Behringer Vintager AC112 User manual

Version 1.0 May 2001
User´s Manual
ENGLISH
VINTAGER® AC112

2
VINTAGER AC112
Thissymbol,whereveritappears,alerts
you to the presence of uninsulated
dangerousvoltageinsidetheenclosure
– voltage that may be sufficient to
constitute a risk of shock.
This symbol, wherever it appears, alerts
you to important operating and
maintenance instructions in the
accompanying literature. Read the
manual.
SAFETY INSTRUCTIONS
CAUTION: To reducetheriskofelectricalshock,donotremove
thecover (or back).Nouser serviceable parts inside;
referservicing toqualified 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.
Follow instructions:
Alloperationanduser instructions should be followed.
Water and Moisture:
The appliance should not be used near water (e.g. near a bathtub, washbowl, kitchen sink, laundry tub, in a
wet basement, or near a swimming pool etc.).
Ventilation:
The appliance should be situated so that its location or position does not interfere with its proper ventilaton.
For example, the appliance should not be situated on a bed, sofa rug, or similar surface that may block the
ventilation openings: or placed in a built-in installation, such as a bookcase or cabinet that may impede the
flowofairthrough the ventilation openings.
Heat:
The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other
appliances (including amplifiers) that produce heat.
Power Source:
Theappliance should be connected to a power supply onlyofthetype 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.
Power-Cord Protection:
Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed
upon or against them, paying particular attention to cords and plugs, convenience receptacles and the point
where they exit from the appliance.
Cleaning:
The appliance should be cleaned only as recommended by the manufacturer.
Non-use Periods:
The power cord of the appliance should be unplugged from the outlet when left unused for a long period of
time.
Object and Liquid Entry:
Careshould be takenso that objectsdonot fall andliquids are notspilledinto the enclosurethrough openings.
Damage Requiring Service:
The appliance should be serviced by qualified service personnel when:
- the power supply cord or the plug has been damaged; or
- objects have fallen, or liquid has been spilled into the appliance; or
- the appliance has been exposed to rain; or
-theappliance does not appear to operate normally or exhibits a marked changeinperformance;or
-the appliance has been dropped,orthe enclosure damaged.
Servicing:
TheusershouldnotattempttoservicetheappliancebeyondthatwhichisdescribedintheOperatingInstructions.
All other servicing should be referred to qualified service personnel.

3
VINTAGER AC112
FOREWORD
DearCustomer,
Welcome to the team of VINTAGER users and thank you very much for expressing your confidence in
BEHRINGERproducts by purchasing theAC112.
It is one of my most pleasant tasks to write this letter to you, because it is the culmination of many months of
hard work delivered by our engineering team to reach a very ambitious goal: To present you with a really
out-of-the-ordinaryvintageguitarworkstation.
Whatremains indispensable on the stage is the musical expressionagood amplifier must reproduce with full
detail. For this reason, we did not simply install a triode stage in a solid-state amplifier, but implemented the
provenUTC circuitryfromour studioprocessors. Thus, weachieved a particularlymusical compressioneffect,
opensound and gradual shiftto the upper harmonicsspectrum,which could beproducedbefore by pure-tube
amplifiers only. So, your playing dynamics and personal sound will not be confined in the amplifier but will be
reproducedandinspiredeven further.In particular,we madesure thatthe AC112will giveyou lotsof funwith its
intuitive user interface, so that you can focus entirely on playing your guitar.
The task to design the VINTAGER certainly meant a great deal of responsibility, which we assumed by
focusing on you, the discerning user and musician. It also meant a lot of work and night shifts to accomplish
this goal. But it was fun, too. Developing a product usually brings a lot of people together, and what a great
feelingit is when everybody who participatedinsuch a project can be proudofwhat we’ve achieved.
Itis ourphilosophyto share ourjoy with you,because you arethe most importantmember of theBEHRINGER
family. With your highly competent suggestions for new products you’ve greatly contributed to shaping our
company and making it successful. In return, we guarantee you uncompromising quality as well as excellent
technical and audio properties at an extremely favorable price. All of this will enable you to fully unfold your
creativitywithout being hampered by budgetconstraints.
Weare oftenaskedhow wecanmake itpossibleto producesuch high-grade devicesat such unbelievablylow
prices. The answer is quite simple: it’s you, our customers! Many satisfied customers, mean large sales
volumes enabling us to get better conditions of purchase for components, etc. Isn’t it only fair to pass this
benefit back to you? Because we know that your success is our success too!
I would like to thank the following people, whose help on “Project VINTAGER” has made it all possible:
sThe existing users of BEHRINGER equipment, whose comments and suggestions have made them the
mostimportant members of the BEHRINGER design team,
sJan,whose passionate workhasmade the VINTAGERarevolutionary vintage guitar workstation,
sThorstenwho designedthismarvelous manual,
sVolker and C.W. for the fine mechanics,
sandall the others, whohavemade very personal contributions.
Myfriends,it’sbeen worth the trouble!
Thankyou very much,
UliBehringer

