Behringer B-Control Fader BCF2000-WH User manual

Version 1 2007-06
Users Manual
B-CONTROL FADER BCF2000-WH
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B-CONTROL FADER BCF2000-WH
IMPORTANT SAFETY PRECAUTIONS 1) Read these instructions.
2) Keep these instructions.
3) Heed all warnings.
4) Follow all instructions.
5) Do not use this apparatus near water.
6) Clean onl with dr cloth.
7) Do not block an ventilation openings. Install in accordance
with the manufacturers instructions.
8) Do not install near an heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
9) Do not defeat the safet purpose of the polarized or
grounding-t pe plug. A polarized plug has two blades with
one wider than the other. A grounding t pe plug has two
blades and a third grounding prong. The wide blade or the
third prong are provided for our safet . If the provided plug
does not fit into our outlet, consult an electrician for
replacement of the obsolete outlet.
10) Protect the power cord from being walked on or pinched
particularl at plugs, convenience receptacles, and the point
where the exit from the apparatus.
11) The apparatus shall be connected to a MAINS socket outlet
with a protective earthing connection.
12) Where the MAINS plug or an appliance coupler is used
as the disconnect device, the disconnect device shall remain
readil operable.
13) Onl use attachments/accessories specified b the
manufacturer.
14) Use onl with the cart, stand, tripod, bracket, or table
specified b the manufacturer, or sold with the apparatus.
When a cart is used, use caution when moving the cart/
apparatus combination to avoid injur from tip-over.
15) Unplug this apparatus during lightning storms or when
unused for long periods of time.
16) Refer all servicing to qualified service personnel.
Servicing is required when the apparatus has been damaged
in an wa , such as power suppl cord or plug is damaged,
liquid has been spilled or objects have fallen into the
apparatus, the apparatus has been exposed to rain or
moisture, does not operate normall , or has been dropped.
17) CAUTION - These service instructions are for use b
qualified service personnel onl . To reduce the risk of electric
shock do not perform an servicing other than that contained
in the operation instructions unless ou are qualified to do
so.
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. The
apparatus shall not be exposed to dripping or
splashing and no objects filled ith liquids, such as
vases, shall be placed on the apparatus.
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.
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B-CONTROL FADER BCF2000-WH
BCF2000-WH
B-CONTROL FADER
Total Recall USB/MIDI Controller Desk with 8 Motorized Faders
sUnique, total recall cascadable desktop MIDI controller wit analog feel and an intuitive user interface
s8 ultra-precise 100-mm motorized faders for ultimate control of virtual mixers, organ-drawbars
(inverse mode) or virtual synt s and samplers
s4 virtual groups wit 8 dual-mode, ig -resolution encoders t at feature LED rings and an additional
pus function
s16 + 4 illuminated buttons freely assignable to all types of MIDI functions from note on/off, control
c ange and program c ange to MMC and system exclusive data
sAll panel elements freely assignablemanually or via user-friendly learn mode
sAdditional multi-function foot switc and foot controller connectors can be used to address all types of
MIDI data
s32 user presets eac wit 4 encoder groups
sConfigurable MIDI and USB modes for ultra-flexible system integration
s1 MIDI In plus 2 MIDI Outs, usable as an additional USB to MIDI interface
sMulti-function 4-digit LED display wit real-time parameter indication plus write-in fields for your own
labeling
sMIDI input wit merge function for cascading several control units
sEasy connection to any computer/expander, etc. using standard MIDI In/Out connectors
sGeneric USB MIDI support wit Windows XP and Mac OS X operating systems
sAdditional drivers and editor/librarian software available for free download on our website
sHig -quality components and exceptionally rugged construction for long life and durability
sConceived and designed by BEHRINGER Germany
All trademarks (except BEHRINGER, the BEHRINGER logo, JUST LISTEN and B-CONTROL) mentioned belong to their respective
o ners and are not affiliated ith BEHRINGER. Mac OS is a trademark of Apple Computer, Inc., registered in the U.S. and other
countries. Windo s is a registered trademark of Microsoft Corporation in the United States and other countries.
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B-CONTROL FADER BCF2000-WH
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 Online registration ................................................ 5
1.2 System requirements ..................................................... 5
2. INTRODUCTION TO MIDI ......................................... 5
2.1 MIDI control for beginners .............................................. 5
2.2 The MIDI standard .......................................................... 6
2.3 MIDI connections ............................................................ 6
2.4 The MIDI format .............................................................. 6
3. CONTROL ELEMENTS AND CONNECTIONS ......... 7
4. OPERATION .............................................................. 8
4.1 The operating modes ..................................................... 8
4.1.1 USB modes .......................................................... 8
4.1.2 Stand-alone modes ............................................ 11
4.2 Play mode menu ........................................................ 14
4.2.1 Selecting a preset .............................................. 14
4.2.2 Copy/store presets ............................................. 14
4.2.3 Copying encoder groups .................................... 14
4.3 Programming ................................................................ 14
4.3.1 The LEARN function .......................................... 14
4.3.2 Programming in EDIT mode .............................. 14
4.4 MIDI messages ............................................................. 17
4.5 Settings in the global setup menu ................................ 18
4.6 Emulation modes .......................................................... 19
4.6.1 Global Edit Setup ................................................ 19
4.6 Additional functions ...................................................... 19
5. APPENDIX ............................................................... 20
6. SPECIFICATIONS ................................................... 21
7. WARRANTY ............................................................ 22
FCC COMPLIANCE INFORMATION .......................... 23
EMULATION TEMPLATES.......................................... 24
FOREWORD
Dear Customer,
Welcome to the team of
BEHRINGER users, and
thank you very much for
expressing your confi-
dence in us by pur-
chasing 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 present an
outstanding USB MIDI
CONTROLLER. Due to
ist extreme flexibility it
can be used as a central
control unit ith USB/MIDI interface as ell as for mere MIDI
control applications. The task of designing our 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
devices 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
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B-CONTROL FADER BCF2000-WH
1. INTRODUCTION
Thank you very much for expressing your confidence in BEHRINGER
products by purchasing the B-CONTROL BCF2000-WH. The
B-CONTROL is an extremely flexible control surface suitable for
a ide array of applications. Regardless of hether you ant to
intuitively control your sequencer soft are ith mixers, plug-ins
and virtual instruments, or if you ish to use its broad MIDI
functions for controlling rack synthesizers, general MIDI sound
generators or effect processors, the B-CONTROL offers you
tremendous ease of use that leaves no ishes open.
+The following users manual is intended to familiarize
ou with the units control elements, so that ou can
master all the functions. After having thoroughl read the
users manual, store it at a safe place for future reference.
1.1 Before you get started
1.1.1 Shi ment
The B-CONTROL 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 should NEVER be sent directl to
us. Please inform the dealer from whom ou acquired
the unit immediatel as well as the transportation
compan from which ou took deliver of the unit.
Otherwise, all claims for replacement/repair ma be
rendered invalid.
+To assure optimal protection of our B-CONTROL during
use or transport, we recommend utilizing a carr ing case.
+Please alwa s use the original packaging to avoid
damage due to storage or shipping.
