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Help Using Behringer Composer & Ultra Curve.


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The sound system we use has a Behringer Composer & a Behringer Ultra Curve.

Right now they are not hooked up because we don't really know how to get the best out of them.

We are going straight out of a Mackie CFX20 into Crown Amps into Monitors & FOH.

We also use a Lexicon MPX-1 that has its outputs going into two channels on the CFX20.

I want to know how the two Behringer units can help us and what is the best way for us to hear what they do.

I'm a little intimidated with the Ultra Curve because of the interface - I think it's wrong for anything under $250 to be that complex - :D.

Any suggestions would be appreciated.

I would appreciate even the basics like the best way to hook these up and so on in such a way that it is easy for us to hear the system with these two units ON & with them Bypassed.

I would also appreciate comments about the quality of these two units.

Thanks

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The Ultracurve is really VERY simple compared to others out there. It just depends how deep you dig into the menus. As a basic graphic eq, it doesn't get any simpler.

 

That said, your comments illustrate why keeping it simple is often a good idea... and if you don't understand something... for God's sake don't just start pushing buttons! I get a lot of repair work from system catastrophies that way!

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AgedHorse - Any comments on the benefits to our sound of using these two units?

If the benefits are only going to be marginal at best - and not perceptible to the people out front - I don't know if I can afford the learning curve - I'm a musician[guitar, primarily] / singer / songwriter who is landed with the sound by default - so, though I DO appreciate the importance of sound more than most guitarists :D, I have to balance my activities!!

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The Ultra Curve isn't really complicated to operate, it's just that it does so much! Do you have the manual? If not, it can be downloaded off the Behringer site. It's really pretty good, but you have to have the rig set up as you read through the manual so you can push buttons and see the response. You may be surprised by how quickly you understand the basic structure of the interface. Most of my gear has been in a buddy's home studio since a few weeks after I got my Ultra Curve, so I've haven't yet had a chance to really see what she can do.

 

Peace,

D

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Off the top, I'd say use the Ultra Curve on the whole mix (once you've gotten your arms 'round the interface), and try the composer on vox or perhaps kick drum to see how you like what it does. Compressing the whole mix is usually not desired, but you go with what you like.

 

First rule of peripherals....a little goes a long way. Neither EQ nor compression should be used to extremes except in very unusual circumstances.

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SteelyD2 - I have the Manuals for both of them by my bed - & I've read through the Composer manual. It tells you what controls perform what functions - but it doesn't really explain what those functions ARE sonically . . .

Trouble is by the time I get to bed I'm usually ready to sleep - and when I'm at the board I'm more involved in mixing.

I just know I'm going to have to allocate a day - or at least three or four hours to testing these two out once I've understood how they work & how to tweak them. etc.

I'm still waiting to hear from someone who's used these two whether they are any good at what they do . . . or if I'm better off not using them at all.

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If you are running kick through your system the compressor can be very useful. You can get decent volume of the click of the drum without stressing out the amp or speakers. The compressor will lower the signal when it reaches a loudness threshold that you set. Also is good for the inconsistent drummer who may hit the kick soft sometimes and hard other times. Too much compression kills dynamics, but on kick drum that's not all that big a deal, especially if you are playing through a small PA. I'd read up on compressors. That's just one applications. Also useful for singers with poor mic techinique and large volume differences between low and high notes.

 

As for the Ultracurve, I had one for about a month. I didn't care for it. A good old fashioned manual EQ is more practical. Certainly is more easily and quickly adjusted live. The ultracurve EQ is very slow to adjust on the fly.

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For someone that isn't "into" sound gear, I wouldn't think the UltraCurve would be the best first choice. Yes, you already have it, but if its too much of a hassle to use it- what good is it? You might be better off with the UltraGraph, which is a simple dual-31 band eq, and cheaper as well.

 

How many people are performing? What instruments are going through the P.A.? How many vocals?

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One club uses the Ultra Curve to delay, EQ & limit a delayed system in a second room. It's actually very simple to use. As a FOH processor, it will automatically analyze and EQ the speakers. The limiter is a hard-wall. It has Parametric EQ for notching feedback. I've never swapped it with the main FOH EQ to see how it really sounds.

 

It would be nice in a traveling club system because it has memories that can be recalled when you visit the club again.

 

Be careful when switching from EQ mode to RTA mode, though ... the transient spike will kill the speakers. It's probably best to insert it into the stereo rails so you have fader control over its output. And, make sure the RTA lockout is engaged during the performance. Accidentally hitting that button during a performance will mute the FOH mix and send pink noise through the system. (See the manual under "How to empty the club in a hurry.") ;)

 

As for real-time EQ tweaks, press the button in the direction you want the "fader" to go, then hold it while pressing the opposite button. The opposite button will move the fader at warp speed.

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"As for real-time EQ tweaks, press the button in the direction you want the "fader" to go, then hold it while pressing the opposite button. The opposite button will move the fader at warp speed" RickJ

 

:D

 

I'm trying to figure what would prompt [inspire?] someone to consider that manoevre!!! :) . . . or is that in the manual?

 

I gotta read that manual. I'm kind of maxing out on manuals right now - I'm still struggling through the Cubase & Wavelab manuals & trying to get that multi-track stuff going too - to say nothing

 

Life was easier when I only had to worry about my guitar sound

 

. . . " C . . . Yesterday . . . CMaj7 . . ."

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Black Frog - I agree - that's why I disconnected it. We had issues that I inherited that I had to tackle and I decided to eliminate pieces from the sound chain that I didn't understand so that I wasn't constantly 'blaming' them in my mind for the problems.

We have a pretty good sound now - but don't we all want the best from what we have?

Our typical line-up:

Acoustic guitar - direct to board

Electric guitar - di box - snake & parallel out to amp as monitor

Keyboard - di box to snake

Bass - di box - snake & parallel out to amp as monitor

Drums [Kick Drum mic & one overhead condenser]

Vocals - 3 sm 58's & 1 Beta 58.

EFX - MPX1.

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