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User Manual
ULTRADRIVE PRO DCX2496

Ultra High-Precision Digital 24-Bit/96 kHz
Loudspeaker Management System
ULTRADRIVE PRO DCX2496 User Manual
Table of Contents
Thank you........................................................................ 2
Important Safety Instructions....................................... 3
Legal Disclaimer.............................................................. 3
Limited Warranty............................................................ 3
1. Introduction................................................................ 4
2. Control Elements........................................................ 4
3. Quick Start................................................................... 6
4. Menu Structure and Editing...................................... 6
5. Audio Connections................................................... 17
6. Applications.............................................................. 17
7. Specifications............................................................ 30
8. Block Diagram........................................................... 32
9. Menu Structure......................................................... 33
Thank you
Thank you very much for expressing your confidence in BEHRINGER products by
purchasing the ULTRADRIVE PRO DCX2496our high-quality digital loudspeaker
management system designed specifically for both live and studio applications.
Important Safety
Instructions
Terminals marked with this symbol carry

electrical current of sufficient magnitude
to constitute risk of electric shock.
Use only high-quality professional speaker cables with
" TS or twist-locking plugs pre-installed. Allother
installation or modification should be performed only
by qualifiedpersonnel.
This symbol, wherever it appears,
alertsyou to the presence of uninsulated
dangerous voltage inside the
enclosure-voltage that may be sufficient to constitute a
risk ofshock.
This symbol, wherever it appears,
alertsyou to important operating and
maintenance instructions in the
accompanying literature. Please read the manual.
Caution
To reduce the risk of electric shock, donot
remove the top cover (or the rear section).
No user serviceable parts inside. Refer servicing to
qualified personnel.
Caution
To reduce the risk of fire or electric shock,
do not expose this appliance to rain and
moisture. The apparatus shall not be exposed to dripping
or splashing liquids and no objects filled with liquids,
suchas vases, shall be placed on the apparatus.
9. Do not defeat the safety purpose of the polarized

or grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding-type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. Ifthe
provided plug does not fit into your outlet, consult an
electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.
11. Use only attachments/accessories specified by
themanufacturer.
12. Use only with the
cart, stand, tripod, bracket,
or table specified by the
manufacturer, orsold with
the apparatus. When a cart
is used, use caution when
moving the cart/apparatus
combination to avoid
injury from tip-over.
13. Unplug this apparatus during lightning storms or
when unused for long periods of time.
14. Refer all servicing to qualified service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power supply cord or plug
is damaged, liquid has been spilled or objects have fallen
into the apparatus, the apparatus has been exposed
to rain or moisture, does not operate normally, or has
beendropped.
15. The apparatus shall be connected to a MAINS socket
outlet with a protective earthing connection.
16. Where the MAINS plug or an appliance coupler is
used as the disconnect device, the disconnect device shall
remain readily operable.
Caution
These service instructions are for use
by qualified service personnel only.
Toreduce the risk of electric shock do not perform any
servicing other than that contained in the operation
instructions. Repairs have to be performed by qualified
servicepersonnel.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry cloth.
7. Do not block any ventilation openings. Install in
accordance with the manufacturers instructions.
8. Do not install near any heat sources such as
radiators, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.
LEGAL DISCLAIMER
TECHNICAL SPECIFICATIONS AND APPEARANCES
ARE SUBJECT TO CHANGE WITHOUT NOTICE AND
ACCURACY IS NOT GUARANTEED. BEHRINGER,
KLARKTEKNIK, MIDAS, BUGERA, AND TURBOSOUND
ARE PART OF THE MUSIC GROUP (MUSIC-GROUP.COM).
ALL TRADEMARKS ARE THE PROPERTY OF THEIR
RESPECTIVE OWNERS. MUSICGROUP ACCEPTS NO
LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED
BY ANY PERSON WHO RELIES EITHER WHOLLY OR
IN PART UPON ANY DESCRIPTION, PHOTOGRAPH
OR STATEMENT CONTAINED HEREIN. COLORS AND
SPECIFICATIONS MAY VARY FROM ACTUAL PRODUCT.
MUSIC GROUP PRODUCTS ARE SOLD THROUGH
AUTHORIZED FULLFILLERS AND RESELLERS ONLY.
FULLFILLERSAND RESELLERS ARE NOT AGENTS OF
MUSICGROUP AND HAVE ABSOLUTELY NO AUTHORITY
TO BIND MUSICGROUP BY ANY EXPRESS OR IMPLIED

UNDERTAKING OR REPRESENTATION. THIS MANUAL
IS COPYRIGHTED. 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 MUSICGROUPIPLTD.
ALL RIGHTS RESERVED.
2013 MUSICGroupIPLtd.
Trident Chambers, Wickhams Cay, P.O. Box 146,
Road Town, Tortola, British Virgin Islands
LIMITED WARRANTY
For the applicable warranty terms and conditions
and additional information regarding MUSIC Groups
Limited Warranty, please see complete details online at
www.music-group.com/warranty.
1. Introduction
To operate a loudspeaker system that consists of several speakers for the various
frequency bands requires different input signals for the individual loudspeakers.
This requires a frequency crossover network that devides the input signal into
several frequency bands. For this purpose, the ULTRADRIVE PRO provides up to
sixoutputs.
Multi-way speaker systems are used in many applicationsincluding stereo
systems, cinemas, discotheques and concert halls. Due to the high quality
demands made by todays consumers, they can even be found in simple
products such as TV sets. Why?
A single loudspeaker cannot reproduce the entire audible frequency spectrum
with the same high quality. If it is connected to a crossover network and
only has to reproduce a limited frequency band, the quality will improve
considerably in terms of frequency response and dispersion pattern. This also
reduces intermodulation distortion in the treble range (due to the diaphragm
displacement produced by bass frequencies).
This manual first describes the terminology used, so that
you understand the unit and its functions. Please read the
manual carefully and keep it for future reference.
1.1 Before you get started

1.1.1 Shipment
The ULTRADRIVE PRO was carefully packed in the factory to guarantee safe
transport. 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 us, but notify your
1.1.4 Online registration

Please register your new BEHRINGER equipment right after your purchase
by visiting http://behringer.com and read the terms and conditions of our
warrantycarefully.
Should your BEHRINGER product malfunction, it is our intention to have it
repaired as quickly as possible. To arrange for warranty service, please contact
the BEHRINGER retailer from whom the equipment was purchased. Shouldyour
BEHRINGER dealer not be located in your vicinity, you may directly contact
one of our subsidiaries. Corresponding contact information is included in the
original equipment packaging (Global Contact Information/European Contact
Information). Should your country not be listed, please contact the distributor
nearest you. A list of distributors can be found in the support area of our website
(http://behringer.com).
Registering your purchase and equipment with us helps us process your repair
claims more quickly and efficiently.
Thank you for your cooperation!
1.2 The users manual

The users manual is designed to give you both an overview of the controls,
as well as detailed information on how to use them. You find a detailed
short-description of the most important functions in chapter 3.
2. Control Elements
2.1 Front panel
(2) (1)
dealer and the shipping company immediately, otherwise claims for

damage or replacement may not be granted.
1.1.2 Initial operation
Be sure that there is enough space around the unit for cooling purposes and,
to avoid over-heating, please do not place the DCX2496 on high-temperature
devices such as radiators or power amps.
Blown fuses must only be replaced by fuses of the same type
andrating!
(3) (4)
(5)
Fig. 2.1: Input LEDs and display
The console is connected to the mains via the supplied cable. It meets the
required safety standards.
(1) The DCX2496 features three 6-segment LED displays (plus CLIP and
MUTELED) for precise level adjustment of input signals A-C.
Please make sure that all units have a proper ground connection.
(2) If the input stage is overdriven, the CLIP LED will indicate that the signal
isdistorting.
Foryour own safety, never remove or disable the ground conductor

from the unit or the AC power cord.
1.1.3 Warranty
Please take time to fill out and return the warranty card within 14 days after
the date of purchase. Alternatively, you can use our online registration option
available on the world wide web (behringer.com). You will find the serial number
on the rear of your mixing console.
(3) The bottom LED (#8) is the MUTE LED (red), which illumiates when the
respective input is muted (see chapter 4.6).
(4) These are the input channel buttons, which allow you to activate specific
functions from the selected menus (e.g. MUTE). Additionally, you can use
these buttons to call up the IN A/B/C menus (see chapter 4.3).
(5) The DISPLAY shows all the menus available for preset editing.
(8)
(7)
(9)
2.2 Rear panel
(6)
(18)
(10)
(21)
Fig. 2.4: Mains connector and RS-232/RS-485 interface
(6) Use these buttons to call up the DCX2496s menus (e.g. SETUP, RECALL, etc.).
The only exception is the COMPARE button, which allows you to compare
the edits made with the previously selected presets. When COMPARE is
active, no value changes can be entered.
(7) The PAGE buttons select single pages from one menu.
(8) Individual parameters can be selected with the PARAM buttons.
(9) The data wheel allows you to edit the selected parameters.
(10) With the OK and CANCEL buttons you can either confirm or cancel any
settings made.
(11) The PCMCIA card slot is used to exchange files between your DCX2496 and a
PC card with a flash memory.
Please only use 5 V ATA Flash Card PC cards (min. 4 MB). Even though
the memory capacity of the medium can be selected freely, you can
only store a maximum of 60 presets.
(16) (15)
(20)
(19)
(11)
Fig. 2.2: Menu buttons and data wheel
(14) (13)
(22)
(12)
(18) This is the FUSE HOLDER of your DCX2496. Blown fuses must be replaced by
a fuse of the same type and rating.
(19) The mains connection is an IEC receptacle. An appropriate power cord
isincluded.
(20) The 9-pin RS-232 interface allows you to connect your DCX2496 to a
computer. This enables you to save and load files, update the DCX2496
operating software, or remotely control one or several ULTRADRIVE PRO
units from a PC. Free editor software can be downloaded at behringer.com.
(21) When you have daisy-chained several ULTRADRIVE PRO via the LINK
connectors (see (22) ), please press the TERM switch on the first and last unit
of the chain, to avoid data reflections and transmission errors.
General rule: As soon as one device in the chain is integrated into
the system via only one of the LINK connectors, the TERM switch
must be pressed (ON). Detailed information on this can be found in
chapter 4.2.6 Miscellaneous.
(22) Use the LINK connectors A and B (RS-485 network interface)

