Behringer V-Tone GMX110 User manual

Version 1.0 August 2003
Users Manual
ENGLISH
V-TONE GMX110/GMX210/GMX212
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2
V-TONE GMX110/GMX210/GMX212
DETAILED SAFETY INSTRUCTIONS:
1) Read these instructions.
) Keep these instructions.
3) Adhere to all warnings.
4) Follow all instructions.
5) Do not use this device near water.
6) Clean only with a dry cloth.
7) Do not block any ventilation openings. Install in
accordance with the manufacturers instructions.
8) Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
9) Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. If
the provided plug does not fit into your outlet, consult
an electrician for replacement of the obsolete outlet.
10) Protect the power cord from being walked on or
pinched particularly at plugs, extension cords, and the
point at which they exit the equipment.
11) Only use attachments/accessories specified by the
manufacturer.
1 ) Use only with the cart, stand, tripod, bracket, or table
specified by the manufacturer, or sold with the device.
When a cart is used, use caution when moving the cart/
device combination to avoid injury from stumbling over
it.
13) Unplug this piece of equipment during lightning
storms or when not used for long periods of time.
14) Refer all servicing to qualified service personnel.
Servicing may be required when this piece of equipment
has been damaged in any way, such as when power
supply cord or plug is damaged, liquid has been spilled
or objects have fallen inside, it has been exposed to rain
or moisture, it does not operate normally, or has been
dropped.
IMPORTANT SAFETY PRECAUTIONS
CAUTION: To reduce the risk of electric shock, do not remove
the cover (or back). No user-serviceable parts
inside; refer servicing to qualified personnel. Onl
qualified personnel ma perform repairs.
WARNING: To reduce the risk of fire or electric shock, do not
expose this equipment to rain and moisture.
This s mbol, wherever it appears, alerts ou to
important operating and maintenance instructions
in the accompan ing literature. Please read the
manual.
This s mbol, wherever it appears, alerts ou to the
presence of uninsulated dangerous voltage inside
the enclosurevoltage that ma be sufficient to
constitute a risk of shock.
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3
V-TONE GMX110/GMX210/GMX212
TABLE OF CONTENTS
1. INTRODUCTION ......................................................... 4
1.1 The concept .................................................................... 4
1.2 DYNAMIZER technolog and analog modeling .............. 4
1.3 Before ou get started ................................................... 4
1.3.1 Shipment ................................................................ 4
1.3.2 Initial operation ....................................................... 4
1.3.3 Warrant ................................................................ 4
2. CONTROL ELEMENTS AND CONNECTIONS ............. 5
2.1 Front panel ...................................................................... 5
2.2 Rear panel ....................................................................... 5
3. APPLICATIONS .......................................................... 6
3.1 Practice setup with pla back ......................................... 6
3.2 Recording setup with an external effects device ......... 7
3.3 Live setup with a MIDI foot controller ............................. 7
4. EFFECTS PROCESSOR .............................................. 8
4.1 FXT effects tracking ....................................................... 8
4.2 The effects ..................................................................... 8
4.3 MIDI control ................................................................... 10
5. TUNER ...................................................................... 11
5.1 Tuning our guitar ......................................................... 11
5.2 Setting up the a reference tone ................................. 11
6. INSTALLATION ......................................................... 11
6.1 Audio connections ........................................................ 11
6.2 Speaker connection ...................................................... 12
6.3 MIDI connection ............................................................. 12
7. APPENDIX ................................................................ 12
7.1 MIDI implementation ....................................................... 12
7.2 Effect presets ............................................................... 13
8. SPECIFICATIONS ..................................................... 14
9. WARRANTY .............................................................. 15
FOREWORD
Dear Customer,
welcome to the team of
BEHRINGER users, and
thank ou ver much for
expressing our confi-
dence in us b pur-
chasing the BEHRINGER
V-TONE.
Writing this foreword
for ou gives me great
pleasure, because it
represents the cul-
mination of man months
of hard work delivered
b our engineering
team to achieve a ver
ambitious goal: to de-
velop three outstanding
guitar amps that are at
the forefront of what is
technicall possible and that can be used in man different
applications. Our guitar amps offer ou strong performance,
their sound is amazingl clear, and the are eas to use both as
direct recording amps as well as stage amps. The task of designing
our new V-TONEs certainl meant a great deal of responsibilit ,
which we assumed b focusing on ou, the discerning user and
musician. Meeting our expectations also meant a lot of work
and night shifts. But it was fun, too. Developing a product usuall
brings a lot of people together, and what a great feeling it is
when all who participated in such a project can be proud of
what the ve achieved.
It is our philosoph to share our enjo ment with ou, because
ou are the most important member of the BEHRINGER team.
With our highl competent suggestions for new products ouve
made a significant contribution to shaping our compan and making
it successful. In return, we guarantee ou uncompromising qualit
as well as excellent technical and audio properties at an extremel
reasonable price. All of this will enable ou to give free rein to
our creativit without being hampered b budget constraints.
We are often asked how we manage to produce such high-
qualit devices at such unbelievabl low prices. The answer is
quite simple: its ou, our customers! Man satisfied customers
mean large sales volumes enabling us to get better purchasing
terms for components, etc. Isnt it onl fair to pass this benefit on
to ou? Because we know that our success is our success
too!
I would like to thank all of ou who have made the V-TONE
Series possible. You have all made our own personal
contributions, from the developers to the man other emplo ees
at this compan , and to ou, the BEHRINGER user.
M friends, its been worth the effort!
Thank ou ver much,
Uli Behringer WARNING!
+We would like to bring your attention to the fact that
extremely loud sound levels may damage your
hearing as well as your headphones. Please turn
the MASTER control all the way to the left before
powering up the unit. Always try to keep volume at
appropriate levels.
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4
V-TONE GMX110/GMX210/GMX212
1. INTRODUCTION
Thank ou for the trust that ou have placed in us b bu ing
our V-TONE. You have gotten our hands on a latest-generation
guitar amp that sets completel new standards when it comes to
analog modeling.
Our primar goal during development was to simulate the
t pical sounds of analog guitar amps, and at the same time give
ou a powerful sound tool that ou can use flexibl . In doing so,
we constantl strove to create a piece of equipment that is
intuitive and eas to use.
The demands placed on a guitar amp are nowada s ver
broad. A guitarist should offer a wide arra of sounds, but at the
same time be able to quickl adapt to specific requirements of
various applicationsbe it home recording, studio, live perfor-
mances, etc. Thats wh it is ver important to us to be able to
offer ou a maximal sound diversit as well as diverse connection
possibilities with our V-TONE. Fret not: ou will quickl master
the V-TONE and will be able to quickl learn how to use all of its
capabilities easil and intuitivel .
With its up-to-date circuitr , its digital signal processor (DSP)
and its integrated tuner, the V-TONE features the functionalit
and dependabilit of a trul modern guitar amp. Yet it is user-
friendl and problem-free as if it were a classic tube combo. We
highl recommend taking our time to trul learn all of the
V-TONEs functions so ou can reach its maximum potential.
1.1 The concept
The BEHRINGER compan philosoph guarantees a perfectl
thought-out circuitr concept, with components that were
selected without cutting an corners. The operational amplifiers
that BEHRINGER uses in the V-TONE are some of the most noise-
free operational amps around, and are characterized b extreme
linearit and low distortion. The are complemented b low-
tolerance resistors and capacitors, high-value potentiometers
and switches as well as additional select components.
The robust housing of our V-TONE, with its oversize power
suppl , gives ou the peace of mind that the V-TONE will hold its
own even under the most demanding stage conditions. The
housing is made of high-grade, environment-friendl MDF wood
consisting of multipl impregnated la ers.
1.2 DYNAMIZER technology and
analog modeling
When an electric instrument is amplified, thats where ou
either make it or break it. Unlike the signals that have been mixed
and mastered, the signals of electric instruments have extremel
high signal peaks, placing the d namic range of the amps circuitr
under immense strain. How our amp reacts to these signal
peaks is one of its most defining characteristics.
