to Open Manual File - American Musical Supply
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1. mntna 4 1 1 1 Serial number oo ee eee eeeeee eee eeeeeeeeeeeteeeeeees 4 2 CONTROL ELEMENTS cccsssceeeeeeeteseeeeseeeeeesaees 4 A A A na pa 4 2 2 REAM PANGI coc coo con cian ea oon deta 6 3 EXAMPLES OF USE OPERATING MODES CONFIGURATION eeeeeeeeeeeeeeeeee 3 1 Selecting CONFIGURATION modes 3 2 Standard set up with MIDI foot controller and optional recording system oooniionincnnnnconcniccniaicnn T7 3 3 Hard disk recording studio ooooonoinninnnnnninnnnccnnnncccinno 7 3 4 Live set up in combination with a full range monitor system oooocccconconcciocionionconnonnnnnns 7 3 5 Live set up with P A system and your own guitar amp on stage ooooiocoincnincnocococccoccconcnns 8 4 V AMP PRO PRESETS nmninnnennnnnanennnns 8 4 1 Calling up presets oo eee eee teeter eeee retest 8 4 2 Editing presets 4 3 Storing presets 4 4 Discarding an edited preset restoring a single factory PreSet ecan eria a e ERS 9 4 5 Restoring all factory presets mmte 9 5 AMP SPEAKER SIMULATION 5 1 Amp GESCHPLONS Sesnsenio ninian ainaani 5 2 Speaker descriptions mtmnnn 6 EFFECTS PROCESSOR nrnnennnnnnnnnannnana 6 1 Effect descriptions Reverb and delay algorithms Modulation effects ooooooocioconicococcncnccioncocconconanncanons Combinations of effect a2. 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 5 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 3250 E by the European Broadcast Union and in December 1985 by the Audio Engineering Society AES3 1985 Sony and Philips oriented themselves to this standard and developed a further interface with unbalanced signal routing and a few other major differences predominantly related to the assignment of the channel status bits This interface named after the two com panies and known as S PDIF Sony Philips Digital Interface uses either cinch jacks or optical connections with optical fiber cables The procedure standardized in IEC 958 made a name for itself mainly due to efforts to introduce a copy protect technigue This standard also describes the revised AES EBU interface which was adapted to the S PDIF format and named IEC 958 Type professional The name of the S PDIF interface is then IEC 958 Type II consumer 8 INSTALLATION 13 V AMP PRO 9
3. with effects and ULTRA G cabinet simulation I For this application please select CONFIGURATION mode L2 4 V AMP PRO PRESETS The V AMP PRO features 125 overwritable presets divided into 25 banks In other words there are five presets available per bank Each preset consists of a maximum of five ingredients A amp simulation including GAIN EQ and VOLUME settings A cabinet simulation A pre amp effect such as noise gate compressor auto wah and wah wah A post amp multi effect such as delay modulation effect or a combination of both A reverb effect The enclosed sheet shows an overview of all the presets on your V AMP PRO 4 1 Calling up presets When the unit is switched on it automatically loads the preset used last In the following example the last preset selected was preset D in bank 25 cur 96 kHz ID SIGNAL 48 kHz ID EDIT EXT gt C EN 17 32 a N a EXIT 2ND PAR Fig 4 1 Calling up presets In this case by pressing button A B C or E you can immediately call up another preset of the same bank The two arrow keys BANK UP and BANK DOWN enable you to switch banks The display on the V AMP PRO always shows which bank has been selected When you switch banks the preset has to be called up by pressing one of the buttons A E One LED lights up to show you which preset in the respective bank has been activated Operating mode __
4. SPECIFICATIONS AUDIO INPUTS Guitar input Input impedance Max input level Pre DSP return line in Input impedance Max input level Post DSP insert return L R Input impedance Max input level AUDIO OUTPUTS Pre DSP sendl line out Output impedance Max output level Analog line outputs L R Output impedance Max output level Analog DI out Output impedance Nom level S1 S3 Nom level L1 and L2 Post DSP insert send L R Output impedance Max output level Headphones connector Max output level DIGITAL OUTPUTS Type Output impedance Nominal output level Type Output impedance Nominal output level Format Sample frequency WORDCLOCK INPUT Type Input impedance Nom input level MIDI INTERFACE Type SIGNAL PROCESSING Converter Dynamics A D Dynamics D A Sampling rate DSP Delay time Runtime line in gt line out unbalanced 1 4 TRS connector 1 MA 3 dBu unbalanced 1 4 TRS connector 45 kQ 9 dBu unbalanced 1 4 TRS connectors 40 kQ 8 dBu unbalanced 1 4 TRS connector lt 1 kQ 9 dBu unbalanced 1 4 TRS connectors approx 680 Q 20 dBu balanced XLR connector 100 Q 4 dBu 10 dBu unbalanced 1 4 TRS connectors 1 kQ 8 dBu 1 4 TRS stereo connector unbalanced 15 dBu 100 Q 23 dBm XLR transformer balanced 110 Q 3 5 V peak to peak RCA transformer unbalanced 75 Q 0 5 V peak to peak not grounded unbalanced AES EBU and S PDIF switchable
5. and to avoid overheating please do not place the V AMP PRO near radiators etc I Before you connect the V AMP PRO to the mains please make sure that the voltage setting on the unit matches the local voltage The mains connection is made using the enclosed power cord and a standard IEC receptacle It meets all of the international safety certification requirements IZ 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 ground free opto couplers Further information can be found in chapter 8 INSTALLATION 1 1 1 Serial number The V AMP PRO s serial number is located on the rear 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 2 CONTROL ELEMENTS TUE PEAME CLEAN V AMP 2 1 Front panel AMERICAN BLUES Gate a y OMEND DELUKE CRUNCH VAMP Fa MODERN CLASS A CUSTOM DRIVE Hf Q gt CUSTOM CLASS A BEHRINGER evi ge ane CALIF DRIVE 0 CO SMALL COMBO ULTIMATE VAMP CLASSIC CLEAN AS ULTIMATE PLUS BLACK TWIN FUZZ BOX BRIT BLUES CUSTOM HI GAIN AND CUSTOM MODERN HI GAIN EI BRIT CLASS A NON TOP BOOST O SAVAG
