Rane DC 22 User manual

Manual-1
OPERATORS MANUAL
QUICK START
Shredded, this document makes excellent packing material.
In its present form, it makes interesting and useful reading. If
you run out of patience quickly, at least read this part to make
sure you don’t exterminate everything within a two mile radius
by doing something wrong.
First, be sure the POWER switch is off. Attach one or two
channels of Inputs and Outputs to the respective connectors on
the rear. is device uses low impedance balanced line drivers. Do
not connect the XLR “+” or “–” output pins to ground, as this may
cause the power supply to shut down. For unbalanced use, leave the
unused output pin (“+” or “–”) unterminated. OK, now you can
power up your sound system, volumes down, amp turned on last.
With the GATE THRESHOLD turned all the way down to
-80 dBu, COMPRESSOR THRESHOLD turned all the way
up to 20 dBu, COMPRESSOR RATIO turned all the way
down to 1,and the OUTPUT LEVEL control in the center at 0
dB, you have an expensive patch cord.
While sending a signal to the DC 22, adjust the output
level of the previous device so the +4 dBu LED lights occasion-
ally, but the OL LED does not light. If you are driving the ¼"
WEAR PARTS: is product contains no wear parts.
DC 22
STEREO COMPRESSOR
INPUTS with a balanced signal (tip-ring-sleeve), set the Input
Gain switch to +4 dBu (in). When driving this input with an
unbalanced signal (tip-sleeve), set this switch to –10 dBv (out).
Regardless of the type of Input, you might need to set this switch
so the INPUT LEVEL LEDs light correctly.
Now increase the COMPRESSOR RATIO to something
useful, like 2:1 (with the control set at 2, the Ratio is 2:1; at 5, it
is 5:1.) Adjust the COMPRESSOR THRESHOLD to the point
you want the Compressor to kick in. e GAIN REDUCTION
meter reads the amount of signal compression.
If you want the quiet parts to be even quieter, increase the
GATE THRESHOLD so only higher levels make it through the
Gate.
Both Gates and Compressors will activate by the source
material applied to either channel if the LINK switch is on. is
is the preferred setting for stereo program material. e chan-
nel 1 controls set both channels to the same adjustments, as the
channel 2 controls go dormant and the LEDs extinguish. If
the LINK switch is off, then both channels are independently
controllable.
SLAVETHRESHOLD
OL+4 dBu
MASTER
REDUCTION
GAIN
THRESHOLD RATIO BYPASSLEVEL
GATEINPUT COMPRESSOR
LINK
OUTPUT
LEVEL
6
24
12
3
1
THRESHOLD
OL+4 dBu
REDUCTION
GAIN
THRESHOLD RATIO BYPASSLEVEL
GATEINPUT COMPRESSOR OUTPUT
LEVEL POWER
6
24
12
3
2
DC 22
dBu dBu :1 dB
-20
-60
-80
-70
-50
-40
-30
0
10
20-40
-30
-10
-20 31.7
∞ ∞
1
1.2 10
2
6-6
12
15-15
-12
0
dBu dBu :1 dB
-20
-60
-80
-70
-50
-40
-30
0
10
20-40
-30
-10
-20 31.7
1
1.2 10
2
6-6
12
15-15
-12
0
DYNAMIC
CONTROLLER

Manual-2
INPUT LEVEL indicators: With signal applied, the +4 dBu
LED may light occasionally. If the OL (overload) LED flashes,
turn the output level down on the previous device.
GATE THRESHOLD control sets the point at which the Input
signal level causes the Gate to become active.
_____________________________________________
COMPRESSOR THRESHOLD control sets the point at
which the Input signal level causes the Compressor to become
active. See Figure 1 on page Manual-4.
COMPRESSOR RATIO control: Once the reshold is
exceeded, the Ratio of input change to output change is deter-
mined by this control. e compressor has no effect when set
at 1:1. But at 10:1, it takes a 10 dB input signal increase above
the reshold to produce a 1 dB increase in Output Gain. See
Figure 2 on page Manual-4.
GAIN REDUCTION LEDs show the amount of average signal
reduction in dB. is aids in setting the THRESHOLD and
RATIO controls by showing how much compression is occur-
ing.
_____________________________________________
BYPASS switch compares the compressed and non-compressed
signal. ere is one for each channel. e INPUT LEVEL
indicators remain active regardless of switch position.
