Behringer Virtualizer 3D Fx2000 Users Manual

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Behringer FX2000 User Manual FX2000_P0A3P_M_EN Behringer - FX2000 - User Manual

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User Manual

VIRTUALIZER 3D FX2000

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

2VIRTUALIZER 3D FX2000 User Manual

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.

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

3VIRTUALIZER 3D FX2000 User Manual

Terminals marked with this symbol carry

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 service personnel only.

Toreduce the risk of electric shock do not perform 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.

TECHNICAL SPECIFICATIONS AND APPEARANCE

ARE SUBJECT TO CHANGE WITHOUT NOTICE.

THEINFORMATION CONTAINED HEREIN IS CORRECT

AT THE TIME OF PRINTING. ALL TRADEMARKS ARE

THE PROPERTY OF THEIR RESPECTIVE OWNERS.

MUSICGROUP ACCEPTS NO LIABILITY FOR ANY

LOSS WHICH MAY BE SUFFERED BY ANY PERSON

WHO RELIES EITHER WHOLLY OR IN PART UPON

ANY DESCRIPTION, PHOTOGRAPH OR STATEMENT

CONTAINED HEREIN. COLORS AND SPECIFICATIONS

MAY VARY FROM ACTUAL PRODUCT. MUSIC GROUP

PRODUCTS ARE SOLD THROUGH AUTHORIZED

FULLFILLERS AND RESELLERS ONLY. FULLFILLERSAND

RESELLERS ARE NOT AGENTS OF MUSICGROUP

AND HAVE ABSOLUTELY NO AUTHORITY TO BIND

MUSICGROUP BY ANY EXPRESS OR IMPLIED

UNDERTAKING OR REPRESENTATION. THIS MANUAL

IS COPYRIGHTED. NO PART OF THIS MANUAL MAY

BE REPRODUCED OR TRANSMITTED IN ANY FORM

OR BY ANY MEANS, ELECTRONIC OR MECHANICAL,

INCLUDING PHOTOCOPYING AND RECORDING OF ANY

KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS

WRITTEN PERMISSION OF MUSICGROUPIPLTD.

ALL RIGHTS RESERVED.

© 2011 MUSICGroupIPLtd.

Trident Chambers, Wickhams Cay, P.O. Box 146,

Road Town, Tortola, British Virgin Islands

§ 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

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

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

or replacement product will be returned to the user freight

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 WARRANTY 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 service, 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

Important Safety

Instructions

LEGAL DISCLAIMER

LIMITED WARRANTY

4VIRTUALIZER 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Support” 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 factory-

applied 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 particular, 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

5VIRTUALIZER 3D FX2000 User Manual

1. Introduction

In order to generate an extremely natural reverberation, we at BEHRINGER

have developed new kinds of algorithms for virtual acoustics. These algorithms

will help you calculate all room and reverberation parameters with absolutely

professional quality and naturalness.

In spite of this extensive and calculation-intensive work performed by the

24-bit processor in the FX2000, the VIRTUALIZER 3D is very easy to handle.

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 psycho-

acoustic 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.

• 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 extreme 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.

◊ 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.

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

competent staff only. Both before and after installation, the staff using

the equipment should make sure that it is properly grounded 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 Contact

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!

6VIRTUALIZER 3D FX2000 User Manual

1.4 Control elements

Fig. 1.1: VIRTUALIZER 3D front panel

The BEHRINGER VIRTUALIZER 3D’s front panel includes ve edit controls

(non-intermittent rotary controls), a jog wheel (big rotary control), six parameter

keys, an LED display and a mains switch. Each of the two fully independent

channels can be monitored with an 8-digit LED meter.

(1) (2)

(3)

(4)

Fig. 1.2: Display section of the VIRTUALIZER 3D

(1) Both the LED chains display the intensity of the input signal in dB in

relation to the nominal level, which is selected on the rear panel with the

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.

(5) (13) (16) (18)(17)

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

Fig. 1.3: Function keys, controls and jog wheel

(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 EDIT-

LED-CHAIN lights up, the four EDIT CONTROLs modify the parameters that are

arranged to its left and right. The lower LED functions correspondingly.

◊ For the exact meaning of the individual effect parameters,

see chapter 7.1.

(6) With the 1st EDIT CONTROL (non-intermittent rotary control) you change

the values of the rst (EDIT A) and fth (EDIT E) 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).

◊ 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.

7VIRTUALIZER 3D FX2000 User Manual

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

Fig. 1.4: VIRTUALIZER 3D rear panel

◊ Both the MIX/BYPASS CONTROL and the four EDIT CONTROLs react

dynamically. This means that, depending how fast you rotate the

wheels, the present parameter is changed in steps of 1, 2, 5 or 10.

The faster the rotation, the greater the change in the parameter value.

(11) To select one of the 200 presets, press the PRESET key once, then rotate the

JOG WHEEL (17).

(12) To select one of the 71 basic 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 certain 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.

2.1

REVERB

REVERB

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ecting) 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.

