Rane AC 23S Manuel utilisateur
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- Égaliseurs audio
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- Manuel utilisateur
AC 23S
ACTIVE CROSSOVER
MONO 4W OR 5W: INACTIVE 4W: INACTIVE4W: INACTIVE
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
100
2
4
8
6
1 00
2
4
8
6
MAXMIN
2
4
8
6
MAXMIN
2
4
8
6
MAXMIN
2
4
8
6
MAXMIN
2
4
8
6
100
80 900
850
150
200
240
750
600
400
190
250
7.0k
5.8k
550
475
350
700
2.0k
2.8k
4.5k
1.0k
190
250
7.0k
5.8k
550
475
350
700
2.0k
2.8k
4.5k
1.0k
1k70
4W: MID / HIGH
2W: INACTIVE 2W: INACTIVE 2W: LOW / HIGH 2W: LOW / HIGH2W: INACTIVE2W: INACTIVE 2W: LOW2W: LOW
100
80 900
850
150
200
240
750
600
400
1k70
MUTE
LEVEL LEVEL LEVEL LEVEL
MASTER
LEVEL
MASTER
LEVEL LEVEL LEVEL
MUTE
FREQUENCY
DELAY DELAY DELAY DELAY
FREQUENCY FREQUENCY
MUTE MUTE
AC 23S
ACTIVE
CROSSOVER
CH 2CH 1
FREQUENCY
LOW MID LOW MIDHIGH HIGH
MIDMONO MASTER SUBWOOFER SUB / LOW HIGHLOW LOW / MID
MID / HIGHLOW / MID MID / HIGHLOW / MID
5W: HIGH-MID / HIGH5W: HIGH-MID5W: MID / HIGH-MID
POWER
ATTENTION: RISQUE DE CHOCS ELECTRIQUE - NE PAS OUVRIR
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION
To reduce the risk of electrical shock, do not open the unit. No user
serviceable parts inside. Refer servicing to qualied service personnel.
e symbols shown below are internationally accepted symbols
that warn of potential hazards with electrical products.
is symbol indicates that a dangerous voltage
constituting a risk of electric shock is present
within this unit.
is symbol indicates that there are important
operating and maintenance instructions in the
literature accompanying this unit.
WARNING
IMPORTANT SAFETY INSTRUCTIONS
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any ventilation openings. Install in accordance with manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, registers, stoves, or other apparatus (including ampliers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A
grounding-type plug has two blades and a third grounding prong. e wide blade or third prong is provided for your safety. If the provided plug
does not t into your outlet, consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord and plug from being walked on or pinched particularly at plugs, convenience receptacles, and the point where it exits from
the apparatus.
11. Only use attachments and accessories specied by Rane.
12. Use only with the cart, stand, tripod, bracket, or table specied by the manufacturer, or sold with the apparatus. When a cart is used, use caution
when moving the cart/apparatus combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or when unused for long periods of time.
14. Refer all servicing to qualied service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply
cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does
not operate normally, or has been dropped.
15. e plug on the power cord is the AC mains disconnect device and must remain readily operable. To completely disconnect this apparatus from
the AC mains, disconnect the power supply cord plug from the AC receptacle.
16. is apparatus shall be connected to a mains socket outlet with a protective earthing connection.
17. When permanently connected, an all-pole mains switch with a contact separation of at least 3 mm in each pole shall be incorporated in the
electrical installation of the building.
18. If rackmounting, provide adequate ventilation. Equipment may be located above or below this apparatus, but some equipment (like large power
ampliers) may cause an unacceptable amount of hum or may generate too much heat and degrade the performance of this apparatus.
19. is apparatus may be installed in an industry standard equipment rack. Use screws through all mounting holes to provide the best support.
WARNING: To reduce the risk of re or electric shock, do not expose this apparatus to rain or moisture. Apparatus shall not be exposed to dripping
or splashing and no objects lled with liquids, such as vases, shall be placed on the apparatus.
NOTE: is equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules.
ese limits are designed to provide reasonable protection against harmful interference in a residential installation. is equipment generates, uses
and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio
communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful
interference to radio or television reception, which can be determined by turning the equipment o and on, the user is encouraged to try to correct
the interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit dierent from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Changes or modications not expressly approved by Rane Corporation could void the user's authority to operate the equipment.
is Class B digital apparatus complies with Canadian ICES-003.
Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada.
WARNING: is product may contain chemicals known to the State of California to cause cancer, or birth defects or other reproductive harm.
ATTENTION: RISQUE DE CHOCS ELECTRIQUE - NE PAS OUVRIR
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION
An d’éviter tout risque de choc électrique, ne pas ouvrir l’appareil.
Aucune pièce ne peut être changée par l’utilisateur. Contactez un
SAV qualié pour toute intervention.
Les symboles ci-dessous sont reconnus internationalement
comme prévenant tout risque électrique.
Ce symbole indique que cette unité utilise un
voltage élevé constituant un risque de choc
électrique.
Ce symbole indique la présence d’instructions
d’utilisation et de maintenance importantes dans le
document fourni.
ATTENTION
INSTRUCTIONS DE SÉCURITÉ
1. Lisez ces instructions.
2. Gardez précieusement ces instructions.
3. Respectez les avertissements.
4. Suivez toutes les instructions.
5. Ne pas utiliser près d’une source d’eau.
6. Ne nettoyer qu’avec un chion doux.
7. N’obstruer aucune évacuation d’air. Eectuez l’installation en suivant les instructions du fabricant.
8. Ne pas disposer près d’une source de chaleur, c-à-d tout appareil produisant de la chaleur sans exception.
9. Ne pas modier le cordon d’alimentation. Un cordon polarisé possède 2 lames, l’une plus large que l’autre. Un cordon avec tresse de masse possède
2 lames plus une 3è pour la terre. La lame large ou la tresse de masse assurent votre sécurité. Si le cordon fourni ne correspond pas à votre prise,
contactez votre électricien.
10. Faites en sorte que le cordon ne soit pas piétiné, ni au niveau du l, ni au niveau de ses broches, ni au niveau des connecteurs de vos appareils.
11. N’utilisez que des accessoires recommandés par Rane.
12. N’utilisez que les éléments de transport, stands, pieds ou tables spéciés par le fabricant ou vendu avec l’appareil. Quand vous utlisez une valise de
transport, prenez soin de vous déplacer avec cet équipement avec prudence an d’éviter tout risque de blessure.
13. Débranchez cet appareil pendant un orage ou si vous ne l’utilisez pas pendant un certain temps.
14. Adressez-vous à du personnel qualié pour tout service après vente. Celui-ci est nécessaire dans n’importe quel cas où l’appareil est abimé : si le
cordon ou les ches sont endommagés, si du liquide a été renversé ou si des objets sont tombés sur l’appareil, si celui-ci a été exposé à la pluie ou
l’humidité, s’il ne fonctionne pas correctement ou est tombé.
15. La che du cordon d’alimentation sert à brancher le courant alternatif AC et doit absolument rester accessible. Pour déconnecter totalement
l’appareil du secteur, débranchez le câble d’alimentation de la prise secteur.
16. Cet appareil doit être branché à une prise terre avec protection.
17. Quand il est branché de manière permanente, un disjoncteur tripolaire normalisé doit être incorporé dans l’installation électrique de l’immeuble.
18. En cas de montage en rack, laissez un espace susant pour la ventilation. Vous pouvez disposer d’autres appareils au-dessus ou en-dessous de celui-
ci, mais certains (tels que de gros amplicateurs) peuvent provoquer un buzz ou générer trop de chaleur au risque d’endommager votre appareil et
dégrader ses performances.
