Rane ME60S Manuel utilisateur

Marque: Rane

Modèle: ME60S

Catégorie: Équipement musical supplémentaire

Taper: Manuel utilisateur

ME60S

microGRAPHIC EQUALIZER

CONTENTS (in order of appearance)

Important Safety Instructions

ME60S Manual

ME60S Data Sheet

Sound System Interconnection

Warranty

Declaration of Conformity

Schematics are downloadable at www.rane.com/me60s.html

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ME60S

MICROGRAPHIC

EQUALIZER

CHANNEL 2

CHANNEL 1

HIGH

LOW

HIGH

LOW

CUT FILTERS

400

31.5

100

160

125

250

200

315

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630

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800

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20k

16k

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250

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630

500

800

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2.5k

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16k

LEVEL

RANGE

BYPASS

LEVEL

RANGE

BYPASS

±12

•

POWER

ATTENTION: RISQUE DE CHOCS ELECTRIQUE - NE PAS OUVRIR

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION

To reduce the risk of electrical shock, do not open the unit. No user

serviceable parts inside. Refer servicing to qualied service personnel.

e symbols shown below are internationally accepted symbols

that warn of potential hazards with electrical products.

is symbol indicates that a dangerous voltage

constituting a risk of electric shock is present

within this unit.

is symbol indicates that there are important

operating and maintenance instructions in the

literature accompanying this unit.

WARNING

IMPORTANT SAFETY INSTRUCTIONS

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

7. Do not block any ventilation openings. Install in accordance with manufacturer’s instructions.

8. Do not install near any heat sources such as radiators, registers, stoves, or other apparatus (including ampliers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A

grounding-type plug has two blades and a third grounding prong. e wide blade or third prong is provided for your safety. If the provided plug

does not t into your outlet, consult an electrician for replacement of the obsolete outlet.

10. Protect the power cord and plug from being walked on or pinched particularly at plugs, convenience receptacles, and the point where it exits from

the apparatus.

11. Only use attachments and accessories specied by Rane.

12. Use only with the cart, stand, tripod, bracket, or table specied by the manufacturer, or sold with the apparatus. When a cart is used, use caution

when moving the cart/apparatus combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning storms or when unused for long periods of time.

14. Refer all servicing to qualied service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply

cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does

not operate normally, or has been dropped.

15. e plug on the power cord is the AC mains disconnect device and must remain readily operable. To completely disconnect this apparatus from

the AC mains, disconnect the power supply cord plug from the AC receptacle.

16. is apparatus shall be connected to a mains socket outlet with a protective earthing connection.

17. When permanently connected, an all-pole mains switch with a contact separation of at least 3 mm in each pole shall be incorporated in the

electrical installation of the building.

18. If rackmounting, provide adequate ventilation. Equipment may be located above or below this apparatus, but some equipment (like large power

ampliers) may cause an unacceptable amount of hum or may generate too much heat and degrade the performance of this apparatus.

19. is apparatus may be installed in an industry standard equipment rack. Use screws through all mounting holes to provide the best support.

WARNING: To reduce the risk of re or electric shock, do not expose this apparatus to rain or moisture. Apparatus shall not be exposed to dripping

or splashing and no objects lled with liquids, such as vases, shall be placed on the apparatus.

NOTE: is equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules.

ese limits are designed to provide reasonable protection against harmful interference in a residential installation. is equipment generates, uses

and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio

communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful

interference to radio or television reception, which can be determined by turning the equipment o and on, the user is encouraged to try to correct

the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit dierent from that to which the receiver is connected.

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

CAUTION: Changes or modications not expressly approved by Rane Corporation could void the user's authority to operate the equipment.

CAN ICES-3 (B)/NMB-3(B)

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.

CAN ICES-3 (B)/NMB-3(B)

Cartons et papier à recycler.

Manual-1

OPERATORS MANUAL ME60S

microGRAPHIC EQUALIZER

ME60S Connection

When rst connecting the ME60S to other components, leave

the POWER switch o until the very last. is gives you a chance

to make mistakes and correct them without damaging your

fragile speakers, ears and nerves.

INPUTS

e ¼" and XLR Inputs are wired in parallel and are actively

balanced. Each works equally well. Choose strictly from a

required hardware point-of-view. e XLR wiring convention

adheres to American, British and International standards of pin

2 or tip being hot, pin 3 or ring being return, and pin 1 or sleeve

being shield. It is not necessary to short any inputs to ground—

it doesn’t hurt, it’s just not necessary. Use pin 1, or the shell, for

shield ground. Unbalanced operation involves using only pin 2

or tip as signal, and pin 1 or sleeve as shield and ground.

OUTPUTS

e Outputs mimic the Inputs. Balanced output requires using

pin 2 or tip, and pin 3 or ring for the signal. It does not require

pin 1 or shield. e signal exists dierentially between the two

balanced leads; ground is not involved. For hum-free systems

ground is used only for shielding.

EXPANDING

Expanding and/or daisychaining the Inputs and Outputs nor-

mally uses the ¼" jacks. Two parallel Input connectors allows

driving a second signal processor or amplier without special

cabling.

SIGNAL LEVELS

Signal levels from -10 dBV to +4 dBu are considered normal

and within range (at least 20 dB of headroom exists above these

levels). Do not directly connect microphones into the ME60S.

ese require a separate mic preamp.

Quick Start

Okay, know-it-all. So you don’t need to read the manual. Well do your mother a favor and just read this section and you don’t have to

read anything else. Ever.

Hook-up is intuitive. Just follow the silkscreened instructions on the rear of the unit. All three Inputs are wired in parallel (they

do not sum); and all three Outputs are wired in parallel. Use any one Input and any or all Outputs. Polarity convention is per IEC/

ANSI/AES standards of pin 2 positive, pin 3 negative and pin 1 shield. e ME60S does not invert the signal.

Set the LOW and HIGH CUT FILTER controls as necessary to restrict bandwidth. Full frequency response results from posi-

tioning them all the way to the bottom.

Anyone familiar with other graphic equalizers nds the ME60S just as familiar. Setting curves is as easy as it is on all Rane

graphics thanks to our innovative constant-Q circuitry. If you feel you want more information on setting up your curves, please see

the back page.

ere, now was that so bad?

