Home

Manual

1. dio Pitch Mix a5 Pitch Mix 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 whose time can be edited with the PARAMETER control is added The two EFFECT controls adjust the mix between both effects Preset Nr Effect Variation PARAMETER EFFECT A EFFECT B 86 PITCH Delay Time Pitch Mix Delay Mix 87 SHIFTER Delay Time Pitch Mix Delay Mix 88 DELAY Delay Time Pitch Mix Delay Mix 89 Delay Time Pitch Mix Delay Mix Tab 3 22 Parameters of effects 86 through 89 3 EFFECTS PROCESSOR 19 BLUE DEVIL GX112 Er pu 4 90 91 Compressor Often the signal level exceeds the headroom of signal processing devices and therefore needs to be limited in its dynamic range so as to avoid distortion This job is done by compressors and or limiters Limiters abruptly limit the signal above a specific threshold while compressors provide for a soft control process over a wider range The side chain implemented in this algorithm generates a control signal that emulates a so called soft knee characteristic for the compression process With the PARAMETER control you can set the compressor threshold EFFECT A determines the compression 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
2. B8 8 41 2 8 1 SPRING short Pre Delay MixR 0 50 10 2 REVERB longPre Delay Mix L 0 50 3 grupo erort Pre Delay 4 long Pre Delay Reverb Time 0 50 5 CHAMBER short Pre Delay Reverb Tmel i L 0 6 long Pre Delay Reverb Time Mix L 0 7 STAGE short Pre Delay Reverb Time Mix 0 8 long Pre Delay Reverb Time Mix L 0 9 CONCERT short Pre Delay Reverb NIS L 0 10 long Pre Delay Reverb Time Mix L 0 11 PLATE short Pre Delay Reverb L 0 12 long Pre Delay Reverb Time Mix L 13 GATED min Density Gt Rev Tung Sensitivity 0 ix 0 5 14 REVERB max Density Sensitivity 0 63 a 15 AMBIENCE min Reflections Pre Delay 0 63 15 0 50 10 16 max Reflections Pre Delay 0 63 17 Feedback 0 Drive 0 63 18 DELAY Feedback 10 Drive 0 63 19 DISTORTION Feedback 30 Drive 0 63 20 DELAY REV Delay Mix 0 50 21 min Feedback Delay Time Mix L 0 50 22 DELAY Delay Time MixL 0 50 23 stereo Delay Time MxL 0 50 8 MixR 0 50 16 24 max Feedback Delay Time Mix L 0 50 o 1 0 50 35 25 Feedback 0 63 26 Feedback 0 63 E etm Feedback 0 63 28 Feedback 0 63 mw sso 29 Delay Time Feedback 30 Feedback 0 LFO Speed Depth 31 PHASER Feedback 62 LFO Speed Depth 32 Feedback 62 LFO Speed Depth 33 Feedback 77 LFO Speed Depth 34 fat LFO Speed Depth 35 CHORUS slow LFO Speed Depth 36
3. 5 ee ib ve ERE we REB GXNEN asia MERO d dd 22 HISTORICAL BACKGROUND by Neville Marten Guitarist 22 SIL EXIEIES WIRED 23 S 1 9 E 23 5 2 Welbregisec LES 23 5 3 plKesheiece tm nr 24 s APPENDIX Gm 24 6 1 Preset MSE pence 24 6 2 MIDIiMpementatiO M cresce exse Resa EEI 27 SPECIFICATIONS 2 BR 28 e WARRANTY aaa i n aaa a aa Eiai 29 WARNING 057 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 BLUE DEVIL GX112 1 INTRODUCTION Thank you very much for expressing your confidence in BEHRINGER products by purchasing the BLUE DEVIL GX112 With the BLUE DEVIL you have acquired a Guitar Workstation that sets new standards in 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 p
4. from such a modification adaptation 3 Free inspections and maintenance repair work are expressly excluded from this warranty in particular if caused by improper handling of the product by the user This also applies to defects caused by normal wear and tear in particular of faders potentiometers keys buttons and similar parts 4 Damages defects caused by the following conditions are not covered by this warranty misuse neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals A connection or operation of the unit in any way that does not comply with the technical or safety regulations applicable in the country where the product is used A damages defects caused by force majeure or any other condition that is beyond the control of BEHRINGER 5 Any repair or opening of the unit carried out by unauthorized personnel user included will void the warranty 6 If an inspection of the product by BEHRINGER shows that the defect in question is not covered by the warranty the inspection costs are payable by the customer 7 Products which do not meet the terms of this warranty will be repaired exclusively at the buyer s expense BEHRINGER will inform the buyer of any such circumstance If the buyer fails to submit a written repair order within 6 weeks after notification BEHRINGER will return the unit C O D with a separate invoice for freight and packing Such co
5. 11 Flanger Reverb Mix 56 Flanger Mix Reverb Mix 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 with adjustable delay time Preset Nr Effect Variation PARAMETER EFFECT A EFFECT B 57 58 59 medium 60 medium II 61 Tab 3 13 Parameters of effects 57 through 61 r 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 STEREO LFO Speed TREMOLO 63 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 The variations provide for various modulation speeds The delay time can be set with the PARAMETER control Preset Nr Effect Variation PARAMETER EFFECT A EFFECT 64 65 66 medium Tab 3 15 Parameters of effects 64 through 66 3 EFFECTS PROCESSOR 17 BLUE DEVIL GX112 r EV 4 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 t
6. be serviced by qualified service personnel when The power supply cord or the plug has been damaged or Debris or liquid has entered the appliance or The appliance has been exposed to rain or The appliance does not appear to operate normally or exhibits a marked change in performance or The appliance has been dropped orthe enclosure damaged Servicing The user should not attempt to service the appliance beyond that which is described in the operating instructions All other servicing should be referred to qualified service personnel BLUE DEVIL GX112 FOREWORD Dear Customer Welcome to the team of BLUE DEVIL users and thank you very much for expressing your confidence in BEHRINGER products by purchasing the GX1 12 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 pe
