Behringer Ultratwin GX212 User manual

Version 1.0 May 2001
Users Manual
ENGLISH
ULTRATWIN® GX212

2
ULTRATWIN GX212
This symbol, where er it appears, alerts
you to the presence of uninsulated
dangerous oltage inside the enclosure
 oltage that may be sufficient to
constitute a risk of shock.
This symbol, where er it appears, alerts
you to important operating and
maintenance instructions in the
accompanying literature. Read the
manual.
SAFETY INSTRUCTIONS
CAUTION: To reduce the risk of electrical shock, do not remo e
the co er (or back). No user ser iceable parts inside;
refer ser icing to qualified personnel.
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.
Follo instructions:
All operation and user 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 entilaton.
For example, the appliance should not be situated on a bed, sofa rug, or similar surface that may block the
entilation openings: or placed in a built-in installation, such as a bookcase or cabinet that may impede the
flow of air through the entilation openings.
Heat:
The appliance should be situated away from heat sources such as radiators, heat registers, sto es, or other
appliances (including amplifiers) that produce heat.
Po er Source:
The appliance should be connected to a power supply only of the type described in the operating instructions
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.
Po er-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, con enience 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:
Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.
Damage Requiring Service:
The appliance should be ser iced by qualified ser ice personnel when:
- the power supply cord or the plug has been damaged; or
- objects ha e fallen, or liquid has been spilled into the appliance; or
- the appliance has been exposed to rain; or
- the appliance does not appear to operate normally or exhibits a marked change in performance; or
- the appliance has been dropped, or the enclosure damaged.
Servicing:
The user should not attempt to ser ice the appliance beyond that which is described in the Operating Instructions.
All other ser icing should be referred to qualified ser ice personnel.

3
ULTRATWIN GX212
FOREWORD
Dear Customer,
Welcome to the team of ULTRATWIN users and thank you ery much for expressing your confidence in
BEHRINGER products by purchasing the GX212.
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 deli ered by our engineering team to reach a ery ambitious goal: To present you with a really
out-of-the-ordinary guitar workstation, which fully satisfies your and our expectations and deli ers a superior
sound quality, easy operation and technical specifications. In addition to that the guitar workstation is affordable
for almost e ery musician.
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. De eloping a product usually brings a lot of people together, and what a great
feeling it is when e erybody who participated in such a project can be proud of what we e achie ed.
It is our philosophy to share our joy with you, because you are the most important member of the BEHRINGER
family. With your highly competent suggestions for new products you e 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 fa orable price. All of this will enable you to fully unfold your
creati ity without being hampered by budget constraints.
We are often asked how we can make it possible to produce such high-grade de ices at such unbelie ably low
prices. The answer is quite simple: its you, our customers! Many satisfied customers, mean large sales
olumes 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!
I would like to thank the following people, whose help on Project ULTRATWIN GX212 has made it all possible:
sThe existing users of BEHRINGER equipment, whose comments and suggestions ha e made them the
most important members of the BEHRINGER design team,
sJan, whose passionate work has made the ULRATWIN a re olutionary intage guitar workstation,
sThorsten who designed this mar elous manual,
sVolker for the fine mechanics,
sand all the others, who ha e made ery personal contributions.
My friends, its been worth the trouble!
Thank you ery much,
Uli Behringer

