Bedienungsanleitung Version 1.0 October 1998 ® VIRTUALIZER PRO DSP1000P User´s Manual www.behringer.
EG-Declaration of Conformity INTERNATIONAL GmbH acc.
SAFETY INSTRUCTIONS CAUTION: To reduce the risk of electrical shock, do not remove the cover (or back). No user serviceable parts inside; refer servicing to qualified personnel. WARNING: To reduce the risk of fire or electrical shock, do not expose this appliance to rain or moisture. This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosure - voltage that may be sufficient to constitute a risk of shock.
VIRTUALIZER PRO Ultra-high performance Digital Multi-Effects Processor powered by a 24-bit high-speed Digital Signal Processor (DSP) DSP1000P s Wave Adaptive Virtual Room reverb algorithms calculated from precise mathematical room models to give you ultra-natural reverb effects s 32 breathtaking Reverb, Chorus, Flanger, Delay (10 sec.
FOREWORD Dear Customer, Welcome to the team of VIRTUALIZER PRO users and thank you very much for expressing your confidence in BEHRINGER products by purchasing this unit. It is one of my most pleasant tasks to write this letter to you, because it is the culmination of many months of hard work delivered by our engineering team to reach a very ambitious goal: making an outstanding device better still. The VIRTUALIZER DSP1000 has for quite a long time been a standard tool used by numerous studios and P.A.
TABLE OF CONTENTS 1. INTRODUCTION ...................................................................................................................... 7 1.1 1.2 1.3 1.4 The Design Concept ....................................................................................................................... 7 Before you begin ............................................................................................................................ 8 Control elements ......................................
1. INTRODUCTION The BEHRINGER VIRTUALIZER PRO is a member of the latest generation of multi-effects processors. To generate reverberation that is very natural in character, we at BEHRINGER developed innovative virtual acoustics algorithms which allow for computing all room and reverb parameters with absolute pro-level quality and a highly natural sound character. Since its introduction in the early 80s, artificial digital reverb has been an indispensable standard tool for studio and live applications.
system. 1.2 Before you begin Your BEHRINGER VIRTUALIZER PRO was carefully packed in the factory and the packaging was designed to protect the unit from rough handling. Nevertheless, we recommend that you carefully examine the packaging and its contents for any signs of physical damage, which may have occurred in transit. + If the unit is damaged, please do not return it to us, but notify your dealer and the shipping company immediately, otherwise claims for damage or replacement may not be granted.
E Fig. 1.2: Display section of the DSP1000P 1 + The two LED chains display the input signal level in dB, referenced to the internal digital maximum. Please note that the nominal level of the VIRTUALIZER PRO can be selected with the +4 dBu / -10 dBV switch located on the back panel. 2 The EFFECT TABLE gives you an overview of the 32 different effect algorithms. 3 After power-up, the LED display shows the number of the preset last used.
6 The VARIATION key allows you to select an alternative variation of each effect algorithm activating a different setup of the numerous internal effect parameters. With this feature you can extensively manipulate the effect sound within a very wide range. 7 Use the ENGINE L key to select the left audio channel for true-stereo effects. Many effects may have different ENGINE L and ENGINE R parameters available through EDIT A and EDIT B.
any other key to quit MIDI mode. E Fig. 1.4.: Back panel connectors and control elements 16 Use the OPERATING LEVEL switch to adapt the VIRTUALIZER PRO to different operating levels. You can select a -10 dBV semi-pro level used for home recording and a +4 dBu level used in professional studios. The level indicators on the front panel are automatically adapted to read the selected nominal level, i.e. an optimum operating range of the meters is always guaranteed.
from the right channel. In those cases EDIT B ENGINE L or EDIT B ENGINE R means that you select EDIT B and the left or right engine. If we only state EDIT B for instance then the selection of the left or right engines does not play a role. 1.4.1 Reverb and delay algorithms Cathedral: Reverb program that generates long and dense reverberation, much like the natural reverb ambience found in churches or cathedrals. Particularly suitable for solo instruments and voices.
