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V-Tone is true analog modeling for true tone. Resorting to analog methods and thus preserving the precious power, directness and purity of analog tone, Behringer has rebuilt different circuitries and components from famous amps, and then packed them in the same housing. Through the use of simple switches, you reach out and alternate between several different amp re-creations and speaker simulations. We purposely say ‘re-creation’ because Behringer has gone beyond mere simulation, and has truly delivered faithful reproductions of the originals. Behringer has have even bought and cautiously taken apart precious vintage masterpieces, unwrapping the mysteries of proven, timeless tone. Based on what Behringer has learned, they have developed their patented Dynamizer circuitry, which nails down the sound of real tubes. That’s how the V-Tone family was born. Packed with a wide selection of essential legendary amps, you can work your way through different tones with a flick of a switch. Make your selection intuitively with minimal effort — perfect for hands-on musicians and no-frills types. Whether for stage, recording, rehearsal or warm-up, Behringer’s V-Tone true analog modeling is a natural choice for all those who desire their own arsenal of amps to ensure optimal results no matter what the band brings along. With three amp models, three modes and three speaker simulations — all based on pure analog circuitry with no digital components — every V-Tone amp gives you 27 various authentic tones, supported by authentic vintage-type speakers and our revolutionary Dynamizer tube-emulation circuitry.

The GMX1200H is Behringer’s flagship V-Tone head with true analog modeling, featuring 2 x 60 watts of power. The GMX1200H offers two full-featured modeling channels that boast 3 classic guitar amps, 3 speaker simulation models plus 3 gain modes each — all individually selectable. Ultra-flexible FXT (effects tracking) function allows independent effects settings on each channel, while the Dynamizer circuitry captures every nuance of your playing and lends tube-like compression to your tone. The 24-bit stereo multi-effects processor with world-class effects such as chorus, flanging, phasing, rotary, auto-wah, echo, delay, compressor and various effect combinations offers 99 user presets and MIDI control. The integrated auto-chromatic tuner is controllable via footswitch.

Behringer GMX1200H V-Tone Guitar Amplifier Head (2×60 Watts) Features…

Modeling technology: analog

Power rating: 2x 60 watts

Channels: 2

Integrated FX: yes

FX loop: yes

Amp models: 3

Speaker models: 3

MIDI: yes

Tuner: yes

Additional in/outs: tape in/out, adj. aux in, slave in, line out l/r, phones, footswitch

Weight: 34 lbs

Special features: FX tracking, Dynamizer circuitry

Buy Behringer GMX1200H V-Tone Guitar Amplifier Head (2×60 Watts)

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The sound is very tubey. The response is fairly organic and gives or takes in response to your playing.

You WILL need a pedal on this head to play lead and get TRUE metal ronch tones. The thing is, you can get it to sound just like a rectifier. I mean it really does sound like a duel or even triple rectifier depending how loud you crank it.

You can use the digital processors tube amp simulation to get the gain you need for lead or to simply get a killer Fender blackface tone, but it sounds best when teamed with a pedal. I run a Danelectro Fabtone on it and it thunders and screams like a rectifier on steroids.

I imagine a tube pedal would really get it to give a perfected rectifier tone, but as it is it should satisfy anyone.

The effects sound great and the channel intelligent effects function is a nice touch.

Over all, this is the amp you want to take to gigs and the studio. Leave your expensive tube big boys at home without worry of it affecting your performance.

Mesa/Boogie, Marshall and Fender distortion by analog simulation

High, Moderate and Low tube gain simulation by analog circuitry

Mesa/Boogie, Marshall or Fender speaker simulation by analog circuitry

2 channels each with the analog modeling, 3 band EQ, volume, drive controls and assignable effects program.

Analog circuitry to simulate tube responce and tone characteristics

Presence control and master volume control coupled with digital effects processor with more tube amp simulation.

The back is loaded with ins and outs for direct recording and any other sort of connection set up you could desire.

It weighs like 55 lbs! I mean it's as heavy as a tube amp but seems really damn solid.

Time will tell….

One of the best investments I have made though I find myself saying this about ever Behringer purchase I have made.

It's basically the Tech 21 design improved upon. You really do get the feel and response of a good tube amp. My speakers give that groany midrange like honking sound even when I scoop out all the mids and boost bass and treble. That's very impressive for a solid state amp to do.

