| Content | The MINIFBQ FBQ800 features Behringer's FBQ Feedback Detection System that instantly reveals critical frequencies and can also be used as an audio analyzer. An additional low cut filter removes unwanted frequencies such as floor rumble. Accurate 6-digit LED input/output meters and level control are provided for precise level indication. Long-term reliability is guaranteed with Behringer's high-quality illuminated faders, potentiometer and illuminated switches. The ultralow noise audio operational amplifiers offer outstanding sound performance. In addition, all Mini Series models can be stacked on top of each other to create an ultra-compact signal processing solution.
How Does it Work?
Imagine the frequency range of the sound you hear as a highway, a very wide one with nine lanes. Each of these "lanes” represents a single octave of the sonic spectrum. The first four lanes, labeled 63 - 500 (Hz) contain the really low frequency sound content, mainly bass, bass vocals, and the kick and tom drums. The three lanes labeled 1k, 2k and 4k (Hz), make up the fundamental zone of most musical instruments and the male and female vocals. 8k and 16k cover the frequency range of cymbals, snare drums and higher pitched percussion instruments. The FBQ800 allows you to control the flow of audio traffic in each of these nine lanes. When properly applied, EQ makes it possible to hear all of these frequency ranges equally, thus the term equalization.
Feedback Elimination
When a specific frequency, or range of frequencies, reaches too high a level, feedback occurs—that all-too-familiar squeal or howl you get when the mic is too close to the speaker. Basically, feedback happens when there is so much of a particular frequency that it is picked up by the mic and run through the system again. Thatʼs why feedback typically gets louder and louder the longer itʼs allowed to occur. Needless to say, this kind of feedback is very undesirable.
This is where the FBQ800ʼs Feedback Detection System really works its magic. In this ingenious circuitry, LEDs on the individual faders light up when that frequency band is approaching the danger zone. All you need do is lower the illuminated slider until the LED blinks out—voilà, feedback problem solved! What once required a highly trained ear is now an activity that even a child can master.
Sonic Toolkit…
That really is the best way to describe the FBQ800. With its nine frequency bands, you easily fine-tune your sound and instantly eliminate feedback. And each fader can be used to boost or cut the frequency range it controls by as much as 12 dB (and thatʼs a lot!).
Special attention is paid to the low frequency zone. In addition to low frequency faders, the FBQ800 features a Low Cut filter for removing unwanted low frequencies such as floor rumble, room resonance, electrical hum, etc. This is especially handy if your system is being used for speech rather than music.
To Boost or to Cut, That is the Question
Raising and lowering specific frequency bands can improve the frequency response of any roomʼs acoustics. For instance, if the room youʼre in is "bass-heavy,” lowering the 63 and 125Hz faders can help eliminate an overall "boomy” or "muddy” sound. Likewise, gently boosting the 8 and 16k sliders can add sparkle to a somewhat "dark” mix. Are the vocals getting lost in the mix? Raising the level of the 1k slider can help bring them out.
Itʼs important to note that raising a single fader level is not always the best solution; itʼs often better to lower the bands surrounding the frequency you want to bring out, and then boost the overall volume level to achieve better headroom.
Built for Accuracy and Reliability
Speaking of headroom, FBQ800ʼs 6-digit LED I/O meters and level control are provided for precise level maintenance. Long-term reliability is ensured, thanks to high-quality illuminated faders and switches, and our ultra low-noise audio operational amplifiers provide outstanding sonic performance. In addition, all Mini Series components can be stacked to create an ultra-compact signal processing solution.
Mini Series mixer with built-in feedback detection.