anda commercially available network cable to daisy-chain several
ULTRADRIVEPROs.
(16)
Fig. 2.3: Output LEDs
(12) Outputs 1-6 each have a six 5-segment LED display (plus MUTE, CLIP and
LIMIT LED) showing the respective output levels.
(13) Like the input stages, the output stages should not be overdriven,
i.e. the CLIP LED should not illuminate.
(23)
Fig. 2.5: Output connectors
(23) Balanced XLR output connectors for output channels 1-6. Connect your
power amps here.
(14) The LIMIT LED illuminates when the limiter for the corresponding output has
been activated and is operating.
(15) The bottom LED indicator (#8) is the MUTE LED, which illuminates as soon as
the corresponding output is muted (see chapter 4.6).
(16) Output channel buttons, with which you can enter the outputs 1-6
(seechapter 4.5) or mute or reactivate individual outputs in MUTE
mode(4.6).
(17) Use the POWER switch to put your DCX2496 into operation. The POWER
switch should always be in the Off position when you are about to connect
your unit to the mains.
(24)
Fig. 2.6: Input connectors
(24) Balanced XLR input connectors A, B and C are used for connecting input
signals. Input A can also be used for digital AES/EBU input signals.
InputC can be used for line signals or for connecting a measuring
microphone. IfAUTO ALIGN has been enabled in the SETUP menu
(see chapter 4.2.2), inputC will be set for mic levels automatically.
Additionally, phantom power for the measuring microphone will be
switched on.
3. Quick Start
This chapter is for those who cannot wait to use their new DCX2496 in a practical
application. You will find a description of how you can explore your DCX2496 and
its versatile and intuitive features below. This chapter is just a starting point for
future excursions. So, please read the entire users manual to take full advantage
of all your DCX2496s features and functions.
Please work your way through the following six chapters (3.1 to 3.6), one after
the other. Here we go!
3.1 Selecting an output configuration
Press the MUTE button to enter the MUTE menu. Here you can mute the inputs
and outputs of the DCX2496. On this page you can mute or activate individual
channels by pressing the channel buttons (IN A/B/C and OUT 1-6), or all
inputs/outputs by pressing the PARAM and OK or CANCEL buttons. Thus, you can
monitor each frequency band, either individually or together with a neighboring
band, to allow perfect editing of the isolated frequency range. To quit the MUTE
menu press MUTE a second time. For more detailed information see chapter 4.6
MUTEmenu.
3.4 Storing presets
Fig.: 3.4: Store Internal/Card

Fig. 3.1: Setup In/Out
Press the SETUP button to call up the SETUP menu. On the first menu page,
selectan output configuration (OUT CONFIGURATION) to determine which
outputs are used for which frequency ranges. One mono and three stereo
configurations areavailable.
Use the STORE button to save your presets. In this menu you can store either in
the internal memory (INT) or on a PC card (CARD). More information on the STORE
function can be found in chapter 4.8 STORE menu.
3.5 Recalling presets
The mono configuration allows you to split the input signal into six different
frequency ranges. The stereo configurations allow a maximum of three different
frequency ranges per stereo side. The abbreviations L, M and H stand for Low,
Mid and High Speaker. For more information see chapter 4.2.1 IN/OUT.
3.2 Setting crossover frequencies

Fig. 3.5: Recall Internal/Card
Press the RECALL button to load presets from the internal memory or a memory
card. Select either INT or CARD (PCMCIA memory card), then enter the preset you
wish to recall. We included some typical presets, which you can use as a basis for
your own applications. For further information see chapter 4.7 RECALL menu.
Fig. 3.2: Out X-Over Points
3.6 Restoring the factory presets
In order to assign dedicated frequency bands to the output channels, you have
to define the crossover frequencies (X-Over) for each of them. The crossover
frequencies determine the upper and lower limits of a frequency band,
whichallows you to clearly separate the outputs from each other in terms
offrequency.
If you wish to restore the ULTRADRIVE PROs factory presets, press and hold both
PAGE buttons on the front panel switching on the unit. The DCX2496 prompts you
to confirm (OK) or CANCEL. Press OK to erase the internal memory and restore the
factory presets.
Press the corresponding OUT button (1-6) and select menu page 2/8 using the
PAGE buttons. With the parameters FREQ and TYPE you can define the slope
of the crossover frequency and also select a filter type. When the parameter
X-OVER ADJUST MODE is set to LINK, any changes to the crossover frequency will
also shift the neighboring frequency ranges. For more information see chapter
4.5.2X-OVER POINTS.
3.3 Muting input/output channels (Mute)
Please note that restoring the factory presets will irrevocably erase all
edited presets.
4. Menu Structure and Editing

This chapter describes all functions, operating steps and parameter pages in full
detail. While working with your DCX2496, please keep the users manual on hand,
and use it as a reference in case of problems.
4.1 General operating structure and

displaypresentation
When you switch on your ULTRADRIVE PRO DCX2496, the display shows a graphic
with the current routing of the unit, i.e. how inputs and outputs are linked to
each other.
Fig. 3.3: Mute Select
Use the buttons to the left of the output LED displays (SETUP, MUTE etc.) to enter
the various menus. Most of them include several pages, which you can select
with the PAGE buttons. The PARAM button selects individual parameters from
one page, the data wheel edits them. Confirm new settings with OK, or cancel
your selection with CANCEL. This operating structure is the same for all menus so
it will not be repeated in each section of the manual.
The menu name is shown at the top-left of the display. Next to this, andseparated
by an arrow, is the name of the current page (e.g. SETUP IN/OUT). Thepage
number of the corresponding menu is shown on the right-hand side
(e.g. 1/6 = page 1 of 6).
The bottom line also shows the menu name (e.g. SETUP). For buttons IN A-C and
OUT 1-6 (below the input/output LED displays), the menus for the corresponding
inputs/outputs are listed (IN A, OUT 3 etc.). In addition, the output display also
indicates the name of the output (e.g. SUBWOOFER, RIGHT MID etc.).
4.2 SETUP menu

Use the SETUP menu to make basic adjustments necessary for the operation
of your ULTRADRIVE PRO. Press the SETUP button to display the first page of
thismenu.
4.2.1 IN/OUT
The parameter OUT CONFIGURATION selects the general operating mode;

in MONO mode input A is the preset signal source for all outputs. In STEREO mode,
three configurations are available. Please use inputs A and B in these modes.
Thedisplay shows the OUT channels (L = LOW, M = MID and H = HIGH).
Fig. 4.2: Output configuration
The stereo 3-way configuration LMHLMH has input A routed to outputs 1, 2

and 3, and input B routed to outputs 4, 5 and 6. The stereo 3-way configuration
LLMMHH routes input A to outputs 1, 3 and 5, and input B to outputs 2, 4 and 6.
The 2-way configuration LHLHLH uses all three inputs; here, A can be routed to
outputs 1 and 2, B to outputs 3 and 4, and C to outputs 5 and 6. This application is
used for 3 x 2-way speaker systems or triple bi-amping (see chapter 6.3).
With the OUT STEREO-LINK function you can determine whether processing
with EQs, limiter, etc. is effective on the linked outputs, or whether the settings
for each output can be made independently. When this function is enabled (ON),
linking several outputs to each other, the display will show small connecting lines
between the individual outputs.
The following link options (output configurations) are available:

1. MONO (no stereo links)
OUT
Configuration
MONO 123456
LINK-Activation
OUT Stereo Link
OFF
not available
activated by enabling
SHORT Delay
123456
OUT STEREO-LINK
Link (Chassis) Sb L LM M HM H
on SETUP-page 1/6
Fig. 4.4: Output configuration MONO
2. L(1) M(2) H(3) L(4) M(5) H(6)
Fig. 4.5: Output configuration LMHLMH
Link: L(1) > L(4) / M(2) > M(5) / H(3) > H(6)
3. L(1) L(2) M(3) M(4) H(5) H(6)
activated by
LONG Delay Link
123456
enabling LINK on
(Loudspeakers) Sb L LM M HM H
OUT-page 8/8
OUT
Configuration
LMH LMH 123 456
LINK-Activation
OUT Stereo Link
1 4 2 5 3 6
L L M M H H
OUT STEREO-LINK
on SETUP-page 1/6
SHORT Delay
Link (Chassis)
1 4 2 5 3 6
L L M M H H
OUT STEREO-LINK
on SETUP-page 1/6
LONG Delay Link

