Behringer VIRTUALIZER PRO DSP1000P User manual

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EUser´s Manual
Bedienungsanleitung D
Version 1.0 October 1998
VIRTUALIZER® PRO
DSP1000P
www.behringer.de

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acc. to the Directives
89/336/EWG and 73/23/EWG
We, BEHRINGER INTERNATIONAL GmbH
Hanns-Martin-Schleyer-Straße 36 - 3
D - 47 77 Willich
Name and address of the manufacturer or the introducer of the product on the market who is established in the EC
herewith take the sole responsibility to confirm that the product:
VIRTUALIZERPRO DSP1000P
Type designation and, if applicable, Article-No
which refers to this declaration, is in accordance with the following standards or
standardized documents:
xEN 60065 xEN 61000-3-2
xEN 55020 xEN 61000-3-3
xEN 55013 xEN 55022
The following operation conditions and installation arrangements have to be presumed:
acc. to Operating Manual
B. Nier, resident Willich, 01.10.1998
Name, address, date and legally binding signature of the person responsible
EG-Declaration of Conformity
INTERNATIONAL GmbH

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This symbol, wherever it appears, alerts
yo to the presence of nins lated
dangero s voltage inside the enclos re
- voltage that may be s fficient to con-
stit te a risk of shock.
This symbol, wherever it appears, alerts
yo to important operating and mainte-
nance instr ctions in the accompanying
literat re. Read the man al.
SAFETY INSTRUCTIONS
CAUTION: To red ce the risk of electrical shock, do not remove
the cover (or back). No ser serviceable parts inside;
refer servicing to q alified personnel.
WARNING: To red ce the risk of fire or electrical shock, do not
expose this appliance to rain or moist re.
DETAILED SAFETY INSTRUCTIONS:
All the safety and operation instr ctions sho ld be read before the appliance is operated.
Retain Instructions:
The safety and operating instr ctions sho ld be retained for f t re reference.
Heed Warnings:
All warnings on the appliance and in the operating instr ctions sho ld be adhered to.
Follo instructions:
All operation and ser instr ctions sho ld be followed.
Water and Moisture:
The appliance sho ld not be sed near water (e.g. near a batht b, washbowl, kitchen sink, la ndry t b, in a wet
basement, or near a swimming pool etc.).
Ventilation:
The appliance sho ld be sit ated so that its location or position does not interfere with its proper ventilation.
For example, the appliance sho ld not be sit ated on a bed, sofa r g, or similar s rface that may block the
ventilation openings, or placed in a b ilt-in installation, s ch as a bookcase or cabinet that may impede the
flow of air thro gh the ventilation openings.
Heat:
The appliance sho ld be sit ated away from heat so rces s ch as radiators, heat registers, stoves, or other
appliance (incl ding amplifiers) that prod ce heat.
Po er Source:
The appliance sho ld be connected to a power s pply only of the type described in the operating instr ctions
or as marked on the appliance.
Grounding or Polarization:
Preca tions sho ld be taken so that the gro nding or polarization means of an appliance is not defeated.
Po er-Cord Protection:
Power s pply cords sho ld be ro ted so that they are not likely to be walked on or pinched by items placed
pon or against them, paying partic lar attention to cords and pl gs, convenience receptacles and the point
where they exit from the appliance.
Cleaning:
The appliance sho ld be cleaned only as recommended by the man fact rer.
Non-use Periods:
The power cord of the appliance sho ld be npl gged from the o tlet when left n sed for a long period of time.
Object and Liquid Entry:
Care sho ld be taken so that objects do not fall and liq ids are not spilled into the enclos re thro gh openings.
Damage Requiring Service:
The appliance sho ld be serviced by q alified service personnel when:
- The power s pply cord or the pl g has been damaged; or
- Objects have fallen, or liq id has been spilled into the appliance; or
- The appliance has been exposed to rain; or
- The appliance does not appear to operate normally or exhibits a marked change in performance; or
- The appliance has been dropped, or the enclos re damaged.
Servicing:
The ser sho ld not attempt to service the appliance beyond that is described in the Operating Instr ctions. All
other servicing sho ld be referred to q alified service personnel.

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DSP1000P
VIRTUALIZERPRO
Ultra-high performance Digital Multi-Effects Processor powered by a 24-bit high-speed Digital Signal Processor (DSP
sWave Adaptive Virt al Room reverb algorithms calc lated from precise mathematical room models to
give yo ltra-nat ral reverb effects
s32 breathtaking Reverb, Chor s, Flanger, Delay (10 sec.), Pitch Shifter, Vocoder, Rotary Speaker
effects and more
sMore than 700 effects variations pl s two individ al parameters and separate low and high EQ section
sTwo digital processing engines give yo independent or co pled effects on left and right channels
sTr e stereo processing performance allows separation of left and right channels in the stereo field for
open-so nding enhancement of the so nd so rces
sFree VIRTUALIZER DESIGN software allows for total remote control via PC
(download at www.behringer.de)
s20-bit A/D and D/A converters with 64/128 times oversampling for ltra-high headroom and resol tion
sInternal 24-bit processing with professional 46 kHz sampling rate
sServo balanced Inp ts and O tp ts on gold plated XLR and TRS jack connectors for high signal integrity
s100 ser preset memories to store programs for instant recall
sAcc rate eight-segment LED level meters simplify level setting for optim m performance
sF t re-proof software- pgradeable architect re
sF ll MIDI capability allows real-time parameter control and program selection
sHigh-q ality components and exceptionally r gged constr ction ens res long life and d rability
sInternal power s pply design for professional application
sMan fact red nder the ISO9000 management system

