Behringer FBQ6200 Musical Instrument Amplifier User Manual


 
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ULTRAGRAPH PRO FBQ1502/ULTRAGRAPH PRO FBQ3102/ULTRAGRAPH PRO FBQ6200
3.2 Equalizer in the monitor path
When using your ULTRAGRAPH PRO in the monitor path, the
same applies as when using it as described in section 3.1.
Basically, the stage volume should be as low as possible
because:
1. this protects your hearing,
2. there are fewer feedback problems, and
3. it is easier to create a good FOH sound.
Often, monitor volume level is increased during a concert. Use
intermissions in the program to lower all monitor paths roughly
3 dB. The musicians will hardly notice this reduction because
their hearing can recover somewhat during an intermission. This
way you can achieve valuable headroom for possible use later
in the program.
Extremely deep frequencies are usually completely removed
to avoid creating a queasy feedback stage sound. To this end,
use the low-cut filter and set it up in such a way that extremely
deep feedback completely disappears, creating a more
transparent monitor sound.
Fig. 3.2: The ULTRAGRAPH PRO FBQ3102
in a monitor system
3.2.1 Priming a monitor system
Priming describes the process of detecting and supressing
feedback frequencies. After placing and leveling your mics and
monitors (incl. power amps), you should crank up the aux send
controls of your mixer.
Now, activate the FBQ feedback detection system by pressing
the FBQ switch . The slide control LEDs will turn dark.
Then, increase the amplification on your mixer by using the aux
send master control until you notice feedback starting to occur.
Feedback frequencies will now be easily visible through intensive
lighting of the relevant LEDs.
Pull down the slide controls whose LEDs are lit until the
feedback subsides. Repeat this procedure to weed out other
possible feedback frequencies. After having adjusted all critical
frequencies, when you crank up the aux send master control,
you will be able to hear only the initial multi-frequency feedback.
Your monitors have reached their maximum volume.
Leave all other faders in the middle position as long as no need
for frequency correction occurs (e.g. measuring with a real-
time analyzer). Set the desired stage volume, and you will have
a tremendous amount of headroom available to you, without
creating audible feedback.
3.3 Using the ULTRAGRAPH PRO in the studio
Additional applications await the ULTRAGRAPH PRO models
in the studio. No limits stand in the way of your imagination. Here
are just a few examples of possible uses:
EQing your studio monitors:
You can conduct a graphic equalization of your monitors.
Besides, you can supress narrow-band room resonance. An
analyzer, for example the analyzer integrated into our digital
equalizer ULTRACURVE PRO DEQ2496, can help you when you
are looking for room resonance and a linear frequency response.
General sound processing:
Equalizers can be used to process both single-channel and
master signals. To process single-channel signals, you should
connect the ULTRAGRAPH PRO via the channel inserts on your
mixer. To control several signals with your ULTRAGRAPH PRO,
use either subgroup or main mix inserts. Nowadays, the overall
sound of a mix is often tweaked with equalizers. Often, a mix
is not uniform, that is, frequency ranges are either too prominent
or not prominent at all. A graphic equalizer lets you find a fitting
ratio between the intensity of these various frequency ranges in
order to achieve a homegenous sound.
3.4 Special sound effects
In recording studios as well as stage or radio plays, the
ULTRAGRAPH PRO will be your valuable sound tool for modifying
the sound of voices (e.g. telephone voice) or to filter instruments
so that they fit in an existing mix.
The tables on the separate add-on sheet give you an idea of
specific frequencies and their acoustic significance, and suggest
some possible uses for your ULTRAGRAPH PRO.
3. APPLICATION EXAMPLES