Description
BEHRINGER ULTRACURVE PRO DEQ2496
Ultra-High Precision 24-Bit/96 kHz Equalizer, Analyzer, Feedback Destroyer and Mastering Processor
- Ultra-high resolution 24-bit/96 kHz mastering processor featuring 32/40-bit floating-point DSP technology
- Audiophile 24-bit/96 kHz A/D- and D/A converters offering 113 dB dynamic range
- 4 concurrently selectable EQ modules (31-band graphic EQ, 10-band parametric EQ, Feedback Destroyer plus 3 Dynamic EQs per stereo channel)
- Ultra-high resolution 61-band real-time FFT analyzer with additional auto EQ function for room and loudspeaker equalization
- Unique VPQ (Virtual Paragraphic EQ) option allows parametric control of graphic EQs
- State-of-the-art compressor/expander with peak limiter per stereo channel, additional stereo imager and stereo delay for delay line applications
- Multi-functional level meters (peak/RMS, VU and SPL meter with dBA/dBC weighting via RTA/Mic input)
- 64 user memories for complete setups and/or individual module configurations
- Separate mic/line input with phantom power for RTA and Auto-EQ applications
- Balanced inputs and servo-balanced outputs with gold-plated XLR connectors, stereo aux output, AES/EBU and S/PDIF inputs and outputs (XLR and optical)
- Professional Wordclock input and MIDI connections for full remote control, preset dumps and system updates
- Open architecture allowing future software updates via MIDI
- “Planet Earth” switching power supply for maximum flexibility (100 – 240 V~), noise-free audio, superior transient response plus low power consumption for energy saving
- High-quality components and exceptionally rugged construction ensure long life
- Conceived and designed by BEHRINGER Germany
The DEQ2496 is a highprecision digital 24-bit/ 96 kHz EQ/RTA mastering processor, ideal for sophisticated live sound trouble-shooting or audiophile mastering. Whether you’re putting the finishing touches on recorded material or creating an optimal live sound for a multi-way PA, the DEQ2496 is built to provide meticulous control.
Equalization? Dynamics? Feedback correction? Yes, yes, yes. You can have it all with the DEQ2496. Automatic FFT analysis with Auto EQ? We added that too.
The DEQ2496 is a whole rack of flexible equalization, dynamics and time correction functions designed to fix problems and generally optimize sound quality.
- ual 31-band Graphic Equalizers (stereo linkable)
- Dual 31-band Virtual Paragraphic Equalizers (stereo linkable)
- Dual 10-band Parametric EQ’s per stereo side
- Dynamically-activated EQ
- Feedback Destroyer with Learning Mode
- Stereo Imager
- Compressor/Expander
- Limiter
- Digital Delay
- RTA/SPL/FFT Analyzer with Auto EQ function
Dual 31-band Graphic Equalizers, 31-band Virtual Paragraphic Equalizers and 10-band Parametric
Naturally the DEQ2496 has phase-neutral digital graphic EQ…but in addition we’ve added a function that allows you to change the bandwidth of each frequency from standard 1/3 to as much as 59/3. Or, if you prefer the old-school approach to variable bandwidth, we’ve included 10-band parametrics that can be fine-tuned in increments down to 1/60 of an octave.
Dynamically-activated EQ
Dynamic EQ automatically raises or lowers a defined frequency range based on volume level. It’s literally a combination of an equalizer (with frequency center and bandwidth controls) and a dynamics processor (with ATTACK, RELEASE, THRESHOLD and RATIO parameters). DEQ opens up a world of both creative mastering and PA problem solving possibilities. We’ve given you total control with multiple filter types including bandpass mode. And of course you can store DEQ settings for recall at any time manually or via MIDI.
