3. EFFECTS PROCESSOR.... 14
3.1 Description of effects.... 14 3.2 Controlling the ULTRATWIN via MIDI.... 23 3.2.1 Store Enable mode.... 24
4. HISTORICAL BACKGROUND by Neville Marten (Guitarist Magazine).. 24 5. INSTALLATION.... 25
5.1 Mains connection.... 5.2 Audio connections.... 5.2.1 Loudspeaker connection.... 5.3 MIDI connection.... 26 26

6. APPENDIX..... 26

6.1 Preset list..... 26 6.2 MIDI implementation.... 29
7. SPECIFICATIONS..... 30 8. WARRANTY..... 31

WARNING!

It should be pointed out, that extreme output volumes may damage your ears and/or your headphones. Turn down all LEVEL controls before you switch on the unit. Always pay attention to an appropriate volume. 5

1. INTRODUCTION

Thank you very much for expressing your confidence in BEHRINGER products by purchasing the ULTRATWIN GX212. With the ULTRATWIN, you have acquired a modern guitar workstation that sets new standards in guitar amp engineering. When developing the GX212, our top objective was to reproduce the authentic sound of classic guitar amps as perfectly as we could and combine it with latest DSP technology while focusing on a user interface that can be operated intuitively. BEHRINGER is an audio engineering company that has been successfully developing products for studio and live applications for many years now. Our range of products includes microphones and a variety of 19" devices (compressors, enhancers, gates, tube processors, headphone amps, digital effects devices, DI boxes, etc.) as well as various monitoring and P.A. speakers plus professional live and recording consoles. The name of BEHRINGER stands for no-compromise quality, fully-featured products and exemplary service even years after purchase as well as sensationally low prices, which allow any ambitious music lovers to make their musical dreams come true. We also set great store by flexibility, which has become a particularly important factor in the music business over the past few years. Modern guitarists need to offer a broad range of sounds, but should still be able to play in different kinds of applications at short notice: home recording, studio, live concerts. For this reason, it has always been our prime concern to give you a guitar workstation that offers you a complete set of functions, but can still be operated intuitively and quickly no matter what kind of style you play. Unfortunately, conventional guitar amps are often not fully designed and developed. Moreover, many manufacturers of traditional-style guitar amps are somewhat afraid of using state-of-the-art technology. The ULTRATWIN, on the other hand, is a pioneering guitar amp that has considerably more functions than any conventional 2-channel amp with a built-in spring reverb. Still, you can use the GX212 so that it mimics an excellently sounding 2-channel combo amp with an admittedly good spring reverb (except for that shatter sound when the amp gets knocked over). However, we recommend that you make yourself familiar with the ULTRATWIN in full detail, so that you know what each of the many functions does and be able to fully exploit the numerous effects and control options provided. As technology advances, youve got to keep track of latest technological breakthroughs to avoid falling by the wayside. We, too, have continuously improved this amp and included many of your valuable suggestions. We have spared neither expense nor effort to test different types of circuitry and speakers until the results gave us complete satisfaction. After all, we really want to give you fully designed and developed products that meet your expectations in every respect. The ULTRATWIN shall be a useful tool for years to come, which is why weve equipped the effects modules of our guitar workstation with EPROMS that can be updated. In this way, we can keep working on new algorithms and considering your ideas and suggestions. The resulting software updates will be made available for free on the Internet, so as to ensure that your amp will never be outdated. Weve packed our entire experience into this latest generation of guitar amps. Many people contributed to this project of intense development: studio musicians, collectors of vintage guitar amps, music and guitar lovers alike. We even invited guitar amp tuning experts to help us develop an amplifier that gives you the best of all worlds: s Sophisticated analog technology with a feel factor only analog technology can provide. s Perfect simulation of tube-specific nuances to make up for the drawbacks encountered in tube designs (short service life, heat dissipation, poor mechanical stability). s Latest DSP technology to give you a broad range of modern high-gain and vintage-type effect sounds. s Rugged and solid construction which even withstands roughest handling. s Intuitive operation, so that you can focus your mind on what is most important to you: your music!

