Behringer DCX2496 digital x-over any good

[UreiCollector]

your going into clipping. you need to back off the drive (or gain within the unit) to that behringer a bit to avoid clipping.

[JBL 4645]

your going into clipping. you need to back off the drive (or gain within the unit) to that behringer a bit to avoid clipping.

Hi there

Did you like it, lit up like Christmas tree? No I boasted the levels on purpose but I wasn’t running it via the amplifiers I had the volume on LCR turned down, what do you think I’m crazy to run my amps into clip. LOL

Hope it didn’t scare you?

[JBL 4645]

Here’s something that might be of sound interest, we always read too much from members about favourite scenes in the movies so I thought I’d add picture stills and text to describe that particular scene.

One of my favourite listening subjects is complex Dolby film mixers where the discrete soundtrack offers a few sequences that might go unheard to most of users, for example HEAT 1995.

There’s a moment at the airport where Neil is running across a busy runway with a DC-10 panning from left to right screen channels only! While presented in the centre channel we hear nothing but the Foley work of footsteps panting and breathing that on most home cinema systems this would be severely masked by the aircrafts noisy jet engines!

This presents very little difficulty here with the help of the Behringer DCX2496 loudspeaker management system and its use of features like dynamic EQ audio limiters crossover filters and basic general EQ and much more, for setting up a perfect or near perfect than what you heard before. The matching fronts in my screen array are JBL control 5 LCR fronts placed up front and have been in use since I brought them back in 1990.

Audio masking is one of those headaches most of hath to deal with and thou there are ways around to a small degree it takes a great deal of patience and careful listening.



As the DC-10 pans from left to right with smooth loudness rather than a shrilly too much for taking sound that would normally be encountered in most home cinema rooms, it presented no trouble with the matching JBL control 5 LCR along with matching Alesis RA300 amplifiers and the brains of the taming all this the affordable Behringer DCX2496 for which none of this would have been possible.



As Neil runs across the runaway breathing and panting along with footsteps that can be easily heard with the settings on the DCX2496 it makes the whole sequence fresh and exciting to listen to rather than struggling with turning the centre channel up which is what most would do but without some to tame the sound when it gets too loud, you simply back at the beginning again.



As Neil gets nearer towards us the breathing gets a little louder but being soft and gentle at the same time as the DC-10 pans off to the right Neil runs towards safety in the airfields back felids. I have to say you can really get into it at this moment and the heals on the shoes really hit that concrete nicely.



With Neil’s luck finely running out Hanna puts Neil, down with several gunshot wounds, with musical background sounds on the left and right and with centre channel carrying breathing exhaling with exhaustion along with a few cricket sound effects.



A bass note accompanies and enhances the centre channel deeply followed with musical high notes that slowly build up in layers while left and right would normally be drowning out the centre channel by the point and without anyone realizing just how good the centre channel can sound with proper care and adjustment.



Barely able to hold on Neil finally fades off with last gasp that cuts over the left and right but not too heavily I made sure to maintain the levels so that good stereo separation can still serve the films story.



As the music reaches a climatic high, with Neil and Hanna in the mist of breathtaking backdrop too what was brilliant cop thriller from the 1990’s and one of many best Dolby stereo digital soundtracks from that era.

(Moby’s) “God moving over the face of the waters” has a nice tranquil feeling a spiritual feeling that suites last moments of the film until (Eliot Goldenthal) score fades in on the closing credits.

I’m not sure if the settings that I made to the DCX2496 would be of any use to someone who owns this fine little unit or if this thread is wetting someone’s appetite to starting over fresh again with there home cinema with matching amplifiers matching fronts LCR and a Behringer DCX2496 loudspeaker management system to make the magic come alive. Or maybe you have matching loudspeakers and amplifiers but haven’t brought the amazing DCX2496 which as been out for several years now.

This is why 9 times out home cinema 10 users always moan why I can’t hear the centre channel but it goes further than a lot further.

Thought bump this one back up!

As you may or may not be aware my obsession is to maintain and even balance from some yesterdays and today’s modern multi-dimensional thrilling soundtracks, where I can hear the whole thing without the competition of one or two channels masking the other by excessive amounts of db.

Since everything was undone since the last time I was attempting to calm down left and right to allow an easier listening without having to turn the centre up which is bad in my opinion because it can lead to possible damage on the average AVR.

So what have I tired this time around and since I’m not made of money I’ve had to re-think the whole thing though, and therefore have applied some limiting to attack some variables of the soundtrack and some dynamic EQ to enhance softer sounds when the threshold level is low in db on the display, on the dynamic EQ function.

