You gotta be kidding buddy. This does not occur on the AVR that detects this and turns off the sound. Please update your browser to use Reverb It has memory settings to save the settings of the unit and can be connected to a PC or Mac running Microsoft Windows emulation. Behringger difference between the before and after was surprisingly large, ultacurve the modest level of equalization. But not the 2 together! It can run RMS or peak, do peak hold, and a few other features.

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Ever heard this Question? So, what did you say? And of course you mentioned how tone controls and equalizers are for Audio Wussies, how real men know "how to take it" and so on Of course, secretly I was hankering for a good equalizer. One that would allow me to correct for flaws in the recording. One that would allow met to deal with that annoying mid-bass hump in my room, one that would help me get the most from my record collection and system.

Of course, only Audio Weenies use equalizers or tone controls. So no damn equalizers for me, or maybe But the question is, do we really need tone controls or Equalizers? Well, I think if you are passionate enough about music to spend major bucks on a High End Audio System, you do need them, desperately. Here is why The Listening Room - Enemy Mine? Now we take these perfect speakers and place them carefully, with loads of tuning and care in our dedicated listening room.

Then we fill this as much expensive room treatment as we can afford and sit down to listen, in our comfy chair in around 3m distance. Do we now get 20Hz to 20kHz flat? You gotta be kidding buddy. However, the Reviewer, Mr. Keele JR had the habit of also printing the response of the reviewed speaker in his listening room, at 3m distance. Looking at this graph is a revelation. If Mr. Keele had included the sub Hz response the graph would have been way of scale.

Can you imagine what a 24dB Peak at 66Hz sounds like? And there are so many discrete dips and peaks of quite substantial magnitude that a pretty sophisticated Equalizer is needed to correct that. Some may dispute that this frequency response, the one that includes the resonant field and the direct sound is the one that makes for our perception of tonality, but based on my own experiences in both pro-audio and high-end I beg to differ.

The more even the in room, total summed response, the more natural the sound. Hence any decent equalizer that can flatten out this fever curve most if not all speakers produce in normal rooms is good news.

The Recording Engineer - Public Enemy 1? Okay, we have crossed this bridge. By whatever means we have minimized or eliminated the influence of the room listening open air would do nicely, extreme near field setups also work well , all is well in the Kingdom of Audiophillia? Of course not. Indeed, over the decades we can observe differences of as much as 20dB in tonal balance between top-grade Studio Monitors.

And these where the "yardsticks" the Mastering and Recording Engineers used to judge the sound of the recording. If they felt something was amiss, yup, they equalized it out. So even if the sound engineer did his or her best to obtain a sound for the recording that was natural and evenly balanced not that all many do this in the first place , the result will be colored by the choice of Monitor used during recording and mix down.

The butt-naked truth So, here you have it, assuming we want to hear our music as it should be, we need to equalize out the effects of speaker and room and correct for the tonal balance of the recording. Why is it then that these simple facts are not shouted all the time from the pages of any and all Audio Magazines? How comes these simple truth is so rarely spoken? The reason is simple. Until very recently the best professional equalizers where at the best not all that good not to speak of the cheap rubbish of the "Channel EQ with Analyser" sold in any Circuit City and similar chain.

In the end, no-one wants to fiddle constantly with halve a million of buttons never mind remembering what they actually do all the time. Yet all these tend to cost a very substantial sum of money and especially Digital Units look like a poor investment, considering the upcoming new digital formats.

All in all an understandable, but sorry state of affairs. Cello was horrid and colored, yet the Z-Systems rocked As us sez in Germany - Vorsprung durch technik Okay, why did I go through all this spiel, dissing the poor room, the poor sound engineer and all? Because I have what I think is the closest to a solution to the abovementioned problems yet. And it does not even cost the earth. Yet after looking into the thing a bit more I thought: "This is at least worth trying".

After discussing a review with Behringer in September things went cold for a while, as my contact at Behringer left and I moved over to Enjoy The Music. Somehow this review remained always on my backburner, but due to a number of lucky coincidences I recently received finally a Ultracurve EQ to test myself, courtesy of Hans Martin Burmeister from FL-Electronics in Braunschweig Germany.

So What The Heck Is The "Ultracurve Pro", I Hear You Crying Okay, the Ultracurve Pro is a professional, bit digital audio processor, which combines a stereo band graphic equalizer, band real-time analyzer, automatic frequency response correction and much more than I can list here in a simple 19" rack mounting Box. The rack mounting "Ears" come off if you want, making the unit "HiFi System Compatible", as far as looks go.

