In purchasing the BEHRINGER VIRTUALIZER 3D you have acquired an extremely ecient multi-eects processor that oers rst class reverberation eects and a number of other algorithms. The FX2000 has 71 new eects types, and thanks to its logically structured user interface, it can be used easily and intuitively.
3VIRTUALIZER 3D FX2000 User Manual
“Where to Buy“, or you can contact the MUSIC Group oce
or replacement product will be returned to the user freight
Important Safety Instructions
Terminals marked with this symbol carryelectrical current of sucient magnitude
to constitute risk of electric shock. Useonlyhigh-quality commercially-available speaker cables with¼"TS plugs pre-installed. Allother installation ormodication should be performed only byquali edpersonnel.
This symbol, wherever it appears,
alertsyou to the presence of uninsulated
dangerous voltage inside theenclosure-voltage that may be sucient to constitute arisk ofshock.
This symbol, wherever it appears,
alertsyou to important operating and
maintenance instructions in theaccompanying literature. Please read the manual.
Caution
To reduce the risk of electric shock, do
not remove the top cover (or the rearsection). No user serviceable parts inside. Refer servicingto qualied personnel.
Caution
To reduce the risk of re or electric shock,
do not expose this appliance to rain andmoisture. The apparatus shall not be exposed to drippingor splashing liquids and no objects lled with liquids, suchas vases, shall be placed on the apparatus.
Caution
These service instructions are for use
by qualied service personnel only.Toreduce the risk of electric shock do not perform anyservicing other than that contained in the operationinstructions. Repairs have to be performed by qualiedservicepersonnel.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry cloth.
7. Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
8. Do not install near any heat sources such asradiators, heat registers, stoves, or other apparatus(including ampliers) that produce heat.
9. Do not defeat the safety purpose of the polarizedor grounding-type plug. A polarized plug has two bladeswith one wider than the other. A grounding-type plughas two blades and a third grounding prong. The wideblade or the third prong are provided for your safety. Iftheprovided plug does not t into your outlet, consult anelectrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on orpinched particularly at plugs, convenience receptacles,and the point where they exit from the apparatus.
11. Use only attachments/accessories specied bythemanufacturer.
12. Use only with thecart, stand, tripod, bracket,or table specied by themanufacturer, orsold withthe apparatus. When a cartis used, use caution whenmoving the cart/apparatuscombination to avoid
injury from tip-over.
13. Unplug this apparatus during lightning storms orwhen unused for long periods of time.
14. Refer all servicing to qualied service personnel.Servicing is required when the apparatus has beendamaged in any way, such as power supply cord or plugis damaged, liquid has been spilled or objects have falleninto the apparatus, the apparatus has been exposedto rain or moisture, does not operate normally, or hasbeendropped.
15. The apparatus shall be connected to a MAINS socketoutlet with a protective earthing connection.
16. Where the MAINS plug or an appliance coupler isused as the disconnect device, the disconnect device shallremain readily operable.
LEGAL DISCLAIMER
TECHNICAL SPECIFICATIONS AND APPEARANCEARE SUBJECTTO CHANGEWITHOUT NOTICE.THEINFORMATION CONTAINED HEREIN IS CORRECTATTHETIME OF PRINTING. ALLTRADEMARKS ARETHE PROPERTY OFTHEIR RESPECTIVE OWNERS.MUSICGROUP ACCEPTS NO LIABILITY FOR ANYLOSSWHICH MAY BE SUFFERED BY ANY PERSONWHO RELIES EITHERWHOLLY OR IN PART UPONANY DESCRIPTION, PHOTOGRAPH OR STATEMENTCONTAINED HEREIN. COLORS AND SPECIFICATIONSMAYVARY FROM ACTUAL PRODUCT. MUSIC GROUPPRODUCTS ARE SOLDTHROUGH AUTHORIZEDFULLFILLERS AND RESELLERS ONLY. FULLFILLERSANDRESELLERS ARE NOT AGENTS OF MUSICGROUPAND HAVE ABSOLUTELY NO AUTHORITYTO BINDMUSICGROUP BY ANY EXPRESS OR IMPLIED
UNDERTAKING OR REPRESENTATION.THIS MANUALIS COPYRIGHTED. NO PART OFTHIS MANUAL MAYBE REPRODUCED ORTRANSMITTED IN ANY FORMOR BY ANY MEANS, ELECTRONIC OR MECHANICAL,INCLUDING PHOTOCOPYING AND RECORDING OF ANYKIND, FOR ANY PURPOSE,WITHOUTTHE EXPRESSWRITTEN PERMISSION OF MUSICGROUPIPLTD.
(1) This limited warranty is valid only if you purchasedthe product from a MUSIC Group Authorized Reseller inthe country of purchase. A list of authorized resellers canbe found on BEHRINGER’s website behringer. com under
closest to you.
