Resumen del contenido incluido en la página 1
User´s Manual E
Bedienungsanleitung D
Version 1.0 October 1998
www.behringer.de
1
®
FEEDBACK DESTROYER PRO DSP1100P
Resumen del contenido incluido en la página 2
EG-Declaration of Conformity Spezielle Studiotechnik GmbH acc. to the Directives 89/336/EWG and 73/23/EWG We, BEHRINGER INTERNATIONAL GmbH Hanns-Martin-Schleyer-Straße 4 D - 47877 Willich Name and address of the manufacturer or the introducer of the product on the market who is established in the EC herewith take the sole responsibility to confirm that the product: FEEDBACK DESTROYER PRO DSP1100P o Type designation and, if applicable, Article-N which refers to this declaration, is in accordance
Resumen del contenido incluido en la página 3
SAFETY INSTRUCTIONS CAUTION: To reduce the risk of electrical shock, do not remove the cover (or back). No user serviceable parts inside; refer servicing to qualified personnel. WARNING: To reduce the risk of fire or electrical shock, do not expose this appliance to rain or moisture. E This symbol, wherever it appears, alerts This symbol, wherever it appears, alerts you to the presence of uninsulated you to important operating and mainte- dangerous voltage inside the enclosure nance instructions
Resumen del contenido incluido en la página 4
DSP1100P FEEDBACK DESTROYER PRO Ultra-high performance 2-channel digital Feedback Destroyer / Parametric EQ powered by a 24-bit high-speed DSP s 20-bit A/D and D/A converters with 64/128 times oversampling for ultra-high headroom and resolution s Automatically and intelligently searches out and destroys up to 12 frequencies per channel s 24 fully programmable Parametric Filters that can be set manually or via MIDI s Set-and-forget default setting enables immediate and super-easy Feedback Des
Resumen del contenido incluido en la página 5
FOREWORD Dear Customer, Welcome to the team of FEEDBACK DESTROYER PRO users and thank you very much for expressing your confidence in BEHRINGER products by purchasing this unit. It is one of my most pleasant tasks to write this letter to you, because it is the culmination of many months of E hard work delivered by our engineering team to reach a very ambitious goal: making an outstanding device better still. The FEEDBACK DESTROYER has for some time been a standard tool used by numerous studios
Resumen del contenido incluido en la página 6
TABLE OF CONTENT 1. INTRODUCTION..................................................................................................................... 7 1.1 The design concept ......................................................................................................................... 7 1.2 Before you begin ............................................................................................................................. 7 1.3 Hook up & go ...................................
Resumen del contenido incluido en la página 7
1. INTRODUCTION With the FEEDBACK DESTROYER PRO you have purchased a highly useful device for the control of sound reinforcement systems, which will enable you to focus your attention on what is essential: your music. The fully featured FEEDBACK DESTROYER PRO not only suppresses feedback but also incorporates a wealth of additional functions in one single unit. Its 24 separate filters can be edited in all parameters and automatically detect and suppress feedback frequencies. With its pro-level i
Resumen del contenido incluido en la página 8
Electrostatic charges might affect the operation of the FEEDBACK DESTROYER PRO! For further information on correct installation see chapter 5 Installation. As a standard the audio inputs and outputs on the BEHRINGER FEEDBACK DESTROYER PRO are fully balanced. If possible, connect the unit to other devices in a balanced configuration to allow for maximum interference immunity. The automatic servo function detects unbalanced connections and compensates the level difference automati- cally (6 dB c
Resumen del contenido incluido en la página 9
On start-up; all active filters (AU/SI) are indicated by flashing LEDs. When feedback has been detected and dealt with, the LED stops flashing. When all filters are set the oldest automatic filter starts flashing, indicating that it will be the next filter to handle new feedback. Parametric filters are also indicated by a non-flashing LED. In Single Shot mode the filter will not release a setting which has been achieved until you manually change it. This is particularly useful with problems at d
Resumen del contenido incluido en la página 10
Fig. 1.3: Function keys and jog wheel 5 With the JOG WHEEL, a continuous rotary control, you can freely edit the selected parameters. Turn the wheel clockwise to increase the values, or counterclockwise to reduce them. + As long as none of the edit functions to the right of the jog wheel has been selected, you can use the wheel to select a program directly, which is shown by a dot lighting up in the display. While this dot is on, you can select a program though its settings will not take immedia
Resumen del contenido incluido en la página 11