(Loudspeakers)
1 2 3 4 5 6
L M H L M H
activated by
enabling LINK on
OUT-page 8/8
OUT
Configuration
LL MM HH 12 34 56
LINK-Activation
OUT Stereo Link
1 2 3 4 5 6
L L M M H H
OUT STEREO-LINK
on SETUP-page 1/6
SHORT Delay
Link (Chassis)
1 2 3 4 5 6
L L M M H H
OUT STEREO-LINK
on SETUP-page 1/6
LONG Delay Link

(Loudspeakers)
1 2 3 4 5 6
L L M M H H
activated by
enabling LINK on
OUT-page 8/8
OUT
Configuration
LH LH LH 12 34 56
LINK-Activation
OUT Stereo Link
1 3 5 2 4 6
L L L H H H
OUT STEREO-LINK
on SETUP-page 1/6
SHORT Delay
Link (Chassis)
1 3 5 2 4 6
L L L H H H
OUT STEREO-LINK
on SETUP-page 1/6
LONG Delay Link

(Loudspeakers)
1 2 3 4 5 6
L H L H L H
activated by
enabling LINK on
OUT-page 8/8
Fig. 4.6: Output configuration LLMMHH
Link: L(1) > L(2) / M(3) > M(4) / H(5) > H(6)
4. L(1) H(2) L(3) H (4) L(5) H(6)
Fig. 4.7: Output configuration LHLHLH
Link: L(1) > L(3) > L(5) / H(2) > H(4) > H(6)
Tab. 4.1: Survey of all OUT LINK configurations

When Out Stereo Link is enabled, the unit warns you that all settings for the
linked outputs will be lost, because they will be overwritten with the values of
the output to be selected.
Any further changes to the parameters of a specific output will be transferred
directly to the linked output. However, any edits made to a LONG DELAY value
(see chapters 4.2.2 and 4.5.5) will not be transferred to the other output.
Thisparameter can be adjusted specifically for each output. SHORT DELAY
settings (see chapters 4.2.2 and 4.5.5) will be transferred as long as OUT Stereo
Link is on.
The inputs can also be linked using the parameter INSTEREO LINK. Thus, all
settings of one input can be transferred to another input, or to all inputs.
In the MONO configuration, the Out Stereo Link function cannot
beactivated.
When this function is On, the display provides a warning note that shows both
the new link to be activated and the name of the inputs that will be overwritten
(black field). Use the data wheel to edit the link to be activated (black field).
Thevalues of input A will be transferred to the following inputs.
In the AUTO-ALIGN sub-menu you can mute or open all outputs. Be sure that at
least two outputs are open (UNMUTE OUTPUTS TO ALIGN), otherwise no delay
values can be calculated, and a warning message will be displayed.
Possible setting
Newlink
Overwritten settings
OFF
(empty)
A+B
B
A+B+C
B+C
A + B + C + SUM
B+C+SUM
Tab. 4.2: In Stereo Link
When you edit a setting of any input, while a link is activated, all edits are
directly transferred to the linked inputs. In the case of the IN STEREO LINK
function, this also includes the DELAY values (see chapter 4.3.2).
Use the parameter IN A + B SOURCE to select the type of input signals:
ANALOGor AES/EBU (digital: via input A only).
4.2.2 DLY-CORR./AUTO-ALIGN
Fig. 4.11: Setup Dly-Corr./Auto-Align
As the speed of sound depends on the air temperature, the parameter

DELAY CORRECTION on this SETUP page can be used to adjust the DCX2496 to
the ambient temperature, ensuring proper delay characteristics at all times.
Theavailable value range is from -20C to 50C (-4F to 122F) and will be taken
into account only as long as DELAY CORRECTION is ON.
With the AUTO ALIGN function you can delay the output signal automatically
by a certain amount, so as to eliminate phase cancellations caused by speaker
alignment. For example, when the diaphragms of several speakers are not
in the same phase it leads to cancellations due to arrival time differences.
Identicalsignals are radiated from different positions, so that wave
crests coincide with wave troughs. If only one of these signals is delayed,
thismisalignment can becompensated.
If the arival time differences are smaller, a short signal delay will be enough
to eliminate them (SHORT DELAY). However, if the speaker cabinets are placed
several meters away from each other, not only can phase cancellations occur
but so can audible run-time differences. To remove these, youll have to use
considerably higher delay values (LONG DELAY). The LONG DELAY calculation,
however, works only with a minimum distance of four meters.
If, for example, a speaker is connected with incorrect polarity, AUTO ALIGN will
detect andif POLARITIES is oncorrect this error automatically.
Use the parameters SHORT DELAY, LONG DELAY and POLARITIES for the
automatic correction of output signals. As soon as at least one parameter is set to
YES, pressing OK will take you to another sub-menu. If not (all parameters set to
NO), you will be warned that the process cannot be executed.
If at least two or more outputs have been opened and OK has been pressed,
the cursor will jump to ADJUST NOISE LEVEL and you can hear some test noise.
Usethe data wheel to adjust the test noise. The level will be read at the outputs.
Press OK to trigger the measuring process. The DCX2496 calculates the run-time
differences, phase shift and polarity. The OUTs are automatically adjusted to the
optimum delay values calculated. This process cannot be executed if the test
noise level is too low.
4.2.3 COPY
Use the COPY function to copy parameter settings to other pages. For example,
you can transfer the EQ or gain settings from one channel to another, which saves
you a lot of time.
Fig. 4.15: Setup Copy
The parameter COPY MODE determines whether only single pages (PAGE) or the
complete channel settings (WHOLE CHANNEL) will be copied. Select PAGE mode
with the PARAM button and then select the source channel (SOURCE) plus the
SOURCE PAGE to be transferred to another channel. If you select just one page,
the channel to be overwritten (DESTINATION PAGE) will appear automatically
under the parameter DESTINATION. Please enter the channel to which the data
should be copied to (DESTINATION CHANNEL).
Both the source and destination Channel can be selected using the data wheel or
by pressing the corresponding channel button (IN A-C, OUT 1-6 and SUM).

10
Press OK or CANCEL to subsequently copy further pages in the same way.

Only similar pages with identical parameters can be copied. If you
select a SOURCE PAGE that is not available in the DESTINATION CHANNEL,

the display will read NOT AVAILABLE under DESTINATION PAGE.
To lock a parameter page you must activate the PAGE LOCK function (ON).
Theunit will prompt you to enter a password. Use the data wheel to enter a
password with a maximum of 8 characters, and confirm your selection with OK.
CAUTION: Please make a note of your password. It is impossible to
unlock parameter pages without the correct password!
If you set COPY MODE to WHOLE CHANNEL, you can copy the complete channel
settings to another channel. Use SOURCE to select the channel to be copied
(SOURCE-CHANNEL), then define the channel to be overwritten (DESTINATION).
Theprocess is the same as in PAGE mode.
So-called cross copying (copying of different channels, for example output 1to
input A), allows the copying of only those pages that can be transferred 1:1 to
another channel. Any other pages will not be overwritten.
Previously locked pages (see chapter 4.2.4) cannot be overwritten.
Acorresponding message is displayed.
Fig. 4.21: Setup Page Lock
Now, the parameter SELECT PAGES is displayed, enabling you to select all the
pages to be locked. Use the IN/OUT/SUM/SETUP buttons to call up a menu,
thedata wheel to select the page of your choice and the OK button to activate
the PAGE LOCK function.
The data wheel also allows you to scroll through a list of all pages, from which
you can select the ones you wish to lock. This is the only way to call up
the ALL PAGES function that lets you lock all pages in one operation.
Tounlock all pages at once, select ALL PAGES and press CANCEL. As before,
the selected pages must be confirmed and locked with OK. Locked pages are
displayed with a closed lock symbol. If a page is unlocked, the lock symbol is
open. Use the CANCEL button to unlock a previously locked page.
The OK and CANCEL functions cannot be selected in the display with the
cursor. They can only be activated with the corresponding buttons on

the front panel.
4.2.4 PAGE LOCK

In this menu you can lock individual parameter pages, preventing them from
being edited without first entering a password. This is useful for P.A. rental
companies, for example, who want to make sure that certain harmful pages
with necessary fixed settings cannot be accessed by the user.
Use the CHECK function for an overview of all locked pages. The locked pages
from the list now appearing can be selected with the data wheel. This function is
located at the bottom right of the display and must be selected with the cursor.
When you call up a locked page, you will at first notice no difference.
Only when you try to edit a parameter, will the display prompt you to
enter your password. Entering the correct password and confirming it
with OK will take you back to the page, now ready for editing.
To activate PAGE LOCK again, go to the PAGE LOCK page (4/6) and enter your
password again. Now, all settings are available, i.e. you can activate or deactivate
PAGE LOCK completely by selecting the line PAGE LOCK: ON with the cursor and
setting this parameter to ON or OFF with the data wheel.
4.2.5 GLOBAL LOCK
In the PAGE LOCK menu you can either lock single pages or all pages. In this case,
you need a password to edit the pages. The parameter PAGE LOCK is set to OFF
by default. As long as it is not ON, you can skip this page and move on to the next.
This function allows you to lock all parameter pages if you want to make sure
that nobody can edit your settings while youre away during a break in a live
performance, for example.
Fig. 4.22: Setup Global Lock