s TIME: This LED lights up when you select a time-domain effect parameter (e.g. reverb or delay time). s SPEED: This LED lights up for all modulation effects and indicates the LFO speed (low-frequency oscillator) or the speed parameter of compress/expander. s SENS: This LED informs you that you can adjust the sensitivity of effects such as Auto-Wah, Expander, Compressor. s PITCH: This LED lights up when you edit the pitch shifter, and shows the detune factor, either in semi-tones or cents. s EQ: This LED lights up when you edit the parameters of a filter-based effect. The built-in effects module features 31 different effect groups and includes a total of 99 effect variations.
The DISPLAY reads either the program number of the selected preset or the value of the parameter selected with the PARAMETER, EFFECT A or EFFECT B controls. Use the ENTER button to confirm your program selection. When the MIDI functions are inactive, one effect can be stored for each of the two channels on your ULTRATWIN, which allows for instance, to select a DELAY effect for the OVERDRIVE channel and assign a REVERB/CHORUS effect to the CLEAN channel. The corresponding program 1. INTRODUCTION 9
ULTRATWIN GX212 numbers will be stored with the channels and can be recalled using the footswitch or the front panel buttons. When MIDI is on, this assignment feature will be disabled, so that in this mode both channels and effects can be selected separately.
The DOWN button allows you to decrement the program number. With the UP button you can increment the program number of the built-in effects module. Keep the button pressed to scroll through the programs. When you start editing a preset, the decimal point in the 2-digit display starts flashing. Press the ENTER button for a while to overwrite the factory preset and save your own effect setting. To restore the factory presets, simply press and keep the ENTER button while you switch on your ULTRATWIN. The EFFECT A control determines the ratio of original and effect signals. Depending on the preset selected, you can either control the ratio of original and left-channel effect signals, or of original and first-effect signals (combination effects). Some effects use this control to edit a second, effect-specific parameter. Use the EFFECTS button to activate/deactivate the selected effect. The EFFECT B control determines the mix of original and effect signals. Depending on the preset selected, you can either control the ratio of original to right-channel effect signals, or of original to secondary-effect signals (combination effects). Some effects use this control to edit a third, effectspecific parameter. The AUX IN control in the Master section determines the volume of the AUX signal fed in via the AUX IN jacks on the rear of the ULTRATWIN (e.g. drum computer, playback). The POWER LED lights up when you switch on your ULTRATWIN. The MASTER control in the Master section determines the overall volume level of your ULTRATWIN. Use the POWER switch to put the ULTRATWIN into operation.

2. WIRING EXAMPLES

2.1 Standard setup consisting of guitar, footswitch and external effects device
To use your ULTRATWIN for rehearsals or on stage, please wire up the unit as shown in fig. 2.1. Of course, you can also use a wah-wah or other pedal effect instead of the external 19" effects unit, or simply work with the internal effects without having to use the insert path at all. Connecting the headphones will mute the built-in speaker. When you wish to use a guitar tuner, please connect it to the INSERT SEND of your ULTRATWIN. If there is no further effects device connected, you can leave the INSERT RETURN as it is. However, to use an external effects device, place the tuner before the effects in the signal chain, so that it works on unprocessed signals only.

Fig. 2.1: Standard setup

2.2 Expanded setup with MIDI foot controller, playback source and mixing console
To use your ULTRATWIN for advanced applications, please consider the following suggestions. Of course, the expanded configuration suggested in fig. 2.2. builds on the standard setup described in chapter 2.1. Use the MIDI foot controller to change presets and/or channels, set volume and wah, etc. The line out signal can be fed into a P.A. or recording console, and the AUX input can be used to play back e.g. cassette recorder signals through the GX212.

Fig. 2.2: Expanded setup

Master/slave setup
2.3.1 The ULTRATWIN GX212 as master The SLAVE IN jacks can also be used to amplify the ULTRATWINs signal with an additional power amp. Use two conventional instrument cables (one conductor plus shielding) having a mono 1/4" plug on the one end, and a stereo 1/4" plug on the other. On the stereo plug, tip and ring should be bridged. To route the ULTRATWINs audio signal to the external power amp, connect the stereo plug to the SLAVE IN jacks and the mono plug to the power amp input jacks.
Fig. 2.3: The ULTRATWIN GX212 as master
2.3.2 The ULTRATWIN GX212 as slave, driven by an external amp/preamp To operate the stereo power stage of your ULTRATWIN from an external amplifier/preamp, connect the line outputs of the external amp to the SLAVE IN jacks on the GX212. Use conventional instrument cables with mono 1/4" plug. If you use a mono preamp, its signal should be split up among the two SLAVE IN inputs of your ULTRATWIN, using a commercial Y cable.

