248 669 Behringer dcx2496 Manual 41812 2 PDF

User Manual
ULTRADRIVE PRO DCX2496

Ultra High-Precision Digital 24-Bit/96 kHz
Loudspeaker Management System
2 ULTRADRIVE PRO DCX2496 User Manual
Table of Contents
Thank you........................................................................ 2
Important Safety Instructions....................................... 3
Legal Disclaimer.............................................................. 3
Limited Warranty............................................................ 3
1. Introduction................................................................ 4
2. Control Elements........................................................ 4
3. Quick Start................................................................... 6
4. Menu Structure and Editing...................................... 6
5. Audio Connections................................................... 17
6. Applications.............................................................. 17
7. Specifications............................................................ 30
8. Block Diagram........................................................... 32
9. Menu Structure......................................................... 33
Thank you
Thank you very much for expressing your confidence in BEHRINGER products by
purchasing the ULTRADRIVE PRO DCX2496—our high-quality digital loudspeaker
management system designed specifically for both live and studio applications.
Important Safety 9. Do not defeat the safety purpose of the polarized TO BIND MUSIC GROUP BY ANY EXPRESS OR IMPLIED
Instructions or grounding-type plug. A polarized plug has two blades UNDERTAKING OR REPRESENTATION. THIS MANUAL
with one wider than the other. A grounding-type plug IS COPYRIGHTED. NO PART OF THIS MANUAL MAY
has two blades and a third grounding prong. The wide BE REPRODUCED OR TRANSMITTED IN ANY FORM
blade or the third prong are provided for your safety. If the OR BY ANY MEANS, ELECTRONIC OR MECHANICAL,
provided plug does not fit into your outlet, consult an INCLUDING PHOTOCOPYING AND RECORDING OF ANY
electrician for replacement of the obsolete outlet. KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS
10. Protect the power cord from being walked on or WRITTEN PERMISSION OF MUSIC GROUP IP LTD.
pinched particularly at plugs, convenience receptacles,
Terminals marked with this symbol carry ALL RIGHTS RESERVED.
and the point where they exit from the apparatus.
electrical current of sufficient magnitude © 2013 MUSIC Group IP Ltd.
to constitute risk of electric shock. 11. Use only attachments/accessories specified by Trident Chambers, Wickhams Cay, P.O. Box 146,
Use only high-quality professional speaker cables with the manufacturer. Road Town, Tortola, British Virgin Islands
¼" TS or twist-locking plugs pre-installed. All other 12. Use only with the
installation or modification should be performed only cart, stand, tripod, bracket,
by qualified personnel. LIMITED WARRANTY
or table specified by the
manufacturer, or sold with For the applicable warranty terms and conditions
This symbol, wherever it appears,
the apparatus. When a cart and additional information regarding MUSIC Group’s
alerts you to the presence of uninsulated
is used, use caution when Limited Warranty, please see complete details online at
dangerous voltage inside the
moving the cart/apparatus www.music-group.com/warranty.
enclosure - voltage that may be sufficient to constitute a
risk of shock. combination to avoid
injury from tip-over.
This symbol, wherever it appears,
13. Unplug this apparatus during lightning storms or
alerts you to important operating and
when unused for long periods of time.
maintenance instructions in the
accompanying literature. Please read the manual. 14. Refer all servicing to qualified service personnel.
Servicing is required when the apparatus has been
Caution damaged in any way, such as power supply cord or plug
To reduce the risk of electric shock, do not is damaged, liquid has been spilled or objects have fallen
remove the top cover (or the rear section). into the apparatus, the apparatus has been exposed
No user serviceable parts inside. Refer servicing to to rain or moisture, does not operate normally, or has
qualified personnel. been dropped.
Caution 15. The apparatus shall be connected to a MAINS socket
To reduce the risk of fire or electric shock, outlet with a protective earthing connection.
do not expose this appliance to rain and 16. Where the MAINS plug or an appliance coupler is
moisture. The apparatus shall not be exposed to dripping used as the disconnect device, the disconnect device shall
or splashing liquids and no objects filled with liquids, remain readily operable.
such as vases, shall be placed on the apparatus.
Caution
These service instructions are for use
by qualified service personnel only.
To reduce the risk of electric shock do not perform any
servicing other than that contained in the operation
instructions. Repairs have to be performed by qualified
service personnel.
1. Read these instructions.
LEGAL DISCLAIMER
2. Keep these instructions.
TECHNICAL SPECIFICATIONS AND APPEARANCES
3. Heed all warnings.
ARE SUBJECT TO CHANGE WITHOUT NOTICE AND
4. Follow all instructions. ACCURACY IS NOT GUARANTEED. BEHRINGER,
5. Do not use this apparatus near water. KLARK TEKNIK, MIDAS, BUGERA, AND TURBOSOUND
6. Clean only with dry cloth. ARE PART OF THE MUSIC GROUP (MUSIC-GROUP.COM).
ALL TRADEMARKS ARE THE PROPERTY OF THEIR
7. Do not block any ventilation openings. Install in
RESPECTIVE OWNERS. MUSIC GROUP ACCEPTS NO
accordance with the manufacturer’s instructions.
LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED
8. Do not install near any heat sources such as BY ANY PERSON WHO RELIES EITHER WHOLLY OR
radiators, heat registers, stoves, or other apparatus IN PART UPON ANY DESCRIPTION, PHOTOGRAPH
(including amplifiers) that produce heat. OR STATEMENT CONTAINED HEREIN. COLORS AND
SPECIFICATIONS MAY VARY FROM ACTUAL PRODUCT.
MUSIC GROUP PRODUCTS ARE SOLD THROUGH
AUTHORIZED FULLFILLERS AND RESELLERS ONLY.
FULLFILLERS AND RESELLERS ARE NOT AGENTS OF
MUSIC GROUP AND HAVE ABSOLUTELY NO AUTHORITY
1. Introduction 1.1.4 Online registration

To operate a loudspeaker system that consists of several speakers for the various Please register your new BEHRINGER equipment right after your purchase
frequency bands requires different input signals for the individual loudspeakers. by visiting http://behringer.com and read the terms and conditions of our
This requires a frequency crossover network that devides the input signal into warranty carefully.
several frequency bands. For this purpose, the ULTRADRIVE PRO provides up to
Should your BEHRINGER product malfunction, it is our intention to have it
six outputs.
repaired as quickly as possible. To arrange for warranty service, please contact
Multi-way speaker systems are used in many applications—including stereo the BEHRINGER retailer from whom the equipment was purchased. Should your
systems, cinemas, discotheques and concert halls. Due to the high quality BEHRINGER dealer not be located in your vicinity, you may directly contact
demands made by today’s consumers, they can even be found in “simple” one of our subsidiaries. Corresponding contact information is included in the
products such as TV sets. Why? original equipment packaging (Global Contact Information/European Contact
Information). Should your country not be listed, please contact the distributor
A single loudspeaker cannot reproduce the entire audible frequency spectrum
nearest you. A list of distributors can be found in the support area of our website
with the same high quality. If it is connected to a crossover network and
(http://behringer.com).
only has to reproduce a limited frequency band, the quality will improve
considerably in terms of frequency response and dispersion pattern. This also Registering your purchase and equipment with us helps us process your repair
reduces intermodulation distortion in the treble range (due to the diaphragm claims more quickly and efficiently.
displacement produced by bass frequencies).
Thank you for your cooperation!
◊ This manual first describes the terminology used, so that
you understand the unit and its functions. Please read the 1.2 The user’s manual
manual carefully and keep it for future reference.
The user’s manual is designed to give you both an overview of the controls,
as well as detailed information on how to use them. You find a detailed
1.1 Before you get started short-description of the most important functions in chapter 3.
1.1.1 Shipment
The ULTRADRIVE PRO was carefully packed in the factory to guarantee safe 2. Control Elements
transport. Nevertheless, we recommend that you carefully examine the
packaging and its contents for any signs of physical damage, which may have 2.1 Front panel
occurred during transit.
◊ If the unit is damaged, please do NOT return it to us, but notify your (2) (1)
dealer and the shipping company immediately, otherwise claims for
damage or replacement may not be granted.
1.1.2 Initial operation

Be sure that there is enough space around the unit for cooling purposes and,
to avoid over-heating, please do not place the DCX2496 on high-temperature
devices such as radiators or power amps.
(3) (4) (5)
◊ Blown fuses must only be replaced by fuses of the same type
Fig. 2.1: Input LEDs and display
and rating!
The console is connected to the mains via the supplied cable. It meets the (1) The DCX2496 features three 6-segment LED displays (plus CLIP and
required safety standards. MUTE LED) for precise level adjustment of input signals A-C.
◊ Please make sure that all units have a proper ground connection. (2) If the input stage is overdriven, the CLIP LED will indicate that the signal
For your own safety, never remove or disable the ground conductor is distorting.
from the unit or the AC power cord.
(3) The bottom LED (#8) is the MUTE LED (red), which illumiates when the
respective input is muted (see chapter 4.6).
1.1.3 Warranty
(4) These are the input channel buttons, which allow you to activate specific
Please take time to fill out and return the warranty card within 14 days after
functions from the selected menus (e.g. MUTE). Additionally, you can use
the date of purchase. Alternatively, you can use our online registration option
these buttons to call up the IN A/B/C menus (see chapter 4.3).
available on the world wide web (behringer.com). You will find the serial number
on the rear of your mixing console. (5) The DISPLAY shows all the menus available for preset editing.
2.2 Rear panel

(8) (7) (9) (6)
(18) (22)
(10) (11) (19) (20) (21)

