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Manual-

OPERATORS MANUAL ME 15S

microGRAPHIC EQUALIZER

Quick Start

I this is your rst equalizer, please do yoursel and your speak-ers a avor and read the complete manual. An ounce o preven-tion..., and all that.

You may use either the XLR or " RS connectors orInputs or Outputs. Hook-up is intuitive. Just ollow the silk-screened instructions on the rear o the unit. Polarity conventionis per IEC/ANSI/AES standards o pin 2 positive, pin 3 negativeand pin 1 shield. Te ME 15S does not invert the signal. Onlyconnect one INPUT type per channel. Te XLR and " RS

WEAR PARTS: Tis product contains no wear parts.

LEVEL LEVELOL OLBYPASS BYPASSRANGE RANGE POWER

CHANNEL 1 63010025 40 63 250160 400 6.3k1k 1.6k 2.5k 4k 16k10k 63010025 40 63 250160 400 6.3k1k 1.6k 2.5k 4k 16k10k

ME 15SMICROGRAPHIC

EQUALIZER

CHANNEL 2

1212

126

6

12

0

+

126

6

12

0

+

100

2

4

8

6

100

2

4

8

6

6 6

63

3

6

63

3

6

0

+

0

+

Inputs do not sum, dont use both, pick one or the other. Youmay, however, use both types oOUTPUTS simultanesously idesired.

Anyone amiliar with other graphic equal izers nds the ME15S just as amiliar. Setting curves is as easy as it is on all Ranegraphics thanks to our innovative constant-Q circuitry. I youeel you want more inormation on setting up your curves, pleaseread on.

I you are amiliar with equalizers, then hook-up, plug-in,turn-on and go!

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Manual-

Front Panel Description

LEVEL LEVELOL OLBYPASS BYPASSRANGE RANGE POWER

CHANNEL 1 63010025 40 63 250160 400 6.3k1k 1.6k 2.5k 4k 16k10k 63010025 40 63 250160 400 6.3k1k 1.6k 2.5k 4k 16k10k

ME 15SMICROGRAPHIC

EQUALIZER

CHANNEL 2

1212

126

6

12

0

+

126

6

12

0

+

100

2

4

8

6

100

2

4

8

6

6 6

63

3

6

63

3

6

0

+

0

+

4 3 2 1 4 3 2 1 5

1 Filter level slide controls: Each o these sliders controls the output level o each o the bandpass lters. Center position is de-tented and grounded or guaranteed at response.

2 Filter RANGE switches: Te gain range o the lter sliders is switchable (as a group) rom 6 dB or high resolution, to 12 dBor maximum boost/cut capability.

3 BYPASS switches: When the button is pushed and the red indicator is lit, this Channel is in the BYPASS mode: signal is routeddirectly rom the Input to the Output without passing through any active circuitry (oten reerred to as hard-wire bypass). Usethis switch to compare equalized and unequalized material, or to bypass the equalizer in the event o power loss or unit ailure.

4 LEVEL controls and OL indicators: Tese control the level o signal coming into the ME 15S. urn this control down i itsOL (OverLoad) lights up steadily (meaning too strong an Input signal). Since actual unity gain depends on varying slider settings(which is why we have not marked a unity gain position on the ront panel), use the BYPASS switch to determine the exact unitygain position o this LEVEL control by comparing EQ and BYPASS volumes. Te OL indicator lights up i any section o the ME15S is within 3 dB o clipping. Occasional blinking o these LEDs are acceptable, but i they remain on more than intermittently,turn down either the equalizers LEVEL control(s) or reduce the output level o the preceding component to avoid distortion.

5 POWER:As you have astutely surmised by now, when the ME 15S is plugged into 85-240 VAC, this glows yellow.

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Manual-

Rear Panel Description

1XLR INPUT jacks: Tese accommodates balanced signals. Rane adheres to the international and U.S. standard or balanced pincongurations: Pin 1 is chassis ground (neutral), pin 2 is hot (positive), and pin 3 is signal return (negative) .Choose between thisand the " TRS Input jackuse only onethey do not sum.