4
VINTAGER AC112
AC112
VINTAGER®
Ultra-flexible 60 Watt Guitar Workstatio with Digital Multi-Effects Processor
sPowerful60 Watt RMS Guitar Workstation withahand-selected 12AX7 vacuum tube
sAuthenticvintage design with ULTRATUBE circuitry for classictubesound
sOriginal70 Watt heavy duty 12" JENSENguitarspeaker model JCH12/70
sTwoindependent channels with separatevolume controls, EQ andeffects
sCLEANchanneldelivers clean and slightly distorted sounds with smooth tube compression
sOVERDRIVEchannel offers abroadrange, from moderncrunch to high-gainsounds
sEach channel has its classic 3-band EQ with excellent sound characteristics
s24-bitstereo multi-effects processor withultra-highresolution 24-bit AD/DA converters
s31original VIRTUALIZER®/MODULIZER®presetswith world-classeffectssuch as Reverb,Delay, Phaser,
Chorus,Flanger, Pitch Shifter, Speaker Simulator, RotarySpeaker,MagicDrive, Compressor, Expander,
Wah,Tube Emulator andvariouseffect combinations
s99outstanding and easy-to-edit user presets
sQuasi-analogoperation: three FX parametersperpreset can be editedwithdedicated controls
sAdjustableAUX input for playback or other line-level signals (e.g.CDplayer, drum computer, etc.)
sFrequency-correctedstereo line outputforrecording and liveapplications
sInsertfacilityfor external effects devices (stomp boxes, wah-wah pedals, etc.)
sChannelselect and effect bypass footswitch FS112 included
sCompleteMIDIimplementation for channel and effect selection as well as realtimecontrol
sMastervolume controlandfrequency-corrected stereoheadphonesoutput
sExtremelyrugged construction ensures long life, evenunderthe most demanding conditions
sRobustpower supply ensures excellent transient response
sManufacturedunder ISO9000certifiedmanagement system

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VINTAGER AC112
TABLE OF CONTENTS
1. INTRODUCTION.....................................................................................................................6
1.1 Design concept ............................................................................................................................... 7
1.1.1 ULTRATUBEtechnology ....................................................................................................... 7
1.1.2 JENSENloudspeaker ........................................................................................................... 7
1.2 Beforeyou begin ............................................................................................................................. 7
1.3 Controlelements............................................................................................................................. 8
1.3.1 Frontpanel ........................................................................................................................... 8
1.3.2 Rearpanel .......................................................................................................................... 10
2. WIRING EXAMPLES .............................................................................................................11
2.1 Standardsetup consisting ofguitar,footswitch and externaleffectsdevice.....................................11
2.2 ExpandedsetupwithMIDI foot controller, playbacksourceandmixing console ............................ 12
3. EFFECTS PROCESSOR......................................................................................................13
3.1 Descriptionofeffects..................................................................................................................... 13
3.2 Controllingthe VINTAGERvia MIDI ............................................................................................... 22
3.2.1 Store Enable mode ............................................................................................................. 23
4. HISTORICAL BACKGROUND by Neville Marten (Guitarist Magazine) .........................23
5. INSTALLATION .....................................................................................................................24
5.1 Mainsconnection.......................................................................................................................... 24
5.2 Audioconnections ........................................................................................................................ 24
5.3 MIDIconnection ............................................................................................................................ 25
6. APPENDIX .............................................................................................................................25
6.1 Preset list ..................................................................................................................................... 25
6.2 MIDIimplementation ..................................................................................................................... 28
7. SPECIFICATIONS .................................................................................................................29
8. WARRANTY ...........................................................................................................................30
WARNING!
+It should be pointed out, that extreme output volumes may damage your ears and/or your
headphones. Turn down all LEVEL controls before you switch on the unit. Always pay attention
to an appropriate volume.

