Behringer | V-Verb Pro REV2496 | User`s manual | Behringer V-Verb Pro REV2496 User`s manual

Behringer V-Verb Pro REV2496 User`s manual
Version 1.0
November 2003
User’s Manual
1) Read these instructions.
2) Keep these instructions.
3) Heed all warnings.
4) Follow all instructions.
To reduce the risk of electric shock, do not remove
the top cover (or the rear section). No userserviceable parts inside; refer servicing to qualified
WARNING: To reduce the risk of fire or electric shock, do not
expose this appliance to rain and moisture.
This symbol, wherever it appears, alerts you to the
presence of uninsulated dangerous voltage inside
the enclosure—voltage that may be sufficient to
constitute a risk of shock.
This symbol, wherever it appears, alerts you to
important operating and maintenance instructions
in the accompanying literature. Please read the
5) Do not use this device near water.
6) Clean only with a dry cloth.
7) Do not block any ventilation openings. Install in accordance
with the manufacturer’s instructions.
8) Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
9) Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with
one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. If the provided plug
does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10) Protect the power cord from being walked on or pinched
particularly at plugs, extension cords, and the point at which
they exit the unit.
11) Only use attachments/accessories specified by the
12) Use only with the cart, stand, tripod, bracket, or table
specified by the manufacturer, or sold with the device. When
a cart is used, use caution when moving the cart/device
combination to avoid injury from stumbling over it.
13) Unplug this device during lightning storms or when not
used for long periods of time.
14) Refer all servicing to qualified service personnel.
Servicing is required when the unit has been damaged in
any way, such as power supply cord or plug is damaged,
liquid has been spilled or objects have fallen into the device,
the unit has been exposed to rain or moisture, does not
operate normally, or has been dropped.
Ultra High-Performance 24-Bit/96 kHz Dual-Engine Reverb Modeler
s Reference-class reverb modeling processor with high-quality 24-bit/96 kHz A/D and D/A converters
s Full 4-channel operation up to 96 kHz without any limitations, providing two separate effects processors
in one unit
s 8 high-end reverb algorithms, modeled after world-class reverb processors
s Additional high-quality modulation effects from X-over Delay to Chorus/Flanger plus stereo Compressor
s Full-featured digital interface with AES/EBU In/Out, optical S/PDIF In/Out, Wordclock In and MIDI function
for flexible use with digital equipment
s Ultra high-resolution SHARC® processor with 32-bit internal signal processing for ultimate sonic resolution
s 10 different routing types for flexible assignment of analog and digital connectors to both stereo engines
s Innovative user interface with soft push/turn encoders, big preset wheel, high-resolution graphic
LCD display and additional TAP button for delay times
s Direct access to 4 effect parameters makes editing easy and comfortable
s Intuitive editing of up to 30 parameters using specially designed graphic mode
s Separate ROM and user preset banks with 400 presets total
s Balanced inputs and servo-balanced outputs with gold-plated XLR and ¼“ TRS connectors
s Open architecture allows future software updates via MIDI
s Internal switch-mode power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior
transient response plus lowest possible power consumption for energy saving
s Ultra-rugged construction ensures long life, even under most demanding conditions
s Designed in Germany. Manufactured under ISO9000 certified management system
Dear Customer,
welcome to the team of
V-VERB PRO users and
thank you very much for
expressing your confidence in us by purchasing
the REV2496.
Writing this foreword
for you gives me great
pleasure, because it represents the culmination
of many months of hard
work delivered by our
engineering team to
achieve a very ambitious
goal: to present a firstclass reverb processor,
audio quality makes it a
welcome addition to
every studio. The task of designing our new V-VERB PRO
REV2496 certainly meant a great deal of responsibility which
we assumed by focusing on you, the discerning user and
musician. Meeting your expectations also meant a lot of work
and night shifts. But it was fun, too. Developing a product usually
brings a lot of people together, and what a great feeling it is
when all who participated in such a project can be proud of
what they’ve achieved.
It is our philosophy to share our enjoyment with you, because
you are the most important member of the BEHRINGER team.
With your highly competent suggestions for new products you’ve
made a significant contribution to shaping our company and
making it successful. In return, we guarantee you uncompromising
quality as well as excellent technical and audio properties at an
extremely reasonable price. All of this will enable you to give free
rein to your creativity without being hampered by budget
We are often asked how we manage to produce such
high-quality devices at such unbelievably low prices. The answer
is quite simple: it’s you, our customers! Many satisfied customers
mean large sales volumes enabling us to get better purchasing
terms for components, etc. Isn’t it only fair to pass this benefit on
to you? Because we know that your success is our success too!
I would like to thank all of you who have made the
V-VERB PRO possible. You have all made your own personal
contributions, from the developers to the many other employees
at this company, and to you, the BEHRINGER user.
My friends, it’s been worth the effort!
Thank you very much,
1. INTRODUCTION ......................................................... 6
1.1 Before you get started ................................................... 6
1.1.1 Shipment ............................................................... 6
1.1.2 Initial operation ...................................................... 6
1.1.3 Warranty .............................................................. 6
1.2 About this manual ........................................................... 6
1.3 Digital reverberation—then and now ............................. 7
1.4 Digital reverb modeling ................................................... 7
2.1 The front ......................................................................... 7
2.2 The rear .......................................................................... 8
3. OPERATION ............................................................... 9
3.1 The effect presets ......................................................... 9
3.2 Selecting presets ........................................................... 9
3.3 Editing presets ................................................................ 9
3.3.1 Simple editing ...................................................... 10
3.3.2 Extensive editing in EDIT mode .......................... 10
3.4 Editing combinations ..................................................... 10
3.5 COMPARE function ....................................................... 12
3.6 STORE—Storing programs ........................................... 12
3.7 Restoring factory presets ............................................ 12
3.8 SETUP menu ................................................................. 12
3.8.1 I/O page .............................................................. 12
3.8.2 DIGI page ............................................................ 13
3.8.3 GAIN page .......................................................... 13
3.8.4 MIDI page ............................................................ 13
4. EFFECTS .................................................................. 14
4.1 V-Verb .......................................................................... 14
4.2 Concert hall, cathedral, theater .................................... 15
4.3 Gold Plate ...................................................................... 15
4.4 Ambience, gated reverb, reverse reverb .................... 16
4.5 Delay ............................................................................. 16
4.6 XOver Delay ................................................................. 17
4.7 Chorus/Flanger ............................................................. 17
4.8 Phaser .......................................................................... 18
4.9 Tremolo ......................................................................... 19
4.10 Compressor ................................................................ 19
5. APPLICATIONS ........................................................ 20
Using the V-VERB PRO in the aux bus ........................ 20
Using the V-VERB PRO in the insert path .................... 21
The V-VERB PRO as a guitar effects processor ........ 21
The V-VERB PRO in digital environment ...................... 22
The V-VERB PRO in 4-channel operation .................... 22
6. MIDI FUNCTIONS ...................................................... 23
MIDI settings .................................................................. 23
Program changes ......................................................... 23
Controller commands .................................................... 23
Backing up data via MIDI ............................................... 24
7. INSTALLATION ......................................................... 24
Uli Behringer
Installation in a rack ...................................................... 24
Audio connections ....................................................... 24
Digital inputs and outputs ............................................. 24
WORDCLOCK connection ............................................ 25
MIDI connections .......................................................... 25
8. OPERATING SOFTWARE .......................................... 25
9. SPECIFICATIONS ..................................................... 26
10. MIDI IMPLEMENTATION ......................................... 26
11. WARRANTY ............................................................ 27
1.1 Before you get started
Thank you very much for expressing your confidence in
BEHRINGER products by purchasing the V-VERB PRO, an
extremely capable reference-class reverb modeling effects
processor. The REV2496 was specially developed to produce
first-class reverb effects with breathtakingly natural sound. We
are particularly proud of the revolutionary REVERB MODELING
that not only makes authentic replication of different spaces
possible, it also let us recreate some of the most well-known
high-end reverbs.
Thanks to its dual-engine architecture, the REV2496 can
process two effects at one time at 96 kHz. In doing so, you can
freely select both the effect type and signal routing.
In addition to eight first-class reverbs, there are also six
additional effects, such as X-over delay, chorus/flanger and a
stereo compressor.
Despite a plethora of adjustment possibilities of up to 30
parameters per effect algorithm, there is no need to delve deeply
into its menu structure. Thanks to its innovative front panel, the
REV2496 is easy and intuitive to use. Its four soft, infinitely
variable controls with additional tap function, the high-resolution
128 x 64 LCD and the large rotary preset controls lend your
creativity a helping hand.
The powerful SHARC® processor with internal 32-bit signal
processing, coupled with the 24-bit/96 kHz AD/DA converters,
assure that carefully programmed effects are calculated in high
resolution and exit the REV2496 in the highest audio quality.
Integration into your existing studio equipment is a breeze thanks
to digital audio connections in the AES/EBU and S/PDIF formats.
In addition, the Wordclock input and MIDI connections assure
flexible connectivity options in all kinds of situations.
Thanks to its extensive MIDI implementation possibilities, the
REV2496 can be used in practically all MIDI setups. Of course,
controller and SysEx data from your REV2496 can be sent and
stored if you use the MIDI interface. This way, by means of just
one SysEx dump, various presets and settings can be stored on
your sequencer or uploaded back to the REV2496.
Future-oriented BEHRINGER technology
To ensure the highest possible operational reliability, all our
equipment is manufactured adhering to the highest quality
standards in the industry. Furthermore, all our equipment is
manufactured according to the ISO9000 certified management
Balanced inputs and outputs
The BEHRINGER REV2496 features balanced inputs and
servo-balanced outputs. The servo function operates
automatically and can detect when unbalanced connecting cables
are connected. This prevents the occurrence of signal-level
discrepancies between input and output signals.
This user’s manual will help you familiarize
yourself with the control elements, letting you
learn all the functions. Please read the manual
carefully and keep it for future reference.
1.1.1 Shipment
The V-VERB PRO REV2496 was carefully packed at the factory
and the packaging is 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 that may have occurred during transit.
If the unit is damaged, please do NOT return it to
BEHRINGER, but notify your dealer and the shipping
company immediately. Otherwise, claims for
damage or replacement may not be granted.
To assure optimal protection of your REV2496
during use or transport, we recommend using a
case or a 19-inch rack.
Always use the original packaging to avoid damage
during storage or transport.
Never let unsupervised children tamper with the
equipment or its packaging.
Please dispose of the packaging material in an
environmentally friendly way.
1.1.2 Initial operation
Be sure that there is enough space around the unit for cooling.
To avoid overheating, do not place the REV2496 on top of power
amps or near radiators, etc.
Blown fuses must be replaced by fuses of the
same type and rating. Please refer to the
“SPECIFICATIONS” for further details.
