Behringer Car Amplifier AC112 User Manual

User’s Manual  
Version 1ꢀ3 July 2004  
Download from Www.Somanuals.com. All Manuals Search And Download.  
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 AC112ꢀ  
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 workstationꢀ  
What remains indispensable on the stage is the musical expression a good amplifier must reproduce with full  
detailꢀ 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 processorsꢀ 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 onlyꢀ So, your playing dynamics and personal sound will not be confined in the amplifier but will be  
reproduced and inspired even furtherꢀ 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 guitarꢀ  
The task to design the VINTAGER certainly meant a great deal of responsibility, which we assumed by  
focusing on you, the discerning user and musicianꢀ It also meant a lot of work and night shifts to accomplish  
this goalꢀ But it was fun, tooꢀ 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 achievedꢀ  
It is our philosophy to share our joy with you, because you are the most important member of the BEHRINGER  
familyꢀ With your highly competent suggestions for new products you’ve greatly contributed to shaping our  
company and making it successfulꢀ In return, we guarantee you uncompromising quality as well as excellent  
technical and audio properties at an extremely favorable priceꢀ All of this will enable you to fully unfold your  
creativity without being hampered by budget constraintsꢀ  
We are often asked how we can make it possible to produce such high-grade devices at such unbelievably low  
pricesꢀ 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, etcꢀ 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 CꢀWꢀ for the fine mechanics,  
s and all the others, who have made very personal contributionsꢀ  
My friends, it’s been worth the trouble!  
Thank you very much,  
Uli Behringer  
3
Download from Www.Somanuals.com. All Manuals Search And Download.  
VINTAGER AC112  
VINTAGER  
Ultra-flexible 60 Watt Guitar Workstation with Digital Multi-Effects Processor  
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 (eꢀgꢀ CD player, drum computer, etcꢀ)  
s Frequency-corrected stereo line output for recording and live applications  
s Insert facility for external effects devices (stomp boxes, wah-wah pedals, etcꢀ)  
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 Germanyꢀ Made in China  
4
Download from Www.Somanuals.com. All Manuals Search And Download.  
VINTAGER AC112  
TABLE OF CONTENTS  
1ꢀ INTRODUCTIONꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ6  
1ꢀ1 Design concept ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 7  
1ꢀ1ꢀ1 ULTRATUBE technology ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 7  
1ꢀ2 Before you begin ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 7  
1ꢀ3 Control elements ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 8  
1ꢀ3ꢀ1 Front panel ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 8  
1ꢀ3ꢀ2 Rear panel ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 10  
2ꢀ WIRING EXAMPLES ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 11  
2ꢀ1 Standard setup consisting of guitar, footswitch and external effects deviceꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 11  
2ꢀ2 Expanded setup with MIDI foot controller, playback source and mixing console ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 12  
3ꢀ EFFECTS PROCESSORꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ13  
3ꢀ1 Description of effectsꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 13  
3ꢀ2 Controlling the VINTAGER via MIDI ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 22  
3ꢀ2ꢀ1 Store Enable mode ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 23  
4ꢀ HISTORICAL BACKGROUND by Neville Marten (Guitarist Magazine) ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ23  
5ꢀ INSTALLATION ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ24  
5ꢀ1 Mains connectionꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 24  
5ꢀ2 Audio connections ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 24  
5ꢀ3 MIDI connection ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 25  
6ꢀ APPENDIX ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ25  
6ꢀ1 Preset list ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 25  
6ꢀ2 MIDI implementation ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 28  
7ꢀ SPECIFICATIONS ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ29  
8ꢀ WARRANTY ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ30  
WARNING!  
+
It should be pointed out, that extreme output volumes may damage your ears and/or your  
headphonesꢀ Turn down all LEVEL controls before you switch on the unitꢀ Always pay attention  
to an appropriate volumeꢀ  
5
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VINTAGER AC112  
1ꢀ INTRODUCTION  
Thank you very much for expressing your confidence in BEHRINGER products by purchasing the VINTAGER  
AC112ꢀ With the VINTAGER, you have acquired a modern guitar workstation that sets new standards in guitar  
amp engineeringꢀ 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 intuitivelyꢀ  
BEHRINGER is an audio engineering company that has been successfully developing products for studio and  
live applications for many years nowꢀ Our range of products includes microphones and a variety of 19" devices  
(compressors, enhancers, gates, tube processors, headphone amps, digital effects devices, DI boxes, etcꢀ)  
as well as various monitoring and PꢀAꢀ speakers plus professional live and recording consolesꢀ 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 trueꢀ  
We also set great store by flexibility, which has become a particularly important factor in the music business  
over the past few yearsꢀ 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 concertsꢀ 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 playꢀ  
Unfortunately, conventional guitar amps are often not fully designed and developedꢀ Moreover, many manufacturers  
of traditional-style guitar amps are somewhat afraid of using state-of-the-art technologyꢀ The VINTAGER, 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 reverbꢀ 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 providedꢀ  
As technology advances, you’ve got to keep track of latest technological breakthroughs to avoid falling by the  
waysideꢀ We, too, have continuously improved this amp and included many of your valuable suggestionsꢀ We  
have spared neither expense nor effort to test different types of circuitry and speakers until the results gave us  
complete satisfactionꢀ After all, we really want to give you fully designed and developed products that meet  
your expectations in every respectꢀ 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 updatedꢀ In this way, we  
can keep working on new algorithms and considering your ideas and suggestionsꢀ The resulting software  
updates will be made available for free on the Internet, so as to ensure that your amp will never be outdatedꢀ  
We’ve packed our entire experience into this latest generation of guitar ampsꢀ Many people contributed to this  
project of intense development: studio musicians, collectors of vintage guitar amps, music and guitar lovers  
alikeꢀ 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 provideꢀ  
s ULTRATUBE circuitry for the perfect emulation of tube-specific nuances to make up for the drawbacks  
encountered in tube designs (noise, hum, etcꢀ)  
s Latest DSP technology to give you a broad range of modern high-gain and vintage-type effect soundsꢀ  
s Rugged and solid construction which even withstands roughest handlingꢀ  
s Intuitive operation, so that you can focus your mind on what is most important to you: your music!  
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This manual first describes the terminology used, so that you can fully understand the VINTAGER  
and its functionsꢀ Please read the manual carefully and keep it for future referenceꢀ  
6
1ꢀ INTRODUCTION  
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VINTAGER AC112  
1ꢀ1 Design concept  
The philosophy behind BEHRINGER products guarantees a no-compromise circuit design and employs the  
best choice of componentsꢀ The operational amplifiers used in the VINTAGER are exceptional: they boast  
extreme linearity and very low distortion characteristicsꢀ To complement this design, the choice of components  
include low-tolerance resistors and capacitors, high-quality potentiometers and several other stringently selected  
elementsꢀ  
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 reliabilityꢀ  
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 toughꢀ 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 formaldehydeꢀ  
1ꢀ1ꢀ1 ULTRATUBE technology  
The tube circuitry employed in the VINTAGER has evolved from our ULTRATUBE circuit that is used in our  
studio-quality tube devicesꢀ By overdriving the tube stage, this circuit produces additional upper harmonics and  
a gradual compression effectꢀ Thanks to this compression your guitar sounds are improved in sustain and  
definition and make themselves heardꢀ 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 floorꢀ 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 comeꢀ  
1ꢀ2 Before you begin  
Your BEHRINGER VINTAGER was carefully packed in the factory and the packaging is designed to protect  
the unit from rough handlingꢀ Nevertheless, we recommend that you carefully examine the packaging and its  
contents for any signs of physical damage, which may have occurred during transitꢀ  
+
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  
grantedꢀ Shipping claims must be made by the consigneeꢀ  
+
+
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If the unit needs to be shipped, please always use the original packaging to avoid damageꢀ  
Never let unsupervised children play with the VMX100 or with its packagingꢀ  
Please dispose of all packaging materials in an environmentally-friendly fashionꢀ  
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 etcꢀ to avoid overheatingꢀ  
+
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  
receptacleꢀ It meets all of the international safety certification requirementsꢀ  
1ꢀ INTRODUCTION  
7
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VINTAGER AC112  
+
Please make sure that all your equipment is grounded at all timesꢀ For your own protection,  
you should never tamper with the grounding of the cable or the unit itselfꢀ The unit shall  
always be connected to a mains socket outlet with a protective earthing connectionꢀ  
The MIDI connection (IN) is made over standardized DIN plug-in connectorsꢀ An optocoupler has been used for  
isolated data communicationsꢀ  
You will find additional information in chapter 5 “INSTALLATION”ꢀ  
1ꢀ3 Control elements  
Figꢀ 1ꢀ1: 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 panelꢀ Additionally, there are two 1/4" jacks for input and headphonesꢀ  
1ꢀ3ꢀ1 Front panel  
Figꢀ 1ꢀ2: The front panel control elements  
1
2
The CLEAN channel’s VOLUME control sets the volume for the clean channelꢀ  
The BASS control in the EQ section allows you to boost or cut the bass frequencies in the CLEAN  
channelꢀ  
3
4
With the MID control you can boost/cut the midrange frequencies in the CLEAN channelꢀ  
The TREBLE control adjusts the CLEAN channel’s upper frequency rangeꢀ  
+
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 VINTAGERꢀ  
5
6
INPUT is the VINTAGER’s 1/4" jack input for your guitarꢀ 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 concertsꢀ  
Press the OVERDRIVE button to select the CLEAN or OVERDRIVE channelꢀ When OVERDRIVE is  
on, the corresponding LED lights upꢀ  
8
1ꢀ INTRODUCTION  
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VINTAGER AC112  
7
8
The GAIN control determines the degree of distortion in the OVERDRIVE channelꢀ  
The VOLUME control sets the volume for the OVERDRIVE channelꢀ  
+
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 otherꢀ This setting is also  
effective on the level-dependent digital effects!  
