: Universal IEC power jack connects anywhere in the world to AC line voltage, 100-240 VAC @
50 – 60 Hz.
23456
1
CH 1 INPUT
CH 2 INPUT
CH 1 OUTPUT
CH 2 OUTPUT
CH 1 REMOTE
CH 2 REMOTE
FRONT PANEL
CONTROL LOCKS
USB
FIRMWARE
UPDATE
PIN 2: POSITIVE
PIN 3: NEGATIVE
PIN 1: CHASSIS GND
100-240 V
50/60 Hz 7 WATTS
RECALL BYPASS RECALL BYPASS
DELAY
BYPASS
CH REMOTE WIRING
OPEN RECALLS “A”
CLOSED RECALLS “B”
CLOSED = BYPASS CH
CLASS 2 WIRING
AD22S
RANE CORPORATION
COMMERCIAL AUDIO
EQUIPMENT 24TJ
R

Manual-4
RECALLING DELAYS
Press RECALL to copy from the Memory shown to the active set-
ting for the selected channel. If LINK is active, both channels will
be recalled. is will overwrite any current settings.
REMOTE RECALL
e REMOTE RECALL terminals on the rear of the unit are
functionally equivalent to the RECALL button. With a switch
wired between the RECALL terminal and the GND terminal,
close the switch to recall Memory B. Open the switch to recall
Memory A.
FIRMWARE UPDATE
Should a rmware upgrade become available, it will be posted on
the AD22S page at www.rane.com/ad22s.html. e USB port pro-
vides the connection to a PC enabling the le transfer. Perform
the following steps to update:
1. Ensure the unit is powered.
2. Connect via device cable to USB port on computer.
3. AD22S appears as an EXTERNAL DISK device containing
one le (named “AD22S_XX.BIN” or similar).
4. Delete this le. NOTE: After deleting this le, the folder may
disappear, then re-open after a few seconds.
5. Copy or drag the new rmware le to the AD22S.
6. After transfer, the AD22S restarts automatically and briey
displays the new revision info. It may also reappear as an
EXTERNAL DISK on the PC containing the new rmware
le.
7. Disconnect USB cable and resume normal operation.
Notes: If the revision number displayed does not match the new
rmware, make sure you have the latest le and try again.
Tip: Press and hold both CURSOR buttons simultaneously
for one second to view the currently running rmware version.
If an error occurs during transfer or a le is corrupted, the
AD22S will revert to the last working version.
OPERATING DETAILS
INITIAL SETUP
e AD22S is always on while plugged in. When rst powered
up, the LCD briey displays the words “Rane AD22S Audio
Delay” and the current rmware revision. Out of the box, both
channels are in BYPASS mode with the inputs routed directly to
the outputs. is makes it easy to set up and verify that signals are
present before turning on any delay. e yellow bypass indica-
tors mean that BYPASS is active; press each BYPASS button to
disable.
ALIGNMENT MODE
Two modes of operation are available. If working with video and
wish to set delay by number of frames, press VIDEO for video
alignment. Otherwise press DISTANCE for distance alignment.
Both modes oer milliseconds as a simple display option in addi-
tion to their distance or video functions.
SETTING THE DELAY
A ‘>’ by the channel number indicates the channel is selected for
editing. is appears on both channels if LINK is active.
Distance Mode: Use CURSOR buttons to highlight the unit
type, then select between milliseconds, feet, or meters. e
AD22S also needs to know the temperature. To set, select and set
the unit type to °C or °F, then select and set the temperature.
Video Mode: Choose between frames or milliseconds as the dis-
play setting. For frames, the delay value is based on the number of
frames per second, denoted by “fps” on the display. Set this rst
and make sure it matches your video frame rate.
Linked Channels: With channels linked, any changes made are
applied to both channels at once. is does not force the delay
values to be the same.
Example: For two speaker arrays at dierent distances from a
performer, linking the two channels lets you change temperature
settings for both at once.
For stereo operation, set each channel to the same value before
pressing LINK.
STORING DELAYS
e *character on the display means the current setting dif-
fers from the memory bank shown. Move the CURSOR to the
memory eld, then press COARSE or FINE to toggle between
Mem A or Mem B. Press STORE to copy the current setting into
this location. Note that *is no longer displayed. If channels are
linked, both channels will be stored.
Note: e CURSOR must be on the Memory Bank eld to
STORE. is is to prevent an accidental overwrite of saved set-
tings.
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5000 TEL [phone] FAX [phone] WEB rane.com
111803