Thats wh weve equipped all V-TONE Series amps with our
unique DYNAMIZER preamplifier circuitr . It guarantees a livel
sound with a lot of punch, even when the amp is pushed to its
limits. Combine that with our V-TONE analog modeling, and not
onl do ou have amazingl authentic tube sounds at our
fingertips, ou also get the d namic performance t pical of the
respective amp t pe. Cr stal-clear guitar tones come through
with transparenc , warmth and the compression t pical of tube
amps. Even as distortion increases, the sound remains livel
and full of power, without losing an of its assertiveness.
All along, ou have full control over the volume. Plainl talking,
ou can take the same sound ou are used to at our practice
room and replicate it in our bedroom at much more reasonable
volume levels, or ou can even record ourself while pla ing.
+The following users manual will familiarize you with
the control elements of your new V-TONE and let
you learn all of its functions. After reading this
manual, store it somewhere where you can easily
find in the future, should you need to look up some
information.
1.3 Befo e you get sta ted
1.3.1 Shi ment
The V-TONE was carefull packed at the assembl plant to
assure secure transport.
Should the condition of the cardboard box suggest that our
V-TONE ma have been damaged in transport, please inspect
the unit immediatel and look for ph sical indications of damage.
+Damaged equipment should NEVER be sent directly
to us. Please inform the dealer from whom you
acquired it immediately as well as the
transportation company from which you took
delivery. Otherwise, all claims for replacement/
repair may be rendered invalid.
1.3.2 Initial o eration
Please make sure that our V-TONE is provided with sufficient
ventilation, and never place it on other amplifiers or in the vicinit
of a heater to avoid the risk of overheating.
+Before plugging your V-TONE into a power socket,
please make sure you have selected the correct
voltage:
The fuse mount near the power cord connector has three
triangular markings. Two of these triangles are facing opposite
one another. Your V-TONE is set up for the voltage indicated
near these markings, and can be altered b turning the fuse
mount b 180 degrees. ATTENTION: This does not apply to
export models built for 1 0 V, for example!
+If you use your V-TONE unit with a different voltage,
you must change the fuses accordingly. The correct
value of the fuses needed can be found in the
chapter SPECIFICATIONS.
+Faulty fuses must be replaced with fuses of
appropriate rating, without exception! The correct
value of the fuses needed can be found in the
chapter SPECIFICATIONS.
Power is delivered via the cable that was delivered with the
V-TONE. All mandator safet precautions have been adhered
to.
+Please make sure that all your equipment is
grounded at all times. For your own protection, you
should never tamper with the grounding of the cable
or the unit itself.
MIDI connection is established using a standard DIN connector.
Data transfer occurs via isolated opto-couplers. Additional
information can be found in chapter 6, INSTALLATION.
1.3.3 Warranty
Please send the completel filled out warrant card within 14
da s of purchase to us, as warrant claims ma otherwise be
rendered invalid. The serial number of our V-TONE is located
on the rear. Alternativel , ou ma register online at
www.behringer.com.
1. INTRODUCTION
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5
V-TONE GMX110/GMX210/GMX212
2. CONTROL ELEMENTS
AND CONNECTIONS
Control elements of our V-TONE guitar amp are described in
this chapter. All controls and connections are explained in detail,
and we give ou useful tips about using them. An illustration of
the control elements with the corresponding numbering can be
found on the separatel included supplementar sheet.
Since the V-TONE GMX210 and GMX212 feature two identical
MODELING CHANNELS, control elements to in the
following chapter are described onl once.
2.1 F ont panel
The connector labeled INPUT is the 1/4" jack input of our
V-TONE. Use it to connect our guitar. Use a commerciall
available 1/4" jack mono cable (no DIY, better ask our
specialized dealer), with good mechanical and electrical
shielding to avoid unpleasant surprises during rehearsals
or concerts.
On the GMX110, the CLEAN control modifies the volume of
the CLEAN channel in relation to the MODELING CHANNEL.
Use the CHANNEL ke to switch between the two
MODELING CHANNELS (GMX210 and GMX212 onl ). The
channel LED of the active channel lights up. On the
GMX110, the CHANNEL ke switches between CLEAN
and MODELING CHANNEL. CLEAN CHANNEL is active when
the channel LED is not lit up. With all three models
(GMX110, GMX210 and GMX212), ou can also switch
between channels using the provided footswitch. A long
hit (approx. 2 seconds) on the CHANNEL ke activates
the guitar tuner.
The DRIVE control determines the amount of distortion in
the respective MODELING CHANNEL. This wa , the preamp
of our V-TONE can be ideall adjusted to the output level
of our guitar pick-up to achieve the desired amount of
distortion (depending on the amp, mode and speaker
combination ou selected).
The CHANNEL LED indicates the currentl selected
channel.
Use the AMP switch to dial up the basic sounds of the
three guitar amps that orient themselves on classic tube
amps. You will surel recognize these classic amp sounds
as soon as ou hear them. Expect cr stal-clear, transparent
sounds with d namic basses if ou select TWEED. You
get aggressive mids and pressure-rich, inescapable
assertiveness and endurance when ou select BRITISH.
Rounder and more evened-out ( et still sophisticated)
sounds can be dialed up if ou select CALIF.(ORNIAN); its
perfect for lead sounds.
Use the MODE switch to dial up one of three possible gain
settings (CLEAN, HI GAIN and HOT) that ou wish to use
with the basic sound ou selected using AMP.
The SPEAKER switch offers the simulations of two classic
guitar speakers: 4x12" speaker in an enclosed casing (U.K.)
and 2x12" speaker in an open casing (US). Additionall ,
we have built in a frequenc response correction (FLAT)
speciall modified to go with V-TONEs cabinet.
The LOW control on the EQ section lets ou cut or boost
the bass frequencies.
Use the MID control to cut or boost the mids.
The HIGH control regulates the upper frequenc range.
If the tuner is activated, these LEDs (in connection with the
FX displa ) indicate our guitars tune. Activate the tuner
b keeping the CHANNEL pressed for roughl 2 seconds.
The FX DISPLAY indicates either the program number of
the preset ou selected or the value of the parameter dialed
up using the FX control.
Use the PRESET control to dial up one of the effect presets
(between 01 and 99). The preset ou dialed up is loaded
when ou make no further changes for about one second
after dialing up that preset.
Use the IN/OUT ke to activate/deactivate the selected
effect. When the effect is activated, the LED located above
the switch lights up. You can save our own effect settings
b keeping this ke pressed for about 2 seconds (also see
chapter 4). The effect can also be activated/deactivated
using the provided footswitch.
+If the MIDI function is deactivated (see ch. 4. ), FX
tracking is active, i.e. a separate effect
can be selected for each of the channels of your
V-TONE. FXT is explained in detail in chapter 4.1.
The FX control adjusts the mix ratio between the original
and the effect signal.
The LEVEL control adjusts the volume of the respective
channel. Adjust LEVEL so that ou achieve the desired
volume balance between both channels.
+The GMX110 features no such control. However,
use to control the volume of the CLEAN channel
in respect to the MODELING channel; use MASTER
to control the overall volume.
+The GMX 10 features the LEVEL control only on
MODELING CHANNEL 1. It controls the volume of the
channel in respect to the second channel.
The PRESENCE control gives ou an additional wa of
cutting or boosting the highs (GMX212 onl ).
The MASTER control regulates the overall volume as well
as headphone volume.
The POWER switch powers up our V-TONE. The POWER
switch should alwa s be in the Off position before ou
connect the V-TONE to the mains.
+Please beware: Switching the POWER switch off
does not fully disconnect your V-TONE from the
mains. If you wont be using it for longer periods of
time, unplug the power cord from the mains.
+GMX110s POWER switch is located on the rear.
2.2 Rea panel
Connect the stereo jack connector of the provided
footswitch to the FOOTSWITCH connector. The footswitch
has several functions: it lets ou switch between two
channels, and it also lets ou activate/deactivate an effect.
