Version 1.2
December 2001
ENGLISH
GX112
BLUE DEVIL
®
User’s Manual
BLUE DEVIL GX112
SAFETY INSTRUCTIONS
CAUTION:
To reduce the risk of electric shock, do not remove
the cover (or back). No user serviceable parts inside;
refer servicing to qualified personnel.
WARNING: To reduce the risk of fire or electric shock, do not
expose this appliance to rain or moisture.
This symbol, wherever it appears,
alerts you to the presence of
uninsulated dangerous voltage inside
the enclosure—voltage that may be
sufficient to constitute a risk of shock.
This symbol, wherever it appears, alerts
you to important operating and
maintenance instructions in the
accompanying literature. Read the
manual.
DETAILED SAFETY INSTRUCTIONS:
All the safety and operation instructions should be read before the appliance is operated.
Retain Instructions:
The safety and operating instructions should be retained for future reference.
Heed Warnings:
All warnings on the appliance and in the operating instructions should be adhered to.
Follow instructions:
All operation and user instructions should be followed.
Water and Moisture:
The appliance should not be used near water (e.g. near a bathtub, washbowl, kitchen sink, laundry tub, in a wet
basement, or near a swimming pool etc.).
Ventilation:
The appliance should be situated so that its location or position does not interfere with its proper ventilation.
For example, the appliance should not be situated on a bed, sofa, rug, or similar surface that may block the
ventilation openings, or placed in a built-in installation, such as a bookcase or cabinet that may impede the
flow of air through the ventilation openings.
Heat:
The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other
appliances (including amplifiers) that produce heat.
Power Source:
The appliance should be connected to a power supply only of the type described in the operating instructions
or as marked on the appliance.
Grounding or Polarization:
Precautions should be taken so that the grounding or polarization means of an appliance is not defeated.
Power-Cord Protection:
Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed
upon or against them, paying particular attention to cords and plugs, convenience receptacles and the point
where they exit from the appliance.
Cleaning:
The appliance should be cleaned only as recommended by the manufacturer.
Non-use Periods:
The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time.
Debris and Liquid Entry:
Care should be taken that debris and/or liquids do not enter the enclosure through openings.
Damage Requiring Service:
The appliance should be serviced by qualified service personnel when:
- The power supply cord or the plug has been damaged; or
- Debris or liquid has entered the appliance; or
- The appliance has been exposed to rain; or
- The appliance does not appear to operate normally or exhibits a marked change in performance; or
- The appliance has been dropped, or the enclosure damaged.
Servicing:
The user should not attempt to service the appliance beyond that which is described in the operating instructions.
All other servicing should be referred to qualified service personnel.
2
BLUE DEVIL GX112
FOREWORD
Dear Customer,
Welcome to the team of BLUE DEVIL users and thank you very much for expressing your confidence in
BEHRINGER products by purchasing the GX112.
It is one of my most pleasant tasks to write this letter to you, because it is the culmination of many months of
hard work delivered by our engineering team to reach a very ambitious goal: To produce the BLUE DEVIL,
which fully satisfies your and our expectations and delivers a superior sound quality, easy operation and
technical specifications. In addition to that the Guitar Workstation is affordable for almost every musician.
The task to design the BLUE DEVIL certainly meant a great deal of responsibility, which we assumed by
focusing on you, the discerning user and musician. It also meant a lot of work and night shifts to accomplish
this goal. But it was fun, too. Developing a product usually brings a lot of people together, and what a great
feeling it is when everybody who participated in such a project can be proud of what we’ve achieved.
It is our philosophy to share our joy with you, because you are the most important member of the BEHRINGER
family. With your highly competent suggestions for new products you’ve greatly contributed to shaping our
company and making it successful. In return, we guarantee you uncompromising quality as well as excellent
technical and audio properties at an extremely favorable price. All of this will enable you to fully unfold your
creativity without being hampered by budget constraints.
We are often asked how we can make it possible to produce such high-grade devices at such unbelievably low
prices. The answer is quite simple: it’s you, our customers! Many satisfied customers, mean large sales
volumes enabling us to get better conditions of purchase for components, etc. Isn’t it only fair to pass this
benefit back to you? Because we know that your success is our success too!
I would like to thank the following people, whose help on “Project BLUE DEVIL” has made it all possible:
s The existing users of BEHRINGER equipment,whose comments and suggestions have made them the
most important members of the BEHRINGER design team,
s Thorsten Derks for this marvellous manual,
s Jan Duwe, whose passionate work has made the BLUE DEVIL as mean as it is,
s Volker Wagner for the fine mechanics,
s and all the others, who have made very personal contributions.
My friends, it’s been worth the trouble!
Thank you very much,
Uli Behringer
3
BLUE DEVIL GX112
BLUE DEVIL
®
Ultra-flexible 60-Watt Guitar Workstation with digital multi-effects processor
GX112
s Powerful 60-Watt RMS Guitar Workstation with authentic VIRTUBE® tube emulation
s Original 70-Watt heavy duty 12" JENSEN guitar speaker model JCH12/70
s Two independent channels with separate volume controls and effects
s HEAVEN channel delivers clean tube sounds
s HELL channel offers a broad range, from modern crunch to high-gain sounds
s Dedicated vintage-type 3-band EQ
s 24-bit stereo multi-effects processor with ultra-high resolution 24-bit AD/DA converters
s 31 original VIRTUALIZER®/MODULIZER® presets with world-class effects such as Reverb, Delay, Phaser,
Chorus, Flanger, Pitch Shifter, Speaker Simulator, Compressor, Expander, Wah, Tube Emulator and
various effect combinations
s 99 outstanding and easy-to-edit user presets
s Quasi-analog operation: three FX parameters per preset can be edited with dedicated controls
s Adjustable aux input for playback or other line-level signals (e.g. CD player, drum computer, etc.)
s Stereo line output for recording and live applications
s Insert facility for external effects devices (stomp boxes, wah-wah pedals, etc.)
s Channel select and effect bypass footswitch FS112 included
s Complete MIDI implementation for channel and effect selection as well as real time control
s Master volume control and stereo headphones output
s Extremely rugged construction ensures long life, even under the most demanding conditions
s Robust power supply ensures excellent transient response
s Manufactured under ISO9000 certified management system
4
BLUE DEVIL GX112
TABLE OF CONTENTS
1. INTRODUCTION..................................................................................................................... 6
1.1 The design concept ......................................................................................................................... 7
1.1.1 VIRTUBE technology ............................................................................................................ 7
1.2 Before you begin ............................................................................................................................. 7
1.3 Control elements ............................................................................................................................. 8
1.3.1 The front panel ...................................................................................................................... 8
1.3.2 The rear panel ..................................................................................................................... 10
2. WIRING EXAMPLES ............................................................................................................. 11
2.1 Standard setup consisting of guitar, footswitch and external effects device ..................................... 11
2.2 Expanded setup with MIDI footcontroller, playback source and mixing console .............................. 11
3. EFFECTS PROCESSOR ...................................................................................................... 12
3.1 Description of effects ..................................................................................................................... 13
3.2 Controlling the BLUE DEVIL via MIDI ............................................................................................ 21
3.2.1 Store enable mode .............................................................................................................. 22
4. HISTORICAL BACKGROUND by Neville Marten (Guitarist) ........................................... 22
5. INSTALLATION ..................................................................................................................... 23
5.1 Mains connection .......................................................................................................................... 23
5.2 Audio connections ........................................................................................................................ 23
5.3 MIDI connection ............................................................................................................................ 24
6. APPENDIX ............................................................................................................................. 24
6.1 Preset list ..................................................................................................................................... 24
6.2 MIDI implementation ..................................................................................................................... 27
7. SPECIFICATIONS ................................................................................................................. 28
8. WARRANTY ........................................................................................................................... 29
WARNING!
+
It should be pointed out, that extreme output volumes may damage your ears and/or your
headphones. Turn down all LEVEL controls before you switch on the unit. Always pay attention
to an appropriate volume.
5
BLUE DEVIL GX112
1. INTRODUCTION
Thank you very much for expressing your confidence in BEHRINGER products by purchasing the BLUE DEVIL
GX112. With the BLUE DEVIL, you have acquired a Guitar Workstation that sets new standards in guitar amp
engineering. When developing the GX112, our top objective was to reproduce the direct sound of analog
guitar amps as perfectly as we could and combine it with latest DSP technology—while focusing on a user
interface that can be operated intuitively.
BEHRINGER is an audio engineering company that has been successfully developing products for studio
and live applications for many years now. Our range of products includes microphones and a variety of
19" devices (compressors, enhancers, gates, tube processors, headphone amps, digital effects devices,
DI boxes, etc.) as well as various monitoring and P.A. speakers plus professional live and recording consoles.
The name of BEHRINGER stands for no-compromise quality, fully-featured products and exemplary service—
even years after purchase—as well as sensationally low prices, which allow any ambitious music lover to
make their musical dreams come true.
We also set great store by flexibility, which has become a particularly important factor in the music business
over the past few years. Modern guitarists need to offer a broad range of sounds, but should still be able to
play in different kinds of applications at short notice: home recording, studio, live concerts. For this reason, it
has always been our prime concern to give you a Guitar Workstation that offers you a complete set of
functions, but can still be operated intuitively and quickly—no matter what kind of style you play.
