Behringer Virtualizer Pro DSP2024P User manual

VIRTUALIZER
®
PRO DSP2024P
Version 1.1 February 2002
User’s Manual
www.behringer.com
ENGLISH

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VIRTUALIZERPRODSP2024P
This symbol, wherever it appears, alerts
you to important operating and mainte-
nance instructions in the accompanying
literature.Read themanual.
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CAUTION: To reduce the risk of electric shock, do not remove
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referservicingto qualifiedpersonnel.
WARNING: To reduce the risk of fire or electric shock, do not
expose this appliance to rain or moisture.
DETAILEDSAFETYINSTRUCTIONS:
Allthe safety andoperation instructions shouldbe read before the appliance is operated.
RetainInstructions:
Thesafety andoperating instructionsshould beretained for future reference.
Heed Warnings:
Allwarnings on the appliance and in the operating instructionsshould be adhered to.
Followinstructions:
Alloperation and user instructions shouldbe followed.
Water and Moisture:
Theapplianceshould notbeused near water(e.g. near abathtub,washbowl, kitchensink,laundry tub,ina wet
basement, or near a swimming pool etc.).
Ventilation:
The appliance should be situated so that its location or position does not interfere with its proper ventilation.
For example, the appliance should not be situated on a bed, sofa, rug, or similar surface that may block the
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Heat:
The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other
appliances(including amplifiers)that produceheat.
Power Source:
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Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed
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VIRTUALIZERPRODSP2024P
FOREWORD
DearCustomer,
Welcome to the team of VIRTUALIZER PRO users and thank you for demonstrating your faith in us by
purchasingthe DSP2024P.
Writingthis foreword toyou isan extremelypleasant task.After several monthsof intensivebrainstorming and
the subsequent realization of their ideas, our engineers finally achieved an ambitious goal: considerable
improvementofanexcellentpieceofequipment. The VIRTUALIZERhasbeenregardedasstandardequipment
forcountless studiosand P.A. distributorsfor quitea while now.As withany new product,the developmentof
this new VIRTUALIZER PRO also meant a great deal of responsibility. Throughout the entire planning and
development phases, we kept you—the discerning end-user and musician, your requirements and your
requestsat the focalpoint ofour considerations.Meeting your professionalexpectations requireda lotof effort
and more than a few night shifts, but this is exactly the kind of challenge that keeps us alive and kicking.
Developing a new product always brings a large number of people together, and it’s a great feeling when all
involvedcan take pride in theresults.
It is an important part of our philosophy to share our gratification with you, since you’re the most important
member of the BEHRINGER team. With your highly competent suggestions for new products, you’ve
contributed immensely to the development and success of our company. In return, we bring you
uncompromising quality (manufactured under ISO9000 certified management system) as well as excellent
technical and audio specifications, at an extremely favorable price. We hope that this will enable you to fully
unfoldyour creativitywithout beinghampered by budget constraints.
Weare often askedhow wemanage toproduce such high-gradedevices atsuch unbelievablylow prices. The
answeris quitesimple: it’syou, ourcustomers! Lots of satisfied customersmeans largesales volumes,which
in turn enables us to reduce production and logistics expenses. We believe it’s only fair to pass this benefit
back to you—after all, your success is our success!
Iwouldlike tothank everyonewhohelped makeour new VIRTUALIZERPRO projectpossibleand successful.
Each of those people made very personal contributions, from our engineers and designers to our numerous
staff members and finally to you as a BEHRINGER user.
Myfriends, it’s been worththe trouble!
