Behringer Bass V-Amp User manual

V-AMP
Version 1.2 May 2001
Users Manual
ENGLISH

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V-AMP
This symbol, wherever it appears, alerts
you to the presence of uninsulate
angerous voltage insi e the enclosure
 voltage that may be sufficient to
constitute a risk of shock.
This symbol, wherever it appears, alerts
you to important operating an
maintenance instructions in the
accompanying literature. Rea the
manual.
SAFETY INSTRUCTIONS
CAUTION: To re uce the risk of electrical shock, o not remove
the cover (or back). No user serviceable parts insi e;
refer servicing to qualifie personnel.
WARNING: To re uce the risk of fire or electrical shock, o not
expose this appliance to rain or moisture.
DETAILED SAFETY INSTRUCTIONS:
All the safety an operation instructions shoul be rea before the appliance is operate .
Retain Instructions:
The safety an operating instructions shoul be retaine for future reference.
Heed Warnings:
All warnings on the appliance an in the operating instructions shoul be a here to.
Follo instructions:
All operation an user instructions shoul be followe .
Water and Moisture:
The appliance shoul not be use near water (e.g. near a bathtub, washbowl, kitchen sink, laun ry tub, in a wet
basement, or near a swimming pool etc.).
Ventilation:
The appliance shoul be situate so that its location or position oes not interfere with its proper ventilaton. For
example, the appliance shoul not be situate on a be , sofa rug, or similar surface that may block the
ventilation openings: or place in a built-in installation, such as a bookcase or cabinet that may impe e the
flow of air through the ventilation openings.
Heat:
The appliance shoul be situate away from heat sources such as ra iators, heat registers, stoves, or other
appliances (inclu ing amplifiers) that pro uce heat.
Po er Source:
The appliance shoul be connecte to a power supply only of the type escribe in the operating instructions
or as marke on the appliance.
Grounding or Polarization:
Precautions shoul be taken so that the groun ing or polarization means of an appliance is not efeate .
Po er-Cord Protection:
Power supply cor s shoul be route so that they are not likely to be walke on or pinche by items place
upon or against them, paying particular attention to cor s an plugs, convenience receptacles an the point
where they exit from the appliance.
Cleaning:
The appliance shoul be cleane only as recommen e by the manufacturer.
Non-use Periods:
The power cor of the appliance shoul be unplugge from the outlet when left unuse for a long perio of time.
Object and Liquid Entry:
Care shoul be taken so that objects o not fall an liqui s are not spille into the enclosure through openings.
Damage Requiring Service:
The appliance shoul be service by qualifie service personnel when:
- the power supply cor or the plug has been amage ; or
- objects have fallen, or liqui has been spille into the appliance; or
- the appliance has been expose to rain; or
- the appliance oes not appear to operate normally or exhibits a marke change in performance; or
- the appliance has been roppe , or the enclosure amage .
Servicing:
The user shoul not attempt to service the appliance beyon that which is escribe in the Operating Instructions.
All other servicing shoul be referre to qualifie service personnel.

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V-AMP
Foreword
Dear customer,
Welcome to the team of BEHRINGER users an thank you very much for expressing your confi ence in
BEHRINGER pro ucts by purchasing the V-AMP.
It is one of my most pleasant tasks to write this letter to you, because it is the culmination of many months of
har work elivere by our engineering team to reach a very ambitious goal: To create an out-of-the-or inary
virtual guitar amp that gives you a maximum of flexibility an performance with its mo ern soun an complete
set of functions. The task of esigning our new V-AMP certainly meant a great eal of responsibility, which we
assume by focusing on you, the iscerning user an musician. It also meant a lot of work an night shifts to
accomplish this goal. But it was fun, too. Developing a pro uct usually brings a lot of people together, an what
a great feeling it is when everybo y who participate in such a project can be prou of what weve achieve .
It is our philosophy to share our joy with you, because you are the most important member of the BEHRINGER
family. With your highly competent suggestions for new pro ucts youve greatly contribute to shaping our
company an making it successful. In return, we guarantee you uncompromising quality as well as excellent
technical an au io properties at an extremely affor able price. All of this will enable you to fully unfol your
creativity without being hampere by bu get constraints.
We are often aske how we can make it possible to pro uce such high-gra e evices at such unbelievably low
prices. The answer is quite simple: its you, our customers! Many satisfie customers mean large sales
volumes enabling us to get better con itions of purchase for components, etc. Isnt it only fair to pass this
benefit back to you? Because we know that your success is our success too!
I woul like to thank all people whose help on Project V-AMP has ma e it all possible. Everybo y has ma e
very personal contributions, starting from the esigners of the unit (thank you, Volker an Stefan!) via the many
staff members in our company (thanks to Thomas for writing the software) to a host of renowne professional
guitarists who provi e you, the users of BEHRINGER pro ucts, with their very personal original artist presets.
Finally, we shoul not forget Oliver who esigne an wrote this excellent users manual.
My frien s, its been worth the trouble!
Thank you very much,
Uli Behringer