Unfortunately, conventional guitar amps are often not fully designed and developed. Moreover, many manufacturers
of traditional-style guitar amps are somehow afraid of using state-of-the-art technology. The BLUE DEVIL, on
the other hand, is a pioneering guitar amp that has considerably more functions than any conventional 2-channel
amp with a built-in spring reverb. Still, you can use the GX112 so that it mimics an excellently sounding
2-channel combo amp with an—admittedly—good spring reverb. However, we recommend that you make
yourself familiar with the BLUE DEVIL in full detail, so that you know what each of the many functions does and
be able to fully exploit the numerous effects and control options provided.
As technology advances, you’ve got to keep track of latest technological breakthroughs to avoid falling by the
wayside. Since the first presentation of the BLUE DEVIL at Frankfurt Pro Light & Sound in 1998, we have
continuously improved this amp and included many of your valuable suggestions. We have spared neither
expense nor effort, to test different types of circuitry and speakers until the results gave us complete satisfaction.
After all, we really want to give you fully designed and developed products that meet your expectations in
every respect. The BLUE DEVIL shall be a useful tool for years to come, which is why we’ve equipped the
effects modules of our Guitar Workstation with EPROMS that can be updated. In this way, we can keep on
working on new algorithms and considering your ideas and suggestions. The resulting software updates will
be made available for free on the Internet, so as to ensure that your amp will never be outdated.
We’ve packed our entire experience in this latest generation of guitar amps. Many people contributed to this
project of intense development: studio musicians, collectors of vintage guitar amps, music and guitar lovers
alike. We even invited guitar amp tuning experts to help us develop an amplifier that gives you the best of all
worlds:
s Sophisticated analog technology with a “feel factor” only analog technology can provide.
s Perfect simulation of tube-specific nuances to make up for the drawbacks encountered in tube designs
(short service life, heat dissipation, poor mechanical stability).
s Latest DSP technology to give you a broad range of modern high-gain and vintage-type effect sounds.
s Rugged and solid construction which even withstands roughest handling.
s Intuitive operation, so that you can focus your mind on what is most important to you: your music!
+
6
This manual first describes the terminology used, so that you can fully understand the
BLUE DEVIL and its functions. Please read the manual carefully and keep it for future reference.
1. INTRODUCTION
BLUE DEVIL GX112
1.1 The design concept
The philosophy behind BEHRINGER products guarantees a no-compromise circuit design and employs the
best choice of components. The operational amplifiers which are used in the BLUE DEVIL, are exceptional.
They boast extreme linearity and very low distortion characteristics. To complement this design the choice of
components includes low tolerance resistors and capacitors, high-quality potentiometers and several other
stringently selected elements.
The BLUE DEVIL uses SMD technology (Surface Mounted Device). These subminiature components adapted
from aerospace technology allow for an extreme packing density to further improve the overall reliability.
The sturdy steel-plate enclosure of your BLUE DEVIL, with its generously dimensioned power supply, ensures
that your GX112 will never fail—even under toughest conditions on the stage. The enclosure is made of highgrade and non-polluting E1-MDF wood, which consists of multiple tongued/glued layers and is absolutely free
of formaldehyde.
1.1.1 VIRTUBE technology
Tube preamps usually employ three to five triode stages in a series configuration, producing different degrees
of distortion, dynamic compression and frequency response modification. In addition to the characteristic
curve that determines the signal distortion, the order of filter and distortion stages also plays an important role.
While you can enhance the sound of clean and slightly distorted signals by adding some bass before feeding
them into the distortion stage, the same equalization will lead to a “fuzz”-like, undifferentiated sound with
hi-gain signals. For this reason, tube amplifiers have some sort of passive and usually straightforward filter
circuitry installed between the single preamp stages. Using these filters you can determine which frequencies
will have an impact on the signal distortion.
Additionally, filter circuits following the distortion stage serve to provide for an optimum blend of generated
upper harmonics in the output signal. Our VIRTUBE circuits have been designed to accurately simulate this
complex interaction with solid-state components. The EQs and filters between the single stages are modeled
on the circuitry found in classic tube amps. The non-linear characteristic curves are simulated by means of
specially selected diodes. The result is an amplifier whose sounds feature a pronounced tube character.
1.2 Before you begin
Your BEHRINGER BLUE DEVIL was carefully packed in the factory and the packaging is designed to protect
the unit from rough handling. Nevertheless, we recommend that you carefully examine the packaging and its
contents for any signs of physical damage, which may have occurred during transit.
+
If the unit is damaged, please do not return it to BEHRINGER, but notify your dealer and the
shipping company immediately, otherwise claims for damage or replacement may not be granted.
Shipping claims must be made by the consignee.
Be sure that there is enough space around the unit for cooling and please do not place the BLUE DEVIL on
high temperature devices such as radiators etc. to avoid overheating.
+
Before you connect your BLUE DEVIL to the mains, please make sure that your local voltage
matches the voltage required by the unit!
The mains connection of the BLUE DEVIL is made by using the enclosed mains cable and a standard IEC
receptacle. It meets all of the international safety certification requirements.
+
Please make sure that all units have a proper ground connection. For your own safety, never
remove or disable the ground conductor of the unit or of the AC power cable.
The MIDI connection (IN) is made over standardized DIN plug-in connectors. An optocoupler has been used
for isolated data communications.
You will find additional information in chapter 5 “INSTALLATION”.
1. INTRODUCTION
7
BLUE DEVIL GX112
1.3 Control elements
Fig. 1.1: The front panel of the BLUE DEVIL
The BEHRINGER BLUE DEVIL GX112 features eleven controls, five push-buttons and one 2-digit, 7-segment
LED display on its front panel. Additionally, there are two 1/4" jacks for input and headphones.
1.3.1 The front panel
Fig. 1.2: The front panel control elements
1
INPUT is the BLUE DEVIL’s 1/4" jack input for your guitar. Use a commercial 1/4" jack mono cable (no
DIY, better ask your specialized dealer), with good mechanical and electrical shielding, so as to avoid
unpleasant surprises during rehearsals or concerts.
2
The HEAVEN channel’s VOLUME control sets the volume for the clean channel.
3
Press the CHANNEL button to select the HEAVEN or HELL channel. When HELL is on, the corresponding
LED lights up.
4
The HEAT control determines the degree of distortion in the HELL channel.
5
The HELL channel’s VOLUME control sets the volume for the HELL channel.
+
Use both VOLUME controls to optimize the volume ratio of the two channels, so that no
volume differences can be heard when switching from one channel to the other.
6
The BASS control in the EQ section allows you to boost or cut the bass frequencies.
7
With the MID control you can boost/cut the midrange frequencies.
8
The TREBLE control adjusts the upper frequency range.
+
9
Please note that with all three EQ controls set fully to the left, there will be no signal sent to the
speaker, which is due to the classical and extremely efficient EQ circuit used in the BLUE DEVIL.
With the UP button you can increase the program number of the built-in effects module. Keep the
button pressed to scroll through the programs.
10
The DOWN button allows you to decrease the program number.
11
The DISPLAY reads either the program number of the selected preset or the value of the parameter
selected with the PARAMETER, EFFECT A or EFFECT B controls.
12
Use the ENTER button to confirm your program selection.
8
1. INTRODUCTION
BLUE DEVIL GX112
+
13
s
+
+
When the MIDI functions are inactive, one effect can be stored for each of the two channels on
your BLUE DEVIL, which allows you, for instance, to select a DELAY effect for the HELL
channel and assign a REVERB/CHORUS effect to the HEAVEN channel. The corresponding
program numbers will be stored with the channels and can be recalled using the footswitch or
the front panel buttons. When MIDI is on, this assignment feature will be disabled, so that in
this mode both channels and effects can be selected separately.
The STATUS LED’s inform you about the type of parameter you can edit with the PARAMETER control
(an exception being the MIDI LED).
MIDI: This LED lights up when you press both UP and DOWN buttons for about 2 seconds. Subsequently,
you can use these keys to set up a MIDI channel for MIDI data reception (1 through 16, “ON” for Omni
mode and “OF” for off, or “ON” for Omni mode and 1 through 16 plus one decimal point each for the
store enable mode, see chapter 3.2.1). Press the ENTER button to confirm your selection. The MIDI
LED flashes as soon as MIDI data are being received.
The store enable mode (see chapter 3.2.1) allows you to store presets directly via MIDI. Please
note that by sending MIDI controller #18 values, any changes made to the currently active
preset will be irrevocably stored.
If the multi-functional MIDI LED flashes briefly, this indicates that the DSP module’s output level
is close to distortion. In this case, you should turn down the VOLUME control a bit. This
clipping indicator is only available if you actually do not edit any parameter.
s
TIME: This LED lights up when you select a time-domain effect parameter (e.g. reverb or delay time).
s
SPEED: This LED lights up for all modulation effects and indicates the LFO speed (low-frequency
oscillator) or the compressor’s or expander’s speed parameter.
s
SENS: This LED informs you that you can adjust the sensitivity of effects such as Auto Wah, Expander,
Compressor.
s
PITCH: This LED lights up when you edit the pitch shifter and shows the detune factor, either in semitones or cents.
s
EQ: This LED lights up when you edit the parameters of a filter-based effect.
To the right of the status LED’s you can find a table that lists the various effect types as well as their initial
program numbers. Use this list to quickly locate, edit and store the effect of your choice. The built-in effects
module features 31 different effect groups and includes a total of 99 effect variations.
14
Use the EFFECT button to activate/deactivate the selected effect.
15
The PARAMETER control allows you to edit an effect-specific parameter. Once selected with the
PARAMETER control, its value is displayed and the corresponding LED lights up (see
).
16
The EFFECT A control determines the mix between original and effect signals. Depending on the
preset selected, you can either control the ratio of original and left-channel effect signal, or of original
and first-effect signal (combination effects). Some effects use this control to edit a second, effectspecific parameter.
