Behringer Blue Devil GX112 User manual

BLUE DEVIL GX112
Version 1.2 May 2001
User´s Manual
ENGLISH

2
BLUEDEVILGX112
This symbol, wherever it appears, alerts
you to important operating and
maintenance instructions in the
accompanying literature. Read the
manual.
SAFETY INSTRUCTIONS
CAUTION: To reduce the risk of electric shock, do not remove
thecover (or back).No user serviceableparts inside;
referservicingtoqualified personnel.
WARNING: To reduce the risk of fire or electric shock, do not
expose this appliance to rain or moisture.
DETAILEDSAFETYINSTRUCTIONS:
Allthe safetyand operationinstructions shouldbe readbefore theappliance is operated.
RetainInstructions:
Thesafety and operatinginstructions should beretained for futurereference.
Heed Warnings:
Allwarnings on the appliance andin the operating instructions shouldbe adheredto.
Followinstructions:
Alloperation anduser instructions should be followed.
Water and Moisture:
Theapplianceshouldnot be usednearwater(e.g. near abathtub,washbowl,kitchensink, laundry tub,inawet
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 ventilation.
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
flowofair throughtheventilation openings.
Heat:
The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other
appliances(including amplifiers) thatproduce heat.
Power Source:
Theappliance shouldbe connectedto a power supply onlyof thetype describedin theoperating instructions
or as marked on the appliance.
Grounding or Polarization:
Precautionsshould be taken so thatthe groundingor polarization means of anappliance 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
wherethey exitfrom theappliance.
Cleaning:
Theappliance should becleaned onlyas recommended bythe manufacturer.
Non-usePeriods:
Thepowercordof the appliance shouldbeunpluggedfromthe outlet whenleftunusedfora long period oftime.
Debris and Liquid Entry:
Careshould betaken thatdebris and/orliquids do not enter theenclosure throughopenings.
Damage Requiring Service:
Theapplianceshould beservicedbyqualified servicepersonnelwhen:
-The powersupply cordor the plug has been damaged; or
-Debris orliquid hasentered theappliance; or
-The appliancehas beenexposed torain; or
-The appliancedoes not appear to operatenormally orexhibits amarked change in performance; or
-The appliance hasbeen dropped, orthe enclosuredamaged.
Servicing:
Theusershouldnotattempttoservicetheappliancebeyondthatwhichisdescribedintheoperatinginstructions.
Allotherservicing shouldbereferred toqualifiedservice personnel.
This symbol, wherever it appears,
alerts you to the presence of
uninsulateddangerousvoltageinside
the enclosure—voltage that may be
sufficienttoconstitute ariskof shock.

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BLUEDEVILGX112
FOREWORD
DearCustomer,
Welcome to the team of BLUE DEVIL users and thank you very much for expressing your confidence in
BEHRINGERproductsby purchasing theGX112.
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 produce the BLUE DEVIL,
which fully satisfies your and our expectations and delivers a superior sound quality, easy operation and
technical specifications. In addition to that the Guitar Workstation is affordable for almost every musician.
The task to design the BLUE DEVIL 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
feeling it is when everybody who participated in such a project can be proud of what we’ve achieved.
Itisour philosophytoshareour joywithyou, because youarethe most importantmemberof the BEHRINGER
family. With your highly competent suggestions for new products you’ve greatly contributed to shaping our
company and making it successful. In return, we guarantee you uncompromising quality as well as excellent
technical and audio properties at an extremely favorable price. All of this will enable you to fully unfold your
creativitywithout beinghampered by budgetconstraints.
Weareoften asked howwecan make itpossibleto produce suchhigh-gradedevices at suchunbelievablylow
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 BLUE DEVIL” has made it all possible:
▲The existing users of BEHRINGER equipment,whose comments and suggestions have made them the
mostimportantmembers oftheBEHRINGER designteam,
▲ThorstenDerks for thismarvellous manual,
▲Jan Duwe, whose passionate work has made the BLUE DEVIL as mean as it is,
▲Volker Wagner for the fine mechanics,
▲andall the others, who have made verypersonal contributions.
My friends, it’s been worth the trouble!
Thank you very much,
UliBehringer

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BLUEDEVILGX112
GX112
BLUE DEVIL
Ultra-flexible 60 Watt Guitar Workstation wit digital multi-effects processor
sPowerful60 WattRMS GuitarWorkstation withauthentic VIRTUBE®tubeemulation
sOriginal70 Wattheavy duty 12"JENSEN guitarspeaker model JCH12/70
sTwoindependentchannels withseparatevolume controls andeffects
sHEAVENchannel delivers cleantube sounds
sHELLchannel offers abroad range, frommodern crunch tohigh-gain sounds
sDedicatedvintage-type3-bandEQ
s24-bitstereo multi-effects processorwith ultra-highresolution24-bit AD/DAconverters
s31originalVIRTUALIZER®/MODULIZER®presetswith world-class effectssuchas Reverb,Delay,Phaser,
Chorus, Flanger, Pitch Shifter, Speaker Simulator, Compressor, Expander, Wah, Tube Emulator and
variouseffect combinations
s99outstanding andeasy-to-edit userpresets
sQuasi-analog operation: three FX parameters per preset can be edited with dedicated controls
sAdjustable aux input for playback or other line-level signals (e.g. CD player, drum computer, etc.)
sStereo line output for recording and live applications
sInsert facility for external effects devices (stomp boxes, wah-wah pedals, etc.)
sChannel select and effect bypass footswitch FS112 included
sComplete MIDI implementation for channel and effect selection as well as real time control
sMastervolume control andstereoheadphones output
sExtremelyrugged constructionensures longlife, evenunder themost demandingconditions
sRobustpower supply ensuresexcellent transient response
sManufacturedunderISO9000 certified managementsystem

