Behringer BCR 2000
It lets you move real faders and turn real knobs to control all the virtual gear in Cubase, Cakewalk, Logic Audio and other major audio software. It\'s the intuitive way to control and create music with a real hands-on feel. The BCR2000 is an innovative, hands-on control surface with an additional 24 endless rotary encoders for the ultimate control of virtual synths, samplers, effects and signal processors. Tired of using the mouse to turn knobs How about more intuitively controlling your sy... Read more
Part Numbers: 000-24508-00000, BCR-2000, BCR2000
UPC: 04033653030328, 4033653030328
[ Report abuse or wrong photo | Share your Behringer BCR 2000 photo ]
Behringer BCR 2000 - Guide De Programmation, size: 2.1 MB
Behringer BCR 2000
Behringer BCR2000: Don& 39;t Be Daft, Punk Behringer& 39;s Alright
User reviews and opinions
No opinions have been provided. Be the first and add a new opinion/review.
The following users manual is intended to familiarize you with the units control elements, so that you can master all the functions. After having thoroughly read the users manual, store it at a safe place for future reference.
2. INTRODUCTION TO MIDI
2.1 MIDI control for beginners
Application possibilities for both B-CONTROL models, the BCF2000 and the BCR2000, are truly wide-ranging. Well start with a couple of general explanations and examples that should quickly let you get a good understanding of MIDI basics. What exactly does the B-CONTROL do? Simply put, this a remote control for all kinds of MIDI equipment. Using the faders (BCF2000 only), encoders (infinitely variable rotary controls) and keys, an entire array of control functions can be performed. Adjusting these parameters, you can control various functions of external (hardware or software) equipment in real time. For example, countless software mixers, sound generators or effects can be remotely controlled. With these software applications, you are dealing with simulations of real equipment in your computer, whereby they are visually represented on the computer screen, while the computer takes over the function of replicating their respective functions. And how does it work? You can assign particular MIDI data to each control element on the B-CONTROL; for example, you can assign the so-called MIDIController 7 (CC 07) that adjusts the volume of a MIDI device to one of the controls on your BCF2000/BCR2000. If you move/ turn the corresponding control on your B-CONTROL, you can hear how the volume on the receiving MIDI device also changes (provided it is also connected to an audio output). Keep the following in mind:
1.1 Before you get started
The B-CONTROL was carefully packed at the assembly plant to assure secure transport. Should the condition of the cardboard box suggest that damage may have taken place, please inspect the unit immediately and look for physical indications of damage.
Damaged equipment 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 B-CONTROL 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 B-CONTROL or with its packaging. Please dispose of all packaging materials in an environmentally-friendly fashion.
+ + + +
MIDI data is only control data and contains no audio information!
1.1.2 Initial operation
Please make sure the unit is provided with sufficient ventilation, and never place the B-CONTROL on top of an amplifier or in the vicinity of a heater to avoid the risk of overheating. A power supply unit which meets the necessary safety requirements is enclosed for connecting the B-CONTROL to the mains.
What settings do I have to make? Where? How? Often, you can assign MIDI control data numbers, the so-called control change or CC numbers, to individual MIDI parameters. Thats particularly the case with music software such as software sequencers, mixers and sound generators as well as the so-called plug-ins (effect units or sound generators integrated into the software). Basically, you have 2 options: You either set the desired control numbers at the B-CONTROL and transmit them to the software you are controlling, or you can set the desired control data directly on your MIDI device and let the B-CONTROL receive the information about number assignment using the LEARN procedure. Example: On a software synthesizer, you want to control filter frequency, filter resonance and volume using the MIDI controllers 5, 6 and 7. To receive MIDI data, youll need to perform the following settings on your software synthesizer:
Please take a few minutes and send us the completely filled out warranty card within 14 days of the date of purchase to assure unproblematic warranty processing in the future. You may also register online at www.behringer.com. The serial number needed for the registration is located at the top of the unit. Failure to register your product may void future warranty claims.
s s s set filter frequency to CC 05 set filter resonance to CC 06 (receive) set volume to CC 07 (receive)
2.2 The MIDI standard
The MIDI standard (Musical Instruments Digital Interface) was developed in the early 80s to make communication between equipment from different manufacturers possible. Over the years, the MIDI interface has become hugely popular; it has become a matter of fact that complete studios can be connected via MIDI. At the center of any such network is at least one computer that controls peripheral equipment. You can use the B-CONTROL in such a studio to control your sequencer or other software tools running on your computer (e.g. software mixers, VST instruments, effect plug-ins). But even if you dont use a computer, you can use the B-CONTROL as a central control surface in your studio for comfortably editing your rack synthesizers, GM/GS/XG sound generators and effects equipment.
