Behringer Virtualizer 3D FX2000 User Manual

VIRTUALIZER 3D FX2000 User Manual

Pre Delay

Time until arrival of first reflection(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

Diffusion

Degree of wall diffusion (reverb density)

Wall Damp.

Degree of damping of the wall material

Bass Mul.

Amplification/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

Reflections

Number of initial reflections 

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 effect

Reverb Mod.

Modulation intensity of the reverb tail

ER/Rev.

Intensity ratio between initial reflections and reverb tail

Density

Intensity of reflection envelope build-up (Gated / Reverse Reverb)

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.

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.

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-off frequency of repetition(s)

Feedback LP

Low pass

1

 cut-off frequency of repetition(s)

Damping

Low pass frequency within the delay feedback loop 

(Tape Echo)

Tab. 2.2: Functioning of the delay effects’ parameters

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

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.