Fig. 2.4: Mains connector and RS-232/RS-485 interface
Fig. 2.2: Menu buttons and data wheel
(18) This is the FUSE HOLDER of your DCX2496. Blown fuses must be replaced by
(6) Use these buttons to call up the DCX2496’s menus (e.g. SETUP, RECALL, etc.).
a fuse of the same type and rating.
The only exception is the COMPARE button, which allows you to compare
the edits made with the previously selected presets. When COMPARE is (19) The mains connection is an IEC receptacle. An appropriate power cord
active, no value changes can be entered. is included.
(7) The PAGE buttons select single pages from one menu. (20) The 9-pin RS-232 interface allows you to connect your DCX2496 to a
computer. This enables you to save and load files, update the DCX2496
(8) Individual parameters can be selected with the PARAM buttons.
operating software, or remotely control one or several ULTRADRIVE PRO
(9) The data wheel allows you to edit the selected parameters. units from a PC. Free editor software can be downloaded at behringer.com.
(10) With the OK and CANCEL buttons you can either confirm or cancel any (21) When you have daisy-chained several ULTRADRIVE PRO via the LINK
settings made. connectors (see (22) ), please press the TERM switch on the first and last unit
of the chain, to avoid data reflections and transmission errors.
(11) The PCMCIA card slot is used to exchange files between your DCX2496 and a
PC card with a flash memory. ◊ General rule: As soon as one device in the chain is integrated into
the system via only one of the LINK connectors, the TERM switch
◊ Please only use “5 V ATA Flash Card” PC cards (min. 4 MB). Even though
must be pressed (ON). Detailed information on this can be found in
the memory capacity of the medium can be selected freely, you can
chapter 4.2.6 “Miscellaneous”.
only store a maximum of 60 presets.
(22) Use the LINK connectors A and B (RS-485 network interface)
(14) (13) (12) and a commercially available network cable to daisy-chain several
ULTRADRIVE PROs.
(16) (15) (16) (23)

Fig. 2.3: Output LEDs
Fig. 2.5: Output connectors
(12) Outputs 1-6 each have a six 5-segment LED display (plus MUTE, CLIP and
(23) Balanced XLR output connectors for output channels 1-6. Connect your
LIMIT LED) showing the respective output levels.
power amps here.
(13) Like the input stages, the output stages should not be overdriven,
i.e. the CLIP LED should not illuminate.
(14) The LIMIT LED illuminates when the limiter for the corresponding output has
been activated and is operating.
(15) The bottom LED indicator (#8) is the MUTE LED, which illuminates as soon as
the corresponding output is muted (see chapter 4.6).
(24)
(16) Output channel buttons, with which you can enter the outputs 1-6
Fig. 2.6: Input connectors
(see chapter 4.5) or mute or reactivate individual outputs in MUTE
mode (4.6).
(24) Balanced XLR input connectors A, B and C are used for connecting input
(17) Use the POWER switch to put your DCX2496 into operation. The POWER signals. Input A can also be used for digital AES/EBU input signals.
switch should always be in the “Off” position when you are about to connect Input C can be used for line signals or for connecting a measuring
your unit to the mains. microphone. If AUTO ALIGN has been enabled in the SETUP menu
(see chapter 4.2.2), input C will be set for mic levels automatically.
Additionally, phantom power for the measuring microphone will be
switched on.
3. Quick Start Press the MUTE button to enter the MUTE menu. Here you can mute the inputs
and outputs of the DCX2496. On this page you can mute or activate individual
This chapter is for those who cannot wait to use their new DCX2496 in a practical
channels by pressing the channel buttons (IN A/B/C and OUT 1-6), or all
application. You will find a description of how you can explore your DCX2496 and
inputs/outputs by pressing the PARAM and OK or CANCEL buttons. Thus, you can
its versatile and intuitive features below. This chapter is just a starting point for
monitor each frequency band, either individually or together with a neighboring
future excursions. So, please read the entire user’s manual to take full advantage
band, to allow perfect editing of the isolated frequency range. To quit the MUTE
of all your DCX2496’s features and functions.
menu press MUTE a second time. For more detailed information see chapter 4.6
Please work your way through the following six chapters (3.1 to 3.6), one after “MUTE menu”.
the other. Here we go!
3.4 Storing presets
3.1 Selecting an output configuration
Fig.: 3.4: Store ➠ Internal/Card

Fig. 3.1: Setup ➠ In/Out
Use the STORE button to save your presets. In this menu you can store either in
Press the SETUP button to call up the SETUP menu. On the first menu page, the internal memory (INT) or on a PC card (CARD). More information on the STORE
select an output configuration (OUT CONFIGURATION) to determine which function can be found in chapter 4.8 “STORE menu”.
outputs are used for which frequency ranges. One mono and three stereo
configurations are available. 3.5 Recalling presets
The mono configuration allows you to split the input signal into six different
frequency ranges. The stereo configurations allow a maximum of three different
frequency ranges per stereo side. The abbreviations L, M and H stand for Low,
Mid and High Speaker. For more information see chapter 4.2.1 “IN/OUT”.
3.2 Setting crossover frequencies

Fig. 3.5: Recall ➠ Internal/Card
Press the RECALL button to load presets from the internal memory or a memory
card. Select either INT or CARD (PCMCIA memory card), then enter the preset you
wish to recall. We included some typical presets, which you can use as a basis for
your own applications. For further information see chapter 4.7 “RECALL menu”.
Fig. 3.2: Out ➠ X-Over Points
3.6 Restoring the factory presets
In order to assign dedicated frequency bands to the output channels, you have If you wish to restore the ULTRADRIVE PRO’s factory presets, press and hold both
to define the crossover frequencies (X-Over) for each of them. The crossover PAGE buttons on the front panel switching on the unit. The DCX2496 prompts you
frequencies determine the upper and lower limits of a frequency band, to confirm (OK) or CANCEL. Press OK to erase the internal memory and restore the
which allows you to clearly separate the outputs from each other in terms factory presets.
of frequency.
◊ Please note that restoring the factory presets will irrevocably erase all
Press the corresponding OUT button (1-6) and select menu page 2/8 using the edited presets.
PAGE buttons. With the parameters FREQ and TYPE you can define the slope
of the crossover frequency and also select a filter type. When the parameter
X-OVER ADJUST MODE is set to “LINK”, any changes to the crossover frequency will 4. Menu Structure and Editing
also shift the neighboring frequency ranges. For more information see chapter
This chapter describes all functions, operating steps and parameter pages in full
4.5.2 “X-OVER POINTS”.
detail. While working with your DCX2496, please keep the user’s manual on hand,
and use it as a reference in case of problems.
3.3 Muting input/output channels (Mute)
4.1 General operating structure and
display presentation
When you switch on your ULTRADRIVE PRO DCX2496, the display shows a graphic
with the current routing of the unit, i.e. how inputs and outputs are linked to
each other.
Fig. 3.3: Mute ➠ Select
Use the buttons to the left of the output LED displays (SETUP, MUTE etc.) to enter
the various menus. Most of them include several pages, which you can select
with the PAGE buttons. The PARAM button selects individual parameters from
one page, the data wheel edits them. Confirm new settings with OK, or cancel
your selection with CANCEL. This operating structure is the same for all menus so
it will not be repeated in each section of the manual.
The menu name is shown at the top-left of the display. Next to this, and separated
by an arrow, is the name of the current page (e.g. SETUP ➠ IN/OUT). The page
number of the corresponding menu is shown on the right-hand side
(e.g. 1/6 = page 1 of 6).
The bottom line also shows the menu name (e.g. SETUP). For buttons IN A-C and
OUT 1-6 (below the input/output LED displays), the menus for the corresponding
inputs/outputs are listed (IN A, OUT 3 etc.). In addition, the output display also
indicates the name of the output (e.g. SUBWOOFER, RIGHT MID etc.).
4.2 SETUP menu

Use the SETUP menu to make basic adjustments necessary for the operation
of your ULTRADRIVE PRO. Press the SETUP button to display the first page of
this menu.
4.2.1 IN/OUT
The parameter OUT CONFIGURATION selects the general operating mode;

in MONO mode input A is the preset signal source for all outputs. In STEREO mode,
three configurations are available. Please use inputs A and B in these modes.
The display shows the OUT channels (L = LOW, M = MID and H = HIGH). Fig. 4.2: Output configuration
The stereo 3-way configuration LMHLMH has input A routed to outputs 1, 2

and 3, and input B routed to outputs 4, 5 and 6. The stereo 3-way configuration
LLMMHH routes input A to outputs 1, 3 and 5, and input B to outputs 2, 4 and 6.
The 2-way configuration LHLHLH uses all three inputs; here, A can be routed to
outputs 1 and 2, B to outputs 3 and 4, and C to outputs 5 and 6. This application is
used for 3 x 2-way speaker systems or triple bi-amping (see chapter 6.3).
With the OUT STEREO-LINK function you can determine whether processing
with EQs, limiter, etc. is effective on the linked outputs, or whether the settings
for each output can be made independently. When this function is enabled (ON),
linking several outputs to each other, the display will show small connecting lines
between the individual outputs.
The following link options (output configurations) are available:

OUT
MONO 123456 LINK-Activation
1. MONO (no stereo links) Configuration
OUT Stereo Link OFF not available
activated by enabling
SHORT Delay 1➟2➟3➟4➟5➟6
“OUT STEREO-LINK”
Link (Chassis) Sb ➟ L ➟ LM ➟ M ➟ HM ➟ H
on SETUP-page 1/6
activated by
LONG Delay Link 1➟2➟3➟4➟5➟6
enabling “LINK” on
Fig. 4.4: Output configuration MONO (Loudspeakers) Sb ➟ L ➟ LM ➟ M ➟ HM ➟ H
OUT-page 8/8
2. L(1) M(2) H(3) L(4) M(5) H(6)

