Behringer Virtualizer 3D FX2000 User Manual

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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.

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.

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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

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

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."

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DYNAMICS

Parameter Function

Speed Speed of mod ulation

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

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

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)

Release

Release L Release of left channel

Release R Release of right channel

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)

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

enhancer

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PSYCHO ACOUSTICS

FILTER/EQ

PSYCHO ACOUSTICS

2.5

Psycho-acoustic eects

EXCITER: An exciter works with psycho-acoustic principles to add articially generated overtones to the original signal, thereby increasing its presence and loudness (the subjective volume impression) without any signicant increase of the signal level.

ENHANCER: The enhancer works like a dynamic pitch equalizer. Its eectiveness depends on the associated high frequencies and the intensity of the input signal.

ULTRA BASS: This awesome combination of sub-harmonic processor, bassexciter, and limiter adds a nal touch to your music production.

STEREO IMAGER: This eect is used to process stereo main signals. The signal is rst subdivided into middle and side signal (MS Matrix). Both parts can then be amplied when desired and placed on the stereo image.

ULTRA WIDE: This eect is suitable to pep up speaker systems with an especially broad stereo image.

BINAURALIZER: The binauralizer also extends the stereo image. Additionally, itcompensates for inter-channel cross talk of both speakers (left loudspeaker on right ear and vice versa).

Parameter Function

Gain Gain correction

Frequency Cu t-o frequenc y of the side chain hig h pass lter

Filter Q

Timbre R atio of straight an d unstraight har monics (Exciter)

Harmonics Kick

Mix Controls amount of harmonics (Exciter)

Bass Gain Degree o f the bass enhancer

Sub-bass Frequency Cut-o freque ncy of the sub-b ass low pass lter (Ultra Bass)

Sub-bass Level Degree of sub-harmonics

Harmonics Degree of synthetic harmonics (Excit er)

Harmonics Density Density of harmonics (Ultra Bass)

Bass Gain Degree o f original bass sign al (Ultra Bass)

Spread

Spread Mode Selec ts betwee n two dierent spr ead variations (Stereo Imager)

MS Balance R atio of middle and sid e signal (Stereo Imager)

Stereo Balance Bala nce of stereo signal (Stereo Imager)

Mono Balance Bala nce of mono signal (Stereo Imager)

Center

Xover Frequency Frequency of the crossover lter for the center signal (Ultra Wide)

Space Deg ree of stereo wide ness (Binauralizer)

Mode Sele cts between headphones and speaker operation (Binauralizer)

Speaker Distance Run time / speaker dis tance (Binauralizer)

Speaker Compensation Degree o f crosstalk comp ensation (Binauralizer)

High Frequency Split fre quency of the c rossover lter fo r the side chain (Enhancer)

High Gain Amount of added high frequencies (Enhancer)

Bass Width Charac ter of added bass f requencies (Enhancer)

Mid Q Bandwidth of added mid frequencies (Enhancer)

Mid Gain Amount of added mid frequencies (Enhancer)

Harmon. Freq. Frequency of added bass harmonics (Ultra Bass)

Harmon. Level Amount of adde d bass frequenc ies (Ultra Bass)

Tab. 2.5: Function ing of the psycho- acoustic eec ts’ paramete rs

Resonanc e of the high pass lter (emp hasizes cut-o f requency for Excit er)

Activa tes an amplicati on of harmonics de pendent on the inpu t level (Exciter)

Controls the inuence on the stereo signal (Stereo Imager) / degree of s tereo expansi on (Ultra Wide)

Amount of center impression in the stereo signal (Ultra Wide / Binauralizer)

(Exciter)

FILTER/EQ

2.6

Filter/EQ eects

FILT ER: Filters, in general, inuence the frequency response of a signal. A low pass lter allows low frequencies to pass and suppresses high frequencies, whilea high pass lter allows high frequencies to pass and suppresses lowfrequencies.

PARAMETRIC EQ: The parametric equalizer is the most highly-developed form of equalization. You can control the three parameters which dene the so-called gauss equalizer curve: bandwidth, frequency and amplitude boosting or lowering.

GRAPHIC EQ: Eight lter bands are arranged next to each other for this graphic equalizer. In contrast to the parametric equalizer, frequency and bandwidth are pre-determined here.

Parameter Function

Base Frequency Cut-o frequency

Depth Degree of inuence

Resonance Resonance of t he lter

Type O perating mode of the lter

Attac k R esponse time of the e nvelope follower

Release Release ti me of the envelope fo llower

Speed Speed of the L FO

Wave Sets t he curve of the LFO

Gai n 1/2 Boos t/cut (param. EQ)

Fre q. 1/2 Mid f requency (param. EQ)

Q 1/2 Q factor (param. EQ)

200 Hz Boost/cu t at 200 Hz (graph. EQ)

400 Hz Boost/cu t at 400 Hz (graph. EQ)

800 Hz Boost/cu t at 800 Hz (graph. EQ)

1.6 kH z Boos t/cut at 1.6 kHz (graph. EQ)

3.2 kHz Boost/cut a t 3.2 kHz (graph. EQ)

6.4 kHz Boost /c ut at 6.4 kHz (graph. EQ)

Mix Gain correction (Auto Filter / LFO Filter)

Gain

Tab. 2.6: Function ing of the lter/EQ ee cts’ parame ters

Output g ain of the lter block (parametric / graphic EQ)

1 High pass f ilter, which allows frequ encies above a spec ified cut-of f frequenc y to pass and damps the

frequencies lying below it.

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DISTORTION/AMP

2.7

Distortion eects and amp simulations

VOCAL DISTORTION: This eect is very hip when used on vocals and drum loops, and is combined with a delay and anger.

TUBE DISTORTION: This eec t simulates the sound of dierent tube types. Whenan analog tube, as found in a guitar amplier, is overamplied by raising the input signal (e.g. of a guitar), the original signal is mixed with the harmonic overtones. With rising overmodulation (also known as saturation of tubes), theoriginal signal is distor ted and the sound is fresh and full. This is a classic sound in rock music.

GUITAR AMP: This eect simulates the sound characteristics of a complete guitar amplier. You can connect a guitar or bass (after appropriate pre-amplication) directly to the VIRTUALIZER 3D, and from there to a mixing console or recordingdevice.

TRI FUZZ: This is a special guitar distortion type. Jimi Hendrix was one of the rst guitarists to recognize the appeal of this broadband transistor overmodulation. Thehumming distortion of the FUZZ BOX has again become popular with alternative rock and grunge. The VIRTUALIZER 3D’s fuzz works in three dierent frequency bands.

SPEAKER SIMULATION: The VIRTUALIZER 3D is able to simulate various types of speakers. Typical guitar amplif ying speakers as well as multimedia speakers are available. You can also use a parametric equalizer to further rene the sound.

RING MODULATOR: This eect allows a radical alienation of audio signals. Similar to the principle of FM radio, the signal is multiplied by a carrier frequency, so that frequency modulation (FM) takes place. This eect is very well suited for vocal alienation (robot voice).

LO-FI: For years, digital technique has been striving for high quality, lownoise, andbrilliant sounds. In the recent past there have been increasing calls for a return “tothe roots” to achieve the warmth of the old analog sounds. Thetechno/ dance group swears by vinyl and some music lovers miss the charm of good old vinyl discs and tape machines. This trend is known as Lo-Fi (instead of Hi-Fi). We have taken this tendency into account and included the relevant eect in the FX2000. Your recordings sound like 8-bit audio, complete with noise and humming like the old days! A true drum loop in TR808/TR909 style really gets going when it sounds thick and dusty.

