BEHRINGER FEEDBACK DESTROYER PRO FBQ2496 PDF

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FEEDBACK DESTROYER PRO FBQ User Manual. Thank you. Thank you . be found on BEHRINGER's website behringer. com under. “Where to Buy”, or . Page 1User Manual FEEDBACK DESTROYER PRO FBQ Automatic and Ultra-Fast Feedback Destroyer/Parametric EQ with 40 FBQ Filters and 96 kHz Audio Page 3: Limited warranty3 FEEDBACK DESTROYER PRO FBQ User Manual Important Safety 9. Page 66 FEEDBACK DESTROYER PRO FBQ User. Automatic and ultra-fast feedback destroyer/parametric eq with 40 fbq filters and 96 khz audio performance. Page 1 User Manual FEEDBACK DESTROYER PRO FBQ Automatic and Ultra-Fast Feedback Destroyer/Parametric EQ with 40 FBQ Filters and 96 kHz Audio Performance.


Behringer Feedback Destroyer Pro Fbq2496 Pdf

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View and Download Behringer Feedback Destroyer Pro FBQ user manual online. Feedback Destroyer Pro FBQ Music Pedal pdf manual download. kaz-news.info Products. Support kHz Feedback Destroyer and Parametric EQ The FBQ Feedback Destroyer PRO is the fastest programmed filters automatically, while the Manual Mode allows. Behringer Feedback Destroyer Pro FBQ • User guide • Download PDF for free and without registration!.

Perhaps coincidentally, the response from the audience has also improved over this period. I do find that all the channels get used up during the show even though I haven't heard any feedback. I can only assume it is picking up other sounds and interpreting them as feedback, but whatever the reason, it's definitely an improvement.

So when we're in a venue, I have to find a large table to accomodate both it and the mixer, although I've also sat the mixer on top of it if necessary. It's not heavy though.

I've only used the feedback destroyer features, not the EQ features I don't think the EQ side of things is very user friendly. For the Feedback destroyer features, it's simple to use; first I clear the values from the previous venue and then it's ready to use for the current venue. I get everything set up at a fairly low volume and then gradually increase the mixer volume until feedback occurs; the FBQ sometimes takes 2 or 3 seconds to catch the feedback which can be a little annoying to any customers that are already there.

But eventually, I can get the volume as high as I need. I tried the automatic setup at home but, after nearly blowing my speakers and hearing, I decided I wouldn't attempt it in front of an audience.

The FBQ is the latest model from Behringer and represents a higher-tech approach to the art of feedback suppression — but still keeping within the realms of budget gear. This device, which works either in stereo or as two independent channels, functions as an automatic feedback eliminator and also as a manually operated digital equaliser. It's claimed to be faster in operation than its predecessors and, as the model number suggests, incorporates 96kHz, bit technology.

First Impressions The FBQ's general appearance and styling are very much in line with the general look for the Behringer range of rack processors — the 1U black-and-silver face-plate is very familiar — but this model is blessed with a distinctive layout for the displays and control groupings, which, for some reason, lean to the right of the panel, a bit like handwriting that slopes forward.

It does look slightly strange to me straight out of the box, but overall the styling is neat and businesslike. The rear panel of any rack gear generally gives a good idea of what it does, so let's start there.

There are three MIDI connectors, too — In, Out and Thru — which are used to receive, pass and transmit various control instructions and may also be used for future operating-system updates. As with all Behringer gear, the mains power supply is internal and can accept anything from V to V, at either 50Hz or 60Hz.

Turning to the logically arranged front panel, the controls are mainly push-buttons and are arranged in two banks of six either side of the main filter-status display, which occupies the centre of the panel. To the right is an LED numeric indicator and a rotary setting control, and at the far left-hand end is a stereo input-level meter featuring three-colour vertical LED ladders with an input clip indicator at the top of each.

Finally, we have a recessed power switch, always a welcome inclusion on the front of any outboard gear, in my opinion. Functionality I'm a big fan of automatic feedback suppressors for general-purpose live work; indeed, they've got me out of trouble on several occasions. The various models available are all quite similar, in that they automatically detect feedback frequencies and assign a suitable width and depth of digital filter to knock out the offending one s.