4
ULTRATWIN GX212
GX212
ULTRATWIN®
Ultra-flexible 2 x 60 Watt Guitar Workstation with Digital Multi-Effects Processor
sPowerful 2 x 60 Watt RMS Guitar Workstation with authentic VIRTUBE® tube emulation
sTwo original 100 Watt hea y duty SHARK 12" guitar speakers model 12G100A
sTwo independent channels with separate olume controls, EQ and effects
sCLEAN channel deli ers clean and slightly distorted tube sounds
sOVERDRIVE channel offers a broad range, from modern crunch to high-gain sounds
sUnique Morphing control allows blending between arious distortion characteristics
sDedicated intage-type 3-band EQ
s24-bit stereo multi-effects processor with ultra-high resolution 24-bit AD/DA con erters
s31 original VIRTUALIZER®/MODULIZER® presets with world-class effects such as Re erb, Delay, Phaser,
Chorus, Flanger, Pitch Shifter, Speaker Simulator, Rotary Speaker, Magic Dri e, Compressor, Expander,
Wah, Tube Emulator and arious effect combinations
s99 outstanding and easy-to-edit user presets
sQuasi-analog operation: three FX parameters per preset can be edited with dedicated controls
sAdjustable aux and tape input for playback or other line-le el signals (e.g. CD player, drum computer, etc.)
sFrequency-corrected stereo line output for recording and li e applications
sAdditional speaker outputs
sInsert facility for external effects de ices (stomp boxes, wah-wah pedals, etc.)
sChannel select and effect bypass footswitch FS112 included
sComplete MIDI implementation for channel and effect selection as well as real time control
sMaster olume control and frequency-corrected stereo headphones output
sExtremely rugged construction ensures long life, e en under the most demanding conditions
sRobust power supply ensures excellent transient response
sManufactured under ISO9000 certified management system

5
ULTRATWIN GX212
TABLE OF CONTENTS
1. INTRODUCTION.....................................................................................................................6
1.1 Design concept ............................................................................................................................... 7
1.1.1 VIRTUBE technology ............................................................................................................ 7
1.1.2 Morphing ............................................................................................................................... 7
1.2 Before you begin ............................................................................................................................. 7
1.3 Control elements ............................................................................................................................. 8
1.3.1 Front panel ........................................................................................................................... 8
1.3.2 Rear panel .......................................................................................................................... 10
2. WIRING EXAMPLES ............................................................................................................. 12
2.1 Standard setup consisting of guitar, footswitch and external effects de ice .................................... 12
2.2 Expanded setup with MIDI foot controller, playback source and mixing console ............................ 12
2.3 Master/sla e setup ........................................................................................................................ 13
2.3.1 The ULTRATWIN GX212 as master ..................................................................................... 13
2.3.2 The ULTRATWIN GX212 as sla e, dri en by an external amp/preamp .................................. 13
3. EFFECTS PROCESSOR ...................................................................................................... 14
3.1 Description of effects..................................................................................................................... 14
3.2 Controlling the ULTRATWIN ia MIDI .............................................................................................. 23
3.2.1 Store Enable mode ............................................................................................................. 24
4. HISTORICAL BACKGROUND by Ne ille Marten (Guitarist Magazine) ......................... 24
5. INSTALLATION .....................................................................................................................25
5.1 Mains connection .......................................................................................................................... 25
5.2 Audio connections ........................................................................................................................ 25
5.2.1 Loudspeaker connection ..................................................................................................... 26
5.3 MIDI connection ............................................................................................................................ 26
6. APPENDIX ............................................................................................................................. 26
6.1 Preset list ..................................................................................................................................... 26
6.2 MIDI implementation ..................................................................................................................... 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 do n all LEVEL controls before you s itch on the unit. Al ays pay attention
to an appropriate volume.

