Behringer Virtualizer Pro DSP1024P User manual

User´s Manual
Version 1.0 August 2000
www.behringer.com
ENGLISH
VIRTUALIZER
®
PRO DSP1024P

2
VIRTUALIZER PRO D P1024P
This symbol, wherever it appears, alerts
you to the presence of uninsulated
dangerous voltage inside the enclosure
- voltage that may be sufficient to con-
stitute a risk of shock.
This symbol, wherever it appears, alerts
you to important operating and mainte-
nance instructions in the accompanying
literature. Read the manual.
SAFETY INSTRUCTIONS
CAUTION: To reduce the risk of electrical shock, do not remove
the cover (or back). No user serviceable parts inside;
refer servicing to qualified personnel.
WARNING: To reduce the risk of fire or electrical shock, do not
expose this appliance to rain or moisture.
DETAILED SAFETY INSTRUCTIONS:
All the safety and operation instructions should be read before the appliance is operated.
Retain Instructions:
The safety and operating instructions should be retained for future reference.
Heed Warnings:
All warnings on the appliance and in the operating instructions should be adhered to.
Follo instructions:
All operation and user instructions should be followed.
Water and Moisture:
The appliance should not be used near water (e.g. near a bathtub, washbowl, kitchen sink, laundry tub, in a wet
basement, or near a swimming pool etc.).
Ventilation:
The 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
ventilation openings, or placed in a built-in installation, such as a bookcase or cabinet that may impede the
flow of air through the ventilation openings.
Heat:
The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other
appliance (including amplifiers) that produce heat.
Po er Source:
The appliance should be connected to a power supply only of the type described in the operating instructions
or as marked on the appliance.
Grounding or Polarization:
Precautions should be taken so that the grounding or polarization means of an appliance is not defeated.
Po er-Cord Protection:
Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed
upon or against them, paying particular attention to cords and plugs, convenience receptacles and the point
where they exit from the appliance.
Cleaning:
The appliance should be cleaned only as recommended by the manufacturer.
Non-use Periods:
The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time.
Object and Liquid Entry:
Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.
Damage Requiring Service:
The appliance should be serviced by qualified service personnel when:
- The power supply cord or the plug has been damaged; or
- Objects have fallen, or liquid has been spilled into the appliance; or
- The appliance has been exposed to rain; or
- The appliance does not appear to operate normally or exhibits a marked change in performance; or
- The appliance has been dropped, or the enclosure damaged.
Servicing:
The user should not attempt to service the appliance beyond that is described in the Operating Instructions. All
other servicing should be referred to qualified service personnel.

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VIRTUALIZER PRO D P1024P
FOREWORD
Dear Customer,
Welcome to the team of VIRTUALIZERPRO users and thank you very much for expressing your confidence
in BEHRINGER products by purchasing this unit.
It is one of my most pleasant tasks to write this letter to you, because it is the culmination of many months of
hard work delivered by our engineering team to reach a very ambitious goal: making an outstanding device
better still. The VIRTUALIZER PRO has for quite a long time been a standard tool used by numerous studios
and P.A. rental companies. The task to improve one of our best-selling products certainly meant a great deal
of responsibility, which we assumed by focusing on you, the discerning user and musician. It also meant a lot
of work and night shifts to accomplish this goal. But it was fun, too. Developing a product usually brings a lot
of people together, and what a great feeling it is when everybody who participated in such a project can be
proud of what weve achieved.
It is our philosophy to share our joy with you, because you are the most important member of the BEHRINGER
family. With your highly competent suggestions for new products youve greatly contributed to shaping our
company and making it successful. In return, we guarantee you uncompromising quality (manufactured under
I O9000 certified management system) as well as excellent technical and audio properties at an extremely
favorable price. All of this will enable you to fully unfold your creativity without being hampered by budget
constraints.
We are often asked how we can make it to produce such high-grade devices at such unbelievably low prices.
The answer is quite simple: its you, our customers! Many satisfied customers means large sales volumes
enabling us to get better conditions of purchase for components, etc. Isnt it only fair to pass this benefit back
to you? Because we know that your success is our success, too!
I would like to thank all people whose help on Project VIRTUALIZERPRO has made it all possible. Everybody
has made very personal contributions, starting from the designers of the unit via the many staff members in our
company to you, the user of BEHRINGER products.
My friends, its been worth the trouble!
Thank you very much,
Uli Behringer

4
VIRTUALIZER PRO D P1024P
DSP1024P
VIRTUALIZERPRO
Ultra-high performance Digital Multi-Effects Processor powered by a 24-bit high-speed Digital Signal Processor (DSP
sWave Adaptive Virtual Room reverb algorithms calculated from precise mathematical room models to give
you ultra-natural reverb effects
s32 breathtaking Reverb, Chorus, Flanger, Delay, Pitch hifter, Vocoder, Rotary peaker effects and more
sMore than 700 effects variations plus two individual parameters and separate low and high EQ section
sTwo digital processing engines offer you independent or coupled effects on left and right channels
sTrue stereo processing performance allows separation of left and right channels in the stereo field for
open-sounding enhancement of the sound sources
sFree VIRTUALIZER design software allows for total remote control via PC (download at www.behringer.com)
s24-bit A/D and D/A converters with 64/128 times oversampling for ultra-high headroom and resolution
sInternal 24-bit processing with professional 46 kHz sampling rate
servo balanced inputs and outputs on XLR and 1/4" TR jack connectors for high signal integrity
s100 user preset memories to store programs for instant recall
sAccurate eight-segment LED level meters simplify level setting for optimum performance
sFuture-proof software-upgradeable architecture
sFull MIDI capability allows real-time parameter control and program selection
sHigh-quality components and exceptionally rugged construction ensures long life and durability
sInternal power supply design for professional application
sManufactured under I O9000 certified management system

