Rane MM 42 User Manual

MM 42

PERSONAL MONITOR PROCESSOR

MONITOR

8

MM 42

6

1 00

4

2

LEVEL

31

6

+8

+4

10

dB

PUSH:

SELECT

GAIN REDUCTION

1 2

+8

+4

1 0 3 16

–8

–4

–36

–12

–24

–8

–4

–36

–12

–24

dBFS

PEAK

–8

–4

–36

–12

–24

–8

–4

–12

–24

–36

COMPRESS EQ LIMIT

PROCESSOR

0

–3

–12

–24

0

–3

–12

–24

MEMORY UTILITIES CUE BUS

dBu dBu

B C D

A

ENTER CANCEL

CONFIG

FILTER/SUB

FINE

PUSH:

RANE CORPORATION MM 42

DATA OUTPUT INPUT PHONES

PERSONAL MONITOR PROCESSOR

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION

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.

CAU TION: Changes or modications not expressly approved by Rane Corporation could void the user's authority to operate the equipment.

is Class B digital apparatus complies with Canadian ICES-003.
Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada.

WARNING

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.

OPERATORS MANUAL MM 42

MONITOR PROCESSOR

ENTER CANCEL

PUSH:

FINE

DATA OUTPUTINPUT PHONES

COMPRESS EQ LIMIT

FILTER/SUB

CONFIG

MEMORY UTILITIES CUE BUS

–4

–8
–12
–24
–36

A

–4

–4

dBFS

–8

–8

PEAK

–12

–12

–24

–24

–36

–36

BCD

–4

–8
–12
–24
–36

GAIN REDUCTION

10

10 316

12

PUSH:

+8

SELECT

+4

0

–3
–12
–24

dBu dBu

LEVEL

248

6

MM 42

100

MONITOR

PROCESSOR

31dB6

+8
+4

0

–3
–12
–24

Quick Start

We know you’re excited about the purchase of your new MM 42. But trust us: take your earphones out for a moment and read
this Quick Start. It covers the basics to get you tweaking your ear mixes into submission in no time. e following paragraphs assume
you’re working with a stereo (left/right) mix. For more advanced applications you’ll have to dig a bit deeper into this manual.

First, the hardware. Connect the console aux/groups corresponding to the left and right ear mixes to the MM 42’s LINE INPUT
A and LINE INPUT B respectively. Send the MM 42 a good, healthy signal, aiming to keep the loudest peaks around the -8 dBFS
mark (yellow LEDs) on the INPUT meters. Running the Inputs “into the red” is only cool with old-school analog gear. If needed,
make further adjustments using the INPUT controls.

Turn the PHONES LEVEL all the way down and plug your earphones or headphones directly into either the ¼" or ⅛"
PHONES jack. Slowly turn up the PHONES LEVEL to a comfortable listening volume. Not hearing anything? Press the CUE BUS
button.

Press the COMPRESS button and use the Previous  and Next  cursor keys to navigate to the M-BAND parameter. Rotate
the DATA control clockwise until SET starts flashing. Don’t panic; instead, press the ENTER key to go to the Crossover Frequency
page. Adjust the frequency splits for each range, pushing and turning the DATA control to make fine adjustments. Press the EN-

TER or COMPRESS key to return to the Compressor page. Adjust the THRSH parameter until you see a few blinky lights on the
GAIN R EDUCTION meter. Press the COMPR ESS button again to move on to band 2, and again to move to 3, merrily making

adjustments. No, you’re not hallucinating — the GAIN REDUCTION meter does indeed switch automatically to show you what’s
happening within each frequency band.

Okay, if you’re comfortable with getting around the various pages then the dry run is over. If you’re using a wireless transmitter,
connect the MM 42’s main OUT 1 and OUT 2 to the inputs of the transmitter and adjust the transmitter’s input gain to a nomi­nal level. If you’re using a hardwired beltpack, connect the MM 42’s main Outputs directly to the beltpack inputs, making sure the
beltpack level is turned all the way down. Plug your earphones into the beltpack and slowly turn its level up to a comfortable listening
volume.

at’s it! You’re ready to rock. Or folk. Or country. Or polka….whatever your musical style. Tweak each processing section to
taste, making sure you go to the MEMORY page once satisfied and store your hard work to one of the 16 available (preset) locations.

ere’s plenty more you can do with the MM 42. e rest of this manual covers important topics like using the SUB Output to
augment an earphone mix with onstage subwoofers or “shakers”, handling two independent mono mixes with one MM 42, linking
and unlinking parameters, connecting multiple MM 42s together via the Cue Bus, and the wonderful world of MIDI, just to name a
few. So don’t stop here — keep reading! You still have 3 hours until show time.

Contents

Front Panel .......................................................................2

Rear Panel ........................................................................3

Connection Examples .....................................................4

Welcome Page .................................................................7

Basic Navigation & Editing .............................................7

Output Chain Conguration ..........................................7

Adjusting Input & Output Levels ...................................8

Signal Processing ............................................................9

Filters & Subwoofer .........................................................10

Multi-Band Compressor ................................................. 11

Parametric Equalization ................................................. 12

WEAR PARTS: is product contains no wear parts.

Multi-Band Peak Limiter .................................................12

Using the Cue Bus ............................................................13

Storing and Recalling Memories (Presets) .................... 14

Utilities .............................................................................14

Cue Bus Conguration .................................................... 14

Gain Reduction Meter Mode ..........................................15

MIDI Conguration & Transfer ....................................... 15

Name Device .................................................................... 16

Firmware Update .............................................................16

Restoring Factory Defaults............................................. 17

Appendix: Additional Resources ...................................17

MIDI Implementation Chart ...........................................18

Manual-1

MM 42 Front Panel

4

5 8

RANE MM 42
PERSONAL MONITOR PROCESSOR

See Button Details below

ENTER CANCEL

PUSH:

FILTER/SUB

FINE

DATA OUTPUTINPUT PHONES

COMPRESS EQ LIMIT

CONFIG

MEMORY UTILITIES CUE BUS

–4

–8
–12
–24
–36

A

–4

–4

dBFS

–8

–8

PEAK

–12

–12

–24

–24

–36

–36

BCD

–4

–8
–12
–24
–36

GAIN REDUCTION

10 316

12

PUSH:

+8

SELECT
+4
0
–3

–12
–24

dBu dBu

10

31dB6

LEVEL

+8
+4
0

–3
–12
–24

248

6

100

MM 42

MONITOR

PROCESSOR

Button Details

1 2 73

6 6 9

 ENTER: Press this button to confirm flashing selections.

   Cursor buttons: e Previous  and Next  buttons move the cursor through each of the parameter fields on a page.

Alternately, push and release the DATA (2) control to “bump” from one field to the next. e currently selected parameter field is
always displayed with either an underscore or with “<” and “>” brackets.

 CANCEL: Exits the current edit page and displays the welcome page. Also used to abort various operations.

 FILTER/SUB: Displays the edit pages for the Filter and Subwoofer sections.

 COMPRESS: Displays the edit pages for the 3-band Compressor.

 EQ: Displays the edit pages for the 5-band Parametric Equalizer.

 LIMIT: Displays the edit pages for the 3-band Limiter.

