Behringer Virtualizer Pro DSP2024P User manual

VIRTUALIZER PRO DSP2024P
Version 1.2 September 2004
Users Manual
ENGLISH

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VIRTUALIZER PRO DSP2024P
This symbol, wherever 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, wherever it appears, alerts you to
important operating and maintenance instructions
in the accompanying literature. Please read the
manual.
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 with liquids, such
as vases, shall be placed on the apparatus.
DETAILED SAFETY INSTRUCTIONS:
1) Read these instructi ns.
2) Keep these instructi ns.
3) Heed all warnings.
4) F ll w all instructi ns.
5) D n t use this apparatus near water.
6) Clean nly with dry cl th.
7) D n t bl ck any ventilati n penings. Install in
acc rdance with the manufacturers instructi ns.
8) D n t install near any heat s urces such as radiat rs,
heat registers, st ves, r ther apparatus (including
amplifiers) that pr duce heat.
9) D n t defeat the safety purp se f the p larized r
gr unding-type plug. A p larized plug has tw blades
with ne wider than the ther. A gr unding type plug
has tw blades and a third gr unding pr ng. The wide
blade r the third pr ng are pr vided f r y ur safety. If
the pr vided plug d es n t fit int y ur utlet, c nsult
an electrician f r replacement f the bs lete utlet.
10) Pr tect the p wer c rd fr m being walked n r
pinched particularly at plugs, c nvenience receptacles,
and the p int where they exit fr m the apparatus.
11) Only use attachments/access ries specified by the
manufacturer.
12) Use nly with the cart, stand, trip d, bracket, r table
specified by the manufacturer, r s ld with the
apparatus. When a cart is used, use cauti n when m ving
the cart/apparatus c mbinati n t av id injury fr m
tip- ver.
13) Unplug this apparatus during lightning st rms r
when unused f r l ng peri ds f time.
14) Refer all servicing t qualified service pers nnel.
Servicing is required when the apparatus has been
damaged in any way, such as p wer supply c rd r plug
is damaged, liquid has been spilled r bjects have fallen
int the apparatus, the apparatus has been exp sed t
rain r m isture, d es n t perate n rmally, r has been
dr pped.
15) CAUTION - These service instructi ns are f r use by
qualified service pers nnel nly. T reduce the risk f
electric sh ck d n t perf rm any servicing ther than
that c ntained in the perati n instructi ns unless y u
are qualified t d s .
IMPORTANT SAFETY INSTRUCTIONS

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VIRTUALIZER PRO DSP2024P
FOREWORD
Dear ustomer,
Welcome to the team of VIRTUALIZER PRO users and thank you for demonstrating your faith in us by
purchasing the DSP2024P.
Writing this foreword to you is an extremely pleasant task. After several months of intensive brainstorming and
the subsequent realization of their ideas, our engineers finally achieved an ambitious goal: considerable
improvement of an excellent piece of equipment. The VIRTUALIZER has been regarded as standard equipment
for countless studios and P.A. distributors for quite a while now. As with any new product, the development of
this new VIRTUALIZER PRO also meant a great deal of responsibility. Throughout the entire planning and
development phases, we kept youthe discerning end-user and musician, your requirements and your
requests at the focal point of our considerations. Meeting your professional expectations required a lot of effort
and more than a few night shifts, but this is exactly the kind of challenge that keeps us alive and kicking.
Developing a new product always brings a large number of people together, and its a great feeling when all
involved can take pride in the results.
It is an important part of our philosophy to share our gratification with you, since youre the most important
member of the BEHRINGER team. With your highly competent suggestions for new products, youve
contributed immensely to the development and success of our company. In return, we bring you
uncompromising quality (manufactured under ISO9000 certified management system) as well as excellent
technical and audio specifications, at an extremely favorable price. We hope that this will enable you to fully
unfold your creativity without being hampered by budget constraints.
We are often asked how we manage to produce such high-grade devices at such unbelievably low prices. The
answer is quite simple: its you, our customers! Lots of satisfied customers means large sales volumes, which
in turn enables us to reduce production and logistics expenses. We believe its only fair to pass this benefit
back to youafter all, your success is our success!
I would like to thank everyone who helped make our new VIRTUALIZER PRO project possible and successful.
Each of those people made very personal contributions, from our engineers and designers to our numerous
staff members and finally to you as a BEHRINGER user.
My friends, its been worth the trouble!