Data Sheet-1
AD22S
AUDIO DELAY
General Description
e Rane AD22S is a fully balanced two-input, two-output
Audio Delay unit designed for multiple applications, including
speaker array synchronization and precision audio-to-video
alignment. With two distinct modes, the AD22S oers the
functionality of dedicated devices within a single rack unit.
Featuring a range of 2.00 to 999.99 ms, this unit provides delay
displayed in units of time, distance, or frames. Use the dedicated
Video mode to provide almost a full second of audio delay in 0.5
frame increments for all standard NTSC or PAL/SECAM frame
rates.
e AD22S can operate as two independent channels or as a
linked or stereo pair. Front panel controls let you choose settings
for each channel that can be stored into two nonvolatile memory
locations for quick and easy access at any time. Bypass relays
for each channel automatically connect should the device lose
power. Your settings are always saved into working memory and
restored upon power up. Rear terminals let you connect standard
switches to recall settings remotely.
e AD22S’s balanced XLR inputs and outputs oer the
Rane standard of audio quality, with 24-bit processing and
delay precision down to 0.01 ms. With the ability to provide
unity gain up to a maximum input level of 24 dBu, the unit can
be used with standard high-impedance devices or in a mixed
environment using 600  equipment. LEDs on the front panel
indicate signal presence and alert when the signal is nearing the
maximum input level.
Features
Two distinct modes of operation: Distance & Video
DATA SHEET
Video Mode
• Display in frames per second or milliseconds
• Compatible with NTSC and PAL / SECAM frame rates
• 0.5 frame resolution
Distance Mode
• Display in milliseconds, feet, or meters
• 2.00 to 999.99 ms Delay Range per channel
• 0.01 ms resolution
• Large backlit LCD display
• Two nonvolatile memories per channel for each alignment mode
• Remote memory recall port on rear
• Front panel lockout port on rear
• Failsafe bypass relay for each channel
• Internal universal power supply (100-240 VAC)

Data Sheet-2
AD22S
AUDIO DELAY
Features and Specifications
Parameter Specication Limit Units Conditions/Comments
Delay Range 2.00 to 999.99 1% ms
Distance Increment 0.01 and 1.00 ms Each channel independent
Video Increment 0.5 frames Each channel independent
..........NTSC (North America,
Philippines, Japan)
23.976, 24, 29.97, 59.94, 60 fps
..........PAL / SECAM (Europe,
Australia, China, Brazil)
25.00 , 50 fps
Sampling Frequency 50,000 Hz
Data Conversion 24 bit
Audio Connectors XLR Pin 2 (+)
I npu t s: Ty pe Active balanced
..........Impedance 20 k 1%  Balanced, line to line
..........Max Level 24 ±0.5 dBu
Outputs: Type Active balanced
..........Impedance 50 ±10  Balanced, line to line
..........Max Level 24 +0/-0.6 dBu
Output Relays Yes Auto-bypass on power loss
LED resholds: Clip 3 before converter overload 1dB +22 dBu @ 1 kHz
..........Signal Present -47 below Clip LED 1 dB -25 dBu @ 1 kHz
Frequency Response 20 Hz - 22 kHz +0/-3 dB +4 dBu, 20 Hz to 20 kHz
System Gain:
High-Impedance Load 0±0.5 dB Load = 10.0 k balanced, +4 dBu, 20 Hz to 22 kHz
.......... 600  Load 0+0/-1 dB Load = 600  balanced, +4 dBu,
20 Hz to 22 kHz
THD + Noise 0.006 ±0.002 % +4 dBu, 20 Hz to 20 kHz, 30 kHz BW
Signal-to-Noise Ratio 86 ±2 dB +4 dBu, 20 Hz to 20 kHz
Dynamic Range 108 ±1 dB +24 dBu, 20 Hz to 20 kHz, A-weighted
Crosstalk -90 dB +4 dBu, 20 Hz to 20 kHz
Propagation Delay 2.00 1% msec Bypass o
Power Supply Requirement 100 to 240 VAC, 50/60 Hz 7 W
Unit: Conformity CE, FCC, UL
Unit: Construction All Steel
..........Size 1.75"H x 19"W x 5.25"D (1U) (4.4 cm x 48.3 cm x 13.3 cm)
..........Weight 4 lb (1.8 kg)
Shipping: Size 4.25" x 20.3" x 13.75" (11 cm x 52 cm x 35 cm)
.........Weight 10 lb (4.5 kg)
Note: 0 dBu = 0.775 Vrms

