OPERATORS MANUAL DC 24

DYNAMIC CONTROLLER

GATE / EXPANDER COMPRESSOR LIMITER 0

CH 1 OUTPUT CROSSOVER GATE / EXPANDER COMPRESSOR LIMITER 0
CH 2 OUTPUT
LOW 200 400 HIGH
POWER 3 3
-20 -10 4 5 6 -20 -10 0 1.4 1.6 2 0 0 150 800 -20 -10 4 5 6 -20 -10 0 1.4 1.6 2 0 0
-30
0
3 7 -30
10
1.2 3 -6 +6 6 -6 +6 125 1.2k -30
0
3 7 -30
10
1.2 3 -6 +6 6 -6 +6 DC 24
8 BYPASS MODE 100 2k 8 BYPASS DYNAMIC
-40 2 4 12 90 4k -40 2 4 12
-40 1.1 -40 1.1 CONTROLLER
24 75 6k 24
-50 10 1 10 -48 20 1 10 -20 +20 -12 +12 70 7k -50 10 1 10 -48 20 1 10 -20 +20 -12 +12
(:1) (:1) GAIN DUAL (:1) (:1) GAIN
THRESHOLD RATIO THRESHOLD RATIO THRESHOLD REDUCTION SIG LEVEL OL SLAVE FREQUENCY THRESHOLD RATIO THRESHOLD RATIO THRESHOLD REDUCTION SIG LEVEL OL

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 in a two mile radius by doing some-
thing wrong.
In a nutshell, to use the DC 24 as a conventional dual channel compressor/limiter, ensure that the CROSSOVER ENGAGE
switch on the rear is in its out position. Attach one or two channels of inputs and outputs to the respective connectors on the rear.
With all RATIOS down, LIMITER THRESHOLD all the way up and the LEVEL controls in center-detent you have an expensive
patch cord. Make sure the BYPASS switches are out and set the GATE and COMPRESSOR for the desired ratios and thresholds.
Turning the LIMITER THRESHOLD down decreases the level at which limiting occurs. The GATES and COMPRESSORS may
both be activated by the source material applied to Channel 1 if the DUAL/SLAVE switch is pressed in. This is a normal condition
for true stereo program material.
To use the DC 24 's crossover bandsplit mode, be sure the rear panel CROSSOVER ENGAGE switch is in. Connect the input to
CH 1/CROSSOVER IN. With the rear panel OUTPUTS switch set to SEPARATE, split outputs are available at the CH 1/LOW
OUT and CH 2/HIGH/COMBINE OUT jacks. With the OUTPUTS switch at COMBINE, use only the CH 2/HIGH/COM-
BINE OUT jack for a mono sum of high and low channels.
NEVER CONNECT ANYTHING EXCEPT AN RS 1 OR OTHER APPROVED RANE AC POWER SUPPLY TO THE
THING THAT LOOKS LIKE A TELEPHONE JACK ON THE REAR OF THE DC 24. This is an AC input and requires some
special attention if you do not have an operational power supply EXACTLY like the one that was originally packed with your unit.

DC 24 CONNECTION
Placing the DC 24 within the chain of events in your system used on mixdown, it may be connected to the output of the mul-
varies slightly depending on application. If you are assembling tichannel recorder or again on inserts of the mixdown console.
a sound reinforcement system, the DC 24 would typically be Many recording situations require that the DC 24 be con-
placed between the equalizer (you do use one, don’t you?) and nected to the patch bay in the system so it may be easily moved
the active crossover, or the power amplifier if passive crossovers from one signal location to another. This call should be made
(or the DC 24 crossover) are used. based upon the requirements of the application.
In recording applications, the DC 24 may be used in con- Wiring of this and all components should follow the Sound
junction with insert loops on the mixing console or in series System Interconnection RaneNote included in this manual. This
with the outputs en route to the recorder. Most consoles allow note details standard wiring conventions which should be used
headphone monitoring of the processed signal if the device is to prevent noise and distortion. Also see the Chassis ground
connected to the inserts. A most useful feature. If the DC 24 is point on page Manual-3.

