Behringer B-Control-Audio BCA2000 User manual

Version 1.0 February 2004
Users Manual
ENGLISH
B-CONTROL AUDIO BCA2000

2
B-CONTROL AUDIO BCA2000
IMPORTANT SAFETY INSTRUCTIONS
CAUTION: To reduce the risk of electric shock, do not remove
the top cover (or the rear section). No user
serviceable parts inside; refer servicing to qualified
personnel.
WARNING: To reduce the risk of fire or electric shock, do not
expose this appliance to rain and moisture.
This symbol, herever it appears, alerts you to the
presence of uninsulated dangerous voltage inside
the enclosurevoltage that may be sufficient to
constitute a risk of shock.
This symbol, herever it appears, alerts you to
important operating and maintenance instructions
in the accompanying literature. Please read the
manual.
DETAILED SAFETY INSTRUCTIONS:
1) Read these instructi ns.
2) Keep these instructi ns.
3) Heed all warnings.
4) F ll w all instructi ns.
5) D n t use this apparatus near water.
6) Clean nly with dry cl th.
7) D n t bl ck any ventilati n penings. Install in
acc rdance with the manufacturers instructi ns.
8) D n t install near any heat s urces such as radiat rs,
heat registers, st ves, r ther apparatus (including
amplifiers) that pr duce heat.
9) D n t defeat the safety purp se f the p larized r
gr unding-type plug. A p larized plug has tw blades
with ne wider than the ther. A gr unding type plug
has tw blades and a third gr unding pr ng. The wide
blade r the third pr ng are pr vided f r y ur safety. If
the pr vided plug d es n t fit int y ur utlet, c nsult
an electrician f r replacement f the bs lete utlet.
10) Pr tect the p wer c rd fr m being walked n r
pinched particularly at plugs, c nvenience receptacles,
and the p int where they exit the unit.
11) Only use attachments/access ries specified by the
manufacturer.
12) Use nly with the cart, stand, trip d, bracket, r table
specified by the manufacturer, r s ld with the
apparatus. When a cart is used, use cauti n when m ving
the cart/apparatus c mbinati n t av id injury fr m
tip- ver.
13) Unplug this apparatus during lightning st rms r
when unused f r l ng peri ds f time.
14) Refer all servicing t qualified service pers nnel.
Servicing is required when the apparatus has been
damaged in any way, such as p wer supply c rd r plug
is damaged, liquid has been spilled r bjects have fallen
int the apparatus, the apparatus has been exp sed t
rain r m isture, d es n t perate n rmally, r has been
dr pped.

3
B-CONTROL AUDIO BCA2000
BCA2000
B-CONTROL AUDIO
High-Speed USB 2.0 Multi-Channel Audio/MIDI Control Interface with ADA ® Support, Surround Outputs
and Extensive Monitor Control Section
sHigh-performance analog input section with 2 state-of-the-art studio-grade MP  nvisible Mic Preamps,
+48 V phantom power plus line and Hi-Z guitar inputs
sUltra-flexible input/output configuration supported by a comprehensive LED audio routing indicator
plus button (status) LEDs
sAdjustable studio-grade analog input dynamic control (noise gate + limiter) prevents distorted input signals
or A/D converter overload
sFully equipped USB/M D interface with 1 M D n/2 M D Outs individually selectable for 16 / 32 M D
channels
sVersatile digital input and output formats like ADAT®, ADAT® S/MUX, AES/EBU and S/PD F, including
DOLBY D G TAL® and DTS® support
sSimultaneous use of 3 analog input sources (1 mono + 1 stereo), digital input sources plus full multi-
channel playback @ 24-bit/96 kHz
sHigh-resolution 2 x 12 element LED level indicator for stereo n / Out signals plus 2-element LED level
indicator for input and output channels 3 - 8
sHigh-speed USB 2.0 interface with 24-bit/96 kHz supports 8 n + 8 Out channels simultaneously (analog
and digital) with low latency AS O 2 & WDM drivers
sFully equipped master and monitor sections with 100-mm faders, individual level controls for 2 speakers,
2 phones and direct monitor function plus separate dim, mute and mono functions
sHigh-quality components and exceptionally rugged construction for long life and durability
sDesigned in Germany. Manufactured under SO9000 certified management system

4
B-CONTROL AUDIO BCA2000
TABLE OF CONTENTS
1. INTRODUCTION ......................................................... 5
1.1 Before you get started ................................................... 5
1.1.1 Shipment ............................................................... 5
1.1.2 Initial operation ...................................................... 5
1.1.3 Warranty .............................................................. 5
1.2 System requirements ..................................................... 5
1.2.1 Outline of functions for High-Speed USB ..............
(USB 2.0) .............................................................. 5
1.2.2 Outline of functions for Full-Speed USB .............. 5
2. INSTALLATION ........................................................... 6
2.1 Driver installationPart 1 ............................................... 6
2.2 Hard are connection/driver installationPart 2 .......... 6
2.3 Control panel soft are .................................................. 6
3. CONTROL ELEMENTS AND CONNECTIONS ............. 8
3.1 Control surface ............................................................... 8
3.1.1 Input section ......................................................... 8
3.1.2 Main/Monitor section ............................................ 9
3.1.3 Dynamics section ................................................. 9
3.2 The rear panel .............................................................. 10
4. AUDIO ROUTING ...................................................... 11
4.1 Input routing .................................................................. 11
4.2 Output routing ............................................................... 12
4.2.1 Output routing in ADAT® mode ........................... 12
4.2.2 Output routing in 2-CHANNEL mode .................. 13
4.3 First steps ith the B-CONTROL ................................. 13
5. APPLICATIONS ........................................................ 14
5.1 Mobile studio ................................................................. 14
5.2 Project studio ................................................................ 15
5.3 Professional studio ....................................................... 16
5.4 Basis recording session .............................................. 17
5.5 Multi-channel recording ith 5.1 surround monitoring 18
6. CONNECTIONS AND FORMATS ............................... 20
6.1 Glossary ....................................................................... 20
6.2 Audio connections ....................................................... 22
6.3 Digital inputs and outputs ............................................. 22
6.4 MIDI connectors ............................................................ 23
7. SPECIFICATIONS ..................................................... 23
8. WARRANTY .............................................................. 24
Dear Customer,
elcome to the team of
BCA2000 users, and
thank you very much for
expressing your confi-
dence in us by purchas-
ing the B-CONTROL.
Writing this fore ord
for you gives me great
pleasure, because it
represents the culmi-
nation of many months of
hard ork delivered by
our engineering team to
achieve a very ambitious
goal: to deliver an
outstanding USB audio/
MIDI control interface,
hose extremely flexible
connections let it assume
the central control role in almost any computer studio. The task
of designing our ne B-CONTROL certainly meant a great deal
of responsibility, hich e assumed by focusing on you, the
discerning computer user and musician. Meeting your
expectations also meant a lot of ork and night shifts. But it as
fun, too. Developing a product usually brings a lot of people
together, and hat a great feeling it is hen all ho participated
in such a project can be proud of hat theyve achieved.
It is our philosophy to share our enjoyment ith you, because
you are the most important member of the BEHRINGER team.
With your highly competent suggestions for ne products youve
made a significant contribution to shaping our company and
making it successful. In return, e guarantee you uncompromising
quality as ell as excellent technical and audio properties at an
extremely reasonable price. All of this ill enable you to give free
rein to your creativity ithout being hampered by budget
constraints.
We are often asked ho e manage to produce such high-
quality equipment at such unbelievably lo prices. The ans er is
quite simple: its you, our customers! Many satisfied customers
mean large sales volumes enabling us to get better purchasing
terms for components, etc. Isnt it only fair to pass this benefit on
to you? Because e kno that your success is our success too!
I ould like to thank all of you ho have made the B-CONTROL
possible. You have all made your o n personal contributions,
from the developers to the many other employees at this company,
and to you, the BEHRINGER user.
My friends, its been orth the effort!
Thank you very much,
Uli Behringer
FOREWORD