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VIRTUALIZER PRO D P1024P
TABLE OF CONTENTS
1. INTRODUCTION..................................................................................................................... 6
1.1 The design concept ......................................................................................................................... 6
1.2 Before you begin ............................................................................................................................. 7
1.3 Control elements ............................................................................................................................. 7
1.4 The effect algorithms ..................................................................................................................... 10
1.4.1 Reverb and delay algorithms ................................................................................................ 11
1.4.2 pecial effects .................................................................................................................... 12
1.4.3 Modulation and pitch shifter effects ..................................................................................... 12
1.4.4 Effect algorithm combinations (multi-effects programs) ........................................................ 12
1.4.5 Dual-mode effects algorithms .............................................................................................. 13
2. OPERATION .......................................................................................................................... 14
2.1 Effects structure ............................................................................................................................ 14
2.2 electing presets .......................................................................................................................... 14
2.3 Editing programs ........................................................................................................................... 15
2.4 aving programs ........................................................................................................................... 15
2.5 MIDI control................................................................................................................................... 15
3. APPLICATIONS ..................................................................................................................... 17
3.1 Level setting .................................................................................................................................. 17
3.2 Using the VIRTUALIZERPRO in the aux bus ................................................................................ 17
3.3 Using the VIRTUALIZERPRO in the insert path ............................................................................ 18
3.4 Using the VIRTUALIZERPRO as an effects device for instruments ............................................... 19
3.5 Using the VIRTUALIZERPRO in a MIDI system ............................................................................ 20
3.6 aving data via MIDI ...................................................................................................................... 20
4. TECHNICAL BACKGROUND .............................................................................................. 21
4.1 Reverberation and reflection .......................................................................................................... 21
4.1.1 Reverberation chambers ...................................................................................................... 22
4.1.2 pring and plate reverb........................................................................................................ 22
4.1.3 Digital reverb ....................................................................................................................... 23
5. INSTALLATION ..................................................................................................................... 24
5.1 Mains connection .......................................................................................................................... 24
5.2 Audio connections ........................................................................................................................ 24
5.3 MIDI connections .......................................................................................................................... 25
5.4 Operating Level switch .................................................................................................................. 26
6. APPENDIX ............................................................................................................................. 26
6.1 Parameter overview ....................................................................................................................... 26
6.2 Delay values / increments for presets 10 and 11 ........................................................................... 27
6.3 MIDI Implementation ..................................................................................................................... 28
6.4 Default settings ............................................................................................................................. 29
7. SPECIFICATIONS ................................................................................................................. 30
8. WARRANT ........................................................................................................................... 31

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VIRTUALIZER PRO D P1024P
1. INTRODUCTION
With the BEHRINGER VIRTUALIZERPRO you have purchased a very powerful multi-effects processor which
offers both first-class reverb sounds and various other effect algorithms. Although you will find a high number of
effect types  32 newly developed effect types with more than 700 variations  the VIRTUALIZERPRO can be
operated easily and intuitively with its logically structured user interface.
To generate reverberation that is very natural in character, we at BEHRINGER developed innovative virtual
acoustics algorithms which allow for computing all room and reverb parameters with absolute pro-level quality
and a highly natural sound character.
Despite extensive computing work which is done in the D P1024P by a dual-engine 24-bit processor, the
VIRTUALIZERPRO can be operated easily and conveniently. All parameter edits are performed with the jog
wheel (rotary control). 100 presets are available to store user-defined programs.
However, the D P1024P is by no means limited to excellent reverb and delay programs. In addition to the
simulation of classic plate reverbs, the VIRTUALIZERPRO gives you extraordinary modulation effects (such
as chorus and flanger), plus a few special-purpose variants, e.g. a musical pitch shifter as well as tremolo and
rotary speaker simulations. With the vocoder and vocal distortion effect programs, you even have ultra-modern
effects available that the D P1024P generates with absolute realism.
A very special feature are the high and low filters which can be freely edited and directly selected in each
preset. With these filters you can fine-tune the sound of your presets to match any given room characteristics
 a time saving feature especially for live applications, where every second counts. Additionally, the D P1024P
offers delay times of up to 5.1 seconds in stereo mode. Not only will the VIRTUALIZERPRO convince you with
its logical and easy-to-operate user interface, its technical features, too, are quite impressive. The following
criteria ensure the pro-level processing of audio signals:
sExtremely low-noise and high-precision 24-bit AD/DA converters.
sA professional sampling rate of 46 kHz ensures a high signal resolution with a frequency response ranging
from 20 Hz to 20 kHz.
sThe 24-bit processor features two sections (dual-engine software), each processing one independent audio
channel.
sLike all BEHRINGER products, the D P1024P uses only high-grade components and circuitry.
With its complete MIDI implementation the D P1024P can be integrated in any MIDI system. Our free
VIRTUALIZERdesign MIDI software editor (available at www.behringer.com) enables you to program the
VIRTUALIZERPRO from your personal computer, and the MIDI interface allows for transmitting data from the
D P1024P and store them on an external storage medium. For example, you can use sys-ex dumps to send
all presets and settings to your sequencer program and reload them from there whenever you want.
+The follo ing instructions manual ill introduce you to the BEHRINGER VIRTUALIZERPRO
and its various functions. After reading the manual carefully, make sure it is al ays on hand
for future reference.
1.1 The design concept
The philosophy behind BEHRINGER products guarantees a no-compromise circuit design and employs the best
choice of components. Top-quality 24-bit AD/DA converters which belong to the best components
available owing to its outstanding specifications and excellent sonic characteristics. Two 24-bit D Ps are used
as the heart of the VIRTUALIZERPRO. These perform the precise calculations needed for the processing of the
complex algorithms. Additionally, the VIRTUALIZERPRO uses high quality resistors and capacitors with very
tight tolerances, high-grade switches, low-noise operational amplifiers as well other selected components.
The VIRTUALIZERPRO D P1024P uses MD technology ( urface Mounted Device). These subminiature
components known from aerospace technology allow for an extreme packing density, plus the units reliability
could be improved. Additionally, the unit is manufactured in compliance with a I O9000 certified management
system.
1. INTRODUCTION

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VIRTUALIZER PRO D P1024P
1.2 Before you begin
Your BEHRINGER VIRTUALIZERPRO was carefully packed in the factory and the packaging was designed to
protect the unit from rough handling. Nevertheless, we recommend that you carefully examine the packaging
and its contents for any signs of physical damage, which may have occurred in transit.
+If the unit is damaged, please do not return it to us, but notify your dealer and the shipping
company immediately, other ise claims for damage or replacement may not be granted.
Shipping claims must be made by the consignee.
The BEHRINGER VIRTUALIZERPRO fits into one standard 19" rack unit of space (1 3/4"). Please allow at
least an additional 4" depth for the connectors on the back panel.
Be sure that there is enough space around the unit for cooling and please do not place the VIRTUALIZERPRO
on high temperature devices such as power amplifiers etc. to avoid overheating.
+Before you connect your VIRTUALIZERPRO to the mains, please make sure that your local
voltage matches the voltage required by the unit.
The mains connection of the VIRTUALIZERPRO is made by using a mains cable and a standard IEC
receptacle. It meets all of the international safety certification requirements. Please make sure that all units
have a proper ground connection.
+Please make sure that all units have a proper ground connection. For your o n safety, do not
remove the ground connection ithin the units or at the supply, or fail to make this connection
at all.
+Please ensure that only qualified persons install and operate the VIRTUALIZERPRO. During
installation and operation the user must have sufficient electrical contact to earth. Electro-
static charges might affect the operation of the VIRTUALIZERPRO!
ee chapter 5 IN TALLATION for further details.
As a standard the audio inputs and outputs on the BEHRINGER VIRTUALIZERPRO are fully balanced. If
possible, connect the unit to other devices in a balanced configuration to allow for maximum interference
immunity. The automatic servo function detects unbalanced connections and compensates the level difference
automatically (6 dB correction).
The MIDI links (IN/OUT/THRU) are made over standardized DIN patch cords. The data communication is
isolated from ground by opto-couplers.
1.3 Control elements
Fig. 1.1: VIRTUALIZERPRO front panel
The BEHRINGER VIRTUALIZERPRO is equipped with ten parameter keys, a jog wheel (rotary control), an
LED display and a power switch. Each of the two fully independent channels can be monitored with an 8-digit
LED meter.
1. INTRODUCTION

