Behringer Blue Devil GX112 User manual

BLUE DEVIL® GX112
Version 1.2 December 2001
Users Manual
ENGLISH

2
BLUE DEVIL GX112
This symbol, wherever it ppe rs, lerts
you to import nt oper ting nd
m inten nce instructions in the
ccomp nying liter ture. Re d the
m nu l.
SAFETY INSTRUCTIONS
CAUTION: To reduce the risk of electric shock, do not remove
the cover (or b ck). No user service ble p rts inside;
refer servicing to qu lified personnel.
WARNING: To reduce the risk of fire or electric shock, do not
expose this ppli nce to r in or moisture.
DETAILED SAFETY INSTRUCTIONS:
All the s fety nd oper tion instructions should be re d before the ppli nce is oper ted.
Retain Instructions:
The s fety nd oper ting instructions should be ret ined for future reference.
Heed Warnings:
All w rnings on the ppli nce nd in the oper ting instructions should be dhered to.
Follo instructions:
All oper tion nd user instructions should be followed.
Water and Moisture:
The ppli nce should not be used ne r w ter (e.g. ne r b thtub, w shbowl, kitchen sink, l undry tub, in wet
b sement, or ne r swimming pool etc.).
Ventilation:
The ppli nce should be situ ted so th t its loc tion or position does not interfere with its proper ventil tion.
For ex mple, the ppli nce should not be situ ted on bed, sof , rug, or simil r surf ce th t m y block the
ventil tion openings, or pl ced in built-in inst ll tion, such s bookc se or c binet th t m y impede the
flow of ir through the ventil tion openings.
Heat:
The ppli nce should be situ ted w y from he t sources such s r di tors, he t registers, stoves, or other
ppli nces (including mplifiers) th t produce he t.
Po er Source:
The ppli nce should be connected to power supply only of the type described in the oper ting instructions
or s m rked on the ppli nce.
Grounding or Polarization:
Prec utions should be t ken so th t the grounding or pol riz tion me ns of n ppli nce is not defe ted.
Po er-Cord Protection:
Power supply cords should be routed so th t they re not likely to be w lked on or pinched by items pl ced
upon or g inst them, p ying p rticul r ttention to cords nd plugs, convenience recept cles nd the point
where they exit from the ppli nce.
Cleaning:
The ppli nce should be cle ned only s recommended by the m nuf cturer.
Non-use Periods:
The power cord of the ppli nce should be unplugged from the outlet when left unused for long period of time.
Debris and Liquid Entry:
C re should be t ken th t debris nd/or liquids do not enter the enclosure through openings.
Damage Requiring Service:
The ppli nce should be serviced by qu lified service personnel when:
- The power supply cord or the plug h s been d m ged; or
- Debris or liquid h s entered the ppli nce; or
- The ppli nce h s been exposed to r in; or
- The ppli nce does not ppe r to oper te norm lly or exhibits m rked ch nge in perform nce; or
- The ppli nce h s been dropped, or the enclosure d m ged.
Servicing:
The user should not ttempt to service the ppli nce beyond th t which is described in the oper ting instructions.
All other servicing should be referred to qu lified service personnel.
This symbol, wherever it ppe rs,
lerts you to the presence of
uninsul ted d ngerous volt ge inside
the enclosurevolt ge th t m y be
sufficient to constitute risk of shock.

3
BLUE DEVIL GX112
FOREWORD
De r Customer,
Welcome to the te m of BLUE DEVIL users nd th nk you very much for expressing your confidence in
BEHRINGER products by purch sing the GX112.
It is one of my most ple s nt t sks to write this letter to you, bec use it is the culmin tion of m ny months of
h rd work delivered by our engineering te m to re ch very mbitious go l: To produce the BLUE DEVIL,
which fully s tisfies your nd our expect tions nd delivers superior sound qu lity, e sy oper tion nd
technic l specific tions. In ddition to th t the Guit r Workst tion is fford ble for lmost every musici n.
The t sk to design the BLUE DEVIL cert inly me nt gre t de l of responsibility, which we ssumed by
focusing on you, the discerning user nd musici n. It lso me nt lot of work nd night shifts to ccomplish
this go l. But it w s fun, too. Developing product usu lly brings lot of people together, nd wh t gre t
feeling it is when everybody who p rticip ted in such project c n be proud of wh t weve chieved.
It is our philosophy to sh re our joy with you, bec use you re the most import nt member of the BEHRINGER
f mily. With your highly competent suggestions for new products youve gre tly contributed to sh ping our
comp ny nd m king it successful. In return, we gu r ntee you uncompromising qu lity s well s excellent
technic l nd udio properties t n extremely f vor ble price. All of this will en ble you to fully unfold your
cre tivity without being h mpered by budget constr ints.
We re often sked how we c n m ke it possible to produce such high-gr de devices t such unbeliev bly low
prices. The nswer is quite simple: its you, our customers! M ny s tisfied customers, me n l rge s les
volumes en bling us to get better conditions of purch se for components, etc. Isnt it only f ir to p ss this
benefit b ck to you? Bec use we know th t your success is our success too!
I would like to th nk the following people, whose help on Project BLUE DEVIL h s m de it ll possible:
sThe existing users of BEHRINGER equipment,whose comments nd suggestions h ve m de them the
most import nt members of the BEHRINGER design te m,
sThorsten Derks for this m rvellous m nu l,
sJ n Duwe, whose p ssion te work h s m de the BLUE DEVIL s me n s it is,
sVolker W gner for the fine mech nics,
snd ll the others, who h ve m de very person l contributions.
My friends, its been worth the trouble!
Th nk you very much,
Uli Behringer