 CONFIG: Displays the edit page for Input and Output routing.

 ME MORY: Displays the edit page for storing and recalling Memories (Presets).

 UTILITIES: Displays the edit pages for Cue Bus Configuration, Gain Reduction Meter, MIDI Configuration, MIDI Transfer,

Name Device and Firmware Update functions.

 CUE BUS: Activates the selected Output(s) on the Cue Bus for soloing purposes. e CUE BUS indicator lights when the Cue

Bus is active.

1 Edit Pages: e 2x40 backlit LCD screen displays the edit pages for all MM 42 functions.

2 DATA control: Adjusts the currently selected parameter. Turning the DATA control clockwise increases the parameter, and turn-

ing it counterclockwise decreases the parameter. Push and turn the DATA control for fine adjustment of some parameters. e
DATA control can also be “bumped” (push and release) to move the cursor between parameter fields.

3 INPUT Level controls: are digital trims to adjust each of the four Input gains.

4 INPUT Meters: are peak-reading, showing input headroom in dBFS. 0 dBFS equals +24 dBu.

5 GAIN REDUCTION Meters: Show the amount of gain reduction being applied to the currently selected Compressor or Limiter

band, or the overall Compressor + Limiter gain reduction. (Depends on the currently selected Meter Mode. See the Gain Reduc­tion Meter Mode section on page Manual-15 for details).

6 OUTPUT Meters: Averaging (rms) meters showing output level in dBu.

7 OUTPUT Level. Digital trim adjusts the main output levels. Also selects Outputs for cueing and editing in 2-Mono mode.

8 PHONES Level. Analog trim adjusts level of front panel PHONES jacks.

9 PHONES jacks. Stereo ¼" and ⅛" jacks allow direct connection of headphones or earphones to monitor the CUE BUS.

Manual-2

MM 42 Rear Panel

THIS DEVICE COMPLIES WITH
PART 15 OF THE FCC RULES.

100-240V

50/60 Hz

20 WATTS

COMMERCIAL AUDIO

EQUIPMENT 24TJ

R

FOR CONTINUED

GROUNDING PROTECTION

DO NOT REMOVE SCREW

MM 42

MADE IN U.S.A.

RANE CORP.

ACN 001
345 482

CUE OUT 1

OUT / THRU IN SUB CUE OUT 2 OUT 2

CUE BUS

OUTPUTS MIDI LINE INPUTS

ALL BALANCED

DIRECT

C A

OUTS

OUT 1

D B

DCB

ALL BALANCED: TIP & PIN 2 = (+); SLEEVE = SIGNAL GROUND; PIN 1 = CHASSIS GROUND

A

9 8 7 6 3 2 15 4

1 LINE INPUTS A through D: Accept balanced or unbalanced, ¼" phone or XLR-style line-level inputs.

2 DIRECT OUTS A through D: are active balanced pass-throughs of corresponding Line Inputs. Use the DIRECT OUTS to

daisy-chain common mixes to multiple MM 42s.

3 Main OUTPUTS: Balanced, line-level, XLR connections for OUT 1 and OUT 2. Wiring convention is pin 2 positive, pin 3

negative (return), pin 1 is shield chassis ground. Refer to the Sound System Interconnection RaneNote (included with this manual)
for correct wiring when connecting to unbalanced destinations.

4 SUB Output: is balanced (tip-ring-sleeve). Connect to a subwoofer, amp/speaker combination or tactile “shakers” to add low-end

thump to ear mixes. Refer to the Sound System Interconnection RaneNote when connecting to an unbalanced destination.

5 CUE OUT 1 and 2: is a balanced (tip-ring-sleeve), line-level Cue Bus Output. Connect to a spare transmitter or console inputs to

monitor the Cue Bus signal. Signal is identical to the front panel PHONES jacks. e Cue Out level is not affected by the Phones
Level control.

6 CUE BUS jacks: are RJ12 (telephone-style) for interconnecting multiple MM 42s for cueing (soloing) purposes.

7 MIDI OUT/THRU jack: Incoming MIDI data is automatically merged with outgoing MIDI data and passed to the OUT/

THRU if MIDI Merge mode is set to ON (see page Manual-15).

8 MIDI IN jack: Connect this input to the output of another MIDI device (sequencer, controller, MIDI-equipped PC, another

MM 42, etc.) to accommodate data transfers, firmware updates, and external control.

9 Power connector: Uses the standard cord provided. e MM 42 has a universal internal switching power supply that accepts 100

to 240 VAC at 50 to 60 Hz, allowing it to work in most countries.

Manual-3

Connection Examples

e MM 42 is intended to be connected in-line between a mixing console and a wireless transmitter, hardwired beltpack or head-

phone amplifier.

Stereo Mix with Optional Mono Subwoofer Output (default)

In this configuration a standard Left/Right mix from the console is processed. e Left and Right signals (Inputs A and B) are

summed to mono and assigned to the SUB Output.

ACME Mixing Console

Group/Aux Out 1

Mix Left

Group/Aux Out 2
Mix Right

LINE INPUT A LINE INPUT B

*

OUTPUT 1 OUTPUT 2

Input 1 Input 2

ACME In-Ear
Stereo Transmitter
(or wired beltpack)

CONFIG

*

CONFIG | MODE OUTPUT1 OUTPUT2 SUB
| STEREO A B A+B

ENTER CANCEL

PUSH:

FILTER/SUB

FINE

DATA OUTPUTINPUT PHONES

COMPRESS EQ LIMIT

CONFIG

MEMORY UTILITIES CUE BUS

–4

–8
–12
–24
–36

A

–4

–4

dBFS

–8

–8

PEAK

–12

–12

–24

–24

–36

–36

BCD

–4

–8
–12
–24
–36

GAIN REDUCTION

10 316

12

PUSH:

+8

SELECT

+4

0

–3
–12
–24

dBu dBu

10

31dB6

LEVEL

+8
+4
0

–3
–12
–24

SUB OUT
(optional)

Engineer

To powered subwoofer

or bass shaker.

6

248

MM 42

100

PROCESSOR

Monitor

MONITOR

Manual-4

Two Independent Mono Mixes with Assignable Subwoofer Output

In this configuration two independent mixes are processed separately. e SUB Output is fed from either Input A or Input B.

ACME Mixing Console

Group/Aux Out 1

Mono Mix 1

Group/Aux Out 2
Mono Mix 2

LINE INPUT A LINE INPUT B

*

OUTPUT 1 OUTPUT 2

Input

ACME In-Ear

Mono Transmitter 1

(or wired beltpack)

Input

ACME In-Ear

Mono Transmitter 2

(or wired beltpack)

ENTER CANCEL

PUSH:

FILTER/SUB

FINE

DATA OUTPUTINPUT PHONES

COMPRESS EQ LIMIT

CONFIG

MEMORY UTILITIES CUE BUS

–4

–8
–12
–24
–36

A

dBFS

–4

–4

PEAK

–8

–8

–12

–12

–24

–24

–36

–36

BCD

SUB OUT
(optional)

–4

–8
–12
–24
–36

GAIN REDUCTION

10

10 316

12

PUSH:

+8

SELECT

+4

0

–3
–12
–24

dBu dBu

31dB6

+8
+4

0

–3
–12
–24

LEVEL

Monitor

Engineer

To powered subwoofer

or bass shaker.

