Bedienungsanleitung Behringer DEQ2496 (Seite 18 von 22) (Englisch)

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ULTRACURVE PRO DEQ2496

4. APPLICATIONS

Positions 5 and 6 are on-axis again, this time, however about

1 meter before the rear wall of the room. These measurements

will reveal any problems with reflections or stationary waves.

Please store and subsequently compare the resulting equalizer

curves. Major differences between the stored settings are most

liably caused by phase errors in the system or problems with the

room acoustics. If you cannot eliminate these problems, you

have no other choice but to find the best compromise possible. A

comparison with the stored equalizer curves will be very helpful.

Once the system has been set up as precisely as possible to

reproduce the desired transmission curve, you should walk

around in the listening area to get an impression of how the

system sounds at the various positions. Remember to make a

break between your listening tests and to use different music or

speech programs to get a feel for the systems sound and the

room acoustics.

Good equalizer settings need both time and patience! If extreme

settings are required to achieve a usable frequency response,

this should warn you of some serious problems either in the

system or the room acoustics.

Equalizers cannot solve the problems caused by poor audio

systems, but can be very useful and efficient tools for musical

fine-tuning. This, in turn, allows for often surprising improvements

in terms of acoustic transparency and the overall sound quality

of sound reinforcement systems.

4.2 Equalizer in the monitor path

The use of the ULTRACURVE PRO in the monitor path follows

the same basic rules as the sum-signal equalizer application

described above. Additionally, the DEQ2496 offers a few

features that are particularly useful for monitoring purposes.

The Feedback Destroyer helps you identify and eliminate

feedback frequencies during sound check. Once a specific

feedback frequency has been found, it can be eliminated by

assigning the corresponding filter to it in SNGL mode. If hand-

held (i.e. wireless) microphones are used, the acoustic conditions

will be changing all the time. In this case, it is useful to set the

Feedback Destroyer filters to automatic search mode (AUTO).

The Feedback Destroyer is suited only for those signal paths

that carry heavily modulated signals only (speech, vocals, drums).

In principle, there is no way to distinguish long-sustaining sine

tones produced for example by a synthesizer or flute from

feedback. Here, the result would be the unwanted elimination of

such sounds. If all automatic filters are already in use suppressing

feedback, and a new feedback frequency is found, the first

filter used will be released and set to the new frequency. The

Feedback Destroyer can work no miracles, but it can increase

the feedback immunity of the audio system by a few dBs.

Whenever it responds, you should consider this a warning to

reduce the volume level on stage.

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 P.A. 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. If

you use certain speaker types on a regular basis, you can save

standard settings on your equalizer, which have proven useful

in practice (e.g. for 15" wedge or drum-fill speakers). Extremely

low frequencies are usually faded out completely to avoid a

muddy sound on stage caused by low-frequency feedback.

Fig. 4.3: Several ULTRACURVE PROs in a monitor system

Figure 4.3 shows an example of using several ULTRACURVE

PROs in a 8-way monitor system. The AFL output of the monitor

console (usually feeding the control speaker at the monitor

console) can alternatively be connected via the RTA/MIC input.

On the DEQ2496, select the RTA input in the RTA menu to display

the signal of the currently active monitor path.

4.3 Using the ULTRACURVE PRO in the studio

The number of possible uses for your DEQ2496 in a studio

environment is endless. Your imagination is the only limit. Here

are just a few examples:

As an equalizer for the monitor speakers: apart from the usual

graphic equalization (GEQ) the parametric filters (PEQ) can be

used efficiently to suppress narrow-band room resonance. What

is more, the DEQ2496 functions as an A/D and D/A converter for

the conversion of analog to digital, and vice versa.

As a mastering equalizer: Owing to the stereo link function all

settings on the graphic equalizer must be made only once. Here,

too, the additional parametric filters can be used effectively for

fine-dosed equalization. Use the AES/EBU inputs/outputs

(optional) for sound processing purely in the digital domain.

For general sound shaping: The option to change programs

via MIDI and modify all parameters via MIDI controllers makes the

ULTRACURVE PRO a particularly flexible tool if combined with a

MIDI sequencer. For example, this allows you to change settings

during mix-down and still have them reproducible all the time.

4.4 Using the ULTRACURVE PRO

as a delay unit

Apart from the applications described in chapter 4.1, it also

happens that speaker stacks must be set up at a larger distance

from the stage to produce some direct radiation at remote positions.

In order to make up for the run-time differences between the on-

stage speakers and the remote stacks, the latter must be provided

with an electronically delayed signal. Usually, special delay lines

are used for this, however, not so with the DEQ2496, because

it already includes a signal-delay option. This function can be

operated as conveniently as on any dedicated device. The delay

setting is stored with a program, and by using the MAIN and AUX

outputs you need only one DEQ2496 to set up a delay line: simply

delay one of the output signals and send it to the remote speaker

stacks.

Behringer DEQ2496 Seite 18

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