Behringer ULTRAMIZER PRO DSP1400P User manual

1
EUser´s Manual
Bedienungsanleitung D
Version 1.0 December 1998
ULTRAMIZER® PRO DSP1400P
www.behringer.de

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acc. to the Directives
89/336/EWG and 73/23/EWG
We, BEHRINGER INTERNATIONAL GmbH
Hanns-Martin-Schleyer-Straße 36 - 3
D - 47 77 Willich
Name and address of the manufacturer or the introducer of the product on the market who is established in the EC
herewith take the sole responsibility to confirm that the product:
ULTRAMIZERPRO DSP1400P
Type designation and article-No (if applicable)
to which this declaration refers, is in accordance with the following standards or stan-
dardized documents:
xEN 60065 xEN 61000-3-2
xEN 55020 xEN 61000-3-3
xEN 55013 xEN 55022
The following operation conditions and installation arrangements have to be pre-
sumed: acc. to Operating Manual
B. ier, President Willich, 01.12.1998
Name, address, date and legally binding signature of the person responsible
EC-Declaration of Conformity
INTERNATIONAL GmbH

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This symbol, wherever it appears,
alerts yo to the presence of
nins lated dangero s voltage inside
the enclos re - voltage that may be
s fficient to constit te a risk of shock.
This symbol, wherever it appears, alerts
yo to important operating and mainte-
nance instr ctions in the accompanying
literat re. Read the man al.
SAFETY INSTRUCTIONS
CAUTION: To red ce the risk of electrical shock, do not remove
the cover (or back). No ser serviceable parts in-
side; refer servicing to q alified personnel.
WARNING: To red ce the risk of fire or electrical shock, do not
expose this appliance to rain or moist re.
DETAILED SAFETY INSTRUCTIONS:
All the safety and operation instr ctions sho ld be read before the appliance is operated.
Retain Instructions:
The safety and operating instr ctions sho ld be retained for f t re reference.
Heed Warnings:
All warnings on the appliance and in the operating instr ctions sho ld be adhered to.
Follo instructions:
All operation and ser instr ctions sho ld be followed.
Water and Moisture:
The appliance sho ld not be sed near water (e.g. near a batht b, washbowl, kitchen sink, la ndry t b, in a
wet basement, or near a swimming pool etc.).
Ventilation:
The appliance sho ld be sit ated so that its location or position does not interfere with its proper ventilation.
For example, the appliance sho ld not be sit ated on a bed, sofa r g, or similar s rface that may block the
ventilation openings, or placed in a b ilt-in installation, s ch as a bookcase or cabinet that may impede the
flow of air thro gh the ventilation openings.
Heat:
The appliance sho ld be sit ated away from heat so rces s ch as radiators, heat registers, stoves, or other
appliance (incl ding amplifiers) that prod ce heat.
Po er Source:
The appliance sho ld be connected to a power s pply only of the type described in the operating instr ctions
or as marked on the appliance.
Grounding or Polarization:
Preca tions sho ld be taken so that the gro nding or polarization means of an appliance is not defeated.
Po er-Cord Protection:
Power s pply cords sho ld be ro ted so that they are not likely to be walked on or pinched by items placed
pon or against them, paying partic lar attention to cords and pl gs, convenience receptacles and the point
where they exit from the appliance.
Cleaning:
The appliance sho ld be cleaned only as recommended by the man fact rer.
Non-use Periods:
The power cord of the appliance sho ld be npl gged from the o tlet when left n sed for a long period of
time.
Object and Liquid Entry:
Care sho ld be taken so that objects do not fall and liq ids are not spilled into the enclos re thro gh openings.
Damage Requiring Service:
The appliance sho ld be serviced by q alified service personnel when:
- The power s pply cord or the pl g has been damaged; or
- Objects have fallen, or liq id has been spilled into the appliance; or
- The appliance has been exposed to rain; or
- The appliance does not appear to operate normally or exhibits a marked change in performance; or
- The appliance has been dropped, or the enclos re damaged.
Servicing:
The ser sho ld not attempt to service the appliance beyond that is described in the Operating Instr ctions.
All other servicing sho ld be referred to q alified service personnel.

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DSP1400P
ULTRAMIZERPRO
Ultra-high performance Digital Multiband Loudness Maximizer / Sound Program Enhancer powered b a 24-bit DSP
sDo bles the lo dness of yo r Recordings and So nd Reinforcement Systems witho t any distortion
sUltimate Mastering Machine maximizes signal energy with absol tely ina dible and transparent cmpression
sVariable band-split compression eliminates virt ally any gain intermod lation effects, s ch as bass p mp-
ing etc.
sM ltiband Brickwall Limiter protects against any clipping and dangero s so nd press re levels
sB ilt-in Denoiser and Exciter for noise-free and ltra transparent so nd
s3D Stereo S rro nd Processor provides nbelievable spatial enhancement and improved stereo imaging
sS perBass Enhancer psycho-aco stically creates an incredible bass so nd below yo r lo dspeakers
freq ency range
sIncorporated Leveler for constant average o tp t level while retaining the instantaneo s dynamics
sFree ULTRAMIZER software allows for total remote control via PC
(download at www.behringer.de)
s20-bit A/D and D/A Converters with 64/128 times oversampling for ltra-high headroom and resol tion
sInternal 24-bit processing with professional 46kHz sampling rate
sServo-balanced Inp ts and O tp ts on gold plated XLR and TRS jack connectors for high signal integrity
s50 ser preset Memories to store programs for instant recall
sAcc rate eight-segment LED Level and Gain Red ction meters for optim m performance
sF t re-proof software- pgradeable architect re
sF ll MIDI capability allows real-time parameter control and program selection
sHigh-q ality components and exceptionally r gged constr ction ens res long life and d rability
sMan fact red nder the ISO 9000 management system