WEAR PARTS is product contains no wear parts.

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ME60S

MICROGRAPHIC

EQUALIZER

CHANNEL 2

CHANNEL 1

HIGH

LOW

HIGH

LOW

CUT FILTERS

400

31.5

100

160

125

250

200

315

12.5k

630

500

800

1.6k

1.25k

3.15k

2.5k

6.3k

10k

20k

16k

400

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100

160

125

250

200

315

12.5k

630

500

800

1.6k

1.25k

3.15k

2.5k

6.3k

10k

20k

16k

LEVEL

RANGE

BYPASS

LEVEL

RANGE

BYPASS

±12

•

POWER

Manual-2

Front Panel Description

1 Channels 1 and 2 LEVEL controls set the overall desired gain through the unit. e range is from O to +8 dB for balanced

use, or from O to +2 dB with unbalanced inputs. Unity gain is at approximately “6” (balanced) or “7” (unbalanced). Using the

highest setting (without lighting the Overload (OL) indicator) yields the best signal-to-noise performance. e OL indicator moni-

tors all critical points for excessive signal levels. It lights whenever these levels exceed 3 dB below clipping. Occasional ickering is

normal; however, if it glows steadily, reduce the signal coming from the source, or turn down the LEVEL control.

2 Channel BYPASS switches activates the “hard-wire” bypass function. When engaged (red BYPASS LED on), all three pins of

the input connectors directly connect to the same pins on the output connectors (hard-wired). Engaging this switch converts the

ME60S into a relatively expensive patch cord, but one with pretty lights.

3 Filter RANGE switch: e gain range of the lter sliders is switchable (as a group) from ±6 dB for high resolution, to ±12 dB for

maximum boost/cut capability.

4 Channel LOW and HIGH CUT FILTER controls. LOW CUT sets the corner frequency (-3 dB point) for the low cut lter

(high pass), adjustable from 10 Hz to 250 Hz. HIGH CUT sets the corner frequency (-3 dB point) for the high cut lter (low

pass), adjustable from 3 kHz to 40 kHz.

5 Filter level controls set the individual levels for each of the constant-Q lters. eir range is set by the RANGE switch 3. e

grounded center-detent design ensures individual lters are o and bypassed when positioned to their centers.

6 POWER switch & indicator glows yellow any time this switch is closed and power is, in fact, actually owing into the ME60S.

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ME60S

MICROGRAPHIC

EQUALIZER

CHANNEL 2

CHANNEL 1

HIGH

LOW

HIGH

LOW

CUT FILTERS

400

31.5

100

160

125

250

200

315

12.5k

630

500

800

1.6k

1.25k

3.15k

2.5k

6.3k

10k

20k

16k

400

31.5

100

160

125

250

200

315

12.5k

630

500

800

1.6k

1.25k

3.15k

2.5k

6.3k

10k

20k

16k

LEVEL

RANGE

BYPASS

LEVEL

RANGE

BYPASS

±12

•

POWER

1 2 3 4 65

Manual-3

Rear Panel Description

1 XLR INPUT connector. Pin 2 is positive, pin 3 is negative and pin 1 is shield. For unbalanced operation, use pin 2 as hot and

pin 1 as return. It is not necessary to connect pin 3.

2 ¼" INPUT connector. is ¼" tip-ring-sleeve (TRS) connector parallels the XLR connector described below. Tip is positive,

ring is negative and sleeve is shield. Tip-sleeve (TS) cables will often work if the cables are short (under 10 feet [3 meters]). See the

Sound System Interconnection RaneNote included with this manual for correct wiring.

3 ¼" OUTPUT connector. is ¼" TRS connector parallels the XLR connector described below. As before, tip is hot, ring is cold

and sleeve is shield.

4 XLR OUTPUT connector. Pin 2 is positive, pin 3 is negative and pin 1 is shield.

5 POWER IEC jack connects anywhere in the world to AC line voltage, 100-240 VAC.

Important Note

CHASSIS GROUNDING

If after hooking up your system it exhibits excessive hum or buzzing, there is an incompatibility in the grounding conguration

between units somewhere. Your mission, should you accept it, is to discover how your particular system wants to be grounded. Here

are some things to try:

1. If your equipment is in a rack, verify that all chassis are tied to a good earth ground, either through the line cord grounding pin or

the rack screws to another grounded chassis.

2. Units with outboard power supplies do NOT ground the chassis through their line cords. Make sure these units are grounded

either to another chassis which is earth grounded, or directly to the grounding screw on an AC outlet cover by means of a wire

connected to a screw on the chassis with a star washer to guarantee proper contact.

3. See the Sound System Interconnection RaneNote included with this manual.

OUTPUT

INPUT

OUTPUT

INPUT

CHANNEL 1

CHANNEL 2

100-240 V

50/60 Hz 12 WATTS

COMMERCIAL AUDIO

EQUIPMENT 24TJ

WIRING

Tip / Pin 2 = Positive (+)

Ring / Pin 3 = Negative (–)

Sleeve = Signal Ground

Pin 1 = Chassis Ground

All audio jacks are Class 2 wiring.

ME60S

RANE CORPORATION

12345

Manual-4

©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5000 TEL 425-355-6000 FAX 425-347-7757 WEB rane.com

Operating Instructions

Insuring the proper level of gain though the ME60S is just as

important as adjusting the equalizer bands. Improper gain dis-

tribution is a common cause of loss of system headroom and less

than optimum noise performance.

e OverLoad LED informs of an imminent or passed

overload to the equalizer. Occasional blinking of the OL with

program source material is ne, indicating optimized signal to

noise performance of the ME60S. Run the ME60S with an in-

put signal that is as hot as possible without the OL lighting more

than occasionally.

e BYPASS switch allows comparison of equalized versus

un-equalized signal. It is also useful in adjusting the level of the

ME60S for unity gain or best signal-to-noise performance. e

gain of the ME60S is optimized and at unity when there is no

sound level dierence between the bypassed and the active posi-

tions.

e overall gain range of the LEVEL control for the ME60S

is o to +2 dB for unbalanced operation, or o to +8 dB for bal-

anced operation. e level dierence between the equalizer in

Bypass or active can be signicant. Adjust the LEVEL control so

the signal level is the same between the bypassed and active posi-

tions of the BYPASS switch.