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FOREWORD
Dear C stomer,
Welcome to the team of VIRTUALIZERPRO sers and thank yo very m ch for expressing yo r confidence in
BEHRINGER prod cts by p rchasing this nit.
It is one of my most pleasant tasks to write this letter to yo , beca se it is the c lmination of many months of
hard work delivered by o r engineering team to reach a very ambitio s goal: making an o tstanding device
better still. The VIRTUALIZER DSP1000 has for q ite a long time been a standard tool sed by n mero s
st dios and P.A. rental companies. The task to improve one of o r best-selling prod cts certainly meant a
great deal of responsibility, which we ass med by foc sing on yo , the discerning ser and m sician. It also
meant a lot of work and night shifts to accomplish this goal. B t it was f n, too. Developing a prod ct s ally
brings a lot of people together, and what a great feeling it is when everybody who participated in s ch a project
can be pro d of what weve achieved.
It is o r philosophy to share o r joy with yo , beca se yo are the most important member of the BEHRINGER
family. With yo r highly competent s ggestions for new prod cts yo ve greatly contrib ted to shaping o r
company and making it s ccessf l. In ret rn, we g arantee yo ncompromising q ality (man fact red nder
ISO9000 certified management system) as well as excellent technical and a dio properties at an extremely
favorable price. All of this will enable yo to f lly nfold yo r creativity witho t being hampered by b dget
constraints.
We are often asked how we can make it to prod ce s ch high-grade devices at s ch nbelievably low prices.
The answer is q ite simple: its yo , o r c stomers! Many satisfied c stomers means large sales vol mes
enabling s to get better conditions of p rchase for components, etc. Isnt it only fair to pass this benefit back
to yo ? Beca se we know that yo r s ccess is o r s ccess, too!
I wo ld like to thank all people whose help on Project VIRTUALIZERPRO has made it all possible. Everybody
has made very personal contrib tions, starting from the designers of the nit via the many staff members in o r
company to yo , the ser of BEHRINGER prod cts.
My friends, its been worth the tro ble!
Thank yo very m ch,
Uli Behringer

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ABLE OF CON EN S
1. INTRODUCTION ...................................................................................................................... 7
1.1 The Design Concept ....................................................................................................................... 7
1.2 Before yo begin ............................................................................................................................ 8
1.3 Control elements ............................................................................................................................. 8
1.4 The effect algorithms ..................................................................................................................... 11
1.4.1 Reverb and delay algorithms ............................................................................................... 12
1.4.2 Special effects .................................................................................................................... 13
1.4.3 Mod lation and pitch shifter effects .................................................................................... 13
1.4.4 Effect algorithm combinations (m lti-effects programs) ...................................................... 14
1.4.5 D al-mode effects algorithms ............................................................................................. 14
2. OPERATION ........................................................................................................................... 16
2.1 Effects str ct re ........................................................................................................................... 16
2.2 Selecting presets .......................................................................................................................... 16
2.3 Editing programs .......................................................................................................................... 17
2.4 Saving programs ........................................................................................................................... 17
2.5 MIDI control .................................................................................................................................. 17
3. APPLICATIONS ..................................................................................................................... 19
3.1 Level setting .................................................................................................................................. 19
3.2 Using the VIRTUALIZERPRO in the a x b s ................................................................................ 19
3.3 Using the VIRTUALIZERPRO in the insert path ............................................................................ 20
3.4 Using the VIRTUALIZERPRO as an effects device for instr ments .............................................. 21
3.5 Using the VIRTUALIZERPRO in a MIDI system ........................................................................... 22
3.6 Saving data via MIDI ..................................................................................................................... 22
4. TECHNICAL BACKGROUND ................................................................................................ 22
4.1 Digital A dio Processing ............................................................................................................... 22
4.2 Reverberation and reflection ......................................................................................................... 24
4.2.1 Reverberation chambers ..................................................................................................... 25
4.2.2 Spring and plate reverb....................................................................................................... 25
4.2.3 Digital reverb ...................................................................................................................... 26
5. INSTALLATION ...................................................................................................................... 27
5.1 Rack mo nting .............................................................................................................................. 27
5.2 Mains connection.......................................................................................................................... 27
5.3 A dio connections ........................................................................................................................ 27
5.4 MIDI connections .......................................................................................................................... 29
5.5 Operating Level switch .................................................................................................................. 29
6. APPENDIX ............................................................................................................................. 30
6.1 Parameter overview ...................................................................................................................... 30
6.2 Delay val es / increments for presets 10 and 11.......................................................................... 31
6.3 MIDI-implementation ..................................................................................................................... 32
6.4 Defa lt settings ............................................................................................................................. 33
6.5 Specifications ............................................................................................................................... 34
7. WARRANTY .......................................................................................................................... 35

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1. INTRODUCTION
The BEHRINGER VIRTUALIZERPRO is a member of the latest generation of m lti-effects processors. To
generate reverberation that is very nat ral in character, we at BEHRINGER developed innovative virt al aco s-
tics algorithms which allow for comp ting all room and reverb parameters with absol te pro-level q ality and a
highly nat ral so nd character.
Since its introd ction in the early 80s, artificial digital reverb has been an indispensable standard tool for st dio
and live applications. Before, professional reverberation co ld only be prod ced by sing b lky and expensive
reverberation plates. With the rapid development of digital technology it has become possible to drastically
red ce the price of a good reverb nit, so it is anything b t n s al today to find at least one digital reverb
device in the racks of P.A. rental companies and recording st dios. Owing to their system str ct re, most
digital effects processors are also capable of generating other effects in addition to reverberation. These m lti-
effects processors enable the ser to easily prod ce a maxim m variety of effects feat ring pro-level a dio
q ality.
With the BEHRINGER VIRTUALIZERPRO yo have p rchased a very powerf l m lti-effects processor which
offers both first-class reverb so nds and vario s other effect algorithms. Altho gh yo will find a high n mber of
effect types - 32 newly developed effect types with more than 700 variations - the VIRTUALIZERPRO can be
operated easily and int itively with its logically str ct red ser interface. The VIRTUALIZERPRO gives yo
well-known classic effects s ch as reverb, delay and chor s, pl s a broad spectr m of additional programs
incl ding s ch extraordinary effects as "Vocal Distortion", "Rotary Speaker Sim lation" or "Vocoder". To be
able to f lly exploit these effects as well as the other feat res of the BEHRINGER VIRTUALIZER PROs
innovative virt al aco stics technology, we recommend that yo read this sers man al caref lly.
+The follo ing operational manual ill introduce you to the BEHRINGER VIRTUALIZER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
Despite extensive comp ting work which is done in the DSP1000P by a d al-engine 24-bit processor, the
VIRTUALIZERPRO can be operated easily and conveniently. All parameter edits are performed with the jog
wheel (rotary control). 100 presets are available to store ser-defined programs.
However, the DSP1000P is by no means limited to excellent reverb and delay programs. In addition to the
sim lation of classic plate reverbs, the VIRTUALIZERPRO gives yo extraordinary mod lation effects (s ch
as chor s and flanger), pl s a few special-p rpose variants, e.g. a m sical pitch shifter as well as tremolo and
rotary speaker sim lations. With the vocoder and vocal distortion effect programs, yo even have ltra-modern
effects available that the DSP1000P generates with absol te realism.
A very special feat re are the high-low filters which can be freely edited and directly selected in each preset.
With these filters yo can fine-t ne the so nd of yo r presets to match any given room characteristics - a time
saving feat re especially for live applications, where every second co nts. The VIRTUALIZERPRO not only
feat res a logical and easy-to-operate ser interface b t also highly impressive specifications. With its com-
plete MIDI implementation the DSP1000P can be integrated in any MIDI system. A MIDI software editor (soon
available) enables yo to program the VIRTUALIZERPRO from yo r personal comp ter, and the MIDI interface
allows for transmitting data from the DSP1000P and store them on an external storage medi m. For example,
yo can se sys-ex d mps to send all presets and settings to yo r seq encer program and reload them from
there whenever yo want.
The philosophy behind BEHRINGER prod cts g arantees a no-compromise circ it design and employs the
best choice of components. Top-q ality 20-bit AD/DA converters which belong to the best components avail-
able owing to its o tstanding specifications and excellent sonic characteristics. Two 24-bit DSPs are sed as
the heart of the VIRTUALIZERPRO. These perform the precise calc lations needed for the processing of the
complex algorithms. Additionally, the VIRTUALIZERPRO ses high q ality resistors and capacitors with very
tight tolerances, high-grade switches, low-noise operational amplifiers (type 4580) as well other selected com-
ponents
The VIRTUALIZERPRO DSP1000P ses SMD technology (S rface Mo nted Device). These s bminiat re
components known from aerospace technology allow for an extreme packing density, pl s the nits reliability
co ld be improved. Additionally, the nit is man fact red in compliance with a ISO9000 certified management
1. INTRODUCTION

