Home

Here

1. 15 SPECIFICATIONS 16 B iii Rd 18 WARNING 3 We would like to bring your attention to the fact that extremely loud sound levels may damage your hearing as well as your headphones Please turn the MASTER control all the way to the left before powering up the unit Always try to keep volume at appropriate levels V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H 1 INTRODUCTION Thank you for the trust that you have placed in us by buying your V TONE You have gotten your hands on a latest generation guitar amp that sets completely new standards when it comes to analog modeling Our primary goal during development was to simulate the typical sounds of analog guitar amps and at the same time give you a powerful sound tool that you can use flexibly In doing so we constantly strove to create a piece of equipment that is intuitive and easy to use The demands placed on a guitar amp are nowadays very broad A guitarist should offer a wide array of sounds but at the same time be able to quickly adapt to specific requirements of various applications be it home recording studio live perfor mances etc That s why it is very important to us to be able to offer you a maximal sound diversity as well as diverse connection possibilities with our V TONE Fret not you will quickly master the V TONE and will be able to quickly learn how to use all o
2. a nnne 4 1 3 2 Initial operation 4 1 3 3 Online registration 5 CONTROL ELEMENTS AND CONNECTIONS 5 2 1 Front 5 2 2 Rear panel 6 APPLICATIONS uuu u u uuu uu 7 3 1 Practice setup with playback 7 3 2 Recording setup with an external effects device 7 3 3 Live setup with a MIDI foot controller 8 3 4 Wiring the GMX1200H 8 EFFECTS PROCESSQOR 9 4 1 FXT effects tracking 9 4 2 The effects a enne 9 4 2 MIDICOHRUDI MPM 11 TUNER 12 5 1 Tuning your Quia uu u u u 12 5 2 Setting up the a reference tone 12 INSTALLATION 13 6 1 Audio connections 13 6 2 Speaker connection 13 6 3 MIDI connection a 13 MU inimici PP uu u 14 7 1 MIDI implementation 14 1 2 Effect presets aa
3. TS connector Headphones and Aux In connection with 1 4 TRS connector sleeve tip strain relief clamp ground shield left signal sleeve ring ring right signal Fig 6 2 1 4 stereo TRS connector for AUX and PHONES 6 2 Speaker connection The GMX110 and GMX112 feature a SPEAKER connector to which you can connect an additional loudspeaker This additional loudspeaker should be able to handle at least 30 Watts 4 GMX110 and 60 Watts 4 GMX112 respectively The GMX212 and GMX1200H feature two LOUDSPEAKER outputs EXT LEFT and EXT RIGHT for connecting two loudspeakers or a single stereo loudspeaker unit The output power rating is 60 W per channel To assure optimal power delivery from the amp you should use 8 0 loudspeakers that can handle at least 60 Watts This goes for all models You can also use loudspeakers with higher impedance values but this lowers proportionally the power delivery as the resistance increases Doubling the impedance halves the power value double the Ohms half the Watts 337 Since SPEAKER and LOUDSPEAKER outputs connectors where amplified signals are given out never connect equipment with line level inputs to these two connectors e g mixer inputs 6 3 MIDI connection The MIDI standard Musical Instruments Digital Interface was first developed at the beginning of the 80s with the goal of enabling mutual communication between electronic instruments of various
4. MIDI Control No 64 depends on Variation FLANGER DELAY 57 61 Delay Time Delay Mix Depth PITCH FLANGER Reverb Pitch Mix PITCH SHIFTER 86 89 Delay Time DELAY cO cO cO Table 4 1 MIDI controllable effect parameters Channel switching Changing modeling CHANNELS is done via controller 10 If you send value 0 via this controller then channel 1 is active Sending value 1 activates channel change to channel 2 Program change instructions can also be used to change channels Program change 123 activates channels 1 and program change 124 activates channel 2 of your V TONE In addition to switching channels you can also deactivate the effect To this end send value 0 via controller 11 Value 1 activates the effect again Sending program change 127 activates the tuner As soon as another program change number is sent the tuner is automatically deactivated You determine the input volume of the effect module by using MIDI controller 7 This lets you adjust the volume of your V TONE to your own requirements Since this controller does not control master volume you should first adjust the maximum volume you need by using the master volume control and then use MIDI controller 7 to lower the volume This function is also called volume controller The operating range of the Wah effect is adjusted using MIDI controller 27 Furthermore if you re using LFO controlled modulation effe
5. an ULTRASTACK BG412V in stereo mode 8 3 APPLICATIONS V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H BEHRINGER GMX1200H oe Speaker cabinets 810 16 12 each Fig 3 5 GMX1200H with two speaker cabinets 4 EFFECTS PROCESSOR Effects 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 artificially created space since no natural ambience is possible On the other effects such as delay chorus flanger and tremolo are an integral part of the modern guitar sound For this reason we ve equipped the V TONE with an effects 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 effects everywhere you go The integrated multi effects processor offers the same audio quality found in our 19 effects unit VIRTUALIZER PRO known for being used in studios You get 31 different groups of first class effects at your disposal for example reverb chorus flanger delay pitch shifter compressor expander Wah variations various combination effects and even tube and speaker simulations All in all there are 99 presets you can use offering you a wide variety
