TABLE OF CONTENTS

1. INTRODUCTION... 7
1.1 Before you get started.. 7 1.1.1 Shipment.. 7 1.1.2 Initial operation... 7 1.1.3 Warranty... 7 1.2 The users manual... 7

2. CONTROL ELEMENTS.. 7

2.1 Front panel... 7 2.2 Rear panel... 8

3. QUICK START... 9

3.1 3.2 3.3 3.4 3.5 3.6 Selecting an output configuration.. 9 Setting crossover frequencies.. 9 Muting input/output channels (Mute).. 9 Storing presets... 9 Recalling presets.. 9 Restoring the factory presets.. 10
4. MENU STRUCTURE AND EDITING.. 10
4.1 General operating structure and display presentation. 10 4.2 SETUP menu... 10 4.2.1 IN/OUT... 10 4.2.2 DLY-CORR./AUTO-ALIGN.. 12 4.2.3 COPY... 12 4.2.4 PAGE LOCK.. 13 4.2.5 GLOBAL LOCK.. 13 4.2.6 MISCELLANEOUS.. 14 4.3 IN A/B/C menu.. 15 4.3.1 GAIN.. 15 4.3.2 DELAY/NAME... 15 4.3.3 EQ... 15 4.3.4 DYNAMIC EQ (FILTER).. 16 4.3.5 DYNAMIC EQ (DYNAMICS).. 16 4.4 SUM menu... 16 4.4.1 INPUT/GAIN.. 17 4.5 OUT 1-6 menu.. 17 4.5.1 GENERAL... 17 4.5.2 X-OVER POINTS.. 17 4.5.3 LIMITER... 17 4.5.4 POLARITY/PHASE.. 18 4.5.5 DELAY... 18 4.6 MUTE menu... 18 4.7 RECALL menu.. 18 4.8 STORE menu... 19 4.8.1 INTERNAL/CARD.. 19 4.8.2 DELETE/FORMAT.. 19 4.8.3 COPY.. 20 4.8.4 PRESET-LOCK.. 20
5. AUDIO CONNECTIONS.. 20
My friends, its been worth the effort!

6. APPLICATIONS.. 21

Stereo Tri-Amp operation... 22 Stereo Bi-Amp operation plus mono subwoofer. 23 3x Bi-Amp operation (LCR/Triple Bi-Amping).. 24 Stereo operation plus mono subwoofer. 25 Stereo operation plus 2 subwoofers.. 26 Stereo Bi-Amp operation plus subwoofer and. additional monitor.. 27 6.7 Mono 6-Zone distribution mode. 28 6.8 Stereo 3-Zone delay line.. 29 6.9 3.0 Channel Surround... 30 6.10 Stereo 4-Way bridged system plus 2 monitors. 31 6.11 5-Way mono operation plus 1 additional mono signal 32 6.12 5.1 Surround operation.. 33 6.1 6.2 6.3 6.4 6.5 6.6

Thank you very much,

Uli Behringer
7. SPECIFICATIONS... 34 8. WARRANTY... 35

1. INTRODUCTION

Thank you very much for expressing your confidence in BEHRINGER products by purchasing the ULTRADRIVE PRO DCX2496our high-quality digital loudspeaker management system designed specifically for both live and studio applications. To operate a loudspeaker system that consists of several speakers for the various frequency bands requires different input signals for the individual loudspeakers. This requires a frequency crossover network that devides the input signal into several frequency bands. For this purpose, the ULTRADRIVE PRO provides up to six outputs. Multi-way speaker systems are used in many applications including stereo systems, cinemas, discotheques and concert halls. Due to the high quality demands made by todays consumers, they can even be found in simple products such as TV sets. Why? A single loudspeaker cannot reproduce the entire audible frequency spectrum with the same high quality. If it is connected to a crossover network and only has to reproduce a limited frequency band, the quality will improve considerably in terms of frequency response and dispersion pattern. This also reduces intermodulation distortion in the treble range (due to the diaphragm displacement produced by bass frequencies).