5
B-CONTROL AUDIO BCA2000
1. INTRODUCTION
Welcome to the family of BCA2000 users and thank you for
expressing your confidence in BEHRINGER products by
purchasing the B-CONTROL.
The BCA2000 is an extremely flexible USB audio and MIDI
interface ith a unique design concept that ill effectively
support you in your computer-based music and audio endeavors.
Our goal in designing the B-CONTROL as to create an
intuitive, flexible and optically attractive product that gives you
comfortable control (instead of those tiny knobs and buttons
found on so many interfaces) and plenty of connectivity options,
so that you can concentrate on hats really important: your
music. Thats hy e started by creating a mixing console ith
a clean, concise layout: ultra-precise 100-mm faders, a high-
resolution LED level display, rugged construction, our ultra lo -
noise IMP invisible microphone preamplifiers and an extensive
monitor sectionfeatures youve come to expect from a
BEHRINGER mixing console. Then e added a multitude of
interface functions: full 24-bit/96 kHz support in multichannel
operation, optical and coaxial digital connectors that support all
common formats, simultaneous reproduction of eight input and
eight output channels, 6 analog outputs for subgroup/stem or
5.1 surround reproduction and a simultaneously usable USB
MIDI interface. All of this makes the BCA2000 a one-of-a-kind
high-speed USB audio/MIDI interface featuring a comfortable
mixing console design.
+The f ll wing users manual is intended t
familiarize y u with the units c ntr l elements,
s that y u can master all the functi ns. After having
th r ughly read the users manual, st re it at a safe
place f r future reference.
1.1 Before you get started
1.1.1 Shi ment
The BCA2000 as carefully packed at the assembly plant to
assure secure transport. Should the condition of the cardboard
box suggest that damage may have taken place, please inspect
the unit immediately and look for physical indications of damage.
+Damaged equipment sh uld NEVER be sent directly
t us. Please inf rm the dealer fr m wh m y u
acquired the unit immediately as well as the
transp rtati n c mpany fr m which y u t k
delivery. Otherwise, all claims f r replacement/
repair may be rendered invalid.
+T assure ptimal pr tecti n f y ur B-CONTROL
during use r transp rt, we rec mmend utilizing a
carrying case.
+Please always use the riginal packaging t av id
damage due t st rage r shipping.
+Never let unsupervised children play with the
B-CONTROL r with its packaging.
+Please disp se f all packaging materials in an
envir nmentally friendly fashi n.
1.1.2 Initial o eration
Please make sure the unit is provided ith sufficient ventilation,
and never place the B-CONTROL on top of an amplifier or in the
vicinity of a heater to avoid the risk of overheating.
A po er supply unit hich meets the necessary safety
requirements is enclosed for connecting the B-CONTROL to the
mains.
1.1.3 Warranty
Please take a fe minutes and send us the completely filled
out arranty card ithin 14 days of the date of purchase to
assure unproblematic arranty processing in the future. You
may also register online at .behringer.com. The serial number
needed for the registration is located at the bottom of the unit.
Failure to register your product may void future arranty claims.
1.2 System requirements
Operating system Windo s® XP
Computer Windo s® PC ith USB connector
Processor Intel Pentium Processor 1.2 GHz or better
Chip set Intel chip set recommended
USB modes Full eight-channel input/output operation
ith 24-bit/96 kHz ith USB 2.0
interface (High-Speed USB, 480 Mbps)
+When c nnecting t a Full-Speed USB interface
(12 Mbps, als kn wn as USB 1.1), nly limited
perati n is p ssible (see 1.2.2).
1.2.1 Outline of functions for High-S eed USB
(USB 2.0)
Audi inputs:
sSimultaneous recording of three analog signals (1 x mono,
1 x stereo) and one stereo digital signal.
sAlternatively, simultaneous recording of eight audio channels
at 44.1 kHz or at 48 kHz ith the optical input in ADAT®
format (four-channel recording at 24-bit/96 kHz ith
ADAT® S/MUX).
sSupport for S/PDIF, AES/EBU, ADAT®, and ADAT® S/MUX
digital audio formats.
Audi utputs:
sSimultaneous reproduction of eight output signals (six
analog and one stereo digital signal). The stereo digital
output signal is available in parallel on both the coaxial and
optical outputs.
sAlternatively, reproduction of eight digital signals at 44.1 or
48 kHz via the optical output in ADAT® format (four-channel
reproduction at 24-bit/96 kHz ith ADAT® S/MUX), also
available in parallel on analog outputs 1 to 6 and the coaxial
digital output.
sSupport for S/PDIF, AES/EBU, ADAT®, ADAT® S/MUX,
DOLBY® DIGITAL and DTS® digital audio formats.
MIDI:
sSimultaneous use of all MIDI inputs and outputs.
1.2.2 Outline of functions for Full-S eed USB
Audi inputs:
sSimultaneous recording of three analog signals (1 x mono,
1 x stereo) and one stereo digital signal.
sAlternatively, simultaneous recording of four ADAT® channels
at 44.1 and 48 kHz.
sSupport of S/PDIF, AES/EBU and ADAT® digital audio formats.
Audi utputs:
sSimultaneous reproduction of t o stereo signals, available
in parallel on the analog and digital outputs.
sAlternatively, reproduction of four ADAT® channels at 44.1
kHz or 48 kHz via the optical output, also available in parallel
on all analog outputs and on the coaxial digital output.
sSupport of S/PDIF, AES/EBU, ADAT®, DOLBY® DIGITAL and
DTS® digital audio formats.
MIDI:
sAdditionally, simultaneous use of all MIDI functions.
1. NTRODUCT ON