+ Press and keep the keys FILTER SELECT and STORE before powering up the FEEDBACK DESTROYER PRO. Then switch on the FEEDBACK DESTROYER PRO and keep the two keys pressed for about one second. The program numbers are counted up and reset to their original default settings. 16 Use the POWER switch to switch the FEEDBACK DESTROYER PRO on or off. 1.4.2 Rear panel E Fig. 1.4: Rear panel connectors and control elements 17 This is the MAINS CONNECTOR / FUSE HOLDER / VOLTAGE SELECTOR. Before you connect
Resumen del contenido incluido en la página 12
2.1 Activating/deactivating the filters In OF mode, the corresponding filter is deactivated and can be activated by selecting one of the modes described below. 2.2 Manual filters / parametric equalizer The FEEDBACK DESTROYER PRO allows you to freely process any music signals. To raise or lower specific frequencies in level, you can directly select these frequencies by means of the manual filters (Para- metric EQ mode). Each filter has the functionality of a fully parametric EQ, i.e. you can se
Resumen del contenido incluido en la página 13
only after about one second, which is indicated by a dot in the lower right corner of the display. After loading the data, the FEEDBACK DESTROYER PRO enables the preset and the dot disappears. This brief interruption avoids the direct activation of every preset, as you scroll through the preset list with the jog wheel. Thus, the FEEDBACK DESTROYER PRO makes sure that no "unwanted" programs are loaded unintentionally. Additionally, you can rotate the jog wheel at high speed and still have the tim
Resumen del contenido incluido en la página 14
2.4.4 Storing programs Use the STORE key to store the program. Basically, all parameter changes in Parametric EQ mode can be saved. Filters working in Single-Shot or Auto mode will adjust and store the required parameters automatically. Example: s You recall a program for editing. Then you edit the preset as desired using the function keys and the jog wheel. During this process, the flashing STORE key reminds you that the preset settings have been changed but not saved yet. Press the STORE key o
Resumen del contenido incluido en la página 15
via MIDI. Accordingly, the value 1 enables MIDI controller #18 so that you can modify or replace presets with a remote MIDI device or a sequencer. In this case the actual settings will be stored directly to the location that corresponds to the controller value. + Attention! Since the store enable mode allows you to access memory locations directly via MIDI, it is possible that stored presets will be replaced or altered if controller #18 messages are sent on the same MIDI channel. The purpose
Resumen del contenido incluido en la página 16
3.1 Level setting Take care to set levels properly on the FEEDBACK DESTROYER PRO! Low levels deteriorate the dynamics of the music signal, which results in a poor, weak and noisy sound. On the other hand, excess levels overdriving the converters in the FEEDBACK DESTROYER PRO should also be avoided. Digital distortion is (unlike its analog counterpart) very unpleasant to hear as it does not occur gradually but abruptly. Use the input level meter of the FEEDBACK DESTROYER PRO to adjust the input s
Resumen del contenido incluido en la página 17
situations. Before applying the FEEDBACK DESTROYER PRO, it is therefore advisable to remove the condition causing the feedback problems. For example, try different microphone positions! Use the FEEDBACK DESTROYER PRO in the monitor path and in single channels with critical signals. If there is no other way to eliminate feedback, you can insert the FEEDBACK DESTROYER PRO into the main mix bus. Unless your mixing console has dedicated insert points for the main mix bus, you can simply connect the
Resumen del contenido incluido en la página 18
3.4 Using the FEEDBACK DESTROYER PRO in single channels and sub-groups P.A. System Sub-Group Channel Insert Master Out Insert Fig. 3.3: Inserting the FEEDBACK DESTROYER PRO in single channels and sub-groups If you want to make sure that deliberately produced feedback signals, such as guitar feedback, are not eliminated, you should try inserting one or several FEEDBACK DESTROYER PRO`s into single channels (e.g. vocal mics) which are susceptible to feedback. Or, you could use the sub-groups of y
Resumen del contenido incluido en la página 19
3.7 Special remarks 3.7.1 Digital overflow When using the FEEDBACK DESTROYER PRO as a parametric equalizer (Parametric EQ mode) and applying extreme attenuation values in the low end range of the frequency spectrum (below 50 Hz), you should perhaps set several filters to process the same frequency. Depending on the amount of attenuation applied, the use of only one filter may lead to slight distortion, which produces interference in the signal path. This is a natural physical phenomenon which s
Resumen del contenido incluido en la página 20
The range of sound pressure levels or the dynamic range of human hearing encompasses a factor of 10,000,000. This enormous range of values is difficult to handle and additionally does not represent the subjective perception of sound, since human hearing tends to use a logarithmic curve. When an increase in loudness by the factor two is perceived as one step, four times the loudness level equals two steps. So, the decibel is a unit of measurement that describes a level in relation to a reference