8VIRTUALIZER 3D FX2000 User Manual

Parameter Function

Pre Delay Time until arrival of rst reection(s)

Decay Duration until the reverb tail is damped

Hi Decay Damping Damps high frequencies in the reverb tail

Size Size of the plate reverb/the room impression

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

Wall Damp. Degree of damping of the wall material

Bass Mul. Amplication/damping of low frequencies in the

reverb tail

Low Cut Frequency of Low Cut Filter1 at the input stage

Metal Resonance Intensity of metal resonances

Reections Number of initial reections

Shelver Damp. Damps Shelving Filter2 at the input stage

High Cut Frequency response of spring reverb (Spring Reverb)

Stereo Width Stereo depth of the eect

Reverb Mod. Modulation intensity of the reverb tail

ER/Rev. Intensity ratio between initial reections and reverb tail

Density Intensity of reection envelope build-up (Gated / Reverse Reverb)

Tab. 2.1: Functioning of the reverb eects’ parameters

1 High pass filter, allows the frequencies above a specific cut-off frequency to pass and damps the frequencies

below that."

2 Upper or lower cut-off frequency of an equalizer.

2.2

DELAY

DELAY

Delay algorithms

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 Left Length of left delay (Tape Echo / Ping Pong)

Delay Left Coarse Length of delay time (left) in 100 ms steps

Delay Left Fine Length of delay time (left) in 1 ms steps

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

Delay Right Coarse Length of delay time (right) in 100 ms steps

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

Feedback Repetition(s) for both channels

Feedback Left Repetition(s) for the left channel

Feedback Right Repetition(s) for the right channel

Feedback Delay Left Delay of the left feedback

Feedback Delay Right Delay of the right feedback

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

Feedback LP Low pass1 cut-o frequency of repetition(s)

Damping Low pass frequency within the delay feedback loop

(TapeEcho)

Tab. 2.2: Functioning of the delay eects’ parameters

1 Filter, allows the frequency below a particular cut-off frequency to pass and damps the frequencies

above that."

2.3

MODULATION

MODULATION

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.

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.

9VIRTUALIZER 3D FX2000 User Manual

Parameter Function

Speed Speed of modulation

LFO1 Wave Sets the curve of the modulation

(triangular, sinusoidal, rectangular)

Depth Modulation depth (L & R)

Delay Length of delay

Feedback Routes back the processed signal to the input stage

Wave Sets the curve of the LFO (Sine, Tri, Opto, Square,

Saw Up, Saw Down)

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 Shifter 1: detuning in cents

Cents 2 Pitch Shifter 2: detuning in cents

Cents 3 Pitch Shifter 3: detuning in cents

Drum Depth Intensity of amplitude modulation of the bass loudspeaker (Leslie)

Horn Depth Intensity of amplitude modulation of the high pitch horn (Leslie)

Balance Volume ratio between horn and drum

Stereo Spread Stereo eect intensity

Stereo Phase Phase angle between left and right modulation

Wideness Parameter variation (Ultra Chorus)

Base Starting point of modulation

Drive Intensity of tube distortion

Mode Selects various eect modes or between three modes with

increasing modulation intensity (Stereo Phaser)

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

Feedback LP Low pass cut-o frequency of feedback

Damping Limits frequency range to simulate older chorus units

(Stereo / Vintage Chorus)

Tab. 2.3: Functioning of the modulation and pitch shifter eects’ parameters

1 (Low Frequency Oscillator): determines the speed and nature of modulation effects.

2.4

DYNAMICS

DYNAMICS

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 acts “softly” over

a large range. The Analog Compr/Limiter is modeled after a famous analog

compressor unit.

EXPANDER: Background noises of all types (noise, humming etc) 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—otherwise, 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

Ratio1Degree of compression (Compressor) / expansion (Expander)

Threshold Threshold point of Compressor / Expander / Gate

Limiter Threshold Threshold point of Limiter

M-Gain Make-up gain

Gain L Make-up gain for left channel

Gain R Make-up gain for right channel

Soft Knee Bending of the characteristic curve2 at the threshold point

Attack3Response time

Attack L Response time of left channel (Wave Designer)

Attack R Response time of right channel (Wave Designer)

Release4Release (right stop activates auto mode for Compr./Lim.)

Release L Release of left channel

Release R Release of right channel

Hold5Time until release process sets in

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

Density Degree of compression (Ultramizer)

Speed Recovery time (the higher the faster)

Split Frequency Split point between high and low band

Stereo FX Intensity of the stereo enhancer

Enhancer Frequency Frequency of the HF6 enhancer

Band Separates low, high band & wide (Ultramizer / De-Esser)

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 cut-o frequency of compression process (De-Esser)

Tab. 2.4: Functioning of the dynamic eects’ parameters

1 Ratio determines the relation of input to output level for all signals which exceed the threshold point.

2 The Soft Knee characteristic curve prevents a high compression rate (high ratio) from sounding unnatural.

3 Attack determines the time which the processor requires to react to signals which exceed the threshold point.

4 Release determines the time that the processor needs after falling below the threshold point to reach the

original level.

5 Hold determines the time before the release process sets in (release sets in after the signal falls below the

threshold point).