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V-AMP
V-AMP
V-AMP
Ultra-flexible virtual guitar amplifier with tube emulator and digital multi-effects processor
sAuthentic virtual guitar preamp with amp/speaker simulation mo els
sDe icate an in epen ent selectors for amp mo els, speaker cabinets an igital effects
sRevolutionary user interface irectly shows all essential preset settings
sAmps Selector allows you to irectly select popular guitar amp simulations ranging from clean to crunch
an tube istortion soun s
sUse the Cabinet Function to combine each amp with a matching speaker cabinet
sEffects Selector selects first-class effects such as chorus, flanging, phasing, rotary, auto-wah, echo, elay,
compressor an various effects combinations
s24-bit stereo multi-effects processor with high-resolution 24-bit AD/DA converters
s125 original artist presets of highest quality, organize in 25 banks for easy e iting
sDe icate reverb control a s various reverb types
sWah-wah effect can be controlle manually or via MIDI an is available in a ition to any other effect
sAuthentic 3-ban EQ emulation of classic guitar amps
sA justable aux input for line-level signals (e.g. CD player, rum computer)
sMaster Volume control an stereo hea phones output
sStereo line output with virtual speaker simulation for recor ing an live applications
sComplete MIDI implementation for amp, speaker an effect selection as well as real-time control of all
parameters
sBuilt-in auto-chromatic tuner for guitars or electronic instruments
sTap-tempo function for a justing the spee parameter in specific effects
sBuilt-in professional noise re uction system
sGig bag an footswitch for preset selection an tuner control inclu e
sExtremely robust ABS plastic construction ensures long life even un er the most eman ing con itions
sManufacture un er ISO9000 certifie management system

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V-AMP
TABLE OF CONTENTS
1. INTRODUCTION..................................................................................................................... 6
1.1 The esign concept ......................................................................................................................... 6
1.2 Before you begin ............................................................................................................................. 6
1.3 Control elements ............................................................................................................................. 7
1.3.1 User interface ....................................................................................................................... 7
1.3.2 Connectors on the V-AMP si e panel.................................................................................... 9
1.3.3 Serial number ....................................................................................................................... 9
2. WIRING EXAMPLES ............................................................................................................. 10
2.1 Stan ar set-up consisting of guitar, footswitch an external playback source .............................. 10
2.2 Expan e set-up with MIDI foot controller, playback source an mixing console ........................... 10
2.3 Expan e set-up for stu io an home recor ing applications ......................................................... 11
3. AMP/SPEAKER SIMULATION .............................................................................................. 11
3.1 Description of amplifier mo els....................................................................................................... 11
3.2 Description of lou speaker mo els ................................................................................................ 13
4. EFFECTS PROCESSOR ...................................................................................................... 13
4.1 Description of effects ..................................................................................................................... 14
Reverb an elay algorithms ......................................................................................................... 14
Mo ulation effects ......................................................................................................................... 14
Combinations of effect algorithms (multi-effects programs) ............................................................ 15
Special effects .............................................................................................................................. 15
4.2 The separate reverb effect ............................................................................................................. 15
5. THE V AMP PRESETS ......................................................................................................... 16
5.1 Recalling presets .......................................................................................................................... 16
5.2 E iting presets .............................................................................................................................. 16
5.3 Storing presets .............................................................................................................................. 17
5.4 E it cancel / restoring a single original artist preset ......................................................................17
5.5 Restoring all original artist presets ................................................................................................ 17
6. TUNER .................................................................................................................................. 17
6.1 Tuning a guitar .............................................................................................................................. 17
6.2 A justing reference pitch a .......................................................................................................... 17
7. INSTALLATION ..................................................................................................................... 18
7.1 Au io connections ........................................................................................................................ 18
7.2 MIDI connection ............................................................................................................................ 19
7.2.1 Sen ing/receiving MIDI ata ................................................................................................ 19
8. APPENDIX ............................................................................................................................. 20
8.1 MIDI Implementation ..................................................................................................................... 20
9. SPECIFICATIONS ................................................................................................................. 21
10.WARRANTY ........................................................................................................................... 22
CAUTION!
+Please note that extreme output volumes can lead to permanent hearing damage. Turn do n
the VOLUME control before you s itch on the unit. Be sure to use appropriate volume levels.