The mains connection is made using the enclosed power cord
and a standard IEC receptacle. It meets all international safety
certification requirements.
Please make sure that all equipment is properly
grounded at all times. For your own safety, never
remove or disable the ground conductor of the unit
or of the AC power cord.
1.1.3 Warranty
Please take the time to fill out and return the warranty card
within 14 days after the date of purchase to benefit from our
extended warranty. The serial number is located on the top side
of your REV2496. You can also register online at
1.2 About this manual
This manual has been designed so that you can get a clear
overview of all control elements and at the same time find detailed
information on how to use them. To let you quickly get an overview
of different topics, we have grouped various control elements
according to their function. If you need more information on
specific topics, please visit our web site at
For example, there you can find complete information about MIDI
1.3 Digital reverberation—then and now
Simulated reverberation has certainly come a long way over
the past five decades. A necessity to be able to create a firstclass reverb effect became apparent early on, particularly in
recording studios. To get a step closer to this goal, all kinds of
technological approaches were tried. In the ’50s and ’60s, the
landscape of recording studios was dominated by special
(physical) reverb chambers, reverb plates and classical spring
reverbs. But the world of artificial reverberation could undergo a
revolution only with the advent of digital technology. The possibility
to influence the reverberation period and frequency response
of an artificially created sound gave sound engineers the kind of
freedom that people could previously only dream of. As the
prices of digital reverbs gradually started to decline, such
equipment was for the first time within the financial reach of a
large cross-section of musicians (and not just big recording
studios and broadcasters). Still, one cannot deny the existence
of a substantial quality difference between professional
equipment and the so-called “consumer” equipment. Even today,
only a handful of reverb processors on the market can truly
impress the most discerning listeners. It was often the case that
the disadvantages of different units were not apparent until a
direct comparison was performed.
1.4 Digital reverb modeling
The development of the V-VERB PRO started about six years
ago. We started by developing many different algorithms,
evaluating them in a multitude of listening tests. Early in this
process, a large variety of building blocks for reverberation
algorithms was created, letting us later use these building blocks
to “model” realistic acoustic environments (i.e. to create them
virtually). But that was not enough: simulations of well-known
studio standards were now also possible. Even though many
“vintage” digital reverbs are currently becoming popular again,
professional studios nowadays mainly use two different kinds
of reverberation:
From day one it was always our goal to program such reverb
effects that would make everything else seem simply secondclass. By implementing an extremely powerful signal processor
operating internally at 88.2/96 kHz, we succeeded at noticeably
improving the resolution and transparency. High processing
power and an efficient processor operation allow for computing
extremely complex room models. The floating point calculation,
unique in this price segment, creates dynamics that guarantee
low distortion and ultra-transparent fade-outs of late reverb
phases. We are particularly proud that the V-VERB PRO is the
first of its kind to succeed in creating and combining early and
late reverberations in completely new and original ways. By
utilizing innovative reverb modeling, we are now able to create
such naturally-sounding room impressions that were previously
possible only in physical, “real” spaces.
In this chapter we will describe the different control elements
of your V-VERB PRO. All controls and connections are described
in detail, and you’ll also get useful advice about how to use them.
2.1 The front
Controlling your REV2496 is menu-driven. This means that
some control elements have different functions depending on
the menu in which you are currently working. This reduces the
number of keys and controls necessary to operate your
REV2496, so the control panel is very clearly arranged. The
large LCD always clearly indicates the current function assigned
to a particular control element.
1. Natural-sounding reverberation
Reverb classics that are used in the world’s top studios belong
to this family. Instead of modeling room impressions, special
algorithms are created that simulate the sound of complete
acoustic environments. The result are very smooth and warm
reverb tails with deep room impressions, ideally suited for making
2. Reverbs that simulate realistic room impressions
A new family of reverb processors that have been programmed
to replicate real acoustic spaces has established itself in recent
times. Unlike with the classic reverb design philosophy, this family
of reverbs approaches the task of acoustic space replication by
dividing the dynamic behavior of impulses into two basic elements,
namely into two different processor blocks:
An Early Reflections Generator creates the first component
of the impulse response for a variety of acoustic spaces.
A second generator creates the late reverb tail and allows
adjusting decay times in up to four different frequency
We started the development of the V-VERB PRO with the
intention at combining the best of these two worlds. In doing
that, it was very important to us to implement both concepts for
creating room impressions. What ended up being produced is
our new reverb modeling technology that allows us to accurately
recreate all types of reverberation. This process consists of
both mainstream and new methods.
Regardless of which design philosophy you personally prefer,
the V-VERB PRO gives you a choice: both warm, prominent
reverb effects with a natural sound as well as realistic
roominess, whose impact can be defined to the most minute
Fig. 2.1: Display section of the REV2496
The LED meter indicates the REV2496’s input signal. The
red CLIP LED illuminates as soon as the input signal level
is too high, indicating the possibility of audible distortion.
The display shows all the menus necessary for controlling
your REV2496. The function that is assigned to controls
) is indicated beneath the LCD and
depends on the menu you are in.
The MIDI IN LED indicates that MIDI data is being received.
The red LIMITER LED lights up if one of the peak limiters in
the output section is engaged.
These LEDs indicate the selected sampling frequency. It
can be selected in the setup menu. The EXTERNAL LED
lights up if the REV2496 is being externally synchronized.
The external synchronization can be done either via the
digital audio inputs or through the Wordclock input (
Fig. 2.2: EDIT controls A - D
The four infinitely variable controls EDIT A - EDIT D are
used for changing all parameter values. The assigned
function and the current value are indicated on the LCD.
If the parameter is turned to INTERN, pressing BYPASS
bypasses the effects processors, letting you hear the “dry”
Additionally, these controls have a tap function, letting you
alternate between two parameters in the edit menu or
confirm your settings in the setup menu.
If the parameter is turned to EXTERN, pressing the BYPASS
key mutes the entire audio signal.
The OK/TAP key has two functions:
The infinitely variable controls EDIT A - D respond
dynamically. This means that the rate at which
parameters are changed depends on the speed
with which you turn these controls. The faster you
turn, the greater the parameter value change.
OK: After selecting a preset, press the OK key to load the
new preset. (Each selection made using the preset wheel
must be confirmed by pressing OK.) Additionally, OK is
also used to confirm overwriting presets.
TAP lets you intuitively enter time values for delay and LFO
speed parameters: tap the TAP key several times to the
beat of the current song, and the effect adjusts
automatically to the song’s beat. The value is averaged out
using the last four taps. The parameter values that can be
adjusted using the TAP key are indicated with a letter “T”
next to the respective parameter control on the display.
Use the PRESET infinitely variable rotary control to select
a stored program.
Fig. 2.3: Function keys and preset control
ENGINE A and ENGINE B. Use these keys to select the
processors (“engines”) you will work with. Each engine
corresponds to one stereo effect. Since both of the engines
can be directly dialed up, you can very quickly alternate
between the effect from engine A and the effect from
engine B. Pressing one of these two keys activates the
recall level. There, you can change the values of the four
most important effect parameters using the infinitely variable
controls EDIT A - D without having to activate edit mode.
Use the POWER switch to power up the REV2496. This
switch should be set to “Off” before you connect the unit
to the mains.
Attention: Using the POWER switch to power down
your REV2496 does not completely disconnect it
from the mains. If you don’t plan on using your
REV2496 for a prolonged period of time, please
disconnect the cable from the mains.
2.2 The rear
Use the COMBI. key to select a combination program. A
combination program contains the values for both engines.
If you press the COMBI. key, you activate the recall level of
the combination program.
Press the EDIT key to go to the programming level. There,
you can adjust all the parameters of an effect/effect
Pressing the GRAPH key activates the GRAPH mode
located within the EDIT level. The GRAPH mode lets you
edit the effects with graphical visualization in the display.
The parameters available here are the same as the
parameters located in the EDIT level.
Use the STORE key to open the store menu. It lets you
store presets, enter preset names and select storage
to scroll back and forth between
individual pages (max. 4) within a menu.
The COMPARE key lets you compare the changes you
just made in the previously selected preset. If you are in
combination mode, pressing the COMPARE key will load
the original combination preset with all of its settings. If
COMPARE is active, the compare key LED lights up, and no
value changes can be made. To go back to edit mode and
store your changes, press the COMPARE key again.
Fig. 2.4: Analog inputs and outputs
These are the analog INPUTS that are balanced 1/4" TRS
and XLR connectors. Please make sure that the input signal
is correctly adjusted. Signal levels that are too high (this
could overdrive the converters of your V-VERB PRO) must
always be avoided. Digital distortion is particularly
unpleasant because it doesn’t occur gradually; on the
contrary, it occurs suddenly. When necessary, lower the
signal level at your mixing console as well.
Both OUTPUTS of your REV2496 are also balanced 1/4"
TRS and XLR connectors.
Pressing the SETUP key gets you into the SETUP menu,
where you have access to all global settings of your
REV2496, e.g. input and output signal level, MIDI settings
and so on. This way, you can adjust your REV2496 to the
requirements of your particular application. More information
about the extensive SETUP function can be found in chapter
The REV2496 features a digital AES/EBU interface with a
XLR connector. Use it to feed in or export data in both
AES/EBU and S/PDIF formats.
The BYPASS key has two functions, depending on the
setting of the WET DRY MIX parameter on the I/O page of
the setup menu:
Audio data can also be fed in or exported at the digital
optical interface. The format (AES/EBU or S/PDIF) can be
selected in SETUP.
Fig. 2.5: Digital audio connections
You can use both digital and analog audio
connections at the same time to supply both engines
with different signals. Therefore, a fully equipped
4-channel reverb processor stands at your disposal.
Even when running the REV2496 at 96 kHz, there are
absolutely no performance limitations!
The master input is selected in the setup menu. You can change
the input and output configuration in the COMBI. edit mode.
At the WORDCLOCK input, you can connect an external
wordclock signal for synchronizing your REV2496 through
other equipment. This connector is provided as a highimpedance BNC coaxial connector and has no internal
terminating resistor. Please follow the instructions given in
chapter 7.4.
Engines A+B
Tab. 3.1: Storage slots of the REV2496
The REV2496 features 14 effect algorithms. An algorithm is
basically a mathematical formula that calculates a particular effect
type (e.g. reverb or delay). You could also compare the REV2496
to a computer whose processor capacity can be used for a
multitude of programs with different purposes. An algorithm
would in this case correspond to a computer program. All
algorithms are described in detail in chapter 4. Each of the first
14 storage slots (001 to 014) contains one of the algorithms.
Therefore, if you are looking for a particular effect type, you
should load up one of these presets.