OUT
LMH LMH 123 456 LINK-Activation
Configuration
1 ➟ 4 2 ➟ 5 3 ➟ 6
OUT Stereo Link ”OUT STEREO-LINK“
L ➟ L M ➟ M H ➟ H
on SETUP-page 1/6
SHORT Delay 1 ➟ 4 2 ➟ 5 3 ➟ 6
Fig. 4.5: Output configuration LMHLMH ”OUT STEREO-LINK“
Link (Chassis) L ➟ L M ➟ M H ➟ H
on SETUP-page 1/6
Link: L(1) > L(4) / M(2) > M(5) / H(3) > H(6) LONG Delay Link 1 ➟ 2 ➟ 3 4 ➟ 5 ➟ 6
activated by
enabling ”LINK“ on
(Loudspeakers) L ➟ M ➟ H L ➟ M ➟ H
3. L(1) L(2) M(3) M(4) H(5) H(6) OUT-page 8/8
OUT
LL MM HH 12 34 56 LINK-Activation
Configuration
1 ➟ 2 3 ➟ 4 5 ➟ 6
L ➟ L M ➟ M H ➟ H
Fig. 4.6: Output configuration LLMMHH on SETUP-page 1/6
SHORT Delay 1 ➟ 2 3 ➟ 4 5 ➟ 6
”OUT STEREO-LINK“
Link: L(1) > L(2) / M(3) > M(4) / H(5) > H(6) Link (Chassis) L ➟ L M ➟ M H ➟ H
on SETUP-page 1/6
4. L(1) H(2) L(3) H (4) L(5) H(6) LONG Delay Link 1 ➟ 2 ➟ 3 4 5 ➟ 6
activated by
(Loudspeakers) L ➟ L M ➟ M H ➟ H
OUT-page 8/8
OUT
LH LH LH 12 34 56 LINK-Activation
Configuration
Fig. 4.7: Output configuration LHLHLH 1 ➟ 3 ➟ 5 2 ➟ 4 ➟ 6
L ➟ L ➟ L H ➟ H ➟ H
on SETUP-page 1/6
Link: L(1) > L(3) > L(5) / H(2) > H(4) > H(6) activated by enabling
SHORT Delay 1 ➟ 3 ➟ 5 2 ➟ 4 ➟ 6
”OUT STEREO-LINK“
Link (Chassis) L ➟ L ➟ L H ➟ H ➟ H
on SETUP-page 1/6
activated by
LONG Delay Link 1 ➟ 2 3 ➟ 4 5 ➟ 6
(Loudspeakers) L ➟ H ➟ L H ➟ L ➟ H
OUT-page 8/8
Tab. 4.1: Survey of all OUT LINK configurations
When Out Stereo Link is enabled, the unit warns you that all settings for the
linked outputs will be lost, because they will be overwritten with the values of
the output to be selected.
Any further changes to the parameters of a specific output will be transferred
directly to the linked output. However, any edits made to a LONG DELAY value Fig. 4.9: Setup ➠ In/Out
(see chapters 4.2.2 and 4.5.5) will not be transferred to the other output.
This parameter can be adjusted specifically for each output. SHORT DELAY The inputs can also be linked using the parameter IN STEREO LINK. Thus, all
settings (see chapters 4.2.2 and 4.5.5) will be transferred as long as OUT Stereo settings of one input can be transferred to another input, or to all inputs.
Link is on.
◊ In the MONO configuration, the Out Stereo Link function cannot
be activated.

When this function is On, the display provides a warning note that shows both In the AUTO-ALIGN sub-menu you can mute or open all outputs. Be sure that at
the new link to be activated and the name of the inputs that will be overwritten least two outputs are open (UNMUTE OUTPUTS TO ALIGN), otherwise no delay
(black field). Use the data wheel to edit the link to be activated (black field). values can be calculated, and a warning message will be displayed.
The values of input A will be transferred to the following inputs.
Possible setting
Newlink OFF A+B A+B+C A + B + C + SUM
Overwritten settings (empty) B B+C B+C+SUM
Tab. 4.2: In Stereo Link
Fig. 4.13: Setup ➠ Dly-Corr./Auto-Align
When you edit a setting of any input, while a link is activated, all edits are
directly transferred to the linked inputs. In the case of the IN STEREO LINK If at least two or more outputs have been opened and OK has been pressed,
function, this also includes the DELAY values (see chapter 4.3.2). the cursor will jump to ADJUST NOISE LEVEL and you can hear some test noise.
Use the data wheel to adjust the test noise. The level will be read at the outputs.
Use the parameter IN A + B SOURCE to select the type of input signals:
Press OK to trigger the measuring process. The DCX2496 calculates the run-time
ANALOG or AES/EBU (digital: via input A only).
differences, phase shift and polarity. The OUTs are automatically adjusted to the
optimum delay values calculated. This process cannot be executed if the test
4.2.2 DLY-CORR./AUTO-ALIGN
noise level is too low.

As the speed of sound depends on the air temperature, the parameter

DELAY CORRECTION on this SETUP page can be used to adjust the DCX2496 to 4.2.3 COPY
the ambient temperature, ensuring proper delay characteristics at all times.
Use the COPY function to copy parameter settings to other pages. For example,
The available value range is from -20°C to 50°C (-4°F to 122°F) and will be taken
you can transfer the EQ or gain settings from one channel to another, which saves
into account only as long as DELAY CORRECTION is ON.
you a lot of time.
With the AUTO ALIGN function you can delay the output signal automatically
by a certain amount, so as to eliminate phase cancellations caused by speaker
alignment. For example, when the diaphragms of several speakers are not
in the same phase it leads to cancellations due to arrival time differences.
Identical signals are radiated from different positions, so that wave
crests coincide with wave troughs. If only one of these signals is delayed,
this misalignment can be compensated.
Fig. 4.15: Setup ➠ Copy
If the arival time differences are smaller, a short signal delay will be enough
to eliminate them (SHORT DELAY). However, if the speaker cabinets are placed The parameter COPY MODE determines whether only single pages (PAGE) or the
several meters away from each other, not only can phase cancellations occur complete channel settings (WHOLE CHANNEL) will be copied. Select PAGE mode
but so can audible run-time differences. To remove these, you’ll have to use with the PARAM button and then select the source channel (SOURCE) plus the
considerably higher delay values (LONG DELAY). The LONG DELAY calculation, SOURCE PAGE to be transferred to another channel. If you select just one page,
however, works only with a minimum distance of four meters. the channel to be overwritten (DESTINATION PAGE) will appear automatically
under the parameter DESTINATION. Please enter the channel to which the data
If, for example, a speaker is connected with incorrect polarity, AUTO ALIGN will
should be copied to (DESTINATION CHANNEL).
detect and—if POLARITIES is on—correct this error automatically.
Both the source and destination Channel can be selected using the data wheel or
Use the parameters SHORT DELAY, LONG DELAY and POLARITIES for the
by pressing the corresponding channel button (IN A-C, OUT 1-6 and SUM).
automatic correction of output signals. As soon as at least one parameter is set to
YES, pressing OK will take you to another sub-menu. If not (all parameters set to
NO), you will be warned that the process cannot be executed.

Press OK or CANCEL to subsequently copy further pages in the same way. To lock a parameter page you must activate the PAGE LOCK function (ON).
The unit will prompt you to enter a password. Use the data wheel to enter a
◊ Only similar pages with identical parameters can be copied. If you
password with a maximum of 8 characters, and confirm your selection with OK.
select a SOURCE PAGE that is not available in the DESTINATION CHANNEL,
the display will read NOT AVAILABLE under DESTINATION PAGE. ◊ CAUTION: Please make a note of your password. It is impossible to
unlock parameter pages without the correct password!

Fig. 4.21: Setup ➠ Page Lock
If you set COPY MODE to WHOLE CHANNEL, you can copy the complete channel
settings to another channel. Use SOURCE to select the channel to be copied Now, the parameter SELECT PAGES is displayed, enabling you to select all the
(SOURCE-CHANNEL), then define the channel to be overwritten (DESTINATION). pages to be locked. Use the IN/OUT/SUM/SETUP buttons to call up a menu,
The process is the same as in PAGE mode. the data wheel to select the page of your choice and the OK button to activate
the PAGE LOCK function.
So-called “cross copying” (copying of different channels, for example output 1 to
input A), allows the copying of only those pages that can be transferred 1:1 to The data wheel also allows you to scroll through a list of all pages, from which
another channel. Any other pages will not be overwritten. you can select the ones you wish to lock. This is the only way to call up
the ALL PAGES function that lets you lock all pages in one operation.
Previously locked pages (see chapter 4.2.4) cannot be overwritten.
To unlock all pages at once, select ALL PAGES and press CANCEL. As before,
A corresponding message is displayed.
the selected pages must be confirmed and locked with OK. Locked pages are
displayed with a closed lock symbol. If a page is unlocked, the lock symbol is
open. Use the CANCEL button to unlock a previously locked page.
◊ The OK and CANCEL functions cannot be selected in the display with the
cursor. They can only be activated with the corresponding buttons on
the front panel.
Fig. 4.18: Setup ➠ Copy Use the CHECK function for an overview of all locked pages. The locked pages
from the list now appearing can be selected with the data wheel. This function is
located at the bottom right of the display and must be selected with the cursor.
4.2.4 PAGE LOCK
When you call up a locked page, you will at first notice no difference.
In this menu you can lock individual parameter pages, preventing them from
Only when you try to edit a parameter, will the display prompt you to
being edited without first entering a password. This is useful for P.A. rental
enter your password. Entering the correct password and confirming it
companies, for example, who want to make sure that certain “harmful” pages
with OK will take you back to the page, now ready for editing.
with necessary fixed settings cannot be accessed by the user.
To activate PAGE LOCK again, go to the PAGE LOCK page (4/6) and enter your
password again. Now, all settings are available, i.e. you can activate or deactivate
PAGE LOCK completely by selecting the line “PAGE LOCK: ON” with the cursor and
setting this parameter to ON or OFF with the data wheel.
4.2.5 GLOBAL LOCK