GETTING STARTED

Here is one method of setting your equalizer that works well.

Begin with the following settings:

1. Engage the BY PASS switch. (switch depressed, BYPASS LED

on.)

2. Put all sliders in their center position (0 dB). e center posi-

tion has a grounded detent.

3. Position the CHANNEL LEVEL controls about “7” for un-

balanced operation and “6” for balanced operation.

4. Set LOW and HIGH CUT lters fully down, corresponding

to 10 Hz and 40 kHz.

5. Apply a signal to the system.

6. Verify the OL LED is not on—occasionally blinking during

extreme peaks indicates an optimal setting. But if it lights up

a lot or lights steadily, lower the output level of the previous

device in the signal chain.

7. Release the BYPASS switch and begin adjusting the equalizer

lters.

8. During lter band adjustments, if the OL LED lights more

than occasionally, turn down the output of the previous de-

vice in the signal chain.

9. Once all lter bands are adjusted to your liking, compare the

signal loudness with the equalizer bypassed and active. Adjust

the LEVEL controls on the ME60S so there is no dierence

between the levels of bypassed versus active.

10. e last step is to reconrm that the OL LED lights only

when there are large signal spikes in the program material, as

in step 6 above.

For insight into how to use an equalizer, to alleviate acoustic

problems or to adjust the overall tone of the program material,

please read the next two sections.

ACOUSTIC COMPENSATION

A graphic equalizer may be used to correct many acoustic

problems. However, one should fully understand the ramica-

tions of doing so. Acoustic problems are generally not consistent

across the entire area of sound coverage. is is much more of a

problem when setting up a sound system for large venues. In a

typical large room or hall, there will be areas that have acoustic

reinforcement problems and other areas where certain frequen-

cies are almost entirely canceled out. Try to seek an acoustic

remedy for acoustic problems whenever possible. When this is

not possible or feasible, an equalizer may be used to compensate

for an acoustic problem. But the problem is only improved at

the point where the measurement is taken; other locations in the

room may be adversely aected by the equalizer setting. For this

reason, measure the acoustic response of the system from several

locations and average the equalizer’s setting. Doing this helps

most locations in the venue to have an equal sound quality.

e best way to “see” what the acoustic signature of the room

is doing to sound is to use a real time analyzer or any of the

many computerized measurement systems. Using these devices

to analyze the response of the room and the sound system is the

only accurate means available for setting an equalizer properly.

Equalization can be like spice in the hands of a master chef.

A little goes a long way in improving sound quality, too much

and the mix is spoiled. If modest amounts of equalization (6-8

dB) do not solve the problem, it is best remedied by other means.

Avoid adding large amounts of boost below 63 Hz, especially

when using vented bass cabinets. Boosting frequencies below

the vented enclosure’s low frequency cuto can easily cause over

excursion of the speaker’s cone, causing premature failure. In ad-

dition, boosting low frequencies can make your power amplier

run hotter, leading to premature amplier failure.

When equalizer adjustment is completed, compare the un-

equalized sound with the equalized sound by alternately engag-

ing the BYPASS switch. Use familiar source material and walk

around in the sound coverage area to insure that no anomalies

have been introduced into the sound system. If it sounds good,

you’re done.

TONE CONTOURING

If a ME60S is used for tone contouring by ear, be careful about

adding upper bass (63 Hz to 200 Hz) as this can cause “muddi-

ness” or loss of clear denition. (Also see the previous warning

about boosting frequencies below 63 Hz.) Middle frequency

problems usually express themselves by vocals having a nasal

quality (too much mid band boost) or vocals not being eas-

ily understandable (usually caused by mid band frequencies

being under represented in the overall sound). High frequency

problems show as “sizzle”— not good, and is sometimes caused

by too much high frequency boosting. is is most obvious

with cymbals and hi-hats. To use the cooking metaphor, high

frequencies should simmer, not sizzle.

ME60S

microGRAPHIC EQUALIZER

Data Sheet-1

General Description

e Rane ME60S Stereo Constant-Q Equalizer is a two-

channel, ⅓-octave design, housed in a two rack-space unit. It

features a Range switch for high slider resolution in the ±6 dB

mode, equivalent resolution to 45 mm sliders found on larger

models. e ±12 dB mode provides a wide range of control over

system audio.

e ME60S evolved by combining two ME 30 equalizers

in one unit and then embellishing with two adjustable band-

limiting lters on the low and high end. ough consuming only

12 watts of power, a Power switch is added to the ME60S (the

ME 30S consumes 7 watts and does not have a Power switch).

e active lter sections feature Rane’s innovative constant-Q

(constant bandwidth) design. Constant-Q means the bandwidth

of each individual lter is guaranteed to be narrow enough to

prevent unwarranted interaction between lters, yet wide enough

to produce exactly the type of correction curve demanded

by even the most unusual acoustic surroundings. is diers

dramatically from conventional designs of the past, encumbered

with the unfortunate characteristic of changing bandwidth when

changing boost/cut amounts.

e adjustable lters are useful to band limit the audio

signal. For instance, restricting high frequencies to match the

incoming signal usually produces the most quiet system. And

a common use for the Low Cut Filter is limiting the signal go-

ing to 70-volt speaker systems. Often low frequencies saturate

the loudspeaker transformers. Restricting these signals greatly

improves system intelligibility. Full bandwidth use requires posi-

tioning both sliders to their lower limits. is eectively removes

the lters and guarantees 20-20 kHz ±0.5 dB performance.

Front panel controls and indicators include an overall rotary

Level control for each channel as well as Overload indicators.

Passive pushbutton Bypass switches feature LED indicators,

avoiding ambiguity by being on when the unit is Bypassed. (A

passive Bypass switch requires no power to operate. is allows

completion of the audio path should power fail in the ME60S.)

Inputs and Outputs are electronically balanced designs,

capable of unbalanced operation when required. ey accept

and drive all possible signal levels into normal load impedances.

Balanced applications choose between the XLR or ¼" Tip-

Ring-Sleeve connectors. Unbalanced sources also may tie to the

ME60S through mono ¼" connectors (no ring connection).

