Behringer DFX69 - Manual (Page 8)

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TWEAKALIZER DFX69
2. CONTROL ELEMENTS
LFO (Low Frequency Oscillator)
In this mode, the LFO modulates the cut-off frequency
from the lowest to the highest frequency and back to the
lowest frequency. The modulation speed can be either
adjusted continuously using the ENCODER or incrementally
using the BEAT keys (see and ). The increments
available via the BEAT keys are always relative values
expressed in beats. For example, if you enter “2”, it will
take two beats for the cut-off frequency to modulate
from the lowest to the highest frequency and back. The
DFX69 calculates the time on the basis of the current BPM
signal automatically.
MANUAL
In this mode, the cut-off frequency can be adjusted using
the large DATAWHEEL (see ). This also allows real-
time filter modulation. You can adjust the reaction time of
the filter using the ENCODER or the BEAT keys located
beneath it (see and ). The shorter the reaction
time, the quicker the filter reacts to the DATAWHEEL
movement.
AUTO
In AUTO mode, the filter frequency is modulated via the
level of the music signal. In this mode, it is important to set
up the filter sensitivity so that it correctly reacts to the
input signal (see ).
FILTER has a function similar to the SHOT key in the
SAMPLER section. Pressing and holding the FILTER key
activates the FILTER effect. As soon as you release the
key, the FILTER effect is deactivated.
When in AUTO mode, the FILTER key has an extra function:
keeping it pressed while turning the DATAWHEEL allows
you to adjust the sensitivity of the filter to compensate for
varying levels between tracks, which will cause the filter
to react differently to various tracks. For example, if the
volume of one track is lower than that of a previous track,
you should increase the filter sensitivity so that the filter
will react appropriately to the rhythm.
RESONANCE increases the cut-off frequency of the
LOW PASS and the HIGH PASS filter (0 - 10), adding
presence to the effect.
2.3.2 FLANGER
The word “flange” means “tape spool”, and this explains the
characteristics of the effect. Originally, the flanger effect was
generated with two tape recorders that ran synchronously. The
same audio signal was recorded and played back on both
machines (e.g. a guitar solo). Applying pressure on the left spool
of one of the machines caused the spool and thus the playback
speed to slow down. The generated delay resulted in phase
shifting of the signals.
ON activates/deactivates the FLANGER effect on the
DFX69.
To determine the speed of the effect, first dial up the
FLANGER effect by pressing the ENCODER (see ).
Then, use the BEAT keys located beneath it to dial up one
of the predetermined speed values. This value is a relative
value that is calculated based on the current BPM value.
By turning the ENCODER, you can continuously adjust the
flanger speed. By turning the DATAWHEEL while the effect
is active (see ), you can create additional FLANGER
modulation. Holding the FLANGER key and turning the
DATAWHEEL creates a feedback modulation which
smoothly appears/disappears within four beats.
The FLANGER key keeps the effect active as long as the
key is pressed. Releasing the key deactivates the effect.
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If the FLANGER effect is the most recent effect you
dialed in (indicated by rapid blinking of the ON key
LED), you can use the MIX control (see ) to set
up the volume ratio between this effect and the
original signal. This applies to all effects (see ch.
2.1).
2.3.3 DELAY
The DELAY effect lets you create repetitions of the input signal,
resulting in various effects, from subtle to wild. The time gap
between the original signal and the repetitions depends on the
delay time you set.
ON activates/deactivates the DELAY effect of the DFX69.
To set up the delay time, first dial in the desired DELAY
effect using the ENCODER (see ). Now, use the BEAT
keys located beneath it to select one of the predetermined
delay times. For example, a value of “2/1” will result in a
half-note delay—the repeats will be 2 beats or quarter
notes apart. If you select “1/2”, the repeats will be half a
beat or an eighth note apart, and so on. The actual length
of a beat always depends on the current BPM value. By
turning the ENCODER, you can select other times, for
example to create triplet delays.
The DELAY key activates the effect and keeps it active
as long as you keep the key pressed. When you release
the key, the effect is deactivated.
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If DELAY is the most recently activated effect
(indicated by rapid blinking of the ON key LED), you
can use the MIX control (see ) to adjust the mix
between the delay effect and the original signal.
This applies to all effects (see ch. 2.1).
2.3.4 SCRATCH
This effect simulates the scratching that turntablists are known
for. Your DFX69 continuously records a sample of four to eight
bars (depending on the tempo of the music) that will be used for
this effect. Turning the big DATAWHEEL (see ) lets you
achieve the scratched sound.
SCRATCH activates/deactivates the SCRATCH function.
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After activating the SCRATCH function (the
SCRATCH key blinks), you can use the MIX control
(see ) to adjust the mix between the scratch
signal and the original signal. This also applies to
all effects (see ch. 2.1).
When in SCRATCH mode, turning the DATAWHEEL lets
you “scratch” the input signal, just like you would on a
turntable.
2.3.5 BPM COUNTER
The DFX69’s BPM counter is used to synchronize the effects
with the original signal. It detects a track’s tempo and displays it
in BPM (beats per minute). The BPM counter can be used in two
different ways: manually or automatically. The current BPM value
is shown in the display .
BPM-TAP switches the BPM counter into manual mode. If
you tap this key repeatedly in rhythm with the music, an
average BPM value is detected and a value is set . You
can readjust the BPM value by tapping in rhythm with the
music again.
The AUTO key activates the automatic mode. The BPM
counter automatically detects the BPM value based on
the input signal.
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Whenever you power up your DFX69, the BPM
counter is initially in AUTO mode.