Behringer ULTRAMIZER PRO DSP1424P User manual

Version 1.0 September 2002
Users Manual
ENGLISH
ULTRAMIZER PRO DSP1424P
www.behringer.com
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2
ULTRAMIZER PRO DSP1424P
This symbol, wherever it appears, alerts
you to important operating and mainte-
nance instructions in the accompanying
literature. Read the manual.
SAFETY INSTRUCTIONS
AUTION: To reduce the risk of electric shock, do not remove the
cover (or back). No user serviceable parts inside; refer
servicing to qualified personnel.
WARNING: To reduce the risk of fire or electric shock, do not expose
this device to rain or moisture.
DETAILED SAFETY INSTRUCTIONS:
All the safety and operation instructions should be read before the device is operated.
Retain Instructions:
The safety and operating instructions should be retained for future reference.
Heed Warnings:
All warnings on the device and in the operating instructions should be adhered to.
Follo instructions:
All operation and user instructions should be followed.
Water and Moisture:
The device should not be used near water (e.g. near a bathtub, washbowl, kitchen sink, laundry tub, in a wet
basement, or near a swimming pool etc.).
Ventilation:
The device should be situated so that its location or position does not interfere with its proper ventilation. For
example, the device should not be situated on a bed, sofa, rug, or similar surface that may block the ventilation
openings, or placed in a built-in installation, such as a bookcase or cabinet that may impede the flow of air
through the ventilation openings.
Heat:
The device should be situated away from heat sources such as radiators, heat registers, stoves, or other
devices (including amplifiers) that produce heat.
Po er Source:
The device should be connected to a power supply only of the type described in the operating instructions or as
marked on the device.
Grounding or Polarization:
Precautions should be taken so that the grounding or polarization means of an device is not defeated.
Po er-Cord Protection:
Power cords should be routed so that they are not likely to be walked on or pinched by items placed upon or
against them, paying particular attention to cords and plugs, sockets, outlets and the point where they exit
from the device.
Cleaning:
The device should be cleaned only as recommended by the manufacturer.
Non-use Periods:
The power cord of the device should be unplugged from the outlet when left unused for a long period of time.
Debris and Liquid Entry:
Debris and/or liquids should not be allowed to enter the enclosure through openings.
Damage Requiring Service:
The device should be serviced by qualified service personnel when:
- The power supply cord or the plug has been damaged; or
- Debris or liquid has entered the device; or
- The device has been exposed to rain; or
- The device does not appear to operate normally or exhibits a marked change in performance; or
- The device has been dropped, or the enclosure damaged.
Servicing:
The user should not attempt to service the device beyond that which is described in the operating instructions.
All other servicing should be referred to qualified service personnel.
This symbol, wherever it appears,
alerts you to the presence of
uninsulated dangerous voltage inside
the enclosurevoltage that may be
sufficient to constitute a risk of shock.
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ULTRAMIZER PRO DSP1424P
FOREWORD
Dear ustomer,
Welcome to the team of ULTRAMIZERPRO users and thank you very much for expressing your confidence in
BEHRINGER products by purchasing this unit.
It is one of my most pleasant tasks to write this letter to you, because it is the culmination of many months of
hard work delivered by our engineering team to reach a very ambitious goal: making an outstanding device that
will become a standard tool used by studios and P.A. companies. The task to design the ULTRAMIZERPRO
certainly meant a great deal of responsibility, which we assumed by focusing on you, the discerning user and
musician. It also meant a lot of work and night shifts to accomplish this goal. But it was fun, too. Developing a
product usually brings a lot of people together, and what a great feeling it is when everybody who participated
in such a project can be proud of what weve achieved.
It is our philosophy to share our joy with you, because you are the most important member of the BEHRINGER
family. With your highly competent suggestions for new products youve greatly contributed to shaping our
company and making it successful. In return, we guarantee you uncompromising quality (manufactured under
ISO9000 certified management system) as well as excellent technical and audio properties at an extremely
favorable price. All of this will enable you to fully unfold your creativity without being hampered by budget
constraints.
We are often asked how we can make it to produce such high-grade devices at such unbelievably low prices.
The answer is quite simple: its you, our customers! Many satisfied customers means large sales volumes
enabling us to get better conditions of purchase for components, etc. Isnt it only fair to pass this benefit back
to you? Because we know that your success is our success, too!
I would like to thank all people whose help on Project ULTRAMIZERPRO has made it all possible. Everybody
has made very personal contributions, starting from the designers of the unit via the many staff members in our
company to you, the user of BEHRINGER products.
My friends, its been worth the trouble!