3. QUICK START

This chapter is for those who cannot wait to use their new DCX2496 in a practical application. You will find a description of how you can explore your DCX2496 and its versatile and intuitive features below. This chapter is just a starting point for future excursions. So, please read the entire users manual to take full advantage of all your DCX2496s features and functions. Please work your way through the following six chapters (3.1 to 3.6), one after the other. Here we go! Fig. 3.3: Mute Select Press the MUTE button to enter the MUTE menu. Here you can mute the inputs and outputs of the DCX2496. On this page you can mute or activate individual channels by pressing the channel buttons (IN A/B/C and OUT 1-6), or all inputs/outputs by pressing the PARAM and OK or CANCEL buttons. Thus, you can monitor each frequency band, either individually or together with a neighboring band, to allow perfect editing of the isolated frequency range. To quit the MUTE menu press MUTE a second time. For more detailed information see chapter 4.6 MUTE menu.
3.3 Muting input/output channels (Mute)
3.1 Selecting an output configuration
Fig. 3.1: Setup In/Out Press the SETUP button to call up the SETUP menu. On the first menu page, select an output configuration (OUT CONFIGURATION) to determine which outputs are used for which frequency ranges. One mono and three stereo configurations are available. The mono configuration allows you to split the input signal into six different frequency ranges. The stereo configurations allow a maximum of three different frequency ranges per stereo side. The abbreviations L, M and H stand for Low, Mid and High Speaker. For more information see chapter 4.2.1 IN/OUT.

3.4 Storing presets

Fig.: 3.5: Store Internal/Card Use the STORE button to save your presets. In this menu you can store either in the internal memory (INT) or on a PC card (CARD). More information on the STORE function can be found in chapter 4.8 STORE menu.
3.2 Setting crossover frequencies

3.5 Recalling presets

Fig. 3.2: Out X-Over Points In order to assign dedicated frequency bands to the output channels, you have to define the crossover frequencies (X-Over) for each of them. The crossover frequencies determine the upper and lower limits of a frequency band, which allows you to clearly separate the outputs from each other in terms of frequency. Press the corresponding OUT button (1-6) and select menu page 2/8 using the PAGE buttons. With the parameters FREQ and TYPE you can define the slope of the crossover frequency and also select a filter type. When the parameter X-OVER ADJUST MODE is set to LINK, any changes to the crossover frequency will also shift the neighboring frequency ranges. For more information see chapter 4.5.2 X-OVER POINTS. Fig. 3.6: Recall Internal/Card Press the RECALL button to load presets from the internal memory or a memory card. Select either INT or CARD (PCMCIA memory card), then enter the preset you wish to recall. We included some typical presets, which you can use as a basis for your own applications. For further information see chapter 4.7 RECALL menu.

Fig. 4.10: Setup In/Out When this function is On, the display provides a warning note that shows both the new link to be activated and the name of the inputs that will be overwritten (black field). Use the data wheel to edit the link to be activated (black field). The values of input A will be transferred to the following inputs.
Fig. 4.13: Setup Dly-Corr./Auto-Align Tab. 4.2: In Stereo Link When you edit a setting of any input, while a link is activated, all edits are directly transferred to the linked inputs. In the case of the IN STEREO LINK function, this also includes the DELAY values (see chapter 4.3.2). Use the parameter IN A + B SOURCE to select the type of input signals: ANALOG or AES/EBU (digital: via input A only). If at least two or more outputs have been opened and OK has been pressed, the cursor will jump to ADJUST NOISE LEVEL and you can hear some test noise. Use the data wheel to adjust the test noise. The level will be read at the outputs. Press OK to trigger the measuring process. The DCX2496 calculates the runtime differences, phase shift and polarity. The OUTs are automatically adjusted to the optimum delay values calculated. This process cannot be executed if the test noise level is too low.
4.2.2 DLY-CORR./AUTO-ALIGN
Fig. 4.14: Setup Dly-Corr./Auto-Align Fig. 4.11: Setup Dly-Corr./Auto-Align As the speed of sound depends on the air temperature, the parameter DELAY CORRECTION on this SETUP page can be used to adjust the DCX2496 to the ambient temperature, ensuring proper delay characteristics at all times. The available value range is from -20C to 50C (-4F to 122F) and will be taken into account only as long as DELAY CORRECTION is ON. With the AUTO ALIGN function you can delay the output signal automatically by a certain amount, so as to eliminate phase cancellations caused by speaker alignment. For example, when the diaphragms of several speakers are not in the same phase it leads to cancellations due to arrival time differences. Identical signals are radiated from different positions, so that wave crests coincide with wave troughs. If only one of these signals is delayed, this misalignment can be compensated. If the arival time differences are smaller, a short signal delay will be enough to eliminate them (SHORT DELAY). However, if the speaker cabinets are placed several meters away from each other, not only can phase cancellations occur but so can audible run-time differences. To remove these, youll have to use considerably higher delay values (LONG DELAY). The LONG DELAY calculation, however, works only with a minimum distance of four meters.