6
B-CONTROL AUDIO BCA2000
2. INSTALLATION
2.1 Driver installationPart 1
Start your Windo s® XP computer and insert the BEHRINGER
driver CD.
Install the Microsoft Hotfix Patch:
sIn Windo s Explorer, select the CD/DVD drive in hich the
BEHRINGER driver CD is located
sOpen the KB822603 folder
sDouble-click the c mmand file in your language
(e.g. English.CMD)
sFollo the instructions in the dialog box by clicking Next >
sAfter the final step, click Finish. The computer ill no
restart.
2.2 Hardware connection/
driver installationPart 2
Connect your computer via USB to the BCA2000 and po er
up the B-CONTROL. The Found Ne Hard are Wizard opens
up.
sSelect Install from a list or specific location (Advanced)
and click Next >
sSelect Search for the best driver in these locations
sCheck the Include this location in the search box and click
Bro se
sSelect the CD/DVD drive ith the BEHRINGER driver CD
and the folder Drivers* and click Next >
sIf you no get an error message (Driver soft are has
not passed Windo s Logo testing), ignore the message
and click on C ntinue anyway ( hether or not you get
the error message depends on the configuration of your
computer)
sAfter soft are installation is complete, the Behringer
BCA2000 b tl ader prompt appears; click Finish.
The Found Ne Hard are Wizard ill automatically start
again. This procedure is almost identical to the previous one:
sSelect Install from a list or specific location (Advanced)
and click Next >
sSelect Search for the best driver in these locations
sSelect the Include this location in the search box and click
Bro se
sSelect the CD/DVD drive ith the BEHRINGER driver CD
and the folder Drivers* and click Next >
sIf you get the same error message again (Driver soft are
has not passed Windo s Logo testing), ignore the
message and click on C ntinue anyway (again, hether
or not you get the error message depends on the
configuration of your computer)
sAfter soft are installation is complete, the BEHRINGER
BCA2000 prompt appears; click on Finish.
After another computer restart, a small BCA2000 control panel
icon appears in the task bar (Task Bar Notification Area). This
concludes the installation procedure.
2.3 ontrol panel software
The control panel soft are gives you access to all global
B-CONTROL settings and is integrated into your computer system
during driver installation. To launch the control panel soft are,
click on the BCA2000 control panel symbol in the task bar at the
bottom right of your screen.
Any changes to settings in the control panel are immediately
effective, ith the exception of the Driver Latency/Buffer Size
setting: if you move the fader, a message pops up informing you
that the ne latency/buffer size setting ill be effective after
you close the control panel.
ADAT® 96 kHz operation is indicated in all indo s (right
field), along ith the current sample rate, ASIO and USB driver
version and firm are version.
The follo ing settings can be made in the Setup wind w:
Dig. 2-Ch. Output Format: The format for t o-channel digital
output is s itchable bet een AES/EBU and S/PDIF. Format
selection has an effect on both the coaxial and the optical output,
unless the OPTICAL OUT button ( ) is set to ADAT.
Clock Select: Selects a ordclock synchronization source.
DIG. 2-CH./ADAT enables external synchronization via the optical
or coaxial input ( hich input serves as the synchronization
source is determined by the DIGITAL IN button ( ). ADAT®
synchronization is only possible via the optical input ith an
ADAT® signal present. To synchronize to a 96 kHz signal, select
S/MUX (ADAT IN). When set to INTERNAL, the BCA2000
synchronizes itself to the sample rate selected in your audio
soft are.
MIDI Port B Select: In this field, MIDI OUT B can be configured
as a MIDI THRU. When THRU mode is activated, this output
for ards incoming data ith no additional processing. If OUT is
selected, the OUT B/THRU connector can be addressed by the
computer as a second MIDI output, giving you a total of 32 MIDI
channels.
ASIO Direct Monitoring: This setting determines hich signal is
monitored during recording. If Digital is selected, only the input
signal ill be heard ith no latency (delay). In Anal g mode,
both the recorded tracks and the input signal (the signal being
recorded) are heard simultaneously; the mix bet een the t o
can be adjusted via the MONITOR BALANCE fader ( ). In both
modes, only the output signal is heard hen the audio soft are
is in playback mode. S itching bet een recording and playback
mode is accomplished via your audio soft are.
Driver Latency/Buffer Size: Here you can adjust the latency
(system-inherent audio signal delay) in order to optimize your
computers performance. The lo er the latency (and
consequently the buffer size), the higher the CPU usage. When
the processor orkload is too high, you ill notice frequent
pauses in audio playback (as the processor catches up). If you
change this setting, a message ill appear stating that your
changes ill take effect only after you close the control panel.
The USB INFO wind w (fig. 2.2) allo s you to adapt the B-
CONTROL to the USB connection you are using. If you are running
your B-CONTROL on Full-Speed USB, only limited functionality is
available. The table sho s hich input/output combinations are
possible ith your USB interface.
The BLOCK DIAGRAM wind w (fig. 2.3) sho s the entire
audio signal flo of your BCA2000 and serves as a good source
of information if you dont have the users manual handy.
2. NSTALLAT ON
*If you downloaded the driver from the internet, you will first need to
decompress the file. During installation, select the location on your hard
drive where you saved the decompressed driver.

7
B-CONTROL AUDIO BCA2000
Fig. 2.1: Control panel software SETUP window
Fig. 2.2: Control panel software USB INFO window
Fig. 2.3: Control panel software B OCK DIAGRAM window
2. NSTALLAT ON

8
B-CONTROL AUDIO BCA2000
3. CONTROL ELEMENTS AND CONNECTIONS
The various control elements of your BCA2000 are described in this chapter. All controls and connections are explained in detail,
and there are several useful tips on their use.
3.1 ontrol surface
Fig. 3.1: The BCA2000s control elements
3.1.1 In ut section
The TRIM control adjusts the level of input signals.
The C IP and SIGNA LEDs sho the input signal level.
SIGNA illuminates hen there is an incoming signal,
hereas C IP illuminates hen the level is too high and
could cause distortion. If this happens, turn the TRIM control
counterclock ise slightly und the C IP LED no longer
illuminates.
The +48 V button activates phantom po er for a condenser
microphone connected to the XLR input.
+Be sure t mute y ur audi system bef re y u
activate the phant m p wer supply t prevent
audible and p tentially damaging switch- n thumps
fr m reaching y ur m nit r speakers.
PAN positions the signal in the stereo field. If the INE
STEREO button is pressed, the PAN control adjusts
the BA ANCE bet een L and R signals in the stereo input
channel.
The 100-mm channel faders control the level of the input
signal that is routed to the A/D converter.
MIC A and INE are the t o possible positions of this
s itch, hich controls the input that is routed to a particular
channel. The corresponding LEDs indicate the input you
selected. If GUITAR HI-Z s itch is pressed, the left
MIC A/LINE L s itch is deactivated.
The GUITAR (HI-Z) button feeds the guitar signal from the
guitar input into the mono input channel. This button
overrides the MIC A/LINE L button : hen GUITAR
(HI-Z) is activated, MIC A or LINE L can no longer be
selected.
The GUITAR IN (HI-Z) input allo s you to directly connect
an electric guitar or other high-impedance signal
(e.g. passive pickups of acoustic instruments).
MIC B/ INE R is the input selection button for the stereo
input channel. Select bet een MIC B and INE R (the right
line input). The corresponding LEDs indicate the selected
input.
3. CONTROL ELEMENTS AND CONNECT ONS

