Rane ME 60S User manual

Manual-1
OPERATORS MANUAL ME60S
microGRAPHIC EQUALIZER
ME60S Connection
When rst connecting the ME60S to other components, leave
the POWER switch o until the very last. is gives you a chance
to make mistakes and correct them without damaging your
fragile speakers, ears and nerves.
INPUTS
e ¼" and XLR Inputs are wired in parallel and are actively
balanced. Each works equally well. Choose strictly from a
required hardware point-of-view. e XLR 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
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 di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 nor-
mally uses the ¼" jacks. Two parallel Input connectors allows
driving a second signal processor or ampli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 ME60S.
ese require a separate 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. e ME60S does not invert the signal.
Set the LOW and HIGH CUT FILTER 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 nds the ME60S 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.
ere, now was that so bad?
WEAR PARTS is product contains no wear parts.
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ME60S
MICROGRAPHIC
EQUALIZER
CHANNEL 2
CHANNEL 1
HIGH
LOW
HIGH
LOW
CUT FILTERS
CUT FILTERS
400
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OL
LEVEL
RANGE
BYPASS
OL
LEVEL
RANGE
BYPASS
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POWER

Manual-2
Front Panel Description
1Channels 1 and 2 LEVEL controls set the overall desired gain through the unit. e range is from O to +8 dB for balanced
use, or from O to +2 dB with unbalanced inputs. Unity gain is at approximately “6” (balanced) or “7” (unbalanced). Using the
highest setting (without lighting the Overload (OL) indicator) yields the best signal-to-noise performance. e OL indicator moni-
tors all critical points for excessive signal levels. It lights whenever these levels exceed 3 dB below clipping. Occasional ickering is
normal; however, if it glows steadily, reduce the signal coming from the source, or turn down the LEVEL control.
2Channel BYPASS switches 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
ME60S into a relatively expensive patch cord, but one with pretty lights.
3 Filter RANGE switch: e gain range of the lter sliders is switchable (as a group) from ±6 dB for high resolution, to ±12 dB for
maximum boost/cut capability.
4Channel LOW and HIGH CUT FILTER controls. LOW CUT sets the corner frequency (-3 dB point) for the low cut lter
(high pass), adjustable from 10 Hz to 250 Hz. HIGH CUT sets the corner frequency (-3 dB point) for the high cut lter (low
pass), adjustable from 3 kHz to 40 kHz.
5Filter level controls set the individual levels for each of the constant-Q lters. eir range is set by the RANGE switch 3. e
grounded center-detent design ensures individual lters are o and bypassed when positioned to their centers.
6POWER switch & indicator glows yellow any time this switch is closed and power is, in fact, actually owing into the ME60S.
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ME60S
MICROGRAPHIC
EQUALIZER
CHANNEL 2
CHANNEL 1
HIGH
LOW
HIGH
LOW
CUT FILTERS
CUT FILTERS
400
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25
40
63
50
100
80
160
125
250
200
315
12.5k
1k
630
500
800
1.6k
1.25k
2k
3.15k
2.5k
5k
4k
8k
6.3k
10k
20k
16k
400
31.5
25
40
63
50
100
80
160
125
250
200
315
12.5k
1k
630
500
800
1.6k
1.25k
2k
3.15k
2.5k
5k
4k
8k
6.3k
10k
20k
16k
OL
LEVEL
RANGE
BYPASS
OL
LEVEL
RANGE
BYPASS
±12
±12
0
12
•
6
•
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12
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POWER
1 2 3 4 65

Manual-3
Rear Panel Description
1XLR 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.
2¼" INPUT connector. is ¼" tip-ring-sleeve (TRS) connector parallels the XLR connector described below. Tip is positive,
ring is negative and sleeve is shield. Tip-sleeve (TS) cables will often work if the cables are short (under 10 feet [3 meters]). See the
Sound System Interconnection RaneNote included with this manual for correct wiring.
3¼" OUTPUT connector. is ¼" TRS connector parallels the XLR connector described below. As before, tip is hot, ring is cold
and sleeve is shield.
4XLR OUTPUT connector. Pin 2 is positive, pin 3 is negative and pin 1 is shield.
5POWER IEC jack connects anywhere in the world to AC line voltage, 100-240 VAC.
Important Note
CHASSIS GROUNDING
If after hooking up your system it exhibits excessive hum or buzzing, there is an incompatibility in the grounding conguration
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. 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.
2. 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.
3. See the Sound System Interconnection RaneNote included with this manual.
OUTPUT
INPUT
OUTPUT
INPUT
ACN 001 345 482
MADE IN U.S.A.
RANE CORP.
ME60S
CHANNEL 1
CHANNEL 2
WIRING
TIP / PIN 2 = POSITIVE
RING / PIN 3 = NEGATIVE
SLEEVE = SIGNAL GROUND
PIN 1 = CHASSIS GROUND
ALL AUDIO IS
CLASS 2 WIRING
100-240 V
50/60 Hz 12 WATTS
COMMERCIAL AUDIO
EQUIPMENT 24TJ
R
This device complies with Part 15 of
the FCC Rules. Operation is subject
to the following two conditions:
(1) this device may not cause
harmful interference, and (2) this
device must accept any interference
received, including interference that
may cause undesired operation.
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Manual-4
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5000 TEL [phone] FAX [phone] WEB rane.com
Operating Instructions
Insuring the proper level of gain though the ME60S is just as
important as adjusting the equalizer bands. Improper gain dis-
tribution 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 ne, indicating optimized signal to
noise performance of the ME60S. Run the ME60S with an in-
put 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
ME60S for unity gain or best signal-to-noise performance. e
gain of the ME60S is optimized and at unity when there is no
sound level dierence between the bypassed and the active posi-
tions.
e overall gain range of the LEVEL control for the ME60S
is o to +2 dB for unbalanced operation, or o to +8 dB for bal-
anced operation. e level dierence between the equalizer in
Bypass or active can be signi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 BY PASS switch. (switch depressed, BY PASS LED
on.)
2. Put all sliders in their center position (0 dB). e center posi-
tion has a grounded detent.
3. Position the CHANNEL LEVEL controls about “7” for un-
balanced operation and “6” for balanced operation.
4. Set LOW and HIGH CUT lters 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
lters.
8. During lter 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 lter bands are adjusted to your liking, compare the
signal loudness with the equalizer bypassed and active. Adjust
the LEVEL controls on the ME60S so there is no dierence
between the levels of bypassed versus active.
10. e last step is to reconrm 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 ramica-
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 aected 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 cuto can easily cause over
excursion of the speaker’s cone, causing premature failure. In ad-
dition, boosting low frequencies can make your power amplier
run hotter, leading to premature ampli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,
you’re done.
TONE CONTOURING
If a ME60S is used for tone contouring by ear, be careful about
adding upper bass (63 Hz to 200 Hz) as this can cause “muddi-
ness” or loss of clear denition. (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 eas-
ily 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.
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