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BLUEDEVILGX112
TABLE OF CONTENTS
1. INTRODUCTION.....................................................................................................................6
1.1 Thedesignconcept......................................................................................................................... 7
1.1.1 VIRTUBEtechnology ............................................................................................................ 7
1.2 Beforeyoubegin ............................................................................................................................. 7
1.3 Controlelements............................................................................................................................. 8
1.3.1 Thefrontpanel ...................................................................................................................... 8
1.3.2 Therearpanel ..................................................................................................................... 10
2. WIRING EXAMPLES .............................................................................................................11
2.1 Standardsetupconsisting ofguitar,footswitch and externaleffectsdevice.....................................11
2.2 Expandedsetup withMIDI footcontroller, playback source andmixing console ..............................11
3. EFFECTS PROCESSOR......................................................................................................12
3.1 Descriptionofeffects..................................................................................................................... 13
3.2 Controlling theBLUEDEVIL via MIDI ............................................................................................ 21
3.2.1 Storeenablemode.............................................................................................................. 22
4. HISTORICAL BACKGROUND by Neville Marten (Guitarist) ...........................................22
5. INSTALLATION .....................................................................................................................23
5.1 Mainsconnection.......................................................................................................................... 23
5.2 Audioconnections ........................................................................................................................ 23
5.3 MIDIconnection ............................................................................................................................ 24
6. APPENDIX .............................................................................................................................24
6.1 Preset list ..................................................................................................................................... 24
6.2 MIDIimplementation ..................................................................................................................... 27
7. SPECIFICATIONS .................................................................................................................28
8. WARRANTY ...........................................................................................................................29
WARNING!
+It should be pointed out, that extreme output volumes may damage your ears and/or your
headphones. Turn down all LEVEL controls before you switch on the unit. Always pay attention
to an appropriate volume.

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BLUEDEVILGX112
1. INTRODUCTION
Thankyouverymuchforexpressingyour confidence in BEHRINGERproductsbypurchasingtheBLUE DEVIL
GX112.With the BLUEDEVIL, youhaveacquired aGuitarWorkstation thatsets new standardsin guitar amp
engineering. When developing the GX112, our top objective was to reproduce the direct sound of analog
guitar amps as perfectly as we could and combine it with latest DSP technology—while focusing on a user
interface that can be operated intuitively.
BEHRINGER is an audio engineering company that has been successfully developing products for studio
and live applications for many years now. Our range of products includes microphones and a variety of
19" devices (compressors, enhancers, gates, tube processors, headphone amps, digital effects devices,
DI boxes,etc.) as wellasvarious monitoringandP.A. speakersplusprofessional live andrecording consoles.
Thenameof BEHRINGER standsforno-compromisequality, fully-featured productsandexemplaryservice—
even years after purchase—as well as sensationally low prices, which allow any ambitious music lover 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
over the past few years. Modern guitarists need to offer a broad range of sounds, but should still be able to
play in different kinds of applications at short notice: home recording, studio, live concerts. For this reason, it
has always been our prime concern to give you a Guitar Workstation that offers you a complete set of
functions, but can still be operated intuitively and quickly—no matter what kind of style you play.
Unfortunately,conventionalguitarampsareoftennotfullydesignedanddeveloped.Moreover,manymanufacturers
oftraditional-style guitar ampsare somehowafraid of usingstate-of-the-art technology.TheBLUE DEVIL,on
theotherhand,isapioneeringguitarampthathasconsiderablymorefunctionsthan any conventional 2-channel
amp with a built-in spring reverb. Still, you can use the GX112 so that it mimics an excellently sounding
2-channel combo amp with an—admittedly—good spring reverb. However, we recommend that you make
yourselffamiliarwith the BLUEDEVILin full detail,sothatyou know whateachof the manyfunctionsdoesand
beable tofully exploitthe numerous effects and controloptions provided.
Astechnology advances,you’ve got tokeep trackof latest technologicalbreakthroughs toavoid falling bythe
wayside. Since the first presentation of the BLUE DEVIL at Frankfurt Pro Light & Sound in 1998, we have
continuously improved this amp and included many of your valuable suggestions. We have spared neither
expensenoreffort,totestdifferenttypesofcircuitryandspeakersuntil the results gave uscomplete satisfaction.
After all, we really want to give you fully designed and developed products that meet your expectations in
every respect. The BLUE DEVIL shall be a useful tool for years to come, which is why we’ve equipped the
effects modules of our Guitar Workstation with EPROMS that can be updated. In this way, we can keep on
working on new algorithms and considering your ideas and suggestions. The resulting software updates will
be made available for free on the Internet, so as to ensure that your amp will never be outdated.
We’ve packed our entire experience in this latest generation of guitar amps. Many people contributed to this
project of intense development: studio musicians, collectors of vintage guitar amps, music and guitar lovers
alike. We even invited guitar amp tuning experts to help us develop an amplifier that gives you the best of all
worlds:
sSophisticated analog technology with a “feel factor” only analog technology can provide.
sPerfect simulation of tube-specific nuances to make up for the drawbacks encountered in tube designs
(short service life, heat dissipation, poor mechanical stability).
sLatest DSP technology to give you a broad range of modern high-gain and vintage-type effect sounds.
sRuggedand solidconstruction which evenwithstands roughesthandling.
sIntuitive operation, so that you can focus your mind on what is most important to you: your music!
+This manual first describes the terminology used, so that you can fully understand the
BLUE DEVIL and its functions. Please read the manual carefully and keep it for future reference.
1. INTRODUCTION