+ Gated Reverb: Phil Collins song In the air tonight made this effect famous: a reverb is cut off abruptly after a certain time. VARIATION determines the cutoff time, EDIT A controls the reverb intensity and EDIT B the threshold above which reverb comes in (a kind of noise-gate before the reverb signal input). If used for rhythmical signals (snare) adjust the length so that the reverb is cut off just before the next quarter note (e.g. bpm = 120, quarter note = 0.5 s, length less than 0.5 s).
Tremolo & Delay: Since trip hop has become trendy, this effect originally found in guitar amps is used to produce a more or less fast and intensive variation of volume (with an additional panorama effect included in the DSP1000P). The modulation speed is controlled with VARIATION, the intensity with EDIT A, and the panning rhythm with EDIT B. This algorithm belongs to the group of multi-effects programs and also includes a delay effect which can be adjusted with EDIT A - ENG.
Delay/Reverb: normal delay left, delay time can be set from 0 to 630 ms with ENG. L - EDIT A in 10 ms steps and feedback by ENG. L - EDIT B. Right channel = reverb, with reverb time controlled by ENG. R - EDIT A and brilliance with ENG. R - EDIT B.reverb right. Pitch/Echo: Left channel a pitch shifter. ENG. L - EDIT A = shift in cents, ENG. L - EDIT B = semitones. Right channel = echo effect, delay time can be set from 0 to 630 ms with ENG. R - EDIT A in 10 ms steps and feedback by ENG. R - EDIT B.
2. OPERATION 2.1 Effects structure Fig. 2.1: Effects structure 2.2 Selecting presets The VIRTUALIZER PRO stores 100 user-definable presets. After power-up, the unit automatically recalls the preset last used. To select another preset, use the jog wheel to enter the preset number of your choice. Turn the wheel clockwise to increment the preset number, or counterclockwise to decrement it.
+ when using a high-power P.A. system. Thus, the VIRTUALIZER PRO makes sure that no "unwanted" programs are loaded unintentionally. Additionally, you can rotate the jog wheel at high speed and still have the time to specifically select the preset of your choice, instead of any of its "neighbours". The effect algorithms may have greatly varying output levels, reduce the sensitivity (input gain) of subsequent devices before changing programs. 2.
Dis play 0 1 2 3 Mode No controller data are trans m itted Controller data are rec eived but not transm itted Controller data are trans mitted but not rec eived Controller data are trans mitted and rec eived Tab. 2.1: Controller settings The fourth page gives you access to the program change setup. The display shows a capital P (=Program).
s MIDI THRU The MIDI THRU jack is used to loop through incoming MIDI data, i.e. any control data received at the MIDI IN of the VIRTUALIZER PRO can be transmitted via the MIDI THRU jack to other MIDI devices/instruments. s MIDI OUT The MIDI OUT jack allows for transmitting MIDI data that originate from the VIRTUALIZER PRO. We are currently developing a software editor which will allow for storing single items of the VIRTUALIZER PROs internal data on an external medium, by using controller commands.
Connect the two Input phone jacks with the Aux Send outputs of the mixing console, and the Output jacks of the VIRTUALIZER PRO with the Aux Return inputs of the console. If you want to use the BEHRINGER VIRTUALIZER PRO in mono or dual mode, connect one audio channel (left or right) to one aux bus. + Turn down the volume on your amplifier to protect your equipment against damage. All devices you wish to interconnect should remain switched off until they are wired correctly.
3.4 Using the VIRTUALIZER PRO as an effects device for instruments With its extensive MIDI implementation the VIRTUALIZER PRO can also be used, for instance, as a multieffects device in a guitar rack. Of course, you can connect it up in both stereo and mono. E Fig. 3.3: Connecting the VIRTUALIZER PRO to a guitar amp (send/return-mono) The following hints illustrate the VIRTUALIZER PROs versatility if used with a guitar amp.