3. EFFECTS PROCESSOR

A very special feature of your ULTRATWIN is its built-in effects processor, which offers the same audio quality and algorithms as our popular 19" effects devices VIRTUALIZER PRO and MODULIZER PRO. This effects module provides 31 different groups of first-class effects such as reverb, chorus, flanger, delay, pitch shifter, compressor, expander, wah-wah variations, various combination effects and even tube and speaker emulation. The latter, in particular, can make a guitarists life much easier in home recording studios, because they allow you to record the amps signal without having to use a microphone. A total of 99 presets gives you a broad range of versatile effects, which can be edited in three parameters each. Additionally, the multi-effects processor provides different effects variations, which are permanently linked to the presets. All presets can be overwritten with your own settings. To restore the factory default settings, simply keep the ENTER button pressed while you power up the ULTRATWIN. The two buttons UP and DOWN allow you to select a preset. To activate the selected preset, simply press the ENTER button. The display reads the number of the currently active preset (the list on the effect module shows the various effect groups available). As soon as you edit a preset with the PARAMETER, EFFECT A and EFFECTB controls, the display will read the respective parameter values. After about three seconds or when you press ENTER, UP or DOWN, the display will switch back to the program number. Whenever a parameter has been changed, the decimal point in the 2-digit display starts flashing. To save your edits and overwrite the existing preset, simply press the ENTER button for about twoseconds. The EFFECT A and EFFECT B controls determine (with a few exceptions) the mix of original and effect signals. EFFECT A controls the left channel and/or the first effect (if combination effects are used), and EFFECT B adjusts the right channel and/or the second effect. As a rule of thumb, values between 20 % (moderate effect) and 40 % (clearly audible effect) should deliver good results. In the case of reverb and delay presets, the mix ratio is adjustable from 0 % through 50 % in steps of 1%.
3.1 Description of effects
01-02 Spring Reverb: Even a guitar amp with a digital multi-effects processor should allow you to use a spring reverb. This algorithm emulates the typical sound of a spring reverb, as it is known from numerous guitar amps. However, here you dont have the typical shatter sound when your amp gets knocked over. 03-04 Studio: This effect simulates the characteristics of middle-sized rooms. With its natural sound it can be used for a great variety of applications. 05-06 Chamber: You can clearly hear the sound as it bounces back from the walls of this room. The program is particularly suited for diffuse types of reverb or to make a dry guitar sound more natural. 07-08 Stage: A fine reverb e.g. to liven up and widen a clean guitar. 09-10 Concert: Here, you can choose from a small theater (preset 9, short pre-delay) or a large concert hall (preset 10, long pre-delay). Compared to the STUDIO reverb program, these algorithms sound more lively and have more treble frequencies. 11-12 Plate: The sound of an ancient plate reverb. A classic algorithm that makes your guitar sound wonderful and enchanting.

Preset-Nr. Effect 1 SPRING 2 REVERB 3 STUDIO CHAMBER STAGE CONCERT PLATE 12 Variation short Pre-Delay long Pre-Delay short Pre-Delay long Pre-Delay short Pre-Delay long Pre-Delay short Pre-Delay long Pre-Delay short Pre-Delay long Pre-Delay short Pre-Delay long Pre-Delay PARAMETER EFFECT A EFFECT B Reverb Time Mix L Mix R Reverb Time Mix L Mix R Reverb Time Mix L Mix R Reverb Time Mix L Mix R Reverb Time Mix L Mix R Reverb Time Mix L Mix R Reverb Time Mix L Mix R Reverb Time Mix L Mix R Reverb Time Mix L Mix R Reverb Time Mix L Mix R Reverb Time Mix L Mix R Reverb Time Mix L Mix R
Tab. 3.1: Parameters of effects 01 through 12 Reverb algorithms 01 through 12 provide two variations each. Basically, the first variation uses a short predelay (delay until the actual reverb can be heard), while the second variation works with long pre-delays. In general, you can adjust the reverb time with the PARAMETER control, while the two EFFECT controls adjust the mix of original and effect signals in the left/right channel. 13-14 Gated Reverb: This reverb is cut off abruptly and became famous through Phil Collins In the air tonight. Use the EFFECT A control to adjust the threshold above which the reverb is triggered (Sensitivity). The higher this value, the less reverb you will hear. EFFECT B governs the mix of original and reverb signals. The PARAMETER control adjusts the reverb and gate times.
Preset-Nr. Effect 13 GATED 14 REVERB Variation min. Density max. Density PARAMETER EFFECT A EFFECT B Gate/Reverb Time Sensitivity Mix Gate/Reverb Time Sensitivity Mix
Tab. 3.2: Parameters of effects 13 and 14 15-16 Ambience: The reverb of any room consists of so-called early reflections and the reverb tail. This algorithm emulates the first 15 of these early reflections. Since our ears use these reflections to determine the room size, they can be employed to create subtle and impressive reverb densities, without clouding the overall signal with long reverb tails. The PARAMETER control modifies the room size, while EFFECT A adjusts the pre-delay time, and EFFECT B governs the mix of original and effect signals. This effect is particularly impressive when played through a pair of headphones.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B 15 min. Reflections Room Size Pre-Delay Mix AMBIENCE 16 max. Reflections Room Size Pre-Delay Mix

