Behringer Ultradrive Pro DCX2496 Ultra High-Precision Speaker Management System

[Dolby CP-200]

Just ordered one of many that will be addressing the many needs of many audio problems in the home cinema with easy and flexibility this will offer an affordable solution in such a fancy package all for £174.98p

The idea came to me last year after seeing what modifications the Empire Leicester square cinema screen #1 done to her, with an impressive new JBL sound system array and amplification, but what caught my attention was the loudspeaker management system from dbx the dbx 4600 was a bit out of my reach due to cost so nearly a few months had passed that was until I stumbled across the (Behringer Ultradrive Pro DCX2496 Ultra High-Precision Speaker Management System) at Turnkey here in the UK one of the most affordable dealers for audio equipment.

So the plan is to start off in the next ten days or so that is until Turnkey get one in and then send it off to me via next day delivery. I plan to use the first unit for the LCR with ABC inputs and 6 outputs 123456 123 will be used for the fronts along with the cross over filters and EQ and many other features it has to address the problems as fast and as painless as can be.

The fronts are a very complex sounding combination and I need to program the settings to allow the left and right to be slightly reduced in level with one of compressors or limiters same goes with the centre channel. I will be trying the (Behringer Ultradrive Pro DCX2496) out with some of the most complex Dolby film mixes until I have it within satisfactory playback levels within the room.

Additional units would be used for surround arrays there is a around x10 JBL control surrounding the room at present and all need to be addressed as well as sub bass extension that will be feed to an additional sub bass speaker called the sub bass extension. LFE.1 is played back on a different sub bass speaker and will be latter handled via the Behringer Ultradrive Pro DCX2496)

Amplification will later be upgraded from my vintage Marantz 1050 and 1030 as well as the Pioneer VSP-200 that runs the centre back and height surround arrays it will be replaced with a new decoder for surrounds one that has lots of RCA outputs for LCR and monaural surround, sounds confusing doesn’t it?

Leads I’ll custom make my own with RCA and XLR to mate the system all together.

So there it is.

 

[darien87]

Sounds good. I was seriously considering doing the same thing, along with multiple Behringer amps. But I think it's going to be a little overkill for me. Especially when I can just get a good receiver to basically do the same thing, though not as well or as flexible, for about 1/2 the money.

Let us know how it turns out.

 

[Dolby CP-200]

Thanks well I’ve waited patiently for a several months now and only ten or less days to go now.

One other thing would be a rack mount for the unit.

 

[WmAx]

Note: If you are mating the professional voltage level outputs of the DCX directly to the consumer amplifiers with low voltage consumer RCA inputs, you may find that you will have to do one of the following to get sufficient trim control with low noise: (1) Buy a devices such as the ART Clean Box. (2) Make some passive voltage dividers to reduce each output by about 10dB. You can do this with a few resistors, or you can use a potentiometer for variable trim. (3) Purchase in-line attenuator adapters(these are just pre-made voltage dividers in a neat package) . Warning: For voltage dividers placed in these circuits, use the shortest and lowest capacitance cables possible to connect passive trim controls between devices. Ideally, you will calculate possible electrical response(s) using the known impedance of the source, inputs, and known voltage divider resistances across the shunt and series under specific circumstances.

-Chris

 

[Dolby CP-200]

Thanks for the information I’ll use extreme caution when setting up.

 

[Dolby CP-200]

One additional thought that I’ve been brainstorming over in the last day was the (-10db) difference on its output. What I could try is setting the AVR outputs to (-10db) this might compensate for the difference on the output.

1 / I don’t what to overload the three inputs stages for screen channels Left centre and right!

2 / audio limiters would be put to some use to protect the loudspeakers on output stages.

3 / Until the three-screen channels go into full active mode via the units x over I’ll have to run the passive x over on the three-screen JBL control 5 for a brief time.

4 / After reading though the users manual “I have high affordable expectations of this fancy little unit.”

 

[Dolby CP-200]

Second issue is the leads for the present time I’ll have to make my own custom leads with XLR for the loudspeaker management systems three inputs ABC with six additional leads for outputs 123456.

This is going to cost a fair bit and once I have obtained new amplifiers with XLR inputs I’ll then modify the output leads with the appropriate connectors.

So at the moment I’m sizing up the price differences looking at Maplin electronics UK, a single line and plug lead is £2.69 but that’s not all I must select the cable as well and that is where costs start to overrun if not thought out carefully.

 

[darien87]

It looks like I might be back to doing the same thing you're doing. One question I have is, how do the DCX's get wired in with the rest of the system? Here is what I am planning:

Yamaha 661 - Preamp
Emotive LPA-1 Amp
3 DCX's
Speakers

I'm just wondering how the wiring goes. The back of the DCX's are different than most of the consumer audio gear I'm used to.