17
The EFFECT B control determines the mix between original and effect signals. Depending on the
preset selected, you can either control the ratio of original and right-channel effect signal, or of
original and secondary-effect signal (combination effects). Some effects use this control to edit a
third, effect-specific parameter.
+
When you start editing a preset, the decimal point in the 2-digit display starts flashing. Press
the ENTER button for a while to overwrite the factory preset and save your own effect setting.
To restore the factory presets, simply press and keep the ENTER button while you switch on
the BLUE DEVIL.
18
The AUX control in the Master section determines the volume of the AUX signal fed in via the AUX IN
jacks on the rear of the BLUE DEVIL (e.g. drum computer, playback).
19
The VOLUME control in the Master section determines the overall volume level of the BLUE DEVIL.
1. INTRODUCTION
9
BLUE DEVIL GX112
20
+
The 1/4" stereo jacks allow you to monitor the BLUE DEVIL’s audio signal with a pair of commercially
available headphones. Connecting the headphones will mute the built-in speaker.
Since speakers can have quite an impact on the sound of a guitar amp, both the headphones
and LINE OUT signals are frequency-corrected (speaker emulation). Without this frequency
correction extreme treble frequencies would deteriorate the sound. You can still tap the
unprocessed signal directly after the pre-amp (INSERT SEND jack), without interrupting the
signal path inside the amplifier (INSERT RETURN jack may not be used in this case). Starting
with a certain volume level, low-impedance headphones may begin to produce distortion. In
such a case, please reduce the volume by turning back the VOLUME controls.
1.3.2 The rear panel
Fig. 1.3: The rear panel connectors
21
Use the POWER switch to put the BLUE DEVIL into operation.
22
FUSE HOLDER / VOLTAGE SELECTOR. Please make sure that your local voltage matches the voltage
indicated on the unit, before you attempt to connect and operate the BLUE DEVIL. Blown fuses may
only be replaced by fuses of the same type and rating. Some models allow for inserting the fuse holder
in two different positions, in order to switch over from 230-V to 115-V operation, and vice versa. Please
note that for 115-V operation outside Europe, you need to use a fuse of a higher rating (see chapter 5
“INSTALLATION”).
23
Use the enclosed power cord to connect the unit to the mains.
24
SERIAL NUMBER. Please take the time to fill out the warranty card completely and return it within 14
days after the date of purchase, so as to be entitled to benefit from our extended warranty. Or use our
online registration option available on the World Wide Web (www.behringer.com).
25
MIDI IN. This connector gives you MIDI remote control over your BLUE DEVIL. You can change parameters
using controller information, switch over effect programs, change channels and bypass the effects module
by means of program change instructions.
26
The LINE OUT provides the BLUE DEVIL’s audio signal in stereo, for example, to send it to a recording
machine. This output is frequency-corrected.
27
The AUX IN allows you to feed in additional stereo signals, for example, to play with a drum computer
or some sort of playback. Additionally, you can use the AUX IN in combination with the INSERT SEND
as a parallel effect path: connect the INSERT SEND to the input and the AUX IN to the output of the
effects device (INSERT RETURN jack should not be used in this case!) Thus, the signal path inside the
amplifier will not be interrupted and you can add the effect portion from the external device, using the
AUX control described above
. Please note that the external effects device must be set to 100% wet
for this purpose.
28
The BLUE DEVIL also features a serial insert path for external effects such as a wah-wah pedal. This
is the INSERT RETURN jack you need to connect to the output of the effects device.
29
This is the INSERT SEND jack that can be connected to the input of an external effects device.
10
1. INTRODUCTION
BLUE DEVIL GX112
+
30
Please note that when using the serial effects path, the external effect should not be set to
100% wet (100% effect signal); otherwise, there will be no direct signal portion fed back to the
BLUE DEVIL.
Connect the enclosed footswitch FS112 via the stereo plug to the FOOTSWITCH jack. The footswitch
allows you to change channels or disable the effects module.
2. WIRING EXAMPLES
2.1 Standard setup consisting of guitar, footswitch and external effects device
To use your BLUE DEVIL for rehearsals or on stage, please wire up the unit as shown in fig. 2.1. Of course, you
can also use a wah-wah or other pedal effect instead of the external 19" effects unit, or simply work with the
internal effects without having to use the insert path. Connecting the headphones will mute the built-in speaker.
When you wish to use a guitar tuner, please connect it to the INSERT SEND of your BLUE DEVIL. If there is
no further effects device connected, you can leave the INSERT RETURN as it is. However, to use an external
effects device, place the tuner before the effects in the signal chain, so that its signal won’t be processed by
the effects device.
Fig. 2.1: Standard setup
2.2 Expanded setup with MIDI footcontroller, playback source and mixing console
To use your BLUE DEVIL for advanced applications, please consider the following suggestions. Of course, the
expanded configuration suggested in fig. 2.2 builds on the standard setup described in chapter 2.1.
Use the MIDI foot controller to change presets and/or channels, set volume and wah, etc. The LINE OUT
signal can be fed into a P.A. or recording console, and the AUX INPUT can be used to play back e.g.
cassette recorder signals through the GX112.
2. WIRING EXAMPLES
11
BLUE DEVIL GX112
Fig. 2.2: Expanded setup
3. EFFECTS PROCESSOR
A very special feature of your BLUE DEVIL is its built-in effects processor, which offers the same audio quality
and algorithms as our popular 19" effects devices VIRTUALIZER PRO and MODULIZER PRO. This effects
module provides 31 different groups of first-class effects such as Reverb, Chorus, Flanging, Delay, Pitch
Shifting, Compressor, Expander, Wah-Wah variations, various combination effects and even Tube and Speaker
Emulations. The latter, in particular, can make a guitarist’s life much easier in home recording studios, because
they allow you to record the amp’s signal without having to use a microphone. A total of 99 presets gives you
a broad range of versatile effects, which can be edited in three parameters each. Additionally, the multi-effects
processor provides different effects variations, which are permanently linked to the presets. All presets can be
overwritten with your own settings. To restore the factory default settings, simply keep the ENTER button
pressed while you power up the BLUE DEVIL.
The multi-effects processor basically provides stereo effects. However, these can be heard only when you use
the LINE OUT or headphones output. The speaker and/or the mono power amp of your BLUE DEVIL sum up
both channels (left and right) to produce a mono signal. Nevertheless, you can record with stereo effects by
using the LINE OUT or a second amp to play in stereo.
The two buttons UP and DOWN allow you to select a preset. To activate the selected preset, simply press the
ENTER button. The display reads the number of the currently active preset (the list to the right of the effect
module’s status LEDs shows the various effect groups available). As soon as you edit a preset with the
PARAMETER, EFFECT A and EFFECT B controls, the display will read the respective parameter values.
After about three seconds or when youpress ENTER, UP or DOWN, the display will switch back to the
program number. Whenever a parameter has been changed, the decimal point in the 2-digit display starts
flashing. To save your edits and overwrite the existing preset, simply press the ENTER button for about
2 seconds. The EFFECT A and EFFECT B controls determine (with a few exceptions) the mix between
original and effect signal. EFFECT A controls the left channel and/or the first effect (if combination effects
are used), and EFFECT B adjusts the right channel and/or the second effect. As a rule of thumb, values
between 20 (moderate effect) and 40 (clearly audible effect) should deliver good results. The values are
adjustable in steps of 2 %. In the reverb and delay presets you can set the wet/dry ratio in 1% steps from
0 through 50%.
12
3. EFFECTS PROCESSOR
BLUE DEVIL GX112
3.1 Description of effects
01-02 Spring Reverb: Even a guitar amp with a digital multi-effects processor should allow you to use a
spring reverb. This algorithm emulates the typical sound of a spring reverb, as it is known from numerous
guitar amps. However, here you don’t have the typical shatter sound when you knock over your amp.
03-04 Studio: This effect simulates the characteristics of middle-sized rooms. With its natural sound it can
be used for a great variety of applications.
05-06 Chamber: You can clearly hear the sound as it bounces back from the walls of this “room”. The
program is particularly suited for diffuse types of reverb or to make a dry guitar sound more natural.
07-08 Stage: A fine reverb e.g. to liven up and widen a clean guitar.
09-10 Concert: Here, you can choose from a small theater (preset 9, short pre-delay) or a large concert hall
(preset 10, long pre-delay). Compared to the STUDIO reverb program, these algorithms sound more
lively and have more treble frequencies.
11-12 Plate: The sound of an ancient plate reverb. A classic algorithm that makes your guitar sound wonderful
and enchanting.
Preset-Nr.
Effect
1
SPRING
2
REVERB
3
STUDIO
4
5
CHAMBER
6
7
STAGE
8
9
CONCERT
10
11
PLATE
12
Variation
short Pre-Delay
long Pre-Delay
short Pre-Delay
long Pre-Delay
short Pre-Delay
long Pre-Delay
short Pre-Delay
long Pre-Delay
short Pre-Delay
long Pre-Delay
short Pre-Delay
long Pre-Delay
PARAMETER EFFECT A EFFECT B
Reverb Time
Mix L
Mix R
Reverb Time
Mix L
Mix R
Reverb Time
Mix L
Mix R
Reverb Time
Mix L
Mix R
Reverb Time
Mix L
Mix R
Reverb Time
Mix L
Mix R
Reverb Time
Mix L
Mix R
Reverb Time
Mix L
Mix R
Reverb Time
Mix L
Mix R
Reverb Time
Mix L
Mix R
Reverb Time
Mix L
Mix R
Reverb Time
Mix L
Mix R
Tab. 3.1: Parameters of effects 01 through 12
Reverb algorithms 01 through 12 provide two variations each. Basically, the first variation uses a short predelay (delay until the actual reverb can be heard), while the second variation works with long pre-delays. In
general, you can adjust the reverb time with the PARAMETER control, while the two EFFECT controls adjust
the mix between original and effect signals of the left or right channel.