+Never let unsupervised children pla with the
B-CONTROL or with its packaging.
+Please dispose of all packaging materials in an
environmentall -friendl fashion.
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.
IMPORTANT NOTE CONCERNING INSTALLATION
+The sound qualit ma diminish within the range of
powerful broadcasting stations and high-frequenc
sources. Increase the distance between the transmitter
and the device and use shielded cables for all connections.
1.1.3 Online registration
Please, do remember to register your ne BEHRINGER
equipment right after your purchase by visiting .behringer.com
(alternatively .behringer.de) and kindly read the terms and
conditions of our arranty carefully.
Should your BEHRINGER product malfunction, our goal is to have
it repaired as quickly as possible. To arrange for arranty service,
please contact the retailer from hom the equipment as
purchased. Should your BEHRINGER dealer not be located in
your vicinity, you may directly contact one of our subsidiaries.
Corresponding contact information is included in the original
equipment packaging (Global Contact Information/European
Contact Information). Should your country not be listed, please
contact the distributor nearest you. A list of distributors can be
found in the support area of our ebsite ( .behringer.com).
Registering your purchase and equipment ith us helps us
process your repair claims quicker and more efficiently.
Thank you for your cooperation!
1.2 System requirements
for USB operation:
Up-to-date WINDOWS PC or MAC ith a USB connection
+The B-CONTROL supports WINDOWS XP and MAC OSX
USB MIDI compatibilit . Soon, ou will be able to
download drivers for other operating s stems, for multi
unit support, new presets as well as a WINDOWS editor
software free of charge. Just click www.behringer.com
to get it for free.
+The B-CONTROL can also be operated stand-alone
without a computer as a pure MIDI controller. Software
control via MIDI is also possible, provided our
computer has a MIDI interface.
2. INTRODUCTION TO MIDI
2.1 MIDI control for beginners
Application possibilities for the B-CONTROL are truly ide-
ranging. Well start ith a couple of general explanations and
examples that should quickly let you get a good understanding of
MIDI basics.
What exactl does the B-CONTROL do?
Simply put, this a remote control for all kinds of MIDI equipment.
Using the faders, encoders (infinitely variable rotary controls) and
keys, an entire array of control functions can be performed.
Adjusting these parameters, you can control various functions of
external (hard are or soft are) equipment in real time. For
example, countless soft are mixers, sound generators or effects
can be remotely controlled. With these soft are applications, you
are dealing ith simulations of real equipment in your computer,
hereby they are visually represented on the computer screen,
hile the computer takes over the function of replicating their
respective functions.
And how does it work?
You can assign particular MIDI data to each control element on
the B-CONTROL; for example, you can assign the so-called MIDI-
Controller 7 (CC 07) that adjusts the volume of a MIDI device to
one of the controls on your B-CONTROL. If you move / turn the
corresponding control on your B-CONTROL, you can hear ho
the volume on the receiving MIDI device also changes (provided it
is also connected to an audio output). Keep the follo ing in mind:
+MIDI data is onl control data and contains no audio
information!
What settings do I have to make? Where? How?
Often, you can assign MIDI control data numbers, the so-called
control change or CC numbers, to individual MIDI parameters.
Thats particularly the case ith music soft are such as soft are
sequencers, mixers and sound generators as ell as the so-called
plug-ins (effect units or sound generators integrated into the
soft are).
Basicall , ou have 2 options:
You either set the desired control numbers at the B-CONTROL
and transmit them to the soft are you are controlling, or you can
set the desired control data directly on your MIDI device and let
the B-CONTROL receive the information about number
assignment using the LEARN procedure.
2. INTRODUCTION TO MIDI
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B-CONTROL FADER BCF2000-WH
Example:
On a soft are synthesizer, you ant to control filter frequency,
filter resonance and volume using the MIDI controllers 5, 6 and 7.
To receive MIDI data, youll need to perform the follo ing settings
on your soft are synthesizer:
sset filter frequency to CC 05
sset filter resonance to CC 06 (receive)
sset volume to CC 07 (receive)
To get detailed information on ho to assign them, please refer
to chapter 4.3.2 Programming in the EDIT mode on page 13.
No , define in the B-CONTROL the control elements that ill control
these 3 parameters. You can either use the LEARN function if the
soft are synthesizer gives you the option to send its CC data via
MIDI, or you can implement the follo ing settings manually:
sAssign the push encoder 1 CC 05 to filter frequency control
via dial rotation.
sAssign the push encoder 2 CC 06 to filter resonance control
via dial rotation.
sAssign the push encoder 3 CC 07 to volume control
via dial rotation.
How do I wire the B-CONTROL?
Several classic examples can be found in the explanations of
different operating modes (see chapter 4.1 The Operating
Modes). Basically, the follo ing applies:
sIf you ant to control hard are MIDI equipment, use the
MIDI connectors.
sTo control soft are MIDI equipment, you can either use the
MIDI connectors on your B-CONTROL  provided your
computer has a MIDI interface  or you can use a USB
connection.
sTo remotely control both hard are and soft are equipment,
several combination modes are available. These are
explained in chapter 4.1.
What kinds of equipment can I control with the B-CONTROL?
You can basically control any device supporting the MIDI format.
Both hard are and soft are MIDI devices are controlled exactly
the same. The only difference is in the iring.
Here are a couple of suggestions on how ou can use our
B-CONTROL:
sEditing sound parameters of (virtual) synthesizers, sound
samplers, GM/GS/XG sound generators
sControlling parameters on effects equipment/soft are
plug-ins such as effects processors, reverbs, compressors,
equalizers etc.
sRemotely controlling soft are mixers (volume, panorama,
equalizers etc.)
sRemotely controlling transport functions (playback, for ard,
stop etc.) on sequencers, hard disk recorders, drum
computers etc.
sUsing faders as dra bar control for virtual or digital organ
expanders
sControlling MIDI-enabled lighting equipment
sLive control of volume and sound parameters on expanders
sTriggering (i.e. playing live) short samples, drum loops,
shouts, effects etc.
sRemotely controlling groove boxes, step sequencers, MIDI
generators (such as arpeggiators etc.), DJ soft are and
other live soft are
sProgram changes and volume control on sound generators
(just like on a master keyboard)
sLike ise, applicable to band keyboardists, solo entertainers,
organists, electronic music performers, DJs, sound engineers,
home/project studio o ners, theater technicians etc.
2.2 The MIDI standard
The MIDI standard (Musical Instruments Digital Interface) as
developed in the early 80s to make communication bet een
equipment from different manufacturers possible. Over the years,
the MIDI interface has become hugely popular; it has become a
matter of fact that complete studios can be connected via MIDI.
At the center of any such net ork is at least one computer that
controls peripheral equipment. You can use the B-CONTROL in
such a studio to control your sequencer or other soft are tools
running on your computer (e.g. soft are mixers, VST instruments,
effect plug-ins). But even if you dont use a computer, you can
use the B-CONTROL as a central control surface in your studio
for comfortably editing your rack synthesizers, GM/GS/XG sound
generators and effects equipment.