8
VIRTUALIZER PRO D P1024P
Fig. 1.2: Displa section of the DSP1024P
1The two LED CHAINS display the input signal level indB, referenced to the internal digital maximum.
Please note that the nominal level of the VIRTUALIZERPRO can be selected with the +4dBu/-10dBV
switch located on the back panel.
2The EFFECT TABLE gives you an overview of the 32 different effect algorithms.
3After power-up, the LED DISPLAY shows the number of the preset last used. This clearly legible, 2½
digit numeric display has plus/minus indicators to show that parameters are being incremented or
decremented in Edit mode.
Fig. 1.3: Function ke s and jog wheel
4With the JOG WHEEL, a continuous rotary control, you can freely edit the selected parameters. Turn
the wheel clockwise to increase the values, or counterclockwise to reduce them. As long as none of the
edit functions to the right of the JOG WHEEL have been selected, you can use the wheel to select a
program directly, which is shown by a dot lit up in the DI PLAY. While this dot is on, you can select a
program though its settings will not take immediate effect. When the JOG WHEEL has not been touched
for at least one second, the LED in the DI PLAY disappears and the program will be loaded.
5Use the EFFECT key to directly select one of the 32 basic effect algorithms with the jog wheel.
+Whenever a ne algorithm is selected, all parameters are reset to default values. See table
6.4 in the appendix.
6The VARIATION key allows you to select an alternative variation of each effect algorithm activating a
different setup of the numerous internal effect parameters. With this feature you can extensively
manipulate the effect sound within a very wide range.
7Use the ENGINEL key to select the left audio channel for true-stereo effects. Many effects may have
different ENGINEL and ENGINER parameters available through EDITA and EDITB. Where to find
which parameter can be seen from the parameter list printed on the top of the unit.
1. INTRODUCTION

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VIRTUALIZER PRO D P1024P
8Use the ENGINER key to select the right audio channel (similar to : ENGINEL). If you wish to
process the left and right audio channels simultaneously (couple mode), press both ENGINE keys
together. In couple mode both ENGINE LEDs light up. Whenever you edit one of the two audio
channels and then switch to couple mode, the parameters of the active channel will be copied to the
other; i.e if you press ENGINE L before R, left will be copied to right. When parameters cannot be
adjusted separately in a specific algorithm, the D P1024P switches to couple mode automatically.
9In each preset you can edit at least two parameters in addition to the preset variation. Use the EDITA
key to select the first parameter. The exact parameter assignment can be seen from the parameter list
printed on top of the unit.
10 The EDITB key allows you to modify the second parameter as required.
11 To give your programs the finishing touch, the VIRTUALIZERPRO incorporates two filters. Use the
EQ HI key to raise or lower the high-frequency portions of the effect program.
12 The EQ LO key activates a filter which processes the low-frequency portions of your preset.
13 The IN/OUT key enables you to bypass the D P1024P. The green LED lights up as soon as the
VIRTUALIZERPRO is activated. Depending on the Mix mode adjusted (see below), this key can also be
used to activate the Mute function. Additionally, the green LED starts flashing whenever MIDI data are
being received.
14 Use the STORE key to save the edited program to a user preset as shown in the display. 100 user
presets are available on the D P1024P. Press the key once, select a memory location (number) with
the JOG WHEEL, then press the key again to store the preset.
15 Use the POWER switch to switch the VIRTUALIZERPRO on or off.
Key combinations
To protect the D P1024P against user errors, three important edit commands have been implemented as a
series of key combinations. For example, in normal operating modes, the presets cannot be reset to their
factory defaults, so as to secure your own programs as safely as possible. Please proceed as follows to
reinitialize the preset default settings:
sKeep the keys EFFECT and TORE pressed before po ering up the VIRTUALIZERPRO. Then switch
on the D P1024P and keep the two keys pressed for about two seconds. The program numbers are
counted up and reset to their original default settings.
The VIRTUALIZERPRO provides two methods to mix the input and the effect signals (External Mix and Internal
Mix modes). elect External Mix mode to use the D P1024P with a mixing console: in this mode all presets
are set to 100% effect intensity, i.e. you can use the aux return busses of your console to add the processed
signal to the original signal. In External Mix mode the IN/OUT key is used to bypass the unit. Heres how to
enter External Mix mode:
sWith the unit switched on, press the Mix mode key combination, i.e. the keys EQ LO and EQ HI. The
VIRTUALIZERPRO enters Mix mode. When the display shows two dashes, the D P1024P is in External
Mix mode, and when a figure is displayed, Internal Mix mode is selected. To toggle between the two
modes, simply press both EQ keys for about 2 seconds.
In Internal Mix mode you can use the jog wheel to freely select the effect intensity in each preset within a range
from 0% to 100%, a highly useful feature, for instance, to insert the D P1024P in the effect loop of a guitar
amp. Good results can be achieved with settings between 20% and 50%.
Another key combination can be used to enter MIDI mode. With the VIRTUALIZERPRO switched on, proceed
as follows:
sKeep the keys IN/OUT and TORE pressed for about two seconds, the D P1024P automatically enters
MIDI mode. Use the IN/OUT key to step through the various MIDI parameters. Press any other key to quit
MIDI mode.
1. INTRODUCTION