11
On this SETUP page you can activate the GLOBAL LOCK function (ON),
entera password, then confirm with OK. Now, if you try to edit any parameter,
thedisplay will prompt you to enter your password. The process follows
the same logic as the PAGE LOCK routine.
2. LINK (RS-485)
Fig. 4.27: Setup Miscellaneous
Fig. 4.23: Setup Global Lock
Activating PAGE LOCK and/or GLOBAL LOCK automatically locks all STORE
DCX2496
LINK
(RS-485) =
RS-485
and RECALL pages.
PC
CAUTION: If you have locked individual pages with PAGE LOCK and deactivated
the GLOBAL LOCK function with the correct password, you can not yet make
any changes to the corresponding page. You must first unlock this page in the
PAGE LOCK menu. When using the GLOBAL LOCK feature, we recommend that
you unlock all pages in the PAGE LOCK menu (UNLOCK ALL).
DEVICE ID: 1
PORT: LINK (RS-485)
RS-485
DCX2496
DEVICE ID: 2
PORT: LINK (RS-485)
RS-485
4.2.6 MISCELLANEOUS
DCX2496
TERM-Switch: ON
DEVICE ID: 3
PORT: LINK (RS-485)
Fig. 4.28: LINK (RS-485) mode

On this page, the current version of your DCX2496 operating software is

shown in the top right corner of the display (e.g. VERSION: 1.0). This is just a
message and cannot be selected. Additionally, this menu provides five user
settings. Firstly,you can adapt the CONTRAST of the display to ambient
conditions. Secondly,you can assign a DEVICE ID to your DCX2496, allowing
you to daisy-chain several units via the rear panel RS-485 network interface
(LINK A and B). The first unit is connected to a PC either via one of the LINK
interfaces (RS-485) orvia the RS-232 interface.
Please use this mode when several ULTRADRIVE PROs are linked to each other via
the network interfaces LINK A and B and the first unit in the chain is connected
to a computer via the RS-485 interface. The last unit in the chain must have a
termination (TERM switch on rear panel = ON). The RS-232 interface is not used
in this configuration.
3. PC -> LINK
The PORT parameter provides three different modes for the PC remote control:
1. PC (RS-232)
TERM-Switch: ON
PC
RS-232
PC
DCX2496
DEVICE ID: 1
PORT: PC (RS-232)
DEVICE ID: 2
PORT: LINK (RS-485)
RS-232
Fig. 4.26: PC (RS-232) mode
Use this setting if you want to connect only one DCX2496 to your computer via
the RS-232 interface. It is impossible to daisy-chain several units in this mode.
DEVICE ID: 1
PORT: PC -> LINK
RS-232
DCX2496
PC (RS-232) =
DCX2496
RS-232
PC -> LINK =
DCX2496
TERM-Switch: ON
DEVICE ID: 3
PORT: LINK (RS-485)
Fig. 4.30: PC -> LINK mode
12
Please use this mode on the first unit when several ULTRADRIVE PROs are linked
to each other via LINK A and B, and the first unit in the chain is connected to a
computer via the RS-232 interface. In this configuration, the last AND the first
unit in the chain must have their TERM switch ON, since both are integrated into
the system via only one LINK interface.
General rule: Whenever one device within a chain has been connected
to the system via only one LINK interface, its TERM switch must be
pressed (ON) to avoid data reflections and hence transmission errors.
InPC (RS-232) mode this switch is not needed because the LINK
interfaces are not used.
The parameter DELAY UNIT determines the units of both measurement and
temperature used for the delay settings in the corresponding menus. You can
choose between m / mm / C and ft / in / F. When you change from meters/
millimeters to feet/inch, the temperature will be changed automatically from
Celsius to Fahrenheit. These settings cannot be made independently of
eachother.
The MUTE OUTS WHEN POWER ON function is used to protect connected
equipment such as power amps and loudspeakers. When it is on (YES),
alloutputs of the ULTRADRIVE PRO are muted during power-up. To restore the
output configuration of your presets, you will have to activate the respective
outputs individually or call up the preset again using RECALL (see chapter
4.7). UsingRECALL to switch from one preset to another automatically mutes
all outputs, as soon as a preset has a different output configuration.
However, if the output configurations are the same, the muted outputs of the
new preset will beloaded.
When MUTE OUTS WHEN POWER ON is disabled (NO), the last output
configuration used will be recalled during power-up.
4.3 IN A/B/C menu

On these pages you can define the EQ, delay and similar values for the individual
input signals, and hence optimize the overall sound.
4.3.1 GAIN
Press one of the buttons IN A, IN B or IN C to enter the INPUT menu of the
corresponding input. On the first page, you can adjust the input gain for the
signal (GAIN). The setting range is from -15 to +15 dB.
You can delay either the IN A, B or C signal to compensate for arrival time
differencesresulting from offset stereo signals or so-called delay lines
(delay towers). Activate the function with DELAY (ON) and select the delay
time of your choice with DISTANCE/TIME. The values DISTANCE and TIME are
linked to each other, i.e. both values are edited simultaneously when you turn
the data wheel. IN A (B/C) NAME allows you to enter a name with a maximum of
8characters for the input signal selected.
4.3.3 EQ
Fig.4 .33: In A EQ
On this page you can process the sound of the input signals with the help of
various equalizer settings.
The EQ parameter determines whether this function is generally ON or OFF. Inthe
adjacent NR field you can select the number of EQs. There are various filters
available, which can be used and edited. Their number depends on the current
processor capacity, which is shown as a percentage next to the number of the
filter. The free capacity of the processor is directly dependent upon the number
and type of the filter selected (e.g. >FREE: 33%).
Use TYPE to define the filter type you wish to use. You can choose from low-pass
(LP), high-pass (HP) and band-pass (BP) filters. Description:
The low-pass filter raises (positive gain) or lowers (negative gain) the level
of the frequency band below the adjusted frequency. The high-pass filter
raises (positive gain) or lowers (negative gain) the level of the frequency
band above the adjusted frequency. Use TYPE to set a slope of 6 or 12 dB/oct.
for the high-pass or low-pass filter, or to determine the quality (Q) of the
band-pass filter.
The band-pass filter raises or lowers the level of the frequency range around
the adjusted frequency. The quality parameter Q determines the width of the
resulting bell-shaped filter curve.
The FREQ parameter controls the cutoff frequency, at which the filter starts
working. In the case of the low-pass and high-pass filters, the cutoff frequency
is the point, at which low and/or high frequencies are processed. The entire
frequency spectrum ranges from 20 Hz to 20 kHz.
Use the GAIN parameter to define the degree of boost/cut applied to a specific
frequency band. The setting range is from -15 to +15 dB.
Fig. 4.31: In A Gain
Below this parameter you can see a graphic representation of the current IN-OUT
configuration (OUTPUT CONFIG). Additionally, the display shows whether or not
the input is used for the SUM signal (see chapter 4.4). This is just a message.
Youcannot edit anything here! OUT configurations are shown on the
SETUP page 1/6. The input source selection for SUM and for the various OUTs is
determined on page 1 in the corresponding menus (SUM, OUT).
4.3.2 DELAY/NAME
When you set GAIN to 0 dB, the corresponding filter is inoperative!
This means that you cannot select a new type. Only when this
values is higher or lower than 0 dB, will the filter be activated,
and you can select a new filter type. Please note that two or more
filters are used for one frequency range when LINK is active.
Consequently, theprocessor performance will decrease.
With the Q parameter you can set both the quality of the band-bass filter and
the amount of interaction with adjacent frequency ranges around the center
frequency. The higher this value, the lesser the influence on neighboring
frequencies. This function is available only for the band-pass filters; its range is
adjustible from 0.1 to 10.
The number of filters available depend on the processing power (>FREE)
available. Filters can be allocated to either the inputs or outputs in any
proportion. The more filters are activated, the lower the processing power and
vice versa.
Fig. 4.32: In A Delay/Name
13
4.3.4 DYNAMIC EQ (FILTER)

