Behringer BDS-3 Schnellstartanleitung Seite 16

30
BDS-3
BDS-3 Controls
(EN) Step 2: Controls
The BDS-3 has four identical sound generators, which can be
triggered separately or by specific MIDI notes. All have identical
controls. At the right hand side of the top panel is the master/
effects section.
Channel 1 responds to MIDI note C1, Channel 2 to D1, Channel 3 to
E1 and Channel 4 to F1.
Channel 1 pitch can be controlled by MIDI CC 20, Channel 2 by
CC 21, Channel 3 by CC 22 and Channel 4 by CC 23. Pitch can also
be set for each channel using the SynthTribe app.
Decay Kill can be controlled by MIDI CC 80; or by using the
SynthTribe app, where it is switchable for each channel.
SynthTribe can also be used to set each channel's velocity,
which controls the loudness of the channel. This can also be
disabled in the app.
TOP PANEL
CHANNELS 1 - 4
1. MIC IN – use these 3.5 mm unbalanced TS jack sockets to
trigger the channels from a suitable microphone, or other
trigger source. Note that these inputs are velocity sensitive,
so the louder the sound picked up by the microphone,
the louder the sound produced by the channel.
2. CHANNEL OUT – use these 3.5 mm TS jack sockets to feed the
individual channel outputs to a mixing desk or amplifier.
3. MIC OUT – use these 3.5 mm unbalanced TS jack sockets to
forward the microphone signal received on socket 1 for use
by other devices.
4. MIC SENSITIVITY – use these controls to set the sensitivity of
the microphone inputs.
5. MIC ON/OFF – use these switches to bypass the mic
sensitivity controls.
6. IMPACT CLICK – use these controls to add an impact click,
similar to that of a stick striking a drum, at the start of the
sound. Fully counter-clockwise (CCW) produces a minimal
click, turning the control clockwise (CW) makes the click
louder and more pronounced, as higher settings open up the
low pass filter cutoff.
7. DECAY TIME – use these controls to set the decay time of the
channel, from 50 ms to 7 s.
Quick Start Guide
8. TRIGGER LED – these LEDs light when a suitable trigger is
received at the mic inputs or over MIDI (3).
9. UP/DOWN – use these switches to select whether the pitch
of the tone bends up to the frequency set by the pitch controls
(11) in the UP position; or down to it in the DOWN position.
10. BEND LEVEL – use these controls to set the amount of bend
up or down until the required frequency is reached.
Fully CCW produces no bend.
11. PITCH – use these controls to set both the operating
frequency of the channel's oscillator, in the range below
20 Hz to over 30 kHz; and the filter cutoff for the noise
generator, where turning the controls CW opens up the filter.
12. BALANCE – use these controls to balance the channel output
between the oscillator and the noise generator.
At 12 o'clock they are equal in the mix. Turning the controls
CCW emphasizes the noise; CW the oscillator.
13. LFO ON/OFF – use these switches to select whether the LFO
in the master/effects section affects the channel.
14. EFFECT RANGE – use these controls to set the ranges of the
LFO and RUN effects in the master/effects section on
each channel.
15. RUN ON/OFF – use these controls to set whether the
RUN effect in the master/effects section affects the channel.
16. CHANNEL LEVEL – use these sliders to set the level of each
channel on both the individual channel outputs (2) and the
overall mix output (17).
MASTER/EFFECTS SECTION
17. MIX OUT – use this 3.5 mm TS jack socket to feed a mixed
output of the four channels to a mixing desk or amplifier
(duplicated on socket 28 on the rear panel).
18. PITCH PEDAL INPUT – use this 3.5 mm TRS jack socket to
feed an internally derived voltage on the tip out to a suitable
pedal, such as the Behringer FC600, for return on the ring and
use by the pitch control (20). Duplicated on socket 29 on the
rear panel.
19. MIDI IN – use this 5 pin DIN socket to control channel
triggering and pitch over MIDI.
31