Rane AC 23S Mode d'emploi

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AC 23S

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User Guide (English)

Introduction

The Rane AC 23S active crossover can be configured as a stereo 2- or 3-way, or a mono 4- or 5-way. It employs

4th-order Linkwitz-Riley filter alignments to minimize phase difficulties in the critical crossover region. The AC 23S

uses XLR connectors with active balanced inputs and outputs. Simply put, a Linkwitz-Riley alignment is two

cascaded 2

nd

order Butterworth filters exhibiting identical phase characteristics on their low-pass and high-pass

outputs. This characteristic guarantees in-phase outputs at all frequencies. In-phase outputs are mandatory for

proper acoustic summing of common signals from adjacent drivers in the crossover region. An added benefit of this

topology is steep 24 dB per octave rolloff slopes. A slope of this magnitude guarantees drivers designed to produce

a specific range of frequencies, and no more, will not be driven past their limits, thereby minimizing distortion and

driver fatigue. To further guarantee the transparent operation of the AC 23S, adjustable delay circuits appear on the

low & mid outputs of each channel to compensate for any physical misalignment of the drivers. Time correction

ensures the mechanical phase alignment of adjacent drivers will be acoustically correct, thus maintaining the

integrity of the electrical phase alignment of the crossover’s filters. In 2- or 3-way stereo mode, the low outputs may

be mono'ed by moving an internal jumper. Constant directivity (CD) horn equalization is possible with an internal

modification. See Operation > Setting Output Levels > Constant Directivity Horn EQ Modifications. See the

RaneNote Linkwitz-Riley Crossovers for more information, available at rane.com/note160.

Box Contents

AC 23S

Power Cable

User Guide

Safety & Warranty Manual

Support

For the latest information about this product (documentation, technical specifications, system requirements,

compatibility information, etc.) and product registration, visit rane.com.

For additional product support, visit rane.com/support.

Quickstart

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.

The 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 5W. 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. To use the unit as a

Mono 5-Way, first check that the Channel 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. 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.

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Features

FRONT PANEL: STEREO 2-WAY CONFIGURATION

* 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 for the signal going to the Low Frequency output in this channel. Refer to

Operation > Setting Output Levels.

4. Low Mute Switch: When pressed to the in position, the signal is removed from the Low Frequency Output.

5. Low Delay Control: Adds from 0 to 2 ms of time delay to the Low Frequency Output. This 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 Operation > Time Delay Adjustment.

6. Low / High Crossover Frequency Selector: This sets the crossover frequency between the Low and High

frequency outputs. Refer to Operation > Selecting Crossover Frequencies.

7. High Level Control: Sets the level of signal going to the High Frequency output.

8. Power Indicator: When this yellow LED is lit, the unit is powered on.

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

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ACTIVE

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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

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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

frequency amplifier, and the Channel 2 “2W-Low” output to the right channel input of the low amplifier.

5. Stereo / Mono Switch: Set this switch to the Stereo (out) position.

6. Stereo 2-Way / 3-Way Switches: Slide the switches to the 2W position. This switch removes the low

frequency crossover from the signal path. Low frequencies are now routed to the Mid frequency output.

Note: The 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 5W position for stereo operation.

8. Power Input: Connect the included power cable here. Do not lift the ground connection!

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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.

4. Low Mute Switch: When pressed to the in position, all signal is removed from the Low frequency output.

5. Low Delay Control: Adds from 0 to 2 ms of time delay to the Low frequency output. This allows a low

frequency driver to be electronically phase-aligned with a mid frequency driver whose diaphragm is situated

behind the low frequency diaphragm.

6. Low / Mid Crossover Frequency Selector: This selector sets the crossover frequency between the Low and

Mid outputs.

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.

10. Mid / High Crossover Frequency Selector: Sets the frequency between the Mid and High outputs in this

channel.

11. High Level Control: Sets the level of signal going to the High output only.

12. Power Indicator: If the power cable is connected and this yellow LED is lit, then the unit ready to operate.

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

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ACTIVE

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CH 2CH 1

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LOW MID LOW MIDHIGH HIGH

MIDMONO MASTER SUBWOOFER SUB / LOW HIGHLOW LOW / MID

MID / HIGHLOW / MID MID / HIGHLOW / MID

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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.

