View and Download Behringer Bass V-AMP user manual online. The Ultimate Tone Toolbox for Bass, Acoustic/Electric Guitar and Keyboard Amp Modeling. Bass V-AMP Amplifier pdf manual download. V-AMP 2 will appreciate the BASS V-AMP/BASS V-AMP PRO as a terrific improvement. We wanted to create two devices that would stir conversations in years to come: the BASS V-AMP/BASS V-AMP PRO is universally usable and offers authentic amp and even speaker sounds—all this without having to transport heavy equipment! View and Download Behringer Bass V-AMP user manual online. The Ultimate Tone Toolbox for Bass, Acoustic/Electric Guitar and Keyboard Amp Modeling. Bass V-AMP Amplifier pdf manual download. Also for: Bass v-amp pro. View and Download Behringer V-AMP PRO user manual online. Guitar Amplifier. V-AMP PRO Amplifier pdf manual download. Also for: V-amp 2, V-ampire. Mode N N - Note Number N N - Velocity N N - After Touch N N - Pitch Bender N N.
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User’s Manual
Version 1.1 March 2003
IMPORTANT SAFETY INSTRUCTIONS
CAUTION: To reduce the risk of electric shock, do not remove the top cover (or the rear section). No user serviceable parts inside; refer servicing to qualified personnel.
WARNING: To reduce the risk of fire or electric shock, do not expose this appliance to rain and moisture.
This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the
This symbol, wherever it appears, alerts you to important operating and maintenance instructions in the accompanying literature. Please read the manual.
DETAILED SAFETY INSTRUCTIONS:
1)Read these instructions.
2)Keep these instructions.
3)Heed all warnings.
4)Follow all instructions.
5)Do not use this device near water.
6)Clean only with a dry cloth.
7)Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
8)Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
9)Do not defeat the safety purpose of the polarized or
10)Protect the power cord from being walked on or pinched particularly at plugs, extension cords, and the point at which they exit the unit.
11)Only use attachments/accessories specified by the manufacturer.
12)Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the device. When a cart is used, use caution when moving the cart/ device combination to avoid injury from stumbling over it.
13)Unplug this device during lightning storms or when not used for long periods of time.
14)Refer all servicing to qualified service personnel. Servicing is required when the unit has been damaged in any way, such as power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the device, the unit has been exposed to rain or moisture, does not operate normally, or has been dropped.
s32 authentic virtual amp simulations, 15 speaker cabinets and preamp bypass
sDedicated selectors for amp model, speaker cabinet and digital effects V-
sAmps selector allows you to directly select popular guitar amp simulations ranging from classic cleanAMPIRE/to crunch and modern Hi Gain sounds with the original tube amp character
sEffects selector selects
sDedicated reverb control adds 1 of 9 different reverb types
s125 memory locations divided into 25 banks for easy editing
sExtensive MIDI implementation allows complete
sFive globally selectable configurations for various studio and live applications, some with
s
s
s
s
s
s
s
s
s
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sManufactured under ISO9000 certified management system 2
FOREWORD
Dear Customer,
welcome to the team of BEHRINGER users, and thank you very much for expressing your confidence in us by purchasing this virtual guitar amplifier.
Writing this foreword for you gives me great pleasure, because it represents the culmination of many months of hard work delivered by our engineering team to achieve a very ambitious goal: to develop three outstanding devices, that give you maximum flexibility
and performance with their unique sound character and broad range of functions. The task of designing these new products certainly meant a great deal of responsibility, which we assumed by focusing on you, the discerning user and musician. Meeting your expectations also meant a lot of work and night shifts. But it was fun, too. Developing a product usually brings a lot of people together, and what a great feeling it is when all who participated in such a project can be proud of what they’ve achieved.
It is our philosophy to share our enjoyment with you, because you are the most important member of the BEHRINGER team. With your highly competent suggestions for new products you’ve made a significant contribution 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 reasonable price. All of this will enable you to give free rein to your creativity without being hampered by budget constraints.
We are often asked how we manage to produce such highquality devices at such unbelievably low prices. The answer is quite simple: it’s you, our customers! Many satisfied customers means large sales volumes, enabling us to get better purchasing terms for components, etc. Isn’t it only fair to pass this benefit on to you? Because we know that your success is our success too!
I would like to thank all of you who have made the
My friends, it’s been worth the effort!
Thank you very much,
Uli Behringer
TABLE OF CONTENTS
CAUTION!
+Please note that high volume levels may cause permanent damage to your hearing and/or your headphones. Turn all LEVEL controls to the left before you switch on the unit. Be sure to keep the volume at an appropriate level.