(2) MUSICGroup* warrants the mechanical andelectronic components of this product to be free of defectsin material and workmanship if used under normaloperating conditions for a period of one (1) year fromthe original date of purchase (see the Limited Warrantyterms in §4 below), unless a longer minimum warrantyperiod is mandated by applicable local laws. If the productshows any defects within the specied warranty periodand that defect is not excluded under §4, MUSICGroupshall, at its discretion, either replace or repair the productusing suitable new or reconditioned product or parts.Incase MUSICGroup decides to replace the entire product,thislimited warranty shall apply to the replacementproduct for the remaining initial warranty period, i.e.,one (1) year (or otherwise applicable minimum warrantyperiod) from the date of purchase of the original product.
(3) Upon validation of the warranty claim, the repaired
prepaid by MUSICGroup.
(4) Warranty claims other than those indicated aboveare expressly excluded.
PLEASE RETAIN YOUR SALES RECEIPT. IT IS YOUR PROOFOF PURCHASE COVERING YOUR LIMITED WARRANTY.THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOFOFPURCHASE.
§ 2 Online registration
Please do remember to register your new BEHRINGERequipment right after your purchase at behringer. comunder “Support” and kindly read the terms and conditionsof our limited warranty carefully. Registeringyourpurchase and equipment with us helps us processyour repair claims quicker and more eciently.Thankyouforyour cooperation!
§ 3 Return materials authorization
(1) To obtain warranty service, please contact theretailer from whom the equipment was purchased.Should your MUSIC Group Authorized Reseller not belocated in your vicinity, you may contact the MUSICGroupAuthorized Fulller for your country listed under
4VIRTUALIZER 3D FX2000 User Manual
“Support” at behringer. com. Ifyour country is notlisted, please check if your problem can be dealt withby our “OnlineSupport” which may also be found under“Support” at behringer. com. Alternatively,please submitan online warranty claim at behringer. com BEFOREreturning the product. All inquiries must be accompaniedby a description of the problem and the serial numberof the product. Afterverifying the product’s warrantyeligibility with the original sales receipt, MUSICGroupwill then issue a ReturnMaterials Authorization(“RMA”)number.
(2) Subsequently, the product must be returned inits original shipping carton, together with the returnauthorization number to the address indicated byMUSICGroup.
(3) Shipments without freight prepaid will notbeaccepted.
§ 4 Warranty Exclusions
(1) This limited warranty does not cover consumableparts including, but not limited to, fuses and batteries.Where applicable, MUSICGroup warrants the valves ormeters contained in the product to be free from defects inmaterial and workmanship for a period of ninety (90) daysfrom date of purchase.
(2) This limited warranty does not cover the productif it has been electronically or mechanically modiedin any way. If the product needs to be modied oradapted in order to comply with applicable technicalor safety standards on a national or local level, in anycountry which is not the country for which the productwas originally developed and manufactured, thismodication/adaptation shall not be considered a defectin materials or workmanship. Thislimited warranty doesnot cover any such modication/adaptation, regardlessof whether it was carried out properly or not. Under theterms of this limited warranty, MUSICGroup shall notbe held responsible for any cost resulting from such amodi cation/adaptation.
(3) This limited warranty covers only the producthardware. It does not cover technical assistance forhardware or software usage and it does not coverany software products whether or not contained inthe product. Any such software is provided “AS IS”unless expressly provided for in any enclosed softwarelimitedwarranty.
(4) This limited warranty is invalid if the factory-applied serial number has been altered or removed fromtheproduct.
(5) Free inspections and maintenance/repair workare expressly excluded from this limited warranty, inparticular, if caused by improper handling of the productby the user. This also applies to defects caused by normalwear and tear, in particular, of faders, crossfaders,potentiometers, keys/buttons, guitar strings, illuminantsand similar parts.
(6) Damage/defects caused by the following conditionsare not covered by this limited warranty:
•improper handling, neglect or failure to operate theunit in compliance with the instructions given inBEHRINGER user or service manuals;
•connection or operation of the unit in any waythat does not comply with the technical or safetyregulations applicable in the country where theproduct is used;
•damage/defects caused by acts of God/Nature(accident, re, ood, etc) or any other condition thatis beyond the control of MUSICGroup.
(7) Any repair or opening of the unit carried out byunauthorized personnel (user included) will void thelimitedwarranty.
(8) If an inspection of the product by MUSICGroupshows that the defect in question is not covered by thelimited warranty, the inspection costs are payable bythecustomer.
(9) Products which do not meet the terms of thislimited warranty will be repaired exclusively at the buyer’sexpense. MUSICGroup or its authorized service center willinform the buyer of any such circumstance. If the buyerfails to submit a written repair order within 6 weeks afternotication, MUSICGroup will return the unit C.O.D. witha separate invoice for freight and packing. Such costs willalso be invoiced separately when the buyer has sent in awritten repair order.
