Rane AC 22S Manuel utilisateur

Marque: Rane

Modèle: AC 22S

Catégorie: Équipement musical supplémentaire

Taper: Manuel utilisateur

AC 22S

ACTIVE CROSSOVER

CH 1

MASTER

POWERDELAY DELAYLEVEL LEVEL LEVEL LEVEL LEVEL LEVELFREQUENCY FREQUENCY

LOW

MUTE

LOW / HIGH HIGH CH 2

MASTER

STEREO

LOW LOW / HIGH

MUTE

HIGH

AC 22S

ACTIVE

CROSSOVER

MASTER LOW LOW / MID

MONO

MID MID / HIGH HIGH

MONO SUB

INACTIVE

1 00

INACTIVE

1 00

100

1 00

MAXMIN

3.0k

70 3.6k

120

250

180

300

700

1.5k

2.0k

1.0k

500

400

3.0k

70 3.6k

120

250

180

300

700

1.5k

2.0k

1.0k

500

400

INACTIVE: MONO SUB

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 22S

ACTIVE CROSSOVER

OPERATORS MANUAL

CH 1

MASTER

POWERDELAY DELAYLEVEL LEVEL LEVEL LEVEL LEVEL LEVELFREQUENCY FREQUENCY

LOW

MUTE

LOW / HIGH HIGH CH 2

MASTER

STEREO

LOW LOW / HIGH

MUTE

HIGH

AC 22S

ACTIVE

CROSSOVER

MASTER LOW LOW / MID

MONO

MID MID / HIGH HIGH

MONO SUB

INACTIVE

100

INACTIVE

100

MAXMIN

3.0k

70 3.6k

120

250

180

300

700

1.5k

2.0k

1.0k

500

400

3.0k

70 3.6k

120

250

180

300

700

1.5k

2.0k

1.0k

500

400

INACTIVE: MONO SUB

WEAR PARTS: is product contains no wear parts.

QUICK START

e AC 22S can be either a Stereo 2-Way or Mono 3-Way cross-

over. To keep operation simple, remember this:

Labels above the controls refer to the 2-Way Stereo mode.

Labels below the controls refer to the 3-Way Mono mode.

e fact that the AC 22S is a multiple function unit means

the outputs are switched around depending on the SYSTEM

MODE and SUBWOOFER switches on the back of the unit.

To operate the AC 22S in Stereo 2-Way mode, be sure that

the Mode switch is set for STEREO 2-WAY. Follow the labels

above the controls and jacks.

When operated in the Mono 3-Way mode, the switch should

be set in the MONO 3-WAY position. Follow the labels below

the controls and jacks. In Mono 3-Way mode the Channel 1 High

Output is unusable. is output is the high-pass-only portion of

the midrange lter. e Channel 1 High Level and the Channel 2

Master Level are also defeated on the front panel.

In agreement with IEC and AES/ANSI standards, AC 22S

wiring convention is pin 2 Positive, pin 3 Negative (return),

pin 1 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 screened above the controls for stereo operation.

1 CHANNEL 1 MASTER LEVEL controls the overall Level of Channel 1 without altering the relative settings of the HIGH and

LOW Outputs. Unity gain for all LEVEL controls is at “7”.

2 LOW LEVEL controls the Level of signal going to the LOW Output in this Channel. In the MONO SUB mode the Channel 1

LEVEL control sets the Level of the MONO SUB Output, Channel 2's LOW LEVEL control is inactive.

3 LOW MUTE: When pressed to the in position, all signal is removed from the LOW Output. is eases tune-up procedures, as

described on pages Manual-7 through 12. In the MONO SUB mode, the Channel 1 LOW MUTE switch mutes the MONO SUB

Output, Channel 2's MUTE is inactive.

4 LOW DELAY control adds from 0 to 2 ms of time delay to the LOW OUT only. is allows a low frequency driver to be electroni-

cally phase-aligned with a high frequency driver whose diaphragm is situated behind the low frequency diaphragm. Refer to Time

Delay Adjustment on page Manual-6. NOTE: Both DELAY controls are inactive in the MONO SUB mode.