Fig. 4.19: Setup ➠ Page Lock This function allows you to lock all parameter pages if you want to make sure
that nobody can edit your settings while you‘re away during a break in a live
In the PAGE LOCK menu you can either lock single pages or all pages. In this case, performance, for example.
you need a password to edit the pages. The parameter PAGE LOCK is set to OFF
by default. As long as it is not ON, you can skip this page and move on to the next.
Fig. 4.22: Setup ➠ Global Lock
Fig. 4.20: Setup ➠ Page Lock

On this SETUP page you can activate the GLOBAL LOCK function (ON), 2. LINK (RS-485)
enter a password, then confirm with OK. Now, if you try to edit any parameter,
the display will prompt you to enter your password. The process follows
the same logic as the PAGE LOCK routine.
Fig. 4.27: Setup ➠ Miscellaneous
Fig. 4.23: Setup ➠ Global Lock DCX2496

LINK
(RS-485) =
◊ Activating PAGE LOCK and/or GLOBAL LOCK automatically locks all STORE RS-485
DEVICE ID: 1
and RECALL pages. PORT: LINK (RS-485)
PC
CAUTION: If you have locked individual pages with PAGE LOCK and deactivated RS-485
the GLOBAL LOCK function with the correct password, you can not yet make DCX2496
any changes to the corresponding page. You must first unlock this page in the
PAGE LOCK menu. When using the GLOBAL LOCK feature, we recommend that DEVICE ID: 2
PORT: LINK (RS-485)
you unlock all pages in the PAGE LOCK menu (UNLOCK ALL).
RS-485
4.2.6 MISCELLANEOUS DCX2496
TERM-Switch: ON
DEVICE ID: 3
PORT: LINK (RS-485)
Fig. 4.28: LINK (RS-485) mode
Fig. 4.24: Setup ➠ Miscellaneous Please use this mode when several ULTRADRIVE PROs are linked to each other via
the network interfaces LINK A and B and the first unit in the chain is connected
On this page, the current version of your DCX2496 operating software is to a computer via the RS-485 interface. The last unit in the chain must have a
shown in the top right corner of the display (e.g. VERSION: 1.0). This is just a termination (TERM switch on rear panel = ON). The RS-232 interface is not used
message and cannot be selected. Additionally, this menu provides five user in this configuration.
settings. Firstly, you can adapt the CONTRAST of the display to ambient
3. PC -> LINK
conditions. Secondly, you can assign a DEVICE ID to your DCX2496, allowing
you to daisy-chain several units via the rear panel RS-485 network interface
(LINK A and B). The first unit is connected to a PC either via one of the LINK
interfaces (RS-485) or via the RS-232 interface.
The PORT parameter provides three different modes for the PC remote control:
1. PC (RS-232)
TERM-Switch: ON
RS-232 DCX2496
PC -> LINK =
DEVICE ID: 1
PORT: PC -> LINK
PC
RS-232
DCX2496
DCX2496
PC (RS-232) =
RS-232
DEVICE ID: 1
PORT: PC (RS-232) DEVICE ID: 2
PC PORT: LINK (RS-485)
RS-232
Fig. 4.26: PC (RS-232) mode
DCX2496
TERM-Switch: ON
Use this setting if you want to connect only one DCX2496 to your computer via DEVICE ID: 3
the RS-232 interface. It is impossible to daisy-chain several units in this mode. PORT: LINK (RS-485)
Fig. 4.30: PC -> LINK mode

Please use this mode on the first unit when several ULTRADRIVE PROs are linked You can delay either the IN A, B or C signal to compensate for arrival time
to each other via LINK A and B, and the first unit in the chain is connected to a differences—resulting from offset stereo signals or so-called “delay lines”
computer via the RS-232 interface. In this configuration, the last AND the first (“delay towers”). Activate the function with DELAY (ON) and select the delay
unit in the chain must have their TERM switch ON, since both are integrated into time of your choice with DISTANCE/TIME. The values DISTANCE and TIME are
the system via only one LINK interface. linked to each other, i.e. both values are edited simultaneously when you turn
the data wheel. IN A (B/C) NAME allows you to enter a name with a maximum of
◊ General rule: Whenever one device within a chain has been connected
8 characters for the input signal selected.
to the system via only one LINK interface, its TERM switch must be
pressed (ON) to avoid data reflections and hence transmission errors.
4.3.3 EQ
In PC (RS-232) mode this switch is not needed because the LINK
interfaces are not used.
The parameter DELAY UNIT determines the units of both measurement and
temperature used for the delay settings in the corresponding menus. You can
choose between m / mm / C° and ft / in / F°. When you change from meters/
millimeters to feet/inch, the temperature will be changed automatically from
°Celsius to °Fahrenheit. These settings cannot be made independently of
Fig.4 .33: In A ➠ EQ
each other.
The MUTE OUTS WHEN POWER ON function is used to protect connected On this page you can process the sound of the input signals with the help of
equipment such as power amps and loudspeakers. When it is on (YES), various equalizer settings.
all outputs of the ULTRADRIVE PRO are muted during power-up. To restore the
The EQ parameter determines whether this function is generally ON or OFF. In the
output configuration of your presets, you will have to activate the respective
adjacent NR field you can select the number of EQs. There are various filters
outputs individually or call up the preset again using RECALL (see chapter
available, which can be used and edited. Their number depends on the current
4.7). Using RECALL to switch from one preset to another automatically mutes
processor capacity, which is shown as a percentage next to the number of the
all outputs, as soon as a preset has a different output configuration.
filter. The free capacity of the processor is directly dependent upon the number
However, if the output configurations are the same, the muted outputs of the
and type of the filter selected (e.g. >FREE: 33%).
new preset will be loaded.
Use TYPE to define the filter type you wish to use. You can choose from low-pass
When MUTE OUTS WHEN POWER ON is disabled (NO), the last output
(LP), high-pass (HP) and band-pass (BP) filters. Description:
configuration used will be recalled during power-up.
The low-pass filter raises (positive gain) or lowers (negative gain) the level
4.3 IN A/B/C menu of the frequency band below the adjusted frequency. The high-pass filter
raises (positive gain) or lowers (negative gain) the level of the frequency
On these pages you can define the EQ, delay and similar values for the individual
band above the adjusted frequency. Use TYPE to set a slope of 6 or 12 dB/oct.
input signals, and hence optimize the overall sound.
for the high-pass or low-pass filter, or to determine the quality (Q) of the
band-pass filter.
4.3.1 GAIN
The band-pass filter raises or lowers the level of the frequency range around
Press one of the buttons IN A, IN B or IN C to enter the INPUT menu of the
the adjusted frequency. The quality parameter Q determines the width of the
corresponding input. On the first page, you can adjust the input gain for the
resulting bell-shaped filter curve.
signal (GAIN). The setting range is from -15 to +15 dB.
The FREQ parameter controls the cutoff frequency, at which the filter starts
working. In the case of the low-pass and high-pass filters, the cutoff frequency
is the point, at which low and/or high frequencies are processed. The entire
frequency spectrum ranges from 20 Hz to 20 kHz.
Use the GAIN parameter to define the degree of boost/cut applied to a specific
frequency band. The setting range is from -15 to +15 dB.
Fig. 4.31: In A ➠ Gain
◊ When you set GAIN to 0 dB, the corresponding filter is inoperative!
This means that you cannot select a new type. Only when this
Below this parameter you can see a graphic representation of the current IN-OUT
values is higher or lower than 0 dB, will the filter be activated,
configuration (OUTPUT CONFIG). Additionally, the display shows whether or not
and you can select a new filter type. Please note that two or more
the input is used for the SUM signal (see chapter 4.4). This is just a message.
filters are used for one frequency range when LINK is active.
You cannot edit anything here! OUT configurations are shown on the
Consequently, the processor performance will decrease.
SETUP page 1/6. The input source selection for SUM and for the various OUTs is
determined on page 1 in the corresponding menus (SUM, OUT). With the Q parameter you can set both the quality of the band-bass filter and
the amount of interaction with adjacent frequency ranges around the center
4.3.2 DELAY/NAME frequency. The higher this value, the lesser the influence on neighboring
frequencies. This function is available only for the band-pass filters; its range is
adjustible from 0.1 to 10.
The number of filters available depend on the processing power (>FREE)
available. Filters can be allocated to either the inputs or outputs in any
proportion. The more filters are activated, the lower the processing power and
vice versa.
Fig. 4.32: In A ➠ Delay/Name
4.3.4 DYNAMIC EQ (FILTER)

