Behringer V-TONE GMX1200H Manual - Page 11
Early Reflections
View all Behringer V-TONE GMX1200H manuals
Add to My Manuals
Save this manual to your list of manuals |
Page 11 highlights
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 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. 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. 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. 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. 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. 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. 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. 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.