7. 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 5 2 Audio connections The BEHRINGER BLUE DEVIL is installed with unbalanced 1 4 jacks Only the headphones output is available via a stereo 1 4 jack 057 Please ensure that only qualified persons install and operate the BLUE DEVIL During installation and operation the user must have sufficient electrical contact to earth Electrostatic charges might affect the operation of the BLUE DEVIL Unbalanced operation with 1 4 connector Tip Signal Sleeve Ground Shield Tip Sleeve Strain Relief Clamp Fig 5 1 Wiring of a mono 1 4 plug 5 INSTALLATION 23 BLUE DEVIL GX112 Headphones 1 4 connector Tip LeftSignal Ring 7 Right Signal Sleeve Ground Shield Tip Ring Sleeve Strain Relief Clamp Fig 5 2 Wiring of a stereo headphones 1 4 plug 5 3 MIDI connection The MIDI standard Musical Instruments Digital Interface was developed in the early 80s to enable electronic musical instruments of different makes to communicate with each other Over the years the range of MIDI applications has constantly expanded and today it is completely normal to network entire recording studios using the MIDI standard At the heart of this network we find a computer loaded with a sequencer software that controls not only the keyboards but also effects and other periph
8. 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 9 COMPRESSORL 25 91 slow Sensitivity 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 interference signal is masked by the music Expanders can be used to 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 2 IEXPANDER 93 Heaven Sensi Tab 3 24 Parameters of effects 92 and 93 pu A 94 96 Guitar Combo This effect simulates the sound chara
9. stereo LFO Speed Depth 37 stereo LFO Speed Depth 38 ultra Reverb Time 0 63 24 Chorus Mix 50 Reverb Mix 0 5 39 slow Chorus Mix 0 99 medium Chorus Mix 0 99 41 medium Il 42 fast Chorus Mix 0 99 43 ultra Chorus Mix 0 99 44 slow Chorus Mix 0 99 medium Chorus Mix 0 99 46 medium II Chorus Mix 0 99 47 hold Chorus Mix 0 99 48 fat Depth 0 63 9 paneer ess 50 stereo Depth 0 63 51 stereo Depth 0 63 6 APPENDIX 25 BLUE DEVIL GX112 2 ET o E AV o A o 2 Effect Variation 5 4 2 i ra 2 tc 52 Reverb Time 0 63 20 Flanger Mix 0 99 50 Reverb Mix 0 50 53 FLANGER Slow Reverb Time Flanger Mix Reverb Mix 0 50 54 REVERB medium Reverb Time Flanger Mix Reverb Mix 0 50 55 medium 11 Reverb Time Flanger Mix Reverb Mix 0 50 56 fast Reverb Time Flanger Mix Reverb Mix 0 50 57 ultra Delay Time Flanger Mix Delay Mix 0 50 58 FLANGER slow Delay Serge Delay MI 0 50 zo LANGER raum Delay Time 0 55 6 Fanger ix o ee 90 Delay Mi 50 1 60 Delay Time 0 63 32 Flanger Mix 0 99 50 Delay Mix 0 50 10 61 Delay Time 0 63 G3 Flanger Mix 0 99 S0 Delay Mix 0 80 6 62 STEREO 1122 0 63 63 TREMOLO LFO Speed 0 63 BA CEN 0 66 T
10. the parameter selected with the PARAMETER EFFECT A or EFFECT B controls 12 Use the ENTER button to confirm your program selection 8 1 INTRODUCTION 13 BLUE DEVIL GX112 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 The STATUS LED s inform you about the type of parameter you can edit with the PARAMETER control an exception being the MIDI LED MIDI This LED lights up when you press both UP and DOWN buttons for about 2 seconds Subsequently you can use these keys to set up a MIDI channel for MIDI data reception 1 through 16 ON for Omni mode and for off or 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 v
11. very personal contributions My friends it s been worth the trouble Thank you very much p Uli Behringer BLUE DEVIL GX112 BLUE DEVIL Ultra flexible 60 Watt Guitar Workstation with digital multi effects processor Powerful 60 Watt RMS Guitar Workstation with authentic VIRTUBE tube emulation Original 70 Watt heavy duty 12 JENSEN guitar speaker model JCH12 70 Two independent channels with separate volume controls and effects HEAVEN channel delivers clean tube sounds HELL channel offers a broad range from modern crunch to high gain sounds A Dedicated vintage type 3 band EQ 24 bit stereo multi effects processor with ultra high resolution 24 bit AD DA converters 31 original VIRTUALIZERS MODULIZERS presets with world class effects such as Reverb Delay Phaser Chorus Flanger Pitch Shifter Speaker Simulator Compressor Expander Wah Tube Emulator and various effect combinations A 99 outstanding and easy to edit user presets A Quasi analog operation three FX parameters per preset can be edited with dedicated controls A Adjustable aux input for playback or other line level signals e g CD player drum computer etc A Stereo line output for recording and live applications Insert facility for external effects devices stomp boxes wah wah pedals etc Channel select and effect bypass footswitch FS112 included Complete MIDI implementation for channel and effect selection as well as rea
12. 3 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 LFO Speed ST RUE LFO Speed 32 33 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 portions are produced which overlap in the time domain To emulate this effect chorusing uses copies of the original signal which are then delayed by 20 40 msec detuned slightly and modulated by the LFO The result is a detune effect that is very pleasant in character As this effect is used so frequently 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 cm em 36 stereo 37 stereo Tab 3 8 Parameters of effects 34 through 37 3 EFFECTS PROCE
13. 63 a Ratio 1 vile ean 3 12 Z 94 0 63 GUITAR 95 COMBO Drive 0 63 96 Drive 0 63 Fugen 0 63 Saoer 0 63 99 os 4 Peak Gain 0 63 26 6 APPENDIX 6 2 MIDI implementation BLUE DEVIL GX112 MIDI Implementation Chart Function Basic Default Channel Changed Default Mode Messages Altered Note Number True Voice Velocit Note ON Note OFF Keys After Touch Channels Pitch Bender Control Progr change True System Exclusive Song Pos 227 Song Sel ommon Tune System Clock Real Time Commands Local ON OFF Aux notes OFF Messages Active Sense Reset Notes O YES X NO Mode 1 OMNI ON Mode 2 OMNI OFF Transmitted Recognized Remarks OFF 1 16 memorized OFF 1 16 7 10 15 18 see add table 123 HEAVEN 0 98 124 HELL 127 Effect Bypass i LLL Tab 6 2 MIDI implementation Parameter Name Display Range Control Value Range Volume Controller 7 0 127 Channel HEAVEN 0 HELL 1 Effect OFF 0 ON 1 Parameter depends on effect 0 127 max Effect A depends on effect 0 127 max Effect B depends on effect 0 127 max o e Wah Modulation Controller Store Enable Controller 18 0 127 Tab 6 3 MIDI control changes of the BLUE DEVIL 6 APPENDIX 27 7 SPECIFICATIONS AUDIO INPUTS Conn