Thank you very much,
Uli Behringer
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ULTRAMIZER PRO DSP1424P
DSP1424P
ULTRAMIZER PRO DSP1424P
Ultra high-performance digital multiband loudness maximizer / sound program enhancer powered by a 24-bit DSP
sDoubles the loudness of your recordings and sound reinforcement systems without any distortion
sUltimate mastering machine maximizes signal energy with absolutely inaudible and transparent compression
sVariable band-split compression eliminates virtually any gain intermodulation effects, such as bass
pumping etc.
sMultiband brickwall limiter protects against any clipping and dangerous sound pressure levels
sBuilt-in denoiser and exciter for noise-free and ultra transparent sound
s3D stereo surround processor provides unbelievable spatial enhancement and improved stereo imaging
sSuperbass enhancer psycho-acoustically creates an incredible bass sound below your loudspeakers
frequency range
sIncorporated leveler for constant average output level while retaining the instantaneous dynamics
sFree ULTRAMIZER software allows total remote control via P download at www.behringer.com
s24-bit A/D and D/A converters with 64/128 times oversampling for ultra-high headroom and resolution
sInternal 24-bit processing with professional 46kHz sampling rate
sServo-balanced inputs and outputs on gold-plated XLR and TRS connectors for high signal integrity
s50 programmable user presets for instant recall
sAccurate eight-segment LED level and gain reduction meters for optimum performance
sFuture-proof software-upgradeable architecture
sFull MIDI capability allows real-time parameter control and program selection
sHigh-quality components and exceptionally rugged construction ensures long life and durability
sManufactured under ISO9000 certified management system
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ULTRAMIZER PRO DSP1424P
TABLE OF CONTENTS
1. INTRODUCTION..................................................................................................................... 6
1.1 The design concept ......................................................................................................................... 6
1.2 Before you begin ............................................................................................................................. 6
1.3 ontrol elements ............................................................................................................................. 7
1.3.1 Front panel ........................................................................................................................... 7
1.3.2 Back panel ......................................................................................................................... 10
1.3.3 Restoring factory defaults ................................................................................................... 10
2. OPERATION .......................................................................................................................... 10
2.1.1 The Ultramizer function ........................................................................................................ 11
2.1.2 The Max. Out Level function ................................................................................................. 11
2.1.3 The Exciter function ............................................................................................................ 12
2.1.4 The SuperBass function ..................................................................................................... 12
2.1.5 The 3DSurround function .................................................................................................... 12
2.1.6 The Denoiser function ......................................................................................................... 12
2.1.7 The rossover parameter .................................................................................................... 13
2.2 Selecting presets .......................................................................................................................... 13
2.3 Editing presets .............................................................................................................................. 13
2.4 Saving presets .............................................................................................................................. 13
2.5 MIDI control ................................................................................................................................... 14
3. APPLICATIONS ..................................................................................................................... 15
3.1 Level setting .................................................................................................................................. 15
3.2 Using the ULTRAMIZERPRO in a studio environment ................................................................... 15
3.2.1 The ULTRAMIZERPRO in analog recording ........................................................................ 16
3.2.2 The ULTRAMIZERPRO in digital recording and sampling .................................................... 16
3.2.3 The ULTRAMIZERPRO in mastering .................................................................................. 16
3.3 The ULTRAMIZERPRO as a protective device .............................................................................. 17
3.3.1 Protection of a system with a passive crossover ................................................................. 17
3.3.2 Protection of a system with an active crossover .................................................................. 18
3.3.3 Improving the sound of a processor system ........................................................................ 18
3.4 The ULTRAMIZERPRO in combination with a multitrack .............................................................. 18
3.5 The ULTRAMIZERPRO in broadcast ............................................................................................ 18
3.5.1 AM/TV broadcasting ........................................................................................................... 19
3.5.2 Telephone lines and wireless systems ................................................................................ 19
3.6 Using the ULTRAMIZERPRO on inserts ....................................................................................... 19
3.7 The ULTRAMIZERPRO in a MIDI setup ........................................................................................ 20
3.8 Saving data via MIDI ...................................................................................................................... 20
4. INSTALLATION ..................................................................................................................... 21
4.1 Rack mounting .............................................................................................................................. 21
4.2 Mains connection .......................................................................................................................... 21
4.3 Audio connections ........................................................................................................................ 21
5. APPENDIX ............................................................................................................................. 23
5.1 MIDI implementation ..................................................................................................................... 23
6. SPECIFICATIONS ................................................................................................................. 24
7. WARRANTY ............................................................................................................................ 25
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ULTRAMIZER PRO DSP1424P
1. INTRODUCTION
The BEHRINGER ULTRAMIZERPRO is a digital sound processing device based on a sophisticated DSP,
using 24 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 DSP1424P by a dual-engine 24-bit processor, the
ULTRAMIZERPRO 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 follo ing operational manual ill introduce you to the BEHRINGER ULTRAMIZERPRO
and its various functions. After reading the manual carefully, make sure it is al ays on hand
for future reference.
1.1 The design concept
ontrary 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 sound signal is mostly deter-
mined 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 then be compressed or limited individually. The signals from the different compressors
are then added up again to make up the complete spectrum again.