6. Stereo / Mono Switch: Set this to the Stereo (out) position.

7. Stereo 2-Way / 3-Way Switches: Set both channels to the 3W position.

8. Mono 4-Way / 5-Way Switch: Set this switch to the 5W position for stereo operation.

9. Power Input: Connect the included power cable here. Do not lift the ground connection!

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FRONT PANEL: MONO 4-WAY AND 5-WAY CONFIGURATION

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.

3. Subwoofer Mute Switch: Removes all signal from the Sub Output when pressed to the in position.

4. Subwoofer Delay Control: In Subwoofer applications this control has virtually no effect and will normally be

set to MIN (minimum).

5. Sub / Low Crossover Frequency Selector: This selector sets the crossover frequency between the

Subwoofer and Low outputs.

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.

10. Mid Level Control: Sets the level of signal going to the Mid output only.

11. Mid Mute Switch: Removes all signal from the Mid output when pressed in.

12. Mid Delay Control: Adds from 0 to 2 ms of time delay to the Mid frequency output only.

13. 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. The 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 4W”

on the back panel.

14. High-Mid Level Control (5-way only): Sets the level of signal going to the High-Mid output.

15. High-Mid Mute Switch (5-way only): Removes all signal from the High-Mid output when pressed to the in

position.

16. High-Mid Delay Control (5-way only): Adds from 0 to 2 ms of time delay to the High-Mid output only.

17. High-Mid / High Crossover Frequency Selector (5-way only): Sets the crossover frequency between the

High-Mid and High Frequency outputs.

18. High Level Control: This controls the level of signal to the High output only.

19. Power Indicator: If the power cable is connected and this yellow LED is lit, then the unit ready to operate.

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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

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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. High-Mid Output (for mono 5-way only): Use this output only for Mono 5W 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 4W Crossover. In 4W, 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 4W or 5W, slide these switches to the 3W position.

9. Mono 4-Way / 5-Way Switch: In 4W, 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.

10. Power Input: Connect the included power cable here. 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 configuration on the

following page.

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REAR PANEL: ALTERNATE MONO 4-WAY CONNECTIONS

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 2 Master Level controls to “7” for unity

gain. Switch Channel 1 to 3W, Channel 2 to 2W, and set the Mono switch to 5W.

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 4W installation, connect a balanced patch cord from the channel 1 High

Out to the Channel 2 input.

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. High 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. 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 3W, and Channel 2 to 2W.

9. Mono 4-Way / 5-Way Switch: Be sure this switch is is in the 5W position.

10. Power Input: Connect the included power cable here. Do not lift the ground connection!

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Operation

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. These cut-off frequencies are based on each driver’s performance at and beyond this point,

with a certain safety margin to accommodate gentler filter roll-offs and resultant higher output beyond the

recommended performance range. The AC 23S utilizes 41-detent crossover frequency selectors which are precision

potentiometers. The detents will assure consistent accuracy from Channel to Channel and unit to unit. This 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. These factors should mitigate any concerns, though:

1. The 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 drivers 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 frequency (Mil Spec., P.A., etc.), the selector can be

positioned between detents if necessary. This 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 components so that each operates well within its

recommended limits. This will provide some freedom to move crossover points in order to fine-tune the system, and

will also yield higher system reliability. If at all possible, use some kind of realtime analyzer to tune your crossover

and fine-tune the system for each different location with an equalizer.

For additional information on time delay, see the Linkwitz-Riley Crossovers RaneNote at rane.com/note160.

Problems occur 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 vertically, 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. This forms a “lobe” or radiation pattern, bounded on either side by cancellation lines or axes, which

narrow the dispersion or listening area of the speaker.

Furthermore, 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. This gets hard to

tolerate because the result is that your speaker system will have two, three, four or more tilted radiation patterns

and will sound acceptable in only a few places in the venue.