Thank you very much,
Uli Behringer

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VIRTUALIZER PRO DSP2024P
DSP2024P
VIRTUALIZER PRO
High-Performance 24-Bit Mu ti-Engine Effects Processor
s71 breathtaking new alg rithms, m st in true stere
sWave-adaptive VIRTUAL ROOM reverb alg rithms f r ultra-natural reverb and delay
sAwes me m dulati n, dynamic, psych ac ustic and EQ alg rithms
sInn vative amp simulati n, dist rti n and special effects
s11 effect c mbinati ns with selectable serial/parallel c nfigurati n
sUp t 7 adjustable parameters plus HI and LO EQ per effect
sHigh-res luti n 24-bit A/D and D/A c nverters with 64/128-times versampling
sTrue stere pr cessing f r realistic channel separati n in stere image
s24-bit internal signal pr cessing, pr fessi nal 46 kHz sample rate
s100 fact ry presets plus 100 user mem ry l cati ns
sExtensive MIDI implementati n
sPrecise 8-segment LED level meters
sInternal p wer supply f r pr fessi nal applicati ns
sServ -balanced XLR and 1/4" TRS inputs and utputs
sC nceived and designed by BEHRINGER Germany

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VIRTUALIZER PRO DSP2024P
TABLE OF CONTENTS
1. INTRODUCTION..................................................................................................................... 6
1.1 The concept .................................................................................................................................... 6
1.2 Before you get started ..................................................................................................................... 7
1.3 ontrol elements ............................................................................................................................. 7
2. EFFECTS ALGORITHMS ..................................................................................................... 10
2.1 Reverb algorithms .......................................................................................................................... 11
2.2 Delay algorithms ............................................................................................................................ 11
2.3 Modulation and Pitch Shifter effects .............................................................................................. 12
2.4 Dynamic effects ............................................................................................................................ 13
2.5 Psycho-acoustic effects ................................................................................................................ 14
2.6 Filter/EQ effects ............................................................................................................................ 15
2.7 Distortion effects and amp simulations .......................................................................................... 16
2.8 Special effects .............................................................................................................................. 17
2.9 Effects algorithm combinations (multi-effects programs) ................................................................ 18
3. OPERATION .......................................................................................................................... 20
3.1 Effects structure ............................................................................................................................ 20
3.2 alling up presets ......................................................................................................................... 23
3.3 Editing programs (edit mode) ........................................................................................................ 23
3.4 Storing programs ........................................................................................................................... 23
3.5 omparing an edited preset with the corresponding factory preset ( OMPARE function) ............... 24
3.6 SETUP mode ................................................................................................................................ 24
3.6.1 MIDI control ........................................................................................................................ 24
3.6.2 INPUT mode ....................................................................................................................... 25
3.6.3 OUTPUT mode .................................................................................................................... 25
3.6.4 Dual engine configuration ( ONFIG) .................................................................................... 25
3.7 Restoring the factory presets ........................................................................................................ 25
4. APPLICATIONS ..................................................................................................................... 26
4.1 Level setting .................................................................................................................................. 26
4.2 Using the VIRTUALIZERPRO in the aux bus ................................................................................ 26
4.3 Using the VIRTUALIZERPRO in the insert path ............................................................................ 27
4.4 Using the VIRTUALIZERPRO as an effects device for instruments ............................................... 27
4.5 Using the VIRTUALIZERPRO in a MIDI setup ............................................................................... 29
5. MIDI FUNCTIONS OF THE DSP2024P ............................................................................... 29
5.1 Saving data via MIDI ...................................................................................................................... 29
6. INSTALLATION ..................................................................................................................... 30
6.1 Mains connection .......................................................................................................................... 30
6.2 Audio connections ........................................................................................................................ 30
6.3 MIDI connections .......................................................................................................................... 31
6.4 Selecting the operating level .......................................................................................................... 31
7. APPENDIX ............................................................................................................................. 32
7.1 Parameter overview ....................................................................................................................... 32
7.2 MIDI implementation ..................................................................................................................... 34
7.3 Default settings ............................................................................................................................. 35
7.4 Parameter range of effects algorithms ........................................................................................... 37
8. SPECIFICATIONS ................................................................................................................. 39
9. WARRANT ........................................................................................................................... 40

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VIRTUALIZER PRO DSP2024P
1. INTRODUCTION
In purchasing the BEHRINGER VIRTUALIZER PRO you have acquired an extremely efficient multi-effects
processor that offers first class reverberation effects and a number of other algorithms. The DSP2024P has 71
new effects types, and thanks to its logically structured user interface, it can be used easily and intuitively.
In order to generate an extremely natural reverberation, we at BEHRINGER have developed new kinds of
algorithms for virtual acoustics.These algorithms will help you calculate all room and reverberation parameters
with absolutely professional quality and naturalness.