(10) MUSIC Group Authorized Resellers do not sell newproducts directly in online auctions. Purchasesmadethrough an online auction are on a “buyer beware” basis.Online auction conrmations or sales receipts are notaccepted for warranty verication and MUSICGroup willnot repair or replace any product purchased through anonline auction.
§ 5 Warranty transferability
This limited warranty is extended exclusively to theoriginal buyer (customer of authorized reseller) andisnot transferable to anyone who may subsequentlypurchase this product. No other person (reseller,etc.)shallbe entitled to give any warranty promise on behalfof MUSICGroup.
§ 6 Claim for damage
Subject only to the operation of mandatory applicablelocal laws, MUSICGroup shall have no liability to the buyerunder this warranty for any consequential or indirectloss or damage of any kind. In no event shall the liabilityof MUSICGroup under this limited warranty exceed theinvoiced value of the product.
§ 7 Limitation of liability
This limited warranty is the complete and exclusivewarranty between you and MUSICGroup. It supersedesall other written or oral communications related to thisproduct. MUSICGroup provides no other warranties forthis product.
§ 8 Other warranty rights andnationallaw
(1) This limited warranty does not exclude or limit thebuyer’s statutory rights as a consumer in any way.
(2) The limited warranty regulations mentioned hereinare applicable unless they constitute an infringement ofapplicable mandatory local laws.
(3) This warranty does not detract from the seller’sobligations in regard to any lack of conformity of theproduct and any hidden defect.
§ 9 Amendment
Warranty service conditions are subject to change withoutnotice. For the latest warranty terms and conditionsand additional information regarding MUSICGroup’slimited warranty, please see complete details online atbehringer. com.
* MUSICGroup Macao Commercial Oshore Limited ofRuedePequim No. 202-A, Macau Finance Centre 9/J, Macau,including all MUSICGroup companies
5VIRTUALIZER 3D FX2000 User Manual
1.Introduction
In order to generate an extremely natural reverberation, we at BEHRINGER have developed new kinds of algorithms for virtual acoustics. These algorithms will help you calculate all room and reverberation parameters with absolutely professional quality and naturalness.
In spite of this extensive and calculation-intensive work performed by the 24-bit processor in the FX2000, the VIRTUALIZER 3D is very easy to handle. Changingparameters to achieve a specic sound is simple. There are 100 presets available to store your own programs.
The FX2000 includes excellent reverb and delay programs, but that’s not all. Besides the classic plate reverb simulations, the VIRTUALIZER 3D will impress you with its excellent modulation eects (like chorus, anger and phaser), whichwere extended to include special variations like a musical pitch shifter, atremolo, and a rotary speaker simulation. The FX2000’s dynamic and psycho-acoustic eects allow you to do without a number of additional pieces of equipment. TheFX2000 also oers you a series of distortion and amplicationsounds that are combined with a speaker simulation. Thus, as a guitarist in recording situations, you can achieve an excellent sound on tape or hard disk, even without a speaker cabinet. Besides its logical and simple operation, theVIRTUALIZER 3D’s technical equipment is also impressive. The following points ensure signal processing at a professional level:
•Extremely low-noise and exact 24-bit A/D and D/A converters.
•A professional sample rate of 46 kHz guarantees a high signal resolution for
a frequency response of 20 Hz to 20 kHz.
•The 24-bit processor features dual engine software; these two sections
process audio input independently.
◊ Please always use the original packaging to avoid damage due to
storage or shipping.
◊ Never let unsupervised children play with the FX2000 or with
its packaging.
◊ Please dispose of all packaging materials in an environmentally-
friendly fashion.
The BEHRINGER VIRTUALIZER 3D requires one standard 19" rack unit of space (1¾"). Please leave an additional 4" installation depth to allow connections at the rear side.
Make sure that there is adequate ventilation and do not place the VIRTUALIZER 3D on top of an amplier, which could cause overheating.
◊ Before connecting the VIRTUALIZER 3D to the mains, carefully check
that your equipment is set to the correct voltage:
The fuse holder on the female mains connector has 3 triangular markings, withtwo of these triangles opposing each other. The VIRTUALIZER 3D is set to the operating voltage printed next to these markers and can be set to another voltage by turning the fuse holder by 180°. CAUTION: This instruction
does not apply to export models exclusively designed, e.g. for 120-Voperation!
Connection to the mains is made by a mains cable with an IEC receptacle that complies with the required safety regulations.
◊ Please make sure that the unit is grounded at all times. For your own
protection, you should never tamper with the grounding of the cableor the unit itself. The unit shall always be connected to a mains socket outlet with a protective earthing connection.
•As for all BEHRINGER products, the highest quality components and controls
are used.
