Behringer | Vintager | User`s manual | Behringer Vintager User`s manual

Behringer Vintager User`s manual
Version 1.3
July 2004
ENGLISH
AC112
VINTAGER
User’s Manual
VINTAGER AC112
IMPORTANT SAFETY INSTRUCTIONS
DETAILED SAFETY INSTRUCTIONS:
1) Read these instructions.
2) Keep these instructions.
3) Heed all warnings.
4) Follow all instructions.
CAUTION:
WARNING:
To reduce the risk of electric shock, do not remove
the top cover (or the rear section). No user
serviceable parts inside; refer servicing to qualified
personnel.
To reduce the risk of fire or electric shock, do not
expose this appliance to rain and moisture. The
apparatus shall not be exposed to dripping or
splashing and no objects filled with liquids, such
as vases, shall be placed on the apparatus.
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. Please read the
manual.
5) Do not use this apparatus near water.
6) Clean only with dry cloth.
7) Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
8) Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
9) Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. If
the provided plug does not fit into your outlet, consult
an electrician for replacement of the obsolete outlet.
10) Protect the power cord from being walked on or
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.
11) Only use attachments/accessories specified by the
manufacturer.
12) Use only with the cart, stand, tripod, bracket, or table
specified by the manufacturer, or sold with the
apparatus. When a cart is used, use caution when moving
the cart/apparatus combination to avoid injury from
tip-over.
13) Unplug this apparatus during lightning storms or
when unused for long periods of time.
14) Refer all servicing to qualified service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power supply cord or plug
is damaged, liquid has been spilled or objects have fallen
into the apparatus, the apparatus has been exposed to
rain or moisture, does not operate normally, or has been
dropped.
15) CAUTION - These service instructions are for use by
qualified service personnel only. To reduce the risk of
electric shock do not perform any servicing other than
that contained in the operation instructions unless you
are qualified to do so.
2
VINTAGER AC112
FOREWORD
Dear Customer,
Welcome to the team of VINTAGER users and thank you very much for expressing your confidence in
BEHRINGER products by purchasing the AC112.
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 present you with a really
out-of-the-ordinary vintage guitar workstation.
What remains indispensable on the stage is the musical expression a good amplifier must reproduce with full
detail. For this reason, we did not simply install a triode stage in a solid-state amplifier, but implemented the
proven UTC circuitry from our studio processors. Thus, we achieved a particularly musical compression effect,
open sound and gradual shift to the upper harmonics spectrum, which could be produced before by pure-tube
amplifiers only. So, your playing dynamics and personal sound will not be confined in the amplifier but will be
reproduced and inspired even further. In particular, we made sure that the AC112 will give you lots of fun with its
intuitive user interface, so that you can focus entirely on playing your guitar.
The task to design the VINTAGER 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 VINTAGER” 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 Jan, whose passionate work has made the VINTAGER a revolutionary vintage guitar workstation,
s Thorsten who designed this marvelous manual,
s Volker and C.W. 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
VINTAGER AC112
VINTAGER
Ultra-flexible 60 Watt Guitar Workstation with Digital Multi-Effects Processor
AC112
s Powerful 60 Watt RMS Guitar Workstation with a hand-selected 12AX7 vacuum tube
s Authentic vintage design with ULTRATUBE circuitry for classic tube sound
s Original heavy duty 12" JENSEN® / BUGERA™ guitar speaker
s Two independent channels with separate volume controls, EQ and effects
s CLEAN channel delivers clean and slightly distorted sounds with smooth tube compression
s OVERDRIVE channel offers a broad range, from modern crunch to high-gain sounds
s Each channel has its classic 3-band EQ with excellent sound characteristics
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, Rotary Speaker, Magic Drive, 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 Frequency-corrected 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 frequency-corrected 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 Conceived and designed by BEHRINGER Germany. Made in China
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VINTAGER AC112
TABLE OF CONTENTS
1. INTRODUCTION .....................................................................................................................6
1.1 Design concept ............................................................................................................................... 7
1.1.1 ULTRATUBE technology ....................................................................................................... 7
1.2 Before you begin ............................................................................................................................. 7
1.3 Control elements ............................................................................................................................. 8
1.3.1 Front panel ........................................................................................................................... 8
1.3.2 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 foot controller, playback source and mixing console ............................ 12
3. EFFECTS PROCESSOR ...................................................................................................... 13
3.1 Description of effects ..................................................................................................................... 13
3.2 Controlling the VINTAGER via MIDI ............................................................................................... 22
3.2.1 Store Enable mode ............................................................................................................. 23
4. HISTORICAL BACKGROUND by Neville Marten (Guitarist Magazine) ......................... 23
5. INSTALLATION ..................................................................................................................... 24
5.1 Mains connection .......................................................................................................................... 24
5.2 Audio connections ........................................................................................................................ 24
5.3 MIDI connection ............................................................................................................................ 25
6. APPENDIX ............................................................................................................................. 25
6.1 Preset list ..................................................................................................................................... 25
6.2 MIDI implementation ..................................................................................................................... 28
7. SPECIFICATIONS ................................................................................................................. 29
8. WARRANTY ........................................................................................................................... 30
WARNING!
