Behringer GMX212 Stereo Amplifier User Manual


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10 V-TONE GMX1200H/GMX212/GMX210/GMX112/GMX110 User Manual
Loudspeaker
Output Left
BEHRINGER V-TONE GMX1200H
Loudspeaker
Output Right
Speaker cabinets are 8 to 16 Ω each
Fig. 3.5: GMX1200H with two speaker cabinets
4. Eects Processor
Eects are the icing on the cake when it comes to creative sound designs. Onthe
one hand, direct recordings (i.e. recordings without a microphone, which is
possible with the V-TONE) are all about placing the guitar sound in an articially
created space since no natural ambience is possible. On the other, eects such
as delay, chorus, anger and tremolo are an integral part of the modern guitar
sound. For this reason, we’ve equipped the V-TONE with an eects processor that
lets you create a professional-grade sound that you are used to hearing on your
favorite recordings. This way, you are one giant step closer to emulating your fave
sounds without having to schlep a rackfull of eects everywhere you go.
The integrated multi-eects processor oers the same audio quality found in
our 19" eects unit VIRTUALIZER PRO, known for being used in studios. You get
31 dierent groups of rst-class eects at your disposal, for example reverb,
chorus, anger, delay, pitch shifter, compressor, expander, Wah variations,
variouscombination eects and even tube and speaker simulations. All in
all, there are 99 presets you can use, oering you a wide variety of dierent-
sounding eects. You can edit one parameter on each preset directly on the
V-TONE and three parameters via MIDI. Additionally, the multi-eects processor
lets you mix and match dierent eects with dierent speakers, depending on
each preset. Presets can be overwritten with your own creations.
The multi-eects processor works basically in stereo, whereby only the TAPE and
PHONES outputs are inuenced in the case of the GMX110/GMX112. Both signals
(left and right) are added up for the speaker and the mono power amp of the
GMX110/GMX112. However, you can still use stereo eects for recording purposes
by utilizing the TAPE OUT or by playing with a second amp in stereo. The GMX210
and GMX212 can produce the eects in stereo because they have two built-in
speakers. Stereo reproduction is also possible with the GMX1200H when the
speakers are connected to it in stereo.
• Turn the PRESET control to dial up an eect preset. While the preset is
loading up, the new program number blinks in the display. The preset you
dialed up is active shortly thereafter. This new preset is shown in the display.
• Use the FX control to edit the eect. Eect mix is shown in the display.
After3 seconds, the display shows the preset number again. The decimal
point in the 2-digit display blinks each time you make a change.
• To store an edit, keep the IN/OUT key pressed for about 2 seconds.
Thisoverwrites the previous settings.
• To restore factory presets (reset function), keep IN/OUT pressed while
powering up the V-TONE.
4.1 FXT—eects tracking
FXT is an extremely useful function that lets you assign a specic eect to each
channel of the V-TONE, and then activate these eects when you switch between
the channels.
This way, you can for example assign a DELAY eect to the MODELING CHANNEL1,
and assign a REVERB/CHORUS combination eect to the MODELING CHANNEL 2.
A single tap on the CHANNEL key or the footswitch lets you switch between the
channels, and the V-TONE automatically loads up the correct eect.
When MIDI is active, the above no longer applies. You can switch between the
channels and the eects independently from one another. How MIDI is activated
is described in ch. 4.3.
4.2 The eects
0 Reverb: Reverb is still the most important eect for mixing or live
performance. That’s why we at BEHRINGER make a point of giving you as many
as nine dierent reverb programs so that you can use the most suitable reverb
program for any situation. The Reverb eect 0 uses a medium pre-delay.
01-02 Spring Reverb: Even on a guitar amp with digital multi-eects,
youshould still be able to use a classic spring reverb. This eect simulates
the typical sound of the spring reverb known from countless guitar amps,
andwithout having the negative eect of producing rattling noises when the
amp vibrates.
03-04 Studio: This eect 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 eect is ideal for creating reverb that doesn’t come through as a clear
eect, 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.
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