The ULTRAMIZERPRO 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
ULTRAMIZERPRO also features a highly effective denoiser, an accurate and fast peak limiter, a 3D surround
processor and a new superbass/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 24-bit AD/DA converters which belong to the best components avail-
able owing to its outstanding specifications and excellent sonic characteristics. A 24-bit DSP is used as the
heart of the ULTRAMIZERPRO. It performs the precise calculations needed for the processing of the complex
algorithms. Additionally, the DSP1424P uses resistors and capacitors with very tight tolerances, high-grade
switches, low-noise operational amplifiers (type 4580) as well as other selected components
The ULTRAMIZERPRO uses SMD technology (Surface Mounted Device). These subminiature components
adapted from aerospace technology allow for an extreme packing density, improving the units reliability even
further. Additionally, the unit is manufactured under ISO9000 certified management system.
1.2 Before you begin
Your BEHRINGER ULTRAMIZER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, other ise claims for damage or replacement may not be granted.
Shipping claims must be made by the consignee.
The BEHRINGER ULTRAMIZER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
ULTRAMIZERPRO on high temperature devices such as po er amplifiers etc. to avoid over-
heating.
1. INTRODU TION
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ULTRAMIZER PRO DSP1424P
The mains connection of the ULTRAMIZERPRO 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 connec-
tion.
+Before you connect your ULTRAMIZERPRO to the mains, please make sure that your local
voltage matches the voltage required by the unit (see chapter 6 SPECIFICATIONS for details)!
As a standard the audio inputs and outputs on the BEHRINGER ULTRAMIZER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 an opto-coupler.
1.3 Control elements
Fig. 1.1: ULTRAMIZERPRO front panel
The BEHRINGER ULTRAMIZERPRO 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: Displa section DSP1424P
1
The two LED chains read the input signal level indB, referenced to the internal digital maximum.
+Please note that the nominal level of the ULTRAMIZERPRO can be selected ith the
+4dBu/-10dBV s itch located on the back panel (see chapter 3.1).
2
The gain reduction meters show the applied gain reduction. Gain reduction is shown for both frequency
bands. GRLO shows the gain reduction in the lower and GRHI in the higher frequency band.
3
These two OUTLED chains read the output signal level indB, referenced to the maximum output level
of +15dBu.
4
After power-up, the LED display reads the number of the preset last used. This clearly legible, 2½ digit
numeric display has plus/minus indicators to show that parameters are being incremented or decremented
in edit mode.
1. INTRODU TION
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ULTRAMIZER PRO DSP1424P
5
Next to the display, the appropriate unit lights up to indicate the correct value which is being edited.
These eight LED illuminated units are very important with keys which can represent more than one
parameter.
Fig. 1.3: Function ke s and jog wheel
6
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.
+When you press the PRESET key once, you can use the heel to select a program directly,
hich is sho n by a dot lighting up in the display. While this dot is on, you can select a
program though its settings ill not take immediate effect. When the jog heel has not been
touched for a short time, the LED in the display disappears and the program is loaded.
7
Use the MAX.OUTLEVEL to set the output limiter. This value can be set from -48to0dB. The dB
value will light up next to the numeric display. You can change the MAX. OUT LEVEL parameter from
peak to RMS mode by pressing the MAX. OUT LEVEL key for about 2 seconds. RMS means the setting
of an average level for the MAX. OUT LEVEL parameter. Peak stands for a peak value. To make clear
that you are in RMS mode RMS will light up in the display.
8
The Ultramizer function enables you to maximize the perceived loudness of the program material. The
ULTRAMIZER key gives you access to three parameters:
a) When pressed once the DENSITY (DENS will light up in the display) can be adjusted. The subjec-
tively felt density of the program material is the result of the amount of compression that is applied. The
DENSITY can be adjusted from 0 (no compression) to 100 (extreme dynamic gain reduction).
b) Pressed a second time, the SPEED of the Ultramizer function can be set (SPED will light up in the
display). This parameter is very important for the dynamic behavior which depends on the application.
Generally low SPEED settings are suited if the ULTRAMIZER is to work rather inaudibly. Higher
SPEED is required when short level changes should be levelled.
c) Pressed a third time, the RANGE can be set (dB will light up in the display). This parameter
determines the maximum amplification the Ultramizer function may use in order to achieve the desired
DENSITY and MAXIMUM OUTPUT LEVEL. The value can be adjusted from 0 to 24dB.
For further information on the Ultramizer function please refer to section 2.1.1.
9
Use the 3DSURROUND key to increase the stereo width of the signal. The settings can range from 0
(no processing) to 100.
10
The DENOISER key gives you 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 -90to 0dB. OF means the denoiser function is deactivated.
+Please bear in mind that hen the threshold number displayed is small, the threshold level in
fact is high and, consequently, only loud signals ill pass. When, for example, the value is
lo ered to -100dB (referring to the digital maximum) every signal ill pass.
1. INTRODU TION
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ULTRAMIZER PRO DSP1424P
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.
11
When the LEFT key is pressed only the settings for the left channel are edited.
12
Use the RIGHT key to select the right audio channel.
+If you ish 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 t o audio channels and then s itch to couple mode, the parameters of the active
channel ill be copied to the other; i.e. if you press LEFT before RIGHT, left ill be copied to
right.
13
The EXCITER key has three functions:
a) PROCESS, (PRO  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 ULTRAMIZERPRO. Alternatively the
unit can also be used as a crossover to generate a subwoofer signal for instance.