14. BLUE DEVIL Blown fuses may only be replaced by fuses of the same type and rating Some models allow for inserting the fuse holder in two different positions in orderto switch over from 230 V to 115 V operation and vice versa Please note that for 115 V operation outside Europe you need to use a fuse of a higher rating see chapter 5 INSTALLATION Use the enclosed power cord to connect the unit to the mains 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 online registration option available on the World Wide Web www behringer com MIDI IN This connector gives you MIDI remote control over your BLUE DEVIL You can change parameters using controller information switch over effect programs change channels and bypass the effects module by means of program change instructions The LINE OUT provides the BLUE DEVIL s audio signal in stereo for example to send it to a recording machine This output is frequency corrected The AUX IN allows you to feed in additional stereo signals for example to play with a drum computer or some sort of playback Additionally you can use the AUX IN in 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 T
15. DIY better ask your specialized dealer with good mechanical and electrical shielding so as to avoid unpleasant surprises during rehearsals or concerts The HEAVEN channel s VOLUME control sets the volume for the clean channel Press the CHANNEL button to select the HEAVEN or HELL channel When HELL is on the corresponding LED lights up 4 The HEAT control determines the degree of distortion in the HELL channel The HELL channel s VOLUME control sets the volume for the HELL channel 4 5 057 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 The BASS control in the EQ section allows you to boost or cut the bass frequencies With the MID control you can boost cut the midrange frequencies The TREBLE control adjusts the upper frequency range 6 7 8 I 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 the classical and extremely efficient EQ circuit used in the BLUE DEVIL 9 With the UP button you can increase the program number of the built in effects module Keep the button pressed to scroll through the 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
16. GX112 BLUE DEVIL User s Manual Version 1 2 December 2001 2 emu GXT12 EHRINGE INSTRUMENT AMPLIFICATION mE 9 9 2 BLUE DEVIL GX112 SAFETY INSTRUCTIONS CAUTION To reduce the risk of electric shock do not remove the cover or back No user serviceable parts inside refer servicing to qualified personnel WARNING To reduce the risk of fire or electric shock do not expose this appliance to rain or moisture CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN This symbol wherever it appears This symbol wherever it appears alerts alerts you to the presence of you to important operating and uninsulated dangerous voltage inside maintenance instructions in the the enclosure voltage that may be accompanying literature Read the sufficient to constitute a risk of shock manual 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 All operation and user 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 shou
17. METER control to set the 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 WAH LFO Band LFO Speed 74 LFO Band Pass LFO Speed Tab 3 19 Parameters of effects 73 and 74 18 3 EFFECTS PROCESSOR BLUE DEVIL GX112 m 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 76 zum ML CER d 7e a0 ML 81 Tune Left Tab 3 20 Parameters of effects 75 through 81 4 1 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 CEN NNNM Pitch 83 Pitch Mix SHIFTER
18. SSOR 15 BLUE DEVIL GX112 F F 38 42 Chorus Reverb Here the signal passes a chorus effect with various intensities and then a reverb that can be edited in its time Preset Nr Effect Variation PARAMETER EFFECT A EFFECT B 38 TER 40 medium REVERB T medium T Reverb Time Chorus Mi Fever Mix 42 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 various feedback levels and adjustable delay time Preset Nr Effect Variation PARAMETER EFFECT EFFECT B io a 35 HOR medium i6 medium 47 Delay Time Delay Mix Tab 3 10 Parameters of effects 43 through 47 _ 48 51 Flanger 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 guitar sounds Preset Nr Effect Variation PARAMETER EFFECT A EFFECT B 8 aen 8886 50 stereo s stereo Tab 3 11 Parameters of effects 48 through 51 16 3 EFFECTS PROCESSOR BLUE DEVIL GX112 E 52 56 Flanger Reverb Here a flanger with various intensities is followed by a reverb with adjustable reverb time Preset Nr Effect Variation PARAMETER EFFECT A EFFECT B 52 Flanger Mix Reverb Mix Reverb Time Flanger Mix Reverb Mix 54 medium Flanger Mix Reverb Mix REVERB 55 medium
19. ace technology allow for an extreme packing density to further improve the overall reliability The sturdy steel plate enclosure of your BLUE DEVIL with its generously dimensioned power supply ensures that your GX112 will never fail even under toughest conditions on the stage The enclosure is made of high grade and non polluting E1 MDF wood which consists of multiple tongued glued layers and is absolutely free of formaldehyde 1 1 1 VIRTUBE technology Tube preamps usually employ three to five triode stages in a series configuration producing different degrees of distortion dynamic compression and frequency response modification In addition to the characteristic curve that determines the signal distortion the order of filter and distortion stages also plays an important role While you can enhance the sound of clean and slightly distorted signals by adding some bass before 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 circuitry installed between the single preamp stages Using these filters you can determine which frequencies will have an impact on the signal 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 acc
20. afety 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 for isolated data communications You will find additional information in chapter 5 INSTALLATION 1 INTRODUCTION 7 BLUE DEVIL GX112 1 3 Control elements MASTER HEAVEN HELL 2a am bun muLn EFFECTS processon BR mmm e 27 INPUT HEAT VOLUME Qe VOLUME PHONES DEVIL CHANNEL 6X112 BASS EFFECT B Fig 1 1 The front panel of the BLUE DEVIL The BEHRINGER BLUE DEVIL GX112 features eleven controls five push buttons and one 2 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 111113 9 2 1 2 4 5 Oe B ions 9 T N ES INPUT E ui HEAT VOLUME E VOLUME PHONES GX118 9 EFFECT B 4 BASS 3 6 101 12 14 16 17 Fig 1 2 The front panel control elements 1 INPUT isthe BLUE DEVIL s 1 4 jack input for your guitar Use a commercial 1 4 jack mono cable no