4
BLUE DEVIL GX112
GX112
BLUE DEVIL®
Ultra-flexible 60-Watt Guitar Workstation with digital multi-effects processor
sPowerful 60-W tt RMS Guit r Workst tion with uthentic VIRTUBE® tube emul tion
sOrigin l 70-W tt he vy duty 12" JENSEN guit r spe ker model JCH12/70
sTwo independent ch nnels with sep r te volume controls nd effects
sHEAVEN ch nnel delivers cle n tube sounds
sHELL ch nnel offers bro d r nge, from modern crunch to high-g in sounds
sDedic ted vint ge-type 3-b nd EQ
s24-bit stereo multi-effects processor with ultr -high resolution 24-bit AD/DA converters
s31 origin l VIRTUALIZER®/MODULIZER® presets with world-cl ss effects such s Reverb, Del y, Ph ser,
Chorus, Fl nger, Pitch Shifter, Spe ker Simul tor, Compressor, Exp nder, W h, Tube Emul tor nd
v rious effect combin tions
s99 outst nding nd e sy-to-edit user presets
sQu si- n log oper tion: three FX p r meters per preset c n be edited with dedic ted controls
sAdjust ble ux input for pl yb ck or other line-level sign ls (e.g. CD pl yer, drum computer, etc.)
sStereo line output for recording nd live pplic tions
sInsert f cility for extern l effects devices (stomp boxes, w h-w h ped ls, etc.)
sCh nnel select nd effect byp ss footswitch FS112 included
sComplete MIDI implement tion for ch nnel nd effect selection s well s re l time control
sM ster volume control nd stereo he dphones output
sExtremely rugged construction ensures long life, even under the most dem nding conditions
sRobust power supply ensures excellent tr nsient response
sM nuf ctured under ISO9000 certified m n gement system

5
BLUE DEVIL GX112
TABLE OF CONTENTS
1. INTRODUCTION.....................................................................................................................6
1.1 The design concept ......................................................................................................................... 7
1.1.1 VIRTUBE technology ............................................................................................................ 7
1.2 Before you begin ............................................................................................................................. 7
1.3 Control elements ............................................................................................................................. 8
1.3.1 The front p nel ...................................................................................................................... 8
1.3.2 The re r p nel ..................................................................................................................... 10
2. WIRING EXAMPLES ............................................................................................................. 11
2.1 St nd rd setup consisting of guit r, footswitch nd extern l effects device ..................................... 11
2.2 Exp nded setup with MIDI footcontroller, pl yb ck source nd mixing console .............................. 11
3. EFFECTS PROCESSOR ...................................................................................................... 12
3.1 Description of effects ..................................................................................................................... 13
3.2 Controlling the BLUE DEVIL vi MIDI ............................................................................................ 21
3.2.1 Store en ble mode .............................................................................................................. 22
4. HISTORICAL BACKGROUND by Ne ille Marten (Guitarist) ........................................... 22
5. INSTALLATION .....................................................................................................................23
5.1 M ins connection .......................................................................................................................... 23
5.2 Audio connections ........................................................................................................................ 23
5.3 MIDI connection ............................................................................................................................ 24
6. APPENDIX .............................................................................................................................24
6.1 Preset list ..................................................................................................................................... 24
6.2 MIDI implement tion ..................................................................................................................... 27
7. SPECIFICATIONS .................................................................................................................28
8. WARRANTY ...........................................................................................................................29
WARNING!
+It should be pointed out, that extreme output volumes may damage your ears and/or your
headphones. Turn do n all LEVEL controls before you s itch on the unit. Al ays pay attention
to an appropriate volume.

6
BLUE DEVIL GX112
1. INTRODUCTION
Th nk you very much for expressing your confidence in BEHRINGER products by purch sing the BLUEDEVIL
GX112. With the BLUE DEVIL, you h ve cquired Guit r Workst tion th t sets new st nd rds in guit r mp
engineering. When developing the GX112, our top objective w s to reproduce the direct sound of n log
guit r mps s perfectly s we could nd combine it with l test DSP technologywhile focusing on user
interf ce th t c n be oper ted intuitively.
BEHRINGER is n udio engineering comp ny th t h s been successfully developing products for studio
nd live pplic tions for m ny ye rs now. Our r nge of products includes microphones nd v riety of
19"devices (compressors, enh ncers, g tes, tube processors, he dphone mps, digit l effects devices,
DIboxes, etc.) s well s v rious monitoring nd P.A. spe kers plus profession l live nd recording consoles.
The n me of BEHRINGER st nds for no-compromise qu lity, fully-fe tured products nd exempl ry service
even ye rs fter purch se s well s sens tion lly low prices, which llow ny mbitious music lover to
m ke their music l dre ms come true.
We lso set gre t store by flexibility, which h s become p rticul rly import nt f ctor in the music business
over the p st few ye rs. Modern guit rists need to offer bro d r nge of sounds, but should still be ble to
pl y in different kinds of pplic tions t short notice: home recording, studio, live concerts. For this re son, it
h s lw ys been our prime concern to give you Guit r Workst tion th t offers you complete set of
functions, but c n still be oper ted intuitively nd quicklyno m tter wh t kind of style you pl y.
Unfortun tely, convention l guit r mps re often not fully designed nd developed. Moreover, m ny m nuf cturers
of tr dition l-style guit r mps re somehow fr id of using st te-of-the- rt technology. The BLUE DEVIL, on
the other h nd, is pioneering guit r mp th t h s consider bly more functions th n ny convention l 2-ch nnel
mp with built-in spring reverb. Still, you c n use the GX112 so th t it mimics n excellently sounding
2-ch nnel combo mp with n dmittedlygood spring reverb. However, we recommend th t you m ke
yourself f mili r with the BLUE DEVIL in full det il, so th t you know wh t e ch of the m ny functions does nd
be ble to fully exploit the numerous effects nd control options provided.
As technology dv nces, youve got to keep tr ck of l test technologic l bre kthroughs to void f lling by the
w yside. Since the first present tion of the BLUE DEVIL t Fr nkfurt Pro Light & Sound in 1998, we h ve
continuously improved this mp nd included m ny of your v lu ble suggestions. We h ve sp red neither
expense nor effort, to test different types of circuitry nd spe kers until the results g ve us complete s tisf ction.
After ll, we re lly w nt to give you fully designed nd developed products th t meet your expect tions in
every respect. The BLUE DEVIL sh ll be useful tool for ye rs to come, which is why weve equipped the
effects modules of our Guit r Workst tion with EPROMS th t c n be upd ted. In this w y, we c n keep on
working on new lgorithms nd considering your ide s nd suggestions. The resulting softw re upd tes will
be m de v il ble for free on the Internet, so s to ensure th t your mp will never be outd ted.
Weve p cked our entire experience in this l test gener tion of guit r mps. M ny people contributed to this
project of intense development: studio musici ns, collectors of vint ge guit r mps, music nd guit r lovers
like. We even invited guit r mp tuning experts to help us develop n mplifier th t gives you the best of ll
worlds:
sSophistic ted n log technology with feel f ctor only n log technology c n provide.
sPerfect simul tion of tube-specific nu nces to m ke up for the dr wb cks encountered in tube designs
(short service life, he t dissip tion, poor mech nic l st bility).
sL test DSP technology to give you bro d r nge of modern high-g in nd vint ge-type effect sounds.
sRugged nd solid construction which even withst nds roughest h ndling.
sIntuitive oper tion, so th t you c n focus your mind on wh t is most import nt to you: your music!
+This manual first describes the terminology used, so that you can fully understand the
BLUEDEVIL and its functions. Please read the manual carefully and keep it for future reference.
1. INTRODUCTION