3.2 Selecting presets
Fig. 2.6: MIDI connections and mains connector
The MIDI connections allow communication between the
REV2496 and other MIDI-enabled equipment. MIDI data is
received via the MIDI IN connector, and MIDI commands
are sent out via the MIDI OUT connector. Incoming MIDI
commands are passed unprocessed to the MIDI THRU
When you power up your REV2496, the preset you used last
is automatically loaded. To dial up another preset, press ENGINE
A, ENGINE B or COMBI. key, depending on whether you wish to
load a preset into the engine A, engine B or if you are loading a
combination preset. Then, select the desired preset number using
the PRESET wheel. Press OK/TAP to confirm your selection. The
preset is now loaded. If you don’t want to load up a new program,
or if you accidentally selected one, press ENGINE A, ENGINE B
or COMBI. to go back to the current preset.
The mains connection is established using a cable with an
IEC mains connector. An appropriate mains cable is included.
You can replace fuses at the FUSE SWITCH of the
REV2496. Always replace fuses with the same type.
Please follow the instructions given in chapter
3.1 The effect presets
The first time that you use the REV2496, we suggest first
working with effect presets before you start programming your
own effects. The REV2496 features two independent
processors (so-called engines) that can be used individually or
at the same time. Each engine can process a different effect.
Please keep in mind that engines always run in
pairs and are wired according to the selected
routing (see fig. 3.6). The routing is assigned and
stored in the COMBI. edit mode.
The new preset is only loaded after you confirm
your choice by pressing the OK/TAP key.
When changing presets, please keep in mind that
different effect algorithms may have different
volume levels. Therefore, when selecting a new
preset, first reduce its volume. Volume differences
can be equalized with the storable Parameter FX
Level (see chapter 3.8.3).
3.3 Editing presets
You can change any preset to adjust it to your own preferences
or to the requirements of a particular instrument or musical piece.
The REV2496 features a plethora of parameters (with V-Verb,
up to 30) that let you modify every detail of an effect. To help you
keep track of these adjustment options, there are several ways
of editing effects available to you:
simple editing of the four most important parameters directly
after loading a preset
editing of all parameters in the EDIT menu
editing with graphical visualization (GRAPH menu)
These different operating modes are explained in detail in the
following chapters:
The REV2496 features 400 memory locations that are
subdivided as follows: 200 slots reserved for the engines A and
B as well as additional 200 locations for the combination effects.
Both subdivisions of 200 storage slots are further divided up
into two banks with 100 slots each. The first 100 slots (001 - 100)
are factory presets that cannot be overwritten, and are labeled in
the display on the recall page under BANK as ROM (Read Only
Memory). The remaining 100 slots can be overwritten and are
labeled “USER”. Both banks are located back-to-back, whereby
the ROM presets (001 - 100) are shown first (by using the PRESET
wheel), followed by the USER presets (101 - 200).
3.3.1 Simple editing
3.3.3 Editing engines in GRAPH mode
Immediately after loading a preset, you will be in the recall
level. Here, you have access to four parameters for an effect
(see table 3.1). The selection of these four parameters was
made to let you quickly and simply modify the most important
effect parameters.
Within the EDIT operating mode, the GRAPH mode lets you edit
parameters with graphic visualization. Almost every EDIT page
has its own GRAPH page. By pressing the GRAPH key, you can
switch between the EDIT menu and the GRAPH menu at any
Fig. 3.1: Engine A (recall page)
Fig. 3.3: GRAPH mode
With controls EDIT A, B, C and D you can adjust the values of
these four parameters. The parameters and the current values
are shown in the bottom portion of the display. EDIT D is in this
case always assigned to the effect volume (FX Level), to the
mix (with modulation effects) or to the gain (compressor).
When you are on the GRAPH pages, you have direct access
to a maximum of four parameters that can be modified with EDIT
A - D. With some effects, you can press the EDIT control to
alternate between two parameters. This way, you have access
to the four most important parameters for an effect.
Ef f ec t
V -V erb
Dec ay
ER Size
FX Lev el
Predelay Decay
FX Lev el
Predelay Decay
FX Lev el
Predelay Decay
FX Lev el
Gold Plate
Predelay Decay
FX Lev el
A mbience
Predelay Decay
Siz e
FX Lev el
Predelay Dens ity
FX Lev el
Rev erse
Predelay Ris e
FX Lev el
Predelay Delay 1
Delay 2
FX Lev el
X-over Delay
Delay 1
Delay 2
Delay 3
FX Lev el
Chorus/Flanger Speed
Mod Dly
Phas er
Phas e
LFO Mod Mix
Compres sor
A ttack
Tab. 3.2: Parameters with direct access (recall level)
3.3.2 Extensive editing in EDIT mode
3.4 Editing combinations
Press the COMBI. key to get to the combinations level. The
vertical bar on the left in the display shows “A + B.”
Fig. 3.4: Combination recall page
When in recall mode, you can use the controls EDIT A and
EDIT B to adjust the two most important engine A parameters; or
you can use EDIT C and EDIT D to adjust the two most important
engine B parameters.
When in the EDIT mode (EDIT key pressed), you can modify
two level parameters for each engine. These two parameters
(with the exception of the compressor effect) can be muted by
pressing the EDIT infinitely variable rotary control. When you
leave the EDIT mode, the mute function is automatically cancelled.
Press the EDIT key to get to the EDIT mode. The display now
shows the first of the four EDIT pages. You can scroll back and
forth through individual pages using PAGE
. There is a
maximum of eight parameters per page. If two parameter controls
are shown in the display above one another, press EDIT to
alternate between the top and the bottom parameter.
Fig. 3.5: EDIT page of a combination effect
Effects and the editable parameters are shown below:
Fig. 3.2: EDIT page 1
The effect algorithm for a preset can not be selected.
If you wish to edit a preset, first load a program
based on the preset. The ROM presets 001 to 014
contain the algorithms 1 to 14.
A more detailed description of individual parameters
can be found in chapter 4 “EFFECTS.”
Par. 2
Par. 1
Par. 1
Par. 2
ER/Rev Dry
FX Level
FX Level
FX Level
FX Level
Gold Plate
FX Level
FX Level
Density Dry
FX Level
FX Level
Delay 1 Dry
FX Level
X-over Delay
Delay 1
Delay 2 Dry
FX Level
Chorus/Flanger Speed
Moddly Mix*
Threshold Ratio
Attack M-Gain
*) The push function of the mic control mutes the “Dry” signal,
the push function of the gain control mutes the effect signal (FX LVL)
Tab. 3.3: Effect parameters in COMBI. mode
If you wish to adjust the effect selection of the combinations,
press ENGINE A and load the desired preset into this engine.
Then, press ENGINE B and select the desired preset for engine
B (in both cases, confirm your selection by pressing OK/TAP).
To adjust the routing of a combination, first press the EDIT key
and select a routing using the PRESET wheel (Parallel 1 - 6,
Serial 1 - 4). Confirm by pressing OK/TAP. Ten routing
configurations are at your disposal:
A = Analog inputs/outputs; D = Digital inputs/outputs
Fig. 3.6: Routing options for various combinations
The routing, the selected preset numbers as well
as the four most important parameters (see table
3.2) of each of the two engines can be stored in any
combination. The settings of these four parameter
values are not overwritten in the engine presets.
As usual, you can implement more complex edits
of individual effects in the EDIT level of the engines.
3.5 COMPARE function
3.7 Restoring factory presets
After making adjustments to a preset, the COMPARE function
lets you compare the changes you just made with a previous
preset before you store the changes. To do this, press the
COMPARE key. As long as this key’s LED is illuminated,
additional edits are temporarily not possible. If you press
COMPARE again, you go back to your personal edit. Now you
can either store your changes (see the next chapter) or continue
While powering up your REV2496, keep the STORE key pressed
to restore factory presets. A confirmation request is shown in
the display. Confirm by pressing OK/TAP.
3.6 STORE—Storing programs
While in the SETUP menu, you can make adjustments to your
V-VERB PRO that will have an effect on all presets. These include
the input and output configuration as well as level and MIDI
settings. Individual functions are described in subsequent sub
chapters (3.8.1 - 3.8.4).
As soon as you make an adjustment to a preset, “E” (short for
“Edited”) is shown on the LCD. If you wish to keep your changes,
you can store them in one of the USER storage spaces as a
preset. Pressing the STORE key opens the STORE menu.
Restoring factory presets overwrites all presets
you have made!
3.8 SETUP menu
Press the SETUP key to go to the SETUP menu. You can scroll
through the sub menus using the PAGE
keys. The four
infinitely variable rotary controls are now used for adjusting the
SETUP parameters. With some parameters, you will have to press
the corresponding EDIT control to confirm your selection. To exit
the SETUP menu, simply select another menu (ENGINE A, ENGINE
B or COMBI.).
Fig. 3.7: STORE page
3.8.1 I/O page
Using EDIT A or the PRESET wheel, you can now select the
storage location where you wish to store the modified program.
Please keep in mind that storage slots 001 - 100 are writeprotected and can therefore not be overwritten. If you press the
EDIT A control, the name of the edited preset is shown.
Use the controls EDIT B, C and D to name the preset (maximum
12 characters long):
Fig. 3.9: SETUP page 1
By turning the EDIT C and D controls, you can select different
characters horizontally and vertically. Press these controls to
confirm your character selection, after which the cursor in the
name field moves to the next position. By turning the EDIT B
control, you can directly dial the individual name positions. By
pressing the EDIT B control, the character in the current position
is erased, and the characters behind it move forward one
Master Input: Use EDIT A to select the master input (ANALOG
or DIGIT.). This selection only has an effect on those routings
that only use one stereo input (parallel 2,3,5,6, serial 1-3). You
can identify these routings because they are labeled with “L”
and “R” (instead of “A” and “D”) in the routing graphic on the
display on the COMBI. or edit page (also see table 3.3). The LED
level indicator always shows the master input signal.
If you dialed a storage slot and named a preset, please press
OK or STORE to store your changes. The following prompt is
then shown on the display:
Input Mode: Use EDIT B to select if the input signal should be
in mono or in stereo. If you only use the left input, please select
mono operation.
Fig. 3.8: Confirmation request before storing a preset
Wet/Dry Mix: Use the EDIT C control to alternate the mix mode
between internal and external. The selection of the settings
depends on the REV2496’s application. If you for example wish
to operate your V-VERB PRO via the aux paths of a mixing
console, you should activate EXTERNAL. The effect ratio on the
output of the REV2496 is then always 100%, and the mix ratio
between the dry and the effect signal is made in the mixing
console. This way, the parameters “Dry” or “Mix” are omitted.
Confirm by pressing OK/TAP. Your REV2496 goes back to the
Recall/Preset mode.
Depending on the selected routing, this parameter has the
following impact:
You can exit the STORE menu at any time without storing your
preset by pressing ENGINE A, ENGINE B or COMBI.
Parallel 1 - 6: The dry parameter of both engines is not adjustable.
