Rane GE 60 User manual

Manual-1
OPERATORS MANUAL GE 60
GRAPHIC EQUALIZER
QUICK START
Okay, Know-it-all. So you don’t need to read the manual. Well do your mother a favor and read this section. You don’t have to
read anything else. Ever. Now turn MTV off.
Hook-up is intuitive. Just follow the silkscreened instructions on the rear of the unit. All three Inputs are wired in parallel (they
do not sum, smarty pants); and all three Outputs are wired in parallel. Use any one Input and any or all Outputs. Polarity convention
is per IEC/ANSI/AES standards of pin 2 positive, pin 3 negative and pin 1 shield. e GE 60 does not invert the signal.
Set the LO CUT and HI CUT controls as necessary to restrict bandwidth. Full frequency response results from positioning them
all the way to the bottom.
Anyone familiar with other graphic equalizers finds the GE 60 just as familiar. Setting curves is as easy as it is on all Rane graph-
ics thanks to our innovative interpolating constant-Q circuitry. If you feel you want more information on setting up your curves,
please see the back page.
OK, MTV back on, I'm outta here.
GE 60 CONNECTION
When first connecting the GE 60 to other components, leave
the power switch off until the very last. is gives you a chance to
make mistakes and correct them without damaging your fragile
speakers, ears and nerves.
INPUTS
All three Inputs are wired in parallel and are actively bal-
anced. Each works equally well, but use only one, they do not
sum. Choose strictly from a required hardware point-of-view,
there will be no performance trade-offs. e wiring conven-
tion 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. It is not necessary to short any Inputs
to ground—it doesn’t hurt, it’s just not necessary. Use pin 1, or
the shell, for shield ground. Unbalanced operation involves us-
ing only pin 2, or tip as signal and pin 1, or sleeve as shield and
ground.
OUTPUTS
e 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. e signal exists differentially between
the two balanced leads; ground is not involved. For hum-free
systems ground is used only for shielding. Unlike the Inputs, you
may use multiple Output jacks simultaneously to drive different
devices.
EXPANDING
Expanding and/or daisychaining the Inputs and Outputs
normally uses the ¼" jacks. ree parallel Input connectors
allows driving a second signal processor or amplifier 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 GE 60.
ese require a mic preamp.
WEAR PARTS: is product contains no wear parts.

Manual-2
FRONT PANEL DESCRIPTION
1 POWER switch & indicator: e yellow LED lights any time this switch is closed and power is, in fact, actually flowing into the
GE 60.
2 Filter level controls set the individual levels for each of the constant-Q filters. eir range is ±12 dB, and the grounded center-de-
tent design ensures individual filters are off and bypassed when positioned to their centers.
3 LOW CUT FILTER control sets the corner frequency (–3 dB point) for the low cut filter (high pass). Adjustable from 10 Hz to
250 Hz.
4 HI CUT FILTER control sets the corner frequency (–3 dB point) for the high cut filter (low pass). Adjustable from 3 kHz to 40
kHz.
5 Channel LEVEL control sets the overall desired gain through the unit. e range is from Off to +8 dB for balanced use, or from
Off to +2 dB for unbalanced operation. Unity gain is at approximately “8” (balanced) or “10” (wide open, unbalanced). Using the
highest setting (without lighting the OL indicator) yields the best signal-to-noise performance.
6 OVERLOAD indicator LED monitors all critical points for excessive signal levels. It lights whenever these levels exceed 4 dB
below clipping. Occasional flickering is normal; however, it should not be allowed to light steadily.
7 BYPASS switch & indicator: is pushbutton switch activates the “hard-wire” bypass function. When engaged (red BYPASS
LED on), all three pins of the INPUT connectors directly connect to the same pins on the OUTPUT connectors (hard-wired).
Engaging this switch converts the GE 60 into a relatively expensive patch cord, but one with pretty lights.

Manual-3
REAR PANEL DESCRIPTION
1 XLR INPUT connectors. Pin 2 is positive, pin 3 is negative and pin 1 is signal ground. For unbalanced operation, use pin 2 as
hot and pin 1 as return. It is not necessary to ground pin 3.
2 ¼" INPUT connectors. ese ¼" tip-ring-sleeve (TRS) connectors parallel the XLR connectors described above. Tip is positive,
ring is negative and sleeve is shield.
3 Screw terminal INPUT & OUTPUT connectors. Use #6 spades. Parallels the XLR & ¼" TRS jacks.
4 ¼" OUTPUT connectors. ese ¼" TRS connectors parallel the XLR connectors described below. As before, tip is hot, ring is
not and sleeve is shield.
5 XLR OUTPUT connectors. Pin 2 is positive, pin 3 is negative and pin 1 is shield.
CHASSIS GROUNDING
If after hooking up your system it exhibits excessive hum or buzzing, there is an incompatibility in the grounding configuration
between units somewhere. Your mission, should you accept it, is to discover how your particular system wants to be grounded. 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 their line cords. Make sure 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 con-
nected to a screw on the chassis with a star washer to guarantee proper contact.
Please refer to the Sound System Interconnection RaneNote included with this manual for correct wiring practices.

Manual-4
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. is 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 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.
e 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 enclosure’s low frequency cutoff can easily cause over
excursion of the speaker’s cone, causing premature failure. In ad-
dition, boosting low frequencies can make your power amplifier
run hotter, leading to premature amplifier 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,
you’re done.
TONE CONTOURING
If a GE 60 is used for tone contouring by ear, be care-
ful about adding upper bass (63 Hz to 200 Hz) as this causes
“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. is is most obvious
with cymbals and hi-hats. To use the cooking metaphor, high
frequencies should simmer, not sizzle.
OPERATING INSTRUCTIONS
Insuring the proper level of gain though the GE 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.
e 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. Run the GE 60 with an input signal that is as
hot as possible without the OL lighting more than occasionally.
e BYPASS switch allows comparison of equalized versus
un-equalized signal. It is also useful in adjusting the level of the
GE 60 for unity gain and best signal-to-noise performance. e
gain of the GE 60 is optimized when there is no sound level dif-
ference between the bypassed and the active positions.
e overall gain range of the level control for the GE 60 is off
to +2 dB for unbalanced operation, or off to +8 dB for balanced
operation. e level difference between the equalizer 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). e center posi-
tion has a grounded detent.
3. Position the LEVEL controls about “6” for unbalanced opera-
tion 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 de-
vice 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 LEVEL controls on the GE 60 so there is no difference
between the levels of bypassed versus active.
10. e 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.
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