User Manual
A50-21113-00005
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V-TONE GMX110/GMX112/GMX210/GMX212/GMX1200H
Foreword
Table of contents
Dear Customer,
1. Introduction ............................................................... 4
welcome to the team of
BEHRINGER users, and
thank you very much for
expressing your confi-
dence in us by pur-
chasingtheBEHRINGER
V-TONE.
1.1 The concept .................................................................... 4
1.2 Dynamizer technology and analog modeling ................. 4
1.3 Before you get started ................................................... 4
1.3.1 Shipment ................................................................ 4
1.3.2 Initial operation ....................................................... 4
1.3.3 Online registration ................................................. 5
Writing this foreword
for you gives me great
pleasure, because it
represents the cul-
mination of many months
of hard work delivered
by our engineering
team to achieve a very
ambitious goal: to de-
velop four outstanding
guitar amps that are at
the forefront of what is
2. Control elements and connections ......................... 5
2.1 Front panel ...................................................................... 5
2.2 Rear panel ....................................................................... 6
3. Applications .............................................................. 7
3.1 Practice setup with playback ......................................... 7
3.2 Recording setup with an external effects device ......... 7
3.3 Live setup with a MIDI foot controller ............................. 8
3.4 Wiring the GMX1200H..................................................... 8
technically possible and that can be used in many different
applications. Our guitar amps offer you strong performance,
their sound is amazingly clear, and they are easy to use both as
direct recording amps as well as stage amps. The task of designing
our new V-TONEs 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.
4. Effects processor..................................................... 9
4.1 FXT—effects tracking .................................................... 9
4.2 The effects ................................................................... 10
4.3 MIDI control .................................................................... 11
5. Tuner........................................................................13
5.1 Tuning your guitar ......................................................... 13
5.2 Setting up the “a” reference tone................................. 13
6. Installation...............................................................13
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 constraints.
6.1 Audio connections ........................................................ 13
6.2 Speaker connection ...................................................... 13
6.3 MIDI connection ............................................................. 14
7. Appendix .................................................................14
7.1 MIDI implementation ....................................................... 14
7.2 Effect presets ............................................................... 15
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!
8. Specifications .........................................................16
9. Warranty .................................................................18
I would like to thank all of you who have made the V-TONE Series
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,
WARNING!
Uli Behringer
ꢀ
We would like to bring your attention to the fact
that extremely loud sound levels may damage your
hearing as well as your headphones. Please turn
the MASTER control all the way to the left before
powering up the unit. Always try to keep volume at
appropriate levels.
3
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V-TONE GMX110/GMX112/GMX210/GMX212/GMX1200H
1.3 Before you get started
1. Introduction
Thank you for the trust that you have placed in us by buying your
1.3.1 Shipment
V-TONE. You have gotten your hands on a latest-generation
guitar amp that sets completely new standards when it comes to
analog modeling.
The V-TONE was carefully packed at the assembly plant to
ensure secure transport.
Our primary goal during development was to simulate the typical
sounds of analog guitar amps, and at the same time give you a
powerful sound tool that you can use flexibly. In doing so, we
constantly strove to create a piece of equipment that is intuitive
and easy to use.
If the cardboard box is damaged, please inspect the V-TONE
equipment immediately for physical damage.
ꢀ
Damaged equipment should NEVER be sent directly
to us. Please inform the dealer from whom you
acquired it immediately as well as the trans-
portation company from which you took delivery.
Otherwise, all claims for replacement/repair may
be rendered invalid.
The demands placed on a guitar amp are nowadays very broad.
A guitarist should offer a wide array of sounds, but at the same
time be able to quickly adapt to specific requirements of various
applications—be it home recording, studio, live perfor-mances,
etc. That’s why it is very important to us to be able to offer you
a maximal sound diversity as well as diverse connection
possibilities with our V-TONE. Fret not: you will quickly master
the V-TONE and will be able to quickly learn how to use all of its
capabilities easily and intuitively.
ꢀ
ꢀ
ꢀ
If the unit needs to be shipped, please always use
the original packaging to avoid damage.
Never let unsupervised children play with the
V-TONE or with its packaging.
With its up-to-date circuitry, its digital signal processor (DSP)
and its integrated tuner, the V-TONE features the functionality
and dependability of a truly modern guitar amp. Yet it is user-
friendly and problem-free as if it were a classic tube combo. We
highly recommend taking your time to truly learn all of the
V-TONE’s functions so you can reach its maximum potential.
Please dispose of all packaging materials in an
environmentally-friendly fashion.
1.3.2 Initial operation
Please make sure that your V-TONE is provided with sufficient
ventilation, and never place it on other amplifiers or in the vicinity
of a heater to avoid the risk of overheating.
1.1 The concept
The BEHRINGER company philosophy guarantees a perfectly
thought-out circuitry concept, with components that were
selected without cutting any corners. The operational amplifiers
that BEHRINGER uses in the V-TONE are some of the most noise-
free operational amps around, and are characterized by extreme
linearity and low distortion. They are complemented by low-
tolerance resistors and capacitors, high-value potentiometers
and switches as well as additional select components.
ꢀ
Before plugging your V-TONE into a power socket,
please make sure you have selected the correct
voltage:
The fuse retainer near the power cord connector has three
triangular markings. Two of these triangles point in opposite
directions. Your V-TONE is set up for the voltage indicated near
these markings, and can be altered by turning the fuse mount by
180 degrees. ATTENTION: This does not apply to export
models built for 120 V, for example!
The robust housing of your V-TONE, with its oversize power
supply, gives you the peace of mind that the V-TONE will hold its
own even under the most demanding stage conditions. The
housing is made of high-grade, environment-friendly MDF wood
consisting of multiply impregnated layers.
ꢀ
If you use your V-TONE unit with a different voltage,
you must change the fuses accordingly. The correct
value of the fuses needed can be found in the
section “Specifications”.
1.2 Dynamizer technology and
analog modeling
ꢀ
Faulty fuses must be replaced with fuses of
appropriate rating, without exception! The correct
value of the fuses needed can be found in the
section “Specifications”.
When an electric instrument is amplified, that’s where you either
make it or break it. Unlike the signals that have been mixed and
mastered, the signals of electric instruments have extremely
high signal peaks, placing the dynamic range of the amp’s circuitry
under immense strain. How your amp reacts to these signal
peaks is one of its most defining characteristics.
Power is delivered via the cable that was delivered with the
V-TONE. All mandatory safety precautions have been adhered
to.
That’s why we’ve equipped all V-TONE Series amps with our
unique Dynamizer preamplifier circuitry. It guarantees a lively
sound with a lot of punch, even when the amp is pushed to its
limits. Combine that with our V-TONE analog modeling, and not
only do you have amazingly authentic tube sounds at your
fingertips, you also get the dynamic performance typical of the
respective amp type. Crystal-clear guitar tones come through
with transparency, warmth and the compression typical of tube
amps. Even as distortion increases, the sound remains lively
and full of power, without losing any of its assertiveness.
ꢀ
Please make sure that all of your equipment is
grounded at all times. For your own protection, you
should never tamper with the grounding of the cable
or the unit itself. The unit shall always be connected
to a mains socket outlet with a protective earthing
connection.
MIDI connection is established using a standard DIN connector.
Data transfer occurs via isolated opto-couplers. Additional
information can be found in section 6 “Installation”.
All along, you have full control over the volume. Plainly talking,
you can take the same sound you are used to at your practice
room and replicate it in your bedroom at much more reasonable
volume levels, or you can even record yourself while playing.