21. alues 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 TIME This LED lights up when you select a time domain effect parameter e g reverb or delay time SPEED 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 SENS This LED informs you that you can adjust the sensitivity of effects such as Auto Wah Expander Compressor PITCH This LED lights up when you edit the pitch shifter and shows the detune factor either in semi tones or cents EQ 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 module features 31 different effect groups and includes a total of 99 effect variations 14 15 16 17 18 19 Use the EFFECT button to activate deactivate the selected effect The PARAMETER control allows you to edit an effect specific paramete
22. cal artists and groups are all registered trademarks of their respective owners which are in no way associated or affiliated with BEHRINGER 22 4 HISTORICAL BACKGROUND BLUE DEVIL GX112 5 INSTALLATION Your BEHRINGER BLUE DEVIL was carefully packed in the factory and the packaging is designed to protect the unit from rough handling Nevertheless we recommend that you 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 shipping company immediately otherwise claims for damage or replacement may not be granted Shipping claims must be made by the consignee 5 1 Mains connection Please ensure that the BLUE DEVIL is set to the correct supply voltage before connecting the unit to the AC power system Three triangular markings can be found on the fuse holder at the AC power connection Socket Two of these three triangles will be aligned with one another The BLUE DEVIL is set to the operating voltage shown next to these markings and can be switched over by twisting the fuse holder by 180 IMPORTANT This does not apply to export models designed only for 115 V AC 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 057 Please make sure that all units
23. ce Specifications and appearance may differ from those listed or illustrated 28 7 SPECIFICATIONS BLUE DEVIL GX112 8 WARRANTY S1WARRANTY CARD ONLINE REGISTRATION To be protected by the extended warranty the buyer must complete and return the enclosed warranty card within 14 days of the date of purchase to BEHRINGER Spezielle Studiotechnik GmbH in accordance with the conditions stipulated in 5 3 Failure to return the card in due time date as per postmark will void any extended warranty claims Based on the conditions herein the buyer may also choose to use the online registration option via the Internet www behringer com or www behringer de 2 WARRANTY 1 BEHRINGER BEHRINGER Spezielle Studiotechnik GmbH including all BEHRINGER subsidiaries listed on the enclosed page except BEHRINGER Japan warrants the mechanical and electronic components of this product to be free of defects in material and workmanship for a period of one 1 year from the original date of purchase in accordance with the warranty regulations described below If the product shows any defects within the specified warranty period that are not due to normal wear and tear and or improper handling by the user BEHRINGER shall at its sole discretion either repair or replace the product 2 If the warranty claim proves to be justified the product will be returned to the user freight prepaid 3 Warranty claims other than those indicated above are
24. computer based sequencer software Our MIDI footcontroller FCB1010 gives you precisely these and more options and is a perfect match for all BEHRINGER guitar amps For example you could wire the BLUE DEVIL as follows Connect the MIDI IN jack of your BLUE DEVIL to the MIDI OUT jack of a MIDI footcontroller see fig 2 2 Now enable the MIDI functions on your BLUE DEVIL by pressing both UP and DOWN multi effects processor for about two seconds There you can select a MIDI channel 1 through 16 ON Omni mode off and 1 through 16 or On Omni plus decimal point store enable mode see chapter 3 2 1 Confirm your selection with ENTER Omni mode means that your BLUE DEVIL receives and processes MIDI information on all channels Of course you should select the same channel both on your MIDI footcontroller and BLUE DEVIL see MIDI footcontroller user s manual 057 Once you activate the MIDI functions the automatic effect to channel assignment feature will be disabled i e changing channels does not automatically load the previously set effect As this assignment feature would cause some confusion when controlling the BLUE DEVIL via a MIDI footcontroller it makes sense only when it is controlled from the enclosed footswitch or directly from the BLUE DEVIL s front panel To operate the BLUE DEVIL without MIDI remote control please disable the MIDI functions display reads OF You can select presets via MIDI using pr
25. cteristics 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 95 96 Drive Presence Tab 3 25 Parameters of effects 94 through 96 20 3 EFFECTS PROCESSOR BLUE DEVIL GX112 97 99 Speaker Cabinet This algorithm emulates three different types of speaker cabinets Additionally you can shift the speaker s main resonance peak Various degrees of resonance emphasis allow you to emulate different speaker characteristics The PARAMETER control adjusts the cutoff frequency of the low pass filter EFFECT A determines the gain of the resonance filter EFFECT B can be used to adjust the filter frequency Preset Nr Effect Variation PARAMETER EFFECT EFFECT B 97 HF Cut Peak Gain Peak Frequency SPEAKER 98 HF Cut Peak Gain Peak Frequency CABINET 99 HF Cut Peak Gain Peak Frequency Tab 3 26 Parameters of effects 97 through 99 3 2 Controlling the BLUE DEVIL via MIDI Owing to the built in MIDI interface you can integrate your BLUE DEVIL into any MIDI setup The GX112 is capable of receiving both program change and MIDI controller information So you can change programs via MIDI using a MIDI footcontroller or a
