User’s Manual
Version 1.1 July 2000
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ULTRA-GRAPH PRO GEQ3102
FOREWORD
Dear Customer,
Welcome to the team of ULTRA-GRAPH PRO users and thank you very much for expressing your confidence
in BEHRINGER products by purchasing the GEQ3102.
It is one of my most pleasant tasks to write this letter to you, because it is the culmination of many months of
hard work delivered by our engineering team to reach a very ambitious goal: making an outstanding device that
will become a standard tool used by studios and P.A. companies. The task to design the
ULTRA-GRAPH PRO certainly meant a great deal of responsibility, which we assumed by focusing on you,
the discerning user and musician. It also meant a lot of work and night shifts to accomplish this goal. But it was
fun, too. Developing a product usually brings a lot of people together, and what a great feeling it is when
everybody who participated in such a project can be proud of what we’ve achieved.
It is our philosophy to share our joy with you, because you are the most important member of the BEHRINGER
family. With your highly competent suggestions for new products you’ve greatly contributed to shaping our
company and making it successful. In return, we guarantee you uncompromising quality (manufactured under
ISO9000 certified management system) as well as excellent technical and audio properties at an extremely
favorable price. All of this will enable you to fully unfold your creativity without being hampered by budget
constraints.
We are often asked how we can make it possible to produce such high-grade devices at such unbelievably low
prices. The answer is quite simple: it’s you, our customers! Many satisfied customers, mean large sales
volumes enabling us to get better conditions of purchase for components, etc. Isn’t it only fair to pass this
benefit back to you? Because we know that your success is our success too!
I would like to thank all people whose help on “Project ULTRA-GRAPH PRO” has made it all possible. Everybody
has made very personal contributions, starting from the designers of the unit via the many staff members in our
company to you, the user of BEHRINGER products.
My friends, it’s been worth the trouble!
Thank you very much,
Uli Behringer
3
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ULTRA-GRAPH PRO GEQ3102
ULTRA-GRAPH PRO
Ultra-musical 31-Band Stereo Graphic Equalizer
s Delivers outstanding equalization both in live applications and in the studio
s For gentle contouring and audio sweetening in audio post-production and recording studios
s Perfectly suited for room equalization and extreme corrective surgery e.g. notching out unwanted frequencies
(feedback etc.)
s 2 x 31 ISO frequencies controllable via slide controls with boost/cut range switchable from 12 dB to 6 dB
s Additional sweepable High and Low Cut filters remove unwanted frequencies e.g. floor rumble and tape hiss
etc.
s Servo-balanced inputs and outputs on gold-plated XLR and 1/4" jack connectors
s Relay-controlled hard-bypass with an auto-bypass function during power failure (failsafe relay)
s Ultra-low noise audio operational amplifiers offer outstanding sound performance
s High-precision illuminated ALPS faders
s Accurate 12-segment LED input/output metering for easy level setting
s High-quality detented potentiometers and illuminated switches
s High-grade toroidal transformer for a minimum of interference
s High-quality components and exceptionally rugged construction ensures long life
s Manufactured under ISO9000 certified management system
4
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ULTRA-GRAPH PRO GEQ3102
TABLE OF CONTENT
1. INTRODUCTION.....................................................................................................................6
1.1 The design concept ......................................................................................................................... 6
1.2 Before you begin ............................................................................................................................. 6
1.3 Control elements ............................................................................................................................. 7
1.3.1 The front panel ...................................................................................................................... 7
1.3.2 The rear panel ....................................................................................................................... 8
2. APPLICATIONS .......................................................................................................................8
2.1 Master equalizer in sound reinforcement systems........................................................................... 9
2.2 Equalizer in the monitor path......................................................................................................... 10
2.2.1 “Tuning in” of a monitor system ........................................................................................... 10
2.3 Using the ULTRA-GRAPH PRO in the studio ................................................................................. 11