14
The SUPERBASS key has three functions:
a) PROCESS, when pressed once the intensity of the superbass function can be adjusted ranging from
0 to 100 (PRO  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 superbass function. The cut-off frequency can be adjusted within
a range of 50 to 150Hz.
c) Here, too, the third function is reached by pressing the SUPERBASS 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 SUPERBASS keys are pressed simultaneously, the crossover frequency
bet een the lo er and higher bands of the multiband compressor can be adjusted from 20Hz
to 20kHz.
15
The IN/OUT key enables you to bypass the DSP1424P. The green LED lights up as soon as the
ULTRAMIZERPRO is activated.
16
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 ULTRAMIZERPRO enters
the MIDI menu, here all MIDI settings can be edited.
17
Use the POWER switch to switch the ULTRAMIZERPRO on or off. The POWER switch should be set
to the OFF position, when you connect the unit to the mains.
+Please note that the POWER s itch does not completely disconnect the device from the
mains. If the device is not in use for a long period of time, please disconnect it from the
mains by unplugging the po er cord from the po er socket.
1. INTRODU TION
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ULTRAMIZER PRO DSP1424P
1.3.2 Back panel
Fig. 1.4: Back panel connectors and control elements
18
Use the OPERATING LEVEL switch to adapt the ULTRAMIZER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. This way the ULTRAMIZERPRO is always optimally adapted to the used nominal operating
level.
19
These are the ULTRAMIZERPROs analog INPUTS. The ULTRAMIZERPRO has both XLR and 1/4"
TRS inputs and outputs. Each XLR and jack set is wired parallel and can be used either balanced or
unbalanced.
20
These are the ULTRAMIZERPROs analog OUTPUTS. Also on balanced XLR and 1/4" TRS connectors.
21
SERIAL NUMBER. Please complete and return the warranty card within 14 days of the date of
purchase. Otherwise, you will lose your right to the extended warranty. Alternatively, you can register
online at our website under www.behringer.com.
22
These are the ULTRAMIZERPROs MIDI connectors (MIDI OUT / THRU / IN). Via these connectors
total remote control is possible.
23
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 A 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 6 SPE IFI ATIONS). Please
use the enclosed mains cable to connect the unit to the mains power supply.
+Please note that not all appliances can be used ith different mains voltage ratings. Please
check the description on the back of the unit and the box.
1.3.3 Restoring factory defaults
To protect the DSP1424P against user errors, an important edit command has been implemented via a particu-
lar key combination. In normal operating mode 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:
+Press and keep the keys EFFECT and PRESET before powering up the ULTRAMIZERPRO. Then
s itch on the DSP1424P and keep the t o keys pressed for about t o seconds. The program
numbers are counted up and reset to their original default settings.
2. OPERATION
The ULTRAMIZERPRO is one of the latest generation digital processing devices. Especially designed for
processing the total mix or complex music signals. BEHRINGERs past experience in digital and analog
processing devices come together in this new device. In the DSP1424P, the advantages of digital technology
go hand in hand with the warm and powerful sound of analog devices. The ULTRAMIZERPRO combines
multiple functions for the processing of stereo signals in one device. It is a multi-band compressor, a 3D
surround processor, a denoiser as well as an exciter and a bass processor.
2. OPERATION
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ULTRAMIZER PRO DSP1424P
Despite this unbelievable processing power the DSP1424P can be intuitively operated with an audio quality
previously unimaginable.
2.1.1 The Ultramizer function
With the Ultramizer function you can increase the loudness and density of the program material. The DSP1424P
analyzes the received music material and adapts the settings automatically. The function of the Ultramizer is
dependent on the the setting of the RANGE parameter. When the RANGE parameter is set relatively high, the
Ultramizer function will perform these two actions:
sThe Ultramizer function adjusts the parameters of the compressors to achieve the desired (set) DENSITY in
both bands.
sThe total volume is raised to the MAX OUTLEVEL. The total gain is adjusted in a way that the output limiter
will have a slight gain reduction. All relative parameters are continuously monitored to keep the DENSITY at
whatever level you have set.
When the RANGE parameter is set at zero or a small value, the total output will not increase (or only slightly
increase). Only the DENSITY will be increased, resulting in a gain reduction at the output. This setup is
advisable when an increase of gain is unwanted, for instance in live applications where an unexpected
increase in gain can lead to feedback.
ULTRAMIZER DENSITY
After pressing the ULTRAMIZER key once, you have access to the parameter DENSITY. DENSITY is a
combination of parameters governing the perceived density of the signal.
ULTRAMIZER SPEED
After pressing the ULTRAMIZER key a second time, the parameter SPEED can be set. This is the relative
speed with which the parameters of the compressor, limiter and gain at the input will be altered to adapt to the
incoming audio. hoose a low speed when the Ultramizer function must do its job inaudible and high speed
when fast recovery from transients is needed. When low speeds are chosen, the Ultramizer function will adapt
slowly to new incoming signals, although the limiter will still perform as a brick wall limiter which will affect
transients.