6. using the EFFECTS control allows you to compress the overall dynamic range ofthe material AUTO WAH The legendary wah wah effect owes its fame mainly to Jimi Hendrix Describing it is certainly more difficult than simply listening to Hendrix using it on Voodoo Chile In American funk music of the 70s you can hear auto wah effects used in a variety of applications The auto wah alters its filter frequency automatically depending on the signal s magnitude rather than being controlled by the position of a pedal TREMOLO Simulates the classic Fender Tremolo lt has returned to popularity with trip hop 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 high gain settings but guitar pick ups can amplify unwanted inter ference This can be painfully apparent during breaks in the music And how does a noise gate work It simply mutes the signal during breaks eliminating any interference at the same time 6 2 The separate reverb effect The reverb effect from your V AMP PRO is independent of the multi effects processor and can be added to the mix signal
7. DSP If the two corresponding RETURN IN jacks are not used the ANALOG LINE OUTPUTS provide an identical signal 2 CONTROL ELEMENTS CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR WWW BEHRINGER COM DIGITAL OUTPUTS EXT CLOCK OUT THRU IN 32 as khz S PDIF AES EBU WORDCLOCK Lilli Fig 2 6 V AMP PRO rear panel section 2 26 The S PDIF output provides the digital output signal of your V AMP PRO 27 The AES EBU output XLR connector provides the digital output signal of your V AMP PRO in an AES EBU format provided that AES EBU has been selected as digital output format please refer to the 2nd note under E The WORDCLOCK BNC jack is used to connect eguipment for the external synchronization of your V AMP PRO This high impedance jack has no internal terminating resistor 75 Ohms 29 This is the MIDI OUT THRU jack of your V AMP PRO It is configured as MIDI OUT but can be set to act as a MIDI THRU jack see 8 A 30 Use the MIDI IN to connect a foot controller for example the BEHRINGER MIDI FOOT CONTROLLER FCB1010 See also chapter 8 4 SERIAL NUMBER DATE CODE EUROPE 200 240 V T 200 mA H BEHRINGER V AMP PRO MODEL LX1 PRO CONCEIVED AND DESIGNED BY BEHRINGER GERMANY ASSEMBLED IN CHINA UNDER 1808000 CERTIFIED MANAGEMENT SYSTEM CAUTION ro REDUCE THE RISK oF ELECTR
8. In operating mode Live 2 it is necessary to distinguish between the balanced XLR outputs DI OUT and the 1 4 jack outputs UNBALANCED 3 1 Selecting CONFIGURATION modes Your V AMP PRO left the factory set in Studio 1 S1 mode To change modes you have to switch to CONFIGURATION mode To do this press buttons D and E simultaneously Use the arrow keys to switch from one mode to another Press TUNER to quit CONFIGURATION mode 3 2 Standard set up with MIDI foot controller and optional recording system Set up and wire your V AMP PRO as shown in fig 1 on the enclosed sheet Connect your headphones to the PHONES jack if required The MIDI foot controller enables you to select programs enable disable the tuner and control the wah wah effect see chapter 10 I gt For this application please select CONFIGURATION mode S1 I gt To monitor the recorded signal please press button 18 3 3 Hard disk recording studio A widely used recording application is to make a dry recording of the output signal while monitoring the signal with effects see fig 2 on the enclosed sheet The advantage here is that you don t have to make a final decision on what effect to use during mix down For this purpose connect the left output of the V AMP PRO to the recording device and use the right output for monitoring with effects If you have a MIDI foot controller you can use it to control preset bank and amp model change
9. a Division of BEHRINGER ALL RIGHTS RESERVED 2002 BEHRINGER Spezielle Studiotechnik GmbH BEHRINGER Spezielle Studiotechnik GmbH Hanns Martin Schleyer Str 36 38 47877 Willich M nchheide II Germany Tel 49 0 21 54 92 06 0 Fax 49 0 21 54 92 06 30 16 11 WARRANTY
10. 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 uncom promising 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 high quality 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 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 would like to thank all of you who have made the V AMP PRO possible You have all made your own personal contributions from the developers to the many other employees at this company My friends it s been worth the effort Thank you very much Uli Behringer V AMP PRO TABLE OF CONTENTS 1 INTRODUCTION csecceessceeeseeeeeseeeeesseeeesseeenseeeeees 4 1 1 before you get started
11. direct signal without any effect added Connect the RETURN LINE IN jack to the output of your external effects device 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 V AMP PRO This function is useful for example to monitor a dry guitar signal with the V AMP PRO before adding any effects see enclosed sheet fig 1 The ANALOG LINE OUTPUTS provide the stereo signal of your V AMP PRO without analog speaker simulation applied Use this jacks for example to connect an external amp on stage Connect the POST DSP INSERT RETURN IN pair of stereo 1 4 jacks to the outputs of the external stereo effects device and use this path to return the signal sent out from the POST DSP SEND OUT outputs 25 The GROUND LIFT switch disconnects switch pressed the ground connection at the DI OUT outputs to effectively eliminate hum noise resulting from ground loops The D OUT output provides the balanced stereo signal of your V AMP PRO Connect this output to two balanced channel inputs on your mixing console The POST DSP SEND OUT stereo output allows you to connect the inputs of an external stereo effects device The signal provided here is the same as the signal present at the digital outputs Unlike the SEND LINE OUT output this signal is post
12. modeled on the Mesa Boogie Mark III CALIFORNIA DRIVE Based on the Mesa Boogie Mark II c this is purely a simulation of its drive channel definitely the right choice for Santana songs CRUNCH V AMP This amp is ideal for modern blues or jazz Its sound is not too subtle but not in your face either it s crunchy that s all CUSTOM DRIVE This simulates the Dumble Overdrive Special an amp that was at the top of many guitarists wish list but beyond their financial means Dumble amps are hand made and can be custom built for the individual guitarist What we ve done here is simulate the drive channel of one of these rare Dumble amps CLEAN V AMP Here we have managed to simulate the sound of a Roland JC 120 and comine it with our BRIT CLASSIC model The result is the brilliance of a transistor amp which however features the cutting power of a Marshall Plexi Turn the GAIN control clockwise and the Marshall comes in 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 mid range 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 V AMP PRO and give it the finishing touch with TUBE PREAMP CUSTOM CLEAN This simulation is of the clean channel on our Dumble am