In spite of this extensive and calculation-intensive work performed by the 24-bit processor in the DSP2024P,
the VIRTUALIZER PRO is very easy to handle. hanging parameters to achieve a specific sound is simple.
There are 100 presets available to store your own programs.
The DSP2024P includes excellent reverb and delay programs, but thats not all. Besides the classic plate
reverb simulations, the VIRTUALIZER PRO will impress you with its excellent modulation effects (like chorus,
flanger and phaser), which were extended to include special variations like a musical pitch shifter, a tremolo,
and a rotary speaker simulation. The DSP2024Ps dynamic and psycho-acoustic effects allow you to do
without a number of additional pieces of equipment. The DSP2024P also offers you a series of distortion and
amplification sounds that are combined with a speaker simulation. Thus, as a guitarist in recording
situations, you can achieve an excellent sound on tape or hard disk, even without a speaker cabinet. Besides
its logical and simple operation, the VIRTUALIZER PROs technical equipment is also impressive. The following
points ensure signal processing at a professional level:
sExtremely low-noise and exact 24-bit A/D and D/A converters.
sA professional sample rate of 46 kHz guarantees a high signal resolution for a frequency response of 20 Hz
to 20 kHz.
sThe 24-bit processor features dual engine software; these two sections process audio input independently.
sAs for all BEHRINGER products, the highest quality components and controls are used.
+The following instructions will give you a brief run-down on the terminology and functions of
the VIRTUALIZER RO. After reading, please store this manual in a safe place for future
reference.
1.1 The concept
BEHRINGER uses an uncompromising selection of components. The heart of the BEHRINGER
VIRTUALIZER PRO is a 24-bit DSP, which, due to its exceptional technical specifications, is regarded as one
of the finest building blocks. With it come the first class 24-bit A/D-D/A converters, guaranteeing a precise
conversion of audio signals. Narrow-range tolerance resistances and capacitors, high-grade switches, and
other selected components are all very high in quality.
The VIRTUALIZER PRO was manufactured on the basis of SMD technology (Surface Mounted Device). The
use of sub-miniature building blocks known from space flights allows not only an extreme packing density but
also ensures an increased dependability. The DSP2024P was manufactured under ISO9000 certified
management system.
1.2 Before you get tarted
The VIRTUALIZER PRO was carefully packed in the factory to ensure safe transport. Nevertheless, if the box
shows signs of damage, please check the equipment immediately for any signs of external damage.
+Damaged units should NEVER be sent directly to us. lease inform the dealer from whom you
acquired the unit immediately as well as the transportation company from which you took
delivery of the unit. Otherwise, all claims for replacement/repair may be rendered invalid.
1. INTRODU TION

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VIRTUALIZER PRO DSP2024P
+To assure optimal protection of your DS 2024 during use or transport, we recommend utilizing
a carrying case.
+lease always use the original packaging to avoid damage due to storage or shipping.
+Never let unsupervised children play with the DS 2024 or with its packaging.
+lease dispose of all packaging materials in an environmentally-friendly fashion.
The BEHRINGER VIRTUALIZER PRO requires one standard 19" rack unit of space (1 3/4"). Please leave an
additional 4" installation depth to allow connections at the rear side.
Make sure that there is adequate ventilation and do not place the VIRTUALIZER PRO on top of an amplifier,
which could cause overheating.
+Before connecting the VIRTUALIZER RO to the mains, carefully check that your equipment is
set to the correct voltage:
The fuse holder on the female mains connector has 3 triangular markings, with two of these triangles opposing
each other. The VIRTUALIZER PRO is set to the operating voltage printed next to these markers and can be
set to another voltage by turning the fuse holder by 180°. CAUTION: This instruction does not apply to
export models exclusively designed, e.g. for 120-V operation!
onnection to the mains is made by a mains cable with an IE receptacle that complies with the required
safety regulations.
+lease make sure that the unit is grounded at all times. For your own protection, you should
never tamper with the grounding of the cable or the unit itself. The unit shall always be
connected to a mains socket outlet with a protective earthing connection.
+Installation and operation of this equipment must be carried out by competent staff only. Both
before and after installation, the staff using the equipment should make sure that it is properly
grounded since otherwise electrostatic discharge etc. can lead to an impairment of its
operation. For more information, see chapter 6 INSTALLATION.
