Behringer DSP1024P User Manual

User´s Manual

PRO DSP1024P

ENGLISH

Version 1.0 August 2000

®

VIRTUALIZER

www.behringer.com

VIRTUALIZER PRO DSP1024P

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.

DETAILED SAFETY INSTRUCTIONS:

All the safety and operation instructions should be read before the appliance is operated.

Retain Instructions:

The safety and operating instructions should be retained for future reference.

Heed Warnings:

All warnings on the appliance and in the operating instructions should be adhered to.

Follow instructions:

All operation and user instructions should be followed.

Water and Moisture:

The appliance should not be used near water (e.g. near a bathtub, washbowl, kitchen sink, laundry tub, in a wet
basement, or near a swimming pool etc.).

Ventilation:

The appliance should be situated so that its location or position does not interfere with its proper ventilation.
For example, the appliance should not be situated on a bed, sofa rug, or similar surface that may block the
ventilation openings, or placed in a built-in installation, such as a bookcase or cabinet that may impede the
flow of air through the ventilation 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 appliance should be connected to a power supply only of the type described in the operating instructions
or as marked on the appliance.

Grounding or Polarization:

Precautions should be taken so that the grounding or polarization means of an appliance is not defeated.

Power-Cord Protection:

Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed
upon or against them, paying particular attention to cords and plugs, convenience receptacles and the point
where they exit from the appliance.

Cleaning:

The appliance should be cleaned only as recommended by the manufacturer.

Non-use Periods:

The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time.

Object and Liquid Entry:

Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.

Damage Requiring Service:

The appliance should be serviced by qualified service personnel when:

- The power supply cord or the plug has been damaged; or

- Objects have fallen, or liquid has been spilled into the appliance; or

- The appliance has been exposed to rain; or

- The appliance does not appear to operate normally or exhibits a marked change in performance; or

- The appliance has been dropped, or the enclosure damaged.

Servicing:

The user should not attempt to service the appliance beyond that is described in the Operating Instructions. All
other servicing should be referred to qualified service personnel.

This symbol, wherever it appears, alerts
you to important operating and mainte­nance instructions in the accompanying
literature. Read the manual.

2

VIRTUALIZER PRO DSP1024P

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 PRO has for quite a long time been a standard tool used by numerous studios
and P.A. rental companies. The task to improve one of our best-selling products certainly meant a great deal
of responsibility, which we assumed by focusing on you, the discerning user and musician. It also meant a lot
of work and night shifts to accomplish this goal. But it was fun, too. Developing a product usually brings a lot
of people together, and what a great feeling it is when everybody who participated in such a project can be
proud of what weve achieved.

It is our philosophy to share our joy with you, because you are the 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 you uncompromising quality (manufactured under
ISO9000 certified management system) as well as excellent technical and audio properties at an extremely
favorable price. All of this will enable you to fully unfold your creativity without being hampered by budget
constraints.

We are often asked how we can make it to produce such high-grade devices at such unbelievably low prices.
The answer is quite simple: its you, our customers! Many satisfied customers means large sales volumes
enabling us to get better conditions of purchase for components, etc. Isnt it only fair to pass this benefit back
to you? Because we know that your success is our success, too!

I would like to thank all people whose help on Project VIRTUALIZERPRO has made it all possible. Everybody
has made very personal contributions, starting from the designers of the unit via the many staff members in our
company to you, the user of BEHRINGER products.

My friends, its been worth the trouble!

Thank you very much,

Uli Behringer

3

VIRTUALIZER PRO DSP1024P

VIRTUALIZERPRO

Ultra-high performance Digital Multi-Effects Processor powered by a 24-bit high-speed Digital Signal Processor (DSP)

DSP1024P

4

VIRTUALIZER PRO DSP1024P

TABLE OF CONTENTS

1. INTRODUCTION ..................................................................................................................... 6

1.1 The design concept......................................................................................................................... 6

1.2 Before you begin ............................................................................................................................. 7

1.3 Control elements............................................................................................................................. 7

1.4 The effect algorithms..................................................................................................................... 10

1.4.1 Reverb and delay algorithms ................................................................................................11

1.4.2 Special effects .................................................................................................................... 12

1.4.3 Modulation and pitch shifter effects ..................................................................................... 12

1.4.4 Effect algorithm combinations (multi-effects programs)........................................................ 12

1.4.5 Dual-mode effects algorithms .............................................................................................. 13

2. OPERATION .......................................................................................................................... 14

2.1 Effects structure............................................................................................................................ 14

2.2 Selecting presets .......................................................................................................................... 14

2.3 Editing programs........................................................................................................................... 15

2.4 Saving programs ........................................................................................................................... 15

2.5 MIDI control................................................................................................................................... 15

3. APPLICATIONS .....................................................................................................................17

3.1 Level setting.................................................................................................................................. 17

3.2 Using the VIRTUALIZERPRO in the aux bus................................................................................ 17

3.3 Using the VIRTUALIZERPRO in the insert path............................................................................ 18

3.4 Using the VIRTUALIZERPRO as an effects device for instruments ............................................... 19

3.5 Using the VIRTUALIZERPRO in a MIDI system............................................................................ 20

3.6 Saving data via MIDI ...................................................................................................................... 20

4. TECHNICAL BACKGROUND .............................................................................................. 21

4.1 Reverberation and reflection .......................................................................................................... 21

4.1.1 Reverberation chambers...................................................................................................... 22

4.1.2 Spring and plate reverb........................................................................................................ 22

4.1.3 Digital reverb ....................................................................................................................... 23

5. INSTALLATION ..................................................................................................................... 24

5.1 Mains connection.......................................................................................................................... 24

5.2 Audio connections ........................................................................................................................ 24

5.3 MIDI connections .......................................................................................................................... 25

5.4 Operating Level switch .................................................................................................................. 26

6. APPENDIX ............................................................................................................................. 26

6.1 Parameter overview ....................................................................................................................... 26

6.2 Delay values / increments for presets 10 and 11........................................................................... 27

6.3 MIDI Implementation ..................................................................................................................... 28

6.4 Default settings ............................................................................................................................. 29

7. SPECIFICATIONS ................................................................................................................. 30

8. WARRANTY ...........................................................................................................................31

5

VIRTUALIZER PRO DSP1024P

1. INTRODUCTION

With the BEHRINGER VIRTUALIZERPRO you have purchased a very powerful multi-effects processor which
offers both first-class reverb sounds and various other effect algorithms. Although you will find a high number of
effect types  32 newly developed effect types with more than 700 variations  the VIRTUALIZERPRO can be
operated easily and intuitively with its logically structured user interface.

