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Behringer DSP1100P User's Manual

1. e O 2 Sc cp 3 iO O e y 2 w Y o o n c gt 5 c 0 O Q aa a Oud Otd uaAOuLSaa wowed BaAOULS3O FEE www behringer de taui EG Declaration of Conformity BEHRINGER Spezielle Studiotechnik GmbH acc to the Directives 89 336 EWG and 73 23 EWG BEHRINGER INTERNATIONAL GmbH Hanns Martin Schleyer StraBe 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 Type designation and if applicable Article N which refers to this declaration is in accordance with the following standards or stan dardized documents EN 60065 EN 61000 3 2 EN 55020 EN 61000 3 3 EN 55013 EN 55022 The following operation conditions and installation arrangements have to be presumed acc to Operating Manual BEHRI INTERNATION e Gmb Dasar wey Alpesh 0 47 Willich 01 10 1998 B Nier President Name address date and legally binding signature of the person responsible 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 CAUTION RISK OF
2. Ground Shield 2 hot ve 3 cold ve Output For unbalanced use pin 1 and pin 3 have to be bridged Fig 5 2 Different plug types 5 4 MIDI connections The MIDI standard was developed in the early 1980s to allow electronic musical instruments from different manufacturers to communicate with each other The use of MIDI has developed over the intervening years to the stage where it is now common to find complete recording studios operating entirely on a MIDI basis The centerpiece in such a studio is usually a computer running a sequencer software which not only controls various keyboards samplers and sound modules but can also run the programming of outboard effect devices typically digital reverberation and delay units The FEEDBACK DESTROYER PRO may be controlled in real time in this studio environment I MIDI for Musical Instruments Digital Interface The MIDI connectors found on the rear panel are of the universally used 5 pin DIN type You require suitable MIDI cables to connect the FEEDBACK DESTROYER PRO to other MIDI devices Normally complete cables will be purchased for this use you can of course make your own using a high quality cable with two cores and shielding like microphone cable with as connectors two good 180 degree DIN plugs Pin 2 center is con nected to the cable s shield pins 4 and 5 left and right next to 2 carry the two cores pins 1 and 3 are not used MIDI cables should have a maximum length
3. Up to now sound engineers have used conventional 1 3 octave equalizers to suppress unwanted feedback Now the BEHRINGER FEEDBACK DESTROYER PRO gives you the option to delegate this task to the FEEDBACK DESTROYER PRO so that you can pay your music your undivided attention instead of having to suppress feedback with graphic EQ s using a trial and error approach To fully understand how the BEHRINGER FEEDBACK DESTROYER PRO works you will need to know the meaning of a few fundamental terms used in signal equalization such as A GB decibel A bandwidth quality factor Q A octave 1 3 octave With the FEEDBACK DESTROYER PRO as with any other type of equalizer the amount of boost attenuation applied to a specific frequency is expressed in decibels dB What s a decibel The abbreviation dB is nota unit although often used as one but describes a logarithmic proportion The entire dynamic range of human hearing from the threshold of audibility to a jet airplane see fig 4 1 starts with about 0 00002 Pa threshold of audibility and goes up to 113 Pa threshold of pain 4 TECHNICAL BACKGROUND 19 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 perc
4. 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 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 washbowl 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 am
5. X Velocity Note ON X X Note OFF X X Key s X UA Pitch Bender Xx o Control Progr O 0 9 Change True 1 10 t a System Exclusive System Song Pos Common Sorig Sel Tune System Clock Real Time Commands Local ON OFF tte HH Aux All notes OFF Messages Active Sense Reset Notes OO 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 6 4 MIDI implementation chart 30 6 APPENDIX 6 4 Specifications Analog Inputs Connectors Type Impedance Nominal Operating Level Max Input Level Analog 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 Fuse Power Consumption Mains Connection Physical Dimensions H W D Net Weight Shipping Weight XLR and 1 4 jack RF filtered servo balanced input 60 kOhms balanced 30 kKOhms unbalanced 10dBV to 4dBu 16 dBu at 4 dB nominal level 2 dBV at 10 dBV nominal level XLR and 1 4 jack 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 lt 76 dB 5 Pin DIN Socket IN OUT THRU 20 bit Sigma Delta 64 128 times O
6. a studio environment With its highly flexible configuration the FEEDBACK DESTROYER PRO also delivers good results in a profes sional studio or home recording environment as it provides a maximum of twelve 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 FEEDBACK DESTROYER PRO as an equalizer for your studio monitors or to enhance the EQ s in your mixing console as these are often only semi parametric 3 6 Using the FEEDBACK DESTROYER PRO as an effects device With its MIDI interface the FEEDBACK DESTROYER PRO can also be used as a programmable EQ as a control unit in a guitar rack or in combination with a keyboard If you own a MIDI footswitch with an expression pedal you can produce interesting wah wah effects by modifying the filter frequency with the expression pedal while playing A similar effect is produced when the FEEDBACK DESTROYER PRO is used to generate sweeping sounds Emphasize or de emphasize a particular frequency and change the filter frequency con tinuously via MIDI The resulting effect sound like a heavily modulating phaser although the phasing effect is a different phenomenon from a physical point of view The advantage in this application is that the sweeping sound is MIDI controllable and can be synchronized to for instance a sequencer This effect is very popu
7. below the audible threshold However when using extreme equalizer settings some quantizing side effects may be detected Digital sampling has one further very disturbing effect it is very sensitive to signal overload Take the following simple example using a sine wave If an analog signal starts to overload it results in the amplitude of the signal reaching a maximum level and the peaks of the wave starting to get compressed or flattened The greater the proportion of the wave being flattened the more harmonics audible as distortion will be heard This is a gradual process the level of distortion as a percentage of the total signal rising with the increase of the input signal level 24 4 TECHNICAL BACKGROUND Quantization Steps wh A Continuous Analog Signal 0111 Y Quantization Errors Noise 1 2 3 4 5 6 7 8 Conversation Rate Fig 4 4 Transfer diagram for an ideal linear ADC 2 s complement representation Digital distortion is quite different as illustrated by this simplified example If we take the situation where a 4 bit word has the positive maximum value of 0111 and add to it the smallest possible value of 0001 in other words the smallest increase in amplitude possible the addition of the two results in 1000 the value of the negative maximum The value is turned on its head going instantly from positive max to negative max resulting in the very noticeable onset of extreme
8. equalizers Parametric equalizers unlike graphic EQ s allow for selecting both the processing frequency and the band width so that it is possible to process any given signal in full detail Naturally this equalizer design can also be used to filter unwanted signals however only if these signal have a fixed frequency If the frequency changes the parametric equalizer would have to be readjusted all the time The majority of analog parametric EQ s suffers from a quite fundamental drawback they are operated by means of rotary controls i e contrary to graphic EQ s it is much more difficult to make necessary readjustments quickly 4 4 The FEEDBACK DESTROYER PRO As you have seen suppressing feedback with a standard graphic and or parametric equalizer often means that you have to accept compromises Since feedback signals fail to comply with the standard ISO frequencies of graphic EQ s and additionally can have changing frequencies their suppression with a graphic equalizer is more or less a matter of luck Example let s assume a feedback signal at 1 8 kHz is produced during a concert To suppress it you ve got to cut the 1 8 kHz band on your EQ However since graphic equalizers only have 1 6 and 2 kHz bands you might need to attenuate both bands Result although feedback will be eliminated due to the low filter quality you will also fade out many music signals which you d actually wish to keep Additionally cutting these