7
BLUE DEVIL GX112
1.1 The design concept
The philosophy behind BEHRINGER products gu r ntees no-compromise circuit design nd employs the
best choice of components. The oper tion l mplifiers which re used in the BLUE DEVIL, re exception l.
They bo st extreme line rity nd very low distortion ch r cteristics. To complement this design the choice of
components includes low toler nce resistors nd c p citors, high-qu lity potentiometers nd sever l other
stringently selected elements.
The BLUE DEVIL uses SMD technology (Surf ce Mounted Device). These submini ture components d pted
from erosp ce technology llow for n extreme p cking density to further improve the over ll reli bility.
The sturdy steel-pl te enclosure of your BLUE DEVIL, with its generously dimensioned power supply, ensures
th t your GX112 will never f ileven under toughest conditions on the st ge. The enclosure is m de of high-
gr de nd non-polluting E1-MDF wood, which consists of multiple tongued/glued l yers nd is bsolutely free
of form ldehyde.
1.1.1 VIRTUBE technology
Tube pre mps usu lly employ three to five triode st ges in series configur tion, producing different degrees
of distortion, dyn mic compression nd frequency response modific tion. In ddition to the ch r cteristic
curve th t determines the sign l distortion, the order of filter nd distortion st ges lso pl ys n import nt role.
While you c n enh nce the sound of cle n nd slightly distorted sign ls by dding some b ss before feeding
them into the distortion st ge, the s me equ liz tion will le d to fuzz-like, undifferenti ted sound with
hi-g in sign ls. For this re son, tube mplifiers h ve some sort of p ssive nd usu lly str ightforw rd filter
circuitry inst lled between the single pre mp st ges. Using these filters you c n determine which frequencies
will h ve n imp ct on the sign l distortion.
Addition lly, filter circuits following the distortion st ge serve to provide for n optimum blend of gener ted
upper h rmonics in the output sign l. Our VIRTUBE circuits h ve been designed to ccur tely simul te this
complex inter ction with solid-st te components. The EQs nd filters between the single st ges re modeled
on the circuitry found in cl ssic tube mps. The non-line r ch r cteristic curves re simul ted by me ns of
speci lly selected diodes. The result is n mplifier whose sounds fe ture pronounced tube ch r cter.
1.2 Before you begin
Your BEHRINGER BLUE DEVIL w s c refully p cked in the f ctory nd the p ck ging is designed to protect
the unit from rough h ndling. Nevertheless, we recommend th t you c refully ex mine the p ck ging nd its
contents for ny signs of physic l d m ge, which m y h ve occurred during tr nsit.
+If the unit is damaged, please do not return it to BEHRINGER, but notify your dealer and the
shipping company immediately, other ise claims for damage or replacement may not be granted.
Shipping claims must be made by the consignee.
Be sure th t there is enough sp ce round the unit for cooling nd ple se do not pl ce the BLUE DEVIL on
high temper ture devices such s r di tors etc. to void overhe ting.
+Before you connect your BLUE DEVIL to the mains, please make sure that your local voltage
matches the voltage required by the unit!
The m ins connection of the BLUE DEVIL is m de by using the enclosed m ins c ble nd st nd rd IEC
recept cle. It meets ll of the intern tion l s fety certific tion requirements.
+Please make sure that all units have a proper ground connection. For your o n safety, never
remove or disable the ground conductor of the unit or of the AC po er cable.
The MIDI connection (IN) is m de over st nd rdized DIN plug-in connectors. An optocoupler h s been used
for isol ted d t communic tions.
You will find ddition l inform tion in ch pter 5 INSTALLATION.
1. INTRODUCTION

8
BLUE DEVIL GX112
1.3 Control elements
Fig. 1.1: The front panel of the BLUE DEVIL
The BEHRINGER BLUE DEVIL GX112 fe tures eleven controls, five push-buttons nd one 2-digit, 7-segment
LED displ y on its front p nel. Addition lly, there re two 1/4" j cks for input nd he dphones.
1.3.1 The front panel
Fig. 1.2: The front panel control elements
1
INPUT is the BLUE DEVILs 1/4" j ck input for your guit r. Use commerci l 1/4" j ck mono c ble (no
DIY, better sk your speci lized de ler), with good mech nic l nd electric l shielding, so s to void
unple s nt surprises during rehe rs ls or concerts.
2
The HEAVEN ch nnels V LUME control sets the volume for the cle n ch nnel.
3
Press the CHANNEL button to select the HEAVEN or HELL ch nnel. When HELL is on, the corresponding
LED lights up.
4
The HEAT control determines the degree of distortion in the HELL ch nnel.
5
The HELL ch nnels V LUME control sets the volume for the HELL ch nnel.
+Use both VOLUME controls to optimize the volume ratio of the t o channels, so that no
volume differences can be heard hen s itching from one channel to the other.
6
The BASS control in the EQ section llows you to boost or cut the b ss frequencies.
7
With the MID control you c n boost/cut the midr nge frequencies.
8
The TREBLE control djusts the upper frequency r nge.
+Please note that ith all three EQ controls set fully to the left, there ill be no signal sent to the
speaker, hich is due to the classical and extremely efficient EQ circuit used in the BLUEDEVIL.
9
With the UP button you c n incre se the progr m number of the built-in effects module. Keep the
button pressed to scroll through the progr ms.
10
The D WN button llows you to decre se the progr m number.
11
The DISPLAY re ds either the progr m number of the selected preset or the v lue of the p r meter
selected with the PARAMETER, EFFECT A or EFFECT B controls.
12
Use the ENTER button to confirm your progr m selection.
1. INTRODUCTION