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V-AMP
1. INTRODUCTION
Congratulations! With the V-AMP you purchase a state-of-the-art virtual guitar amplifier that sets new stan ar s
in preamp esign. When eveloping the V-AMP our top-priority goal was to achieve the authentic soun of
classic amplifiers by means of physical mo eling an combine it with latest DSP effects.
We accepte the challenge to create a evice that will be consi ere revolutionary for years to come: Your
V-AMP is an all-purpose unit that gives you the authentic soun of specific amps an even speaker cabinets
 without the transportation problems encountere with bulky amp/speaker stacks! A itionally, it provi es
you with the au io features of state-of-the-art multi-effects processing. In a wor : With the V-AMP we present
you with a soun tool that offers you anything you nee in terms of guitar amplification.
BEHRINGER is an au io engineering company that has been successfully eveloping pro ucts for stu io an
live applications for many years now. Our range of pro ucts inclu es microphones an a variety of 19" evices
(compressors, enhancers, gates, tube processors, hea phone amps, igital effects evices, DI boxes, etc.)
as well as various monitoring an P.A. speakers plus professional live an recor ing consoles. An weve
packe all our technical expertise an know-how into your V-AMP.
To top it all, we aske experience professional guitarists to create original artist presets for you. Just take a
look at the separate preset sheet for some inspiration!
We also set great store by flexibility, which has become a particularly important factor in the music business
over the past few years. Mo ern guitarists nee to offer a broa range of soun s, but shoul still be able to play
in ifferent kin s of applications at short notice: home recor ing, stu io, live concerts. It is this particular
circumstance that has ren ere huge amplifier stacks somewhat obsolete. With the V-AMP, on the other
han , you have a maximum of features available in such a compact enclosure that you can set up or break
own your gear in secon s an have no problems controlling it.
Your V-AMP will be state-of-the-art for years to come, because we equippe it with an EPROM that can be
up ate . In this way, we can keep working on new algorithms an consi ering your i eas an suggestions.
The resulting software up ates will be ma e available for free on the Internet, so as to ensure that your V-AMP
will never be out ate .
Actions speak lou er than wor s: Nothing will be more convincing than what you feel an hear when youll be
testing your V-AMP for the first time. You will experience a virtual next-generation guitar amplifier with astoun ing
features:
sFantastic soun options that outshine anything a conventional guitar amp coul offer.
sA perfect tube soun emulator that oes not suffer from the rawbacks typically foun in conventional tube
esigns (short service life, heat pro uction, mechanical stability).
sLatest DSP technology gives you an enormous variety of both classic an mo ern effect soun s.
sA rugge an compact enclosure that allows you to use your V-AMP anytime an anyplace.
1.1 The design concept
Weve esigne the V-AMP to move ahea the worl of igital guitar preamp esign. From a technological
point of view, your V-AMP is absolutely state-of-the-art an its robust enclosure ma e of high-gra e an
extremely urable ABS plastic material will make sure that your V-AMP will withstan even roughest han ling
on the roa .
1.2 Before you begin
Your V-AMP was carefully packe in the factory an the packaging is esigne to protect the unit from rough
han ling. Nevertheless, we recommen that you carefully examine the packaging an its contents for any
signs of physical amage, which may have occurre uring transit.
+If the unit is damaged, please do not return it to BEHRINGER, but notify your dealer and the
shipping company immediately, other ise claims for damage or replacement may not be
granted. Shipping claims must be made by the consignee.
1. INTRODUCTION

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V-AMP
The mains connection of the V-AMP is ma e by using the enclose power supply, which meets all of the
international safety certification requirements. As soon as the V-AMP is connecte to the mains via its power
supply, the unit switches on automatically.
+Never connect the V-AMP to the po er supply hen it has already been connected to the
mains! Al ays connect the V-AMP to its po er supply first, then connect the po er supply to
the mains.
The MIDI connections (IN/OUT) are ma e using stan ar ize DIN connectors. The unit uses an optocoupler for
isolate ata communications. Further information can be foun in chapter 7 INSTALLATION.
1.3 Control elements
1.3.1 User interface
Fig. 1.1: User interface control elements
1The MASTER control governs the overall volume of your V-AMP.
+Apart from the AUX LEVEL control , this is the only conventional control on your V-AMP.
All other controls are encoder-type rotary controls.
2VOLUME a justs the volume level of the preset selecte .
3The BASS control in the EQ section allows you to raise/lower the low-frequency range.
4Use the MID control to boost or cut the mi range frequencies.
5The TREBLE control a justs the high-frequency range of the active preset.
6The AIN control etermines the egree of istortion.
7Use the AMPS control to select an amplifier simulation mo el. The control has a ring of 16 LEDs aroun
it. Each LED correspon s to a specific type of amplifier.
1. INTRODUCTION