2.3 MIDI connections
The MIDI connections in the back of your B-CONTROL feature
the standard 5-pin DIN connectors. You ill require MIDI cables
to connect your B-CONTROL to other MIDI equipment. In general,
commercially available ready-to-use cables can and should be
used. Their length should not exceed 15 m (50 ft.).
MIDI IN: Used for receiving MIDI data (parameter feedback, SysEx
data), or to mix MIDI signals ith the B-CONTROL signals (merge
function).
MIDI OUT A/B: Data for controlling other MIDI equipment can be
sent through the MIDI outputs.
+The B-CONTROL has two MIDI outputs. MIDI
OUT B can be configured as MIDI THRU, so that the
incoming data at MIDI IN can be passed through
unaffected.
2.4 The MIDI format
Although your B-CONTROL is very easy to use, it still makes
sense to revie some information about this data format. Each
MIDI command, also called message, consists of a status byte
and up to t o data bytes. The status byte defines the command
type, and the data bytes contain the corresponding values.
Different types of MIDI messages used by the B-CONTROL are
explained next:
Note messages:
Among keyboard hotshots, Note On and Note Off messages are
among the essential MIDI messages. Playing MIDI instruments
from a master keyboard or computer is only possible ith these
messages. The B-CONTROL can also send Note Messages;
ho ever, this is not absolutely necessary to play music. This ay,
note events are also used to trigger drumloops or individual notes
from a sampler. Many effects processors also allo rhythmic
entering of delay times or song tempos ith note commands.
Note On and Note Off messages have the follo ing data format:
Status Byte Data Byte 1 Data Byte 2
Note Off &8n (n = channel #) Note # Velocity
Note On &9n (n = channel #) Note # Velocity
Table 2.1: Data format of Note On and Note Off messages
The value range for channel numbers is bet een 1 and 16; for
data bytes it is 0 to 127. Even though Note Off messages are not
really used by keyboarders anymore, the B-CONTROLs support
sending this status information.
Velocity corresponds to the key pressure, and therefore to the
volume of a touch-sensitive keyboard (piano). Since the
B-CONTROL does not feature touch-sensitive keys, the velocity
value is transmitted ith a fixed value that can be set during
programming.
2. INTRODUCTION TO MIDI
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+A note command can onl be assigned to ke s,
footswitches and push functions of the encoder.
Control Change (CC):
Control Change Messages are some of the most po erful MIDI
messages. Using them, a vast number of parameters and functions
can be recalled and automated. Individual control elements (faders,
rotary dials, keys etc.) can be assigned to CC messages on your
B-CONTROL. Because not only keys but also faders and rotary
dials can be used, control values can be controlled in real time
either statically or dynamically. A list ith the standard controller
numbers can be found in this user manuals appendix.
NRPN:
Additionally, controllers that have no standardized assignment
can also be used, and can therefore be assigned according to no
predetermined rule. These controllers are called NRPNs (Non-
Registered Parameter Numbers). NRPNs are further subdivided
into MSB (Most Significant Byte) and LSB (Least Significant Byte)
in order to achieve a higher resolution. A lo er resolution is
particularly easy to observe during fader movement of a mixer, in
hich 7-bit (= 128 values) jumps in the signal level can be heard.
By subdividing NRPNs into MSB and LSB, you can achieve
14-bit resolution of faders and rotary dials, hich means that the
movement of a fader is divided into more than 16,000 steps (214)!
In addition to NRPNs, there are also RPNs (Registered Parameter
Numbers). RPN commands are defined as GM (general MIDI),
GS (Roland) and XG (Yamaha) MIDI standards.
Pitch Bend
The pitch-bend heel of a keyboard is used for tone modulation
and has its o n commands in the MIDI format.
After Touch
MIDI keyboards featuring After Touch can respond to varying
key pressure even after you release the key (i.e. after the keystroke
is over) and can send this data via MIDI. This function either
reacts key-specific (key pressure) or it reacts to all notes at the
same time (channel pressure).
MIDI Machine Control (MMC):
With MIDI Machine Control, you can assign transport functions
of a sequencer or drum computer (e.g. start, stop, FFW/RWD)
and locator points to individual keys ith a permanently adjustable
time position (locate, punch in/out points).
Program Change Messages and MIDI Bank Select:
Program change messages are used to recall programs/presets
in MIDI devices connected to your B-CONTROL. 128 program
numbers can be recalled. For devices ith more than 128 presets,
use the bank select function, hich lets you select a storage bank
before sending a program change.
Running Status:
Because the MIDI interface is a serial data transmission format
(meaning that its data is transmitted as a succession of individual
data segments), it became apparent very quickly that it may not be
fast enough. To avoid perceptible delays in the output of MIDI data,
Running Status as designed. It suppresses the transmission of
the status byte hen the same MIDI messages are transmitted in
succession. This means that, for example, during a continuous
change of the data byte of a controller (e.g. volume), the status
byte is only sent once. The only thing that is transmitted are the
changes in the data byte. This goes on until another status byte is
sent. 8 bits are saved for each message sent.
S sEx Dump:
System-Exclusive data refer to a function that makes transmission
of nonspecific data via MIDI possible. This is often used for reading
out memory contents and storing them externally.
The status byte notes the data type (SysEx); the first three data
bytes are a manufacturer ID, so that hen you have a large MIDI
net ork, you can still talk to the correct MIDI device.
To make using several identical B-CONTROLs at the same time
possible, you can assign a device number (device ID) in the global
setup menu to each B-CONTROL, hich assures that only the
correct device receives the data intended for it.
3. CONTROL ELEMENTS AND
CONNECTIONS
In this chapter, e ill describe various control elements of your
B-CONTROL. All controls and connectors are explained in detail,
and ell give you useful tips on ho to use them. An illustration
of the control elements ith the corresponding numbering can be
found on the next page.
The 8 infinitely variable push encoders are used to send
MIDI data. They have t o functions (turn and press) that
can be assigned to different MIDI commands.
Each of these 16 keys can send one MIDI command.
The four-digit L D display indicates the current operating
soft are version briefly during startup. After that, it sho s
the selected preset number. When in play mode, activating
one of the control elements indicates value changes on the
LED in real time. When in programming mode, it indicates
the type of MIDI commands, program/channel numbers and
parameter values.
Using the NCOD R GROUP keys, four so-called encoder
groups per preset can be recalled, so that eight PUSH
encoders for a total of 64 different MIDI functions are at
your disposal.
These LEDs indicate the follo ing:
MIDI IN, OUT A and OUT B illuminate if MIDI data flo s
through the respective connectors.
USB Mode illuminates if a USB connection to a computer is
active (your computer must be on).
The FOOT SW LED illuminates if the foots itch is pressed.
FOOT CTRL LED illuminates hen the footcontroller is
actuated (MIDI data is sent).
Permanently fixed functions are assigned to this key section:
STOR saves presets.
L ARN gets you to the LEARN mode.
DIT gets you to the EDIT mode.
Using the XIT key, you exit a programming level (edit mode/
global setup). Use it also to cancel a store or copy procedure.
