Page 1
OPERATORS MANUAL SAC 23
INPUT
LEVEL
+4 dBu OL
LEVEL
MONO SUB
LEVEL
LOW
LEVEL
MID
LOW / MID MID / HIGH
POWER
SAC 23
HIGH
LEVEL
0 dB
10 0
2 4 8
6
10 0
2 4 8
6
0 dB
10 0
2 4 8
6
0 dB
10 0
2 4 8
6
0 dB
STEREO 3-WAY
CROSSOVER
10 0
2 4 8
6
80 1k
100
125
160
800
630
500
200
315 250
400
7k 350
400
800
630
500
6.3k 85 950
5.0k
4.0k
3.15k
2.5k
1.25k
1.6k
2.0k
1.0k
Hz Hz
STEREO 3-WAY ACTIVE CROSSOVER
QUICK START
Whoa, hold on there. Even if you don’t read manuals as a matter
of principle, at least read this section to avoid hurting yourself or
your equipment.
Connect the SAC 23 with the POWER off. Balanced XLR
cables are recommended, but if you must convert to ¼" connectors, consult the RaneNote, “Sound System Interconnection,” included with this booklet. is device uses low impedance balanced
line drivers. Do not connect the “+” or “–” output pins to ground, as
this may cause the power supply to shut down. For unbalanced use,
leave the unused output pin (“+” or “–”) unterminated.
Consult the speaker manufacturers for the correct crossover
FREQUENCY settings. As rugged as some drivers are, many
(especially compression drivers) will not accept frequencies
outside of their normal range without producing distortion and
possibly self-destruction.
With all equipment turned off and LEVEL controls down,
begin making connections to the system as shown on page
Manual-6. When turning on the system, switch on the power
amplifiers last. Now, feed the SAC 23 some program material. Start by turning up the LOW LEVEL, MID LEVEL and
HIGH LEVEL to the 0 dB marks. Slowly increase the INPUT
LEVEL, even if it goes all the way to 10, so the +4 dBu (green)
light blinks occasionally and the OL (red) light stays out. is
delivers the best signal-to-noise performance.
e MONO SUB OUTPUT is a sum of the Left and Right
Low Outputs. e MONO SUB LEVEL adjusts only this
Output and is not affected by the LOW LEVEL control. When
using a single mono bass bin along with stereo mid- and highrange cabinets, set the 100 Hz FILTER to OUT, allowing the
front panel FREQUENCY to control the subwoofer crossover
point. When used with 3-way cabinets and a subwoofer, set the
100 Hz FILTER switch to IN to allow only frequencies below
100 Hz at this output jack. is way, the SAC 23 almost does
the job of a Stereo 4-Way crossover, but without removing that
awesome bass from the Left and Right Low Outputs.
WEAR PARTS: is product contains no wear parts.
Manual-1
Page 2
FRONT PANEL DESCRIPTION
INPUT
LEVEL
+4 dBu OL
LEVEL
MONO SUB
LEVEL
LOW
LOW / MID MID / HIGH
10 0
2
4 8 6
10 0
2
4 8 6
0 dB
10 0
2
4 8 6
0 dB
80 1k
100
125
160
800
630
500
200
315 250
400
Hz Hz
LEVEL
MID
LOW / MID MID / HIGH
HIGH
LEVEL
0 dB
10 0
2
4 8 6
0 dB
10 0
2
4 8 6
80 1k
100
125
160
800
630
500
200
315 250
400
7k 350
400
800
630
500
6.3k 85 950
5.0k
4.0k
3.15k
2.5k
1.25k
1.6k
2.0k
1.0k
Hz Hz
POWER
SAC 23
STEREO 3-WAY
CROSSOVER
INPUT LEVEL control and indicators
is controls the overall level without altering the
relative settings of the Low, Mid and High frequency
Outputs. Input gain is +6 dB at “10”. With signal
applied, set this control so the +4 dBu LED lights occasionally, indicating sufficient signal. Flashing of the
OL (overload) LED during peaks can be avoided by
turning the INPUT LEVEL down.
MID & HIGH LEVEL controls
is controls the level of signal going to the HIGH OUTPUT jacks.
Unity gain is reached at the “0 dB” mark with the INPUT LEVEL set to
“10”. Refer to Operating Instructions on page Manual-4.