13. your guitar or switch pressed the line signal connected to the PRE DSP INSERT LINE IN 20 The stereo PHONES jack allows you to monitor the V AMP PRO s audio signal with standard headphones When you connect your headphones the V AMP PRO automatically activates studio mode 1 S1 If the current preset or setting does not have a cabinet model the V AMP PRO will also select a default speaker simulation automatically as soon as you plug in your headphones This improves the aural impression when using headphones The standard cabinet simulations are shown in table 4 enclosed sheet However you can intentionally change or deactivate the simulation when using headphones by selecting in the CABINETS mode 2 2 Rear panel 7 7 El POST DSP INSERT ANALOG LINE OUTPUTS UNBALANCED L 60 ole 06 ULTRA G LIVE 4x12 CAB SIM PRE DSP INSERT SEND LINE OUT RETURN LINE IN BALANCED LINE OUT GROUND LIFT CN 11999 FT SR e us RETURN IN R SEND OUT ANALOG UNBAL LINE OUT 23 24 25 24 Fig 2 5 V AMP PRO rear panel a 1 Your V AMP PRO features a serial insert path for external effects such as a wah wah pedal Connect the SEND LINE OUT jack to the input of your effects device The SEND LINE OUT output is taken directly pre digital processor PRE DSP which means you can use this jack also to record a dry
14. 44 1 48 96 kHz internal 44 1 96 kHz wordclock sample rate converter BNC 50 KQ 2 6 V peak to peak 5 pole DIN jacks IN OUT THRU 24 bit Delta Sigma 64 128 oversampling 100 dB preamp bypass 92 dB 31 250 kHz 100 Mips max 1 933 ms stereo approx 5 ms POWER SUPPLY Mains voltage General export model Power consumption Fuse Mains connection DIMENSIONS WEIGHT Dimensions H x W x D Weight U S A Canada 120 V 60 Hz U K Australia 240 V 50 Hz Europe 230 V 50 Hz 100 120 V 200 240 V 50 60 Hz 15 W 100 120V T 400 mA H 200 240 V T 200 mA H Standard IEC receptacle approx 3 1 2 89 mm x 19 482 6 mm x 5 1 4 135 mm approx 2 6 kg 5 3 4 Ibs BEHRINGER constantly strives to maintain the highest quality standards Modifi cations may be made if necessary without prior notice The specifications and appearance of the equipment may therefore differ from those listed or illustrated DISPLAY Type 2 digit numeric LED 14 9 SPECIFICATIONS Function Midi Channel Mode Note Number Velocity After Touch Pitch Bender Control Change 1 7 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 64 80 81 82 83 84 85 86 87 88 Program Change System Exclusive System Common System Real Time Running Status V AMP PRO 10 MIDI IMPLEMENTATION MIDI Implementation Chart Tra
15. E BEAST RECTIFIED HI GAIN _ eRT classic POWER RECTIFIED HEAD ar sana CLASSIC SOW BRIT CLASS A 15 W GAIN VOLUME BASS MID TREBLE PRESENCE b h h d A Fig 2 1 V AMP PRO front panel section 1 H Use the POWER switch to put the V AMP PRO into operation The GAIN control determines the distortion level of an amp simulation N The VOLUME control determines the volume of the se lected preset E E The BASS control in the EA section is for boosting or cutting the low freguency range b The MID control is for boosting or cutting the mid range frequencies E TREBLE controls the high frequency range of the selected preset If the TAP key 11 is down see fig 2 2 the TREBLE control functions as a PRESENCE control This enables you to boost cut a high frequency filter tuned to whatever amp model is active thus simulating the frequency dependent coupling of tube amps 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 marked on the housing in white a To select the simulation models 17 32 marked on the housing in gray press down the TAP key while making your selection by turning the AMPS control ISP The LED 17 32 in the bottom left hand corner of the DISPLAY indic
16. HSITSNA User s Manual Version1 0 September 2002 wt v S61D3443 GusAsyu INSTRUMENT AMPLIFICATION ES won Zins St CETE i avn Oud dINW V AMP PRO SAFETY INSTRUCTIONS A CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION RISQUE DE CHOC ELECTRIGUE NE PAS OUVRIR A 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 enclosure voltage that may be sufficient to constitute a risk of shock This symbol wherever it appears alerts you to important operating and maintenance instructions in the accompanying literature Please read the manual DETAILED SAFETY INSTRUCTIONS All the safety and operation instructions should be read before the appliance is operated Retain Instructions The safety and operating instructions should be retained for future reference Heed Warnings All warnings on the appliance and in the operating instructions should be adhered to Follow instructions All operation and user instructions should be followed Water and Moisture The appliance should not be used near water e g near a bathtub
17. IC SHOCK DO NOT REMOVE COVER NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL CAUTION ro REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE Fig 2 7 V AMP PRO rear panel section 3 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 FUSE HOLDER VOLTAGE SELECTOR Before connecting the unit to the mains make sure that the voltage setting matches your local voltage A blown fuse should only be replaced by a fuse of the same type and rating On some units the fuse holder can be switched to one of two positions i e 230 V and 115 V When operating the unit outside Europe at 115 V a higher fuse rating is required see chapter 8 INSTALLATION 33 The mains connection is on an EC receptacle An appropriate power cord is included V AMP PRO 3 EXAMPLES OF OUTPUT CONFIGURATIONS To adapt the V AMP PRO best to different studio and live situations you can select between five operating modes CONFIGURATION Regardless of the settings on the unit itself these modes determine in which way the V AMP PRO s output signal is taken Basically there are 3 studio and 2 live operating modes with additional EQ This also allows for using the left and right output signals differently at the same time
