User’s Manual
Version 1.1 February 2002
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VIRTUALIZER PRO DSP2024P
FOREWORD
Dear Customer,
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
VIRTUALIZER® PRO
High-Performance 24-Bit Multi-Engine Effects Processor
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V
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71 breathtaking new algorithms, most in true stereo
Wave-adaptive VIRTUAL ROOM reverb algorithms for ultra-natural reverb and delay
Awesome modulation, dynamic, psychoacoustic and EQ algorithms
Innovative amp simulation, distortion and special effects
11 effect combinations with selectable serial/parallel configuration
V Up to 7 adjustable parameters plus HI and LO EQ per effect
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V
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64/128-times oversampling
High-resolution 24-bit A/D and D/A converters with
True stereo processing for realistic channel separation in stereo image
24-bit internal signal processing, professional 46 kHz sample rate
V 100 factory presets plus 100 user memory locations
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Extensive MIDI implementation
V Precise 8-segment LED level meters
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Internal power supply for professional applications
Servo-balanced XLR and 1/4" TRS inputs and outputs
Manufactured under ISO9000 certified management system
V
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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 Control 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 Calling up presets ......................................................................................................................... 23
3.3 Editing programs (edit mode) ........................................................................................................ 23
3.4 Storing programs ........................................................................................................................... 23
3.5 Comparing an edited preset with the corresponding factory preset (COMPARE 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 (CONFIG) .................................................................................... 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. WARRANTY ...........................................................................................................................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. Changing 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.
All of the DSP2024P’s preset effects include up to seven editable parameters. Editable high and low pass
filters are also available, bringing the grand total to nine (!) editable parameters for each effect! They can be
selected directly and stored in 100 user presets. Thus, you can match the sound characteristics of your
presets to every desired room characteristic and in turn save time during a hectic live operation. Besides its
logical and simple operation, the VIRTUALIZER PRO’s technical equipment is also impressive. The following
points ensure signal processing at a professional level:
V Extremely low-noise and exact 24-bit A/D and D/A converters.
V A professional sample rate of 46 kHz guarantees a high signal resolution for a frequency response of 20 Hz
to 20 kHz.
V The 24-bit processor features dual engine software; these two sections process audio input independently.
V As for all BEHRINGER products, the highest quality components and controls are used.
Due to its wide-ranging MIDI implementation, the DSP2024P can be used in virtually any MIDI setup. In
addition, you can use MIDI to program the VIRTUALIZER PRO using editor software on your PC. The DSP2024P
can also send controller and sys-ex data, allowing you to transfer all presets and settings with a sys-ex dump
to your sequencer. If necessary, you can reload those settings by sending the sys-ex data from your
sequencer back to the DSP2024P.
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The following instructions will give you a brief run-down on the terminology and functions of
the VIRTUALIZER PRO. After reading, please store this manual in a safe place for future
reference.
1.1 The concept
BEHRINGER uses an uncompromising selection of components. The heart of the BEHRINGER
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.
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1. INTRODUCTION
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VIRTUALIZER PRO DSP2024P
1.2 Before you get started
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.
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If the unit is damaged, please do not return it to BEHRINGER, but notify your dealer and the
shipping company immediately. Otherwise, claims for damage or replacement may not be
granted. Shipping claims must be made by the consignee.
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.
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Before connecting the VIRTUALIZER PRO 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 115-V operation!
Connection to the mains is made by a mains cable with an IEC receptacle that complies with the required
safety regulations.
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All pieces of equipment must be grounded. For your own safety, under no circumstances
should you remove or de-activate the grounding of your equipment or the mains cable.
Installation and operation of this equipment must be carried out by competent staff only. Both
before and after installation, the staff using the equipment should make sure that it is properly
grounded since otherwise electrostatic discharge etc. can lead to an impairment of its
operation. For more information, see chapter 6 “INSTALLATION”.
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 elements
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.
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1. INTRODUCTION
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VIRTUALIZER PRO DSP2024P
Fig. 1.2: Display section of the VIRTUALIZER PRO
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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.
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.
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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:
V set the absolute value of an effect parameter (“%”),
V increase or decrease the amplitude or determine the threshold point of the compressor (“dB”),
V modify a frequency (“Hz”) or
V modify a time parameter (“sec”).
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The ALGORITHM GROUPS LED CHAIN indicates which category the selected effect belongs to.
Altogether the DSP2024P offers eight different algorithm groups.
Fig. 1.3: Function keys, controls and jog wheel
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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 CONTROLs. If the top LED lights up,
controls the parameter EDIT A,
controls EDIT B,
helps in changes of parameter EDIT C and
with you change the setting of parameter EDIT D. If the middle LED of the EDIT-LED-CHAIN lights
up, the four EDIT CONTROLs modify the parameters that are arranged to its left and right. The lower
LED functions correspondingly.
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For the exact meaning of the individual effect parameters, see chapter 7.1.
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1. INTRODUCTION
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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
CONTROL. Press the EDIT key
function by pressing the SETUP key
to switch from EDIT A to EDIT E and vice versa. You reach the MIDI
.