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BLUEDEVILGX112
1.1 The design concept
The philosophy behind BEHRINGER products guarantees a no-compromise circuit design and employs the
best choice of components. The operational amplifiers which are used in the BLUE DEVIL, are exceptional.
Theyboast extremelinearity andvery lowdistortion characteristics. To complement thisdesign thechoice of
components includes low tolerance resistors and capacitors, high-quality potentiometers and several other
stringentlyselectedelements.
TheBLUEDEVILuses SMD technology(SurfaceMountedDevice).These subminiature componentsadapted
fromaerospace technology allowfor anextreme packing densityto furtherimprovethe overallreliability.
Thesturdysteel-plate enclosure ofyourBLUE DEVIL, withitsgenerously dimensioned powersupply,ensures
thatyour GX112will never fail—evenunder toughestconditions on thestage. Theenclosure is madeof high-
gradeand non-polluting E1-MDFwood, which consistsof multiple tongued/gluedlayers and isabsolutely free
offormaldehyde.
1.1.1 VIRTUBE technology
Tubepreamps usually employthree to fivetriode stages inaseries configuration,producingdifferent degrees
of distortion, dynamic compression and frequency response modification. In addition to the characteristic
curvethat determines thesignaldistortion, theorderof filteranddistortion stagesalsoplays an importantrole.
Whileyou canenhance thesound ofclean and slightly distorted signals by addingsome bassbefore feeding
them into the distortion stage, the same equalization will lead to a “fuzz”-like, undifferentiated sound with
hi-gain signals. For this reason, tube amplifiers have some sort of passive and usually straightforward filter
circuitryinstalled between thesingle preampstages.Using thesefilters you candetermine whichfrequencies
willhave an impacton thesignal distortion.
Additionally, filter circuits following the distortion stage serve to provide for an optimum blend of generated
upper harmonics in the output signal. Our VIRTUBE circuits have been designed to accurately simulate this
complexinteraction withsolid-state components. TheEQs andfilters between thesingle stagesare modeled
on the circuitry found in classic tube amps. The non-linear characteristic curves are simulated by means of
specially selected diodes. The result is an amplifier whose sounds feature a pronounced tube character.
1.2 Before you begin
YourBEHRINGER BLUEDEVIL was carefullypacked inthe factory andthe packagingis designed toprotect
theunit fromrough handling.Nevertheless, werecommend thatyou carefully examine the packaging and its
contents for any signs of physical damage, which may have occurred during transit.
+If the unit is damaged, please do not return it to BEHRINGER, but notify your dealer and the
shippingcompanyimmediately,otherwise claims for damage or replacement may not be granted.
Shipping claims must be made by the consignee.
Be sure that there is enough space around the unit for cooling and please do not place the BLUE DEVIL on
high temperature devices such as radiators etc. to avoid overheating.
+Before you connect your BLUE DEVIL to the mains, please make sure that your local voltage
matches the voltage required by the unit!
The mains connection of the BLUE DEVIL is made by using the enclosed mains cable and a standard IEC
receptacle. It meets all of the international safety certification requirements.
+Please make sure that all units have a proper ground connection. For your own safety, never
remove or disable the ground conductor of the unit or of the AC power cable.
The MIDI connection (IN) is made over standardized DIN plug-in connectors. An optocoupler has been used
forisolated datacommunications.
You will find additional information in chapter 5 “INSTALLATION”.
1. INTRODUCTION