6
VINTAGER AC112
1. INTRODUCTION
Thankyou very muchfor expressing yourconfidencein BEHRINGER productsby purchasing theVINTAGER
AC112.With theVINTAGER,you have acquireda modern guitarworkstation that setsnew standards inguitar
amp engineering. When developing the AC112, our top objective was to reproduce the authentic sound of
classical guitar amps as perfectly as we could and combine it with latest DSP technology – while focusing on
auser interface that can be operated intuitively.
BEHRINGERis an audioengineering company thathasbeen successfullydevelopingproducts for studioand
liveapplications formanyyears now.Ourrange ofproductsincludes microphonesanda varietyof19" devices
(compressors, enhancers, gates, tube processors, headphone amps, digital effects devices, DI boxes, etc.)
as well as various monitoring and P.A. speakers plus professional live and recording consoles. The name of
BEHRINGERstandsfor no-compromise quality, fully-featured products and exemplary service – evenyears
after purchase – as well as sensationally low prices, which allow any ambitious music lovers to make their
musical dreams come true.
We also set great store by flexibility, which has become a particularly important factor in the music business
overthe pastfewyears. Modernguitarists need tooffer abroadrange ofsounds,but shouldstill be ableto play
in different kinds of applications at short notice: home recording, studio, live concerts. For this reason, it has
alwaysbeen our primeconcernto give you aguitar workstation that offersyou a complete setoffunctions, but
can still be operated intuitively and quickly – no matter what kind of style you play.
Unfortunately,conventionalguitarampsareoftennotfullydesignedanddeveloped.Moreover,manymanufacturers
oftraditional-styleguitar amps are somewhat afraid of using state-of-the-art technology. The VINTAGER,on
the other hand, is a pioneering guitar amp that has considerably more functions than any conventional 2-
channel amp with a built-in spring reverb. Still, you can use the AC112 so that it mimics an excellently
sounding2-channelcomboampwithan– admittedly– goodspring reverb(except forthat “shatter”sound when
theamp gets knocked over). However,werecommend that you make yourselffamiliar with the VINTAGER in
full detail, so that you know what each of the many functions does and be able to fully exploit the numerous
effectsand control optionsprovided.
Astechnology advances, you’ve got to keeptrackof latest technological breakthroughs toavoidfalling by the
wayside.We, too, have continuouslyimprovedthis amp andincludedmany of your valuablesuggestions.We
havespared neither expensenoreffort to test differenttypes of circuitry andspeakers until the resultsgaveus
complete satisfaction. After all, we really want to give you fully designed and developed products that meet
yourexpectations inevery respect.TheVINTAGERshallbe auseful toolforyears tocome, whichis whywe’ve
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
updateswillbe made available for free on the Internet, so as toensurethatyouramp will never be outdated.
We’vepacked our entire experienceinto this latest generationofguitar amps. Many peoplecontributedto this
project of intense development: studio musicians, collectors of vintage guitar amps, music and guitar lovers
alike. We even invited guitar amp tuning experts to help us develop an amplifier that gives you the best of all
worlds:
sSophisticatedanalog technology with a “feelfactor”only analog technology can provide.
sULTRATUBE circuitry for the perfect emulation of tube-specific nuances to make up for the drawbacks
encountered in tube designs (noise, hum, etc.)
sLatestDSP technology to giveyoua broad range of modernhigh-gainand vintage-type effect sounds.
sRuggedand solid construction whicheven withstands roughest handling.
sIntuitive operation, so that you can focus your mind on what is most important to you: your music!
+Thismanual first describesthe terminology used,so that you can fullyunderstand the VINTAGER
and its functions. Please read the manual carefully and keep it for future reference.
1. INTRODUCTION

7
VINTAGER AC112
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 VINTAGER are exceptional: they boast
extremelinearity andverylow distortioncharacteristics. To complementthis design, thechoice of components
includelow-toleranceresistorsandcapacitors,high-qualitypotentiometers andseveralother stringentlyselected
elements.
TheVINTAGER uses SMD technology(SurfaceMounted Device). These subminiaturecomponentsadapted
fromaerospace technology allow for anextremepacking density to furtherimprovethe overall reliability.
The super-robust steel-plate enclosure of your VINTAGER, with its generously dimensioned power supply,
ensuresthat your AC112willnever fail onthestage – evenwhen the going getstough. The enclosureismade
ofhigh-gradeandnon-pollutingE1-MDFwood, whichconsistsof multipletongued/gluedlayers andisabsolutely
freeofformaldehyde.
1.1.1 ULTRATUBEtechnology
The tube circuitry employed in the VINTAGER has evolved from our ULTRATUBE circuit that is used in our
studio-qualitytube devices.By overdrivingthetube stage,this circuitproduces additionalupperharmonics and
a gradual compression effect. Thanks to this compression your guitar sounds are improved in sustain and
definition and make themselves heard. While processing the guitar signal the UTC processor (Ultra Tube
Circuitry)largely eliminates the noiseand hum typically encounteredinconventional tube circuits andcreates
theactual tube effectwithout raising thenoisefloor. The specificallyselected tube usedinthe VINTAGERisof
theECC83/12AX7 type and will give you a veryspecialsoundexperience over many years to come.
1.1.2 JENSENloudspeaker
SincePeter Jensen producedthe first loudspeakersin1923 JENSEN reshapedthe communications industry.
Asthe demand for newelectricguitar and bass amplifiersincreased,so did the needforJENSEN speakers in
the50’s and 60’s.JENSEN represented theworldwide industry standardforspeaker productsandtheir sound
was in fact the sound of Rock ´n´ Roll. Still these vintage speakers are highly valued by top musicians and
collectors around the world. Famous american and british brands choose JENSENs for their top-of-the-line
products.There is no doubt about the tremendous impact theloudspeakerhason the sound of electric guitar
amplifiers. Consequently, JENSEN has put into production those legendary speakers again that contributed
so much to the history of modern music, using the most sophisticated and modern facilities Europe has to
offer.You will find JENSEN speakersintop-of-the-line guitar amps.
1.2 Before you begin
Your BEHRINGER VINTAGER was carefully packed in the factory and the packaging is designed to protect
theunitfrom rough handling. Nevertheless, we recommend that you carefully examine the packagingandits
contents for any signs of physical damage, which may have occurred during transit.
+If the unit is damaged, please do not return it to BEHRINGER, but notify your dealer and the
shipping company immediately, otherwise claims for damage or replacement may not be
granted. Shipping claims must be made by the consignee.
Besure that thereis enough spacearoundthe unit forcoolingand pleasedonot place theVINTAGERon high
temperaturedevices such as radiatorsetc. to avoid overheating.
+Before you connect your VINTAGER to the mains, please make sure that your local voltage
matches the voltage required by the unit!
The mains connection of the VINTAGER is made by using the enclosed mains cable and a standard IEC
receptacle.Itmeets all of the international safety certification requirements.
+Please make sure that all units have a proper ground connection. For your own safety, never
remove or disable the ground conductor of the unit or of the AC power cable.
1. INTRODUCTION