10
VIRTUALIZER PRO D P1024P
Fig. 1.4.: Back panel connectors and control elements
16 Use the OPERATING LEVEL switch to adapt the VIRTUALIZERPRO to different operating levels. You
can select a -10 dBV semi-pro level used for home recording and a +4 dBu level used in professional
studios. The level indicators on the front panel are automatically adapted to read the selected nominal
level, i.e. an optimum operating range of the meters is always guaranteed.
17 These are the VIRTUALIZER PROs analog INPUTS. The VIRTUALIZERPRO has both XLR and 1/4"
jack inputs and outputs. Each XLR and jack set are wired parallel and can be used either balanced and
unbalanced.
18 These are the VIRTUALIZERPROs analog OUTPUTS. Also on balanced or unbalanced XLR or 1/4"
jacks.
19 SERIAL NUMBER. Please take the time to have the warranty card filled out completely and return it
within 14 days after the date of purchase, so as to be entitled to benefit from our extended warranty. Or
use our online registration option available on the World Wide Web under www.behringer.com.
20 These are the VIRTUALIZERPROs MIDI connectors (MIDI OUT / THRU / IN). Total remote control is
possible via MIDI.
21 This is the MAINS CONNECTOR / FUSE HOLDER / VOLTAGE SELECTOR. Before you connect the
unit, please make sure that the displayed voltage corresponds to your Mains supply. Please note that
the AC voltage selection is defined by the position of the Fuse Holder. If you intend to change the
operating voltage, remove the Fuse Holder and turn it by 180 degrees before you reinsert it. Matching the
two markers monitors the selected voltage. Please note that, depending on the mains voltage supplied
to the unit, the correct fuse type and rate must be installed (see chapter 7  PECIFICATION ). Please
use the enclosed mains cable to connect the unit to the mains power supply.
+Please note that not all appliances can be used ith different mains voltage ratings. Please
check the description on the back of the unit and the box.
1.4 The effect algorithms
In a digital effects device all effect programs are based on algorithms computed by a Digital ignal Processor
(D P). How does this work? A D P can perform an enormous number of binary computations in a minimum
amount of time. The binary computations used to generate an effect as part of a program are determined by a
so-called algorithm which represents a rule for computing numerical values that are exactly specified for each
effect type. For example, reverb algorithms differ from chorus algorithms in their programming. Plainly
speaking: each effect is based on a specific algorithm which processes the input signal (converted from analog
to digital before). All of this work is done by the D P. Once the effect has been generated and added to the
input signal, the digital music signal is converted back to analog by means of a D/A converter.
The VIRTUALIZERPRO permits the change of as many as five parameters which influence the sound in
different ways. This means that for some algorithms the parameters are chosen by using key combinations
with ENGINEL and ENGINER. In these cases a combination of ENGINEL and ENGINER with the EDITA
and EDITB key will not mean that only one channel is affected. The combination EDITAENGINEL is a
different parameter than the combination EDITAENGINER, these parameters will be changed on both
channels. With a reverb effect (like PRG 1) EDIT BENGINER does not mean that the right audio channel is
processed, but that the second EDIT B parameter (with PRG 1: High Multiply) is adjusted.
The only exception is the DUAL MONO (PARALLEL) effects, which produce another effect in the left channel
from the right channel.
In those cases EDITB  ENGINEL or EDITB  ENGINER means that you select EDITB and the left or right
engine. If we only state EDITB for instance then the selection of the left or right engines does not play a role.
1. INTRODUCTION

11
VIRTUALIZER PRO D P1024P
1.4.1 Reverb and delay algorithms
Cathedral: Reverb program that generates long and dense reverberation, much like the natural reverb
ambience found in churches or cathedrals. Particularly suitable for solo instruments and voices.
VARIATION modifies the decay time, EDITA adjusts the differences between tiled and angular walls
(diffusion), while EDITBENGINEL governs the early reflections and EDITBENGINER the
brilliance of the reverb signal.
Plate: The sound of early reverb plates. The decay time can be set from 0-9 s using VARIATION.
EDITA determines the pre-delay by changing the perceived size of the room, EDITB uses ENGINEL
to enhance the stereo image and ENGINER to modify the room brilliance. A classic reverb program for
drums and solo voices.
Small Hall: imulation of a small, highly reverberating hall. Use short reverb times (VARIATION) to
process drum instruments or medium reverb times to enhance wind instruments. EDITA controls
diffusion, EDITB early reflections (ENG.L) and stereo width (ENG.R).
Room: You can clearly hear the walls of this room as they are reflecting the sound. Their characteristics
can be changed with EDITB from reflective (tiles, marble) to absorbent (carpets, curtains). Use
VARIATION (reverb time / room size) to create any room type  from small store rooms to large living
rooms. EDITA governs the pre-delay. A useful program for reverb that isnt directly noticable (rap,
hip hop vocals) or to make dry recordings of instruments sound natural again. Very all-round effect.
Studio: Middle to large rooms that can be modified in their wall characteristics (EDITB  ENG.R),
early reflections (EDITBENG.L), position of sound source (= pre-delay: EDITA) and size
(VARIATION). Creates a natural and multipurpose sound.
Concert: Use VARIATION (reverb time) to create a small theater or large concert hall, determine the
distance to the stage (= predelay: EDITA), the distance to neighboring walls (= early reflections:
EDITBENG.L) and their structure (= diffusion: EDITBENG.R).
Stage: Wonderful reverb, for example, to provide keyboard pads or acoustic guitars with width and
depth (EDITBENG.R = stereo width), and to make them sound fresher (EDITBENG.L =
brilliance). Additionally, you can set the reverb time with VARIATION and the diffusion with EDITA.
Designed for live applications and mixdown.
Vocal: Rich and dense reverb with middle reverb times (VARIATION) giving solo voices their finishing
touch. EDITA controls pre-delay, EDITBENG. L early reflections and EDITBENG.R brilliance.
Percussion: This dense reverb is characterized by pronounced early reflections which make it very
suitable for dynamic signals (drums, percussion, slap bass, etc.). Apart from diffusion (EDITA) and
reverb time (VARIATION) you can create interesting effects using the separately adjustable decay time
of high-frequency portions (EDITB), which make the reverb more, or less audible.
Stereo Delay: Here, the input signal is delayed by as much as 5.1 s. Use VARIATION for a rough
setting from 0 ms to 5.1 s. Use EDITA to adjust the delay time in milliseconds (in steps of 5 ms up to
VARIATION 6, then 10 ms). EDITB determines the amount of effect signal that is fed back to the effect
(input signal is repeated several times with decaying intensity). The maximum feedback is limited to
avoid feedback loops. Please take a look at table 6.2 for further details.
Stereo Ping-Pong Echo: Much like the delay effect, echo repeats the input signal with decaying
intensity. However, here the echoes lose brilliance with each repetition, which simulates the trendy
vintage effect produced by tape echo units that were widely used in the pre-digital era. Additionally, the
reflections are alternatingly routed to the left and right channels so as to produce a kind of stereo
effect. The delay times can be set similarly to effect #10 (see table 6.2 in the appendix).
Gated Reverb: Phil Collins song In the Air Tonight made this effect famous: a reverb is cut off abruptly
after a certain time. VARIATION determines the cutoff time, EDITA controls the reverb intensity and
EDITB the threshold above which reverb comes in (a kind of noise-gate before the reverb signal input).
+If used for rhythmical signals (snare) adjust the length so that the reverb is cut off just before
the next quarter note (e.g. bpm = 120, quarter note = 0.5 s, length less than 0.5 s).
1. INTRODUCTION

