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DCX2496LE
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Behringer DCX2496LE User Manual

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User Manual
ULTRADRIVE PRO DCX2496/ ULTRADRIVE DCX2496LE
Ultra-High Precision Digital 24-Bit/96 kHz Loudspeaker Management System
Thank you
Thank you very much for expressing your con dence in BEHRINGER products by purchasing the ULTRADRIVE PRO DCX2496/ULTRADRIVE DCX2496LE—our high­quality digital loudspeaker management system designed speci cally for both live and studio applications.
Table of Contents
Thank you ....................................................................... 2
Important Safety Instructions ...................................... 3
Legal Disclaimer .............................................................3
Limited warranty ............................................................ 3
1. Introduction ...............................................................4
2. Control Elements .......................................................4
3. Quick Start .................................................................. 6
4. Menu Structure and Editing ..................................... 7
5. Audio Connections ..................................................17
6. Applications ............................................................. 17
7. Sp ec i cations ........................................................... 30
9. Block Diagram .......................................................... 32
10. Menu Structure ......................................................33
Important Safety Instructions
LEGAL DISCLAIMER
LIMITED WARRANTY
Terminals marked with this symbol carry electrical current of su cient magnitude
to constitute risk of electric shock. Use only high-quality professional speaker cables with ¼" TS or twist-locking plugs pre-installed. Allother installation or modi cation should be performed only by quali edpersonnel.
This symbol, wherever it appears,
alertsyou to the presence of uninsulated
dangerous voltage inside the enclosure-voltage that may be su cient to constitute a risk ofshock.
This symbol, wherever it appears,
alertsyou to important operating and
maintenance instructions in the accompanying literature. Please read the manual.
Caution
To reduce the risk of electric shock, donot
remove the top cover (or the rear section). No user serviceable parts inside. Refer servicing to quali ed personnel.
Caution
To reduce the risk of  re or electric shock,
do not expose this appliance to rain and moisture. The apparatus shall not be exposed to dripping or splashing liquids and no objects  lled with liquids, suchas vases, shall be placed on the apparatus.
Caution
These service instructions are for use
by quali ed service personnel only. Toreduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions. Repairs have to be performed by quali ed servicepersonnel.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry cloth.
7. Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including ampli ers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. Ifthe provided plug does not  t into your outlet, consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
11. Use only attachments/accessories speci ed by themanufacturer.
12. Use only with the cart, stand, tripod, bracket, or table speci ed by the manufacturer, orsold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid
injury from tip-over.
13. Unplug this apparatus during lightning storms or when unused for long periods of time.
14. Refer all servicing to quali ed service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has beendropped.
15. The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection.
16. Where the MAINS plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable.
17. Correct disposal of this product: This symbol indicates that this product must not be disposed of with household waste, according to the WEEE Directive (2012/19/EU) and
your national law. This product should be taken to a collection center licensed for the recycling of waste electrical and electronic equipment (EEE). The mishandling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the e cient use of natural resources. For more information about where you can take your waste equipment for recycling, please contact your local city o ce, or your household waste collection service.
18. Do not install in a con ned space, such as a book case or similar unit.
19. Do not place naked  ame sources, such as lighted candles, on the apparatus.
20. Please keep the environmental aspects of battery disposal in mind. Batteries must be disposed-of at a battery collection point.
21. Use this apparatus in tropical and/or moderate climates.
MUSIC Group accepts no liability for any loss which may be su ered by any person who relies either wholly or in part upon any description, photograph, or statement contained herein. Technical speci cations, appearances and other information are subject to change without notice. All trademarks are the property of their respective owners. MIDAS, KLARK TEKNIK, LAB GRUPPEN, LAKE, TANNOY, TURBOSOUND, TC ELECTRONIC, TC HELICON, BEHRINGER, BUGERA and DDA are trademarks or registered trademarks of MUSIC Group IP Ltd. © MUSIC Group IP Ltd. 2016 All rights reserved.
For the applicable warranty terms and conditions and additional information regarding MUSIC Group’s Limited Warranty, please see complete details online at music-group.com/warranty.
1. Introduction
To operate a loudspeaker system that consists of several speakers for the various frequency bands requires di erent input signals for the individual loudspeakers. This requires a frequency crossover network that divides the input signal into several frequency bands. For this purpose, the ULTRADRIVE provides up to sixoutputs.
Multi-way speaker systems are used in many applications—including stereo systems, cinemas, discotheques and concert halls. Due to the high quality demands made by today’s consumers, they can even be found in “simple” products such as TV sets. Why?
A single loudspeaker cannot reproduce the entire audible frequency spectrum with the same high quality. If it is connected to a crossover network and only has to reproduce a limited frequenc y band, the quality will improve considerably in terms of frequency response and dispersion pattern. This also reduces intermodulation distortion in the treble range (due to the diaphragm displacement produced by bass frequencies).
◊ ◊ This manual first describes the terminology used, so that
you understand the unit and its functions. Please read the manual carefully and keep it for future reference.
1.1 Before you get started
1.1.1 Shipment
The ULTRADRIVE was carefully packed in the factory to guarantee safe transport. Nevertheless, we recommend that you carefully examine the packaging and its contents for any signs of physical damage, which may have occurred during transit.
◊ ◊ If the unit is damaged, please do NOT return it to us, but notify your
dealer and the shipping company im mediately, otherwise claims for damage or replacement may not be granted.
1.1.2 Initial operation
Be sure that there is enough space around the unit for cooling purposes and, to avoid over-heating, please do not place the DCX2496 on high-temperature devices such as radiators or power amps.
◊ ◊ Blown fuses must only be replaced by fuses of the same type
and rating!
The console is connected to the mains via the supplied cable. It meets the required safety standards.
◊ ◊ Please make sure that all units have a proper ground connection.
For your own safety, never remove or disable the ground conductor from the unit or the AC power cord.
1.2 The user’s manual
The user’s manual is designed to give you both an overview of the controls, as well as detailed information on how to use them. You  nd a detailed short-description of the most important functions in chapter 3.
2. Control Elements
(1) The DCX2496(LE) feature s 6-segment LED displays (plus CLIP and MUTELED)
for precise level adjustment of input signals A- B or A-C.
(2) If the input stage is overdriven, the CLIP LED will indicate that the signal
isdistorting.
(3) The b ottom LED (#8) is the MUTE LED (red), which illuminates when the re spective
input is muted.
(4) The se are the input channel but tons, which allow you to activ ate speci c fu nctions
from the sel ected menus (e.g. MUTE). Additionally, you can use t hese buttons to call up the IN A/B/C menu s.
(5) The DISPLAY shows all the menus available for preset editing.
(6) Use these buttons to call up the DCX2496(LE)'s menus (e.g. SETUP, RECALL, etc.).
The only exception is the COMPARE button, which allows you to compare the edits made with the previously sele cted presets. When COMPARE is active, no value changes can be entered.
(7) The PAG E buttons sele ct single pages from onemenu.
(8) Individual parameters can be selected with the PAR AM buttons.
(9) The dat a wheel allows you to edit the selectedparameters.
(10) With the OK and CANCEL buttons you can either con rm or cancel any
settings made.
(11) Output s 1-6 each have a 5-segment LED display (plus MUTE, CLIP and LIMIT LED)
showing the respective output levels.
(12) Like the input stages, the output stages should not be overdriven, i.e. the CLIP LED
should notilluminate.
(13) The LIMIT LED illuminates when the limiter for the corres p onding output has been
activated and is operating.
(14) The bottom LED indicator (#8) is the MUTE LED, which illuminate s as soon as the
corresponding output is muted.
(15) Output channel buttons, with which you can enter the out puts 1-6 or mute or
reactivate individual outputs in MUTE mode.
(16) Use the POWER switch to put your DCX 2496(LE) into operation. The POWER switch
should always be in the “O ” position when you are about to connect your unit to the mains.
(17) This is the FUSE HOLDER of your DCX2496(LE). Blown fuses must be replaced by a
fuse of the s ame type and rating.
(18) The mains connec tion is an IEC receptacle. Anappropriate power cord isincluded.
(19) The 9-pin R S-232 interface allow s you to connect your DCX2496 to a comput er.
This enables you to s ave and load  les, up date the DCX2496 operating sof tware, or remotely contr ol one or several ULTRADRIVE PRO units f rom a PC. Free editor soft ware can be downloaded at behrin ger.com.
(20) When you have daisy-chaine d several ULTRADRIVEPRO via the LINK connector s (see
(21)), please press the TERM switc h on the  rst a nd last unit of the chain, to avoid
data re ections and transmissi on errors.
(21) Use the LINK connec tors A and B (RS-485 n etwork interface) anda comm ercially
available netwo rk cable to daisy-chain several ULTRADRIVEPRO s.