To get detailed information on how to assign them, please refer to chapter 4.3.2 Programming in the EDIT mode on page 13. Now, define in the B-CONTROL the control elements that will control these 3 parameters. You can either use the LEARN function if the software synthesizer gives you the option to send its CC data via MIDI, or you can implement the following settings manually: s s s Assign the push encoder 1 CC 05 to filter frequency control via dial rotation. Assign the push encoder 2 CC 06 to filter resonance control via dial rotation. Assign the push encoder 3 CC 07 to volume control via dial rotation.
2.4 The MIDI format
Although your B-CONTROL is very easy to use, it still makes sense to review some information about this data format. Each MIDI command, also called message, consists of a status byte and up to two data bytes. The status byte defines the command type, and the data bytes contain the corresponding values. Different types of MIDI messages used by the B-CONTROL are explained next: Note messages: Among keyboard hotshots, Note On and Note Off messages are among the essential MIDI messages. Playing MIDI instruments from a master keyboard or computer is only possible with these messages. The B-CONTROL can also send Note Messages; however, this is not absolutely necessary to play music. This way, note events are also used to trigger drumloops or individual notes from a sampler. Many effects processors also allow rhythmic entering of delay times or song tempos with note commands. Note On and Note Off messages have the following data format:
s s s s s
Note Off Note On
Status Byte &8n (n = channel #) &9n (n = channel #)
Data Byte 1 Data Byte 2 Note # Velocity Note # Velocity
Table 2.1: Data format of Note On and Note Off messages The value range for channel numbers is between 1 and 16; for data bytes it is 0 to 127. Even though Note Off messages are not really used by keyboarders anymore, the B-CONTROLs support sending this status information. Velocity corresponds to the key pressure, and therefore to the volume of a touch-sensitive keyboard (piano). Since the B-CONTROL does not feature touch-sensitive keys, the velocity value is transmitted with a fixed value that can be set during programming.
A note command can only be assigned to keys, footswitches and push functions of the encoder.
Control Change (CC): Control Change Messages are some of the most powerful MIDI messages. Using them, a vast number of parameters and functions can be recalled and automated. Individual control elements (faders, rotary dials, keys etc.) can be assigned to CC messages on your B-CONTROL. Because not only keys but also faders and rotary dials can be used, control values can be controlled in real time either statically or dynamically. A list with the standard controller numbers can be found in this user manuals appendix. NRPN: Additionally, controllers that have no standardized assignment can also be used, and can therefore be assigned according to no predetermined rule. These controllers are called NRPNs (NonRegistered Parameter Numbers). NRPNs are further subdivided into MSB (Most Significant Byte) and LSB (Least Significant Byte) in order to achieve a higher resolution. A lower resolution is particularly easy to observe during fader movement of a mixer, in which 7-bit (= 128 values) jumps in the signal level can be heard. By subdividing NRPNs into MSB and LSB, you can achieve 14-bit resolution of faders and rotary dials, which means that the movement of a fader is divided into more than 16,000 steps (214)! In addition to NRPNs, there are also RPNs (Registered Parameter Numbers). RPN commands are defined as GM (general MIDI), GS (Roland) and XG (Yamaha) MIDI standards. Pitch Bend The pitch-bend wheel of a keyboard is used for tone modulation and has its own commands in the MIDI format. After Touch MIDI keyboards featuring After Touch can respond to varying key pressure even after you release the key (i.e. after the keystroke is over) and can send this data via MIDI. This function either reacts key-specific (key pressure) or it reacts to all notes at the same time (channel pressure). MIDI Machine Control (MMC): With MIDI Machine Control, you can assign transport functions of a sequencer or drum computer (e.g. start, stop, FFW/RWD) and locator points to individual keys with a permanently adjustable time position (locate, punch in/out points). Program Change Messages and MIDI Bank Select: Program change messages are used to recall programs/presets in MIDI devices connected to your B-CONTROL. 128 program numbers can be recalled. For devices with more than 128 presets, use the bank select function, which lets you select a storage bank before sending a program change. Running Status: Because the MIDI interface is a serial data transmission format (meaning that its data is transmitted as a succession of individual data segments), it became apparent very quickly that it may not be fast enough. To avoid perceptible delays in the output of MIDI data, Running Status was designed. It suppresses the transmission of the status byte when the same MIDI messages are transmitted in succession. This means that, for example, during a continuous change of the data byte of a controller (e.g. volume), the status byte is only sent once. The only thing that is transmitted are the changes in the data byte. This goes on until another status byte is sent. 8 bits are saved for each message sent. SysEx Dump: System-Exclusive data refer to a function that makes transmission of nonspecific data via MIDI possible. This is often used for reading out memory contents and storing them externally. The status byte notes the data type (SysEx); the first three data bytes are a manufacturer ID, so that when you have a large MIDI network, you can still talk to the correct MIDI device. To make using several identical B-CONTROLs at the same time possible, you can assign a device number (device ID) in the global setup menu to each B-CONTROL, which assures that only the correct device receives the data intended for it.