The BEHRINGER VIRTUALIZER PRO is equipped with electronically servo-balanced inputs and outputs. The
circuit design features automatic hum suppression for balanced signals and thus ensures trouble-free
operation, even at the highest operating levels. Externally induced mains hum, etc. can therefore be effectively
suppressed. The automatic servo-function recognizes the presence of unbalanced connectors and adjusts the
nominal level internally to avoid level differences between the input and output signals (6-dB correction).
The MIDI connectors (IN/OUT/THRU) are standard DIN plug connections. The data communication is isolated
from ground by opto-couplers.
1.3 Control element
Fig. 1.1: VIRTUALIZER PRO front panel
The BEHRINGER VIRTUALIZER PROs front panel includes five edit controls (non-intermittent rotary controls),
a jog wheel (big rotary control), six parameter keys, an LED display and a mains switch. Each of the two fully
independent channels can be monitored with an 8-digit LED meter.
1. INTRODU TION

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VIRTUALIZER PRO DSP2024P
Fig. 1.2: Display se tion of the VIRTUALIZER PRO
1
Both the LED CHAINS display the intensity of the input signal in dB in relation to the nominal level,
which is selected on the rear panel with the OPERATING LEVEL switch.
2
After you switch on the VIRTUALIZER PRO, you can read the name of the last used effect on the LED
DISPLAY. When editing, the LED DISPLAY shows the parameters name along with a 4-digit
alpha-numeric display that shows the absolute parameters value.
3
To the right of the LED DISPLAY are four STATUS LEDs which indicate the type of value you are
working with. You may do any of the following:
s set the absolute value of an effect parameter (%),
s increase or decrease the amplitude or determine the threshold point of the compressor (dB),
s modify a frequency (Hz) or
s modify a time parameter (sec).
4
The ALGORITHM GROUPS LED CHAIN indicates which category the selected effect belongs to.
Altogether the DSP2024P offers eight different algorithm groups.
Fig. 1.3: Fun tion keys, ontrols and jog wheel
5
Every preset in the DSP2024P allows you to edit at least four effect parameters. The EDIT-LED-CHAIN
indicates which parameters are adjusted by the four EDIT ONTROLs. If the top LED lights up,
controls the parameter EDIT A, controls EDIT B, helps in changes of parameter EDIT and
with you change the setting of parameter EDIT D. If the middle LED of the EDIT-LED- HAIN lights
up, the four EDIT ONTROLs modify the parameters that are arranged to its left and right. The lower
LED functions correspondingly.
+For the exact meaning of the individual effect parameters, see chapter 7.1.
1. INTRODU TION

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VIRTUALIZER PRO DSP2024P
6
With the 1st EDIT CONTROL (non-intermittent rotary control) you change the values of the first (EDIT A)
and fifth (EDIT E) effect parameters. You can also select MIDI functions (MIDI) with the 1st EDIT
ONTROL. Press the EDIT key to switch from EDIT A to EDIT E and vice versa. You reach the MIDI
function by pressing the SETUP key .
7
The 2nd EDIT CONTROL allows you to modify the values of effect parameters EDIT B and EDIT F.
When you select the IN UT parameter with the help of the SETUP key, you can specify whether the
DSP2024P functions mono or stereo mode (see chapter 3.6.2 for more information).
8
The 3rd EDIT CONTROL modifies the values of effect parameters EDIT C, EQ LO, and the global
OUT UT parameter (see chapter 3.6.3). Here, as well, you select among them using the EDIT and
SETUP keys.
9
With the 4th EDIT CONTROL, you modify the values of effect parameters EDIT D, EQ HI, and the global
parameter CONFIG (see chapter 3.6.4). Use the EDIT and SETUP keys to choose between the
parameters.
+During editing, you can rotate one of the four EDIT CONTROLs minimally to display a brief
description of the current parameter active. This can help you know that, for example, EDIT A
controls the pre delay for all reverb effects of the VIRTUALIZER RO. After approximately one
second the name is erased and the parameters current value is displayed. This function can
be used only by operating one of the controls that has not yet been selected.
10
By turning the MIX/BYPASS CONTROL the effect levels of most effect algorithms are set in the range
from 0 to 100%. If you select 0%, the signal at the inputs of DSP2024P is transferred directly to the
outputs without adding any effects (the signal is completely dry). If you select 100%, only the effected
signal is sent to the outputs (the signal is completely wet).
+If you use the DS 2024 in the aux bus with your mixing console, you should always set this
value at 100%. if youre using the DS 2024 with a guitar amplifier (in a serial effects loop), we
suggest settings between 20 and 50% (depending on the amplifier type).
+lease note that, for the effects parametric and graphic EQ, the MIX/BY ASS CONTROL
allows a gain correction by rotation.