MONO SUB LEVEL and LOW LEVEL controls
ese control the signal levels going to the respective
OUTPUT jacks. Unity gain is reached at the “0 dB”
mark with the INPUT LEVEL set to “10”. e LOW
LEVEL control does not affect the MONO SUB
LEVEL— they are independent. Refer to Operating
Instructions on page Manual-4.
LOW/MID Frequency control
is 31-position selector sets the crossover frequency
between the Low and MId frequency Outputs in both
channels. Consult the manufacturer of the drivers or
cabinets for the correct setting.
MID/HIGH Frequency control
is 31-position selector sets the crossover frequency
between the Mid and High frequency Outputs in both
channels. Consult the manufacturer of the drivers or
cabinets for the correct setting.
Power ON switch and LED
Your basic, straightforward power switch.
When the yellow LED is lit, the SAC 23
is ready to go.
Manual-2
Page 3
REAR PANEL DESCRIPTION
SUB
FILTER
OUTIN
MONO
SUB OUTPUT INPUTS
PIN 2 = (+)
PIN 1 = CHASSIS GROUND
PIN 3 = (–)
100 Hz
LEFT RIGHT LEFT RIGHT LEFT RIGHT
HIGH OUTPUTS
LEFT RIGHT
MID OUTPUTSLOW OUTPUTS
MONO
SUB OUTPUT INPUTS
Cable Wiring
In agreement with IEC and AES/ANSI standards, Rane wiring convention is pin 2 Positive (hot), pin 3 Negative (cold or return), and
pin 1 signal grounded and chassis grounded (to allow unbalanced operation). e XLR case is chassis grounded. is device uses low
impedance balanced line drivers. Do not connect the “+” or “–” output pins to ground, as this may cause the power supply to shut down. For
unbalanced use, leave the unused output pin (“+” or “–”) unterminated.
MONO SUB OUTPUT
is Output contains the summed
signals of the LEFT and RIGHT
LOW OUTPUTS. It may be used
instead of, or along with the LOW
OUTPUTS.
INPUTS
ese are balanced Inputs. It is best to
use balanced lines, most important when
connecting cables over 10 feet (3 meters)
in length. If you are feeding the SAC 23
from a device that does not have XLR
connectors, consult the SOUND SYSTEM INTERCONNECTION section
elsewhere in this manual.
LOW OUTPUTS
Connect the LEFT LOW OUTPUT to
the left channel of the low frequency amplifier, and the RIGHT LOW OUTPUT
to the right channel of the low amplifier.
When driving a single subwoofer, use the
MONO SUB OUTPUT jack instead and
switch the 100 Hz FILTER OUT.
HIGH OUTPUTS
ese are balanced Output jacks. Connect
the LEFT HIGH OUTPUT to the left
channel input of the high frequency amplifier, and the RIGHT HIGH OUTPUT
to the right channel input of the high
frequency amplifier. When using different model amplifiers for the low and high
SUB 100 Hz FILTER
Switch the 100 Hz FILTER to IN for
best results when using a subwoofer along
with the LOW OUTPUTS. is sends
only the very lowest frequencies to the
subwoofer. With the switch OUT, the
MONO SUB OUT still produces the
summed LOW OUTPUTS without the
100 Hz FILTER.
MID OUTPUTS
ese are balanced Output jacks. Connect the LEFT MID OUTPUT to the
left channel input of the mid frequency
amplifier, and the RIGHT MID OUTPUT to the right channel input of the
mid frequency amplifier.
outputs, use the amplifier with the most
wattage for the low outputs.
Manual-3
Page 4
Mid range
Amplitude (dB)
100 Hz Filter
Frequency (Hz)
Low passSub High pass
Low/MidMid/High
OPERATING INSTRUCTIONS
Selecting Crossover Frequencies
Most speaker manufacturers supply low and/or high frequency
cut-off points for each driver, especially if these are supplied in
a system. ese cut-off frequencies are based on each driver’s
performance, with a certain safety margin to accommodate more
gentle filter roll-offs.
e SAC 23 utilizes 31-position precision DC control voltage
potentiometers to select the frequency points. is crossover
design assures consistent accuracy from channel-to-channel and
unit-to-unit. is is a distinct advantage over continuously variable designs using ganged potentiometers which can yield large
variations in channel-to-channel matching. Even with 31 choices
it is possible that the exact recommended crossover frequency
may not fall on one of the selector detents. Not to panic, for
drivers have their own gradual rolloffs and tolerance variations.
