Rane | AC 23B | Operating instructions | Rane AC 23B Operating instructions

Rane AC 23B Operating instructions
OPERATORS MANUAL
AC 23B
ACTIVE CROSSOVER
CH 1
LOW
MASTER
4
2W: INACTIVE
6
2
4
8
6
2
0
10
LEVEL
MONO MASTER
4
8
0
10
LEVEL
6
2
MUTE
3W: LOW / MID
2W: INACTIVE
240
400
200
600
4
150
750
100
850
900 2
8 80
MIN MAX
DELAY
SUBWOOFER
70
1k
FREQUENCY
SUB / LOW
MID
2W: LOW
6
0
10
LEVEL
4
8
6
2
MUTE
MID
MIN MAX
DELAY
3W: MID / HIGH
HIGH
2W: LOW / HIGH
1.0k
700
2.0k
550
4
6
2.8k
475
4.5k
350
5.8k 2
8 250
8
190
7.0k
FREQUENCY
4W: MID / HIGH
5W: MID / HIGH-MID
CH 2
LOW
MASTER
4
2W: INACTIVE
6
2
0
10
0
10
LEVEL
LEVEL
MONO 4W OR 5W: INACTIVE
4
8
6
2
4
8
0
10
LEVEL
2
MUTE
LOW
6
3W: LOW / MID
2W: INACTIVE
240
400
200
600
4
150
750
100
850
80
900 2
8
MIN MAX
DELAY
70
1k
FREQUENCY
LOW / MID
MID
2W: LOW
6
4
8
2
6
3W: MID / HIGH
HIGH
2W: LOW / HIGH
1.0k
700
2.0k
550
4
6
2.8k
475
4.5k
350
5.8k 2
8 250
8
7k
190
0
10
MIN MAX
MUTE
LEVEL
DELAY
FREQUENCY
4W: INACTIVE
4W: INACTIVE
5W: HIGH-MID
5W: HIGH-MID / HIGH
0
10
LEVEL
AC 23B
ACTIVE
CROSSOVER
POWER
HIGH
QUICK START
Labels above the controls refer to the unit being operated in the 2- or 3-Way Stereo mode. Labels below the
controls refer to the unit being operated in the 4- or 5-Way Mono mode.
Set the STEREO/MONO switch appropriately. The fact that the AC 23B 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. Following the
labels above the controls and jacks in logical order, you will find Channel 1 Master Input LEVEL, LOW Output, MID
Output, and HIGH Output, with the same for Channel 2. If you need a summed Mono Low Ouput, see ‘Monoing the Low
Outputs’ on page Manual-7.
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 other
switch is set to 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. An internal switch determines 4 or 5-Way mode. Our apologies to 4-Way users: We must ship the units in
the 5-Way mode since normal Stereo 3-Way operation demands it: a fact not the least bit obvious, but nevertheless, a fact
it remains. Pity. See page Manual-6 for Mono 4-Way configuration.
In agreement with IEC and AES/ANSI standards, AC 22B wiring convention is pin 2 Positive, pin 3 Negative (return),
pin 1 chassis ground. See the “Sound System Interconnection” RaneNote included with this manual for more information
on cabling and grounding requirements.
CAUTION: Never connect anything except an approved Rane Power supply to the thing that looks like a red
telephone jack on the rear of the AC 23B. This is an 18 VAC center tapped power input. Consult the Rane factory for a
replacement or substitution.
WEAR PARTS: This product contains no wear parts.
Manual-1
FRONT PANEL: STEREO 2-WAY CONFIGURATION
Stereo 2-Way labels in this row.
CH 1
LOW
MASTER
4
2W: INACTIVE
6
2
4
8
2
0
10
LEVEL
MONO MASTER
1
6
4
8
0
10
LEVEL
6
2
MUTE
MIN MAX
DELAY
SUBWOOFER
*
MID
3W: LOW / MID
2W: INACTIVE
240
400
200
600
4
150
750
100
850
900 2
8 80
70
1k
FREQUENCY
2W: LOW
6
4
8
0
10
LEVEL
SUB / LOW
6
2
MUTE
MIN MAX
DELAY
MID
2
3
4
3W: MID / HIGH
HIGH
2W: LOW / HIGH
1.0k
700
2.0k
550
4
6
2.8k
475
4.5k
350
5.8k 2
8 250
8
7.0k
190
FREQUENCY
4W: MID / HIGH
5W: MID / HIGH-MID
5
CH 2
LOW
MASTER
4
2W: INACTIVE
6
2
4
8
0
10
0
10
LEVEL
LEVEL
MONO 4W OR 5W: INACTIVE
6
2
4
8
0
10
LEVEL
6
2
MUTE
MIN MAX
DELAY
LOW
6
7
70
1k
FREQUENCY
LOW / MID
*
MID
3W: LOW / MID
2W: INACTIVE
240
400
200
600
4
150
750
100
850
80
900 2
8
2W: LOW
6
4
8
6
2
3W: MID / HIGH
HIGH
2W: LOW / HIGH
1.0k
700
2.0k
550
4
6
2.8k
475
4.5k
350
5.8k 2
8 250
8
7k
190
0
10
MIN MAX
MUTE
LEVEL
DELAY
FREQUENCY
4W: INACTIVE
4W: INACTIVE
5W: HIGH-MID
5W: HIGH-MID / HIGH
2
3
4
5
0
10
LEVEL
AC 23B
ACTIVE
CROSSOVER
POWER
HIGH
6
8
Observe the labels above the controls for stereo operation.