248

6

100

MM 42

MONITOR

PROCESSOR

*

*

CONFIG

CONFIG

CONFIG | MODE OUTPUT1 OUTPUT2 SUB
| 2-MONO A B A

OR

CONFIG | MODE OUTPUT1 OUTPUT2 SUB
| 2-MONO A B B

INPUT A Assigned to
SUB OUTPUT (optional)

INPUT B Assigned to
SUB OUTPUT (optional)

Manual-5

Using the Direct Outputs

e rear panel Direct Outputs provide a unity-gain pass-through of each input signal, pre-processing — allowing you to share a

common aux/group feed across multiple MM 42s or to feed elsewhere.

For example, create a single or stereo “full band” mix for a group of background singers, and send this feed from the console to
Line Inputs A and B of the MM 42. Augment each person’s mix with an individual feed to Line Input C of each MM 42. Connect
Direct Outs A and B to Inputs A and B of another MM 42. Repeat the process to daisy chain multiple MM 42s together. Use the
front panel Input Levels to set the relative balance between mix elements (full band versus solo instrument) for each performer.

Monitor

Engineer

ACME Mixing Console

Aux 6

Keyboard

Mix

Aux 5

BG 2

Vocal

Mix

Aux 4

BG 1

Vocal

Mix

Aux 3

Lead

Vocal

Mix

Aux 2

Band

Mix

Left

Aux 1

Band

Mix

Right

LINE

INPUT

LINE

INPUT

LINE

INPUT

LINE

INPUT

LINE

INPUT

C

*

DIRECT

OUTPUT

C

INPUT:

*

DIRECT:

C

INPUT:

*

DIRECT:

C

INPUT:

*

LINE

INPUT

A

ENTER CANCEL

FILTER

CONFIG

DATA

B

COMPRESS EQ LIMIT

MEMORY UTILITIES CUE BUS

DIRECT

OUTPUT

A

AB

ENTER CANCEL

FILTER

CONFIG

DATA

B

COMPRESS EQ LIMIT

MEMORY UTILITIES CUE BUS

AB

AB

ENTER CANCEL

COMPRESS EQ LIMIT

FILTER

CONFIG

MEMORY UTILITIES CUE BUS

DATA

AB

AB

ENTER CANCEL

COMPRESS EQ LIMIT

FILTER

CONFIG

MEMORY UTILITIES CUE BUS

DATA

–12
–24
–36

–12
–24
–36

–12
–24
–36

–12
–24
–36

–4
–8

–4
–8

–4
–8

–4
–8

A

A

A

A

–4

–8
–12
–24
–36

BCD

–4

–8
–12
–24
–36

BCD

–4

–8
–12
–24
–36

BCD

–4

–8
–12
–24
–36

BCD

–4

–4

–8

–8

–12

–12

–24

–24

–36

–36

CUE BUS

–4

–4

–8

–8

–12

–12

–24

–24

–36

–36

CUE BUS

–4

–4

–8

–8

–12

–12

–24

–24

–36

–36

CUE BUS

–4

–4

–8

–8

–12

–12

–24

–24

–36

–36

GAIN REDUCTION

10 316

12

+8
+4
0
–3
–12
–24

OUTPUTINPUT PHONES

GAIN REDUCTION

10 316

12

+8
+4
0

–3
–12
–24

OUTPUTINPUT PHONES

GAIN REDUCTION

10 316

12

+8

+4

0

–3
–12
–24

OUTPUTINPUT PHONES

GAIN REDUCTION

10 316

12

+8

+4

0

–3
–12
–24

OUTPUTINPUT PHONES

6

10

31dB6

248

LEVEL

MM 42

+8

100

MONITOR

+4

PROCESSOR

0
–3
–12
–24

6

10

316

248

LEVEL

MM 42

+8

100

MONITOR

+4

PROCESSOR

0
–3
–12
–24

6

10

316

248

LEVEL

MM 42

+8

100

MONITOR

+4

PROCESSOR

0
–3
–12
–24

6

10

316

248

LEVEL

MM 42

+8

100

MONITOR

+4

PROCESSOR

0
–3
–12
–24

Stereo

Transmitter

Stereo

Transmitter

Stereo

Transmitter

Stereo

Transmitter

Lead
Vocals

Background
Vocal 1

Background
Vocal 2

Keyboard

Analog Audio

Cue Bus

Manual-6

*

CONFIG

CONFIG | MODE OUTPUT1 OUTPUT2 SUB
| STEREO A+C B+C A+B+C

MM 42 Welcome Page

RANE CORPORATION MM 42
PERSONAL MONITOR PROCESSOR

e welcome page displays the device name. is is the

default page on power-up and any time the CANCEL button
is pressed. e Name Device page of the UTIL menu is used to
enter custom text to suit your liking – “MY GOLDEN EARS,” for
example. See page Manual-16 for details.

Output Chain Configuration

e MM 42 features four line-level Inputs, labeled A

through D, which are assignable in any combination to either or
both of the output signal chains and the SUB Output. Such an
arrangement allows tremendous flexibility in setting up mixes.

Press the CONFIG button. e default configuration is:

CONFIG | MODE OUTPUT1 OUTPUT2 SUB
| STEREO A B A+B

Basic Navigation & Editing

e Previous  and Next  buttons move the cursor

through each of the parameter fields on a page. Parameter values
are changed by rotating the DATA control.

Repeatedly pressing a button cycles through all pages associ­ated with a particular function. Each of the five Parametric EQ
filters is a separate page within the EQ section, for example.

In most cases parameter changes happen – and are heard
instantly. In the few cases where they are not (when you are first
prompted to answer a question, for example) the value flashes
until the  ENTER button is pressed. Pressing the
 CANCEL button on a flashing parameter automatically
discards that parameter change.

Coarse versus Fine Parameter Adjustment

Parameters covering a large range – frequencies from 20 Hz
to 20 kHz, or a Compressor reshold from 0 dB to -60 dB for
example – are adjustable in coarse and fine increments. Coarse
adjustments help get you “in the ballpark” quickly, and are
made by turning the DATA control in its normal out position.
Fine adjustments allow you to really hone in on the parameter
of interest (if you prefer the sound of 631 Hz instead of 630 Hz,
for example) and are made by pushing in and holding the DATA
control while turning it.

e steps for coarse adjustment of frequencies follow the
soundperson-friendly, ⅓-octave ISO (International Standards
Organization) values you can probably recite in your sleep:
40, 50, 63, 80, 100, 125, 160, 200, 250…and so on. e steps
for fine value adjustment of frequencies are broken into three
ranges, as follows:

Output Chain Conguration

Parameter Value Description

Stereo mode; parameters

Stereo

MODE

2-Mono

OUTPUT1

OUTPUT2

SUB

e MODE parameter is highlighted by default. Rotate the
DATA control to select between STEREO and 2-MONO (two
independent mono mixes) mode.

Assign one of the fifteen (!) input combinations to each
output by selecting OUTPUT 1 or OUTPUT 2 and turning
the DATA control to scroll through the various combinations.
Repeat the process for the SUB output, if this output is being
used to drive an external subwoofer or bass shaker.