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V-AMP
8In PLAY mo e these five keys select a preset from one specific bank. In SETUP mo e (activate by
pressing both arrows keys as escribe in point ) the keys perform the functions in icate on the
panel:
sA: Activates the MIDI function. Use the arrow keys to select the MIDI transmit an receive channels
(1 through 16).
sB: Switches the DRIVE function on/off, which au ibly raises the egree of istortion. In the
signal path the DRIVE function is wire  pre-GAIN.
+In this mode you can use the EFFECTS MIX control to adjust the ah- ah effect, ith the LEDs
around the EFFECTS MIX control indicating the pedal position. If no LED is on, the ah- ah
effect is disabled.
sC: This button activates the CABINET mo e. Use the arrow keys to select a speaker type or a
combination of several speakers. You can also isable the entire speaker simulation (-). More on this
in chapter 3.2 Description of lou speaker mo els.
sD: Selects the REVERB function. The arrow keys allow you to choose one out of nine reverb types in
a ition to the effects processor. More on this in chapter 4.2.
sE: Here, you can activate the NOISE ATE function. Use the arrow keys to a just the noise re uction
level.
9When an effect has been selecte with the EFFECTS control, its overall level as part of the mix signal
can be a juste with the EFFECTS MIX control. To bypass the effect turn the control to the left until all
LEDs are off.
+When the EFFECTS control is set to Compressor, the EFFECTS MIX control governs the
compressor intensity.
10 The EFFECTS control allows you to select an effect or effects combination. This rotary enco er also
has a ring of 16 LEDs aroun it. Each LED correspon s to one specific type of effect.
11 Use the REVERB control to a the reverb intensity of your choice to the mix signal. To mute the reverb
turn the control to the left until all LEDs are off. To fa e out the original signal turn the control to the right
until the last LED lights up.
+The LED rings around the controls VOLUME, BASS, MID, TREBLE, GAIN, EFFECTS MIX and
REVERB consist of nine LEDs each. Only one LED or t o LEDs next to each other (= intermediate
position) ill light up to indicate a total of 17 control positions.
12 The TAP button enables you to a apt spee -base effects to the tempo of the music piece playe
(compressor an auto-wah effects). A itionally, you can use this button to quit SETUP mo e or to
mo ify the reference pitch a. Please see chapter 6.2 for further information.
13 The TUNER key activates the tuner or can be use to quit SETUP mo e.
14 The two arrow keys select the next bank up or own (BANK DOWN an BANK UP). Keep the keys
presse to skip banks. Press them simultaneously to activate SETUP mo e. When SETUP mo e is
selecte an you press one of the keys A  E ( ), the arrow keys can be use for parameter e iting.
15 The DISPLAY shows the currently selecte effect bank an informs you about parameter changes in
e it mo e. In TUNER mo e the DISPLAY rea s the pitch of the guitar connecte to the V-AMP.
1. INTRODUCTION

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V-AMP
1.3.2 Connectors on the V-AMP side panel
Fig. 1.2: Connectors on the V-AMP side panel
16 Connect the stereo phone plug of your footswitch FS112V to the FOOTSWITCH jack on the V-AMP.
Now you can select ifferent presets from one bank. If you keep the DOWN button of the footswitch
presse for more than 2 secon s, the tuner is switche on. Use the same button to switch the tuner off
again.
17 Your V-AMP features both MIDI inputs an outputs. Here, you can connect a MIDI controller such as
our BEHRINGER MIDI FOOT CONTROLLER FCB1010.
18 Connect the enclose power supply to the POWER SUPPLY connector of your V-AMP.
19 The LINE OUT is on 1/4" TRS connectors an provi es the au io signal in stereo, for example, to sen
it to a recor ing machine. Depen ing on the CABINET selecte , this output is frequency-correcte
(Speaker Emulation).
+The LINE OUT orks ith both balanced and unbalanced 1/4"-jack cables. Use the left line
output to route the audio signal to a guitar amp ith mono inputs, ho ever, in this case the
signal from the multi-effects processor ill not be available in stereo.
20 AUX LEVEL controls the volume level of the signal receive at the AUX input.
21 The AUX IN (1/4" TRS connector) allows you to fee in a itional stereo signals, for example, to play
with a rum computer or some sort of playback.
22 The PHONES jack allows you to monitor the V-AMPs au io signal with a pair of commercially available
hea phones.
+If you do not select a specific loudspeaker type hen using the headphones, your V-AMP ill
automatically use a cabinet to improve the sound image over the headphones. Please see
table 3.1 for more information about hich cabinet is assigned to hich amplifier model. You
can disable the cabinet simulation by selecting cabinet -.
23 INPUT is the V-AMPs 1/4" jack input for your guitar. Use a commercial 1/4" mono cable.
1.3.3 Serial number
The serial number is printe on the rear panel of your V-AMP. Please take the time to fill out an return the
warranty car within 14 ays after the ate of purchase, so as to be entitle to benefit from our exten e
warranty. Or use our online registration option available on the Internet at www.behringer.com.
1. INTRODUCTION

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V-AMP
2. WIRING EXAMPLES
2.1 Standard set-up consisting of guitar, footswitch and e ternal playback source
To use your V-AMP for rehearsals, please wire up the unit as shown in fig. 2.1. Of course, you can also use a
rum computer instea of the playback source (tape eck, etc.). Use the PHONES jack to connect a pair of
hea phones. The enclose footswitch FS112V allows you to select five presets from one bank or activate the
tuner.
Fig. 2.1: Standard set-up
2.2 E panded set-up with MIDI foot controller, playback source and mi ing console
For more sophisticate applications, e.g. on stage or for rehearsals with a ban , you shoul try this wiring
configuration. Of course, this expan e configuration buil s on the stan ar set-up escribe in chapter 2.1.
Use the MIDI foot controller to change presets, banks an amp mo els, or the tuner. The LINE OUT signal can
be fe into a P.A. or recor ing console, an the AUX input can be use to play back an a itional stereo signal.
Fig. 2.2: Expanded set-up
2. WIRING EXAMPLES

