Behringer Car Amplifier AC112 User Manual

User’s Manual

Version 1ꢀ3 July 2004

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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

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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

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VINTAGER AC112

TABLE OF CONTENTS

1ꢀ INTRODUCTIONꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ6

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 deviceꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 11

2ꢀ2 Expanded setup with MIDI foot controller, playback source and mixing console ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 12

3ꢀ EFFECTS PROCESSORꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ13

3ꢀ1 Description of effectsꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 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 connectionꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 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

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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!

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

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

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

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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

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

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

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

1ꢀ INTRODUCTION

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VINTAGER AC112

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!

The BASS control in the EQ section allows you to boost/cut the bass frequencies in the OVERDRIVE

channelꢀ

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

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

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

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

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

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VINTAGER AC112

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

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

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

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”)ꢀ

1ꢀ INTRODUCTION

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VINTAGER AC112

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

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

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%

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

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

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

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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

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

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VINTAGER AC112

Preset-Nr.

Effect

Variation

PARAMETER EFFECT A EFFECT B

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 R

STUDIO

CHAMBER

STAGE

CONCERT

PLATE

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

GATED

min. Density

max. Density

Gate/Reverb Time Sensitivity

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

min. Reflections Room Size Pre-Delay

max. Reflections Room Size Pre-Delay

Mix

AMBIENCE

Tabꢀ 3ꢀ3: Parameters of effects 15 and 16

3ꢀ EFFECTS PROCESSOR

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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

Feedback 0 % Delay Time

Feedback 10 % Delay Time

Feedback 30 % Delay Time

Drive

Delay Mix

WAH /

DELAY /

DISTORTION

Tabꢀ 3ꢀ4: Parameters of effects 17 through 19

Delay/Reverb: This effect produces a normal delay with adjustable delay time that passes a reverb

whose mix ratio can be editedꢀ

Preset-Nr.

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

min. Feedback Delay Time R

Delay Time R

Mix L

Mix R

Mix

DELAY

(stereo)

Delay Time R

max. Feedback Delay Time R

Delay Time Feedback

Mix

DELAY

(long mono)

Mix

Tabꢀ 3ꢀ6: Parameters of effects 21 through 29

3ꢀ EFFECTS PROCESSOR

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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

Feedback 0 % LFO Speed

Feedback 62 % LFO Speed

Feedback 77 % LFO Speed

Depth

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

fat

LFO Speed

Depth

Mix

slow

CHORUS

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

3ꢀ EFFECTS PROCESSOR

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VINTAGER AC112

Preset-Nr.

Effect

Variation PARAMETER EFFECT A EFFECT B

ultra

slow

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

ultra

slow

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

fat

LFO Speed

Depth

Mix

classic

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

ultra

slow

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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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

ultra

slow

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

LFO Speed

Pan

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

ultra

slow

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

Speed

Variation

Mix

ROTARY

SPEAKER

Tabꢀ 3ꢀ16: Parameters of effects 67 and 68

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

Delay Time

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

Sensitivity

Depth

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

LFO Band Pass LFO Speed

Depth

Mix

LFO WAH

Tabꢀ 3ꢀ19: Parameters of effects 73 and 74

3ꢀ EFFECTS PROCESSOR

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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

-12

-5

Tune Left

Mix L

Mix R

PITCH

SHIFTER

+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

-12

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

-12

-5

Delay Time Pitch Mix Delay Mix

PITCH

SHIFTER /

DELAY

Tabꢀ 3ꢀ22: Parameters of effects 86 through 89

3ꢀ EFFECTS PROCESSOR

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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

Sensitivity

Ratio

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

Overdrive Sensitivity

Ratio

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

Drive

Presence

GUITAR

COMBO

Mix

Tabꢀ 3ꢀ25: Parameters of effects 94 through 96

3ꢀ EFFECTS PROCESSOR

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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

Stack A

Stack B

Combo

HF Cut

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

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

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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

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

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VINTAGER AC112

Effect

Variation

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

Mix L

0..50 10

Mix R

Mix

0..50 10

0..50 15

0..50 10

SPRING

REVERB

STUDIO

CHAMBER

STAGE

CONCERT

PLATE

min. Density

max. Density

min. Reflections

max. Reflections

Feedback 0 %

Feedback 10 %

Feedback 30 %

Gt./Rev. Time 1..32

Sensitivity 0..63

GATED

REVERB

Gt./Rev. Time 1..32 17 Sensitivity 0..63 15

Mix

Room Size

Delay Time

0..63 32 Pre-Delay 0..63 15

0..63 63 Pre-Delay 0..63 15

Mix

AMBIENCE

Mix

0..63 35

Drive

0..63 63 Delay Mix 0..50

WAH /

DELAY /

DISTORTION

20 DELAY / REV.

0..63 50 Delay Mix 0..50

Reverb Mix 0..50 20

min. Feedback

0..63 43

0..63 63

0..63 20

0..63 63

Mix L

0..50

Mix R

Mix

0..50 11

0..50 16

0..50 35

DELAY

(stereo)