3. CONTROL ELEMENTS AND CONNECTIONS
In this chapter, we will describe various control elements of your B-CONTROL. All controls and connectors are explained in detail, and well give you useful tips on how to use them. The 8 infinitely variable push encoders are used to send MIDI data. They have two functions (turn and press) that can be assigned to different MIDI commands. Each of these 16 keys can send one MIDI command. The four-digit LED display indicates the current operating software version briefly during startup. After that, it shows the selected preset number. When in play mode, activating one of the control elements indicates value changes on the LED in real time. When in programming mode, it indicates the type of MIDI commands, program/channel numbers and parameter values. Using the ENCODER GROUP keys, four so-called encoder groups per preset can be recalled, so that eight PUSH encoders for a total of 64 different MIDI functions are at your disposal. These LEDs indicate the following: MIDI IN, OUT A and OUT B illuminate if MIDI data flows through the respective connectors. USB Mode illuminates if a USB connection to a computer is active (your computer must be on). The FOOT SW LEDs illuminate if the footswitch is pressed. FOOT CTRL LED (BCF2000 only) illuminates when the footcontroller is actuated (MIDI data is sent). Permanently fixed functions are assigned to this key section: STORE saves presets. LEARN gets you to the LEARN mode. EDIT gets you to the EDIT mode. Using the EXIT key, you exit a programming level (edit mode/ global setup). Use it also to cancel a store or copy procedure. The eight 100-mm faders of the BCF2000 are freely assignable for controlling MIDI commands. They are motorized, so they automatically slide into the predetermined position when you switch to another preset. If the software you are controlling or the MIDI device to which your B-CONTROL is connected support parameter feedback, the fader positions change automatically. Using the PRESET keys, 32 presets can be recalled. The preset number is shown in the display. These four keys can be assigned to any MIDI command of your choice. The 24 infinitely variable rotary controls (encoders) of the BCR2000 can be programmed to send MIDI control commands. The LED circle show the current value. These are the SWITCH connectors for connecting a footswitch. Its polarity is automatically detected. On the BCR2000, the first connector (SWITCH 1) can also be used to connect a double footswitch with stereo jacks. In this case, SWITCH 2 must remain unused.
Fig. 3.1: The control surface of the B-CONTROLs
Fig.3.2: The back of the BCF2000 (control elements
coincide with the BCR2000)
CONTROLLER connector (BCF2000 only). Here, you can connect an expression pedal that can be used for controlling assignable MIDI data. The POWER switch turns your B-CONTROL on. The POWER switch should always be in its Off position when connecting the unit to the mains. Please keep in mind: The POWER switch does not fully disconnect your B-CONTROL from the mains. Always unplug the power cord from the mains if you dont intend to use your B-CONTROL for longer periods of time.
The connection to the mains is established using a standard connection socket. A matching cable is included in the shipment. SERIAL NUMBER. Please take the time to fill out and return the warranty card within 14 days after the date of purchase to benefit from our extended warranty. The serial number is located on the top side of your REV2496. You can also register online at www.behringer.com.
4.1.1 USB modes
USB mode U-1:
Fig. 3.3: The footswitch connectors on the BCR2000 The USB connector is used for connecting to a computer with a compatible USB input. These are the MIDI connectors of your B-CONTROL. Depending on the operating mode, MIDI OUT B doubles as MIDI THRU.