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The 2nd EDIT CONTROL allows you to modify the values of effect parameters EDIT B and EDIT F.
When you select the INPUT parameter with the help of the SETUP key, you can specify whether the
DSP2024P functions mono or stereo mode (see chapter 3.6.2 for more information).
The 3rd EDIT CONTROL modifies the values of effect parameters EDIT C, EQ LO, and the global
OUTPUT parameter (see chapter 3.6.3). Here, as well, you select among them using the EDIT and
SETUP keys.
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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.
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During editing, you can rotate one of the four EDIT CONTROLs minimally to display a brief
description of the current parameter active. This can help you know that, for example, EDIT A
controls the pre delay for all reverb effects of the VIRTUALIZER PRO. After approximately one
second the name is erased and the parameter’s current value is displayed. This function can
be used only by operating one of the controls that has not yet been selected.
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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).
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If you use the DSP2024P in the aux bus with your mixing console, you should always set this
value at 100%. if you’re using the DSP2024P with a guitar amplifier (in a serial effects loop), we
suggest settings between 20 and 50% (depending on the amplifier type).
Please note that, for the effects “parametric” and “graphic EQ”, the MIX/BYPASS CONTROL
allows a gain correction by rotation.
To bypass the DSP2024P’s effects, press the MIX/BYPASS CONTROL. This allows you to compare
between the original and the effected signals. Press the MIX/BYPASS CONTROL again to deactivate
the bypass and return to your chosen effect. When the MIDI IN LED below the control flickers, it
indicates that MIDI data is arriving at the MIDI IN port.
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Both the MIX/BYPASS CONTROL and the four EDIT CONTROLs react dynamically. This means
that, depending how fast you rotate the wheels, the present parameter is changed in steps of
1, 2, 5 or 10. The faster the rotation, the greater the change in the parameter value.
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To select one of the 200 presets, press the PRESET key once, then rotate the JOG WHEEL
.
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.
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To select the EDIT CONTROL function (see
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), press the EDIT key.
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.
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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 COMPARE key’s LED blinks and “COMP” appears in the LED DISPLAY. Press the COMPARE key
again to return to edit mode and store your changes.
To enter SETUP mode, press the SETUP key. In setup mode, you can access the parameters shown
below the four EDIT CONTROLs. For more information about SETUP mode, see chapter 3.6.
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1. INTRODUCTION
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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.
To turn the VIRTUALIZER PRO on and off, use the POWER switch.
Fig. 1.4: VIRTUALIZER PRO rear panel
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FUSE HOLDER / VOLTAGE SELECTION. 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 115 V. If you wish to operate a unit outside Europe at 115 V, then a stronger fuse
must be used. (For more information, see chapter 8 “SPECIFICATIONS”). The mains connection is made
via the IEC receptacle. An appropriate mains cable is included.
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The DSP2024P has wide-ranging MIDI implementation. MIDI IN, MIDI OUT, and MIDI THRU connectors
are available for transmitting MIDI commands.
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
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The DSP2024P’s balanced OUTPUTs are designed as 1/4" TRS and XLR sockets.
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.
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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.
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2. EFFECTS ALGORITHMS
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2.1 Reverb algorithms
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 Plate 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 Collins.
REVERSE REVERB: This is a reverberation in which the envelope is reversed—it slowly gets louder.
Tab. 2.1: Functioning of the reverb effects’ parameters
2.2 Delay algorithms
STEREO DELAY: A delay of the input signal. Different tempo settings allow interesting delay effects.
TAPE 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.
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2. EFFECTS ALGORITHMS
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PING PONG: A delay effect with changing stereo positioning, where the time intervals between the repetitions
can be changed.
Tab. 2.2: Functioning of the delay effects’ parameters
2.3 Modulation and Pitch Shifter effects
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.
PHASER: 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 Phaser represents a guitar
phaser effect pedal. Dual Phaser 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.
PITCH 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
C the pitch shifters 1 and 2 are synchronized to a stereo pitch shifter. Pitch shifter 3 can be switched off by
turning Edit E fully counterclockwise.
VIBRATO: For this effect, the peak frequency of a tone is periodically and uniformly changed (quickly or
slowly). It is often used for guitar playing.
TREMOLO: This effect was originally found on guitar amplifiers, and is once again trendy. It is a fast or slow
periodic variation of the volume.
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2. EFFECTS ALGORITHMS
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AUTO PANNING: 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: Functioning of the modulation and pitch shifter effects’ parameters
2.4 Dynamic effects
COMPRESSOR/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.
EXPANDER: 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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2. EFFECTS ALGORITHMS
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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: Functioning of the dynamic effects’ parameters
2.5 Psycho-acoustic effects
EXCITER: An exciter works with psycho-acoustic principles to add artificially generated overtones to the
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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2. EFFECTS ALGORITHMS
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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: Functioning of the psycho-acoustic effects’ parameters
2.6 Filter/EQ effects
FILTER: Filters, in general, influence the frequency response of a signal. A low pass filter allows low
frequencies to pass and suppresses high frequencies, while a high pass filter allows high frequencies to pass
and suppresses low frequencies.