1. INTRODUCTION
Congratulations! With the
With the
The
The
But enough of this talk: Nothing will convince you more than what you hear and feel when you test your virtual amp for the first time.
But ..
1.1 .. before you get started
The unit was carefully packed at 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.
Be sure that there is enough space around the unit for cooling and, to avoid overheating, please do not place the device near radiators etc.
+Before you connect the unit to the mains, please make sure that the voltage setting on the unit matches the local voltage!
The mains connection of the
+Please make sure that all units have a proper ground connection. For your own safety, never remove or disable the ground conductor from the unit or of the AC power cord.
The MIDI connections (IN, OUT/THRU) are for standard DIN connectors. Data is transferred via
1.1.1 Serial number
The serial number is located on the rear panel of your
2. CONTROL ELEMENTS
On the added view sheet you will find the corresponding illustrations for all control elements. The numbering of most of the control elements is the same for all three products. Because of the different design and some varying elements, the numbering is not always consistent. We therefore marked those differences adding a
2.1 Front panel/surface
Use the POWER switch to put the
+Attention: The POWER switch does not fully disconnect the unit from the mains. Unplug the power cord completely when the unit is not used for prolonged periods of time.
The GAIN control determines the distortion level of an amp simulation.
The VOLUME control determines the volume of the selected preset.
The BASS control in the EQ section is for boosting or cutting the
The MID control is for boosting or cutting the
TREBLE controls the
+The LED rings around the VOLUME, BASS, MID, TREBLE, GAIN, EFFECTS MIX and REVERB controls each have nine LEDs. On each ring either one LED or two neighboring LEDs (in between positon) will light up at a time, indicating a total of 17 different positions.
+If the TAP key is down, the TREBLE control functions as a PRESENCE control. This enables you to boost/cut a
The AMPS control is for selecting one of 32 different amplifier simulation models. The control is surrounded by a ring of 16 LEDs. Each LED corresponds to two types of amplifier. The first 16 simulations can be selected by turning the AMPS control
To select the simulation models 17 - 32
+The LED “17 - 32” in the bottom
In addition, you can activate a PREAMP BYPASS by
pressing the key combination TUNER and TAP. If PREAMP BYPASS has been selected, none of the LEDs on the AMPS control lights up. To disable PREAMP BYPASS, simply select a different amp model or press both keys again.
These five keys are for selecting a preset (A - E) within one bank.
In EDIT mode (activated by simultaneously pressing the arrow keys described in ), the keys perform the function printed directly above them:
sA: Accesses the MIDI functions. Use the arrow keys to set the MIDI channels (1 through 16) for transmitting and receiving MIDI data.
If you use key A in EDIT mode to select the MIDI function and then press the TAP key, the MIDI OUT jack is set to act as a MIDI THRU. In this setting (the TAP LED is lit) no MIDI data is sent, but the device passes on the signal received at the MIDI IN jack.
sB: Selects the DRIVE function. This noticeably raises distortion and volume. Use the arrow keys to switch DRIVE on and off. The DRIVE function is wired pre GAIN control.
+While editing the DRIVE function, you can also activate and adjust the
sC: This key activates the CABINETS mode. Use the arrow keys to select the type of speaker or combination of speakers you want. You can also switch off the speaker simulation completely
sD: Use this key to select the REVERB function. The arrow keys can be used to select one of nine different types of reverb in addition to the
sE: Here you can activate the NOISE GATE function. Use the arrow keys to adjust the noise reduction threshold.
+After preset editing, please press TUNER/EXIT to quit (the EDIT MODE LED dies out).
+DIGITAL OUT: The digital output
+CONFIGURATION: If you press the D and E keys simultaneously (B and D on the
The TUNER button is for switching on the tuner. In addition, this button can be used to quit EDIT mode (“Exit”).
Use the two arrow keys to select a different bank (BANK DOWN andBANK UP). You can skip banks by holding each of the keys down. To activate the EDIT mode, press both keys simultaneously. If you press one of the keys A - E () in that mode, the arrow keys can be used for setting parameters.
The TAP button performs seven functions:
s“Tap”: Tap the rhythm of a piece of music on the TAP button and the selected effect automatically adapts to the tempo of the music.
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s“Presence”: While holding down the TAP button, you can use the TREBLE control to change the PRESENCE setting of the amp model you’ve selected.
s“2nd parameter”: You also can access the second effects parameter set by using the EFFECT control while holding down the TAP button.
s“Amp models 17 - 32”: Keep the TAP button pressed down and select an amp model using the AMPS control.
s“MIDI Thru”: The MIDI OUT jack can be set to act as MIDI THRU (see A).
s“Drive”: Using the TAP button and the EFFECT control changes the sound of the
s“Input Gain”: By pressing the TAP button in the
configuration menu (see ) you change the value (please refer to chapter 3.1 for further information).