(22) Balanced XLR output connector s for output channels 1-6. Connect your power
amps here.
(23) Balanced XLR input connector s A-B / A-C are used for connecting input signals.
DCX2496: Input A can also be used for digital AES/EBU input signals. Input C can be used for line signals or for connecting a measuring microphone. If AUTO ALIGN has been enabled in the SETUP menu, input C will be set for mic levels automatic ally. Additionally, phantom power for the measuring microphone will be switched on.
DCX2496
DCX2496LE
(1) (7) (6) (12)(9)(8) (13) (11)(2)
(4) (3) (5) (10)
(18)
(17)
(22)
(15)
(14)
(16)
(23)
(1) (7) (6) (12)(9)(8) (13) (11)(2)
(4) (3) (5) (10)
(19)(18)
(20)(17)
(21)
(22)
(15)
(14)
(23)
(16)
3. Quick Start
This chapter is for those who cannot wait to use their new DCX2496(LE) in a practical application. You will  nd a description of how you can explore your DCX2496(LE) and its versatile and intuitive features below. This chapter is just a starting point for future excursions. So, please read the entire user’s manual to take full advantage of all your DCX2496(LE)'s features andfunctions.
3.1 Selecting an Output Con guration
Press the SETUP button to call up the SETUP menu. On the  rst menu page, selectan output con guration (OUTCONFI GURATION) to determine which outputs are used for which frequency ranges. One mono and three stereo con gurations areavailable.
The mono con guration allows you to split the input signal into six di erent frequency ranges. The stereo con gurations allow a maximum of three di erent frequency ranges per stereo side. The abbreviations L, Mand H stand for Low, Mid and HighSpeaker.
3.2 Setting Crossover Frequencies
In order to assign dedicated frequency bands to the output channels, you have to de ne the crossover frequencies (X-Over) for each of them. The crossover frequencies determine the upper and lower limits of a frequency band, whichallows you to clearly separate the outputs from each other in terms offrequency.
Press the corresponding OUT button (1-6) and select menu page 2/8 using the PAGE buttons. With the parameters FREQ and TYPE you can de ne the slope of the crossover frequenc y and also select a  lter type. When the parameter X-OVER ADJUST MODE is set to “LINK”, any changes to the crossover frequency will also shift the neighboring frequency ranges.
3.3 Muting Input/Output Channels (Mute)
Press the MUTE button to enter the MUTE menu. Here you can mute the inputs and outputs of the DCX2496(LE). On this page you can mute or activate individual channels by pressing the channel buttons (IN A-B / A-C and OUT 1-6), or all inputs/outputs by pressing the PARAM and OK or CANCEL buttons. Thus, you can monitor each frequency band, either individually or together with a neighboring band, to allow perfect editing of the isolated frequency range. To quit the MUTE menu press MUTE a secondtime.
3.4 Storing Presets
Use the STORE button to save your presets.
3.5 Recalling Presets
Press the RECALL button to load presets from the internal memory. Select the preset you wish to recall, then press ENTER. We included some typical presets that you can use as a basis for your own applications.
3.6 Restoring the Factory Presets
If you wish to restore the ULTRADRIVE’s factory presets, press and hold both PAGE buttons on the front panel switching on the unit. The DCX2496(LE) prompts you to con rm (OK) or CANCEL. Press OK to erase the internal memory and restore the factorypresets.
4. Menu Structure and Editing
This chapter describes all functions, operating steps and parameter pages in full detail. While working with your DCX2496(LE), please keep the user’s manual on hand, and use it as a reference in case of problems.
4.1 General operating structure and displaypresentation
When you switch on your ULTRADRIVE, the display shows a graphic with the current routing of the unit, i.e. how inputs and outputs are linked to each other.
Use the buttons to the left of the output LED displays (SETUP, MUTE etc.) to enter the various menus. Most of them include several pages, which you can select with the PAGE buttons. The PARAM button selects individual parameters from one page, the data wheel edits them. Con rm new settings with OK, or cancel your selection with CANCEL. This operating structure is the same for all menus so it will not be repeated in each section of the manual.
The menu name is shown at the top-lef t of the display. Next to this, andseparated by an arrow, is the name of the current page (e.g. SETUP ➠ IN/OUT). Thepage number of the corresponding menu is shown on the right-hand side (e.g. 1/6 = page 1 of 6).
The bottom line also shows the menu name (e.g. SETUP). For buttons IN A-C and OUT 1-6 (below the input/output LED displays), the menus for the corresponding inputs/outputs are listed (IN A, OUT 3 etc.). In addition, the output display also indicates the name of the output (e.g. SUBWOOFER, RIGHT MID etc.).
4.2 SETUP menu
Use the SETUP menu to make basic adjustments necessary for the operation of your ULTRADRIVE. Press the SETUP button to display the  rst page of thismenu.
4.2.1 IN/OUT
Fig. 4.1: Setup ➠ In/Out
The parameter OUT CONFIGURATION selects the general operating mode; in MONO mode input A is the preset signal source for all outputs. In STEREO mode, three con gurations are available. Please use inputs A and B in these modes. Thedisplay shows the OUT channels (L = LOW, M = MID and H = HIGH).
The stereo 3-way con guration LMHLMH has input A routed to outputs 1, 2 and 3, and input B routed to outputs 4, 5 and 6. The stereo 3-way con guration LLMMHH routes input A to outputs 1, 3 and 5, and input B to outputs 2, 4 and 6. The 2-way con guration LHLHLH uses all three inputs; here, A can be routed to outputs 1 and 2, B to outputs 3 and 4, and C to outputs 5 and 6. This application is used for 3 x 2-way speaker systems or triple bi-amping (see chapter 6.3).
Fig. 4.2: Output con guration
Fig. 4.3: Setup ➠ In/Out
With the OUT STEREOLINK function you can determine whether processing with EQs, limiter, etc. is e ective on the linked outputs, or whether the settings for each output can be made independently. When this function is enabled (ON), linking several outputs to each other, the display will show small connecting lines between the individual outputs.
The following link options (output con gurations) are available:
1. MONO (no stereo links)
Fig. 4.4: Output con guration MONO
2. L(1) M(2) H(3) L(4) M(5) H(6)
Fig. 4.5: Output con guration LMHLMH
Link: L(1) > L(4) / M(2) > M(5) / H(3) > H(6)
3. L(1) L(2) M(3) M(4) H(5) H(6)
Fig. 4.6: Output con guration LLMMHH
Link: L(1) > L(2) / M(3) > M(4) / H(5) > H(6)
4. L(1) H(2) L(3) H (4) L(5) H(6)
Fig. 4.7: Output con guration LHLHLH
Link: L(1) > L(3) > L(5) / H(2) > H(4) > H(6)
Fig. 4.8: Set up ➠ In/Out
When Out Stereo Link is enabled, the unit warns you that all settings for the linked outputs will be lost, because they will be overwritten with the values of the output to be selected.
Any further changes to the parameters of a speci c output will be transferred directly to the linked output. However, any edits made to a LONG DELAY value (see chapters 4.2.2 and 4.5.5) will not be transferred to the other output. Thisparameter can be adjusted speci cally for each output. SHORT DELAY settings (see chapters 4.2.2 and 4.5.5) will be transferred as long as OUT Stereo Link is on.
◊ ◊ In the MONO configuration, the Out Stereo Link function cannot
be activated.
