1.1 The design concept

The philosophy behind BEHRINGER products guarantees a no-compromise circuit design and employs the best choice of components. Top-quality 24-bit AD/DA converters which belong to the best components available owing to its outstanding specifications and excellent sonic characteristics. Two 24-bit DSPs are used as the heart of the VIRTUALIZER PRO. These perform the precise calculations needed for the processing of the complex algorithms. Additionally, the VIRTUALIZER PRO uses high quality resistors and capacitors with very tight tolerances, high-grade switches, low-noise operational amplifiers as well other selected components. The VIRTUALIZER PRO DSP1024P uses SMD technology (Surface Mounted Device). These subminiature components known from aerospace technology allow for an extreme packing density, plus the units reliability could be improved. Additionally, the unit is manufactured in compliance with a ISO9000 certified management system.

1.2 Before you begin

Your BEHRINGER VIRTUALIZER PRO was carefully packed in the factory and the packaging was designed to protect the unit from rough handling. Nevertheless, we recommend that you carefully examine the packaging and its contents for any signs of physical damage, which may have occurred in transit. If the unit is damaged, please do not return it to us, but notify your dealer and the shipping company immediately, otherwise claims for damage or replacement may not be granted. Shipping claims must be made by the consignee. The BEHRINGER VIRTUALIZER PRO fits into one standard 19" rack unit of space (1 3/4"). Please allow at least an additional 4" depth for the connectors on the back panel. Be sure that there is enough space around the unit for cooling and please do not place the VIRTUALIZER PRO on high temperature devices such as power amplifiers etc. to avoid overheating. Before you connect your VIRTUALIZER PRO to the mains, please make sure that your local voltage matches the voltage required by the unit. The mains connection of the VIRTUALIZER PRO is made by using a mains cable and a standard IEC receptacle. It meets all of the international safety certification requirements. Please make sure that all units have a proper ground connection. Please make sure that all units have a proper ground connection. For your own safety, do not remove the ground connection within the units or at the supply, or fail to make this connection at all. Please ensure that only qualified persons install and operate the VIRTUALIZER PRO. During installation and operation the user must have sufficient electrical contact to earth. Electrostatic charges might affect the operation of the VIRTUALIZER PRO! See chapter 5 INSTALLATION for further details. As a standard the audio inputs and outputs on the BEHRINGER VIRTUALIZER PRO are fully balanced. If possible, connect the unit to other devices in a balanced configuration to allow for maximum interference immunity. The automatic servo function detects unbalanced connections and compensates the level difference automatically (6 dB correction). The MIDI links (IN/OUT/THRU) are made over standardized DIN patch cords. The data communication is isolated from ground by opto-couplers.

1.3 Control elements

Fig. 1.1: VIRTUALIZER PRO front panel The BEHRINGER VIRTUALIZER PRO is equipped with ten parameter keys, a jog wheel (rotary control), an LED display and a power switch. Each of the two fully independent channels can be monitored with an 8-digit LED meter.
Fig. 1.2: Display section of the DSP1024P
The two LED CHAINS display the input signal level in dB, referenced to the internal digital maximum. Please note that the nominal level of the VIRTUALIZER PRO can be selected with the +4 dBu / -10 dBV switch located on the back panel. The EFFECT TABLE gives you an overview of the 32 different effect algorithms. After power-up, the LED DISPLAY shows the number of the preset last used. This clearly legible, 2 digit numeric display has plus/minus indicators to show that parameters are being incremented or decremented in Edit mode.
Fig. 1.3: Function keys and jog wheel
With the JOG WHEEL, a continuous rotary control, you can freely edit the selected parameters. Turn the wheel clockwise to increase the values, or counterclockwise to reduce them. As long as none of the edit functions to the right of the JOG WHEEL have been selected, you can use the wheel to select a program directly, which is shown by a dot lit up in the DISPLAY. While this dot is on, you can select a program though its settings will not take immediate effect. When the JOG WHEEL has not been touched for at least one second, the LED in the DISPLAY disappears and the program will be loaded. Use the EFFECT key to directly select one of the 32 basic effect algorithms with the jog wheel. Whenever a new algorithm is selected, all parameters are reset to default values. See table 6.4 in the appendix.
The VARIATION key allows you to select an alternative variation of each effect algorithm activating a different setup of the numerous internal effect parameters. With this feature you can extensively manipulate the effect sound within a very wide range. Use the ENGINE L key to select the left audio channel for true-stereo effects. Many effects may have different ENGINE L and ENGINE R parameters available through EDIT A and EDIT B. Where to find which parameter can be seen from the parameter list printed on the top of the unit.