As the DYNAMIC EQ is a highly complex module, its parameters are allocated to
two pagesthe FILTER and the DYNAMICS parameters pages.
The DYNAMIC EQ influences a specific frequency range of the signal, depending
on the volume level. It can either boost or cut this frequency range, depending
on the gain setting made by the user. If the gain control is set to lower the
respective frequency range in level, and if a preset THRESHOLD is exceeded, the
EQ modifies the sound by reducing the gain of the frequency range. The amount
of gain reduction applied is defined by the RATIO value. When the signal drops
below threshold again, the frequency range is smoothed out again, i.e. the
DYNAMIC EQ stops processing the signal.
When you define a certain boost with the GAIN control, the gain of the
frequency range is raised depending on the volume level. When the level of
the selected frequency range drops below a preset THRESHOLD, the range is
boosted by a certain amount (RATIO). As soon as the threshold is exceeded again,
the DYNAMIC EQ stops processing the signal.
Settings
TYPE
FREQ
GAIN
Q
THRESHOLD
RATIO
BP
1.00 kHz
+15 dB > continuous line
0 dB > broken line
-15 dB > dotted line
0.1
-40 dB
:1
Tab. 4.3: Band-pass settings with extreme values (results in fig. 4.36)
0
dBu
-40
dBu
Positive gain >

gain boost
after dropping
below threshold
Negative gain >

gain reduction
after exceeding
threshold
-40 dBu
Threshold
Fig. 4.34: In A Dynamic EQ ( Filter)
0
dBu
The complete DYNAMIC EQ (FILTER) page corresponds to the EQ page in

terms of operation and to the parameters in terms of number and type.
Exception: Onlyone filter is selectable.
Fig. 4.36: Filter curves with gain above/below threshold
4.3.5 DYNAMIC EQ (DYNAMICS)
In addition to its inputs A-C, the ULTRADRIVE PRO DCX2496 provides an internal
source signal that can be composed of these three input signals. This SUM signal
can be edited at any time, much like any other input signal, so that you have a
maximum of four separate source signals available.
On this page you can edit both the threshold and the operating mode of the
compressor and/or expander (volume-dependent sound processing).
4.4 SUM menu
4.4.1 INPUT/GAIN
Fig. 4.35: In A Dynamic EQ ( Dynamics)
The THRESHOLD parameter defines a threshold, activating the filter function

once that threshold is exceeded. If the filter has been set to reduce the gain
on the DYNAMIC EQ (FILTER) page (GAIN < 0), this frequency range will be cut,
assoon as it exceeds the threshold.
However, if the filter has been set to raise the gain (GAIN > 0), the frequency
range is boosted, as soon as its level drops below the threshold. The threshold
setting range is from -60 to 0 dB.
Next, you can use the RATIO parameter to define the amount of gain
boost/cut. RATIO adjusts the level balance between the input and output
signals. Available settings range from 1.1 : 1 (minimum boost/cut) to :
1 (maximum boost/cut).
ATTACK defines how fast the DYNAMIC EQ reacts to signals exceeding or falling
below THRESHOLD, and can be set from
1 to 200 milliseconds.
RELEASE controls the recovery time needed by the EQ to stop processing the
signal, once it has exceeded or fallen below THRESHOLD (depends on the GAIN
setting). Available RELEASE times are from 20 to 4,000 milliseconds.
Fig. 4.37: Sum Input/Gain
In this menu, the parameter IN SELECT allows you to define a combination of

two inputs forming the SUM signal. Available options are: IN A + IN B, IN A +
IN C and IN B + IN C. Of course, you can also use just one input signal as your
SUM signal (IN A, IN B or IN C), by doubling one of the inputs. It is impossible,
however, to form a SUM signal composed of all input signals!
If no additional source signal is required, set IN SELECT to OFF. The current SUM
configuration is shown graphically below this parameter.
In the top left corner of the display you can use SUM INPUT Gains to adjust
the input signal of the inputs A-C. The signal controlled here is taken directly
from post-input convertersnot post-EQ or post-Dynamics. Therefore, it is not
necessary to re-adjust the input gain. The SUM INPUT GAINS setting range is from
-15 to +15 dB.
With the OUT GAIN parameter you can control the internal output level of
the sum signal. This signal is also taken pre-EQ, pre-Dynamics, etc. and is then
routed to output channels 1-6. The gain setting also ranges from -15 to +15 dB.
Thus,you can use one parameter to quickly adjust all inputs together in their
adjusted balance at the same time.
14
The following SUM pages are 100% identical to the IN A/B/C pages 2/5 to
5/5 (see chapters 4.3.2 to 4.3.5)!
4.5 OUT 1-6 menu

Press one of the OUT 1-6 buttons to enter the OUTPUT menu of the respective
output. Here, you can set the IN-OUT configuration, X-OVER POINT or, as with the
input signals, the EQ and DYNAMIC EQ parameters.
4.5.1 GENERAL
Use the TYPE parameter in the top left corner of the display to define the type
of curve at the lower (left) slope. To define the upper (right) slope, use the TYPE
parameter in the top right corner of the display. Both parameters are marked by
a curve symbol.
You can choose from three different types of filters:
1. Butterworth (with a slope of either 6, 12, 18, 24 or 48 dB/oct)
2. Bessel (with a slope of either 12 or 24 dB/oct.)
3. Linkwitz-Riley (with a slope of either 12, 24 or 48 dB/oct.)
With higher slopes, the number of filters goes down (see EQ page 3/6,
display >FREE<). For each 12 dB increase in slope, you will lose 1-2 EQs.
The FREQ parameter in the top left corner of the display selects the lower (left)
cutoff frequency for one output. With the same parameter on the right-hand
side you can determine the upper (right) cutoff frequency. These parameters,
too, aremarked by a curve symbol.
Fig. 4.38: Out 5 General
On the first page of this menu, the parameter INPUT SOURCE allows you to
choose the input signal feeding the selected output. Available options are the
inputs A-C and the additional SUM signal. If a STEREO-LINK configuration has
been previously selected in the SETUP menu (see chapter 4.2.1. IN/OUT), inputA
will automatically be routed to the LEFT CHANNEL outputs, and input B to the
RIGHT CHANNEL outputs. However, these preset configurations can be edited
asdesired.
The OUT 1(-6) GAIN parameter controls the volume level of the respective
output channel (also pre-EQ, pre-DYNAMIC EQ, etc.). The setting range is from
-15 to +15dB. Just as the inputs, the output levels should be set properly to
avoiddistortion.
The third parameter, OUT 1-6-NAME can be used to assign specific names to the
outputs. In contrast to the DCX2496 inputs, you cannot enter single characters
here, but you may choose from a list of preset names (e.g. LEFT LOW-MID,
RIGHTHI-MID, SUBWOOFER etc.). Depending on the output configuration
(e.g.LMHLMH) and the output selected, the system assigns a default name.
Thisname can be changed at any time by using the data wheel to select a
different name from thelist.
OutputOUT 1
OUT 2
OUT 3
OUT 4
configuration
LMHL MH
Left Lowe Left Mid
Left Hi
Right Low
LLMMHH
Left Low Right Low Left Mid Right Mid
L HL HLH
Left Low
Left Hi Center Low Center Hi
MONO
Sub-woofer
Low
Low-Mid
Mid
The X-OVER ADJUST MODE, when set to FREE, allows you to enter all TYPE
and FREQ values, independent of one another. When set to LINK, you can couple
the X-Over filters of adjacent outputs. Though your entries are retained, theywill
be proportionally shifted with each parameter change. When you shift the
upper cutoff frequency of OUT 1 in the LMHLMH configuration for test purposes,
thelower cutoff frequency of OUT 2 will be shifted as well.
The following pages 3/8 to 5/8 (EQ, DYNAMIC EQ (FILTER) and DYNAMIC EQ
(DYNAMICS)) are 100% identical to the IN pages 3/5 to 5/5!
4.5.3 LIMITER
To protect your power amplifiers and loudspeakers, the ULTRADRIVE PRO
DCX2496 features a limiter for each of the six outputs. Use this device to suppress
harmful level peaks.
OUT 5
OUT 6
Fig. 4.40: Out 5 Limiter
Right Mid
Left Hi
Right Low
Hi-Mid
Right Hi
Right Hi
Right Hi
Hi
Use the LIMITER parameter to switch this function ON or OFF. The corresponding
THRESHOLD parameter determines (similarly to the DYNAMIC EQ) the LIMITER
threshold (-24 to 0 dB). RELEASE controls the recovery time that elapses
between the point when the signal drops below THRESHOLD and the deactivation
of the LIMITER function (20 to 4,000 ms).
Tab. 4.4: Default output names, depending on output configuration
4.5.2 X-OVER POINTS

On this page, you can define the cutoff frequencies and filter curves for the
individual outputs, which are displayed graphically for one stereo side and over
the entire frequency range. Use the OUT buttons 1-6 to select the output to be
processed. A frame around the selected OUT number highlights your selection.
4.5.4 POLARITY/PHASE
Any phase errors at the outputs (cancellation of specific frequency ranges) may
be corrected here.
Fig. 4.41: Out 5 Polarity/Phase

Fig. 4.39: Out 5 X-Over Points
15
The POLARITY parameter determines whether the phase of an output signal

is INVERTED or not (NORMAL)just as if you had inverted the polarity of your
speakers. Use the PHASE parameter to adjust the precise phase position at the
upper X-OVER frequency of the currently selected output. This fine adjustment
is necessary when two output signals are not perfectly displayed by 0 or 180
with regard to each other.
4.5.5 DELAY
Fig. 4.42: Out 5 Delay
The DLY parameter in the top left corner of the display switches the DELAY
function ON or OFF. With the LINK function you can couple several output
DELAYS, so that you only have to adjust one DELAY for a whole stack of speakers.
However, this applies to LONG DELAY values only. SHORT DELAY values
can be adjusted separately and independently of the LINK function, and can
be linked to each other in the SETUP menu (page 1/6), using the parameter
OUT STEREOLINK.
The parameters SHORT and LONG allow you to define the DELAY values of
your choice. The setting range for the SHORT Delay is from 0 to 4,000 mm
(= 0.00 to 11.64 ms) and the LONG Delay can be adjusted from 0.00 to 200.00 m
(= 0.00 to 582.24ms).
With the LINK function activated, all LONG DELAY changes at one output are
transferred to the corresponding output (L > M > H of one stereo side)
irrespective of the selected output configuration (e.g. LMHLMH).
If the LINK function is activated for one output, it will be switched on
for ALL other outputs as well.
MUTE settings of any type can be made exclusively on this page. As soon as an
input/output has been muted, the bottom red LED above the corresponding
input/output button lights up.
Press MUTE again or select another menu to quit the MUTE menu. Pressing the
IN or OUT buttons has no effect.
4.7 RECALL menu