Additionall , the tuner can also be activated using the
footswitch. To do that, keep the CHANNEL ke pressed for
about 2 seconds.
MIDI IN. This connector lets ou remotel control our
V-TONE via MIDI. You can activate/deactivate effects or
switch between channels. You can use effect b pass via
program changes and parameter edits as well as edit the
presets via controllers (also see chapters 6.3 and 7.1).
You can connect two external loudspeakers (L/R) to the
LOUDSPEAKER connectors of the GMX212. The outputs
deliver 50 Watts into 8 Ω per channel. Please onl use
loudspeakers with an impedance of 8 Ω each in order to
achieve optimal performance. When ou use these
connectors, the internal loudspeakers are automaticall
muted (see chapter 6.2.).
+The GMX 10 features no external loudspeaker
connectors. The loudspeaker connector on the
GMX110 is described under .
2. CONTROL ELEMENTS AND CONNECTIONS
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V-TONE GMX110/GMX210/GMX212
3. APPLICATIONS
The PHONES connector lets ou monitor the audio signal
of our V-TONE b using standard headphones. As soon
as this connector has a jack plugged into it, the speaker is
muted automaticall . For example, our headphones
HPS3000 are well suited for this use.
Those signals that are connected to the SLAVE IN
connectors are directl routed to the V-TONEs power
amp. This wa , ou can connect an external guitar preamp
or modeling amp (e. g. V-AMP 2 or V-AMP PRO) without
using the internal preamp on our V-TONE.
+The GMX110 features no SLAVE IN connectors.
You can take the stereo signal of our V-TONE at the
TAPE outputs (RCA) and record it, for example.
The TAPE inputs (RCA) let ou feed an additional stereo
signal into our V-TONE. You can pla along to the beat of a
drum computer or pla to the music from a CD or MD pla er.
You can take the stereo signal of our V-TONE at the LINE
outputs to record it or route it to a P.A. s stem. This output
is independent from the MASTER control and does not
render the AUX signal. Additionall , its frequenc response
is corrected (speaker simulation).
+The GMX110 features no LINE outputs.
Use the AUX IN control to adjust the volume of the signal
that is fed in via the AUX IN connectors (e. g. drum
computer, pla back).
+On the GMX110, this control is called TAPE INPUT. It
regulates the volume of the signal fed in at the
TAPE IN connectors.
The AUX IN lets ou feed an additional stereo signal into
the GMX210/GMX212. This wa , ou can pla to a backing
track that supports ou on-stage but should not be audible
via the LINE outputs connecting the GMX210/GMX212 to
the P.A. s stem. Additionall , ou can use AUX IN together
with the INSERT SEND as a parallel insert loop. To do that,
connect the INSERT SEND to the input of our effects
device; connect the AUX IN (TAPE IN on the GMX110) to
the output of our effects unit (the INSERT RETURN
connector should not be in use!). This wa , the signal flow
in our V-TONE is not interrupted. With the AUX IN control,
ou can determine the extent to which the external effects
unit alters the original signal. Keep in mind that the effects
unit should be set up to 100% effects signal (100% wet).
Your V-TONE features a serial insert loop that can be
used to connect external effects (e. g. a Wah pedal).
Connect the SEND connector on the V-TONE to the input
of our effects unit. The SEND connector is tapped into
directl before (i.e. pre) the digital signal processor (DSP)
of our V-TONE. Connect the output of our external effects
unit to the RETURN connector of our V-TONE.
+You can use the INSERT SEND as a parallel output
without the effects. This is useful when you for
example need to record a dry guitar signal. As long
as the RETURN connector has nothing plugged into
it, the signal is not interrupted internally.
Use the SPEAKER OUT connector to connect one additional
loudspeaker to our GMX110. This loudspeaker should
have an impedance of 4 Ω. When this connector is used,
the internal loudspeaker is automaticall muted. Additional
information about connecting an external loudspeaker can
be found in chapter 6.2.
FUSE RETAINER/VOLTAGE SELECTOR. Please make
sure that the voltage indicated in the voltage selector
matches the local voltage before ou connect the unit to
the mains. Alwa s replace blown fuses with fuses of the
same t pe. Some units feature a fuse retainer in which a
selection between 230 V and 120 V is possible. Please
beware: When using our unit outside of Europe on 120 V,
a higher fuse rate is required.
Power is supplied via an IEC connector. The matching
cable is provided with the unit.
SERIAL NUMBER. The serial number of our V-TONE is
located on the rear. Please send the completel filled out
warrant card within 14 da s of purchase to assure
unproblematic warrant processing in the future. Or use
our online registration form at www.behringer.com.
3. APPLICATIONS
The V-TONE features man different connectors, letting ou
live up to all kinds of application challenges. We have listed just
a few examples of how flexibl our V-TONE can be used:
3.1 P actice setup with playback
Fig. 3.1: S andard se up
To use our V-TONE in practice rooms or to jam at home,
connect our V-TONE as illustrated in figure 3.1. Connect a
CD pla er or a drum computer to the TAPE input. You can control
the volume of the connected signal b using the TAPE INPUT
control (on the GMX210 and the GMX212, the AUX control adjusts
the signal connected to the AUX IN). If ou want (or have to!) to
practice using headphones, connect our headphones to the
PHONES connector on our V-TONE. The internal loudspeaker is
automaticall muted. Connect the provided dual footswitch to
the footswitch connector on the V-TONE. Use the CHANNEL
footswitch to switch between the channels. If is
active (see ch. 4.1), the effects selected for both channels are
loaded. Use the IN/OUT footswitch to activate/deactivate the
effect. Keeping CHANNEL depressed for about 2 seconds
activates the internal tuner.
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7
V-TONE GMX110/GMX210/GMX212
3. APPLICATIONS
3.2 Reco ding setup with an exte nal
effects device
Fig. 3.2: Recording se up
If ou want to use our V-TONE in home recording or studio
situations, we suggest wiring our equipment as illustrated in
figure 3.2. Of course, ou can continue using a CD pla er or a
drum computer. However, for clarit s sake weve omitted those
two in this illustration. Connect the input of our effects unit to
the INSERT SEND connector of the V-TONE; connect the output
on our effects unit to the INSERT RETURN connector on the
V-TONE.
If ou wish to record the guitar signal together with the stereo
effects, connect the LINE outputs to our mixer, audio sequencer
or a multi-track recorder. To record the dr guitar signal without
the internal effects, it is best to use the INSERT SEND connector
on the V-TONE. You can also use both outputs at the same time
to for example record the dr signal without permanentl
committing to a single effect. At the same time, the LINE output
(with the effect signal) lets ou listen to ourself while recording.
Of course, ou can insert a Wah pedal or some other stomp
box instead of an external 19" effects unit. To achieve a parallel
stereo insert, ou can connect the effect return to the AUX
input, and then use the AUX IN control to determine the extent to
which the effect is present. In this case, the effects unit should
be set up to 100% effect signal, and the INSERT RETURN
connector should have nothing plugged into it.
If ou want to use another guitar preamp or a modeling amp
(e. g. the V-AMP or the V-AMP PRO), connect it b using the
SLAVE IN connectors on the GMX210/GMX212. The former
serves onl as a power amp, and its preamp section is not
active.
3.3 Live setup with a MIDI foot cont olle
Fig. 3.3: Se up wi h a MIDI foo con roller and an
ex ernal loudspeaker
In this illustration, weve omitted the footswitch, the headphones
and the additional equipment from figure 3.1; this illustration serves
as an expansion of the standard setup.
You can use the MIDI foot controller to control channel and
effects changes, volume, Wah and so on. (Additional information
about MIDI can be found in chapter 4.3).
The LINE OUT signal with the speaker simulation can be fed
into our mixer or our P.A. s stems stagebox.