A, B, A+B,
A+C, A+D,

etc. Any Input
or combination
of Inputs (15
options total).

within each processing
section are automatically
linked as OUT1+2.

Dual mono mode;
parameters within each
processing section are
automatically unlinked
as separate OUT1 and
OUT2.

Sets Input assignment
for the Output 1 signal
chain.

Sets Input assignment
for the Output 2 signal
chain

Sets Input assignment for
Sub Output signal chain.

Range Coarse Fine

20 - 999 Hz ISO centers 20 - 800 Hz 1 Hz

1.0 kHz - 9.9 kHz ISO centers 1k - 8k 0.1 kHz
10 kHz - 20 kHz ISO centers 10k - 20k 1 kHz

If a frequency is currently set to a non-ISO value, making a
coarse adjustment bumps the frequency to the next ISO center.
For example, if a frequency is set at the non-ISO value of 75 Hz,
increasing it by one coarse adjustment changes the frequency to
the next ISO center of 80 Hz.

Manual-7

Adjusting Input Levels

e Input Levels page is automatically displayed any time an
INPUT A/B/C/D control is adjusted.

INPUT | A B C D
LEVELS | 0.0dB 0.0dB 0.0dB 0.0dB

Input Levels

Parameter Value Description

Input level adjustment.
Turn INPUT Level for
1 dB increments. Push
and turn for 0.5 dB
increments.

INPUT A/B/C/D

+12.0 d B to

-40.0 dB

Adjusting Output Levels

e Output Levels page is automatically displayed any time
the OUTPUT control is adjusted. is page differs slightly
depending on the currently selected configuration mode. In
STEREO mode, use the  and  keys or bump (push and
release) the OUTPUT control to navigate between the Output
LEVEL and Left/Right BALANCE parameters. Rotate the
OUTPUT control to adjust each parameter.

OUTPUT | LEVEL <BALANCE>
LEVEL | 0.0dB |<————|——————>|

Output Levels (Stereo Mode)

Parameter Value Description

Stereo output level

OUTPUT
LEVEL

BALANCE

In 2-MONO mode, use the  and  keys or bump (push
and release) the OUTPUT control to navigate between the
Output 1 and Output 2 Level parameters. Rotate the OUTPUT
control to adjust each parameter.

+12.0 d B to

-40.0 dB or
off

Full left to
full right

adjustment. Turn
OUTPUT Level for 1 dB
increments. Push and turn
for 0.5 dB increments.

Stereo balance.

OUTPUT | 1 2
LEVELS | 0.0dB 0.0dB

Output Levels (2-Mono Mode)

Parameter Value Description

Output 1 level adjustment.

OUTPUT 1
LEVEL

OUTPUT 2
LEVEL

To view a level setting without changing it simply push and
release the control without turning it. e DATA control has no
effect when adjusting Input and Output levels.

+12.0 d B to

-40.0 dB or
off

Turn OUTPUT Level for
1 dB increments. Push and
turn for 0.5 dB increments.

Output 2 level adjustment.
Turn OUTPUT Level for
1 dB increments. Push and
turn for 0.5 dB increments.

Manual-8

Signal Processing

Overview

So what does the MM 42 have under the hood you ask?
Plenty! Routing options allow the assignment of any combina­tion of the four Inputs to any of the three Outputs:
OUT 1, OUT 2 and SUB.

Each of the processing chains for OUT 1 and OUT 2
features (in this order): Shelf/Cut Filters, a 3-band rms Com­pressor with fully adjustable crossover frequency points, 5-band
fully Parametric EQ, and a 3-band Peak Limiter, also with fully
adjustable crossover frequency points. e SUB output process­ing chain is completely independent of the main outputs and
features adjustable Low- and High-Cut Filters for maximizing
onstage thump.

Why is the Output Level located before the Limiter?

Placing the Output Level before the Limiter allows you to
turn up a compressed and equalized mix while maintaining the
Limiter’s brick wall protection. Note that there may be some
interaction between the output level and limiter, depending on
how the limiter is set. For example, if the limiter is set up to
catch the occasional peak and you then turn the output level up
by 6 dB, expect to see more limiting as the entire mix is now 6
dB closer to the threshold.

Linking and Unlinking Parameters within Processing
Sections

Parameters within each processing section can be linked
or unlinked, depending on the application. Adjusting param­eters in linked mode affects both outputs simultaneously and is
particularly useful when working with Stereo mixes, as it allows
you to change one set of parameters and affect both sides of
the mix identically. Unlinking parameters allows you to make
individual adjustments to each side of a stereo mix, (to account

for an artist’s hearing difference between right and left ears, for
example) or to process two completely independent mono mixes.

To Link or Unlink an individual processing section:

1. Select the desired processing section.

2. Navigate to the Selected Output(s) field

3. Rotate the DATA control to select between adjusting param­eters for OUT1+2 (linked) operation, OUT 1 only, or OUT
2 only.

PEQ ON | EQ GAIN FREQ BW (Q)
OUT 1+2| 1 0dB 100Hz 1/3 (4.3)

When OUT1+2 is selected, Output 2’s parameters are set

to match those of Output 1. Note that OUT 2’s settings are not

permanently overwritten. Switching back to OUT 2 restores them
to their previous values.

Bypassing Processing Sections

A wise man once said “it’s not a feature if you can’t turn it
off.” Each processing section in the MM 42 can be turned off,
allowing for quick before-and-after comparisons, or to bypass an
unused section altogether.

To bypass a processing section:

1. Navigate to the status area of the processing section.

2. Rotate the DATA control counter-clockwise until off is dis-

played.

PEQ off| EQ GAIN FREQ BW (Q)
OUT 1+2| 1 0dB 100Hz 1/3 (4.3)

If parameters are unlinked (OUT 1 or OUT 2, instead of
OUT1+2), only the processing section for the currently selected
output is bypassed.

INPUTS

PEAK

PEAK

OUTPUTS dBu

+8

+8

+4

+4

0

0

–3

–3

–12

–12

–24

–24

OUT 1

OUT 2

SUB

INPUTS dBFS

–4
–8

–12

A

B

C

D

–24
–36

ABCD

INPUT
MIXER

INPUT
MIXER

INPUT
MIXER

HIGH/LOW

CUT/SHELF

FILTERS

HIGH/LOW

CUT/SHELF

FILTERS

SUB

BANDPASS

FILTER

GAIN REDUCTION

dB

1010 316 3 16

3-BAND

COMPRESSOR

3-BAND

COMPRESSOR

5-BAND

PARAMETRIC

EQUALIZER

5-BAND

PARAMETRIC

EQUALIZER

OUTPUT

LEVEL

OUTPUT

LEVEL

OUTPUT

LEVEL

3-BAND

LIMITER

3-BAND

LIMITER

Block Diagram – Main Inputs, Outputs and Sub Output

Manual-9

Filters & Subwoofer

Parameters

Pressing the FILTER/SUB button displays this edit page:

Pressing the FILTER/SUB button again displays the SUB­WOOFER SETTINGS edit page:

FLT ON | LOW SHELF HIGH SHELF
OUT 1+2| 100Hz 0dB 10kHz 0dB

Filters: Main Settings

Page 1 of 2

Parameter Value Description

ON

FLT status

off

RST (Reset)

OUT1+2

Selected
Output(s)

OUT 1

OUT 2

SHELF

LOW Filter

CUT

off

Low frequency

Low gain
(Shelf mode only)

20Hz to

1.0kH z

-15dB to
+12 d B

HIGH Filter SHELF

CUT

off

High frequency

1.0kH z to
20kHz

High gain
(Shelf mode only)

-15dB to
+12 d B

Manual-10

Turns Filters ON for the
selected Output(s).

