DEQ2496

Users Manual

Version 1.1 July 2003

ULTRACURVE PRO

ENGLISH

ULTRACURVE PRO DEQ2496

IMPORTANT SAFETY INSTRUCTIONS
DETAILED SAFETY INSTRUCTIONS: 1) Read these instructions. 2) Keep these instructions. 3) Heed all warnings. 4) Follow all instructions. CAUTION: To reduce the risk of electric shock, do not remove the top cover (or the rear section). No user serviceable parts inside; refer servicing to qualified personnel. 5) Do not use this device near water. 6) Clean only with a dry cloth. 7) Do not block any ventilation openings. Install in accordance with the manufacturers instructions. 8) Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 9) Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 10) Protect the power cord from being walked on or pinched particularly at plugs, extension cords, and the point at which they exit the unit. 11) Only use attachments/accessories specified by the manufacturer. 12) Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the device. When a cart is used, use caution when moving the cart/ device combination to avoid injury from stumbling over it.

WARNING:

To reduce the risk of fire or electric shock, do not expose this appliance to rain and moisture.
This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosurevoltage that may be sufficient to constitute a risk of shock.
This symbol, wherever it appears, alerts you to important operating and maintenance instructions in the accompanying literature. Please read the manual.
13) Unplug this device during lightning storms or when not used for long periods of time. 14) Refer all servicing to qualified service personnel. Servicing is required when the unit has been damaged in any way, such as power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the device, the unit has been exposed to rain or moisture, does not operate normally, or has been dropped.

MENU STRUCTURE

Ultra high-precision digital 24-bit/96 kHz EQ/RTA mastering processor
s Ultra high-resolution processor for all EQ, RTA and dynamic applications, especially for PA and audiophile mastering s 4 concurrently selectable EQ modules (31-band graphic EQ, 10-band parametric EQ, Feedback Destroyer plus three Dynamic EQs per stereo channel)
s Flexible Compressor/Expander function with Peak Limiter per stereo channel as well as additional Stereo Imager and Stereo Delay for delay line applications s Unique VPQ (Virtual Paragraphic EQ) option allows parametric control of graphic EQs
s Ultra high-resolution 61-band real-time FFT Analyzer with additional auto EQ function for room and loudspeaker equalization s Multi-functional level meters (peak/RMS, VU and SPL meter with dBA/dBC weighting via RTA mic input) s 64 user memories for complete setups and/or individual module configurations
s Separate RTA mic/line input with phantom power, professional wordclock input and MIDI connections for full remote control, preset dumps and system updates s Ultra high-quality AKM 24-bit/96 kHz A/D- and D/A converters (113 dB dynamic range) s Open architecture allowing future software updates via MIDI
s Two high-performance 32/40-bit floating-point SHARC digital signal processors for ultimate sonic resolution
s Balanced inputs and servo-balanced outputs with gold-plated XLR connectors, stereo aux output, AES/EBU and S/PDIF inputs and outputs (XLR and optical)
s Internal switch-mode power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient response and lowest possible power consumption s Designed in Germany. Manufactured under ISO9000 certified management system 4

If the unit is damaged, please do NOT return it to BEHRINGER, but notify your dealer and the shipping company immediately. Otherwise claims for damage or replacement may not be granted.
COMPARE (complete preset) GEQ PEQ DEQ FBD WIDTH DYN UTIL I/O BYPASS RTA MEMORY METER X X X X
COMPARE (module only) X X X X X X

1.1.2 Initial operation

Be sure that there is enough space around the unit for cooling and, to avoid overheating, do not place the DEQ2496 on top of power amps or near radiators, etc.
Blown fuses must be replaced by fuses of the same type and rating. Please refer to the SPECIFICATIONS for further details.
The mains connection is made using the enclosed power cord and a standard IEC receptacle. It meets all of the international safety certification requirements.

not active not active

Please make sure that all units have a proper ground connection. For your own safety, never remove or disable the ground conductor from the unit or the AC power cord.
Tab. 2.1: COMPARE function for individual ULTRACURVE PRO modules Press the MEMORY key to select the MEMORY menu (see chapter 3.9). Here, you can save or recall complete presets or individual modules from one preset (e.g. GEQ, PEQ etc.). The MEMORY LED lights up as soon as the parameter values of the preset selected in the MEMORY menu differ from currently active settings.

1.1.3 Warranty

The DEQ2496s serial number is located on its top cover. Please take the time to fill in and return the warranty card within 14 days after the date of purchase, so as to benefit from our extended warranty. Or register online at www.behringer.com.

1.2 About this manual

This manual has been designed so that you can get a clear overview of all control elements and at the same time find detailed information on how to use them. If you need more information on specific topics, please visit our web site at www.behringer.com, where we explain effects processing and power amp applications.
Fig. 2.2: Keys, display and rotary controls
The PAGE key allows you to select the various pages within one menu. The functions performed by the keys A and B depend on the selected menu and are indicated in the display. This is the LC display of your ULTRACURVE PRO. The DEQ2496 has three DATA WHEELS, which can be used to select and edit various parametersagain depending on the currently selected menu. Often, they perform a dual function, i.e. you can edit by turning and pressing a data wheel. Pressing the data wheels also changes the scaling of many parameters (step width) or confirms/resets previously made entries. Fig. 2.5: Digital interfaces and RTA microphone input Your DEQ2496 features a digital optical interface for the transmission/reception of data in both AES/EBU and S/PDIF formats. The digital AES/EBU interface (XLR connectors) also sends/receives AES/EBU or S/PDIF signals. The AUX OUT phone jack is an additional stereo output, which allows you to tap the audio signal present at the digital outputs in analog form. The RTA/MIC IN XLR connector can be used to connect a measurement microphone providing an input signal for the real-time analyzer or SPL meter. This connector has a switchable +15 V phantom power supply for condenser microphones and can be set to microphone or line sensitivity (see chapter 3.11). The MAX switch raises the maximum level present at the MAIN inputs/outputs from +12 dBu to +22 dBu.

3.1 General operation and display structures
When you select a menu with the GEQ, PEQ, DYN, etc. keys, the display indicates the respective menu structure. To the left and right along the display you will find functions and parameters for preset editing, which are assigned to the A and B keys (left) and the three data wheels (right) and can be used for editing as required. Most of the menus comprise several pages. The actual number of pages is shown in the top left part of the display, below the menu name. Use the corresponding menu key or the PAGE key to the left of the display to switch from one page to the next and back again. As the functions performed by the A and B keys and the data wheels depend on the currently selected menu, all operating steps are described in full detail below. All menus are dealt with one after the other, and all functions and parameters are explained explicitly.

3.2.2 PEQ menu

Press the PEQ key to use parametric EQs for signal processing. On each stereo side, you have ten EQs available, which can be set to PEQ or FBD mode (Feedback Destroyer: see chapter 3.2.4). In addition to the band-pass filters, this menu offers filters of the shelving type (high or low), with a slope of 6 or 12 dB/oct.
Fig. 3.2: PEQ menu (page 1) This menu comprises two pages, as can be seen in the top left part of the display. Similar to the GEQ menu, page 1 of the PEQ menu provides a graphic representation of the entire frequency range. Parameter changes can be effected with the corresponding controls (FREQ: upper data wheel, GAIN: large data wheel, BW/OCT: lower data wheel). To reset the selected PEQ, keep the B key to the left of the display pressed for about 1 s. Or hit it briefly to select the parametric filters.
Please note that the left and right channels will be edited simultaneously in STEREO LINK mode.
3.2 Equalizer modules 3.2.1 GEQ menu
Press the GEQ key to enter the GEQ menu. This menu has just one page and allows you to set all filters as desired.
Fig. 3.3: PEQ menu (page 2) Fig. 3.1: GEQ menu Turn the upper data wheel to select a frequency band for editing with the FREQ parameter. 31 bands are available comprising the entire frequency spectrum from 20 Hz to 20 kHz. With the large data wheel (GAIN) you can boost or cut the level of the selected band. The setting range is from -15 to +15 dB. VPQ (Virtual Paragraphic Equalizer) function The lower data wheel (BW/OCT) additionally assigns the required bandwidth to the filters. This means that the frequency bands have a peaking boost/cut characteristic around their center frequency. The number of adjacent frequency ranges influenced by this is determined by the bandwidth. The setting range is from 1/3 too 59/3. As soon as this parameter has been modified, the RESET GEQ message (left bottom part of display) changes to ACCEPT VALUES. Now, when you press the B key (or the large data wheel), the current value is stored and you can continue to enter the filter settings as required. When you press the lower data wheel, the BW/OCT parameter changes to MODE. Turn the wheel to select a HIGH or LOW shelving filter. In this case, the GAIN parameter changes to dB/OCT. Use the large data wheel to adjust the filter slope from -15 to +15 dB/oct. In HIGH mode, all frequency bands above the selected frequency are now raised or lowered in level. In LOW mode, all frequency bands below that frequency are modified. Confirm your entries with the B key (ACCEPT VALUES). Press the PAGE or PEQ key to select the second menu page. If no parametric EQ was selected before, page 2 will be displayed immediately, providing a list of the ten available locations with all relevant parameters. Single filters can be selected either by turning the lower data wheel or by pressing the lower and upper data wheels (UP/DOWN). MODE allows you to activate the selected filter with the large data wheel (press or turn) (PARAM). This will display the associated parameters FREQ, BW(OCT) and GAIN, which can be selected by turning the upper data wheel. Value changes must be entered with the large data wheel. The GAIN setting range is from -15 to +15 dB, the frequency range (FREQ) is from 20 to 20,000 Hz. The FREQ parameter can be adjusted with two scales. The first scrolls faster through the frequency ranges (1/6 oct. per step), the second uses much finer increments (1/60 oct. per step). Press the large data wheel to alternate between these two scales. The parameter BW(OCT) adjusts the bandwidth of the bandpass filter. The width of the peaking characteristic (1/10 oct. to 10 oct.) is determined by this value. Additionally, you can select shelving filters here with a slope of 6 or 12 dB/oct. (e.g. L=Low, 6 dB / H=High, 12 dB, etc.) Explanation: The low-shelving filter raises (positive gain) or lowers (negative gain) the level of the frequency band below the adjusted frequency.

The high-shelving filter, on the other hand, raises (positive gain) or lowers (negative gain) the level of the frequency band above the adjusted frequency. The band-pass filter raises or lowers the level of the frequency range around the center frequency. The GAIN and BW(OCT) values can be reset by pressing the large data wheel. In this menu too, the A keys selects the left and right-channel signals. If STEREO LINK modes has been selected in the UTILITIES menu (chapter 3.5), the parameter values refer to both sides. At least one filter must be activated on page 2 to be able to recall the first page of the PEQ menu. Fig. 3.5: DEQ menu (page 2) On the second page of the DEQ menu (accessed by pressing the DEQ or PAGE key), you can define two additional dynamics parameters. ATTACK (upper data wheel) determines how fast the dynamic EQ starts processing when the signal exceeds or drops below the threshold. The ATTACK times available range from 0 to 200 milliseconds. Press this control to select a coarse or fine adjustment scale. The RELEASE parameter (lower data wheel) lets you adjust the time needed by the EQ to release the sound after the signal has exceeded or dropped below threshold (depending on the GAIN setting). The RELEASE times available range from 20 to 4,000 milliseconds. Here, too, you can press the control to select a coarse or fine adjustment scale. It is on this page that you can also edit the THRESHOLD value (large data wheel), so as to be able to make some readjustments without having to change to another page.

3.2.3 DEQ menu

Press the DEQ key to select the DEQ menu. Due to their complexity, the Dynamic EQs have their parameters split up on three pages. Explanation: A Dynamic EQ influences a defined frequency range of a signal, based on the volume level. It can either raise or lower the level of a specific frequency, depending on the GAIN setting chosen by the user. When the GAIN setting selected causes the frequency range to be lowered in level, and when the signal exceeds a pre-defined THRESHOLD, the EQ starts processing the sound and cuts the level of the respective frequency range. The amount of attenuation applied is determined by the RATIO parameter. When the signal drops below the THRESHOLD, the frequency range is smoothed out again, i.e. the Dynamic EQ stops processing the frequency range. When the GAIN setting selected causes the frequency range to be raised in level, this boost depends on the volume level. As soon as the level of the selected frequency range drops below a pre-defined THRESHOLD, this results in a signal boost determined by the RATIO parameter. If the signal exceeds the threshold again, the Dynamic EQ stops processing the sound. On pages 1 and 2 of the DEQ menu you can adjust the necessary settings to determine the threshold and the way of sound processing. Additionally, you will find a graphic representation of the control curve with regard to THRESHOLD, GAIN and RATIO. In the center of the display, the LEVEL meter (left) indicates the filtered DEQ input level (control signal), while the GAIN meter (right) shows how much boost/cut is applied to the signal. Page 3 includes a frequency diagram showing the filter curves with regard to frequency and threshold. The current DEQ input level can be seen from the LEVEL meter on the right.

Fig. 3.6: DEQ menu (page 3) As mentioned before, page 3 includes a frequency diagram and the gain reduction meter. MODE (upper data wheel) defines the filter type, and you can choose from high-shelving, lowshelving and band-pass filters. The FREQUENCY parameter determines the center frequency of the filter (large data wheel). In the case of low-shelving and high-shelving filters, this is the cut-off frequency as of which the low or high frequencies are processed. The entire frequency spectrum ranges from 20 to 20,000 Hz. Press the data wheel to select a coarse (1/6 oct. per step) or fine adjustment scale (1/60 oct. per step). If you selected bandpass under MODE, the parameter BW(OCT) appears in the lower right part of the display. Here, you can use the lower data wheel to adjust the bandwidth of your choice and thus determine the width of the filter curve (1/10 oct. to 10 oct.). The B key selects which of the dynamic EQs is displayed. Three EQs are available for each stereo side. Keep the key pressed to reset the settings of the currently selected DEQ. This table shows an example with extreme settings, thus illustrating how a dynamic EQ works:
Fig. 3.4: DEQ menu (page 1) The make-up gain parameter M-GAIN on page 1 allows you to set the amount of boost/cut for the filter with the upper data wheel. The setting range is from -15 to +15 dB. THRESHOLD (large data wheel) defines the threshold as of which the filter function is activated. If the filter has been set to attenuate the signal (M-GAIN < 0), then the desired frequency range (see page 3) will be lowered in level as soon as it exceeds the threshold. If boost is required (M-GAIN > 0), the frequency range will be raised in level as soon as the signal drops below the threshold. The RATIO parameter (lower data wheel) determines the amount of boost/cut applied to the respective frequency range, if the signal exceeds or drops below the threshold. The setting range is from 1:2 to 1:100.
02'( )5(4 0*$,1 %:2&7 7+5(6+2/' 5$7,2

6HWWLQJV

BP 1.00 kHz +15 dB > continuous line 0 dB > broken line -15 dB > dotted line 0.1 -40 dB 1:100
Tab. 3.1: Bandpass with extreme settings (see also fig. 3.7)
AUTO mode Microphones that are moved around during a performance (e.g. vocal mics) often suffer from varying feedback frequencies as a result of the changing positions on stage. This kind of feedback is best suppressed in AUTO mode. A filter in AUTO mode automatically identifies the optimum parameter settings for feedback suppression. If the feedback frequencies change, the AUTO filter can track them and keep suppressing them. It always selects the respective frequencies and a very narrow-band filter configuration to affect the wanted signal as little as possible. When all filters are locked in to a specific frequency, and a new feedback frequency occurs, then the filter with the oldest or first feedback frequency detected is released and used for the new one. If new feedback occurs very close to or even at an already identified frequency, the parameters of the filter already in use will be adapted, for example by widening its bandwidth or raising the amount of signal attenuation. SNGL mode Filters in SNGL mode (single shot) also searches feedbacks automatically. If feedback is identified, the filter parameters are configured optimally for feedback suppression. Contrary to filters in AUTO mode, filters in SNGL mode lock in firmly to the identified frequency (LOCK FBD), however, their width and depth are still being adapted to changes in the feedback frequencies. The bandwidth is enlarged, if the feedback frequency shifts slightly, and the amount of attenuation is raised if feedback persists. To prevent a feedback frequency from recurring, the amount of attenuation is not reduced. Thus, SNGL mode is ideally suited to suppress constant feedback frequencies, as they are typically produced by fixed or permanently installed microphones. Use the LOCK FBD function (B key in the left bottom part of the display) to lock the frequency of the SNGL filter manually (SNGL ). This means that the filter can only be modified in its bandwidth and amount of attenuation. With UNLOCK FBD (B key) it can be unlocked again.

The LIMITER function is always active and cannot be switched off. It is also active in bypass mode, however, only works to a limit value of 0 dB, so as to avoid digital distortion occurring on the outputs.

3.5 UTILITY menu

The UTILITY menu provides basic defaults settings (GENERAL SETUP) and MIDI configurations on two pages. The upper and lower data wheels select the parameters, which can then be edited with the large data wheel.
When you keep the UTILITY key pressed for about 1 s, the ULTRACURVE PRO will be locked and cannot be accessed any longer (PANEL LOCKED). Keep the key pressed again to unlock the unit (PANEL UNLOCKED).
Fig. 3.18: Graphic equalizer with frequency response correction (TRUE RESPONSE) The resulting real frequency response now corresponds exactly to the setting made with the graphic equalizer. GAIN OFFSET (EQ) Here, you can correct the overall gain of the EQ modules. RTA NOISE CORRECTION The algorithm used by the RTA (Real-Time Analyzer, warped FFT) leads to inaccuracies with wide-spectrum signals such as noise, due to the asymmetric overlapping of individual frequency ranges. When the built-in noise generator is on or the AVRG setting in the RTA menu has been selected, this correction will be made automatically, and needs not be switched on manually. With all other signals, however, this function should be off; otherwise, the individual frequency bands might be displayed incorrectly.

GENERAL SETUP (page 1)

Fig. 3.16: UTILITY menu (page 1) CONTRAST Here you can adjust the display contrast to adapt it optimally to studio/stage environments (large data wheel).
SHOW MESSAGE BOX Here, you can determine whether the unit displays dialog windows or not. RTA/MIC INPUT Controls the input sensitivity of the RTA/MIC input. You can choose between LINE LEVEL, MIC LEVEL and MIC LEVEL +15 V (phantom power). RTA/MIC LINE LEVEL When the RTA/MIC input is set to LINE, this parameter determines the maximum input level (for 0 dBFS (full-scale) from -14 to +22 dBu). RTA/MIC MIC LEVEL When the RTA/MIC input is set to MIC, this parameter determines the sensitivity depending on the microphone connected (input sensitivity: -42 to -6 dBV/Pa). MIDI SETUP (page 2) Fig. 3.20: I/O menu (page 1) On the first page you can select the DEQ2496s input source with the large data wheel. You can choose between the analog MAIN INPUT, the digital inputs (DIGITAL XLR or DIGITAL OPT) and the built-in PINK NOISE generator. Use the NOISE GAIN parameter to adjust the volume level of the noise generator (lower data wheel). The setting range is from -60 to 0 dB. The upper data wheel controls the sample rate (CLOCK) used by the device. When the digital input has been selected, the sample rate cannot be changed, because the DEQ2496 tracks the sample rate contained in the input signal. When the PINK NOISE generator is on, the modules DEQ and DYN (not LIMITER) are switched off.

If the connected sample rate does not correspond to the rate adjusted on the DEQ2496, this field shows the message UNLOCKED, which mutes all outputs of the DEQ2496.
Fig. 3.22: I/O menu (page 3) On the third page you can determine the input signal for the real-time analyzer. Selectable options are MAIN IN (or DIG. IN), MAIN OUT, AUX OUT/DIG. OUT (XLR and optical) and RTA/MIC input. When you select the RTA microphone input, the A key switches the input sensitivity from MIC to LINE, and vice versa, while the B key enables or disables the phantom power supply required for condenser microphones (MIC +15 V), if the input sensitivity has been set to MIC.
Caution: the reception of the complete memory contents from another unit will overwrite all existing settings! All saved presets will be retained.
Please note that the WIDTH function (stereo imager) is not available in DUAL MONO mode, and is therefore not displayed in the BYPASS menu.
3.8 RTA menu (Real-Time Analyzer)
Fig. 3.23: I/O menu (page 4) On the fourth page of the I/O menu, the ULTRACURVE PRO DEQ2496 allows you to delay either the MAIN output signal or the AUX signal, which is useful, for example, when the connected speakers are positioned at a distance from each other, which results in audible run-time differences and/or phase cancellation. With the A key you can select the left or right stereo side. Independently of the Stereo LINK mode both sides can be processed separately. Keep the key pressed to edit both sides simultaneously. The B key determined whether the MAIN or AUX output signal is processed. Keep this key pressed to reset all delay settings. With the upper data wheel you can determine the unit for the delay settings. You can choose between milliseconds (0 - 300 ms), feet (0 - 338.08 ft) or meters (0 - 103.08 m). If feet or meters have been selected, the lower data wheel adjusts the current ambient temperature in Fahrenheit or C, so as to ensure an optimum delay response pattern (TEMP.). This is necessary because the speed of sound largely depends on the ambient temperature. For example, at 20 C ambient temperature, the speed of sound is 343.6 m/s. The higher the temperature, the higher the speed of sound (plus 0.6 m/s per C). Depending on the channel selected, the large data wheel now controls the left or right stereo side of the output signal (DELAY LEFT and DELAY RIGHT) or even both at the same time. Press the wheel to select a coarse or fine adjustment scale. Your ULTRACURVE PRO DEQ2496 features an FFT real-time analyzer for the graphic representation of all frequency ranges (61 bands). Additionally, this menu includes an AUTO EQ function (AEQ) for automatic frequency response correction (see chapter 3.8.1).
Fig. 3.25: RTA menu (page 1) On the first page, the A key selects the analyzer input signal. These settings are the same you can adjust on page 3 of the I/O menu. You can choose between the options MAIN IN or DIG IN (L + R IN), MAIN OUT (L + R OUT), AUX. OUT/DIG. OUT (L + R DIGOUT) and RTA IN (MIC/LINE). Use the A key for selection. Keep the key pressed to determine which input signal is displayed by the analyzer (left, right or complete input signalnot available if RTA IN has been selected). RTA MIC/LINE IN displays the signal present at the RTA/MIC input (see chapter 3.11). The MAX. parameter (upper data wheel) allows you to select an excerpt of the entire level spectrum, depending on the actual magnitude of the signal level. The adjusted dB value (0 to -60 dB) refers to the upper limit that will be displayed. Press the wheel to activate the AUTO function. Now the MAX value is adjusted automatically, depending on the signal level. RANGE (lower data wheel) determines the dynamic range displayed in four steps (15, 30, 60 or 90 dB). Depending on the selected MAX value, the dynamic range displayed will be extended towards the bottom end. LEVEL or PEAKH (large data wheel) allow you to select specifically each of the 61 frequency bands and display their current volume levels (LEVEL) or PEAK values referenced to the adjusted frequency. The cursor arrows above and below the graphic indicate the currently selected frequency range. The level of the main signal is shown by the LEVEL meter to the left of the RTA display.

The AUX output allows you to send out both the delayed and the undelayed signal. This way, you can set up a delay line without any additional equipment (see also chapter 4.4).

3.7 BYPASS menu

The BYPASS menu includes one page, on which you can select various BYPASS parameters for making comparisons between different sound settings.
Fig. 3.24: BYPASS menu In DUAL MONO mode you can activate the relay bypass function for the left (upper data wheel: BYPASS LEFT) or right stereo side (lower data wheel: BYPASS RIGHT). This connects the analog left or right input of the unit to the corresponding analog output, so that the signals bypass the modules completely. In STEREO LINK mode the upper and lower data wheels disable the modules of both sides simultaneously, so that only the unprocessed input signal can be heard (BYPASS ALL). Fig. 3.26: RTA menu (page 2) On the second page of the RTA menu you can adjust the release time in four steps (FAST, MID, SLOW and AVRG) with the A key (RATE). If set to FAST, MID or SLOW, the RTA uses peak detectors. If set to AVRG, it calculates average values from the signal levels. In this mode, the analyzer seems to be processing slower than usual. The B key (PEAK) selects in five steps how fast the displayed signal peaks disappear again (FAST, MID, SLOW, HOLD and OFF). If set to HOLD, the maximum values of the individual frequency bands are frozen. If you press the B key for about 1 s, the frozen level peaks are reset and can be calculated anew.
Keeping the BYPASS key pressed in DUAL MONO or STEREO LINK mode activates the bypass relays of both channels.
Turn the large data wheel to select individual modules, and press it to remove them from the signal path. The same can be achieved by pressing the B key (BYPASS MODULE). Keeping this key pressed for a while will reset all BYPASS settings. Keeping the module keys pressed for a while (GEQ, PEQ etc.) will enable/disable the bypass function for individual modules.
If PEAK is set to HOLD, the name of the LEVEL parameter changes to PEAKH.
subsequent messages inform you that the unit analyzes the level of the ambient noise at first, before it measures the noise signal applied. Subsequently, the ULTRACURVE PRO corrects the EQ values. Press STOP AUTO EQ to cancel this process. Fig. 3.27: RTA menu (page 3) If you wish to display the RTA in a larger format, please go to page 3, where the illustration covers the whole display. All the other functions available on page 2 can still be edited (RATE, PEAK, etc.).
Fig. 3.30: AEQ menu (page 3) Page 3 of this menu shows the graphic EQ with the settings adjusted on page 1. Here, too, you can START AUTO EQing and change the NOISE GAIN parameter (large data wheel). However, this page includes two additional parameters: DMAX adjusts the maximum difference between two adjacent filters from 0 to +15 dB (large data wheel), while MAX. SPAN (lower data wheel) controls the maximum distance allowed between the desired and real frequency response curve (0 to 30 dB). When this value is exceeded, the corresponding range will not be processed. Press the B key (DONE) to complete this process and keep the adjusted curve. Press the RTA key to cancel. Please note the AUTO EQ does not automatically terminate the analyzing process.

Preset #0 (INITIAL DATA) is a neutral default setting which cannot be overwritten (READONLY).
You can either select an EMPTY memory location or overwrite an existing preset, as long as it is not write-protected (PROTEC ON). After selecting a memory location, press the A key to store the preset (STORE PRESET).
When you try to overwrite an existing preset and press the A key, the DEQ2496 will prompt you to confirm your overwrite command (OVERWRITE DATA?). Press the A key to CANCEL, or the B key (or press the large data wheel) to confirm (OK).
After pressing STORE PRESET another menu will appear in which you can name the preset (max. 16 characters). With the data wheel (turn) and the upper data wheel (turn and press), you can select the characters both horizontally and vertically. Press the center data wheel to enter a character, subsequently the cursor in the lower entry field will be moved to the next position. Turn the lower data wheel to select individual positions and press it to erase individual characters. When you keep the
wheel pressed for about 1 s, all characters will be erased. The PAGE key determines whether selected characters will be overwritten (OVR) or new ones be inserted (INS). Confirm (OK) or CANCEL with the A or B key respectively. To recall an existing preset, just select it as usual with the large data wheel, and confirm by pressing the wheel or the B key (RECALL PRESET). You will then be prompted to confirm the command, because this will erase the settings of the currently selected presetas long as it has not been saved before (RECALL ALL DATA?). Confirm (OK) or CANCEL with the A or B key respectively. You can also continue the process by pressing the large data wheel. Subsequently, the preset of your choice will be loaded. Page 1 of the METER menu shows the levels of the left and right stereo side. Use the A key (SOURCE) to determine whether the input signal, the output signal or the signal applied to the digital or AUX output shall be displayed. The two bars in the middle of the display show the average level of the signals in the form of a VU meter. This means that the displays respond with some delay to changes in signal level. Thus, very short peaks will not be displayed (RMS). The outer two displays are peak meters indicating the signal level including all peaks. As a consequence, the levels shown here are always a bit higher than those displayed by the VU meter. The signal peaks of all level meters (including peak hold) are shown to the right of these displays (PEAK). Press the B key (CLEAR PEAK) to reset the peak values and recalculate them.
The MEMORY LED lights up as soon as the settings of the preset selected in the MEMORY menu have been edited and thus differ from the current settings. Presets set to stereo LINK mode are marked by a stereo symbol ( ) in the preset chart.

Positions 5 and 6 are on-axis again, this time, however about 1 meter before the rear wall of the room. These measurements will reveal any problems with reflections or stationary waves. Please store and subsequently compare the resulting equalizer curves. Major differences between the stored settings are most liably caused by phase errors in the system or problems with the room acoustics. If you cannot eliminate these problems, you have no other choice but to find the best compromise possible. A comparison with the stored equalizer curves will be very helpful. Once the system has been set up as precisely as possible to reproduce the desired transmission curve, you should walk around in the listening area to get an impression of how the system sounds at the various positions. Remember to make a break between your listening tests and to use different music or speech programs to get a feel for the systems sound and the room acoustics. Good equalizer settings need both time and patience! If extreme settings are required to achieve a usable frequency response, this should warn you of some serious problems either in the system or the room acoustics. Equalizers cannot solve the problems caused by poor audio systems, but can be very useful and efficient tools for musical fine-tuning. This, in turn, allows for often surprising improvements in terms of acoustic transparency and the overall sound quality of sound reinforcement systems.
Fig. 4.3: Several ULTRACURVE PROs in a monitor system Figure 4.3 shows an example of using several ULTRACURVE PROs in a 8-way monitor system. The AFL output of the monitor console (usually feeding the control speaker at the monitor console) can alternatively be connected via the RTA/MIC input. On the DEQ2496, select the RTA input in the RTA menu to display the signal of the currently active monitor path.
4.2 Equalizer in the monitor path
The use of the ULTRACURVE PRO in the monitor path follows the same basic rules as the sum-signal equalizer application described above. Additionally, the DEQ2496 offers a few features that are particularly useful for monitoring purposes. The Feedback Destroyer helps you identify and eliminate feedback frequencies during sound check. Once a specific feedback frequency has been found, it can be eliminated by assigning the corresponding filter to it in SNGL mode. If handheld (i.e. wireless) microphones are used, the acoustic conditions will be changing all the time. In this case, it is useful to set the Feedback Destroyer filters to automatic search mode (AUTO). The Feedback Destroyer is suited only for those signal paths that carry heavily modulated signals only (speech, vocals, drums). In principle, there is no way to distinguish long-sustaining sine tones produced for example by a synthesizer or flute from feedback. Here, the result would be the unwanted elimination of such sounds. If all automatic filters are already in use suppressing feedback, and a new feedback frequency is found, the first filter used will be released and set to the new frequency. The Feedback Destroyer can work no miracles, but it can increase the feedback immunity of the audio system by a few dBs. Whenever it responds, you should consider this a warning to reduce the volume level on stage. Basically, the on-stage volume level should be kept as low as possible, because: 1. 2. 3. it will be easier on your hearing, there are less feedback problems, and its easier to achieve a good P.A. sound.

Please ensure that only qualified persons install and operate the device. During installation and operation the user must have sufficient contact to earth. Electrostatic discharges might affect the operation of the unit.
Digital inputs/outputs on optical connectors are also available.

5.4 WORDCLOCK connection

If several devices shall be embedded into a digital recording system comprising, for example, a digital mixing console, all connected digital devices must be synchronized using a common wordclock signal. To this end, your DEQ2496 features a wordclock input, which can be used to control external equipment via wordclock signals. The input supports the sample rates 44.1, 48, 88.2 and 96 kHz, and can be activated only if the analog inputs are used.
Digital input 1 Type Standard Input impedance Nom. input level Digital input 2 Type Standard Digital output 1 Type Standard Impedance Output level Digital output 2 Type Standard Sync input Type Standard Input impedance Nom. level MIDI interface Type Implementation Digital processing Converter Sample rate Graphic equalizer (GEQ) Type Frequency range Bandwidth Control range
XLR transformer-balanced AES/EBU or S/PDIF 110 0.2 - 5 V peak-to-peak
TOSLINK optical AES/EBU or S/PDIF

6. OPERATING software

The operating software of your ULTRACURVE PRO DEQ2496 is constantly being developed to improve its performance and adapt the operation of the unit to user requirements. We would therefore be pleased to hear about your suggestions and ideas for improvement. We will try to include your suggestions in the next software revision. Information on new software versions are available from the trade press, your retailer, from our web site at www.behringer.com or directly from BEHRINGER (Tel. +9206 4166). The current software revision of your ULTRACURVE PRO DEQ2496 is displayed in the UTILITY menu on page 1 (top right).
XLR transformer-balanced AES/EBU or S/PDIF 110 3.5 V peak-to-peak
BNC Wordclock (1 x sample rate) 50 k 2 - 6 V peak-to-peak

7. SPECIFICATIONS

Analog inputs Type Connector Impedance Max. input level CMRR Analog outputs (main) Type Connector Impedance Max. output level Analog outputs (aux) Type Connector Impedance Max. output level System specifications Frequency range Signal-to-noise ratio THD Crosstalk Bypass Type electronically balanced XLR 22 k at 1 kHz +12 or +22 dBu, switchable 40 dB typ. servo-balanced XLR 100 at 1 kHz +12 or +22 dBu, switchable

5-pole DIN jacks In/Out/Thru cf. MIDI implementation chart
24-bit Delta-Sigma, 64/128-oversampling (AKM) 44.1, 48, 88.2, 96 kHz digital 1/3-oct EQ 20 Hz to 20 kHz, 31 1/3-oct. bands according to ISO frequencies 1/3-oct. +15 to -15 dB
servo-balanced 1/4" stereo jack 100 at 1 kHz +12 dBu
Parametric equalizer (PEQ) Type max. 10 independent, fully parametric filters per channel Frequency range 20 Hz to 20 kHz Bandwidth 1/10 to 10 oct., shelving filters (6 and 12 dB) Control range +15 to -15 dB Dynamic equalizer (DEQ) Type Frequency range Bandwidth Control range Threshold Attack Release Ratio
10 Hz to 35 kHz (-1 dB) @ 96 kHz sampling rate > 113 dB main input/output > 107 dB aux output 0.007 % typ. @ +4 dBu, 1 kHz, unity gain < -92 dB/-95 dB
Relay, hard-bypass in case of power failure input electronically balanced 2 k variable from -14 dBu to +22 dBu variable from -42 dBV/Pa to -6 dBV/Pa +15 V, switchable
max. 3 independent, fully parametric filters per channel 20 Hz to 20 kHz 1/10 to 10 oct., shelving filters (6 and 12 dB) +15 to -15 dB variable from 0 to -60 dB 0 to 200 msec 20 to 4,000 msec 1:2 to 1:100
Measurement microphone Type Input impedance Max. input level (LINE) Max. input level (MIC) Phantom power
Feedback Destroyer (FBD) Type digital signal analysis for feedback identification Filter max. 10 digital notch filters per channel, programmable or as automatic feedback suppression system Frequency range 20 Hz to 20 kHz Bandwidth 1/10 to 1/60 oct. Control range 0 to -60 dB
Digital delay Type Max. delay time Min. resolution Delay units Level meter Type digital stereo delay 300 ms, independently adjustable for each channel 0.02 ms seconds, meters or feet Real-time analyzer Type Frequency range Detectors Noise generator Display Type Backlighting Contrast Memory Presets digital 61-band FFT analyzer 20 Hz to 20 kHz, 61 bands according to ISO frequencies peak and average pink noise, levels from 0 to -60 dB 320 x 80 dot-matrix LC display LED, orange adjustable 64 memory locations with 16-character names, single modules can be recalled and saved 85 to 250 V~, 50/60 Hz 10 W typ. T 1A H Standard IEC receptacle 1 3/4" (44.5 mm) x 19" (482.6 mm) x 8 1/2" (217 mm) approx. 2.05 kg approx. 3.5 kg
digital level meter with simultaneous graphic display of peak and RMS values and virtual analog VU meter
SPL meter Weighting Microphone calibration Dynamics Type Threshold Attack Release Ratio Limiter Type Hold Threshold Release
dB (A), dB (C) or OFF -42 dBV/Pa to -6 dBV/Pa Power supply Mains voltage Power consumption Fuse Mains connector Dimensions/weight Dimensions (H x W x D) Weight Shipping weight

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