Behringer VIRTUALIZER 3D FX2000 User Manual

8 VIRTUALIZER 3D FX2000 User Manual
Parameter Function
Pre Delay Time until arrival of rst reection(s)
Decay Duration until the reverb tail is damped
Hi Decay Damping Damps high frequencies in the reverb tail
Size Size of the plate reverb/the room impression
Diusion Degree of wall diusion (reverb density)
Wall Damp. Degree of damping of the wall material
Bass Mul.
Amplication/damping of low frequencies in the
reverb tail
Low Cut Frequency of Low Cut Filter
1
at the input stage
Metal Resonance Intensity of metal resonances
Reections Number of initial reections
Shelver Damp. Damps Shelving Filter
2
at the input stage
High Cut Frequency response of spring reverb (Spring Reverb)
Stereo Width Stereo depth of the eect
Reverb Mod. Modulation intensity of the reverb tail
ER/Rev. Intensity ratio between initial reections and reverb tail
Density Intensity of reection envelope build-up (Gated / Reverse Reverb)
Tab. 2.1: Functioning of the reverb eects’ parameters
1 High pass filter, allows the frequencies above a specific cut-off frequency to pass and damps the frequencies
below that."
2 Upper or lower cut-off frequency of an equalizer.
2.2
DELAY
DELAY
Delay algorithms
STEREO DELAY: A delay of the input signal. Dierent tempo settings allow
interesting delay eects.
TAPE ECHO: Similar to the stereo delay, with the dierence 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 reections include high and low pass lters.
PING PONG: A delay eect with changing stereo positioning, where the time
intervals between the repetitions can be changed.
Parameter Function
Delay Left Length of left delay (Tape Echo / Ping Pong)
Delay Left Coarse Length of delay time (left) in 100 ms steps
Delay Left Fine Length of delay time (left) in 1 ms steps
Delay Right Length of right delay (Tape Echo / Ping Pong)
Delay Right Coarse Length of delay time (right) in 100 ms steps
Delay Right Fine Length of delay time (right) in 1 ms steps
Feedback Repetition(s) for both channels
Feedback Left Repetition(s) for the left channel
Feedback Right Repetition(s) for the right channel
Feedback Delay Left Delay of the left feedback
Feedback Delay Right Delay of the right feedback
Feedback HP High pass cut-o frequency of repetition(s)
Feedback LP Low pass
1
cut-o frequency of repetition(s)
Damping
Low pass frequency within the delay feedback loop
(TapeEcho)
Tab. 2.2: Functioning of the delay eects’ parameters
1 Filter, allows the frequency below a particular cut-off frequency to pass and damps the frequencies
above that."
2.3
MODULATION
MODULATION
Modulation and pitch shifter eects
FLANGER: The word “ange” means “tape spool”, and this explains the
characteristics of the eect. Originally the anger eect was generated with two
tape recorders which ran synchronously. The same audio signal was recorded
on both machines. If you put a nger 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 anger
eect pedal and Jet Stream Flanger sounds like a classic analog anger.
CHORUS: This eect slightly detunes the original signal. A very pleasant detune
eect is created in connection with the pitch variation. The chorus eect is quite
often and extensively used for dispersing signals. Analog Chorus simulates a
guitar chorus eect 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 eect 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 eect pedal. Dual Phaser processes the left and the right
channels separately.
LESLIE: The simulation of a classic eect 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 eect for modulation of signals is used.
PITCH SHIFTER: This eect 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 o by turning Edit E
fullycounterclockwise.
VIBRATO: For this eect, the peak frequency of a tone is periodically and
uniformly changed (quickly or slowly). It is often used for guitar playing.
TREMOLO: This eect was originally found on guitar ampliers, and is once again
trendy. It is a fast or slow periodic variation of the volume.
AUTO PANNING: This sound eect, 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.

Behringer VIRTUALIZER 3D FX2000 Specifications

Analog Inputs and Outputs

input connectors	XLR and ¼" TRS
input impedance	80 kΩ balanced
output connectors	XLR and ¼" TRS

Power

voltage USA/Canada	120 V~, 60 Hz
voltage Europe/U.K./Australia	230 V~, 50 Hz
power consumption	15 Watts max.

System Specifications

bandwidth	20 Hz to 20 kHz, +/- 3 dB
SNR	91 dB, unweighted, 20 Hz to 20 kHz
THD	0.018 % typ. @ +4 dBu, 1 kHz, 0 dBu input, gain 1

Weight and Dimensions

dimensions	8.54 x 1.75 x 19.01" (217 x 44.5 x 483 mm)
net weight	4.18 lbs / 1.9 kg