Guitar Amplifier
Contents
1. 10 Effects Processor ssscsssiisessesssscsevonsssunsensssesercsssonsseusscosesse 13 14 E 15 Application 16 Online Registration corsssonrsnnsonennnsnnsnnnonnsnnsnnnsnnennne 17 SHIPMENE EIL T UC I 17 EPIIT 17 Thank you Thank you for choosing the V AMP 3 This powerful and versatile guitar preamp is the latest in the line of acclaimed V AMP series processors adding 4 new amp models over its predecessor the V AMP 2 With 32 amp models 15 speaker cabinet simulations and a host of high quality digital effects it s like having a studio full of guitar gear in a device smaller than your computer keyboard In addition to the many features and applications found in the V AMP 3 we ve also induded the UCA222 USB audio interface to unlock your full potential asa recording musician This simple interface features stereo inputs and outputs optical S PDIF output and dedicated monitoring via headphone output and it requires no external power Along with this bonus comes a 14 TRS to stereo RCA adapter cable and low latency drivers for Windows XP and Vista Visit behringer com to find out what this powerful software has to offer behringer com 3 V AMP3 User Manual Important Safety Instructions CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN Terminals marked with this symbol carry electr2. EP2000 u _ X1222USB VP1520 MIDI cable 000080 88888 BIL 1010 MIDI Controller Live 1 Configuration Live performance without a guitar amplifier Direct Monitoring Latency free home recording using UCA222 behringer com UCA222 IE J 1000 8 Ya to RCA cable a AUX Input A A A FS112V EP2000 III se se Q mm D mo eee sen 57 5 LI O X1222USB Jamming with a PC using UCA222 VP1520 a ___ GMX112 Ser MIDI cable S 00000 ER 90699 Ka 88888 0 Cj Zu 1000 1010 gt MIDI Controller _ _ Live 3 Configuration Live performance with a guitar amplifier 17 V AMP3 User Manual Online Registration Please register your new BEHRINGER equipment right after your purchase by visiting http behringer com and read the terms and conditions of our warranty carefully Should your BEHRINGER product malfunction it is our intention to have it repaired as quickly as possible To arrange for warranty servi
3. ground shield ring right signal tip left signal Unbalanced 1 4 TS connector lt Strain relief clamp Sleeve 0 Sleeve lt a ground shield Tip 3 signal XG Right channel Tip Ring Sleeve amp Left channel Sleeve Ti 14 TRS to stereo RCA 6 V AMP3 User Manual Controls and Connectors Front panel CJ GAIN Adjusts the distortion level of an amp simulation TREBLE Adjusts the upper frequencies ofthe guitar tone MID Adjusts the mid range frequencies BASS Adjusts the low frequencies VOLUME Adjusts the volume level of the current preset This will allow you to keep the volume even between various presets MASTER Adjusts the overall output to the PHONES and LINE OUT AMPS Selects the amp simulation Hold the TAP button while turning the AMPS knob to select one ofthe 17 32 amp models grey lettering Each LED ring around the VOLUME BASS MID TREBLE GAIN EFFECTS and REVERB knobs has nine LEDs Either one LED or two neighboring LEDs in between position will light on each ring indicating a total of 17 positions per knob If the TAP button is held down the TREBLE knob functions as a PRESENCE control This allows you to add or remove a high end shimmer in the amp tone PRESET BUTTONS Recall saved presets within a bank These buttons also select various categories in EDIT
4. This can easily be adjusted by pressing the button at least 2 times to the tempo of the music allowing the effect to operate in sync with the music you are playing to Edit mode For deeper edits to the preset press the BANK UP and BANK DOWN buttons simultaneously to enter EDIT mode Now you can choose to edit various categories MIDI DRIVE CABINETS REVERB and NOISE GATE by pressing one ofthe A E buttons The following describes the features and adjustments of each category e MIDI Enter EDIT mode and press the A button to edit MIDI settings Select MIDI channel by pressing the BANK UP and DOWN buttons To change from MIDI OUT to MIDI THRU press the TAP button The TAP LED will light up when MIDI THRU is selected e DRIVE Enter EDIT mode and press the B button to edit DRIVE settings Press the BANK UP and DOWN buttons to change between clean and distorted amp settings The display will show a 0 for clean and 1 for distortion 10 User Manual e CABINETS Enter EDIT mode and press the C button to select one of the Speaker CABINETS Press the BANK UP and DOWN buttons to select one ofthe 15 available speaker cabs e REVERB Enter EDIT mode and press the D button to edit REVERB settings Press the BANK UP and DOWN buttons to select one ofthe 9 reverb types You may use the REVERB knob to adjust the amount of reverb while in EDIT mode e NOISE Enter EDIT mode and press the E but
5. cover any software products whether or not contained in the product Any such software is provided AS IS unless expressly provided for in any enclosed software limited warranty This limited warranty is invalid if the factory applied serial number has been altered or removed from the product Free inspections and maintenance repair work are expressly excluded from this limited 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 crossfaders potentiometers keys buttons guitar strings illuminants and similar parts 6 Damage defects caused by the following conditions are not covered by this limited warranty e improper handling neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals behringer com e 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 damage defects caused by acts of God Nature accident fire flood etc or any other condition that is beyond the control of MUSIC Group Any repair or opening ofthe unit carried out by unauthorized personnel user included will void the limited warranty If an inspection of the product by MUSIC Group shows that the defect in question is not covered by the limited warranty the
6. foot controller to control both effect parameters and preset changes The MIDI connectors are international standard 5 pin DIN connectors To connect your device to other MIDI equipment you will need dedicated MIDI cables They are commercially available in various standard lengths MIDI IN This 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 This sends data to a computer or any other device You can transmit both preset data and parameter changes If set to MIDI THRU the V AMP 3 does not send its own MIDI information but passes on the signal received at the MIDI IN connector The TAP LED lights when the V AMP 3 is set to MIDI THRU see the Edit mode section for details Sending receiving MIDI SysEx data The V AMP 3 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 your device will be overwritten automatically You can also transmit MIDI data from your V AMP 3 to other devices total dump by switching to EDIT mode and holding the MIDI button A until the display reads d The total dump function can be useful for transferring all the stored data from your device to a MIDI sequencer and storing it there To exchange individual presets with other devices such as another V AMP 3 ora PC e Switch the transmitti
