Behringer DEQ1024 User Manual [ru]

User Manual

ULTRAGRAPH DIGITAL DEQ1024

Ultra-High Precision 24-Bit/96 kHz Equalizer, FeedbackDestroyer
and Dynamics Processor

2 ULTRAGRAPH DIGITAL DEQ1024

Table of Contents

Thank you .......................................................................2

Important Safety Instructions ...................................... 3

Legal Disclaimer ............................................................. 3

Limited Warranty ...........................................................3

1. Introduction ............................................................... 4

1.1 Before you get started ...................................................... 4

1.1.1 Shi pment .......................................................................... 4

1.1.2 Initial operation ............................................................. 4

1.1.3 Online registration ....................................................... 4

1.2 The user’s manual ............................................................... 4

2. Control Elements ....................................................... 4

2.1 Front panel ............................................................................ 4

2.2 Rear panel ............................................................................. 6

3. Applications ............................................................... 7

3.1 Master equalizer in sound

reinforcementsystems ............................................................. 7

3.2 Equalizer in the monitor path ........................................ 8

3.2.1 Priming a monitor system ......................................... 8

3.3 Using the ULTRAGRAPH DIGITAL

in the studio.................................................................................. 9

3.4 Special sound eects ........................................................ 9

4. Installation ................................................................. 9

4.1 Rack mounting .................................................................... 9

4.2 Audio connections ............................................................. 9

4.3 Digital connections (AES/EBU and S/PDIF) ............. 10

5. Specications ........................................................... 10

Thank you

Thank you very much for expressing your condence in BEHRINGER products by
purchasing the ULTRAGRAPH DIGITAL DEQ2496, an extremely high-quality digital
equalizer with built-in 24-bit/96 kHz A/D and D/A converters, making it an ideal
tool for both live and studio applications.

3 ULTRAGRAPH DIGITAL DEQ1024

9. Do not defeat the safety purpose of the polarized

TO BIND MUSICGROUP BY ANY EXPRESS OR IMPLIED

Important Safety
Instructions

Terminals marked with this symbol carr y
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 ser vice 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.

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.

UNDERTAKING OR REPRESENTATION. THIS MANUAL
IS COPYRIGHTED. NO PART OF THIS MANUAL MAY
BE REPRODUCED OR TRANSMITTED IN ANY FORM
OR BY ANY MEANS, ELECTRONIC OR MECHANICAL,
INCLUDING PHOTOCOPYING AND RECORDING OF ANY
KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS
WRITTEN PERMISSION OF MUSICGROUPIPLTD.

ALL RIGHTS RESERVED.
© 2013 MUSICGroupIPLtd.
Trident Chambers, Wickhams Cay, P.O. Box 146,
Road Town, Tortola, British Virgin Islands

LIMITED WARRANTY

For the applicable warranty terms and conditions
and additional information regarding MUSIC Group’s
Limited Warranty, please see complete details online at
www.music-group.com/warranty.

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.

LEGAL DISCLAIMER

TECHNICAL SPECIFICATIONS AND APPEARANCES
ARE SUBJECT TO CHANGE WITHOUT NOTICE AND
ACCURACY IS NOT GUARANTEED. BEHRINGER,
KLARKTEKNIK, MIDAS, BUGERA, AND TURBOSOUND
ARE PART OF THE MUSIC GROUP MUSICGROUP.COM.
ALL TRADEMARKS ARE THE PROPERTY OF THEIR
RESPECTIVE OWNERS. MUSICGROUP ACCEPTS NO
LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED
BY ANY PERSON WHO RELIES EITHER WHOLLY OR
IN PART UPON ANY DESCRIPTION, PHOTOGRAPH
OR STATEMENT CONTAINED HEREIN. COLORS AND
SPECIFICATIONS MAY VARY FROM ACTUAL PRODUCT.
MUSIC GROUP PRODUCTS ARE SOLD THROUGH
AUTHORIZED FULLFILLERS AND RESELLERS ONLY.
FULLFILLERSAND RESELLERS ARE NOT AGENTS OF
MUSICGROUP AND HAVE ABSOLUTELY NO AUTHORITY

4 ULTRAGRAPH DIGITAL DEQ1024

1. Introduction

In addition to graphic EQing, the ULTRAGRAPH DIGITAL gives you a wide array
of additional functions, such as feedback destroyer, pink noise generator,
limiter/noise gate etc., leaving no wishes open. With these and many more
features the DEQ1024 is an absolutely all-purpose device for your recording or
mastering studio and will denitely upgrade your equipment.