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.

Despite extensive computing work which is done in the DSP1024P by a dual-engine 24-bit processor, the
VIRTUALIZERPRO can be operated 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 DSP1024P is by no means limited to excellent reverb and delay programs. In addition to the
simulation of classic plate reverbs, the VIRTUALIZERPRO gives you extraordinary modulation effects (such
as chorus and flanger), plus a few special-purpose variants, e.g. a musical pitch shifter as well as tremolo and
rotary speaker simulations. With the vocoder and vocal distortion effect programs, you even have ultra-modern
effects available that the DSP1024P generates with absolute realism.

A very special feature are the high and low filters which can be freely edited and directly selected in each
preset. With these filters you can fine-tune the sound of your presets to match any given room characteristics
 a time saving feature especially for live applications, where every second counts. Additionally, the DSP1024P
offers delay times of up to 5.1 seconds in stereo mode. Not only will the VIRTUALIZERPRO convince you with
its logical and easy-to-operate user interface, its technical features, too, are quite impressive. The following
criteria ensure the pro-level processing of audio signals:

s Extremely low-noise and high-precision 24-bit AD/DA converters.
s A professional sampling rate of 46 kHz ensures a high signal resolution with a frequency response ranging

from 20 Hz to 20 kHz.

s The 24-bit processor features two sections (dual-engine software), each processing one independent audio

channel.
s Like all BEHRINGER products, the DSP1024P uses only high-grade components and circuitry.
With its complete MIDI implementation the DSP1024P can be integrated in any MIDI system. Our free

VIRTUALIZERdesign MIDI software editor (available at www.behringer.com) enables you to program the
VIRTUALIZERPRO from your personal computer, and the MIDI interface allows for transmitting data from the
DSP1024P and store them on an external storage medium. For example, you can use sys-ex dumps to send
all presets and settings to your sequencer program and reload them from there whenever you want.

+ The following instructions manual will introduce you to the BEHRINGER VIRTUALIZERPRO

and its various functions. After reading the manual carefully, make sure it is always on hand
for future reference.

1.1 The design concept

The philosophy behind BEHRINGER products guarantees a no-compromise circuit design and employs the best
choice of components. Top-quality 24-bit AD/DA converters which belong to the best components
available owing to its outstanding specifications and excellent sonic characteristics. Two 24-bit DSPs are used
as the heart of the VIRTUALIZERPRO. These perform the precise calculations needed for the processing of the
complex algorithms. Additionally, the VIRTUALIZERPRO uses high quality resistors and capacitors with very
tight tolerances, high-grade switches, low-noise operational amplifiers as well other selected components.

The VIRTUALIZERPRO DSP1024P uses SMD technology (Surface Mounted Device). These subminiature
components known from aerospace technology allow for an extreme packing density, plus the units reliability
could be improved. Additionally, the unit is manufactured in compliance with a ISO9000 certified management
system.

6

1. INTRODUCTION

VIRTUALIZER PRO DSP1024P

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.
Shipping claims must be made by the consignee.

The BEHRINGER VIRTUALIZERPRO fits into one standard 19" rack unit of space (1 3/4"). Please allow at

least an additional 4" depth for the connectors on the back panel.

Be sure that there is enough space around the unit for cooling and please do not place the VIRTUALIZERPRO

on high temperature devices such as power amplifiers etc. to avoid overheating.

+ Before you connect your VIRTUALIZERPRO to the mains, please make sure that your local

voltage matches the voltage required by the unit.

The mains connection of the VIRTUALIZERPRO is made by using a mains cable and a standard IEC

receptacle. It meets all of the international safety certification requirements. Please make sure that all units

have a proper ground connection.

+ Please make sure that all units have a proper ground connection. For your own safety, do not

remove the ground connection within the units or at the supply, or fail to make this connection
at all.

+ Please ensure that only qualified persons install and operate the VIRTUALIZERPRO. During

installation and operation the user must have sufficient electrical contact to earth. Electro­static charges might affect the operation of the VIRTUALIZERPRO!

See chapter 5 INSTALLATION for further details.

As a standard the audio inputs and outputs on the BEHRINGER VIRTUALIZERPRO are fully balanced. If

possible, connect the unit to other devices in a balanced configuration to allow for maximum interference

immunity. The automatic servo function detects unbalanced connections and compensates the level difference

automatically (6 dB correction).

The MIDI links (IN/OUT/THRU) are made over standardized DIN patch cords. The data communication is

isolated from ground by opto-couplers.

1.3 Control elements

7

VIRTUALIZER PRO DSP1024P

8

VIRTUALIZER PRO DSP1024P

8

Use the ENGINER key to select the right audio channel (similar to : ENGINEL). If you wish to
process the left and right audio channels simultaneously (couple mode), press both ENGINE keys
together. In couple mode both ENGINE LEDs light up. Whenever you edit one of the two audio
channels and then switch to couple mode, the parameters of the active channel will be copied to the
other; i.e if you press ENGINE L before R, left will be copied to right. When parameters cannot be
adjusted separately in a specific algorithm, the DSP1024P switches to couple mode automatically.

9

In each preset you can edit at least two parameters in addition to the preset variation. Use the EDITA
key to select the first parameter. The exact parameter assignment can be seen from the parameter list
printed on top of the unit.

10

The EDITB key allows you to modify the second parameter as required.

11

To give your programs the finishing touch, the VIRTUALIZERPRO incorporates two filters. Use the
EQ HI key to raise or lower the high-frequency portions of the effect program.

