BY J. ARIF VERNER

Rane's DMS 22 Dual Mic Stage Preamplifier addresses this market. But this unit takes an extra step with the addition of equalization and a stereo mixer. It's an interesting design since it all fits into one rack space.

Features

On the back panel are XLR mic inputs and a slide switch for low-frequency control. This switch acts as a high-pass filter that rolls off low frequencies at three different locations: 15 Hz, 50 Hz and 100 Hz. When set to 15 Hz, there is no roll-off to the low end within the normal audio frequency range. Settings of 50 Hz and 100 Hz can remove mic bumps, rumble and other types of low-end noise and interference.

The DMS 22 has four balanced outputs: two 1/4" XLR and two TRS connectors. The TRS outputs are routed in a dual mono configuration only. This offers complete channel separation. The XLR outs are designed for stereo processing via the pan controls on the front panel. Also note that the TRS and XLR connectors can be active at once. For example, you could send one set of signals to a DAT and the other to your- monitors.

Also on the rear panel is the remote power supply input, a ground connector and a ground lift switch. Rane's power supply input connector looks like a telephone jack. In fact, the documentation states, 'This is not a telephone jack." The power cord connects to a separate in-line AC transformer that has an extended line-to-plug so that it does not cover the power strip like an ordinary wall-wart. (Editor's Note: We would not dare call it a wall-wart considering the scolding we received from Rane last time.)

For grounding problems, a slide switch can be set to chassis ground or signal ground. Both settings should be tried to find the one producing the least hum. And last but not least, there is a ground screw. This can be used in lieu of the grounding pin not included on the AC cord.

The DMS 22 uses an identical dual input design for both channels. In other words, all of the controls for the left and right inputs are the same. I would have liked a “bridge” switch on this box so if you were doing a stereo recording, channel one's settings would automatically bridge over to channel two. This would eliminate any guesswork when trying to match settings. Positioned in the middle of the front panel is a stereo output control. This rotary knob acts as an attenuator for the stereo outs. And to engage the stereo outs, the “pan” position button needs to be activated. A bit confusing, but what we have here is a stereo routing system activated by the pan buttons through the XLR connectors.

As to be expected, Rane includes the standard input and output controls and an overload (OL) indicator. This LED kicks in when the signal is within 4 dB of clipping. Also included on the front panel is a polarity switch. This corrects any phase problems by reversing the signal polarity — another nice touch. And of course there is a 48 V phantom Power switch with LED.

What sets the DMS 22 apart from the crowd is the EQ section. With an "engage" switch, you have the choice of utilizing the EQ or not. When set to off, the unit provides a "hard-wire" bypass around the equalizer section. This is a design feature similar to the direct outs found on most board mixers and it provides an extra clean signal. But when you need the EQ, Rane has some interesting twists and turns.

A three-band EQ is provided on both channels. HI shelving frequencies are switchable at 7 kHz and 12 kHz. And the LO settings are at 50 Hz and 100 Hz. The midrange section is parametric with bandwidth settings at 1/3 octave, one octave, or two octaves. Center frequencies are sweepable over a range of 95 Hz to 4 kHz. All three bands range from -15 dB to +12 dB. Rane adds a nice feature by providing center indents for the level controls. This ensures that a "zero" setting gives you a flat response. All in all, the EQ did a good job. The overall sound was smooth without additional noise. By the way, the signal-to-noise ratio is respectable at 97 (re +4 dBu).

In use

I put the Rane to work in a session with Zenophile recording artist, Samite of Uganda. Our main barometers were vocal tracks with some acoustic instruments. Tracks were printed onto an ADAT. We were curious to A-B this unit against another very popular tube preamp on the market. The Rane had less headroom than the other unit. I figured that by matching both ADAT signals, the DMS 22 would have a greater noise-floor. Not so. It was stone quiet. Soundwise, the DMS 22 was rounder and fuller while our comparison unit seemed a bit more transparent. It all boils down to your preference. And while the Rane had less headroom, it did have the versatile EQ section (which our comparison unit did not).

Summary

Rane states that the DMS 22 is perfect for studio recording, but with the convenient rack design. I think it also could be popular in live performance applications.

Ergonomically. the design is well thought out. The rotary knobs are smooth and easy to use. However, some people might find the slide-switches difficult to maneuver. They are a bit small, especially if you have big fingers.

Most importantly, however, the DMS 22 sounds clean and accurate. And the price is right. If you are in the market for an affordable, versatile mic preamp, the Rane DMS 22 deserves your attention.