Thankyou verymuch,
UliBehringer

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VIRTUALIZERPRODSP2024P
DSP2024PDSP2024P
DSP2024PDSP2024P
DSP2024P
VIRTUALIZER
®
PRO
High-Performance 24-Bit Multi-Engine Effects Processor
V71breathtaking new algorithms, most intrue stereo
VWave-adaptiveVIRTUALROOMreverbalgorithms for ultra-naturalreverbanddelay
VAwesome modulation, dynamic, psychoacoustic and EQ algorithms
VInnovativeamp simulation,distortion andspecial effects
V11effect combinationswith selectableserial/parallel configuration
VUpto 7 adjustable parameters plusHI and LO EQ pereffect
VHigh-resolution24-bit A/D andD/A converterswith 64/128-timesoversampling
VTruestereo processingfor realistic channel separation instereo image
V24-bitinternal signal processing, professional 46kHz sample rate
V100 factory presets plus 100 user memory locations
VExtensiveMIDIimplementation
VPrecise8-segment LEDlevel meters
VInternalpower supply forprofessional applications
VServo-balancedXLRand 1/4"TRS inputsandoutputs
VManufacturedunderISO9000 certifiedmanagement system

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VIRTUALIZERPRODSP2024P
TABLE OF CONTENTS
1. INTRODUCTION.....................................................................................................................6
1.1 Theconcept .................................................................................................................................... 6
1.2 Before youget started..................................................................................................................... 7
1.3 Controlelements............................................................................................................................. 7
2. EFFECTS ALGORITHMS .....................................................................................................10
2.1 Reverbalgorithms ..........................................................................................................................11
2.2 Delayalgorithms ............................................................................................................................11
2.3 Modulation and PitchShifter effects .............................................................................................. 12
2.4 Dynamiceffects ............................................................................................................................ 13
2.5 Psycho-acoustic effects................................................................................................................ 14
2.6 Filter/EQ effects............................................................................................................................ 15
2.7 Distortion effectsand amp simulations .......................................................................................... 16
2.8 Specialeffects .............................................................................................................................. 17
2.9 Effects algorithmcombinations (multi-effectsprograms)................................................................ 18
3. OPERATION..........................................................................................................................20
3.1 Effects structure............................................................................................................................ 20
3.2 Calling up presets ......................................................................................................................... 23
3.3 Editing programs(edit mode) ........................................................................................................ 23
3.4 Storingprograms........................................................................................................................... 23
3.5 Comparingan editedpreset withthe corresponding factory preset (COMPAREfunction)............... 24
3.6 SETUPmode................................................................................................................................24
3.6.1 MIDIcontrol ........................................................................................................................ 24
3.6.2 INPUTmode ....................................................................................................................... 25
3.6.3 OUTPUTmode.................................................................................................................... 25
3.6.4 Dualengineconfiguration(CONFIG).................................................................................... 25
3.7 Restoring the factory presets ........................................................................................................ 25
4. APPLICATIONS .....................................................................................................................26
4.1 Levelsetting.................................................................................................................................. 26
4.2 Using the VIRTUALIZER PRO in theaux bus ................................................................................ 26
4.3 Usingthe VIRTUALIZER PROin theinsert path............................................................................ 27
4.4 Usingthe VIRTUALIZER PROas aneffects devicefor instruments ............................................... 27
4.5 UsingtheVIRTUALIZER PRO inaMIDI setup............................................................................... 29
5. MIDI FUNCTIONS OF THE DSP2024P ...............................................................................29
5.1 Saving datavia MIDI ...................................................................................................................... 29
6. INSTALLATION .....................................................................................................................30
6.1 Mains connection.......................................................................................................................... 30
6.2 Audioconnections ........................................................................................................................ 30
6.3 MIDIconnections .......................................................................................................................... 31
6.4 Selectingthe operatinglevel.......................................................................................................... 31
7. APPENDIX .............................................................................................................................32
7.1 Parameteroverview ....................................................................................................................... 32
7.2 MIDIimplementation ..................................................................................................................... 34
7.3 Default settings ............................................................................................................................. 35
7.4 Parameterrangeof effectsalgorithms ........................................................................................... 37
8. SPECIFICATIONS .................................................................................................................39
9. WARRANTY ...........................................................................................................................40

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VIRTUALIZERPRODSP2024P
1. INTRODUCTION
In purchasing the BEHRINGER VIRTUALIZER PRO you have acquired an extremely efficient multi-effects
processorthat offers firstclass reverberationeffectsand anumber ofotheralgorithms. TheDSP2024P has71
new effects types, and thanks to its logically structured user interface, it can be used easily and intuitively.
In order to generate an extremely natural reverberation, we at BEHRINGER have developed new kinds of
algorithmsforvirtual acoustics.Thesealgorithms will helpyou calculateallroom andreverberation parameters
withabsolutely professionalquality and naturalness.
Inspite of this extensiveand calculation-intensive work performedby the 24-bit processor in the DSP2024P,
the VIRTUALIZER PRO is very easy to handle. Changing parameters to achieve a specific sound is simple.
Thereare 100presets availableto storeyour ownprograms.
The DSP2024P includes excellent reverb and delay programs, but that’s not all. Besides the classic plate
reverbsimulations, theVIRTUALIZER PROwill impressyou withits excellentmodulation effects(like chorus,
flanger and phaser), which were extended to include special variations like a musical pitch shifter, a tremolo,
and a rotary speaker simulation. The DSP2024P’s dynamic and psycho-acoustic effects allow you to do
withouta number ofadditional pieces of equipment. TheDSP2024P also offersyou a seriesof distortion and
amplification sounds that are combined with a speaker simulation. Thus, as a guitarist in recording
situations, you can achieve an excellent sound on tape or hard disk, even without a speaker cabinet.