IMPORTANT NOTES CONCERNING INSTALLATION
ꢀ
The sound quality may diminish within the range of
powerful broadcasting stations and high-frequency
sources. Increase the distance between the
transmitter and the device and use shielded cables
for all connections.
ꢀ
This user’s manual will allow you to familiarize
yourself with the control elements of your new
V-TONE and learn all of its functions. After reading
this manual, store it where you can easily find it for
future reference.
4
1. Introduction
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V-TONE GMX110/GMX112/GMX210/GMX212/GMX1200H
(yet still sophisticated) sounds can be dialed up if you
1.3.3 Online registration
select CALIF.(ORNIAN); perfect for lead sounds!
Please register your new BEHRINGER equipment right after your
{7} Use the MODE switch to choose one of three possible
gain settings (CLEAN, HI GAIN and HOT) you wish to use
with the basic sound you selected with the AMP switch.
terms and conditions of our warranty carefully.
Should your BEHRINGER product malfunction, it is our intention
to have it repaired as quickly as possible. To arrange for warranty
service, please contact the BEHRINGER retailer from whom the
equipment was purchased. Should your BEHRINGER dealer not
be located in your vicinity, you may directly contact one of our
subsidiaries. Corresponding contact information is included in
the original equipment packaging (Global Contact Information/
European Contact Information). Should your country not be listed,
please contact the distributor nearest you. A list of distributors
can be found in the support area of our website (http://
www.behringer.com).
{8} The SPEAKER switch offers the simulations of two classic
guitar speakers: 4 x 12" speaker in an enclosed casing
(U.K.) and 2 x 12" speaker in an open casing (US).
Additionally, we have included a frequency response
correction (FLAT), specially modified to go with V-TONE’s
cabinet.
{9} The LOW control on the EQ section lets you cut or boost
the bass frequencies.
(10) Use the MID control to cut or boost the mids.
Registering your purchase and equipment with us helps us
process your repair claims more quickly and efficiently.
(11) The HIGH control regulates the upper frequency range.
(12) If the tuner is activated, these LEDs (in connection with the
FX display) indicate your guitar’s tune. Activate the tuner
by keeping the CHANNEL pressed for roughly 2 seconds.
Thank you for your cooperation!
* For customers of the EU, different designations can be applied.
Customers from the EU get further informations from BEHRINGER Support
(13) The FX DISPLAY indicates either the program number of
the preset you selected or the value of the parameter dialed
up using the FX control.
Deutschland.
(14) Use the PRESET control to dial up one of the effect presets
(between 01 and 99). The preset you dialed up is loaded
when you make no further changes for about one second
after dialing up that preset.
2. Control elements and connections
Control elements of your V-TONE guitar amp are described in
this section. All controls and connections are explained in detail,
and we give you useful tips on how to use them. An illustration
of control elements with corresponding numbering can be found
on the separately included supplementary sheet.
(15) Use the IN/OUT key to activate/deactivate the selected
effect. When the effect is activated, the LED located above
the switch lights up. You can save your own effect settings
by keeping this key pressed for about 2 seconds (also see
section 4). The effect can also be activated/deactivated
using the provided footswitch.
Because models GMX112, GMX210, GMX212 and GMX1200H
each feature two identical MODELING CHANNELS, control
elements {4} through (11) will only be described once in the
following section.
ꢀ
If the MIDI function is deactivated (see ch. 4.2), FX
tracking is active, i.e. a separate effect
2.1 Front panel
can be selected for each of the channels of your
V-TONE. FXT is explained in detail in section 4.1.
{1} The connector labeled INPUT is the 1/4" jack input of your
V-TONE. Use it to connect your guitar. Use a commercially
available 1/4" jack mono cable (no DIY, ask your specialized
dealer) with good mechanical and electrical shielding to
avoid unpleasant surprises during rehearsals or concerts.
(16) The FX control adjusts the mix ratio between the original
and the effect signal.
(17) The LEVEL control adjusts the volume of the respective
channel. Adjust LEVEL to achieve the desired volume
balance between both channels.
{2} On the GMX110, the CLEAN control modifies the volume of
the CLEAN channel in relation to the MODELING CHANNEL.
ꢀ
The GMX110 features no such control. However,
use {2} to control the volume of the CLEAN channel
in respect to the MODELING channel; use MASTER
(19) to control the overall volume.
{3} Use the CHANNEL key to alternate between the two
modeling channels (except for the GMX110). The channel
LED {5} lights up when the channel is activated. On the
GMX110, the CHANNEL key switches between CLEAN
and MODELING CHANNEL. CLEAN CHANNEL is active when
the channel LED {5} is not lit up. With all models you can
also switch between channels using the provided
footswitch. A long hit (approx. 2 seconds) on the
CHANNEL key activates the guitar tuner.
ꢀ
The GMX112 and GMX210 feature the LEVEL control
only on MODELING CHANNEL 1. It controls the volume
of the channel in respect to the second channel.
(18) The PRESENCE control gives you an additional way to cut
or boost the highs (GMX212 and GMX1200H).
{4} The DRIVE control determines the amount of distortion in
the respective MODELING CHANNEL. Using this, you can
ideally adjust the V-TONE pre-amp to the output level of
your guitar pick-up to achieve the desired amount of
distortion (depending on the amp, mode and speaker
combination you selected).
(19) The MASTER control regulates the overall volume as well
as headphone volume.
(20) The POWER switch powers up your V-TONE. The POWER
switch should always be in the “Off” position before you
connect the V-TONE to the main power source.
ꢀ
Please note: The POWER switch does not fully
disconnect the unit from the mains power cord plug
or extention cord. To disconnect the unit from the
main power source, pull out the main cord plug or
appliance coupler. When installing the product,
ensure the plug or appliance coupler is readily
operable. Unplug the power cord when the unit is
not used for prolonged periods of time.
{5} The CHANNEL LED indicates the currently selected
channel.
{6} Use the AMP switch to select one of the three guitar amps
that orient themselves on classic tube amps. You will surely
recognize these classic amp sounds as soon as you hear
them. If you select TWEED, expect crystal-clear, transparent
sounds with dynamic bass. You get aggressive mids and
pressure-rich, inescapable assertiveness and endurance
when you select BRITISH. Rounder and more evened-out
ꢀ
GMX110’s POWER switch is located on the rear.
2. Control elements and connections
5
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V-TONE GMX110/GMX112/GMX210/GMX212/GMX1200H
(31) Your V-TONE features a serial insert loop that can be used
2.2 Rear panel
to connect external effects (e. g. a wah-wah pedal).
Connect the SEND connector on the V-TONE to the input
of your effects unit. The SEND connector is tapped into
directly before (i.e. pre) the digital signal processor (DSP)
of your V-TONE. Connect the output of your external effects
unit to the RETURN connector of your V-TONE.
(21) Connect the stereo jack connector of the provided
footswitch to the FOOTSWITCH connector. The footswitch
has several functions: it lets you switch between two
channels, and it also lets you activate/deactivate an effect.
Additionally, the tuner can also be activated using the
footswitch. To do that, keep the CHANNEL key pressed for
about 2 seconds.
ꢀ
You can use the INSERT SEND as a parallel output
without the effects. This is useful, for example,
when you want to record a dry guitar signal. As
long as the RETURN connector has nothing plugged
into it, the signal will not be interrupted internally.
(22) MIDI IN. This connector lets you remotely control your
V-TONE via MIDI. You can activate/deactivate effects or
switch between channels. You can use effect bypass via
program changes and parameter edits as well as edit the
presets via controllers (also see sections 6.3 and 7.1).
