Behringer V-Tone GMX212 User Manual page 11

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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.