Behringer GMX212 - Manual (Page 10)

10
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 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.
71-72 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 it’s run through a delay
effect. Use FX MIX to adjust the pitch shifter mix parameter.
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 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 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.
94-96 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
speaker’s 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:
s Connect the MIDI IN connector of your V-TONE to the MIDI
OUT jack of a MIDI foot controller (see fig. 3.3).
s Keep CHANNEL and IN/OUT keys simultaneously depressed
for 2 seconds.
s 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.