Behringer Stereo Equalizer DEQ1024 User Manual

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.  
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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.  
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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.  
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+
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.  
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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  
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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 kat 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 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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