* Not used in 2-Channel 2-Way Mode
햲 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”.
햳 LOW LEVEL control: Sets the Level of signal going to the Low Frequency output in this channel. Refer to ‘Setting the
Output Level Controls’ on page Manual-15.
햴 LOW MUTE switch: When pressed to the in position, all signal is removed from the Low Frequency Output. This eases
tune-up procedures as described on pages Manual-11-16.
햵 LOW DELAY control: Adds from 0 to 2 ms of time Delay to the Low Frequency Output only. 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 ‘Time Delay Adjustment Procedure’ on page Manual-10.
햶 LOW/HIGH crossover frequency selector: This 41-detent selector sets the crossover frequency between the Low and
High frequency Outputs. Refer to ‘Selecting Crossover Frequencies’ on page Manual-10.
햷 HIGH LEVEL control: Sets the Level of signal going to the High frequency Output only.
햸 Channel 2 MASTER LEVEL control: Sets the overall Level of Channel 2 without altering the relative settings of the Low
and High Outputs.
햹 POWER switch and indicator: Two guesses. When this yellow LED is lit, you guessed right — the unit is on and ready.
Manual-2
REAR PANEL: STEREO 2-WAY INSTALLATION
1
Right Input
2
Left Input
Stereo 2-Way labels in this row.
HIGH OUT
MID-3W / LOW-2W
LOW-3W / OMIT-2W
CHANNEL 2 IN
STEREO 3W / 2W
HIGH OUT
MID-3W / LOW-2W
CHANNEL 1 IN
LOW-3W / OMIT-2W
AC 23B
POWER
MADE IN U.S.A.
RANE CORP.
CHANNEL 2
STEREO
3W
2W
260mA
CLASS 2 EQUIPMENT
7 8
N108
HIGH OUT
OMIT-4W
HI MID OUT-5W
3
LOW OUT
5
PIN 2=POSITIVE
PIN 3=NEGATIVE
PIN 1=CHASSIS GND
STEREO
MONO
MONO: SET SWITCHES AS SHOWN
OMIT MONO
MONO 5W (CHANGE INTERNAL SWITCH FOR MONO 4W)
High Amp
4
CHANNEL 1
STEREO
3W
2W
6
OMIT MONO
MID OUT
3
Low Amp
SUB OUT
MONO 4W / 5W IN
High Amp
4
Low Amp
Observe the labels above the Inputs and Outputs for Stereo operation.
햲 CHANNEL 1 INPUT: Plug the left output of the mixer, equalizer or other signal source to this Input. See ‘AC 23B
Connection’ on page Manual-1 for wiring details.
햳 CHANNEL 2 INPUT: Plug the right output of the mixer, equalizer or other signal source to this Input..
햴 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.
햵 LOW FREQUENCY OUTPUTS: Connect the CHANNEL 1 LOW-2Way Output to the left channel input of the low
frequency amplifier, and the CHANNEL 2 LOW-2Way Output to the right channel input of the low amplifier. If you need a
summed Mono Low Ouput, see ‘Monoing the Low Outputs’ on page Manual-7.
햶 2-Way/3-Way switch: Converts the outputs from 3-Way to 2-Way. This switch removes the Low frequency crossover from
the signal path. Low frequencies are now routed to the Mid frequency Output. Be sure to slide the switches to the 2-Way
position. Note: The Low frequency outputs are still active and may be used as additional subwoofer outputs.
햷 STEREO/MONO switch: Set this switch to the STEREO “out” position.
햸 POWER input connector: Use only a model RS 1 or other power supply approved by Rane. This unit is supplied with a
remote power supply suitable for connection to this input jack. This is not a telephone jack. The power requirements call for
an 18-24 VAC center-tapped transformer only. Using any other type of unapproved supply may damage the unit and void
the warranty. Two years parts and labor is worth safeguarding.
햹 Chassis ground point: A #6-32 screw is used for chassis grounding purposes. Always connect crossover chassis ground to
amplifier chassis ground. See ‘Chassis Grounding’ below for details.
IMPORTANT NOTE
CHASSIS GROUNDING
If after hooking up your system it exhibits excessive hum or buzzing, there is an incompatibility in the grounding
configuration 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. Try combinations of lifting grounds on units that are supplied with ground lift switches or links.
2. 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.
3. Units with outboard power supplies do not ground the chassis through the line cord. Make sure that 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.
4. Try moving the device away from high magnetic field sources, such as large transformers used in power amplifiers.
Please refer to the included RaneNote “Sound System Interconection” for further information on system grounding.
Manual-3
FRONT PANEL: STEREO 3-WAY CONFIGURATION
Stereo 3-Way labels in this row.