Fig. 2.1:
Tab. 2.1: Output formats and display LED assignments
The DISPLAY shows you which preset bank you have selected and gives you information on parameter changes when you are editing. In TUNER mode the DISPLAY shows the pitch of the instrument connected to the unit. If one of the amplifier simulations 17 - 32 has been selected, the LED in the bottom
This control is for selecting an effect or a combination of effects. This
Using the REVERB control, you can add the reverb content of your choice to your overall sound. By turning it to the left until all the LEDs are off, you deactivate the reverb. To fade out the original signal, turn the control to the right until only the last LED lights up.
If an effect has been selected via , its part of the overall sound can be set using thisEFFECTS control. If you select the “Compressor” effect, you can use the EFFECTS control to adjust the compression intensity. Turning the control to the left until all the LEDs are off disables the effect. This is known as an effects bypass.
+By pressing the TAP key, you can set a second effects parameter using the EFFECTS control (see tab 6.1).
The MASTER control determines the overall volume of your device.
+This is, besides the AUX LEVEL control of the
The INPUT socket is the 1/4' jack socket for your guitar. Please use a standard 1/4' mono jack cable.
The LINE IN
The stereo PHONES jack allows you to monitor the audio signal with standard headphones (e.g. BEHRINGER HP series).
+Your
+If you did not choose a speaker simulation with the current setting and connect headphones, the device will automatically switch to a speaker simulation. This will increase the listener’s sound impression. Please refer to table 5.2 for detailed information on the various speaker/amp combinations. However, you can intentionally change or deactivate the simulation when using headphones by selecting
2.2 Rear panel/side
Both
+When using the serial insert path, please do not set the effects device to 100% effects signal (“wet”); otherwise, the direct signal will be missing.
+Press the LINE IN key to route the signal applied at the RETURN/LINE IN to the
+As soon as the VAMPIRE’s LINE IN (Return) is connected, the signal is automatically routed to the DSP. The input signal from the front will then be interrupted.
The ANALOG LINE OUTPUTS provide the stereo signal without analog speaker simulation applied
The balanced LINE OUTs of the
+You may use balanced or unbalanced plugs with the LINE OUTs.
Connect the POST DSP INSERT RETURN (IN)pair of stereo 1/4' jacks to the outputs of your external stereo effects device and use this path to return the signal sent out from the POST DSP SEND (OUT) outputs .
The GROUND LIFT switch disconnects (switch pressed) the ground connection at the DI OUT outputsto effectively eliminate hum noise resulting from ground loops.
The DI OUT output provides the balanced stereo signal of your
The POST DSP SEND (OUT) stereo output
The S/PDIF output provides the digital output signal of your
The AES/EBU output (XLR connector) delivers the digital signal of your
+The
The WORDCLOCK BNC jack is used to connect equipment for the external synchronization of your
This is the MIDI OUT/THRU jack. It is configured as MIDI OUT but can be set to act as a MIDI THRU jack (seeA).
Use the MIDI IN to connect a foot controller, for example, the BEHRINGER MIDI FOOT CONTROLLER FCB1010 (see chapter 8.3 for details).
SERIAL NUMBER. Please take the time to fill in and return the warranty card within 14 days after the date of purchase, so as to benefit from our extended warranty. Or register online at (www.behringer.com).
You find the serial number of the
FUSE HOLDER/VOLTAGE SELECTOR
The mains connection is on an IEC receptacle
Connect the stereo jack plug of your FS112V footswitch (included) to the FOOTSWITCH socket
The AUX IN jack socket
The AUX LEVEL control
These outputs
+Without external loudspeakers the internal speaker runs at 70 Watts mono. The left output (the internal
speaker automatically shuts off) allows to connect a loudspeaker with 4 W of impedance and 100 Watts power. At the right output you may connect an 8 W/ 50 Watts speaker that runs together with the
internal speaker. Two speakers with 8 W/50 Watts each can be connected to the outputs (the internal speaker automatically shuts off). Our ULTRASTACK BG412 series suits this application ideally.
3. OPERATING MODES AND
APPLICATIONS
One outstanding feature of our
The choice of your most suitable operating mode depends on where you use it. We have described some typical applications, distinguishing between particular features of the
+With the headphones plugged, the device automatically switches into studio 1 (S1) operating mode.
