Behringer Virtualizer 3D FX2000 User Manual

User Manual

VIRTUALIZER 3D FX2000

High-Performance 3D Multi-Engine Eects Processor

2 VIRTUALIZER 3D FX2000 User Manual

Table of Contents

Thank you .......................................................................2

Important Safety Instructions ...................................... 3

Legal Disclaimer ............................................................. 3

Limited Warranty ...........................................................3

1. Introduction ............................................................... 5

2. Eects Algorithms ..................................................... 7

3. Operation ................................................................. 13

4. Applications ............................................................. 17

5. MIDI Functions of the FX2000 ................................ 19

6. Installation ............................................................... 19

7. Appendix .................................................................. 21

8. Specications ........................................................... 25

Thank you

In purchasing the BEHRINGER VIRTUALIZER 3D you have acquired an extremely
ecient multi-eects processor that oers rst class reverberation eects and a
number of other algorithms. The FX2000 has 71 new eects types, and thanks to
its logically structured user interface, it can be used easily and intuitively.

3 VIRTUALIZER 3D FX2000 User Manual

“Where to Buy“, or you can contact the MUSIC Group o ce

or replacement product will be returned to the user freight

Important Safety Instructions

Terminals marked with this symbol carr y
electrical current of su cient magnitude

to constitute risk of electric shock. Useonly
high-quality commercially-available speaker cables with
¼"TS plugs pre-installed. Allother installation or
modi cation should be performed only by
quali edpersonnel.

This symbol, wherever it appears,

alertsyou to the presence of uninsulated

dangerous voltage inside the
enclosure-voltage that may be su cient to constitute a
risk ofshock.

This symbol, wherever it appears,

alertsyou to important operating and

maintenance instructions in the
accompanying literature. Please read the manual.

Caution

To reduce the risk of electric shock, do

not remove the top cover (or the rear
section). No user serviceable parts inside. Refer servicing
to quali ed personnel.

Caution

To reduce the risk of  re or electric shock,

do not expose this appliance to rain and
moisture. The apparatus shall not be exposed to dripping
or splashing liquids and no objects  lled with liquids, such
as vases, shall be placed on the apparatus.

Caution

These service instructions are for use

by quali ed ser vice personnel only.
Toreduce the risk of electric shock do not per form any
servicing other than that contained in the operation
instructions. Repairs have to be performed by quali ed
servicepersonnel.

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 as
radiators, heat registers, stoves, or other apparatus
(including ampli ers) that produce heat.

9. Do not defeat the safety purpose of the polarized
or grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding-type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. Ifthe
provided plug does not  t into your outlet, consult an
electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.

11. Use only attachments/accessories speci ed by
themanufacturer.

12. Use only with the
cart, stand, tripod, bracket,
or table speci ed by the
manufacturer, orsold with
the apparatus. When a cart
is used, use caution when
moving the cart/apparatus
combination to avoid

injury from tip-over.

13. Unplug this apparatus during lightning storms or
when unused for long periods of time.

14. Refer all servicing to quali ed service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power supply cord or plug
is damaged, liquid has been spilled or objects have fallen
into the apparatus, the apparatus has been exposed
to rain or moisture, does not operate normally, or has
beendropped.

15. The apparatus shall be connected to a MAINS socket
outlet with a protective earthing connection.

16. Where the MAINS plug or an appliance coupler is
used as the disconnect device, the disconnect device shall
remain readily operable.

LEGAL DISCLAIMER

TECHNICAL SPECIFICATIONS AND APPEARANCE
ARE SUBJECT TO CHANGE WITHOUT NOTICE.
THEINFORMATION CONTAINED HEREIN IS CORRECT
AT THE TIME OF PRINTING. ALL TRADEMARKS ARE
THE PROPERTY OF THEIR RESPECTIVE OWNERS.
MUSICGROUP ACCEPTS NO LIABILITY FOR ANY
LOSS WHICH MAY BE SUFFERED BY ANY PERSON
WHO RELIES EITHER WHOLLY OR IN PART UPON
ANY DESCRIPTION, PHOTOGRAPH OR STATEMENT
CONTAINED HEREIN. COLORS AND SPECIFICATIONS
MAY VARY FROM ACTUAL PRODUCT. MUSIC GROUP
PRODUCTS ARE SOLD THROUGH AUTHORIZED
FULLFILLERS AND RESELLERS ONLY. FULLFILLERSAND
RESELLERS ARE NOT AGENTS OF MUSICGROUP
AND HAVE ABSOLUTELY NO AUTHORITY TO BIND
MUSICGROUP BY ANY EXPRESS OR IMPLIED

UNDERTAKING OR REPRESENTATION. THIS MANUAL
IS COPYRIGHTED. 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 MUSICGROUPIPLTD.