8
VINTAGER AC112
TheMIDIconnection(IN) ismade overstandardized DINplug-in connectors.An optocouplerhas beenused for
isolateddata communications.
Youwill findadditionalinformation inchapter5 “INSTALLATION”.
1.3 Control elements
Fig. 1.1: The front panel of the VINTAGER
TheBEHRINGER VINTAGER AC112features15 controls, fivepush-buttons and one2-digit,7-segment LED
display on its front panel. Additionally, there are two 1/4" jacks for input and headphones.
1.3.1 Front panel
Fig. 1.2: The front panel control elements
1
TheCLEAN channel’s VOLUME control sets the volume forthecleanchannel.
2
The BASS control in the EQ section allows you to boost or cut the bass frequencies in the CLEAN
channel.
3
With the MID control you can boost/cut the midrange frequencies in the CLEAN channel.
4
TheTREBLEcontroladjusts the CLEAN channel’supperfrequencyrange.
+Please note that with all three EQ controls in the CLEAN channel set fully to the left, there will
be no signal sent to the speaker, which is due to the classical and extremely efficient EQ
circuit used in the VINTAGER.
5
INPUT is the VINTAGER’s 1/4" jack input for your guitar. Use a commercial 1/4" jack mono cable (no
DIY, better ask your specialized dealer), with good mechanical and electrical shielding, so as to avoid
unpleasantsurprises during rehearsals or concerts.
6
Press the OVERDRIVE button to select the CLEAN or OVERDRIVE channel. When OVERDRIVE is
on,thecorrespondingLED lights up.
7
TheGAIN controldetermines the degree of distortion intheOVERDRIVE channel.
8
TheVOLUMEcontrol sets the volume fortheOVERDRIVE channel.
1. INTRODUCTION

9
VINTAGER AC112
+Use both VOLUME controls to optimize the volume ratio of the two channels, so that no volume
differences can be heard when switching from one channel to the other. This setting is also
effective on the level-dependent digital effects!
9
The BASS control in the EQ section allows you to boost/cut the bass frequencies in the OVERDRIVE
channel.
10
With the MID control you can boost/cut the midrange frequencies in the OVERDRIVE channel.
11
TheTREBLEcontroladjusts the OVERDRIVE channel’supper frequency range.
12
The DISPLAY reads either the program number of the selected preset or the value of the parameter
selected with the PARAMETER, EFFECT A or EFFECT B controls.
13
With the UP button you can increment the program number of the built-in effects module. Keep the
buttonpressedto scroll through the programs.
14
TheDOWN buttonallows you to decrement theprogramnumber.
15
TheSTATUSLED’sinform youaboutthe type of parameteryou can edit withthe PARAMETER control
(anexception being the MIDILED).
sMIDI:ThisLEDlightsupwhenyoupressbothUPandDOWNbuttonsforabouttwoseconds.Subsequently,
youcan usethesebuttons tosetup aMIDIchannel forMIDIdata reception(1through 16,“ON”=Omniand
“OF”=off,or“ON”=Omniand 1through16 plusone decimal pointeach = StoreEnable mode,seechapter
3.2.1). Press the ENTER button to confirm your selection. The MIDI LED flashes as soon as MIDI data is
beingreceived.
+The Store Enable mode (see chapter 3.2.1) allows you to store presets directly via MIDI. Please
note that by sending MIDI control #18 values, any changes made to the currently active preset
will be permanently stored.
+Whenever the multi-functional MIDI LED flashes and the unit is not in edit mode, this indicates
that the DSP module’s output level is close to distortion. In this case, you should turn down the
VOLUME control a bit.
sTIME:ThisLED lights up when you select a time-domain effectparameter(e.g.reverb or delay time).
sSPEED:This LEDlights upfor allmodulation effectsandindicatestheLFO speed(low-frequency oscillator)
orthe speed parameterofcompress/expander.
sSENS: This LED informs you that you can adjust the sensitivity of effects such as Auto-Wah, Expander,
Compressor.
sPITCH:This LEDlightsup whenyou edit thepitch shifter,andshows thedetunefactor, eitherin semi-tones
or cents.
sEQ: This LED lights up when you edit the parameters of a filter-based effect.
To the right of the status LED’s you can find a chart that lists the various effect types as well as their initial
program numbers. Use this list to quickly locate, edit and store the effect of your choice. The built-in effects
modulefeatures 31 different effectgroupsand includes a total of99 effect variations.
16
Use the ENTER button to confirm your program selection.
+When the MIDI functions are inactive, one effect can be stored for each of the two channels on
yourVINTAGER, which allows for instance, to select a DELAYeffect for the OVERDRIVE channel
and assign a REVERB/CHORUS effect to the CLEAN channel. The corresponding program
numbers will be stored with the channels and can be recalled using the footswitch or the front
panel buttons. When MIDI is on, this assignment feature will be disabled, so that in this mode
both channels and effects can be selected separately.
17
The PARAMETER control allows you to edit an effect-specific parameter. Once selected with the
PARAMETER control, its value is displayed and the corresponding LED lights up (see ).
18
TheAUXIN control intheMaster sectiondeterminesthe volume ofthe AUX signalfed in viathe AUX IN
jacks on the rear of the VINTAGER (e.g. drum computer, playback).
1. INTRODUCTION

