mikebse2a3

Glad things turned out good Jim. Now the real fun begins getting to hear all your music through the Khorns mike

Hi Tim A couple of thoughts about your questions on the readings on the RTA and what your hearing. (1)We are using the MIC and RTA to try to analyze and visualize what we are hearing but we need to keep in mind what we measure with a MIC and RTA "doesn't always corelate" with how our ear/brain would analyze and interpret the same sound. (2)The above fact is why I believe the ear has to be the final judge when it comes to adjusting the EQ. The RTA and Auto-EQ helps us to see where potential problem areas might be but the ear needs to judge if thats what we really perceive. So if after listening for a while your ears are telling you that the bass is say a little lean then you should feel free to correct for that observation. mike

Thanks TBrennan I meant to ask any suggestions on where to get the Radian diaphrams? The ones in there look like they have hit the phase plug and although they work I'll probably replace them and try to clean out the air passages at that time. These drivers need some good cleaning! they sure don't look as good as the ones in your picture! Again thanks for the help! mike

Thanks TBrennan Yea I thought that seemed pretty high. Have you heard them with the Radian diaphragms? How do they compare? Do you know what the lowest freq. this driver can be used at when properly loaded by horn? Thanks mike

hsosdrum said: Actually, it's apparent whenever you're listening in stereo, because it prevents the K-Horns from creating a life-like 3-dimensional stereo soundstage. They image like a b*tch from side-so-side -- with pinpoint precision -- but that huge soundstage is as flat and thin as a gossamer curtain. ----------------------------------- I would assume that If we could keep all the good points about the Khorn design and bring it into time alignment there would be improvements in the sound. But I have to say (My) experience with Khorns in several different rooms is that when the room and the Khorn are a good match the Khorns have a very detailed reproduction of depth and the sense of scale from side to side as well as depth is among the best I have ever heard. As most of us know imaging is so easily destroyed by the room and the way a speaker interacts with the room and the first time I ever heard the Khorns it was the lifelike qualities of dynamics and soundstaging that hooked me for life. So I for one have to disagree "The Khorns can reproduce a very believable image(Width and Depth) when like most all good speakers the setup is right". mike

First I know I saw a thread where some where talking about various JBL and Altec Horn Drivers but I can't seem to find it so if anyone knows which thread it was I would appreciate it. Maybe if some of you that know alot about these JBL and Altec drivers could spare some time and sum up some of the advantages and disadvantages of any of these drivers ie: Like low and high crossover limits and such in one thread it would really be helpfull. One reason I'm curious is I just traded for a pair of JBL 2421B drivers for repairing a friends amp. They had come from some PA cabinets and did make some sound but we weren't able to listen to them properly and the BUG screens are bad in them so I took them apart to check them out more and the diaphrams have been replaced with something other than the orginal JBL from what I can tell because the info I found on them so far from the JBL website say the surround is diamond shape and these have more of a radial/spiral looking surround. I called a local rebuilder and he wants $265 each to rebuild so can anyone tell me a good source for parts? Also How do you get to the BUG screens to replace them and clean out the pathways.(Is it just a matter of taking out the diaphram screws and seperating this plate from the driver)? Any info and suggestions are appreciated mike

Congratulations c5vette Sounds like you've gotten a nice pair of KHorns and I believe $2500 is a bargain for a nice pair of KHorns and I think you've made a great investment because it seems to me they will hold their value and probably go up in value in the years to come which in audio equipment is pretty rare. You know I kind of feel like we really don't own them as much as we are lucky to have them for a time and eventually pass them to someone else who will care for them like we do. I still remember the excitement in (Nov. 1990) when my dream of getting Khorns came true and my Brother and I picked them up. The man was selling them because he had bought the latest best speaker recommended by Stereophile Magazine! (LUCKY ME) Anyway one tip I can think of to give you is if moving them on thick carpet be carefull of the side grilles for the bass horns it would be possible to crack the grille frame.(just easy does it) and the top section(Squawker/Tweeter Housing) and (Side Grilles) will come off with a couple of wingnuts each for easier/safer transport. By the way I live in Maryville,TN so I'll PM and E-mail you a phone number and feel free to call if you have any questions I might be able to help you with. mike