4.1 The operating modes
Depending on how you want to use your B-CONTROL, you should first select an operating mode. You can use it as a pure USB controller for your computer applications (software mixers, sequencers, soft synths, VSTeffects etc.), as a stand-alone MIDI controller, or as a combination of both with different MIDI interface configuration possibilities. Here is how you select an operating mode: s s s Keep the EDIT key pressed, and press the STORE key at the same time. You are now in the global setup menu and you can let go of both keys. Now, select an operating mode by turning the PUSH encoder 1. You can select USB modes U-1 to U-4 and stand-alone modes S-1 to S-4. The modes are described in detail in chapter 4.1.1 and further, and examples about their use are also given there. Please see also chapter 4.3.3. To exit global setup, please press the EXIT key. The settings made in the global setup menu are automatically stored and do not have to be separately saved. Fig. 4.1: Routing and use in USB mode 1 In USB mode 1, the B-CONTROL is connected to your PC by using a USB cable. It sends MIDI data and receives parameter feedback from the computer, provided that the music software you are controlling supports these functions. This way, current parameter values can be shown on the LED, or can be indicated by the fader position. All MIDI ports of the B-CONTROL are off. This mode is optimal for controlling software tools (mixers, sequencers, synths, VSTeffects etc.) if you dont need any additional MIDI ports. This mode is also very useful if you are already using other multi-channel MIDI interfaces on your computer and cant address any additional ones.
The USB connection is briefly interrupted if you switch within a USB mode, or when you switch from a USB mode to a standalone mode and vice versa. If a USB connection is made or lost while your B-CONTROL is on, the selected operating mode is retained.
USB-Mode U-2: USB-Mode U-3:
Fig. 4.2: Routing and use in USB mode 2 Your B-CONTROL sends MIDI data to the computer and receives parameter feedback, provided that the software you are controlling supports this function. MIDI IN and OUT A are available as a 16-channel MIDI interface for your computer. OUT B functions as MIDI THRU and forwards MIDI IN data unchanged. OUT B is not accessible from the computer, and doesnt send any control data from the B-CONTROL. This mode is ideal for applications in which you control music software on your computer and at the same time need a USB MIDI interface with one IN and one OUT. Additionally, a MIDI keyboard can be tapped into at the MIDI THRU (OUT B) connector. This way, you can use a master keyboard to import your arrangements into the sequencer, or to play back software synths. OUT A controls a hardware sampler, while a MIDI expander (sound generator without a keyboard; e.g. a rack synthesizer or a pure preset unit), an effects processor or similar can be connected at OUT B, whereby it is directly controlled only from the keyboard or is controlled only via program changes.
Fig. 4.3: Routing and use in USB mode 3 This is surely the most often used standard mode with computer applications. This setting is optimal for controlling software while all MIDI connectors are used as a USB-MIDI interface for the computer. With this function, there are 16 input channels and 32 output channels available to your music software (IN and OUT A + OUT B). The B-CONTROL transmits its data via USB to the computer. The availability of parameter feedback from the computer to the B-CONTROL depends on the software your are controlling. MIDI expanders can not be directly accessed from the keyboard in this operating mode. This operating mode is only used to import MIDI tracks into the sequencer.
USB-Mode U-4 (expanded):
Fig. 4.4: Application in USB mode 4 (expanded)
4.1.2 Stand-alone modes
The stand-alone modes come into play when the B-CONTROL is not used as a USB-controller for controlling PC applications but as a pure MIDI controller. With all stand-alone modes, all MIDI connectors can be used simultaneously, and these modes differ only in how the data is transmitted on the MIDI outputs. Of course, not only sound generators can be remotely controlled (as shown in the illustrations) but also effects processors, groove boxes, hardware sequencers, lighting equipment, compact studios, portable keyboards, e-pianos etc. basically any equipment with a MIDI input. This can also be your computer with its own MIDI interface. The USB connector can not be used while your B-CONTROL is in one of the stand-alone modes. A merge function that makes mixing MIDI data from two different sources to one output possible is active at output A in standalone modes S-1 to S-3. Fig. 4.5: Routing in USB mode 4 This operating mode should be selected if you want to couple two B-CONTROLs (e.g. 1x BCF2000 & 1x BCR2000) to control your software using both B-CONTROLS through a common USB port. Additionally, MIDI OUT B of the first controller (unit 1) can be used from the computer as a 16-channel MIDI output. The data of both B-CONTROLs is mixed and is sent to the host computer via USB. Select stand-alone mode 3 for the second unit (unit 2).
Stand Alone-Mode S-1: Stand Alone-Mode S-2:
Fig. 4.6: Routing and use in stand-alone mode 1 S-1 is probably the most frequently used standard operating mode among the stand-alone applications. We recommend using it when you for example want to control two sound generators from your B-CONTROL, whereby both sound generators are played simultaneously from a master keyboard. To do this, MIDI data from the B-CONTROL and the keyboard have to be mixed and transmitted on both MIDI OUTs. This is done using the integrated merge function. The master keyboard is connected to the MIDI input of the B-CONTROL. Both expanders played from the master keyboard and controlled by the B-CONTROL are connected at the MIDI outputs. Control data for the BCF2000/ BCR2000 will probably be program change and real-time controller commands, while the keyboard will typically transmit keyboard commands (note on/off, velocity, after touch, pitch bend).