5 LOW / HIGH FREQUENCY: is 41-detent selector determines the crossover frequency between the LOW and HIGH Out-

puts. e detents assure maximum accuracy and consistency between Channels. Refer to Selecting Crossover Frequencies on page

Manual-6 to determine the proper setting for your particular system.

6 HIGH LEVEL controls the Level of signal going to the HIGH Output in this Channel.

7 CHANNEL 2 MASTER LEVEL controls the overall Level of Channel 2 without altering relative settings of the HIGH and LOW

Outputs.

8 POWER indicator: If the power cable is plugged in and this yellow LED is lit, the unit ready to operate.

CH 1

MASTER

POWERDELAY DELAYLEVEL LEVEL LEVEL LEVEL LEVEL LEVELFREQUENCY FREQUENCY

LOW

MUTE

LOW / HIGH HIGH CH 2

MASTER

STEREO

LOW LOW / HIGH

MUTE

HIGH

AC 22S

ACTIVE

CROSSOVER

MASTER LOW LOW / MID

MONO

MID MID / HIGH HIGH

MONO SUB

INACTIVE

100

INACTIVE

100

MAXMIN

3.0k

70 3.6k

120

250

180

300

700

1.5k

2.0k

1.0k

500

400

3.0k

70 3.6k

120

250

180

300

700

1.5k

2.0k

1.0k

500

400

INACTIVE: MONO SUB

1234 56 1234 56 7

2-way operation:

read the top ro

Manual-3

REAR PANEL: STEREO 2-WAY CONFIGURATION

Observe the labels screened above the Inputs and Outputs for stereo operation.

1 CHANNEL 1 INPUT connects to the left channel output of the mixer, equalizer or other source.

2 CHANNEL 2 INPUT connects to the right channel output of the mixer, equalizer or other source.

3 HIGH OUTPUTS: Connect 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 OUTPUTS: Connect the Channel 1 LOW OUT to the left channel input of the low frequency amp and the Channel 2

LOW OUT to the right channel input of the low frequency amp. When the SUBWOOFER switch is set to MONO SUB, only use

Channel 1 LOW OUT. Channel 2 LOW OUT is disconnected in MONO SUB mode.

5 SUBWOOFER switch disconnects the Output from Channel 2 LOW OUT and sums it with Channel 1 LOW OUT. e result is

taken from the Channel 1 LOW OUT.

6 MODE switch: Set this switch for STEREO 2-WAY operation.

7 Universal Voltage Input: via a miniature IEC 60320 C6 appliance inlet. is mates with an IEC 60320 C5 line cord (USA domes-

tic). Do not lift the ground connection!

ACN 001 345 482

LOW OUTCH 1 IN

3-WAY IN

MONO SUB OUTMONO

LOW OUT

HIGH OUT

STEREO 2-WAY

SUBWOOFER SWITCH MUST

BE SET TO 2- CHANNEL

FOR MONO 3-WAY

CH 2 INLOW OUT

2-CHANNEL

SUBWOOFER

MONO SUB

OMIT MONO

MONO 3-WAY

MODE

OMIT MONO

MONO SUB: OMIT

MID OUT

HIGH OUT

RANE CORP.

AC 22S

PIN 2: POSITIVE

PIN 3: NEGATIVE

PIN 1: CHASSIS GND

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.

High Amp

Right Input

Low Amp

56 2

Left Input2-way operation:

read the top row

High Amp

Low Amp

Manual-4

FRONT PANEL: MONO 3-WAY CONFIGURATION

Observe the labels below the controls for Mono operation.

1 CHANNEL 1 MASTER LEVEL controls the overall Level without altering the relative settings of the HIGH, MID and LOW

Outputs. Unity gain for all Level controls is at “7”.

2 LOW LEVEL controls the Level of signal going to the LOW Output.

3 LOW MUTE: When pressed to the in position, all signal is removed from the LOW Output. is eases tune-up procedure, as

described on pages Manual 7-12.

4 LOW DELAY control adds from 0 to 2 ms of time Delay to the LOW Output only. is allows a low frequency driver to be

electronically phase-aligned with a high frequency driver whose diaphragm is situated behind the low frequency diaphragm. Refer to

Time Delay Adjustment on page Manual-6 for the procedure.