9
The BASS control in the EQ section allows you to boost/cut the bass frequencies in the OVERDRIVE  
channelꢀ  
10  
11  
12  
With the MID control you can boost/cut the midrange frequencies in the OVERDRIVE channelꢀ  
The TREBLE control adjusts the OVERDRIVE channel’s upper frequency rangeꢀ  
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 controlsꢀ  
13  
With the UP button you can increment the program number of the built-in effects moduleꢀ Keep the  
button pressed to scroll through the programsꢀ  
14  
15  
The DOWN button allows you to decrement the program numberꢀ  
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 secondsꢀ 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  
3ꢀ2ꢀ1)ꢀ Press the ENTER button to confirm your selectionꢀ The MIDI LED flashes as soon as MIDI data is  
being receivedꢀ  
+
The Store Enable mode (see chapter 3ꢀ2ꢀ1) allows you to store presets directly via MIDIꢀ Please  
note that by sending MIDI control #18 values, any changes made to the currently active preset  
will be permanently storedꢀ  
+
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 distortionꢀ In this case, you should turn down the  
VOLUME control a bitꢀ  
s TIME: This LED lights up when you select a time-domain effect parameter (eꢀgꢀ 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/expanderꢀ  
s SENS: This LED informs you that you can adjust the sensitivity of effects such as Auto-Wah, Expander,  
Compressorꢀ  
s PITCH: This LED lights up when you edit the pitch shifter, and shows the detune factor, either in semi-tones  
or centsꢀ  
s EQ: This LED lights up when you edit the parameters of a filter-based effectꢀ  
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 numbersꢀ Use this list to quickly locate, edit and store the effect of your choiceꢀ The built-in effects  
module features 31 different effect groups and includes a total of 99 effect variationsꢀ  
16  
Use the ENTER button to confirm your program selectionꢀ  
+
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 channelꢀ The corresponding program  
numbers will be stored with the channels and can be recalled using the footswitch or the front  
panel buttonsꢀ When MIDI is on, this assignment feature will be disabled, so that in this mode  
both channels and effects can be selected separatelyꢀ  
17  
The PARAMETER control allows you to edit an effect-specific parameterꢀ Once selected with the  
PARAMETER control, its value is displayed and the corresponding LED lights up (see  
)ꢀ  
1ꢀ INTRODUCTION  
9
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VINTAGER AC112  
18  
19  
20  
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 (eꢀgꢀ drum computer, playback)ꢀ  
The PRESENCE control in the Master section boosts/cuts the higher midrange frequencies in both  
channelsꢀ  
The EFFECT A control determines the ratio of original and effect signalsꢀ 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  
parameterꢀ  
21  
The EFFECT B control determines the mix of original and effect signalsꢀ 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, effect-  
specific parameterꢀ  
+
When you start editing a preset, the decimal point in the 2-digit display starts flashingꢀ Press  
the ENTER button for a while to overwrite the factory preset and save your own effect settingꢀ  
To restore the factory presets, simply press and keep the ENTER button while you switch on  
your VINTAGERꢀ  
22  
23  
24  
Use the EFFECT button to activate/deactivate the selected effectꢀ  
The MASTER control in the Master section determines the overall volume level of your VINTAGERꢀ  
The 1/4" stereo jack allows you to monitor the VINTAGER’s audio signal with a pair of commercially  
available headphonesꢀ Connecting the headphones will mute the built-in speakerꢀ  
+
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 soundꢀ 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 distortionꢀ In such  
a case, please reduce the volume by turning down the VOLUME controlsꢀ  
1ꢀ3ꢀ2 Rear panel  
Figꢀ 1ꢀ3: The rear panel connectors  
25  
26  
Use the POWER switch to put the VINTAGER into operationꢀ  
FUSE HOLDER/VOLTAGE SELECTORꢀ Please make sure that the voltage indicated on the unit matches  
your local voltage, before you attempt to connect and operate the VINTAGER AC112ꢀ Blown fuses may  
only be replaced by fuses of the same type and ratingꢀ 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 versaꢀ Please  
note that for 115 V operation outside Europe, you need to use a fuse of a higher rating (see chapter 5  
“INSTALLATION”)ꢀ  
10  
1ꢀ INTRODUCTION  
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VINTAGER AC112  
27  
28  
Use the enclosed power cord to connect the unit to the mainsꢀ  
SERIAL NUMBERꢀ 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 warrantyꢀ  
29  
MIDI INꢀ This connector gives you MIDI remote control over your VINTAGERꢀ You can change parameters  
using controller information, switch over effect programs, change channels and bypass the effects module  
by means of program change instructionsꢀ  
30  
31  
The LINE OUT provides the VINTAGER’s audio signal in stereo, for example, to send it to a recording  
machineꢀ This output is frequency-corrected (Speaker Emulation)ꢀ  
The AUX IN allows you to feed in additional stereo signals, for example, to play with a drum computer  
or some sort of playbackꢀ 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  
wet for this purposeꢀ  
ꢀ Please note that the external effects device must be set to 100%  
32  
The VINTAGER also features a serial insert path for external effects such as a wah-wah pedalꢀ This is  
the INSERT RETURN jack you need to connect to the output of the effects deviceꢀ  
33  
This is the INSERT SEND jack that can be connected to the input of an external effects deviceꢀ  
+
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  
VINTAGERꢀ  
34  
Connect the enclosed footswitch via the stereo plug to the FOOTSWITCH jackꢀ The footswitch allows  
you to change channels or disable the effects moduleꢀ  
2ꢀ WIRING EXAMPLES  
2ꢀ1 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 figꢀ 2ꢀ1ꢀ 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 allꢀ Connecting the headphones will mute the built-in  
speakerꢀ  
When you wish to use a guitar tuner, please connect it to the INSERT SEND of your VINTAGERꢀ If there is no  
further effects device connected, you can leave the INSERT RETURN as it isꢀ However, to use an external  
effects device, place the tuner before the effects in the signal chain, so that it works on unprocessed signals  
onlyꢀ  
2ꢀ WIRING EXAMPLES  
11  
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VINTAGER AC112  
Figꢀ 2ꢀ1: Standard setup  
2ꢀ2 Expanded setup with MIDI foot controller, playback source and mixing console  
To use your VINTAGER for advanced applications, please consider the following suggestionsꢀ Of course, the  
expanded configuration suggested in figꢀ 2ꢀ2ꢀ builds on the standard setup described in chapter 2ꢀ1ꢀ  
Use the MIDI foot controller to change presets and/or channels, set volume and wah, etcꢀ The line out signal  
can be fed into a PꢀAꢀ or recording console, and the AUX input can be used to play back eꢀgꢀ cassette recorder  
signals through the AC112ꢀ  
Figꢀ 2ꢀ2: Expanded setup  
12  
2ꢀ WIRING EXAMPLES  
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VINTAGER AC112  
3ꢀ 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 PROꢀ 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 emulationꢀ  