The eight 100-mm faders are freely assignable for controlling
MIDI commands. They are motorized, so they automatically
slide into the predetermined position hen you s itch to
another preset. If the soft are you are controlling or the
MIDI device to hich your B-CONTROL is connected
support parameter feedback, the fader positions change
automatically.
Using the PR S T keys, 32 presets can be recalled. The
preset number is sho n in the display.
These four keys can be assigned to any MIDI command of
your choice.
These are the MIDI connectors of your B-CONTROL.
Depending on the operating mode, MIDI OUT B doubles as
MIDI THRU.
This is the SWITCH connector for connecting a foots itch.
Its polarity is automatically detected.
CONTROLLER connector. Here, you can connect an
expression pedal that can be used for controlling assignable
MIDI data.
3. CONTROL ELEMENTS AND CONNECTIONS
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8
B-CONTROL FADER BCF2000-WH
Use the POW R s itch to s itch on the B-CONTROL.
Before connecting the B-CONTROL to the po er mains,
ensure that the POWER s itch is in OFF position. To
disconnect the unit from the mains net ork, pull the plug
from the socket. When s itching on the B-CONTROL,
ensure that the mains plug is easily accessible.
+Please note: The POWER switch does not full
disconnect the unit from the mains power cord plug or
extention cord. To disconnect the unit from the main
power source, pull out the main cord plug or appliance
coupler. When installing the product, ensure the plug
or appliance coupler is readil operable. Unplug the
power cord when the unit is not used for a prolonged
period of time.
Fig. 3.1: The control surface of the B-CONTROL
Fig.3.2: The back of the B-CONTROL
3. CONTROL ELEMENTS AND CONNECTIONS
The connection to the mains is established using a standard
connection socket. A matching cable is included in the
shipment.
S RIAL NUMB R.
The USB connector is used for connecting to a computer
ith a compatible USB input.
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9
B-CONTROL FADER BCF2000-WH
4. OPERATION
4.1 The o erating modes
Depending on ho you ant to use your B-CONTROL, you should
first select an operating mode.
You can use it as a pure USB controller for your computer
applications (soft are mixers, sequencers, soft synths, VST-
effects etc.), as a stand-alone MIDI controller, or as a combination
of both ith different MIDI interface configuration possibilities.
Here is ho you select an operating mode:
sKeep the EDIT key pressed, and press the STORE key at
the same time.
sYou are no in the global setup menu and you can let go of
both keys.
sNo , select an operating mode by turning the PUSH
encoder 1. You can select USB modes U-1 to U-4 and
stand-alone modes S-1 to S-4. The modes are described
in detail in chapter 4.1.1 and further, and examples about
their use are also given there. Please see also
chapter 4.3.3.
sTo exit global setup, please press the EXIT key.
+The settings made in the global setup menu are
automaticall stored and do not have to be separatel
saved.
The USB connection is briefly interrupted if you s itch ithin a
USB mode, or hen you s itch from a USB mode to a stand-
alone mode and vice versa.
If a USB connection is made or lost hile your B-CONTROL is
on, the selected operating mode is retained.
4.1.1 USB modes
USB mode U-1:
Fig. 4.1: Routing and use in USB mode 1
In USB mode 1, the B-CONTROL is connected to your computer
by using a USB cable. It sends MIDI data and receives parameter
feedback from the computer, provided that the music soft are
you are controlling supports these functions. This ay, current
parameter values can be sho n on the LED, or can be indicated
by the fader position.
All MIDI ports of the B-CONTROL are off. This mode is optimal
for controlling soft are tools (mixers, sequencers, synths, VST-
effects etc.) if you dont need any additional MIDI ports. This mode
is also very useful if you are already using other multi-channel
MIDI interfaces on your computer and cant address any additional
ones.
4. OPERATION
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B-CONTROL FADER BCF2000-WH
USB-Mode U-2:
Fig. 4.2: Routing and use in USB mode 2
Your B-CONTROL sends MIDI data to the computer and receives
parameter feedback, provided that the soft are you are controlling
supports this function. MIDI IN and OUT A are available as a 16-
channel MIDI interface for your computer. OUT B functions as
MIDI THRU and for ards MIDI IN data unchanged. OUT B is not
accessible from the computer, and doesnt send any control data
from the B-CONTROL. This mode is ideal for applications in hich
you control music soft are on your computer and at the same
time need a USB MIDI interface ith one IN and one OUT.
Additionally, a MIDI keyboard can be tapped into at the MIDI THRU
(OUT B) connector. This ay, you can use a master keyboard to
import your arrangements into the sequencer, or to play back
soft are synths. OUT A controls a hard are sampler, hile a
MIDI expander (sound generator ithout a keyboard; e.g. a rack
synthesizer or a pure preset unit), an effects processor or similar
can be connected at OUT B, hereby it is directly controlled only
from the keyboard or is controlled only via program changes.
USB-Mode U-3:
Fig. 4.3: Routing and use in USB mode 3
This is surely the most often used standard mode ith computer
applications.
This setting is optimal for controlling soft are hile all MIDI
connectors are used as a USB-MIDI interface for the computer.
With this function, there are 16 input channels and 32 output
channels available to your music soft are (IN and OUT A +
OUT B).
The B-CONTROL transmits its data via USB to the computer.
The availability of parameter feedback from the computer to the
B-CONTROL depends on the soft are your are controlling. MIDI
expanders can not be directly accessed from the keyboard in this
operating mode. This operating mode is only used to import MIDI
tracks into the sequencer.
4. OPERATION
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B-CONTROL FADER BCF2000-WH
USB-Mode U-4 (expanded):
4. OPERATION
Fig. 4.4: Routing and use in USB mode 4
This operating mode should be selected if you ant to couple
t o B-CONTROLs to control your soft are using both
B-CONTROLS through a common USB port. Additionally, MIDI
OUT B of the first controller (unit 1) can be used from the computer
as a 16-channel MIDI output. The data of both B-CONTROLs is
mixed and is sent to the host computer via USB. Select stand-
alone mode 3 for the second unit (unit 2).
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4.1.2 Stand-alone modes
The stand-alone modes come into play hen the B-CONTROL is
not used as a USB-controller for controlling computer applications
but as a pure MIDI controller. With all stand-alone modes, all
MIDI connectors can be used simultaneously, and these modes
differ only in ho the data is transmitted on the MIDI outputs. Of
course, not only sound generators can be remotely controlled
(as sho n in the illustrations) but also effects processors, groove
boxes, hard are sequencers, lighting equipment, compact
studios, portable keyboards, digital pianos etc.basically any
equipment ith a MIDI input. This can also be your computer
ith its o n MIDI interface. The USB connector can not be used
hile your B-CONTROL is in one of the stand-alone modes. A
merge function that makes mixing MIDI data from t o different
sources to one output possible is active at output A in stand-
alone modes S-1 to S-3.
