1.3 Before you get started

1.3.1 Shipment

The V-TONE was carefully packed at the assembly plant to ensure secure transport. 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 transportation company from which you took delivery. Otherwise, all claims for replacement/repair may be rendered invalid. 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. 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. 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! 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. 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. Power is delivered via the cable that was delivered with the V-TONE. All mandatory safety precautions have been adhered to. 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. 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.

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 noisefree operational amps around, and are characterized by extreme linearity and low distortion. They are complemented by lowtolerance resistors and capacitors, high-value potentiometers and switches as well as additional select components. 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.

1.2 Dynamizer technology and analog modeling
When an electric instrument is amplified, thats 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 amps circuitry under immense strain. How your amp reacts to these signal peaks is one of its most defining characteristics. Thats why weve 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. 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. This users 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.
1.3.3 Online registration
Please register your new BEHRINGER equipment right after your purchase by visiting http://www.behringer.com and read the 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). Registering your purchase and equipment with us helps us process your repair claims more quickly and efficiently. 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 Deutschland.
(yet still sophisticated) sounds can be dialed up if you select CALIF.(ORNIAN); perfect for lead sounds! {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. {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-TONEs 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. (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 guitars tune. Activate the tuner by keeping the CHANNEL pressed for roughly 2 seconds. (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. (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. (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. If the MIDI function is deactivated (see ch. 4.2), FX is active, i.e. a separate effect tracking can be selected for each of the channels of your V-TONE. FXT is explained in detail in section 4.1. (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. 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. 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). (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. GMX110s POWER switch is located on the rear.

3. Applications

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.
3.2 Recording setup with an external effects device
3.1 Practice setup with playback
Fig. 3.2: Recording setup 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 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. 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 claritys sake weve 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. 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. 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.

Fig. 3.5: GMX1200H with two speaker cabinets

4.1 FXTeffects 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.

4.2 The effects

0 Reverb: Reverb is still the most important effect for mixing or live performance. Thats 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 multieffects, 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. 03-04 Studio: This effect simulates the characteristics of midsize rooms. This spatial simulation sounds very natural and can be used in various setups. 05-06 Chamber: You really get the feeling youre dealing with some serious walls. This effect is ideal for creating reverb that doesnt 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. 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. 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. 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. 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.

34-37 Chorus: Lets 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. Well 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. 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. 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.
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. 52-56 Flanger/Reverb: The signal first goes through a flanger with varying intensity, and then it goes through a reverb. 57-61 Flanger/Delay: The signal is first passed through a flanger with varying intensity, and then it goes through a delay effect.
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.
17-20 Delay/Reverb: First, an ordinary delay is created. Then, the signal goes through a reverb with an editable mix ratio. 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.

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. 69-70 Rotary Drive: An absolutely in effect thats 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.
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.
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.

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. This is how you activate the MIDI functions: 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. 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 users 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. 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). 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. 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:

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. 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. 86-89 PitchShifter/Delay: The signal first goes through the pitch shifter with various intervals, and then its run through a delay effect. Use FX MIX to adjust the pitch shifter mix parameter.
90-91 Compressor: A signals 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). 92-93 Expander: Background noise of all kinds (hissing, hum, etc.) limit the dynamic range of the desired signal. As long as the main signals 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 expanders threshold.
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.

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. 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. Sending program change #127 activates the tuner. As soon as another program change number is sent, the tuner is automatically deactivated. 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. The operating range of the Wah effect is adjusted using MIDI controller #27. Furthermore, if youre 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. Of course, you can use a MIDI sequencer or a computer-based MIDI editor for MIDI remote control, particularly in the home recording environment.
Parameter 3 CC 12 Parameter 2 CC 13 Parameter 1 CC14 Mix Reverb Mix Mix Depth Mix Chorus Mix Chorus Mix Depth Depth Depth Tremolo Mix Tremolo Mix Depth Depth Sensitivity Sensitivity Pitch Mix Pitch Mix Pitch Mix Sensitivity Threshold Drive Preset No.

Effect

REVERB DELAY/ REVERB DELAY PHASER CHORUS CHORUS/ REVERB CHORUS/ DELAY FLANGER FLANGER/ REVERB FLANGER/ DELAY TREMOLO/ REVERB TREMOLO/ DELAY ROTARY SPEAKER ROTARY DRIVE AUTO WAH REVERB AUTO WAH DELAY PITCH SHIFTER PITCH SHIFTER/ REVERB PITCH SHIFTER/ DELAY COMPRESSOR

0 - - - 29

Delay Time* Delay Time*
Reverb Time Delay Mix Feedback Feedback Depth Reverb Mix Delay Mix Resonance Reverb Mix Delay Mix Reverb Mix Delay Mix Reverb Mix Delay Mix Depth Depth Reverb Mix
30 - 33 LFO Speed* 34 - 37 LFO Speed* 38 - 42 Reverb Time 43 - 47 Delay Time*
48 - 51 LFO Speed* 52 - 56 Reverb Time 57 - 61 62, 63 Delay Time* LFO Speed*
64 - 66 LFO Speed* 67, 68 69, 70 71, 72 73, - 81 LFO Speed* LFO Speed* Reverb Mix Delay Mix -

82 - 85 Reverb Time

86 - 89 90, 91

Delay Time*

Delay Mix Delay Mix/ Rev Mix Rev Mix/ Delay Mix Delay Mix/ Rev Mix
Delay Time/ Rev Time Rev Time/ EXPANDER 92, 93 Delay Time Delay Time*/ GUITAR 94 - 99 Rev Time COMBO *) Tap tempo: MIDI Control No. 64 ) depends on Variation

Table 4.1: MIDI-controllable effect parameters

5. Tuner

The integrated tuner is activated by pressing the CHANNEL key for about 2 seconds (directly on the amp or on the footswitch).