To bypass the DSP2024Ps effects, press the MIX/BYPASS ONTROL. This allows you to compare
between the original and the effected signals. Press the MIX/BYPASS ONTROL again to deactivate
the bypass and return to your chosen effect. When the MIDI IN LED below the control flickers, it
indicates that MIDI data is arriving at the MIDI IN port.
+Both the MIX/BY ASS CONTROL and the four EDIT CONTROLs react dynamically. This means
that, depending how fast you rotate the wheels, the present parameter is changed in steps of
1, 2, 5 or 10. The faster the rotation, the greater the change in the parameter value.
11
To select one of the 200 presets, press the PRESET key once, then rotate the JOG WHEEL .
12
To select one of the 71 basic effect algorithms, press the EFFECT key once, then rotate the JOG
WHEEL. For information on the parameter values that are set for the basic effect algorithms, see
chapter 7.4.
13
To select the EDIT ONTROL function (see - ), press the EDIT key.
14
When you make changes to a user preset, the STORE keys LED begins to blink. The DSP2024P
comprises 100 user presets for your own settings and 100 factory presets (see separate preset sheet).
To save your changes, press the STORE key. Select a storage space (number) with the JOG WHEEL
and confirm it by pressing the STORE key again.
15
If you have made changes to a preset and the LED of the STORE key is blinking, you can press the
COMPARE key to temporarily restore the presets original settings. While these settings are loaded,
the OMPARE keys LED blinks and  OMP appears in the LED DISPLAY. Press the OMPARE key
again to return to edit mode and store your changes.
16
To enter SETUP mode, press the SETUP key. In setup mode, you can access the parameters shown
below the four EDIT ONTROLs. For more information about SETUP mode, see chapter 3.6.
1. INTRODU TION

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VIRTUALIZER PRO DSP2024P
17
To change a parameters value, rotate the JOG WHEEL. To increase the value, turn the wheel clock-
wise. To decrease the value, turn the wheel counterclockwise. If none of the edit functions is selected,
you can select a program directly with the JOG WHEEL. When you do so, a spot lights up in the LED
DISPLAY. As long as the spot is illuminated, a program can be selected without making the
corresponding settings immediately audible. This brief signal suppression means that during quick
selection of presets with the JOG WHEEL, not every preset is activated directly. If the JOG WHEEL is
not turned for a second, the spot in the LED DISPLAY disappears and the program is loaded.
18
Use the POWER switch to power up your DSP2024P. The POWER switch should always be in the Off
position when you are about to connect your unit to the mains.
+To disconnect the unit from the mains, pull out the mains cord plug. When installing the
product, ensure that the plug is easily accessible. If mounting in a rack, ensure that the mains
can be easily disconnected by a plug or by an all-pole disconnect switch on or near the rack.
Fig. 1.4: VIRTUALIZER PRO rear panel
19
FUSE HOLDER / VOLTAGE SELE TION. Before connecting the DSP2024P, confirm that the voltage
display matches your local mains voltage. When replacing the fuse, you must always use the same
type. In many units the fuse holder can be installed in one of two positions, allowing you to switch
between 230 V and 120 V. If you wish to operate a unit outside Europe at 120 V, then a stronger fuse
must be used. (For more information, see chapter 8 SPE IFI ATIONS). The mains connection is made
via the IE receptacle. An appropriate mains cable is included.
20
The DSP2024P has wide-ranging MIDI implementation. MIDI IN, MIDI OUT, and MIDI THRU connectors
are available for transmitting MIDI commands.
21
SERIAL NUMBER. Please complete and return the warranty card within 14 days of the date of
purchase. Otherwise, you will lose your right to the extended warranty. Alternatively, you can register
online at our website under www.behringer.com.
22
The DSP2024Ps balanced OUTPUTs are designed as 1/4" TRS and XLR sockets.
23
To switch between -10 dBV (home recording level) and +4 dBu (professional studio level), use the
OPERATING LEVEL SWITCH. When you switch between the two, the level displays are automatically
changed to the nominal level and the VIRTUALIZER PRO operates in its optimal working range.
24
Both of the VIRTUALIZER PROs INPUTs are also available as balanced 1/4" TRS and XLR sockets.
2. EFFECTS ALGORITHMS
All effects of digital effects equipment are based on various algorithms. An algorithm for a reverb effect, for
example, is programmed differently than a chorus algorithm. Each effect has a certain algorithm with which the
digital input signal is processed. The processing takes place within the digital signal processor (DSP). After
the effect is generated and the input signal is mixed, the digital signal is converted back into an analog signal
with a D/A converter.