◊ The following instructions will give you a brief run-down on the
terminology and functions of the VIRTUALIZER 3D. After reading, please store this manual in a safe place for future reference.
1.1The concept
BEHRINGER uses an uncompromising selection of components. The heart of the BEHRINGER VIRTUALIZER 3D is a 24-bit DSP, which, due to its exceptional technical specications, is regarded as one of the nest building blocks. With it come the rst class 24-bit A/D-D/A converters, guaranteeing a precise conversion of audio signals. Narrow-range tolerance resistances and capacitors, high-grade switches, and other selected components are all very high in quality.
The VIRTUALIZER 3D was manufactured on the basis of SMD technology (SurfaceMounted Device). The use of sub-miniature building blocks known from space ights allows not only an extreme packing density but also ensures an increased dependability. The FX2000 was manufactured under ISO9000 certied management system.
1.2Before you get started
The VIRTUALIZER 3D was carefully packed in the factory to ensure safe transport. Nevertheless, if the box shows signs of damage, please check the equipment immediately for any signs of external damage.
◊ Damaged units should NEVER be sent directly to us. Please inform the
dealer from whom you acquired the unit immediately as well as the transportation company from which you took delivery of the unit. Otherwise, all claims for replacement/repair may be rendered invalid.
◊ To assure optimal protection of your FX2000 during use or transport,
we recommend utilizing a carrying case.
◊ Installation and operation of this equipment must be carried out by
competent staff only. Both before and after installation, the staff using the equipment should make sure that it is properly grounded sinceotherwise electrostatic discharge etc. can lead to an impairment of its operation. For more information, see chapter 6 “Installation”.
The BEHRINGER VIRTUALIZER 3D is equipped with electronically servo-balanced inputs and outputs. The circuit design features automatic hum suppression for balanced signals and thus ensures trouble-free operation, even at the highest operating levels. Externally induced mains hum, etc. can therefore be eectively suppressed. The automatic servo-function recognizes the presence of unbalanced connectors and adjusts the nominal level internally to avoid level dierences between the input and output signals (6-dB correction).
The MIDI connectors (IN/OUT/THRU) are standard DIN plug connections. The data communication is isolated from ground by opto-couplers.
1.3Online registration
Please register your new BEHRINGER equipment right after your purchase by visiting http://behringer.com and read the terms and conditions of our warrantycarefully.
Should your BEHRINGER product malfunction, it is our intention to have it repaired as quickly as possible. To arrange for warranty service, please contact the BEHRINGER retailer from whom the equipment was purchased. Shouldyour BEHRINGER dealer not be located in your vicinity, you may directly contact one of our subsidiaries. Corresponding contact information is included in the original equipment packaging (Global Contact Information/European ContactInformation). Should your country not be listed, please contact the distributor nearest you. A list of distributors can be found in the support area of our website (http://behringer.com).
Registering your purchase and equipment with us helps us process your repair claims more quickly and eciently.
Thank you for your cooperation!
6VIRTUALIZER 3D FX2000 User Manual
1.4Control elements
Fig. 1.1: VIRTUALIZER 3D front panel
The BEHRINGER VIRTUALIZER 3D’s front panel includes ve edit controls (non-intermittent rotary controls), a jog wheel (big rotary control), six parameter keys, an LED display and a mains switch. Each of the two fully independent channels can be monitored with an 8-digit LED meter.
(3)
(1)(2)
Fig. 1.2: Display section of the VIRTUALIZER 3D
(1) Both the LED chains display the intensity of the input signal in dB in
relation to the nominal level, which is selected on the rear panel with the OPERATINGLEVEL switch.
(2) After you switch on the VIRTUALIZER 3D, you can read the name of the last
used eect on the LED display. When editing, the LED display shows the parameter’s name along with a 4-digit alpha-numeric display that shows the absolute parameter’s value.
(3) To the right of the LED display are four STATUS LEDs which indicate the type
of value you are working with. You may do any of the following:
•set the absolute value of an eect parameter (“%”),
•increase or decrease the amplitude or determine the threshold point of the
compressor (“dB”),
•modify a frequency (“Hz”) or
•modify a time parameter (“sec”).
(4) The ALGORITHM GROUPS LED CHAIN indicates which category the
selected eect belongs to. Altogether the FX2000 oers eight dierentalgorithmgroups.
(4)
(6)(7)(8)(9)(10)(11)(14)(12)(15)
(5) Every preset in the FX2000 allows you to edit at least four eect parameters.
The EDIT-LED-CHAIN indicates which parameters are adjusted by the four EDIT CONTROLs. If the top LED lights up, (6) controls the parameter EDIT A,
(7) controls EDIT B, (8) helps in changes of parameter EDIT C and with (9)
you change the setting of parameter EDIT D. If the middle LED of the EDIT-LED-CHAIN lights up, the four EDIT CONTROLs modify the parameters that are arranged to its left and right. The lower LED functions correspondingly.