9. grid superimposed on the curve The higher the sampling rate and the higher the number of bits the finer the grid The analog signal traces a continuous curve which very seldom coincides with the cross points of the grid A signal level at the sampling points will still be assigned a digital value usually the one closest to the exact representation This limit to the resolution of the grid gives rise to errors and these errors are the cause of quantizing noise Unfortunately quantizing noise has the characteristic of being much more noticeable and unpleasant to the ear than natural analog noise In a digital signal processor such as the DSPs in the FEEDBACK DESTROYER PRO the data will be modified in a number of ways in other words various calculations or processes will be done in order to achieve the desired effect on the signal This gives rise to further errors as these calculations are approxima tions due to their being rounded off to a defined number of decimal places This causes further noise To minimize these rounding off errors the calculations must be carried out with a higher resolution than that of the digital audio data being processed as a comparison an electronic calculator may operate internally with a greater number of decimal places than can be shown on its display The DSPs in the FEEDBACK DESTROYER PRO operate with a 24 bit resolution This is accurate enough to reduce quantizing noise to levels which are usually
10. in the Operating Instructions All other servicing should be referred to qualified service personnel FEEDBACK DESTROYER PRO Ultra high performance 2 channel digital Feedback Destroyer Parametric EG powered by a 24 bit high speed DSP 1 O FEEDBACK x m Mnonm sun ni O DESTROYER SS Doo E T eee StS wees a E FED urate amen Sco 7 ma L sear DUAL BANE BLE 1 HAI shh BEHRINGER 5 5 es men gt O ma O A 20 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 them 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 software allows for total remote control via PC download at www behringer de A Two software engines give you independent or coupled functions on le
11. in the main Mix DUS e errereen 16 3 4 Using the FEEDBACK DESTROYER PRO in single channels and sub groups s 18 3 5 Using the FEEDBACK DESTROYER PRO in a studio environment eaaa eaaa eaaa e ene e ae 18 3 6 Using the FEEDBACK DESTROYER PRO as an effects device _ aana aee eaaa eea nenen n ene 18 3 0 Special eS saen raa aa he St ani eg LAK AEN na ii 19 3 6 Ae Digital OVEMOW is aiet eselet o eaa a baat a paga an e aa daa te eda di del dales nadae ian 19 3 7 2 Tuning in P A and monitor systems sai anen eaaa eea a eea anaa e aana aaa Nana a Naane 19 4 TECHNICAL BACKGROUND nnnaeeeeeennnnnn anae aana anana nnn anana nan anana nn nne wana nan anae nnmnnn nenna 19 A Air Feedba k ian aan ahi pa aas aaa a Na E TE aaa E ka aa a Tg a agi oan fered aad a a ee a aaa eas 21 42 Graphic SQualliZeOrs a ase E gk A neh AG aa odias 22 4 3 Parametric Squall zZenS naa asa a aan pega ad ga a aka daha heel ii es 23 4 4 The FEEDBACK DESTROYERPRO veraf 5456 peten ng kabeg enk a ginarap a daa a a eag daa a en aaa E anga 23 4 5 Digital AUTO PrOCESSING aneta aan iv ang a BN tae eee Te nde in eh a dee aaa Raka 24 5 INSTALLATION lt a 25 9 4 Rack mount saa Pah tt 25 92 MIS SONGGON a a a a aka an aaa dan ba naa a D naa octet ad tab T a ke aga a gawan ng aa D a 25 Fo AUGIO CONMECTONS aaa aia 26 5 4 MIDI COnMECHONS sic tee oes cede eae ai ee As cedars Ba aga AA a TA AGA SDA ee ee 27 5 5
12. kHz 20 kHz 18200 18400 18800 19200 19600 20000 20 kHz Tab 6 1 frequency chart 28 6 APPENDIX 6 2 Preset table 4 STEREO PARAMETRIC EQ Preset with 12 ISO frequencies all set to 1 3 Oct Gain 0 dB Couple 125 Hz 160 Hz 200 Hz 250 Hz 315 Hz 400 Hz 500 Hz 630 Hz 800 Hz 1k 1 25k 1 6k PC 5 STEREO PARAMETRIC EQ Preset with 12 ISO frequencies all set to 2 3 Oct Gain 0 dB Couple 40Hz 63Hz 100 Hz 160 Hz 250 Hz 400 Hz 630 Hz 1k 1 6k 2 5k 4k 6 3 k 6 2 x MONO Sample monitoring left for handheld lead microphone s right for fixed backing ones A PA PA d PAd Channels coupled changes on one channel are valid for both 9 MONO FREE L R SI SI SI SI SI SI SI AU AU PA PA PA SI SI SI SI SI SI SI AU AU PA PA PA 10 STEREO FREE Couple SI SI SI SI SI SI SI AU AU PA PA PA Tab 6 2 Factory presets 6 APPENDIX 29 6 3 MIDI implementation Parameter Name Display Range Midi Control Control Value Number Range LEDs Couple Left Right INon_ INoff IN flashing A 11 Filter Select 1 12 Filter Mode OF PA AU SI Engine Frequency 20 Hz 20 kHz Fine 1 60 Oct 9 10 Bandwidth 1 120 Gain Feedback Threshold Store In Out Tab 6 3 Controller functions with MIDI Basic Default OFF 1 16 JOFF 1 16 memorized Channel Changed OFF 1 16 OFF 1 16 Default 2 3 4 2 3 4 Mode Messages Altered 4 x Xx X X ere empl True Voice X
13. minimum A The filters can be operated both in manual and automatic mode Naturally you can combine both modes in single programs A Clearly structured entry keys give you direct access to essential parameters while the jog wheel allows you to conveniently adjust them as desired Favorite settings can be stored in 10 preset programs Of course the FEEDBACK DESTROYER PRO fully integrates into any MIDI system A This enormous processing power is provided by a software separated 24 bit Dual Engine processor The FEEDBACK DESTROYER PRO precisely converts your music with 20 bit AD DA converters using a pro level sampling rate of 46 kHz The high grade components and circuitry make sure that the quality of the 24 fully parametric EQ s meets studio standards 4 TECHNICAL BACKGROUND 23 A Quick filter settings can be realized by using standard ISO values for the allocation of frequency bands Subsequently you can fine tune the frequency of your choice 4 5 Digital audio processing In order to convert an analog signal e g music into a series of digital words a so called Analogue to Digital Converter or ADC is used The converter functions by viewing the signal entering it a given number of times over a period of time e g 44 100 times per second giving a rate of 44 1 kHz and in each case measuring the signal amplitude and giving ita numerical value This form of measuring the signal regularly over a period of time is kno
14. not exceeding 45 feet 5 INSTALLATION 27 5 5 Operating level Switch To adapt the FEEDBACK DESTROYER PRO to the used operating level the unit can be switched between homerecording level 10 dBV and professional level 4 dBu Use the LED bars on the frontpanel to deter mine the optimal setting The Level indicators should read somewhere between 10 and 6 dB while the clip LED should not light up at all 6 APPENDIX 6 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 fof ISO frequency 12 1 third 20 60 octave idealized ISO interval fi f 20 increment Af Display 9 60 8 60 6 60 4 60 2 60 ISO 2 60 4 60 6 60 8 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 36 2 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 114 115 118 120 123 125 129 132 136 139 143 125 Hz 160 Hz 144
15. signal distortion 5 INSTALLATION Your BEHRINGER 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 RS 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 5 1 Rack mounting The BEHRINGER FEEDBACK DESTROYER PRO fits into one standard 19 rack unit of space 1 3 4 Please allow at least an additional 4 depth for the connectors on the back panel Be sure that there is enough air space around the unit for cooling and please do not place the FEEDBACK DESTROYER PRO on high tem perature devices such as power amplifiers etc to avoid overheating 5 2 Mains connection The mains connection of the FEEDBACK DESTROYER PRO is made by using a mains cable and a standard IEC receptacle It meets all of the international safety certification requirements I Please make sure that all units have a proper ground connection For your own safety do not remove the ground connection within the units or at the supply or fail to make this connection at all Before you switch on the unit check that it is configured to match your AC mains voltage requiremen