After storing a preset, all previous settings in this
preset location are overwritten and the new
parameters are stored. If you change your mind
and decide to keep the old preset (without losing
the newly made changes), before pressing the
STORE key for the second time, use EDIT A to select
another storage location for your new preset.
Serial 1 - 4: The control of the “Dry” and “Mix” parameters in
Engine A is still active, and Engine B is not adjustable.
If you wish to use your REV2496 together with a guitar amp
that features a serial effects loop, or if you wish to use it as an
insert effect, select INTERNAL. Additional information about this
application can be found in chapters 5.3 and 5.4.
LCD Contrast: Use EDIT D to adjust LCD contrast.
3.8.2 DIGI page
3.8.3 GAIN page
Fig. 3.10: SETUP page 2
Fig. 3.11: SETUP page 3
Clock Source: Here you can select the clock speed of the
REV2496. You can select between the following internal clock
speeds: 44.1, 48 or 96 kHz. If you wish to externally synchronize
your REV2496 (slave operation), you can select if the clock
speed will be via the external BNC wordclock input (WDCLK) or
via the digital input (DIG. IN). If you wish to use your REV2496 as
a slave and at the same time wish to use the analog inputs, a
synchronization via the wordclock input or via one of the two
digital inputs is necessary.
Here, you can adjust the signal level of analog and digital
inputs and outputs. A signal level adjustment of +/- 6 dB is possible.
Input Source: With the EDIT B control, you can decide which
of the two digital inputs will be used: the optical input (OPT.) or
the XLR input (XLR).
The level indicator of your REV2496 indicates the input that
was selected as master input on the I/O page of the setup menu.
During level setting of the digital input, if you want to see a signal
on the LED ring, you have to select this input as master input.
Dither and Noise Shaper: The EDIT C control has a dual
function. Here, you can select if you want to accomplish dithering
for the digital output signals, or if you also want to use additional
noise-shaping. The following settings can be made:
Func tion
Dithering and Noise Shaper
deactiv ated
Only dithering at 24 bit
Only dithering at 20 bit
Only dithering at 16 bit
BIT (+NSHA PE) Dithering w ith ac tivated
Nois e Shaper at 24 bit
BIT (+NSHA PE) Dithering w ith ac tivated
Nois e Shaper at 20 bit
BIT (+NSHA PE) Dithering w ith ac tivated
Nois e Shaper at 16 bit
The REV2496 features two automatic, non-disengageable
Peak Limiters in the output section of both engines. If signal
peaks occur, these peak limiters effectively eliminate them. If the
peak limiters engage, the corresponding LIMITER LED illuminates. In this case, please reduce the input/output level until the
LED is no longer illuminated or only lights up occasionally.
3.8.4 MIDI page
Dis play
Fig. 3.12: SETUP page 4
On this page, you can perform MIDI adjustments. For ENGINE
A, B and for COMBI., different MIDI channels can be selected.
This way, you can separately switch presets for both processors
and assign different MIDI controllers.
The parameters SEND and RECEIVE let you activate individual
MIDI functions on both the send and the receive ends. These
are: Program Change, Controller and SysEx (system-exclusive
Tab. 3.4: Setting possibilities for
dithering and noise shaping
“Dithering” refers to a low-level signal that is added
to the audio signal in order to reduce the so-called
quantization. It should be adjusted to the word rate
(bit rate) that the associated equipment can support.
The “Noise-Shaping” function displaces the noises
created through dithering into a less perceptible
frequency range.
If you wish to carry out a MIDI dump, use EDIT D to determine
beforehand if all user presets (ALL) or only the current setting
of the selected combination and the settings of both engines
(EDIT) are transmitted as SysEx data.
All MIDI functions are explained in detail in chapter 6.
Output Format: The EDIT D control adjusts the format of the
digital data flow at the output. The professional AES/EBU (AES3)
format and the consumer S/PDIF format are available. The selected
format applies to both digital outputs, i.e. if you use an appropriate
cable, you can forward a signal from the XLR output in the
S/PDIF format to another piece of equipment with a
S/PDIF connection.
All effect algorithms and their parameters are described in this
chapter. Depending on the effect, up to 30 parameters that affect
the sound in different ways can be adjusted.
The actual signal flow of all effect algorithms is in stereo.
However, for clarity’s sake, all illustrations of the routing diagrams
are drawn in mono. The only exception is the Tremolo effect,
whose signal flow is depicted in stereo.
DRY (the signal level of the “dry” signal) can only be
adjusted if the mix mode in the setup menu is set to
INTERNAL (compare ch. 3.8.1). If the mix mode is set
to EXTERNAL, the DRY control in the display is not
With ER TYPE (early reflections type), you can decide what
type of space should be simulated. You can select between
AUDITO (auditorium), CATHED (cathedral), CONCER (concert
hall), HALLWY, HANGAR, CHAMBE (chamber), STADIU (stadium)
and STAGE.
ER SIZE (early reflections size) determines the space size,
while MIC DIS (microphone distance) determines the distance
between the recording microphone and signal source. Value 1
means minimum distance, while value 5 means maximum
The material of the wall surface can be selected using the
MATERI (wall material) parameter. You can select between TOTAL
(full reflexion), GLASS, FIBER (fiber glass), MARBLE, CONCRE
(concrete), GYPSUM, WOODEN (hardwood floor), PLYWOO,
With ER DIFF (early reflections diffusion), you can influence
the degree of diffusion of the early reflections. Value 1 makes
individual reflections clearly audible, and a value of 30 creates
the greatest density possible.
4.1 V-Verb
V-Verb is the most complex space-simulation algorithm in your
V-VERB PRO. The generator for the early reflections (ER) is
particularly elaborate, and can model a large number of primary
reflections of various types of spaces. The reverb generator
(REV) lets you adjust the reverberation period in four separate
frequency ranges.
Two filters are located ahead of the reverb generator as well.
LO CUT (low cut filter) determines the frequency of a high pass
filter, and HI FREQ / HI GAIN (high frequency / high gain) adjust
the frequency and the lowering of a shelving filter that processes
the highs.
The parameter SIZE defines the size of the simulated space. It
also influences the maximum reverberation time that is adjustable
with DECAY.
The reverb generator’s reverb tail can be modulated in two
different ways using MTYPE (Modulation Type). LINEAR
produces a chorus-like modulation; RAND(OM) produces a
natural-sounding, less pronounced modulation. MDEPTH
(modulation depth) and MSPEED (modulation speed) are used to
adjust modulation depth and speed.
Fig. 4.1: V-Verb effect configuration
With ER WID (Early Reflections Stereo Width), you can adjust
the stereo width of early reflections. A value of 0% results in a
mono signal. A value of 100% results in a maximal stereo effect.
With ER DLY (Early Reflections Predelay), you can additionally
delay early reflections. We say additionally because this value is
already automatically calculated depending on the parameters
such as room type, size and microphone distance (see below).
Using ER DLY, this delay time can be increased, creating the
impression of a larger room.
The parameters REV WID (Reverb Stereo Width) and REV
DLY (Reverb Predelay) have the same function as ER WID and
ER DLY, but refer to the reverb generator. Depending on the
selected room size (SIZE), a delay time for the reverb tail is
automatically enacted here as well. Use REV DLY to adjust this
delay time if you want to boost the room impression.
Using ER/REV (Early Reflections/Reverb Mix), you can adjust
the mix ratio between early reflections and late decay. A value
of 0% results only in early reflections. A value of 100% results
only in late decay.
The decay time can be separately adjusted for four different
frequency ranges. The parameters LO X-O (low Xover
frequency), MID X-O (mid Xover frequency) and HI X-O (high
Xover frequency) determine the cut-off frequencies for individual
frequency ranges.
With LO DCY (low band decay), the decay time for the lowest
frequency range can be adjusted. The parameter value describes
a factor that refers to the global decay time adjusted using
DECAY. Similarly, both MID DCY (mid band decay) and HI DCY
(high band decay) parameters control the decay time for both of
the upper frequency ranges. This way, a frequency-dependent
decay time whose sound character remains intact, even when
decay times are changed, can be selected. Insider hint: editing
the parameters on this menu page is much more intuitive and
comfortable if you use the graphic editing mode.
The parameter DIFF (diffusion) determines the reflection density
of the reverb tail. Low values give you more transparency, and
higher values create a softer, more dense reverb tail.
The parameters DRY and FX LVL (effect level) control the
effect mix ratio. DRY determines the signal level of the direct
signal, while FX LVL controls the effect volume. The DRY
parameter is only adjustable when the mix is set to INTERNAL in
the setup. This control is therefore not shown in EXTERNAL
Two filters are located ahead of the ER generator. LO CUT
(low cut filter) determines the frequency of a high pass filter,
while HI FREQ/HI GAIN (high frequency/high gain) adjust the
frequency and the level of a shelving filter, used for lowering the
4.2 Concert hall, cathedral, theater
These three effect algorithms are designed exactly the same,
and differ only in the early reflexion pattern of the ER generator.
Fig. 4.2: Effect design for concert hall, cathedral and theater
This algorithm features a very natural, soft reverb tail like you
would hear in large concert hall. The early reflection echograms
are derived from an acoustically superior concert hall that has
been used for many high-quality recordings.
A sound controller is located ahead of this effect. LO CUT
(low cut filter) determines the frequency of the high pass filter,
and HI FREQ (high frequency)/HI GAIN (high gain) adjust the
frequency and the lowering of the shelving filter, used for
adjusting high frequencies.
Using ER/REV (early reflections/reverb mix), you can adjust
the mix ratio between early reflections and late reverb tail. A
value of 0% creates only early reflections, while the value 100%
creates only the reverb tail.
The parameter DRY determines the signal level of the direct
signal, provided that you have activated the INTERNAL mode. FX
LVL (effect level) controls the volume of the effect signal.
Together, DRY and FX LVL control the effect mix ratio.
Using ER TYPE (early reflexions type), you can determine the
physical location of a recording microphone that is being used in
a room. Available are BACK, MIDDLE, FRONT (near the sound
source) and BALCON (elevated position). Using ER SIZE (early
reflections size), you can increase or decrease the size of the
simulated space.
Using ER DIFF (early reflexions diffusion), you can adjust the
diffusion degree for early reflexions. Value 1 makes individual
reflexions clearly audible, while value 30 produces the highest
density. With ER DLY (early reflexions predelay), you can further
delay early reflexions (depending on room type, size and
microphone distance).
Reverb tail can be modulated on this page in two different
ways, selectable with MTYPE (modulation type). LINEAR creates
chorus-like modulation, while RAND produces random
modulation. MDEPTH controls modulation depth, and MSPEED
controls modulation speed.
CATHEDRAL was optimized for very long decay times. Early
reflections cover many big spaces with different structural
shapes. The design of this effect is identical to CONCERT HALL
and differs from it only in the ER TYPE parameter on the second
EDIT page. The following types of spaces are available: CHURCH,
parameter is not available.
