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My friends, its been worth the trouble! Thank you very much,

Uli Behringer

TABLE OF CONTENTS

1. INTRODUCTION..... 8

1.1 The design concept.... 8 1.2 Before you begin.... 8 1.3 Control elements.... 9 1.3.1 Front panel..... 9 1.3.2 Back panel.... 12 1.3.3 Restoring factory defaults.... 12

2. OPERATION..... 12

2.1.1 The Ultramizer function... 2.1.2 The Max. Out Level function... 2.1.3 The Exciter function... 2.1.4 The SuperBass function.... 2.1.5 The 3DSurround function... 2.1.6 The Denoiser function.... 2.1.7 The Crossover parameter.... Selecting presets.... Editing presets.... Saving presets.... MIDI control..... 16

2.2 2.3 2.4 2.5

3. APPLICATIONS.... 17
3.1 Level setting..... 17 3.2 Using the ULTRAMIZERPRO in a studio environment.. 17 3.2.1 The ULTRAMIZERPRO in analog recording... 18 3.2.2 The ULTRAMIZERPRO in digital recording and sampling... 18 3.2.3 The ULTRAMIZERPRO in mastering.... 18 3.3 The ULTRAMIZERPRO as a protective device... 19 3.3.1 Protection of a system with a passive crossover... 19 3.3.2 Protection of a system with an active crossover... 20 3.3.3 Improving the sound of a processor system.. 20 3.4 The ULTRAMIZERPRO in combination with a multitrack... 20 3.5 The ULTRAMIZERPRO in broadcast.... 20 3.5.1 AM/TV broadcasting.... 21 3.5.1 Telephone lines and wireless systems... 21 3.6 Using the ULTRAMIZERPRO in inserts.... 21 3.7 The ULTRAMIZERPRO in a MIDI setup... 22 3.8 Saving data via MIDI.... 22
4. TECHNICAL BACKGROUND... 22
4.1 Audio dynamics.... 4.1.1 Noise as a physical phenomenon.... 4.1.2 What are audio dynamics?.... 4.1.3 Compressors/Limiters.... 4.1.4 Expanders/Noise Gates.... 4.2 Denoiser..... 4.3 Artificial harmonics generation Exciter.... 4.4 SuperBass..... 4.5 3DSurround Processor.... 4.6 Digital audio processing.... 27 27

5. INSTALLATION..... 28

5.1 5.2 5.3 5.4 5.5 Rack mounting.... Mains connection.... Audio connections.... MIDI connections.... Operating level switch.... 31

6. APPENDIX..... 31

6.1 MIDI implementation.... 31 6.2 Specifications.... 33

7. WARRANTY.... 34

1. INTRODUCTION
The BEHRINGER ULTRAMIZERPRO is a digital sound processing device based on a sophisticated DSP, using 20 bit A/D and D/A converters. The high speed DSP is capable of performing the calculations needed for the complex algorithms in fractions of a second, the only element affecting its performance being the software. Despite extensive computing work which is done in the DSP1400P by a dual-engine 24-bit processor, the ULTRAMIZERPRO can be operated easily and conveniently. All parameter edits are performed with the jog wheel (rotary control). 50 presets are available to store user-defined programs.

The following operational manual will introduce you to the BEHRINGER ULTRAMIZERPRO and its various functions. After reading the manual carefully, make sure it is always on hand for future reference.