Tab. 3.3: Parameters of effects 15 and 16
17-19 Wah/Delay/Distortion: In general, filters are used to provide some static equalization of a signals frequency response. The wah effect combined with delay and distortion in this preset allows the midrange frequencies to pass, while it more or less suppresses the remaining frequency ranges. Guitarists such as Jimi Hendrix and Eric Clapton made this effect popular, and it still hasnt gone out of fashion. Use the PARAMETER control to adjust the delay time. EFFECT A allows you to determine the distortion intensity, which also depends on the volume settings chosen in the CLEAN and OVERDRIVE channels. With EFFECT B you can edit the delay mix. Using MIDI controller #15 you can edit the operating range of the wah effect, e.g. via a MIDI foot controller. In this way, it is possible to use the wah effect like an analog wah foot pedal.
Preset-Nr. Effect Variation PARAMETER EFFECT A 17 Feedback 0 % Delay Time Drive WAH / DELAY / 18 Feedback 10 % Delay Time Drive DISTORTION Feedback 30 % Delay Time 19 Drive EFFECT B Delay Mix Delay Mix Delay Mix
Tab. 3.4: Parameters of effects 17 through Delay/Reverb: This effect produces a normal delay with adjustable delay time that passes a reverb whose mix ratio can be edited.
Preset-Nr. Effect 20 DELAY / REVERB Variation PARAMETER EFFECT A EFFECT B Delay Time Delay Mix Reverb Mix
Tab. 3.5: Parameters of effect 20
21-29 Delay: This algorithm delays the input signal and generates several repeats. The first five presets (21 through 24) produce a stereo delay, with the PARAMETER control setting the delay time for the right channel. The left channels delay time is 2/3 as long as that on the right side. As usual, EFFECT A and EFFECT B determine the mix of original and effect signals. Delay presets 25 through 29 offer long mono delay, which can be adjusted in their delay time (PARAMETER control), delay feedback (repeats, EFFECT A) and delay mix parameters (EFFECT B).
Preset-Nr. Effect Variation 21 min. Feedback 22 DELAY (stereo) max. Feedback DELAY 27 (long mono) PARAMETER Delay Time R Delay Time R Delay Time R Delay Time R Delay Time Delay Time Delay Time Delay Time Delay Time EFFECT A EFFECT B Mix L Mix R Mix L Mix R Mix L Mix R Mix L Mix R Feedback Mix Feedback Mix Feedback Mix Feedback Mix Feedback Mix

Tab. 3.10: Parameters of effects 43 through 47
48-51 Flanger: An LFO constantly modulates the pitch of the effect signal up and down by a few cents and then sends the effect signal back to the input. This effect can be excellently combined with distorted guitar sounds.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B 48 fat LFO Speed Depth Mix 49 classic LFO Speed Depth Mix FLANGER 50 stereo LFO Speed Depth Mix 51 stereo LFO Speed Depth Mix
Tab. 3.11: Parameters of effects 48 through 51
52-56 Flanger/Reverb: Here, a flanger with various intensities is followed by a reverb with adjustable reverb time.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B 52 ultra Reverb Time Flanger Mix Reverb Mix 53 slow Reverb Time Flanger Mix Reverb Mix FLANGER / 54 medium I Reverb Time Flanger Mix Reverb Mix REVERB 55 medium II Reverb Time Flanger Mix Reverb Mix 56 fast Reverb Time Flanger Mix Reverb Mix
Tab. 3.12: Parameters of effects 52 through 56
ULTRATWIN GX212 57-61 Flanger/Delay: The first element is a flanger with various intensity levels, then comes a delay effect with adjustable delay time.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B 57 ultra Delay Time Flanger Mix Delay Mix 58 slow Delay Time Flanger Mix Delay Mix FLANGER / 59 medium I Delay Time Flanger Mix Delay Mix DELAY 60 medium II Delay Time Flanger Mix Delay Mix 61 fast Delay Time Flanger Mix Delay Mix
Tab. 3.13: Parameters of effects 57 through 61
62-63 Stereo Tremolo: Tremolo is a more or less fast, intensive variation of the signal amplitude, and is complemented here by a panorama effect.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B 62 LFO Speed Pan Mix STEREO TREMOLO 63 LFO Speed Pan Mix
Tab. 3.14: Parameters of effects 62 and 63 64-66 Tremolo/Delay: A more or less fast, intensive amplitude modulation complemented by a delay effect. The variations provide for various modulation speeds. The delay time can be set with the PARAMETER control.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B 64 ultra Delay Time Tremolo Mix Delay Mix TREMOLO / 65 slow Delay Time Tremolo Mix Delay Mix DELAY 66 medium Delay Time Tremolo Mix Delay Mix
Tab. 3.15: Parameters of effects 64 through 66
67-68 Rotary Speaker: This is the quintessential simulation of the classical organ effect normally produced by speakers that rotate at slow/fast speed in a bulky and extremely heavy speaker cabinet. This effect uses the physical principle known as Doppler effect. The PARAMETER control determines the speed of horn (treble) and rotor (bass), while EFFECT A allows you to modify the basic character of the sound. Finally, EFFECT B lets you edit the mix ratio.

