Rane RA 30 Скачать руководство пользователя страница 8

Manual-

©Rane  Corporation    080  7th  Ave.  W.,    Mukilteo  WA  987-098    TEL  --000    FAX  -7-777    WEB  www.rane.com

105553

Noise test settings the same amount at each performance; make 

a note of these further adjustments to save future tweaking dur-

ing performances. For example, you note the pink noise settings 

and find later that you like to have 3 dB more boost at 63 Hz for 

more low-end punch during the performance. Next time, green 

out the analyzer during the pink noise test (get all LEDs green 

before making any further adjustment), then immediately bump 

up the 63 Hz slider 3 dB as indicated by the front panel calibra-

tions so that you’re tuned up before the show starts (slick, no?).

MONITORING PROGRAM MATERIAL FOR FEEDBACK 

USING THE DISPLAY

Using RTA mode,  and after doing the pink noise test, select 

LINE IN to monitor the signal at the RA 30 LINE INPUT jack 

on the rear. Adjust the GAIN control so that an occasional up-

per yellow LED blinks on during the performance peaks, but no 

top row red LEDs come on: you should be in the ±3 dB mode on 

the display. If feedback occurs, one or more red lights show the 

general feedback frequency area.

TESTING

The RA 30 analyzer/pink noise system is implemented digi-

tally. The RA 30 analyzer/pink noise system tolerances do not 

fade with age, but if you want to verify the system's performance, 

the RA 30 contains its own test equipment. Patch the Pink Noise 

output to the Left Line Input with a ¼" TS or TRS patch cord 

and set the PINK NOISE LEVEL (on the rear of unit) to maxi-

mum. On the front of the unit set the SOURCE switch to LINE 

IN. Press the METER/RTA button to select RTA and turn on 

the Pink Noise by pressing the PINK NOISE button. Adjust the 

GAIN control so that there is no OL LED indication. Select the 

1 dB scale and press the NORMAL button. You will see a flat 

response.

Main Speaker Equalization

IMPORTANT NOTES:

1. If your sound system is stereo or multichannel, equalize each 

channel individually first, then look at the combined acoustic 

output of all channels, making small corrections as necessary.

2. If you are using a powered mixer, or a mixer that has mic level 

inputs only, you will need to reduce the signal level at the 

pink noise output. Use a small screwdriver to adjust the PINK 

NOISE LEVEL control on the rear chassis so the Pink Noise 

Output suits your mixer.

3. An RA 30 can be used as a driver alignment tool (see the AC 

22B/23B Owners Manual) as well as EQ adjusting. Drivers 

are aligned when maximum level is shown at the crossover fre-

quency on the RA 30 display. It is important to align drivers 

either physically or electronically in multi-way systems for the 

best sound. The mic should be at listener-ear height relative to 

the center of the driver stack. If a clear sound is desired in the 

back of the hall, the height of the RA 30 mic should be in line 

with the on-axis phase response of the speaker stack, perpen-

dicular to the drivers.

Stage Monitor Equalization

IMPORTANT NOTES:

1. Analyzing and equalizing the monitors provides the most 

expedient method to optimize stage monitor sound quality 

and reduce feedback problems. The stage mic is connected to 

the same mixer as the RA 30. Feedback induced by specific 

stage mic/monitor speaker coupling can also be attenuated 

by leaving the stage mic turned up and running up the pink 

noise level through the monitor speaker until feedback occurs. 

Attenuate each feedback frequency, as indicated by the ana-

lyzer display, until the mic/monitor combination feeds back at 

two or more frequencies simultaneously. Usually the final EQ 

setting will be a compromise between a good monitor sound 

that doesn't get as loud, or a not-so-good monitor sound that 

gets louder before feedback. 

2. Place the Rane microphone at eye level of the performer and 

about six inches off to one side of the stage microphone, in 

line of sight to the monitor speaker. If the stage microphone is 

directly between the Rane mic and monitor speaker (blocking 

line of sight), some high frequencies will be blocked giving a 

false reading on the analyzer display.

3. If you are running more than one monitor from a single equal-

izer, test each monitor location by running up pink noise until 

feedback occurs. The monitor which feeds back first should be 

used for the overall EQ adjustments using pink noise.