6 High frequency.

10 VIRTUALIZER 3D FX2000 User Manual

2.5

PSYCHO

ACOUSTICS

PSYCHO

ACOUSTICS

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 Cut-o frequency of the side chain high pass lter1 (Exciter)

Filter Q Resonance of the high pass lter (emphasizes cut-o frequency

for Exciter)

Timbre Ratio of straight and unstraight harmonics (Exciter)

Harmonics Kick Activates an amplication of harmonics dependent on the input

level (Exciter)

Mix Controls amount of harmonics (Exciter)

Bass Gain Degree of the bass enhancer

Sub-bass Frequency Cut-o frequency of the sub-bass low pass lter (Ultra Bass)

Sub-bass Level Degree of sub-harmonics

Harmonics Degree of synthetic harmonics (Exciter)

Harmonics Density Density of harmonics (Ultra Bass)

Bass Gain Degree of original bass signal (Ultra Bass)

Spread Controls the inuence on the stereo signal (Stereo Imager) /

degree of stereo expansion (Ultra Wide)

Spread Mode Selects between two dierent spread variations (Stereo Imager)

MS Balance Ratio of middle and side signal (Stereo Imager)

Stereo Balance Balance of stereo signal (Stereo Imager)

Mono Balance Balance of mono signal (Stereo Imager)

Center Amount of center impression in the stereo signal

(Ultra Wide / Binauralizer)

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

Space Degree of stereo wideness (Binauralizer)

Mode Selects between headphones and speaker operation (Binauralizer)

Speaker Distance Run time / speaker distance (Binauralizer)

Speaker Compensation Degree of crosstalk compensation (Binauralizer)

High Frequency Split frequency of the crossover lter for the side chain (Enhancer)

High Gain Amount of added high frequencies (Enhancer)

Bass Width Character of added bass frequencies (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 added bass frequencies (Ultra Bass)

Tab. 2.5: Functioning of the psycho-acoustic eects’ parameters

1 High pass filter, which allows frequencies above a specified cut-off frequency to pass and damps the

frequencies lying below it.

2.6

FILTER/EQ

FILTER/EQ

Filter/EQ eects

FILTER: 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 the lter

Type Operating mode of the lter

Attack Response time of the envelope follower

Release Release time of the envelope follower

Speed Speed of the LFO

Wave Sets the curve of the LFO

Gain 1/2 Boost/cut (param. EQ)

Freq. 1/2 Mid frequency (param. EQ)

Q 1/2 Q factor (param. EQ)

200 Hz Boost/cut at 200 Hz (graph. EQ)

400 Hz Boost/cut at 400 Hz (graph. EQ)

800 Hz Boost/cut at 800 Hz (graph. EQ)

1.6 kHz Boost/cut at 1.6 kHz (graph. EQ)

3.2 kHz Boost/cut at 3.2 kHz (graph. EQ)

6.4 kHz Boost/cut at 6.4 kHz (graph. EQ)

Mix Gain correction (Auto Filter / LFO Filter)

Gain Output gain of the lter block

(parametric / graphic EQ)

Tab. 2.6: Functioning of the lter/EQ eects’ parameters

11 VIRTUALIZER 3D FX2000 User Manual

2.7

DISTORTION/AMP

DISTORTION/AMP

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ect 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 distorted 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 amplifying 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 Volume

Distortion Distortion

Drive Degree of tube distortion (Tube Distortion & Guitar Amp) /

distortion at the output circuitry (Tri Fuzz)

Type

Nature of vocal distortion (Vocal Distortion) / selection of eight

dierent loudspeakers

(Speaker Simulation)

Delay Length of delay

Delay Gain Degree of delay

Flanger Level Degree of anger

Flanger Speed Speed of anger

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 Distortion of low frequencies

Mid Fuzz Distortion of mid frequencies

Hi Fuzz Distortion of high frequencies

Cabinet Type Selects between eight speaker types

Presence Presence

Hi Damp Damping of high frequency parts

EQ Gain Raising or lowering of EQ

EQ Frequency Frequency of EQ

EQ Q Q factor of EQ

Speed Speed of LFO

Depth Modulation depth

Carrier Frequency Modulation frequency

Mode

(Ring Modulator): LFO = The LFO modulates.

ENV=Modulation through envelope follower.

RAND = Modulation through random generator.

SINE = The input signal is replaced by a sine tone and modulated

by a random generator.

Slewing Smoothing of modulation signal for RAND and SINE

(Ring Modulator)

Bit Resolution Resolution of D/A converter

Buzz Level Intensity of 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 Frequency of low pass lter after the tube stage (Tube Distortion)

Tone High frequency attenuation of input signal

(Ring Modulator / LoFi)

Tab. 2.7: Parameter functions of distortion eects and amplication simulations

12 VIRTUALIZER 3D FX2000 User Manual

2.8

SPECIAL

FX

SPECIAL

FX

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 Rotations per minute (Vinylizer) / playback speed (Sampler) /

speed of LFO (resonator)

Clicks Level Volume of clicks

Scratch Level Volume of "cracks in the record"

Noise Level Volume of noise

Noise Frequency Frequency response of noise

Record / Stop Start / stop recording

Play / Stop Start / stop playback

Mode

Forward, backward playback, number of repetitions (Sampler) /

Resonator: LFO modulates (LFO), modulation through envelope

follower (ENV), modulation through random generator (RAND)

Sensitivity Modulation intensity / input sensitivity

Attack Response time of envelope follower

Release Release time of envelope follower

Bass Frequency Upper cut-o frequency of bass frequencies that are not eected

MS Balance Degree of mid elimination

Treble Pan Panorama of high frequencies

Gain Gain correction

Depth Modulation depth

Carrier Frequency Modulation frequency

Feedback Degree of feedback

Slewing (Resonator): Smoothing of modulation signal for RAND and SINE

Tone Frequency spectrum of input signal (Vinylizer)