PARAMETRIC EQ: The parametric equalizer is the most highly-developed form of equalization. You can
control the three parameters which define the so-called gauss equalizer curve: bandwidth, frequency and
amplitude boosting or lowering.
GRAPHIC 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.
2. EFFECTS ALGORITHMS
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Tab. 2.6: Functioning of the filter/EQ effects’ parameters
2.7 Distortion effects and amp simulations
VOCAL DISTORTION: This effect is very hip when used on vocals and drum loops, and is combined with a
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 AMP: 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.
SPEAKER SIMULATION: The VIRTUALIZER PRO is able to simulate various types of speakers. Typical
guitar amplifying speakers as well as multimedia speakers are available. You can also use a parametric
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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2. EFFECTS ALGORITHMS
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Tab. 2.7: Parameter functions of distortion effects and amplification simulations
2.8 Special effects
VINYLIZER: This effect adds clicks and/or noise to your audio signal, simulating old vinyl records and tape
recorders.
SAMPLER: 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.
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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 “California” 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).
2. EFFECTS ALGORITHMS
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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 functions of special effects
2.9 Effects algorithm combinations (multi-effects programs)
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.
PITCH & 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.
PHASER & 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.
PITCH & DELAY: A repetition of the audio signal, with an oscillatory effect added by the pitch shifter.
TREMOLO & DELAY: A fast or slow, intensive variation of volume, which is additionally processed with a
panorama effect.
Tab. 2.9: Parameter functions of multi-effects programs
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For an overview of the parameters available in the individual programs refer to chapter 7.1.
2. EFFECTS ALGORITHMS
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3. OPERATION
3.1 Effects structure
Fig. 3.1: Effects structure, part 1
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Fig. 3.2: Effects structure, part 2
3. OPERATION
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Fig. 3.3: Effects structure, part 3
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3.2 Calling up presets
The VIRTUALIZER PRO has 100 internal presets and 100 user presets that can be overwritten. The two
memory banks are located one after another. The internal presets (I.000 - I.100) come first and the user presets
(U.000 - U.100) follow.
After switching on the unit, the last used preset is automatically restored. To choose a different preset, press
the PRESET key, then rotate the JOG WHEEL. To see the presets in ascending order, rotate the wheel
clockwise. To see the presets in descending order, rotate it counterclockwise.
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Please note that it takes the VIRTUALIZER PRO about one second to activate each newly
selected preset. The activation process is indicated by a blinking light on the display. After the
new effect’s data is loaded, the VIRTUALIZER PRO activates the preset and the light fades.
This brief signal suppression means that during quick selection of presets with the JOG WHEEL,
not every preset is activated directly. Otherwise, there could be partial “shreds” of various
presets at the audio outputs of the DSP2024P. The VIRTUALIZER PRO gives you the security
that unwanted programs are not loaded. In addition, you can quickly turn the JOG WHEEL and
still have enough time to specifically select a preset without activating “neighboring
programs”.
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Please note that various effects algorithms may have different volume levels. Reduce the
volume of your monitors while selecting new presets to prevent sudden changes in volume.
3.3 Editing programs (edit mode)
Programs can be edited easily and quickly with the DSP2024P. The list on the right side of the LED DISPLAY
gives you an overview of the effects algorithms that the VIRTUALIZER PRO can generate. To select these
basic algorithms, press the EFFECT key and rotate the JOG WHEEL.
By turning the EDIT CONTROLs and the MIX/BYPASS CONTROL, you can extensively modify the sound of an
effects program. You select the EDIT CONTROL function using the EDIT key. By repeatedly pressing the EDIT
key, you can (for example) specify whether parameter EDIT A or EDIT E will be changed with the 1st EDIT
CONTROL.The currently illuminated LED indicates which parameters will be edited. By modifying the EQ LO
and EQ HI parameters, you can put the final touch on an effect. As soon as you start editing, the LED of the
PRESET or EFFECT key (depending on whether you have already loaded one of the 200 presets or have
selected one of the basic algorithms) dies out. Simultaneously, the LED of the STORE key starts to blink,
indicating that changes have been made.
3.4 Storing programs
To store changes to one of the 100 user presets, as described in chapter 3.3, you use the STORE key. All
changes to the DSP2024P’s parameters can be stored when the STORE key’s LED blinks. For your changes
to be accepted, you must press the STORE key twice. An example:
V You call up a program and make changes to it using the four EDIT CONTROLs and the MIX/BYPASS
CONTROL. Each EDIT CONTROL controls two parameters that can be selected by pressing the EDIT key.
During this process, the STORE key blinks, indicating that the preset’s settings have been changed.
However, your changes are not yet stored. If you want to overwrite the original preset, simply press the
STORE key twice to store your changes. If you wish to retain the original preset, press the STORE key
once. The display shows the current preset number and starts blinking. Use the JOG WHEEL to select
another preset, which you will overwrite. Press the STORE key again and your changes are stored in the
selected preset.
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If there is no input for about five seconds after pressing the STORE key, the unit goes back to
edit mode.