DATA SHEET

Features

• Constant-Q Bandwidth Design

• Overall Level Controls

• 20 mm Filter Slide Controls

• ±6 dB or ±12 dB Slider Range

• Sweepable Low & High Cut Filters

• Passive Bypass Switches

• Grounded Center Detents at 0 dB

• Infrasonic, Ultrasonic, & RFI Filters

• Fully Balanced XLR Inputs and Outputs

• ¼" TRS Balanced/Unbalanced Inputs and Outputs

• Universal internal switching power supply (100-240 VAC)

ME60S

microGRAPHIC EQUALIZER

Data Sheet-2

Features & Speciﬁcations

Parameter Specication Limit Units Conditions/Comments

Equalizer:

..........Channels Two

..........Bands (2x30) ⅓-Octave ISO Spacing From 25 Hz to 20 kHz

..........Type Constant-Q

..........Accuracy 3 % Center frequency

..........Travel 20 mm Positive grounded center detent

..........Range ±12 or ±6 1 dB Switch selectable

Inputs: Active Balanced/Unbalanced

..........Connectors XLR and ¼" TRS

..........Impedance >20k Balanced 1% 

..........Maximum Level +21 1 dBu

Outputs: Active Balanced/Unbalanced

..........Connectors XLR and ¼" TRS

..........Impedance 400 Balanced 200 Unbalanced 1% 

..........Maximum Level +21 Balanced +15 Unbalanced 1 dBu 2 k

+19 Balanced +13 Unbalanced 1 dBu 600 

Overall Gain Range O to +8 (Balanced Out) min dB Sliders centered

RFI Filters Yes

Passive Bypass Switches Yes

Overload LED reshold 4 1 dB Below clipping

Low Cut Filter 10-250 Hz, 12 dB/octave 3% Hz Butterworth

High Cut Filter 3k-40 kHz, 12 dB/octave 3% Hz

Frequency Response 20-20 kHz ±0.5 dB

10-40 kHz +0/-3 dB

THD & Noise 0.008 .002 % +4 dBu, 20-20 kHz

IM Distortion (SMPTE) 0.005 .003 % 60 Hz / 7 kHz, 4:1, +4 dBu

Signal-to-Noise Ratio re +20 dBu re +4 dBu 20 kHz noise BW; balanced out

112 96 2 dB Sliders centered, unity gain

Channel Separation 75 3 dB 1 kHz

Common Mode Rejection 46 1 dB 1 kHz

Maximum Power 12 W

Universal Line Voltage 100-240 VAC, 50/60 Hz VAC 12W

Unit: Conformity CE, FCC, UL

Unit: Construction All Steel

..........Size 3.5" H x 19" W x 8.5" D (2U) (8.9 cm x 48.3 cm x 21.6 cm)

..........Weight 9 lb (4.1 kg)

Shipping:

..........Size 4.25" x 20.3" x 13.75" (10.8 cm x 52 cm x 35 cm)

..........Weight 12 lb (5.0 kg)

Note: 0 dBu=0.775 Vrms

ME60S

microGRAPHIC EQUALIZER

Data Sheet-3

Constant-Q

Constant-Q graphic equalizers arose from

the sound professional’s need for greater

control with less interaction than previ-

ously possible with conventional equal-

izers. You use a constant-Q graphic the

same way you use a conventional graphic.

You just get the desired results quicker,

with far less after adjustment to the adja-

cent sliders.

e accompanying gures dramati-

cally show the advantages of constant-Q

designs. For more technical information,

consult the references on the next page.

Most are available at

www.rane.com/library.html.

Block Diagram

BYPASS

SWITCH

BYPASS

AMPLIFIER

BOOST

TO FILTERS

Channel 1 is shown, channel 2 is identical.

25 Hz

CUT

AMPLIFIER

(3k-40k Hz)

HIGH CUT

FILTER

LEVEL

0 dB

RFI

FILTER

CHANNEL 1

INPUTS

CHANNEL1

OUTPUTS

–6 dB –12 dB +12 dB+6 dB

RANGE

SENSE

OVERLOAD

(+)

(–)

(+)

(–)

–

(10-250 Hz)

LOW CUT

FILTER

Constant-Q: Proportional Q:

3dB

1/3 octave 1/3 octave

3dB

1/3+ octave

3dB

2+ octaves

Bandwidth, dened 3dB down

from peak, remains constant. dramatically with changes in gain.

Bandwidth here changes

FREQUENCY

AMPLITUDE

FREQUENCY

AMPLITUDE

Proportional Q:Constant-Q:

0dB

+3dB

+6dB

This design has little

interaction as a

single slider is

moved from

1 to 2. 1 to 2.

moved from

single slider is

aected when a

Both lters are

ME60S

microGRAPHIC EQUALIZER

Data Sheet-4

All features & specications subject to change without notice. 1-2015

Rear Panel

provide a passive bypass feature for each channel requiring no

power to operate. LED indicators shall be provided to indicate

boost/cut range, overload and bypass conditions.

e inputs and outputs shall be active balanced/unbalanced

designs terminated with XLR and ¼" TRS (tip-ring-sleeve) con-

nectors. RFI, infrasonic and ultrasonic lters shall be provided.

e unit shall incorporate a front panel power switch. e

unit shall be capable of operation by means of its own built-in

universal power supply operating at 100-240 VAC and meet CE

requirements. e unit shall be UL and cUL listed. e unit

shall be entirely constructed from cold-rolled steel.

e unit shall be a Rane Corporation ME60S microGraphic

Equalizer.

Architectural Speciﬁcations

e graphic equalizer shall be a two channel model of constant-

Q design to minimize interactions between adjacent bands,

and shall occupy two rack spaces (2U). Each channel shall have

thirty (30) frequency bands located on standard ISO center

frequencies. Each band shall have a bandwidth of ⅓-octave. A

switchable boost/cut range of 12 dB or 6 dB shall be provided.

A detented and positively grounded 0 dB point shall be provided

on 20 mm linear sliders with dust dams.