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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
VINTAGER AC112
1. INTRODUCTION
Thank you very much for expressing your confidence in BEHRINGER products by purchasing the VINTAGER
AC112. With the VINTAGER, you have acquired a modern guitar workstation that sets new standards in guitar
amp engineering. When developing the AC112, our top objective was to reproduce the authentic sound of
classical 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 lovers 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 somewhat afraid of using state-of-the-art technology. The VINTAGER, on
the other hand, is a pioneering guitar amp that has considerably more functions than any conventional 2channel amp with a built-in spring reverb. Still, you can use the AC112 so that it mimics an excellently
sounding 2-channel combo amp with an – admittedly – good spring reverb (except for that “shatter” sound when
the amp gets knocked over). However, we recommend that you make yourself familiar with the VINTAGER 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. We, too, 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 VINTAGER 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 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 into 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 ULTRATUBE circuitry for the perfect emulation of tube-specific nuances to make up for the drawbacks
encountered in tube designs (noise, hum, etc.)
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!
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6
This manual first describes the terminology used, so that you can fully understand the VINTAGER
and its functions. Please read the manual carefully and keep it for future reference.
1. INTRODUCTION
VINTAGER AC112
1.1
Design concept
The philosophy behind BEHRINGER products guarantees a no-compromise circuit design and employs the
best choice of components. The operational amplifiers used in the VINTAGER are exceptional: they boast
extreme linearity and very low distortion characteristics. To complement this design, the choice of components
include low-tolerance resistors and capacitors, high-quality potentiometers and several other stringently selected
elements.
The VINTAGER 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 super-robust steel-plate enclosure of your VINTAGER, with its generously dimensioned power supply,
ensures that your AC112 will never fail on the stage – even when the going gets tough. The enclosure is made
of high-grade and non-polluting E1-MDF wood, which consists of multiple tongued/glued layers and is absolutely
free of formaldehyde.
1.1.1 ULTRATUBE technology
The tube circuitry employed in the VINTAGER has evolved from our ULTRATUBE circuit that is used in our
studio-quality tube devices. By overdriving the tube stage, this circuit produces additional upper harmonics and
a gradual compression effect. Thanks to this compression your guitar sounds are improved in sustain and
definition and make themselves heard. While processing the guitar signal the UTC processor (Ultra Tube
Circuitry) largely eliminates the noise and hum typically encountered in conventional tube circuits and creates
the actual tube effect without raising the noise floor. The specifically selected tube used in the VINTAGER is of
the ECC83/12AX7 type and will give you a very special sound experience over many years to come.
1.2
Before you begin
Your BEHRINGER VINTAGER 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.
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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.
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If the unit needs to be shipped, please always use the original packaging to avoid damage.
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Never let unsupervised children play with the VMX100 or with its packaging.
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Please dispose of all packaging materials in an environmentally-friendly fashion.
Be sure that there is enough space around the unit for cooling and please do not place the VINTAGER on high
temperature devices such as radiators etc. to avoid overheating.
+
Before you connect your VINTAGER to the mains, please make sure that your local voltage
matches the voltage required by the unit!
The mains connection of the VINTAGER is made by using the enclosed mains cable and a standard IEC
receptacle. It meets all of the international safety certification requirements.
1. INTRODUCTION
7
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VINTAGER AC112
Please make sure that all your equipment is grounded at all times. For your own protection,
you should never tamper with the grounding of the cable or the unit itself. The unit shall
always be connected to a mains socket outlet with a protective earthing connection.
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”.
1.3 Control elements
Fig. 1.1: The front panel of the VINTAGER
The BEHRINGER VINTAGER AC112 features 15 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 Front panel
Fig. 1.2: The front panel control elements
1
The CLEAN channel’s VOLUME control sets the volume for the clean channel.
2
The BASS control in the EQ section allows you to boost or cut the bass frequencies in the CLEAN
channel.
3
With the MID control you can boost/cut the midrange frequencies in the CLEAN channel.