CH 1
LOW
MASTER
4
2W: INACTIVE
6
2
4
8
2
0
10
LEVEL
MONO MASTER
1
6
4
8
0
10
LEVEL
6
2
MUTE
MIN MAX
DELAY
SUBWOOFER
3
4
5
MID
3W: LOW / MID
2W: INACTIVE
240
400
200
600
4
150
750
100
850
900 2
8 80
1k
70
FREQUENCY
2W: LOW
6
8
0
10
LEVEL
SUB / LOW
6
4
6
2
MUTE
MIN MAX
DELAY
MID
7
8
9
3W: MID / HIGH
HIGH
2W: LOW / HIGH
1.0k
700
2.0k
550
4
6
2.8k
475
4.5k
350
5.8k 2
8 250
8
190
7.0k
FREQUENCY
4W: MID / HIGH
5W: MID / HIGH-MID
10
CH 2
LOW
MASTER
4
2W: INACTIVE
6
2
4
8
0
10
0
10
LEVEL
LEVEL
MONO 4W OR 5W: INACTIVE
6
2
4
8
0
10
LEVEL
6
2
MUTE
MIN MAX
DELAY
LOW
11
2
3
4
MID
3W: LOW / MID
2W: INACTIVE
240
400
200
600
4
150
750
100
850
80
900 2
8
1k
70
FREQUENCY
LOW / MID
5
6
2W: LOW
6
4
8
6
2
3W: MID / HIGH
HIGH
2W: LOW / HIGH
1.0k
700
2.0k
550
4
6
2.8k
475
4.5k
350
5.8k 2
8 250
8
7k
190
0
10
MIN MAX
MUTE
LEVEL
DELAY
FREQUENCY
4W: INACTIVE
4W: INACTIVE
5W: HIGH-MID
5W: HIGH-MID / HIGH
7
8
9
10
0
10
LEVEL
AC 23B
ACTIVE
CROSSOVER
POWER
HIGH
11 12
Observe the labels screened above the controls for stereo operation.
햲 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”.
햳 Channel 2 MASTER LEVEL control: Sets the overall Level of Channel 2 without altering the relative settings of the
Low/Mid/High Outputs.
햴 LOW LEVEL control: Sets the Level of signal going to the Low frequency Output only in this Channel. Refer to page
Manual-15 for guidance with the Level control settings.
햵 LOW MUTE switch: When pressed to the in position, all signal is removed from the Low frequency Output. This eases
tune-up procedures as described on pages Manual-11-16.
햶 LOW DELAY control: Adds from 0 to 2 ms of time delay to the Low Frequency Output only. 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 page Manual-10.
햷 LOW/MID crossover frequecny selector: This 41-detent selector sets the crossover frequency between the Low and Mid
Outputs. Refer to page Manual-10.
햸 MID LEVEL control: Sets the Level of signal going to the Mid Output in this Channel only.
햹 MID MUTE switch: Removes all signal from the Mid Frequency Output when pressed to the in position.
햺 MID DELAY control: Adds from 0 to 2 ms of time Delay to this Channel’s Mid Output.
햻 MID/HIGH crossover frequency selector: Sets the frequency between the Mid and High Outputs in this Channel.
햽 HIGH LEVEL control: Sets the Level of signal going to the High Output only.
햾 POWER switch and indicator: Two choices: on or off. If the power supply is plugged in, this yellow LED is lit, and the
POWER button is depressed, then the unit ready to operate.
Manual-4
REAR PANEL: STEREO 3-WAY INSTALLATION
1
Right Input
2
Left Input
Stereo 3-Way labels in this row.
HIGH OUT
MID-3W / LOW-2W
LOW-3W / OMIT-2W
CHANNEL 2 IN
STEREO 3W / 2W
HIGH OUT
MID-3W / LOW-2W
LOW-3W / OMIT-2W
CHANNEL 1 IN
AC 23B
POWER
MADE IN U.S.A.
RANE CORP.
CHANNEL 2
STEREO
3W
2W
260mA
CLASS 2 EQUIPMENT
N108
HIGH OUT
OMIT-4W
HI MID OUT-5W
LOW OUT
CHANNEL 1
STEREO
3W
2W
MONO
MONO: SET SWITCHES AS SHOWN
OMIT MONO
MONO 5W (CHANGE INTERNAL SWITCH FOR MONO 4W)
6
8 9
3
High Amp
4
PIN 2=POSITIVE
PIN 3=NEGATIVE
PIN 1=CHASSIS GND
STEREO
OMIT MONO
SUB OUT
MONO 4W / 5W IN
7
3
Mid Amp
5
MID OUT
Low Amp
High Amp
4
Mid Amp
5
Low Amp
Observe the labels above the Inputs and Outputs for Stereo operation.
햲 CHANNEL 1 INPUT: Plug the left output of the mixer, equalizer or other signal source to this Input. Refer to ‘AC 23B
Connection’ on page Manual-1 for wiring details.
햳 CHANNEL 2 INPUT: Plug the right output of the mixer, equalizer or other signal source to this Input.
햴 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.
햵 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.
햶 LOW OUTPUTS: Connect the CHANNEL 1 and 2 LOW OUTS to the left and right channels of the low frequency
amplifier, respectively. If you need a summed Mono Low Ouput, see ‘Monoing the Low Outputs’ on page Manual-7.
햷 STEREO/MONO switch: Set this switch to the STEREO position.