Parameter Function

Gain Volu me

Distortion Distortion

Drive

Type

Delay Length of d elay

Delay Gain Degree of delay

Flanger Level Degre e of anger

Flanger Speed Speed of a nger

Pre HP Frequency of the in-series connected high pass lter

Pre LP Frequency of the in-series connected low pass lter

Tube Selection Selects between three tube types

Mid EQ Mid equalizer

In Gain Input gain

Low Fuzz Distor tion of low fr equencies

Mid Fuzz Distortion of mid frequencies

Hi Fuzz Distortion of high frequencies

Cabinet Type Selec ts between eig ht speaker types

Presence Pres ence

Hi Damp Damping of high frequency parts

EQ Gain Raising or lowering of EQ

EQ Frequency Frequ ency of EQ

EQ Q Q fac tor of EQ

Speed Speed of LFO

Depth Modulation depth

Carrier Frequency Modulation frequency

Mode

Slewing

Bit Resolution R esolution of D/A convert er

Buzz Leve l Intensity o f the buzz level

Noise Gain Volume of the noise

Noise HP Lower cut-o frequency of the noise

Noise LP Upper cut-o frequency of the noise

Damp Frequenc y of low pass lter a fter the tube s tage (Tube Distortion)

Tone

Tab. 2.7: Parameter fun ctions of disto rtion eec ts and amplica tion simulations

Degree of tube distortion (Tube Distortion & Guitar Amp) / distor tion at the outpu t circuitry ( Tri Fuz z)

Nature of vo cal distorti on (Vocal Distortion) / selection o f eight dierent loudspeakers (Speaker Simulation)

(Ring Modulator): LFO = The LFO modulate s. ENV=Modulat ion through envelo pe follower. RAND = Modulation through random generator. SINE = The inpu t signal is replaced by a si ne tone and modulate d by a random ge nerator.

Smoothin g of modulation sign al for RAND and SINE (Ring Modulator)

High frequency attenuation of input signal (Ring Mod ulator / LoFi)

12 VIRTUALIZER 3D FX2000 User Manual

SPECIAL FX

SERIAL

SPECIAL FX

2.8

Special eects

VINYLIZER: This eect adds clicks and/or noise to your audio signal, simulatingold vinyl records and tape recorders.

SAMPLER: This sampler allows you to record up to ve seconds of program material. Use Edit A for recording and Edit B for playback of the sampled material.

◊ To clear the contents of the sampler, select a different effect.

VOCODER: The vocoder, an old acquaintance, has become popular again due to the disco renaissance (hear it in “Around the World” by Daft Punk or “California” by 2Pac). A control signal (usually a voice) is used in the right channel to modulate another signal which lies on the left channel (usually a synthesizer sound). Itsounds as if the synthesizer is talking (robot voice).

VOICE CANCELER: The voice canceler is a very eective Karaoke eect. It allows removal of mono vocal parts in stereo recordings. The bass part, however, remains untouched.

RESONATOR: A resonator simulates an oscillating system that amplies a specic frequency. The resonator implemented here has a resonance frequency that can be modulated with positive and negative feedbacks of up to 100%.

Parameter Function

Speed

Clicks Level Volume of clic ks

Scratch Level Volume of "crack s in the record"

Noise Level Volume of noise

Noise Frequency Frequency response of noise

Record / Stop St art / stop recor ding

Play / Stop Star t / stop playback

Mode

Sensitivity Modulation intensity / input sensitivity

Attac k R esponse time of enve lope follower

Release Release time of envelope follower

Bass Frequency Upper cut-o f requency of ba ss frequencie s that are not eec ted

MS Balance De gree of mid elimination

Treb le Pa n Panorama of high frequencies

Gain Gain correction

Depth Modulation depth

Carrier Frequency Modulation frequency

Feedback Degree of feedback

Slewing (Resonato r): Sm oothing of modulat ion signal for RAND a nd SINE

Tone Frequency spec trum of input signal (Vinylizer)

Tab. 2.8: Paramete r functions of sp ecial eect s

Rotatio ns per minute (Vinyl izer) / playback spee d (Sampler) / speed of LF O (resonator)

Forwar d, backward play back, number of re petitions (Sampl er) / Resonator: LFO modulates (LFO), modulation through envelope follower (ENV), modulation through random generator (RAND)

SERIAL

2.9

Eects algorithm combinations

(multi-eects programs)

Eects 61 to 71 are multi-eects algorithms, which allow dierent eects to be used simultaneously. Eect 61, for example, can make a solo guitar “wider” with chorus and simultaneously add a room reverb. Please note that you can modify the structure of a multi-eect (see chapters 3.1 and 3.6.4).

CHORUS & REVERB: This algorithm combines the popular chorus with a gold plate eect (as in algorithm 2).

FLANGER & REVERB: The combination of anger and reverb eects.

LESLIE & REVERB: The input signal, modulated to a degree that you specify,

is then processed with a reverb eect. This eect works especially well with keyboards and guitars.

PITCH & REVERB: The pitch shifter can be detuned in semitone or cent steps. The reverb, on the other hand, can be controlled in time and mixing ratio.

DELAY & REVERB: Delay and reverb are the most common combinations for vocals, solo guitars, etc. The reverb used here is a gold plate, a room that features a distinctive brilliance and can be used in many ways.

TREMOLO & REVERB: The intensive variation in volume of the tremolo gains more depth and wideness with the reverb.

PHASER & REVERB: The combination of a classic stereo phaser and a reverbeect.

CHORUS & DELAY: While the chorus can contribute to a wideness of the signal, interesting repetition eects can be adjusted with the delay. Vocals can be given a distinctive eect without making the voice sounding blurred.

FLANGER & DELAY: This eect is just right for creating a modern, slightly “spacey” vocal sound.

PITCH & DELAY: A repetition of the audio signal, with an oscillatory eect added by the pitch shifter.

TREMOLO & DELAY: A fast or slow, intensive variation of volume, which is additionally processed with a panorama eect.

Parameter Func tion

Speed Modulation speed

Reverb Mix

Decay Room size / duratio n of reverb tail

Depth Intensit y of delay, amplitude, or ph ase modulation

Doppler Intensit y of Doppler eec t

Type

Dela y (Time) Length of t he delay

Delay Mix (Choru s & Delay): Ratio of chorus a nd delay

Feedback Degree of feedback

Semitones Detuning in semitones

Cents Det uning in cents

Auto Mod. Inuence on LFO frequency (dependent on the input level)

Hi Damp Damps the high frequencies of the reverb programs

High Cut Frequenc y range of the inpu t signal (Pitch Shif ter & Reverb)

Tab. 2.9: Parameter f unctions of mul ti-eect s programs

Wet/dry mi x of modulation, delay a nd reverb eec ts (for algori thms 61 - 67)

(Delay & Rever b): Se lects among mo no, stereo and ping po ng delay or a lter in the f eedback chain

◊ For an overview of the parameters available in the individual programs

refer to chapter 7.1.

13 VIRTUALIZER 3D FX2000 User Manual

3. Operation

3.1 Eects structure

Algorithm No.

1-6, 8, 9

11, 12

Eects structure

PREDELAY FILTER REVERB

PREDELAY FILTER ER REVERB

PREDELAY REVERB

PREDELAY FILTER REVERB

GATE/

RVS

OUT

I X E

OUT

17-19, 21, 24, 26

Fig. 3.1: Eects str ucture, par t 1

DELAY_L

DELAY_R

DELAY_L

DELAY_R

DELAY_L

LP/HP

DELAY_R

FEEDBACK_DEL_L

FEEDBACK_DEL_R

EFFECT

OUT

14 VIRTUALIZER 3D FX2000 User Manual

Algorithm No.

16, 20, 22, 23, 25,

28-30, 38-40,

45-48, 50, 53,

54, 57, 60

31-34

Eects structure

DYNAMICS

PITCH_1

PITCH_2

PITCH_3

DYNAMICS

EFFECT_L

EFFECT_R

DYNAMICS

E N H A N C

E R

OUT

I X E R

OUT

I T E R

42-44, 59

Fig. 3.2: Ee cts struc ture, part 2

DYNAMICS

BASS ENHANCER

SUBBASS

BASS ENHANCER

FILTER

EFFECT

OUT

L G A

T E

OUT

15 VIRTUALIZER 3D FX2000 User Manual

Algorithm No.

51, 52

55, 56

A) Serial 1

DIST

MOD/

DELAY

Eects structure

FLANGER

+ +

FLANGER

NOISE/CLICKS

EFFECT

REV/

DELAY

EFFECT

CROSS DELAY

OUT

61-71

Fig. 3.3: Eec ts structu re, part 3

B) Serial 2

C) Parallel

MOD/

DELAY

MOD/

DELAY

REV/

DELAY

REV/

DELAY

OUT

16 VIRTUALIZER 3D FX2000 User Manual

3.2 Calling up presets

The VIRTUALIZER 3D has 100 internal presets and 100 user presets that can be overwritten. The two memory banks are located one after another. The internal presets (I.000 - I.100) come rst and the user presets (U.000 - U.100)follow.