Use the ENGINE R key to select the right audio channel (similar to : ENGINE L). If you wish to process the left and right audio channels simultaneously (couple mode), press both ENGINE keys together. In couple mode both ENGINE LEDs light up. Whenever you edit one of the two audio channels and then switch to couple mode, the parameters of the active channel will be copied to the other; i.e if you press ENGINE L before R, left will be copied to right. When parameters cannot be adjusted separately in a specific algorithm, the DSP1024P switches to couple mode automatically. In each preset you can edit at least two parameters in addition to the preset variation. Use the EDIT A key to select the first parameter. The exact parameter assignment can be seen from the parameter list printed on top of the unit. The EDIT B key allows you to modify the second parameter as required. To give your programs the finishing touch, the VIRTUALIZER PRO incorporates two filters. Use the EQ HI key to raise or lower the high-frequency portions of the effect program. The EQ LO key activates a filter which processes the low-frequency portions of your preset. The IN/OUT key enables you to bypass the DSP1024P. The green LED lights up as soon as the VIRTUALIZER PRO is activated. Depending on the Mix mode adjusted (see below), this key can also be used to activate the Mute function. Additionally, the green LED starts flashing whenever MIDI data are being received. Use the STORE key to save the edited program to a user preset as shown in the display. 100 user presets are available on the DSP1024P. Press the key once, select a memory location (number) with the JOG WHEEL, then press the key again to store the preset. Use the POWER switch to switch the VIRTUALIZER PRO on or off.
Key combinations To protect the DSP1024P against user errors, three important edit commands have been implemented as a series of key combinations. For example, in normal operating modes, the presets cannot be reset to their factory defaults, so as to secure your own programs as safely as possible. Please proceed as follows to reinitialize the preset default settings: Keep the keys EFFECT and STORE pressed before powering up the VIRTUALIZER PRO. Then switch on the DSP1024P and keep the two keys pressed for about two seconds. The program numbers are counted up and reset to their original default settings. The VIRTUALIZER PRO provides two methods to mix the input and the effect signals (External Mix and Internal Mix modes). Select External Mix mode to use the DSP1024P with a mixing console: in this mode all presets are set to 100% effect intensity, i.e. you can use the aux return busses of your console to add the processed signal to the original signal. In External Mix mode the IN/OUT key is used to bypass the unit. Heres how to enter External Mix mode: With the unit switched on, press the Mix mode key combination, i.e. the keys EQ LO and EQ HI. The VIRTUALIZER PRO enters Mix mode. When the display shows two dashes, the DSP1024P is in External Mix mode, and when a figure is displayed, Internal Mix mode is selected. To toggle between the two modes, simply press both EQ keys for about 2 seconds. In Internal Mix mode you can use the jog wheel to freely select the effect intensity in each preset within a range from 0% to 100%, a highly useful feature, for instance, to insert the DSP1024P in the effect loop of a guitar amp. Good results can be achieved with settings between 20% and 50%. Another key combination can be used to enter MIDI mode. With the VIRTUALIZER PRO switched on, proceed as follows: Keep the keys IN/OUT and STORE pressed for about two seconds, the DSP1024P automatically enters MIDI mode. Use the IN/OUT key to step through the various MIDI parameters. Press any other key to quit MIDI mode.

