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Behringer VIRTUALIZER 3D FX2000 [22/28] Virtualizer 3d fx2000 user manual
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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
1 36 100 0 9 dB 24 1 38 100 50 190 Hz 10.0 k 0 20% 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 0 25% 100 0 50% 100 O On On — — — 0 40% 100
40 Enhancer
High Freq. High Gain Bass Width Bass Gain Mid Q Mid Gain Gain
1 42 50 0 30 % 100 -50 +30 +50 0 35 % 100 1 30 50 0 10% 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 0 50% 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
0 50% 100 0 75% 100 Spread Space Space -6.0 +1.0 dB +6.0 0 50% 100 0 50% 100 0 (o) 100% 100 (on)
43 Ultra Wide
Center Spread X-Over Frequ. Gain — — Mix
0 25% 100 0 50% 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
0 40% 100 0 32% 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
BP.12,
BP. 24
1 34 50 0.005 0.022 s 2.000 0.005 0.061 s 2.000 0 100% 100
46 LFO Filter
Base Freq. Depth Type Resonance Speed Wave Mix
100 485 Hz 15.0 k 0 85% 100 LP.12 L P.12
LP. 24 ,
HP.12,
HP. 24 ,
BP.12,
BP. 24
1 35 50 0.10 4.84 Hz 20.00
Sine,
Triangle
Saw Down
Saw Up,
Saw Down,
Square
0 100% 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
1 51 100 0 30% 100 0.050 0.187 s 1.000 0 100% 100 1 3 3 0.050 0.202 Hz 2.000 0 100% 100
50
Tube
Distortion
Drive Pre HP Pre LP Damp Tube Select Mid EQ Mix
1 50 100 50 120 Hz 1.00 k 1.00 2.07 kHz 15.0 15.0 7.11 kHz 1.00 1 2 3 -16 -1 dB +16 0 100% 100
51 Guitar Amp
In Gain Drive Presence Gain Cabinet Type Mid EQ Mix
1 60 100 1 70 100 1 70 100 1 75 100 1 2 8 -16 0 dB +16 0 100% 100
52 Tri Fuzz
In Gain Low-Fuzz Mid-Fuzz Hi-Fuzz Drive Hi Damp Mix
1 80 100 1 51 100 1 55 100 1 51 100 1 65 100 1 50 100 0 100% 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
0 25% 100 100 Hz 308 Hz 10.0 kHz 200 Hz 2.00 kHz 20.0 kHz LFO LFO
ENVELOPE,
RANDOM,
SINE
0 0% 100 0 100% 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 0 35% 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 eects types (continued on next page)
Содержание
- Virtualizer 3d fx2000 1
- Table of contents 2
- Thank you 2
- Important safety instructions 3
- Legal disclaimer 3
- Limited warranty 3
- Before you get started 5
- Introduction 5
- Online registration 5
- The concept 5
- 5 13 16 18 17 6
- 6 7 8 9 10 11 14 12 15 6
- Control elements 6
- 19 21 22 23 24 20 7
- Effects algorithms 7
- Reverb algorithms 7
- Reverb reverb 7
- Auto panning this sound effect 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 8
- Chorus this effect slightly detunes the original signal a very pleasant detune effect is created in connection with the pitch variation the chorus effect is quite often and extensively used for dispersing signals analog chorus simulates a guitar chorus effect pedal while vintage chorus imitates a classic analog studio chorus ultra chorus creates the sound of an eight person vocal chorus 8
- Delay algorithms 8
- Delay delay 8
- Flanger the word flange means tape spool and this explains the characteristics of the effect originally the flanger effect was generated with two tape recorders which ran synchronously the same audio signal was recorded on both machines if you put a finger 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 flanger effect pedal and jet stream flanger sounds like a classic analog flanger 8
- Leslie the simulation of a classic effect 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 effect for modulation of signals is used 8
- Modulation and pitch shifter effects 8
- Modulation modulation 8
- 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 effect 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 effect pedal dual phaser processes the left and the right channels separately 8
- Ping pong a delay effect with changing stereo positioning where the time intervals between the repetitions can be changed 8
- Pitch shifter this effect 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 off by turning edit e fully counterclockwise 8
- Stereo delay a delay of the input signal different tempo settings allow interesting delay effects 8
- Tape echo similar to the stereo delay with the difference 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 reflections include high and low pass filters 8
- Tremolo this effect was originally found on guitar amplifiers and is once again trendy it is a fast or slow periodic variation of the volume 8