Low and high cut lters shall be provided with 12 dB/octave

slopes and adjustable corner frequencies. A rotary overall level

control shall be provided for each channel with a range from o

to +8 dB of gain when used in balanced mode. e unit shall

©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5000 USA TEL 425-355-6000 FAX 425-347-7757 WEB rane.com

References

1. D. Bohn, “Constant-Q Graphic Equalizers,” RaneNote, (1982).

2. D. Bohn, “A New Generation of Filters,” Sound and Video Contractor, vol. 2, pp. 36-39 (Feb. 1984).

3. T. Pennington, “Constant-Q,” Studio Sound, vol.27, pp. 82-85 (Oct. 1985).

4. D. Bohn, “Constant-Q Graphic Equalizers,” J. Audio Eng. Soc., vol. 34, pp. 611-626 (September 1986).

5. D. Bohn, “Exposing Equalizer Mythology,” RaneNote, (1986).

6. D. Bohn, “Operater Adjustable Equalizers,” RaneNote, (1990).

Most of these documents may be found at our website, www.rane.com/library.html

Available Accessories

• SC 3.5 Security Cover

Interconnection-1

Introduction

is note, originally written in 1985, continues to be

one of our most useful references. It’s popularity stems

from the continual and perpetual diﬃculty of hooking

up audio equipment without suﬀering through all sorts

of bizarre noises, hums, buzzes, whistles, etc.— not to

mention the extreme ﬁnancial, physical and psycholog-

ical price. As technology progresses it is inevitable that

electronic equipment and its wiring should be subject

to constant improvement. Many things have improved

in the audio industry since 1985, but unfortunately

wiring isn’t one of them. However, ﬁnally the Audio

Engineering Society (AES) has issued a standards

document for interconnection of pro audio equip-

ment. It is AES48, titled “AES48-2005: AES standard

on interconnections —Grounding and EMC practices

— Shields of connectors in audio equipment containing

active circuitry.”

Rane’s policy is to accommodate rather than dic-

tate. However, this document contains suggestions for

external wiring changes that should ideally only be

implemented by trained technical personnel. Safety

regulations require that all original grounding means

provided from the factory be left intact for safe op-

eration. No guarantee of responsibility for incidental

or consequential damages can be provided. (In other

words, don’t modify cables, or try your own version of

grounding unless you really understand exactly what

type of output and input you have to connect.)

Rane Technical Staff

RaneNote 110

Sound System

Interconnection

• Cause & prevention of ground loops

• Interfacing balanced & unbalanced

• Proper pin connections and wiring

• Chassis ground vs. signal ground

• Ground lift switches

RaneNote

SOUND SYSTEM INTERCONNECTION

Interconnection-2

Ground Loops

Almost all cases of noise can be traced directly to

ground loops, grounding or lack thereof. It is important

to understand the mechanism that causes grounding

noise in order to eﬀectively eliminate it. Each compo-

nent of a sound system produces its own ground in-

ternally. is ground is usually called the audio signal

ground. Connecting devices together with the inter-

connecting cables can tie the signal grounds of the two

units together in one place through the conductors in

the cable. Ground loops occur when the grounds of the

two units are also tied together in another place: via

the third wire in the line cord, by tying the metal chas-

sis together through the rack rails, etc. ese situations

create a circuit through which current may ﬂow in a

closed “loop” from one unit’s ground out to a second

unit and back to the ﬁrst. It is not simply the presence

of this current that creates the hum—it is when this

current ﬂows through a unit’s audio signal ground that

creates the hum. In fact, even without a ground loop, a

little noise current always ﬂows through every inter-

connecting cable (i.e., it is impossible to eliminate these

currents entirely). e mere presence of this ground

loop current is no cause for alarm if your system uses

properly implemented and completely balanced inter-

connects, which are excellent at rejecting ground loop

and other noise currents. Balanced interconnect was

developed to be immune to these noise currents, which

can never be entirely eliminated. What makes a ground

loop current annoying is when the audio signal is af-

fected. Unfortunately, many manufacturers of balanced

audio equipment design the internal grounding system

improperly, thus creating balanced equipment that is

not immune to the cabling’s noise currents. is is one

reason for the bad reputation sometimes given to bal-

anced interconnect.

A second reason for balanced interconnect’s bad

reputation comes from those who think connecting

unbalanced equipment into “superior” balanced equip-

ment should improve things. Sorry. Balanced inter-

connect is not compatible with unbalanced. e small

physical nature and short cable runs of completely

unbalanced systems (home audio) also contain these

ground loop noise currents. However, the currents in

unbalanced systems never get large enough to aﬀect

the audio to the point where it is a nuisance. Mixing

balanced and unbalanced equipment, however, is an

entirely diﬀerent story, since balanced and unbalanced

interconnect are truly not compatible. e rest of this

note shows several recommended implementations for

all of these interconnection schemes.

e potential or voltage which pushes these noise

currents through the circuit is developed between the

independent grounds of the two or more units in the

system. e impedance of this circuit is low, and even

though the voltage is low, the current is high, thanks to

Mr. Ohm, without whose help we wouldn’t have these

problems. It would take a very high resolution ohm

meter to measure the impedance of the steel chassis or

the rack rails. We’re talking thousandths of an ohm. So

trying to measure this stuﬀ won’t necessarily help you.

We just thought we’d warn you.

Figure 1a. The right way to do it.

–

RED

BLACK 2-CONDUCTOR SHIELDED CABLE

2-CONDUCTOR SHIELDED CABLE

SHIELD

RED

BLACK

SHIELD

RED

BLACK

SHIELD

RED

BLACK

SHIELD

RED

BLACK

SHIELD

RED

BLACK

SHIELD

CHASSIS

GROUND

CHASSIS

GROUND

SIGNAL

GROUND

–

BALANCED OUTPUTS BALANCED INPUTS

MALE FEMALEMALE

FEMALE

Interconnection-3

The Absolute Best Right Way To Do It

e method speciﬁed by AES48 is to use balanced lines

and tie the cable shield to the metal chassis (right where

it enters the chassis) at both ends of the cable.

A balanced line requires three separate conduc-

tors, two of which are signal (+ and –) and one shield

(see Figure 1a). e shield serves to guard the sensitive

audio lines from interference. Only by using balanced

line interconnects can you guarantee (yes, guarantee)

hum-free results. Always use twisted pair cable. Chas-

sis tying the shield at each end also guarantees the best

possible protection from RFI [radio frequency interfer-

ence] and other noises [neon signs, lighting dimmers].