Stand Alone-Mode S-1:
Fig. 4.5: Routing and use in stand-alone mode 1
S-1 is probably the most frequently used standard operating mode
among the stand-alone applications. We recommend using it hen
you for example ant to control t o sound generators from your
B-CONTROL, hereby both sound generators are played
simultaneously from a master keyboard. To do this, MIDI data
from the B-CONTROL and the keyboard have to be mixed and
transmitted on both MIDI OUTs. This is done using the integrated
merge function. The master keyboard is connected to the MIDI
input of the B-CONTROL. Both expanders played from the master
keyboard and controlled by the B-CONTROL are connected at
the MIDI outputs. Control data for the B-CONTROL ill probably
be program change and real-time controller commands, hile
the keyboard ill typically transmit keyboard commands (note
on/off, velocity, after touch, pitch bend).
Stand Alone-Mode S-2:
Fig. 4.6: Routing and use in stand-alone mode 2
Say you ant to control just one sound generator from your
B-CONTROL because the tone generator allo s extensive editing
(e.g. its a rack synthesizer or a sampler, as sho n above). The
MIDI keyboard should be able to play both sound generators. In
this case, S-2 is the optimal setup. The second sound module
can be a pure preset unit that doesnt allo any programming.
Ho ever, it can also be an effects unit that only receives program
commands from the keyboard. This operating mode is also very
useful hen the data received by the second unit is undesired
and could other ise disrupt operation (e.g. to MIDI functions that
cannot be s itched off or the MIDI channel can not be changed).
4. OPERATION
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B-CONTROL FADER BCF2000-WH
Stand Alone-Mode S-3:
Fig. 4.7: Routing and use in stand-alone mode 3
In this mode, MIDI data from the B-CONTROL is mixed ith the
data coming in at the MIDI input (merge function), but is exported
exclusively on output A. Only control data of the B-CONTROL is
available at output B.
This ay, you can control t o MIDI devices from your
B-CONTROL, but only the device connected at OUT A can
additionally be played from the MIDI keyboard.
If you ant to daisy-chain t o B-CONTROLs to jointly control
several MIDI devices, you need to connect OUT A of the first
B-CONTROL to MIDI IN of the second B-CONTROL. OUT A of
the second B-CONTROL needs to be connected to the MIDI input
of the effects unit. If additional MIDI devices need to be talked
to, please connect the THRU port of one MIDI device to the IN
port of the next MIDI device. This ay, ith different MIDI channel
assignments, each MIDI device can be controlled from each one
of the B-CONTROLs.
If additional MIDI inputs are needed, then external MIDI merge
boxes must be used. For example, if your sound module only has
one MIDI IN connector, and you ant to control if from several MIDI
controllers and from a keyboard, you ill need a 2-in/1-out merge box.
If additional MIDI outputs are required, you ill need external thru
boxes. With more complex MIDI setups, thru boxes are preferred
to using longer thru chains to prevent data transmission problems.
If you dont require the response function during soft are control,
you can connect as many B-CONTROLs as you ant per MIDI.
The last B-CONTROL in the chain is then connected to the MIDI
IN input of your computer. This ay, you can control nearly as
many channels of a soft are mixer as you ish. Ho ever, keep
in mind that all devices must share 16 MIDI channels.
Stand Alone Mode S-4:
Fig. 4.8: Routing and use in stand-alone mode 4
The Stand Alone mode S-4 is very similar to mode S-2, ith
the difference that the merge function is not available. This mode
is ideally suited for connecting to the MIDI interface of a computer
ithout a USB connector. The B-CONTROL routes the incoming
data to the MIDI output B (THE THRU function). MIDI control
commands are laid out at output A. This ay, parameter feedback
is possible ithout the danger of creating a MIDI loop.
Connect the MIDI output on the MIDI interface of your computer
to the MIDI IN input on the B-CONTROL. Connect OUT A to the
MIDI input on the interface. An additional MIDI receiver can be
connected to OUT B. An expansion using a second B-CONTROL
is also conceivable. To do that, connect the B output ith MIDI IN
on the next MIDI receiver. To send MIDI commands from several
units to your computer, use an external MIDI merge box.
Important information about stand-alone modes:
With the iring examples sho n here, the parameter values of
the controlled devices can be sho n on the B-CONTROLs LEDs
(parameter feedback). If this is important to you, you ill have to
connect MIDI IN to the MIDI output of the device you are
controlling. Of course, the hard are unit you are using has to
support sending back the parameter values. If in doubt, check
the user manual of the equipment you are using.
4. OPERATION
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B-CONTROL FADER BCF2000-WH
Parameter feedback is enabled in all stand-alone modes. Other
stand-alone modes may cause undesirable MIDI loops. In stand-
alone mode 3, the control data of your B-CONTROL is routed to
the MIDI output B ithout the merge function.
Your B-CONTROL can also control your computer via MIDI
( ithout a USB connection) as long as your computer features a
MIDI interface. In this case, all stand-alone modes can be used.
To utilize parameter feedback, you should still use the stand-
alone mode 4. Alternatively, you can also use S-3 and connect
the computer via MIDI OUT B so that no MIDI feedback loop is
created.
4.2 Play mode menu
The Play mode menu is the highest menu level in the
B-CONTROL. Use it during normal operation for real-time control
of MIDI data.
Displa :
After s itching on the unit, the current system soft are version is
briefly displayed. Value changes are sho n hen using one of
the control elements, provided that they have been activated.
Control elements:
You can use several keys, encoders and faders simultaneously
and send their MIDI data. The classification of MIDI data types is
explained in chapter 4.4. According to its assigned MIDI data
type, each control element sho s the current parameter value in
the corresponding LED or LED ring.
The position of the faders changes automatically as soon as you
choose another preset or during incoming parameter messages.
LED displa :
The encoder LED ring displays or the status LEDs of the buttons
change automatically hen running controller recordings in a
sequencer, provided, of course, all connections have been made
correctly, the correct operating mode is enabled and the soft are
sequencer supports sending parameter values.
Button illumination varies according to the controller mode: if a
button is in Toggle on mode, the button LED illuminates as
soon as the button is pressed. Only hen you press the button
once again, the LED goes out. If a button is in Toggle off mode,
the corresponding LED ill be lit only for the time the button is
pressed.
The performance of the control elements, the display and the
LED displays can be individually set up and is explained in chapter
4.3 Programming.
4.2.1 Selecting a reset
sSelect a preset ith the PRESET button . The ne
preset number is indicated in the display.
sAlternatively, you may select a preset by pressing and
holding do n the preset button hile moving one of the
push encoders .
sAs soon as you release the PRESET button, the ne preset
is active.
4.2.2 Co y/store resets
sPress the STORE button to save a preset. The button LED
starts to flash.
sSelect a memory number using the PRESET buttons or by
holding do n one of the PRESET buttons hile moving a
push encoder at the same time. The ne preset number
flashes in the display.
sBy pressing STORE again, the STORE LED and the display
stop flashing.
sIf you ant to over rite the current preset, press the STORE
button t ice (step 2 can be cancelled).
sCancel the store procedure by pressing the EXIT button.
We deliberately did not include an autostore function. That ay,
you can assign a ne MIDI control to a control element ithout
changing the current preset. If you ant to restore a preset, just
select another preset briefly and again return to editing. No , the
old data has been restored.