As technology has progressed, the filters have become narrower, thus having a less detrimental effect on overall signal quality, and the devices have also become much faster at detecting and removing unwanted feedback.

Behringer Feedback Destroyer Pro FBQ User Manual – Download

Differences between devices are more apparent in the method of operation, particularly in how the user sets them up. This new Behringer machine takes the technology a stage further, by introducing an interesting and rather different setting-up method the 'auto learn' function , which is completely automatic. In addition to its feedback-suppression capabilities, the FBQ also functions as a fully configurable parametric equaliser, and it can actually perform both functions at the same time, by simply assigning a number of filters to each task.

As with earlier Behringer feedback eliminators, the FBQ starts working as soon as it is powered up and detects signal passing through, and will always assign the automatic filters to any feedback frequencies it can detect, up to the maximum number of available filters ie.

On Display Obviously, we need to feed in a signal for the FBQ to do anything; the dual vertical LED meters on the front panel indicate input level.

SOUND ON SOUND

There are eight LEDs per channel, left and right, and the clip level represents the maximum input level before digital clipping will occur. In the centre of the front panel is the main filter-status display. Each channel has a horizontal arrangement of 20 red LED indicators that represent all the filters available.

An LED will light either if that particular feedback filter has been deployed or if a manually-set Parametric EQ filter is active. A third display shows parameter values and works in conjunction with the rotary controller knob. The three-digit LED display shows actual values and the small LEDs below will light up to indicate what the displayed value means — for example, Hz, dB, minutes, and so on. The display side of things is very well covered by these three sections, and the LEDs themselves are bright and easy to read from a few feet away.

The main display is also used when you're setting the filter types Auto, Single-shot or PEQ and a quick press of the appropriate button will light up the corresponding number of filters of that type, which is a useful check.

Behringer FBQ Feedback Destroyer Pro

The Knobs Apart from the rotary control, which is used for parameter adjustments, all the remaining controls are simple push-button types. They need only a light touch but operate with a positive and audible click. There are a few combination operations that involve two buttons being pressed simultaneously, but all the most basic functions are accessed via individual buttons, which keeps life nice and simple.

Some functions have two-stage access, depending on whether the button is pressed briefly or held for a second or so. Some of the buttons access a function that's obvious from their label — for example, pressing the one marked Speech will make the unit operate in a less discerning way than for more critical music applications, and will apply more vigorous attenuation at a lower feedback level.

The FBQ's rear panel.

Behringer Feedback Destroyer Pro FBQ user manual

Photo: Mark EwingThe button labelled Reset is pretty straightforward, too, but it has the two aforementioned levels of operation: a short press will erase and reset all automatically set filters, leaving the preset or single-shot filters alone, but a longer press will clear the whole lot. The Freeze button is pretty handy: whenever a combination of filter settings is working really well and you don't want any more automatic adjustments to be made, pressing this button will store and deploy all current filter settings, until the Freeze mode is cancelled with another single press.It's claimed to be faster in operation than its predecessors and, as the model number suggests, incorporates 96kHz, bit technology.

Some of the buttons access a function that's obvious from their label — for example, pressing the one marked Speech will make the unit operate in a less discerning way than for more critical music applications, and will apply more vigorous attenuation at a lower feedback level. The pulses will provoke feedback at various frequencies.

The FBQ's rear panel.

There are three MIDI connectors, too — In, Out and Thru — which are used to receive, pass and transmit various control instructions and may also be used for future operating-system updates. If you want to quickly view the content of pages found on the following pages of the manual, you can use them.

Some functions have two-stage access, depending on whether the button is pressed briefly or held for a second or so. Some of the buttons access a function that's obvious from their label — for example, pressing the one marked Speech will make the unit operate in a less discerning way than for more critical music applications, and will apply more vigorous attenuation at a lower feedback level.

Each channel has a horizontal arrangement of 20 red LED indicators that represent all the filters available. Personally, I'd make this button the red one, because you can imagine the consequences of hitting it by mistake in the middle of a performance!