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BLUEDEVILGX112
1.3 Control elements
Fig. 1.1: The front panel of the BLUE DEVIL
TheBEHRINGERBLUE DEVIL GX112featureselevencontrols, five push-buttonsandone2-digit, 7-segment
LED display on its front panel. Additionally, there are two 1/4" jacks for input and headphones.
1.3.1 The front panel
Fig. 1.2: The front panel control elements
1
INPUTis theBLUE DEVIL’s1/4" jackinput foryour 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
unpleasant surprises during rehearsals or concerts.
2
The HEAVEN channel’s VOLUME control sets the volume for the clean channel.
3
Pressthe CHANNELbuttontoselectthe HEAVENorHELLchannel.WhenHELLison, thecorresponding
LED lights up.
4
The HEAT control determines the degree of distortion in the HELL channel.
5
The HELL channel’s VOLUME control sets the volume for the HELL channel.
+Use both VOLUME controls to optimize the volume ratio of the two channels, so that no
volume differences can be heard when switching from one channel to the other.
6
The BASS control in the EQ section allows you to boost or cut the bass frequencies.
7
With the MID control you can boost/cut the midrange frequencies.
8
The TREBLEcontrol adjusts the upper frequency range.
+Please note that with all three EQ controls set fully to the left, there will be no signal sent to the
speaker,which is due to theclassical and extremely efficient EQcircuit used in the BLUE DEVIL.
9
With the UP button you can increase the program number of the built-in effects module. Keep the
buttonpressed toscroll throughthe programs.
10
The DOWN button allows you to decrease the program number.
11
The DISPLAY reads either the program number of the selected preset or the value of the parameter
selectedwith thePARAMETER, EFFECT A or EFFECT B controls.
12
Use the ENTER button to confirm your program selection.
1. INTRODUCTION

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BLUEDEVILGX112
+When the MIDI functions are inactive, one effect can be stored for each of the two channels on
your BLUE DEVIL, which allows you, for instance, to select a DELAY effect for the HELL
channel and assign a REVERB/CHORUS effect to the HEAVEN channel. The corresponding
program numbers will be stored with the channels and can be recalled using the footswitch or
the front panel buttons. When MIDI is on, this assignment feature will be disabled, so that in
this mode both channels and effects can be selected separately.
13
TheSTATUS LED’sinformyou aboutthetype ofparameteryou caneditwith thePARAMETERcontrol
(an exception being the MIDI LED).
sMIDI:ThisLEDlightsup when you press bothUPandDOWNbuttonsforabout2seconds.Subsequently,
you can use these keys to set up a MIDI channel for MIDI data reception (1 through 16, “ON”for Omni
mode and “OF”for off, or “ON”for Omni mode and 1 through 16 plus one decimal point each for the
store enable mode, see chapter 3.2.1). Press the ENTER button to confirm your selection. The MIDI
LED flashes as soon as MIDI data are being received.
+The store enable mode (see chapter 3.2.1) allows you to store presets directly via MIDI. Please
note that by sending MIDI controller #18 values, any changes made to the currently active
preset will be irrevocably stored.
+If the multi-functional MIDI LED flashes briefly, this indicates that the DSP module’s output level
is close to distortion. In this case, you should turn down the VOLUME control a bit. This
clipping indicator is only available if you actually do not edit any parameter.
sTIME: This LED lights up when you select a time-domain effect parameter (e.g. reverb or delay time).
sSPEED: This LED lights up for all modulation effects and indicates the LFO speed (low-frequency
oscillator) or the compressor’s or expander’s speed parameter.
sSENS:This LED informsyou that youcan adjust thesensitivity of effectssuch as AutoWah, Expander,
Compressor.
sPITCH: This LED lights up when you edit the pitch shifter and shows the detune factor, either in semi-
tones or cents.
sEQ: This LED lights up when you edit the parameters of a filter-based effect.
To the right of the status LED’s you can find a table 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 differenteffect groupsandincludes atotal of 99effect variations.
14
Use the EFFECT buttonto activate/deactivate the selectedeffect.
15
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 ).
16
The EFFECT A control determines the mix between 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.
17
The EFFECT B control determines the mix between original and effect signals. Depending on the
preset selected, you can either control the ratio of original and right-channel effect signal, or of
original and secondary-effect signal (combination effects). Some effects use this control to edit a
third, effect-specific parameter.
+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
the BLUE DEVIL.
18
The AUX control in the Master section determines the volume of the AUX signal fed in via the AUX IN
jacks on the rear of the BLUE DEVIL (e.g. drum computer, playback).
19
The VOLUMEcontrol inthe Mastersection determinesthe overallvolume levelof theBLUE DEVIL.
1. INTRODUCTION

