Version 1.1 November 2001 TUBE ULTRA-Q® www.behringer.
TUBE ULTRA-Q T1951 SAFETY INSTRUCTIONS CAUTION: To reduce the risk of electric shock, do not remove the cover (or back). No user serviceable parts inside; refer servicing to qualified personnel. WARNING: To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture. This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosurevoltage that may be sufficient to constitute a risk of shock.
TUBE ULTRA-Q T1951 FOREWORD Dear Customer, We thank you for expressing your confidence in BEHRINGER products by purchasing the BEHRINGER TUBE ULTRA-Q. It is one of my most pleasant tasks to write this preface, as our engineering team has made it possible to enhance the traditional tube circuitry design (particularly for our VINTAGER series of products), and adapt it to meet the high sound quality and dynamics requirements of modern, pro-level audio technology.
TUBE ULTRA-Q T1951 TUBE ULTRA-Q® 2 x 4-Band Parametric Tube Equalizer T1951 s 4-band parametric stereo equalizer with selected 12AX7 tubes s ULTRA-TUBE circuitry (UTC) adds desired amount of warmth without additional noise s Parallel filter architecture ensures minimal phase shifting s Precision state-variable filters with constant-Q characteristic s Ultra low-noise 4580 audio operational amplifiers offer outstanding performance s Switchable shelving filter functions remove unwanted frequencies s Each
TUBE ULTRA-Q T1951 TABLE OF CONTENTS 1. INTRODUCTION .....................................................................................................................6 1.1 The concept .................................................................................................................................... 6 1.2 Before you get started ..................................................................................................................... 6 1.3 Control elements ....................
TUBE ULTRA-Q T1951 1. INTRODUCTION With the BEHRINGER TUBE ULTRA-Q T1951 you have purchased an innovative device. Parametric equalizers represent the most advanced form of equalization systems. With the TUBE ULTRA-Q you have purchased an extremely musical and flexible device. Our ULTRA-Q range of devices has been a hit ever since we introduced our first model some 5 years ago.
TUBE ULTRA-Q T1951 Be sure that there is enough space around the unit for cooling and please do not place the TUBE ULTRA-Q on high temperature devices such as power amplifiers etc. to avoid overheating. + Before you connect your TUBE ULTRA-Q to the mains, please make sure that your local voltage matches the voltage required by the unit! The mains connection of the TUBE ULTRA-Q is made by using a mains cable and a standard IEC receptacle.
TUBE ULTRA-Q T1951 4 The FREQUENCY control selects the filters center frequency, which can be freely chosen within the frequency range of the associated band. 5 The LEVEL control determines the amount of level boost/cut. The setting range is from -15 to +15 dB. 6 The BANDWIDTH control determines the slope or quality of the filter. Settings from 0.03 (Q = 43) to 2 octaves (Q = 0,67) are possible.
TUBE ULTRA-Q T1951 12 SERIAL NUMBER. Please complete and return the warranty card within 14 days of the date of purchase. Otherwise, you will lose your right to the extended warranty. Alternatively, you can register online at our website under www.behringer.com. 13 FUSE HOLDER / VOLTAGE SELECTION. Before connecting the T1951, confirm that the voltage display matches your local mains voltage. When replacing the fuse, you must always use the same type.
TUBE ULTRA-Q T1951 like feedback. In live applications uncontrolled feedback can cause damage to loudspeakers and amplifiers. By means of the INPUT control you can adapt the sensitivity of the TUBE ULTRA-Q to the input level. The sensitivity can be varied within a range of -15 to +15 dB. Set the INPUT control so that the PEAK LED lights up only rarely, it should never light up constantly.
TUBE ULTRA-Q T1951 Fig. 2.1: Various filter qualities 2.4 Setting of the tube stage With the settings you have achieved so far a considerable sound improvement can be made. You may not know this, but you have already benefitted from the tube stage of the TUBE ULTRA-Q. Even when the WARMTH control is turned fully counter-clockwise, subtle and hardly noticeable warmth and musicality is added to the signal. You can now drastically increase the effect by turning up the WARMTH control.
TUBE ULTRA-Q T1951 Because of the wide overlap possibility of the different filters, the effect of two filters can be added together if so desired. This way an even greater attenuation or boost can be achieved. When notching out frequencies try to make the band as small as possible. Always as little as possible but as much as needed. 3.2 Shelving filters and Roll Off Switching one or two of the outer filters to SHELF enables you to adapt or limit the entire frequency response.