max. Feedback

0..63 15 Feedback 0..63

0..50

0..50 10

0..50

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

0..50 10

0..99 50

0..99 60

0..99 50

0..99 30

0..99 40

0..99 50

Mix

Feedback 0 %

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

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

PHASER

CHORUS

Mix

LFO Speed 1..32

Mix

slow

Mix

stereo

LFO Speed 1..32 15

LFO Speed 1..32

Mix

stereo

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

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

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

0..63

Mix

0..99 30

0..99 14

0..99 24

0..99 50

classic

stereo

0..63 10

0..63 20

FLANGER

LFO Speed 1..32 20

LFO Speed 1..32 10

stereo

0..63

6ꢀ APPENDIX

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VINTAGER AC112

Effect

Variation

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 32 Flanger Mix 0..99 50 Reverb Mix 0..50 10

slow

FLANGER /

REVERB

medium I

medium II

fast

ultra

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

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

LFO Speed 1..32 10

LFO Speed 1..32 19

Pan

0..63

Mix

0..99 50

0..99 40

STEREO

TREMOLO

slow

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

Variation 1..32

Mix

0..99 50

ROTARY

SPEAKER

Speed

Mix

0..99 50

Delay Time

Sensitivity

Variation 0..32 24 Delay Mix 0..50

MAGIC DRIVE

fast

0..63 63

Depth

Mix L

0..63 27

0..63 20

0..63 45

0..63 40

0..99 50

0..99 34

Mix

0..99 99

0..99 90

0..99 60

0..99 50

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 -50..50

Mix R

PITCH

SHIFTER

+4 %

+8 %

-12

Tune Left -50..50 14

Reverb Time 0..63

Pitch Mix 0..99 30 Reverb Mix 0..50 20

PITCH

SHIFTER /

REVERB

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

Pitch Mix 0..99 40 Reverb Mix 0..50 20

Delay Time

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

PITCH

SHIFTER /

DELAY

-5

fast

slow

Hell

Heaven

0..63 30

0..63 35

0..63 20

Ratio

1..24 10

1..24 14

1..24 24

1..24 14

Gain

Mix

-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

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

0..63

Peak Gain 0..63 30 Peak Freq. 0..63 10

6ꢀ APPENDIX

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VINTAGER AC112

6ꢀ2 MIDI implementation

0,',ꢀ,PSOHPHQWDWLRQꢀ&KDUW

)XQFWLRQ

7UDQVPLWWHG 5HFRJQL]HG

5HPDUNV

Default

Changed

Default

Messages

Altered

OFF, 1 - 16

1,2

Basic

Channel

memorized

Mode

Note Number

Velocity

True Voice

Note ON

Note OFF

Keys

After Touch

Channels

Pitch Bender

Control

O 7, 10 - 15, 18 see add. table

123 = CLEAN

O (0 - 98)

1 - 99

Progr.

Change

124 = OVERDRIVE

127 = Effect Bypass

True #

System Exclusive

Song Pos.

Song Sel.

Tune

System

Common

Clock

System

Real Time

Commands

Local ON/OFF

All notes OFF

Active Sense

Reset

Aux

Messages

Notes

O = YES, X = NO

Mode 1:

Mode 2:

OMNI ON

OMNI OFF

Tabꢀ 6ꢀ2: MIDI implementation

Midi Control

Number

Parameter Name

Display Range

Control Value Range

Volume Controller

Channel

CLEAN = 0, OVERDRIVE = 1

OFF = 0, ON = 1

depends on effect

0 .. 127

0 .. 1

Effect

Parameter

Effect A

Effect B

0 .. 127 (max.)

0 .. 127

Wah/Modulation Controller

Store Enable Controller

0 .. 127

Tabꢀ 6ꢀ3: MIDI control changes of the VINTAGER

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 MΩ unbalanced

approxꢀ 10 kΩ unbalanced

AUDIO OUTPUTS

Connector

Type

1/4" mono jack

line level output

Insert send

Impedance

Line out

approxꢀ 100 Ω unbalanced

Impedance

Maxꢀ output level

approxꢀ 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

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)

approxꢀ18ꢀ5kg

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

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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

Hanns-Martin-Schleyer-Strꢀ 36-38, 47877 Willich-Münchheide II, Germanyꢀ

Telꢀ +49 2154 9206 0, Fax +49 2154 9206 4903

8ꢀ WARRANTY

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