Feedback Destroyer with Learning Mode
With the digital capabilities we’ve just listed, it’s easy to see why we were able to include a highly-effective Feedback Destroyer (FBD) feature – it’s essentially a dynamicallyactivated parametric EQ that “watches” the whole frequency spectrum in 1/60-octave bands and then instantly identifies and notches out feedback. FBD can be run in AUTO mode to compensate for movements of performers on stage, or in SNGLE mode that locks onto individual frequencies and then varies the amount of attenuation and bandwidth depending on feedback stimulus – more suited to fixed microphone installations. We also included a LEARN mode that generates short audio pulses, raises their gain until feedback occurs and then locks into potential trouble-causing band centers.
Stereo Imager (WIDTH)
While usually considered a mastering technique, the ability to widen the stereo image can be useful in live sound work, too. When you hear it in action, we think you and your audience will be impressed. The DEQ2496 WIDTH processor provides control over STEREOWIDTH (how clearly the two sides of the stereo image are separated from each other), ASYMMETRY (relative volume of left/right stereo signal), ROTATION (panning of stereo + mono in the stereo image), and a multipart SHUFFLE function than can generate an additional low-frequency Stereowidth effect.
Compressor/Expander and Limiter
The DEQ2496 has a comprehensive set of dynamics processing tools that can be used as two independent channels or stereo linked. Everything you’d find on a dedicated compressor/ expander is here including variable rations from 1:1.1 to 1:100, ATTACK times from 0 to 200ms, 0-3dB variable knee and 20 to 4000ms RELEASE, all adjustable from a coarse/fine adjustment scale. The built-in separate LIMITER has Threshold, Hold and Release functions.
Digital Delay
You can delay either the DEQ2496’s Main or AUX outputs anywhere from 0 to 300ms and can process left and right channels independently. Not only can you specify time delay in feet or meters but simultaneously compensate for ambient temperature which affects sound speed!
RTA/SPL/FFT Analyzer with Auto EQ function
The DEQ2496 features an FFT real time analyzer for precise graphic display of 61 frequency bands. You can monitor main or digital inputs and outputs, AUX/ digital out or a feed from an RTA microphone and display the results in a multitude of ways including funky retro VU meters. You get all of the usual peak/hold, display rate and scale features you would expect from a professional measurement tool, plus our user-definable AEQ (Auto EQ function), which allows you to analyze and adjust your system’s frequency response automatically (perfect for “roughing out” initial room adjustments). In Graphic EQ mode, you can choose between UNCORRECTED response, which shows the mutual influence of adjacent bands, or select TRUE response to apply a specially developed algorithm that displays the actual results of the equalizer setting.
Easy to set up and use
The DEQ2496 has balanced inputs and servo balanced outputs with gold-plated XLR connectors, stereo aux output, AES/EBU and S/ PDIF inputs and XLR and optical output. Configuration is intuitive, with on-screen block diagram displays and you get a separate RTA mic/line input with phantom power, a professional wordclock input and MIDI connections for full remote control, as well as preset dumps and system updates. You can maintain up to 64 comprehensive user presets at a time and of course dump and load as needed. You can also save and recall individual modules such as DEQ, PEQ, WIDTH or DYN. These subsets of complete presets let you maintain most of a preset’s settings but vary a few (such as graphic EQ) without having to generate a whole new preset.
Built tough for the road, precise for the studio
The DEQ2496 features high-quality 24-bit/96 kHz A/D and D/A converters and two high-performance 32/40-bit floating-point digital signal processors for incredible sonic resolution and 113 dB dynamic range. The internal switch-mode power supply assures maximum flexibility (100-240V~), noise-free audio, superior transient response, lowest possible power consumption and freedom from power surge damage.
Compare features. Compare prices. Own ULTRACURVE
Quite frankly, we believe that the DEQ2496 is the best multi-function processor value in the pro audio industry. Why pay much more for a status name?
