Rane ME 30B EQ Operators Manual 电路图.pdf

Manual-1 OPERATORS MANUALME 30B microGRAPHIC EQUALIZER QUICK START If this is your fi rst equalizer, please do yourself and your speakers a favor and read the complete manual. “An ounce of prevention.,” and all that. You may use either the XLR or TRS connector for Input or Output. Hook-up is intuitive. Just follow the silkscreened in- structions on the rear of the unit. Polarity convention is per IEC/ ANSI/AES standards of pin 2 positive, pin 3 negative and pin 1 shield. The ME 30B does not invert the signal. Only connect one INPUT type per channel. The XLR and TRS Inputs do not WEAR PARTS: This product contains no wear parts. 6 4 2 1 6 4 0 1 2 + 6 100 2 4 8 6 ME 30B 40031.5254063501008016012525020031512.5k1k6305008001.6k1.25k2k3.15k2.5k5k4k8k6.3k10k20k16kMASTER CONTROL POWEROLLEVELRANGEBYPASS 12 12 8 5 2 8 0 2 5 MICROGRAPHIC EQUALIZER + 12 sum. You may, however, use both types of OUTPUTS simul- tanesously if desired. Anyone familiar with other graphic equalizers fi nds the ME 30B just as familiar. Setting curves is as easy as it is on all Rane graphics thanks to our innovative constant-Q circuitry. If you feel you want more information on setting up your curves, please read on. If you are familiar with equalizers, then hook-up, plug-in, turn-on and go! RadioFans.CN 收音机爱 好者资料库 Manual-2 REAR PANEL DESCRIPTION FRONT PANEL DESCRIPTION XLR INPUT jack: Accommodates balanced signals. Rane adheres to the international and U.S. standard for balanced pin con- fi gurations: Pin 1 is chassis ground (neutral), pin 2 is hot (positive), and pin 3 is signal return (negative). Choose between this and the TRS Input jackuse only onethey do not sum. TRS INPUT jack: This TRS (Tip-Ring-Sleeve) jack accommodates either balanced or unbalanced signals. For an unbal- anced signal use a mono plug (single conductor with shield). For a balanced signal use microphone cable (two conductor with shield) with a TRS plug. Choose between this and the XLR Input jackuse only onethey do not sum. Refer to the included RaneNote, “Sound System Interconnection” for unbalanced wiring. XLR OUTPUT jack: This balanced output is wired per AES standards of pin 2 “hot”, as described above in . TRS OUTPUT jack: This TRS (tip-ring-sleeve) balanced jack is compatible with either balanced or unbalanced systems. For balanced systems, use a microphone cable wired with pin 1 is chassis ground (neutral), pin 2 is hot (positive), and pin 3 is signal return (negative). Refer to the RaneNote, “Sound System Interconnection” for unbalanced wiring. LEVEL control: Sets the level of signal coming into the ME 30B. Turn this control down if the OverLoad LED lights up steadily (meaning too strong an Input signal). Since actual unity gain depends on varying slider settings (which is why we have not marked a unity gain position on the front panel), use the BYPASS switch to determine the exact unity gain position of this LEVEL control by comparing EQ and BYPASS volumes. The OL indicator lights up if any section of the ME 30B is within 3 dB of clipping. Oc- casional blinking of this LED is acceptable, but if it remains on more than intermittently, turn down either the LEVEL control or reduce the output level of the preceding component to avoid audible distortion. BYPASS switch: When the red LED is lit, this indicates that the unit is in the BYPASS mode: signal is routed directly from the Input to the Output without passing through any active circuitry (often referred to as “hard-wire bypass”). Use this switch to com- pare equalized and unequalized material, or to bypass the EQ section in the event of power loss or unit failure. Filter RANGE switch: The gain range of the fi lter sliders is switchable (as a group) from 6 dB for high resolution, to 12 dB for maximum boost/cut capability. Filter level slide controls: Each of these sliders controls the output level of each of the bandpass fi lters. Center position is grounded for guaranteed fl at response. ON switch: As you have astutely surmised by now, this switch powers up the ME 30B. 6 4 2 1 6 4 0 1 2 + 6 100 2 4 8 6 ME 30B 40031.5254063501008016012525020031512.5k1k6305008001.6k1.25k2k3.15k2.5k5k4k8k6.3k10k20k16kMASTER CONTROL POWEROLLEVELRANGEBYPASS 12 12 8 5 2 8 0 2 5 MICROGRAPHIC EQUALIZER + 12 12354 WIRING TIP / PIN 2 = POSITIVE RING / PIN 3 = NEGATIVE SLEEVE = SIGNAL GROUND PIN 1 = CHASSIS GROUND MADE IN U.S.A. RANE CORP. OUTPUT ME 30B INPUT N108 50/60 Hz 12 WATTS 120 V FOR CONTINUED GROUNDING PROTECTION DO NOT REMOVE SCREW WARNING TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. 