26. ding 2 channel combo amp with an admittedly good spring reverb However we recommend that you make yourself familiar with the BLUE DEVIL in full detail so that you know what each of the many functions does and be able to fully exploit the numerous effects and control options provided As technology advances you ve got to keep track of latest technological breakthroughs to avoid falling by the wayside Since the first presentation of the BLUE DEVIL at Frankfurt Pro Light amp Sound in 1998 we have continuously improved this amp and included many of your valuable suggestions We have spared neither expense nor effort to test different types of circuitry and speakers until the results gave us complete 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 eve
27. ector Type Guitar input impedance Aux input impedance Insert return impedance AUDIO OUTPUTS Connector Type Impedance Max output level SYSTEM SPECIFICATIONS Power amp output MIDI INTERFACE Type DIGITAL PROCESSING Converters Sampling rate DISPLAY Type LOUDSPEAKER Type Impedance Power handling POWER SUPPLY Mains voltages Power consumption Fuse Mains connection PHYSICAL Dimensions H x W x D Net weight Shipping weight BLUE DEVIL GX112 1 4 mono jack RF filtered input approx 1 unbalanced approx 10 unbalanced approx 1 unbalanced 1 4 mono jack line level output approx 100 unbalanced 12 dBu unbalanced 60 watts RMS into 80 5 pin DIN socket MIDI IN 24 bit sigma delta 64 128 times oversampling 46 875 kHz 2 digit numeric LED display 12 heavy duty loudspeaker model JENSEN JCH12 70 80 70 watts USA Canada 120 V 60 Hz U K Australia 240 V 50 Hz Europe 230 V 50 Hz general export model 100 120 V 200 240 V 50 60 Hz 100 watts 60 watts 8 120 watts max 100 120 2A 200 240 standard receptacle app 19 482 6 mm x 19 482 6 mm x 8 35 11 7 212 1 mm 297 2 mm app 19 kg app 22 kg BEHRINGER is constantly striving to maintain the highest professional standards As a result of these efforts modifications may be made from time to time to existing products without prior noti
28. ed by some budding musicians to build them some amplification Jim Marshall took the basic American design and using British components and speakers created higher Wattage amps and multi speaker cabinets to give bands like The Who Cream and The Jimi Hendrix Experience the power to begin their assaults on the rock stadiums of the world Amp design has come a long way since then Multi channels and cascading gain stages as pioneered by Randall Smith and his Mesa Boogie amps are found in the majority of stacks and combos built by amp manufacturers all overthe world today Modern solid state circuits and digital effects are now commonplace and in some instances work successfully on their own or hand in hand with classic tube designs to create versatile performing instruments for working guitarists Other manufacturers are looking back to the old ways with hand wired vintage style boutique amps than can cost the earth Whichever option you choose the ears of discerning musicians recognise that behind the bells whistles and hype there must be a great sounding amplifier a real musical tool that not only uses the best of today s technologies but pays its respects to the great pioneers that have gone before We would like to thank Mr Neville Marten the editor of Guitarist Magazine for this little essay about the history of guitar amp development Fender Ampeg Gibson Vox Marshall Mesa Boogie and the names of musi
29. effect as a long key press on the effect module s ENTER key 4 HISTORICAL BACKGROUND by Neville Marten Guitarist The guitar amp your tone generator Many guitar players think of their amplifier as the least important link in their musical chain Sure everyone needs the right guitar with the right finish pickups and tremolo and of course effects these days are so important in looking and sounding cool But what of the humble guitar amp Is it just an ugly box that stands behind you a heavy hindrance that s just a drag to get into and out of the car No it s your powerhouse a tone generator that should work as an equal member with you your guitar and effects in the creation of the best possible sound Ever since the 1940s when a radio repairman in Orange County California started customising tube radio circuits forthe new breed of electric guitarists guitar amps have been evolving into what we see today Great American names like Fender Ampeg and Gibson supplied small output amplifiers to the guitarists of the 40s and 505 creating the sound of electric jazz rock n roll and country music a sound that s still as fresh as ever at the dawn of this new millennium As the 50s became the 60s the British sound was born with Vox producing small powered valve amps for groups like The Shadows then later The Beatles and The Rolling Stones The Hollies and The Hermits Then in the mid 60s a drummer from London was ask
30. 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 Flanging Delay Pitch Shifting Compressor Expander Wah Wah variations various combination effects and even Tube and Speaker Emulations The latter in particular can make a guitarist s life much easier in home recording studios 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 range of versatile effects which can be edited in three parameters each Additionally the multi effects processor provides different effects variations which are permanently linked to the presets All presets can be overwritten with your own settings To restore the factory default settings simply keep the ENTER button pressed while you power up the BLUE DEVIL The multi effects processor basically provides stereo effects However these can be heard only when you use the LINE OUT or headphones output The speaker and or the mono power amp of your BLUE DEVIL 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 The two buttons UP and DOWN allow you to select a preset To activate the selected preset simply press the ENTER button The display reads the n
