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V-TONE GMX110/GMX112/GMX210/GMX212/GMX1200H
4. Effects processor
4.2 The effects
0 Reverb: Reverb is still the most important effect for mixing or
live performance. That’s why we at BEHRINGER make a point of
giving you as many as nine different reverb programs so that
you can use the most suitable reverb program for any situation.
The Reverb effect 0 uses a medium pre-delay.
01-02 Spring Reverb: Even on a guitar amp with digital multi-
effects, you should still be able to use a classic spring reverb.
This effect simulates the typical sound of the spring reverb known
from countless guitar amps, and without having the negative
effect of producing rattling noises when the amp vibrates.
03-04 Studio: This effect simulates the characteristics of midsize
rooms. This spatial simulation sounds very natural and can be
used in various setups.
05-06 Chamber: You really get the feeling you’re dealing with
some serious walls. This effect is ideal for creating reverb that
doesn’t come through as a clear effect, and a dry guitar sound
gets some natural feeling instilled into it.
07-08 Stage: Very nice reverb, great for widening and
freshening up the sound of a clean-sounding guitar.
09-10 Concert: Here, you can choose between a small theater
(preset 9) and a big concert hall (preset 10). Compared to Studio
Reverb, this reverb is livelier and has richer highs.
11-12 Plate: The sound of the classic plates. A true classic, it
gives your guitar sound a nice, pleasant note.
Reverbs 01 to 12 are all available in two versions. The first one
basically uses a short pre-delay (a delay until the reverb tail
starts). The second variation always uses a long pre-delay.
13-14 Early Reflections: The resonance of a room is comprised
out of the so-called “early reflections” and a reverb tail. This
effect concentrates itself on the simulation of the first 15 early
reflections. Since human hearing uses these reflections to size
up a room, you can create very subtle density without alienating
the signal with long reverb tails. This effect is particularly
noticeable when you use headphones.
15-16 Ambience: Ambience can create the vastness of large
rooms without letting the sound “perish” due to a long reverb tail.
This effect is particularly well suited for lending more
assertiveness to solo instruments and voices.
17-20 Delay/Reverb: First, an ordinary delay is created. Then,
the signal goes through a reverb with an editable mix ratio.
21-29 Delay (stereo): “Delay” refers to the delay in the input
signal, with one or more repetitions of the signal (feedback).
With stereo delay, the delay times in the left and the right channel
are not the same length (in order to create a stereo effect). The
delay time in the left channel amounts to two-thirds of the delay
time value in the right channel.
30-33 Phaser: Technically speaking, a phaser is a modulation
effect in which multiple phase shifting takes place. Signal
attenuation or amplification of the signal happens through the
modulation of the frequency-dependent phase shift via an LFO
(Low Frequency Oscillator). Depending on the preset, the
phaser can be used either to lightly modulate or to totally alienate
the signal. The sound reminds of a constantly modulating filter.
34-37 Chorus: Let’s picture a string quartet in which each
musician plays the exact same sheet music. However, it is only
natural that musicians can never be 100% in tune. This way,
signals that are perpetually out of tune are created, and they are
furthermore temporally superimposed. To recreate this effect,
copies of the original signal are delayed in chorus for 20 - 40 ms,
are tuned out slightly and then modulated through the LFO. This
creates a pleasant-sounding floating effect. We’ll refrain for
making any recommendations because this effect is used so
often and in so many different ways. Any recommendation about
when to use it would undoubtedly leave out too many other
possible uses.
38-42 Chorus/Reverb: First, the signal goes through a chorus
effect with varying intensity, and then it goes through a reverb.
Adjustable parameter: chorus mix.
43-47 Chorus/Delay: The signal first goes through a chorus
effect with varying intensity, and then it goes through a delay
effect with varying feedback and delay time values.
48-51 Flanger: Using an LFO, the pitch of the effect signal is
somewhat modulated in constant tempo, and is then brought
back to the input signal. This effect goes hand in hand with the
sound of a distorted guitar.
52-56 Flanger/Reverb: The signal first goes through a flanger
with varying intensity, and then it goes through a reverb.
57-61 Flanger/Delay: The signal is first passed through a flanger
with varying intensity, and then it goes through a delay effect.
62-63 Tremolo/Reverb: The tremolo effect refers to more or
less rapid and intensive variations in the volume.
64-66 Tremolo/Delay: A more or less rapid and intensive
variation of the volume that is also coupled to a delay effect.
67-68 Rotary Speaker: A simulation of a classic organ effect
that is normally achieved with a terribly heavy casing and slowly
or quickly rotating speakers. The physical principle of the Doppler
effect is used to modulate the signal.
69-70 Rotary Drive: An absolutely “in” effect that’s combined
with a delay. And, as whip cream on top, this effect gets an
LFO-controlled notch filter. The delay mix ratio is adjustable. This
effect is excellent for solo sounds due to its high volume.
71-74 Auto Wah: Depending on the attack time, the Auto Wah
effect lets the lower frequencies pass through and more or less
suppresses the highs. The sensitivity value of the filter can be
adjusted via the FX MIX control. If you primarily play low-end
sounds, dial up a lower value. The higher the frequency of the
sound you create, the higher the FX MIX value should be.