Rane ME 60 1998 version - Manual (Page 4)

Manual-4
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 TEL (425)355-6000 FAX (425)347-7757 WEB http://www.rane.com
OPERATING INSTRUCTIONS
Insuring the proper level of gain though the ME 60 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 fine, indicating optimized signal to
noise performance of the ME 60. Run the ME 60 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 60 for unity gain or best signal-to-noise
performance. The gain of the ME 60 is optimized and at unity
when there is no sound level difference between the bypassed
and the active positions.
The overall gain range of the level control for the ME 60
is off to +2 dB for unbalanced operation, or off to +8 dB for
balanced operation. The level difference between the equal-
izer in bypass or active can be significant. Adjust the LEVEL
control so the signal level is the same between the bypassed
and active positions 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
position has a grounded detent.
3. Position the CHANNEL LEVEL controls about “6” for
unbalanced operation and “7” for balanced operation.
4. Set LOW and HI CUT filters fully down, corresponding to
10 Hz and 40 kHz.
5. Apply a signal to the system.
6. Verify the OL LED is not on—occasionally 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.
7. Release the BYPASS switch and begin adjusting the
equalizer filters.
8. During filter band adjustments, if the OL LED lights more
than occasionally, turn down the output of the previous
device in the signal chain.
9. Once all filter bands are adjusted to your liking, compare
the signal loudness with the equalizer bypassed and active.
Adjust the CHANNEL LEVEL controls on the ME 60 so
there is no difference between the levels of bypassed
versus active.
10. The last step is to reconfirm that the OL LED lights only
when there are large signal spikes in the program material,
as in step 6 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 ramifica-
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 frequencies 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 affected by the equalizer setting. For this reason,
measure the acoustic response of the system from several
locations and average the equalizer’s 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 equaliza-
tion (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 enclosure’s low frequency
cutoff can easily cause over excursion of the speaker’s cone,
causing premature failure. In addition, boosting low frequen-
cies can make your power amplifier run hotter, leading to
premature amplifier failure.
When equalizer adjustment is completed, compare the
unequalized sound with the equalized sound by alternately
engaging 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, you’re done.
TONE CONTOURING
If a ME 60 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 clear definition. (Also see the previous
warning 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 frequency problems show as “sizzle”— not good, and is
sometimes caused by too much high frequency boosting. This
is most obvious with cymbals and hi-hats. To use the cooking
metaphor, high frequencies should simmer, not sizzle.
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