Fig. 4.7: Routing and use in stand-alone mode 2 Say you want to control just one sound generator from your B-CONTROL because the tone generator allows extensive editing (e.g. its a rack synthesizer or a sampler, as shown above). The MIDI keyboard should be able to play both sound generators. In this case, S-2 is the optimal setup. The second sound module can be a pure preset unit that doesnt allow any programming. However, it can also be an effects unit that only receives program commands from the keyboard. This operating mode is also very useful when the data received by the second unit is undesired and could otherwise disrupt operation (e.g. to MIDI functions that cannot be switched off or the MIDI channel can not be changed).
Stand Alone-Mode S-3: Stand Alone Mode S-4:
Fig. 4.8: Routing and use in stand-alone mode 3 In this mode, MIDI data from the BCF2000/BCR2000 is mixed with the data coming in at the MIDI input (merge function), but is exported exclusively on output A. Only control data of the B-CONTROL is available at output B. This way, you can control two MIDI devices from your B-CONTROL, but only the device connected at OUT A can additionally be played from the MIDI keyboard. If you want to daisy-chain two B-CONTROLs to jointly control several MIDI devices, you need to connect OUT A of the first B-CONTROL to MIDI IN of the second B-CONTROL. OUT A of the second B-CONTROL needs to be connected to the MIDI input of the effects unit. If additional MIDI devices need to be talked to, please connect the THRU port of one MIDI device to the IN port of the next MIDI device. This way, with different MIDI channel assignments, each MIDI device can be controlled from each one of the B-CONTROLs. If additional MIDI inputs are needed, then external MIDI merge boxes must be used. For example, if your sound module only has one MIDI IN connector, and you want to control if from several MIDI controllers and from a keyboard, you will need a 2-in/1-out merge box. If additional MIDI outputs are required, you will need external thru boxes. With more complex MIDI setups, thru boxes are preferred to using longer thru chains to prevent data transmission problems. If you dont require the response function during software control, you can connect as many BCF2000/BCR2000s as you want per MIDI. The last B-CONTROL in the chain is then connected to the MIDI IN input of your computer. This way, you can control nearly as many channels of a software mixer as you wish. However, keep in mind that all devices must share 16 MIDI channels.
4.2.1 Selecting a preset
s s Select a preset with the PRESET button preset number is indicated in the display. The new
Alternatively, you may select a preset by pressing and holding down the preset button while moving one of the push encoders. As soon as you release the PRESET button, the new preset is active.
4.2.2 Copy/store presets
s s Press the STORE button to save a preset. The button LED starts to flash. Select a memory number using the PRESET buttons or by holding down one of the PRESET buttons while moving a push encoder at the same time. The new preset number flashes in the display. By pressing STORE again, the STORE LED and the display stop flashing. If you want to overwrite the current preset, press the STORE button twice (step 2 can be cancelled). Cancel the store procedure by pressing the EXIT button.
4.3.2 Programming in EDIT mode
Various types of MIDI commands (Pitchbend, After Touch, MMC etc.) are assigned to the individual control elements in EDIT mode. s To activate the EDIT mode, press and hold the EDIT button and operate a control element. This can be a fader, sustain pedal (BCF2000 only), an encoder (BCR2000 only), a push encoder, a button or footswitch. The control element is indicated in the display (e.g. E 24 or Fd 8). When using push encoders, select an encoder group beforehand. In addition, you have to differentiate between turn and push function.
We deliberately did not include an autostore function. That way, you can assign a new MIDI control to a control element without changing the current preset. If you want to restore a preset, just select another preset briefly and again return to editing. Now, the old data has been restored.
B-CONTROL FADER BCF2000/B-CONTROL ROTARY BCR2000 + Initially, all settings made here are stored temporarily! s Release EDIT; you are now in the EDIT mode.
s Using the push encoders, you can now assign MIDI commands to the selected control element. You will find all possible MIDI function in tables 4.1 and 4.2, including all accompanying explanations. If you want to assign MIDI data to additional control elements, just press and hold the EDIT button and move one of the control elements. Now, let go of both controls and use the push encoders to assign a function to it (see tables 4.1 and 4.2). To leave the EDIT mode, press EXIT.
If you intend to store them in a preset, please see chapter 4.2.2.
