Behringer DEQ1024 — эффективное использование графического эквалайзера в студии [9/12]
![Behringer DEQ1024 [9/12] Rack mounting](/views2/1990153/page9/bg9.png)
9 ULTRAGRAPH DIGITAL DEQ1024
3.3 Using the ULTRAGRAPH DIGITAL
in the studio
Additional applications of your DEQ1024 are possible in the studio.
Yourimagination 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 nished 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 eects
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 it’s coming through the phone, or you can prominently
lter the sound of instruments so that they t 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.
Center frequency (Hz)
1/3 octave
Eect on voice
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 1 k
Important for voice naturalness. Too much boost
inthe 315 to 1 kHz range produces a
telephone-like quality.
1.25 k to 4 k
Voice fricatives-accentuation of vocals. Important
for speech intelligibility. Toomuch boost between
2 and 4 kHz can mask certain speech sounds e.g.
“m”, “b”, and “v” can become indistinguishable.
Toomuch boost anywhere between 1 and 4kHz
can produce “listening fatigue”. Vocalscan be
highlighted by slightly boosting the vocal at
3kHz and at the same time slightly dipping the
instruments at the same frequency.
5 k to 8 k
Accentuation of voice. The range from 1.25 to 8 kHz
governs the clarity of voice.
10 k to 16 k Too much boost causes sibilance.
Tab. 3.1: Frequency allocation (voice)
Center frequency (Hz)
1/3 octave
Eect on voice
31 to 63
Fundamentals of bass drum, tuba, double bass
and organ. These frequencies give music a sense
of power. If over-emphasised they make the music
“muddy”. The50or60Hzbandisalsoused 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 boost produces
excessive “boom”. Also useful for 3rd harmonic
mains hum rejection.
315 to 500 Fundamentals of strings and percussion.
630 to 1 k
Fundamentals and harmonics of strings, keyboards
and percussion. Boosting the 600 to 1 kHz range can
make instruments sound horn-like.
1.25 k to 4 k
Drums, guitar, accentuation of vocals, stringsand
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”.
5 k to 8 k
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
anddenition.
10 k to 16 k
Cymbals and over all brightness. Too much boost
causes sibilance. Reduction of tape hiss and
systemnoise.
Tab. 3.2: Frequency allocation (instruments)
4. Installation
4.1 Rack mounting
The BEHRINGER ULTRAGRAPH DIGITAL requires two height units (2 HU) for
being installed into a 19” rack. Please allow at least an extra 4” of space for the
connectors on the rear panel.
Also, please make sure that sucient ventilation of the unit is provided for,
andnever put the device onto an amp or similar equipment to avoid overheating.
Please use M6 machine screws and nuts to install your DEQ1024 into a rack.
◊ To disconnect your DEQ1024 from the mains, please pull the power cord
out of the socket. When your unit is operational, always make sure you
can easily access the power socket. If you install your DEQ1024 into a
rack, please make sure that you can easily unplug the unit out of the wall
socket or that you are using an extension cord with a power switch.
4.2 Audio connections
You will need many dierent cables for the various applications. The following
illustrations show how these cables should be laid out. Please use exclusively
high-grade cabels.
The audio connectors of the ULTRAGRAPH DIGITAL are electronically balanced and
ensure automatic hum and noise reduction.
Of course, you can also connect equipment featuring un-balanced outputs.
Tothis end, use either mono jacks or connect ring and sleeve of the stereo jack
(bridge pin 1 and pin 3 when using XLR connectors).
Содержание
- User manual p.1
- Ultragraph digital deq1024 p.1
- Thank you p.2
- Table of contents p.2
- Limited warranty p.3
- Legal disclaimer p.3
- Important safety instructions p.3
- Front panel p.4
- Control elements p.4
- Before you get started p.4
- 14 2 4 5 6 7 11 13 10 3 p.4
- 12 8 9 p.4
- The user s manual p.4
- Introduction p.4
- Rear panel p.6
- 22 21 23 p.6
- 20 16 15 18 19 17 17 p.6
- Master equalizer in sound reinforcement systems p.7
- Applications p.7
- Equalizer in the monitor path p.8
- Of course you can also connect equipment featuring un balanced outputs to this end use either mono jacks or connect ring and sleeve of the stereo jack bridge pin 1 and pin 3 when using xlr connectors p.9
- Installation p.9
- For general sound processing p.9
- 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 it s coming through the phone or you can prominently filter the sound of instruments so that they fit well into an existing mix p.9
- You will need many different cables for the various applications the following illustrations show how these cables should be laid out please use exclusively high grade cabels p.9
- Audio connections p.9
- 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 p.9
- As equalizer for your studio monitors p.9
- Using the ultragraph digital in the studio p.9
- Also please make sure that sufficient ventilation of the unit is provided for and never put the device onto an amp or similar equipment to avoid overheating p.9
- To disconnect your deq1024 from the mains please pull the power cord p.9
- Additional applications of your deq1024 are possible in the studio your imagination has no limits here are only some of the examples p.9
- 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 p.9
- 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 p.9
- The behringer ultragraph digital requires two height units 2 hu for being installed into a 19 rack please allow at least an extra 4 of space for the connectors on the rear panel p.9
- The audio connectors of the ultragraph digital are electronically balanced and ensure automatic hum and noise reduction p.9
- Special sound effects p.9
- Rack mounting p.9
- Please use m6 machine screws and nuts to install your deq1024 into a rack p.9
- Out of the socket when your unit is operational always make sure you can easily access the power socket if you install your deq1024 into a rack please make sure that you can easily unplug the unit out of the wall socket or that you are using an extension cord with a power switch p.9
- Specifications p.10
- Digital connections aes ebu and s pdif p.10
Похожие устройства
-
Behringer ULTRAGRAPH DIGITAL DEQ 1024Руководство по эксплуатации -
Behringer ULTRAGRAPH PRO FBQ 6200Руководство по эксплуатации -
Behringer FBQ6200Руководство по эксплуатации -
Behringer DEQ2496Руководство по эксплуатации -
Behringer FBQ3102Руководство по эксплуатации -
Behringer FBQ800Руководство по эксплуатации -
Behringer FBQ1502Руководство по эксплуатации -
Alto CONTROL30Руководство по эксплуатации -
Alesis Alesis DEQ830Руководство по эксплуатации -
EUROSOUND EQ-1215Руководство по эксплуатации -
EUROSOUND EQ-3231FРуководство по эксплуатации -
EUROSOUND EX-1000Руководство по эксплуатации
Узнайте, как графический эквалайзер может улучшить звук в студии, обрабатывая индивидуальные и суммарные сигналы, а также создавая уникальные звуковые эффекты.