18. N The digital outputs are on a cinch jack S PDIF or XLR connector The BNC jack is used to feed in external word clock signals Balanced use with XLR connectors 1 ground shield 2 hot ve 3 cold ve Input Output For unbalanced use pin 1 and pin 3 have to be bridged Fig 8 1 XLR connectors Unbalanced use of 1 4 TS connector sleeve strain relief clamp ground shield sleeve tip ca Fig 8 2 1 4 mono plug Balanced use of 1 4 TRS connector sleeve tip strain relief clamp ground shield hot ve sleeve ring ring cold ve law For connection of balanced and unbalanced plugs ring and sleeve have to be bridged at the stereo plug Fig 8 3 1 4 stereo plug Headphones connection with 1 4 TRS connector sleeve tip strain relief clamp groundlshield left signal sleeve f ring ring right signal 1 Lasin Fig 8 4 Stereo headphones 1 4 plug V AMP PRO 8 4 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 seguencer software that controls not only all the keyboards but also effects and other peripheral
19. ON 9 V AMP PRO CLASSIC CLEAN Back in the 80s the Roland JC 120 was the preferred sound of Buzzy Feiten guitarist with the Dave Weckl Band The unique quality of this transistor amp s sound is the way its brilliance cuts through any mix lt is ideal for the New Wave sound of the 80s that is making a come back today By the way the JC 120 was also popular among Fender Rhodes pianists 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 BRITISH 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 Budd
20. __________ Function _________ ee OUTPUTS L OUTPUTS R pplications Stereo operation with selected effects and speaker simulations Studio 1 S1 dry signal with speaker simulation Effects compressor A Recording situation see fig 1 amp 2 on separate sheet A V AMP PRO as practice amp e g with headphones with speaker simulation modulation delay and A Recording situation with the left output connected to the OUTPUTS L OUTPUTS R A Studio 2 S2 and auto wah only additional 3 band EQ and with cabinet simulation reverb effects OUTPUTS L OUTPUTSR Left Right Studio 3 S3 dry signal with modulation without delay and reverb cabinet simulation effects plus cabinet simulation recording device The right output is used for monitoring only with effect Advantage while recording you don t have to specify the effect used during mix down but can still monitor wet signals see fig 2 on separate sheet A Here the V AMP PRO can be connected to a monitor system The additional EQ BASS MID 8 TREBLE controls allows you to match the sound to the amplifier used see fig 3 on the separate sheet OUTPUTS L OUTPUTS R AAA Live 1 L1 Stereo operation with analog ULTRA G cabinet simulation A V AMP PRO as preamp with the line outputs connected to a stereo line input of your guitar amp The additional EA BASS MID 8 TREBLE controls allows you to match the sound to the amplifier use
21. a BRITISH 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 best known users of this sound NON TOP BOOST This is a Vox AC 30 as used by Bryan Adams in the recording studio Unlike the well known AC 30 with treble boost the former amp version did not have this feature This simulation copies the original amp s normal channel BRITISH 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 BRITISH 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 Its 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
22. a 50s Fender Bassman The result is a crystal clear sound that still simlates the edge of the vintage amps The V AMP PRO sound control gives you even greater scope than the EQ controls on the originals MODERN CLASS A This amp is characterized by its slight distortion and sounds almost like hi fi It is modelled on the Matchless Chieftain a very expensive hand made amp 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 V AMP PRO 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 and Wired 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 the V AMP PRO in the mid range 5 AMP SPEAKER SIMULATI
23. 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 A improper handling neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals A 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 A 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 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 5 WARRANTY TRANSFERABILITY This warranty is extended exclusively to the original buyer customer of retail dealer and is not transferable to anyone who m
24. at any time To edit the REVERB function press button D in EDIT mode pressing the two arrow keys simultaneously and use the two arrow keys to select one of the nine different reverb types available see enclosed sheet for further details 7 TUNER Press the TUNER button to activate the built in tuner 7 1 Tuning your guitar The chromatic tuner automatically recognizes the frequencies of all the standard guitar notes For the A string this means a frequency of 220 Hz When you plug your guitar into the V AMP PRO and play an open string the tuner will recognize and display the note Since the tuner uses an auto chromatic scale it can also recognize semi tones which are shown with a b in the display 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 so called concert pitch A has been raised steadily over time For example the tuning forks used b
25. ates that one of the simulation models 17 32 has been selected 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 4 1 INTRODUCTION CABINETS Coni 7 NOISE GATE Q a ES o gt TAP _ PREAMP BYPASS EXIT EEC EI 200 PAR 9 10 Gi 2 Fig 2 2 V AMP PRO front panel section 2 These five keys are for selecting a preset A E within A one bank In EDIT mode activated by simultaneously pressing the arrow keys described in 10 the keys perform the function printed directly above them As long as EDIT mode is active the EDIT MODE LED lights up A Accesses the MIDI functions Use the arrow keys to set the MIDI channels for transmitting and receiving 1 through 16 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 case the V AMP PRO does not send its own MIDI information but passes on the signal received at the MIDI IN jack B 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 wah wah effect by t
26. ay 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 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 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 V AMP ULTRA G BLUE DEVIL ULTRATWIN and VIRTUALIZER are registered trademarks BEHRINGER Instrument Amplification is
