Behringer GMX210 Stereo Amplifier User Manual


  Open as PDF
of 23
 
12 V-TONE GMX1200H/GMX212/GMX210/GMX112/GMX110 User Manual
90-91 Compressor: A signal’s dynamic characteristics are often limited to
assure its integration into the overall mix. This can be done by using a compressor
or a limiter. A limiter connes the signal to the values above or below a
previously determined threshold value rather abruptly, whereas the compressor
does basically the same, but the threshold area is rather “softly” delineated,
soprogram intervention is not so suddenly felt. Use the FX MIX control to
determine the sensitivity for the compressor. This eect prolongs the sustain of
your guitar, or you can also for example make the strumming on a funky-style
guitar more audible (chicken scratch).
92-93 Expander: Background noise of all kinds (hissing, hum, etc.) limitthe
dynamic range of the desired signal. As long as the main signal’s level is
considerably higher than the noise oor, background noise is inaudible; the main
signal basically masks the underlying noise signal. You can use the expander to
eectively broaden the dynamic range of a signal. The signal is weakened when
the amplitudes are smaller, whereby background noise is lowered. The FX MIX
control determines the expander’s threshold.
94-99 Guitar Combo: This eect simulates the sound characteristics of a small
guitar combo, simulating not only two tube stages, but also the cabinet and the
speaker. Use the FX MIX control to adjust the mix of direct and combo signals.
4.3 MIDI control
Thanks to its built-in MIDI interface, you can integrate your V-TONE into any MIDI
setup. The V-TONE is capable of receiving both program change and MIDI controller
information. So, you can change programs via MIDI using a MIDI foot controller or
a computer-based sequencing software, and you can also control individual eect
parameters and edit your own eects. Our MIDI foot controller FCB1010 gives you
precisely these options, and is a perfect match for all BEHRINGER guitar amps.
This is how you activate the MIDI functions:
• Connect the MIDI IN connector of your V-TONE to the MIDI OUT jack of a MIDI
foot controller (see g. 3.3).
• Keep CHANNEL and IN/OUT keys simultaneously depressed for 2 seconds.
• Use the PRESET control to select a MIDI channel (1 through 16, “ON” =
Omni mode, “OF” = o). When the display no longer blinks, the selected
MIDI channel is activated. Omni mode means that your V-TONE receives and
processes relevant MIDI information on all channels. Of course, you should
select the same channel both on your MIDI foot controller and the V-TONE
(see your MIDI foot controller user’s manual). The left decimal point on the
display jitters when MIDI data is received on the V-TONE, giving you visual
conrmation about the information currently being received.
◊ Once you activate MIDI, FX tracking is no longer active, i.e. there is
no assignment between an effect number and a channel. This means
that when you switch a channel, the previously set effect is not
automatically loaded up. As this assignment feature would probably
cause confusion when controlling the V-TONE via a MIDI foot controller,
it makes sense only when it is controlled from the enclosed footswitch
or directly from the V-TONE. To operate your V-TONE without MIDI
remote control, please disable the MIDI function (display reads “OF”).
You can control dierent functions of your V-TONE using MIDI. To this end,
theV-TONE receives MIDI instructions (so-called messages). The messages that
need to be sent to your V-TONE have to be created either on a MIDI foot controller
or on a MIDI sequencer. Basically, these are Program Change Messages and
Controller Messages:
Program Changes: You can dial up presets using MIDI program changes.
Sinceprogram changes start at 0 and go up to 127, program change
0corresponds to preset 0, program change 1 to preset 1, and so on
(comparetable 7.1 in the appendix). After the switch is done, the preset is
directlyactive, i.e. independent from a possibly set bypass.
Eect parameters: Three parameters of the eects processor can be adjusted
in real time. This way, you can create your own eects, modify existing eects
to your specic needs (e.g. adapt the delay time to the tact of your song)
orremotely control using a MIDI foot controller.
Select a controller number for the footswitch on your MIDI foot controller.
Usecontrol numbers 12, 13 or 14. Using the footswitch on your MIDI foot
controller, you can now modify the values of the three adjustable parameters in
real time or directly enter their values. Which three parameters for the respective
eect can be edited is shown in the following table:
Eect
Preset
No.
Parameter 3
CC 12
Parameter 2
CC 13
Parameter 1
CC14
REVERB 0 - 16 —
Reverb
Time
Mix
DELAY/
REVERB
17 - 20 Delay Time* Delay Mix
Reverb
Mix
DELAY 21 - 29 Delay Time* Feedback Mix
PHASER 30 - 33 LFO Speed* Feedback Depth
CHORUS 34 - 37 LFO Speed* Depth Mix
CHORUS/
REVERB
38 - 42 Reverb Time
Reverb
Mix
Chorus
Mix
CHORUS/
DELAY
43 - 47 Delay Time* Delay Mix
Chorus
Mix
FLANGER 48 - 51 LFO Speed* Resonance Depth
FLANGER/
REVERB
52 - 56 Reverb Time
Reverb
Mix
Depth
FLANGER/
DELAY
57 - 61 Delay Time* Delay Mix Depth
TREMOLO/
REVERB
62, 63 LFO Speed*
Reverb
Mix
Tremolo
Mix
TREMOLO/
DELAY
64 - 66 LFO Speed* Delay Mix
Tremolo
Mix
ROTARY
SPEAKER
67, 68 LFO Speed*
Reverb
Mix
Depth
ROTARY
DRIVE
69, 70 LFO Speed* Delay Mix Depth
AUTO WAH
REVERB
71, 72 Reverb Mix Depth Sensitivity
AUTO WAH
DELAY
73, 74 Delay Mix Depth Sensitivity
PITCH
SHIFTER
75 - 81 — — Pitch Mix
PITCH
SHIFTER/
REVERB
82 - 85 Reverb Time
Reverb
Mix
Pitch Mix
PITCH
SHIFTER/
DELAY
86 - 89 Delay Time* Delay Mix Pitch Mix
COMPRESSOR 90, 91
Delay Time/
Rev Time
Delay Mix/
Rev Mix
Sensitivity
EXPANDER 92, 93
Rev Time/
Delay Time
Rev Mix/
Delay Mix
Threshold
GUITAR
COMBO
94 - 99
Delay Time*/
Rev Time
Delay Mix/
Rev Mix
Drive
*)
Tap tempo: MIDI Control No. 64
2)
depends on Variation
Table 4.1: MIDI-controllable eect parameters
 previous next