Behringer fx2000 инструкция на русском

3 VIRTUALIZER 3D FX2000 User Manual

Important Safety

Instructions

Terminals marked with this symbol carry electrical current of sufficient magnitude to constitute risk of electric shock. Use only

high-quality commercially-available speaker cables with 1/4″ TS plugs pre-installed. All other installation or modification should be performed only by

qualified personnel.

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.

Caution

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 liquids and no objects filled with liquids, such as vases, shall be placed on the apparatus.

Caution

These service instructions are for use by qualified service personnel only.

To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions. Repairs have to be performed by qualified service personnel.

1.Read these instructions.

2.Keep these instructions.

3.Heed all warnings.

4.Follow all instructions.

5.Do not use this apparatus near water.

6.Clean only with dry cloth.

7.Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.

8.Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

9.Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide

blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

10.Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

11.Use only attachments/accessories specified by

the manufacturer.

12. Use only with the cart, stand, tripod, bracket,

or table specified by the

manufacturer, or sold with the apparatus. When a cart is used, use caution when

moving the cart/apparatus combination to avoid

injury from tip-over.

13.Unplug this apparatus during lightning storms or when unused for long periods of time.

14.Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed

to rain or moisture, does not operate normally, or has been dropped.

15.The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection.

16.Where the MAINS plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable.

LEGAL DISCLAIMER

TECHNICAL SPECIFICATIONS AND APPEARANCE ARE SUBJECT TO CHANGE WITHOUT NOTICE.

THE INFORMATION CONTAINED HEREIN IS CORRECT AT THE TIME OF PRINTING. ALL TRADEMARKS ARE THE PROPERTY OF THEIR RESPECTIVE OWNERS. MUSIC GROUP ACCEPTS NO LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED BY ANY PERSON WHO RELIES EITHER WHOLLY OR IN PART UPON ANY DESCRIPTION, PHOTOGRAPH OR STATEMENT CONTAINED HEREIN. COLORS AND SPECIFICATIONS MAY VARY FROM ACTUAL PRODUCT. MUSIC GROUP PRODUCTS ARE SOLD THROUGH AUTHORIZED

FULLFILLERS AND RESELLERS ONLY. FULLFILLERS AND RESELLERS ARE NOT AGENTS OF MUSIC GROUP

AND HAVE ABSOLUTELY NO AUTHORITY TO BIND MUSIC GROUP BY ANY EXPRESS OR IMPLIED

UNDERTAKING OR REPRESENTATION. THIS MANUAL IS COPYRIGHTED. 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 MUSIC GROUP IP LTD.

ALL RIGHTS RESERVED.

© 2011 MUSIC Group IP Ltd.

Trident Chambers, Wickhams Cay, P.O. Box 146, Road Town, Tortola, British Virgin Islands

LIMITED WARRANTY

§ 1 Warranty

(1)This limited warranty is valid only if you purchased the product from a MUSIC Group Authorized Reseller in the country of purchase. A list of authorized resellers can be found on BEHRINGER’s website behringer.com under “Where to Buy“, or you can contact the MUSIC Group office closest to you.

(2)MUSIC Group* warrants the mechanical and electronic components of this product to be free of defects in material and workmanship if used under normal operating conditions for a period of one (1) year from

the original date of purchase (see the Limited Warranty terms in § 4 below), unless a longer minimum warranty period is mandated by applicable local laws. If the product shows any defects within the specified warranty period and that defect is not excluded under § 4, MUSIC Group shall, at its discretion, either replace or repair the product using suitable new or reconditioned product or parts.

In case MUSIC Group decides to replace the entire product, this limited warranty shall apply to the replacement product for the remaining initial warranty period, i.e., one (1) year (or otherwise applicable minimum warranty period) from the date of purchase of the original product.

(3)Upon validation of the warranty claim, the repaired or replacement product will be returned to the user freight prepaid by MUSIC Group.

(4)Warranty claims other than those indicated above are expressly excluded.

PLEASE RETAIN YOUR SALES RECEIPT. IT IS YOUR PROOF OF PURCHASE COVERING YOUR LIMITED WARRANTY. THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOF OF PURCHASE.

§ 2 Online registration

Please do remember to register your new BEHRINGER equipment right after your purchase at behringer.com under“Support” and kindly read the terms and conditions of our limited warranty carefully. Registering your purchase and equipment with us helps us process

your repair claims quicker and more efficiently. Thank you for your cooperation!

§ 3 Return materials authorization

(1) To obtain warranty service, please contact the retailer from whom the equipment was purchased. Should your MUSIC Group Authorized Reseller not be located in your vicinity, you may contact the MUSIC Group Authorized Fulfiller for your country listed under

4 VIRTUALIZER 3D FX2000 User Manual

“Support” at behringer.com. If your country is not listed, please check if your problem can be dealt with by our“Online Support” which may also be found under

“Support” at behringer.com. Alternatively, please submit an online warranty claim at behringer.com BEFORE returning the product. All inquiries must be accompanied by a description of the problem and the serial number

of the product. After verifying the product’s warranty eligibility with the original sales receipt, MUSIC Group will then issue a Return Materials Authorization (“RMA”) number.