- Vibrato for this effect the peak frequency of a tone is periodically and uniformly changed quickly or slowly it is often used for guitar playing 8
- Virtualizer 3d fx2000 user manual 8
- 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 specified threshold while a compressor acts softly over a large range the analog compr limiter is modeled after a famous analog compressor unit 9
- 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 9
- Denoiser the denoiser is used to eliminate or reduce noise and other interference 9
- Dynamic effects 9
- Dynamics dynamics 9
- 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 significantly 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 effectively expand the dynamic range of signals signals with small amplitudes such as background noise can be weakened thereby reducing the background noise 9
- 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 first syllables of soft or whispered passages would not be audible 9
- Ultramizer the ultramizer function divides the sound spectrum into two frequency bands and as a result allows inaudible but extremely effective compression this is especially helpful during mix down the fx2000 analyses the received audio material and automatically adjusts input gain and compression parameters 9
- Virtualizer 3d fx2000 user manual 9
- Wave designer using this effect you can influence 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 9
- 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 10
- Enhancer the enhancer works like a dynamic pitch equalizer its effectiveness depends on the associated high frequencies and the intensity of the input signal 10
- Exciter an exciter works with psycho acoustic principles to add artificially generated overtones to the original signal thereby increasing its presence and loudness the subjective volume impression without any significant increase of the signal level 10
- Filter eq effects 10
- Filter eq filter eq 10
- Filter filters in general influence the frequency response of a signal a low pass filter allows low frequencies to pass and suppresses high frequencies while a high pass filter allows high frequencies to pass and suppresses low frequencies 10
- Graphic eq eight filter bands are arranged next to each other for this graphic equalizer in contrast to the parametric equalizer frequency and bandwidth are pre determined here 10
- Parametric eq the parametric equalizer is the most highly developed form of equalization you can control the three parameters which define the so called gauss equalizer curve bandwidth frequency and amplitude boosting or lowering 10
- Psycho acoustic effects 10
- Psycho acoustics psycho acoustics 10
- Stereo imager this effect is used to process stereo main signals the signal is first subdivided into middle and side signal ms matrix both parts can then be amplified when desired and placed on the stereo image 10
- Ultra bass this awesome combination of sub harmonic processor bass exciter and limiter adds a final touch to your music production 10
- Ultra wide this effect is suitable to pep up speaker systems with an especially broad stereo image 10
- Virtualizer 3d fx2000 user manual 10
- Distortion amp distortion amp 11
- Distortion effects and amp simulations 11
- Guitar amp this effect simulates the sound characteristics of a complete guitar amplifier you can connect a guitar or bass after appropriate pre amplification directly to the virtualizer 3d and from there to a mixing console or recording device 11
- 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 effect 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 11
- Ring modulator this effect 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 effect is very well suited for vocal alienation robot voice 11
- 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 refine the sound 11
- Tri fuzz this is a special guitar distortion type jimi hendrix was one of the first 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 different frequency bands 11
- Tube distortion this effect simulates the sound of different tube types when an analog tube as found in a guitar amplifier is overamplified 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 11
- Virtualizer 3d fx2000 user manual 11
- Vocal distortion this effect is very hip when used on vocals and drum loops and is combined with a delay and flanger 11