4
The TREBLE control adjusts the CLEAN channel’s upper frequency range.
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8
Please note that with all three EQ controls in the CLEAN channel 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 VINTAGER.
5
INPUT is the VINTAGER’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.
6
Press the OVERDRIVE button to select the CLEAN or OVERDRIVE channel. When OVERDRIVE is
on, the corresponding LED lights up.
1. INTRODUCTION
VINTAGER AC112
7
The GAIN control determines the degree of distortion in the OVERDRIVE channel.
8
The VOLUME control sets the volume for the OVERDRIVE channel.
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9
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. This setting is also
effective on the level-dependent digital effects!
The BASS control in the EQ section allows you to boost/cut the bass frequencies in the OVERDRIVE
channel.
10
With the MID control you can boost/cut the midrange frequencies in the OVERDRIVE channel.
11
The TREBLE control adjusts the OVERDRIVE channel’s upper frequency range.
12
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.
13
With the UP button you can increment the program number of the built-in effects module. Keep the
button pressed to scroll through the programs.
14
The DOWN button allows you to decrement the program number.
15
The STATUS LED’s inform you about the type of parameter you can edit with the PARAMETER control
(an exception being the MIDI LED).
s MIDI: This LED lights up when you press both UP and DOWN buttons for about two seconds. Subsequently,
you can use these buttons to set up a MIDI channel for MIDI data reception (1 through 16, “ON” = Omni and
“OF” = off, or “ON” = Omni and 1 through 16 plus one decimal point each = 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 is
being received.
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The Store Enable mode (see chapter 3.2.1) allows you to store presets directly via MIDI. Please
note that by sending MIDI control #18 values, any changes made to the currently active preset
will be permanently stored.
Whenever the multi-functional MIDI LED flashes and the unit is not in edit mode, 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.
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 speed parameter of compress/expander.
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 semi-tones
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 chart 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.
16
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17
Use the ENTER button to confirm your program selection.
When the MIDI functions are inactive, one effect can be stored for each of the two channels on
your VINTAGER, which allows for instance, to select a DELAY effect for the OVERDRIVE channel
and assign a REVERB/CHORUS effect to the CLEAN 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 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
).
1. INTRODUCTION
9
VINTAGER AC112
18
The AUX IN control in the Master section determines the volume of the AUX signal fed in via the AUX IN
jacks on the rear of the VINTAGER (e.g. drum computer, playback).
19
The PRESENCE control in the Master section boosts/cuts the higher midrange frequencies in both
channels.
20
The EFFECT A control determines the ratio of 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, effect-specific
parameter.
21
The EFFECT B control determines the mix of original and effect signals. Depending on the preset
selected, you can either control the ratio of original to right-channel effect signal, or of original to
secondary-effect signal (combination effects). Some effects use this control to edit a third, effectspecific parameter.
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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
your VINTAGER.
22
Use the EFFECT button to activate/deactivate the selected effect.
23
The MASTER control in the Master section determines the overall volume level of your VINTAGER.
24
The 1/4" stereo jack allows you to monitor the VINTAGER’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 in 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 down the VOLUME controls.
1.3.2 Rear panel
Fig. 1.3: The rear panel connectors
25
Use the POWER switch to put the VINTAGER into operation.
26
FUSE HOLDER/VOLTAGE SELECTOR. Please make sure that the voltage indicated on the unit matches
your local voltage, before you attempt to connect and operate the VINTAGER AC112. 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”).
10
1. INTRODUCTION
VINTAGER AC112
27
Use the enclosed power cord to connect the unit to the mains.
28
SERIAL NUMBER. Please take the time to have the warranty card filled out completely by your specialized
dealer, and return it within 14 days after the date of purchase, so as to be entitled to benefit from our
extended warranty.
29
MIDI IN. This connector gives you MIDI remote control over your VINTAGER. You can change parameters
using controller information, switch over effect programs, change channels and bypass the effects module
by means of program change instructions.
30
The LINE OUT provides the VINTAGER’s audio signal in stereo, for example, to send it to a recording
machine. This output is frequency-corrected (Speaker Emulation).
31
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 in the
amplifier will not be interrupted and you can add the effect portion from the external device, using the
AUX control described in point
. Please note that the external effects device must be set to 100%
wet for this purpose.
32
The VINTAGER 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.
33
This is the INSERT SEND jack that can be connected to the input of an external effects device.
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34
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
VINTAGER.
Connect the enclosed footswitch 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 VINTAGER 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 at all. 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 VINTAGER. 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 it works on unprocessed signals
only.