8
system.
1.2 Before you begin
Yo r BEHRINGER VIRTUALIZERPRO was caref lly packed in the factory and the packaging was designed
to protect the nit from ro gh handling. Nevertheless, we recommend that yo caref lly examine the packag-
ing and its contents for any signs of physical damage, which may have occ rred 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 VIRTUALIZERPRO fits into one standard 19" rack nit of space (1 3/4"). Please allow at
least an additional 4" depth for the connectors on the back panel.
+Be sure that there is enough space around the unit for cooling and please do not place the
VIRTUALIZERPRO on high temperature devices such as po er amplifiers etc. to avoid over-
heating.
The mains connection of the VIRTUALIZERPRO is made by sing a mains cable and a standard IEC recep-
tacle. It meets all of the international safety certification req irements. Please make s re that all nits have a
proper gro nd connection.
+Before you connect your VIRTUALIZERPRO to the mains, please make sure that your local
voltage matches the voltage required by the unit! (see chapter 5 for details)
+Please ensure that only qualified persons install and operate the VIRTUALIZERPRO. During
installation and operation the user must have sufficient electrical contact to earth. Electro-
static charges might affect the operation of the VIRTUALIZERPRO!
As a standard the a dio inp ts and o tp ts on the BEHRINGER VIRTUALIZERPRO are f lly balanced. If
possible, connect the nit to other devices in a balanced config ration to allow for maxim m interference
imm nity. The a tomatic servo f nction detects nbalanced connections and compensates the level difference
a tomatically (6 dB correction).
The MIDI links (IN/OUT/THRU) are made over standardized DIN patch cords. The data comm nication is
isolated from gro nd by opto-co plers.
1.3 Control elements
Fig. 1.1: VIRTUALIZERPRO front panel
The BEHRINGER VIRTUALIZERPRO is eq ipped with ten parameter keys, one jog wheel (rotary control), an
LED display and a power switch. Each of the two f lly independent channels can be monitored with an 8-stage
LED meter.
1. INTRODUCTION

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Fig. 1.2: Displa section of the DSP1000P
1The two LED chains display the inp t signal level indB, referenced to the internal digital maxim m.
+Please note that the nominal level of the VIRTUALIZERPRO can be selected ith the
+4dBu/-10dBV s itch located on the back panel.
2The EFFECT TABLE gives yo an overview of the 32 different effect algorithms.
3After power- p, the LED display shows the n mber of the preset last sed. This clearly legible, 2½ digit
n meric display has pl s/min s indicators to show that parameters are being incremented or decremented
in Edit mode.
Fig. 1.3: Function ke s and jog wheel
4With the JOG WHEEL, a contin o s rotary control, yo can freely edit the selected parameters. T rn
the wheel clockwise to increase the val es, or co nterclockwise to red ce them.
+As long as none of the edit functions to the right of the jog heel have been selected, you can
use the heel to select a program directly, hich is sho n by a dot lit 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 at least one second, the LED in the display
disappears and the program ill be loaded.
5Use the EFFECT key to directly select one of the 32 basic effect algorithms with the jog wheel.
+Whenever a ne algorithm is selected, all parameters are reset to default values. See table 6.4
in the appendix.
1. INTRODUCTION