Tab. 2.8: Parameter functions of special eects

2.9

SERIAL

SERIAL

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 Function

Speed Modulation speed

Reverb Mix Wet/dry mix of modulation, delay and reverb eects

(for algorithms 61 - 67)

Decay Room size / duration of reverb tail

Depth Intensity of delay, amplitude, or phase modulation

Doppler Intensity of Doppler eect

Type (Delay & Reverb): Selects among mono, stereo and ping pong delay or

a lter in the feedback chain

Delay (Time) Length of the delay

Delay Mix (Chorus & Delay): Ratio of chorus and delay

Feedback Degree of feedback

Semitones Detuning in semitones

Cents Detuning 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 Frequency range of the input signal (Pitch Shifter & Reverb)

Tab. 2.9: Parameter functions of multi-eects programs

◊ 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

1-6, 8, 9

Algorithm No. Eects structure

7

10

11, 12

13

14

17-19, 21, 24, 26

15

IN

L

R

OUT

L

R

+PREDELAY FILTER REVERB

IN

L

R

OUT

L

R

+PREDELAY FILTER ER REVERB

M

I

X

E

R

IN

L

R

OUT

L

R

+PREDELAY REVERB

IN

L

R

+PREDELAY FILTER REVERB GATE/

RVS

OUT

L

R

IN

L

R

OUT

L

R

+DELAY_L

+DELAY_R

IN

L

R

OUT

L

R

+DELAY_L

+DELAY_R

LP/HP

LP/HP

IN

L

R

OUT

L

R

+EFFECT

+DELAY_L

+DELAY_R

FEEDBACK_DEL_L

FEEDBACK_DEL_R

IN

L

R

OUT

L

R

Fig. 3.1: Eects structure, part 1

14 VIRTUALIZER 3D FX2000 User Manual

IN

L

R

OUT

L

R

+

PITCH_1

PITCH_2

PITCH_3

M

I

X

E

R

IN

L

R

OUT

L

R

+DYNAMICS

IN

L

R

OUT

L

R

+DYNAMICS +DYNAMICS

LP

HP

HP

LP

E

N

H

A

N

C

E

R

L

I

M

I

T

E

R

IN

L

R

OUT

L

R

+DYNAMICS

FILTER

FILTER

G

A

T

E

IN

L

R

OUT

L

R

+DYNAMICS

FILTER

FILTER

IN

L

R

OUT

L

R

+SUBBASS

BASS ENHANCER

BASS ENHANCER

+

+

IN

L

R

OUT

L

R

EFFECT

EFFECT_L

+

IN

L

R

OUT

L

R

+

EFFECT_R

16, 20, 22, 23, 25,

28-30, 38-40,

45-48, 50, 53,

54, 57, 60

Algorithm No. Eects structure

27

31-34

35

36

37

42-44, 59

41

Fig. 3.2: Eects structure, part 2

15 VIRTUALIZER 3D FX2000 User Manual

49

Algorithm No. Eects structure

51, 52

55, 56

58

61-71

IN

L

R

OUT

L

R

DIST

DIST

FLANGER

FLANGER

+ + CROSS DELAY

+

+

IN

L

R

OUT

L

R

EFFECT

+

IN

L

R

OUT

L

R

+

EFFECT

EFFECT

NOISE/CLICKS

+

+

IN

L

R

OUT

L

R

EFFECT

A) Serial 1

IN

L

R

OUT

L

R

MOD/

DELAY REV/

DELAY

M

I

X

M

I

X

+

+

EQ

EQ

B) Serial 2

OUT

L

R

IN

LMOD/

DELAY REV/

DELAY

+

+

M

I

X

M

I

X

+

+

EQ

EQ

C) Parallel

IN

L

R

OUT

L

R

MOD/

DELAY

REV/

DELAY

M

I

X

M

I

X

+

+

EQ

EQ

R

Fig. 3.3: Eects structure, part 3

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 effects algorithms may have different volume

levels. Reduce the volume of your monitors while selecting new presets

to prevent sudden changes in volume.

3.3 Editing programs (Edit Mode)

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 modifying 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 starts 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.

◊ 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.

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 Mode

OFF No controller data are transmitted / received.

RECV Controller data are received but not transmitted.

SEND Controller data are transmitted but not received.

BOTH Controller data are transmitted and received.

Tab. 3.1: Controller settings

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 select from:

Display Mode

OFF Program Changes are not transmitted / received.

RECV Program Changes are received but not transmitted.

SEND Program Changes are transmitted but not received.

BOTH Program Changes are transmitted and received.

Tab. 3.2: Program change 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.

3.6.2 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.

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.

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

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 Out L Out R

AUX Send

1 (& 2)

AUX

Return

Fig. 4.1: Wiring aux busses

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 select 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.

Channel

Insert

Subgroup

Insert

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

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ects 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.

In

Send

Effects Loop

Return

Out

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 (left/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%.

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 Out MIDI In 2

MIDI In 1

MIDI Out

MIDI In

MIDI

Sequence

Fig. 4.4: VIRTUALIZER 3D in MIDI connection with a sequencer (computer) and a keyboard

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

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.

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 deactivate

the grounding of the equipment or the mains cable.

6.2 Audio connections

As standard, the BEHRINGER VIRTUALIZER 3D features electronically servo-

balanced inputs and outputs. If possible, connect 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

competent staff 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.

strain relief clamp

sleeve

tip

sleeve

(ground/shield)

Unbalanced ¼" TS connector

tip

(signal)

strain relief clamp

sleeve

ring

tip

sleeve

ground/shield

For connection of balanced and unbalanced plugs,

ring and sleeve have to be bridged at the stereo plug.