External guitar loudspeakers can be connected to the loud-
speaker outputs of the GMX212 in order to get more punch and
higher volume on the stage. You can do this in two wa s: use
two separate loudspeakers for stereo applications, or use a
single stereo box (e.g. the BEHRINGER ULTRASTACK BG412S).
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8
V-TONE GMX110/GMX210/GMX212
4. EFFECTS PROCESSOR
Instead of loudspeaker outputs, the GMX110 features a single
SPEAKER OUT connector ( ) used for connecting an external
loudspeaker.
4. EFFECTS PROCESSOR
Effects are the icing on the cake when it comes to creative
sound designs. On the one hand, direct recordings (i.e. recordings
without a microphone, which is possible with the V-TONE) are
all about placing the guitar sound in an artificiall created space
since no natural ambience is possible. On the other, effects
such as dela , chorus, flanger and tremolo are an integral part
of the modern guitar sound. For this reason, weve equipped the
V-TONE with an effects processor that lets ou create a
professional-grade sound that ou are used to hearing on our
favorite recordings. This wa , ou are one giant step closer to
emulating our fave sounds without having to schlep a rackfull
of effects ever where ou go.
The integrated multi-effects processor offers the same audio
qualit found in our 19" effects unit VIRTUALIZER PRO, known
for being used in studios. You get 31 different groups of first-
class effects at our disposal, for example reverb, chorus,
flanger, dela , pitch shifter, compressor, expander, Wah
variations, various combination effects and even tube and
speaker simulations. All in all, there are 99 presets ou can use,
offering ou a wide variet of different-sounding effects. You
can edit one parameter on each preset directl on the V-TONE
and three parameters via MIDI. Additionall , the multi-effects
processor lets ou mix and match different effects with different
speakers, depending on each preset. Presets can be overwritten
with our own creations.
The multi-effects processor works basicall in stereo,
whereb onl the TAPE and PHONES outputs are influenced in
the case of the GMX110. Both signals (left and right) are added
up for the speaker and the mono power amp of the GMX110.
However, ou can still use stereo effects for recording purposes
b utilizing the TAPE OUT or b pla ing with a second amp in
stereo. The GMX210 and GMX212 can reproduce the effects in
stereo due to having two built-in speakers.
sTurn the PRESET control to dial up an effect preset. While
the preset is loading up, the new program number blinks in
the displa . The preset ou dialed up is active shortl
thereafter. This new preset is shown in the displa .
sUse the FX control to edit the effect. Effect mix is shown in
the displa . After 3 seconds, the displa shows the preset
number again. The decimal point in the 2-digit displa blinks
each time ou make a change.
sTo store an edit, keep the IN/OUT ke pressed for about 2
seconds. This overwrites the previous settings.
sTo restore factor presets (reset function), keep IN/OUT
pressed while powering up the V-TONE.
4.1 FXT effects t acking
FXT is an extremel useful function that lets ou assign a
specific effect to each channel of the V-TONE, and then activate
these effects when ou switch between the channels.
This wa , ou can for example assign a DELAY effect to the
MODELING CHANNEL 1, and assign a REVERB/CHORUS
combination effect to the MODELING CHANNEL 2. A single tap on
the CHANNEL ke or the footswitch lets ou switch between
the channels, and the V-TONE automaticall loads up the correct
effect.
When MIDI is active, the above no longer applies. You can
switch between the channels and the effects independentl
from one another. How MIDI is activated is described in ch. 4.3.
4.2 The effects
01-0 Spring Reverb: Even on a guitar amp with digital multi-
effects, ou should still be able to use a classic spring reverb.
This effect simulates the t pical sound of the spring reverb known
from countless guitar amps, and without having the negative
effect of producing rattling noises when the amp vibrates.
03-04 Studio: This effect simulates the characteristics of
midsize rooms. This spatial simulation sounds ver natural and
can be used in various setups.
05-06 Chamber: You reall get the feeling oure dealing
with some serious walls. This effect is ideal for creating reverb
that doesnt come through as a clear effect, and a dr guitar
sound gets some natural feeling instilled into it.
07-08 Stage: Ver nice reverb, great for widening and
freshening up the sound of a clean-sounding guitar.
09-10 Concert: Here, ou can choose between a small theater
(preset 9) and a big concert hall (preset 10). Compared to Studio
Reverb, this reverb is livelier and has richer highs.
11-1 Plate: The sound of the classic plates. A true classic, it
gives our guitar sound a nice, pleasant note.
Reverbs 01 to 12 are all available in two versions. The first
one basicall uses a short pre-dela (a dela until the reverb tail
starts). The second variation alwa s uses a long pre-dela .
13-14 Gated Reverb: In the air tonight b Phil Collins made
this artificiall cut off reverb famous.
15-16 Ambience: The resonance of a room is comprised out
of the so-called earl reflections and a reverb tail. This effect
concentrates itself on the simulation of the first 15 earl reflections.
Since human hearing uses these reflections to size up a room,
ou can create ver subtle densit without alienating the signal
with long reverb tails. This effect is particularl noticeable when
ou use headphones.
17-19 Wah/Delay/Distortion: Filters generall influence the
frequenc response of a signal. The Wah effect, in this case
combined with a dela and a distortion effect, lets the middle
frequenc response through and suppresses the others more
or less. Jimi Hendrix and Eric Clapton made the Wah effect a
household name. Its an effect that will never be out of fashion.
B using the MIDI controller 15, ou can edit the range of the
Wah effect with a MIDI footswitch, among others. This wa , the
Wah effect can be used as an analog Wah pedal. You can
modif how prominentl the dela effect kicks in.
0 Delay/Reverb: First, an ordinar dela is created. Then,
the signal goes through a reverb with an editable mix ratio.
1- 4 Delay (stereo): Dela  refers to the dela in the input
signal, with one or more repetitions of the signal (feedback).
With stereo dela , the dela times in the left and the right channel
are not the same length (in order to create a stereo effect). The
dela time in the left channel amounts to two-thirds of the dela
time value in the right channel.
5- 9 Delay (long mono): Mono dela s offer longer dela
times with a differing number of repetitions (feedback values).
You can use the FX MIX control to determine the effect mix ratio.
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9
V-TONE GMX110/GMX210/GMX212
30-33 Phaser: Technicall speaking, a phaser is a modulation
effect in which multiple phase shifting takes place. Signal
attenuation or amplification of the signal happens through the
modulation of the frequenc -dependent phase shift via an LFO
(Low Frequenc Oscillator). Depending on the preset, the
phaser can be used either to lightl modulate or to totall alienate
the signal. The sound reminds of a constantl modulating filter.
34-37 Chorus: Lets picture a string quartet in which each
musician pla s the exact same sheet music. However, it is onl
natural that musicians can never be 100% in tune. This wa ,
signals that are perpetuall out of tune are created, and the are
furthermore temporall superimposed. To recreate this effect,
copies of the original signal are dela ed in chorus for 20 - 40 ms,
are tuned out slightl and then modulated through the LFO. This
creates a pleasant-sounding floating effect. Well refrain for
making an recommendations because this effect is used so
often and in so man different wa s. An recommendation about
when to use it would undoubtedl leave out too man other
possible uses.
38-4 Chorus/Reverb: First, the signal goes through a chorus
effect with var ing intensit , and then it goes through a reverb.
Adjustable parameter: reverb mix.
43-47 Chorus/Delay: The signal first goes through a chorus
effect with var ing intensit , and then it goes through a dela
effect with var ing feedback and dela time values. You can
control the dela ratio in the mix.
48-51 Flanger: Using an LFO, the pitch of the effect signal is
somewhat modulated in constant tempo, and is then brought
back to the input signal. This effect goes hand in hand with the
sound of a distorted guitar.
5 -56 Flanger/Reverb: The signal first goes through a flanger
with var ing intensit , and then it goes through a reverb. The FX
control lets ou edit the ratio of the reverb mix.
57-61 Flanger/Delay: The signal is first passed through a
flanger with var ing intensit , and then it goes through a dela
effect. The ratio of the dela mix can be controlled.