9
B-CONTROL AUDIO BCA2000
The INE STEREO button feeds the stereo signal of both
line inputs ( ; see page 10) into the stereo input channel.
If the LINE STEREO button is pressed, channel t o
becomes a stereo channel, and the PAN control assumes the
BALANCE function (see 4 above). This allo s a maximum of
three input signals (1 x mic/guitar and 1 x stereo) to be processed
simultaneously (see also ch. 4.1).
3.1.2 Main/Monitor section
The 100-mm MAIN fader controls the output signal
(MAIN OUT).
The PHONES controls adjust the volume of connected
headphones.
The CTR ROOM control adjusts the volume of the control
room outputs .
The PHONES outputs (individually adjustable; see 12) are
used for connecting headphones. You can listen to the
main output, the input sum or the mix of both signals.
The MONITOR button activates the direct monitoring
function, and the DIR I/O LED lights up. When the button is
not pressed, auto monitoring is active.
With auto monitoring, s itching bet een input and recorded
tracks is done automatically by your host soft are (audio
sequencer/soft are mixer). System-induced latencies occur
bet een the recorded signal and computer playback. To avoid
this, you can s itch to DIRECT I/O during a recording session.
This provides you ith delay-free signal routing (see also ch. 4.3).
ISTEN s itches the monitor signal (control room and
phones) to mono (e.g. to check mono compatibility).
DIM lo ers the level of phones and control room outputs
by -20 dB.
The MUTE button mutes the phones and control room
outputs.
The MONITOR BA ANCE control adjusts the volume
balance bet een the input sum and the output signal (main
out). The control is only active if the MONITOR button
is pressed (direct monitoring).
The AUDIO ROUTING diagram sho s the audio signal
flo of your B-CONTROL. The integrated LEDs sho the
current selection of inputs and the status of buttons - .
The DIGITA IN button lets you select a digital input source
(COAXIAL or OPTICAL).
OPTICA OUT selects the format for the optical output
. Available choices are ADAT (eight-channel or four-
channel ith ADAT S/MUX) and 2-CHANNEL.
CH. 1-2/CH. 7-8 button: if OPTICAL OUT is set to
2-CHANNEL, the CH. 1-2/CH. 7-8 button lets you select
hich USB output channels are played back via the digital
optical and coaxial outputs. If OPTICAL OUT is set to ADAT,
the CH. 1-2/CH. 7-8 setting only applies to the coaxial output.
The status LEDs for buttons to are located in the
audio routing diagram .
SAMP E RATE LEDs: All digital inputs and outputs have
the same sample rate, hich is determined by your host
soft are (unless you are synchronizing to an external
ordclock source). If you change the sample rate in the
soft are, the display on your BCA2000 automatically
s itches to the ne value. For example, if you select
44.1 kHz in your soft are, the 44.1 kHz LED illuminates. If
an external ordclock signal is connected, the DIGITA
IN LED illuminates. If this external signal also has a sampling
rate of 44.1 kHz, both the 44.1 kHz and the DIGITA IN
LEDs ill illuminate.
The METER button lets you s itch the LED level meters
( and ) bet een input and output signals.
The LED level meter displays either the input sum signal
post-A/D converter or the digital output signal pre-main
fader, depending on the position of the METER button .
The LEDs for channels 3 - 8 indicates signal presence in
the digital channels 3 - 8 (green SIG LEDs) or if levels are
too high and may cause distortion (red C IP LEDs).
These status LEDs display the follo ing:
MIDI IN, OUT A and OUT B illuminate if MIDI signals are
present at the respective connectors.
USB FU and USB HIGH LEDs indicate status and type of
the USB connection. The appropriate LED ill remain
illuminated as long as your BCA2000 is connected to your
computer via USB (and the computer is po ered up).
3.1.3 Dynamics section
Your BCA2000 features a combined noise gate/limiter
(dynamics) section for the analog input signal. This section is
located directly pre-A/D converters.
The ON button activates the dynamics section.
The NOISE GATE control adjusts the threshold or signal
level belo hich the noise gate is activated; signals belo
this level are muted. Turning the NOISE GATE control fully
counterclock ise (-∞) deactivates the noise gate.
When the level of a signal falls belo the threshold value,
this red THRESHO D LED illuminates (noise gate active).
The limiter limits the signal to a maximum level, hich can
be adjusted. Turning the IMITER control fully clock ise
deactivates the limiter.
The IMIT LED illuminates hen the limiter is active.
+If y u nly want t use the n ise gate, set the
LIMITER c ntr l t zer (fully cl ckwise). If y u nly
want t use the limiter, turn the NOISE GATE c ntr l
t -¥ (fully c untercl ckwise).
+The n ise gate/limiter secti n w rks in fixed
stere , i.e. the left and right channels always
functi n j intly. When pr cessing tw m n signals,
these signals may be pr cessed inaccurately.
3. CONTROL ELEMENTS AND CONNECT ONS

10
B-CONTROL AUDIO BCA2000
3.2 The rear panel
Fig. 3.2: The BCA2000s connectors
MIDI interface. MIDI OUT B can be configured as a
MIDI Thru in the control panel soft are.
Connect the CONTROL ROOM OUTS to your active studio
monitors or amplifier. These outputs deliver the same signal
as the headphone outputs.
INE IN. The line inputs are supplied as 1/4" TRS connectors.
You can also connect unbalanced connectors (mono 1/4")
to these inputs.
ANA OG OUT: the MAIN OUTS 1/L and 2/R deliver the
MAIN OUT signal and are supplied as balanced 1/4" TRS
connectors. Outputs 3 - 6 are supplied as unbalanced
RCA (phono) connectors and can be used for connection
of LS, RS, center and LFE channels in surround applications.
MIC inputs A and B are supplied as balanced XLR
microphone inputs ith s itchable +48 V phantom po er.
The INSERT connectors for the XLR and line inputs allo
you to process input signals ith outboard equipment
(compressors, EQs, effects processors and so on).
Additional information on using these connections is found
in chapter 6.2.
The POWER s itch turns your BCA2000 on and off. It
should al ays be in the OFF position (out) hen
connecting the unit to or disconnecting the unit from the
mains.
+Please n te: The p wer switch d es n t c mpletely
separate y ur BCA2000 fr m AC p wer. If y u plan
n n t using y ur BCA2000 f r a pr l nged peri d
f time, please disc nnect it fr m the mains by
rem ving the p wer cable fr m the wall utlet.
A standard po er socket is provided for connection to the
mains. A matching po er cable is included ith the unit.
USB port. Connect your computer here. To get the most
out of your B-CONTROL, your computers USB interface
should support High-Speed USB.
/ DIGITA IN/OUT:
The OPTICA digital input and output accept all standard
formats, including ADAT®.
The COAXIA (RCA) input and output accept digital audio
signals in all standard formats.
3. CONTROL ELEMENTS AND CONNECT ONS

11
B-CONTROL AUDIO BCA2000
4. AUDIO ROUTING
The B-CONTROL gives you a plethora of routing options that are explained in detail in this chapter. The follo ing illustration ill give
you a general overvie of your BCA2000s audio signal flo . You ill find a detailed signal flo diagram on an extra sheet attached
to this manual.
Fig. 4.1: Block diagram (overview)
4.1 Input routing
Anal g inputs:
The input selectors ( , , and ) let you select
the signal sources for the input channels. For the mono input
channel, you can select a microphone input (MIC A), the left line
input (Line L) or the front-panel high-impedance guitar input. If
the GUITAR (HI-Z) button is pressed, the MIC/LINE button is
deactivated; mic or line inputs can no longer be selected.
On the stereo input channel, you can select bet een a
microphone input B (MIC B) and the right line input (Line R). The
LINE STEREO button gives you yet another routing option, directing
both left and right line inputs ( ) into this channel, hich then
operates as a stereo channel. In this case, the mono input channel
can no longer carry the left line signal. Ho ever, you can still
select a microphone or guitar signal, so that a total of 3 signals
(1 x mono, 1 x stereo) can be recorded simultaneously.
4. AUD O ROUT NG
0RQR,QSXW 6WHUHR,QSXW
MIC B
Line R
Line Stereo
MIC B
Line R
Line Stereo
MIC B
Line R
Line Stereo
Line L
MIC A
GUITAR (HI-Z)
Table 4.1: Analog input combination options
Insert connections are available for all mono inputs (XLR and
1/4" connectors). This insert point for external signal processors
is located directly before (pre-) the B-CONTROLs internal
processing and A/D converters. All selectable sources can be
processed in the mono input channel, hile only inputs MIC B
and LINE R can be processed in the stereo input channel. If