1.1 The design concept

Contrary to analog technique, which has a limited response time capability, digital technology can look ahead to anticipate changes in incoming signals. The longer the look ahead, the more intelligent the response of the device or algorithm used. You probably have heard a voice or solo instrument disappearing after a strong bass drum or bass line. This is a typical problem experienced by virtually every compressor. The level of a music signal is mostly determined by the bass signals. When the bass rises above the set threshold value of the compressor/limiter, the unit will reduce the gain, which is another way of saying that the overall level will be reduced to prevent the signal from becoming too strong. With that reduction in level, all other components like voices and instruments will also be reduced in level, making the sound muddy and dull. This drowning out of voices and other instruments can be avoided if the frequency spectrum is divided in two parts. Each section can the be compressed or limited individually. The signals from the different compressors are then added up again to make up the complete spectrum again. The ULTRAMIZERPRO divides the spectrum into two bands prior to performing the dynamic functions. This enables a very musical and effective compression of the program material signal. On top of that, the ULTRAMIZERPRO also features a highly effective Denoiser, an accurate and fast Peak Limiter, a 3D Surround Processor and a new SuperBass/Exciter for both low and high frequencies. The philosophy behind BEHRINGER products guarantees a no-compromise circuit design and employs the best choice of components. Top-quality 20-bit AD/DA converters which belong to the best components available owing to its outstanding specifications and excellent sonic characteristics. A 24-bit DSPs is used as the heart of the ULTRA-CURVEPRO. It performs the precise calculations needed for the processing of the complex algorithms. Additionally, the VIRTUALIZER uses resistors and capacitors with very tight tolerances, high-grade switches, low-noise operational amplifiers (type 4580) as well as other selected components The ULTRAMIZERPRO uses SMD technology (Surface Mounted Device). These subminiature components adapted from aerospace technology allow for an extreme packing density, improving the units reliability even further. Additionally, the unit is manufactured in compliance with a ISO9000 certified management system.

1.2 Before you begin

Your BEHRINGER ULTRAMIZERPRO 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 ULTRAMIZERPRO 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 ULTRAMIZERPRO on high temperature devices such as power amplifiers etc. to avoid overheating. 1. INTRODUCTION
The mains connection of the ULTRAMIZERPRO is made by using the supplied cable. It meets all of the international safety certification requirements. Please make sure that all units have a proper ground connection.
Before you connect your ULTRAMIZERPRO to the mains, please make sure that your local voltage matches the voltage required by the unit (see chapter 5.2 for details)!
As a standard the audio inputs and outputs on the BEHRINGER ULTRAMIZERPRO 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 (6dB correction). The MIDI links (IN/OUT/THRU) are made over standardized DIN patch cords. The data communication is isolated from ground by an opto-coupler.

Control elements

Fig. 1.1: ULTRAMIZERPRO front panel The BEHRINGER ULTRAMIZERPRO is equipped with ten illuminated parameter keys, one jog wheel (rotary control), a numeric display, 8 LED indicators and a power switch. Each of the two fully independent channels can be monitored with four 8-stage LED meters, displaying input level, output level and gain reduction for both bands. 1.3.1 Front panel
Fig. 1.2: Display section DSP1400P
The two LED chains read the input signal level indB, referenced to the internal digital maximum. Please note that the nominal level of the ULTRAMIZERPRO can be selected with the +4dBu/-10dBV switch located on the back panel. (see 3.1 Level setting) The gain reduction meters show the applied gain reduction. Gain reduction is shown for both frequency bands. GRLO shows the gain reduction in the lower and GRHI in the higher frequency band. These two OUTLED chains read the output signal level indB, referenced to the maximum output level of +15dBu. After power-up, the LED display reads 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.