You can edit up to seven parameters for each preset in the VIRTUALIZER PRO. The changes you make will
influence the sound in different ways. An overview of the DSP2024Ps various effects algorithms follows.
2. EFFE TS ALGORITHMS

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VIRTUALIZER PRO DSP2024P
2.1 Reverb algorithm
REVERB: As the term suggests, a reverb is a reverberation effect. The reverb can be considered as the most
important effect in a mix-down or a live event. The DSP2024P offers 12 different reverberation programs so that
you have a suitable reverb for every situation. Cathedral simulates the dense, long reverberation of a large
cathedral, which is appropriate for solo instruments or vocals in slow pieces. Gold late simulates the sound
of plate reverberators and hence is a classic for drums (snare) and vocals. Small Hall simulates a small, lively
(strongly reflecting) hall. With Room, you can clearly hear the walls of the room. Studio represents a small- to
middle-sized room. With Concert, you can select between a small theater and a large hall. Stage is well
suited to dissipating the sound of a keyboard or an acoustic guitar. Spring Reverb simulates a classic spring
reverberation. Ambience reproduces a room impression without late reflections. With Early Reflections,
the initial reflections of a room are clearly audible.
GATED REVERB: This effect synthetically cuts off reverberation after a period of time. It is famous in the song
In the Air Tonight by Phil ollins.
REVERSE REVERB: This is a reverberation in which the envelope is reversedit slowly gets louder.
Tab. 2.1: Fun tioning of the reverb effe ts parameters
2.2 Delay algorithm
STEREO DELAY: A delay of the input signal. Different tempo settings allow interesting delay effects.
TA E ECHO: Similar to the stereo delay, with the difference being that the repetitions have less presence. This
simulates the character of the original tape echo that was used before the digital era and can be thought of as
a Vintage Sound. The tape echos reflections include high and low pass filters.
2. EFFE TS ALGORITHMS

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VIRTUALIZER PRO DSP2024P
ING ONG: A delay effect with changing stereo positioning, where the time intervals between the repetitions
can be changed.
Tab. 2.2: Fun tioning of the delay effe ts parameters
2.3 Modulation and Pitch Shifter effect
FLANGER: The word flange means tape spool, and this explains the characteristics of the effect. Originally
the flanger effect was generated with two tape recorders which ran synchronously. The same audio signal was
recorded on both machines. If you put a finger on the left spool of one of the machines, the spool and the
playback speed are slowed down. The generated delay results in phase shifting of the signals. Vintage
Flanger simulates a guitar flanger effect pedal and Jet Stream Flanger sounds like a classic analog flanger.
CHORUS: This effect slightly detunes the original signal. A very pleasant detune effect is created in connection
with the pitch variation. The chorus effect is quite often and extensively used for dispersing signals. Analog
Chorus simulates a guitar chorus effect pedal, while Vintage Chorus imitates a classic analog studio chorus.
Ultra Chorus creates the sound of an eight-person vocal chorus.
HASER: With the phaser, a second, phase shifted signal is added to the original audio signal. The resulting
sound is thicker and above all livelier. This effect is often used for guitar sounds and keyboards. In the 70s, it
was also extensively used for other instruments like electric pianos. Here, Vintage haser represents a guitar
phaser effect pedal. Dual haser processes the left and the right channels separately.
ROTARY: The simulation of a classic effect that is normally generated with a very heavy enclosure with a (slow
or fast) rotating speaker: The bass speaker (drum) is covered by a partly opened rotating cap, while both of the
high pitch horns (horn), displaced by 180°, revolve around the same perpendicular axis. Here, the physical
principle of the Doppler effect for modulation of signals is used.
ITCH SHIFTER: This effect changes the pitch of the input signal. You can generate musical intervals and
harmonies or simply a single voice. Detuning by several semitones upward alienates voices (and is used often
in cartoons). Here, you can choose among a stereo, two, and three vocal pitch shifter. At the left stop of Edit
the pitch shifters 1 and 2 are synchronized to a stereo pitch shifter. Pitch shifter 3 can be switched off by
turning Edit E fully counterclockwise.
VIBRATO: For this effect, the peak frequency of a tone is periodically and uniformly changed (quickly or
slowly). It is often used for guitar playing.
TREMOLO: This effect was originally found on guitar amplifiers, and is once again trendy. It is a fast or slow
periodic variation of the volume.