OUT
Con guration
MONO 123456 LINK-Activation
OUT Stereo L ink OFF not availa ble
SHORT Del ay
Link (Chassis)
1 ➟ 2 ➟ 3 ➟ 4 ➟ 5 ➟ 6
Sb ➟ L ➟ LM ➟ M ➟ HM ➟ H
activ ated by enablin g
“OUT STEREO-LINK”
on SETUP-page 1/6
LONG Delay Li nk (Loudspeakers)
1 ➟ 2 ➟ 3 ➟ 4 ➟ 5 ➟ 6
Sb ➟ L ➟ LM ➟ M ➟ HM ➟ H
activ ated by
enablin g “LINK” on
OUT-page 8/8
OUT
Con guration
LMH LMH 123 456 LINK-Acti vation
OUT Stereo L ink
1 ➟ 4 2 ➟ 5 3 ➟ 6
L ➟ L M ➟ M H ➟ H
activ ated by enablin g
”OUT STEREO -LINK“
on SETUP-page 1/6
SHORT Del ay
Link (Chassis)
1 ➟ 4 2 ➟ 5 3 ➟ 6
L ➟ L M ➟ M H ➟ H
activ ated by enablin g
”OUT STEREO -LINK“
on SETUP-page 1/6
LONG Delay Li nk (Loudspeakers)
1 ➟ 2 ➟ 3 4 ➟ 5 ➟ 6
L ➟ M ➟ H L ➟ M ➟ H
activ ated by
enablin g ”LINK“ on
OUT-page 8/8
OUT
Con guration
LL MM HH 12 34 56 LINK-Acti vation
OUT Stereo L ink
1 ➟ 2 3 ➟ 4 5 ➟ 6
L ➟ L M ➟ M H ➟ H
activ ated by enablin g
”OUT STEREO -LINK“
on SETUP-page 1/6
SHORT Del ay
Link (Chassis)
1 ➟ 2 3 ➟ 4 5 ➟ 6
L ➟ L M ➟ M H ➟ H
activ ated by enablin g
”OUT STEREO -LINK“
on SETUP-page 1/6
LONG Delay Li nk (Loudspeakers)
1 ➟ 2 ➟ 3 4 5 ➟ 6 L ➟ L M ➟ M H ➟ H
activ ated by
enablin g ”LINK“ on
OUT-page 8/8
OUT
Con guration
LH LH LH 12 34 56 LINK-Activation
OUT Stereo L ink
1 ➟ 3 ➟ 5 2 ➟ 4 ➟ 6 L ➟ L ➟ L H ➟ H ➟ H
activ ated by enablin g
”OUT STEREO -LINK“
on SETUP-page 1/6
SHORT Del ay
Link (Chassis)
1 ➟ 3 ➟ 5 2 ➟ 4 ➟ 6 L ➟ L ➟ L H ➟ H ➟ H
activ ated by enablin g
”OUT STEREO -LINK“
on SETUP-page 1/6
LONG Delay Li nk (Loudspeakers)
1 ➟ 2 3 ➟ 4 5 ➟ 6
L ➟ H ➟ L H ➟ L ➟ H
activ ated by
enablin g ”LINK“ on
OUT-page 8/8
Tab. 4.1: Survey of al l OUT LINK con gurations
Fig. 4.9: Setup ➠ In/Ou t
The inputs can also be linked using the parameter INSTEREO LINK. Thus, all settings of one input can be transferred to another input, or to all inputs.
Fig. 4.10: Setup ➠ In/Out
When this function is On, the display provides a warning note that shows both the new link to be activated and the name of the inputs that will be overwritten (black  eld). Use the data wheel to edit the link to be activated (black  eld). Thevalues of input A will be transferred to the following inputs.
Possible setting
Newlink OFF A + B A + B + C A + B + C + SUM
Overwritten settings (empty) B B+C B+C+SUM
Tab. 4.2: In Stereo Link
When you edit a setting of any input, while a link is activated, all edits are directly transferred to the linked inputs. In the case of the IN STEREO LINK function, this also includes the DELAY values (see chapter 4.3.2).
Use the parameter IN A + B SOURCE to select the type of input signals: ANALOGor AES/EBU (digital: via input A only).
4.2.2 DLY-CORR./AUTO-ALIGN
Fig. 4.11: Setup ➠ Dly-Corr./Auto-Align
As the speed of sound depends on the air temperature, the parameter DELAY CORRECTION on this SETUP page can be used to adjust the DCX2496(LE) to the ambient temperature, ensuring proper delay characteristics at all times. Theavailable value range is from -20°C to 50°C (-4°F to 122°F) and will be taken into account only as long as DELAY CORRECTION is ON.
With the AUTO ALIGN function you can delay the output signal automatically by a certain amount, so as to eliminate phase cancellations caused by speaker alignment. For example, when the diaphragms of several speakers are not in the same phase it leads to cancellations due to arrival time di erences. Identicalsignals are radiated from di erent positions, so that wave crests coincide with wave troughs. If only one of these signals is delayed, thismisalignment can becompensated.
If the arival time di erences are smaller, a short signal delay will be enough to eliminate them (SHORT DELAY). However, if the speaker cabinets are placed several meters away from each other, not only can phase cancellations occur but so can audible run-time di erences. To remove these, you’ll have to use considerably higher delay values (LONG DELAY). The LONG DELAY calculation, however, works only with a minimum distance of four meters.
If, for example, a speaker is connected with incorrect polarity, AUTO ALIGN will detect and—if POLARITIES is on—correc t this error automatically.
Use the parameters SHORT DELAY, LONG DELAY and POLARITIES for the automatic correction of output signals. As soon as at least one parameter is set to YES, pressing OK will take you to another sub-menu. If not (all parameters set to NO), you will be warned that the process cannot be executed.
Fig. 4.12: Setup ➠ Dly-Corr./Auto-Align
In the AUTO-ALIGN sub-menu you can mute or open all outputs. Be sure that at least two outputs are open (UNMUTE OUTPUTS TO ALIGN), otherwise no delay values can be calculated, and a warning message will be displayed.
Fig. 4.13: Setup ➠ Dly-Corr./Auto-Align
If at least two or more outputs have been opened and OK has been pressed, the cursor will jump to ADJUST NOISE LEVEL and you can hear some test noise. Usethe data wheel to adjust the test noise. The level will be read at the outputs. Press OK to trigger the measuring process. The DCX2496(LE) calculates the run­time di erences, phase shift and polarity. The OUTs are automatically adjusted to the optimum delay values calculated. This process cannot be executed if the test noise level is too low.
Fig. 4.14: Setup ➠ Dly-Corr./Auto-Align
4.2.3 COPY
Use the COPY function to copy parameter settings to other pages. For example, you can transfer the EQ or gain settings from one channel to another, which saves you a lot of time.
Fig. 4.15: Setup ➠ Copy
The parameter COPY MODE determines whether only single pages (PAGE) or the complete channel settings (WHOLE CHANNEL) will be copied. Select PAGE mode with the PARAM button and then select the source channel SOURCE plus the SOURCE PAGE to be transferred to another channel. If you select just one page, the channel to be overwritten (DESTINATION PAGE) will appear automatically under the parameter DESTINATION. Please enter the channel to which the data should be copied to (DESTINATION CHANNEL).
Both the source and destination Channel can be selected using the data wheel or by pressing the corresponding channel button (IN A-C, OUT 1-6 and SUM).
Fig. 4.16: Setup ➠ Copy
Press OK or CANCEL to subsequently copy further pages in the same way.
◊ ◊ Only similar pages with identical parameters can be copied. If you
select a SOURCE PAGE that is not available in the DESTINATION CHANNEL, the display will read NOT AVAILABLE under DESTINATION PAGE.
Fig. 4.17: Setup ➠ Copy
If you set COPY MODE to WHOLE CHANNEL, you can copy the complete channel settings to another channel. Use SOURCE to select the channel to be copied (SOURCE-CHANNEL), then de ne the channel to be overwritten (DESTINATION). Theprocess is the same as in PAGE mode.
So-called “cross copying” (copying of di erent channels, for example output 1to input A), allows the copying of only those pages that can be transferred 1:1 to another channel. Any other pages will not be overwritten.
Previously locked pages (see chapter 4.2.4) cannot be overwritten. Acorresponding message is displayed.
Fig. 4.18: Setup ➠ Copy
4.2.4 PAGE LOCK
In this menu you can lock individual parameter pages, preventing them from being edited without  rst entering a password. This is useful for P.A. rental companies, for example, who want to make sure that certain “harmful” pages with necessary  xed settings cannot be accessed by the user.
Fig. 4.19: Setup ➠ Page Lock
In the PAGE LOCK menu you can either lock single pages or all pages. In this case, you need a password to edit the pages. The parameter PAGE LOCK is set to OFF by default. As long as it is not ON, you can skip this page and move on to the next.
Fig. 4.20: Set up ➠ Page Lock
To lock a parameter page you must activate the PAGE LOCK function (ON). Theunit will prompt you to enter a password. Use the data wheel to enter a password with a maximum of 8 characters, and con rm your selection with OK.
◊ ◊ CAUTION: Please make a note of your password. It is impossible to
unlock parameter pages without the correct password!
Fig. 4.21: Setup ➠ Page Lock
Now, the parameter SELECT PAGES is displayed, enabling you to select all the pages to be locked. Use the IN/OUT/SUM/SETUP buttons to call up a menu, thedata wheel to select the page of your choice and the OK button to activate the PAGE LOCK function.
The data wheel also allows you to scroll through a list of all pages, from which you can select the ones you wish to lock. This is the only way to call up
the ALL PAGES function that lets you lock all pages in one operation. Tounlock all pages at once, select ALL PAGES and press CANCEL. As before,
the selected pages must be con rmed and locked with OK. Locked pages are displayed with a closed lock symbol. If a page is unlocked, the lock symbol is open. Use the CANCEL button to unlock a previously locked page.
◊ ◊ The OK and CANCEL func tions cannot be selected in the display with the
cursor. They can only be activated with the corresponding buttons on the front panel.