The idea is to be sure that all drivers are vertically aligned and that all components are always in phase. Then all the

main lobes are on-axis, “well behaved”, and the system enjoys the widest possible dispersion pattern so that

everyone gets good sound. The issue is that, in many cases, it is nearly impossible to line up all drivers vertically at

the sound source. Time delay can help this.

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. The trick is finding the proper time delay amount.

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 theoretically possible

but very unreliable. The following methods are a couple of (but by no means all) means of setting time delay.

12

Time Delay Adjustment

Realtime Analyzer & Pink Noise

This method outlines the use of a realtime analyzer, pink noise generator, and flat response microphone to set the

crossover time delay. The procedure applies to virtually any analyzer system. We recommend using a 1/3 or 2/3-

octave analyzer as either of these is more likely to match your specific crossover points than a one-octave analyzer.

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 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 Master 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 corresponding 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. The 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 physically move the high driver farther forward until the display shows +3 dB (red). The

amount of displacement correction available from the Delay depends on the actual crossover

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.

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. There 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. The built-in delay system in the AC 23S is

designed to accommodate the majority of common speaker configurations.

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 omnidirectional, 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 the 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.

13

SPL Meter & Tone Generator

You can also find an accurate delay setting 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 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 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 backward until the SPL meter reads +3 dB; then the two

drivers are electronically aligned and the on-axis cancellation is eliminated. This 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 procedure 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 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 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 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 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 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. The amount of

displacement corrections available from the delay depends on the actual crossover 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. There 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. The built-in delay system in the AC 23S is designed

to accommodate the majority of common speaker configurations.

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 minimum and leave it

there. Frequencies below 150 Hz are omnidirectional, 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 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 beginning of each alignment procedure. Once all of the crossover Delay controls are set,

then re-adjust the output Level controls.

14

Delay vs. Frequency

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

alignment 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 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 erroneous

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. 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.

15

Setting Output Levels

Realtime Analyzer

Now, 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 can introduce a lot of variables. There are two ways to

address this:

Equalization

With this approach, use the crossover to flatten system response as much as possible without room acoustics

involved. This means setting up the system outside and with the aid of a realtime analyzer and pink noise source,

adjust all of the crossover outputs so that the system is as flat as possible. Once the system is tuned, the crossover

is then locked and never again touched. It is then the job of the system equalizer(s) to normalize or flatten the

system to each different room.

Crossovers + Equalizers

Using this approach, crossover 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 expert.

This does require experience, skill, and the right equipment.

Regardless of the method, using some kind of realtime analyzer for this process is extremely important. An

analyzer will save time and provide much better accuracy and consistency than human ears.

See the following sections for recommended ways of setting the crossover output levels.

Setting Levels Using a Realtime Analyzer

NOTE: If you are running two Channels, tune up only one channel 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, traffic, 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 controls 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, until 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, 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. Then 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 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.

16

SPL Meter & Tone Generator

The Mute switches on the AC 23S make using an SPL meter an easy and relatively accurate means of tuning a

system, available 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 remains 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 procedure 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 0 dB adjustment 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 reading (as determined by previous section levels). This 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, 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. The crossover should now be aligned.

Make any overall level adjustments with the Master Level controls and leave the output level controls

unchanged.

17

Constant Directivity Horn EQ Modifications

Constant Directivity (CD) horns need additional equalization to

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

Additional circuitry has been added to the AC 23S for additional

equalization of the High Frequency outputs for the CD horns.

This 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. The 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 to determine the correct value capacitor to

install.