◊ The following user’s manual is intended to familiarize you with the

unit’s control elements, so that you can master all the functions.
After having thoroughly read the user’s manual, store it at a safe place
for future reference.

1.1 Before you get started

1.1.1 Shipment

The DEQ1024 was carefully packed at the factory to assure secure transport.
Should the condition of the cardboard box suggest that damage may have taken
place, please inspect the unit immediately and look for physical indications
ofdamage.

◊ Damaged units should NEVER be sent directly to us. Please inform the

dealer from whom you acquired the unit immediately as well as the
transportation company from which you took delivery of the unit.
Otherwise, all claims for replacement/repair may be rendered invalid.

1.1.2 Initial operation

Please make sure the unit is provided with sucient ventilation, and never place
the ULTRAGRAPH DIGITAL on top of an amplier or in the vicinity of a heater to
avoid the risk of overheating.

◊ Faulty fuses must be replaced with fuses of appropriate rating without

exception! The correct value of the fuses needed can be found in the
chapter “SPECIFICATIONS”.

Power is delivered via the cable enclosed with the unit. All requiered safety
precautions have been adhered to.

◊ Please make sure that the unit is grounded at all times. For your own

protection, you should never tamper with the grounding of the cable or
the unit itself.

1.1.3 Online registration

Please take a few minutes and send us the completely lled out warranty
card within 14 days of the date of purchase. You may also register online at
behringer.com. The serial number needed for the registration is located at the top
of the unit. Failure to register your product may void future warranty claims.

1.2 The user’s manual

The user’s manual is designed to give you both an overview of the control
elements, as well as detailed information on how to use them. In order to help
you understand the links between the controls, we have arranged them in
groups according to their function. If you need to know more about specic
issues, please visit our website at behringer.com, where you’ll nd additional
information on mixing consoles, eects units and dynamic processors.

2. Control Elements

2.1 Front panel

(1)

(14) (2) (4) (5) (6) (7) (11) (13) (10)(3)

Fig. 2.1: Front panel cont rol elements

(1) Use the 45-mm EQ faders to increase or decrease any one of the

31frequency bands. Each fader has its own red LED.

(2) Use the FADER RANGE switches to regulate increasing/decreasing in

three dierent levels: +12/-12 dB (green LED), +6/-6 dB (green LED) and
0/-24dB (yellow LED). The last option is well suited for eliminating feedback
frequencies, since you can select a very pronounced lowering of a specic
frequency range (-24 dB).

◊ Each switch on your DEQ1024 (with the exception of CONFIG and

CLOCK) has its own LED that lights up when the respective function
is activated.

(12) (8) (9)

(3) The DEQ1024 features an automatic FEEDBACK DESTROYER.

Activating the FEEDBACK DESTROYER:

When you press the ON/OFF switch (yellow LED lights up), the feedback
destroyer scans the audio signal for feedback frequencies. As soon as
one or more frequencies show feedback, the red LED of the RESET (HOLD)
switch lights up. The aected frequencies are then automatically lowered.
In addition, your audio program is constantly scanned for new feedback
frequencies, and feedback is destroyed as it comes up. This makes sense
for microphones that are in constant motion during a stage performance
(e. g. vocal microphones), where feedback may arrise constantly.

◊ All settings you implement always affect both channels of

your DEQ1024.

5 ULTRAGRAPH DIGITAL DEQ1024

Deactivating the search function (feedback suppression
remains active):

If you now press the ON/OFF switch for a second time, the feedback analysis
stops. Those frequencies emitting feedback will continue being lowered
(RESET (HOLD) LED is still on). This procedure is well suited for stationary
microphones, such as drum microphones. To start the “hunt” for feedback
again, hit the ON/OFF switch once again.

Displaying the feedback frequencies:

If you briey (for approx. 2 seconds) depress the RESET (HOLD) switch,
thefeedback frequencies that the DEQ1024 was able to nd will be indicated
on the respective fader LEDs. If no feedback occurs, the LEDs will stop being
lit up for roughly 2 seconds.

Deactivating the FEEDBACK DESTROYER:

If you hold the RESET (HOLD) switch depressed for a few seconds, the lter
settings are reset (RESET (HOLD) LED dies out) and the FEEDBACK DESTROYER
is deactivated.

