TEST: Behringer Ultragraph 3102 - 1502

 They are anything but welcome in professional recording studios, but are an indispensable tool in professional live operations. We're talking about graphic equalizers, which are supposed to bend an out-of-kind, mostly spatially-related frequency curve back into tolerable paths. While in the recording studio you can usually eliminate major acoustic blunders in advance during the planning and construction phase, in live operation you have to come to terms with sometimes catastrophic conditions or try to save what can be saved.

As a rule, at large concerts you unfortunately have to deal with multi-functional halls, which can accommodate a larger number of spectators, but at the same time they can also hit you in the face with standing waves, uncontrollable early reflections and soaring sub-basses . In addition, there is the use of microphones on stage, which confront every monitor mixer with all kinds of feedback above a certain volume.

In order to counteract these problems, raising, but especially lowering, selected frequencies is the only way to master the chaos that is emerging. While manufacturers such as Klark, Sabine and dbx have almost divided the market among themselves at the upper end of the price scale, Behringer wants to cover the other end of the list with its Ultragraph series. Just in the three-digit euro range (type FBQ 3102) or even lower (type FBQ 1502), the company, as always, relies on a very low sales price. Can the products guarantee their functionality compared to competitors, some of which have a 1000 percent higher selling price?



construction

The equalizers built in China come with 2 HE (FBQ 3102) or 1 HE (FBQ 1502) and have the dimensions (H x W x D) 89 mm x 482.6 mm x 150 mm (FBQ 3102), respectively 44.5 mm x 482.6 mm x 215 mm (FBQ 1502) and just 2.5 (FBQ 3102) or 2.15 (FBQ 1502) kilograms. The first impression in terms of workmanship is good, a torsion-resistant metal housing with removable rack wings calms the technician's nerves.

Both products have decent connections on the back. Balanced XLR and stereo jack sockets on both channels ensure proper cabling within the signal path between console and power amplifiers. As a special feature, both products have a 30 - 200 Hertz tunable subwoofer out, which is unfortunately only available in mono. If you want to connect a modern subwoofer, which is usually stereo, you sometimes have to use adapters or fire up the soldering iron yourself.

The FBQ 3102 has its power switch on the back, the FBQ 1502 on the front. Incidentally, the power switch does not completely disconnect the product from the power supply. If you were hoping for a “real” relay, you will unfortunately be disappointed. Therefore, if you are away for a longer period of time or for environmental reasons, you should switch off the product using a switchable power strip or pull the power plug.

On the front, the FBQ 3102 has 2 12-digit LED chains each, allowing the power share to be easily tracked. The 1502 is clearly behind here; its LED chains, which only have four digits, only allow for sensitive work to a limited extent. A pressure switch can be used to switch between the input and output levels. The range of both equalizers can be adjusted to +/- 6 dB or +/- 12 dB using an additional pressure switch, and both products also have a gain control (+/- 15 dB) per channel.

The 3102 also has a high and low pass filter for each channel, which can be tuned between 10 - 400 Hertz (18 dB/Oct.) or 2.5 - 30 kilohertz. The 1502 only has to make do with a fixed, switchable high-pass filter at 25 Hertz. This can be used, among other things, to get power-consuming sub-frequencies under control, which usually generate more harm than good. There are also in/out switches that can be used to completely remove the equalizers from the signal path.



Practice

Can an optical control with a comparatively simple design give the more expensive competition a run for its money, or at least tap some of it? Unfortunately, this area has to be denied, but it won't come as too much of a surprise to the experienced reader. Software in the more expensive products, which is constantly electronically analyzing in the background, detects an emerging feedback loop many times faster and can thus adjust the frequency response before a whistling even occurs.

For the inexperienced monitor operator, the optical control of the FBQs is a help in a stressful situation, but it is sometimes a little difficult to visually separate a strong useful signal with the appropriate lighting from the disturbing feedback component. But if you leave this aspect aside and once you get used to the very smooth sliders, you can achieve good results with the equalizers. In direct comparison to other competitors such as dbx, you may have to make some compromises in terms of sound culture.

The filters sound better than their price suggests, but with a retail price of just under €100, you shouldn't expect silky highs or characterful mids. All in all, the two products provide a high practical value, which, if used carefully, can reduce the disharmony of a poor sound system and enhance a good sound system.


Conclusion

With the two graphic equalizers FBQ 3102 and FBQ 1502, Behringer is bringing two very affordable sum equalizers onto the market, which leave a consistently good impression considering their sales price. A solid basic construction allows peculiarities such as smooth-running sliders to fade into the background.

However, the advertised feedback detection control using optical LED brightness is not entirely convincing in the practical test. Although the idea contains a clever basic idea, the system cannot compete with a much more complex microphone-controlled solution from the more expensive competitors. However, in order to achieve a more or less linear frequency response, the LEDs do help with their light intensity.

Experienced sound engineers will use their hearing as a reference for the set curve anyway and in this case, with experienced handling, Behringer products can be a helpful addition to a system where every dollar counts.

