User’s Manual
Version 1.0 June 2003
ULTRAGRAPH DIGITAL DEQ1024
ULTRAGRAPH DIGITAL
Digital Stereo 31-Band 24-Bit/96 kHz Equalizer/Feedback Destroyer/Dynamics Processor
s Ultra high-resolution processor for all EQ, RTA and dynamic applications, especially for PA and audiophile
mastering
s Unique TRUE CURVE Function—what you see on the faders is what you get as frequency response
s Revolutionary FBQ DETECTION system instantly reveals critical frequencies and can also be used as
Audio Analyzer
s Automatic and ultra-fast Feedback Destroyer plus feedback indication via fader LEDs
s “Inaudible” Noise Gate/Peak Limiter function plus amazing Stereo Imager for spatial enhancement
s Additional sweepable high and low cut filters for removal of unwanted frequencies like floor rumble and high-
frequency noise
s Integrated Pink Noise generator for perfect room and loudspeaker equalization
s Digital AES/EBU and S/PDIF interface and selectable sample rates (44.1, 48, 96 kHz)
s Ultra high-resolution 24-bit/96 kHz A/D- and D/A converters and high-performance 24/48-bit MOTOROLA®
DSP for ultimate sonic resolution
s Relay-controlled hard-bypass with an auto-bypass function during power failure (failsafe relay)
s Highly accurate, 2 x 12-digit LED meters for easy input and output level setting
s Ultra high-quality, illuminated 45-mm faders, sealed rotary controls and illuminated switches
s Servo-balanced inputs and outputs on gold-plated XLR and ¼" TRS connectors
s Internal switch-mode power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient
response and lowest possible power consumption
s Extremely rugged construction ensures long life even under the most demanding conditions
s Designed in Germany. Manufactured under ISO9000 certified management system
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ULTRAGRAPH DIGITAL DEQ1024
FOREWORD
TABLE OF CONTENTS
Dear Customer,
1. INTRODUCTION ......................................................... 5
welcome to the team of
BEHRINGER users, and
thank you very much for
expressing your confi-
dence in us by pur-
chasing the DEQ1024.
1.1 Before you get started ................................................... 5
1.1.1 Shipment ............................................................... 5
1.1.2 Initial operation...................................................... 5
1.1.3 Warranty .............................................................. 5
1.2 The user’s manual .......................................................... 5
Writing this foreword
for you gives me great
pleasure, because it
represents the culmi-
nation of many months
of hard work delivered
by our engineering team
to achieve a very am-
bitious goal: to present
an outstanding piece of
equipment that can be
used in both live and
2. CONTROL ELEMENTS ............................................... 6
2.1 Front panel ...................................................................... 6
2.2 Rear panel ...................................................................... 9
3. APPLICATIONS .......................................................... 9
3.1 Master equalizer in sound reinforcement systems ..... 10
3.2 Equalizer in the monitor path ........................................ 10
3.2.1 Priming a monitor system ................................... 11
3.3 Using the ULTRAGRAPH DIGITALin the studio ........... 11
3.4 Special sound effects .................................................. 11
studio
applications
thanks to its enormous flexibility. The task of designing our new
DEQ1024 certainly meant a great deal of responsibility, which
we assumed by focusing on you, the discerning user and
musician. Meeting your expectations also meant a lot of work
and night shifts. But it was fun, too. Developing a product usually
brings a lot of people together, and what a great feeling it is
when all who participated in such a project can be proud of
what they’ve achieved.
4. INSTALLATION .........................................................12
4.1 Rack mounting .............................................................. 12
4.2 Audio connections ....................................................... 12
4.3 Digital connections (AES/EBU and S/PDIF) .................. 12
5. SPECIFICATIONS .....................................................13
6. WARRANTY ..............................................................14
It is our philosophy to share our enjoyment with you, because
you are the most important member of the BEHRINGER team.