10
VINTAGER AC112
19
The PRESENCE control in the Master section boosts/cuts the higher midrange frequencies in both
channels.
20
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 signal, or of original and
first-effect signal (combination effects). Some effects use this control to edit a second, effect-specific
parameter.
21
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 signal, or of original to
secondary-effect signal (combination effects). Some effects use this control to edit a third, effect-
specificparameter.
+When you start editing a preset, the decimal point in the 2-digit display starts flashing. Press
the ENTER button for a while to overwrite the factory preset and save your own effect setting.
To restore the factory presets, simply press and keep the ENTER button while you switch on
yourVINTAGER.
22
Usethe EFFECT button to activate/deactivate the selected effect.
23
TheMASTERcontrolin the Master sectiondeterminesthe overall volume levelofyour VINTAGER.
24
The 1/4" stereo jack allows you to monitor the VINTAGER’s audio signal with a pair of commercially
availableheadphones. Connecting theheadphoneswill mute thebuilt-inspeaker.
+Since speakers can have quite an impact on the sound of a guitar amp, both the headphones
and LINE OUT signals are frequency-corrected (Speaker Emulation). Without this frequency
correction extreme treble frequencies would deteriorate the sound. You can still tap the
unprocessed signal directly after the pre-amp (INSERT SEND jack), without interrupting the
signal path in the amplifier (INSERT RETURN jack may not be used in this case). Starting with
a certain volume level, low-impedance headphones may begin to produce distortion. In such
a case, please reduce the volume by turning down the VOLUME controls.
1.3.2 Rear panel
Fig.1.3:Therearpanelconnectors
25
Use the POWER switch to put the VINTAGER into operation.
26
FUSEHOLDER/VOLTAGESELECTOR.Pleasemakesurethatthevoltageindicatedontheunitmatches
yourlocal voltage, beforeyou attempt toconnect and operatetheVINTAGER AC112.Blownfuses may
onlybe replaced by fuses of the same typeandrating. Some models allow for inserting the fuseholder
intwodifferent positions, in order to switch over from 230 V to 115 Voperation,andvice versa. Please
note that for 115 V operation outside Europe, you need to use a fuse of a higher rating (see chapter 5
“INSTALLATION”).
27
Use the enclosed power cord to connect the unit to the mains.
28
SERIALNUMBER.Pleasetakethetimetohavethewarrantycardfilledoutcompletely byyourspecialized
dealer, and return it within 14 days after the date of purchase, so as to be entitled to benefit from our
extendedwarranty.
1. INTRODUCTION

11
VINTAGER AC112
29
MIDIIN.Thisconnector givesyouMIDIremotecontroloveryourVINTAGER.Youcanchangeparameters
usingcontrollerinformation,switchovereffectprograms, changechannelsand bypasstheeffects module
bymeans of program change instructions.
30
The LINE OUT provides the VINTAGER’s audio signal in stereo, for example, to send it to a recording
machine.This output is frequency-corrected(SpeakerEmulation).
31
The AUX IN allows you to feed in additional stereo signals, for example, to play with a drum computer
orsome sort of playback. Additionally, you can use theAUXINin 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 device (INSERT RETURN jack should not be used in this case!). Thus, the signal path in the
amplifier will not be interrupted and you can add the effect portion from the external device, using the
AUX control described in point . Please note that the external effects device must be set to 100%
wetforthis purpose.
32
TheVINTAGER also features a serial insert path for external effects such as a wah-wah pedal.This is
the INSERT RETURN jack you need to connect to the output of the effects device.
33
This is the INSERT SEND jack that can be connected to the input of an external effects device.
+Please note that when using the serial effects path, the external effect should not be set to
100% wet (100% effect signal); otherwise, there will be no direct signal portion fed back to the
VINTAGER.
34
Connect the enclosed footswitch via the stereo plug to the FOOTSWITCH jack. The footswitch allows
you to change channels or disable the effects module.
2. WIRING EXAMPLES
2.1 Standard setup consisting of guitar, footswitch and external effects device
Touse your VINTAGERforrehearsals or on stage,please wire up theunitas shown infig.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 having to use the insert path at all. Connecting the headphones will mute the built-in
speaker.
Whenyou wish to use aguitartuner, please connect it totheINSERT SEND of your VINTAGER.Ifthere is no
further effects device connected, you can leave the INSERT RETURN as it is. However, to use an external
effects device, place the tuner before the effects in the signal chain, so that it works on unprocessed signals
only.
2. WIRINGEXAMPLES

12
VINTAGER AC112
Fig. 2.1: Standard setup
2.2 Expanded setup with MIDI foot controller, playback source and mixing console
Touse your VINTAGER for advancedapplications,please consider the followingsuggestions.Of course, the
expandedconfigurationsuggested 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 volume and wah, etc. The line out signal
canbe fed intoaP.A. or recordingconsole,and the AUXinputcan be usedtoplay back e.g.cassetterecorder
signalsthrough the AC112.
Fig.2.2: Expanded setup
2. WIRINGEXAMPLES