7. inspection costs are payable by the customer 3 Products which do not meet the terms of this limited warranty will be repaired exclusively at the buyer s expense MUSIC Group or its authorized service center will inform the buyer of any such circumstance If the buyer fails to submit a written repair order within 6 weeks after notification MUSIC Group will return the unit C 0 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 Authorized MUSIC Group Authorized Resellers do not sell new products directly in online auctions Purchases made through an online auction are on a buyer beware basis Online auction confirmations or Sales receipts are not accepted for warranty verification and MUSIC Group will not repair or replace any product purchased through an online auction 8 5 Warranty transferability This limited warranty is extended exclusively to the original buyer customer of authorized retail reseller and is not transferable to anyone who may subsequently purchase this product No other person retail reseller etc shall be entitled to give any warranty promise on behalf of MUSIC Group 5 6 Claim for damage Subject only to the operation of mandatory applicable local laws MUSIC Group shall have no liability to the buyer under this warranty for any consequential or indirect loss or damage of any kind In no event shall the liabi
8. knobs 9 Selecta new amp model by turning the AMPS knob Hold the TAP button while turning the AMPS knob to select one of the 2nd level amps grey lettering 10 Add an effect by turning the EFFECT SELECT knob to the desired selection Adjust the EFFECTS knob to determine the level of the effect Hold the TAP button while turning the EFFECTS knob to adjust the second effects parameter see effects table for details 11 Add reverb by adjusting the REVERB knob 12 Save your settings If you have altered a preset or made one from scratch the preset LED will blink In order to save this setting first select the bank you would like to save to then hold down one of the A E buttons for 2 seconds Make sure you save over a preset that you no longer want to keep 13 Rock out and have fun NOTE The UCA222 will work on both PC and Mac computers without any additional software However we recommend that PC users install the low latency USB ASIO driver for Windows XP Vista available for download on our website at behringer com Most users will benefit from the most recent version 2 8 17 of the driver but rare computer chipsets may require the older 2 8 14 version Please visit behringer com regularly for updates add ons and tips regarding your V AMP 3 behringer com Audio Connections Ya TRS headphones connector amp strain relief clamp sleeve sleeve
9. mode and allow access to Configuration mode see EDIT mode and Configuration mode sections 9 9 DISPLAY Displays current bank and preset in play mode Other LEDs give the following information TUNER Displays the pitch of the instrument connected to the unit see TUNING section for more details 17 32 Lights when one of the amp simulations 17 32 is selected 0 oo Eo GAIN M TREBLE gt AUX LEVEL PRESENCE BRIT CLASSIC 3 peat Chats 2 AMBER 120 TUBI AR FR HLBRIT 100 CUSTOM CLASS A MID Rock 599 BRIT CLASS A un B CABINETS REVERB U IE pni FOOTSWITCH lt behringer com 4 a NOISE GATE TREMOLO FLANGER CHORUS COMP BANK UP and DOWN In play mode use these buttons to scroll through the banks of presets Press both buttons simultaneously to enter EDIT mode After an edit category has been selected buttons A E use the BANK UP and DOWN buttons to edit parameters TAP Performs seven functions Tap Tap this button to the rhythm of the music and the selected effect will adapt its parameter to the tempo Presence While holding down the TAP button use the TREBLE knob to adjust the PRESENCE setting of the amp simulation 2nd parameter While holding down the TAP button use the EFFECTS kno
10. 2 655 val 0 656 CLASSANORM Rock 2x 12 BRIT 67 11 BRIT CLASS A 15 W Rock 1x 12 BRIT 60 6 behringer com 14 User Manual Wah Wah By using a MIDI pedal such as the BEHRINGER FCB1010 you can access an additional Wah Wah effect You may adjust the sweepable filter characteristic by entering EDIT mode selecting the DRIVE menu and turning the EFFECTS knob while holding the TAP button Effects descriptions The following is a brief description of the various effects available on the V AMP 3 REVERB Reverb is still the most important effect for mixing and live performance That s why we at BEHRINGER make a point of giving you 9 different reverb programs allowing you to use the most suitable reverb program for any situation The reverb effect can be added separately to all the other effects ECHO Echo is a delayed repetition ofthe input signal The main difference from the DELAY effect is 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 turn to the left and right channels creating a stereo effect DELAY This algorithm repeats the input signal with different tempo settings producing interesting delay effects U2 s The Edge has impressively demonstrated the potential of this effect PING PONG A delay effect that alternates between the left and right channel spe
11. 4 BASS 5 95 Bass guitars 20 BASS 6 96 BASS7 97 BASS 8 98 BASS 9 99 BASS 10 100 21 StudioRockStack 101 StudioRockStack 102 StudioRockStack2 103 StudioRockStack3 104 StudioRockStack4 105 Studio 22 StudioRockStaFX 106 StudioRockStaFX 107 StudioRockStaFX2 108 StudioRockStaFX3 109 StudioRockStaFX4 110 session 23 SessionCombol 111 SessionCombo2 112 SessionCombo3 113 SessionCombo4 114 SessionCombo5 115 24 SessionComFX1 116 SessionComFX2 117 SessionComFX3 118 SessionComFX4 119 SessionComFX5 120 25 weirdo 1 121 weirdo 2 122 weirdo 3 123 weirdo 4 124 weirdo 5 125 Amp Descriptions CLEAN TUBE PREAMP Sound engineers were quick to recognize the appeal of tubes They used tube amps to add warmth to all kinds of sounds By default this amp model does not use a speaker simulation and can be used with vocals but adding a speaker cab produces good clean tones for guitar as well SMALL COMBO This model is based on one of the most simple yet effective guitar amps of all time the Fender Champ Being as small as it is you can easily take it beyond its clean range and the Champ rewards you with compression and rich distortion Originally designed for beginners the amp soon became a favorite of many guitar aficionados due to its amazing distortion at manageably low volume CLASSIC CLEAN Back in the 805 the Roland JC 120 was the preferred sound of Buzzy Feiten guitarist for the Dave Weckl Band The unique quality of this amp is the wa
12. AUX LEVEL AAI virtua Mer DRIVE CABINETS REVERB NOISE GATE AMPS s amp SS Ss Ss EFFECTS TH PURSE y CONFIGURATION ROTARY e ZAMIR d ETE lt TREMOLO 7 100 CLEAN an ww g 5 amp CUSTOM CLASS A ED COMBO 3 porri Pme ron Et Pins M aan aan ronan SAVAGE REAST DELUXE BLUES Fe CUSTOM HI GAIN VAMP DRIVE pos SAN BRIT BLUES CHORUS COMP ACH DELAY 4 FOOTSWITCH 1 CRUNCH BANK DOWN PERE ee cuz e A zu BYPASS UG REVERB VOLUME MASTER User Manual V AMP3 Next Generation Modeling Guitar Amplifier with 480 Virtual Combos and USB Audio Interface behringer com behringer 2 V AMP3 User Manual Table of Contents Thank you 2 Important Safety Instructions 5 3 Legal Disclaimer cur00r00usonnsonsnnssnnsonsnnnsonsonnsonsonnnnsnnne 3 Limited Warranty 20s00ussossnssnssonsnnssonsonssonsnnssnnsnnsnnnnnne 3 Basic Operation 5 Audio Connections eee ecce esee eese eene 5 Controls and Connectors reete 6 Operating Modes eere eee eee eee eene entn ases tn aeos 8 Amp Speaker Simulation