Just pick the closest one. When in doubt, choose the higher
frequency setting.
For best overall system results, try to choose the speaker
components so that each operates well within its recommended
limits. is provides valuable leeway so that crossover points
may be adjusted in order to fine-tune the system. is also yields
higher system reliability. If at all possible, always use some kind
of realtime analyzer to tune your crossover, and then fine-tune
each system with an equalizer. Keep reading for further alignment details.
Setting the Output Level Controls
e INPUT LEVEL is an overall system sensitivity adjustment.
Use this control to decrease the overall sensitivity of the entire
sound system, including the mono subwoofer if you are using
one. You will generally want to start with this control in the full
clockwise (or “10”) position.
e LOW, MID, HIGH, and MONO SUB OUTPUT
LEVEL controls allow you to compensate for sensitivity variations in amplifiers and drivers. Do not use these to adjust overall
system sensitivity unless you plan to re-align the system afterward. With these set to the 0 dB mark and the INPUT LEVEL
set to 10, the crossover yields no level change from input to
output. is is the best gain structure and provides the best
signal-to-noise performance.
Crossover Philosophy
Now it gets real fun. e idea is to set the output LEVEL
controls on the crossover so that the entire speaker system has
a uniform, flat response. Unfortunately, the room in which the
speakers are placed has a habit of always getting into the act, so
things get messy. As a result there seems to be two schools of
thought regarding the use of active crossovers.
The Set‑lt‑Once‑And‑Glue‑lt School
e philosophy here is to use the crossover to flatten system response as much as possible without room acoustics involved. is
means setting up the system outside (unless you happen to have
a very large anechoic chamber handy) and with the aid of a realtime analyzer and pink noise source, adjust all of the crossover
outputs so that the system is as flat as possible. Once the system
is tuned, the crossover is then locked behind a security cover
(posted guard is optional) and never again touched. It is then the
job of the system equalizer(s) to normalize or flatten the response
for each different room.
The Fix‑lt‑With‑The‑Crossover School
Here the crossover knobs get a good workout, for the crossover
is used at each location to help flatten the system along with the
equalizer.
Regardless of which school you profess, the absolute importance and effectiveness of some kind of realtime analyzer in your
system cannot be overstressed! An analyzer saves tremendous
amounts of time and provides the absolute consistency, accuracy,
and plain old good sound that very few ears on this earth can
deliver. ey are affordable, easy to use and amazingly effective.
You owe it to yourself and your audience to at least look into one
of today’s cost-effective analyzers—you’ll wonder how you managed at all without one.
Manual-4
Page 5
Setting Levels With a Realtime Analyzer
Setting Levels With an SPL Meter & Pink Noise Generator
1. Set the INPUT LEVEL as described previously on page
Manual-2, and the LOW, MID, and HIGH LEVEL controls
to minimum; leave the FREQUENCY controls as set previou sly.
2. Place the analyzer microphone at least 15 feet (5 meters) away
from the speaker stack, on axis (dead ahead) and about chest
level. Minimize any background noise (fans, air conditioners,
traffic, wild animals, etc.) that could affect readings.
3. Run pink noise through the system, either through a mixer
channel or directly into the crossover. Turn all amplifier controls at least half way up.
4. Slowly turn up the LOW LEVEL control until you hear a
healthy level of noise through the low frequency drivers (it
should sound like rumble).
4. Adjust the display controls on the analyzer so that it shows the
greatest number of 0 dB LED’s (green on Rane equipment)
below the crossover frequency.
6. Now slowly turn up the MID LEVEL control until the display shows the same high frequency output level average as the
low frequency section.
7. Repeat this procedure for all crossover frequency sections, lowest to highest, so the end result is as flat response as possible
on the analyzer display near each crossover point.
IMPORTANT: Compression driver or horn high frequency
roll-off, bass roll-off, and room acoustics usually cannot be corrected by the crossover.
If, for example, you are adjusting the HIGH LEVEL control
and observe a decline in frequency response somewhat above the
Crossover point, then set the HIGH LEVEL control for equal
display level near the crossover point and leave it there. Use an
equalizer to correct the roll-off problem.