 

[Dolby CP-200]

darien87

I’ll look in the pdf file of the user’s manual in jiffy, I’ve just restarted the pc. r I'll send the link.

 

[Dolby CP-200]

darien87

Here’s the link, look to the right-hand side download (Manuals) and select pdf file (English) (3146 KB)

http://www.behringer.com/DCX2496/index.cfm?lang=ENG

Also if you note on the rear picture above you’ll see three inputs these will be used for left centre and right. While 123 at the present time of installation will be used for full range output, that is until I get the funds to buy two now stereo amplifiers then I can use output channels 123 for LF and channels 456 for HF!

Now you’ll say wait a second 2 stereo amplifies but that’s only four channels? Yes I’ll be using the Marantz 1050 amplifiers for the meantime until I have all the amplifiers replaced.

So the Marantz 1050 can deal with the full range for the meantime of course I won’t be able to use the active x over to full advantage, but when I get a few new amplifiers, one at time mind you I’ll start the change over to active x over.

 

[darien87]

Thanks for the response Dolby.

But looking at that manual has me more confused than ever. In my case, I plan on using a Yamaha 661 as my pre amp. Then I plan on getting an Emotiva LPA-1 amp to drive my speakers. I will be using the DCX's to do crossover functions to each channel.

What I don't understand is how the DCX's are hooked into the system. Those XLR output connections are totally confusing me. Do the DCX's connect to my Yamaha receiver, or to the Emotiva amp? How do I mate the DCX's XLR connections to the other components?

 

[highfihoney]

How do I mate the DCX's XLR connections to the other components?

You can order any type cable you need, like xlr to rca,xlr to 1/4 ect,if you have a pro sound store or any store that sells musicial instruments like "guitar center" they should have any of the connectors you need in stock.

You can even buy adaptors for your existing cables to get the job done,no matter which way you go the cables or connectors you need are not any more expensive than standard rca cables.

XLR connections have been used in pro audio forever & are a cary over technology from pro audio,these connectors are nothing to be worried about & are readily found,infact whatever store you order the behringer from should have all these cables or connectors in stock.

 

[darien87]

You can order any type cable you need, like xlr to rca,xlr to 1/4 ect,if you have a pro sound store or any store that sells musicial instruments like "guitar center" they should have any of the connectors you need in stock.

You can even buy adaptors for your existing cables to get the job done,no matter which way you go the cables or connectors you need are not any more expensive than standard rca cables.

XLR connections have been used in pro audio forever & are a cary over technology from pro audio,these connectors are nothing to be worried about & are readily found,infact whatever store you order the behringer from should have all these cables or connectors in stock.

Thanks dude. So I need cables that are XLR on one side and RCA on the other side?

I'm still confused on the order of the connections. Do I go from the receiver to the DCX's, then to the amp, then to the speakers?

 

[Dolby CP-200]

darien87

The inputs on the back are very straight forward (A for left channel) (B for centre channel) (C for right channel).

Then use channel outputs (1 for left LF) (2 for centre LF) (3 for right LF) use the remaining channels (4 for left HF) (5 for centre HF) (6 for right HF)

The rest is learning and step by step of understand of what the manufacture has laid out for the user.

And you do realize that (six stereo amplifiers) will be needed for the fronts channels for example.

Each channel needs a stereo amplifier to run the LF and HF frequencies independently to the loudspeaker one cable runs to the LF and the other to the HF.


I admit the rest of the manual is going to be rather difficult to learn and program the loudspeakers parameters into the DCX 2496 that’s not going to happen over night for sure a lot of testing and trail and error is involved.

Connecting the leads up to the sound system, that’s simple enough to follow.

 

[darien87]

darien87

The inputs on the back are very straight forward (A for left channel) (B for centre channel) (C for right channel).

Then use channel outputs (1 for left LF) (2 for centre LF) (3 for right LF) use the remaining channels (4 for left HF) (5 for centre HF) (6 for right HF)

The rest is learning and step by step of understand of what the manufacture has laid out for the user.

And you do realize that (six stereo amplifiers) will be needed for the fronts channels for example.

Each channel needs a stereo amplifier to run the LF and HF frequencies independently to the loudspeaker one cable runs to the LF and the other to the HF.


I admit the rest of the manual is going to be rather difficult to learn and program the loudspeakers parameters into the DCX 2496 that’s not going to happen over night for sure a lot of testing and trail and error is involved.

Connecting the leads up to the sound system, that’s simple enough to follow.

Thanks again Dolby.