Turns Filters OFF
(bypass) for the selected
Output(s).

Select and press ENTER
to restore default settings.

View and adjust
parameters for both
Outputs simultaneously.
“Linked” mode.

View and adjust
parameters for Output 1
on ly.

View and adjust
parameters for Output 2
on ly.

Enables the Low Shelf
Filter.

Enables the Low Cut
Filter.

Disables the Low Cut/
Shelf Filter.

Sets the Filter corner
frequency.

Amount of cut or boost.

Enables the High Shelf
Filter.

Enables the High Cut
Filter.

Disables the High Cut/
Shelf Filter.

Sets the Filter corner
frequency.

Amount of cut or boost.

SUB | LOW CUT HIGH CUT LEVEL
| 20Hz 200Hz 0.0dB

Filters: Subwoofer Settings

Page 2 of 2

Parameter Value Description

Sets the Filter corner
LOW CUT
frequency

20Hz to 1kHz

frequency.

Can’t be set greater than

the High Cut frequency.

Sets the Filter corner
HIGH CUT
frequency

20Hz to 1kHz

frequency.

Can’t be set lower than

the Low Cut frequency.

LEVEL

+12dB to

-40dB or off

Amount of boost or cut.

Description

Shelf/Cut Filters tailor the upper and lower frequency ranges

of personal in-ear monitors.

A Low-Cut (aka High-Pass) Filter is often used to remove
frequencies below the lower limit of the transducer. Use the
Low-Cut Filter to remove low frequencies that tend to bottom
out less expensive earphones. Judicious use of the Low-Cut Filter
together with the SUB Output and a tactile thumper or seat
shaker can tidy up an in-ear mix considerably.

A High-Cut (aka Low-Pass) Filter is used to remove frequen­cies above a particular frequency. You might use the High-Cut
Filter to limit the frequency range to the upper cutoff of 15 kHz
common to many wireless transmitters.

Low- and High-Shelf Filters are similar to the simple bass
and treble tone controls found on most home stereos. Due to
those pesky laws of physics, some in-ear monitors benefit from
a slight boost in the bottom end using the LOW SHELF filter
centered around 100 Hz or so. Similarly, a slight boost in the 8
kHz to 12 kHz range of the HIGH SHELF filter helps brighten
and add some “air” to the overall mix.

+14

+12

+10

+8

+6

+4

+2

0

d

SHELF

-2

B

-4

-6

-8

-10

-12

-14

-16

-18

-20

-22

-24

-26

-28

-30
20 20k50 100 200 5001k2k 5k 10k

CUT

Hz

SHELF

Figure 1. Shelf/Cut Filter Characteristics

Multi-Band Compressor

e Compressor may be used in either full-range (M-BAND
off) or multi-band (M-BAND on) modes. Repeatedly press the
COMPRESS button to move through each frequency band
when M-BAND is set to ON.

Pressing the COMPRESS button displays the following:

Adjusting Crossover Points in Multi-Band Mode

To view or adjust crossover frequencies:

1. Navigate to the M-BAND parameter.

2. Rotate the DATA control to select SET and press ENTER.

3. Select a band crossover point and adjust with the DATA con­trol. Press ENTER to return to the COMPRESSOR.

CMP ON |BND THRSH RTO ATCK REL M-BAND
OUT 1+2| 1 0dB 2.0 10ms 100ms ON

Compressor

Parameter Value Description

ON

CMP status

off

RST

(Reset)

OUT1+2

Selected
Output(s)

OUT 1

OUT 2

BND

(Band)

THRSH
(reshold)

RTO

(R atio)

ATCK

(Attack)

REL

(Release)

1, 2, 3

-60dB to
0dB

1.0 to
INF

0.5ms to
100ms

1ms to
5sec

ON

SET

M-BAND

off

* Important note: the front panel Gain Reduction meter auto-

matically switches to display the amount of gain reduction being
applied to the currently selected band.

Turns Compressor ON for the
selected Output(s).

Turns Compressor OFF (bypass)
for the selected Output(s).

Select and press ENTER to restore
default settings.

View and adjust parameters for
both Outputs simultaneously.
“Linked” mode.

View and adjust parameters for
Output 1 only.

View and adjust parameters for
Output 2 only.

Repeatedly pressing the
COMPRESS button cycles
through each of the 3 Compressor
bands when M-BAND is ON.

e signal level above which
compression occurs.

Amount of output volume
reduction per input volume
increase above the reshold.

1.0 = no reduction,
INF = hard compression.

Determines how quickly the
output volume is reduced once
the input volume exceeds the
reshold.

Determines how quickly the
output volume returns to normal
(unity) once the input volume
drops below the reshold.

Turns Multi-Band mode ON.

Select and press ENTER to view
or adjust the multi-band crossover
frequencies.

Turns Multi-Band mode OFF.
Compressor works over the entire
20 Hz to 20 kHz range.

CMP |--------X---------X----------|
OUT 1+2 | BND1-2=200Hz BND2-3=2.0kHz

Multi-Band Frequency Page

Parameter Value Description

BND1-2
(Band 1-2)

BND2-3
(Band 2-3)

20 Hz to
20 kHz

20 Hz to
20 kHz

Low/Mid Crossover Frequency.
Can’t be set greater than the
BND2-3 Frequency.

Mid/High Crossover Frequency.
Can’t be set lower than the BND1­2 Frequency.

Description

Custom tailoring of the program material dynamics is
possible using the multi-band compressor. e audio signal is
divided into distinct frequency ranges, which are then individu­ally compressed as desired before being recombined to form the
processed signal.

A common application for multi-band compression is to
compress low frequencies more (or otherwise differently) than
the mid and high frequencies. How many times have you heard
this: “Why do the vocals disappear with every bass drum hit? It
gives my mix this weird pumping sound.” is phenomenon is
likely due to using a full-range (broadband) compressor across
the entire mix. In this scenario the low frequency energy from
the bass drum triggers the compressor, dragging all frequencies
down evenly with every hit.

Multi-band compressor to the rescue! Try adjusting the
compressor’s crossover frequency point to compress just the low
frequency range (say, 200 Hz and below) while keeping the
vocals and guitars strong and present.

e multi-band compressor used in the MM 42 is of the rms
(root mean square) variety with a soft-knee characteristic for a
pleasant, musical response.

+20

+18

+16

+14

+12

+10

+8

+6

d

+4

B

+2

0

O

-2

U

-4

T

-6

P

-8

U

-10

T

-12

-14

-16

-18

-20

-20 [phone] +5 +10 +15

dB INPUT

Figure 2 Compressor Characteristic (various Ratios)

Manual-11

Parametric Equalization

Parameters

Repeatedly press the EQ button to move through each of the

five EQ bands.