19. Cet appareil peut-être installé dans une baie standard ou un chassis normalisé pour un montage en rack. Visser chaque trou de chaque oreille de
rack pour une meilleure xation et sécurité.
ATTENTION: an d’éviter tout risque de feu ou de choc électrique, gardez cet appareil éloigné de toute source d’humidité et d’éclaboussures quelles
qu’elles soient. L’appareil doit également être éloigné de tout objet possédant du liquide (boisson en bouteilles, vases,…).
REMARQUE: Cet équipement a été testé et approuvé conforme aux limites pour un appareil numérique de classe B, conformément au chapitre 15
des règles de la FCC. Ces limites sont établis pour fournir une protection raisonnable contre tout risque d’interférences et peuvent provoquer une
énergie de radiofréquence s'il n'est pas installé et utilisé conformément aux instructions, peut également provoquer des interférences aux niveaux
des équipements de communication. Cependant, il n'existe aucune garantie que de telles interférences ne se produiront pas dans une installation
particulière. Si cet équipement provoque des interférences en réception radio ou télévision, ceci peut être detecté en mettant l'équipement sous/hors
tension, l'utilisateur est encouragé à essayer de corriger cette interférence par une ou plusieurs des mesures suivantes:
• Réorienter ou déplacer l'antenne de réception.
• Augmenter la distance entre l'équipement et le récepteur.
• Connecter l'équipement à une sortie sur un circuit diérent de celui sur lequel le récepteur est branché.
• Consulter un revendeur ou un technicien radio / TV expérimenté.
ATTENTION: Les changements ou modications non expressément approuvés par Rane Corporation peuvent annuler l'autorité de l'utilisateur à
manipuler cet équipement et rendre ainsi nulles toutes les conditions de garantie.
Cet appareil numérique de classe B est conforme à la norme Canadienne ICES-003.
Cet appareil numérique de classe B est conforme à la norme Canadienne NMB-003.
Manual-1
AC 23S
ACTIVE CROSSOVER
OPERATORS MANUAL
WEAR PARTS: is product contains no wear parts.
MONO 4W OR 5W: INACTIVE 4W: INACTIVE4W: INACTIVE
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
MAXMIN
2
4
8
6
MAXMIN
2
4
8
6
MAXMIN
2
4
8
6
MAXMIN
2
4
8
6
100
80 900
850
150
200
240
750
600
400
190
250
7.0k
5.8k
550
475
350
700
2.0k
2.8k
4.5k
1.0k
190
250
7.0k
5.8k
550
475
350
700
2.0k
2.8k
4.5k
1.0k
1k70
4W: MID / HIGH
2W: INACTIVE 2W: INACTIVE 2W: LOW / HIGH 2W: LOW / HIGH2W: INACTIVE2W: INACTIVE 2W: LOW2W: LOW
100
80 900
850
150
200
240
750
600
400
1k70
MUTE
LEVEL LEVEL LEVEL LEVEL
MASTER
LEVEL
MASTER
LEVEL LEVEL LEVEL
MUTE
FREQUENCY
DELAY DELAY DELAY DELAY
FREQUENCY FREQUENCY
MUTE MUTE
AC 23S
ACTIVE
CROSSOVER
CH 2CH 1
FREQUENCY
LOW MID LOW MIDHIGH HIGH
MIDMONO MASTER SUBWOOFER SUB / LOW HIGHLOW LOW / MID
MID / HIGHLOW / MID MID / HIGHLOW / MID
5W: HIGH-MID / HIGH5W: HIGH-MID5W: MID / HIGH-MID
POWER
QUICK START
Labels above the controls refer to the unit being operated in the
2- or 3-Way Stereo mode. Labels below the controls refer to the
unit being operated in the 4- or 5-Way Mono mode.
Set the STEREO/MONO switch appropriately. e fact that
the AC 23S is a multiple function unit means the outputs are
switched around in Mono mode.
To operate the unit in Stereo 3-Way mode, be sure the rear
panel switches are set for STEREO 3-Way, and the 4W / 5W
switch is set for 5-Way. Following the labels above the controls
and jacks in logical order, you will find Channel 1 Master Input
LEVEL, LOW Output, MID Output, and HIGH Output, with
the same for Channel 2. If you need a summed Mono Low Ou-
put, see ‘Monoing the Low Outputs’ on page Manual-15.
To use the unit as a Mono 5-Way, first check that the Chan-
nel 1 and 2 switches are set to 3-WAY, and the push-switch is
depressed for MONO. Connect the INPUT source to Channel 1
only. Following the labels below the jacks, look at SUB OUT,
then look over at LOW OUT, now go back to MID OUT, then
over to HIGH-MID OUT and then proceed to the HIGH
OUT.
ere are two different configurations for Mono 4-Way
systems. If your LOW / MID can use a crossover frequency
between 70 Hz-1 kHz, see page Manual-7. If your LOW / MID
prefers a higher range of 190 Hz-7 kHz, see page Manual-8.
In agreement with IEC and AES/ANSI standards, AC 23S
wiring convention is pin 2 Positive, pin 3 Negative (return),
pin 1 to chassis ground. See the “Sound System Interconnection”
RaneNote included with this manual for more information on
cabling and grounding requirements.
Manual-2
FRONT PANEL: STEREO 2-WAY CONFIGURATION
Observe the labels above the controls for stereo operation.
*Not used for 2‑channel 2‑way
1 Channel 1 MASTER LEVEL control: Sets the overall Level of Channel 1 without altering the relative settings of the Low and
High frequency Outputs. Unity gain for all level controls is at “7”.
2 Channel 2 MASTER LEVEL control: Sets the overall Level of Channel 2 without altering the relative settings of the Low and
High Outputs.
3 LOW LEVEL control: Sets the Level of signal going to the Low Frequency output in this channel. Refer to ‘Setting the Output
Level Controls’ on page Manual-13.
4 LOW MUTE switch: When pressed to the in position, all signal is removed from the Low Frequency Output. is eases tune-up
procedures as described on pages Manual-9-14.
5 LOW DELAY control: Adds from 0 to 2 ms of time Delay to the Low Frequency Output only. is allows a low frequency driver
to be electronically phase-aligned with a mid frequency driver whose diaphragm is situated behind the low frequency diaphragm.
Refer to ‘Time Delay Adjustment’ on pages Manual-9-12.
6 LOW / HIGH crossover frequency selector: is 41-detent selector sets the crossover frequency between the Low and High
frequency Outputs. Refer to ‘Selecting Crossover Frequencies’ on page Manual-9.
7 HIGH LEVEL control: Sets the Level of signal going to the High frequency Output only.
8 POWER indicator: Two guesses. When this yellow LED is lit, you guessed right — the unit is on and ready.
MONO 4W OR 5W: INACTIVE 4W: INACTIVE4W: INACTIVE
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
MAXMIN
2
4
8
6
MAXMIN
2
4
8
6
MAXMIN
2
4
8
6
MAXMIN
2
4
8
6
100
80 900
850
150
200
240
750
600
400
190
250
7.0k
5.8k
550
475
350
700
2.0k
2.8k
4.5k
1.0k
190
250
7.0k
5.8k
550
475
350
700
2.0k
2.8k
4.5k
1.0k
1k70
4W: MID / HIGH
2W: INACTIVE 2W: INACTIVE 2W: LOW / HIGH 2W: LOW / HIGH2W: INACTIVE2W: INACTIVE 2W: LOW2W: LOW
100
80 900
850
150
200
240
750
600
400
1k70
MUTE
LEVEL LEVEL LEVEL LEVEL
MASTER
LEVEL
MASTER
LEVEL LEVEL LEVEL
MUTE
FREQUENCY
DELAY DELAY DELAY DELAY
FREQUENCY FREQUENCY
MUTE MUTE
AC 23S
ACTIVE
CROSSOVER
CH 2CH 1
FREQUENCY
LOW MID LOW MIDHIGH HIGH
MIDMONO MASTER SUBWOOFER SUB / LOW HIGHLOW LOW / MID
MID / HIGHLOW / MID MID / HIGHLOW / MID
5W: HIGH-MID / HIGH5W: HIGH-MID5W: MID / HIGH-MID
POWER
1�345672 345678�
Stereo 2-way control labels are in this row
Manual-3
REAR PANEL: STEREO 2-WAY CONNECTIONS
Observe the labels above the Inputs and Outputs for Stereo operation.