Settings
As the DYNAMIC EQ is a highly complex module, its parameters are allocated to TYPE BP
two pages—the FILTER and the DYNAMICS parameters pages. FREQ 1.00 kHz
The DYNAMIC EQ influences a specific frequency range of the signal, depending +15 dB > continuous line
on the volume level. It can either boost or cut this frequency range, depending GAIN 0 dB > broken line
-15 dB > dotted line
on the gain setting made by the user. If the gain control is set to lower the
Q 0.1
respective frequency range in level, and if a preset THRESHOLD is exceeded, the
THRESHOLD -40 dB
EQ modifies the sound by reducing the gain of the frequency range. The amount
RATIO ∞:1
of gain reduction applied is defined by the RATIO value. When the signal drops
below threshold again, the frequency range is “smoothed out” again, i.e. the Tab. 4.3: Band-pass settings with extreme values (results in fig. 4.36)
DYNAMIC EQ stops processing the signal.
When you define a certain boost with the GAIN control, the gain of the
0
frequency range is raised depending on the volume level. When the level of dBu
the selected frequency range drops below a preset THRESHOLD, the range is Positive gain >
gain boost
boosted by a certain amount (RATIO). As soon as the threshold is exceeded again, after dropping
the DYNAMIC EQ stops processing the signal. -40
below threshold
dBu
Negative gain >

gain reduction
after exceeding
threshold
-40 dBu 0
Fig. 4.34: In A ➠ Dynamic EQ (➠ Filter) Threshold dBu
The complete DYNAMIC EQ (FILTER) page corresponds to the EQ page in Fig. 4.36: Filter curves with gain above/below threshold
terms of operation and to the parameters in terms of number and type.
Exception: Only one filter is selectable.
4.4 SUM menu
4.3.5 DYNAMIC EQ (DYNAMICS) In addition to its inputs A-C, the ULTRADRIVE PRO DCX2496 provides an internal
source signal that can be composed of these three input signals. This SUM signal
On this page you can edit both the threshold and the operating mode of the
can be edited at any time, much like any other input signal, so that you have a
compressor and/or expander (volume-dependent sound processing).
maximum of four separate source signals available.
4.4.1 INPUT/GAIN
Fig. 4.35: In A ➠ Dynamic EQ (➠ Dynamics)
The THRESHOLD parameter defines a threshold, activating the filter function

Fig. 4.37: Sum ➠ Input/Gain
once that threshold is exceeded. If the filter has been set to reduce the gain
on the DYNAMIC EQ (FILTER) page (GAIN < 0), this frequency range will be cut,
In this menu, the parameter IN SELECT allows you to define a combination of
as soon as it exceeds the threshold.
two inputs forming the SUM signal. Available options are: IN A + IN B, IN A +
However, if the filter has been set to raise the gain (GAIN > 0), the frequency IN C and IN B + IN C. Of course, you can also use just one input signal as your
range is boosted, as soon as its level drops below the threshold. The threshold SUM signal (IN A, IN B or IN C), by doubling one of the inputs. It is impossible,
setting range is from -60 to 0 dB. however, to form a SUM signal composed of all input signals!
If no additional source signal is required, set IN SELECT to OFF. The current SUM
Next, you can use the RATIO parameter to define the amount of gain
configuration is shown graphically below this parameter.
boost/cut. RATIO adjusts the level balance between the input and output
signals. Available settings range from 1.1 : 1 (minimum boost/cut) to ∞ : In the top left corner of the display you can use SUM INPUT Gains to adjust
1 (maximum boost/cut). the input signal of the inputs A-C. The signal controlled here is taken directly
from post-input converters—not post-EQ or post-Dynamics. Therefore, it is not
ATTACK defines how fast the DYNAMIC EQ reacts to signals exceeding or falling
necessary to re-adjust the input gain. The SUM INPUT GAINS setting range is from
below THRESHOLD, and can be set from
-15 to +15 dB.
1 to 200 milliseconds.
With the OUT GAIN parameter you can control the internal output level of
RELEASE controls the recovery time needed by the EQ to stop processing the
the sum signal. This signal is also taken pre-EQ, pre-Dynamics, etc. and is then
signal, once it has exceeded or fallen below THRESHOLD (depends on the GAIN
routed to output channels 1-6. The gain setting also ranges from -15 to +15 dB.
setting). Available RELEASE times are from 20 to 4,000 milliseconds.
Thus, you can use one parameter to quickly adjust all inputs together in their
adjusted balance at the same time.
The following SUM pages are 100% identical to the IN A/B/C pages 2/5 to Use the TYPE parameter in the top left corner of the display to define the type
5/5 (see chapters 4.3.2 to 4.3.5)! of curve at the lower (left) slope. To define the upper (right) slope, use the TYPE
parameter in the top right corner of the display. Both parameters are marked by
4.5 OUT 1-6 menu a curve symbol.
Press one of the OUT 1-6 buttons to enter the OUTPUT menu of the respective You can choose from three different types of filters:
output. Here, you can set the IN-OUT configuration, X-OVER POINT or, as with the
1. Butterworth (with a slope of either 6, 12, 18, 24 or 48 dB/oct)
input signals, the EQ and DYNAMIC EQ parameters.
2. Bessel (with a slope of either 12 or 24 dB/oct.)
4.5.1 GENERAL
3. Linkwitz-Riley (with a slope of either 12, 24 or 48 dB/oct.)
◊ With higher slopes, the number of filters goes down (see EQ page 3/6,
display >FREE<). For each 12 dB increase in slope, you will lose 1-2 EQs.
The FREQ parameter in the top left corner of the display selects the lower (left)
cutoff frequency for one output. With the same parameter on the right-hand
side you can determine the upper (right) cutoff frequency. These parameters,
Fig. 4.38: Out 5 ➠ General too, are marked by a curve symbol.
The X-OVER ADJUST MODE, when set to “FREE”, allows you to enter all TYPE
On the first page of this menu, the parameter INPUT SOURCE allows you to
and FREQ values, independent of one another. When set to “LINK”, you can couple
choose the input signal feeding the selected output. Available options are the
the X-Over filters of adjacent outputs. Though your entries are retained, they will
inputs A-C and the additional SUM signal. If a STEREO-LINK configuration has
be proportionally shifted with each parameter change. When you shift the
been previously selected in the SETUP menu (see chapter 4.2.1. IN/OUT), input A
upper cutoff frequency of OUT 1 in the LMHLMH configuration for test purposes,
will automatically be routed to the LEFT CHANNEL outputs, and input B to the
the lower cutoff frequency of OUT 2 will be shifted as well.
RIGHT CHANNEL outputs. However, these preset configurations can be edited
as desired. The following pages 3/8 to 5/8 (EQ, DYNAMIC EQ (FILTER) and DYNAMIC EQ
(DYNAMICS)) are 100% identical to the IN pages 3/5 to 5/5!
The OUT 1(-6) GAIN parameter controls the volume level of the respective
output channel (also pre-EQ, pre-DYNAMIC EQ, etc.). The setting range is from
4.5.3 LIMITER
-15 to +15 dB. Just as the inputs, the output levels should be set properly to
avoid distortion. To protect your power amplifiers and loudspeakers, the ULTRADRIVE PRO
DCX2496 features a limiter for each of the six outputs. Use this device to suppress
The third parameter, OUT 1-6-NAME can be used to assign specific names to the
harmful level peaks.
outputs. In contrast to the DCX2496 inputs, you cannot enter single characters
here, but you may choose from a list of preset names (e.g. LEFT LOW-MID,
RIGHT HI-MID, SUBWOOFER etc.). Depending on the output configuration
(e.g. LMHLMH) and the output selected, the system assigns a default name.
This name can be changed at any time by using the data wheel to select a
different name from the list.
Output- Fig. 4.40: Out 5 ➠ Limiter
OUT 1 OUT 2 OUT 3 OUT 4 OUT 5 OUT 6
configuration
LMHL MH Left Lowe Left Mid Left Hi Right Low Right Mid Right Hi
Use the LIMITER parameter to switch this function ON or OFF. The corresponding
LLMMHH Left Low Right Low Left Mid Right Mid Left Hi Right Hi
THRESHOLD parameter determines (similarly to the DYNAMIC EQ) the LIMITER
L HL HLH Left Low Left Hi Center Low Center Hi Right Low Right Hi
threshold (-24 to 0 dB). RELEASE controls the recovery time that elapses
MONO Sub-woofer Low Low-Mid Mid Hi-Mid Hi
between the point when the signal drops below THRESHOLD and the deactivation
Tab. 4.4: Default output names, depending on output configuration of the LIMITER function (20 to 4,000 ms).
4.5.4 POLARITY/PHASE
4.5.2 X-OVER POINTS
Any phase errors at the outputs (cancellation of specific frequency ranges) may
On this page, you can define the cutoff frequencies and filter curves for the
be corrected here.
individual outputs, which are displayed graphically for one stereo side and over
the entire frequency range. Use the OUT buttons 1-6 to select the output to be
processed. A frame around the selected OUT number highlights your selection.
Fig. 4.41: Out 5 ➠ Polarity/Phase
Fig. 4.39: Out 5 ➠ X-Over Points

