Behringer Ultratwin GX210 User manual

Version 1.0 May 2001
User´s Manual
ENGLISH
ULTRATWIN® GX210

2
ULTRATWIN GX210
Thissymbol,whereveritappears,alerts
you to the presence of uninsulated
dangerousvoltageinsidetheenclosure
– voltage that may be sufficient to
constitute a risk of shock.
This symbol, wherever it appears, alerts
you to important operating and
maintenance instructions in the
accompanying literature. Read the
manual.
SAFETY INSTRUCTIONS
CAUTION: To reducetherisk of electrical shock, do not remove
thecover(or back). No user serviceablepartsinside;
referservicing to qualifiedpersonnel.
WARNING: To reduce the risk of fire or electrical shock, do not
expose this appliance to rain or moisture.
DETAILED SAFETY INSTRUCTIONS:
All the safety and operation instructions should be read before the appliance is operated.
Retain Instructions:
The safety and operating instructions should be retained for future reference.
Heed Warnings:
All warnings on the appliance and in the operating instructions should be adhered to.
Follow instructions:
Alloperationanduser instructions should be followed.
Water and Moisture:
The appliance should not be used near water (e.g. near a bathtub, washbowl, kitchen sink, laundry tub, in a
wet basement, or near a swimming pool etc.).
Ventilation:
The appliance should be situated so that its location or position does not interfere with its proper ventilaton.
For example, the appliance should not be situated on a bed, sofa rug, or similar surface that may block the
ventilation openings: or placed in a built-in installation, such as a bookcase or cabinet that may impede the
flowof air through the ventilation openings.
Heat:
The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other
appliances (including amplifiers) that produce heat.
Power Source:
Theapplianceshouldbeconnectedtoapowersupplyonlyofthetypedescribedintheoperatinginstructions
or as marked on the appliance.
Grounding or Polarization:
Precautions should be taken so that the grounding or polarization means of an appliance is not defeated.
Power-Cord Protection:
Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed
upon or against them, paying particular attention to cords and plugs, convenience receptacles and the point
where they exit from the appliance.
Cleaning:
The appliance should be cleaned only as recommended by the manufacturer.
Non-use Periods:
The power cord of the appliance should be unplugged from the outlet when left unused for a long period of
time.
Object and Liquid Entry:
Careshouldbe taken sothatobjectsdo not fall andliquidsarenot spilled into theenclosurethroughopenings.
Damage Requiring Service:
The appliance should be serviced by qualified service personnel when:
- the power supply cord or the plug has been damaged; or
- objects have fallen, or liquid has been spilled into the appliance; or
- the appliance has been exposed to rain; or
-theappliancedoesnotappearto operate normally or exhibits a marked change in performance; or
-theappliancehasbeen dropped, or the enclosure damaged.
Servicing:
Theusershouldnotattempttoservicetheappliancebeyond thatwhichisdescribedintheOperatingInstructions.
All other servicing should be referred to qualified service personnel.

3
ULTRATWIN GX210
FOREWORD
DearCustomer,
Welcome to the team of ULTRATWIN users and thank you very much for expressing your confidence in
BEHRINGERproducts by purchasing theGX210.
It is one of my most pleasant tasks to write this letter to you, because it is the culmination of many months of
hard work delivered by our engineering team to reach a very ambitious goal: To present you with a really
out-of-the-ordinary guitar workstation, which fully satisfies your and our expectations and delivers a superior
soundquality, easyoperationand technicalspecifications.In additiontothat theguitarworkstationisaffordable
foralmosteverymusician.
The task to design the ULTRATWIN certainly meant a great deal of responsibility, which we assumed by
focusing on you, the discerning user and musician. It also meant a lot of work and night shifts to accomplish
this goal. But it was fun, too. Developing a product usually brings a lot of people together, and what a great
feelingitiswheneverybodywho participated in such a project can be proud of what we’ve achieved.
Itis our philosophy toshareourjoy with you,becauseyouare the mostimportantmemberof the BEHRINGER
family. With your highly competent suggestions for new products you’ve greatly contributed to shaping our
company and making it successful. In return, we guarantee you uncompromising quality as well as excellent
technical and audio properties at an extremely favorable price. All of this will enable you to fully unfold your
creativitywithoutbeinghamperedby budget constraints.
Weare often askedhowwecan make itpossibleto produce suchhigh-gradedevicesat such unbelievablylow
prices. The answer is quite simple: it’s you, our customers! Many satisfied customers, mean large sales
volumes enabling us to get better conditions of purchase for components, etc. Isn’t it only fair to pass this
benefit back to you? Because we know that your success is our success too!
Iwould liketothank thefollowingpeople, whosehelpon“ProjectULTRATWIN GX210”hasmade itallpossible:
sThe existing users of BEHRINGER equipment, whose comments and suggestions have made them the
mostimportantmembersoftheBEHRINGERdesignteam,
sJan,whosepassionate work has made theULRATWINarevolutionary vintage guitar workstation,
sThorstenwho designed thismarvelousmanual,
sVolkerforthe fine mechanics,
sandalltheothers, who have made very personal contributions.
Myfriends, it’s been worth the trouble!
Thankyouvery much,
UliBehringer