◊ For the exact meaning of the individual effect parameters,
see chapter 7.1.
(6) With the 1st EDIT CONTROL (non-intermittent rotary control) you change
the values of the rst (EDIT A) and fth (EDIT E) eect parameters. You can also select MIDI functions (MIDI) with the 1st EDIT CONTROL. Press the EDIT key(13) to switch from EDIT A to EDIT E and vice versa. You reach the MIDI function by pressing the SETUP key (16).
(7) The 2nd EDIT CONTROL allows you to modify the values of eect
parametersEDIT B and EDIT F. When you select the INPUT parameter withthe help of the SETUP key, you can specify whether the FX2000 functions mono or stereo mode (see chapter 3.6.2 for more information).
(8) The 3rd EDIT CONTROL modies the values of eect parameters EDIT C,
EQLO, and the global OUTPUT parameter (see chapter 3.6.3). Here, as well,
you select among them using the EDIT and SETUP keys.
(9) With the 4th EDIT CONTROL, you modify the values of eect parameters
EDIT D, EQ HI, and the global parameter CONFIG (see chapter 3.6.4). Use the
EDIT and SETUP keys to choose between the parameters.
◊ During editing, you can rotate one of the four EDIT CONTROLs minimally
to display a brief description of the current parameter active. This can help you know that, for example, EDIT A controls the pre delay for all reverb effects of the VIRTUALIZER 3D. After approximately one second the name is erased and the parameter’s current value is displayed. This function can be used only by operating one of the controls that has not yet been selected.
(10) By turning the MIX/BYPASS CONTROL the eect levels of most eect
algorithms are set in the range from 0 to 100%. If you select 0%, the signal at the inputs of FX2000 is transferred directly to the outputs without adding any eects (the signal is completely dry). If you select 100%, only the eected signal is sent to the outputs (the signal is completely wet).
◊ If you use the FX2000 in the aux bus with your mixing console,
you should always set this value at 100%. if you’re using the FX2000 with a guitar amplifier (in a serial effects loop), we suggest settings between 20 and 50% (depending on the amplifier type).
(5)
Fig. 1.3: Function keys, controls and jog wheel
(13)(16)(18)(17)
◊ Please note that, for the effects “parametric” and “graphic EQ”,
the MIX/BYPASS CONTROL allows a gain correction by rotation.
To bypass the FX2000’s eects, press the MIX/BYPASS CONTROL. Thisallows you to compare between the original and the eected signals. Pressthe MIX/BYPASS CONTROL again to deactivate the bypass and return to your chosen eect. When the MIDI IN LED below the control ickers, itindicates that MIDI data is arriving at the MIDI IN port.
7VIRTUALIZER 3D FX2000 User Manual
(19)(21)(22)(23)(24)(20)
REVERB
Fig. 1.4: VIRTUALIZER 3D rear panel
◊ Both the MIX/BYPASS CONTROL and the four EDIT CONTROLs react
dynamically. This means that, depending how fast you rotate the wheels, the present parameter is changed in steps of 1, 2, 5 or 10. The faster the rotation, the greater the change in the parameter value.
(11) To select one of the 200 presets, press the PRESET key once, then rotate the
JOG WHEEL (17).
(12) To select one of the 71 basic eect algorithms, press the EFFECT key once,
then rotate the JOG WHEEL. For information on the parameter values that are set for the basic eect algorithms, see chapter 7.4.
(13) To select the EDIT CONTROL function (see (6) - (9)), press the EDIT key.
(14) When you make changes to a user preset, the STORE key’sLED begins to
blink. The FX2000 comprises 100 user presets for your own settings and 100factory presets (see separate preset sheet). To save your changes, pressthe STORE key. Select a storage space (number) with the Jog Wheel and conrm it by pressing the STORE key again.
(15) If you have made changes to a preset and the LED of the STORE key is
blinking, you can press the COMPARE key to temporarily restore the preset’s original settings. While these settings are loaded, the COMPARE key’s LED blinks and “COMP” appears in the LED display. Press the COMPARE key again to return to edit mode and store your changes.
(16) To enter SETUP mode, press the SETUP key. In setup mode, you can access
the parameters shown below the four EDIT CONTROLs. For more information about SETUP mode, see chapter 3.6.
(17) To change a parameter’s value, rotate the JOG WHEEL. To increase the
value, turn the wheel clockwise. To decrease the value, turn the wheel counterclockwise. If none of the edit functions is selected, you can select a program directly with the Jog Wheel. When you do so, a spot lights up in the LED display. As long as the spot is illuminated, a program can be selected without making the corresponding settings immediately audible. This brief signal suppression means that during quick selection of presets with the Jog Wheel, not every preset is activated directly. If the Jog Wheel is not turned for a second, the spot in the LED display disappears and the program isloaded.