5 LOW / MID FREQUENCY: is 41-detent selector determines the cross over Frequency between LOW and MID Outputs. e

detents will assure maximum accuracy and consistency between Channels. Refer to Selecting Crossover Frequencies on page

Manual-6 to determine proper setting for your particular system.

* NOTE: e Channel 1 HIGH LEVEL and Channel 2 MASTER LEVEL controls are automatically bypassed when the System Mode switch

is set to MONO 3-WAY as shown on the facing page. Adjusting these controls have no eect in MONO mode.

6 MID LEVEL controls the Level of signal going to the MID Output.

7 MID MUTE: When pressed to the in position, all signal is removed from the MID Output. is eases tune-up procedures, as

described in pages Manual 7-12.

8 MID DELAY control adds from 0 to 2 ms of time Delay to the MID Output only. is allows a mid frequency driver to be elec-

tronically phase-aligned with a high frequency driver whose diaphragm is situated behind the mid frequency diaphragm. Refer to

Time Delay Alignment on page Manual-6 for procedure.

9 MID / HIGH FREQUENCY: sets the crossover Frequency between the MID and HIGH Outputs. Refer to Selecting Crossover

Frequencies on page Manual-6.

0 HIGH LEVEL controls the Level of signal going to the HIGH Output only.

q POWER switch and indicator: If the power cable is plugged in and this yellow LED is lit, the unit ready to operate.

CH 1

MASTER

POWERDELAY DELAYLEVEL LEVEL LEVEL LEVEL LEVEL LEVELFREQUENCY FREQUENCY

LOW

MUTE

LOW / HIGH HIGH CH 2

MASTER

STEREO

LOW LOW / HIGH

MUTE

HIGH

AC 22S

ACTIVE

CROSSOVER

MASTER LOW LOW / MID

MONO

MID MID / HIGH HIGH

MONO SUB

INACTIVE

100

INACTIVE

100

MAXMIN

3.0k

70 3.6k

120

250

180

300

700

1.5k

2.0k

1.0k

500

400

3.0k

70 3.6k

120

250

180

300

700

1.5k

2.0k

1.0k

500

400

INACTIVE: MONO SUB

1234 5 **67890q

3-w

ay operation:

read the bottom ro

Manual-5

REAR PANEL: MONO 3-WAY CONFIGURATION

Observe the labels below the Inputs and Outputs for Mono operation.

1 MONO (CHANNEL 1) INPUT: Plug the output of the mixer, equalizer or other signal source

to this Input for mono operation. Do not use the Channel 2 INPUT for MONO 3-WAY operation.

2 HIGH OUTPUT: Connect this Output to the input of the high frequency amp.

3 MID OUTPUT: Connect this Output to the input of the mid frequency amp.

4 LOW OUTPUT: Connect this Output to the input of the low frequency amp.

5 MODE switch: Set this switch for MONO 3-WAY operation.

6 SUBWOOFER switch: Set this switch for 2-CHANNEL operation.

7 Universal Voltage Input: via a miniature IEC 60320 C6 appliance inlet. is mates with an IEC 60320 C5 line cord (USA domes-

tic). Do not lift the ground connection!

ACN 001 345 482

LOW OUTCH 1 IN

3-WAY IN

MONO SUB OUTMONO

LOW OUT

HIGH OUT

STEREO 2-WAY

SUBWOOFER SWITCH MUST

BE SET TO 2- CHANNEL

FOR MONO 3-WAY

CH 2 INLOW OUT

2-CHANNEL

SUBWOOFER

MONO SUB

OMIT MONO

MONO 3-WAY

MODE

OMIT MONO

MONO SUB: OMIT

MID OUT

HIGH OUT

RANE CORP.

AC 22S

PIN 2: POSITIVE

PIN 3: NEGATIVE

PIN 1: CHASSIS GND

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.

High Amp

Mid Amp

56 1

Input

2-way operation:

read the bottom row

Low Amp

Manual-6

Time Delay Adjustment

Before jumping feet rst into the realm of time delay and how

to adjust it, it might help to spend a moment here to re-arm

why on earth this Delay is really necessary. For a detailed and

enjoyable short course on time delay, Linkwitz-Riley and other

mouth-watering details, we urge you to read the RaneNote

“Linkwitz-Riley Crossovers” available in the Library section of the

Rane website. In the way of summary, a few words are in order

here to outline the basic eects of time delay in crossovers.