WEAR PARTS: This product contains no wear parts. Manual-1

FRONT PANEL DESCRIPTION

1 8 10 12 8 10

GATE EXPANDER COMPRESSOR LIMITER 0

CH 1 OUTPUT CROSSOVER GATE EXPANDER COMPRESSOR LIMITER 0
CH 2 OUTPUT
LOW 200 400 HIGH
POWER 3 3
-20 -10 4 5 6 -20 -10 0 1.4 1.6 2 0 0 150 800 -20 -10 4 5 6 -20 -10 0 1.4 1.6 2 0 0
-30 3 7 -6 +6 6 -6 +6 125 1.2k -30 3 7 -6 +6 6 -6 +6
0
-30
10
1.2 3
BYPASS MODE 100 2k 0
-30
10
1.2 3
BYPASS
DC 24
8 4 12 8 4 12 DYNAMIC
-40 2 -40 1.1 90 4k -40 2 -40 1.1
75 CONTROLLER
24 6k 24
-50 10 1 10 -48 20 1 10 -20 +20 -12 +12 70 7k -50 10 1 10 -48 20 1 10 -20 +20 -12 +12
(:1) (:1) GAIN DUAL (:1) (:1) GAIN
THRESHOLD RATIO THRESHOLD RATIO THRESHOLD REDUCTION SIG LEVEL OL SLAVE FREQUENCY THRESHOLD RATIO THRESHOLD RATIO THRESHOLD REDUCTION SIG LEVEL OL

2 3 4 5 6 7 9 11 13 3 4 5 6 7 9 11

1 POWER switch: It has been a tradition at Rane Corporation to say something clever about the POWER switch on all its prod-
ucts. Certain government restrictions now eliminate our option of continuing this tradition. Pity.

2 POWER indicator LED: This solid-state yellow illumination device lights up to let the operator know Item 1 (above) is working
and the thing is plugged in.

3 GATE / EXPANDER THRESHOLD control: allows the operator to set the input level below which the Gate/Expander oper-
ates. The LED illuminates yellow any time the input signal falls below the threshold level set by this control.

4 GATE / EXPANDER RATIO control: determines the Ratio to be applied to the Gate/Expander function. Increased clockwise
rotation increases the circuit slope. The full counter-clockwise position disables the Gate/Expander.

5 COMPRESSOR THRESHOLD control: determines above what input level the Compressor functions. Full clockwise rotation
disables the Compressor entirely. The LED illuminates yellow any time the input signal exceeds the threshold level set by this
control.

6 COMPRESSIOR RATIO control: determines the slope of the Compressor once it has exceeded the indicated threshold. Full
counter-clockwise rotation of the RATIO control disables all Compressor activity.

7 LIMITER THRESHOLD control: determines above what level the Servo Locked Limiter™ functions. Full clockwise rotation
of this knob disables all Limiter activity. The LED illuminates red any time the input exceeds the LIMITER THRESHOLD set-
ting.

8 GAIN REDUCTION meter: indicates the amount of reduction, below unity, being applied to the audio signal by the VCA.

9 BYPASS switch: When pressed in, this channel in the DC 24 is is hard-wire Bypassed. Each channel may be individually By-
passed for comparison and alignment purposes. See OPERATING INSTRUCTIONS on page Manual-4.

0 OUTPUT LEVEL control: increases or decreases the output gain of each channel by 12 dB. In the center detent, gain will be
unity. (NOTE: Channel 2 OUTPUT LEVEL controls overall output in COMBINE mode.)

q SIGnal present LED: illuminates any time the input signal exceeds approximately -40 dBu.
The OverLoad LED: illuminates any time the output exceeds a level equal to -4 dB below the clipping level.

w DUAL / SLAVE mode switch: In the in (SLAVE) position, this switch causes both channels’ Gate, Compressor and Limiters to
act together, i.e., they are “slaved.” All controls for both channels remain active, so independent settings are still possible; how-
ever, whenever a signal in one channel exceeds its settings, then both channels change by the same amount. In the out (DUAL)
position, both channels operate independently.

e CROSSOVER FREQUENCY control: This rotary control selects the crossover frequency. What did you think?

Manual-2
 REAR PANEL DESCRIPTION
10

INPUTS AND OUTPUTS DC 24

TIP=#2=POSITIVE
POWER
RING=#3=NEGATIVE RANE CORP.
SLEEVE=#1=SIGNAL GROUND TIP=SEND TIP=SEND
RING=RETURN RING=RETURN

N108
SEPARATE COMBINE -10 dBV +4 dBu CH 2 CH 2 HIGH / CH 2 CROSSOVER -10 dBV +4 dBu CH 1 / CH 1 / CH 1 600mA
OUTPUTS CH 2 TRIM IN COMBINE OUT SIDE CHAIN ENGAGE CH 1 TRIM CROSSOVER IN LOW OUT SIDE CHAIN CLASS 2 EQUIPMENT

8 6 3 4 5 7 6 1 2 5 9

1 CHANNEL 1 INPUT connectors: deliver signal to both channel 1 of the processor and to the crossover circuit. Choose either
the XLR or the ¼" TRS jack, do not use both, they do not sum.

