Behringer V-Tone GMX1200H Owner's Manual

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

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 signal’s 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 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.

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 the information currently being received.

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 0 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 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:

REVERB

0 - 16

—

Reverb

Time

Mix

DELAY/

 REVERB

17 - 20

Delay Time*

Delay Mix

Reverb 

Mix

DELAY

21 - 29

Delay Time*

Feedback

Mix

PHASER

30 - 33

LFO Speed*

Feedback

Depth

CHORUS

34 - 37

LFO Speed*

Depth

Mix

CHORUS/ 

REVERB

38 - 42

Reverb Time

Reverb 

Mix

Chorus 

Mix

CHORUS/ 

DELAY

43 - 47

Delay Time*

Delay Mix

Chorus 

Mix

FLANGER

48 - 51

LFO Speed*

Resonance

Depth

FLANGER/ 

REVERB

52 - 56

Reverb Time

Reverb 

Mix

Depth

FLANGER/ 

DELAY

57 - 61

Delay Time*

Delay Mix

Depth

TREMOLO/ 

REVERB

62, 63

LFO Speed*

Reverb 

Mix

Tremolo

Mix

TREMOLO/ 

DELAY

64 - 66

LFO Speed*

Delay Mix

Tremolo 

Mix

ROTARY 

SPEAKER

67, 68

LFO Speed*

Reverb 

Mix

Depth

ROTARY 

DRIVE

69, 70

LFO Speed*

Delay Mix

Depth

AUTO WAH 

REVERB

71, 72

Reverb Mix

Depth

Sensitivity

AUTO WAH 

DELAY

73, 74

Delay Mix

Depth

Sensitivity

PITCH 

SHIFTER

75 - 81

—

—

Pitch Mix

PITCH 

SHIFTER/ 

REVERB

82 - 85

Reverb Time

Reverb 

Mix

Pitch Mix

PITCH 

SHIFTER/

DELAY

86 - 89

Delay Time*

Delay Mix

Pitch Mix

COMPRESSOR

90, 91

Delay Time/

Rev Time²

Delay Mix/

Rev Mix²

Sensitivity

EXPANDER

92, 93

Rev Time/

Delay Time²

Rev Mix/

Delay Mix²

Threshold

GUITAR 

COMBO

94 - 99

Delay Time*/

Rev Time²

Delay Mix/

Rev Mix²

Drive

*)

  Tap tempo: MIDI Control No. 64

2)

  depends on Variation

Table 4.1: MIDI-controllable effect parameters