4.2.3 COPY

Use the COPY function to copy parameter settings to other pages. For example, you can transfer the EQ or gain settings from one channel to another, which saves you a lot of time.
Fig. 4.15: Setup Copy The parameter COPY MODE determines whether only single pages (PAGE) or the complete channel settings (WHOLE CHANNEL) will be copied. Select PAGE mode with the PARAM button and then select the source channel (SOURCE) plus the SOURCE PAGE to be transferred to another channel. If you select just one page, the channel to be overwritten (DESTINATION PAGE) will appear automatically under the parameter DESTINATION. Please enter the channel to which the data should be copied to (DESTINATION CHANNEL).
Both the source and destination CHANNEL can be selected using the data wheel or by pressing the corresponding channel button (IN A-C, OUT 1-6 and SUM).
Fig. 4.20: Setup Page Lock To lock a parameter page you must activate the PAGE LOCK function (ON). The unit will prompt you to enter a password. Use the data wheel to enter a password with a maximum of 8 characters, and confirm your selection with OK.
Fig. 4.16: Setup Copy Press OK or CANCEL to subsequently copy further pages in the same way.
Only similar pages with identical parameters can be copied. If you select a SOURCE PAGE that is not available in the DESTINATION CHANNEL, the display will read NOT AVAILABLE under DESTINATION PAGE.
CAUTION: Please make a note of your password. It is impossible to unlock parameter pages without the correct password!
Fig. 4.21: Setup Page Lock Now, the parameter SELECT PAGES is displayed, enabling you to select all the pages to be locked. Use the IN/OUT/SUM/ SETUP buttons to call up a menu, the data wheel to select the page of your choice and the OK button to activate the PAGE LOCK function. The data wheel also allows you to scroll through a list of all pages, from which you can select the ones you wish to lock. This is the only way to call up the ALL PAGES function that lets you lock all pages in one operation. To unlock all pages at once, select ALL PAGES and press CANCEL. As before, the selected pages must be confirmed and locked with OK. Locked pages are displayed with a closed lock symbol. If a page is unlocked, the lock symbol is open. Use the CANCEL button to unlock a previously locked page.
Fig. 4.17: Setup Copy If you set COPY MODE to WHOLE CHANNEL, you can copy the complete channel settings to another channel. Use SOURCE to select the channel to be copied (SOURCE-CHANNEL), then define the channel to be overwritten (DESTINATION). The process is the same as in PAGE mode. So-called cross copying (copying of different channels, for example output 1 to input A), allows the copying of only those pages that can be transferred 1:1 to another channel. Any other pages will not be overwritten. Previously locked pages (see chapter 4.2.4) cannot be overwritten. A corresponding message is displayed.

The OK and CANCEL functions cannot be selected in the display with the cursor. They can only be activated with the corresponding buttons on the front panel.
Use the CHECK function for an overview of all locked pages. The locked pages from the list now appearing can be selected with the data wheel. This function is located at the bottom right of the display and must be selected with the cursor. Fig. 4.18: Setup Copy

4.2.4 PAGE LOCK

In this menu you can lock individual parameter pages, preventing them from being edited without first entering a password. This is useful for P.A. rental companies, for example, who want to make sure that certain harmful pages with necessary fixed settings cannot be accessed by the user.
When you call up a locked page, you will at first notice no difference. Only when you try to edit a parameter, will the display prompt you to enter your password. Entering the correct password and confirming it with OK will take you back to the page, now ready for editing. To activate PAGE LOCK again, go to the PAGE LOCK page (4/6) and enter your password again. Now, all settings are available, i.e. you can activate or deactivate PAGE LOCK completely by selecting the line PAGE LOCK: ON with the cursor and setting this parameter to ON or OFF with the data wheel.