(4) If you press the FB INDICATOR switch (green switch LED lights up), the FBQ

feedback detec tion system is activated. The frequency (or the frequencies)
that cause feedback are now shown in the form of a brightly shining fader
LED. All other LEDs are dimmed. Simply lower somewhat the pertinent
frequency range until feedback is no longer present and the LED dies out.

Fig. 2.2: Gra phic equalizer wit hout frequenc y response cor rection

This occurrence can be corrected by means of a specially developed
algorithm utilized in the ULTRAGRAPH DIGITAL DEQ1024. Simply press the
TRUE CURVE switch (green switch LED lights up).

By displaying the intensity of individual frequenc y ranges, the feedback
recognition system also functions as an audio analyzer.

◊ Please keep in mind that the FB INDICATOR only shows the intensity of

the individual frequency bands. Not every frequency that is present
automatically causes feedback.

◊ FEEDBACK DESTROYER and FB INDICATOR function independently from

one another and can be activated simultaneously. Please bear in mind:
when in 96-kHz mode, FEEDBACK DESTROYER and FB INDICATOR are
not available!

(5) When you keep the PINK NOISE switch depressed for a few seconds,

theinternal pink noise generator of your DEQ1024 is activated (red switch
LED lights up) and the volume level of the test signal is gradually increased
as long as the switch remains depressed (the level is shown on LEVEL
METER (13)). Briey pressing the PINK NOISE switch once again deactivates
thefunction.

PINK NOISE

Room resonance and the transmission characteristics of your P.A. system
naturally lift certain frequencies while lowering others. Pink noise is
a neutral signal that can be played back over the P.A. system in order
to measure these room characteristics. One such measurement of the
frequency response with a special measurement microphone (e. g.
BEHRINGER ECM8000) coupled to a real-time analyzer (integrated in the
BEHRINGER ULTRACURVE PRO DEQ2496) delivers the foundation for setting
up the equalizer. Boosted frequencies can be lowered by means of your
equalizer, while frequencies that are too weak can be boosted, and a nearly
linear playback is achieved.

◊ Try to orient yourself on a frequency whose signal level lies in the 0 dB

to -3 dB range in order to avoid overdriving the equipment connected
(e. g. amp, crossover).

(6) In the world of ordinary graphic equalizers, there is always a dierence

between the adjusted curve and the resulting frequency response.
Thisphenomenon is simply caused by the construction of such equalizers.
This dierence depends on the frequency and its cut/boost. Near-by
frequency bands inuence one another, whereby individual instances of cut
or boost can also be added up to one another.

Fig. 2.3: Graphic equalizer with frequency response correction (TRUE CURVE)

The resulting frequency response now corresponds exactly to the settings
that you adjusted with the graphic equalizer.

(7) The BYPASS switch lets you directly compare the processed and

unprocessed audio program. When the BYPASS function is activated
(redswitch LED lights up), the input of the unit is directly forwarded to the
output so you can monitor the unprocessed signal.

(8) The DYNAMICS section of the DEQ1024 consists of a GATE and a LIMITER.

Use the GATE and LIMITER controls to determine the threshold. When the
threshold is exceeded (LIMITER) or when the signal falls below the threshold
(GATE), the dynamic processors starts aecting the signal.

GATE

When the input signal falls below the threshold value, the signal is
completely faded out. Tape hiss, crosstalk or disturbing noise can thus be
eectively removed from the signal. The yellow GATE LED in the METER
section (see ( 13)) lights up as soon as the GATE closes. The range of the
threshold lies between -60 and -10 dB. When turned all the way to the left,
the GATE is deactivated (OFF).

LIMITER

The LIMITER protects your equipment from signal peaks that could for
example damage your speakers. Output signal levels that exceed the
selected threshold value are limited, and the red LIMITER LED in the METER
section (see (13)) lights up. By reducing signal dynamics, a more expressive
sound is achieved. The threshold range lies between -6 and +9 dB. When
turned all the way to the right, the LIMITER is deactivated (OFF).

◊ Please keep in mind that boosting many frequency bands also increases

the output signal level. In this case, the limiter is activated sooner.
You can avoid this by achieving signal correction not only by boosting
frequency bands but by also lowering signal levels. To achieve creative
sound effects, the peak limiter can deliberately be driven to its limits.