6. and MODELING CHANNEL CLEAN CHANNEL is active when the channel LED is not lit up With all models you can also switch between channels using the provided footswitch A long hit approx 2 seconds on the CHANNEL key activates the guitar tuner The DRIVE control determines the amount of distortion in the respective MODELING CHANNEL Using this you can ideally adjust the V TONE pre amp to the output level of your guitar pick up to achieve the desired amount of distortion depending on the amp mode and speaker combination you selected The CHANNEL LED indicates the currently selected channel Use the AMP switch to select one of the three guitar amps that orient themselves on classic tube amps You will surely recognize these classic amp sounds as soon as you hear them If you select TWEED expect crystal clear transparent sounds with dynamic bass You get aggressive mids and pressure rich inescapable assertiveness and endurance when you select BRITISH Rounder and more evened out yet still sophisticated sounds can be dialed up if you select CALIF ORNIAN perfect for lead sounds 2 N Jo _ 4 Use the MODE switch to choose one of three possible gain settings CLEAN HI GAIN and HOT you wish to use with the basic sound you selected with the AMP switch The SPEAKER switch offers the simulations of two classic guitar speakers 4 x 12 speaker in an enclosed casing U K and 2 x 12 speaker in an open casi
7. because you are the most important member of the BEHRINGER team With your highly competent suggestions for new products you ve made a significant contribution 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 reasonable price All of this will enable you to give free rein to your creativity without being hampered by budget constraints We are often asked how we manage to produce such high quality 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 purchasing terms for components etc Isn t it only fair to pass this benefit on to you Because we know that your success is our success too would like to thank all of you who have made the V TONE Series possible You have all made your own personal contributions from the developers to the many other employees at this company and to you the BEHRINGER user My friends it s been worth the effort Thank you very much Uli Behringer TABLE OF CONTENTS INTRODUCTION 4 1 1 The 4 1 2 Dynamizer technology and analog modeling 4 1 3 Before you get Started 4 1 3 1 Shipment
8. external 19 effects unit To achieve a parallel stereo insert you can connect the effect return to the AUX input and then use the AUX IN control to determine the extent to which the effect is present In this case the effects unit should be set up to 100 effect signal and the INSERT RETURN connector should have nothing plugged into it If you want to use another guitar preamp or a modeling amp e g the V AMP 2 or the V AMP PRO connect it to the SLAVE IN connectors except for the GMX110 and GMX112 The V TONE now operates only as a power amp with its preamp section inactive V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H 3 3 Live setup with a MIDI foot controller BEHRINGER _ cx ULTRASTACK BG412V Reinforcement System amp Loudspeaker Loudspeaker Line Output Left Output Right m BEHRINGER BEHRINGER MIDI GNXZ12 MIDI Chui B BEHRINGER MICI FOOT CONTROLLER FCB1010 E Guitar Fig 3 3 Setup with a MIDI foot controller and an external loudspeaker In this illustration we ve omitted the headphones and the additional equipment from figure 3 1 this illustration serves as an expansion of the standard setup You can use the MIDI foot controller to control channel and effects changes volume Wah and so on Additional information about MIDI can be found in section 4 3 The LINE OUT signal with the speaker simulation can be fed
9. into your mixer or your P A system s stagebox External guitar loudspeakers can be connected to the loud speaker outputs of the GMX212 in order to get more punch and higher volume on the stage You can do this in two ways use two separate loudspeakers for stereo applications or use a single stereo box e g the BEHRINGER ULTRASTACK BG412V Instead of loudspeaker outputs the GMX110 and GMX112 feature single SPEAKER OUT connectors 32 used for connecting an external loudspeaker 3 4 Wiring the GMX1200H The GMX1200H head features two LOUDSPEAKER outputs EXT LEFT and EXT RIGHT that can be used to connect one or two external loudspeakers To get the most power from the GMX1200H both loudspeaker outputs should be used and connected to speakers with minimum 8 Ohms impedance Loudspeaker outputs are automatically muted as soon as you activate the tuner or connect a set of headphones see section 5 1 To assure optimal and safe use of your amplifier please also read section 6 2 When the GMX1200H is used with a single BEHRINGER ULTRASTACK BG412V the rear panel switch of the BG412V must be in the stereo position and the two outputs should be connected as shown in fig 3 4 When using two speaker cabinets to form a classic full stack please make sure the impedance of each speaker cabinet is between 8 to 16 Ohms see fig 3 5 BEHRINGER Y TONE GMX1200H BEHRINGER ULTRASTACK BG412V Rear panel Fig 3 4 GMX1200H with
10. manufacturers Over the years the number of possible MIDI applications has increased substantially nowadays it is perfectly normal to connect entire studios via MIDI At the center of this network is a computer with a sequencing software used to control not only keyboards but also effects processors and other peripheral equipment In such a studio you can control your V TONE in real time from a computer Using a MIDI footswitch presents itself as a great idea especially in live applications because it allows you to control not only effect parameters but also switch between channels and effects The standard 5 pole DIN MIDI connector is located on the rear of your V TONE To connect your V TONE with other MIDI equipment you will need a MIDI cable Pre packed cables available at music stores are used for this purpose Such cables should not be longer than 15 m 45 ft MIDI IN receives MIDI control data The receiving channel is adjusted using the CHANNEL and IN OUT key combination On Omni means that MIDI data are being received and processed on all channels compare section 4 2 6 INSTALLATION 13 V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H 7 APPENDIX 7 1 MIDI implementation MIDI Implementation Chart Function Recognized Remarks mitted Basic Default OFF 1 16 memorized Channel Changed OFF 1 16 Default Mode Messages Altered N Note Number True Voice Note ON Note OFF After Keys Touch Chann