6
ULTRATWIN GX212
1. INTRODUCTION
Thank you ery much for expressing your confidence in BEHRINGER products by purchasing the ULTRATWIN
GX212. With the ULTRATWIN, you ha e acquired a modern guitar workstation that sets new standards in
guitar amp engineering. When de eloping the GX212, our top objecti e was to reproduce the authentic sound
of classic guitar amps as perfectly as we could and combine it with latest DSP technology  while focusing on
a user interface that can be operated intuiti ely.
BEHRINGER is an audio engineering company that has been successfully de eloping products for studio and
li e applications for many years now. Our range of products includes microphones and a ariety of 19" de ices
(compressors, enhancers, gates, tube processors, headphone amps, digital effects de ices, DI boxes, etc.)
as well as arious monitoring and P.A. speakers plus professional li e and recording consoles. The name of
BEHRINGER stands for no-compromise quality, fully-featured products and exemplary ser ice  e en years
after purchase  as well as sensationally low prices, which allow any ambitious music lo ers 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
o er the past few years. Modern guitarists need to offer a broad range of sounds, but should still be able to play
in different kinds of applications at short notice: home recording, studio, li e concerts. For this reason, it has
always been our prime concern to gi e you a guitar workstation that offers you a complete set of functions, but
can still be operated intuiti ely and quickly  no matter what kind of style you play.
Unfortunately, con entional guitar amps are often not fully designed and de eloped. Moreo er, many manufacturers
of traditional-style guitar amps are somewhat afraid of using state-of-the-art technology. The ULTRATWIN, on
the other hand, is a pioneering guitar amp that has considerably more functions than any con entional
2-channel amp with a built-in spring re erb. Still, you can use the GX212 so that it mimics an excellently
sounding 2-channel combo amp with an  admittedly  good spring re erb (except for that shatter sound when
the amp gets knocked o er). Howe er, we recommend that you make yourself familiar with the ULTRATWIN in
full detail, so that you know what each of the many functions does and be able to fully exploit the numerous
effects and control options pro ided.
As technology ad ances, you e got to keep track of latest technological breakthroughs to a oid falling by the
wayside. We, too, ha e continuously impro ed this amp and included many of your aluable suggestions. We
ha e spared neither expense nor effort to test different types of circuitry and speakers until the results ga e us
complete satisfaction. After all, we really want to gi e you fully designed and de eloped products that meet
your expectations in e ery respect. The ULTRATWIN shall be a useful tool for years to come, which is why
we e equipped the effects modules of our guitar workstation with EPROMS that can be updated. In this way,
we can keep working on new algorithms and considering your ideas and suggestions. The resulting software
updates will be made a ailable for free on the Internet, so as to ensure that your amp will ne er be outdated.
We e packed our entire experience into this latest generation of guitar amps. Many people contributed to this
project of intense de elopment: studio musicians, collectors of intage guitar amps, music and guitar lo ers
alike. We e en in ited guitar amp tuning experts to help us de elop an amplifier that gi es you the best of all
worlds:
sSophisticated analog technology with a feel factor only analog technology can pro ide.
sPerfect simulation of tube-specific nuances to make up for the drawbacks encountered in tube designs
(short ser ice life, heat dissipation, poor mechanical stability).
sLatest DSP technology to gi e you a broad range of modern high-gain and intage-type effect sounds.
sRugged and solid construction which e en withstands roughest handling.
sIntuiti e 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 GX212
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
extreme linearity and ery low distortion characteristics. To complement this design, the choice of components
include low-tolerance resistors and capacitors, high-quality potentiometers and se eral other stringently selected
elements.
The ULTRATWIN uses SMD technology (Surface Mounted De ice). These subminiature components adapted
from aerospace technology allow for an extreme packing density to further impro e the o erall reliability.
The super-robust steel-plate enclosure of your ULTRATWIN, with its generously dimensioned power supply,
ensures that your GX212 will ne er fail on the stage  e en when the going gets tough. The enclosure is made
of high-grade and non-polluting E1-MDF wood, which consists of multiple tongued/glued layers and is absolutely
free of formaldehyde.
1.1.1 VIRTUBE technology
Tube preamps usually employ three to fi e triode stages in a series configuration, producing different degrees
of distortion, dynamic compression and frequency response modification. In addition to the characteristic
cur e that determines the signal distortion, the order of filter and distortion stages also plays an important role.
While you can enhance the sound of clean and slightly distorted signals by 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 ha e some sort of passi e and usually straightforward filter
circuitry installed between the single preamp stages. Using these filters you can determine which frequencies
will ha e an impact on the signal distortion.
Additionally, filter circuits following the distortion stage ser e to pro ide for an optimum blend of generated
upper harmonics in the output signal. Our VIRTUBE circuits ha e been designed to accurately simulate this
complex interaction with solid-state components. The EQs and filters between the single stages are modeled
on the circuitry found in classic tube amps. The non-linear characteristic cur es are simulated by means of
specially selected diodes. The result is an amplifier whose sounds feature a pronounced tube character.
1.1.2 Morphing
The BEHRINGER ULTRATWIN amplifiers are equipped with a special circuit that gi es you enormous flexibility
using the o erdri e channel. Owing to the rich upper harmonics spectrum of distorted sounds, the subsequent
filter circuits ha e quite a drastic effect on the o erall sound, which is why it seemed only natural to allow for a
ariety of creati e filter options.
Therefore, the BEHRINGER morphing circuit uses a tunable filter in addition to a classic 3-band EQ and
dedicated presence control. This filter allows you to create new sound nuances that would be impossible with
traditional passi e EQs. Add to this the mid boost button, the o erdri e control, the musically aligned presence
control and the passi e 3-band EQ, and youll ha e a range of fantastic options a ailable to tailor the sound
perfectly to your personal needs.
1.2 Before you begin
Your BEHRINGER ULTRATWIN was carefully packed in the factory and the packaging is designed to protect
the unit from rough handling. Ne ertheless, we recommend that you carefully examine the packaging and its
contents for any signs of physical damage, which may ha e occurred during transit.
+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 that there is enough space around the unit for cooling and please do not place the ULTRATWIN on high
temperature de ices such as radiators etc. to a oid o erheating.
+Before you connect your ULTRATWIN to the mains, please make sure that your local voltage
matches the voltage required by the unit!
1. INTRODUCTION