All of the DSP2024P’s preset effects include up to seven editable parameters. Editable high and low pass
filters are also available, bringing the grand total to nine (!) editable parameters for each effect! They can be
selected directly and stored in 100 user presets. Thus, you can match the sound characteristics of your
presets to every desired room characteristic and in turn save time during a hectic live operation. Besides its
logicaland simpleoperation, theVIRTUALIZER PRO’stechnical equipment is also impressive.The following
pointsensure signalprocessing at aprofessional level:
VExtremelylow-noise and exact 24-bitA/D and D/A converters.
VAprofessionalsample rateof 46kHzguarantees ahigh signalresolutionfor afrequency response of20 Hz
to 20 kHz.
VThe24-bit processor featuresdual enginesoftware; these twosections processaudio input independently.
VAs for all BEHRINGER products, the highest quality components and controls are used.
Due to its wide-ranging MIDI implementation, the DSP2024P can be used in virtually any MIDI setup. In
addition,youcanuseMIDItoprogramtheVIRTUALIZERPRO using editorsoftwareonyourPC.TheDSP2024P
canalso send controllerand sys-ex data, allowing you to transfer allpresets and settingswith a sys-exdump
to your sequencer. If necessary, you can reload those settings by sending the sys-ex data from your
sequencer back to the DSP2024P.
The following instructions will give you a brief run-down on the terminology and functions of
the VIRTUALIZER PRO. After reading, please store this manual in a safe place for future
reference.
1.1 The concept
BEHRINGER uses an uncompromising selection of components. The heart of the BEHRINGER
VIRTUALIZERPRO isa 24-bitDSP, which,due to its exceptional technical specifications, isregarded asone
of the finest building blocks. With it come the first class 24-bit A/D-D/A converters, guaranteeing a precise
conversion of audio signals. Narrow-range tolerance resistances and capacitors, high-grade switches, and
other selected components are all very high in quality.
TheVIRTUALIZER PROwas manufactured onthe basisof SMD technology (Surface MountedDevice). The
useof sub-miniaturebuilding blocks knownfrom spaceflights allows not only anextreme packing density but
also ensures an increased dependability. The DSP2024P was manufactured under ISO9000 certified
managementsystem.
1. INTRODUCTION

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VIRTUALIZERPRODSP2024P
1.2 Before you get started
TheVIRTUALIZER PROwas carefullypacked inthe factoryto ensuresafe transport.Nevertheless, ifthe box
shows signs of damage, please check the equipment immediately for any signs of external damage.
If the unit is damaged, please do not return it to BEHRINGER, but notify your dealer and the
shipping company immediately. Otherwise, claims for damage or replacement may not be
granted. Shipping claims must be made by the consignee.
TheBEHRINGER VIRTUALIZERPRO requiresone standard 19" rack unitof space(1 3/4").Please leavean
additional 4" installation depth to allow connections at the rear side.
Make sure that there is adequate ventilation and do not place the VIRTUALIZER PRO on top of an amplifier,
whichcouldcause overheating.
Before connecting the VIRTUALIZER PRO to the mains, carefully check that your equipment is
set to the correct voltage:
Thefuse holder onthe femalemains connector has3 triangularmarkings, with twoof thesetriangles opposing
eachother. The VIRTUALIZERPRO is setto the operating voltage printed next to these markers and can be
set to another voltage by turning the fuse holder by 180°. CAUTION: This instruction does not apply to
export models exclusively designed, e.g. for 115-V operation!
Connection to the mains is made by a mains cable with an IEC receptacle that complies with the required
safetyregulations.
All pieces of equipment must be grounded. For your own safety, under no circumstances
should you remove or de-activate the grounding of your equipment or the mains cable.
Installation and operation of this equipment must be carried out by competent staff only. Both
before and after installation, the staff using the equipment should make sure that it is properly
grounded since otherwise electrostatic discharge etc. can lead to an impairment of its
operation. For more information, see chapter 6 “INSTALLATION”.
TheBEHRINGERVIRTUALIZER PROisequipped withelectronically servo-balanced inputsand outputs.The
circuit design features automatic hum suppression for balanced signals and thus ensures trouble-free
operation,evenat thehighest operating levels.Externally inducedmainshum, etc.cantherefore beeffectively
suppressed.Theautomatic servo-functionrecognizesthe presenceof unbalanced connectorsand adjusts the
nominallevel internallyto avoidlevel differencesbetween theinput andoutput signals(6-dB correction).
TheMIDIconnectors (IN/OUT/THRU)are standard DINplug connections.Thedata communicationis isolated
fromgroundby opto-couplers.