1 CHANNEL 1 INPUT: Plug the left output of the mixer, equalizer or other signal source to this Input. Pin 2 is “hot” per AES
standards.
2 CHANNEL 2 INPUT: Plug the right output of the mixer, equalizer or other signal source to this Input.
3 HIGH FREQUENCY OUTPUTS: Connect the CHANNEL 1 HIGH OUT to the left channel input of the high frequency
amp, and the CHANNEL 2 HIGH OUT to the right channel input of the high frequency amp.
4 LOW FREQUENCY OUTPUTS: Connect the CHANNEL 1 “2W-LOW” Output to the left channel input of the low frequen-
cy amplifier, and the CHANNEL 2 “2W-LOW” Output to the right channel input of the low amplifier. If you need a summed
Mono Low Ouput, see ‘Monoing the Low Outputs’ on page Manual-15.
5 STEREO / MONO switch: Set this switch to the STEREO “out” position.
6 STEREO 2‑Way / 3‑Way switches: Slide the switches to the 2-Way position. is switch removes the Low frequency crossover
from the signal path. Low frequencies are now routed to the Mid frequency Output. Note: e Low frequency outputs are still active
and may be used as additional Low outputs.
7 MONO 4‑Way / 5‑Way switch: Set this switch to the 5-Way position for stereo operation.
8 Universal Voltage Input: via a miniature IEC 60320 C6 appliance inlet. is mates with an IEC 60320 C5 line cord (USA
domestic). Do not lift the ground connection!
5W: HIGH MID OUT LOW OUTHIGH OUT
4W: OMIT
MONO: OMIT
3W: LOW OUT
2W: OMIT
3W: MID OUT
2W: LOW
HIGH OUT
3W 2W
CHANNEL 2
STEREO
CHANNEL 1
STEREO
MONO 4W / 5W IN
MONO: OMIT
SUB OUT MID OUT
3W: LOW OUT
2W: OMIT
3W: MID OUT
2W: LOW
3W 2W
MONO
4W 5W
STEREO
STEREO 3W / 2W HIGH OUT
PIN 2: POSITIVE
PIN 3: NEGATIVE
PIN 1: CHASSIS GND
CHANNEL 2 IN CHANNEL 1 IN
MONO: SET SWITCHES AS SHOWN
100-240 V
50/60 Hz 7 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.
ACN 001 345 482
RANE CORP.
AC 23S
SET TO
5W
1
Left Input
2
Right Input
6 5 67
8
Low Amp
4
High Amp
3
Low Amp
4
High Amp
3
Stereo 2-way connection labels are in this row
Manual-4
FRONT PANEL: STEREO 3-WAY CONFIGURATION
Observe the labels screened above the controls for stereo operation.
1 Channel 1 MASTER LEVEL control: Sets the overall Level of Channel 1 without altering the relative settings of the Low/Mid/
High frequency Outputs. Unity gain for all Level controls is at “7”.
2 Channel 2 MASTER LEVEL control: Sets the overall Level of Channel 2 without altering the relative settings of the Low/Mid/
High Outputs.
3 LOW LEVEL control: Sets the Level of signal going to the Low frequency Output only in this Channel. Refer to page Manual-
13 for guidance with the Level control settings.
4 LOW MUTE switch: When pressed to the in position, all signal is removed from the Low frequency Output. is eases tune-up
procedures as described on pages Manual-9-14.
5 LOW DELAY control: Adds from 0 to 2 ms of time delay to the Low Frequency Output only. is allows a low frequency driver
to be electronically phase-aligned with a mid frequency driver whose diaphragm is situated behind the low frequency diaphragm.
Refer to pages Manual-9-12.
6 LOW / MID crossover frequency selector: is 41-detent selector sets the crossover frequency between the Low and Mid
Outputs. Refer to page Manual-9.
7 MID LEVEL control: Sets the Level of signal going to the Mid Output in this Channel only.
8 MID MUTE switch: Removes all signal from the Mid Frequency Output when pressed to the in position.
9 MID DELAY control: Adds from 0 to 2 ms of time Delay to this Channel’s Mid Output.
0 MID / HIGH crossover frequency selector: Sets the frequency between the Mid and High Outputs in this Channel.
q HIGH LEVEL control: Sets the Level of signal going to the High Output only.
w POWER indicator: Two choices: on or off. If the power is plugged in and this yellow LED is lit, then the unit ready to operate.
MONO 4W OR 5W: INACTIVE 4W: INACTIVE4W: INACTIVE
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
MAXMIN
2
4
8
6
MAXMIN
2
4
8
6
MAXMIN
2
4
8
6
MAXMIN
2
4
8
6
100
80 900
850
150
200
240
750
600
400
190
250
7.0k
5.8k
550
475
350
700
2.0k
2.8k
4.5k
1.0k
190
250
7.0k
5.8k
550
475
350
700
2.0k
2.8k
4.5k
1.0k
1k70
4W: MID / HIGH
2W: INACTIVE 2W: INACTIVE 2W: LOW / HIGH 2W: LOW / HIGH2W: INACTIVE2W: INACTIVE 2W: LOW2W: LOW
100
80 900
850
150
200
240
750
600
400
1k70
MUTE
LEVEL LEVEL LEVEL LEVEL
MASTER
LEVEL
MASTER
LEVEL LEVEL LEVEL
MUTE
FREQUENCY
DELAY DELAY DELAY DELAY
FREQUENCY FREQUENCY
MUTE MUTE
AC 23S
ACTIVE
CROSSOVER
CH 2CH 1
FREQUENCY
LOW MID LOW MIDHIGH HIGH
MIDMONO MASTER SUBWOOFER SUB / LOW HIGHLOW LOW / MID
MID / HIGHLOW / MID MID / HIGHLOW / MID
5W: HIGH-MID / HIGH5W: HIGH-MID5W: MID / HIGH-MID
POWER
1345 6789 0q2345 6789 0qw
Stereo 3-way control labels are in this row
Manual-5
REAR PANEL: STEREO 3-WAY CONNECTIONS
Observe the labels above the Inputs and Outputs for Stereo operation.
1 CHANNEL 1 INPUT: Plug the left output of the mixer, equalizer or other source here. Pin 2 is “hot” per AES standards.
2 CHANNEL 2 INPUT: Plug the right output of the mixer, equalizer or other signal source to this Input.
3 HIGH OUTPUTS: Connect the CHANNEL 1 HIGH OUT to the left channel input of the high frequency amp, and the
CHANNEL 2 HIGH OUT to the right channel input of the high frequency amp.
4 MID OUTPUTS: Connect the CHANNEL 1 MID OUT to the left channel of the mid frequency amp, and the CHANNEL 2
MID OUT to the right channel of the mid frequency amp.