The POLARITY parameter determines whether the phase of an output signal MUTE settings of any type can be made exclusively on this page. As soon as an
is INVERTED or not (NORMAL)—just as if you had inverted the polarity of your input/output has been muted, the bottom red LED above the corresponding
speakers. Use the PHASE parameter to adjust the precise phase position at the input/output button lights up.
upper X-OVER frequency of the currently selected output. This fine adjustment
Press MUTE again or select another menu to quit the MUTE menu. Pressing the
is necessary when two output signals are not perfectly displayed by 0° or 180°
IN or OUT buttons has no effect.
with regard to each other.
4.5.5 DELAY
4.7 RECALL menu
The increasing popularity of portable computer systems such as notebooks and
laptop computers has prompted consumers to ask for portable and exchangeable
storage media to give them a certain amount of flexibility. In the late 80’s a
consortium of manufacturers developed a design, connection and software
standard for memory cards called PCMCIA (Personal Computer Memory Card
International Association). PCMCIA cards have also become the media of choice
in audio engineering, allowing the user to store data externally via PCMCIA card
Fig. 4.42: Out 5 ➠ Delay
slots. Today, the cards are usually referred to as PC cards.
The DLY parameter in the top left corner of the display switches the DELAY Your ULTRADRIVE PRO DCX2496 has a PCMCIA card slot on the front panel,
function ON or OFF. With the LINK function you can couple several output allowing you to store your presets easily, without having to use the internal
DELAYS, so that you only have to adjust one DELAY for a whole stack of speakers. memory of the device. Use the RECALL menu to recall previously stored presets
However, this applies to LONG DELAY values only. SHORT DELAY values (see chapter 4.8)—from the card or from the internal memory.
can be adjusted separately and independently of the LINK function, and can
be linked to each other in the SETUP menu (page 1/6), using the parameter
OUT STEREO LINK.
The parameters SHORT and LONG allow you to define the DELAY values of
your choice. The setting range for the SHORT Delay is from 0 to 4,000 mm
(= 0.00 to 11.64 ms) and the LONG Delay can be adjusted from 0.00 to 200.00 m
(= 0.00 to 582.24 ms). Fig. 4.44: Recall ➠ Internal/Card
With the LINK function activated, all LONG DELAY changes at one output are
In the upper display line, the parameter CURRENT NR indicates the current
transferred to the corresponding output (L > M > H of one stereo side)—
preset. If the preset has been edited but not yet stored, an arrow plus “EDITED”
irrespective of the selected output configuration (e.g. LMHLMH).
appears below this line. Now, if you try to load a new preset, the unit warns you
◊ If the LINK function is activated for one output, it will be switched on that the current preset has not been saved yet. If you continue to load a new
for ALL other outputs as well. preset, all settings will be lost.
When you have set all DELAY values for the outputs and then activated the LINK
function for one of them, the LONG DELAY values are NOT transferred to the
linked outputs. This happens only when you edit any parameters that change the
values of the linked outputs proportionally. The current DELAY values are still not
copied, but rather the linked output values follow the changes.
The output links are shown graphically, with the currently selected OUT channel
Fig. 4.45: Recall ➠ Internal/Card
displayed as an inverted loudspeaker, in the top right-hand corner of the display.
Below are the DELAY times shown on a timeline.
If you wish to store the current preset before loading a new one, cancel RECALL
and change to the STORE menu (see chapter 4.8).
4.6 MUTE menu
The parameter RECALL NR allows you to select the BANK, from which to load
a preset (INT or CARD) and the NUMBER of the preset. Both values are shown
in the large right-hand window Use the data wheel to select a preset (1 - 60).
Confirm your selection with OK to return to the previously selected menu
(before entering RECALL).
◊ “Empty” presets (without a name) cannot be RECALLED.
Fig. 4.43: Mute ➠ Select
4.8 STORE menu
On this page, you can mute individual or all input/output channels.
Use this menu to store previously created presets in the internal memory or on a
Use the parameters MUTE ALL OUTS and MUTE ALL INS to disable (OK)
PCMCIA card.
or de-mute (CANCEL) the inputs/outputs of the DCX2496 in one go. To mute
or de-mute individual channels, please use the respective input/output ◊ Only use “5 V ATA Flash Card” PC cards. Though the memory capacity
buttons (e.g. OUT 2, IN A, SUM, etc.). The lower part of the display only shows of the storage medium can be selected freely, it is impossible to
the status of the channel and does not allow for any selection. store more than 60 presets. If you need more memory capacity you
can store your presets externally on a PC (data dump via RS-232 or
LINK RS-485 interface).
4.8.1 INTERNAL/CARD
Fig. 4.50: Store ➠ Delete/Format

Fig. 4.46: Store ➠ Internal/Card
Press OK to delete the preset. Locked presets cannot be deleted.
In this menu, STORE TO selects the bank to which the preset is stored:
INTERNAL or CARD. The window on the right-hand side lists the presets already
stored in the internal memory or on a PCMCIA card. You can allocate a memory
location to the preset, give it a NAME and overwrite an existing configuration or
select an unused memory location. If you want to overwrite an existing preset,
then confirm your command with OK. The display will prompt you to confirm
once again. Press OK to confirm, or CANCEL to quit.
Additionally, this menu page allows you to format a memory card. If CARD
was selected in the DELETE menu, and the FORMAT CARD function is enabled,
the lower display line changes from PUSH OK TO DELETE to PUSH OK TO FORMAT.
If the preset to be overwritten was previously locked in the PRESET LOCK menu
(see chapter 4.8.4), the process cannot be completed; a corresponding message
is displayed.
When you confirm with OK, the preset warns you that formatting will erase all
existing presets on the card.
If you save to an unused preset location, the store command will be executed
directly, i.e. without further prompts.
◊ Please note that you have to assign a name to each preset.
Presets without a proper name cannot be saved. Confirm formatting with OK. Press CANCEL to quit.
◊ ATTENTION: Formatting will also erase locked presets!
AUTO-STORE
Your DCX2496 features an AUTO-STORE function. This means that 4.8.3 COPY
all settings are saved automatically, once every few seconds, to a
On the third page of the STORE menu you can copy presets within one bank or
temporary, non-volatile memory. For example, if there is a power
from the internal memory (INT) to a PCMCIA CARD, and vice versa.
failure while you’re editing, at least the last few edits (before the
last auto-store operation) are available directly from the auto-store
memory. This function cannot be disabled.
4.8.2 DELETE/FORMAT
Fig. 4.54: Store ➠ Copy
SOURCE selects the memory from which to copy (SOURCE BANK), while
DESTINATION determines the DESTINATION BANK. Below, you can select the
SOURCE PRESET and the DESTINATION PRESET. The display indicates both the
number, name and status (LOCKED/UNLOCKED) of the preset.
On the next menu page you can erase presets from the internal memory or an
external memory card. Similar to the previous page, just use DELETE to select
the BANK (CARD or INT), then, in the right-hand window, mark the preset to be
deleted. When you press OK, the display prompts you to confirm your selection.
5. Audio Connections
The BEHRINGER ULTRADRIVE PRO DCX2496 has standard electronically balanced
inputs and outputs. The circuit design has an automatic hum suppression with
balanced signals and is able to operate, without problem, even at highest
levels. Externally-induced mains hum etc. is thus efficiently suppressed.
The servo-function, also automatic, recognizes the connection of unbalanced
Fig. 4.55: Store ➠ Copy pin assignments and changes the nominal level internally so that there is no
difference in level between the input and output signals (6 dB correction).
◊ Locked DESTINATION PRESETS cannot be overwritten. In this case,
◊ Please ensure that only qualified persons install and operate the
the display informs you that the process cannot be completed.
device. During installation and operation the user must have sufficient
Since SOURCE PRESETS will not get lost during the copying process,
contact to earth. Electrostatic discharges might affect the operation of
it does not matter whether they are locked or not.
the unit.
When all settings have been made and confirmed with OK, the DESTINATION
PRESET is directly overwritten and the display indicates the name of the new Balanced use with XLR connectors
preset. Locked SOURCE PRESETS are stored as unlocked presets. To lock them,
go to the next page of the STORE menu (PRESET-LOCK). You can also unlock 2 1
locked DESTINATION PRESETS there. 3
input
1 = ground/shield
2 = hot (+ve)
3 = cold (-ve)
1 2
3
Fig. 4.56: Store ➠ Copy
output
Additionally, you can copy all presets in one operation, by selecting ALL PRESETS For unbalanced use, pin 1 and pin 3
have to be bridged
in both SOURCE and DESTINATION PRESETS. Prior to that, all presets in the
destination memory must be unlocked. When you confirm with OK, the displays
Fig. 5.1: XLR connections
warns you that all DESTINATION PRESETS will be overwritten.
6. Applications
On the following pages we present the most useful applications for your
ULTRADRIVE PRO, using a few practical examples. For each example there is
an appropriate preset available, which you can use as a starting point for your
Fig. 4.57: Store ➠ Copy own set-ups.
Please note that these presets provide only basic outline settings that must
Press OK to complete the process, or CANCEL to quit.
be adapted to meet your specific requirements in terms of loudspeaker,
◊ It is impossible to copy a bank to the same memory location amplifier and room acoustics!
(e.g. ALL INTERNAL PRESETS to ALL INTERNAL PRESETS).
The application examples are arranged in three groups:
4.8.4 PRESET-LOCK 1. Classic setups (chapters 6.1 – 6.6)
2. Special applications: zoning / delay lines / surround
(chapters 6.7 – 6.9)
3. Large-scale applications requiring two DCX (chapters 6.10 – 6.12)
Fig. 4.58: Store ➠ Preset-Lock
The last page of the STORE menu allows you to LOCK or UNLOCK your presets.
SELECT selects the corresponding bank (INT or CARD), the right-hand window
displays the preset. Use ALL PRESETS to select all presets. Press OK to lock the
preset, or CANCEL to unlock it.
Here, you can unlock a DESTINATION PRESET you wish to overwrite, or lock
recently copied presets.
6.1 Stereo tri-amp operation
Left
Stereo output
Right
In A In B
XENYX X2222USB Mixing Console

