Behringer V-TONE GMX110 User Manual

V-TONE GMX110/GMX210/GMX212/GMX1200H

4. EFFECTS PROCESSOR

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. You can

adjust the delay ratio in the mix.

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. The FX

control lets you adjust the ratio of the flanger mix.

57-61 Flanger/Delay: The signal is first passed through a

flanger with varying intensity, and then it goes through a delay

effect. The ratio of the delay mix can be adjusted.

62-63 Tremolo: 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. The

FX MIX control lets you adjust the ratio of the delay mix.

67-68 Rotary Speaker: A simulation of a classic organ effect

that is normally achieved with a terribly heavy casing and slowly

or quickly rotating speakers. The physical principle of the Doppler

effect is used to modulate the signal.

69-70 Magic Drive: An absolutely in effect thats 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.

71-72 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.

73-74 LFO Wah: With this effect, the LFO determines how

quickly the frequency response is affected. You can create

regularly recurring Wah effects. With the LFO Wah effects you

can really create impressive results.

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/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 Pitch/Delay: The signal first goes through the pitch

shifter with various intervals, and

then its run through a delay

effect. Use FX MIX to adjust the pitch shifter mix parameter.

90-91 Compressor: A signals 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 threshold point 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

expanders threshold.

94-96 Guitar Combo: This effect simulates the sound

characteristics of a small guitar combo, simulating not only two

tube stages, but also the cabinet and the speaker. Use the

FX MIX control to adjust the mix of direct and combo signals.

97-99 Speaker Cabinet: This effect emulates three different

types of speaker cabinets. Additionally, you can shift the

speakers main resonance peak by using the FX MIX control.

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

users manual). The left decimal point on the display jitters

when MIDI data is received on the V-TONE, giving you

visual confirmation about the information currently being

received.