12
B-CONTROL AUDIO BCA2000
LINE STEREO is selected and both insert connectors are in use,
only the right (LINE R) signal in the stereo input channel ill be
processed via insert B. Insert A orks only on the mono input
channel and is not affected by the position of the LINE STEREO
button. +48 V phantom po er is available for the microphone
inputs.
The signals of both input channels are mixed together into a
stereo input sum and fed into the t o-channel A/D converter.
Before this, the input sum signal can be processed by the internal
dynamics processing section of your B-CONTROL. In this case,
the signal first goes to the noise gate and then to the limiter
( hich effectively protects the A/D converter from clipping).
Digital inputs:
The digital inputs are available as optical and coaxial
connectors. Both S/PDIF and AES/EBU formats are supported.
The optical input also accepts signals in ADAT® format.
Four-channel 24-bit/96 kHz operation ith ADAT® S/MUX is also
possible. Use the DIGITAL IN button to select the digital input
source. The selection is displayed in the audio routing diagram
on the top of your BCA2000.
If an ADAT® or an ADAT® S/MUX signal is connected to the
optical input, it is automatically recognized and activated, and the
red LED in the audio routing diagram illuminates. In this case, the
analog inputs are deactivated.
C mbinati n f anal g and digital inputs:
The High-Speed USB connection transmits a maximum of eight
input channels. This can either be an eight-channel ADAT® signal
or a combination of digital and analog input signals. Due to the
BCA2000s input architecture, these are the input sum signal
and a t o-channel digital input signal. This signal can either
come from the optical or the coaxial input, and can be selected
using the DIGITAL IN s itch . The digital format (AES/EBU or
S/PDIF) is selected in the control panel soft are. If an
ADAT® S/MUX stream is transmitted, a maximum of four channels
at 24 bit/96 kHz is available. The follo ing table provides an
overvie of the possible combinations:
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1 Analog In Sum L ADAT In 1 S/MUX In 1
2 Analog In Sum R ADAT In 2 S/MUX In 2
3
Digital In L
2
ADAT In 3 S/MUX In 3
4
Digital In R
2
ADAT In 4 S/MUX In 4
5 - ADAT In 5 -
6 - ADAT In 6 -
7 - ADAT In 7 -
8 - ADAT In 8 -
1 Analog In Sum L ADAT In 1 -
2 Analog In Sum R ADAT In 2 -
3
Digital In L
2
ADAT In 3 -
4
Digital In R
2
ADAT In 4 -
High-Speed Mode (480 Mbit/s)
Full-Speed Mode (12 Mbit/s)
1) Optical digital input must be selected. Analog In Sum (inpu
t
sum) muted.
2) Optical or coaxial digital input selectable. Format selection
(AES/EBU or S/PDIF) via control panel software.
Table 4.2: Input routing
+In Full-Speed USB perati n, the USB interface can
nly transmit 4 audi channels. Transmitting audi
signals with a sampling rate f 96 kHz is n t
p ssible!
4.2 Output routing
On the output side, eight channels can also be transmitted via
(High-Speed) USB. Various combinations of analog and digital
outputs are available for playback.
The stereo input sum signal for USB transmission is created in
the mixer of your audio soft are. This signal is fed digitally
through the optical and coaxial outputs. The same
signal is also available on the main analog outputs. Additionally,
there are four analog RCA outputs that can be used for playing
back subgroups, monitor mixes or surround signals.
Use the OPTICAL OUT button to select a digital format for
the optical output: ADAT or 2-CHANNEL.
4.2.1 Out ut routing in ADAT mode
In ADAT® mode (OPTICAL OUT button not pressed), eight
channels can be played back in ADAT® format via the optical
output. The eight-channel signal is also available on the analog
outputs; signal/output assignments are sho n in table 4.3. Use
the CH. 1-2/CH. 7-8 button to assign a signal source to the
coaxial output: either USB channel 1-2 or 7-8. The transmission
of 96-kHz signals is done per sample multiplexing via the ADAT®
output.
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1 Main Out 1/L
Digital L
1
ADAT Out 1 S/MUX Out
1
2 Main Out 2/R
Digital R
1
ADAT Out 2 S/MUX Out
2
3 Analog Out 3 - ADAT Out 3 S/MUX Out
3
4 Analog Out 4 - ADAT Out 4 S/MUX Out
4
5 Analog Out 5 - ADAT Out 5 -
6 Analog Out 6 - ADAT Out 6 -
7-
Digital L
1
ADAT Out 7 -
8-
Digital R
1
ADAT Out 8 -
Main Out 1/L ADAT Out 1
Analog Out 5 ADAT Out 5
Main Out 2/R ADAT Out 2
Analog Out 6 ADAT Out 6
ADAT Out 3
ADAT Out 7
ADAT Out 4
ADAT Out 8
3
4
Analog Out 3 Digital L2-
-
Digital R2
Analog Out 4
High-Speed Mode (480 Mbit/s)
Full-Speed Mode (12 Mbit/s)
1) Sw itchable betw een USB Outs 1-2 and USB Outs 7-8
(High-Speed Mode) via button 23. Format selection (AES/EBU
or S/PDIF) via control panel software.
2) Switchable betw een USB Outs 1-2 and USB Outs 3-4 (Full-
Speed Mode) via button 23. Format selection (AES/EBU or
S/PDIF) via control panel software.
1
2
Digital L2
Digital R2
-
-
Table 4.3: Output routing in ADAT® mode
In Full-Speed USB operation, only 4 signals are transmitted
per USB, and there is no support for 96 kHz operation. The digital
coaxial output al ays carries one stereo signal selectable ith
the CH. 1-2/CH. 7-8 button : hen set to CH. 1-2, USB
channels 1 and 2 (Main Out Signal) are transmitted; hen set to
CH. 7-8, USB channels 3 and 4 are transmitted. These signals
are simultaneously fed to analog outputs 3 and 4. On the ADAT®
output, the four USB channels are doubly occupied to transmit
the eight ADAT channels (see table 4.3).
4. AUD O ROUT NG