6 ULTRAGRAPH DIGITAL DEQ1024

(9) The DEQ1024 features a LOW CUT and HIGH CUT lter in its F ILTER section,

allowing you to limit the entire frequency spec trum upward or downward.
TheHIGH CUT control is used to determine the cut-o frequency above which
the high frequenc y range is lowered (2.5 - 16 kHz). When turned all the
way to the right, the lter is deactivated (OFF). The LOW CUT control is used
to determine the cut-o frequency above which the low frequency range
is lowered (20 - 160 Hz). When turned all the way to the left, the lter is
deactivated (OFF).

(10) Use the GAIN control in the MASTER section to determine the output

volume of the ULTRAGRAPH DIGITAL in the range between -9 to +9 dB.
Inaddition, there is also a stereo imager function that lets you adjust the
stereo width and therefore the separation between the lef t and the right
stereo side. When the STEREO IMAGE control is turned all the way to the
right, you achieve the maximum widening of the stereo signal (WIDE);
whenthe control is turned all the way to the left, the stereo signal is
transformed into a mono signal (MONO). When the STEREO IMAGE control is
in its middle position, your signal is not processed (STEREO).

(11) When you keep the CONFIG switch depressed for a few seconds, youcan

select the operating mode of your DEQ1024: ANALOG (gree n LED),
DIGITAL(yellow LED), PRE EQ (yellow LED) or POST EQ (yellow LED). Whenin

the PRE EQ or POST EQ mode, you can use the rear panel digital connec tors as
inserts, for example for an additional dynamics processor. When the unit is in
PRE EQ mode, the insert point is located pre EQ; when the unit is in POST EQ
mode, the insert point is located post EQ (see g. 2.5 and2.6).

Fig. 2.5: Signal  ow in PRE EQ mode

Fig. 2.6: Signa l ow in POST EQ mode

(12) When you keep the CLOCK switch depressed for a few seconds, you can

select the desired sample rate with which your DEQ1024 is working: 44.1 kHz,
48 kHz or 96 kHz (green LEDs). To synchronise your DEQ1024 with the sample
rate of an external unit (e. g. through a digital mixing console), you have to
select the DIG IN setting (yellow LED lights up).

◊ If you select the DIG IN setting, although no signal is connec ted to

the digital input, the DEQ1024 is not able to synchronise with any
sample frequency (yellow DIG IN LED is blinking). In this case the
ULTRAGRAPH DIGITAL switches to the sample frequency last connected
to the digital input. If you connect a signal to the digital input while
operating in the unsynchronised mode, your DEQ1024 switches back to
normal mode and synchronises with the connected sample frequency
(yellow LED lights up).

To select the word length of the digital output signal (16 bit or 24 bit),
keep the CONFIG and CLOCK switches simultaneously pressed.
The 24-bit setting is shown by means of the -24 dB LEDs in the METER
display (see (13)). When the 16-bit setting is selected, no METER LED
lights up. This way, the DEQ1024 can be adjusted to the 16-bit inputs of

Fig. 2.4: Input/output wiring depending on oper ating mode

Pink Nois e ON

CONFIG 1 2 3

Analog B A A A A A

Digital C A A A A A

Pre EQ C B A A B A

Post EQ B A B A A B

Tab. 2.1: Input/output wiring depending on operating mode

1 2 3

DAT and CD recorders or sound cards. The analog output signal is always
converted with 24 bit, independent of the above setting.

2.2 Rear panel

(20) (16) (15)(18)(19) (17) (17)

(21) (23)

(22)

Fig. 2.7: Rear pane l control element s and connector s

7 ULTRAGRAPH DIGITAL DEQ1024

(13) The 12-digit LEVEL METER shows the signal level of the input and output

signals. Use the METER switch located below it to select the respective
signal, whereby the output signal is indicated when the switch LED lights
up (green), and the input signal is indicated when the switch LED is not lit.
Thered CLIP LED lights up as soon as the indicated signal is overdriven.
TheGATE and the LIMITER LED shows that the threshold of the respec tive
dynamics processors is either exceeded or is below the selected value;
theLED also indicates that the dynamics processor is active at this time
(see (8)). Additionally, the volume of the pink noise generator and the 24-bit
word length setting (see (12) ) is shown on the LED METER.

(14) Keeping the STANDBY switch depressed for a few seconds puts the DEQ1024

into standby mode (red switch LED lights up). In this case, the signal
connected to the DEQ1024 is looped through without being processed.

◊ All new settings are saved after approx. 2 seconds, so that powering

the DEQ1024 off and then on again (by using the STANDBY or the POWER
switch (20) on the rear panel) recalls the current settings.