13
VINTAGER AC112
3. EFFECTS PROCESSOR
Avery special feature of your VINTAGER is its built-in effects processor, which offers the same audio quality
and algorithms as our popular 19" effects devices VIRTUALIZER PRO and MODULIZER PRO. This effects
module provides 31 different groups of first-class effects such as reverb, chorus, flanger, delay, pitch shifter,
compressor,expander,wah-wahvariations,variouscombinationeffects andeven tubeand speakeremulation.
Thelatter, in particular, can make aguitarist’slife much easier in home recordingstudios,because they allow
you to record the amp’s signal without having to use a microphone. A total of 99 presets gives you a broad
rangeofversatile effects,whichcanbeedited inthreeparameterseach.Additionally, themulti-effectsprocessor
providesdifferent effectsvariations, whicharepermanently linkedto thepresets.All presetscan beoverwritten
with your own settings. To restore the factory default settings, simply keep the ENTER button pressed while
youpower up theVINTAGER.
Themulti-effects processorbasicallyprovides stereoeffects.However, thesecanbe heardonlywhen youuse
theLINEOUT orheadphonesoutput. Thespeakerand/orthemono powerampof yourVINTAGERsumupboth
channels (left and right) to produce a mono signal. Nevertheless, you can record with stereo effects by using
the LINE OUT or a second amp to play in stereo.
The two buttons UP and DOWN allow you to select a preset. To activate the selected preset, simply press the
ENTERbutton. The display readsthe number of thecurrentlyactive preset (theliston the effect moduleshows
thevariouseffectgroupsavailable).AssoonasyoueditapresetwiththePARAMETER,EFFECTAandEFFECT B
controls, the display will read the respective parameter values. After about three seconds or when you press
ENTER, UP or DOWN, the display will switch back to the program number. Whenever a parameter has been
changed, the decimal point in the 2-digit display starts flashing. To save your edits and overwrite the existing
preset,simplypresstheENTERbuttonforabouttwo seconds.TheEFFECTAandEFFECTBcontrolsdetermine
(witha fewexceptions) themixof originaland effectsignals.EFFECT Acontrols the leftchannel and/orthefirst
effect(if combination effects are used), and EFFECTBadjuststhe right channel and/or the second effect.Asa
rule of thumb, values between 20 % (moderate effect) and 40 % (clearly audible effect) should deliver good
results.Inthe caseof reverbanddelaypresets,themix ratioisadjustable from0 %through50 %instepsof1 %.
3.1 Description of effects
01-02 Spring Reverb: Even a guitar amp with a digital multi-effects processor should allow you to use a
springreverb.Thisalgorithm emulatesthe typicalsound ofa springreverb, asit isknown fromnumerous
guitaramps. However,here you don’thave thetypical shattersoundwhen youramp gets knockedover.
03-04 Studio: Thiseffect simulates the characteristicsofmiddle-sized rooms. With itsnaturalsound it canbe
usedfor a great variety of applications.
05-06 Chamber: You can clearly hear the sound as it bounces back from the walls of this “room”. The
programisparticularly suited for diffuse types of reverb or to make a dry guitar soundmorenatural.
07-08 Stage: A fine reverb e.g. to liven up and widen a clean guitar.
09-10 Concert: Here, you can choose from a small theater (preset 9, short pre-delay) or a large concert hall
(preset 10, long pre-delay). Compared to the STUDIO reverb program, these algorithms sound more
livelyand havemore treblefrequencies.
11-12 Plate: Thesound ofan ancient platereverb. Aclassicalgorithm thatmakesyour guitarsound wonderful
andenchanting.
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VINTAGER AC112
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
1 SPRING short Pre-Delay Reverb Time Mix L Mix R
2 REVERB long Pre-Delay Reverb Time Mix L Mix R
3 short Pre-Delay Reverb Time Mix L Mix R
4 long Pre-Delay Reverb Time Mix L Mix R
5 short Pre-Delay Reverb Time Mix L Mix R
6 long Pre-Delay Reverb Time Mix L Mix R
7 short Pre-Delay Reverb Time Mix L Mix R
8 long Pre-Delay Reverb Time Mix L Mix R
9 short Pre-Delay Reverb Time Mix L Mix R
10 long Pre-Delay Reverb Time Mix L Mix R
11 short Pre-Delay Reverb Time Mix L Mix R
12 long Pre-Delay Reverb Time Mix L Mix R
PLATE
STUDIO
CHAMBER
STAGE
CONCERT
Tab. 3.1: Parameters of effects 01 through 12
Reverb algorithms 01 through 12 provide two variations each. Basically, the first variation uses a short pre-
delay (delay until the actual reverb can be heard), while the second variation works with long pre-delays. In
general,you can adjust the reverb time with the PARAMETERcontrol,while the two EFFECT controls adjust
the mix of original and effect signals in the left/right channel.
13-14 Gated Reverb: This reverb is cut off abruptly and became famous through Phil Collins’“In the air
tonight”.UsetheEFFECT Acontroltoadjustthethresholdabovewhichthereverbistriggered(Sensitivity).
The higher this value, the less reverb you will hear. EFFECT B governs the mix of original and reverb
signals.ThePARAMETER control adjusts the reverb 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 reverb of any room consists of so-called “early reflections”and the reverb “tail”. This
algorithmemulatesthe first15oftheseearly reflections.Sinceourearsuse thesereflectionsto determine
theroom size, theycanbe employed to createsubtle and impressive reverbdensities,without clouding
theoverallsignalwithlongreverb tails.The PARAMETERcontrol modifiesthe roomsize, whileEFFECT
Aadjusts the pre-delaytime, and EFFECTBgoverns the mixof original andeffectsignals. Thiseffectis
particularlyimpressive when playedthrough a pairofheadphones.
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
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VINTAGER AC112
17-19 Wah/Delay/Distortion: In general, filters are used to provide some static equalization of a signal’s
frequencyresponse. Thewah effect –combinedwith delayanddistortion inthis preset–allowsthe mid-
rangefrequencies to pass, whileit more or lesssuppressesthe remaining frequency ranges.Guitarists
such as Jimi Hendrix and Eric Clapton made this effect popular, and it still hasn’t gone out of fashion.
Usethe PARAMETERcontrol to adjustthe delaytime.EFFECT Aallows you todetermine thedistortion
intensity,which alsodepends on thevolume settingschosenin theCLEAN and OVERDRIVEchannels.
WithEFFECT B you can edit the delaymix.Using MIDI controller #15 you canedittheoperating range
of the wah effect, e.g. via a MIDI foot controller. In this way, it is possible to use the wah effect like an
analogwah footpedal.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
17 Feedback 0 % Delay Time Drive Delay Mix
18 Feedback 10 % Delay Time Drive Delay Mix
19 Feedback 30 % Delay Time Drive Delay Mix
WAH /
DELAY /
DISTORTION
Tab. 3.4: Parameters of effects 17 through 19
20 Delay/Reverb: This effect produces a normal delay with adjustable delay time that passes a reverb
whose mix ratio can be edited.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
20 DELAY / REVERB - Delay Time Delay Mix Reverb Mix
Tab. 3.5: Parameters of effect 20
21-29 Delay: This algorithm delays the input signal and generates several repeats. The first five presets (21
through 24) produce a stereo delay, with the PARAMETER control setting the delay time for the right
channel.Theleftchannel’s delay time is 2/3 as long as that on the right side. As usual, EFFECT A and
EFFECTB determinethe mix oforiginal andeffectsignals. Delaypresets 25 through29 offerlongmono
delay, which can be adjusted in their delay time (PARAMETER control), delay feedback (repeats,
EFFECTA)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. EFFECTSPROCESSOR

