Rane ME 60 User manual

Manual-1
OPERATORS MANUAL ME 60
microGRAPHIC EQUALIZER
ME 60 CONNECTION
When first connecting the ME 60 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
All three Inputs are wired in parallel and are actively
balanced, except the unbalanced RCA phono. Each works
equally well. Choose strictly from a required hardware point-
of-view, there will be no performance trade-offs. 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. 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 using only pin 2 or tip as signal, and pin 1
or sleeve as shield and 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 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. Three 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 60. These require a mic preamp.
QUICK START
Okay, know-it-all. So you don’t need to read the manual. Well do your mother a favor and just read this section and you
don’t have to read anything else. Ever.
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); 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. The ME 60 does not invert
the signal.
Set the LO CUT and HI CUT controls as necessary to restrict bandwidth. Full frequency response results from posi-
tioning them all the way to the bottom.
Anyone familiar with other graphic equalizers finds the ME 60 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 see the back page.
There, now was that so bad?
WEAR PARTS This product contains no wear parts.

Manual-2
FRONT PANEL DESCRIPTION
햲ON switch & indicator glows yellow any time this switch is closed and power has, in fact, actually flowed into the ME 60.
햳Filter level controls set the individual levels for each of the constant-Q filters. Their range is ±12 dB, and the grounded
center-detent design ensures individual filters are off and bypassed when positioned to their centers.
햴LO CUT FILTER control sets the corner frequency (-3 dB point) for the low cut filter (high pass). Adjustable from 10 Hz
to 250 Hz.
햵HI CUT FILTER control sets the corner frequency (-3 dB point) for the high cut filter (low pass). Adjustable from 3 kHz
to 40 kHz.
햶CHANNEL LEVEL control sets the overall desired gain through the unit. The range is from Off to +8 dB for balanced
use, or from Off to +2 dB for unbalanced operation. Unity gain is at approximately “6” (balanced) or “7” (unbalanced).
Using the highest setting (without lighting the OL indicator) yields the best signal-to-noise performance.
햷OVERLOAD indicator monitors all critical points for excessive signal levels. It lights whenever these levels exceed 3 dB
below clipping. Occasional flickering is normal; however, it should not be allowed to light steadily.
햸BYPASS switch & indicator. This 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 ME 60 into a relatively expensive patch cord, but one with pretty lights.

Manual-3
REAR PANEL DESCRIPTION
햲¼" INPUT connector. This ¼" tip-ring-sleeve (TRS) connector parallels the XLR connector described below. Tip is
positive, ring is negative and sleeve is shield.
햳XLR INPUT connector. Pin 2 is positive, pin 3 is negative and pin 1 is shield. For unbalanced operation, use pin 2 as hot
and pin 1 as return. It is not necessary to connect pin 3.
햴RCA Phono INPUT connector provides for convenient hook-up to unbalanced products.
햵¼" OUTPUT connector. This ¼" TRS connector parallels the XLR connector described below. As before, tip is hot, ring is
cold and sleeve is shield.
햶XLR OUTPUT connector. Pin 2 is positive, pin 3 is negative and pin 1 is shield.
햷RCA Phono OUTPUT connector provides convenient hook-up to unbalanced products.
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 connected to a screw on the chassis with a star washer to guarantee proper contact.
IMPORTANT NOTE

Manual-4
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 TEL [phone] FAX [phone] 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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