4
ULTRATWIN GX210
GX210
ULTRATWIN®
Ultra-flexible 2 x 30 Watt Guitar Workstation ith Digital Multi-Effects Processor
sPowerful 2 x 30 Watt RMS Guitar Workstation with authentic VIRTUBE®tube emulation
sTwooriginal35 Watt 10" JENSEN vintage guitarspeakersmodelJCH10/35
sTwoindependentchannels with separatevolumecontrolsand effects
sCLEANchanneldeliverscleanandslightlydistortedtubesounds
sOVERDRIVEchanneloffers a broad range,frommoderncrunch to high-gain sounds
sUniqueMorphingcontrolallows blending between various distortioncharacteristics
sDedicatedvintage-type 3-bandEQ
s24-bitstereomulti-effects processor with ultra-high resolution 24-bit AD/DAconverters
s31original VIRTUALIZER®/MODULIZER®presetswithworld-classeffects such asReverb,Delay,Phaser,
Chorus,Flanger,PitchShifter,SpeakerSimulator,Rotary Speaker, Magic Drive, Compressor, Expander,
Wah,TubeEmulator and various effectcombinations
s99outstandingandeasy-to-edituserpresets
sQuasi-analogoperation:threeFX parameters per preset can be editedwithdedicatedcontrols
sAdjustableauxand tape input for playback or otherline-levelsignals(e.g.CD player, drum computer, etc.)
sFrequency-correctedstereoline output for recordingandliveapplications
sInsertfacilityforexternaleffectsdevices(stompboxes,wah-wahpedals,etc.)
sChannelselectandeffectbypassfootswitchFS112included
sCompleteMIDIimplementationforchannelandeffectselectionaswellasrealtimecontrol
sMastervolume control andfrequency-correctedstereoheadphones output
sExtremelyruggedconstructionensureslonglife, even under the most demanding conditions
sRobustpowersupplyensuresexcellenttransient response
sManufacturedunder ISO9000 certifiedmanagementsystem

5
ULTRATWIN GX210
TABLE OF CONTENTS
1. INTRODUCTION.....................................................................................................................6
1.1 Design concept ............................................................................................................................... 7
1.1.1 VIRTUBEtechnology ............................................................................................................ 7
1.1.2 Morphing............................................................................................................................... 7
1.1.3 JENSENloudspeaker ........................................................................................................... 7
1.2 Beforeyou begin ............................................................................................................................. 8
1.3 Controlelements............................................................................................................................. 8
1.3.1 Frontpanel ........................................................................................................................... 9
1.3.2 Rearpanel ...........................................................................................................................11
2. WIRING EXAMPLES .............................................................................................................12
2.1 Standardsetupconsistingofguitar,footswitch and external effectsdevice.................................... 12
2.2 ExpandedsetupwithMIDIfootcontroller, playback source and mixing console ............................ 13
2.3 Master/slavesetup........................................................................................................................ 14
2.3.1 TheULTRATWINGX210asmaster ..................................................................................... 14
2.3.2 TheULTRATWINGX210 asslave,driven byanexternal amp/preamp .................................. 14
3. EFFECTS PROCESSOR......................................................................................................14
3.1 Description ofeffects..................................................................................................................... 15
3.2 ControllingtheULTRATWINviaMIDI.............................................................................................. 23
3.2.1 Store Enable mode ............................................................................................................. 24
4. HISTORICAL BACKGROUND by Neville Marten (Guitarist Magazine) .........................24
5. INSTALLATION .....................................................................................................................25
5.1 Mains connection.......................................................................................................................... 25
5.2 Audioconnections ........................................................................................................................ 25
5.3 MIDIconnection ............................................................................................................................ 26
6. APPENDIX .............................................................................................................................26
6.1 Preset list ..................................................................................................................................... 26
6.2 MIDIimplementation ..................................................................................................................... 29
7. SPECIFICATIONS .................................................................................................................30
8. WARRANTY ...........................................................................................................................31
WARNING!
+It should be pointed out, that extreme output volumes may damage your ears and/or your
headphones. Turn down all LEVEL controls before you switch on the unit. Always pay attention
to an appropriate volume.

