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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 dense reverberation, much like the natural reverb

ambience found in churches or cathedrals. Particularly suitable for solo instruments and voices. 

Varia-

tion

 modifies the decay time, 

EDIT A

 adjusts the differences between tiled and angular walls (diffusion),

while 

EDIT B – ENGINE L

 governs the early reflections and 

EDIT B – ENGINE R

 the brilliance of the

reverb signal.

Plate

: The sound of early reverb plates. The decay time can be set from 0-9 s using 

VARIATION

.

EDIT A

 determines the pre-delay by changing the perceived size of the room, 

EDIT B

 uses 

ENGINE L

to enhance the stereo image and 

ENGINE R

 to modify the room brilliance. A classic reverb program for

drums and solo voices.

Small Hall

: Simulation of a small, highly reverberating hall. Use short reverb times (

VARIATION

) to

process drum instruments or medium reverb times to enhance wind instruments. 

EDIT A

 controls diffu-

sion, 

EDIT B

 early reflections (

ENG. L

) and stereo width (

ENG. R

).

Room

: You can clearly hear the walls of this room as they are reflecting the sound. Their characteristics

can be changed with 

EDIT B

 (from reflective (tiles, marble) to absorbent (carpets, curtains). Use 

VARIA-

TION

 (reverb time / room size) to create any room type—from small store rooms to large living rooms.

EDIT A

 governs the pre-delay. A useful program for reverb that isn’t directly noticable (rap, hip hop

vocals) or to make dry recordings of instruments sound natural again. Very all-round effect.

Studio

: Middle to large rooms that can be modified in their wall characteristics (

EDIT B, ENG. R

), early

reflections (

EDIT B – ENG. L

), position of sound source (= pre-delay: 

EDIT A

) and size (

VARIATION

).

Creates a natural and multipurpose sound.

Concert

: Use 

VARIATION

 (reverb time) to create a small theater or large concert hall, determine the

distance to the stage (= predelay: 

EDIT A

), the distance to neighboring walls  (= early reflections:

EDIT B – ENG. L

) and their structure (= diffusion: 

EDIT B – ENG. R

).

Stage

: Wonderful reverb, for example, to provide keyboard pads or acoustic guitars with width and

depth (

EDIT B – ENG. R = stereo width

), and to make them sound fresher (

EDIT B – ENG. L = bril-

liance

). Additionally, you can set the reverb time with 

VARIATION

 and the diffusion with 

EDIT A

.

Designed for live applications and mixdown.

Vocal

: Rich and dense reverb with middle reverb times (

VARIATION

) giving solo voices their finishing

touch. 

EDIT A

 controls pre-delay, 

EDIT B – Eng.L

 early reflections

 

and 

EDIT B – ENG

. R brilliance.

Percussion

: This dense reverb is characterized by pronounced early reflections which make it very

suitable for dynamic signals (drums, percussion, slap bass, etc.). Apart from diffusion (

EDIT A

) and

reverb time (

VARIATION

) you can create interesting effects using the separately adjustable decay time

of high-frequency portions (

EDIT B

), which make the reverb more, or less audible.

Stereo Delay

: Here, the input signal is delayed by as much as 5.1 s. Use 

VARIATION

 for a rough

setting from 0 ms to 5.1 s. Use 

EDIT A

 to adjust the delay time in milliseconds (in steps of 5 ms up to

VARIATION 6, then 10 ms). 

EDIT B

 determines the amount of effect signal that is fed back to the effect

(input signal is repeated several times with decaying intensity). The maximum feedback is limited to

avoid feedback loops.

Stereo Ping-Pong Echo

: Much like the delay effect, echo repeats the input signal with decaying

intensity. However, here the echoes lose brilliance with each repetition, which simulates the trendy

“vintage” effect produced by tape echo units that were widely used in the pre-digital era. Additionally, the

“reflections” are alternatingly routed to the left and right channels so as to produce a kind of stereo

effect.

1. INTRODUCTION

Get user manuals: 

See SafeManuals.com

 

 

Summary of Contents for VIRTUALIZER PRO DSP1000P

Page 1: ...1 E User s Manual Bedienungsanleitung D Version 1 0 October 1998 VIRTUALIZER PRO DSP1000P www behringer de Get user manuals See SafeManuals com...

Page 2: ...00P Type designation and if applicable Article No which refers to this declaration is in accordance with the following standards or standardized documents x EN 60065 x EN 61000 3 2 x EN 55020 x EN 610...

Page 3: ...entilation openings Heat The appliance should be situated away from heat sources such as radiators heat registers stoves or other appliance including amplifiers that produce heat Power Source The appl...

Page 4: ...the sound sources s Free VIRTUALIZER DESIGN software allows for total remote control via PC download at www behringer de s 20 bit A D and D A converters with 64 128 times oversampling for ultra high...

Page 5: ...most important member of the BEHRINGER family With your highly competent suggestions for new products you ve greatly contributed to shaping our company and making it successful In return we guarantee...

Page 6: ...aux bus 19 3 3 Using the VIRTUALIZER PRO in the insert path 20 3 4 Using the VIRTUALIZER PRO as an effects device for instruments 21 3 5 Using the VIRTUALIZER PRO in a MIDI system 22 3 6 Saving data v...

Page 7: ...erated easily and conveniently All parameter edits are performed with the jog wheel rotary control 100 presets are available to store user defined programs However the DSP1000P is by no means limited...

Page 8: ...ease make sure that all units have a proper ground connection Before you connect your VIRTUALIZER PRO to the mains please make sure that your local voltage matches the voltage required by the unit see...

Page 9: ...EL a continuous rotary control you can freely edit the selected parameters Turn the wheel clockwise to increase the values or counterclockwise to reduce them As long as none of the edit functions to t...