16. 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 correction The MIDI links IN OUT THRU are made over standardized DIN patch cords The data communication is isolated from ground by opto couplers 1 3 Hook up amp go We know you are anxious to get to work with your new FEEDBACK DESTROYER PRO the band is probably setting up now you re half an hour behind schedule it is hectic dark and damp If you promise to read the whole manual tomorrow or at least next week we show you how to get up and go and get through this night alive If you ve used a variety of PA gear you ll have the FEEDBACK DESTROYER PRO up and running after quickly perusing the manual If you re not so experienced don t worry it will come to you In both cases still read the manual The following may then help you get it happening with a minimum of fuss I In order to use the full potential of your FEEDBACK DESTROYER PRO please bear in mind the following points 1 No device will fully compensate for wrong microphone handling Be aware that there are some actions on stag
17. the speaker boxes or the speakers are badly positioned monitor sys tem A The microphone channels on the mixing console are not set up correctly A The microphones used are not operated in accordance with their directivity e g cardioid super cardioid A The acoustic properties of the room are unfavorable Tiled walls and floors heavily reflect the sound All rooms feature a number of natural resonances sometimes with high quality factor At such frequencies the potential risk of feedback is increased In addition to the acoustic properties of the room the relative position of the microphone with reference to the loudspeaker plays a decisive role for the generation of feedback In practice this phenomenon can be observed with microphone held directly in front of a speaker thus producing feedback Of course the first thing to do in such a case is to move the microphone away from the speaker When doing so you can hear the feedback frequency change because a variation in the distance between microphone and loudspeaker results in a variation of feedback frequencies It is therefore very difficult to anticipate feedback frequencies and avoid their occurrence by means of equalizers with fixed settings 4 2 Graphic equalizers Graphic equalizers are part of the audio engineer s standard equipment for live applications In this context graphic EQ s usually perform three main tasks A Fine tuning the mix to your taste and the style of mus
18. 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 gt If the 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 fits into one standard 19 rack unit of space 1 3 4 Please allow at least 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 overheat ing 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 see chapter 5 for details The mains connection of the FEEDBACK DESTROYER PRO is made by using a mains cable and a standard IEC receptacle It meets all of the international safety certification requirements Please make sure that all units have a proper ground connection RS 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 1 INTRODUCTION 7 Electrostatic charges might affect the operation of
19. 1 INTRODUCTION 1 A DHAN NAD AA A aaa de Kasa NA 7 VU TAG E SIN GONG lealtad 7 1 2 Before yOu begini A i 7 113 HOOKUP BQO oratorio gana aa Nga a Aah Balag E cutee an Tg age pek nagan na satay Da baat 8 14 CONTO elements iii wd ada paka 9 1 4 1 Front panel control Slements Laka aba a eka kasa lala 9 1 4 2 REAL DANG erai aaa bia ANG a a a Agng Ana aaa naa a keba a a Aga TK aa eg ava 11 os cbandesderestenscdee ca stenssccusestveetecsscarsscrscessesvceteoceisseversesereescscacesterevessvevsiesies 11 2 1 Activating deactivating the filters 0 0 cece cece ee eeeeeeeeeeeeeeeeecaeeeceeeeeceeeeceeeeesteeeneteeeenseeeees 12 2 2 Manual filters parametric egualizer aaa aana eaaa aaa eaaa naa anaa nne nne anae eee nne 12 2 3 Automatic TIS aaa rana ba Sinise ke dee ele ld a TEE a Tg Gada 12 2 4 Working With progra nS odesa senesced an saa aii 12 2 4 1 Recalling program aaa a anae a ea ge aa aa ag an aaa nag aan a 12 2 42 CHOICE of mode ccoo a cued AENG AR EA aa wide ANAA ah ts EA aa A aaa ag ag taut A iga ng Aga NE ai 13 2 4 3 Editing filter parameters aaa aee e neran a naen N Nan Nan Anaa Naane anane 13 2 4 4 Srm programs ciak dasan aa nee a aa aa a saga dan EA nak dagan a Ad ag aa ea a Ba aa tlf 14 2 0 MIDIERON esoo ASA 14 3 APPLICATIONS 0 i n 15 SE NO 16 3 2 Using the FEEDBACK DESTROYER PRO in the monitor path oooooioccocnoccociccccccoocccconnnccconnncnnno 16 3 3 Using the FEEDBACK DESTROYER PRO
20. 146 150 153 157 160 164 168 172 176 180 160 Hz 20 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 32 kHz 286 289 296 302 309 315 324 332 341 349 358 32 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 15300 15650 16000 16400 16800 17200 17600 18000 16 0
21. 8 1 INTRODUCTION 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 discrete frequencies like turntable resonances and fixed micro phone and monitor positions If feedback is detected the filter will deal with that frequency and the status of that filter will change to Locked LO It will only widen its bandwidth or increase the attenuation but it will not release that setting to destroy a new feedback In Auto mode the oldest filter will be released to destroy a new feedback 1 4 Control elements Q remeros on a ze rao Be 1008 MA as a O Fig 1 1 FEEDBACK DESTROYER PRO front panel The BEHRINGER FEEDBACK DESTROYER PRO is equipped with ten parameters keys one jog wheel rotary control which is used to alter the selected parameter or preset and a numeric LED display Each of the 24 filters has one LED assigned to it which informs you about the status of the filter By means of an 8 stage LED met
22. ODE key and turning the jog wheel The display message L locked informs you that a filter from the Single Shot mode is already suppressing a feedback You can unlock such a filter by switching it back to single mode As soon as anew feedback will be found the FEEDBACK DESTROYER PRO switches the filter from the old frequency to the new one If you leave the Auto or Single Shot mode and enter the Parametric mode the filter keeps all parameter settings In order to avoid an inadvertent change the filter mode selection takes place after a period of approximately one second This is indicated by a dot in the lower right corner of the display By pressing and keeping the FILTER MODE and the GAIN key for about 2 seconds you can adjust the feedback threshold within a range of 3 dB to 9 dB 2 4 3 Editing filter parameters To change filter settings the filter has to situate in Parametric EQ mode In this case you can adapt the center frequency by pressing the FREQUENCY key Depending on the frequency either the Hz or kHz indicator to the right of the display lights up If you want to lift the frequency to e g 2700 Hz turn the jog wheel until the ISO frequency 2 5 kHz see table 6 1 standard ISO frequencies closest 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 mathematica
23. ORE and start your sequencer If you press IN OUT again you will leave the MIDI setup You can at all times press any other key to leave the MIDI setup directly I During a bulk dump all audio functions of the FEEDBACK DESTROYER PRO will be deactivated The full featured MIDI implementation of the FEEDBACK DESTROYER PRO allows for easily integrating the FEEDBACK DESTROYER PRO into any MIDI system A MIDIIN Any MIDI data sent to the FEEDBACK DESTROYER PRO sequencer MIDI footswitch etc are received via the MIDI IN jack For example if you wish to use the FEEDBACK DESTROYER PRO as an effects device for your guitar rack you can connect the MIDI IN jack to a MIDI footswitch that allows for selecting program presets If your rack includes another MIDI effects device e g a multi effects processor the data sent from the MIDI footswitch can be routed via the FEEDBACK DESTROYER PROs MIDI THRU jack to your multi effects processor A MIDI THRU The MIDI THRU jack is used to loop through incoming MIDI data i e any control 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 FEEDBACK DESTROYER PRO We are currently developing a software editor which will allow for storing single items of the FEEDBACK DESTROYER PRO s internal data on an external medium Thus it will be po
