1.3 Before you get started

1.3.1 Shipment

The V-TONE was carefully packed at the assembly plant to assure secure transport. Should the condition of the cardboard box suggest that your V-TONE may have been damaged in transport, please inspect the unit immediately and look for physical indications of 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. To assure optimal protection of your V-TONE during transport, we recommend utilizing a carrying case. 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.

+ + + +

1.1 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.

1.3.2 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:
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.

The fuse mount near the power cord connector has three triangular markings. Two of these triangles are facing opposite one another. 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 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.
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.
The following users manual will familiarize you with the control elements of your new V-TONE and let you learn all of its functions. After reading this manual, store it somewhere where you can easily find in the future, should you need to look up some information.

1.3.3 Warranty

Please send the completely filled out warranty card within 14 days of purchase to us, as warranty claims may otherwise be rendered invalid. The serial number of your V-TONE is located on the rear. Alternatively, you may register online at www.behringer.com.
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 about using them. An illustration of the control elements with the corresponding numbering can be found on the separately included supplementary sheet. Because models GMX210, GMX212 and GMX1200H each feature two identical MODELING CHANNELS, control elements through will only be described once in the following section. 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. 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 tracking is active, i.e. a separate effect can be selected for each of the channels of your V-TONE. FXT is explained in detail in section 4.1. The FX control adjusts the mix ratio between the original and the effect signal. The LEVEL control adjusts the volume of the respective channel. Adjust LEVEL so that you achieve the desired volume balance between both channels. The GMX110 features no such control. However, use to control the volume of the CLEAN channel in respect to the MODELING channel; use MASTER to control the overall volume. The GMX210 features the LEVEL control only on MODELING CHANNEL 1. It controls the volume of the channel in respect to the second channel. The PRESENCE control gives you an additional way to cut or boost the highs (GMX212 and GMX1200H). The MASTER control regulates the overall volume as well as headphone volume. 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 mains. Please beware: Switching the POWER switch off does not fully disconnect your V-TONE from the mains. If you wont be using it for longer periods of time, unplug the power cord from the mains. GMX110s POWER switch is located on the rear.

2.1 Front panel

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, better ask your specialized dealer), with good mechanical and electrical shielding to avoid unpleasant surprises during rehearsals or concerts. On the GMX110, the CLEAN control modifies the volume of the CLEAN channel in relation to the MODELING CHANNEL. Use the CHANNEL key to switch between the two MODELING CHANNELS (except for the GMX110). The channel LED of the active channel lights up. On the GMX110, the CHANNEL key switches between CLEAN and MODELING CHANNEL. CLEAN CHANNEL is active when the channel LED is not lit up. With all models you can also switch between channels using the provided footswitch. A long hit (approx. 2 seconds) on the CHANNEL key activates the guitar tuner. The DRIVE control determines the amount of distortion in the respective MODELING CHANNEL. This way, the preamp of your V-TONE can be ideally adjusted 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). The CHANNEL LED indicates the currently selected channel. Use the AMP switch to dial up the basic sounds 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. Expect crystal-clear, transparent sounds with dynamic basses if you select TWEED. You get aggressive mids and pressure-rich, inescapable assertiveness and endurance when you select BRITISH. Rounder and more evened-out (yet still sophisticated) sounds can be dialed up if you select CALIF.(ORNIAN); its perfect for lead sounds. Use the MODE switch to dial up one of three possible gain settings (CLEAN, HI GAIN and HOT) that you wish to use with the basic sound you selected using AMP. 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 built in a frequency response correction (FLAT) specially modified to go with V-TONEs cabinet. The LOW control on the EQ section lets you cut or boost the bass frequencies. Use the MID control to cut or boost the mids. The HIGH control regulates the upper frequency range. 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. 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.

3. APPLICATIONS

The V-TONE features many different connectors, letting you live up to all kinds of application challenges. We have listed just a few examples of how flexibly your V-TONE can be used:
3.1 Practice setup with playback
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.
3.2 Recording setup with an external effects device 3.3 Live setup with a MIDI foot controller
Fig. 3.2: Recording setup If you want to use your V-TONE in home recording or studio situations, we suggest wiring your equipment as illustrated in figure 3.2. Of course, you can continue using a CD player or a drum computer. However, for 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). Then the V-TONE operates only as a power amp, and its preamp section is not active. Fig. 3.3: Setup with a MIDI foot controller and an external loudspeaker In this illustration, weve omitted the headphones and the additional equipment from figure 3.1; this illustration serves as an expansion of the standard setup. You can use the MIDI foot controller to control channel and effects changes, volume, Wah and so on. (Additional information about MIDI can be found in section 4.3). The LINE OUT signal with the speaker simulation can be fed into your mixer or your P.A. systems stagebox. External guitar loudspeakers can be connected to the loudspeaker outputs of the GMX212 in order to get more punch and higher volume on the stage. You can do this in two ways: use two separate loudspeakers for stereo applications, or use a single stereo box (e.g. the BEHRINGER ULTRASTACK BG412V). Instead of loudspeaker outputs, the GMX110 features a single SPEAKER OUT connector ( ) used for connecting an external loudspeaker.

