DATA-MANFULL_DSP1124P_ENG_Rev. A.p65 - Edu
Contents
1. 066000060 m Ml 060000600 eon m Ina BABE 0000 0000 6000 0000 0000 0000 0000 0000 Fig 2 1 Using the DSP1124P in the monitor sends 2 3 Using the FEEDBACK DESTROYER PRO in the FOH mix Since you want to make sure that deliberately produced feedback signals such as guitar feedback are not eliminated you should try inserting the DSP1124P into those channels that are susceptible to feedback For example you could process a vocal microphone that is liable to produce feedback by connecting the DSP1124P to the insert points of the respective channel OH o z EI e a 2 un d E j Qaae Ft a Ole Out n Inp 1 Y EST LIE ImTEI Oup 2 lnp 2 1 TM Channel Sub Group Insert Insert Master Out IEI 600000090 m mI 6060000090 m lI 00000000 m MI 00000000 m lI 00000000 m IE 00000000 m lH 00000000 m I 00000000 m I 00000060 m MI 00000000 m IEI 00000000 m mi 06000060 m Ml 00000066 m Di 00000000 m Mi 000000 m jl 0666600606 noi 1 m noi Fig 2 2 Using the DSP1124P for specific mics connecting the FEEDBACK DESTROYER PRO in either channel or sub group inserts I When processing a microphone signal with the DSP1124P and a compressor inserted into the same channel insert point the FEEDBACK DESTROYER PRO should alwa2. Press the FREQUENCY key to select the frequency you wish to process The adjustable frequency range is from 20 Hz through 20 kHz which are split up by the DSP1124P into the 31 standard ISO values of a graphic equalizer see chapter 11 1 in the appendix The FINE key allows you to fine tune the standard ISO frequencies in 1 60 octave steps within a tuning range of 1 3 octave 9 60 to 10 60 BANDWIDTH determines the filter bandwidth Q factor of the selected filter This adjustable filter quality ranges from 1 60 octave to 2 octaves 120 60 octave 4 CONTROL ELEMENTS 11 13 14 15 16 17 18 19 20 21 22 12 FEEDBACK DESTROYER PRO DSP1124P The GAIN key sets the desired boost cut of the selected filter in dB 16 dB 48 dB The N OUT key allows for optional bypassing of the parametric filters or all filters By shortly pressing the IN OUT key only the Parametric EQ filters will be deactivated and the green LED goes out Hold down the key for about two seconds to deactivate all filters This Total Bypass mode is indicated by the cyclic flashing of the green LED Another short IN OUT key press reactivates all filters Additionally the LED flashes when relevant MIDI data are being received If the control LED of the IN OUT key flashes all functions including all automatic filters used for feedback suppress
3. 2 If the warranty claim proves to be justified the product will be returned to the user freight prepaid 3 Warranty claims other than those indicated above are ex pressly excluded 3 RETURN AUTHORIZATION NUMBER 1 To obtain warranty service the buyer or his authorized dealer must call BEHRINGER see enclosed list during normal business hours BEFORE returning the product All inquiries must be ac companied by a description of the problem BEHRINGER will then issue a return authorization number 2 Subsequently the product must be returned in its original shipping carton together with the return authorization number to the address indicated by BEHRINGER 3 Shipments without freight prepaid will not be accepted 4WARRANTY REGULATIONS 1 Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealer s invoice Any product deemed eligible for repair or replacement by BEHRINGER under the terms of this warranty will be repaired or replaced within 30 days of receipt of the product at BEHRINGER 2 If the product needs to be modified or adapted in order to comply with applicable technical or safety standards on a na tional 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 The warranty does not cover any such modificati
4. 12 SPECIFICATIONS AUDIO INPUTS Connectors Type Impedance Nominal Operating Level Max Input Level AUDIO OUTPUTS Connectors Type Impedance Max Output Level SYSTEM SPECIFICATIONS Bandwidth Noise THD Crosstalk MIDI INTERFACE Type DIGITAL PROCESSING Converters Sampling Rate DISPLAY Type POWER SUPPLY Mains Voltages Power Consumption Fuse Mains Connection PHYSICAL Dimensions H x W x D Net Weight Shipping Weight XLR and 1 4 TRS RF filtered servo balanced input 60 kOhms balanced 30 kOhms unbalanced 10 dBV to 4dBu switchable 16 dBu at 4 dB nominal level 2 dBV at 10 dBV nominal level XLR and 1 4 TRS Electronically servo balanced output stage 60 Ohms balanced 30 Ohms unbalanced 16 dBu at 4 dB nominal level 2 dBV at 10 dBV nominal level 20 Hz to 20 kHz 3 dB gt 94 dB unweighted 20 Hz to 20 kHz 0 0075 typ 4 dBu 1 kHz Gain 1 76 dB 5 Pin DIN Socket IN OUT THRU 24 bit Sigma Delta 64 128 times Oversampling 46 875 kHz 2 digit numeric LED Display USA Canada 120 V 60 Hz U K Australia 240 V 50 Hz Europe 230 V 50 Hz General Export Model approx 15 Watts max 100 120 V T 200 mA H 200 240 V T 100 mA H Standard IEC receptacle 100 120 V 200 240 V 50 60 Hz approx 1 3 4 44 5 mm x 19 482 6 mm x 7 1 2 190 5 mm approx 2 kg approx 3 kg BEHRINGER is constantly striving to maintain the highest pr
5. 123 125 129 132 136 139 143 125 Hz 160 Hz 144 146 150 153 157 160 164 168 172 176 180 160 Hz 520 kHz 182 184 188 192 196 200 205 210 215 220 225 20 kHz 25 kHz 228 230 235 240 245 250 257 263 270 276 283 25 kHz 92 kHz 286 289 296 302 309 315 324 332 341 349 358 92 kHz 40 kHz 362 366 375 383 392 400 410 420 430 440 450 40 kHz 50 kHz 455 460 470 480 490 500 513 526 539 552 565 50 kHz 63 kHz 572 578 591 604 617 630 647 664 681 698 715 63 kHz 80 kHz 724 732 749 766 783 800 820 840 860 880 900 80 kHz 1 00 kHz 910 920 940 960 980 1000 1025 1050 1075 1100 1125 1 00 kHz 1 25 kHz 1138 1150 1175 1200 1225 1250 1285 1320 1355 1390 1425 1 25 kHz 1 60 kHz 1443 1460 1495 1530 1565 1600 1640 1680 1720 1760 1800 1 60 kHz 2 0 kHz 1820 1840 1880 1920 1960 2000 2050 2100 2150 2200 2250 2 0 kHz 2 5 kHz 2275 2300 2350 2400 2450 2500 2565 2630 2695 2760 2825 2 5 kHz 3 2 kHz 2858 2890 2955 3020 3085 3150 3235 3320 3405 3490 3575 3 2 kHz 4 0 kHz 3618 3660 3745 3830 3915 4000 4100 4200 4300 4400 4500 4 0 kHz 5 0 kHz 4550 4600 4700 4800 4900 5000 5130 5260 5390 5520 5650 5 0 kHz 6 3 kHz 5715 5780 5910 6040 6170 6300 6470 6640 6810 6980 7150 6 3 kHz 8 0 kHz 7235 7320 7490 7660 7830 8000 8200 8400 8600 8800 9000 8 0 kHz 10 0 kHz 9100 9200 9400 9600 9800 10000 10250 10500 10750 11000 11250 10 0 kHz 12 5 kHz 11375 11500 11750 12000 12250 12500 12850 13200 13550 13900 14250 12 5 kHz 16 0 kHz 14425 14600 14950 1
6. for about one second Only then will it be possible to edit the filter parameters 7 4 Storing presets Whenever you edit a preset the LED in the STORE key starts flashing Basically all edits in Parametric EQ mode and the filter deactivation in Off mode can be stored Filters in Single Shot or Auto mode adjust and store their parameters automatically However these data will get lost when you switch off the unit To avoid that please write the edited setting to a preset before you switch the DSP1124P off Press the STORE key once so that the DISPLAY starts flashing If you wish to preserve the original preset use the JOG WHEEL to select another preset number which can be overwritten Then press STORE again to save your edits to the selected preset If you wish to overwrite the original preset simply press the STORE key twice after editing so as to save all edits to the same preset 7 5 Restoring the factory presets Press and keep the FILTER SELECT and STORE keys pressed before you switch on the FEEDBACK DESTROYER PRO After power up keep the switches pressed for another second The preset numbers are counted up and the presets are reset to their original default values 16 7 WORKING WITH PRESETS FEEDBACK DESTROYER PRO DSP1124P 8 PROBLEMS DO HAVE A CAUSE Feedback is one of the major problems encountered in live P A applications In a worst case scenario every microphone signal passing an amplifier can cause feedback Still