5 LOW OUTPUTS: Connect the CHANNEL 1 and 2 LOW OUTS to the left and right channels of the low frequency amplifier,
respectively. If you need a summed Mono Low Ouput, see ‘Monoing the Low Outputs’ on page Manual-15.
6 STEREO / MONO switch: Set this to the STEREO (out) position.
7 STEREO 2‑Way / 3‑Way switches: Set both Channels to the 3-Way position.
8 MONO 4‑Way / 5‑Way switch: Set this switch to the 5-Way position for stereo operation.
9 Universal Voltage Input: via a miniature IEC 60320 C6 appliance inlet. is mates with an IEC 60320 C5 line cord (USA
domestic). Do not lift the ground connection!
5W: HIGH MID OUT LOW OUTHIGH OUT
4W: OMIT
MONO: OMIT
3W: LOW OUT
2W: OMIT
3W: MID OUT
2W: LOW
HIGH OUT
3W 2W
CHANNEL 2
STEREO
CHANNEL 1
STEREO
MONO 4W / 5W IN
MONO: OMIT
SUB OUT MID OUT
3W: LOW OUT
2W: OMIT
3W: MID OUT
2W: LOW
3W 2W
MONO
4W 5W
STEREO
STEREO 3W / 2W HIGH OUT
PIN 2: POSITIVE
PIN 3: NEGATIVE
PIN 1: CHASSIS GND
CHANNEL 2 IN CHANNEL 1 IN
MONO: SET SWITCHES AS SHOWN
100-240 V
50/60 Hz 7 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.
ACN 001 345 482
RANE CORP
.
AC 23S
SET TO
5W
1
Left Input
2
Right Input
7 6 78
9
Low Amp
5
Mid Amp
4
High Amp
3
Low Amp
5
Mid Amp
4
High Amp
3
Stereo 3-way connection labels are in this row
Manual-6
FRONT PANEL: MONO 4-WAY AND 5-WAY CONFIGURATION
MONO 4W OR 5W: INACTIVE 4W: INACTIVE4W: INACTIVE
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
1 00
2
4
8
6
MAXMIN
2
4
8
6
MAXMIN
2
4
8
6
MAXMIN
2
4
8
6
MAXMIN
2
4
8
6
100
80 900
850
150
200
240
750
600
400
190
250
7.0k
5.8k
550
475
350
700
2.0k
2.8k
4.5k
1.0k
190
250
7.0k
5.8k
550
475
350
700
2.0k
2.8k
4.5k
1.0k
1k70
4W: MID / HIGH
2W: INACTIVE 2W: INACTIVE 2W: LOW / HIGH 2W: LOW / HIGH2W: INACTIVE2W: INACTIVE 2W: LOW2W: LOW
100
80 900
850
150
200
240
750
600
400
1k70
MUTE
LEVEL LEVEL LEVEL LEVEL
MASTER
LEVEL
MASTER
LEVEL LEVEL LEVEL
MUTE
FREQUENCY
DELAY DELAY DELAY DELAY
FREQUENCY FREQUENCY
MUTE MUTE
AC 23S
ACTIVE
CROSSOVER
CH 2CH 1
FREQUENCY
LOW MID LOW MIDHIGH HIGH
MIDMONO MASTER SUBWOOFER SUB / LOW HIGHLOW LOW / MID
MID / HIGHLOW / MID MID / HIGHLOW / MID
5W: HIGH-MID / HIGH5W: HIGH-MID5W: MID / HIGH-MID
POWER
1234 50qw e678 9rty uio
Mono 4-way and 5-way control labels are in these rows
�
Observe the labels screened below the controls for Mono operation.
1 MASTER LEVEL control: Sets the overall Level of the entire unit in Mono mode, without changing relative settings of the
individual Sub/Low/Mid/High Outputs. Unity gain for all Level controls is “7”.
2 SUBWOOFER LEVEL control: Sets the Level of signal going to the Sub Output. See page Manual-13.
3 SUBWOOFER MUTE switch: Removes all signal from the Sub Output when pressed to the in position. is eases the system
tune-up procedure, as described on pages Manual-9-14.
4 SUBWOOFER DELAY control: In Subwoofer applications this control has virtually no effect and will normally be set to MIN
(minimum). Refer to pages Manual-9-12 for alignment procedures.
5 SUB / LOW crossover frequency selector: is 41-detent selector sets the crossover frequency between the Subwoofer and Low
Outputs. Refer to page Manual-9 to determine the proper setting for your system.
6 LOW LEVEL control: Sets the Level going to the Low frequency Output.
7 LOW MUTE switch: Removes all signal from the Low Output when pressed in.
8 LOW DELAY control: Adds from 0 to 2 ms of time Delay to the Low Output only.
9 LOW / MID crossover frequency selector: Sets the crossover frequency between the Low and Mid frequency Outputs.
0 MID LEVEL control: Sets the Level of signal going to the Mid Output only.
q MID MUTE switch: Removes all signal from the Mid Output when pressed in.
w MID DELAY control: Adds from 0 to 2 ms of time Delay to the Mid frequency Output only.
e MID / HIGH‑MID crossover frequency selector: Sets the crossover frequency between the Mid and High-Mid Outputs.
* NOTE: Both the CHANNEL 1 HIGH LEVEL control and CHANNEL 2 MASTER LEVEL control are automatically bypassed when
the AC 23S is switched to “MONO” on the back panel. Adjusting these controls has no effect in the Mono mode.
e HIGH-MID LEVEL control, HIGH-MID MUTE switch, HIGH-MID DELAY control and HIGH-MID / HIGH FREQUENCY
control will have no effect regardless of their settings when the AC 23S is switched to “MONO 4-Way” on the back panel.
r HlGH‑MID LEVEL control (5‑way only): Sets the Level of signal going to the High-Mid Output.
t HlGH‑MID MUTE switch (5‑way only): Removes all signal from the High-Mid Output when pressed to the in position.
y HlGH‑MID DELAY control (5‑way only): Adds from 0 to 2 ms of time Delay to the High-Mid Output only.
u HlGH‑MID / HIGH crossover frequency selector (5‑way only): Sets the crossover Frequency between the High-Mid and High
Frequency Outputs.
i HIGH LEVEL control: is controls the Level of signal to the High Output only.
o POWER indicator: Two choices: on or off. If the power is plugged in and this yellow LED is lit, then the unit ready to operate.
Manual-7
REAR PANEL: MONO 4-WAY AND MONO 5-WAY CONNECTIONS
Observe the labels below the Inputs and Outputs for Mono operation.
1 MONO INPUT: Connect the output from your mixer or other signal source only to the MONO 4W / 5W INPUT for Mono
operation; do not use the Channel 2 Input. Pin 2 is “hot” per AES standards.
2 SUBWOOFER OUTPUT: Connect the SUB OUT to the input of the subwoofer (or bass bin) amplifier.
3 LOW OUTPUT: Connect the LOW OUT to the input of the low frequency (mid-bass) amp.
4 MID OUTPUT: Connect the MID OUT to the input of the mid frequency amplifier.
5 HlGH‑MID OUTPUT (FOR MONO 5‑WAY ONLY): Use this Output only for Mono 5-Way applications. Connect the
HIGH-MID OUT to the input of the high-mid frequency amplifier. Do not use this Output when using the AC 23S as a Mono
4-Way Crossover. In 4-Way the AC 23S internally bypasses the High-Mid section and defeats all front panel High-Mid Controls.