Use the CHECK function for an overview of all locked pages. The locked pages from the list now appearing can be selected with the data wheel. This function is located at the bottom right of the display and must be selected with the cursor.
When you call up a locked page, you will at  rst notice no di erence. Only when you tr y to edit a parameter, will the display prompt you to enter your password. Entering the correct password and con rming it with OK will take you back to the page, now ready for editing.
To activate PAGE LOCK again, go to the PAGE LOCK page (4/6) and enter your password again. Now, all settings are available, i.e. you can activate or deactivate PAGE LOCK completely by selecting the line “PAGE LOCK: ON” with the cursor and setting this parameter to ON or OFF with the data wheel.
4.2.5 GLOBAL LOCK
This function allows you to lock all parameter pages if you want to make sure that nobody can edit your set tings while you‘re away during a break in a live performance, for example.
Fig. 4.22: Se tup ➠ Global Lock
On this SETUP page you can activate the GLOBAL LOCK function (ON), entera password, then con rm with OK. Now, if you try to edit any parameter, thedisplay will prompt you to enter your password. The process follows the same logic as the PAGE LOCK routine.
Fig. 4.23: Set up ➠ Global Lock
◊ ◊ Activating PAGE LOCK and/or GLOBAL LOCK auto matically locks all STORE
and RECALL pages.
CAUTION: If you have locked individual pages with PAGE LOCK and deactivated the GLOBAL LOCK function with the correct password, you can not yet make any changes to the corresponding page. You must  rst unlock this page in the PAGE LOCK menu. When using the GLOBAL LOCK feature, we recommend that you unlock all pages in the PAGE LOCK menu (UNLOCK ALL).
4.2.6 MISCELLANEOUS
Fig. 4.24: Setup ➠ Miscellaneous
On this page, the current version of your DCX2496 operating software is shown in the top right corner of the display (e.g. VERSION: 1.0). This is just a message and cannot be selected. Additionally, this menu provides  ve user settings. Firstly,you can adapt the CONTRAST of the display to ambient conditions. Secondly,you can assign a DEVICE ID to your DCX2496, allowing you to daisy-chain several units via the rear panel RS-485 network interface (LINK A and B). The  rst unit is connected to a PC either via one of the LINK interfaces (RS-485) orvia the RS-232 interface.
Note - The DCX2496LE does not have RS-232 or RS-485 connectors.
The PORT parameter provides three di erent modes for the PC remote control:
1. PC (RS-232)
Fig. 4.25: Set up ➠ Miscellaneous
Fig. 4.26: PC (RS -232) mode
Use this setting if you want to connect only one DCX2496 to your computer via the RS-232 interface. It is impossible to daisy-chain several units in this mode.
2. LINK (RS-485)
Fig. 4.27: Setu p ➠ Miscellaneous
Fig. 4.28: LINK (R S-485) mode
Please use this mode when several ULTRADRIVE PROs are linked to each other via the network interfaces LINK A and B and the  rst unit in the chain is connected to a computer via the RS-485 interface. The last unit in the chain must have a termination (TERM switch on rear panel = ON). The RS-232 interface is not used in this con guration.
3. PC -> LINK
Fig. 4.29: Se tup ➠ Miscellaneous
Fig. 4.30: PC -> LINK mode
LINK (RS-485) =
PC
TERM-Switch: ON
RS-485
DEVICE ID: 1 PORT: LINK (RS-485)
RS-485
DEVICE ID: 2 PORT: LINK (RS-485)
RS-485
DEVICE ID: 3 PORT: LINK (RS-485)
DCX2496
DCX2496
DCX2496
DCX2496
PC (RS-232) =
PC
RS-232
DEVICE ID: 1 PORT: PC (RS-232)
TERM-Switch: ON
PC -> LINK =
TERM-Switch: ON
RS-232
DEVICE ID: 1
PC
PORT: PC -> LINK
RS-232
DEVICE ID: 2 PORT: LINK (RS-485)
RS-232
DEVICE ID: 3 PORT: LINK (RS-485)
DCX2496
DCX2496
DCX2496
Please use this mode on the  rst unit when several ULTRADRIVE PROs are linked to each other via LINK A and B, and the  rst unit in the chain is connected to a computer via the RS-232 interface. In this con guration, the last AND the  rst unit in the chain must have their TERM switch ON, since both are integrated into the system via only one LINK interface.
◊ ◊ General rule: Whenever one device within a chain has been connected
to the system via only one LINK interface, its TERM switch must be pressed (ON) to avoid data reflections and hence transmission errors. In PC (RS-232) mode this switch is not needed because the LINK interfaces are not used.
The parameter DELAY UNIT determines the units of both measurement and temperature used for the delay settings in the corresponding menus. You can choose between m / mm / C° and ft / in / F°. When you change from meters/ millimeters to feet/inch, the temperature will be changed automatically from °Celsius to °Fahrenheit. These settings cannot be made independently of eachother.
The MUTE OUTS WHEN POWER ON function is used to protect connected equipment such as power amps and loudspeakers. When it is on (YES), alloutputs of the ULTRADRIVE PRO are muted during power-up. To restore the output con guration of your presets, you will have to activate the respective outputs individually or call up the preset again using RECALL (see chapter
4.7). UsingRECALL to switch from one preset to another automatically mutes all outputs, as soon as a preset has a di erent output con guration. However, if the output con gurations are the same, the muted outputs of the new preset will beloaded.
When MUTE OUTS WHEN POWER ON is disabled (NO), the last output con guration used will be recalled during power-up.
4.3 IN A/B/C menu
On these pages you can de ne the EQ, delay and similar values for the individual input signals, and hence optimize the overall sound. Note that the DCX2496LE does not have an INPUT C jack on the rear panel, or an IN C button on the front panel.
4.3.1 GAIN
Press one of the buttons IN A, IN B or IN C to enter the INPUT menu of the corresponding input. On the  rst page, you can adjust the input gain for the signal (GA IN). The setting range is from -15 to +15 dB.
Fig. 4.31: In A ➠ Gain
Below this parameter you can see a graphic representation of the current IN-OUT con guration (OUTPUT CONFIG). Additionally, the display shows whether or not the input is used for the SUM signal (see chapter 4.4). This is just a message. Youcannot edit anything here! OUT con gurations are shown on the SETUP page 1/6. The input source selection for SUM and for the various OUTs is determined on page 1 in the corresponding menus (SUM, OUT).
4.3.2 DELAY/NAME
Fig. 4.32: In A ➠ Delay/Name
You can delay either the IN A, B or C signal to compensate for arrival time di erences—resulting from o set stereo signals or so-called “delay lines” (“delay towers”). Activate the function with DELAY (ON) and select the delay time of your choice with DISTANCE/TIME. The values DISTANCE and TIME are linked to each other, i.e. both values are edited simultaneously when you turn the data wheel. IN A (B/C) NAME allows you to enter a name with a maximum of 8characters for the input signal selected.
4.3.3 EQ
Fig.4 .33: In A ➠ EQ
On this page you can process the sound of the input signals with the help of various equalizer settings.
The EQ parameter determines whether this function is generally ON or OFF. Inthe adjacent NR  eld you can select the number of EQs. There are various  lters available, which can be used and edited. Their number depends on the current processor capacity, which is shown as a percentage next to the number of the  lter. The free capacity of the processor is directly dependent upon the number and type of the  lter selected (e.g. >FREE: 33%).
Use TYPE to de ne the  lter type you wish to use. You can choose from low-pass (LP), high-pass (HP) and band-pass (BP)  lters. Description:
The low-pass  lter raises (positive gain) or lowers (negative gain) the level of the frequency band below the adjusted frequency. The high-pass  lter raises (positive gain) or lowers (negative gain) the level of the frequency band above the adjusted frequency. Use TYPE to set a slope of 6 or 12 dB/oct. for the high-pass or low-pass  lter, or to determine the quality (Q) of the band-pass  lter.
The band-pass  lter raises or lowers the level of the frequency range around the adjusted frequency. The quality parameter Q determines the width of the resulting bell-shaped  lter curve.
The FREQ parameter controls the cuto frequency, at which the  lter starts working. In the case of the low-pass and high-pass  lters, the cuto frequency is the point, at which low and/or high frequencies are processed. The entire frequency spectrum ranges from 20 Hz to 20 kHz.
Use the GAIN parameter to de ne the degree of boost/cut applied to a speci c frequency band. The setting range is from -15 to +15 dB.
◊ ◊ When you set GAIN to 0 dB, the corresponding filter is inoperative!
This means that you cannot selec t a new type. Only when this values is higher or lower than 0 dB, will the filter be activated, and you can select a new filter type. Please note that two or more filters are used for one frequency range when LINK is active. Consequently, the processor performance will decrease.