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FOREWORD
Dear C stomer,
Welcome to the team of ULTRAMIZERPRO sers and thank yo very m ch for expressing yo r confidence
in BEHRINGER prod cts by p rchasing this nit.
It is one of my most pleasant tasks to write this letter to yo , beca se it is the c lmination of many months of
hard work delivered by o r engineering team to reach a very ambitio s goal: making an o tstanding device
that will become a standard tool sed by st dios and P.A. companies. The task to design the ULTRAMIZERPRO
certainly meant a great deal of responsibility, which we ass med by foc sing on yo , the discerning ser and
m sician. It also meant a lot of work and night shifts to accomplish this goal. B t it was f n, too. Developing a
prod ct s ally brings a lot of people together, and what a great feeling it is when everybody who participated
in s ch a project can be pro d of what weve achieved.
It is o r philosophy to share o r joy with yo , beca se yo are the most important member of the BEHRINGER
family. With yo r highly competent s ggestions for new prod cts yo ve greatly contrib ted to shaping o r
company and making it s ccessf l. In ret rn, we g arantee yo ncompromising q ality (man fact red
nder ISO9000 certified management system) as well as excellent technical and a dio properties at an
extremely favorable price. All of this will enable yo to f lly nfold yo r creativity witho t being hampered by
b dget constraints.
We are often asked how we can make it to prod ce s ch high-grade devices at s ch nbelievably low prices.
The answer is q ite simple: its yo , o r c stomers! Many satisfied c stomers means large sales vol mes
enabling s to get better conditions of p rchase for components, etc. Isnt it only fair to pass this benefit back
to yo ? Beca se we know that yo r s ccess is o r s ccess, too!
I wo ld like to thank all people whose help on Project ULTRAMIZERPRO has made it all possible. Every-
body has made very personal contrib tions, starting from the designers of the nit via the many staff mem-
bers in o r company to yo , the ser of BEHRINGER prod cts.
My friends, its been worth the tro ble!
Thank yo very m ch,
Uli Behringer

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ABLE OF CON EN S
1. INTRODUCTION ...................................................................................................................... 8
1.1 The design concept ........................................................................................................................ 8
1.2 Before yo begin ............................................................................................................................ 8
1.3 Control elements ............................................................................................................................ 9
1.3.1 Front panel ........................................................................................................................... 9
1.3.2 Back panel .......................................................................................................................... 12
1.3.3 Restoring factory defa lts ................................................................................................... 12
2. OPERATION ........................................................................................................................... 12
2.1.1 The Ultramizer f nction ....................................................................................................... 13
2.1.2 The Max. O t Level f nction ................................................................................................13
2.1.3 The Exciter f nction ............................................................................................................ 14
2.1.4 The S perBass f nction ....................................................................................................14
2.1.5 The 3DS rro nd f nction .................................................................................................. 14
2.1.6 The Denoiser f nction ........................................................................................................ 14
2.1.7 The Crossover parameter ................................................................................................... 15
2.2 Selecting presets .......................................................................................................................... 15
2.3 Editing presets .............................................................................................................................. 15
2.4 Saving presets .............................................................................................................................. 15
2.5 MIDI control .................................................................................................................................. 16
3. APPLICATIONS ..................................................................................................................... 17
3.1 Level setting .................................................................................................................................. 17
3.2 Using the ULTRAMIZERPRO in a st dio environment ................................................................... 17
3.2.1 The ULTRAMIZERPRO in analog recording ....................................................................... 18
3.2.2 The ULTRAMIZERPRO in digital recording and sampling ................................................... 18
3.2.3 The ULTRAMIZERPRO in mastering .................................................................................. 18
3.3 The ULTRAMIZERPRO as a protective device .............................................................................. 19
3.3.1 Protection of a system with a passive crossover ................................................................. 19
3.3.2 Protection of a system with an active crossover .................................................................. 20
3.3.3 Improving the so nd of a processor system ........................................................................ 20
3.4 The ULTRAMIZERPRO in combination with a m ltitrack ............................................................... 20
3.5 The ULTRAMIZERPRO in broadcast ............................................................................................ 20
3.5.1 AM/TV broadcasting ........................................................................................................... 21
3.5.1 Telephone lines and wireless systems ................................................................................. 21
3.6 Using the ULTRAMIZERPRO in inserts ......................................................................................... 21
3.7 The ULTRAMIZERPRO in a MIDI set p ........................................................................................ 22
3.8 Saving data via MIDI ..................................................................................................................... 22
4. TECHNICAL BACKGROUND ................................................................................................ 22
4.1 A dio dynamics ............................................................................................................................ 23
4.1.1 Noise as a physical phenomenon ....................................................................................... 24
4.1.2 What are a dio dynamics? ................................................................................................. 24
4.1.3 Compressors/Limiters ......................................................................................................... 25
4.1.4 Expanders/Noise Gates ......................................................................................................26
4.2 Denoiser ....................................................................................................................................... 26
4.3 Artificial harmonics generation  Exciter ....................................................................................... 26
4.4 S perBass ................................................................................................................................... 27
4.5 3DS rro nd Processor ................................................................................................................ 27
4.6 Digital a dio processing ............................................................................................................... 27

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5. INSTALLATION ...................................................................................................................... 28
5.1 Rack mo nting .............................................................................................................................. 28
5.2 Mains connection .......................................................................................................................... 29
5.3 A dio connections ........................................................................................................................ 29
5.4 MIDI connections.......................................................................................................................... 30
5.5 Operating level switch ................................................................................................................... 31
6. APPENDIX ............................................................................................................................. 31
6.1 MIDI implementation ..................................................................................................................... 31
6.2 Specifications ............................................................................................................................... 33
7. WARRANTY .......................................................................................................................... 34