The audio limiter at present, as I’m still running some tests while independently listening to each channel noting the SPL db level, as well as listening at moderate soft level of 70dbc with LF and HF amps set at low level, while the AVR is set at 0db.

Gain for LCR +15.0db
Cain for LF centre +3.0db
Gain for HF centre +3.0db

Crossover
80Hz -24db to 1KHz -24db Linkwitz-Riley for LCR LF
1HKz -24db to 20KHz Linkwitz-Riley for LCR LF

HF EQ centre 100Hz Q 0.1 -1db
LF EQ centre 5.31Kz Q0.1 -3.0db

Dynamic EQ LP LF
+9db
Threshold -17.6db
Attack 1m/s
Release 21m/s

Dynamic EQ HP HF
+9db
Threshold -17.6db
Attack 1m/s
Release 21m/s

Limiter LF
Threshold -14.0db
Release 61m/s

Limiter HF
Threshold -14.0db
Release 61m/s

I’ve managed to get several loud scenes in HEAT 1995 relaxed

Chapter 32, 103 minutes 15 seconds

Chris sees the cops across the road and opens fire, before they can get a chance to fire! db level is relaxed at 72dbc,

Chapter 39, 126 minutes 15 seconds
Hanna comes home and notices a guy setting on the sofa. Vincent, raises his voice! But you do not get to watch…my fuking… television set! 71dbc

Chapter 49, 152 minutes 15 seconds
With Neil on the run with Hanna closely behind him, Hanna aims shotgun and opens fire! db level 70dbc
Neil takes cover and fires back at milder level just under at 153 minutes 04 seconds 68dbc.

So now that I have the centre calmed I have to look at the left and right and get them within a few db as well as making sure the softer sounds on the left and right don’t end up getting masked by the centre channel.

The little JBL control 5 has handled quite well with the independent B-chain configuration.

HEAT is very complex and interesting six-track Dolby mix crated by Soundelux http://www.soundelux.com/

If any of you have any doubt that I might be taking the wrong approach with the settings chime in I’ll listen, I mean I’ll read what you have to say, can’t be any worse then what I had to put up with.

[JBL 4645]

Since last night or rather early hours of today and yes I was buggered I felt buggered after hours trying this and that with trail and error on when adding in the left and right to the centre channel.

I still have bit more tweaking to get the threshold and release time for left and right to fit. Damn, I sure like to have few hundred right now to get a few another DCX and few DEQ2496 to address the frequency response, that would be loud of my shoulders.

[JBL 4645]

Does applying the HP filer in equal quantity over LCR LF to help reduce harshness for warmer low end sound that might be overtaxed by the middle high end range of that makes any since?

[Flodstroem]

Hello!
Im in the process to order two new DCX2496 from the USA.
But before doing that I need to ask a question to my US-members regarding the power supply and the working voltage:

Does the US-models have the universal voltage power supply (85-240V/50-60 Hz) or does it only work on 110-120 Volt/60 Hz?

The most information on different web-sites including eBay says this:

"Internal switch-mode power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient response plus lowest possible power consumption"

But Im wandering if this also means those DCX2496 that sells in the USA nowadays?

Anybody that could confirm this?

[JBL 4645]

Hello!
Im in the process to order two new DCX2496 from the USA.
But before doing that I need to ask a question to my US-members regarding the power supply and the working voltage:

Does the US-models have the universal voltage power supply (85-240V/50-60 Hz) or does it only work on 110-120 Volt/60 Hz?

The most information on different web-sites including eBay says this:

"Internal switch-mode power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient response plus lowest possible power consumption"

But Im wandering if this also means those DCX2496 that sells in the USA nowadays?

Anybody that could confirm this?

Flodstroem

Go to Google Product Search within your own region and I’m sure there are many listed at low, low, low prices and the voltage I’d imagine it would be correct for your region.


Edit: Update I just visited the site and the retail price is Norway € 386.00 EUR but like I said go to Google Product Search you should find a legitimate PA store supplier that is doing the DCX2496 at low, low, knock down price.

http://www.behringer.com/EN/Products/DCX2496.aspx


Google product search looks like this in case you’re wondering. You might have to click on your computer under Google more and look down the page until you find it, in your own language.

