I have two of them, for front left and right and surround. They do a better job than the parametric I have on the center front.
I am suggesting to people that they buy one thinking only of using it only as a spectrum analyser. (That way you don't need to come to terms with the audiophile sin of puting a digital device in your signal path). After you hook it up, and see how bad your room response is, you will inevitably activate the auto equalization process, (just as an experiment of course). This is, in a word, "neat". Now listen to some music. You will never look back. |
Smeyers...The A/D and subsequent D/A can be switched in and out using the BYPASS switch. With the EQ set flat, I hear no difference. |
Warnerwh...When I do autoequalization I use the "ROOM CORR" feature. This rolls off highs at 1 dB/oct. I agree that this sounds better.
I have not used the parametric EQ. I don't know for sure, but I suspect that there really is only one equalization "engine", (the DSP floating point chip?) and that Graphic and Parametric are just two ways of talking to it. With 1/6 octave resolution on the graphic control there does not seem to be much advantage to using the parametric. |
Warnerwh...I thought the graphic eq was 1/6 octave like the RTD because I could watch the individual 1/6 oct displays change in a way that looked independent. But checking the manual I see you are correct. Maybe I will fool around with the parametric eq and see what it can do for me.
I agree that using an equalizer to fix recording-to-recording variation usually isn't worth the hassle. That's what tone controls are for. |
Warnerwh...I don't know why they discourage autoeq below 100 Hz. It seems to work for me. However, your point about the parametric at low frequency is well taken. In fact you are supposed to be able to calculate the frequencies from the dimensions of your room. |
Jayboard...You can certainly use multiple EQ curves to suit different recordings. It will be a bit of work to set this up and keep track of which curve goes with which recording. Not worthwhile for me.
You should figure out why the clipping indicator flashed. I have NEVER seen mine flash dispite the fact that I run a relatively high line level feeding out to low gain power amps. |
I got mine at samedaymusic.com. Don't forget you need the mic and a cable for the mic. |
Spraglow...The equalization is not, for the most part, for the music. It's for the room. If your room is perfect you are a very lucky guy! |
Streetdaddy...If you want to use the Behringer for all sources (not just CDs) you would put it in the Tape loop of your preamp. When you do this you can switch it in and out of the signal path and decide for yourself if there is any degradation in sonic quality, and if there is, does the room correction done by the Behringer more than make up for it.
If you only listen to CDs, feed the Behringer a digital signal from the CDP. The Behringer D/A are also "well regarded". But only your opinion matters. |
Streetdaddy...If your integrated amp has a TAPE loop (TAPE OUT and TAPE IN rca connectors) it would be obvious. If it has PRE OUT and AMP IN connectors (probably connected by jumpers) you could put it there. If all else fails you can put it between your CDP and the amp, but then it is available only when you use the CDP. |
Drubin...A Toslink-to-Coax converter is actually reasonable. After all, there is one such device at the input of every unit that has a Toslink input. Of course it would have to be a powered device. I think I have seen one in a catalog somewhere, but I can't find it at the moment. |
Drubin...An Optical-to-Coax converter can be found at www.partsexpress.com item 180-961.
However, reading the DEQ2496 manual, I see that the digital output which is on an XLR connector can be switched between the professional format, AES/EBU, and the consumer format S/PDIF. You select the format using the I/O menu of the DEQ2496. It says that you can use an adapter to go from XLR to RCA for the digital output. Nothing is said about how this adapter is wired. I would get a standard balanced XLR to unbalanced RCA and give it a try. |
Kenn39...You raise a good point. Being aware of this I have set up low gain power amps, so that my "pre-out" signal level is as high or higher than the CDP output signal level. This is why a TAPE loop, if you have one, is the best place to put any signal processor, BehringerDEQ2496 included. |
Hey guys...don't waste a lot of energy avoiding use of the DEQ2496 A/D and D/A. They are good 24 bit devices, and if you keep the signal level up they will handle your 16 bit CD signal very well. One reasonable application of the DEQ2496 is as an "outboard DAC" (using its digital input) which just happens to also do room correction. However, this would limit use of the DEQ2496 to the CDP. |
Goatwuss...Why do you ASSUME that there will be audible "negative effects" which need to be outweighed by room correction? If your system is good enough to worry about this sort of thing the $350 cost of the DEQ2496 and mic will be a trivial expense. Buy one and listen for yourself. No one but you yourself can tell you what you will think of the "transparency". On the other hand, the benefits of room correction are well established. |
Dmitrydr...Have you tried it? Refinement is not price.
If you insist, RAM will mod your DEQ2496 to the ultimate of refinement, with output through silver wire Swiss audio transformers, for about a grand.
And what's the point of a superb system, if the room screws it all up? |
Hudsonhawk...Yes. The DEQ2496 can walk and chew gum. |
Dmitrydr...Actually, it is worth the price just for the RTA, even if you do not put it in your signal path. I originally bought it for that purpose, but learned through experience how good it sounds, and how much improvement to the overall system is realized by room correction. |