Fig. 1.4.: Back panel connectors and control elements
Use the OPERATING LEVEL switch to adapt the VIRTUALIZER PRO to different operating levels. You can select a -10 dBV semi-pro level used for home recording and a +4 dBu level used in professional studios. The level indicators on the front panel are automatically adapted to read the selected nominal level, i.e. an optimum operating range of the meters is always guaranteed. These are the VIRTUALIZER PROs analog INPUTS. The VIRTUALIZER PRO has both XLR and 1/4" jack inputs and outputs. Each XLR and jack set are wired parallel and can be used either balanced and unbalanced. These are the VIRTUALIZER PROs analog OUTPUTS. Also on balanced or unbalanced XLR or 1/4" jacks. SERIAL NUMBER. Please take the time to have the warranty card filled out completely and return it within 14 days after the date of purchase, so as to be entitled to benefit from our extended warranty. Or use our online registration option available on the World Wide Web under www.behringer.com. These are the VIRTUALIZER PROs MIDI connectors (MIDI OUT / THRU / IN). Total remote control is possible via MIDI. This is the MAINS CONNECTOR / FUSE HOLDER / VOLTAGE SELECTOR. Before you connect the unit, please make sure that the displayed voltage corresponds to your Mains supply. Please note that the AC voltage selection is defined by the position of the Fuse Holder. If you intend to change the operating voltage, remove the Fuse Holder and turn it by 180 degrees before you reinsert it. Matching the two markers monitors the selected voltage. Please note that, depending on the mains voltage supplied to the unit, the correct fuse type and rate must be installed (see chapter 7 SPECIFICATIONS). Please use the enclosed mains cable to connect the unit to the mains power supply. Please note that not all appliances can be used with different mains voltage ratings. Please check the description on the back of the unit and the box.
1.4 The effect algorithms
In a digital effects device all effect programs are based on algorithms computed by a Digital Signal Processor (DSP). How does this work? A DSP can perform an enormous number of binary computations in a minimum amount of time. The binary computations used to generate an effect as part of a program are determined by a so-called algorithm which represents a rule for computing numerical values that are exactly specified for each effect type. For example, reverb algorithms differ from chorus algorithms in their programming. Plainly speaking: each effect is based on a specific algorithm which processes the input signal (converted from analog to digital before). All of this work is done by the DSP. Once the effect has been generated and added to the input signal, the digital music signal is converted back to analog by means of a D/A converter. The VIRTUALIZER PRO permits the change of as many as five parameters which influence the sound in different ways. This means that for some algorithms the parameters are chosen by using key combinations with ENGINE L and ENGINE R. In these cases a combination of ENGINE L and ENGINE R with the EDIT A and EDIT B key will not mean that only one channel is affected. The combination EDIT A ENGINE L is a different parameter than the combination EDIT A ENGINE R, these parameters will be changed on both channels. With a reverb effect (like PRG 1) EDIT B ENGINE R does not mean that the right audio channel is processed, but that the second EDIT B parameter (with PRG 1: High Multiply) is adjusted. The only exception is the DUAL MONO (PARALLEL) effects, which produce another effect in the left channel from the right channel. In those cases EDIT B ENGINE L or EDIT B ENGINE R means that you select EDIT B and the left or right engine. If we only state EDIT B for instance then the selection of the left or right engines does not play a role. 10 1. INTRODUCTION

VIRTUALIZER PRO DSP1024P Reverse Reverb: A reverb program with an inverted amplitude envelope, i.e. the effect starts softly and then increases in volume. This effect used to be created by playing a tape in reverse direction, recording the reverb signal, and then playing back the tape in forward direction again, with the result that the reverb signal was played back before the actual input signal. VARIATION controls the length of the signal, EDIT A the delay, and EDIT B the threshold above which the effect responds.
1.4.2 Special effects Vocal Distortion: A clearly up-to-date program for lo-fi effects applied to vocals or drum loops, combined with a delay. VARIATION determines the degree of distortion in 32 steps, EDIT A controls the delay of the left channel from 0 to 630 ms. The right channel is coupled to the left one and can be delayed in the time domain from 0 through 420 ms. EDIT B governs the delay mix. As a little extra the distortion circuit also includes an LFO-controlled notch filter which audibly wanders back and forth with maximum distortion (VARIATION 24 and higher). Rotary Speaker: Simulation of the legendary rotary speaker effect produced by speakers rotating at slow/fast speed within a bulky cabinet. The effect uses the physical principle known as Doppler effect. VARIATION changes the frequency response (higher value = less high frequencies). Settings of 24 and higher also simulate the tube distortion that was produced by the original cabinets in the 70s. EDIT A controls the speed of the horn-loaded speaker (treble range), EDIT B that of the rotor (bass range). Vocoder: Another all time favorite that has gained new popularity during the disco music renaissance of the past few years (Around the World by Daft Punk or California by TuPac). Basically, a control signal (usually vocals) in the right channel is used to modulate another signal in the left (e.g. synth sound), which sounds as if the synth was talking (robot voice). VARIATION determines the type of vocoder, EDIT A the degree of distortion, and EDIT B the effect sensitivity.
1.4.3 Modulation and pitch shifter effects Pitch: This effect transposes the input signal either in cents (EDIT A producing a light detune effect) or semi-tones (EDIT B up/down to one octave). Settings can be made independently for both channels, so as to create harmonies or simply to widen the sound of a single voice. The pitch effect can also be used to produce a cartoon character type voice effect. Flanger: An LFO constantly modulates the effect signals pitch by a few cents up and down. The LFO speed is controlled by VARIATION, the amount of pitch modulation by EDIT A, the portion of the effect signal fed back to the effect block (= feedback) can be determined with EDIT B. By the way, you can separately control the channels modulation depth and feedback, which allows for highly complex modulations. Flanger effects are primarily used for guitars, but there are also lots of other useful applications: voices, cymbals, bass, remixes, etc. Chorus: Though similar to the flanger, chorus uses a delay function instead of feedback. Combined with the pitch shifting feature, the delay produces a very pleasant detune effect. VARIATION changes the modulation frequency, EDIT A controls the delay and EDIT B the modulation depth. Chorus effects are used so often and in such a variety of applications that any recommendation would mean a limitation of their use.