ALL RIGHTS RESERVED.
© 2011 MUSICGroupIPLtd.
Trident Chambers, Wickhams Cay, P.O. Box 146,
Road Town, Tortola, British Virgin Islands

LIMITED WARRANTY

§ 1 Warranty

(1) This limited warranty is valid only if you purchased
the product from a MUSIC Group Authorized Reseller in
the country of purchase. A list of authorized resellers can
be found on BEHRINGER’s website behringer. com under

closest to you.

(2) MUSICGroup* warrants the mechanical and
electronic components of this product to be free of defects
in material and workmanship if used under normal
operating conditions for a period of one (1) year from
the original date of purchase (see the Limited Warranty
terms in §4 below), unless a longer minimum warranty
period is mandated by applicable local laws. If the product
shows any defects within the speci ed warranty period
and that defect is not excluded under §4, MUSICGroup
shall, at its discretion, either replace or repair the product
using suitable new or reconditioned product or parts.
Incase MUSICGroup decides to replace the entire product,
thislimited warranty shall apply to the replacement
product for the remaining initial warranty period, i.e.,
one (1) year (or otherwise applicable minimum warranty
period) from the date of purchase of the original product.

(3) Upon validation of the warranty claim, the repaired

prepaid by MUSICGroup.

(4) Warranty claims other than those indicated above
are expressly excluded.

PLEASE RETAIN YOUR SALES RECEIPT. IT IS YOUR PROOF
OF PURCHASE COVERING YOUR LIMITED WARRANTY.
THIS LIMITED WARRANT Y IS VOID WITHOUT SUCH PROOF
OFPURCHASE.

§ 2 Online registration

Please do remember to register your new BEHRINGER
equipment right after your purchase at behringer. com
under “Support” and kindly read the terms and conditions
of our limited warranty carefully. Registeringyour
purchase and equipment with us helps us process
your repair claims quicker and more e ciently.
Thankyouforyour cooperation!

§ 3 Return materials authorization

(1) To obtain warranty ser vice, please contact the
retailer from whom the equipment was purchased.
Should your MUSIC Group Authorized Reseller not be
located in your vicinity, you may contact the MUSICGroup
Authorized Ful ller for your country listed under

4 VIRTUALIZER 3D FX2000 User Manual

“Support” at behringer. com. Ifyour country is not
listed, please check if your problem can be dealt with
by our “OnlineSuppor t” which may also be found under
“Support” at behringer. com. Alternatively,please submit
an online warranty claim at behringer. com BEFORE
returning the product. All inquiries must be accompanied
by a description of the problem and the serial number
of the product. Afterverifying the product’s warranty
eligibility with the original sales receipt, MUSICGroup
will then issue a ReturnMaterials Authorization
(“RMA”)number.

(2) Subsequently, the product must be returned in
its original shipping carton, together with the return
authorization number to the address indicated by
MUSICGroup.

(3) Shipments without freight prepaid will not
beaccepted.

§ 4 Warranty Exclusions

(1) This limited warranty does not cover consumable
parts including, but not limited to, fuses and batteries.
Where applicable, MUSICGroup warrants the valves or
meters contained in the product to be free from defects in
material and workmanship for a period of ninety (90) days
from date of purchase.

(2) This limited warranty does not cover the product
if it has been electronically or mechanically modi ed
in any way. If the product needs to be modi ed 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
modi cation/adaptation shall not be considered a defect
in materials or workmanship. Thislimited warranty does
not cover any such modi cation/adaptation, regardless
of whether it was carried out properly or not. Under the
terms of this limited warranty, MUSICGroup shall not
be held responsible for any cost resulting from such a
modi cation/adaptation.