24. OYER PRO Continue to move up the faders until about three or four filters are suppressing various feedback signals Subsequently cut back the volume to the level required for the show In this way you can be sure that there is enough system headroom should it be necessary to raise the volume level during the concert If you have more than one FEEDBACK DESTROYER PRO for the monitor path you should use these devices to protect critical signal paths Experience has shown that musicians want to have the volume of their instru ment 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 In Auto mode the FEEDBACK DESTROYER PRO automatically tracks and suppresses feedback signals with varying frequen cies 4 TECHNICAL BACKGROUND The steady development of modern sound reinforcement systems has made it possible to produce almost any level of loudness Yet the increase in loudness goes in line with a need for optimized audio quality Today audiences expect to hear a powerful and transparent sound Nothing can spoil a live event more than interfer ence and feedback High volume levels and the use of ever sophisticated monitor systems with a great number of speaker boxes have increased the potential risk of feedback loops
25. Omni mode The third page allows for configuring controller commands On its right hand side the display reads a capital C Controller The jog wheel selects one of the following four controller modes Display Mode 0 No controller data are transmitted 1 Controller data are received but not transmitted 2 Controller data are transmitted but not received Controller data are transmitted and received As 3 with additionally the automatic filter parameters IN Tab 2 2 Controller settings I When you choose value 4 the FEEDBACK DESTROYER PRO will also send the settings of the automatic filters The fourth page gives you access to the program change setup The display reads a capital P Program Here too four modes can be selected with the jog wheel as follows Mode No program change data are transmitted Program change data are received but not transmitted Program change data are transmitted but not received wo Program change data are transmitted and received Tab 2 3 Program change settings The fifth page of the MIDI menu shows the store enable flag represented by a capital S in the display The value 0 disables the reception of controller 18 and therefore protects the user presets from being modified 14 2 OPERATION 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 s
26. Opesrating level SWIC jasa lente ana aa ajaka Mate Seale ag be aa Tang a abana densidad lle dana Pean aa aapa pa 28 6 APRENDE ooo inn tet isesiceesinrsvcnedsthsdesnsivectesen 28 6 1 Frequency chalna een A aa a tena 28 O12 Presets eaaa Ate Ae Ae ets AM da ala te Aka IN od Aes A tai tt A elle 29 6 3 MIDLImplementation cc tives AE oe eee ie a ee hee 30 GA POCA MO aria 31 RAI AAA O 32 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 internal signal processing circuitry the unit can also be used as a high end equalizer for stage and studio applications The MIDI interface allows for integrating the FEEDBACK DESTROYER PRO into any MIDI system and the open system architecture enables you to update the system software whenever you want In short the BEHRINGER FEEDBACK DESTROYER PRO was built for the next millennium RS The following operational manual will introduce you to the BEHRINGER FEEDBACK DESTROYER PRO and its various functions After reading the manual carefully make sure it is always on hand for fu
27. Shot mode the filter automatically selects an ideal setting for feedback suppression But in Auto mode a locked filter tracks and suppresses the feedback frequency even as it changes 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 these will be suppressed too in Auto mode because from a physical point of view it is impossible to distinguish wanted from un wanted feedback Please read the hints given in section 6 3 to work around this situation 2 4 Working with programs In order to store your favorite settings the FEEDBACK DESTROYER PRO has ten user presets and a default preset All operating parameters can be stored i e 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 be lost In the default preset display which serves as a basis for creating your own programs all filters remain in the parametric mode with bandwidth set to 1 octave a frequency of 500 Hz and 0 dB gain 2 4 1 Recalling programs After power up the FEEDBACK DESTROYER PROs display reads the number of the preset last used The jog wheel allows you to conveniently select the preset of your choice Turn the rotary control to the left to step through the programs in
28. andard 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 of the selected filter The adjustable value ranges from 2 octaves 120 60 octave down to 1 60 octave The GAIN key sets the desired boost cut of the selected filter in dB 16 dB 48 dB The IN OUT key allows for optional bypassing of the parametric filters or all filters By shorty pressing the IN OUT key only the parametric filters will be deactivated and the green LED ends up lighting Hold down the IN OUT key for about two seconds to deactivate all filters A cyclically flashing LED will indicate this Total Bypass mode One further pressing reactivates all filters The LED flickers when relevant MIDI data is received Please use the Total Bypass function only with utmost caution because by deactivation the FEEDBACK DESTROYER PRO possibly unlocks suppressed feedbacks Any modifications made to a preset can be stored with the help of the STORE key Ten presets are available on the FEEDBACK DESTROYER PRO Press the IN OUT and the STORE keys the FEEDBACK DESTROYER PRO automatically enters MIDI mode 1 INTRODUCTION IS 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 t
29. annoying feedback Monitor systems are particularly susceptible to feedback because on stage there are usually lots of microphones and speakers located in close proximity to each other Vocal mics are especially critical in this context as their levels must be relatively high to be able to compete with other instruments Additionally vocal mics are not always used at fixed positions It has therefore proven useful to protect the monitor paths against feedback An agreeable side effect when using the FEEDBACK DESTROYER PRO in the monitor path is the positive influence on both sound and loudness of the monitors because filtering interference makes the monitor sound more transparent and feedback suppression enables you to increase the volume level of the monitors which is usually highly welcomed by the musicians performing on stage Monitor System i P A System eo oo aff Monitor Out Mi 000006060 m i 00000000 m Mi 00000600 m Mi 00000000 m m 000600600600 m Ii 00000000 m Li 00000000 m i 600060606060 m MH 600606060 m MH 0000606060 mi MH 000660000 m Mi 00000000 m D 0006000600 m IH 0006060600 MI 00 00006600 m i 00000000 m Fig 3 1 Using the FEEDBACK DESTROYER PRO in the monitor path 3 3 Using
30. at its sole discretion either repair or replace the product 2 If the warranty claim proves to be justified the product will be returned freight prepaid by BEHRINGER INTERNATIONAL within Germany Outside of Germany the product will be returned at the buyer s expense 3 Warranty claims other than those indicated above are ex pressly excluded 3 RETURN AUTHORIZATION NUMBER 1 To obtain warranty service the buyer must call BEHRINGER INTERNATIONAL during normal business hours BEFORE return ing the product Tel 49 0 21 54 92 06 66 All inquiries must be accompanied by a description of the problem BEHRINGER INTERNATIONAL will then issue a return authorization number 2 The product must be returned in its original shipping carton together with the return authorization number to the following address BEHRINGER INTERNATIONAL GmbH Service Department Hanns Martin Schleyer Str 36 38 D 47877 Willich M nchheide 3 Shipments without freight prepaid will not be accepted 4 WARRANTY REGULATIONS 1 Warranty services will be furnished only if the product is accompanied by an original retail dealer s invoice Any product deemed eligible for repair or replacement by BEHRINGER INTER NATIONAL under the terms of this warranty will be repaired or replaced within 30 days of receipt of the product at BEHRINGER INTERNATIONAL 2 If the product needs to be modified or adapted in order to comply with applicable technical or sa