I run this head on my Behringer BG412H angled cabinet. It is loadead with the Behringer Shark speakers and sounds incredible. When I team this with one of my custom guitars run through a pedal for a moddest amount of gain, I get the tube amp honk and response of a rectifier.

The only thing I wish this amp had was a custom tube gain stomp box for pushing it over the edge. I mean it already sounds and responds like a tube amp so why not take it the final step. I play some pretty intricate lead work and found it to sound so much more organic and natural through this rig in comparison to my others….it was almost upsetting because until this week, this rig was my dust collecting secondary due to space availability (two half stacks in a bedroom is overkill!)

For the money you are a fool, a damn fool not to buy one.

Megatron (02/04/2005)

I have been playing for over 25 years and the tone search as with most guitarists is never ending. I Play BC Rich USA exclusivly all with DiMarzio Megadrive humbuckers. This is the best modeling amp I have used yet for a variety of reasons I'll get to later on. Distortion is great, the combinations are sufficient, the DSP has a few good quality effects worth mentioning but it's to long to go into all that here. This is an amp review not an effects review. Typical DSP.

Amp: California, British, Tweed

Gain: Hot, Hi-Gain, Clean

Speaker: US, UK, Flat

Two Channel, Stereo only, Solid State, Analog Modeling, 24bit DSP

60W RMS X 2

1 week old and I have no opinions yet.

Ok here it comes, the head is super flexible and you can hook it up to just about anything you'd want. The stereo effected gain through head phones is awesome. I have played or owned them all at one time or another: Marshall (old and new), Mesa Rectifier, Peavey(trans and tube), Crate (trans and tube) Line6, NYC Tech, it goes on. I found one constant with all these amps none of them sound really good when pushed at volume live. This head can keep up with all the rest if used properly. First off it has a tendancy to buzz, I have found it is hyper-sensitive to the power source and cords being used, problem solved. There is a split second delay in channel and effect switching, well, hey! it electronic!, and to be expected. It is however very versitile and can sound great in all modes. If you don't have an EQ (and this goes for EVERY AMP ON THE PLANET) it won't sound as good as it should. The outputs let you set this up every concievable way, just about. The sounds it phenominal through the phones, line out to recording, through a home stereo (i.e. Home Theater amp, etc)or direct to the PA board.

BUT!!!!!!

Through a standard cab it's marginal at best. The typical irritations of Mid "C" twang, tinny, sometimes muddy, and not quite full. This has been my plague for years with all the equipment I have had. I suspect that it due to the limited vocal range of the typical guitar speaker. I am almost tempted to try it through a Bass Cab. I currently own a Peavey XXX Head and love it, but it has some of the same problems so I feel vindicated. I suspect that the tone of the as recorded (heard on the album) sound is near impossible to get with standard equipment short of being a millionaire with a sound crew. All in all definately worth the buy for the money, even as a back up. Yes I would get it again. Refer to the GMX212 Combo for other opiniions as it is nearly identical to the head.

Robert G. (11/24/2004)

THD BiValve30 bring all players of every style of music the absolute best in tonal diversity.

With the ability to change out every tube in the signal path to suit your liking, the BiValve30 is so versatile, every passionate guitarist needs one of these. Featuring warning LEDs showing if a tube is not operational as well as a lightbulb that glows as the amp distorts. Very hip. Pick one of these tone factories up today.

The BiValve is a single-ended pure Class A design. It has two output valves which are wired in parallel and combined through a special output transformer to deliver up to around 30 watts. You can use almost any output valve you like without touching any kind of bias adjustment, and get this: in the BiValve you can use them in any combination as well. Combined with the capability to take almost any preamp valve, this makes the BiValve even more of an amp-tweakers dream than its predecessor. Because there’s such a wide range of tone available you your style.

The BiValve sits in the same compact pressed steel chassis as the UniValve and, except for the extra valve and control plate, it looks almost identical. The UniValve’s acid-etched control plate was inspired by Glasgow artist Charles Rennie Mackintosh; this time round THD have gone for a marine theme, with an intricate diamond scale design. The control markings are screen printed, which makes them easier to see, but in our opinion detracts a little from the artistry of the background pattern.