PEQ ON | EQ GAIN FREQ BW (Q)
OUT 1+2| 1 0dB 100kHz 1/3 (4.3)

Multi-Band Peak Limiter

Parameters

e Compressor may be used in either full-range (M-BAND
off) or multi-band (M-BAND on) modes. Repeatedly press the
COMPRESS button to move through each frequency band
when M-BAND is set to ON.

Pressing the LIMIT button displays this edit page:

Parametric Equalization

Parameter Value Description

Turns PEQ ON for the selected
Output(s).

Turns PEQ OFF (bypass) for
the selected Output(s).

Select and press ENTER to
restore default settings.

PEQ status

ON

off

RST (Reset)

View and adjust parameters for

OUT1+2

both Outputs simultaneously.
“Linked” mode.

Selected
Output(s)

EQ

GAIN

FREQ

(Frequency)

BW

(Bandwidth)

OUT 1

OUT 2

1, 2, 3,
4, 5

-15dB to
+12 d B

20Hz to
20kHz

1/24 to 4
octaves

View and adjust parameters for
Output 1 only.

View and adjust parameters for
Output 2 only.

Repeatedly pressing the EQ
button cycles through each of
the five EQ bands.

Amount of boost or cut.

Filter center frequency.

Filter bandwidth (Q).

Description

Use the 5-bands of parametric equalization (PEQ) to
smooth out the frequency response of personal monitors, to
sweeten the overall mix, or to compensate for an artist’s hearing
loss.

Handy tip: You can equalize each side of a stereo mix differ­ently by selecting and adjusting the OUT1 and OUT2 param­eters individually instead of selecting OUT1+2.

+20
+18

+16

+14

+12

+10

+8

+6

+4

+2

0

d

-2

B

-4

-6

-8

-10

-12

-14

-16

-18

-20

-4 +4-3.5-3 -2.5-2 -1.5 -1 -0.5 0 +0.5 +1 +1.5 +2 +2.5 +3 +3.5

Hz

Figure 3 Parametric EQ (various Q settings)

Manual-12

LIM ON |BND THRSH ATCK REL M-BAND
OUT 1+2| 1 0dB 10ms 100ms ON

Peak Limiter

Parameter Value Description

LIM status ON

off

RST

(Reset)

Selected
Output(s)

OUT1+2

OUT 1

OUT 2

BND

(Band)

THRSH
(reshold)

ATCK
(Attack)

REL

(Release)

1, 2, 3

-60dB to
0dB

0.5ms to
100ms

1ms to
5sec

ON

SET

M-BAND

off

* Important note: the front panel Gain Reduction meter auto-

matically switches to display the amount of gain reduction being
applied to the currently selected band.

Turns Limiter ON for the selected
Output(s).

Turns Limiter OFF (bypass) for
the selected Output(s).

Select and press ENTER to restore
default settings.

View and adjust parameters for
both Outputs simultaneously.
“Linked” mode.

View and adjust parameters for
Output 1 only.

View and adjust parameters for
Output 2 only.

Repeatedly pressing the LIMIT
button cycles through each of the
3 Limiter bands (when M-BAND
is set to ON).

e signal level above which limit­ing occurs.

Determines how quickly the
Limiter’s output volume is reduced
once the input volume exceeds the
reshold.

Determines how quickly the
Limiter’s output volume returns
to normal (unity) once the input
volume drops below reshold.

Turns Multi-Band mode ON.

Select and press ENTER to view
or adjust crossover frequencies.

Turns Multi-Band mode OFF.
Limiter works over the entire 20
Hz to 20 kHz range.

Adjusting Crossover Points in Multi-Band Mode

To view or adjust crossover frequencies:

1. Navigate to the M-BAND parameter.

2. Rotate the DATA control to select SET and press ENTER.

3. Select a band crossover point and adjust with the DATA con-

trol. Press ENTER to return to the LIMITER page.

LIM |--------X---------X----------|
OUT 1+2 | BND1-2=200Hz BND2-3=2.0kHz |

Multi-Band Frequency Page

Parameter Value Description

BND1-2
(Band 1-2)

BND2-3
(Band 2-3)

20 Hz to
20 kHz

20 Hz to
20 kHz

Low/Mid Crossover Frequency.
Can’t be set greater than the
BND2-3 Frequency.

Mid/High Crossover Frequency.
Can’t be set lower than the BND1­2 Frequency.

Peak Limiter Description

e three-band peak Limiter sets the maximum signal level
allowed to pass through to the main Outputs. Unlike a Com­pressor, which acts to maintain an average (rms) signal level
about a reshold, the Limiter acts quickly to prevent any signal
— such as the transient from unplugging a phantom-powered
microphone — from exceeding a set reshold. As is done in
the Compressor section, the signal is split into three user-de­fined ranges, each with its own reshold, Attack and Release
controls. e Limiter and Compressor do not share a common
crossover. It is possible to choose completely different frequency
settings for the Limiter than the Compressor.

Handy tip: For vocal-heavy mixes try limiting the mid fre­quencies slightly more than the low and high frequencies. is
should help smooth things out during the loud part at the song’s
climax, just before the big key change.

+20

+18

+16

+14

+12

+10

+8

+6

d

+4

B

+2

0

O

-2

U

-4

T

-6

P

-8

U

-10

T

-12

-14

-16

-18

-20

-20 [phone] +5 +10 +15

dB INPUT

Figure 4 Peak Limiter Characteristic

Using the Cue Bus

Monitor engineers rejoice! e on-board CUE BUS allows
you to solo mixes from one or more MM 42s without having to
constantly re-patch headphones between units. Simply connect
the multiple MM 42s together using the CUE BUS jacks, plug
your headphones into any MM 42 (it doesn’t matter which one),
and press the front panel CUE BUS button on the unit you wish
to monitor. e signal from that unit is automatically routed to
the Cue Bus and can be monitored from any MM 42 using the
PHONES or CUE OUTs.

See the Cue Bus Configuration section on page Manual­14 for details on setting up the various Cue Bus functions and
operating modes.

Connecting Multiple MM 42s

Connect multiple MM 42s together on the Cue Bus using
the included telephone-style cable. ere are no dedicated “in”
or “out” connections – either jack can be used to daisy-chain the
Cue Bus of one MM 42 to the next.

Note: it is NOT necessary to create a loop between the first MM
42 in the chain and the last.

ere’s no need to panic if you happen to lose a Cue Bus
cable while on tour in Boise, Idaho…at 8 PM…on a Sunday.
Simply find the nearest unused telephone and borrow the cable.
Check to make sure the cable has at least the four middle con­ductors (metal prongs) connected on each end. And don’t forget
to return the cable at the end of the tour.

Using the Cue Bus Outputs (rear panel)

In addition to appearing on the front panel PHONE jacks,
the CUE BUS signal appears on the rear panel CUE OUT 1
(left) and CUE OUT 2 (right) jacks.

Connect these Outputs to a spare transmitter/beltpack so
you always monitor the signal exactly as the artist hears it. Also,
should the artist’s transmitter or receiver ever fail, you can save
the day (and ensure your position as monitor engineer to the
stars for years to come) by cueing up their MM 42 mix, running
onstage in the official “crouched roadie” position, and swapping
in the spare beltpack.