ULTRAMIZER RANGE
The parameter RANGE, which you access after pressing the ULTRAMIZER key three times, determines the
maximal gain the Ultramizer function will apply to the signal. This way, fade ins and fade outs remain unaf-
fected. It is even possible to set this value to zero so that no amplification is allowed but the density will
increase when a high enough level is applied to the input. When the applied signal reaches the MAX OUT
LEVEL the signal will be compressed and limited by the multiband compresser and the output limiter. This will
prevent distortion while maximizing the loudness, without the risk of feedback caused by an increase in gain
during quiet(er) moments. This function is particularly useful when using the ULTRAMIZERPRO live, where
unexpected gain increase may cause feedback.
2.1.2 The Max. Out Level function
Integrated in the design of the ULTRAMIZER PRO is its limiter function. Key value in almost all functions is the
maximum output level that is set here. This value is a so called brick wall that cannot be exceeded under any
circumstances when the ULTRAMIZERPRO is engaged. The level can be set from -48to 0dB, with
reference to the internal digital level (dB will light up in the display). 0dB corresponds to +16dBu. This level
is simply set by the following steps:
1. Set the MAX OUT LEVEL to a low value.
2. Apply a signal to the input of the ULTRAMIZERPRO that is loud enough to be limited constantly.
3. Slowly turn the MAX OUT LEVEL up until the clip LEDs of the connected power amplifier light up occasion-
ally.
After setting the correct MAX OUT LEVEL the preset can be stored to match at any time the same amplifier
and speakers.
You can adjust the MAX. OUT LEVEL parameter in two different ways: The peak and RMS mode. In peak
mode you can adjust a maximum peak value which will not be exceeded. In RMS mode you set an average
maximum level. You can switch between these two modes by pressing the MAX. OUT LEVEL key for about 2
seconds. Additionally, the RMS LED in the display will light up.
2. OPERATION
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2.1.3 The Exciter function
The ULTRAMIZER PROs exciter function adds transparency and depth to the audio signal. lassical music
material gains transparency and musicality while popular music keeps the desired brilliance. Two parameters
govern the performance of the exciter function, both can be accessed by means of the EX ITER key.
EXCITER PROCESS
When pressed once you gain access to the exciter PRO ESS parameter. The PRO  LED next to the
numeric display will light up to show this. Now you can set the intensity of the exciter effect within the range
of 0 to 100.
EXCITER TUNE
When pressed twice you have access to the TUNE parameter. This refers to the lower frequency limit of the
exciter function. It can be set from 4 to 12 kHz. The kHz LED next to the numeric display lights up to display
the unit of the edited parameter.
2.1.4 The SuperBass function
The superbass function is the low frequency equivalent of the exciter function. Designed to process the low
frequency portion of the signal and to add transparency and depth.
SUPER BASS PROCESS
If you press the SUPERBASS key once you can access the superbass PRO ESS parameter, which
determines the intensity of the superbass function. The value can be set from 0 to 100 while the PRO  LED
lights up.
+Be careful not to overload your po er amplifiers or loudspeakers hen you use an extreme
setting of the PROCESS parameter of the superbass function. Remember, less is more.
SUPER BASS TUNE
When pressed twice you have access to the superbass TUNE parameter. This is the upper frequency limit of
the superbass function.This can be set from 50 to 150 Hz. The Hz LED next to the numeric display lights
up to display the unit of the edited parameter.
2.1.5 The 3DSurround function
With the the 3Dsurround function the ULTRAMIZERPRO can be used as a 3D stereo surround processor,
increasing the stereo width of the program material. Whether you want to process individual instruments or the
entire mix, you can set the 3Dsurround function on the fly. The effect makes the sound more spacious, wider
and more detailed. Since this function does not make any sense with two mono signals, the OUPLE mode
must be activated to activate the 3Dsurround function.
+When you use extreme settings ith the 3Dsurround function on audio that has been processed
by a reverb, the reverb can sound unnatural and too intense. This is caused by the ay stereo
reverbs operate. Remember, less is more.
2.1.6 The Denoiser function
The ULTRAMIZER PROs denoiser function is universally applicable and suited for all types of instrument and
complex signals. The algorithm of the denoiser function does not produce unpleasant side effects like pumping
or noise tails. The parameters are for a large part chosen automatically depending on the program material and
the two parameters, which can be accessed with the DENOISER key.
DENOISER THRESHOLD
When the DENOISER key is pressed once, the THRESHOLD can be set. This function reflects the noise
gate and is used to remove unwanted noise during pauses. When the denoiser THRESHOLD is being set the
dB LED beside the numeric display lights up. The setting can range from -90 to 0dB (no signal reaches the
output). OF means the denoiser function is deactivated.
DENOISER SENSITIVITY
When the DENOISER key is pressed twice you can edit the parameter SENSITIVITY. With this parameter,
you determine the sensitivity of the dynamic high cut filter. This function is highly useful to remove noise from
your audio. The SENS LED next to the numeric display indicates that the sensitivity is being edited.
2. OPERATION
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+The optimal adjustment of the SENSITIVITY parameter depends on the type of noise and
program material. Take the time to set the SENSITIVITY parameter ith care.