10
BLUEDEVILGX112
20
The 1/4" stereo jacks allow you to monitor the BLUE DEVIL’s audio signal with a pair of commercially
availableheadphones. Connecting theheadphones willmute the built-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 inside 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 back the VOLUME controls.
1.3.2 The rear panel
Fig. 1.3: The rear panel connectors
21
Use the POWER switch to put the BLUE DEVIL into operation.
22
FUSE HOLDER / VOLTAGE SELECTOR. Please make sure that your local voltage matches the
voltageindicated on theunit, before youattempt toconnectand operatetheBLUE DEVIL.Blownfuses
may only be replaced by fuses of the same type and rating. Some models allow for inserting the fuse
holderin twodifferent positions,in orderto switchover from230-V to115-V operation,and viceversa.
Please note that for 115-V operation outside Europe, you need to use a fuse of a higher rating (see
chapter5 “INSTALLATION”).
23
Use the enclosed power cord to connect the unit to the mains.
24
SERIAL NUMBER. Please take the time to fill out the warranty card completely and return it within 14
days after the date of purchase, so as to be entitled to benefit from our extended warranty. Or use our
onlineregistration option availableon the WorldWideWeb (www.behringer.com).
25
MIDIIN.ThisconnectorgivesyouMIDIremotecontroloveryourBLUEDEVIL.Youcanchangeparameters
usingcontrollerinformation,switch over effectprograms,changechannelsandbypasstheeffectsmodule
bymeans ofprogram change instructions.
26
TheLINE OUTprovides the BLUEDEVIL’saudio signalin stereo, forexample, to sendit toarecording
machine.This output isfrequency-corrected.
27
The AUX IN allows you to feed in additional stereo signals, for example, to play with a drum computer
orsome sortof playback.Additionally, you can use theAUX INin combinationwith theINSERT SEND
as a parallel effect path: connect the INSERT SEND to the input and the AUX IN to the output of the
effectsdevice (INSERT RETURNjack should notbe used inthis case!) Thus,the signal pathinside the
amplifier will not be interrupted and you can add the effect portion from the external device, using the
AUXcontroldescribed above .Pleasenote that theexternaleffects device mustbeset to100%wet
for this purpose.
28
The BLUE DEVIL 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.
29
This is the INSERT SEND jack that can be connected to the input of an external effects device.
1. INTRODUCTION

11
BLUEDEVILGX112
+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
BLUE DEVIL.
30
Connectthe enclosedfootswitch FS112via thestereo plug to the FOOTSWITCH jack. The footswitch
allows you to change channels or disable the effects module.
2. WIRINGEXAMPLES
2.1 Standard setup consisting of guitar, footswitch and external effects device
To use your BLUE DEVIL for rehearsals or on stage, please wire up the unit as shown in fig. 2.1. Of course,
you can also use a wah-wah or other pedal effect instead of the external 19" effects unit, or simply work with
the internal effects without having to use the insert path. Connecting the headphones will mute the built-in
speaker.
When you wish to use a guitar tuner, please connect it to the INSERT SEND of your BLUE DEVIL. If there is
nofurther effects deviceconnected, youcanleave theINSERT RETURN asit is. However,to useanexternal
effects device, place the tuner before the effects in the signal chain, so that its signal won’t be processed by
the effects device.
Fig. 2.1: Standard setup
2.2 Expanded setup with MIDI footcontroller, playback source and mixing console
To use your BLUE DEVIL for advanced applications, please consider the following suggestions. Of course,
the expanded configuration suggested in fig. 2.2 builds on the standard setup described in chapter 2.1.
Use the MIDI foot controller to change presets and/or channels, set volume and wah, etc. The LINE OUT
signal can be fed into a P.A. or recording console, and the AUX INPUT can be used to play back e.g.
cassette recorder signals through the GX112.
2. WIRING EXAMPLES

12
BLUEDEVILGX112
Fig.2.2: Expandedsetup
3. EFFECTS PROCESSOR
Avery special featureof your BLUEDEVIL is itsbuilt-in effects processor,which offersthesame audioquality
and algorithms as our popular 19" effects devices VIRTUALIZER PRO and MODULIZER PRO. This effects
module provides 31 different groups of first-class effects such as Reverb, Chorus, Flanging, Delay, Pitch
Shifting,Compressor,Expander,Wah-Wahvariations,variouscombinationeffectsandevenTubeandSpeaker
Emulations.Thelatter,in particular, canmakeaguitarist’slifemuch easier inhomerecordingstudios, because
they allow you to record the amp’s signal without having to use a microphone. A total of 99 presets gives you
abroadrange ofversatileeffects, which canbe edited inthreeparameters each.Additionally,the multi-effects
processorprovides different effectsvariations,which arepermanentlylinked tothepresets. Allpresetscan be
overwritten with your own settings. To restore the factory default settings, simply keep the ENTER button
pressedwhile youpower upthe BLUE DEVIL.
Themulti-effectsprocessor basically providesstereoeffects. However, thesecanbe heard onlywhenyou use
theLINE OUTor headphonesoutput. The speaker and/or themono poweramp ofyour BLUEDEVIL sum up
both 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.
Thetwo buttons UPand DOWNallow you toselect apreset. To activatethe selectedpreset,simply pressthe
ENTER button. The display reads the number of the currently active preset (the list to the right of the effect
module’s status LEDs shows the various effect groups available). As soon as you edit a preset with the
PARAMETER, EFFECT A and EFFECT B controls, the display will read the respective parameter values.
After about three seconds or when youpress 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, simply press the ENTER button for about
2 seconds. The EFFECT A and EFFECT B controls determine (with a few exceptions) the mix between
original and effect signal. EFFECT A controls the left channel and/or the first effect (if combination effects
are used), and EFFECT B adjusts the right channel and/or the second effect. As a rule of thumb, values
between 20 (moderate effect) and 40 (clearly audible effect) should deliver good results. The values are
adjustable in steps of 2 %. In the reverb and delay presets you can set the wet/dry ratio in 1% steps from
0 through 50%.
3. EFFECTS PROCESSOR