4.2.5 GLOBAL LOCK

This function allows you to lock all parameter pages if you want to make sure that nobody can edit your settings while youre away during a break in a live performance, for example.
Fig. 4.19: Setup Page Lock In the PAGE LOCK menu you can either lock single pages or all pages. In this case, you need a password to edit the pages. The parameter PAGE LOCK is set to OFF by default. As long as it is not ON, you can skip this page and move on to the next.
Fig. 4.22: Setup Global Lock On this SETUP page you can activate the GLOBAL LOCK function (ON), enter a password, then confirm with OK. Now, if you try to edit any parameter, the display will prompt you to enter your password. The process follows the same logic as the PAGE LOCK routine. Fig. 4.26: PC (RS-232) mode Use this setting if you want to connect only one DCX2496 to your computer via the RS-232 interface. It is impossible to daisychain several units in this mode.

4.3 IN A/B/C menu

On these pages you can define the EQ, delay and similar values for the individual input signals, and hence optimize the overall sound.

4.3.1 GAIN

Press one of the buttons IN A, IN B or IN C to enter the INPUT menu of the corresponding input. On the first page, you can adjust the input gain for the signal (GAIN). The setting range is from -15 to +15 dB.
The FREQ parameter controls the cutoff frequency, at which the filter starts working. In the case of the low-pass and high-pass filters, the cutoff frequency is the point, at which low and/or high frequencies are processed. The entire frequency spectrum ranges from 20 Hz to 20 kHz. Use the GAIN parameter to define the degree of boost/cut applied to a specific frequency band. The setting range is from -15 to +15 dB. Fig. 4.35: In A Dynamic EQ ( Dynamics) The THRESHOLD parameter defines a threshold, activating the filter function once that threshold is exceeded. If the filter has been set to reduce the gain on the DYNAMIC EQ (FILTER) page (GAIN < 0), this frequency range will be cut, as soon as it exceeds the threshold. However, if the filter has been set to raise the gain (GAIN > 0), the frequency range is boosted, as soon as its level drops below the threshold. The threshold setting range is from -60 to 0 dB. Next, you can use the RATIO parameter to define the amount of gain boost/cut. RATIO adjusts the level balance between the input and output signals. Available settings range from 1.1 : 1 (minimum boost/cut) to o : 1 (maximum boost/cut). o ATTACK defines how fast the DYNAMIC EQ reacts to signals exceeding or falling below THRESHOLD, and can be set from 1 to 200 milliseconds. RELEASE controls the recovery time needed by the EQ to stop processing the signal, once it has exceeded or fallen below THRESHOLD (depends on the GAIN setting). Available RELEASE times are from 20 to 4,000 milliseconds.
When you set GAIN to 0 dB, the corresponding filter is inoperative! This means that you cannot select a new type. Only when this values is higher or lower than 0 dB, will the filter be activated, and you can select a new filter type. Please note that two or more filters are used for one frequency range when LINK is active. Consequently, the processor performance will decrease.
With the Q parameter you can set both the quality of the bandbass filter and the amount of interaction with adjacent frequency ranges around the center frequency. The higher this value, the lesser the influence on neighboring frequencies. This function is available only for the band-pass filters; its range is adjustible from 0.1 to 10. The number of filters available depend on the processing power (>FREE) available. Filters can be allocated to either the inputs or outputs in any proportion. The more filters are activated, the lower the processing power and vice versa.