9
BLUE DEVIL GX112
+When the MIDI functions are inactive, one effect can be stored for each of the t o channels on
your BLUE DEVIL, hich allo s you, for instance, to select a DELAY effect for the HELL
channel and assign a REVERB/CHORUS effect to the HEAVEN channel. The corresponding
program numbers ill be stored ith the channels and can be recalled using the foots itch or
the front panel buttons. When MIDI is on, this assignment feature ill be disabled, so that in
this mode both channels and effects can be selected separately.
13
The STATUS LEDs inform you bout the type of p r meter you c n edit with the PARAMETER control
( n exception being the MIDI LED).
sMIDI: This LED lights up when you press both UP nd DOWN buttons for bout 2 seconds. Subsequently,
you c n use these keys to set up MIDI ch nnel for MIDI d t reception (1 through 16, ON for Omni
mode nd OF for off, or ON for Omni mode nd 1 through 16 plus one decim l point e ch for the
store en ble mode, see ch pter 3.2.1). Press the ENTER button to confirm your selection. The MIDI
LED fl shes s soon s MIDI d t re being received.
+The store enable mode (see chapter 3.2.1) allo s you to store presets directly via MIDI. Please
note that by sending MIDI controller #18 values, any changes made to the currently active
preset ill be irrevocably stored.
+If the multi-functional MIDI LED flashes briefly, this indicates that the DSP modules output level
is close to distortion. In this case, you should turn do n the VOLUME control a bit. This
clipping indicator is only available if you actually do not edit any parameter.
sTIME: This LED lights up when you select time-dom in effect p r meter (e.g. reverb or del y time).
sSPEED: This LED lights up for ll modul tion effects nd indic tes the LFO speed (low-frequency
oscill tor) or the compressors or exp nders speed p r meter.
sSENS: This LED informs you th t you c n djust the sensitivity of effects such s Auto W h, Exp nder,
Compressor.
sPITCH: This LED lights up when you edit the pitch shifter nd shows the detune f ctor, either in semi-
tones or cents.
sEQ: This LED lights up when you edit the p r meters of filter-b sed effect.
To the right of the st tus LEDs you c n find t ble th t lists the v rious effect types s well s their initi l
progr m numbers. Use this list to quickly loc te, edit nd store the effect of your choice. The built-in effects
module fe tures 31 different effect groups nd includes tot l of 99 effect v ri tions.
14
Use the EFFECT button to ctiv te/de ctiv te the selected effect.
15
The PARAMETER control llows you to edit n effect-specific p r meter. Once selected with the
PARAMETER control, its v lue is displ yed nd the corresponding LED lights up (see ).
16
The EFFECT A control determines the mix between origin l nd effect sign ls. Depending on the
preset selected, you c n either control the r tio of origin l nd left-ch nnel effect sign l, or of origin l
nd first-effect sign l (combin tion effects). Some effects use this control to edit second, effect-
specific p r meter.
17
The EFFECT B control determines the mix between origin l nd effect sign ls. Depending on the
preset selected, you c n either control the r tio of origin l nd right-ch nnel effect sign l, or of
origin l nd secondary-effect sign l (combin tion effects). Some effects use this control to edit
third, effect-specific p r meter.
+When you start editing a preset, the decimal point in the 2-digit display starts flashing. Press
the ENTER button for a hile to over rite the factory preset and save your o n effect setting.
To restore the factory presets, simply press and keep the ENTER button hile you s itch on
the BLUE DEVIL.
18
The AUX control in the M ster section determines the volume of the AUX sign l fed in vi the AUX IN
j cks on the re r of the BLUE DEVIL (e.g. drum computer, pl yb ck).
19
The V LUME control in the M ster section determines the over ll volume level of the BLUE DEVIL.
1. INTRODUCTION

10
BLUE DEVIL GX112
20
The 1/4" stereo j cks llow you to monitor the BLUE DEVILs udio sign l with p ir of commerci lly
v il ble he dphones. Connecting the he dphones will mute the built-in spe ker.
+Since speakers can have quite an impact on the sound of a guitar amp, both the headphones
and LINE OUT signals are frequency-corrected (speaker emulation). Without this frequency
correction extreme treble frequencies ould deteriorate the sound. You can still tap the
unprocessed signal directly after the pre-amp (INSERT SEND jack), ithout interrupting the
signal path inside the amplifier (INSERT RETURN jack may not be used in this case). Starting
ith a certain volume level, lo -impedance headphones may begin to produce distortion. In
such a case, please reduce the volume by turning back the VOLUME controls.
1.3.2 The rear panel
Fig. 1.3: The rear panel connectors
21
Use the P WER switch to put the BLUE DEVIL into oper tion.
22
FUSE H LDER / V LTAGE SELECT R. Ple se m ke sure th t your loc l volt ge m tches the volt ge
indic ted on the unit, before you ttempt to connect nd oper te the BLUE DEVIL. Blown fuses m y
only be repl ced by fuses of the s me type nd r ting. Some models llow for inserting the fuse holder
in two different positions, in order to switch over from 230-V to 115-V oper tion, nd vice vers . Ple se
note th t for 115-V oper tion outside Europe, you need to use fuse of higher r ting (see ch pter 5
INSTALLATION).
23
Use the enclosed power cord to connect the unit to the m ins.
24
SERIAL NUMBER. Ple se t ke the time to fill out the w rr nty c rd completely nd return it within 14
d ys fter the d te of purch se, so s to be entitled to benefit from our extended w rr nty. Or use our
online registr tion option v il ble on the World Wide Web (www.behringer.com).
25
MIDI IN. This connector gives you MIDI remote control over your BLUE DEVIL. You c n ch nge p r meters
using controller inform tion, switch over effect progr ms, ch nge ch nnels nd byp ss the effects module
by me ns of progr m ch nge instructions.
26
The LINE UT provides the BLUE DEVILs udio sign l in stereo, for ex mple, to send it to recording
m chine. This output is frequency-corrected.
27
The AUX IN llows you to feed in ddition l stereo sign ls, for ex mple, to pl y with drum computer
or some sort of pl yb ck. Addition lly, you c n use the AUX IN in combin tion with the INSERT SEND
s p r llel effect p th: connect the INSERT SEND to the input nd the AUX IN to the output of the
effects device (INSERT RETURN j ck should not be used in this c se!) Thus, the sign l p th inside the
mplifier will not be interrupted nd you c n dd the effect portion from the extern l device, using the
AUX control described bove . Ple se note th t the extern l effects device must be set to 100% wet
for this purpose.
28
The BLUE DEVIL lso fe tures seri l insert p th for extern l effects such s w h-w h ped l. This
is the INSERT RETURN j ck you need to connect to the output of the effects device.
29
This is the INSERT SEND j ck th t c n be connected to the input of n extern l effects device.
1. INTRODUCTION