3. THE SOUND TOOL .............................................................................................................. 11
3.1 Effects of equalization on voice program......................................................................................... 11
3.2 Effects of equalization on music program ...................................................................................... 12
4. INSTALLATION .....................................................................................................................12
4.1 Rack mounting.............................................................................................................................. 12
4.2 Mains connection.......................................................................................................................... 13
4.3 Audio connections ........................................................................................................................ 13
5. SPECIFICATIONS .................................................................................................................15
6. WARRANTY ...........................................................................................................................16
5
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ULTRA-GRAPH PRO GEQ3102
1. INTRODUCTION
Thank you very much for expressing your confidence in BEHRINGER products by purchasing the
ULTRA-GRAPH PRO GEQ3102. With the ULTRA-GRAPH PRO you have acquired an extremely musical and
flexible 31-band Graphic Equalizer. This 2-channel high-end EQ is based on many years of experience and
know-how gathered in filter technology. Our analog and digital equalizers are used throughout the world in
renowned studios, sound reinforcement systems and broadcast/TV stations. The BEHRINGER
ULTRA-GRAPH PRO was designed to meet the most stringent requirements in terms of operation, sound,
specifications and workmanship.
+
This manual first describes the terminology used, so that you can fully understand the
ULTRA-GRAPH PRO and its functions. Please read the manual carefully and keep it for future
reference.
1.1 The design concept
The philosophy behind BEHRINGER products guarantees a no-compromise circuit design and employs the
best choice of components. The operational amplifiers which are used in the ULTRA-GRAPH PRO, are
exceptional. They boast extreme linearity and very low distortion characteristics. To complement this design
the choice of components includes high tolerance resistors and capacitors, detent potentiometers and several
other stringently selected elements.
The ULTRA-GRAPH PRO uses SMD technology (Surface Mounted Device). These subminiature components
adapted from aerospace technology allow for an extreme packing density to further improve the overall
reliability. Additionally, the unit is manufactured in compliance with the ISO9000 certified management system.
Fail-safe relays have been incorporated into the design of the BEHRINGER ULTRA-GRAPH PRO. These
automatically and silently bypass the unit in the event of power supply disconnection or failure. These relays
are also active at power-on to isolate the unit from potentially damaging power-on thump.
1.2 Before you begin
Your BEHRINGER ULTRA-GRAPH PRO was carefully packed in the factory and the packaging is designed
to protect the unit from rough handling. Nevertheless, we recommend that you carefully examine the packaging
and its contents for any signs of physical damage, which may have occurred during transit.
+
If the unit is damaged, please do not return it to BEHRINGER, but notify your dealer and the
shipping company immediately, otherwise claims for damage or replacement may not be granted.
Shipping claims must be made by the consignee.
The BEHRINGER ULTRA-GRAPH PRO fits into two standard 19" rack units of space. Please allow at least an
additional 4" depth for the connectors on the back panel.
Be sure that there is enough space around the unit for cooling and please do not place the ULTRA-GRAPH PRO
on high temperature devices such as power amplifiers etc. to avoid overheating.
+
Before you connect your ULTRA-GRAPH PRO to the mains, please make sure that your local
voltage matches the voltage required by the unit!
The mains connection of the ULTRA-GRAPH PRO is made by using the enclosed mains cable and a standard
IEC receptacle. It meets all of the international safety certification requirements.
+
Please make sure that all units have a proper ground connection. For your own safety, never
remove or disable the ground conductor of the unit or of the AC power cable.
As standard, the BEHRINGER ULTRA-GRAPH PRO is installed with electronically servo-balanced inputs and
outputs. The circuit design features automatic hum rejection for balanced signals, permitting trouble-free
operation even at the highest operating levels. Externally induced power-line hum, etc. is thus suppressed
effectively. The automatic servo function recognizes the presence of unbalanced connectors and adjusts the
nominal level internally to avoid level differences between the input and output signals (6 dB correction).