1.3 Control elements
Fig. 1.1: VIRTUALIZER PRO front panel
TheBEHRINGERVIRTUALIZERPRO’sfront panelincludesfiveeditcontrols (non-intermittent rotarycontrols),
a jog wheel (big rotary control), six parameter keys, an LED display and a mains switch. Each of the two fully
independentchannels canbe monitored withan 8-digitLED meter.
1. INTRODUCTION

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VIRTUALIZERPRODSP2024P
Fig. 1.2: Display section of the VIRTUALIZER PRO
1
Both the LED CHAINS display the intensity of the input signal in dB in relation to the nominal level,
which is selected on the rear panel with the OPERATING LEVEL switch.
2
Afteryou switch on the VIRTUALIZERPRO, you can read thename of the last used effect on the LED
DISPLAY. When editing, the LED DISPLAY shows the parameter’s name along with a 4-digit
alpha-numericdisplay thatshows theabsolute parameter’svalue.
3
To the right of the LED DISPLAY are four STATUS LEDs which indicate the type of value you are
working with. You may do any of the following:
Vsetthe absolutevalue of aneffect parameter(“%”),
Vincreaseor decrease theamplitude or determine the thresholdpoint of thecompressor (“dB”),
Vmodifya frequency(“Hz”) or
Vmodifya time parameter(“sec”).
4
The ALGORITHM GROUPS LED CHAIN indicates which category the selected effect belongs to.
Altogetherthe DSP2024Pofferseight differentalgorithm groups.
Fig. 1.3: Function keys, controls and jog wheel
5
Everypreset intheDSP2024P allowsyou toedit atleast foureffect parameters. TheEDIT-LED-CHAIN
indicates which parameters are adjusted by the four EDIT CONTROLs. If the top LED lights up,
controls the parameter EDIT A, controls EDIT B, helps in changes of parameter EDIT C and
with youchange thesetting ofparameter EDITD. Ifthe middle LED of theEDIT-LED-CHAIN lights
up, the four EDIT CONTROLs modify the parameters that are arranged to its left and right. The lower
LEDfunctions correspondingly.
For the exact meaning of the individual effect parameters, see chapter 7.1.
1. INTRODUCTION

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VIRTUALIZERPRODSP2024P
6
Withthe1st EDIT CONTROL(non-intermittent rotary control)youchange thevaluesof the first(EDIT A)
and fifth (EDIT E) effect parameters. You can also select MIDI functions (MIDI) with the 1st EDIT
CONTROL.PresstheEDIT key toswitchfrom EDIT AtoEDIT E andviceversa. You reachtheMIDI
function by pressing the SETUP key .
7
The 2nd EDIT CONTROL allows you to modify the values of effect parameters EDIT B and EDIT F.
When you select the INPUT parameter with the help of the SETUP key, you can specify whether the
DSP2024Pfunctions monoor stereomode (see chapter 3.6.2 formore information).
8
The 3rd EDIT CONTROL modifies the values of effect parameters EDIT C, EQ LO, and the global
OUTPUT parameter (see chapter 3.6.3). Here, as well, you select among them using the EDIT and
SETUP keys.
9
Withthe4th EDITCONTROL,you modifythevalues ofeffect parameters EDIT D,EQ HI, andtheglobal
parameter CONFIG (see chapter 3.6.4). Use the EDIT and SETUP keys to choose between the
parameters.
During editing, you can rotate one of the four EDIT CONTROLs minimally to display a brief
description of the current parameter active. This can help you know that, for example, EDIT A
controls the pre delay for all reverb effects of the VIRTUALIZER PRO. After approximately one
second the name is erased and the parameter’s current value is displayed. This function can
be used only by operating one of the controls that has not yet been selected.
10
By turning the MIX/BYPASS CONTROL the effect levels of most effect algorithms are set in the range
from 0 to 100%. If you select 0%, the signal at the inputs of DSP2024P is transferred directly to the
outputs without adding any effects (the signal is completely dry). If you select 100%, only the effected
signal is sent to the outputs (the signal is completely wet).
If you use the DSP2024P in the aux bus with your mixing console, you should always set this
value at 100%. if you’re using the DSP2024P with a guitar amplifier (in a serial effects loop), we
suggest settings between 20 and 50% (depending on the amplifier type).
Please note that, for the effects “parametric” and “graphic EQ”, the MIX/BYPASS CONTROL
allows a gain correction by rotation.
To bypass the DSP2024P’s effects, press the MIX/BYPASS CONTROL. This allows you to compare
between the original and the effected signals. Press the MIX/BYPASS CONTROL again to deactivate
the bypass and return to your chosen effect. When the MIDI IN LED below the control flickers, it
indicatesthat MIDI datais arriving atthe MIDI INport.