If you are tuning the system in a room, the acoustics will
greatly influence the system response, as shown by the analyzer.
Move the microphone and check the analyzer system response at several other locations. Adjust the crossover to reach
a fixed compromise setting as necessary. If you plan to use the
analyzer only once to set the crossover, set up the speaker system
in a quiet place outside or in a very large concert theater, and
run pink noise at low levels with closer microphone placement
to keep the room acoustics out of the picture as much as possible.
1. Run pink noise into the crossover Inputs (through the mixer
or directly, as is convenient).
2. Make sure all crossover LEVEL(s) are turned all the way down
and all amplifier level controls are at least half way up to start
with.
3. Turn the crossover INPUT LEVEL all the way up. Place the
SPL meter at least 15 feet from the speaker stack and about
chest high. Once positioned, make sure that the SPL meter remains in the exact same location for the rest of the procedure.
Minimize all background noise (fans, air conditioners, traffic,
wild animals, etc.) to get accurate readings. Set the SPL meter
to “C-weighting” and “slow” if those switches are present.
4. Slowly turn the LOW LEVEL up until there is a healthy
rumble coming from the bass speakers. Adjust the SPL meter
and/or LOW LEVEL until you get a 0 dB reading on the meter. After this point do not change the controls on the SPL meter.
5. Make a note of the LOW LEVEL control setting at the 0 dB
adjustment just obtained, then reduce the LOW LEVEL to
“0” so that the pink noise disappears from the bass speakers
(revel in the silence...).
6. Now slowly turn up the MID LEVEL control so that pink
noise is heard from the high frequency speakers. Without
changing any settings on the SPL meter, adjust the crossover
MID LEVEL control until you obtain a 0 dB reading on the
SPL meter.
7. Turn down the MID LEVEL and repeat this process for the
HIGH LEVEL. Return the LOW and MID LEVELS to the
previously recorded settings. Now all drivers are set at the
same level. Make any overall level adjustments with the INPUT LEVEL controls and leave the output LOW, MID and
HIGH LEVEL controls unchanged.
It is possible to turn one of the frequency section output LEVEL
controls all the way up and still not have enough volume for a
0 dB reading (as determined by previous section levels). is
is probably due to different sensitivities of amps, speakers and
other level controls in the system. When this happens, re-set the
SPL meter so that it reads 0 dB on this frequency section (you
may have to “down range” the meter and re-adjust the crossover
INPUT LEVEL control). Now go back and re-adjust the previous crossover LEVEL controls, turning these down to get a 0 dB
reading on the meter.
Manual-5
Page 6
APPLICATION — Active 3-Way with (or without) Mono Sub
N108
FOR CONTINUED GROUNDING
PROTECTION DO NOT
REMOVE
SCREW
50/60 Hz
12 WATTS
120 V
LEFT RIGHT LEFT RIGHT LEFT RIGHT
SUB
FILTER
OUTIN
SAC 23
MADE IN U.S.A.
RANE CORP.
HIGH OUTPUTS
LEFT RIGHT
MID OUTPUTS LOW OUTPUTS
MONO
SUB OUTPUT INPUTS
PIN 2 = (+)
PIN 1 = CHASSIS GROUND
PIN 3 = (–)
100 Hz
RIGHTLEFT
OUTPUTS
LEFT
INPUTS
RIGHT
OUTPUTS
LEFT
INPUTS
RIGHT LEFT RIGHT
OUTPUTS
LEFT
INPUTS
RIGHT LEFT RIGHT
OUTPUTS
LEFT
INPUTS
RIGHT LEFT RIGHT
MAIN
MIC
MIC
AUX
LOOP
MIC
(HI-Z ONLY)
SYSTEM MAIN EFFECTS LOOP
BOOTH
OUTPUT
MAIN OUTPUTS
MONO
ZONE OUTPUT
RANGE
EQ TAPE OUT
POWER
SWITCHABLE LOOP
MP 24z
L
R
L
CAUTION
R
L
R
BAL/UNBAL
LEVELLEVEL
010010
LEVEL
010010
LEVEL
LEVEL
010010
LEVEL
LEVEL
010010
LEVEL
AUX 1
L
PH 1RLINE 1RLLINE 2
MIC
AUX 2PH 3
L
LINE 3RPH 2LAUX 3RLINE 4
MONO
TRANSFORMER COUPLED
LIGHT CONTROL OUTPUT
L
LINE 5RLINE 6
RR
SENDRETURN
OUTPUT
PIN 3 TO GND!