(32) Use the SPEAKER OUT connector to connect one additional
loudspeaker to your GMX110/GMX112. This loudspeaker
should have an impedance of 4 Ω. When this connector is
used, the internal loudspeaker is automatically muted.
Additional information about connecting an external
loudspeaker can be found in section 6.2.
(23) You can connect two external loudspeakers (L/R) to the
LOUDSPEAKER connectors (GMX212 and GMX1200H).
The outputs deliver 60 W into 8 W per channel. For optimum
performance, please only connect loudspeakers with a
minimum impedance of 8 W each (see also section 6.2).
When these connectors are used the internal loudspeakers
are automatically disconnected.
(33) FUSE RETAINER/VOLTAGE SELECTOR. Please make
sure that the voltage indicated by the voltage selector
matches the local voltage before you connect the unit to
the main power supply. Always replace blown fuses with
fuses of the same type and rating. Some units feature a
fuse retainer in which a selection between 230 V and 120
V is possible. Please be aware: When using your unit
outside of Europe with 120 V, a fuse with a higher rating is
required.
ꢀ
The GMX210 features no external loudspeaker
connectors. The loudspeaker connector on the
GMX110 and GMX112 is described under (32).
(24) The PHONES connector lets you monitor the signal from
your V-TONE with standard headphones. The BEHRINGER
HP series is well suited for this, for example. When the
PHONES connector is used, the internal loudspeakers and
speaker outputs are disconnected.
(34) Power is supplied via an IEC connector. The matching
cable is provided with the unit.
(25) Those signals that are connected to the SLAVE IN
connectors are directly routed to the V-TONE’s power amp.
This way, you can connect an external guitar preamp or
modeling amp (e. g. V-AMP 2 or V-AMP PRO) without using
the internal preamp on your V-TONE.
(35) SERIAL NUMBER.
ꢀ
The GMX110 and GMX112 feature no SLAVE IN
connectors.
(26) You can take the stereo signal of your V-TONE at the
TAPE outputs (RCA) and record it, for example.
(27) The TAPE inputs (RCA) let you feed an additional stereo
signal into your V-TONE. You can play along to the beat of
a drum computer or play to music from a CD or MD player.
(28) You can take the stereo signal of your V-TONE at the LINE
outputs to record it or route it to a P.A. system. This output
is independent from the MASTER control and does not
render the AUX signal. Additionally, its frequency response
is corrected (speaker simulation).
ꢀ
The GMX110 and GMX112 feature no LINE outputs.
(29) Use the AUX IN control to adjust the volume of the signal
that is fed in via the AUX IN connectors (e. g. drum
computer, playback).
ꢀ
On the GMX110 and GMX112, this control is called
TAPE INPUT. It regulates the volume of the signal
fed in at the TAPE IN connectors.
(30) The AUX IN lets you feed an additional stereo signal into
the amp. This way, you can play to a backing track that
supports you on-stage but should not be audible via the
LINE outputs connecting the GMX210/GMX212 to the P.A.
system. Additionally, you can use AUX IN together with the
INSERT SEND as a parallel insert loop. To do that, connect
the INSERT SEND to the input of your effects device;
connect the AUX IN (TAPE IN on the GMX110 and GMX112)
to the output of your effects unit (the INSERT RETURN
connector should not be in use!). This way, the signal flow
in your V-TONE is not interrupted. With the AUX IN control,
you can determine the extent to which the external effects
unit alters the original signal. Keep in mind that the effects
unit should be set up to 100% effects signal (100% “wet”).
6
2. Control elements and connections
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V-TONE GMX110/GMX112/GMX210/GMX212/GMX1200H
3.2 Recording setup with an
3. Applications
external effects device
The V-TONE features many different connectors, allowing you
to adapt to all kinds of application challenges. We have listed just
a few examples to show the flexibility your V-TONE.
3.1 Practice setup with playback
Fig. 3.2: Recording setup
If you want to use your V-TONE in home recording or studio
situations, we suggest wiring your equipment as illustrated in
figure 3.2. Of course, you can continue using a CD player or a
drum computer. However, for clarity’s sake we’ve omitted those
two in this illustration. Connect the input of your effects unit to
the INSERT SEND connector of the V-TONE; connect the output
on your effects unit to the INSERT RETURN connector on the
V-TONE.
Fig. 3.1: Standard setup
To use your V-TONE in practice rooms, or to jam at home, connect
your V-TONE as illustrated in figure 3.1. Connect a
CD player or a drum computer to the TAPE input. You can control
the volume of the connected signal by using the TAPE INPUT
control (on the GMX210, GMX212 and the GMX1200H, the AUX
control adjusts the signal connected to the AUX IN). If you want
(or have to!) to practice using headphones, connect your
headphones to the PHONES connector on your V-TONE. The
loudspeaker is automatically muted. Connect the provided dual
footswitch to the footswitch connector on the V-TONE. Use the
CHANNEL footswitch to switch between the channels. If
is active (see section 4.1), the effects selected for
If you wish to record the guitar signal together with the stereo
effects, connect the LINE outputs to your mixer, audio sequencer
or a multi-track recorder. To record the dry guitar signal without
the internal effects, it is best to use the INSERT SEND connector
on the V-TONE. You can also use both outputs at the same time
to for example record the dry signal without permanently
committing to a single effect. At the same time, the LINE output
(with the effect signal) lets you listen to yourself while recording.
both channels are loaded. Use the IN/OUT footswitch to activate/
deactivate the effect. Keeping CHANNEL depressed for about 2
seconds activates the internal tuner.
Of course, you can insert a Wah pedal or some other stomp box
instead of an external 19" effects unit. To achieve a parallel
stereo insert, you can connect the effect return to the AUX
input, and then use the AUX IN control to determine the extent to
which the effect is present. In this case, the effects unit should
be set up to 100% effect signal, and the INSERT RETURN
connector should have nothing plugged into it.
If you want to use another guitar preamp, or a modeling amp
(e. g. the V-AMP 2 or the V-AMP PRO), connect it to the SLAVE
IN connectors (except for the GMX110 and GMX112).
The V-TONE now operates only as a power amp, with its preamp
section inactive.
7
3. Applications
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V-TONE GMX110/GMX112/GMX210/GMX212/GMX1200H
3.3 Live setup with a MIDI foot controller
3.4 Wiring the GMX1200H
The GMX1200H head features two LOUDSPEAKER outputs
(EXT LEFT and EXT RIGHT) that can be used to connect one or
two external loudspeakers. To get the most power from the
GMX1200H, both loudspeaker outputs should be used and
connected to speakers with minimum 8 Ohms impedance.
Loudspeaker outputs are automatically muted as soon as you
activate the tuner or connect a set of headphones (see
section 5.1). To assure optimal and safe use of your amplifier,
please also read section 6.2.
When the GMX1200H is used with a single BEHRINGER
ULTRASTACK BG412V, the rear panel switch of the BG412V
must be in the stereo position and the two outputs should be
connected as shown in fig. 3.4.
When using two speaker cabinets to form a classic full-stack
please make sure the impedance of each speaker cabinet is
between 8 to 16 Ohms (see fig. 3.5).
Fig. 3.4: GMX1200H with an ULTRASTACK BG412V
in stereo mode
Fig. 3.3: Setup with a MIDI foot controller and an
external loudspeaker
In this illustration, we’ve omitted the headphones and the additional
equipment from figure 3.1; this illustration serves as an expansion
of the standard setup.
You can use the MIDI foot controller to control channel and effects
changes, volume, Wah and so on. (Additional information about MIDI
can be found in section 4.3). The LINE OUT signal with the speaker
simulation can be fed into your mixer or your P.A. system’s stagebox.