Preset-Nr. Effect 67 ROTARY SPEAKER 68 Variation PARAMETER EFFECT A EFFECT B Speed Variation Mix Speed Variation Mix
Tab. 3.16: Parameters of effects 67 and 68
ULTRATWIN GX212 69-70 Magic Drive: This is an absolutely up-to-date effect combined with a delay. EFFECT A governs the basic character of the effect in 32 steps, PARAMETER adjusts the delay time, and EFFECT B controls the delay mix. As a little extra, this effect includes an LFO-controlled notch filter, which is added as of Variation #24.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B 69 Delay Time Variation Delay Mix MAGIC DRIVE 70 Delay Time Variation Delay Mix
Tab. 3.17: Parameters of effects 69 and 70
71-72 Auto Wah: Auto Wah is a velocity-sensitive effect that allows low frequencies to pass, while high frequencies are more or less suppressed. PARAMETER controls the effect sensitivity, and EFFECT A sets the cutoff frequency, which can be shifted upwards by raising this value.
Preset-Nr. Effect 71 AUTO WAH 72 Variation fast slow PARAMETER EFFECT A EFFECT B Sensitivity Depth Mix Sensitivity Depth Mix
Tab. 3.18: Parameters of effects 71 and 72 73-74 LFO Wah: In the LFO Wah effect the LFO governs the speed of frequency modulation. Here, you can produce wah-wah effects that are repeated at regular intervals. Use the PARAMETER control to set the LFO speed, while EFFECT A determines the threshold frequency. The LFO Wah delivers astounding results.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B 73 LFO Band Pass LFO Speed Depth Mix LFO WAH 74 LFO Band Pass LFO Speed Depth Mix
Tab. 3.19: Parameters of effects 73 and 74
75-81 Pitch Shifter: This effect shifts the pitch of the input signal and can be used to produce musical intervals and harmonies or simply to widen a single voice. Heavy detuning by several semi-tones up creates a Mickey-Mouse-type effect. The preset variations include various fixed intervals for the right channel, while the left channel can be shifted with the PARAMETER control. Depending on your mix settings, you can thus hear a triad for each tone of the input signal. Effects #80 and #81 are used to widen the signal and feature a detune option in the left channel (+/-25 cents).
Preset-Nr. 81 Effect Variation PARAMETER EFFECT A EFFECT B -12 Tune Left Mix L Mix R -5 Tune Left Mix L Mix R +3 Tune Left Mix L Mix R +4 Tune Left Mix L Mix R +7 Tune Left Mix L Mix R +4 % Tune Left Mix L Mix R +8 % Tune Left Mix L Mix R

PITCH SHIFTER

Tab. 3.20: Parameters of effects 75 through 81
82-85 Pitch/Reverb: Here, a pitch shifter set to various cent and semi-tone intervals is followed by a stereo reverb whose time can be set with the PARAMETER control.

Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B 92 Overdrive Sensitivity Ratio Gain EXPANDER 93 Clean Sensitivity Ratio Gain
Tab. 3.24: Parameters of effects 92 and 93
94-96 Guitar Combo: This effect simulates the sound characteristics of a complete guitar amp, mimicking not only two tube stages, but also cabinet and speaker. The PARAMETER control determines the distortion intensity, while EFFECT A adjusts the presence of the sound as the signals high-frequency portions increase. EFFECT B controls the mix ratio.
Preset-Nr. 96 Effect GUITAR COMBO Variation PARAMETER EFFECT A Drive Presence Drive Presence Drive Presence EFFECT B Mix Mix Mix
Tab. 3.25: Parameters of effects 94 through 96
ULTRATWIN GX212 97-99 Speaker Cabinet: This algorithm emulates three different types of speaker cabinets. Additionally, you can shift the speakers main resonance peak. Various degrees of resonance emphasis allow you to emulate different speaker characteristics. The PARAMETER control adjusts the cutoff frequency of the low-pass filter. EFFECT A determines the gain of the resonance filter. EFFECT B can be used to adjust the filter frequency.
Preset-Nr. 99 Effect SPEAKER CABINET Variation PARAMETER EFFECT A EFFECT B Stack A HF Cut Peak Gain Peak Frequency Stack B HF Cut Peak Gain Peak Frequency Combo HF Cut Peak Gain Peak Frequency
Tab. 3.26: Parameters of effects 97 through 99
Controlling the ULTRATWIN via MIDI
With its built-in MIDI interface you can integrate your ULTRATWIN into any MIDI setup. The GX212 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 sequencer software. Our MIDI foot controller FCB1010 gives you precisely these and more options, and is a perfect match for all BEHRINGER guitar amps. For example, you could wire the ULTRATWIN as follows: Connect the MIDI IN jack of your ULTRATWIN to the MIDI OUT jack of a MIDI foot controller (see fig. 2.2). Now, enable the MIDI functions on your ULTRATWIN by pressing both UP and DOWN (multi-effects processor) for about two seconds. Select a MIDI channel (1 through 16, ON = Omni mode, OF = off and 1 through 16, or On (Omni) plus decimal point = Store Enable mode, see chapter 3.2.1). Confirm your selection with ENTER. Omni mode means that your ULTRATWIN receives and processes MIDI information on all channels. Of course, you should select the same channel both on your MIDI foot controller and ULTRATWIN (see MIDI foot controller users manual).