Neil Muncy

, an electroacoustic consultant and

seasoned veteran of years of successful system design,

chairs the AES Standards Committee (SC-05-05)

working on this subject. He tirelessly tours the world

giving seminars and dispensing information on how to

successfully hook-up pro audio equipment

. He makes

the simple point that it is absurd that you cannot go

out and buy pro audio equipment from several diﬀerent

manufacturers, buy standard oﬀ-the-shelf cable assem-

blies, come home, hook it all up and have it work hum

and noise free. Plug and play. Sadly, almost never is

this the case, despite the science and rules of noise-free

interconnect known and documented for over 60 years

(see References for complete information).

It all boils down to using balanced lines, only bal-

anced lines, and nothing but balanced lines. is is why

they were developed. Further, that you tie the shield to

the chassis, at the point it enters the chassis, and at both

ends of the cable (more on ‘both ends’ later).

Since standard XLR cables come with their shields

tied to pin 1 at each end (the shells are not tied, nor

need be), this means equipment using 3-pin, XLR-type

connectors must tie pin 1 to the chassis (usually called

chassis ground) — not the audio signal ground as is

most common.

Figure 1b. Recommmended practice.

CASE

(+)

(–)

COMMON (WRONG) PRACTICE RECOMMENDED PRACTICE

(–)

(+)

OPTIONAL

CASE

CHASSIS

GROUND

SIGNAL

GROUND

CHASSIS

GROUND

CHASSIS

GROUND

Not using signal ground is the most radical depar-

ture from common pro-audio practice. Not that there

is any argument about its validity. ere isn’t. is is

the right way to do it. So why doesn’t audio equipment

come wired this way? Well, some does, and since 1993,

more of it does. at’s when Rane started manufac-

turing some of its products with balanced inputs and

outputs tying pin 1 to chassis. So why doesn’t everyone

do it this way? Because life is messy, some things are

hard to change, and there will always be equipment in

use that was made before proper grounding practices

were in eﬀect.

Unbalanced equipment is another problem: it is

everwhere, easily available and inexpensive. All those

RCA and ¼" TS connectors found on consumer equip-

ment; eﬀect-loops and insert-points on consoles; signal

processing boxes; semi-pro digital and analog tape

recorders; computer cards; mixing consoles; et cetera.

e next several pages give tips on how to suc-

cessfully address hooking up unbalanced equipment.

Unbalanced equipment when “blindly” connected with

fully balanced units starts a pattern of hum and unde-

sirable operation, requiring extra measures to correct

the situation.

The Next Best Right Way To Do It

e quickest, quietest and most foolproof method to

connect balanced and unbalanced is to transformer

isolate all unbalanced connections. See Figure 2.

Many manufacturers provide several tools for this

task, including Rane. Consult your audio dealer to ex-

plore the options available.

e goal of these adaptors is to allow the use of

standard cables. With these transformer isolation

boxes, modiﬁcation of cable assemblies is unnecessary.

Virtually any two pieces of audio equipment can be

successfully interfaced without risk of unwanted hum

and noise.

Figure 2. Transformer Isolation

NOT CONNECTED

AT CHASSIS

(PLASTIC JACK)

EARTH GROUNDED

METAL ENCLOSURE

CHASSIS IS

GROUNDED TO PIN

1/4”

TIP-SLEEVE

CASE LUG MAY

CONNECT TO

CHASSIS

(NOT REQUIRED)

TRANSFORMER

UNBALANCED BALANCED

Interconnection-4

Another way to create the necessary isolation is to

use a direct box. Originally named for its use to convert

the high impedance, high level output of an electric

guitar to the low impedance, low level input of a re-

cording console, it allowed the player to plug “directly”

into the console. Now this term is commonly used to

describe any box used to convert unbalanced lines to

balanced lines.

The Last Best Right Way To Do It

If transformer isolation is not an option, special

cable assemblies are a last resort. e key here is to

prevent the shield currents from ﬂowing into a unit

whose grounding scheme creates ground loops (hum)

in the audio path (i.e., most audio equipment).

It is true that connecting both ends of the shield is

theoretically the best way to interconnect equipment

–though this assumes the interconnected equipment is

internally grounded properly. Since most equipment is

not internally grounded properly, connecting both ends

of the shield is not often practiced, since doing so usu-

ally creates noisy interconnections.

A common solution to these noisy hum and buzz

problems involves disconnecting one end of the shield,

even though one can not buy oﬀ-the-shelf cables with

the shield disconnected at one end. e best end to dis-

connect is the receiving end. If one end of the shield is

disconnected, the noisy hum current stops ﬂowing and

away goes the hum — but only at low frequencies. A

ground-sending-end-only shield connection minimizes

the possibility of high frequency (radio) interference

since it prevents the shield from acting as an antenna

to the next input. Many reduce this potential RF inter-

ference by providing an RF path through a small ca-

pacitor (0.1 or 0.01 microfarad ceramic disc) connected

from the lifted end of the shield to the chassis. (is is

referred to as the “hybrid shield termination” where the

sending end is bonded to the chassis and the receiving

end is capacitively coupled. See Neutrik’s EMC-XLR

for example.) e fact that many modern day install-

ers still follow this one-end-only rule with consistent

success indicates this and other acceptable solutions to

RF issues exist, though the increasing use of digital and

wireless technology greatly increases the possibility of

future RF problems.

If you’ve truly isolated your hum problem to a spe-

ciﬁc unit, chances are, even though the documentation

indicates proper chassis grounded shields, the suspect

unit is not internally grounded properly. Here is where

special test cable assemblies, shown in Figure 3, really

come in handy. ese assemblies allow you to connect

the shield to chassis ground at the point of entry, or to

pin 1, or to lift one end of the shield. e task becomes

more diﬃcult when the unit you’ve isolated has multi-

ple inputs and outputs. On a suspect unit with multiple

cables, try various conﬁgurations on each connection

to ﬁnd out if special cable assemblies are needed at

more than one point.