13
B-CONTROL AUDIO BCA2000
4.2.2 Out ut routing in 2-CHANNEL mode
In t o-channel operation (OPTICAL OUT button pressed), all
six analog outputs for USB channels 1 through 6 are available.
Simultaneously, the digital outputs are used for t o additional
channels that are available at both the optical and the coaxial
outputs. You can select bet een channels 1 and 2 (Main Out) or
channels 7 and 8 via the CH. 1-2/CH. 7-8 button . The
transmission format in this mode can be S/PDIF, AES/EBU,
DOLBY® DIGITAL or DTS®, provided the respective format is
supported by the host soft are.
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1 Main Out 1/L
Digital Out L
1
Digital Out L
1
2 Main Out 2/R
Digital Out R
1
Digital Out R
1
3 Analog Out 3 - -
4 Analog Out 4 - -
5 Analog Out 5 - -
6 Analog Out 6 - -
7-
Digital Out L
1
Digital Out L
1
8-
Digital Out R
1
Digital Out R
1
Main Out 1/L
Analog Out 5
Main Out 2/R
Analog Out 6
High-Speed Mode (480 Mbit/s)
Full-Speed Mode (12 Mbit/s)
Digital Out L2
Digital Out R2
-
-
1
2
2) Sw itchable betw een USB Outs 1-2 and USB Outs 3-4 (Full-
Speed Mode) via button 23. Format selection (AES/EBU or
S/PDIF) via control panel software.
1) Sw itchable betw een USB Outs 1-2 and USB Outs 7-8
(High-Speed Mode) via button 23. Format selection (AES/EBU
or S/PDIF) via control panel software.
3
4
Analog Out 3 Digital Out L2-
Analog Out 4 Digital Out R2-
Table 4.4: Output routing in two-channel mode
In Full-Speed USB operation, the USB outputs are not only
reproduced on the main outputs but also in parallel via analog
outputs 5 and 6. USB outputs 3 and 4 are routed to analog
outputs 3 and 4 and to both digital outputs, provided the CH. 1-2/
CH. 7-8 button is set to CH.7-8. When set to CH. 1-2,
output channels 1 and 2 are routed to the digital outputs. The
position of this button affects both digital outputs.
4.3 First steps with the B- ONTROL
C nnecti ns (see als applicati n examples in ch. 5):
Make sure the B-CONTROL is off before connecting it to other
equipment. Connect your microphones to the XLR inputs. Amplified
instruments or other line-level equipment (keyboards, CD players,
external microphone preamplifiers etc.) are connected to the line
inputs. If you ant to record an electric guitar or other high-
impedance instrument (e.g. acoustic instruments ith passive
pickups), connect this instrument to the HI-Z input on the
B-CONTROLs front panel.
If you ant to process your signal ith external compressors,
equalizers, de-essers or the like before recording it, connect
these processors via the insert connections using commercially
available insert cables (see ch. 6.2).
Use the analog main outputs to connect a mastering recorder.
To stay in the digital domain during mastering, you can also
connect a digital recorder via the coaxial or optical outputs.
Connect your studio loudspeakers or their amplifiers to the control
room outputs.
4. AUD O ROUT NG
Rec rding:
Lets assume you ant to record vocals: connect your
microphone to one of the t o XLR microphone inputs. If youre
using a condenser microphone that requires phantom po er,
press the +48 V button . Set the level by slo ly turning the
TRIM control to the right hile you (or your singer) speak(s)
or sing(s) into the microphone. Keep an eye on the input-signal
level display . An incoming signal is indicated via the SIGNAL
LED. The CLIP LED illuminates as soon as the input signals level
is too high and could possibly cause audible distortion. We
incorporated a bit of headroom here so that the LED illuminates a
fe dBs before clipping/distortion. Adjust the trim control so that
the CLIP LED only occasionally illuminates during the loudest
passages. The input signal no has an optimal level. Use the
channel fader to adjust the recording volume. Be sure not to
overdrive the A/D converters by carefully observing the level
meter and adjusting levels if necessary. Press the METER
button to sho the level of the input sum signal. Since the input
sum signal has no level control of its o n, you ill have to
control the master volume ith both channel faders hen
simultaneously recording several signals. Ideally, the CLIP LED
should never illuminate. Keep an eye on the correct input signal
level in your soft are. Activate the desired audio track in your
soft are and start recording by pressing the record button.
N ise Gate:
Use the noise gate to suppress hissing and other ambient
noise during signal pauses. Slo ly turn the noise gate threshold
control clock ise until the noise has faded out; the
microphone should be on but the singer should not be singing.
When turned all the ay to the left, the signal is not processed
and the THRESHOLD LED remains dark. As soon as the threshold
value exceeds the noise level and signal processing kicks in, the
THRESHOLD LED illuminates. Set the threshold value very
carefully so that vocal signals are not muted during fade-outs,
fade-ins or quiet passages. It may be necessary to fine-tune the
threshold setting ith the vocalist singing (but not during the
recording!).
Limiter:
The limiter serves to limit the dynamics of the input signal. You
should al ays use the limiter if the level of the vocal varies
extremely hile setting levels. Adjust the limiter so that it kicks in
briefly before maximum level. To this end, turn the LIMITER control
slo ly from its off position (fully clock ise) counter-
clock ise until the LIMIT LED begins to illuminate during the loudest
signals.
Playback:
If you ant to add tracks or vocals to an already recorded
piece (overdub), you ill ant to hear the recorded tracks hile
overdubbing. The monitor section of the B-CONTROL offers
various options for this purpose. Generally, you ill be listening
to the stereo sum signal of your soft are mixer. This signal is
routed to the main output and can be adjusted using the main
fader. It is also available at the headphone outputs and the
control room outputs .
DIRECT m nit ring:
During a recording, you probably not only ant to hear the
playback, but also the sound of hat you are singing or playing.
In AUTO monitoring mode (MONITOR button not pressed),
your audio soft are automatically s itches bet een input and
playback signals, i.e., as soon as you start recording in your
soft are, you can hear the input signal being recorded. When
you s itch to playback, you ill only hear your recorded audio
tracks.
In AUTO mode, system-specific latency times occur bet een
the input signal and its playback from the computer. To avoid
this, you can s itch to DIRECT monitoring mode before a
recording. This routes the input sum (pre-A/D converter) directly
to the control room and headphone outputs for monitoring. The
signal remains in the analog section of the B-CONTROL hile
recording, resulting in latency-free monitoring. The mix bet een
the input signal and the playback signal from your computer can
be adjusted using the MONITOR BALANCE control .

14
B-CONTROL AUDIO BCA2000
ASIO Direct M nit ring:
For recording and playback purposes, the monitor signal can
also be s itched in the soft are (the BCA2000 must be in
AUTO monitoring mode), provided your audio soft are supports
ASIO Direct Monitoring. For that purpose, the follo ing settings
are available in the control panel soft are:
If you select Digital, the audio soft are s itches the monitor
outputs of your B-CONTROL bet een the analog input sum
(record) and the main output signal (play); this depends on
hether the soft are is in recording or playback mode.
If Anal g is selected, the monitor balance control is active
during a recording, and you can adjust the ratio bet een the
playback and input signals. During playback only the stereo mix
from the soft are is audible.
5. APPLICATIONS
5.1 Mobile studio
Fig. 5.1: Mobile studio
Even if you ork almost exclusively ith soft are, you still
need MIDI and audio interfaces to play your soft are synths via
a MIDI keyboard and record and listen to your music. The first
example sho s a small setup for a mobile studio using the
BCA2000 as such an interface.
Connect the BCA2000 to a free USB port on your computer/
laptop. An older Full-Speed (1.1) USB interface ill suffice unless
you ant to ork at 24-bit/96 kHz (see also 1.2.1 and 1.2.2).
You can play your soft are instruments live and/or record MIDI
tracks via the MIDI keyboard connected to the MIDI input. Monitoring
is achieved via headphones connected to one of the phones
outputs on the front panel of your BCA2000, hile the volume is
adjusted using the corresponding PHONES control. Of course,
5. APPL CAT ONS
you can connect a second set of separately adjustable
headphones.
Fig. 5.2: Extended mobile studio
In this illustration, e have augmented the first example ith a
microphone and a MIDI expander. To record acoustic instruments
or vocals in your audio soft are, connect your microphones
directly to the XLR inputs. If youre using condenser microphones,
activate the +48 V phantom po er. To record an electric guitar
or acoustic instrument ith passive pickups, connect it to the
high-impedance guitar input located on the front panel.
Use the internal noise gate and compressor in your B-CONTROL
to process analog signals prior to A/D conversion. You can also
connect an external processor to the INSERT connectors
for signal processing using your favorite outboard gear.
The MIDI sound module is controlled via MIDI output A. The
sound module can be a GM/GS/XG MIDI expander, a synthesizer,
a sampler, a drum machine or other MIDI sound source. The
audio outputs can be routed to the soft are mixer via the analog
stereo line inputsor alternatively via the digital inputs, provided
the sound module you are using has digital outputs.
Listening during a recording session (monitoring) can be done
either digitally via the computer or latency-free using the direct
monitoring function of your BCA2000. The latter is extremely
helpful if the latency (computer-induced delay) is too high to
allo comfortable, accurate monitoring for performing musicians/
singers.