The increasing popularity of portable computer systems such as notebooks and
laptop computers has prompted consumers to ask for portable and exchangeable
storage media to give them a certain amount of flexibility. In the late 80s a
consortium of manufacturers developed a design, connection and software
standard for memory cards called PCMCIA (Personal Computer Memory Card
International Association). PCMCIA cards have also become the media of choice
in audio engineering, allowing the user to store data externally via PCMCIA card
slots. Today, the cards are usually referred to as PC cards.
Your ULTRADRIVE PRO DCX2496 has a PCMCIA card slot on the front panel,
allowing you to store your presets easily, without having to use the internal
memory of the device. Use the RECALL menu to recall previously stored presets
(see chapter 4.8)from the card or from the internal memory.
In the upper display line, the parameter CURRENT NR indicates the current
preset. If the preset has been edited but not yet stored, an arrow plus EDITED
appears below this line. Now, if you try to load a new preset, the unit warns you
that the current preset has not been saved yet. If you continue to load a new
preset, all settings will be lost.
When you have set all DELAY values for the outputs and then activated the LINK
function for one of them, the LONG DELAY values are NOT transferred to the
linked outputs. This happens only when you edit any parameters that change the
values of the linked outputs proportionally. The current DELAY values are still not
copied, but rather the linked output values follow the changes.
The output links are shown graphically, with the currently selected OUT channel
displayed as an inverted loudspeaker, in the top right-hand corner of the display.
Below are the DELAY times shown on a timeline.
4.6 MUTE menu
If you wish to store the current preset before loading a new one, cancel RECALL
and change to the STORE menu (see chapter 4.8).
The parameter RECALL NR allows you to select the BANK, from which to load
a preset (INT or CARD) and the NUMBER of the preset. Both values are shown
in the large right-hand window Use the data wheel to select a preset (1 - 60).
Confirmyour selection with OK to return to the previously selected menu
(beforeentering RECALL).
Empty presets (without a name) cannot be RECALLED.
Fig. 4.43: Mute Select
On this page, you can mute individual or all input/output channels.

Use the parameters MUTE ALL OUTS and MUTE ALL INS to disable (OK)
or de-mute (CANCEL) the inputs/outputs of the DCX2496 in one go. To mute
or de-mute individual channels, please use the respective input/output
buttons (e.g. OUT 2, IN A, SUM, etc.). The lower part of the display only shows
the status of the channel and does not allow for any selection.
4.8 STORE menu

Use this menu to store previously created presets in the internal memory or on a
PCMCIA card.
Only use 5 V ATA Flash Card PC cards. Though the memory capacity
of the storage medium can be selected freely, it is impossible to

store more than 60 presets. If you need more memory capacity you
can store your presets externally on a PC (data dump via RS-232 or
LINK RS-485 interface).
16
4.8.1 INTERNAL/CARD
Fig. 4.50: Store Delete/Format

Fig. 4.46: Store Internal/Card
In this menu, STORE TO selects the bank to which the preset is stored:
INTERNAL or CARD. The window on the right-hand side lists the presets already
stored in the internal memory or on a PCMCIA card. You can allocate a memory
location to the preset, give it a NAME and overwrite an existing configuration or
select an unused memory location. If you want to overwrite an existing preset,
thenconfirm your command with OK. The display will prompt you to confirm
once again. Press OK to confirm, or CANCEL to quit.
Press OK to delete the preset. Locked presets cannot be deleted.
Additionally, this menu page allows you to format a memory card. If CARD
was selected in the DELETE menu, and the FORMAT CARD function is enabled,
thelower display line changes from PUSH OK TO DELETE to PUSH OK TO FORMAT.
If the preset to be overwritten was previously locked in the PRESET LOCK menu
(see chapter 4.8.4), the process cannot be completed; a corresponding message
is displayed.
When you confirm with OK, the preset warns you that formatting will erase all
existing presets on the card.
If you save to an unused preset location, the store command will be executed
directly, i.e. without further prompts.
Please note that you have to assign a name to each preset.
Presetswithout a proper name cannot be saved.

AUTO-STORE
Your DCX2496 features an AUTO-STORE function. This means that
all settings are saved automatically, once every few seconds, to a
temporary, non-volatile memory. For example, if there is a power
failure while youre editing, at least the last few edits (before the
last auto-store operation) are available directly from the auto-store
memory. This function cannot be disabled.
Confirm formatting with OK. Press CANCEL to quit.

ATTENTION: Formatting will also erase locked presets!
4.8.3 COPY
On the third page of the STORE menu you can copy presets within one bank or
from the internal memory (INT) to a PCMCIA CARD, and vice versa.
4.8.2 DELETE/FORMAT
Fig. 4.54: Store Copy
On the next menu page you can erase presets from the internal memory or an
external memory card. Similar to the previous page, just use DELETE to select
the BANK (CARD or INT), then, in the right-hand window, mark the preset to be
deleted. When you press OK, the display prompts you to confirm your selection.
SOURCE selects the memory from which to copy (SOURCE BANK), while
DESTINATION determines the DESTINATION BANK. Below, you can select the
SOURCE PRESET and the DESTINATION PRESET. The display indicates both the
number, name and status (LOCKED/UNLOCKED) of the preset.
17
5. Audio Connections
Locked DESTINATION PRESETS cannot be overwritten. In this case,
the display informs you that the process cannot be completed.

SinceSOURCE PRESETS will not get lost during the copying process,
itdoes not matter whether they are locked or not.
When all settings have been made and confirmed with OK, the DESTINATION
PRESET is directly overwritten and the display indicates the name of the new
preset. Locked SOURCE PRESETS are stored as unlocked presets. To lock them,
goto the next page of the STORE menu (PRESET-LOCK). You can also unlock
locked DESTINATION PRESETS there.
The BEHRINGER ULTRADRIVE PRO DCX2496 has standard electronically balanced

inputs and outputs. The circuit design has an automatic hum suppression with
balanced signals and is able to operate, without problem, even at highest
levels. Externally-induced mains hum etc. is thus efficiently suppressed.
Theservo-function, also automatic, recognizes the connection of unbalanced
pin assignments and changes the nominal level internally so that there is no
difference in level between the input and output signals (6dB correction).
Please ensure that only qualified persons install and operate the
device. During installation and operation the user must have sufficient
contact to earth. Electrostatic discharges might affect the operation of
the unit.
Balanced use with XLR connectors
2 1
3
input
1 = ground/shield
2 = hot (+ve)
3 = cold (-ve)
1
2
3

output
Additionally, you can copy all presets in one operation, by selecting ALL PRESETS
in both SOURCE and DESTINATION PRESETS. Prior to that, all presets in the
destination memory must be unlocked. When you confirm with OK, the displays
warns you that all DESTINATION PRESETS will be overwritten.
For unbalanced use, pin 1 and pin 3

have to be bridged
Fig. 5.1: XLR connections
6. Applications
Press OK to complete the process, or CANCEL to quit.

It is impossible to copy a bank to the same memory location
(e.g. ALL INTERNAL PRESETS to ALL INTERNAL PRESETS).

4.8.4 PRESET-LOCK
On the following pages we present the most useful applications for your
ULTRADRIVE PRO, using a few practical examples. For each example there is
an appropriate preset available, which you can use as a starting point for your
own set-ups.
Please note that these presets provide only basic outline settings that must
be adapted to meet your specific requirements in terms of loudspeaker,
amplifierand room acoustics!
The application examples are arranged in three groups:
1. Classic setups (chapters 6.1 6.6)
2. Special applications: zoning / delay lines / surround
(chapters 6.7 6.9)
3. Large-scale applications requiring two DCX (chapters 6.10 6.12)
Fig. 4.58: Store Preset-Lock
The last page of the STORE menu allows you to LOCK or UNLOCK your presets.
SELECT selects the corresponding bank (INT or CARD), the right-hand window
displays the preset. Use ALL PRESETS to select all presets. Press OK to lock the
preset, or CANCEL to unlock it.
Here, you can unlock a DESTINATION PRESET you wish to overwrite, or lock
recently copied presets.
18
6.1 Stereo tri-amp operation
Left
Stereo output
Right
In A
In B
XENYX X2222USB Mixing Console
Out 1
High (3)
EUROPOWER EP2000
Stereo power amplifier
High (6)
Mid (2)
Mid (5)
Low (1)
Low (4)
Loudspeaker left
Loudspeaker right
Fig. 6.1: Stereo 3-way operation
Stereo Tri-Amp operation is one of the most popular applications. The stereo input signals (In A+B) are split up into three frequency bands per stereo side and then
reproduced using the 6 outputs. This ensures the best possible use of your 3-way sound reinforcement system, since the individual drivers reproduce only those
frequency ranges for which they are ideally suited. Intermodulation distortion is thus effectively minimized.
19
6.2 Stereo bi-amp operation plus monosubwoofer
Right
Stereo output
Left
In A
In B
XENYX X2222USB Mixing console

