Behringer ULTRAGRAPH DIGITAL DEQ1024 Manual - Page 11
Using the ULTRAGRAPH DIGITAL in the studio, 4 Special sound effects - ultragraph 31 band digital equalizer
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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. 8rr Ãs rrpÃC phr @ssrp vpr 40 to 125 160 to 250 Sense of power in some outstanding bass singers. 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 5k to 8k 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. 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) 8rr Ãs rrpÃC phr @ssrp vp 31 to 63 80 to 125 160 to 250 Fundamentals of bass drum, tuba, double bass and organ. These frequencies give music a sense of power. If overemphasised they make the music "muddy". The 50 or 60 Hz band is also used to reject AC mains hum. Fundamentals of lower tympani. Too much boost produces excessive "boom". 100 or 125 Hz are also used for hum rejection. Drum and lower bass. Too much boost produces excessive "boom". Also useful for 3rd harmonic mains hum rejection. 315 to 500 630 to 1k 1.25k to 4k 5k to 8k 10k to 16k 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 between 1 to 4 kHz can produce "listening fatigue". 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. Cymbals and overall brightness. Too much boost causes sibilance. Reduction of tape hiss and system noise. Tab. 3.2: Frequency allocation (instruments) 3. APPLICATIONS 11