7. power cord to connect the unit to the mains The cord complies with all applicable safety standards 6 1 INTRODUCTION FEEDBACK DESTROYER PRO DSP1124P I amp Please note that all units must be grounded properly For your own safety you should never remove any ground connectors from electrical devices or power cords or render them inoperative As a standard the BEHRINGER FEEDBACK DESTROYER PRO is equipped with electronically servo balanced inputs and outputs The circuit design features automatic hum and noise reduction for balanced signals and thus allows for trouble free operation even at high operating levels Externally induced mains hum etc will 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 interfaces IN OUT and THRU are on standardized DIN connectors Data are transmitted via potential free opto couplers 1 3 Background How is feedback produced A feedback loop is produced when a microphone signal is reproduced by an amplification system and is subsequently picked up again with identical phase by the microphone If this happens repeatedly such a feedback loop can become ever more persistent jS od al Fig 1 1 How a feedback loop is produced 1 3 1 Background front of house mix FOH There are two main s
8. ssssssssseeeees 9 2 4 Using the FEEDBACK DESTROYER PRO in a studio environment ssssssssss 10 3 A FEW QUICK STEPS TO ELIMINATE FEEDBACK seeeeeeeeeeeeeennnnnnennn 10 4 CONTROL ELEMENTS cc 10 5 DSP1124P ARCHITECTURE PRESETS FILTERS OPERATING MODES 13 5 1 Priming the DSP1124P for PA and monitor applications ssssssssssm 13 6 OPERATING MODES OF THE DSP1124P rcssenem eret pna nn CE Ek xu E kun RR oEEFE nu vRu Da DEEccuE 14 6 1 Off mode OP sspears EEA aula esas seeraae EEE EN EEA E ee eee EEA 14 6 2 Manual filters PA parametric equalizer sssssssssssem eene 14 6 3 Automatic filters Sand AU Jinise e nE EEEE E EEE 14 6 4 Locked mode LO trt eet tette a aA Fit acea EEA a eaS 15 7 WORKING WITH PRESETS siiin innisin Ya SEE RUN eaaa A EAA EEREN EESAN araa 15 74 4 Recalling PESOS esio sinad a a Ae cec ead 15 7 2 Selecting the filter operating mod c e tette etta eei d eed co Bend 15 Ta Editing filter Parameters oosten ara ateuebanedd tated oni rab beast RR RR pa ta Ea rh ct wader ao 16 TA Storing presets cce eet te undi encanta RR EPI D ena EEA Io PY tme EE d 16 To Restoring the factory presele slicers racer eats sextae tute xeu Ra lap de RE RA RR RR EN eii 16 8 PROBLEMS DD HAVE A CAUSE einssskka
9. that objects do not fall and liquids are not spilled into the enclosure through openings Damage Requiring Service The appliance should be serviced by qualified service personnel when The power supply cord or the plug has been damaged or Objects have fallen or liquid has been spilled into the appliance or The appliance has been exposed to rain or The appliance does not appear to operate normally or exhibits a marked change in performance or The appliance has been dropped or the enclosure damaged Servicing The user should not attempt to service the appliance beyond that is described in the Operating Instructions All other servicing should be referred to qualified service personnel FEEDBACK DESTROYER PRO DSP1124P 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 the DSP1124P It is one of my most pleasant tasks to write this letter to you because it is the culmination of many months of hard work delivered by our engineering team to reach a very ambitious goal making an outstanding and extremely flexible device for studios and P A rental companies better still The task to design our new FEEDBACK DESTROYER PRO certainly meant a great deal of responsibility which we assumed by focusing on you the discerning user and musician It also meant a lot of work and night shifts to accomplish this goal But
10. 5 pin DIN jacks You need dedicated MIDI cables to connect the FEEDBACK DESTROYER PRO to other MIDI equipment Normally complete cables will be purchased for this use but you can also make your own using a high quality two conductor shielded cables e g microphone cable and two rugged 180 DIN plugs pin 2 center shield pins 4 and 5 right and left of pin 2 internal conductors pins 1 and 3 the two outer pins are not used MIDI cables should have a maximum length not exceeding 15 meters MIDI IN Receives MIDI control data The receive channel is determined in the SETUP menu MIDI THRU Provides an unchanged copy of the signal received at the MIDI IN for example to daisy chain several FEEDBACK DESTROYER PROs MIDI OUT Transmits MIDI data to a connected computer or other FEEDBACK DESTROYER PROs Transmitted are program data as well as status information for signal processing 11 APPENDIX 11 1 Frequency chart Display 9 60 8 60 6 60 4 60 2 60 ISO 2 60 4 60 6 60 48 60 10 60 Display 20 Hz 20 20 5 21 21 5 22 22 5 20 Hz 25 Hz 22 8 23 23 5 24 24 5 25 25 7 26 3 27 27 6 28 3 25 Hz 32 Hz 28 6 28 9 29 6 30 2 30 9 31 5 32 4 33 2 34 1 34 9 35 8 32 Hz 40 Hz 362 36 6 37 5 38 3 39 2 40 41 42 43 44 45 40 Hz 50 Hz 45 5 46 47 48 49 50 51 53 54 55 57 50 Hz 63 Hz 57 58 59 60 62 63 65 66 68 70 71 5 63 Hz 80 Hz 72 4 73 75 77 78 80 82 84 86 88 90 80 Hz 100 Hz 91 92 94 96 98 100 103 105 108 110 113 100 Hz 125 Hz 114 115 118 120
11. 5300 15650 16000 16400 16800 17200 17600 18000 16 0 kHz 20 kHz 18200 18400 18800 19200 19600 20000 20 kHz Tab 11 1 Frequency chart In order to maintain a better survey only every second value is registered in the table The adjustable values do not exactly fit into a 1 60 octave interval because also the ISO frequencies do not perfectly fit into a physical 1 3 octave interval Rather a linear approximation is used to specify the values Background Ibo ISO frequencies 12 1 third 20 60 octave idealized ISO interval 20 11 APPENDIX FEEDBACK DESTROYER PRO DSP1124P UN fn 20 increment A f Hz 20 25 31 5 40 50 63 80 100 125 160 200 250 315 400 500 630 800 kHz 1 1 25 1 6 2 2 5 315 4 5 63 8 10 125 16 207 Tab 11 2 Standard ISO frequencies 11 2 Preset table Filter 1 Filter 2 Filter 3 Filter 4 Filter 5 Filter 6 Filter 7 Filter 8 Filter 9 Filter 10 Filter 11 Filter 12 MONO 9 single shot filters attenuate room resonances before 3 automatic filters destroy variable feedbacks R Sl SI SI SI SI SI SI SI MONO AUTO PILOT 12 Filters per channel constantly chase and destroy feedbacks 3 L AU Dap O ROERE EG Pres wi 2 SO requis al ss BOR Gan 0d 5 STEREO PARAMETRIC EQ Preset with 12 ISO frequencies all set to 2 3 Oct Gain 0 dB MONO PARAMETRIC AND SINGLE SHOT FILTERS A good start for a monitor eq
12. CK DESTROYER PRO generally activates the newly selected presets 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 of the signal path avoids the direct activation of each preset as you scroll through the preset list with the JOG WHEEL Thus the DSP1124P makes sure that no unwanted programs are loaded unintentionally Additionally you can rotate the JOG WHEEL at high speed and still have the time to specifically select the preset of your choice instead of any of its neighbors 7 2 Selecting the filter operating mode Each filter mode has two letters assigned to it which appear in the DISPLAY after pressing the FILTER MODE key The following display messages are available Parametric EQ Single Shot Tab 7 1 FEEDBACK DESTROYER PRO filter operating modes As already mentioned the operating mode of a filter can be changed as follows Press the FILTER SELECT key and specify the filter number 1 through 12 with the JOG WHEEL Using the two ENGINE keys you can select the left ENGINE L or right audio channel ENGINE R or both at the same time by pressing the two ENGINE keys simultaneously Now press the FILTER MODE key and select the mode of your choice with the JOG WHEEL The display message LO Locked informs you that a filter set to Single Shot mode bef