OUTPUT LEVEL control increases or decreases the output
gain of each Channel by 15 dB. In the center detent, gain will
be unity.
LINK switch activates both Compressors when either channel’s
signal exceeds the set reshold, preserving stereo imaging.
Switch this ON when using stereo material. e channel 1
controls become the Master when this switch is active, render-
ing the channel 2 controls and indicators dead.
_____________________________________________
Channel 2 controls duplicate the controls in channel 1. ese
are not active if the LINK switch is engaged.
Front Panel Description
SLAVETHRESHOLD
OL+4 dBu
MASTER
REDUCTION
GAIN
THRESHOLD RATIO BYPASSLEVEL
GATEINPUT COMPRESSOR
LINK
OUTPUT
LEVEL
6
24
12
3
1
THRESHOLD
OL+4 dBu
REDUCTION
GAIN
THRESHOLD RATIO BYPASSLEVEL
GATEINPUT COMPRESSOR OUTPUT
LEVEL POWER
6
24
12
3
2DC 22
dBu dBu
:1
dB
-20
-60
-80
-70
-50
-40
-30
0
10
20-40
-30
-10
-20
31.7
∞ ∞
1
1.2 10
2
6-6
12
15-15
-12
0
dBu dBu
:1
dB
-20
-60
-80
-70
-50
-40
-30
0
10
20-40
-30
-10
-20
31.7
1
1.2 10
2
6-6
12
15-15
-12
0
DYNAMIC
CONTROLLER
SLAVETHRESHOLD
OL+4 dBu
MASTER
REDUCTION
GAIN
THRESHOLD RATIO BYPASSLEVEL
GATEINPUT COMPRESSOR
LINK
OUTPUT
LEVEL
6
24
12
3
1
THRESHOLD
OL+4 dBu
REDUCTION
GAIN
THRESHOLD RATIO BYPASSLEVEL
GATEINPUT COMPRESSOR OUTPUT
LEVEL POWER
6
24
12
3
2
DC 22
dBu dBu
:1
dB
-20
-60
-80
-70
-50
-40
-30
0
10
20-40
-30
-10
-20
31.7
∞ ∞
1
1.2 10
2
6-6
12
15-15
-12
0
dBu dBu
:1
dB
-20
-60
-80
-70
-50
-40
-30
0
10
20-40
-30
-10
-20
31.7
1
1.2 10
2
6-6
12
15-15
-12
0
DYNAMIC
CONTROLLER
SLAVETHRESHOLD
OL+4 dBu
MASTER
REDUCTION
GAIN
THRESHOLD RATIO BYPASSLEVEL
GATEINPUT COMPRESSOR
LINK
OUTPUT
LEVEL
6
24
12
3
1
THRESHOLD
OL+4 dBu
REDUCTION
GAIN
THRESHOLD RATIO BYPASSLEVEL
GATEINPUT COMPRESSOR OUTPUT
LEVEL POWER
6
24
12
3
2DC 22
dBu dBu
:1
dB
-20
-60
-80
-70
-50
-40
-30
0
10
20-40
-30
-10
-20
31.7
∞ ∞
1
1.2 10
2
6-6
12
15-15
-12
0
dBu dBu
:1
dB
-20
-60
-80
-70
-50
-40
-30
0
10
20-40
-30
-10
-20
31.7
1
1.2 10
2
6-6
12
15-15
-12
0
DYNAMIC
CONTROLLER
SLAVETHRESHOLD
OL+4 dBu
MASTER
REDUCTION
GAIN
THRESHOLD RATIO BYPASSLEVEL
GATEINPUT COMPRESSOR
LINK
OUTPUT
LEVEL
6
24
12
3
1
THRESHOLD
OL+4 dBu
REDUCTION
GAIN
THRESHOLD RATIO BYPASSLEVEL
GATEINPUT COMPRESSOR OUTPUT
LEVEL POWER
6
24
12
3
2
DC 22
dBu dBu
:1
dB
-20
-60
-80
-70
-50
-40
-30
0
10
20-40
-30
-10
-20
31.7
∞ ∞
1
1.2 10
2
6-6
12
15-15
-12
0
dBu dBu
:1
dB
-20
-60
-80
-70
-50
-40
-30
0
10
20-40
-30
-10
-20
31.7
1
1.2 10
2
6-6
12
15-15
-12
0
DYNAMIC
CONTROLLER
Power switch is your basic, straightforward power switch. When
the switch is depressed and the yellow LED is lit, the DC 22
is ready to go.