햸 2-WAY/3-WAY switch: Converts the outputs from Stereo 3-Way to Stereo 2-Way. Be sure the switches are in the 3-WAY
position.
햹 POWER input connector: Use only a model RS 1 or other power supply approved by Rane. This unit is supplied with a
remote power supply suitable for connection to this input jack. This is not a telephone jack. The power requirements call for
an 18-24 VAC center-tapped transformer only. Using any other type of unapproved supply may damage the unit and void
the warranty. Two years parts and labor is worth safeguarding.
햺 Chassis ground point: A #6-32 screw is used for chassis grounding purposes. Always connect the crossover chassis to the
amplifier chassis. See ‘Chassis Grounding’ on page Manual-3 for details.
Manual-5
FRONT PANEL: MONO 4-WAY AND 5-WAY CONFIGURATION
Mono 4-Way and 5-Way labels in this row.
CH 1
LOW
MASTER
4
2W: INACTIVE
6
2
4
8
2
0
10
LEVEL
MONO MASTER
1
6
4
8
0
10
LEVEL
6
2
MUTE
MIN MAX
DELAY
SUBWOOFER
2
3
4
MID
3W: LOW / MID
2W: INACTIVE
240
400
200
600
4
150
750
100
850
900 2
8 80
70
1k
FREQUENCY
2W: LOW
6
8
0
10
LEVEL
SUB / LOW
5
4
6
2
MUTE
MIN MAX
DELAY
MID
6
7
8
3W: MID / HIGH
HIGH
2W: LOW / HIGH
1.0k
700
2.0k
550
4
6
2.8k
475
4.5k
350
5.8k 2
8 250
8
7.0k
190
FREQUENCY
4W: MID / HIGH
5W: MID / HIGH-MID
9
CH 2
LOW
MASTER
4
2
0
10
0
10
LEVEL
LEVEL
MONO 4W OR 5W: INACTIVE
*
2W: INACTIVE
6
4
8
6
2
4
8
0
10
LEVEL
6
2
MUTE
3W: LOW / MID
2W: INACTIVE
240
400
200
600
4
150
750
100
850
80
900 2
8
MIN MAX
DELAY
70
1k
FREQUENCY
LOW
LOW / MID
10 11 12
13
MID
2W: LOW
6
4
8
6
2
3W: MID / HIGH
HIGH
2W: LOW / HIGH
1.0k
700
2.0k
550
4
6
2.8k
475
4.5k
350
5.8k 2
8 250
8
AC 23B
ACTIVE
CROSSOVER
7k
190
0
10
MIN MAX
MUTE
LEVEL
DELAY
FREQUENCY
4W: INACTIVE
4W: INACTIVE
5W: HIGH-MID
5W: HIGH-MID / HIGH
HIGH
14 15 16
18 19
17
0
10
LEVEL
POWER
Observe the labels screened below the controls for Mono operation.
햲 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”.
햳 SUBWOOFER LEVEL control: Sets the Level of signal going to the Sub Output. See page Manual-15.
햴 SUBWOOFER MUTE switch: Removes all signal from the Sub Output when pressed to the in position. This eases the
system tune-up procedure, as described on pages Manual-11-16.
햵 SUBWOOFER DELAY control: In Subwoofer applications this control has virtually no effect and will normally be set to
MIN (minimum). Refer to page Manual-10.
햶 SUB / LOW crossover frequency selector: This 41-detent selector sets the crossover frequency between the Subwoofer
and Low Outputs. Refer to page Manual-10 to determine the proper setting for your system.
햷 LOW LEVEL control: Sets the Level going to the Low frequency Output.
햸 LOW MUTE switch: Removes all signal from the Low Output when pressed in.
햹 LOW DELAY control: Adds from 0 to 2 ms of time Delay to the Low Output only. Refer to page Manual-10 for alignment procedure.
햺 LOW / MID crossover frequency selector: Sets the crossover frequency between the Low and Mid frequency Outputs.
햻 MID LEVEL control: Sets the Level of signal going to the Mid Output only.
햽 MID MUTE switch: Removes all signal from the Mid Output when pressed in.
햾 MID DELAY control: Adds from 0 to 2 ms of time Delay to the Mid frequency Output only.
햿 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 23B is switched to "MONO" on the back panel. Adjusting these controls has no effect in the Mono mode.
헀 HlGH-MID LEVEL control: This controls the Level of signal going to the High-Mid Output only in 5-Way Mode.
**NOTE TO 4-WAY MONO USERS: An internal switch (S5) determines 4 or 5-Way mode. Our apologies: We must ship the
units in the 5-Way mode since normal Stereo 3-Way operation demands it: a fact not the least bit obvious, but nevertheless,
a fact it remains. See the Mono 4-Way Switch Instructions on the next page. The HIGH-MID LEVEL control, HIGH-MID
MUTE switch, HIGH-MID DELAY control and HIGH-MID / HIGH FREQUENCY control are out of circuit and will have
no effect regardless of their settings in 4-Way Mode.
Manual-6
헁 HlGH-MID MUTE switch: Removes all signal from the High-Mid Output when pressed to the in position. This control is
disabled in 4-Way mode.