FEATURES
- Ultra-compact 9.5" graphic equalizer for studio and stage applications
- FBQ Feedback Detection system instantly reveals critical frequencies
- Additional Low-cut filter removes unwanted frequencies, like floor rumble
- 6-segment LED input/output meters and Level control for precise level indication
- High-quality illuminated faders, potentiometers and illuminated switches
- Low noise audio operational amplifiers offer excellent sound performance
SPECIFICATIONS
MINIFBQ FBQ800 9-Band Graphic Equalizer with FBQ
- INPUT
- Type 1/4" TRS connectors (balanced) or
- RCA connectors (unbalanced)
- Impedance approx. 20k ohms, balanced
- approx. 10k ohms, unbalanced
- CMRR 40 dB typ. @ 1 kHz
- Max. input level +15 dBu
- OUTPUT
- Type 1/4" TS connectors (unbalanced) or
- RCA connectors (unbalanced)
- Impedance approx. 120 ohms
- Max. output level +15 dBu
- SYSTEM SPECIFICATIONS
- Frequency response 10 Hz to 200 kHz, -3 dB
- Dynamic range 110 dB, 10 Hz to 22 kHz
- Distortion 0.003 % typ. @ 0 dBu
- Crosstalk
- Signal-to-noise ratio 10 Hz - 22 kHz
- GRAPHIC EQUALIZER
- Type 9 analog stereo bands
- Control range ±6 dB or ±12 dB, switchable
- Bandwidth 1 oct.
- OTHER FEATURES
- Low-cut filter 75 Hz (12 dB/oct.)
- Input level control -12 dB to +12 dB
- POWER SUPPLY
- Mains connection external power supply
- 9 V ~ / 750 mA
- Mains voltage
- DIMENSIONS/WEIGHT
- Dimensions (H x W x D) approx. 1 8/9" (48 mm) x 9 5/9" (243 mm) x 4 5/7" (120 mm)
- Weight approx. 0.86 lbs. ( 0.39 kg)
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* 2 channel 15 2/3 octave band graphic equalizer
* 25Hz - 16kHz frequency control * Constant Q circuitry
(3% frequency accuracy) * Selectable 6dB or 12dB control
* Variable level control * By-pass switch * Overload threshold LED (5dB below clipping) * Ground lift switch * XLR & 1/4" TRS balanced Inputs/Outputs * Power: Selectable 120V/220V voltage
* Dimensions: 1.75" H x 19" W x x 8.5" D / 44.5mm x 483mm x 216mm - 1 space r.m. * Weight: 4.5 lbs. / 2.5kg
XEQ-152 Specifactions:
* Input type: Active balanced / Unbalanced * Output Impedance: |
The class-A circuit used in the EQ-73 is similar to the eq section in the classical 1073 module, without the high pass filter. Additional frequencies have been added and the mid frequency band uses two inductors, the higher value of the second one is used for the two lowest frequencies, 160 Hz and 240 Hz, to achieve a suitable response.
The sound character is warm, punchy, sweet and musical. These classic characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.
The EQ-73 has stepped frequency controls that offers a wide selection of frequencies from 20 Hz to 24 kHz.
The Low and High frequency bands are shelving and the mid frequency band is of the bell type.
The control range is +/-15 dB for the two lower bands and +/- 18dB for the high frequency band.
There are separate bypass switches for all three bands.
The EQ-73 is made to be used together with one of our PRE-73 models that has an Insert jack. It can also be used with many other units that has a low level insert jack.
Combining a PRE-73 and an EQ-73, and using a UNITE rack kit to mount them together, one will get a 19-inch 1073-style unit at a low cost and with a great sound!
FEATURES
- Vintage Style electronics. No intergrated circuits in the signal path
- 3-band with a dual inductor based mid frequency band
- Stepped frequency selection
- A wide selection of frequencies from 20 Hz to 24 kHz
- Control range up to +/- 18 dB
- Separate Bypass switches for each band
- Tantalum capacitors in the signal path
- Made to be used together with one of our PRE-73 models with an Insert jack or any other unit with a low level Insert jack
- TRS jack for in-and output connection, the nominal working level is around 18 dBu
- Selectable ground lift switch
- External power supply to avoid interaction with the audio circuits
- Great sound that suits most sound sources and genres
- A solid build quality that will last many years of normal use
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INPUT
Connectors: 1/4" TRS, female XLR (pin 2 hot)
Type: Electronically balanced/unbalanced, RF filtered
Impedance: Balanced 40k ohm, unbalanced 20k ohm
Max Input Level: >+21dBu balanced or unbalanced
CMRR: >40dB, typically >55dB at 1kHz
OUTPUTS
Connectors: 1/4" TRS, male XLR (pin 2 hot)
Type: Impedance-balanaced/unbalanced, RF filtered
Impedance: Balanced 100 ohm, unbalanced 50 ohm
Max Output Level: >+21dBu balanced/unbalanced into 2k ohm or greater
>+18dBm balanced/unbalanced (into 600 ohm)
SYSTEM PERFORMANCE
Bandwidth: 20Hz to 20kHz, +0.5/-1dB
Frequency Response: 50kHz, +0.5/-3dB
Dynamic Range: Typically >112dB
Signal-to-Noise: Typically >95dB
THD+Noise: | PRICE WITHOUT V.A.T.
