Rane FMI 14 Preamplifier Module
Mic/Line Input, 48V Phantom, Parametric Mid EQ, Master A/B Outputs, 2 Send Outputs. PLEASE READ FULL Description prior to purchase.
5 en stock
These Rane preamp modules are somewhat hard-to-find. They have a very good sounding Mic input along with a really sweet EQ section. (see notes in Red). The EQ uses Rane's Accelerated Slope design and the Mid band EQ is a Parametric Design, sweepable from 95 HZ through 4KHZ. The modules are designed to be used in Rane's Flex mount chassis, but can be used independent of a frame with the proper power supply. These were constructed in the early 90's and could easily be incorporated into a small lunch box style package. They have multiple outputs that can be controlled easily from the front panel.
Known Defects: We have found a common problem with all of the FMI 14 modules, specifically this: the 3 Boost/Cut controls in the EQ section have a detent at the center position, and they are noisy when crossing the center detent position. This is most noticeable on the mid-sweep control, but measurements have shown it’s common to the Hi and Low frequency controls as well. For some applications this may not be a problem, but please be aware that there will be some noise when changing frequency settings on these modules.
FRONT PANEL DESCRIPTION
1. MIC / LINE SELECT SWITCH. A pushbutton switch which in its out position deter-
mines that the 3-pin microphone input on the rear will be active and structures the input gain accordingly. In the in position the balanced 1/4" line input is active and gain is reduced to suit.
2. 48V PHANTOM POWER SWITCH. In the "on" position, 48 volts D.C. phantom
power is applied to pins 2 and 3 of the 3-pin microphone input connector, per DIN 45596 & IEC 268-15.
3. INPUT GAIN CONTROL. This rotary control increases INPUT gain as it is rotated
clockwise. Its range is from 20dB at full CCW rotation to 60dB at full CW rotation.
4. 20dB PAD SWITCH. In its 20dB postion, this switch decreases the gain range of the
input gain control, by 20dB, which is times ten. If it is set to its "norm" position, the calibrations indicated above are true.
5. CHANNEL OVERLOAD INDICATOR. This red LED illuminates any time any signal
level is within 4dB of clipping. Five key locations are monitored.
6. HIGH FREQUENCY EQ CONTROL. This rotary control determines the amount of
boost or cut applied to the FMI 14's passband by its Accelerated Slope™ high frequency filter. The center detent, cleverly placed at the center of rotation of this control, provides a ground for the filter which bypasses it. Rotating this knob clockwise increases the gain of the of the mixer above 7kHz in a shelving fashion to a maximum of + 12dB; CCW from center decreases the gain to a minimum of-15dB.
7. MIDRANGE EQ CONTROL. As above, clockwise rotation increases gain, however in
this instance we have a bandpass type curve as opposed to a shelving characteristic. Again, the range is from -15dB to + 12dB.
8. MIDRANGE BANDWIDTH SELECTOR. This three-position switch aUows the user to
select 1/3, 1 or 2 octave coverage from the midrange filter.
9. MIDRANGE CENTER FREQUENCY CONTROL. A rotary control which determines
the center frequency of the midrange filter. Its range is from 95Hz to 4kHz.
10. LOW FREQUENCY EQ CONTROL. This rotary control determines the amount of
boost or cut applied to the FMI 14's passband by its Accelerated Slope low frequency filter. The center detent provides a ground for the filter which bypasses it. Rotating this knob clockwise increases the gain of the mixer below lOOHz to a maximum of + 12dB in a shelving fashion; CCW from center decreases the gain to a minimum of -15dB.
11. EQUALIZER DEFEAT SWITCH. In its out position, all audio is routed around the
equalizer section defeating its action. Only when it is pressed in will any of the equalizer controls be active.
12. AUX SEND SELECTOR SWITCHES. These switches determine the source for the
auxiliary outputs, A and B. In the PST FD position, the respective aux out is picked up after the master level controls. In the PRE FD position, the source is after the EQ, if engaged, but prior to the master levels. If PRE EQ is used, the signal is obtained before it gets to the equalizer section.
13. AUX A / B SEND CONTROLS. These rotary controls determine the output level to
both the direct 1/4" Aux outputs on the rear as well as the Aux sends in me bus output connector.
14. MASTER A / B LEVEL CONTROLS. These concentric rotary controls determine the
output level to both the direct 1/4" master outputs on the rear as well as the master cutouts in the bus output connector. Rotated together, they act as a conventional level control. Rotated individually, they create a pan function.
15. POWER INDICATOR LED. This yellow LED illuminates any time an approved Rane
AC remote power supply such as an RS 1 (included) or an FRS 8 is connected to the unit and is active.
REAR PANEL DESCRIPTION
1. 3-PIN MICROPHONE INPUT CONNECTOR. Pin 2 is positive, pin 3 is negative and
pin 1 is signal ground.
2. 1/4" LINE INPUT CONNECTOR. This 1/4" TRS connector is used for connecting a
line level input to the FMI 14. Tip is (+), ring is (-) and sleeve is ground.
3. 1/4" INSERT CONNECTOR. This 1/4" TRS connector is to be used to connect external processing, such as effects and equalizers to the input section of the FMI 14. The tip is send, the ring is return and the sleeve is ground. Forward-thinking products such as the Rane FPE 13 and FME 15 equalizers have TRS jacks on them that directly connect to this patch input with a stereo cable wired tip to tip, ring to ring, and sleeve to sleeve. See the block diagram on the FMI 14 data sheet for exact location of this insert.
4. FLEX BUS INPUT. This connector is intended to be used to connect the FLEX bus output of another Rane FLEX unit to the FMI 14. See the system connection section for details.
5. FLEX BUS OUTPUT. This connector is intended to be used to connect the FMI 14 to another piece of Rane FLEX equipment.
NOTE: Special cabling may be constructed which would allow the
bus inputs and outputs to be used for direct inputs and outputs.
See the Flex User's Guide for additional information.
6. AUX A / B OUTPUTS. These are unbalanced direct aux outputs. These outputs contain only local material. This means that any Aux material on the bus input will not be present at these outputs. See the FMI 14 data sheet block diagram for details.
7. MASTER A / B OUTPUTS. These are balanced 1/4" outputs. Tip is (+), ring is (-) and
sleeve is ground.
8. GROUND LIFT SWITCH. This switch provides the ability to separate chassis ground
and signal ground. Normally, this switch should be in the LIFT position. In some circumstances it may be necessary to move it to the opposite position to eliminate stubborn hum and buzz problems.
9. REMOTE POWER SUPPLY INPUT. The FMI 14 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 FMI 14 call for an 18-24 volt AC center-tapped transformer only.
NEVER USE A POWER SUPPLY WITH YOUR FMI 14 OTHER THAN THE ONE SUP-
PLIED OR AN EXACT REPLACEMENT OBTAINED FROM RANE CORPORATION.
Using any other type of supply may damage the unit and void the warranty.
10. GROUND CONNECTOR. Since the FMI 14 is powered from a remote AC power supply which does carry chassis ground through to the grounding pin of the AC cord, this threaded hole has been provided in case your system does not have another earth grounding means such as through rack rails, etc. Its use or disuse should be determined by your specific application.