6
1. INTRODUCTION
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ULTRA-GRAPH PRO GEQ3102
You will find additional information in chapter 4 “INSTALLATION”.
1.3 Control elements
Fig. 1.1: The front panel of the ULTRA-GRAPH PRO
The front panel of the BEHRINGER ULTRA-GRAPH PRO features six controls, six switches and 2 x 31 slide
controls. Additionally, the GEQ3102 is equipped with two 12-digit LED meters. As all control elements are the
same on both channels, this chapter deals with one channel only.
1.3.1 The front panel
Fig. 1.2: The front panel control elements
1
2
Use the I/O METER IN/OUT switch to toggle the meter between input and output level. When the switch
is pressed, the ULTRA-GRAPH PRO displays the output level.
The AUDIO IN/OUT switch enables/disables the entire Equalizer section in the audio path. As this is a
relay-controlled hard-bypass circuit, the inputs/outputs are directly connected as soon as the switch is
released or the unit is switched off. Use the AUDIO IN/OUT switch to make A/B comparisons between
direct and processed signals.
3
The LEVEL METER monitors the signal level to warn you of distortion. Depending on the setting of the
I/O METER IN/OUT switch, this meter reads the input or output level (switch pressed). The red CLIP
LED lights up at about +18 dB, i.e. 3 dB below clipping.
+
Please note that extreme frequency boost in combination with high input levels can lead to
distortion. In this case, it will be necessary to reduce the input level with the INPUT control.
4
5
The INPUT control adjusts the input level within a range from -15 to +15 dB.
The LOW CUT control determines the lower cutoff frequency of the ULTRA-GRAPH PRO. The high
pass filter (18 dB/oct.) can be set from 10 through 400 Hz, in position “10 Hz” the signal passes
unaffected.
6
The HIGH CUT control adjusts the upper cutoff frequency of the ULTRA-GRAPH PRO. The low pass
filter (18 dB/oct.) can be set from 2.5 through 30 kHz, in position “30 kHz” the signal passes unaffected.
1. INTRODUCTION
7
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ULTRA-GRAPH PRO GEQ3102
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Use the high and low cut filters as highly efficient tools to limit the frequency range to be
processed.
7
8
The RANGE switch allows you to switch over between maximum boost/cut in each frequency band,
from 12 dB to 6 dB (switch pressed).
These are the 31 SLIDE CONTROLS for each frequency band. If set to flat (“0”), there is no frequency
response processing. To boost/cut a specific frequency move the corresponding slide control upwards
or downwards respectively.
1.3.2 The rear panel
Fig. 1.3: The rear panel connectors
9
Use the POWER switch to turn on the ULTRA-GRAPH PRO.
10
FUSE HOLDER / VOLTAGE SELECTOR. Please make sure that your local voltage matches the voltage
indicated on the unit, before you attempt to connect and operate the ULTRA-GRAPH PRO. Blown fuses
may only be replaced by fuses of the same type and rating. Some models allow for inserting the fuse
holder in two different positions, in order to switch over from 230 V to 115 V operation, and vice versa.
Please note that for 115 V operation outside Europe, you need to use a fuse of a higher rating (see
chapter 4 “INSTALLATION”).
11
12
Use the enclosed power cord to connect the unit to the mains.
SERIAL NUMBER. Please take the time to have the warranty card filled out completely by your specialized
dealer, and return it within 14 days after the date of purchase, so as to be entitled to benefit from our
13
14
15
16
AUDIO IN - CHANNEL 2. These are the ULTRA-GRAPH PRO’s balanced 1/4" jack and XLR audio
inputs.
AUDIO OUT - CHANNEL 2. These are the audio outputs of the ULTRA-GRAPH PRO. The jack and
XLR plugs of each channel are wired in parallel.
AUDIO IN - CHANNEL 1. These are the ULTRA-GRAPH PRO’s balanced 1/4" jack and XLR audio
inputs.