6. Installation

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. 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.

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. 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. 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 automatically goes back to tuner mode.
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. Lets 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: Activate the tuner by keeping the CHANNEL key pressed for a few seconds. 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. 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. A quick hit on the CHANNEL key lets you leave tuner mode and go back to amp mode.

Fig. 6.1: 1/4" TS connector
Fig. 6.2: 1/4" stereo TRS connector for AUX and PHONES

6.2 Speaker connection

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 (GMX110) and 60 Watts @ 4 (GMX112) respectively. The GMX212 and GMX1200H feature two LOUDSPEAKERoutputs (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- loudspeakers that can handle at least 60 Watts. 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).
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

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. 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. 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, you will need a MIDI cable. Pre-packed cables available at music stores are used for this purpose. Such cables should not be longer than 15 m (45 ft). 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).
Function Basic Channel Mode Note Number Velocity
MIDI Implementation Chart
Transmitted Default Changed Default Messages Altered True Voice X X X X X X X X X X X X X Recognized OFF, 1 - 16 OFF, 1 - 16 1, 2 X X X X X X X X X O O 0 - X X X X X X X X X X Remarks memorized

Note ON Note OFF After Keys Touch Channels Pitch Bender Control Progr. Change
see add. table 123 = Channel = Channel = Tuner

True #

System Exclusive Song Pos. System Song Sel. Common Tune System Clock Real Time Commands Aux Messages Local ON/OFF All notes OFF Active Sense Reset

X X X X X X X X X X

Notes O = YES, X = NO Mode 1: Mode 2: OMNI ON OMNI OFF
Tab. 7.1: MIDI implementation
Midi Control Number Control Value Range 0. 127 0, 1 0, 1 0. 127 (max.) 0. 127 (max.) 0. 127 (max.) 0 = off 1. 127 0/127 0/127 0/127 value > 63 0. 127
Parameter Name Volume Controller Channel Select Effect Bypass Parameter 3 Parameter 2 Parameter 1 (MIX) Wah / Modulation Controller Mod FX send on/off Reverb send on/off Delay send on/off Tap Tempo Tuner Bypass Volume * for details see Tab. 4.1
Display Range Channel 1 = 0 Channel 2 = 1 OFF = 0 ON = 1 depends on effect * depends on effect * depends on effect * -
Tab. 7.2: V-TONE MIDI controllers

7.2 Effect presets

Preset-No. Preset-No. FX MIX FX MIX Default Default 70 70

Variation

0 REVERB 1 SPRING REVERB STUDIO CHAMBER STAGE CONCERT PLATE 12 EARLY REFLECTIONS 15 AMBIENCE DELAY / 18 REVERB STEREO 25 DELAY PHASER CHORUS CHORUS / 40 REVERB CHORUS / 45 DELAY FLANGER 50 51
medium 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 short Pre-Delay long Pre-Delay min. Density max. Density min. Reflections max. Reflections Model Model Model Model Model Model Model Model Model Model Model Model Model fat slow stereo stereo ultra slow medium I medium II fast ultra slow medium I medium II hold -
Mix Mix Mix Mix Mix Mix Mix Mix Mix Mix Mix Mix Mix Mix Mix Mix Mix Reverb Mix Reverb Mix Reverb Mix Reverb Mix Mix Mix Mix Mix Mix Mix Mix Mix Mix Depth Depth Depth Depth Mix Mix Mix Mix Chorus Mix Chorus Mix Chorus Mix Chorus Mix Chorus Mix Chorus Mix Chorus Mix Chorus Mix Chorus Mix Chorus Mix Depth Depth Depth Depth
FLANGER / 54 REVERB FLANGER / 59 DELAY TREMOLO / 62 REVERB TREMOLO / 65 DELAY ROTARY SPEAKER ROTARY DRIVE AUTO WAH REVERB AUTO WAH DELAY PITCH 78 SHIFTER PITCH 83 SHIFTER / 84 REVERB PITCH 87 SHIFTER / 88 DELAY COMPRESSOR EXPANDER 99 GUITAR COMBO

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. ALL RIGHTS RESERVED. (c) 2007 BEHRINGER International GmbH. BEHRINGER International GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Muenchheide II, Germany. Tel. +9206 0, Fax +9206 4903
V-TONE GMX110/GMX112/GMX210/GMX212/GMX1200H FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION
V-TONE GMX110 / GMX112 / GMX210 / GMX212 / GMX1200H
Responsible party name: Address:
BEHRINGER USA, Inc. 18912 North Creek Parkway, Suite 200 Bothell, WA 98011, USA Phone: +672 0816, Fax: +673 7647

Phone/Fax No.:

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 users authority to use the equipment.