8
ULTRATWIN GX212
The mains connection of the ULTRATWIN is made by using the enclosed mains cable and a standard IEC
receptacle. It meets all of the international safety certification 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 made o er standardized DIN plug-in connectors. An optocoupler has been used for
isolated data communications.
You will find additional information in chapter 5 INSTALLATION.
1.3 Control elements
Fig. 1.1: The front panel of the ULTRATWIN GX212
The BEHRINGER ULTRATWIN GX212 features 16 controls, six push-buttons and one 2-digit, 7-segment LED
display on its front panel. Additionally, there are two 1/4" jacks for input.
1.3.1 Front panel
Fig. 1.2: The front panel control elements
1These are the ULTRATWINs 1 4" PHONE JACK INPUTS to which you can connect your guitar. The
HIINPUT has been designed for low-output guitars (e.g. those equipped with single coil pickups), while
the LO INPUT should be used for guitars with ery high output power (e.g. guitars with humbuckers).
Use a commercial 1/4" mono cable (please no DIY (Do It Yourself), better ask your specialized retailer),
with good mechanical and electrical shielding, so as to a oid unpleasant surprises during rehearsals or
concerts.
2The CLEAN channels CLEAN VOLUME control determines the olume of the clean channel.
3The BASS control in the EQ section allows you to boost or cut the bass frequencies in the CLEAN
channel.
4With the MID control you can boost/cut the midrange frequencies in the CLEAN channel.
5The TREBLE control adjusts the CLEAN channels upper frequency range.
+Please note that ith all three EQ controls in the CLEAN channel 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 ULTRATWIN.
6Press the CHANNEL button to toggle between the CLEAN and OVERDRIVE channels. When the
OVERDRIVE channel is on, the associated LED lights up.
7Use the OVERDRIVE control to determine the degree of distortion in the OVERDRIVE channel.
1. INTRODUCTION