13-14 Gated Reverb: This reverb is cut off abruptly and became famous through Phil Collins’ “In the air
tonight”. Use the EFFECT A control to adjust the threshold above which the reverb is triggered (Sensitivity).
The higher this value, the less reverb you will hear. EFFECT B governs the mix between original and
reverb signals. Again, the PARAMETER control adjusts the reverb and gate time.
Preset-Nr. Effect
13
GATED
14
REVERB
Variation
min. Density
max. Density
PARAMETER EFFECT A EFFECT B
Gate Time Sensitivity
Mix
Gate Time Sensitivity
Mix
Tab. 3.2: Parameters of effects 13 and 14
3. EFFECTS PROCESSOR
13
BLUE DEVIL GX112
15-16 Ambience: The reverb of any room consists of so-called “early reflections” and the reverb “tail”. This
algorithm emulates the first 15 of these early reflections. Since our ears use these reflections to
determine the room size, they can be employed to create subtle and impressive reverb densities,
without clouding the overall signal with long reverb tails. The PARAMETER control modifies the room
size, while EFFECT A adjusts the pre-delay time, and EFFECT B governs the mix between original and
effect signals.
Preset-Nr.
Effect
Variation
PARAMETER EFFECT A EFFECT B
15
min. Reflections Room Size Pre-Delay
Mix
AMBIENCE
16
max. Reflections Room Size Pre-Delay
Mix
Tab. 3.3: Parameters of effects 15 and 16
17-26 Wah/Delay/Distortion: In general, filters are used to provide some static equalization of a signal’s
frequency response. The wah effect – combined with delay and distortion in this preset – allows the
mid-range frequencies to pass, while it more or less suppresses the remaining frequency ranges.
Guitarists such as Jimi Hendrix and Eric Clapton made this effect popular, and it still hasn’t gone out of
fashion. Use the PARAMETER control to adjust the delay time. EFFECT A allows you to determine the
distortion intensity, which also depends on the volume settings chosen in the HEAVEN and HELL
channels. With EFFECT B you can edit the delay mix. Using MIDI controller #15 you can edit the
operating range of the wah effect, e.g. via a MIDI foot controller. In this way, it is possible to use the
wah effect like an analog wah foot pedal.
Preset-Nr.
Effect
Variation
PARAMETER EFFECT A EFFECT B
17
Feedback 0 % Delay Time
Drive
Delay Mix
WAH /
DELAY /
18
Feedback 10 % Delay Time
Drive
Delay Mix
DISTORTION Feedback 30 % Delay Time
19
Drive
Delay Mix
Tab. 3.4: Parameters of effects 17 through 19
20
Delay/Reverb: After a normal delay with adjustable delay time, the signal passes a reverb with different
reverb times that are preset by various variations.
Preset-Nr.
Effect
20
DELAY / REVERB
Variation
-
PARAMETER EFFECT A EFFECT B
Delay Time Delay Mix Reverb Mix
Tab. 3.5: Parameters of effect 20
21-29 Delay: This algorithm delays the input signal and generates several repeats. The first four presets
(21 through 24) produce a stereo delay, with the PARAMETER control setting the delay time for the
right channel. The left channel’s delay time is 2/3 as long as that on the right side. As usual, EFFECT A
and EFFECT B determine the mix between original and effect signals. Delay presets 25 through 29
offer long mono delays, which can be adjusted in their delay time (PARAMETER control), delay
feedback (repeats, EFFECT A control) and delay mix parameters (EFFECT B control).
14
3. EFFECTS PROCESSOR
BLUE DEVIL GX112
Preset-Nr.
Effect
Variation
21
min. Feedback
22
DELAY
(stereo)
23
24
max. Feedback
25
26
DELAY
27
(long mono)
28
29
-
PARAMETER
Delay Time R
Delay Time R
Delay Time R
Delay Time R
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
EFFECT A EFFECT B
Mix L
Mix R
Mix L
Mix R
Mix L
Mix R
Mix L
Mix R
Feddback
Mix
Feedback
Mix
Feedback
Mix
Feedback
Mix
Feedback
Mix
Tab. 3.6: Parameters of effects 21 through 29
The LFO speed of all modulation effects is controlled by the PARAMETER control. EFFECT A controls the
effect intensity or depth. High values produce a very intensive effect. In the case of the tremolo algorithm,
EFFECT A adjusts the panning between left and right, and vice versa.
+
In the stereo modulation effects (programs 36/37, 50/51, 62/63), the left and right channels are
modulated in reverse phase, which can partly eliminate the effect when reproduced in mono. In
particular, the tremolo will be inaudible if high stereo panning values are used in mono via the builtin speaker. In this case, it will be better to use no panning at all (EFFECT A = 0).
30-33 Phaser: From a technical point of view, phasing is a modulation effect producing a multi-stage phase
shift between direct and effect signals. As the frequency-dependent phase shift is controlled by an
LFO (low-frequency oscillator), the various frequency ranges of the signal are raised or lowered in
their amplitudes. Depending on the setting you choose, the resulting phasing effect is either slightly
modulating in character or produces heavy sound coloration reminiscent of a constantly modulated
filter.
Preset-Nr.
Effect
Variation PARAMETER EFFECT A EFFECT B
30
fat
LFO Speed
Depth
Mix
31
slow
LFO Speed
Depth
Mix
PHASER
32
fast
LFO Speed
Depth
Mix
33
ultra
LFO Speed
Depth
Mix
Tab. 3.7: Parameters of effects 30 through 33
34-37 Chorus: Imagine a string quartet, with each musician playing the same notes. As a matter of fact, no
musician is able to play with an intonation accuracy of 100%. Consequently, slightly detuned signal
portions are produced which overlap in the time domain. To emulate this effect, chorusing uses copies
of the original signal, which are then delayed by 20 - 40 msec, detuned slightly and modulated by the
LFO. The result is a detune effect that is very pleasant in character. As this effect is used so frequently
and in such a variety of signal-widening applications, any recommendation given here would mean a
restriction of its uses.
Preset-Nr.
Effect
Variation PARAMETER EFFECT A EFFECT B
34
fat
LFO Speed
Depth
Mix
35
slow
LFO Speed
Depth
Mix
CHORUS
36
stereo
LFO Speed
Depth
Mix
37
stereo
LFO Speed
Depth
Mix
Tab. 3.8: Parameters of effects 34 through 37
3. EFFECTS PROCESSOR
15
BLUE DEVIL GX112
38-42 Chorus/Reverb: Here, the signal passes a chorus effect with various intensities and then a reverb that
can be edited in its time.
Preset-Nr.
Effect
Variation PARAMETER EFFECT A EFFECT B
38
ultra
Reverb Time Chorus Mix Reverb Mix
39
slow
Reverb Time Chorus Mix Reverb Mix
CHORUS /
40
medium I Reverb Time Chorus Mix Reverb Mix
REVERB
41
medium II Reverb Time Chorus Mix Reverb Mix
42
fast
Reverb Time Chorus Mix Reverb Mix
Tab. 3.9: Parameters of effects 38 through 42
43-47 Chorus/Delay: First, the signal is chorused with various intensities, then follows a delay effect with
various feedback levels and adjustable delay time.
Preset-Nr.
Effect
Variation PARAMETER EFFECT A EFFECT B
43
ultra
Delay Time Chorus Mix Delay Mix
44
slow
Delay Time Chorus Mix Delay Mix
CHORUS /
45
medium I Delay Time Chorus Mix Delay Mix
DELAY
46
medium II Delay Time Chorus Mix Delay Mix
47
hold
Delay Time Chorus Mix Delay Mix
Tab. 3.10: Parameters of effects 43 through 47
48-51 Flanger: An LFO constantly modulates the pitch of the effect signal up and down by a few cents and
then sends the effect signal back to the input. This effect can be excellently combined with distorted
guitar sounds.
Preset-Nr.
Effect
Variation PARAMETER EFFECT A EFFECT B
48
fat
LFO Speed
Depth
Mix
49
classic
LFO Speed
Depth
Mix
FLANGER
50
stereo
LFO Speed
Depth
Mix
51
stereo
LFO Speed
Depth
Mix
Tab. 3.11: Parameters of effects 48 through 51
16
3. EFFECTS PROCESSOR
BLUE DEVIL GX112
52-56 Flanger/Reverb: Here, a flanger with various intensities is followed by a reverb with adjustable reverb
time.
Preset-Nr.
Effect
Variation PARAMETER EFFECT A EFFECT B
52
ultra
Reverb Time Flanger Mix Reverb Mix
53
slow
Reverb Time Flanger Mix Reverb Mix
FLANGER /
54
medium I Reverb Time Flanger Mix Reverb Mix
REVERB
55
medium II Reverb Time Flanger Mix Reverb Mix
56
fast
Reverb Time Flanger Mix Reverb Mix
Tab. 3.12: Parameters of effects 52 through 56
57-61 Flanger/Delay: The first element is a flanger with various intensity levels, then comes a delay effect
with adjustable delay time.
Preset-Nr.
Effect
Variation PARAMETER EFFECT A EFFECT B
57
ultra
Delay Time Flanger Mix Delay Mix
58
slow
Delay Time Flanger Mix Delay Mix
FLANGER /
59
medium I Delay Time Flanger Mix Delay Mix
DELAY
60
medium II Delay Time Flanger Mix Delay Mix
61
fast
Delay Time Flanger Mix Delay Mix
Tab. 3.13: Parameters of effects 57 through 61
62-63 Stereo Tremolo: Tremolo is a more or less fast, intensive variation of the signal amplitude, and is
complemented here by a panorama effect.
Preset-Nr.
Effect
Variation PARAMETER EFFECT A EFFECT B
62
LFO Speed
Pan
Mix
STEREO
TREMOLO
63
LFO Speed
Pan
Mix
Tab. 3.14: Parameters of effects 62 and 63
64-66 Tremolo/Delay: A more or less fast, intensive amplitude modulation complemented by a delay effect.
The variations provide for various modulation speeds. The delay time can be set with the PARAMETER
control.
Preset-Nr.
Effect
Variation PARAMETER EFFECT A EFFECT B
64
ultra
Delay Time Tremolo Mix Delay Mix
TREMOLO /
65
slow
Delay Time Tremolo Mix Delay Mix
DELAY
66
medium
Delay Time Tremolo Mix Delay Mix
Tab. 3.15: Parameters of effects 64 through 66
3. EFFECTS PROCESSOR
17
BLUE DEVIL GX112
67-68 Rotary Speaker: This is the quintessential simulation of the classical organ effect normally produced
by speakers that rotate at slow/fast speed in a bulky and extremely heavy speaker cabinet. This effect
uses the physical principle known as Doppler effect. The PARAMETER control determines the speed
of horn (treble) and rotor (bass), while EFFECT A allows you to modify the basic character of the
sound. Finally, EFFECT B lets you edit the mix ratio.
Preset-Nr.
Effect
67
ROTARY
SPEAKER
68
Variation PARAMETER EFFECT A EFFECT B
Speed
Variation
Mix
Speed
Variation
Mix
Tab. 3.16: Parameters of effects 67 and 68
69-70 Magic Drive: This is an absolutely up-to-date effect combined with a delay. With EFFECT A you can
alter the basic characteristic of this effect in 32 steps. PARAMETER adjusts the delay time and EFFECT B
controls the delay mix. As a little extra, the distortion effect includes an LFO-controlled notch filter,
which is added as of Variation #24.
Preset-Nr.
Effect
Variation PARAMETER EFFECT A EFFECT B
69
Delay Time
Variation Delay Mix
MAGIC DRIVE
70
Delay Time
Variation Delay Mix
Tab. 3.17: Parameters of effects 69 and 70
71-72 Auto Wah: The Auto Wah is a velocity-sensitive effect that allows low frequencies to pass, while high
frequencies are more or less suppressed. Resonance raises the frequencies around the cutoff
frequency. With the PARAMETER control you can adjust the effect intensity, while EFFECT A allows
you to set the cutoff frequency, which can be shifted upwards by raising this value.
Preset-Nr.
Effect
71
AUTO WAH
72
Variation
fast
slow
PARAMETER EFFECT A EFFECT B
Sensitivity
Depth
Mix
Sensitivity
Depth
Mix
Tab. 3.18: Parameters of effects 71 and 72
73-74 LFO Wah: In the LFO Wah effect the LFO governs the speed of frequency modulation. Here, you can
produce wah-wah effects that are repeated at regular intervals. Use the PARAMETER control to set the
LFO speed, while EFFECT A determines the threshold frequency. The LFO Wah delivers astounding
results. Try the following setting: LFO Speed = 50, Depth = 10 and Mix = 70 - 80.
Preset-Nr.
Effect
Variation
PARAMETER EFFECT A EFFECT B
73
LFO Band Pass LFO Speed
Depth
Mix
LFO WAH
74
LFO Band Pass LFO Speed
Depth
Mix
Tab. 3.19: Parameters of effects 73 and 74
18
3. EFFECTS PROCESSOR
BLUE DEVIL GX112
75-81 Pitch Shifter: This effect shifts the pitch of the input signal and can be used to produce musical
intervals and harmonies or simply to widen a single voice. Heavy detuning by several semi-tones up
creates a mickey-mouse-type effect. The preset variations include various fixed intervals for the right
channel, while the left channel can be shifted with the PARAMETER control. Depending on your mix
settings, you can thus hear a triad for each tone of the input signal. Effects #80 and #81 are used to
“widen” the signal and feature a detune option in the left channel (+/- 25 cents).
Preset-Nr.
75
76
77
78
79
80
81
Effect
PITCH
SHIFTER
Variation PARAMETER EFFECT A EFFECT B
-12
Tune Left
Mix L
Mix R
-5
Tune Left
Mix L
Mix R
+3
Tune Left
Mix L
Mix R
+4
Tune Left
Mix L
Mix R
+7
Tune Left
Mix L
Mix R
+4 %
Tune Left
Mix L
Mix R
+8 %
Tune Left
Mix L
Mix R
Tab. 3.20: Parameters of effects 75 through 81
82-85 Pitch/Reverb: Here, a pitch shifter set to various cent and semi-tone intervals is followed by a stereo
reverb whose time can be set with the PARAMETER control.
Preset-Nr.
Effect
Variation PARAMETER
82
-12
Reverb Time
PITCH
83
+3
Reverb Time
SHIFTER /
84
+4
%
Reverb Time
REVERB
85
+8 %
Reverb Time
EFFECT A
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
EFFECT B
Reverb Mix
Reverb Mix
Reverb Mix
Reverb Mix
Tab. 3.21: Parameters of effects 82 through 85
86-89 Pitch/Delay: First, the signal passes the pitch shifter set to various intervals. Then, a delay effect
whose time can be edited with the PARAMETER control is added. The two EFFECT controls adjust the
mix between both effects.
Preset-Nr.
Effect
Variation PARAMETER EFFECT A
86
-12
Delay Time Pitch Mix
PITCH
87
-5
Delay Time Pitch Mix
SHIFTER /
88
+4
Delay Time Pitch Mix
DELAY
89
+7
Delay Time Pitch Mix
EFFECT B
Delay Mix
Delay Mix
Delay Mix
Delay Mix
Tab. 3.22: Parameters of effects 86 through 89
3. EFFECTS PROCESSOR
19
BLUE DEVIL GX112
90-91 Compressor: Often, the signal level exceeds the headroom of signal-processing devices and therefore
needs to be limited in its dynamic range, so as to avoid distortion. This job is done by compressors
and/or limiters. Limiters abruptly limit the signal above a specific threshold, while compressors provide
for a “soft” control process over a wider range. The side chain implemented in this algorithm generates
a control signal that emulates a so-called soft-knee characteristic for the compression process. With
the PARAMETER control you can set the compressor threshold. EFFECT A determines the compression
ratio. EFFECT B allows you to raise the volume to adapt the compressed signal to the unprocessed
one. To achieve optimum adaptation proceed as follows: adjust threshold and ratio as required, then
compare the signal levels by switching the effect repeatedly on and off. Adapt the levels with EFFECT
B, so that there will be no audible level difference between compressed and uncompressed signals.
Use this effect to give your guitar longer sustain, or to make the attack sounds of funky guitar licks
(Chicken Scratch) clearly audible, even though the guitar signal is actually limited in level.
Preset-Nr.
Effect
90
COMPRESSOR
91
Variation
fast
slow
PARAMETER EFFECT A EFFECT B
Sensitivity
Ratio
Gain
Sensitivity
Ratio
Gain
Tab. 3.23: Parameters of effects 90 and 91
92-93 Expander: All sorts of background noise and hum limit the dynamic range of the wanted signal. As
long as the level of the wanted signal is considerably above the noise floor, background noise is
inaudible: the interference signal is masked by the music. Expanders can be used to efficiently expand
the dynamic range of signals. Small signal amplitudes are cut additionally which at the same time
reduces background noise. Use the PARAMETER control to determine the expander threshold.
EFFECT A adjusts the expansion ratio, while EFFECT B drives a matching amplifier (much like in the
compressor effect 90 - 91) to adapt the level of the processed signal.
Preset-Nr.
Effect
Variation PARAMETER EFFECT A EFFECT B
92
Hell
Sensitivity
Ratio
Gain
EXPANDER
93
Heaven
Sensitivity
Ratio
Gain
Tab. 3.24: Parameters of effects 92 and 93
94-96 Guitar Combo: This effect simulates the sound characteristics of a complete guitar amp, mimicking
not only two tube stages, but also cabinet and speaker. The PARAMETER control determines the
distortion intensity, while EFFECT A adjusts the presence of the sound as the signal’s high-frequency
portions increase. EFFECT B controls the mix ratio.
Preset-Nr.
94
95
96
Effect
GUITAR
COMBO
Variation PARAMETER EFFECT A
Drive
Presence
Drive
Presence
Drive
Presence
Tab. 3.25: Parameters of effects 94 through 96
20
3. EFFECTS PROCESSOR
EFFECT B
Mix
Mix
Mix
BLUE DEVIL GX112
97-99 Speaker Cabinet: This algorithm emulates three different types of speaker cabinets. Additionally, you
can shift the speaker’s main resonance peak. Various degrees of resonance emphasis allow you to
emulate different speaker characteristics. The PARAMETER control adjusts the cutoff frequency of the
low-pass filter. EFFECT A determines the gain of the resonance filter. EFFECT B can be used to adjust
the filter frequency.
Preset-Nr.
97
98
99
Effect
SPEAKER
CABINET
Variation PARAMETER EFFECT A
EFFECT B
Stack A
HF Cut
Peak Gain Peak Frequency
Stack B
HF Cut
Peak Gain Peak Frequency
Combo
HF Cut
Peak Gain Peak Frequency
Tab. 3.26: Parameters of effects 97 through 99
3.2 Controlling the BLUE DEVIL via MIDI
Owing to the built-in MIDI interface you can integrate your BLUE DEVIL into any MIDI setup. The GX112 is
capable of receiving both program change and MIDI controller information. So, you can change programs
via MIDI using a MIDI footcontroller or a computer-based sequencer software. Our MIDI footcontroller FCB1010
gives you precisely these and more options, and is a perfect match for all BEHRINGER guitar amps. For
example, you could wire the BLUE DEVIL as follows:
Connect the MIDI IN jack of your BLUE DEVIL to the MIDI OUT jack of a MIDI footcontroller (see fig. 2.2).
Now, enable the MIDI functions on your BLUE DEVIL by pressing both UP and DOWN (multi-effects processor)
for about two seconds. There, you can select a MIDI channel (1 through 16, “ON” = Omni mode, “OF” = off
and 1 through 16, or “On” (Omni) plus decimal point = store enable mode, see chapter 3.2.1). Confirm your
selection with ENTER. Omni mode means that your BLUE DEVIL receives and processes MIDI information
on all channels. Of course, you should select the same channel both on your MIDI footcontroller and BLUE DEVIL
(see MIDI footcontroller user’s manual).
+
Once you activate the MIDI functions, the automatic effect-to-channel assignment feature will
be disabled, i.e. changing channels does not automatically load the previously set effect. As
this assignment feature would cause some confusion when controlling the BLUE DEVIL via a
MIDI footcontroller, it makes sense only when it is controlled from the enclosed footswitch or
directly from the BLUE DEVIL’s front panel. To operate the BLUE DEVIL without MIDI remote
control, please disable the MIDI functions (display reads OF).
You can select presets via MIDI using program change instructions. Since the range of program change
numbers is 0 through 127, program change instruction 0 corresponds to preset 1, #1 to preset 2, and so forth
(see table 6.2 in the appendix). After changeover the preset is activated immediately, i.e. it will not be affected
by previously adjusted bypass settings.
The three adjustable parameters PARAMETER, EFFECT A and EFFECT B can be controlled in real time from
a MIDI footcontroller. First, select a controller number for the footpedal on your MIDI footcontroller (controller
numbers 12 (PARAMETER), 13 (EFFECT A) and 14 (EFFECT B)). Then, use the footpedal on your MIDI
footcontroller to adjust the values for the three parameters.
Channel changes can be effected with controller #10. Sending value 0 via this controller will activate the
HEAVEN channel, while value 1 activates the HELL channel. Program change instructions can also be used
to change channels. Program change #123 activates the HEAVEN channel, program change #124 selects
the HELL channel of your BLUE DEVIL. In addition to changing channels, you can also disable effects, by
sending the value 0 via controller #11. Value 1 enables the effect. Alternatively, you can bypass the effect
section by sending the program change instruction #127.
MIDI controller #7 adjusts the input sensitivity of the effects module, enabling you to set the overall volume of
your BLUE DEVIL as desired. Since this controller has no influence on the master volume control, you should
adjust the maximum volume before with the master volume control, then use MIDI controller #7 to reduce the
volume. This function is also known as “volume controller”.
The operating range of the wah effect can be determined with MIDI controller #15.
3. EFFECTS PROCESSOR
21
BLUE DEVIL GX112
Additionally, you can deactivate the LFO in LFO-controlled modulation effects and modulate these effects with
MIDI controller #15. To activate this MIDI controller, you need to set the LFO speed to zero, either on the
BLUE DEVIL or by means of the corresponding MIDI controller.
Of course, you can also control the BLUE DEVIL from a computer-based sequencer software, particularly in
a home recording environment. Specific environments for popular MIDI sequencer programs will soon be
available from our web site (www.behringer.de).
3.2.1 Store enable mode
The store enable mode allows you to store parameter changes directly, e.g. from a MIDI sequencer. Activate
this mode by pressing both UP and DOWN on the multi-effects processor for about two seconds, then use the
same keys to select a channel for MIDI reception (1 through 16, or ON (Omni) with decimal point). Confirm
your selection with ENTER. Now, if you use MIDI controller #18 to send data from your MIDI sequencer on
the adjusted MIDI channel, any parameter changes made to the currently active preset will be stored. Sending
MIDI controller #18 data while store enable mode is on has the same effect as a long key press on the effect
module’s ENTER key.
4. HISTORICAL BACKGROUND by Neville Marten (Guitarist)
The guitar amp: your tone generator
Many guitar players think of their amplifier as the least important link in their musical chain. Sure, everyone
needs the right guitar, with the right finish, pickups and tremolo; and of course effects these days are so
important in looking and sounding cool.
But what of the humble guitar amp? Is it just an ugly box that stands behind you, a heavy hindrance that’s just
a drag to get into and out of the car? No, it's your powerhouse, a tone generator that should work as an equal
member with you, your guitar and effects in the creation of the best possible sound.
Ever since the 1940s, when a radio repairman in Orange County California started customising tube radio
circuits for the new breed of electric guitarists, guitar amps have been evolving into what we see today. Great
American names like Fenderä, Ampegä and Gibsonä supplied small-output amplifiers to the guitarists of the
‘40s and ‘50s, creating the sound of electric jazz, rock’n’roll and country music; a sound that's still as fresh as
ever at the dawn of this new millennium.
As the ‘50s became the ‘60s, the British sound was born with Voxä producing small-powered valve amps for
groups like The Shadows, then later The Beatles and The Rolling Stones, The Hollies and The Hermits. Then,
in the mid-‘60s a drummer from London was asked by some budding musicians to build them some amplification.
Jim Marshallä took the basic American design and using British components and speakers, created higher
Wattage amps and multi-speaker cabinets to give bands like The Who, Cream and The Jimi Hendrix Experience
the power to begin their assaults on the rock stadiums of the world.
Amp design has come a long way since then. Multi-channels and cascading gain stages, as pioneered by
Randall Smith and his Mesa Boogieä amps, are found in the majority of stacks and combos built by amp
manufacturers all over the world today. Modern, solid-state circuits and digital effects are now commonplace
and in some instances work successfully on their own, or hand-in-hand with classic tube designs, to create
versatile performing instruments for working guitarists. Other manufacturers are looking back to the old ways,
with hand-wired, vintage-style “boutique” amps than can cost the earth.
Whichever option you choose, the ears of discerning musicians recognise that, behind the bells, whistles and
hype, there must be a great-sounding amplifier—a real musical tool that not only uses the best of today’s
technologies, but pays its respects to the great pioneers that have gone before.
(We would like to thank Mr. Neville Marten, the editor of Guitarist Magazine, for this little essay about the
history of guitar amp development.)
Fenderä, Ampegä, Gibsonä, Voxä, Marshallä, Mesa Boogieä and the names of musical artists and
groups are all registered trademarks of their respective owners, which are in no way associated or affiliated
with BEHRINGER.
22
4. HISTORICAL BACKGROUND
BLUE DEVIL GX112
5. INSTALLATION
Your BEHRINGER BLUE DEVIL was carefully packed in the factory and the packaging is designed to protect
the unit from rough handling. Nevertheless, we recommend that you carefully examine the packaging and its
contents for any signs of physical damage, which may have occurred during transit.
+
If the unit is damaged, please do not return it to BEHRINGER, but notify your dealer and the
shipping company immediately, otherwise claims for damage or replacement may not be granted.
Shipping claims must be made by the consignee.
5.1 Mains connection
Please ensure that the BLUE DEVIL is set to the correct supply voltage before connecting the unit to
the AC power system! Three triangular markings can be found on the fuse holder at the AC power connection
socket. Two of these three triangles will be aligned with one another. The BLUE DEVIL is set to the operating
voltage shown next to these markings and can be switched over by twisting the fuse holder by 180°.
IMPORTANT: This does not apply to export models designed only for 115 V AC!
The mains connection of the BLUE DEVIL is made by using the enclosed mains cable and a standard IEC
receptacle. It meets all of the international safety certification requirements.
+
Please make sure that all units have a proper ground connection. For your own safety, never
remove or disable the ground conductor of the unit or of the AC power cable.
5.2 Audio connections
The BEHRINGER BLUE DEVIL is installed with unbalanced 1/4" jacks. Only the headphones output is available
via a stereo 1/4" jack.
+
Please ensure that only qualified persons install and operate the BLUE DEVIL. During installation
and operation the user must have sufficient electrical contact to earth. Electrostatic charges
might affect the operation of the BLUE DEVIL!
Fig. 5.1: Wiring of a mono 1/4" plug
5. INSTALLATION
23
BLUE DEVIL GX112
Fig. 5.2: Wiring of a stereo headphones 1/4" plug
5.3 MIDI connection
The MIDI standard (Musical Instruments Digital Interface) was developed in the early ‘80s to enable electronic
musical instruments of different makes to communicate with each other. Over the years the range of MIDI
applications has constantly expanded, and today it is completely normal to network entire recording studios
using the MIDI standard.
At the heart of this network we find a computer loaded with a sequencer software that controls not only the
keyboards but also effects and other peripheral devices. In such a studio you could control your BLUE DEVIL
in real time from a computer. In particular, when playing live gigs you can use a MIDI footcontroller to control
both the effect parameters and channel/effect changes on your BLUE DEVIL.
The MIDI connector on the rear of your BLUE DEVIL is a internationally standardized 5-pin DIN jack. To
connect your BLUE DEVIL to other MIDI equipment, you need a dedicated MIDI cable, which is commercially
available in various lengths. However, you can solder your own cables using 2-conductor shielded cables
(e.g. microphone cables) and two rugged 180° DIN plugs: pin 2 (center) = shield; pins 4 and 5 (right and left
of pin 2) = internal conductor; pins 1 and 3 (the outer pins) are not used. MIDI cables should not exceed a
length of 15 meters.
+
Make sure that pin 4 is connected to pin 4, and pin 5 to pin 5.
MIDI IN: receives MIDI controller information. The receiving channel can be set with the buttons UP and
DOWN. On = Omni, i.e. MIDI data are received and processed on all channels (see section 3.2).
6. APPENDIX
6.1 Preset list
Table 6.1 on the next two pages provides you with information on effect numbers and names, parameter types
and ranges as well as factory default settings.
24
6. APPENDIX
Default
Mix R
Mix R
Mix R
Mix R
Mix R
Mix R
Mix R
Mix R
Mix R
Mix R
Mix R
Mix R
Mix
Mix
Mix
Mix
Delay Mix
Delay Mix
Delay Mix
Reverb Mix
Mix R
Mix R
Mix R
Mix R
Mix
Mix
Mix
Mix
Mix
Mix
Mix
Mix
Mix
Mix
Mix
Mix
Mix
Reverb Mix
Reverb Mix
Reverb Mix
Reverb Mix
Reverb Mix
Delay Mix
Delay Mix
Delay Mix
Delay Mix
Delay Mix
Mix
Mix
Mix
Mix
Range
B
10
10
10
10
10
10
10
10
10
10
10
10
9
15
15
15
63
63
63
7
2
3
8
0
2
12
15
20
25
30
35
25
28
63
30
20
63
50
50
40
50
50
50
30
50
50
40
5
10
20
5
C
T
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..50
0..50
0..50
0..50
0..50
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..63
0..63
0..63
0..63
EF
FE
EF
FE
Mix L
Mix L
Mix L
Mix L
Mix L
Mix L
Mix L
Mix L
Mix L
Mix L
Mix L
Mix L
Sensitivity
Sensitivity
Pre-Delay
Pre-Delay
Drive
Drive
Drive
Delay Mix
Mix L
Mix L
Mix L
Mix L
Feedback
Feedback
Feedback
Feedback
Feedback
Depth
Depth
Depth
Depth
Depth
Depth
Depth
Depth
Chorus Mix
Chorus Mix
Chorus Mix
Chorus Mix
Chorus Mix
Chorus Mix
Chorus Mix
Chorus Mix
Chorus Mix
Chorus Mix
Depth
Depth
Depth
Depth
Default
8
14
5
14
8
15
4
12
9
16
7
13
4
17
32
63
35
35
35
50
43
63
20
63
15
25
30
45
63
36
30
48
63
8
1
15
1
24
10
10
1
51
63
54
59
48
63
15
5
20
10
C
T
A
6. APPENDIX
Default
Range
short Pre-Delay Reverb Time 1..32
long Pre-Delay Reverb Time 1..32
short Pre-Delay Reverb Time 1..32
long Pre-Delay Reverb Time 1..32
short Pre-Delay Reverb Time 1..32
long Pre-Delay Reverb Time 1..32
short Pre-Delay Reverb Time 1..32
long Pre-Delay Reverb Time 1..32
short Pre-Delay Reverb Time 1..32
long Pre-Delay Reverb Time 1..32
short Pre-Delay Reverb Time 1..32
long Pre-Delay Reverb Time 1..32
min. Density
Gt./Rev. Time 1..32
max. Density
Gt./Rev. Time 1..32
min. Reflections
Room Size
0..63
max. Reflections Room Size
0..63
Feedback 0 %
Delay Time 0..63
Feedback 10 %
Delay Time 0..63
Feedback 30 %
Delay Time 0..63
Delay Time 0..63
min. Feedback
Delay Time 0..63
Delay Time 0..63
Delay Time 0..63
max. Feedback
Delay Time 0..63
Delay Time 0..63
Delay Time 0..63
Delay Time 0..63
Delay Time 0..63
Delay Time 0..63
Feedback 0 %
LFO Speed 0..63
Feedback 62 %
LFO Speed 0..63
Feedback 62 %
LFO Speed 0..63
Feedback 77 %
LFO Speed 0..63
fat
LFO Speed 1..32
slow
LFO Speed 1..32
stereo
LFO Speed 1..32
stereo
LFO Speed 1..32
ultra
Reverb Time 0..63
slow
Reverb Time 0..63
medium I
Reverb Time 0..63
medium II
Reverb Time 0..63
fast
Reverb Time 0..63
ultra
Delay Time 0..63
slow
Delay Time 0..63
medium I
Delay Time 0..63
medium II
Delay Time 0..63
hold
Delay Time 0..63
fat
LFO Speed 1..32
classic
LFO Speed 1..32
stereo
LFO Speed 1..32
stereo
LFO Speed 1..32
Range
1
SPRING
REVERB
2
3
STUDIO
4
5
CHAMBER
6
7
STAGE
8
9
CONCERT
10
11
PLATE
12
13
GATED
REVERB
14
15
AMBIENCE
16
17
WAH /
DELAY /
18
19 DISTORTION
20 DELAY / REV.
21
22
DELAY
(stereo)
23
24
25
26
DELAY
27
(long mono)
28
29
30
31
PHASER
32
33
34
35
CHORUS
36
37
38
39
CHORUS /
40
REVERB
41
42
43
44
CHORUS /
45
DELAY
46
47
48
49
FLANGER
50
51
Variation
ET
ER
Effect
AR
AM
Preset-Nr.
BLUE DEVIL GX112
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..99
0..99
0..99
0..99
10
10
10
10
10
10
10
10
10
10
10
10
15
10
10
10
6
6
6
20
11
11
16
35
8
10
9
10
10
50
60
50
50
30
40
50
50
10
10
10
10
10
10
10
10
10
14
30
14
24
50
25
26
6. APPENDIX
Reverb Mix
Reverb Mix
Reverb Mix
Reverb Mix
Reverb Mix
Delay Mix
Delay Mix
Delay Mix
Delay Mix
Delay Mix
Mix
Mix
Delay Mix
Delay Mix
Delay Mix
Mix
Mix
Delay Mix
Delay Mix
Mix
Mix
Mix
Mix
Mix R
Mix R
Mix R
Mix R
Mix R
Mix R
Mix R
Reverb Mix
Reverb Mix
Reverb Mix
Reverb Mix
Delay Mix
Delay Mix
Delay Mix
Delay Mix
Gain
Gain
Gain
Gain
Mix
Mix
Mix
Peak Freq.
Peak Freq.
Peak Freq.
Default
B
T
50
40
50
50
50
30
30
30
50
30
0
0
50
50
60
1
10
24
32
27
20
45
40
50
50
50
50
50
50
34
30
24
40
40
40
34
20
20
10
14
24
14
42
63
18
40
40
30
EF
FE
C
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..63
0..63
0..99
0..99
0..99
1..32
1..32
0..32
0..32
0..63
0..63
0..63
0..63
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
1..24
1..24
1..24
1..24
0..63
0..63
0..63
0..63
0..63
0..63
Range
Flanger Mix
Flanger Mix
Flanger Mix
Flanger Mix
Flanger Mix
Flanger Mix
Flanger Mix
Flanger Mix
Flanger Mix
Flanger Mix
Pan
Pan
Tremolo Mix
Tremolo Mix
Tremolo Mix
Variation
Variation
Variation
Variation
Depth
Depth
Depth
Depth
Mix L
Mix L
Mix L
Mix L
Mix L
Mix L
Mix L
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
Pitch Mix
Ratio
Ratio
Ratio
Ratio
Presence
Presence
Presence
Peak Gain
Peak Gain
Peak Gain
Default
A
T
20
20
50
50
32
63
53
63
32
63
10
19
19
50
19
9
15
5
63
63
63
30
60
0
0
0
0
0
0
14
4
18
10
4
63
63
63
63
30
30
35
20
30
63
63
20
30
4
EF
FE
C
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
1..32
1..32
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
-12..12
-12..12
-12..12
-12..12
-12..12
-50..50
-50..50
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
0..63
Range
Reverb Time
Reverb Time
Reverb Time
Reverb Time
Reverb Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
LFO Speed
LFO Speed
Delay Time
Delay Time
Delay Time
Speed
Speed
Delay Time
Delay Time
Sensitivity
Sensitivity
LFO Speed
LFO Speed
Tune Left
Tune Left
Tune Left
Tune Left
Tune Left
Tune Left
Tune Left
Reverb Time
Reverb Time
Reverb Time
Reverb Time
Delay Time
Delay Time
Delay Time
Delay Time
Sensitivity
Sensitivity
Sensitivity
Sensitivity
Drive
Drive
Drive
HF Cut
HF Cut
HF Cut
Default
52
ultra
53
slow
FLANGER /
54
medium I
REVERB
55
medium II
56
fast
57
ultra
58
slow
FLANGER /
59
medium I
DELAY
60
medium II
61
fast
62
STEREO
TREMOLO
63
64
slow
TREMOLO /
65
ultra
DELAY
66
medium
67
ROTARY
SPEAKER
68
69
MAGIC DRIVE
70
71
fast
AUTO
WAH
72
slow
73
LFO Band Pass
LFO
WAH
74
LFO Band Pass
75
-12
76
-5
77
+3
PITCH
78
+4
SHIFTER
79
+7
80
+4 %
81
+8 %
82
-12
PITCH
83
+3
SHIFTER /
84
+4
%
REVERB
85
+8 %
86
-12
PITCH
87
-5
SHIFTER /
88
+4
DELAY
89
+7
90
fast
COMPRESSOR
91
slow
92
Hell
EXPANDER
93
Heaven
94
GUITAR
95
COMBO
96
97
Stack A
SPEAKER
98
Stack B
CABINET
99
Combo
Range
Variation
ET
ER
Effect
AR
AM
Preset-Nr.
