Behringer DSP8024 用户手册
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ULTRA-CURVE PRO DSP8024
Positions 1 and 2 are about three feet directly in front of the loudspeaker system, positioned halfway between the
middle and high frequency components. These measurements can be used as a control of the basic system functions.
middle and high frequency components. These measurements can be used as a control of the basic system functions.
Position 3 is about seven feet in front of the stage centre. Measurements taken here should show an identical
response above 250 Hz as obtained from positions 1 and 2. Due to the summing of both loudspeaker systems,
the level below 250 Hz should be 3 dB higher.
response above 250 Hz as obtained from positions 1 and 2. Due to the summing of both loudspeaker systems,
the level below 250 Hz should be 3 dB higher.
Position 4 is some way back from position 3, directly in front of the FOH mixing position. (FOH means front of
house). The measurements here should be the same as at position 3, with a lower level.
house). The measurements here should be the same as at position 3, with a lower level.
Positions 5 and 6 are on the axes of the two loudspeaker systems, three feet away from the rear wall. These
measurements are used to detect any problems caused by standing waves or reflections.
measurements are used to detect any problems caused by standing waves or reflections.
Make sure to save the resulting frequency response curves for comparison purposes. Any major differences
between the various measurements should be interpreted as warnings of phase problems within the system or
acoustical problems in the room. If you are not able to deal with the source of these problems (by moving
speakers, or changing the venue), then you can only attempt to find a workable compromise with the equalizer.
For this purpose, the various stored measurements will be of great assistance.
between the various measurements should be interpreted as warnings of phase problems within the system or
acoustical problems in the room. If you are not able to deal with the source of these problems (by moving
speakers, or changing the venue), then you can only attempt to find a workable compromise with the equalizer.
For this purpose, the various stored measurements will be of great assistance.
After reaching the desired frequency settings on the equalizer, walk around the room and pay particular attention
to any change in the sound as you move around. Don’t forget to periodically listen to your reference music and
spoken material to help “refresh” your ears and particularly to get a more objective feeling for the characteristics
and sound of your system and the room.
to any change in the sound as you move around. Don’t forget to periodically listen to your reference music and
spoken material to help “refresh” your ears and particularly to get a more objective feeling for the characteristics
and sound of your system and the room.
You must be prepared to invest plenty of time and patience to obtain an effective equalizer setting! Beware of
using extreme settings to achieve the sound you are looking for. They are inevitably a warning that something
is wrong with your system.
using extreme settings to achieve the sound you are looking for. They are inevitably a warning that something
is wrong with your system.
An equalizer cannot compensate for a bad sound system, however it is a flexible and very useful tool for fine
tuning sound. With practice you will see that subtle changes brought about with the equalizer can greatly enhance
the ability of your system to deliver a clear, well defined sound, measurably improving its overall quality.
tuning sound. With practice you will see that subtle changes brought about with the equalizer can greatly enhance
the ability of your system to deliver a clear, well defined sound, measurably improving its overall quality.
3.2 Using the ULTRA-CURVE PRO for monitor EQ purposes
In using the ULTRA-CURVE PRO in a monitor signal path, you should apply the ground rules discussed in the
last section for PA use. In addition, the ULTRA-CURVE PRO has a number of features designed specifically to
assist in monitor equalizing.
last section for PA use. In addition, the ULTRA-CURVE PRO has a number of features designed specifically to
assist in monitor equalizing.
The feedback destroyer enables you, during sound check, to locate and control any frequencies causing
feedback problems. (In this case, having detected a problem frequency, you match the filter to the frequency
by switching to either SGL (Single Shot) or OFF (static) in the FB D menu).
feedback problems. (In this case, having detected a problem frequency, you match the filter to the frequency
by switching to either SGL (Single Shot) or OFF (static) in the FB D menu).
In the case of microphones which are constantly moving (typically hand held vocal microphones) the feedback conditions
are continuously changing. Use the feedback destroyer filter in searching mode (“S”) to compensate for this.
are continuously changing. Use the feedback destroyer filter in searching mode (“S”) to compensate for this.
The feedback destroyer is only suitable for use with signals with a large, changing dynamic (speech, singing,
percussion). Long, static signals such as synthesizer or flute, whose sound characteristics have similarities to
sine waves, cannot be distinguished from feedback, resulting in their signal being constantly dampened.
percussion). Long, static signals such as synthesizer or flute, whose sound characteristics have similarities to
sine waves, cannot be distinguished from feedback, resulting in their signal being constantly dampened.
If, in „SEARCH“ mode, all the available filters are being used, in the case of a new frequency being found, the
“oldest” filter in use will be released from its set frequency and made available for the new one.
“oldest” filter in use will be released from its set frequency and made available for the new one.
The feedback destroyer cannot work miracles! It is capable of raising the feedback threshold by several dB. Seeing
the feedback destroyer switching on should be interpreted as a warning signal. Lower the overall volume on stage.
the feedback destroyer switching on should be interpreted as a warning signal. Lower the overall volume on stage.
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The feedback destroyer remains active in all (graphic) EQ menus. In the setup menus as well
as the level meter menu the parameters of all filters are fixed. The feedback destroyer pauses
activity in these menus.
as the level meter menu the parameters of all filters are fixed. The feedback destroyer pauses
activity in these menus.
In principle the stage volume really should be kept as low as possible, because:
1. It is better for everybody's hearing,
2. it results in fewer feedback problems and
3. it is easier to get a good FOH sound.
The monitor level tends to rise during the course of a concert. Therefore you should use any pause in the
concert to reduce all monitor levels by about 3 dB. This reduction will, if at all, be barely noticeable to the
concert to reduce all monitor levels by about 3 dB. This reduction will, if at all, be barely noticeable to the
3. APPLICATIONS