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1. INTRODUCTION
The BEHRINGER ULTRAMIZERPRO is a digital so nd processing device based on a sophisticated DSP,
sing 20 bit A/D and D/A converters. The high speed DSP is capable of performing the calc lations needed for
the complex algorithms in fractions of a second, the only element affecting its performance being the software.
Despite extensive comp ting work which is done in the DSP1400P by a d al-engine 24-bit processor, the
ULTRAMIZERPRO can be operated easily and conveniently. All parameter edits are performed with the jog
wheel (rotary control). 50 presets are available to store ser-defined programs.
+The follo ing operational manual ill introduce you to the BEHRINGER ULTRAMIZERPRO and
its various functions. After reading the manual carefully, make sure it is al ays on hand for
future reference.
1.1 The design concept
Contrary to analog techniq e, which has a limited response time capability, digital technology can look ahead
to anticipate changes in incoming signals. The longer the look ahead, the more intelligent the response of
the device or algorithm sed.
Yo probably have heard a voice or solo instr ment disappearing after a strong bass dr m or bass line. This
is a typical problem experienced by virt ally every compressor. The level of a m sic signal is mostly deter-
mined by the bass signals. When the bass rises above the set threshold val e of the compressor/limiter, the
nit will red ce the gain, which is another way of saying that the overall level will be red ced to prevent the
signal from becoming too strong. With that red ction in level, all other components like voices and instr ments
will also be red ced in level, making the so nd m ddy and d ll.
This drowning o t of voices and other instr ments can be avoided if the freq ency spectr m is divided in two
parts. Each section can the be compressed or limited individ ally. The signals from the different compressors
are then added p again to make p the complete spectr m again.
The ULTRAMIZERPRO divides the spectr m into two bands prior to performing the dynamic f nctions. This
enables a very m sical and effective compression of the program material signal. On top of that, the
ULTRAMIZERPRO also feat res a highly effective Denoiser, an acc rate and fast Peak Limiter, a 3D S rro nd
Processor and a new S perBass/Exciter for both low and high freq encies.
The philosophy behind BEHRINGER prod cts g arantees a no-compromise circ it design and employs the
best choice of components. Top-q ality 20-bit AD/DA converters which belong to the best components
available owing to its o tstanding specifications and excellent sonic characteristics. A 24-bit DSPs is sed as
the heart of the ULTRA-CURVEPRO. It performs the precise calc lations needed for the processing of the
complex algorithms. Additionally, the VIRTUALIZER ses resistors and capacitors with very tight tolerances,
high-grade switches, low-noise operational amplifiers (type 4580) as well as other selected components
The ULTRAMIZERPRO ses SMD technology (S rface Mo nted Device). These s bminiat re components
adapted from aerospace technology allow for an extreme packing density, improving the nits reliability even
f rther. Additionally, the nit is man fact red in compliance with a ISO9000 certified management system.
1.2 Before you begin
Yo r BEHRINGER ULTRAMIZERPRO was caref lly packed in the factory and the packaging was designed
to protect the nit from ro gh handling. Nevertheless, we recommend that yo caref lly examine the packag-
ing and its contents for any signs of physical damage, which may have occ rred in transit.
+If the unit is damaged, please do not return it to us, but notify your dealer and the shipping
company immediately, other ise claims for damage or replacement may not be granted. Ship-
ping claims must be made by the consignee.
The BEHRINGER ULTRAMIZERPRO fits into one standard 19" rack nit of space (1 3/4"). 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
ULTRAMIZERPRO on high temperature devices such as po er amplifiers etc. to avoid over-
heating.
1. INTRODUCTION

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The mains connection of the ULTRAMIZERPRO is made by sing the s pplied cable. It meets all of the
international safety certification req irements. Please make s re that all nits have a proper gro nd connec-
tion.
+Before you connect your ULTRAMIZERPRO to the mains, please make sure that your local
voltage matches the voltage required by the unit (see chapter 5.2 for details)!
As a standard the a dio inp ts and o tp ts on the BEHRINGER ULTRAMIZERPRO are f lly balanced. If
possible, connect the nit to other devices in a balanced config ration to allow for maxim m interference
imm nity. The a tomatic servo f nction detects nbalanced connections and compensates the level differ-
ence a tomatically (6dB correction).
The MIDI links (IN/OUT/THRU) are made over standardized DIN patch cords. The data comm nication is
isolated from gro nd by an opto-co pler.
1.3 Control elements
Fig. 1.1: ULTRAMIZERPRO front panel
The BEHRINGER ULTRAMIZERPRO is eq ipped with ten ill minated parameter keys, one jog wheel (rotary
control), a n meric display, 8 LED indicators and a power switch. Each of the two f lly independent channels
can be monitored with fo r 8-stage LED meters, displaying inp t level, o tp t level and gain red ction for both
bands.
1.3.1 Front panel
Fig. 1.2: Displa section DSP1400P
1
The two LED chains read the inp t signal level indB, referenced to the internal digital maxim m.
+Please note that the nominal level of the ULTRAMIZERPRO can be selected ith the
+4dBu/-10dBV s itch located on the back panel. (see 3.1 Level setting)
2
The gain red ction meters show the applied gain red ction. Gain red ction is shown for both fre-
q ency bands. GRLO shows the gain red ction in the lower and GRHI in the higher freq ency band.
3
These two OUTLED chains read the o tp t signal level indB, referenced to the maxim m o tp t level
of +15dB .
4
After power- p, the LED display reads the n mber of the preset last sed. This clearly legible, 2½ digit
n meric display has pl s/min s indicators to show that parameters are being incremented or
decremented in Edit mode.
1. INTRODUCTION

10
5
Next to the display, the appropriate nit lights p to indicate the correct val e which is being edited.
These eight LED ill minated nits are very important with keys which can represent more than one
parameter.
Fig. 1.3: Function ke s and jog wheel
6
With the jog wheel, a contin o s rotary control, yo can freely edit the selected parameters. T rn the
wheel clockwise to increase the val es or co nter-clockwise to red ce them.
+When you press the PRESET key once, you can use the heel to select a program directly,
hich is sho n by a dot lighting up in the display. While this dot is on, you can select a
program though its settings ill not take immediate effect. When the jog heel has not been
touched for a short time, the LED in the display disappears and the program is loaded.
7
Use the MAX.OUTLEVEL to set the o tp t limiter. This val e can be set from -48to0dB. The dB
val e will light p next to the n meric display. Yo can change the MAX. OUT LEVEL parameter from
peak to RMS mode by pressing the MAX. OUT LEVEL key for abo t 2 seconds. RMS means the
setting of an average level for the MAX. OUT LEVEL parameter. Peak stands for a peak val e. To make
clear that yo are in RMS mode RMS will light p in the display.
8
The Ultramizer f nction enables yo to maximize the perceived lo dness of the program material. The
ULTRAMIZER key gives yo access to three parameters:
a) When pressed once the DENSITY (DENS will light p in the display) can be adj sted. The
s bjectively felt density of the program material is the res lt of the amo nt of compression that is
applied. The DENSITY can be adj sted from 0 (no compression) to 100 (extreme dynamic gain red c-
tion).
b) Pressed a second time, the SPEED of the Ultramizer f nction can be set (SPED will light p in the
display). This parameter is very important for the dynamic behavior which depends on the application.
Generally low SPEED settings are s ited if the ULTRAMIZER is to work rather ina dibly. Higher
SPEED is req ired when short level changes sho ld be levelled.
c) Pressed third time, the RANGE can be set (dB will light p in the display). This parameter deter-
mines the maxim m amplification the Ultramizer f nction may se in order to achieve the desired
DENSITY and MAXIMUM OUTPUT LEVEL. The val e can be adj sted from 0 to 24dB.
For f rther information on the Ultramizer f nction please refer to section 2.1.1.
9
Use the 3DSURROUND key to increase the stereo width of the signal. Setting can range from 0 (no
processing) to 100.
10
With the DENOISER key yo have access to two parameters which infl ence the process.
a) When pressed once the THRESHOLD of the Noise Gate can be set (dB will light p in the display).
The val e ranges from -90dB to 0dB. OF means the Denoiser f nction is deactivated.
+Please bear in mind that hen the threshold number displayed is small, the threshold level in
fact is high and consequently only loud signals ill pass through. When the value is lo ered to
-100dB for example (referring to the digital maximum) every signal ill pass.
1. INTRODUCTION