3.1 Selecting an operating mode in CONFIGURATION mode
The settings of the configurations are made in the configuration menu by pressing the buttons D and E (B and D for the
+By pressing the TAP key and adjusting the GAIN control you can additionally adapt the input amplification to particularly loud pick ups.
In the configuration menu you can adapt the input gain to different pick up types. To do this, keep the TAP key pressed and the surrounding GAIN control LEDs show the current setting. Turning the GAIN control from its center position to the left you will reduce the input amplification which probably is recommendable with very loud pick up types. GAIN settings in clockwise direction are only recommended with very weak pick up types.
Quit the configuration menu by pressing TUNER/EXIT.
3.2 Rehearsal or recording at home
When using headphones, all three
One advantage of rehearsing at home is that there is often a computer available which allows you to design, edit, send, receive and archive new presets comfortably and effectively. Download our
Using studio mode 2 (S2) at home can be a good idea when it comes to recording an amp sound without effects (“dry”) but monitoring it with effects (“wet”). Working this way, you are able to choose the effects you want later during mixdown. In this case you would route the left output to the soundcard of your computer and monitor the right output via your mixing console.
3.2.1
Figure 1.3 on the view sheet shows a typical home application. We recommend modes S1, L1 or L2.
S1 comprises all amp, speaker and effects simulations. The same applies to mode L1 which also includes the
+When connecting headphones, the amp signal is automatically muted. Thus, if you unplug the headphones we strongly recommmend to turn the MASTER control to the very left. The XLR output is independent of the MASTER control setting. This allows to take out a line signal for recording purposes while the MASTER control is set to minimum.
As with the
3.2.2
In the studio, monitoring will be performed at the mixing console, and for this reason there is no need for an aux input on the
Figure 2.4 of the view sheet shows how to connect the
In addition, figure 2.4 shows an effects device connected to the Pre DSP INSERT in order to edit the input signal before any digital simulations. To do this, the LINE IN button has to be pressed.
Depending on your application, we recommend studio mode S1 or S2. Mode S1 includes all amp and speaker simulations with effects in stereo while S2 has the effects at the right output only allowing you to record this track “dry” and add effects later at mixdown.
3.2.3
While rehearsing with your
Fig. 3.4 on the view sheet shows the previously mentioned arrangement for S2.
3.3 Live on stage or in a rehearsal room
Since neither the
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3.3.1
Not only does the
You can also connect to an external stereo speaker arrangement, e.g. our BG412S. In this configuration the
Alternatively, an external 8 Ω speaker may be connected to the right speaker output. This also represents a stereo configuration, because the internal speaker is not muted, as shown in fig. 1.6.
The starting configuration for this application would be L2, i.e., a stereo signal with all effects, amp simulation and live EQ but no speaker simulation. The
3.3.2
Because of its additional outputs and the analog
Since the receiver of the wireless system is connected to the rear line input, the line input switch on the front has to be pressed. Use this switch also to mute the signal while you change your guitar.
Figure 2.6 displays a very similar application: The monitor amp in this case is a guitar amp so that mode L2 (no speaker simulation) is recommendable.
3.3.3
Figure 3.5 on the view sheet shows the
Figure 3.6 describes another speciality of the
A special feature of the L3 mode is that the signal to the guitar amp has no speaker simulation, instead it has an additional
3.4 Recording
For this applications we assume that at least a mixing console and a recording device is available.
3.4.1
As with rehearsals at home or anywhere else, the
Since the usual volume problem does not exist in studio environments, the
3.4.2
For studio applications we recommend modes S1, S2 or S3. S1 reproduces all amp and speaker simulations with effects in stereo (as with the
+Please note that the
3.4.3
To record a stereo signal with all effects, amp and speaker simulations, select modes S1 or L1 (with
You hear the sound exactly the way you record it. So if you decide to make a change, you will need to record the whole track again.
With studio mode S2 all effects are therefore put out through the right channel only, while on the left channel you will find the amp and speaker simulations. This enables you to record the dry amp signal and determine the effects later on during mixdown (see fig. 3.4).
If you want to go the safe way, we recommend to split up the input signal with a
Tab. 3.1: Configurations
4.4 Discarding an edited preset/restoring a single factory preset
If you have edited a preset and find that you don’t like the edited version, you can, of course, discard it. Let’s assume you’ve selected and then edited preset C (the corresponding LED has lit up), but you would now like to return to the configuration stored previously. Simply select another preset. The next time you call up the preset, the temporarily edited version is discarded. After editing, you can also hold down the two arrow keys until “Pr” appears in the display, which brings back the factory preset that was originally stored there. However, you then have to save it again by holding down the corresponding preset button for approx. two seconds.