Problems pop up when two dierent speakers emit the same

frequency as occurs in the crossover regions of two, three, four

and ve way systems. Because the two drivers are displaced verti-

cally, cancellation occurs somewhere o-axis because the sound

waves have to travel dierent distances from the two speakers

and hence, will arrive shifted in phase. is forms a “lobe” or

radiation pattern, bounded on either side by cancellation lines or

axes, which narrow the dispersion pattern 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

(see Figure 1). 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. And we’re not talking trivial pursuits

here—this rampant lobing error can make a sound system a real

headache, to listener and operator alike.

e idea, then, 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 driver up

front, enough time is allowed for 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 (See Figure 2). And it

works! Time delay can make an appreciable improvement in over-

all sound. e trick is nding the proper amount of time delay:

hence the rest of this section.

Unfortunately the amount of time delay is a function of two

factors (life ceased to be simple after age 9, right?): the amount of

horizontal displacement between driver voice coils, and the actual

crossover frequency involved. Setting Delay controls by ear is

supposedly possible, but very tricky and unreliable. e following

methods are a couple of (but by no means all) means of setting

time Delay.

OPERATING INSTRUCTIONS

Selecting Crossover Frequencies

Most speaker manufacturers supply low and/or high frequency

cut-o points for each driver, especially if these are supplied in a

system. ese cut-o frequencies are based on each driver’s per-

formance at and beyond this point, with a certain safety margin

to accommodate more gentle lter roll-os and resultant higher

output beyond the recommended performance range.

e AC 22S utilizes 41-detent crossover Frequency selectors

which are precision potentiometers. e detents assure consis-

tent accuracy from channel to channel and unit to unit. is

is a distinct advantage over the continuously variable designs

using 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 22S possesses 24 dB/octave roll-o, 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 drivers and

shift the Frequency up rather than down.

2. Detents do not rely on knob alignment, silk-screen accuracy,

parallax and other variables which erode the accuracy of con-

tinuously 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 22S.

3. If it is absolutely critical to obtain the exact crossover frequency

(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 com-

ponents so that each operates well within its recommended limits.

is will provide valuable leeway so that you may move crossover

points in order to ne-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

ne-tune the system for each dierent location with an equalizer.

Keep reading for further alignment details.

Manual-7

STEP BY STEP PROCEDURE

A 3-Way mode consisting of High, Mid and Low drivers is used

here as an example. For 2-Way systems, use the same procedure

by replacing LOW for MID and following steps 2 through 5.

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 microphone 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 INPUT of the crossover

(or mixer or wherever is convenient). Turn up the crossover

MASTER LEVEL control and the MID LEVEL control

until noise is heard from only the mid driver at a comfortable

volume.

3. With a healthy but not uncomfortable volume of noise from

the mid driver, set the analyzer display level control so the

readout corresponding to the high crossover frequency is read-

ing 0 dB.

4. Now press in the MID MUTE switch on the crossover so that

the tone is removed from the mid driver. Without re-adjusting

either the meter or the crossover MASTER or MID LEVEL con-

trols, turn up the HIGH LEVEL control until the tone coming

from only the high driver reads 0 dB.

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 on the analyzer (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, slowing turn up

the MID DELAY control on the crossover until the display

shows +3 dB. Now the drivers are electronically phase

aligned and the MID 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 have a +3 dB reading, you will have to

physically move the high driver farther forward until the

display shows +3 dB. e amount of displacement correc-

tion 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 external delay to

achieve proper phase alignment.

Time Delay Adjustment Using a

Realtime Analyzer & Pink Noise.

is method outlines the use of a realtime analyzer, pink noise

generator and at response microphone to set crossover time

Delay. e procedure applies to virtually any analyzer system.

We recommend using a one-third or two-thirds octave analyzer

as either of these is more likely to match your specic 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 alignment, otherwise the analyzer readings may be mislead-

ing.

Fig. 2 Corrected In-Phase Axis Response With Electronic Time Delay

on Low Frequency Driver

Fig. 1 In-Phase Axis Response Without Time Delay

Manual-8

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 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 delay source to align

the high and mid drivers, such as the Rane AD 22B. e

built-in Delay system in the AC 22S is designed to ac-

commodate the majority of common speaker congura-

tions; if you encounter confusion or diculty 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 om-

nidirectional, 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.