6
ULTRATWIN GX210
1. INTRODUCTION
Thankyou verymuchforexpressingyour confidenceinBEHRINGERproductsby purchasingtheULTRATWIN
GX210. With the ULTRATWIN, you have acquired a modern guitar workstation that sets new standards in
guitarampengineering. When developing the GX210,our top objectivewastoreproduce the authentic sound
ofclassicguitarampsasperfectlyaswecouldand combine it with latest DSP technology – while focusing on
auserinterfacethatcanbeoperatedintuitively.
BEHRINGERisan audio engineeringcompanythathas been successfully developingproductsforstudio and
liveapplications for many yearsnow.Our range ofproductsincludesmicrophones and avarietyof19" devices
(compressors, enhancers, gates, tube processors, headphone amps, digital effects devices, DI boxes, etc.)
as well as various monitoring and P.A. speakers plus professional live and recording consoles. The name of
BEHRINGERstandsforno-compromisequality,fully-featuredproductsandexemplaryservice–evenyears
after purchase – as well as sensationally low prices, which allow any ambitious music lovers to make their
musical dreams come true.
We also set great store by flexibility, which has become a particularly important factor in the music business
overthe past fewyears.Modernguitarists needtooffera broadrangeofsounds, but shouldstillbe able toplay
in different kinds of applications at short notice: home recording, studio, live concerts. For this reason, it has
alwaysbeenour prime concern to giveyouaguitarworkstation that offers you acompletesetof functions, but
can still be operated intuitively and quickly – no matter what kind of style you play.
Unfortunately,conventionalguitarampsareoftennotfullydesignedanddeveloped.Moreover,manymanufacturers
oftraditional-styleguitar amps aresomewhatafraidof using state-of-the-arttechnology.TheULTRATWIN, on
the other hand, is a pioneering guitar amp that has considerably more functions than any conventional
2-channel amp with a built-in spring reverb. Still, you can use the GX210 so that it mimics an excellently
sounding2-channel comboampwithan– admittedly–good springreverb(exceptforthat “shatter”soundwhen
theamp gets knockedover).However, werecommendthat you makeyourselffamiliar withtheULTRATWIN in
full detail, so that you know what each of the many functions does and be able to fully exploit the numerous
effectsandcontrol options provided.
Astechnologyadvances,you’vegot to keep track of latest technological breakthroughs to avoid falling by the
wayside.We,too, have continuously improved this ampandincludedmanyofyour valuable suggestions. We
havesparedneither expense nor effort totestdifferenttypesof circuitry and speakers untiltheresultsgave us
complete satisfaction. After all, we really want to give you fully designed and developed products that meet
your expectations in every respect. The ULTRATWIN shall be a useful tool for years to come, which is why
we’veequippedtheeffectsmodulesofour guitar workstation with EPROMS that can be updated. In this way,
wecankeepworkingonnewalgorithmsandconsideringyourideasandsuggestions.Theresultingsoftware
updateswillbemadeavailableforfreeonthe Internet, so as to ensure that your amp will never be outdated.
We’vepackedour entire experience into this latestgenerationofguitaramps. Many people contributed to this
project of intense development: studio musicians, collectors of vintage guitar amps, music and guitar lovers
alike. We even invited guitar amp tuning experts to help us develop an amplifier that gives you the best of all
worlds:
sSophisticatedanalogtechnologywith a “feel factor” only analog technology can provide.
sPerfect simulation of tube-specific nuances to make up for the drawbacks encountered in tube designs
(shortservice life, heat dissipation, poor mechanical stability).
sLatestDSPtechnologyto give you a broad range of modernhigh-gainandvintage-typeeffectsounds.
sRuggedandsolid construction which even withstands roughesthandling.
sIntuitive operation, so that you can focus your mind on what is most important to you: your music!
+This manual first describes the terminology used, so that you can fully understand the
ULTRATWIN and its functions. Please read the manual carefully and keep it for future reference.
1. INTRODUCTION

7
ULTRATWIN GX210
1.1 Design concept
The philosophy behind BEHRINGER products guarantees a no-compromise circuit design and employs the
best choice of components. The operational amplifiers used in the ULTRATWIN are exceptional: they boast
extremelinearity and verylowdistortioncharacteristics. To complementthisdesign, the choiceofcomponents
includelow-toleranceresistorsandcapacitors,high-qualitypotentiometersandseveral otherstringently selected
elements.
TheULTRATWIN usesSMDtechnology (SurfaceMountedDevice). Thesesubminiaturecomponents adapted
fromaerospacetechnologyallow for an extreme packing density to further improvetheoverallreliability.
Thesuper-robuststeel-plateenclosureofyourULTRATWIN,withitsgenerouslydimensionedpowersupply,
ensuresthatyour GX210 will neverfailonthe stage – evenwhenthegoing gets tough. Theenclosureismade
ofhigh-gradeandnon-pollutingE1-MDFwood,whichconsistsofmultipletongued/gluedlayersandis absolutely
freeofformaldehyde.
1.1.1 VIRTUBEtechnology
Tubepreampsusually employ three to fivetriodestagesina series configuration, producingdifferentdegrees
of distortion, dynamic compression and frequency response modification. In addition to the characteristic
curvethatdetermines the signal distortion,theorderoffilter and distortion stagesalsoplaysanimportant role.
Whileyoucanenhancethesoundofcleanandslightlydistortedsignalsby adding some bass before feeding
them into the distortion stage, the same equalization will lead to a “fuzz”-like, undifferentiated sound with
hi-gain signals. For this reason, tube amplifiers have some sort of passive and usually straightforward filter
circuitryinstalledbetweenthe single preamp stages. Using these filtersyoucandeterminewhichfrequencies
will have an impact on the signal distortion.
Additionally, filter circuits following the distortion stage serve to provide for an optimum blend of generated
upper harmonics in the output signal. Our VIRTUBE circuits have been designed to accurately simulate this
complexinteractionwithsolid-statecomponents.The EQs and filters between the single stages are modeled
on the circuitry found in classic tube amps. The non-linear characteristic curves are simulated by means of
speciallyselecteddiodes.Theresultisanamplifierwhosesoundsfeatureapronouncedtubecharacter.
1.1.2 Morphing
TheBEHRINGER ULTRATWINamplifiersare equippedwithaspecialcircuit thatgivesyou enormousflexibility
usingtheoverdrive channel. Owing totherichupper harmonics spectrumofdistortedsounds,the subsequent
filtercircuitshavequiteadrasticeffectontheoverallsound,whichiswhyitseemedonlynatural to allow for a
varietyofcreative filter options.
Therefore, the BEHRINGER morphing circuit uses a tunable filter in addition to a classic 3-band EQ and
dedicatedpresencecontrol.Thisfilter allows you to create new sound nuances that would be impossible with
traditionalpassiveEQs. Add tothisthemid boost button, theoverdrivecontrol, the musically alignedpresence
control and the passive 3-band EQ, and you’ll have a range of fantastic options available to tailor the sound
perfectlytoyourpersonalneeds.
1.1.3 JENSENloudspeaker
SincePeterJensen produced the firstloudspeakersin1923 JENSEN reshapedthecommunicationsindustry.
Asthedemandfor new electric guitar and bass amplifiersincreased,sodidtheneed for JENSEN speakers in
the50’sand 60’s. JENSENrepresentedtheworldwide industry standardforspeakerproducts and their sound
was in fact the sound of Rock ´n´ Roll. Still these vintage speakers are highly valued by top musicians and
collectors around the world. Famous american and british brands choose JENSENs for their top-of-the-line
products.Thereisnodoubtaboutthetremendousimpacttheloudspeakerhasonthesoundofelectricguitar
amplifiers. Consequently, JENSEN has put into production those legendary speakers again that contributed
so much to the history of modern music, using the most sophisticated and modern facilities Europe has to
offer.Youwillfind JENSEN speakers in top-of-the-line guitar amps.
1. INTRODUCTION