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V-AMP
2.3 E panded set-up for studio and home recording applications
As a matter of fact, your V-AMP will be a perfect tool to recor your guitar parts on tape or igital recor ers. The
a vantage is clear: Your V-AMP gives you utmost flexibility, as you can set it up in the control room of the
stu io an ont nee any lou speaker, i.e. you have perfect control over your soun . Whenever you feel that
the guitar soun coming out of the recor ing console nee s improvement, you can tell the au io engineer an
work with him to a just the soun that fits into the recor ing. In a wor : There is no nee for bothersome
commuting between the recor ing an control room.
Fig. 2.3: Expanded set-up for studio and home recording applications
3. AMP/SPEA ER SIMULATION
This is an absolute highlight of your V-AMP: The simulation mo els can make your home recor ing work much
easier, because you ont nee to mike your guitar amp. The V-AMP allows you to choose from one of those
legen ary guitar amps, whether you play Brit Pop, Blues or Heavy Metal. A itionally, you can tailor each amp
an its soun to suit your personal i eals an connect it to one of 15 speaker cabinets. An to top it all, your
virtual amp even comes with a igital effect an reverb type. More on this in chapter 5 V-AMP PRESETS.
After power-up the V-AMP automatically loa s the last preset selecte . The LED ring aroun the AMPS
control shows which amp type has been selecte . Simply turn the control to select another amp mo el. Then,
use the VOLUME, BASS, MID, TREBLE an GAIN controls to mo ify the basic soun . Typically, you will first
select an amplifier mo el, followe by a specific cabinet an effect. Chapter 5 escribes how to store your
settings.
To get a clear overview of all amp simulations available, please rea the following section that escribes the
various amplifier mo els implemente in your V-AMP.
3.1 Description of amplifier models
AMERICAN BLUES: This amp has been mo ele on a Fen er Bassman 4 x 10 Combo. Originally esigne as
a bass amp, the Fen er Bassman soon became the stan ar amp of blues giants such as Steve Ray Vaughan
or Billy Gibbons, because of its unique istortion soun . As you woul expect, it has lots of power in the bass
range but is still quite flexible in the mi an treble ranges.
MODERN CLASS A: This amplifier is characterize by its mo erate istortion an almost hi-fi soun . It is
mo ele on the Matchless Chieftain, a very expensive, han -ma e amp.
TWEED COMBO: This was Jeff Becks favorite soun when he recor e Blow by Blow an Wired. Actually, the
Twee Combo was not esigne as a heavy- istortion amp, but with its small power stage it is i eally suite
to pro uce merciless over rive soun s.
3. AMP/SPEAKER SIMULATION

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V-AMP
CLASSIC CLEAN: In the 80s this was the preferre soun of Buzzy Feiten (guitarist with the Dave Weckl
Ban ). The soun of this transistor amp is characterize mainly by its brilliance that makes it cut through the
mix. It is particularly suitable for the New Wave soun of the 80s which is celebrating its renaissance to ay.
It shoul not be forgotten that the JC-120 was extremely popular among players of Fen er Rho es pianos.
BRIT BLUES: Mo ele on the JTM 45  the first Marshall amp there is! By the way, this was Eric Claptons
favorite amp when he performe with The Cream. An it was the JTM 45 on which many later Marshall amps
with their powerful soun were base . Extreme gain settings pro uce a highly compresse an  irty istortion
soun . In combination with the 2 x 12" speaker simulation mo el you can create impressive Bluesbreaker
soun s.
BRIT CLASS A: This mo el is base on the Vox AC 30, which was originally esigne in the 60s when
guitarists wante amps with improve brilliance in soun , a feature the makers of Vox amps implemente
successfully by means of revolutionary bass an treble controls. Brian May an The E ge are probably the
best known users of Vox-type soun s.
BRIT CLASSIC: After focussing intensively on a 59 Marshall Plexi 100 Watts, we have shape this amp
mo el which is a hit for clean soun s. The original amp was playe by Jimi Hen rix, Eric Clapton an Jeff
Beck.
BRIT HI GAIN: Compare this mo el to a Marshall JCM 800. Although the original is known mostly for its
istorte soun s, it also pro uces a charming soun with low gain settings, for example, to play in the style of
Steve Ray Vaughan or Michael Lan au. In  istortion mo e it soun s like Gary Moore in his early ays, but of
course you can also use it for Heavy Metal.
RECTIFIED HI GAIN: We took a Mesa Boogie Dual Rectifier Trem-O-Verb from 1994 as shining example for
this amp mo el. It pro uces a mo ern, high-gain soun that makes itself hear in any group setting. The tone
control is post-gain, which allows you to tailor istorte soun s own to the last etail. Its a great amp for
Heavy Metal, but also for Steve Lukather-like soun s. The best known user of this amp is John Petrucci,
guitarist with Dream Theater.
MODERN HI GAIN: Here, too, the tone control is post-gain making extremely istorte soun s cut through the
mix. The soun of MODERN HI GAIN is i eally suitable for Grunge guitarists, but is also use by performers
such as Steve Vai an Joe Satriani. Steve Lukather, Nuno Bettencourt, Steve Vai an others have ma e the
Sol ano soun popular. When playing a Gibson Les Paul, MODERN HI GAIN soun s best when you turn own
the volume control on the guitar a bit.
FUZZ BOX: This soun has no equivalent in amp history, but is base on a special fuzz box. Jimi Hen rix was
one of the first guitarists to use this legen ary broa ban transistor istortion. The humming istortion soun
pro uce by the FUZZ BOX has become popular again with Alternative Rock an Grunge music.
ULTIMATE V-AMP: This is brute force  a some DRIVE to make this high-gain soun even more powerful.
The ULTIMATE V-AMP is basically a rectifier amp that has been soupe up a bit.
DRIVE V-AMP: This mo el is base on a mo ern high-gain lea amp pro ucing a soft, yet precise soun with
plenty of rive, so its i eal for lea guitar work. The DRIVE V-AMP is mo ele on the Mesa Boogie Mark III.
CRUNCH V-AMP: Use this amp to play mo ern blues or jazz music. Its soun is what you woul call crunchy
 not clean, but not too front-stage either.
CLEAN V-AMP: With this amp we manage to simulate a Rolan JC-120. The result? The brilliance of a
transistor amp combine with the power that is usually associate with an un istorte tube amp.
TUBE PREAMP: Quite early in guitar amp history, au io engineers realize that tube soun s have a very
special charm. They use tube amps to give soun sources of all kin s more warmth. With this amp mo el you
can not only refine guitar soun s. Try sen ing a vocal track through the V-AMP an give it the finishing touch
with the TUBE PREAMP algorithm (apart from that, its a perfect tool to breathe new life into your guitar as
well).
Fenderä, Voxä, Marshallä, Mesa Boogieä, Gibsonä, Soldanoä, Matchlessä and the names of musicians and music groups are
registered trademarks of their respective owners, with no connection whatsoever to BE RINGER company.
3. AMP/SPEAKER SIMULATION