31. eral devices In such a studio you could control your BLUE DEVIL in real time from a computer In particular when playing live gigs you can use a MIDI footcontroller to control both the effect parameters and channel effect changes on your BLUE DEVIL The MIDI connector on the rear of your BLUE DEVIL is a internationally standardized 5 pin DIN jack To connect your BLUE DEVIL to other MIDI equipment you need a dedicated MIDI cable which is commercially available in various lengths However you can solder your own cables using 2 conductor shielded cables e g microphone cables and two rugged 180 DIN plugs pin 2 center 7 shield pins 4 and 5 right and left of pin 2 7 internal conductor pins 1 and 3 the outer pins are not used MIDI cables should not exceed a length of 15 meters 057 Make sure that pin 4 is connected to pin 4 and pin 5 to pin 5 MIDI IN receives MIDI controller information The receiving channel can be set with the buttons UP and DOWN On Omni i e MIDI data are received and processed on all channels see section 3 2 6 APPENDIX 6 1 Preset list Table 6 1 on the next two pages provides you with information on effect numbers and names parametertypes and ranges as well as factory default settings 24 6 APPENDIX BLUE DEVIL GX112 iati d E o 2 o E Effect Variation S 8 lt e lt e
32. expressly excluded 3 RETURN AUTHORIZATION NUMBER 1 To obtain warranty service the buyer or his authorized dealer must call BEHRINGER see enclosed list during normal business hours BEFORE returning the product All inquiries must be accompanied by a description of the problem BEHRINGER will then issue a return authorization number 2 Subsequently the product must be returned in its original shipping carton together with the return authorization number to the address indicated by BEHRINGER 3 Shipments without freight prepaid will not be accepted 4WARRANTY REGULATIONS 1 Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealer s invoice Any product deemed eligible for repair or replacement by BEHRINGER under the terms of this warranty will be repaired or replaced within 30 days of receipt of the product at BEHRINGER 2 If the product needs to be modified or adapted in order to comply with applicable technical or safety standards on a national or local level in any country which is not the country for which the product was originally developed and manufactured this modification adaptation shall not be considered a defect in materials or workmanship The warranty does not cover any such modification adaptation irrespective of whether it was carried out properly or not Under the terms of this warranty BEHRINGER shall not be held responsible for any cost resulting
33. ezielle Studiotechnik GmbH JENSEN is a registered trademark of Recoton Audio Corporation BEHRINGER Spezielle Studiotechnik GmbH Hanns Martin Schleyer Str 36 38 47877 Willich M nchheide Germany Tel 49 0 21 54 92 06 0 Fax 49 0 21 54 92 06 30 8 WARRANTY 29
34. hus the signal path inside the amplifier will not be interrupted and you can add the effect portion from the external device using the AUX control described above 118 Please note that the external effects device must be set to 100 wet for this purpose 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 This is the NSERT SEND jack that can be connected to the input of an external effects device 1 INTRODUCTION BLUE DEVIL GX112 057 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 enclosed footswitch FS112 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 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
35. ignal with a pair of commercially available headphones Connecting the headphones will mute the built in speaker 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 The rear panel 21 2 uu BEHRINGER BLUE DEVIL GX112 CAUTION SERIAL NUMBER DATE CODE RETURN SEND TIP CHANNEL RING EFFECT 21 22 23 24 25 26 27 28 29 10 2 8 129 30 Fig 1 3 The rear panel connectors Use the POWER switch to put the BLUE DEVIL into operation FUSE HOLDER VOLTAGE SELECTOR Please make sure that your local voltage matches the voltage indicated on the unit before you attempt to connect and operate the
36. l time control A Master volume control and stereo headphones output Extremely rugged construction ensures long life even underthe most demanding conditions Robust power supply ensures excellent transient response A Manufactured under 1509000 certified management system 4 BLUE DEVIL GX112 TABLE OF CONTENTS INTRODUCTION En 6 7 1 17 55 E a 7 1 2 7 1 3 tante ku de nae 8 12321 8 13 2 ENE War PAM LT 10 WIRING EXAMPLES EE 11 2 1 Standard setup consisting of guitar footswitch and external effects device 11 2 2 Expanded setup with MIDI footcontroller playback source and mixing console 11 EFFECTS PROCESSOR 5 DERR Dae 12 3 1 Description OF effects eire 13 3 2 Controlling the BLUE DEVIL via MIDI 21 3 21 Storeenable mode
37. ld 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 flow of airthrough 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 The appliance should be connected to a power supply only of the type 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 Debris and Liquid Entry Care should be taken that debris and or liquids do not enter the enclosure through openings Damage Requiring Service The appliance should
38. n invited guitar amp tuning experts to help us develop an amplifier that gives you the best of all worlds A Sophisticated analog technology with a feel factor only analog technology can provide Perfect simulation of tube specific nuances to make up for the drawbacks encountered in tube designs short service life heat dissipation poor mechanical stability Latest DSP technology to give you a broad range of modern high gain and vintage type effect sounds Rugged and solid construction which even withstands roughest handling Intuitive operation so that you can focus your mind what is most important to you your music 057 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 6 1 INTRODUCTION BLUE DEVIL GX112 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 They boast extreme linearity and very low distortion characteristics To complement this design the choice of components includes low tolerance resistors and capacitors high quality potentiometers and several other stringently selected elements The BLUE DEVIL uses SMD technology Surface Mounted Device These subminiature components adapted from aerosp
