It has 14 bands, 4 of which persist after subsequent roomEQ sessions. This is the unit's auto generated roomEQ PEQ result. Also helps with subs because you can control phase angle independently and continuously - although technically this is done in the crossover section, not in the PEQ, obviously.ģ. I found this particularly useful because I have an asymmetric setup. So that's up to 6 distinct PEQs for this output mix stage. E.g., I have 4 of these, one for each main and two subs.
This uses PEQ, I think 10 bands, and is set per output channel. This is where you would typically put your house/preferred curve.Ģ. This can use either 10 (12?) bands of PEQ, or a GEQ.
It has three different 'stages' you can do the PEQ.ġ. But when I turned the delays back on, Ross’s voice came back to life-the difference was amazing, and attests to the effect of even a few tenths of a millisecond of phasing error.Īnd then I discovered the sub harmonic synthesizer and, WOW! This feature should be used judiciously-probably not at all on modern recordings, but it miraculously enhances the bass on older recordings where the bass was anemic. Just for fun, I turned off the time-delays, and Diana Ross’s voice then became one-dimensional and I could no longer discern the reverb.
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Whereas the Behringer DCX2496 can automatically time-align the speaker drivers, the Venu 360 has only manually adjustable time-delays, which I used to time-align the drivers the old-school way, playing a test tone at the crossover frequencies and adjusting the delays until I found the constructive interference peaks and on the RTA (actually I inverted the speaker phasing and adjusted the delays to find the negative/destructive interference peaks/dips - either method works).Īfter time-aligning the drivers, and auto-EQ'ing the system with the DBX, I was playing an old song by the Supremes, and I could hear in the recording, the studio reverb applied to the voices. This is a real time saver for fine tuning the system. With the DBX, I find it much easier to experiment and fine tune the crossover because the auto-EQ is so fast that I don’t mind re-doing it. The resulting sound is balanced and wonderful right off the bat.Īs we know whenever you experiment and change crossover points or filter slopes, you must then re-EQ the system. There’s no loud, obnoxious pink noise- just a few rapid (2-second) frequency sweeps from (3) mic positions, and the unit instantly overlays about eight parametric EQ’s to smooth out the nasties. The Behringer’s auto-EQ is comparatively tedious, slow and cumbersome, with pink noise to endure- downright primitive compared to the slick DBX auto-EQ. The wizards make setup easy, and the control screens are intuitive and easy to use. With the DBX, all functions are wirelessly controllable using a smart phone/tablet app, and I use my Ipad.
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To be fair the Behringer crossover does have a computer interface, but I couldn’t use it because its outdated serial port won’t connect to my laptop, or any laptop newer than 10 years old. The DBX’s wireless remote user interface is hands-down better than the Behringers’ front-panel intefaces.
The DBX may spec a little better but I rate them equally for inaudible noise floor. Below are my initial impressions:īehringers are often frowned upon by audiophiles, but they served me well for many years and I found them to be dead quiet and crystal clear. I still have a lot to learn about the Venu 360, and the Behringers are all I know to compare it to.
This will not be an in-depth, dispassionate, or measurement based review. I chose the Venu 360 over less expensive PA2, only because I needed the Venu's digital inputs to accept the digital out from my Logitech Transporter. I recently replaced the Behringer DEQ2496 EQ & DCX2496 crossover, driving my homebuilt hybrid electrostats & Ripole subs, with a DBX Driverack Venu 360 crossover/EQ.
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