13
V-AMP
3.2 Description of loudspeaker models
The soun of any guitar combo amp epen s largely on the speaker(s) to which it is connecte . In the past 50
years, lots of experiments have been carrie out, so as to fin out which speaker type is the best match for a
specific guitar soun an how the soun is mo ifie if a specific speaker is combine with others.
The character of a lou speaker epen s on its power rating, impe ance, soun pressure level an size, an
not least on the material it is ma e of. 8", 10" an 12" speakers have been foun the best sizes for electric
guitar amplification. Please see the list of V-AMP speaker cabinets below an how they match the various amp
simulation mo els:
No. Configuration No. Name No. Name
- BYPASS (NO SPEAKER-SIMULATION) 1 AMERICAN BLUES 2 4 x 10" VINTAGE BASS
1 1 x 8" VINTAGE TWEED 2 MODERN CLASS A 9 2 x 12" US CLASS A
2 4 x 10" VINTAGE BASS 3 TWEED COMBO 1 1 x 8" VINTAGE TWEED
3 4 x 10" V-AMP CUSTOM 4 CLASSIC CLEAN 8 2 x 12" TWIN COMBO
4 1 x 12" MID COMBO 5 BRIT BLUES 12 4 x 12" VINTAGE 30
5 1 x 12" BLACKFACE 6 BRIT CLASS A 11 2 x 12" BRIT ’67
6 1 x 12" BRIT ’60 7 BRIT CLASSIC 12 4 x 12" VINTAGE 30
7 1 x 12" DELUXE ’52 8 BRIT HI GAIN 12 4 x 12" VINTAGE 30
8 2 x 12" TWIN COMBO 9 RECTIFIED HI GAIN 12 4 x 12" VINTAGE 30
9 2 x 12" US CLASS A 10 MODERN HI GAIN 12 4 x 12" VINTAGE 30
10 2 x 12" V-AMP CUSTOM 11 FUZZ BOX 14 4 x 12" OFF AXIS
11 2 x 12" BRIT ’67 12 ULTIMATE V-AMP 15 4 x 12" V-AMP CUSTOM
12 4 x 12" VINTAGE 30 13 DRIVE V-AMP 15 4 x 12" V-AMP CUSTOM
13 4 x 12" STANDARD ’78 14 CRUNCH V-AMP 15 4 x 12" V-AMP CUSTOM
14 4 x 12" OFF AXIS 15 CLEAN V-AMP 15 4 x 12" V-AMP CUSTOM
15 4 x 12" V-AMP CUSTOM 16 TUBE PREAMP - -
In combination with Amp ... ... we recommend Cabinet ...Cabinets
Tab. 3.1: V-AMP cabinets and amp/cabinet interaction
4. EFFECTS PROCESSOR
A very special feature of your V-AMP is its built-in multi-effects processor mo ule, which offers 16 ifferent
groups of first-class effects such as chorus, flanging, elay, auto-wah as well as various effects combinations.
The MIDI functions allow you to use an a itional wah-wah effect, which can be controlle best from a MIDI foot
controller equippe with an expression pe al such as our BEHRINGER FCB1010. More on this in chapter 8.1
MIDI implementation.
+The multi-effects processor is basically in stereo, so that you can use stereo effects hen
recording via the LINE OUT, or play in stereo using a second amplifier.
Use the TAP button an EFFECTS MIX control to e it the V-AMP effects:
4. EFFECTS PROCESSOR