4.5 Restoring all factory presets
All factory presets can be restored as follows: Hold down buttons D and E and then switch on the device. “CL” appears in the display. Now release the two buttons and press the two arrow keys simultaneously. This erases all the edited presets you have stored and restores the factory presets. Please refer to chapter 8.3.1 if you need information on how to save your settings via MIDI.
5. AMP/SPEAKER SIMULATION
The very heart of the
When you switch on the device, it automatically loads the last preset selected. The LED ring around the AMPS control shows which amp has been selected. The corresponding LED lights up. To select another amp simply turn the control. Use the VOLUME, BASS, MID, TREBLE and GAIN controls to modify the basic sound of the amp. Hold down the TAP button and turn the TREBLE control to raise or lower an additional
As a rule, you will want to select an amp first, then a cabinet and finally an effect. See chapter 4 for how to store your modifications. To give you a better overview of the extensive range of amp simulations, we have compiled the following descriptions of the different types of amp.
+When you select an amp simulation, an appropriate speaker simulation is activated automatically (see tab. 5.2). Otherwise, the authenticity of the sound could be affected by an unsuitable cabinet— especially if you are using headphones. Naturally, you can combine the amp simulations with other cabinets according to taste.
5.1 Amp descriptions
AMERICAN BLUES: This virtual amp is modelled on the Fender Bassman 4 x 10 Combo. Originally designed as a bass amp, it soon became a standard amp of blues legends such as Steve Ray Vaughan or Billy Gibbons due to its characteristic distortion. As you would expect, it packs a solid punch in the bass range, but is still flexible enough in the mid and treble ranges.
AND DELUXE: A synthesis of a 1960 Fender Blackface Deluxe and a ’50s Fender Bassman. The result is a
MODERN CLASS A: This amp is characterized by its slight distortion and sounds almost like
CUSTOM CLASS A: The model for this simulation is the Budda Twinmaster. This Class A amp is renowned for its warm sound combined with irresistible tube distortion. Although the original amp does not have a mid control, we have given the capability of suiting the mid range to your taste.
TWEED COMBO: This was Jeff Beck’s favorite when he recorded the albums Blow by Blow andWired. This amp was not actually designed for heavy distortion, but due to its low power, it is ideal for uncompromising overdrive sound.
SMALL COMBO: This model is based on the 1960 Tweed Champ. The main attraction of this amp simulation is when the DRIVE function is used a lot. Although this amp was actually designed for beginners on the guitar, it soon became a favorite amp of many guitar afficionados. The reason for that was that it produced an amazingly distorted sound even at low volume.
The Tweed Champ had a volume control, but no EQ control. If you want to get the most authentic sound out of this amp, keep the sound control on your
CLASSIC CLEAN: Back in the ’80s, the Roland
BLACK TWIN: This simulation was modeled on a Fender Blackface Twin from 1965. In the ’60s this amp was used by jazz, country and even rock guitarists. What was unique about it was that it was exceptionally loud and was therefore mainly used for live performances. The secret of the Blackface Twin was that although you could play it extremely loud, the distortion remained relatively low.
BRIT BLUES: Modeled on the JTM 45, the first Marshall amp ever. This, by the way, was Eric Clapton’s favorite amp when he was with Cream. The JTM 45 was the forerunner of many of Marshall’s later amps with their distinctive, powerful sound. Extreme gain settings produce a highly compressed and really “dirty” sounding distortion. Combined with a 2 x 12' speaker simulation it produces impressive Bluesbreaker sounds.
AND CUSTOM: This simulation is based on a 1965 Marshall JTM 45 Bluesbreaker but has more flexibility of sound control. Turn the GAIN control to the left and this simulation sounds like a Marshall; turn it to the right and it is more reminiscent of the Budda.
BRIT CLASS A: This simulation is modeled on the Vox AC 30. This amp was originally designed in the ’60s when guitarists wanted amps with enhanced brilliance, a feature that Vox successfully implemented by means of “revolutionary” bass and treble controls. Brian May and U2’s The Edge are probably the
NON TOP BOOST: This is a Vox AC 30 as used by Bryan Adams in the recording studio. Unlike the
BRIT CLASSIC: Based on a 1959 Marshall Plexi 100 Watt, this amp is ideal for producing clean sounds. It was used by Jimi Hendrix, Eric Clapton and Jeff Beck.
CLASSIC 50 W: This is also a Plexi, but we have extensively widened its sound range. The sound controls on the original Marshall Plexi 50 Watt hardly had any effect on the sound if distortion was high.