With your highly competent suggestions for new products you’ve
made a significant contribution to shaping our company and making
it successful. In return, we guarantee you uncompromising quality
as well as excellent technical and audio properties at an extremely
reasonable price. All of this will enable you to give free rein to
your creativity without being hampered by budget constraints.
We are often asked how we manage to produce such high-
quality devices at such unbelievably low prices. The answer is
quite simple: it’s you, our customers! Many satisfied customers
mean large sales volumes enabling us to get better purchasing
terms for components, etc. Isn’t it only fair to pass this benefit on
to you? Because we know that your success is our success
too!
I would like to thank all of you who have made the DEQ1024
possible. You have all made your own personal contributions,
from the developers to the many other employees at this company,
and to you, the BEHRINGER user.
My friends, it’s been worth the effort!
Thank you very much,
Uli Behringer
4
ULTRAGRAPH DIGITAL DEQ1024
Power is delivered via the cable enclosed with the unit. All
requiered safety precautions have been adhered to.
1. INTRODUCTION
Thank you very much for expressing your confidence 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.
+
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.
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 definitely upgrade your equipment.
1.1.3 Warranty
Please take a few minutes and send us the completely filled
out warranty card within 14 days of the date of purchase. You
needed for the registration is located at the top of the unit. Failure
to register your product may void future warranty claims.
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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.
1.2 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 specific issues, please
additional information on mixing consoles, effects units and
dynamic processors.
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 sufficient ventilation,
and never place the ULTRAGRAPH DIGITAL on top of an amplifier
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”.
1. INTRODUCTION
5
ULTRAGRAPH DIGITAL DEQ1024
2. CONTROL ELEMENTS
2.1 Front panel
Fig. 2.1: Front panel control elements
Use the 45-mm EQ faders to increase or decrease any
one of the 31 frequency bands. Each fader has its own
red LED.
Deactivating the FEEDBACK DESTROYER:
If you hold the RESET (HOLD) switch depressed for a few
seconds, the filter settings are reset (RESET (HOLD) LED
dies out) and the FEEDBACK DESTROYER is deactivated.
Use the FADER RANGE switches to regulate increasing/
decreasing in three different 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 specific frequency range (-24 dB).
If you press the FB INDICATOR switch (green switch
LED lights up), the FBQ feedback detection 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.
+
+
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.
By displaying the intensity of individual frequency ranges,
the feedback recognition system also functions as an audio
analyzer.
All settings you implement always affect both
channels of your DEQ1024.
+
+
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.
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 affected 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.
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!
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
switch once again deactivates the function.
). Briefly pressing the PINK NOISE
Deactivating the search function (feedback
suppression remains active):
PINK NOISE
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.
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.
Displaying the feedback frequencies:
If you briefly (for approx. 2 seconds) depress the RESET
(HOLD) switch, the feedback frequencies that the DEQ1024
was able to find will be indicated on the respective fader
LEDs. If no feedback occurs, the LEDs will stop being lit up
for roughly 2 seconds.
6
2. CONTROL ELEMENTS
ULTRAGRAPH DIGITAL DEQ1024
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Try to orient yourself on a frequency whose signal
LIMITER
level lies in the 0 dB to -3 dB range in order to avoid
overdriving the equipment connected (e. g. amp,
crossover).
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
)
In the world of ordinary graphic equalizers, there is always
a difference between the adjusted curve and the resulting
frequency response. This phenomenon is simply caused
by the construction of such equalizers. This difference
depends on the frequency and its cut/boost. Near-by
frequency bands influence one another, whereby individual
instances of cut or boost can also be added up to one
another.
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.
The DEQ1024 features a LOW CUT and HIGH CUT filter in its
FILTER section, allowing you to limit the entire frequency
spectrum upward or downward. The HIGH CUT control is
used to determine the cut-off frequency above which the
high frequency range is lowered (2.5 - 16 kHz). When turned
all the way to the right, the filter is deactivated (OFF). The
LOW CUT control is used to determine the cut-off frequency
above which the low frequency range is lowered
(20 - 160 Hz). When turned all the way to the left, the filter
is deactivated (OFF).