4132 RadioFans.CN 收音机爱 好者资料库 Manual-3 IMPORTANT NOTE CHASSIS GROUNDING If after hooking up your system it exhibits excessive hum or buzzing, there is an incompatibility in the grounding confi gura- tion between units somewhere. Your mission, should you accept it, is to discover how your particular system wants to be ground- ed. Here are some things to try: 1. Try combinations of lifting grounds on units that are supplied with ground lift switches or links. 2. 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. 3. Units with outboard power supplies do NOT ground the chassis through the line cord. Make sure that these units are 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. ME 30B CONNECTION When fi rst connecting the ME 30B to other components, leave the POWER switch off until the very last. This gives you a chance to make mistakes and correct them without damaging your fragile speakers, ears and nerves. INPUTS Both XLR and TRS Inputs are wired in parallel and are actively balanced. Each works equally well. Choose strictly from a required hardware point-of-view, there will be no performance trade-off s. The wiring convention adheres to American, British and International standards of pin 2 or tip being hot, pin 3 or ring being return, and pin 1 or sleeve being shield. Unbalanced operation involves using only pin 2 or tip as signal, and pin 1 or sleeve as sheild or ground. It is not necessary to short any inputs to groundit doesnt hurt, its just not necessary. Use pin 1, or the shell, for shield ground. OUTPUTS The Outputs mimic the Inputs. Balanced output requires using pin 2 or tip, and pin 3 or ring for the signal. It does not require pin 1 or shield. The signal exists diff erentially between the two balanced leads; ground is not involved. For hum-free systems ground is used only for shielding. EXPANDING Expanding and/or daisychaining the Inputs and Outputs normally uses the jacks. Three parallel Input connectors allows driving a second signal processor or amplifi er without special cabling. SIGNAL LEVELS Signal levels from -10 dBV to +4 dBu are considered normal and within range (at least 20 dB of headroom exists above these levels). Do not directly connect microphones into the ME 30B. These require an external mic preamp. RadioFans.CN 收音机爱 好者资料库 Manual-4 106304 Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 TEL 425-355-6000 FAX 425-347-7757 WEB OPERATING INSTRUCTIONS Insuring the proper level of gain though the ME 30B is just as important as adjusting the equalizer bands. Improper gain distribution is a common cause of loss of system headroom and less than optimum noise performance. The OVERLOAD LED informs of an imminent or passed overload to the equalizer. Occasional blinking of the OL with program source material is fi ne, indicating optimized signal-to- noise performance of the ME 30B. Run the ME 30B with an input signal that is as hot as possible without the OL lighting more than occasionally. The BYPASS switch allows comparison of equalized versus un-equalized signal. It is also useful in adjusting the level of the ME 30B for unity gain and best signal-to-noise performance. The gain of the ME 30B is optimized when there is no sound level diff erence between the bypassed and the active positions. The overall gain range of the level control for the ME 30B is off to +6 dB for unbalanced operation, or off to +12 dB for balanced operation. The level diff erence between the equalizer in bypass or active can be signifi cant. Adjust the LEVEL control so the signal level is the same between the bypassed and active posi- tions of the BYPASS switch. GETTING STARTED Here is one method of setting your equalizer that works well. Begin with the following settings: 1. Engage the BYPASS switch. (switch depressed, BYPASS LED on.) 2. Put all sliders in their center position (0 dB). The center posi- tion has a grounded detent. 