10
6The VARIATION key allows yo to select an alternative variation of each effect algorithm activating a
different set p of the n mero s internal effect parameters. With this feat re yo can extensively manip -
late the effect so nd within a very wide range.
7Use the ENGINEL key to select the left a dio channel for tr e-stereo effects. Many effects may have
different ENGINEL and ENGINER parameters available thro gh EDITA and EDITB. Where to find
which parameter can be seen from the parameter list printed on the top of the nit.
8Use the ENGINER key to select the right a dio channel (similar to point 7: ENGINEL). If yo wish to
process the left and right a dio channels sim ltaneo sly (COUPLE mode), press both Engine keys
together. In COUPLE mode both Engine LEDs light p. Whenever yo edit one of the two a dio chan-
nels and then switch to COUPLE mode, the parameters of the active channel will be copied to the other;
i.e if yo press ENGINE L before R, left will be copied to right. When parameters cannot be adj sted
separately in a specific algorithm, the DSP1000P switches to COUPLE mode a tomatically.
9In each preset yo can edit at least two parameters in addition to the preset variation. Use the EDITA
key to select the first parameter. The exact parameter assignment can be seen from the parameter list
printed on top of the nit.
10 The EDITB key allows yo to modify the second parameter as req ired.
11 To give yo r programs the finishing to ch, the VIRTUALIZERPRO incorporates two filters. Use the EQ-
HI key to raise or lower the high-freq ency portions of the effect program.
12 The EQ-LO key activates a filter which processes the low-freq ency portions of yo r preset.
13 The IN/OUT key enables yo to bypass the DSP1000P. The green LED lights p as soon as the
VIRTUALIZERPRO is activated. Depending on the Mix mode adj sted (see below), this key can also be
sed to activate the M te f nction. Additionally, the green LED starts flashing whenever MIDI data are
being received.
14 Use the STORE key to save the edited program to a ser preset as shown in the display. 100 ser
presets are available on the DSP1000P. Press the key once to select a memory location (n mber), then
press it again to store the preset.
15 Use the POWER switch to switch the VIRTUALIZERPRO on or off.
Key combinations
To protect the DSP1000P against ser errors, three important edit commands have been implemented as a
series of key combinations. For example, in normal operating modes, the presets cannot be reset to their
factory defa lts, so as to sec re yo r own programs as safely as possible. Please proceed as follows to
reinitialize the preset defa lt settings:
sKeep the keys EFFECT and STORE pressed before powering up the VIRTUALIZERPRO. Then
s itch on the DSP1000P 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.
The VIRTUALIZERPRO provides two methods to mix the inp t and the effect signals (External Mix and
Internal Mix modes). Select External Mix mode to se the DSP1000P with a mixing console: in this mode all
presets are set to 100% effect intensity, i.e. yo can se the a x ret rn b sses of yo r console to add the
processed signal to the original signal. In External Mix mode the IN/OUT key is sed to bypass the nit. Heres
how to enter External Mix mode:
sWith the unit s itched on, press the Mix mode key combination, i.e. the keys EQ LO and EQ HI.
The VIRTUALIZERPRO enters Mix mode. When the display sho s t o dashes, the DSP1000P
is in External Mix mode, and hen a figure is displayed, Internal Mix mode is selected. To toggle
bet een the t o modes, simply press both EQ keys for about 2 seconds.
In Internal Mix mode yo can se the jog wheel to freely select the effect intensity in each preset within a
range from 0% to 100%, a highly sef l feat re, for instance, to insert the DSP1000P in the effect loop of a
g itar amp. Good res lts can be achieved with settings between 20% and 50%.
Another key combination can be sed to enter MIDI mode. With the VIRTUALIZERPRO switched on, pro-
ceed as follows:
sKeep the keys IN/OUT and STORE pressed for about t o seconds, the DSP1000P automati-
cally enters MIDI mode. Use the IN/OUT key to step through the various MIDI parameters. Press
1. INTRODUCTION

11
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any other key to quit MIDI mode.
Fig. 1.4.: Back panel connectors and control elements
16 Use the OPERATING LEVEL switch to adapt the VIRTUALIZERPRO to different operating levels. Yo
can select a -10 dBV semi-pro level sed for home recording and a +4 dB level sed in professional
st dios. The level indicators on the front panel are a tomatically adapted to read the selected nominal
level, i.e. an optim m operating range of the meters is always g aranteed.
17 These are the VIRTUALIZER PROs analog INPUTS. The VIRTUALIZERPRO has both XLR and jack
inp ts and o tp ts. Each XLR and jack set are wired parallel and can be sed either balanced and
nbalanced.
18 These are the VIRTUALIZERPROs analog OUTPUTS. Also on balanced or nbalanced XLR or TRS
jacks.
19 These are the VIRTUALIZERPROs MIDI connectors (MIDI OUT / THRU / IN). Total remote control is
possible via MIDI.
20 Please take the time to make a note of the SERIAL NUMBER in the space provided on the enclosed
Warranty Registration Card. P t the instr ction man al in a safe place and ret rn the completed
Warranty Registration Card to s within 14 days of p rchase, making s re that the dealer stamp
has been acq ired (certain co ntries only).
21 This is the MAINS CONNECTOR / FUSE HOLDER / VOLTAGE SELECTOR. Before yo connect the
nit, please make s re that the displayed voltage corresponds to yo r Mains s pply. Please note that
the AC voltage selection is defined by the position of the F se Holder. If yo intend to change the
operating voltage, remove the F se Holder and t rn it by 180 degrees before yo reinsert it. Matching the
two markers monitors the selected voltage. Please note that, depending on the mains voltage s pplied
to the nit, the correct f se type and rate m st be installed (see chapter 6.5 SPECIFICATIONS).
Please se the enclosed mains cable to connect the nit to the mains power s pply.
+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.
1.4 The effect algorithms
In a digital effects device all effect programs are based on algorithms comp ted by a Digital Signal Processor
(DSP). How does this work? A DSP can perform an enormo s n mber of binary comp tations in a minim m
amo nt of time. The binary comp tations sed to generate an effect as part of a program are determined by a
so-called algorithm which represents a r le for comp ting n merical val es that are exactly specified for each
effect type. For example, reverb algorithms differ from chor s algorithms in their programming. Plainly speak-
ing: each effect is based on a specific algorithm which processes the inp t signal (converted from analog to
digital before). All of this work is done by the DSP. Once the effect has been generated and added to the inp t
signal, the digital m sic signal is converted back to analog by means of a D/A converter.
The VIRTUALIZERPRO permits the change of as many as five parameters which infl ence the so nd in
different ways. This means that for some algorithms the parameters are chosen by sing key combinations
with ENGINEL and ENGINER. In these cases a combination of ENGINEL and ENGINER with the EDITA
and EDITB key will not mean that only one channel is affected. The combination EDITAENGINEL is a
different parameter than the combination EDITAENGINER, these parameters will be changed on both
channels. With a reverb effect (like PRG 1) Edit BENGINER does not mean that the right a dio channel is
processed, b t that the second Edit B parameter (with Prg.1: High M ltiply) is adj sted.
The only exception is the DUAL MONO (PARALLEL) effects, which prod ce another effect in the left channel
1. INTRODUCTION