11
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b) When pressed a second time the SENSITIVITY can be adj sted (SENS will light p in the display).
This governs the sensitivity of the dynamic high c t filter and how it reacts to the inp t signal. The val e
ranges from 0 to 100.
11
When the LEFT key is pressed only the settings for the left channel are edited.
12
Use the RIGHT key to select the right a dio channel.
+If you ish to process the left and right audio channels simultaneously (COUPLE mode), press
both LEFT & RIGHT keys together. In couple mode both key LEDs light up. Whenever you edit
one of the t o audio channels and then s itch to couple mode, the parameters of the active
channel ill be copied to the other; i.e. if you press LEFT before RIGHT, left ill be copied to
right.
13
The EXCITER key has three f nctions:
a) PROCESS, (PROC will light p) when pressed once the intensity of the Exciter f nction can be
adj sted ranging from 0 to 100.
b) Pressed a second time the TUNE parameter can be set (kHz will light p). The TUNE control sets
the lower c t-off freq ency of the Exciter f nction. The c t-off freq ency can be adj sted within a
range of 4 to 12 kHz.
c) The third f nction is reached by pressing the EXCITER key for more than 2 seconds. The pper
freq ency band is then m ted. This is indicated by a f ll LED bar that flashes on and off (GR HI). This
f nction is sef l when yo want to monitor the processing of the ULTRAMIZERPRO. Alternatively the
nit can also be sed as a crossover to generate a s bwoofer signal for instance.
14
The SUPERBASS key has three f nctions:
a) PROCESS, when pressed once the intensity of the S perBass f nction can be adj sted ranging
from 0 to 100 (PROC will light p).
b) Pressed a second time the TUNE parameter can be set (Hz will light p). Here the TUNE control
sets the pper c t-off freq ency of the S perBass f nction. The c t-off freq ency can be adj sted
within a range of 50 to 150Hz.
c) Again the third f nction is reached by pressing the SUPERBASS key for more than 2 seconds. The
lower freq ency band is now m ted. This is indicated by a f ll GR LO LED bar that flashes on and off.
+When the EXCITER and SUPERBASS keys are pressed simultaneously, the crossover frequency,
bet een  the lo er and higher bands of the multiband compressor  can be adjusted from
20Hz to 20kHz.
15
The IN/OUT key enables yo to bypass the DSP1400P. The green LED lights p as soon as the
ULTRAMIZERPRO is activated.
16
Whenever a setting has been changed the PRESET key starts to blink slowly, indicating that a preset
has been changed b t not stored. When the PRESET key is pressed once the c rrent preset n mber
is shown in the n meric display. When the PRESET key is pressed again the c rrent preset n mber
starts flashing, yo can then select any of the 50 memory locations. Press a third time to save the
edited program to a ser preset as shown in the display.
+When the IN/OUT and PRESET keys are pressed simultaneously the ULTRAMIZERPRO enters
the MIDI menu, here all MIDI settings can be edited.
1. INTRODUCTION

12
17
Use the POWER switch to switch the ULTRAMIZERPRO on or off.
1.3.2 Back panel
Fig. 1.4: Back panel connectors and control elements
18
Use the OPERATING LEVEL switch to adapt the ULTRAMIZERPRO to different operating levels. Yo
can select a -10dBV semi-pro level sed for home recording and a +4dB level sed in professional
st dios. This way the ULTRAMIZERPRO is always optimally adapted to the sed nominal operating
level.
19
These are the ULTRAMIZERPROs analog INPUTS. The ULTRAMIZERPRO has both XLR and jack
inp ts and o tp ts. Each XLR and jack set is wired parallel and can be sed either balanced or
nbalanced.
20
These are the ULTRAMIZERPROs analog OUTPUTS. Also on balanced or nbalanced XLR or TRS
jacks.
21
Please take the time to complete the enclosed Warranty Registration Card. P t the instr ction man al
in a safe place and ret rn the completed Warranty Registration Card to s within 14 days of p rchase,
making s re that the dealer stamp has been acq ired.
22
These are the ULTRAMIZERPROs MIDI connectors (MIDI OUT / THRU / IN). Via these connectors
total remote control is possible.
23
This is the MAINS CONNECTOR / FUSE HOLDER / VOLTAGE SELECTOR. Before yo connect the
nit, please make s re that the displayed voltage corresponds to yo r Mains s pply. Please note that
the AC voltage selection is defined by the position of the F se Holder. If yo intend to change the
operating voltage, remove the F se Holder and t rn it by 180 degrees before yo reinsert it. Matching
the two markers monitors the selected voltage. Please note that, depending on the mains voltage
s pplied to the nit, the correct f se type and rate m st be installed (see chapter 6.2 Specifications).
Please se the enclosed mains cable to connect the nit to the mains power s pply.
+Please note that not all appliances can be used ith different mains voltage ratings. Please
check the description on the back of the unit and the box.
1.3.3 Restoring factory defaults
To protect the DSP1400P against ser errors, an important edit command has been implemented via a
partic lar key combination. In normal operating mode the presets cannot be reset to their factory defa lts, so
as to sec re yo r own programs as safely as possible. Please proceed as follows to reinitialize the preset
defa lt settings:
+Press and keep the keys Effect and PRESET before powering up the ULTRAMIZERPRO. Then
s itch on the DSP1400P and keep the t o keys pressed for about t o seconds. The program
numbers are counted up and reset to their original default settings.
2. OPERATION
The ULTRAMIZERPRO is one of the latest generation digital processing devices. Especially designed for
processing the total mix or complex m sic signals. BEHRINGERs past experience in digital and analog
processing devices come together in this new device. In the DSP1400P, the advantages of digital technology
2. OPERATION