(18) Use the POWER switch to power up your FX2000. The POWER switch should
always be in the “O” position when you are about to connect your unit to the mains.
◊ To disconnect the unit from the mains, pull out the mains cord plug.
When installing the product, ensure that the plug is easily accessible. If mounting in a rack, ensure that the mains can be easily disconnected by a plug or by an all-pole disconnect switch on or near the rack.
(19) FUSE HOLDER / VOLTAGE SELECTION. Before connecting the FX2000,
conrmthat the voltage display matches your local mains voltage. Whenreplacing the fuse, you must always use the same type. In many units the fuse holder can be installed in one of two positions, allowing you to switch between 230 V and 120 V. If you wish to operate a unit outside Europe at 120V, then a stronger fuse must be used. (For more information, see chapter 8 “SPECIFICATIONS”). The mains connection is made via the IEC receptacle. Anappropriate mains cable is included.
(20) The FX2000 has wide-ranging MIDI implementation. MIDI IN, MIDI OUT,
and MIDI THRU connectors are available for transmitting MIDI commands.
(21) SERIAL NUMBER. Please complete and return the warranty card within
14 days of the date of purchase. Otherwise, you will lose your right to the extended warranty. Alternatively, you can register online at our website under behringer.com.
(22) The FX2000’s balanced OUTPUTs are designed as ¼" TRS and XLR sockets.
(23) To switch between -10 dBV (home recording level) and +4 dBu
(professionalstudio level), use the OPERATING LEVEL SWITCH. Whenyou switch between the two, the level displays are automatically changed to the nominal level and the VIRTUALIZER 3D operates in its optimal workingrange.
(24) Both of the VIRTUALIZER 3D’s INPUTs are also available as balanced ¼" TRS
and XLR sockets.
2. Eects Algorithms
All eects of digital eects equipment are based on various algorithms. Analgorithm for a reverb eect, for example, is programmed dierently than a chorus algorithm. Each eect has a certain algorithm with which the digital input signal is processed. The processing takes place within the digital signal processor (DSP). After the eect is generated and the input signal is mixed, the digital signal is converted back into an analog signal with a D/A converter.
You can edit up to seven parameters for each preset in the VIRTUALIZER 3D. Thechanges you make will inuence the sound in dierent ways. An overview of the FX2000’s various eects algorithms follows.
REVERB
2.1
Reverb algorithms
REVERB: As the term suggests, a “reverb” is a reverberation eect. Thereverb can be considered as the most important eect in a mix-down or a live event. TheFX2000 oers 12 dierent reverberation programs so that you have a suitable reverb for every situation. Cathedral simulates the dense, longreverberation of a large cathedral, which is appropriate for solo instruments or vocals in slow pieces. Gold Plate simulates the sound of plate reverberators and hence is a classic for drums (snare) and vocals. Small Hall simulates a small, lively(stronglyreecting) hall. With Room, you can clearly hear the walls of the room. Studio represents a small- to middle-sized room. WithConcert, you can select between a small theater and a large hall. Stageis well suited to dissipating the sound of a keyboard or an acoustic guitar. SpringReverbsimulates a classic spring reverberation. Ambience reproduces a room impression without late reections. With Early Reections, the initial reections of a room are clearlyaudible.
GATED REVERB: This eect synthetically cuts o reverberation after a period of time. It is famous in the song “In the Air Tonight” by Phil Collins.
REVERSE REVERB: This is a reverberation in which the envelope is reversed—itslowly gets louder.
8VIRTUALIZER 3D FX2000 User Manual
DELAY
MODULATION
ParameterFunction
Pre DelayTime until arrival of rst reection(s)
DecayDuration until the reverb tail is damped
Hi Decay DampingDamps high frequencies in the reverb tail
SizeSize of the plate reverb/the room impression
DiusionDegree of wall diusion (reverb density)
Wall Damp.Degree of damping of the wall material
Bass Mul.
Low CutFrequency of Low Cut Filter
Metal ResonanceIntensity of metal resonances
ReectionsNumber of initial reections
Shelver Damp.Damps Shelving Filter
High CutFrequency response of spring reverb (Spring Reverb)
Stereo WidthStereo depth of the eect
Reverb Mod.Modulation intensity of the reverb tail
ER/Rev.Intensity ratio between initial reections and reverb tail
DensityIntensity of reection envelope build-up (Gated / Reverse Reverb)
Tab. 2.1: Functioning of the reverb eects’ parameters
1 High pass filter, allows the frequencies above a specific cut-off frequency to pass and damps the frequencies
below that."