(15) The balanced XLR and ¼" TRS inputs are used for connecting an analog

input signal.

(16) The analog output signal of the DEQ1024 can be taken by using these

balanced XLR and ¼" TRS connectors.

(17) The MAX. LEVEL switches increase the maximum signal level on the analog

inputs and outputs from +12 dBu to +22 dBu.

(18) You can selectively connect an input signal in the AES/EBU format (via the

XLR connector) or in the S/PDIF format (via the RCA connector) to the digital
inputs. In PRE EQ and POST EQ modes, these connectors can also be used as
insert returns (see (12) ). Here, you can connect the output of your dynamics
processor or similar equipment.

3. Applications

The exible concept of the ULTRAGRAPH DIGITAL, with its wide-ranging
possibilities for audio processing, opens up many application options. We will
now present to you some of those possibilities with their typical settings.

Outputs

L & R

ULTRAGRAPH DIGITAL DEQ1024

Main Inserts L & R

EURORACK UB2442FX PRO

EUROPOWER EP1500

Inputs

L & R

◊ Never connect a signal simultaneously to the AES/EBU and to the

S/PDIF input.

(19) The output signal is available on the digital output in the AES/EBU format

(XLR connector) and in the S/PDIF format (RCA connector). InPRE EQ or
POSTEQ mode you can use these connectors as insert sends (see(11)).
Connect the input of your external dynamics processor or similar
equipment here. Unlike with the digital inputs, both digital outputs can be
usedsimultaneously.

(20) The POWER switch powers up your ULTRAGRAPH DIGITAL. The POWER

switch should always be in its “O” position when you are about to connec t
the DEQ1024 to the mains.

◊ Attention: The POWER switch does not fully disconnect the unit from

the mains. Unplug the power cord completely when the unit is not used
for prolonged periods of time.

(21) The mains connection is achieved via the standard IEC connector. A matching

power cord is included.

(22) You can exchange blown fuses that are located in the FUSES COMPARTMENT

of your DEQ1024. Blown fuses must be replaced by fuses of the same type
and rating. Please refer to chapter 5 “SPECIFICATIONS” for further details.

(23) SERIAL NUMBER of the ULTRAGRAPH DIGITAL. Please take the time to ll

in and return the warranty card within 14 days after the date of purchase.
Orregister online at behringer.com.

EUROLIVE B1520

Fig. 3.1: The ULTRAGRAPH DIGITAL DEQ1024 as master equalizer

3.1 Master equalizer in sound
reinforcementsystems

This is surely the most common DEQ1024 application.

To achieve optimal results, you should keep in mind the following:

Before you begin correcting the frequency response, running your audio program
“unprocessed” rst has proved itself useful. If distortion occurs, it should rst be
confronted within the P.A. system. The physical location of your loudspeakers
also plays a huge role. No equalizer in the world can majorly improve the sound
that was thoroughly wattered down by being bounced o the walls and ceilings.
Modifying speaker positioning alone can create major improvements in the
quality of your sound.

When using multi-way active speakers, you should also rst correct the
run-time and phase settings (the ULTRADRIVE PRO DCX2496 digital crossover
from BEHRINGER gives you all the tools needed for this). Only then does the
ULTRAGRAPH DIGITAL come into play. Background noise such as mains hum as
well as extremely narrow-band resonance should rst be eliminated by using
the DEQ1024 (also see ch. 3.2.1). This should denitely be done before setting up
thesound.

8 ULTRAGRAPH DIGITAL DEQ1024

After this editing, you have a basic setup; now, you can do some manual
ne-tuning, if necessary.

The following is true:

A linear response curve is not ideal for every application. For example,
whendealing with voice transmission, being able to understand the speaker is
the most important factor. Therefore, the response curve should drop away in the
bass range, since the voice can carry subsonic noise and oor rumble.

As a rule, extremely low and extremely high frequencies are transmitted much
weaker. It makes no sense to burden a small P.A. system with frequencies below
50 Hz; the only result in addition to the higher power consumption would most
likely be expensive repair costs.

◊ Always keep in mind where the physical limitations of your system are.

Upon setting up your system as accurately as possible to the desired response
curve, walk around the listening area so you can get an idea what your system
sounds like from various positions. Don’t forget to implement frequent pauses
and a various music selection into your program. You will get a bet ter feeling
forthe transmission characteristic of your system as well as of the room/
auditorium itself.