13
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go hand in hand with the warm and powerf l so nd of analog devices. The ULTRAMIZERPRO combines
m ltiple f nctions for the processing of stereo signals in one device. It is a m lti-band Compressor, a 3D-
S rro nd Processor, a Denoiser as well as an Exciter and a Bass Processor. Despite this nbelievable
processing power the DSP1400P can be int itively operated with an a dio q ality previo sly nimaginable.
2.1.1 The Ultramizer function
With the Ultramizer f nction yo can increase the lo dness and density of the program material. The DSP1400P
analyzes the received m sic material and adapts the settings a tomatically. The f nction of the Ultramizer is
dependent on the the setting of the RANGE parameter. When the RANGE parameter is set relatively high, the
Ultramizer f nction will perform these two actions:
sThe Ultramizer f nction adj sts the parameters of the compressors to achieve the desired (set) DENSITY
in both bands.
sThe total vol me is raised to the MAX OUTLEVEL. The total gain is adj sted in a way that the o tp t limiter
will have a slight gain red ction. All relative parameters are contin o sly monitored to keep the DENSITY
at whatever level yo have set.
When the RANGE parameter is set at zero or a small val e, the total o tp t will not increase (or only slightly
increase). Only the DENSITY will be increased, res lting in a gain red ction at the o tp t. This set p is
advisable when an increase of the gain is nwanted, for instance in live applications where an nexpected
increase in gain can lead to feedback.
ULTRAMIZER DENSITY
After pressing the ULTRAMIZER key once, yo have access to the parameter DENSITY. DENSITY is a
combination of parameters governing the perceived density of the signal.
ULTRAMIZER SPEED
After pressing the ULTRAMIZER key a second time, the parameter SPEED can be set. This is the relative
speed with which the parameters of the compressor, limiter and gain at the inp t will be altered to adapt to the
incoming a dio. Choose a low speed when the Ultramizer f nction m st do its job ina dible and high speed
when fast recovery from transients is needed. When low speeds are chosen the Ultramizer f nction will adapt
slowly to new incoming signals, altho gh the limiter will still perform as a brick wall limiter which will affect
transients.
ULTRAMIZER RANGE
The parameter RANGE, which yo access after pressing the ULTRAMIZER key three times, determines the
maximal gain the Ultramizer f nction will apply to the signal. This way, fade ins and fade o ts remain naf-
fected. It is even possible to set this val e to zero so that no amplification is allowed b t the density will
increase when a high eno gh level is applied to the inp t. When the applied signal reaches the MAX OUT
LEVEL the signal will be compressed and limited by the m ltiband compresser and the o tp t limiter. This will
prevent distortion while maximizing the lo dness, witho t the risk of feedback ca sed by an increase in gain
d ring the q iet(er) moments. This f nction is partic larly sef l when sing the ULTRAMIZERPRO live, where
nexpected gain increase may ca se feedback. The RANGE can be set from 0 to 24dB.
2.1.2 The Max. Out Level function
Integrated in the design of the ULTRAMIZER PRO is its limiter f nction. Key val e in almost all f nctions is the
maxim m o tp t level that is set here. This val e is a so called brick wall that cannot be exceeded nder any
circ mstances when the ULTRAMIZERPRO is engaged. The level can be set from -48dB to 0dB, with
reference to the internal digital level (dB will light p in the display). 0dB corresponds to +16dB . This level
is simply set by the following steps:
1. Set the MAX OUT LEVEL to a low val e.
2. Apply a signal to the inp t of the ULTRAMIZERPRO that is lo d eno gh to be limited constantly.
3. Slowly t rn the MAX OUT LEVEL p ntil the clip LEDs of the connected power amplifier light p occa-
sionally.
After determining the correct MAX OUT LEVEL the preset can be stored to recall at any time the same
amplifier and speakers are sed.
Yo can adj st the MAX. OUT LEVEL parameter in two different ways: The peak and RMS mode. In peak
mode yo can adj st a maxim m peak val e which will not be exceeded. In RMS mode yo set an average
2. OPERATION

14
maxim m level. Yo can switch between these two modes by pressing the MAX. OUT LEVEL key for abo t 2
seconds. Additionally the RMS LED in the display will light p.
2.1.3 The Exciter function
The ULTRAMIZER PROs Exciter f nction adds transparency and depth to the a dio signal. Classical m sic
material gains transparency and m sicality while pop lar m sic keeps the desired brilliance. Two parameters
govern the performance of the Exciter f nction, both can be accessed by means of the EXCITER key.
EXCITER PROCESS
When pressed once yo gain access to the Exciter PROCESS parameter. The PROC LED next to the
n meric display will light p to show this. Now yo can set the intensity of the Exciter effect within the range of
0 to 100.
EXCITER TUNE
When pressed twice yo have access to the TUNE parameter. Here this is the lower freq ency limit of the
Exciter f nction. This can be set from 4 to 12 kHz. The kHz LED beside the n meric display lights p to
display the nit of the edited parameter.
2.1.4 The SuperBass function
The S perBass f nction is the low freq ency eq ivalent of the Exciter f nction. Designed to process the low
freq ency portion of the signal and to add transparency and depth.
SUPER BASS PROCESS
If yo press the SUPERBASS key once yo can access the S perBass PROCESS parameter, which
determines the intensity of the S perBass f nction. The val e can be set from 0 to 100 while the PROC
LED lights p.
+Be careful not to overload your po er amplifiers or loudspeakers hen you use an extreme
setting of the PROCESS parameter of the SuperBass function. Remember, less is more.
SUPER BASS TUNE
When pressed twice yo have access to the S perBass TUNE parameter. This is the pper freq ency limit
of the S perBass f nction.This can be set from 50 to 150 Hz. The Hz LED beside the n meric display lights
p to display the nit of the edited parameter.
2.1.5 The 3DSurround function
With the the 3DS rro nd f nction the ULTRAMIZERPRO can be sed as a 3D stereo S rro nd Processor,
increasing the stereo width of the program material. Whether yo want to process individ al instr ments or
the entire mix, yo can set the 3DS rro nd f nction on the fly. The effect makes the so nd more spacio s,
wider and more f ll. Since this f nction does not make any sense with two mono signals, the COUPLE mode
m st be activated to activate the 3DS rro nd f nction
+When you use extreme setting ith the 3DSurround function on heavily reverberated audio
material, the reverb can sound unnatural and too intense. This is caused by the ay stereo
reverbs operate. Remember, less is more.
2.1.6 The Denoiser function
The ULTRAMIZER PROs Denoiser f nction is niversally applicable and s ited for all types of instr ment and
complex signals. The algorithm of the Denoiser f nction does not prod ce npleasant side effects like p mp-
ing or noise trails. The parameters are for a large part chosen a tomatically depending on the program
material and the two parameters, which can be accessed with the DENOISER key.
DENOISER THRESHOLD
When the DENOISER key is pressed once, the THRESHOLD can be set. This f nction reflects the Noise Gate
and is sed to remove nwanted noise d ring the pa ses. When the Denoiser THRESHOLD is being set the
dB LED beside the n meric display lights p. The setting can range from -90dB to 0dB (no signal reaches
the o tp t). OF means the Denoiser f nction is deactivated.
DENOISER SENSITIVITY
When the DENOISER key is pressed twice yo can edit the parameter SENSITIVITY. With this parameter
2. OPERATION