헂 HlGH-MID DELAY control: This control adds from 0 to 2 ms of time Delay to the High-Mid Output only. This control is
disabled in 4-Way mode.
헃 HlGH-MID/HIGH crossover frequency selector: This control sets the crossover Frequency between the High-Mid and
High Frequency Outputs. This control is disabled in 4-Way mode.
헄 HIGH LEVEL control: This controls the Level of signal to the High Output only.
헅 POWER switch and indicator: Two choices: on or off. If the power supply is plugged in, this yellow LED is lit, and the
POWER button is depressed, then the unit ready to operate.
See the Following Pages for Mono 4- or 5-Way Installation.
Mono 4-Way Switch Instructions
Monoing the Low Outputs
1. Be sure all power and audio is turned off. Remove the top
cover of the AC 23B.
It is possible to mono the Low Frequency Outputs of the
AC 23B by an internal jumper. Set both Low Delays to “0”.
2. Locate the 4-WAY/5-WAY switch (see diagram).
1. Remove the power cord and the AC 23B top cover.
3. Move the switch from the 5-WAY position to 4-WAY.
2. Move the header to the J10 mono sum position.
4. Replace the cover. The AC 23B is now set for Mono 4Way Mode. 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.
3. Moving the header to the SHIP position puts the Low
Outputs back in stereo, as shipped from the factory.
4. Replace the cover.
This operation must be reversed to operate the unit
in either Stereo 3-Way or Mono 5-Way Mode.
STEREO
MONO
CHANNEL 1
STEREO
2W
3W
The mono output is now at Channel 1 LOW OUT.
Channel 2’s LOW OUT is unused.
CHANNEL 2
STEREO
2W
3W
Manual-7
REAR PANEL: MONO 4-WAY AND MONO 5-WAY INSTALLATION
Input
1
Mono 4- and 5-Way labels in this row.
HIGH OUT
MID-3W / LOW-2W
LOW-3W / OMIT-2W
STEREO 3W / 2W
CHANNEL 2 IN
HIGH OUT
MID-3W / LOW-2W
LOW-3W / OMIT-2W
CHANNEL 1 IN
AC 23B
POWER
MADE IN U.S.A.
RANE CORP.
CHANNEL 2
STEREO
3W
2W
260mA
CLASS 2 EQUIPMENT
N108
HIGH OUT
OMIT-4W
HI MID OUT-5W
LOW OUT
7
PIN 2=POSITIVE
PIN 3=NEGATIVE
PIN 1=CHASSIS GND
STEREO
MONO: SET SWITCHES AS SHOWN
MONO
OMIT MONO
MONO 5W (CHANGE INTERNAL SWITCH FOR MONO 4W)
**
9 10
CHANNEL 1
STEREO
3W
2W
OMIT MONO
MID OUT
SUB OUT
8
4
Mid Amp
3
6
MONO 4W / 5W IN
Low Amp
High Amp
*5*
High-Mid Amp
2
Sub Amp
** THIS OUTPUT IS NOT USED FOR 4-WAY MONO OPERATION.
4-WAY USERS SEE INTERNAL SWITCH INSTRUCTIONS ON PREVIOUS PAGE.
Observe the labels below the Inputs and Outputs for Mono operation.
햲 MONO INPUT: Connect the output from your mixer or other signal source only to the CHANNEL 1 INPUT for Mono
operation; do not use the Channel 2 Input. See AC 23B CONNECTION on page Manual-1 for wiring details.
햳 SUBWOOFER OUTPUT: Connect the SUB OUT to the input of the subwoofer (or bass bin) amplifier.
햴 LOW OUTPUT: Connect the LOW OUT to the input of the low frequency (mid-bass) amp.
햵 MID OUTPUT: Connect the MID OUT to the input of the mid frequency amplifier.
햶 HlGH-MID OUTPUT (FOR MONO 5-WAY ONLY): Use this Output only for Mono 5-Way applications. Omit this
output when using the AC 23B as a Mono 4-Way Crossover. Mono 4-Way Switch Instructions are on the previous page. In
4-Way the AC 23B internally bypasses the High-Mid section and defeats all front panel High-Mid Controls. For Mono
5-Way connect the HIGH-MID OUT to the input of the high-mid frequency amplifier.
햷 HIGH OUTPUT: Connect the HIGH OUT to the input of the high frequency (tweeter) amp.
햸 2-WAY / 3-WAY switches: Converts each channels outputs from 3-Way to 2-Way. For Mono 4-or 5-Way, slide these
switches to the 3-WAY position.
햹 MONO-STEREO switch: Push this to the MONO in position.
햺 POWER input connector: Use only a model RS 1 or other power supply approved by Rane. This unit is supplied with a
remote power supply suitable for connection to this input jack.
햻 Chassis ground point: A #6-32 screw is used for chassis grounding purposes. Always connect the crossover chassis to the
amplifier chassis. See ‘Chassis Grounding’ on page Manual-3 for details.
Manual-8
REAR PANEL: ALTERNATE MONO 4-WAY INSTALLATION
Input
Patch Cable
1
Mono 4- and 5-Way labels in this row.