(3) This limited warranty covers only the product
hardware. It does not cover technical assistance for
hardware or software usage and it does not cover
any software products whether or not contained in
the product. Any such software is provided “AS IS”
unless expressly provided for in any enclosed software
limitedwarranty.

(4) This limited warranty is invalid if the factory­applied serial number has been altered or removed from
theproduct.

(5) Free inspections and maintenance/repair work
are expressly excluded from this limited 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 par ticular, of faders, crossfaders,
potentiometers, keys/buttons, guitar strings, illuminants
and similar parts.

(6) Damage/defects caused by the following conditions
are not covered by this limited warranty:

• improper handling, neglect or failure to operate the
unit in compliance with the instructions given in
BEHRINGER user or service manuals;

• 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;

• damage/defects caused by acts of God/Nature
(accident,  re,  ood, etc) or any other condition that
is beyond the control of MUSICGroup.

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

(8) If an inspection of the product by MUSICGroup
shows that the defect in question is not covered by the
limited warranty, the inspection costs are payable by
thecustomer.

(9) Products which do not meet the terms of this
limited warranty will be repaired exclusively at the buyer’s
expense. MUSICGroup or its authorized service center will
inform the buyer of any such circumstance. If the buyer
fails to submit a written repair order within 6 weeks after
noti cation, MUSICGroup 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.

(10) MUSIC Group Authorized Resellers do not sell new
products directly in online auctions. Purchasesmade
through an online auction are on a “buyer beware” basis.
Online auction con rmations or sales receipts are not
accepted for warranty veri cation and MUSICGroup will
not repair or replace any product purchased through an
online auction.

§ 5 Warranty transferability

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

§ 6 Claim for damage

Subject only to the operation of mandatory applicable
local laws, MUSICGroup shall have no liability to the buyer
under this warranty for any consequential or indirect
loss or damage of any kind. In no event shall the liability
of MUSICGroup under this limited warranty exceed the
invoiced value of the product.

§ 7 Limitation of liability

This limited warranty is the complete and exclusive
warranty between you and MUSICGroup. It supersedes
all other written or oral communications related to this
product. MUSICGroup provides no other warranties for
this product.

§ 8 Other warranty rights and
nationallaw

(1) This limited warranty does not exclude or limit the
buyer’s statutory rights as a consumer in any way.

(2) The limited warranty regulations mentioned herein
are applicable unless they constitute an infringement of
applicable mandatory local laws.

(3) This warranty does not detract from the seller’s
obligations in regard to any lack of conformity of the
product and any hidden defect.

§ 9 Amendment

Warranty service conditions are subject to change without
notice. For the latest warranty terms and conditions
and additional information regarding MUSICGroup’s
limited warranty, please see complete details online at
behringer. com.

* MUSICGroup Macao Commercial O shore Limited of
RuedePequim No. 202-A, Macau Finance Centre 9/J, Macau,
including all MUSICGroup companies

5 VIRTUALIZER 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.
Changingparameters to achieve a specic 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 eects (like chorus, anger and phaser),
whichwere extended to include special variations like a musical pitch shifter,
atremolo, and a rotary speaker simulation. The FX2000’s dynamic and psycho­acoustic eects allow you to do without a number of additional pieces of
equipment. TheFX2000 also oers you a series of distortion and amplication
sounds 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,
theVIRTUALIZER 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
(1¾"). 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 amplier, 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,
withtwo 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-Voperation!

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 cable
or 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.

1.1 The 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
specications, 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
(SurfaceMounted Device). The use of sub-miniature building blocks known from
space ights allows not only an ex treme packing density but also ensures an
increased dependability. The FX2000 was manufactured under ISO9000 certied
management system.

1.2 Before 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 staf f only. Both before and after installation, the staff using
the equipment should make sure that it is properly grounded since
otherwise 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 eectively
suppressed. The automatic servo-function recognizes the presence of unbalanced
connectors and adjusts the nominal level internally to avoid level dierences
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.

1.3 Online registration

Please register your new BEHRINGER equipment right after your purchase
by visiting http://behringer.com and read the terms and conditions of our
warrantycarefully.

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. Shouldyour
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 Contac t
Information). 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 eciently.