15
B-CONTROL AUDIO BCA2000
5. APPL CAT ONS
5.2 Project studio
Fig. 5.3: Project studio
This application example sho s the layout of a typical small
project studio in hich both soft are and hard are sound
generators are used. The major difference bet een this and the
previous examples is the greatly expanded MIDI setup. The
BCA2000 acts as a central link bet een your studio equipment
and your computer.
The illustrated MIDI connections allo the full gamut of MIDI
functions to be utilized. Data from the MIDI controller and the MIDI
keyboard are fed into the computer via the MIDI input. To this end,
a MIDI keyboard and the t o BEHRINGER MIDI controllers BCF2000
and BCR2000 are connected in series. MIDI performance data
are sent to the sequencer via the keyboard. Any signal-
processing plug-ins as ell as the soft are mixer are controlled
by the t o MIDI controllers.
The computer communicates separately ith each MIDI
expander (in this case: a sound module and a sampler) via
16 MIDI channels each.
The Audi wiring also represents an expansion of the setup
sho n in fig. 5.2: the microphone and sound module signals are
mixed together in stereo in the BCA2000 before they pass through
the A/D converter. Additionally, an extra sound generator, stereo
player, effects unit or hard are sampler (as sho n in the
illustration) can be fed into the computer via one of the t o digital
inputs on the BCA2000. This four-channel signal (A/D-converted
stereo input sum + digital stereo signal) is simultaneously
transmitted to the computer via USB. This setup ill also ork
fine ithout a High-Speed USB connection, as long as you are
satisfied ith a maximum sample rate of 48 kHz.
A pair of active studio monitors as added for monitoring,
connected to the control room outputs. Of course, t o sets of
headphones can still be connected and be controlled separately
from the control room signal. You can adjust the monitor signal in
several different ays (mute, dim, mono function, monitor in/out
balance control etc.).

16
B-CONTROL AUDIO BCA2000
5.3 Professional studio
Fig. 5.4: Configuration of a professional studio
5. APPL CAT ONS
This is a professional-style studio setup ith much more
external equipment than in the previous examples. The MIDI
net ork is also expanded; the entire studios MIDI equipment is
connected to a central MIDI patchbay, hich in turn is connected
to the BCA2000. The audio inputs are augmented via an analog
mixing console that submixes all sound sources (microphones,
keyboards, sound modules, samplers etc.) and feeds them into
the B-CONTROL as a stereo sum signal.
The MIDI equipment includes a MIDI keyboard and the t o
BEHRINGER MIDI controllers BCF2000 and BCR2000 as input
devices. Similarly, the sampler and sound module A as ell all
MIDI-capable effects processors (here: ULTRACURVE PRO
DEQ2496, V-VERB PRO REV2496 and VIRTUALIZER PRO DSP2024P)
are all connected to the MIDI patchbay. The patchbay is connected
to the BCA2000 via MIDI IN and MIDI OUT A, hich in turn transmits
the entire studios MIDI data through a maximum of 16 MIDI channels
to your computer. Using the second MIDI output of your BCA2000
(OUT B), you can address additional MIDI devices using up to
16 additional MIDI channels.
The Audi wiring follo s a submixing scheme: all
microphones, sound modules, effects processors and other gear
such as CD players, drum computers etc. are connected to an
analog mixing console (here: BEHRINGER EURODESK
SL3242FX-PRO). The stereo sum signal from the mixer is fed
into the line inputs of your BCA2000.

17
B-CONTROL AUDIO BCA2000
5. APPL CAT ONS
Alternatively, you can use a digital mixing c ns le, hose
digital stereo sum signal is routed to the computer via the digital
inputs on the B-CONTROL. If your digital console features an
ADAT® optical output (like the BEHRINGER DDX3216 ith the
ADT1616 option), you can even transmit an eight-channel digital
signal, provided your computer supports High-Speed USB.
In our example ith an analog mixer, a DAT or a CD recorder
is connected to the digital connectors. Along ith the analog
stereo sum signal from the console, four parallel input channels
are transferred to the computer.
The M nit ring pti ns are also considerably expanded in
this setup; all options can be used simultaneously. A pair of
BEHRINGER TRUTH B2030A active monitors ith an additional
active sub oofer are used here as main monitors. The control
room outputs are connected to the sub oofer; from there the
signal is passed on to the TRUTH loudspeakers.
The same signal is also available via t o sets of headphones
(e.g. for musicians), hereby their volume can be adjusted
separately.
An additional pair of monitor speakers is connected to the main
outputs. The ne BEHRINGER MS16 speakers that simulate the
listening experience of using smaller monitors are sho n here.
Their volume is adjusted using the main fader. With such flexible
control options, you can better judge the various criteria of your
mix in order to produce sonically accurate mixes that translate
ell to various systems.
5.4 Basis recording session
Fig. 5.5: Basis recording session

18
B-CONTROL AUDIO BCA2000
5. APPL CAT ONS
This recording setup is easily transportable, for example, to a
recording session at a friends or fello musicians apartment.
All you need is a laptop computer, the BCA2000, t o to three
headphones and/or a couple of active loudspeakersplus of
course microphones and instruments as required.
There are several options for recording a guitar: you can either
connect the guitar to the front-panel guitar input and process the
signal ith the BCA2000s dynamics section and/or your
computers plug-ins or, as sho n in the illustration on the previous
page, connect your guitar to a preamp (e.g. BEHRINGER V-AMP 2)
and the preamp to the BCA2000s line input.
Connect a vocal microphone to the MIC B input. You can also
record an acoustic guitar or other acoustic instruments together
ith the vocals. In this case, use t o microphones: one for the
instruments and the other one for the vocals.
If you are using loudspeakers for monitoring, the sound
engineerarmed ith a laptop, the monitors and the BCA2000
should be located in a separate room isolated from the musicians,
in order to properly judge the recording ithout hearing the original
sound, and to prevent feedback and ambient noise problems. If
the engineer uses a third set of headphones instead of the
monitors, everyone can be in the same room (although the
engineer ill have to be very quiet!). In this case, the t o sets of
headphones for the musicians can be connected to one PHONES
output using a Y-cable or adapter. The sound engineers
headphones are then connected to the other PHONES connector.
5.5 Multi-channel recording with
5.1 surround monitoring
Illustration 5.6 sho s ho to do a multi-channel recording of a
live performance and monitor it in 5.1 surround sound.
Theoretically, you can record an entire orchestra, big band, choir
or a play ith a maximum of eight channels and monitor your
recording in 5.1 surround.
Rec rding: In our example, an orchestral performance is being
recorded. Six microphones are being used: 5 studio condenser
microphones and a so-called boundary microphone, hich is
placed on the floor close to the orchestra. Of course, you can
also use other microphones and positioning as your experience
and/or preferences dictate.
T o microphones are used as main stereo mics (L/R), hile a
third, emphasizing the center signal, is placed near the conductor.
T o additional microphones (facing the audience) record the
surround sound (surround left and surround right), hile the
boundary microphone in the orchestra supports the lo
frequencies for the LFE or sub-bass channel.
All microphone signals pass through a multi-channel mic preamp
and are converted into digital signals. The BEHRINGER
ULTRAGAIN PRO-8 DIGITAL ADA8000, sho n here, generates
an eight-track ADAT® signal that is routed to the BCA2000 through
the optical output. From there on, it is passed on to the computer
via High-Speed USB.
Mix: To mix the live recording, hard are control elements to
control the soft are mixer can be very useful. In this illustration,
t o BCF2000 MIDI controllers are used; connected to the
BCA2000 via MIDI, they control the soft are mixer during
recording/playback.
M nit ring/playback: All loudspeakers necessary for
5.1 surround monitoring can be connected directly to the
BCA2000s analog outputs. Here, 5 active monitor loudspeakers
(sho n: BEHRINGER TRUTH B2030A) and a sub oofer for the
LFE channel are used. You can also connect t o additional
loudspeakers to the control room outputs, ith hich you can
monitor the main stereo signal. The main stereo signal is also fed
to both headphone outputs, allo ing conductors, technical
assistants or sound engineers to monitor via headphones.
The loudspeaker setup sho n here can also be used to listen
to the sound track from a DVD playing on your computer in
surround sound, provided your soft are features a
DOLBY® DIGITAL or DTS® decoder.