After switching on the unit, the last used preset is automatically restored. Tochoose a dierent preset, press the PRESET key, then rotate the Jog Wheel. Tosee the presets in ascending order, rotate the wheel clockwise. To see the presets in descending order, rotate it counterclockwise.

◊ Please note that it takes the VIRTUALIZER 3D about one second to

activate each newly selected preset. The activation process is indicated by a blinking light on the display. After the new effect’s data is loaded, the VIRTUALIZER 3D activates the preset and the light fades. This brief signal suppression means that during quick selection of presets with the Jog Wheel, not every preset is activated directly. Otherwise, there could be partial “shreds” of various presets at the audio outputs of the FX2000. The VIRTUALIZER 3D gives you the security that unwanted programs are not loaded. In addition, you can quickly turn the Jog Wheel and still have enough time to specifically select a preset without activating “neighboring programs”.

◊ Please note that various ef fects algorithms may have dif ferent volume

levels. Reduce the volume of your monitors while selecting new presets to prevent sudden changes in volume.

3.3 Editing programs (Edit Mode)

◊ If you make changes in a preset and press the STORE key twice, all of

the preset’s original settings are overwritten and your new parameters are stored. If you want to retain the old preset, you must select another preset (using the Jog Wheel) before pressing the STORE key for the second time.

3.5 Comparing an edited preset with the corresponding factory preset (comparefunction)

When you have made changes in a preset but have not yet stored your changes, the COMPARE Function allows you to load the original factory preset and compare it with your changes. To do so, press the COMPARE key while in edit mode. As long as the COMPARE key’s LED blinks, further editing is (temporarily) not possible. Press the COMPARE key again to return to your edited preset. Here, you have the choice to either store your changes (see chapter 3.4), or continue editing (seechapter 3.3).

3.6 SETUP mode

In SETUP mode, you can make global adjustments to the VIRTUALIZER 3D as described in the sub-sections below. Among these are MIDI, Input mode, Outputmode and dual engine conguration (CONFIG). To enter SETUP mode, pressthe SETUP key. The red LED below the EDIT CONTROLs lights up. The four EDIT CONTROLs can now be used to adjust the SETUP parameters. To exit this mode, press the SETUP key again.

Programs can be edited easily and quickly with the FX2000. The list on the right side of the LED DISPLAY gives you an overview of the eects algorithms that the VIRTUALIZER 3D can generate. To select these basic algorithms, press the EFFECT key and rotate the Jog Wheel.

By turning the EDIT CONTROLs and the MIX/BYPASS CONTROL, you can extensively modify the sound of an eects program. You select the EDIT CONTROL function using the EDIT key. By repeatedly pressing the EDIT key, you can (for example) specify whether parameter EDIT A or EDIT E will be changed with the 1st EDIT CONTROL.The currently illuminated LED indicates which parameters will be edited. By modif ying the EQ LO and EQ HI parameters, you can put the nal touch on an eect. As soon as you start editing, the LED of the PRESET or EFFECT key (depending on whether you have already loaded one of the 200 presets or have selected one of the basic algorithms) dies out. Simultaneously, the LED of the STORE key starts to blink, indicating that changes have been made.

3.4 Storing programs

To store changes to one of the 100 user presets, as described in chapter 3.3, youuse the STORE key. All changes to the FX2000’s parameters can be stored when the STORE key’s LED blinks. For your changes to be accepted, you must press the STORE key twice. An example:

• You call up a program and make changes to it using the four EDIT

CONTROLs and the MIX/BYPASS CONTROL. Each EDIT CONTROL controls two parameters that can be selected by pressing the EDIT key. During this process, theSTORE key blinks, indicating that the preset’s settings have been changed. However, your changes are not yet stored. If you want to overwrite the original preset, simply press the STORE key twice to store your changes. Ifyou wish to retain the original preset, press the STORE key once. Thedisplay shows the current preset number and star ts blinking. Use the Jog Wheel to select another preset, which you will overwrite. Press the STORE key again and your changes are stored in the selected preset.

◊ If there is no input for about five seconds after pressing the STORE key,

the unit goes back to edit mode.

3. 6.1 MIDI control

The FX2000’s MIDI editing options are shown on seven pages. Enter SETUP mode (see chapter 3.6). With the help of the 1st EDIT CONTROL, you can select seven dierent MIDI functions. Data input is always carried out with the JOG WHEEL. the following pages can be selected:

• CHAN: You can set the MIDI channel on the rst page. With the Jog Wheel,

the channel can be set from 01 to 16. If you select “OFF”, the MIDI function is switched o.

• OMNI: The second page gives access to omni mode. In this case, the unit

receives MIDI data on all 16 MIDI channels. “ON” appears in the display. Withthe Jog Wheel, select “OFF” to deactivate omni mode.

• CONT: On the third page, you can congure the controller commands.

Youcan choose between four controller modes:

Display Mod e

OFF No controlle r data are transmit ted / received.

RECV C ontroller data are r eceived but not tr ansmitted.

SEND Contr oller data are trans mitted but not re ceived.

BOTH Contr oller data are transmitted and received.

Tab. 3.1: Cont roller settin gs

For controller functions see table 7.4 in chapter 7 “Appendix”.

• PRGM: Page four will bring you to the setup for the program changes.

Onceagain, you have four modes to selec t from:

Display Mod e

OFF Program Cha nges are not transmi tted / received .

RECV P rogram Changes ar e received but not tr ansmitted.

SEND Progr am Changes are tran smitted but not r eceived.

BOTH Pro gram Changes are transmitted and received.

Tab. 3.2: Program c hange settings

17 VIRTUALIZER 3D FX2000 User Manual

• STOR: On the fth page, you can select the Store Enable mode. In the “ON”

mode, the VIRTUALIZER 3D receives controller 112 as the direct storage command—the current settings are stored on the program location corresponding to the controller value without waiting for a conrmation. Inthe “OFF” mode, controller 112 is ignored.

◊ CAUTION: The Store Enable mode is aimed to transfer several

presets at once from an external PC to the VIRTUALIZER 3D (see also chapter 5.1). In this mode, you can very easily overwrite your program locations by unintentionally sending controller 112 values to the FX2000! Therefore, we strongly recommend to switch off this mode immediately after use. When the FX2000 is switched on, this mode is automatically set to off (“OFF”).

• DUMP: Select the System Exclusive mode (“SysEx”) using the sixth page.

In this mode, the FX2000 is ready to “dump” its complete storage content, including all settings, to a MIDI sequencer. Start your MIDI sequencer and turn the JOG WHEEL. The data transfer is indicated by “GO”.

• DR.EN: In this mode, the FX2000 can receive SysEx data from another MIDI

device. To load this data, turn the JOG WHEEL slightly so that the display blinks. Start your sequencer, and all of your settings, including preset parameter settings, are received by your VIRTUALIZER 3D. Data transfer is interrupted by turning the JOG WHEEL slightly so that “----” appears in thedisplay.

◊ During a SysEx data transfer, all audio functions of the VIRTUALIZER 3D

are inactive.

3.7 Restoring the factory presets

To restore the FX2000 to its preset factory state, press and hold the STORE and PRESET keys while switching on the unit. “INIT” appears in the DISPLAY and counting takes place from R 1 to R 100.

◊ This overwrites all changes you have made and restores the

factory presets!

4. Applications

The BEHRINGER VIRTUALIZER 3D is a exible unit that can be used in various applications. Prior to a presentation of the FX2000’s many uses, please note the following remarks on how to set signal levels correctly.

4.1 Level setting

Take care to set all levels properly on the FX2000! 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 3D should also be avoided. Digital distortion is (unlike its analog counterpart) extremely unpleasant, since it does not occur gradually butabruptly.

Please use the OPERATING LEVEL switch and the input level meter of the FX2000. Make sure that the Clip LEDs ickers only rarely. Ensure that they never light up all the time!