2.1.7 The Crossover parameter
The advantage of multiband processing is in the division of the audio spectrum into several bands, in order to
avoid the negative effects of spectral intermodulation. The choice of the crossover frequency which divides the
bands has influence on how the processing takes place. With complex composite signals the crossover
frequency should be in the bass area (±500Hz e.g. in order to prevent modulation of the mid and high fre-
quency range by the energy produced in the bass area). With single instruments and vocals, however, a higher
crossover frequency is more desireable (2kHz), since the center point of the power spectrum is shifted here.
For complete flexibility the crossover frequency can be set anywhere from 20Hz to 20kHz, in 31steps
according to the ISO frequencies. This enables the ULTRAMIZERPRO to be used not only as a mastering
device but also as a processor for single instruments and vocals. If you set the crossover frequency to the
maximum or minimum value (20Hz or 20kHz), the ULTRAMIZERPRO will operate as a broadband compres-
sor.
Feel free to experiment with different crossover frequency settings and pretty soon a feeling for the right setting
will arise, making the ULTRAMIZERPRO that much more effective and useful.
2.2 Selecting presets
The ULTRAMIZERPRO 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
counterclockwise to decrement it.
+Please note that the ULTRAMIZERPRO generally activates the selected presets only after about
one second, hich is indicated by a dot in the lo er right corner of the display. After loading
the data, the ULTRAMIZERPRO enables the preset and the dot disappears. This brief interruption
avoids the direct activation of every preset, as you scroll through the preset list ith the jog
heel. Thus, the ULTRAMIZERPRO makes sure that no un anted presets are loaded
unintentionally. Additionally, you can rotate the jog heel 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 ULTRAMIZERPRO. Basically, all essential parameters can be selected di-
rectly via the keypad and edited with the jog wheel. Some keys have multiple functions 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 OUPLE mode.
+Whenever you edit one of the t o audio channels and then s itch to couple mode, the param-
eters of the active channel ill be copied to the other; i.e. if you press LEFT before RIGHT, left
ill 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
youre 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:
sYou 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
another preset that can be overwritten. Press the PRESET key a third time to save the edits to the selected
preset. If you wish to overwrite the original preset, simply press the PRESET key three times (after editing)
to save all changes you have made.
2. OPERATION
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+Whenever you have edited a preset and pressed the PRESET key three times, all previous
settings in this preset are erased and over ritten ith the ne parameter values. Ho ever, if
you ish to keep the original preset, use the jog heel to select another preset before you
press the PRESET key a third time.
2. MIDI control
Use the MIDI key combination to select the MIDI parameters you wish to adjust. For this purpose press and
keep the IN/OUT and the PRESET keys for about two seconds. All parameters can be edited with the jog
wheel and the IN/OUT key. The MIDI menu includes six pages which you can select by pressing the IN/OUT
key (forwards) and the PRESET key (backwards) several times.
On the first page you can select the MIDI channel. The display reads a small c (= channel). The jog wheel
adjusts a channel from 1 through 16. To switch off the MIDI function simply select the 0 value
(displayed as -).
On the second page you can select MIDI omni mode, i.e. the unit transmits/receives on all 16 MIDI channels.
The display reads O (= omni). Use the jog wheel to activate (1) or deactivate (0) omni mode.
The third page allows for configuring controller commands. On its right-hand side, the display reads a capital
  (= controller). The jog wheel selects one of the following four controller modes:
'LVSOD\ 0RGH
0 No controller data is transmitted
1 Controller data is received but not transmitted
2 Controller data is transmitted but not received
3 Controller data is transmitted and received
Tab. 2.2: Controller settings
The fourth page gives you access to the program change setup. The display reads a capital P (= program).
Here, too, four modes can be selected with the jog wheel, as follows:
'LVSOD\ 0RGH
0 No program change data are transmitted
1 Program change data are received but not transmitted
2 Program change data are transmitted but not received
3 Program change data are transmitted and received
Tab. 2.3: Program change settings
The fifth page of the MIDI menu shows the store enable flag represented by a capital S in the display. The
value 0 disables the reception of controller #86, and therefore protects the user presets from being modified
via MIDI. Accordingly, the value 1 enables MIDI controller #86 so that you can modify or replace presets with
a remote MIDI device or a sequencer. In this case the actual settings will be stored directly to the location that
corresponds to the controller value.
+Attention! Since the store enable mode allo s you to access memory locations directly via
MIDI, it is possible that stored presets ill 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 ithout express confirmation at the ULTRAMIZERPRO. It is therefore
recommended to disable (flag = 0) this mode as soon as the intended data transfer has ended.
This is done automatically hen you s itch off the ULTRAMIZERPRO.
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:
d0 means that no SYSEX data will be sent or accepted. d1 will enable the ULTRAMIZERPRO to receive
data. When PRESET is pressed the unit will wait for data, this is shown by flashing dots (LEDs) in the display.
2. OPERATION
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The MIDI button LED flashes signaling that SYSEX data is being received. d2 will enable the ULTRAMIZERPRO
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 ULTRAMIZERPRO 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 ULTRAMIZERPRO ill be deactivated.