The detailed EDIT functions are described in the following two tables. With the assignable control elements, we differentiate between CONTINUOUS and SWITCH types. s CONTINUOUS-type control elements (table 4.1) include the eight BCF2000 faders and sustain pedal, the 24 encoders of the BCR2000, the turn function of the push encoders. SWITCH-type control elements (table 4.2) are buttons, press functions for push encoders and footswitches.
Tab. 4.1: Assignment of the push encoders in EDIT mode (CONTINUOUS types)
Tab. 4.2: Assignment of the push encoders in EDIT mode (CONTINUOUS types) Table explanation: All settings in the EDIT mode are made by turning the push encoders. Pressing the push encoder displays its current value. In addition, the setting options depend on whether the selected control element is a SWITCH type or CONTINUOUS type. In the EDIT mode, Push Encoder 1 selects (by turning) the type of command assigned to a control element. With Push Encoder 2, select a MIDI channel through which that control elements data is sent. Push Encoders 3 - 5 set parameters and values for the selected MIDI type. They vary depending on the MIDI function. More details about this subject can be found later in this chapter. Push Encoder 6 (Controller Mode) selects how the previously selected control element behaves, depending on whether it is a SWITCH or a CONTINUOUS type. CONTINUOUS-type elements: CONTINUOUS-type element controls are divided into Absolute, Absolute (14 bit), Relative 1 (2nd complement), Relative 2 (binary offset), Relative 3 (MSB, most significant bit), Relative 1 (14 bit), Relative 2 (14 bit), Relative 3 (14 bit) and Increment/Decrement. Absolute means absolute data values although jumps may occur when changing values. With Relative, the current parameter value is continued independently from the position of the control. Absolute (14-Bit) or one of the Relative (14-Bit) modes are standard modes for value changes at NRPNs with high resolution. This is necessary with some software mixers if more than 128 steps are needed. Increment/ Decrement serves as a step-by-step increase or decrease of values by using the Data Increment/Decrement commands (see list 5.1 in the appendix).
The classic controler mode for most applications is absolute. All other modes have to be supported by the MIDI software or the device to be controlled.
Using Push Encoder 7, you can adjust how control elements display information. Depending on whether you are dealing with an encoder, push encoder, fader or foot pedal, there are different options available: LED display of the push encoders: OFF The LED circle remains off. 1d 1d2d (1 digit): Only one LED lights up (standard setting). The LED circle operates similar to 1d, but when the value is 0, no LED lights up. The display of the LED circles occurs in two stages. If you slowly turn the encoder from left to right, at first only one LED lights up, and then the next LED lights up while the previous LED goes out, and so on. This way, even the slightest value changes can be accurately represented.
2dBar BarSprd Just like 2d, but when the value is 0, no LED lights up. Bar display: when the value is changed, all LEDs light up successively (for volume etc.). Just like bar display, but when the value is 0, no LED lights up. Spread: When the value is 0, the upper middle LED lights up; when the value is increased, the LED circle gradually lights up in both directions (left and right). In the middle position (value = 64), only the upper middle LED is on. With lower values, the LED circle lights up toward the left; with higher values, the LED circle lights up toward the right (panorama adjustment). (Quality Q) has the opposite effect from spread: the LED circle lights up gradually when you decrease the value. This setting is used for indicating filter quality with parametric equalizers. Cutoff is optimal for controlling the cutoff frequency of a low-pass filter, for example on a synthesizer. When the value is 0, all LEDs light up. The LEDs go out successively as you increase the value. button, the value sent will be increased each time by the preset amount selected here. If increment size is set to 10, values 0, 10, 20, 30. 110, 120, 0, 10 and so on will be successively sent one after another. You can also enter negative values (e.g. -10) to achieve a gradual decrease in the value. If you use encoders 4 and 5 to delineate the lowest and the highest value that are to be sent, the values always stay within that range here as well. With this function, you have the option to use your B-CONTROL to control software buttons with more than two switch positions. The value display activated using Push Encoder 8 is identical for switch and continuous elements. If this value display is active, the current value is indicated in the four-digit display when you actuate a control element. The display shows the preset number again as soon as you release the control element.