39. o 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 ROTARY SPEAKER 68 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 alterthe basic characteristic of this effect in 32 steps PARAMETER adjusts the delay time and EFFECT 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 EFFECT EFFECT B Delay Time Delay Mix 69 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 71 fast 72 AUTO WAH slow Sensitivity Depth 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 produce wah wah effects that are repeated at regular intervals Use the PARA
40. ogram change instructions Since the range of program change numbers is 0 through 127 program change instruction 0 corresponds to preset 1 1 to preset 2 and so forth see table 6 2 in the appendix After changeover the preset is activated immediately i e it will not be affected by previously adjusted bypass settings The three adjustable parameters PARAMETER EFFECT A and EFFECT B can be controlled in real time from a MIDI footcontroller First select a controller number for the footpedal on your MIDI footcontroller controller numbers 12 PARAMETER 13 EFFECT A and 14 EFFECT B Then use the footpedal on your MIDI footcontroller to adjust the values for the three parameters Channel changes can be effected with controller 10 Sending value 0 via this controller will activate the HEAVEN channel while value 1 activates the HELL channel Program change instructions can also be used to change channels Program change 123 activates the HEAVEN channel program change 124 selects the HELL channel of your BLUE DEVIL In addition to changing channels you can also disable effects by sending the value 0 via controller 11 Value 1 enables the effect Alternatively you can bypass the effect section by sending the program change instruction 127 MIDI controller 7 adjusts the input sensitivity of the effects module enabling you to set the overall volume of your BLUE DEVIL as desired Since this controller has no influence on the master volume c
41. ontrol you should adjust the maximum volume before with the master volume control then use MIDI controller 7 to reduce the volume This function is also known as volume controller The operating range of the wah effect can be determined with MIDI controller 15 3 EFFECTS PROCESSOR 21 BLUE DEVIL GX112 Additionally you can deactivate the LFO in LFO controlled modulation effects and modulate these effects with MIDI controller 15 To activate this MIDI controller you need to set the LFO speed to zero either on the BLUE DEVIL or by means of the corresponding MIDI controller Of course you can also control the BLUE DEVIL from a computer based sequencer software particularly in a home recording environment Specific environments for popular MIDI sequencer programs will soon be available from our web site www behringer de 3 2 1 Store enable mode The store enable mode allows you to store parameter changes directly e g from a MIDI sequencer Activate this mode by pressing both UP and DOWN on the multi effects processor for about two seconds then use the same keys to select a channel for MIDI reception 1 through 16 or ON Omni with decimal point Confirm your selection with ENTER Now if you use MIDI controller 18 to send data from your MIDI sequencer on the adjusted MIDI channel any parameter changes made to the currently active preset will be stored Sending MIDI controller 18 data while store enable mode is on has the same
42. ople together and what a great feeling it is when everybody who participated in such a project can be proud of what we ve achieved It is our philosophy to share our joy with you because you are the most important member of 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 creativity without being hampered by budget constraints We are often asked how we can make it possible to produce such high grade devices at such unbelievably low 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 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 most important members of the BEHRINGER design team A Thorsten Derks forthis marvellous manual A Jan Duwe whose passionate work has made the BLUE DEVIL as mean as it is A Volker Wagner for the fine mechanics andall the others who have made
43. ou 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 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 lively and have more treble frequencies 11 12 Plate The sound of an ancient plate reverb A classic algorithm that makes your guitar sound wonderful and enchanting Preset Nr Effect Variation PARAMETER EFFECT A EFFECT B SPRING short Pre Delay REVERB long Pre Delay stupio Short Pre Delay long Pre Delay short Pre Delay CHAMBER _ long Pre Delay long Pre Delay long Pre Delay long Pre Delay 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 PARAMETER control while the two EFFECT controls adjust the mix between o
44. r Once selected with the PARAMETER control its value is displayed and the corresponding LED lights up see 113 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 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 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 The VOLUME control in the Master section determines the overall volume level of the BLUE DEVIL 1 INTRODUCTION 9 20 BLUE DEVIL GX112 The 1 4 stereo jacks allow you to monitor the BLUE DEVIL s audio s
45. remate Mx 0 99 50 Dalay 0 80 1o 65 Seay Delay Time 0 68 S0 Tremolo 0 59 60 Delay Mix 0 50 10 66 medium Delay Time 0 69 19 Tremolo Mx 0 9960 Delay Mix 0 50 15 67 ROTARY Speed 32 Mix 68 SPEAKER Speed 0 63 Variation EE 69 MAGIC DRIVE Delay uc Variation TUM Mix 0 50 70 s Delay Time Variation Delay Mix 0 50 71 AUTO fast Sensitivity Depth 72 WAH slow Sensitivity Depth 73 LFO LFO Band Pass LFO Speed Depth 74 WAH LFO Band Pass LFO Speed Depth 75 12 Tune Left L 76 rune 2na o Mt Jo ss so o s9 34 77 TuneLeft_ 12 12 O 0 99 50 0 99 34 78 SHIFTER Tunelet 12 12 0 o 99 50 0 9920 79 Tune 12 12 0 mix 0 99 50 0 99 34 80 Tune Left 50 50 0 Mix 0 99 50 0 99 20 81 Tuneleft 50 50 14 0 99134 0 99 34 82 0 63 4 Pitch Mix 0 99130 Reverb Mix 0 50 20 ES e Reverb Time 0 63 18 Pitch 0 99 24 Reverb 0 50 10 1 SHIFTER 84 REVERB Reve Time 0 68 10 Pren vix o e 40 Reve mid 12 85 Reverb Time 0 63 Pitch Mix Reverb Mix 20 86 Delay Time Pitch Mix Delay Mix 7 87 EROS Delay Time Pitch Mix Delay Mix 7 88 DELAY Delay Time Pitch Mix Delay Mix 7 89 Delay Time Pitch Mix Delay Mix 7 90 COMPRESSOR Sensitivity Ratio Gain 8 91 Sensitivity Ratio 8 cxpawpem Hell Sensitviy 24 93 Heaven Senay 0