12

The EQ LO key activates a filter which processes the low-frequency portions of your preset.

13

The IN/OUT key enables you to bypass the DSP1024P. The green LED lights up as soon as the
VIRTUALIZERPRO is activated. Depending on the Mix mode adjusted (see below), this key can also be
used to activate the Mute function. Additionally, the green LED starts flashing whenever MIDI data are
being received.

14

Use the STORE key to save the edited program to a user preset as shown in the display. 100 user
presets are available on the DSP1024P. Press the key once, select a memory location (number) with
the JOG WHEEL, then press the key again to store the preset.

15

Use the POWER switch to switch the VIRTUALIZERPRO on or off.

Key combinations

To protect the DSP1024P against user errors, three important edit commands have been implemented as a

series of key combinations. For example, in normal operating modes, the presets cannot be reset to their

factory defaults, so as to secure your own programs as safely as possible. Please proceed as follows to

reinitialize the preset default settings:

s Keep the keys EFFECT and STORE pressed before powering up the VIRTUALIZERPRO. Then switch

on the DSP1024P and keep the two keys pressed for about two seconds. The program numbers are
counted up and reset to their original default settings.

The VIRTUALIZERPRO provides two methods to mix the input and the effect signals (External Mix and Internal

Mix modes). Select External Mix mode to use the DSP1024P with a mixing console: in this mode all presets

are set to 100% effect intensity, i.e. you can use the aux return busses of your console to add the processed

signal to the original signal. In External Mix mode the IN/OUT key is used to bypass the unit. Heres how to

enter External Mix mode:

s With the unit switched on, press the Mix mode key combination, i.e. the keys EQ LO and EQ HI. The

VIRTUALIZERPRO enters Mix mode. When the display shows two dashes, the DSP1024P is in External
Mix mode, and when a figure is displayed, Internal Mix mode is selected. To toggle between the two
modes, simply press both EQ keys for about 2 seconds.

In Internal Mix mode you can use the jog wheel to freely select the effect intensity in each preset within a range

from 0% to 100%, a highly useful feature, for instance, to insert the DSP1024P in the effect loop of a guitar

amp. Good results can be achieved with settings between 20% and 50%.

Another key combination can be used to enter MIDI mode. With the VIRTUALIZERPRO switched on, proceed

as follows:

s Keep the keys IN/OUT and STORE pressed for about two seconds, the DSP1024P automatically enters

MIDI mode. Use the IN/OUT key to step through the various MIDI parameters. Press any other key to quit
MIDI mode.

1. INTRODUCTION

9

VIRTUALIZER PRO DSP1024P

10

VIRTUALIZER PRO DSP1024P

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.
VARIATION 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
diffusion, 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
VARIATION (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 =
brilliance). Additionally, you can set the reverb time with VARIATION and the diffusion with EDITA.
Designed for live applications and mixdown.

11

VIRTUALIZER PRO DSP1024P

Reverse Reverb: A reverb program with an inverted amplitude envelope, i.e. the effect starts softly and
then increases in volume. This effect used to be created by playing a tape in reverse direction, recording
the reverb signal, and then playing back the tape in forward direction again, with the result that the reverb
signal was played back before the actual input signal. VARIATION controls the length of the signal,
EDITA the delay, and EDITB the threshold above which the effect responds.

12

VIRTUALIZER PRO DSP1024P

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 DSP1024P). The modulation speed is controlled with VARIATION, the intensity with
EDITAENGINEL, and the panning rhythm with EDITBENGINEL. This algorithm belongs to the
group of multi-effects programs and is combined with a delay. Delay time is set with EDITAENGINER
ranging from 0 to 630 ms (10 ms increments) feedback is set with EDITBENGINER.

13

2. OPERATION

2.1 Effects structure

VIRTUALIZER PRO DSP1024P

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.

+ Please 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

14

2. OPERATION

VIRTUALIZER PRO DSP1024P

loading the data, the VIRTUALIZERPRO enables the preset and the dot disappears. This brief
interruption avoids the direct activation of every preset, as you scroll through the preset list
with the JOG WHEEL. Otherwise incomplete parameter remnants of presets could reach the
audio outputs of the VIRTUALIZERPRO, with possibly disastrous consequences, especially
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.

2.3 Editing programs

Editing programs is easy on the VIRTUALIZERPRO. Basically, all essential parameters can be selected

directly via the keypad and edited with the JOG WHEEL. The list to the left of the DISPLAY summarizes the

effect algorithms that the VIRTUALIZERPRO can generate. Just press the EFFECT key to recall these basic

algorithms and directly select them with the JOG WHEEL. With the VARIATION key you can modify the

selected effect in full detail, because each variation does not only comprise one parameter but a set of several

parameters. Thus, you can use the various variations to tailor the sound of an effects program to suit your

specific needs. The EDITA and B keys enable you to edit essential single parameters of the selected effects

program, while the EQLO and EQHI keys allow for adapting your own presets to match specific room

acoustics or sound preferences.

Use the ENGINEL and ENGINER keys to edit the left or right audio channel settings. Of course, you can edit

both channels at the same time in couple mode. When entering couple mode, the VIRTUALIZERPRO copies

the parameter settings of the channel last activated to the other channel, so that both of them have an identical

set of parameter values. Finally, you can also save the changes made to the preset.

2.4 Saving programs

Use the STORE key to save an edited preset. Basically, all parameter changes can be saved. Whenever

you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 you edit the preset as desired using the function keys and the jog
wheel. During this process, the flashing STORE key reminds you that the preset settings have been
changed but not saved yet. Press the STORE key once. The display reads the current preset number and
starts flashing. To keep the original preset, use the jog wheel to select another preset that can be
overwritten. Press the STORE key again to save the changes to the selected preset. If you wish to overwrite
the original preset, simply press the STORE key twice (after editing) to save all changes you have made.

+ Whenever you have edited a preset and pressed the STORE key twice, all previous settings in

this preset are erased and overwritten with the new parameter values. However, if you wish to
keep the original preset, use the JOG WHEEL to select another preset before you press the
STORE key a second time.