HIGH OUT
MID-3W / LOW-2W
LOW-3W / OMIT-2W
CHANNEL 2 IN
STEREO 3W / 2W
HIGH OUT
MID-3W / LOW-2W
LOW-3W / OMIT-2W
CHANNEL 1 IN
AC 23B
POWER
MADE IN U.S.A.
RANE CORP.
CHANNEL 2
STEREO
3W
2W
260mA
CLASS 2 EQUIPMENT
N108
HIGH OUT
OMIT-4W
HI MID OUT-5W
LOW OUT
CHANNEL 1
STEREO
3W
2W
MONO
MONO: SET SWITCHES AS SHOWN
OMIT MONO
MONO 5W (CHANGE INTERNAL SWITCH FOR MONO 4W)
7
8 9
5
PIN 2=POSITIVE
PIN 3=NEGATIVE
PIN 1=CHASSIS GND
STEREO
OMIT MONO
MID OUT
6
SUB OUT
3
MONO 4W / 5W IN
Low Amp
High Amp
4
Mid Amp
2
Sub Amp
Note: The switching in the AC 23B will result in a Mono 4-Way configuration with the crossover ranges
SUB, LOW, MID & HIGH from left to right across the bottom front panel. By connecting a patch cable from
the CHANNEL 1 HIGH OUT to the CHANNEL 2 INPUT, the LOW / MID crossover range changes from
70 Hz-1 kHz to a higher range of 190 Hz-7 kHz. Switch CHANNEL 1 to 3-Way, and CHANNEL 2 to 2-Way.
Note: DO NOT follow the Mono 4-Way Switch Instructions on page Manual-7, it must be set to 5-Way.
햲 MONO INPUT: Connect the output from your mixer or other signal source only to the CHANNEL 1 INPUT; do not use
the Channel 2 Input. Note: For this alternate Mono 4-Way installation, connect a patch cord from the CHANNEL 1 HIGH
OUT to the CHANNEL 2 INPUT as shown.
햳 SUBWOOFER OUTPUT: Connect the SUB OUT to the input of the subwoofer amplifier (or bass bin amp).
햴 LOW OUTPUT: Connect the MID OUT to the input of the low frequency amplifier.
햵 MID OUTPUT: Connect the HIGH-MID OUT to the input of the mid frequency amplifier. Be sure the CHANNEL 1 HIGH
LEVEL and the CHANNEL 2 MASTER LEVEL controls are set at “7” for unity gain between Channels.
햶 HlGH OUTPUT: Connect the HIGH OUT to the input of the high frequency amplifier.
햷 STEREO-MONO switch: Be sure this switch is in the STEREO out position. Yes, STEREO. A Mono circuit is created
when Channel 1 is patched into Channel 2, and the correct signal flow depends on this switch.
햸 2-WAY / 3-WAY switches: Converts each channels outputs from 3-Way to 2-Way. For this configuration, set CHANNEL
1 to 3-Way, and CHANNEL 2 to 2-Way.
햹 POWER input connector. Use only a model RS 1 or other power supply approved by Rane. This unit is supplied with a
remote power supply suitable for connection to this input jack.
햺 Chassis ground point. A #6-32 screw is used for chassis grounding purposes. Always connect the crossover chassis to the
amplifier chassis. See ‘Chassis Grounding’ on page Manual-3 for details.
Manual-9
OPERATING INSTRUCTIONS
Selecting Crossover Frequencies
Time Delay Adjustment
Procedure
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 more gentle filter
roll-offs and resultant higher output beyond the recommended
performance range.
The AC 23B 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.
Not to panic, for these sound reasons:
Before jumping feet first into the realm of time delay and
how to adjust it, it might help to spend a moment here to
re-affirm why on earth this delay is really necessary. For a
short course on time delay, Linkwitz-Riley and other
mouth-watering details, we urge you to read the “LinkwitzRiley Crossovers” RaneNote from Rane’s web site.
Problems pop up when two different speakers emit the
same frequency as occurs in the crossover regions of two,
three, four and five way systems. Because the two drivers are
displaced 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 pattern or listening area of the speaker.
Fine. So we put up with it. But to make matters worse,
when the two drivers are horizontally displaced – that is, one
is in the front of or behind the other, this “lobe” or dispersion
pattern gets tilted (usually upward) toward the driver that is
further behind. This gets hard to put up with, because the end
result is that your speaker system will have two, three, four or
more tilted radiation patterns and only two or three people in
the house will have decent seats. And we’re not talking trivial
pursuits here—this rampant lobing error can make a sound
system a real headache to listener and operator alike.
The idea, then, 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 one catch is that in many cases it is
physically or otherwise impossible to get all the drivers
vertically lined up at the sound source. This is where time
delay comes in.
By electronically delaying the signal going to the front
driver, enough time allows the sound from the rear driver to
literally catch up to the forward driver’s voice coil, so that
signal from both drivers is emitted in phase—and it works!
Time delay makes an appreciable improvement in overall
sound. The trick is finding the proper time delay amount:
hence the rest of this section.
Unfortunately the amount of time delay is a function of
two factors (life ceased to be simple after age 9, right?): the
amount of horizontal displacement between driver voice
coils, and the actual crossover frequency involved. Setting
delay controls by ear is supposedly possible, but very tricky
and unreliable. The following methods are a couple of (but by
no means all) means of setting time delay.