AND PIN 1 FOR
UNBALANCED
USE ONLY PIN 2
DO NOT SHORT
CASE: CHASSIS
3: NEGATIVE
2: POSITIVE
1: COMMON
BALANCED
RANE CORP.
MADE IN U.S.A.
USING INTERNAL RIAA DEFEAT JUMPER'S
GROUNDING POST
CASE: CHASSIS
3: NEGATIVE
2: POSITIVE
1: COMMON
PHANTOM
POWER
TIP=SEND
RING=RETURN
DEFEAT
ACTIVE
BOOTH
DUCKER
+15V
8642
010
LIGHT OUTPUT LEVEL
SYSTEMS
3.5V
2.5V
1V
0.6V
1.7V
WIRELESS
MICS
USE FOR
LL
SENDRETURNRLSEND*SEND
MONO
FULLY
BALANCED
*
MONO
RL
RETURNRETURN
PLUGGING ONLY INTO
STEREO OUTPUT.
MONO OUTPUTS
LEFT YIELDS L+R
OUTPUT. PLUGGING
INTO BOTH YIELDS
*
UNBALANCED
L
±8dB
R
PRE LOOP
±4dB
RL
*
MONO
UNBALANCED
"
DO NOT UNDER ANY CIRCUMSTANCE
STORE " PHONO SHORTING PLUGS
IN TAPE OUT JACKS. THIS WILL
SHORT SIGNAL PATH TO GROUND
CAUSING A LOW DISTORTED SIGNAL
POST LOOP
UNBALANCED
-6
dB
0-22
GAIN REDUCTION
MAX OUTPUT
5V
6V
OFF
10V
LIFT
SIG GND
GND
CLASS 2 EQUIPMENT
750mA
CHASSIS
UNUSED INPUTS ONLY.
TO ALL OUTPUTS. INSTALL IN
METER SENSITIVITY ADJUST
4V
MADE IN U.S.A.
RANE CORP.
OUTPUTS
SEQ 30S
INPUTS
RIGHT RIGHTLEFT LEFT
UNBALANCED BAL / UNBALUNBALANCED BAL / UNBALBALANCED BALANCEDBALANCED BALANCED
N108
50/60 Hz
12 WATTS
120 V
FOR CONTINUED GROUNDING PROTECTION
DO NOT REMOVE SCREW
WARNING
TO REDUCE THE RISK OF FIRE
OR ELECTRICAL SHOCK DO
NOT EXPOSE THIS EQUIPMENT
TO RAIN OR MOISTURE. DO
NOT REMOVE COVER. NO
USER SERVICEABLE PARTS
INSIDE. REFER SERVICING TO
QUALIFIED PERSONNEL.
WIRING
3-PIN XLR:
PIN 1 = CHASSIS, SHIELD,
PIN 2 = (+), PIN 3 = (–).
¼" PHONE, BALANCED:
TIP = (+), RING = (–),
SLEEVE = CHASSIS, SHIELD.
¼" PHONE, UNBALANCED:
TIP = SIGNAL, RING = GROUND,
SLEEVE = CHASSIS, SHIELD.
MP 24z MIXER
SEQ 30S STEREO EQUALIZER
SAC 23 STEREO 3-WAY CROSSOVER
STEREO AMP, HIGH
RIGHT STACK
LEFT STACK
MONO SUBWOOFER
STEREO AMP, MID
STEREO AMP, LO W
BRIDGED OR MONO AMP, SUB
Connect as shown for a mono subwoofer. Set the SUB 100 Hz FILTER switch to the IN position. If a mono subwoofer is not used,
the FILTER switch setting will not matter. e front panel LOW/MID Frequency control determines the frequency division between
the low and mid drivers. LEFT and RIGHT LOW summed frequencies below 100 Hz are additionally sent to the mono subwoofer.
©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 TEL 425-355-6000 FAX 425-347-7757 WEB www.rane.com
Manual-6
106 458
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