4.2 Using the VIRTUALIZER 3D in the aux bus

3.6.2 INPUT mode

With the help of the 2nd EDIT CONTROL, you can specify whether your FX2000 works as a mono (“MONO”) or a stereo unit (“STER”). In mono mode, input 1 is used exclusively. Since the VIRTUALIZER 3D is a real “True Stereo” device, the DSP processes the signal for many eects separately for both channels (seechapter7.1). For eects 13 - 15 and 38, right and left channel parameters can even be edited separately.

◊ For effects 42 - 44, 58, and 59, a signal must be present at both inputs

for optimal stereo results.

3.6.3 OUTPUT mode

Use the 3rd EDIT CONTROL to determine the FX2000’s OUTPUT mode. Theselection of settings depends on your FX2000’s application. If you’re using the VIRTUALIZER 3D in connection with a mixing console (aux bus), activatethe Mix External (“EXTN”) output mode. The FX2000’s output signal is then 100%wet.

If you’re using the FX2000 with a guitar amplier that has an eects loop, selectthe Mix Internal (“INTN”) output mode. Then, use the MIX/BYPASS control to adjust the eect volume. For further information, see chapters 4.2 and 4.4.

3.6.4 Dual engine conguration (CONFIG)

You can use the 4th EDIT CONTROL to decide how the FX2000’s eects combinations (presets 61 - 71) should be structured. Since the FX2000 is a true Dual Engine unit, you can choose between serial 1 (“SER1”), serial 2 (“SER2”) and parallel (“PARA”). See g. 3.1, 3.2 and 3.3 to understand how these settings inuence the composition of the eects combinations.

Using the FX2000 in the aux bus lets you feed signals from one, several or all channels of your console into the VIRTUALIZER 3D. When miking a drum kit, forexample, you can use the aux controls to adjust the reverberation independently for each channel. Thus, you are able to assign a strong reverb to the snare rather than the toms. Cabling the VIRTUALIZER 3D in the aux bus should be carried out as follows:

In L In R

Fig. 4.1: Wiring aux busses

Out L Out R

AUX Send 1 (& 2)

AUX Return

In the example of preset 61 (chorus & reverb), you can decide, whether the chorus and reverb eects run separately from each other or whether the signal, treatedby the chorus, passes the reverb eect.

18 VIRTUALIZER 3D FX2000 User Manual

Connect both inputs of the VIRTUALIZER 3D to the aux send outputs of your mixer. The FX2000’s output socket is connected to the aux return inputs of your mixer. Ifyou want to operate the BEHRINGER VIRTUALIZER 3D in mono, connect one of its channels (left or right) to an aux bus. As a matter of principle, eectsprocessors should always be connected to post fader aux busses.

◊ If your mixing console has aux busses that feature one jack for the aux

send, use audio channel 1 on the FX2000. In this case, you must choose the mono mode (see chapter 3.6.2).

◊ To avoid damage to your equipment, turn down the volume level on

your amplifier when making connections. Switch off the devices that you want to connect to one another until plug connections have been completed as described.

Let’s assume you want to operate the FX2000 in a live situation in connection with a mixing console, and use a chorus to enhance the guitar sound.

Connect the VIRTUALIZER 3D to the aux busses of your mixing console (g. 4.1). Make the mains connection and set the operating level if necessary. Switch on the unit. In SETUP mode (output), select “EXTN” to ensure that the Mix External mode is activated. Press the eect key and use the Jog Wheel to selec t the stereo chorus eect (no. 16). Turn up the aux busses slowly till you have mixed the desired eect with the guitar signal. After this, you can start ne tuning. Youwill probably want to specify the chorus’ modulation. Turn the 1st EDIT CONTROL to determine the speed of the modulation. To adjust the modulation depth, turnthe 2nd EDIT CONTROL. Proceed further following this principle. Ifyou want the 1stEDIT CONTROL to change EDIT E, you must rst press the EDIT key. After all the parameters have been changed as you wish, you can store the modications in the original (or a dierent) preset.

4.3 Using the VIRTUALIZER 3D in the insertpath

Generally, you can use the FX2000 on channel or subgroup inserts, using a standard insert cable. Connection to a channel insert makes sense when you want to process very specic signals (e.g. vocals) with the VIRTUALIZER3D, orwhen all other options for connecting the FX2000 are already used by other units. For compressors, expanders and gates, the channel insert is the bestchoice.

4.4 Using the VIRTUALIZER 3D as an eects device for instruments

Due to its MIDI implementation, the VIRTUALIZER 3D can also be used as multi-eec ts unit in a guitar rack. Naturally, the VIRTUALIZER 3D can be cabled both as mono and as stereo unit. The following examples show how to use the FX2000 with a guitar setup.

Send

Eﬀects Loop

Return

Fig. 4.3: Connecting the VIRTUALIZER 3D to a guitar amp (send/return mono)

Fundamentally, the following applies: The VIRTUALIZER 3D should be connected between preamp and output stage of your amplier. For this purpose, most of the guitar ampliers oer an eects loop, which allows the preamp signal of your amplier to pass on to the audio input stage of the FX2000. Then, in the VIRTUALIZER 3D, the preamp signal is processed and sent back to its amplier through the amplier’s return jack (Power Amp In). If you use a stereo rack system for amplication, you can also set up the VIRTUALIZER 3D in stereo mode. Connect the preamp to the audio inputs of the FX2000. Each of its audio outputs (left/right) is connected to a channel (lef t/right) of your amplier.

◊ Since most guitar amps only feature a serial effects loop, you should

make sure that the VIRTUALIZER 3D is set to Mix Internal mode. In Mix Internal mode, you can control the effects intensity that is applied to the guitar signal. If, however, your amp is equipped with a parallel effects loop, which allows for adding the effects signal portion (similar to an aux bus in a mixing console), then you should set the VIRTUALIZER 3D to Mix External mode. In this case, the effects intensity present at the outputs of the VIRTUALIZER 3D is 100%.

Out

Channel Insert

Fig. 4.2: Wiring the VIRTUALIZER 3D in the insert path

Subgroup Insert

Instrumentalists can benet from a variety of advantages oered by the VIRTUALIZER 3D‘s MIDI implementation. With a MIDI foot controller, e.g. the BEHRINGER MIDI FOOT CONTROLLER FCB1010, you can transfer program changes via MIDI. Connect the MIDI out port of your foot controller to the MIDI IN port of the VIRTUALIZER 3D. If the FX2000 does not respond to your foot controller’s program changes, check your MIDI channel settings. Determine which MIDI channel your foot controller uses to send program changes (in most of the cases: omni mode). Set the VIRTUALIZER 3D’s MIDI channel to the same number and switch program change receive mode on (see chapter 3.6.1).

If your MIDI foot controller can send MIDI controller data, you can change parameters while playing. For example, you can change the eect from 0% to 100% with the controller while playing. Set controller No. 116 to the Mix Internal function (value 1) and increase the eect (value 0 - 100) with controller No. 111. In this way, you can provide a guitar solo with chorus and delay, before removing the eects for a dry rhythm sound. You can even control the bypass function with your controller (contr. 113, value 0 = OUT, value 1 = IN). Bypassing the VIRTUALIZER 3D can be activated this way if you need an unprocessed signal. These procedures are generally possible with all MIDI devices which are capable of transmitting controller commands (like keyboards, sequencers, etc.).

The FX2000 can also be used between the outputs of your keyboard and the inputs of your mixer. If necessary, adjust the operating level with the corresponding switch on the rear panel of the unit.

19 VIRTUALIZER 3D FX2000 User Manual

4.5 Using the VIRTUALIZER 3D in a MIDI setup

Thanks to the integrated MIDI interface, you can incorporate the FX2000 in a MIDI setup. The VIRTUALIZER 3D can receive and send both program changes and controller changes. Thus, you can use program changes using MIDI with a sequencer or with any other MIDI device. Connect the FX2000 e.g. as follows:

MIDI In

MIDI Thru

MIDI Out

MIDI In

Fig. 4.4: VIRTUALIZER 3D i n MIDI connectio n with a sequencer (comp uter) and a keyboard

MIDI Out MIDI In 2

MIDI In 1

MIDI Out

Sequence

MIDI

5. MIDI Functions of the FX2000

Due to the complete implementation of the MIDI interface, it is very easy to integrate the VIRTUALIZER 3D in a MIDI System.