1. The AC 23B 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 23B.
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 valuable leeway so that you
may move crossover points in order to fine-tune the system,
and will also yield higher system reliability. If at all possible,
beg, borrow or best yet always use some kind of realtime
analyzer to tune your crossover and fine-tune the system for
each different location with an equalizer. Refer to the following pages for further alignment details.
Manual-10
Time Delay Adjustment Using
Realtime Analyzer & Pink Noise
This method outlines the use of a realtime analyzer, pink
noise generator and flat response microphone to set crossover
time delay. Some references will be made to the Rane RA 30
realtime analyzer for those with the intelligence and good
taste to use one of these regularly. 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.
And it is important to match the analyzer to the crossover
point as closely as possible for proper phase alignment,
otherwise the analyzer readings may be 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 microphone about 15 feet in front of the
speaker stack and at a height about midway between the
high and mid drivers. Turn all crossover LEVEL controls
fully down.
2. Connect the pink noise source to the INPUT of the crossover (or mixer or wherever is convenient). Turn up the
crossover MASTER LEVEL control and the MID 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 DISPLAY LEVEL control
so the LED’s corresponding to the high crossover frequency are reading 0 dB (this would be a green LED at the
crossover frequency with any of the Rane analyzers). For
example, if your high crossover frequency is 2 kHz, set the
RA 30 in the ±1 dB mode and then adjust the RTA
LEVEL control until the green LED is lit in the 2 kHz
band. There...easy.
4. Now press in the MID MUTE switch on the crossover so
that the tone is removed from the mid driver. Without
re-adjusting either the meter or the crossover Input or Mid
Level controls, turn up the HIGH LEVEL control until the
tone coming from only the high driver reads 0 dB (a green
LED at the crossover frequency).
Fig. 1 In-Phase Axis Response Without Time Delay
5. Now release the MID MUTE switch on the crossover so
that pink noise is heard from both the high and mid drivers.
Switch the display sensitivity to ±3 dB on Rane analyzers
(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.
Fig. 2 Corrected In-Phase Axis Response With Electronic Time Delay on
Low Frequency Driver
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
Manual-11
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. The Rane AD 22B would be suitable.
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 23B is designed to accommodate the majority of common speaker configurations;
if you encounter confusion or difficulty with your
particular system, it is best to consult your dealer or
the Rane factory for assistance.
b. If this decrease in the display due to the DELAY
control occurs at a low frequency crossover point
below about 150 Hz, set the DELAY control to
minimum and leave it there. Frequencies below 150
Hz are actually 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
next DELAY control. You may start each series of steps 2
through 5 at a different volume as necessary—but once the
Levels are set in step 3 do not alter these until step 5 is
completed. Once all of the crossover DELAY controls are
set, then adjust the output LEVEL controls as outlined on
page Manual-15.
Manual-12
Time Delay Adjustment Using
SPL Meter & Tone Generator
Now that good quality realtime analyzers are becoming
more affordable and easier to use, there are few reasons why
one of these should not be regularly used in any sound
system. If an analyzer is simply not available or for some
reason inappropriate, an accurate delay setting can be
obtained by using a straightforward SPL meter (obtainable at
most local electronics stores, the best is the Rane RA 30) 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
then repeated for the next lower crossover point(s).
STEP BY STEP PROCEDURE
A 3-Way mode consisting of high, mid and low drivers is
used here as an example. For other 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 (microphone) about 15 feet in front
of the speakers and at a height about midway between the
high and mid drivers. It is very important that the meter
remain in exactly the same position throughout the test, so
affix it to a mic stand, small tree or other stable object. Set
the switches on the SPL meter to “C-weighting”, “Slow” if
available. Be sure to minimize background noise (air
conditioners, fans, traffic, wild animals, etc.) as these will
effect the meter reading.
3. Slowly turn up both the crossover MASTER LEVEL
control and the MID LEVEL control until the tone is heard
through the mid driver. Adjust the SPL meter control and/
or the crossover LEVEL controls until you obtain a 0 dB
reading on the meter. Verify that no sound is coming from
any other speakers except the mid driver.
4. Now press in the MID MUTE switch on the crossover so
that the tone is removed from the mid driver. Without
re-adjusting either the meter or the crossover Input or Mid
frequency Level controls, turn up the HIGH LEVEL
control until the tone coming from only the high driver
reads 0 dB on the SPL meter.
5. Now release the MID MUTE switch so that the tone is
emitted from both the high and mid drivers. Check the
reading on the SPL meter:
i. If the meter reads +3 dB, then the drivers are properly
phase aligned and no delay is necessary; leave the MID
DELAY control at full minimum.
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 23B is
designed to accommodate the majority of common
speaker configurations; if you encounter confusion or
difficulty with your particular system, it is best to
consult your dealer or the Rane factory for assistance.
b. If this decrease in the display due to the LOW
DELAY control occurs at a low frequency crossover
point below about 150 Hz, set the LOW DELAY
control to minimum and leave it there. Frequencies
below 150 Hz are actually 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 as outlined
on page Manual-15.
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.