15
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yo determine the sensitivity of the dynamic high c t filter. This f nction is highly sef l to remove noise from
the m sic signal. To indicate that the sensitivity is being edited the SENS LED beside the n meric display
lights p.
+The optimal adjustment of the SENSITIVITY parameter depends strongly on the type of noise
and program material. Take the time to set the SENSITIVITY parameter ith care.
2.1.7 The Crossover parameter
The advantage of m ltiband processing is in the division of the a dio spectr m into several bands, in order to
avoid the negative effects of spectral intermod lation. The choice of the crossover freq ency which divides
the bands has infl ence on how the processing takes place. With complex composite signals the crossover
freq ency sho ld be in the bass area (±200Hz e.g. in order to prevent mod lation of the mid and high fre-
q ency range by the energy prod ced in the bass area). With single instr ments and vocals however, a higher
crossover freq ency is more desireable (2kHz), since the center point of the power spectr m is shifted here.
For complete flexibility the crossover freq ency can be set anywhere from 20Hz to 20kHz, in 31steps
according to the ISO freq encies. This enables the ULTRAMIZERPRO to be sed not only as a mastering
device b t also as a processor for single instr ments and vocals. If yo set the crossover freq ency to the
maxim m or minim m val e (20Hz or 20kHz), the ULTRAMIZERPRO will operate as a broadband compres-
sor.
Feel free to experiment with different crossover freq ency settings and pretty soon a feeling for the right
setting will arise, making the ULTRAMIZERPRO that m ch more effective and sef l.
2.2 Selecting presets
The ULTRAMIZERPRO stores 50 ser-definable presets. After power- p, the nit a tomatically recalls the
preset last sed. To select another preset, make s re that the PRESET key is pressed once. Use the jog
wheel to enter the preset n mber of yo r choice. T rn the wheel clockwise to increment the preset n mber, or
co nter-clockwise to decrement it.
+Please note that the ULTRAMIZERPRO generally activates the ne ly selected presets only
after about one second, hich is indicated by a dot in the lo er right corner of the display.
After loading the data, the ULTRAMIZERPRO enables the preset and the dot disappears. This
brief interruption avoids the direct activation of every preset, as you scroll through the preset
list ith the jog heel. Thus, the ULTRAMIZERPRO makes sure that no "un anted" presets
are loaded unintentionally. Additionally, you can rotate the jog heel at high speed and still
have the time to specifically select the preset of your choice, instead of any of its "neighbors".
2.3 Editing presets
Editing presets is easy on the ULTRAMIZERPRO. Basically, all essential parameters can be selected directly
via the keypad and edited with the jog wheel. Some key have m ltiple f nction that can be accessed by
pressing that partic lar key repeatedly.
Use the LEFT and RIGHT keys to edit the left or right a dio channel settings. Of co rse, yo can edit both
channels at the same time in COUPLE mode.
+Whenever you edit one of the t o audio channels and then s itch to couple mode, the param-
eters of the active channel ill be copied to the other; i.e. if you press LEFT before RIGHT, left
ill be copied to right. Finally, you can also save the edits made to the preset.
2.4 Saving presets
Use the PRESET key to save an edited preset. Basically, all parameter changes can be saved. Whenever
yo re editing a preset, the display starts flashing to indicate that the edits will be saved only when yo
confirm them by pressing the PRESET key twice. Example:
sYo recall a preset for editing. Then yo edit the preset as desired sing the f nction keys and the jog
wheel. D ring this process, the flashing PRESET key reminds yo that the preset settings have been
changed b t not saved yet. Press the PRESET key once. The display reads the c rrent preset n mber.
When pressed again this n mber starts flashing. To keep the original preset, se the jog wheel to select
2. OPERATION

16
another preset that can be overwritten. Press the PRESET key a third time to save the edits to the selected
preset. If yo wish to overwrite the original preset, simply press the PRESET key three times (after editing)
to save all changes yo have made.
+Whenever you have edited a preset and pressed the PRESET key three times, all previous
settings in this preset are erased and over ritten ith the ne parameter values. Ho ever, if
you ish to keep the original preset, use the jog heel to select another preset before you
press the PRESET key a third time.
2.5 MIDI control
Use the MIDI key combination to select the MIDI parameters yo wish to adj st. For this p rpose press and
keep the IN/OUT and the PRESET keys for abo t two seconds. All parameters can be edited with the jog
wheel and the IN/OUT key. The MIDI men incl des six pages which yo can select by pressing the IN/OUT
key (forwards) and the PRESET key (backwards) several times.
On the first page yo can select the MIDI channel. The display reads a small c (= channel). The jog wheel
adj sts a channel from 1 thro gh 16. To switch off the MIDI f nction simply select the 0 val e
(displayed as -).
On the second page yo can select MIDI Omni mode, i.e. the nit transmits/receives on all 16 MIDI channels.
The display reads O (=Omni). Use the jog wheel to activate (1) or deactivate (0) Omni mode.
The third page allows for config ring controller commands. On its right-hand side, the display reads a capital
C (=Controller). The jog wheel selects one of the following fo r controller modes:
Display Mode
0 No controller data is transmitted
1 Controller data is received but not transmitted
2 Controller data is transmitted but not received
3 Controller data is transmitted and received
Tab. 2.2: Controller settings
The fo rth page gives yo access to the program change set p. The display reads a capital P (=Program).
Here, too, fo r modes can be selected with the jog wheel, as follows:
Display Mode
0 No program change data are transmitted
1 Program change data are received but not transmitted
2 Program change data are transmitted but not received
3 Program change data are transmitted and received
Tab. 2.3: Program change settings
The fifth page of the MIDI men shows the store enable flag represented by a capital S in the display. The
val e 0 disables the reception of controller #86, and therefore protects the ser presets from being modified
via MIDI. Accordingly, the val e 1 enables MIDI controller #86 so that yo can modify or replace presets
with a remote MIDI device or a seq encer. In this case the act al settings will be stored directly to the location
that corresponds to the controller val e.
+Attention! Since the store enable mode allo s you to access memory locations directly via
MIDI, it is possible that stored presets ill be replaced or altered if controller #86 messages are
sent on the same MIDI channel. The purpose of this mode is to facilitate MIDI backup and
restore operations ithout express confirmation at the ULTRAMIZERPRO. It is therefore
recommended to disable (flag=0) this mode as soon as the intended data transfer has ended.
This is done automatically hen you s itch off the ULTRAMIZERPRO.
On the sixth page yo can access the System Excl sive f nctions. This is indicated by a d (for d mp) in
the display. To the left of this d a n mber is displayed:
2. OPERATION