13
BLUEDEVILGX112
3.1 Description of effects
01-02 Spring Reverb: Even a guitar amp with a digital multi-effects processor should allow you to use a
springreverb.Thisalgorithmemulates the typical soundofaspringreverb,as it is knownfromnumerous
guitar amps. However, here you don’t have the typical shatter sound when you knock over your amp.
03-04 Studio: This effect simulates the characteristics of middle-sized rooms. With its natural sound it can
be used for 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
program is particularly suited for diffuse types of reverb or to make a dry guitar sound more natural.
07-08 Stage: A fine reverb e.g. to liven up and widen a clean guitar.
09-10 Concert: Here, you can choose from a small theater (preset 9, short pre-delay) or a large concert hall
(preset 10, long pre-delay). Compared to the STUDIO reverb program, these algorithms sound more
livelyand have more treble frequencies.
11-12 Plate: The soundofanancient platereverb.Aclassic algorithm thatmakesyourguitar soundwonderful
andenchanting.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
1 SPRING short Pre-Delay Reverb Time Mix L Mix R
2 REVERB long Pre-Delay Reverb Time Mix L Mix R
3 short Pre-Delay Reverb Time Mix L Mix R
4 long Pre-Delay Reverb Time Mix L Mix R
5 short Pre-Delay Reverb Time Mix L Mix R
6 long Pre-Delay Reverb Time Mix L Mix R
7 short Pre-Delay Reverb Time Mix L Mix R
8 long Pre-Delay Reverb Time Mix L Mix R
9 short Pre-Delay Reverb Time Mix L Mix R
10 long Pre-Delay Reverb Time Mix L Mix R
11 short Pre-Delay Reverb Time Mix L Mix R
12 long Pre-Delay Reverb Time Mix L Mix R
PLATE
STUDIO
CHAMBER
STAGE
CONCERT
Tab. 3.1: Parameters of effects 01 through 12
Reverb algorithms 01 through 12 provide two variations each. Basically, the first variation uses a short pre-
delay (delay until the actual reverb can be heard), while the second variation works with long pre-delays. In
general,you canadjust thereverb time with the PARAMETERcontrol, whilethe twoEFFECT controls adjust
the mix between original and effect signals of the left or right channel.
13-14 Gated Reverb: This reverb is cut off abruptly and became famous through Phil Collins’“In the air
tonight”.UsetheEFFECTAcontroltoadjustthethresholdabovewhichthereverbis triggered(Sensitivity).
The higher this value, the less reverb you will hear. EFFECT B governs the mix between original and
reverbsignals. Again,the PARAMETERcontrol adjusts the reverb andgate time.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
13 GATED min. Density Gate Time Sensitivity Mix
14 REVERB max. Density Gate Time Sensitivity Mix
Tab. 3.2: Parameters of effects 13 and 14
3. EFFECTS PROCESSOR

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BLUEDEVILGX112
15-16 Ambience: The reverb of any room consists of so-called “early reflections”and the reverb “tail”. This
algorithm emulates the first 15 of these early reflections. Since our ears use these reflections to
determine the room size, they can be employed to create subtle and impressive reverb densities,
without clouding the overall signal with long reverb tails. The PARAMETER control modifies the room
size,while EFFECT Aadjuststhe pre-delaytime,and EFFECTBgoverns themixbetween original and
effect signals.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
15 min. Reflections Room Size Pre-Delay Mix
16 max. Reflections Room Size Pre-Delay Mix
AMBIENCE
Tab. 3.3: Parameters of effects 15 and 16
17-26 Wah/Delay/Distortion: In general, filters are used to provide some static equalization of a signal’s
frequency response. The wah effect –combined with delay and distortion in this preset –allows the
mid-range frequencies to pass, while it more or less suppresses the remaining frequency ranges.
Guitaristssuch asJimi Hendrixand Eric Clapton made thiseffect popular,and itstill hasn’tgone outof
fashion.Use the PARAMETERcontrol toadjust the delaytime. EFFECTAallows youto determine the
distortion intensity, which also depends on the volume settings chosen in the HEAVEN and HELL
channels. With EFFECT B you can edit the delay mix. Using MIDI controller #15 you can edit the
operating range of the wah effect, e.g. via a MIDI foot controller. In this way, it is possible to use the
wah effect like an analog wah foot pedal.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
17 Feedback 0 % Delay Time Drive Delay Mix
18 Feedback 10 % Delay Time Drive Delay Mix
19 Feedback 30 % Delay Time Drive Delay Mix
WAH /
DELAY /
DISTORTION
Tab. 3.4: Parameters of effects 17 through 19
20 Delay/Reverb:Afteranormal delay withadjustabledelay time, thesignalpasses areverbwithdifferent
reverb times that are preset by various variations.
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 four presets
(21 through 24) produce a stereo delay, with the PARAMETER control setting the delay time for the
rightchannel. Theleft channel’s delaytime is2/3 as longas thaton theright side. Asusual, EFFECTA
and EFFECT B determine the mix between original and effect signals. Delay presets 25 through 29
offer long mono delays, which can be adjusted in their delay time (PARAMETER control), delay
feedback (repeats, EFFECT A control) and delay mix parameters (EFFECT B control).
3. EFFECTS PROCESSOR