1.4.4 Effect algorithm combinations (multi-effects programs) Effect algorithms nos. 20 through 24 are multi-effects algorithms combining various effect types with, for instance, a reverb algorithm, and can hence be used simultaneously. For example, effect #24 allows you to chorus a lead guitar sound and at the same time add some room reverb. (See figure 2.1 Serial effect combinations.)
VIRTUALIZER PRO DSP1024P Tremolo & Delay: Since trip hop has become trendy, this effect originally found in guitar amps is used to produce a more or less fast and intensive variation of volume (with an additional panorama effect included in the DSP1024P). The modulation speed is controlled with VARIATION, the intensity with EDIT A ENGINE L, and the panning rhythm with EDIT B ENGINE L. This algorithm belongs to the group of multi-effects programs and is combined with a delay. Delay time is set with EDIT A ENGINE R ranging from 0 to 630 ms (10 ms increments) feedback is set with EDIT B ENGINE R. Delay & Reverb: Probably the most popular combination used for vocals, solo guitars, etc. With ENGINE L you can adjust delay time (EDIT A ENGINE L) and feedback (EDIT B ENGINE L). EDIT A ENGINE R controls decay time and EDIT B ENGINE R reverb mix. The program uses a Bright Room reverb which can be used for a variety of applications. VARIATION changes the Delay Mix. Pitch & Reverb: Use ENGINE L to transpose the pitch shifter (EDIT A = cents; EDIT B = semi-tones), and ENGINE R to control the reverb (Bright Room): ENG. R EDIT A controls the reverb time, ENG. R EDIT B controls the mix amount. Flanger & Reverb: The flanger can be controlled in its modulation depth (ENG. L EDIT A) and feedback (ENG. L EDIT B), the reverb in its decay time (ENG. R EDIT A) and mix amount (ENG. R EDIT B). You can also adjust the modulation frequency with the VARIATION parameter. Chorus & Reverb: This algorithm combines the popular chorus effect. Controllable parameters: modulation frequency (VARIATION), modulation delay (ENG. L EDIT A) and depth (ENG. L EDIT B) with the reverb from programs nos. 21-23.
1.4.5 Dual-mode effects algorithms Unlike multi-effects programs, dual-mode programs (nos. 25 through 32) have their effects split up and sent separately to the two audio channels (left/right). For example, you can route a flanger to the VIRTUALIZER PROs left channel, while using a reverb (effect #26) for the right channel. In this way, you can use the DSP1024Ps dual-engine processor as if it were two separate mono effects devices. Pitch/Reverb: Here, you have a pitch shifter in the left channel (= ENGINE L) with the usual edit options, and a reverb in the right channel, which can be controlled in its length (EDIT A) and highfrequency content (EDIT B). Flanger/Reverb: left channel = flanger, modulation speed is controlled by VARIATION, delay by ENG. L EDIT A and depth by ENG. L EDIT B. Right channel = reverb, with reverb time controlled by ENG. R EDIT A and brilliance with ENG. R EDIT B. Chorus/Reverb: Left channel = chorus, modulation speed is controlled by VARIATION, delay by ENG. L EDIT A and feedback by ENG. L EDIT B. Right channel = reverb, with reverb time controlled by ENG. R EDIT A and brilliance with ENG. R EDIT B. Tremolo/Reverb: Left channel = tremolo, modulation speed is controlled by VARIATION, delay by ENG. L EDIT A and feedback by ENG. L EDIT B. Right channel = reverb, with reverb time controlled by ENG. R EDIT A and brilliance with ENG. R EDIT B. Delay/Reverb: normal delay left, delay time can be set from 0 to 630 ms with ENG. L EDIT A in 10 ms steps and feedback by ENG. L EDIT B. Right channel = reverb, with reverb time controlled by ENG. R EDIT A and brilliance with ENG. R EDIT B. Pitch/Echo: Left channel a pitch shifter. ENG. L EDIT A = shift in cents, ENG. L EDIT B = semitones. Right channel = echo effect, delay time can be set from 0 to 630 ms with ENG. R EDIT A in 10 ms steps and feedback by ENG. R EDIT B. Flanger/Echo: Left channel a flanger, modulation freqency is controlled with VARIATION, depth with ENG. L EDIT A and feedback with ENG. L EDIT B. Right channel = echo effect, delay time can be set from 0 to 630 ms with ENG. R EDIT A in 10 ms steps and feedback by ENG. R EDIT B. Chorus/Echo: Left channel a chorus effect, modulation frequency is controlled with VARIATION, modulation delay with ENG. L EDIT A and modulation depth with ENG. L EDIT B. Right channel = echo effect, delay time can be set from 0 to 630 ms with ENG. R EDIT A in 10 ms steps and feedback by ENG. R EDIT B. For an overview of all program parameters see the table in section 6.1. 1. INTRODUCTION 13