EUROLIVE F1520 Floor monitors

EUROPOWER EP1500

Outputs
L & R

ULTRAGRAPH DIGITAL DEQ1024

◊ Achieving good EQ settings requires a lot of time and patience!

If extreme settings of your EQ are required in order to produce a useful
frequency response, this should be seen as an alarm sign that a serious
error or defect is present somewhere in your sound system, be it in
room acoustics or in your equipment.

An equalizer is no solution that can make up for a poor P.A. system, but it is an
extremely useful and eective sound tool for musical ne tuning. Fine tuning
often lets you create amazing results and improvements in acoustic penetration
and in the overall quality of your sound.

3.2 Equalizer in the monitor path

Basically, the on-stage volume level should be kept as low as possible, because:

1. it will be easier on your hearing,

2. there are less feedback problems, and

3. it’s easier to achieve a good front-of-house sound.

Often, the volume of the monitor speakers is raised as a concert goes on.
Usebreaks and pauses to reduce all monitor paths by about 3 dB. The musicians
will not or hardly hear that the volume has been reduced, because during a break
their hearing can relax a bit. This gives you valuable headroom in your system.

Extremely low frequencies are usually faded out completely to avoid a “muddy”
sound on stage caused by low-frequency feedback. Use the low-cut lter for this
purpose and set it up in such a way so that extremely deep feedback disappears,
creating a transparent-sounding monitor sound.

Aux sends
1 & 2

EURORACK UB2222FX-PRO

Fig. 3.2: The ULTR AGRAPH DIGITAL DEQ1024 in a monitor sys tem

3. 2.1 Priming a monitor system

Priming describes the process of detec ting and suppressing feedback frequencies.
After placing and setting up your microphones and monitor speakers (including
ampliers), you should crank up the aux send controls on all the channels of your
mixing console needed for the monitor mix.

Now, activate the feedback detection system by pressing the FB INDICATOR
switch (4). The fader LEDs (11) indicate the intensity of the individual frequency
bands. Then, use the aux send master controls to increase the amplication on
your mixing console until you rst begin to notice feedback. Possible feedback
frequencies are now indicated on the fader LEDs that are lit up most brightly.

Frequency ranges that cause feedback can now be lowered by using the
respective EQ faders. Repeat this procedure to detect additional feedback
frequencies. Af ter having worked on all critical frequencies, when you crank
up the aux send master control, you will be able to hear only negligible
multi- frequency feedback. Your monitor system has now achieved its
maximum volume.

Leave the other faders in the middle position as long as there is no need to
proceed with frequency correction (e.g. measuring with a real-time analyzer).
Now, adjust the desired stage volume, and you will have tons of available
headroom without causing feedback problems.

9 ULTRAGRAPH DIGITAL DEQ1024

3.3 Using the ULTRAGRAPH DIGITAL
in the studio

Additional applications of your DEQ1024 are possible in the studio.
Yourimagination has no limits. Here are only some of the examples:

As equalizer for your studio monitors:

You can perform graphic equalization of your monitor sound. Besides, you can
supress narrow-band room resonances. An analyzer, such as the one integrated
into the BEHRINGER digital equalizer ULTRACURVE PRO DEQ2496, can help you in
your search for room resonances and a linear frequency response.

For general sound processing:

The equalizer lets you process both individual and sum signals. To process
individual signals, you should connec t the ULTRAGRAPH DIGITAL via the channel
insert on your mixing console. To control several signals, either use a subgroup
or a main insert. Especially in mastering studios, the sound of a nished mix is
nowadays still processed with equalizers. Often, the mixes are not evened out,
meaning certain frequency ranges are featured too prominently while others
can hardly be heard. A graphic equalizer lets you even out the intensity of such
frequency ranges, so you end up with a homogenous sound characteristics.

3.4 Special sound eects

Be it in the studio, on the stage or in radio plays, the ULTRAGRAPH DIGITAL can
become an indispensable tone tool. You can for example change the sound of a
voice so that it sounds like it’s coming through the phone, or you can prominently
lter the sound of instruments so that they t well into an existing mix.

Center fr equency (Hz)

1/3 oc tave

Fundamentals of bass drum, tuba, double bass

31 to 63

80 to 125

160 to 250

315 to 500 Fundamentals of strings and percussion.