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BLUEDEVILGX112
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
21 min. Feedback Delay Time R Mix L Mix R
22 Delay Time R Mix L Mix R
23 Delay Time R Mix L Mix R
24 max. Feedback Delay Time R Mix L Mix R
25 - Delay Time Feddback Mix
26 - Delay Time Feedback Mix
27 - Delay Time Feedback Mix
28 - Delay Time Feedback Mix
29 - Delay Time Feedback Mix
DELAY
(stereo)
DELAY
(long mono)
Tab. 3.6: Parameters of effects 21 through 29
The LFO speed of 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,
EFFECT A adjusts the panning between left and right, 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 beinaudibleif high stereo panningvaluesareused in monoviathebuilt-
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
shift between direct and effect signals. As the frequency-dependent phase shift is controlled by an
LFO (low-frequency oscillator), the various frequency ranges of the signal are raised or lowered in
their amplitudes. Depending on the setting you choose, the resulting phasing effect is either slightly
modulating in character or produces heavy sound coloration reminiscent of a constantly modulated
filter.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
30 fat LFO Speed Depth Mix
31 slow LFO Speed Depth Mix
32 fast LFO Speed Depth Mix
33 ultra LFO Speed Depth Mix
PHASER
Tab. 3.7: Parameters of effects 30 through 33
34-37 Chorus: Imagine a string quartet, with each musician playing the same notes. As a matter of fact, no
musician is able to play with an intonation accuracy of 100%. Consequently, slightly detuned signal
portionsare producedwhich overlap in the timedomain. Toemulate thiseffect, chorusinguses copies
of the original signal, which are then delayed by 20 - 40 msec, detuned slightly and modulated by the
LFO.The resultis adetune effectthat isvery pleasantin character.As thiseffect isused sofrequently
and in such a variety of signal-widening applications, any recommendation given here would mean a
restriction of its uses.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
34 fat LFO Speed Depth Mix
35 slow LFO Speed Depth Mix
36 stereo LFO Speed Depth Mix
37 stereo LFO Speed Depth Mix
CHORUS
Tab. 3.8: Parameters of effects 34 through 37
3. EFFECTS PROCESSOR

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BLUEDEVILGX112
38-42 Chorus/Reverb: Here,the signal passesa choruseffectwith variousintensities and thena reverb that
can be edited in its time.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
38 ultra Reverb Time Chorus Mix Reverb Mix
39 slow Reverb Time Chorus Mix Reverb Mix
40 medium I Reverb Time Chorus Mix Reverb Mix
41 medium II Reverb Time Chorus Mix Reverb Mix
42 fast Reverb Time Chorus Mix Reverb Mix
CHORUS /
REVERB
Tab. 3.9: Parameters of effects 38 through 42
43-47 Chorus/Delay: First, the signal is chorused with various intensities, then follows a delay effect with
variousfeedback levels andadjustable delay time.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
43 ultra Delay Time Chorus Mix Delay Mix
44 slow Delay Time Chorus Mix Delay Mix
45 medium I Delay Time Chorus Mix Delay Mix
46 medium II Delay Time Chorus Mix Delay Mix
47 hold Delay Time Chorus Mix Delay Mix
CHORUS /
DELAY
Tab. 3.10: Parameters of effects 43 through 47
48-51 Flanger: An LFO constantly modulates the pitch of the effect signal up and down by a few cents and
then sends the effect signal back to the input. This effect can be excellently combined with distorted
guitarsounds.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
48 fat LFO Speed Depth Mix
49 classic LFO Speed Depth Mix
50 stereo LFO Speed Depth Mix
51 stereo LFO Speed Depth Mix
FLANGER
Tab. 3.11: Parameters of effects 48 through 51
3. EFFECTS PROCESSOR

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BLUEDEVILGX112
52-56 Flanger/Reverb: Here,a flangerwith variousintensities is followed by areverb withadjustable reverb
time.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
52 ultra Reverb Time Flanger Mix Reverb Mix
53 slow Reverb Time Flanger Mix Reverb Mix
54 medium I Reverb Time Flanger Mix Reverb Mix
55 medium II Reverb Time Flanger Mix Reverb Mix
56 fast Reverb Time Flanger Mix Reverb Mix
FLANGER /
REVERB
Tab. 3.12: Parameters of effects 52 through 56
57-61 Flanger/Delay: The first element is a flanger with various intensity levels, then comes a delay effect
withadjustabledelay 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
complemented here by a panorama effect.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
62 - LFO Speed Pan Mix
63 - LFO Speed Pan Mix
STEREO
TREMOLO
Tab. 3.14: Parameters of effects 62 and 63
64-66 Tremolo/Delay: A more or less fast, intensive amplitude modulation complemented by a delay effect.
Thevariationsprovide forvariousmodulation speeds. Thedelaytime can beset with thePARAMETER
control.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
64 ultra Delay Time Tremolo Mix Delay Mix
65 slow Delay Time Tremolo Mix Delay Mix
66 medium Delay Time Tremolo Mix Delay Mix
TREMOLO /
DELAY
Tab. 3.15: Parameters of effects 64 through 66
3. EFFECTS PROCESSOR