11
BLUE DEVIL GX112
+Please note that hen using the serial effects path, the external effect should not be set to
100% et (100% effect signal); other ise, there ill be no direct signal portion fed back to the
BLUE DEVIL.
30
Connect the enclosed footswitch FS112 vi the stereo plug to the F TSWITCH j ck. The footswitch
llows you to ch nge ch nnels or dis ble the effects module.
2. WIRING EXAMPLES
2.1 Standard setup consisting of guitar, footswitch and external effects de ice
To use your BLUE DEVIL for rehe rs ls or on st ge, ple se wire up the unit s shown in fig. 2.1. Of course, you
c n lso use w h-w h or other ped l effect inste d of the extern l 19" effects unit, or simply work with the
intern l effects without h ving to use the insert p th. Connecting the he dphones will mute the built-in spe ker.
When you wish to use guit r tuner, ple se connect it to the INSERT SEND of your BLUE DEVIL. If there is
no further effects device connected, you c n le ve the INSERT RETURN s it is. However, to use n extern l
effects device, pl ce the tuner before the effects in the sign l ch in, so th t its sign l wont be processed by
the effects device.
Fig. 2.1: Standard setup
2.2 Expanded setup with MIDI footcontroller, playback source and mixing console
To use your BLUE DEVIL for dv nced pplic tions, ple se consider the following suggestions. Of course, the
exp nded configur tion suggested in fig. 2.2 builds on the st nd rd setup described in ch pter 2.1.
Use the MIDI foot controller to ch nge presets nd/or ch nnels, set volume nd w h, etc. The LINE OUT
sign l c n be fed into P.A. or recording console, nd the AUX INPUT c n be used to pl y b ck e.g.
c ssette recorder sign ls through the GX112.
2. WIRING EXAMPLES

12
BLUE DEVIL GX112
Fig. 2.2: Expanded setup
3. EFFECTS PROCESSOR
A very speci l fe ture of your BLUE DEVIL is its built-in effects processor, which offers the s me udio qu lity
nd lgorithms s our popul r 19" effects devices VIRTUALIZER PRO nd MODULIZER PRO. This effects
module provides 31 different groups of first-cl ss effects such s Reverb, Chorus, Fl nging, Del y, Pitch
Shifting, Compressor, Exp nder, W h-W h v ri tions, v rious combin tion effects nd even Tube nd Spe ker
Emul tions. The l tter, in p rticul r, c n m ke guit rists life much e sier in home recording studios, bec use
they llow you to record the mps sign l without h ving to use microphone. A tot l of 99 presets gives you
bro d r nge of vers tile effects, which c n be edited in three p r meters e ch. Addition lly, the multi-effects
processor provides different effects v ri tions, which re perm nently linked to the presets. All presets c n be
overwritten with your own settings. To restore the f ctory def ult settings, simply keep the ENTER button
pressed while you power up the BLUE DEVIL.
The multi-effects processor b sic lly provides stereo effects. However, these c n be he rd only when you use
the LINE OUT or he dphones output. The spe ker nd/or the mono power mp of your BLUE DEVIL sum up
both ch nnels (left nd right) to produce mono sign l. Nevertheless, you c n record with stereo effects by
using the LINE OUT or second mp to pl y in stereo.
The two buttons UP nd DOWN llow you to select preset. To ctiv te the selected preset, simply press the
ENTER button. The displ y re ds the number of the currently ctive preset (the list to the right of the effect
modules st tus LEDs shows the v rious effect groups v il ble). As soon s you edit preset with the
PARAMETER, EFFECT A nd EFFECT B controls, the displ y will re d the respective p r meter v lues.
After bout three seconds or when youpress ENTER, UP or DOWN, the displ y will switch b ck to the
progr m number. Whenever p r meter h s been ch nged, the decim l point in the 2-digit displ y st rts
fl shing. To s ve your edits nd overwrite the existing preset, simply press the ENTER button for bout
2seconds. The EFFECT A nd EFFECT B controls determine (with few exceptions) the mix between
origin l nd effect sign l. EFFECT A controls the left ch nnel nd/or the first effect (if combin tion effects
re used), nd EFFECT B djusts the right ch nnel nd/or the second effect. As rule of thumb, v lues
between 20 (moder te effect) nd 40 (cle rly udible effect) should deliver good results. The v lues re
djust ble in steps of 2 %. In the reverb nd del y presets you c n set the wet/dry r tio in 1% steps from
0 through 50%.
3. EFFECTS PROCESSOR