31. d inputs and outputs The new 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 correc tion 6 dB IS 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 FEEDBACK DESTROYER PRO Output Cable Input Pin 1 Ground 1 Shield Pin 2 Signal O Signal Hum Positive gt Hum Signal Signal Hum Pin 3 Signal Negative Hum Signal 2 x Signal Signal 6 dB RFl and Hum Fig 5 1 Compensation of interference with balanced connections 26 5 INSTALLATION Unbalanced use of Balanced use of mono 1 4 jack plugs stereo 1 4 jack plugs Tip Tip Signal hot ve Ring cold ve Sleeve Ground Shield Sleeve Ground Shield Tip Tip Ring Sleeve Sleeve Strain relief clamp 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 1
32. descending order Turn it to the right to increment the programs The default preset is located in front of the first program I Please note that the FEEDBACK DESTROYER PRO generally activates the newly selected presets 12 2 OPERATION 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 time to specifically select the preset of your choice instead of any of its neighbors 2 4 2 Choice of mode Each filter mode has two letters assigned to it who appears in the display after pressing the FILTER MODE key The following display messages can be recognized Display Mode of baal Sane EQ OF PA AU Auto 7 Single ra to ikat Tab 2 1 FEEDBACK DESTROYER PRO operating modes To change the filter mode you first have to press the FILTER SELECT key to specify the number of the filter 1 to 12 with the jog wheel Using the ENGINE keys you can not only select the left or right channel but also both ones at the same time Then you can choose the filter mode by simply pressing the FILTER M
33. e FEEDBACK DESTROYER PRO in the main mix bus 3 APPLICATIONS 17 3 4 Using the FEEDBACK DESTROYER PRO in single channels and sub groups pal Sub Group Insert Master Out 660060606060 m I 6006006000006060 m I 0000060060 m m 0006000000 m MiI 006000060060 m Mt G0 066060 m I 00606000060 m U 000006600 m m 000000600 m m 00000000 m Ml 00000000 m I 0606060600660 m I 0600666006606 m MH 00000000 m i 0606000000 m I 00000000 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 your mixing console by routing any channels susceptible to feedback e g all vocal mics to one or several sub groups Thus all less critical signals e g line signals lower level instrumental microphones can pass through the mixing console unaltered while only the critical microphone channels are monitored from the FEEDBACK DESTROYER PRO In this way you can protect your P A system against feedback and still use wanted feedback signals 3 5 Using the FEEDBACK DESTROYER PRO in
34. e may still result in feedback Allow some time for experimentation you may need to get used to the DSP1100P over several gigs The FEEDBACK DESTROYER PROSs single shot filters are well suited to automatically attenuate resonances which are most likely to cause feedbacks The most probable use for the FEEDBACK DESTROYER PRO is feedback suppression in a stage monitor system or ina PA system The unit should be placed between your console and the poweramplifiers 1 First connect the unit as seen below 2 Check the operating level switch on the back panel For most PAs this should be set to 4 dB 3 On power up the Jog Wheel can select any of 10 programs Programs 1 3 give you instant feedback suppression for all 12 filters Choose Program 8 or 10 for stereo processing of the master output RS Note that the Bypass switch can be either Off or On but NOT flashing When Bypass is flashing the whole unit is bypassed But in the other two modes filters set to Auto or Single Shot will still operate Fig 1 1 Monitor application Fig 1 2 PA application I If you are using the FEEDBACK DESTROYER PRO for two separate monitor channels the L amp R Engines should not be coupled
35. eived 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 quantity To make clear which reference quantity is meant the abbreviation SPL sound pressure level is sometimes used together with dB Starting with a value of 0 dB SPL 2 10 Pa for the threshold of audibility any dB values can be calculated by means of the following formula L 20 log 2 Py L e g the absolute sound pressure level in dB SPL p e g a reference sound pressure of 0 00002 Pa p the sound pressure in Pa produced by the sound source to be calculated log decimal logarithm Jet Engine gt E o Threshold Of Pai Power Drill to o o Machinery Hall Loud Office Normal Conversation D t Quiet Apartment S o s A 0 a D gt 4 D _ gt wn ip D _ E D Cc o 0 Recording Studio Falling Leaves 1 1 Threshold Of Audibility Fig 4 1 Dynamic range of human hearing As can be seen human hearing has a very wide dynamic range of about 130 dB which surpasses the range of a DAT or CD player with an approximate range of 96 dB From a physical point of view a 3 dB boost corresponds to an increase in power by the factor 2 However the human ear perceives a signal to be twice as loud as before only if it is b
36. emented or decremented in Edit mode 4 The indicators Hz kHz 1 60 and dB to the right of the display light up when you change the associated parameters in Edit mode For example if you raise the level of a filter the dB indicator lights up A to the left of the preset number signals that the level is being increased 1 INTRODUCTION 9 6 8 10 12 14 FILTER SELECT ENGINE L FREQUENCY BANDWIDTH IN OUT gt FILTER MODE ENGINE R FINE 1 60 OCT GAIN STORE BE O LA O POWER 11 12 11 12 13 14 15 10 AA 11 13 f 0 Fig 1 3 Function 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 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 immediate effect When the jog w
37. equencer In this case the actual settings will be stored directly to the location that corresponds to the controller value I gt 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 of this mode is to facilitate MIDI backup and restore operations without express confirmation at the FEEDBACK DESTROYER PRO It is therefore recommended to disable flag 0 this mode as soon as the intended data transfer has ended This is done automatically when you switch off the FEEDBACK DESTROYER PRO On the sixth and presently the last page you can access the System Exclusive functions This is indicated by a d for dump in the display To the left of this d a number is displayed 0 means that no SYSEX data will be sent or accepted 1 will enable the FEEDBACK DESTROYER PRO to receive data When STORE is pressed the unit will wait for data this is shown by flashing dots LEDs in the display The MIDI button LED flashes signaling that SYSEX data is being received 2 will enable the FEEDBACK DESTROYER PRO to send a bulk dump Start your sequencer and press STORE on the unit to start the transmission If you press the IN OUT key again on the fifth page the FEEDBACK DESTROYER PRO quits MIDI setup mode To load these settings again select 1 press ST
38. er each of the two fully independent channels can be monitored 1 4 1 Front panel control elements 1 2 3 4 24 FB D FILTER DUAL ENGINE PROCESSOR ar so 1 2 3 4 5 6 7 8 9 10 11 12 L 0 UL d LI LI 30 0 m o am o 40 20BIT AD DA CONVERTER L R 46 KHZ SAMPLING RATE Fig 1 2 Display section DSP1100P 1 The two LED chains read the output signal level in dB referenced to the internal digital maximum If the FEEDBACK DESTROYER PRO is set to Total Bypass mode the level meter displays the input level gt Please note that the nominal level of the FEEDBACK DESTROYER PRO can be selected with the 4 dBu 10 dBV switch located on the back panel 2 The FEEDBACK DESTROYER PRO features 24 filters which can be monitored conveniently with the indicators next to the display Twelve LEDs inform you about the status of the filters of each channel left right A bright LED announces that a filter has been set Cyclically flashing LEDs idicate filters that are searching in Single Shot and Auto mode 3 After power up the LED display reads the number of the preset last used This clearly legible 2 digit numeric display has plus minus indicators to show that parameters are being incr
