Behringer manual ULTRAGRAPH DIGITAL DEQ1024, This is surely the most common DEQ1024 application

ULTRAGRAPH DIGITAL DEQ1024

3.1Master 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” first has proved itself useful. If distortion occurs, it should first 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 off 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 first 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 first be eliminated by using the DEQ1024 (also see ch. 3.2.1). This should definitely be done before setting up the sound.

After this editing, you have a basic setup; now, you can do some manual fine-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 floor 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 better feeling for the transmission characteristic of your system as well as of the room/auditorium itself.

+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 effective sound tool for musical fine 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 filter for this purpose and set it up in such a way so that extremely deep feedback disappears, creating a transparent-sounding monitor sound.

Fig. 3.2: The ULTRAGRAPH DIGITAL DEQ1024 in a monitor system

10 3. APPLICATIONS