13. DSP1124P in the monitor path is the fact that you can raise the volume levels considerably As you can see your DSP1124P is a perfect tool to protect two independent monitor paths But why is that so important Because monitoring is a complex task Usually each monitor path is used for an independent mix comprising a variety of signal sources This is the only way to ensure that each performer on the stage can hear exactly what he or she wants gt Owing to its 2 channel design the DSP1124P is the perfect tool for application in two separate monitor paths However if you need to protect four monitors against feedback we recommend that you use a second DSP1124P I If possible all monitor paths should be set pre fader as this leaves the monitor mix unaffected from any changes made to the FOH mix 8 2 APPLICATIONS FEEDBACK DESTROYER PRO DSP1124P Monitor 1 Monitor System Monitor 2 tt P A System i c0 i PowerAmp a i H R PowerAmp Mono E oo a oo S un o Output 1 Output 2 ig 5 QM e RES eel JESL E Saas Ha p UNT Input 1 Input 2 Pre Fader Aux Send 1 Pre Fader Aux Send 2 Master Out Ij 00600000 m II 00000000 m III 00000000 m II 00000000 m IIj oo0060060 m I 000600000 m Ij oo000000 m mM 00600000 m m 06 c0c00c m 1Ij 00600060 m II
14. HIN EAE ir BEHRINGER www behringer com Version 1 0 February 2001 User s Manual m Otd uaAOuLSaG Mo9vadaad dve LLdSQ Otd H3AOH1S3Q xovadi33 ap Oo E m o Co CO o Co O s eo Ecl EZ s eS EE Ez BoB FEEDBACK DESTROYER PRO DSP1124P 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 CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN 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 in the accompanying voltage that may be sufficient to con literature Read the manual stitute a risk of shock WARNING To reduce the risk of fire or electrical shock do not expose this appliance to rain or moisture DETAILED SAFETY INSTRUCTIONS All the safety and operation instructions should be read before the appliance is operated Retain Instructions The safety and operating instructions should be retained for future reference Heed Warnings All warnings on the appliance and in the operating instructions should be adhered to Follow instructions All operation and user instructions should be followed Water and Moisture The appliance should not be used near water e g near a bathtub wa
15. P is equipped with two channels In Couple mode see control elements 8 and 9 these two channels are linked But you can also use them separately for example to protect two dedicated monitor paths against feedback Monitor mixes are realized either via the pre fader Aux Sends on an FOH console or via a usually stage mount monitor mixer When using an additional monitor mixer on the stage you need a so called splitter to route the single microphone signals both to the FOH console and to the monitor mixer When using the FOH console for the monitor mix the stage microphones are connected directly to the console if necessary viaa so called stage box In both cases separate monitor mixes are created for the musicians which can then be provided from the console outputs usually via the Aux Send outputs Owing to its 2 channel design your FEEDBACK DESTROYER PRO allows you to protect two monitor paths against feedback To do so connect the pre fader Aux Send outputs on your console to the inputs of the DSP1124 as shown in fig 2 1 Then connect the inputs of the monitor power amps to the outputs of the FEEDBACK DESTROYER PRO see fig 2 1 As already mentioned monitor paths are particularly susceptible to feedback When vocal microphones are not installed in a fixed position things become even worse so it really makes sense to protect the monitor paths against feedback Another positive side effect of using the
16. ard signals Filters in Single Shot mode automatically analyze the music signal to detect feedback frequencies Having detected such a frequency the filter automatically configures its parameters to suppress feedback as efficiently as possible As the filter is locked to the detected frequency this mode is ideally suited to suppress feedback of constant frequency Possible applications are fixed position microphones e g on the drums After the filter has adjusted itself automatically it enters a special Locked mode see chapter 6 4 which means that although the frequency remains fixed the width and depth of the filter are still being adapted to the feedback frequency i e the width is increased as soon as the feedback frequency begins to shift and the gain is cut if feedback prevails The gain is not reduced to prevent feedback from recurring All microphones that are moved during a performance e g vocal mics very often have varying feedback frequencies This type of feedback should be suppressed in Auto mode As in Single Shot mode the filter automatically selects an ideal setting for feedback suppression However in Auto mode the first AU filter set is unlocked to suppress new feedback The optimum frequency is selected automatically and the filter is set to narrow band mode so as to influence the music signal as little as possible If your music contains wanted feedback elements e g guitar feedback it is highly probable that t
17. ces in a balanced configuration to allow for maximum interference immunity 18 10 INSTALLATION FEEDBACK DESTROYER PRO DSP1124P Unbalanced use of mono 1 4 jack plugs Tip Tip Signal hot ve Ring cold ve Sleeve Ground Shield Sleeve Tip Tip Ring Sleeve Sleeve ____ Strain relief clamp Balanced use of stereo 1 4 jack plugs Ground Shield Strain relief clamp For connection of balanced and unbalanced plugs ring and sleeve have to be bridged at the stereo plug Balanced use with XLR connectors Input For unbalanced use pin 1 and pin 3 have to be bridged 1 Ground Shield 2 hot ve 3 cold ve Output Fig 10 1 Different plug types Insert Send amp Return Tip Send out Ring 7 Return in Sleeve Ground Shield Tip Ring Sleeve Strain relief clamp Connect the insert send with the input and the insert return with the output of the effects device Fig 10 2 Wiring an insert cable I Please ensure that only qualified persons install and operate the FEEDBACK DESTROYER PRO During installation and operation the user must have sufficient electrical contact to earth Electrostatic charges might affect the operation of the unit 10 INSTALLATION 19 FEEDBACK DESTROYER PRO DSP1124P 10 2 MIDI connections The MIDI connectors found on the rear panel are on internationally standardized
18. ch also involves the use of several monitor speakers Again this can lead to increased feedback 1 INTRODUCTION 7 FEEDBACK DESTROYER PRO DSP1124P 2 APPLICATIONS The DSP1124P is used exclusively to eliminate feedback in FOH and monitor mixes Before you go on please note the following two remarks 33 The FEEDBACK DESTROYER PRO is not intended to be connected directly to the microphones If this is unavoidable then we recommend our proven BEHRINGER SHARK DSP110 instead which is equipped with a dedicated microphone preamplifier I gt No processing device can undo the mistakes made when placing the microphones So when you set up your mics use them according to their directivity and feedback susceptibility see chapter 8 PROBLEMS DO HAVE A CAUSE 2 1 Levelsetting Take care to set levels properly on the DSP1124P so as to successfully employ the FEEDBACK DESTROYER PRO to remove feedback Use the LED LEVEL METER 1 Make sure that the top Clip LEDs flicker only rarely but never light up all the time 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 2 2 Using the FEEDBACK DESTROYER PRO in the monitor path Your DSP1124
19. dback frequencies can occur What exactly does the DSP1124P do As can be seen from table 11 3 each of the ten presets on your DSP1124P comprises 24 separate filters which can however be set to different operating modes In our example the first nine filters of the selected preset are set to Single Shot mode SI see chapter 6 3 This mode is designed to detect feedback frequencies at fixed resonance values and to suppress them consistently So these filters cannot be unlocked status LO locked Their bandwidth and gain reduction can be adapted if required however the frequency setting remains the same In our example the DSP1124P is used to prevent nine fixed frequencies from making trouble The three remaining filters all set to Auto mode AU see chapter 6 3 are used to detect and suppress new feedback frequencies which can be produced e g when the singer moves around the stage with the vocal mic in his her hand Since the DSP1124P can by no means know whether or not the risk of feedback has been eliminated e g when the singer moves to another position the first AU filter of the unit locks to the detected frequency while the remaining two AU filters are used to suppress any new trouble frequencies that may occur Only when all AU filters have been used will the first AU filter used here 10 be unlocked so as to be able to detect new feedback frequencies Basically all active filters both in AU or SI