6 -63 Tremolo: The tremolo effect refers to more or less
rapid and intensive variations in the volume.
64-66 Tremolo/Delay: A more or less rapid and intensive
variation of the volume that is in this case also coupled to a dela
effect. The FX MIX control lets ou control the ratio of the tremolo
mix.
67-68 Rotary Speaker: A simulation of a classic organ effect
that is normall achieved with a terribl heav casing and slowl
or quickl rotating speakers. The ph sical principle of the Doppler
effect is used to modulate the signal.
69-70 Magic Drive: An absolutel in effect thats combined
with a dela . And, as whip cream on top, this effect gets an
LFO-controlled notch filter. The dela mix ratio is editable. This
effect is excellent for solo sounds due to its high volume.
71-7 Auto Wah: Depending on the attack time, the Auto Wah
effect lets the lower frequencies pass through and more or less
suppresses the highs. The depth value of the filter can be
controlled via the FX MIX control. If ou primaril pla low-end
sounds, dial up a lower value. The higher the frequenc of the
sound ou create, the higher the FX MIX value should be.
73-74 LFO Wah: With this effect, the LFO determines how
quickl the frequenc response is affected. You can create
regularl recurring Wah effects. With the LFO Wah effects ou
can reall create impressive results.
75-81 Pitch Shifter: This effect modifies the pitch of the input
signal. Musical intervals and harmonics are created, and the
propagation of a single voice can be adjusted. You can create
signals that are majorl out of tune (e.g. signals shifted upward
b several half-tones), such as the strange-sounding voices
often used in cartoons. There are several default intervals
alread built into the presets.
8 -85 Pitch/Reverb: The signal first goes through a pitch
shifter with various transpositions in half-tone increments (or
smaller). A reverb follows. Adjustable parameter: pitch shifter
mix.
86-89 Pitch/Delay: The signal first goes through the pitch
shifter with various intervals, and then its run through a dela
effect. Use FX MIX to control the pitch shifter mix parameter.
90-91 Compressor: A signals d namic characteristics are
often limited to assure its integration into the overall mix. This can
be done b using a compressor or a limiter. A limiter confines the
signal to the values above or below a previousl determined
threshold value rather abruptl , whereas the compressor does
basicall the same, but the threshold area is rather softl 
delineated, so program intervention is not so suddenl felt. Use
the FX MIX control to determine the threshold point for the
compressor. This effect prolongs the sustain of our guitar, or
ou can also for example make the strumming on a funk -st le
guitar more audible (chicken scratch).
9 -93 Expander: Background noise of all kinds (hissing, hum,
etc.) limit the d namic range of the desired signal. As long as the
main signals level is considerabl higher than the noise floor,
background noise is inaudible; the main signal basicall masks
the underl ing noise signal. You can use the expander to
effectivel broaden the d namic range of a signal. The signal is
weakened when the amplitudes are smaller, whereb
background noise is lowered. The FX MIX controls determines
the expanders threshold.
94-96 Guitar Combo: This effect simulates the sound
characteristics of a small guitar combo, simulating not onl two
tube stages, but also the cabinet and the speaker. Use the FX
MIX control to adjust the mix of direct and combo signals.
4. EFFECTS PROCESSOR
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10
V-TONE GMX110/GMX210/GMX212
4. EFFECTS PROCESSOR
97-99 Speaker Cabinet: This effect emulates three different
t pes of speaker cabinets. Additionall , ou can shift the
speakers main resonance peak b using the FX MIX control.
4.3 MIDI cont ol
Thanks to its built-in MIDI interface, ou can integrate our
V-TONE into an MIDI setup. The V-TONE is capable of receiving
both program change and MIDI controller information. So, ou
can change programs via MIDI using a MIDI foot controller or a
computer-based sequencing software, and ou can also control
individual effect parameters and edit our own effects. Our MIDI
foot controller FCB1010 gives ou precisel these options, and
is a perfect match for all BEHRINGER guitar amps.
This is how ou activate the MIDI functions:
sConnect the MIDI IN connector of our V-TONE to the MIDI
OUT jack of a MIDI foot controller (see fig. 3.3).
sKeep CHANNEL and IN/OUT ke s simultaneousl depressed
for 2 seconds.
sUse the PRESET control to select a MIDI channel (1 through
16, ON = Omni mode, OF = off). When the displa no
longer blinks, the selected MIDI channel is activated. Omni
mode means that our V-TONE receives and processes
relevant MIDI information on all channels. Of course, ou
should select the same channel both on our MIDI foot
controller and the V-TONE (see our MIDI foot controller
users manual). The left decimal point on the displa jitters
when MIDI data is received on the V-TONE, giving ou
visual confirmation about the information currentl being
received.
+Once you activate MIDI, FX tracking is no longer active,
i.e. there is no assignment between an effect number
and a channel. This means that when you switch a
channel, the previously set effect is not automatically
loaded up. As this assignment feature would probably
cause confusion when controlling the V-TONE via a
MIDI foot controller, it makes sense only when it is
controlled from the enclosed footswitch or directly
from the V-TONE. To operate your V-TONE without
MIDI remote control, please disable the MIDI function
(display reads OF).
You can control different functions of our V-TONE using
MIDI. To this end, the V-TONE receives MIDI instructions (so-
called messages). The messages that need to be sent to our
V-TONE have to be created either on a MIDI foot controller or on
a MIDI sequencer. Basicall , these are Program Change
Messages and Controller Messages:
Program Changes: You can dial up presets using MIDI
program changes. Since program changes start at 0 and go up
to 127, program change 0 corresponds to preset 1, program
change 1 to preset 2, and so on (compare table 7.1 in the
appendix). After the switch is done, the preset is directl active,
i.e. independent from a possibl set b pass.
Effect parameters: Three parameters of the effects
processor can be adjusted in real time. This wa , ou can create
our own effects, modif existing effects to our specific needs
(e.g. adapt the dela time to the tact of our song) or remotel
control using a MIDI foot controller.
Select a controller number for the footswitch on our MIDI foot
controller. Use control numbers 12, 13 or 14. Using the footswitch
on our MIDI foot controller, ou can now modif the values of
the three adjustable parameters in real time or directl enter their
values. Which three parameters for the respective effect can be
edited is shown in the following table:
(IIHFW
3
U
H
V
H
W

1
R

3
D
U
D
P
H
W
H
U



3
D
U
D
P
H
W
H
U


3
D
U
D
P
H
W
H
U


REVERB 1 - 12 Reverb
Time Mix L Mix R
GATED
REVERB 13, 14 Gt./Rev. Time Sensitivity Mix
AMBIENCE 15, 16 Room Size Pre-Delay Mix
WAH /
DELAY /
DISTORTION 17 - 19 Delay Time Drive Delay Mix
DELAY /
REVERB 20 Delay Time Delay Mix Reverb Mix
DELAY
(stereo) 21 - 24 Delay Time Mix L Mix R
DELAY
(long mono) 25 - 29 Delay Time Feedback Mix
PHASER,
CHORUS 30 - 37 LFO Speed Depth Mix
CHORUS /
REVERB 38 - 42 Reverb Time Chorus Mix Reverb Mix
CHORUS /
DELAY 43 - 47 Delay Time Chorus Mix Delay Mix
FLANGER 48 - 51 LFO Speed Depth Mix
FLANGER /
REVERB 52 - 56 Reverb Time Flanger
Mix Reverb Mix
FLANGER /
DELAY 57 - 61 Delay Time Flanger Mix Delay Mix
STEREO
TREMOLO 62, 63 LFO Speed Pan Mix
TREMOLO /
DELAY 64 - 66 Delay Time Tremolo
Mix Delay Mix
ROTARY
SPEAKER 67, 68 Speed Variation Mix
MAGIC
DRIVE 69, 70 Delay Time Variation Delay Mix
AUTO WAH 71, 72 Sensitivity Depth Mix
LFO WAH 73, 74 LFO Speed Depth Mix
PITCH
SHIFTER 75 - 81 Tune Left Mix L Mix R
PITCH
SHIFTER /
REVERB 82 - 85 Reverb Time Pitch Mix Reverb
Mix
PITCH
SHIFTER /
DELAY 86 - 89 Delay Time Pitch Mix Delay Mix
COMPR./
EXPANDER 90 - 93 Sensitivity Ratio Gain
GUITAR
COMBO 94 - 96 Drive Presence Mix
SPEAKER
CABINET 97 - 99 HF Cut Peak Gain Peak Freq
.