Hey Colin jump in and get your feet wet!!! Seriously Colin I know its hard to get the time to play but this can be alot of fun when you get use to the Behringer. mike

Hey timbley Good Post!! This ToneGen you mention is this a computer generated signals? Maybe when you get a chance you can tell us more about it. mike

Hi timbley I've had mine for a little over a month and even though it takes a little while to get a feel for all the flexability of the unit I've become very impressed with how easy it is to use once you do get familiar with it. Just reading the manual it is a little hard to understand exactly how things work but once you begin using the Behringer and then reread the manual things begin to fall in place. The main thing I would tell anyone starting to use the Behringer is take your time and just like you did keep adjustments simple to begin with. Anyway post back as you use it more and tell us what you notice in the changes of the sound of your system/room setup. mike

arrto speaking of room modes said: These effects are strictly related to the dimensions of the room itself, and more specifically, applied to "simple" shaped rooms and those whose dimensions are shorter than that of the wavelengths of the lowest frequencies being produced. ------------------------------------- Even "odd" shaped rooms that have dimensions that are shorter than that of the lowest frequencies wavelengths being reproduced will still exhibit room modes but they are more unpredictable in their distribution in the room. mike

artto said: You cannot correct room modes electronically!!!!! You might be able to "compensate", to some extent, but just like any kind of EQ, its only good for one, and ONLY one set of conditions, in one location. It does NOT smooth out or eliminate room modes. These effects are strictly related to the dimensions of the room itself, and more specifically, applied to "simple" shaped rooms and those whose dimensions are shorter than that of the wavelengths of the lowest frequencies being produced. ---------------------------------------------- Yes I have to agree with arrto I do not consider the Behringer as an Electronic Bass Trap and would hate for anyone to get the wrong idea about using it for that purpose. To be honest I hadn't really paid attention to the Threads Title. I was mostly observing what Lee was acomplishing with the EQ which as arrto said I believe would better be described as compensating for the room mode problems at the listeners location and not traping them electronically. What Lee has accomplished is still a VERY IMPORTANT ACHIEVEMENT in Lee's situation(I don't intend to put words in Lee's mouth and I would like to hear what he thinks but I'm pretty confident that he has achieved a very worth while improvement in tonal balance and clarity from his listening position by doing this). I know this to be true in my on listening room. I would like to make clear for this thread and for the other Behringer thread in Mods section. I definitly would advocate room treatment as well as bass traps(properly installed) to deal with acoustical problems as the first thing to do when possible. I also want to make it clear that I listen from one location but if I was interested in listening from other locations I would run a different correction EQ Setting which could easly be stored in the Behringer's memory. If a person has multiple listeners say in a home theater situation then (maybe) an average of these curves would be a good compromise. I agree with arrto that we cannot eleminate room modes with an EQ but if a room mode is causing an audible boost in a certain frequency range at our listening position then the EQ if adjusted properly (can audibly improve that situation in some instances) but as you said the user must decide if the EQ adjustments are acceptable at other listening locations if you have multiple listeners. Look I wish we all could have correctly sized and properly acoustically treated rooms but for the large majority of us thats not possible for various reasons. I have had my Khorns in (3) different rooms since I've owned them and heard Khorns in a couple of other situations so I do know how much the sound we hear is determined by the room our speakers are in. My point in starting the Behringer thread in the MODs section was a curosity that in difficult or limited room situations and especially if after reasonable room treatments had been used that maybe one of the new Digital EQUALIZER might be worth while and anyone who has listened to my system has noticed the improvements very easly. Nothing is perfect and I would hate to be responsible for anyone buying the Behringer and not being satisfied thats one reason why I suggested getting a trial period before buying(Musician Friends in my area gave me 30day trail but it only took (1)day for me to know in my situation that I would be keeping it). There is a learning curve to using the Behringer and no one claims it will cure everything but so many people are swapping and buying expensive equipment trying to fix their problems that IMHO they actually would be better off dealt with by acoustical treatments(Often Expensive at Times) and if necessary with something of the quality of the Behringer EQ when used properly. Heck the RTA feature alone is worth the cost to me. mike