11. placing the dynamic range of the amp s circuitry under immense strain How your amp reacts to these signal peaks is one of its most defining characteristics That s why we ve equipped all V TONE Series amps with our unique Dynamizer preamplifier circuitry It guarantees a lively sound with a lot of punch even when the amp is pushed to its limits Combine that with our V TONE analog modeling and not only do you have amazingly authentic tube sounds at your fingertips you also get the dynamic performance typical of the respective amp type Crystal clear guitar tones come through with transparency warmth and the compression typical of tube amps Even as distortion increases the sound remains lively and full of power without losing any of its assertiveness All along you have full control over the volume Plainly talking you can take the same sound you are used to at your practice room and replicate it in your bedroom at much more reasonable volume levels or you can even record yourself while playing gt This user s manual will allow you to familiarize yourself with the control elements of your new V TONE and learn all of its functions After reading this manual store it where you can easily find it for future reference 1 3 Before you get started 1 3 1 Shipment The V TONE was carefully packed at the assembly plant to ensure secure transport If the cardboard box is damaged please inspect the V TONE equipment immediately for
12. settings A To restore factory presets reset function keep IN OUT pressed while powering up the V TONE 4 1 FXT effects tracking lt a gt FXT is an extremely useful function that lets you assign a specific effect to each channel of the V TONE and then activate these effects when you switch between the channels This way you can for example assign a DELAY effect to the MODELING CHANNEL 1 and assign a REVERB CHORUS combination effect 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 effect When MIDI is active the above no longer applies You can switch between the channels and the effects independently from one another How MIDI is activated is described in ch 4 3 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 eff
13. 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 effect can be edited is shown in the following table 4 EFFECTS PROCESSOR 11 V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H N 2 E 9 S S S G O a Time DELAY Reverb REVERB 17 20 Delay Time Delay DELAY 21 29 Delay Time Feedback PHASER 30 33 LFO Speed Feedback Depth iX REVERB CHORUS 38 42 Reverb Time Reverb Chorus Mix Mix CHORUS Prarie DELAY 3 47 Delay Time Delay Mix FLANGER 48 51 LFO Speed Resonance Depth CHORUS 34 37 LFO Speed Depth M TREMOLO gt lt 5 Reverb Tremolo REMOLO eo 63 LFO Speed D TREMOLO Tremolo DELAY 64 66 LFO Speed Delay Mix x 69 70 LFO Speed Delay Mix Depth SHIFTER EN Bus Reverb SHIFTER 82 85 Reverb Time Mix REVERB COM Delay Time Delay Mix T Rev Time Rev Mix EXPANDER 92 93 Delay Time Delay Mix Threshold GUITAR Delay Time Delay Mix Drive Rev Time Rev Mix COMBO Tap tempo
14. the information currently being received gt 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 different 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 O 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 Effect parameters Three parameters of the effects processor can be adjusted in real time This way you can create your own effects modify existing effects to your specific needs e g adapt
15. 1 O1 O17 C1 78 Pitch Mix Pitch Mix Pitch 2 4 Pitch Mix 2 PITCH Pitch 1 SHIFTER QN Pitch Mix EX REVERB Pitch Mix Pitch Mix PITCH e SHIFTER K DELAY Pitch Mix Pitch Mix COMPRESSOR fast with Delay Sensitivity slow with Reverb Sensitivity EXPANDER fast with Ambience Threshold slow with Delay Threshold NO NINININI gt Q OF O O O JO IO OI O O Crunch with Delay Edge with Delay Overdrive Drive with Reverb GUITAR Distortion 1 Distortion 2 Distortion 3 with Reverb cO Co OO OO OO N gt BLOM cO Tab 7 3 V TONE effect presets 7 APPENDIX 15 V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H 16 AUDIO INPUTS GUITAR IN Input Impedance INSERT RETURN Input Impedance SLAVE IN Input Impedance AUX IN Input Impedance TAPE IN Input Impedance AUDIO OUTPUTS INSERT SEND Output Impedance LINE OUT Output Impedance Max output level TAPE OUT Output Impedance Max output level PHONES OUTPUT Max output level SLAVE OUT Output impedance Max output level LOUDSPEAKER OUTPUT Type Min load impedance SYSTEM SPECIFICATIONS power amp output MIDI INTERFACE Type DIGITAL PROCESSING Converters Sampling rate DISPLAY Type LOUDSPEAKERS Type Model Impedance Power handling POWER SUPPLY Mains voltage P
16. ANTY 1 BEHRINGER BEHRINGER International 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 excluded from this warranty as described under 5 BEHRINGER shall at its discretion either replace or repair the product using suitable new or reconditioned parts In the case that other parts are used which constitute an improvement BEHRINGER may at its discretion charge the customer for the additional cost of these parts 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 expressly excluded 84 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 BEHRIN
17. GER 3 Shipments without freight prepaid will not be accepted 5 WARRANTY 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 under the terms of this warranty will be repaired or replaced 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 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 crossfaders potentiometers keys buttons tubes guitar strings illuminants and similar parts 4 Damages defects caused by the following conditions are not covered by this warranty improper handling neglect or failure to operate the unit in compliance with the instruction
18. Impedance AUX IN Input Impedance TAPE IN Input Impedance AUDIO OUTPUTS INSERT SEND Output Impedance LINE OUT Output Impedance Max output level TAPE OUT Output Impedance Max output level PHONES OUTPUT Max output level SLAVE OUT Output impedance Max output level LOUDSPEAKER OUTPUT Type Min load impedance SYSTEM SPECIFICATIONS power amp output MIDI INTERFACE Type DIGITAL PROCESSING Converters Sampling rate DISPLAY Type LOUDSPEAKERS Type Model Impedance Power handling POWER SUPPLY Mains voltage Power consumption Fuses 100 120 V Fuses 200 240 V Mains connection DIMENSIONS AND WEIGHT Dimesions H x W x D Weight GMX212 GMX1200H 14 TS RF filtered approx 1 MO unbalanced 14 TS approx 10 unbalanced 14 TRS tip 2 input approx 30 unbalanced 14 stereo jack approx 10 unbalanced RCA approx 10 unbalanced 14 TS low impedance line level approx 100 O unbalanced 14 mono jack gt 1 unbalanced 8 dBu unbalanced RCA approx 3 unbalanced 9 dBu unbalanced 14 TRS stereo 15 dBu 100 23 dBm 14 TRS ring output approx 2 unbalanced 21 dBu unbalanced Ya TS x 2 2x60W 2x8Q 5 pin DIN socket MIDI IN 24 bit sigma delta 64 128 times oversampling 46 875 kHz 2 digit numeric LED display x 242 0c BUGERA Vintage Guitar Series FE USA Canada 120 V 60 Hz Europe U K Au
