Behringer DSP1000P manuale d’uso

1 E User´s Manual Bedienungsanleitung D V e r s i o n 1 . 0 O c t ober 1998 VIRTUALIZER ® PRO DSP1000P ww w .behringer .de[...]

2 acc. to the Directives 89/336/EWG and 73/23/EWG We, BEHRINGER INTERNA TIONAL GmbH Hanns-Martin-Schleyer-Straße 36 - 38 D - 47877 Willich Name and address of the manufacturer or the introducer of the product on the market who is established in the EC herewith take the sole responsibility to confirm that the product: VIRTUALIZERPRO DSP1000P T y[...]

3 E This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosure - voltage that may be sufficient to con- stitute a risk of shock. This symbol, wherever it appears, alerts you to important operating and mainte- nance instructions in the accompanying literature. Read the manual. SAFETY INSTRUCTIO[...]

4 DSP1000P VIRTUALIZERPRO Ultra-high performance Digital Multi-Effects Processor powered by a 24-bit high-speed Digital Signal Processor (DSP) 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.), P[...]

5 E 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 [...]

6 T ABLE OF CONTENTS 1. INTRODUCTION ................................................................................................................. ..... 7 1.1 The Design Concept .......................................................................................................... ............. 7 1.2 Before you begin ........................[...]

7 E 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 acous- tics algorithms which allow for computing all room and reverb parameters with absolute pro-level quality and a highly [...]

8 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 packag- ing and its contents for any signs of physical damage, which may have occurred in transit. + If the unit is dama[...]

9 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 di[...]

10 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 manipu- late 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 e[...]

11 E any other key to quit MIDI mode. 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 autom[...]

12 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 d[...]

13 E 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 rhythmi[...]

14 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 rhyth[...]

15 E Delay/Reverb : normal delay left, delay time can be set from 0 to 630 ms with ENG.L-EDITA i n 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. EN[...]

16 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[...]

17 E when using a high-power P.A. system. Thus, the VIRTUALIZERPRO makes sure that no "un- wanted" 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 [...]

18 Dis play M ode 0 No c on tro ller data ar e t r ans m itted 1 Con t r o ller data a r e rec eiv ed but not t r ans m it ted 2 Con t r oller data are trans m it te d bu t n ot r ec eiv ed 3 Con t r o ller dat a are trans m it t ed an d r ec eiv ed T ab. 2.1: Controller settings The fourth page gives you access to the program change setup. The dis[...]

19 E 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[...]

20 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 [...]

21 E 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 multi- effects device in a guitar rack. Of course, you can connect it up in both stereo and mono. Fig. 3.3: Connecting the VIRTUALIZERPRO to a guitar amp (send/return-mono) Th[...]

22 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 sho[...]

23 E 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 r[...]

24 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 incr[...]

25 E 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. [...]

26 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. Sender Receiver Speaker Microphone Room Plate Fig. 4.3: Room reflec[...]

27 E 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 packag- ing and its contents for any signs of physical damage, which may have occurred in transit. + If the unit is damaged, plea[...]

28 1 2 3 2 1 3 Pin 1 Cable Input Output Pin 2 = (+) Signal Positive Pin 3 = (-) Signal Shield (+) Signal + Hum (-) Signal + Hum Negative (+)Hum + Signal (-)Hum + Signal 2 x Signal Ground RFI and Hum = Signal + 6 dB Fig. 5.1: Compensation of interference with balanced connections Unbalanced use of mono 1/4" jack plugs Ring Balanced use of stere[...]

29 E 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. The cent[...]

30 6. APPENDIX 6.1 Parameter overview Nr. EFFECT VA RIA TION EDIT A EDIT B ENGINE L ENGINE R ENGINE L ENGINE R 1 CATHEDRAL Reverb T im e Diff usion Early Reflections High Multiply 2 PLATE Reverb T im e Pre Delay Stereo W idth High Multiply 3 SMALL HALL Reverb T im e Diff usion Early Reflections Stereo W idth 4 ROOM Reverb Tim e Pre Delay W all Dam [...]

31 E 6.2 Delay values / increments for presets 10 and 11 V ari at i on Ty p e E d i t A S t ep S i z e (L & R) Del a y (L ) F r o m ( ms) U n ti l ( m s) Fr o m ( m s) U n ti l ( m s) 1 0 315 0 315 5 2 320 635 320 635 5 3 640 955 640 955 5 4 960 1275 960 1275 5 5 0 315 320 635 5 6 0 315 640 955 5 7 0 315 960 1275 5 8 320 635 640 955 5 9 320 635[...]

32 6. 3 MIDI-implementation M I DI I mp l ement at i on C hart Funk t ion Ü be rt r a ge n E rk a nnt B e m e rk ung Ba si c Channel Def ault Changed O FF , 1 - 16 O FF , 1 - 16 O FF , 1 - 16 O FF , 1 - 16 ges peic hert M ode Def ault M e s s ages Al te r e d 1,2, 3,4 X X 1,2, 3,4 X X Note Num ber Tru e V o i c e X X X X Ve l o ci ty Note O N Not [...]

33 E 6.4 Default settings E d i t AE d i t BE d i t AE d i t B 1 Cathedral 11 63 53 - 50 2P l a t e 1 4 95 0 - 2 0 3 S m all Hall 4 50 39 - 63 4 Room 30 0 29 - - 5 S t udio 9 9 49 - 31 6 Conc ert 23 20 51 - 63 7 S t age 20 55 60 - 63 8 V oc al 14 28 46 - 52 9 Pe r cu ssi o n 8 6 3 2 7 - - 10 Delay 1 24 30 24 30 11 E c ho 1 37 30 37 30 12 G ated Rev[...]

34 6. 5 Specifications Analog Inputs Connectors XLR and 1/4" jack Type R F filtered, servo balanced input Impedance 60 kO hm s balanced, 30 kOhms unbalanced Nominal Operating Level - 10dBV to +4dBu Max. Inpu t Level +16 dBu a t +4 dB nominal level, +2 dBV at -10 dBV nominal level Analog Outputs Connectors XLR and 1/4" jack Type E l ec t r[...]

35 E The information contained in this manual is subject to change without notice. No part of this manual may be reproduced or trans mitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any purpose, without the express written permission of BEHRINGER GmbH. BEHRINGER and VIRTUALIZER are [...]