4.3.4 DYNAMIC EQ (FILTER)
As the DYNAMIC EQ is a highly complex module, its parameters are allocated to two pagesthe FILTER and the DYNAMICS parameters pages. The DYNAMIC EQ influences a specific frequency range of the signal, depending on the volume level. It can either boost or cut this frequency range, depending on the gain setting made by the user. If the gain control is set to lower the respective frequency range in level, and if a preset THRESHOLD is exceeded, the EQ modifies the sound by reducing the gain of the frequency range. The amount of gain reduction applied is defined by the RATIO value. When the signal drops below threshold again, the frequency range is smoothed out again, i.e. the DYNAMIC EQ stops processing the signal. When you define a certain boost with the GAIN control, the gain of the frequency range is raised depending on the volume level. When the level of the selected frequency range drops below a preset THRESHOLD, the range is boosted by a certain amount (RATIO). As soon as the threshold is exceeded again, the DYNAMIC EQ stops processing the signal.
Tab. 4.3: Band-pass settings with extreme values (results in fig. 4.36)
Fig. 4.34: In A Dynamic EQ ( Filter) The complete DYNAMIC EQ (FILTER) page corresponds to the EQ page in terms of operation and to the parameters in terms of number and type. Exception: Only one filter is selectable. Fig. 4.36: Filter curves with gain above/below threshold
4.3.5 DYNAMIC EQ (DYNAMICS)
On this page you can edit both the threshold and the operating mode of the compressor and/or expander (volume-dependent sound processing).

4.4 SUM menu

In addition to its inputs A-C, the ULTRADRIVE PRO DCX2496 provides an internal source signal that can be composed of these three input signals. This SUM signal can be edited at any time, much like any other input signal, so that you have a maximum of four separate source signals available.

4.4.1 INPUT/GAIN

Fig. 4.37: Sum Input/Gain In this menu, the parameter IN SELECT allows you to define a combination of two inputs forming the SUM signal. Available options are: IN A + IN B, IN A + IN C and IN B + IN C. Of course, you can also use just one input signal as your SUM signal (IN A, IN B or IN C), by doubling one of the inputs. It is impossible, however, to form a SUM signal composed of all input signals! If no additional source signal is required, set IN SELECT to OFF. The current SUM configuration is shown graphically below this parameter. In the top left corner of the display you can use SUM INPUT GAINS to adjust the input signal of the inputs A-C. The signal controlled here is taken directly from post-input convertersnot post-EQ or post-Dynamics. Therefore, it is not necessary to readjust the input gain. The SUM INPUT GAINS setting range is from -15 to +15 dB. With the OUT GAIN parameter you can control the internal output level of the sum signal. This signal is also taken pre-EQ, preDynamics, etc. and is then routed to output channels 1-6. The gain setting also ranges from -15 to +15 dB. Thus, you can use one parameter to quickly adjust all inputs together in their adjusted balance at the same time. The following SUM pages are 100% identical to the IN A/B/C pages 2/5 to 5/5 (see chapters 4.3.2 to 4.3.5)!

4.5.5 DELAY

Fig. 4.42: Out 5 Delay The DLY parameter in the top left corner of the display switches the DELAY function ON or OFF. With the LINK function you can couple several output DELAYS, so that you only have to adjust one DELAY for a whole stack of speakers. However, this applies to LONG DELAY values only. SHORT DELAY values can be adjusted separately and independently of the LINK function, and can be linked to each other in the SETUP menu (page 1/6), using the parameter OUT STEREO LINK. The parameters SHORT and LONG allow you to define the DELAY values of your choice. The setting range for the SHORT Delay is from 0 to 4,000 mm (= 0.00 to 11.64 ms) and the LONG Delay can be adjusted from 0.00 to 200.00 m (= 0.00 to 582.24ms). With the LINK function activated, all LONG DELAY changes at one output are transferred to the corresponding output (L > M > H of one stereo side)irrespective of the selected output configuration (e.g. LMHLMH).
Fig. 4.44: Recall Internal/Card In the upper display line, the parameter CURRENT NR indicates the current preset. If the preset has been edited but not yet stored, an arrow plus EDITED appears below this line. Now, if you try to load a new preset, the unit warns you that the current preset has not been saved yet. If you continue to load a new preset, all settings will be lost.
If the LINK function is activated for one output, it will be switched on for ALL other outputs as well.
When you have set all DELAY values for the outputs and then activated the LINK function for one of them, the LONG DELAY values are NOT transferred to the linked outputs. This happens only when you edit any parameters that change the values of the linked outputs proportionally. The current DELAY values are still not copied, but rather the linked output values follow the changes.
Fig. 4.45: Recall Internal/Card
If you wish to store the current preset before loading a new one, cancel RECALL and change to the STORE menu (see chapter 4.8). The parameter RECALL NR allows you to select the BANK, from which to load a preset (INT or CARD) and the NUMBER of the preset. Both values are shown in the large right-hand window Use the data wheel to select a preset (1 - 60). Confirm your selection with OK to return to the previously selected menu (before entering RECALL). AUTO-STORE Your DCX2496 features an AUTO-STORE function. This means that all settings are saved automatically, once every few seconds, to a temporary, non-volatile memory. For example, if there is a power failure while youre editing, at least the last few edits (before the last auto-store operation) are available directly from the auto-store memory. This function cannot be disabled.