3. OPERATION
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ꢀ
If you make changes in a preset and press the STORE key twice, all of the preset’s original
settings are overwritten and your new parameters are stored. If you want to retain the old
preset, you must select another preset (using the JOG WHEEL) before pressing the STORE key
for the second time.
3.5 Comparing an edited preset with the corresponding factory preset (COMPARE
function)
When you have made changes in a preset but have not yet stored your changes, the COMPARE Function
allows you to load the original factory preset and compare it with your changes. To do so, press the
COMPARE key while in edit mode. As long as the COMPARE key’s LED blinks, further editing is (temporarily)
not possible. Press the COMPARE key again to return to your edited preset. Here, you have the choice to
either store your changes (see chapter 3.4), or continue editing (see chapter 3.3).
3.6 SETUP mode
In SETUP mode, you can make global adjustments to the VIRTUALIZER PRO as described in the sub-
sections below. Among these are MIDI, INPUT mode, OUTPUT mode and dual engine configuration
(CONFIG). To enter SETUP mode, press the SETUP key. The red LED below the EDIT CONTROLs lights up.
The four EDIT CONTROLs can now be used to adjust the SETUP parameters. To exit this mode, press the
SETUP key again.
3.6.1 MIDI control
The DSP2024P’s MIDI editing options are shown on seven pages. Enter SETUP mode (see chapter 3.6). With
the help of the 1st EDIT CONTROL, you can select seven different MIDI functions. Data input is always carried
out with the JOG WHEEL. the following pages can be selected:
V CHAN: You can set the MIDI channel on the first page. With the JOG WHEEL, the channel can be set
from 01 to 16. If you select “OFF”, the MIDI function is switched off.
V OMNI: The second page gives access to omni mode. In this case, the unit receives MIDI data on all 16
MIDI channels. “ON” appears in the DISPLAY. With the JOG WHEEL, select “OFF” to deactivate omni
mode.
V CONT: On the third page, you can configure the controller commands. You can choose between four
controller modes:
Tab. 3.1: Controller settings
For controller functions see table 7.4 in chapter 7 “APPENDIX”.
V PRGM: Page four will bring you to the setup for the program changes. Once again, you have four modes
to select from:
Tab. 3.2: Program change settings
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V STOR: On the fifth page, you can select the Store Enable mode. In the “ON” mode, the
VIRTUALIZER PRO receives controller 112 as the direct storage command—the current settings are
stored on the program location corresponding to the controller value without waiting for a confirmation. In
the “OFF” mode, controller 112 is ignored.
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CAUTION: The Store Enable mode is aimed to transfer several presets at once from an
external PC to the VIRTUALIZER PRO (see also chapter 5.1). In this mode, you can very easily
overwrite your program locations by unintentionally sending controller 112 values to the
DSP2024P! Therefore, we strongly recommend to switch off this mode immediately after use.
When the DSP2024P is switched on, this mode is automatically set to off (“OFF”).
V DUMP: Select the System Exclusive mode (“SysEx”) using the sixth page. In this mode, the DSP2024P
is ready to “dump” its complete storage content, including all settings, to a MIDI sequencer. Start your
MIDI sequencer and turn the JOG WHEEL. The data transfer is indicated by “GO”.
V DR.EN: In this mode, the DSP2024P can receive SysEx data from another MIDI device. To load
this data, turn the JOG WHEEL slightly so that the DISPLAY blinks. Start your sequencer, and all of
your settings, including preset parameter settings, are received by your VIRTUALIZER PRO. Data
transfer is interrupted by turning the JOG WHEEL slightly so that “----” appears in the DISPLAY.
ꢀ
During a SysEx data transfer, all audio functions of the VIRTUALIZER PRO are inactive.
3.6.2 INPUT mode
With the help of the 2nd EDIT CONTROL, you can specify whether your DSP2024P works as a mono (“MONO”)
or a stereo unit (“STER”). In mono mode, input 1 is used exclusively. Since the VIRTUALIZER PRO is a real
“True Stereo” device, the DSP processes the signal for many effects separately for both channels (see chapter
7.1). For effects 13 - 15 and 38, right and left channel parameters can even be edited separately.
ꢀ
For effects 42 - 44, 58, and 59, a signal must be present at both inputs for optimal stereo results.
3.6.3 OUTPUT mode
Use the 3rd EDIT CONTROL to determine the DSP2024P’s OUTPUT mode. The selection of settings
depends on your DSP2024P’s application. If you’re using the VIRTUALIZER PRO in connection with a mixing
console (aux bus), activate the Mix External (“EXTN”) output mode. The DSP2024P’s output signal is then
100% wet.
If you’re using the DSP2024P with a guitar amplifier that has an effects loop, select the Mix Internal (“INTN”)
output mode. Then, use the MIX/BYPASS CONTROL to adjust the effect volume. For further information, see
chapters 4.2 and 4.4.
3.6.4 Dual engine configuration (CONFIG)
You can use the 4th EDIT CONTROL to decide how the DSP2024P’s effects combinations (presets 61 - 71)
should be structured. Since the DSP2024P is a true Dual Engine unit, you can choose between serial 1
(“SER1”), serial 2 (“SER2”) and parallel (“PARA”). See fig. 3.1, 3.2 and 3.3 to understand how these settings
influence the composition of the effects combinations.