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 microphoneꢀ A total of 99 presets gives you a broad  
range of versatile effects, which can be edited in three parameters eachꢀ Additionally, the multi-effects processor  
provides different effects variations, which are permanently linked to the presetsꢀ All presets can be overwritten  
with your own settingsꢀ To restore the factory default settings, simply keep the ENTER button pressed while  
you power up the VINTAGERꢀ  
The multi-effects processor basically provides stereo effectsꢀ However, these can be heard only when you use  
the LINE OUT or headphones outputꢀ The speaker and/or the mono power amp of your VINTAGER sum up both  
channels (left and right) to produce a mono signalꢀ Nevertheless, you can record with stereo effects by using  
the LINE OUT or a second amp to play in stereoꢀ  
The two buttons UP and DOWN allow you to select a presetꢀ To activate the selected preset, simply press the  
ENTER buttonꢀ 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 valuesꢀ After about three seconds or when you press  
ENTER, UP or DOWN, the display will switch back to the program numberꢀ Whenever a parameter has been  
changed, the decimal point in the 2-digit display starts flashingꢀ To save your edits and overwrite the existing  
preset, simply press the ENTER button for about two secondsꢀ The EFFECT A and EFFECT B controls determine  
(with a few exceptions) the mix of original and effect signalsꢀ 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 effectꢀ As a  
rule of thumb, values between 20 % (moderate effect) and 40 % (clearly audible effect) should deliver good  
resultsꢀ In the case of reverb and delay presets, the mix ratio is adjustable from 0 % through 50 % in steps of 1 %ꢀ  
3ꢀ1 Description of effects  
01-02 Spring Reverb: Even a guitar amp with a digital multi-effects processor should allow you to use a  
spring reverbꢀ This algorithm emulates the typical sound of a spring reverb, as it is known from numerous  
guitar ampsꢀ However, here you don’t have the typical shatter sound when your amp gets knocked overꢀ  
03-04 Studio: This effect simulates the characteristics of middle-sized roomsꢀ With its natural sound it can be  
used for a great variety of applicationsꢀ  
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 naturalꢀ  
07-08 Stage: A fine reverb eꢀgꢀ to liven up and widen a clean guitarꢀ  
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 frequenciesꢀ  
11-12 Plate: The sound of an ancient plate reverbꢀ A classic algorithm that makes your guitar sound wonderful  
and enchantingꢀ  
3ꢀ EFFECTS PROCESSOR  
13  
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VINTAGER AC112  
Preset-Nr.  
Effect  
Variation  
PARAMETER EFFECT A EFFECT B  
1
2
SPRING  
REVERB  
short Pre-Delay Reverb Time  
long Pre-Delay Reverb Time  
short Pre-Delay Reverb Time  
long Pre-Delay Reverb Time  
short Pre-Delay Reverb Time  
long Pre-Delay Reverb Time  
short Pre-Delay Reverb Time  
long Pre-Delay Reverb Time  
short Pre-Delay Reverb Time  
long Pre-Delay Reverb Time  
short Pre-Delay Reverb Time  
long Pre-Delay Reverb Time  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix R  
Mix R  
Mix R  
Mix R  
Mix R  
Mix R  
Mix R  
Mix R  
Mix R  
Mix R  
Mix R  
Mix R  
3
STUDIO  
CHAMBER  
STAGE  
4
5
6
7
8
9
CONCERT  
PLATE  
10  
11  
12  
Tabꢀ 3ꢀ1: Parameters of effects 01 through 12  
Reverb algorithms 01 through 12 provide two variations eachꢀ Basically, the first variation uses a short pre-  
delay (delay until the actual reverb can be heard), while the second variation works with long pre-delaysꢀ 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 channelꢀ  
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 hearꢀ EFFECT B governs the mix of original and reverb  
signalsꢀ The PARAMETER control adjusts the reverb and gate timesꢀ  
Preset-Nr. Effect  
Variation  
PARAMETER  
EFFECT A EFFECT B  
13  
14  
GATED  
min. Density  
max. Density  
Gate/Reverb Time Sensitivity  
Gate/Reverb Time Sensitivity  
Mix  
Mix  
REVERB  
Tabꢀ 3ꢀ2: 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 reflectionsꢀ 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 tailsꢀ 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 signalsꢀ This effect is  
particularly impressive when played through a pair of headphonesꢀ  
Preset-Nr.  
Effect  
Variation  
PARAMETER EFFECT A EFFECT B  
15  
16  
min. Reflections Room Size Pre-Delay  
max. Reflections Room Size Pre-Delay  
Mix  
Mix  
AMBIENCE  
Tabꢀ 3ꢀ3: Parameters of effects 15 and 16  
14  
3ꢀ EFFECTS PROCESSOR  
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VINTAGER AC112  
17-19 Wah/Delay/Distortion: In general, filters are used to provide some static equalization of a signal’s  
frequency responseꢀ 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 rangesꢀ Guitarists  
such as Jimi Hendrix and Eric Clapton made this effect popular, and it still hasn’t gone out of fashionꢀ  
Use the PARAMETER control to adjust the delay timeꢀ EFFECT A allows you to determine the distortion  
intensity, which also depends on the volume settings chosen in the CLEAN and OVERDRIVE channelsꢀ  
With EFFECT B you can edit the delay mixꢀ Using MIDI controller #15 you can edit the operating range  
of the wah effect, eꢀgꢀ via a MIDI foot controllerꢀ In this way, it is possible to use the wah effect like an  
analog wah foot pedalꢀ  
Preset-Nr.  
Effect  
Variation  
PARAMETER EFFECT A EFFECT B  
17  
18  
19  
Feedback 0 % Delay Time  
Feedback 10 % Delay Time  
Feedback 30 % Delay Time  
Drive  
Drive  
Drive  
Delay Mix  
Delay Mix  
Delay Mix  
WAH /  
DELAY /  
DISTORTION  
Tabꢀ 3ꢀ4: 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 editedꢀ  
Preset-Nr.  
20  
Effect  
Variation  
-
PARAMETER EFFECT A EFFECT B  
Delay Time Delay Mix Reverb Mix  
DELAY / REVERB  
Tabꢀ 3ꢀ5: Parameters of effect 20  
21-29 Delay: This algorithm delays the input signal and generates several repeatsꢀ The first five presets (21  
through 24) produce a stereo delay, with the PARAMETER control setting the delay time for the right  
channelꢀ The left channel’s delay time is 2/3 as long as that on the right sideꢀ As usual, EFFECT A and  
EFFECT B determine the mix of original and effect signalsꢀ 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  
PARAMETER EFFECT A EFFECT B  
21  
22  
23  
24  
25  
26  
27  
28  
29  
min. Feedback Delay Time R  
Delay Time R  
Mix L  
Mix L  
Mix L  
Mix L  
Mix R  
Mix R  
Mix R  
Mix R  
Mix  
DELAY  
(stereo)  
Delay Time R  
max. Feedback Delay Time R  
-
-
-
-
-
Delay Time Feedback  
Delay Time Feedback  
Delay Time Feedback  
Delay Time Feedback  
Delay Time Feedback  
Mix  
DELAY  
(long mono)  
Mix  
Mix  
Mix  
Tabꢀ 3ꢀ6: Parameters of effects 21 through 29  
3ꢀ EFFECTS PROCESSOR  
15  
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VINTAGER AC112  
The LFO speed of all modulation effects is controlled by the PARAMETER controlꢀ EFFECT A controls the  
effect intensity or depthꢀ High values produce a very intensive effectꢀ In the case of the tremolo algorithm,  
EFFECT A adjusts the panning between left and right, and vice versaꢀ  
+
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 monoꢀ  
In particular, the tremolo will be inaudible if high stereo panning values are used in mono via  
the built-in speakerꢀ 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 signalsꢀ 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  
amplitudesꢀ 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 filterꢀ  
Preset-Nr.  
