Behringer Virtualizer 3D FX2000 User Manual

VIRTUALIZER 3D FX2000 User Manual

Speed

Speed of modulation 

LFO

1

 Wave

Sets the curve of the modulation  

(triangular, sinusoidal, rectangular)

Depth

Modulation depth (L & R)

Delay

Length of delay

Feedback

Routes back the processed signal to the input stage

Wave

Sets the curve of the LFO (Sine, Tri, Opto, Square,  

Saw Up, Saw Down)

Semitones 1

Pitch Shifter 1: detuning in semitones

Semitones 2

Pitch Shifter 2: detuning in semitones

Semitones 3

Pitch Shifter 3: detuning in semitones

Cents 1

Pitch Shifter 1: detuning in cents

Cents 2

Pitch Shifter 2: detuning in cents

Cents 3

Pitch Shifter 3: detuning in cents

Drum Depth

Intensity of amplitude modulation of the bass loudspeaker (Leslie)

Horn Depth

Intensity of amplitude modulation of the high pitch horn (Leslie)

Balance

Volume ratio between horn and drum

Stereo Spread

Stereo effect intensity

Stereo Phase

Phase angle between left and right modulation

Wideness

Parameter variation (Ultra Chorus)

Base

Starting point of modulation

Drive

Intensity of tube distortion

Mode

Selects various effect modes or between three modes with 

increasing modulation intensity (Stereo Phaser)

Auto Modulation

Influences LFO frequency (dependent on input level)

Feedback LP

Low pass cut-off frequency of feedback

Damping

Limits frequency range to simulate older chorus units  

(Stereo / Vintage Chorus)

Tab. 2.3: Functioning of the modulation and pitch shifter effects’ parameters

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

Ratio

1

Degree of compression (Compressor) / expansion (Expander)

Threshold

Threshold point of Compressor / Expander / Gate

Limiter Threshold

Threshold point of Limiter

M-Gain

Make-up gain

Gain L

Make-up gain for left channel

Gain R

Make-up gain for right channel

Soft Knee

Bending of the characteristic curve

2

 at the threshold point

Attack

3

Response time

Attack L

Response time of left channel (Wave Designer)

Attack R

Response time of right channel (Wave Designer)

Release

4

Release (right stop activates auto mode for Compr./Lim.)

Release L

Release of left channel

Release R

Release of right channel

Hold

5

Time until release process sets in

Range

Degree of damping (Gate); dynamic limitation (Ultramizer)

Density

Degree of compression (Ultramizer)

Speed

Recovery time (the higher the faster)

Split Frequency

Split point between high and low band

Stereo FX

Intensity of the stereo enhancer

Enhancer Frequency

Frequency of the HF

6

 enhancer

Band

Separates low, high band & wide (Ultramizer / De-Esser)

LP Frequency

Basic frequency (Denoiser)

LP Depth

Controls the amount of influence on the signal level (Denoiser)

LP Speed

Recovery time of low pass modulation (Denoiser)

Gate Hold

Time until the gate process sets in (Denoiser)

Gate Response

Gate recovery time (Denoiser)

Gate Threshold

Amount of signal needed to open the noise gate (Denoiser)

Frequency

Lower cut-off frequency of compression process (De-Esser)

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.