2.5 MIDI control

Use the MIDI key combination to select the MIDI parameters you wish to adjust. For this purpose, keep the

IN/OUT and the STORE keys pressed for about two seconds. All parameters can be edited with the JOG

WHEEL and these two keys. The MIDI menu includes six pages which you can select by pressing the IN/OUT

key (upwards) and the STORE key (downward).

On the first page you can select the MIDI channel. The DISPLAY shows a small c (= channel). The JOG

WHEEL adjusts a channel from 1 through 16. To switch off the MIDI function, simply select the 0 value

(displayed as -).

On the second page you can select MIDI Omni mode, i.e. the unit transmits/receives on all 16 MIDI channels.

The DISPLAY reads O (= Omni). Use the JOG WHEEL to activate (1) or deactivate (0) Omni mode.

2. OPERATION

15

VIRTUALIZER PRO DSP1024P

The third page allows for configuring controller commands. On its right-hand side, the DISPLAY shows a
capital C (= Controller). The JOG WHEEL selects one of the following four controller modes:

Display Mode

0
1
2
3

For further details see table 6.4 in section 6 APPENDIX.
The fourth page gives you access to the program change setup. The DISPLAY shows a capital P

(= Program). Here, too, four modes can be selected with the JOG WHEEL, as follows:

Display Modus

0
1
2
3

No controller data are transmitted.
Controller data are received but not transmitted.
Controller data are transmitted but not received.
Controller data are transmitted and received.

Tab. 2.1: Controller settings

Program Changes are not transmitted.
Program Changes are received but not transmitted.
Program Changes are transmitted but not received.
Program Changes are transmitted and received.

Tab. 2.2: Program change settings

The fifth page of the MIDI menu shows the store enable flag represented by a capital S in the DISPLAY. The
value 0 disables the reception of controller #28, and therefore protects the user presets from being modified
via MIDI. Accordingly, the value 1 enables MIDI controller #28 so that you can modify or replace presets with
a remote MIDI device or a sequencer. In this case the actual settings will be stored directly to the location that
corresponds to the controller value.

+ Attention! Since the store enable mode allows you to access memory locations directly via

MIDI, it is possible that stored presets will be replaced or altered if controller #28 messages are
sent on the same MIDI channel. The purpose of this mode is to facilitate MIDI backup and
restore operations without express confirmation at the VIRTUALIZERPRO. It is therefore
recommended to disable (flag = 0) this mode as soon as the intended data transfer has ended.
This is done automatically when you switch off the VIRTUALIZERPRO.

On the sixth and last page, you can access the System Exclusive functions. This is indicated by a d (for
dump) in the DISPLAY. To the left of this d a number is displayed:

- 0 means that no SYSEX data will be sent or accepted.

- 1 will enable the VIRTUALIZER PRO to receive data. When STORE is pressed the unit will wait for data,

this is shown by flashing dots (LEDs) in the DISPLAY. The MIDI key LED flashes signaling that SYSEX

data is being received.

- 2 will enable the VIRTUALIZER PRO to send a bulk dump. Start your MIDI sequenzer program and press

STORE on the DSP1024P to start the transmission.
To load these settings again, select 1, press STORE and start your MIDI sequenzer program.

+ During a bulk dump, all audio functions of the VIRTUALIZER PRO will be deactivated.

If you press the IN/OUT key again on the sixth page, the VIRTUALIZERPRO quits MIDI setup mode. At all
times you can press any other key to leave the MIDI setup directly.

The full-featured MIDI implementation of the VIRTUALIZERPRO allows for easily integrating of the
VIRTUALIZERPRO into any MIDI system.

s MIDI IN
Any MIDI data sent to the VIRTUALIZERPRO (sequenzer, MIDI footswitch, etc.) is received via the MIDI IN

jack. For example, when you wish to use the VIRTUALIZERPRO as an effects devices for your guitar rack,
you can connect the MIDI IN jack to a MIDI footswitch that allows for selecting program presets. If your rack
includes another MIDI effects devices (e.g. a multi-effects processor), the data sent from the MIDI footswitch

16

2. OPERATION

VIRTUALIZER PRO DSP1024P

can be routed via the VIRTUALIZERPROs MIDI THRU jack to your multi-effects processor.

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.

The VIRTUALIZER design editor software (free download at www.behringer.com) enables you to control the

VIRTUALIZERPRO from your personal computer.

3. APPLICATIONS

The BEHRINGER VIRTUALIZERPRO is a highly flexible device that can be used for a wide variety of

applications. Prior to a presentation of the VIRTUALIZER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 dynamics of the

music signal, which results in a poor, weak and noisy sound. On the other hand, excess levels overdriving the

converters in the VIRTUALIZERPRO should also be avoided. Digital distortion is (unlike its analog counterpart)

very unpleasant to hear as it does not occur gradually but abruptly.

Use the input level meter of the VIRTUALIZERPRO to adjust the input signal, so that the Clip LED flickers only

rarely. Make sure that it never lights up permanently!

3.2 Using the VIRTUALIZERPRO in the aux bus

By using the VIRTUALIZERPRO in an aux bus of your mixing console you can feed the channel signals of

one, several or even all console channels into the VIRTUALIZERPRO, i.e. for each channel you can use the

aux busses to separately determine the reverb levels of, for instance, various drum sounds: while lots of reverb

is applied to the snare drum, the effect intensity could be reduced in the channels assigned to the tom-toms.

To use the VIRTUALIZERPRO in the aux bus, the unit must be wired as follows:

17

VIRTUALIZER PRO DSP1024P

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.

Lets suppose you wish to use the VIRTUALIZERPRO in a live application, interfaced with the F.O.H. mixer,
to enhance the guitar sound with a subtle chorus effect.