TUBE ULTRA-Q T1951 Center frequency (Hz) 1/3 octave Effects on music 31 to 63 Fundamentals of bass drum, tuba, double bass and organ. These frequencies give music a sense of power. If overemphasized they make the music "muddy". The 50 or 60 Hz band is also used to reject AC mains hum. 80 to 125 Fundamentals of lower tympani. Too much boost produces excessive "boom". 100 or 125 Hz are also used for hum rejection. 160 to 250 Drum and lower bass. Too much boost produces excessive "boom".
TUBE ULTRA-Q T1951 Center frequency (Hz) 1/3 octave Effects on voice 40 to 125 Sense of power in some outstanding bass singers. 160 to 250 Voice fundamentals. 315 to 500 Important for voice quality. 630 to 1k Important for voice naturalness. Too much boost in the 315 to 1 kHz range produces a telephone-like quality. 1.25k to 4k Voice fricatives-accentuation of vocals. Important to speech intelligibility. Too much boost between 2 and 4 kHz can mask certain speech sounds e.g.
TUBE ULTRA-Q T1951 It is quite obvious that compromises must be made to meet these requirements. In rooms with poor acoustics or a high level of background noise, both natural sound and acoustic power can usually not be realized simultaneously. Priority must be given to one of these quality-improving measures.
TUBE ULTRA-Q T1951 In complex sound reinforcement systems comprising different speakers located in varying acoustic environments (e.g. theaters with front speakers, various side-fill speakers and/or balcony speakers) each single time-delayed channel should be equipped with a separate TUBE ULTRA-Q, as this is the only way to make provision for varying room acoustic and to adapt the speakers specifically.
TUBE ULTRA-Q T1951 kind be identified and eliminated, before the actual musical fine-tuning of the sound image takes place. Still, extreme settings can be realized by overlapping the frequencies of the individual bands. 4.4 On phase shift and time delay Any analog filter, be it graphic or parametric, produces a certain amount of phase shift.
TUBE ULTRA-Q T1951 allowed for loss-free copying of audio signals. As digital media were enhanced, however, many people began to miss the warmth, power and liveliness they knew from analog recordings. This is why purists still today consider digital recordings as sterile in sound. 4.5.2 Design and functional principle of tubes Tubes can be roughly classified according to the number of electrodes they use.
TUBE ULTRA-Q T1951 In a triode the capacitance between grid and anode is a problem with regard to high frequencies and large amplification factors. For this reason, the pentode has a positively charged screen grid between the control grid and the anode. However, the positive charge of the screen grid attracts electrons emitted from the anode plate when it is hit by arriving electrons. To prevent this electron emission, a decelerating or suppressor grid is placed between anode and screen grid.
TUBE ULTRA-Q T1951 4.5.5 UTC circuit In Out WARMTH Fig. 4.4: UTC circuit The TUBE ULTRA-Q splits up the audio signal applied at the input, and processes it differently for both signal paths. Each of the two tube halves amplifies the original signal and the signal modified in its phase spectrum (twin triode). Additional harmonics are produced by slightly overdriving the tube stage.
TUBE ULTRA-Q T1951 dB 100 Analog Mixing Console Compact Disc Analog Tape Analog Records FM Radio 25 Video Tape 50 Digital Tape (16 Bit) 75 Fig. 4.5: Dynamic range of various media 5. INSTALLATION 5.1 Rack mounting The BEHRINGER TUBE ULTRA-Q fits into two standard 19" rack units of space. Please allow at least an additional 4" depth for the connectors on the back panel.
TUBE ULTRA-Q T1951 Critical applications may require to build up a transformer-balanced configuration for the output signals, so as to avoid interference from ground loops or potential differences. For this purpose, we offer our high-quality output transformer OT-1 as a retrofit kit. Fig. 5.1: Different plug types + Never use unbalanced XLR connections with microphone cables, as this would short-circuit any phantom power transmitted over these cables! 5.
TUBE ULTRA-Q T1951 6. SPECIFICATIONS Audio input Connectors Type Impedance Max. input level CMRR XLR and 1/4" TRS RF filtered, servo-balanced input stage 50 kOhm balanced, 25 kOhm unbalanced +21 dBu balanced and unbalanced typ. 40 dB, >55 dB @ 1 kHz Audio output Connectors Type Impedance Max.
TUBE ULTRA-Q T1951 7. WARRANTY § 1 WARRANTY CARD/ONLINE REGISTRATION To be protected by the extended warranty, the buyer must complete and return the enclosed warranty card within 14 days of the date of purchase to BEHRINGER Spezielle Studiotechnik GmbH, in accordance with the conditions stipulated in § 3. Failure to return the card in due time (date as per postmark) will void any extended warranty claims.