Outputs: 1
5 (6 is not used)
High
Left (2)
Right (4)
High
Right (3)
Mid
Left (1)
Mid
EUROLIVE B1800X PRO
EUROPOWER EP2000
SUM (A + B) signal (5)

Low
Mono bass (amplifier mono bridged)
Mono subwoofer
Fig. 6.2: Stereo 2-way operation plus subwoofer
Each driver (speaker diaphragm) of the two 2-way speaker cabinets is controlled separately to ensure optimum reproduction of treble and mid-range frequencies.
The bass is reproduced by a mono subwoofer, which is driven by a power amp in mono-bridged mode. The sub-woofer receives its signal from the DCXs SUM input,
which is limited to bass frequencies and is the sum of mix signals In A+B. The unused input C and output 6 could be used for a mono delay line, forexample.
20
6.3 3x bi-amp operation (LCR/Triple Bi-Amping)

Center
channel
Left
In B
In A
Outputs: 1
In C
6
Low
Low
High
Right
Low
High
High
EUROPOWER EP2000
High (2)
Left
Low (1)
Mid
High (4) (Center)
Low (3)
High (6)
Right
Low (5)
EUROLIVE B1520 PRO
Fig 6.3: 3x2-way operation [LCR/Triple Bi-Amping]
Three 2-way speakers driven from three inputs. Such a setup is used for stage monitors or in cinemas, where, in most cases, the two stereo cabinets (completely to the
left and right) are used to play back music and effects, whilethe center cabinet reproduces voices. Hence the name L-C-R, which stands for Left-Center-Right.
21
6.4 Stereo operation plus mono subwoofer
Right
Stereo output
Left
In A
Outputs: 1
In B
3 (4, 5 and 6 not used)
High (1)
EUROLIVE B1800X PRO
B815NEO
Left active
loudspeaker
B815NEO
Right active
loudspeaker
Passive mono subwoofer
SUM (A + B) signal
Low (3)
EUROPOWER EP2000
Stereo power amplifier (mono bridged)
Output 4 usable as additional mono delay line output.

Output 5 + 6 usable as additional stereo delay line output.
Fig. 6.4: Stereo operation plus mono subwoofer
A full-range stereo signal is sent to two active speaker cabinets for stereo reproduction. There is no need for a dedicated frequency separation because the crossover
and amplifier in the active speaker are perfectly adapted to each other. However, to achieve more power in the bass, low frequencies are cut off in the active cabinets
and routed to a subwoofer. The power amp is set to mono-bridged mode and the SUM signal derived from In A+B is sent to the subwoofer. Outputs 4 to 6 can be used
as mono or stereo delay lines.
22
6.5 Stereo operation plus 2 subwoofers
Left
Stereo output
Right
In A
In B
Out 1
(5 and 6 not used)
EUROLIVE
B1220 PRO
Left passive
loudspeaker
Right passive
loudspeaker
High (2)
High (4)
EUROPOWER EP2000
EUROLIVE B1800X PRO
Left active subwoofer
Right passive subwoofer
Low (3)
Low (1)
Output 5 + 6 usable as additional mono delay line outputs.
Fig. 6.5: Stereo operation plus 2 woofer cabinets
Only two frequency ranges (Low and High) are used on each stereo side. Thetwo passive speaker cabinets for the higher frequencies are limited towards the bass end
and are fine-tuned in their sound with the DCXs internal equalizer. The stereo bass signal is first sent to the active woofer, which also provides the passive woofer
cabinet with sufficient power for the right-hand low-frequency channel. The unused outputs 5 and 6 can be used as mono delay lines.
23
6.6 Stereo bi-amp operation plus subwoofer and additional monitor
Monitor output
Right
Left
Stereo sub master
In A
In B
Outputs: 1 2
In C
High (2)
High (4)
Left
Right
Mid (3)
Mid (1)
Low (5) SUM (A + B) signal
In C signal
Active mono subwoofer
EUROLIVE F1220A
Full Range mono monitor
Fig. 6.6: Stereo 2-way operation plus subwoofer and additional monitor
Inputs A+B carry the stereo signal optimized for the two 2-way speakers. Thewoofer signal is derived from the sum signal of A+B, limited in its frequency range and
routed to the active sub-woofer. A separate signal from the mixing console (aux/subgroup) for a separate speaker can be processed via In C. In our example, this is a
full-range stage monitor with its own amplifier able to play back a dedicated monitor mix for the singer, drummer or other performers.
24
6.7 Mono 6-zone distribution mode

Mono master
output
In A
Outputs: 1 2
(Sub)
(Low)
(1)
Left
(2)
Right
(Low
Mid)
(High)
EUROPOWER EP2000
(3)
Left
Identical full range mono output signals

(High mid)
(Mid)
(4)
Right
(5)
Left
(6)
Right
EUROLIVE B1520 PRO
Fig. 6.7: Mono 6-way Zoning (signal distribution mode)
In this special-purpose application, the ULTRADRIVE PRO is not used as a frequency crossover but rather as a signal distributor, for dedicated EQing plus individual
delays and separate volume settings for each output. The monophonic mix signal is split up and sent to six equal outputs. It can be used for a variety of applications
requiring the transmission of music or speech over large distances or to several rooms or rooms consisting of several compartments. Examples are large discotheques,
multi-room clubs/pubs/bars, shopping malls, restaurants, hotels, lobbies, trade show and conference halls, railway stations, churches/cathedrals and even at home
where you can use the DXC2496 to play back music in every room.
25
6.8 Stereo 3-zone delay line
Main
amplification
Right
Right
Stereo master
Left
Stereo sub master

Left
In A
In A

All loudspeakers: full range
Outputs: 1 2
(Low)
Delay line 1
Left (1)
Right (2)
EUROLIVE B1520 PRO
(High)
EUROPOWER EP2000
(Low)
Delay line 2
Left (3)
Right (4)
(High)
(Low)
Delay line 3
Left (5)
Right (6)
(High)
Fig. 6.8: Triple stereo delay line
In this application, the ULTRADRIVE PRO is not used as a crossover network. Instead, it produces stereo delay lines, i.e. stereo speaker cabinets delayed in time with
regard to each other. All pairs of cabinets are supplied with the same full-range stereo input signal A+B. Then, these pairs can be placed at regular distances away
from the stage, as is often the case at big open-air concerts. Thefarther away the original signal (usually the music played on stage) is, themore audible the delay
between speaker signal (close to the listener) and original signal (far away) becomes. The DCX2496 allows you to make up for the resulting echoes by adding specific
delay times to the speaker signals. This allows the audience to feel as if they were part of it even though they may be far away from the stageand this without any
annoying echoes.
26
6.9 3.0 Channel surround
Left
Stereo sub master
Right
Out 5/6 identic
In A
In B
In C
Mono surround channel
In C Signal
Outputs: 1
6
EUROPOWER EP2000
Low
Full range (mono)

Right (6)
2x mono surround
High
Left (5)
Surround rear
High
EUROLIVE B1220 PRO

Right (4)
Stereo high frequencies
High
Left (2)
Surround front
Low
Left (1)
Right (3)
Stereo low frequencies
Low
Fig. 6.9: Surround 3.0
With this 3-channel configuration your audience experiences a live surround sound that comes close to the popular Dolby Surround sound format. The2-way front
speakers carry the main stereo signal from inputs A+B. Aseparate mono surround signal is supplied via In C, which is reproduced by two rear (or side) full-range
speakers. The surround signal can be a delayed signal derived from the stereo sum signal, it can be processed with reverb or any other effect, or it can even provide a
separate sound. Using this configuration, yoursurround music performances, slide shows, silent-movies or video shows will be a real experiencethe sound of ocean
waves lapping onto the shore or space ships flying through outer spaceall embedded into atmo sounds floating around the room.
27
6.10 Stereo 4-way bridged system plus 2 monitors

Stereo master
left channel
Mono out 4
Mono out 1
Mono out 3
Mono
out 2
(Sub)
Stereo master
right channel
RS-232
In A
In B
In C
In A
In B
In C
LINK
6 5
4 3
(RS-485)
2 1 Outputs
EUROPOWER EP2000
Outputs: 1 2
High (4)
5 6
High (4)
High mid (3)
High mid (3)
Mid (2)
Mid (2)
Low (1)
Low (1)
Left
In C signal (6)
3 4
4-way
loudspeaker tpwers
(In A signal)
In B signal (5)
Full range
mono monitors
Right
In B signal (5)
In C signal (6)
Full range
mono monitors
EUROLIVE F1220A
Fig. 6.10: 4-way mono-bridged operation plus 2 monitors (per stereo side)
This application uses one ULTRADRIVE PRO for each stereo side. When both units are coupled to each other via the LINK jacks, and one of them is additionally
connected to a notebook/PC, you can use the computer to remotely control both devices with our free CrossOverRemote Software.
In this example, each DCX2496 is supplied with one side of the main stereo signal (In A). Two additional mono signals are routed from the console to inputs B and
C. Two power amps each are used for the 4-way paths of each P.A. stack, while the third power amp drives two full-range stage monitors. This allows for building a
stereo 4-way system that gives the musicians four on-stage monitors that can be accessed individually.
28
6.11 5-way mono operation plus 1 additional mono signal