630 to 1 k

1.25 k to 4 k

5 k to 8 k

10 k to 16 k

and organ. These frequencies give music a sense
of power. If over-emphasis ed they make the music
“muddy”. The50or60Hzbandisalsoused to reject AC
mains hum.

Fundamentals of lower tympani. Too much boost
produces excessive “boom”. 100 or 125 Hz are also
used for hum rejection.

Drum and lower bass. Too much boost produces
excessive “boom”. Also useful for 3rd harmonic
mains hum rejection.

Fundamentals and harmonics of strings, keyboards
and percussion. Boosting the 600 to 1 kHz range can
make instruments sound horn-like.

Drums, guitar, accentuation of vocals, stringsand
bass. Too much boos t in the 1 to 2 kHz range
can make instuments sound tinny. Too much
boost any where between 1 to 4 kHz can produce
“listening fatigue”.

Accentuation of percussion, c ymbals and snare
drum. Reduc tion at 5 kHz makes overall sound more
distant and transparent. Reduction of tape hiss
and system noise. The 1.25 to 8 kHz governs clarity
anddenition.

Cymbals and over all brightness. Too much boost
causes sibilance. Reduction of tape hiss and
systemnoise.

Eect on voice

The following tables represent the connection between frequencies and their
acoustic meaning. They should encourage you to start using your DEQ1024 in
many creative ways.

Center fr equency (Hz)

1/3 oc tave

40 to 125 Sense of power in some outstanding bass singers.

160 to 250 Voice fundamentals.

315 to 500 Important for voice qualit y.

630 to 1 k

1.25 k to 4 k

5 k to 8 k

10 k to 16 k Too much boost causes sibilance.

Tab. 3.1: Fre quency alloca tion (voice)

Important for voice naturalness. Too much boost
inthe 315 to 1 kHz range produces a
telephone-like quality.

Voice fricatives-accentuation of vocals. Important
for speech intelligibilit y. Toomuch b oost between
2 and 4 kHz can mask certain spe ech sounds e.g.
“m”, “b”, and “v” can become indistinguishable.
Toomuch boost any where between 1 and 4kHz
can produce “listening fatigue”. Vocalscan be
highlighted by slightly boosting the vocal at
3kHz and at the same time slightly dipping the
instruments at the same frequency.

Accentuation of voice. The range from 1.25 to 8 kHz
governs the clarity of voice.

Eect on voice

Tab. 3.2: Frequenc y allocation (ins truments)

4. Installation

4.1 Rack mounting

The BEHRINGER ULTRAGRAPH DIGITAL requires two height units (2 HU) for
being installed into a 19” rack. Please allow at least an extra 4” of space for the
connectors on the rear panel.

Also, please make sure that sucient ventilation of the unit is provided for,
andnever put the device onto an amp or similar equipment to avoid overheating.

Please use M6 machine screws and nuts to install your DEQ1024 into a rack.

◊ To disconnect your DEQ1024 from the mains, please pull the power cord

out of the socket. When your unit is operational, always make sure you
can easily access the power socket. If you install your DEQ1024 into a
rack, please make sure that you can easily unplug the unit out of the wall
socket or that you are using an extension cord with a power switch.

4.2 Audio connections

You will need many dierent cables for the various applications. The following
illustrations show how these cables should be laid out. Please use exclusively
high-grade cabels.

The audio co nnec tors of the ULTRAGRAPH DIGITAL are elect ronically balan ced an d
ensure automatic hum and noise reduction.

Of course, you can also connect equipment featuring un-balanced outputs.
Tothis end, use either mono jacks or connect ring and sleeve of the stereo jack
(bridge pin 1 and pin 3 when using XLR connectors).

10 ULTRAGRAPH DIGITAL DEQ1024

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

Fig. 4.1: XLR connections

Unbalanced ¼" TS connector

strain relief clamp

sleeve

tip

sleeve

(ground/shield)

tip

(signal)

Fig. 4.2: ¼" TS conne ctor

Insert send return ¼" TRS connector

strain relief clamp

sleeve
ring
tip

sleeve

ground/shield

ring

return (in)

tip

send (out)

Connect the insert send with the input and the
insert return with the output of the eects device.

Fig. 4.4: ¼" TRS connec tor for inser t send/return app lications

4.3 Digital connections (AES/EBU and S/PDIF)

The AES/EBU interface whose name is derived from the Audio Engineering
Society and the European Broadcasting Union, is mainly used in professional

studio environments and broadcasting studios for the transmission of digital
signals, also over greater distances. The connection is made via balanced XLR
cables with a wave resistance of 110 ohms. Cables can be up to 100 m long.