Out 1 2 3 4 5 6
High (3)
High (6)
EUROPOWER EP2000
Stereo power amplifier
Mid (2)
Mid (5)
Low (1)
Low (4) Loudspeaker left Loudspeaker right
Fig. 6.1: Stereo 3-way operation
Stereo Tri-Amp operation is one of the most popular applications. The stereo input signals (In A+B) are split up into three frequency bands per stereo side and then
reproduced using the 6 outputs. This ensures the best possible use of your 3-way sound reinforcement system, since the individual drivers reproduce only those
frequency ranges for which they are ideally suited. Intermodulation distortion is thus effectively minimized.
6.2 Stereo bi-amp operation plus mono subwoofer
Right
Stereo output
Left
In A In B
XENYX X2222USB Mixing console

Outputs: 1 2 3 4 5 (6 is not used)
High
Left (2)
Right (4) High
Right (3) Mid

Left (1)
Mid
EUROPOWER EP2000
EUROLIVE B1800X PRO
SUM (A + B) signal (5)

Low
Mono bass (amplifier mono bridged)
Mono subwoofer
Fig. 6.2: Stereo 2-way operation plus subwoofer
Each driver (speaker diaphragm) of the two 2-way speaker cabinets is controlled separately to ensure optimum reproduction of treble and mid-range frequencies.
The bass is reproduced by a mono subwoofer, which is driven by a power amp in mono-bridged mode. The sub-woofer receives its signal from the DCX’s “SUM” input,
which is limited to bass frequencies and is the sum of mix signals In A+B. The unused input C and output 6 could be used for a mono delay line, for example.
6.3 3x bi-amp operation (LCR/Triple Bi-Amping)
Left Center Right

channel
In A In B In C
Outputs: 1 2 3 4 5 6
Low Low
High Low High High
EUROPOWER EP2000
Mid
High (2) Left High (4) (Center) High (6) Right
Low (1) Low (3) Low (5)
EUROLIVE B1520 PRO
Fig 6.3: 3x2-way operation [LCR/Triple Bi-Amping]
Three 2-way speakers driven from three inputs. Such a setup is used for stage monitors or in cinemas, where, in most cases, the two stereo cabinets (completely to the
left and right) are used to play back music and effects, while the center cabinet reproduces voices. Hence the name L-C-R, which stands for “Left-Center-Right”.
6.4 Stereo operation plus mono subwoofer
Right
Stereo output
Left
In A In B
XENYX X2222USB Mixing console Outputs: 1 2 3 (4, 5 and 6 not used)
High (1)
EUROLIVE B1800X PRO
B815NEO B815NEO
Left active Right active
loudspeaker loudspeaker
Passive mono subwoofer
SUM (A + B) signal
Low (3)
EUROPOWER EP2000
Stereo power amplifier (mono bridged)
Output 4 usable as additional mono delay line output.

Output 5 + 6 usable as additional stereo delay line output.
Fig. 6.4: Stereo operation plus mono subwoofer
A full-range stereo signal is sent to two active speaker cabinets for stereo reproduction. There is no need for a dedicated frequency separation because the crossover
and amplifier in the active speaker are perfectly adapted to each other. However, to achieve more power in the bass, low frequencies are cut off in the active cabinets
and routed to a subwoofer. The power amp is set to mono-bridged mode and the SUM signal derived from In A+B is sent to the subwoofer. Outputs 4 to 6 can be used
as mono or stereo delay lines.
6.5 Stereo operation plus 2 subwoofers
Left
Stereo output
Right
In A In B
Out 1 2 3 4 (5 and 6 not used)

EUROLIVE
B1220 PRO
Left passive Right passive

loudspeaker loudspeaker
High (2)
High (4)
EUROPOWER EP2000
Stereo power amplifier EUROLIVE B1800X PRO
Left active subwoofer Right passive subwoofer
Low (3)
Low (1)
Output 5 + 6 usable as additional mono delay line outputs.
Fig. 6.5: Stereo operation plus 2 woofer cabinets
Only two frequency ranges (Low and High) are used on each stereo side. The two passive speaker cabinets for the higher frequencies are limited towards the bass end
and are fine-tuned in their sound with the DCX’s internal equalizer. The stereo bass signal is first sent to the active woofer, which also provides the passive woofer
cabinet with sufficient power for the right-hand low-frequency channel. The unused outputs 5 and 6 can be used as mono delay lines.
6.6 Stereo bi-amp operation plus subwoofer and additional monitor
Monitor output
Right
Left
Stereo sub master

In A In B In C
XENYX X2222USB Mixing console Outputs: 1 2 3 4 5 6
High (2)
High (4)
Left Right
Mid (3)
Mid (1)
Low (5) SUM (A + B) signal
In C signal
EUROLIVE F1220A
Active mono subwoofer Full Range mono monitor
Fig. 6.6: Stereo 2-way operation plus subwoofer and additional monitor
Inputs A+B carry the stereo signal optimized for the two 2-way speakers. The woofer signal is derived from the sum signal of A+B, limited in its frequency range and
routed to the active sub-woofer. A separate signal from the mixing console (aux/subgroup) for a separate speaker can be processed via In C. In our example, this is a
full-range stage monitor with its own amplifier able to play back a dedicated monitor mix for the singer, drummer or other performers.
6.7 Mono 6-zone distribution mode
Mono master
output
In A
Outputs: 1 2 3 4 5 6
Identical full range mono output signals
(Sub) (Low (Mid) (High mid)
Mid)
(Low) (High)
EUROPOWER EP2000
(1) (2) (3) (4) (5) (6)
Left Right Left Right Left Right
EUROLIVE B1520 PRO
Fig. 6.7: Mono 6-way “Zoning” (signal distribution mode)
In this special-purpose application, the ULTRADRIVE PRO is not used as a frequency crossover but rather as a signal distributor, for dedicated EQing plus individual
delays and separate volume settings for each output. The monophonic mix signal is split up and sent to six equal outputs. It can be used for a variety of applications
requiring the transmission of music or speech over large distances or to several rooms or rooms consisting of several compartments. Examples are large discotheques,
multi-room clubs/pubs/bars, shopping malls, restaurants, hotels, lobbies, trade show and conference halls, railway stations, churches/cathedrals and even at home
where you can use the DXC2496 to play back music in every room.
6.8 Stereo 3-zone delay line
Right Right
Main
amplification Stereo master Stereo sub master
Left Left
In A In A
All loudspeakers: full range (Low) Outputs: 1 2 3 4 5 6
Delay line 1
Left (1) Right (2) (High)
EUROPOWER EP2000
EUROLIVE B1520 PRO (Low)

Delay line 2
(Low)
Delay line 3
Fig. 6.8: Triple stereo delay line
In this application, the ULTRADRIVE PRO is not used as a crossover network. Instead, it produces stereo delay lines, i.e. stereo speaker cabinets delayed in time with
regard to each other. All pairs of cabinets are supplied with the same full-range stereo input signal A+B. Then, these pairs can be placed at regular distances away
from the stage, as is often the case at big open-air concerts. The farther away the original signal (usually the music played on stage) is, the more audible the delay
between speaker signal (close to the listener) and original signal (far away) becomes. The DCX2496 allows you to make up for the resulting echoes by adding specific
delay times to the speaker signals. This allows the audience to feel as if they were “part of it” even though they may be far away from the stage—and this without any
annoying echoes.
6.9 3.0 Channel surround
Left
Stereo sub master
Right
Out 5/6 identic Mono surround channel
In A In B In C In C Signal
Outputs: 1 2 3 4 5 6
EUROPOWER EP2000
Low Full range (mono)
Right (6)
High Left (5)
2x mono surround
Surround rear
EUROLIVE B1220 PRO

High
Right (4)
High Left (2)
Stereo high frequencies
Surround front
Low Left (1)

Right (3)
Low
Stereo low frequencies
Fig. 6.9: Surround 3.0
With this 3-channel configuration your audience experiences a live surround sound that comes close to the popular “Dolby Surround” sound format. The 2-way front
speakers carry the main stereo signal from inputs A+B. A separate mono surround signal is supplied via In C, which is reproduced by two rear (or side) full-range
speakers. The surround signal can be a delayed signal derived from the stereo sum signal, it can be processed with reverb or any other effect, or it can even provide a
separate sound. Using this configuration, your surround music performances, slide shows, silent-movies or video shows will be a real experience—the sound of ocean
waves lapping onto the shore or space ships flying through outer space—all embedded into “atmo” sounds floating around the room.
6.10 Stereo 4-way bridged system plus 2 monitors
Stereo master
left channel Mono out 4
Mono out 1 Mono out 3
Mono Stereo master

out 2 right channel
(Sub)
RS-232
In A In B In C In A In B In C
LINK
6 5 4 3 2 1 Outputs (RS-485) Outputs: 1 2 3 4 5 6

4-way
loudspeaker tpwers
EUROPOWER EP2000 (In A signal)
High (4) High (4)
High mid (3) High mid (3)
Mid (2) Mid (2)
Low (1) Low (1)
Left Right
In B signal (5) In B signal (5)
In C signal (6) In C signal (6)
Full range Full range

mono monitors mono monitors
EUROLIVE F1220A
Fig. 6.10: 4-way mono-bridged operation plus 2 monitors (per stereo side)
This application uses one ULTRADRIVE PRO for each stereo side. When both units are coupled to each other via the LINK jacks, and one of them is additionally
connected to a notebook/PC, you can use the computer to remotely control both devices with our free CrossOverRemote Software.
In this example, each DCX2496 is supplied with one side of the main stereo signal (In A). Two additional mono signals are routed from the console to inputs B and
C. Two power amps each are used for the 4-way paths of each P.A. stack, while the third power amp drives two full-range stage monitors. This allows for building a
stereo 4-way system that gives the musicians four on-stage monitors that can be “accessed” individually.
6.11 5-way mono operation plus 1 additional mono signal
Mono out 1 Mono out 2
Stereo master Stereo master

left channel right channel
RS-232
In A In B In A In B
LINK
(RS-485)
1 2 3 4 5 6 Outputs Outputs: 6 5 4 3 2 1
4-way
loudspeaker towers
(In A Signal)
EUROPOWER EP2000
High (6) High (6)
High mid (5) High mid (5)
Mid (4) Mid (4)
Low mid (3) Low mid (3)
Low (2) Low (2)
In B signal (1) In B signal (1)
Left Right
EUROLIVE F1220A
Full range mono monitor
EUROLIVE B1800X PRO

