RE 27 AND RE 14 OPERATING AND SERVICE MANUAL C O R P O R A T I O N
1. WARRANTY EXPLANATION — PLEASE READ CAREFULLY Rane offers a limited warranty, described in full on the Limited Warranty card included in the packing materials, which covers both parts and labor necessary to repair any defects in the manufacturing of your Rane product.
II. PANEL DESCRIPTIONS RE 27 FRONT PANEL RE 14 FRONT PANEL 1. EQ LEVEL CONTROL: This controls volume through the equalizer section and provides up to 6 dB overall gain. Turn this control down if the overload LED lights up. 2. BYPASS SWITCH: Push this button IN to bypass the equalizer and level control; the bypass LED will light whenever the bypass switch is engaged. 3. PINKNOISE SWITCH: Press this button IN toactivate the built-in pink noise generator.
11. MICROPHONE INPUT JACK: PLUG ONLY THE RANE MICROPHONE INTO THIS JACK--THE DC POWER SUPPLY VOLTAGE SUPPLIED BY THIS JACK COULD BE DAMAGING TO ANY OTHER MICROPHONE When the mic is plugged in, the display responds to whatever the mic picks up; when the mic is unplugged, the jack automatically switches the display to monitor the output of the equalizer section (see Section IV-9). 12.
3-PIN BALANCED RANE 1/4" I N (BAL) See Rane Note 110 for other configurations. III. INSTALLATION This section contains several diagrams which plainly show many, but by no means all, of the ways to connect the RE 27 or RE 14 into a sound reinforcement or monitor system.
DIAGRAM III-1: MAIN SPEAKER EQUALIZATION HEAVY LINES INDICATE DIRECT CONNECTIONS TO RE 27 AND RE 14. Thinner lines show other connections in the system for clarity. IMPORTANT NOTES: 1. The RE 27 and RE 14 inputs are automatic balanced/unbalanced. If the output of the mixer is unbalanced, use a shielded mono 1/4" patch cord to the EQ input(s). If the mixer is balanced, use a connecting cord with a stereo 1/4" plug on one end for the EQ input(s) and a three-pin or 1/4" jack for the mixer as required. 2.
DIAGRAM 111-2: POWERED MIXER SYSTEM EQUALIZATION HEAVY LINES INDICATE DIRECT CONNECTlONS TO THE RE 27 AND RE 14. Thinner lines show other connections for clarity. IMPORTANT NOTES: 1. Most powered mixers utilize unbalanced outputs, so use shielded 1/4" mono patch cords (or uncoiled type guitar cords) for all connections to RE 27 or RE 14. 2. Most powered mixers that contain built-in graphic equalizers provide separate inputs and outputs for thisequalizer.
DIAGRAM III-3: STAGE MONITOR EQUALIZATION USING RANE MICROPHONE HEAVY LINES INDICATE DIRECT CONNECTIONS TO THE RE 27 and RE 14. Thinner lines show other connections for clarity. IMPORTANT NOTES: 1. This set-up using the Rane microphone provides the most expedient method to optimize stage monitor sound quality and also reduce feedback problems.
DIAGRAM III-4: EQUALIZING SPEClFIC MICROPHONE/SPEAKER COMBINATIONS HEAVY LINES INDICATE DIRECT CONNECTIONS TO THE RE 27 and RE 14. Thinner lines show other connections for clarity. IMPORTANT NOTES 1. Using this test configuration allows the analyzerto look at the specific relationship between each stage microphone/speaker combination.
IV. OPERATING METHODS Since the RE 27 and RE 14 feature a unique form of realtime analyzer, we highly recommend that you read through this section before performing an alignment with pink noise. If you’ve never used an analyzer before, use the step-by-step procedure on your first occasion--you’ll be delighted at how simple it really is. For those more experienced we recommend a quick read-through of the Quickie Summary section, which contains a few tips that could save you trial and error.
STEP BY STEP PROCEDURE 1. SYSTEM HOOK-UP: Connect the RE 27 or RE 14 into your system as shown in Diagrams III-1 through 111-4, whichever is appropriate. Plug the Rane condenser microphone into the front panel jack. CAUTION: DO NOT PLUG ANY OTHER MICROPHONE INTO THE FRONT PANEL JACK ON THE RE 27 or RE 14: THIS JACK CONTAINS DC POWER SUPPLY VOLTAGE FOR THE RANE CONDENSER MICROPHONE WHICH MAY BE DAMAGING TO OTHER MICROPHONES.
Now select either the +3 dB or the ±1 dB Window on the analyzer. We recommend starting with the +3 dB setting, then switching to the ±1 dB mode for fine-tuning frequencies above 400 or 500 Hz. The crest factor (peak response) of true pink noise causes considerable LED flutter in the ±1 dB mode below about 500 Hz, thus it is more expedient to use the ±3 dB setting for these frequencies. 6.
feedback frequency area Usually several red LEDs will be lit by the time you quickly cut backvolume to kill the feedback and glance at the display. When this happens keep watching the display: the last red LED to go off contains the exact feedback frequency (it was the first LED on, too, but you probably didn’t see it). Adjust that slider down a couple dB and feedback problem will be reduced.
Subsonic Filter: fixed at 20Hz, 18dB/octave. Ultrasonic Filter: fixed at 50kHz, 12dB/octave. Overload Indicator: Red LED, lights at 4dB below clipping. Signal Present Indicator: Green LED, lights above -20dBm input. RE 14 Channel Separation: better than 75dB, 20-20kHz. RFI Input Filters. Bypass Switch: Passive (hard-wire type), red LED indicated (bypass=on). Output Relay: Turn on/off transient control. ANALYZER SECTION Display Range: +1 dB or ±3dB “green” window, selectable.