In the example of preset 61 (chorus & reverb), you can decide, whether the chorus and reverb effects run
separately from each other or whether the signal, treated by the chorus, passes the reverb effect.
3. OPERATION
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3.7 Restoring the factory presets
To restore the DSP2024P to its preset factory state, press and hold the STORE and PRESET keys while
switching on the unit. “INIT” appears in the DISPLAY and counting takes place from R 1 to R 100.
ꢀ
This overwrites all changes you have made and restores the factory presets!
4. APPLICATIONS
The BEHRINGER VIRTUALIZER PRO is a flexible unit that can be used in various applications. Prior to a
presentation of the DSP2024P’s many uses, please note the following remarks on how to set signal levels
correctly.
4.1 Level setting
Take care to set all levels properly on the DSP2024P! Low levels deteriorate the dynamics of the music signal,
which results in a poor, weak and noisy sound. On the other hand, excess levels overdriving the converters in
the VIRTUALIZER PRO should also be avoided. Digital distortion is (unlike its analog counterpart) extremely
unpleasant, since it does not occur gradually but abruptly.
Please use the OPERATING LEVEL switch and the input level meter of the DSP2024P. Make sure that the
Clip LEDs flickers only rarely. Ensure that they never light up all the time!
4.2 Using the VIRTUALIZER PRO in the aux bus
Using the DSP2024P in the aux bus lets you feed signals from one, several or all channels of your console into
the VIRTUALIZER PRO. When miking a drum kit, for example, you can use the aux controls to adjust the
reverberation independently for each channel. Thus, you are able to assign a strong reverb to the snare rather
than the toms. Cabling the VIRTUALIZER PRO in the aux bus should be carried out as follows:
Fig. 4.1: Wiring aux busses
Connect both inputs of the VIRTUALIZER PRO to the aux send outputs of your mixer. The DSP2024P’s output
socket is connected to the aux return inputs of your mixer. If you want to operate the BEHRINGER VIRTUALIZER
PRO in mono, connect one of its channels (left or right) to an aux bus. As a matter of principle, effects
processors should always be connected to post fader aux busses.
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ꢀ
ꢀ
If your mixing console has aux busses that feature one jack for the aux send, use audio
channel 1 on the DSP2024P. In this case, you must choose the mono mode (see chapter 3.6.2).
To avoid damage to your equipment, turn down the volume level on your amplifier when
making connections. Switch off the devices that you want to connect to one another until plug
connections have been completed as described.
Let’s assume you want to operate the DSP2024P in a live situation in connection with a mixing console, and
use a chorus to enhance the guitar sound.
Connect the VIRTUALIZER PRO to the aux busses of your mixing console (fig. 4.1). Make the mains
connection and set the operating level if necessary. Switch on the unit. In SETUP mode (output), select “EXTN”
to ensure that the Mix External mode is activated. Press the EFFECT key and use the JOG WHEEL to select
the stereo chorus effect (no. 16). Turn up the aux busses slowly till you have mixed the desired effect with the
guitar signal. After this, you can start fine tuning. You will probably want to specify the chorus’ modulation.
Turn the 1st EDIT CONTROL to determine the speed of the modulation. To adjust the modulation depth, turn
the 2nd EDIT CONTROL. Proceed further following this principle. If you want the 1st EDIT CONTROL to change
EDIT E, you must first press the EDIT key. After all the parameters have been changed as you wish, you can
store the modifications in the original (or a different) preset.
4.3 Using the VIRTUALIZER PRO in the insert path
Generally, you can use the DSP2024P on channel or subgroup inserts, using a standard insert cable.
Connection to a channel insert makes sense when you want to process very specific signals (e.g. vocals) with
the VIRTUALIZER PRO, or when all other options for connecting the DSP2024P are already used by other
units. For compressors, expanders and gates, the channel insert is the best choice.
Fig. 4.2: Wiring the VIRTUALIZER PRO in the insert path
4. APPLICATIONS
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4.4 Using the VIRTUALIZER PRO as an effects device for instruments
Due to its MIDI implementation, the VIRTUALIZER PRO can also be used as multi-effects unit in a guitar rack.
Naturally, the VIRTUALIZER PRO can be cabled both as mono and as stereo unit. The following examples
show how to use the DSP2024P with a guitar setup.
Fig. 4.3: Connecting the VIRTUALIZER PRO to a guitar amp (send/return mono)
Fundamentally, the following applies: The VIRTUALIZER PRO should be connected between preamp and
output stage of your amplifier. For this purpose, most of the guitar amplifiers offer an effects loop, which
allows the preamp signal of your amplifier to pass on to the audio input stage of the DSP2024P. Then, in the
VIRTUALIZER PRO, the preamp signal is processed and sent back to its amplifier through the amplifier’s
return jack (Power Amp In). If you use a stereo rack system for amplification, you can also set up the
VIRTUALIZER PRO in stereo mode. Connect the preamp to the audio inputs of the DSP2024P. Each of its
audio outputs (left/right) is connected to a channel (left/right) of your amplifier.