2. EFFE TS ALGORITHMS

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VIRTUALIZER PRO DSP2024P
AUTO ANNING: This sound effect, which was very popular in the beginnings of stereo technique, is achieved
by allowing a sound source (often the lead guitar or a synthesizer) to wander from one end of the stereo image
to another or by just letting it wander repeatedly.
Tab. 2.3: Fun tioning of the modulation and pit h shifter effe ts parameters
2.4 Dynamic effect
COM RESSOR/LIMITER: When the signal level exceeds the level control limit of the signal-processing unit,
it must be limited dynamically to avoid distortions. This is achieved by installing a compressor or a limiter. The
limiter abruptly limits the signal above a specified threshold, while a compressor acts softly over a large
range.
EX ANDER: Background noises of all types (noise, humming etc) limit the dynamic range of the actual signal.
As long as the level of the actual signal lies significantly above the background noise, the noise is inaudible.
The interference signal in this case is masked by the actual signal. The expander is used to effectively expand
the dynamic range of signals. Signals with small amplitudes (such as background noise) can be weakened,
thereby reducing the background noise.
GATE: On stage and in studios, there are diverse applications where a noise gate is needed. For example,
microphones that tend to cause feedback can be defused. In addition, you can use a gate to eliminate
unwanted noise. When used on vocals, for example, the signal is simply masked during pauses, thus
eliminating all noise. Needless to say, a gate used on vocals has to open very quicklyotherwise, the first
syllables of soft or whispered passages would not be audible.
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ULTRAMIZER: The ultramizer function divides the sound spectrum into two frequency bands and, as a result,
allows inaudible but extremely effective compression. This is especially helpful during mix-down. The DSP2024P
analyses the received audio material and automatically adjusts input gain and compression parameters.
DENOISER: The DENOISER is used to eliminate or reduce noise and other interference.
DE-ESSER: A problem often encountered in recording situations, is the sibilant (Ssss) sound of the human
voice. The de-esser is used to remove strong hissing sounds from the audio signal.
WAVE DESIGNER: Using this effect, you can influence the envelope of a signal by specifying its volume.
A (= Attack) indicates the time a tone needs to reach its full volume. R (= Release) determines how long it
takes before a tone dies away.
Tab. 2.4: Fun tioning of the dynami effe ts parameters
2.5 P ycho-acou tic effect
EXCITER: An exciter works with psycho-acoustic principles to add artificially generated overtones to the
original signal, thereby increasing its presence and loudness (the subjective volume impression) without any
significant increase of the signal level.
ENHANCER: The enhancer works like a dynamic pitch equalizer. Its effectiveness depends on the associated
high frequencies and the intensity of the input signal.
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ULTRA BASS: This awesome combination of sub-harmonic processor, bass exciter, and limiter adds a final
touch to your music production.
STEREO IMAGER: This effect is used to process stereo main signals. The signal is first subdivided into middle
and side signal (MS Matrix). Both parts can then be amplified when desired and placed on the stereo image.
ULTRA WIDE: This effect is suitable to pep up speaker systems with an especially broad stereo image.
BINAURALIZER: The binauralizer also extends the stereo image. Additionally, it compensates for inter-
channel cross talk of both speakers (left loudspeaker on right ear and vice versa).
Tab. 2.5: Fun tioning of the psy ho-a ousti effe ts parameters
2.6 Filter/EQ effect
FILTER: Filters, in general, influence the frequency response of a signal. A low pass filter allows low
frequencies to pass and suppresses high frequencies, while a high pass filter allows high frequencies to pass
and suppresses low frequencies.
ARAMETRIC EQ: The parametric equalizer is the most highly-developed form of equalization. You can
control the three parameters which define the so-called gauss equalizer curve: bandwidth, frequency and
amplitude boosting or lowering.
GRA HIC EQ: Eight filter bands are arranged next to each other for this graphic equalizer. In contrast to the
parametric equalizer, frequency and bandwidth are pre-determined here.
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Tab. 2.6: Fun tioning of the filter/EQ effe ts parameters
2.7 Di tortion effect and amp imulation
VOCAL DISTORTION: This effect is very hip when used on vocals and drum loops, and is combined with a
delay and flanger.
TUBE DISTORTION: This effect simulates the sound of different tube types. When an analog tube, as found in
a guitar amplifier, is overamplified by raising the input signal (e.g. of a guitar), the original signal is mixed with
the harmonic overtones. With rising overmodulation (also known as saturation of tubes), the original signal is
distorted and the sound is fresh and full. This is a classic sound in rock music.
GUITAR AM : This effect simulates the sound characteristics of a complete guitar amplifier. You can connect
a guitar or bass (after appropriate pre-amplification) directly to the VIRTUALIZER PRO, and from there to a
mixing console or recording device.