13. BEHRINGER 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 e When you select an amp simulation an appropriate speaker simulation is automatically activated see graphic table below 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 depends on many different variables The following table shows a list of all speaker cabinets on the V AMP 3 13 V AMP3 User Manual Effects Processor ll great complement to the selection of amps and speaker cabinets is the 1 XO VINTAGE TWEED built in multi effects processor You may select from 16 high quality effects 2 ACIO VINTAGE BASS such as chorus flanger delay auto wah and many others These effects can 3 be used to thicken up your guitar tone in subtle way or create ext
14. Delay Mod MikCCS9 Delay Time 50551 NUMETAL GAIN Metal 4 12 V AMP CUSTOM 5 CC49 val 2 SAVAGE BEAST Metal 4x 12 V AMP CUSTOM 15 CHORUS DELAY Delay Mix BRIT HI GAIN Metal 4x 12 VINTAGE 30 12 7 1 pom is C54 Mod 59 Delay Time CC50 5 ULTRAZONIC Metal 4x 12 V AMP CUSTOM 5 VIRUS ROCK 5951 Rock 4x 12 V AMP CUSTOM 15 8 2 0055 val 3 659 Delay Time CC50 51 HIBRIT 100 Rock 4x 12 V AMP CUSTOM 15 CC49 val 2 AMBER 120 Rock 4x 12 VINTAGE 30 12 CHORUS BRIT CLASSIC Rock 4x 12 V AMP CUSTOM 15 9 COMPRESSOR Mixccsg Modulation Speed SMALL COMBO Clean 1x8 VINTAGE TWEED 1 an eu TWEED COMBO Clean 1x8 VINTAGE TWEED 1 CALIF CLEAN Clean 4x 12 V AMP CUSTOM 15 10 gom R Senseccas Attack C46 CUSTOM CLEAN Clean 1x 12 BLACKFACE 5 FUZZ BOX Rock 4x12 OFF AXIS 4 au ul 7 V AMP DRIVE Rock 4x 12 V AMP CUSTOM 5 12 PHASER MixCC59 Feedbackccsg Modulation Speed V CRUNCH Rock 4x 12 V AMP CUSTOM 15 55 val 1 36 BRITCLASSICSOW Rock 2x 12 V AMP CUSTOM 0 B pan Mix C59 Depthccsz Modulation Speed NUMETAL HD Metal 4x 12 V AMP CUSTOM 5 CUSTOM HI GAIN Metal 4x 12 V AMP CUSTOM 15 14 an MixCC59 Feedback C58 Bu me MODERN HI GAIN Metal 4x 12 V AMP CUSTOM 5 TREMOLO Modulation Speed ULTIMATE PLUS Metal 4x 12 V AMP CUSTOM 5 E EO C56 BRIT CLASS A Rock 2x 12 BRIT 67 11 ROTARY und Depth C57 Modulation Speed CUSTOM CLASS A Rock 4x 12 VINTAGE 30
15. GHTS RESERVED 2011 MUSIC Group IP Ltd Trident Chambers Wickhams Cay P O Box 146 Road Town Tortola British Virgin Islands LIMITED WARRANTY 5 1 Warranty This limited warranty is valid only if you purchased the product from a MUSIC Group Authorized Reseller in the country of purchase A list of authorized resellers can be found on BEHRINGER website behringer com under Where to Buy or you can contact the MUSIC Group office closest to you MUSIC Group warrants the mechanical and electronic components of this product to be free of defects in material and workmanship if used under normal operating conditions for a period of one 1 year from the original date of purchase see the Limited Warranty terms in 8 4 below unless a longer minimum warranty period is mandated by applicable local laws If the product shows any defects within the specified warranty period and that defect is not excluded under 4 MUSIC Group shall at its discretion either replace or repair the product using suitable new or reconditioned product or parts In case MUSIC Group decides to replace the entire product this limited warranty shall apply to the replacement product for the remaining initial warranty period i e one 1 year or otherwise applicable minimum warranty period from the date of purchase of the original product Upon validation of the warranty claim the repaired or replacement product will be returned to the user fre
16. H The legendary wah wah effect owes its fame mainly to Jimi Hendrix The auto wah alters its filter frequency automatically depending on the signal s magnitude rather than being controlled by the position of a pedal The effect causes a guitar s note to make a distinct vowel sound and is more pronounced the harder the strings are plucked or strummed TREMOLO Simulates the classic Fender Tremolo where the volume rapidly shifts up and down to a constant tempo The tremolo effect has returned to popularity with trip hop behringer com ROTARY This is the quintessential simulation of the classic organ effect normally produced by speakers rotating at slow or fast speed inside a 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 pickups can amplify unwanted interference that 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 Separate reverb effect The reverb effect is independent of the multi effects processor and can be added to the mix signal at any time To edit the REVERB function enter EDIT mode press BANK UP and DOWN simultaneously and press butto
17. OTSWITCH Plug the FS112V footswitch into this jack with the 14 TRS cable Operating Modes Configuration mode The V AMP 3 offers many options that allow you to route selected parts of the signal to the LINE OUT jacks Some features are well suited for one playing situation but not necessary for others In order to adapt your device to various studio and live applications you can choose between 5 different operating modes Configurations Independent of the settings stored in the presets these global operating modes determine how the LINE OUT signal is processed so that either stereo operation or unique left and right sends are possible Selecting a configuration Press the B and D buttons simultaneously to enter configuration mode The display shows the current selection Use the BANK UP and BANK DOWN arrow buttons to select a new configuration See table for routing options e When headphones are plugged into the PHONES jack the V AMP 3 automatically switches to Studio 1 S1 operating mode e Press the TAP key and turn the GAIN knob to adjust the input sensitivity to match the output of your guitar s pickups If the CLIP LED lights the input sensitivity must be reduced Only raise the sensitivity if the pickups have particularly weak output behringer com To exit configuration mode press the TUNER EXIT button Function Application LINE OUT L LINE OUT R V AMP 3 as practice amp Stereo operation with s
18. REBLE controls Live 3 L3 modulation delay delay and allows you to match the sound and reverb effects reverb effects optimally to the monitor amp but without but without The right channel DI Out is cabinetsimulation additional connected to the mixing console 3 band EQ or stage box and is used for the mix Studio mode 1 and 2 When using headphones the V AMP 3 will automatically switch into Studio Mode 1 S1 This stereo mode works well for both monitoring and recording with effects amp and speaker modeling If you are certain the tone you have selected is what you want permanently recorded then Studio Mode 1 is a good option This Mode does not apply the 3 band EQ to the signal but most recording programs have advanced graphic EQ capabilities that allow you much more precise adjustments In addition to advanced EQ recording programs often possess high quality effects plug ins that can be tweaked and edited to your heart s content In this regard Studio Mode 2 may be a better option to allow the most editing flexibility This configuration sends a signal with amp and speaker simulation in both channels but only the right output has the effects leaving the left output dry and ready for editing in your DAW You may either record both outputs to separate tracks or only record the dry left output while monitoring the right output Visit behringer com for tips about integrating your V AMP 3 with your com