Otherwise you will have to obtain additional delay equip-

ment to align these to the rest of the system.

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

dierent 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, adjust the output

LEVEL controls as outlined in the Setting Levels Section on

page Manual-12.

Time Delay Adjustment Using an

SPL Meter & Tone Generator

Now that good quality realtime analyzers are becoming more af-

fordable and easier to use, there are few reasons why one of these

should not be regularly used in any sound system. If an analyzer is

simply not available or for some reason inappropriate, an accurate

Delay setting can be obtained by using a straightforward SPL

meter (obtainable at most local electronics stores) and some kind

of variable tone generator.

In order to exclude the eect of room acoustics and imperfect

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 speak-

ers 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 backward until the SPL

meter reads +3 dB; then the two drivers are electronically aligned

and the on-axis cancellation is eliminated (see Figure 2 on page

6). is procedure is then 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 congurations, use the same proce-

dure starting with the highest crossover point and repeat 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 (microphone) about 15 feet in front of

the speakers 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 ax it to a

mic stand, small tree or other stable object. Set the switches

on the SPL meter to C-weighting, slow. Be sure to minimize

background noise (air conditioners, fans, trac, wild animals,

etc.) as these will eect the meter reading.

3. Slowly turn up both the crossover MASTER and MID LEVEL

controls until the tone is heard through the mid driver. Adjust

the SPL meter control and/or the crossover 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 that

the tone is removed from the mid driver. Without re-adjusting

either the meter or the crossover MASTER or MID LEVEL con-

trols, turn up the HIGH LEVEL control until the tone coming

from only the high driver reads 0 dB on the SPL meter.

Manual-9

5. Now release the MID MUTE switch so that the tone is emit-

ted from both the high and mid drivers. Check the reading on

the SPL meter:

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 such as the Rane AD 22B.

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 22S is designed to accommodate the majority

of common speaker congurations; if you encounter con-

fusion or diculty 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 in Setting the Output Level Controls on page

Manual-11.

Manual-10

Delay vs. Frequency Table

If you do not have the equipment necessary to electronically align

the system as described in the previous sections, you may use the

table below to obtain a rough and approximate phase alignment

of your drivers. Measure the horizontal displacement between the

voice coils of the two adjacent drivers sharing the same cross-

over point, then nd 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 corresponding

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 corresponding 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-ax-

is, resulting in a combined response less than +3 dB. Turning up

the DELAY control causes the lower driver to electronically move

backward until the analyzer reads +3 dB; then the two drivers are

electronically aligned and the on-axis cancellation is eliminated

(see Figure 2 on page Manual-6).

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

Crossover Frequency

Fig. 3. Vertical Driver Displacement

Displacement

Manual-11

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, at re-

sponse. 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.

e Set-lt-Once-And-Glue-lt School. e philosophy here

is to use the crossover to atten system response as much as pos-

sible 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 crossover outputs so the system is

as at 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 atten the system to each dierent room.

e Fix-lt-With-e-Crossover School. Here the crossover

knobs get a good workout, for the crossover is used at each loca-

tion to help atten 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 expert. 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 impor-

tance and eectiveness of some kind of realtime analyzer in your

system cannot be overstressed! No, this is not a callous plug for

our other products; 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 aordable, easy to use and

amazingly eective. 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 by ear, here are a few recommended

methods of setting the crossover Output Levels.

Setting Levels With a Realtime

Analyzer

NOTE: If you are running two Channels, tune up only one Channel

at a time.

1. Set all LEVEL controls to minimum; leave Delay and crossover

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. Mini-

mize any background noise (fans, air conditioners, trac, etc.)

that could aect the readings.

3. Run pink noise through the system, either through a mixer

channel or directly into the crossover. Turn all amplier con-

trols at least half way up.

4. We will use the 3-Way mode here as an example—the pro-

cedure applies to all congurations. Turn up the MASTER

LEVEL control about half way.

5. Slowly turn up the LOW LEVEL control until you hear a

healthy level of noise through the low frequency drivers (it

should sound like rumble).

