Rane DMS 22 User Manual

OPERATING / SERVICE MANUAL DMS 22

DUAL MICROPHONE STAGE

QUICK START

Even if you don’t like to read manuals read this part. We’ll make it quick and painless. We promise. Damage to your

equipment, though unlikely, is a possibility if the DMS 22 is used improperly.

Turn both INPUT GAIN controls, both OUTPUT LEVEL controls and the STEREO OUTPUT LEVEL control
fully counterclockwise (CCW). Connect your mic(s) to the INPUT jack(s) located on the rear of the unit. If your mic(s)
require phantom power press the 48V PHANTOM POWER switch(es) on the front panel. Set the EQ switch to OUT.
Decision time: will you use the DMS 22 to mix your mic(s) to a two channel feed? If the answer is yes, connect the
STEREO OUTPUT(s) (XLR) located on the rear of the unit to a line level input on your mixer. If the answer is no,
connect the CHANNEL OUTPUT(s) (¼" TRS) to a line level input on your mixer. If you are using the STEREO
OUTPUT(s) of the DMS 22 then engage the PAN switch(es) and set the PAN controls where you want them. Plug the
included power supply (see note below) into the DMS 22. The yellow POWER LED should light and if Phantom Power is
being used the red PHANTOM POWER LED should be lit. Now whisper, yell or scream into your mic the loudest sound
you expect to deliver during your session or performance. While doing this adjust the INPUT GAIN control so that the
loudest whisper, yell or scream will just barely illuminate the OL LED. With that done you can adjust both OUTPUT
LEVEL controls and the STEREO OUTPUT LEVEL until the desired input level is reached.

Never connect anything except an approved Rane power supply ot the thing that looks like a red telephone jack on
the rear of the DMS 22. This is an AC input and requires special attention if you do not have an operational power supply
exactly like the one originally packed with your unit. See the full explanation of the power supply requirements elsewhere

in this manual.

DMS 22 CONNECTION

When connecting the DMS 22 to other components in
your system leave the power supply for last. This will give
you a chance to make mistakes and correct them before any
damage is done to your fragile speakers, ears and nerves.

INPUTS on the DMS 22 are balanced. This means that
standard XLR connectors on the ends of any good quality
cable will work well with the DMS 22 and microphones of
your choosing. As with all Rane products, pin 2 is used for
“hot” or “+” polarity, pin 3 is “return” or “–” and pin 1 is
chassis ground. If you are not using Phantom Power you may
use either pin 1 or case for shield ground on the DMS 22
Input. However, if you are using Phantom Power, pin 1 must

WEAR PARTS: This product contains no wear parts.

be shield ground to provide a complete electrical circuit. (See
RaneNote 110, “Sound System Interconnection” included in
this manual for further information on this subject).

OUTPUTS on the DMS 22 are all fully balanced. On
these Outputs pin 2 or tip is “hot” or “+”, pin 3 or ring is
“return” or “–” and pin 1 or sleeve is chassis ground. If an
unbalanced Output is desired do not short pin 3 or ring to
ground. Instead use a XLR connector or ¼" TRS (depending
on the output you are using) and do not connect pin 1 or the
sleeve of the ¼" TRS connector. Again, see RaneNote 110 for
more details.

Manual-1

FRONT PANEL DESCRIPTION

햲ÿPOWER indicator: illuminates yellow any time an approved Rane AC remote supply such as an RS 1 (included) or RAP

10 is connected to the unit and is active.

햳ÿ48V PHANTOM POWER switch & indicator: In the in position, 48 volts DC Phantom Power is applied to pins 2 and 3

of the INPUT connector. When Phantom Power is on the LED will illuminate.

햴ÿPOLARITY switch: allows the user to change the Output polarity in respect to the Input polarity. It affects all Outputs. In

the NORM position, polarity is preserved throughout the unit. In the INVERT position, signal polarity is reversed from the
Input to the Output.

햵ÿOL LED indicator: illuminates red any time signal is within 4 dB of clipping. Two key locations are monitored.
햶ÿINPUT GAIN control: increases Input GAIN as it is rotated clockwise. Its range is 15 dB of gain at full CCW rotation to

60 dB at full CW rotation.

햷ÿOUTPUT LEVEL control: is an attenuation-type control that adds no gain, but can reduce the amount of output signal. At

full CCW no signal will be present at any DMS 22 Output, and at full CW no attenuation will be applied to the signal,
allowing full signal to CHANNEL OUTPUTS and to the STEREO OUTPUT LEVEL controls.

햸ÿLOW EQ level control: determines the amount of boost or cut applied to the DMS 22’s Accelerated Slope (TM) low

frequency shelving equalizer. The center detent provides a ground for the filter, thus bypassing it. Rotating this knob CW
increases signal gain below the frequency set by the Low Frequency Turnover Switch to a maximum of +12 dB with a
shelving characteristic; CCW from center decreases the gain to a minimum of -15 dB.

햹ÿLOW frequency turnover switch: determines the mid band filter location at either 50 Hz or 100 Hz. For full boost/cut

amounts, this frequency is where the gain change equals approximately 9 dB.

햺ÿMIDRANGE EQ level control: As above, CW rotation increases gain, CCW rotation decreases gain. In center detent the

control is grounded and effectively removed from the circuit. For the MID FREQUENCY EQ we have a bandpass type filter
as opposed to a shelving type filter. The range is -15 dB to +12 dB.

햻ÿMIDRANGE OCTAVE bandwidth selector: allows the user to select 1/3, 1 or 2 octave coverage for the midrange filter.
햽ÿMIDRANGE frequency control: determines the center frequency of the midrange filter with a range of 95 Hz to 4 kHz.
햾ÿHIGH EQ level control: determines the amount of boost or cut applied to the patented Accelerated Slope (TM) high

frequency shelving equalizer. In center detent the control is grounded and effectively removed from the circuit. CW rotation
increases the gain of the mixer above the frequency set by the High Frequency Turnover Switch to a maximum of +12 dB in
a shelving fashion; CCW from center decreases the gain to a minimum of -15 dB.

햿ÿHIGH frequency turnover switch: selects the mid-band location of the High filter at either 7 kHz or 12 kHz. For full

boost/cut amounts, this frequency is where the gain change equals approximately 6 dB.

헀ÿEQ engage switch: In the IN position the EQ controls actually work. In the OUT position all EQ controls simply add to the

stylish looks of the unit and do nothing.

헁ÿPAN control: In the center position, this control sends an equal amount of signal to both the LEFT and RIGHT STEREO

OUTS with the PAN pushbutton IN. As you rotate this control CW more of the signal is sent to the RIGHT STEREO OUT
and less to the LEFT STEREO OUT. Conversely if you rotate this control CCW more of the signal is sent to the LEFT and
less to the RIGHT. This control does not affect the individual CHANNEL OUTPUTS.

헂ÿPAN engage switch: In the IN position, the PAN control operates as described above. In the OUT position it is believed

that all the Planets are held in their correct Solar orbit, the PAN control does not function, and that Channel does not send a
signal to the STEREO OUTPUTS.

헃ÿSTEREO OUTPUT LEVEL control: is an attenuation-type control which adds no gain to the Output signal but can reduce

the amount of signal available at (only) the STEREO OUTPUTS. At full CCW no signal will be present at the STEREO
OUTPUTS. At full CW no attenuation will be applied, delivering full signal to the STEREO OUTPUTS. Note: this controls

does nothing unless one or more of the PAN IN/OUT switches are in the IN position. Consequently the Planets of our Solar
system may fall out of orbit.

Manual-2