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17

ULTRA-Q PRO PEQ2200

7.2 Effects of equalization on music program

Center frequency (Hz)    

1/3 octave

Effects on music

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". The 50 or
60 Hz band is also used 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 1k

Fundamentals and harmonics of strings, keyboards and
percussion. Boosting the 600 to 1 kHz range can make
instruments sound horn-like.

1.25k to 4k

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".

5k to 8k

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.

10k to 16k

Cymbals and overall brightness. Too much boost causes
sibilance. Reduction of tape hiss and system noise.

Tab. 7.2: Effects of equalization on music reproduction

7. EQUALIZERS AS CREATIVE AUDIO TOOLS

Summary of Contents for PEQ2200

Page 1: ...ULTRA Q PRO PEQ2200 www behringer com User s Manual Version 1 2 September 2001 ENGLISH...

Page 2: ...appliances including amplifiers that produce heat Power Source The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on the applianc...

Page 3: ...you because you are the most important member of the BEHRINGER family With your highly competent suggestions for new products you ve greatly contributed to shaping our company and making it successful...

Page 4: ...cies s In out switch plus adjustable bandwidth per frequency band bandwidth 0 03 octave 2 octaves s Widely overlapping frequency bands allow extreme attenuation or boost s Extremely accurate 12 segmen...

Page 5: ...oduction 11 5 2 The Constant Q principle 12 5 3 The concept of parallel filters 12 5 4 Filter functions 12 5 4 1 The notch function 12 5 4 2 The roll off function 13 6 APPLICATIONS 13 6 1 Introduction...

Page 6: ...nal audio tools of highest quality It will certainly pay to invest some time to study their functioning principle and get a feel for the way in which they can be used to modify the program material Th...

Page 7: ...and silently bypasses the unit in the event of power supply disconnection or failure This relay is also active at switch on to isolate the ULTRA Q PRO until the power rails have settled thus preventi...

Page 8: ...ng the fuse holder by 180 CAUTION this instruction does not apply to export models exclusively designed e g for 115 V operation Please refer to the specifications for detailed information about specif...

Page 9: ...eve have to be bridged at the stereo plug 1 Ground Shield 2 hot ve 3 cold ve For unbalanced use pin 1 and pin 3 have to be bridged Fig 3 2 Different plug types Never use unbalanced XLR connections wit...

Page 10: ...treme boost settings in combination with a high input level can overload the unit In such a case the input level must be reduced with the INPUT control 4 The INPUT control determines the input level a...

Page 11: ...he technical properties of both parametric equalizers and narrow band notch filters Owing to its variable bandwidth ranging from 0 03 to 2 octaves it is much more flexible than conventional EQs It s i...

Page 12: ...ilter curve can be calculated by adding subtracting the single band specific filter curves 5 3 The concept of parallel filters Unlike conventional parametric equalizers the ULTRA Q PRO features a para...

Page 13: ...allow for setting all filter parameters such as center frequency bandwidth and amplitude The possibility of determining both the bandwidth and center frequency as well as frequency boost cut in five s...

Page 14: ...can estimate the required amount of level compensation 6 2 On phase shift and time delay Any analog filter be it graphic or parametric produces a certain amount of phase shift Particularly in narrow b...

Page 15: ...specific speaker systems or simply to modify sounds dramatically telephone voice All of these applications have been quite difficult to realize up to now In practice broad band frequency correction is...

Page 16: ...ion of vocals Important to 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 k...

Page 17: ...strings and percussion 630 to 1k Fundamentals and harmonics of strings keyboards and percussion Boosting the 600 to 1 kHz range can make instruments sound horn like 1 25k to 4k Drums guitar accentuat...

Page 18: ...should start ringing This does not mean that such settings should generally not be used often enough they cannot be avoided if the room acoustics are poor Nevertheless you should always try to change...

Page 19: ...ifferent delay times In such a case the ULTRA Q PRO should be inserted before the delay line unit In complex sound reinforcement systems comprising different speakers located in varying acoustic envir...

Page 20: ...kHz band 2 60 Hz to 1 kHz band 3 150 Hz to 2 5 kHz band 4 500 Hz to 8 kHz band 5 1 kHz to 20 kHz Bandwidth variable 0 03 to 2 octaves FUNCTION SWITCHES Audio in out relay controlled hard wire bypass...

Page 21: ...ithin 30 days of receipt of the product at BEHRINGER 2 If the product needs to be modified or adapted in order to comply with applicable technical or safety standards on a na tional or local level in...

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