Behringer Minifbq FBQ800 User Manual

MINIFBQ FBQ800 User Manual

A.  B. To monitor the output level of the FBQ800, use the 

METER SELECT button  

(5)

  together with the IN/OUT 

meter  

(6)

, as described in this documentation.

B.  While you monitor the output level of the FBQ800, 

use the LEVEL knob  

(3)

  to adjust the output level of 

the FBQ800 to 0 dB.

4.  If the frequency-band faders and all other control elements 

are not already activated, use the IN/OUT button  

(2)

  to 

activate them.

5.  To EQ the signal, use the EQ section  

(9)

, as described in 

this documentation.

6.  To monitor the output level, use the METER SELECT button  

(5)

  together with the IN/OUT meter  

(6)

, as described in this 

documentation. If the output level is higher or, alternatively 
lower than 0 dB, use the LEVEL control  

(3)

  to adjust the output 

level to 0 dB.

7.  Periodically monitor and, if necessary, adjust the input level and 

output level, as described previously in steps 3 and 6.

If you activated all control elements  

(2)

, you can use control elements 

through to EQ the input signal, as follows:

(7) 

RANGE button: To select a range for the EQ faders, use this 
button, which can appear:

pushed in and illuminated: The fader range extends from 
-6 dB to +6 dB.

not pushed in and not illuminated: The fader range 
extends from -12 dB to +12 dB.

(8) 

FBQ IN button: To manage the FBQ Feedback Detection System, 
use this button, which can appear:

pushed in and illuminated: The FBQ Feedback Detection 
System is activated. If the signal level is high in a 
frequency band, the relevant fader LED illuminates 
brightly. In addition, all other fader LEDs are dimmed. 
To reduce the potential for feedback, cut the signal in the 
relevant frequency band  

(9)

.

not pushed in and not illuminated: The FBQ Feedback 
Detection System is not activated. Fader LEDs illuminate 
with identical brightness. They do not identify possible 
feedback frequencies.

(9) 

EQ SECTION: If you activated all control elements  

(2)

, 

the input signal travels to the EQ section. In this section, you EQ 
(EQualize) the input signal. This means that you emphasize 
and de-emphasize specific frequencies, many of which are 
associated with specific sounds. For details, see About sounds 
and their frequency bands, which follows.

The EQ section includes 9 frequency bands. For each of these 
frequency bands, the EQ section includes a single fader. 
The center frequency of each frequency band is displayed 
directly above the relevant fader, as follows:
•  63 

•  500 

•  4 k

•  125  

•  1 k  

•  8 k

•  250  

•  2 k  

•  16 k

These center frequencies are expressed in hertz. The letter k 
is the abbreviation for kilo (kilohertz). Notice that the center 
frequencies increase in one-octave steps. This means that equal 
intervals of pitch separate the frequency bands.

To help you EQ, the following table lists some typical sounds and 
identifies the frequency bands in which they occur. The table 
also describes what happens to some sounds when you 
overemphasize them:

AC mains hum; the fundamentals of instruments that 

add power to music, which include bass drums, tubas, 

double bass, and organs. Overemphasis sounds muddy.

31 – 63

the vocal power of bass singers

40 – 125

mains hum; the fundamentals of lower tympani. 

Overemphasis produces excessive boom.

80 – 125

third harmonic mains hum; voice fundamentals; 

drums and lower bass. Overemphasis produces 

excessive boom.

160 – 250

Vocal quality; the fundamentals of strings and 

percussion instruments

315 – 500

natural vocals; the fundamentals and harmonics of 

string, keyboard, and percussion instruments

630 – 1 k

voice fricatives; strings, drums, quitars, and bass. 

Overemphasis between 1 k and 4 k can cause fatigue. 

Overemphasis between 2 k and 4 k can mask some 

vocal sounds, for example m, b, and v.

1.25 k – 4 k

overall clarity and definition

1.25 k – 8 k

tape hiss and system noise; cymbals, snare drums, 

and percussion instruments; distant and 

transparent sounds

5 k – 8 k

tape hiss and system noise; cymbals and overall 

brightness. Overemphasis causes sibilance.

10 k – 16 k

To emphasize or, alternatively to de-emphasize a sound,  
do the following:
1)  Identify the frequency band in which the sound occurs, 

and then identify the relevant fader.