Rane RA 30 - Manual (Page 8)

Manual-
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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.