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BLUEDEVILGX112
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
uses the physical principle known as Doppler effect. The PARAMETER control determines the speed
of horn (treble) and rotor (bass), while EFFECT A allows you to modify the basic character of the
sound. Finally, EFFECT B lets you edit the mix ratio.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
67 - Speed Variation Mix
68 - Speed Variation Mix
ROTARY
SPEAKER
Tab. 3.16: Parameters of effects 67 and 68
69-70 Magic Drive: This is an absolutely up-to-date effect combined with a delay. With EFFECT A you can
alterthebasic characteristic of thiseffectin32steps.PARAMETERadjuststhedelaytimeandEFFECT B
controls the delay mix. As a little extra, the distortion 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: The Auto Wah is a velocity-sensitive effect that allows low frequencies to pass, while high
frequencies are more or less suppressed. Resonance raises the frequencies around the cutoff
frequency. With the PARAMETER control you can adjust the effect intensity, while EFFECT A allows
you to set the cutoff frequency, which can be shifted upwards by raising this value.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
71 fast Sensitivity Depth Mix
72 slow Sensitivity Depth Mix
AUTO WAH
Tab. 3.18: Parameters of effects 71 and 72
73-74 LFO Wah: In the LFO Wah effect the LFO governs the speed of frequency modulation. Here, you can
producewah-waheffects thatarerepeated at regularintervals.Use thePARAMETERcontrol to setthe
LFO speed, while EFFECT A determines the threshold frequency. The LFO Wah delivers astounding
results. Try the following setting: LFO Speed = 50, Depth = 10 and Mix = 70 - 80.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
73 LFO Band Pass LFO Speed Depth Mix
74 LFO Band Pass LFO Speed Depth Mix
LFO WAH
Tab. 3.19: Parameters of effects 73 and 74
3. EFFECTS PROCESSOR

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BLUEDEVILGX112
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”the signal and 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
reverbwhose timecan beset 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 beedited with thePARAMETER control isadded.The twoEFFECTcontrols adjustthe
mixbetween both effects.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
86 -12 Delay Time Pitch Mix Delay Mix
87 -5 Delay Time Pitch Mix Delay Mix
88 +4 Delay Time Pitch Mix Delay Mix
89 +7 Delay Time Pitch Mix Delay Mix
PITCH
SHIFTER /
DELAY
Tab. 3.22: Parameters of effects 86 through 89
3. EFFECTS PROCESSOR

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BLUEDEVILGX112
90-91 Compressor:Often, thesignallevelexceeds the headroomofsignal-processing devices andtherefore
needs to be limited in its dynamic range, so as to avoid distortion. This job is done by compressors
and/orlimiters. Limitersabruptly limit the signal abovea specificthreshold, whilecompressors provide
fora “soft”controlprocess over awider range.The sidechain implemented in this algorithmgenerates
a control signal that emulates a so-called soft-knee characteristic for the compression process. With
thePARAMETERcontrolyoucansetthecompressorthreshold.EFFECTAdeterminesthecompression
ratio. EFFECT B allows you to raise the volume to adapt the compressed signal to the unprocessed
one. To achieve optimum adaptation proceed as follows: adjust threshold and ratio as required, then
compare the signal levels by switching the effect repeatedly on and off. Adapt the levels with EFFECT
B, so that there will be no audible level difference between compressed and uncompressed signals.
Use this effect to give your guitar longer sustain, or to make the attack sounds of funky guitar licks
(Chicken Scratch) clearly audible, even though the guitar signal is actually limited in level.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
90 fast Sensitivity Ratio Gain
91 slow Sensitivity Ratio Gain
COMPRESSOR
Tab. 3.23: Parameters of effects 90 and 91
92-93 Expander: All sorts of background noise and hum limit the dynamic range of the wanted signal. As
long as the level of the wanted signal is considerably above the noise floor, background noise is
inaudible:the interferencesignal is maskedby themusic. Expanders canbe usedto efficiently expand
the dynamic range of signals. Small signal amplitudes are cut additionally which at the same time
reduces background noise. Use the PARAMETER control to determine the expander threshold.
EFFECT A adjusts the expansion ratio, while EFFECT B drives a matching amplifier (much like in the
compressor effect 90 - 91) to adapt the level of the processed signal.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
92 Hell Sensitivity Ratio Gain
93 Heaven Sensitivity Ratio Gain
EXPANDER
Tab. 3.24: Parameters of effects 92 and 93
94-96 Guitar Combo: This effect simulates the sound characteristics of a complete guitar amp, mimicking
not only two tube stages, but also cabinet and speaker. The PARAMETER control determines the
distortion intensity, while EFFECT A adjusts the presence of the sound as the signal’s high-frequency
portions increase. EFFECT B controls the mix ratio.
Preset-Nr. Effect Variation PARAMETER EFFECT A EFFECT B
94 - Drive Presence Mix
95 - Drive Presence Mix
96 - Drive Presence Mix
GUITAR
COMBO
Tab. 3.25: Parameters of effects 94 through 96
3. EFFECTS PROCESSOR