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. You can adjust the delay ratio in the mix. 82-85 Pitch/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 Pitch/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.
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. The FX control lets you adjust the ratio of the flanger mix. 57-61 Flanger/Delay: The signal is first passed through a flanger with varying intensity, and then it goes through a delay effect. The ratio of the delay mix can be adjusted.
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 threshold point 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.
62-63 Tremolo: 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. The FX MIX control lets you adjust the ratio of the delay mix.

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 Magic 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.
94-96 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. 97-99 Speaker Cabinet: This effect emulates three different types of speaker cabinets. Additionally, you can shift the speakers main resonance peak by using the FX MIX control.

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: s s s 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.
71-72 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. 73-74 LFO Wah: With this effect, the LFO determines how quickly the frequency response is affected. You can create regularly recurring Wah effects. With the LFO Wah effects you can really create impressive results.

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.
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 (socalled 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 1, program change 1 to preset 2, 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:
Table 4.1: MIDI-controllable effect parameters 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. An alternative option for an effect bypass is sending program change #127. Sending program change #122 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 #15. Furthermore, if youre using LFO-controlled modulation effects, you can deactivate LFO and implement modulation via MIDI controller #15. 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 computerbased MIDI editor for MIDI remote control, particularly in the home recording environment. s s 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 5 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.

5. TUNER

s 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 are provided as RCA connectors.

5.1 Tuning your guitar

The chromatic tuner automatically recognizes the frequencies of guitar notes. For A string, this means a frequency of 110 Hz. When you connect your guitar to the V-TONE and strum a string, the tuner tries to recognize the tone and shows it in the display. Because the tuner functions chromatically, it can also recognize semitones. These are shown in the display with a b accompanying the value. 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. s 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.
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 and similar.
Fig. 6.1: 1/4" TS connector
5.2 Setting up the a reference tone
To put complete freedom at your disposal when tuning your instrument, you have the option to change the preset of the reference tone a. Here is a quick intro to the subject. The so-called chamber tone a has been continually revised upwards ever since it was first measured: tuning forks of Bach, Handel or Mozart were at 415, 420 or 421 Hz (vibrations pro second). Nowadays, orchestras set the a with 444 Hz, and the Berlin Philharmonic Orchestra wishes to stay ahead: their chamber tone a lies at a full 447 Hz. The reference tone a of the V-TONE is programmed at 440 Hz. 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:
Fig. 6.2: 1/4" stereo TRS connector for AUX and PHONES

6.2 Speaker connection

The GMX110 features a SPEAKER connector to which you can connect an additional loudspeaker. This additional loudspeaker should be able to handle at least 30 Watts and the impedance of 4. 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).

7. APPENDIX

7.1 MIDI implementation
0,', ,PSOHPHQWDWLRQ &KDUW

)XQFWLRQ

Basic Channel Mode Note Number Velocity Default Changed Default Messages Altered True Voice

7UDQV PLWWHG

X X X X X X X X X X X X X

5HFRJQL]HG

OFF, 1 - 16 OFF, 1 - 16 1,2 X X X X X X X X X O 7, 10 - 15, 18 O 122, 123, 124, 127 (0 - 98) 1 - 99 X X X X X X X X X X

5HPDUNV

memorized
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.
Note ON Note OFF After Keys Touch Channels Pitch Bender Control
see add. table 122 = TUNER 123 = CLEAN 124 = DRIVE 127 = Effect Bypass

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).

Progr. Change

True #
System Exclusive Song Pos. System Song Sel. Common Tune System Clock Real Time Commands Local ON/OFF Aux All notes OFF Messages Active Sense Reset Notes O = YES, X = NO Mode 1: Mode 2: OMNI ON OMNI OFF

X X X X X X X X X X

Tab. 7.1: MIDI implementation

Qhhrr Ihr

Volume Controller Channel Effect Parameter 1 Parameter 2 Parameter 3 Wah/ Modulation Store Enable

9vyhShtr

CLEAN (Channel 1) = 0 DRIVE (Channel 2) = 1 OFF = 0, ON = 1 depends on effect * depends on effect * depends on effect * -

Hvqv 8y 8yWhyr Shtr Iir

0. 127 0. 1 0. 1 0. 127 (max.) 0. 127 (max.) 0. 127 (max.) 0. 127 0. 127
* for details see Tab. 4.1
Tab. 7.2: V-TONE MIDI controllers

7.2 Effect presets

Tab. 7.3: V-TONE effect presets

8. SPECIFICATIONS

6V9DPDIQVUT
GUITAR IN Input Impedance INSERT RETURN Input Impedance SLAVE IN Input Impedance AUX IN Input Impedance TAPE IN Input Impedance

BHY! !