(2)Subsequently, the product must be returned in its original shipping carton, together with the return authorization number to the address indicated by MUSIC Group.

(3)Shipments without freight prepaid will not

be accepted.

§ 4 Warranty Exclusions

(1)This limited warranty does not cover consumable parts including, but not limited to, fuses and batteries. Where applicable, MUSIC Group warrants the valves or meters contained in the product to be free from defects in material and workmanship for a period of ninety (90) days from date of purchase.

(2)This limited warranty does not cover the product

if it has been electronically or mechanically modified in any way. If the product needs to be modified or adapted in order to comply with applicable technical or safety standards on a national 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. This limited warranty does not cover any such modification/adaptation, regardless of whether it was carried out properly or not. Under the terms of this limited warranty, MUSIC Group shall not be held responsible for any cost resulting from such a modification/adaptation.

(3)This limited warranty covers only the product hardware. It does not cover technical assistance for hardware or software usage and it does not cover any software products whether or not contained in the product. Any such software is provided“AS IS” unless expressly provided for in any enclosed software limited warranty.

(4)This limited warranty is invalid if the factoryapplied serial number has been altered or removed from the product.

(5)Free inspections and maintenance/repair work

are expressly excluded from this limited 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, crossfaders, potentiometers, keys/buttons, guitar strings, illuminants and similar parts.

(6) Damage/defects caused by the following conditions are not covered by this limited warranty:

•improper handling, neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals;

•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;

•damage/defects caused by acts of God/Nature (accident, fire, flood, etc) or any other condition that is beyond the control of MUSIC Group.

(7)Any repair or opening of the unit carried out by unauthorized personnel (user included) will void the limited warranty.

(8)If an inspection of the product by MUSIC Group shows that the defect in question is not covered by the limited warranty, the inspection costs are payable by the customer.

(9)Products which do not meet the terms of this limited warranty will be repaired exclusively at the buyer’s expense. MUSIC Group or its authorized service center will inform the buyer of any such circumstance. If the buyer fails to submit a written repair order within 6 weeks after notification, MUSIC Group will return the unit C.O.D. with a separate invoice for freight and packing. Such costs will also be invoiced separately when the buyer has sent in a written repair order.

(10)MUSIC Group Authorized Resellers do not sell new products directly in online auctions. Purchases made through an online auction are on a“buyer beware” basis. Online auction confirmations or sales receipts are not accepted for warranty verification and MUSIC Group will not repair or replace any product purchased through an online auction.

§ 5 Warranty transferability

This limited warranty is extended exclusively to the original buyer (customer of authorized reseller) and is not transferable to anyone who may subsequently purchase this product. No other person (reseller, etc.) shall be entitled to give any warranty promise on behalf of MUSIC Group.

§ 6 Claim for damage

Subject only to the operation of mandatory applicable local laws, MUSIC Group shall have no liability to the buyer under this warranty for any consequential or indirect

loss or damage of any kind. In no event shall the liability of MUSIC Group under this limited warranty exceed the invoiced value of the product.

§ 7 Limitation of liability

This limited warranty is the complete and exclusive warranty between you and MUSIC Group. It supersedes all other written or oral communications related to this product. MUSIC Group provides no other warranties for this product.

§ 8 Other warranty rights and national law

(1)This limited warranty does not exclude or limit the buyer’s statutory rights as a consumer in any way.

(2)The limited warranty regulations mentioned herein are applicable unless they constitute an infringement of applicable mandatory local laws.

(3) This warranty does not detract from the seller’s obligations in regard to any lack of conformity of the product and any hidden defect.

§ 9 Amendment

Warranty service conditions are subject to change without notice. For the latest warranty terms and conditions

and additional information regarding MUSIC Group’s limited warranty, please see complete details online at behringer.com.

* MUSIC Group Macao Commercial Offshore Limited of

Rue de Pequim No. 202-A, Macau Finance Centre 9/J, Macau, including all MUSIC Group companies

5VIRTUALIZER 3D FX2000 User Manual

1.Introduction

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 FX2000, the VIRTUALIZER 3D 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 FX2000 includes excellent reverb and delay programs, but that’s not all. Besides the classic plate reverb simulations, the VIRTUALIZER 3D 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 FX2000’s dynamic and psychoacoustic effects allow you to do without a number of additional pieces of equipment. The FX2000 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 3D’s technical equipment is also impressive. The following points ensure signal processing at a professional level:

• Extremely low-noise and exact 24-bit A/D and D/A converters.

• A professional sample rate of 46 kHz guarantees a high signal resolution for a frequency response of 20 Hz to 20 kHz.