See Figure 4 for suggested cable assemblies for your

particular interconnection needs. Find the appropri-

ate output conﬁguration (down the left side) and then

match this with the correct input conﬁguration (across

the top of the page.) en refer to the following pages

for a recommended wiring diagram.

Ground Lifts

Many units come equipped with ground lift switches.

In only a few cases can it be shown that a ground lift

switch improves ground related noise. (Has a ground

lift switch ever really worked for you?) In reality, the

presence of a ground lift switch greatly reduces a unit’s

ability to be “properly” grounded and therefore im-

mune to ground loop hums and buzzes. Ground lifts

are simply another Band-Aid

to try in case of ground-

ing problems. It is true that an entire system of prop-

erly grounded equipment, without ground lift switches,

is guaranteed (yes guaranteed) to be hum free. e

problem is most equipment is not (both internally and

externally, AC system wise) grounded properly.

Most units with ground lifts are shipped so the unit

is “grounded” — meaning the chassis is connected to

audio signal ground. (is should be the best and is

the “safest” position for a ground lift switch.) If after

hooking up your system it exhibits excessive hum or

Figure 3. Test cable

TEST

WIRE

GROUND CLIP

FEMALE

MALE

RED

BLACK

SHIELD

RED

BLACK

SHIELD

2-CONDUCTOR SHIELDED CABLE

Interconnection-5

buzzing, there is an incompatibility somewhere in the

system’s grounding conﬁguration. In addition to these

special cable assemblies that may help, here are some

more things to try:

1. Try combinations of lifting grounds on units sup-

plied with lift switches (or links). It is wise to do this

with the power oﬀ!

2. If you have an entirely balanced system, verify all

chassis are tied to a good earth ground, for safety’s

sake and hum protection. Completely unbalanced

systems never earth ground anything (except cable

TV, often a ground loop source). If you have a mixed

balanced and unbalanced system, do yourself a favor

and use isolation transformers or, if you can’t do

that, try the special cable assemblies described here

and expect it to take many hours to get things quiet.

May the Force be with you.

3. Balanced units with outboard power supplies (wall

warts or “bumps” in the line cord) do not ground the

chassis through the line cord. Make sure such units

are solidly grounded by tying the chassis to an earth

ground using a star washer for a reliable contact.

(Rane always provides this chassis point as an exter-

nal screw with a toothed washer.) Any device with

a 3-prong AC plug, such as an ampliﬁer, may serve

as an earth ground point. Rack rails may or may not

serve this purpose depending on screw locations and

paint jobs.

Floating, Pseudo, and Quasi-Balancing

During inspection, you may run across a ¼" output

called ﬂoating unbalanced, sometimes also called psue-

do-balanced or quasi-balanced. In this conﬁguration,

the sleeve of the output stage is not connected inside

the unit and the ring is connected (usually through a

small resistor) to the audio signal ground. is allows

the tip and ring to “appear” as an equal impedance,

not-quite balanced output stage, even though the out-

put circuitry is unbalanced.

Floating unbalanced often works to drive either a

balanced or unbalanced input, depending if a TS or

TRS standard cable is plugged into it. When it hums, a

special cable is required. See drawings #11 and #12, and

do not make the cross-coupled modiﬁcation of tying

the ring and sleeve together.

References

1. Neil A. Muncy, “Noise Susceptibility in Analog and Digi-

tal Signal Processing Systems,” presented at the 97th AES

Convention of Audio Engineering Society in San Fran-

cisco, CA, Nov. 1994.

2. Grounding, Shielding, and Interconnections in Analog

& Digital Signal Processing Systems: Understanding the

Basics; Workshops designed and presented by Neil Muncy

and Cal Perkins, at the 97th AES Convention of Audio

Engineering Society in San Francisco, CA, Nov. 1994.

3. e entire June 1995 AES Journal, Vol. 43, No. 6, available

$6 members, $11 nonmembers from the Audio Engineer-

ing Society, 60 E. 42nd St., New York, NY, 10165-2520.

4. Phillip Giddings, Audio System Design and Installation

(SAMS, Indiana, 1990).

5. Ralph Morrison, Noise and Other Interfering Signals

(Wiley, New York, 1992).

6. Henry W. Ott, Noise Reduction Techniques in Electronic

Systems, 2nd Edition (Wiley, New York, 1988).

7. Cal Perkins, “Measurement Techniques for Debugging

Electronic Systems and eir Instrumentation,” e Pro-

ceedings of the 11th International AES Conference: Audio

Test & Measurement, Portland, OR, May 1992, pp. 82-92

(Audio Engineering Society, New York, 1992).

8. Macatee, RaneNote: “Grounding and Shielding Audio

Devices,” Rane Corporation, 1994.

9. Philip Giddings, “Grounding and Shielding for Sound and

Video,” S&VC, Sept. 20th, 1995.

10. AES48-2005: AES standard on interconnections —

Grounding and EMC practices — Shields of connectors

in audio equipment containing active circuitry (Audio

Engineering Society, New York, 2005).

Band-Aid is a registered trademark of Johnson & Johnson

Winning the Wiring Wars

• Use balanced connections whenever possible, with

the shield bonded to the metal chassis at both ends.

• Transformer isolate all unbalanced connections

from balanced connections.

• Use special cable assemblies when unbalanced lines

cannot be transformer isolated.

• Any unbalanced cable must be kept under 10 feet

(3 m) in length. Lengths longer than this will ampli-

fy all the nasty side eﬀects of unbalanced circuitry's

ground loops.

Summary

If you are unable to do things correctly (i.e. use fully

balanced wiring with shields tied to the chassis at both

ends, or transformer isolate all unbalanced signals

from balanced signals) then there is no guarantee that

a hum-free interconnect can be achieved, nor is there a

deﬁnite scheme that will assure noise-free operation in

all conﬁgurations.

Interconnection-6

Figure 4. Interconnect chart for locating correct cable assemblies on the following pages.

Note: (A) This conﬁguration uses an “off-the-shelf” cable.

Note: (B) This conﬁguration causes a 6 dB signal loss. Compensate by “turning the system up” 6 dB.