BHY !C

6V9DPPVUQVUT

INSERT SEND
1/4" TS, RF filtered approx. 1 M unbalanced 1/4" TS approx. 10 k unbalanced 1/4" TRS (tip = input) approx. 30 k unbalanced 1/4" stereo jack approx. 10 k unbalanced RCA approx. 10 k unbalanced 1/4" TS, low-impedance, line level
Output Impedance LINE OUT Output Impedance Max. output level TAPE OUT Output Impedance Max. output level PHONES OUTPUT Max. output level SLAVE OUT Output impedance Max. output level

approx. 1 k unbalanced -

approx. 100 unbalanced 1/4" mono jack > 1 k unbalanced +8 dBu unbalanced RCA approx. 3 k unbalanced +9 dBu unbalanced 1/4" TRS stereo +15 dBu / 100 (+23 dBm) 1/4" TRS (ring = output) approx. 2 k unbalanced +21 dBu unbalanced 2 x 30 / 2 x 4 5-pin DIN-socket, MIDI IN 24-bit sigma-delta, 64/128-times oversampling 46.875 kHz 2-digit numeric LED-display 1/4" TS x 2 x 60 W / 2 x 8
GPV9TQ@6F@SPVUQVU T`TU@HTQ@8DAD86UDPIT HD9DDIU@SA68@
Type power amp output Type Min. load impedance

1/4" TS x 30 W / 4

9DBDU6GQSP8@TTDIB 9DTQG6`
Converters Sampling rate Type Type Model Impedance Power handling W

GPV9TQ@6F@ST

10" heavy-duty
2 x 10" heavy-duty JENSEN / BUGERA 2xW
2 x 12" heavy-duty 2xW

QPX@STVQQG`

USA/Canada 120 V~, 60 Hz Mains voltage Europe/U.K./Australia 230 V~, 50 Hz Japan 100 V~, 50 - 60 Hz General Export model 120/230 V~, 50 - 60 Hz max. 200 watts max. 150 watts U!$6C 250 V U$6C 250 V U !$6C 250 V U!$6C 250 V Standard IEC receptacle 473 x 605 x 255 mm 18 3/5 x 23 5/6 x 10" 40.1 lbs (18.2 kg) 493 x 712 x 255 mm 19 2/5 x 28 x 10" 53 lbs (24 kg)

9DH@ITDPIT6I9X@DBCU

Dimesions (H x W x D) Weight
Power consumption Fuses 100 - 120 V~ 200 - 240 V~ Mains connection

U!6C 250 V U 6C 250 V

max. 70 watts
max. 200 watts U$6C 250 V U!$6C 250 V
400 x 423 x 213/253 mm 15 3/4 x 16 3/4 x 8 3/8 / 10" 24.25 lbs (11 kg)
280 x 712 x 240 mm 11 x 28 x 9" 34 lbs (15.5 kg)
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.

9. WARRANTY

1 WARRANTY CARD/ONLINE REGISTRATION To be protected by the extended warranty, the buyer must complete and return the enclosed warranty card within 14 days of the date of purchase to BEHRINGER Spezielle Studiotechnik GmbH, in accordance with the conditions stipulated in 3. Failure to return the card in due time (date as per postmark) will void any extended warranty claims. Based on the conditions herein, the buyer may also choose to use the online registration option via the Internet (www.behringer.com or www.behringer.de). 2 WARRANTY 1. BEHRINGER (BEHRINGER Spezielle Studiotechnik GmbH including all BEHRINGER subsidiaries listed on the enclosed page, 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 4, BEHRINGER shall, at its discretion, either replace 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. 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. 3 RETURN AUTHORIZATION NUMBER 1. To obtain warranty service, the buyer (or his authorized dealer) must call BEHRINGER (see enclosed list) during normal business hours BEFORE returning the product. All inquiries must be accompanied by a description of the problem. BEHRINGER will then issue a return authorization number. 2. Subsequently, the product must be returned in its original shipping carton, together with the return authorization number to the address indicated by BEHRINGER. 3. Shipments without freight prepaid will not be accepted. 4 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. Damages/defects caused by the following conditions are not covered by this warranty: s improper handling, neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals. s 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. s damages/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 C.O.D. with a separate invoice for freight and packing. Such costs will also be invoiced separately when the buyer has sent in a written repair order. 5 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. 6 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. 7 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. * Customers in the European Union please contact BEHRINGER Germany Support for further details.