8
ULTRATWIN GX210
1.2 Before you begin
YourBEHRINGERULTRATWINwas carefully packed in the factory andthepackagingisdesigned to protect
theunitfromroughhandling.Nevertheless,we recommend that you carefully examine the packaging and its
contents for any signs of physical damage, which may have occurred during transit.
+If the unit is damaged, please do not return it to BEHRINGER, but notify your dealer and the
shipping company immediately, otherwise claims for damage or replacement may not be
granted. Shipping claims must be made by the consignee.
Besure thatthereis enoughspacearoundtheunit forcoolingand pleasedonot placethe ULTRATWINonhigh
temperaturedevicessuch as radiators etc. to avoidoverheating.
+Before you connect your ULTRATWIN to the mains, please make sure that your local voltage
matches the voltage required by the unit!
The mains connection of the ULTRATWIN is made by using the enclosed mains cable and a standard IEC
receptacle.Itmeetsallofthe international safety certification requirements.
+Please make sure that all units have a proper ground connection. For your own safety, never
remove or disable the ground conductor of the unit or of the AC power cable.
TheMIDI connection(IN)is madeoverstandardized DINplug-inconnectors. Anoptocouplerhas beenusedfor
isolateddatacommunications.
Youwill find additional informationinchapter 5 “INSTALLATION”.
1.3 Control elements
Fig. 1.1: The front panel of the ULTRATWIN GX210
TheBEHRINGER ULTRATWINGX210features13 controls,sixpush-buttons andone2-digit, 7-segment LED
display on its front panel. Additionally, there are two 1/4" jacks for input.
1. INTRODUCTION

9
ULTRATWIN GX210
1.3.1 Front panel
Fig. 1.2: The front panel control elements
1
These are the ULTRATWIN’s 1/4" PHONE JACK INPUTS to which you can connect your guitar. The
HI INPUThasbeen designed for low-outputguitars(e.g.those equipped with singlecoilpickups),while
the LO INPUT should be used for guitars with very high output power (e.g. guitars with humbuckers).
Useacommercial 1/4" mono cable(pleasenoDIY (DoItYourself),betteraskyourspecialized retailer),
withgoodmechanical and electrical shielding, so astoavoidunpleasantsurprises during rehearsals or
concerts.
2
TheCLEANchannel’s CLEAN VOLUME control determines the volume of thecleanchannel.
3
Press the CHANNEL button to toggle between the CLEAN and OVERDRIVE channels. When the
OVERDRIVE channel is on, the associated LED lights up.
4
Use the OVERDRIVEcontrol to determine the degree of distortion in the OVERDRIVE channel.
5
The MID BOOST button allows you to raise the midrange frequencies in the OVERDRIVE channel.
When the button is on, the associated control LED lights up.
6
Usethe MORPHINGcontroltocrossfade between the various distortion characteristics available.
7
The PRESENCEcontrol allows you to boost/cut the high midrange frequencies.
8
TheVOLUMEcontroladjuststhevolume of the OVERDRIVE channel.
+Use both VOLUME controls to optimize the volume ratio of the two channels, so that no volume
differences can be heard when switching from one channel to the other. This setting is also
effective on the level-dependent digital effects!
9
The BASS control in the EQ section boosts/cuts the low frequency range.
10
Use the MID controlto raise or lower the medium frequency range.
11
TheTREBLE controlgovernsthe high frequency range.
+Please note that with all three EQ controls set fully to the left, there will be no signal sent to the
speaker,which is due tothe classical and extremely efficient EQ circuitused in the ULTRATWIN.
12
The PARAMETER control allows you to edit one effect-specific parameter. Once selected with the
PARAMETER control, its value is displayed and the associated LED lights up (see ).
+When the MIDI functions are inactive, one effect can be stored for each of the two channels on
your ULTRATWIN, which allows for instance, to select a DELAY effect for the OVERDRIVE
channelandassign aREVERB/CHORUSeffect totheCLEAN channel.Thecorresponding program
numbers will be stored with the channels and can be recalled using the footswitch or the front
panel buttons. When MIDI is on, this assignment feature will be disabled, so that in this mode
both channels and effects can be selected separately.
13
TheSTATUS LEDsinformyouaboutthetypeofparameter you can edit with the PARAMETER control
(anexceptionbeingthe MIDI LED).
1. INTRODUCTION