20. ections in any sound reinforcement system which are liable to produce feedback the first section is the so called front of house mix FOH i e the public address mix which is reproduced by one or several amplifiers plus several loudspeakers directed at the audience 1 3 2 Background monitor mix The monitor mix which is often derived from the same console feeds one or several stage mount monitor speakers Unlike FOH systems stage monitors are used to provide the individual musicians with a monitor signal because it is often difficult to hear oneself or each other on the stage which can be due to the high volume levels produced by the FOH systems or to different volume levels of the stage mount instruments and amplifiers It is therefore not unusual to give each musician his or her own monitor speaker which is why there are usually several monitor speakers placed along the stage This is the only way to provide each musician with a directed and focused monitor signal In an ideal situation each monitor provides a specific mix comprising e g vocals drums and keyboards for each individual musician on the stage Unfortunately it is anything but easy to find perfect positions for the various stage monitors because the distance between speaker and microphone must be kept very short which in turn increases the risk of feedback gt In contrast to FOH systems it is common practice to create two or even more dedicated monitor mixes whi
21. hese will be suppressed too in Auto mode because it is impossible from a physical point of view to distinguish wanted from unwanted feedback Please read chapter 2 3 to find some information on how to work around this situation 14 6 OPERATING MODES OF THE DSP1124P FEEDBACK DESTROYER PRO DSP1124P 6 4 Locked mode LO When the DSP1124P detects a feedback frequency in Single Shot mode see chapter 6 3 it automatically enters Locked mode i e the filter locks to the trouble frequency and keeps an eye on it To unlock such a filter you need to switch it back to Single Shot mode see 7 and chapter 7 2 7 WORKING WITH PRESETS In order to store your favorite settings the DSP1124P has ten user presets and one default preset All operating parameters can be stored so that your programs are recalled in full detail Owing to state of the art circuitry no internal battery is needed hence the memory contents will not get lost In the default preset DISPLAY which serves as a starting point for your own programs all filters remain in Parametric EQ mode with bandwidth set to 1 octave frequency to 500 Hz and 0 dB gain 7 1 Recalling Presets The FEEDBACK DESTROYER PRO has ten presets which can be overwritten After power up the unit restores the last preset used Use the JOG WHEEL to select another preset The default preset is located before the first program I Please note that the FEEDBA
22. hird page allows for the configuration of controller commands On its right hand side the DISPLAY reads a capital C Controller The JOG WHEEL selects one of the five controller modes shown below Display Mode o No controller data are transmitted Controller data are received but not transmitted Controller data are transmitted but not received Controller data are transmitted and received 4 As3 with additionally the automatic filter parameters Tab 9 1 Controller settings I When you choose value 4 the FEEDBACK DESTROYER PRO will send the automatic filter values in addition to the parameter values For details on the controller functions see Tab 11 5 in the appendix The fourth page gives you access to the Program Changes The DISPLAY reads a capital P Program Four modes are available which can be selected with the JOG WHEEL as follows Display Mode O 0 No program change data are transmitted Program change data are received but not transmitted P rogram change data are transmitted but not received Program change data are transmitted and received Tab 9 2 Program change settings 8 PROBLEMS DO HAVE A CAUSE 17 FEEDBACK DESTROYER PRO DSP1124P The fifth page of the MIDI menu shows the Store Enable flag represented by a capital S in the DISPLAY Available values are 0 and 1 If set to 1 the FEEDBACK DESTROYER PRO receives controller 18 as a direct save co
23. ilter has the functionality of a fully parametric EQ i e you can set the center frequency FREQUENCY key 10 the bandwidth BANDWIDTH key 12 and the amount of boost cut in dB using the GAIN key 13 6 3 Automatic filters SI and AU Automatic filters operate in two modes Single Shot SI and Auto mode AU In order to find a feedback frequency the FEEDBACK DESTROYER PRO divides the entire frequency band into 1 60 octave steps 20 Hz to 20 KHz and determines the respective level of these individual bands The unit then compares this value to the level of the entire signal The difference between these levels determines whether a filter is set or not The FEEDBACK DESTROYER PRO gives you the unique possibility of adapting this parameter according to your own needs You can edit the feedback sensitivity i e the difference value within a range from 3 to 9 dB in 1 dB steps Simultaneously press the FILTER MODE and GAIN keys then use the JOG WHEEL to select a value The standard value for this parameter is 6 dB which provides for an optimum detection of feedback in most applications Example During a pure speech transmission the feedback sensitivity can be lowered to 9 dB In this way the algorithm would recognize and suppress feedback even faster On the other hand a higher setting e g 3 dB allows you to leave those signals unaffected which you don t want to suppress e g guitar or keybo
24. ing circuitry the unit can also be used as a high end equalizer for stage and studio applications The MIDI interface allows for integrating the DSP1124P into any MIDI system and the open system architecture enables you to update the system software whenever you want In short the DSP1124P will be your reliable workhorse over many years to come I This manual first describes the terminology used so that you can fully understand the FEEDBACK DESTROYER PRO and its functions Please read the manual carefully and keep it for future reference 1 1 The design concept The philosophy behind BEHRINGER products guarantees a no compromise circuit design and employs the best choice of components A 24 bit DSP is used as the heart of the FEEDBACK DESTROYER PRO which belongs to the best components available owing to its outstanding specifications and excellent sonic characteristics What is more high quality 24 bit A D and D A converters ensure the accurate processing of all signals Additionally the FEEDBACK DESTROYER uses high quality resistors and capacitors with very tight tolerances high grade switches and further selected components The FEEDBACK DESTROYER PRO employs SMD technology Surface Mounted Device These subminiature components known from aerospace technology allow for an extreme packing density and improve the unit s reliability even further Additionally the DSP1124P was manufactured in compliance with an 1509000 certified manageme