39. fety 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 modification adaptation irrespective of whether it was carried out properly or not Under the terms of this warranty BEHRINGER INTERNATIONAL shall not be held responsible for any cost resulting from such a modification adaptation 3 Free inspections maintenance repair work and replacement of parts are expressly excluded from this warranty in particular if caused by inappropriate use Likewise the warranty does not cover defects of expendable parts caused by normal wear of the product Expendable parts are typically faders potentiom eters switches and similar components 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 the 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 that are caused by force majeure or by any other condition beyond the control of BEHRINGER INTERNATIONAL 5 Any repair carried out by unauthorized personnel will void the warranty 6 Products whic
40. ft and right channels A Internal 24 bit processing with professional 46 kHz sampling rate A Servo balanced Inputs and Outputs on gold plated XLR and TRS Jack connectors for high signal integrity 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 ensures long life and durability A Internal power supply design for professional applications A Manufactured under the ISO9000 management system 4 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 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 and P A rental companies The task to improve one of our best selling products 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 it was fun too Developing a product usually brin
41. gs 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 1509000 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 of the 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 p Uli Behringer TABLE OF CONTENT
42. h do not meet the terms of this warranty will be repaired exclusively at the buyer s expense BEHRINGER INTERNATIONAL will inform the buyer of any such circumstance If the buyer fails to submit a written repair order within 4 weeks after notification BEHRINGER INTERNATIONAL will return the unit C O D with a separate invoice for freight and packing Such cost will also be invoiced separately 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 INTERNATIONAL 6 CLAIM FOR DAMAGES Failure of BEHRINGER INTERNATIONAL to provide proper war ranty service shall not entitle the buyer to claim consequential damages In no event shall the liability of BEHRINGER INTERNA TIONAL exceed the invoiced value of the product 7 OTHER WARRANTY RIGHTS 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 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 pho
43. he POWER switch to switch the FEEDBACK DESTROYER PRO on or off 1 4 2 Rear panel 17 18 19 i y y y y i THRU LLY BALANCED P DULY BALANCED O EY us O Tim ow ew e 300 Oo DATE CODE woo 20 O OUTPUTS QU 17 Fig 1 4 Rear panel connectors and control elements 17 This is the MAINS CONNECTOR FUSE HOLDER VOLTAGE SELECTOR Before you connect the unit please make sure that the displayed voltage corresponds to your Mains supply Please note that the AC voltage selection is defined by the position of the Fuse Holder If you intend to change the operating voltage remove the Fuse Holder and turn it by 180 degrees before you reinsert it Matching the two markers monitors the selected voltage Please note that depending on the mains voltage supplied to the unit the correct fuse type and rate must be installed see chapter 6 4 SPECIFICA TIONS Please use the enclosed mains cable to connect the unit to the mains power supply Please note that not all appliances can be used with different mains voltage ratings Please check the descrip tion on the back of the unit and the box 18 These are the FEEDBACK DESTROYER PRO s MIDI connectors MIDI OUT THROUGH IN Via these connectors total remote control is possible 19 Please take the time to make a note of the SERIAL NUMBER in t
44. he Q factor the narrower the frequency band that can be cut or boosted On the BEHRINGER FEEDBACK DESTROYER PRO you can adjust the relative bandwidth conveniently with the infinitely variable jog wheel The filter bandwidth can be tuned from 2 octaves 120 60 octaves down to 1 60 octave for fine adjustments 4 1 Feedback Almost every concert goer may have experienced the howling and squealing of an improperly set sound reinforcement system Feedback is one of the main problems encountered during live events A feedback loop is produced when a microphone signal is reproduced by an amplifier system to be picked up again with the same phase by the microphone Thus feedback is built up at all frequencies where the distance between microphone and speaker corresponds to a multiple of the signal s wavelength 4 TECHNICAL BACKGROUND 21 Speaker Box Microphone ERE El BB 0090000 000000 0000 od af Mixing Console Power Amp Fig 4 3 Typical feedback loop Basically any microphone signal passing through an amplifier is liable to generate feedback Unfortunately the feedback frequencies of P A systems differ and even one single system can have varying feedback frequencies as these depend largely on the room acoustics Feedback can be caused by the following condi tions A The microphones are too close to
45. he space provided on the enclosed Warranty Registration Card Put the instruction manual in a safe place and return the completed Warranty Registration Card to us within 14 days of purchase making sure that the dealer stamp has been acquired 20 These are the FEEDBACK DESTROYER PRO s analog OUTPUTS Also on balanced or unbalanced XLR or TRS jacks 21 Use the OPERATING LEVEL switch to adapt the FEEDBACK DESTROYER PRO to different operat ing levels You can select a 10 dBV semi pro level used for home recording and a 4 dBu level used in professional studios 22 These are the FEEDBACK DESTROYER PRO s analog INPUTS The FEEDBACK DESTROYER PRO has both XLR and jack inputs and outputs Each XLR and jack set are wired parallel and can be used either balanced and unbalanced 2 OPERATION The following chapter will familiarize you with the operation of your BEHRINGER FEEDBACK DESTROYER PRO It will provide you with the basic understanding of how to obtain the desired results and should encourage you to experiment with the DSP1100P Please bear in mind that the technical specifications of a unit may determine its limits but the skill of the audio engineer determines how much use can be made from it So do not hesitate to play with the unit just like a musician does with an instrument in order to explore the full functionality of your FEEDBACK DESTROYER PRO The BEHRINGER FEEDBACK DESTROYER PRO can operate in fou
46. heel has not been touched for one second the LED in the display disappears and the program is loaded With FILTER SELECT activated you use the jog wheel to select one of the 12 filters per channel The FILTER MODE key gives you access to the four operating modes OF Parametric EQ PA Single Shot SI and Auto Mode AU In addition you can edit the threshold of feedback suppression 3 to 9 dB by pressing the FILTER MODE and the GAIN key together for about 1 seconds 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 the left and right audio channels simultaneously 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 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 the left and right channels simultaneously Couple mode press both Engine keys at the same time Press the FREQUENCY key to select the frequency you wish to process The FEEDBACK DESTROYER PRO splits up the adjustable frequency range 20Hz to 20 kHz into the 31 standard ISO values of a graphic EQ see 6 1 The FINE key allows you to fine tune the st
47. ic A Fine tuning the mix to the room and speaker acoustics A To some extent audio engineers can use graphic EQ s to manually suppress annoying feedback The 1 3 octave design with 31 faders per channel has become the standard among graphic equalizers Here the spacing between individual filter frequencies is 1 3 octave The quality factor Q of the filters usually 1 3 octave is fixed as are the frequencies controlled with the 31 filters 1 3 octave equalizers are very popular e g our ULTRA CURVE PRO DSP8024 because they are so easy to operate The fader positions clearly show how the signal is being processed especially since graphic EQ s have fixed frequencies based on the so called ISO standard So all graphic equalizers designed to meet the ISO standard feature the same fixed frequencies Once you ve got used to work with a 1 3 octave equalizer you will find the FEEDBACK DESTROYER PRO a highly convenient tool as it splits up the audio spectrum into the ISO frequencies see table 1 2 which enables you to access the most important frequencies quickly 22 4 TECHNICAL BACKGROUND Of course you can use the FINE button to fine tune to frequencies between the standard ISO frequencies in 1 60 octave steps within a range of 1 3 octave He 20 25 8151 40 50 68 180 1001 125 1601 200 260 15 400 1500 650 800 kHz 1 11 25 1 6 2 2 5 3 15 4 6 3 10 12 5 16 Tab 4 2 standard ISO frequencies 4 3 Parametric
48. l proportion between the displayed value and the absolute frequency and an easy guide to quickly find the desired frequency is available in chapter 7 frequency chart The bandwidth of the filter can be adjusted by selecting the BANDWIDTH key The adjust able 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 signals that the level is being increased and a signals a decreasement In Single Shot and Auto mode it is not possible to change the filter parameters In these modes you only are allowed to call up the parameters However you can convert such a filter into a parametric one with same frequency and bandwidth but with a gain of 0 dB You simply have to press and keep the FILTER MODE key for about 2 seconds To reactivate a locked filter simply choose the Single Shot or Auto mode 2 OPERATION 13 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 A 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 once The display reads the current
49. lar in dance and techno music 18 3 APPLICATIONS 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 should be avoided Use for example two filters adjusted to a signal attenuation of about 12 dB with the same frequency and bandwidth This produces the same effect achieved with one filter set to 24 dB 3 7 2 Tuning in P A and monitor systems With the FEEDBACK DESTROYER PRO you can improve the protection against feedback even before the show begins by tuning in your sound reinforcement system after the system has been set up completely open all microphone channels and activate Single Shot mode on your FEEDBACK DESTROYER PRO Then slowly move up the monitor and master faders until feedback comes in Without the FEEDBACK DESTROYER PRO you could not increase the volume level of your system any further With your FEEDBACK DESTROYER PRO however you can considerably enhance the system headroom Move the faders further up and the first feedback signal will be suppressed by the FEEDBACK DESTR
50. midrange frequencies also means that your P A system loses power and performance In theory a parametric EQ can be used to suppress feedback by means of high filter qualities However your tweeters may well have gone up in smoke before you ve found the frequency at which feedback occurs and managed to eliminate it by adjusting the filter frequency bandwidth and gain accordingly For this reason the FEEDBACK DESTROYER PRO also uses a highly optimized version of the automated fully parametric filters we designed for the BEHRINGER ULTRA CURVE With the FEEDBACK DESTROYER PRO your P A sys tem will be under your control again Unlike many conventional equalizers the FEEDBACK DESTROYER PRO provides an impressive range of features A If required the FEEDBACK DESTROYER PRO detects and suppresses feedback automatically by ana lyzing the music signal and determining the frequency of the interference signal Additionally it calculates the filter quality and attenuation necessary to fade out feedback A The FEEDBACK DESTROYER PRO calculates the filter quality with such a high precision that nothing but the feedback signal will be filtered while retaining the original music signal This means increased P A headroom and a more balanced powerful and transparent sound image A With the FEEDBACK DESTROYER PRO almost all of the power delivered by the amps will reach the speakers because the precisely set narrow band filters reduce energy losses to a
51. oosted by about 10 dB This will give you an idea of the range of boost or attenuation that can be realized with the 24 filters of the FEEDBACK DESTROYER PRO For each filter you can apply a boost of 16 dB or a cut of 48 dB i e you can boost the selected frequency by the subjectively perceived factor 3 physically 40 or attenuate it by the factor 27 physically 60 000 The sound which an EQ produces not only depends on the selected frequency and the amount of gain ex pressed in dB the bandwidth of the filters also plays an important role Here we generally use the so called absolute bandwidth of a filter which is measured from the lower to the upper cutoff frequency Starting from there you can divide the absolute bandwidth by the filter s center frequency to calculate the relative bandwidth The quality factor Q is simply the reciprocal value of the relative bandwidth 20 4 TECHNICAL BACKGROUND Filter attenuated by 8 dB at 1kHz Bandwidth 600 Hz Esa Q 1350 750 Center frequency 1 kHz Fig 4 2 Typical equalizer filter curve The filter bandwidth can also be expressed in octaves as on the FEEDBACK DESTROYER PRO The following table shows a list of decimal Q values vs octaves Octave Quality factor Q 1 6 8 65 1 4 5 76 Tab 4 1 Octaves vs Q factors Now the following relationship becomes clear the higher t
52. optimal recognition of feedback during most applications During e g a pure speech transmission the feedback sensitivity can be lowered to 9 dB In this way the algorithm would recognize and would suppress a feedback even faster On the other hand a higher adjustment of the feedback sensitivity e g 3 dB makes feedback suppression more stable In addition to that intended feedbacks guitars or keyboards become recognized much more slower Filters in Single Shot mode automatically analyze the music signal to detect feedback frequencies Having detected such a frequency the filter automatically configures its parameter to suppress feedback as efficiently as possible As the filter is locked to the detected frequency this mode is ideally suited to suppress feedback having a constant frequency Possible applications are fixed position microphones e g on the drums After the filter has adjusted itself automatically it enters a special Lock mode 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
53. plifiers 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 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
54. preset number and starts flashing To keep the original preset use the jog wheel to select a different preset that can be overwritten Press the STORE key again to save the edits to the selected preset If you wish to overwrite the original preset simply press the STORE key twice after editing to save all changes you have made I Whenever you have edited a preset and pressed the STORE key twice all previous settings in this preset are erased and overwritten with the new parameter values However if you wish to keep the original preset use the jog wheel to select another preset before you press the STORE key a second time 2 5 MIDI control Use the MIDI key combination to select the MIDI parameters you wish to adjust For this purpose press and keep the IN OUT and the STORE keys for about two seconds All parameters can be edited with the jog wheel and the IN OUT key The MIDI menu includes six pages which you can select by pressing the IN OUT key forwards and the STORE key backwards several times A 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 the 0 value displayed as in 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