Balanced ¼" TRS connector

ring

cold (-ve)

tip

hot (+ve)

20 VIRTUALIZER 3D FX2000 User Manual

output

For unbalanced use, pin 1 and pin 3

have to be bridged

1 = ground/shield

2 = hot (+ve)

3 = cold (-ve)

input

12

3

12

3

Balanced use with XLR connectors

Fig. 6.1: Dierent plug types

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ready-

to-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 Edit C Edit D Edit E Edit F Mix

Name Min. Def. Max. Min. Def. Max. Min. Def. Max. Min. Def. Max. Min. Def. Max. Min. Def. Max. Min. Def. Max.

Reverbs

1Cathedral Pre-Delay Decay Hi Decay Damping ER/Reverb Balance Low Cut Rev. Mod. Mix

0.000 0.072 s 0.200 2.00 5.11 s 8.00 010% 100 060% 100 20 53 Hz 400 1 9 20 035% 100

2Gold Plate Pre-Delay Decay Hi Decay Damping Low Cut Shv. Damping Diusion Mix

0.000 0.010 s 0.200 1.000 2.368 s 4.000 020% 100 20 83 Hz 400 020% 100 120 20 035% 100

3Small Hall Pre-Delay Decay Hi Decay Damping Size Shv. Damping Low Cut Mix

0.000 0.002 s 0.050 0.050 0.114 s 0.404 020% 100 126 50 020% 100 20 83 Hz 400 040% 100

4Room Pre-Delay Decay Hi Decay Damping Size Shv. Damping Diusion Mix

0.000 0.015 s 0.100 1.000 1.509 s 2.388 020% 100 130 50 020% 100 120 20 040% 100

5Concert Pre-Delay Decay Hi Decay Damping Bass Mul. Shv. Damping Rev. Mod. Mix

0.000 0.020 s 0.200 1.00 1.91 s 5.00 020% 100 -10.0 -1.0 +10.0 020% 100 1 9 20 035% 100

6Studio Pre-Delay Decay Hi Decay Damping Spread Shv. Damping Diusion Mix

0.000 0.002 s 0.050 0.100 0.602 s 1.000 010% 100 125 50 010% 100 120 20 045% 100

7Stage Pre-Delay Decay Hi Decay Damping Size Shv. Damping ER/Reverb Balance Mix

0.000 0.030 s 0.100 0.600 2.000 s 3.000 015% 100 130 50 020% 100 060% 100 040% 100

8Spring

Reverb

Pre-Delay Decay Hi Decay Damping Metal Reso. Hi Cut Diusion Mix

0.000 0.003 s 0.050 0.800 1.795 s 5.000 020% 100 070% 100 0 4 50 1 5 20 040% 100

9Ambience Pre-Delay Decay Hi Decay Damping Size Low Cut Diusion Mix

0.000 0.020 s 0.100 0.100 0.300 s 0.755 015% 100 135 50 20 83 Hz 400 120 20 045% 100

10 Early

Reections

Pre-Delay Size Wall Damping Reections Stereo Width Diusion Mix

0.000 0.030 s 0.200 135 50 030% 100 115 15 0100% 100 110 20 040% 100

11 Gated

Reverb

Pre-Delay Decay Hi Decay Damping Density Low Cut Diusion Mix

0.000 0.010 s 0.200 0.150 0.725 s 0.950 015% 100 115 20 20 121 Hz 400 120 20 035% 100

12 Reverse

Reverb

Pre-Delay Decay Hi Decay Damping Density Low Cut Diusion Mix

0.000 0.000 s 0.200 0.150 0.650 s 0.950 020% 100 110 20 20 104 Hz 400 120 20 030% 100

Delay

13 Stereo Delay Delay Left Coarse Delay Left Fine Delay Right Coarse 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 0.099 035% 100 025% 100 030% 100

14 Tape Echo Delay Left Delay Right Feedback Damping Feedback HP Feedback LP Mix

0.000 0.190 s 0.635 0.000 0.205 s 0.635 050% 100 100 Hz 2.40 kHz 20.0 kHz 20 Hz 176 Hz 10.0 kHz 100 Hz 5.32 kHz 20.0 kHz 0 35% 100

15 Ping Pong Delay Left Delay Right Feedback Left Feedback Right Feedb. Delay L Feedb. Delay R Mix

0.000 0.320 s 0.635 0.000 0.240 s 0.635 045% 100 040% 100 0.000 0.320 s 0.635 0.000 0.160 s 0.635 030% 100

Modulation

16 Stereo

Chorus

Speed Depth Delay Stereo Phase LFO Wave Damping Mix

0.050 0.247 Hz 5.000 0 50 % 100 5.0 20.2 ms 50.0 0180° 180 Triangle Triangle Sine 0 0 20 050% 100