DEQ2496
Ultra-High Precision 24-Bit/96 kHz Equalizer, Analyzer, Feedback Destroyer and Mastering Processor
- Ultra-high resolution 24-bit/96 kHz mastering processor featuring 32/40-bit floating-point DSP technology
- Audiophile 24-bit/96 kHz A/D- and D/A converters offering 113 dB dynamic range
- Unique VPQ (Virtual Paragraphic EQ) option allows parametric control of graphic EQs
- Multi-functional level meters (peak/RMS, VU and SPL meter with dBA/dBC weighting via RTA/Mic input)
DEQ2496
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ULTRACURVE PRO DEQ2496The DEQ2496 is a high-precision digital 24-bit/ 96 kHz EQ/RTA mastering processor, ideal for sophisticated live sound trouble-shooting or audiophile mastering. Whether you’re putting the finishing touches on recorded material or creating an optimal live sound for a multi-way PA, the DEQ2496 is built to provide meticulous control. |
Equalization. Dynamics. Feedback Correction.You can have it all with the DEQ2496. How about automatic FFT analysis with Auto EQ? We added that too. The DEQ2496 is a whole rack of ultra-flexible equalization options, dynamics and time-correction solutions, all designed to optimize your rig’s sound quality like no other single piece of processing gear. Consider the DEQ2496 your audio engineer’s Swiss Army Knife – here are a just few examples: Dual 31-band Graphic Equalizers (stereo linkable) Dual 31-band Virtual Paragraphic Equalizers (stereo linkable) Dual 10-band Parametric EQ’s per stereo side Dynamically-activated EQ Feedback Destroyer with Learning Mode Stereo Imager Compressor/Expander Limiter Digital Delay RTA/SPL/FFT Analyzer with Auto EQ function |
Dual 31-band Graphic Equalizers, 31-band Virtual Para-graphic Equalizers and 10-band ParametricNaturally, the DEQ2496 has a phase-neutral digital graphic EQ. But in addition, we’ve added a function that allows you to change the frequency bandwidths from 1/3, to as tight as 59/3. Or, if you prefer the old-school approach to variable bandwidth, we’ve included 10-bands of parametric filters that can be incrementally fine-tuned all the way down to 1/60 of an octave. |
Dynamically-Activated EQDynamic EQ (DEQ) automatically raises or lowers a defined frequency range based on volume level. It’s literally a combination of an equalizer (with frequency center and bandwidth controls) and a dynamics processor (with Attack, Release, Threshold and Ratio parameters). DEQ opens up a world of both creative mastering and PA problem solving possibilities. We’ve given you total control with multiple filter types including bandpass mode. And of course you can store DEQ settings for recall at any time manually or via MIDI. |
DEQ2496
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Feedback Destroyer with Learning ModeWith the digital capabilities we’ve just listed, it’s easy to see why we were able to include a highly-effective Feedback Destroyer (FBQ) feature – it’s essentially a dynamically-activated parametric EQ that “watches” the whole frequency spectrum in 1∕60-octave bands and then instantly identifies and notches out feedback. FBQ can be run in AUTO mode, or in Single mode. We’ve also included a Learn mode that generates short audio pulses, raises their gain until feedback occurs, and then locks onto feedback-prone frequencies. For more than 20 years, we have made some of the world’s most acclaimed FBQ Feedback Elimination processors. Now you get this revolutionary FBQ Feedback Detection System in every DEQ2496, so your sound system is always completely free from feedback. Utilizing an ultra-fast detection system, this ingenious circuitry helps you recognize and tame feedback frequencies immediately. |
Stereo ImagerWhile usually considered a mastering technique, the ability to widen the stereo image can be useful in live sound work, too. The DEQ2496 Width processor provides control over Stereo Width (how clearly the two sides of the stereo image are separated from each other), Asymmetry (relative volume of left/right stereo signal), Rotation (panning of stereo + mono in the stereo image) and a multipart Shuffle function than can generate an additional low-frequency stereo width effect. |
Compressor/Expander and LimiterThe DEQ2496 has a comprehensive set of dynamics processing tools that can be used as two independent channels or stereo linked. Everything you’d find on a dedicated compressor/expander is here, including variable ratios from 1:1.1 – 1:100, Attack times of 0 – 200 ms, 0 – 3 dB variable knee and 20 ms – 4 s Release times, all adjustable via a coarse/fine adjustment scale. The built-in separate Limiter features Threshold, Hold and Release functions. |
Digital DelayYou can delay either the DEQ2496’s Main or Aux outputs from 0 – 300 ms, and process left and right channels independently – and not only can you specify the time delay in feet or meters, you can even instantly compensate for changes in the ambient temperature. |