Connect the VIRTUALIZERPRO to the aux bus of your mixing console (fig. 3.1). Connect the units to the
mains and adjust the operating level(s) if necessary. Switch on the VIRTUALIZERPRO and set the levels
appropriately (see 3.1). Press the Mix combination to make sure that the unit is set to Mix External mode.
Press the EFFECT key and use the JOG WHEEL to select and thus activate the chorus effect (#19). Slowly
turn up the aux bus level until the effect portion added to the guitar signal suits your needs. Subsequently, you
can make all necessary fine-adjustments. We assume that you wish to edit the modulation frequency of the
chorus effect: press the VARIATION key and set the modulation frequency with the JOG WHEEL. To set the
modulation delay, press the EDITA key. The modulation 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 the insert path

Basically, you can also insert the VIRTUALIZERPRO in a channel or subgroup of your mixing console. Use a
dedicated insert cable. Inserting the VIRTUALIZERPRO in a single channel will be useful only if you wish to
process a specific signal (e.g. vocals) with the VIRTUALIZERPRO, or if any other insert facilities of your
mixing console are already in use.

18

VIRTUALIZER PRO DSP1024P

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. The following hints

illustrate the VIRTUALIZER PROs versatility if used with a guitar amp.

19

VIRTUALIZER PRO DSP1024P

The VIRTUALIZERPRO may also be inserted between the outputs of a keyboard and the inputs of a mixing
console. If required, adjust the levels with the OPERATING LEVEL switch.

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
sequenzer or any other MIDI device. Wire and set up the VIRTUALIZERPRO as shown below:

20

VIRTUALIZER PRO DSP1024P

4. TECHNICAL BACKGROUND

4.1 Reverberation and reflection

Prior to simulating the physical phenomena of reverberation and reflection, it is necessary to analyze how

reverb is generated, and how it is perceived by human hearing.

In a concert hall the sound the listener hears comprises both the source signals (e.g. acoustical instruments,

P.A. system) and thousands of reflections of these primary signals, which bounce off floor, ceiling and walls

to reach the ear after a short delay. These reflections represent thousands of echoes of the direct signal, which

are not perceived any longer as single echoes, but due to their sheer number  as reverberation. Basically,

the reflected signal portions reach the ear later than the source signal, and the very fact that they do not arrive

from the same direction as the direct signal (see fig. 4.1), makes it possible to hear spatial information, i.e. to

perceive the direct signal as if it is embedded in the room acoustics.

Stage

Early Reflections

Direct Sound

Early Reflections

Listening Position

Diffuse Reflections

Fig. 4.1: Direct and reflected sounds reaching the listeners ear

Spatial information is an important means of orientation, because human hearing is also used to

determine the position of a sound source. In certain situations, this capability can be very useful or

even of vital importance. The fact that we can actually hear the size of a room shows how strongly

developed the human sense of hearing actually is. Based on the reflectivity of a room, we can also

distinguish (though we often dont know how) the materials it consists of. In large rooms with high

tiled walls reverberation is generally very dense and needs some time to decay, while a small room

with many objects in it (furniture, carpets, etc.) features very short reverberation often not even

perceived as such. Nevertheless, this extremely short reverb does exist, which is the reason why

many designers of reverb devices (such as our VIRTUALIZERPRO) implement several basic reverb

types and give them specific room names. It is quite natural, for example, that a reverb preset called

Cathedral produces a long and highly dense reverb, while a Room program usually represents the

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

4. TECHNICAL BACKGROUND

21

VIRTUALIZER PRO DSP1024P

modulations can clearly be heard when occurring in the midrange frequency band, due to the sensitivity of
human hearing. The ear immediately detects changes in midrange frequencies, while its sensitivity to
frequency modulation in the extreme low end of the frequency spectrum is reduced. Frequency modulation can
also be used to produce wanted effects. The popular chorus effect, for instance, is basically the sum of a
variety of frequency modulations. The original signal is slightly delayed in the chorus algorithm, then added
again and modulated by means of an oscillator. Subsequently, modulating frequencies (of different pitch) are
applied to the original signal, which produces the well-known floating chorus sound. Basically, frequency
modulation is the starting point for all kinds of chorus-type effects: by simply adding the delayed signal, without
modulating the original, you can produce a delay effect. Since chorus effects use very short delay times, the
resulting delay effect is not perceived as such. However, when you increase the delay time, there is a clear gap
between original and effect signals, and delay becomes audible. A highly intensive effect can be achieved by
combining reverb/delay programs with modulation effects. For this reason, the BEHRINGER VIRTUALIZERPRO
also features multi-effects programs combining reverb or delay with, for example, a chorus effect.

In addition to the multi-effects programs and special-purpose effects, most of the VIRTUALIZER PROs effect
programs offer pure reverb programs, because common reverb is still the most important effect for mix-down
or live applications. Therefore, we at BEHRINGER want to provide you with a variety of reverb programs, so that
you have appropriate presets available for each specific application.

22

VIRTUALIZER PRO DSP1024P

Room Plate

Speaker

Microphone

Receiver

Sender

Fig. 4.2: Room reflections and reverb plate reflections

Spring reverb devices use a similar principle, but their reverb sound is of inferior quality compared to a properly

adjusted reverb plate. In particular, dynamic signals such as drums have a highly compressed and flat sound

when they are reproduced with a spring reverb. Still, spring reverbs can be found even today in guitar amplifiers.

Due to the speakers used in such amps, there are no extremely high frequencies to be processed, so lower

reverb quality (in particular, in view of the cost) can be an acceptable alternative for guitarists. Yet, spring reverb

designs suffer from a few drawbacks limiting their professional use:

s

The parameters of spring reverb devices cannot be modified or edited. To allow for different reverb decay
times, you would need to alter the physical properties of the springs.

s

The clattering sound of spring reverbs is a much-dreaded effect, in particular, on stage. Shock can set the
reverb spring in motion so that it hits against its enclosure. The resulting noise resembles that of thunder.

s

Spring reverb is of poor quality, especially with percussive signals, which is the reason why the use of such
devices in recording studios is highly limited.

