Rane AC 23S Manuel utilisateur

Marque: Rane

Modèle: AC 23S

Catégorie: Égaliseurs audio

Taper: Manuel utilisateur

AC 23S

ACTIVE CROSSOVER

MONO 4W OR 5W: INACTIVE 4W: INACTIVE4W: INACTIVE

1 00

100

1 00

MAXMIN

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 qualied 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 ampliers) 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 specied by Rane.

12. Use only with the cart, stand, tripod, bracket, or table specied 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 qualied 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

ampliers) 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 dierent from that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

CAUTION: Changes or modications 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

An d’éviter tout risque de choc électrique, ne pas ouvrir l’appareil.

Aucune pièce ne peut être changée par l’utilisateur. Contactez un

SAV qualié 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 chion doux.

7. N’obstruer aucune évacuation d’air. Eectuez 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 modier 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 spéciés 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 an 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 qualié 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 susant pour la ventilation. Vous pouvez disposer d’autres appareils au-dessus ou en-dessous de celui-

ci, mais certains (tels que de gros amplicateurs) 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: an 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 diérent de celui sur lequel le récepteur est branché.

• Consulter un revendeur ou un technicien radio / TV expérimenté.

ATTENTION: Les changements ou modications 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

MAXMIN

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

MAXMIN

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

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

Left Input

Right Input

6 5 67

Low Amp

High Amp

Low Amp

High Amp

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

MAXMIN

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

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

Left Input

Right Input

7 6 78

Low Amp

Mid Amp

High Amp

Low Amp

Mid Amp

High Amp

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

MAXMIN

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 conguration 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

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

Input

8 7 89

Sub Amp

Mid Amp

High-Mid Amp

Low Amp

High Amp

Mono 4-way and 5-way connection labels are in this row

This output is not used in a 4-way mono conguration.

Manual-8

REAR PANEL: ALTERNATE MONO 4-WAY CONNECTIONS

The switching in the AC 23S will result in a Mono 4‑Way conguration 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

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

Input

8 7 89

Sub Amp

Low Amp

Mid Amp

High Amp

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

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.

Rane AC 23S Manuel utilisateur

Marque: Rane

Modèle: AC 23S

Catégorie: Égaliseurs audio

Taper: Manuel utilisateur

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