BRIT HI GAIN: Compare this model with a Marshall JCM 800. Although the original was renowned mainly for its distorted sounds, this amp also sounds very good with low gain settings. It’s good at reproducing Steve Ray Vaughan’s and Michael
Landau’s sounds. In distortion mode it sounds like Gary Moore in his early days, but it’s also good for heavy metal.
BRITISH CLASS A 15 W: Another Vox model, based on the first channel of an AC 15 from 1960. Unlike the AC 30 this amp had only one 12' speaker, instead of two, and produced a warmer sound. Tip: to make this simulation sound as authentically as possible, leave the BASS and MID controls in
RECTIFIED HI GAIN: This model is based on a 1994 Mesa Boogie Dual Rectifier
RECTIFIED HEAD: This simulation is modeled on a Mesa Boogie Dual Rectifier top. Unlike the
MODERN HI GAIN: Here, too, the tone control is
SAVAGE BEAST: Engl is
FUZZ BOX: This sound is not actually based on any one amp, but on a particular fuzz box. Jimi Hendrix was one of the first guitarists to recognize the potential in this legendary broadband transistor distortion. The humming distortion sound of the FUZZ BOX has returned to popularity with Alternative Rock and Grunge.
CUSTOM HI GAIN: This sound goes back to a 1969
ULTIMATE
ULTIMATE PLUS: Those who find the ULTIMATE
DRIVE
CALIFORNIA DRIVE: Based on the Mesa Boogie Mark II c, this is purely a simulation of its drive
CRUNCH
CUSTOM DRIVE: This simulates the Dumble Overdrive
CLEAN
CALIFORNIA CLEAN: This model is based on the clean channel of the Mesa Boogie Mark II c. It sounds a little like a Fender, but has more of a punch in the
TUBE PREAMP: Sound engineers were quick to recognize the appeal of tubes. They used tube amps to add warmth to all kinds of sounds. This amp model is not only for refining guitar sounds. Try putting a vocal track through the
CUSTOM CLEAN: This simulation is of the clean channel on our Dumble amp. A clean sound that really cuts through, especially when used with compressor attack settings around 2 ms.
PREAMP BYPASS: In this setting, no amp simulation is selected. This makes it possible, for example, to play through an external guitar preamp and only use the effects or the speaker simulation. To activate the PREAMP BYPASS, press TAP and TUNER.
Fender , Vox , Marshall , Mesa Boogie , Gibson, Soldano , Matchless , Dumble , Budda , Tweed , Engl , Roland and the names of musicians and groups are registered trademarks belonging to the respective owners and are in no way associated with BEHRINGER.
5.2 Speaker descriptions
The sound of any guitar combo depends largely on the type and combination of speakers used. In the past 50 years there has been widespread experimentation to find out what type of speaker is best suited to any one specific guitar sound and in what way the sound is modified when a certain speaker is combined with others.
+When you select an amp simulation, an appropriate speaker simulation is activated automatically (see tab. 5.2). Otherwise, the authenticity of the sound could be affected by an unsuitable cabinet— especially if you are using headphones. Naturally, you can combine the amp simulations with other cabinets according to taste.
The character of a loudspeaker is a combination of its power rating, impedance, sound pressure and size, as well as the material it is made of. 8', 10' and 12' speakers have established themselves as the best sizes for electric guitar amplification. The following table shows a list of all speaker cabinets on the
Tab. 5.1:
Tab. 5.2: Loudspeaker/amp simulation default settings
6. EFFECTS PROCESSOR
A special feature of your
The appendix gives an overview of all MIDI data transmitted and received by your device.
+The standard operating mode of the
You can adjust up to 3 effects parameters on the
+To match
Tab. 6.1: Effects and MIDI controllers
+Table 6.1 shows the MIDI controllers for the corresponding parameters. The settings are made via MIDI. A detailed list of all controllable MIDI parameters will be available free of charge on the BEHRINGER internet site: www.behringer.com.
6.1 Wah Wah
The MIDI function enables you to use an additional Wah Wah effect. The optimum control of this effect is achieved by using a MIDI foot controller with expression pedal, e.g. our BEHRINGER MIDI FOOT CONTROLLER FCB1010.
+Adjust the filter characteristic and grade in the DRIVE menu by simultaneously pressing TAP and turning the EFFECTS control (see also B).
6.2 Effect descriptions
The following section contains short descriptions of the effects that can be produced using the
6.2.1 Reverb and delay algorithms
REVERB: Reverb is still the most important effect for mixing or live performance. That’s why we at BEHRINGER make a point of giving you as many as nine different reverb programs so that you can use the most suitable reverb program for any situation. The reverb effect can be added separately to all the other effects (see chapter 6.2).