4.4 MIDI messages
Program Change: With the encoders 3 and 4 you can select bank numbers. If a MIDI device contains more than 128 presets/programs, first a bank change command has to be sent. Even though this is a controller command, it has to be sent before the program change (and is therefore adjustable) since it is linked to the preset change. If the bank select message is not needed, simply select off. Encoder 5 selects the program number. If the selected control element is a control dial (continuous type), the program number is directly selected when turning the dial. Pressing the switch directly selects the assigned program number. This can be useful if you always want to start from the same preset. Control Change CC: A control change consists of a controller number and its respective value. Encoder 3 sets the controller number. With buttons, different values can be sent when pressing and releasing (to be set with encoders 4 and 5). This function is useful if fixed parameter settings are to be sent. With faders and control dials (continuous type), the value range can be determined by using encoders 4 (minimum value) and 5 (maximum value).
Please keep in mind that SysEx Dumps can only be received at the device number to which they were sent!
SysEx Dump Select: Turning push encoder 6 lets you select between the current preset (single) or the entire memory contents of the 32 presets (all) should be sent as a SysEx dump. One press on encoder 6 triggers the dump. To receive a SysEx dump, you dont have to change any settings on your equipment. If you send a single preset to the B-CONTROL, the data is written to a temporary memory; to be stored permanently, the data has to be stored on a storage slot of your choice (preset store function).
Table 4.3: GS/XG Parameter Main Controls Encoders 4 and 5 let you confine or invert each controllers value range. s
WARNING: If you send an ALL-Dump to the B-CONTROL, the entire memory contents are directly overwritten! No request to confirm will be made, and the memory has no redundant safety function! To cancel a SysEx dump, press the EXIT key.
4.5 Settings in the global setup menu
Settings that have an effect on all presets are made in the global setup menu. s s s Keep the EDIT key pressed and at the same time press the STORE key. You are now in the global setup menu, and can let go of both keys. Now, turn the push encoders 1 to 8 to get the desired setting. This is how the push encoders are allocated:
MIDI Data Interval: This is where you adjust the data transmission rate. This setting only has an effect on MIDI data packs such as SysEx dumps and not on controlling of MIDI commands (they are carried out in real time anyway). The transmission rate is adjustable in milliseconds.
4.6 Additional functions
Temporary Local Off: Local Off means that when you move a control element on the B-CONTROL, no MIDI data is transmitted. If the position of a control element deviates from the current value in the software, you can readjust its position until the correct position is found by using this function. After that, the control can be moved again without creating an audible value deviation. Deviations between the position of a control element and the current parameter value can occur if no parameter feedback is being sent while a value is being changed in the software (e.g. mixer automation). s s s Press the EXIT key and keep it pressed. Move the desired control element until you get the correct value. Let go of the EXIT key. The control element can now be moved again.
(QFRGHU 7 8
)XQFWLRQ Operating Mode Global RX Channel Footswitch Start-Preset Device ID SysEx Dump MIDI Data Interval
6HOHFW U-1. U-4, S-1. S-4 Off, 1. 16 Auto/Normal/Inverted 1. 32, Last 1. 16 Single/All (ms)
Table 4.4: Push encoder allocation in global setup menu s To exit the global setup menu, press EXIT.
Panic Reset: This function resets the most important MIDI data to their factory settings. s s s Press EDIT and keep it pressed. Now press EXIT. The reset is performed as soon as you press EXIT. PAnC (for Panic) appears in the display. As soon as the reset is over, your B-CONTROL goes automatically into the play mode, and the current preset is shown in the display.
Data Request: Current value settings of the MIDI device connected to your B-CONTROL can be transmitted to your B-CONTROL using the data request function (provided that the MIDI device supports this function, and a request command was defined using the editor software). In this case, the MIDI device doesnt send data; the B-CONTROL requests them instead. s Press the LEARN key while the EDIT key is kept pressed. The request takes place, and the B-CONTROL indicates the controller values of the receiving MIDI device on the LED ring or through fader positions.
Snapshot Send: A Snapshot Send lets you send all current controller values in order to transmit the B-CONTROL settings to the connected MIDI device. s Press the PRESET key while the EDIT key is kept pressed. The B-CONTROL now sends the current controller settings.
Single Preset Dump: In addition to the SysEx Dump function in the global setup menu, the following key combination lets you send all settings of the current presets: s s Press the PRESET pressed. key while the EDIT key is kept
If you want to cancel the dump, press the EXIT key. Snapshot Send and Single Preset Dump differ in the kind of data that is being sent: With Snapshot Send, only current control values are transmitted in order to synchronize them with the connected MIDI device. With Single Preset Dump, the entire contents of the current preset including the current control assignments are sent. With this function, you can easily archive certain presets, or swap them with other B-CONTROL users.