BSS Opal FCS-966 Constant Q Graphic Eq
Graphic equalisers are found in just about every sound application, from room contouring to feedback control and general audio sweetening.
Traditionally, much general eq'ing takes place on the faders alone, but this restricts the use of the faders at each end of the scale for further precision eq work. So we provided the Opal FCS-966 with separate LF and HF contour filters which can change an overall sound balance without disturbing a detailed room or loudspeaker response.
These filters are very musical gentle boost and cut shelving filters which can be used to add (or remove) room effects that change with temperature, audience numbers or humidity.
All these effects can be easily made without disturbing the critical fader settings already made.
Constant Q Filters
The modern generation of graphic eq's
uses the Constant Q topology, pioneered by BSS Audio, which means that the filter width is constant whatever the fader gain setting.
Compared to the earlier 'gyrator' style of filters, Constant Q filters provide a smoother and more predictable interaction between adjacent faders and the resulting eq curve more closely resembles the actual fader positions.
More Gain Control Per Filter
Each eq fader has +/-15dB of adjustable gain, more than many competitive graphic eq's. The faders are long-throw 45mm types for precision control.
High Pass Filter
Also provided on the FCS-966 is a sweepable high-pass filter which can be used very effectively to restrict the low-energy output for better amplifier and loudspeaker performance. Stage monitors also benefit from the application of a high-pass filter to remove bass signals e.g. from vocal-only wedges.
Metering
BSS Audio believes in providing engineers with information, and the FCS-966's 8-segment led meter shows output level and warns of signal clipping within the eq. When the unit is switched to bypass, the meter will read the input level, allowing accurate matching of the 'dry' and equalised signals using the gain control.
Centre Bypass
When any eq fader is in its centre detent position, the filter is automatically bypassed, for optimum performance.
Input/Outputs
All the inputs and outputs of the FCS-966 are electronically balanced, with optional transformer balancing. To make installation of the FCS-966 easier, we've provided three differerent interface connectors: XLR-type, 1/4" TRS jack and Phoenix/Combicon screw terminals.
Relay Bypass
The EQ IN buttons switch the EQ path
into circuit. When switched out, or power fails, a high-quality relay switches the input signal directly to the output connectors.
Control Descriptions
Faders
30 EQ filter faders on ISO centres, each with nominal +/-15dB of gain. Positive centre-detent on 45mm long-throw precision faders.
HP Filter
Sweepable high pass filter, frequency adjustable from OUT (flat) up to 250Hz.
LF Contour
Smooth shelving filter, +/-6dB of gain at 50Hz
HF Contour
Smooth shelving filter, +/-6dB of gain at 14kHz.
GAIN
Used for overall unity gain adjustment. Adjustable from - infinity to +10dB.
CLIP
Triple-point clip detector that indicates red when the internal signal is clipping at any one of three critical points.
LED Meter
Shows output signal level (input signal when eq is bypassed) from -24dBu to +18dBu in 8 steps. | INPUT
Connectors: 1/4" TRS, female XLR (pin 2 hot)
Type: Electronically balanced/unbalanced, RF filtered
Impedance: Balanced 40k ohm, unbalanced 20k ohm
Max Input Level: >+21dBu balanced or unbalanced
CMRR: >40dB, typically >55dB at 1kHz
OUTPUTS
Connectors: 1/4" TRS, male XLR (pin 2 hot)
Type: Impedance-balanaced/unbalanced, RF filtered
Impedance: Balanced 100 ohm, unbalanced 50 ohm
Max Output Level: >+21dBu balanced/unbalanced into 2k ohm or greater
>+18dBm balanced/unbalanced (into 600 ohm)
SYSTEM PERFORMANCE
Bandwidth: 20Hz to 20kHz, +0.5/-1dB
Frequency Response: 50kHz, +0.5/-3dB
Dynamic Range: Typicall >112dB
Signal-to-Noise: Typically >95dB
THD+Noise: |
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