Underneath the perforated steel lid there’s a larger pair of transformers to handle the increased output, and inside there are two ultra-thick PCBs: one for the power supply and one for the audio. The four valve bases are bolted to the chassis and secured by locking nuts, with hi-fi style internal baffle plates to cut down on radiated hum. The standard of construction is absolutely top class. THD are based in Seattle, which is also home town to Boeing, and most of the BiValve’s heavy fabrication work is contracted out to local specialist companies who service the aircraft industry. So now you know.

The front panel looks deceptively simple. Working from the left, there’s a pair of input jacks labelled ‘more’ and ‘less’, followed by a treble cut switch then rotary controls for volume, treble, bass and what THD call ‘Attitude’. It’s not a fancy name for a presence control – there’s no negative feedback loop – instead Attitude works on the driver valve to change its response, and does more or less what the name suggests: either smoothing things out or making them more aggressive.

In the centre, part of a clever noise reduction circuit, is a light bulb that glows as the amp distorts. Next to this is the level control for the Hot Plate – a built-in output attenuator that lets you run the BiValve into total meltdown without annoying the neighbours; there’s also a defeat switch for this function, which adds a little extra volume for live work.

The last three rocker switches are for mains, standby and power selection. The hi/lo power switch is like having a built-in Variac; switching to low voltage adds a squashy dynamic feel and reduces clean headroom, and it’s essential for valves like the 6V6 which can’t handle high plate voltages.

The BiValve’s back panel is also similar to its smaller cousin. There’s a pair of speaker outlets with an impedance changer, and the excellent transformer-isolated line out – using a 6mm stereo jack socket – is now balanced. Fuse protection is more comprehensive, and the BiValve also benefits from a pair of warning LEDs to let you know if a power valve is faulty.

Using the volume control in conjunction with the two inputs you can cover the whole gain spectrum, from squeaky clean to absolute brainfrying power-amp distortion with almost infinite sustain, and all the time the BiValve stays totally musical. Even at full-tilt you can still pick out each string within a chord, and the tone controls seem to have just the right range, whatever valves are in use.

The Hot Plate feature lets you play any distortion tone at any volume level. You can even disconnect the speakers for recording, as the amp has a built-in dummy load. We lost count of the different valve combinations we tried but a few really stood out. A 6V6 with an EL34 yielded one of the absolute best British blues/rock sounds ever heard. The smaller valve works to balance out the EL34’s hollow midrange and aggressive distortion with a unique high-end response – somewhere between the best vintage Marshall and tweed Fenders, with a hint of AC30 thrown in.

As you’d expect, the BiValve is much louder than the UniValve. There’s more than enough headroom for live use, and notes seem to jump out of the loudspeakers a lot quicker. It’s a different effect to the UniValve’s threedimensional warmth, but but it is equally rewarding.

VERDICT:

The BiValve delivers totally on the UniValve’s promise of more to come, and the result is one of the best playing experiences any guitarist could hope for. Tough construction, ultra-hip styling and a unique collection of features add up to an amp you’ll probably never tire of playing through. The best things in life are rarely cheap, and the BiValve is definitely an amp for the well-heeled purist – no footswitches to change channels means you have to use it the oldfashioned way, driving things from the guitar. But you can have so much fun defining your sound and then playing it that even the most die-hard tap-dancer could be converted by this amp. Talk about having your cake and eating it – here’s one of the few amps that lets you do both.

THD BiValve30 Guitar Amplifier Head (30 Watts) Features…

30W Class A amplifier

Single channel

Hand built

Accepts almost any preamp and power tubes in any combination

Ships with 3 – 12AX7s (preamp) and 2 EL34s (power amp)

More and Less inputs

Volume, Treble, Bass, and Attitude knobs

Built-in Hot Plate output attenuator

Buy THD BiValve30 Guitar Amplifier Head (30 Watts)

Awesome Amp!!!

This amp is seriously sweet. I was searching for an extremely flexible amp and this was it. I play 85% of the time in full distortion and this amp delivers, I put a TS808 in front of it and it blew me away even more. Sweet musical distortion and perfect clean tone that is 10 times better than my old Bassman. BUY THIS!

J Page from Otsego, MI (Oct 26, 2004)

Great

I've never heard clean tones that have become so addicting. I haven't even tried any tubes other than the EL-34 and power tubes it came with. I'll have a ball spending years experimenting with all other tube combinations.

Sheesh from Portland, OR (Oct 5, 2005)