BSS Audio FCS-960 Dual 30-band Graphic EQ
BSS Audio·Model FCS-960·bss-fcs-960
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the BSS Audio FCS-960
The BSS FCS-960 brings dual 30-band graphic EQAn equalizer with one fader per fixed frequency band (31 on a pro unit) — fast broad tone-shaping, classic for ringing out monitors. with BSS's Frequency Conscious filter shapes — narrower Q on cut, wider on boost — that make ringing out monitors faster and cleaner than a vanilla constant-Q design. Touring sound rigs from the 90s through today have leaned on FCS-series for monitor and FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. duty. A solid alternative to the Klark DN360 that some engineers prefer for its slightly warmer character.
The BSS FCS-960 is a dual-channel 30-band graphic EQAn equalizer with one fader per fixed frequency band (31 on a pro unit) — fast broad tone-shaping, classic for ringing out monitors. built around BSS's Frequency Conscious filter design — a proprietary approach where cuts behave with a narrower Q and boosts open up wider. That asymmetry matters in real ring-out work: you can notch a feedback frequency tightly without gutting the surrounding octave, then add a gentle presence lift without creating a harsh spike. Two fully independent channels in 2UThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one. means a single unit handles a stereo IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. mix or two discrete monitor sends, which is exactly how most touring monitor racks use it.
At 240mm deep and 5.8kg, the FCS-960 sits comfortably in a standard shallow rack without fighting for real estate, and 24 watts idle means it won't stress a modest power strip. Both channels are XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. in and out — balancedCarries the signal on two wires and cancels whatever noise both pick up — why mic cables can run hundreds of feet hum-free., line levelThe strong signal that runs between pieces of gear (about a volt) — hotter than mic level, far below speaker level. throughout — so there's no adapter gymnastics patching it between a console auxAn auxiliary mix output — each aux is its own independent blend of the channels, typically one per monitor mix or effects send. and a drive rack or amplifier. The faders are long-throw and well-spaced for a 30-band unit, which makes precise adjustments under stage lighting less of a guess. Thirty bands at ISO centers gives you the resolution to chase a specific monitor build's resonances without the coarse compromises of a 15-band.
If your workflow is analog monitor worldThe side-stage domain of the monitor engineer — console, IEM racks, and everything feeding the band’s ears instead of the audience. or you're maintaining a touring rig that needs a physical graphic in the chain, the FCS-960 earns its rack space. Engineers who prefer its filter character over the Klark DN360 often cite a slightly warmer quality in the low-mids when boosting. If you're running a fully digital signal path with a console that already provides per-output GEQ — an SD-Range or a DiGiCo with internal processing — a hardware graphic may be redundantA second copy of anything critical — supply, computer, network path — already running so one failure can’t stop the show. weight and cost. Similarly, if you only need one channel, look at the single-channel FCS-966 before doubling your rack space.
In the rack
- Label each channel's fader position with tape or a photo after a successful ring-out — the FCS-960 has no recall, and rebuilding a tuned system from scratch mid-tour is avoidable.
- Patch it after any drive processor or delay unit in the chain but before the amp input; if you're using it for FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. correction, it should sit post-matrixA routing grid that builds extra outputs from any mix of mixes or channels — fills, lobby, stream feeds — without touching the main mix. so you're EQing the actual output path, not something that gets re-summed downstream.
- Keep both channels in use even on a mono send — leave the unused channel flat and bypassed rather than unpatched, so you always have a clean spare path if a fader develops a scratch or a channel develops noise mid-show.
- The shallow 240mm depth pairs well with a 250mm or 300mm deep rack shelf if you're building a compact fly rig; no need for a full 450mm touring case just to seat it properly.
Dual 30-band graphic EQAn equalizer with one fader per fixed frequency band (31 on a pro unit) — fast broad tone-shaping, classic for ringing out monitors. with FCS Frequency Conscious filter. Touring sound system standard.
I/O Ports (5)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| Input A (XLR) | XLR FEMALE | input | analog audio | — |
| Input B (XLR) | XLR FEMALE | input | analog audio | — |
| Output A (XLR) | XLR MALE | output | analog audio | — |
| Output B (XLR) | XLR MALE | output | analog audio | — |
- Power (IEC) (IEC C14)