Page 10: ...set as shown in the display 100 user presets are available on the DSP1000P Press the key once to select a memory location number then press it again to store the preset 15 Use the POWER switch to swit...

Page 11: ...6 5 SPECIFICATIONS Please use the enclosed mains cable to connect the unit to the mains power supply Please note that not all appliances can be used with different mains voltage ratings Please check t...

Page 12: ...ound source pre delay EDIT A and size VARIATION Creates a natural and multipurpose sound Concert Use VARIATION reverb time to create a small theater or large concert hall determine the distance to the...

Page 13: ...binets in the 70 s EDIT A controls the speed of the horn loaded speaker treble range EDIT B that of the rotor bass range Vocoder Another all time favorite that has gained new popularity during the dis...

Page 14: ...the Delay Mix Pitch Reverb Use ENGINE L to transpose the pitch shifter EDIT A cents EDIT B semi tones and ENGINE R to control the reverb Bright Room Flanger Reverb The flanger can be controlled in its...

Page 15: ...Echo Left channel a flanger modulation freqency is controlled with VARIATION depth with ENG L EDIT A and feedback with ENG L EDIT B Right channel echo effect delay time can be set from 0 to 630 ms wit...

Page 16: ...e note that the VIRTUALIZER PRO generally activates the newly selected presets only after about one second which is indicated by a dot in the lower right corner of the display After loading the data t...

Page 17: ...ou re editing a preset the display starts flashing to indicate that the edits will be saved only when you confirm them by pressing the STORE key twice Example s You recall a program for editing Then y...

Page 18: ...nsfer has ended This is done automatically when you switch off the VIRTUALIZER PRO If you press the IN OUT key again on the fifth page the VIRTUALIZER PRO quits MIDI setup mode On the sixth and last p...

Page 19: ...ALIZER PRO s many uses please note the following remarks on how to set signal levels correctly 3 1 Level setting Take care to set all levels properly on the VIRTUALIZER PRO Low levels deteriorate the...

Page 20: ...depth of the chorus effect can be set by pressing the EDIT B key Having edited all parameters as desired you can save the changes to the original or any other preset 3 3 Using the VIRTUALIZER PRO in...

Page 21: ...use the effect loop to determine the amount of effect added to the guitar signal Instrumentalists can benefit from a variety of advantages offered by the VIRTUALIZER PRO s MIDI imple mentation For exa...

Page 22: ...e until all presets of your choice have been sent to the external data recorder To load archived data back into the VIRTUALIZER PRO you must enable controller reception in MIDI mode see 2 5 Then start...

Page 23: ...e grid gives rise to errors and these errors are the cause of quantizing noise Unfortunately quantizing noise has the characteristic of being much more noticeable and unpleasant to the ear than natura...

Page 24: ...d the very fact that they do not arrive from the same direction as the direct signal see fig 4 2 makes it possible to hear spatial information i e to perceive the direct signal as if it is embedded in...

Page 25: ...m reproduces the essential parameters of typical reverb rooms with considerably more detail and realism 4 2 1 Reverberation chambers Reverberation chambers deliver the most natural form of reverb In g...

Page 26: ...verb plates have almost completely vanished from the studio because digital devices feature a wealth of advantages s Excellent reverb quality s Mass production allows for reducing the prices of digita...

Page 27: ...e IMPORTANT This does not apply for general export models which are built for one operating voltage only The AC voltage selection is defined by the position of the fuse holder If you intend to change...

Page 28: ...of stereo 1 4 jack plugs Balanced use with XLR connectors 1 2 3 2 1 3 Input Output Tip Signal Tip hot ve Sleeve Ground Shield Sleeve Ground Shield Tip Tip Sleeve Sleeve Strain relief clamp Strain rel...

Page 29: ...n the rear panel are of the universally used 5 pin DIN type You require suitable MIDI cables to connect the VIRTUALIZER PRO to other MIDI devices Normally complete cables will be pur chased for this u...

Page 30: ...nt Cent Semi Tone Semi Tone 18 FLANGER Mod Frequency Mod Depth Mod Depth Mod Feedback Mod Feedback 19 CHORUS Mod Frequency Mod Delay Mod Delay Mod Depth Mod Depth 20 TREMOLO DELAY Mod Frequency Mod De...

Page 31: ...10 14 0 630 3200 3830 10 15 640 1270 1280 1910 10 16 640 1270 1920 2550 10 17 640 1270 2560 3190 10 18 640 1270 3200 3830 10 19 1280 1910 1920 2550 10 20 1280 1910 2560 3190 10 21 1280 1910 3200 3830...

Page 32: ...OFF All notes OFF Active Sense Reset X X X X X X X X Notes O JA X NEIN Mode 1 OMNI ON POLY Mode 2 OMNI ON MONO Mode 3 OMNI OFF POLY Mode 4 OMNI OFF MONO Tab 6 3 MIDI implementation chart Parameter Nam...

Page 33: ...8 14 16 Vocoder 4 10 56 17 Pitch 0 0 0 0 18 Flanger 1 6 56 6 56 19 Chorus 1 32 63 32 63 20 Tremolo Delay 19 63 63 0 0 21 Delay Reverb 21 63 9 57 56 22 Pitch Reverb 6 0 50 52 23 Flanger Reverb 4 63 63...

Page 34: ...N OUT THRU Digital Processing Converters 20 bit Sigma Delta 64 128 times Oversampling Sampling Rate 46 875 kHz Display Type 2 digit numeric LED Display Power Supply Mains Voltages USA Canada 120 V AC...

Page 35: ...of BEHRINGER INTERNATIONAL to provide proper war ranty service shall not entitle the buyer to claim consequential damages In no event shall the liability of BEHRINGER INTERNA TIONAL exceed the invoice...

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