For me, the winner in this admittedly unequal comparison test is the 3102, which delivers significantly better value at a comparatively low additional cost due to the high and low pass filters and the much finer control options.

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Additional Informations:

Creating a detailed listing of all Behringer company products is an extensive task, as Behringer produces a wide range of audio equipment, including mixers, amplifiers, speakers, microphones, headphones, synthesizers and audio interfaces, effects devices, and others Accesories. Behringer is known for offering affordable options for musicians, producers and audio engineers. Below is a general overview of some product categories and examples of products they offer. Please note that this list is not exhaustive and Behringer's product offerings may change over time.

### Mixers
- **X32**: A digital mixing console for live and studio applications, known for its extensive features and flexibility.
- **Xenyx Series**: A range of analog mixers ranging from simple, small mixers to advanced models with built-in effects.

### Audio interfaces
- **UMC Series**: USB audio interfaces that offer a wide range of inputs and outputs for recording applications, from entry-level models like the UMC22 to advanced options like the UMC1820.

### Speakers and monitors
- **Eurolive Series**: Passive and active PA speakers for live music, DJing and events.
- **Truth Series**: Studio monitors valued for their accuracy and affordability.

### Headphones
- **HPS Series**: Studio headphones designed for mixing and monitoring, with models like the HPS3000.

### Microphones
- **C Series**: Condenser microphones for studio recording, such as the C-1 and C-3.
- **XM8500**: A dynamic microphone often used for live vocals and instruments.

### Synthesizers
- **DeepMind**: An analog poly synthesizer known for its depth and programmability.
- **Model D**: A replica of the classic Minimoog model, known for its fat, analog sound.

### Drum machines and sequencers
- **RD-8**: A replica of the classic TR-808 drum machine, known for its authentic sounds and extensive programming options.
- **CRAVE**: A semi-modular analog synthesizer with a built-in sequencer, known for its versatile sound shaping possibilities.

### Effect devices and signal processors
- **Virtualizer 3D FX2000**: A multi-effects processor with a variety of effects for live performance and studio recording.
- **MDX Series**: Compressors/limiters used in many studios for dynamics processing.

### DJ equipment
- **DJX750**: A professional 5-channel DJ mixer with effects, ideal for club DJs.
- **CMD Studio 4a**: A compact DJ controller setup with integrated sound card, suitable for digital DJing.

### Accessories and other equipment
- **Powerplay P16**: A personal monitoring system that allows musicians to control their own monitor mix on stage.
- **Ultralink ULM Series**: Wireless microphone systems known for their reliability and ease of integration into existing PA systems.
### Recording and broadcasting
- **Podcastudio 2 USB**: A complete podcasting kit that includes an interface, microphone, headphones and more for aspiring podcasters.
- **X-Touch**: A range of universal control surfaces designed for seamless integration into digital audio workstations (DAWs) to make mixing and controlling tracks easier.

### Guitar and bass equipment
- **V-Amp Series**: Guitar amp models and effects processors that offer a wide range of tones and modeling, from classic amp tones to modern distortion.
- **Bass V-Amp**: A preamp/modeler specifically designed for bass guitars, offering a variety of amp models and effects.

### Keyboard controllers and MIDI devices
- **Motor Series**: Keyboard controller with fully weighted keys and motorized fader for precise control of DAWs and virtual instruments.
- **UMC MIDI Series**: USB/MIDI controllers and interfaces that enable easy integration of MIDI devices into modern computer-based recording systems.

### Audio processors and effects
- **Feedback Destroyer**: An automatic feedback suppressor used in live sound applications to eliminate feedback quickly and efficiently.
- **Ultragraph Digital DEQ1024**: A high-resolution 31-band stereo graphic equalizer with a digital output for precise sound adjustments.

### Wireless Audio Systems
- **Ultralink ULM Series**: Advanced wireless microphone systems that, in addition to those already mentioned, also include solutions for instruments and lavalier microphones.

### PA systems and speakers
- **Europort**: Portable PA systems valued for their portability and performance in a variety of settings, from small gatherings to medium-sized events.
- **B208D**: Compact, active PA speakers suitable for smaller venues or as monitor speakers in a larger system.

### Accesories
- **CT100**: A cable tester valued for its versatility and ability to test a wide range of cable types, making it an essential tool for live sound and studio engineers.
- **PSU-SB**: A universal DC 9V power supply that is compatible with a variety of Behringer products, making it a useful accessory for users who own multiple devices.

### Further development and innovation
Behringer is also known for its efforts to explore and integrate new technologies, such as the development of digital mixers and audio interfaces compatible with cutting-edge requirements. They have built a community of users who actively provide feedback, which contributes to the constant improvement and expansion of their product offering.

Behringer's philosophy of providing affordable yet high quality music and audio equipment has made them a popular choice for musicians, producers and audio engineers worldwide. Their products are suitable for both beginners and professionals, making Behringer a versatile brand in the music and audio industry.