DEQ2496
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RTA/SPL/FFT Analyzer with Auto EQ functionThe DEQ2496 features an FFT real time analyzer for precise graphic display of 61 frequency bands. You can monitor main or digital inputs and outputs, Aux/Digital Out, or a feed from an RTA microphone and display the results in a multitude of ways including funky retro VU meters. You get all of the usual peak/hold, display rate and scale features you would expect from a professional measurement tool, plus our user-definable AEQ (Auto EQ function), which allows you to analyze and adjust your system’s frequency response automatically (perfect for “roughing out” initial room adjustments). In Graphic EQ mode, you can choose between Uncorrected response, which shows the mutual influence of adjacent bands, or select True response to apply a specially developed algorithm that displays the actual results of the equalizer setting. |
Easy to Set Up and UseThe DEQ2496 has balanced inputs and servo balanced outputs with gold-plated XLR connectors, stereo aux output, AES/EBU and S/PDIF inputs and XLR and optical output. Configuration is intuitive, with on-screen block diagram displays and you get a separate RTA mic/line input with phantom power, a professional wordclock input and MIDI connections for full remote control, as well as preset dumps and system updates. You can maintain up to 64 comprehensive user presets at a time and of course dump and load as needed. You can also save and recall individual modules such as DEQ, PEQ, Width or Dyn. These subsets of complete presets let you maintain most of a preset’s settings but vary a few (such as graphic EQ) without having to generate a whole new preset. |
Built Tough for the Road, Precise for the StudioThe DEQ2496 features high-quality 24-bit/96 kHz A/D and D/A converters and two high-performance 32/40-bit floating-point digital signal processors for incredible sonic resolution and 113 dB dynamic range. The internal switch-mode power supply assures maximum flexibility (100-240 V~), noise-free audio, superior transient response, lowest possible power consumption and freedom from power surge damage. |
Feature GaloreQuite frankly, the DEQ2496 is Behringer’s best multi-function processor in the pro audio industry. If you only have one thing in your magic bag of tricks, shouldn’t it be the DEQ2496? Try one out today, and you’ll never leave home without it! |
DB –
A Must Have For Your PA Rack.
What a real good peice of gear to have in your PA rack forthe price. I paid more forack in 2017. For the most part guitarist, bassist, drummers, keys and vocalist have a sound we like. Getting that sound to sound good in every room is the goal. IMO it takes more than thea GOOD ear, standard EQ tweaks, a PA and the right overheads subs. Bands/musicians tend to over EQ there soundunintentionally and frequencies xlash and cancel each other out. The sound guy compensates with his mix, its like multiplying and dividing instead of adding and subtracting.Some rooms are bigger, some smaller, some have a stage, higher ceilings, some with sheet rock or acoustic tiling, theres wood panel walls or standard sheet rock. Though experience sound guys can get a decent sound not every band has a sound guy handy. Most bands these days manage there own sound. This is were the Ultracurve comes in. Dont be fooled by the low price. I thought I was pretty good at mixing my bands sound until I installed the DEQ2496 in my PA to help speed things up as well. When I mixed my first few rooms with it, I got that smile you get when you know it sounds real good. Thats all I expect now at every gig and so does everyone else.Get a good measuring mic! The Ultracurves Auto Eq analyzer use white noise frequencys to eq the room flat which is what you want to start with. The band brings there sound up and you tweak it from there if need be. The auto eq analyzer is one part, there’s the compressor, expander limiter, parametric EQ, feedback destroyer, stereo imaging, dynamic compressor, time correction solutions everything you need to master your end sound.There is a learning curve but nothing that good is ever that simple at first. There’s YouTube demo videos to help you, so watch, read and follow instructions and be patient. Practice a few setups in your home or studio. Once you learn how to use your DEQ2496 save those gig settings for the next time or use the settings for similar rooms. It’s all worth it IMO if your serious about your bands sound. The DEQ2496 will give you an edge and get club owners to notice that you sound better than the other bands.Good Luck…
Zaphod Beeblebrox –
le couteau suisse des réglages sonores !