27. be used to produce slightly modulating or strongly alienating effects FLANGER This effect is self explanatory Originally the flanger effect was produced by running two synchronized tape recorders at the same time The same signals e g a guitar solo were recorded on both machines Putting a finger on the left reel of one of the machines caused it and the speed of the playback to slow The resulting delay produced phase shifts of the signals CHORUS This effect adds a slightly modulated off key element to the original signal thus creating a pleasant floating effect through variations in pitch EA Combinations of effect algorithms multi effects programs PHASER amp DELAY Phaser and delay combined FLANGER amp DELAY Here the input signal is delayed and processed with a pronounced wave like effect It is particularly effective for highlighting single notes but can also be used to make solos more interesting CHORUS amp DELAY This algorithm combines signal delay with the popular chorus effect CHORUS amp 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 EFFECTS PROCESSOR 11 V AMP PRO 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
28. d However with no cabinet simulation activated the loudspeaker s of the guitar amp used will influence the sound The XLR outputs function as DI output and are connected to the mixing console or stagebox respectively Thus they determine the F O H mix see fig 4 Here our ULTRA G 4x12 loudspeaker simulation is activated OUTPUTS L except for XLR OUTPUTS R except for XLR Cd Stereo operation additional 3 band EQ but without cabinet simulation Live 2 L2 XLRDIOUTL XLR DI OUT R Stereo operation additional 3 band EQ but automatically Tab 4 1 V AMP PRO modes with application examples 8 4 V AMP PRO PRESETS 4 2 Editing presets Editing presets is fast and simple with the V AMP PRO One option is to call up a preset you like and then start editing it Select an amp model by means of the AMPS encoder The LED on the preset button flashes e g D and signals that you have made a change to the preset Now change the settings ofthe VOLUME BASS MID TREBLE and GAIN controls as you like If you select an effect you can adjust its ratio in the overall sound using the EFFECTS control You then switch to EDIT mode by pressing the arrow keys simultaneously If you use buttons B E to activate the DRIVE CABINETS REVERB and NOISE GATE functions respectively and then edit using the arrow keys the value of the respective parameter is shown in the display To leave EDIT mode briefly press the TUNER button Ifyou
29. devices In such a studio set up you can control the V AMP PRO in real time from a computer For live performances in particular you can also use a MIDI foot controller to control both effect parameters and preset changes on your V AMP PRO The MIDI connectors on your V AMP PRO are international standard 5 pin DIN jacks To connect your V AMP PRO to other MIDI eguipment you will need dedicated MIDI cables They are commercially available in various standard lengths 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 V AMP PRO does not send its own MIDI information but passes on the signal received at the MIDI IN jack 8 4 1 Sending receiving MIDI Sysex data The V AMP PRO can receive system exclusive data from other MIDI devices provided that the MIDI function button A has been activated in EDIT mode However this means that all presets on the V AMP PRO will be overwritten automatically You can also transmit MIDI data from your V AMP PRO to other devices total dump by switching to EDIT mode and pressing the MIDI button until the display reads d The total dump function can be useful for transferring all the stored data from your V AMP PRO to a MIDI seguencer and storing it there
30. e latest DSP effects The V AMP PRO has a number of decisive advantages over its little brother the V AMP 2 the output signal can now be taken in digital form and you can even select the output format External synchronization of your V AMP PRO is possible via word clock and what is more the V AMP PRO features an additional analog speaker simulation giving you unprece dented flexibility But if you think the V AMP PRO has been designed for guitarists only you re wrong for example with its innovative preamp bypass feature you can even use it purely as an effects processor And thanks to its digital signal processing the V AMP PRO also works as an all purpose A D converter with an extremely low noise high impedance input But enough of this talk Nothing we say will convince you as readily as what you hear and feel when you test your V AMP PRO for the first time But 1 1 before you get started The V AMP PRO 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 IS 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
31. f you press the D and E keys simultaneously you can select the V AMP PRO s general operating mode allowing adjustments to different studio and live situations see chapter 3 Press TUNER EXIT to quit configuration 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 and BANK UP You can skip banks by holding each of the keys down To activate the EDIT mode press both keys simultaneously THE EDIT MODE LED in the display lights up if you press one of the keys A E 8 in that mode the arrow keys can be used for setting parameters The TAP button performs five functions 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 Presence Holding down the TAP button you can use the TREBLE control to change the PRESENCE setting of the amp simulation model you ve selected 24 parameter You also can access the second effects parameter set by the EFFECT control by holding down the TAP button see chapter 6 Amp models 17 32 Keep the TAP button pressed down and select an amp model using the AMPS control MIDI Thru The MIDI OUT jack can be set to act as MIDI THRU see 8 A CLIP SIGNAL 96 kHz ID 48 kHz ID EDIT EXT PD Ml 17 32 gt TUNER A e Fig 2 3 V AMP PRO di