19. Y Ss 2 Q PING PONG PH DELAY FL DELAY 1 ard FL DELAY 2 DELAY 1 PHONES Plug a pair of headphones into this jack using TRS cable z z 2 AUXIN Plug an external sound source into this jack using a 74 TS or TRS cable behringer com 4 ING AUX LEVEL ame AUX LEVEL Adjusts the input level of the AUX IN jack 4 ny b GAIN AUX LEY A _ _ _ _ E J LINE OUT Plug balanced or unbalanced 14 cables into these jacks to send the stereo signal for recording or performance applications AC IN Plug the included power cable into this socket When connected to the mains the V AMP 3 switches on automatically 8 V AMP3 User Manual ML A v OW GAIN 4 LE PRESENCE PN ES 22 MIDI OUT THRU Sends MIDI information from the V AMP 3 or directly from the MIDI IN jack p x ss C GAIN TREBLE PRESENCE MIDI ome ECN EA x M C3 MIDI IN Receives MIDI signals from a footswitch or other device AMBER 1 CLASS A NORI 101 fe HI BRIT 100 CUSTOM CLASS A ROCK 59SL__ BRIT CLASS ULTRAZONIC ULTIMATE PLUS BRIT HI MODERN HI GAIN FOOTSWITCH SAVAGE BEAST CUSTOM HI GAIN C NUMETAL FEN kal 24 FO
20. Y pre Effect Par 2 6 47 N request only Y pre Effect Par 3 6 48 N request only Y pre Effect Par 4 6 49 N request only Y Delay Type 0 2 7 50 Y Y Delay Time hi 0 117 8 51 Y Y Delay Time lo 0 127 8 52 N request only Y Delay Spread 0 127 53 Y Y Delay Feedback 0 127 54 Delay Mix 0 127 9 55 N request only Y post Fx Mode 0 6 10 56 Y Y post Fx Par 1 10 57 Y Y post Fx Par 2 10 58 Y Y post Fx Par 3 10 59 Y Y post Fx Mix 0 127 11 60 N request only Y Assign Effects Control 0 15 1 61 N request only Y Amp 2 cabinet 64 N y Tap Value gt 63 Request Controls 80 N 80 n Memesel Y St Character 9 12 82 Y Y Tuner Bypass Volume 0 127 83 Y Y Tuner Center Frequency 25 55 84 Y Y Configuration 0 4 1 52 L1 L2 L3 85 Y Y Live EQ Treble 0 127 86 M Live EQ Mid 0 127 87 Y Y Live EQ Bass 0 127 Program Change Y 0 124 Y 0 124 127 127 Tuner System Exclusive Y Y see SysEx Documentation System Common N N System Real Time N N Running Status Y 2s Timeout MIDI Implementation Chart 16 V AMP3 User Manual EN Application Studio Recording HPM1000 I STEREO 60 Balanced or unbalanced cables f
21. aged in any way such as power supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped 15 The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection 16 Where the MAINS plug or an appliance coupler is used as the disconnect device the disconnect device shall remain readily operable LEGAL DISCLAIMER TECHNICAL SPECIFICATIONS AND APPEARANCE ARE SUBJECT TO CHANGE WITHOUT NOTICE THE INFORMATION CONTAINED HEREIN 15 CORRECT ATTHETIME OF PRINTING ALL TRADEMARKS ARE THE PROPERTY OF THEIR RESPECTIVE OWNERS MUSIC GROUP ACCEPTS NO LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED BY ANY PERSON WHO RELIES EITHER WHOLLY OR IN PART UPON ANY DESCRIPTION PHOTOGRAPH OR STATEMENT CONTAINED HEREIN COLORS AND SPECIFICATIONS MAY VARY FROM ACTUAL PRODUCT MUSIC GROUP PRODUCTS ARE SOLD THROUGH AUTHORIZED FULLFILLERS AND RESELLERS ONLY FULLFILLERS AND RESELLERS ARE NOT AGENTS OF MUSIC GROUP AND HAVE ABSOLUTELY NO AUTHORITY TO BIND MUSIC GROUP BY ANY EXPRESS OR IMPLIED UNDERTAKING OR REPRESENTATION THIS MANUAL IS COPYRIGHTED 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 MUSIC GROUP IP LTD ALL RI
22. aker PHASER The principle behind the phaser is that a second phase shifted signal is added to the audio signal creating a wave like effect This makes the sound richer and above all livelier Depending on how you set it the phaser can be used to produce slightly modulated or other worldly effects FLANGER This effect is similar to a phaser in the fact that it produces wave like modulation to the guitar tone Create psychedelic effects by mixing it heavily or use a subtle mix to thicken up the tone CHORUS This effect adds a slightly modulated off key element to the original signal thus creating a pleasant floating effect through variations in pitch PHASER amp DELAY Phaser and delay combined FLANGER amp DELAY 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 COMPRESSOR A compressor limits the dynamic range ofthe guitar tone thus producing audible and creative sound effects Pronounced use of the compressor using the EFFECTS control allows rhythm sounds to really pop AUTO WA
23. al for modern blues or jazz Its sound is subtle but crunchy and dynamic CUSTOM BLUES 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 builds athick boutique distortion tone BRIT 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 METAL NUMETAL GAIN This model is based on a 1994 Mesa Boogie Dual Rectifier Trem 0 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 John Petrucci ofthe progressive rock super group Dream Theater NUMETAL HD This simulation is modeled on a Mesa Boogie Dual Rectifier head Much like the Trem O Verb this amp produces an even higher gain sound The tone controls are most effective with the gain knob cranked 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 Blackmore has been a major endorser of this German company and Randy Hanson the best Hendrix
24. b to adjust the 2nd effects parameter of the selected effect Amp models 17 32 While holding down the TAP button use the AMPS knob to select one of the second set of amps written in grey lettering MIDI Thru In EDIT gt MIDI mode press the TAP button to change MIDI OUT to MIDI THRU See the MIDI chapter Drive In EDIT gt DRIVE mode hold the TAP button while turning the EFFECTS knob to adjust the Wah Wah effect s resonance character Input Gain in Configuration mode hold the TAP button while turning the GAIN knob to adjust the overall input gain See Configuration mode TUNER Press this button to access the tuner During tuning mode the output signal is muted depending on the VOLUME setting During EDIT mode press this button to exit and return to play mode EFFECTS Selects the effect for the current preset EFFECTS SELECT Adjusts the first parameter for the selected effect Hold the TAP button while turning the EFFECTS knob to adjust the 2nd effects parameter NL C EFFECTS 2ND PARAMETER FL DELAY FL DELAY 2 Sic DELAY 1 CHORUS DELAY 2 7 V AMP3 User Manual REVERB Adjusts the amount of reverb for the current preset Rear Side panel DELAY 2 DELAY 1 HORUS DELAY 2 A gt I B INPUT Plug a guitar into this jack using a 14 instrument cable g EFFECTS 2ND PARAMETER 4 ECHO DELA
25. ce please contact the BEHRINGER retailer from whom the equipment was purchased Should your BEHRINGER dealer not be located in your vicinity you may directly contact one of our subsidiaries Corresponding contact information is included in the original equipment packaging Global Contact Information European Contact Information Should your country not be listed please contact the distributor nearest you A list of distributors can be found in the support area of our website http behringer com Registering your purchase and equipment with us helps us process your repair claims more quickly and efficiently Thank you for your cooperation Shipment Your V AMP 3 was carefully packed at the factory and the packaging was 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 that may have occurred during transit Ifthe unitis damaged please do NOT return it to BEHRINGER Instead notify your dealer and the shipping company immediately Otherwise claims for damage or replacement may not be honored Always use the original packing carton to prevent damage during storage or transport sure that no children are left unsupervised with the unit or its packaging Please ensure proper disposal of all packing materials behringer com Specifications 14 TS connector unbalanced 1 Mohms 9 dBu In