monté sur un système HiFi très haut de gamme : source FLAC dématérialisée, DAC Lite 83, intégré electrocompaniet ECI3 (aigüs), Ampli Metaxas Iraklis (basses) et enceintes Klipsch RF7 mk III.Pour corriger l’acoustique de ma pièce et égaliser les niveaux de sortie des 2 amplis grâce à l’analyseur/correcteur automatique de spectre.(associé à un micro ECM 8000 de chez Behringer aussi)Fait donc office de “filtre numérique actif” chez moi pour la biamplification et le fait très très bien !peut servir aussi d’égaliseur manuel 2×32 bandes et à une multitude d’autres réglages tant pour de la Hifi, du home cinéma, mais aussi pour les sonorisations de salle avec réglages anti larsen, retard, etc, …il n’existe pas sur le marché (à ma connaissance) de matériel aussi complet et performant surtout à ce prix.INDISPENSABLE ! même et SURTOUT en HiFiet ceux qui disent le contraire sont des bobos idiophiles qui n’ont certainement jamais entendu ce matériel sur du très haut de gamme (pas écouter, ces gens là n’écoutent pas, ils entendent).
String Theory –
Good Value and Sonic Performance
I purchased the DEQ2496 to compliment other rack processors and am enjoying the rich and numerous processing options it provides across a broad spectrum of sampling rates. The RTA (Real-time Analyzer) function is unique for optimizing the unit’s frequency response to compensate for my Rockit active monitors interaction with room acoustics. This is accomplished in the same manner as how most new surround sound receivers now perform this task. I have the unit connected in series with the mixing console (DAW-based) using the digital AES/EBU interface and also outputting to a Behringer SX 3040 Sonic Exciter. Another exciting feature is the 31-band equalizer function which provides remarkable granular control useful for fine tuning output response. A full compliment of digital and analogue metering options are on tap except a display for assessing the stereo or multi-track phase and soundstage live which is notably absent. Instead a static map to display the width and depth variables is provided. The AD/DA performance is surprisingly good.Overall the signal-chain events are similar to high-end plug-ins such as Izotopes’ Ozone 5 but the system lacks any on-board presets which I feel would add desirable functionality. Programming the unit for specific scenarios can take considerable time when compared to a plug-in equivalent or when compared to other types of rack processors that provide presets as a standard feature. (except for the RTA function which is very quick). The control and programming logic however is straight forward so the unit does its job pretty well. I will confess that some of the parameter functions’ audible results are not readily apparent and that I am still working through some of the intricacies involved in programming the signal chain to produce desired results. The manual is verbose in nature offering an explanation of functionality but limited mixing tips and tricks content so prepare for some schooling. For the price it is proving to be a worthy tool for general mixing/mastering duties. Labor is not included.
tim-bobby –
frustrating device!