The full-featured MIDI implementation of the ULTRAMIZERPRO allows for easily integrating the
ULTRAMIZERPRO into any MIDI system. For detailed information on controller tabs please refer to
section 5 APPENDIX.
sMIDI IN
Any MIDI data sent to the ULTRAMIZERPRO (sequencer, MIDI footswitch, etc.) are received via the MIDI IN
jack. For example, if you wish to use the ULTRAMIZERPRO as an effects device for your guitar rack, you can
connect the MIDI IN jack to a MIDI footswitch (our BEHRINGER MIDI FOOT ONTROLLER F B1010) 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 ULTRAMIZERPROs MIDI THRU jack
to your multi-effects processor.
sMIDI 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 ULTRAMIZERPRO will be transmitted via the MIDI THRU jack to other MIDI devices/instruments.
sMIDI OUT
The MIDI OUT jack allows for transmitting MIDI data that originate from the ULTRAMIZERPRO. 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 ULTRAMIZERPRO 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 (phone:+49(0)2154-920666) and/or our internet homepage (www.behringer.com).
3. APPLICATIONS
The BEHRINGER ULTRAMIZERPRO features a high level of flexibility. The following chapter describes some
standard applications of your ULTRAMIZERPRO.
3.1 Level setting
Take care to set levels properly on the ULTRAMIZERPRO! Low levels deteriorate the dynamics of the music
signal, which results in a poor, weak and noisy sound. On the other hand, very high levels overdriving the
converters in the ULTRAMIZERPRO should also be avoided. Digital distortion is (unlike its analog counterpart)
very unpleasant as it does not occur gradually but abruptly.
Use the input level meter of the ULTRAMIZERPRO to adjust the input signal to about -10dB. Make sure that
the LIP LED never lights up!
3.2 Using the ULTRAMIZERPRO in a studio environment
With its highly flexible configuration the ULTRAMIZERPRO also delivers good results in a professional studio
or home recording environment. When used as a mastering device while recording or copying, the
ULTRAMIZERPRO 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 ULTRAMIZERPRO as a loudness maximizer, limiter and the denoiser system at the same time when
copying analog tapes.
3. APPLI ATIONS
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3.2.1 The ULTRAMIZERPRO 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 ULTRAMIZERPRO 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 distortion-
free.
3.2.2 The ULTRAMIZERPRO 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 ULTRAMIZERPRO 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 ULTRAMIZERPRO in mastering
Fig. 3.1: The ULTRAMIZER PRO as mastering device
The mastering process is one of the most critical processing steps in recording. In this production step, it is
the goal to achieve a maximum level copy of the recording, without any noise or distortion. In many applica-
tions it is further required to produce a high average volume. Quite often in these cases, dynamics suffer
drastically, because the program material has been compressed and limited too heavily. Using the compressor
and the peak limiter section of the ULTRAMIZERPRO allows you to drastically increase the overall volume,
without audibly affecting the dynamics.
Proceed as follows:
1. Limit the dynamics of the program material by 6 dB using the peak limiter section. By softly clipping just
the transients, the real audio signal will not be limited, resulting in higher headroom. The overall gain can
now be increased by 6 dB, which leads to a higher volume. More than 6 dB should not be limited, otherwise
side effects could become audible.
3. APPLI ATIONS
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2. Therefore, in addition, you should also use the ULTRAMIZER function. It is recommended that the com-
pression is limited to the first 6 dB of the dynamic range only. You can monitor the gain reduction with the
help of the GR LO and GR HI gain reduction meters.
The cut signal peaks cause a reduced recording level of about 6 dB, which is visible on the level indicators of
the DAT recorder. Now increase the recording level of the recorder back to normal. The result is a louder
recording without any loss of sound.
3.3 The ULTRAMIZERPRO as a protective device
Sound system distortion is usually a result of amplifiers and loudspeakers being driven beyond their
limitations, whereby signals are hard limited by so-called clipping of the amplifiers. The signal peaks are
thereby clipped because the maximum output voltage is reached, which leads to unpleasant and dangerous
distortions.
Apart from the danger of long term overload a loudspeaker can also be damaged by an occasional high level
overload, e.g. the sound of a microphone falling onto a hard floor. In order to protect a system or the loudspeak-
ers, the application of the BEHRINGER ULTRAMIZER PRO is recommended. onventional limiters must
restrict the maximum output level far below the clip-point of the amplifier, in order to limit the height and
duration of overloading transients. This has the disadvantage that the power reserve of the system cannot be
fully exploited.
Fig. 3.2: Using the ULTRAMIZERPRO in the main mix bus
3.3.1 Protection of a system ith a passive crossover
If your sound system incorporates a passive crossover network (included in the loudspeaker housing), insert
the BEHRINGER ULTRAMIZERPRO between your mixing console output and the power amplifier input. It is
used as the last link in the chain preceding the power amp. Thus, you can effectively avoid damage to the
midrange/tweeter range caused by clipping of the high-energy bass signals. This statement, as paradoxical as
it may seem at first, can be explained with the fact that especially low-frequency signals with high amplitudes
3. APPLI ATIONS
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ULTRAMIZER PRO DSP1424P
can overload the power supply in the amplifier(s). The resulting clipping (cutting off of signal peaks) produces
distortion (upper harmonics), which is abruptly added to the midrange/tweeter signals. For this reason, weak
power amps, in particular, must be protected by a limiter in their input dynamics.