External guitar loudspeakers can be connected to the loud-
speaker outputs of the GMX212 in order to get more punch and
higher volume on the stage. You can do this in two ways: use
two separate loudspeakers for stereo applications, or use a
single stereo box (e.g. the BEHRINGER ULTRASTACK BG412V).
Instead of loudspeaker outputs, the GMX110 and GMX112 feature
single SPEAKER OUT connectors ((32)) used for connecting an
external loudspeaker.
8
3. Applications
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V-TONE GMX110/GMX112/GMX210/GMX212/GMX1200H
4. Effects processor
Effects are the icing on the cake when it comes to creative
sound designs. On the one hand, direct recordings (i.e. recordings
without a microphone, which is possible with the V-TONE) are
all about placing the guitar sound in an artificially created space
since no natural ambience is possible. On the other, effects
such as delay, chorus, flanger and tremolo are an integral part
of the modern guitar sound. For this reason, we’ve equipped the
V-TONE with an effects processor that lets you create a
professional-grade sound that you are used to hearing on your
favorite recordings. This way, you are one giant step closer to
emulating your fave sounds without having to schlep a rackfull
of effects everywhere you go.
The integrated multi-effects processor offers the same audio
quality found in our 19" effects unit VIRTUALIZER PRO, known
for being used in studios. You get 31 different groups of first-
class effects at your disposal, for example reverb, chorus,
flanger, delay, pitch shifter, compressor, expander, Wah
variations, various combination effects and even tube and
speaker simulations. All in all, there are 99 presets you can use,
offering you a wide variety of different-sounding effects. You
can edit one parameter on each preset directly on the V-TONE
and three parameters via MIDI. Additionally, the multi-effects
processor lets you mix and match different effects with different
speakers, depending on each preset. Presets can be overwritten
with your own creations.
The multi-effects processor works basically in stereo, whereby
only the TAPE and PHONES outputs are influenced in the case of
the GMX110/GMX112. Both signals (left and right) are added up
for the speaker and the mono power amp of the GMX110/
GMX112. However, you can still use stereo effects for recording
purposes by utilizing the TAPE OUT or by playing with a second
amp in stereo. The GMX210 and GMX212 can produce the effects
in stereo because they have two built-in speakers. Stereo
reproduction is also possible with the GMX1200H when the
speakers are connected to it in stereo.
V
Turn the PRESET control to dial up an effect preset. While
the preset is loading up, the new program number blinks in
the display. The preset you dialed up is active shortly
thereafter. This new preset is shown in the display.
Fig. 3.5: GMX1200H with two speaker cabinets
V
Use the FX control to edit the effect. Effect mix is shown in
the display. After 3 seconds, the display shows the preset
number again. The decimal point in the 2-digit display blinks
each time you make a change.
V
V
To store an edit, keep the IN/OUT key pressed for about 2
seconds. This overwrites the previous settings.
To restore factory presets (reset function), keep IN/OUT
pressed while powering up the V-TONE.
4.1 FXT—effects tracking
FXT is an extremely useful function that lets you assign a specific
effect to each channel of the V-TONE, and then activate these
effects when you switch between the channels.
This way, you can for example assign a DELAY effect to the
MODELING CHANNEL 1, and assign a REVERB/CHORUS
combination effect to the MODELING CHANNEL 2. A single tap on
the CHANNEL key or the footswitch lets you switch between
the channels, and the V-TONE automatically loads up the correct
effect.
When MIDI is active, the above no longer applies. You can switch
between the channels and the effects independently from one
another. How MIDI is activated is described in ch. 4.3.
4. Effects processor
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4.2 The effects
34-37 Chorus: Let’s picture a string quartet in which each
musician plays the exact same sheet music. However, it is only
natural that musicians can never be 100% in tune. This way,
signals that are perpetually out of tune are created, and they are
furthermore temporally superimposed. To recreate this effect,
copies of the original signal are delayed in chorus for 20 - 40 ms,
are tuned out slightly and then modulated through the LFO. This
creates a pleasant-sounding floating effect. We’ll refrain for
making any recommendations because this effect is used so
often and in so many different ways. Any recommendation about
when to use it would undoubtedly leave out too many other
possible uses.
0 Reverb: Reverb is still the most important effect for mixing or
live performance. That’s why we at BEHRINGER make a point of
giving you as many as nine different reverb programs so that
you can use the most suitable reverb program for any situation.
The Reverb effect 0 uses a medium pre-delay.
01-02 Spring Reverb: Even on a guitar amp with digital multi-
effects, you should still be able to use a classic spring reverb.
This effect simulates the typical sound of the spring reverb known
from countless guitar amps, and without having the negative
effect of producing rattling noises when the amp vibrates.
38-42 Chorus/Reverb: First, the signal goes through a chorus
effect with varying intensity, and then it goes through a reverb.
Adjustable parameter: chorus mix.
03-04 Studio: This effect simulates the characteristics of midsize
rooms. This spatial simulation sounds very natural and can be
used in various setups.
43-47 Chorus/Delay: The signal first goes through a chorus
effect with varying intensity, and then it goes through a delay
effect with varying feedback and delay time values.
05-06 Chamber: You really get the feeling you’re dealing with
some serious walls. This effect is ideal for creating reverb that
doesn’t come through as a clear effect, and a dry guitar sound
gets some natural feeling instilled into it.
07-08 Stage: Very nice reverb, great for widening and
freshening up the sound of a clean-sounding guitar.
48-51 Flanger: Using an LFO, the pitch of the effect signal is
somewhat modulated in constant tempo, and is then brought
back to the input signal. This effect goes hand in hand with the
sound of a distorted guitar.
09-10 Concert: Here, you can choose between a small theater
(preset 9) and a big concert hall (preset 10). Compared to Studio
Reverb, this reverb is livelier and has richer highs.
11-12 Plate: The sound of the classic plates. A true classic, it
gives your guitar sound a nice, pleasant note.
52-56 Flanger/Reverb: The signal first goes through a flanger
with varying intensity, and then it goes through a reverb.
Reverbs 01 to 12 are all available in two versions. The first one
basically uses a short pre-delay (a delay until the reverb tail
starts). The second variation always uses a long pre-delay.
57-61 Flanger/Delay: The signal is first passed through a flanger
with varying intensity, and then it goes through a delay effect.
13-14 Early Reflections: The resonance of a room is comprised
out of the so-called “early reflections” and a reverb tail. This
effect concentrates itself on the simulation of the first 15 early
reflections. Since human hearing uses these reflections to size
up a room, you can create very subtle density without alienating
the signal with long reverb tails. This effect is particularly
noticeable when you use headphones.
62-63 Tremolo/Reverb: The tremolo effect refers to more or
less rapid and intensive variations in the volume.
64-66 Tremolo/Delay: A more or less rapid and intensive
variation of the volume that is also coupled to a delay effect.
15-16 Ambience: Ambience 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.
67-68 Rotary Speaker: A simulation of a classic organ effect
that is normally achieved with a terribly heavy casing and slowly
or quickly rotating speakers. The physical principle of the Doppler
effect is used to modulate the signal.
17-20 Delay/Reverb: First, an ordinary delay is created. Then,
the signal goes through a reverb with an editable mix ratio.
69-70 Rotary Drive: An absolutely “in” effect that’s combined
with a delay. And, as whip cream on top, this effect gets an
LFO-controlled notch filter. The delay mix ratio is adjustable. This
effect is excellent for solo sounds due to its high volume.