12
from the right channel. In those cases EDITB  ENGINEL or EDITB  ENGINER means that yo select
EDITB and the left or right engine. If we only state EDITB for instance then the selection of the left or right
engines does not play a role.
1.4.1 Reverb and delay algorithms
Cathedral: Reverb program that generates long and dense reverberation, m ch like the nat ral reverb
ambience fo nd in ch rches or cathedrals. Partic larly s itable for solo instr ments and voices. Varia-
tion modifies the decay time, EDITA adj sts the differences between tiled and ang lar walls (diff sion),
while EDITBENGINEL governs the early reflections and EDITBENGINER the brilliance of the
reverb signal.
Plate: The so nd of early reverb plates. The decay time can be set from 0-9 s sing VARIATION.
EDITA determines the pre-delay by changing the perceived size of the room, EDITB ses ENGINEL
to enhance the stereo image and ENGINER to modify the room brilliance. A classic reverb program for
dr ms and solo voices.
Small Hall: Sim lation of a small, highly reverberating hall. Use short reverb times (VARIATION) to
process dr m instr ments or medi m reverb times to enhance wind instr ments. EDITA controls diff -
sion, EDITB early reflections (ENG.L) and stereo width (ENG.R).
Room: Yo can clearly hear the walls of this room as they are reflecting the so nd. Their characteristics
can be changed with EDITB (from reflective (tiles, marble) to absorbent (carpets, c rtains). Use VARIA-
TION (reverb time / room size) to create any room typefrom small store rooms to large living rooms.
EDITA governs the pre-delay. A sef l program for reverb that isnt directly noticable (rap, hip hop
vocals) or to make dry recordings of instr ments so nd nat ral again. Very all-ro nd effect.
Studio: Middle to large rooms that can be modified in their wall characteristics (EDITB, ENG.R), early
reflections (EDITBENG.L), position of so nd so rce (= pre-delay: EDITA) and size (VARIATION).
Creates a nat ral and m ltip rpose so nd.
Concert: Use VARIATION (reverb time) to create a small theater or large concert hall, determine the
distance to the stage (= predelay: EDITA), the distance to neighboring walls (= early reflections:
EDITBENG.L) and their str ct re (= diff sion: EDITBENG.R).
Stage: Wonderf l reverb, for example, to provide keyboard pads or aco stic g itars with width and
depth (EDITBENG.R = stereo idth), and to make them so nd fresher (EDITBENG.L = bril-
liance). Additionally, yo can set the reverb time with VARIATION and the diff sion with EDITA.
Designed for live applications and mixdown.
Vocal: Rich and dense reverb with middle reverb times (VARIATION) giving solo voices their finishing
to ch. EDITA controls pre-delay, EDITBEng.L early reflections and EDITBENG.R brilliance.
Percussion: This dense reverb is characterized by prono nced early reflections which make it very
s itable for dynamic signals (dr ms, perc ssion, slap bass, etc.). Apart from diff sion (EDITA) and
reverb time (VARIATION) yo can create interesting effects sing the separately adj stable decay time
of high-freq ency portions (EDITB), which make the reverb more, or less a dible.
Stereo Delay: Here, the inp t signal is delayed by as m ch as 5.1 s. Use VARIATION for a ro gh
setting from 0 ms to 5.1 s. Use EDITA to adj st the delay time in milliseconds (in steps of 5 ms p to
VARIATION 6, then 10 ms). EDITB determines the amo nt of effect signal that is fed back to the effect
(inp t signal is repeated several times with decaying intensity). The maxim m feedback is limited to
avoid feedback loops.
Stereo Ping-Pong Echo: M ch like the delay effect, echo repeats the inp t signal with decaying
intensity. However, here the echoes lose brilliance with each repetition, which sim lates the trendy
vintage effect prod ced by tape echo nits that were widely sed in the pre-digital era. Additionally, the
reflections are alternatingly ro ted to the left and right channels so as to prod ce a kind of stereo
effect.
1. INTRODUCTION

13
E
Gated Reverb: Phil Collins song In the air tonight made this effect famo s: a reverb is c t off
abr ptly after a certain time. VARIATION determines the c toff time, EDITA controls the reverb
intensity and EDITB the threshold above which reverb comes in (a kind of noise-gate before the
reverb signal inp t).
+If used for rhythmical signals (snare) adjust the length so that the reverb is cut off just before
the next quarter note (e.g. bpm = 120, quarter note = 0.5 s, length less than 0.5 s).
Reverse Reverb: A reverb program with an inverted amplit de envelope, i.e. the effect starts softly
and then increases in vol me. This effect sed to be created by playing a tape in reverse direction,
recording the reverb signal, and then playing back the tape in forward direction again, with the res lt
that the reverb signal was played back before the act al inp t signal. VARIATION controls the length of
the signal, EDITA the delay, and EDITB the threshold above which the effect responds.
1.4.2 Special effects
Vocal Distortion: A clearly p-to-date program for lo-fi effects applied to vocals or dr m loops, com-
bined with a delay. VARIATION determines the degree of distortion in 32 steps, EDITA controls the
delay from 0 to 200 ms. EDITB governs the delay mix. As a little extra the distortion circ it also
incl des an LFO-controlled notch filter which a dibly wanders back and forth with maxim m distortion
(VARIATION 32).
Rotary Speaker: Sim lation of the legendary rotary speaker effect prod ced by speakers rotating at
slow/fast speed within a b lky cabinet. The effect ses the physical principle known as Doppler effect.
VARIATION changes the freq ency response (higher val e = less high freq encies). Settings of 30 and
higher also sim late the t be distortion that was prod ced by the original cabinets in the 70s. EDITA
controls the speed of the horn-loaded speaker (treble range), EDITB that of the rotor (bass range).
Vocoder: Another all time favorite that has gained new pop larity d ring the disco m sic renaissance of
the past few years (Aro nd the World by Daft P nk or California by T Pac). Basically, a control signal
( s ally vocals) in the right channel is sed to mod late another signal in the left (e.g. synth so nd),
which so nds as if the synth was talking (robot voice). VARIATION determines the type of vocoder,
EDITA the degree of distortion, and EDITB the effect sensitivity.
1.4.3 Modulation and pitch shifter effects
Pitch: This effect transposes the inp t signal either in cents (EDITA  prod cing a light det ne effect)
or semi-tones (EDITB p/down to one octave). Settings can be made independently for both chan-
nels, so as to create harmonies or simply to widen the so nd of a single voice. The pitch effect can also
be sed to prod ce a cartoon character type voice effect.
Flanger: An LFO constantly mod lates the effect signals pitch by a few cents p and down. The LFO
speed is controlled by VARIATION, the amo nt of pitch mod lation by EDITA, the portion of the effect
signal fed back to the effect block (=feedback) can be determined with EDITB. By the way, yo can
separately control the channels mod lation depth and feedback, which allows for highly complex
mod lations. Flanger effects are primarily sed for g itars, b t there are also lots of other sef l applica-
tions: voices, cymbals, bass, remixes, etc.
Chorus: Tho gh similar to the flanger, chor s ses a delay f nction instead of feedback. Combined with
the pitch shifting feat re, the delay prod ces a very pleasant det ne effect. VARIATION changes the
mod lation freq ency, EDITA controls the delay and EDITB the mod lation depth. Chor s effects are
sed so often and in s ch a variety of applications that any recommendation wo ld mean a limitation of
their se.
1. INTRODUCTION