Mike, Are you saying there is a null centered around 77.8 Hz after running the FBD in AUTO? If so, then that's normal and, as you suggested, is the floor to ceiling frequency. Frequency of mode = 565 Ft/Sec//8 feet= 70.6 Hz mas o menos. If you are measuring a null at 77.8 Hz without any filter engaged, try moving the mike up or down or left or right. Peaks are a lot more common than nulls. -------------------------- Thanks for the reply Lee Yes the Null was measured without any GEQ or PEQ activated. I was looking at the raw curve to decide where to start designing the PEQ Parametric Filters I was going to use to correct the two peaks in response I had identified and to see what would happen to a Null I saw if I tried to counter it with the Behringer like some had been asking about. I do believe this will turn out to be related to the Height(which is my actual listening Height) of the MIC position I was using and is a result of a vertical room mode. So when I get a good day to spend some time at it I'll check this out more to see if this is actually whats happening. My room is on the small side and my listening seat is off axis of the Khorns so I chose to just use my listening position for MIC location and In my particular situation it seems to be working very good. I do intend to try the method you suggested about using a 1 meter position above 400Hz and then moving back to the listening location for adjustments below 400Hz when I can get a good day to spend some time at it. LEE I haven't tried the FBD option. I was hesitant to use the FBD feature because of the chance for damage once feedback started so how loud did it get and did the FBD control it quick enough or did you lower the volume quickly before damage could occur? Thanks mike

---------------- On 2/3/2005 11:08:07 PM Colin wrote: don't the bass traps help with the nulls - how can the DEQ fill those in? (still haven't been able to spend much time playing with mine...) ---------------- Colin I wasn't sure if you saw my experience with a null in the other Behringer Thread so here it is. ---------------------------- NOW for the Null in Response I mentioned earlier at (71Hz & 80Hz & 89Hz): I created a Peak filter curve to try and counter this Null I choose center frequency of (77.8Hz) The Bandwidth chosen was (1/8 octave) The Level chosen was (+8db) The results of trying to bring the Sharp Null in the response up was less than an increase of (+.5db) for a filter calling for a (+8db boost). This goes to show if using an EQ and an adjustment to a trough/null in the response shows no improvement its best to leave it alone as far as using the EQ adjustments are concerned. ----------------------------------- I believe sharp nulls such as this are not correctable by the Behringer(or any EQ) as confirmed by only a (+.5db) improvement for a (+8db) boost from the Behringer but should be dealt with by Bass Traps or other acoustical devices designed for this purpose and placed in the correct location. This small increase in level seems to me to be a good indicator of when one would not want to use the Behringer for such a problem. mike

This is a work in progress. The next step is to place the mike in several locations throughout the room and see if the results change. Since I'm educated beyond my intelligence, doesn't it follow that if the loudspeaker doesn't excite the room modes in the first place, the modes won't be an issue? Having an open mike and loudspeaker in the sme room can be an invitation to blown fuses, ruptured cones or loss of your lease! Be careful. Any thoughts or suggestions are welcome. Lee ------------------------ Thanks and very interesting Lee I was hesitant to use the FBD feature because of the chance for damage once feedback started so how loud did it get and did the FBD control it quick enough or did you lower the volume quickly before damage could occur? When I used the (PEQ)Parametric module it took like you said about 30 minutes for me to test and create a couple of filters for two peaks in my room. What I really like about the Behringer was how you can create a filter then just roll it up or down the frequency range of interest till you get the exact correction by tweeking the level and bandwith of the filter while referring back to the RTA to see how good a correction you've done. Another thing I noticed was my just opening or closing the door to my room shifted the center peak frequency by about 10Hz from 107Hz to 100Hz on one of the room mode peaks that I have. So I created two different PEQ curves and saved them to memory so when I want to listen with the door closed or open the correction fits the needs of the two different conditions. I love the versatility of this Behringer! I had a really sharp null at 77.8Hz did you spot any sharp nulls? I believe this null corresponds to the MIC height I used which is my ear level when seated in my listening chair and is the ceiling to floor room mode I believe which I'll check out later when I have more time. If this proves to be the case then I believe changing seating height wouldn't help because it will probably just cause the frequency where this occures to shift slightly. I'm thinking for this null somekind of bass trap or diaphragmatic panel absorber used above the listening position would help. My experience so far is moving the MIC a foot or two makes a difference in the frequencies/level where the correction filters of the (PEQ) should be applied for the room modes just like opening a door changes things. Luckily I listen in just one position so I'm setting things to sound best from that location. If I had to deal with different listening positions then I guess I would create several curves to match those positions or try some kind of averaging if there are going to be several listeners at one time but I have always preferred to listen from the sweet spot. As far as your question: "Since I'm educated beyond my intelligence, doesn't it follow that if the loudspeaker doesn't excite the room modes in the first place, the modes won't be an issue?" I believe your right and I guess some large Dipole Speakers such as a Electrostatic might have an advantage by having a null in their response at there sides which might help mitigate floor to ceiling and sidewall to sidewall modes. But so far any rooms I have had there where modes that needed to be delt with. As Lee said any thoughts are appreciated. mike

