Behringer Stereo Amplifier GX110 User Manual

User’s Manual  
Version 1.1 June 2001  
 
ULTRAROC GX110  
FOREWORD  
Dear Customer,  
Welcome to the team of ULTRAROC users and thank you very much for expressing your confidence in  
BEHRINGER products by purchasing the GX110.  
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  
excellent practice/backstage amp that does not only produce an out-of-the-ordinary sound but also features a  
revolutionary design concept. Your GX110 combines highest performance with a wealth of first-class effects.  
The task to design the ULTRAROC certainly meant a great deal of responsibility, which we assumed by  
focusing on you, the discerning user and musician. It also meant a lot of work and night shifts to accomplish  
this goal. But it was fun, too. Developing a product usually brings a lot of people together, and what a great  
feeling it is when everybody who participated in such a project can be proud of what we’ve achieved.  
It is our philosophy to share our joy with you, because you are the most important member of the BEHRINGER  
family. With your highly competent suggestions for new products you’ve greatly contributed to shaping our  
company and making it successful. In return, we guarantee you uncompromising quality as well as excellent  
technical and audio properties at an extremely favorable price. All of this will enable you to fully unfold your  
creativity without being hampered by budget constraints.  
We are often asked how we can make it possible to produce such high-grade devices at such unbelievably low  
prices. The answer is quite simple: it’s you, our customers! Many satisfied customers, mean large sales  
volumes enabling us to get better conditions of purchase for components, etc. Isn’t it only fair to pass this  
benefit back to you? Because we know that your success is our success too!  
I would like to thank the following people, whose help on “Project ULTRAROC” 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 ULTRAROC a revolutionary Guitar Workstation,  
s Thorsten who designed this marvelous manual,  
s Volker for the fine mechanics,  
s and all the others, who have made very personal contributions.  
My friends, it’s been worth the trouble!  
Thank you very much,  
Uli Behringer  
3
 
ULTRAROC GX110  
ULTRAROC®  
Ultra-flexible 30-Watt Guitar Workstation with digital multi-effects processor  
s Powerful 30-Watt RMS Guitar Workstation with authentic VIRTUBE® tube simulation  
s Original 35-Watt vintage 10" JENSEN guitar speaker model JCH10/35  
s Two independent channels with separate volume controls and effects  
s CLEAN channel delivers clean and slightly distorted tube-type sounds  
s OVERDRIVE channel offers a broad range of modern crunch to high-gain sounds  
s Classical 3-band EQ with excellent sound characteristics  
s 24-bit stereo multi-effects processor with extremely high-resolution 24-bit AD/DA converters  
s 31 original VIRTUALIZER® and MODULIZER® presets with outstanding effects such as Reverb, Delay,  
Phaser, Chorus, Flanger, Pitch Shifter, Speaker Simulation, Rotary Speaker, Magic Drive, Compressor,  
Expander, Wah-Wah, Tube Emulator and various effect combinations  
s 99 easy-to-edit user presets  
s Additional 8 Ohm speaker output (built-in speaker is muted automatically)  
s Adjustable AUX input for playback or other line-level signals (e.g. CD player, drum computer)  
s Frequency-corrected line output for recording and live applications  
s Insert facility for external effects devices (stomp boxes, wah-wah pedals, etc.)  
s GX110 comes with footswitch FS112 for channel selection and effect bypass  
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 FX MIX parameter can be stored in each preset  
s Extremely rugged construction ensures long life even under the most demanding conditions  
s Robust power supply ensures excellent transient response  
s Manufactured under ISO9000 certified management system  
4
 
ULTRAROC GX110  
TABLE OF CONTENTS  
1. INTRODUCTION.....................................................................................................................6  
1.1 The design concept ......................................................................................................................... 7  
1.1.1 VIRTUBE technology ............................................................................................................ 7  
1.1.2 JENSEN loudspeaker ........................................................................................................... 7  
1.2 Before you begin ............................................................................................................................. 7  
1.3 Control elements ............................................................................................................................. 8  
1.3.1 The front panel ...................................................................................................................... 8  
1.3.2 The rear panel ....................................................................................................................... 9  
2. WIRING EXAMPLES ............................................................................................................. 11  
2.1 Standard setup consisting of guitar, footswitch and external effects device .....................................11  
2.2 Expanded setup with MIDI foot controller, playback source and mixing console ............................. 11  
3. EFFECTS PROCESSOR......................................................................................................12  
3.1 Description of effects..................................................................................................................... 12  
3.2 Controlling the ULTRAROC via MIDI .............................................................................................. 15  
4. HISTORICAL BACKGROUND by Neville Marten (Guitarist Magazine) .........................16  
5. INSTALLATION .....................................................................................................................17  
5.1 Mains connection.......................................................................................................................... 17  
5.2 Audio connections ........................................................................................................................ 17  
5.2.1 Loudspeaker connector ....................................................................................................... 18  
5.3 MIDI connection ............................................................................................................................ 19  
6. APPENDIX .............................................................................................................................20  
6.1 Preset list ..................................................................................................................................... 20  
6.2 MIDI-Implementation ..................................................................................................................... 21  
7. SPECIFICATIONS .................................................................................................................22  
8. WARRANTY ...........................................................................................................................23  
CAUTION!  
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It should be pointed out that extreme output volumes may damage your ears and/or your  
headphones. Turn down all LEVEL controls before you switch on the unit. Always pay attention  
to an appropriate volume level.  
5
 