Effect  
Variation  
PARAMETER EFFECT A EFFECT B  
30  
31  
32  
33  
Feedback 0 % LFO Speed  
Feedback 62 % LFO Speed  
Feedback 62 % LFO Speed  
Feedback 77 % LFO Speed  
Depth  
Depth  
Depth  
Depth  
Mix  
Mix  
Mix  
Mix  
PHASER  
Tabꢀ 3ꢀ7: Parameters of effects 30 through 33  
34-37 Chorus: Imagine a string quartet, with each musician playing the same notesꢀ 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 domainꢀ 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 LFOꢀ The result is a detune effect that is very pleasant in characterꢀ 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 usesꢀ  
Preset-Nr.  
Effect  
Variation PARAMETER EFFECT A EFFECT B  
34  
35  
36  
37  
fat  
LFO Speed  
LFO Speed  
LFO Speed  
LFO Speed  
Depth  
Depth  
Depth  
Depth  
Mix  
Mix  
Mix  
Mix  
slow  
CHORUS  
stereo  
stereo  
Tabꢀ 3ꢀ8: 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 timeꢀ  
16  
3ꢀ EFFECTS PROCESSOR  
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VINTAGER AC112  
Preset-Nr.  
Effect  
Variation PARAMETER EFFECT A EFFECT B  
38  
39  
40  
41  
42  
ultra  
slow  
Reverb Time Chorus Mix Reverb Mix  
Reverb Time Chorus Mix Reverb Mix  
CHORUS /  
REVERB  
medium I Reverb Time Chorus Mix Reverb Mix  
medium II Reverb Time Chorus Mix Reverb Mix  
fast  
Reverb Time Chorus Mix Reverb Mix  
Tabꢀ 3ꢀ9: 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 timeꢀ  
Preset-Nr.  
Effect  
Variation PARAMETER EFFECT A EFFECT B  
43  
44  
45  
46  
47  
ultra  
slow  
Delay Time Chorus Mix Delay Mix  
Delay Time Chorus Mix Delay Mix  
CHORUS /  
DELAY  
medium I Delay Time Chorus Mix Delay Mix  
medium II Delay Time Chorus Mix Delay Mix  
hold  
Delay Time Chorus Mix Delay Mix  
Tabꢀ 3ꢀ10: 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 inputꢀ This effect can be excellently combined with distorted  
guitar soundsꢀ  
Preset-Nr.  
Effect  
Variation PARAMETER EFFECT A EFFECT B  
48  
49  
50  
51  
fat  
LFO Speed  
LFO Speed  
LFO Speed  
LFO Speed  
Depth  
Depth  
Depth  
Depth  
Mix  
Mix  
Mix  
Mix  
classic  
stereo  
stereo  
FLANGER  
Tabꢀ 3ꢀ11: Parameters of effects 48 through 51  
52-56 Flanger/Reverb: Here, a flanger with various intensities is followed by a reverb with adjustable reverb  
timeꢀ  
Preset-Nr.  
Effect  
Variation PARAMETER EFFECT A EFFECT B  
52  
53  
54  
55  
56  
ultra  
slow  
Reverb Time Flanger Mix Reverb Mix  
Reverb Time Flanger Mix Reverb Mix  
FLANGER /  
REVERB  
medium I Reverb Time Flanger Mix Reverb Mix  
medium II Reverb Time Flanger Mix Reverb Mix  
fast  
Reverb Time Flanger Mix Reverb Mix  
Tabꢀ 3ꢀ12: Parameters of effects 52 through 56  
3ꢀ EFFECTS PROCESSOR  
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VINTAGER AC112  
57-61 Flanger/Delay: The first element is a flanger with various intensity levels, then comes a delay effect  
with adjustable delay timeꢀ  
Preset-Nr.  
Effect  
Variation PARAMETER EFFECT A EFFECT B  
57  
58  
59  
60  
61  
ultra  
slow  
Delay Time Flanger Mix Delay Mix  
Delay Time Flanger Mix Delay Mix  
FLANGER /  
DELAY  
medium I Delay Time Flanger Mix Delay Mix  
medium II Delay Time Flanger Mix Delay Mix  
fast  
Delay Time Flanger Mix Delay Mix  
Tabꢀ 3ꢀ13: 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 effectꢀ  
Preset-Nr.  
Effect  
Variation PARAMETER EFFECT A EFFECT B  
62  
63  
-
-
LFO Speed  
LFO Speed  
Pan  
Pan  
Mix  
Mix  
STEREO  
TREMOLO  
Tabꢀ 3ꢀ14: Parameters of effects 62 and 63  
64-66 Tremolo/Delay: A more or less fast, intensive amplitude modulation complemented by a delay effectꢀ  
The variations provide for various modulation speedsꢀ The delay time can be set with the PARAMETER  
controlꢀ  
Preset-Nr.  
Effect  
Variation PARAMETER EFFECT A EFFECT B  
64  
65  
66  
ultra  
slow  
Delay Time Tremolo Mix Delay Mix  
Delay Time Tremolo Mix Delay Mix  
Delay Time Tremolo Mix Delay Mix  
TREMOLO /  
DELAY  
medium  
Tabꢀ 3ꢀ15: 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 cabinetꢀ This effect  
uses the physical principle known as Doppler effectꢀ The PARAMETER control determines the speed of  
horn (treble) and rotor (bass), while EFFECT A allows you to modify the basic character of the soundꢀ  
Finally, EFFECT B lets you edit the mix ratioꢀ  
Preset-Nr.  
Effect  
Variation PARAMETER EFFECT A EFFECT B  
67  
68  
-
-
Speed  
Speed  
Variation  
Variation  
Mix  
Mix  
ROTARY  
SPEAKER  
Tabꢀ 3ꢀ16: Parameters of effects 67 and 68  
18  
3ꢀ EFFECTS PROCESSOR  
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VINTAGER AC112  
69-70 Magic Drive: This is an absolutely up-to-date effect combined with a delayꢀ EFFECT A governs the  
basic character of the effect in 32 steps, PARAMETER adjusts the delay time, and EFFECT B controls  
the delay mixꢀ As a little extra, this effect includes an LFO-controlled notch filter, which is added as of  
Variation #24ꢀ  
Preset-Nr.  
Effect  
Variation PARAMETER EFFECT A EFFECT B  
69  
70  
-
-
Delay Time  
Delay Time  
Variation Delay Mix  
Variation Delay Mix  
MAGIC DRIVE  
Tabꢀ 3ꢀ17: 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 suppressedꢀ PARAMETER controls the effect sensitivity, and EFFECT A  
sets the cutoff frequency, which can be shifted upwards by raising this valueꢀ  
Preset-Nr.  
Effect  
Variation  
fast  
PARAMETER EFFECT A EFFECT B  
71  
72  
Sensitivity  
Sensitivity  
Depth  
Depth  
Mix  
Mix  
AUTO WAH  
slow  
Tabꢀ 3ꢀ18: Parameters of effects 71 and 72  
73-74 LFO Wah: In the LFO Wah effect the LFO governs the speed of frequency modulationꢀ Here, you can  
produce wah-wah effects that are repeated at regular intervalsꢀ Use the PARAMETER control to set the  
LFO speed, while EFFECT A determines the threshold frequencyꢀ The LFO Wah delivers astounding  
resultsꢀ  
Preset-Nr.  
Effect  
Variation  
PARAMETER EFFECT A EFFECT B  
73  
74  
LFO Band Pass LFO Speed  
LFO Band Pass LFO Speed  
Depth  
Depth  
Mix  
Mix  
LFO WAH  
Tabꢀ 3ꢀ19: Parameters of effects 73 and 74  
3ꢀ EFFECTS PROCESSOR  
19  
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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 voiceꢀ Heavy detuning by several semi-tones up  
creates a Mickey-Mouse-type effectꢀ The preset variations include various fixed intervals for the right  
channel, while the left channel can be shifted with the PARAMETER controlꢀ Depending on your mix  
settings, you can thus hear a triad for each tone of the input signalꢀ Effects #80 and #81 are used to  
“widen” the signal and feature a detune option in the left channel (+/-25 cents)ꢀ  
Preset-Nr.  