Manual-3
Rear Panel Description
INPUTS 1 and 2: Choose between the balanced XLR or the balanced/unbalanced ¼" TRS jacks, but only use one. Inserting a ¼"
TS jack will work—however—we recommend using balanced lines, especially when connecting any cable over 10 feet (3 meters)
in length. Consult the Sound System Interconnection RaneNote provided with this manual.
INPUTS 1 and 2 Gain Trim Switch: In its +4 dBu position, the Input gain of the respective channel is unity. In the -10 dBV posi-
tion, the input gain is increased by 12 dB (although mathematically suspicious, it really is 12 dB, not 14 dB) to compensate for
certain recording devices. is switch must be in the +4 dBu position for front panel calibration accuracy.
OUTPUTS 1 and 2 are delivered by the balanced XLR or the unbalanced ¼" TS jacks. Using both types of Outputs are permissible
to drive two devices, such as an amplifier and a recorder. is device uses low impedance balanced line drivers. Do not connect the
XLR “+” or “–” output pins to ground, as this may cause the power supply to shut down. For unbalanced use, leave the unused output pin
(“+” or “–”) unterminated.
System wiring example for a DJ system
+4 dBu
-10 dBVN108
BALANCED BALANCEDUNBAL BAL/UNBAL +4 dBu
-10 dBV
WIRING
3-PIN XLR:
PIN 1 = CHASSIS, SHIELD, PIN 2 = (+), PIN 3 = (–)
¼" PHONE, BALANCED:
TIP = (+), RING = (–), SLEEVE = CHASSIS, SHIELD
¼" PHONE, UNBALANCED:
TIP = SIGNAL, RING = GROUND, SLEEVE = CHASSIS, SHIELD
DC 22
MADE IN U.S.A.
RANE CORP.
INPUT
2
OUTPUT
2
BALANCED BALANCEDUNBAL BAL/UNBAL
INPUT
1
OUTPUT
1
FOR CONTINUED GROUNDING PROTECTION
DO NOT REMOVE SCREW
50/60 Hz
12 WATTS
120 V
MP 22z
RANE CORP.
POWER
750mA
BALANCED 1/4"
TIP (+) RING (-)
ACN001.187.837
R
MASTER
L
SLEEVE (GND)
CLASS 2 EQUIPMENT
MADE IN U.S.A.
ZONE 2ZONE 1
R
L
MIC/AUXMIC/AUX
OUTPUTS
ZONE 1
YES NOYES NO
TAPE OUT
TOTO
RLINE IN
AUX
R
R
L
L
L
LINE 6
TRIM 6
MASTER LOOP
SEND (OUT)
RETURN (IN)
TAPELINE 5
R
L
TRIM 5
INPUTS
LINE 4LINE 3
R
L
TRIM 4
LINE
(RIAA)
PHONO
TRIM 2
TRIM 3
R
PHONO
(RIAA) PH/LN 1
L
TRIM 1
PH/LN 2
ACTIVE CROSSFADER TECHNOLOGY PATENT PENDING
PHONO
TIP (SIG)
SLEEVE (GND)
RETURN
(IN)
SEND
(OUT)
MIC LOOP
INPUT
MIC/LINE
REMOTE
UNBALANCED 1/4"
LINE
GROUND
DC 22 STEREO COMPRESSOR
MP 22z MIXER
SAC 22 STEREO 2-WAY CROSSOVER
SEQ 30S STEREO EQUALIZER
OUTPUTS INPUTS
RIGHTLEFT
OUTPUTS
LEFT
INPUTS
RIGHT
LEFT RIGHT RIGHTLEFT
LEVELLEVEL
0 10 0 10
LEVELLEVEL
0 10 0 10
STEREO AMP, HIGH
MONO OR BRIDGED AMP, MONO SUB
RIGHT SPEAKER
LEFT SPEAKER
MONO SUBWOOFER
LEFT RIGHT LEFT RIGHT LEFT RIGHT
SUB
FILTER
OUTIN
50/60 Hz
12 WATTS
120 V
HIGH OUTPUTS LOW OUTPUTS
MONO
SUB OUTPUT INPUTS
WIRING
PIN 2 = POSITIVE
PIN 3 = NEGATIVE
PIN 1 = CHASSIS GROUND
N108
FOR CONTINUED GROUNDING
PROTECTION DO NOT
REMOVE
SCREW
SAC 22
MADE IN U.S.A.