To load these settings again, select 1, press STORE and start your MIDI sequenzer program. During a bulk dump, all audio functions of the VIRTUALIZER PRO will be deactivated. If you press the IN/OUT key again on the sixth page, the VIRTUALIZER PRO quits MIDI setup mode. At all times you can press any other key to leave the MIDI setup directly. The full-featured MIDI implementation of the VIRTUALIZER PRO allows for easily integrating of the VIRTUALIZER PRO into any MIDI system. MIDI IN Any MIDI data sent to the VIRTUALIZER PRO (sequenzer, MIDI footswitch, etc.) is received via the MIDI IN jack. For example, when you wish to use the VIRTUALIZER PRO as an effects devices for your guitar rack, you can connect the MIDI IN jack to a MIDI footswitch that allows for selecting program presets. If your rack includes another MIDI effects devices (e.g. a multi-effects processor), the data sent from the MIDI footswitch 16 2. OPERATION
VIRTUALIZER PRO DSP1024P can be routed via the VIRTUALIZER PROs MIDI THRU jack to your multi-effects processor. MIDI THRU The MIDI THRU jack is used to loop through incoming MIDI data, i.e. any control data received at the MIDI IN of the VIRTUALIZER PRO can be transmitted via the MIDI THRU jack to other MIDI devices/instruments. MIDI OUT The MIDI OUT jack allows for transmitting MIDI data that originate from the VIRTUALIZER PRO. The VIRTUALIZER design editor software (free download at www.behringer.com) enables you to control the VIRTUALIZER PRO from your personal computer.

3. APPLICATIONS

The BEHRINGER VIRTUALIZER PRO is a highly flexible device that can be used for a wide variety of applications. Prior to a presentation of the VIRTUALIZER PROs many uses, please note the following remarks on how to set signal levels correctly.

3.1 Level setting

Take care to set all levels properly on the VIRTUALIZER PRO! 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 PRO should also be avoided. Digital distortion is (unlike its analog counterpart) very unpleasant to hear as it does not occur gradually but abruptly. Use the input level meter of the VIRTUALIZER PRO to adjust the input signal, so that the Clip LED flickers only rarely. Make sure that it never lights up permanently!
3.2 Using the VIRTUALIZER PRO in the aux bus
By using the VIRTUALIZER PRO in an aux bus of your mixing console you can feed the channel signals of one, several or even all console channels into the VIRTUALIZER PRO, i.e. for each channel you can use the aux busses to separately determine the reverb levels of, for instance, various drum sounds: while lots of reverb is applied to the snare drum, the effect intensity could be reduced in the channels assigned to the tom-toms. To use the VIRTUALIZER PRO in the aux bus, the unit must be wired as follows:

Fig. 3.1: Wiring aux busses
VIRTUALIZER PRO DSP1024P Connect the two Input phone jacks with the Aux Send outputs of the mixing console, and the Output jacks of the VIRTUALIZER PRO with the Aux Return inputs of the console. If you want to use the BEHRINGER VIRTUALIZER PRO in mono or dual mode, connect one audio channel (left or right) to one aux bus. Turn down the volume on your amplifier to protect your equipment against damage. All devices you wish to interconnect should remain switched off until they are wired correctly. Lets suppose you wish to use the VIRTUALIZER PRO in a live application, interfaced with the F.O.H. mixer, to enhance the guitar sound with a subtle chorus effect. Connect the VIRTUALIZER PRO to the aux bus of your mixing console (fig. 3.1). Connect the units to the mains and adjust the operating level(s) if necessary. Switch on the VIRTUALIZER PRO and set the levels appropriately (see 3.1). Press the Mix combination to make sure that the unit is set to Mix External mode. Press the EFFECT key and use the JOG WHEEL to select and thus activate the chorus effect (#19). Slowly turn up the aux bus level until the effect portion added to the guitar signal suits your needs. Subsequently, you can make all necessary fine-adjustments. We assume that you wish to edit the modulation frequency of the chorus effect: press the VARIATION key and set the modulation frequency with the JOG WHEEL. To set the modulation delay, press the EDIT A key. The modulation depth of the chorus effect can be set by pressing the EDIT B key. Having edited all parameters as desired, you can save the changes to the original (or any other) preset.
3.3 Using the VIRTUALIZER PRO in the insert path
Basically, you can also insert the VIRTUALIZER PRO in a channel or subgroup of your mixing console. Use a dedicated insert cable. Inserting the VIRTUALIZER PRO in a single channel will be useful only if you wish to process a specific signal (e.g. vocals) with the VIRTUALIZER PRO, or if any other insert facilities of your mixing console are already in use.
Fig. 3.2: Wiring the VIRTUALIZER PRO in the insert path With certain special effects, for example the Vocoder effect, it is even more useful to insert the VIRTUALIZER PRO in a specific channel rather than connecting it to the aux bus. Proceed as follows: the signal from which you are going to generate the vocoder sound is routed to the left audio channel (e.g. keyboard sound), while the right audio channel can be used to control and modify this sound. Use a dedicated insert cable to connect the left audio channel with a channel insert on your mixing console (fig. 3.2). Connect the signal source to be processed with the vocoder effect (e.g. keyboard) to the normal channel input (XLR/jack). Connect the right audio channel of the VIRTUALIZER PRO with a controller (e.g. a microphone channel direct out). Talk into the microphone to control the keyboard sound with your voice, i.e. anything you sing or talk into the microphone is reproduced together with the keyboard sound.

3.4 Using the VIRTUALIZER PRO as an effects device for instruments
With its extensive MIDI implementation the VIRTUALIZER PRO can also be used, for instance, as a multieffects device in a guitar rack. Of course, you can connect it up in both stereo and mono. The following hints illustrate the VIRTUALIZER PROs versatility if used with a guitar amp.
Fig. 3.3: Connecting the VIRTUALIZER PRO to a guitar amp (send/return-mono) Basically, the VIRTUALIZER PRO should be inserted between the preamp and the power stage. Almost all guitar amps have an insert or effect loop to send the preamp signal of the guitar amp to the audio inputs of the VIRTUALIZER PRO. The VIRTUALIZER PRO processes the preamp signal and sends it back via the guitar amps return bus (power amp in), from where it is routed to the power stage. When you use a stereo rack system for amplification, you can wire the VIRTUALIZER PRO in stereo. Connect the preamp to the audio inputs of the VIRTUALIZER PRO, and the audio outputs (left/right) to one channel each of the power amp (left/ right). Since most guitar amps only have a serial insert loop, you should make sure that the VIRTUALIZER PRO is set to Mix Internal mode. In this mode you can control the effect intensity applied to the guitar signal. However, if your amp features a parallel effect loop which allows for adding the effect-signal portion (similar to an aux path in a mixing console), we recommend that you use the VIRTUALIZER PROs Mix External mode. In this case, the effect intensity present at the output of the VIRTUALIZER PRO is 100%, and you can use the effect loop to determine the amount of effect added to the guitar signal. Instrumentalists can benefit from a variety of advantages offered by the VIRTUALIZER PROs MIDI implementation. For example, you can use a MIDI footswitch board, e.g. the BEHRINGER MIDI FOOT CONTROLLER FCB1010, to send program change commands via MIDI. Connect the MIDI OUT jack of your MIDI board to the MIDI IN jack on the VIRTUALIZER PRO. If the VIRTUALIZER PRO fails to respond to the program change commands sent from the MIDI board, check the MIDI channel settings. Consult the users manual of your MIDI board to find out on which channels program change commands are transmitted (usually in Omni mode). Set the MIDI channels appropriately in MIDI mode (see 2.5) and enable the VIRTUALIZER PRO to receive program change commands. If your MIDI board allows you to transmit MIDI controller data, you can even change parameter settings via MIDI while playing. For instance, you can freely change the effect intensity from 0 - 100% while playing (Contr. 27, Value 0 - 100). Set the controller for Mix-Internal mode (Contr. 30, Value 0) so that it can be used to increase the effect intensity. In this way, guitar solos can be enhanced with chorus and delay effects, while the effect intensity is gradually reduced when playing rhythm. You can even control the function of the IN/OUT switch to bypass the VIRTUALIZER PRO when an unprocessed signal is needed. Basically, all MIDI devices that are capable of transmitting MIDI controller commands, e.g. keyboards/sequenzers, will allow for using these features. 3. APPLICATIONS 19