2. WIRING EXAMPLES
11
VINTAGER AC112
Fig. 2.1: Standard setup
2.2 Expanded setup with MIDI foot controller, playback source and mixing console
To use your VINTAGER 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 AC112.
Fig. 2.2: Expanded setup
12
2. WIRING EXAMPLES
VINTAGER AC112
3. EFFECTS PROCESSOR
A very special feature of your VINTAGER 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, flanger, delay, pitch shifter,
compressor, expander, wah-wah variations, various combination effects and even tube and speaker emulation.
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 VINTAGER.
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 VINTAGER 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 on the effect module 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 you press
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 two seconds. The EFFECT A and EFFECT B controls determine
(with a few exceptions) the mix of original and effect signals. 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. In the case of reverb and delay presets, the mix ratio is adjustable from 0 % through 50 % in steps of 1 %.
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 your amp gets knocked over.
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.
3. EFFECTS PROCESSOR
13
VINTAGER AC112
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 of original and effect signals in the left/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 of original and reverb
signals. The PARAMETER control adjusts the reverb and gate times.
Preset-Nr. Effect
13
GATED
14
REVERB
Variation
min. Density
max. Density
PARAMETER
EFFECT A EFFECT B
Gate/Reverb Time Sensitivity
Mix
Gate/Reverb Time Sensitivity
Mix
Tab. 3.2: Parameters of effects 13 and 14
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 of original and effect signals. This effect is
particularly impressive when played through a pair of headphones.
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
14
3. EFFECTS PROCESSOR
VINTAGER AC112
17-19 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 midrange 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 CLEAN and OVERDRIVE 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
17
Feedback
0
%
Delay Time
Drive
WAH /
DELAY /
18
Feedback 10 % Delay Time
Drive
DISTORTION Feedback 30 % Delay Time
19
Drive
EFFECT B
Delay Mix
Delay Mix
Delay Mix
Tab. 3.4: Parameters of effects 17 through 19
20
Delay/Reverb: This effect produces a normal delay with adjustable delay time that passes a reverb
whose mix ratio can be edited.
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 five 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 of original and effect signals. Delay presets 25 through 29 offer long mono
delay, which can be adjusted in their delay time (PARAMETER control), delay feedback (repeats,
EFFECT A) and delay mix parameters (EFFECT B).
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
Feedback
Mix
Feedback
Mix
Feedback
Mix
Feedback
Mix
Feedback
Mix
Tab. 3.6: Parameters of effects 21 through 29
3. EFFECTS PROCESSOR
15
VINTAGER AC112
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 built-in 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 continuously modulated filter.
Preset-Nr.
Effect
Variation
PARAMETER EFFECT A EFFECT B
30
Feedback 0 % LFO Speed
Depth
Mix
31
Feedback 62 % LFO Speed
Depth
Mix
PHASER
32
Feedback 62 % LFO Speed
Depth
Mix
33
Feedback 77 % 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
though, 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 to 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
38-42 Chorus/Reverb: Here, the signal passes a chorus effect with various intensities and then a reverb that
can be edited in time.
16
3. EFFECTS PROCESSOR
VINTAGER AC112
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
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
3. EFFECTS PROCESSOR
17
VINTAGER AC112
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
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
18
3. EFFECTS PROCESSOR
VINTAGER AC112
69-70 Magic Drive: This is an absolutely up-to-date effect combined with a delay. EFFECT A governs the
basic character of the effect in 32 steps, PARAMETER adjusts the delay time, and EFFECT B controls
the delay mix. As a little extra, this 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: Auto Wah is a velocity-sensitive effect that allows low frequencies to pass, while high
frequencies are more or less suppressed. PARAMETER controls the effect sensitivity, and EFFECT A
sets 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.
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
3. EFFECTS PROCESSOR
19
VINTAGER AC112
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 of 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
Tab. 3.22: Parameters of effects 86 through 89
20
3. EFFECTS PROCESSOR
EFFECT B
Delay Mix
Delay Mix
Delay Mix
Delay Mix
VINTAGER AC112
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. 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 do as follows:
adjust the 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) to
adapt the level of the processed signal.
Preset-Nr.
Effect
Variation PARAMETER EFFECT A EFFECT B
92
Overdrive Sensitivity
Ratio
Gain
EXPANDER
93
Clean
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
EFFECT B
Mix
Mix
Mix
Tab. 3.25: Parameters of effects 94 through 96
3. EFFECTS PROCESSOR
21
VINTAGER AC112
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 VINTAGER via MIDI
With its built-in MIDI interface you can integrate your VINTAGER into any MIDI setup. The AC112 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 sequencer software. Our MIDI foot controller FCB1010 gives you
precisely these and more options, and is a perfect match for all BEHRINGER guitar amps. For example, you
could wire the VINTAGER as follows:
Connect the MIDI IN jack of your VINTAGER to the MIDI OUT jack of a MIDI foot controller (see fig. 2.2). Now,
enable the MIDI functions on your VINTAGER by pressing both UP and DOWN (multi-effects processor) for
about two seconds. 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 VINTAGER receives and processes MIDI information on all channels. Of course,
you should select the same channel both on your MIDI foot controller and VINTAGER (see MIDI foot controller
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 VINTAGER via a
MIDI foot controller, it makes sense only when it is controlled from the enclosed footswitch or
directly from the VINTAGER’s front panel. To operate the VINTAGER 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 foot controller. First, select a controller number for the foot pedal on your MIDI foot controller (controller
numbers 12 (PARAMETER), 13 (EFFECT A) and 14 (EFFECT B)). Then, use the foot pedal on your MIDI foot
controller 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 CLEAN
channel, while value 1 activates the OVERDRIVE channel. Program change instructions can also be used to
change channels. Program change #123 activates the CLEAN channel, program change #124 selects the
OVERDRIVE channel of your VINTAGER. 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 program change instruction #127.
MIDI controller #7 adjusts the input sensitivity of the effects module, enabling you to set the overall volume of
your VINTAGER 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.
22
3. EFFECTS PROCESSOR
VINTAGER AC112
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
VINTAGER or by means of the corresponding MIDI controller.
Of course, you can also control the VINTAGER 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.com).
3.2.1 Store Enable mode
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 2 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 Magazine)
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 Fender, Ampeg and Gibson 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 Vox 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 Marshall 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 Boogie 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.)
Fender, Ampeg, Gibson, Vox, Marshall, Mesa Boogie 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.
4. HISTORICAL BACKGROUND
23
VINTAGER AC112
5. INSTALLATION
Your BEHRINGER VINTAGER 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 VINTAGER 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 VINTAGER 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 ~!
The mains connection of the VINTAGER 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 VINTAGER 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 VINTAGER. During installation
and operation the user must have sufficient electrical contact to earth. Electrostatic charges
might affect the operation of the VINTAGER!
Fig. 5.1: Wiring of a mono 1/4" plug
24
5. INSTALLATION
VINTAGER AC112
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 80’s 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 VINTAGER 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 VINTAGER.
The MIDI connector on the rear of your VINTAGER is an internationally standardized 5-pin DIN jack. To connect
your VINTAGER 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 on both plugs.
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.
6. APPENDIX
25
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
Mix R
0..50 10
0..50 10
STUDIO
CHAMBER
STAGE
CONCERT
PLATE
GATED
REVERB
AMBIENCE
WAH /
DELAY /
DISTORTION
FE
EF
FE
EF
Default
0..50 10
Range
Mix L
21
23
B
8
C
T
1..32
Default
Reverb Time
Range
short Pre-Delay
C
T
Default
SPRING
REVERB
20 DELAY / REV.
22
A
ER
Range
2
Variation
AM
ET
1
Effect
PA
R
Preset-Nr.
VINTAGER AC112
long Pre-Delay
Reverb Time
1..32
14
Mix L
0..50 10
Mix R
short Pre-Delay
Reverb Time
1..32
5
Mix L
0..50 10
Mix R
0..50 10
long Pre-Delay
Reverb Time
1..32
14
Mix L
0..50 10
Mix R
0..50 10
short Pre-Delay
Reverb Time
1..32
8
Mix L
0..50 10
Mix R
0..50 10
long Pre-Delay
Reverb Time
1..32
15
Mix L
0..50 10
Mix R
0..50 10
short Pre-Delay
Reverb Time
1..32
4
Mix L
0..50 10
Mix R
0..50 10
0..50 10
long Pre-Delay
Reverb Time
1..32
12
Mix L
0..50 10
Mix R
short Pre-Delay
Reverb Time
1..32
9
Mix L
0..50 10
Mix R
0..50 10
long Pre-Delay
Reverb Time
1..32
16
Mix L
0..50 10
Mix R
0..50 10
short Pre-Delay
Reverb Time
1..32
7
Mix L
0..50 10
Mix R
0..50 10
long Pre-Delay
Reverb Time
1..32
13
Mix L
0..50 10
Mix R
0..50 10
min. Density
Gt./Rev. Time 1..32
4
Sensitivity
0..63 9
Mix
0..50 15
max. Density
Gt./Rev. Time 1..32
17
Sensitivity
0..63 15
Mix
0..50 10
min. Reflections
Room Size
0..63
32
Pre-Delay
0..63 15
Mix
0..50 10
max. Reflections
Room Size
0..63
63
Pre-Delay
0..63 15
Mix
0..50 10
Feedback 0 %
Delay Time
0..63
35
Drive
0..63 63 Delay Mix
0..50
6
Feedback 10 %
Delay Time
0..63
35
Drive
0..63 63 Delay Mix
0..50
6
Feedback 30 %
Delay Time
0..63
35
Drive
0..63 63 Delay Mix
0..50
6
-
Delay Time
0..63
50
Delay Mix
min. Feedback
Delay Time
0..63
43
Mix L
0..50 2
Mix R
0..50 11
Delay Time
0..63
63
Mix L
0..50 3
Mix R
0..50 11
0..50 16
DELAY
(stereo)
0..50 7 Reverb Mix 0..50 20
Delay Time
0..63
20
Mix L
0..50 8
Mix R
24
max. Feedback
Delay Time
0..63
63
Mix L
0..50 0
Mix R
25
-
Delay Time
0..63
15
Feedback
0..63 2
Mix
0..50
-
Delay Time
0..63
25
Feedback
0..63 12
Mix
0..50 10
-
Delay Time
0..63
30
Feedback
0..63 15
Mix
0..50
-
Delay Time
0..63
45
Feedback
0..63 20
Mix
0..50 10
26
27
DELAY
(long mono)
28
0..50 35
8
9
29
-
Delay Time
0..63
63
Feedback
0..63 25
Mix
0..50 10
30
Feedback 0 %
LFO Speed
0..63
36
Depth
0..63 30
Mix
0..99 50
Feedback 62 %
LFO Speed
0..63
30
Depth
0..63 35
Mix
0..99 60
31
32
PHASER
Feedback 62 %
LFO Speed
0..63
48
Depth
0..63 25
Mix
0..99 50
33
Feedback 77 %
LFO Speed
0..63
63
Depth
0..63 28
Mix
0..99 50
34
fat
LFO Speed
1..32
8
Depth
0..63 63
Mix
0..99 30
35
36
CHORUS
37
slow
LFO Speed
1..32
1
Depth
0..63 30
Mix
0..99 40
stereo
LFO Speed
1..32
15
Depth
0..63 20
Mix
0..99 50
stereo
LFO Speed
1..32
1
Depth
0..63 63
Mix
0..99 50
24 Chorus Mix 0..99 50 Reverb Mix 0..50 10
38
ultra
Reverb Time
0..63
39
slow
Reverb Time
0..63
10 Chorus Mix 0..99 50 Reverb Mix 0..50 10
medium I
Reverb Time
0..63
10 Chorus Mix 0..99 40 Reverb Mix 0..50 10
40
CHORUS /
REVERB
41
medium II
Reverb Time
0..63
1
42
fast
Reverb Time
0..63
51 Chorus Mix 0..99 50 Reverb Mix 0..50 10
43
ultra
Delay Time
0..63
63 Chorus Mix 0..99 50 Delay Mix
0..50 10
0..50 10
44
Chorus Mix 0..99 50 Reverb Mix 0..50 10
slow
Delay Time
0..63
54 Chorus Mix 0..99 30 Delay Mix
medium I
Delay Time
0..63
59 Chorus Mix 0..99 50 Delay Mix
0..50 10
46
medium II
Delay Time
0..63
48 Chorus Mix 0..99 50 Delay Mix
0..50 10
47
hold
Delay Time
0..63
63 Chorus Mix 0..99 40 Delay Mix
0..50 14
48
fat
LFO Speed
1..32
15
Depth
0..63 5
Mix
0..99 30
49
classic
LFO Speed
1..32
5
Depth
0..63 10
Mix
0..99 14
stereo
LFO Speed
1..32
20
Depth
0..63 20
Mix
0..99 24
stereo
LFO Speed
1..32
10
Depth
0..63 5
Mix
0..99 50
45
50
51
26
CHORUS /
DELAY
FLANGER
6. APPENDIX
0..63
Default
Range
B
C
T
FE
EF
Default
Range
C
T
FE
EF
Default
Reverb Time
Range
ultra
A
ER
52
53
Variation
AM
ET
Effect
PA
R
Preset-Nr.
VINTAGER AC112
20 Flanger Mix 0..99 50 Reverb Mix 0..50 10
slow
Reverb Time
0..63
20 Flanger Mix 0..99 40 Reverb Mix 0..50 10
medium I
Reverb Time
0..63
50 Flanger Mix 0..99 50 Reverb Mix 0..50 10
medium II
Reverb Time
0..63
50 Flanger Mix 0..99 50 Reverb Mix 0..50 10
56
fast
Reverb Time
0..63
32 Flanger Mix 0..99 50 Reverb Mix 0..50 10
57
ultra
Delay Time
0..63
63 Flanger Mix 0..99 30 Delay Mix
0..50 10
58
slow
Delay Time
0..63
53 Flanger Mix 0..99 30 Delay Mix
0..50
54
FLANGER /
REVERB
55
59
FLANGER /
DELAY
3
medium I
Delay Time
0..63
63 Flanger Mix 0..99 30 Delay Mix
0..50 10
60
medium II
Delay Time
0..63
32 Flanger Mix 0..99 50 Delay Mix
0..50 10
61
fast
Delay Time
0..63
63 Flanger Mix 0..99 30 Delay Mix
0..50
-
LFO Speed
1..32
10
Pan
0..63 0
Mix
0..99 50
-
LFO Speed
1..32
19
Pan
0..63 0
Mix
0..99 40
slow
Delay Time
0..63
19 Tremolo Mix 0..99 50 Delay Mix
62
63
64
65
STEREO
TREMOLO
TREMOLO /
DELAY
66
67
68
69
70
71
72
73
74
ROTARY
SPEAKER
MAGIC DRIVE
AUTO
WAH
LFO
WAH
6
0..50 10
ultra
Delay Time
0..63
50 Tremolo Mix 0..99 50 Delay Mix
0..50 10
medium
Delay Time
0..63
19 Tremolo Mix 0..99 60 Delay Mix
0..50 15
-
Speed
0..63
9
Variation
1..32 1
Mix
0..99 50
Mix
0..99 50
-
Speed
0..63
15
Variation
1..32 10
-
Delay Time
0..63
5
Variation
0..32 24 Delay Mix
0..50
-
Delay Time
0..63
63
Variation
0..32 32 Delay Mix
0..50 11
1
fast
Sensitivity
0..63
63
Depth
0..63 27
Mix
0..99 99
slow
Sensitivity
0..63
63
Depth
0..63 20
Mix
0..99 90
LFO Band Pass
LFO Speed
0..63
30
Depth
0..63 45
Mix
0..99 90
LFO Band Pass
LFO Speed
0..63
60
Depth
0..63 40
Mix
0..99 60
75
-12
Tune Left
-12..12
0
Mix L
0..99 50
Mix R
0..99 50
76
-5
Tune Left
-12..12
0
Mix L
0..99 50
Mix R
0..99 34
+3
Tune Left
-12..12
0
Mix L
0..99 50
Mix R
0..99 34
+4
Tune Left
-12..12
0
Mix L
0..99 50
Mix R
0..99 20
+7
Tune Left
-12..12
0
Mix L
0..99 50
Mix R
0..99 34
77
78
PITCH
SHIFTER
79
80
+4 %
Tune Left
-50..50
0
Mix L
0..99 50
Mix R
0..99 20
81
+8 %
Tune Left
-50..50 14
Mix L
0..99 34
Mix R
0..99 34
82
-12
Reverb Time
83
PITCH
SHIFTER /
REVERB
0..63
4
Pitch Mix
0..99 30 Reverb Mix 0..50 20
+3
Reverb Time
0..63
18
Pitch Mix
0..99 24 Reverb Mix 0..50 10
+4 %
Reverb Time
0..63
10
Pitch Mix
0..99 40 Reverb Mix 0..50 12
+8 %
Reverb Time
0..63
4
Pitch Mix
0..99 40 Reverb Mix 0..50 20
-12
Delay Time
0..63
63
Pitch Mix
0..99 40 Delay Mix
0..50
7
-5
Delay Time
0..63
63
Pitch Mix
0..99 34 Delay Mix
0..50
7
+4
Delay Time
0..63
63
Pitch Mix
0..99 20 Delay Mix
0..50
7
89
+7
Delay Time
0..63
63
Pitch Mix
0..99 20 Delay Mix
0..50
7
90
fast
Sensitivity
0..63
30
Ratio
1..24 10
Gain
-3..12 8
slow
Sensitivity
0..63
30
Ratio
1..24 14
Gain
-3..12 8
84
85
86
87
88
91
92
93
94
95
PITCH
SHIFTER /
DELAY
COMPRESSOR
EXPANDER
GUITAR
COMBO
Hell
Sensitivity
0..63
35
Ratio
1..24 24
Gain
-3..12 0
Heaven
Sensitivity
0..63
20
Ratio
1..24 14
Gain
-3..12 0
-
Drive
0..63
30
Presence
0..63 42
Mix
0..99 99
-
Drive
0..63
63
Presence
0..63 63
Mix
0..99 99
96
-
Drive
0..63
63
Presence
0..63 18
Mix
0..99 99
97
Stack A
HF Cut
0..63
20
Peak Gain 0..63 40 Peak Freq. 0..63 63
Stack B
HF Cut
0..63
30
Peak Gain 0..63 40 Peak Freq. 0..63 30
Combo
HF Cut
0..63
4
Peak Gain 0..63 30 Peak Freq. 0..63 10
98
99
SPEAKER
CABINET
6. APPENDIX
27
VINTAGER AC112
6.2 MIDI implementation
0,',,PSOHPHQWDWLRQ&KDUW
)XQFWLRQ
Basic
Channel
Mode
Note Number
Velocity
After Touch
7UDQVPLWWHG 5HFRJQL]HG
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
5HPDUNV
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 = CLEAN
O (0 - 98)
124 = OVERDRIVE
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