STEP BY STEP PROCEDURE

This 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 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 0.0068 uF

2.5 kHz 0.0056 uF

3.0 kHz 0.0047 uF

3.7 kHz 0.0039 uF

4.0 kHz 0.0036 uF

5.0 kHz 0.0030 uF

6.0 kHz 0.0024 uF

18

Guía del usuario (Español)

Introducción

El crossover activo del Rane AC 23S se puede configurar en estéreo de 2 o 3 vías o en mono de 4 o 5 vías. Emplea

alineamientos de filtro Linkwitz-Riley de cuarto orden para minimizar las dificultades de la fase en la región crítica de

crossover. El AC 23S utiliza conectores XLR con entradas y salidas balanceadas activas. En resumen, un

alineamiento Linkwitz-Riley son dos filtros Butterworth de 2

do

orden que exhiben características de fase idénticas en

sus salidas pasabajos y pasaaltos. Estas características garantizan salidas en fase en todas las frecuencias. Las

salidas en fase son indispensables para la suma acústica apropiada de señales comunes provenientes de drivers

adyacentes en la región de crossover.

Un beneficio adicional de esta topología son las pendientes empinadas de reducción gradual de respuesta de 24

dB por octava. Una pendiente de esta magnitud evita que los drivers diseñados para producir un rango de

frecuencias específico y nada más sean accionados más allá de sus límites, minimizando así la distorsión y la fatiga

del driver. Para garantizar aún más el funcionamiento transparente del AC 23S, se brindan circuitos de retardo

ajustables en las salidas de graves y medios de cada canal para compensar cualquier desalineamiento físico de los

drivers. La corrección temporal asegura que el alineamiento mecánico de la fase de los drivers adyacentes será

acústicamente correcto, manteniendo así la integridad del alineamiento eléctrico de la fase de los filtros de

crossover. En el modo estéreo de 2 o 3 vías, las salidas de graves pueden pasarse a mono modificando un puente

de conexión interno. La ecualización de bocinas de directividad constante (CD) es posible mediante una

modificación interna. Consulte Funcionamiento > Ajuste de los niveles de salida > Modificaciones de la

ecualización de bocinas de directividad constante. Consulte la RaneNote Linkwitz-Riley Crossovers para obtener

más información en rane.com/note160.

Contenido de la caja

AC 23S

Cable del suministro eléctrico

Guía del usuario

Manual sobre la seguridad y garantía

Soporte

Para obtener la información más reciente acerca de este producto (documentación, especificaciones técnicas,

requisitos de sistema, información de compatibilidad, etc.) y registrarlo, visite rane.com.

Para obtener soporte adicional del producto, visite rane.com/support.

Inicio rápido

Las etiquetas encima de los controles aplican cuando la unidad está funcionando en modo estéreo de 2 o 3 vías.

Las etiquetas debajo de los controles aplican cuando la unidad está funcionando en modo mono de 4 o 5 vías.

Ajuste el interruptor Stereo/Mono de forma apropiada. El hecho de que el AC 23S sea una unidad de

funcionamiento múltiple significa que las salidas se conmutan en modo mono. Para operar la unidad en modo

estéreo de 3 vías, asegúrese de ajustar los interruptores del panel trasero en la opción estéreo de 3 vías, y

asegúrese de que el interruptor 4W / 5W esté ajustado en 5 vías. Siguiendo las etiquetas encima de los controles y

los conectores en orden lógico, encontrará el nivel de entrada maestro del Canal 1, la salida de graves, la salida de

medios y la salida de agudos, y lo mismo para el canal 2. Para utilizar la unidad en modo mono de 5 vías, verifique

primero que los interruptores del canal 1 y 2 estén ajustados en 3 vías y que el botón pulsador esté pulsado en la

opción mono. Conecte la fuente de entrada al canal 1 solamente. Siguiendo las etiquetas debajo de los conectores,

empiece por Sub Out (salida de subwoofer), continúe por Low Out (salida de graves), luego regrese a Mid Out

(salida de medios), luego a High-Mid Out (salida de agudos-medios) y luego proceda a High Out (salida de agudos).

Conforme a las normas IEC y AES/ANSI, la convención de cableado del AC 23S es patilla 2 al positivo, patilla 3 al

negativo (retorno), patilla 1 a la tierra del chasis. Consulte la RaneNote “Sound System Interconnection” incluida

junto con este manual para obtener más información sobre los requisitos de cableado y conexión a tierra.