4.1.3 Digital reverb

With the development of digital reverb devices, spring reverbs and reverb plates have almost completely van-

ished from the studio, because digital devices feature a wealth of advantages:

s

Excellent reverb quality.

s

Mass production allows for reducing the prices of digital reverb devices.

s

Many parameters can be modified and stored.

s

With their compact design digital devices are easily portable.

s

Digital devices need almost no maintenance and are virtually insusceptible to interference.

Basically, digital reverberation tries to provide a virtual simulation of real (in specific situations even surreal)

reverb phenomena by means of algorithms computed by an effects processor. The quality of this simulation

largely depends on the software (algorithms), the performance features of the processor used and the quality

of the AD/DA converters. Since natural reverb comprises thousands of single echoes, a fast processor must be

used to perform the complex calculations needed. To make the reverb programs sound natural, appropriate

software must be used to be able to control the most essential parameters of a reverb phenomenon. For

example, signal diffraction, reflections from different kinds of material, phase shift and room resonances must

be calculated. Consequently, digital devices allow editing of many more parameters than reverb plates or

spring reverbs do. In almost all digital devices, (at least) the following parameters can be modified:

s

Pre-delay time: this parameter determines the time between the occurrence of original signal and first
reflections.

s

Decay time: determines the duration of the reverb (in seconds).

s

High-damp: a function that allows for equalizing the reverberated sound in the higher frequency range. To
simulate the sound of a heavily damped room, for instance, the high-frequency portions in the reverb signal
must be reduced.

4. TECHNICAL BACKGROUND

23

VIRTUALIZER PRO DSP1024P

5. INSTALLATION

5.1 Mains connection

The mains connection of the VIRTUALIZERPRO is made by using a mains cable and a standard IEC
receptacle. It meets all of the international safety certification requirements.

+ Please make sure that all units have a proper ground connection. For your own safety, do not

remove the ground connection within the units or at the supply, or fail to make this connection
at all.

Before you switch on the unit, check that it is configured to match your AC mains voltage requirements. If it
does not comply, then it is necessary to switch the operating voltage to the correct supply requirements
BEFORE turning on the unit, otherwise the unit could be severely damaged. You will find this combined fuse
holder/voltage selector at the back, adjacent to the IEC receptacle. 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 the operating
voltage, remove the fuse holder and twist it by 180 degrees before you reinsert it. Matching the two markers
monitors the selected voltage.

+ If the unit is switched to an other operating voltage, the ruse rating must be changed. See the

technical specifications in the appendix

A safety fuse protects the unit from serious defects. If the fuse blows, this is a warning sign and always
indicates that the circuit is overloaded. The fault must always be repaired before the fuse is replaced. If the
safety fuse is faulty and needs replacing after the unit is repaired, please make sure that you replace it only
with the identical type and rating. NEVER use fuses of different ratings or cover faulty fuses with aluminium foil.
This can cause fire and electric shocks and will endanger your life and the lives of others.

5.2 Audio connections

As standard, the BEHRINGER VIRTUALIZERPRO is installed with electronically servo-balanced inputs and
outputs. The new circuit design features automatic hum and noise reduction for balanced signals and thus
allows for trouble-free operation, even at high operating levels. Externally induced mains hum etc. will be
effectively suppressed. The automatic servo-function recognizes the presence of unbalanced connectors and
adjusts the nominal level internally to avoid level differences between the input and output signals (correction
6dB).

+ Please ensure that only qualified persons install and operate the VIRTUALIZERPRO. During

installation and operation the user must have sufficient electrical contact to earth.
Electrostatic charges might affect the operation of the VIRTUALIZERPRO!

24

5. INSTALLATION

VIRTUALIZER PRO DSP1024P

25

VIRTUALIZER PRO DSP1024P

Gate Threshold

Gate Threshold

Delay Mix

Vocoder Sens

Cent

5.4 Operating Level switch

To adapt the VIRTUALIZER PRO to the used operating level, the unit can be switched between homerecording level
(-10 dBV) and professional level (+4 dBu). Use the LED bars on the frontpanel to determine the optimal setting. The
Level indicators should read somewhere around -6/-10 dB, while the clip LED should not light up at all.

6. APPENDIX

6.1 Parameter overview

ENGINE R

ENGINE L ENGINE R

Stereo Width

Semi Tone

Reverb Mix

Mod. Depth

Reverb Mix

High Multiply

High Multiply

Delay Feedback

Delay Feedback

26

CATHEDRAL Reverb Time Diffusion Early Reflections High Multiply

1

Nr. EFFECT VARIATION EDIT A EDIT B

PLATE Reverb Time Pre Delay Stereo Width High Multiply

SMALL HALL Reverb Time Diffusion Early Reflections Stereo Width4ROOM Reverb Time Pre Delay Wall Damp5STUDIO Reverb Time Pre Delay Early Reflections Wall Damp6CONCERT Reverb Time Pre Delay Early Reflections Diffusion7STAGE Reverb Time Diffusion

2

3

Tab. 6.1: Parameter overview of the different effect types

DELAY Del. Coarse Delay Time Delay Time Feedback Feedback 11ECHO Del. Coarse Delay Time Delay Time Feedback Feedback 12GATED REVERB Gate Time Density

VOCAL Reverb Time Pre Delay Early Reflections High Mulitiply

PERCUSSION Reverb Time Diffusion

8

9

10

6. APPENDIX

REVERSE REVERB Gate Time Pre Delay

13

VOCAL DISTORTION Distortion Type Delay Time (x 10 ms)

14

ROTARY SPEAKER Rotary Type Horn Speed Rotor Speed16VOCODER Vocoder Type Vocoder Distortion

15

PITCH Cent

FLANGER Mod. Frequency Mod. Depth Mod. Depth Mod. Feedback Mod. Feedback19CHORUS Mod. Frequency Mod. Delay Mod. Delay

17

18

TREMOLO & DELAY Mod. Frequency Mod. Depth Del. Time (x 10 ms) Panning Delay Feedback21DELAY & REVERB Del. Mix Del. Time (x 10 ms) Reverb Time

20

PITCH & REVERB Cent Reverb Time Semi Tone Reverb Mix23FLANGER & REVERB Mod. Frequency Mod. Depth Reverb Time Mod. Feedback Reverb Mix24CHORUS & REVERB Mod. Frequency Mod. Delay Reverb Time