3. Position the LEVEL control about “6” for unbalanced opera- tion and “7” for balanced operation. 4. Apply a signal to the system. 5. Verify the OL LED is not onoccasionally blinking during extreme peaks indicates an optimal setting. But if it lights up a lot or lights steadily, lower the output level of the previous device in the signal chain. 6. Release the BYPASS switch and begin adjusting the equalizer fi lters. 7. During fi lter band adjustments, if the OL LED lights more than occasionally, turn down the output of the previous de- vice in the signal chain. 8. Once all fi lter bands are adjusted to your liking, compare the signal loudness with the equalizer bypassed and active. Adjust the LEVEL control on the ME 30B so there is no diff erence between the levels of bypassed versus active. 9. The last step is to reconfi rm that the OL LED lights only when there are large signal spikes in the program material, as in step 5 above. For insight into how to use an equalizer, to alleviate acoustic problems or to adjust the overall tone of the program material, please read the following two sections. ACOUSTIC COMPENSATION A graphic equalizer may be used to correct many acoustic problems. However, one should fully understand the ramifi ca- tions of doing so. Acoustic problems are generally not consistent across the entire area of sound coverage. This is much more of a problem when setting up a sound system for large venues. In a typical large room or hall, there will be areas that have acoustic reinforcement problems and other areas where certain frequen- cies are almost entirely canceled out. Try to seek an acoustic remedy for acoustic problems whenever possible. When this is not possible or feasible, an equalizer may be used to compensate for an acoustic problem. But the problem is only improved at the point where the measurement is taken, other locations in the room may be adversely aff ected by the equalizer setting. For this reason, measure the acoustic response of the system from several locations and average the equalizers setting. Doing this helps most locations in the venue to have an equal sound quality. The best way to “see” what the acoustic signature of the room is doing to sound is to use a real time analyzer or any of the many computerized measurement systems. Using these devices to analyze the response of the room and the sound system is the only accurate means available for setting an equalizer properly. Equalization can be like spice in the hands of a master chef. A little goes a long way in improving sound quality, too much and the mix is spoiled. If modest amounts of equalization (6-8 dB) do not solve the problem, it is best remedied by other means. Avoid adding large amounts of boost below 63 Hz, especially when using vented bass cabinets. Boosting frequencies below the vented enclosures low frequency cutoff can easily cause over excursion of the speakers cone, causing premature failure. In ad- dition, boosting low frequencies can make your power amplifi er run hotter, leading to premature amplifi er failure. When equalizer adjustment is completed, compare the un- equalized sound with the equalized sound by alternately engag- ing the BYPASS switch. Use familiar source material and walk around in the sound coverage area to insure that no anomalies have been introduced into the sound system. If it sounds good, youre done. TONE CONTOURING If a ME 30B is used for tone contouring by ear, be careful about adding upper bass (63 Hz to 200 Hz) as this can cause “muddiness” or loss of defi nition. (Also see the previous warn- ing about boosting frequencies below 63 Hz.) Middle frequency problems usually express themselves by vocals having a nasal quality (too much mid band boost) or vocals not being easily understandable (usually caused by mid band frequencies being under represented in the overall sound). High band problems show as “sizzle” not good, and is sometimes caused by too much high frequency boosting. This is most obvious with cym- bals and hi-hats. To use the cooking metaphor, high frequencies should simmer, not sizzle.