25. ion are disabled Total Bypass In all other modes at least the Single Shot and Auto filters are active Bypass Please use the Total Bypass function only with caution because the deactivation of the filters possibly unlocks suppressed feedback Any modifications made to a preset can be stored with the STORE key in accordance with the number shown by the DISPLAY Ten presets are available on the DSP1124P Press the IN OUT and STORE keys simultaneously to enter MIDI Setup mode Use the POWER switch to switch the FEEDBACK DESTROYER PRO on or off 22 21 20 1 17 18 auger scar c ces ae ecjeere INPUTS 2 0 O OUTPUTS 1L INPUTS 10 Fig 4 3 Rear panel connectors and control elements Use the OPERATING LEVEL switch to change from home recording level 10 dBV to studio level 4 dBu and vice versa The level meters are adapted automatically to the selected nominal level so that the FEEDBACK DESTROYER PRO will always work in its optimum operating range These are the balanced NPUTS of the DSP1124P which are on 1 4 TRS and XLR connectors The two OUTPUTS of your FEEDBACK DESTROYER PRO are also on balanced 1 4 TRS and XLR connectors SERIAL NUMBER Please take the time to fill in and return the warranty card within 14 days after the date of purchase so as to benefit from our extended warranty Or use our online registratio
26. ission of BEHRINGER Spezielle Studiotechnik GmbH BEHRINGER FEEDBACK DESTROYER FB D and SHARK are registered trademarks ALL RIGHTS RESERVED 2001 BEHRINGER Spezielle Studiotechnik GmbH BEHRINGER Spezielle Studiotechnik GmbH Hanns Martin Schleyer Str 36 38 47877 Willich M nchheide II Germany Tel 49 0 21 54 92 06 0 Fax 49 0 21 54 92 06 30 24 13 WARRANTY
27. it was fun too Developing a product usually brings a lot of people together and what a great feeling it is when everybody who participated in such a project can be proud of what we ve achieved Itis our philosophy to share our joy with you because you are the most important member of the BEHRINGER family With your highly competent suggestions for new products you ve greatly contributed to shaping our company and making it successful In return we guarantee you uncompromising quality manufactured under 1809000 certified management system as well as excellent technical and audio properties at an extremely favorable price All of this will enable you to fully unfold your creativity without being hampered by budget constraints We are often asked how we can make it to produce such high grade devices at such unbelievably low prices The answer is quite simple it s you our customers Many satisfied customers means large sales volumes enabling us to get better conditions of purchase for components etc Isn t it only fair to pass this benefit back to you Because we know that your success is our success too would like to thank all people whose help on Project FEEDBACK DESTROYER PRO has made it all possible Everybody has made very personal contributions starting from the designers ofthe unit via the many staff members in our company to you the user of BEHRINGER products My friends it s been worth the trouble Thank you very much n
28. ly To change filter settings manually the respective filter must be set to Parametric EQ mode Press and keep the FILTER MODE key for about one second Now you can adapt the frequency after pressing FREQUENCY Depending on the preset frequency either the Hz or the KHz indicator to the right of the DISPLAY lights up For example when the filter is set to 160 Hz the numeric DISPLAY will read the value and the Hz indicator lights up To raise the frequency to 2 700 Hz turn the JOG WHEEL clockwise until the ISO frequency 2 5 kHz see Tab 11 2 next to this value appears in the DISPLAY and the kHz indicator lights up The FINE key allows you to fine tune the chosen standard ISO frequency within a tuning range of 1 3 octave in 1 60 octave steps The mathematical proportion between the displayed value and the absolute frequency as well as a guide to find the desired frequency quickly are listed in the appendix chapter 11 1 frequency chart The bandwidth of the filter quality can be adjusted by selecting the BANDWIDTH key The adjustable bandwidth ranges from 2 octaves down to 1 60 octave By pressing the GAIN key it is possible to set the desired boost or cut of the selected frequency A or signals that the level is being increased or decreased respectively K Filters in Single Shot or Auto mode can be transformed into parametric filters with the same frequency quality and 0 dB gain by pressing the FILTER MODE key
29. mmand i e the current settings will be stored without further confirmation in the preset number that corresponds to this controller value If set to 0 the DSP1124P ignores all incoming commands referring to controller 18 IS ATTENTION Store Enable mode has been designed to transmit several presets as conveniently as possible from an external PC to the FEEDBACK DESTROYER PRO In this mode it is possible that stored presets will be replaced or altered if controller 18 messages are sent via MIDI We therefore recommend that you disable this mode as soon as the intended data transfer has been completed During power up this mode is automatically disabled mode 0 On the sixth and presently the last page you can access the System Exclusive functions which is indicated by a d dump in the DISPLAY To the left of this d you can see a 0 if no sys ex data can be received or transmitted When you enter mode 1 the DSP1124P will be able to receive sys ex data In mode 2 the DSP1124P is ready to dump its entire memory contents with all parameter settings to an external MIDI storage medium Start your sequencer software and press the STORE key To load the data back select mode 1 and start your sequencer software to restore the settings in your FEEDBACK DESTROYER PRO If you press the IN OUT key again on the sixth page the FEEDBACK DESTROYER PRO quits MIDI mode You can also use any other key to leave the MIDI setu
30. mode are represented by flashing LEDs in the STATUS INDICATOR 2 When feedback has been detected and is being suppressed the associated filter LED lights up constantly Filters set to Parametric EQ mode see chapter 6 2 also have constantly lit LEDs gt Please read the detailed description of all operating modes chapter 6 5 4 Priming the DSP1124P for P A and monitor applications With the DSP1124P you can improve the protection against feedback even before the show begins by tuning in your sound reinforcement system We already dealt with this in chapter 3 But now it s not about using a preset but about how to determine in which modes the filters are used Set some ofthe filters to Single Shot mode see 7 First let s take a look at the monitor path Open all microphone channels turn up the Aux Send controls on all channels you wish to route to the monitor mix then slowly move up the monitor master faders For the front mix do as follows Slowly move up the channel and master faders In both cases the first feedback frequencies can be heard after some time Without the FEEDBACK DESTROYER PRO you could not increase the volume level of your system any further With the DSP1124P however you can considerably enhance the system headroom Let the Single Shot filters on the DSP1124P suppress feedback as it occurs Then cut back the volume to the level required for the show In this way you can be s
31. n keys and JOG WHEEL 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 With the FILTER SELECT key activated you can use the JOG WHEEL to select one of the 12 filters per channel Subsequently you can edit the filters The FILTER MODE key gives you access to the four operating modes for the individual filters Off mode OF Parametric EQ PA Single Shot mode SI and Auto mode AU Please read chapter 6 OPERATING MODES OF THE DSP1124P Pressing the FILTER MODE and GAIN keys simultaneously allows you to adjust the sensitivity of the feedback suppression trigger circuit The setting range is from 3 through 9 dB and can be adjusted with the JOG WHEEL The default value is 6 dB as this setting usually delivers the best results Use the ENGINE L key to select the left audio channel Use the ENGINE R key to select the right audio channel If you wish to process both channels at the same time Couple mode press both ENGINE keys together In Couple mode both ENGINE LEDs light up Whenever you edit one of the two audio channels and then switch to Couple mode the parameters of the active channel will be copied to the other i e if you press ENGINE L before ENGINE R left will be copied to right 10 through 13 refer to Parametric EQ mode only see chapters 5 and 7 3
