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Home » Recording » Studio Outboard » EQ & Mastering » Behringer ULTRAGRAPH PRO FBQ6200

Behringer ULTRAGRAPH PRO FBQ6200

Dolphin id:
4469
Product SKU:
FBQ6200

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Ultra-Musical 31-Band Stereo Graphic Equalizer with FBQ Feedback Detection System

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The flagship of the entire FBQ series, the ULTRAGRAPH PRO FBQ6200 is an ultra-musical 31-band stereo graphic equalizer that goes the distance to offer a maximum in performance and flexibility in both live and studio applications. Start with the forward-looking, patent-pending FBQ Feedback Detection System that instantly reveals feedback frequencies and also can be used as an audio analyzer. A whole battery of superb features makes the FBQ6200 score high on the ease-of-use scale: dedicated limiters with gain reduction meters for each channel protect your sound system from overload and distortion, and a pink noise generator provides test signals for equalizing your sound system to any room acoustics. A mono subwoofer output with dedicated level control and adjustable crossover frequency gives your music some extra verve.

Additional sweepable high and low cut filters for each channel remove unwanted frequencies such as floor rumble and tape hiss. Level setting is no sweat thanks to the highly accurate 8-digit LED input/output metering and input gain control. Top-drawer components such as the ultra low-noise audio operational amplifiers, servo balanced inputs and outputs with 1/4" TRS and gold-plated XLR connectors and the relay-controlled hard-bypass with an auto-bypass function offer outstanding audio performance.

Expect reliability in the long run with the high-quality illuminated 45-mm faders, detent ALPS potentiometers and illuminated switches. Any way you look at it, the FBQ6200 has all the right stuff to become a welcome addition to your touring rack.

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Behringer ULTRAGRAPH PRO FBQ6200 Reviews

8/10

Ultragraph FBQ6200

— ian December 7, 2008

Like the other reviewers comments ; the worst thing about the unit are the sliders which feel rather scratchy and cheap. Otherwise the unit does exactly what it says on the tin and is top value for money. The illuminated sliders are a god send (which is the main reason why I just couldn\'t bring myself to buy a different make of unit - read on). The first unit I bought lasted just over the two year warranty period, when it suddenly started to generate an intermittent loud popping on channel 2, which seemed to be somehow linked to a problem with the 630hz (extra scratchy feeling) slider. Anyway, apart from that, I was so impressed with the unit up to that point, I bought another. Lets see how long that one lasts ! Still, at the price, it\'s virtually throw away after 2 years trouble free use. Behringer seem to have a bit of a reputation for sub standard gear but I\'ve bought a few of their products now, including a 32 channel Eurodesk and I\'ve found them all to be top rate. I\'d be really interested to hear any adverse comments about any of their kit ; e mail me on iandevans@aol.com

9/10

Behringer ULTRAGRAPH PRO FBQ6200

— Mike January 18, 2006

I really like this box!

I wasn't expecting much: I bought it as a throwaway unit, but it's now a main feature in my rack.

I have been spoilt sonically by using a Klark Teknik DN360 while working with another band as sound engineer. When the time came to go out with my own music to the same venues (smaller P.A. system), I went for this - with misgivings.

Here's the thing: Having done 8 or 9 gigs, I can say I am pretty sure that it is every bit as transparent as the Klark: which is always described as a very "musical" box. The Klark has to be better because it costs literally 10 times more, right? but I swear I can't hear the difference.

I wouldn't say the behringer is "musical" - but it doesn't interfere (my primary demand), and keeps things clean. Adjustment is precise, but (my only gripe really) the faders don't feel as "quality" as the Klark (1 point off for the scratchy feeling). On the other hand, though not as smooth, they are twice as long, which allows for finer adjustments.

It has a few other things the Klark doesn't have: The lit faders are a godsend when mucking around in the dark. I have no need for the sub woofer out, but I guess its handy as a poor man's filter.
The Feedback eliminator seems a bit gimmicky - but takes the guesswork out of finding problem frequencies (Sometimes sounds are so loud it's hard to judge them accurately: this solves the problem, and I'm glad of it). Actually I think my settings tend to be more accurate than with the Klark because there is less guesswork involved. This will definitely have a lot to say when playing "unknown problem venues".

An example: I did sound at a venue that has a boxed-in-sound and is a pain to mix correctly, (With LOTS of low mids and a concrete ceiling): I already had EQ notes for the Klark from a previous gig, so I brought it along and soundchecked the band thorough it instead of the Behringer. I then mirrored the curves on the Behringer (which can bypass, so I had chained it).
A/B'ing the boxes, I didn't see a major difference (even with DRASTIC EQ'ing for the room), except that I got feedback in one low frequency I had already corrected for: I thought it was now safe. The Behringer spotted the correct frequency and I damped it 5db. Problem solved - but with guesstimation on the Klark I had taken off about 7 db an octave too low!).

I guess a way to summarize it would be: If this box is less musical than the Klark (As I say I can't hear it) then it is also more accurate, which to my ear is far more important. Let the band be musical. I'll take clarity any day.

Other stuff: I think the limiter is a little agressive (easy to hear it cutting in) but has come in handy once when my levels were way too loud. I'm pretty sure it saved my own speakers from being blown, which means it already has paid for itself.


Summary:
A Graphic EQ is an essential piece of kit for a serious engineer. Whether it's live sound or in the studio, a GEQ is the butter on the bread of recording and live amplification. I would love to test this box in a studio: I am guessing this is where the "musicality" of the Klark would be more dominant.
Having said that: I also think the best test for a GEQ is live sound: At best a GEQ can shape your sound, and help you overcome (for example) problem frequencies in live locations. At worst it can introduce noise that, when amplified through a P.A. can destroy the very sound you are trying to get out there.
This EQ does a good job of getting my sound out, and doesn't interfere. Just for the convenience of locating frequencies I would have this alongside the Klark, even if the sound was inferior. But it's not, and the double sized faders make it more accurate: I wouldn't go back to the Klark, and thats pretty damn impressive.

There are plenty of "cheap" graphic EQs out there: Behringer, Alesis, DBX etc all occupy the "prosumer" end of the market. Without having tested any others, I am happy to say that for me this box does the job.


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