10
ULTRATWIN GX210
sMIDI:This LEDlightsup whenyoupressbothUP andDOWNbuttons forabouttwo seconds.Subsequently,
youcan use these buttonstoset up aMIDIchannelfor MIDI datareception(1through 16, “ON”=Omni and
“OF”=off, or“ON”=Omni and1through16 plus onedecimalpoint each =StoreEnablemode, seechapter
3.2.1). Press the ENTER button to confirm your selection. The MIDI LED flashes as soon as MIDI data is
beingreceived.
+The Store Enable mode (see chapter 3.2.1) allows you to store presets directly via MIDI. Please
note that by sending MIDI control #18 values, any changes made to the currently active preset
will be permanently stored.
+Whenever the multi-functional MIDI LED flashes and the unit is not in edit mode, this indicates
that the DSP module’s output level is close to distortion. In this case, you should turn down the
VOLUME control a bit.
sTIME:ThisLEDlightsupwhenyouselectatime-domaineffectparameter(e.g.reverbordelaytime).
sSPEED:This LEDlightsup forallmodulation effects andindicatesthe LFOspeed(low-frequency oscillator)
orthespeed parameter of compress/expander.
sSENS: This LED informs you that you can adjust the sensitivity of effects such as Auto-Wah, Expander,
Compressor.
sPITCH:This LED lightsupwhenyou editthepitchshifter, andshowsthedetune factor, eitherinsemi-tones
or cents.
sEQ: This LED lights up when you edit the parameters of a filter-based effect.
Thebuilt-ineffectsmodule features 31 different effect groups and includesatotalof99effectvariations.
14
Use the ENTER button to confirm your program selection.
15
The DISPLAY reads either the program number of the selected preset or the value of the parameter
selected with the PARAMETER, EFFECT A or EFFECT B controls.
16
TheDOWN buttonallowsyoutodecrementthe program number.
17
With the UP button you can increment the program number of the built-in effects module. Keep the
buttonpressedtoscrollthroughtheprograms.
18
The EFFECT A control determines the ratio of original and effect signals. Depending on the preset
selected, you can either control the ratio of original and left-channel effect signals, or of original and
first-effect signals(combinationeffects).Some effects use this control to edit asecond,effect-specific
parameter.
19
UsetheEFFECTS buttontoactivate/deactivatetheselected effect.
20
The EFFECT B control determines the mix of original and effect signals. Depending on the preset
selected, you can either control the ratio of original to right-channel effect signals, or of original to
secondary-effect signals (combination effects). Some effects use this control to edit a third, effect-
specificparameter.
+When you start editing a preset, the decimal point in the 2-digit display starts flashing. Press
the ENTER button for a while to overwrite the factory preset and save your own effect setting.
To restore the factory presets, simply press and keep the ENTER button while you switch on
your ULTRATWIN.
21
TheAUXINcontrolinthe Master section determinesthevolume of the AUXsignalfedin via theAUXIN
jacksontherearoftheULTRATWIN(e.g.drumcomputer,playback).
22
ThePOWER LEDlightsupwhenyouswitchonyourULTRATWIN.
23
TheMASTERcontrolintheMaster section determines the overallvolumelevelof your ULTRATWIN.
24
Use the POWER switch to put the ULTRATWIN into operation.
1. INTRODUCTION

11
ULTRATWIN GX210
1.3.2 Rear panel
Fig.1.3: The rear panel connectors
25
FUSEHOLDER/VOLTAGESELECTOR.Pleasemakesurethat thevoltageindicatedontheunitmatches
your local voltage, before you attempt to connect and operate the ULTRATWIN GX210. Blown fuses
may only be replaced by fuses of the same type and rating. Some models allow for inserting the fuse
holder in two different positions, in order to switch over from 230 V to 115 V operation, and vice versa.
Please note that for 115 V operation outside Europe, you need to use a fuse of a higher rating (see
chapter5“INSTALLATION”).
26
Use the enclosed power cord to connect the unit to the mains.
27
SERIALNUMBER.Pleasetakethetimetohavethewarrantycardfilledout completelybyyourspecialized
dealer, and return it within 14 days after the date of purchase, so as to be entitled to benefit from our
extendedwarranty.
28
MIDIIN.ThisconnectorgivesyouMIDIremotecontroloveryourULTRATWIN.Youcanchangeparameters
usingcontrollerinformation,switchovereffectprograms,changechannelsandbypass theeffects module
bymeansofprogramchangeinstructions.
29
TheSPKOFFbuttonallowsyou to mute the speakersofyourULTRATWIN,forexample, when using a
pairofheadphones or during concerts.
30
The 1/4" stereo jack allows you to monitor the ULTRATWIN’s audio signal with a pair of commercially
availableheadphones.
+Since speakers can have quite an impact on the sound of a guitar amp, both the headphones
and LINE OUT/TAPE OUT signals are frequency-corrected (Speaker Emulation). Without this
frequency correction, extreme treble frequencies would deteriorate the sound. You can still
tap the unprocessed signal directly after the pre-amp (INSERT SEND jack), without interrupting
the signal path in the amplifier (INSERT RETURN jack may not be used in this case). Starting
with a certain volume level, low-impedance headphones may begin to produce distortion. In
such a case, please reduce the volume by turning down the VOLUME controls.
31
Using the SLAVE IN jacks you can feed in an external signal to be routed to the ULTRATWIN’s power
stage.Inthiscase,theconnectionbetweenpreampandpowerstagewillbedisabled.Thesejacksare
designedtodriveamasterguitarampfromtheULTRATWIN’spowerstage.Of course, you could also
insertaguitarpreamp.
+Since the SLAVE IN jacks are configured as insert jacks, you can also insert an external stereo
effects device. Use a dedicated insert cable which has a 1/4" stereo plug on the one end, and
two mono plugs on the other. Connect the tip contact (return) with the output, and the ring
contact (send) with the input of the effects device (see chapter 2.3).
32
The TAPE OUT jack provides the same signal as the LINE OUT jacks, however, has RCA jacks for
direct connection to a tape deck or HiFi system.
33
The TAPE IN jacks are the same as the AUX IN, however, have RCA jacks for direct connection to a
tape deck or a HiFi system.
1. INTRODUCTION