Thank you for your cooperation!

6 VIRTUALIZER 3D FX2000 User Manual

1.4 Control elements

Fig. 1.1: VIRTUALIZER 3D front pan el

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: Displa y section of the VI RTUALIZER 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
OPERATINGLEVEL switch.

(2) After you switch on the VIRTUALIZER 3D, you can read the name of the last

used eect 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 eect 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 eect belongs to. Altogether the FX2000 oers eight dierent
algorithmgroups.

(4)

(6) (7) (8) (9) (10) (11) (14)(12) (15)

(5) Every preset in the FX2000 allows you to edit at least four eect 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 EDIT­LED-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) eect 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 eect

parameters EDIT B and EDIT F. When you select the INPUT parameter with
the 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 modies the values of eect parameters EDIT C,

EQLO, 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 eect 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 eect levels of most eect

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 eects (the signal is completely dry). If you select 100%, only the
eected 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: Functi on keys, controls and j og 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 eects, press the MIX/BYPASS CONTROL. Thisallows
you to compare between the original and the eected signals. Pressthe
MIX/BYPASS CONTROL again to deactivate the bypass and return to your
chosen eect. When the MIDI IN LED below the control ickers, itindicates
that MIDI data is arriving at the MIDI IN port.

7 VIRTUALIZER 3D FX2000 User Manual

(19) (21) (22) (23) (24)(20)

REVERB

Fig. 1.4: VIRTUALIZER 3D rea r 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 eect algorithms, press the EFFECT key once,

then rotate the JOG WHEEL. For information on the parameter values that
are set for the basic eect 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’s LED begins to

blink. The FX2000 comprises 100 user presets for your own settings and
100factory presets (see separate preset sheet). To save your changes,
pressthe STORE key. Select a storage space (number) with the Jog Wheel and
conrm 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
isloaded.

(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,

conrmthat the voltage display matches your local mains voltage.
Whenreplacing 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 120V, then a stronger fuse must be used. (For more information,
see chapter 8 “SPECIFICATIONS”). The mains connection is made via the IEC
receptacle. Anappropriate 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

(professionalstudio level), use the OPERATING LEVEL SWITCH. Whenyou
switch between the two, the level displays are automatically changed to the
nominal level and the VIRTUALIZER 3D operates in its optimal workingrange.

(24) Both of the VIRTUALIZER 3D’s INPUTs are also available as balanced ¼" TRS

and XLR sockets.

2. Eects Algorithms

All eects of digital eects equipment are based on various algorithms.
Analgorithm for a reverb eect, for example, is programmed dierently than a
chorus algorithm. Each eect has a cer tain algorithm with which the digital input
signal is processed. The processing takes place within the digital signal processor
(DSP). After the eect 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.
Thechanges you make will inuence the sound in dierent ways. An overview of
the FX2000’s various eects algorithms follows.

REVERB

2.1

Reverb algorithms

REVERB: As the term suggests, a “reverb” is a reverberation eect. Thereverb
can be considered as the most important eect in a mix-down or a live event.
TheFX2000 oers 12 dierent reverberation programs so that you have a suitable
reverb for every situation. Cathedral simulates the dense, longreverberation
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(stronglyreec ting) hall. With Room, you can clearly hear the walls of
the room. Studio represents a small- to middle-sized room. WithConcert,
you can select between a small theater and a large hall. Stageis well suited
to dissipating the sound of a keyboard or an acoustic guitar. SpringReverb
simulates a classic spring reverberation. Ambience reproduces a room
impression without late reections. With Early Reections, the initial
reections of a room are clearlyaudible.

GATED REVERB: This eect 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—itslowly gets louder.

8 VIRTUALIZER 3D FX2000 User Manual

DELAY

MODULATION

Parameter Function

Pre Delay Time unti l arrival of rst r eection(s)

Decay Duration until the reverb tail is damped

Hi Decay Damping Damps high frequencies in the reverb tail

Size Size of the pla te reverb/the room i mpression

Diusion Degree of wall diusion (reverb density)

Wall Damp. Degree o f damping of the wall mate rial

Bass Mul.