Use the 3DSURROUND key to increase the stereo width of the signal. Setting can range from 0 (no processing) to 100. With the DENOISER key you have access to two parameters which influence the process. a) When pressed once the THRESHOLD of the Noise Gate can be set (dB will light up in the display). The value ranges from -90dB to 0dB. OF means the Denoiser function is deactivated. Please bear in mind that when the threshold number displayed is small, the threshold level in fact is high and consequently only loud signals will pass through. When the value is lowered to -100dB for example (referring to the digital maximum) every signal will pass. 1. INTRODUCTION
b) When pressed a second time the SENSITIVITY can be adjusted (SENS will light up in the display). This governs the sensitivity of the dynamic high cut filter and how it reacts to the input signal. The value ranges from 0 to 100.
When the LEFT key is pressed only the settings for the left channel are edited. Use the RIGHT key to select the right audio channel. If you wish to process the left and right audio channels simultaneously (COUPLE mode), press both LEFT & RIGHT keys together. In couple mode both key 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 LEFT before RIGHT, left will be copied to right. The EXCITER key has three functions: a) PROCESS, (PROC will light up) when pressed once the intensity of the Exciter function can be adjusted ranging from 0 to 100. b) Pressed a second time the TUNE parameter can be set (kHz will light up). The TUNE control sets the lower cut-off frequency of the Exciter function. The cut-off frequency can be adjusted within a range of 4 to 12 kHz. c) The third function is reached by pressing the EXCITER key for more than 2 seconds. The upper frequency band is then muted. This is indicated by a full LED bar that flashes on and off (GR HI). This function is useful when you want to monitor the processing of the ULTRAMIZERPRO. Alternatively the unit can also be used as a crossover to generate a subwoofer signal for instance.
The SUPERBASS key has three functions: a) PROCESS, when pressed once the intensity of the SuperBass function can be adjusted ranging from 0 to 100 (PROC will light up). b) Pressed a second time the TUNE parameter can be set (Hz will light up). Here the TUNE control sets the upper cut-off frequency of the SuperBass function. The cut-off frequency can be adjusted within a range of 50 to 150Hz. c) Again the third function is reached by pressing the SUPERBASS key for more than 2 seconds. The lower frequency band is now muted. This is indicated by a full GR LO LED bar that flashes on and off. When the EXCITER and SUPERBASS keys are pressed simultaneously, the crossover frequency, between the lower and higher bands of the multiband compressor can be adjusted from 20Hz to 20kHz. The IN/OUT key enables you to bypass the DSP1400P. The green LED lights up as soon as the ULTRAMIZERPRO is activated. Whenever a setting has been changed the PRESET key starts to blink slowly, indicating that a preset has been changed but not stored. When the PRESET key is pressed once the current preset number is shown in the numeric display. When the PRESET key is pressed again the current preset number starts flashing, you can then select any of the 50 memory locations. Press a third time to save the edited program to a user preset as shown in the display. When the IN/OUT and PRESET keys are pressed simultaneously the ULTRAMIZERPRO enters the MIDI menu, where all MIDI settings can be edited.

2.2 Selecting presets

The ULTRAMIZERPRO stores 50 user-definable presets. After power-up, the unit automatically recalls the preset last used. To select another preset, make sure that the PRESET key is pressed once. Use the jog wheel to enter the preset number of your choice. Turn the wheel clockwise to increment the preset number, or counter-clockwise to decrement it.
Please note that the ULTRAMIZERPRO generally activates the newly selected presets only after about one second, which is indicated by a dot in the lower right corner of the display. After loading the data, the ULTRAMIZERPRO enables the preset and the dot disappears. This brief interruption avoids the direct activation of every preset, as you scroll through the preset list with the jog wheel. Thus, the ULTRAMIZERPRO makes sure that no "unwanted" presets are loaded unintentionally. Additionally, you can rotate the jog wheel at high speed and still have the time to specifically select the preset of your choice, instead of any of its "neighbors".

2.3 Editing presets

Editing presets is easy on the ULTRAMIZERPRO. Basically, all essential parameters can be selected directly via the keypad and edited with the jog wheel. Some key have multiple function that can be accessed by pressing that particular key repeatedly. Use the LEFT and RIGHT keys to edit the left or right audio channel settings. Of course, you can edit both channels at the same time in COUPLE mode.
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 LEFT before RIGHT, left will be copied to right. Finally, you can also save the edits made to the preset.

2.4 Saving presets

Use the PRESET key to save an edited preset. Basically, all parameter changes can be saved. Whenever youre editing a preset, the display starts flashing to indicate that the edits will be saved only when you confirm them by pressing the PRESET key twice. Example: s You recall a preset for editing. Then you edit the preset as desired using the function keys and the jog wheel. During this process, the flashing PRESET key reminds you that the preset settings have been changed but not saved yet. Press the PRESET key once. The display reads the current preset number. When pressed again this number starts flashing. To keep the original preset, use the jog wheel to select 2. OPERATION 15