2" TRS INPUT jacks: Tese RS (tip-ring-sleeve) " jacks accommodate either balanced or unbalanced signals. Balancedsignals use microphone cable (two conductor with shield) with RS " plugs. Unbalanced signals use a mono " S plug (singleconductor with shield), with its length kept under 10 eet (3 meters) to avoid hum and noise. Choose between this and the XLR Inputjackuse only onethey do not sum. Reer to the included RaneNote, Sound System Interconnection or unbalanced wiring.

3" TRS OUTPUT jacks: Tese are RS (tip-ring-sleeve) " balanced jacks compatible with either balanced or unbalancedsystems. For balanced systems, use a microphone cable wired with pin 1 is chassis ground (neutral), pin 2 is hot (positive), and pin3 is signal return (negative). Reer to the RaneNote, Sound System Interconnection or unbalanced wiring.

4 XLR OUTPUT jacks: Tese balanced outputs are wired per AES standards o pin 2 hot, as described above in 1.

5Universal Voltage Input: via a miniature IEC 60320 C6 appliance inlet. Tis mates with an IEC 60320 C5 line cord (USAdomestic). Do not lit the ground connection!

ME 15S Connection

INPUTS

Both XLR and " RS Inputs are wired in parallel and areactively balanced. Each works equally well. Choose strictly roma required hardware point-o-view, there will be no perormancetrade-ofs. Te wiring convention adheres to American, Britishand International standards o pin 2 or tip being hot, pin 3 orring being return, and pin 1 or sleeve being shield. Unbalancedoperation involves using only pin 2 or tip as signal, and pin 1 orsleeve as shield or ground. It is not necessary to short any inputsto groundit doesnt hurt, its just not necessary. Use pin 1, orthe shell, or shield ground.

45 3 12 4 3 12

WIRING

TIP / PIN 2 = POSITIVE

RING / PIN 3 = NEGATIVE

SLEEVE = SIGNAL GROUND

PIN 1 = CHASSIS GROUND

CHANNEL 1

OUTPUT INPUT

CHANNEL 2

OUTPUT INPUTMADE IN U.S.A.

RANE CORP.

ME 15S

ACN 001 345 482

COMMERCIAL AUDIOEQUIPMENT 24TJ

R

100-240 V

50/60 Hz 7 WATTSThis device complies with Part 15 of

the FCC Rules. Operation is subject

to the following two conditions:

(1) this device may not cause

harmful interference, and (2) this

device must accept any interference

received, including interference that

may cause undesired operation.

OUTPUTS

Te Outputs mimic the Inputs. Balanced output requires usingpin 2 or tip, and pin 3 or ring or the signal. It does not requirepin 1 or shield. Te signal exists diferentially between the twobalanced leads; ground is not involved. For hum-ree systemsground is used only or shielding.

EXPANDING

Expanding and/or daisychaining the Inputs and Outputs nor-mally uses the " jacks. Tree parallel Input connectors allowsdriving a second signal processor or amplier without specialcabling.

SIGNAL LEVELSSignal levels rom -10 dBV to +4 dBu are considered normaland within range (at least 20 dB o headroom exists above theselevels). Do not directly connect microphones into the ME 15S.Tese require a mic preamp.

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Manual-

Rane Corporation 080 7th Ave. W., Mukilteo WA 9875-5 098 USA TEL 5-55 -6000 FAX 5-7 -7757 WEB www.rane.com

Operating Instructions

Insuring the proper level o gain though the ME 15S is just asimportant as adjusting the equalizer bands. Improper gain dis-tribution is a common cause o loss o system headroom and lessthan optimum noise perormance.

Te OverLoad LED inorms o an imminent or passedoverload to the equalizer. Occasional blinking o the OL withprogram source material is ne, indicating optimized signal-to-noise perormance o the ME 15S. Run the ME 15S with an

input signal that is as hot as possible without the OL lightingmore than occasionally.

Te BYPASS switch allows comparison o equalized versusun-equalized signal. It is also useul in adjusting the level o theME 15S or unity gain and best signal-to-noise perormance. Tegain o the ME 15S is optimized when there is no sound leveldiference between the bypassed and the active positions.