Table 4.1: MIDI-con rollable effec parame ers
Channel switching: Changing modeling CHANNELS is done
via controller #10. If ou send value 0 via this controller, then
channel 1 is active. Sending value 1 activates channel change to
channel 2. Program change instructions can also be used to
change channels. Program change #123 activates channels 1
and program change #124 activates channel 2 of our V-TONE.
In addition to switching channels, ou can also deactivate the
effect. To this end, send value 0 via controller #11. Value 1
activates the effect again. An alternative option for an effect
bypass is sending program change #127.
Sending program change #122 activates the tuner. As soon
as another program change number is sent, the tuner is
automaticall deactivated.
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11
V-TONE GMX110/GMX210/GMX212
. INSTALLATION
You determine the input volume of the effect module b
using MIDI controller #7. This lets ou adjust the volume of our
V-TONE to our own requirements. Since this controller does
not control master volume, ou should first adjust the maximum
volume ou need b using the master volume control, and then
use MIDI controller #7 to lower the volume. This function is also
called volume controller.
The operating range of the Wah effect is adjusted using MIDI
controller #15.
Furthermore, if oure using LFO-controlled modulation effects,
ou can deactivate LFO and implement modulation via MIDI
controller #15. To activate this MIDI controller, ou should first
set up the LFO velocit either directl on our V-TONE or set the
respective MIDI controller to value 0.
Of course, ou can use a MIDI sequencer or a computer-
based MIDI editor for MIDI remote control, particularl in the home
recording environment.
5. TUNER
sThe integrated tuner is activated b pressing the CHANNEL
ke for about 2 seconds (directl on the amp or on the
footswitch).
5.1 Tuning you guita
The chromatic tuner automaticall recognizes the frequencies
of guitar notes. For A string, this means a frequenc of 110 Hz.
When ou connect our guitar to the V-TONE and strum a string,
the tuner tries to recognize the tone and shows it in the displa .
Because the tuner functions chromaticall , it can also recognize
semitones. These are shown in the displa with a b
accompan ing the value.
However, it ma be the case that that a pla ed note (shown in
the displa as for example a) slightl deviates from the ideal
tone. This will be indicated b lighting up at least one of the red
tuner LEDs (HIGH/LOW) near the FX displa . The faster the LED
blinks, the harsher the deviation of the pla ed tone from the note
shown in the displa . If the middle LED (green) lights up, the tone
ou pla ed is completel in tune with the tone indicated in the
displa .
When the tuner is active, the V-TONE switches the amp
function to b pass. Normall , the guitar signal is in this case
muted. However, sometimes it is preferable not to mute the signal
in order to let ou have acoustic control of what ou are doing
while ou are tuning our guitar. For this reason, the V-TONE
has an integrated tuner level function.
sYou can adjust tuner volume from 0 to 99 b using the FX
control. At 0 the guitar signal is completel muted. After a
successfull implemented adjustment, the displa auto-
maticall goes back to tuner mode.
5.2 Setting up the a efe ence tone
To put complete freedom at our disposal when tuning our
instrument, ou have the option to change the preset of the
reference tone a. Here is a quick intro to the subject.
The so-called chamber tone a has been continuall revised
upwards ever since it was first measured: tuning forks of Bach,
Handel or Mozart were at 415, 420 or 421 Hz (vibrations pro
second).
Nowada s, orchestras set the a with 444 Hz, and the Berlin
Phillcharmonic Orchestra wishes to sta ahead: their chamber
tone a lies at a full 447 Hz.
The reference tone a of the V-TONE is programmed at
440 Hz. Lets sa , ou want to work with a big orchestra that
works with the chamber tone a set to 444 Hz. To activate the
function that changes the chamber tone, do the following:
sActivate the tuner b keeping the CHANNEL ke pressed
for a few seconds.
sB turning the PRESET control, ou can adjust the a
reference tone up or down in 1 Hz increments for a maximum
of 15 Hz. The last two digits of the frequenc value are
alwa s shown in the displa , since the first digit is alwa s
a 4. For example, when ou start with the 440 Hz basic
tone, and then press the right arrow ke four times, the
displa shows 44, which corresponds to a frequenc of
444 Hz.
After about 5 seconds, the displa goes back to tuner mode.
Your changes are automaticall stored. Ideal tones for the
remaining strings are automaticall set up using the newl
adjusted frequenc as a reference.
A quick hit on the CHANNEL ke lets ou leave tuner mode and
go back to amp mode.
6. INSTALLATION
6.1 Audio connections
With the exception of the headphone output and the AUX input
(stereo jacks), audio inputs and outputs of our BEHRINGER
V-TONE are provided in the form of mono jack connectors. Tape
inputs and outputs are provided as RCA connectors.
+Please keep in mind that your V-TONE should be
installed and operated only by those who possess
sufficient technical knowledge about its installation
and operation. Everyone dealing with your V-TONE
should be sufficiently grounded both during the
installation as well as during actual usage. Failure
to do so may cause undesirable or faulty operation
due to electromagnetic discharges and similar.
Fig. 6.1: 1/4" TS connec or
Fig. 6.2: 1/4" s ereo TRS connec or for AUX and PHONES
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12
V-TONE GMX110/GMX210/GMX212
7. APPENDIX
6.2 Speake connection
The GMX110 features a SPEAKER connector to which ou
can connect an additional loudspeaker. This additional loud-
speaker should be able to handle at least 30 Watts and the
impedance of 4 Ω.
The GMX212 features two LOUDSPEAKER outputs (EXT LEFT
and EXT RIGHT) for connecting two loudspeakers or a single
stereo loudspeaker unit. The output power rating is 50 W per
channel. To assure optimal power deliver of the amp, ou should
use 8-Ω loudspeakers that can handle at least 50 Watts.
This goes for both models: You can also use loudspeakers
with higher impedance values, but this lowers proportionall the
power deliver as the resistance increases. Doubling the
impedance halves the power value (double the Ohms = half the
Watts).
+Since SPEAKER and LOUDSPEAKER outputs are
connectors where amplified signals are given out,
never connect equipment with line-level inputs to
these two connectors.
6.3 MIDI connection
The MIDI standard (Musical Instruments Digital Interface) was
first developed at the beginning of the 80s, with the goal of
enabling mutual communication between electronic instruments
of various manufacturers. Over the ears, the number of possible
MIDI applications has increased substantiall ; nowada s, it is
perfectl normal to connect entire studios via MIDI.
At the center of this network is a computer with a sequencing
software, used to control not onl ke boards but also effects
processors and other peripheral equipment. In such a studio,
ou can control our V-TONE in real time from a computer. Using
a MIDI footswitch presents itself as a great idea, especiall in
live applications, because it allows ou to control not onl effect
parameters but also switch between channels and effects.
The standard 5-pole DIN MIDI connector is located on the rear
of our V-TONE. To connect our V-TONE with other MIDI
equipment, ou will need a MIDI cable. Pre-packed cables
available at music stores are used for this purpose. Such cables
should not be longer than 15 m (45 ft).
MIDI IN receives MIDI control data. The receiving channel is
adjusted using the CHANNEL and IN/OUT ke combination On =
Omni means that MIDI data are being received and processed on
all channels (compare chapter 4.2).