With the Q parameter you can set both the quality of the band-bass  lter and the amount of interaction with adjacent frequency ranges around the center frequency. The higher this value, the lesser the in uence on neighboring frequencies. This func tion is available only for the band-pass  lters; its range is adjustible from 0.1 to 10.
The number of  lters available depend on the processing power (>FREE) available. Filters can be allocated to either the inputs or outputs in any proportion. The more  lters are activated, the lower the processing power and vice versa.
4.3.4 DYNAMIC EQ (FILTER)
As the DYNAMIC EQ is a highly complex module, its parameters are allocated to two pages—the FILTER and the DYNAMICS parameters pages.
The DYNAMIC EQ in uences a speci c frequency range of the signal, depending on the volume level. It can either boost or cut this frequency range, depending on the gain setting made by the user. If the gain control is set to lower the respective frequency range in level, and if a preset THRESHOLD is exceeded, the EQ modi es the sound by reducing the gain of the frequency range. The amount of gain reduction applied is de ned by the RATIO value. When the signal drops below threshold again, the frequency range is “smoothed out” again, i.e. the DYNAMIC EQ stops processing the signal.
When you de ne a certain boost with the GAIN control, the gain of the frequency range is raised depending on the volume level. When the level of the selected frequency range drops below a preset THRESHOLD, the range is boosted by a certain amount (RATIO). As soon as the threshold is exceeded again, the DYNAMIC EQ stops processing the signal.
Fig. 4.34: In A ➠ Dy namic EQ (➠ Filter)
The complete DYNAMIC EQ (FILTER) page corresponds to the EQ page in terms of operation and to the parameters in terms of number and type. Exception: Onlyone  lter is selectable.
4.3.5 DYNAMIC EQ DYNAMICS
On this page you can edit both the threshold and the operating mode of the compressor and/or expander (volume-dependent sound processing).
Fig. 4.35: In A ➠ Dynami c EQ (➠ Dynamics)
The THRESHOLD parameter de nes a threshold, activating the  lter function once that threshold is exceeded. If the  lter has been set to reduce the gain on the DYNAMIC EQ (FILTER) page (GAIN < 0), this frequency range will be cut, assoon as it exceeds the threshold.
However, if the  lter has been set to raise the gain (GAIN > 0), the frequency range is boosted, as soon as its level drops below the threshold. The threshold setting range is from -60 to 0 dB.
Next, you can use the RATIO parameter to de ne the amount of gain boost/cut. RATIO adjusts the level balance between the input and output signals. Available settings range from 1.1 : 1 (minimum boost/cut) to ∞ : 1 (maximum boost/cut).
ATTACK de nes how fast the DYNAMIC EQ reacts to signals exceeding or falling below THRESHOLD, and can be set from 1 to 200 milliseconds.
RELEASE controls the recovery time needed by the EQ to stop processing the signal, once it has exceeded or fallen below THRESHOLD (depends on the GAIN setting). Available RELEASE times are from 20 to 4,000 milliseconds.
Settings
TYPE BP
FREQ 1.00 kHz
GAIN
+15 dB > contin uous line
0 dB > broken lin e
-15 dB > dotted line
Q 0.1
THRESHOLD -40 dB
RATIO ∞ : 1
Tab. 4.3: Band-pass s ettings with e xtreme values (re sults in  g. 4.36)
Fig. 4.36: Filte r curves with gain a bove/below thres hold
4.4 SUM menu
In addition to its inputs A-C, the ULTRADRIVE PRO DCX2496 provides an internal source signal that can be composed of these three input signals. This SUM signal can be edited at any time, much like any other input signal, so that you have a maximum of four separate source signals available. The DCX2496LE only has INPUTS A and B.
4.4.1 INPUT/GAIN
Fig. 4.37: Sum ➠ Input/Gain
In this menu, the parameter IN SELECT allows you to de ne a combination of two inputs forming the SUM signal. Available options are: IN A + IN B, IN A + IN C and IN B + IN C. Of course, you can also use just one input signal as your SUM signal (IN A, IN B or IN C), by doubling one of the inputs. It is impossible, however, to form a SUM signal composed of all input signals! If no additional source signal is required, set IN SELECT to OFF. The current SUM con guration is shown graphically below this parameter.
In the top left corner of the display you can use SUM INPUT Gains to adjust the input signal of the inputs A-C. The signal controlled here is taken directly from post-input converters—not post-EQ or post-Dynamics. Therefore, it is not necessary to re-adjust the input gain. The SUM INPUT GAINS setting range is from
-15 to +15 dB.
0
dBu
Positive gain >
gain boost
after dropping
below threshold
-40 dBu
Negative gain >
gain reduction
after exceeding
threshold
-40 dBu
Threshold
0
dBu
With the OUT GAIN parameter you can control the internal output level of the sum signal. This signal is also taken pre-EQ, pre-Dynamics, etc. and is then routed to output channels 1-6. The gain setting also ranges from -15 to +15 dB. Thus,you can use one parameter to quickly adjust all inputs together in their adjusted balance at the same time.
The following SUM pages are 100% identical to the IN A/B/C pages 2/5 to 5/5 (see chapters 4.3.2 to 4.3.5)!
4.5 OUT 1-6 menu
Press one of the OUT 1-6 buttons to enter the OUTPUT menu of the respective output. Here, you can set the IN-OUT con guration, X-OVER POINT or, as with the input signals, the EQ and DYNAMIC EQ parameters.
4.5.1 GENERAL
Fig. 4.38: Out 5 ➠ General
On the  rst page of this menu, the parameter INPUT SOURCE allows you to choose the input signal feeding the selected output. Available options are the inputs A-C and the additional SUM signal. If a STEREO-LINK con guration has been previously selected in the SETUP menu (see chapter 4.2.1. IN/OUT), inputA will automatically be routed to the LEFT CHANNEL outputs, and input B to the RIGHT CHANNEL outputs. However, these preset con gurations can be edited asdesired.
The OUT 16 GAIN parameter controls the volume level of the respective output channel (also pre-EQ, pre-DYNAMIC EQ, etc.). The setting range is from
-15 to +15dB. Just as the inputs, the output levels should be set properly to avoiddistortion.
The third parameter, OUT 16NAME can be used to assign speci c names to the outputs. In contrast to the DCX2496 inputs, you cannot enter single characters here, but you may choose from a list of preset names (e.g. LEFT LOW-MID, RIGHTHI-MID, SUBWOOFER etc.). Depending on the output con guration (e.g.LMHLMH) and the output selected, the system assigns a default name. Thisname can be changed at any time by using the data wheel to select a di erent name from thelist.
Output-
con guration
OUT 1 OUT 2 OUT 3 OUT 4 OUT 5 OUT 6
LMHL MH Left Lowe Left Mi d Left Hi Right L ow Right Mid Right Hi
LLMMHH Left Low Right Low Left Mi d Right Mid Left Hi Right Hi
L HL HLH Left Low L eft Hi Ce nter Low Center Hi Right Low Right Hi
MONO Sub-woofer Low Low-Mid Mid Hi-Mid Hi
Tab. 4.4: Default out put names, dependi ng on output con guratio n
4.5.2 XOVER POINTS
On this page, you can de ne the cuto frequencies and  lter curves for the individual outputs, which are displayed graphically for one stereo side and over the entire frequency range. Use the OUT buttons 1-6 to select the output to be processed. A frame around the selected OUT number highlights your selection.
Fig. 4.39: Ou t 5 ➠ X-Over Poin ts
Use the TYPE parameter in the top left corner of the display to de ne the type of curve at the lower (left) slope. To de ne the upper (right) slope, use the TYPE parameter in the top right corner of the display. Both parameters are marked by a curve symbol.
You can choose from three di erent types of  lters:
1. Butterworth (with a slope of either 6, 12, 18, 24 or 48 dB/oct)
2. Bessel (with a slope of either 12 or 24 dB/oct.)
3. Linkwitz-Riley (with a slope of either 12, 24 or 48 dB/oct.)
◊ ◊ With higher slopes, the number of filters goes down (see EQ page 3/6,
display >FREE<). For each 12 dB increase in slope, you will lose 1-2 EQs.
The FREQ parameter in the top left corner of the display selects the lower (left) cuto frequency for one output. With the same parameter on the right-hand side you can determine the upper (right) cuto frequency. These parameters, too, aremarked by a curve symbol.
The XOVER ADJUST MODE, when set to “FREE”, allows you to enter all TYPE and FREQ values, independent of one another. When set to “LINK”, you can couple the X-Over  lters of adjacent outputs. Though your entries are retained, theywill be proportionally shif ted with each parameter change. When you shift the upper cuto frequency of OUT 1 in the LMHLMH con guration for test purposes, thelower cuto frequency of OUT 2 will be shifted as well.