13
BLUE DEVIL GX112
3.1 Description of effects
01-02 Spring Reverb: Even guit r mp with digit l multi-effects processor should llow you to use
spring reverb. This lgorithm emul tes the typic l sound of spring reverb, s it is known from numerous
guit r mps. However, here you dont h ve the typic l sh tter sound when you knock over your mp.
03-04 Studio: This effect simul tes the ch r cteristics of middle-sized rooms. With its n tur l sound it c n
be used for gre t v riety of pplic tions.
05-06 Chamber: You c n cle rly he r the sound s it bounces b ck from the w lls of this room. The
progr m is p rticul rly suited for diffuse types of reverb or to m ke dry guit r sound more n tur l.
07-08 Stage: A fine reverb e.g. to liven up nd widen cle n guit r.
09-10 Concert: Here, you c n choose from sm ll the ter (preset 9, short pre-del y) or l rge concert h ll
(preset 10, long pre-del y). Comp red to the STUDIO reverb progr m, these lgorithms sound more
lively nd h ve more treble frequencies.
11-12 Plate: The sound of n ncient pl te reverb. A cl ssic lgorithm th t m kes your guit r sound wonderful
nd ench nting.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
1 SPRING short Pre-Delay Reverb Time Mix L Mix R
2 REVERB long Pre-Delay Reverb Time Mix L Mix R
3 short Pre-Delay Reverb Time Mix L Mix R
4 long Pre-Delay Reverb Time Mix L Mix R
5 short Pre-Delay Reverb Time Mix L Mix R
6 long Pre-Delay Reverb Time Mix L Mix R
7 short Pre-Delay Reverb Time Mix L Mix R
8 long Pre-Delay Reverb Time Mix L Mix R
9 short Pre-Delay Reverb Time Mix L Mix R
10 long Pre-Delay Reverb Time Mix L Mix R
11 short Pre-Delay Reverb Time Mix L Mix R
12 long Pre-Delay Reverb Time Mix L Mix R
PLATE
STUDIO
CHAMBER
STAGE
CONCERT
Tab. 3.1: Parameters of effects 01 through 12
Reverb lgorithms 01 through 12 provide two v ri tions e ch. B sic lly, the first v ri tion uses short pre-
del y (del y until the ctu l reverb c n be he rd), while the second v ri tion works with long pre-del ys. In
gener l, you c n djust the reverb time with the PARAMETER control, while the two EFFECT controls djust
the mix between origin l nd effect sign ls of the left or right ch nnel.
13-14 Gated Reverb: This reverb is cut off bruptly nd bec me f mous through Phil Collins In the ir
tonight. Use the EFFECT A control to djust the threshold bove which the reverb is triggered (Sensitivity).
The higher this v lue, the less reverb you will he r. EFFECT B governs the mix between origin l nd
reverb sign ls. Ag in, the PARAMETER control djusts the reverb nd g te time.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
13 GATED min. Density Gate Time Sensitivity Mix
14 REVERB max. Density Gate Time Sensitivity Mix
Tab. 3.2: Parameters of effects 13 and 14
3. EFFECTS PROCESSOR

14
BLUE DEVIL GX112
15-16 Ambience: The reverb of ny room consists of so-c lled e rly reflections nd the reverb t il. This
lgorithm emul tes the first 15 of these e rly reflections. Since our e rs use these reflections to
determine the room size, they c n be employed to cre te subtle nd impressive reverb densities,
without clouding the over ll sign l with long reverb t ils. The PARAMETER control modifies the room
size, while EFFECT A djusts the pre-del y time, nd EFFECT B governs the mix between origin l nd
effect sign ls.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
15 min. Reflections Room Size Pre-Delay Mix
16 max. Reflections Room Size Pre-Delay Mix
AMBIENCE
Tab. 3.3: Parameters of effects 15 and 16
17-26 Wah/Delay/Distortion: In gener l, filters re used to provide some st tic equ liz tion of sign ls
frequency response. The w h effect  combined with del y nd distortion in this preset  llows the
mid-r nge frequencies to p ss, while it more or less suppresses the rem ining frequency r nges.
Guit rists such s Jimi Hendrix nd Eric Cl pton m de this effect popul r, nd it still h snt gone out of
f shion. Use the PARAMETER control to djust the del y time. EFFECT A llows you to determine the
distortion intensity, which lso depends on the volume settings chosen in the HEAVEN nd HELL
ch nnels. With EFFECT B you c n edit the del y mix. Using MIDI controller #15 you c n edit the
oper ting r nge of the w h effect, e.g. vi MIDI foot controller. In this w y, it is possible to use the
w h effect like n n log w h foot ped l.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
17 Feedback 0 % Delay Time Drive Delay Mix
18 Feedback 10 % Delay Time Drive Delay Mix
19 Feedback 30 % Delay Time Drive Delay Mix
WAH /
DELAY /
DISTORTION
Tab. 3.4: Parameters of effects 17 through 19
20 Delay/Reverb: After norm l del y with djust ble del y time, the sign l p sses reverb with different
reverb times th t re preset by v rious v ri tions.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
20 DELAY / REVERB - Delay Time Delay Mix Reverb Mix
Tab. 3.5: Parameters of effect 20
21-29 Delay: This lgorithm del ys the input sign l nd gener tes sever l repe ts. The first four presets
(21 through 24) produce stereo del y, with the PARAMETER control setting the del y time for the
right ch nnel. The left ch nnels del y time is 2/3 s long s th t on the right side. As usu l, EFFECT A
nd EFFECT B determine the mix between origin l nd effect sign ls. Del y presets 25 through 29
offer long mono del ys, which c n be djusted in their del y time (PARAMETER control), del y
feedb ck (repe ts, EFFECT A control) nd del y mix p r meters (EFFECT B control).
3. EFFECTS PROCESSOR