6 HIGH OUTPUT: Connect the HIGH OUT to the input of the high frequency (tweeter) amp.
7 STEREO / MONO switch: Push this to the MONO (in) position.
8 STEREO 2‑Way / 3‑Way switches: For Mono 4-or 5-Way, slide these switches to the 3-Way position.
9 MONO 4‑Way / 5‑Way switch: set as required. In 4-Way, the HIGH-MID OUTPUT duplicates the MID OUTPUT
frequencies with a different low pass setting as determined by the HIGH-MID / HIGH FREQUENCY control, and is not
normally recommended for use since the tweeter crossover point will be inaccurate.
0 Universal Voltage Input: via a miniature IEC 60320 C6 appliance inlet. is mates with an IEC 60320 C5 line cord (USA
domestic). Do not lift the ground connection!
If your 4‑way system needs a higher range of 190 Hz‑7 kHz for LOW / MID, see the conguration on the following
page.
5W: HIGH MID OUT LOW OUTHIGH OUT
4W: OMIT
MONO: OMIT
3W: LOW OUT
2W: OMIT
3W: MID OUT
2W: LOW
HIGH OUT
3W 2W
CHANNEL 2
STEREO
CHANNEL 1
STEREO
MONO 4W / 5W IN
MONO: OMIT
SUB OUT MID OUT
3W: LOW OUT
2W: OMIT
3W: MID OUT
2W: LOW
3W 2W
MONO
4W 5W
STEREO
STEREO 3W / 2W HIGH OUT
PIN 2: POSITIVE
PIN 3: NEGATIVE
PIN 1: CHASSIS GND
CHANNEL 2 IN CHANNEL 1 IN
MONO: SET SWITCHES AS SHOWN
100-240 V
50/60 Hz 7 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.
ACN 001 345 482
RANE CORP
.
AC 23S
SET TO
5W
1
Input
8 7 89
0
Sub Amp
2
4
Mid Amp
High-Mid Amp
5
Low Amp
3
High Amp
6
Mono 4-way and 5-way connection labels are in this row
This output is not used in a 4-way mono conguration.
Manual-8
REAR PANEL: ALTERNATE MONO 4-WAY CONNECTIONS
The switching in the AC 23S will result in a Mono 4‑Way conguration with the crossover ranges
SUB, LOW, MID & HIGH from left to right across the bottom front panel. By connecting a patch cable
from the CHANNEL 1 HIGH OUT to the CHANNEL 2 INPUT, the LOW / MID crossover range changes
from 70 Hz‑1 kHz to a higher range of 190 Hz‑7 kHz.
Set the CHANNEL 1 HIGH LEVEL and the CHANNEL 2 MASTER LEVEL controls to “7” for unity gain.
Switch CHANNEL 1 to 3‑Way, CHANNEL 2 to 2‑Way, and set the MONO switch to 5‑Way.
1 MONO INPUT: Connect the output from your mixer or other signal source only to the MONO 4W / 5W INPUT; do not use
the Channel 2 Input. Pin 2 is “hot” per AES standards.
2 Patch cable: For this alternate Mono 4-Way installation, connect a balanced patch cord from the CHANNEL 1 HIGH OUT to
the CHANNEL 2 INPUT as shown.
3 SUBWOOFER OUTPUT: Connect the SUB OUT to the input of the subwoofer amplifier (or bass bin amp).
4 LOW OUTPUT: Connect the MID OUT to the input of the low frequency amplifier.
5 MID OUTPUT: Connect the HIGH-MID OUT to the input of the mid frequency amplifier.
6 HlGH OUTPUT: Connect the HIGH OUT to the input of the high frequency amplifier.
7 STEREO‑MONO switch: Be sure this switch is in the STEREO out position. Yes, STEREO. A Mono circuit is created when
Channel 1 is patched into Channel 2, and the correct signal flow depends on this switch.
8 STEREO 2‑WAY / 3‑WAY switches: For this configuration, set CHANNEL 1 to 3-Way, and CHANNEL 2 to 2-Way.
9 MONO 4‑Way / 5‑Way switch: Be sure this switch is is in the 5-Way position. Yes, 5-Way. Just do it if you want this to work.
0 Universal Voltage Input: via a miniature IEC 60320 C6 appliance inlet. is mates with an IEC 60320 C5 line cord (USA
domestic). Do not lift the ground connection!
5W: HIGH MID OUT LOW OUTHIGH OUT
4W: OMIT
MONO: OMIT
3W: LOW OUT
2W: OMIT
3W: MID OUT
2W: LOW
HIGH OUT
3W 2W
CHANNEL 2
STEREO
CHANNEL 1
STEREO
MONO 4W / 5W IN
MONO: OMIT
SUB OUT MID OUT
3W: LOW OUT
2W: OMIT
3W: MID OUT
2W: LOW
3W 2W
MONO
4W 5W
STEREO
STEREO 3W / 2W HIGH OUT
PIN 2: POSITIVE
PIN 3: NEGATIVE
PIN 1: CHASSIS GND
CHANNEL 2 IN CHANNEL 1 IN
MONO: SET SWITCHES AS SHOWN
100-240 V
50/60 Hz 7 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.
ACN 001 345 482
RANE CORP
.
AC 23S
SET TO
5W
1
Input
8 7 89
0
Sub Amp
3
42
Low Amp
Mid Amp
5
High Amp
6
Mono 4-way connection labels are in this row
Patch Cable
Manual-9
OPERATING INSTRUCTIONS
Selecting Crossover Frequencies
Most speaker manufacturers supply low and/or high frequency
cut-off points for each driver, especially if these are supplied in a
system. ese cut-off frequencies are based on each driver’s per-
formance at and beyond this point, with a certain safety margin
to accommodate more gentle filter roll-offs and resultant higher
output beyond the recommended performance range.
e AC 23S utilizes 41-detent crossover frequency selectors
which are precision potentiometers. e detents will assure con-
sistent accuracy from Channel to Channel and unit to unit. is
is a distinct advantage over the continuously variable designs
with low-tolerance parts, possible knob misalignment and panel
screening variations. Even with 41 choices it is possible that the
exact recommended crossover frequency may not fall on one of
the detents on the selector. Not to panic, for these sound reasons:
1. e AC 23S possesses 24 dB/octave roll-off, so the crossover
points may be set to the nearest detent above or below the
recommended limit with virtually no hazard to the driver or
degradation in sound quality. If extremely high power levels
are expected, it is safer to defer to the high frequency driv-
ers and shift the crossover point up in frequency rather than
down.
2. Detents do not rely on knob alignment, silk-screen accuracy,
parallax and other variables which erode the accuracy of
continuously variable designs. Chances are that even careful
visual alignment on these will often yield a frequency error
greater than a full detent on the AC 23S.
3. If it is absolutely critical to obtain the exact crossover fre-
quency (Mil Spec., P.A., etc.), the selector can be positioned
between detents if necessary. is of course will require the aid
of a precision signal generator and other equipment to verify
the exact setting.
For best overall system results, try to choose the speaker compo-
nents so that each operates well within its recommended limits.
is will provide valuable leeway so that you may move crossover
points in order to fine-tune the system, and will also yield higher
system reliability. If at all possible, beg, borrow or best yet always
use some kind of realtime analyzer to tune your crossover and
fine-tune the system for each different location with an equalizer.
Refer to the following pages for further alignment details.
Time Delay Adjustment
Before jumping feet first into the realm of time delay and how
to adjust it, realize why on earth this delay is really necessary.
For a short course on time delay, Linkwitz-Riley and other
mouth-watering details, we urge you to read the “Linkwitz-Riley
Crossovers” RaneNote from Rane’s website.