14
Tremolo & Delay: Since trip hop has become trendy, this effect  originally fo nd in g itar amps 
is sed to prod ce a more or less fast and intensive variation of vol me (with an additional panorama
effect incl ded in the DSP1000P). The mod lation speed is controlled with VARIATION, the intensity
with EDITA, and the panning rhythm with EDITB. This algorithm belongs to the gro p of m lti-effects
programs and also incl des a delay effect which can be adj sted with EDITA-ENG.R (= delay time
from 0 to 340 ms in steps of 5.4 ms) and EDITB-ENG.R (= feedback).
1.4.4 Effect algorithm combinations (multi-effects programs)
Effect algorithms nos. 20 thro gh 24 are m lti-effects algorithms combining vario s effect types with, for
instance, a reverb algorithm, and can hence be sed sim ltaneo sly. For example, effect #24 allows yo to
chor s a lead g itar so nd and at the same time add some room reverb.
Tremolo & Delay: This effect was originally meant for g itar b t has become very pop lar with the
emergence of trip-hop. A variable, both in intensity and speed, variation of the vol me, with additionally
a panning effect. Determine the speed of the mod lation yo with VARIATION, the intensity with
EDITA-ENGINEL and the Panning speed with EDITB-ENGINEL. This algorithm belongs to the
gro p of the m lti-effect programs and is combined with a delay. Delay time is set with EDITA-ENGINER
ranging from 0 to 630 ms (10 ms increments) feedback is set with EDITB-ENGINER.
Delay & Reverb: Probably the most pop lar combination sed for vocals, solo g itars, etc. With
ENGINEL yo can adj st delay time (EDITA-ENGINEL) and feedback (EDITB-ENGINEL).
EDITA-ENGINER controls decay time and EDITB-ENGINER reverb mix. The program ses a Bright
Room reverb which can be sed for a variety of applications. VARIATION changes the Delay Mix.
Pitch & Reverb: Use ENGINEL to transpose the pitch shifter (EDITA = cents; EDITB = semi-tones),
and ENGINER to control the reverb (Bright Room).
Flanger & Reverb: The flanger can be controlled in its mod lation depth (ENG.LEDITA) and feed-
back (ENG.LEDITB), the reverb in its decay time (ENG.REDITA) and mix amo nt (ENG.R
EDITB). Yo can also adj st the mod lation freq ency with the VARIATION parameter.
Chorus & Reverb: This algorithm combines the pop lar chor s effect. Controllable parameters: mod -
lation freq ency (VARIATION), mod lation delay (ENG.LEDITA) and depth (ENG.LEDITB) with
the reverb from programs nos. 21-23.
1.4.5 Dual-mode effects algorithms
Unlike m lti-effects programs, d al-mode programs (nos. 25 thro gh 32) have their effects split p and sent
separately to the two a dio channels (left/right). For example, yo can ro te a flanger to the VIRTUALIZERPROs
left channel, while sing a reverb (effect #26) for the right channel. In this way, yo can se the DSP1000Ps
d al-engine processor as if it were two separate mono effects devices.
Pitch/Reverb: Here, yo have a pitch shifter in the left channel (= Engine) with the s al edit options,
and a reverb in the right channel, which can be controlled in its length (EDITA) and high-freq ency
content (EDITB).
Flanger/Reverb: left channel = flanger, mod lation speed is controlled by VARIATION, delay by
ENG.L-EDITA and depth by ENG.L-EDITB. Right channel = reverb, with reverb time controlled by
ENG.R-EDITA and brilliance with ENG.R-EDITB.
Chorus/Reverb: Left channel = chor s, mod lation speed is controlled by VARIATION, delay by
ENG.L-EDITA and feedback by ENG.L-EDITB. Right channel = reverb, with reverb time controlled
by ENG.R-EDITA and brilliance with ENG.R-EDITB.
Tremolo/Reverb: Left channel = tremolo, mod lation speed is controlled by VARIATION, delay by
ENG.L-EDITA and feedback by ENG.L-EDITB. Right channel = reverb, with reverb time controlled
by ENG.R-EDITA and brilliance with ENG.R-EDITB.
1. INTRODUCTION

15
E
Delay/Reverb: normal delay left, delay time can be set from 0 to 630 ms with ENG.L-EDITA in
10ms steps and feedback by ENG.L-EDITB. Right channel = reverb, with reverb time controlled by
ENG.R-EDITA and brilliance with ENG.R-EDITB.reverb right.
Pitch/Echo: Left channel a pitch shifter. ENG.L-EDITA = shift in cents, ENG.L-EDITB = semitones.
Right channel = echo effect, delay time can be set from 0 to 630 ms with ENG.R-EDITA in 10ms
steps and feedback by ENG.R-EDITB.
Flanger/Echo: Left channel a flanger, mod lation freqency is controlled with VARIATION, depth with
ENG.L-EDITA and feedback with ENG.L-EDITB. Right channel = echo effect, delay time can be
set from 0 to 630 ms with ENG.R-EDITA in 10ms steps and feedback by ENG.R-EDITB.
Chorus/Echo: Left channel a chor s effect, mod lation freq ency is controlled with VARIATION,
mod lation delay with ENG.L-EDITA and mod lation depth with ENG.L-EDITB. Right channel =
echo effect, delay time can be set from 0 to 630 ms with ENG.R-EDITA in 10ms steps and
feedback by ENG.R-EDITB.
+For an overvie of all program parameters see the table in section 6.1.
1. INTRODUCTION