4.2.3 Co ying encoder grou s
With this function you are able to copy an entire encoder group
ithin a preset. This saves a lot of programming effort if all encoder
groups ithin a preset consist of the same basic functions (e.g.
MIDI channel, CC number for turn and push function).
sPress the encoder group button of the group you ant
to copy.
sPress STORE; the STORE button LED flashes.
sNo select the destination encoder group. The destination
encoder button LED flashes.
sPress STORE again, the STORE button LED is no
longer lit.
sCancel the store procedure at any time by pressing EXIT.
+To permanentl store encoder group settings, carr out
the preset store function as explained in chapter 4.2.2.
+To cop an encoder group into a different preset, ou
have to cop an entire preset! After that, ou can cop
or rearrange the encoder groups in the new preset as
described above.
4.3 Programming
4.3.1 The LEARN function
The easiest ay to assign MIDI functions to individual control
elements is to use the LEARN function. Here, the MIDI data is
assigned remotely. For example, MIDI data sent from a MIDI
sequencer to your B-CONTROL is assigned to a control element
selected beforehand.
With LEARN, not only CC, NRPN and note commands can be
received but almost any type of MIDI data, including short SysEx
strings.
sPress and hold the LEARN button hile operating any control
element. This can be a fader, a PUSH encoder, button,
foots itch or sustain pedal. The control element is sho n in
the display (e. g. Fd 8).
+When using push encoders, select an encoder group
beforehand. In addition, ou have to differentiate
between turn and push function.
sNo , release the LEARN button. The B-CONTROL is aiting
to receive MIDI data.
sStart transmitting MIDI data from your sequencer. As soon
as the data is received by the B-CONTROL, it is sho n in
the display.
sAfter correct data transmission, the display sho s GOOD
or bAd if rong, faulty or too extensive data has been sent.
sTo leave or cancel LEARN, press the EXIT button.
4. OPERATION
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B-CONTROL FADER BCF2000-WH
4.3.2 Programming in EDIT mode
Various types of MIDI commands (Pitchbend, After Touch, MMC
etc.) are assigned to the individual control elements in EDIT mode.
sTo activate the EDIT mode, press and hold the EDIT button
and operate a control element. This can be a fader, sustain
pedal, a push encoder, a button or foots itch. The control
element is indicated in the display (e. g. Fd 8).
+When using push encoders, select an encoder group
beforehand. In addition, ou have to differentiate
between turn and push function.
sRelease EDIT; you are no in the EDIT mode.
sUsing the push encoders, you can no assign MIDI
commands to the selected control element. You ill find all
possible MIDI function in tables 4.1 and 4.2, including all
accompanying explanations.
4. OPERATION
sIf you ant to assign MIDI data to additional control
elements, just press and hold the EDIT button and move
one of the control elements. No , let go of both controls
and use the push encoders to assign a function to it (see
tables 4.1 and 4.2).
sTo leave the EDIT mode, press EXIT.
+Initiall , all settings made here are stored temporaril !
If ou intend to store them in a preset, please see
chapter 4.2.2.
The detailed EDIT functions are described in the follo ing t o
tables. With the assignable control elements, e differentiate
bet een CONTINUOUS and SWITCH types.
sCONTINUOUS-type control elements (table 4.1) include the
8 faders, the sustain pedal and the turn function of the push
encoders.
sSWITCH-type control elements (table 4.2) are buttons, press
functions for push encoders and foots itch.
Table 4.1: Assignment of the push encoders in DIT mode (CONTINUOUS types)
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B-CONTROL FADER BCF2000-WH
4. OPERATION
Table 4.2: Assignment of the push encoders in DIT mode (SWITCH types)
Table explanation:
All settings in the EDIT mode are made by turning the push
encoders. Pressing the push encoder displays its current value.
In addition, the setting options depend on hether the selected
control element is a SWITCH type or CONTINUOUS type.
In the EDIT mode, Push Encoder 1 selects (by turning) the type
of command assigned to a control element.
With Push Encoder 2, select a MIDI channel through hich that
control elements data is sent.
Push Encoders 3 - 5 set parameters and values for the selected
MIDI type. They vary depending on the MIDI function. More details
about this subject can be found later in this chapter.
Push Encoder 6 (Controller Mode) selects ho the previously
selected control element behaves, depending on hether it is a
SWITCH or a CONTINUOUS type.
CONTINUOUS-t pe elements:
CONTINUOUS-type element controls are divided into Absolute,
Absolute (14 bit), Relative 1 (2nd complement), Relative 2
(binary offset), Relative 3 (MSB, most significant bit), Relative
1 (14 bit), Relative 2 (14 bit), Relative 3 (14 bit) and Increment/
Decrement. Absolute means absolute data values although
jumps may occur hen changing values. With Relative, the
current parameter value is continued independently from the
position of the control. Absolute (14-Bit) or one of the Relative
(14-Bit) modes are standard modes for value changes at NRPNs
ith high resolution. This is necessary ith some soft are mixers
if more than 128 steps are needed. Increment/Decrement serves
as a step-by-step increase or decrease of values by using the
Data Increment/Decrement commands (see list 5.1 in the
appendix).
+The classic controler mode for most applications is
absolute. All other modes have to be supported b
the MIDI software or the device to be controlled.
Using Push Encoder 7, you can adjust ho control elements
display information. Depending on hether you are dealing ith
an encoder, push encoder, fader or foot pedal, there are different
options available:
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LED displa of the push encoders:
OFF The LED circle remains off.
1d (1 digit): Only one LED lights up (standard setting).
1d- The LED circle operates similar to 1d, but hen the
value is 0, no LED lights up.
2d The display of the LED circles occurs in t o stages. If you
slo ly turn the encoder from left to right, at first only one
LED lights up, and then the next LED lights up hile the
previous LED goes out, and so on. This ay, even the
slightest value changes can be accurately represented.
2d- Just like 2d, but hen the value is 0, no LED lights up.
Bar Bar display: hen the value is changed, all LEDs light up
successively (for volume etc.).
Bar- Just like bar display, but hen the value is 0, no LED
lights up.
Sprd Spread: When the value is 0, the upper middle LED lights
up; hen the value is increased, the LED circle gradually
lights up in both directions (left and right).
Pan In the middle position (value = 64), only the upper middle
LED is on. With lo er values, the LED circle lights up
to ard the left; ith higher values, the LED circle lights
up to ard the right (panorama adjustment).
Qual (Quality Q) has the opposite effect from spread: the LED
circle lights up gradually hen you decrease the value.
This setting is used for indicating filter quality ith
parametric equalizers.
Cut Cutoff is optimal for controlling the cutoff frequency of a
lo -pass filter, for example on a synthesizer. When the
value is 0, all LEDs light up. The LEDs go out successively
as you increase the value.
Damp Damping: used for damping filters. When the value is 0,
the outer right LED lights up. If the values are increased,
the LED circle fans out from right to left until all LEDs
light up. This ay, increasing damping is best represented
hen a value goes up.
Fader functions:
Move If you move the fader by hand, it sends a ne value directly.