CLEAN = 0, OVERDRIVE = 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 VINTAGER
28
6. APPENDIX
VINTAGER AC112
7. SPECIFICATIONS
AUDIO INPUTS
Connector
Type
Guitar input
impedance
Insert return
impedance
Aux input
impedance
AUDIO OUTPUTS
Connector
Type
Insert send
Impedance
Line out
Impedance
Max. output level
1/4" mono jack
RF filtered input
approx. 1 MΩ unbalanced
approx. 10 kΩ unbalanced
approx. 10 kΩ unbalanced
1/4" mono jack
line level output
approx. 100 Ω unbalanced
approx. 120 Ω unbalanced
+12 dBu unbalanced
SYSTEM SPECIFICATIONS (power amplifier)
Power amp output
60 Watts RMS @ 5 % THD + N into 8 Ω; 230 V~
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 / BUGERA™ 12G70J8
8Ω
70 Watts
POWER SUPPLY
Mains voltages
Mains connection
USA/Canada
120 V~, 60 Hz
Europe/U.K./Australia
230 V~, 50 Hz
Japan
100 V~, 50 - 60 Hz
general export model
120/230 V~, 50 - 60 Hz
approx. 40 Watts min. / approx. 130 Watts max.
100 - 120 V~ : T 2 A H 250 V
200 - 240 V~ : T 1 A H 250 V
standard IEC receptacle
PHYSICAL
Dimensions (H x W x D)
Weight
approx. 18.8" (477.5 mm) * 20.3" (515.2 mm) * 10.5" / 12.5" (266 mm /317.5 mm)
approx. 18.5 kg
Power consumption
Fuse
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.
7. SPECIFICATIONS
29
VINTAGER AC112
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).
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,
crossfaders, potentiometers, keys/buttons, tubes, guitar strings,
illuminants and similar parts.
§ 2 WARRANTY
s improper handling, neglect or failure to operate the unit in
compliance with the instructions given in BEHRINGER user
or service manuals.
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 excluded from
this warranty as described under § 4, BEHRINGER shall, at its
discretion, either replace or repair the product using suitable
new or reconditioned parts. In the case that other parts are used
which constitute an improvement, BEHRINGER may, at its
discretion, charge the customer for the additional cost of these
parts.
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 under the
terms of this warranty will be repaired or replaced.
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.
4. Damages/defects caused by the following conditions are not
covered by this warranty:
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.
* Customers in the European Union please contact BEHRINGER
Germany Support for further details.
Technical specifications and appearance subject to change without notice. The information contained herein is correct at the time of printing. The names
of companies, institutions or publications pictured or mentioned and their respective logos are registered trademarks of their respective owners. Their use
neither constitutes a claim of the trademarks by BEHRINGER® nor affiliation of the trademark owners with BEHRINGER®. BEHRINGER® accepts no
liability for any loss which may be suffered by any person who relies either wholly or in part upon any description, photograph or statement contained
herein. Colours and specification may vary slightly from product. Products are sold through our authorised dealers only. Distributors and dealers are not
agents of BEHRINGER® and have absolutely no authority to bind BEHRINGER® by any express or implied undertaking or representation. 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® is a registered trademark.
ALL RIGHTS RESERVED. © 2004 BEHRINGER Spezielle Studiotechnik GmbH,
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