22

PITCH / REVERB Cent Reverb Time

FLANGER / REVERB Mod. Frequency Mod. Depth Reverb Time Mod. Feedback High Multiply

CHORUS / REVERB Mod. Frequency Mod. Delay Reverb Time

TREMOLO / REVERB Mod. Frequency Del. Time (x 10 ms) Reverb Time Delay Feedback High Multiply

25

26

27

28

FLANGER / ECHO Mod. Frequency Mod. Depth Del. Time (x 10 ms) Mod. Feedback Delay Feedback32CHORUS / ECHO Mod. Frequency Mod. Delay Del. Time (x 10 ms)

DELAY / REVERB Del. Time (x 10 ms) Reverb Time Delay Feedback High Multiply

PITCH / ECHO Cent Del. Time (x 10 ms)

31

29

30

VIRTUALIZER PRO DSP1024P

6.2 Delay values / increments for presets 10 and 11

Variation

Typ e Ed it A

Delay (L)

From (ms) Unti l (ms ) F rom (m s) Unt i l (ms )
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
9 320 635 960 1275 5

10 640 955 960 1275 5
11 0 630 1280 1910 10
12 0 630 1920 2550 10
13 0 630 2560 3190 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 10
22 1280 1910 3840 4470 10
23 1920 2550 2560 3190 10
24 1920 2550 3200 3830 10
25 1920 2550 3840 4470 10
26 1920 2550 4480 5110 10
27 2560 3190 3200 3830 10
28 2560 3190 3840 4470 10
29 2560 3190 4480 5110 10
30 3200 3830 3840 4470 10
31 3200 3830 4480 5110 10
32 3840 4470 4480 5110 10

Delay (R)

Step Size

(L & R)

Fig. 6.2: Increment table for presets 10 and 11

6. APPENDIX

27

6.3 MIDI Implementation

Function Transmitted Recognized Remarks

Basic
Channel

Mode

Note Number

Velocity

After Touch

Pitch Bender
Control
Progr.
Change
System Exclusive

System
Common

System
Real Time

Aux
Messages

Notes
O = YES, X = NO
Mode 1: OM NI ON, POLY
Mode 2: OM NI ON, MONO
Mode 3: OM N I OFF, POLY
Mode 4: OM N I OFF, MONO

Default
Changed
Default
Messages
Altered

True Voice
Note ON
Note OFF
Key´s

Ch´s

True #

Song Pos
Song Sel
Tune
Clock
Commands
Local ON/OFF
All notes OFF
Active Sense
Reset

VIRTUALIZER PRO DSP1024P

MIDI Implementation Chart

OFF, 1 - 16
OFF, 1 - 16
1,2,3,4
X
X
X
X
X
X

X
X
XX
O 20 - 30 O 20 - 30 see add. Table
O (0-99)
1-100
XX
X
X
X
X
X
X
X
X
X

OFF, 1 - 16
OFF, 1 - 16
1,2,3,4
X
X
X
X
X
X

X
X

O (0-99)
1-100

X
X
X
X
X
X
X
X
X

memorized

Tab. 6.3: MIDI Implementation Chart

Parameter Name Display Range Midi Control

Number

Effect 1..32 20 0..31

Variation 1..32 21 0..31

Engine 22 0,1,2 0 1 2

Edit A 0. .63 / -50..50 23 0. .63 / 0. .100 (1)
Edit B 0..63 / -12..12 24 0..63 / 0..24 (2)

EQ LO -16. .16 25 0..33

EQ HI -16..16 26 0..33

Mix 0..100 27 0..100

Store 1..100 28 0..99

IN/OUT 29 0,1 1 0

Mix Intern/Extern 0..100 / -- 30 0,1
(1) when effect has Cent function
(2) when effect has Semi Tone f unction

Tab. 6.4: Controller functions with MIDI

28

6. APPENDIX

Control Value

Range

LEDs

Couple Left Right IN on IN off

6.4 Default settings

VIRTUALIZER PRO DSP1024P

No. Effect Variation

1 Cat hedral 11 63 53 - 50
2Plate 14950-20
3 Sm all Hall 4 50 39 - 63
4 Room 30 0 29 - ­5 Studio 9 9 49 - 31
6 Concert 23 20 51 - 63
7 S tage 20 55 60 - 63
8 Vocal 14 28 46 - 52

9 Percussion 8 63 27 - ­10 Delay 1 24 30 24 30
11 Ec ho 1 37 30 37 30
12 Gat ed Reverb 5 50 21 - ­13 Reverse Reverb 8 63 21 - ­14 Voc al Di s tort ion 12 15 16 - ­15 Rotary S peak er 14 18 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 Pitc h & Reverb - + 6 +0 50 52
23 Flanger & Reverb 4 63 63 32 38
24 Chorus & Reverb 6 20 30 63 43
25 Pitc h / Reverb - + 0 + 0 21 40
26 Flanger / Reverb 4 63 63 21 40
27 Chorus / Reverb 1 27 60 21 40
28 Tremolo / Reverb 17 0 0 21 40
29Delay / Reverb-55202140
30 Pitc h / E c ho - +0 +0 40 23
31 F langer / E c ho 1 8 60 63 16
32 Chorus / E c ho 1 34 40 31 23

Engine Left Engine Right

Edit AEdit BEdit AEdit B

Tab. 6.5: Default settings

6. APPENDIX

29

VIRTUALIZER PRO DSP1024P

7. SPECIFICATIONS

Analog Inputs

Connectors XLR and 1/4" jack
Type RF filtered, servo balanced input
Impedance 60 kW balanced, 30 kW unbalanced
Nominal Operating Level -10 dBV to +4 dBu
Max. Input Level +16 dBu at +4 dBu nominal level, +2 dBV at -10 dBV nominal level

Analog Outputs

Connectors XLR and 1/4" jack
Type Electronically servo-balanced output stage
Impedance 60 W balanced, 30 W unbalanced
Max. Output Level +16 dBu at +4 dBu nominal level, +2 dBV at -10 dBV nominal level