19. OTSWITCH connector The footswitch has several functions it lets you switch between two channels and it also lets you activate deactivate an effect Additionally the tuner can also be activated using the footswitch To do that keep the CHANNEL key pressed for about 2 seconds MIDI IN This connector lets you remotely control your V TONE via MIDI You can activate deactivate effects or switch between channels You can use effect bypass via program changes and parameter edits as well as edit the presets via controllers also see sections 6 3 and 7 1 You can connect two external loudspeakers L R to the LOUDSPEAKER connectors GMX212 and GMX1200H The outputs deliver 60 W into 8 W per channel For optimum performance please only connect loudspeakers with a minimum impedance of 8 W each see also section 6 2 When these connectors are used the internal loudspeakers are automatically disconnected The GMX210 features no external loudspeaker connectors The loudspeaker connector on the GMX110 and GMX112 is described under 32 The PHONES connector lets you monitor the signal from your V TONE with standard headphones The BEHRINGER HP series is well suited for this for example When the PHONES connector is used the internal loudspeakers and speaker outputs are disconnected Those signals that are connected to the SLAVE IN connectors are directly routed to the V TONE s power amp This way you can connect an external guitar preamp o
20. Should your country not be listed please contact the distributor nearest you A list of distributors can be found in the support area of our website www behringer com Registering your purchase and equipment with us helps us process your repair claims quicker and more efficiently Thank you for your cooperation 2 CONTROL ELEMENTS AND CONNECTIONS Control elements of your V TONE guitar amp are described in this section All controls and connections are explained in detail and we give you useful tips on how to use them An illustration of control elements with corresponding numbering can be found on the separately included supplementary sheet Because models GMX112 GMX210 GMX212 and GMX1200H each feature two identical MODELING CHANNELS control elements through will only be described once in the following section 2 1 Front panel The connector labeled NPUT is the 1 4 jack input of your V TONE Use it to connect your guitar Use a commercially available 1 4 jack mono cable no DIY ask your specialized dealer with good mechanical and electrical shielding to avoid unpleasant surprises during rehearsals or concerts On the GMX110 the CLEAN control modifies the volume of the CLEAN channel in relation to the MODELING CHANNEL Use the CHANNEL key to alternate between the two modeling channels except for the GMX110 The channel LED lights up when the channel is activated On the GMX110 the CHANNEL key switches between CLEAN
21. V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H User s Manual Version 1 2 April 2006 HI HR REAR FR DMR eA SERA NCEA BEHRINGER www behringer com JUST LISTEN V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H IMPORTANT SAFETY PRECAUTIONS CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION A RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION To reduce the risk of electric shock do not remove the top cover or the rear section 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 and moisture The apparatus shall not be exposed to dripping or splashing and no objects filled with liquids such as vases shall be placed on the apparatus This symbol wherever it appears alerts you to important operating and maintenance instructions in the accompanying literature Please read the manual This symbol wherever it appears alerts you to the presence of uninsulated dangerous voltage inside the enclosure voltage that may be sufficient to constitute a risk of shock E NO DETAILED SAFETY INSTRUCTIONS 1 Read these instructions 2 Keep these instructions 3 Heed all warnings 4 Follow all instructions 5 Do not use this apparatus near water 6 Clean only with dry cloth 7 Do not block any ventilation openings Install in accordance with the
22. 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 MT 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 d 67 68 Rotary Speaker A simulation of a class
23. ate rating without exception The correct value of the fuses needed can be found in the section SPECIFICATIONS Power is delivered via the cable that was delivered with the V TONE All mandatory safety precautions have been adhered to I Please make sure that all of your equipment is grounded at all times For your own protection you should never tamper with the grounding of the cable or the unit itself The unit shall always be connected to a mains socket outlet with a protective earthing connection MIDI connection is established using a standard DIN connector Data transfer occurs via isolated opto couplers Additional information can be found in section 6 INSTALLATION 4 1 INTRODUCTION V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H 1 3 3 Online registration Please do remember to register your new BEHRINGER equipment right after your purchase by visiting www behringer com alternatively www behringer de and kindly read the terms and conditions of our warranty carefully Should your BEHRINGER product malfunction our goal is to have it repaired as quickly as possible To arrange for warranty service please contact the retailer from whom the equipment was purchased Should your BEHRINGER dealer not be located in your vicinity you may directly contact one of our subsidiaries Corresponding contact information is included in the original equipment packaging Global Contact Information European Contact Information
24. consequential damages In no event shall the liability of BEHRINGER exceed the invoiced value of the product Customers in the European Union please contact BEHRINGER Germany Support for further details Technical specifications and appearance subject to change without notice The information contained herein is correct at the time of printing The names of companies institutions or publications pictured or mentioned and their respective logos are registered trademarks of their respective owners Their use neither constitutes a claim of the trademarks by BEHRINGER nor affiliation of the trademark owners with BEHRINGER BEHRINGER accepts no liability for any loss which may be suffered by any person who relies either wholly or in part upon any description photograph or statement contained herein Colours and specification may vary slightly from product Products are sold through our authorised dealers only Distributors and dealers are not agents of BEHRINGER and have absolutely no authority to bind BEHRINGER by any express or implied undertaking or representation 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 is a registered trademark ALL RIGHTS RESERVED 2006 BEHRINGER Spezielle Studiotechnik GmbH Hanns Marti