Low Cut Frequency of Low Cut Filter

Metal Resonance Intensity of metal resonances

Reections Number of initial reections

Shelver Damp. Damps Shelving Filter

High Cut Frequenc y response of spr ing reverb (Spring Reverb)

Stereo Width Stereo depth of the e ect

Reverb Mod. Modulation intensity of the reverb tail

ER/Rev. Inte nsity ratio bet ween initial re ections and rev erb tail

Density Intensit y of reectio n envelope build- up (Gated / Reverse Reve rb)

Tab. 2.1: Fun ctioning of the r everb eects ’ parameters

1 High pass f ilter, allows the freque ncies above a speci fic cut-off f requency to pa ss and damps the fre quencies

below that."

2 Upper or lower c ut-off fre quency of an equalize r.

Amplication/damping of low frequencies in the
reverb tail

1

at the input s tage

2

at the input s tage

DELAY

2.2

Delay algorithms

MODULATION

2.3

Modulation and pitch shifter eects

FLANGER: The word “ange” means “tape spool”, and this explains the
characteristics of the eect. Originally the anger eect 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,
thespool and the playback speed are slowed down. The generated delay results
in phase shifting of the signals. Vintage Flanger simulates a guitar anger
eect pedal and Jet Stream Flanger sounds like a classic analog anger.

CHORUS: This eect slightly detunes the original signal. A very pleasant detune
eect is created in connection with the pitch variation. The chorus eect is quite
often and extensively used for dispersing signals. Analog Chorus simulates a
guitar chorus eect 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 eect 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 represents
a guitar phaser eect pedal. Dual Phaser processes the left and the right
channels separately.

LESLIE: The simulation of a classic eect 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,thephysical principle of the Doppler eect for modulation of signals is used.

STEREO DELAY: A delay of the input signal. Dierent tempo settings allow
interesting delay eects.

TAPE ECHO: Similar to the stereo delay, with the dierence 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
“VintageSound”. The tape echo’s reections include high and low pass lters.

PING PONG: A delay eect with changing stereo positioning, where the time
intervals between the repetitions can be changed.

Parameter Function

Delay Lef t Length of le ft delay (Tape Echo / Ping Pong)

Delay Lef t Coarse Le ngth of delay time (le ft) in 100 ms steps

Delay Left Fine Length of d elay time (left) in 1 ms s teps

Delay Right Length of r ight delay (Tape Echo / Ping Pong)

Delay Right C oarse Length of d elay time (right) in 100 ms ste ps

Delay Right Fine Length of de lay time (right) in 1 ms steps

Feedback Repetition(s) for both channels

Feedback Left Repetit ion(s) for the left ch annel

Feedback Right Repetition(s) for the right channel

Feedback Delay Lef t Del ay of the left fee dback

Feedback Delay Right Delay of the r ight feedback

Feedback HP High pass cut-o frequency of repetition(s)

Feedback LP Low pass

Damping

Tab. 2.2: Functi oning of the delay ee cts’ parame ters

1

cut-o frequency of repetition(s)

Low pass fr equency with in the delay feedba ck loop
(TapeEcho)

PITCH SHIFTER: This eect changes the pitch of the input signal. Youcan
generate musical intervals and harmonies or simply a single voice. Detuningby
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
fullycounterclockwise.

VIBRATO: For this eect, the peak frequency of a tone is periodically and
uniformly changed (quickly or slowly). It is often used for guitar playing.

TREMOLO: This eect was originally found on guitar ampliers, and is once again
trendy. It is a fast or slow periodic variation of the volume.

AUTO PANNING: This sound eect, 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 f requency belo w a particular cu t-off frequ ency to pass and damp s the frequencie s

above that."

9 VIRTUALIZER 3D FX2000 User Manual

DYNAMICS

Parameter Function

Speed Speed of mod ulation

1

LFO

Wave

Depth Modul ation depth (L & R)

Delay Length of d elay

Feedback R outes back the pro cessed signal to the i nput stage

Wave

Semitones 1 Pitch Shifter 1: detuning in semitones

Semitones 2 Pitch Shifter 2: detuning in semitones

Semitones 3 Pitch Shifter 3: detuning in semitones

Cents 1 Pitch Shif ter 1: detuning in cents

Cents 2 Pitch Shif ter 2: detuning in cents

Cents 3 Pitch Shif ter 3: detuning in cents

Drum Depth Intensit y of amplitude m odulation of the ba ss loudspeaker (Leslie)