17
E
d0 means that no SYSEX data will be sent or accepted. d1 will enable the ULTRAMIZERPRO to receive
data. When PRESET is pressed the nit will wait for data, this is shown by flashing dots (LEDs) in the display.
The MIDI b tton LED flashes signaling that SYSEX data is being received. d2 will enable the ULTRAMIZERPRO
to send a b lk d mp. Start yo r seq encer and press PRESET on the nit to start the transmission.
If yo press the IN/OUT key again on the sixth page, the ULTRAMIZERPRO q its MIDI set p mode.
To load these settings again, select d1, press PRESET and start yo r seq encer. If yo press IN/OUT again,
yo will leave the MIDI set p. Yo can at all times press any other key to leave the MIDI set p directly.
+During a bulk dump all audio functions of the ULTRAMIZERPRO ill be deactivated.
The f ll-feat red MIDI implementation of the ULTRAMIZERPRO allows for easily integrating the
ULTRAMIZERPRO into any MIDI system. For detailed information on controller tabs please refer to
section 6.1.
sMIDI IN
Any MIDI data sent to the ULTRAMIZERPRO (seq encer, MIDI footswitch, etc.) are received via the MIDI IN
jack. For example, if yo wish to se the ULTRAMIZERPRO as an effects device for yo r g itar rack, yo
can connect the MIDI IN jack to a MIDI footswitch that allows for selecting program presets. If yo r rack
incl des another MIDI effects device (e.g. a m lti-effects processor), the data sent from the MIDI footswitch
can be ro ted via the ULTRAMIZERPROs MIDI THRU jack to yo r m lti-effects processor.
sMIDI THRU
The MIDI THRU jack is sed to loop thro gh incoming MIDI data, i.e. any control data received at the MIDI IN
of the ULTRAMIZERPRO will be transmitted via the MIDI THRU jack to other MIDI devices/instr ments.
sMIDI OUT
The MIDI OUT jack allows for transmitting MIDI data that originate from the ULTRAMIZERPRO. We are
c rrently developing a software editor which will allow for storing single items of the nit`s internal data on an
external medi m. Th s, it will be possible to archive ULTRAMIZERPRO settings and presets on a comp ter,
seq encer or MIDI data recorder. Both MIDI Control Change and MIDI Program Change commands will be
transmitted when yo edit or recall filter settings. Detailed information on this f t re software editor are
available from o r BEHRINGER hotline (tel.+49(0)2154-920666), o r international distrib tors and/or o r
Internet homepage http://www.behringer.de.
3. APPLICATIONS
The BEHRINGER ULTRAMIZERPRO feat res a high level of flexibility. The following chapter describes some
other possible applications for yo r ULTRAMIZERPRO.
3.1 Level setting
Take care to set levels properly on the ULTRAMIZERPRO! Low levels deteriorate the dynamics of the m sic
signal, which res lts in a poor, weak and noisy so nd. On the other hand, excess levels overdriving the
converters in the ULTRAMIZERPRO sho ld also be avoided. Digital distortion is ( nlike its analog co nter-
part) very npleasant to hear as it does not occ r grad ally b t abr ptly.
Use the inp t level meter of the ULTRAMIZERPRO to adj st the inp t signal to abo t -10dB. Make s re that
the CLIP LED never lights p!
3.2 Using the ULTRAMIZERPRO in a studio environment
With its highly flexible config ration the ULTRAMIZERPRO also delivers good res lts in a professional st dio
or home recording environment. When sed as a mastering device while recording or copying the
ULTRAMIZERPRO sho ld be placed between so rce and recorder as shown in fig 3.1. Yo can realize any
application ranging from slight processing to the total manip lation of m sic signals. For example, yo can
se the ULTRAMIZERPRO as a Lo dness Maximizer, Limiter and the Denoiser system at the same time
when copying analog tapes.
3. APPLICATIONS

18
3.2.1 The ULTRAMIZERPRO in analog recording
In the recording and d plication field the goal sho ld always be to achieve an optim m recording level onto the
recording media. Too low or too high recording levels lead to side effects s ch as noise, distortion etc. In
mastering and m ltitrack recording, as well as in d plication, one sho ld always take care to tilize the f ll
dynamic range of the tape recorder, DAT recorder etc. Principally, it is possible to control the recording level
by riding faders, which means with low level signals, the gain is increased, whereas the amplit de of high
level signal is red ced. It is obvio s that this method is ins fficient beca se, especially in live recordings, the
expected signal levels cannot be anticipated correctly. Especially with m ltitrack recordings, which are r n
nder hectic circ mstances, the signal level of all channels cannot be monitored and controlled at the same
time. Generally, with man al control, it is not possible to achieve satisfying recording res lts.
An a tomatic gain control system achieves better and more constant res lts. Use the ULTRAMIZERPRO by
starting with the initial settings, and se its dynamic control f nctions in order to be able to drive an analog, as
well as a digital recording, p to the limit of its maxim m dynamic range while remaining noise- and distortion-
free.
3.2.2 The ULTRAMIZERPRO in digital recording and sampling
In an analog recording, too low recording levels lead to an increased noise level, whereas too high levels will
ca se a compressed and sq ashed so nd. In extreme cases, it will ca se distortion d e to tape sat ration.
In contrast to analog, side effects in the digital field always become extremely a dible: with decreasing level,
a tape previo sly recorded with ins fficient level loses resol tion: the recording so nds hard and loses
atmosphere. With excessive level, the recording so nds harsh and heavily distorted. In order to avoid these
effects, the Peak Limiter section of the ULTRAMIZERPRO sho ld be placed before for example a sampler.
The Peak Limiter is set with the MAX OUT LEVEL val e. As a res lt of this process, a digital recording or a
sampling event can be optimally set in level witho t any problem.
3.2.3 The ULTRAMIZERPRO in mastering
Fig. 3.1: The ULTRAMIZER as mastering device
The mastering process is one of the most critical processing steps in recording. In this prod ction step, it is
the goal to achieve a maxim m level copy of the recording, witho t any noise or distortion. In many
applications it is f rther req ired to prod ce a high average vol me. Q ite often in these cases, dynamics
s ffer drastically, beca se the program material has been compressed and limited too heavily. Using the
Compressor and the Peak Limiter section of the ULTRAMIZERPRO allows yo to drastically increase the
overall vol me, witho t a dibly affecting the dynamics.
Proceed as follows:
1. Limit the dynamics of the program material by 6 dB sing the Peak Limiter section. By softly clipping j st
the transients, the real a dio signal will not be limited, res lting in a higher headroom. The overall gain can
now be increased by 6 dB, which leads to a higher vol me. More than 6 dB sho ld not be limited,
3. APPLICATIONS