32. n option available on the World Wide Web at www behringer com The DSP1124P features a complete set of MIDI functions In addition to the usual MIDI IN and MIDI OUT ports the MIDI THRU allows you to loop through MIDI data FUSE HOLDER VOLTAGE SELECTOR Please make sure that your local voltage matches the voltage indicated on the unit before you attempt to connect and operate the unit Blown fuses may only be replaced by fuses ofthe same type and rating Some models allow for inserting the fuse holder in two different positions in order to switch over from 230 V to 115 V operation and vice versa Please note that for 115 V operation outside Europe you need to use a fuse of a higher rating see chapter 1 2 Use the enclosed power cord to connect the unit to the mains 4 CONTROL ELEMENTS FEEDBACK DESTROYER PRO DSP1124P 5 DSP1124P ARCHITECTURE PRESETS FILTERS OPERATING MODES In order to avoid confusion let us give you a concise description of the DSP1124P s operating principle so as to make the three relevant points clear right from the start Example You have set up your P A system and connected all signal sources to the console The DSP1124P has been inserted into the monitor path see fig 2 1 or in single channel or sub group inserts see fig 2 2 after power up preset 1 was loaded with the JOG WHEEL Now you can start to purposefully produce feedback as described in chapter 3 Depending on the room acoustics various fee
33. nt system 1 2 Before you begin Your FEEDBACK DESTROYER PRO was carefully packed in the factory and the packaging was designed to protect the unit from rough handling Nevertheless we recommend that you carefully examine the packaging and its contents for any signs of physical damage which may have occurred in transit I Ifthe unit is damaged please do not return it to us but notify your dealer and the shipping company immediately otherwise claims for damage or replacement may not be granted Shipping claims must be made by the consignee The BEHRINGER FEEDBACK DESTROYER PRO requires one standard 19 unit of rack space Please allow atleast an additional 4 depth for the connectors on the back panel Be sure that there is enough space around the unit for cooling and please do not place the FEEDBACK DESTROYER PRO on high temperature devices such as power amplifiers etc to avoid overheating I Before you connect your FEEDBACK DESTROYER PRO to the mains please make sure that your local voltage matches the voltage required by the unit The fuse holder on the female mains connector has 3 triangular markings with two of these triangles opposing each other The FEEDBACK DESTROYER PRO is setto 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 115 V operation Please use the enclosed
34. ofessional standards As a result of these efforts modifications may be made from time to time to existing products without prior notice Specifications and appearance may differ from those listed or illustrated 12 SPECIFICATIONS 23 FEEDBACK DESTROYER PRO DSP1124P 13 WARRANTY 1 WARRANTY CARD ONLINE REGISTRATION To be protected by the extended warranty the buyer must com plete and return the enclosed warranty card within 14 days of the date of purchase to BEHRINGER Spezielle Studiotechnik GmbH in accordance with the conditions stipulated in 3 Fail ure to return the card in due time date as per postmark will void any extended warranty claims Based on the conditions herein the buyer may also choose to use the online registration option via the Internet www behringer com or www behringer de 2 WARRANTY 1 BEHRINGER BEHRINGER Spezielle Studiotechnik GmbH in cluding all BEHRINGER subsidiaries listed on the enclosed page except BEHRINGER Japan warrants the mechanical and elec tronic components of this product to be free of defects in mate rial and workmanship for a period of one 1 year from the original date of purchase in accordance with the warranty regu lations described below If the product shows any defects within the specified warranty period that are not due to normal wear and tear and or improper handling by the user BEHRINGER shall at its sole discretion either repair or replace the product
35. on adaptation irrespective of whether it was carried out properly or not Under the terms of this warranty BEHRINGER shall not be held responsible for any cost resulting from such a modification adaptation 3 Free inspections and maintenance repair work are expressly excluded from this 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 potentiometers keys buttons and similar parts 4 Damages defects caused by the following conditions are not covered by this warranty A misuse neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals A 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 A damages defects caused by force majeure or any other condition that is beyond the control of BEHRINGER 5 Any repair or opening of the unit carried out by unauthorized personnel user included will void the warranty 6 If an inspection of the product by BEHRINGER shows that the defect in question is not covered by the warranty the inspection costs are payable by the customer 7 Products which do not meet the terms of this warranty will be repaired exclusively at the buyers expense BEHRINGER will inform the buyer of any such circumstance If the buye
36. ore is already suppressing feedback As described in chapter 6 4 this filter is set to Locked mode automatically You can unlock such a filter by switching it back to Single Shot mode As soon as a new feedback frequency will be found the FEEDBACK DESTROYER PRO switches the filter from the old frequency to the new one If you leave Auto or Single Shot mode and enter parametric EQ mode the filter s parameter settings remain unchanged 7 WORKING WITH PRESETS 15 FEEDBACK DESTROYER PRO DSP1124P IS To avoid inadvertent changing of filter modes the filter mode selection takes place after about one second which is indicated by a dot in the lower right corner of the DISPLAY gt Press the FILTER MODE and GAIN keys at the same time and use the JOG WHEEL to adjust the feedback threshold feedback sensitivity within a range from 3 to 9 dB 7 3 Editing filter parameters IS Remember Your DSP1124P has ten pre configured user presets each comprising 12 filters per channel Each individual filter can be selected in any of the four operating modes U33 However the Locked mode cannot be selected directly when a filter which was selected as Single Shot detects a feedback frequency the filter is automatically set and locked i e the filter is locked to the problem frequency and keeps an eye on it I n Single Shot and Auto modes the filter parameter cannot be edited but only displayed Editing can be done in Parametric EQ mode on
37. out the status of the filters on each channel left right A constantly lit LED signals the following conditions 10 4 AFEW QUICK STEPS TO ELIMINATE FEEDBACK Items 10 11 12 FEEDBACK DESTROYER PRO DSP1124P A A filter has been set i e it is already suppressing feedback or A A filter is set to Parametric EQ mode gain 0 dB Cyclically flashing LEDs signal that a filter is searching feedback frequencies in Single Shot or Auto mode see chapters 5 and 6 3 Inactive filters OF and filters in Parametric EQ mode see 6 2 with a gain setting of 0 dB are indicated by unlit LEDs The LED DISPLAY consists of a clearly visible two digit numeric display After power up it reads the number of the last preset used Additionally the LED DISPLAY shows the absolute values of the parameters that are being edited The INDICATORS to the right of the DISPLAY Hz kHz 1 60 and dB light up when you edit the associated parameters in Edit mode For example when you raise the level of a filter the dB indicator lights up 5 6 8 10 12 14 16 FALTER SELECT ENGINE L FREQUENCY BANDWIDTH IN OUT l B RLTER MODE ENGINE R FINE 1 60 0CT GAN STORE BEHRINGEI Er ENTM POWER O 7 9 11 13 15 Fig 4 2 Functio