12
ULTRATWIN GX210
34
TheLINEOUTprovidesthe ULTRATWIN’s audio signalinstereo,for example, to send ittoarecording
machine.Thisoutput is frequency-corrected (Speaker Emulation).
35
The AUX IN allows you to feed in additional stereo signals, for example, to play with a drum computer
orsomesortofplayback.Additionally,youcanusetheAUXINincombinationwiththeINSERTSEND
as a parallel effect path: connect the INSERT SEND to the input and the AUX IN to the output of the
effects device (INSERT RETURN jack should not be used in this case!). Thus, the signal path in the
amplifier will not be interrupted and you can add the effect portion from the external device, using the
AUX control described in point . Please note that the external effects device must be set to 100 %
wetforthispurpose.
36
TheULTRATWINalso features a serialinsertpathfor external effects suchasawah-wah pedal. This is
the INSERT SEND jack you need to connect to the input of the effects device.
37
This is the INSERT RETURN jack that can be connected to the output of an external effects device.
+Please note that when using the serial effects path, the external effect should not be set to
100 % wet (100 % effect signal); otherwise, there will be no direct signal portion fed back to the
ULTRATWIN.
38
Connect the enclosed footswitch FS112 via its stereo plug to the FOOTSWITCH jack. The footswitch
allows you to change channels or disable the effects module.
2. WIRING EXAMPLES
2.1 Standard setup consisting of guitar, footswitch and external effects device
Touse yourULTRATWINfor rehearsalsoron stage,pleasewire uptheunitas showninfig. 2.1.Ofcourse, you
can also use a wah-wah or other pedal effect instead of the external 19" effects unit, or simply work with the
internal effects without having to use the insert path at all. Connecting the headphones will mute the built-in
speaker.
When you wish to use a guitar tuner, please connect it to the INSERT SEND of your ULTRATWIN. If there is
nofurthereffectsdevice connected, you can leave the INSERTRETURNasitis. However, to use an external
effects device, place the tuner before the effects in the signal chain, so that it works on unprocessed signals
only.
2. WIRINGEXAMPLES

13
ULTRATWIN GX210
Fig. 2.1: Standard setup
2.2 Expanded setup with MIDI foot controller, playback source and mixing console
Touse yourULTRATWINforadvanced applications,pleaseconsider thefollowingsuggestions.Of course,the
expandedconfigurationsuggestedinfig.2.2. builds on the standard setup described in chapter 2.1.
Use the MIDI foot controller to change presets and/or channels, set volume and wah, etc. The line out signal
canbefed into a P.A. orrecordingconsole,and the AUX input canbeusedto play back e.g. cassetterecorder
signalsthrough the GX210.
Fig.2.2:Expandedsetup
2. WIRINGEXAMPLES