12
VIRTUALIZER PRO D P1024P
Reverse Reverb: A reverb program with an inverted amplitude envelope, i.e. the effect starts softly and
then increases in volume. This effect used to be created by playing a tape in reverse direction, recording
the reverb signal, and then playing back the tape in forward direction again, with the result that the reverb
signal was played back before the actual input signal. VARIATION controls the length of the signal,
EDITA the delay, and EDITB the threshold above which the effect responds.
1.4.2 Special effects
Vocal Distortion: A clearly up-to-date program for lo-fi effects applied to vocals or drum loops,
combined with a delay. VARIATION determines the degree of distortion in 32 steps, EDITA controls
the delay of the left channel from 0 to 630 ms. The right channel is coupled to the left one and can be
delayed in the time domain from 0 through 420 ms. EDITB governs the delay mix. As a little extra the
distortion circuit also includes an LFO-controlled notch filter which audibly wanders back and forth with
maximum distortion (VARIATION 24 and higher).
Rotary Speaker: imulation of the legendary rotary speaker effect produced by speakers rotating at
slow/fast speed within a bulky cabinet. The effect uses the physical principle known as Doppler effect.
VARIATION changes the frequency response (higher value = less high frequencies). ettings of 24 and
higher also simulate the tube distortion that was produced by the original cabinets in the 70s. EDITA
controls the speed of the horn-loaded speaker (treble range), EDITB that of the rotor (bass range).
Vocoder: Another all time favorite that has gained new popularity during the disco music renaissance of
the past few years (Around the World by Daft Punk or California by TuPac). Basically, a control signal
(usually vocals) in the right channel is used to modulate another signal in the left (e.g. synth sound),
which sounds as if the synth was talking (robot voice). VARIATION determines the type of vocoder,
EDITA the degree of distortion, and EDITB the effect sensitivity.
1.4.3 Modulation and pitch shifter effects
Pitch: This effect transposes the input signal either in cents (EDITA  producing a light detune effect)
or semi-tones (EDITB  up/down to one octave). ettings can be made independently for both
channels, so as to create harmonies or simply to widen the sound of a single voice. The pitch effect can
also be used to produce a cartoon character type voice effect.
Flanger: An LFO constantly modulates the effect signals pitch by a few cents up and down. The LFO
speed is controlled by VARIATION, the amount of pitch modulation by EDITA, the portion of the effect
signal fed back to the effect block (= feedback) can be determined with EDITB. By the way, you can
separately control the channels modulation depth and feedback, which allows for highly complex
modulations. Flanger effects are primarily used for guitars, but there are also lots of other useful
applications: voices, cymbals, bass, remixes, etc.
Chorus: Though similar to the flanger, chorus uses a delay function instead of feedback. Combined with
the pitch shifting feature, the delay produces a very pleasant detune effect. VARIATION changes the
modulation frequency, EDITA controls the delay and EDITB the modulation depth. Chorus effects are
used so often and in such a variety of applications that any recommendation would mean a limitation of
their use.
1.4.4 Effect algorithm combinations (multi-effects programs)
Effect algorithms nos. 20 through 24 are multi-effects algorithms combining various effect types with, for
instance, a reverb algorithm, and can hence be used simultaneously. For example, effect #24 allows you to
chorus a lead guitar sound and at the same time add some room reverb. ( ee figure 2.1  erial effect
combinations.)
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13
VIRTUALIZER PRO D P1024P
Tremolo & Delay: ince trip hop has become trendy, this effect  originally found in guitar amps  is
used to produce a more or less fast and intensive variation of volume (with an additional panorama effect
included in the D P1024P). The modulation speed is controlled with VARIATION, the intensity with
EDITAENGINEL, and the panning rhythm with EDITBENGINEL. This algorithm belongs to the
group of multi-effects programs and is combined with a delay. Delay time is set with EDITAENGINER
ranging from 0 to 630 ms (10 ms increments) feedback is set with EDITBENGINER.
Delay & Reverb: Probably the most popular combination used for vocals, solo guitars, etc. With
ENGINEL you can adjust delay time (EDITAENGINEL) and feedback (EDITBENGINEL). EDITA
ENGINER controls decay time and EDITBENGINER reverb mix. The program uses a Bright Room
reverb which can be used for a variety of applications. VARIATION changes the Delay Mix.
Pitch & Reverb: Use ENGINEL to transpose the pitch shifter (EDITA = cents; EDITB = semi-tones),
and ENGINER to control the reverb (Bright Room): ENG.REDITA controls the reverb time,
ENG.REDITB controls the mix amount.
Flanger & Reverb: The flanger can be controlled in its modulation depth (ENG.LEDITA) and
feedback (ENG.LEDITB), the reverb in its decay time (ENG.REDITA) and mix amount (ENG.R
EDITB). You can also adjust the modulation frequency with the VARIATION parameter.
Chorus & Reverb: This algorithm combines the popular chorus effect. Controllable parameters:
modulation frequency (VARIATION), modulation delay (ENG.LEDITA) and depth (ENG.LEDITB)
with the reverb from programs nos. 21-23.
1.4.5 Dual-mode effects algorithms
Unlike multi-effects programs, dual-mode programs (nos. 25 through 32) have their effects split up and sent
separately to the two audio channels (left/right). For example, you can route a flanger to the VIRTUALIZERPROs
left channel, while using a reverb (effect #26) for the right channel. In this way, you can use the D P1024Ps
dual-engine processor as if it were two separate mono effects devices.
Pitch/Reverb: Here, you have a pitch shifter in the left channel (= ENGINE L) with the usual edit
options, and a reverb in the right channel, which can be controlled in its length (EDITA) and high-
frequency content (EDITB).
Flanger/Reverb: left channel = flanger, modulation speed is controlled by VARIATION, delay by
ENG.LEDITA and depth by ENG.LEDITB. Right channel = reverb, with reverb time controlled by
ENG.REDITA and brilliance with ENG.REDITB.
Chorus/Reverb: Left channel = chorus, modulation speed is controlled by VARIATION, delay by ENG.L
EDITA and feedback by ENG.LEDITB. Right channel = reverb, with reverb time controlled by
ENG.REDITA and brilliance with ENG.REDITB.
Tremolo/Reverb: Left channel = tremolo, modulation speed is controlled by VARIATION, delay by
ENG.LEDITA and feedback by ENG.LEDITB. Right channel = reverb, with reverb time
controlled by ENG.REDITA and brilliance with ENG.REDITB.
Delay/Reverb: normal delay left, delay time can be set from 0 to 630 ms with ENG.LEDITA in
10ms steps and feedback by ENG.LEDITB. Right channel = reverb, with reverb time controlled by
ENG.REDITA and brilliance with ENG.REDITB.
Pitch/Echo: Left channel a pitch shifter. ENG.LEDITA = shift in cents, ENG.LEDITB = semitones.
Right channel = echo effect, delay time can be set from 0 to 630 ms with ENG.REDITA in 10ms
steps and feedback by ENG.REDITB.
Flanger/Echo: Left channel a flanger, modulation freqency is controlled with VARIATION, depth with
ENG.LEDITA and feedback with ENG.LEDITB. Right channel = echo effect, delay time can be
set from 0 to 630 ms with ENG.REDITA in 10ms steps and feedback by ENG.REDITB.
Chorus/Echo: Left channel a chorus effect, modulation frequency is controlled with VARIATION,
modulation delay with ENG.LEDITA and modulation depth with ENG.LEDITB. Right channel =
echo effect, delay time can be set from 0 to 630 ms with ENG.REDITA in 10ms steps and feedback
by ENG.REDITB.
+For an overvie of all program parameters see the table in section 6.1.
1. INTRODUCTION

