Behringer Ultragraph Digital DEQ1024 User Manual download pdf (Page 9)

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 connect the ULTRAGRAPH DIGITAL via the channel

insert on your mixing console. To control several signals, either use a su/jointfilesconvert/439811/bgroup

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.

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 frequency (Hz)

1/3 octave

Eect on voice

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

160 to 250 Voice fundamentals.

315 to 500 Important for voice quality.

630 to 1 k

Important for voice naturalness. Too much boost

inthe 315 to 1 kHz range produces a

telephone-like quality.

1.25 k to 4 k

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 vocal at

3kHz and at the same time slightly dipping the

instruments at the same frequency.

5 k to 8 k

Accentuation of voice. The range from 1.25 to 8 kHz

governs the clarity of voice.

10 k to 16 k Too much boost causes sibilance.

Tab. 3.1: Frequency allocation (voice)

Center frequency (Hz)

1/3 octave

Eect on voice

31 to 63

Fundamentals of bass drum, tuba, double bass

and organ. These frequencies give music a sense

of power. If over-emphasised they make the music

“muddy”. The50or60Hzbandisalsoused to reject AC

mains hum.

80 to 125

Fundamentals of lower tympani. Too much boost

produces excessive “boom”. 100 or 125 Hz are also

used for hum rejection.

160 to 250

Drum and lower bass. Too much boost produces

excessive “boom”. Also useful for 3rd harmonic

mains hum rejection.

315 to 500 Fundamentals of strings and percussion.

630 to 1 k

Fundamentals and harmonics of strings, keyboards

and percussion. Boosting the 600 to 1 kHz range can

make instruments sound horn-like.

1.25 k to 4 k

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 between 1 to 4 kHz can produce

“listening fatigue”.

5 k to 8 k

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denition.

10 k to 16 k

Cymbals and over all brightness. Too much boost

causes sibilance. Reduction of tape hiss and

systemnoise.

Tab. 3.2: Frequency allocation (instruments)

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 connectors of the ULTRAGRAPH DIGITAL are electronically balanced and

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).

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Behringer Ultragraph Digital DEQ1024 User Manual Page 9

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