19

Características

PANEL FRONTAL: INSTALACIÓN PARA 2 VÍAS ESTÉREO

* No se usa para 2 canales y 2 vías

1. Control del nivel maestro del canal 1: Ajusta el nivel general del canal 1 sin modificar los ajustes relativos de

las salidas de las frecuencias bajas y altas. La ganancia unitaria para todos los controles de nivel es "7".

2. Control del nivel maestro del canal 2: Ajusta el nivel general del canal 2 sin modificar los ajustes relativos de

las salidas de las frecuencias bajas y altas.

3. Control del nivel de graves: Ajusta al nivel de la señal que se emite por la salida de frecuencias bajas en este

canal. Consulte Funcionamiento > Ajuste de los niveles de salida.

4. Interruptor de silenciamiento de graves: Cuando se lo pulsa hacia adentro, se quita la señal de la salida de

frecuencias bajas.

5. Control del retardo de graves: Añade entre 0 y 2 ms de tiempo de retardo a la salida de frecuencias bajas.

Esto permite que un driver de baja frecuencia tenga su fase alineada electrónicamente con un driver de

frecuencias medias cuyo diafragma se sitúa detrás del diafragma de baja frecuencia. Consulte

Funcionamiento > Ajuste del tiempo de retardo.

6. Selector de frecuencia de crossover de graves / agudos: Este selector ajusta la frecuencia de crossover entre

las salidas de frecuencias bajas y altas. Consulte Funcionamiento > Selección de frecuencias de crossover.

7. Control del nivel de agudos: Ajusta al nivel de la señal que se emite por la salida de frecuencias altas.

8. Indicador de encendido: Este LED amarillo se ilumina cuando la unidad está encendida.

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

100

2

4

8

6

100

2

4

8

6

100

2

4

8

6

100

2

4

8

6

100

2

4

8

6

100

2

4

8

6

100

2

4

8

6

100

2

4

8

6

MAXMIN

2

4

8

6

MAXMIN

2

4

8

6

MAXMIN

2

4

8

6

MAXMIN

2

4

8

6

100

80 900

850

150

200

240

750

600

400

190

250

7.0 k

5.8k

550

475

350

700

2.0k

2.8k

4.5k

1.0 k

190

250

7.0 k

5.8k

550

475

350

700

2.0k

2.8k

4.5k

1.0 k

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 MI D 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

*

3

4

5

6

7

2

*

3

4

5

6 7

8

20

PANEL TRASERO: CONEXIONES PARA 2 VÍAS ESTÉREO

Observe las etiquetas encima de las entradas y salidas que aplican para el funcionamiento en estéreo.

1. Entrada del canal 1: Enchufe a esta entrada la salida izquierda del mezclador, ecualizador o de otra fuente de

señal. La espiga 2 es el "vivo" según la norma AES.

2. Entrada del canal 2: Enchufe a esta entrada la salida derecha del mezclador, ecualizador o de otra fuente de señal.

3. Salidas de frecuencias altas: Conecte la salida High Out del canal 1 a la entrada del canal izquierdo del

amplificador de frecuencias altas y la salida High Out del canal 2 a la entrada del canal derecho del amplificador

de frecuencias altas.

4. Salidas de frecuencias bajas: Conecte la salida “2W-Low” del canal 1 a la entrada del canal izquierdo del

amplificador de frecuencias bajas y la salida “2W-Low” del canal 2 a la entrada del canal derecho del

amplificador de graves.

5. Interruptor de estéreo / mono: Ajuste este interruptor a la posición estéreo (hacia afuera).

6. Interruptores de estéreo de 2 / 3 vías: Deslice los interruptores a la posición 2W. Este interruptor quita el

crossover de frecuencia baja del camino de la señal. A partir de ahora las frecuencias bajas se direccionan

hacia la salida de frecuencias medias.

Nota: Las salidas de frecuencias bajas permanecen activas y pueden utilizarse como salidas de graves

adicionales.

7. Interruptor mono de 4 / 5 vías: Ajuste este interruptor a la posición 5W para operar en estéreo.

8. Entrada de corriente: Conecte aquí el cable de alimentación incluido. ¡No anule la conexión a tierra!

8

2

3 4

6

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