2 Upper or lower cut-off frequency of an equalizer.
Amplication/damping of low frequencies in thereverb tail
1
at the input stage
2
at the input stage
DELAY
2.2
Delay algorithms
MODULATION
2.3
Modulation and pitch shifter eects
FLANGER: The word “ange” means “tape spool”, and this explains the characteristics of the eect. Originally the anger eect was generated with two tape recorders which ran synchronously. The same audio signal was recorded on both machines. If you put a nger on the left spool of one of the machines, thespool and the playback speed are slowed down. The generated delay results in phase shifting of the signals. Vintage Flanger simulates a guitar anger eect pedal and Jet Stream Flanger sounds like a classic analog anger.
CHORUS: This eect slightly detunes the original signal. A very pleasant detune eect is created in connection with the pitch variation. The chorus eect is quite often and extensively used for dispersing signals. Analog Chorus simulates a guitar chorus eect pedal, while Vintage Chorus imitates a classic analog studio chorus.Ultra Chorus creates the sound of an eight-person vocal chorus.
PHASER: With the phaser, a second, phase shifted signal is added to the original audio signal. The resulting sound is thicker and above all livelier. This eect is often used for guitar sounds and keyboards. In the 70s, it was also extensively used for other instruments like electric pianos. Here, Vintage Phaser representsa guitar phaser eect pedal. Dual Phaser processes the left and the right channels separately.
LESLIE: The simulation of a classic eect that is normally generated with a very heavy enclosure with a (slow or fast) rotating speaker: The bass speaker (drum) is covered by a partly opened rotating cap, while both of the high pitch horns (horn), displaced by 180°, revolve around the same perpendicular axis. Here,thephysical principle of the Doppler eect for modulation of signals is used.
STEREO DELAY: A delay of the input signal. Dierent tempo settings allow interesting delay eects.
TAPE ECHO: Similar to the stereo delay, with the dierence being that the repetitions have less presence. This simulates the character of the original tape echo that was used before the digital era and can be thought of as a “VintageSound”. The tape echo’s reections include high and low pass lters.
PING PONG: A delay eect with changing stereo positioning, where the time intervals between the repetitions can be changed.
ParameterFunction
Delay LeftLength of left delay (Tape Echo / Ping Pong)
Delay Left CoarseLength of delay time (left) in 100 ms steps
Delay Left FineLength of delay time (left) in 1 ms steps
Delay RightLength of right delay (Tape Echo / Ping Pong)
Delay Right CoarseLength of delay time (right) in 100 ms steps
Delay Right FineLength of delay time (right) in 1 ms steps
FeedbackRepetition(s) for both channels
Feedback LeftRepetition(s) for the left channel
Feedback RightRepetition(s) for the right channel
Feedback Delay LeftDelay of the left feedback
Feedback Delay RightDelay of the right feedback
Feedback HPHigh pass cut-o frequency of repetition(s)
Feedback LPLow pass
Damping
Tab. 2.2: Functioning of the delay eects’ parameters
1
cut-o frequency of repetition(s)
Low pass frequency within the delay feedback loop (TapeEcho)
PITCH SHIFTER: This eect changes the pitch of the input signal. Youcan generate musical intervals and harmonies or simply a single voice. Detuningby several semitones upward alienates voices (and is used often in cartoons). Here,you can choose among a stereo, two, and three vocal pitch shifter. At the left stop of Edit C the pitch shifters 1 and 2 are synchronized to a stereo pitch shifter. Pitch shifter 3 can be switched o by turning Edit E fullycounterclockwise.
VIBRATO: For this eect, the peak frequency of a tone is periodically and uniformly changed (quickly or slowly). It is often used for guitar playing.
TREMOLO: This eect was originally found on guitar ampliers, and is once again trendy. It is a fast or slow periodic variation of the volume.
AUTO PANNING: This sound eect, which was very popular in the beginnings of stereo technique, is achieved by allowing a sound source (often the lead guitar or a synthesizer) to wander from one end of the stereo image to another or by just letting it wander repeatedly.
1 Filter, allows the frequency below a particular cut-off frequency to pass and damps the frequencies
above that."
9VIRTUALIZER 3D FX2000 User Manual
DYNAMICS
ParameterFunction
SpeedSpeed of modulation
1
LFO
Wave
DepthModulation depth (L & R)
DelayLength of delay
FeedbackRoutes back the processed signal to the input stage
Wave
Semitones 1Pitch Shifter 1: detuning in semitones
Semitones 2Pitch Shifter 2: detuning in semitones
Semitones 3Pitch Shifter 3: detuning in semitones
Cents 1Pitch Shifter 1: detuning in cents
Cents 2Pitch Shifter 2: detuning in cents
Cents 3Pitch Shifter 3: detuning in cents
Drum DepthIntensity of amplitude modulation of the bass loudspeaker (Leslie)
Horn DepthIntensity of amplitude modulation of the high pitch horn (Leslie)
BalanceVolume ratio between horn and drum
Stereo SpreadStereo eect intensity
Stereo PhasePhase angle between left and right modulation
WidenessParameter variation (Ultra Chorus)
BaseStarting point of modulation
DriveIntensity of tube distortion
Mode
Auto ModulationInuences LFO frequency (dependent on input level)
Feedback LPLow pass cut-o frequency of feedback
Damping
Tab. 2.3: Functioning of the modulation and pitch shifter eects’ parameters
1 (Low Frequency Oscillator): determines the speed and nature of modulation effects.