Originally I was going to go with 4 A500's, but I think it will be better to just buy an Emotiva LPA-1 7.1 amp.

I'm going to be doing this with the assistance of Chris, (wmax), as it was his suggestion, and I have NO idea how to use or hook up this equipment. Hopefully it won't be too much of a nightmare.

Sorry, but I don't understand what you mean by "LF" and "HF".

Since each DCX has 3 outputs, I understand that I will need 3 of them to do a 7.1 system. So I guess it works like this: DCX #1 will handle Front left, Front right and Center, DCX #2 will handle Surround left, Surround right, LFE, and DCX #3 will handle Surround back left, and Surround back right. Is this correct?

 

[Dolby CP-200]

darien87

Sorry I jumped the gun slightly by saying six stereo amplifiers for the fronts, that’s three stereo amplifiers for the fronts I was thinking out loud whilst thinking about something else.


LF low frequency
HF high frequency

Depending on the frequency specifications of each loudspeaker driver to handle the frequency bandwidth that will be no problem for the (DCX 2496) you can program the frequency crave and the crossover point to cut or prevent any mid range from going into the HF or tweeter same applies to the LF no HF frequencies sneaking into the bass mid which often results in harsh sound, but not with active crossover frequency networks. There task is to extract and divide the frequencies into separate bands for amplification.

The goal is to make the loudspeaker when in active mode less harsh and more exact sounding

The audio limiters will be a very valid support to protect the loudspeakers from use of neglect! The phase of each loudspeaker can be adjusted variably from 0 º to 180º to get the best out of the fronts.

I’m still reading up on certain parts taking onboard as much of the users manual as possible to better aquatint myself with it.

I called Turnkey early today and there still awaiting for it to arrive in the UK for early dispatch to me.

 

[darien87]

darien87



I’m still reading up on certain parts taking onboard as much of the users manual as possible to better aquatint myself with it.

I called Turnkey early today and there still awaiting for it to arrive in the UK for early dispatch to me.

Cool. So you can be the guinea pig and work out all the kinks and then I'll just copy whatever you do.

 

[Dolby CP-200]

Well it finally turned up this Tuesday after waiting nearly 3 weeks its been worth the wait and after a gruelling 13 hours to get the audio output from all channels in full-spectrum sound, just for the time being mind you, until I get enough saved to buy the new amplifiers.

After going though the EQ process of the unit via placing the dts demonstrating disc in the (SONY DVP-S336) and with the microphone placed in the middle front part of the room that is connected to the (Technics SH-8055) I proceeded to adjust the filters on the input mode of the (DCX 2496).

One thing I was having slight difficulty with was the centre channel. I noticed a peak at 2 or around the 2Khz range and after applying an additional crossover filter inside the JBL control 5 there was no change with the peak.

I then thought arr, what if I change the polarity of one of the drivers so I changed the bass mid driver and tested it again and noticed the peak had evened out.

Now back to the arguable equalization, and the units got many facilities to adjust or tailor the pink noise when it becomes air-born in the room. One thing that is most important is building the stage for the loudspeakers to sit on. Now I’ve delayed this time and time and time again with no excuses.

The way the loudspeakers are positioned at the moment will change or enhances certain parts of the frequency response. So that’s the next logical step to consider and it’s not expensive to buy a piece of timbre for the front and side parts of the wall and simple affordable platform were I can place the loudspeakers precisely in the right position.

Still the pink is fairly close when playing the auto pink noise test that cycles from LCR surrounds and sub its tone over the LCR is good as it can be for the time being, better than most, I’ve heard a lot worse at some friends home cinema with nasty dips in the centre channel.

Although the surrounds will benefit from the use of the (DCX 2496) the surrounds will be the most expensive part to modify due to several (DCX 2496) that would have to be installed one for left and right sidewall surrounds and centre back.

One for height surrounds. That leaves two extra channels on the (DCX 2496) to explore I can at a later time as for the moment I haven’t got any thoughts.

Audio limiters on the (DCX 2496) is peace of mind and where some films have unpredictable and aggressive dynamic range output that can damage the amplifiers or loudspeakers it’s very wise to activate the audio limiters to ON!

And when set-up in LF HF mode Lows for bass mid and highs for the tweeter, its very common for the HF to get overloaded so set those audio limiters to on.

The threshold on the audio limiter ranges from -24db to 0db with attack and release time set in milliseconds. The DCX 2496 has a little display shows the action of the dynamics of the audio signal that’s been limited thus protecting the loudspeakers.

There’s also a limit LED light that is the units alerts you with a single illuminated red LED that says the signal has reached its limit. Once you’ve reached 0db there’s no other place to go