• The 24-bit processor features dual engine software; these two sections process audio input independently.

• As 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 3D. 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 3D 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 3D 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 FX2000 was manufactured under ISO9000 certified management system.

1.2 Before you get started

The VIRTUALIZER 3D 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. Please 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.

◊To assure optimal protection of your FX2000 during use or transport, we recommend utilizing a carrying case.

◊Please always use the original packaging to avoid damage due to storage or shipping.

◊Never let unsupervised children play with the FX2000 or with its packaging.

◊Please dispose of all packaging materials in an environmentallyfriendly fashion.

The BEHRINGER VIRTUALIZER 3D 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 3D on top of an amplifier, which could cause overheating.

◊Before connecting the VIRTUALIZER 3D 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 3D 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!

Connection to the mains is made by a mains cable with an IEC receptacle that complies with the required safety regulations.

◊Please 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 3D 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 Online registration

Please register your new BEHRINGER equipment right after your purchase by visiting http://behringer.com and read the terms and conditions of our warranty carefully.

Should your BEHRINGER product malfunction, it is our intention to have it repaired as quickly as possible. To arrange for warranty service, please contact the BEHRINGER retailer from whom the equipment was purchased. Should your BEHRINGER dealer not be located in your vicinity, you may directly contact

one of our subsidiaries. Corresponding contact information is included in the original equipment packaging (Global Contact Information/European Contact Information). Should your country not be listed, please contact the distributor nearest you. A list of distributors can be found in the support area of our website (http://behringer.com).

Registering your purchase and equipment with us helps us process your repair claims more quickly and efficiently.

Thank you for your cooperation!

The BEHRINGER VIRTUALIZER 3D’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.

Fig. 1.2: Display section of the VIRTUALIZER 3D

(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 3D, 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:

• set the absolute value of an effect parameter (“%”),

• increase or decrease the amplitude or determine the threshold point of the compressor (“dB”),

• modify a frequency (“Hz”) or

• modify a time parameter (“sec”).

(4)The ALGORITHM GROUPS LED CHAIN indicates which category the selected effect belongs to. Altogether the FX2000 offers eight different algorithm groups.

Fig. 1.3: Function keys, controls and jog wheel

(5)Every preset in the FX2000 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, (6) controls the parameter EDIT A,

(7) controls EDIT B, (8) helps in changes of parameter EDIT C and with (9) 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.

◊For the exact meaning of the individual effect parameters, see chapter 7.1.

(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 CONTROL. Press the EDIT key (13) to switch from EDIT A to EDIT E and vice versa. You reach the MIDI function by pressing the SETUP key (16).

(7)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 FX2000 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 OUTPUT 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 3D. 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 FX2000 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 FX2000 in the aux bus with your mixing console,

you should always set this value at 100%. if you’re using the FX2000 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 FX2000’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.

◊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.

(11)To select one of the 200 presets, press the PRESET key once, then rotate the JOG WHEEL (17).

(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 CONTROL function (see (6) — (9)), press the EDIT key.

(14)When you make changes to a user preset, the STORE key’s LED begins to blink. The FX2000 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 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.

(16)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.

(17)To change a parameter’s value, rotate the JOG WHEEL. To increase the value, turn the wheel clockwise. 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 FX2000. 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.

(19)FUSE HOLDER / VOLTAGE SELECTION. Before connecting the FX2000, 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 “SPECIFICATIONS”). The mains connection is made via the IEC receptacle. An appropriate mains cable is included.

(20)The FX2000 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 behringer.com.

(22)The FX2000’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 3D operates in its optimal working range.

(24)Both of the VIRTUALIZER 3D’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 3D.

The changes you make will influence the sound in different ways. An overview of the FX2000’s various effects algorithms follows.

REVERB

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 FX2000 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 smallto 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

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.

DELAY

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.

PING PONG: A delay effect with changing stereo positioning, where the time intervals between the repetitions can be changed.

1  Filter, allows the frequency below a particular cut-off frequency to pass and damps the frequencies above that.»

MODULATION

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.

LESLIE: 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.

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

1  (Low Frequency Oscillator): determines the speed and nature of modulation effects.

DYNAMICS

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. The Analog Compr/Limiter is modeled after a famous analog compressor unit.

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.

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 FX2000 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

1  Ratio determines the relation of input to output level for all signals which exceed the threshold point.

2  The Soft Knee characteristic curve prevents a high compression rate (high ratio) from sounding unnatural.

3  Attack determines the time which the processor requires to react to signals which exceed the threshold point.

4  Release determines the time that the processor needs after falling below the threshold point to reach the original level.

5  Hold determines the time before the release process sets in (release sets in after the signal falls below the threshold point).

6  High frequency.

Тип файла
PDF

Размер
2.31 Mb

Кол-во страниц
28

Просмотров
15138