6.4 Stereo operation plus mono subwoofer
Fig. 6.4: Stereo operation plus mono subwoofer A full-range stereo signal is sent to two active speaker cabinets for stereo reproduction. There is no need for a dedicated frequency separation because the crossover and amplifier in the active speaker are perfectly adapted to each other. However, to achieve more power in the bass, low frequencies are cut off in the active cabinets and routed to a subwoofer. The power amp is set to mono-bridged mode and the SUM signal derived from In A+B is sent to the subwoofer. Outputs 4 to 6 can be used as mono or stereo delay lines.
6.5 Stereo operation plus 2 subwoofers
Fig. 6.5: Stereo operation plus 2 woofer cabinets Only two frequency ranges (Low and High) are used on each stereo side. The two passive speaker cabinets for the higher frequencies are limited towards the bass end and are fine-tuned in their sound with the DCXs internal equalizer. The stereo bass signal is first sent to the active woofer, which also provides the passive woofer cabinet with sufficient power for the right-hand low-frequency channel. The unused outputs 5 and 6 can be used as mono delay lines.
6.6 Stereo Bi-Amp operation plus subwoofer and additional monitor
Fig. 6.6: Stereo 2-way operation plus subwoofer and additional monitor Inputs A+B carry the stereo signal optimized for the two 2-way speakers. The woofer signal is derived from the sum signal of A+B, limited in its frequency range and routed to the active sub-woofer. A separate signal from the mixing console (aux/subgroup) for a separate speaker can be processed via In C. In our example, this is a full-range stage monitor with its own amplifier able to play back a dedicated monitor mix for the singer, drummer or other performers.
6.7 Mono 6-Zone distribution mode
Fig. 6.7: Mono 6-way Zoning (signal distribution mode) In this special-purpose application, the ULTRADRIVE PRO is not used as a frequency crossover but rather as a signal distributor, for dedicated EQing plus individual delays and separate volume settings for each output. The monophonic mix signal is split up and sent to six equal outputs. It can be used for a variety of applications requiring the transmission of music or speech over large distances or to several rooms or rooms consisting of several compartments. Examples are large discotheques, multi-room clubs/pubs/bars, shopping malls, restaurants, hotels, lobbies, trade show and conference halls, railway stations, churches/cathedrals and even at home where you can use the DXC2496 to play back music in every room.

6.12 5.1 Surround Operation
Fig. 6.12: Surround 5.1 With two DCX2496 units you can even realize todays most popular surround format: 5.1. In addition to the speaker cabinets and power amps (or active speakers as in the simplified illustration shown here), all you need is a surround decoder to play back preproduced 5.1 material such as DVDs, or a mixing console with six outputs (e.g. stereo out plus four subgroups). In the latter case, you can create highly sophisticated surround mixes even without a special surround sound decoder. (To be continued on next page.)
The preset 5.1FRONT has been optimized for the L-C-R front speakers with 2 speaker ways each (see also chapter 5.3). The three signals required Front-Left, Front-Center, Front-Right are routed via the three inputs (A, B, C) to the first DCX2496. On the second DCX2496, the preset 5.1 REAR should be used as a starting point. It supplies the two rear surround speakers (also 2-way systems) plus the monophonic sub-bass channel (LFE = Low Frequency Enhanced) with the input signals RearLeft, Rear-Right and Sub-bass, using connectors In A, B, C. The sixth output of the second ULTRADRIVEPRO is not used in this application, but is left available for additional effects or as a mono delay line. RS-485 (2x) Type Transmission type POWER SUPPLY Mains voltage USA/Canada Europe/U.K./Australia Japan General export model Power consumption Fuse Mains connector DIMENSIONS (H x W x D) WEIGHT SHIPPING WEIGHT RJ-45 connector 115200 bauds, 8 data bits, 1 stop bit, no parity
120 V~, 60 Hz 230 V~, 50 Hz 100 V~, 50 - 60 Hz 100 - 240 V~, 50 - 60 Hz approx. 12 W 100 to 240 V~: T 1 A H Standard IEC receptacle 1 " (44.5 mm) x 19" (482.6 mm) x 8 " (217 mm) approx. 3 kg approx. 4.2 kg