Attention! Since the store enable mode allows you to access memory locations directly via MIDI, it is possible that stored presets will be replaced or altered if controller #86 messages are sent on the same MIDI channel. The purpose of this mode is to facilitate MIDI backup and restore operations without express confirmation at the ULTRAMIZERPRO. It is therefore recommended to disable (flag=0) this mode as soon as the intended data transfer has ended. This is done automatically when you switch off the ULTRAMIZERPRO.
On the sixth page you can access the System Exclusive functions. This is indicated by a d (for dump) in the display. To the left of this d a number is displayed: 16 2. OPERATION
d0 means that no SYSEX data will be sent or accepted. d1 will enable the ULTRAMIZERPRO to receive data. When PRESET is pressed the unit will wait for data, this is shown by flashing dots (LEDs) in the display. The MIDI button LED flashes signaling that SYSEX data is being received. d2 will enable the ULTRAMIZERPRO to send a bulk dump. Start your sequencer and press PRESET on the unit to start the transmission. If you press the IN/OUT key again on the sixth page, the ULTRAMIZERPRO quits MIDI setup mode. To load these settings again, select d1, press PRESET and start your sequencer. If you press IN/OUT again, you will leave the MIDI setup. You can at all times press any other key to leave the MIDI setup directly.
During a bulk dump all audio functions of the ULTRAMIZERPRO will be deactivated.
The full-featured MIDI implementation of the ULTRAMIZERPRO allows for easily integrating the ULTRAMIZERPRO into any MIDI system. For detailed information on controller tabs please refer to section 6.1. s MIDI IN Any MIDI data sent to the ULTRAMIZERPRO (sequencer, MIDI footswitch, etc.) are received via the MIDI IN jack. For example, if you wish to use the ULTRAMIZERPRO as an effects device 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 device (e.g. a multi-effects processor), the data sent from the MIDI footswitch can be routed via the ULTRAMIZERPROs MIDI THRU jack to your multi-effects processor. s 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 ULTRAMIZERPRO will be transmitted via the MIDI THRU jack to other MIDI devices/instruments. s MIDI OUT The MIDI OUT jack allows for transmitting MIDI data that originate from the ULTRAMIZERPRO. We are currently developing a software editor which will allow for storing single items of the unit`s internal data on an external medium. Thus, it will be possible to archive ULTRAMIZERPRO settings and presets on a computer, sequencer or MIDI data recorder. Both MIDI Control Change and MIDI Program Change commands will be transmitted when you edit or recall filter settings. Detailed information on this future software editor are available from our BEHRINGER hotline (tel.+49(0)2154-920666), our international distributors and/or our Internet homepage http://www.behringer.de.

3. APPLICATIONS

The BEHRINGER ULTRAMIZERPRO features a high level of flexibility. The following chapter describes some other possible applications for your ULTRAMIZERPRO.

3.1 Level setting

Take care to set levels properly on the ULTRAMIZERPRO! 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 ULTRAMIZERPRO 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 ULTRAMIZERPRO to adjust the input signal to about -10dB. Make sure that the CLIP LED never lights up!
3.2 Using the ULTRAMIZERPRO in a studio environment
With its highly flexible configuration the ULTRAMIZERPRO also delivers good results in a professional studio or home recording environment. When used as a mastering device while recording or copying the ULTRAMIZERPRO should be placed between source and recorder as shown in fig 3.1. You can realize any application ranging from slight processing to the total manipulation of music signals. For example, you can use the ULTRAMIZERPRO as a Loudness Maximizer, Limiter and the Denoiser system at the same time when copying analog tapes.
3.2.1 The ULTRAMIZERPRO in analog recording In the recording and duplication field the goal should always be to achieve an optimum recording level onto the recording media. Too low or too high recording levels lead to side effects such as noise, distortion etc. In mastering and multitrack recording, as well as in duplication, one should always take care to utilize the full dynamic range of the tape recorder, DAT recorder etc. Principally, it is possible to control the recording level by riding faders, which means with low level signals, the gain is increased, whereas the amplitude of high level signal is reduced. It is obvious that this method is insufficient because, especially in live recordings, the expected signal levels cannot be anticipated correctly. Especially with multitrack recordings, which are run under hectic circumstances, the signal level of all channels cannot be monitored and controlled at the same time. Generally, with manual control, it is not possible to achieve satisfying recording results. An automatic gain control system achieves better and more constant results. Use the ULTRAMIZERPRO by starting with the initial settings, and use its dynamic control functions in order to be able to drive an analog, as well as a digital recording, up to the limit of its maximum dynamic range while remaining noise- and distortionfree. 3.2.2 The ULTRAMIZERPRO in digital recording and sampling In an analog recording, too low recording levels lead to an increased noise level, whereas too high levels will cause a compressed and squashed sound. In extreme cases, it will cause distortion due to tape saturation. In contrast to analog, side effects in the digital field always become extremely audible: with decreasing level, a tape previously recorded with insufficient level loses resolution: the recording sounds hard and loses atmosphere. With excessive level, the recording sounds harsh and heavily distorted. In order to avoid these effects, the Peak Limiter section of the ULTRAMIZERPRO should be placed before for example a sampler. The Peak Limiter is set with the MAX OUT LEVEL value. As a result of this process, a digital recording or a sampling event can be optimally set in level without any problem. 3.2.3 The ULTRAMIZERPRO in mastering

