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Behringer GMX212

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Behringer GMX212Behringer GMX212 2 x 60Watt Modeling Guitar Amp +
The GMX212 offers two full-featured modeling channels that boast 3 classic guitar amps, 3 speaker simulation models plus 3 gain modes each&mdash,all individually selectable. Ultra-flexible FXT function allows independent effects settings on each channel, while the patented DYNAMIZER, circuitry captures every nuance of your playing and lends tube-like compression to your tone. The 24-bit stereo multi-effects processor with world-class effects such as chorus, flanging, phasing, rotary, auto-wa... Read more

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Brand: BEHRINGER
Part Numbers: 000-21108-00000, GMX-212, GMX212
UPC: 04033653050623, 4033653050623

 

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V-TONE

GMX110/GMX112/GMX210/GMX212/GMX1200H

User Manual

A50-21113-00005
V-TONE GMX110/GMX112/GMX210/GMX212/GMX1200H
Important Safety Instructions
1) Read these instructions. 2) Keep these instructions. 3) Heed all warnings. 4) Follow all instructions. 5) Do not use this apparatus near water. 6) Clean only with dry cloth. 7) Do not block any ventilation openings. Install in accordance with the manufacturers instructions. 8) Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 9) Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 10) Place the power cord so that it is protected from being walked on and sharp edges. Be sure that the power cord is protected particularly at plugs, convenience receptables and the point where it exits from the apparatus. 11) The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection. 12) Where the MAINS plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable. 13) Only use attachments/accessories specified by the manufacturer. 14) Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tipover.

Caution:

To reduce the risk of electric shock, do not remove the top cover (or the rear section). No user serviceable parts inside. Refer servicing to qualified personnel.

Warning:

To reduce the risk of fire or electric shock, do not expose this appliance to rain and moisture. The apparatus shall not be exposed to dripping or splashing liquids and no objects filled with liquids, such as vases, shall be placed on the apparatus.
This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosure - voltage that may be sufficient to constitute a risk of shock.
This symbol, wherever it appears, alerts you to important operating and maintenance instructions in the accompanying literature.
15) Unplug this apparatus during lightning storms or when unused for long periods of time. 16) Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. 17) Caution! - These service instructions are for use by qualified service personnel only. To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions. Repairs have to be performed by qualified service personnel.

Foreword

Dear Customer, welcome to the team of BEHRINGER users, and thank you very much for expressing your confidence in us by purchasing the BEHRINGER V-TONE. Writing this foreword for you gives me great pleasure, because it represents the culmination of many months of hard work delivered by our engineering team to achieve a very ambitious goal: to develop four outstanding guitar amps that are at the forefront of what is 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 theyve achieved. 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 youve 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. We are often asked how we manage to produce such highquality devices at such unbelievably low prices. The answer is quite simple: its you, our customers! Many satisfied customers mean large sales volumes enabling us to get better purchasing terms for components, etc. Isnt it only fair to pass this benefit on to you? Because we know that your success is our success too! 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, its been worth the effort! Thank you very much,

Table of contents

1. Introduction... 4
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
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
4. Effects processor... 9
4.1 FXTeffects 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

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
8. Specifications.. 16 9. Warranty... 18

Uli Behringer

WARNING!
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.

1. Introduction

Thank you for the trust that you have placed in us by buying your V-TONE. You have gotten your hands on a latest-generation guitar amp that sets completely new standards when it comes to analog modeling. 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. 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 applicationsbe it home recording, studio, live perfor-mances, etc. Thats 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. 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 userfriendly and problem-free as if it were a classic tube combo. We highly recommend taking your time to truly learn all of the V-TONEs functions so you can reach its maximum potential.
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.

* 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.

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. 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.

2.1 Front panel

{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. {2} On the GMX110, the CLEAN control modifies the volume of the CLEAN channel in relation to the MODELING CHANNEL. {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. {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). {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

2.2 Rear panel

(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. (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). (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. 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. (25) Those signals that are connected to the SLAVE IN connectors are directly routed to the V-TONEs 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. 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). (31) Your V-TONE features a serial insert loop that can be used 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. 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. (32) Use the SPEAKER OUT connector to connect one additional loudspeaker to your GMX110/GMX112. This loudspeaker should have an impedance of 4. 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. (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. (34) Power is supplied via an IEC connector. The matching cable is provided with the unit. (35) SERIAL NUMBER.

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.

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).

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
ultra slow medium I medium II fast ultra medium I slow medium II hold Slow Fast slow (with reverb) ultra (with reverb) medium (with reverb) slow (with reverb) fast (with reverb) slap back spinning echo fast slow distortion clean -12 -5 +3 +4 +7 +4 % +8 % -12 +3 +4 % +8 % -12 -5 +4 +7 fast (with Delay) slow (with Reverb) fast (with Ambience) slow (with Delay) Crunch (with Delay) Edge (with Delay) Overdrive (with Reverb) Distortion 1 (with Delay) Distortion 2 (with Delay) Distortion 3 (with Reverb)
Depth 50 Depth 50 Depth 50 Depth 40 Depth 40 Depth 60 Depth 80 Depth 50 Depth 20 Depth 65 Tremolo Mix 65 Tremolo Mix 45 Tremolo Mix 45 Tremolo Mix 40 Tremolo Mix 30 Depth 70 Depth 100 Depth 40 Depth 90 Sensitivity 50 Sensitivity 50 Sensitivity 60 Sensitivity 30 Pitch Mix 40 Pitch Mix 30 Pitch Mix 25 Pitch Mix 30 Pitch Mix 20 Pitch Mix 25 Pitch Mix 20 Pitch Mix 60 Pitch Mix 10 Pitch Mix 20 Pitch Mix 30 Pitch Mix 50 Pitch Mix 20 Pitch Mix 20 Pitch Mix 20 Sensitivity 60 Sensitivity 50 Threshold 10 Threshold 25 Drive 60 Drive 50 Drive Drive Drive Drive

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.

9. Warranty

1 Other warranty rights and national law 1. This warranty does not exclude or limit the buyers 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. 2 Online registration Please do remember to register your new BEHRINGER equipment right after your purchase by visiting http://www.behringer.com 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! 3 Warranty 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. 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. 4 Return authorization number 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. 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. 3. Shipments without freight prepaid will not be accepted. 5 Warranty regulations 1. Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealers invoice. Any product deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced. 2. If the product needs to be modified or adapted in order to 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. 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. 4. Damage/defects caused by the following conditions are not covered by this warranty: improper handling, neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals. 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. 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 buyers 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. 6 Warranty transferability 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. 7 Claim for damages 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. * Customers in the European Union please contact BEHRINGER Germany Support for further details.

 

Technical specifications

Full description

The GMX212 offers two full-featured modeling channels that boast 3 classic guitar amps, 3 speaker simulation models plus 3 gain modes each&mdash,all individually selectable. Ultra-flexible FXT function allows independent effects settings on each channel, while the patented DYNAMIZER, circuitry captures every nuance of your playing and lends tube-like compression to your tone. The 24-bit stereo multi-effects processor with world-class effects such as chorus, flanging, phasing, rotary, auto-wah, echo, delay , compressor and various effect combinations offers 99 user presets and MIDI control. The integrated auto-chromatic tuner is controllable via footswitch.

 

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