38. p Uli Behringer FEEDBACK DESTROYER PRO DSP1124P FEEDBACK DESTROYER PRO 24 Bit Dual Engine Digital Feedback Destroyer Parametric EG Model DSP1124P 2 0 ALTER DUAL ENGINE PROCESSOR HBE CO reneack DESTROYER PRO ono E m BEEE FNEL 00000000 10000000 Ol POWER A Ultra high performance 2 channel digital Feedback Destroyer parametric EQ powered by a 24 bit high speed DSP A 24 bit A D and D A converters with 64 128 times oversampling for ultra high headroom and resolution A Automatically and intelligently searches out and destroys up to 12 frequencies per channel A 24 fully programmable parametric filters that can be set manually or via MIDI A Set and forget default setting enables immediate and super easy Feedback Destroyer performance A Single Shot mode automatically searches and destroys feedback and locks the filter until you reset it manually A Auto mode continuously monitors the mix resetting programmed filters automatically A Manual mode allows for setting up to 2 x 12 fully parametric filters including frequency bandwidth and gain A Single Shot Auto and Manual modes are assignable for each filter A Free FEEDBACK DESTROYER design software allows for total remote control via PC download at www behringer com A Two digital processing engines give you independent or coupled functions on left and righ
39. p menu The full featured MIDI implementation of the FEEDBACK DESTROYER PRO allows for easily integrating the unit into any MIDI system A MIDI IN All MIDI data sent to the DSP1124P sequencer MIDI foot controller etc are received via the MIDI IN jack For example if you wish to use the DSP1124P as an effects device for your guitar rack you can connect the MIDI IN jack to a MIDI foot controller that allows for selecting program presets If your rack includes another MIDI effects device the data sent from the MIDI foot controller can be passed on to that device through the MIDI THRU port of the FEEDBACK DESTROYER PRO A MIDI THRU The MIDI THRU jack is used to loop through incoming MIDI data i e any controller data received at the MIDI IN of the FEEDBACK DESTROYER PRO will be transmitted via the MIDI THRU jack to other MIDI devices instruments A MIDI OUT The MIDI OUT jack allows for transmitting MIDI data that originate from the DSP1124P The FEEDBACK DESTROYER Design Editor software enables you to control the DSP1124P from an external PC What is more you can use the FEEDBACK DESTROYER PRO to control the editor software so that both units communicate with each other Download the editor free of charge from our web site at www behringer com 10 INSTALLATION 10 1 Audio connections As a standard the audio inputs and outputs on the BEHRINGER FEEDBACK DESTROYER PRO are fully balanced If possible connect the unit to other devi
40. r fails to submit a written repair order within 6 weeks after notification BEHRINGER will return the unit C O D with a separate invoice for freight and packing Such costs will also be invoiced sepa rately when the buyer has sent in a written repair order 5 WARRANTY TRANSFERABILITY This warranty is extended exclusively to the original buyer cus tomer of retail dealer and is not transferable to anyone who may subsequently purchase this product No other person re tail dealer etc shall be entitled to give any warranty promise on behalf of BEHRINGER 6 CLAIM FOR DAMAGES Failure of BEHRINGER to provide proper warranty service shall not entitle the buyer to claim consequential damages In no event shall the liability of BEHRINGER exceed the invoiced value of the product 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW 1 This warranty does not exclude or limit the buyer s statutory rights provided by national law in particular any such rights against the seller that arise from a legally effective purchase contract 2 The warranty regulations mentioned herein are applicable unless they constitute an infringement of national warranty law The information contained in this manual is subject to change without notice 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 perm
41. r your studio monitors or to enhance the EQs in your mixing console as these are often only semi parametric 3 A FEW QUICK STEPS TO ELIMINATE FEEDBACK Irrespective of whether you need the DSP1124P to protect the FOH or the monitor mix against feedback the following procedure is always the same and should be done before the concert so as to eliminate basic feedback problems right before the show begins A Check the setting of the OPERATING LEVEL switch on the rear of the unit For most P A systems this switch should be set to 4 dB In doubt please consult the user s manual of your mixing console Always make sure that the audio signal levels are set correctly see control element A Switch on the unit and use the JOG WHEEL rotary control to select preset 1 The preset table see table 11 3 lists the various DSP1124P presets available A Using the DSP1124P in the monitor path Turn up the Aux Send or Mon controls in the first mic channel until the microphone starts to produce feedback If more than one monitor paths is being used this procedure must be done separately for each path Repeat for each susceptible mic channel A Using the DSP1124P on channel sub group inserts Deliberately induce feedback by setting the channel sub group faders to 0 dB and raising the gain controls for the individual microphones in turn In either case the FEEDBACK DESTROYER PRO will suppress feedback as soon as it is produced
42. shbowl kitchen sink laundry tub in a wet basement or near a swimming pool etc Ventilation The appliance should be situated so that its location or position does not interfere with its proper ventilation For example the appliance should not be situated on a bed sofa rug or similar surface that may block the ventilation openings or placed in a built in installation such as a bookcase or cabinet that may impede the flow of air through the ventilation openings Heat The appliance should be situated away from heat sources such as radiators heat registers stoves or other appliance including amplifiers that produce heat Power Source The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on the appliance Grounding or Polarization Precautions should be taken so that the grounding or polarization means of an appliance is not defeated Power Cord Protection Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them paying particular attention to cords and plugs convenience receptacles and the point where they exit from the appliance Cleaning The appliance should be cleaned only as recommended by the manufacturer Non use Periods The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time Object and Liquid Entry Care should be taken so
43. sutixbas nues CE speR Ra sux RuuCuRuSCKREPEXMRRRRMRSCRUEDUZCE DERE RRAXM ENG RS 17 9 MIDI CONTROL et 17 10 INSTALLATION pec 18 10 1 Audio CODnectiOlis eite tit ees haec dere bea dere eadem edad itr ua dtu deta wt e tede de cU damus 18 10 2 MIDI COFIIGCtIOnIS ia oco tt eed aere ec eine ea receta e ee ER a e a E Ee e Urea euet 20 TL APPENDIX iine eie ires enki Een co ew ERE E ER EEIFRRFREE KC ste csisnactuacnsxceestacissestessisnassinaesaezsateccioesee 20 11 1 Frequency CHA ai totes onse ias nenne dedu deuioautat S Pedir aa eda E emu OR adt 20 11 2 Preset table E PCT 21 11 3 MIDIIMpleMme MAtlOM EcL 22 12 SPECIFICATIONS e 23 UERBO 24 FEEDBACK DESTROYER PRO DSP1124P 1 INTRODUCTION Thank you very much for expressing your confidence in BEHRINGER products by purchasing the FEEDBACK DESTROYER PRO DSP1124P With the FEEDBACK DESTROYER PRO you have acquired 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 DSP1124P 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 internal process