Effect  
Variation PARAMETER EFFECT A EFFECT B  
75  
76  
77  
78  
79  
80  
81  
-12  
-5  
Tune Left  
Tune Left  
Tune Left  
Tune Left  
Tune Left  
Tune Left  
Tune Left  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix R  
Mix R  
Mix R  
Mix R  
Mix R  
Mix R  
Mix R  
+3  
PITCH  
SHIFTER  
+4  
+7  
+4 %  
+8 %  
Tabꢀ 3ꢀ20: 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 controlꢀ  
Preset-Nr.  
Effect  
Variation PARAMETER EFFECT A EFFECT B  
82  
83  
84  
85  
-12  
+3  
Reverb Time Pitch Mix Reverb Mix  
Reverb Time Pitch Mix Reverb Mix  
Reverb Time Pitch Mix Reverb Mix  
Reverb Time Pitch Mix Reverb Mix  
PITCH  
SHIFTER /  
REVERB  
+4 %  
+8 %  
Tabꢀ 3ꢀ21: Parameters of effects 82 through 85  
86-89 Pitch/Delay: First, the signal passes the pitch shifter set to various intervalsꢀ Then, a delay effect  
whose time can be edited with the PARAMETER control is addedꢀ The two EFFECT controls adjust the  
mix of both effectsꢀ  
Preset-Nr.  
Effect  
Variation PARAMETER EFFECT A EFFECT B  
86  
87  
88  
89  
-12  
-5  
Delay Time Pitch Mix Delay Mix  
Delay Time Pitch Mix Delay Mix  
Delay Time Pitch Mix Delay Mix  
Delay Time Pitch Mix Delay Mix  
PITCH  
SHIFTER /  
DELAY  
+4  
+7  
Tabꢀ 3ꢀ22: Parameters of effects 86 through 89  
20  
3ꢀ EFFECTS PROCESSOR  
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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 distortionꢀ This job is done by compressors and/  
or limitersꢀ Limiters abruptly limit the signal above a specific threshold, while compressors provide for a  
“soft” control process over a wider rangeꢀ With the PARAMETER control you can set the compressor  
thresholdꢀ EFFECT A determines the compression ratioꢀ EFFECT B allows you to raise the volume to  
adapt the compressed signal to the unprocessed oneꢀ 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 offꢀ Adapt the levels with EFFECT B, so that there will be no audible level difference between  
compressed and uncompressed signalsꢀ 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 levelꢀ  
Preset-Nr.  
Effect  
Variation  
fast  
PARAMETER EFFECT A EFFECT B  
90  
91  
Sensitivity  
Sensitivity  
Ratio  
Ratio  
Gain  
Gain  
COMPRESSOR  
slow  
Tabꢀ 3ꢀ23: Parameters of effects 90 and 91  
92-93 Expander: All sorts of background noise and hum limit the dynamic range of the wanted signalꢀ 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 musicꢀ Expanders can be used to efficiently expand the dynamic  
range of signalsꢀ Small signal amplitudes are cut additionally, which at the same time reduces background  
noiseꢀ Use the PARAMETER control to determine the expander thresholdꢀ 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 signalꢀ  
Preset-Nr.  
Effect  
Variation PARAMETER EFFECT A EFFECT B  
92  
93  
Overdrive Sensitivity  
Ratio  
Ratio  
Gain  
Gain  
EXPANDER  
Clean  
Sensitivity  
Tabꢀ 3ꢀ24: 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 speakerꢀ The PARAMETER control determines the  
distortion intensity, while EFFECT A adjusts the presence of the sound as the signal’s high-frequency  
portions increaseꢀ EFFECT B controls the mix ratioꢀ  
Preset-Nr.  
Effect  
Variation PARAMETER EFFECT A  
EFFECT B  
Mix  
94  
95  
96  
-
-
-
Drive  
Drive  
Drive  
Presence  
Presence  
Presence  
GUITAR  
COMBO  
Mix  
Mix  
Tabꢀ 3ꢀ25: Parameters of effects 94 through 96  
3ꢀ EFFECTS PROCESSOR  
21  
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VINTAGER AC112  
97-99 Speaker Cabinet: This algorithm emulates three different types of speaker cabinetsꢀ Additionally, you  
can shift the speaker’s main resonance peakꢀ Various degrees of resonance emphasis allow you to  
emulate different speaker characteristicsꢀ The PARAMETER control adjusts the cutoff frequency of the  
low-pass filterꢀ EFFECT A determines the gain of the resonance filterꢀ EFFECT B can be used to adjust  
the filter frequencyꢀ  
Preset-Nr.  
Effect  
Variation PARAMETER EFFECT A  
EFFECT B  
97  
98  
99  
Stack A  
Stack B  
Combo  
HF Cut  
HF Cut  
HF Cut  
Peak Gain Peak Frequency  
Peak Gain Peak Frequency  
Peak Gain Peak Frequency  
SPEAKER  
CABINET  
Tabꢀ 3ꢀ26: Parameters of effects 97 through 99  
3ꢀ2 Controlling the VINTAGER via MIDI  
With its built-in MIDI interface you can integrate your VINTAGER into any MIDI setupꢀ The AC112 is capable of  
receiving both program change and MIDI controller informationꢀ So, you can change programs via MIDI using a  
MIDI foot controller or a computer-based sequencer softwareꢀ Our MIDI foot controller FCB1010 gives you  
precisely these and more options, and is a perfect match for all BEHRINGER guitar ampsꢀ 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 figꢀ 2ꢀ2)ꢀ Now,  
enable the MIDI functions on your VINTAGER by pressing both UP and DOWN (multi-effects processor) for  
about two secondsꢀ 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 3ꢀ2ꢀ1)ꢀ Confirm your selection with ENTERꢀ  
Omni mode means that your VINTAGER receives and processes MIDI information on all channelsꢀ 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, iꢀeꢀ changing channels does not automatically load the previously set effectꢀ 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 panelꢀ 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 instructionsꢀ 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 6ꢀ2 in the appendix)ꢀ After changeover the preset is activated immediately, iꢀeꢀ it will not be affected  
by previously adjusted bypass settingsꢀ  
The three adjustable parameters PARAMETER, EFFECT A and EFFECT B can be controlled in real time from  
a MIDI foot controllerꢀ 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 parametersꢀ  
Channel changes can be effected with controller #10ꢀ Sending value 0 via this controller will activate the CLEAN  
channel, while value 1 activates the OVERDRIVE channelꢀ Program change instructions can also be used to  
change channelsꢀ Program change #123 activates the CLEAN channel, program change #124 selects the  
OVERDRIVE channel of your VINTAGERꢀ In addition to changing channels, you can also disable effects, by  
sending the value 0 via controller #11ꢀ Value 1 enables the effectꢀ Alternatively, you can bypass the effect  
section by sending program change instruction #127ꢀ  
MIDI controller #7 adjusts the input sensitivity of the effects module, enabling you to set the overall volume of  
your VINTAGER as desiredꢀ 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  
volumeꢀ This function is also known as “Volume Controller”ꢀ  
The operating range of the wah effect can be determined with MIDI controller #15ꢀ  
22  
3ꢀ EFFECTS PROCESSOR  
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VINTAGER AC112  
Additionally, you can deactivate the LFO in LFO-controlled modulation effects, and modulate these effects with  
MIDI controller #15ꢀ 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 controllerꢀ  
Of course, you can also control the VINTAGER from a computer-based sequencer software, particularly in a  
home recording environmentꢀ Specific environments for popular MIDI sequencer programs will soon be available  
from our web site (wwwꢀbehringerꢀcom)ꢀ  
3ꢀ2ꢀ1 Store Enable mode  
Store Enable mode allows you to store parameter changes directly, eꢀgꢀ from a MIDI sequencerꢀ 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 ENTERꢀ 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 storedꢀ 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 keyꢀ  
4ꢀ 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 chainꢀ 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 coolꢀ  
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 soundꢀ  
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 todayꢀ 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 millenniumꢀ  
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 Hermitsꢀ Then,  
in the mid-'60s a drummer from London was asked by some budding musicians to build them some amplificationꢀ  
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 worldꢀ  
Amp design has come a long way since thenꢀ 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 todayꢀ 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 guitaristsꢀ Other manufacturers are looking back to the old ways,  
with hand-wired, vintage-style “boutique” amps than can cost the earthꢀ  
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 beforeꢀ  
(We would like to thank Mrꢀ Neville Marten, the editor of Guitarist Magazine, for this little essay about the  
history of guitar amp developmentꢀ)  
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 BEHRINGERꢀ  
4ꢀ HISTORICAL BACKGROUND  
23  
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VINTAGER AC112  
5ꢀ INSTALLATION  
Your BEHRINGER VINTAGER was carefully packed in the factory and the packaging is designed to protect  
the unit from rough handlingꢀ Nevertheless, we recommend that you carefully examine the packaging and its  
contents for any signs of physical damage, which may have occurred during transitꢀ  
+
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  
grantedꢀ Shipping claims must be made by the consigneeꢀ  
5ꢀ1 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  
socketꢀ Two of these three triangles will be aligned with one anotherꢀ 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  
receptacleꢀ It meets all of the international safety certification requirementsꢀ  
+
Please make sure that all units have a proper ground connectionꢀ For your own safety, never  
remove or disable the ground conductor of the unit or of the AC power cableꢀ  
5ꢀ2 Audio connections  
The BEHRINGER VINTAGER is installed with unbalanced 1/4" jacksꢀ Only the headphones output is available  
via a stereo 1/4" jackꢀ  
+
Please ensure that only qualified persons install and operate the VINTAGERꢀ During installation  
and operation the user must have sufficient electrical contact to earthꢀ Electrostatic charges  
might affect the operation of the VINTAGER!  
Figꢀ 5ꢀ1: Wiring of a mono 1/4" plug  
24  
5ꢀ INSTALLATION  
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VINTAGER AC112  
Figꢀ 5ꢀ2: Wiring of a stereo headphones 1/4" plug  
5ꢀ3 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 otherꢀ 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 standardꢀ  
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 devicesꢀ In such a studio you could control your VINTAGER in  
real time from a computerꢀ In particular, when playing live gigs you can use a MIDI footcontroller to control both  
the effect parameters and channel/effect changes on your VINTAGERꢀ  
The MIDI connector on the rear of your VINTAGER is an internationally standardized 5-pin DIN jackꢀ To connect  
your VINTAGER to other MIDI equipment, you need a dedicated MIDI cable, which is commercially available in  
various lengthsꢀ However, you can solder your own cables using 2-conductor shielded cables (eꢀgꢀ 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 usedꢀ MIDI cables should not exceed a length of 15 metersꢀ  
+
Make sure that pin 4 is connected to pin 4, and pin 5 to pin 5 on both plugsꢀ  
MIDI IN: receives MIDI controller informationꢀ The receiving channel can be set with the buttons UP and DOWNꢀ  
On = Omni, iꢀeꢀ MIDI data are received and processed on all channels (see section 3ꢀ2)ꢀ  
6ꢀ APPENDIX  
6ꢀ1 Preset list  
Table 6ꢀ1 on the next two pages provides you with information on effect numbers and names, parameter types  
and ranges as well as factory default settingsꢀ  
6ꢀ APPENDIX  
25  
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VINTAGER AC112  
Effect  
Variation  
1
2
short Pre-Delay Reverb Time 1..32  
long Pre-Delay Reverb Time 1..32 14  
short Pre-Delay Reverb Time 1..32  
long Pre-Delay Reverb Time 1..32 14  
short Pre-Delay Reverb Time 1..32  
long Pre-Delay Reverb Time 1..32 15  
short Pre-Delay Reverb Time 1..32  
long Pre-Delay Reverb Time 1..32 12  
short Pre-Delay Reverb Time 1..32  
long Pre-Delay Reverb Time 1..32 16  
short Pre-Delay Reverb Time 1..32  
long Pre-Delay Reverb Time 1..32 13  
8
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
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  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 15  
0..50 10  
0..50 10  
0..50 10  
SPRING  
REVERB  
3
5
STUDIO  
CHAMBER  
STAGE  
4
5
8
6
7
4
8
9
9
CONCERT  
PLATE  
10  
11  
12  
13  
14  
15  
16  
17  
18  
19  
7
min. Density  
max. Density  
min. Reflections  
max. Reflections  
Feedback 0 %  
Feedback 10 %  
Feedback 30 %  
-
Gt./Rev. Time 1..32  
4
Sensitivity 0..63  
9
GATED  
REVERB  
Gt./Rev. Time 1..32 17 Sensitivity 0..63 15  
Mix  
Room Size  
Room Size  
Delay Time  
Delay Time  
Delay Time  
Delay Time  
Delay Time  
Delay Time  
Delay Time  
Delay Time  
Delay Time  
Delay Time  
Delay Time  
Delay Time  
Delay Time  
0..63 32 Pre-Delay 0..63 15  
0..63 63 Pre-Delay 0..63 15  
Mix  
AMBIENCE  
Mix  
0..63 35  
0..63 35  
0..63 35  
Drive  
Drive  
Drive  
0..63 63 Delay Mix 0..50  
0..63 63 Delay Mix 0..50  
0..63 63 Delay Mix 0..50  
6
6
6
WAH /  
DELAY /  
DISTORTION  
20 DELAY / REV.  
21  
0..63 50 Delay Mix 0..50  
7
2
3
8
0
2
Reverb Mix 0..50 20  
min. Feedback  
0..63 43  
0..63 63  
0..63 20  
0..63 63  
Mix L  
Mix L  
Mix L  
Mix L  
0..50  
0..50  
0..50  
0..50  
Mix R  
Mix R  
Mix R  
Mix R  
Mix  
0..50 11  
0..50 11  
0..50 16  
0..50 35  
22  
23  
24  
25  
26  
27  
28  
29  
30  
31  
32  
33  
34  
35  
36  
37  
38  
39  
40  
41  
42  
43  
44  
45  
46  
47  
48  
49  
50  
51  
DELAY  
(stereo)  
max. Feedback  
-
0..63 15 Feedback 0..63  
0..50  
0..50 10  
0..50  
8
-
0..63 25 Feedback 0..63 12  
0..63 30 Feedback 0..63 15  
0..63 45 Feedback 0..63 20  
0..63 63 Feedback 0..63 25  
Mix  
DELAY  
(long mono)  
-
-
Mix  
9
Mix  
0..50 10  
0..50 10  
0..99 50  
0..99 60  
0..99 50  
0..99 50  
0..99 30  
0..99 40  
0..99 50  
0..99 50  
-
Mix  
Feedback 0 %  
Feedback 62 %  
Feedback 62 %  
Feedback 77 %  
fat  
LFO Speed 0..63 36  
LFO Speed 0..63 30  
LFO Speed 0..63 48  
LFO Speed 0..63 63  
Depth  
Depth  
Depth  
Depth  
Depth  
Depth  
Depth  
Depth  
0..63 30  
0..63 35  
0..63 25  
0..63 28  
0..63 63  
0..63 30  
0..63 20  
0..63 63  
Mix  
Mix  
PHASER  
CHORUS  
Mix  
Mix  
LFO Speed 1..32  
LFO Speed 1..32  
8
1
Mix  
slow  
Mix  
stereo  
LFO Speed 1..32 15  
LFO Speed 1..32  
Mix  
stereo  
1
Mix  
ultra  
Reverb Time 0..63 24 Chorus Mix 0..99 50 Reverb Mix 0..50 10  
Reverb Time 0..63 10 Chorus Mix 0..99 50 Reverb Mix 0..50 10  
Reverb Time 0..63 10 Chorus Mix 0..99 40 Reverb Mix 0..50 10  
slow  
CHORUS /  
REVERB  
medium I  
medium II  
fast  
Reverb Time 0..63  
1
Chorus Mix 0..99 50 Reverb Mix 0..50 10  
Reverb Time 0..63 51 Chorus Mix 0..99 50 Reverb Mix 0..50 10  
ultra  
Delay Time  
Delay Time  
Delay Time  
Delay Time  
Delay Time  
0..63 63 Chorus Mix 0..99 50 Delay Mix 0..50 10  
0..63 54 Chorus Mix 0..99 30 Delay Mix 0..50 10  
0..63 59 Chorus Mix 0..99 50 Delay Mix 0..50 10  
0..63 48 Chorus Mix 0..99 50 Delay Mix 0..50 10  
0..63 63 Chorus Mix 0..99 40 Delay Mix 0..50 14  
slow  
CHORUS /  
DELAY  
medium I  
medium II  
hold  
fat  
LFO Speed 1..32 15  
LFO Speed 1..32  
Depth  
Depth  
Depth  
Depth  
0..63  
5
Mix  
Mix  
Mix  
Mix  
0..99 30  
0..99 14  
0..99 24  
0..99 50  
classic  
stereo  
5
0..63 10  
0..63 20  
FLANGER  
LFO Speed 1..32 20  
LFO Speed 1..32 10  
stereo  
0..63  
5
26  
6ꢀ APPENDIX  
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VINTAGER AC112  
Effect  
Variation  
52  
53  
54  
55  
56  
57  
58  
59  
60  
61  
62  
63  
64  
65  
66  
67  
68  
69  
70  
71  
72  
73  
74  
75  
76  
77  
78  
79  
80  
81  
82  
83  
84  
85  
86  
87  
88  
89  
90  
91  
92  
93  
94  
95  
96  
97  
98  
99  
ultra  
Reverb Time 0..63 20 Flanger Mix 0..99 50 Reverb Mix 0..50 10  
Reverb Time 0..63 20 Flanger Mix 0..99 40 Reverb Mix 0..50 10  
Reverb Time 0..63 50 Flanger Mix 0..99 50 Reverb Mix 0..50 10  
Reverb Time 0..63 50 Flanger Mix 0..99 50 Reverb Mix 0..50 10  
Reverb Time 0..63 32 Flanger Mix 0..99 50 Reverb Mix 0..50 10  
slow  
FLANGER /  
REVERB  
medium I  
medium II  
fast  
ultra  
Delay Time  
Delay Time  
Delay Time  
Delay Time  
Delay Time  
0..63 63 Flanger Mix 0..99 30 Delay Mix 0..50 10  
0..63 53 Flanger Mix 0..99 30 Delay Mix 0..50  
slow  
3
FLANGER /  
DELAY  
medium I  
0..63 63 Flanger Mix 0..99 30 Delay Mix 0..50 10  
0..63 32 Flanger Mix 0..99 50 Delay Mix 0..50 10  
medium II  
fast  
0..63 63 Flanger Mix 0..99 30 Delay Mix 0..50  
6
-
LFO Speed 1..32 10  
LFO Speed 1..32 19  
Pan  
Pan  
0..63  
0..63  
0
0
Mix  
Mix  
0..99 50  
0..99 40  
STEREO  
TREMOLO  
-
slow  
Delay Time  
Delay Time  
Delay Time  
Speed  
0..63 19 Tremolo Mix 0..99 50 Delay Mix 0..50 10  
0..63 50 Tremolo Mix 0..99 50 Delay Mix 0..50 10  
0..63 19 Tremolo Mix 0..99 60 Delay Mix 0..50 15  
TREMOLO /  
DELAY  
ultra  
medium  
-
0..63  
0..63 15 Variation 1..32 10  
0..63  
0..63 63 Variation 0..32 32 Delay Mix 0..50 11  
9
Variation 1..32  
1
Mix  
0..99 50  
ROTARY  
SPEAKER  
-
Speed  
Mix  
0..99 50  
-
Delay Time  
Delay Time  
Sensitivity  
Sensitivity  
5
Variation 0..32 24 Delay Mix 0..50  
1
MAGIC DRIVE  
-
fast  
0..63 63  
0..63 63  
Depth  
Depth  
Depth  
Depth  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
Mix L  
0..63 27  
0..63 20  
0..63 45  
0..63 40  
0..99 50  
0..99 50  
0..99 50  
0..99 50  
0..99 50  
0..99 50  
0..99 34  
Mix  
Mix  
0..99 99  
0..99 90  
0..99 90  
0..99 60  
0..99 50  
0..99 34  
0..99 34  
0..99 20  
0..99 34  
0..99 20  
0..99 34  
AUTO  
WAH  
slow  
LFO Band Pass  
LFO Speed 0..63 30  
LFO Speed 0..63 60  
Mix  
LFO  
WAH  
LFO Band Pass  
Mix  
-12  
-5  
Tune Left -12..12  
Tune Left -12..12  
Tune Left -12..12  
Tune Left -12..12  
Tune Left -12..12  
Tune Left -50..50  
0
0
0
0
0
0
Mix R  
Mix R  
Mix R  
Mix R  
Mix R  
Mix R  
Mix R  
+3  
PITCH  
SHIFTER  
+4  
+7  
+4 %  
+8 %  
-12  
Tune Left -50..50 14  
Reverb Time 0..63  
4
Pitch Mix 0..99 30 Reverb Mix 0..50 20  
PITCH  
SHIFTER /  
REVERB  
+3  
Reverb Time 0..63 18 Pitch Mix 0..99 24 Reverb Mix 0..50 10  
Reverb Time 0..63 10 Pitch Mix 0..99 40 Reverb Mix 0..50 12  
+4 %  
+8 %  
-12  
Reverb Time 0..63  
4
Pitch Mix 0..99 40 Reverb Mix 0..50 20  
Delay Time  
Delay Time  
Delay Time  
Delay Time  
Sensitivity  
Sensitivity  
Sensitivity  
Sensitivity  
Drive  
0..63 63 Pitch Mix 0..99 40 Delay Mix 0..50  
0..63 63 Pitch Mix 0..99 34 Delay Mix 0..50  
0..63 63 Pitch Mix 0..99 20 Delay Mix 0..50  
0..63 63 Pitch Mix 0..99 20 Delay Mix 0..50  
7
7
7
7
8
8
0
0
PITCH  
SHIFTER /  
DELAY  
-5  
+4  
+7  
fast  
slow  
Hell  
Heaven  
-
0..63 30  
0..63 30  
0..63 35  
0..63 20  
Ratio  
Ratio  
Ratio  
Ratio  
1..24 10  
1..24 14  
1..24 24  
1..24 14  
Gain  
Gain  
Gain  
Gain  
Mix  
-3..12  
-3..12  
-3..12  
-3..12  
COMPRESSOR  
EXPANDER  
0..63 30 Presence 0..63 42  
0..63 63 Presence 0..63 63  
0..63 63 Presence 0..63 18  
0..99 99  
0..99 99  
0..99 99  
GUITAR  
COMBO  
-
Drive  
Mix  
-
Drive  
Mix  
Stack A  
Stack B  
Combo  
HF Cut  
0..63 20 Peak Gain 0..63 40 Peak Freq. 0..63 63  
0..63 30 Peak Gain 0..63 40 Peak Freq. 0..63 30  
SPEAKER  
CABINET  
HF Cut  
HF Cut  
0..63  
4
Peak Gain 0..63 30 Peak Freq. 0..63 10  
6ꢀ APPENDIX  
27  
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VINTAGER AC112  
6ꢀ2 MIDI implementation  
0,',ꢀ,PSOHPHQWDWLRQꢀ&KDUW  
)XQFWLRQ  
7UDQVPLWWHG 5HFRJQL]HG  
5HPDUNV  
Default  
Changed  
Default  
Messages  
Altered  
X
X
X
X
X
X
X
X
X
X
X
X
X
OFF, 1 - 16  
OFF, 1 - 16  
1,2  
X
X
X
X
X
X
Basic  
Channel  
memorized  
Mode  
Note Number  
Velocity  
True Voice  
Note ON  
Note OFF  
Keys  
X
X
X
After Touch  
Channels  
Pitch Bender  
Control  
O 7, 10 - 15, 18 see add. table  
123 = CLEAN  
O (0 - 98)  
1 - 99  
X
X
X
X
X
X
Progr.  
Change  
124 = OVERDRIVE  
127 = Effect Bypass  
True #  
System Exclusive  
X
X
X
X
X
X
X
X
X
X
X
Song Pos.  
Song Sel.  