19
B-CONTROL AUDIO BCA2000
5. APPL CAT ONS
Fig. 5.6: Multi-channel recording with 5.1 surround monitoring

20
B-CONTROL AUDIO BCA2000
6. CONNECTIONS AND FORMATS
6.1 Glossary
Some technical terminology and acronyms that you may
encounter hile orking ith the BCA2000 are explained in this
glossary. Explanations of additional terminology can be found in
our online glossary at .behringer.com. You can find more
information about surround sound in the surround manual of our
digital mixing console DDX3216, hich can be do nloaded from
our ebsite free of charge at .behringer.com.
AC-3
More idely kno n as → DO BY® DIGITA , AC-3 is the most
popular surround format today. Six separate digital sound
channels are data-compressed, encoded and → decoded
(front left, front right, front middle/center, rear left, rear right and
sub-bass channel, called → FE).
The BCA2000 can reproduce this data format through the
digital outputs, provided your audio soft are contains a DOLBY®
DIGITAL → decoder. This can be an audio application that uses
a soft are decoder as a → Plug-In or a DVD disc that is
reproduced on your computers DVD drive.
The six-channel music signal is then AC-3-encoded
( → Encoder), connected to a surround receiver ith a digital
input (or similar) via one of the digital outputs and decoded
internally by the receivers AC-3 → Decoder, and then reproduced
on the six analog speaker outputs.
ADAT®
The eight-channel digital audio format ADAT® o es its name to
the first 8-track digital recorder from Alesis. The ADAT® format
has established itself as the multi-channel standard of choice,
generally supporting 44.1 and 48 kHz → Sample Rates.
88.2 and 96 kHz sample rates are also possible, but only ith
four (instead of eight) digitally transmitted channels. This version
is called → S/MUX.
Just a single optical cable (very thin optical fiber) is required to
transmit all eight (or four) channels of an ADAT® signal bet een
t o different units using the optical input and output connectors.
These connectors are sometimes called → TOS INK.
The BCA2000 supports both the standard ADAT® format ith
8 channels (at 44.1 or 48 kHz sampling rate) and the S/MUX
format ith 4 channels (at 96 kHz sampling rate), both on the
inputs and the outputs via the optical in/out connectors.
A/D c nverter
An A/D converter transforms an analog audio signal into a
digital signal, for example to enable recording on digital recorders
such as CD/DAT/MD recorders or for recording and/or additional
processing in a computer.
All equipment utilizing digital technology that features standard
analog connectors (i.e. 1/4" or XLR) has an internal A/D → D/A
Converter. These can be synthesizers, digital mixing consoles,
almost all standard delay or multi-effects units or sound cards.
The quality of the converter is often expressed as a combination
of its bit rate and its sampling frequency (e.g. 24-bit/96 kHz).
Generally speaking, the higher these t o values, the better the
resolution and therefore the better the audio quality. Older
CD players operate at 16-bit/44.1 kHz. The BCA2000 supports
the current DVD quality standard of 24-bit/96 kHz.
AES/EBU
This professional digital stereo audio format gets its acronym
from the Audio Engineering Society and European Broadcasting
Union. Unlike the consumer format → S/PDIF, AES/EBU signals
are usually transmitted using balanced cables ith XLR
connectors, enabling extremely long cable runs ithout signal
degradation or additional noise. See also → S/PDIF.
Cl ck
Many digital devices feature → Sync, Clock or Wordclock
connections, usually in the form of coaxial BNC connectors.
When using t o or more interconnected digital devices
simultaneously, they must be synchronized to the same clock to
ensure sample rate timing coherence. This synchronization is
performed via the ordclock connector or the digital inputs, i.e.
through the digital audio signal.
C der/C ding
Synonymous to
→ Encoder/Encoding.
D/A c nverter
A D/A converter converts digital audio signals into analog audio
signals. See also
→ A/D Converter.
Dec der/Dec ding
Decoding refers to deciphering a digital signal. If you ish to
transmit or store a digital signal in compressed form (condense/
reduce data quantity), you ill have to → encode it. To use this
signal later or at a different location, you ill have to first decode
the signal. These processes generally occur automatically in
digital audio devices/applications.
DOLBY® DIGITAL
A more popular name for the → AC-3 surround format.
DTS®
The Digital Theater Sound System is similar in function to the
6-channel surround format → DO BY® DIGITA ( → AC-3).
Because DTS® utilizes more moderate compression (data
reduction), it sounds some hat better than AC-3 but requires
more storage space, e.g. on a DVD. This format is also supported
by the BCA2000 on its digital outputs.
Enc der/Enc ding
Encoding refers to encrypting a digital signal using an encoder.
See → Decoder/Decoding.
Interface
General term referring to connection standards used for digital
data transfer.
The → MIDI interface enables communication bet een digital
devices; a device ith a MIDI interface generally has three MIDI
connectors: MIDI In, Out and Thru. The BCA2000 has all three.
Audio interface generally refers to both internal and external
computer sound cards. Internal are those that are built into the
computer (usually PCI cards). External sound cards or audio
interfaces are those that are usually connected to the computer
via → USB or IEE1394 (also kno n as FireWire®), such as the
BCA2000.
LFE
LFE (Lo Frequency Effect; sometimes called Lo Frequency
Enhanced) refers to the → Subwoofer or sub-bass channel that
reproduces the lo est frequencies of the surround soundtrack
(generally belo 80 Hz). This ultra lo -frequency information is
usually experienced as sound pressure rather than as identifiable
audio, especially in movie theaters. Even hen the
LFE-sub oofer is located front and center, the signal is hard to
locate spatially, since frequencies this lo are difficult for the
human ear to process preciselyso instead of actually hearing
them, you feel them. The .1 in the nomenclature of various
surround formats, such as 5.1, 6.1 and 7.1, refers to the LFE
channel. See also → Surround.
Limiter
A limiter limits the dynamic spectrum of signal peaks. The
maximal volume of a signal is defined by the → Threshold value.
Limiters are often used to avoid overdriving → A/D Converters,
because this can cause digital distortion, hichunlike slight
analog distortionis extremely unpleasant, clearly audible and
never desirable. The BCA2000 features an adjustable limiter for
the input sum directly pre- (before) → A/D Converters.
6. CONNECT ONS AND FORMATS