15
BLUE DEVIL GX112
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
21 min. Feedback Delay Time R Mix L Mix R
22 Delay Time R Mix L Mix R
23 Delay Time R Mix L Mix R
24 max. Feedback Delay Time R Mix L Mix R
25 - Delay Time Feddback Mix
26 - Delay Time Feedback Mix
27 - Delay Time Feedback Mix
28 - Delay Time Feedback Mix
29 - Delay Time Feedback Mix
DELAY
(stereo)
DELAY
(long mono)
Tab. 3.6: Parameters of effects 21 through 29
The LFO speed of ll modul tion effects is controlled by the PARAMETER control. EFFECT A controls the
effect intensity or depth. High v lues produce very intensive effect. In the c se of the tremolo lgorithm,
EFFECT A djusts the p nning between left nd right, nd vice vers .
+In the stereo modulation effects (programs 36/37, 50/51, 62/63), the left and right channels are
modulated in reverse phase, hich can partly eliminate the effect hen reproduced in mono. In
particular, the tremolo ill be inaudible if high stereo panning values are used in mono via the built-
in speaker. In this case, it ill be better to use no panning at all (EFFECT A = 0).
30-33 Phaser: From technic l point of view, ph sing is modul tion effect producing multi-st ge ph se
shift between direct nd effect sign ls. As the frequency-dependent ph se shift is controlled by n
LFO (low-frequency oscill tor), the v rious frequency r nges of the sign l re r ised or lowered in
their mplitudes. Depending on the setting you choose, the resulting ph sing effect is either slightly
modul ting in ch r cter or produces he vy sound color tion reminiscent of const ntly modul ted
filter.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
30 fat LFO Speed Depth Mix
31 slow LFO Speed Depth Mix
32 fast LFO Speed Depth Mix
33 ultra LFO Speed Depth Mix
PHASER
Tab. 3.7: Parameters of effects 30 through 33
34-37 Chorus: Im gine string qu rtet, with e ch musici n pl ying the s me notes. As m tter of f ct, no
musici n is ble to pl y with n inton tion ccur cy of 100%. Consequently, slightly detuned sign l
portions re produced which overl p in the time dom in. To emul te this effect, chorusing uses copies
of the origin l sign l, which re then del yed by 20 - 40 msec, detuned slightly nd modul ted by the
LFO. The result is detune effect th t is very ple s nt in ch r cter. As this effect is used so frequently
nd in such v riety of sign l-widening pplic tions, ny recommend tion given here would me n
restriction of its uses.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
34 fat LFO Speed Depth Mix
35 slow LFO Speed Depth Mix
36 stereo LFO Speed Depth Mix
37 stereo LFO Speed Depth Mix
CHORUS
Tab. 3.8: Parameters of effects 34 through 37
3. EFFECTS PROCESSOR

16
BLUE DEVIL GX112
38-42 Chorus/Reverb: Here, the sign l p sses chorus effect with v rious intensities nd then reverb th t
c n be edited in its time.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
38 ultra Reverb Time Chorus Mix Reverb Mix
39 slow Reverb Time Chorus Mix Reverb Mix
40 medium I Reverb Time Chorus Mix Reverb Mix
41 medium II Reverb Time Chorus Mix Reverb Mix
42 fast Reverb Time Chorus Mix Reverb Mix
CHORUS /
REVERB
Tab. 3.9: Parameters of effects 38 through 42
43-47 Chorus/Delay: First, the sign l is chorused with v rious intensities, then follows del y effect with
v rious feedb ck levels nd djust ble del y time.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
43 ultra Delay Time Chorus Mix Delay Mix
44 slow Delay Time Chorus Mix Delay Mix
45 medium I Delay Time Chorus Mix Delay Mix
46 medium II Delay Time Chorus Mix Delay Mix
47 hold Delay Time Chorus Mix Delay Mix
CHORUS /
DELAY
Tab. 3.10: Parameters of effects 43 through 47
48-51 Flanger: An LFO const ntly modul tes the pitch of the effect sign l up nd down by few cents nd
then sends the effect sign l b ck to the input. This effect c n be excellently combined with distorted
guit r sounds.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
48 fat LFO Speed Depth Mix
49 classic LFO Speed Depth Mix
50 stereo LFO Speed Depth Mix
51 stereo LFO Speed Depth Mix
FLANGER
Tab. 3.11: Parameters of effects 48 through 51
3. EFFECTS PROCESSOR

17
BLUE DEVIL GX112
52-56 Flanger/Reverb: Here, fl nger with v rious intensities is followed by reverb with djust ble reverb
time.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
52 ultra Reverb Time Flanger Mix Reverb Mix
53 slow Reverb Time Flanger Mix Reverb Mix
54 medium I Reverb Time Flanger Mix Reverb Mix
55 medium II Reverb Time Flanger Mix Reverb Mix
56 fast Reverb Time Flanger Mix Reverb Mix
FLANGER /
REVERB
Tab. 3.12: Parameters of effects 52 through 56
57-61 Flanger/Delay: The first element is fl nger with v rious intensity levels, then comes del y effect
with djust ble del y time.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
57 ultra Delay Time Flanger Mix Delay Mix
58 slow Delay Time Flanger Mix Delay Mix
59 medium I Delay Time Flanger Mix Delay Mix
60 medium II Delay Time Flanger Mix Delay Mix
61 fast Delay Time Flanger Mix Delay Mix
FLANGER /
DELAY
Tab. 3.13: Parameters of effects 57 through 61
62-63 Stereo Tremolo: Tremolo is more or less f st, intensive v ri tion of the sign l mplitude, nd is
complemented here by p nor m effect.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
62 - LFO Speed Pan Mix
63 - LFO Speed Pan Mix
STEREO
TREMOLO
Tab. 3.14: Parameters of effects 62 and 63
64-66 Tremolo/Delay: A more or less f st, intensive mplitude modul tion complemented by del y effect.
The v ri tions provide for v rious modul tion speeds. The del y time c n be set with the PARAMETER
control.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
64 ultra Delay Time Tremolo Mix Delay Mix
65 slow Delay Time Tremolo Mix Delay Mix
66 medium Delay Time Tremolo Mix Delay Mix
TREMOLO /
DELAY
Tab. 3.15: Parameters of effects 64 through 66
3. EFFECTS PROCESSOR