AUDIO OUT - CHANNEL 1. These are the audio outputs of the ULTRA-GRAPH PRO. The jack and
XLR plugs of each channel are wired in parallel.
2. APPLICATIONS
The flexible concept behind the BEHRINGER ULTRA-GRAPH PRO, with its great variety of audio processing
features, opens up a whole new world of applications. We’d like to present you with a few examples in the
following plus some typical settings.
8
2. APPLICATIONS
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2.1 Master equalizer in sound reinforcement systems
This is the ULTRA-GRAPH PRO’s probably most common field of application.
Fig. 2.1: The ULTRA-GRAPH PRO as a master equalizer
Please note the following points to achieve optimum results:
Practice has shown that it will be useful to listen to some “unprocessed” music and speech material before you
start equalizing your sound reinforcement system. If any distortion can be heard, try to eliminate it within the
system. Speaker placement is also of importance. No equalizer can improve a system sound that lacks
transparency due to reflections from walls and ceiling. Often, drastic improvements can be achieved by
modifying speaker placement and alignment.
If you are using an active multi-way system you should take some run-time and phase correction measures
before you work with the ULTRA-GRAPH PRO (the crossover network BEHRINGER SUPER-X PRO CX3400
provides all the necessary tools with its variable split frequencies, phase reverse switches and electronic run-
time correction facility). Interference such as mains hum and narrow-band resonance should be eliminated with
the ULTRA-GRAPH PRO, before you start doing a sound check.
Once this basic setting has been made, you can continue to fine-tune the system by hand.
Please remember:
A linear response curve is not desirable for all kinds of application. For example, intelligibility is more important
in speech applications: here, you should apply a slight roll-off in the bass range, because below the frequency
range of voices there are no wanted frequencies but only interference (rumble, etc.).
In general, extremely low and high frequencies are transmitted with much lower amplitudes. There is no sense
in “forcing” a small full-range speaker to reproduce frequencies below 50 Hz; apart from a need for higher
power reserves, speaker damage will be the most likely result.
+
You should always take the physical limits of your system into account, no matter which
settings you choose.
Once the system has been adjusted as precisely as possible to produce the desired response curve, you
should walk around the room to get an impression of the sound produced in various places. Remember to
make regular breaks during these listening tests and to play back various music and speech programs, so
that you get a feel for the response characteristics of your system and of the room.
2. APPLICATIONS
9
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Good equalizer settings require time and patience! If you need to use extreme EQ settings to
achieve an acceptable frequency response, the reason might be some serious misalignment of
sound reinforcement system or room acoustics.
Equalizers cannot make up for poor audio systems, but they are extremely useful and efficient tools for making
musical fine-adjustments, as this often produces astounding improvements in terms of acoustic power and
overall sound quality.
2.2 Equalizer in the monitor path
To use the ULTRA-GRAPH PRO in the monitor path, you should basically follow the same procedure as
described in section 2.1.
On stage, you should keep volume levels as low as possible, because:
1. this will protect your ears,
2. avoid feedback problems, and
3. make it easier to create a well-balanced FOH sound.
Often, the volume of the monitors is raised during concerts. Use concert pauses to reduce the levels of all
monitor paths by about 3 dB. The musicians on stage will hardly notice this reduction (or even not at all),
because their hearing, too, can relax a bit during the break. This method will give you valuable headroom.
Extremely low frequencies are usually faded out completely, to avoid a stage sound that lacks transparency
due to low frequency feedback. Apply the low cut filter until extremely low-end feedback frequencies are
eliminated and the overall transparency of the monitors is improved.
Fig. 2.2: Several ULTRA-GRAPH PRO’s as part of a monitor system
This illustration gives you an example of how to use several ULTRA-GRAPH PRO’s in an 8-way monitor
system.