• MIDI IN

All MIDI data that are sent to the FX2000 (sequencer, MIDI foot controller, etc.) are received at the MIDI IN port. If you want to use the FX2000 as an eects unit in a guitar rack, you can connect a MIDI foot controller to the MIDI IN socket, and use it to change the program presets. If you are simultaneously operating another MIDI device, you can transfer the control commands of the MIDI foot controller using the MIDI THRU socket of the VIRTUALIZER 3D.

• MIDI THRU

6. Installation

6.1 Mains connection

Before connecting the VIRTUALIZER 3D to the mains, please carefully check that your equipment is set to the correct voltage! The fuse holder

on the mains socket has 3 triangular markings. Two of these triangles are located opposite each other. The VIRTUALIZER 3D is set at the operating voltage indicated beside the markings and can be changed by turning the fuse holder by 180°.

CAUTION: This is not applicable for export models, which were designed only for a mains voltage of 120 V!

Connection to the mains is made by means of a mains cable with an IEC receptacle which complies with the required safety regulations.

◊ Please note that all pieces of equipment must be grounded. For your

own safety, under no circumstances should you remove or deac tivate the grounding of the equipment or the mains cable.

6.2 Audio connections

As standard, the BEHRINGER VIRTUALIZER 3D features electronically servobalanced inputs and outputs. If possible, connec t the unit to other devices in a balanced conguration to allow for maximum interference immunity.

◊ Installation and operation of this equipment must be carried out by

Unbalanced ¼" TS connector

strain relief clamp

sleeve

tip

The MIDI THRU socket allows you to loop through incoming MIDI signals. Allcontrol commands that arrive at the MIDI IN socket can be passed on to other MIDI devices and instruments using the MIDI THRU socket.

• MIDI OUT

Use the MIDI OUT to send data to a connected computer or other VIRTUALIZER 3D.

5.1 Saving data via MIDI

To store all presets outside the VIRTUALIZER 3D, you can use a special form of MIDI communication called system exclusive data (SysEx). With SysEx, theVIRTUALIZER 3D sends information about its manufacturer, unit type, and all parameter settings for all presets to a sequencer or MIDI le recorder. Toactivate this very practical function, press the SETUP key in SETUP mode. Turn the 1stEDIT CONTROL to select “DUMP”. Your VIRTUALIZER 3D is now ready to transfer your system exclusive data. Select a track on your MIDI sequencer, get ready for recording, start the recording and turn the JOG WHEEL. The data transfer is indicated by a “GO” in the display.

To load the data back into the FX2000, select “DR.EN” in SETUP mode (seechapter

3.6.1). Turn the JOG WHEEL until “DR.EN” blinks. Now, start your MIDI sequencer and the preset data is automatically transferred to the FX2000. In this mode, information sent from the MIDI sequencer is automatically stored while receiving, without asking for conrmation.

sleeve

(ground/shield)

tip

(signal)

Balanced ¼" TRS connector

strain relief clamp

sleeve ring tip

sleeve

ground/shield

ring

cold (-ve)

tip

hot (+ve)

For connection of balanced and unbalanced plugs, ring and sleeve have to be bridged at the stereo plug.

20 VIRTUALIZER 3D FX2000 User Manual

Balanced use with XLR connectors

input

1 = ground/shield 2 = hot (+ve) 3 = cold (-ve)

output

For unbalanced use, pin 1 and pin 3 have to be bridged

Fig. 6.1: Dierent plug t ypes

6.3 MIDI connections

The MIDI connectors at the rear panel of the unit are equipped with internationally standardized 5 pin DIN sockets. You’ll need a MIDI cable to connect the VIRTUALIZER 3D with other MIDI devices. As a rule, standardreadyto-use cables can be used. With a two core shielded cable (e.g. microphone cable) and two possible stable 180 deg. DIN plugs, you can also solder a MIDI cable yourself: Pin 2 (middle) = shield, pin 4 and 5 (right and left of pin 2) = Innerconductor, Pin 1 and 3 (both lying outside) remain free. MIDI cables should not be longer than 15 meters.

MIDI IN: is used for receiving MIDI data. The receiving channel is selected in the SETUP menu.

MIDI THRU: At the MIDI THRU socket, the MIDI data that arrive at the MIDI IN socket can be looped through. Several VIRTUALIZER 3Ds can be linked using MIDI THRU sockets.

MIDI OUT: Via MIDI OUT, you can send data to a connected computer or to other VIRTUALIZER 3Ds. Program data and status information are transmitted for signalprocessing.

6.4 Selecting the operating level

The BEHRINGER VIRTUALIZER 3D allows you to switch the internal operating level with the Operating Level switches on the rear panel of the unit. Thus,youcan choose between the homerecording level (-10 dBV) and the professional studio level (+4 dBu). With this adjustment, the VIRTUALIZER 3D is adapted to the optimal operating level. Use the input level meter on the front panel to nd the appropriate operating level.

21 VIRTUALIZER 3D FX2000 User Manual

7. Appendix

7.1 Parameter overview

Edit A Edit B Ed it C Ed it D Ed it E Edit F Mix

Name Min. D ef. Max. Min. Def. Max. Min. Def. Max. Min. D ef. Max. Min. Def. Max. Min. Def. Max. Min. Def. Max.

Reverbs

1 Cathedr al

2 Gold Plate

3 Small Hall

4 Room

5 Concert

6 Studio

7 Stage

Spring

Reverb

9 Ambience

Early

Reections

Gated

Reverb

Revers e

Reverb

Delay

13 Stereo Delay

14 Tape Echo

15 Ping Pong

Modulation

Stereo

Chorus

Analog

Chorus

Vintage

Chorus

19 Ultra Chorus

Stereo

Flanger

Vintage

Flanger

Jet Stre am

Flanger

Stereo

Phaser

Vintage

Phaser

25 Dual Phaser

26 Leslie

27 Pitc h Shifter

28 Vibrato

29 Tremolo

Auto

Panning

Tab. 7.1: Overvi ew of the individua l parameters of e ects type s (continued on nex t page)

Pre-Delay Decay Hi De cay Dampin g ER/Reverb Balance Low Cut Rev. Mod. Mix

0.000 0.072 s 0.200 2.00 5.11 s 8.00 0 10% 100 0 60% 100 20 53 H z 4 00 1 9 20 0 35% 100

Pre-Delay Decay Hi De cay Dampin g L ow Cut Shv. Damping Diusion Mix

0.000 0.010 s 0.200 1.000 2.368 s 4.000 0 20% 100 20 83 Hz 400 0 20% 100 1 20 20 0 35% 100

Pre-Delay Decay Hi De cay Dampin g Size Shv. Damping Low Cu t Mix

0.000 0.002 s 0.050 0.050 0.114 s 0.4 04 0 20% 100 1 26 50 0 20 % 100 20 83 Hz 400 0 4 0% 100

Pre-Delay Decay Hi De cay Dampin g Size Shv. Damping Diusion Mix

0.000 0. 015 s 0.10 0 1.000 1.509 s 2.38 8 0 20% 100 1 30 50 0 20% 100 1 20 20 0 40% 100

Pre-Delay Decay Hi De cay Dampin g Bass Mul. Shv. Damping Rev. Mod. Mix

0.000 0.020 s 0.200 1.00 1.91 s 5.0 0 0 20% 100 -10 .0 -1.0 +10.0 0 20% 100 1 9 20 0 35% 100

Pre-Delay Decay Hi De cay Dampin g Spread Shv. Damping Diusion Mix

0.000 0.002 s 0.050 0 .100 0.602 s 1.000 0 10% 10 0 1 25 50 0 10% 10 0 1 20 20 0 45% 100

Pre-Delay Decay Hi De cay Dampin g Size Shv. Damping ER/Reverb Balance Mix

0.000 0.030 s 0.10 0 0.600 2.00 0 s 3.000 0 15% 10 0 1 30 50 0 20% 100 0 60% 100 0 40% 10 0

Pre-Delay Decay Hi De cay Dampin g Metal Reso. Hi Cut Diusion Mix

0.000 0.003 s 0.050 0.800 1.795 s 5.000 0 20% 10 0 0 70 % 100 0 4 50 1 5 20 0 40% 100