The Front is silver, with a large backlit LCD display and overall 12 push buttons. It has memory settings to save the settings of the unit and can be connected to a PC or Mac running Microsoft Windows emulation.

It comes complete with Crystal bit analogue to digital and digital to analogue converters on board. You connect it to your system and start equalizing If it where a car it be a probably a fully loaded Volkswagen Golf GTI Convertible, with loads of extra tuning and an acceleration that would beat most short of real hotrods or a corvette.

The sound, well read on for that. Oh yes, I forgot, the U. Go to your nearest Pro-Audio shop and buy one. Most components use SMD mounting. The capacitors used including some with coupling duties are absolutely generic items likely from the lowest bidder, well at that kind of price they had to cut somewhere. My ears hear no difference between the LT and LM.

Comparing the modified and 24 Hours burned in Ultracurve Pro in the bypass test no EQ selected, the 5db attenuation corrected against the straight plugging together of the cables into each other left only the slightest remaining impact on the sound.

Now for level setting story promised earlier. The true resolution of ADC chip in the analogue input is around 20Bit the notional Bitrate is 24 bit. This means if a normal Poweramp with fully opened level controls where used then for absolute clipping in the resolution from the converter would be barely 15 bit, with an additional 20db attenuation less than 12 bit. Now this would sound harsh and distorted as has been reported.

Ergo, feed the Ultracurve Pro input with a lot of Level and you get good sound. Running at conventional "dbV" Consumer audio levels shaves around 30dB of the total available dynamic range thus severely compromising low level performance.

Seeing as it is, the comments in rec. Anyway, being digital with an analogue performance more in line with 20 bit digital audio for the input and 18 bit digital for the Output it is IMHO essential to get the correct levels with UC, otherwise the sound will be pretty bad. Considering however just how little the sonic degradation of the EQ circuitry itself is I to have to take some more care in level setting is a small price to pay.

First things first. The Behringer unit has been taking some stick in US dominated Pro-Audio Newsgroups for compressing dynamics, sounding harsh, noisy and so on, especially on the analogue signal path.

So I expected it to sound rather bad linked in between Preamp out and power amplifier in. It did not. I have rambled on in the "Geek Files" section way down below exactly as to the "why"? Anyway, I ended up with system levels set to get the best dynamic range takes a bit and you do need a power amplifier with build in attenuators from the processor and the Ultracurve Pro between the amplifier and preamplifier. Simply plugging the XLR output and input plugs together allowed me the ultimate bypass test, eliminating the Ultracurve Pro totally from the signal path.

While I did spend some time using Ultracurve Pro in pure Digital Mode between Transport and DAC I rarely listen to digital, so most of my evaluation was done with Ultracurve Pro between pre-amplifier and power amplifier. Linking the Ultracurve Pro into the tape loop of my pre-amplifier did not prove to give very good sound, the Ultracurve Pro does like a lot more level than available there.

With that done I found that the sound was somewhat altered and to the worse, yet not so terribly that I yelled "take it out". Comparing the bypass against running the signal through the Ultracurve at 48kHz sample rate showed that the soundstage was somewhat flattened and the sound acquired a slight edge to the tone, non too terrible. I expected much worse. Just for fun dropping the Level an extra 20dB and turning the power amplifier up fully sounded very much worse. Now so far all I was assessing was the sound of the Ultracurve Pro doing nothing.

I would class the degree of loss from running through the Ultracurve Pro as slightly larger than a really good High End Preamplifier compared to passive Volume control and the slight edginess made the solid state nature of the unit well known. This by the way held true for both Vinyl and CD being played. I think considering that the Analogue signal from Vinyl is first digitized, then converted back to analogue the fact that only minimal sonic degradation happened is most impressive.

As an interesting experiment I dropped the sample rate from 48kHz to Not good. The sound now turned outright harsh and had all the hallmarks of what is classically wrong with CD. The only thing I reliably noted in the digital loop was a reduction in "speed" and "pace" and a ever so slight reduction in soundstage depth. My next stop was the quite substantial over fifty A4 pages Manual, to see what I would need to do to make this box of tricks jump through the hoops.

I found something called Auto-Q, a function that will automatically equalize the response of your speakers and room flat. You simply place the supplied measurement at the listening position, point it forward and engage Auto-Q.

Within around one minute the system will equalize both channels as flat as it can. When all the different noises had stopped changing I stepped back in the room, turned the system over into normal play mode and started playing music.





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