Motor Off Function (BCF2000): The BCF2000 fader motors can be temporarily disengaged. To do that, one or several fader(s) is/are assigned a key that disengages the faders motor for the duration of the keystroke. All 20 programmable keys ( and ) are available. s s s s Press the EDIT key and keep it pressed. Move the fader(s) whose motors you wish to disengage. Press the key to which you want to assign the motor-off function. Exit with EXIT. The MIDI command assigned to a key remains preserved. This way, that MIDI function can be used simultaneously with the fader motor being disengaged when the key is pressed.
Table 5.1: Standard MIDI Controller
USB INTERFACE Type MIDI INTERFACE Type Full-speed 12 MBit/sec. USB MIDI class-compliant 5-pin DIN connectors IN, OUT A, OUT B/THRU
Technical specifications and appearance subject to change without notice. The information contained herein is correct at the time of printing. WINDOWS, MAC OS X as well as the names of companies, institutions or publications pictured or mentioned and their respective logos are registered trademarks of their respective owners. Their use neither constitutes a claim of the trademarks by BEHRINGER nor affiliation of the trademark owners with BEHRINGER. BEHRINGER 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. Colours and specification may vary slightly from product. Products are sold through our authorised dealers only. Distributors and dealers are not agents of BEHRINGER and have absolutely no authority to bind BEHRINGER by any express or implied undertaking or representation. 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 BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER is a registered trademark. ALL RIGHTS RESERVED. 2004 BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Mnchheide II, Germany Tel. +9206 0, Fax +9206 4903
FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION
B-CONTROL FADER BCF2000/ FADER BCF2000-WH/ROTARY BCR2000
Responsible party name: Address: MUSIC Group Services USA, Inc. 18912 North Creek Parkway, Suite 200 Bothell, WA 98011, USA Phone: +Fax: +673 7647
B-CONTROL FADER BCF2000/FADER BCF2000-WH/ ROTARY BCR2000
complies with the FCC rules as mentioned in the followingparagraph: This equipment has been tested and found to comply with the limits for a ClassB 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 off and on, the user is encouraged to try to correct the interference by one or more of the followingmeasures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician forhelp. 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.
It lets you move real faders and turn real knobs to control all the virtual gear in Cubase, Cakewalk, Logic Audio and other major audio software. It\'s the intuitive way to control and create music with a real hands-on feel. The BCR2000 is an innovative, hands-on control surface with an additional 24 endless rotary encoders for the ultimate control of virtual synths, samplers, effects and signal processors. Tired of using the mouse to turn knobs How about more intuitively controlling your synth or MIDI expander With the BCR2000 controller this is realityintuitive control with a real hands-on feel!
ROC 240 Avtl 62 URG E GM-110DSC Insert Sens W KX-TCD150FX D6650-30R Sony PS-2 P-2602HW JKG 7485 TX-32PM11F 20PF4110 Prism PC 12X32 FP91V- Porter Flex DSP-AX8 SP-STC03b-0320 - 2002 DMC-G1K KW900E 2443BWX GK1635T Tuner T430 Numeric BA 3000 MP721C X515C DF Shivers KHM 10 Scvpe600-CN Audio LSI9 Review Restoreit 7 V265 Cdma Z1100 2408 Mkii FEF326A RDC-7 1 CLP-50 LD-1403W NP-R60 W2252S Dishwasher FM37AH Pixma IP90 XVS650A-2004 JV-90 NAV55E Photo HF-310 Turntable 15065 D Travelmate 720 Windstar-2000 QW1460HT SL-BD22D 1000P Bissell 3130 TS-850 1911 A1 Roadrunner 24AP RX-V565 Creative Xmod PDC 5355 EW1050F Avistar 400 KAC-521 AIR3G FS-1050 41135 Debutants FA162C NC-500XE RCD-955AX SX405 DMR-E55EBL Edition VLF8126 RT53K TX600FW BC-9009 ZE-MC294 WHP150 Imagepress 1110 IC-F40GS Dista F100 MW81W SET UP Fryer 1033E Ultra Zoom Nglm23-1H Colour KDL-40EX706 250-2005 WE 235 3010C GA-6wmmc7-1 Temporis 10
manuel d'instructions, Guide de l'utilisateur | Manual de instrucciones, Instrucciones de uso | Bedienungsanleitung, Bedienungsanleitung | Manual de Instruções, guia do usuário | инструкция | návod na použitie, Užívateľská príručka, návod k použití | bruksanvisningen | instrukcja, podręcznik użytkownika | kullanım kılavuzu, Kullanım | kézikönyv, használati útmutató | manuale di istruzioni, istruzioni d'uso | handleiding, gebruikershandleiding
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101