This is the UK Google product search
http://www.google.co.uk/products?q=dcx2496&hl=en

[jcrobso]

http://www.fullcompass.com/product/254802.html

[JBL 4645]

few spectrumlab tests with dynamic EQ OFF and ON

This moment is from chapter 25 as commander Farrell (Kevin Costner) runs for his life so that he can prove the manhunt for Russian spy Yuri is bogus and to get David Brice (Gene Hackman) to call off the search while holding evidence that he was present at Susan Atwell (Sean Young) apartment at the time she was killed.

(Oscar winner Maurice Jarre of, Lawrence of Arabia) score adds a trilling techno tension to (No Way Out 1987) with plentifully of bass moments.

Sadly I just leaned last night that Maurice Jarre passed away early this year after a fruitful life of scoring for films and shows. His music is quite memorable on many of scores.

http://www.imdb.com/name/nm0003574/
A few spectrumlab tests with dynamic EQ OFF and ON

This moment is from chapter 25 as commander Farrell (Kevin Costner) runs for his life so that he can prove the manhunt for Russian spy Yuri is bogus and to get David Brice (Gene Hackman) to call off the search while holding evidence that he was present at Susan Atwell (Sean Young) apartment at the time she was killed.

(Oscar winner Maurice Jarre of, Lawrence of Arabia) score adds a trilling techno tension to (No Way Out 1987) with plentifully of bass moments.

Sadly I just leaned last night that Maurice Jarre passed away early this year after a fruitful life of scoring for films and shows. His music is quite memorable on many of scores.

(13 September 1924 – 28 March 2009)
http://www.imdb.com/name/nm0003574/

In all I’m using 9 Dynamic EQ modes that is the one that is on ABC and the rest on the impendent outputs LF/HF LCR for the matching modified JBL Control 5. Each LF/HF is powered separately via two Alesis RA300 for LF and two Martantz 1050 for the HF.

The more filters that are used for crossover networks the free percentage gradually reduces same with parametric EQ.

The rest of the EQ is being handed via additional EQ
Technics SH-8058 for left/right
Technics SH-8055 for centre

This is to only trim a few frequencies for possible flat response while using the SH-8055 RTA along with the Soundlab UD236 microphone.


The spectrumlab shows some differences with Dynamic EQ ON.

The Dynamic EQ was set at 805Hz HP -10.0db
DCX 0.0db
Centre HF +2.0db
Threshold -40.0db
Attack 3m/s
Release 105m/s

Additional Dynamic EQ
200Hz LP +10.0db/12db
Attack 3m/s
Release 150m/s
Threshold -30.0

[JBL 4645]

Has anyone used the DCX2496 for super-duper basic stereo with the 6 channel outputs or separately for LCR fronts?

Channel inputs
A

Channel outputs
1 sub bass lows its lowest limit is 20Hz
2 bass mid
3 mid
4 high
5 double high
6 ultra high as its limit is 20Khz

I know the cost would be enormous in this mode fashion amps and loudspeaker components dedicated to specific frequency response to play at an even higher quality with less distortion.

[JBL 4645]

This is direct lead contact with the DCX2496 HF outputs while playing the REW frequency sweep in analogue mode as it is only an analogue device.

Frequency is smooth very ideal if you happen to be Tron that is if you where inside it.

On the outside it’s the complete opposite.

Still it’s a bit hard to find this elusive hiss what frequency is playing up at mostly on the right HF output.

[JBL 4645]

The response taken is from 6 cm away from the HF. They are not alike! So a bit of minor adjustment needs to be made.

Microphone Beringer ECM8000

[JBL 4645]

Well a few slight impurities to solve. It’s not the end of the world. Yet!

Purple left HF
Green centre HF
Blue right HF

[JBL 4645]

I did these quick in-room sound tests videos of Alien 3 (1992) centre channel discrete only taken from first edition region 2 DVD six-track Dolby stereo.

Note the differences with the dynamic EQ threshold setting.

Alien 3 cryo-tube cracking dynamic EQ boast +15db threshold 0.0db
http://www.youtube.com/watch?v=65yAcc0sZrQ

Alien 3 cryo-tube cracking dynamic EQ boast +15db threshold 30.0db
http://www.youtube.com/watch?v=Du1GZNYsOmE

[JBL 4645]

Nancy Scream from season 1 Star Trek “The Man Trap”

I’ve activated the dynamic EQ on the ABC input plus the six dynamic EQ filters on the outputs for a smoother relaxing Nancy scream!

Nancy Scream Star Trek The Man Trap LCR
http://www.youtube.com/watch?v=WJAD2qz0R6Q

Nancy Scream Star Trek The Man Trap LCR dynamic EQ ON
http://www.youtube.com/watch?v=O3SuXFthprM