For quite some time, there has been a chasm between the purchasers of high-end consumer gear and pro audio equipment. In fact, the typical audiophile has often regarded pro gear with some disdain. Many have felt this type of equipment's sound simply couldn't compete with the quality they crave -- ruggedness and reliability. The sound quality and aesthetics demanded by the typical audiophile are not always prerequisites in the pro realm.

Occasionally a product will come along that will bridge this gap. The Applied Research and Technology DI/O digital processor is one product that comes to mind -- it has received good press in mainstream audiophile publications. After spending some time with the Behringer AD/DA converter, I believe this product will follow suit.

After a session in the listening room of fellow Audiophilia reviewer, Martin Appel, he mentioned the Behringer Ultra-Curve pro, but described it as an equalizer. Relative to my opening comment, I wondered what Marty (who appreciates high-end components) was doing with an equalizer in his refined system. Intrigued, and since he was swamped with equipment to review, I asked to give it a listen.

By the late 70s, tone controls began to disappear from pre-amps as many audiophiles began to feel they did more harm than good. As the ranks of the audiophile purists grew, the group's mantra, 'a straight wire, with gain', was becoming more apparent. As such, it did not take long for tone controls to become nearly extinct. Some audiophiles opted to use equalizers between the preamplifier and power amplifiers arguing that it was necessary to compensate for tonal imbalances and the like. Today, very few purchasers of medium to very high-end systems would consider the use of these audio dinosaurs. Yet, since the advent of digital technology, digital preamplifiers that include room-correcting circuitry (which could also be considered equalizers) are finding their way into more systems.

The manufacturer describes the Behringer Ultra Curve Pro as '… a fully digital sound-processing device based on DSPs and 24-bit A/D and D/A converters.' The manufacturer goes on claiming to use '…high quality resistors and capacitors with tight tolerances, high-grade switches and ultra low noise operational amplifiers.' Being the curious type, I couldn't resist a peek. Inside, there is a circuit board that covers about one third of the interior, with a smaller board attached to it. Along the left side is a small transformer with another circuit board attached to a heat sink. Everything seemed well put together and neatly laid out. Unlike the Art D I/O, the Behringer is a full sized component that will fill an entire shelf in your rack. While you will not find any quarter-inch aluminum faceplates, the overall build quality is more than acceptable for a component in this price range.

On the rear are inputs for AES/EBU (balanced only), three sockets labeled MIDI, two sets of analog inputs and outputs and one mic input. The inputs marked MIDI appear to be DIN sockets and are to be used for remote operation. The analog inputs and outputs have provisions for both balanced and unbalanced (RCA) connections. You will need to use adapters for the RCA inputs and outputs since they are 1/4 inch (a size used for the pro market). The mic socket is where you connect the microphone when using the room correction functions. Finally, there is an IEC socket for the detachable power cord and a power switch.

There is a large display window in the center of the front panel. This is where the various functions such as the equalizer, spectrum analyzer and level meters are shown. The four square buttons on the far left of the front panel are used to select the equalizer mode, the real time analyzer, bypass and set up menus. The user software defines the function of the four keys to the right. The four square keys to the far right are cursor keys that control a number of functions pertaining to the equalizer and the analyzer.

The Ultra Curve Pro comes with a thirty-six-page instruction manual. While it is quite thorough in covering the many functions of the unit, the way in which it is written assumes the user is already very familiar with, and comfortable using this kind of equipment.

Use and Listening

I installed the Ultra Curve Pro between my transport and preamplifier. Fortunately, I had a balanced-to-RCA cable and a set of RCA adapters for the analog out. At first listen, I was surprised by how good the sound was using it as a stand-alone DAC. While it did sound a little bright with some treble hardness, I attributed some of this to a lack of burn-in time. After about one hundred hours, the brightness diminished considerably. To potential purchasers of this unit, if there are sonic deficits or other abnormalities that you wish to address, you have a 31-band graphic equalizer at your disposal. The equalizer covers the frequencies from 20Hz to 20khz. The boost or attenuation is ±16db. One only has to make slight adjustments to any of the bands to realize very noticeable results. The equalizer includes a master level control, thereby giving the Ultra Curve Pro the capability to be used as a preamplifier in a digital based system. If that wasn't enough, there is a parametric equalizer included, too. Sadly, Behringer has made no provision for a remote control.

I used it primarily as a DAC and I was surprised at how well it performed. The sound was very clear and more detailed than I am accustomed to hearing in my system. In listening to Etta James', Life Love & The Blues (Private Music 01 005-82162-2), I could hear some low-level vocal detail that normally is buried in the music. The robust bottom was still there, only a little more textured than I had remembered.

Female vocals were very well articulated. The Behringer's resolving abilities are largely responsible for this. Shirley Horn's vocals were presented with a good deal of clarity (I thought about you Verve Digital 833 235-2). However at higher volumes her voice took on a hard edge. I found this to be true of female voices in general with the Ultra Curve Pro.

The question is: for all of this clarity and detail, what are you giving up? Easy answer -- harmonic richness. The Ultra Curve Pro provides good extension at the frequency extremes. Cymbals are not splashy, but they lack the weight and shimmer than far more expensive DACs typically provide. Vocal, as well as instrumental performances, possessed a clearly defined attack but lacked the full timbre and bloom of the decay. For this reason, I would characterize its overall sonic character as being relatively lean -- no tube-like richness, here. Additionally, the Ultra pro is not the most transparent DAC that I have heard, but at it's price point, this may seem a churlish quibble.

Left-to-right imaging is very good. The center image is well focused, and instruments are separated and spread out across the stage. What is not evident is a sense of depth. The back of the stage seems to be shortened significantly. This became clear with large orchestral works such as Aaron Copland's Third Symphony (Reference Recording RR-93CD). While the Ultra pro conveys a sense of largesse with regard to width and height, the lack of depth causes a sense of compression within the orchestra.

The best DACs and CD players that I have encountered tend to have a harmonic richness and weight that is suggestive of good analog rather than digital. The Ultra Curve Pro never let me forget its somewhat early digital tonality, however, it offers far more features than anything else at anything near its low price.

If you make your own compilation CDs, the Ultra Curve Pro could be used to touch up selections prior to recording. It could also be used as an outboard controller for a subwoofer. The adventurous audiophile could also use it as a room correcting pre-amp. Keeping in mind its sonic limitations, it would function quite well as the control center of a budget system. The Behringer will give you a taste of what the far more expensive Z-Systems or Tact pre-amps are about. If your system is too laid back or dull sounding, Ultra Curve Pro could be just the ticket for you. If your tastes run more toward the analog side of the street, I think that you may need to look elsewhere. Considering this, I would like to offer Behringer my congratulations for their determination to offer their customers good sound, full features and excellent aesthetics for a very reasonable price.