ꢀ
Since most guitar amps only feature a serial effects loop, you should make sure that the
VIRTUALIZER PRO is set to Mix Internal mode. In Mix Internal mode, you can control the
effects intensity that is applied to the guitar signal. If, however, your amp is equipped with a
parallel effects loop, which allows for adding the effects signal portion (similar to an aux bus
in a mixing console), then you should set the VIRTUALIZER PRO to Mix External mode. In this
case, the effects intensity present at the outputs of the VIRTUALIZER PRO is 100%
Instrumentalists can benefit from a variety of advantages offered by the VIRTUALIZER PRO‘s MIDI
implementation. With a MIDI foot controller, e.g. the BEHRINGER MIDI FOOT CONTROLLER FCB1010, you
can transfer program changes via MIDI. Connect the MIDI out port of your foot controller to the MIDI IN port of
the VIRTUALIZER PRO. If the DSP2024P does not respond to your foot controller’s program changes, check
your MIDI channel settings. Determine which MIDI channel your foot controller uses to send program changes
(in most of the cases: omni mode). Set the VIRTUALIZER PRO’s MIDI channel to the same number and switch
program change receive mode on (see chapter 3.6.1).
If your MIDI foot controller can send MIDI controller data, you can change parameters while playing. For
example, you can change the effect from 0% to 100% with the controller while playing. Set controller No. 116
to the Mix Internal function (value 1) and increase the effect (value 0 - 100) with controller No. 111. In this way,
you can provide a guitar solo with chorus and delay, before removing the effects for a dry rhythm sound. You
can even control the bypass function with your controller (contr. 113, value 0 = OUT, value 1 = IN). Bypassing
the VIRTUALIZER PRO can be activated this way if you need an unprocessed signal. These procedures are
generally possible with all MIDI devices which are capable of transmitting controller commands (like
keyboards, sequencers, etc.).
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The DSP2024P can also be used between the outputs of your keyboard and the inputs of your mixer. If
necessary, adjust the operating level with the corresponding switch on the rear panel of the unit.
4.5 Using the VIRTUALIZER PRO in a MIDI setup
Thanks to the integrated MIDI interface, you can incorporate the DSP2024P in a MIDI setup. The
VIRTUALIZER PRO can receive and send both program changes and controller changes. Thus, you can use
program changes using MIDI with a sequencer or with any other MIDI device. Connect the DSP2024P e.g. as
follows:
Fig. 4.4: VIRTUALIZER PRO in MIDI connection with a sequencer (computer) and a keyboard
5. MIDI FUNCTIONS OF THE DSP2024P
Due to the complete implementation of the MIDI interface, it is very easy to integrate the VIRTUALIZER PRO
in a MIDI System.
V
MIDI IN
All MIDI data that are sent to the DSP2024P (sequencer, MIDI foot controller, etc.) are received at the MIDI IN
port. If you want to use the DSP2024P as an effects unit in a guitar rack, you can connect a MIDI foot controller
to the MIDI IN socket, and use it to change the program presets. If you are simultaneously operating another
MIDI device, you can transfer the control commands of the MIDI foot controller using the MIDI THRU socket of
the VIRTUALIZER PRO.
V
MIDI THRU
The MIDI THRU socket allows you to loop through incoming MIDI signals. All control commands that arrive at
the MIDI IN socket can be passed on to other MIDI devices and instruments using the MIDI THRU socket.
V
MIDI OUT
Use the MIDI OUT to send data to a connected computer or other VIRTUALIZER PRO.
5.1 Saving data via MIDI
To store all presets outside the VIRTUALIZER PRO, you can use a special form of MIDI communication called
system exclusive data (SysEx). With SysEx, the VIRTUALIZER PRO sends information about its
manufacturer, unit type, and all parameter settings for all presets to a sequencer or MIDI file recorder. To
5. MIDI FUNCTIONS OF THE DSP2024P
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activate this very practical function, press the SETUP key in SETUP mode. Turn the 1st EDIT CONTROL to
select “DUMP”. Your VIRTUALIZER PRO is now ready to transfer your system exclusive data. Select a track
on your MIDI sequencer, get ready for recording, start the recording and turn the JOG WHEEL. The data
transfer is indicated by a “GO” in the DISPLAY.
To load the data back into the DSP2024P, select “DR.EN” in SETUP mode (see chapter 3.6.1). Turn the
JOG WHEEL until “DR.EN” blinks. Now, start your MIDI sequencer and the preset data is automatically
transferred to the DSP2024P. In this mode, information sent from the MIDI sequencer is automatically stored
while receiving, without asking for confirmation.
6. INSTALLATION
6.1 Mains connection
Before connecting the VIRTUALIZER PRO to the mains, please carefully check that your equipment
is set to the correct voltage! The fuse holder on the mains socket has 3 triangular markings. Two of these
triangles are located opposite each other. The VIRTUALIZER PRO is set at the operating voltage indicated
beside the markings and can be changed by turning the fuse holder by 180°. CAUTION: This is not
applicable for export models, which were designed only for a mains voltage of 115 V!