3.5 Using the VIRTUALIZER PRO in a MIDI system With its built-in MIDI interface the VIRTUALIZER PRO can be integrated into any MIDI system. It transmits and receives both program change and controller change information to perform program changes via MIDI from a sequencer or any other MIDI device. Wire and set up the VIRTUALIZER PRO as shown below: Fig. 3.4: Connecting the VIRTUALIZER PRO via MIDI to a sequencer/computer and a keyboard (optional) 3.
amplitude into a numerical value, quantizing. The two actions together are referred to as digitizing. In order to carry out the opposite the conversion of a digitized signal into its original analog form a Digital to Analog Converter or DAC is used. In both cases the frequency at which the device operates is called the sampling rate. The sampling rate determines the effective audio frequency range. The sampling rate must always be more than twice the value of the highest frequency to be reproduced.
distortion as a percentage of the total signal rising with the increase of the input signal level. Digital distortion is quite different, as illustrated by the following example. If we take the situation where a 4 bit word has the positive maximum value of 0111, and add to it the smallest possible value of 0001 (in other words, the smallest increase in amplitude possible), the addition of the two results in 1000 the value of the negative maximum.
acoustics of a room that is much smaller in size. In addition to the capability of human hearing to determine the direction from where a sound phenomenon arrives, we can also hear modulations of acoustic events. Of importance in this context is the frequency of the modulated signals. Frequency modulations below 100 Hz are virtually inaudible. However frequency modulations can clearly be heard when occurring in the midrange frequency band, due to the "sensitivity" of human hearing.
in a (reverberation) room, i.e. they are spread in all directions, are reflected when they reach the plate edges, and you can basically distinguish between early and later reflections. The result is an almost natural reverb ambience, however, whose decay time cannot be modified. Room Plate Speaker Sender Microphone Receiver Fig. 4.
5. INSTALLATION Your BEHRINGER VIRTUALIZER PRO was carefully packed in the factory and the packaging was designed to protect the unit from rough handling. Nevertheless, we recommend that you carefully examine the packaging and its contents for any signs of physical damage, which may have occurred in transit. + If the unit is damaged, please do not return it to us, but notify your dealer and the shipping company immediately, otherwise claims for damage or replacement may not be granted.
Output Cable Input Ground Pin 1 2 1 1 Shield (+) Signal + Hum (-) Signal + Hum Pin 2 = (+) Signal 3 2 Positive (+)Hum + Signal Negative (-)Hum + Signal 3 Pin 3 = (-) Signal 2 x Signal = Signal + 6 dB RFI and Hum Fig. 5.
5.4 MIDI connections The MIDI standard was developed in the early 1980s to allow electronic musical instruments from different manufacturers to communicate with each other. The use of MIDI has developed over the intervening years to the stage where it is now common to find complete recording studios operating entirely on a MIDI basis.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 VARIATION CATHEDRAL Reverb Time PLATE Reverb Time SMALL HALL Reverb Time ROOM Reverb Time STUDIO Reverb Time CONCERT Reverb Time STAGE Reverb Time VOCAL Reverb Time PERCUSSION Reverb Time DELAY Del. Coarse ECHO Del. Coarse GATED REVERB Gate Time REVERSE REVERB Gate Time VOCAL DISTORTION Distortion Type ROTARY SPEAKER Rotary Type VOCODER Vocoder Type PITCH FLANGER Mod. Frequency CHORUS Mod.
6.
6.3 MIDI-implementation M IDI Implementation Chart Funktion Basic Channel Default Changed Default Messages Altered Mode Note Number Velocity After Touch True Voice Note ON Note OFF Key´s Ch´s Übe rtra ge n Erka nnt Be m e rkung OFF, 1 - 16 OFF, 1 - 16 1,2,3,4 X X X X X X X X X O 20 - 30 O (0-99) 1-100 X X X X X X X X X X gespeichert Pitch Bender Control Progr.
6.4 Default settings No.
6.5 Specifications Analog Inputs Connectors Type Impedance Nominal Operating Level Max. Input Level XLR and 1/4" jack RF filtered, servo balanced input 60 kOhms balanced, 30 kOhms unbalanced -10dBV to +4dBu +16 dBu at +4 dB nominal level, +2 dBV at -10 dBV nominal level Analog Outputs Connectors Type Impedance Max.
7. WARRANTY § 1 WARRANTY CARD To be protected by this warranty, the buyer must complete and return the enclosed warranty card (signed/stamped by retail dealer) within 14 days of the date of purchase to BEHRINGER INTERNATIONAL (address see § 3). Failure to return the card in due time (date as per postmark) will void any extended warranty claims. this modification/adaptation shall not be considered a defect in materials or workmanship.