The following pages 3/8 to 5/8 (EQ, DYNAMIC EQ (FILTER) and DYNAMIC EQ (DYNAMICS)) are 100% identical to the IN pages 3/5 to 5/5!
4.5.3 LIMITER
To protect your power ampli ers and loudspeakers, the ULTRADRIVE PRO DCX2496 features a limiter for each of the six outputs. Use this device to suppress harmful level peaks.
Fig. 4.40: Out 5 ➠ Limiter
Use the LIMITER parameter to switch this function ON or OFF. The corresponding THRESHOLD parameter determines (similarly to the DYNAMIC EQ) the LIMITER threshold (-24 to 0 dB). RELEASE controls the recovery time that elapses between the point when the signal drops below THRESHOLD and the deactivation of the LIMITER function (20 to 4,000 ms).
4.5.4 POLARITY/PHASE
Any phase errors at the outputs (cancellation of speci c frequency ranges) may be corrected here.
Fig. 4.41: Out 5 ➠ Polarit y/Phase
The POLARITY parameter determines whether the phase of an output signal is INVERTED or not (NORMAL)—just as if you had inverted the polarity of your speakers. Use the PHASE parameter to adjust the precise phase position at the upper X-OVER frequenc y of the currently selected output. This  ne adjustment is necessary when two output signals are not perfectly displayed by 0° or 180° with regard to each other.
4.5.5 DELAY
Fig. 4.42: Out 5 ➠ Delay
The DLY parameter in the top left corner of the display switches the DELAY function ON or OFF. With the LINK function you can couple several output DELAYS, so that you only have to adjust one DELAY for a whole stack of speakers. However, this applies to LONG DELAY values only. SHORT DELAY values can be adjusted separately and independently of the LINK function, and can be linked to each other in the SETUP menu (page 1/6), using the parameter OUT STEREOLINK.
The parameters SHORT and LONG allow you to de ne the DELAY values of your choice. The setting range for the SHORT Delay is from 0 to 4,000 mm (= 0.00 to 11.64 ms) and the LONG Delay can be adjusted from 0.00 to 200.00 m (= 0.00 to 582.24ms).
With the LINK function activated, all LONG DELAY changes at one output are transferred to the corresponding output (L > M > H of one stereo side)— irrespective of the selected output con guration (e.g. LMHLMH).
◊ ◊ If the LINK function is activated for one output, it will be switched on
for ALL other outputs as well.
When you have set all DELAY values for the outputs and then activated the LINK function for one of them, the LONG DELAY values are NOT transferred to the linked outputs. This happens only when you edit any parameters that change the values of the linked outputs proportionally. The current DELAY values are still not copied, but rather the linked output values follow the changes.
The output links are shown graphically, with the currently selected OUT channel displayed as an inverted loudspeaker, in the top right-hand corner of the display. Below are the DELAY times shown on a timeline.
4.6 MUTE menu
Fig. 4.43: Mute ➠ Select
On this page, you can mute individual or all input/output channels. Use the parameters MUTE ALL OUTS and MUTE ALL INS to disable (OK) or de-mute (CANCEL) the inputs/outputs of the DCX2496 in one go. To mute or de-mute individual channels, please use the respective input/output buttons (e.g. OUT 2, IN A, SUM, etc.). The lower part of the display only shows the status of the channel and does not allow for any selection.
MUTE settings of any type can be made exclusively on this page. As soon as an input/output has been muted, the bot tom red LED above the corresponding input/output button lights up.
Press MUTE again or select another menu to quit the MUTE menu. Pressing the IN or OUT buttons has no e ect.
4.7 RECALL menu
In the upper display line, the parameter CURRENT NR indicates the current preset. If the preset has been edited but not yet stored, an arrow plus “EDITED” appears below this line. Now, if you try to load a new preset, the unit warns you that the current preset has not been saved yet. If you continue to load a new preset, all settings will be lost.
Fig. 4.44: Rec all ➠ Internal
If you wish to store the current preset before loading a new one, cancel RECALL and change to the STORE menu (see chapter 4.8).
The parameter RECALL NR allows you to selec t the number of the preset. Use the data wheel to select a preset (1-60). Con rm your selection with OK to return to the previously selected menu (before entering RECALL).
◊ ◊ “Empty” presets (without a name) cannot be RECALLED.
4.8 STORE menu
Use this menu to store previously created presets in the internal memory.
◊ ◊ If you need more memory capacity you can store your presets
externally on a PC (data dump via RS-232 or LINK RS-485 interface).
4.8.1 INTERNAL MEMORY
Fig. 4.45: Store ➠ Internal
The window on the right-hand side lists the presets already stored in the internal memory. You can allocate a memory location to the preset, give it a NAME and overwrite an existing con guration or select an unused memory location. If you want to overwrite an existing preset, thencon rm your command with OK. The display will prompt you to con rm once again. Press OK to con rm, or CANCEL to quit.
Fig. 4.46: Store ➠ Inter nal
If the preset to be overwritten was previously locked in the PRESET LOCK menu (see chapter 4.8.4), the process cannot be completed; a corresponding message is displayed.
Fig. 4.47: Store ➠ Internal
If you save to an unused preset location, the store command will be executed directly, i.e. without further prompts.
◊ ◊ Please note that you have to assign a name to each preset.
Presets without a proper name cannot be saved.
AUTO-STORE
Your DCX2496 features an AUTO-STORE function. This means that all settings are saved automatically, once every few seconds, to a temporary, non-volatile memory. For example, if there is a power failure while you’re editing, at least the last few edits (before the last auto-store operation) are available directly from the auto-store memory. This function cannot be disabled.
4.8.2 DELETE/FORMAT
Fig. 4.48: Store ➠ Delete/ Format
On the next menu page you can erase presets from the internal memory. Similar to the previous page, then, in the right-hand window, mark the preset to be deleted. When you press OK, the display prompts you to con rm your selection.
Fig. 4.49: Store ➠ Delete/Format
Press OK to delete the preset. Locked presets cannot be deleted.
4.8.3 COPY
On the third page of the STORE menu you can copy presets from one location to another.
Fig. 4.50: Stor e ➠ Copy
Select the SOURCE PRESET and the DESTINATION PRESET. The display indicates both the number, name and status (LOCKED/UNLOCKED) of the preset.
Fig. 4.51: Store ➠ Copy
◊ ◊ Locked DESTINATION PRESETS cannot be overwritten. In this case,
the display informs you that the process cannot be completed. Since SOURCE PRESETS will not get lost during the copying process, it does not matter whether they are locked or not.
When all settings have been made and con rmed with OK, the DESTINATION PRESET is directly overwritten and the display indicates the name of the new preset. Locked SOURCE PRESETS are stored as unlocked presets. To lock them, goto the next page of the STORE menu (PRESET-LOCK). You can also unlock locked DESTINATION PRESETS there.
4.8.4 PRESETLOCK
Fig. 4.52: Store ➠ Pres et-Lock
The last page of the STORE menu allows you to LOCK or UNLOCK your presets. The right-hand window displays the preset. Use ALL PRESETS to selec t all presets. Press OK to lock the preset, or CANCEL to unlock it.
Here, you can unlock a DESTINATION PRESET you wish to overwrite, or lock recently copied presets.
5. Audio Connections
The BEHRINGER ULTRADRIVE PRO DCX2496 has standard electronically balanced inputs and outputs. The circuit design has an automatic hum suppression with balanced signals and is able to operate, without problem, even at highest levels. Externally-induced mains hum etc. is thus e ciently suppressed. Theservo-function, also automatic, recognizes the connection of unbalanced pin assignments and changes the nominal level internally so that there is no di erence in level between the input and output signals (6dB correction).
◊ ◊ Please ensure that only qualified persons install and operate the
device. During installation and operation the user must have sufficient contact to earth. Electrostatic discharges might affect the operation of the unit.
Fig. 5.1: XLR connectio ns
6. Applications
On the following pages we present the most useful applications for your ULTRADRIVE PRO, using a few practical examples. For each example there is an appropriate preset available, which you can use as a starting point for your own set-ups.
Please note that these presets provide only basic outline settings that must be adapted to meet your speci c requirements in terms of loudspeaker, ampli erand room acoustics!
The application examples are arranged in three groups:
1. Classic setups (chapters 6.1 – 6.6)
2. Special applications: zoning / delay lines / surround (chapters 6.7 – 6.9)
3. Large-scale applications requiring two DCX (chapters 6.10 – 6.12)
Balanced use with XLR connectors
12
3
input
1 = ground/shield 2 = hot (+ve) 3 = cold (-ve)
1
2
3
output
For unbalanced use, pin 1 and pin 3 have to be bridged
6.1 Stereo tri-amp operation
Fig. 6.1: Stereo 3-way ope ration
Stereo Tri-Amp operation is one of the most popular applications. The stereo input signals (In A+B) are split up into three frequency bands per stereo side and then reproduced using the 6 outputs. This ensures the best possible use of your 3-way sound reinforcement system, since the individual drivers reproduce only those frequency ranges for which they are ideally suited. Intermodulation distortion is thus e ectively minimized.