16
2. OPERATION
2.1 Effects structure
Fig. 2.1: Effects structure
2.2 Selecting presets
The VIRTUALIZERPRO stores 100 ser-definable presets. After power- p, the nit a tomatically recalls the
preset last sed. To select another preset, se the jog wheel to enter the preset n mber of yo r choice. T rn
the wheel clockwise to increment the preset n mber, or co nterclockwise to decrement it.
+Please note that the VIRTUALIZERPRO generally activates the ne ly 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 VIRTUALIZER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. Other ise incomplete "parameter remnants" of presets could reach the
audio outputs of the VIRTUALIZERPRO, ith possibly disastrous consequences, especially
2. OPERATION

17
E
hen using a high-po er P.A. system. Thus, the VIRTUALIZERPRO makes sure that no "un-
anted" programs 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 "neighbours".
+The effect algorithms may have greatly varying output levels, reduce the sensitivity (input gain)
of subsequent devices before changing programs.
2.3 Editing programs
Editing programs is easy on the VIRTUALIZERPRO. Basically, all essential parameters can be selected
directly via the keypad and edited with the jog wheel. The list to the left of the display s mmarizes the effect
algorithms that the VIRTUALIZERPRO can generate. J st press the EFFECT key to recall these basic algo-
rithms and directly select them with the jog wheel. With the VARIATION key yo can modify the selected
effect in f ll detail, beca se each Variation does not only comprise one parameter b t a set of several param-
eters. Th s, yo can se the vario s Variations to tailor the so nd of an effects program to s it yo r specific
needs. The EDITA and B keys enable yo to edit essential single parameters of the selected effects program,
while the EQLO and EQHI keys allow for adapting yo r own presets to match specific room aco stics or
so nd preferences. Use the ENGINEL and ENGINER keys to edit the left or right a dio channel settings. Of
co rse, yo can edit both channels at the same time in COUPLE mode. When entering COUPLE mode, the
VIRTUALIZERPRO copies the parameter settings of the channel last activated to the other channel, so that
both of them have an identical set of parameter val es. Finally, yo can also save the changes made to the
preset.
2.4 Saving programs
Use the STORE key to save an edited preset. Basically, all parameter changes can be saved. Whenever
yo re editing a preset, the display starts flashing to indicate that the edits will be saved only when yo confirm
them by pressing the STORE key twice. Example:
sYo recall a program for editing. Then yo edit the preset as desired sing the f nction keys and the jog
wheel. D ring this process, the flashing STORE key reminds yo that the preset settings have been
changed b t not saved yet. Press the STORE key once. The display reads the c rrent preset n mber and
starts flashing. To keep the original preset, se the jog wheel to select another preset that can be overwrit-
ten. Press the STORE key again to save the changes to the selected preset. If yo wish to overwrite the
original preset, simply press the STORE key twice (after editing) to save all changes yo have made.
+Whenever you have edited a preset and pressed the STORE key t ice, 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
STORE key a second time.
2.5 MIDI control
Use the MIDI key combination to select the MIDI parameters yo wish to adj st. For this p rpose, keep the
IN/OUT and the STORE keys pressed for abo t two seconds. All parameters can be edited with the jog wheel
and the IN/OUT key. The MIDI men incl des five pages which yo can select by pressing the IN/OUT key
several times.
On the first page yo can select the MIDI channel. The display shows a small c (= channel). The jog wheel
adj sts a channel from 1 thro gh 16. To switch off the MIDI f nction, simply select the 0 val e (displayed as
-).
On the second page yo can select MIDI Omni mode, i.e. the nit 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 config ring controller commands. On its right-hand side, the display shows a capital
C (=Controller). The jog wheel selects one of the following fo r controller modes:
2. OPERATION

18
Display Mode
0 No controller data are transmitted
1 Controller data are received but not transmitted
2 Controller data are transmitted but not received
3 Controller data are transmitted and received
Tab. 2.1: Controller settings
The fo rth page gives yo access to the program change set p. The display shows a capital P (=Program).
Here, too, fo r modes can be selected with the jog wheel, as follows:
Display Mode
0 Program changes are not transmitted
1 Program changes are received but not transmitted
2 Program changes are transmitted but not received
3 Program changes are transmitted and received
Tab. 2.2: Program change settings
The fifth page of the MIDI men shows the store enable flag represented by a capital S in the display. The
val e 0 disables the reception of controller #28, and therefore protects the ser presets from being modified
via MIDI. Accordingly, the val e 1 enables MIDI controller #28 so that yo can modify or replace presets with
a remote MIDI device or a seq encer. In this case the act al settings will be stored directly to the location that
corresponds to the controller val e.
+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 #28 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 VIRTUALIZERPRO. It is therefore rec-
ommended 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 VIRTUALIZERPRO.
If yo press the IN/OUT key again on the fifth page, the VIRTUALIZERPRO q its MIDI set p mode.
On the sixth and last page, yo can access the System Excl sive f nctions. This is indicated by a d (for
d mp) in the display. To the left of this d a n mber is displayed:
- 0 means that no SYSEX data will be sent or accepted.
- 1 will enable the VIRTUALIZER PRO to receive data. When STORE is pressed the nit will wait for data, this
is shown by flashing dots (LEDs) in the display. The MIDI key LED flashes signaling that SYSEX data is
being received.
- 2 will enable the VIRTUALIZER PRO to send a b lk d mp. Start yo r seq encer and press STORE on the
DSP1000P to start the transmission.
To load these settings again, select 1, press STORE and start yo r seq encer. If yo press IN/OUT again,
yo will leave the MIDI set p. At all times yo can press any other key to leave the MIDI set p directly.
+During a bulk dump, all audio functions of the VIRTUALIZER PRO ill be deactivated.
The f ll-feat red MIDI implementation of the VIRTUALIZERPRO allows for easily integrating of the
VIRTUALIZERPRO into any MIDI system.
sMIDI IN
Any MIDI data sent to the VIRTUALIZERPRO (seq encer, MIDI footswitch, etc.) is received via the MIDI IN
jack. For example, when yo wish to se the VIRTUALIZERPRO as an effects devices for yo r g itar rack,
yo can connect the MIDI IN jack to a MIDI footswitch that allows for selecting program presets. If yo r rack
incl des another MIDI effects devices (e.g. a m lti-effects processor), the data sent from the MIDI footswitch
can be ro ted via the VIRTUALIZERPROs MIDI THRU jack to yo r m lti-effects processor.
2. OPERATION