9
ULTRATWIN GX212
8The 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.
9Use the MORPHING control to crossfade between the arious distortion characteristics a ailable.
10 The PRESENCE control allows you to boost/cut the high midrange frequencies of the OVERDRIVE
channel.
11 The VOLUME control adjusts the olume of the OVERDRIVE channel.
+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. This setting is also
effective on the level-dependent digital effects!
12 The BASS control in the EQ section allows you to boost/cut the bass frequencies in the OVERDRIVE
channel.
13 With the MID control you can boost/cut the midrange frequencies in the OVERDRIVE channel.
14 The TREBLE control adjusts the OVERDRIVE channels upper frequency range.
+Please note that ith all three EQ controls in the OVERDRIVE channel 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 ULTRATWIN.
15 The PARAMETER control allows you to edit one effect-specific parameter. Once selected with the
PARAMETER control, its alue is displayed and the associated LED lights up (see ).
16 The STATUS LEDs inform you about the type of parameter you can edit with the PARAMETER control
(an exception being the MIDI LED).
sMIDI: This LED lights up when you press both UP and DOWN buttons for about two seconds. Subsequently,
you can use these buttons to set up a MIDI channel for MIDI data reception (1 through 16, ON = Omni and
OF = off, or ON = Omni and 1 through 16 plus one decimal point each = Store Enable mode, see chapter
3.2.1). Press the ENTER button to confirm your selection. The MIDI LED flashes as soon as MIDI data is
being recei ed.
+The Store Enable mode (see chapter 3.2.1) allo s you to store presets directly via MIDI. Please
note that by sending MIDI control #18 values, any changes made to the currently active preset
ill 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 do n the
VOLUME control a bit.
sTIME: This LED lights up when you select a time-domain effect parameter (e.g. re erb or delay time).
sSPEED: This LED lights up for all modulation effects and indicates the LFO speed (low-frequency oscillator)
or the speed parameter of compress/expander.
sSENS: This LED informs you that you can adjust the sensiti ity of effects such as Auto-Wah, Expander,
Compressor.
sPITCH: This LED lights up when you edit the pitch shifter, and shows the detune factor, either in semi-tones
or cents.
sEQ: This LED lights up when you edit the parameters of a filter-based effect.
The built-in effects module features 31 different effect groups and includes a total of 99 effect ariations.
17 The DISPLAY reads either the program number of the selected preset or the alue of the parameter
selected with the PARAMETER, EFFECT A or EFFECT B controls.
18 Use the ENTER button to confirm your program selection.
+When the MIDI functions are inactive, one effect can be stored for each of the t o channels on
your ULTRATWIN, hich allo s for instance, to select a DELAY effect for the OVERDRIVE
channel and assign a REVERB/CHORUS effect to the CLEAN channel. The corresponding program
1. INTRODUCTION

10
ULTRATWIN GX212
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.
19 The DOWN button allows you to decrement the program number.
20 With the UP button you can increment the program number of the built-in effects module. Keep the
button pressed to scroll through the programs.
+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
your ULTRATWIN.
21 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 (combination effects). Some effects use this control to edit a second, effect-specific
parameter.
22 Use the EFFECTS button to acti ate/deacti ate the selected effect.
23 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-
specific parameter.
24 The AUX IN control in the Master section determines the olume of the AUX signal fed in ia the AUX IN
jacks on the rear of the ULTRATWIN (e.g. drum computer, playback).
25 The POWER LED lights up when you switch on your ULTRATWIN.
26 The MASTER control in the Master section determines the o erall olume le el of your ULTRATWIN.
27 Use the POWER switch to put the ULTRATWIN into operation.
1.3.2 Rear panel
Fig. 1.3: The rear panel connectors
28 FUSE HOLDER VOLTAGE SELECTOR. Please make sure that the oltage indicated on the unit matches
your local oltage, before you attempt to connect and operate the ULTRATWIN GX212. 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 o er from 230 V to 115 V operation, and ice ersa.
Please note that for 115 V operation outside Europe, you need to use a fuse of a higher rating (see
chapter 5 INSTALLATION).
29 Use the enclosed power cord to connect the unit to the mains.
30 MIDI IN. This connector gi es you MIDI remote control o er your ULTRATWIN. You can change parameters
using controller information, switch o er effect programs, change channels and bypass the effects module
by means of program change instructions.
31 SERIAL NUMBER. Please take the time to ha e the warranty card filled out completely by your specialized
dealer, and return it within 14 days after the date of purchase, so as to be entitled to benefit from our
extended warranty.
1. INTRODUCTION