26. d all warnings Follow all instructions Do not use this apparatus near water Clean only with dry cloth N Ur ce WIN Donot block any ventilation openings Install in accordance with the manufacturer s instructions 8 Donotinstall near any heat sources such as radiators heat registers stoves or other apparatus induding amplifiers that produce heat behringer com 9 defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 11 Use only 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 apparatus When a cart is used use caution when moving the cart apparatus combination to avoid LA nn injury from tip over 13 Unplug this apparatus during lightning storms or when unused for long periods of time 14 Refer all servicing to qualified service personnel Servicing is required when the apparatus has been dam
27. distortion sound typical of the Orange 0D120 It is worth digging into the tone controls of the Amber 120 If you crank the gain the preamp tone controls greatly influence the sound CLASS A NORM This amp is characterized by its mild distortion and highly dynamic response It is modeled on the Matchless Chieftain a very expensive hand made amp BRIT CLASSIC Based on a 1959 Marshall Plexi 100 Watt this amp provides a remarkable range of clean and crunch sounds thanks to its two channels which can be run in parallel It was used by many famous guitar players like Jimi Hendrix Eric Clapton and Jeff Beck to name a few 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 and produced a warmer sound Tip to make this simulation sound as authentic as possible leave the BASS and MID controls in middle position and adjust the TREBLE control only 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 simultaneously Fender Vox Marshall Mesa Boogie Gibson Soldano Matchless Dumble Budda Tweed Engl Roland Bugera Hiwatt Orange and the names of musicians and groups are registered trademarks belonging to the respective owners and are in no way associated with
28. elected effects e g with headphones Studio 1 51 Recording situation V AMP 3 is and speaker simulations connected to stereo line channel the mixing console Recording situation with the left channel connected to the recording Right with device The right channel is used Left dry signal BER Studio 2 52 only compressor modulation for monitoring only with effect plus auto wah delay and Advantage while recording reverb effects you don t have to specify the effect used during the mix down but can still monitor wet signals V AMP 3 connected to a guitar amp with stereo input The additional Stereo operation additional EQ BASS MID amp TREBLE controls Live 1 L1 3 band EQ adjustable in allows you to match the sound to CONFIGURATION mode the amplifier used The additional EQ does not affect the settings of your presets Here too the V AMP 3 can be connected to a guitar amp with a stereo input The additional EQ Stereo operation additional 3 band BASS MID amp TREBLE controls Live 2 L2 allows you to match the sound to the EQ but without cabinet simulation amplifier used However since no cabinet simulation is enabled the speaker sound is determined by the combo cabinet used V AMP 3 asa stage amp with the Right with left output connected to a line input Left additional cabinet and on the monitor amp The additional 3 band EQ with modulation EQ BASS MID amp T
29. hannel ofthe Bugera 333XL Detuned palm muted fast rhythm guitar riffs are as clear and articulate as can be ULTIMATE PLUS Those who find the ULTRAZONIC too tame will find enough gain here for an overdose and nearly endless sustain behringer com ROCK NEW ROCK 59SL This is modeled on the sound of a Marshall 1959SLP which stands out for its extremely dynamic rock sound dishing out fat clean tone as well as solid crunch This new amp model captures the liveliness and responsiveness of the real thing 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 02 The Edge are probably the best known users of this sound NEW HI BRIT 100 This is new model provides an assertive rhythm guitar sound based on the Hiwatt Custom 100 which is most suitable for punchy power chords Think of Pete Townshend s ingenious guitar work on The Who s Pinball Wizard to get an idea 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 tailoring the midrange to suit your taste NEW AMBER 120 Another new model this time of the vintage
30. ical current of sufficient magnitude to constitute risk of electric shock Use only high quality commercially available speaker cables with 14 TS plugs pre installed All other installation or modification should be performed only by qualified personnel ATTENTION RISQUE DE CHOC ELECTRIGUE NE PAS OUVRIR gt 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 gt This symbol wherever it appears alerts you to important operating and maintenance instructions in the accompanying literature Please read the manual gt 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 gt Caution To reduce the risk offire or electric shock do not expose this appliance to rain and moisture The apparatus shall not be exposed to dripping or splashing liquids and no objects filled with liquids such as vases shall be placed on the apparatus gt Caution These service instructions are for use by qualified service personnel only To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions Repairs have to be performed by qualified service personnel gt Read these instructions Keep these instructions Hee
31. ified and saved Each preset consists of a maximum of five ingredients e Amp simulation including GAIN EQ and VOLUME settings e Cabinet simulation e Pre amp effects such as noise gate compressor auto wah and wah wah Post amp multi effects such as delay modulation or a combination of both e Reverb The first 16 banks consist of 20 different tones in the style of clean rock metal and blues These tones are optimized for either a Stratocaster style guitar with single coil pickups or a Les Paul style guitar with humbuckers These tones are meant mainly as a guide to get you started and help familiarize you with some of the possibilities Eventually you will probably want to tweak and customize these to suit your specific liking Feel free to experiment and finda unique sound Next you will find 2 banks dedicated to acoustic presets followed by 2 banks of bass guitar presets Though the V AMP 3 does not specialize in these applications it can accommodate them for recording purposes especially Banks 21 24 focus on studio amplification setups that will make your recordings sound their best These are comprised of full stack rock models and small combo models both with and without effects Lastly you will find a bank full of crazy and experimental sounds to really stretch your imagination behringer com Calling up presets When the unit is powered on it automatically loads the last used preset In the following exa
32. ight prepaid by MUSIC Group Warranty claims other than those indicated above are expressly excluded PLEASE RETAIN YOUR SALES RECEIPT IT IS YOUR PROOF OF PURCHASE COVERING YOUR LIMITED WARRANTY THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOF OF PURCHASE 5 2 Online registration Please do remember to register your new BEHRINGER equipment right after your purchase at behringer com under Support and kindly read the terms and conditions of our limited warranty carefully Registering your purchase and equipment with us helps us process your repair claims quicker and more efficiently Thank you for your cooperation 83 Return materials authorization To obtain warranty service please contact the retailer from whom the equipment was purchased Should your MUSIC Group Authorized Reseller not be located in your vicinity you may contact the MUSIC Group Authorized Fulfiller for your country listed under 4 V AMP3 User Manual Support at behringer com If your country is not listed please check if your problem can be dealt with by our Online Support which may also be found under Support at behringer com Alternatively please submit an online warranty claim at behringer com BEFORE returning the product All inquiries must be accompanied by a description ofthe problem and the serial number ofthe product After verifying the product s warranty eligibility with the original sales receipt MUSIC Group will then issue a Return Ma
33. is virtual amp is modeled 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 and 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 FUZZ BOX This sound is not actually based on any one amp but instead simulates 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 DELUXE BLUES A synthesis of a 1960 Fender Blackface Deluxe and a 50s Fender Bassman The result is a crystal clear sound that still simulates the edge of the vintage amps The EQ controls on this model give you even greater scope than the EQ controls on the original amp V AMP DRIVE This simulation is based on the Mesa Boogie Mark Ill a more modern high gain lead amp This model produces a smooth and precise tone with plenty of drive making it ideal for lead guitar work 12 V AMP3 User Manual BRIT BLUES Modeled on the JTM 45 the first Marshall amp ever designed 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 V CRUNCH This amp is ide
34. lity of MUSIC Group under this limited warranty exceed the invoiced value ofthe product 87 Limitation of liability This limited warranty is the complete and exclusive warranty between you and MUSIC Group It supersedes all other written or oral communications related to this product MUSIC Group provides no other warranties for this product 88 Other warranty rights and national law This limited warranty does not exclude or limit the buyer s statutory rights as a consumer in any way The limited warranty regulations mentioned herein are applicable unless they constitute an infringement of applicable mandatory local laws This warranty does not detract from the seller s obligations in regard to any lack of conformity of the product and any hidden defect 89 Amendment Warranty service conditions are subject to change without notice For the latest warranty terms and conditions and additional information regarding MUSIC Group s limited warranty please see complete details online at behringer com MUSIC Group Macao Commercial Offshore Limited of Rue de Pequim No 202 A Macau Finance Centre 9 J Macau including all MUSIC Group companies 5 V AMP3 User Manual Basic Operation 1 Plug the included power cable into the AC IN on the side of the unit The V AMP 3 will automatically turn on and resume the previously selected preset 2 Plug your guitar into the INPUT using a instrument cable 3 Connect a monitoring sys
35. ly approved by MUSIC Group can void the user s authority to use the equipment behringer com We Hear You behringer com behringer
36. mple the last preset selected was preset D in bank 25 CABINETS REVERB NOISE GATE uw CONFIGURATION ROTARY TREMOLO CHORUS COMP CHORUS DELA TUBE PREAMP 77 SMALL COMBO CLASSIC CLEAN TWEED COMBO CLEAN V AMP CALIF CLEAN BLACK TWIN CUSTOM CLEAN AMERICAN FLANGER CHORUS PHASER AUTO WAH DELUXE BLUES V AMP DRIVE COMPRESSOR BANK DOWN BANK UP gt gt teor ara 2 PAR EXIT U PREAMP BYPASS In this case pressing button A B C or E will call up another preset within bank 25 The two arrow buttons BANK UP and BANK DOWN enable you to change banks The display will show which bank has been selected but the preset will not change until you press one of the A E buttons The LED beneath the preset letter lights up when that preset is activated Editing presets Customizing presets in the V AMP 3 is fast and simple One option is to call up a preset you like and tweak it to fit your desired sound If you would like a new amp model turn the AMPS knob until you find the right amp simulation The VOLUME BASS MID TREBLE PRESENCE and GAIN knobs may also be adjusted if necessary You may select an effect and adjust its parameters using the EFFECTS knob or add reverb by simply turning the REVERB knob e Apart from the compressor and auto wah all multi effects have a speed based parameter
37. n D Use the arrow keys to select one of the 9 reverb types available Reverb Reverb Type Quality 1 Tiny Room 2 Small Room Classic room simulation featuring various 3 Medium Room room sizes from bathroom to cathedral 4 Large Room 5 Ultra Room Special effect transforming guitar signals into heavenly pad sounds 6 Small Spring F Simulations of typical spring reverbs 7 Medium Spring 8 Short Ambience Simulates the early reflections of a 9 Long Ambience reverbless room Tuner Press the TUNER button to activate the built in tuner 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 device 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 red or yellow LEDs at the foot of the display lighting up In certain cases even two of the LEDs may light up which indicates thatthe pitch ofthe 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 Setting reference pitch A To give
38. ned in the following paragraph This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference in a residential installation This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instructions may cause harmful interference to radio communications However there is no guarantee that interference will not occur in a particular installation If this equipment does cause harmful interference to radio or television reception which can be determined by turning the equipment off and on the user is encouraged to try to correct the interference by one or more of the following measures Reorient or relocate the receiving antenna e Increase the separation between the equipment and receiver e Connect the equipment into an outlet on a circuit different from that to which the receiver is connected Consult the dealer or an experienced radio TV technician for help This device complies with Part 15 of the FCC rules Operation is subject to the following two conditions 1 this device may not cause harmful interference and 2 this device must accept any interference received including interference that may cause undesired operation Important information Changes or modifications to the equipment not express
39. ng V AMP 3 to EDIT mode by pressing the BANK UP and DOWN buttons simultaneously e Activate the MIDI function and briefly tap the MIDI button The preset data is transmitted and first filed in the temporary buffer of the receiving V AMP 3 e Store the new information in the preset position of your choice using the Store function MIDI IMPLEMENTATION CHART Function Transmitted Received Remarks MIDI Channel 1 16 1 16 Mode N N Note Number N N Velocity N N After Touch N N Pitch Blender N N Control Change 1 N request only Y Wah Pedal 2 N request only Y Volume Pedal 12 Y Y Amp Gain 0 127 13 Y Y Amp Treble 0 127 14 Y Y Amp Mid 0 127 15 Y Y Amp Bass 0 127 behringer com MIDI IMPLEMENTATION CHART Function Transmitted Received Remarks 16 Y Y Amp Vol 0 127 17 Y Presence 0 127 18 Y Reverb Mix 0 127 2 19 Y skipped on Y Amp Type 0 32 with default request cabinet 3 20 Y eg Y Fx Type 0 15 with defaults 1 21 Y Y Fx off on 0 127 22 Y Y Reverb Send off on 0 127 23 Y Y Cabinet Type 0 15 5 24 Y Y Reverb Type 0 8 4 25 Y Y Noise Gate Level 0 15 26 Y Drive off on 0 127 27 Y Y Wah off position 0 1 127 44 N request only Y pre Effect Type 0 2 6 45 Y Y pre Effect Par 1 6 46 Y
40. ory preset that was stored there hold down the two arrow keys BANK UP and DOWN until the display reads Pr If you would like to keep the original factory setting for this preset hold down the preset button for approximately 2 seconds to save behringer com Restoring all factory presets All factory presets can be restored as follows e While holding buttons D and E power on the unit CL appears in the display e Release the D and E buttons e Press the arrow keys BANK UP and DOWN simultaneously This erases all saved edits and returns all presets to their factory settings Refer to the MIDI chapter for information on saving your settings via MIDI Amp Speaker Simulation The heart of the V AMP 3 s sound lies in its amp and speaker simulation With 32 amp simulations and 15 interchangeable speaker cabinets you re guaranteed to find a tone to fit any situation Not only this but the V AMP 3 eliminates the need to mic an actual speaker which is difficult to do properly and creates a lot of excess noise Any style from jazz to heavy metal can easily be accommodated and are further enhanced by the effects and reverb options You re sure to find many sounds that spur your creativity and allow you to explore new sonic possibilities When you power on the V AMP 3 it automatically loads the last selected preset The LED ring around the AMPS knob shows which amp is currently selected If the 17 32 LED is lit inside the displa
41. pickups 3 tight rhythm 11 tight hi octane 12 80s metallic 13 905 metallic 14 805 harmonics 15 4 break da blues 16 crunch a blues 17 blisteringblue 18 american hot 19 brit rotary 20 5 ACOUSTIC AMBIENC 21 CLEAN REVERB 2 BLACKFACE DRY 23 CALIF 24 SEN 25 COMPRESSED COMP CH RV ine 6 CRUNCH RHYTHM 26 WIND MILL RHYTHM 2 EL34 POWR CRUNCH 28 BRITISH CRUNCH 29 BRITISH SOLO 30 7 TIGHT RHYTHM 31 TIGHT HI OCTANE 3 80s METALLIC 33 90s METALLIC 34 80s HARMONICS 35 8 BREAK da BLUES 36 CRUNCH a BLUES 37 BLISTERING BLUE 38 AMERICAN HOT 39 BRIT ROTARY 40 9 acoustic ambienc 41 clean reverb 42 blackface dry 43 calif compressed 44 clean comp CH RV 45 Single coil 10 crunch rhythm 46 windmill rhythm 47 EL34power crunch 48 british crunch 49 british solo 50 pickups 11 tight rhythm 51 tight hi octane 52 80s metallic 53 90s metallic 54 80s harmonics 55 12 break da blues 56 crunch a blues 57 blisteringblue 58 american hot 59 brit rotary 60 13 ACOUSTICAMBIENC 61 CLEANREVERB 6 BLACKFACEDRY 63 NU 64 en 65 oe 14 CRUNCH RHYTHM 66 WIND MILLRHYTHM 67 EL34 POWR CRUNCH 68 BRITISH CRUNCH 69 BRITISH SOLO 70 15 TIGHT RHYTHM n TIGHT HI OCTANE 72 80s METALLIC 73 90s METALLIC 74 805 HARMONICS 75 16 BREAK da BLUES 76 CRUNCH a BLUES 77 BLISTERING BLUE 78 AMERICAN HOT 79 BRIT ROTARY 80 Acoustic 17 acoustic 1 81 acoustic2 82 acoustic 3 83 acoustic 4 84 acoustic 5 85 guitars 18 acoustic 6 86 acoustic 7 87 acoustic 8 88 acoustic 9 89 acoustic 10 90 19 BASS 1 91 BASS 2 92 BASS 3 93 BASS 4 9
42. puter System and exchanging presets and experiences with other V AMP users 9 V AMP3 User Manual Live mode 1 2 and 3 When performing live with the V AMP 3 the most common way to get the sound to the crowd is to run the unit into an amplifier on stage route your signal directly into a mixing board or both If you choseto run the outputs directly to the main mixer Live Mode 1 will be the best option as it includes amp and speaker simulation effects and the 3 band EQ You will have no sound on stage unless the signal is sent to a monitor speaker so make sure the venue can accommodate this setup Another option is to use Live Mode 2 and run the V AMP 3 into the effects loop return inputs of 2 different guitar amps This configuration does not feature speaker simulation and allows the amplifier s natural speaker sound to go unaltered In this scenario the amps would be mic ed on stage to get the sound tothe house speakers and having a dedicated monitor would be less important The most practical and versatile way to use the V AMP 3 in a live setting is using Live Mode 3 This allows you to send the left output without speaker simulation to an amp s effects loop return to provide on stage volume and also send the right output with speaker simulation to the main mixer for inclusion in the main house mix Presets The V AMP 3 features 125 presets that are divided into 25 banks There are 5 presets per bank all of which can be mod
43. reme and 1 X12 MID COMBO experimental sounds that push your creative limits The standard operating 5 1x12 BLACKFACE mode of the multi effects processor is stereo but other options are available 6 1x12 BRIT 60 see Configurations section 7 x 12 DELUXE 52 8 2x12 TWIN COMBO You can adjust up to 3 parameters for each available effect Two of these 9 2x12 US CLASS parameters are adjusted using the EFFECTS knob with or without the TAP button 10 2x12 V AMP CUSTOM held down Tempo based parameters are adjusted by pressing the TAP button 11 2x 12 BRIT 67 at least twice in sync with the music The following table displays the parameter n Ax 12 VINTAGE SO controls for each effect 13 4x 12 STANDARD 78 EFFECTS 14 4x 12 OFF AXIS Effect Effect sind control with push button 15 4x 12 V AMP CUSTOM push button 1 ECHOCC49 vall MixCC54 FeedbackCC53 Delay Time CC50 51 AMPS 1 16 EU ea GU 2 DELAYCC49 val0 MixCC54 FeedbackCC53 Delay Time 50 5 TUBE PRE Clean 3 en 54 Feedback C53 Delay Time CC50451 CLASSIC CLEAN Clean 2x 12 TWIN COMBO 8 PHASER DELAY CLEAN V AMP Clean 4x 12 V AMP CUSTOM 15 4 CSS vallo Mod MixCCS9 Delay Time 5055 BLACK TWIN Clean 2x 12 TWIN COMBO 8 49 val 0 AMERICAN Blues 4x VINTAGE BASS 2 FLANGER DELAY Detay Mix DELUXE BLUES Blues 1x 12 BLACKFACE 5 d Mn p eese BRIT BLUES Blues 4x 12 VINTAGE 30 12 CUSTOM BLUES Blues 4x 12 VINTAGE 30 2 6 rcs
44. 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 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 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 guitar tone In distortion mode it sounds like Gary Moore in his early days but it s also good for heavy metal MODERN HI GAIN Modeled after a Soldano SLO the tone control is post gain here as well 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 If you re playing a Les Paul style guitar MODERN HI GAIN sounds best when you turn down the volume control on the guitar a little NEW ULTRAZONIC This is a new aggressive in your face hi gain sound similar tothe crunch c
45. strument input Input impedence Max input level 14 TRS stereo connector 15 kohms Aux in stereo Input impedence Audio Outputs Analog line outputs L R Y TS connector balanced 2 2 kohms 20 dBu Output impedance Max output level TRS stereo connector unbalanced 15 dBu 100 ohms 23 dBm Headphones connector Max input level Type 5 pin DIN connector IN OUT THRU Converter 24 bit delta sigma 64 128 x oversampling Dynamics A D 104 dB preamp Bypass Dynamics D A 92 dB Sample rate 31 250 kHz DSP 100 Mips Delay time max 1 933 msecs Latency Line Into Line Out approx 5 msecs Display Type 2 digit 7 segment LED display Power Supply Mains voltage USA Canada 120 V 60 Hz UK Australia 240 V 50 Hz Europe 230 V 50 Hz 220 V 50 60 Hz 100 V 50 60 Hz China Korea Japan Power consumption BW Mains connection external power supply unit Dimensions Weight Dimensions H x W x D 31x10 5x 7 79 x267 x 180 mm Weight 1 6 lbs 0 8 kg 18 V AMP3 User Manual FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION FC BEHRINGER V AMP3 Responsible Party Name MUSIC Group Services US Inc Address 18912 North Creek Parkway Suite 200 Bothell WA 98011 USA Phone Fax 1 425 672 0816 1 425 673 7647 V AMP3 complies with the FCC rules as mentio