Fig. 2.2: Graphic equalizer without
frequency response correction
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).
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 left 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).
When you keep the CONFIG switch depressed for a few
seconds, you can select the operating mode of your
DEQ1024: ANALOG (green 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 connectors 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 fig. 2.5 and
2.6).
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.
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.
TheDYNAMICS 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 affecting 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 effectively removed from the
signal. The yellow GATE LED in the METER section (see
)
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).
2. CONTROL ELEMENTS
7
ULTRAGRAPH DIGITAL DEQ1024
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
). 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 DAT
and CD recorders or sound cards. The analog
output signal is always converted with 24 bit,
independent of the above setting.
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 respective dynamics
processors is either exceeded or is below the selected
value; the LED also indicates that the dynamics processor
Fig. 2.4: Input/output wiring depending on operating mode
B
C
C
B
A
A
B
A
A
A
A
B
A
A
A
A
A
A
B
A
A
A
A
B
is active at this time (see
the pink noise generator and the 24-bit word length setting
(see ) is shown on the LED METER.
). Additionally, the volume of
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.
Tab. 2.1: Input/output wiring depending on
operating mode
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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
the rear panel) recalls the current settings.
on
Fig. 2.5: Signal flow in PRE EQ mode
Fig. 2.6: Signal flow in POST EQ mode
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
connected 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).
8
2. CONTROL ELEMENTS
ULTRAGRAPH DIGITAL DEQ1024
2.2 Rear panel
Fig. 2.7: Rear panel control elements and connectors
The balanced XLR and 1/4" TRS inputs are used for
connecting an analog input signal.
3. APPLICATIONS
The flexible 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.
The analog output signal of the DEQ1024 can be taken by
using these balanced XLR and 1/4" TRS connectors.
The MAX. LEVEL switches increase the maximum signal
level on the analog inputs and outputs from +12 dBu to
+22 dBu.
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
). Here, you can connect the output
of your dynamics processor or similar equipment.
+
Never connect a signal simultaneously to the
AES/EBU and to the S/PDIF input.
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
). Connect
the input of your external dynamics processor or similar
equipment here. Unlike with the digital inputs, both digital
outputs can be used simultaneously.
The POWER switch powers up your ULTRAGRAPH
DIGITAL. The POWER switch should always be in its “Off”
position when you are about to connect 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.
The mains connection is achieved via the standard IEC
connector. A matching power cord is included.
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.
SERIAL NUMBER of the ULTRAGRAPH DIGITAL. Please
take the time to fill in and return the warranty card within 14
days after the date of purchase. Or register online at
Fig. 3.1: The ULTRAGRAPH DIGITAL DEQ1024 as master
equalizer
3. APPLICATIONS
9
ULTRAGRAPH DIGITAL DEQ1024
3.1 Master equalizer in sound
reinforcement systems
3.2 Equalizer in the monitor path
Basically, the on-stage volume level should be kept as low as
possible, because:
This is surely the most common DEQ1024 application.
1.
2.
3.
it will be easier on your hearing,
To achieve optimal results, you should keep in mind the
following:
there are less feedback problems, and
it’s easier to achieve a good front-of-house sound.
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.
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.
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.
Fig. 3.2: The ULTRAGRAPH DIGITAL DEQ1024
in a monitor system
3. APPLICATIONS
10
ULTRAGRAPH DIGITAL DEQ1024
3.2.1 Priming a monitor system
Priming describes the process of detecting and suppressing
feedback frequencies. After placing and setting up your
microphones and monitor speakers (including amplifiers), you
should crank up the aux send controls on all the channels of
your mixing console needed for the monitor mix.
Sense of power in some outstanding bass
singers.
40 to 125
160 to 250
315 to 500
Voice fundamentals.
Important for voice quality.