32. gs Damage Requiring Service The appliance should be serviced by qualified service personnel when The power supply cord or the plug has been damaged or Debris or liquid has entered the appliance or The appliance has been exposed to rain or The appliance does not appear to operate normally or exhibits a noticable change in performance or The appliance has been dropped or the enclosure damaged Servicing The user should not attempt to service the appliance beyond that which is described in the operating instructions All other servicing should be referred to qualified service personnel gt P gt gt gt FOREWORD Dear Customer Welcome to the team of BEHRINGER users and thank you very much for expressing your con fidence in BEHRINGER products by purchasing the V AMP PRO Writing this foreword for you gives me great pleasure because it represents the cul mination of many months of hard work delivered by our engineering team to achieve a very am bitious goal to present you with an excellent virtual guitar amplifier which gives you maxi mum flexibility and performance through its advanced sound and remarkable range of functions The task of designing our new V AMP PRO 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
33. hold the TAP button down while using the TREBLE control you can raise or lower an additional high frequency filter PRESENCE This simulates the freguency sensitive coupling of tube amps IS Apart from compressor and auto wah all the multi effects have a speed based parameter Say you want to set the effect you ve selected to the tempo of your playback just tap the TAP button twice in time to the music and the effect tempo will match the tempo of your piece 4 3 Storing presets To store your edited preset hold down the preset button required for approx 2 seconds for the preset to be overwritten the corresponding LED lights up throughout IS You do not necessarily have to store your edited preset in place of the original preset selected If you choose a different storage position select the preset bank you want using the arrow keys BANK UP and BANK DOWN You can store your changes by holding down the preset button for approx two seconds For example you can edit a preset originally stored in bank 5 position D and then store it in bank 6 position A 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
34. ied 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 ofthe 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 ofthe 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
35. 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 mid travel position and vary the TREBLE control only RECTIFIED HI GAIN This model is based on a 1994 Mesa Boogie Dual Rectifier Trem O Verb featuring a modern high gain sound that also comes over well in a band context The tone control is post gain which allows you to tailor distorted sounds to great effect This amp is perfect for heavy metal but also for Steve Lukather sounds The best known user of this amp is Dream Theater s guitarist John Petrucci RECTIFIED HEAD This simulation is modeled on a Mesa Boogie Dual Rectifier top Unlike the Trem O Verb this amp produces a more modern high gain sound The tone control is most effective at high gain settings MODERN HI GAIN Here too the tone control is post gain allowing the extremely distorted sound to cut through the mix The MODERN HI GAIN sound is ideal for playing Grunge but is also used by guitarists such as Steve Vai and Joe Satriani Among others Steve Lukather Nuno Bettencourt and Steve Vai have all popularized the Soldano sound If you re playing a Gibson Les Paul MODERN HI GAIN sounds best when you turn down the volume control on the guitar a little SAVAGE BEAST Engl is well known for amps that really cut through The Savage 120 in particular has built up a large following among guitarists For some time now Ritchie B
36. lack more has been an major endorser of this German company and Randy Hanson the best Hendrix since Jimi also swears by this amp The unique feature of the Savage is its extreme power and is therefore highly popular with heavy metal guitarists Silent Force Sinner guitarist Alex Beyrodt has been an enthusiastic Engl user for years An amp for making yourself heard 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 50 Watt Marshall Plexi modified by Jose Arrendondo Arrendondo was none other than Eddie Van Halen s guitar technician The unique features of this amp are its fine mid range sounds and its ability to produce the ultimate in gain without making the sound muddy Warning highly addictive ULTIMATE V AMP From clean to brutal hi gain this brute covers the entire range The ULTIMATE V AMP is basically a souped up rectifier amp ULTIMATE PLUS Those who find the ULTIMATE V AMP too tame will find enough gain here for an overdose DRIVE V AMP This simulation is based on a more modern high gain lead amp producing a soft but precise sound with plenty of drive making it ideal for lead guitar work The DRIVE V AMP is
37. lgorithms multi effects programs mtmmmna 11 Special eff C S pinirit reei 12 6 2 The separate reverb effect 0 mmenee 12 Te TUNER coso 12 TA Tuning YOUR GUHAF 1 1 cirrosis cerda 12 7 2 Setting reference pitch A mmemmns 12 8 INSTALLATION neninnnanennaaenannannnnnannnnnans 12 8 1 RackmMounting citrico 12 8 2 Mains Voltage rniii irie ciiir 12 8 3 Audio CONNECTIONS oooconcooccccccocccoccnncconccanc conc canani nono 12 8 4 MIDI Connections 0 0 eee eee cee eee nanc nono nanani nono 13 8 4 1 Sending receiving MIDI Sysex data 13 8 5 AES EBU and S PDIF standards 10 13 9 SPECIFICATIONS aoninnnenennnannennannaanannennna 14 10 MIDI IMPLEMENTATION nemennaenennnana 15 TA WARRANTY caisses caeiiiaeaanoaa uaea 16 CAUTION I 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 V AMP PRO 1 INTRODUCTION Congratulations With the V AMP PRO you have acquired the professional 19 rack version of the V AMP 2 Our ultimate aim in developing it was to create the authentic sound of classic guitar amplifiers by means of physical modeling and to combine this with th
38. n 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 13 its part of the overall sound can be set using this EFFECTS 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 3 on the separate sheet The MASTER control determines the overall volume of your V AMP PRO This is the only conventional control on the V AMP PRO All the other controls are encoder type rotary controls whose settings can be stored in a preset The LED rings around the VOLUME BASS MID TREBLE GAIN EFFECTS and REVERB controls each have nine LEDs On each ring either one LED or two neighboring LEDs will light up at a time indicating a total of 17 different positions The INPUT socket is the V AMP PRO s 1 4 jack socket for your guitar Please use a standard 1 4 mono jack cable The LINE IN switch determines which signal source is processed by the V AMP PRO either switch not pressed the signal applied at the high impedance INPUT jack for example