46. resets 21 through 24 produce a stereo delay with the PARAMETER control setting the delay time for the right channel The left channel s delay time is 2 3 as long asthat on the right side As usual EFFECT A 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 14 3 EFFECTS PROCESSOR BLUE DEVIL GX112 Preset Nr Effect Variation PARAMETER EFFECT A EFFECT B 21 min Dp Delay Time R 22 DELAY 23 stereo 24 25 m 27 28 Delay Time Feedback 29 Delay Time Feedback Tab 3 6 Parameters of effects 21 through 29 long mono 1 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 Is 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 3
47. riginal 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 the air tonight Use the EFFECT A control to adjust the threshold above which the reverb is triggered Sensitivity The higher this value the less reverb you will hear EFFECT B governs the mix between original and reverb signals Again the PARAMETER control adjusts the reverb and gate time Preset Nr Effect Variation PARAMETER EFFECT A EFFECT B 13 GATED Density Sensitivity 14 REVERB max Density Sensitivity Tab 3 2 Parameters of effects 13 and 14 3 EFFECTS PROCESSOR 13 BLUE DEVIL GX112 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 A adjusts the pre delay time and EFFECT B governs the mix between original and effect signals Preset Nr Effect Variation PARAMETER EFFECT A EFFECT B 15 AMBIENCE Reflections Pre Delay 16 max Reflections Room Size Pre Delay Tab 3 3 Parameters of effects 15 and 16 ams E 17 26 Wah Delay Distortion In general filters
48. roducts includes microphones and a variety of 19 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 BEHRINGER stands for no compromise quality fully featured products and exemplary service 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 conventional guitar amps are often not fully designed and developed Moreover many manufacturers of traditional style guitar amps are somehow afraid of using state of the art technology The BLUE DEVIL 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 GX112 so that it mimics an excellently soun
49. sts will also be invoiced separately when the buyer has sent in a written repair order 5 WARRANTY TRANSFERABILITY This warranty is extended exclusively to the original buyer customer of retail dealer and is not transferable to anyone who may subsequently purchase this product No other person retail dealer etc shall be entitled to give any warranty promise on behalf of BEHRINGER 6 CLAIM FOR DAMAGES Failure of BEHRINGER to provide proper warranty service shall not entitle the buyer to claim consequential damages In no event shall the liability of BEHRINGER exceed the invoiced value of the product 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW 1 This warranty does not exclude or limit the buyer s statutory rights provided by national law in particular any such rights against the seller that arise from a legally effective purchase contract 2 The warranty regulations mentioned herein are applicable unless they constitute an infringement of national warranty law The information contained in this manual is subject to change without notice No part of this manual may be reproduced or transmitted in any form or by any means electronic or mechanical including photocopying and recording of any kind for any purpose without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH BEHRINGER BLUE DEVIL VIRTUBE VIRTUALIZER and MODULIZER are registered trademarks ALLRIGHTS RESERVED 2001 BEHRINGER Sp
50. the INSERT SEND of your BLUE DEVIL If there 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 its signal won t be processed by the effects device External Effects Device 5 amp amp FX Out FX In Insert Return Insert Send BEHRINGER BLUE DEVIL GK112 Ld Headphones Footswitch optional 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 GX1 12 2 WIRING EXAMPLES 11 BLUE DEVIL GX112 Tape Dec 8 7 Line In GX112 Rear Panel ICE OX es TITE MIDI Footcontroller Fig 2 2 Expanded setup 3 EFFECTS PROCESSOR A very special feature of your BLUE DEVIL is its built in
51. umber 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 96 In the reverb and delay presets you can set the wet dry ratio in 1 steps from 0 through 50 12 3 EFFECTS PROCESSOR BLUE DEVIL GX112 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 spring reverb This algorithm emulates the typical sound of a spring reverb as it is known from numerous guitar amps However here you don t have the typical shatter sound when y
52. urately simulate this complex interaction with solid state components The EQs and filters between the single stages are 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 Your BEHRINGER BLUE DEVIL was carefully packed in the factory and the packaging is designed to protect the unit from rough handling Nevertheless we recommend that you 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 shipping company immediately 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 057 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 057 Please make sure that all units have a proper ground connection For your own s
53. 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 Guitarists such as Jimi Hendrix and Eric Clapton made this effect popular and it still hasn t gone out of fashion Use the PARAMETER control to adjust the delay time EFFECT A allows you to 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 WAH Feedback 0 Delay Time Delay Mix 18 DELAY Feedback 10 Delay Time Delay Mix 19 DISTORTION Feedback 30 Delay Time Delay Mix Tab 3 4 Parameters of effects 17 through 19 20 Delay Reverb After a normal delay with adjustable delay time the signal passes a reverb with different reverb times that are preset by various variations Preset Nr Effect Variation PARAMETER EFFECT A EFFECT B 20 DELAY REVERB Delay Time Delay Mix Tab 3 5 Parameters of effect 20 rm 1 21 29 Delay This algorithm delays the input signal and generates several repeats The first four p

Manual

Contents

Download Pdf Manuals

Related Search

Related Contents