VIRTUALIZER PRO DSP1024P The VIRTUALIZER PRO may also be inserted between the outputs of a keyboard and the inputs of a mixing console. If required, adjust the levels with the OPERATING LEVEL switch.
3.5 Using the VIRTUALIZER PRO in a MIDI system
With its built-in MIDI interface the VIRTUALIZER PRO can be integrated into any MIDI system. It transmits and receives both program change and controller change information to perform program changes via MIDI from a sequenzer or any other MIDI device. Wire and set up the VIRTUALIZER PRO as shown below:
Fig. 3.4: Connecting the VIRTUALIZER PRO via MIDI to a sequencer/computer and a keyboard (optional)

3.6 Saving data via MIDI

The VIRTUALIZER PROs MIDI implementation also allows for archiving one or several presets on an external storage medium. Proceed as follows: Connect the MIDI OUT jack of the VIRTUALIZER PRO to the MIDI IN jack of a MIDI data recorder (e.g. sequenzer). Press the STORE and IN/OUT keys simultaneously to enter MIDI mode. Set program change mode to 0 and controller change mode to 3. Now quit MIDI mode by pressing the STORE key. Use the JOG WHEEL to select the preset whose data you wish to save. When the preset is activated its parameters are transmitted as controller data and can be recorded on a sequenzer or similar device. Repeat this routine until all presets of your choice have been sent to the external data recorder. To load archived data back into the VIRTUALIZER PRO, you must enable controller reception in MIDI mode (see 2.5). Then, start the sequenzer to automatically transmit each preset data set back to the VIRTUALIZER PRO. Press the STORE key, select a program location to store the data and then press the STORE key again. If you want to automate MIDI store functions you must enable the store mode, to switch on the reception of controller #28. This allows you to directly store any modifications of the actual preset on the preset number that is transmitted with the controller. You can also restore a complete preset that has previously been recorded with a MIDI sequenzer on the same location it had before. To store all presets at once, you can use a very special form of MIDI communication: system-exclusive data, i.e. the VIRTUALIZER PRO informs the sequenzer or MIDI file recorder about its make and device type, and transmits all parameter settings of all its presets. To activate this highly useful function, please enter the MIDI mode by simultaneously pressing the IN/OUT and STORE buttons. Then, select the dump mode by pressing the IN/OUT button five times. Now, the DISPLAY should read a small d. The status indicators 0 or 1 inform you that the sys-ex function is disabled or enabled respectively. If the function is on, the DSP1024P is ready to receive system-exclusive data from your MIDI sequenzer or similar device. If you wish to store the settings chosen, use the JOG WHEEL to select the status indicator 2; now your VIRTUALIZER PRO is ready to transmit its own system-exclusive data. Select a track on your MIDI sequenzer, set it to record-ready mode, start the recording and finally press the STORE button on your DSP1024P. 20 3. APPLICATIONS

Unbalanced use of mono 1/4" jack plugs

Tip = Signal

Balanced use of stereo 1/4" jack plugs
Tip = hot (+ve) Ring = cold (-ve)

Sleeve = Ground / Shield

Tip Sleeve Strain relief clamp

Ring Sleeve

Strain relief clamp For connection of balanced and unbalanced plugs, ring and sleeve have to be bridged at the stereo plug.
Balanced use with XLR connectors
1 = Ground / Shield 2 = hot (+ve) 3 = cold (-ve)