3.3.2 Protection of a system ith an active crossover
When used with a system that features an electronic crossover, connect the ULTRAMIZERPRO before the
crossover. In this application, the BEHRINGER ULTRAMIZERPRO will process the entire audio frequency
spectrum.
+If you ant to protect one or more separate units in a multi- ay active system you can use a
(multi) ay compressor/limiter bet een the electronic crossover and the amplifier(s) like the
BEHRINGER MULTICOMPRO-XL MDX4600.
3.3.3 Improving the sound of a processor system
An electronic crossover divides the total frequency spectrum in separate bands, corrects the single units
frequency responses and time alignment. A processor system is a PA system which contains a special active
crossover with additionally dynamic functions that monitor the system performance and optimize the output
dependent on the program material. Each band has its own limiter whose task it is to limit dangerous signal
peaks to a certain level. This process avoids overloading the subsequent power amplifier or destruction of the
loudspeaker.
In some units a loudness contour is applied where, for instance, the bass is boosted at low levels to extend
the range of the system at the low end. At higher levels, this frequency correction is abandonned in exchange
for a higher maximum sound pressure level. In many cases, this function leads rather to a disturbance than to
an improvement of the sound quality.
If the ULTRAMIZERPRO is placed before the processor, the signal peaks can be eliminated before they reach
the limiters of the processing system. The sound quality therefore remains natural and free of side effects
caused by the dynamic functions of the crossover.
3.4 The ULTRAMIZERPRO in combination with a multitrack
In connection with multi-track machines the BEHRINGER ULTRAMIZER PRO can be used to prevent distor-
tion caused by saturation and to minimize tape hiss. Adjustment is fairly straight forward, maximum level is
easily determined and fixed for the same kind of tape. Limiting the audio level enables a higher nominal level of
the recording, with a dramatically improved signal-to-noise ratio.
3. The ULTRAMIZERPRO 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 transmitters 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 ULTRAMIZERPRO is capable of processing entire audio signals
inaudibly to protect subsequent devices. With same or higher, subjective volume signal processing by the
ULTRAMIZERPRO is felt as a clear sound improvement, without the transmitters 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 ULTRAMIZERPRO raises these pieces in volume without falsifying dynamics
and transients audibly.
3. APPLI ATIONS
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ULTRAMIZER PRO DSP1424P
With television broadcasts varying volume levels can cause problems: Announcements, jingles, dialog and
background music can differ strongly in level. Here, too, the ULTRAMIZERPRO 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 sections of the ULTRAMIZERPRO will help to achieve high and distortion-free nominal
volumes without loss of liveliness.
3.5.1 AM/TV broadcasting
AM broadcast has a 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 ULTRAMIZERPRO
permits the optimal use of the individual frequency bands continuously to optimize, in order to use the band-
width 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despite the effects on the quality of the program material.
If a limiter with active pre-emphasis is used, the ULTRAMIZERPRO should be placed directly before it. That
way the transmitters subsequent limiter 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.
3.5.2 Telephone lines and ireless systems
The ULTRAMIZERPRO 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 control. The studio can maximize the level
without the risk of overloading.
3.6 Using the ULTRAMIZERPRO on inserts
Fig. 3.3: Inserting the ULTRAMIZERPRO in single channels and subgroups
You can also insert the ULTRAMIZERPRO in single channels, subgroups as well as the main mix channels.
Use the first two options when you want to process individual signals or a group of signals. This way you can
process only the microphones or the DJ.
3. APPLI ATIONS
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3.7 The ULTRAMIZERPRO in a MIDI setup
Owing to the integrated MIDI interface you can fully control the DSP1424P in a MIDI setup. The ULTRAMIZERPRO
can both receive and transmit program changes and controller changes. Wire the unit as follows.
Fig. 3.4: The ULTRAMIZERPRO in a MIDI setup
3.8 Saving data via MIDI
The ULTRAMIZERPROs MIDI implementation also allows for archiving one or several presets on an external
storage medium. Proceed as follows:
onnect the MIDI OUT jack of the ULTRAMIZERPRO to the MIDI IN jack of a MIDI data recorder (e.g. se-
quencer). Press the PRESET 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 PRESET 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 sequencer 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 ULTRAMIZERPRO, you must enable controller reception in MIDI mode
(see 2.5). Then, start the sequencer to automatically transmit each preset data set back to the
ULTRAMIZERPRO. Press the PRESET key, select a program location to store the data and then again press
the PRESET key. 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 modification of the actual preset on the
preset number that is transmitted with the controller. You can also restore a complete preset that has previ-
ously been recorded with a MIDI sequencer on the same location it had before.
3. APPLI ATIONS
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