44. t channels A Servo balanced inputs and outputs on gold plated XLR and 1 4 TRS connectors for high signal integrity A Internal 24 bit processing with professional 46 kHz sampling rate A Full MIDI capability and user preset memories to store programs for instant recall A Accurate eight segment LED level meters simplify level setting for optimum performance A Future proof software upgradeable architecture A High quality components and exceptionally rugged construction ensure long life and durability A Internal power supply design for professional application A Manufactured under ISO9000 certified management system 4 FEEDBACK DESTROYER PRO DSP1124P 1 INTRODUCTION i scccincasscecantnnsctstacsunsane inenicusminndeatainiedcaaceacncebadnensddudicasteanaaniunaudcnadadinmddaanneiensd 6 11 THE GESIGN CONCEP M 6 1 2 Before VOU DE GUM iis nitent teet ta bas etl ade tta a she deside Lugd i eie oti dabit 6 1 3 Background How is feedback produced ssssssssssssssssssssssseeeeeeeee eee eene 7 1 3 1 Background front of house mix FOH itise aa eene 7 1 3 2 Background monitor mix sssssssssssss eene eren EE nennen nnns 7 2 APPLICATIONS cC 8 2 1 Level Seling T 8 2 2 Using the FEEDBACK DESTROYER PRO in the monitor path ssssss 8 2 3 Using the FEEDBACK DESTROYER PRO in the FOH mix
45. the corresponding LED will stop flashing and stay lit The various edit options available are described in chapter 7 But don t let us do the second step before the first 4 CONTROL ELEMENTS The BEHRINGER FEEDBACK DESTROYER PRO is equipped with ten parameter keys one JOG WHEEL rotary control and a numeric LED DISPLAY By means of an 8 segment LED meter each of the two fully independent channels can be monitored Each of the 24 filters has one LED assigned to it which informs about the status of the filter 1 2 3 4 So pem 24 FB D FILTER DUAL ENGINE PROCESSOR EE mm mm LO IT IIgIgIg gj E 1 O 1 iz mp cO Dx 1 2 8 4 5 6 7 8 98 40 4 42 T a ke o and R M a a a A E E E I l ES E oU o o v L o5 R 48 KHZ SAMPLING RATE Fig 4 1 Display section of the FEEDBACK DESTROYER PRO 1 The LED METER is used to monitor the output level Each channel has eight LEDs assigned to it When the Clip LED lights up frequently this warns you of digital distortion If the DSP1124P is set to Total Bypass mode see 14 the level meter reads the input level K Please always use appropriate level settings as this is essential for successful feedback elimination 2 TheDSP1124P features 24 filters i e 12 filters per channel These filters can be monitored conveniently with the STATUS INDICATOR next to the DISPLAY 12 LEDs inform you ab
46. there s a lot you can do even before the show begins A Place the microphones at some distance to the FOH and monitor speakers A Make sure that the levels of the microphone channels are adjusted correctly see user s manual of your console A Use the microphones according to their polar patterns e g omnidirectional cardioid super cardioid A Poor room acoustics should be improved Tiled walls and floors which are highly reflective can be covered with curtains or carpet A Use a graphic equalizer to adapt the overall sound to the room acoustics A Toa certain degree feedback can also be suppressed manually with a graphic EQ 9 MIDI CONTROL Use the MIDI key combination to select the MIDI parameters you wish to adjust To do so press and keep the IN OUT and STORE keys at the same time All parameters can be edited with the JOG WHEEL and these two keys The MIDI menu includes six pages which you can select by pressing the IN OUT key forward and the STORE key backward several times On the first page you can select the MIDI channel The DISPLAY reads a small c channel The JOG WHEEL adjusts a channel from 1 through 16 To switch off the MIDI function simply select 0 displayed as 2 On the second page you can select MIDI Omni mode i e the unit transmits receives on all 16 MIDI channels The DISPLAY reads O Omni Use the JOG WHEEL to activate 1 or deactivate 0 MIDI Omni mode The t
47. ualization 7 L s R STEREO FOH EQ providing 4 parametric EQ s low roll off in filter 1 and 2 plus 8 single shot filters PA PAd PAd SI SI SI SI SI SI SI SI Channels coupled changes on one channel are valid for both MONO FREE SI SI SI SI SI SI AU AU PA PA PA STEREO FREE Tab 11 3 Preset table 11 APPENDIX 21 FEEDBACK DESTROYER PRO DSP1124P 11 3 MIDI implementation Real Time Commands Local ON OFF Function Transmitted Recognized Remarks Basic Default OFF 1 16 OFF 1 16 memorized Channel Changed OFF 1 16 OFF 1 16 bull Default 1 2 3 4 1 2 3 4 Mode Messages X X Altered X X X X Note OFF X X Key s X X Pitch Bender x xX Contro Progr O 0 9 O 0 9 Change True 1 10 1 10 System Exclusive E 0 4 System Song Pos Common Sond sel Tune System Clock LJ dH TTT Aux All notes OFF Messages Active Sense Reset Notes Ses O YES X NO Mode 1 OMNI ON POLY Mode 2 OMNI ON MONO Mode 3 OMNI OFF POLY Mode 4 OMNI OFF MONO Tab 11 4 MIDI implementation chart Parameter Name Display Range Midi Control Control Value Number Range LEDs ae RI Couple Left Righ INon_ INoff IN flashing 10 5 11 0 3 Filter Select 1 12 Filter Mode OF PA AU SI Engine Frequency 20 Hz 20 kHz Fine 1 60 Oct 9 410 Bandwidth 1 120 Gain Feedback Sensitivity Store In Out Tab 11 5 Controller functions with MIDI 22 11 APPENDIX FEEDBACK DESTROYER PRO DSP1124P
48. ure that there is enough system headroom should it become necessary to raise the volume level during the concert Experience has shown that musicians want to have the volume of their instrument increased on the monitor as the concert goes on With the FEEDBACK DESTROYER PRO you can turn up the volume without having to fear feedback problems When the show begins you should set several filters to Auto mode in order to suppress feedback produced by moving vocal microphones More information on Auto mode can be found in chapters 5 and 6 3 5 DSP1124P ARCHITECTURE PRESETS FILTERS OPERATING MODES 13 FEEDBACK DESTROYER PRO DSP1124P 6 OPERATING MODES OF THE DSP1124P The individual filters on the BEHRINGER FEEDBACK DESTROYER PRO can operate in four different modes see L7 An additional mode called Locked mode will be described specifically Basically each of the 2 x 12 filters on the DSP1124P can be set to any of the four operating modes To meet more complex requirements with regard to flexible signal processing these modes can be combined in a program and stored in a preset 6 1 Off mode OF In Off mode the corresponding filter is deactivated and can be activated by selecting one of the modes described below 6 2 Manual filters PA parametric equalizer To raise or lower specific frequencies in level you can select these frequencies directly by setting the manual filters to Parametric EQ mode Each f
49. ys be used pre compressor in this way the signal is taken at the insert jack passes the DSP1124P then the compressor and is finally routed back to the insert jack Ideally your mixer has sub groups with dedicated insert points to connect the DSP1124P Route all channels that are susceptible to feedback e g all vocal mics to one sub group While the other signals e g line level signals low level instrumental mics pass unaffected all critical microphone channels are monitored by the DSP1124P If your mixer has no sub group inserts we recommend that you connect the DSP1124P as follows connect the sub group output to one input on the DSP1124P and the corresponding output to a free line input of a mixing console channel or one of the Aux Return inputs on the console As long as ENGINE L and ENGINE R are not linked you would even have the second channel of your FEEDBACK DESTROYER PRO free for other applications e g channel inserts 2 APPLICATIONS 9 FEEDBACK DESTROYER PRO DSP1124P 2 4 Using the FEEDBACK DESTROYER PRO in a studio environment With its highly flexible configuration the DSP1124P also delivers good results in a professional studio or home recording environment as it provides a maximum of 12 fully parametric equalizers per channel in Parametric EQ mode Thus you can realize any application ranging from slight processing to the total manipulation of music signals For example you can use the DSP1124P as an equalizer fo
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