When I bought this beastie, it said it had RCA connectors -but, it turns out, the RCA connectors are for output only. There are no RCA inputs. Furthermore, these RCA jacks are made for music professionals using electric guitars, amps, mixers, etc. and so take RCA jacks that are a giant version of the phono-style RCA jacks on most home audio equipment. The home audio RCA connector does NOT fit into the Behringer RCA jack. I had to buy some converter plugs at Radio Shack to get them to match up.The Behringer only has XLR (and maybe spdif) inputs, so you can’t send a signal from a home audio preamp/amp/DAC RCA output into the Behringer. I had to buy a 3 ft cable with home audio RCA plugs on one end and XLR jacks on the other at a professional music store.Once I finally got everything connected and turned it on, I found there are about a dozen different functions for this device, including equalizer, parametric equalizer, expander/compressor, etc. It might make your toast in the morning too – if you can figure out which combination of pressing/turning knobs to make it happen. That brings me to the third problem: there is one big knob and two little knobs that control everything. Each knob can be pushed or turned or both. So to do anything you have to use some combination of pushing in this knob or that and turning those same knobs or turning the main knob. Quite annoying user interface! Much like point-and-shoot digital cameras with buttons that bring up menus, and then you use other buttons to navigate through the menus.I finally decided to use the factory default settings at first just to get a feel for how my music sounds. The first thing I noticed is that the volume is about 2x-3x as loud as without the Behringer unit in the circuit. If I turned up the preamp volume to “3 1/2” on the dial, now I turn it up to about “1 1/2” or a bit more to get the same volume. Clearly the Behringer is significantly increasing the sound volume. There’s probably a setting for that buried somewhere under some menu, but I don’t know where. I listened to a CD most of the way through with the Behringer in the circuit, then took the Behringer completely out of the signal path, adjusted the volume accordingly, and played the same CD again. Based on my very limited experience so far, my system seems to sound better without the Behringer in the signal path. With the Behringer in the signal path, the musicf seemed to lose a lot of its 3-dimensionality and sounded noticeably flatter/duller/more lifeless than without the Behringer to me. Maybe I don’t have some settings somewhere disabled or set flat, but there are so many places to tweak things I have no idea where to begin to look.I bought this to flatten out an upper midrange peak in my speakers since the ribbon tweeters were rebuilt by the manufacturer. I only have thirty days to decide if it’s useful to me. So far I’ve spent most of my time figuring out how to workaround the various connector issues. I know what I want to do with it and I know how to do it, but there are so many settings for the various features that it’s going to take more than 30 days learning how to set everything correctly. I am finding it extremely challenging to work at a full-time “techie” job all day, come home read and re-read the awful manual for this “box”, and also maintain a relationship.The Behringer might be good for some people if you have the patience and desire to learn how everything works. You’ll have to tinker with it to learn it because the user manual is pretty bare bones.Mine is going back tomorrow. It has been a big pain in the *** for the time I’ve owned it, and I’m happy to send it back to Behringer. Maybe they can have some humans re-work the user interface. The monkeys they hired to do the current user interface didn’t do a very good job.
Tim Kimzey –
Amazing set of audio tools for the price
Had this for a while now, testing and using mostly in an audiophile stereo setup. Was a bit skeptical from other reviews of this unit (heat issues and such). But Behringer hasn’t upgraded it with a new version for nearly a decade now. For me, it seems to work amazingly well. I am using it in a full digital configuration from a computer to DAC to digital input on DEQ. Also input/interconnected with an ART DPS II valve mic preamp and other various components including Roland mulitrack recorder/mixer. Has a very small rack size which doesnt take up much space. Personally, i’ve had no issues with heat on mine, and it is even in a partially enclosed rack stacked with other components. Wonder if a hardware or firmware issue has been made with this unit since its introduction, or if there are manufacturing issues between units, as i dont wont to oppose anyone else’s experience. I do not however use it in a heavy use for extended periods, but only for home use in a small “listening” room for music enjoyment and occasional recording (its not on the road in a heavy live gig function or such). My sound is output into a high-end t-amplifier to custom build tower speakers. The DEQ works well for analyzing/adjusting room acoustics. A measurement mic is a great addition to this unit.With all the built-in processors including 31 bands EQ per channel (graphic EQ) as well as parametric eq, compressor, expander, etc. you really cant beat the price!I also hear no distortion or noise floor introduced in the path (am using digital input, but have tried analog inputs with no noticable noise either).Layout use is a bit confusing at first, but you get used to it. Could use an upgrade on that as well as the display info graphics, but for the price i cant really find much to dispute with it.