21-29 Delay (stereo): “Delay” refers to the delay in the input
signal, with one or more repetitions of the signal (feedback).
With stereo delay, the delay times in the left and the right channel
are not the same length (in order to create a stereo effect). The
delay time in the left channel amounts to two-thirds of the delay
time value in the right channel.
71-74 Auto Wah: Depending on the attack time, the Auto Wah
effect lets the lower frequencies pass through and more or less
suppresses the highs. The sensitivity value of the filter can be
adjusted via the FX MIX control. If you primarily play low-end
sounds, dial up a lower value. The higher the frequency of the
sound you create, the higher the FX MIX value should be.
30-33 Phaser: Technically speaking, a phaser is a modulation
effect in which multiple phase shifting takes place. Signal
attenuation or amplification of the signal happens through the
modulation of the frequency-dependent phase shift via an LFO
(Low Frequency Oscillator). Depending on the preset, the
phaser can be used either to lightly modulate or to totally alienate
the signal. The sound reminds of a constantly modulating filter.
10
4. Effects processor
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4.3 MIDI control
Thanks to its built-in MIDI interface, you can integrate your
V-TONE into any MIDI setup. The V-TONE is capable of receiving
both program change and MIDI controller information. So, you
can change programs via MIDI using a MIDI foot controller or a
computer-based sequencing software, and you can also control
individual effect parameters and edit your own effects. Our MIDI
foot controller FCB1010 gives you precisely these options, and
is a perfect match for all BEHRINGER guitar amps.
75-81 Pitch Shifter: This effect modifies the pitch of the input
signal. Musical intervals and harmonics are created, and the
propagation of a single voice can be adjusted. You can create
signals that are majorly out of tune (e.g. signals shifted upward
by several half-tones), such as the strange-sounding voices
often used in cartoons. There are several default intervals
already built into the presets.
This is how you activate the MIDI functions:
82-85 Pitch Shifter/Reverb: The signal first goes through a
pitch shifter with various transpositions in half-tone increments
(or smaller). A reverb follows. Adjustable parameter: pitch shifter
mix.
V
V
V
Connect the MIDI IN connector of your V-TONE to the MIDI
OUT jack of a MIDI foot controller (see fig. 3.3).
Keep CHANNEL and IN/OUT keys simultaneously depressed
for 2 seconds.
86-89 PitchShifter/Delay: The signal first goes through the
pitch shifter with various intervals, and then it’s run through a
delay effect. Use FX MIX to adjust the pitch shifter mix parameter.
Use the PRESET control to select a MIDI channel (1 through
16, “ON” = Omni mode, “OF” = off). When the display no
longer blinks, the selected MIDI channel is activated. Omni
mode means that your V-TONE receives and processes
relevant MIDI information on all channels. Of course, you
should select the same channel both on your MIDI foot
controller and the V-TONE (see your MIDI foot controller
user’s manual). The left decimal point on the display jitters
when MIDI data is received on the V-TONE, giving you
visual confirmation about the information currently being
received.
90-91 Compressor: A signal’s dynamic characteristics are
often limited to assure its integration into the overall mix. This can
be done by using a compressor or a limiter. A limiter confines the
signal to the values above or below a previously determined
threshold value rather abruptly, whereas the compressor does
basically the same, but the threshold area is rather “softly”
delineated, so program intervention is not so suddenly felt. Use
the FX MIX control to determine the sensitivity for the compressor.
This effect prolongs the sustain of your guitar, or you can also
for example make the strumming on a funky-style guitar more
audible (chicken scratch).
ꢀ
Once you activate MIDI, FX tracking is no longer active,
i.e. there is no assignment between an effect number
and a channel. This means that when you switch a
channel, the previously set effect is not automatically
loaded up. As this assignment feature would probably
cause confusion when controlling the V-TONE via a
MIDI foot controller, it makes sense only when it is
controlled from the enclosed footswitch or directly
from the V-TONE. To operate your V-TONE without
MIDI remote control, please disable the MIDI function
(display reads “OF”).
92-93 Expander: Background noise of all kinds (hissing, hum,
etc.) limit the dynamic range of the desired signal. As long as the
main signal’s level is considerably higher than the noise floor,
background noise is inaudible; the main signal basically masks
the underlying noise signal. You can use the expander to
effectively broaden the dynamic range of a signal. The signal is
weakened when the amplitudes are smaller, whereby
background noise is lowered. The FX MIX control determines the
expander’s threshold.
You can control different functions of your V-TONE using MIDI.
To this end, the V-TONE receives MIDI instructions (so-called
messages). The messages that need to be sent to your
V-TONE have to be created either on a MIDI foot controller or on
a MIDI sequencer. Basically, these are Program Change
Messages and Controller Messages:
Program Changes: You can dial up presets using MIDI program
changes. Since program changes start at 0 and go up to 127,
program change 0 corresponds to preset 0, program change 1
to preset 1, and so on (compare table 7.1 in the appendix). After
the switch is done, the preset is directly active, i.e. independent
from a possibly set bypass.
94-99 Guitar Combo: This effect simulates the sound
characteristics of a small guitar combo, simulating not only two
tube stages, but also the cabinet and the speaker. Use the
FX MIX control to adjust the mix of direct and combo signals.
Effect parameters: Three parameters of the effects processor
can be adjusted in real time. This way, you can create your own
effects, modify existing effects to your specific needs (e.g.
adapt the delay time to the tact of your song) or remotely control
using a MIDI foot controller.
Select a controller number for the footswitch on your MIDI foot
controller. Use control numbers 12, 13 or 14. Using the footswitch
on your MIDI foot controller, you can now modify the values of
the three adjustable parameters in real time or directly enter their
values. Which three parameters for the respective effect can be
edited is shown in the following table:
4. Effects processor
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Channel switching: Changing modeling CHANNELS is done
via controller #10. If you send value 0 via this controller, then
channel 1 is active. Sending value 1 activates channel change to
channel 2. Program change instructions can also be used to
change channels. Program change #123 activates channels 1
and program change #124 activates channel 2 of your V-TONE.
Reverb
Time
REVERB
0 - 16
-
Mix
In addition to switching channels, you can also deactivate the
effect. To this end, send value 0 via controller #11. Value 1
activates the effect again.
DELAY/
REVERB
Reverb
Mix
17 - 20 Delay Time*
Delay Mix
Feedback
Sending program change #127 activates the tuner. As soon as
another program change number is sent, the tuner is automatically
deactivated.
DELAY
21 - 29 Delay Time*
30 - 33 LFO Speed*
Mix
PHASER
Feedback
Depth
Reverb
Mix
Depth
Mix
CHORUS 34 - 37 LFO Speed*
You determine the input volume of the effect module by using
MIDI controller #7. This lets you adjust the volume of your
V-TONE to your own requirements. Since this controller does
not control master volume, you should first adjust the maximum
volume you need by using the master volume control, and then
use MIDI controller #7 to lower the volume. This function is also
called “volume controller”.
CHORUS/
Chorus
Mix
38 - 42 Reverb Time
REVERB
CHORUS/
Chorus
Mix
43 - 47 Delay Time*
DELAY
Delay Mix
FLANGER 48 - 51 LFO Speed* Resonance
Depth
FLANGER/
REVERB
Reverb
Mix
52 - 56 Reverb Time
57 - 61 Delay Time*
62, 63 LFO Speed*
64 - 66 LFO Speed*
67, 68 LFO Speed*
69, 70 LFO Speed*
71, 72 Reverb Mix
Depth
Depth
The operating range of the Wah effect is adjusted using MIDI
controller #27.