7. APPENDIX
7.1 MIDI implementation
0,',,PSOHPHQWDWLRQ&KDUW
)XQFWLRQ 7UDQV
PLWWHG 5HFRJQL]HG 5HPDUNV
Basic
Channel
Default
Changed
X
X
OFF, 1 - 16
OFF, 1 - 16
memorized
Mode
Default
Messages
Altered
X
X
X
1,2
X
X
Note
Number
True Voice
X
X
X
X
Velocity
Note ON
Note OFF
X
X
X
X
After
Touch
Keys
Channels
X
X
X
X
Pitch Bender X X
Control X
O 7, 10 - 15,
18
see add. table
Progr.
Change True # X
O 122, 123,
124, 127
(0 - 98)
1 - 99
122 = TUNER
123 = CLEAN
124 = DRIVE
127 = Effect
Bypass
XX
System
Common
Song Pos.
Song Sel.
Tune
X
X
X
X
X
X
System
Real Time
Clock
Commands
X
X
X
X
Aux
Messages
Local ON/OFF
All notes OFF
Active Sense
Reset
X
X
X
X
X
X
X
X
Notes
O = YES, X = NO
Mode 1: OMNI ON
Mode 2: OMNI OFF
System Exclusive
Tab. 7.1: MIDI implemen a ion
3DUDPHWHU
1DPH 'LVSOD\5DQJH
0LGL
&RQWURO
1XPEHU
&RQWURO9DOXH
5DQJH
Volume
Controller - 7 0 .. 127
Channel CLEAN (Channel 1) = 0
DRIVE (Channel 2) = 1 10 0 .. 1
Effect OFF = 0, ON = 1 11 0 .. 1
Parameter 1 depends on effect * 12 0 .. 127 (max.
)
Parameter 2 depends on effect * 13 0 .. 127 (max.
)
Parameter 3 depends on effect * 14 0 .. 127 (max.
)
Wah/
Modulation - 15 0 .. 127
Store Enable - 18 0 .. 127
* for details see Tab. 4.1
Tab. 7.2: V-TONE MIDI con rollers
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13
V-TONE GMX110/GMX210/GMX212
7. APPENDIX
7.2 Effect p esets
Range
Default
Range
Default
1 Short Mix 0..50 10 52 Classic Short Reverb Mix 0..50 10
2 Long Mix 0..50 10 53 Classic Long Reverb Mix 0..50 10
3 Short Mix 0..50 10 54 Ultra Reverb Mix 0..50 10
4 Long Mix 0..50 10 55 Intense Reverb Mix 0..50 10
5 Short Mix 0..50 10 56 Light Reverb Mix 0..50 10
6 Long Mix 0..50 10 57 Ultra Delay Mix 0..50 10
7 Short Mix 0..50 10 58 Light Delay Mix 0..50 3
8 Long Mix 0..50 10 59 Slap Back Delay Mix 0..50 10
9 Short Mix 0..50 10 60 Long Delay Mix 0..50 10
10 Long Mix 0..50 10 61 Hold Delay Mix 0..50 6
11 Short Mix 0..50 10 62 Slow Mix 0..99 50
12 Long Mix 0..50 10 63 Fast Mix 0..99 40
13 Short Mix 0..50 15 64 Slow Tremolo Mix 0..99 50
14 Long Mix 0..50 10 65 Medium Tremolo Mix 0..99 50
15 Min. Reflections Mix 0..50 10 66 Fast Tremolo Mix 0..99 50
16 Max. Reflections Mix 0..50 10 67 Slow Mix 0..99 50
17 Clean Delay Mix 0..50 6 68 Fast Mix 0..99 50
18 Crunch Delay Mix 0..50 6 69 Slap Back Delay Mix 0..50 1
19 Dirty Delay Mix 0..50 6 70 Spinning Echo Delay Mix 0..50 11
20 DELAY / REV. - Reverb Mix 0..50 20 71 Fast Depth 0..63 27
21 min. Feedback Mix 0..50 11 72 Slow Depth 0..63 20
22 Mix 0..50 11 73 Slow Mix 0..99 30
23 Mix 0..50 16 74 Fast Mix 0..99 60
24 max. Feedback Mix 0..50 35 75 -12 Mix 0..99 50
25 Short Mix 0..50 8 76 -5 Mix 0..99 34
26 Mix 0..50 10 77 +3 Mix 0..99 34
27 Mix 0..50 9 78 +4 Mix 0..99 20
28 Mix 0..50 10 79 +7 Mix 0..99 34
29 Long Mix 0..50 10 80 +4 % Mix 0..99 20
30 Slow Mix 0..99 50 81 +8 % Mix 0..99 34
31 Bright Mix 0..99 60 82 -12 Pitch Mix 0..99 30
32 Medium Mix 0..99 50 83 +3 Pitch Mix 0..99 24
33 Fast Mix 0..99 30 84 +4 % Pitch Mix 0..99 40
34 Slow Mix 0..99 30 85 +8 % Pitch Mix 0..99 40
35 Medium Mix 0..99 40 86 -12 Pitch Mix 0..99 40
36 Fast Mix 0..99 50 87 -5 Pitch Mix 0..99 34
37 Bright Mix 0..99 60 88 +4 Pitch Mix 0..99 20
38 Cool Short Reverb Mix 0..50 10 89 +7 Pitch Mix 0..99 20
39 Cool Long Reverb Mix 0..50 10 90 Fast Sensitivity 0..63 30
40 Ultra Reverb Mix 0..50 10 91 Slow Sensitivity 0..63 30
41 Fast Short Reverb Mix 0..50 10 92 Fast Sensitivity 0..63 30
42 Fast Long Reverb Mix 0..50 10 93 Slow Sensitivity 0..63 35
43 Short Delay Mix 0..50 10 94 Crunch Mix 0..99 99
44 Ring Delay Mix 0..50 10 95 Edge Mix 0..99 99
45 Long Delay Mix 0..50 10 96 Overdrive Mix 0..99 99
46 Slap Back Delay Mix 0..50 10 97 Stack A Peak Freq. 0..63 63
47 Hold Delay Mix 0..50 14 98 Stack B Peak Freq. 0..63 30
48 Classic I Mix 0..99 30 99 Combo Peak Freq. 0..63 10
49 Classic II Mix 0..99 14
50 Ultra Mix 0..99 24
51 Fast Mix 0..99 50
Variation
FXMIX
EXPANDER
FLANGER /
REVERB
Compressor
MAGIC DRIVE
TREMOLO /
DELAY
PITCH
SHIFTER /
DELAY
PITCH
SHIFTER /
REVERB
ROTARY
SPEAKER
SPEAKER
CABINET
FXMIX
Preset-Nr
.
Effect
FLANGER /
DELAY
GUITAR
COMBO
AUTO
WAH
LFO
WAH
PITCH
SHIFTER
STEREO
TREMOLO
Variation
AMBIENCE
PLATE
STUDIO
CHAMBER
STAGE
SPRING
REVERB
CONCERT
GATED
REVERB
DELAY
(stereo)
FLANGER
CHORUS /
REVERB
Preset-Nr
.