Alternately, connect the CUE OUTs to unused inputs on the
monitor console so you can cue individual input channels (kick,
snare, etc.) and the processed ear mixes directly from the mixing
console. Simply solo the appropriate channels on the monitor
console, then use the MM 42’s front panel CUE BUS button to
switch between different mixes.

Working in 2-MONO mode

When working in 2-MONO mode the Cue Bus signal
automatically follows the currently selected output. To select an
output to monitor and/or edit:

• Change the Selected Output parameter on any processing

page - Filter/Sub, Compress, EQ, Limit; or

• Quickly double-bump (push-release, push-release) the OUT-

PUT control.

Manual-13

Storing and Recalling Memories
(Presets)

e current CONFIG settings and parameters for all
processing sections (filter/sub, compressor, EQ, and limiter) are
saved when you store a Memory. Input and output levels and all
UTILITIES settings are not stored.

Pressing the MEMORY button displays this edit page:

Utilities

Repeatedly pressing the UTILITIES button cycles through

the following useful pages.

Cue Bus Conguration

CUE BUS| CUE/PHONES PROCESSING MODE
1ON BUS| STEREO POST LATCH

MEMORY |STORE : 1 STEREO DEFAULT
|RECALL: 1 STEREO DEFAULT *MOD

MEMORY

Parameter Value Description

STORE 1 to 16

RECALL 1 to 16

*MOD

To store all processing and configuration settings to a
Memory location:

1. Press the  key once to navigate to the STORE field.

2. Rotate the DATA control to select a Memory number to

STORE to and press ENTER, producing this screen:

Memory location stored to.

Memory location recalled from.

e *MOD flag appears when
parameters have been changed since
the last Memory Recall or Memory
Store.

NAME MEMORY 1: MEM 1
CANCEL

3. Give the Memory a meaningful name. Use the  and

 keys to move between character fields. Select the characters

by rotating the DATA control. A maximum of 16 characters is
permitted.

4. Press ENTER to move the cursor to the flashing STORE

field. Press ENTER to complete the operation.

e Memory store operation can be cancelled at any time by
pressing (you guessed it) the CANCEL button.

To recall a stored Memory:

1. Navigate to the RECALL field.

2. Rotate the DATA control and select the Memory to recall.

3. Press ENTER.

e audio outputs mutes briefly when a Memory is recalled.

Utility: Cue Bus Conguration

Page 1 of 6

Parameter Value Description

ON BUS 1 to 4

STEREO

CUE/
PHONES

PROCESSING

MODE

On Bus

When connecting multiple MM 42s via the Cue Bus, set
each unit’s ON BUS parameter to match the number of con­nected units, to a maximum of 4. For example, if three MM 42s
are connected, set the ON BUS parameter of all units to 3. is
parameter is especially important if you need to precisely match
the gain settings of a spare transmitter/beltpack to those of the
primary transmitter/beltpack.

It is possible to connect more than four MM 42s to the Cue
Bus, but be aware that there will be a slight loss in the Cue/
Phones signal for each additional connected device. is loss
equates to 6 dB per doubling of the number of devices, and can
be compensated for by turning up the PHONES level or by ad­justing the input gain of the spare transmitter/beltpack if using
the CUE outputs.

Important note: e main outputs (OUT 1, 2 & SUB) are
not affected by adding or removing MM 42s to or from the CUE

BUS. Only the front panel PHONES and rear panel CUE OUTs
are affected.

MONO 1

MONO 2

PRE or
POST

LATCH or
MOMENT

Number of MM 42s connected
to the cue bus.

Left/right mix (OUT 1/OUT
2 assignment) is sent to the
Cue/Phones.

OUT 1 is sent to both channels
of the Cue/Phones.

OUT 2 is sent to both channels
of the Cue/Phones.

Selects whether the Cue/Phones
signal is pre- or post processing.

Selects between latching or
momentary Cue Bus mode.

Warning: the current processing and configuration settings will

be overwritten with the content of the selected Memory.

Manual-14

Processing

e PROCESSING parameter determines whether the cued
signal is monitored pre- or post-processing. is feature is espe­cially useful for doing a before-and-after comparison to hear the
effect of the channel processing and only affects the Phones and
CUE Outputs – the Main Outputs (OUT 1, OUT 2) and SUB
Output are always post-processing. Did you really get that low-

end compression properly dialed in? Is the PEQ adding enough air
to the mix? Use the pre/post feature to hear for yourself – without

disrupting the artist’s mix.

Mode

When LATCH mode is selected, pressing the CUE BUS but­ton once routes the MM 42’s signal to the Cue Bus and the front
panel PHONES jacks. Pressing the CUE BUS button again
removes the signal from the Cue Bus. It is possible (but poten­tially confusing) to have multiple MM 42s active on the Cue Bus
at the same time. To avoid audio mayhem, always remember to
deactivate one MM 42 (by pressing its CUE BUS button) before
cueing another.

When MOMENTARY mode is selected the MM 42’s signal
is routed to the Cue Bus and front panel PHONES jacks only as
long as the CUE BUS button is pressed and held. Use this mode
once the mixes are fully dialed in and you just need to do the
occasional spot check.

Gain Reduction Meter Mode

GAIN | <METER MODE>
REDUCTN| COMPRESSOR+LIMITER

MIDI Transfer

It is possible to transfer an individual Memory or all Memo-

ries from the MM 42 to another MM 42 or other MIDI device.

MIDI | MODE MEMORY
TRANSFR| SEND 1 SEND

Utility: MIDI Transfer

Page 4 of 6

Parameter Value Description

MODE
(Tra nsfer
Mode)

MEMORY

SEND /
RECEIVE

SEND or
RECEIVE

1 to 16,
ALL

(action is
flashing)

Set the transmitting unit to SEND,
set the receiving unit to RECEIVE.

Memory location to be sent /
received.

Select action and press ENTER to
begin transfer.

Utility: Gain Reduction Meter

Page 2 of 6

Parameter Value Description

COMPRESSOR
+ LIMITER

METER
MODE

Important note: When the Compressor or Limiter is being
edited, the Gain Reduction meter automatically switches to display
the amount of gain reduction being applied to the currently selected
band of that processing section. At all other times the Gain Reduc­tion meter follows the selected METER MODE in the UTILITY
menu.

MIDI Conguration

COMPRESSOR

LIMITER

Displays maximum gain reduction
of all Compressor and Limiter
bands.

Displays maximum gain reduction
of all Compressor bands.

Displays maximum gain reduction
of all Limiter bands.

MIDI | Rx Tx MERGE/THRU
CONFIG | OMNI 1 off

Utility: MIDI Conguration

Page 3 of 6

Parameter Value Description

Rx

Tx off, 1 to 16

MERGE/THRU o ff, O N

MIDI Rx (receive): in OMNI mode the MM 42 will respond
to MIDI data received on all MIDI channels.

MIDI MERGE/THRU: if MERGE/THRU is ON, incom­ing MIDI data is merged with MIDI data from the MM 42 and
sent to the MIDI OUT/THRU port.

off, 1 to 16,
OMNI

MIDI receive channel

MIDI transmit channel

MIDI merge/thru status

Transferring Memories between MM 42s

Connect the MIDI OUT/THRU of the transmitting MM

42 to the MIDI IN of the receiving MM 42.