FLANGER/
DELAY
Delay Mix
Furthermore, if you’re using LFO-controlled modulation effects,
you can deactivate LFO and implement modulation via MIDI
controller #27. To activate this MIDI controller, you should first
set up the LFO velocity either directly on your V-TONE or set the
respective MIDI controller to value 0.
TREMOLO/
REVERB
Reverb
Mix
Tremolo
Mix
TREMOLO/
DELAY
Tremolo
Mix
Delay Mix
ROTARY
SPEAKER
Reverb
Mix
Of course, you can use a MIDI sequencer or a computer-based
MIDI editor for MIDI remote control, particularly in the home
recording environment.
Depth
Depth
ROTARY
DRIVE
Delay Mix
Depth
Depth
-
AUTO WAH
REVERB
Sensitivity
Sensitivity
Pitch Mix
AUTO WAH
DELAY
73, 74
Delay Mix
-
PITCH
SHIFTER
75 - 81
PITCH
Reverb
Mix
SHIFTER/ 82 - 85 Reverb Time
REVERB
Pitch Mix
Pitch Mix
PITCH
SHIFTER/ 86 - 89 Delay Time*
DELAY
Delay Mix
COM-
PRESSOR
Delay Time/
Rev Time²
Rev Time/
Delay Time² Delay Mix²
Delay Time*/ Delay Mix/
Delay Mix/
Rev Mix²
Rev Mix/
90, 91
Sensitivity
Threshold
Drive
EXPANDER 92, 93
GUITAR
94 - 99
COMBO
Rev Time²
Rev Mix²
*) Tap tempo: MIDI Control No. 64
²) depends on Variation
Table 4.1: MIDI-controllable effect parameters
4. Effects processor
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5. Tuner
6. Installation
V
The integrated tuner is activated by pressing the CHANNEL
key for about 2 seconds (directly on the amp or on the
footswitch).
6.1 Audio connections
With the exception of the headphone output and the AUX input
(stereo jacks), audio inputs and outputs of your BEHRINGER
V-TONE are provided in the form of mono jack connectors. Tape
inputs and outputs use RCA connectors.
5.1 Tuning your guitar
The chromatic tuner automatically recognizes the frequencies
of guitar notes. For A string, this means a frequency of 110 Hz.
When you connect your guitar to the V-TONE and strum a string,
the tuner tries to recognize the tone and shows it in the display.
Because the tuner functions chromatically, it can also recognize
semitones. These are shown in the display with a “b”
accompanying the value.
ꢀ
Please keep in mind that your V-TONE should be
installed and operated only by those who possess
sufficient technical knowledge about its installation
and operation. Everyone dealing with your V-TONE
should be sufficiently grounded both during the
installation as well as during actual usage. Failure
to do so may cause undesirable or faulty operation
due to electromagnetic discharges, etc.
However, it may be the case that a played note (shown in the
display as for example “a”) slightly deviates from the ideal tone.
This will be indicated by lighting up at least one of the red tuner
LEDs (HIGH/LOW) near the FX display. The faster the LED blinks,
the harsher the deviation of the played tone from the note shown
in the display. If the middle LED (green) lights up, the tone you
played is completely in tune with the tone indicated in the display.
When the tuner is active, the loudspeaker outputs are typically
muted. However, sometimes it is preferable not to mute the signal
in order to let you have acoustic control of what you are doing
while you are tuning your guitar. For this reason, the V-TONE
has an integrated tuner level function.
V
You can adjust tuner volume from 0 to 99 by using the FX
control. At “0” the guitar signal is completely muted. After a
successfully implemented adjustment, the display auto-
matically goes back to tuner mode.
Fig. 6.1: 1/4" TS connector
5.2 Setting up the “a” reference tone
To put complete freedom at your disposal when tuning your
instrument, you have the option to change the preset of the
reference tone “a”. Here is a quick intro to the subject.
The so-called “chamber tone a” has been continually revised
upwards ever since it was first measured: tuning forks of Bach,
Handel or Mozart were at 415, 420 or 421 Hz (vibrations pro
second).
Nowadays, orchestras set the “a” with 444 Hz, and the Berlin
Philharmonic Orchestra wishes to stay ahead: their “chamber
tone a” lies at a full 447 Hz.
The reference tone “a” of the V-TONE is programmed at
440 Hz. Let’s say, you want to work with a big orchestra that
works with the chamber tone “a” set to 444 Hz. To activate the
function that changes the chamber tone, do the following:
Fig. 6.2: 1/4" stereo TRS connector for AUX and PHONES
V
Activate the tuner by keeping the CHANNEL key pressed
for a few seconds.
6.2 Speaker connection
V
By turning the PRESET control, you can adjust the “a”
reference tone up or down in 1 Hz increments for a maximum
of 15 Hz. The last two digits of the frequency value are
always shown in the display, since the first digit is always
a 4. For example, when you start with the 440 Hz basic
tone, and then press the right arrow key four times, the
display shows 44, which corresponds to a frequency of
444 Hz.
The GMX110 and GMX112 feature a SPEAKER connector to
which you can connect an additional loudspeaker. This additional
loudspeaker should be able to handle at least 30 Watts @ 4 Ω
(GMX110) and 60 Watts @ 4 Ω (GMX112) respectively.
The GMX212 and GMX1200H feature two LOUDSPEAKER-
outputs (EXT LEFT and EXT RIGHT) for connecting two
loudspeakers or a single stereo loudspeaker unit. The output
power rating is 60 W per channel. To assure optimal power
delivery from the amp, you should use 8-Ω loudspeakers that
can handle at least 60 Watts.
After about 3 seconds, the display goes back to tuner mode.
Your changes are automatically stored. Ideal tones for the
remaining strings are automatically set up using the newly
adjusted frequency as a reference.
This goes for all models: You can also use loudspeakers with
higher impedance values, but this lowers proportionally the power
delivery as the resistance increases. Doubling the impedance
halves the power value (double the Ohms = half the Watts).
A quick hit on the CHANNEL key lets you leave tuner mode and
go back to amp mode.
6. Installation
13
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ꢀ
Since SPEAKER and LOUDSPEAKER outputs are
connectors where amplified signals are given out,
never connect equipment with line-level inputs to
these two connectors, e. g. mixer inputs.
7. Appendix
7.1 MIDI implementation
6.3 MIDI connection
MIDI Implementation Chart
Trans-
The MIDI standard (Musical Instruments Digital Interface) was
first developed at the beginning of the ’80s, with the goal of
enabling mutual communication between electronic instruments
of various manufacturers. Over the years, the number of possible
MIDI applications has increased substantially; nowadays, it is
perfectly normal to connect entire studios via MIDI.
Function
Recognized
mitted
Remarks
Basic
Channel
Default
Changed
Default
Messages
Altered
X
X
X
X
X
X
X
X
X
X
X
OFF, 1 - 16
OFF, 1 - 16
1, 2
X
X
X
X
X
memorized
Mode
At the center of this network is a computer with a sequencing
software, used to control not only keyboards but also effects
processors and other peripheral equipment. In such a studio,
you can control your V-TONE in real time from a computer. Using
a MIDI footswitch presents itself as a great idea, especially in
live applications, because it allows you to control not only effect
parameters but also switch between channels and effects.
Note
Number
True Voice
Note ON
Note OFF
Keys
Velocity
X
X
X
After
Touch
Channels
Pitch Bender
Control
X
X
X
O
see add. table
The standard 5-pole DIN MIDI connector is located on the rear of
your V-TONE. To connect your V-TONE with other MIDI equipment,
O
123 = Channel 1
124 = Channel 2
127 = Tuner
0 - 99
123
124
127
X
you will need
a
MIDI cable. Pre-packed cables
Progr.