Horn Depth In tensity of amplit ude modulation of t he high pitch horn (Leslie)

Balance Volum e ratio between h orn and drum

Stereo Spread Stereo eect intensity

Stereo Phase Phas e angle between l eft and right mo dulation

Wideness Parameter variation (Ultra Chorus)

Base Starting point of modulation

Drive Intensity of tube distortion

Mode

Auto Modulation Inuences LFO frequency (dependent on input level)

Feedback LP Low pass cut-o frequency of feedback

Damping

Tab. 2.3: Function ing of the modulatio n and pitch shifte r eects’ pa rameters

1 (Low Frequenc y Oscillator): deter mines the speed an d nature of modulation e ffect s.

Sets the c urve of the modul ation
(triangular, sinusoidal, rec tangular)

Sets the c urve of the LFO (Sine, Tri, Op to, Square,
Saw Up, Saw Down)

Selec ts various ee ct modes or bet ween three modes w ith
increasing modulation intensity (Stereo Phaser)

Limits frequency range to simulate older chorus units
(Stereo / Vi ntage Chorus)

DYNAMICS

2.4

Dynamic eects

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 specied threshold, while a compressor ac ts “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) limitthe
dynamic range of the actual signal. As long as the level of the actual
signal lies signicantly above the background noise, the noise is inaudible.
Theinterference signal in this case is masked by the actual signal. The expander
is used to eectively expand the dynamic range of signals. Signals with small
amplitudes (such as background noise) can be weakened, thereby reducing the
backgroundnoise.

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,
thuseliminating all noise. Needless to say, a gate used on vocals has to open very
quickly—other wise, the rst syllables of soft or whispered passages would not
be audible.

ULTRAMIZER: The ultramizer function divides the sound spectrum into two
frequency bands and, as a result, allows inaudible but extremely eective
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
otherinterference.

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 eect, you can inuence 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.

Parameter Function

1

Ratio

Threshold Threshold poin t of Compressor / E xpander / Gate

Limiter Threshold Threshold point of Limiter

M-Gain Make-up gain

Gain L Make-up g ain for left chan nel

Gain R M ake-up gain for rig ht channel

Soft Knee Bending of the characteristic curve

3

Attac k

Attac k L Resp onse time of lef t channel (Wave Design er)

Attac k R Re sponse time of righ t channel (Wave Design er)

4

Release

Release L Release of left channel

Release R Release of right channel

5

Hold

Range Degree of damping (Gate); dynamic limitation (Ultramizer)

Density Degree of compression (Ultramizer)

Speed Recovery time (the higher the faster)

Split Frequency Spli t point between h igh and low band

Stereo FX Intensity of the stereo enhancer

Enhancer Frequency Frequenc y of the HF

Band Separat es low, high band & wide (Ultr amizer / De-Ess er)

LP Frequency Basic frequency (Denoiser)

LP Depth Controls the amount of inuence on the signal level (Denoiser)

LP Speed Recovery time of low pass modulation (Denoiser)

Gate Hold Time until the gate process sets in (Denoiser)

Gate Response Gate recovery time (Denoiser)

Gate Threshold Amount of signal needed to open the noise gate (Denoiser)

Frequency Lower c ut-o frequenc y of compressio n process (De-E sser)

Tab. 2.4: Functioni ng of the dynamic ee cts’ parame ters

1 Ratio dete rmines the relatio n of input to output le vel for all signals which e xceed the thresho ld point.

2 The Sof t Knee characte ristic curve p revents a high compre ssion rate (high rat io) from sounding unnat ural.

3 Attack de termines the time w hich the process or requires to reac t to signals which excee d the threshold po int.

4 Release de termines the time t hat the processor n eeds after fa lling below the thresh old point to reach the

original level.

5 Hold deter mines the time bef ore the release proce ss sets in (release s ets in after th e signal falls below the

threshold point).

6 High frequency.

Degree of compression (Compressor) / exp ansion (Expander)

2

at the threshold point

Response time

Release (rig ht stop activat es auto mode for Comp r./ Lim.)

Time unti l release process s ets in

6

enhancer