2 CHANNEL 1 / LOW OUTPUT connectors: deliver signal from channel 1’s processing circuitry and represents the low-pass
portion of the signal when the CROSSOVER ENGAGE switch 7 is in the in position. Both the XLR and the ¼" TRS jack may
be used at the same time if desired.

3 CHANNEL 2 INPUT connectors: only deliver signal to channel 2’s processor. It is disconnected when the CROSSOVER EN-
GAGE switch 7 is in its in position. Choose either the XLR or the ¼" TRS jack, do not use both, they do not sum.

4 CHANNEL 2 / HIGH / COMBINE OUTPUT connectors: make the signal from channel 2 available to the outside world and
is the high-pass portion of the audio when the CROSSOVER ENGAGE switch 7 is in its in position. If the OUTPUTS switch
8 is in the COMBINE position, this output produces the sum of channels 1 & 2 and its overall level is controlled by CH 2
OUTPUT LEVEL. Both the XLR and the ¼" TRS jack may be used at the same time if desired.

5 SIDE CHAIN: Inserting a ¼" TRS plug into this jack breaks the input signal path to both the Compressor and Gate control
circuit. Inserting an equalizer in this loop enables greater compression of boosted equalizer frequencies. The standard convention
is used of Tip=Send & Ring=Return.

6 INPUT GAIN TRIM switches: In its +4 dBu position, the input gain of the respective channel is unity. In the -10 dBV position,
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. This switch must be in the +4 dBu position for front panel calibration accuracy.

7 CROSSOVER ENGAGE switch: In its in position, this switch places the low pass portion of the audio signal on CH 1 /LOW
OUT, and the high pass portion on CH 2 / HIGH / COMBINE OUT.

8 SEPARATE / COMBINE OUTPUT switch: In the COMBINE mode, the outputs of channel 1 and channel 2 are added
together and delivered to the CH 2/HIGH/COMBINE OUT connector. This feature is supplied to allow an input to be split
by the crossover, high pass and low pass delivered to separate processor channels, and recombined at the output of the unit. The
COMBINE mode has no effect on the output of channel 1.

9 Remote POWER supply input: The DC 24 is supplied from the factory with a Model RS 1 Remote Power Supply suitable for
connection to this input jack. The power requirements of the DC 24 call for an 18-24 volt AC center-tapped transformer only.
This is not a telephone jack. Never use a power supply with your DC 24 other than the one supplied or an exact replacement obtained
from Rane Corporation. Using any other type of supply may damage the unit and void the warranty.