14
V-AMP
1 ECHO Mix Delay Time
2 DELAY Mix Delay Time
3 PING PONG Mix Delay Time
4 PHASER/DELAY Delay Mix Delay Time
5 FLANGER/DELAY 1 Delay Mix Delay Time
6 FLANGER/DELAY 2 Delay Mix Delay Time
7 CHORUS/DELAY 1 Delay Mix Delay Time
8 CHORUS/DELAY 2 Delay Mix Delay Time
9 CHORUS/COMPRESSOR Chorus Mix Modulation Speed
10 COMPRESSOR Ratio -
11 AUTO WAH Depth -
12 PHASER Feedback Modulation Speed
13 CHORUS Mix Modulation Speed
14 FLANGER Feedback Modulation Speed
15 TREMOLO Mix Modulation Speed
16 ROTARY Mix Modulation Speed
Effect No.
Effect EFFECTS MIX
Control TAP Button
Tab. 4.1: V-AMP effects
4.1 Description of effects
The following section inclu es a short escription of each effect that can be create with the multi-effects
processor of your V-AMP.
Reverb and delay algorithms
REVERB: Reverb is still the most important effect for mix- owns or live playing, an we at BEHRINGER set
great store by giving you as much as nine ifferent reverb programs, so that you can use the most appropriate
reverb program for each specific application. The reverb effect can be a e in epen ently of all the other
effects (see chapter 4.2).
ECHO: Echo, i.e. elaye repetitions of the input signal, is quite similar to the stereo elay effect, except for
the fact that the high-frequency content of the repeate signals is ecreasing, which simulates a vintage tape
elay use in the pre- igital era. The reflections are route by turns to the left an right channel pro ucing a
quasi-stereo effect.
DELAY: This algorithm elays the input signal, with ifferent tempo settings pro ucing interesting effects.
Especially U2s The E ge has emonstrate the potential of this effect.
PING PONG: A elay effect that changes its position on the stereo basis.
Modulation effects
PHASER: Phasing wi ens the soun making your guitar soun thicker an richer. From a technical point of
view, phasing is a mo ulation effect that pro uces a multi-stage phase shift between the irect an effect
signals. As the frequency- epen ent phase shift is mo ulate , the various frequency ranges of the signal are
raise or lowere in their amplitu es. Depen ing on the setting you choose, the resulting phasing effect is
either slightly mo ulating in character or pro uces heavy soun coloration.
FLANGER: Flanging is a constant up/ own mo ulation of the signal pitch.
CHORUS: This effect resembles the flanging effect, however, has no fee back parameter. It pro uces a etune
effect that is very pleasant in character an is therefore best suite to make your guitar soun richer.
4. EFFECTS PROCESSOR

15
V-AMP
Combinations of effect algorithms (multi-effects programs)
PHASER & DELAY: Phasing an elay combine in one algorithm.
FLANGER & DELAY: Here, the input signal is elaye an processe with a pronounce wave effect. Use
this effect to highlight single notes or to make solo lines soun more interesting.
CHORUS & DELAY: This algorithm combines a elay with the all-popular chorus effect.
CHORUS & COMP: A compressor creates astoun ing effects, in particular, with sustaining guitar notes. In
combination with a chorus, the au io signal becomes much more  ense in character.
Special effects
COMPRESSOR: A compressor limits the ynamic range of au io material thus creating au ible an creative
effects. Heavy compressing (EFFECTS MIX control) allows you to work on the overall ynamic range of the
program material.
AUTO WAH: The wah-wah effect became legen ary with Jimi Hen rix. Describing it is much more ifficult than
listening to Hen rix Voo oo Chile. In American funk music from the 70s you will also hear auto-wah effects
use in a variety of applications.
TREMOLO: Simulates the classic Fen er tremolo. Its popularity has been renewe with trip hop music.
ROTARY: This is the quintessential simulation of the classic organ effect normally pro uce by speakers that
rotate at slow/fast spee in a bulky an extremely heavy speaker cabinet. This effect uses the physical
principle known as Doppler effect to mo ulate the input signal.
NOISE GATE: Noise gates are use to remove or re uce noise or other interference signals. Guitar signals are
particularly sensitive to interference, because guitarists use high gain settings an the pick-ups of the guitar
can amplify unwante interference, which becomes au ible especially uring music pauses. A noise gate
simply mutes the signal uring pauses, thus eliminating the interference as well.
4.2 The separate reverb effect
The reverb effect pro uce by your V-AMP is in epen ent of the built-in multi-effects processor an can be
a e freely to the mix signal. Simply activate the REVERB function by pressing the D button in SETUP
mo e, an use the reverb keys to choose a reverb type from a total of nine ifferent algorithms:
0 Tiny Room
1 Small Room
2 Medium Room
3 Large Room
5 Small Spring
6 Medium Spring
7 Short Ambience
8 Long Ambience
Reverb No.
Reverb Type Quality
Classic room simulation featuring various
room sizes from bathroom to cathedral.
Simulates the early reflections of a
reverbless room.
4 Ultra Room Special effect transforming guitar signals
into heavenly pad sounds.
Simulations of typical spring reverbs.
Tab. 4.2: The various reverb effects implemented in the V-AMP
4. EFFECTS PROCESSOR