In doing so, jumps in the parameter value may occur if the
current value doesnt correspond to the fader position. This
can sometimes happen because in this mode parameter
feedback doesnt cause fader movement.
P-UP Pick up: The fader ignores the parameter feedback.
Ho ever, value jumps are avoided because the fader only
sends values if the current value (different from the fader
setting) is exceeded.
Mot Motor: With parameter feedback, the motorized fader
engages automatically and al ays indicates the current
value.
Foot controller function:
Move The pedal immediately sends value changes. Value jumps
may result.
P-UP Pick-Up: The foot pedal become active and sends values
only if the set value is exceeded.
SWITCH-t pe elements:
SWITCH-type control elements have three different modes:
Toggle On, Toggle Off and Increment. Toggle On is similar
to a s itching function (e.g. a light s itch). Each time you press
the s itch, the value sent alternates bet een the on value (set
by encoder 4) and the off value (set by encoder 5). This setting
is perfect for triggering drum loops from a sampler (press once =
start, press again = stop).
4. OPERATION
The Toggle Off mode corresponds to a momentary-contact
button, comparable to the s itch of an electric door opener. The
on value is sent only as long as the button is pressed. After
releasing the button, the off value is sent. Use this control type
to trigger short sound FX or samples (similar to using a keyboard)
by sending Note On and Offs.
The Increment option only orks for buttons, and only on CC,
NRPN and after touch command types. This mode lets you
gradually increase the controller value ith each ne keystroke.
Set up increment size using encoder 7. If you repeatedly press a
button, the value sent ill be increased each time by the preset
amount selected here. If increment size is set to 10, values 0,
10, 20, 30 ... 110, 120, 0, 10 and so on ill be successively sent
one after another. You can also enter negative values (e.g. -10)
to achieve a gradual decrease in the value. If you use encoders 4
and 5 to delineate the lo est and the highest value that are to be
sent, the values al ays stay ithin that range here as ell. With
this function, you have the option to use your B-CONTROL to
control soft are buttons ith more than t o s itch positions.
The value display activated using Push Encoder 8 is identical
for s itch and continuous elements. If this value display is active,
the current value is indicated in the four-digit display hen you
actuate a control element. The display sho s the preset number
again as soon as you release the control element.
4.4 MIDI messages
Program Change:
With the encoders 3 and 4 you can select bank numbers. If a
MIDI device contains more than 128 presets/programs, first a
bank change command has to be sent. Even though this is a
controller command, it has to be sent before the program change
(and is therefore adjustable) since it is linked to the preset change.
If the bank select message is not needed, simply select off.
Encoder 5 selects the program number. If the selected control
element is a control dial (continuous t pe), the program
number is directl selected when turning the dial. Pressing
the switch directl selects the assigned program number.
This can be useful if ou alwa s want to start from the same
preset.
Control Change CC:
A control change consists of a controller number and its respective
value. Encoder 3 sets the controller number. With buttons, different
values can be sent hen pressing and releasing (to be set ith
encoders 4 and 5). This function is useful if fixed parameter
settings are to be sent.
With faders and control dials (continuous type), the value range
can be determined by using encoders 4 (minimum value) and 5
(maximum value).
+Alternativel , ou can invert the value scale b assigning
127 as the minimum value and 0 as maximum value
(scale inversion). A classic application is the draw bar
control of virtual or digital organs or organ expanders.
If assigning controller 7 (volume) to the faders this wa ,
the signal becomes quieter when moving up the fader.
Moving down the fader is similar to moving out the draw
bars, and the volume increases.
NRPN:
A NRPN is needed if none of the 127 standardized controller
numbers are available for a certain function.
Encoder 3 selects the parameter number. For assigning mixer
faders, e recommend the high resolution (Absolute 14 bit),
provided that the control hard are/soft are supports it.
Note:
Of course, a note can only be assigned to one SWITCH element.
The note is set ith encoder 3. Note C3 (C key) corresponds ith
note number 60. Encoder 4 sets the note velocity (note volume).
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B-CONTROL FADER BCF2000-WH
Pitch Bend:
Pitch bend is assignable to only one CONTINUOUS element.
Since this is a type of command ith its o n status byte, selecting
a MIDI channel (Encoder 2) and Range (Encoder 4) is sufficient.
After Touch:
Normally, ALL is selected here. This means that After Touch
affects all notes equally (Channel Pressure). If you ant to use
a polyphonic After Touch (Key Pressure), the single note on
hich After Touch should have an effect can be selected using
encoder 3. Since this process is only supported by a fe tone
generators, channel After Touch ill be best most of the time.
When a s itch element has been selected, an on and off value
can also be set (release dynamic). Therefore, you can limit the
modulation range (FX depth) using After Touch.
MMC:
MIDI Machine Control data is only assignable to button elements.
Encoder 4 (Value 1) sets Locate Time hour and minute values,
hile encoder 5 (Value 2) sets seconds and frames. The Locate
Position is al ays sent before the MMC command. We therefore
have the follo ing logic-s itching sequence:
If the Locate parameter has been selected, the sequencer or
hard drive recorder al ays jumps to the set position. If Play has
been selected as the parameter (for a button), the sequencer
al ays starts from the set locator point as soon as the button is
pressed. Re ind al ays begins at the chosen locator point.
Select the frame rate ith encoder 6: 24, 25, 30 (non-drop), 30d
(drop frame) or off (in this case only the MMC message is sent,
ithout any information of the locate position).
GS/XG:
Encoder 3 directly selects the most important Main Control
parameters. The display indicates them as a (shortened) text
(table 4.2). In this case, these are CCs or NRPNs (no SysEx
data).
Table 4.3: GS/XG Parameter Main Controls
Encoders 4 and 5 let you confine or invert each controllers value
range.
4.5 Settings in the global setu menu
Settings that have an effect on all presets are made in the global
setup menu.
sKeep the EDIT key pressed and at the same time press the
STORE key.
sYou are no in the global setup menu, and can let go of
both keys.
sNo , turn the push encoders 1 to 8 to get the desired setting.
This is ho the push encoders are allocated:
4. OPERATION
(QFRGHU )XQFWLRQ 6HOHFW
1 Operating Mode U-1 ... U-4, S-1 ... S-4
2 Global RX Channel Off, 1 ... 16
3 Footswitch Auto/Normal/Inverted
4 Start-Preset 1 ... 32, Last
5 Device ID 1 ... 16
6 SysEx Dump Single/All
7- -
8 MIDI Data Interval (ms)
Table 4.4: Push encoder allocation in global setup menu
sTo exit the global setup menu, press EXIT.
+The settings in the global setup menu take effect
immediatel and do not have to be separatel stored.
Operating Mode:
The operating modes are described in chapter 4.1. You can
select USB modes U-1 to U-4 and stand-alone modes S-1 to S-4.
Global RX Channel:
The B-CONTROL receives program change commands on this
channel.
Footswitch t pe:
Because there are different kinds of foots itches (depending on
their s itching behavior), the polarity of the foots itch connector
can be set (normal/inverted), or it can be automatically detected
during po er startup (auto recognition).
Start Preset Number:
Each of the 32 presets can be selected as the startup preset.
