Behringer T1954 - Manual (Page 11)

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TUBE ULTRAFEX T1954
2.3 Basic Setting
We recommend setting the controls as indicated in the following section. This will give you a better idea of
switch and control functionality:
s Set the SURROUND IN/OUT switch to position OUT and the L/C FILTER switch to position OFF. Turn the
TUNE controls to center position and all other controls fully CCW. Set the EFFECT IN/OUT switch to
position IN.
s You may find that getting to know a dual channel processor like the TUBE ULTRAFEX is easier when you
concentrate on one channel first. If you have a mixer connect the TUBE ULTRAFEX to the insert of one
channel only. See also the Chapters 2.1 and 3 for the right connection.
2.4 Adjustment of the Bass Processor
Apart from processing the upper harmonic ranges, users of the BEHRINGER TUBE ULTRAFEX have access
to an innovative Bass Processor.
The numerous stages of processing during the recording, reproduction, copying and effecting processes,
increasingly delay the phase of the bass frequencies, when compared to the remaining frequency ranges. This
is why the low-frequency range suffers from a loss in power and fundamental bass definition.
With the help of frequency-selective phase shift combined with sub-bass boost, the Bass Processor of the
BEHRINGER TUBE ULTRAFEX is capable of compensating for this loss, giving the program material new
bass presence. Using the MODE switch, you can select between two different bass sounds.
Be extremely careful when using the Bass Processor: excessive use of the Bass Processor might lead to
speaker damage. The amplified sub-bass frequencies may well place a heavy load on the amplifier and the
woofers. Therefore, carefully adjust the Bass Processor and observe the power rating of your system!
2.5 Adjustment of the Noise Reduction System
With the SENSITIVITY control you can now adjust the noise reduction system.
The noise reduction system prevents noise from becoming audible during pauses and soft pieces in the
program material. The enhancer/exciter signal is reduced dynamically when the signal drops below the value
set by the NR SENSITIVITY control. The NR SENSITIVITY also controls the sensitivity of the enhancer/exciter.
When the NR SENSITIVITY control is turn clockwise more harmonics are added by the enhancer/exciter
section. Turn the control counter-clockwise with lower signals and further clockwise for loud signals.
Use the three LEDs above the control to monitor the effect to avoid “pumping” or other side effects.
When more LEDs light up the enhancer/exciter is increasingly active. When all three light up the Noise
reduction system is inactive. When none light up the effect signal is muted, the enhancer/exciter is inactive.
Try to set it up so that at soft pieces only one LED lights up and all three light up at loud pieces.
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When the NR SENSITIVITY control is turned so far counter-clockwise that no LEDs light up, the
effect signal is muted and the settings for the enhancer/exciter are inactive. When this hap-
pens, simply turn up the NR SENSITIVITY until the LEDs light up.
2.6 Adjustment of the Enhancer/Exciter System
Now you can start processing the high frequencies. Turn the HIGH MIX control clockwise and notice how the
high frequencies become more pronounced and transparent. When you turn the TUNE control, the frequency
at which the effect begins is changed, the PROCESS control changes the way the effect operates. When set
to ENHANCER only frequencies that are present in the original signal are used, when set to EXCITER artificial
harmonics are generated based on the frequencies present in the signal. When the control is turned clockwise
the sound gains brilliance but also sharpness. Use the exciter on instruments which do not have an abundance
of upper harmonics i.e. bass guitars, to give them more brilliance and “Punch”. Use the enhancer, to boost high
frequency information that is already present.
Because the effect of an enhancers/exciter is impressive at first, there is a danger of overdoing the effect. We
recommend that you make frequent A/B comparisons (IN/OUT) between the original and the processed sig-
nals. Rule of thumb: sound-enhancing effects should be “missed” when absent instead of directly audible.
2. OPERATION