Important for voice naturalness. Too much
boost in the 315 to 1 kHz range produces
a telephone-like quality.
Now, activate the feedback detection system by pressing the
630 to 1k
FB INDICATOR switch
. The fader LEDs
indicate the
intensity of the individual frequency bands. Then, use the aux
send master controls to increase the amplification on your mixing
console until you first begin to notice feedback. Possible feedback
frequencies are now indicated on the fader LEDs that are lit up
most brightly.
Voice fricatives-accentuation of vocals.
Important for speech intelligibility. Too
much boost between 2 and 4 kHz can
mask certain speech sounds e.g. "m", "b",
and "v" can become indistinguishable. Too
much boost anywhere between 1 and 4
kHz can produce "listening fatigue". Vocals
can be highlighted by slightly boosting the
1.25k to 4k
Frequency ranges that cause feedback can now be lowered
by using the respective EQ faders. Repeat this procedure to
detect additional feedback frequencies. After 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.
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.
5k to 8k
10k to 16k
Too much boost causes sibilance.
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.
Tab. 3.1: Frequency allocation (voice)
3.3 Using the ULTRAGRAPH DIGITAL in the studio
Fundamentals of bass drum, tuba, double
bass and organ. These frequencies give
Additional applications of your DEQ1024 are possible in the
studio. Your imagination has no limits. Here are only some of the
examples:
music
a
sense of power. If over-
31 to 63
emphasised they make the music
"muddy". The 50 or 60 Hz band is also
used to reject AC mains hum.
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.
Fundamentals of lower tympani. Too
much boost produces excessive "boom".
100 or 125 Hz are also used for hum
rejection.
80 to 125
Drum and lower bass. Too much boost
produces excessive "boom". Also useful
for 3rd harmonic mains hum rejection.
For general sound processing:
160 to 250
315 to 500
630 to 1k
The equalizer lets you process both individual and sum signals.
To process individual signals, you should connect 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
finished 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.
Fundamentals of strings and percussion.
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 boost in the
1 to 2 kHz range can make instuments
sound tinny. Too much boost anywhere
1.25k to 4k
between
1
to
4
kHz can produce
"listening fatigue".
3.4 Special sound effects
Accentuation of percussion, cymbals and
snare drum. Reduction 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 definition.
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
filter the sound of instruments so that they fit well into an existing
mix.
5k to 8k
Cymbals and overall brightness. Too
much boost causes sibilance. Reduction
of tape hiss and system noise.
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.
10k to 16k
Tab. 3.2: Frequency allocation (instruments)
3. APPLICATIONS
11
ULTRAGRAPH DIGITAL DEQ1024
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 sufficient 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.
Fig. 4.3: 1/4" TRS connector
4.2 Audio connections
You will need many different cables for the various
applications. The following illustrations show how these cables
should be laid out. Please use exclusively high-grade cabels.
The audio connectors of the ULTRAGRAPH DIGITAL are
electronically balanced and ensure automatic hum and noise
reduction.
Fig. 4.4: 1/4" TRS connector for insert send/return
applications
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).
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 auto-clock 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 fixed 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.
Fig. 4.1: XLR connections
Fig. 4.2: 1/4" TS connector
4. INSTALLATION
12
ULTRAGRAPH DIGITAL DEQ1024
5. SPECIFICATIONS
FUNCTION SWITCHES
Bypass
ANALOG INPUTS
Type
Connector
Impedance
Max. input level
CMRR
switch, to deactivate equalizer
functions
selects between input and
output metering
electronically balanced
XLR
22 kΩ at 1 kHz
+12 or +22 dBu, switchable
80 dB typ.