25. 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
26. cteristics 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 effect parameters and edit your own effects 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 fig 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 off 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 confirmation about
27. cts you can deactivate LFO and implement modulation via MIDI controller 27 To activate this MIDI controller you should first set up the LFO velocity either directly on your V TONE or set the respective MIDI controller to value 0 Of course you can use a MIDI sequencer or a computer based MIDI editor for MIDI remote control particularly in the home recording environment 5 TUNER The integrated tuner is activated by pressing the CHANNEL key for about 2 seconds directly on the amp or on the footswitch 5 1 Tuning your guitar The chromatic tuner automatically recognizes the frequencies of guitar notes For A string this means a frequency of 110 Hz When you connect your guitar to the V TONE and strum a string the tuner tries to recognize the tone and shows it in the display Because the tuner functions chromatically it can also recognize semitones These are shown in the display with a b accompanying the value However it may be the case that a played note shown in the display as for example slightly deviates from the ideal tone This will be indicated by lighting up at least one of the red tuner LEDs HIGH LOW near the FX display The faster the LED blinks the harsher the deviation of the played tone from the note shown in the display If the middle LED green lights up the tone you played is completely in tune with the tone indicated in the display When the tuner is active the loudspeaker outputs ar
28. d 15 CAUTION These service instructions are for use by qualified service personnel only To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions unless you are qualified to do so V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H FOREWORD Dear Customer welcome to the team of BEHRINGER users and thank you very much for expressing your confi dence in us by pur chasing the BEHRINGER Writing this foreword for you gives me great pleasure because it represents the cul mination of many months of hard work delivered by our engineering team to achieve a very ambitious goal to de velop four outstanding guitar amps that are at the forefront of what is technically possible and that can be used in many different applications Our guitar amps offer you strong performance their sound is amazingly clear and they are easy to use both as direct recording amps as well as stage amps The task of designing our new V TONEs certainly meant a great deal of responsibility which we assumed by focusing on you the discerning user and musician Meeting your expectations also meant a lot o6f work and night shifts But it was fun too Developing a product usually brings a lot of people together and what a great feeling it is when all who participated in such a project can be proud of what they ve achieved It is our philosophy to share our enjoyment with you
29. e output of your effects unit the INSERT RETURN connector should not be in use This way the signal flow in your V TONE is not interrupted With the AUX IN control you can determine the extent to which the external effects unit alters the original signal Keep in mind that the effects unit should be set up to 100 effects signal 100 wet to connect external effects e g a wah wah pedal Connect the SEND connector on the V TONE to the input of your effects unit The SEND connector is tapped into directly before i e pre the digital signal processor DSP of your V TONE Connect the output of your external effects unit to the RETURN connector of your V TONE You can use the INSERT SEND as a parallel output without the effects This is useful for example when you want to record a dry guitar signal As long as the RETURN connector has nothing plugged into it the signal will not be interrupted internally Use the SPEAKER OUT connector to connect one additional loudspeaker to your GMX110 GMX112 This loudspeaker should have an impedance of 4 When this connector is used the internal loudspeaker is automatically muted Additional information about connecting an external loudspeaker can be found in section 6 2 FUSE RETAINER VOLTAGE SELECTOR Please make sure that the voltage indicated by the voltage selector matches the local voltage before you connect the unit to the main power supply Always replace blown fuses with fuses o
30. e typically muted However sometimes it is preferable not to mute the signal in order to let you have acoustic control of what you are doing while you are tuning your guitar For this reason the V TONE has an integrated tuner level function You can adjust tuner volume from 0 to 99 by using the FX control At 0 the guitar signal is completely muted After a successfully implemented adjustment the display auto matically goes back to tuner mode 5 2 Setting up the a reference tone To put complete freedom at your disposal when tuning your instrument you have the option to change the preset of the reference tone a Here is a quick intro to the subject The so called chamber tone a has been continually revised upwards ever since it was first measured tuning forks of Bach Handel or Mozart were at 415 420 or 421 Hz vibrations pro second tb ue 27 Nowadays orchestras set the a with 444 Hz and the Berlin Philharmonic Orchestra wishes to stay ahead their chamber tone lies at a full 447 Hz The reference tone a of the V TONE is programmed at 440 Hz Let s say you want to work with a big orchestra that works with the chamber tone a set to 444 Hz To activate the function that changes the chamber tone do the following Activate the tuner by keeping the CHANNEL key pressed for a few seconds 12 5 TUNER V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H A turning the PRESET co
