Behringer DSP1000P Manual do Utilizador descarregar pdf (Página 12)

from the right channel. In those cases EDITB  ENGINEL or EDITB  ENGINER means that you select

EDITB and the left or right engine. If we only state EDITB for instance then the selection of the left or right

engines does not play a role.

1.4.1 Reverb and delay algorithms

Cathedral: Reverb program that generates long and dense reverberation, much like the natural reverb

ambience found in churches or cathedrals. Particularly suitable for solo instruments and voices. Varia-

tion modifies the decay time, EDITA adjusts the differences between tiled and angular walls (diffusion),

while EDITBENGINEL governs the early reflections and EDITBENGINER the brilliance of the

reverb signal.

Plate: The sound of early reverb plates. The decay time can be set from 0-9 s using VARIATION.

EDITA determines the pre-delay by changing the perceived size of the room, EDITB uses ENGINEL

to enhance the stereo image and ENGINER to modify the room brilliance. A classic reverb program for

drums and solo voices.

Small Hall: Simulation of a small, highly reverberating hall. Use short reverb times (VARIATION) to

process drum instruments or medium reverb times to enhance wind instruments. EDITA controls diffu-

sion, EDITB early reflections (ENG.L) and stereo width (ENG.R).

Room: You can clearly hear the walls of this room as they are reflecting the sound. Their characteristics

can be changed with EDITB (from reflective (tiles, marble) to absorbent (carpets, curtains). Use VARIA-

TION (reverb time / room size) to create any room typefrom small store rooms to large living rooms.

EDITA governs the pre-delay. A useful program for reverb that isnt directly noticable (rap, hip hop

vocals) or to make dry recordings of instruments sound natural again. Very all-round effect.

Studio: Middle to large rooms that can be modified in their wall characteristics (EDITB, ENG.R), early

reflections (EDITBENG.L), position of sound source (= pre-delay: EDITA) and size (VARIATION).

Creates a natural and multipurpose sound.

Concert: Use VARIATION (reverb time) to create a small theater or large concert hall, determine the

distance to the stage (= predelay: EDITA), the distance to neighboring walls (= early reflections:

EDITBENG.L) and their structure (= diffusion: EDITBENG.R).

Stage: Wonderful reverb, for example, to provide keyboard pads or acoustic guitars with width and

depth (EDITBENG.R = stereo width), and to make them sound fresher (EDITBENG.L = bril-

liance). Additionally, you can set the reverb time with VARIATION and the diffusion with EDITA.

Designed for live applications and mixdown.

Vocal: Rich and dense reverb with middle reverb times (VARIATION) giving solo voices their finishing

touch. EDITA controls pre-delay, EDITBEng.L early reflections and EDITBENG.R brilliance.

Percussion: This dense reverb is characterized by pronounced early reflections which make it very

suitable for dynamic signals (drums, percussion, slap bass, etc.). Apart from diffusion (EDITA) and

reverb time (VARIATION) you can create interesting effects using the separately adjustable decay time

of high-frequency portions (EDITB), which make the reverb more, or less audible.

Stereo Delay: Here, the input signal is delayed by as much as 5.1 s. Use VARIATION for a rough

setting from 0 ms to 5.1 s. Use EDITA to adjust the delay time in milliseconds (in steps of 5 ms up to

VARIATION 6, then 10 ms). EDITB determines the amount of effect signal that is fed back to the effect

(input signal is repeated several times with decaying intensity). The maximum feedback is limited to

avoid feedback loops.

Stereo Ping-Pong Echo: Much like the delay effect, echo repeats the input signal with decaying

intensity. However, here the echoes lose brilliance with each repetition, which simulates the trendy

vintage effect produced by tape echo units that were widely used in the pre-digital era. Additionally, the

reflections are alternatingly routed to the left and right channels so as to produce a kind of stereo

effect.

1. INTRODUCTION

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