Problems pop up when two different speakers emit the same
frequency as occurs in the crossover regions of two, three, four
and five way systems. Because the two drivers are displaced verti-
cally, cancellation occurs somewhere off-axis because the sound
waves have to travel different distances from the two speakers
and hence, will arrive out of phase. is forms a “lobe” or radia-
tion pattern, bounded on either side by cancellation lines or axes,
which narrow the dispersion or listening area of the speaker.
Fine. So we put up with it. But to make matters worse, when
the two drivers are horizontally displaced – that is, one is in the
front of or behind the other, this “lobe” or dispersion pattern
gets tilted (usually upward) toward the driver that is further
behind. is gets hard to put up with, because the end result is
that your speaker system will have two, three, four or more tilted
radiation patterns and only two or three people in the house will
have decent seats. is rampant lobing error can make a sound
system a real headache to listener and operator alike.
e idea is to be sure that all drivers are vertically aligned
and that all components are always in phase. en all the main
lobes are on-axis, well behaved, and the system enjoys the widest
possible dispersion pattern so that everyone gets good sound.
e one catch is that in many cases it is physically or otherwise
impossible to get all the drivers vertically lined up at the sound
source. is is where time delay comes in.
By electronically delaying the signal going to the front driver,
enough time allows the sound from the rear driver to literally
catch up to the forward driver’s voice coil, so that signal from
both drivers is emitted in phase—and it works! Time delay
makes an appreciable improvement in overall sound. e trick is
finding the proper time delay amount: hence this manual.
Unfortunately the amount of time
delay is a function of two factors:
the amount of horizontal
displacement between
driver voice coils, and
the actual crossover
frequency involved.
Setting delay controls
by ear is suppos-
edly possible, but very
tricky and unreli-
able. e following
methods are a couple
of (but by no means
all) means of setting
time delay.
Corrected In-Phase Axis with Time Delay on the Low Driver
In-Phase Axis Response Without Time Delay
Manual-10
Time Delay Adjustment Using
Realtime Analyzer & Pink Noise
is method outlines the use of a realtime analyzer, pink noise
generator and flat response microphone to set crossover time
delay. e procedure applies to virtually any analyzer system.
We recommend using a ⅓ or ⅔-octave analyzer as either of these
is more likely to match your specific crossover points than a
one-octave analyzer. And it is important to match the analyzer to
the crossover point as closely as possible for proper phase align-
ment, otherwise the analyzer readings may be misleading.
STEP BY STEP PROCEDURE
A 3-Way mode consisting of High, Mid and Low drivers is
used here as an example. For other configurations, use the same
procedure starting with the highest crossover point and repeating
steps 2 through 5 for each lower crossover point.
NOTE: If you are running two separate channels on the
crossover, tune up only one channel at a time, using the same
procedure for both.
1. Place the analyzer mic about 15 feet in front of the speaker
stack and at a height about midway between the high and mid
drivers. Turn all crossover LEVEL controls fully down.
2. Connect the pink noise source to the crossover INPUT (or
mixer or wherever is convenient). Turn up the crossover MAS-
TER LEVEL control and the MID OUT control until noise
is heard only from the mid driver at a comfortable volume.
3. With a healthy but not uncomfortable volume of noise from
the mid driver, set the analyzer level control so the display cor-
responding to the high crossover frequency is reading 0 dB.
4. Press in the MID MUTE switch on the crossover so the tone
is removed from the mid driver. Without re-adjusting either the
meter or the crossover Input or Mid Level controls, turn up the
HIGH LEVEL control until the tone coming from the high
driver reads 0 dB on the analyzer.
5. Now release the MID MUTE switch on the crossover so pink
noise is heard from both the high and mid drivers. Switch
the display sensitivity to ±3 dB (not necessary with full scale
analyzers) and observe the display reading at the crossover
frequency:
i. If the display shows a +3 dB reading, then the drivers are
properly phase aligned and no delay is necessary; leave the
MID DELAY control at minimum.
ii. If the display shows less than +3 dB reading, slowly turn up
the MID DELAY control on the crossover until the display
shows +3 dB. Now the drivers are electronically phase
aligned. e Delay control should be left in this position
unless the speaker system is physically altered.
iii. If the MID DELAY control is all the way up and you still
do not have a +3 dB (red) reading, you will have to physi-
cally move the high driver farther forward until the display
shows +3 dB (red). e amount of displacement correction
available from the Delay depends on the actual crossover
frequency: the higher the frequency, the less amount of cor-
rection capability. If the drivers are built into a single cabi-
net and/or it is impossible to change relative positions, then
you will have to obtain additional external delay to achieve
proper phase alignment. such as the Rane AD 22B.
iv. If turning the MID DELAY control up makes the display
reading decrease instead of increase, this means that the high
driver is actually in front of the mid driver; adding delay
to the mid driver only worsens the situation. ere are a
couple of ways to deal with this:
a. Try to move the high driver back as far as possible without
losing stability in balancing the speaker stack. You may
want to raise it up as well to restore dispersion close to
the stack. If you cannot move the high driver, then you
will have to use an additional delay source to align the
high and mid drivers. e built-in delay system in the
AC 23S is designed to accommodate the majority of
common speaker configurations; if you encounter confu-
sion or difficulty with your particular system, it is best to
consult your dealer or the Rane factory for assistance.
b. If this decrease in the display due to the DELAY control
occurs at a low frequency crossover point below about
150 Hz, set the DELAY control to minimum and leave it
there. Frequencies below 150 Hz are actually omnidirec-
tional, so that phase misalignment is virtually inaudible
below this point. Subwoofers will often possess long
folded or straight horns, resulting in the diaphragm being
well behind the rest of the stack. Most authorities agree
that phase alignment of subwoofers is unnecessary.
6. Lower the microphone until it is vertically midway between
the mid and low drivers. Repeat steps 2 through 5, using the
crossover LEVEL control, MUTE switch and next DELAY
control. You may start each series of steps 2 through 5 at a
different volume as necessary—but once the Levels are set in
step 3 do not alter these until step 5 is completed. Once all of
the crossover DELAY controls are set, then adjust the output
LEVEL controls as outlined on page Manual-13.
Manual-11
Time Delay Adjustment Using SPL
Meter & Tone Generator
If an analyzer is simply not available, an accurate delay setting
can be obtained by using an SPL meter (obtainable at most local
electronics stores) and some kind of variable tone generator.
In order to exclude the effect of room acoustics and imper-
fect driver response, only the crossover frequencies are to be
emitted (one at a time) by the tone generator. First the highest
crossover frequency is run through the crossover and each of the
two speakers sharing the crossover point is set separately to an
arbitrary 0 dB level on the SPL meter. When both drivers emit
the crossover tone simultaneously, the combined response should
read +3 dB higher on the meter. If the drivers are not phase
aligned, some cancellation will occur on-axis, resulting in a
combined response less than +3 dB. Turning the delay control up
causes the lower frequency driver to electronically move back-
ward until the SPL meter reads +3 dB; then the two drivers are
electronically aligned and the on-axis cancellation is eliminated.
is procedure is repeated for the next lower crossover point(s).
STEP BY STEP PROCEDURE
A 3-Way mode consisting of high, mid and low drivers is used
here as an example. For other configurations, use the same proce-
dure starting with the highest crossover point and repeating steps
2 through 5 for each lower crossover point.
1. Set the tone generator to the highest crossover frequency and
plug it into the INPUT of the crossover. Turn all crossover
LEVEL controls fully down.
2. Position the SPL meter mic about 15 feet in front of the speak-
ers and at a height about midway between the high and mid
drivers. It is very important that the meter remain in exactly
the same position throughout the test, so affix it to a mic
stand, small tree or other stable object. Set the switches on
the SPL meter to “C-weighting”, “Slow” if available. Be sure
to minimize background noise (air conditioners, fans, traffic,
wild animals, etc.) as these will effect the meter reading.