31. 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 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 V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H 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
32. els Pitch Bender Control Velocity see add table 123 Channel 1 124 Channel 2 127 Tuner Progr Change True System Exclusive Song Pos Song Sel Tune System Clock Heal Time Commands Local ON OFF Aux All notes OFF Messages Active Sense Reset System Common Tn N Notes O YES X NO Mode 1 OMNI ON Mode 2 OMNI OFF Tab 7 1 MIDI implementation Midi Control Parameter Name Display Range Control Value Number Range Volume Controller oJ 7 0 127 Channel 1 0 Channel Select 0 0 1 OFF 0 Effect Bypass ON 1 0 1 12 13 Parameter 3 depends on effect 0 127 max 0 127 Parameter 2 depends on effect max Parameter 1 depends on effect 14 0 127 max MIX Wah Modulation 27 0 off Controller 1 127 Mod FX send on off 0 127 2 4 0 127 0 127 value gt 63 Reverb send on off N Delay send on off Tuner Bypass Volume N ler for details see Tab 4 1 Tab 7 2 V TONE MIDI controllers 14 7 APPENDIX 1 2 2 A ES ES S L5 V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H 7 2 Effect presets REVERB SPRING REVERB STUDIO CHAMBER STAGE CONCERT PLATE EARLY REFLECTIONS AMBIENCE DELAY REVERB STEREO DELAY PHASER CHORUS CHORUS REVERB CHORUS DELAY FLANGER t aad mi
33. f its capabilities easily and intuitively With its up to date circuitry its digital signal processor DSP and its integrated tuner the V TONE features the functionality and dependability of a truly modern guitar amp Yet it is user friendly and problem free as if it were a classic tube combo We highly recommend taking your time to truly learn all of the V TONE s functions so you can reach its maximum potential 1 1 The concept The BEHRINGER company philosophy guarantees a perfectly thought out circuitry concept with components that were selected without cutting any corners The operational amplifiers that BEHRINGER uses in the V TONE are some ofthe most noise free operational amps around and are characterized by extreme linearity and low distortion They are complemented by low tolerance resistors and capacitors high value potentiometers and switches as well as additional select components The robust housing of your V TONE with its oversize power supply gives you the peace of mind that will hold its own even under the most demanding stage conditions The housing is made of high grade environment friendly MDF wood consisting of multiply impregnated layers 1 2 Dynamizer technology and analog modeling When an electric instrument is amplified that s where you either make it or break it Unlike the signals that have been mixed and mastered the signals of electric instruments have extremely high signal peaks
34. f the same type and rating Some units feature a fuse retainer in which a selection between 230 V and 120 V is possible Please be aware When using your unit outside of Europe with 120 V a fuse with a higher rating is required Power is supplied via an EC connector The matching cable is provided with the unit SERIAL NUMBER 2 CONTROL ELEMENTS AND CONNECTIONS V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H 3 APPLICATIONS The V TONE features many different connectors allowing you to adapt to all kinds of application challenges We have listed just a few examples to show the flexibility your V TONE 3 1 Practice setup with playback Drum Computer BEHRINGER HP SI000 BEHRINGER 0404110 Electric quitar Fig 3 1 Standard setup To use your V TONE in practice rooms or to jam at home connect your V TONE as illustrated in figure 3 1 Connect a CD player or a drum computer to the TAPE input You can control the volume of the connected signal by using the TAPE INPUT control on the GMX210 GMX212 and the GMX1200H the AUX control adjusts the signal connected to the AUX IN If you want or have to to practice using headphones connect your headphones to the PHONES connector on your V TONE The loudspeaker is automatically muted Connect the provided dual footswitch to the footswitch connector on the V TONE Use the CHANNEL footswitch to switch between the channels If 574 is active see section 4 1 t
35. goes through the pitch shifter with various intervals and then it s run through a delay effect Use FX MIX to adjust the pitch shifter mix parameter 10 4 EFFECTS PROCESSOR V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H 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 confines 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 effect 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 signals level is considerably higher than the noise floor background noise is inaudible the main signal basically masks the underlying noise signal You can use the expander to effectively 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 effect simulates the sound chara
36. he effects selected for both channels are loaded Use the IN OUT footswitch to activate deactivate the effect Keeping CHANNEL depressed for about 2 seconds activates the internal tuner 3 APPLICATIONS 3 2 Recording setup with an external effects device BEHRINGER VIRTUALIZER PRO DSP2O24P BEHRINGER HP S3000 BEHRINGER GNMX210 Electric guitar Fig 3 2 Recording setup If you want to use your V TONE in home recording or studio situations we suggest wiring your equipment as illustrated in figure 3 2 Of course you can continue using a CD player or a drum computer However for clarity s sake we ve omitted those two in this illustration Connect the input of your effects unit to the INSERT SEND connector of the V TONE connect the output on your effects unit to the INSERT RETURN connector on the V TONE If you wish to record the guitar signal together with the stereo effects connect the LINE outputs to your mixer audio sequencer or a multi track recorder To record the dry guitar signal without the internal effects it is best to use the INSERT SEND connector on the You can also use both outputs at the same time to for example record the dry signal without permanently committing to a single effect At the same time the LINE output with the effect signal lets you listen to yourself while recording Of course you can insert a Wah pedal or some other stomp box instead of an