- Chorus delay while the chorus can contribute to a wideness of the signal interesting repetition effects can be adjusted with the delay vocals can be given a distinctive effect without making the voice sounding blurred 12
- Chorus reverb this algorithm combines the popular chorus with a gold plate effect as in algorithm 2 12
- 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 12
- Effects 61 to 71 are multi effects algorithms which allow different effects to be used simultaneously effect 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 effect see chapters 3 and 3 12
- Effects algorithm combinations 12
- Flanger delay this effect is just right for creating a modern slightly spacey vocal sound 12
- Flanger reverb the combination of flanger and reverb effects 12
- For an overview of the parameters available in the individual programs 12
- Leslie reverb the input signal modulated to a degree that you specify is then processed with a reverb effect this effect works especially well with keyboards and guitars 12
- Multi effects programs 12
- Phaser reverb the combination of a classic stereo phaser and a reverb effect 12
- Pitch delay a repetition of the audio signal with an oscillatory effect added by the pitch shifter 12
- 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 12
- Refer to chapter 7 12
- Resonator a resonator simulates an oscillating system that amplifies a specific frequency the resonator implemented here has a resonance frequency that can be modulated with positive and negative feedbacks of up to 100 12
- Sampler this sampler allows you to record up to five seconds of program material use edit a for recording and edit b for playback of the sampled material 12
- Serial serial 12
- Special effects 12
- Special fx special fx 12
- To clear the contents of the sampler select a different effect 12
- Tremolo delay a fast or slow intensive variation of volume which is additionally processed with a panorama effect 12
- Tremolo reverb the intensive variation in volume of the tremolo gains more depth and wideness with the reverb 12
- Vinylizer this effect adds clicks and or noise to your audio signal simulating old vinyl records and tape recorders 12
- 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 12
- Voice canceler the voice canceler is a very effective karaoke effect it allows removal of mono vocal parts in stereo recordings the bass part however remains untouched 12
- 19 21 24 26 13
- Algorithm no efects structure 13
- Effects structure 13
- Operation 13
- Virtualizer 3d fx2000 user manual 13
- 20 22 23 25 28 30 38 40 45 48 50 53 54 57 60 14
- Algorithm no efects structure 14
- Virtualizer 3d fx2000 user manual 14
- A serial 1 15
- Algorithm no efects structure 15
- B serial 2 15
- C parallel 15
- Virtualizer 3d fx2000 user manual 15
- Calling up presets 16
- Comparing an edited preset with the corresponding factory preset compare function 16
- Editing programs edit mode 16
- Setup mode 16
- Storing programs 16
- Applications 17
- Level setting 17
- Restoring the factory presets 17
- Using the virtualizer 3d in the aux bus 17
- Using the virtualizer 3d as an effects device for instruments 18
- Using the virtualizer 3d in the insert path 18
- Audio connections 19
- Installation 19
- Mains connection 19
- Midi functions of the fx2000 19
- Saving data via midi 19
- Using the virtualizer 3d in a midi setup 19
- Midi connections 20
- Selecting the operating level 20
- Appendix 21
- Parameter overview 21
- Tab 7 overview of the individual parameters of effects types continued on next page 21
- Virtualizer 3d fx2000 user manual 21
- Distortion amp simulation 22
- Dynamics 22
- Edit a edit b edit c edit d edit e edit f mix 22
- Filter eq 22
- Name min def max min def max min def max min def max min def max min def max min def max 22
- Psycho accoustic 22
- Tab 7 overview of the individual parameters of effects types continued on next page 22
- Virtualizer 3d fx2000 user manual 22
- Combination 23
- Edit a edit b edit c edit d edit e edit f mix 23
- Name min def max min def max min def max min def max min def max min def max min def max 23
- Special fx 23
- Virtualizer 3d fx2000 user manual 23
- Midi implementation 24
- Virtualizer 3d fx2000 user manual 24
- Specifications 25
- Federal communications commission compliance information 26
- Virtualizer 3d fx2000 26
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