0 Chassis ground point: A #6-32 screw is used for chassis grounding purposes. If, after hooking up your system, it exhibits exces-
sive hum or buzzing, there is an incompatibility in the grounding configuration between units somewhere. Your mission is to
discover how your particular system wants to be grounded. Here are some things to try:
1. Try combinations of lifting grounds on units that are supplied with ground lift switches or links.
2. If your equipment is in a rack, verify that all chassis are tied to a good earth ground, either through the line cord grounding pin or
the rack screws to another grounded chassis.
3. Units with outboard power supplies, such as the DC 24, do not ground the chassis through the line cord. Make sure that these
units are grounded either to another chassis which is earth grounded, or directly to the grounding screw on an AC outlet cover by
means of a wire connected to a screw on the chassis with a star washer to guarantee proper contact. If you are connecting the DC
24 outputs directly to a power amplifier, be sure to connect a ground wire to the amplifier chassis.
Refer to the “Sound System Interconnection” RaneNote (supplied with this manual) for further grounding information.
Manual-3
OPERATING INSTRUCTIONS STERNO
Once all of the inputs and outputs are properly connected in When using the DC 24 as a true stereo (a.k.a. sterno; hey,
accordance with the preceding section, normal operation of the lighten up, it’s a joke!) processor, left channel in Channel 1 and
DC 24 should be achievable. If any of the following procedures right channel through Channel 2, it is a good idea to operate
do not appear to produce the required results, take a step back- the unit in the SLAVE mode to prevent large balance and image
wards and check your wiring. shifts. While in the SLAVE mode, both channels attenuate by
exactly the same amount when the Gate and Compressor work,
PRE-FLIGHT CHECKLIST maintaining the stereo image.
Before proceeding, it’s a good idea to turn the control knobs
to the following positions: ATTENTION SHOPPERS
1. POWER...off This seems like a good place to throw in a few words of cau-
2. GATE / EXPANDER THRESHOLD...full CCW tion. The DC 24 allows a great deal of flexibility. As such, it also
3. GATE / EXPANDER RATIO...full CCW allows one to come dangerously close to completely destroying
4. COMPRESSION THRESHOLD...full CCW an otherwise respectable audio signal if some thought and care
5. COMPRESSION RATIO...full CCW is not put into the operation of the unit. There are combinations
6. LIMIT THRESHOLD...full CW of THRESHOLD and RATIO settings on the Gate, Expander
7. OUTPUT LEVEL...centered in its detent and Limiter which allow each to fight the others and in some
8. Set all pushbuttons on the front and rear to their out positions. cases completely cancel. The same caution applies to any signal
9. Set the OUTPUTS slide switch to SEPARATE. processor, such as an equalizer or crossover, however these are
10. Set the gain TRIM switches to +4 dBu. a bit more intuitive and less likely to be used in a destructive
manner. Just be gentle at first and you should not encounter too
LIMITING much difficulty. If you become overwhelmed, go back to the
With all of the preceding accomplished, turn the POWER PRE-FLIGHT CHECKLIST for initial control settings and
switch on (be sure your amp is turned down). The DC 24 is now start over.
nothing but a unity gain amplifier. Cycling the BYPASS switches
with audio passing through the unit should yield no difference BYPASS SWITCHES IN CROSSOVER & COMBINE MODES
in level or sound dynamics. The GAIN REDUCTION meters Crossover Mode. Do not use the BYPASS switches when in
should indicate 0 and nothing else. Assuming your input signal the CROSSOVER mode. Use of BYPASS in the crossover mode is
has peaks in excess of -20 dBu, you should be able to rotate the potentially destructive since these switches route full bandwidth
LIMITER THRESHOLD controls CCW and see some gain audio to drivers designed only for a limited frequency range.
reduction occur on the meter simultaneously with a randomly (CH 2 BYPASS is automatically defeated, but Ch. 1 is still active
illuminating THRESHOLD LED. You should begin to hear the — do not engage the CH 1 BYPASS for any reason.)
difference. Leave these controls at whatever Limit level is appro- Combine Mode. As more users (particularly bass guitar
priate for your application. players) discover new applications for this mode, they want to
use BYPASS as an aid in optimizing settings. Unfortunately,
COMPRESSION the BYPASS switches do not operate in the COMBINE mode;
To use the Compressor, set the COMPRESSOR THRESH- however, a simple trick solves the problem:
OLD for an appropriate level, you should see the associated LED 1. Permanently engage the CH 1 BYPASS switch.
illuminate as signal goes above and below this level. The COM- 2. Patch CHANNEL 1 OUTPUT to CHANNEL 2 INPUT
PRESSOR RATIO control adjusts the gain reduction slope using either the ¼" TRS or the XLR jacks. Be sure to use 2-
above the level you have set. conductor shielded cable.
3. The CH 2 BYPASS switch now operates in the COMBINE
GATE / EXPANDER mode.
The Gate / Expander function works similarly. If the GATE
/ EXPANDER THRESHOLD is still fully CCW, rotate the RESOURCES
GATE / EXPANDER RATIO to its full CW position. Stop For additional explanations, tips and assistance, see “The
your audio source and you will see the GAIN REDUCTION DC 24 Users Guide” and “Good Dynamics Processing.” Both of
LEDs drop to the -24 dB position. This indicates that the Chan- these RaneNotes are available on the Rane website.
nel is in the fully gated mode. If you wish to have gating occur at
a higher level, rotate the GATE /EXPANDER THRESHOLD
control CW to a higher level. If you wish to create special effects
with this gate, you may elect to use a lower GATE / EXPAND-
ER RATIO setting. This inhibits full gating by the amount
indicated around the control. Experiment with all the controls to
obtain the required results.

©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 TEL 425-355-6000 FAX 425-347-7757 WEB [Link]
Manual-4 103166