Rane ME 30B User manual

Manual-1
OPERATORS MANUAL ME 30B
microGRAPHIC EQUALIZER
QUICK START
If this is your first 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 ¼" 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. e ME 30B does not invert the signal. Only connect one
INPUT type per channel. e XLR and ¼" TRS Inputs do not
WEAR PARTS: is product contains no wear parts.
6
–
4
2
1
±6
4
0
1
2
+
6
100
2
4
8
6
ME 30B
40031.525 40 6350 10080 160125 250200 315 12.5k1k630500 800 1.6k1.25k 2k 3.15k2.5k 5k4k 8k6.3k 10k 20k16k
MASTER CONTROL
POWER
OL LEVEL RANGEBYPASS
±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 finds 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!

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-
figurations: Pin 1 is chassis ground (neutral), pin 2 is hot (positive), and pin 3 is signal return (negative). Choose between this and
the ¼" TRS Input jack—use only one—they do not sum.
 ¼" TRS INPUT jack: is TRS (Tip-Ring-Sleeve) ¼" jack accommodates either balanced or unbalanced signals. For an unbal-
anced signal use a mono ¼" plug (single conductor with shield). For a balanced signal use microphone cable (two conductor with
shield) with a TRS ¼" plug. Choose between this and the XLR Input jack—use only one—they do not sum. Refer to the included
RaneNote, “Sound System Interconnection” for unbalanced wiring.
 XLR OUTPUT jack: is balanced output is wired per AES standards of pin 2 “hot”, as described above in .
 ¼" TRS OUTPUT jack: is TRS (tip-ring-sleeve) ¼" 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. e 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: e gain range of the filter 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 filters. Center position is
grounded for guaranteed flat 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
40031.525 40 6350 10080 160125 250200 315 12.5k1k630500 800 1.6k1.25k 2k 3.15k2.5k 5k4k 8k6.3k 10k 20k16k
MASTER CONTROL
POWER
OL LEVEL RANGEBYPASS
±12
12
–
8
5
2
8
0
2
5
MICROGRAPHIC
EQUALIZER
+
12
1
2
3
5
4
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.
4
1
3
2

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 configura-
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 first connecting the ME 30B 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
Both XLR and ¼" 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-offs. e 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 ground—it doesn’t hurt, it’s just not necessary. Use pin 1, or
the shell, for shield 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.
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 ME 30B.
ese require an external mic preamp.

Manual-4 106304
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 TEL [phone] FAX [phone] WEB www.rane.com
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.
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 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.
e 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.
e gain of the ME 30B is optimized when there is no sound
level difference between the bypassed and the active positions.
e 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. 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 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). e 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 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.
6. Release the BYPASS switch and begin adjusting the equalizer
filters.
7. 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.
8. Once all filter 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 difference
between the levels of bypassed versus active.
9. 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 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 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 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 definition. (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. is is most obvious with cym-
bals and hi-hats. To use the cooking metaphor, high frequencies
should simmer, not sizzle.