RANE CORP.
100 Hz
+4 dBu
-10 dBVN108
BALANCED BALANCEDUNBAL BAL/UNBAL +4 dBu
-10 dBV
WIRING
3-PIN XLR:
PIN 1 = CHASSIS, SHIELD, PIN 2 = (+), PIN 3 = (–)
¼" PHONE, BALANCED:
TIP = (+), RING = (–), SLEEVE = CHASSIS, SHIELD
¼" PHONE, UNBALANCED:
TIP = SIGNAL, RING = GROUND, SLEEVE = CHASSIS, SHIELD
DC 22
MADE IN U.S.A.
RANE CORP.
INPUT
2
OUTPUT
2
BALANCED BALANCEDUNBAL BAL/UNBAL
INPUT
1
OUTPUT
1
FOR CONTINUED GROUNDING PROTECTION
DO NOT REMOVE SCREW
50/60 Hz
12 WATTS
120 V
MADE IN U.S.A.
RANE CORP.
OUTPUTS
SEQ 30S
INPUTS
RIGHT RIGHTLEFT LEFT
UNBALANCED BAL / UNBALUNBALANCED BAL / UNBALBALANCED BALANCEDBALANCED BALANCED
N108
50/60 Hz
12 WATTS
120 V
FOR CONTINUED GROUNDING PROTECTION
DO NOT REMOVE SCREW
WIRING
3-PIN XLR:
PIN 1 = CHASSIS, SHIELD,
PIN 2 = (+), PIN 3 = (–).
¼" PHONE, BALANCED:
TIP = (+), RING = (–),
SLEEVE = CHASSIS, SHIELD.
¼" PHONE, UNBALANCED:
TIP = SIGNAL, RING = GROUND,
SLEEVE = CHASSIS, SHIELD.

Manual-4
OPERATING INSTRUCTIONS
A PRIMER
Let’s start with what a compressor actually does. No matter
how you cut it, this is an automatic volume control. It is a hand
on a knob, turning the volume down and turning it up again.
e hand is really quick and really accurate, but it’s just turning
a volume control.
When the input signal reaches a level set by the COMPRES-
SOR THRESHOLD control, the compressor begins turning
down the signal by an amount determined by the RATIO con-
trol. e DC 22, like most compressors, operates by making the
loud signals quieter, but does not make the quiet parts louder.
However, by keeping the loud signals under control, the entire
system may be turned up when necessary to make the quiet parts
louder.
PRE-FLIGHT CHECKLIST
Before proceeding, it’s a good idea to turn the control knobs
to the following positions:
1. GATE THRESHOLD control .....fully counterclockwise
2. COMPRESSOR THRESHOLD ...fully clockwise
3. COMPRESSOR RATIO..............fully counterclockwise
4. BYPASS switches.....................ACTIVE (out)
5. OUTPUT LEVEL........................0 dB
is renders the DC 22 with no compression, allowing signal
through at unity gain. No change occurs with the BYPASS
switch in or out.
INPUT LEVEL
Before making any reshold adjustments, set the ouput level
of the previous device so the +4 dBu LED lights occasionally,
and the OL LED does not light. Be aware that changes to the
Input Level will affect the resholds.
GATE THRESHOLD
e threshold is the point at which gain adjustment begins.
When the input signal is below the threshold, the DC 22 at-
tenuates the signal at a 2:1 ratio, making the quiet parts twice as
quiet. When the signal is above the Gate reshold, the Gate is
open, like a straight wire.
COMPRESSOR THRESHOLD
e threshold is the point at which gain adjustment begins.
When the input signal is below the threshold, the Compressor
section acts like a straight wire. When the signal is loud enough
to cross the Compressor reshold, the compressor is active and
turns the volume down. Various reshold points are illustrated
in Figure 1. How much it gets turned down is determined by the
RATIO control ( Figure 1 shows a Ratio set at 2:1).
RATIO
Figure 1. With a fixed Ratio set to 2:1, this graph shows gain reduction
below various Gate Thresholds at -20 dBu, -30 dBu, -40 dBu, etc.