Change
True #
X
available at music stores are used for this purpose. Such cables
should not be longer than 15 m (45 ft).
System Exclusive
X
MIDI IN receives MIDI control data. The receiving channel is
adjusted using the CHANNEL and IN/OUT key combination On =
Omni means that MIDI data are being received and processed on
all channels (compare section 4.2).
Song Pos.
Song Sel.
Tune
X
X
X
X
X
X
X
X
X
X
System
Common
System
Real Time Commands
Clock
Local ON/OFF
All notes OFF
Messages Active Sense
Reset
X
X
X
X
X
X
X
X
Aux
Notes
O = YES, X = NO
Mode 1:
Mode 2:
OMNI ON
OMNI OFF
Tab. 7.1: MIDI implementation
Midi
Control
Number
Control
Value
Range
Parameter Name
Display Range
Volume Controller
Channel Select
-
7
0 .. 127
0, 1
Channel 1 = 0
Channel 2 = 1
10
OFF = 0
ON = 1
Effect Bypass
11
0, 1
Parameter 3
Parameter 2
depends on effect *
depends on effect *
12
13
0 .. 127 (max.)
0 .. 127 (max.)
Parameter 1
(MIX)
depends on effect *
14
0 .. 127 (max.)
Wah / Modulation
Controller
0 = off
1 .. 127
-
-
27
21
Mod FX send on/off
0/127
Reverb send on/off
Delay send on/off
Tap Tempo
-
-
-
22
23
64
0/127
0/127
value > 63
Tuner Bypass
Volume
-
82
0 .. 127
* for details see Tab. 4.1
Tab. 7.2: V-TONE MIDI controllers
14
7. Appendix
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V-TONE GMX110/GMX112/GMX210/GMX212/GMX1200H
7.2 Effect presets
Effect
Variation
Effect
Variation
0
REVERB
SPRING
REVERB
medium Pre-Delay
Mix
Mix
Mix
Mix
Mix
Mix
Mix
Mix
Mix
Mix
Mix
Mix
Mix
Mix
Mix
Mix
Mix
40
25
25
40
40
30
30
35
40
40
40
50
50
50
50
40
40
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
ultra
slow
Depth
Depth
Depth
Depth
Depth
Depth
Depth
Depth
Depth
Depth
50
50
50
40
40
60
80
50
20
65
1
short Pre-Delay
FLANGER /
REVERB
2
long Pre-Delay
medium I
medium II
fast
3
short Pre-Delay
STUDIO
CHAMBER
STAGE
4
long Pre-Delay
5
short Pre-Delay
ultra
6
long Pre-Delay
medium I
slow
FLANGER /
DELAY
7
short Pre-Delay
8
long Pre-Delay
medium II
hold
9
short Pre-Delay
CONCERT
PLATE
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
long Pre-Delay
TREMOLO /
REVERB
Slow
Tremolo Mix 65
Tremolo Mix 45
Tremolo Mix 45
Tremolo Mix 40
short Pre-Delay
Fast
long Pre-Delay
slow (with reverb)
ultra (with reverb)
TREMOLO /
DELAY
EARLY
REFLECTIONS
min. Density
max. Density
medium (with reverb) Tremolo Mix 30
min. Reflections
ROTARY
SPEAKER
slow (with reverb)
Depth
Depth
70
100
40
90
50
50
60
30
40
30
25
30
20
25
20
60
10
20
30
50
20
20
20
60
50
10
25
60
50
AMBIENCE
max. Reflections
-
fast (with reverb)
Reverb Mix 40
Reverb Mix 45
Reverb Mix 40
Reverb Mix 50
ROTARY
DRIVE
slap back
Depth
DELAY /
REVERB
-
spinning echo
Depth
-
AUTO WAH
REVERB
fast
Sensitivity
Sensitivity
Sensitivity
Sensitivity
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
Sensitivity
Sensitivity
Threshold
Threshold
Drive
-
slow
Model
Model
Model
Model
Model
Model
Model
Model
Model
Model
Model
Model
Model
fat
Mix
Mix
60
70
50
70
75
80
60
70
100
25
50
25
90
60
70
60
30
AUTO WAH
DELAY
distortion
clean
Mix
-12
Mix
-5
STEREO
DELAY
Mix
+3
PITCH
SHIFTER
Mix
+4
Mix
+7
Mix
+4 %
Mix
+8 %
Depth
Depth
Depth
Depth
Mix
-12
PITCH
SHIFTER /
REVERB
+3
+4 %
PHASER
CHORUS
+8 %
-12
PITCH
SHIFTER /
DELAY
slow
Mix
-5
stereo
stereo
ultra
Mix
+4
Mix
+7
Chorus Mix 40
Chorus Mix 40
Chorus Mix 20
Chorus Mix 50
Chorus Mix 40
Chorus Mix 70
Chorus Mix 50
Chorus Mix 50
Chorus Mix 30
Chorus Mix 40
fast (with Delay)
slow (with Reverb)
fast (with Ambience)
slow (with Delay)
Crunch (with Delay)
Edge (with Delay)
Overdrive
COMPRESSOR
EXPANDER
slow
CHORUS /
REVERB
medium I
medium II
fast
ultra
Drive
slow
96
97
98
99
Drive
Drive
Drive
Drive
80
126
70
CHORUS /
DELAY
(with Reverb)
medium I
medium II
hold
GUITAR
COMBO
Distortion 1
(with Delay)
-
Depth
Depth
Depth
Depth
90
127
60
Distortion 2
(with Delay)
-
FLANGER
-
Distortion 3
(with Reverb)
70
-
60
Tab. 7.3: V-TONE effect presets
15
7. Appendix
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V-TONE GMX110/GMX112/GMX210/GMX212/GMX1200H
8. Specifications
GMX110
GMX112
GMX210
Audio Input s
GUITAR IN
¼" TS jack, RF filtered
Input impedance
INSERT RETURN
Input impedance
SLAVE IN
approx. 1 MΩ unbalanced
¼" TS jack
approx. 10 kΩ unbalanced
¼" TRS jack (tip = input)
approx. 30 kΩ unbalanced
¼" TRS jack
-
Input impedance
AUX IN
-
-
Input impedance
TAPE IN
approx. 10 kΩ unbalanced
-
RCA connector
Input impedance
approx. 10 kΩ unbalanced
Audio Outputs
INSERT SEND
Output impedance
LINE OUT
¼" TS jack, low-impedance, line-level
approx. 100 Ωunbalanced
¼" TS jack
approx. 1 kΩunbalanced
-
Output impedance
Max. output level
TAPE OUT
> 1 kΩ unbalanced
+8 dBu unbalanced
-
-
RCA connector
Output impedance
Max. output level
PHONES OUTPUT
Max. output level
SLAVE OUT
approx. 3 kΩunbalanced
+9 dBu unbalanced
¼" TRS jack
+15 dBu / 100 Ω (+23 dBm)
¼" TRS jack (ring = output)
approx. 2 kΩunbalanced
+21 dBu unbalanced
-
-
-
Output impedance
Max. output level
Loudspeaker output
Type
¼" TS jack
-
-
Min. load impedance
System data
Peak power
4 Ω
1 x 30 W / 4 Ω
1 x 60 W/ 4 Ω
2 x 30 W / 4 Ω
MIDI interface
Type
5-pin DIN socket, MIDI IN
Digital processing
Conver ters
24-bit delta-sigma, 64/128-times oversampling
46.875 kHz
Sampling rate
Display
Type
2-digit numeric LED display
Loudspeaker
Type
1 x 10"
1 x 12"
2 x 10"
Model
BUGERA™ Vintage Guitar Series
Power supply
Power consumption
Mains voltage / Fuse
100 - 120 V~ (50/60 Hz)
220 - 240 V~ (50/60 Hz)
Mains connector
max. 70 W
max. 150 W
T 2 A H 250 V
T 3.15 A H 250 V
T 1.6 A H 250 V
T 1 A H 250 V
Standard IEC receptacle
Physical/weight
15.7" x 16.7" x 8.4"/10"
(400 mm x 423 mm x
213 mm/253 mm)
18.6" x 23.8" x 10"
(473 mm x 605 mm x
255 mm)
18.6" x 23.8" x 10"
(473 mm x 605 mm x
255 mm)
Dimensions (H x W x D)
Weight
24.3 lbs (11 kg)
38 lbs (17.2 kg)
40.2 lbs (18.2 kg)
16
8. Specifications
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V-TONE GMX110/GMX112/GMX210/GMX212/GMX1200H
GMX212
GMX1200H
Audio Input s
GUITAR IN
¼" TS jack, RF filtered
approx. 1 MΩ unbalanced
¼" TS jack
Input impedance
INSERT RETURN
Input impedance
SLAVE IN
approx. 10 kΩ unbalanced
¼" TRS jack (tip = input)
approx. 30 kΩ unbalanced
¼" TRS jack
Input impedance
AUX IN
Input impedance
TAPE IN
approx. 10 kΩ unbalanced
RCA connector
Input impedance
approx. 10 kΩ unbalanced
Audio Outputs
INSERT SEND
Output impedance
LINE OUT
¼" TS jack, low-impedance, line-level
approx. 100 Ω unbalanced
¼" TS jack
Output impedance
Max. output level
TAPE OUT
> 1 kΩ unbalanced
+8 dBu unbalanced
RCA connector
Output impedance
Max. output level
PHONES OUTPUT
Max. output level
SLAVE OUT
approx. 3 kΩ unbalanced
+9 dBu unbalanced
¼" TRS jack