2.2.1 “Tuning in” of a monitor system
“Tuning in” describes the process of detecting and suppressing feedback frequencies. Once all microphones
and monitor speaker (plus power amps) have been set up and adjusted, you should turn up all Aux Send
controls in those channels of your console that you will need for the monitor mix. Then, turn up the master Aux
Send control until the first feedback occurs. Turn the control down a bit and leave it where there is no
feedback. Now turn up the single slide controls on your ULTRA-GRAPH PRO, one after the other. Whenever
feedback occurs, set the slide control of the respective frequency range to maximum cut. When there is no
feedback, leave the control in mid-travel position. Finally, you can turn up the master Aux Send control without
running the risk of audible feedback.
10
2. APPLICATIONS
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2.3 Using the ULTRA-GRAPH PRO in the studio
In the studio you can use your ULTRA-GRAPH PRO in a variety of further applications. Your imagination is the
only limit. Here are just a few examples:
Equalizing monitoring speakers:
You can graphically equalize your monitoring speakers. Additionally, narrow-band room resonance frequencies
can be suppressed with the ULTRA-GRAPH PRO. An analyzer (for example, the one integrated in our digital
Equalizer ULTRA-CURVE PRO DSP8024) helps you identify room resonance and produce a linear frequency
response.
General sound processing:
Equalizers can be used to process both single-channel and master signals. To process a single signal, you
should use the channel insert point on your console to connect the ULTRA-GRAPH PRO. To control several
signals, use either a Subgroup or Main Mix insert point. In particular, mastering studios frequently work with
Equalizers to refine the sound of a finished mix. Often, the mix lacks balance, i.e. some frequencies are too
loud or cannot be heard at all. With a Graphic Equalizer you can align the differing amplitudes of frequency
ranges to create a homogenous sound image.
Chapter 3 (“THE SOUND TOOL”) provides useful information on how to process typical frequency ranges of
voices and instruments.
3. THE SOUND TOOL
In recording studios as well as stage or radio plays, the ULTRA-GRAPH PRO will be your valuable sound tool
to modify the sound of voices (e.g. telephone voice) or to filter instruments so that they fit in an existing mix.
The tables on the following pages give you an idea of specific frequencies and their acoustic significance,
and suggest some possible uses of your ULTRA-GRAPH PRO.
3.1 Effects of equalization on voice program
Center frequency (Hz)
Effect on voice
1/3 octave
40 to 125
160 to 250
315 to 500
Sense of power in some outstanding bass singers.
Voice fundamentals.
Important for voice quality.
Important for voice naturalness. Too much boost in the 315 to 1 kHz
range produces a telephone-like quality.
630 to 1k
Voice fricatives-accentuation of vocals. Important for speech
intelligibility. Too much boost between 2 and 4 kHz can mask certain
speech sounds e.g. "m", "b", and "v" can become indistinguishable.
Too much boost anywhere between 1 and 4 kHz can produce
"listening fatigue". Vocals can be highlighted by slightly boosting the
vocal at 3 kHz and at the same time slightly dipping the instruments
at the same frequency.
1.25k to 4k
Accentuation of voice. The range from 1.25 to 8 kHz governs the
clarity of voice.
5k to 8k
10k to 16k
Too much boost causes sibilance.
Tab. 3.1: Effects of equalization on voice reproduction
3. THE SOUND TOOL
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3.2 Effects of equalization on music program
Center frequency (Hz)
1/3 octave
Effects on music
Fundamentals of bass drum, tuba, double bass and organ.
These frequencies give music a sense of power. If over-
emphasised they make the music "muddy". The 50 or
60 Hz band is also used to reject AC mains hum.
31 to 63
Fundamentals of lower tympani. Too much boost produces
excessive "boom". 100 or 125 Hz are also used for hum
rejection.
80 to 125
Drum and lower bass. Too much boost produces
excessive "boom". Also useful for 3rd harmonic mains hum
rejection.