ECHO: Echo is similar to the stereo delay effect in that it is a delayed repetition of the input signal. The main difference is that the
DELAY: This algorithm delays the input signal, with different tempo settings producing interesting delay effects. U2’s The Edge has impressivley demonstrated the potential of this effect.
PING PONG: A delay effect that changes position in the stereo image.
6.2.2 Modulation effects
PHASER: The principle behind the phaser is that a second,
FLANGER: This effect is
CHORUS: This effect adds a slightly modulated
6.2.3 Combinations of effect algorithms
PHASER & DELAY: Phaser and delay combined.
FLANGER & DELAY: Here the input signal is delayed and processed with a pronounced
CHORUS & DELAY: This algorithm combines signal delay with the popular chorus effect.
CHORUS & COMP: Incredible sustain effects can be produced with the compressor. This is especially useful for sustaining individual guitar notes. Combined with chorus, it can make the audio signal extremely dense.
6.2.4 Special effects
COMPRESSOR: A compressor limits the dynamic range of the audio material, thus producing audible and creative sound effects. Pronounced use of the compressor (using the EFFECTS control) allows you to compress the overall dynamic range of the material.
AUTO WAH: The legendary
TREMOLO: Simulates the classic Fender Tremolo. It has returned to popularity with
ROTARY: This is the quintessential simulation of the classic organ effect normally produced by speakers rotating at slow or fast speed in an extremely heavy speaker cabinet. This effect uses the physical principle of the Doppler effect to modulate the sound.
NOISE GATE: Noise gates are used to remove or reduce noise or other interference. Guitar signals in particular are very sensitive to interference. Not only do guitarists often use highgain settings but guitar
6.3 The separate reverb effect
The reverb effect is independent of the
1Tiny Room
4Large Room
Tab. 6.2: The different reverb effects
7. TUNER
Press the TUNER button to activate the
7.1 Tuning your guitar
The chromatic tuner automatically recognizes the frequencies of all the standard guitar notes. For the
It may happen, however, that a note is displayed as “A” but is actually slightly out of tune. This is shown by at least one of the four LEDs at the foot of the display lighting up. In certain cases even two of the LEDs may light up, which indicates that the pitch of the note played lies between the pitches represented by the two LEDs. When the circular tuner LED in the middle lights up, this means the note played is in tune.
7.2 Setting reference pitch “A”
To give you maximum freedom for tuning your guitar, you can change the preset reference pitch “A”. For clarity’s sake, let’s look at this in more detail.
The
The reference “A” on your
pressing the two arrow keys simultaneously. The display will show “40”, which means 440 Hz. Use the arrow keys to raise or lower the reference pitch by up to 15 Hz. The display always shows the last two digits as the first digit is always 4. For example, if you start with a reference pitch of 440 Hz and press the
8.INSTALLATION
8.1Mains voltage
Before you connect the unit to the mains, please make sure that the voltage setting on the unit matches the local voltage! The fuse holder at the AC power connector has 3 triangular markings
+If you set the unit to a different mains voltage, be sure to use a fuse of the correct type and rating. Please refer to chapter 10 “SPECIFICATIONS” for details.
+Blown fuses must be replaced by fuses of the same type and rating! Please refer to chapter 10 “SPECIFICATIONS” for details.
+Please make sure that all units have a proper ground connection. For your own safety, never remove or disable the ground conductor from the unit or of the AC power cord.
8.2 Audio connections
The inputs of your BEHRINGER
Fig. 8.1: XLR connectors
Fig. 8.2: 1/4' TS connector
Fig. 8.3: 1/4' TRS connector
Fig. 8.4: Headphones connector
8.3 MIDI connections
The MIDI standard (Musical Instruments Digital Interface) was developed in the early ’80s to enable different makes of electronic instruments to communicate with each other. Over the years the range of MIDI applications has constantly expanded, and today it is standard practice to network entire recording studios using the MIDI standard.
The heart of such a network is a computer with sequencer software that controls not only all the keyboards but also effects other peripheral devices. In such a studio
The MIDI connectors are
MIDI IN: receives MIDI controller data. The receiving channel can be adjusted in EDIT mode by pressing the A button and then using the arrow keys.
MIDI OUT/THRU: used for sending data to a computer or any other devices. You can transmit both preset data and parameter changes. If set to MIDI THRU, the
8.3.1 Sending/receiving
All
To send individual presets to other devices: switch to EDIT mode by pressing both arrow keys on the transmitting unit simultaneously, activate the MIDI function and briefly tap the MIDI button. The preset data are first filed in the temporary buffer and can be stored in the preset position of your choice using the store function.