3. Slowly turn up both the crossover MASTER LEVEL control
and the MID LEVEL control until the tone is heard through
the mid driver. Adjust the SPL meter control and/or the cross-
over LEVEL controls until you obtain a 0 dB reading on the
meter. Verify that no sound is coming from any other speakers
except the mid driver.
4. Now press in the MID MUTE switch on the crossover so the
tone is removed from the mid driver. Without re-adjusting
either the meter or the crossover Input or Mid frequency Level
controls, turn up the HIGH LEVEL until the tone coming
from only the high driver reads 0 dB on the SPL meter.
5. Release the MID MUTE switch so the tone is emitted from
both the high and mid drivers. Check the SPL meter reading:
i. If the meter reads +3 dB, then the drivers are properly phase
aligned and no delay is necessary; leave the MID DELAY
control at full minimum.
ii. If the meter reads less than +3 dB, slowly turn up the MID
DELAY control until the meter just reads +3 dB. Now the
drivers are electronically phase aligned and the delay control
should be left in this position at all times, unless the speaker
system is physically altered.
iii. If you have turned the MID DELAY control all the way
up and still do not obtain a +3 dB reading, you will have
to physically move the high driver farther forward until the
SPL meter reads +3 dB. e amount of displacement correc-
tions available from the delay depends on the actual cross-
over frequency: the higher the frequency the less amount
of correction capability. If the drivers are built into a single
cabinet and/or it is impossible to change relative positions,
then you will have to obtain additional delay to achieve
proper phase alignment.
iv. If turning the MID DELAY control up makes the SPL
reading decrease instead of increase, this means that the high
driver is actually in front of the mid driver; adding delay to
the mid driver then only worsens the situation. ere are a
couple of ways to deal with this:
a. Try to move the high driver back as far as possible without
losing stability in balancing the speaker stack. You may
want to raise it up as well to restore dispersion close to
the stack. If you cannot move the high driver, then you
will have to obtain an additional external delay source to
align the high and mid drivers. e built-in delay system
in the AC 23S is designed to accommodate the majority
of common speaker configurations; if you encounter con-
fusion or difficulty with your particular system, it is best
to consult your dealer or the Rane factory for assistance.
b. If this decrease in the display due to the LOW DELAY
control occurs at a low frequency crossover point below
about 150 Hz, set the LOW DELAY control to mini-
mum and leave it there. Frequencies below 150 Hz are
actually omnidirectional, so that phase misalignment is
virtually inaudible below this point. Subwoofers will of-
ten possess long folded or straight horns, resulting in the
diaphragm being well behind the rest of the stack. Most
authorities agree that phase alignment of subwoofers is
unnecessary. Otherwise you will have to obtain additional
delay equipment to align these to the rest of the system.
6. Tune the tone generator to the next lower crossover frequency
and then repeat steps 2 through 5, using the appropriate level
and delay controls. Once the DELAY control is set, you may
re-adjust any of the crossover LEVEL controls at the begin-
ning of each alignment procedure. Once all of the crossover
DELAY controls are set, then re-adjust the output LEVEL
controls as outlined on page Manual-13.
Manual-12
Voice Coil Displacement (Inches)
(Hz) .75" 1.5" 3" 6" 9" 12" 15" 18" 21" 24"
70 1 1.5 2 2.5 3.5 5 6 7 8 MAX
80 1 1.5 2 2.5 3.5 5 6 7 8 MAX
100 1 1.5 2 2.5 3.5 5 6 7 8 MAX
150 1 1.5 2 2.5 3.5 5 6 7 MAX
200 1 1.5 2 2.5 3.5 5 6 7 MAX
250 1 1.5 2 2.5 3.5 5 7 8 MAX
300 1 1.5 2 2.5 3.5 5.5 7 MAX
400 1 1.5 2 2.5 4 6 8 MAX
450 1 1.5 2 2.5 4 6 8 MAX
500 1 1.5 2 2.5 4 6 8 MAX
800 1 1.5 2 3 5 7 MAX
lk 1 1.5 2.2 3 6 MAX
1.2k 1 1.5 2.2 3.5 MAX
1.5k 1 1.5 2.3 3.5 MAX
2k 1 1.5 2.3 MAX
2.5k 1 1.5 2.3 MAX
3k 1 1.7 2.4 MAX
3.6k 1 1.7 MAX
4k 1 1.8 MAX
6k 1 2 MAX
7k 1.2 MAX
Delay vs. Frequency Table
If you do not have the equipment necessary to electronically
align the system as described in previous sections, you may use
the table below to obtain a rough and approximate phase align-
ment of your drivers. Measure the horizontal displacement
between the voice coils of the two adjacent drivers sharing the
same crossover point, then find the column in the table nearest
your actual displacement. Move down this column to the proper
crossover frequency as indicated on the left of the table: the cor-
responding delay knob setting will then be the closest for your
system. For example, if you have a two-way system crossed over
at 800 Hz with the compression driver voice coil located about
9" behind the woofer voice coil, the delay knob setting corre-
sponding to a 9" displacement at 800 Hz on the table would be
“5” as indicated on the front panel.
In order to phase-align two drivers you must observe only
the crossover frequency, which is common to both drivers. Pink
noise can be used if all other frequencies are disregarded, since
room acoustics and imperfect driver response will cause errone-
ous alignment attempts. Using pink noise as a source, each driver
is individually tuned to an arbitrary 0 dB level on the analyzer
display only at the crossover frequency. When both are turned on
simultaneously, the combined response of the two drivers should
read +3 dB higher at the crossover frequency on the display. If
the drivers are not phase-aligned, some cancellation will occur
on-axis, resulting in a combined response less than +3 dB. Turn-
ing up the DELAY control causes the lower driver to electroni-
cally move backward until the analyzer reads +3 dB; then the
two drivers are electronically aligned and the on-axis cancella-
tion is eliminated.
Crossover Frequency
Figure 3. Front-to-Back Displacement Distance
Displacement
Manual-13
Setting the Output Level Controls
Choosing the crossover frequencies was the easy part. Now it
gets real fun. e idea is to set the output Level controls on
the crossover so that the entire speaker system has a uniform,
flat response. Unfortunately, the room in which the speakers
are placed has a habit of always getting into the act, so things
get messy. As a result there seems to be two schools of thought
regarding the use of active crossovers.
The Set‑lt‑Once‑And‑Glue‑lt School
e philosophy here is to use the crossover to flatten system
response as much as possible without room acoustics involved.
is means setting up the system outside (unless you happen to
have a very large anechoic chamber handy) and with the aid of a
realtime analyzer and pink noise source, adjust all of the cross-
over outputs so that the system is as flat as possible. Once the
system is tuned, the crossover is then locked behind a security
cover (posted guard is optional) and never again touched. It is
then the job of the system equalizer(s) to normalize or flatten the
system to each different room.
The Fix‑lt‑With‑The‑Crossover School
Here the crossover knobs get a good workout, for the cross-
over is used at each location to help flatten the system along with
the equalizer. Some even maintain that a good active crossover
can work alone like a parametric equalizer in the hands of an ex-
pert. is does require experience, skill, and the right equipment
to back it up (not to mention a licensed set of ears).
Regardless of which school you profess, the absolute im-
portance and effectiveness of some kind of realtime analyzer in
your system cannot be overstressed! Analyzers in general have
come a long way. ey’re out of the lab (i.e. closet) and into the
hands of every smart working musician and sound technician.