ULTRAROC GX110  
1. INTRODUCTION  
Thank you very much for expressing your confidence in BEHRINGER products by purchasing the ULTRAROC  
GX110. With the ULTRAROC, you have acquired a modern Guitar Workstation that sets new standards in  
practice amp engineering. When developing the GX110, 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 an user interface that can be operated intuitively.  
BEHRINGER is an audio engineering company that has been successfully developing products for studio and  
live applications for many years now. Our range of products includes microphones and a variety of 19" devices  
(compressors, enhancers, gates, tube processors, headphone amps, digital effects devices, DI boxes, etc.)  
as well as various monitoring and P.A. speakers plus professional live and recording consoles. The name of  
BEHRINGER stands for no-compromise quality, fully-featured products and exemplary service – even years  
after purchase – as well as sensationally low prices, which allow any ambitious music lovers to make their  
musical dreams come true.  
We also set great store by flexibility, which has become a particularly important factor in the music business  
over the past few years. Modern guitarists need to offer a broad range of sounds, but should still be able to  
play in different kinds of applications at short notice: home recording, studio, live concerts. For this reason, it  
has always been our prime concern to give you a Guitar Workstation that offers you a complete set of  
functions, but can still be operated intuitively and quickly – no matter what kind of style you play.  
Unfortunately, conventional guitar amps are often not fully designed and developed. Moreover, many manufacturers  
of traditional-style guitar amps are somewhat afraid of using state-of-the-art technology. The ULTRAROC, on  
the other hand, is a pioneering guitar amp that has considerably more functions than any conventional 2-channel  
amp with a built-in spring reverb. Still, you can use the GX110 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 ULTRAROC in full detail,  
so that you know what each of the many functions does and be able to fully exploit the numerous effects and  
control options provided.  
As technology advances, you’ve got to keep track of latest technological breakthroughs to avoid falling by the  
wayside. We, too, have continuously improved this amp and included many of your valuable suggestions. We  
have spared neither expense nor effort to test different types of circuitry and speakers until the results gave  
us complete satisfaction. After all, we really want to give you fully designed and developed products that meet  
your expectations in every respect. The ULTRAROC shall be an useful tool for years to come, which is why  
we’ve equipped the effects modules of our Guitar Workstation with EPROMS that can be updated. In this way,  
we can keep working on new algorithms and considering your ideas and suggestions. The resulting software  
updates will be made available for free on the Internet, so as to ensure that your amp will never be outdated.  
We’ve packed our entire experience into this latest generation of guitar amps. Many people contributed to this  
project of intense development: studio musicians, collectors of vintage guitar amps, music and guitar lovers  
alike. We even invited guitar amp tuning experts to help us develop an amplifier that gives you the best of all  
worlds:  
s Sophisticated analog technology with a “feel factor” only analog technology can provide.  
s The perfect emulation of tube-specific nuances to make up for the drawbacks encountered in tube designs  
(noise, hum, etc.)  
s Latest DSP technology to give you a broad range of modern high-gain and vintage-type effect sounds.  
s Rugged and solid construction which even withstands roughest handling.  
s Intuitive operation, so that you can focus your mind on what is most important to you: your music!  
+
This manual first describes the terminology used, so that you can fully understand the  
ULTRAROC and its functions. Please read the manual carefully and keep it for future reference.  
6
1. INTRODUCTION  
 
ULTRAROC GX110  
1.1 The design concept  
The philosophy behind BEHRINGER products guarantees a no-compromise circuit design and employs the  
best choice of components. The operational amplifiers used in the ULTRAROC are exceptional: they boast  
extreme linearity and very low distortion characteristics. To complement this design, the choice of components  
includes low-tolerance resistors and capacitors, high-quality potentiometers and several other stringently selected  
elements.  
The ULTRAROC uses SMD technology (Surface Mounted Device). These subminiature components adapted  
from aerospace technology allow for an extreme packing density to further improve the overall reliability.  
The super-robust steel-plate enclosure of your ULTRAROC, with its generously dimensioned power supply,  
ensures that your GX110 will never fail on the stage – even when the going gets tough. The enclosure is made  
of high-grade and non-polluting MDF wood, which consists of multiple tongued layers.  
1.1.1 VIRTUBE technology  
Tube preamps usually have three to five triode stages in series producing various degrees of distortion,  
dynamic compression and frequency response modification. In addition to the characteristic curve, along  
which the signal is distorted, also the order of filters and distortion stages play a vital role. While clean and  
slightly distorted sounds may be a pleasure to hear when the signal has lots of bass prior to the distortion  
stage, this configuration would lead to a muddy, fuzz-like sound when hi-gain settings are used. For this  
reason, tube amps have passive, and usually simple filters switched between the individual amplifier stages.  
These filters determine which frequencies contribute to the distorted sound.  
After the distortion stages, too, filter circuits are used to provide a perfect blend of output signal and generated  
harmonics. Our VIRTUBE circuits have been optimized to mimic this sophisticated interaction with solid-state  
components. EQ and filters between the single stages are the same as those used in classical tube amps. The  
non-linear characteristic curves are simulated by means of specific diode types. The result is an amplifier  
that gives you sounds with a very pronounced tube character.  
1.1.2 JENSEN loudspeaker  
Since Peter Jensen produced the first loudspeakers in 1923 JENSEN reshaped the communications industry.  
As the demand for new electric guitar and bass amplifiers increased, so did the need for JENSEN speakers  
in the 50’s and 60’s. JENSEN represented the worldwide industry standard for speaker products and their  
sound was in fact the sound of Rock ´n´ Roll. Still these vintage speakers are highly valued by top musicians  
and collectors around the world. Famous american and british brands choose JENSENs for their top-of-the-  
line products. There is no doubt about the tremendous impact the loudspeaker has on the sound of electric  
guitar amplifiers. Consequently, JENSEN has put into production those legendary speakers again that  
contributed so much to the history of modern music, using the most sophisticated and modern facilities  
Europe has to offer. You will find them in top-of-of-the-line guitar amps.  
1.2 Before you begin  
Your BEHRINGER ULTRAROC was carefully packed in the factory and the packaging is designed to protect  
the unit from rough handling. Nevertheless, we recommend that you carefully examine the packaging and its  
contents for any signs of physical damage, which may have occurred during transit.  
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If the unit is damaged, please do not return it to BEHRINGER, but notify your dealer and the  
shipping company immediately, otherwise claims for damage or replacement may not be granted.  
Shipping claims must be made by the consignee.  
Be sure that there is enough space around the unit for cooling and please do not place the ULTRAROC on high  
temperature devices such as radiators etc. to avoid overheating.  
+
Before you connect your ULTRAROC to the mains, please make sure that your local voltage  
matches the voltage required by the unit!  
1. INTRODUCTION  
7
 
ULTRAROC GX110  
The mains connection of the GX110 is made by using the enclosed mains cable and a standard IEC receptacle.  
It meets all of the international safety certification requirements.  
+
Please make sure that all units have a proper ground connection. For your own safety, never  
remove or disable the ground conductor of the unit or of the AC power cable.  
The MIDI connection (IN) is made over standardized DIN plug-in connectors. An optocoupler has been used  
for isolated data communications.  
You will find additional information in chapter 5 “INSTALLATION”.  
1.3 Control elements  
Fig. 1.1: The front panel of the ULTRAROC  
The BEHRINGER ULTRAROC GX110 features nine controls, two push-buttons and one 2-digit, 7-segment  
LED display on its front panel. Additionally, there is one 1/4" jack for input.  
1.3.1 The front panel  
Fig. 1.2: The front panel control elements  
1
INPUT is the ULTRAROCs 1/4" jack input for your guitar. Use a commercial 1/4" jack mono cable (no  
DIY, better ask your specialized dealer), with good mechanical and electrical shielding, so as to avoid  
unpleasant surprises during rehearsals or concerts.  
2
3
The CLEAN VOLUME control sets the volume for the clean channel.  
The CHANNEL button allows you to toggle between the CLEAN and OVERDRIVE channels. When  
OVERDRIVE is on, the corresponding LED lights up.  
4
5
The GAIN control determines the degree of distortion in the OVERDRIVE channel.  
The VOLUME control sets the volume for the OVERDRIVE channel.  
+
Use both VOLUME controls to optimize the volume ratio of the two channels, so that no volume  
differences can be heard when switching from one channel to the other. This setting is also  
effective on the level-dependent digital effects!  
6
The BASS control in the EQ section allows you to boost or cut the bass frequencies.  
8
1. INTRODUCTION  
 