The THEATER algorithm is also based on the CONCERT HALL
effect and contributes a surprising degree of liveliness.
Unlike with the CONCERT HALL effect, the following room
types are available for early reflexions (ER TYPE, second EDIT
page): THEAT. (Theater), ARENA, CLUB, STADI. (Stadium),
STAGE, STUDIO, OPERA and AMPHI (Amphitheater).
A special feature of this effect is the ATTACK parameter that
lets you determine how quickly the reflections in the reverb tail
fade out. Low values produce a sudden fadeout, while high
values result in a gradual fadeout with the highest density.
SPREAD influences the progression of the reverb tail. Low
values describe a relatively linear curve, while high values create
a less linear curve progression. This lets you create very
interesting decay characteristics.
4.3 Gold Plate
This algorithm is particularly well suited for drums and
percussion. However, singing parts also benefit from the
particularly dense reverb tail. The additional four-fold delay lets
you create your own early reflexion patterns.
The SIZE (room size) parameter determines the size of the
simulated space for the reverb generator. This parameter also
influences the maximum decay time (RT60) that is adjustable
using the DECAY (decay time) parameter. Using the PREDLY
(reverb predelay) parameter, you can delay the trigger point for
reverb tail.
The DIFF (diffusion) parameter determines the reflection density
for reverb tail. Low values increase the transparency, while
high values produce a softer, more dense reverb tail. The SPREAD
parameter strengthens the room impression.
Just like with decay in real rooms, reverb tail dampens higher
frequencies. The DAMP (dampening frequency) parameter
determines the frequency above which dampening kicks in. Decay
time for lower frequencies can also be separately adjusted. This
is done using BASS (bass multiply). The BASS value describes
a factor that refers to the decay time determined using DECAY
(decay time). The BASS F (bass frequency) parameter determines
the frequency above which BASS no longer engages.
Fig. 4.3: Effect design for Gold Plate
With ER/REV (early reflexions/reverb mix), you can adjust the
mix ratio between early reflexions and late decay. The DRY and
FX LVL (effect level) parameters control the mix ratio between
the dry signal and effects signal. DRY determines the level of the
direct signal (if mix is set to INTERNAL), while FX LVL controls
the effect volume.
Using DECAY, you determine the decay time, whose maximum
value depends on the reverb room size selected using SIZE.
With the PREDLY (reverb predelay) parameter, you can delay
the point at which the reverb tail is delayed.
Just like in real physical spaces, the upper frequency range is
dampened during decay. The DAMP (dampening frequency)
determines the frequency at which dampening begins. The
decay time for lower frequencies is adjusted using BASS (bass
multiply), which is a factor that refers to the decay time adjusted
using DECAY.
LO CUT (low cut filter) determines the frequency of the high
pass filter located ahead of the low cut filter. HI FREQ (high
frequency) and HI GAIN (high gain) adjust the frequency and
the lowering of the shelving filter for the high frequencies (treble).
DIFF (diffusion) determines the reflection density for the reverb
tail. A low value provides higher transparency, and higher values
create a softer, more dense reverb tail.
The modulation of the reverb tail can be adjusted using MTYPE
(modulation type), MDEPTH (modulation depth) and MSPEED
(modulation speed): LINEAR creates static modulation, while
RAND produces random modulation. MDEPTH controls modulation
depth, and MSPEED controls modulation velocity.
The BAL 1-4 (stereo balance 1-4) parameters control the
stereo balance of the four delays, and the GAIN 1-4 parameters
control their volume.
With DELAY 1-4, you can adjust the delay time of the four
delays. With ER DIFF (early reflections diffusion), you can adjust
the diffusion degree for the delays. Value 1 lets individual delays
be clearly audible, while value 30 produces the greatest density.
The effect of an abruptly ending, dense decay is in this case
achieved without the disturbing quality of the level-dependent
noise gate. This way, entire drum sets can be adjusted together,
giving your mix amazing density.
The ATTACK parameter (EDIT page 1) influences the density
of the reflections at the beginning of the reverb tail. The lower
the value, the more abrupt the increase. DENS (density) defines
the echo density of the reverb tail before it is abruptly cut off.
The functions of the remaining parameters are identical to those
of the ambience effect.
This algorithm simulates a reverb tail played backwards.
RISE (rise time) on the first EDIT page determines the steepness
of the reverb tail curve before the abrupt end of the reverb tail.
The parameters LO CUT, HI FREQ and HI GAIN control the
filter section located ahead of the actual reverb effect.
BASS (bass multiply) controls the reverb time for the bass
(depending on the DECAY time); with BASS F (Bass Frequency)
you control the upper cut-off frequency of the low-frequency
reverb segment.
4.5 Delay
4.4 Ambience, gated reverb, reverse reverb
Even though these three effect types are based on the same
algorithm, their sound characteristics could not be more different.
Fig. 4.4: Effect design for ambience, gated reverb and
reverse reverb
Here you have an extensive delay that lets you create a vast
array of interesting reflection patterns. The input signal’s highs
and lows can be adjusted using the shelving filter, whereby you
can simulate the sound of old “vintage delays”. As the effect
routing indicates, this algorithm consists of two independent
stereo delays, whose parameters can be individually adjusted.
Ambience completely violates the rules of physics! It can create
the vastness of large rooms without letting the sound “perish”
due to a long reverb tail. This effect is particularly well suited for
lending more assertiveness to solo instruments and voices.
DRY controls the level of the direct signal, while FX LVL
controls the effect volume. Together, they determine the mix
ratio, provided mix mode is set to INTERNAL.
SIZE (reverb room size) determines the size of the simulated
space that has an affect on the maximum decay time (adjusted
using DECAY). With PREDLY (reverb predelay), you can delay
the point at which the reverb tail engages. DIFF (diffusion)
determines the reverb’s density. SPREAD (spread of reverb tail)
influences the distribution of the reverb tail. The higher the value,
the less linear the distribution.
You can adjust the equalizer parameters: LO CUT determines
the frequency of the high pass filter, HI FREQ and HI GAIN adjust
the frequency and the lowering of the shelving filter.
Fig. 4.5: Effect design of delay algorithm
The DRY and FX LVL (effect level) parameters control the mix
ratio. DRY determines the level of the direct signal, while FX LVL
controls the effect volume.
A 2-band equalizer (EQ) is located ahead of the stereo delays.
LO FREQ (low frequency)/LO GAIN (low gain) determine the
frequency and the level of a bass filter, and HI FREQ/HI GAIN
control the treble level.
The parameters for delay 1 are adjusted on this page. The
PREDLY (pre delay) parameter controls a separate delay that is
not part of the feedback loop. DELAY 1 (delay time) determines
the delay time within the feedback loop. Very interesting effects
can be created through this partition. With FEEDB (feedback
amount), you can adjust the degree of feedback. Negative values
produce reverse-phase feedback.
GAIN 1 determines the output level, and BAL 1 (balance)
determines the position of the delayed signal in the stereo image.
The second delay is designed identically to delay 1. Here, too,
there is a pre-delay located ahead of the feedback loop. DELAY
2 (delay time) determines the delay time of main delay. The
parameters FEEDB, GAIN 2 and BAL 2 have the same function
as in Delay 1.
The time values of delay 1 and delay 2 can
alternatively be adjusted by tapping the TAP key.
The key LED blinks rhythmically in the tempo of the
delay time you adjusted.
An equalizer (EQ) is integrated in the feedback paths of both
delays. This equalizer lets you filter the signal in the feedback
path. All filter settings of this section have an effect of both
delay feedbacks.
Each one of the three delay modules has its own EDIT page.
Because the functions are basically the same, we will only
describe them once.
Next, you can determine how much of the signal from each
individual frequency band will be added to the delay section. The
parameters LO GAIN (low input gain), MD GAIN (mid input gain)
and HI GAIN (high input gain) are used for this purpose.
The PREDLY (pre delay) parameter determines the delay time
of a special delay that is not part of the feedback loop. With
DELAY (1, 2, 3) you can adjust the delay time of the delay
sections and can also be entered using the TAP key. With FEEDB
(feedback amount) you can vary the amount of feedback.
Negative values produce reverse-phase feedback.
The output signals of the delay units can be mixed with
GAIN (1, 2, 3) and positioned within the stereo image using BAL
1, 2, 3 (balance).
4.7 Chorus/flanger
The equalizer consists of two shelving filters; LO FREQ (low
frequency)/LO GAIN (low gain) process the bass filter, while HI
FREQ/HI GAIN adjust the frequency and the level of the treble
The chorus/flanger effect can operate in 4 different modes:
stereo chorus, 4, 6 and 8-voice chorus. Additionally, the signal
whose pitch has been modulated can be fed back to the input,
whereby flanger effects can be created.
4.6 XOver Delay
The input signal is divided into bass, mids and highs. The
elements of the individual frequency bands can be assigned to
three separate stereo delays with separate levels. This way,
interesting reflexion patterns can be produced.
Fig. 4.7: Effect design for chorus/flanger
The MIX (effect mix) parameter controls the effect-mix ratio.
A value of 0% reproduces only the input signal; a value of 100%
reproduces only the effect signal. Hint: mixing the input signal
and the out-of-tune signal makes the chorus effect even more
intensive. The effect is at its strongest with values between 40
and 60 percent.
The input signal’s bass and treble frequencies can be filtered
using the 2-band equalizer (EQ). HI FREQ/HI GAIN and LO FREQ/
LO GAIN can be used.
Using MODE, you can select the operating mode for chorus.
STEREO (stereo chorus), QUAD (4-voice chorus), HEXA
(6-voice chorus) and OCTA (8-voice chorus) can be selected.
With the GAIN (output gain) parameter you can correct the output
volume of the effect block (engine). The ST SPR (stereo spread)
parameter defines the stereo width of the effect signal between
mono signal (0%) and maximum stereo width (100%).
Fig. 4.6: Effect design of the Xover delay effect
The mix ratio between the effect and the dry signal is controlled
with the FX LVL (effect level) and DRY parameters. DRY is not
available in the EXTERNAL mix mode (pre-adjustable in setup) as
The crossover parameters can also be adjusted. HI TYPE
(high filter type) determines the slope of the crossover between
the high and mid frequency bands. You can select between 6,
12 and 18 dB per octave. The split frequency of this filter is
adjusted using HI FREQ (high split frequency).
LO TYPE (low filter type) determines the slope of the lower
filter (6, 12 and 18 dB per octave). The crossover frequency for
this filter is adjusted using LO FREQ (low split frequency).
A very essential element of any chorus/flanger effect is its
LFO (low frequency oscillator), which is used for creating
modulations. The SPEED (modulation speed) parameter controls
the modulation’s velocity. This value can alternatively be entered
using the TAP key.