19
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otherwise side effects co ld become a dible.
2. Therefore, in addition, yo sho ld also se the ULTRAMIZER f nction. It is recommended that the com-
pression is limited to the first 6 dB of the dynamic range only. Yo can monitor the gain red ction with
the help of the GR LO and GR HI gain red ction meters.
The c t signal peaks ca se a red ced recording level of abo t 6 dB, which is visible on the level indicators
of the DAT recorder. Now increase the recording level of the recorder back to normal. The res lt is a lo der
recording witho t any loss of so nd.
3.3 The ULTRAMIZERPRO as a protective device
So nd system distortion is s ally a res lt of amplifiers and lo dspeakers being driven beyond their limita-
tions, whereby signals are hard limited by so-called clipping of the amplifiers. The signal peaks are thereby
clipped beca se the maxim m o tp t voltage is reached, which leads to npleasant and for lo dspeakers
dangero s distortions.
Apart from the danger of long term overload a lo dspeaker can also be damaged by an occasional high level
overload, e.g. the so nd of a microphone falling onto a hard floor. In order to protect a system or the
lo dspeakers, the application of the BEHRINGER ULTRAMIZER PRO is recommended. Conventional limiter
m st restrict the maxim m o tp t level far below the clip-point of the amplifier, in order to limit the height and
d ration of overloading transients. This has the disadvantage that the power reserve of the system cannot be
f lly exploited.
Fig. 3.2: Using the ULTRAMIZERPRO in the main mix bus
3.3.1 Protection of a system ith a passive crossover
If yo r so nd system incorporates a passive crossover network (incl ded in the lo dspeaker case), insert the
BEHRINGER ULTRAMIZERPRO between yo r mixing console o tp t and the power amplifier inp t. It is sed
as the last link in the chain preceding the power amp. Th s, yo can effectively avoid damage to the midrange/
tweeter range ca sed by clipping of the high-energy bass signals. This statement, as paradoxical as it may
3. APPLICATIONS

20
seem at first, can be explained with the fact that especially low-freq ency signals with high amplit des can
overload the power s pply in the amplifier(s). The res lting clipping (c tting off of signal peaks) prod ces
distortion ( pper harmonics), which is abr ptly added to the midrange/tweeter signals. For this reason,
weak power amps, in partic lar, m st be protected by a limiter in their inp t dynamics.
3.3.2 Protection of a system ith an active crossover
When sed with a system with an electronic crossover, connect the ULTRAMIZERPRO before the crossover.
In this application, the BEHRINGER ULTRAMIZERPRO will process the entire a dio freq ency spectr m.
+If you ant to protect one or more separate units or in a multi- ay active system you can use
a (multi) ay compressor/limiter bet een the electronic crossover and the amplifier(s) like the
BEHRINGER MULTICOMPRO MDX4400.
3.3.3 Improving the sound of a processor system
An electronic crossover divides the total freq ency spectr m in separate bands, corrects the single nitss
freq ency responds and time alignment. A processor system is a PA system which contains a special active
crossover which additionally dynamic f nctions that monitor the system performance and optimize the o tp t
dependend on the program material. Each band has its own limiter whose task it is to limit dangero s signal
peaks to a certain level. This process avoids overloading the s bseq ent power amplifier or destr ction of the
lo dspeaker.
In some nits a lo dness conto r is applied where for instance the bass is boosted at low levels to extend the
range of the system at the low end. At higher level this freq ency correction is abandoned in exchange for a
higher maxim m so nd press re level. In many cases, this f nction leads more to a dist rbance than to an
improvement of the so nd q ality.
If the ULTRAMIZERPRO is placed before the processor, the signal peaks can be eliminated before they
reach the limiters of the processing system. The so nd q ality therefore remains nat ral and free of side
effects ca sed by the dynamic f nctions of the crossover.
3.4 The ULTRAMIZERPRO in combination with a multitrack
In connection with m lti-track machines the BEHRINGER ULTRAMIZER PRO can be sed to prevent distor-
tion ca sed by sat ration and to minimize tape hiss. Adj stment is fairly straight forward, maxim m level is
easily determined and for the same kind of tape fixed. Limiting the a dio level enables a higher nominal level of
the recording, with a dramatically improved signal-to-noise ratio.
3.5 The ULTRAMIZERPRO in broadcast
The main aim of processing so nd recordings for commercial radio and television is to achieve a maxim m
transmission vol me.
What is volume?
Vol me is defined as the relationship between the average level of program material to peak-to-peak level, in
response to amplit de and d ration. The higher the average level and the time it remains at a high level, the
lo der the program material will be perceived by the listener.
If yo want to r n yo r broadcast station at maxim m average vol me, proceed as mentioned in chapter
3.2.2. Please make s re that the maxim m peak level is below the threshold of the transmitters limiter,
otherwise this co ld lead to very hard and a dible se of the transmission limiters. Keep in mind that a heavy
increase in average vol me by means of compression always leads to a loss in dynamics and an increased
perception of side effects. The moderate se of the ULTRAMIZER PRO res lts in higher average vol mes,
free of distortion.
D e to the m ltiband processing, the ULTRAMIZERPRO is capable of processing entire a dio signals ina -
dible to protect s bseq ent devices. With same or higher, s bjective vol me signal processing by the
ULTRAMIZERPRO is felt as a clear so nd improvement, witho t the transmitters limiter responding. Digital
devices are well s ited to handle the large dynamic range of classical m sic. For broadcasting however this is
not desired. Ambient noise, people talking in a resta rant, wind noise in a car etc., can drown o t q iet
pieces of the m sic very easily. The ULTRAMIZERPRO raises these pieces in vol me witho t falsifying
3. APPLICATIONS