Sets the curve of the modulation (triangular, sinusoidal, rectangular)
Sets the curve of the LFO (Sine, Tri, Opto, Square, Saw Up, Saw Down)
Selects various eect modes or between three modes with increasing modulation intensity (Stereo Phaser)
Limits frequency range to simulate older chorus units(Stereo / Vintage Chorus)
DYNAMICS
2.4
Dynamic eects
COMPRESSOR/LIMITER: When the signal level exceeds the level control limit of the signal-processing unit, it must be limited dynamically to avoid distortions. This is achieved by installing a compressor or a limiter. The limiter abruptly limits the signal above a specied threshold, while a compressor acts “softly” over a large range. The Analog Compr/Limiter is modeled after a famous analog compressor unit.
EXPANDER: Background noises of all types (noise, humming etc) limitthe dynamic range of the actual signal. As long as the level of the actual signal lies signicantly above the background noise, the noise is inaudible. Theinterference signal in this case is masked by the actual signal. The expander is used to eectively expand the dynamic range of signals. Signals with small amplitudes (such as background noise) can be weakened, thereby reducing the backgroundnoise.
GATE: On stage and in studios, there are diverse applications where a noise gate is needed. For example, microphones that tend to cause feedback can be “defused”. In addition, you can use a gate to eliminate unwanted noise. When used on vocals, for example, the signal is simply masked during pauses, thuseliminating all noise. Needless to say, a gate used on vocals has to open very quickly—otherwise, the rst syllables of soft or whispered passages would not be audible.
ULTRAMIZER: The ultramizer function divides the sound spectrum into twofrequency bands and, as a result, allows inaudible but extremely eective compression. This is especially helpful during mix-down. The FX2000 analyses the received audio material and automatically adjusts input gain and compression parameters.
DENOISER: The denoiser is used to eliminate or reduce noise and otherinterference.
DE-ESSER: A problem often encountered in recording situations, is the sibilant (Ssss) sound of the human voice. The de-esser is used to remove strong hissing sounds from the audio signal.
WAVE DESIGNER: Using this eect, you can inuence the envelope of a signal by specifying its volume. A (= Attack) indicates the time a tone needs to reach its full volume. R (= Release) determines how long it takes before a tone dies away.
ParameterFunction
1
Ratio
ThresholdThreshold point of Compressor / Expander / Gate
Limiter ThresholdThreshold point of Limiter
M-GainMake-up gain
Gain LMake-up gain for left channel
Gain RMake-up gain for right channel
Soft KneeBending of the characteristic curve
3
Attack
Attack LResponse time of left channel (Wave Designer)
Attack RResponse time of right channel (Wave Designer)
4
Release
Release LRelease of left channel
Release RRelease of right channel
5
Hold
RangeDegree of damping (Gate); dynamic limitation (Ultramizer)
DensityDegree of compression (Ultramizer)
SpeedRecovery time (the higher the faster)
Split FrequencySplit point between high and low band
Stereo FXIntensity of the stereo enhancer
Enhancer FrequencyFrequency of the HF
BandSeparates low, high band & wide (Ultramizer / De-Esser)
LP FrequencyBasic frequency (Denoiser)
LP DepthControls the amount of inuence on the signal level (Denoiser)
LP SpeedRecovery time of low pass modulation (Denoiser)
Gate HoldTime until the gate process sets in (Denoiser)
Gate ResponseGate recovery time (Denoiser)
Gate ThresholdAmount of signal needed to open the noise gate (Denoiser)
FrequencyLower cut-o frequency of compression process (De-Esser)
Tab. 2.4: Functioning of the dynamic eects’ parameters
1 Ratio determines the relation of input to output level for all signals which exceed the threshold point.
2 The Soft Knee characteristic curve prevents a high compression rate (high ratio) from sounding unnatural.
3 Attack determines the time which the processor requires to react to signals which exceed the threshold point.
4 Release determines the time that the processor needs after falling below the threshold point to reach the
original level.
5 Hold determines the time before the release process sets in (release sets in after the signal falls below the
threshold point).
6High frequency.
Degree of compression (Compressor) / expansion (Expander)
2
at the threshold point
Response time
Release (right stop activates auto mode for Compr./Lim.)
Time until release process sets in
6
enhancer
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