Once you activate the MIDI functions, the automatic effect-to-channel assignment feature will be disabled, i.e. changing channels does not automatically load the previously set effect. As this assignment feature would cause some confusion when controlling the ULTRATWIN via a MIDI foot controller, it makes sense only when it is controlled from the enclosed footswitch or directly from the ULTRATWINs front panel. To operate the ULTRATWIN without MIDI remote control, please disable the MIDI functions (display reads OF).
You can select presets via MIDI using program change instructions. Since the range of program change numbers is 0 through 127, program change instruction 0 corresponds to preset 1, #1 to preset 2, and so forth (see table 6.2 in the appendix). After changeover the preset is activated immediately, i.e. it will not be affected by previously adjusted bypass settings. The three adjustable parameters PARAMETER, EFFECT A and EFFECT B can be controlled in real time from a MIDI foot controller. First, select a controller number for the foot pedal on your MIDI foot controller (controller numbers 12 (PARAMETER), 13 (EFFECT A) and 14 (EFFECT B)). Then, use the foot pedal on your MIDI foot controller to adjust the values for the three parameters. Channel changes can be effected with controller #10. Sending value 0 via this controller will activate the CLEAN channel, while value 1 activates the OVERDRIVE channel. Program change instructions can also be used to change channels. Program change #123 activates the CLEAN channel, program change #124 selects the OVERDRIVE channel of your ULTRATWIN. In addition to changing channels, you can also disable effects, by sending the value 0 via controller #11. Value 1 enables the effect. Alternatively, you can bypass the effect section by sending program change instruction #127. MIDI controller #7 adjusts the input sensitivity of the effects module, enabling you to set the overall volume of your ULTRATWIN as desired. Since this controller has no influence on the Master Volume control, you should adjust the maximum volume before with the Master Volume control, then use MIDI controller #7 to reduce the volume. This function is also known as Volume Controller. The operating range of the wah effect can be determined with MIDI controller #15.
ULTRATWIN GX212 Additionally, you can deactivate the LFO in LFO-controlled modulation effects, and modulate these effects with MIDI controller #15. To activate this MIDI controller, you need to set the LFO speed to zero, either on the ULTRATWIN or by means of the corresponding MIDI controller. Of course, you can also control the ULTRATWIN from a computer-based sequencer software, particularly in a home recording environment. Specific environments for popular MIDI sequencer programs will soon be available from our web site (www.behringer.com). 3.2.1 Store Enable mode Store Enable mode allows you to store parameter changes directly, e.g. from a MIDI sequencer. Activate this mode by pressing both UP and DOWN on the multi-effects processor for about 2 seconds, then use the same keys to select a channel for MIDI reception (1 through 16, or ON (Omni) with decimal point). Confirm your selection with ENTER. Now, if you use MIDI controller #18 to send data from your MIDI sequencer on the adjusted MIDI channel, any parameter changes made to the currently active preset will be stored. Sending MIDI controller #18 data while Store Enable mode is on has the same effect as a long key press on the effect modules ENTER key.