17 Analog

Chorus

Speed Depth Delay Stereo Spread — — Mix

1 33 50 120 20 1 6 20 114 20 — — — — — — 0 50% 100

18 Vintage

Chorus

Speed Depth Delay Damping — — Mix

113 50 120 20 120 20 0 4 20 — — — — — — 0 50 % 100

19 Ultra Chorus Speed Depth Delay Wideness Stereo Spread Damping Mix

125 50 121 50 130 50 117 20 020 20 0 5 20 050% 100

20 Stereo

Flanger

Speed Depth Feedback Delay Stereo Phase Feedback LP Mix

0.050 0.285 Hz 5.000 090% 100 080% 100 1.00 ms 2.34 ms 10.0 ms 045° 180 500 Hz 8.13 kHz 20.0 kHz 0 50% 100

21 Vintage

Flanger

Speed Depth Feedback Delay — — Mix

113 50 116 20 118 20 111 20 — — — — — — 0 50% 100

22 Jet Stream

Flanger

Speed Depth Feedback Delay — — Mix

119 50 112 20 120 20 120 20 — — — — — — 0 50% 100

23 Stereo

Phaser

Speed Depth Feedback Stereo Phase Mode —Mix

0.100 0.543 Hz 10.00 080% 100 060% 100 020° 180 Md-1 Md-1 Md-5 — — — 0 100% 100

24 Vintage

Phaser

Speed Depth Feedback Base — — Mix

1 33 50 0100% 100 050 50 1 1 50 — — — — — — 0 66% 100

25 Dual Phaser Speed Depth Feedback Base — — Mix

125 50 075% 100 032 50 112 50 — — — — — — 0 100% 100

26 Leslie Speed Drum Depth Horn Depth Drive Balance —Mix

146 50 060% 100 060% 100 020% 100 50:00 45:50 00:50 — — — 0 75% 100

27 Pitch Shifter Semitones 1 Cents 1 Semitones 2 Cents 2 Semitones 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 0100% 100

28 Vibrato Speed Depth Wave Auto Mod. — — Mix

0.50 1.27 Hz 20.00 050% 100 Triangle Sine Opto. 025% 100 — — — — — — 0 100% 100

29 Tremolo

Speed Depth Wave Auto Mod. — — Mix

0.50 2.20 Hz 20.00 075% 100 Sine, Tri.,

Opto. Opto.

Square,

Saw Up,

Saw

Down

015% 100 — — — — — — 0 100% 100

30 Auto

Panning

Speed Depth Wave Auto Mod. — — Mix

0.50 3.21 Hz 20.00 080% 100 Sine, Tri.,

Opto. Sine

Square,

Saw Up,

Saw

Down

00% 100 — — — — — — 0 100% 100

Tab. 7.1: Overview of the individual parameters of eects types (continued on next page)

22 VIRTUALIZER 3D FX2000 User Manual

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

Name Min. Def. Max. Min. Def. Max. Min. Def. Max. Min. Def. Max. Min. Def. Max. Min. Def. Max. Min. Def. Max.

Dynamics

31 Compressor Ratio Threshold Makeup-Gain Soft Knee Attack Release 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 0.050 0.183 s 1.000 0 (o) 100% 100 (on)

32 Expander Ratio Threshold Makeup-Gain Soft Knee Attack Release Mix

1.25 3.25 100 -60 -9 dB 0 +0.0 +4.5 dB +24.0 0 3 6 0.005 0.049 s 0.200 0.050 0.243 s 1.000 0 (o) 100% 100 (on)

33 Gate Hold Threshold Attack Release Range —Mix

0.001 0.054 s 1.000 O, -59 -12 dB -1, Mute 0.005 0.005 s 0.200 0.005 0.031 s 0.500 Mute, -59 Mute -1, 0 dB — — — 0 (o) 100% 100 (on)

34

Analog

Compr./

Limiter

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 0.977s,

Auto 0 (o) 100% 100 (on)

35 Ultramizer Density Range Speed Split Frequency Stereo FX Enhancer Freq. Band

136 100 0 9 dB 24 138 100 50 190 Hz 10.0 k 020% 100 2.50 k 12.5 kHz 15.0 k Low Wide High

36 Denoiser LP-Frequency LP-Depth LP-Speed Gate Threshold Gate Hold Gate Resp. Mix

40 916 Hz 20.0 k 0 75 % 100 0.001 0.243 s 2.000 O, -59 -30 dB -1, Mute 0.001 0.035 s 1.000 0.005 0.037 s 0.200 0 (o) 100% 100 (on)

37 De-Esser

Ratio Threshold Makeup-Gain Frequency Attack Release Band

1.50 3.00 100 -48 -36 dB 0+0.0 +6.0 dB +24.0 500 2.78 kHz 15.0 k 0.001 0.020 s 0.150 0.050 s Auto 0.977s,

Auto Low Wide High

38 Wave

Designer

Attack Left Release Left Attack Right Release Right Gain Left Gain Right Mix

-50 -25 +50 -50 +25 +50 Ste., -50 Stereo +50 Ste., -50 Stereo +50 Auto, -24 Auto +24 dB Auto,

-24 Auto +24 dB 0 (o) 100% 100 (on)

Psycho Accoustic

39 Exciter Frequency Filter Q Harmonics Timbre Harmon. Kick —Mix

1.00 7.0 9 kHz 10.0 1 1 20 025% 100 050% 100 O On On — — — 0 40% 100

40 Enhancer High Freq. High Gain Bass Width Bass Gain Mid Q Mid Gain Gain

142 50 0 30 % 100 -50 +30 +50 0 35 % 100 130 50 010% 100 -16 -1 dB +16

41 Ultra Bass Subbass Freq. Subbass Level Harmon. Freq. Harmon. Level Harmon. Density Bass Gain Mix

80.0 130.6 Hz 150.0 0 25 % 100 30.0 201.2 Hz 250.0 050% 100 1 7 7 0 60% 100 0 (o) 100% 100 (on)