11
ULTRATWIN GX212
32 The connectors EXT. LEFT and EXT. RIGHT allow for connecting external loudspeakers. Please always
connect speakers with a minimum resistance of 4 W. Maximum power will be deli ered if 8 W speakers
are connected. Push down the INTERNAL OFF button (see ) to operate external speakers.
33 Use the INTERNAL OFF switch to mute the internal speakers of your ULTRATWIN, in particular, when
monitoring the amp with a pair of headphones. When external speakers are connected, you need to
push down this switch to re-route the audio signal. You can also use the SPK OFF switch to mute the
speakers during a concert.
34 The 1/4" stereo jack allows you to monitor the ULTRATWINs audio signal with a pair of commercially
a ailable headphones.
+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 ould deteriorate the sound. You can still
tap the unprocessed signal directly after the pre-amp (INSERT SEND jack), ithout interrupting
the signal path in 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 do n the VOLUME controls.
35 Using the SLAVE IN jacks you can feed in an external signal to be routed to the ULTRATWINs power
stage. In this case, the connection between preamp and power stage will be disabled. These jacks are
designed to dri e a master guitar amp from the ULTRATWINs power stage. Of course, you could also
insert a guitar preamp.
+Since the SLAVE IN jacks are configured as insert jacks, you can also insert an external stereo
effects device. Use a dedicated insert cable hich has a 1/4" stereo plug on the one end, and
t o mono plugs on the other. Connect the tip contact (return) ith the output, and the ring
contact (send) ith the input of the effects device (see chapter 2.3).
36 The TAPE OUT jack pro ides the same signal as the LINE OUT jacks, howe er, has RCA jacks for
direct connection to a tape deck or HiFi system.
37
The TAPE IN jacks are the same as the AUX IN, howe er, ha e RCA jacks for direct connection to a
tape deck or a HiFi system.
38 The LINE OUT pro ides the ULTRATWINs audio signal in stereo, for example, to send it to a recording
machine. This output is frequency-corrected (Speaker Emulation).
39 The AUX IN allows you to feed in additional stereo signals, for example, to play with a drum computer
or some sort of playback. Additionally, you can use the AUX IN in combination with the INSERT SEND
as a parallel effect path: connect the INSERT SEND to the input and the AUX IN to the output of the
effects de ice (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 de ice, using the
AUX control described in point . Please note that the external effects de ice must be set to 100 %
wet for this purpose.
40 The ULTRATWIN also features a serial insert path for external effects such as a wah-wah pedal. This is
the INSERT SEND jack you need to connect to the input of the effects de ice.
41 This is the INSERT RETURN jack that can be connected to the output of an external effects de ice.
+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
ULTRATWIN.
42 Connect the enclosed footswitch FS112 ia its stereo plug to the FOOTSWITCH jack. The footswitch
allows you to change channels or disable the effects module.
1. INTRODUCTION

12
ULTRATWIN GX212
2. WIRING EXAMPLES
2.1 Standard setup consisting of guitar, footswitch and external effects de ice
To use your ULTRATWIN for rehearsals or on stage, please wire up the unit as shown in fig. 2.1. Of course, 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 ha ing 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
no further effects de ice connected, you can lea e the INSERT RETURN as it is. Howe er, to use an external
effects de ice, place the tuner before the effects in the signal chain, so that it works on unprocessed signals
only.
Fig. 2.1: Standard setup
2.2 Expanded setup with MIDI foot controller, playback source and mixing console
To use your ULTRATWIN for ad anced applications, please consider the following suggestions. Of course, the
expanded configuration suggested in fig. 2.2. builds on the standard setup described in chapter 2.1.
Use the MIDI foot controller to change presets and/or channels, set olume and wah, etc. The line out signal
can be fed into a P.A. or recording console, and the AUX input can be used to play back e.g. cassette recorder
signals through the GX212.
2. WIRING EXAMPLES

13
ULTRATWIN GX212
Fig. 2.2: Expanded setup
2.3 Master/sla e setup
2.3.1 The ULTRATWIN GX212 as master
The SLAVE IN jacks can also be used to amplify the ULTRATWINs signal with an additional power amp. Use
two con entional instrument cables (one conductor plus shielding) ha ing a mono 1/4" plug on the one end, and
a stereo 1/4" plug on the other. On the stereo plug, tip and ring should be bridged. To route the 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 GX212 as master
2.3.2 The ULTRATWIN GX212 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 GX212. Use con entional instrument cables with
mono 1/4" plug. If you use a mono preamp, its signal should be split up among the two SLAVE IN inputs of your
ULTRATWIN, using a commercial Y cable.
2. WIRING EXAMPLES