Both the MIX/BYPASS CONTROL and the four EDIT CONTROLs react dynamically. This means
that, depending how fast you rotate the wheels, the present parameter is changed in steps of
1, 2, 5 or 10. The faster the rotation, the greater the change in the parameter value.
11
To select one of the 200 presets, press the PRESET key once, then rotate the JOG WHEEL .
12
To select one of the 71 basic effect algorithms, press the EFFECT key once, then rotate the JOG
WHEEL. For information on the parameter values that are set for the basic effect algorithms, see
chapter7.4.
13
To select the EDIT CONTROL function (see - ), press the EDIT key.
14
When you make changes to a user preset, the STORE key’s LED begins to blink. The DSP2024P
comprises100 userpresets foryour own settingsand 100factory presets(see separate preset sheet).
Tosave your changes, pressthe STORE key.Select a storage space(number) with the JOG WHEEL
and confirm it by pressing the STORE key again.
15
If you have made changes to a preset and the LED of the STORE key is blinking, you can press the
COMPARE key to temporarily restore the preset’s original settings. While these settings are loaded,
theCOMPARE key’sLED blinks and“COMP” appearsin theLED DISPLAY.Press theCOMPARE key
again to return to edit mode and store your changes.
16
To enter SETUP mode, press the SETUP key. In setup mode, you can access the parameters shown
belowthe fourEDIT CONTROLs.For moreinformation aboutSETUP mode,see chapter 3.6.
1. INTRODUCTION

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VIRTUALIZERPRODSP2024P
17
To change a parameter’s value, rotate the JOG WHEEL. To increase the value, turn the wheel clock-
wise.To decrease the value,turn the wheel counterclockwise.If none of the edit functions isselected,
you can select a program directly with the JOG WHEEL. When you do so, a spot lights up in the LED
DISPLAY. As long as the spot is illuminated, a program can be selected without making the
corresponding settings immediately audible. This brief signal suppression means that during quick
selection of presets with the JOG WHEEL, not every preset is activated directly. If the JOG WHEEL is
not turned for a second, the spot in the LED DISPLAY disappears and the program is loaded.
18
Toturn the VIRTUALIZER PRO onand off, usethe POWER switch.
Fig.1.4: VIRTUALIZER PROrear panel
19
FUSEHOLDER /VOLTAGE SELECTION.Before connecting the DSP2024P, confirmthat thevoltage
display matches your local mains voltage. When replacing the fuse, you must always use the same
type. In many units the fuse holder can be installed in one of two positions, allowing you to switch
between 230 V and 115 V. If you wish to operate a unit outside Europe at 115 V, then a stronger fuse
mustbeused.(Formoreinformation,seechapter8“SPECIFICATIONS”).The mains connectionis made
viathe IEC receptacle.An appropriate mainscable is included.
20
TheDSP2024Phaswide-rangingMIDI implementation.MIDIIN,MIDIOUT, and MIDITHRUconnectors
areavailable for transmittingMIDI commands.
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
onlineat our websiteunder www.behringer.com.
22
TheDSP2024P’s balancedOUTPUTs are designedas 1/4"TRS and XLRsockets.
23
To switch between -10 dBV (home recording level) and +4 dBu (professional studio level), use the
OPERATINGLEVEL SWITCH.When youswitch betweenthe two,the level displays are automatically
changedto thenominal leveland the VIRTUALIZER PRO operatesin itsoptimal workingrange.
24
Bothof theVIRTUALIZER PRO’sINPUTs are alsoavailable asbalanced 1/4" TRSand XLRsockets.
2. EFFECTS ALGORITHMS
All effects of digital effects equipment are based on various algorithms. An algorithm for a reverb effect, for
example,isprogrammed differentlythan a chorusalgorithm. Eacheffecthas acertainalgorithm withwhich the
digital input signal is processed. The processing takes place within the digital signal processor (DSP). After
the effect is generated and the input signal is mixed, the digital signal is converted back into an analog signal
witha D/Aconverter.
You can edit up to seven parameters for each preset in the VIRTUALIZER PRO. The changes you make will
influencethe soundin differentways. Anoverview ofthe DSP2024P’svarious effects algorithms follows.