37. ic 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 75 81 Pitch Shifter This effect modifies the pitch of the input signal Musical intervals and harmonics are created and the propagation of a single voice can be adjusted You can create signals that are majorly out of tune e g signals shifted upward by several half tones such as the strange sounding voices often used in cartoons There are several default intervals already built into the presets 82 85 Pitch Shifter Reverb The signal first goes through a pitch shifter with various transpositions in half tone increments or smaller A reverb follows Adjustable parameter pitch shifter mix 86 89 PitchShifter Delay The signal first
38. manufacturer s instructions 8 Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat 9 Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 11 Only use attachments accessories specified by the manufacturer 12 Use only with the cart stand tripod bracket or table specified by the manufacturer or sold with the apparatus When a cart is used use caution when moving the cart apparatus combination to avoid injury from tip over LAL 13 Unplug this apparatus during lightning storms when unused for long periods of time 14 Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been droppe
39. n Reflections Mi Mi Mi Mi Mi Mi Mi Mi Mi Mi Mi Mi Mi Mi Mi Mi Mi max Reflections everb Mix everb Mi everb Mi everb Mi 2 20 20 x Depth Depth Depth Depth fa slow M Chorus Mix horus Mix Chorus Mix horus Mi Chorus Mix horus Mi horus Mi horus Mi Chorus Mi Chorus Mix Depth ____ Depth M M M M M M M M M M M M x gt lt Depth Depth O OO x Oya N T oO N N mms N 5 5 gt T gt ITL OO 5 5 N Default O JO JOO IO O O O O O QS Q S OQIIO O O O O J OI O O O O O O O O O O O OI O o NO oO 4 N Depth FLANGER Zepi REVERB Depth Depth Depth Depth Depth DELAY Depth Depth Depth TREMOLO Slow ____ Tremolo Mix REVERB Tremolo Mix TREMOLO slow with reverb _ Tremolo Mix DELAY Tremolo MIX medium with reverb Tremolo 3 eae Pee Depth SPEAKER Depth 100 ROTARY 70 DRIVE spiningecho Depth 90 AUTO WAH 72 X REVERB AUTO distortion Sensitivity 60 74 DELAY Pitch Mi 76 Pitch Min caer Pitch Min SHIFTER O OIJOI OI OI IOO O O O gt O O O O gt SLE O1f O17 O
40. n Schleyer Str 36 38 47877 Willich Munchheide II Germany Tel 49 2154 9206 0 Fax 49 2154 9206 4903 18 9 WARRANTY
41. ng US Additionally we have included a frequency response correction FLAT specially modified to go with V TONE s cabinet The LOW control on the EQ section lets you cut or boost the bass frequencies Use the MID control to cut or boost the mids The HIGH control regulates the upper frequency range If the tuner is activated these LEDs in connection with the FX display indicate your guitar s tune Activate the tuner by keeping the CHANNEL pressed for roughly 2 seconds The FX DISPLAY indicates either the program number of the preset you selected or the value of the parameter dialed up using the FX control Use the PRESET control to dial up one of the effect presets between 01 and 99 The preset you dialed up is loaded when you make no further changes for about one second after dialing up that preset Use the N OUT key to activate deactivate the selected effect When the effect is activated the LED located above the switch lights up You can save your own effect settings by keeping this key pressed for about 2 seconds also see section 4 The effect can also be activated deactivated using the provided footswitch If the MIDI function is deactivated see ch 4 2 FX tracking 427499 is active i e a separate effect can be selected for each of the channels of your V TONE FXT is explained in detail in section 4 1 The FX control adjusts the mix ratio between the original and the effect signal The LEVEL control adju
42. ntrol you can adjust the reference tone up or down in 1 Hz increments for a maximum of 15 Hz The last two digits of the frequency value are always shown in the display since the first digit is always a 4 For example when you start with the 440 Hz basic tone and then press the right arrow key four times the display shows 44 which corresponds to a frequency of 444 Hz After about 3 seconds the display goes back to tuner mode Your changes are automatically stored Ideal tones for the remaining strings are automatically set up using the newly adjusted frequency as a reference A quick hit on the CHANNEL key lets you leave tuner mode and go back to amp mode 6 INSTALLATION 6 1 Audio connections With the exception of the headphone output and the AUX input stereo jacks audio inputs and outputs of your BEHRINGER V TONE are provided in the form of mono jack connectors Tape inputs and outputs use RCA connectors gt Please keep in mind that your V TONE should be installed and operated only by those who possess sufficient technical knowledge about its installation and operation Everyone dealing with your V TONE should be sufficiently grounded both during the installation as well as during actual usage Failure to do so may cause undesirable or faulty operation due to electromagnetic discharges etc Unbalanced 1 4 TS connector sleeve ground shield strain relief clamp sleeve tip 1i 4j Fig 6 1 1 4
43. of different sounding effects You can edit one parameter on each preset directly on the V TONE and three parameters via MIDI Additionally the multi effects processor lets you mix and match different effects with different speakers depending on each preset Presets can be overwritten with your own creations 4 EFFECTS PROCESSOR The multi effects processor works basically in stereo whereby only the TAPE and PHONES outputs are influenced in the case of the GMX110 GMX1 12 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 effects for recording purposes by utilizing the TAPE OUT or by playing with a second amp in stereo The GMX210 and GMX212 can produce the effects 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 A Turm the PRESET control to dial up an effect 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 Usethe FX control to edit the effect Effect mix is shown 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 Tostore an edit keep the IN OUT key pressed for about 2 seconds This overwrites the previous
