Behringer Ultragraph Digital DEQ1024 Owner's Manual

ULTRAGRAPH DIGITAL DEQ1024

After this editing, you have a basic setup; now, you can do some manual 

fine-tuning, if necessary.
The following is true:
A linear response curve is not ideal for every application. For example, 

when dealing with voice transmission, being able to understand the speaker is 

the most important factor. Therefore, the response curve should drop away in the 

bass range, since the voice can carry subsonic noise and floor rumble. 
As a rule, extremely low and extremely high frequencies are transmitted much 

weaker. It makes no sense to burden a small P.A. system with frequencies below 

50 Hz; the only result in addition to the higher power consumption would most 

likely be expensive repair costs.

Upon setting up your system as accurately as possible to the desired response 

curve, walk around the listening area so you can get an idea what your system 

sounds like from various positions. Don’t forget to implement frequent pauses 

and a various music selection into your program. You will get a better feeling 

for the transmission characteristic of your system as well as of the room/

auditorium itself.

An equalizer is no solution that can make up for a poor P.A. system, but it is an 

extremely useful and effective sound tool for musical fine tuning. Fine tuning 

often lets you create amazing results and improvements in acoustic penetration 

and in the overall quality of your sound.

Basically, the on-stage volume level should be kept as low as possible, because:
1.  it will be easier on your hearing,
2.  there are less feedback problems, and
3.  it’s easier to achieve a good front-of-house sound.
Often, the volume of the monitor speakers is raised as a concert goes on. 

Use breaks and pauses to reduce all monitor paths by about 3 dB. The musicians 

will not or hardly hear that the volume has been reduced, because during a break 

their hearing can relax a bit. This gives you valuable headroom in your system. 
Extremely low frequencies are usually faded out completely to avoid a “muddy” 

sound on stage caused by low-frequency feedback. Use the low-cut filter for this 

purpose and set it up in such a way so that extremely deep feedback disappears, 

creating a transparent-sounding monitor sound.

EUROPOWER EP1500

Aux sends
1 & 2

Outputs
L & R

EUROLIVE F1520 Floor monitors

ULTRAGRAPH DIGITAL DEQ1024

EURORACK UB2222FX-PRO

Fig. 3.2: The ULTRAGRAPH DIGITAL DEQ1024  in a monitor system

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 (4). The fader LEDs (11) 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.