4. If maximum SPL before feedback is most important, use the 

stage mic only. This arrangement allows the analyzer to look 

at the specific relationship between each stage microphone/

speaker combination. Since both the microphone and stage 

monitor speaker exhibit their own individual feedback tenden-

cies, the interaction between the two can cause pronounced 

feedback problems. This configuration allows you to flatten or 

“normalize” this interaction without actually getting to feed-

back levels. It should be noted that 

this testing procedure favors 

maximum SPL before feedback and not necessarily optimum 

monitor sound quality.

 This configuration can also be used for 

main speaker equalization to optimize system response for 

a specific microphone used throughout the system, such as 

for choir, orchestral or big band situations where all program 

material is picked up through microphones of the same make 

and model.

5. Do not attempt to plug a regular microphone directly into the 

MIC INPUT. Use the AUX MIC input for other mics.

Содержание RA 30

Страница 1: ...R RTA SCALE NORMAL 1 3 6 120 100 80 WEIGHT C A RTA METER NOISE PINK VU SPL SIG OL 12 12 CAL 5 27 30 24 25 21 15 18 20 12 9 15 6 3 10 3 12 6 9 0 dB dB 6 3k 50 25 31 5 40 160 63 80 125 100 315 200 250 400 500 1k 800 630 1 25k 1 6k 3 15k 2 5k 2k 4k 5k 20k 8k 10k 16k 12 5k CAL MIC AUX MIC OFF LINE IN ...

Страница 2: ...tilationopenings Ifrackmounting pleaseprovideadequate ventilation Equipment may be located directly above or below this unit but note that some equipment like large power amplifiers may cause an unacceptable amount of hum or may generate too much heat and degrade the performance of this equipment Protect the power cord and plug from damage caused by being walked on or pinched Protect the line cord...

Страница 3: ...ANALYZER REALTIME RA 30 GAIN CAL MIC SOURCE 0 dB METER RTA SCALE NORMAL 1 3 6 120 100 80 WEIGHT C A RTA METER NOISE PINK VU SPL SIG OL 12 12 CAL 5 27 30 24 25 21 15 18 20 12 9 15 6 3 10 3 12 6 9 0 dB dB 6 3k 50 25 31 5 40 160 63 80 125 100 315 200 250 400 500 1k 800 630 1 25k 1 6k 3 15k 2 5k 2k 4k 5k 20k 8k 10k 16k 12 5k CAL MIC AUX MIC OFF LINE IN USE ENOUGH PINK NOISE VOLUME TO OVER RIDE BACKGRO...

Страница 4: ...g this switch to prevent scaring yourself The LED glows to remind you when pink noise is active METER RTA button Toggles between the RA 30 performing meter functions or RTA functions The corresponding LED lights to let you know which function is active The SPL function is only active when CAL MIC is selected and this switch is set to METER 0 OL SIG indicators Signal and Overload alerts for the cur...

Страница 5: ...ch must be in LINE IN to activate these jacks AUX MIC INPUT jack A balanced female XLR connector for receiving signals from a low impedance microphone Pin 2 is hot or Use this jack when you wish to use a microphone other than the one supplied Front panel SOURCE switch must be set to AUX MIC for this jack to be active If your mic requires phantom power an external supply must be used DRIVER LOW HI ...

Страница 6: ...dB 3 dB 3 dB 3 6 dB 6 dB 3 6 dB 6 dB 6 dB 6 dB 6 12 dB 12 dB 6 12 dB 12 dB RTA Scales 60 0 50 40 30 20 10 dBr 20 20k 50 100 200 500 1k 2k 5k 10k Hz SPL mode A Weighting Curve 60 0 50 40 30 20 10 20 20k 50 100 200 500 1k 2k 5k 10k Hz dBr SPL mode C Weighting Curve III Real Time Analyzer A Select the RTA mode by pressing the METER RTA button so the RTA LED illuminates B Operates on the Input selecte...

Страница 7: ...er to measure response from a single predetermined location or sweet spot then the mic natu rally goes right there for testing For larger audience areas per form the pink noise test with at least two different test microphone locations for each separate channel of EQ Since speaker disper sion characteristics can vary greatly it is desirable to look at a couple of different areas with the mic to ob...

Страница 8: ...gn drivers either physically or electronically in multi way systems for the best sound The mic should be at listener ear height relative to the center of the driver stack If a clear sound is desired in the back of the hall the height of the RA 30 mic should be in line with the on axis phase response of the speaker stack perpen dicular to the drivers Stage Monitor Equalization IMPORTANT NOTES 1 Ana...

Отзывы: