Midi Control - Behringer V-Tone GMX212 User Manual

12
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.

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 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.
◊
Once you activate MIDI, FX tracking is no longer active, i.e. there is
no assignment between an effect number and a channel. This means
that when you switch a channel, the previously set effect is not
automatically loaded up. As this assignment feature would probably
cause confusion when controlling the V-TONE via a MIDI foot controller,
it makes sense only when it is controlled from the enclosed footswitch
or directly from the V-TONE. To operate your V-TONE without MIDI
remote control, please disable the MIDI function (display reads "OF").
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:
Preset Parameter 3
Effect
No. CC 12
REVERB 0 - 16 —
DELAY/
17 - 20 Delay Time*
REVERB
DELAY 21 - 29 Delay Time*
PHASER 30 - 33 LFO Speed*
CHORUS 34 - 37 LFO Speed*
CHORUS/
38 - 42 Reverb Time
REVERB
CHORUS/
43 - 47 Delay Time*
DELAY
FLANGER 48 - 51 LFO Speed*
FLANGER/
52 - 56 Reverb Time
REVERB
FLANGER/
57 - 61 Delay Time*
DELAY
TREMOLO/
62, 63 LFO Speed*
REVERB
TREMOLO/
64 - 66 LFO Speed*
DELAY
ROTARY
67, 68 LFO Speed*
SPEAKER
ROTARY
69, 70 LFO Speed*
DRIVE
AUTO WAH
71, 72 Reverb Mix
REVERB
AUTO WAH
73, 74 Delay Mix
DELAY
PITCH
75 - 81 —
SHIFTER
PITCH
SHIFTER/ 82 - 85 Reverb Time
REVERB
PITCH
SHIFTER/ 86 - 89 Delay Time*
DELAY
Delay Time/
COMPRESSOR 90, 91
Rev Time²
Rev Time/
EXPANDER 92, 93
Delay Time²
GUITAR Delay Time*/
94 - 99
COMBO Rev Time²
Tap tempo: MIDI Control No. 64
*)
depends on Variation
2)
Table 4.1: MIDI-controllable effect parameters
Parameter 2 Parameter 1
CC 13 CC14
Reverb
Mix
Time
Reverb
Delay Mix
Mix
Feedback Mix
Feedback Depth
Depth Mix
Reverb Chorus
Mix Mix
Chorus
Delay Mix
Mix
Resonance Depth
Reverb
Depth
Mix
Delay Mix Depth
Reverb Tremolo
Mix Mix
Tremolo
Delay Mix
Mix
Reverb
Depth
Mix
Delay Mix Depth
Depth Sensitivity
Depth Sensitivity
— Pitch Mix
Reverb
Pitch Mix
Mix
Delay Mix Pitch Mix
Delay Mix/
Sensitivity
Rev Mix²
Rev Mix/
Threshold
Delay Mix²
Delay Mix/
Drive
Rev Mix²