GMX1200H

Technical Specifications
Version 1.1 September 2004

V-TONE

ENGLISH

V-TONE GMX1200H

True Analog Modeling 2 x 60-Watt Stereo Guitar Amplifier Head with 2 Independent Channels, each Featuring 27 Modeled Sounds, FX Processor, Tuner and MIDI Control s Powerful 2 x 60-Watt Guitar Workstation with authentic V-TONE Analog Modeling s 2 loudspeaker outputs for stereo operation with 2 x 8 Ohms impedance
s Authentic V-TONE Analog Modeling for 3 classic guitar amps, 3 speaker simulation models plus 3 gain modes27 modeled sound individually selectable per channel
s 2 independent, full-featured modeling channels offering everything you need from clean to crunch to superfat distortion sounds
s FXTultra-flexible FX Tracking allows independent effects settings on each channel
s Patented* DYNAMIZER circuitry captures every nuance of your playing and lends tube-like compression to your tone
s 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 with 99 user presets and MIDI control s Integrated auto-chromatic tuner controllable via footswitch s Additional headphone output with integrated speaker simulation
s Adjustable aux in and dedicated tape input for playback or other line-level signals (e.g. CD player, drum computer) s Stereo tape and line outputs with speaker simulation for direct recording and live applications s Insert facility for external effects devices (rack effects, stomp boxes, wah-wah pedals, etc.) s Dual footswitch FS112 for channel selection, effect bypass and tuner activation included s Conceived and designed by BEHRINGER Germany. Made in China.

* German Patent No.: 833

SPECIFICATIONS
AUDIO INPUTS GUITAR IN Type Input impedance INSERT RETURN Type Input impedance SLAVE IN (tip = input) Type Input impedance AUX IN Type Input impedance TAPE IN Type Input impedance AUDIO OUTPUTS INSERT SEND Type Output impedance LINE OUT Type Output impedance Max. output level TAPE OUT Type Output impedance Max. output level PHONES OUTPUT Type Max. output level SLAVE OUT (ring = output) Type Output impedance Max. output level LOUDSPEAKER OUTPUT Type Min. load impedance SYSTEM SPECIFICATIONS Power amp output MIDI INTERFACE Type 1/4" TS, RF filtered input approx. 1 M unbalanced 1/4" TS approx. 10 k unbalanced 1/4" TRS approx. 30 k unbalanced 1/4" TRS approx. 10 k unbalanced RCA approx. 10 k unbalanced Power consumption Fuse Mains connection 1/4" TS; low-impedance line-level approx. 100 unbalanced 1/4" TS > 3 k unbalanced +8 dBu unbalanced RCA approx. 1 k unbalanced +9dBu unbalanced 1/4" TRS +15 dBu / 100 (+23 dBm) 1/4" TRS approx. 2 k unbalanced +21 dBu unbalanced 2 x 1/4" TS x 60 Watts / 2 x 8 5-pin DIN socket, MIDI IN DIMENSIONS/WEIGHT Dimensions (H x W x D) Weight DIGITAL PROCESSING Converters Sampling rate DISPLAY Type POWER SUPPLY Voltage 24-bit Sigma-Delta, 64/128-times oversampling 46.875 kHz 2-digit numeric LED display USA/Canada 120 V~, 60 Hz Europe/U.K./Australia 230 V~, 50 Hz Japan 100 V~, 50 - 60 Hz General export model 120/230 V~, 50 - 60 Hz max. 200 W 100 - 120 V~: T 5 A H 250 V 200 - 240 V~: T 2.5 A H 250 V Standard IEC connector 11" x 28" x 9" (280 mm x 712 mm x 240 mm) 34 lbs (15 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.
Technical specifications and appearance subject to change without notice. The information contained herein is correct at the time of printing. JENSEN as well as the names of companies, institutions or publications pictured or mentioned and their respective logos are registered trademarks of their respective owners. Their 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. Colours and specification may vary slightly from product. Products are sold through our authorised 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. 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 Spezielle Studiotechnik GmbH. BEHRINGER is a registered trademark. ALL RIGHTS RESERVED. 2004 BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Mnchheide II, Germany Tel. +9206 0, Fax +9206 4903