Te overall gain range o the level control or the ME 15Sis of to +6 dB or unbalanced operation, or of to +12 dB orbalanced operation. Te level diference between the equalizer inbypass or active can be signicant. Adjust the LEVEL control sothe signal level is the same between the bypassed and active posi-tions o the BYPASSswitch.

GETTING STARTED

Here is one method o setting your equalizer that works well.Begin with the ollowing settings:1. Engage the BYPASS switch. (switch depressed, BYPASS LED

on.)2. Put all sliders in their center position (0 dB). Te center posi-

tion has a grounded detent.3. Position the LEVELcontrols about 6 or unbalanced opera-

tion and 7 or balanced operation.4. Apply a signal to the system.5. Veriy the OLLED is not onoccasionally blinking during

extreme peaks indicates an optimal setting. But i it lights upa lot or lights steadily, lower the output level o the previousdevice in the signal chain.

6. Release the BYPASS switch and begin adjusting the equalizerlters.

7. During lter band adjustments, i the OLLED lights morethan occasionally, turn down the output o the previous de-vice in the signal chain.

8. Once all lter bands are adjusted to your liking, compare thesignal loudness with the equalizer bypassed and active. Adjustthe LEVELcontrols on the ME 15S so there is no diferencebetween the levels o bypassed versus active.

9. Te last step is to reconrm that the OLLEDlights only

when there are large signal spikes in the program material, asin step 5 above.For insight into how to use an equalizer, to alleviate acoustic

problems or to adjust the overall tone o the program material,please read the ollowing two sections.

ACOUSTIC COMPENSATION

A graphic equalizer may be used to correct many acousticproblems. However, one should ully understand the ramica-tions o doing so. Acoustic problems are generally not consistentacross the entire area o sound coverage. Tis is much more o aproblem when setting up a sound system or large venues. In atypical large room or hall, there will be areas that have acousticreinorcement problems and other areas where certain requen-cies are almost entirely canceled out. ry to seek an acoustic

remedy or acoustic problems whenever possible. When this isnot possible or easible, an equalizer may be used to compensateor an acoustic problem. But the problem is only improved atthe point where the measurement is taken, other locations in theroom may be adversely afected by the equalizer setting. For thisreason, measure the acoustic response o the system rom severallocations and average the equalizers setting. Doing this helpsmost locations in the venue to have an equal sound quality.

Te best way to see what the acoustic signature o the roomis doing to sound is to use a real time analyzer or any o themany computerized measurement systems. Using these devicesto analyze the response o the room and the sound system is theonly accurate means available or setting an equalizer properly.

Equalization can be like spice in the hands o a master che.A little goes a long way in improving sound quality, too muchand the mix is spoiled. I modest amounts o equalization (6-8dB) do not solve the problem, it is best remedied by other means.Avoid adding large amounts o boost below 63 Hz, especia llywhen using vented bass cabinets. Boosting requencies belowthe vented enclosures low requency cutof can easily cause overexcursion o the speakers cone, causing premature ailure. In ad-dition, boosting low requencies can make your power amplierrun hotter, leading to premature amplier ailure.

When equalizer adjustment is completed, compare the un-equalized sound with the equalized sound by alternately engag-

ing the BYPASS switch. Use amiliar source material and walkaround in the sound coverage area to insure that no anomalieshave been introduced into the sound system. I it sounds good,youre done.

TONE CONTOURING

I a ME 15S is used or tone contouring by ear, be careul aboutadding upper bass (63 Hz to 200 Hz) as this causes muddi-ness or loss o denition. (Also see the previous warning aboutboosting requencies below 63 Hz.) Middle requency problemsusually express themselves by vocals having a nasal quality (toomuch mid band boost) or vocals not being easily understandable(usually caused by mid band requencies being under represented

in the overall sound). High band problems show as sizzle notgood, and is sometimes caused by too much high requencyboosting. Tis is most obvious with cymbals and hi-hats. ouse the cooking metaphor, high requencies should simmer, notsizzle.

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