44. ower consumption Fuses 100 120 V Fuses 200 240 V Mains connection DIMENSIONS AND WEIGHT Dimesions H x W x D Weight 8 SPECIFICATIONS GMX110 GMX112 14 TS RF filtered approx 1 MO unbalanced TS approx 10 unbalanced GMX210 14 TRS tip 2 input approx 30 unbalanced 14 stereo jack approx 10 unbalanced RCA approx 10 unbalanced TS low impedance line level approx 1 unbalanced approx 100 O unbalanced 14 mono jack gt 1 unbalanced 8 unbalanced RCA approx 3 unbalanced 9 dBu unbalanced 14 TRS stereo 15 dBu 100 23 dBm 14 TRS ring output approx 2 unbalanced 21 dBu unbalanced 4 TS 1x30W 4Q 1x60W 4Q 2 30 2 40 5 pin DIN socket MIDI IN 24 bit sigma delta 64 128 times oversampling 46 875 kHz 2 digit numeric LED display x III USA Canada 120 60 Hz Europe U K Australia 230 50 Hz Japan 100 V 50 60 Hz China Korea 220 V 50 Hz General Export model 120 230 V 50 60 Hz max 70 W max 150 W max 150 W Standard IEC receptacle 400 x 423 x 213 253 mm 15 3 4 x 16 3 A x 473 x 605 x 255 mm 473 x 605 x 255 mm 18 3 5 x 23 5 6 x 10 18 3 5 x 23 5 6 x 10 8 3 8 10 24 25 Ibs 11 kg 38 Ibs 17 2 kg 40 1 165 18 2 kg 8 SPECIFICATIONS V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H AUDIO INPUTS GUITAR IN Input Impedance INSERT RETURN Input Impedance SLAVE IN Input
45. physical damage gt Damaged equipment should NEVER be sent directly to us Please inform the dealer from whom you acquired it immediately as well as the trans portation company from which you took delivery Otherwise all claims for replacement repair may be rendered invalid gt If the unit needs to be shipped please always use the original packaging to avoid damage 4 Never let unsupervised children play with the V TONE or with its packaging gt Please dispose of all packaging materials in an environmentally friendly fashion 1 3 2 Initial operation Please make sure that your V TONE is provided with sufficient ventilation and never place it on other amplifiers or in the vicinity of a heater to avoid the risk of overheating gt Before plugging your V TONE into a power socket please make sure you have selected the correct voltage The fuse retainer near the power cord connector has three triangular markings Two of these triangles point in opposite directions Your V TONE is set up for the voltage indicated near these markings and can be altered by turning the fuse mount by 180 degrees ATTENTION This does not apply to export models built for 120 V for example gt If you use your V TONE unit with a different voltage you must change the fuses accordingly The correct value of the fuses needed can be found in the section SPECIFICATIONS gt Faulty fuses must be replaced with fuses of appropri
46. r modeling amp e g V AMP 2 or V AMP PRO without using the internal preamp on your V TONE The GMX110 and GMX112 feature no SLAVE IN connectors You can take the stereo signal of your V TONE at the TAPE outputs RCA and record it for example The TAPE inputs RCA let you feed an additional stereo signal into your V TONE You can play along to the beat of a drum computer or play to music from a CD or MD player You can take the stereo signal of your V TONE at L NE outputs to record it or route it to a P A system This output is independent from the MASTER control and does not render the AUX signal Additionally its frequency response is corrected speaker simulation The GMX110 and GMX112 feature no LINE outputs Use the AUX IN control to adjust the volume of the signal that is fed in via the AUX IN connectors e g drum computer playback On the GMX110 and GMX112 this control is called TAPE INPUT It regulates the volume of the signal fed in at the TAPE IN connectors The AUX IN lets you feed an additional stereo signal into the amp This way you can play to a backing track that supports you on stage but should not be audible via the LINE outputs connecting the GMX210 GMX212 to the P A system Additionally you can use AUX IN together with the INSERT SEND as a parallel insert loop To do that connect the INSERT SEND to the input of your effects device connect the AUX IN TAPE IN on the GMX110 and GMX112 to th
47. s 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 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 costs will also be invoiced separately when the buyer has sent in a written repair order 6 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 8 7 CLAIM FOR DAMAGES Failure of BEHRINGER to provide proper warranty service shall not entitle the buyer to claim
48. stralia 230 50 Hz Japan 100 V 50 60 Hz China 220 50 Hz Generelles Exportmodell 120 230 V 50 60 Hz max 200 watts max 200 watts T5AH250V T5AH250 V 2 5 AH 250 V T 2 5 AH 250 V Standard IEC receptacle 493 x 712 x 255 mm 19 2 5 x 28 x 10 53 Ibs 24 kg 280 x 712 x 240 mm 11x28x9 34 lbs 15 5 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 notice Specifications and appearance may differ from those listed or illustrated 8 SPECIFICATIONS 17 V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H 9 WARRANTY 1 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 2 ONLINE REGISTRATION Please do remember to register your new BEHRINGER equipment right after your purchase by visiting www behringer com alternatively www behringer de and kindly read the terms and conditions of our warranty carefully Registering your purchase and equipment with us helps us process your repair claims quicker and more efficiently Thank you for your cooperation 3 WARR
49. sts the volume of the respective channel Adjust LEVEL to achieve the desired volume balance between both channels The GMX110 features no such control However use to control the volume of the CLEAN channel in respect to the MODELING channel use MASTER to control the overall volume The GMX112 and GMX210 feature the LEVEL control only on MODELING CHANNEL 1 It controls the volume of the channel in respect to the second channel The PRESENCE control gives you an additional way to cut or boost the highs GMX212 and GMX1200H The MASTER control regulates the overall volume as well as headphone volume The POWER switch powers up your V TONE The POWER switch should always be in the Off position before you connect the V TONE to the main power source Please note The POWER switch does not fully disconnect the unit from the mains power cord plug or extention cord To disconnect the unit from the main power source pull out the main cord plug or appliance coupler When installing the product ensure the plug or appliance coupler is readily operable Unplug the power cord when the unit is not used for prolonged periods of time GMX110 s POWER switch is located on the rear 2 CONTROL ELEMENTS AND CONNECTIONS 5 V TONE GMX110 GMX112 GMX210 GMX212 GMX1200H Your V TONE features a serial insert loop that can be used E 3 2 2 Connect the stereo jack connector of the provided footswitch to the FO

Here

Contents

Download Pdf Manuals

Related Search

Related Contents