14
VIRTUALIZER PRO D P1024P
2. OPERATION
2.1 Effects structure
Fig. 2.1: Effects structure
2.2 Selecting presets
The VIRTUALIZERPRO stores 100 user-definable presets. After power-up, the unit automatically recalls the
preset last used. To select another preset, use the JOG WHEEL to enter the preset number of your choice.
Turn the wheel clockwise to increment the preset number, or counterclockwise to decrement it.
+Please note that the VIRTUALIZERPRO generally activates the ne ly selected presets only
after about one second, hich is indicated by a dot in the lo er right corner of the display. After
2. OPERATION

15
VIRTUALIZER PRO D P1024P
loading the data, the VIRTUALIZERPRO enables the preset and the dot disappears. This brief
interruption avoids the direct activation of every preset, as you scroll through the preset list
ith the JOG WHEEL. Other ise incomplete parameter remnants of presets could reach the
audio outputs of the VIRTUALIZERPRO, ith possibly disastrous consequences, especially
hen using a high-po er P.A. system. Thus, the VIRTUALIZERPRO makes sure that no
un anted programs are loaded unintentionally. Additionally, you can rotate the JOG WHEEL
at high speed and still have the time to specifically select the preset of your choice, instead of
any of its neighbours.
+The effect algorithms may have greatly varying output levels, reduce the sensitivity (input
gain) of subsequent devices before changing programs.
2.3 Editing programs
Editing programs is easy on the VIRTUALIZERPRO. Basically, all essential parameters can be selected
directly via the keypad and edited with the JOG WHEEL. The list to the left of the DI PLAY summarizes the
effect algorithms that the VIRTUALIZERPRO can generate. Just press the EFFECT key to recall these basic
algorithms and directly select them with the JOG WHEEL. With the VARIATION key you can modify the
selected effect in full detail, because each variation does not only comprise one parameter but a set of several
parameters. Thus, you can use the various variations to tailor the sound of an effects program to suit your
specific needs. The EDITA and B keys enable you to edit essential single parameters of the selected effects
program, while the EQLO and EQHI keys allow for adapting your own presets to match specific room
acoustics or sound preferences.
Use the ENGINEL and ENGINER keys to edit the left or right audio channel settings. Of course, you can edit
both channels at the same time in couple mode. When entering couple mode, the VIRTUALIZERPRO copies
the parameter settings of the channel last activated to the other channel, so that both of them have an identical
set of parameter values. Finally, you can also save the changes made to the preset.
2.4 Saving programs
Use the TORE key to save an edited preset. Basically, all parameter changes can be saved. Whenever
youre editing a preset, the DI PLAY starts flashing to indicate that the edits will be saved only when you
confirm them by pressing the TORE key twice. Example:
sYou recall a program for editing. Then you edit the preset as desired using the function keys and the jog
wheel. During this process, the flashing TORE key reminds you that the preset settings have been
changed but not saved yet. Press the TORE key once. The display reads the current preset number and
starts flashing. To keep the original preset, use the jog wheel to select another preset that can be
overwritten. Press the TORE key again to save the changes to the selected preset. If you wish to overwrite
the original preset, simply press the TORE key twice (after editing) to save all changes you have made.
+Whenever you have edited a preset and pressed the STORE key t ice, all previous settings in
this preset are erased and over ritten ith the ne parameter values. Ho ever, if you ish to
keep the original preset, use the JOG WHEEL to select another preset before you press the
STORE key a second time.
2. MIDI control
Use the MIDI key combination to select the MIDI parameters you wish to adjust. For this purpose, keep the
IN/OUT and the TORE keys pressed for about two seconds. All parameters can be edited with the JOG
WHEEL and these two keys. The MIDI menu includes six pages which you can select by pressing the IN/OUT
key (upwards) and the TORE key (downward).
On the first page you can select the MIDI channel. The DI PLAY shows a small c (= channel). The JOG
WHEEL adjusts a channel from 1 through 16. To switch off the MIDI function, simply select the 0 value
(displayed as -).
On the second page you can select MIDI Omni mode, i.e. the unit transmits/receives on all 16 MIDI channels.
The DI PLAY reads O (= Omni). Use the JOG WHEEL to activate (1) or deactivate (0) Omni mode.
2. OPERATION