An analyzer will save tremendous amounts of time and provide
the absolute consistency, accuracy, and plain old good sound that
very few ears on this earth can deliver. ey are affordable, easy
to use and amazingly effective. You owe it to yourself and your
audience to at least look into one of these analyzers — you’ll
wonder how you managed at all without one.
Whether by analyzer or ear, here are a few recommended
methods of setting the crossover output Levels.
Setting Levels Using a Realtime
Analyzer
NOTE: If you are running two Channels, tune up only one Chan-
nel at a time.
1. Set all LEVEL controls on the crossover to minimum; leave
Delay and Frequency controls as set previously.
2. Place the analyzer microphone at least 15 feet away from the
speaker stack, on axis (dead ahead) and about chest level.
Minimize any background noise (fans, air conditioners, traf-
fic, etc.) that could affect the readings.
3. Run pink noise through the system, either through a mixer
channel or directly into the crossover. Turn all amplifier con-
trols at least half way up.
4. We will use the 3-Way mode here as an example—the
procedure applies to all configurations. Turn up the INPUT
LEVEL control(s) on the crossover about half way.
5. Slowly turn up the LOW LEVEL control on the crossover, un-
til you hear a healthy level of noise through the low frequency
drivers (it should sound like rumble at this point).
6. Adjust the analyzer controls so the display shows the greatest
number of 0 dB indicators below the crossover point.
7. Now slowly turn up the MID LEVEL on the crossover until
the display shows the same output level average as the Low
frequency section.
8. Repeat this procedure for all crossover frequency sections,
lowest to highest, so that the end result is as flat response as
possible on the analyzer display.
IMPORTANT: Compression driver or horn roll-off, bass roll-off,
and room acoustics usually cannot be corrected by the crossover. If
you are using constant directivity horns, see page Manual-15. If, for
example, you are adjusting the High frequency controls and observe
a decline in frequency response somewhat above the crossover point,
then set the crossover LEVEL control for equal display level near the
crossover point and leave it there. en use an equalizer or bank of
tweeters to correct the roll-off problem. If you are tuning the system
in a room, the room acoustics will greatly influence the system
response, as shown by the analyzer.
Check the system response on an analyzer at several other
locations and adjust the crossover as necessary to reach a fixed
compromise setting if desired. If you plan to use the analyzer
only once to set the crossover, set up the speaker system in a qui-
et place outside or in a very large concert theater, and run pink
noise at low levels with closer microphone placement to keep the
room acoustics out of the picture as much as possible.
Manual-14
Setting Levels Using an SPL
Meter & Pink Noise Generator
e MUTE switches on the AC 23S make using an SPL meter
an easy and relatively accurate means of tuning a system, avail-
able from a local electronics store. You may also use a sweep or
tone generator in place of a pink noise source. If so, be sure to
look at several different tones within each crossover section to get
a good average driver response.
1. Run pink noise into the crossover Inputs (through the mixer
or directly, as is convenient).
2. Make sure all crossover output LEVEL controls are turned all
the way down and all amplifier level controls are at least half
way up to start with.
3. Turn the crossover MASTER LEVEL(s) half way up. Place the
SPL meter at least 15 feet from the speaker stack and about
chest high. Once positioned, make sure that the SPL meter re-
mains in the exact same location for the rest of the procedure.
Minimize all background noise (fans, air conditioners, traffic,
wild animals, etc.) to get accurate readings. Set the SPL meter
to “C-weighting” “Slow” if switches are present.
4. Slowly turn the LOW LEVEL of the crossover up until there
is a healthy rumble coming from the bass speakers (For this
example the 3-Way configuration is used—the same proce-
dure applies to all configurations, starting with the lowest
frequency and ending with the highest). Adjust the SPL meter
and/or crossover output until you get a 0 dB reading on the
meter. After this point do not change the controls on the SPL
meter.
5. While leaving the LOW LEVEL control at the 0dB adjust-
ment just obtained, press the LOW MUTE switch on the
crossover so that the pink noise disappears from the bass
speakers (revel in the silence...).
6. Now slowly turn up the MID LEVEL control so pink noise
is heard from the mid frequency speakers. Without changing
any settings on the SPL meter, adjust the MID LEVEL until
you obtain a 0 dB reading on the SPL meter. Now the low
and mid speakers are set at the same level.
7. Now press the MID MUTE switch on the crossover so that
the pink noise again disappears.
8. Repeat this process for each frequency section of the crossover,
ending with the highest frequency. NOTE: It is possible that
you may turn one of the frequency section output LEVEL controls
all the way up and still not have enough volume for a 0 dB read-
ing (as determined by previous section levels). is is probably due
to different sensitivities of amps, speakers and other level controls
in the system. When this happens, re-set the SPL meter so that
it reads 0 dB on this frequency section (you may have to “down
range” the meter and re-adjust the crossover level control). Now
go back and re-adjust the previous crossover level controls, turn-
ing these down to get a 0 dB reading on the meter.
9. Once the HIGH LEVEL control is set for 0 dB on the meter,
disengage all of the MUTE switches on the crossover, and
check that noise is emitting from all the speaker components.
e crossover should now be aligned. Make any overall level
adjustments with the MASTER LEVEL controls and leave
the output level controls unchanged.
Manual-15
Constant Directivity Horn EQ Mod
Constant Directivity (CD) horns need additional equalization to
help cover the same area a long throw horn can cover. Additional
circuitry has been added to the AC 23S for additional equal-
ization of the High Frequency outputs for the CD horns. is
modification should only be attempted by an experienced technician.
It is important to know the 3 dB down point of the CD
driver's frequency response. e manufacturer of your driver
should be able to supply you with a frequency response curve.
Find the point where the high end starts to roll off, and look for
the point on the chart that is 3 dB down from that point (toward
the right, as the higher frequencies roll off). Find the frequency
at the bottom of the chart of this point—an approximate is fine,
you don't have to be exact. Find the closest frequency in the table
below to determine the correct value capacitor to install.
STEP BY STEP PROCEDURE
is procedure is for CD horn EQ on the High output in Stereo
3-Way mode. For a Mono 4- or 5-Way system with a CD horn
on the high output, only place C98 in Channel 2.
1. Remove the top and bottom covers of the AC 23S.
2. Locate the positions for C72 and C98 on the third page of the
Schematics and on the circuit board.
3. Clean the solder pad on the underside of the board so the
capacitor can be inserted. Solder the leads from the underside
with fresh solder. Clip the excess leads.
4. Replace the top and bottom covers.
3 dB Down Frequency Capacitor
2.0 kHz .0068 µf
2.5 kHz .0056 µf
3.0 kHz .0047 µf
3.7 kHz .0039 µf
4.0 kHz .0036 µf
5.0 kHz .0030 µf
6.0 kHz .0024 µf
DOC 110953
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5000 USA TEL 425-355-6000 FAX 425-347-7757 WEB www.rane.com
Monoing the Low Outputs
It is possible to mono the Low Frequency Outputs of the AC 23S
by an internal jumper. e unit should only be opened by
qualified service personnel.
1. Remove the power cord and the AC 23S top cover.
2. Move the MONO SUB OPTION header to the J9 position.
3. Moving the header to the SHIP Position puts the Low
Outputs back in stereo, as shipped from the factory.
4. Replace the cover.
5. Set both LOW DELAYS to “0”.
e mono output is now at Channel 1 LOW OUT.
Channel 2’s LOW OUT is unused.
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Rane AC 23S Manuel utilisateur
- Catégorie
- Égaliseurs audio
- Taper
- Manuel utilisateur
dans d''autres langues
- English: Rane AC 23S User manual