After following this thread for several days I wanted to add my experience and a couple thoughts FWIW. First I use to own a DBX 4BX unit and this was around the time that CD's where getting started also. I don't remember having any noise issues with my system and I have to say when used with discretion many LP recordings sounded much more realistic with a much quiter background(I can remember especially liking the impact restoration feature). I also noticed because of the low quality of alot of CD recordings even they where enhanced and I do believe made more realistic sounding. Now I don't have the unit anymore because just like a lot of people I've bought and sold equipment over the years learning and experiencing new things in this hobby but to be honest if I had it today I wouldn't hesitate to use the DBX to help make any recording that needed it more realistic. I believe the important thing to keep in mind is that its all "STEREOPHONEY" an "ILLUSION" just a "Tricking of our Brain". So if Stereo, Surround Sound, or Expanders or Equalizers etc. can help to create a more realistic illusion and connect us with the music then what have we done wrong. Are we not just continuing the "Trick". Lets face it Recordings vary all over the place in quality. Even today a recording might sound good in the car but buy and play it on a more revealing system and you can't stand to listen to it. So since most of us have no control over the decisions going into a recording or the equipment used to make it the only control we do have is sometimes trying to undo the damage so that maybe we can get some pleasure from listening to it. There are some artist who's music I really like but I won't buy their recordings because they are just so bad you can't fix them and whats really ashame is future generations won't be able to appreciate their talent because the quality recordings weren't made.Thank goodness some of the old Bluesmen have been recorded by caring labels before they pass on. Ultimately what do you want from this hobby. I've always loved building speakers and amplifiers and trying to understand room acoustics especially as it pertains to my own situation. But ultimately I want that illusion (Believability and Connection To The Music) like the first time I heard the KHorns. So I'm just saying what ever makes your music connect with you (tubes,solid state, CDs, LPs, Mono, Stereo, Surround, Expanders, Equalizers etc.)and brings you pleasure is right for you and if someone disagrees don't feel like you need to defend your decision. Its All An Illusion!!! mike

---------------- On 2/1/2005 2:58:03 PM electricontr wrote: I've just move into a new home. The livingroom is 25' X 20', vaulted ceiling (4-12 pitch)with the peak at 15'. I Have a Yamaha 120watt amp. driving a Klipsch RF 25 home theater system with a 10" sub. The floors are hardwood and one wall has a 8' x 12' window in it. As you can imagine it is a major echo chamber. The system sits in one corner and projects caddycorner across the room. My wife objects to throw rugs that will cover parts of the wood floor. I really need some suggestions to help with the echos. To compound matters I wear one hearing aid. If anyone has some suggestions I would sure appreciate it. Bob ---------------- Some floor(Rugs), wall or ceiling treatments would probably be the best answer in your situation but if thats not possible then a couple of thoughts come to mind. Maybe try a chair(Cloth covered and well stuffed)with a highback. If you want you could just try a pillow behind your head to see if blocking some of the echos from behind you would help.Actually try the pillow to your sides and over your head just to see how much if any of the echoing is calmed down. Anything to help breakup the reflections would help also like bookcases(Needs to have plenty of books and things kind of randomly placed)if they might be acceptable. Sounds like you are getting reflections from all around but if they do seem to come from specific directions then maybe you can interrupt it by slightly changing placement or angle of the speakers as well as walk around and see if you can find any locations(that would be suitable for a listening location) where the echoes quiten down. Tough situation Good Luck mike