39. n 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 accompan
40. nsmitted Received Roma Er e A Kass Maa LM trequest oy Votame pedal Y manera A mo Tree oe A mo mi 012 7 A psoe AA me oo A Presence 0 127 SS Seoane TY skipped on request v Amp Type 032 with default cabinet 3 Y skipped on reques Y Fx Type 0 15 with defaults 1 Y rene yt Se ton eT gt 0 Caine 0 15 5 OE Ty Reverb Type 08 E Py is Gate Lever ogy Py e mane 2 A an tposion ory Krusten _ pre re Type 02 A perra Pye toct Pars OE Wrrequestonyy Y EN emear lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt lt Delay Type 02 7 E N request only o y Assign Effects Control 0 15 1 lt Amp Type 0 32 w o cabinet change 3 Set Pos 0 15 Set Character 32 127 Tier Genter Frequeney 25 55 agar 94 51 5201 da Py 77 ereo OE Py tive cia 0 107 gt o o E Py iat as 1 IN O CEET N Y stimeot YT Tab 10 1 MIDI Implementation Heth TE lt 10 MIDI IMPLEMENTATION 15 V AMP PRO 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 i
41. p 10 5 AMP SPEAKER SIMULATION PREAMP BYPASS In this setting no amp simulation is se lected This makes it possible for example to play through an external guitar preamp and only use the effects or the speaker simulation on the V AMP PRO 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 IS When you select an amp simulation an appropriate speaker simulation is activated automatically see tab 4 on the enclosed sheet 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 them
42. ring around the AMPS control shows what 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 high freguency PRESENCE filter see 6 J 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 on the V AMP PRO we have com piled the following descriptions of the different types of amp I3 When you select an amp simulation an appropriate speaker simulation is activated automatically see tab 4 on the separate sheet 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
43. s It is also convenient for switching the tuner on and off I gt If you select CONFIGURATION mode S2 for this application the cabinet simulation is active both on the left and right channels IZ Please select CONFIGURATION mode S3 to use the left output without cabinet simulation 3 4 Live set up in combination with a full range monitor system When you re playing on stage it is extremely important to monitor your guitar sound properly To this end the V AMP PRO is ideally connected to a monitor system with sufficient power to reproduce the V AMP PRO s sound potential to the full see fig 3 on the separate sheet IS For this application please select mode L1 under CONFIGURATION The additional 3 band EQ can be set with the BASS MID and TREBLE controls As this is a global EQ it has no effect on the setting of these three controls stored with a preset 3 EXAMPLES OF OUTPUT CONFIGURATIONS 7 V AMP PRO IS When headphones are connected the V AMP PRO selects operating mode S1 automatically 3 5 Live set up with P A system and your own guitar amp on stage This application is intended to give you your own guitar signal on stage so that you can have complete control of intentionally produced feedback for example Use the UNBALANCED LINE OUTPUTS to drive the guitar amp and the 3 band EQ plus effects on this output but no cabinet simulation to optimize the sound The DI OUT provides a DI signal for the FOH mixing console
44. selves as the best sizes for electric guitar amplification The enclosed sheet shows a list of all speaker cabinets on the V AMP PRO tab 2 6 EFFECTS PROCESSOR A special feature of your V AMP PRO is its built in multi effects processor module offering 16 different groups of first class effects such as chorus flanger delay auto wah as well as various combinations of effects The MIDI function also allows you to use an additional wah wah effect which can be controlled best using a MIDI foot controller with an expression pedal such as our BEHRINGER MIDI FOOT CONTROLLER FCB1010 See tab 10 1 in this user s manual for an overview of all MIDI data transmitted and received by the V AMP PRO IS The standard operating mode of the multi effects processor is stereo so you can use stereo effects for recording purposes via the LINE OUT or play in stereo using a second amplifier The effects on the V AMP PRO can be modified in three parameters by turning the EFFECTS control by turning the EFFECTS control and holding down the TAP button and by pressing the TAP button alone in time to the music Tab 3 on the enclosed sheet shows the effect parameters for the V AMP PRO IZ To match speed based effects to the tempo of the music please press the TAP button twice in time to the music V AMP PRO 6 1 Effect descriptions The following section contains short descriptions of the effects that can be produced using the multi effects proce
45. splay LED ext LED 48 kHz LED 96 kHz internal 44 1 kHz gt S a internal 48 kHz ll tot a 7 internal 96 kHz op py external any frequency Ll external any frequency Tab 2 1 Output formats and display LED assignments The DISPLAY shows you what 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 left hand corner of the DISPLAY lights up Additionally the DISPLAY reads the digital format output and the sample rate of your V AMP PRO and illustrates whenever the V AMP PRO is synchronized by an external word clock signal Applied signals are indicated by the SIGNAL LED overload signals by the red CLIP LED 2 CONTROL ELEMENTS 5 V AMP PRO Ro TREMOLO NM ECHO Arai on cHORUS pine PONG ANNAN P PHASER AUTO WAH O 20 REVERB cuorus comp A ch DELAY VIRTUAL AMPLIFIGATION PRO z PHONES CHORUS DELAY 2 EFFECTS 2N0 PARAMETER MASTER 15 Fig 2 4 V AMP PRO front panel section 3 This control is for selecting an effect or a combination of effects This encoder type rotary control is also surrounded by a ring of 16 LEDs Each LED corresonds to one specific effects preset Using the REVERB control you ca