With chorus/flanger, the modulation’s delay time influences
the intensity of the effect. This value is set up using MODDLY
(modulation delay). Short times create a more subtle effect, while
longer delays produce stronger pitch variations.
There is a delay located ahead of each chorus voice. The
middle pre-delay time is set up using PREDLY (pre delay). The
DLYSPR (pre delay spread) determines the extent to which
delay times of individual chorus voices vary from one another.
When you select 0% as the value, all chorus voices are predelayed with the same amount of PREDLY time.
The WAVE (LFO waveform) parameter describes the wave
form for the tone pitch modulation. Wave forms can be crossfaded
from triangle-shaped (0) to sinusoidal (50).
PHASE (LFO phase spread) and SPREAD (LFO frequency
spread) parameters are adjusted with the same control. They
control either the phase length or the LFO frequency of the
individual chorus voices. In PHASE mode (the potentiometer points
between the left-most position and the middle), all LFOs have the
same frequency, and the phase difference of the individual LFO
generators can be adjusted between 0° (no phase difference)
to 180° (maximum phase difference). When in SPREAD mode
(the potentiometer lies between the middle and the right-most
position), you can determine the extent to which the LFO
frequency (adjusted with SPEED) between individual chorus
voices will vary. In the middle position (0%), all LFOs run
The chorus effect features the so-called auto-panning function.
This way, you can shift the individual chorus voices around
from left to right in the stereo image. With the PAN (panning
mode) parameter, you determine the auto-panning operating
mode. You can select between OFF, SYNC and RAND. When
set to SYNC, all chorus voices are shifted by the same frequency
in the stereo image. RAND (random) shifts each chorus voice
with a somewhat different velocity. OFF deactivates this function.
The PANSPD (panning speed) parameter controls the median
panning speed.
The flanger effect is produced when the modulated signal is
fed back to the input signal through a feedback loop. The FEEDB
(feedback amount) parameter controls feedback intensity.
Negative values produce reverse-phase feedback.
4.8 Phaser
This algorithm can create different kinds of typical phaser
effects. The number of phase shifting stages used can be set to
between 4 and 12.
Fig. 4.8: Phaser effect design
The MIX (effect mix) controls the mix ratio between the dry
signal (0%) and the effect signal (100%). The phaser effect is
intensified through the mix between the input signal and the outof-pitch signal. The effect comes through most powerfully when
the MIX value is set between 50 and 70 percent.
A combination of the high pass filter and the low pass filter
reduces the bandwidth of the input signal. These filters are
controlled with LO CUT (low cut frequency) and HI CUT (high
cut frequency).
Using STAGES, you can set up the number of phase shifting
stages used. You can select between 4 and 12 stages. RESON
(resonance) controls how much feedback the effect signal
produces at the input. Two filters are also integrated in the
feedback loop. RES HC (resonance high cut frequency)
determines the frequency of a low pass filter, while RES LC
(resonance low cut filter) sets the frequency of a high pass
Two shelving filters are integrated into the feedback loop.
These shelving filters are used to filter the signal that is fed back
into the input signal. LO FREQ (low frequency) and LO GAIN
(low gain) process the bass frequencies, while HI FREQ (high
frequency) and HI GAIN (high gain) set up the frequency and
the attenuation of treble frequencies. The graphic representation
of this page shows the resulting frequency distribution.
With GAIN (output gain), you can correct the output volume of
the effect block (engine).
CROSSF (cross feedback amount) is a unique function that
lets you feed back both channels in a crisscross fashion, i.e.
from the right to the left channel and vice versa. A value of 100%
results in the effect signal of the left channel being exclusively
fed into the right channel and vice versa. This parameter is
dependent on the previously set feedback intensity.
The WAVE (LFO waveform) parameter can be used to lengthen
the upper or the lower alternation of the LFO triangle oscillation.
Negative values lengthen the lower alternation; positive values
lengthen the upper alternation. The influence of these parameters
on the wave form is clarified on the GRAPH page.
With LFOMOD (LFO feedback modulation amount) parameter,
you can modulate the volume of the feedback signal. When you
set this parameter to the maximum, you get volume variation
between zero and the value set with FEEDB.
The median LFO speed can also be influenced through the
input signal level (so-called auto modulation). Using the LFOMOD
(envelope to LFO speed modulation) parameter on the envelope
page, a maximum increase of the LFO speed is determined by
the signal volume. The ATTACK (attack time) parameter controls
how quickly the LFO speed increases when the signal volume
goes up. HOLD (hold time) determines how long the LFO speed
is kept constant when the signal volume begins to decrease.
RELEAS (release time) determines how quickly the LFO
frequency decreases after the HOLD time ends.
SPEED (modulation speed) determines modulation speed and
can also be entered using the TAP key.
PHASE (LFO phase spread) and SPREAD (LFO frequency
spread) parameters are adjusted by the same control. They
control the phasing or the frequency of both LFOs for the left
and right channels. In PHASE mode (the potentiometer points to
the left of its middle position), the LFO frequency remains
unchanged, while the phase difference can be set to values
between 0° and 180°. When the potentiometer points to the right
of its middle position (SPREAD mode), the LFO frequency
deviation in both channels is controlled. At 0%, both LFOs operate
at the same frequency (set with SPEED ), while 100% creates a
maximum deviation of both LFO frequencies.
RANGE (sweep range) defines the maximum phase shift. With
DEPTH (LFO modulation depth), you can set the phase shift
modulation depth through the LFO. A value of 100% means that
the LFO modulates the phase shift between the value set using
RANGE and the minimum value.
With COLOR, you can determine the characteristic of the
phase-shifted sound. A low setting creates the sound of a
standard phaser, while higher values lead to more intensive
sound effects.
The LFO can be used to modulate feedback intensity. With
RESMOD (LFO feedback modulation amount), you determine how
much LFO will affect the RESON(ANCE) parameter (EDIT page
1). Positive values result in feedback being increased as the
frequency increases; negative values result in feedback being
lowered as the frequency increases.
The LFO speed can also be modulated through the volume of
the input signal. The LFOMOD (envelope to LFO speed
modulation) parameter determines how much the LFO will be
influenced by signal strength. The ATTACK (attack time)
parameter controls how quickly the LFO speed is increased
when signal volume increases erratically. HOLD (hold time)
determines how long the LFO frequency should be kept constant
when the signal volume starts decreasing. RELEAS (release
time) determines how quickly the LFO frequency will be
decreased after the HOLD time expires.
4.10 Compressor
This is a very complex compressor algorithm with two basic
operating modes: peak compression and RMS compression. A
multimode filter side chain lets you use only certain frequency
ranges for calculating the control signal. Additionally, a crossover
is available for compressing only a certain segment of the
frequency spectrum. Its possible applications are the de-esser
and bass compressor/enhancer.
4.9 Tremolo
Fig. 4.10: Compressor design
This is a typical tremolo/panner algorithm with a couple of
interesting extra features built in.
The ATTACK (attack time) parameter determines the time that
the compressor needs to react to signals that exceed the signal
level set with THRESH(HOLD). HOLD (hold time) determines how
long the signal level is reduced after the signal volume drops
below the threshold value. RELEAS (release time) determines
how quickly the compression will ease up after the HOLD time
Fig. 4.9: Design of the tremolo effect
With THRESH (compression threshold), you can determine the
minimum signal level for deploying compression. RATIO
(compression ratio) determines the compression rate once this
threshold is exceeded. The KNEE (soft knee) parameter can be
used to smoothen the curve changeover from an uncompressed
to a compressed signal. A value of 0 deactivates this function
(hard knee), and 10 produces maximum smoothening of the
curve. The GRAPH page indicates the compression line and the
signal level reduction.
SPEED (modulation speed) determines modulation speed.
Entering this parameter via TAP makes this process very intuitive.
The WAVE (LFO waveform) parameter determines the wave
form for amplitude modulation. In doing so, the wave form can be
cross-faded from triangle-shaped (1) to sinusoidal (50) all the
way to square wave form (100). Editing the WAVE parameter is
much easier in the graphical editing mode. With PHASE (LFO
phase), you can set modulation phase length of the right channel
compared to the left channel. The available parameter range is
between -180° and +180°.
MIX (effect mix) controls the depth of amplitude modulation.
GAIN (output gain) lets you correct the output volume of the
effect block (engine).
The median LFO speed can also be modulated through the
input signal level. In doing so, the LFOMOD parameter (envelope
to LFO speed modulation) determines how strongly the LFO is
influenced by signal volume. The time parameters ATTACK (attack
time), HOLD (hold time) and RELEAS (release time) control how
quickly the LFO speed will increase when the signal volume
increases, how long it will be held and how quickly it will decrease
after the HOLD time expires.
With M-GAIN (make-up gain), you can correct the output
volume of the compressed signal.
With LOOKAH (look ahead delay), you can delay the audio
input relative to the side chain path. For example, this can be
used together with longer attack times because the side chain
has more time to lower the signal level, which can produce quite
interesting effects. Please note that this also delays the overall
output signal of your REV2496.
With FILTER (side chain filter mode), you can select the type
of side chain filter. When set to OFF, the filter is inactive.
Additionally, you can select one of these: LP12dB (low pass
filter with 12 dB decrease per octave), HP12dB (high pass filter
with 12 dB per octave), LO SHV (low shelving filter), HI SHV
(high shelving filter) and BP (band-pass filter). Depending on the
filter type you select, FREQ (frequency) determines the center
frequency of the filter. GAIN determines the level of the shelving
filters, and Q determines the bandwidth of the band-pass filter.
With the MODE (compression mode), you can select the basic
type of compression. PEAK measures the current, maximum
signal strength, while RMS detects the average signal energy. In
RMS mode, the length of integration window can be set to values
between 1 to 20 ms (milliseconds).
The transient bypass function gives you the option to exclude
the short-time transients from compression in the audio signal.
The TRANS parameter defines the maximum length of the
transients that will remain unaffected by compression.
X-MODE (Xover filter mode) determines the operating mode of
the crossover filter. When set to WIDE, the entire spectrum is
compressed. When set to LO 6 dB, LO 12 dB and LO 18 dB, only
the output signal of the low pass filter is compressed. When set
to HI 6 dB, HI 12 dB and HI 18 dB, only the output signal of the high
pass filter is processed. The filters have a selectable change
rate, with values of 6, 12 or 18 dB per octave. X-FREQ (Xover
split frequency) in this case determines the cut-off frequency of
the low pass filter and the high pass filter.
