Rane RE 27 Bedienungsanleitung PDF herunterladen (Seite 6)

Manual-6

©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 TEL (425)355-6000 FAX (425)347-7757 WEB http://www.rane.com

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each performance; make a note of these further adjustments

to save future tweaking during performances. For example,

you note the pink noise settings and find later that you like to

have 3 dB more boost at 63 Hz for more low-end punch

during the performance. Next time, green out the analyzer

during the pink noise test (get all LEDs green before making

any further adjustment), then immediately bump up the 63

Hz slider 3 dB as indicated by the front panel calibrations so

that you’re tuned up before the show starts (slick, no?).

MONITORING PROGRAM MATERIAL FOR FEED-

BACK USING THE DISPLAY

Using RTA mode, and after doing the pink noise test, select

LINE IN to monitor the signal at the RA 30 LINE INPUT jack

on the rear. Adjust the GAIN control so that an occasional upper

yellow LED blinks on during the performance peaks, but no

top row red LEDs come on: you should be in the ±3 dB mode

on the display. If feedback occurs, one or more red lights

show the general feedback frequency area.

TESTING

The RA 30 analyzer/pink noise system is implemented

digitally. The RA 30 analyzer/pink noise system tolerances

do not fade with age, but if you want to verify the system's

performance, the RA 30 contains its own test equipment.

Patch the Pink Noise output to the Left Line Input with a ¼"

TS or TRS patch cord and set the PINK NOISE LEVEL (on

the rear of unit) to maximum. On the front of the unit set the

SOURCE switch to LINE IN. Press the METER/RTA button

to select RTA and turn on the Pink Noise by pressing the

PINK NOISE button. Adjust the GAIN control so that there

is no OL LED indication. Select the 1 dB scale and press the

NORM button. You will see a flat response.

MAIN SPEAKER EQUALIZATION

IMPORTANT NOTES:

1. If your sound system is stereo or multichannel, equalize

each channel individually first, then look at the combined

acoustic output of all channels, making small corrections

as necessary.

2. If you are using a powered mixer, or a mixer that has mic

level inputs only, you will need to reduce the signal level

at the pink noise output. Use a small screwdriver to adjust

the PINK NOISE LEVEL control on the rear chassis so the

Pink Noise Output suits your mixer.

3. An RA 30 can be used as a driver alignment tool (see the AC

22/23/B Owners Manual) as well as EQ adjusting. Drivers

are aligned when maximum level is shown at the cross-

over frequency on the RA 30 display. It is important to

align drivers either physically or electronically in multi-

way systems for the best sound. The mic should be at

listener-ear height relative to the center of the driver

stack. If a clear sound is desired in the back of the hall, the

height of the RA 30 mic should be in line with the on-axis

phase response of the speaker stack, perpendicular to the

drivers.

STAGE MONITOR EQUALIZATION

IMPORTANT NOTES:

1. Analyzing and equalizing the monitors provides the most

expedient method to optimize stage monitor sound quality

and reduce feedback problems. The stage mic is connected

to the same mixer as the RA 30. Feedback induced by

specific stage mic/monitor speaker coupling can also be

attenuated by leaving the stage mic turned up and running

up the pink noise level through the monitor speaker until

feedback occurs. Attenuate each feedback frequency, as

indicated by the analyzer display, until the mic/monitor

combination feeds back at two or more frequencies

simultaneously. Usually the final EQ setting will be a

compromise between a good monitor sound that doesn't

get as loud, or a not-so-good monitor sound that gets

louder before feedback.

2. Place the Rane microphone at eye level of the performer

and about six inches off to one side of the stage micro-

phone, in line of sight to the monitor speaker. If the stage

microphone is directly between the Rane mic and monitor

speaker (blocking line of sight), some high frequencies

will be blocked giving a false reading on the analyzer

display.

3. If you are running more than one monitor from a single

equalizer, test each monitor location by running up pink

noise until feedback occurs. The monitor which feeds back

first should be used for the overall EQ adjustments using

pink noise.

4. If maximum SPL before feedback is most important, use

the stage mic only. This arrangement allows the analyzer

to look at the specific relationship between each stage

microphone/speaker combination. Since both the micro-

phone and stage monitor speaker exhibit their own

individual feedback tendencies, the interaction between

the two can cause pronounced feedback problems. This

configuration allows you to flatten or “normalize” this

interaction without actually getting to feedback levels. It

should be noted that this testing procedure favors maxi-

mum SPL before feedback and not necessarily optimum

monitor sound quality. This configuration can also be used

for main speaker equalization to optimize system response

for a specific microphone used throughout the system,

such as for choir, orchestral or big band situations where

all program material is picked up through microphones of

the same make and model.

5. Do not attempt to plug a regular microphone directly into

the MIC INPUT. Use the AUX MIC input for other mics.

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