---------------- On 1/30/2005 8:04:01 PM 76scalas wrote: Thanks for the tips! That helped a bunch.Hey,it's got a SPL Meter! Bonus. My first try at auto eq wants to boost most every frequency?? ---------------- Hey Keith Make sure if your just using the GEQ for now that all the other modules ie:PEQ, DEQ and others are bypassed or the Auto EQ will be affected by there settings. Also how was your target curve set? Did you leave it flat? and especially did you bypass the frequencies 100Hz and below so that the Auto EQ want be thrown off. Also make sure you have the Behringer Mic mounted Vertically(Pointed toward Ceiling) mike

Thanks Gil I've wanted to read this for a long time but had never come across it till now. Thanks Again: mike

Jeff glad that took care of the noise. I only have one source in my system (CD PLAYER) so I just run the Behringer between it and the Pre-amp which since its before my volume control of the Pre-Amp this will give me the least chance of hearing any noise from the Behringer. If I had multiple sources I would hookup between (PRE-AMP and POWER-AMP) or (Tape Loop of a Pre-amp) to affect all sources. You also have the option of using the Digital inputs if all you want to use it for is Digital Sources such as CD Players but you will have to let your ears decide if this is a better sounding option. I believe you will notice a very nice smoothing balance to the sound of your system with an increase in the quality of details you will hear in your recordings once some of the imbalances created by your room/setup are tamed by the Behringer. The Room really can create problems that people mistake for equipment problems. Anyway I'm curious about others experiences also so ask questions and let us know your experiences as you start using the Behringer and we all will learn more. mike

I just got my DEQ2496 yesterday.No hiss at all using analog through my tape loop. I suspect a defect in yours. I'm having a hard time finding out just how to use it! The manual is not much help.We need one of the experts out there to write a step by step procedure for us old guys Keith ------------------------------ Hi Keith I'm no expert but I do have a couple of suggestions for using the Behringer. I think to start out with check the Utility menu before trying to make measurements/adjustments with the Behringer. I believe for someone just starting out it would be good to have the settings set like (Fig 3.16)page 12 of the manual. Channel Mode: Stereo Link GEQ-MODE: True Response Gain Offset (EQ): 0.0 RTA noisecorrection: OFF Show Messagesbox: ON RTA/MIC Input: MIC-Level +15V (For Behringer ECM8000 mic) RTA/MIC Line-level: 12.0dBu RTA/MIC MIC-LEVEL: -37.0 dBv/Pa The Stereo Link mode will adjust both channels the same then as you learn more you can experiment with Dual Mono mode to see if varying the adjustments in the left and right channels can improve things more. The GEQ-Mode: I really can't think of why someone would want to use it without TRUE RESPONSE On since one of the Advantages of this unit is its ability to act as a more precise EQ. RTA/MIC MIC-LEVEL: For the Behringer ECM8000 the value is (-37dBV/Pa). See page 16 (3.11) of the manual. I would suggest to start out with just use the GEQ and the AUTO-EQ to begin learning about the EQ, RTA and MIC postions. When using the Auto-Eq I would exclude from approx 100Hz down and 12.5KHz up from its adjustments and adjust those (Manually using the PINK NOISE TEST SIGNAL and RTA SCREEN after you get a correction curve from the AUTO-EQ to start to build on). When using the GEQ adjustments keep them in a reasonably small range like say (+/-6db) if the Auto-EQ wants to adjust larger than this (say +/-12db)it would probably be best to ignore them or at least limit it to a smaller amount as far as using the GEQ to correct for it because they are probably caused by room mode null or some measurement anomaly.Its important to remember the limits of your Power Amps and Speakers and ROOM also when trying to boost signals.If a speaker can't physically produce say 25Hz no amount of boosting will help but you could damage the AMP or SPEAKERS. Anyway just give yourself plenty of time and try to enjoy what all you will learn with the RTA and EQ. It can get real fatiguing doing test/listening in an analytical mode so walk away from it when you start getting tired. mike