6.2 Stereo bi-amp operation plus monosubwoofer
Fig. 6.2: Ster eo 2-way operation plu s subwoofer
Each driver (speaker diaphragm) of the two 2-way speaker cabinets is controlled separately to ensure optimum reproduction of treble and mid-range frequencies. The bass is reproduced by a mono subwoofer, which is driven by a power amp in mono-bridged mode. The sub-woofer receives its signal from the DCX’s “SUM” input, which is limited to bass frequencies and is the sum of mix signals In A+B. The unused input C and output 6 could be used for a mono delay line, forexample.
In A
Out 1 2 3 4 5 6
In B
EUROPOWER EP2000 Stereo power amplier
Left
Stereo output
Right
XENYX X2222USB Mixing Console
High (3)
High (6)
Mid (2)
XENYX X2222USB Mixing console
High
Left (2)
HighRight (4)
Right
Stereo output
Left
In A
Outputs: (6 is not used)12 345
In B
Mid (5)
Low (1)
Low (4) Loudspeaker left Loudspeaker right
Left (1)
EUROLIVE B1800X PRO
Mono subwoofer
Right (3) Mid
Mid
SUM (A + B) signal (5)
EUROPOWER EP2000 Stereo power amplier
Low
Mono bass (amplier mono bridged)
6.3 3x bi-amp operation (LCR/Triple Bi-Amping)
Fig 6.3: 3x2-way ope ration [LCR/Triple Bi -Amping]
Three 2-way speakers driven from three inputs. Such a setup is used for stage monitors or in cinemas, where, in most cases, the two stereo cabinets (completely to the left and right) are used to play back music and e ects, whilethe center cabinet reproduces voices. Hence the name L-C-R, which stands for “Left-Center-Right”.
Note that this scenario will not work for the DCX2496LE as it does not have an INPUT C jack.
6.4 Stereo operation plus mono subwoofer
Fig. 6.4: Stereo o peration plus mon o subwoofer
A full-range stereo signal is sent to two active speaker cabinets for stereo reproduction. There is no need for a dedicated frequency separation because the crossover and ampli er in the active speaker are perfectly adapted to each other. However, to achieve more power in the bass, low frequencies are cut o in the active cabinets and routed to a subwoofer. The power amp is set to mono-bridged mode and the SUM signal derived from In A+B is sent to the subwoofer. Outputs 4 to 6 can be used as mono or stereo delay lines.
XENYX X2222USB Mixing console
Left
channel
In B In C
23456
Low High
Low
High
In A
Outputs: 1
EUROPOWER EP2000 Stereo power amplier
Right
Stereo output
Left
In A
XENYX X2222USB Mixing console
RightCenter
Low
High
B815NEO Left active loudspeaker
High (1)
EUROLIVE B1800X PRO
B815NEO Right active loudspeaker
Outputs: 1 2 3 (4, 5 and 6 not used)
In B
High (2) High (4)
Low (1)
Left
EUROLIVE B1520 PRO
Low (3)
Mid
(Center)
Low (5)
High (6)
Right
Passive mono subwoofer
SUM (A + B) signal
EUROPOWER EP2000 Stereo power amplier (mono bridged)
Output 4 usable as additional mono delay line output. Output 5 + 6 usable as additional stereo delay line output.
Low (3)
6.5 Stereo operation plus 2 subwoofers
Fig. 6.5: Stere o operation plus 2 wo ofer cabinets
Only two frequency ranges (Low and High) are used on each stereo side. Thetwo passive speaker cabinets for the higher frequencies are limited towards the bass end and are  ne-tuned in their sound with the DCX’s internal equalizer. The stereo bass signal is  rst sent to the active woofer, which also provides the passive woofer cabinet with su cient power for the right-hand low-frequency channel. The unused outputs 5 and 6 can be used as mono delay lines.
6.6 Stereo bi-amp operation plus subwoofer and additional monitor
Fig. 6.6: Stere o 2-way operation plu s subwoofer and add itional monitor
Inputs A+B carry the stereo signal optimized for the two 2-way speakers. Thewoofer signal is derived from the sum signal of A+B, limited in its frequency range and routed to the active sub-woofer. A separate signal from the mixing console (aux/subgroup) for a separate speaker can be processed via In C. In our example, this is a full-range stage monitor with its own ampli er able to play back a dedicated monitor mix for the singer, drummer or other performers.
This scenario does not apply to the DCX2496LE.
In A
Out 1 2 3 4 (5 and 6 not used)
In B
EUROPOWER EP2000 Stereo power amplier
Left
Stereo output
Right
XENYX X2222USB Mixing console
EUROLIVE B1220 PRO
Left passive loudspeaker
High (2)
Right passive loudspeaker
High (4)
EUROLIVE B1800X PRO
Monitor output
Right
Left
Stereo sub master
XENYX X2222USB Mixing console
High (2)
High (4)
Left Right
Mid (3)
Mid (1)
Low (5) SUM (A + B) signal
In A
In B In C
Outputs: 1 2 3 4 5 6
Output 5 + 6 usable as additional mono delay line outputs.
Low (3)
Low (1)
Left active subwoofer Right passive subwoofer
In C signal
EUROLIVE F1220A
Active mono subwoofer
Full Range mono monitor
6.7 Mono 6-zone distribution mode
Fig. 6.7: Mono 6 -way “Zoning” (sig nal distribut ion mode)
In this special-purpose application, the ULTRADRIVE PRO is not used as a frequency crossover but rather as a signal distributor, for dedicated EQing plus individual delays and separate volume settings for each output. The monophonic mix signal is split up and sent to six equal outputs. It can be used for a variety of applications requiring the transmission of music or speech over large distances or to several rooms or rooms consisting of several compartments. Examples are large discotheques, multi-room clubs/pubs/bars, shopping malls, restaurants, hotels, lobbies, trade show and conference halls, railway stations, churches/cathedrals and even at home where you can use the DXC2496 to play back music in every room.
6.8 Stereo 3-zone delay line
Fig. 6.8: Triple s tereo delay line
In this application, the ULTRADRIVE PRO is not used as a crossover network. Instead, it produces stereo delay lines, i.e. stereo speaker cabinets delayed in time with regard to each other. All pairs of cabinets are supplied with the same full-range stereo input signal A+B. Then, these pairs can be placed at regular distances away from the stage, as is often the case at big open-air concerts. Thefarther away the original signal (usually the music played on stage) is, themore audible the delay between speaker signal (close to the listener) and original signal (far away) becomes. The DCX2496 allows you to make up for the resulting echoes by adding speci c delay times to the speaker signals. This allows the audience to feel as if they were “part of it” even though they may be far away from the stage—and this without any annoying echoes.
Outputs: 1
(Sub) (Mid)(Low
(Low)
XENYX X2222USB Mixing console
Mono master output
In A
23456
Mid)
EUROPOWER EP2000 Stereo power amplier
Identical full range mono output signals
(High mid)
(High)
Main amplication
All loudspeakers: full range
Left (1) Right (2)
EUROLIVE B1520 PRO
Left (3) Right (4)
Right
Stereo master
Left
XENYX X2222USB Mixing console
(Low)
Delay line 1
(High)
(Low)
Delay line 2
(High)
Right
Stereo sub master
Left
EUROPOWER EP2000 Stereo power amplier
In A
Outputs: 1 2 3 4 5 6
In A
(1)
Left
EUROLIVE B1520 PRO
(2) (3) (4) (5) (6)
Right Left Right Left Right
Left (5) Right (6)
(Low)
Delay line 3
(High)
6.9 3.0 Channel surround
Fig. 6.9: Surr ound 3.0
With this 3-channel con guration your audience experiences a live surround sound that comes close to the popular “Dolby Surround” sound format. The2-way front speakers carry the main stereo signal from inputs A+B. Aseparate mono surround signal is supplied via In C, which is reproduced by two rear (or side) full-range speakers. The surround signal can be a delayed signal derived from the stereo sum signal, it can be processed with reverb or any other e ect, or it can even provide a separate sound. Using this con guration, yoursurround music performances, slide shows, silent-movies or video shows will be a real experience—the sound of ocean waves lapping onto the shore or space ships  ying through outer space—all embedded into “atmo” sounds  oating around the room.
This scenario does not apply to the DCX2496LE.