Mono subwoofer
Fig. 6.11: 5-way mono operation plus 1 additional mono signal (per stereo side)
Again, two ULTRADRIVE PROs can be remotely controlled from a notebook/PC by using our free CrossOverRemote Software.
This set-up is similar to the one described in chapter 6.10. Here, however, even five frequency-optimized ways per stereo side are transmitted. The subwoofer has a separate
mono-bridged power amp, just like the sixth channel, which can be used independently and is controlled from the separate B input. In our example, one of these mono
channels is used for an individual subwoofer, while the the mono channel of the second ULTRADRIVE PRO drives a full-range stage monitor.
6.12 5.1 Surround operation
Surround processor/decoder
or
Front Front
left Front Rear sub-
center Front Rear right
right left bass
Front left Front subbass

Front center Rear right
Front right Rear left
RS-232

LINK
RS-485
Outputs: 1 2 3 4 5 6 Outputs: 6 not used 5 4 3 2 1
Screen/curtain
Front left Front center Front right
High High High
(2) (4) (6)
Low Low Low
(1) (3) (5)
Front subbass (LFE) connected in a row
High (2)
High (4)
Rear left Rear right

Low (3)
Low (1)
Fig. 6.12: Surround 5.1
(To be continued on next page...)

With two DCX2496 units you can even realize today’s most popular surround format: 7. Specifications
5.1. In addition to the speaker cabinets and power amps (or active speakers as in
the simplified illustration shown here), all you need is a surround decoder to play Analog Inputs (A, B, C)
back pre-produced 5.1 material such as DVDs, or a mixing console with six outputs
(e.g. stereo out plus four subgroups). In the latter case, you can create highly Type electronically balanced
sophisticated surround mixes even without a special surround sound decoder.
Connector XLR
The preset “5.1 FRONT” has been optimized for the L-C-R front speakers
Max. input level +22 dBu
with 2 speaker ways each (see also chapter 5.3). The three signals required
“Front-Left, Front-Center, Front-Right” are routed via the three inputs (A, B, C) Input impedance approx. 20 kΩ at 1 kHz
to the first DCX2496.
Crosstalk -72 dB @ 0 dBu In
On the second DCX2496, the preset “5.1 REAR” should be used as a starting
point. It supplies the two rear surround speakers (also 2-way systems) plus the Digital Input (A)
monophonic sub-bass channel (“LFE” = “Low Frequency Enhanced”) with the
input signals “Rear-Left, Rear-Right and Sub-bass”, using connectors In A, B, C. Connector XLR
The sixth output of the second ULTRADRIVE PRO is not used in this application,
Format S/PDIF or AES/EBU
but is left available for additional effects or as a mono delay line.
Input level 0.3 to 10 Vpp
Input impedance approx. 110 Ω
Sampling frequency 32 to 96 kHz
Special feature Sample Rate Converter
Microphone Input (C)
Type electronically balanced

Connector XLR
Max. input level -23 dBu
Input impedance approx. 470 Ω at 1 kHz
Phantom supply +15 V
Analog Outputs (1, 2, 3, 4, 5, 6)
Type electronically balanced

Connector XLR
Max. output level +22 dBu
Output impedance approx. 160 Ω at 1 kHz
Crosstalk -100 dB @ 10 dBu In
System Data
Sampling frequency 96 kHz

Signal delay < 1 ms Analog input to analog output
Frequency response 10 Hz to 35 kHz (-1 dB) typ.
Dynamic range 109 dB (analog input ➠ analog output)
Input noise -90 dBu (@ +22 dBu ➠ 112 dB)
Output noise -90 dBu (@ +22 dBu ➠ 112 dB)
THD+N Ratio 0,007% @ 0 dBu In, Gain 1
0,004% @ 10 dBu In, Gain 1
Converters
A/D Converter
Resolution 24-Bit Delta-Sigma AKM
Oversampling 64x
Dynamic range 112 dB typ.
D/A Converter
Resolution 24-Bit Delta-Sigma AKM
Oversampling 64x
Dynamic range 112 dB typ.
Serial Interface
RS-232
Type 9-pin sub-D connector
Transmission type 115200 bauds, 8 data bits, 1 stop bit,
no parity
RS-485 (2x)
Type RJ-45 connector
Transmission type 115200 bauds, 8 data bits, 1 stop bit,
no parity
Power Supply
Mains Voltage
USA/Canada 120 V~, 60 Hz
Europe/U.K./Australia 230 V~, 50 Hz
Japan 100 V~, 50 - 60 Hz
General export model 100 - 240 V~, 50 - 60 Hz
Power consumption approx. 12 W
Fuse 100 to 240 V~: T 1 A H
Mains connector Standard IEC receptacle
DIMENSIONS (H x W x D) 1 ¾ x 19 x 8 ½"
44.5 x 482.6 x 217 mm
WEIGHT approx. 3 kg
SHIPPING WEIGHT approx. 4.2 kg
BEHRINGER makes every effort to ensure the highest standard of quality. Necessary modifications are carried
out without notice. Thus, the specifications and design of the device may differ from the information given in
this manual.
8. Block Diagram
9. Menu Structure
FEDERAL COMMUNICATIONS
COMMISSION COMPLIANCE
INFORMATION
Responsible Party Name: MUSIC Group Services US Inc.

Address: 18912 North Creek Parkway,
Suite 200 Bothell, WA 98011,
USA
Phone/Fax No.: Phone: +1 425 672 0816
Fax: +1 425 673 7647

complies with the FCC rules as mentioned in the following paragraph:
This equipment has been tested and found to comply with the limits for a Class B
digital device, pursuant to part 15 of the FCC Rules. These limits are designed
to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses and can radiate radio frequency
energy and, if not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a particular installation. If this equipment does cause
harmful interference to radio or television reception, which can be determined
by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from that to which the
receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC rules. Operation is subject to the
following two conditions:
(1) this device may not cause harmful interference, and
(2) this device must accept any interference received, including interference that may
cause undesired operation.
Important information:
Changes or modifications to the equipment not expressly approved by MUSIC Group
can void the user’s authority to use the equipment.
We Hear You

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User Manual

ULTRADRIVE PRO DCX2496

1. Introduction 1.1.4 Online registration

1.1.2 Initial operation

2.2 Rear panel

(10) (11) (19) (20) (21)

(16) (15) (16) (23)

Fig.: 3.4: Store ➠ Internal/Card

3.2 Setting crossover frequencies

4.2 SETUP menu

Fig. 4.1: Setup ➠ In/Out

The parameter OUT CONFIGURATION selects the general operating mode;

The stereo 3-way configuration LMHLMH has input A routed to outputs 1, 2

The following link options (output configurations) are available:

2. L(1) M(2) H(3) L(4) M(5) H(6)

Tab. 4.1: Survey of all OUT LINK configurations

Fig. 4.8: Setup ➠ In/Out

Fig. 4.10: Setup ➠ In/Out

Fig. 4.11: Setup ➠ Dly-Corr./Auto-Align

As the speed of sound depends on the air temperature, the parameter

Fig. 4.16: Setup ➠ Copy

Fig. 4.12: Setup ➠ Dly-Corr./Auto-Align

Fig. 4.17: Setup ➠ Copy

4.2.5 GLOBAL LOCK

Fig. 4.22: Setup ➠ Global Lock

Fig. 4.20: Setup ➠ Page Lock

Fig. 4.27: Setup ➠ Miscellaneous

Fig. 4.23: Setup ➠ Global Lock DCX2496

Fig. 4.28: LINK (RS-485) mode

Fig. 4.30: PC -> LINK mode

4.3.4 DYNAMIC EQ (FILTER)

Negative gain >

Fig. 4.35: In A ➠ Dynamic EQ (➠ Dynamics)

The THRESHOLD parameter defines a threshold, activating the filter function

Fig. 4.41: Out 5 ➠ Polarity/Phase

Fig. 4.39: Out 5 ➠ X-Over Points

Fig. 4.50: Store ➠ Delete/Format

Fig. 4.47: Store ➠ Internal/Card

Fig. 4.48: Store ➠ Internal/Card

Fig. 4.54: Store ➠ Copy

Fig. 4.58: Store ➠ Preset-Lock

6.1 Stereo tri-amp operation

XENYX X2222USB Mixing Console

Low (4) Loudspeaker left Loudspeaker right

Fig. 6.1: Stereo 3-way operation

6.2 Stereo bi-amp operation plus mono subwoofer

XENYX X2222USB Mixing console

Right (3) Mid

SUM (A + B) signal (5)

Fig. 6.2: Stereo 2-way operation plus subwoofer

6.3 3x bi-amp operation (LCR/Triple Bi-Amping)

XENYX X2222USB Mixing console

Left Center Right

High Low High High

Low (1) Low (3) Low (5)

EUROLIVE B1520 PRO

Fig 6.3: 3x2-way operation [LCR/Triple Bi-Amping]

6.4 Stereo operation plus mono subwoofer

XENYX X2222USB Mixing console Outputs: 1 2 3 (4, 5 and 6 not used)