46. ssor in your V AMP PRO EXA EXA 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 5 2 ECHO Echo is like the stereo delay effect in that it is a delayed repetition of the input signal apart from the fact that the high frequency content of the repeated signals steadily decreases This simulates a tape delay used in the pre digital era producing a vintage sound In addition the reflections are routed in turns to the left and right channels creating a quasi stereo effect 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 on the stereo channels FX Modulation effects PHASER The principle behind the phaser is that a second phase shifted signal is added to the audio signal This makes the sound richer and above all livelier This effect is popular among guitarists and keyboard players alike but was also used extensively in the 70s with other instruments such as electric pianos Depending on how you set it the V AMP PRO phaser can
47. time you call up the preset the temporary 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 How ever 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 V AMP PRO 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 V AMP PRO 5 AMP SPEAKER SIMULATION The very heart of your V AMP PRO is its amp speaker simulation The 32 simulation models can make work in a home recording studio very much easier because it isn t necessary to mike up the guitar amp The V AMP PRO makes it child s play for you to choose one of the legendary guitar amps be it for Brit Pop Blues Heavy Metal or whatever In addition you can tailor the sound of the respective amp to suit your ideas and then connect it virtually to one of 15 speaker simulations cabinets On top of all that you can even choose digital effect and reverb types for your virtual amp See chapter 4 V AMP PRO PRESETS for more details When you switch on the V AMP PRO it automatically loads the last preset selected The LED
48. ting do not place the unit on power amps for example 8 2 Mains voltage Before you connect the V AMP PRO 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 Two of these three triangles are aligned with one another The unit is set to the voltage shown next to these markings and can be switched over by turning the fuse holder by 180 IMPORTANT This does not apply to export models designed exclusively for 115 V operation IS 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 9 SPECIFICATIONS for details IS gt Blown fuses must be replaced by fuses of the same type and rating Please refer to chapter 9 SPECIFICATIONS for details The mains connection is made using the enclosed power cord and a standard IEC receptacle It meets all of the international safety certification requirements IZ 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 3 Audio connections The input of your BEHRINGER V AMP PRO is a mono 1 4 jack All line out line in and headphones outputs are 1 4 stereo jacks The line outputs work with both balanced and unbalanced connections The DI OUT outputs are on XLR connectors 12 8 INSTALLATIO
49. urning the EFFECTS control The LEDs surrounding the EFFECTS control indicate the position of the pedal If none of the LEDs lights up the wah wah is bypassed C 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 For further details please refer to chapter 5 2 Speaker descriptions D 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 multi effects processor For further details see chapter 6 2 E 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 can be configured if keys A and B are pressed simultaneously The display reads either SP for S PDIF or AE for AES EBU Please switch between these two formats using the TAP key The LEDs in the display illustrate whether you have chosen internal synchronization with 44 1 48 or 96 kHz sample rate or external synchronization via word clock see tab 2 1 in this user s manual Use the arrow keys to select the appropriate sample rate with respect to the receiving device The TUNER EXIT key allows you to quit the DIGITAL OUT configuration V AMP PRO CONFIGURATION I
50. washbowl kitchen sink laundry tub in a wet basement near a swimming pool etc Ventilation The appliance should be situated so that its location or position does not interfere with its proper ventilation For example the appliance should not be placed on a bed sofa rug or similar surface that may block the ventilation openings or placed in a built in installation such as a bookcase or cabinet that may impede the flow of air through the ventilation openings Heat The appliance should be situated away from heat sources such as radiators heat registers stoves or other appliances including amplifiers that produce heat Power Source The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on the appliance Grounding or Polarization This device must be grounded Power Cord Protection Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them paying particular attention to cords and plugs extension cords and the point where they exit from the appliance Cleaning The appliance should be cleaned only as recommended by the manufacturer Non use Periods The power cord of the appliance should be unplugged from the outlet when left unused for extended periods of time Debris and Liquid Entry Care should be taken that debris and or liquids do not enter the enclosure through openin
51. y Bach H ndel or Mozart were 415 420 or 421 Hz oscillations per second Today s orchestras tune to A at 444 Hz and the Berlin Philharmonic Orchestra lead the field with their own concert pitch A at 447 Hz The reference A on your V AMP PRO has been factory programmed at 440 Hz If you are going to play with a big orchestra tuning their instruments to a reference pitch of 444 Hz you will need a function that allows you to change your reference pitch To activate this function switch on the tuner by pressing the TUNER button and switch to EDIT mode by 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 right hand arrow three times the display will read 43 e 443 Hz To quit EDIT mode press either the TUNER or the TAP button Any changes will be stored automatically The tones for the other strings on your guitar will automatically be adjusted to the new reference pitch 8 INSTALLATION 8 1 Rack mounting The BEHRINGER V AMP PRO requires two height units 2 HU for installation in a 19 rack Please allow an additional 4 of rack depth for the rear panel connectors Be sure that there is enough air space around the unit for cooling To avoid overhea
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