Data Sheet-3
AD22S
AUDIO DELAY
AD22S Block Diagram (both channels identical)
Application Information
DISTANCE MODE
ere’s more than one way to view your time setting. If you’re
tired of looking at milliseconds, the delay setting can also be
viewed in terms relative to distance by changing the displayed
units to feet or meters and by selecting the ambient temperature
in either °C or °F. e AD22S calculates the precise environmen-
tal delay by using the relationship of air pressure and tempera-
ture to the speed of sound.
VIDEO MODE
e AD22S is an eective solution to the problem of aligning
audio with video in broadcast. Because of the latency involved in
processing video streams, timing oset accumulates that can run
as high as several frames or lead to noticeable synchronization
issues. While in Video mode, the AD22S displays the delay time
in the precise number of frames calculated for your current for-
mat and frame rate. You may choose from a selection of the most
common frame rates to match your work situation and environ-
ment. As you adjust the number of frames needed to synchronize
the audio, the AD22S calculates the delay to match exactly what
you need.
REMOTE RECALL
In some situations it may be necessary to recall a stored setting
or enable channel bypass from a location other than where the
AD22S is located. Have a room divider wall? You can install a
switch to select between the two room settings automatically
when the wall is moved. Does the delay for your outdoor speaker
array change with the temperature? Wire up a switch to change
from a memory setting adjusted for one temperature to one saved
for the other when the weather warms up. For these reasons we
have provided remote recall connections on the rear of the unit
that can be wired to standard switches installed in any other
location.
RFI Filter
DSP
MICROCONTROLLER
FRONT PANEL
CONTROLS LCD DISPLAY
A/D
Front Panel Lockout
Remote Ch 1
Remote Ch 2
Bypass
Recall
Bypass
Recall
Delay
Bypass
GND
GND
GND
D/A
INPUT
OUTPUT
Bypass
Relay
NONVOLATILE
MEMORY
DELAY MEMORY
Sig /
OL

Data Sheet-4
AD22S
AUDIO DELAY
All features & specications subject to change without notice. 9-2015
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5000 TEL [phone] FAX [phone] WEB rane.com
References
1. Shaw, N. “Digital Delays, Parts One, Two & ree,” Sound & Communications, vol. 39, nos. 3, 5 & 10, (March, May, & October 1993).
2. Bohn, D. “Environmental Eects on the Speed of Sound,”J. Audio Eng. Soc., vol. 36, pp. 223-231 (April 1988).
Architectural Specifications
e digital audio delay unit shall be a single rack space, bal-
anced two-input, two-output conguration. e delay adjust-
ment range shall be from 2.00 to 999.99 ms, adjustable in 0.01
ms increments via increment / decrement pushbuttons, in 10 s
or 1ms intervals. Additionally, the values shall be selectable in
terms of distance in feet or meters, as well as in frames for all
common NTSC and PAL / SECAM frame rates.
A 40x2 backlit character LCD shall indicate current delay
settings and provide cursor controls for selecting and setting the
delay values and conguration parameters, including tempera-
ture, frame rate, and stored memory values. Bypass status, signal
/ overload presence and mode of operation shall be indicated
with individual indicators.
Terminals on the rear panel shall allow remote disabling of
the front panel controls and bypass switches. Additional termi-
nals shall provide access for remote switches to recall memory
settings.
e inputs and outputs shall be active balanced with XLR
connectors, and include switchable fail-safe output relays on each
channel that automatically enable in the event of power failure.
RFI lters shall be provided.
e unit shall be capable of operation by means of its own
built-in universal power supply operating at 100-240 VAC and
meet CE requirements. e unit shall be UL and cUL listed.
e unit shall be a Rane Corporation AD22S.
Rear Panel

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

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

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

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

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

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

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

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