16
VIRTUALIZER PRO D P1024P
The third page allows for configuring controller commands. On its right-hand side, the DI PLAY shows a
capital C (= Controller). The JOG WHEEL selects one of the following four controller modes:
Display Mode
0No controller data are transmitted.
1Controller data are received but not transmitted.
2Controller data are transmitted but not received.
3Controller data are transmitted and received.
Tab. 2.1: Controller settings
For further details see table 6.4 in section 6 APPENDIX.
The fourth page gives you access to the program change setup. The DI PLAY shows a capital P
(= Program). Here, too, four modes can be selected with the JOG WHEEL, as follows:
Display Modus
0Program Changes are not transmitted.
1Program Changes are received but not transmitted.
2Program Changes are transmitted but not received.
3Program Changes are transmitted and received.
Tab. 2.2: Program change settings
The fifth page of the MIDI menu shows the store enable flag represented by a capital   in the DI PLAY. The
value 0 disables the reception of controller #28, and therefore protects the user presets from being modified
via MIDI. Accordingly, the value 1 enables MIDI controller #28 so that you can modify or replace presets with
a remote MIDI device or a sequencer. In this case the actual settings will be stored directly to the location that
corresponds to the controller value.
+Attention! Since the store enable mode allo s you to access memory locations directly via
MIDI, it is possible that stored presets ill be replaced or altered if controller #28 messages are
sent on the same MIDI channel. The purpose of this mode is to facilitate MIDI backup and
restore operations ithout express confirmation at the VIRTUALIZERPRO. It is therefore
recommended to disable (flag = 0) this mode as soon as the intended data transfer has ended.
This is done automatically hen you s itch off the VIRTUALIZERPRO.
On the sixth and last page, you can access the  ystem Exclusive functions. This is indicated by a d (for
dump) in the DI PLAY. To the left of this d a number is displayed:
- 0 means that no Y EX data will be sent or accepted.
- 1 will enable the VIRTUALIZER PRO to receive data. When TORE is pressed the unit will wait for data,
this is shown by flashing dots (LEDs) in the DI PLAY. The MIDI key LED flashes signaling that Y EX
data is being received.
- 2 will enable the VIRTUALIZER PRO to send a bulk dump. tart your MIDI sequenzer program and press
TORE on the D P1024P to start the transmission.
To load these settings again, select 1, press TORE and start your MIDI sequenzer program.
+During a bulk dump, all audio functions of the VIRTUALIZER PRO ill be deactivated.
If you press the IN/OUT key again on the sixth page, the VIRTUALIZERPRO quits MIDI setup mode. At all
times you can press any other key to leave the MIDI setup directly.
The full-featured MIDI implementation of the VIRTUALIZERPRO allows for easily integrating of the
VIRTUALIZERPRO into any MIDI system.
sMIDI IN
Any MIDI data sent to the VIRTUALIZERPRO (sequenzer, MIDI footswitch, etc.) is received via the MIDI IN
jack. For example, when you wish to use the VIRTUALIZERPRO as an effects devices for your guitar rack,
you can connect the MIDI IN jack to a MIDI footswitch that allows for selecting program presets. If your rack
includes another MIDI effects devices (e.g. a multi-effects processor), the data sent from the MIDI footswitch
2. OPERATION

17
VIRTUALIZER PRO D P1024P
can be routed via the VIRTUALIZERPROs MIDI THRU jack to your multi-effects processor.
sMIDI THRU
The MIDI THRU jack is used to loop through incoming MIDI data, i.e. any control data received at the MIDI IN
of the VIRTUALIZERPRO can be transmitted via the MIDI THRU jack to other MIDI devices/instruments.
sMIDI OUT
The MIDI OUT jack allows for transmitting MIDI data that originate from the VIRTUALIZERPRO.
The VIRTUALIZER design editor software (free download at www.behringer.com) enables you to control the
VIRTUALIZERPRO from your personal computer.
3. APPLICATIONS
The BEHRINGER VIRTUALIZERPRO is a highly flexible device that can be used for a wide variety of
applications. Prior to a presentation of the VIRTUALIZERPROs many uses, please note the following remarks
on how to set signal levels correctly.
3.1 Level setting
Take care to set all levels properly on the VIRTUALIZERPRO! Low levels deteriorate the dynamics of the
music signal, which results in a poor, weak and noisy sound. On the other hand, excess levels overdriving the
converters in the VIRTUALIZERPRO should also be avoided. Digital distortion is (unlike its analog counterpart)
very unpleasant to hear as it does not occur gradually but abruptly.
Use the input level meter of the VIRTUALIZERPRO to adjust the input signal, so that the Clip LED flickers only
rarely. Make sure that it never lights up permanently!
3.2 Using the VIRTUALIZERPRO in the aux bus
By using the VIRTUALIZERPRO in an aux bus of your mixing console you can feed the channel signals of
one, several or even all console channels into the VIRTUALIZERPRO, i.e. for each channel you can use the
aux busses to separately determine the reverb levels of, for instance, various drum sounds: while lots of reverb
is applied to the snare drum, the effect intensity could be reduced in the channels assigned to the tom-toms.
To use the VIRTUALIZERPRO in the aux bus, the unit must be wired as follows:
Fig. 3.1: Wiring aux busses
3. APPLICATION

18
VIRTUALIZER PRO D P1024P
Connect the two Input phone jacks with the Aux end outputs of the mixing console, and the Output jacks of
the VIRTUALIZERPRO with the Aux Return inputs of the console. If you want to use the BEHRINGER
VIRTUALIZERPRO in mono or dual mode, connect one audio channel (left or right) to one aux bus.
+Turn do n the volume on your amplifier to protect your equipment against damage. All
devices you ish to interconnect should remain s itched off until they are ired correctly.
Lets suppose you wish to use the VIRTUALIZERPRO in a live application, interfaced with the F.O.H. mixer,
to enhance the guitar sound with a subtle chorus effect.
Connect the VIRTUALIZERPRO to the aux bus of your mixing console (fig. 3.1). Connect the units to the
mains and adjust the operating level(s) if necessary. witch on the VIRTUALIZERPRO and set the levels
appropriately (see 3.1). Press the Mix combination to make sure that the unit is set to Mix External mode.
Press the EFFECT key and use the JOG WHEEL to select and thus activate the chorus effect (#19). lowly
turn up the aux bus level until the effect portion added to the guitar signal suits your needs. ubsequently, you
can make all necessary fine-adjustments. We assume that you wish to edit the modulation frequency of the
chorus effect: press the VARIATION key and set the modulation frequency with the JOG WHEEL. To set the
modulation delay, press the EDITA key. The modulation depth of the chorus effect can be set by pressing the
EDITB key. Having edited all parameters as desired, you can save the changes to the original (or any other)
preset.
3.3 Using the VIRTUALIZERPRO in the insert path
Basically, you can also insert the VIRTUALIZERPRO in a channel or subgroup of your mixing console. Use a
dedicated insert cable. Inserting the VIRTUALIZERPRO in a single channel will be useful only if you wish to
process a specific signal (e.g. vocals) with the VIRTUALIZERPRO, or if any other insert facilities of your
mixing console are already in use.
Fig. 3.2: Wiring the VIRTUALIZERPRO in the insert path
With certain special effects, for example the Vocoder effect, it is even more useful to insert the
VIRTUALIZERPRO in a specific channel rather than connecting it to the aux bus. Proceed as follows: the
signal from which you are going to generate the vocoder sound is routed to the left audio channel
(e.g. keyboard sound), while the right audio channel can be used to control and modify this sound. Use a
dedicated insert cable to connect the left audio channel with a channel insert on your mixing console (fig. 3.2).
Connect the signal source to be processed with the vocoder effect (e.g. keyboard) to the normal channel input
(XLR/jack). Connect the right audio channel of the VIRTUALIZERPRO with a controller (e.g. a microphone
channel direct out). Talk into the microphone to control the keyboard sound with your voice, i.e. anything you
sing or talk into the microphone is reproduced together with the keyboard sound.
3. APPLICATION

