Rane TTM 54I User Manual

OPERATORS MANUAL

Quick Start

For experienced turntablists, ninety percent of

the operation of the TTM 54i Performance Mixer is obvious — however, the TTM 54i also has many unique features. ese new features will be mastered more quickly if you read the entire manual. Right! We know some of you can’t resist jumping right in, so please read at least this portion of the manual. It will help you get a good start.

• GAIN TRIM: ese controls are intended to set the signal level before the Crossfader. Always set the GAIN TRIM controls to indicate an average signal level of +4 on the meter with the Program Faders set to maximum. Never use the GAIN TRIM controls to set the output level. Always use the MASTER LEVEL control to set the output level. is is a very simple thing, yet makes a huge diﬀerence in the performance

of your mixer.

TTM 54i

PERFORMANCE M IXER

• EFFECTS: e assignable eﬀects loop allows insertion of a stereo eﬀects processor into:

• Pre-Program Fader PGM 1....... Engage PGM 1 EFFECTS only.

• Pre-Program Fader PGM 2....... Engage PGM 2 EFFECTS only.

• Post-Crossfader MASTER........ Engage both PGM 1 and PGM 2 EFFECTS switches.

• Read sections  and  for more information.

• PHONES: e headphone output of the TTM 54i is a high power output stage (unlike most you have used before). ere are some notable diﬀerences…

• e headphone output of the TTM 54i delivers very high volume into your headphones.

• To avoid pain, never put headphones on your head and then plug them in.

• Always start with the PHONES LEVEL turned down and then turn it up to the desired level.

• Because of the high current and low output impedance, never short one side to ground or short left and right together as is possible with mono cup headphones. Note: Low power headphone stages typically use large resistors on their outputs, which

allow shorting, but prevent high power. e TTM 54i gives you high power but does not allow shorting.

• MIC LEVEL: For best performance, keep this control at 0 when not in use.

• For instructions on rotating Phono/Line switches to the desired location, see page Manual-6.

• Do not spray cleaner or lubricant into the front of the Program Faders or Crossfader. e ﬂuid will just run out the bottom of the unit. Never use unapproved cleaner or lubricants such as skateboard wheel lube, as corrosive damage may result, voiding the warranty. See page Manual-6 for cleaning and replacement instructions and cleaner recommendations.

• Never connect anything except an RS 1 Rane AC power supply to the thing that looks like a telephone jack on the rear. is is an 18 VAC center-tapped power unit. Consult the Rane factory for replacement or substitution.

• WEAR PARTS: is product contains the following wear parts subject to the ninety (90) day warranty period described on page Warranty-1: FT 45 Crossfader & Channel Fader Assembly(3); ST 2 Phono/Line Switch Assembly (2).

Manual-1

Front and Rear Panel Descriptions

-8

LEFT

-40 +10

RIGHT

-40

-8

68 4

HAMSTER

42 6

2 0

8 10

-7

-10

-20

-2

-4

+7 +4 +2

+10

CUE 1

+10

LEFT

-40 +10

+10-40

RIGHT

MASTER CUE

CUE 2

TREBLE

PGM 1

HAMSTER

CONTOUR

EFFECTS

BASS

PHONO

LINE

BALANCE

TREBLE

MIC

LEVEL

GAIN TRIM

PGM 1

GAIN TRIM

PGM 2

BASS

PGM 2

PHONES

LINE

PHONO

BALANCE

BASS

TREBLE

LEVEL

HAMSTER

CONTOUR

EFFECTS

MASTER/CUE

TTM 54i PERFORMANCE MIXER

AUDIO PRECISION FRQ_UB vs 11 AUG 98 10:34:42

-8

-7

-6

-5

-4

-3

-2

-20

-1

-5

2-CHAN(dBr

)

20 100 1k 10k 20

FREQ(Hz)

 PGM 1 and PGM 2 input GAIN TRIM controls adjust the input level. With the

Program Faders () at maximum, set GAIN TRIM to give a peak reading of +4 on the meter. Set the MASTER LEVEL () to minimum while adjusting). It is always best to run the input level at +4 to +7. Use the MASTER LEVEL to adjust the volume at the MASTER OUT ().