Be sure the MIDI Rx and Tx of both units is not set to off.

On the receiving MM 42:

1. Set the receiving device to RECEIVE mode on the MIDI
TRANSFER page.

2. Select the MEMORY (1 through 16 or ALL) location in
which to store the incoming data.

3. Select the RECEIVE action (flashing) and press ENTER. e
following screen appears:

AWAITING MIDI DATA

PRESS CANCEL TO ABORT

On the transmitting MM 42:

1. Select SEND mode on the MIDI TRANSFER page.

2. Select the MEMORY (1 through 16 or ALL) location to send
to the receiving MM 42.

3. Select the SEND action (flashing) and press ENTER. e
sending MM 42 says SENDING MIDI DATA.

4. When incoming MIDI is detected the receiving MM 42 says

RECEIVING MIDI DATA.

5. When the transfer is complete both units display:

MIDI TRANSFER COMPLETE

PRESS CANCEL TO CONTINUE

If the following horrifying display appears on either unit
during the transfer there has been an error. Don't get mad, just
check all connections and settings and try again:

MIDI TRANSFER FAILED

PRESS CANCEL TO CONTINUE

Manual-15

TIP: Memory locations in the transmitting device can be stored
to any Memory location in the receiving device. For example, the
screens to store Memory location 1 from the transmitting device to
Memory location 3 in the receiving device (so as not to overwrite
Memory 1 in the receiving device) would be as follows:

Transmitting MM 42:

MIDI | MODE MEMORY
TRANSFR| SEND 1 SEND

Receiving MM 42:

MIDI | MODE MEMORY
TRANSFR| RECEIVE 3 RECEIVE

Backing up Memories to a PC or other MIDI Device

Be sure the MIDI Tx of the MM 42 is not set to off.

1. Connect the MIDI OUT of the transmitting MM 42 to the

MIDI IN of the receiving MIDI device.

2. Place the receiving device into “record” or “receive” mode.

Memories are stored as MIDI System Exclusive (SysEx) data,
so be sure to turn off any SysEx filters that may be in place
during record or playback. Consult the Owner’s Manual of
your MIDI device.

On the transmitting MM 42:

3. Select SEND mode on the MIDI TRANSFER page

4. Select the MEMORY (1 through 16 or ALL) location to send

to the receiving MIDI device.

5. Select the SEND action (flashing) and press ENTER. e

screens are the same as when transmitting between MM 42s
(see above).

Firmware Update

Firmware updates may be made available periodically to
address new features or fix reported problems. You can perform
the update using any MIDI device capable of playing back a
downloaded MIDI SysEx data file.

You can run the firmware updater file using any computer
equipped with a MIDI interface. In Windows, the default .MID
player (such as Windows Media Player) works if the correct
MIDI output is selected in Control Panel > Sounds and Audio
Devices > Audio > MIDI Music Playback. Refer to your MIDI
software or interface instructions.

To update firmware:

1. Download the latest firmware MIDI file (MM42*.MID) from

www.rane.com/mm42.html.

2. Press the UTILITIES button several times until the

UPDATE DEVICE FIRMWARE page is displayed.

3. Rotate the DATA control to select YES and press ENTER.

UPDATE DEVICE FIRMWARE? YES
CURRENT FIRMWARE VERSION *.*

4. Re-confirm the action. Rotate the DATA control to select

YES and press ENTER.

UPDATE DEVICE FIRMWARE:
ARE YOU SURE? YES

e MM 42 eagerly awaits for the incoming data…

AWAITING MIDI DATA

PRESS CANCEL TO ABORT

Name Device

An unnamed MM 42 will default with this display:

RANE CORPORATION MM 42
PERSONAL MONITOR PROCESSOR STORE

1. Rotating the DATA control under each character lets you

rename your unit to anything you wish. Use the  and
 keys to move between character fields. A total of 52 char­acters (2 lines of 26 characters each) is permitted.

2. Press ENTER to move the cursor to the STORE field. Press
ENTER to complete the operation.

e Name Device operation can be cancelled at any time by

pressing the CANCEL button.

5. Now play the MM42*.MID file. When incoming MIDI data
is detected the MM 42 displays:

FIRMWARE DOWNLOAD IN PROGRESS

…wait while the firmware is loaded...
…followed by a success message with the new version:

MM 42 FIRMWARE UPDATE SUCCESSFUL

VERSION *.*

Manual-16

Restoring Factory Defaults

IMPOR TA N T: the following procedure resets all parameters
in the MM 42, INCLUDING all stored Memory locations
(Presets). Follow the instructions in the MIDI Transfer section for
details on backing up user Memory locations before resetting the
unit.

We also recommend removing your earphones or otherwise turn
the signal DOWN before performing a reset.

e MM 42 can be restored to its original state (minus the
new audio gear smell, of course) by doing the following:

1. Press and hold the UTILITIES button.

2. Simultaneously press both the  and  keys.

e following screen appears:

RESET TO FACTORY CONFIGURATION? NO

Appendix: Additional Resources

Hearing Conservation

Hearing Education & Awareness for Rockers (H.E.A.R.)
PO BOX 460847
San Francisco, CA 94146
Phone: 415-409-EARS or (3277)
Email: [e-mail]
Web: www.hearnet.com

Earphone Manufacturers (Custom and Universal Fit)

Future Sonics Incorporated

P.O. Box 187
Pineville, PA 18946-0187
Phone: 877-FSI-EARS or Outside USA +01.598.8818
Email: [e-mail]
Web: www.futuresonics.com

Rotate the DATA control to select YES and press ENTER.

3. e following screen appears:

RESET TO FACTORY CONFIGURATION:
ARE YOU SURE? NO

Rotate the DATA control to select YES and press ENTER to
re-confirm the action.

MM 42 RESET TO FACTORY CONFIGURATION

Mission accomplished! e MM 42 is now reset to its origi­nal factory settings.

Sensaphonics
Hearing Conservation

660 North Milwaukee Ave.
Chicago, IL 60622
Phone: [phone]
Email: [e-mail]
Web: www.sensaphonics.com

Ultimate Ears

2657 Windmill Parkway #391
Las Vegas, NV 89074
Phone: [phone]
Toll Free: 800-589-6531
Email: [e-mail]
Web: www.ultimateears.com

Westone Laboratories, Inc.

P.O. Box 15100
Colorado Springs, CO 80935
Phone: [phone]
Email: [e-mail]
Web: www.westone.com/music

Bass Shaker / Tactile Transducer Manufacturers

Clark Synthesis, Inc.

Clark Synthesis Tactile Sound
8122 Southpark Lane Suite 110
Littleton, CO 80120
Phone: [phone]
Phone: [phone]
Web: www.clarksynthesis.com

e Guitammer Company Inc.

Post Office Box 82
Westerville, OH 43086
Phone: [phone]
Phone: [phone]
Email: [e-mail]
Web: www.guitammer.com

Manual-17

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©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 USA TEL [phone] FAX [phone] WEB www.rane.com

Manual-18

107833