Gilles –
C’est vraiment un bon appareil
Pas tout le monde qui est en mesure d’exploiter cet appareil au maximum mais ça vaut la peine soit d’apprendre à l’utiliser, soit de trouver quelqu’un pour le configurer à votre place … Je ne sais pas quelle impression le prix vous donne mais on parle ici d’un excellent produit qui fera plus que vous surprendre …
ToddUnctious –
buy one!
I wanted this as a mastering tool for home recording projects, but also as an EQ for my system.I use a pro amp driven by the preamp out (before the tone stack) of an old integrated.Its a great amp, but has an overly strident midrange.So, kill two birds with one stone – set up so that I can ensure recordings sound good after mixing (I have a CD recorder) in my usual listening space whose characteristics I am used to, and give me a really good EQ to tweak the sound of my old pro amp.There is quite a steep learning curve with this unit.I confess to not reading the instructions properly initially, to the detriment of my speakers.Be careful that levels are properly set if you intend to use the auto EQ feature.Pink noise kills tweeters stone dead.Others have gone into more detail , but you have a choice of parametic or graphic EQThere is a dynamic EQ so you can change the parameters with volume (say more bass at low volumes, lessening as the volume rises)The stereo expander is a nice little touch as are the compression tools.If you use a trs to RCA lead you can connect the aux out to a spare input on the hi fi and listen to what the optical digital out sounds like – usefull if you are mastering, as you can A-B between your project and a “target” recording whose sound you are aiming to emulate.
Michael Ferguson –
DEQ 2496 as an inexpensive multiband processor
This unit was bought as an upgrade to an old Behringer Ultramizer Pro 2-band (with final limiter) dynamics processor used in a web radio and podcasting studio. This newer unit can be configured into a quite servicable 3-band processor/final limiter (similar to the popular TC Electronic Finalizers) with optional parametric and graphic EQ, expansion/compression and stereo width/expansion functions optionally available in the processing chain.If you want to use it this way, the device’s instruction manual will provide absolutely no guidance, and unlike the now discontinued Ultramizer, there are no processing presets available to provide any sort of adjustment starting point. In fact you’ll be confronted with screen after screen of geeky, obscure adjustments to set and tweek.It’s too bad Behringer didn’t take the time to detail suggested settings which would unlock the many great things this box will do. However, a ham radio guy, NU9N, has put up an excellent online setup guide, and his 3-band processor settings (ignore the narrow band EQ settings which are appropriate to a ham radio station) are loud, transparent and musical. A good resource for the DEQ2496 and a great starting point for anyone using the box for dynamics processing.In our case the box provides a substantial upgrade in sound over the box it replaced, it was quite inexpensive, and the build quality is adequate. Negatives to Behringer for not giving the customer the basic info to use it properly.
Harry –
Complicado pero bueno
Es bastante complejo pero funciona bien, aunque me pregunto porque no hacen todos los controles con una pantallita tactil y no con tantos botones.
Ted Chau –
Did what I needed
I needed to eq my 2.1 studio monitor system (I can hear the outrage from the purists already!). There’s only so much you can do to physically nullify room modes, so after trying a stereo 31 band graphic and returning it due to the underwhelming results, I chose to try the DEQ2496 because it has a spectrum analyser that measures the listening position and auto-adjusts a graphic eq to reduce peaks and troughs (requires a measurement mic). I then did a little extra tweaking by adding a parametric eq and then saving this to one of many memory locations. The end result is a monitoring system that matches my Sony MDR-7506 headphones almost exactly. Job done.This unit can do much more than I am using them for. I can heartily recommend this unit for studio and live use and believe it represents outstanding value for money.