The interface complies with the AES3 format, which allows for the two-channel
transmission of signals with a resolution of up to 24 bits. The signal has an auto­clock and auto-synchronization feature (important when several digital devices
are used). An additional wordclock connection between DEQ1024 and connected
AES/EBU equipment is therefore not required. The sample rate is not xed and
can be chosen freely. Typical rates are 44.1 kHz, 48 kHz, 88.2 kHz and 96 kHz.
The AES/EBU interface is largely compatible with the popular S/PDIF interface.
Aconnection can be made using an adapter.

Balanced ¼" TRS connector

strain relief clamp

sleeve
ring
tip

sleeve

ground/shield

ring

cold (-ve)

tip

hot (+ve)

For connection of balanced and unbalanced plugs,
ring and sleeve have to be bridged at the stereo plug.

Fig. 4.3: ¼" TRS connector

5. Specications

Analog inputs

Type electronically balanced

Connector XLR

Impedance 22 kΩ at 1 kHz

Max. input level +12 or +22 dBu, switchable

CMRR 80 dB typ.

Analog outputs

Type servo-balanced

Connector XLR

Impedance 100 Ω at 1 kHz

Max. output level +12 or +22 dBu, switchable

11 ULTRAGRAPH DIGITAL DEQ1024

System specications

Frequency response 15 Hz to 35 kHz, +/- 3 dB

Signal-to-noise ratio 104 dBu, a-weighted, 22 Hz - 22 kHz

THD 0.004 % typ. @ +4 dBu, 1 kHz, gain 1

Crosstalk < -85 dB, 22 Hz - 22 kHz

Bypass

Type Relay, hard-bypass in case of

power failure

Digital inputs

Type XLR transformer-balanced

Standard AES/EBU or S/PDIF

Input impedance 110 Ω

Nom. input level 0.2 - 5 V peak-to-peak

Digital Outputs

Type XLR transformer-balanced

Standard AES/EBU or S/PDIF

Master

Gain -9 dB to +9 dB

Filter

Low Cut 20 Hz to 160 Hz (12 dB/oct.)

High Cut 2.5 kHz to 16 kHz (12 dB/oct.)

Dynamics

Type gate and limiter with digital IGC

(Interactive Gain Control)

Threshold variable: -60 to -10 dB (gate)

variable: -6 to +9 dB (limiter)

Function switches

Bypass switch, to deactivate equalizer functions

Meter in/out selects between input and

output metering

Fader range sets the maximal cut/boost

for the 31 bands

Standby switches into standby mode

Impedance 110 Ω

Output level 2 - 5 V peak-to-peak

Digital processing

Converter 24-bit Delta-Sigma,

64/128 oversampling

Sample rate 44.1 kHz, 48 kHz, 96 kHz

Graphic equalizer

Type analog 1/3-oct EQ

Frequency rang e 20 Hz to 20 kHz 31 1/3-oct. bands

according to ISO frequencies

Bandwidth 1/3-oct.

Control range +/-6, +/-12 dB or 0/-24 dB (switchable)

Feedback Destroyer (FBD)

Type digital signal analysis for

feedback identication

Filter max. 10 digital notch lters per channel,

automatic feedback suppression system

Frequency range 20 Hz - 20 kHz

Bandwidth 1/10-oct.

Pink noise -48 dB to 0 dB

FB indicator recognition of frequency

band intensity

True Curve Algorithm for achieving lter

curve linearity

Displays

Input/output level 12-digit LED display: -48/-36/-24/-18/

-12/-6/-3/0/+3/+ 6/+9 dB/CLIP

Function switch LED display of each switch (except for

clock and conguration switches)

Power supply

Voltage 85 to 250 V~, 50/60 Hz, auto range

Power consumption typ. 10 W

Fuse T 1 A H

Mains connector Standard IEC receptacle

Dimensions/Weight

Dimensions (H x W x D) approx. 3.5 x 19 x 5.3"

approx. 89 x 482.6 x 135 mm

Shipping weight approx. 2.5 kg / 5 lbs

Control range -48 dB in 6 dB-steps

BEHRINGER continuously strives to assure the highe st quality standards possible. Required modific ations may
be implement ed without prio r notice. Technical data an d the appearance of the un it may deviate from t he above
values and/or illustrations.

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