160 to 250
315 to 500
630 to 1k
Fundamentals of strings and percussion.
Fundamentals and harmonics of strings, keyboards and
percussion. Boosting the 600 to 1 kHz range can make
instruments sound horn-like.
Drums, guitar, accentuation of vocals, strings and bass.
Too much boost in the 1 to 2 kHz range can make
instuments sound tinny. Too much boost anywhere
between 1 to 4 kHz can produce "listening fatigue".
1.25k to 4k
Accentuation of percussion, cymbals and snare drum.
Reduction at 5 kHz makes overall sound more distant and
transparent. Reduction of tape hiss and system noise. The
1.25 to 8 kHz governs clarity and definition.
5k to 8k
Cymbals and overall brightness. Too much boost causes
sibilance. Reduction of tape hiss and system noise.
10k to 16k
Tab. 3.2: Effects of equalization on music reproduction
4. INSTALLATION
Your BEHRINGER ULTRA-GRAPH PRO was carefully packed in the factory and the packaging is designed to
protect the unit from rough handling. Nevertheless, we recommend that you carefully examine the packaging
and its contents for any signs of physical damage, which may have occurred during transit.
+
If the unit is damaged, please do not return it to BEHRINGER, but notify your dealer and the
shipping company immediately, otherwise claims for damage or replacement may not be granted.
Shipping claims must be made by the consignee.
4.1 Rack mounting
The BEHRINGER ULTRA-GRAPH PRO fits into two standard 19" rack units of space. Please allow at least an
additional 4" depth for the connectors on the back panel.
12
4. INSTALLATION
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ULTRA-GRAPH PRO GEQ3102
Be sure that there is enough space around the unit for cooling and please do not place the ULTRA-GRAPH PRO
on high temperature devices such as power amplifiers etc. to avoid overheating.
4.2 Mains connection
Please ensure that the ULTRA-GRAPH PRO is set to the correct supply voltage before connecting the
unit to the AC power system! Three triangular markings can be found on the fuse holder at the AC power
connection socket. Two of these three triangles will be aligned with one another. The ULTRA-GRAPH PRO is
set to the operating voltage shown next to these markings and can be switched over by twisting the fuse holder
by 180°. IMPORTANT: This does not apply to export models designed only for 115 V AC!
The mains connection of the ULTRA-GRAPH PRO is made by using the enclosed mains cable and a standard
IEC receptacle. It meets all of the international safety certification requirements.
+
Please make sure that all units have a proper ground connection. For your own safety, never
remove or disable the ground conductor of the unit or of the AC power cable.
4.3 Audio connections
As standard, the BEHRINGER ULTRA-GRAPH PRO is installed with electronically servo-balanced inputs and
outputs. The circuit design features automatic hum rejection for balanced signals, permitting trouble-free
operation even at the highest operating levels. Externally induced power-line hum, etc. is thus suppressed
effectively. The automatic servo function recognizes the presence of unbalanced connectors and adjusts the
nominal level internally to avoid level differences between the input and output signals (6 dB correction).
+
Please ensure that only qualified persons install and operate the ULTRA-GRAPH PRO. During
installation and operation the user must have sufficient electrical contact to earth. Electrostatic
charges might affect the operation of the ULTRA-GRAPH PRO!
Output
Cable
Input
Ground
Positive
Negative
Pin 1
2
1
1
2
Shield
(+) Signal + Hum
(-) Signal + Hum
Pin 2 = (+) Signal
Pin 3 = (-) Signal
(+)Hum + Signal
(-)Hum + Signal
3
3
2 x Signal
= Signal + 6 dB
RFI and Hum
Fig. 4.1: Compensation of interference with balanced connections
4. INSTALLATION
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ULTRA-GRAPH PRO GEQ3102
Unbalanced use of
Balanced use of
mono 1/4" jack plugs
stereo 1/4" jack plugs
Tip =
Signal
Tip =
hot (+ve)
Ring =
cold (-ve)
Sleeve =
Ground / Shield
Sleeve =
Ground / Shield
Tip
Tip
Ring
Sleeve
Sleeve
Strain relief clamp
Strain relief clamp
For connection of balanced and
unbalanced plugs, ring and sleeve have
to be bridged at the stereo plug.