19
VIRTUALIZER PRO D P1024P
3.4 Using the VIRTUALIZERPRO as an effects device for instruments
With its extensive MIDI implementation the VIRTUALIZERPRO can also be used, for instance, as a multi-
effects device in a guitar rack. Of course, you can connect it up in both stereo and mono. The following hints
illustrate the VIRTUALIZER PROs versatility if used with a guitar amp.
Fig. 3.3: Connecting the VIRTUALIZERPRO to a guitar amp (send/return-mono)
Basically, the VIRTUALIZERPRO should be inserted between the preamp and the power stage. Almost all
guitar amps have an insert or effect loop to send the preamp signal of the guitar amp to the audio inputs of the
VIRTUALIZERPRO. The VIRTUALIZERPRO processes the preamp signal and sends it back via the guitar
amps return bus (power amp in), from where it is routed to the power stage. When you use a stereo rack
system for amplification, you can wire the VIRTUALIZERPRO in stereo. Connect the preamp to the audio
inputs of the VIRTUALIZERPRO, and the audio outputs (left/right) to one channel each of the power amp (left/
right).
+Since most guitar amps only have a serial insert loop, you should make sure that the
VIRTUALIZERPRO is set to Mix Internal mode. In this mode you can control the effect intensity
applied to the guitar signal. Ho ever, if your amp features a parallel effect loop hich allo s
for adding the effect-signal portion (similar to an aux path in a mixing console), e recommend
that you use the VIRTUALIZER PROs Mix External mode. In this case, the effect intensity
present at the output of the VIRTUALIZERPRO is 100%, and you can use the effect loop to
determine the amount of effect added to the guitar signal.
Instrumentalists can benefit from a variety of advantages offered by the VIRTUALIZERPROs MIDI
implementation. For example, you can use a MIDI footswitch board, e.g. the BEHRINGER MIDI FOOT
CONTROLLER FCB1010, to send program change commands via MIDI. Connect the MIDI OUT jack of your
MIDI board to the MIDI IN jack on the VIRTUALIZERPRO. If the VIRTUALIZERPRO fails to respond to the
program change commands sent from the MIDI board, check the MIDI channel settings. Consult the users
manual of your MIDI board to find out on which channels program change commands are transmitted (usually
in Omni mode). et the MIDI channels appropriately in MIDI mode (see 2.5) and enable the VIRTUALIZERPRO
to receive program change commands.
If your MIDI board allows you to transmit MIDI controller data, you can even change parameter settings via MIDI
while playing. For instance, you can freely change the effect intensity from 0 - 100% while playing (Contr. 27,
Value 0 - 100). et the controller for Mix-Internal mode (Contr. 30, Value 0) so that it can be used to increase
the effect intensity. In this way, guitar solos can be enhanced with chorus and delay effects, while the effect
intensity is gradually reduced when playing rhythm. You can even control the function of the IN/OUT switch to
bypass the VIRTUALIZERPRO when an unprocessed signal is needed. Basically, all MIDI devices that are
capable of transmitting MIDI controller commands, e.g. keyboards/sequenzers, will allow for using these
features.
3. APPLICATION

20
VIRTUALIZER PRO D P1024P
The VIRTUALIZERPRO may also be inserted between the outputs of a keyboard and the inputs of a mixing
console. If required, adjust the levels with the OPERATING LEVEL switch.
3. Using the VIRTUALIZERPRO in a MIDI system
With its built-in MIDI interface the VIRTUALIZERPRO can be integrated into any MIDI system. It transmits and
receives both program change and controller change information to perform program changes via MIDI from a
sequenzer or any other MIDI device. Wire and set up the VIRTUALIZERPRO as shown below:
Fig. 3.4: Connecting the VIRTUALIZERPRO via MIDI to a sequencer/computer and a ke board (optional)
3.6 Saving data via MIDI
The VIRTUALIZER PROs MIDI implementation also allows for archiving one or several presets on an external
storage medium. Proceed as follows:
Connect the MIDI OUT jack of the VIRTUALIZERPRO to the MIDI IN jack of a MIDI data recorder (e.g.
sequenzer). Press the TORE and IN/OUT keys simultaneously to enter MIDI mode. et program change
mode to 0 and controller change mode to 3. Now quit MIDI mode by pressing the TORE key. Use the JOG
WHEEL to select the preset whose data you wish to save. When the preset is activated its parameters are
transmitted as controller data and can be recorded on a sequenzer or similar device. Repeat this routine until
all presets of your choice have been sent to the external data recorder.
To load archived data back into the VIRTUALIZERPRO, you must enable controller reception in MIDI mode
(see 2.5). Then, start the sequenzer to automatically transmit each preset data set back to the
VIRTUALIZERPRO. Press the TORE key, select a program location to store the data and then press the
TORE key again. If you want to automate MIDI store functions you must enable the store mode, to switch on
the reception of controller #28. This allows you to directly store any modifications of the actual preset on the
preset number that is transmitted with the controller. You can also restore a complete preset that has
previously been recorded with a MIDI sequenzer on the same location it had before.
To store all presets at once, you can use a very special form of MIDI communication: system-exclusive data,
i.e. the VIRTUALIZER PRO informs the sequenzer or MIDI file recorder about its make and device type, and
transmits all parameter settings of all its presets. To activate this highly useful function, please enter the MIDI
mode by simultaneously pressing the IN/OUT and TORE buttons. Then, select the dump mode by pressing
the IN/OUT button five times. Now, the DI PLAY should read a small d. The status indicators 0 or 1 inform
you that the sys-ex function is disabled or enabled respectively. If the function is on, the D P1024P is ready
to receive system-exclusive data from your MIDI sequenzer or similar device. If you wish to store the settings
chosen, use the JOG WHEEL to select the status indicator 2; now your VIRTUALIZER PRO is ready to
transmit its own system-exclusive data. elect a track on your MIDI sequenzer, set it to record-ready mode,
start the recording and finally press the TORE button on your D P1024P.
3. APPLICATION