3.5 The ULTRAMIZERPRO in broadcast
The main aim of processing sound recordings for commercial radio and television is to achieve a maximum transmission volume. What is volume? Volume is defined as the relationship between the average level of program material to peak-to-peak level, in response to amplitude and duration. The higher the average level and the time it remains at a high level, the louder the program material will be perceived by the listener. If you want to run your broadcast station at maximum average volume, proceed as mentioned in chapter 3.2.2. Please make sure that the maximum peak level is below the threshold of the transmitters limiter, otherwise this could lead to very hard and audible use of the transmission limiters. Keep in mind that a heavy increase in average volume by means of compression always leads to a loss in dynamics and an increased perception of side effects. The moderate use of the ULTRAMIZER PRO results in higher average volumes, free of distortion. Due to the multiband processing, the ULTRAMIZERPRO is capable of processing entire audio signals inaudible to protect subsequent devices. With same or higher, subjective volume signal processing by the ULTRAMIZERPRO is felt as a clear sound improvement, without the transmitters limiter responding. Digital devices are well suited to handle the large dynamic range of classical music. For broadcasting however this is not desired. Ambient noise, people talking in a restaurant, wind noise in a car etc., can drown out quiet pieces of the music very easily. The ULTRAMIZERPRO raises these pieces in volume without falsifying 20 3. APPLICATIONS
dynamics and transients audibly. With television broadcasts varying volume levels can cause problems: Announcements, jingles, dialog and background music can differ strongly in level. Here too the ULTRAMIZERPRO can level out these differences in the program material and can thus provide a constant volume. Moderate use of the Compressor, Peak Limiter, Super Bass and Exciter section of the ULTRAMIZERPRO will help to achieve high and distortion-free nominal volumes without loss of liveliness. 3.5.1 AM/TV broadcasting AM broadcast has clearly limited transmission bandwidth and relatively limited dynamics. The goal is to limit the signal dynamics in such a way that the transmitted power is as constant as possible. The ULTRAMIZERPRO permit the optimal use of the individual frequency bands continuously to optimize, in order to use the bandwidth limited anyway and the signal-to-noise ratio permanently, close at the maximum. FM broadcast is more sensitive to signal processing due to the larger bandwidth and dynamics. Most commercial transmitters want to transmit with the highest obtainable average level and use a multiplicity of signal processors to achieve this. This despite the effects on the quality of the program material. If a limiter with active pre-emphasis is used, the ULTRAMIZERPRO should be placed directly before it. That way the transmitters subsequent limiter is limits the signal less resulting in an improved overall sound. As TV sound is usually also transferred in FM, the same goes for processing TV sound. 3.5.1 Telephone lines and wireless systems The ULTRAMIZERPRO can dramatically improve the signal to noise ratio of telephone lines and wireless systems while at the same time guarding subsequent devices against overload. They produce an even modulation level and constantly keep the signal peaks under check. The studio can maximize the level without fear of overloading.