4. HISTORICAL BACKGROUND by Neville Marten (Guitarist Magazine)
The guitar amp: your tone generator Many guitar players think of their amplifier as the least important link in their musical chain. Sure, everyone needs the right guitar, with the right finish, pickups and tremolo; and of course effects these days are so important in looking and sounding cool. But what of the humble guitar amp? Is it just an ugly box that stands behind you, a heavy hindrance that's just a drag to get into and out of the car? No, it's your powerhouse, a tone generator that should work as an equal member with you, your guitar and effects in the creation of the best possible sound. Ever since the 1940s, when a radio repairman in Orange County California started customising tube radio circuits for the new breed of electric guitarists, guitar amps have been evolving into what we see today. Great American names like Fender, Ampeg and Gibson supplied small-output amplifiers to the guitarists of the '40s and '50s, creating the sound of electric jazz, rock'n'roll and country music; a sound that's still as fresh as ever at the dawn of this new millennium. As the '50s became the '60s, the British sound was born with Vox producing small-powered valve amps for groups like The Shadows, then later The Beatles and The Rolling Stones, The Hollies and The Hermits. Then, in the mid-'60s a drummer from London was asked by some budding musicians to build them some amplification. Jim Marshall took the basic American design and using British components and speakers, created higher Wattage amps and multi-speaker cabinets to give bands like The Who, Cream and The Jimi Hendrix Experience the power to begin their assaults on the rock stadiums of the world. Amp design has come a long way since then. Multi-channels and cascading gain stages, as pioneered by Randall Smith and his Mesa Boogie amps, are found in the majority of stacks and combos built by amp manufacturers all over the world today. Modern, solid-state circuits and digital effects are now commonplace and in some instances work successfully on their own, or hand-in-hand with classic tube designs, to create versatile performing instruments for working guitarists. Other manufacturers are looking back to the old ways, with hand-wired, vintage-style boutique amps than can cost the earth. Whichever option you choose, the ears of discerning musicians recognise that, behind the bells, whistles and hype, there must be a great-sounding amplifier a real musical tool that not only uses the best of today's technologies, but pays its respects to the great pioneers that have gone before. (We would like to thank Mr. Neville Marten, the editor of Guitarist Magazine, for this little essay about the history of guitar amp development.)

-50.50 14

0.Reverb Mix 0.0.Reverb Mix 0.0.Reverb Mix 0.0.Reverb Mix 0.0.Delay Mix 0.Delay Mix 0.Delay Mix 0.Delay Mix 1.1.1.1.0.0.0.Gain Gain Gain Gain Mix Mix Mix 0.50 0.50 0.50 0.7

-3.-3.-3.-3.0.0.0.99 99

Peak Gain 0.Peak Freq. 0.Peak Gain 0.Peak Freq. 0.Peak Gain 0.Peak Freq. 0.63 10

MIDI implementation

MIDI Implementation Chart
Function Basic Channel Mode Note Number Velocity After Touch Pitch Bender Control Progr. Change Default Changed Default Messages Altered True Voice Note ON Note OFF Keys Channels Transmitted Recognized X X X X X X X X X X X X X Remarks OFF, 1 - 16 memorized OFF, 1 - 16 1,2 X X X X X X X X X O 7, 10 - 15, 18 see add. table 123 = CLEAN O (0 - 98) 124 = OVERDRIVE 1 - = Effect Bypass X X X X X X X X X X
True # System Exclusive Song Pos. System Song Sel. Common Tune Clock System Commands Real Time Local ON/OFF All notes OFF Aux Active Sense Messages Reset Notes O = YES, X = NO Mode 1: OMNI ON Mode 2: OMNI OFF

X X X X X X X X X X X

Tab. 6.2: MIDI implementation
Midi Control Control Value Range Number Volume Controller 7 0. 127 Channel CLEAN = 0, OVERDRIVE = 0. 1 Effect OFF = 0, ON = 0. 1 Parameter depends on effect 12 0. 127 (max.) Effect A depends on effect 13 0. 127 (max.) Effect B depends on effect 14 0. 127 (max.) Wah/Modulation Controller 15 0. 127 Store Enable Controller 18 0. 127 Parameter Name Display Range
Tab. 6.3: MIDI control changes of the ULTRATWIN

7. SPECIFICATIONS

AUDIO INPUTS Connector 1/4" mono jack Type RF filtered input Guitar input impedance approx. 1 MW unbalanced Insert return impedance approx. 50 kW unbalanced Aux input impedance approx. 10 kW unbalanced Slave input impedance approx. 30 kW unbalanced Tape input connector RCA impedance approx. 10 kW unbalanced AUDIO OUTPUTS Connector 1/4" mono jack Type line level output Insert send impedance approx. 1 kW unbalanced Line output impedance approx. 100 W unbalanced max. output level +12dBu unbalanced Tape output connector RCA impedance approx. 100 W unbalanced max. output level +12dBu unbalanced LOUDSPEAKER OUTPUTS Connector 1/4" mono jack Load impedance (nom.) 8W SYSTEM SPECIFICATIONS (power amplifier) Power amp output 2 x 60 Watts RMS @ 5 % THD + N into 8 W; 230 V ~ MIDI INTERFACE Type 5-pin-DIN-socket, MIDI IN DIGITAL PROCESSING Converters 24-bit sigma-delta, 64/128-times oversampling Sampling rate 46.875 kHz DISPLAY Type 2-digit numeric LED-display LOUDSPEAKER Type 2 x 12" heavy duty loudspeaker, model SHARK 12G100A Impedance 8W Power handling 100 Watts POWER SUPPLY Mains voltages USA/Canada 120 V ~, 60 Hz U.K./Australia 240 V ~, 50 Hz Europe 230 V ~, 50 Hz general export model 100 - 120 V ~, 200 - 240 V ~, 50 - 60 Hz Power consumption approx. 30 Watts min. / approx. 200 Watts max. 100 - 120 V ~ : T 5 A H Fuse 200 - 240 V ~ : T 2.5 A H Mains connection standard IEC receptacle PHYSICAL Dimensions (H * W * D) approx. 18.5" (469,9 mm) * 26.68" (677.6 mm) * 9.84" (250 mm) Weight approx. 21.0 kg