Balanced use with XLR connectors
2
1
1
2
1 = Ground / Shield
2 = hot (+ve)
3 = cold (-ve)
3
3
Input
Output
For unbalanced use pin 1 and pin 3 have to be bridged
Fig. 4.2: Different plug types
14
4. INSTALLATION
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5. SPECIFICATIONS
AUDIO INPUT
Connectors
Type
XLR and 1/4" jack
RF filtered, servo-balanced input
50 kOhm balanced, 25 kOhm unbalanced
+21 dBu balanced and unbalanced
typ. 40 dB, > 53 dB @ 1 kHz
Impedance
Max. input level
CMRR
AUDIO OUTPUT
Connectors
Type
XLR and 1/4" jack
electronically servo-balanced output stage
60 Ohms balanced, 30 Ohms unbalanced
+21 dBu balanced and unbalanced
Impedance
Max. output level
SYSTEM SPECIFICATIONS
Frequency response
10 Hz to 35 kHz, +/- 3 dB
Noise
THD
Crosstalk
> 92.3 dBu, unweighted, 22 Hz to 22 kHz
0.004 % typ. @ +4 dBu, 1 kHz, Gain 1
< -85 dB, 22 Hz to 22 kHz
ROLL-OFF FILTER SECTION
Type
12 dB/oct., butterworth
Input
Low cut
High cut
variable (-15 dB to +15 dB)
variable (10 Hz to 400 Hz)
variable (2.5 kHz to 30 kHz)
GRAPHIC EQUALIZER
Type
analog 1/3-octave equalizer
Frequency range
Bandwidth
20 Hz to 20 kHz in 31 1/3-octave bands (ISO frequencies)
1/3 octave
Control range
+/- 6 dB or +/- 12 dB (switchable)
FUNCTION SWITCHES
Audio in/out
switch to bypass the equalizer functions
I/O meter in/out
Range
switches the meter display from input to output
shift of the maximum cut/boost range for all 31 bands
INDICATORS
Input/output level
Function switch
12-segment LED display: -30/-24/-18/-12/-6/-3/0/+3/+6/+9/+12/+18 dB
LED indicator for every switch
POWER SUPPLY
Mains voltages
USA/Canada
120 V ~, 60 Hz
U.K./Australia
240 V ~, 50 Hz
Europe
230 V ~, 50 Hz
General export model
approx. 20 Watts
100-120 V ~: T 400 mA H
200-240 V ~: T 200 mA H
standard IEC receptacle
100-120 V ~, 200-240 V ~, 50-60 Hz
Power consumption
Fuse
Mains connection
PHYSICAL
Dimension
Weight
approx. 3,5" (89 mm) * 19" (482.6 mm) * 5.3" (135 mm)
approx. 2.5 kg
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from
time to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.
5. SPECIFICATIONS
15
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6. 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.
3. Free inspections and maintenance/repair work are expressly
excluded from this warranty, in particular, if caused by improper
handling of the product by the user.
This also applies to defects caused by normal wear and tear, in
particular, of faders, potentiometers, keys/buttons and similar
parts.
Based on the conditions herein, the buyer may also choose to
use the online registration option via the Internet
4. Damages/defects caused by the following conditions are not
covered by this warranty:
s misuse, neglect or failure to operate the unit in compliance
with the instructions given in BEHRINGER user or service
manuals.