46. tem e Ifusing a pair of headphones connect to the PHONES jack e Ifusing a guitar amplifier connect a cable from the V AMP 3 LEFT LINE OUT jack to the amplifier s effects loop return jack Use the Live 3 output configuration for best results See Operating Modes section for details e If plugging straight to the house PA system connect the LINE OUT jacks to a stereo channel on the main house mixer Use the Live 1 output configuration for best results e Ifusingthe UCA222 to record or jam to a track on your computer you may use the included TRS to RCA adaptor cable to connect the V AMP 3 s PHONES jack to the UCA222 and monitor the signal with the UCA222 headphone jack 4 Connect the optional FS112V footswitch to the FOOTSWITCH input The footswitch allows you to scroll through the presets while playing Pressing and holding down the DOWN button on the footswitch accesses the tuner Tap the DOWN button again to return to normal play mode 5 sure the volume control on your guitar is turned up then turn up the MASTER knob to desired level NOTE If the current preset volume is set low there may be a considerable increase in volume when you change presets 6 Pressthe TUNER button if you need to tune your guitar 7 Pressthe BANKUP and BANK DOWN buttons to scroll through the banks of presets Press the A E buttons to select a preset in that bank 8 Adjustthe tone with the GAIN TREBLE MID and BASS
47. terials Authorization RMA number Subsequently the product must be returned in its original shipping carton together with the return authorization number to the address indicated by MUSIC Group Shipments without freight prepaid will not be accepted 5 4 Warranty Exclusions This limited warranty does not cover consumable parts including but not limited to fuses and batteries Where applicable MUSIC Group warrants the valves or meters contained in the product to be free from defects in material and workmanship for a period of ninety 90 days from date of purchase This limited warranty does not cover the product if it has been electronically or mechanically modified in any way 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 This limited warranty does not cover any such modification adaptation regardless of whether it was carried out properly or not Under the terms of this limited warranty MUSIC Group shall not be held responsible for any cost resulting from such a modification adaptation This limited warranty covers only the product hardware It does not cover technical assistance for hardware or software usage and it does not
48. ton to edit NOISE GATE settings Press the BANK UP and DOWN buttons to select a noise gate level 0 off 15 maximum gating effect When you have made your adjustments press the TUNER button to exit EDIT mode and return to normal operation Storing presets As soon as you make any change to a preset be ita new amp model effect selection or EQ adjustment the preset LED will flash The flashing LED informs you that in order to keep this new sound you must save the preset To savethe preset simply hold the current preset button down for approximately 2 seconds When the LED stops flashing you have saved your current settings in that preset location You do not necessarily have to save an altered preset to its current location You may select another preset in that bank or use the BANK UP and DOWN buttons to choose another bank and save to one of those 5 presets Again hold the targeted preset button down for approximately 2 seconds until the LED stops flashing Discarding an edited preset restoring a single factory preset If you edit a preset but decide that you do not like your changes and would rather return to the original setting you may simply select another preset without saving This way when you return to that preset it will recall the settings asthey were before you started editing This method works as long as you do not save your unwanted edit If you do save an edit and would like to return to the original fact
49. y the second amp model written in grey next to the AMPS LED is active To select another amp simply turn the AMPS knob Hold the TAP button while turning the AMPS knob to select one of the 17 32 models You may further edit the sound of the amp by turning the VOLUME GAIN BASS MID and TREBLE knobs Hold the TAP button while turning the TREBLE knob to adjust the PRESENCE filter Each amp has an adjustable DRIVE function that acts similar to changing channels on an amp The simulation is still the same but when switched to distortion mode default for most ROCK and METAL amps the gain setting is significantly higher This feature enables all 32 amps to produce clean or distorted tones much like the actual amps themselves would See Edit Mode under the Presets section for details on changing an amp s DRIVE setting You should always select an amp model first then change the cabinet simulation if necessary followed an effect To give you a better overview of the extensive range of amp simulations we have compiled the following descriptions ofthe different types of amps 11 User Manual V AMP 3 Preset Chart Bank A Preset B Preset C Preset D Preset E Preset 1 acoustic ambienc 1 clean reverb 2 blackface dry 3 calif compressed 4 clean comp CH RV 5 Single coil 2 crunch rhythm 6 windmill rhythm 7 EL34power crunch 8 british crunch 9 british solo 10
50. y its brilliance cuts through any mix It is ideal for the New Wave sound of the 805 that is making a comeback today 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 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 EQ on your V AMP 3 in the mid position CLEAN V AMP Here we have managed to simulate the sound of a Roland JC120 and combine it with our BRIT CLASSIC model The result blends the brilliance of atransistor amp with the cutting power of a Marshall Plexi The Marshall cut appears when you turn the GAIN control clockwise behringer com CALIFORNIA CLEAN This model is based on the clean channel of the Mesa Boogie Mark II C It sounds like a Fender but has more punch in the midrange 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 The Blackface Twin was unique for being exceptionally loud while the amount of distortion remained relatively low CUSTOM CLEAN This model simulates the clean channel from a Dumble an expensive boutique amp The clean sound really cuts through especially when used with compressor attack settings around 2 milliseconds BLUES AMERICAN Th
51. you maximum freedom for tuning your guitar you can change the preset 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 only 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 arrow three times the display will read 43 i 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 15 V AMP3 User Manual MIDI MIDI connections The MIDI standard Musical Instrument 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 affects other peripheral devices In such a studio setup you can control the V AMP 3 in real time from a computer For live performances in particular you can also use a MIDI
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