18
BLUE DEVIL GX112
67-68 Rotary Speaker: This is the quintessenti l simul tion of the cl ssic l org n effect norm lly produced
by spe kers th t rot te t slow/f st speed in bulky nd extremely he vy spe ker c binet. This effect
uses the physic l principle known s Doppler effect. The PARAMETER control determines the speed
of horn (treble) nd rotor (b ss), while EFFECT A llows you to modify the b sic ch r cter of the
sound. Fin lly, EFFECT B lets you edit the mix r tio.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
67 - Speed Variation Mix
68 - Speed Variation Mix
ROTARY
SPEAKER
Tab. 3.16: Parameters of effects 67 and 68
69-70 Magic Drive: This is n bsolutely up-to-d te effect combined with del y. With EFFECT A you c n
lter the b sic ch r cteristic of this effect in 32 steps. PARAMETER djusts the del y time nd EFFECTB
controls the del y mix. As little extr , the distortion effect includes n LFO-controlled notch filter,
which is dded s of V ri tion #24.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
69 - Delay Time Variation Delay Mix
70 - Delay Time Variation Delay Mix
MAGIC DRIVE
Tab. 3.17: Parameters of effects 69 and 70
71-72 Auto Wah: The Auto W h is velocity-sensitive effect th t llows low frequencies to p ss, while high
frequencies re more or less suppressed. Reson nce r ises the frequencies round the cutoff
frequency. With the PARAMETER control you c n djust the effect intensity, while EFFECT A llows
you to set the cutoff frequency, which c n be shifted upw rds by r ising this v lue.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
71 fast Sensitivity Depth Mix
72 slow Sensitivity Depth Mix
AUTO WAH
Tab. 3.18: Parameters of effects 71 and 72
73-74 LFO Wah: In the LFO W h effect the LFO governs the speed of frequency modul tion. Here, you c n
produce w h-w h effects th t re repe ted t regul r interv ls. Use the PARAMETER control to set the
LFO speed, while EFFECT A determines the threshold frequency. The LFO W h delivers stounding
results. Try the following setting: LFO Speed = 50, Depth = 10 nd Mix = 70 - 80.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
73 LFO Band Pass LFO Speed Depth Mix
74 LFO Band Pass LFO Speed Depth Mix
LFO WAH
Tab. 3.19: Parameters of effects 73 and 74
3. EFFECTS PROCESSOR

19
BLUE DEVIL GX112
75-81 Pitch Shifter: This effect shifts the pitch of the input sign l nd c n be used to produce music l
interv ls nd h rmonies or simply to widen single voice. He vy detuning by sever l semi-tones up
cre tes mickey-mouse-type effect. The preset v ri tions include v rious fixed interv ls for the right
ch nnel, while the left ch nnel c n be shifted with the PARAMETER control. Depending on your mix
settings, you c n thus he r tri d for e ch tone of the input sign l. Effects #80 nd #81 re used to
widen the sign l nd fe ture detune option in the left ch nnel (+/- 25 cents).
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
75 -12 Tune Left Mix L Mix R
76 -5 Tune Left Mix L Mix R
77 +3 Tune Left Mix L Mix R
78 +4 Tune Left Mix L Mix R
79 +7 Tune Left Mix L Mix R
80 +4 % Tune Left Mix L Mix R
81 +8 % Tune Left Mix L Mix R
PITCH
SHIFTER
Tab. 3.20: Parameters of effects 75 through 81
82-85 Pitch/Reverb: Here, pitch shifter set to v rious cent nd semi-tone interv ls is followed by stereo
reverb whose time c n be set with the PARAMETER control.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
82 -12 Reverb Time Pitch Mix Reverb Mix
83 +3 Reverb Time Pitch Mix Reverb Mix
84 +4 % Reverb Time Pitch Mix Reverb Mix
85 +8 % Reverb Time Pitch Mix Reverb Mix
PITCH
SHIFTER /
REVERB
Tab. 3.21: Parameters of effects 82 through 85
86-89 Pitch/Delay: First, the sign l p sses the pitch shifter set to v rious interv ls. Then, del y effect
whose time c n be edited with the PARAMETER control is dded. The two EFFECT controls djust the
mix between both effects.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
86 -12 Delay Time Pitch Mix Delay Mix
87 -5 Delay Time Pitch Mix Delay Mix
88 +4 Delay Time Pitch Mix Delay Mix
89 +7 Delay Time Pitch Mix Delay Mix
PITCH
SHIFTER /
DELAY
Tab. 3.22: Parameters of effects 86 through 89
3. EFFECTS PROCESSOR

20
BLUE DEVIL GX112
90-91 Compressor: Often, the sign l level exceeds the he droom of sign l-processing devices nd therefore
needs to be limited in its dyn mic r nge, so s to void distortion. This job is done by compressors
nd/or limiters. Limiters bruptly limit the sign l bove specific threshold, while compressors provide
for soft control process over wider r nge. The side ch in implemented in this lgorithm gener tes
control sign l th t emul tes so-c lled soft-knee ch r cteristic for the compression process. With
the PARAMETER control you c n set the compressor threshold. EFFECT A determines the compression
r tio. EFFECT B llows you to r ise the volume to d pt the compressed sign l to the unprocessed
one. To chieve optimum d pt tion proceed s follows: djust threshold nd r tio s required, then
comp re the sign l levels by switching the effect repe tedly on nd off. Ad pt the levels with EFFECT
B, so th t there will be no udible level difference between compressed nd uncompressed sign ls.
Use this effect to give your guit r longer sust in, or to m ke the tt ck sounds of funky guit r licks
(Chicken Scr tch) cle rly udible, even though the guit r sign l is ctu lly limited in level.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
90 fast Sensitivity Ratio Gain
91 slow Sensitivity Ratio Gain
COMPRESSOR
Tab. 3.23: Parameters of effects 90 and 91
92-93 Expander: All sorts of b ckground noise nd hum limit the dyn mic r nge of the w nted sign l. As
long s the level of the w nted sign l is consider bly bove the noise floor, b ckground noise is
in udible: the interference sign l is m sked by the music. Exp nders c n be used to efficiently exp nd
the dyn mic r nge of sign ls. Sm ll sign l mplitudes re cut ddition lly which t the s me time
reduces b ckground noise. Use the PARAMETER control to determine the exp nder threshold.
EFFECTA djusts the exp nsion r tio, while EFFECT B drives m tching mplifier (much like in the
compressor effect 90 - 91) to d pt the level of the processed sign l.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
92 Hell Sensitivity Ratio Gain
93 Heaven Sensitivity Ratio Gain
EXPANDER
Tab. 3.24: Parameters of effects 92 and 93
94-96 Guitar Combo: This effect simul tes the sound ch r cteristics of complete guit r mp, mimicking
not only two tube st ges, but lso c binet nd spe ker. The PARAMETER control determines the
distortion intensity, while EFFECT A djusts the presence of the sound s the sign ls high-frequency
portions incre se. EFFECT B controls the mix r tio.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
94 - Drive Presence Mix
95 - Drive Presence Mix
96 - Drive Presence Mix
GUITAR
COMBO
Tab. 3.25: Parameters of effects 94 through 96
3. EFFECTS PROCESSOR