19
E
sMIDI THRU
The MIDI THRU jack is sed to loop thro gh incoming MIDI data, i.e. any control data received at the MIDI IN
of the VIRTUALIZERPRO can be transmitted via the MIDI THRU jack to other MIDI devices/instr ments.
sMIDI OUT
The MIDI OUT jack allows for transmitting MIDI data that originate from the VIRTUALIZERPRO. We are
c rrently developing a software editor which will allow for storing single items of the VIRTUALIZERPROs
internal data on an external medi m, by sing controller commands. Th s, it will be possible to archive
VIRTUALIZERPRO settings and presets on a comp ter, seq encer or MIDI data recorder. Both MIDI Control
Change and MIDI Program Change commands will be transmitted when yo edit or recall filter settings (see
6.2). Detailed information on this f t re control are available from o r BEHRINGER hotline (Germany: tel.
(0)2154-920666), o r international distrib tors and/or o r Internet homepage http://www.behringer.de.
3. APPLICATIONS
The BEHRINGER VIRTUALIZERPRO is a highly flexible device that can be sed for a wide variety of applica-
tions. Prior to a presentation of the VIRTUALIZERPROs many ses, please note the following remarks on
how to set signal levels correctly.
3.1 Level setting
Take care to set all levels properly on the VIRTUALIZERPRO! Low levels deteriorate the dynamics of the
m sic signal, which res lts in a poor, weak and noisy so nd. On the other hand, excess levels overdriving the
converters in the VIRTUALIZERPRO sho ld also be avoided. Digital distortion is ( nlike its analog co nterpart)
very npleasant to hear as it does not occ r grad ally b t abr ptly.
Use the inp t level meter of the VIRTUALIZERPRO to adj st the inp t signal to abo t -6/-10dB, so that the
Clip LED flickers only rarely. Make s re that it never lights p all the time!
3.2 Using the VIRTUALIZERPRO in the aux bus
By sing the VIRTUALIZERPRO in an a x b s of yo r mixing console yo can feed the channel signals of
one, several or even all console channels into the VIRTUALIZERPRO, i.e. for each channel yo can se the
a x b sses to separately determine the reverb levels of, for instance, vario s dr m so nds: while lots of reverb
is applied to the snare dr m, the effect intensity co ld be red ced in the channels assigned to the tom-toms.
To se the VIRTUALIZERPRO in the a x b s, the nit m st be wired as follows:
Fig. 3.1: Wiring aux busses
3. APPLICATIONS

20
Connect the two Inp t phone jacks with the A x Send o tp ts of the mixing console, and the O tp t jacks of
the VIRTUALIZERPRO with the A x Ret rn inp ts of the console. If yo want to se the BEHRINGER
VIRTUALIZERPRO in mono or d al mode, connect one a dio channel (left or right) to one a x b s.
+Turn do n the volume on your amplifier to protect your equipment against damage. All devices
you ish to interconnect should remain s itched off until they are ired correctly.
Lets s ppose yo wish to se the VIRTUALIZERPRO in a live application, interfaced with the F.O.H. mixer,
to enhance the g itar so nd with a s btle chor s effect.
sConnect the VIRTUALIZERPRO to the a x b s of yo r mixing console (fig. 3.1). Connect the nits to the
mains and adj st the operating level(s) if necessary. Switch on the VIRTUALIZERPRO and set the levels
appropriately (see 3.1). Press the Mix combination to make s re that the nit is set to Mix External mode.
Press the EFFECT key and se the jog wheel to select and th s activate the chor s effect (#19). Slowly
t rn p the a x b s level ntil the effect portion added to the g itar signal s its yo r needs. S bseq ently,
yo can make all necessary fine-adj stments. We ass me that yo wish to edit the mod lation freq ency
of the chor s effect: press the VARIATION key and set the mod lation freq ency with the jog wheel. To set
the mod lation delay, press the EDITA key. The mod lation depth of the chor s effect can be set by
pressing the EDITB key. Having edited all parameters as desired, yo can save the changes to the
original (or any other) preset.
3.3 Using the VIRTUALIZERPRO in the insert path
Basically, yo can also insert the VIRTUALIZERPRO in a channel or s bgro p of yo r mixing console. Use
a dedicated insert cable. Inserting the VIRTUALIZERPRO in a single channel will be sef l only if yo wish to
process a specific signal (e.g. vocals) with the VIRTUALIZERPRO, or if any other insert facilities of yo r
mixing console are already in se.
Channel
Insert Subgroup
Insert
Fig. 3.2: Wiring the VIRTUALIZERPRO in the insert path
With certain special effects, for example the Vocoder effect, it is even more sef l to insert the
VIRTUALIZERPRO in a specific channel rather than connecting it to the a x b s. Proceed as follows: the
signal from which yo are going to generate the vocoder so nd is ro ted to the left a dio channel (e.g.
keyboard so nd), while the right a dio channel can be sed to control and modify this so nd. Use a dedi-
cated insert cable to connect the left a dio channel with a channel insert on yo r mixing console (fig. 3.2).
Connect the signal so rce to be processed with the vocoder effect (e.g. keyboard) to the normal channel
inp t (XLR/jack). Connect the right a dio channel of the VIRTUALIZERPRO with a controller (e.g. a micro-
phone channel direct o t). Talk into the microphone to control the keyboard so nd with yo r voice, i.e.
anything yo sing or talk into the microphone is reprod ced together with the keyboard so nd.
3. APPLICATIONS