2. EFFECTSALGORITHMS

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VIRTUALIZERPRODSP2024P
2.1 Reverb algorithms
REVERB: Astheterm suggests,a“reverb” isareverberation effect.Thereverb canbeconsidered asthemost
importanteffectina mix-downoralive event.TheDSP2024Poffers 12 differentreverberationprograms so that
you have a suitable reverb for every situation. Cathedral simulates the dense, long reverberation of a large
cathedral,which is appropriate for soloinstruments or vocalsin slow pieces. Gold Plate simulates the sound
ofplate reverberatorsand henceis aclassic fordrums (snare) and vocals. Small Hall simulatesa small,lively
(stronglyreflecting) hall.With Room,you canclearly hearthe wallsof theroom. Studio representsa small-to
middle-sized room. With Concert, you can select between a small theater and a large hall. Stage is well
suitedto dissipating thesound ofa keyboard oran acoustic guitar.Spring Reverb simulates a classic spring
reverberation. Ambience reproduces a room impression without late reflections. With Early Reflections,
the initial reflections of a room are clearly audible.
GATED REVERB: Thiseffectsynthetically cutsoff reverberationafter a periodof time.It isfamousin thesong
“In the Air Tonight” by Phil Collins.
REVERSE REVERB: Thisisa reverberationin whichthe envelope isreversed—it slowlygets louder.
Tab. 2.1: Functioning of the reverb effects’parameters
2.2 Delay algorithms
STEREO DELAY: Adelay of theinput signal.Different tempo settingsallow interesting delay effects.
TAPEECHO: Similar to thestereodelay, withthedifferencebeing thattherepetitions have lesspresence.This
simulatesthe characterof the originaltape echothat was used before thedigital era and can bethought ofas
a“Vintage Sound”. The tape echo’s reflections include high andlow pass filters.
2. EFFECTSALGORITHMS

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VIRTUALIZERPRODSP2024P
PING PONG: Adelay effect withchanging stereopositioning, wherethe time intervalsbetween therepetitions
canbe changed.
Tab. 2.2: Functioning of the delay effects’parameters
2.3 Modulation and Pitch Shifter effects
FLANGER: Theword “flange” means“tape spool”,and this explainsthe characteristicsof the effect.Originally
theflangereffect wasgenerated with twotape recorderswhichran synchronously.The sameaudiosignal was
recorded on both machines. If you put a finger on the left spool of one of the machines, the spool and the
playback speed are slowed down. The generated delay results in phase shifting of the signals. Vintage
Flanger simulatesa guitar flanger effect pedaland Jet Stream Flanger sounds likea classicanalog flanger.
CHORUS:Thiseffect slightly detunestheoriginal signal.Avery pleasantdetuneeffect is createdin connection
with the pitch variation. The chorus effect is quite often and extensively used for dispersing signals. Analog
Chorus simulatesa guitarchorus effect pedal, while Vintage Chorus imitates a classicanalog studiochorus.
Ultra Chorus createsthe sound of an eight-personvocal chorus.
PHASER: Withthe phaser, a second, phaseshifted signal isadded to theoriginal audiosignal. The resulting
sound is thicker and above all livelier. This effect is often used for guitar sounds and keyboards. In the 70s, it
wasalso extensively usedfor otherinstruments likeelectric pianos.Here,Vintage Phaser represents aguitar
phaser effect pedal. Dual Phaser processes the left and the right channels separately.
ROTARY:Thesimulation ofaclassic effect thatisnormally generatedwitha veryheavyenclosure witha(slow
orfast) rotating speaker:The bassspeaker (drum) iscovered bya partly openedrotating cap,while both ofthe
high pitch horns (horn), displaced by 180°, revolve around the same perpendicular axis. Here, the physical
principleof the Doppler effect formodulation of signalsis used.
PITCH SHIFTER: This effect changes the pitch of the input signal. You can generate musical intervals and
harmoniesor simply asingle voice.Detuning byseveralsemitones upwardalienates voices(andis usedoften
in cartoons). Here, you can choose among a stereo, two, and three vocal pitch shifter. At the left stop of Edit
C the pitch shifters 1 and 2 are synchronized to a stereo pitch shifter. Pitch shifter 3 can be switched off by
turning Edit E fully counterclockwise.
VIBRATO: For this effect, the peak frequency of a tone is periodically and uniformly changed (quickly or
slowly). It is often used for guitar playing.
TREMOLO: This effect was originally found on guitar amplifiers, and is once again trendy. It is a fast or slow
periodicvariationof thevolume.
2. EFFECTSALGORITHMS

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VIRTUALIZERPRODSP2024P
AUTOPANNING: This sound effect,whichwas verypopularin the beginningsofstereo technique,isachieved
byallowing asound source (oftenthe leadguitar ora synthesizer)to wanderfrom one endof thestereo image
to another or by just letting it wander repeatedly.