With this function you can for example process only the bass
frequencies of a stereo mix, and leave treble unaffected. You
can also configure a 2-band mastering compressor by selecting
this algorithm for both engines and configuring it as a combination
effect in parallel 5-routing. Now, select a LO value in engine 1 for
X-mode; select a HI value in engine 2. The compressor in engine
1 now processes the lower frequency band, while high
frequencies are compressed in engine 2. This way, you can
compress the lows and the highs with different intensity, and
you can set control response times separately for both frequency
The BEHRINGER V-VERB PRO is an extremely flexible reverb
processor. Thanks to its extensive connectivity options, it can
be used in a large number of different applications. In this chapter,
we will describe and present some application possibilities.
5.1 Using the V-VERB PRO in the aux bus
The standard application for a reverb processor. Using the
REV2496 in the aux bus lets you feed signals from one, several
or all channels of your console into the V-VERB PRO. When
miking a drum kit, for example, you can use the aux controls to
adjust the reverberation independently for each microphone.
Thus, you are able to assign a stronger reverb to the snare than
to the toms. Wiring the V-VERB PRO in the aux bus should be
done as follows:
Master Input
Wet Dry Mix
Tab. 5.1: SETUP configuration for wiring
the REV2496 via aux busses
Connect the input of the V-VERB PRO to the aux send output
of your mixer. The REV2496’s outputs are connected to an
available aux return input or a stereo input of your mixer. As a
matter of principle, effects processors should always be
connected to post fader aux busses, i.e. independent of the
fader position.
If your mixing console has aux busses that feature
one jack for the aux send, you have to always use
the left input of the REV2496. In this case, set “Input
Mode” on the I/O page to mono (see chapter 3.8.1).
To avoid damage to your equipment, turn down the
volume level on your amplifier when making
connections. Turn off all the equipment that you
want to connect to one another until all connections
have been made as described.
An example: say you want to run your REV2496 in a live
situation in connection with a mixing console. An ambiance effect
should lend some more roominess to a drum.
Connect the V-VERB PRO (as described previously) to your
mixer (fig. 5.1). Switch the REV2496 on. In the SETUP menu (I/O
page), activate “EXTERNAL” operation. Press one of the ENGINE
keys, select the ambience effect (ROM 006) using the PRESET
WHEEL and confirm with OK/TAP. The effect is now activated.
Using aux return, adjust the overall level of the effect. Slowly
turn up the aux send controls in the individual mixer channels
until each of the drum signals becomes the desired amount of
the effect mixed to it. Then, you can do some fine-tuning in the
EDIT mode.
Fig. 5.1: Wiring aux busses of a mixing console
Parallel 5, 6; Serial 1, 2
5.2 Using the V-VERB PRO
in the insert path
Generally, you can use your REV2496 on channel or subgroup
inserts, using a standard insert cable. Connection to a channel
insert makes sense when you want to process very specific
signals (e.g. vocals) with the V-VERB PRO, or when aux inserts
on your mixer are already used up by other equipment. For the
compressor algorithm (ROM 014), this is the correct selection. If
you wish to use another effect, you should set the wet/dry mix
in the I/O-Setup to “INTERN”, so that you can comfortably mix the
effect signal with the FX level (EDIT D), and the dry direct signal
with the DRY (EDIT D, upper row).
Fig. 5.3: The REV2496 in connection with a guitar amp
Fig. 5.2: Wiring the V-VERB PRO in the insert path
Master Input
Wet Dry Mix
Parallel 1, 3 (only lef t input), Serial 1
Tab. 5.2: SETUP settings for wiring the REV2496
in the insert path
In this example, the V-VERB PRO should be inserted between
the preamplifier and the output stage of your amp. Almost all
guitar amps offer an insert or an effects loop, so that the
preamplifier signal of your amp can be tapped into in order to
bring it to the audio input of your effects equipment. The
preamplifier signal is processed in the REV2496, and then sent
back to the output stage of your amp via the amp’s return path.
If you use a stereo rack system for amplification, you can also
wire your REV2496 in stereo. Connect the preamp to the audio
inputs of your V-VERB PRO. Connect the outputs (left/right) to
one channel of your amp.
Master Input
Wet Dry Mix
Parallel 1, 3, 5; Serial 1
Tab. 5.3: SETUP settings for wiring the REV2496 as a guitar
effects processor (serial inserts)
5.3 The V-VERB PRO
as a guitar effects processor
Through its extensive MIDI implementation, V-VERB PRO can
also be used as a multi-effects processor in a guitar rack. The
illustrations that follow show how you can use your REV2496 in
a guitar setup.
Since most guitar amps only feature a serial effects
loop, you should make sure that the REV2496 is set
to Mix Internal mode. In Mix Internal mode, you can
control the effects intensity that is applied to the
guitar signal. If, however, your amp is equipped
with a parallel effects loop, which allows adding
the effects signal portion (similar to an aux bus in a
mixing console), then you should set the REV2496
to Mix External mode. In this case, the effects
intensity present at the outputs of the V-VERB PRO
is 100%.
Master Input
Wet Dry Mix
Parallel 1, 3, 5; Serial 1
Tab. 5.4: SETUP settings for wiring the REV2496 as a guitar
effect processor (parallel insert path)
5.4 The V-VERB PRO in digital environment
Thanks to its exhaustive set of digital connections, the REV2496
is almost predestined for use in a complete digital setup. This
way, you eliminate unnecessary signal conversions that may
degrade the quality of your sound.
When connected to a digital mixing console (in our example
the BEHRINGER DDX3216), a typical setup could look like this:
5.5 The V-VERB PRO in
4-channel operation
Your REV2496 truly shines in 4-channel operation, when its
extensive connectivity options and configuration possibilities
really come into play. Using an external A/D-D/A converter, you
can use all four connectors at the same time, offering utmost
flexibility. Our ULTRAMATCH PRO SRC2496 is used in this
application as a converter for the digital connectors of your
Fig. 5.5: V-VERB PRO in 4-channel operation with an
external A/D-D/A converter
Fig. 5.4: V-VERB PRO and DDX3216
Connect your digital mixer to the digital inputs of the REV2496.
Since the REV2496 features both optical and XLR connections,
you are ready for practically all situations.
Master Input
Wet Dry Mix
Clock Source
Input Source
Parallel 2,3,5,6; Serial 1,2,3
Digital In
It can even be configured to function as a 4-channel setup if your
mixer features additional analog connectors that can be configured
as aux sends and returns. Depending on the selected configuration,
you can simultaneously route one or two signals to the REV2496,
and use one or both outputs with separate or mixed signals.
Parallel 1, 2, 3, 4; Serial 3, 4
depending on the conf iguration
depending on the conf iguration
depending on the conf iguration
If you use a digital mixer as a “Clock Master” and
want to use the digital audio connections only for
synchronization, set the clock source on your
REV2496 to DIG. IN and the input source to XLR or
OPT. (depending on the type of the desired
connector). If you for example wish to use a central
“Studio Master Clock” generator, you can carry out
the synchronization via the wordclock input (BNC)
as well. In this case, select WDCLK on your REV2496
as the clock source. On the other hand, if the
REV2496 acts as the “Clock Master,” one of the three
possible sampling frequencies (44.1, 48 or 96 kHz)
has to be selected in SETUP on the DIGI page.
Tab. 5.6: SETUP settings when using the REV2496
in a 4-channel setup
Parallel 1, 2, 3, 4; Serial 3, 4
depending on the conf iguration
depending on the conf iguration
depending on the conf iguration
Tab. 5.7: SETUP settings for connecting the REV2496
to an A/D-D/A converter
Tab. 5.5: SETUP settings for wiring the REV2496
to a digital mixing console
Master Input
Wet Dry Mix
Clock Source
Input Source
Master Input
Wet Dry Mix
Clock Source
Input Source
6.1 MIDI settings
MIDI (Musical Instruments Digital Interface) lets several musical
instruments/devices communicate using a standardized
connector. Units with MIDI connectors speak the same language
so that an entire network of several MIDI units can be created.
For example, you can wire your V-VERB PRO like this:
Fig. 6.2: MIDI SETUP page
All MIDI settings are carried out on the MIDI page in the setup
menu. Pressing the SETUP key once gets you to the setup menu.
Using PAGE
, scroll until you get to the MIDI page.
First you need to set the MIDI channels for engine A, B and
COMBI. You can use the controls indicated in the upper row of
the display for this purpose. You can select the desired MIDI
channel by turning the controls A to C.
Now you can select what kinds of MIDI program changes will
be sent and received. Different kinds of program changes include
parameter change (PGM), controller (CC) and system-specific
data (SX). These can be set up both on the send (SEND) and on
the receiving (RECEIVE) end. The table below shows which
settings are possible:
neither sends nor receives data
PROGR. sends and receives only program changes
CONTR. sends and receives only controls
sends and receives only Sys Ex data
PGM+SX sends and receives program + SysEx data
PGM+CC sends and receives program + controller
sends and receives controller + SysEx
A LL ON sends and receives all data
Tab. 6.1: MIDI function groups
6.2 Program changes
Fig. 6.1: V-VERB PRO in a MIDI connection with a sequencer
(computer) and a keyboard
All MIDI commands that are sent to the REV2496 are received
through the MIDI IN connector. If for example you wish to
integrate the REV2496 in your studio, you can connect your
sequencer to the MIDI In connector, which will allow you to
control your REV2496. The MIDI THRU connector is used for
forwarding incoming MIDI commands. This means that all control
commands that get into the V-VERB PRO through the MIDI IN
connector can be passed onto other MIDI-enabled equipment or
instruments using the MIDI THRU connector. With the MIDI OUT
connector, you can generally send MIDI data from the REV2496.
Different kinds of equipment functions can be controlled via
MIDI. MIDI messages are received on another MIDI-enabled device
(e.g. a MIDI sequencer or a MIDI foot controller). The MIDI
messages that need to be sent have to be set in the MIDI
sequencer. The MIDI functions contain program-change
commands (program changes), controller messages and an
abundant SysEx implementation (system-specific data). Using
program changes, you can switch presets. Controlling individual
effect parameters in real time is carried out by the controller.
Transmitting the entire memory contents for backup purposes is
done by performing a SysEx dump.
Program changes let you call up presets via MIDI. Because of
the MIDI data structure, 128 program numbers can be sent.
However, the V-VERB PRO features more than 400 memory
locations. These are subdivided into 2 banks for both engines (A
and B) as well as for the combination presets (ROM and USER
bank). There are 100 memory slots within each memory bank. To
load up a preset from another memory bank, before sending
program changes you first have to select a memory bank. This is
done by sending a bank-select command (controllers 0/32) with
the value 0 (for the ROM bank, i.e. factory presets) or with the
value 1 (for the USER bank). You should set the combination
effects to another MIDI channel in order to avoid conflicts with
the program switching for the engines. Here, too, you can use
the bank select function with the controllers 0/32.
