Rane PE 17 (1993 version) User Manual

Page 4

Manual-4

OPERATING INSTRUCTIONS

Now it is knob twisting time! Power up the system in the

normal fashion, always turning on the power amplifiers last.
It is good practice to start at the head of the system, turning
on any sound sources and mixers first, equalization devices
next, and finally power amplifiers. Following this power-up
sequence minimizes the change of high gain stage turn-on
transients finding their way to the loudspeakers.

Going from left-to-right along the front panel, make the

following initial settings:

Slide both GAIN controls all the way to the top.
Slide both FILTER controls all the way to the bottom.
Set the five LEVEL controls to their center detents.
Disengage all (6) BYPASS pushbuttons (out, LEDs off).
Check that the POWER LED is lit.
With either a canned or live source applied, observe the

OL (OverLoad) light (located at the extreme left-hand side of
the front panel) for a few moments to see if it lights occasion-
ally, or all the time. If the OL light stays lit most of the time,
then slide both sliders (grasp together) down just enough for
the lights to only light every so often. This is the proper
setting for the best signal-to-noise performance.

Now you are ready to make some adjustments.
PE 17s often find themselves in recording studios, but

some get used for room equalization. A detailed discussion
lies outside the scope of this manual; however, a few words
can’t hurt.

Experienced sound people almost always use some sort of

realtime analyzer (RTA) as an aid in setting equalization. An
RTA allows you to see the frequency response changes as you
do them. This is invaluable in achieving quality sound.

As a notch filter, the PE 17 works very well in increasing

system headroom by attenuating system peaks that create
feedback problems. The obvious goal in notching is to
remove only the problem areas and nothing else. With this in
mind, it is always a good idea to first try to notch out feed-
back with the BANDWIDTH controls set to their full counter-
clockwise positions. The acoustic resonance points causing
feedback are generally so narrow that a filter bandwidth set at
.03 octave easily cures the problem. To chase down the
feedback frequency, start with the filter LEVEL control set to
its full -15 dB position. With the BW still set to minimum,
tune the FREQ control until the feedback goes away. It
shouldn’t take too much fine tuning to find the center of the
resonance. Once you have achieved stability, advance the
system level until feedback starts to reappear, then back it
down slightly. If a -15 dB cut won’t cure the problem, the
resonance is extreme and must be dealt with in other ways.
For example, move the speakers or the mics; hang some
drapes; move some walls; burn down the building; or simply
unplug the system and go home—something must give!

PE 17 CONNECTION

The PE 17 is compatible with all line-level (-10 dBV and

+4 dBu) interfaces and products. However, you must amplify
microphones and other mic-level products before connecting
them to the PE 17.

The proper connection of this unit to a system is a

relatively simple matter, the specifics of which may vary
greatly depending on the application. Use a PE 17 anywhere
line-level frequency contouring is required. This includes live
sound reinforcement systems, recording studios, dance clubs, etc.

For live or recorded sound systems the most common

location to insert a parametric equalizer is immediately
preceding the active crossover or power amplifier. This
provides the means to correct loudspeaker deficiencies
required in any system for high quality reproduction. Many
systems employ both a graphic and parametric equalizer
connected in series. The graphic finds use in personal
preference or program equalization, while the parametric
helps with sources, loudspeaker compensation and feedback
control. In these situations, the order of placement is not
critical, however the PE 17 does feature servo cross-coupled
balanced Outputs which allows use in installations requiring
very long cable runs between the equalizers and the power
amplifiers or crossovers.

The ¼" TRS and XLR Input connectors are wired in

parallel and are actively balanced. These Inputs are provided
primarily to give the user a choice between two types of
connectors. They will not function as a summing type of input
for two different sources. For further information on this
subject, please consult the RaneNote, “Why Not Wye?”. The
two Inputs may be used in a daisy chain application where the
Input to the PE 17 also must feed another piece of equipment.

The Outputs of the PE 17 offer the same connector choice.

They also are wired in parallel and are actively balanced.
However, both Outputs may be used simultaneously if
desired.

All XLR connectors used by Rane are wired per the IEC/

ANSI/AES standard as follows: pin 2 positive, pin 3 negative
and pin 1 chassis ground. Unbalanced use of a PE 17 is not
recommended. See the “Sound System Interconnection”
RaneNote inlcuded in this manual.

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