-8 -7 -6 -5 -4 -3 --1 --7 -8 -3 -4 -5 -0101 0110

Continuous Analog Signal

t (Time)
Quantization Errors (Noise)

Digital Words

Conversation Rate
Fig. 4.4: Transfer diagram for an ideal linear ADC (2s complement representation) If you picture an analog signal as a sinusoidal curve, then the sampling procedure may be thought of as a grid superimposed on the curve. The higher the sampling rate (and the higher the number of bits), the finer the grid. The analog signal traces a continuous curve, which very seldom coincides with the cross points of the grid. A signal level at the sampling points will still be assigned a digital value, usually the one closest to the exact representation. This limit to the resolution of the grid gives rise to errors, and these errors are the cause of quantizing noise. Unfortunately, quantizing noise has the characteristic of being much more noticeable and unpleasant to the ear than natural analog noise. In a digital signal processor, such as the DSP in the ULTRAMIZERPRO, the data will be modified in a number of ways, in other words, various calculations, or processes, will be done in order to achieve the desired effect on the signal. This gives rise to further errors, as these calculations are approximations, due to their being rounded off to a defined number of decimal places. This causes further noise. To minimize these rounding off errors, the calculations must be carried out with a higher resolution than that of the digital audio data being processed (as a comparison, an electronic calculator may operate internally with a greater number of decimal places than can be shown on its display). The DSP in the ULTRAMIZERPRO operates with a 24 bit resolution. This is accurate enough to reduce quantizing noise to levels which are usually below the audible threshold.

5. INSTALLATION

5.1 Rack mounting
The BEHRINGER ULTRAMIZERPRO 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 air space around the unit for cooling and please do not place the ULTRAMIZERPRO on high temperature devices such as power amplifiers etc. to avoid overheating.

5.2 Mains connection

The mains connection of the ULTRAMIZERPRO 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. For your own safety, it is advisable not to remove the ground connection within the units or at the supply, or fail to make this connection at all.
Before you switch on the unit, check that it is configured to match your AC mains voltage requirements. If it does not comply, then it is necessary to switch the operating voltage to the correct supply requirements BEFORE turning on the unit, otherwise the unit could be severely damaged. You will find this combined fuse holder/voltage selector at the back, adjacent to the IEC receptacle. IMPORTANT: This does not apply for general export models which are built for one operating voltage only. 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 twist it by 180 degrees before you reinsert it. Matching the two markers monitors the selected voltage.
If the unit is switched to an other operating voltage, the ruse rating must be changed. See the technical specifications in the appendix.
A safety fuse protects the unit from serious defects. If the fuse blows, this is a warning sign and always indicates that the circuit is overloaded. The fault must always be repaired before the fuse is replaced. If the safety fuse is faulty and needs replacing after the unit is repaired, please make sure that you replace it only with the identical type and rating. NEVER use fuses of different ratings or cover faulty fuses with aluminium foil. This can cause fire and electric shocks and will endanger your life and the lives of others.

5.3 Audio connections

As standard, the BEHRINGER ULTRAMIZERPRO is installed with electronically servo-balanced inputs and outputs. The new circuit design features automatic hum and noise reduction for balanced signals and thus allows for trouble-free operation, even at high operating levels. Externally induced mains hum etc. will be effectively suppressed. The automatic servo-function recognizes the presence of unbalanced connectors and adjusts the nominal level internally to avoid level differences between the input and output signals (correction 6dB).

Please ensure that only qualified persons install and operate the ULTRAMIZERPRO. During installation and operation the user must have sufficient electrical contact to earth. Electrostatic charges might affect the operation of the ULTRAMIZERPRO!