 BASS and TREBLE controls provide deep cut, Accelerated Slope™ EQ for PGM 1

and PGM 2. is unique EQ design makes it possible to eliminate the “sizzle” or “bass beat” without changing the vocal range. e graph in Figure 1 indicates the response of the ﬁlters.

 BALANCE controls are used for LEFT/RIGHT balance of PGM 1 and PGM 2 or

for LEFT/RIGHT Pan eﬀect. Push the control to the left and sound moves to the left channel. Push the control to the right and sound moves to the right channel.

 EFFECTS engage switches are provided for PGM 1 and PGM 2. ese two switches

determine the location of a single, assignable, stereo EFFECTS LOOP.

• PGM 1 & PGM 2 EFFECTS both out: EFFECTS is not engaged.

• PGM 1 EFFECTS switch in only: EFFECTS inserted pre-Program Fader PGM 1.

• PGM 2 EFFECTS switch in only: EFFECTS inserted pre-Program Fader PGM 2.

• PGM 1 & PGM 2 EFFECTS both in: EFFECTS inserted post-Crossfader Master.

 CONTOUR switches provide three tapers for PGM 1 and PGM 2 Program Fad-

ers. e numbers 6, 20 and 30 indicate the mid-point attenuation. Settings can

provide smooth fade or cut and scratch eﬀects. Note in Figure 2, the 6 dB setting provides a quick on contour for cut and scratch (0% travel is with Program Fader up). When used with the HAMSTER reversal switch, the Program Fader operates very similar to the Crossfader, allowing the same hand motion for cut and scratch operation. e 20 dB setting provides a normal audio taper while the 30 dB setting provides a more rapid fade out.

 HAMSTER switches reverse the operation of the adjacent PGM 1 and PGM 2

Program Faders. When engaged, signal is oﬀ with the Program Fader up, and maximum with the Program Fader down.

 PHONO / LINE source select switches are provided for PGM 1 and PGM 2. ese

are “clickless” switches suitable for “transform scratch” applications. e switches are replaceable and may be rotated. See page Manual-6 for rotation and replacement instructions.

 Program Fader controls for PGM 1 and PGM 2 are ultra low noise, long-life,

monorail devices. e control element is completely isolated from the audio using VCA circuits (voltage-controlled ampliﬁer), providing the highest reliability and performance. See page Manual-6 for cleaning and replacement.

 PGM 1 and PGM 2 Meters provide true L+R Dual Mono indication of Post-

Program Fader signal levels. Ten segment resolution is provided with a one second peak hold indication. With the Program Fader set to maximum, set the input GAIN TRIM to indicate an average level of about +4.

 Crossfader is implemented using Ranes’ VCA design. As with the Program Faders,

all audio is isolated from the control element, greatly extending the life and performance of the control. See page Manual-6 for cleaning and replacement.

Manual-2

Figure 1. PGM Bass & Treble Controls

100

CrossFader Contour

travel

dB Attenuation

Slow limit

Fast limit

100

0 10 20 30 40 50 60 70 80 9

0 100

% TRAVEL

dB ATTENUATION

6 dB

20 dB

30 dB

CUE 1

+10-40

RIGHT

MASTER CUE

CUE 2

GAIN TRIM

PGM 2

PHONES

LINE

PHONO

BALANCE

TREBLE

LEVEL

HAMSTER

CONTOUR

EFFECTS

MASTER/CUE

CROSSFADER

CONTOUR

HAMSTER

CROSSFADER HEADPHONES

PWR

MASTER LEVEL

11 12 16 17

Figure 2. Contour Switch

 CROSSFADER CONTOUR control allows adjusting the “shape” of the Crossfader response from

a gentle curve for smooth, long running fades, to the steep pitch required for top performance cut and scratch eﬀects shown in Figure 3.

 CROSSFADER HAMSTER control allows reversing the operation of the Crossfader. With the combina-

tion of ActiveFader™, CONTOUR control, and HAMSTER control, the TTM 54i provides a level of ﬂexibility and performance previously unavailable.