To Input

MALE

BALANCED XLR

¼" BALANCED

TRS (TIP-RING-SLEEVE)

¼" OR 3.5mm

UNBALANCED

TS (TIP-SLEEVE)

UNBALANCED RCA BALANCED

EUROBLOCK

From Output

1234

6521

10987

121187

12112221

16 23

151413

2424

191817

FEMALE BALANCED XLR

(NOT A TRANSFORMER,

NOR A CROSS-COUPLED

OUTPUT STAGE)

FEMALE BALANCED XLR

(EITHER A TRANSFORMER

OR A CROSS-COUPLED

OUTPUT STAGE)

¼” BALANCED TRS

(NOT A TRANSFORMER,

NOR A CROSS-COUPLED

OUTPUT STAGE)

¼” BALANCED TRS

(EITHER A TRANSFORMER

OR A CROSS-COUPLED

OUTPUT STAGE)

¼” FLOATING UNBALANCED

TRS (TIP-RING-SLEEVE)

(SLEEVE IN UNIT = NC)

¼” OR 3.5 mm

UNBALANCED

TS (TIP-SLEEVE)

UNBALANCED RCA

(TIP-SLEEVE)

CABLE

CONNECTORS

BALANCED

EUROBLOCK

+ to +

–

to –

SHIELD ONLY

TO XLR PIN 1

–

to –

SHIELD NC

+ to +

–

SHIELD NC

+ to +

–

SHIELD ONLY

TO EUROBLOCK

+ to +

–

SHIELD NC

+ to +

–

to –

SHIELD ONLY

TO TRS SLEEVE

+ to +

–

to –

GROUND

+ to +

–

to –

GROUND

Interconnection-7

S=SHIELD

R=NC

T=RED

S=SHIELD

R=NC

T=RED

S=SHIELD

R=BLACK

T=RED

S=SHIELD

R=BLACK

T=RED

MALE

3=BLACK

BLACK

3=NC

2=RED

1=SHIELD

SHIELD

FEMALE

3=BLACK

2=RED

1=SHIELD

MALE

S=NC

R=BLACK

T=RED

S=SHIELD

R=BLACK

T=RED

CROSS-COUPLED OUTPUT ONLY: CONNECT PIN 1 TO PIN 3 AT THIS END

AND SET GROUND LIFT SWITCH TO ‘GROUNDED’ (IF PRESENT).

CROSS-COUPLED OUTPUT ONLY: CONNECT PIN 1 TO PIN 3 AT THIS END

AND SET GROUND LIFT SWITCH TO ‘GROUNDED’ (IF PRESENT).

CROSS-COUPLED OUTPUT ONLY: CONNECT RING TO SLEEVE

AT THIS END AND SET GROUND LIFT SWITCH TO ‘GROUNDED’ (IF PRESENT).

To Input

From Output

RED

BLACK

RED

BLACK

SHIELD

RED

BLACK

FEMALE

3=BLACK

2=RED

1=SHIELD

RED

SHIELD

RED

SHIELD

RED

BLACK

N/C

RED

BLACK

RED

SHIELD N/C

BLACK

RED

BLACK

RED

3=NC

2=RED

1=SHIELD

2=RED

1=SHIELD

3=BLACK

2=RED

1=NC

3=BLACK

2=RED

1=NC

3=BLACK

2=RED

1=SHIELD

SHIELD

FEMALE

RED

SHIELD

RED

BLACK

SHIELD

RED

BLACK

RED

BLACK

RED

SHIELD

RED

SHIELD

RED

SHIELD

RED

SHIELD

RED

BLACK

2-CONDUCTOR SHIELDED CABLE

1-CONDUCTOR SHIELDED CABLE

S=NC

R=BLACK

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

S=BLACK

T=RED

S=BLACK

T=RED

S=BLACK

T=RED

S=BLACK

T=RED

S=SHIELD

R=BLACK

T=RED

S=BLACK

T=RED

CROSS-COUPLED OUTPUT ONLY: CONNECT RING TO SLEEVE

AT THIS END AND SET GROUND LIFT SWITCH TO ‘GROUNDED’ (IF PRESENT).

BLACK

SHIELD

RED

BLACK

RED

2-CONDUCTOR SHIELDED CABLE

Interconnection-8

DOC 102907

MALE

(ANY UNBALANCED CONNECTOR)

(CHECK: NO STANDARD POLARITY ON EUROBLOCKS)

MALE

To Input

From Output

S=SHIELD

R=BLACK

T=RED

S=SHIELD

R=BLACK

T=RED

S=SHIELD

R=BLACK

T=RED

S=SHIELD

R=BLACK

T=RED

S=SHIELD

R=BLACK

T=RED

S=BLACK

T=RED

S=BLACK

T=RED

S=BLACK

T=RED

S=BLACK

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

S=SHIELD

T=RED

3=BLACK

2=RED

1=SHIELD

3=BLACK

2=RED

1=SHIELD

3=BLACK

2=RED

1=SHIELD

SHIELD

BLACK

SHIELD

RED

BLACK

SHIELD

RED

BLACK

RED

SHIELD

BLACK

RED

SHIELD

BLACK

RED

SHIELD

BLACK

RED

SHIELD

BLACK

RED

SHIELD

BLACK

RED

SHIELD

RED

SHIELD

RED

SHIELD

RED

SHIELD

RED

BLACK

RED

N/C

BLACK

RED

BLACK

RED

BLACK

RED

SHIELD

RED

SHIELD

RED

SHIELD

RED

S=BLACK

T=RED

CROSS-COUPLED OUTPUT ONLY: CONNECT BLACK TO SHIELD AT THIS END

AND SET GROUND LIFT SWITCH TO ‘GROUNDED’ (IF PRESENT).

BLACK

SHIELD

RED

BLACK

RED

2-CONDUCTOR SHIELDED CABLE

S=BLACK

T=RED

SHIELD

BLACK

RED

BLACK

RED

2-CONDUCTOR SHIELDED CABLE

1-CONDUCTOR SHIELDED CABLE

–

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Rane ME60S Manuel utilisateur

Marque: Rane

Modèle: ME60S

Catégorie: Équipement musical supplémentaire

Taper: Manuel utilisateur

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English: Rane ME60S User manual

Rane ME60S Manuel utilisateur

Rane ME60S Manuel utilisateur

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