FIgure 3. Threshold at -40 dBu. Ratios of 1:1, 1.2:1, 1.5:1, etc.
Vertical axis = output level, horizontal axis = input level.
AUDIO PRECISION amp 09 AUG 101 14:51:28
-80
-70
-60
-50
-40
-30
-20
-10
0
AMPL(dBr) vs AMPL(dBu)
-80 -70 -60 -50 -40 -30 -20 -10 0
INPUT (dBu)
O
U
T
P
U
T
d
B
u
Once the reshold is exceeded, the increase in output
compared to the input signal increase depends on the RATIO
setting. An ordinary preamp set for unity gain or a straight wire
has a ratio of 1:1, that is, the output level tracks the input level
perfectly. A 2 dB change at the input produces a 2 dB change at
the output.
For a 10:1 Ratio, a 10 dB blast at the input would rise only
1 dB at the output – heavy compression. Kinder, gentler ratios
are in the 2:1 to 3:1 range. Limiting, with no increase in signal
above the reshold, occurs at ∞:1. Figure 3 illustrates various
Ratios.
AUDIO PRECISION 09 AUG 101 14:34:57
-60
-50
-40
-30
-20
-10
0
10
20
-40
-30
-20
-10
0
10
AMPL(dBr) VS AMPL(dBu)
-60 -50 -40 -30 -20 -10 0 10 20
INPUT (dBu)
O
U
T
P
U
T
d
B
u
Figure 2. With the Ratio set to ∞, the DC 22 acts as a Limiter. This
graph shows Limiter gain reduction above various Compressor
Thresholds at 10 dBu, 0 dBu, -10 dBu, etc.
AUDIO PRECISION 09 AUG 101 14:45:47
-60
-50
-40
-30
-20
-10
0
10
20
AMPL(dBr) vs AMPL(dBu)
-60 -50 -40 -30 -20 -10 0 10 20
1:1
1.2:1
1.5:1
2:1
3:1
6:1
∞:1
INPUT (dBu)
O
U
T
P
U
T
d
B
u

Manual-5
LIMITING
A limiter is a special form of compressor set up especially to
reduce peaks for overload protection. In other words, it’s a com-
pressor with a maximum ratio. A compressor is used to change
the dynamics for purposes of aesthetics, intelligibility, record-
ing or broadcast limitations. Once the threshold of a limiter is
reached, no more signal increase is allowed. e DC 22 acts as a
limiter when set at a very high ratio of 10:1.
LINKING IN STEREO
When using the DC 22 as a true stereo processor, with left
signal in Channel 1 and right signal in Channel 2, it is recom-
mended to turn the LINK switch on to prevent large balance
and image shifts. While LINKed, both Channels attenuate by
exactly the same amount when either Compressor works, main-
taining correct stereo imaging. Only Channel 1's controls are
active, Channel 2 becomes the slave.
RATIO relatively high, just enough to limit the peaks. Set the
GATE THRESHOLD very low, though you might want to raise
it just above the noise floor to get rid of tape hiss or processor
noise.
Of special interest are instruments which have large level
differences in their tonal ranges. String pops on a bass are one
example, shrill peaks on a flute are yet another. e higher tones
require more breath and can seem much louder than lower
pitches. Another good application would be a drum mix or vocal
submix.
LONG DISTANCE LINE DRIVER
e DC 22 is excellent as a line level amp for driving long
lines (from the mixer to the stage for instance). With the COM-
PRESSOR switch in the BYPASS position, the INPUT LEVEL
control and the output amplifiers remain in the circuit. is pro-
vides a very low distortion, low noise line driver. Balanced XLR
connections are recommended for the long run from the DC 22's
outputs (anything over 10 feet [3 meters]). A balanced piece of
equipment (equalizer or amplifier) must be used at the receiving
end of this long line.
For unbalanced systems, use the ¼" inputs on the DC 22
and use the balanced XLR outputs to run the long distance. See
the RaneNote “Sound System Interconnection” included with
this manual for proper cable wiring.
SOUND SYSTEM WITH COMPRESSION
Let’s run a stereo system with compression. For this example,
we use a Rane SAC 22 2-Way Crossover and a SEQ 30S Stereo
Equalizer along with the DC 22 Stereo Compressor. See the wir-
ing diagram on page Manual-3.