14
ULTRATWIN GX212
3. EFFECTS PROCESSOR
A ery special feature of your ULTRATWIN is its built-in effects processor, which offers the same audio quality
and algorithms as our popular 19" effects de ices VIRTUALIZER PRO and MODULIZER PRO. This effects
module pro ides 31 different groups of first-class effects such as re erb, chorus, flanger, delay, pitch shifter,
compressor, expander, wah-wah ariations, arious combination effects and e en tube and speaker emulation.
The latter, in particular, can make a guitarists life much easier in home recording studios, because they allow
you to record the amps signal without ha ing to use a microphone. A total of 99 presets gi es you a broad
range of ersatile effects, which can be edited in three parameters each. Additionally, the multi-effects processor
pro ides different effects ariations, which are permanently linked to the presets. All presets can be o erwritten
with your own settings. To restore the factory default settings, simply keep the ENTER button pressed while
you power up the ULTRATWIN.
The two buttons UP and DOWN allow you to select a preset. To acti ate the selected preset, simply press the
ENTER button. The display reads the number of the currently acti e preset (the list on the effect module shows
the arious effect groups a ailable). As soon as you edit a preset with the PARAMETER, EFFECT A and EFFECTB
controls, the display will read the respecti e parameter alues. After about three seconds or when you press
ENTER, UP or DOWN, the display will switch back to the program number. Whene er a parameter has been
changed, the decimal point in the 2-digit display starts flashing. To sa e your edits and o erwrite the existing
preset, simply press the ENTER button for about twoseconds. The EFFECT A and EFFECT B controls determine
(with a few exceptions) the mix of original and effect signals. EFFECT A controls the left channel and/or the first
effect (if combination effects are used), and EFFECT B adjusts the right channel and/or the second effect. As a
rule of thumb, alues between 20 % (moderate effect) and 40 % (clearly audible effect) should deli er good
results. In the case of re erb and delay presets, the mix ratio is adjustable from 0 % through 50 % in steps of 1%.
3.1 Description of effects
01-02 Spring Reverb: E en a guitar amp with a digital multi-effects processor should allow you to use a
spring re erb. This algorithm emulates the typical sound of a spring re erb, as it is known from numerous
guitar amps. Howe er, here you dont ha e the typical shatter sound when your amp gets knocked o er.
03-04 Studio: This effect simulates the characteristics of middle-sized rooms. With its natural sound it can be
used for a great ariety of applications.
05-06 Chamber: You can clearly hear the sound as it bounces back from the walls of this room. The
program is particularly suited for diffuse types of re erb or to make a dry guitar sound more natural.
07-08 Stage: A fine re erb e.g. to li en 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 re erb program, these algorithms sound more
li ely and ha e more treble frequencies.
11-12 Plate: The sound of an ancient plate re erb. A classic algorithm that makes your guitar sound wonderful
and enchanting.
3. EFFECTS PROCESSOR

15
ULTRATWIN GX212
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
Re erb algorithms 01 through 12 pro ide two ariations each. Basically, the first ariation uses a short pre-
delay (delay until the actual re erb can be heard), while the second ariation works with long pre-delays. In
general, you can adjust the re erb time with the PARAMETER control, while the two EFFECT controls adjust
the mix of original and effect signals in the left/right channel.
13-14 Gated Reverb: This re erb is cut off abruptly and became famous through Phil Collins In the air
tonight. Use the EFFECT A control to adjust the threshold abo e which the re erb is triggered (Sensiti ity).
The higher this alue, the less re erb you will hear. EFFECT B go erns the mix of original and re erb
signals. The PARAMETER control adjusts the re erb and gate 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
15-16 Ambience: The re erb of any room consists of so-called early reflections and the re erb tail. This
algorithm emulates the first 15 of these early reflections. Since our ears use these reflections to determine
the room size, they can be employed to create subtle and impressi e re erb densities, without clouding
the o erall signal with long re erb tails. The PARAMETER control modifies the room size, while EFFECT
A adjusts the pre-delay time, and EFFECT B go erns the mix of original and effect signals. This effect is
particularly impressi e when played through a pair of 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
3. EFFECTS PROCESSOR