42 Stereo

Imager

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

050% 100 075% 100 Spread Space Space -6.0 +1.0 dB +6.0 050% 100 050% 100 0 (o) 100% 100 (on)

43 Ultra Wide Center Spread X-Over Frequ. Gain — — Mix

025% 100 050% 100 100 511 Hz 10.0 k -12.0 -6.0 dB +12.0 — — — — — — 0 (o) 100% 100 (on)

44 Binauralizer Center Space Mode Gain Speaker Distance Speaker Compens. Mix

040% 100 032% 100 Phones Speakers Speakers -12.0 +5.0 dB +12.0 0 4 18 25 50 % 100 0 (o) 100% 100 (on)

Filter / EQ

45 Auto Filter

Base Freq. Depth Type Resonance Attack Release Mix

100 368 Hz 15.0 k 0 30 % 100

LP.12 ,

LP.24,

HP.12 ,

HP. 24

BP.12 B P.12,

BP.24 134 50 0.005 0.022 s 2.000 0.005 0.061 s 2.000 0100% 100

46 LFO Filter

Base Freq. Depth Type Resonance Speed Wave Mix

100 485 Hz 15.0 k 085% 100 LP.12 LP.12

LP.24,

HP.12 ,

HP. 24 ,

BP.12 ,

BP.24

135 50 0.10 4.84 Hz 20.00 Sine,

Triangle Saw Down

Saw Up,

Saw Down,

Square

0100% 100

47 Parametric

EQ

Gain 1 Freq. 1 Q 1 Gain 2 Freq. 2 Q 2 Gain

-16 +4 dB +16 200 489 Hz 10.0 k 0.50 1.16 10.00 -16 +6 dB +16 200 Hz 2.58 kHz 10.0 kHz 0.50 1.03 10.00 -16 -3 dB +16

48 Graphic EQ 200 Hz 400 Hz 800 Hz 1.6 kHz 3.2 kHz 6.4 kHz Gain

-16 +3 dB +16 -16 -1 dB +16 -16 +3 dB +16 -16 -1 +16 -16 +1 dB +16 -16 +3 dB +16 -16 -2 dB +16

Distortion / Amp Simulation

49 Vocal

Distortion

Distortion Delay Gain Delay Flanger Level Type Flanger Speed Mix

151 100 030% 100 0.050 0.187 s 1.000 0100% 100 1 3 3 0.050 0.202 Hz 2.000 0100% 100

50 Tube

Distortion

Drive Pre HP Pre LP Damp Tube Select Mid EQ Mix

150 100 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 0100% 100

51 Guitar Amp In Gain Drive Presence Gain Cabinet Type Mid EQ Mix

160 100 170 100 170 100 175 100 1 2 8 -16 0 dB +16 0100% 100

52 Tri Fuzz In Gain Low-Fuzz Mid-Fuzz Hi-Fuzz Drive Hi Damp Mix

180 100 151 100 155 100 151 100 165 100 150 100 0100% 100

53 Speaker

Simulation

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

1 5 8 -16 0 dB +16 200 Hz 1.44 kHz 10.0 kHz 0.50 2.24 10.00 — — — — — — 0 100% 100

54 Ring

Modulator

Speed Depth Carrier-Freq. Tone Mode Slewing Mix

LFO: 0.10 Hz

ENV: 0.005 s

RAND +

SINE: 1.0 Hz

0.40 Hz

LFO: 10.00 Hz

ENV: 0.500 s

RAND +

SINE: 100.0 Hz

025% 100 100 Hz 308 Hz 10.0 kHz 200 Hz 2.00 kHz 20.0 kHz LFO LFO

ENVELOPE,

RANDOM,

SINE

00% 100 0100% 100

55 LoFi

Bits Resolution Tone Buzz Level Noise Gain Noise HP Noise LP Mix

24 7 bit 6 20.0

kHz 6.96 kHz 400 Hz 0 30% 100 035% 100 20 159 Hz 20.0 k 400 Hz 10.3 kHz 20.0 kHz 0 100% 100

Tab. 7.1: Overview of the individual parameters of eects types (continued on next page)

23 VIRTUALIZER 3D FX2000 User Manual

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

Name Min. Def. Max. Min. Def. Max. Min. Def. Max. Min. Def. Max. Min. Def. Max. Min. Def. Max. Min. Def. Max.

Special FX

56 Vinylizer Speed Clicks Level Scratch Level Noise Level Tone Noise Freq. Mix

20.0 45.0 rpm 80.0 0100% 100 050% 100 045% 100 030 50 039 50 0100% 100

57 Sampler

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

Stop Stop Rec Stop Stop Play -1/2, Back Fwrd. Forward,

+1/2 Loop Loop Once -12 0 dB 0 -12 0 dB 0 0 50% 100

58 Vocoder

Sensitivity Mode Attack Release Frequency Resonance Mix

060% 100 In-L.,

Pulse Pulse Noise 0.005 0.025 s 0.200 0.005 0.040 s 0.200 018 50 025 50 0100% 100