Technical Specifications

Version 1.2 September 2002

ULTRATWIN

ENGLISH

ULTRATWIN GX212

Ultra-flexible 2 x 60 Watt Guitar Workstation with Digital Multi-Effects Processor
s Powerful 2 x 60 Watt RMS Guitar Workstation with authentic VIRTUBE tube emulation s Two original 100 Watt heavy duty SHARK 12" guitar speakers model 12G100A s Two independent channels with separate volume controls, EQ and effects s CLEAN channel delivers clean and slightly distorted tube sounds
s OVERDRIVE channel offers a broad range, from modern crunch to high-gain sounds s Unique Morphing control allows blending between various distortion characteristics s Dedicated vintage-type 3-band EQ
s 24-bit stereo multi-effects processor with ultra-high resolution 24-bit AD/DA converters
s 31 original VIRTUALIZER/MODULIZER presets with world-class effects such as Reverb, Delay, Phaser, Chorus, Flanger, Pitch Shifter, Speaker Simulator, Rotary Speaker, Magic Drive, Compressor, Expander, Wah, Tube Emulator and various effect combinations s 99 outstanding and easy-to-edit user presets
s Quasi-analog operation: three FX parameters per preset can be edited with dedicated controls
s Adjustable aux and tape input for playback or other line-level signals (e.g. CD player, drum computer, etc.) s Frequency-corrected stereo line output for recording and live applications s Additional speaker outputs
s Insert facility for external effects devices (stomp boxes, wah-wah pedals, etc.) s Channel select and effect bypass footswitch FS112 included
s Complete MIDI implementation for channel and effect selection as well as real time control s Master volume control and frequency-corrected stereo headphones output
s Extremely rugged construction ensures long life, even under the most demanding conditions s Robust power supply ensures excellent transient response
s Manufactured under ISO9000 certified management system 2

SPECIFICATIONS

AUDIO INPUTS Connector 1/4" mono jack Type RF filtered input Guitar input impedance approx. 1 M unbalanced Insert return impedance approx. 50 k unbalanced Aux input impedance approx. 10 k unbalanced Slave input impedance approx. 30 k unbalanced Tape input connector RCA impedance approx. 10 k unbalanced AUDIO OUTPUTS Connector 1/4" mono jack Type line level output Insert send impedance approx. 1 k unbalanced Line output impedance approx. 100 unbalanced max. output level +12dBu unbalanced Tape output connector RCA impedance approx. 100 unbalanced max. output level +12dBu unbalanced LOUDSPEAKER OUTPUTS Connector 1/4" mono jack Load impedance (nom.) 8 SYSTEM SPECIFICATIONS (power amplifier) Power amp output 2 x 60 Watts RMS @ 5 % THD + N into 8 ; 230 V ~ MIDI INTERFACE Type 5-pin-DIN-socket, MIDI IN DIGITAL PROCESSING Converters 24-bit sigma-delta, 64/128-times oversampling Sampling rate 46.875 kHz DISPLAY Type 2-digit numeric LED-display LOUDSPEAKER Type 2 x 12" heavy duty loudspeaker, model SHARK 12G100A Impedance 8 Power handling 100 Watts POWER SUPPLY Mains voltages USA/Canada 120 V ~, 60 Hz U.K./Australia 240 V ~, 50 Hz Europe 230 V ~, 50 Hz general export model 100 - 120 V ~, 200 - 240 V ~, 50 - 60 Hz Power consumption app. 30 Watts min. / approx. 200 Watts max. Fuse 100 - 120 V ~ : T 3.15 A H 200 - 240 V ~ : T 1.6 A H Mains connection standard IEC receptacle PHYSICAL Dimensions (H * W * D) app. 18.5" (469,9 mm) * 26.68" (677.6 mm) * 9.84" (250 mm) Weight app. 21.0 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.
The information contained in this sheet is subject to change without notice. No part of this sheet 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, VIRTUBE, VIRTUALIZER and MODULIZER are registered trademarks. ALL RIGHTS RESERVED. 2002 BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Mnchheide II, Germany Tel. +49 (0) / 92 06-0, Fax +49 (0) / 92 06-30