Meter in/out
Fader range
sets the maximal cut/boost
for the 31 bands
switches into standby mode
-48 dB to 0 dB
recognition of frequency band
intensity
Algorithm for achieving filter
curve linearity
ANALOG OUTPUTS
Type
Connector
Impedance
Max. output level
Standby
Pink noise
FB indicator
servo-balanced
XLR
100 Ω at 1 kHz
+12 or +22 dBu, switchable
True Curve
SYSTEM SPECIFICATIONS
Frequency response
Signal-to-noise ratio
15 Hz to 35 kHz, +/- 3 dB
104 dBu, a-weighted,
22 Hz - 22 kHz
0.004 % typ. @ +4 dBu, 1 kHz,
gain 1
DISPLAYS
Input/output level
12-digit LED display: -48/-36/-24/
-18/-12/-6/-3/0/+3/+6/+9 dB/CLIP
LED display of each switch
(except for clock and
THD
Function switch
Crosstalk
< -85 dB, 22 Hz - 22 kHz
configuration switches)
BYPASS
Type
POWER SUPPLY
Voltage
Relay, hard-bypass in case of
power failure
85 to 250 V~, 50/60 Hz,
auto range
Power consumption
Fuse
Mains connector
typ. 10 W
T 1 A H
Standard IEC receptacle
DIGITAL INPUTS
Type
Standard
Input impedance
Nom. input level
XLR transformer-balanced
AES/EBU or S/PDIF
110 Ω
DIMENSIONS/WEIGHT
Dimensions (H x W x D)
0.2 - 5 V peak-to-peak
approx. 3.5" (89 mm)
x 19" (482.6 mm)
x 5.3" (135 mm)
DIGITAL OUTPUTS
Type
Standard
Impedance
Output level
XLR transformer-balanced
AES/EBU or S/PDIF
110 Ω
Shipping weight
approx. 2.5 kg (5 lbs)
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 range
20 Hz to 20 kHz 31 1/3-oct. bands
according to ISO frequencies
1/3-oct.
Bandwidth
Control range
+/-6, +/-12 dB or 0/-24 dB
(switchable)
FEEDBACK DESTROYER (FBD)
Type
digital signal analysis for
feedback identification
max. 10 digital notch filters per
channel, automatic feedback
suppression system
20 Hz - 20 kHz
Filter
Frequency range
Bandwidth
1/10-oct.
Control range
-48 dB in 6 dB-steps
MASTER
Gain
-9 dB to +9 dB
FILTER
Low Cut
High Cut
20 Hz to 160 Hz (12 dB/oct.)
2.5 kHz to 16 kHz (12 dB/oct.)
DYNAMICS
Type
gate and limiter with digital IGC
(Interactive Gain Control)
BEHRINGER continuously strives to assure the highest quality standards
possible. Required modifications may be implemented without prior notice.
Technical data and the appearance of the unit may deviate from the
above values and/or illustrations.
Threshold
variable: -60 to -10 dB (gate)
variable: -6 to +9 dB (limiter)
5. SPECIFICATIONS
13
ULTRAGRAPH DIGITAL DEQ1024
3. Free inspections and maintenance/repair work are expressly
6. WARRANTY
excluded from this warranty, in particular, if caused by improper
handling of the product by the user. This also applies to defects
caused by normal wear and tear, in particular, of faders,
potentiometers, keys/buttons and similar parts.
§ 1 WARRANTY CARD/ONLINE REGISTRATION
To be protected by the extended warranty, the buyer must
complete and return the enclosed warranty card within 14 days
of the date of purchase to BEHRINGER Spezielle Studiotechnik
GmbH, in accordance with the conditions stipulated in § 3. Failure
to return the card in due time (date as per postmark) will void any
extended warranty claims. Based on the conditions herein, the
buyer may also choose to use the online registration option via
4. Damages/defects caused by the following conditions are
not covered by this warranty:
s improper handling, neglect or failure to operate the unit in
compliance with the instructions given in BEHRINGER user
or service manuals.
s connection or operation of the unit in any way that does not
comply with the technical or safety regulations applicable in
the country where the product is used.