Mono out 2
Mono out 1
Stereo master
left channel
Stereo master
right channel
RS-232
In A
In B
In A
In B
LINK
1 2
3 4
(RS-485)
5 6 Outputs
EUROPOWER EP2000
Outputs: 6 5
4 3
2 1
4-way
loudspeaker towers
(In A Signal)
High (6)
High (6)
High mid (5)
High mid (5)
Mid (4)
Mid (4)
Low mid (3)
Low mid (3)
Low (2)
Low (2)
In B signal (1)
In B signal (1)
Left
Right
EUROLIVE F1220A
Full range mono monitor
EUROLIVE B1800X PRO
Mono subwoofer
Fig. 6.11: 5-way mono operation plus 1 additional mono signal (per stereo side)
Again, two ULTRADRIVE PROs can be remotely controlled from a notebook/PC by using our free CrossOverRemote Software.
This set-up is similar to the one described in chapter 6.10. Here, however, even five frequency-optimized ways per stereo side are transmitted. The subwoofer has a separate
mono-bridged power amp, just like the sixth channel, whichcan be used independently and is controlled from the separate B input. In our example, one of these mono
channels is used for an individual subwoofer, while the the mono channel of the second ULTRADRIVE PRO drives a full-range stagemonitor.
29
6.12 5.1 Surround operation

Surround processor/decoder
Front
left
In A
or
Front
center
In B
Front
right
Rear
left
In C
In A
Front left
Front center
Front right
Rear
right
Front
subbass
In B
In C
Front subbass
Rear right
Rear left
RS-232
In A
In B
Outputs: 1 2
In C
3 4
In A
LINK
RS-485
5 6
In B
In C
Outputs: 6 not used 5
4 3
2 1
Screen/curtain
Front left
Front center
Front right
High
High
High
(2)
(4)
(6)
Low
Low
Low
(1)
(3)
(5)
Front subbass (LFE) connected in a row
High (2)
High (4)
Rear left
Rear right
Low (3)
Low (1)
Fig. 6.12: Surround 5.1
(To be continued on next page...)
30
With two DCX2496 units you can even realize todays most popular surround format:
5.1. In addition to the speaker cabinets and power amps (or active speakers as in
the simplified illustration shown here), all you need is a surround decoder to play
back pre-produced 5.1 material such as DVDs, or a mixing console with six outputs
(e.g. stereo out plus four subgroups). In the latter case, you can create highly
sophisticated surround mixes even without a special surround sound decoder.
7. Specifications
Analog Inputs (A, B, C)
Type
electronically balanced
Connector XLR
The preset 5.1 FRONT has been optimized for the L-C-R front speakers
with 2speaker ways each (see also chapter 5.3). The three signals required
Front-Left, Front-Center, Front-Right are routed via the three inputs (A, B, C)
tothe first DCX2496.
On the second DCX2496, the preset 5.1 REAR should be used as a starting
point. It supplies the two rear surround speakers (also 2-way systems) plus the
monophonic sub-bass channel (LFE = Low Frequency Enhanced) with the
input signals Rear-Left, Rear-Right and Sub-bass, using connectors In A, B, C.
The sixth output of the second ULTRADRIVEPRO is not used in this application,
but is left available for additional effects or as a mono delay line.
Max. input level
+22 dBu
Input impedance
approx. 20 k at 1 kHz
Crosstalk
-72 dB @ 0 dBu In
Digital Input (A)
Connector XLR
Format
S/PDIF or AES/EBU
Input level
0.3 to 10 Vpp
Input impedance
approx. 110
Sampling frequency
32 to 96 kHz
Special feature
Sample Rate Converter
Microphone Input (C)
Type
Connector XLR
Max. input level
-23 dBu
Input impedance
approx. 470 at 1 kHz
Phantom supply
+15 V
Analog Outputs (1, 2, 3, 4, 5, 6)
Type
Connector XLR
Max. output level
+22 dBu
Output impedance
approx. 160 at 1 kHz
Crosstalk
-100 dB @ 10 dBu In
System Data
Sampling frequency
96 kHz
Signal delay
< 1 ms Analog input to analog output
Frequency response
10 Hz to 35 kHz (-1 dB) typ.
Dynamic range
109 dB (analog input analog output)
Input noise
-90 dBu (@ +22 dBu 112 dB)
Output noise
-90 dBu (@ +22 dBu 112 dB)
THD+N Ratio
0,007% @ 0 dBu In, Gain 1

0,004% @ 10 dBu In, Gain 1
31
Converters
A/D Converter
Resolution
24-Bit Delta-Sigma AKM
Oversampling 64x
Dynamic range
112 dB typ.
D/A Converter
Resolution
24-Bit Delta-Sigma AKM
Oversampling 64x
Dynamic range
112 dB typ.
Serial Interface
RS-232
Type
9-pin sub-D connector
Transmission type
115200 bauds, 8 data bits, 1 stop bit,

no parity
RS-485 (2x)
Type
RJ-45 connector
Transmission type
115200 bauds, 8 data bits, 1 stop bit,

no parity
Power Supply
Mains Voltage
USA/Canada
120 V~, 60 Hz
Europe/U.K./Australia
230 V~, 50 Hz
Japan
100 V~, 50 - 60 Hz
General export model
100 - 240 V~, 50 - 60 Hz
Power consumption
approx. 12 W
Fuse
100 to 240 V~: T 1 A H
Mains connector
Standard IEC receptacle
DIMENSIONS (H x W x D)
1 x 19 x 8 "
44.5 x 482.6 x 217 mm
WEIGHT
approx. 3 kg
SHIPPING WEIGHT
approx. 4.2 kg
BEHRINGER makes every effort to ensure the highest standard of quality. Necessary modifications are carried
out without notice. Thus, the specifications and design of the device may differ from the information given in
thismanual.
32
8. Block Diagram
33
9. Menu Structure
35
FEDERAL COMMUNICATIONS
COMMISSION COMPLIANCE
INFORMATION

Responsible Party Name:
MUSIC Group Services US Inc.
Address:
18912 North Creek Parkway,

Suite 200 Bothell, WA 98011,
USA
Phone/Fax No.:
Phone: +1 425 672 0816

Fax: +1 425 673 7647

complies with the FCC rules as mentioned in the followingparagraph:
This equipment has been tested and found to comply with the limits for a ClassB
digital device, pursuant to part 15 of the FCC Rules. These limits are designed
to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses and can radiate radio frequency
energy and, if not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a particular installation. If this equipment does cause
harmful interference to radio or television reception, which can be determined
by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the followingmeasures:
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the
receiver is connected.
Consult the dealer or an experienced radio/TV technician forhelp.
This device complies with Part 15 of the FCC rules. Operation is subject to the
following two conditions:
(1) this device may not cause harmful interference, and
(2) this device must accept any interference received, including interference that may
cause undesired operation.
Important information:
Changes or modifications to the equipment not expressly approved by MUSIC Group
can void the users authority to use the equipment.
We Hear You

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User Manual

ULTRADRIVE PRO DCX2496

ULTRADRIVE PRO DCX2496 User Manual

ULTRADRIVE PRO DCX2496 User Manual

Terminals marked with this symbol carry

9. Do not defeat the safety purpose of the polarized

TO BIND MUSICGROUP BY ANY EXPRESS OR IMPLIED

ULTRADRIVE PRO DCX2496 User Manual

1.1 Before you get started

1.1.4 Online registration

1.2 The users manual

dealer and the shipping company immediately, otherwise claims for

Fig. 2.1: Input LEDs and display

Foryour own safety, never remove or disable the ground conductor

ULTRADRIVE PRO DCX2496 User Manual

2.2 Rear panel

Fig. 2.4: Mains connector and RS-232/RS-485 interface

Fig. 2.2: Menu buttons and data wheel

(22) Use the LINK connectors A and B (RS-485 network interface)

Fig. 2.3: Output LEDs

ULTRADRIVE PRO DCX2496 User Manual

3.1 Selecting an output configuration

3.4 Storing presets

Fig.: 3.4: Store Internal/Card

3.5 Recalling presets

3.2 Setting crossover frequencies

3.6 Restoring the factory presets

3.3 Muting input/output channels (Mute)

4. Menu Structure and Editing

4.1 General operating structure and

ULTRADRIVE PRO DCX2496 User Manual

4.2 SETUP menu

Fig. 4.1: Setup In/Out

The parameter OUT CONFIGURATION selects the general operating mode;

Fig. 4.2: Output configuration

The stereo 3-way configuration LMHLMH has input A routed to outputs 1, 2

ULTRADRIVE PRO DCX2496 User Manual

The following link options (output configurations) are available:

OUT Stereo Link

Fig. 4.4: Output configuration MONO

2. L(1) M(2) H(3) L(4) M(5) H(6)

Fig. 4.5: Output configuration LMHLMH

LMH LMH 123 456

OUT Stereo Link

LONG Delay Link

OUT Stereo Link

LONG Delay Link

OUT Stereo Link

LONG Delay Link

Fig. 4.6: Output configuration LLMMHH

Fig. 4.7: Output configuration LHLHLH

Tab. 4.1: Survey of all OUT LINK configurations

Fig. 4.9: Setup In/Out

In the MONO configuration, the Out Stereo Link function cannot

Fig. 4.10: Setup In/Out

ULTRADRIVE PRO DCX2496 User Manual

Tab. 4.2: In Stereo Link

Fig. 4.11: Setup Dly-Corr./Auto-Align

As the speed of sound depends on the air temperature, the parameter