7. SPECIFICATIONS

ANALOG INPUTS (A, B, C) Type Connector Max. input level Input impedance Crosstalk DIGITAL INPUT (A) Connector Format Input level Input impedance Sampling frequency Special feature MICROPHONE INPUT (C) Type Connector Max. input level Input impedance Phantom supply electronically balanced XLR +22 dBu approx. 20 k at 1 kHz -72 dB @ 0 dBu In XLR S/PDIF or AES/EBU 0.3 to 10 Vpp approx. to 96 kHz Sample Rate Converter electronically balanced XLR -23 dBu approx. 470 at 1 kHz +15 V
ANALOG OUTPUTS (1, 2, 3, 4, 5, 6) Type electronically balanced Connector XLR Max. output level +22 dBu Output impedance approx. 160 at 1 kHz Crosstalk -100 dB @ 10 dBu In SYSTEM DATA Sampling frequency Signal delay 96 kHz < 1 ms Analog input to analog output 10 Hz to 35 kHz (-1 dB) typ. 109 dB
Frequency response Dynamic range (analog input analog output) Input noise -90 dBu (@ +22 dBu 112 dB) Output noise -90 dBu (@ +22 dBu 112 dB) THD+N Ratio 0,007 % @ 0 dBu In, Gain 1 0,004 % @ 10 dBu In, Gain 1 CONVERTERS A/D converter Resolution Oversampling Dynamic range D/A converter Resolution Oversampling Dynamic range SERIAL INTERFACE RS-232 Type Transmission type
24-Bit Delta-Sigma AKM 64x 112 dB typ. 24-Bit Delta-Sigma AKM 64x 112 dB typ.

9-pin sub-D connector 115200 bauds, 8 data bits, 1 stop bit, no parity
BEHRINGER makes every effort to ensure the highest standard of quality. Necessary modifications are carried out without notice. Thus, the specifications and design of the device may differ from the information given in this manual.

8. WARRANTY

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 the Internet (www.behringer.com or www.behringer.de). 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. 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. 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. 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. 4 WARRANTY REGULATIONS 1. Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealers 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. 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. 3. Free inspections and maintenance/repair work are expressly excluded from this warranty, in particular, if caused by improper 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. DOLBY is a registered trademark of Dolby Laboratories, Inc. with no connection whatsoever to BEHRINGER. 2003 BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Mnchheide II, Germany Tel. +9206 0, Fax +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. 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. 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 buyers 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. 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. 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. 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW 1. This warranty does not exclude or limit the buyers statutory rights provided by national law, in particular, any such rights against the seller that arise from a legally effective purchase contract. 2. The warranty regulations mentioned herein are applicable unless they constitute an infringement of national warranty law. * Customers in the European Union please contact BEHRINGER Germany Support for further details.

FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION
Responsible party name: Address: MUSIC Group Services USA, Inc. 18912 North Creek Parkway, Suite 200 Bothell, WA 98011, USA Phone: +Fax: +673 7647

Phone/Fax No.:

complies with the FCC rules as mentioned in the followingparagraph: This equipment has been tested and found to comply with the limits for a ClassB digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the followingmeasures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician forhelp. This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. Important information: Changes or modifications to the equipment not expressly approved by MUSIC Group can void the users authority to use the equipment.