§ 2 WARRANTY
1. BEHRINGER (BEHRINGER Spezielle Studiotechnik GmbH
including all BEHRINGER subsidiaries listed on the enclosed page,
except BEHRINGER Japan) warrants the mechanical and
electronic components of this product to be free of defects in
material and workmanship for a period of one (1) year* from the
original date of purchase, in accordance with the warranty
regulations described below. If the product shows any defects
within the specified warranty period that are not excluded from
this warranty as described under § 3 and 4, BEHRINGER shall, at
its discretion, either replace or repair the product using suitable
new or reconditioned parts. In the case that other parts are used
which constitute an improvement, BEHRINGER may, at its
discretion, charge the customer for the additional cost of these
parts.
s damages/defects caused by force majeure or any other
condition that is beyond the control of BEHRINGER.
5. Any repair or opening of the unit carried out by unauthorized
personnel (user included) will void the warranty.
6. If an inspection of the product by BEHRINGER shows that
the defect in question is not covered by the warranty, the
inspection costs are payable by the customer.
7. Products which do not meet the terms of this warranty will
be repaired exclusively at the buyer’s expense. BEHRINGER will
inform the buyer of any such circumstance. If the buyer fails to
submit a written repair order within 6 weeks after notification,
BEHRINGER will return the unit C.O.D. with a separate invoice
for freight and packing. Such costs will also be invoiced
separately when the buyer has sent in a written repair order.
2. If the warranty claim proves to be justified, the product will
be returned to the user freight prepaid.
3. Warranty claims other than those indicated above are
expressly excluded.
§ 5 WARRANTY TRANSFERABILITY
This warranty is extended exclusively to the original buyer
(customer of retail dealer) and is not transferable to anyone
who may subsequently purchase this product. No other person
(retail dealer, etc.) shall be entitled to give any warranty promise
on behalf of BEHRINGER.
§ 3 RETURN AUTHORIZATION NUMBER
1. To obtain warranty service, the buyer (or his authorized
dealer) must call BEHRINGER (see enclosed list) during normal
business hours BEFORE returning the product. All inquiries must
be accompanied by a description of the problem. BEHRINGER
will then issue a return authorization number.
§ 6 CLAIM FOR DAMAGES
Failure of BEHRINGER to provide proper warranty service shall
not entitle the buyer to claim (consequential) damages. In no
event shall the liability of BEHRINGER exceed the invoiced value
of the product.
2. Subsequently, the product must be returned in its original
shipping carton, together with the return authorization number to
the address indicated by BEHRINGER.
3. Shipments without freight prepaid will not be accepted.
§ 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW
§ 4 WARRANTY REGULATIONS
1. This warranty does not exclude or limit the buyer’s statutory
rights provided by national law, in particular, any such rights
against the seller that arise from a legally effective purchase
contract.
1. Warranty services will be furnished only if the product is
accompanied by a copy of the original retail dealer’s invoice.
Any product deemed eligible for repair or replacement by
BEHRINGER under the terms of this warranty will be repaired or
replaced within 30 days of receipt of the product at BEHRINGER.
2. The warranty regulations mentioned herein are applicable
unless they constitute an infringement of national warranty law.
2. If the product needs to be modified or adapted in order to
comply with applicable technical or safety standards on a national
or local level, in any country which is not the country for which
the product was originally developed and manufactured, this
modification/adaptation shall not be considered a defect in
materials or workmanship. The warranty does not cover any
such modification/adaptation, irrespective of whether it was
carried out properly or not. Under the terms of this warranty,
BEHRINGER shall not be held responsible for any cost resulting
from such a modification/adaptation.
* Customers in the European Union please contact BEHRINGER
Germany Support for further details.
The information contained in this manual is subject to change without notice. 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 BEHRINGER Spezielle Studiotechnik GmbH.
BEHRINGER is a registered trademark.ALL RIGHTS RESERVED. © 2003 BEHRINGER Spezielle Studiotechnik GmbH.
BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Münchheide II, Germany
Tel. +49 2154 9206 0, Fax +49 2154 9206 4903
14
6. WARRANTY
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