§ 2 WARRANTY
1. BEHRINGER (BEHRINGER Spezielle Studiotechnik GmbH
including all BEHRINGER subsidiaries listed on the enclosed page,
except BEHRINGER Japan) warrants the mechanical and
electronic components of this product to be free of defects in
material and workmanship for a period of one (1) year from the
original date of purchase, in accordance with the warranty
regulations described below. If the product shows any defects
within the specified warranty period that are not due to normal
wear and tear and/or improper handling by the user, BEHRINGER
shall, at its sole discretion, either repair or replace the product.
s connection or operation of the unit in any way that does not
comply with the technical or safety regulations applicable in
the country where the product is used.
s damages/defects caused by force majeure or any other
condition that is beyond the control of BEHRINGER.
5. Any repair or opening of the unit carried out by unauthorized
personnel (user included) will void the warranty.
6. If an inspection of the product by BEHRINGER shows that the
defect in question is not covered by the warranty, the inspection
costs are payable by the customer.
2. If the warranty claim proves to be justified, the product will be
returned to the user freight prepaid.
3. Warranty claims other than those indicated above are expressly
excluded.
7. Products which do not meet the terms of this warranty will be
repaired exclusively at the buyer’s expense. BEHRINGER will
inform the buyer of any such circumstance. If the buyer fails to
submit a written repair order within 6 weeks after notification,
BEHRINGER will return the unit C.O.D. with a separate invoice
for freight and packing. Such costs will also be invoiced
separately when the buyer has sent in a written repair order.
§ 3 RETURN AUTHORIZATION NUMBER
1. To obtain warranty service, the buyer (or his authorized dealer)
must call BEHRINGER (see enclosed list) during normal business
hours BEFORE returning the product. All inquiries must be
accompanied by a description of the problem. BEHRINGER will
then issue a return authorization number.
§ 5 WARRANTY TRANSFERABILITY
2. Subsequently, the product must be returned in its original
shipping carton, together with the return authorization number to
the address indicated by BEHRINGER.
This warranty is extended exclusively to the original buyer
(customer of retail dealer) and is not transferable to anyone
who may subsequently purchase this product. No other person
(retail dealer, etc.) shall be entitled to give any warranty promise
on behalf of BEHRINGER.
3. Shipments without freight prepaid will not be accepted.
§ 4 WARRANTY REGULATIONS
§ 6 CLAIM FOR DAMAGES
1. Warranty services will be furnished only if the product is
accompanied by a copy of the original retail dealer’s invoice.
Any product deemed eligible for repair or replacement by
BEHRINGER under the terms of this warranty will be repaired or
replaced within 30 days of receipt of the product at BEHRINGER.
Failure of BEHRINGER to provide proper warranty service shall
not entitle the buyer to claim (consequential) damages. In no
event shall the liability of BEHRINGER exceed the invoiced value
of the product.
§ 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW
2. If the product needs to be modified or adapted in order to
comply with applicable technical or safety standards on a national
or local level, in any country which is not the country for which
the product was originally developed and manufactured, this
modification/adaptation shall not be considered a defect in
materials or workmanship. The warranty does not cover any
such modification/adaptation, irrespective of whether it was
carried out properly or not. Under the terms of this warranty,
BEHRINGER shall not be held responsible for any cost resulting
from such a modification/adaptation.
1. This warranty does not exclude or limit the buyer’s statutory
rights provided by national law, in particular, any such rights
against the seller that arise from a legally effective purchase
contract.
2. The warranty regulations mentioned herein are applicable
unless they constitute an infringement of national warranty law.
The information contained in this manual is subject to change without notice. No part of this manual may be reproduced or
transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any
purpose, without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH.
BEHRINGER, ULTRA-GRAPH, ULTRA-CURVE and SUPER-X are registered trademarks. ALL RIGHTS RESERVED.
© 2000 BEHRINGER Spezielle Studiotechnik GmbH.
BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Münchheide II, Germany
Tel. +49 (0) 21 54 / 92 06-0, Fax +49 (0) 21 54 / 92 06-30
16
6. WARRANTY
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