+15 dBu / 100 Ω (+23 dBm)
¼" TRS jack (ring = output)
approx. 2 kΩ unbalanced
+21 dBu unbalanced
Output impedance
Max. output level
Loudspeaker output
Type
2 x ¼" TS jack
Min. load impedance
System data
Peak power
8 Ω
2 x 60 W / 8 Ω
2 x 60 W / 8 Ω
MIDI interface
Type
5-pin DIN socket, MIDI IN
Digital processing
Conver ters
24-bit delta-sigma, 64/128-times oversampling
46.875 kHz
Sampling rate
Display
Type
2-digit numeric LED display
Loudspeaker
Type
2 x 12"
-
-
Model
BUGERA™ Vintage Guitar Series
Power supply
Power consumption
Mains voltage / Fuse
100 - 120 V~ (50/60 Hz)
220 - 240 V~ (50/60 Hz)
Mains connector
max. 200 W
T 5 A H 250 V
T 2.5 A H 250 V
Standard IEC receptacle
Physical/weight
19.4" x 28" x 10"
11" x 28" x 9.4"
Dimensions (H x W x D)
Weight
(493 mm x 712 mm x 255 mm)
(280 mm x 712 mm x 240 mm)
53 lbs (24 kg)
34.2 lbs (15.5 kg)
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time to
time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.
17
8. Specifications
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V-TONE GMX110/GMX112/GMX210/GMX212/GMX1200H
2. If the product needs to be modified or adapted in order to
9. Warranty
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.
§ 1 Other warranty rights and national law
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
contract.
2. The warranty regulations mentioned herein are applicable
unless they constitute an infringement of national warranty law.
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, guitar strings,
illuminants and similar parts.
§ 2 Online registration
Please do remember to register your new BEHRINGER equipment
and kindly read the terms and conditions of our warranty
carefully. Registering your purchase and equipment with us helps
us process your repair claims quicker and more efficiently. Thank
you for your cooperation!
4. Damage/defects caused by the following conditions are not
covered by this warranty:
§ 3 Warranty
V improper handling, neglect or failure to operate the unit in
compliance with the instructions given in BEHRINGER user
or service manuals.
1. BEHRINGER (BEHRINGER International GmbH including all
BEHRINGER subsidiaries, 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 § 5, BEHRINGER
shall, at its discretion, either replace the product by providing a
new or reconditioned product 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
parts. In case BEHRINGER decides to replace the product, this
warranty shall apply to the replacement product for the remaining
initial warranty period, i.e one year* from the date of purchase of
the initial product.
V 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.
V damage/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. Costs for freight and packing will
be invoiced separately C.O.D. When the buyer has sent in a
written repair order such costs will also be invoiced separately.
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.
§ 6 Warranty transferability
§ 4 Return authorization number
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.
1. To obtain warranty service, the buyer (or his authorized dealer)
must call BEHRINGER during normal business hours BEFORE
returning the product. All inquiries must be accompanied by a
description of the problem. The buyer or his authorized dealer
will receive a return authorization number.
§ 7 Claim for damages
2. Subsequently, the product must be returned in its original
shipping carton, together with the return authorization number.
The return shipment address will be indicated by 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.
3. Shipments without freight prepaid will not be accepted.
§ 5 Warranty regulations
* Customers in the European Union please contact BEHRINGER
Germany Support for further details.
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.
Technical specifications and appearance are subject to change without notice. The information contained herein is correct at the time
of printing. All trademarks (except BEHRINGER, the BEHRINGER logo, JUST LISTEN, V-TONE, and ULTRABASS) mentioned belong to
their respective owners, and such 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 may vary slightly from
product. Our Products are sold through authorized dealers only. Distributors and dealers are not agents of BEHRINGER and have
absolutely no authority to bind BEHRINGER by any express or implied undertaking or representation. This manual is copyrighted. No
part of this manual 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 International GmbH.
ALLRIGHTS RESERVED. (c) 2007 BEHRINGER International GmbH. BEHRINGER International GmbH, Hanns-Martin-Schleyer-Str.
36-38, 47877 Willich-Muenchheide II, Germany. Tel. +49 2154 9206 0, Fax +49 2154 9206 4903
9. Warranty
18
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FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION
V-TONE
GMX110 / GMX112 /
GMX210 / GMX212 / GMX1200H
Responsible party name:
BEHRINGER USA, Inc.
Address:
18912 North Creek Parkway, Suite 200
Bothell, WA 98011, USA
Phone/Fax No.:
Phone: +1 425 672 0816,
Fax: +1 425 673 7647
hereby declares that the product(s)
V-TONE GMX110
V-TONE GMX112
V-TONE GMX210
V-TONE GMX212
V-TONE GMX1200H
complies/comply with the FCC rules as mentioned in the following paragraph:
This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions: (1) this
device may not cause harmful interference, and (2) this device must accept any interference received, including
interference that may cause undesired operation.
Note: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant
to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful
interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy
and, if not installed and used in accordance with the instructions, may cause harmful interference to radio
communications. However, there is no guarantee that interference will not occur in a particular installation. If
this equipment does cause harmful interference to radio or television reception, which can be determined by
turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the
following measures:
= Reorient or relocate the receiving antenna.
= Increase the separation between the equipment and receiver.
= Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
= Consult the dealer or an experienced radio/TV technician for help.
Important information:
Changes or modifications to the equipment not expressly approved by
BEHRINGER USA can void the user’s authority to use the equipment.
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