14
ULTRATWIN GX210
2.3 Master/slave setup
2.3.1 The ULTRATWIN GX210 as master
TheSLAVEINjacks can also be used to amplify theULTRATWIN’ssignalwithan additional power amp. Use
twoconventional instrumentcables(one conductorplusshielding)havinga mono1/4"plug ontheone end,and
astereo1/4" plug on the other. Onthestereoplug, tip and ring should bebridged.Toroutethe ULTRATWIN’s
audio signal to the external power amp, connect the stereo plug to the SLAVE IN jacks and the mono plug to
the power amp input jacks.
Fig. 2.3: The ULTRATWIN GX210 as master
2.3.2 The ULTRATWIN GX210 as slave, driven by an external amp/preamp
To operate the stereo power stage of your ULTRATWIN from an external amplifier/preamp, connect the line
outputs of the external amp to the SLAVE IN jacks on the GX210. Use conventional instrument cables with
mono1/4" plug. Ifyouusea monopreamp,itssignal should besplitup among thetwoSLAVE IN inputsofyour
ULTRATWIN,usingacommercialYcable.
3. EFFECTS PROCESSOR
Averyspecial feature of yourULTRATWINisitsbuilt-in effects processor, whichoffersthesame audioquality
and algorithms as our popular 19" effects devices VIRTUALIZER PRO and MODULIZER PRO. This effects
module provides 31 different groups of first-class effects such as reverb, chorus, flanger, delay, pitch shifter,
compressor,expander, wah-wahvariations,variouscombinationeffects andeventube andspeakeremulation.
Thelatter,inparticular,canmake a guitarist’s life much easier in home recording studios, because they allow
you to record the amp’s signal without having to use a microphone. A total of 99 presets gives you a broad
rangeofversatileeffects, whichcan beeditedinthreeparameterseach.Additionally, themulti-effects processor
providesdifferent effects variations,whichare permanentlylinkedtothe presets.Allpresets can beoverwritten
with your own settings. To restore the factory default settings, simply keep the ENTER button pressed while
youpower uptheULTRATWIN.
The two buttons UP and DOWN allow you to select a preset. To activate the selected preset, simply press the
ENTERbutton.The display reads the number ofthecurrentlyactivepreset (the list on theeffectmoduleshows
thevariouseffectgroupsavailable).AssoonasyoueditapresetwiththePARAMETER,EFFECTAandEFFECT B
controls, the display will read the respective parameter values. After about three seconds or when you press
ENTER, UP or DOWN, the display will switch back to the program number. Whenever a parameter has been
changed, the decimal point in the 2-digit display starts flashing. To save your edits and overwrite the existing
preset,simplypresstheENTERbuttonforabouttwo seconds.TheEFFECTAandEFFECTBcontrolsdetermine
(witha few exceptions)themix oforiginalandeffect signals.EFFECTAcontrols theleftchannel and/or thefirst
effect(ifcombinationeffectsareused),andEFFECTBadjuststhe right channel and/or the second effect. As a
rule of thumb, values between 20 % (moderate effect) and 40 % (clearly audible effect) should deliver good
results.Inthecaseofreverbanddelaypresets,themixratioisadjustablefrom0 % through 50%instepsof1 %.
3. EFFECTSPROCESSOR

15
ULTRATWIN GX210
3.1 Description of effects
01-02 Spring Reverb: Even a guitar amp with a digital multi-effects processor should allow you to use a
springreverb. Thisalgorithmemulates thetypicalsound ofaspring reverb,asit isknownfrom numerous
guitaramps. However, hereyoudon’t havethetypical shatter soundwhenyour amp getsknockedover.
03-04 Studio: Thiseffectsimulates the characteristics of middle-sized rooms. Withitsnaturalsoundit can be
usedforagreatvarietyof applications.
05-06 Chamber: You can clearly hear the sound as it bounces back from the walls of this “room”. The
programisparticularlysuitedfor diffuse types of reverb or to make a dry guitar sound more natural.
07-08 Stage: A fine reverb e.g. to liven up and widen a clean guitar.
09-10 Concert: Here, you can choose from a small theater (preset 9, short pre-delay) or a large concert hall
(preset 10, long pre-delay). Compared to the STUDIO reverb program, these algorithms sound more
livelyand have moretreblefrequencies.
11-12 Plate: Thesound of anancientplate reverb. Aclassicalgorithmthat makesyourguitarsound wonderful
andenchanting.
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 algorithms 01 through 12 provide two variations each. Basically, the first variation uses a short pre-
delay (delay until the actual reverb can be heard), while the second variation works with long pre-delays. In
general,youcanadjustthereverbtimewiththePARAMETERcontrol,whilethetwoEFFECTcontrolsadjust
the mix of original and effect signals in the left/right channel.
13-14 Gated Reverb: This reverb is cut off abruptly and became famous through Phil Collins’“In the air
tonight”.UsetheEFFECTAcontroltoadjustthethresholdabovewhichthereverbistriggered(Sensitivity).
The higher this value, the less reverb you will hear. EFFECT B governs the mix of original and reverb
signals.ThePARAMETERcontroladjuststhereverbandgate times.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
13 GATED min. Density Gate/Reverb Time Sensitivity Mix
14 REVERB max. Density Gate/Reverb Time Sensitivity Mix
Tab. 3.2: Parameters of effects 13 and 14
3. EFFECTSPROCESSOR

16
ULTRATWIN GX210
15-16 Ambience: The reverb of any room consists of so-called “early reflections”and the reverb “tail”. This
algorithmemulatesthefirst 15of theseearlyreflections.Sinceourearsusethesereflections todetermine
theroomsize, they can be employedtocreatesubtleand impressive reverb densities, withoutclouding
theoverall signalwithlong reverbtails.The PARAMETERcontrolmodifies theroomsize, whileEFFECT
Aadjuststhe pre-delay time,andEFFECTB governs the mixoforiginaland effect signals. Thiseffectis
particularlyimpressivewhen played throughapairof headphones.
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
17-19 Wah/Delay/Distortion: In general, filters are used to provide some static equalization of a signal’s
frequencyresponse. The waheffect–combined with delayanddistortion in thispreset–allows the mid-
rangefrequenciesto pass, while it more orlesssuppressestheremaining frequency ranges. Guitarists
such as Jimi Hendrix and Eric Clapton made this effect popular, and it still hasn’t gone out of fashion.
Usethe PARAMETER controltoadjust the delaytime.EFFECT A allowsyouto determine thedistortion
intensity,which also dependsonthe volume settingschosenin the CLEANandOVERDRIVE channels.
WithEFFECTByoucaneditthe delay mix. Using MIDI controller #15 you can edit the operating range
of the wah effect, e.g. via a MIDI foot controller. In this way, it is possible to use the wah effect like an
analogwah foot pedal.
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: This effect produces a normal delay with adjustable delay time that passes a reverb
whose mix ratio can be edited.
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 algorithm delays the input signal and generates several repeats. The first five presets (21
through 24) produce a stereo delay, with the PARAMETER control setting the delay time for the right
channel.The left channel’s delay time is 2/3 aslong as that onthe right side. Asusual, EFFECT A and
EFFECTB determine themixof original andeffectsignals. Delay presets25through 29 offerlongmono
delay, which can be adjusted in their delay time (PARAMETER control), delay feedback (repeats,
EFFECTA)anddelaymixparameters(EFFECTB).
3. EFFECTSPROCESSOR