Effect
WAH /
DELAY /
DISTORTION
PHASER
CHORUS /
DELAY
CHORUS
DELAY
(long mono)
Tab. 7.3: V-TONE effec prese s
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14
V-TONE GMX110/GMX210/GMX212
8. SPECIFICATIONS
8. SPECIFICATIONS
*0; *0; *0;
$8',2,13876
GUITAR IN
Input Impedance
INSERT RETURN
Input Impedance
SLAVE IN -
Input Impedance -
AUX IN -
Input Impedance -
TAPE IN
Input Impedance
$8',22873876
INSERT SEND
Output Impedance approx. 1 kΩunbalanced
LINE OUT -
Output Impedance -
Max. output level -
TAPE OUT
Output Impedance
Max. output level
PHONES OUTPUT
Max. output level
SLAVE OUT -
Output impedance -
Max. output level -
/28'63($.(5287387
Type 1/4" TS - 1/4" TS x 2
Max. load impedance 4 Ω-8 Ω
6<67(063(&,),&$7,216
power amp output
1 x 30 W / 4 Ω2 x 30 / 2 x 4 Ω2 x 50 W / 2 x 8 Ω
0,',,17(5)$&(
Type
',*,7$/352&(66,1*
Converters
Sampling rate
',63/$<
Type
/28'63($.(56
Type 10" heavy-duty 2 x 10" heavy-duty 2 x 12" heavy-duty
Model JENSEN JCH 10/35 JENSEN JCH 10/35 JENSEN JCH 12/70
Impedance 4 Ω2 x 4 Ω2 x 8 Ω
Power handling 35 W 35 W 70 W
32:(56833/<
Power consumption 66 Watt 120 Watt 200 Watt
100 - 120 V~:
7$+ 100 - 120 V~: 7$+ 100 - 120 V~: 7$+
200 - 240 V~: 7$+ 200 - 240 V~: 7$+ 200 - 240 V~: 7$+
Mains connection
',0(16,216$1':(,*+7
400 x 423 x 213/253 mm 473 x 605 x 255 mm 493 x 712 x 255 mm
15 3/4 x 16 3/4 x 8 3/8 / 10" 18 3/5 x 23 5/6 x 10" 19 2/5 x 28 x 10"
Weight 24.25 lbs (11 kg) 40.1 lbs (18.2 kg) 53 lbs (24 kg)
1/4" TS, RF filtered
approx. 1 MΩunbalanced
1/4" TS
approx. 10 kΩunbalanced
RCA
approx. 10 kΩunbalanced
1/4" TS, low-impedance, line level
1/4" TRS (ring = input)
approx. 30 kΩunbalanced
1/4" stereo jack
approx. 10 kΩunbalanced
1/4" mono jack
> 3 kΩunbalanced
+8 dBu unbalanced
RCA
24-bit sigma-delta, 64/128-times oversampling
1/4" TRS stereo
+15 dBu / 100 Ω(+23 dBm)
1/4" TRS (tip = output)
approx. 2 kΩunbalanced
+21 dBu unbalanced
approx. 100 Ωunbalanced
+9 dBu unbalanced
Fuses
Standard IEC receptacle
USA/Canada 120 V~, 60 Hz
Europe/U.K./Australia 230 V~, 50 Hz
Japan 100 V~, 50 - 60 Hz
General Export model 120/230 V~, 50 - 60 Hz
approx. 1 kΩunbalanced
5-pin DIN-socket, MIDI IN
Dimesions (H x W x D)
46.875 kHz
2-digit numeric LED-display
Mains voltage
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time to
time to e isting products without prior notice. Specifications and appearance may differ from those listed or illustrated.
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15
V-TONE GMX110/GMX210/GMX212
9. WARRANTY
The information contained in this manual is subject to change without notice. No part of this manual ma be reproduced or
transmitted in an form or b an means, electronic or mechanical, including photocop ing and recording of an kind, for an
purpose, without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH.
BEHRINGER is a registered trademark. JENSEN® is a registered trademark of the respective owner, which is in no wa
associated or affiliated with BEHRINGER. ALL RIGHTS RESERVED. © 2003 BEHRINGER Spezielle Studiotechnik GmbH.
BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schle er-Str. 36-38, 47877 Willich-Münchheide II, German
Tel. [phone], Fax [phone]
9. WARRANTY
§ 1 WARRANTY CARD/ONLINE REGISTRATION
To be protected b the extended warrant , the bu er must
complete and return the enclosed warrant card within 14 da s
of the date of purchase to BEHRINGER Spezielle Studiotechnik
GmbH, in accordance with the conditions stipulated in § 3. Failure
to return the card in due time (date as per postmark) will void an
extended warrant claims. Based on the conditions herein, the
bu er ma also choose to use the online registration option via
the Internet (www.behringer.com or www.behringer.de).
§ WARRANTY
1. BEHRINGER (BEHRINGER Spezielle Studiotechnik GmbH
including all BEHRINGER subsidiaries listed on the enclosed page,
except BEHRINGER Japan) warrants the mechanical and
electronic components of this product to be free of defects in
material and workmanship for a period of one (1) ear* from the
original date of purchase, in accordance with the warrant
regulations described below. If the product shows an defects
within the specified warrant period that are not excluded from
this warrant as described under § 3 and 4, BEHRINGER shall, at
its discretion, either replace or repair the product using suitable
new or reconditioned parts. In the case that other parts are used
which constitute an improvement, BEHRINGER ma , at its
discretion, charge the customer for the additional cost of these
parts.
2. If the warrant claim proves to be justified, the product will
be returned to the user freight prepaid.
3. Warrant claims other than those indicated above are
expressl excluded.
§ 3 RETURN AUTHORIZATION NUMBER
1. To obtain warrant service, the bu er (or his authorized
dealer) must call BEHRINGER (see enclosed list) during normal
business hours BEFORE returning the product. All inquiries must
be accompanied b a description of the problem. BEHRINGER
will then issue a return authorization number.
2. Subsequentl , the product must be returned in its original
shipping carton, together with the return authorization number to
the address indicated b BEHRINGER.
3. Shipments without freight prepaid will not be accepted.
§ 4 WARRANTY REGULATIONS
1. Warrant services will be furnished onl if the product is
accompanied b a cop of the original retail dealers invoice.
An product deemed eligible for repair or replacement under the
terms of this warrant will be repaired or replaced.
2. If the product needs to be modified or adapted in order to
compl with applicable technical or safet standards on a national
or local level, in an countr which is not the countr for which
the product was originall developed and manufactured, this
modification/adaptation shall not be considered a defect in
materials or workmanship. The warrant does not cover an
such modification/adaptation, irrespective of whether it was
carried out properl or not. Under the terms of this warrant ,
BEHRINGER shall not be held responsible for an cost resulting
from such a modification/adaptation.
3. Free inspections and maintenance/repair work are expressl
excluded from this warrant , in particular, if caused b improper
handling of the product b the user. This also applies to defects
caused b normal wear and tear, in particular, of faders,
crossfaders, potentiometers, ke s/buttons, tubes and similar
parts.
4. Damages/defects caused b the following conditions are
not covered b this warrant :
simproper handling, neglect or failure to operate the unit in
compliance with the instructions given in BEHRINGER user
or service manuals.
sconnection or operation of the unit in an wa that does not
compl with the technical or safet regulations applicable in
the countr where the product is used.
sdamages/defects caused b force majeure or an other
condition that is be ond the control of BEHRINGER.
5. An repair or opening of the unit carried out b unauthorized
personnel (user included) will void the warrant .
6. If an inspection of the product b BEHRINGER shows that
the defect in question is not covered b the warrant , the
inspection costs are pa able b the customer.
7. Products which do not meet the terms of this warrant will
be repaired exclusivel at the bu ers expense. BEHRINGER will
inform the bu er of an such circumstance. If the bu er fails to
submit a written repair order within 6 weeks after notification,
BEHRINGER will return the unit C.O.D. with a separate invoice
for freight and packing. Such costs will also be invoiced
separatel when the bu er has sent in a written repair order.
§ 5 WARRANTY TRANSFERABILITY
This warrant is extended exclusivel to the original bu er
(customer of retail dealer) and is not transferable to an one
who ma subsequentl purchase this product. No other person
(retail dealer, etc.) shall be entitled to give an warrant promise
on behalf of BEHRINGER.
§ 6 CLAIM FOR DAMAGES
Failure of BEHRINGER to provide proper warrant service shall
not entitle the bu er to claim (consequential) damages. In no
event shall the liabilit of BEHRINGER exceed the invoiced value
of the product.
§ 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW
1. This warrant does not exclude or limit the bu ers statutor
rights provided b national law, in particular, an such rights
against the seller that arise from a legall effective purchase
contract.
2. The warrant regulations mentioned herein are applicable
unless the constitute an infringement of national warrant law.
* Customers in the European Union please contact BEHRINGER
German Support for further details.
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