16
ULTRATWIN GX212
17-19 Wah/Delay/Distortion: In general, filters are used to pro ide some static equalization of a signals
frequency response. The wah effect  combined with delay and distortion in this preset  allows the mid-
range frequencies to pass, while it more or less suppresses the remaining frequency ranges. Guitarists
such as Jimi Hendrix and Eric Clapton made this effect popular, and it still hasnt gone out of fashion.
Use the PARAMETER control to adjust the delay time. EFFECT A allows you to determine the distortion
intensity, which also depends on the olume settings chosen in the CLEAN and OVERDRIVE channels.
With EFFECT B you can edit the delay mix. Using MIDI controller #15 you can edit the operating range
of the wah effect, e.g. ia a MIDI foot controller. In this way, it is possible to use the wah effect like an
analog wah 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 re erb
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 se eral repeats. The first fi e 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 as long as that on the right side. As usual, EFFECT A and
EFFECT B determine the mix of original and effect signals. Delay presets 25 through 29 offer long mono
delay, which can be adjusted in their delay time (PARAMETER control), delay feedback (repeats,
EFFECT A) and delay mix parameters (EFFECT B).
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
3. EFFECTS PROCESSOR

17
ULTRATWIN GX212
The LFO speed of all modulation effects is controlled by the PARAMETER control. EFFECT A controls the
effect intensity or depth. High alues produce a ery intensi e effect. In the case of the tremolo algorithm,
EFFECT A adjusts the panning between left and right, and ice ersa.
30-33 Phaser: From a technical point of iew, phasing is a modulation effect producing a multi-stage phase
shift between direct and effect signals. As the frequency-dependent phase shift is controlled by an LFO
(low-frequency oscillator), the arious frequency ranges of the signal are raised or lowered in their
amplitudes. Depending on the setting you choose, the resulting phasing effect is either slightly modulating
in character or produces hea y sound coloration 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 able to play with an intonation accuracy of 100%. Consequently, slightly detuned
signal portions are produced which o erlap in the time domain. To emulate this effect, chorusing uses
copies of the original signal, which are then delayed by 20 to 40 msec, detuned slightly and modulated
by the LFO. The result is a detune effect that is ery pleasant in character. As this effect is used so
frequently and in such a ariety of signal-widening applications, any recommendation gi en 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
38-42 Chorus/Reverb: Here, the signal passes a chorus effect with arious intensities and then a re erb 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
3. EFFECTS PROCESSOR

18
ULTRATWIN GX212
43-47 Chorus/Delay: First, the signal is chorused with arious intensities, then follows a delay effect with
arious feedback le els 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
guitar 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
52-56 Flanger/Reverb: Here, a flanger with arious intensities is followed by a re erb with adjustable re erb
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
3. EFFECTS PROCESSOR

19
ULTRATWIN GX212
57-61 Flanger/Delay: The first element is a flanger with arious intensity le els, 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, intensi e ariation of the signal amplitude, and is
complemented here by 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, intensi e amplitude modulation complemented by a delay effect.
The ariations pro ide for arious modulation speeds. The delay time can 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
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 hea y speaker cabinet. This effect
uses the physical principle known as Doppler effect. The PARAMETER control determines the speed of
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
3. EFFECTS PROCESSOR

20
ULTRATWIN GX212
69-70 Magic Drive: This is an absolutely up-to-date effect combined with a delay. EFFECT A go erns the
basic character of the effect in 32 steps, PARAMETER adjusts 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 elocity-sensiti e effect that allows low frequencies to pass, while high
frequencies are more or less suppressed. PARAMETER controls the effect sensiti ity, and EFFECT A
sets the cutoff frequency, which can be shifted upwards by raising this alue.
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 go erns the speed of frequency modulation. Here, you can
produce wah-wah effects that are repeated at regular inter als. Use the PARAMETER control to set the
LFO speed, while EFFECT A determines the threshold frequency. The LFO Wah deli ers 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. EFFECTS PROCESSOR