System specifications

Bandwidth 20 Hz to 20 kHz, +/- 3 dB
Noise > 94 dB, unweighted, 20 Hz to 20 kHz
THD 0.0075 % typ. @ +4 dBu, 1 kHz, Gain 1
Crosstalk < -76 dB

MIDI Interface

Type 5-Pin-DIN-Socket IN / OUT / THRU

Digital Processing

Converters 24-bit Sigma-Delta, 64/128-times Oversampling
Sampling Rate 46,875 kHz

Display

Type 2 ½-digit numeric LED-Display

Power Supply

Mains Voltages USA/Canada 120 V ~, 60 Hz

U.K./Australia 240 V ~, 50 Hz
Europe 230 V ~, 50 Hz
General Export Model 100 - 120 V ~, 200 - 240 V ~, 50 - 60 Hz

Fuse 100 - 120 V ~: T 200 mA H

200 - 240 V ~: T 100 mA H
Power Consumption 15 Watts max.
Mains Connection Standard IEC receptacle

Physical

Dimensions (H * W * D) 1 3/4" (44.5 mm) * 19" (482.6 mm) * 7 1/2" (190.5 mm)
Net Weight app. 2 kg
Shipping Weight app. 3 kg

BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time
to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.

30

7. SPECIFICATIONS

VIRTUALIZER PRO DSP1024P

8. 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.

Based on the conditions herein, the buyer may also choose to
use the online registration option via the Internet
(www.behringer.com or www.behringer.de).

§ 2 WARRANTY

1. BEHRINGER (BEHRINGER Spezielle Studiotechnik GmbH in­cluding all BEHRINGER subsidiaries listed on the enclosed page,
except BEHRINGER Japan) warrants the mechanical and elec­tronic components of this product to be free of defects in mate­rial and workmanship for a period of one (1) year from the
original date of purchase, in accordance with the warranty regu­lations described below. If the product shows any defects within
the specified warranty period that are not due to normal wear
and tear and/or improper handling by the user, BEHRINGER shall,
at its sole discretion, either repair or replace the product.

2. If the warranty claim proves to be justified, the product will be
returned to the user freight prepaid.

3. Warranty claims other than those indicated above are ex­pressly excluded.

§ 3 RETURN AUTHORIZATION NUMBER

1. To obtain warranty service, the buyer (or his authorized dealer)
must call BEHRINGER (see enclosed list) during normal business
hours BEFORE returning the product. All inquiries must be ac­companied by a description of the problem. BEHRINGER will then
issue a return authorization number.

2. Subsequently, the product must be returned in its original
shipping carton, together with the return authorization number to
the address indicated by BEHRINGER.

3. Shipments without freight prepaid will not be accepted.

§ 4 WARRANTY REGULATIONS

1. Warranty services will be furnished only if the product is
accompanied by a copy of the original retail dealers invoice.
Any product deemed eligible for repair or replacement by
BEHRINGER under the terms of this warranty will be repaired or
replaced within 30 days of receipt of the product at BEHRINGER.

2. If the product needs to be modified or adapted in order to
comply with applicable technical or safety standards on a na­tional or local level, in any country which is not the country for
which the product was originally developed and manufactured,
this modification/adaptation shall not be considered a defect in
materials or workmanship. The warranty does not cover any
such modification/adaptation, irrespective of whether it was
carried out properly or not. Under the terms of this warranty,
BEHRINGER shall not be held responsible for any cost resulting
from such a modification/adaptation.

3. Free inspections and maintenance/repair work are expressly
excluded from this warranty, in particular, if caused by improper
handling of the product by the user.

This also applies to defects caused by normal wear and tear, in
particular, of faders, potentiometers, keys/buttons and similar
parts.

4. Damages/defects caused by the following conditions are not
covered by this warranty:

s misuse, neglect or failure to operate the unit in compliance

with the instructions given in BEHRINGER user or service
manuals.

s connection or operation of the unit in any way that does not

comply with the technical or safety regulations applicable in
the country where the product is used.

s damages/defects caused by force majeure or any other

condition that is beyond the control of BEHRINGER.

5. Any repair or opening of the unit carried out by unauthorized
personnel (user included) will void the warranty.

6. If an inspection of the product by BEHRINGER shows that the
defect in question is not covered by the warranty, the inspection
costs are payable by the customer.

7. Products which do not meet the terms of this warranty will be
repaired exclusively at the buyers expense. BEHRINGER will
inform the buyer of any such circumstance. If the buyer fails to
submit a written repair order within 6 weeks after notification,
BEHRINGER will return the unit C.O.D. with a separate invoice
for freight and packing. Such costs will also be invoiced sepa­rately when the buyer has sent in a written repair order.

§ 5 WARRANTY TRANSFERABILITY

This warranty is extended exclusively to the original buyer (cus­tomer of retail dealer) and is not transferable to anyone who
may subsequently purchase this product. No other person (re­tail dealer, etc.) shall be entitled to give any warranty promise on
behalf of BEHRINGER.

§ 6 CLAIM FOR DAMAGES

Failure of BEHRINGER to provide proper warranty service shall
not entitle the buyer to claim (consequential) damages. In no
event shall the liability of BEHRINGER exceed the invoiced value
of the product.

§ 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW

1. This warranty does not exclude or limit the buyers statutory
rights provided by national law, in particular, any such rights
against the seller that arise from a legally effective purchase
contract.

2. The warranty regulations mentioned herein are applicable
unless they constitute an infringement of national warranty law.

The information contained in this manual is subject to change without notice. No part of this manual may be reproduced or

transmitted 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 Spezielle Studiotechnik GmbH.

BEHRINGER and VIRTUALIZER are registered trademarks. ALL RIGHTS RESERVED.

© 2000 BEHRINGER Spezielle Studiotechnik GmbH.

BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Münchheide II, Germany

Tel. [phone] / 92 06-0, Fax [phone] / 92 06-30

8. WARRANTY

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