FUZZ: This is a special guitar distortion type. Jimi Hendrix was one of the first guitarists to recognize the
appeal of this broadband transistor overmodulation. The humming distortion of the FUZZ BOX has again
become popular with alternative rock and grunge. The VIRTUALIZER PROs fuzz works in three different
frequency bands.
S EAKER SIMULATION: The VIRTUALIZER PRO is able to simulate various types of speakers. Typical
guitar amplifying speakers as well as multimedia speakers are available. You can also use a parametric
equalizer to further refine the sound.
RING MODULATOR: This effect allows a radical alienation of audio signals. Similar to the principle of FM
radio, the signal is multiplied by a carrier frequency, so that frequency modulation (FM) takes place. This effect
is very well suited for vocal alienation (robot voice).
LO-FI: For years, digital technique has been striving for high quality, low noise, and brilliant sounds. In the
recent past there have been increasing calls for a return to the roots to achieve the warmth of the old analog
sounds. The techno/dance group swears by vinyl and some music lovers miss the charm of good old vinyl
discs and tape machines. This trend is known as Lo-Fi (instead of Hi-Fi). We have taken this tendency into
account and included the relevant effect in the DSP2024P. Your recordings sound like 8-bit audio, complete
with noise and humming like the old days! A true drum loop in TR808/TR909 style really gets going when it
sounds thick and dusty.
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Tab. 2.7: Parameter fun tions of distortion effe ts and amplifi ation simulations
2.8 Special effect
VINYLIZER: This effect adds clicks and/or noise to your audio signal, simulating old vinyl records and tape
recorders.
SAM LER: This sampler allows you to record up to five seconds of program material. Use Edit A for recording
and Edit B for playback of the sampled material.
+To clear the contents of the sampler, select a different effect.
VOCODER: The vocoder, an old acquaintance, has become popular again due to the disco renaissance (hear
it in Around the World by Daft Punk or  alifornia by 2Pac). A control signal (usually a voice) is used in the
right channel to modulate another signal which lies on the left channel (usually a synthesizer sound). It sounds
as if the synthesizer is talking (robot voice).
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VOICE CANCELER: The voice canceler is a very effective Karaoke effect. It allows removal of mono vocal parts
in stereo recordings. The bass part, however, remains untouched.
RESONATOR: A resonator simulates an oscillating system that amplifies a specific frequency. The resonator
implemented here has a resonance frequency that can be modulated with positive and negative feedbacks of
up to 100%.
Tab. 2.8: Parameter fun tions of spe ial effe ts
2.9 Effect algorithm combination (multi-effect program )
Effects 61 to 71 are multi-effects algorithms, which allow different effects to be used simultaneously. Effect 61,
for example, can make a solo guitar wider with chorus and simultaneously add a room reverb. Please note
that you can modify the structure of a multi-effect (see chapters 3.1 and 3.6.4).
CHORUS & REVERB: This algorithm combines the popular chorus with a gold plate effect (as in algorithm 2).
FLANGER & REVERB: The combination of flanger and reverb effects.
ROTARY & REVERB: The input signal, modulated to a degree that you specify, is then processed with a reverb
effect. This effect works especially well with keyboards and guitars.
ITCH & REVERB: The pitch shifter can be detuned in semitone or cent steps. The reverb, on the other hand,
can be controlled in time and mixing ratio.
DELAY & REVERB: Delay and reverb are the most common combinations for vocals, solo guitars, etc. The
reverb used here is a gold plate, a room that features a distinctive brilliance and can be used in many ways.
TREMOLO & REVERB: The intensive variation in volume of the tremolo gains more depth and wideness with
the reverb.
HASER & REVERB: The combination of a classic stereo phaser and a reverb effect.
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CHORUS & DELAY: While the chorus can contribute to a wideness of the signal, interesting repetition effects
can be adjusted with the delay. Vocals can be given a distinctive effect without making the voice sounding
blurred.
FLANGER & DELAY: This effect is just right for creating a modern, slightly spacey vocal sound.
ITCH & DELAY: A repetition of the audio signal, with an oscillatory effect added by the pitch shifter.
TREMOLO & DELAY: A fast or slow, intensive variation of volume, which is additionally processed with a
panorama effect.
Tab. 2.9: Parameter fun tions of multi-effe ts programs
+For an overview of the parameters available in the individual programs refer to chapter 7.1.
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3. OPERATION
3.1 Effect tructure
Fig. 3.1: Effe ts stru ture, part 1
3. OPERATION