Tune  
System  
Common  
Clock  
System  
Real Time  
Commands  
Local ON/OFF  
All notes OFF  
Active Sense  
Reset  
X
X
X
X
Aux  
Messages  
Notes  
O = YES, X = NO  
Mode 1:  
Mode 2:  
OMNI ON  
OMNI OFF  
Tabꢀ 6ꢀ2: MIDI implementation  
Midi Control  
Number  
7
Parameter Name  
Display Range  
Control Value Range  
Volume Controller  
Channel  
-
CLEAN = 0, OVERDRIVE = 1  
OFF = 0, ON = 1  
depends on effect  
depends on effect  
depends on effect  
-
0 .. 127  
0 .. 1  
0 .. 1  
10  
11  
12  
13  
14  
15  
18  
Effect  
Parameter  
Effect A  
Effect B  
0 .. 127 (max.)  
0 .. 127 (max.)  
0 .. 127 (max.)  
0 .. 127  
Wah/Modulation Controller  
Store Enable Controller  
-
0 .. 127  
Tabꢀ 6ꢀ3: MIDI control changes of the VINTAGER  
28  
6ꢀ APPENDIX  
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VINTAGER AC112  
7ꢀ SPECIFICATIONS  
AUDIO INPUTS  
Connector  
Type  
1/4" mono jack  
RF filtered input  
Guitar input  
impedance  
Insert return  
impedance  
Aux input  
impedance  
approxꢀ 1 Munbalanced  
approxꢀ 10 kunbalanced  
approxꢀ 10 kunbalanced  
AUDIO OUTPUTS  
Connector  
Type  
1/4" mono jack  
line level output  
Insert send  
Impedance  
Line out  
approxꢀ 100 unbalanced  
Impedance  
Maxꢀ output level  
approxꢀ 120 unbalanced  
+12 dBu unbalanced  
SYSTEM SPECIFICATIONS (power amplifier)  
Power amp output  
60 Watts RMS @ 5 % THD + N into 8 ; 230 V~  
MIDI INTERFACE  
Type  
5-pin-DIN-socket, MIDI IN  
DIGITAL PROCESSING  
Converters  
Sampling rate  
24-bit sigma-delta, 64/128-times oversampling  
46ꢀ875 kHz  
DISPLAY  
Type  
2-digit numeric LED-display  
LOUDSPEAKER  
Type  
12" heavy duty loudspeaker, model JENSEN® JCH12/70 / BUGERA™ 12G70J8  
Impedance  
Power handling  
8 Ω  
70 Watts  
POWER SUPPLY  
Mains voltages  
USA/Canada  
120 V~, 60 Hz  
Europe/UꢀKꢀ/Australia  
Japan  
general export model  
230 V~, 50 Hz  
100 V~, 50 - 60 Hz  
120/230 V~, 50 - 60 Hz  
Power consumption  
Fuse  
approxꢀ 40 Watts minꢀ / approxꢀ 130 Watts maxꢀ  
100 - 120 V~ : T 2 A H 250 V  
200 - 240 V~ : T 1 A H 250 V  
standard IEC receptacle  
Mains connection  
PHYSICAL  
Dimensions (H x W x D)  
Weight  
approxꢀ 18ꢀ8" (477ꢀ5 mm) * 20ꢀ3" (515ꢀ2 mm) * 10ꢀ5" / 12ꢀ5" (266 mm /317ꢀ5 mm)  
approx18ꢀ5kg  
BEHRINGER is constantly striving to maintain the highest professional standardsꢀ As a result of these efforts, modifications may be made from time  
to time to existing products without prior noticeꢀ Specifications and appearance may differ from those listed or illustratedꢀ  
7ꢀ SPECIFICATIONS  
29  
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VINTAGER AC112  
8ꢀ WARRANTY  
§ 1 WARRANTY CARD/ONLINE REGISTRATION  
3ꢀ Free inspections and maintenance/repair work are expressly  
excluded from this warranty, in particular, if caused by improper  
handling of the product by the userꢀ 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 partsꢀ  
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 § 3ꢀ Failure  
to return the card in due time (date as per postmark) will void any  
extended warranty claimsꢀ Based on the conditions herein, the  
buyer may also choose to use the online registration option via  
the Internet (wwwꢀbehringerꢀcom or wwwꢀbehringerꢀde)ꢀ  
4ꢀ Damages/defects caused by the following conditions are not  
covered by this warranty:  
§ 2 WARRANTY  
s improper handling, neglect or failure to operate the unit in  
compliance with the instructions given in BEHRINGER user  
or service manualsꢀ  
1ꢀ 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 belowꢀ 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 partsꢀ 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  
partsꢀ  
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 usedꢀ  
s damages/defects caused by force majeure or any other  
condition that is beyond the control of BEHRINGERꢀ  
5ꢀ Any repair or opening of the unit carried out by unauthorized  
personnel (user included) will void the warrantyꢀ  
6ꢀ 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 customerꢀ  
2ꢀ If the warranty claim proves to be justified, the product will be  
returned to the user freight prepaidꢀ  
7ꢀ Products which do not meet the terms of this warranty will be  
repaired exclusively at the buyer’s expenseꢀ BEHRINGER will  
inform the buyer of any such circumstanceꢀ If the buyer fails to  
submit a written repair order within 6 weeks after notification,  
BEHRINGER will return the unit CꢀOꢀDꢀ with a separate invoice  
for freight and packingꢀ Such costs will also be invoiced  
separately when the buyer has sent in a written repair orderꢀ  
3ꢀ Warranty claims other than those indicated above are expressly  
excludedꢀ  
§ 3 RETURN AUTHORIZATION NUMBER  
1ꢀ To obtain warranty service, the buyer (or his authorized dealer)  
must call BEHRINGER (see enclosed list) during normal business  
hours BEFORE returning the productꢀ All inquiries must be  
accompanied by a description of the problemꢀ BEHRINGER will  
then issue a return authorization numberꢀ  
§ 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 productꢀ No other person  
(retail dealer, etcꢀ) shall be entitled to give any warranty promise  
on behalf of BEHRINGERꢀ  
2ꢀ Subsequently, the product must be returned in its original  
shipping carton, together with the return authorization number to  
the address indicated by BEHRINGERꢀ  
§ 6 CLAIM FOR DAMAGES  
3ꢀ Shipments without freight prepaid will not be acceptedꢀ  
Failure of BEHRINGER to provide proper warranty service shall  
not entitle the buyer to claim (consequential) damagesꢀ In no  
event shall the liability of BEHRINGER exceed the invoiced value  
of the productꢀ  
§ 4 WARRANTY REGULATIONS  
1ꢀ Warranty services will be furnished only if the product is  
accompanied by a copy of the original retail dealer’s invoiceꢀ  
Any product deemed eligible for repair or replacement under the  
terms of this warranty will be repaired or replacedꢀ  
§ 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW  
1ꢀ 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  
contractꢀ  
2ꢀ 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 workmanshipꢀ The warranty does not cover any  
such modification/adaptation, irrespective of whether it was  
carried out properly or notꢀ Under the terms of this warranty,  
BEHRINGER shall not be held responsible for any cost resulting  
from such a modification/adaptationꢀ  
2ꢀ The warranty regulations mentioned herein are applicable  
unless they constitute an infringement of national warranty lawꢀ  
* Customers in the European Union please contact BEHRINGER  
Germany Support for further detailsꢀ  
Technical specifications and appearance subject to change without noticeꢀ The information contained herein is correct at the time of printingꢀ The names  
of companies, institutions or publications pictured or mentioned and their respective logos are registered trademarks of their respective ownersꢀ 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  
hereinꢀ Colours and specification may vary slightly from productꢀ Products are sold through our authorised dealers onlyꢀ Distributors and dealers are not  
agents of BEHRINGER® and have absolutely no authority to bind BEHRINGER® by any express or implied undertaking or representationꢀ 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 GmbHꢀ BEHRINGER® is a registered trademarkꢀ  
ALL RIGHTS RESERVEDꢀ © 2004 BEHRINGER Spezielle Studiotechnik GmbH,  
Hanns-Martin-Schleyer-Strꢀ 36-38, 47877 Willich-Münchheide II, Germanyꢀ  
Telꢀ +49 2154 9206 0, Fax +49 2154 9206 4903  
30  
8ꢀ WARRANTY  
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