Additionally, ith the Last function, at startup you have the option
to al ays load the preset that as used last.
Device ID Number:
You should change the ID number settings only if you ork ith
several BCF2000-WHs at the same time, and problems ith
recognizing the correct device start occurring during a SysEx
Dump procedure.
+Please keep in mind that S sEx Dumps can onl be
received at the device number to which the were sent!
S sEx Dump Select:
Turning push encoder 6 lets you select bet een the current preset
(single) or the entire memory contents of the 32 presets (all) should
be sent as a SysEx dump. One press on encoder 6 triggers the
dump.
To receive a SysEx dump, you dont have to change any settings
on your equipment. If you send a single preset to the
B-CONTROL, the data is ritten to a temporary memory; to be
stored permanently, the data has to be stored on a storage slot
of your choice (preset store function).
+WARNING: If ou send an ALL-Dump to the
B-CONTROL, the entire memor contents are directl
overwritten! No request to confirm will be made, and
the memor has no redundant safet function!
sTo cancel a SysEx dump, press the EXIT key.
MIDI Data Interval:
This is here you adjust the data transmission rate. This setting
only has an effect on MIDI data packs such as SysEx dumps and
not on controlling of MIDI commands (they are carried out in real
time any ay). The transmission rate is adjustable in milliseconds.
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19
B-CONTROL FADER BCF2000-WH
4.6 The Emulation Modes
The BEHRINGER B-CONTROL is the ideal supplement to many
sequencers and recording soft are. It offers an intuitive und musical
operation of the most frequently used control elements. This
chapter outlines the connection and configuration of the
B-CONTROL and your computer.
In order to obtain the best connection bet een the B-CONTROL
and your soft are, use one of the five B-CONTROL emulation
modes. The emulation modes contain pre-programmed control
element assignments:
sB-CONTROL mode (BC): General mode here you can
create your o n settings. Please see chapter 4.3 for further
reference.
sMackie Control (mC C): This mode is ideal for applications
that support the Mackie Control protocol (Steinberg Cubase
SX and Nuendo, Propellerhead Reason and Ableton Live 5).
sLogic Control (LC): In this mode, Apple Logic Pro detects
the B-CONTROL as Emagic Logic Controller.
sMackie Control (mCSo): Special Mackie Control mapping for
Cake alk Sonar 3.
sMackie Baby HUI (bhuI): Mapping for applications that
support the Baby HUI protocol (Digidesign Pro Tools,
Steinberg Cubase SX / Nuendo, easier setting than Mackie
Control Protocol).
The emulation templates (see chapter 5 Appendix) indicate hich
parameter of the corresponding protocol is assigned to hich
B-CONTROL control element.
The Mackie and Logic Control emulations contain the most
common parameters/select options. The function of each control
element is pre-programmed and complies ith the emulated
hard are controller. The specifications of the parameters orient
themselves on the original adaptations; see emulation templates
belo for detailed assignments. For detailed descriptions of the
original protocols and soft are adaptations of the emulated
hard are controllers, please visit the homepages of the
corresponding hard are manufacturers (controllers), soft are
manufacturers (adapted music application) or look up the help
menu of the corresponding music soft are.
1. Ensure that the B-CONTROL is s itched off.
2. Push and hold the desired mode button (LC).
Fig. 4.9: mulation mode buttons
3. S itch on the B-CONTROL and ait until the selected mode
is indicated on the display.
4. Release the mode button.
4. OPERATION
4.6.1 Global Edit Setu
If any of the 4 emulation modes is active, it is not possible to
change presets, control elements or parameters on the
B-CONTROL. You cannot select Global Edit parameters as
described in chapter 4.5. You can, ho ever, change these before
starting the selected emulation mode. Simply follo these steps:
1. Push and hold the desired mode button (see fig. 4.9).
2. S itch on the B-CONTROL and ait until EG (EDIT
GLOBAL mode) is indicated on the display.
3. Release the mode button.
4. No you can edit the global settings ith the push encoders
1 to 8 as described in chapter 4.5.
5. Press the EXIT button to leave the Global Edit setup. The
preselected emulation mode is no active and is indicated
on the display.
4.7 Additional functions
Temporar Local Off:
Local Off means that hen you move a control element on the
B-CONTROL, no MIDI data is transmitted. If the position of a
control element deviates from the current value in the soft are,
you can readjust its position until the correct position is found by
using this function. After that, the control can be moved again
ithout creating an audible value deviation.
Deviations bet een the position of a control element and the
current parameter value can occur if no parameter feedback is
being sent hile a value is being changed in the soft are (e.g.
mixer automation).
sPress the EXIT key and keep it pressed.
sMove the desired control element until you get the correct
value.
sLet go of the EXIT key. The control element can no be
moved again.
Panic Reset:
This function resets the most important MIDI data to their factory
settings.
sPress EDIT and keep it pressed.
sNo press EXIT. The reset is performed as soon as you
press EXIT. PAnC (for Panic) appears in the display.
sAs soon as the reset is over, your B-CONTROL goes
automatically into the play mode, and the current preset is
sho n in the display.
Data Request:
Current value settings of the MIDI device connected to your
B-CONTROL can be transmitted to your B-CONTROL using the
data request function (provided that the MIDI device supports
this function, and a request command as defined using the editor
soft are). In this case, the MIDI device doesnt send data; the
B-CONTROL requests them instead.
sPress the LEARN key hile the EDIT key is kept pressed.
The request takes place, and the B-CONTROL indicates
the controller values of the receiving MIDI device on the
LED ring or through fader positions.
Snapshot Send:
A Snapshot Send lets you send all current controller values in
order to transmit the B-CONTROL settings to the connected MIDI
device.
sPress the  PRESET key hile the EDIT key is kept
pressed. The B-CONTROL no sends the current controller
settings.
Single Preset Dump:
In addition to the SysEx Dump function in the global setup menu,
the follo ing key combination lets you send all settings of the
current presets:
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20
B-CONTROL FADER BCF2000-WH
sPress the PRESET  key hile the EDIT key is kept
pressed.
sIf you ant to cancel the dump, press the EXIT key.
+Snapshot Send and Single Preset Dump differ in the
kind of data that is being sent: With Snapshot Send,
onl current control values are transmitted in order to
s nchronize them with the connected MIDI device. With
Single Preset Dump, the entire contents of the current
preset including the current control assignments are
sent. With this function, ou can easil archive certain
presets, or swap them with other B-CONTROL users.
5. APPENDIX
Motor Off Function:
The fader motors can be temporarily disengaged. To do that, one
or several fader(s) is/are assigned a key that disengages the
faders motor for the duration of the keystroke. All 20
programmable keys ( and ) are available.
sPress the EDIT key and keep it pressed.
sMove the fader(s) hose motors you ish to disengage.
sPress the key to hich you ant to assign the motor-off
function.
sExit ith EXIT.
+The MIDI command assigned to a ke remains
preserved. This wa , that MIDI function can be used
simultaneousl with the fader motor being disengaged
when the ke is pressed.
5. APPENDIX
Table 5.1: Standard MIDI Controller
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