---------------- On 1/30/2005 7:47:04 AM Buck wrote: Hi guys. I just purchased a DEQ2496 and am experiencing a constant hiss when it is turned on. When I put it in bypass mode it disappears. Just wondering if it might be a factory defect or if there is something I can do to eliminate the hiss. I tried the analog connection and digital with no change. I did notice that in the digital domain the meter was reading up into the clip range. This thing is more complicated than I thought! Thanks Jeff ---------------- Hi Jeff If you haven't noticed yet there is a push switch(see no.20 page7 of your manuel it's next to the RTA/MIC in socket) on the back of the unit that sets sensitivity of the Behringer. If it's in the wrong position for your setup needs it will drive the Behringer into clipping which will cause you audible problems.I believe Behringer could do a better job with their manual of pointing out where and how to do adjustments especially for people new to these kinds of equipment. The Behringer does come across as complicated to begin with and I think it helps alot to just experiment with one thing(say GEQ and AUTO EQ) at a time till you start getting comfortable with how to use the unit. I have actually found the unit very easy to use after becoming familiar with the units functions and I'm really pleased with how all the functions do work. To me its kind of like getting use to say menu/options of computer program after you go through them a few times things start to make alot of sense. If you still have problems post back because you definitly need to get the clipping stopped. Tell us exactly how you have the EQ installed in your system. Mine is installed between CD player and Pre-amp with the MAX switch set in the +22dBu position and my system has no audible noise from the Behringer. mike

For Wolfram, Colin and anyone interested. This is how I used the PEQ and GEQ of the Behringer today and I'm well pleased with the results. Any tips from others would be and are appreciated! Here were my readings without the GEQ or PEQ active so I could pick what Frequencies to adjust with the PEQ portion of the Behringer. I choose 20 Hz to 400Hz as the area to look at for adjustments I wanted to do with the Parametric EQ. Hz Level db 22.5 -72 25 -70.5 28 - 66 31.5 -64.7 35.5 -63.4 40 -63.1 45 -65.3 50 -66.8 56 -69 63 -72 71 -77.0 80 -77.0 89 -75.8 100 -63 112 -61.3 125 -68.1 141 -66.3 160 -64.3 180 -64.4 200 -68.1 225 -65.5 250 -66.8 280 -69.3 315 -72.1 355 -72.7 400 -76 Remember for example (-76db) is quieter than (-64.3db) because it is in reference to (0db as the loudest point on the scale). What I choose to work with today was Two Peaks in the response one was between (125Hz to 250Hz range with peak center point in the 160Hz & 180Hz area). The second Peak was sharp and centered ( on the 100Hz and 112Hz Bands) I also was curious about the Sharp Null at 71Hz, 80Hz & 89Hz area. I'll show why you can't adjust for these with an EQ later per Colin's question about nulls in this Behringer Thread. In the PEQ menu of the Behringer DEQ2496 you can adjust the Gain +/-15db and scroll through the frequency range at 1/60 octave steps so you can really home in on the exact point you need to create a null curve center frequency to counter the frequency peak in the response curve above. You also can adjust the width of the corrective curve by 1/10 octave up to 10 octave steps. The way I was able to develop the settings I wanted for the Parametric Filters: I ran the Pink Noise Generator Signal of the unit through both channels and with the Mic at the listening position I used the RTA and alternated between looking at it as I adjusted and tweaked the Center Frequency (by scrolling with the upper data wheel through the frequency range) and Bandwidth and Amplitude of the filter in the PEQ module. ---------------------------------------------------------------- So for the Peak in response between (125Hz to 250Hz): The center frequency chosen was (170Hz) The Bandwidth chosen was (1/3 octave ) The Level chosen was (-7db) ----------------------------------- For the second very sharp Peak (100Hz & 112Hz): The center frequency chosen was (107Hz) The Bandwidth chosen was (1/8 octave) The Amplitude chosen was (-10db) ------------------------------------- NOW for the Null in Response I mentioned earlier at (71Hz & 80Hz & 89Hz): I created a Peak filter curve to try and counter this Null I choose center frequency of (77.8Hz) The Bandwidth chosen was (1/8 octave) The Level chosen was (+8db) The results of the settings chosen was that the two Peaks in the response where very nicely flattened. The results of trying to bring the Sharp Null in the response was less than an increase of (+.5db) for a filter calling for a (+8db boost). This goes to show if using an EQ and an adjustment to a trough/null in the response shows no improvement its best to leave it alone as far as using the EQ adjustments are concerned. Now Wolfram and Colin I saved this PEQ Setting for the Peaks in memory. Then while running the Pink Noise Test Signal using the AUTO EQ Function (Turning off Frequencies (100Hz and below) and (12.5kHz and above) from the AUTO EQ TEST) and leaving the PEQ Module Active thus the (Auto EQ in the GEQ Module) takes the (PEQ Settings) into account and produced a new curve using both the GEQ Module and PEQ Module combined to flatten the response. I still choose to adjust the frequencies below 56Hz by ear for now. Hope this helps some. Mike