Output

Ground

Pin 2 = (+) Signal

Shield (+) Signal + Hum (-) Signal + Hum

Positive (+)Hum + Signal

Negative (-)Hum + Signal 2 x Signal

Pin 3 = (-) Signal

RFI and Hum

= Signal + 6 dB

Fig. 5.1: Compensation of interference with balanced connections
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)
Input For unbalanced use pin 1 and pin 3 have to be bridged
Fig. 5.2: Different plug types

5.4 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 ULTRAMIZERPRO 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 ULTRAMIZERPRO 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: to receive MIDI-data. The receive MIDI channel is set in the MIDI SETUP menu. MIDI THRU: The unaltered signal is spresent at the MIDI THRU connector. Several ULTRAMIZER PROs can 30 5. INSTALLATION
be linked using this connector. MIDI OUT: Use the MIDI OUT to transfer data to a computer or an other ULTRAMIZER PRO. Program changes and status information is sent.
5.5 Operating level switch

To adapt the ULTRAMIZER PRO to the appropriate operating level, the unit can be switched between homerecording level (-10dBV) and professional level (+4dBu). Use the LED bars on the frontpanel to determine the optimal setting. The level indicators should read somewhere around -10dB, while the CLIP LED should not light up at all.

6. APPENDIX

6.1 MIDI implementation
M IDI Im plem entation chart
Function Basic Channel Mode Note Number Velocity After Touch Default Changed Default Messages Altered True Voice Note ON Note OFF Keys Chs Tra nsmitted Re cognized Rema rks OFF, 1 - 16 OFF, 1 - 16 1,2,3,4 X X X X X X X X X O 70 - 87 O (0-49) 1-50 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 70 - 87 O (0-49) 1-50 X X X X X X X X X X memorized
Pitch Bender Control Progr. Change True # System Exclusive Song Pos System Song Sel Common Tune System Clock Real Time Commands 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. 6.1: MIDI implementation chart

Parameter Name

Display Range
Midi Control Number 86 87

Control Value Range

Max. Out Level RMS Mode Stereo W idth Ultramizer Density Ultramizer Speed Ultramizer Range Denoiser Threshold Denoiser Sensitivity Left / Right Exciter Process Exciter Tune Super Bass Process Super Bass Tune Crossover Low Mute High Mute Store In / Out
-48. 0 0. 100 0. 100 1. 100 0. 24 OF, -90. 0 0.100 0. 100 4. 12 0. 100 50. (Hz). 20 (kHz) -
0. = Peak, 1 = RMS 0. 100 0. 100 0. 99 0. 24 0. 91 0. = coupled, 1 = L, 2 = R 0. 100 0. 100 0. 100 0. 100 0. = On, 1 = Mute 0 = On, 1 = Mute 0. = Out, 1 = In
Tab. 6.2: Controller functions with MIDI

6.2 Specifications

Analog Inputs Connectors Type Impedance Nominal Operating Level Max. Input Level Analog Outputs Connectors Type Impedance Max. Output Level System specifications Bandwidth Frequency Response Noise THD IMD Crosstalk MIDI Interface Type Implementation Digital Processing Converters Sampling Rate Display Type Power Supply Mains Voltages USA/Canada U.K./Australia Europe General Export Model Fuse Power Consumption Mains Connection Physical Dimensions (H * W * D) Net Weight Shipping Weight XLR and 1/4" jack RF filtered, servo balanced input 50 kOhms balanced, 25 kOhms unbalanced -10dBV to +4dBu +16 dBu at +4 dB nominal level, +2 dBV at -10 dBV nominal level XLR and 1/4" jack Electronically servo-balanced output stage 60 Ohms balanced, 30 Ohms unbalanced +16 dBu at +4 dB nominal level, +2 dBV at -10 dBV nominal level 20Hz to 20kHz, +0/-0.5dB 0.35Hz to 200kHz, +0/-3dB >-95dBu, unweighted, 22Hz to 22kHz 0.008 % typ. @ +4dBu, 1kHz, Gain 1 0.04 % typ. @ +16dBu, 1kHz, Gain 1 0.01 % typ. SMPTE <-100dB, 22Hz to 22kHz 5-Pin-DIN-Socket IN / OUT / THRU Refer to MIDI Implementation Chart in Chapter 8 20-bit Sigma-Delta, 64/128-times Oversampling 46kHz 2 -digit numeric LED-Display