59 Voice

Canceler

Bass Freq. MS-Balance Treble Pan Gain — — Mix

20 43 Hz 1.00 k 050% 100 050% 100 -6.0 +6.0 dB +6.0 — — — — — — 0 (o) 100% 100 (on)

60 Resonator

Speed Depth Carrier Freq. Feedback Mode Slewing Mix

LFO: 0.10 Hz

ENV: 0.005 s

RAND: 1.0 Hz

0.40 Hz

LFO: 10.00 Hz

ENV: 0.500 s

RAND: 100.0 Hz

0 40 % 100 200 800 Hz 10.0 k -100 -80% +100 LFO LFO ENVELOPE,

RANDOM 00% 100 0100% 100

Combination

61 Chorus &

Reverb

Speed Depth Delay Reverb Mix Decay Hi Damp Mix

0.050 0.547 Hz 5.000 070% 100 5.0 ms 19.5 ms 50.0 ms 0 40% 100 0.50 2.51 s 5.00 030% 100 060% 100

62 Flanger &

Reverb

Speed Depth Feedback Reverb Mix Decay Hi Damp Mix

0.050 0.256 Hz 5.000 071% 100 -80 +80% +80 040% 100 0.50 2.02 s 5.00 025% 100 060% 100

63 Leslie &

Reverb

Speed Depth Doppler Reverb Mix Decay Hi Damp Mix

0.50 8.00 Hz 8.00 090% 100 080% 100 025% 100 0.50 2.42 s 5.00 030% 100 080% 100

64 Pitch Shifter

& Reverb

Semitones Cents High Cut Reverb Mix Decay Hi Damp Mix

-12 +4 +12 -50 +0 Cent +50 010% 100 025% 100 0.50 2.02 s 5.00 030% 100 0100% 100

65 Delay &

Reverb

Delay Feedback Type Reverb Mix Decay Hi Damp Mix

0.030 0.235 s 0.665 040% 100 Stereo,

Spread Spread

Ping

Pong,

Tape

050% 100 0.50 4.02 s 5.00 030% 100 050% 100

66 Tremolo &

Reverb

Speed Depth Auto Mod. Reverb Mix Decay Hi Damp Mix

1.00 4.04 Hz 10.00 080% 100 020% 100 050% 100 0.50 2.80 s 5.00 030% 100 070% 100

67 Phaser &

Reverb

Speed Depth Feedback Reverb Mix Decay Hi Damp Mix

0.050 0.306 Hz 5.000 0100% 100 070% 100 025% 100 0.50 3.06 s 5.00 020% 100 075% 100

68 Chorus &

Delay

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

0.050 0.318 Hz 5.000 0100% 100 5.0 ms 17.8 ms 50.0 ms 0 30% 100 0.030 0.350 s 0.665 040% 100 065% 100

69 Flanger &

Delay

Speed Depth Feedback Delay Mix Delay Time Delay Feedback Mix

0.050 0.318 Hz 5.000 080% 100 -80 +80% +80 030% 100 0.030 0.350 s 0.665 040% 100 055% 100

70 Pitch Shifter

& Delay

Semitones Cents High Cut Delay Mix Delay Time Delay Feedback Mix

-12 +4 +12 -50 +0 Cent +50 00% 100 030% 100 0.030 0.350 s 0.665 040% 100 065% 100

71 Tremolo &

Delay

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

0.50 0.73 Hz 20.00 095% 100 025% 100 015% 100 0.030 0.190 s 0.665 040% 100 075% 100

24 VIRTUALIZER 3D FX2000 User Manual

7. 2 MIDI implementation

MIDI Implementation Chart

Function Transmitted Recognized Remarks

Basic

Channel

Default

Changed

OFF, 1 - 16

OFF, 1 - 16

OFF, 1 - 16

OFF, 1 - 16 memorized

Mode

Default

Messages

Altered

1,2,3,4

X

X

1,2,3,4

X

X

Note Number True Voice X

X

X

X

Velocity Note ON

Note OFF

X

X

X

X

After Touch Key´s

Ch´s

X

X

X

X

Pitch Bender X X

Control 0,102 - 116 0,102 - 116

Progr. Change True # O (0-99)

1-100

O (0-99)

1-100

System Exclusive O O

System Common

Song Pos

Song Sel

Tune

X

X

X

X

X

X

System

Real Time

Clock

Commands

X

X

X

X

Aux Messages

Local ON/OFF

All notes OFF

Active Sense

Reset

X

X

X

X

X

X

X

X

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 implementation chart

Parameter Name Display Range MIDI Control

Number Control Value Range

Bank Select I.001 .. 100/U.001 .. 100 0 0 = ROM / 1 = RAM

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ect

Edit E Depends on eect 107 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 .. 99

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 EXTN/INTN 116 0 = EXTN / 1 = INTR

Tab. 7.2: Controller functions with MIDI

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

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

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 is constantly striving to maintain the highest professional standards. As a result of these efforts,

modifications may be made from time to time to existing products without prior notice. Specifications and

appearance may differ from those listed or illustrated.

26 VIRTUALIZER 3D FX2000 User Manual

FEDERAL COMMUNICATIONS

COMMISSION COMPLIANCE

INFORMATION

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, pursuant 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 particular 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 from 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 subject to the

following two conditions:

(1) this device may not cause harmful interference, and

(2) this device must accept any interference received, including interference 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.

VIRTUALIZER 3D FX2000

27 VIRTUALIZER 3D FX2000 User Manual

We Hear You