17
ULTRATWIN GX210
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 Feedback 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 all modulation effects is controlled by the PARAMETER control. EFFECT A controls the
effect intensity or depth. High values produce a very intensive effect. In the case of the tremolo algorithm,
EFFECTAadjuststhepanningbetweenleftand right, and vice versa.
30-33 Phaser: From a technical point of view, phasing is a modulation effect producing a multi-stage phase
shiftbetweendirect and effect signals. As thefrequency-dependentphaseshiftiscontrolled by an LFO
(low-frequency oscillator), the various frequency ranges of the signal are raised or lowered in their
amplitudes.Dependingonthesettingyou choose,the resultingphasing effectis eitherslightlymodulating
incharacterorproducesheavysoundcoloration reminiscent of a continuously modulated filter.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
30 Feedback 0 % LFO Speed Depth Mix
31 Feedback 62 % LFO Speed Depth Mix
32 Feedback 62 % LFO Speed Depth Mix
33 Feedback 77 % LFO Speed Depth Mix
PHASER
Tab. 3.7: Parameters of effects 30 through 33
34-37 Chorus: Imagine a string quartet, with each musician playing the same notes. As a matter of fact
though,no musician is abletoplay with anintonationaccuracyof 100%. Consequently,slightlydetuned
signal portions are produced which overlap in the time domain. To emulate this effect, chorusing uses
copiesoftheoriginalsignal,whicharethendelayedby 20 to 40 msec, detuned slightly and modulated
by the LFO. The result is a detune effect that is very pleasant in character. As this effect is used so
frequentlyandin such a variety ofsignal-wideningapplications,any recommendation given here would
mean a 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. EFFECTSPROCESSOR

18
ULTRATWIN GX210
38-42 Chorus/Reverb: Here,thesignalpasses a chorus effect with various intensitiesandthenareverb that
can be edited in 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 signal is chorused with various intensities, then follows a delay effect with
variousfeedbacklevels and adjustable delay 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 constantly modulates the pitch of the effect signal up and down by a few cents and
then sends the effect signal back to the input. This effect can be excellently combined with distorted
guitarsounds.
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
52-56 Flanger/Reverb: Here,aflangerwithvariousintensitiesisfollowedbyareverbwithadjustablereverb
time.
3. EFFECTSPROCESSOR

19
ULTRATWIN GX210
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 a flanger with various intensity levels, then comes a delay effect
with adjustable delay time.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
57 ultra Delay Time Flanger Mix Delay Mix
58 slow Delay Time Flanger Mix Delay Mix
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 a more or less fast, intensive variation of the signal amplitude, and is
complementedhereby a panorama 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 fast, intensive amplitude modulation complemented by a delay effect.
Thevariationsprovide for variousmodulationspeeds.The delay time canbeset 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. EFFECTSPROCESSOR

20
ULTRATWIN GX210
67-68 Rotary Speaker: This is the quintessential simulation of the classical organ effect normally produced
by speakers that rotate at slow/fast speed in a bulky and extremely heavy speaker cabinet. This effect
usesthe physical principleknownasDoppler effect. ThePARAMETERcontrol determines thespeedof
horn (treble) and rotor (bass), while EFFECT A allows you to modify the basic character of the sound.
Finally, EFFECT B lets you edit the mix ratio.
Preset-Nr. Effect 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 an absolutely up-to-date effect combined with a delay. EFFECT A governs the
basiccharacteroftheeffectin32steps,PARAMETERadjusts the delay time, and EFFECT B controls
the delay mix. As a little extra, this effect includes an LFO-controlled notch filter, which is added as of
Variation#24.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
69 - Delay Time Variation Delay Mix
70 - Delay Time Variation Delay Mix
MAGIC DRIVE
Tab. 3.17: Parameters of effects 69 and 70
71-72 Auto Wah: Auto Wah is a velocity-sensitive effect that allows low frequencies to pass, while high
frequenciesaremoreorlesssuppressed.PARAMETERcontrolstheeffectsensitivity, and EFFECT A
sets the cutoff frequency, which can be shifted upwards by raising this value.
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 Wah effect the LFO governs the speed of frequency modulation. Here, you can
producewah-waheffects that arerepeatedatregular intervals. Use thePARAMETERcontrolto set the
LFO speed, while EFFECT A determines the threshold frequency. The LFO Wah delivers astounding
results.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
73 LFO Band Pass LFO Speed Depth Mix
74 LFO Band Pass LFO Speed Depth Mix
LFO WAH
Tab. 3.19: Parameters of effects 73 and 74
3. EFFECTSPROCESSOR