doc1

ULTRAMIZER PRO DSP1400P

Technical Specifications

Version 1.1 May 2000

www.behringer.com

ENGLISH

ULTRAMIZERPRO
Ultra-high performance Digital Multiband Loudness Maximizer / Sound Program Enhancer powered by a 24-bit DSP
s Doubles the loudness of your Recordings and Sound Reinforcement Systems without any distortion
s Ultimate Mastering Machine maximizes signal energy with absolutely inaudible and transparent cmpression
s Variable band-split compression eliminates virtually any gain intermodulation effects, such as bass pumping etc. s Multiband Brickwall Limiter protects against any clipping and dangerous sound pressure levels s Built-in Denoiser and Exciter for noise-free and ultra transparent sound
s 3D Stereo Surround Processor provides unbelievable spatial enhancement and improved stereo imaging
s Super Bass Enhancer psycho-acoustically creates an incredible bass sound below your loudspeakers frequency range s Incorporated Leveler for constant average output level while retaining the instantaneous dynamics
s Free ULTRAMIZER software allows for total remote control via PC (download at www.behringer.com)
s 20-bit A/D and D/A Converters with 64/128 times oversampling for ultra-high headroom and resolution s Internal 24-bit processing with professional 46 kHz sampling rate
s Servo-balanced Inputs and Outputs on gold plated XLR and TRS jack connectors for high signal integrity s 50 user preset Memories to store programs for instant recall
s Accurate eight-segment LED Level and Gain Reduction meters for optimum performance s Future-proof software-upgradeable architecture s Full MIDI capability allows real-time parameter control and program selection
s High-quality components and exceptionally rugged construction ensures long life and durability s Manufactured under ISO9000 certified management system

DSP1400P

SPECIFICATIONS
Analog Inputs Connectors Type Impedance Nominal Operating Level Max. Input Level Analog Outputs Connectors Type Impedance Max. Output Level System specifications Bandwidth Frequency Response Noise THD IMD Crosstalk MIDI Interface Type Digital Processing Converters Sampling Rate Display Type Power Supply Mains Voltages USA/Canada 115 V ~, 60 Hz U.K./Australia 240 V ~, 50 Hz Europe 230 V ~, 50 Hz General Export Model 100 - 120 V ~, 200 - 240 V ~, 50 - 60 Hz 100 - 120 V ~: T 250 mA H 200 - 240 V ~: T 125 mA H max. 25 Watts Standard IEC receptacle app. 1 3/4" (44.5 mm) * 19" (482.6 mm) * 7 1/2" (190.5 mm) app. 2 kg app. 3.2 kg
XLR and 1/4" jack RF filtered, servo balanced input 50 kOhms balanced, 25 kOhms unbalanced -10 dBV to +4 dBu +16 dBu at +4 dB nominal level, +2 dBV at -10 dBV nominal level XLR and 1/4" jack electronically servo-balanced output stage 60 Ohms balanced, 30 Ohms unbalanced +16 dBu at +4 dB nominal level, +2 dBV at -10 dBV nominal level 20 Hz to 20 kHz, +0/-0.5 dB 0.35 Hz to 200 kHz, +0/-3 dB > 95 dBu, unweighted, 22 Hz to 22 kHz 0.008 % typ. @ +4 dBu, 1 kHz, Gain 1 0.04 % typ. @ +16 dBu, 1 kHz, Gain 1 0.01 % typ. SMPTE < -100 dB, 22 Hz to 22 kHz 5-Pin-DIN-Socket IN / OUT / THRU 20-bit Sigma-Delta, 64/128-times 0versampling 46.875 kHz 2 -digit numeric LED-Display

Fuse Power Consumption Mains Connection Physical Dimensions (H * W * D) Net Weight Shipping Weight
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.
The information contained in this sheet is subject to change without notice. No part of this sheet 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 and ULTRAMIZER are registered trademarks. ALL RIGHTS RESERVED. 2000 BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Mnchheide II, Germany Tel. +49 (0) / 92 06-0, Fax +49 (0) / 92 06-30

 

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