Pre-Delay Decay Hi De cay Dampin g Size Low Cut Diusion Mix

0.000 0.020 s 0 .100 0.1 00 0.300 s 0.755 0 15% 100 1 35 50 20 83 Hz 400 1 20 20 0 45% 100

Pre-Delay Size Wall Damping Reections Stereo Width Diusion Mix

0.000 0.030 s 0.200 1 35 50 0 30% 10 0 1 15 15 0 10 0% 100 1 10 20 0 40% 100

Pre-Delay Decay Hi De cay Dampin g Density Low Cut Diusion Mix

0.000 0.010 s 0.200 0.15 0 0.72 5 s 0.950 0 15% 100 1 15 20 20 121 Hz 400 1 20 20 0 35% 100

Pre-Delay Decay Hi De cay Dampin g Density Low Cut Diusion Mix

0.000 0.000 s 0.200 0.150 0.650 s 0.950 0 20% 10 0 1 10 20 20 104 Hz 400 1 20 20 0 30% 100

Delay Lef t Coars e Dela y Left Fine Del ay Right Coar se Delay Right Fine Feedback Left Feedback Right Mix

0.050 0.350 s 5.450 0.000 0.050 s 0.099 0.050 0.450 s 5.450 0.000 0.050 s 0.0 99 0 35% 100 0 25% 100 0 30% 100

Delay Lef t Delay Right Feedback Damping Feedback HP Feedback LP Mix

0.000 0 .190 s 0.635 0.000 0.205 s 0.635 0 50% 100 100 Hz 2.40 k Hz 20. 0 kHz 20 Hz 176 H z 10.0 kHz 10 0 Hz 5.32 kHz 20.0 kHz 0 35% 100

Delay Lef t Delay Right Feedback Left Feedback Right Feedb. De lay L Fe edb. Delay R Mix

0.000 0.320 s 0.635 0.000 0.24 0 s 0.635 0 45% 100 0 40% 100 0.000 0.320 s 0.635 0.000 0.16 0 s 0.635 0 30% 100

Speed Depth Delay Stereo Phase LFO Wave Damping Mix

0.050 0.247 Hz 5.000 0 50 % 10 0 5.0 20. 2 ms 50.0 0 180 ° 180 Triangle Triangle Sine 0 0 20 0 50% 100

Speed Depth Delay Stereo Spread — — Mix

1 33 50 1 20 20 1 6 20 1 14 20 — — — — — — 0 50% 100

Speed Depth Delay Damping — — Mix

1 13 50 1 20 20 1 20 20 0 4 20 — — — — — — 0 50 % 10 0

Speed Depth Delay Wideness Stereo Spread Damping Mix

1 25 50 1 21 50 1 30 50 1 17 20 0 20 20 0 5 20 0 50% 100

Speed Depth Feedback Delay Stereo Phase Feedback LP Mi x

0.050 0.285 H z 5.000 0 90% 100 0 80% 100 1.00 ms 2.34 ms 10.0 ms 0 45° 180 500 Hz 8 .13 k Hz 20.0 kHz 0 50% 100

Speed Depth Feedback Delay — — Mix

1 13 50 1 16 20 1 18 20 1 11 20 — — — — — — 0 50% 100

Speed Depth Feedback Delay — — Mix

1 19 50 1 12 20 1 20 20 1 20 20 — — — — — — 0 50% 10 0

Speed Depth Feedback Stereo Phase Mode — Mix

0.10 0 0.543 Hz 10.00 0 80% 100 0 60% 100 0 20° 180 Md -1 Md -1 M d-5 — — — 0 100% 100

Speed Depth Feedback Base — — Mix

1 33 50 0 100% 100 0 50 50 1 1 50 — — — — — — 0 66% 100

Speed Depth Feedback Base — — Mix

1 25 50 0 75% 10 0 0 32 50 1 12 50 — — — — — — 0 10 0% 100

Speed Drum Depth Horn Depth Drive Balance — Mi x

1 46 50 0 60% 10 0 0 60% 100 0 20% 100 50:00 45:5 0 00:50 — — — 0 75% 100

Semito nes 1 Cents 1 Semitone s 2 Cents 2 S emitones 3 Cents 3 Mix

-12 +2 +12 -50 +0 Cent +50 Ste, -12 Stereo +12 -50 Stereo +50 O, -12 O +12 O, -50 O +50 0 10 0% 100

Speed Depth Wav e Auto Mod. — — Mix

0.50 1.27 Hz 20.00 0 50% 100 Triangle Sine Opto. 0 25% 100 — — — — — — 0 100% 100

Speed Depth Wav e Auto Mod. — — Mix

0.50 2.20 Hz 20.00 0 75% 10 0

Speed Depth Wav e Auto Mod. — — Mix

0.50 3.21 H z 20.00 0 80% 100

Sine, Tri.,

Opto.

Sine, Tri.,

Opto.

Sine

Square, Saw Up,

0 15 % 10 0 — — — — — — 0 10 0% 100

Saw

Down

Square, Saw Up,

0 0% 10 0 — — — — — — 0 100% 100

Saw

Down

22 VIRTUALIZER 3D FX2000 User Manual

Edit A Edit B Ed it C Ed it D Ed it E Edit F Mix

Name Min. D ef. Max. Min. Def. Max. Min. Def. Max. Min. D ef. Max. Min. Def. Max. Min. Def. M ax. Min. De f. Max.

Dynamics

31 Compressor

32 Exp ander

33 Gate

Analog

Compr./

Limiter

35 Ult ramizer

36 Denoiser

37 De-Esser

Wave

Designer

Psycho Accoustic

39 Exci ter

40 Enhancer

41 Ultra Bass

Stereo

Imager

43 Ultra Wide

44 Binauralizer

Filter / EQ

45 Auto Filter

46 LFO Filter

Parametric

48 Graphic EQ

Distortion / Amp Simulation

Vocal

Distortion

Tube

Distortion

51 Guitar Amp

52 Tr i Fuz z

Speaker

Simulation

LFO: 0.10 Hz

Ring

55 LoFi

Modulator

ENV: 0.005 s

SINE: 1.0 Hz

Tab. 7.1: Overvi ew of the individua l parameters of e ects type s (continued on nex t page)

Ratio Threshold Makeup-Gain Soft Knee Attack Relea se Mix

1.25 3.75 100 -60 -28 dB 0 +0. 0 +3 .0 dB +24 .0 0 4 6 0.005 0.037 s 0.200 0.0 50 0.18 3 s 1.000 0 (o) 100% 10 0 (on)

Ratio Threshold Makeup-Gain Soft Knee Attack Relea se Mix

1.25 3.25 100 -60 -9 dB 0 +0.0 +4.5 dB +24 .0 0 3 6 0.005 0.04 9 s 0.200 0. 050 0.243 s 1.000 0 (o) 100% 10 0 (on)

Hold Threshold Attack Release Range — Mix

0.001 0.0 54 s 1.000 O, -59 -12 dB -1, Mu te 0.005 0.005 s 0.200 0.005 0.031 s 0.500 Mute, -59 Mute -1, 0 dB — — — 0 (o ) 100% 100 (o n)

Ratio Threshold Makeup-Gain Limiter Thresh. Attack Release Mix

1.50 3.00 100 -48 -24 dB 0 +0.0 +6.0 dB +24. 0 -24.0 0.0 dB 0.0 0.001 0 .020 s 0 .150 0.050 s Auto

Density Range Speed Split Frequency St ereo FX Enhancer Freq. Band

1 36 10 0 0 9 dB 24 1 38 100 50 190 Hz 10.0 k 0 20% 100 2.50 k 12.5 k Hz 15.0 k Low Wide High

LP-Frequency LP-Depth LP-Speed Gate Threshold Gate Hol d Gate Resp. Mix

40 916 Hz 20.0 k 0 75 % 10 0 0.0 01 0.243 s 2.000 O, -59 -30 dB -1, M ute 0.001 0.035 s 1.000 0.005 0 .037 s 0.200 0 (o ) 100% 100 (on)