55. r different modes To meet more com plex requirements with regard to flexible signal processing these modes can be combined in a program 2 OPERATION 11 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 set the center frequency the quality factor Q and the amount of boost cut in dB 2 3 Automatic filters The FEEDBACK DESTROYER PROs automatic filters operate in two modes Single Shot and Auto mode In order to find a feedback 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 He compares this value to the level of the entire signal The difference of these levels determines whether a filter is set The FEEDBACK DESTROYER PRO now provides you with the unique possibility to adapt this parameter according to your own needs You can edit this feedback sensitivity within a range of 3 dB to 9 dB in 1 dB steps The standard value for this parameter is 6 dB This value provides an
56. ssible to archive FEEDBACK DESTROYER PRO settings and presets on a computer sequencer or MIDI data recorder Both MIDI Control Change and MIDI Program Change commands will be transmitted when you edit or recall filter settings Detailed information on this future software editor are available from our BEHRINGER hotline tel 49 0 2154 920666 our international distributors and or our Internet homepage http www behringer de 3 APPLICATIONS The BEHRINGER FEEDBACK DESTROYER PRO features a high level of flexibility not only in the field of feedback elimination The following chapter describes some other possible applications for your FEEDBACK DESTROYER PRO 3 APPLICATIONS 15 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 signal so that the Clip LED flickers only rarely Make sure that it never lights up all the time 3 2 Using the FEEDBACK DESTROYER PRO in the monitor path Inserting the FEEDBACK DESTROYER PRO into the monitor path of your mixing console gives you maximum protection against
57. the FEEDBACK DESTROYER PRO in the main mix bus The FEEDBACK DESTROYER PRO can also be used to process main mix signals Please consider the following remarks Using the FEEDBACK DESTROYER PRO in the main mix bus gives you the advantage that any feedback occurring in the individual microphone channels can be eliminated with just one FEEDBACK DESTROYER PRO However this also means that wanted feedback e g guitar feedback will be suppressed too Furthermore the FEEDBACK DESTROYER PRO could cause a slight manipulation of the main mix sound in extreme 16 3 APPLICATIONS 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 FEEDBACK DESTROYER PRO between mixing console and power amp If required adapt the levels with the Operating Level switch Wire the unit as shown below 000000000004 OO0000000000 O00000000000 000000000000 MI 090 m oo m oo m DHOOM Fig 3 2 Using th
58. tocopying and recording of any kind for any purpose without the express written permission of BEHRINGER GmbH BEHRINGER ULTRA CURVE and FEEDBACK DESTROYER are registered trademarks ALL RIGHTS RESERVED 1998 BEHRINGER BEHRINGER INTERNATIONAL GmbH Hanns Martin Schleyer Str 36 38 D 47877 Willich M unchheide Tel 49 0 21 54 92 06 0 Fax 49 0 21 54 92 06 30 32 7 WARRANTY
59. ts If it 5 INSTALLATION 25 does not comply then it is necessary to switch the operating voltage to the correct supply requirements BEFORE turning on the unit otherwise the unit could be severely damaged You will find this combined fuse holder voltage selector at the back adjacent to the IEC receptacle IMPORTANT This does not apply for general export models which are built for one operating voltage only The AC voltage selection is defined by the position of the fuse holder If you intend to change the operating voltage remove the fuse holder and twist it by 180 degrees before you reinsert it Matching the two markers monitors the selected voltage I gt If the unit is switched to an other operating voltage the ruse rating must be changed See the technical specifications in the appendix A safety fuse protects the unit from serious defects If the fuse blows this is a warning sign and always indicates that the circuit is overloaded The fault must always be repaired before the fuse is replaced If the safety fuse is faulty and needs replacing after the unit is repaired please make sure that you replace it only with the identical type and rating NEVER use fuses of different ratings or cover faulty fuses with aluminium foil This can cause fire and electric shocks and will endanger your life and the lives of others 5 3 Audio connections As standard the BEHRINGER FEEDBACK DESTROYER PRO is installed with electronically servo balance
60. ture reference 1 1 The design concept Despite extensive computing work which is done in the DSP1100P by a dual engine 24 bit processor the FEEDBACK DESTROYER PRO can be operated easily and conveniently All parameter edits are performed with the jog wheel rotary control 10 presets are available to store user defined programs The philosophy behind BEHRINGER products guarantees a no compromise circuit design and employs the best choice of components Top quality 20 bit AD DA converters which belong to the best components avail able owing to its outstanding specifications and excellent sonic characteristics Two 24 bit DSPs are used as the heart of the FEEDBACK DESTROYER PRO These perform the precise calculations needed for the pro cessing of the complex algorithms Additionally the FEEDBACK DESTROYER PRO uses high quality resis tors and capacitors with very tight tolerances high grade switches low noise operational amplifiers type 4580 as well other selected components The FEEDBACK DESTROYER PRO DSP1100P uses SMD technology Surface Mounted Device These subminiature components known from aerospace technology allow for an extreme packing density improving the unit s reliability even further Additionally the unit is manufactured in compliance with a SO9000 certified management system 1 2 Before you begin Your BEHRINGER FEEDBACK DESTROYER PRO was carefully packed in the factory and the packaging was designed to protect the
61. versampling 46 875 kHz 2 digit numeric LED Display USA Canada 120 V AC 60 Hz U K Australia 240 V AC 50 Hz Europe 230 V AC 50 Hz General Export Model 100 120 V AC 125 mA slow blow 200 240 V AC 63 mA slow blow 10 Watts Standard IEC receptacle 1 3 4 44 5 mm 19 482 6 mm 7 1 2 190 5 mm 2 kg 3 kg 100 120 V AC 200 240 V AC 50 60 Hz BEHRINGER is constantly striving to maintain the highest professional 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 shown 6 APPENDIX 31 7 WARRANTY 1 WARRANTY CARD To be protected by this warranty the buyer must complete and return the enclosed warranty card signed stamped by retail dealer within 14 days of the date of purchase to BEHRINGER INTERNATIONAL address see 3 Failure to return the card in due time date as per postmark will void any extended warranty claims 2 WARRANTY 1 BEHRINGER INTERNATIONAL warrants the mechanical and electronic components of this product to be free of defects in material 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 any defects occur within the speci fied warranty period that are not caused by normal wear or inappropriate use BEHRINGER INTERNATIONAL shall
62. wn as sampling the conversion of the amplitude into a numerical value quantizing The two actions together are referred to as digitizing In order to carry out the opposite the conversion of a digitized signal into its original analogue form a Digital to Analogue Converter or DAC is used In both cases the frequency at which the device operates is called the sampling rate The sampling rate determines the effective audio frequency range The sampling rate must always be more than twice the value of the highest frequency to be reproduced Therefore the well known CD sampling rate of 44 1 kHz is slightly higher than twice the highest audible frequency of 20 kHz The accuracy at which quantization takes place is primarily dependent on the quality of the ADCs and DACs being used The resolution or size of digital word used expressed in bits determines the theoretical Signal Noise ratio S N ratio the audio system is capable of providing The number of bits may be compared to the number of decimal places used in a calculation the greater the number of places the more accurate the end result Theoretically each extra bit of resolution should result in the S N ratio increasing by 6 dB Unfortunately there are a considerable number of other factors to be taken into account which hinder the achievement of these theoretical values If you picture an analog signal as a sinusoidal curve then the sampling procedure may be thought of as a

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