Behringer V-Tone GMX1200H Owner's Manual

V-TONE GMX1200H/GMX212/GMX210/GMX112/GMX110 User Manual

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 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 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.

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.

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 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 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.