Ratio Threshold Makeup-Gain Frequenc y Atta ck Release Band

1.50 3.00 100 -48 -36 dB 0 +0.0 +6.0 dB +24.0 500 2.78 k Hz 15.0 k 0. 001 0.020 s 0.15 0 0.05 0 s Auto

Attac k Left Release Left Attack Right Release Right Gain Lef t Gain Right Mix

-50 -2 5 +5 0 -50 +2 5 +50 Ste., -50 Ste reo +50 Ste., -50 Stereo +50 Au to, -24 Au to +2 4 dB

Frequency Filter Q Harmonics Timbre Harmon. Kick — Mix

1.00 7. 09 kH z 10.0 1 1 20 0 25% 100 0 50% 100 O On On — — — 0 40% 10 0

High Freq. High Gain Bass Width Ba ss Gain Mid Q Mid Gain Gain

1 42 50 0 30 % 100 -50 +3 0 +50 0 35 % 100 1 30 50 0 10% 10 0 -16 -1 d B +1 6

Subbass Freq. Subbass Level Harmon. Freq. Harmon. Level Harmon. Density Bass G ain Mix

80.0 13 0.6 Hz 150.0 0 25 % 100 30.0 201.2 Hz 250.0 0 50% 100 1 7 7 0 60% 10 0 0 (o ) 100% 100 (on)

Spread MS-Balance Spread Mode Gain Stereo Balance Mono Balance Mix

0 50% 100 0 75% 100 Spread Space Space -6.0 +1.0 dB +6.0 0 50% 100 0 50% 100 0 (o ) 100% 100 (o n)

Center Spread X-Over Frequ. Gain — — Mix

0 25% 10 0 0 50% 100 100 511 H z 10. 0 k -12.0 - 6.0 dB +12.0 — — — — — — 0 (o ) 100% 100 (on)

Center Space Mode Gain Speaker Distance Speaker Compens. Mix

0 40% 100 0 32% 10 0 Phones Speakers Sp eakers -12.0 +5.0 d B +12.0 0 4 18 25 50 % 100 0 (o ) 100% 1 00 (on)

Base Fre q. Depth Typ e Resonance Attac k Release Mix

100 368 Hz 15.0 k 0 30 % 100

Base Fre q. Depth Typ e Resonance Speed Wave Mix

100 48 5 Hz 15.0 k 0 85% 100 L P.1 2 L P.12

Gain 1 Freq. 1 Q 1 Ga in 2 Fr eq. 2 Q 2 Gain

-16 +4 d B +16 200 48 9 Hz 10 .0 k 0.50 1.1 6 10.0 0 -16 +6 dB +16 200 Hz 2.58 kH z 10.0 kHz 0.50 1.03 10. 00 -16 -3 dB +1 6

200 Hz 400 Hz 80 0 Hz 1.6 kHz 3.2 k Hz 6.4 kHz Gain

-16 +3 dB +16 -16 -1 d B +16 -16 +3 dB +16 -16 -1 +1 6 -1 6 +1 dB +16 -16 +3 dB +16 -16 -2 dB +16

Distortion Delay Gain Delay Flanger Level Type Flanger Speed Mix

1 51 10 0 0 30% 10 0 0.050 0.18 7 s 1.000 0 100% 100 1 3 3 0.0 50 0 .202 Hz 2.000 0 10 0% 100

Drive Pre HP Pre LP Damp Tube Select Mid EQ Mix

1 50 100 50 120 Hz 1. 00 k 1. 00 2.07 kHz 15.0 15.0 7.11 kHz 1. 00 1 2 3 -16 -1 dB +16 0 100 % 100

In Gain Drive Presence Gain Cabinet Type Mid EQ Mix

1 60 100 1 70 100 1 70 100 1 75 10 0 1 2 8 -16 0 dB +16 0 100 % 100

In Gain Low-Fuz z Mid-Fuzz Hi-Fuz z Drive Hi Damp Mix

1 80 100 1 51 100 1 55 100 1 51 10 0 1 65 100 1 50 10 0 0 10 0% 100

Type EQ-Gain EQ-Frequency EQ-Q — — Mix

1 5 8 -16 0 dB +1 6 200 Hz 1.44 k Hz 10.0 kHz 0.5 0 2. 24 10.00 — — — — — — 0 100 % 100

Speed Depth Carrier-Freq. Tone Mode Slewing Mix

LFO: 10.00 H z ENV: 0.500 s

0.40 Hz

RAND +

Bits Resolution To ne Bu zz Level Noise Gain Noise HP Noise LP Mi x

24 7 b it 6

RAND +

SINE: 100.0 H z

0 25% 10 0 100 Hz 308 Hz 10.0 kHz 200 H z 2.0 0 kHz 20.0 kH z LFO LFO

20.0

6.96 kHz 400 Hz 0 30% 100 0 35% 10 0 20 159 Hz 20.0 k 400 Hz 10.3 k Hz 20.0 kHz 0 10 0% 100

kHz

LP. 12, LP. 24 , HP. 12, HP. 24

BP. 12

BP. 12,

1 34 50 0.005 0.022 s 2.000 0.005 0 .061 s 2.000 0 10 0% 100

BP. 24

LP. 24 , HP. 12, HP. 24 ,

1 35 50 0.10 4.84 Hz 20.00 BP. 12, BP. 24

ENVELOPE,

RANDOM,

SINE

Auto,

-24

Sine,

Triangle

0 0% 10 0 0 10 0% 100

0.977s, 0 (o ) 100% 10 0 (on)

Auto

0.977s,

Auto

Auto +24 d B 0 (o ) 100% 100 (o n)

Saw Up,

Saw Down

Saw Down ,

Square

Low Wide High

0 100% 100

23 VIRTUALIZER 3D FX2000 User Manual

Edit A Edit B Ed it C Ed it D Ed it E Edit F Mix

Name Min. D ef. Max. Min. Def. Max. Min. Def. Max. Min. D ef. Max. Min. Def. Max. Min. Def. M ax. Min. De f. Max.

Special FX

56 Vinylizer

57 S ampler

58 Vocoder

Voice

Canceler

60 Resonator

Combination

Chorus &

Reverb

Flanger &

Reverb

Leslie &

Reverb

Pitch Shi fter

& Reverb

Delay &

Reverb

Tremolo &

Reverb

Phaser &

Reverb

Chorus &

Delay

Flanger &

Delay

Pitch Shi fter

& Delay

Tremolo &

Delay

LFO: 0.10 Hz ENV: 0.005 s

RAND: 1.0 Hz

Speed Clicks Level Scratch Level Noise Level Ton e Noise Freq. Mi x

20.0 45.0 rpm 80.0 0 10 0% 100 0 50% 100 0 45% 100 0 30 50 0 39 50 0 100% 100

Rec/Stop Play/Stop Speed Mode Rec Gain Overdub Gain Mix

Stop Stop Rec Stop Stop Play -1/ 2, Ba ck Fwrd.

Sensitivity Mode Attack Release Frequency Resonance Mix

0 60% 100

Bass Fre q. MS-Balance Treble Pan Gain — — Mix

20 43 Hz 1.00 k 0 50% 10 0 0 50% 100 -6.0 +6.0 dB +6.0 — — — — — — 0 (o ) 100% 10 0 (on)

Speed Depth Carrier Freq. Feedback Mode Slewing Mix

LFO: 10.00 H z

0.40 Hz RAND: 100 .0 Hz

Speed Depth Delay Reverb Mix De cay Hi Damp Mix

0.050 0.547 H z 5.000 0 70% 100 5.0 ms 19. 5 ms 5 0.0 ms 0 40% 100 0.50 2.51 s 5.0 0 0 30% 100 0 60% 100

Speed Depth Feedback Reverb Mix Decay Hi Damp Mix

0.050 0.256 H z 5.000 0 71% 100 -80 +80% +80 0 40% 100 0.50 2.02 s 5.00 0 25% 100 0 60% 100

Speed Depth Doppler Reverb Mix Decay Hi Damp Mix

0.50 8.00 H z 8.00 0 90% 10 0 0 80% 100 0 25% 100 0.50 2.42 s 5.0 0 0 30% 100 0 80% 100

Semitones Cents High Cut Reverb Mix Decay Hi Damp Mix

-12 +4 +12 -50 + 0 Cent +50 0 10% 100 0 25% 100 0.50 2.02 s 5.0 0 0 30% 100 0 100 % 100