ULTRAROC GX110  
With the MID control you can boost/cut the midrange frequencies.  
The TREBLE control governs the upper frequency range.  
7
8
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Please note that with all three EQ controls set fully to the left, there will be no signal sent to the  
speaker, which is due to the classical and extremely efficient EQ circuit used in the ULTRAROC.  
9
Use the EFFECT button to activate/deactivate the selected effect.  
The FX MIX control determines the ratio of original vs. effect signal.  
10  
11  
The EFFECTS control allows you to select an effects preset from 1 through 99. The selected preset will  
be loaded approximately 1 sec after releasing the control.  
12  
The DISPLAY reads either the program number of the selected preset or the value of the parameter  
selected with the FX MIX control.  
+
When you start editing a preset, the decimal point in the 2-digit display starts flashing. Press  
the EFFECT button for a while to overwrite the factory preset and save your own effect setting.  
To restore the factory presets, simply keep the EFFECT button pressed while you switch on  
your ULTRAROC.  
13  
The MASTER control determines the overall and headphones volume level of your ULTRAROC.  
s
MIDI: You can control your ULTRAROC via MIDI. To select the MIDI receive channel on the ULTRAROC,  
press and keep the EFFECT and CHANNEL buttons for about 1 sec. Then, use the EFFECTS control  
to select the MIDI channel of your choice (1 through 16, On= Omni; OF= Off). Confirm your selection  
with the EFFECTS button. OFmeans that all MIDI functions are off. While you select the MIDI receive  
channel, the display flashes. The decimal point in the DISPLAY flashes as soon as MIDI data are being  
received.  
+
When the MIDI functions are inactive, one effect can be stored for each of the two channels on  
your ULTRAROC, which allows, for instance, to select a DELAY effect for the OVERDRIVE channel  
and assign a REVERB/CHORUS effect to the CLEAN channel. The corresponding program  
numbers will be stored with the channels and can be recalled using the footswitch or the front  
panel buttons. When MIDI is on, this assignment feature will be disabled, so that in this mode  
both channels and effects can be selected separately.  
1.3.2 The rear panel  
Fig. 1.3: The rear panel connectors  
14  
Use the POWER switch to put the ULTRAROC into operation.  
1. INTRODUCTION  
9
 
ULTRAROC GX110  
15  
FUSE HOLDER/VOLTAGE SELECTOR. Please make sure that the voltage indicated on the unit,  
matches your local voltage, before you attempt to connect and operate the ULTRAROC GX110. Blown  
fuses may only be replaced by fuses of the same type and rating. Some models allow for inserting the  
fuse holder in two different positions, in order to switch over from 230 V to 115 V operation, and vice  
versa. Please note that for 115 V operation outside Europe, you need to use a fuse of a higher rating  
(see chapter 5 INSTALLATION).  
16  
17  
Use the enclosed power cord to connect the unit to the mains.  
MIDI IN. This connector gives you MIDI remote control over your ULTRAROC. You can change parameters  
using controller information, switch over effect programs, change channels and bypass the effects  
module by means of program change instructions.  
18  
SERIAL NUMBER. Please take the time to have the warranty card filled out completely by your  
specialized dealer, and return it within 14 days after the date of purchase, so as to be entitled to benefit  
from our extended warranty.  
19  
20  
Use the LOUDSPEAKER jack to connect a supplementary speaker to your ULTRAROC. Optimum  
adaptation is ensured with 8 speakers. Inserting a plug into this jack will mute the built-in speaker.  
The 1/4" jack PHONES allows you to monitor the ULTRAROCs audio signal with a pair of commercially  
available headphones. Connecting the headphones will mute the built-in speaker.  
+
Since speakers can have quite an impact on the sound of a guitar amp, both the headphones  
and LINE OUT signals are frequency-corrected (Speaker Emulation). Without this frequency  
correction extreme treble frequencies would deteriorate the sound. You can still tap the  
unprocessed signal directly after the pre-amp (INSERT SEND jack), without interrupting the  
signal path in the amplifier (INSERT RETURN jack may not be used in this case). Starting with  
a certain volume level, low-impedance headphones may begin to produce distortion. In such  
a case, please reduce the volume by turning down the VOLUME controls.  
21  
22  
23  
The AUX TRIM control determines the volume of AUX signals fed into the ULTRAROC via the AUX IN  
jacks on the rear (e.g. drum computer, playback).  
The LINE OUT provides the ULTRAROCs audio signal, for example, to send it to a recording machine.  
This output is frequency-corrected (Speaker Emulation).  
The AUX IN allows you to feed in additional signals, for example, to play with a drum computer or some  
sort of playback. Additionally, you can use the AUX IN in combination with the INSERT SEND as a  
parallel effect path: connect the INSERT SEND to the input and the AUX IN to the output of the effects  
device (INSERT RETURN jack should not be used in this case!). Thus, the signal path in the amplifier  
will not be interrupted and you can add the effect portion from the external device, using the AUX TRIM  
control. Please note that the external effects device must be set to 100% wet for this purpose.  
+
When you connect the INSERT SEND to the AUX IN using a short patch cord, you can add the  
direct signal to the effect signal via analog circuitry. Advantage: The direct signal will be  
provided all the time, even while the DSP is loading a new effects program. However, it  
should be noted that all FX mixes in the presets should be set to higher values, so as to make  
the effect signal heard.  
+
Since the entire signal processing circuitry in the ULTRAROC is configured in mono, both the  
LINE OUT and the headphones output provide the same signal on both (stereo) sides.  
24  
The ULTRAROC also features a serial insert path for external effects such as a compressor or wah-wah  
pedal. This is the INSERT SEND jack you need to connect to the input of the effects device.  
25  
This is the INSERT RETURN jack that can be connected to the output of an external effects device.  
+
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  
ULTRAROC.  
26  
10  
Connect the enclosed footswitch via its stereo plug to the FOOTSWITCH jack. The footswitch allows  
you to change channels or disable the effects module.  
1. INTRODUCTION  
 
ULTRAROC GX110  
2. WIRING EXAMPLES  
2.1 Standard setup consisting of guitar, footswitch and external effects device  
To use your ULTRAROC for rehearsals or on stage, please wire up the unit as shown in fig. 2.1. Of course, you  
can also use a wah-wah or other pedal effect instead of the external 19" effects unit, or simply work with the  
internal effects without having to use the insert path at all. Connecting the headphones will mute the built-in  
speaker.  
When you wish to use a guitar tuner, please connect it to the INSERT SEND of your ULTRAROC. If there is no  
further effects device connected, you can leave the INSERT RETURN as it is. However, to use an external  
effects device, place the tuner before the effects in the signal chain, so that it works on unprocessed signals  
only.  
Fig. 2.1: Standard setup  
2.2 Expanded setup with MIDI foot controller, playback source and mixing console  
To use your ULTRAROC for advanced applications, please consider the following suggestions. Of course, the  
expanded configuration suggested in fig. 2.2. builds on the standard setup described in chapter 2.1.  
Use the MIDI foot controller to change presets and/or channels, set volume and wah, etc. The line out signal  
can be fed into a P.A. or recording console, and the AUX input can be used to play back e.g. cassette recorder  
signals through the GX110.  
2. WIRING EXAMPLES  
11  
 
ULTRAROC GX110  
Fig. 2.2: Expanded setup  
3. EFFECTS PROCESSOR  
A very special feature of your ULTRAROC is its built-in effects processor, which offers the same audio quality  
and algorithms as our popular 19" effects devices VIRTUALIZER PRO and MODULIZER PRO, however, here  
completely in mono. This effects module provides 31 different groups of first-class effects such as Reverb,  
Chorus, Flanger, Delay, Pitch Shifter, Compressor, Expander, Wah-Wah variations, various combination effects  
and even Tube and Speaker Emulation. The latter, in particular, can make a guitarists life much easier in home  
recording studios, because they allow you to record the amps signal without having to use a microphone. A  
total of 99 presets gives you a broad range of versatile effects, which can be edited in one parameter each. The  
FX MIX control determines (with a few exceptions) the mix of original and effect signals. As a rule of thumb,  
values (adjustable in steps of 2%) between 20% (moderate effect) and 40% (clearly audible effect) should  
deliver good results. In the case of Reverb and Delay presets, the mix ratio is adjustable from 0% through 50%  
in steps of 1%. Additionally, the multi-effects processor provides different effects variations, which are permanently  
linked to the presets. The FX MIX setting can be stored with each preset. To restore the factory default  
settings, simply keep the EFFECT button pressed while you power up the ULTRAROC.  
Use the EFFECTS control to select a preset which will be activated after a short delay. The display reads the  
number of the currently active preset. As soon as you edit a preset with the FX MIX control, the display will  
read the respective parameter value. After about three seconds the display switches back to the program  
number. Whenever a parameter has been changed, the decimal point in the 2-digit display starts flashing. To  
save your edits and overwrite the existing preset, simply press the EFFECT button for about two seconds.  
3.1 Description of effects  
01-02 Spring Reverb: Even a guitar amp with a digital multi-effects processor should allow you to use a  
spring reverb. This algorithm emulates the typical sound of a spring reverb, as it is known from numerous  
guitar amps. However, here you dont have the typical shatter sound when your amp gets knocked  
over.  
03-04 Studio: This effect simulates the characteristics of middle-sized rooms. With its natural sound it can  
be used for a great variety of applications.  
12  
3. EFFECTS PROCESSOR  
 
ULTRAROC GX110  
05-06 Chamber: You can clearly hear the sound as it bounces back from the walls of this room. The  
program is particularly suited for diffuse types of reverb or to make a dry guitar sound more natural.  
07-08 Stage: A fine reverb e.g. to liven up and widen a clean guitar.  
09-10 Concert: Here, you can choose from a small theater (preset 9) or a large concert hall (preset 10).  
Compared to the STUDIO reverb program, these algorithms sound more lively and have more treble  
frequencies.  
11-12 Plate: The sound of an ancient plate reverb. A classic algorithm that makes your guitar sound wonderful  
and enchanting.  
13-14 Gated Reverb: This reverb is cut off abruptly and became famous through Phil Collins’ “In the air  
tonight.  
15-16 Ambience: The reverb of any room consists of so-called early reflectionsand the reverb tail. This  
algorithm emulates the first 15 of these early reflections. Since our ears use these reflections to determine  
the room size, they can be employed to create subtle and impressive reverb densities, without clouding  
the overall signal with long reverb tails. This effect is particularly impressive when played through a pair  
of headphones.  
17-19 Wah/Delay/Distortion: In general, filters are used to provide some static equalization of a signals  
frequency response. The wah effect-combined with delay and distortion in this preset-allows the mid-  
range frequencies to pass, while it more or less suppresses the remaining frequency ranges. Guitarists  
such as Jimi Hendrix and Eric Clapton made this effect popular, and it still hasnt gone out of fashion.  
Using MIDI controller #15 you can edit the operating range of the wah effect, e.g. via a MIDI foot controller.  
In this way, it is possible to use the wah effect like an analog wah foot pedal. Adjustable parameter:  
delay intensity.  
20  
Delay/Reverb: This effect produces a normal delay that passes a reverb whose mix ratio can be edited.  
21-29 Delay: This algorithm delays the input signal and generates several repeats. The presets produce  
various delays with different lengths and repeats. Adjustable parameter: effect mix.  
30-33 Phaser: From a technical point of view, phasing is a modulation effect producing a multi-stage phase  
shift between direct and effect signals. As the frequency-dependent phase shift is controlled by an  
LFO (low-frequency oscillator), the various frequency ranges of the signal are raised or lowered in  
their amplitudes. Depending on the setting you choose, the resulting phasing effect is either slightly  
modulating in character or produces heavy sound coloration reminiscent of a continuously modulated  
filter.  
34-37 Chorus: Imagine a string quartet, with each musician playing the same notes. As a matter of fact  
though, no musician is able to play with an intonation accuracy of 100%. Consequently, slightly  
detuned signal portions are produced which overlap in the time domain. To emulate this effect, chorusing  
uses copies of the original signal, which are then delayed by 20 to 40 msec, detuned slightly and  
modulated by the LFO. The result is a detune effect that is very pleasant in character. As this effect is  
used so frequently and in such a variety of signal-widening applications, any recommendation given here  
would mean a restriction of its uses.  
3. EFFECTS PROCESSOR  
13  
 
ULTRAROC GX110  
38-42 Chorus/Reverb: Here, the signal passes a chorus effect with various intensities and then a reverb.  
Adjustable parameter: reverb mix.  
43-47 Chorus/Delay: First, the signal is chorused with various intensities, then follows a delay effect with  
various feedback levels and adjustable delay time. Adjustable parameter: delay mix.  
48-51 Flanger: An LFO constantly modulates the pitch of the effect signal up and down by a few cents and  
then sends the effect signal back to the input. This effect can be excellently combined with distorted  
guitar sounds.  
52-56 Flanger/Reverb: Here, a flanger with various intensities is followed by a reverb. Use the FX MIX control  
to edit the reverb mix.  
57-61 Flanger/Delay: The first element is a flanger with various intensity levels, then comes a delay effect.  
Adjustable parameter: delay mix.  
62-63 Tremolo: Tremolo is a more or less fast, intensive variation of the signal amplitude.  
64-66 Tremolo/Delay: A more or less fast, intensive amplitude modulation complemented by a delay effect.  
Use the FX MIX control to edit the tremolo mix parameter.  
67-68 Rotary Speaker: This is the quintessential simulation of the classical organ effect normally produced  
by speakers that rotate at slow/fast speed in a bulky and extremely heavy speaker cabinet. This effect  
uses the physical principle known as Doppler effect.  
69-70 Magic Drive: This is an absolutely up-to-date effect combined with a delay. As a little extra, this effect  
includes an LFO-controlled notch filter. Adjustable parameter: delay mix. With its high volume level this  
effect is perfectly suitable for solo work.  
71-72 Auto Wah: Auto Wah is a velocity-sensitive effect that allows low frequencies to pass, while high  
frequencies are more or less suppressed. FX MIX controls the filter depth. Select a low value when you  
prefer playing in low registers. The higher the register, the higher the depth value should be (FX MIX).  
73-74 LFO Wah: In the LFO Wah effect the LFO governs the speed of frequency modulation. Here, you can  
produce wah-wah effects that are repeated at regular intervals. The LFO Wah delivers astounding  
results.  
14  
3. EFFECTS PROCESSOR  
 
ULTRAROC GX110  
75-81 Pitch Shifter: This effect shifts the pitch of the input signal and can be used to produce musical  
intervals and harmonies or simply to widen a single voice. Heavy detuning by several semi-tones up  
creates a Mickey-Mouse-type effect. The preset variations include various fixed intervals.  
82-85 Pitch/Reverb: Here, a pitch shifter set to various cent and semi-tone intervals is followed by a reverb.  
Adjustable parameter: pitch shifter mix.  
86-89 Pitch/Delay: First, the signal passes the pitch shifter set to various intervals. Then, a delay effect is  
added. Use the FX MIX control to edit the pitch shift mix parameter.  
90-91 Compressor: To make an audio signal heard in the mix, it often needs to be limited in its dynamic  
range. This job is done by compressors and/or limiters. Limiters abruptly limit the signal above a  
specific threshold, while compressors provide for a softcontrol process over a wider range. The FX MIX  
control allows you to adjust the compressor threshold. Use this effect to give your guitar longer sustain,  
or to make the attack sounds of funky guitar licks (Chicken Scratch) clearly audible.  
92-93 Expander: All sorts of background noise and hum limit the dynamic range of the wanted signal. As long  
as the level of the wanted signal is considerably above the noise floor, background noise is inaudible: the  
interference signal is masked by the music. Expanders can be used to efficiently expand the dynamic  
range of signals. Small signal amplitudes are cut additionally, which at the same time reduces background  
noise. Use the FX MIX control to determine the expander threshold.  
94-96 Guitar Combo: This effect simulates the sound characteristics of a complete guitar amp, mimicking  
not only two tube stages, but also cabinet and speaker. Use the FX MIX control to adjust the mix of  
direct and combo signals.  
97-99 Speaker Cabinet: This algorithm emulates three different types of speaker cabinets. Additionally, you  
can shift the speakers main resonance peak. Use the FX MIX control to edit the filter frequency.  
3.2 Controlling the ULTRAROC via MIDI  
With its built-in MIDI interface you can integrate your ULTRAROC into any MIDI setup. The GX110 is capable  
of receiving both program change and MIDI controller information. So, you can change programs via MIDI  
using a MIDI foot controller or a computer-based sequencer software. Our MIDI foot controller FCB1010 gives  
you precisely these and more options, and is a perfect match for all BEHRINGER guitar amps. For example,  
you could wire the ULTRAROC as follows:  
Connect the MIDI IN jack of your ULTRAROC to the MIDI OUT jack of a MIDI foot controller (see fig. 2.2). Now,  
enable the MIDI functions on your ULTRAROC by pressing the EFFECT and CHANNEL buttons for about one  
second. Use the EFFECTS control to select a MIDI channel (1 through 16, ON= Omni mode, OF= off).  
Confirm your selection with EFFECT. Omni mode means that your ULTRAROC receives and processes MIDI  
information on all channels. Of course, you should select the same channel both on your MIDI foot controller  
and ULTRAROC (see MIDI foot controller users manual).  
3. EFFECTS PROCESSOR  
15  
 
ULTRAROC GX110  
+
Once you activate the MIDI functions, the automatic effect-to-channel assignment feature will  
be disabled, i.e. changing channels does not automatically load the previously set effect. As  
this assignment feature would cause some confusion when controlling the ULTRAROC via a  
MIDI foot controller, it makes sense only when it is controlled from the enclosed footswitch or  
directly from the ULTRAROC’s front panel. To operate the ULTRAROC without MIDI remote  
control, please disable the MIDI functions (display reads “OF”).  
You can select presets via MIDI using program change instructions. Since the range of program change  
numbers is 0 through 127, program change instruction 0 corresponds to preset 1, #1 to preset 2, and so forth  
(see table 6.2 in the appendix). After changeover the preset is activated immediately, i.e. it will not be affected  
by previously adjusted bypass settings.  
Channel changes can be effected with controller #10. Sending value 0 via this controller will activate the  
CLEAN channel, while value 1 activates the OVERDRIVE channel. Program change instructions can also be  
used to change channels. Program change #123 activates the CLEAN channel, program change #124  
selects the OVERDRIVE channel of your ULTRAROC. In addition to changing channels, you can also disable  
effects, by sending the value 0 via controller #11. Value 1 enables the effect. Alternatively, you can bypass  
the effect section by sending program change instruction #127.  
MIDI controller #7 adjusts the input sensitivity of the effects module, enabling you to set the overall volume of  
your ULTRAROC as desired. Since this controller has no influence on the Master Volume control, you should  
adjust the maximum volume before with the Master Volume control, then use MIDI controller #7 to reduce the  
volume. This function is also known as Volume Controller.  
The effect-specific parameter that can be edited with the FX MIX control, can also be remotely controlled  
from a MIDI sequencer of foot controller, using MIDI controller #12.  
The operating range of the wah-wah effect is governed by MIDI controller #15.  
Of course, you can also control the ULTRAROC from a computer-based sequencer software, particularly in a  
home recording environment. Specific environments for popular MIDI sequencer programs will soon be  
available from our web site (www.behringer.de).  
4. HISTORICAL BACKGROUND by Neville Marten (Guitarist Magazine)  
The guitar amp: your tone generator  
Many guitar players think of their amplifier as the least important link in their musical chain. Sure, everyone  
needs the right guitar, with the right finish, pickups and tremolo; and of course effects these days are so  
important in looking and sounding cool.  
But what of the humble guitar amp? Is it just an ugly box that stands behind you, a heavy hindrance thats just  
a drag to get into and out of the car? No, its your powerhouse, a tone generator that should work as an equal  
member with you, your guitar and effects in the creation of the best possible sound.  
Ever since the 1940s, when a radio repairman in Orange County California started customizing tube radio  
circuits for the new breed of electric guitarists, guitar amps have been evolving into what we see today. Great  
American names like Fender, Ampegand Gibsonsupplied small-output amplifiers to the guitarists of  
the 40s and 50s, creating the sound of electric jazz, rocknroll and country music; a sound thats still as  
fresh as ever at the dawn of this new millennium.  
As the 50s became the 60s, the British sound was born with Voxproducing small-powered valve amps for  
groups like The Shadows, then later The Beatles and The Rolling Stones, The Hollies and The Hermits. Then,  
in the mid-60s a drummer from London was asked by some budding musicians to build them some amplification.  
Jim Marshalltook the basic American design and using British components and speakers, created higher  
Wattage amps and multi-speaker cabinets to give bands like The Who, Cream and The Jimi Hendrix Experience  
the power to begin their assaults on the rock stadiums of the world.  
Amp design has come a long way since then. Multi-channels and cascading gain stages, as pioneered by  
Randall Smith and his Mesa Boogieamps, are found in the majority of stacks and combos built by amp  
manufacturers all over the world today. Modern, solid-state circuits and digital effects are now commonplace  
and in some instances work successfully on their own, or hand-in-hand with classic tube designs, to create  
versatile performing instruments for working guitarists. Other manufacturers are looking back to the old ways,  
with hand-wired, vintage-style boutiqueamps than can cost the earth.  
16  
4. HISTORICAL BACKGROUND  
 
ULTRAROC GX110  
Whichever option you choose, the ears of discerning musicians recognize 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 todays  
technologies, but pays its respects to the great pioneers that have gone before.  
(We would like to thank Mr. Neville Marten, the editor of Guitarist Magazine, for this little essay about the  
history of guitar amp development.)  
Fender, Ampeg, Gibson, Vox, Marshall, Mesa Boogieand the names of musical artists and groups are all registered  
trademarks of their respective owners, which are in no way associated or affiliated with BEHRINGER.  
5. INSTALLATION  
Your BEHRINGER ULTRAROC was carefully packed in the factory and the packaging is designed to protect  
the unit from rough handling. Nevertheless, we recommend that you carefully examine the packaging and its  
contents for any signs of physical damage, which may have occurred during transit.  
+
If the unit is damaged, please do not return it to BEHRINGER, but notify your dealer and the  
shipping company immediately, otherwise claims for damage or replacement may not be granted.  
Shipping claims must be made by the consignee.  
5.1 Mains connection  
Please ensure that the ULTRAROC is set to the correct supply voltage before connecting the unit to  
the AC power system! Three triangular markings can be found on the fuse holder at the AC power connection  
socket. Two of these three triangles will be aligned with one another. The ULTRAROC 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 ULTRAROC is made by using the enclosed mains cable and a standard IEC  
receptacle. It meets all of the international safety certification requirements.  
+
Please make sure that all units have a proper ground connection. For your own safety, never  
remove or disable the ground conductor of the unit or of the AC power cable.  
5.2 Audio connections  
The BEHRINGER ULTRAROC is installed with 1/4" mono jacks. Only the headphones output and the line/aux  
inputs/outputs are available via a 1/4" stereo jack.  
+
Please ensure that only qualified persons install and operate the ULTRAROC. During installa-  
tion and operation the user must have sufficient electrical contact to earth. Electrostatic charges  
might affect the operation of the ULTRAROC!  
5. INSTALLATION  
17  
 
ULTRAROC GX110  
Fig. 5.1: Wiring of a mono 1/4" plug  
Fig. 5.2: Wiring of a stereo headphones 1/4" plug  
5.2.1 Loudspeaker connector  
Your GX110 features a speaker jack that allows you to hook up a supplementary speaker. Optimum adaptation  
is ensured with 8 loudspeakers.  
You can also connect speakers with lower impedances. However, this could trigger the power stage protective  
circuitry on your GX110. With too high an impedance load, the maximum power output will drop in proportion  
to the resistance connected.  
18  
5. INSTALLATION  
 
ULTRAROC GX110  
5.3 MIDI connection  
The MIDI standard (Musical Instruments Digital Interface) was developed in the early 80s to enable electronic  
musical instruments of different makes to communicate with each other. Over the years the range of MIDI  
applications has constantly expanded, and today it is completely normal to network entire recording studios  
using the MIDI standard.  
At the heart of this network we find a computer loaded with a sequencer software that controls not only the  
keyboards but also effects and other peripheral devices. In such a studio you could control your ULTRAROC in  
real time from a computer. In particular, when playing live gigs you can use a MIDI foot controller to control both  
the effect parameters and channel/effect changes on your ULTRAROC.  
The MIDI connector on the rear of your ULTRAROC is an internationally standardized 5-pin DIN jack. To  
connect your ULTRAROC to other MIDI equipment, you need a dedicated MIDI cable, which is commercially  
available in various lengths. However, you can solder your own cables using 2-conductor shielded cables  
(e.g. microphone cables) and two rugged 180° DIN plugs: pin 2 (center) = shield; pins 4 and 5 (right and left  
of pin 2) = internal conductor; pins 1 and 3 (the outer pins) are not used. MIDI cables should not exceed a  
length of 15 meters.  
+
Make sure that pin 4 is connected to pin 4, and pin 5 to pin 5.  
MIDI IN: receives MIDI controller information. The receiving channel can be set with the buttons EFFECTS  
and CHANNEL. On = Omni, i.e. MIDI data are received and processed on all channels (cf. chapter 3.2).  
5. INSTALLATION  
19  
 
ULTRAROC GX110  
6. APPENDIX  
6.1 Preset list  
Effect  
Variation  
Effect  
Variation  
1
2
Short  
Long  
Mix  
Mix  
0..50  
0..50  
0..50  
0..50  
5
8
8
8
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  
Classic Short  
Classic Long  
Ultra  
Reverb Mix 0..50 10  
Reverb Mix 0..50 15  
Reverb Mix 0..50 20  
Reverb Mix 0..50 15  
Reverb Mix 0..50 20  
SPRING  
REVERB  
FLANGER /  
REVERB  
3
Short  
Mix  
STUDIO  
CHAMBER  
STAGE  
4
Long  
Mix  
Intense  
Light  
5
Short  
Mix  
0..50 20  
0..50 20  
6
Long  
Mix  
Ultra  
Delay Mix  
Delay Mix  
Delay Mix  
Delay Mix  
Delay Mix  
Mix  
0..50 10  
0..50  
7
Short  
Mix  
0..50  
0..50  
8
8
Light  
9
FLANGER /  
DELAY  
8
Long  
Mix  
Slap Back  
Long  
0..50 20  
0..50 15  
0..50 15  
0..99 80  
0..99 60  
9
Short  
Mix  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 19  
0..50 19  
CONCERT  
PLATE  
10  
11  
12  
13  
14  
15  
16  
17  
18  
19  
Long  
Mix  
Hold  
Short  
Mix  
Slow  
TREMOLO  
Long  
Mix  
Fast  
Mix  
Short  
Mix  
Slow  
Tremolo Mix 0..99 60  
Tremolo Mix 0..99 60  
Tremolo Mix 0..99 50  
GATED  
REVERB  
TREMOLO /  
DELAY  
Long  
Mix  
Medium  
Fast  
Min. Reflections  
Max. Reflections  
Clean  
Mix  
AMBIENCE  
Mix  
Slow  
Mix  
Mix  
0..99 50  
0..99 60  
0..50 10  
0..50 10  
0..63 35  
0..63 35  
0..99 70  
0..99 90  
0..99 60  
0..99 50  
0..99 40  
0..99 24  
0..99 30  
0..99 46  
0..99 34  
0..99 30  
0..99 20  
0..99 50  
0..99 60  
0..99 20  
0..99 14  
0..99 12  
0..99 20  
0..63 39  
0..63 33  
0..63 40  
0..63 40  
0..99 52  
0..99 46  
0..99 68  
0..63 34  
0..63 41  
0..63 57  
ROTARY  
SPEAKER  
Delay Mix  
Delay Mix  
Delay Mix  
0..50  
0..50  
0..50  
5
3
5
Fast  
WAH /  
DELAY /  
DISTORTION  
Crunch  
Dirty  
Slap Back  
Spinning Echo  
Fast  
Delay Mix  
Delay Mix  
Depth  
MAGIC DRIVE  
20 DELAY / REV.  
-
Reverb Mix 0..50 20  
AUTO  
WAH  
21  
22  
23  
24  
Slap Back  
Min. Delay Time  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
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..99 50  
0..99 60  
0..99 50  
0..99 50  
0..99 40  
0..99 40  
0..99 40  
0..99 60  
Slow  
Depth  
Slow  
Mix  
LFO  
WAH  
Fast  
Mix  
-12  
Mix  
DELAY  
25  
-5  
Mix  
(long mono)  
26  
27  
28  
29  
30  
+3  
Mix  
PITCH  
SHIFTER  
+4  
Mix  
+7  
Mix  
Max. Delay Time  
Slow  
Detune I  
Detune II  
-12  
Mix  
Mix  
31  
Bright  
Pitch Mix  
Pitch Mix  
Pitch Mix  
Pitch Mix  
Pitch Mix  
Pitch Mix  
Pitch Mix  
Pitch Mix  
Sensitivity  
Sensitivity  
Sensitivity  
Sensitivity  
Mix  
PHASER  
32  
PITCH  
SHIFTER /  
REVERB  
Medium  
Fast  
+3  
33  
34  
Detune I  
Detune II  
-12  
Slow  
35  
Medium  
Fast  
CHORUS  
36  
PITCH  
SHIFTER /  
DELAY  
-5  
37  
38  
39  
Bright  
+4  
Cool Short  
Cool Long  
Ultra  
Reverb Mix 0..50 10  
Reverb Mix 0..50 15  
Reverb Mix 0..50 20  
Reverb Mix 0..50 20  
Reverb Mix 0..50 15  
+7  
Fast  
COMPRESSOR  
EXPANDER  
CHORUS /  
40  
Slow  
REVERB  
41  
42  
43  
44  
Fast Short  
Fast Long  
Short  
Fast  
Slow  
Delay Mix  
Delay Mix  
Delay Mix  
Delay Mix  
Delay Mix  
Mix  
0..50 10  
0..50 10  
0..50 10  
0..50 10  
0..50 12  
0..99 20  
0..99 90  
0..99 60  
0..99 24  
Crunch  
Edge  
GUITAR  
COMBO  
Ring  
Mix  
CHORUS /  
DELAY  
45  
Long  
Overdrive  
Stack A  
Stack B  
Combo  
Mix  
46  
47  
48  
Slap Back  
Hold  
Peak Freq.  
Peak Freq.  
Peak Freq.  
SPEAKER  
CABINET  
Classic I  
Classic II  
Ultra  
49  
Mix  
FLANGER  
50  
51  
Mix  
Fast  
Mix  
Tab. 6.1: List of presets  
20  
6. APPENDIX  
 
ULTRAROC GX110  
6.2 MIDI-Implementation  
MIDI Implementation Chart  
Function  
Transmitted Recognized  
Remarks  
Default  
Changed  
Default  
Messages  
Altered  
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
X
X
X
Basic  
Channel  
memorized  
Mode  
Note Number  
Velocity  
True Voice  
Note ON  
Note OFF  
Keys  
After Touch  
Pitch Bender  
Control  
Channels  
O 7, 10, 11, 12,  
15  
X
see add. table  
123, 124, 127  
O (0 - 98)  
1 - 99  
123 = CLEAN  
124 = OVERDRIVE  
127 = Effect Bypass  
Progr.  
Change  
True #  
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
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  
Tab. 6.2: MIDI-Implementation  
Midi Control  
Number  
Parameter Name  
Display Range  
Control Value Range  
Volume Controller  
Channel  
Effect  
FX MIX  
Wah/Modulation Controller  
-
7
0 .. 127  
0 .. 1  
0 .. 1  
0 .. 127  
0 .. 127  
CLEAN = 0, OVERDRIVE = 1  
10  
11  
12  
15  
OFF = 0, ON = 1  
0 .. 99  
-
Tab. 6.3: MIDI controllers on the ULTRAROC  
6. APPENDIX  
21  
 
ULTRAROC GX110  
7. SPECIFICATIONS  
AUDIO INPUTS  
Guitar input  
Connector  
1/4" mono jack  
Type  
RF filtered input  
Guitar input impedance  
Insert return  
Connector  
approx. 1 Munbalanced  
1/4" mono jack  
Input impedance  
Aux input  
approx. 1 kunbalanced  
Connector  
RCA jacks  
Input impedance  
approx. 10 kunbalanced  
AUDIO OUTPUTS  
Insert send  
Connector  
1/4" mono jack  
Type  
line level output  
Output impedance  
Aux output  
approx. 100 unbalanced  
Connector  
RCA jacks  
Output impedance  
Max. output level  
approx. 100 unbalanced  
+12 dBu unbalanced  
LOUDSPEAKER OUTPUT  
Connector  
1/4" mono jack  
Load impedance (nom.)  
8 Ω  
SYSTEM SPECIFICATIONS (Master Section)  
Power amp output  
30 Watts R.M.S. into 8 Ω  
MIDI INTERFACE  
Type  
5-pin DIN socket, MIDI IN  
DIGITAL PROCESSING  
Converters  
Sampling rate  
24-bit Sigma-Delta, 64/128-times oversampling  
46.875 kHz  
DISPLAY  
Type  
2-digit numeric LED display  
LOUDSPEAKER  
Type  
10" heavy-duty loudspeaker, model JENSEN JCH 10/35  
Impedance  
Power rating  
8 Ω  
35 Watts  
POWER SUPPLY  
Mains voltages  
USA/Canada  
U.K./Australia  
Europe  
120 V ~, 60 Hz  
240 V ~, 50 Hz  
230 V ~, 50 Hz  
General export model  
100 - 120 V ~, 200 - 240 V ~, 50 - 60 Hz  
Power consumption  
Fuse  
50 Watts @ 35 Watts/8 Ohms; 90 Watts max.  
100 - 120 V ~: T 1.25 A H  
200 - 240 V ~: T 630 mA H  
Mains connection  
Standard IEC receptacle  
PHYSICAL  
Dimensions (H * W * D)  
approx.  
14.8" * 16.54" * 8.04"/9.66"  
(376 mm) * (420 mm) * (204/245 mm)  
approx. 10.5 kg  
Weight  
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be  
made from time to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.  
22  
7. SPECIFICATIONS  
 
ULTRAROC GX110  
8. WARRANTY  
§ 1 WARRANTY CARD/ONLINE REGISTRATION  
To be protected by the extended warranty, the buyer must  
complete and return the enclosed warranty card within 14 days  
of the date of purchase to BEHRINGER Spezielle Studiotechnik  
GmbH, in accordance with the conditions stipulated in § 3. Failure  
to return the card in due time (date as per postmark) will void any  
extended warranty claims.  
3. Free inspections and maintenance/repair work are expressly  
excluded from this warranty, in particular, if caused by improper  
handling of the product by the user.  
This also applies to defects caused by normal wear and tear, in  
particular, of faders, potentiometers, keys/buttons and similar  
parts.  
Based on the conditions herein, the buyer may also choose to  
use the online registration option via the Internet  
4. Damages/defects caused by the following conditions are not  
covered by this warranty:  
s
s
s
misuse, neglect or failure to operate the unit in compliance  
with the instructions given in BEHRINGER user or service  
manuals.  
§ 2 WARRANTY  
1. BEHRINGER (BEHRINGER Spezielle Studiotechnik GmbH  
including all BEHRINGER subsidiaries listed on the enclosed page,  
except BEHRINGER Japan) warrants the mechanical and  
electronic components of this product to be free of defects in  
material and workmanship for a period of one (1) year from the  
original date of purchase, in accordance with the warranty  
regulations described below. If the product shows any defects  
within the specified warranty period that are not due to normal  
wear and tear and/or improper handling by the user, BEHRINGER  
shall, at its sole discretion, either repair or replace the product.  
connection or operation of the unit in any way that does not  
comply with the technical or safety regulations applicable in  
the country where the product is used.  
damages/defects caused by force majeure or any other  
condition that is beyond the control of BEHRINGER.  
5. Any repair or opening of the unit carried out by unauthorized  
personnel (user included) will void the warranty.  
6. If an inspection of the product by BEHRINGER shows that the  
defect in question is not covered by the warranty, the inspection  
costs are payable by the customer.  
2. If the warranty claim proves to be justified, the product will be  
returned to the user freight prepaid.  
3. Warranty claims other than those indicated above are expressly  
excluded.  
7. Products which do not meet the terms of this warranty will be  
repaired exclusively at the buyers expense. BEHRINGER will  
inform the buyer of any such circumstance. If the buyer fails to  
submit a written repair order within 6 weeks after notification,  
BEHRINGER will return the unit C.O.D. with a separate invoice  
for freight and packing. Such costs will also be invoiced  
separately when the buyer has sent in a written repair order.  
§ 3 RETURN AUTHORIZATION NUMBER  
1. To obtain warranty service, the buyer (or his authorized dealer)  
must call BEHRINGER (see enclosed list) during normal business  
hours BEFORE returning the product. All inquiries must be  
accompanied by a description of the problem. BEHRINGER will  
then issue a return authorization number.  
§ 5 WARRANTY TRANSFERABILITY  
2. Subsequently, the product must be returned in its original  
shipping carton, together with the return authorization number to  
the address indicated by BEHRINGER.  
This warranty is extended exclusively to the original buyer  
(customer of retail dealer) and is not transferable to anyone  
who may subsequently purchase this product. No other person  
(retail dealer, etc.) shall be entitled to give any warranty promise  
on behalf of BEHRINGER.  
3. Shipments without freight prepaid will not be accepted.  
§ 4 WARRANTY REGULATIONS  
§ 6 CLAIM FOR DAMAGES  
1. Warranty services will be furnished only if the product is  
accompanied by a copy of the original retail dealers invoice.  
Any product deemed eligible for repair or replacement by  
BEHRINGER under the terms of this warranty will be repaired or  
replaced within 30 days of receipt of the product at BEHRINGER.  
Failure of BEHRINGER to provide proper warranty service shall  
not entitle the buyer to claim (consequential) damages. In no  
event shall the liability of BEHRINGER exceed the invoiced value  
of the product.  
§ 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW  
2. If the product needs to be modified or adapted in order to  
comply with applicable technical or safety standards on a national  
or local level, in any country which is not the country for which  
the product was originally developed and manufactured, this  
modification/adaptation shall not be considered a defect in  
materials or workmanship. The warranty does not cover any  
such modification/adaptation, irrespective of whether it was  
carried out properly or not. Under the terms of this warranty,  
BEHRINGER shall not be held responsible for any cost resulting  
from such a modification/adaptation.  
1. This warranty does not exclude or limit the buyers statutory  
rights provided by national law, in particular, any such rights  
against the seller that arise from a legally effective purchase  
contract.  
2. The warranty regulations mentioned herein are applicable  
unless they constitute an infringement of national warranty law.  
The information contained in this manual is subject to change without notice. No part of this manual may be reproduced or  
transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any  
purpose, without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH.  
BEHRINGER, ULTRAROC, VINTAGER, VIRTUALIZER and MODULIZER are registered trademarks.  
ALL RIGHTS RESERVED © 2001 BEHRINGER Spezielle Studiotechnik GmbH.  
BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Münchheide II, Germany  
Tel. +49 (0) 21 54 / 92 06-0, Fax +49 (0) 21 54 / 92 06-30  
8. WARRANTY  
23  
 

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