BLUE DEVIL GX112
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..99
0..99
0..50
0..50
0..50
0..99
0..99
0..50
0..50
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..99
0..50
0..50
0..50
0..50
0..50
0..50
0..50
0..50
-3..12
-3..12
-3..12
-3..12
0..99
0..99
0..99
0..63
0..63
0..63
10
10
10
10
10
10
3
10
10
6
50
40
10
10
15
50
50
1
11
99
90
90
60
50
34
34
20
34
20
34
20
10
12
20
7
7
7
7
8
8
0
0
99
99
99
63
30
10
BLUE DEVIL GX112
6.2 MIDI implementation
MIDI Implementation Chart
Function
Basic
Channel
Mode
Note Number
Velocity
After Touch
Transmitted Recognized
Default
Changed
Default
Messages
Altered
X
X
X
X
X
X
X
X
X
X
X
X
X
True Voice
Note ON
Note OFF
Keys
Channels
Pitch Bender
Control
Progr.
Change
True #
System Exclusive
Song Pos.
System
Song Sel.
Common
Tune
Clock
System
Commands
Real Time
Local ON/OFF
All notes OFF
Aux
Active Sense
Messages
Reset
Notes
O = YES, X = NO
Mode 1:
OMNI ON
Mode 2:
OMNI OFF
X
X
X
X
X
X
X
X
X
X
X
Remarks
OFF, 1 - 16
memorized
OFF, 1 - 16
1,2
X
X
X
X
X
X
X
X
X
O 7, 10 - 15, 18 see add. table
123 = HEAVEN
O (0 - 98)
124 = HELL
1 - 99
127 = Effect Bypass
X
X
X
X
X
X
X
X
X
X
Tab. 6.2: MIDI implementation
Midi Control
Control Value Range
Number
Volume Controller
7
0 .. 127
Channel
HEAVEN = 0, HELL = 1
10
0 .. 1
Effect
OFF = 0, ON = 1
11
0 .. 1
Parameter
depends on effect
12
0 .. 127 (max.)
Effect A
depends on effect
13
0 .. 127 (max.)
Effect B
depends on effect
14
0 .. 127 (max.)
Wah/Modulation Controller
15
0 .. 127
Store Enable Controller
18
0 .. 127
Parameter Name
Display Range
Tab. 6.3: MIDI control changes of the BLUE DEVIL
6. APPENDIX
27
BLUE DEVIL GX112
7. SPECIFICATIONS
AUDIO INPUTS
Connector
Type
Guitar input
impedance
Aux input
impedance
Insert return
impedance
1/4" mono jack
RF filtered input
approx. 1 MW unbalanced
approx. 10 kW unbalanced
approx. 1 kW unbalanced
AUDIO OUTPUTS
Connector
Type
Impedance
Max. output level
1/4" mono jack
line level output
approx. 100 W unbalanced
+12 dBu unbalanced
SYSTEM SPECIFICATIONS
Power amp output
60 watts RMS into 8 W
MIDI INTERFACE
Type
5-pin-DIN-socket, MIDI IN
DIGITAL PROCESSING
Converters
Sampling rate
24-bit sigma-delta, 64/128-times oversampling
46.875 kHz
DISPLAY
Type
2-digit numeric LED-display
LOUDSPEAKER
Type
Impedance
Power handling
12" heavy-duty loudspeaker, model JENSEN JCH12/70
8W
70 watts
POWER SUPPLY
Mains voltages
Mains connection
USA/Canada
U.K./Australia
Europe
general export model
100 watts @ 60 watts / 8
100 - 120 V ~: T 2 A H
200 - 240 V ~: T 1 A H
standard IEC receptacle
PHYSICAL
Dimensions (H x W x D)
Net weight
Shipping weight
app. 19" (482.6 mm) x 19" (482.6 mm) x 8.35" / 11.7" (212.1 mm /297.2 mm)
app. 19 kg
app. 22 kg
Power consumption
Fuse
120 V ~, 60 Hz
240 V ~, 50 Hz
230 V ~, 50 Hz
100 - 120 V ~, 200 - 240 V ~, 50 - 60 Hz
W; 120 watts max.
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from
time to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.
28
7. SPECIFICATIONS
BLUE DEVIL GX112
8. WARRANTY
§ 1 WARRANTY CARD/ONLINE REGISTRATION
To be protected by the extended warranty, the buyer must
complete and return the enclosed warranty card within 14 days
of the date of purchase to BEHRINGER Spezielle Studiotechnik
GmbH, in accordance with the conditions stipulated in § 3. Failure
to return the card in due time (date as per postmark) will void any
extended warranty claims.
Based on the conditions herein, the buyer may also choose to
use the online registration option via the Internet
(www.behringer.com or www.behringer.de).
§ 2 WARRANTY
1. BEHRINGER (BEHRINGER Spezielle Studiotechnik GmbH
including all BEHRINGER subsidiaries listed on the enclosed page,
except BEHRINGER Japan) warrants the mechanical and
electronic components of this product to be free of defects in
material and workmanship for a period of one (1) year from the
original date of purchase, in accordance with the warranty
regulations described below. If the product shows any defects
within the specified warranty period that are not due to normal
wear and tear and/or improper handling by the user, BEHRINGER
shall, at its sole discretion, either repair or replace the product.
2. If the warranty claim proves to be justified, the product will be
returned to the user freight prepaid.
3. Warranty claims other than those indicated above are expressly
excluded.
§ 3 RETURN AUTHORIZATION NUMBER
1. To obtain warranty service, the buyer (or his authorized dealer)
must call BEHRINGER (see enclosed list) during normal business
hours BEFORE returning the product. All inquiries must be
accompanied by a description of the problem. BEHRINGER will
then issue a return authorization number.
2. Subsequently, the product must be returned in its original
shipping carton, together with the return authorization number to
the address indicated by BEHRINGER.
3. Shipments without freight prepaid will not be accepted.
§ 4 WARRANTY REGULATIONS
1. Warranty services will be furnished only if the product is
accompanied by a copy of the original retail dealer’s invoice.
Any product deemed eligible for repair or replacement by
BEHRINGER under the terms of this warranty will be repaired or
replaced within 30 days of receipt of the product at BEHRINGER.
2. If the product needs to be modified or adapted in order to
comply with applicable technical or safety standards on a national
or local level, in any country which is not the country for which
the product was originally developed and manufactured, this
modification/adaptation shall not be considered a defect in
materials or workmanship. The warranty does not cover any
such modification/adaptation, irrespective of whether it was
carried out properly or not. Under the terms of this warranty,
BEHRINGER shall not be held responsible for any cost resulting
from such a modification/adaptation.
3. Free inspections and maintenance/repair work are expressly
excluded from this warranty, in particular, if caused by improper
handling of the product by the user.
This also applies to defects caused by normal wear and tear, in
particular, of faders, potentiometers, keys/buttons and similar
parts.
4. Damages/defects caused by the following conditions are not
covered by this warranty:
s misuse, neglect or failure to operate the unit in compliance
with the instructions given in BEHRINGER user or service
manuals.
s connection or operation of the unit in any way that does not
comply with the technical or safety regulations applicable in
the country where the product is used.
s damages/defects caused by force majeure or any other
condition that is beyond the control of BEHRINGER.
5. Any repair or opening of the unit carried out by unauthorized
personnel (user included) will void the warranty.
6. If an inspection of the product by BEHRINGER shows that the
defect in question is not covered by the warranty, the inspection
costs are payable by the customer.
7. Products which do not meet the terms of this warranty will be
repaired exclusively at the buyer’s expense. BEHRINGER will
inform the buyer of any such circumstance. If the buyer fails to
submit a written repair order within 6 weeks after notification,
BEHRINGER will return the unit C.O.D. with a separate invoice
for freight and packing. Such costs will also be invoiced
separately when the buyer has sent in a written repair order.
§ 5 WARRANTY TRANSFERABILITY
This warranty is extended exclusively to the original buyer
(customer of retail dealer) and is not transferable to anyone
who may subsequently purchase this product. No other person
(retail dealer, etc.) shall be entitled to give any warranty promise
on behalf of BEHRINGER.
§ 6 CLAIM FOR DAMAGES
Failure of BEHRINGER to provide proper warranty service shall
not entitle the buyer to claim (consequential) damages. In no
event shall the liability of BEHRINGER exceed the invoiced value
of the product.
§ 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW
1. This warranty does not exclude or limit the buyer’s statutory
rights provided by national law, in particular, any such rights
against the seller that arise from a legally effective purchase
contract.
2. The warranty regulations mentioned herein are applicable
unless they constitute an infringement of national warranty law.
The information contained in this manual is subject to change without notice. No part of this manual may be reproduced or
transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any
purpose, without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH.
BEHRINGER, BLUE DEVIL, VIRTUBE, VIRTUALIZER and MODULIZER are registered trademarks.
ALL RIGHTS RESERVED. © 2001 BEHRINGER Spezielle Studiotechnik GmbH.
JENSEN is a registered trademark of Recoton Audio Corporation.
BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Münchheide II, Germany
Tel. +49 (0) 21 54 / 92 06-0, Fax +49 (0) 21 54 / 92 06-30
8. WARRANTY
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