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VINTAGER AC112
The LFO speed of all modulation effects is controlled by the PARAMETER control. EFFECT A controls the
effect intensity or depth. High values produce a very intensive effect. In the case of the tremolo algorithm,
EFFECTA adjusts the panning between left andright,and vice versa.
+In the stereo modulation effects (programs 36/37, 50/51, 62/63), the left and right channels are
modulated in reverse phase, which can partly eliminate the effect when reproduced in mono.
In particular, the tremolo will be inaudible if high stereo panning values are used in mono via
the built-in speaker. In this case, it will be better to use no panning at all (EFFECT A = 0).
30-33 Phaser: From a technical point of view, phasing is a modulation effect producing a multi-stage phase
shiftbetween direct and effectsignals.As the frequency-dependentphaseshift is controlled byanLFO
(low-frequency oscillator), the various frequency ranges of the signal are raised or lowered in their
amplitudes.Dependingon thesettingyou choose,theresultingphasingeffectiseitherslightly modulating
incharacter or produces heavy sound coloration reminiscentofa 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 musicianisable toplaywith anintonationaccuracy of100%.Consequently, slightlydetuned
signal portions are produced which overlap in the time domain. To emulate this effect, chorusing uses
copiesofthe original signal, which are then delayed by 20 to 40msec,detunedslightly and modulated
by the LFO. The result is a detune effect that is very pleasant in character. As this effect is used so
frequentlyand in suchavariety of signal-wideningapplications,any recommendation givenherewould
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 achoruseffect with various intensitiesandthen a reverb that
can be edited in time.
3. EFFECTSPROCESSOR

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VINTAGER AC112
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
38 ultra Reverb Time Chorus Mix Reverb Mix
39 slow Reverb Time Chorus Mix Reverb Mix
40 medium I Reverb Time Chorus Mix Reverb Mix
41 medium II Reverb Time Chorus Mix Reverb Mix
42 fast Reverb Time Chorus Mix Reverb Mix
CHORUS /
REVERB
Tab. 3.9: Parameters of effects 38 through 42
43-47 Chorus/Delay: First, the signal is chorused with various intensities, then follows a delay effect with
variousfeedback levels andadjustabledelay time.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
43 ultra Delay Time Chorus Mix Delay Mix
44 slow Delay Time Chorus Mix Delay Mix
45 medium I Delay Time Chorus Mix Delay Mix
46 medium II Delay Time Chorus Mix Delay Mix
47 hold Delay Time Chorus Mix Delay Mix
CHORUS /
DELAY
Tab. 3.10: Parameters of effects 43 through 47
48-51 Flanger: An LFO constantly modulates the pitch of the effect signal up and down by a few cents and
then sends the effect signal back to the input. This effect can be excellently combined with distorted
guitarsounds.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
48 fat LFO Speed Depth Mix
49 classic LFO Speed Depth Mix
50 stereo LFO Speed Depth Mix
51 stereo LFO Speed Depth Mix
FLANGER
Tab. 3.11: Parameters of effects 48 through 51
52-56 Flanger/Reverb: Here,a flanger with various intensities is followed by areverbwithadjustable reverb
time.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
52 ultra Reverb Time Flanger Mix Reverb Mix
53 slow Reverb Time Flanger Mix Reverb Mix
54 medium I Reverb Time Flanger Mix Reverb Mix
55 medium II Reverb Time Flanger Mix Reverb Mix
56 fast Reverb Time Flanger Mix Reverb Mix
FLANGER /
REVERB
Tab. 3.12: Parameters of effects 52 through 56
3. EFFECTSPROCESSOR