Output

Input For unbalanced use pin 1 and pin 3 have to be bridged
Fig. 5.1: Different plug types

5.3 MIDI connections

The MIDI standard was developed in the early 1980s to allow electronic musical instruments from different manufacturers to communicate with each other. The use of MIDI has developed over the intervening years to the stage where it is now common to find complete recording studios operating entirely on a MIDI basis. The centerpiece in such a studio is usually a computer running a sequencer software which not only controls various keyboards, samplers and sound modules, but can also run the programming of outboard effect devices, typically digital reverberation and delay units. The VIRTUALIZER PRO may be controlled in real time in this studio environment. MIDI for Musical Instruments Digital Interface. The MIDI connectors found on the rear panel are of the universally used 5 pin DIN type. You require suitable MIDI cables to connect the VIRTUALIZER PRO to other MIDI devices. Normally complete cables will be purchased for this use, you can of course make your own, using a high quality cable with two cores and shielding (like microphone cable), with as connectors two good 180 degree DIN plugs. Pin 2 (center) is connected to the cables shield, pins 4 and 5 (left and right next to 2) carry the two cores, pins 1 and 3 are not used. MIDI cables should have a maximum length not exceeding 45 feet. MIDI IN: This connector is used to receive MIDI control data on the receive channel set in the SETUP menu. MIDI THRU: The MIDI THRU jack allows you to loop through incoming MIDI signals without modification, for instance, to daisy-chain several VIRTUALIZER PROs. MIDI OUT: Use the MIDI OUT to send data to a connected computer or other VIRTUALIZER PRO. The DSP1024P transmits both program data and status information for signal processing. 5. INSTALLATION 25

6.2 Delay values / increments for presets 10 and 11
Variation Type Step Size (L & R)
Edit A Delay (R) Delay (L) From (ms) Until (ms) From (ms) Until (ms) 4480 5110
Fig. 6.2: Increment table for presets 10 and 11

6.3 MIDI Implementation

MIDI Implementation Chart
Function Basic Channel Mode Note Number Velocity After Touch Default Changed Default Messages Altered True Voice Note ON Note OFF Keys Chs Transmitted Recognized Remarks OFF, 1 - 16 OFF, 1 - 16 1,2,3,4 X X X X X X X X X O 20 - 30 O (0-99) 1-100 X X X X X X X X X X OFF, 1 - 16 OFF, 1 - 16 1,2,3,4 X X X X X X X X X O 20 - 30 O (0-99) 1-100 X X X X X X X X X X memorized
Pitch Bender Control Progr. True # Change System Exclusive Song Pos System Song Sel Common Tune Clock System Commands Real Time Local ON/OFF All notes OFF Aux Active Sense Messages Reset 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

see add. Table

Tab. 6.3: MIDI Implementation Chart
Parameter Name Display Range Midi Control Number Effect 1.32 Variation 1.32 Engine Edit A 0.63 / -50.50 Edit B 0.63 / -12.12 EQ LO -16.16 EQ HI -16.16 Mix 0.100 Store 1.100 IN/OUT Mix Intern/Extern 0.100 / -(1) when effect has Cent function (2) when effect has Semi Tone function 30
Control Value Range 0.31 0.31 0,1,2 0.63 / 0.100 (1) 0.63 / 0.24 (2) 0.33 0.33 0.100 0.99 0,1 0,1
LEDs Couple Left Right IN on IN off
Tab. 6.4: Controller functions with MIDI 28 6. APPENDIX

6.4 Default settings

No. Effect Cathedral Plate Small Hall Room Studio Concert Stage Vocal Percussion Delay Echo Gated Reverb Reverse Reverb Vocal Distortion Rotary Speaker Vocoder Pitch Flanger Chorus Tremolo & Delay Delay & Reverb Pitch & Reverb Flanger & Reverb Chorus & Reverb Pitch / Reverb Flanger / Reverb Chorus / Reverb Tremolo / Reverb Delay / Reverb Pitch / Echo Flanger / Echo Chorus / Echo Variation 1 Engine Left Edit A Edit B +0 +9 +6 +30 +0 +20 +0 +40 Engine Right Edit A Edit B 30 +0 +23
Tab. 6.5: Default settings

7. SPECIFICATIONS