 PHONES LEVEL control adjusts the loudness of the Headphone output signal. Always start with the

LEVEL at minimum (CCW) and increase to a comfortable level with signal present and your headphones

on. is prevents tearing them oﬀ after you plug them in with the level set too high. is Headphone Ampliﬁer delivers very high sound pressure levels (SPL) into most headphones. Because of the high current and low output impedance, never short one side to ground or short left and right together as is possible with mono cup headphones. Note: Low power headphone stages typically use large resistors on their

outputs, which allow shorting, but prevent high power. e TTM 54i gives you high power but does not allow shorting.

 MASTER / CUE switch selects the HEADPHONES monitor source:

• Use MASTER to rehearse your performance. is signal is the same as that at the MASTER OUT, but is

not aﬀected by the MASTER LEVEL control.

• Use CUE to monitor the Program Input signal, so you can “Cue” a signal before fading it in. is signal is

not aﬀected by the Program Faders or Crossfader.

 PHONES PAN control is only active when CUE is selected. is control allows you to PAN between

PGM 1 or PGM 2.

 HEADPHONES jack provides a high current output, capable of driving headphones between 8 Ω and

600 Ω. Because the ampliﬁer is capable of high current drive, it is important that the outputs are not shorted together or to ground. Do NOT use single cup phones that short tip and ring.

 MASTER LEVEL adjusts the MASTER OUTPUT level for both the balanced and unbalanced outputs.

Figure 3. Crossfader Contour control

Manual-3

 POWER connector. is is not a telephone jack! Connect only the Rane RS 1 power supply included with your TTM 54i.

CLASS 2 EQUIPMENT

UNBALBAL

SEND RETURN

ACN001.187.837

MADE IN U.S.A.

RANE CORP.

U.S. PATENT PENDING

RETURN

SEND

INPUT

LINE 1

PHONO

2LINE 2

PHONO

MASTER OUT EFFECTS

MIC

PGM 2 PGM

EFFECTS

PHONO GND

TTM 54i

750mA

POWER

 MASTER OUT includes two sets of stereo outputs:

• e ¼" TRS jacks provide high current BALanced output, which should be used whenever driving equipment with a balanced input or running distances greater than about 10 feet (3 meters). Due to the high drive capability and low impedance, never use a mono ¼" Tip/Sleeve (no ring) cable in this jack; this grounds one side of the balanced output.

• Use the UNBALanced output for shorter runs, such as connecting to a recorder, looping to another mixer, or to other local signal processing or ampliﬁers.

 EFFECTS jacks are unbalanced mono ¼" Tip/Sleeve. is stereo loop is inserted in the signal path as in section .

• e SEND jacks provide the output to your eﬀects processor.

• e RETURN jacks provide an input for the signal returning from your eﬀects processor.

PGM 1 and PGM 2 inputs include both PHONO and LINE input.

• PHONO 1 and PHONO 2 inputs are RIAA compensated inputs with 18 dB per octave, 20 Hz rumble ﬁlters.

• LINE 1 and LINE 2 inputs are unbalanced line level inputs with a nominal sensitivity of -10 dBV.

• PHONO/LINE selection is made as described in .

• PGM 1 inputs are sent to the left side of the Crossfader. (HAMSTER switch out)

• PGM 2 inputs are sent to the right side of the Crossfader. (HAMSTER switch out)

PHONO GND terminals provide an independent ground connect point for two turntables. It is very important that each turntable have a very good ground connection to one of these terminals. e thumb screws are not captivated, so use care not to spin them oﬀ and lose them.

Important Note

CHASSIS GROUNDING

If your system exhibits excessive hum or buzzing, there is an incompatibility in the grounding conﬁguration between units some-

where. Here are some things to try:

1. Check that the turntable grounding wires are connected to the PHONO GND posts (

2. Try combinations of lifting grounds on units that are supplied with ground lift switches or links.

3. 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, or tied to the ground screw located just above the POWER jack.

4. is unit’s outboard power supply does not ground the chassis through the line cord. Make sure that this unit is 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.

Please refer to RaneNote “Sound System Interconnection” (supplied with this manual and available at our web site) for further

information on system grounding.

Manual-4

-8 +8

-8

BASS

TREBLE

MIC

LEVEL

AUDIO PRECISION MMIC_HF vs 11 AUG 98 11:09:01

-1

-8

-6

-4

-2

AMPL(dBr

)

100 1k 10k

FREQ(Hz)

e MIC INPUT is a balanced input speciﬁcally designed for a dynamic microphone.