Delay Feedback Type Reverb Mix D ecay Hi Damp Mix

0.030 0.235 s 0.665 0 40% 100

Speed Depth Auto Mod. Reverb Mix Dec ay Hi Damp Mix

1.00 4 .04 Hz 10. 00 0 80% 100 0 20% 10 0 0 50% 100 0.5 0 2.80 s 5.0 0 0 30% 100 0 70% 100

Speed Depth Feedback Reverb Mix Decay Hi Damp Mix

0.050 0.306 H z 5.000 0 10 0% 10 0 0 70 % 10 0 0 25% 100 0. 50 3.06 s 5. 00 0 20% 100 0 75% 10 0

Speed Depth Mo d. Delay Delay Mix Delay Time Delay Feedback Mix

0.050 0. 318 Hz 5.000 0 100% 100 5.0 ms 17.8 m s 50.0 ms 0 30% 100 0.030 0.350 s 0.665 0 40% 10 0 0 65% 100

Speed Depth Feedback Delay M ix Delay Time Delay Feedback Mix

0.050 0. 318 Hz 5.000 0 80% 10 0 -80 +80% +8 0 0 30 % 100 0.030 0.350 s 0.665 0 40% 10 0 0 55% 100

Semitones Cents High Cut De lay Mix Delay Time Delay Feedback Mix

-12 +4 +12 -50 + 0 Cent +50 0 0% 10 0 0 30% 100 0.030 0.350 s 0.665 0 40% 100 0 6 5% 100

Speed Depth Auto Mod. Delay Mix Delay Time Delay Feedback Mix

0.50 0.73 Hz 20.00 0 95% 100 0 25% 100 0 15% 10 0 0.030 0.190 s 0.665 0 40% 10 0 0 75% 100

ENV: 0.500 s

In-L.,

Pulse Noise 0.005 0. 025 s 0.200 0. 005 0.04 0 s 0.2 00 0 18 50 0 25 50 0 100% 100

Pulse

0 40 % 10 0 20 0 800 Hz 10.0 k -10 0 -80% +10 0 LFO LFO

Stereo, Spread

Spread

Forward,

Loop Loop Once -12 0 dB 0 -12 0 dB 0 0 50% 100

+1/2

ENVELOPE,

Ping

Pong,

0 50% 100 0.50 4.02 s 5.00 0 30% 100 0 50% 10 0

Tape

0 0% 10 0 0 10 0% 100

RANDOM

24 VIRTUALIZER 3D FX2000 User Manual

7. 2 MIDI implementation

MIDI Implementation Chart

Function Transmitted Recognized Remarks

Basic Channel

Mode

Note Number Tr ue Voi ce

Velocity

Af ter Tou ch

Pitch Bender X X

Control 0,102 - 116 0,102 - 116

Progr. Change Tru e #

System Exclusive O O

System Common

System Real Time

Aux Messages

Notes

O = YES, X = NO

Mode 1: OMNI ON, POLY

Mode 2: OMNI ON, MONO

Mode 3: OMNI OFF, POLY

Mode 4: OMNI OFF, MONO

Tab. 7. 2: MIDI implementat ion chart

Default Changed

Default Messages Altered

Note ON Note OFF

Key´s Ch ´s

Song Pos Song Sel Tune

Clock Commands

Local ON/O FF All notes OFF Active S ense Reset

OFF, 1 - 16 OFF, 1 - 16

1,2, 3,4 X X

X X

O (0-99) 1-10 0

X X X

X X

X X X X

OFF, 1 - 16 OFF, 1 - 16

1,2, 3,4 X X

X X

O (0-99) 1-10 0

X X X

X X

X X X X

memorized

Parameter Name Display Range

Bank Sele ct I.001 .. 100/ U.001 .. 100 0 0 = ROM / 1 = R AM

Algorithm Algorithm Name 102 0 .. 70

Edit A Depends on eect 103 Depends on eect

Edit B Depends on eect 104 Depends on eect

Edit C Depends on eect 105 Depends on eect

Edit D Depends on eect 106 Depends on eec t

Edit E Depends on eect 10 7 Depends on eect

Edit F Depends on eect 108 Depends on eect

EQ Low -16 .. +16 dB 109 0 .. 32

EQ High -16 .. +16 dB 110 0 .. 32

Mix Depends on eect 111 Depends on eect

Store U.001 .. U.100 112 0 .. 9 9

In/Out BYP/0 .. 100% 113 0 = BYP / 1 = MIX

Combination Mode SER 1, SER 2, PARA 114 0 = S1 / 1 = S2 / 2 = PA

Input Mode MONO, STER 115 0 = MONO / 1 = STER

External/Internal Mix E XTN/INTN 116 0 = EXT N / 1 = INTR

Tab. 7. 2: Controller func tions with MIDI

MIDI Contr ol

Number

Control Value Range

25 VIRTUALIZER 3D FX2000 User Manual

8. Specications

Analog Inputs

Connectors XLR and ¼" TRS

Type RF ltered, servo-balanced input stage

Impedance 80 kΩ balanced

Nominal Operating Level -10 dBV or +4 dBu (selectable)

Max. Input Level +15 dBu at +4 dBu nominal level,

+1 dBV at -10 dBV nominal level

Analog Outputs

Connectors XLR and ¼" TRS

Type Electronically servo-balanced output stage

Impedance 80 Ω balanced

Max. Output Level +15 dBu at +4 dBu nominal level,

+1 dBV at -10 dBV nominal level

System Specications

Bandwidth 20 Hz to 20 kHz, +/- 3 dB

SNR 91 dB, unweighted, 20 Hz to 20 kHz

THD 0.018% typ. @ +4 dBu, 1 kHz,

0 dBu input, gain 1

Power Supply

Voltage

USA/Canada 120 V~, 60 Hz

Europe/U.K./Australia 230 V~, 50 Hz

Japan 100 V~, 50 - 60 Hz

General export model 120/230 V~, 50 - 60 Hz

Fuse 100 - 120 V~: T 200 mA H 250 V

200 - 240 V~: T 100 mA L 250 V

Power Consumption 15 Watts max.

Mains Connection Standard IEC receptacle

Physical

Dimensions (H x W x D) approx. 1 ¾ x 19 x 8" / 44 x 482,6 x 204,4 mm

Net Weight approx. 4 ½ lbs / 2 kg

Shipping Weight approx. 6  ⁄ lbs / 3 kg

BEHRINGER i s constantly str iving to maintain the h ighest profess ional standards. A s a result of these e ffort s,

modific ations may be made f rom time to time to exi sting product s without prio r notice. Specif ications and

appearance m ay differ fro m those listed or illus trated.

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 4-digit 14 segment alpha-numeric LED-Display

26 VIRTUALIZER 3D FX2000 User Manual

FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION

VIRTUALIZER 3D FX2000

Responsible Party Name: MUSIC Group Services US Inc.

Address: 18912 North Creek Parkway,

Suite 200 Bothell, WA 98011, USA

Phone/Fax No.: Phone: +1 425 672 0816

Fax: +1 425 673 7647

VIRTUALIZER 3D FX2000

complies with the FCC rules as mentioned in the followingparagraph:

This equipment has been tested and found to comply with the limits for a ClassB digital device, pur suant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a par ticular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment o and on, the user is encouraged to try to correct the interference by one or more of the followingmeasures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit dierent f rom that to which the

receiver is connected.

• Consult the dealer or an experienced radio/TV technician forhelp.

This device complies with Part 15 of the FCC rules. Operation is subjec t to the following two conditions:

(1) this device may not cause harmful interference, and (2) this device must accept any inter ference received, including inter ference that may cause undesired operation.

Important information:

Changes or modications to the equipment not expressly approved by MUSIC Group can void the user’s authority to use the equipment.

27 VIRTUALIZER 3D FX2000 User Manual

We Hear You

Behringer Virtualizer 3D FX2000 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Thank you

Important Safety Instructions

LEGAL DISCLAIMER

LIMITED WARRANTY

1. Introduction

3. Operation

4. Applications

5. MIDI Functions of the FX2000

6. Installation

7. Appendix