6.3 Controller commands
All parameters of the effect processor can be modified in real
time via MIDI. To do this, the so-called non-registered parameter
numbers (NRPNs) are used, i.e. each parameter of the REV2496
is assigned its own NRPN. You can get more detailed information
about this subject on the internet as a download from our
Separation into 16 MIDI channels lets you control up to 16
different pieces of equipment/instruments within a single MIDI
network. In the case of the REV2496, you can select different
MIDI channels for engine A, engine B and COMBI. This way, MIDI
data can be separately addressed for each engine. The
advantage of doing this is that incoming program changes won’t
switch all programs but only those in the respective engine.
6.4 Backing up data via MIDI
To save all of your presets outside of your V-VERB PRO in just
one step, you can use a special form of MIDI communication:
system-exclusive data. Here, the V-VERB PRO lets the
sequencer or the MIDI file know who its manufacturer is, what
type of equipment it is and transmits all parameter settings for all
presets. To activate this very practical function, please go the
SETUP mode by pressing the SETUP key. Use PAGE
get to the MIDI page. Activate the SysEx function by using the
SEND parameter (EDIT B) (see table 6.1).
Now, by turning the EDIT D controller, you can determine if the
entire memory contents (ALL) or only the current setting (EDIT)
will be sent.
Fig. 7.1: XLR connections
Select a track on your MIDI sequencer, put it into recording
mode, start the recording and press the EDIT D control to start
the dump. Now, your V-VERB PRO transmits its memory contents
as system-exclusive data.
To load up this recorded data back to the REV2496, you have
to first activate the SysEx function on the receiving end. This is
done through the EDIT C control (select SYSEX, PGM+SX, CC+SX
or ALL ON). The REV2496 can now receive data. Start your MIDI
sequencer, and the preset data will be automatically loaded into
the internal memory. Upon being received, a preset previously
recorded on the MIDI sequencer will automatically be stored in its
old location, and this will happen without a confirmation being
given about it.
Fig. 7.2: 1/4" TS connector
During receiving/loading memory data, the entire
current memory contents of the USER bank will be
7.1 Installation in a rack
The REV2496 requires one height unit (1 HE) for mounting in a
19" rack. Please keep in mind that an additional 10 cm (4") of
depth in the back are required to enable trouble-free access to
the connectors on the rear panel.
Please make sure that your REV2496 has enough cooling air,
and never put it on an amp or other heat-emitting equipment to
avoid overheating.
Fig. 7.3: 1/4" TRS connector
7.3 Digital inputs and outputs
For rack installation, please use M6 machine screws and nuts.
7.2 Audio connections
You will require different cable types for different types of
applications. The illustrations that follow show you how these
cables are connected. Always use only good-quality cables.
The analog connections
of your REV2496 are
laid out as balanced connection to avoid hum.
You can also connect equipment with unbalanced connections
to the balanced inputs and outputs of your REV2496. Use either
mono jacks or connect the ring of stereo jacks with the shaft (or
connect Pin 1 to Pin 3 for XLR connectors).
The AES/EBU interface whose name is derived from the Audio
Engineering Society and the European Broadcasting Union, is
mainly used in professional studio environments and broadcasting
studios for the transmission of digital signals over longer
distances. The connection is made via balanced XLR cables
with a resistance of 110 ohms. Cables can be up to 100 m long.
With some minor adaptations, even cable lengths of over 1 km
are possible (not rare in radio and TV applications). According to
our own experience, cable selection does not play a major role.
With cables whose length does not exceed 20 m (66 ft),
commercially available microphone cables don’t have a negative
effect on sound quality. When dealing with greater cable lengths
or when the quality standards are set higher (mobile operation,
stronger high-frequency fields), you should definitely use special
110-Ohm cables with double electromagnetic shielding.
The interface complies with the AES3 format, which allows
for two-channel transmission of signals with a resolution of up
to 24 bits. The signal has an auto-clock and auto-synchronization
feature (important when several digital devices are used). The
sample rate is not fixed and can be chosen freely. Typical rates
are 44.1 kHz, 48 kHz, 88.2 kHz and 96 kHz. The AES/EBU interface
is largely compatible with the popular S/PDIF interface. A
connection can be made using an adapter. The format can be
switched to S/PDIF (Sony/Philips Digital Interface Format).
Digital inputs/outputs on optical connectors are also available.
7.4 WORDCLOCK connection
If several devices will be embedded into a digital recording
system comprising, for example, a digital mixing console, all
connected digital devices must be synchronized using a common
wordclock signal. The REV2496 features a wordclock input,
which can be used to control external equipment via wordclock
signals. The input supports the sample rates 44.1, 48, 88.2 and
96 kHz, and can be activated only if the analog inputs are
The illustration that follows shows how the wordclock input is
correctly connected. Since these are the same cables used by
computer networks, accessories such as interconnecting cables
T-connectors and terminating resistors can also be obtained in
computer stores.
The operating software of your V-VERB PRO REV2496 is
constantly being developed to improve its performance and adapt
the operation of the unit to user requirements. We would therefore
be pleased to hear about your suggestions and ideas for
improvement. We will try to include your suggestions in the next
software revision. Information on new software versions are
available from the trade press, your retailer, from our website at or directly from BEHRINGER
(Tel. +49 2154 9206 4166).
The current software revision of your V-VERB PRO REV2496
is briefly displayed in the start picture during start-up.
Max. input level
Fig. 7.4: End connection of the wordclock input
If the V-VERB PRO is placed within several pieces of daisychained equipment supplied with wordclock, it will be fed the
wordclock signal via a T-connector, while the other end of the Tconnector (and the BNC cable) facilitate connection to the next
device in the chain. The last unit in the chain must be terminated
with a T-connector and a 75-Ohm resistor. Some equipment
features a switchable terminating resistor, eliminating the need
for a terminal resistor and a T-connector.
7.5 MIDI connections
The REV2496 features an integrated MIDI interface that makes
sending and receiving MIDI data possible. This way, your
REV2496 can be optimally integrated into various recording
studios. You can also control it using the sequencer on your
The MIDI connections in the back of the REV2496 feature the
standard 5-pin DIN connectors. You will need commercially
available MIDI cable for connecting your V-VERB PRO with other
MIDI equipment.
MIDI IN: This connection is used for receiving MIDI data. The
receiving channel is set in the SETUP menu.
MIDI THRU: Incoming MIDI signal can be tapped into without
modifications at the MIDI THRU connector. Several MIDI units can
be daisy-chained this way.
MIDI OUT: Data can be sent to a computer connected to your
REV2496 or to other MIDI equipment via MIDI OUT. Program data
as well as status information for signal processing can be
Max. output level
XLR balanced
1/4" TRS stereo balanced
approx. 22 kΩ balanced
+16 dBu
typ. 40 dB
XLR, servo-balanced
1/4" TRS stereo servo-balanced
approx. 100 Ω balanced
+16 dBu
Frequency range
<10 Hz - 20 kHz @ 44.1 kHz
<10 Hz - 22 kHz @ 48 kHz
<10 Hz - 46 kHz @ 96 kHz
Signal-to-noise ratio
-90 dBu
Dynamic range
106 dB (analog in ß analog out)
0,007% typ. @ +4dBu, 1 kHz, Gain 1
< -100 dB (analog in ß analog out)
Signal delay
< 1 ms (analog in ß analog out)
input impedance
nominal input level
XLR servo-balanced
110 Ω
0.2 - 5 V peak-to-peak
TOSLINK optical
XLR servo-balanced
TOSLINK optical
input impedance
Nom. level
Wordclock (1 x sample rate)
approx. 50 kΩ
2 - 6 V peak-to-peak
MIDI Interface
5-pin DIN jacks In/Out/Thru
cf. MIDI implementation chart
high-resolution SHARC® DSP
600 MFLOPs, 32-bit internal
signal processing
24 Bit/96 kHz
Sample rate
external, 44.1 kHz, 48 kHz, 96 kHz
Mains voltage
Power consumption
Mains connector
128 x 64 backlit liquid crystal display
(green) with adjustable contrast
100 ROM + 100 user presets for
engines A and B
100 ROM + 100 user presets for
85 – 250 V~, 50 – 60 Hz
10 W typ.
T 1A H
Standard receptacle
19" (482,6 mm) x 1 ¾" (44,5 mm) x 8 ½"
(217 mm)
approx. 4 ¾" lbs. (2.15 kg)
BEHRINGER makes every effort to ensure the highest standard
of quality. Necessary modifications are carried out without notice.
Thus, the specifications and design of the device may differ
from the information given in this manual.
Fig. 10.1: MIDI implementation
*) Download at
To be protected by the extended warranty, the buyer must
complete 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. Failure
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 ( or
1. BEHRINGER (BEHRINGER Spezielle Studiotechnik GmbH
including all BEHRINGER subsidiaries listed on the enclosed page,
except BEHRINGER Japan) 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
regulations described below. If the product shows any defects
within the specified warranty period that are not excluded from
this warranty as described under § 4, BEHRINGER shall, at its
discretion, either replace or repair the product using suitable
new or reconditioned parts. In the case that other parts are used
which constitute an improvement, BEHRINGER may, at its
discretion, charge the customer for the additional cost of these
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
expressly excluded.
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 accompanied 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.
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 under the
terms of this warranty will be repaired or replaced.
2. If the product needs to be modified or adapted in order to
comply with applicable technical or safety standards on a national
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 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,
crossfaders, potentiometers, keys/buttons, tubes and similar
4. Damages/defects caused by the following conditions are
not covered by this warranty:
s improper handling, neglect or failure to operate the unit in
compliance with the instructions given in BEHRINGER user
or service manuals.
s 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.
s 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 buyer’s expense. BEHRINGER will
inform the buyer of any such circumstance. If the buyer 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
separately when the buyer has sent in a written repair order.
This warranty is extended exclusively to the original buyer
(customer of retail dealer) and is not transferable to anyone
who may subsequently purchase this product. No other person
(retail dealer, etc.) shall be entitled to give any warranty promise
on behalf of BEHRINGER.
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.
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
2. The warranty regulations mentioned herein are applicable
unless they constitute an infringement of national warranty law.
* Customers in the European Union please contact BEHRINGER
Germany Support for further details.
Technical specifications and appearance subject to change without notice. The information contained herein is correct at the time of printing.
SHARC® as well as the names of companies, institutions or publications pictured or mentioned and their respective logos are registered trademarks
of their respective owners. Their use neither constitutes a claim of the trademarks by BEHRINGER® nor affiliation of the trademark owners with
BEHRINGER®. BEHRINGER® accepts no liability for any loss which may be suffered by any person who relies either wholly or in part upon any
description, photograph or statement contained herein. Colors and specifications depicted may vary slightly from product. No part of this book 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 permission of BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER® is a registered trademark.
© 2003 BEHRINGER Spezielle Studiotechnik GmbH.
BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38,
47877 Willich-Münchheide II, Germany
Tel. +49 2154 9206 0, Fax +49 2154 9206 4903
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