6. Adjust the analyzer display control so it shows the greatest

number of 0 dB indicators below the crossover frequency.

7. Now slowly turn up the MID LEVEL control until the display

shows the same output level average as the low frequency sec-

tion.

8. Repeat this procedure for all crossover frequency sections, so

the end result is an analyzer display that is at as possible.

IMPORTANT: Compression driver or horn roll-o, bass roll-o, and

room acoustic usually cannot be corrected by the crossover. If you are

using constant directivity horns, see the Constant Directivity Horn

Modication section on page 12. If, for example, you are adjusting

the HIGH FREQUENCY control and observe a decline in frequency

response somewhat above the crossover point, then set the HIGH

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-o problem. If you are tuning the system in a room, the acoustics

will greatly inuence 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 xed

compromise setting if desired. If you plan to use the analyzer

only once to set the crossover, set up the speaker system in a quiet

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-12

Constant Directivity Horn

Equalization Modiﬁcation

Constant Directivity (or CD) horns need additional equalization

to help cover the same area a long throw horn can cover. Addi-

tional circuitry has been added to the AC 22S layout for the addi-

tional equalization of the High Frequency outputs for CD horns.

is modication should only be attempted by an experienced

technician who is adept at soldering.

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 chart showing a frequency

response curve. Find the point where the high end starts to roll

o, and look for the point on the chart that is 3 dB down from

that point (toward the right, as the higher frequencies roll o).

Find the frequency at the bottom of the chart of this point — an

approximate is ne, you don't have to be exact. Find the closest

frequency in the table below to determine the correct value ca-

pacitor to install in the AC 22S to correct for this high frequency

roll o.

STEP BY STEP PROCEDURE

e following procedure is for Stereo 2-Way. For a Mono 3-Way

system with a CD horn on the high output, only place C54 in

Channel 2.

1. Remove the top and bottom covers of the AC 22S.

2. Locate the positions for C53 and C54 on the board description

page of the schematics and on the circuit board. ese are near

the front by the Frequency controls, and marked with HORN

EQ OPTION. C53 is the capacitor location for Channel 1,

and C54 is the capacitor location for Channel 2.

3. Clean the solder pad on the underside of the board so that the

appropriate capacitor can be inserted. Install the capacitor, and

solder the leads from the underside using fresh solder. Clip the

excess leads.

Setting Levels Using an SPL

Meter and Pink Noise Generator

e MUTE switches on the AC 22S make using an SPL meter

an easy and relatively accurate means of tuning a system. First,

obtain a good SPL meter from a local electronics or hi- store.

Second, and perhaps a little trickier, get a hold of a pink noise

generator—again try electronics and hi- stores. You may also use

a sweep or tone generator in place of a pink noise source. If so, be

sure to look at several dierent tones within each crossover section

to get a good average of driver response.

1. Run pink noise into the crossover Inputs (through the mixer or

directly, as is convenient).

2. To start, turn all crossover LEVEL(s) all the way down and all

amplier level controls at least half way up.

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, the SPL meter must remain in

the exact same location for the rest of the procedure. Mini-

mize all background noise (fans, air conditioners, trac, wild

animals, etc.) to get accurate readings. Set the SPL meter to

“C-weighting”, “slow” if those switches are present.

4. Slowly turn the LOW LEVEL up until there is a healthy

rumble coming from the bass speakers (For this example

the 3-Way mode is used—the same procedure applies to all

congurations, starting with the lowest frequency and ending

with the highest). Adjust the SPL meter and/or LOW LEVEL

until you get a 0dB 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 0 dB adjust-

ment just obtained, press the LOW MUTE switch on the

crossover so the pink noise disappears from the bass speakers.

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 crossover MID LEVEL

control 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 the

pink noise again disappears.

8. Repeat this process for each crossover frequency section, ending

with the highest frequency. NOTE: It is possible 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 reading (as deter-

mined by previous section levels). is is probably due to dierent

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 MASTER LEVEL control). Now go

back and re-adjust the previous crossover LEVEL controls, turning

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 level controls and

leave the output LEVEL controls unchanged.

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

111024

Rane AC 22S Manuel utilisateur

Marque: Rane

Modèle: AC 22S

Catégorie: Équipement musical supplémentaire

Taper: Manuel utilisateur

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