Manual-13
Delay vs. Frequency Table
If you do not have the equipment necessary to electronically align the system as described in previous sections, you
may use the table below to obtain a rough and approximate
phase 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.
Crossover Frequency
Voice Coil Displacement (Inches)
(Hz)
70
80
100
150
200
250
300
400
450
500
800
lk
1.2k
1.5k
2k
2.5k
3k
3.6k
4k
6k
7k
.75"
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1.2
1.5"
1.5
1.5
1.5
1.5
1.5
1.5
1.5
1.5
1.5
1.5
1.5
1.5
1.5
1.5
1.5
1.5
1.7
1.7
1.8
2
MAX
3"
2
2
2
2
2
2
2
2
2
2
2
2.2
2.2
2.3
2.3
2.3
2.4
MAX
MAX
MAX
6"
2.5
2.5
2.5
2.5
2.5
2.5
2.5
2.5
2.5
2.5
3
3
3.5
3.5
MAX
MAX
MAX
9"
3.5
3.5
3.5
3.5
3.5
3.5
3.5
4
4
4
5
6
MAX
MAX
12"
5
5
5
5
5
5
5.5
6
6
6
7
MAX
15"
6
6
6
6
6
7
7
8
8
8
MAX
18"
7
7
7
7
7
8
MAX
MAX
MAX
MAX
21"
8
8
8
MAX
MAX
MAX
24"
MAX
MAX
MAX
Displacement
Figure 3. Front-to-Back Displacement Distance
Manual-14
Setting the Output Level Controls
Choosing the crossover frequencies was the easy part.
Now it gets real fun. The idea is to set the output Level
controls on the crossover so that the entire speaker system has
a uniform, flat response. Unfortunately, the room in which
the speakers are placed has a habit of always getting into the
act, so things get messy. As a result there seems to be two
schools of thought regarding the use of active crossovers.
The Set-lt-Once-And-Glue-lt School
The philosophy here is to use the crossover to flatten
system response as much as possible without room acoustics
involved. This means setting up the system outside (unless
you happen to have a very large anechoic chamber handy)
and with the aid of a realtime analyzer and pink noise source
(ala RA 30), 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 behind a security cover (posted
guard is optional) and never again touched. It is then the job
of the system equalizer(s) to normalize or flatten the system
to each different room.
The Fix-lt-With-The-Crossover School
Here the crossover knobs get a good workout, for the
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 to back it up (not to mention a
licensed set of ears).
Regardless of which school you profess, the absolute
importance and effectiveness of some kind of realtime
analyzer in your system cannot be overstressed! No, this is
not a callous plug for our other products; analyzers in general
have come a long way. They’re out of the lab (i.e. closet) and
into the hands of every smart working musician and sound
technician. An analyzer will save tremendous amounts of
time and provide the absolute consistency, accuracy, and
plain old good sound that very few ears on this earth can
deliver. They are affordable, easy to use and amazingly
effective. You owe it to yourself and your audience to at least
look into one of these analyzers — you’ll wonder how you
managed at all without one.
Whether by analyzer or ear, here are a few recommended
methods of setting the crossover output Levels.
Setting Levels Using a Realtime
Analyzer
NOTE: If you are running two Channels, tune up only one
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 display controls on the analyzer so that it shows
the greatest number of 0 dB LED’s (green on Rane
equipment) below the crossover point.
7. Now slowly turn up the MID LEVEL on the crossover until
the display shows the same output level average as the
Low frequency section.
8. Repeat this procedure for all crossover frequency sections,
lowest to highest, so that the end result is as flat response
as possible on the analyzer display.
IMPORTANT: Compression driver or horn roll-off, bass
roll-off, and room acoustics usually cannot be corrected by
the crossover. If you are using constant directivity horns, see
page 18. 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.
Manual-15
Setting Levels Using an SPL
Meter & Pink Noise Generator
The MUTE switches on the AC 23B make using an SPL
meter an easy and relatively accurate means of tuning a
system. The Rane RA 30 has everything you need, an SPL
meter and a pink noise source. If you can’t get one of those
right now, obtain a good SPL meter and a pink noise generator 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 0dB
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.
Constant Directivity Horn EQ Mod
Constant Directivity (or CD) horns need additional
equalization to help cover the same area a long throw horn
can cover. Additional circuitry has been added to the AC 23B
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 below to determine the correct
value capacitor to install in the AC 23B to correct for this
high frequency roll off.
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 C16 in Channel 2.
1. Remove the top and bottom covers of the AC 23B.
2. Locate the positions for C15 and C16 on the Schematics
page 3 and on the circuit board. See Assembly Diagram.
3. Clean the solder pad on the underside of the board so that
the appropriate capacitor can be inserted. Install the
capacitor, and solder the leads from the underside using
fresh solder. Clip the excess leads.
4. Replace the top and bottom covers.
3 dB Down
Frequency
Capacitor
2.0 kHz
.0068 µf
2.5 kHz
.0056 µf
3.0 kHz
.0047 µf
3.7 kHz
.0039 µf
4.0 kHz
.0036 µf
5.0 kHz
.0030 µf
6.0 kHz
.0024 µf
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 USA TEL 425-355-6000 FAX 425-347-7757 WEB www.rane.com
Manual-16
106002
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF

advertising