Behringer V-tone GMX212 Manuel d'utilisateur télécharger pdf (Page 11)

11 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 rst 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 Reections: The resonance of a room is comprised out of the

so-called “early reections” and a reverb tail. This eect concentrates itself

on the simulation of the rst 15 early reections. Since human hearing uses

these reections to size up a room, you can create very subtle density without

alienating the signal with long reverb tails. This eect 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 eect 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

eect). 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 eect in which

multiple phase shifting takes place. Signal attenuation or amplication 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 lter.

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 eect,

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

oating eect. We’ll refrain for making any recommendations because this eect

is used so often and in so many dierent 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 eect with

varying intensity, and then it goes through a reverb. Adjustable parameter:

chorus mix.

43-47 Chorus/Delay: The signal rst goes through a chorus eect with varying

intensity, and then it goes through a delay eect with varying feedback and

delay time values.

48-51 Flanger: Using an LFO, the pitch of the eect signal is somewhat

modulated in constant tempo, and is then brought back to the input signal.

Thiseect goes hand in hand with the sound of a distorted guitar.

52-56 Flanger/Reverb: The signal rst goes through a anger with varying

intensity, and then it goes through a reverb.

57-61 Flanger/Delay: The signal is rst passed through a anger with varying

intensity, and then it goes through a delay eect.

62-63 Tremolo/Reverb: The tremolo eect 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 eect.

67-68 Rotary Speaker: A simulation of a classic organ eect that is normally

achieved with a terribly heavy casing and slowly or quickly rotating speakers.

Thephysical principle of the Doppler eect is used to modulate the signal.

69-70 Rotary Drive: An absolutely “in” eect that’s combined with a delay.

And,as whip cream on top, this eect gets an LFO-controlled notch lter.

Thedelay mix ratio is adjustable. This eect is excellent for solo sounds due to

itshigh volume.

71-74 Auto Wah: Depending on the attack time, the Auto Wah eect lets

the lower frequencies pass through and more or less suppresses the highs.

The sensitivity value of the lter 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 eect modies 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 rst 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 rst goes through the pitch shifter with

various intervals, and then it’s run through a delay eect. Use FX MIX to adjust

the pitch shifter mix parameter.

1 2 ... 6 7 8 9 10 11 12 13 14 15 16 ... 22 23

Commentaires sur ces manuels

Pas de commentaire

Behringer V-tone GMX212 Manuel d'utilisateur Page 11

Commentaires sur ces manuels

Produits connexes et manuels pour Amplificateurs audio Behringer V-tone GMX212