Connection to the mains is made by means of a mains cable with an IEC receptacle which complies with the
required safety regulations.
ꢀ
Please note that all pieces of equipment must be grounded. For your own safety, under no
circumstances should you remove or deactivate the grounding of the equipment or the mains
cable.
6.2 Audio connections
As standard, the BEHRINGER VIRTUALIZER PRO features electronically servo-balanced inputs and outputs.
If possible, connect the unit to other devices in a balanced configuration to allow for maximum interference
immunity.
ꢀ
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.
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6. INSTALLATION
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Fig. 6.1: Different plug types
6.3 MIDI connections
The MIDI connectors at the rear panel of the unit are equipped with internationally standardized 5 pin DIN
sockets. You’ll need a MIDI cable to connect the VIRTUALIZER PRO with other MIDI devices. As a rule,
standard ready-to-use cables can be used. With a two core shielded cable (e.g. microphone cable) and two
possible stable 180 deg. DIN plugs, you can also solder a MIDI cable yourself: Pin 2 (middle) = shield, pin 4
and 5 (right and left of pin 2) = Inner conductor, Pin 1 and 3 (both lying outside) remain free. MIDI cables should
not be longer than 15 meters.
MIDI IN: is used for receiving MIDI data. The receiving channel is selected in the SETUP menu.
MIDI THRU: At the MIDI THRU socket, the MIDI data that arrive at the MIDI IN socket can be looped through.
Several VIRTUALIZER PROs can be linked using MIDI THRU sockets.
MIDI OUT: Via MIDI OUT, you can send data to a connected computer or to other VIRTUALIZER PROs.
Program data and status information are transmitted for signal processing.
6.4 Selecting the operating level
The BEHRINGER VIRTUALIZER PRO allows you to switch the internal operating level with the OPERATING
LEVEL switches on the rear panel of the unit. Thus, you can choose between the homerecording level
(-10 dBV) and the professional studio level (+4 dBu). With this adjustment, the VIRTUALIZER PRO is adapted
to the optimal operating level. Use the input level meter on the front panel to find the appropriate operating
level.
6. INSTALLATION
31
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7. APPENDIX
7.1 Parameter overview
Tab. 7.1: Overview of the individual parameters of effects types (continued on next page)
32
7. APPENDIX
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VIRTUALIZER PRO DSP2024P
Tab. 7.2: Overview of the individual parameters of effects types (continuation)
33
7. APPENDIX
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7.2 MIDI implementation
Tab. 7.3: MIDI implementation chart
Tab. 7.4: Controller functions with MIDI
7. APPENDIX
34
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7.3 Default settings
Tab. 7.5: Parameter default settings of effects algorithms (continued on next page)
35
7. APPENDIX
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VIRTUALIZER PRO DSP2024P
Tab. 7.6: Parameter default settings of effects algorithms (continuation)
7. APPENDIX
36
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7.4 Parameter range of effects algorithms
Tab. 7.7: Parameter range of effects algorithms (continued on next page)
37
7. APPENDIX
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VIRTUALIZER PRO DSP2024P
Tab. 7.8: Parameter range of effects algorithms (continuation)
38
7. APPENDIX
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VIRTUALIZER PRO DSP2024P
8. SPECIFICATIONS
ANALOG INPUTS
Connectors
XLR and 1/4" TRS
Type
Impedance
Nominal Operating Level
Max. Input Level
RF filtered, servo-balanced input stage
80 kΩ balanced
-10 dBV or +4 dBu (selectable)
+15 dBu at +4 dBu nominal level, +1 dBV at -10 dBV nominal level
ANALOG OUTPUTS
Connectors
Type
Impedance
Max. Output Level
XLR and 1/4" TRS
Electronically servo-balanced output stage
80 Ω balanced
+15 dBu at +4 dBu nominal level, +1 dBV at -10 dBV nominal level
SYSTEM SPECIFICATIONS
Bandwidth
SNR
THD
20 Hz to 20 kHz, +/- 3 dB
91 dB, unweighted, 20 Hz to 20 kHz
0.018 % typ. @ +4 dBu, 1 kHz, 0 dBu input, gain 1
< -76 dB
Crosstalk
MIDI INTERFACE
Type
5-pin DIN-socket IN / OUT / THRU
DIGITAL PROCESSING
Converters
Sampling Rate
24-bit Sigma-Delta, 64/128-times oversampling
46.875 kHz
DISPLAY
Type
4-digit 14 segment alpha-numeric LED-Display
POWER SUPPLY
Mains Voltages
USA/Canada
U.K./Australia
Europe
120 V ~, 60 Hz
240 V ~, 50 Hz
230 V ~, 50 Hz
General Export Model
100 - 120 V ~, 200 - 240 V ~, 50 - 60 Hz
Fuse
100 - 120 V ~: T 200 mA H
200 - 240 V ~: T 100 mA H
15 Watts max.
Power Consumption
Mains Connection
Standard IEC receptacle
PHYSICAL
Dimensions (H x W x D)
Net Weight
Shipping Weight
1 3/4" (44 mm) x 19" (482,6 mm) x 8" (204,4 mm)
approx. 2 kg
approx. 3 kg
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time
to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.