Patch the DC 22 Compressor Inputs from the program
source or mixer outputs, and send the DC 22 Outputs to the
system equalizer (if you have one), and then on to the crossover
inputs (if you have one). Set the equalizer and crossover Inputs to
unity gain. Set the LINK switch to ON, and adjust the CHAN-
NEL 1 COMPRESSOR THRESHOLD and RATIO controls
to keep the entire system dynamic range under control. Locating
the compressor before the equalizer results in correct spectral
balance during compression.
DRIVER PROTECTION
To individually limit Low and High drivers in a biamped
system, connect the Crossover Low Output into one DC 22 In-
put, and the High Output into the other DC 22 Input. e DC
22 Outputs go right to the respective low and high frequency
power amplifier inputs. For a stereo configuration use two DC
22 Stereo Compressors. Be sure the LINK switch is OFF. Set the
RATIO controls to 10:1.
Assuming your input signal has peaks in excess of -20 dBu,
you should be able to rotate the COMPRESSOR THRESH-
OLD controls and see some GAIN REDUCTION meter action.
You should begin to hear the difference. Leave these controls at
whatever level is appropriate for your application. For the most
precise settings, see the section on the next page.
DC 22 APPLICATIONS
TWO CHANNEL COMPRESSOR/LIMITER
In this case, the audio path on Channel 1 is completely
separate from Channel 2, allowing you to use it as a stereo unit
or for doing two completely different processes to two completely
different signals. For stereo use, the front panel LINK switch
allows you to link Channels. When either Channel’s reshold
is reached, both channels compress equally, preserving the stereo
image. Channel 1’s reshold and Ratio settings will affect both
Channels.
GUITAR & BASS
Where does the unit go in the signal chain? Well, that
depends on how you want it to function. If it’s a comp/limiter
for the input signal, it would go after the guitar (if the guitar has
a line-level output) and before the preamp. If it’s to function as
a limiter to protect the speakers in the rig, it would go after the
preamp and before the power amp. Another method is to insert
the unit in the effect loop of the preamp. is allows the bass
signal to be affected by the pre-amp first, then the comp/limiter,
and then sent to the power amp. is can be desirable with tube
pre-amps.
RECORDING
Use it on bass guitar, piano, drums, or vocals—as an effect or
to tailor dynamic range for a particular recording medium. Patch
it between line-level devices or in your mixer inserts or “loops”.
e DC 22 gives you more control and a less tortured sound,
and keeps instruments sounding “up-front.” In digital recording,
compress an extremely wide dynamic range into a signal that
won’t go into digital overload, i.e. severe clipping. is is really
valuable during a live digital recording when you just don’t know
how loud it may get, and digital distortion can ruin an otherwise
good take. Set both the COMPRESSOR THRESHOLD and

Manual-6
DRIVER PROTECTION FINE TUNING
1. Determine the driver’s maximum continuous average power rating in watts (W) (specified by the manufacturer).
2. Determine the driver impedance “z” in ohms (specified by the manufacturer).
3. Using the data in steps (1) and (2) above, calculate the maximum signal level in dBu that the driver can handle.
Max dBu = 20*log(√ (w*z)/.775).
4. Determine the gain of the amplifier in dB (if the amplifier has a level control , you may wish to measure the gain). If, i.e., you put
1V in, how many volts come out? en convert to dB (20 log gain).
5. Subtract the gain of the amplifier in dB from the answer in step (3) to obtain the correct DC 22 COMPRESSOR THRESHOLD.
6. Set the DC 22 RATIO to 10:1.
NOTES
Any change in amplifier sensitivity setting will effect the power limit to the driver.
If the DC 22 is placed just before the amplifier, no other system levels will effect the power limit setting.
EXAMPLE
1. Driver power rating: w = 100 watts.
2. Driver impedance: z = 4 ohms.
3. 20*log(√(w*z)/.775) = 28.2 dBu.
4. Amplifier gain is 30 dB ( 1 V in equals 31.6 V out).
5. Set the DC 22 COMPRESSOR THRESHOLD control to 28.2 dBu-30 dB = -1.8 dBu.
6. Set the DC 22 RATIO control to 10:1.
All features & specifications subject to change without notice. 106435
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 TEL 425-355-6000 FAX 425-347-7757 WEB www.rane.com
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