behringer.com

DCX2496

Technical Specifications

Version 1.1 June 2003

ULTRADRIVE PRO

ENGLISH

ULTRADRIVE PRO DCX2496

Ultra-High Precision Digital 24-Bit/96 kHz Loudspeaker Management System
s 3 analog inputs (one suitable as a digital stereo AES/EBU input) and 6 analog outputs for maximum flexibility s High-end AKM 24-Bit/96 kHz A/D and D/A converters for ultimate signal integrity and wide dynamic range (112 dB)
s Integrated sample rate converter for easy connection of external digital signals with sampling rates from 32 to 96 kHz
s Precise dynamic EQs for level-dependent equalization and extremely musical parametric EQs, selectable for all inputs and outputs s Several types of EQs (LP/BP/HP) for each input and output s Zero-attack limiters on all output channels for optimal signal protection s Four different mono and stereo output operating modes
s Individual crossover filter types (Butterworth, Bessel and Linkwitz-Riley) with selectable roll-off characteristics from 6 to 48 dB/octave
s Adjustable delays for all inputs and outputsallow manual or automatic correction for room temperature, phase and arrival time differences s Additional sum signal easily derived from the A/B/C inputs
s Future-proof ULTRADRIVE PRO software enables single or multi remote control via PC through RS-232 and RS-485 interfaces (www.behringer.com) s Link option via RS-485 network interface enables cascading of several ULTRADRIVE PROs s 60 user-defined internal presets storable via PC software or on a PCMCIA card s Open architecture assures easy software updates
s Ultra low-noise 4580 operational amplifiers for outstanding audio performance s Servo-balanced, gold-plated XLR connectors for all inputs and outputs
s High-quality components and exceptionally rugged construction for long life and durability
s Internal switch-mode power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient response plus lowest possible power consumption s Manufactured under ISO9000 certified management system

SPECIFICATIONS

ANALOG INPUTS (A, B, C) Type Connector Max. input level Input impedance Crosstalk DIGITAL INPUT (A) Connector Format Input level Input impedance Sampling frequency Special feature MICROPHONE INNPUT (C) Type Connector Max. input level Input impedance Phantom supply electronically balanced XLR +22 dBu approx. 20 k at 1 kHz -72 dB @ 0 dBu In XLR S/PDIF or AES/EBU 0.3 to 10 Vpp approx. to 96 kHz Sample Rate Converter electronically balanced XLR -23 dBu approx. 470 at 1 kHz +15 V DIMENSIONS (H x W x D) WEIGHT SHIPPING WEIGHT 1 " (44.5 mm) x 19" (482.6 mm) x 8 " (217 mm) approx. 3 kg approx. 4.2 kg
ANALOG OUTPUTS (1, 2, 3, 4, 5, 6) Type electronically balanced Connector XLR Max. output level +22 dBu Output impedance approx. 160 at 1 kHz Crosstalk -100 dB @ 10 dBu In SYSTEM DATA Sampling frequency Signal delay 96 kHz < 1 ms Analog input to analog output 10 Hz to 35 kHz (-1 dB) typ. 109 dB
Frequency response Dynamic range (analog input analog output) Input noise -90 dBu (@ +22 dBu 112 dB) Output noise -90 dBu (@ +22 dBu 112 dB) THD+N Ratio 0,007 % @ 0 dBu In, Gain 1 0,004 % @ 10 dBu In, Gain 1 CONVERTERS A/D converter Resolution Oversampling Dynamic range D/A converter Resolution Oversampling Dynamic range SERIAL INTERFACE RS-232 Type Transmission type RS-485 (2x) Type Transmission type
24-Bit Delta-Sigma AKM 64x 112 dB typ. 24-Bit Delta-Sigma AKM 64x 112 dB typ.
9-pin sub-D connector 115200 bauds, 8 data bits, 1 stop bit, no parity RJ-45 connector 115200 bauds, 8 data bits, 1 stop bit, no parity
POWER SUPPLY Mains voltage USA/Canada 120 V~, 60 Hz Europe/U.K./Australia 230 V~, 50 Hz Japan 100 V~, 50 - 60 Hz General export model 100 - 240 V~, 50 - 60 Hz Power consumption approx. 12 W Fuse 100 to 240 V~: T 1 A H Mains connector Standard IEC receptacle

BEHRINGER makes every effort to ensure the highest standard of quality. Necessary modifications are carried out without notice. Thus, the specifications and design of the device may differ from the information given in this publication.
The information contained in this publication is subject to change without notice. No part of this publication 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-Mnchheide II, Germany Tel. +9206 0, Fax +9206 4903