Tab. 2.3: Functioning of the modulation and pitch shifter effects’parameters
2.4 Dynamic effects
COMPRESSOR/LIMITER: Whenthe signallevel exceeds the level controllimit ofthe signal-processing unit,
itmust belimited dynamicallyto avoid distortions. This isachieved byinstalling acompressor or a limiter. The
limiter abruptly limits the signal above a specified threshold, while a compressor acts “softly” over a large
range.
EXPANDER: Backgroundnoisesof alltypes (noise,hummingetc) limitthe dynamic rangeof theactualsignal.
As long as the level of the actual signal lies significantly above the background noise, the noise is inaudible.
Theinterference signalin thiscase is masked by the actual signal.The expanderis usedto effectivelyexpand
the dynamic range of signals. Signals with small amplitudes (such as background noise) can be weakened,
therebyreducing thebackground noise.
GATE: On stage and in studios, there are diverse applications where a noise gate is needed. For example,
microphones that tend to cause feedback can be “defused”. In addition, you can use a gate to eliminate
unwanted noise. When used on vocals, for example, the signal is simply masked during pauses, thus
eliminating all noise. Needless to say, a gate used on vocals has to open very quickly—otherwise, the first
syllablesof soft orwhispered passages wouldnot be audible.
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ULTRAMIZER: Theultramizer function dividesthe soundspectrum intotwo frequencybands and, asa result,
allowsinaudiblebutextremelyeffectivecompression.Thisisespeciallyhelpfulduringmix-down.TheDSP2024P
analysesthe received audio material andautomatically adjusts input gain andcompression parameters.
DENOISER: TheDENOISER isused toeliminate orreduce noiseand otherinterference.
DE-ESSER: A problem often encountered in recording situations, is the sibilant (Ssss) sound of the human
voice.The de-esser isused to remove strong hissingsounds from theaudio signal.
WAVE DESIGNER: Using this effect, you can influence the envelope of a signal by specifying its volume.
A (= Attack) indicates the time a tone needs to reach its full volume. R (= Release) determines how long it
takes before a tone dies away.
Tab. 2.4: Functioning of the dynamic effects’parameters
2.5 Psycho-acoustic effects
EXCITER: An exciter works with psycho-acoustic principles to add artificially generated overtones to the
originalsignal, thereby increasingits presence and loudness (thesubjective volume impression)without any
significantincrease ofthe signal level.
ENHANCER:Theenhancer workslike a dynamicpitch equalizer.Itseffectiveness dependson the associated
high frequencies and the intensity of the input signal.
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ULTRA BASS: Thisawesome combination of sub-harmonicprocessor, bass exciter, andlimiter adds a final
touch to your music production.
STEREOIMAGER: This effectisused to processstereo main signals.Thesignal isfirstsubdivided intomiddle
and side signal (MS Matrix). Both parts can then be amplified when desired and placed on the stereo image.
ULTRA WIDE: This effect is suitable to pep up speaker systems with an especially broad stereo image.
BINAURALIZER: The binauralizer also extends the stereo image. Additionally, it compensates for inter-
channelcross talk of both speakers(left loudspeaker onright ear andvice versa).
Tab. 2.5: Functioning of the psycho-acoustic effects’parameters
2.6 Filter/EQ effects
FILTER: Filters, in general, influence the frequency response of a signal. A low pass filter allows low
frequenciesto passand suppresses high frequencies, whilea highpass filter allows high frequenciesto pass
andsuppresses lowfrequencies.
PARAMETRIC EQ: The parametric equalizer is the most highly-developed form of equalization. You can
control the three parameters which define the so-called gauss equalizer curve: bandwidth, frequency and
amplitudeboosting or lowering.
GRAPHIC EQ: Eight filter bands are arranged next to each other for this graphic equalizer. In contrast to the
parametricequalizer,frequency andbandwidthare pre-determinedhere.
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Tab. 2.6: Functioning of the filter/EQ effects’parameters
2.7 Distortion effects and amp simulations
VOCAL DISTORTION: This effect is very hip when used on vocals and drum loops, and is combined with a
delayandflanger.
TUBE DISTORTION: Thiseffectsimulates thesoundof differenttubetypes. Whenananalog tube,asfound in
aguitar amplifier, isoveramplified by raisingthe input signal (e.g. of a guitar), the original signal ismixed with
theharmonic overtones. Withrising overmodulation (also known assaturation of tubes),the original signalis
distorted and the sound is fresh and full. This is a classic sound in rock music.
GUITAR AMP: Thiseffect simulatesthesound characteristicsof acomplete guitaramplifier. Youcanconnect
a guitar or bass (after appropriate pre-amplification) directly to the VIRTUALIZER PRO, and from there to a
mixingconsole orrecording device.
