Behringer DSP1200P User Manual download pdf (Page 27)

3.6 Saving data via MIDI

The MODULIZERPROs MIDI implementation also allows for archiving one or several presets on an external

storage medium. Proceed as follows:

Connect the MIDI OUT jack of the MODULIZERPRO to the MIDI IN jack of a MIDI data recorder (e.g. se-

quencer). Press the STORE and IN/OUT keys simultaneously to enter MIDI mode. Set program change mode

to 0 and controller change mode to 3. Now quit MIDI mode by pressing the STORE key. Use the jog wheel to

select the preset whose data you wish to save. When the preset is activated its parameters are transmitted as

controller data and can be recorded on a sequencer or similar device. Repeat this routine until all presets of

your choice have been sent to the external data recorder.

To load archived data back into the MODULIZERPRO, you must enable controller reception in MIDI mode (see

2.5). Then, start the sequencer to automatically transmit each preset data set back to the MODULIZERPRO.

Press the STORE key, select a program location to store the data and then again press the STORE key. If you

want to automate MIDI store functions you must enable the store mode, to switch on the reception of controller

#28. This allows you to directly store any modification of the actual preset on the preset number that is

transmitted with the controller. You can also restore a complete preset that has previously been recorded with

a MIDI sequencer on the same location it had before.

4. TECHNICAL BACKGROUND

4.1 Digital audio processing

In order to convert an analog signal - e.g. music - into a series of digital words, a so-called Analogue to Digital

Converter or ADC is used. The converter functions by viewing the signal entering it a given number of times

over a period of time, e.g. 44,100 times per second, giving a rate of 44.1 kHz, and in each case measuring the

signal amplitude, and giving it a numerical value. This form of measuring the signal regularly over a period of

time is known as sampling, the conversion of the amplitude into a numerical value, quantizing. The two

actions together are referred to as digitizing.

In order to carry out the opposite - the conversion of a digitized signal into its original analogue form - a Digital

to Analogue Converter or DAC is used. In both cases the frequency at which the device operates is called the

sampling rate. The sampling rate determines the effective audio frequency range. The sampling rate must

always be more than twice the value of the highest frequency to be reproduced. Therefore, the well known CD

sampling rate of 44.1 kHz is slightly higher than twice the highest audible frequency of 20 kHz. The accuracy

at which quantization takes place is primarily dependent on the quality of the ADCs and DACs being used.

The resolution, or size of digital word used (expressed in bits), determines the theoretical Signal/Noise ratio (S/

N ratio) the audio system is capable of providing. The number of bits may be compared to the number of

decimal places used in a calculation - the greater the number of places, the more accurate the end result.

Theoretically, each extra bit of resolution should result in the S/N ratio increasing by 6dB. Unfortunately, there

are a considerable number of other factors to be taken into account, which hinder the achievement of these

theoretical values.

If you picture an analog signal as a sinusoidal curve, then the sampling procedure may be thought of as a grid

superimposed on the curve. The higher the sampling rate (and the higher the number of bits), the finer the grid.

The analog signal traces a continuous curve, which very seldom coincides with the cross points of the grid. A

signal level at the sampling points will still be assigned a digital value, usually the one closest to the exact

representation. This limit to the resolution of the grid gives rise to errors, and these errors are the cause of

quantizing noise. Unfortunately, quantizing noise has the characteristic of being much more noticeable and

unpleasant to the ear than natural analog noise.

4. TECHNICAL BACKGROUND

1 2 ... 22 23 24 25 26 27 28 29 30 31 32 ... 41 42

Comments to this Manuals

No comments

Behringer DSP1200P User Manual Page 27

Comments to this Manuals

Related products and manuals for Receivers and Amplifiers Behringer DSP1200P