---------------- On 1/19/2005 3:58:19 PM Colin wrote: OK, I am starting to play around with this fancy DEQ2496 thing, but understanding all of its powerful features. Like the cockpit of tha small palen, all the buttons and knobs are overwhelming first. Dont know how to make this thing get up and fly. So many features! What does the xxdB, -xxdB on the meter really mean? When it clips at low volumes, what does that mean to me the listener? ---------- Hi Colin; Do you have the Manual for the Behringer if not I would suggest you download it from the Behringer web site. There is a switch on the back of the Behringer that will change the sensitivity of the Behringer so check it if you are getting clipping warnings. ----------------------------------- Does the Bypass shut off all functions? The Behringer can bypass individual module sections as well as the complete unit by selecting the bypass menu and the three data wheels. ------------------------------------------ Why cant EQ fill in the nulls it adds more power to those frequencies, right? If these nulls( I assume you are talking about sharp nulls)are mostly caused by room modes then it really doesn't matter how much power you throw at it it will still cancel itself out because of the physical properties and dimensions of your room. A peak however can be reduced by feeding the room with less energy to a limited degree but of course as you probably know room modes are best treated with bass traps at the corners of the room if posssible. ----------------------------- I understand how EQ can work a driver harder, but how does it work some drivers too hard? Because if a driver cannot physically move or handle the additional power you might be asking it to do because for example like in the above question about room nulls then damage can happen. You should keep in mind the design limits of your speakers before asking them to reproduce say lows or highs that it physically can't handle. EQ's are best used with moderate adjustments most the time for best results I believe. ------------------------------ Flat frequency response doesnt seem too bright, it seems like too much bass in my current listening room... Part of this will depend on the size of your room and how much absorption and its location in your room. Flat on the RTA greatly depends on where and how you are measuring with the Mic. In my room if I place the Mic at the listening position and adjust for a flat frequency response the highs can sound a little to high on some recordings and good on others(usually well recorded CD's) but my room is probably overdamped in the highs frequency range and as everyone knows recordings vary alot in the highs and low frequency balance. I would suggest you create several curves slightly rolling off the highs and put them into memory and see if this helps you to home in on the best settings for your room and will help you to compensate for some recordings that need it. --------------------- How do I generate the signal for the RTA? Isnt there a pink noise generator built-in? Yes you can access the Pink Noise Generator from the I/O Menue button and also from the AutoEQ function. ---------------------------------- Is the RTA sensitive enough to detect the presence of a line conditioner (if the conditioner effects the frequency response)? I wouldn't think but let us know what you notice in your system. -------------------- The DEQ2496 has optical inputs, my CD player has coax out are there coax to digital interconnects? Does it make sense to run my player directly into the DEQ2496 and skip my CAL Gamma DAC? I have no experience with this to answere this one Colin. -------------------- Do you use the FBD to zap specific frequencies (like the low 20Hz rumble of the A/C)? Not sure but since this is reproduced by something other than the system I wouldn't expect it to but again let us know what happens if you try it. ------------------ Can I expand and widen and EQ and FBD the sound all at the same time? I believe the width module is only avaible in the stereo link mode but most all modules can be run at the same time and you can also bypass individual modules or the whole unit in the bypass menue. ------------- How the hell do you sort through all the possible options and quickly get to the most valuable (tweaking audiophile) settings? Keep playing with all the functions and referring back to the Manual as you get use to the unit. It really helps to get hands on experience and rereading the Manual. I also located the unit next to my listening seat and this really helps when playing and fine tuning the system. --------------- Thanks, so far I am loving this thing and I havent figured out how to pull the stops out and get it off the ground! Colin I still really love this unit in my system and couldn't imagine not having it in my situation. Its hard to have enough time to play with it since I'm back at work and family things but I'm sure I'll be learning alot for a long time with this EQ. Hopefully Arkytype will respond to your questions since he has had the unit for alot longer time than I have. Mike ----------------

Wolfram Will gladly help anyway I can maybe we all will learn more. mike