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VINTAGER AC112
57-61 Flanger/Delay: The first element is a flanger with various intensity levels, then comes a delay effect
with adjustable delay time.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
57 ultra Delay Time Flanger Mix Delay Mix
58 slow Delay Time Flanger Mix Delay Mix
59 medium I Delay Time Flanger Mix Delay Mix
60 medium II Delay Time Flanger Mix Delay Mix
61 fast Delay Time Flanger Mix Delay Mix
FLANGER /
DELAY
Tab. 3.13: Parameters of effects 57 through 61
62-63 Stereo Tremolo: Tremolo is a more or less fast, intensive variation of the signal amplitude, and is
complementedhere by apanoramaeffect.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
62 - LFO Speed Pan Mix
63 - LFO Speed Pan Mix
STEREO
TREMOLO
Tab. 3.14: Parameters of effects 62 and 63
64-66 Tremolo/Delay: A more or less fast, intensive amplitude modulation complemented by a delay effect.
Thevariations provide forvarious modulation speeds.The delay timecanbe set withthe 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 heavy speaker cabinet. This effect
usesthe physicalprincipleknown asDopplereffect. ThePARAMETER control determinesthe 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. EFFECTSPROCESSOR

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VINTAGER AC112
69-70 Magic Drive: This is an absolutely up-to-date effect combined with a delay. EFFECT A governs the
basiccharacter of the effect in 32 steps,PARAMETERadjuststhe delay time, and EFFECT B controls
the delay mix. As a little extra, this effect includes an LFO-controlled notch filter, which is added as of
Variation#24.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
69 - Delay Time Variation Delay Mix
70 - Delay Time Variation Delay Mix
MAGIC DRIVE
Tab. 3.17: Parameters of effects 69 and 70
71-72 Auto Wah: Auto Wah is a velocity-sensitive effect that allows low frequencies to pass, while high
frequenciesare more or less suppressed. PARAMETER controlstheeffectsensitivity, and EFFECT A
sets the cutoff frequency, which can be shifted upwards by raising this value.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
71 fast Sensitivity Depth Mix
72 slow Sensitivity Depth Mix
AUTO WAH
Tab. 3.18: Parameters of effects 71 and 72
73-74 LFO Wah: In the LFO Wah effect the LFO governs the speed of frequency modulation. Here, you can
producewah-wah effects thatare repeated atregularintervals. UsethePARAMETER control toset the
LFO speed, while EFFECT A determines the threshold frequency. The LFO Wah delivers astounding
results.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
73 LFO Band Pass LFO Speed Depth Mix
74 LFO Band Pass LFO Speed Depth Mix
LFO WAH
Tab. 3.19: Parameters of effects 73 and 74
3. EFFECTSPROCESSOR

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VINTAGER AC112
75-81 Pitch Shifter: This effect shifts the pitch of the input signal and can be used to produce musical
intervals and harmonies or simply to widen a single voice. Heavy detuning by several semi-tones up
creates a Mickey-Mouse-type effect. The preset variations include various fixed intervals for the right
channel, while the left channel can be shifted with the PARAMETER control. Depending on your mix
settings, you can thus hear a triad for each tone of the input signal. Effects #80 and #81 are used to
“widen”thesignaland feature a detune option in the left channel (+/-25 cents).
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
75 -12 Tune Left Mix L Mix R
76 -5 Tune Left Mix L Mix R
77 +3 Tune Left Mix L Mix R
78 +4 Tune Left Mix L Mix R
79 +7 Tune Left Mix L Mix R
80 +4 % Tune Left Mix L Mix R
81 +8 % Tune Left Mix L Mix R
PITCH
SHIFTER
Tab. 3.20: Parameters of effects 75 through 81
82-85 Pitch/Reverb: Here, a pitch shifter set to various cent and semi-tone intervals is followed by a stereo
reverb whose time can be set with the PARAMETER control.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
82 -12 Reverb Time Pitch Mix Reverb Mix
83 +3 Reverb Time Pitch Mix Reverb Mix
84 +4 % Reverb Time Pitch Mix Reverb Mix
85 +8 % Reverb Time Pitch Mix Reverb Mix
PITCH
SHIFTER /
REVERB
Tab. 3.21: Parameters of effects 82 through 85
86-89 Pitch/Delay: First, the signal passes the pitch shifter set to various intervals. Then, a delay effect
whosetime can beeditedwith the PARAMETERcontrolis added. The twoEFFECT controls adjust the
mix of both effects.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
86 -12 Delay Time Pitch Mix Delay Mix
87 -5 Delay Time Pitch Mix Delay Mix
88 +4 Delay Time Pitch Mix Delay Mix
89 +7 Delay Time Pitch Mix Delay Mix
PITCH
SHIFTER /
DELAY
Tab. 3.22: Parameters of effects 86 through 89
3. EFFECTSPROCESSOR