6.10 Stereo 4-way bridged system plus 2 monitors
Fig. 6.10: 4-way mono -bridged oper ation plus 2 monito rs (per stereo sid e)
This application uses one ULTRADRIVE PRO for each stereo side. When both units are coupled to each other via the LINK jacks, and one of them is additionally connected to a notebook/PC, you can use the computer to remotely control both devices with our free CrossOverRemote Software.
In this example, each DCX2496 is supplied with one side of the main stereo signal (In A). Two additional mono signals are routed from the console to inputs B and C. Two power amps each are used for the 4-way paths of each P.A. stack, while the third power amp drives two full-range stage monitors. This allows for building a stereo 4-way system that gives the musicians four on-stage monitors that can be “accessed” individually.
This scenario does not apply to the DCX2496LE.
Out 5/6 identic
In A
In B In C In C Signal
Outputs: 1 2 3 4 5 6
Left
Stereo sub master
Right
Mono surround channel
EUROPOWER EP2000 Stereo power amplier
2x mono surround
XENYX X2222USB Mixing console
Low Full range (mono)
High
Surround rear
Left (5)
Right (6)
XENYX X2222USB Mixing console
Stereo master left channel
Mono out 1
Mono out 2 (Sub)
RS-232
In A
6 5 4 3 2 1 Outputs Outputs: 1 2 3 4 5 6
EUROPOWER EP2000 Stereo power amplier
In B In C In A In B In C
loudspeaker tpwers
(In A signal)
High (4)
High mid (3) High mid (3)
LINK
(RS-485)
4-way
Mono out 4
Mono out 3
Stereo master right channel
High (4)
Stereo high frequencies
Stereo low frequencies
High
High
Surround front
Low Left (1)
Low
EUROLIVE B1220 PRO
Left (2)
Right (4)
Right (3)
In C signal (6)
Full range mono monitors
Mid (2) Mid (2)
Low (1) Low (1)
Left Right
In B signal (5)
EUROLIVE F1220A
In B signal (5)
In C signal (6)
Full range mono monitors
6.11 5-way mono operation plus 1 additional mono signal
Fig. 6.11: 5-way mono operatio n plus 1 additional m ono signal (per ster eo side)
Again, two ULTRADRIVE PROs can be remotely controlled from a notebook/PC by using our free CrossOverRemote Software.
This set-up is similar to the one described in chapter 6.10. Here, however, even  ve frequency-optimized ways per stereo side are transmitted. The subwoofer has a separate mono-bridged power amp, just like the sixth channel, whichcan be used independently and is controlled from the separate B input. In our example, one of these mono channels is used for an individual subwoofer, while the the mono channel of the second ULTRADRIVE PRO drives a full-range stagemonitor.
6.12 5.1 Surround operation
Fig. 6.12: Surround 5.1
(To be continued on next page...)
XENYX X2222USB Mixing console
Mono out 1
Stereo master left channel
RS-232
In A In B In A In B
1 2 3 4 5 6 Outputs Outputs: 6 5 4 3 2 1
EUROPOWER EP2000 Stereo power amplier
High (6) High (6)
High mid (5) High mid (5)
Mid (4) Mid (4)
LINK
(RS-485)
4-way
loudspeaker towers
(In A Signal)
Mono out 2
Stereo master right channel
Surround processor/decoder
Front
Front
left
In A
RS-232
In A
Outputs: 1
Screen/curtain
Front left Front center Front right
2 3 4 5 6 Outputs: 6 not used 5 4 3 2 1
High
(2)
Front
center
right
In B
In C
Front left
Front center
Front right
In B In C In A In B In C
XENYX X2222USB Mixing console
High
(4)
or
LINK
RS-485
High
(6)
Rear
Rear
right
left
In A
Front subbass Rear right Rear left
In B
Front sub­bass
In C
Low mid (3) Low mid (3)
Low (2) Low (2)
In B signal (1) In B signal (1)
Left Right
EUROLIVE F1220A Full range mono monitor
EUROLIVE B1800X PRO Mono subwoofer
Low
(1)
Front subbass (LFE) connected in a row
Rear left Rear right
Low
(3)
High (2)
Low (1)
Low
(5)
High (4)
Low (3)
With two DCX2496 units you can even realize today’s most popular surround format:
5.1. In addition to the speaker cabinets and power amps (or active speakers as in the simpli ed illustration shown here), all you need is a surround decoder to play back pre-produced 5.1 material such as DVDs, or a mixing console with six outputs (e.g. stereo out plus four subgroups). In the latter case, you can create highly sophisticated surround mixes even without a special surround sound decoder.
The preset “5.1 FRONT” has been optimized for the L-C-R front speakers with 2speaker ways each (see also chapter 5.3). The three signals required “Front-Left, Front-Center, Front-Right” are routed via the three inputs (A, B, C) tothe  rst DCX2496.
On the second DCX2496, the preset “5.1 REAR” should be used as a starting point. It supplies the two rear surround speakers (also 2-way systems) plus the monophonic sub-bass channel (“LFE” = “Low Frequency Enhanced”) with the input signals “Rear-Left, Rear-Right and Sub-bass”, using connectors In A, B, C. The sixth output of the second ULTRADRIVEPRO is not used in this application, but is left available for additional e ects or as a mono delay line.
This scenario does not apply to the DCX2496LE.
7. Speci cations
Analog Inputs (A, B, C)
Type electronically balanced
Connector XLR
Max. input level +22 dBu
Input impedance approx. 35 kΩ @ 1 kHz
Crosstalk -72 dB @ 0 dBu
Digital Input (A) - DCX2496
Connector XLR
Format S/PDIF or AES/EBU
Input level 0.3 to 10 Vpp
Input impedance approx. 110 Ω
Sampling frequency 32 to 96 kHz
Special feature Sample Rate Converter
Microp hone Input (C) - DCX2496
Type electronically balanced
Connector XLR
Max. input level -23 dBu
Input impedance approx. 670 Ω @ 1 kHz
Phantom supply +15 V
Analog Outputs (1, 2, 3, 4, 5, 6)
Type electronically balanced
Connector XLR
Max. output level +22 dBu
Output impedance approx. 100 Ω @ 1 kHz
Crosstalk -100 dB @ 10 dBu
System Data
Sampling frequency 96 kHz
Signal delay < 1 ms Analog input to analog output
Frequency response 10 Hz to 45 kHz (-3 dB) typ.
Dynamic range 112 dB
THD+N Ratio 0,007% @ 0 dBu
0,004% @ 10 dBu
Converters
A/D Converter CS5381
Resolution 24-Bit Delta-Sigma
Oversampling 64x
Dynamic range 120 dB typ.
D/A Converter AK4393
Resolution 24-Bit Delta-Sigma
Oversampling 64x
Dynamic range 120 dB typ.
Serial Interface (DCX2496)
RS-232
Type 9-pin sub-D connector
Transmission type 115200 bauds, 8 data bits,
1 stop bit, no parity
RS-485 (2x)
Type RJ-45 connector
Transmission type 38400 bauds, 8 data bits,
1 stop bit, no parity
Power Supply
Mains Voltage
USA/Canada 120 V~, 60 Hz
Europe/U.K./Australia 230 V~, 50 Hz
Japan 100 V~, 50 - 60 Hz
General export model 100 - 240 V~, 50 - 60 Hz
Power consumption approx. 12 W
Fuse 100 to 240 V~: T 1 A H
Mains connector Standard IEC receptacle
Dimensions/Weight
Dimensions (H x D x W) 45 x 483 x 208 mm
(1.75 x 19 x 8.1")
Weight approx. 2 kg (4.4 lbs)
Shipping Weight approx. 3.2 kg (7 lbs)
9. Block Diagram
*The DCX 2496LE doe s not have an INPUT C jack.
10. Menu Structure
FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION
Responsible Part y Name: MUSIC Group Services NV Inc.
Address: 5270 Procyon Street
Las Vegas, NV 89118 USA
Phone Number: +1 702 800 8290
ULTRADRIVE PRO DCX2496/ULTRADRIVE DCX2496LE
complies with the FCC rules as mentioned in the followingparagraph:
This equipment has been tested and found to comply with the limits for a ClassB digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment o and on, the user is encouraged to try to correct the interference by one or more of the followingmeasures:
• • Reorient or relocate the receiving antenna.
• • Increase the separation between the equipment and receiver.
• • Connect the equipment into an outlet on a circuit di erent from that to which the
receiver is connected.
• • Consult the dealer or an experienced radio/TV technician forhelp.
This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions:
(1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.
Important information:
Changes or modi cations to the equipment not expressly approved by MUSIC Group can void the user’s authority to use the equipment.
ULTRADRIVE PRO DCX2496/ ULTRADRIVE DCX2496LE
Dedicate Your Life to Music
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