39
8. SPECIFICATIONS
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9. WARRANTY
§ 1 WARRANTY CARD/ONLINE REGISTRATION
To be protected by the extended warranty, the buyer must com-
plete and return the enclosed warranty card within 14 days of
the date of purchase to BEHRINGER Spezielle Studiotechnik
GmbH, in accordance with the conditions stipulated in § 3. Fail-
ure to return the card in due time (date as per postmark) will void
any extended warranty claims.
3. Free inspections and maintenance/repair work are expressly
excluded from this warranty, in particular, if caused by improper
handling of the product by the user.
This also applies to defects caused by normal wear and tear, in
particular, of faders, potentiometers, keys/buttons and similar
parts.
Based on the conditions herein, the buyer may also choose to
use the online registration option via the Internet
4. Damages/defects caused by the following conditions are not
covered by this warranty:
V misuse, neglect or failure to operate the unit in compliance
with the instructions given in BEHRINGER user or service
manuals.
§ 2 WARRANTY
1. BEHRINGER (BEHRINGER Spezielle Studiotechnik GmbH in-
cluding all BEHRINGER subsidiaries listed on the enclosed page,
except BEHRINGER Japan) warrants the mechanical and elec-
tronic components of this product to be free of defects in mate-
rial and workmanship for a period of one (1) year from the
original date of purchase, in accordance with the warranty regu-
lations described below. If the product shows any defects within
the specified warranty period that are not due to normal wear
and tear and/or improper handling by the user, BEHRINGER shall,
at its sole discretion, either repair or replace the product.
V connection or operation of the unit in any way that does not
comply with the technical or safety regulations applicable in
the country where the product is used.
V damages/defects caused by force majeure or any other
condition that is beyond the control of BEHRINGER.
5. Any repair or opening of the unit carried out by unauthorized
personnel (user included) will void the warranty.
6. If an inspection of the product by BEHRINGER shows that the
defect in question is not covered by the warranty, the inspection
costs are payable by the customer.
2. If the warranty claim proves to be justified, the product will be
returned to the user freight prepaid.
3. Warranty claims other than those indicated above are ex-
pressly excluded.
7. Products which do not meet the terms of this warranty will be
repaired exclusively at the buyer’s expense. BEHRINGER will
inform the buyer of any such circumstance. If the buyer fails to
submit a written repair order within 6 weeks after notification,
BEHRINGER will return the unit C.O.D. with a separate invoice
for freight and packing. Such costs will also be invoiced sepa-
rately when the buyer has sent in a written repair order.
§ 3 RETURN AUTHORIZATION NUMBER
1. To obtain warranty service, the buyer (or his authorized dealer)
must call BEHRINGER (see enclosed list) during normal business
hours BEFORE returning the product. All inquiries must be ac-
companied by a description of the problem. BEHRINGER will then
issue a return authorization number.
§ 5 WARRANTY TRANSFERABILITY
2. Subsequently, the product must be returned in its original
shipping carton, together with the return authorization number to
the address indicated by BEHRINGER.
This warranty is extended exclusively to the original buyer (cus-
tomer of retail dealer) and is not transferable to anyone who
may subsequently purchase this product. No other person (re-
tail dealer, etc.) shall be entitled to give any warranty promise on
behalf of BEHRINGER.
3. Shipments without freight prepaid will not be accepted.
§ 4 WARRANTY REGULATIONS
§ 6 CLAIM FOR DAMAGES
1. Warranty services will be furnished only if the product is
accompanied by a copy of the original retail dealer’s invoice.
Any product deemed eligible for repair or replacement by
BEHRINGER under the terms of this warranty will be repaired or
replaced within 30 days of receipt of the product at BEHRINGER.
Failure of BEHRINGER to provide proper warranty service shall
not entitle the buyer to claim (consequential) damages. In no
event shall the liability of BEHRINGER exceed the invoiced value
of the product.
§ 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW
2. If the product needs to be modified or adapted in order to
comply with applicable technical or safety standards on a na-
tional or local level, in any country which is not the country for
which the product was originally developed and manufactured,
this modification/adaptation shall not be considered a defect in
materials or workmanship. The warranty does not cover any
such modification/adaptation, irrespective of whether it was
carried out properly or not. Under the terms of this warranty,
BEHRINGER shall not be held responsible for any cost resulting
from such a modification/adaptation.
1. This warranty does not exclude or limit the buyer’s statutory
rights provided by national law, in particular, any such rights
against the seller that arise from a legally effective purchase
contract.
2. The warranty regulations mentioned herein are applicable
unless they constitute an infringement of national warranty law.
The information contained in this manual is subject to change without notice. No part of this manual may be reproduced or
transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any
purpose, without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH.
BEHRINGER, VIRTUALIZER, ULTRAMIZER and DENOISER are registered trademarks.ALLRIGHTS RESERVED.
© 2002 BEHRINGER Spezielle Studiotechnik GmbH.
BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Münchheide II, Germany
Tel. +49 (0) 21 54 / 92 06-0, Fax +49 (0) 21 54 / 92 06-30
40
9. WARRANTY
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