MIC EFFECTS jacks are unbalanced mono ¼" Tip/Sleeve. is is an independent Eﬀects Loop for the mic. ere is no engage switch, so the mic signal is always processed when you have an eﬀects box connected.

• e SEND jack provides the output to your eﬀects processor.

• e RETURN jack provides an input for the signal returning from your eﬀects processor.

MIC LEVEL sets the gain of the Mic Input. e range of operation is oﬀ to +60 dB. ere is no engage switch, so set the MIC LEVEL to 0 when not in use. e OL indicator lights 6 dB before clipping. Adjust the MIC LEVEL so the OL indicator ﬂashes only when you shout into the microphone.

MIC TREBLE and BASS controls provide as much as 8 dB of boost or 8 dB of cut. Response is ﬂat when the controls are set to the center detent.

Figure 4. Mic Bass & Treble Controls

Manual-5

Fader Cleaning

+8-8

0 1

-40 +10

100

-40 +10

0 1

2 8

CUE 1 CUE 2

-8 +8

-40 +10

+10-40

MASTER CUE

BASS

LEVEL

MIC PGM 1

GAIN TRIM

BASS

TREBLE

PGM 2

LEVEL

PHONES

TREBLE

GAIN TRIM

BASS

TREBLE

MASTER/CUE

REPLACE FADER WITH RIBBON TO THE TOP

(4) SCREWS HOLD

FRONT PANEL

(4) SCREWS HOLD

FRONT PANEL

REPLACE FADER WIT

H RIBBON TO THE RIGHT

REPLAC

FADER WIT

H RIBBON TO THE RIGHT

With heavy use in harsh environments, the faders may need lubrication. is treatment extends longevity and can make used faders as good as new. e fader assembly must be removed from the TTM 54i for proper cleaning. We recommend any of the following cleaning solutions:

Caig Cailube MCL 100% spray lubricant

Caig Cailube MCL 5% spray cleaner

CRC 2-26 (www.crcindustries.com)

Figure 4. Phono/Line switch rotation or replacement

Rotating or Replacing Phono/ Line Switches

1. Remove the metal faceplace with a #2 philips screwdriver.

2. Remove the M2.5 x 6 mm screws with a #1 philips screw-

3. If replacing, remove the jumper cable from the old switch and

4. Rotate or install switch to desired PHONO position.

5. Reinstall the M2.5 x 6 mm screws with a #1 philips screw-

driver.

attach it to the new switch.

driver.

6. Replace the faceplate.

Replacement Parts

Replacement Phono/Line switch assembly: ST 2

Order CaiLube MCL

from: CAIG Laboratories, Inc. 12200 atcher Ct. Poway, CA 92064 Phone 858-486-8388 Fax 858-486-8398

(www.caig.com)

CLEANING INSTRUCTIONS

A. Front panel removal

1. Disconnect the power cord.

2. Remove (3) slide fader knobs.

3. Remove (4) #4-40 front panel screws.

Faders and switches are now accessible.

B. Fader assembly removal

To remove any single fader:

1. Remove (2) 3mm screws.

2. Draw fader assembly out through hole.

3. Remove ribbon cable.

C. Fader cleaning

1. Hold the fader assembly away from the mixer.

2. Position the fader at mid-travel.

3. Spray cleaner/lubricant into both ends of the fader.

4. Move the fader over its full travel back and forth a few times.

5. Shake excess ﬂuid from the fader assembly.

6. Wipe oﬀ excess ﬂuid.

D. Fader assembly installation

1. Connect the ribbon cable to the fader assembly.

2. Place the fader assembly in position with the ribbon connector to the right side or top, as shown.

3. Line up the fader screw holes with the mixer mounting holes.

4. Install (2 provided) 3mm screws. Using the wrong screw will

ruin the fader!

5. Replace the front panel and knobs.

Replacement Fader Assembly: FT 45

Follow steps A, B and D in the Fader Cleaning instructions.

Replacement assemblies are available from your local Rane dealer.

Manual-6

104034

Rane TTM 54I User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual