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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.
Now, activate the feedback detection system by pressing the
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.
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.
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.
3.3 Using the ULTRAGRAPH DIGITAL in the studio
Additional applications of your DEQ1024 are possible in the
studio. Your imagination has no limits. Here are only some of the
examples:
As equalizer for your studio monitors:
You can perform graphic equalization of your monitor sound.
Besides, you can supress narrow-band room resonances. An
analyzer, such as the one integrated into the BEHRINGER digital
equalizer ULTRACURVE PRO DEQ2496, can help you in your
search for room resonances and a linear frequency response.
For general sound processing:
The equalizer lets you process both individual and sum signals.
To process individual signals, you should connect the
ULTRAGRAPH DIGITAL via the channel insert on your mixing
console. To control several signals, either use a 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.
3.4 Special sound effects
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 its coming through the phone, or you can prominently
filter the sound of instruments so that they fit well into an existing
mix.
The following tables represent the connection between
frequencies and their acoustic meaning. They should encourage
you to start using your DEQ1024 in many creative ways.
3. APPLICATIONS
40 to 125
Sense
of
power
in
some
outstanding
bass
singers.
160 to 250 Voice fundamentals.
315 to 500 Important for voice quality.
630 to 1k
Important for voice naturalness. Too much
boost in the 315 to 1 kHz range produces
a telephone-like quality.
1.25k to 4k
Voice fricatives-accentuation of vocals
.
Important for speech intelligibility. Too
much boost between 2 and 4 kHz can
mask certain speech sounds e.g. "m", "b"
,
and "v" can become indistinguishable. Too
much boost anywhere between 1 and 4
kHz can produce "listening fatigue". Vocals
can be highlighted by slightly boosting the
vocal at 3 kHz and at the same time
slightly dipping the instruments at the
same frequency.
5k to 8k
Accentuation of voice. The range from
1.25 to 8 kHz governs the clarity of voice.
10k to 16k Too much boost causes sibilance.
Tab. 3.1: Frequency allocation (voice)
31 to 63
Fundamentals of bass drum, tuba, double
bass and organ. These frequencies give
musicasenseofpower.Ifover
-
emphasised they make the music
"muddy".The50or60Hzbandisalso
used to reject AC mains hum.
80 to 125
Fundamentals of lower tympani. Too
much boost produces excessive "boom"
.
100 or 125 Hz are also used for hum
rejection.
160 to 250
Drum and lower bass. Too much boos
t
produces excessive "boom". Also usefu
l
for 3rd harmonic mains hum rejection.
315 to 500 Fundamentals of strings and percussion.
630 to 1k
Fundamentals and harmonics of strings
,
keyboards and percussion. Boosting the
600 to 1 kHz range can make
instruments sound horn-like.
1.25k to 4k
Drums, guitar, accentuation of vocals
,
strings and bass. Too much boost in the
1to2kHzrangecanmakeinstuments
sound tinny. Too much boost anywhere
between 1 to 4 kHz can produce
"listening fatigue".
5k to 8k
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.
10k to 16k
Cymbals and overall brightness. Too
much boost causes sibilance. Reduction
of tape hiss and system noise.
Tab. 3.2: Frequency allocation (instruments)