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Deq 60 / deq 60l, Operators manual, Manual-1 – Rane DEQ 60 User Manual

Page 3: Graphic equalizer, Quick start, Wear parts: this product contains no wear parts

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Manual-1

DEQ 60 / DEQ 60L

GRAPHIC EQUALIZER

OPERATORS MANUAL

WEAR PARTS: This product contains no wear parts.

GRAPHIC

EQUALIZER

6

3

3

6

6

6

20k

7k

14k

5k

10k

15

120

30

240

60

6

6

20k

7k

14k

5k

10k

15

120

30

240

60

6

3

3

6

+6

-12 -6

-3

0

+3

+12 OL

+6

-12 -6

-3

0

+3

+12 OL

0

+

0

+

12

12

12

12

12

12

12

12

+

+

0

+

0

+

0

0

+

+

0

+

0

+

0

0

±6

±6

5.0k

25

31.5

40

50

63

80

100

800

125

160

200

250

500

400

315

630

2.0k

1.25k

1.0k

1.6k

3.15k

2.5k

4.0k

12.5k

8.0k

6.3k

10k

16k

20k

LOW MID HIGH

LOW HIGH

IN

OUT

POWER

B

EQ

EQ

PROPORT-Q

OUT

IN

PERFECT-Q™

BYPASS

A

±12

CUT FILTERS

TONE

LEVEL

DEQ 60

A

B

A

B

B

PROPORT-Q

OUT

IN

PERFECT-Q™

BYPASS

A

±12

12

6

6

12

12

6

6

12

+

0

+

0

QUICK START

We know you know how to use an equalizer. Just read this sec-

tion for the unique things to be aware of in the DEQ 60 and

DEQ 60L.

Both units have the same features, in short and long throw

versions. One exception: the DEQ 60L’s CUT-ONLY mode.

Activating this switch puts both equalizer channels in the high

resolution CUT 0 to -12 dB (gray number scale).To prevent

unwanted sudden volume shifts when switched, the DEQ 60L

outputs mute for a moment, then slowly increases in volume.

We know you know how to use a realtime analyzer, but using

PERFECT-Q

mode will make that job a lot easier. Since there is

no interaction between filters, the multiple adjustments through

all the bands just to get the analyzer to read flat is a thing of the

past. One pass should do the trick. Then use the TONE controls

or CUT FILTERS for general sweetening. We know your sound

is important and your time is valuable.

If you want to compare the sound of your old (non-Rane)

EQ to this one, and you are used to the way the slider bands

interact, then use PROPORTIONAL-Q mode.

The A and B switches are like memories or control assigns.

GRAPHIC EQUALIZER

6

7k

14k

5k

10k

20k

15

120

30

240

60

+6

-12 -6

-3

0

+3

+12 OL

+6

-12 -6

-3

0

+3

+12 OL

12

12

12

12

+

0

+

0

+

0

6

7k

14k

5k

10k

20k

15

120

30

240

60

12

12

12

12

+

0

+

0

+

0

CUT-ONLY

12

4

8

5

7

3

2

10

1

11

9

0

6

CUT

12

4

8

5

7

3

2

10

1

11

9

0

6

CUT

6

2

4

1

5

0

3

CUT

6

2

4

1

5

0

3

CUT

5.0k

25

31.5

40

50

63

80

100

800

125

160

200

250

500

400

315

630

2.0k

1.25k

1.0k

1.6k

3.15k

2.5k

4.0k

12.5k

8.0k

6.3k

10k

16k

20k

LOW MID HIGH

LOW HIGH

IN

OUT

POWER

B

EQ

EQ

PROPORT-Q

OUT

IN

PERFECT-Q™

BYPASS

A

±12

CUT FILTERS

TONE

LEVEL

DEQ 60L

A

B

A

B

B

PROPORT-Q

OUT

IN

PERFECT-Q™

BYPASS

A

±12

12

4

4

2

2

6

8

8

10

10

6

12

0

+

12

4

4

2

2

6

8

8

10

10

6

12

0

+

±6

±6

6

2

2

1

1

3

4

4

5

5

3

6

0

+

6

2

2

1

1

3

4

4

5

5

3

6

0

+

Normal stereo use would set the top row A (Left), and the bot-

tom row to B (Right). But if you are running in stereo, and both

sides use the same EQ curve, you can set both switches to A.

Now the top EQ curve controls both left and right channels.

Switching these to B will use the bottom EQ curve for both

channels. This is great for switching EQ when a source changes.

Just be aware of where these switches are, an unassigned EQ row

will have no audible effect. These switches also affect the CUT

FILTERS

, TONE CONTROLS, and LEVELS.

The channel BYPASS switches have two modes, set by the

rear panel switch. When set to FILTERS, the BYPASS switch

only bypasses the EQ, TONE and CUT FILTERS. The LEVEL

controls and other switches remain active. When set to ALL,

the BYPASS switches ignore everything including the LEVEL

controls.

You have several connector choices on the rear. However, use

only ONE type of INPUT on each channel. These Inputs do not

sum. But you may use any combination of OUTPUTS simulta-

neously if desired. Polarity convention on the XLR jacks is pin 2

positive, pin 3 negative and pin 1 shield (chassis ground).