FUZZ: This is a special guitar distortion type. Jimi Hendrix was one of the first guitarists to recognize the
appeal of this broadband transistor overmodulation. The humming distortion of the FUZZ BOX has again
become popular with alternative rock and grunge. The VIRTUALIZER PRO’s fuzz works in three different
frequencybands.
SPEAKER SIMULATION: The VIRTUALIZER PRO is able to simulate various types of speakers. Typical
guitar amplifying speakers as well as multimedia speakers are available. You can also use a parametric
equalizerto furtherrefine thesound.
RING MODULATOR: This effect allows a radical alienation of audio signals. Similar to the principle of FM
radio,the signal ismultiplied bya carrierfrequency,so thatfrequency modulation(FM)takes place.This effect
isvery wellsuited forvocal alienation(robot voice).
LO-FI: For years, digital technique has been striving for high quality, low noise, and brilliant sounds. In the
recentpast therehave been increasingcalls fora return “tothe roots”to achieve the warmth ofthe old analog
sounds. The techno/dance group swears by vinyl and some music lovers miss the charm of good old vinyl
discs and tape machines. This trend is known as Lo-Fi (instead of Hi-Fi). We have taken this tendency into
account and included the relevant effect in the DSP2024P. Your recordings sound like 8-bit audio, complete
with noise and humming like the old days! A true drum loop in TR808/TR909 style really gets going when it
sounds thick and dusty.
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

 
Tab. 2.7: Parameter functions of distortion effects and amplification simulations
2.8 Special effects
VINYLIZER: This effect adds clicks and/or noise to your audio signal, simulating old vinyl records and tape
recorders.
SAMPLER:Thissampler allowsyou to recordup tofive secondsofprogram material.Use EditAfor recording
and Edit B for playback of the sampled material.
To clear the contents of the sampler, select a different effect.
VOCODER:Thevocoder, anoldacquaintance, hasbecome popular againdue tothedisco renaissance(hear
it in “Around the World” by Daft Punk or “California” by 2Pac). A control signal (usually a voice) is used in the
rightchannel tomodulateanother signalwhich lieson theleft channel (usuallya synthesizersound). Itsounds
as if the synthesizer is talking (robot voice).
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VOICECANCELER:Thevoicecanceleris a veryeffectiveKaraokeeffect.Itallowsremoval of monovocalparts
instereo recordings.The basspart, however,remains untouched.
RESONATOR: Aresonator simulatesan oscillatingsystem thatamplifies a specific frequency. The resonator
implementedhere hasa resonancefrequency thatcan be modulated with positiveand negativefeedbacks of
up to 100%.
Tab. 2.8: Parameter functions of special effects
2.9 Effects algorithm combinations (multi-effects programs)
Effects61 to71are multi-effectsalgorithms, whichallow differenteffects to beused simultaneously.Effect 61,
for example, can make a solo guitar “wider” with chorus and simultaneously add a room reverb. Please note
that you can modify the structure of a multi-effect (see chapters 3.1 and 3.6.4).
CHORUS & REVERB: Thisalgorithm combinesthe popularchorus with a gold plateeffect (asin algorithm2).
FLANGER& REVERB: The combination offlangerand reverb effects.
ROTARY&REVERB: Theinput signal, modulatedtoadegree that youspecify,isthenprocessed withareverb
effect.This effect works especially wellwith keyboards and guitars.
PITCH & REVERB: Thepitch shiftercan bedetuned in semitoneor centsteps. Thereverb, onthe other hand,
can be controlled in time and mixing ratio.
DELAY & REVERB: Delay and reverb are the most common combinations for vocals, solo guitars, etc. The
reverb used here is a gold plate, a room that features a distinctive brilliance and can be used in many ways.
TREMOLO & REVERB: Theintensive variationin volume of the tremologains moredepth andwideness with
thereverb.
PHASER & REVERB: Thecombination ofa classicstereo phaserand areverb effect.
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CHORUS & DELAY: Whilethe choruscan contributeto awideness ofthe signal, interesting repetition effects
can be adjusted with the delay. Vocals can be given a distinctive effect without making the voice sounding
blurred.
FLANGER & DELAY: Thiseffect is justright for creating a modern,slightly “spacey” vocalsound.
PITCH & DELAY: A repetition of the audio signal, with an oscillatory effect added by the pitch shifter.
TREMOLO & DELAY: A fast or slow, intensive variation of volume, which is additionally processed with a
panoramaeffect.
Tab. 2.9: Parameter functions of multi-effects programs
For an overview of the parameters available in the individual programs refer to chapter 7.1.
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3. OPERATION
3.1 Effects structure
Fig. 3.1: Effects structure, part 1
3. OPERATION