8.4 AES/EBU and S/PDIF standards
In principle, there are two standards for digital signal processing. AES/EBU is the professional, balanced connection via XLR connectors. This interface is based on two identical protocols published in November 1985 (EBU Tech.
9. APPENDIX
0,', ,PSOHPHQWDWLRQ &KDUW
Tab. 9.1:
10. SPECIFICATIONS
BEHRINGER continuously strives to assure the highest quality standards possible. Required modifications may be implemented without prior notice. Technical data and the appearance of the unit may deviate from the above values and/or illustrations.
11.WARRANTY
§1 WARRANTY CARD/ONLINE REGISTRATION
To be protected by the extended warranty, the buyer must complete and return the enclosed warranty card within 14 days of the date of purchase to BEHRINGER Spezielle Studiotechnik GmbH, in accordance with the conditions stipulated in § 3. Failure to return the card in due time (date as per postmark) will void any extended warranty claims. Based on the conditions herein, the buyer may also choose to use the online registration option via the Internet (www.behringer.com or www.behringer.de).
§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 excluded from this warranty as described under § 3 and 4, BEHRINGER shall, at its discretion, either replace or repair the product using suitable new or reconditioned parts. In the case that other parts are used which constitute an improvement, BEHRINGER may, at its discretion, charge the customer for the additional cost of these parts.
2.If the warranty claim proves to be justified, the product will be returned to the user freight prepaid.
3.Warranty claims other than those indicated above are expressly excluded.
§3 RETURN AUTHORIZATION NUMBER
1. To obtain warranty service, the buyer (or his authorized dealer) must call BEHRINGER (see enclosed list) during normal business hours BEFORE returning the product. All inquiries must be accompanied by a description of the problem. BEHRINGER will then issue a return authorization number.
2.Subsequently, the product must be returned in its original shipping carton, together with the return authorization number to the address indicated by BEHRINGER.
3.Shipments without freight prepaid will not be accepted.
§4 WARRANTY REGULATIONS
1.Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealer’s invoice. Any product deemed eligible for repair or replacement by BEHRINGER under the terms of this warranty will be repaired or replaced within 30 days of receipt of the product at BEHRINGER.
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.
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.
4.Damages/defects caused by the following conditions are not covered by this warranty:
simproper handling, neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals.
sconnection 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.
sdamages/defects caused by force majeure or any other condition that is beyond the control of BEHRINGER.
5.Any repair or opening of the unit carried out by unauthorized personnel (user included) will void the warranty.
6.If an inspection of the product by BEHRINGER shows that the defect in question is not covered by the warranty, the inspection costs are payable by the customer.
7.Products which do not meet the terms of this warranty will be repaired exclusively at the buyer’s expense. BEHRINGER will inform the buyer of any such circumstance. If the buyer fails to submit a written repair order within 6 weeks after notification, BEHRINGER will return the unit C.O.D. with a separate invoice for freight and packing. Such costs will also be invoiced separately when the buyer has sent in a written repair order.
Behringer V Amp Pro Rack
§5 WARRANTY TRANSFERABILITY
This warranty is extended exclusively to the original buyer (customer of retail dealer) and is not transferable to anyone who may subsequently purchase this product. No other person (retail dealer, etc.) shall be entitled to give any warranty promise on behalf of BEHRINGER.
§ 6 CLAIM FOR DAMAGES
Failure of BEHRINGER to provide proper warranty service shall not entitle the buyer to claim (consequential) damages. In no event shall the liability of BEHRINGER exceed the invoiced value of the product.
§7 OTHER WARRANTY RIGHTS AND NATIONAL LAW
1.This warranty does not exclude or limit the buyer’s statutory rights provided by national law, in particular, any such rights against the seller that arise from a legally effective purchase contract.
Behringer Bass V-amp Pro Manual
2.The warranty regulations mentioned herein are applicable unless they constitute an infringement of national warranty law.
* Customers in the European Union please contact BEHRINGER Germany Support for further details.
Behringer V Amp Pro Editor
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. All the registered trademarks, names of musicians and groups are the property of their respective owners and are in no way associated with BEHRINGER. BEHRINGER,
EUROLIVE, BLUE DEVIL and EUROPOWER are registered trademarks. BEHRINGER Instrument Amplification is a Division of BEHRINGER.
ALL RIGHTS RESERVED. © 2003 BEHRINGER Spezielle Studiotechnik GmbH.
BEHRINGER Spezielle Studiotechnik GmbH,
Behringer V Amp 2 Manual
Tel. +49 (0) 21 54 / 92
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