Version 1.2 April 2001 ® www.behringer.
SHARK DSP110 2
SHARK DSP110 1. INTRODUCTION Thank you very much for expressing your confidence in BEHRINGER products by purchasing the SHARK DSP110. + This manual first describes the terminology used, so that you can fully understand the DSP110 and its functions. Please read the manual carefully and keep it for future reference. 1.
SHARK DSP110 Fig. 1.1: Typical feedback loop 1.2 Before you begin Your SHARK was carefully packed in the factory and the packaging is designed to protect the unit from rough handling. Nevertheless, we recommend that you carefully examine the carton and its contents for any signs of physical damage, which may have occurred during transit.
SHARK DSP110 Be sure that there is enough air space around the unit for cooling and please do not place the SHARK on high-temperature devices such as power amps, etc. to avoid overheating. Please use the enclosed power supply to connect the unit to the mains. The supply complies with all applicable safety standards. + Please note that all units must be grounded properly. For your own safety, you should never remove any ground connectors from electrical devices or power cords or render them inoperative.
SHARK DSP110 1.3 Control elements Fig. 1.2: Front panel control elements of the DSP110 1 The CLIP LEVEL METER shows you whether or not the digital circuitry is driven correctly. Any corrections can be made with the CLIP LEVEL control . Be sure that the CLIP LED wont light up. 2 The CLIP LEVEL control lets you adapt the internal gain optimally to the digital circuitry. If gain is too high (CLIP LED lights up), raise the CLIP LEVEL value by turning the control to the right (and vice versa).
SHARK DSP110 4 The 4-digit DISPLAY reads the absolute values of the adjusted parameters. 5 The FB-D FILTER STATUS LEDs display the status of each of the 12 individual filters. The SHARK uses four different filter modes: s Disabled filters (which can be re-enabled with the ACTIVE button). When a filter is off, its LED is not lit. s Free filters which automatically search for feedback frequencies and whose activity is shown by a flashing LED.
SHARK DSP110 9 The LOW CUT button lets you enter the high pass filters cut-off frequency (20 to 150 Hz). When set to OFF the filter is inoperative. The control and Hz LEDs light up while you are entering a value. Use the UP/DOWN buttons to edit. Pressing the LOW CUT button for a longer time (please wait, until all five parameter LEDs light up) enables the keypad lock feature which prevents inadvertent editing of parameters and settings.
SHARK DSP110 + + 13 When both FILTER LED and display stop flashing, the FILTER LEARN function has been completed. Press the FILTER key to cancel the function. After a short delay, the unit returns to the FILTER menu. The FILTER LEARN function generates short feedback-causing signals that are sent back to the DSP110s input, where feedbacks are detected and suppressed. The FILTER LEARN function is an useful tool for live concerts that prevents filters from being released prematurely.
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SHARK DSP110 20 This is the SHARKs balanced JACK input, which is wired in parallel to the XLR input. 21 Use the INPUT LEVEL switch to select the input sensitivity (microphone or line levels). In LINE mode, you can use the CLIP LEVEL control to adapt the internal level settings to the digital circuitry. Please make sure that the CLIP-LED will not light up. 22 The PHANTOM switch enables the Phantom Power supply required for condenser microphones.
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SHARK DSP110 2.1.3 Connection between mixing console and power amplifier When you use the SHARK as a Delay Line unit for speaker systems placed at various positions (see chapter 2.3), you should connect the SHARK between the consoles output and the input of the power amp driving the delayed speakers.
SHARK DSP110 2.1.4 The SHARK used in the monitor path Inserting the DSP110 in the monitor path of your mixing console gives you utmost protection against unwanted feedback. Monitor paths are particularly susceptible to feedback, because on stage there are usually several microphones and speakers placed close to each other.
SHARK DSP110 Fig. 2.4: Two SHARKs in the monitor path 2.1.5 The SHARK used in single channels and subgroups Whenever you want to make sure that wanted feedback such as the feedback sounds produced by a guitar wont be removed, you should insert one or several DSP110 into feedback-prone single channels (e.g. vocals) or subgroups of your mixing console! Route all channels that are susceptible to feedback (e.g. all vocal mics) to one or several subgroups, in which you insert one or several SHARKs.
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SHARK DSP110 2.2 The Feedback Destroyer in the SHARK The SHARK identifies feedback by splitting the entire frequency spectrum (20 Hz to 20 kHz) into sections of 1/60 of an octave and determining the level of each of these bands. The values calculated are then referenced to the level of the overall signal. The resulting level difference determines whether or not a filter is set.
SHARK DSP110 2.3 The integrated Delay In addition to speakers on or near the stage, major-scale installations often have speaker groups positioned at a distance to the stage or flown above the audience, in order to provide listeners away from the stage with direct sound. However, since sound needs some time to travel around (343.6 m/sec at 20°C, accelerates by 0.6 m/ sec per °C), it reaches the audience not simultaneously but gets delayed by a certain amount.
SHARK DSP110 between microphones, without producing any unpleasant side effects. A typical Gate application is the processing of vocal tracks. Especially when using a Compressor, the distance between microphone and singer is critical: as the distance increases, more and more disturbing background noise is picked up. Use the Gate function to fade out unwanted interference inaudibly during music pauses. In live applications, e.g.
SHARK DSP110 Unbalanced use of mono 1/4" jack plugs Balanced use of stereo 1/4" jack plugs Ring Balanced use with XLR connectors 2 1 3 1 2 3 21
SHARK DSP110 4. SPECIFICATIONS AUDIO INPUTS Connectors Type Impedance Nominal Operating Level Max. Input Level XLR and 1/4" jack RF filtered, servo-balanced input 6 kOhms balanced, 3 kOhms unbalanced microphone or line level source (switchable) +19 dBu at microphone level and line level AUDIO OUTPUTS Connectors Type Impedance Nominal Operating Level Max.
SHARK DSP110 5. RACKMOUNT (OPTIONAL) With the available rackmount (optional) you have the possibility to place five SHARKs on two units of space in your rack. + Before you begin with the work, please disconnect the Power Supply Units from the SHARKs! To mount the SHARKs on the rackmount you should use the supplied screws (type M3). You need two screws to fix one DSP110 onto the rackmount. In the bottom of your SHARK you will find two little threads.
SHARK DSP110 Fig. 5.1: Installation of the DSP110 on the available rackmount (optional) + Please, only use the supplied screws to install the SHARKs on the rackmount. Longer or thicker screws can damage the electronics inside of the device and doing so will void your warranty rights. You will need 2 units of space for the DSP110 rackmount. For technical reasons a little gap remains above the rackmount. 24 5.
SHARK DSP110 6. WARRANTY § 1 WARRANTY CARD/ONLINE REGISTRATION To be protected by the extended warranty, the buyer must complete and return the enclosed warranty card within 14 days of the date of purchase to BEHRINGER Spezielle Studiotechnik GmbH, in accordance with the conditions stipulated in § 3. Failure to return the card in due time (date as per postmark) will void any extended warranty claims.