16
V-AMP
5. THE V-AMP PRESETS
Your V-AMP stores 125 e itable preset, organize in 25 banks, i.e. each bank hol s 5 presets. Each preset is
compose of up to five ingre ients:
san amp simulation mo el,
sthe basic soun of that amp ( epen s on the position of controls to ),
syour preset e its in SETUP mo e (DRIVE function, speaker simulation, reverb, noise gate),
san effect of your choice, an
sthe wah-wah effect (via MIDI control only).
Please fin a list of all presets enclose with the V-AMP users manual.
5.1 Recalling presets
After power-up the V-AMP automatically loa s the last preset selecte . In the following example, its preset D
from bank 23:
Fig. 5.1: Recalling presets
In this case, you can recall another preset from the same bank by pressing buttons A, B, C or E. The two arrow
keys (BANK UP an BANK DOWN) allow you to switch to another bank. The isplay always in icates the
bank selecte . Once a new bank has been selecte , the preset will be change only when you press one of the
buttons A - E. The button LEDs inform you which preset is selecte from the current bank.
5.2 Editing presets
E iting presets is easy an can be one quickly. Right after selecting a preset you can start e iting it. It will
probably be most useful to select an amp mo el first by turning the AMPS enco er. The LED of the preset
button (e.g. D) starts flashing an signals that e its are being ma e.
Now, change the settings of the controls VOLUME, BASS, MID, TREBLE an GAIN to your choice. When you
use the EFFECTS enco er to select an effect, the EFFECTS MIX control allows you to a just its intensity as
part of the mix signal. Then, press the arrow keys simultaneously to enter SETUP mo e. Use the buttons
B - E to activate the functions DRIVE, CABINET, REVERB an NOISE GATE. When you e it these functions
with the arrow keys, the isplay rea s the value of the currently selecte parameter. Press the TAP or TUNER
button to quit SETUP mo e an return to PLAY mo e.
+Except for the compressor and auto- ah algorithms, the parameters of all internal effects are
speed-based. Lets assume that you ish to adapt the effect to the tempo of the playback:
Simply hit the TAP button t ice in the rhythm of the music; no the effect tempo follo s the
tempo of the music program.
5. THE V-AMP PRESETS

17
V-AMP
5.3 Storing presets
To save your e its keep the preset button of your choice presse for about 2 secon s, thus overwriting the
previous settings (button LED lights up permanently).
+Of course, you dont have to save your edits in the same memory location as the original
preset. To select a different memory location use the arro keys (BANK UP and BANK DOWN)
to recall a preset bank. Then, press the preset button of your choice for about 2 seconds to
store your settings. In this ay, you can edit a preset originally stored in, for example, bank 5
and memory location D, to e.g. bank 6, preset A.
5.4 Edit cancel / restoring a single original artist preset
When you have e ite a preset an fin that you ont like what youve change , you can cancel your e its.
We assume that you have selecte an e ite preset C (button LED flashes), but wish to recall the original
settings: Simply select another preset; now, when you recall the previously e ite preset (here: C), all e its
have been cancele . However, when you keep both arrow keys presse after e iting until the isplay rea s
Pr, you can recall the original artist preset originally store in the selecte memory location. Dont forget to
store this preset by pressing the preset button for about 2 secon s.
5.5 Restoring all original artist presets
Do as follows to restore all factory presets: Keep the buttons D an E presse , before you switch on your
V-AMP. After power-up the isplay rea s CL. Release the two keys an press both arrow keys to overwrite all
user-e ite presets an replace them by the original artist presets.
6. TUNER
Press the TUNER button to activate the built-in tuner.
6.1 Tuning a guitar
The chromatic tuner automatically etects the frequency of all basic guitar notes, for example, A string =
440 Hz. When you connect your guitar to the V-AMP an play an open string, the tuner tries to etect an
isplay the note. Since the tuner uses a chromatic scale, it also etects semi-tones, which are prece e by a
b in the isplay.
It may happen though that a note isplaye as, for example, a is slightly out of tune, which is shown by at
least one of the four arrow LEDs at the bottom e ge of the isplay lighting up. Sometimes, even two LEDs
may light up, which in icates that the pitch of the tone currently playe is just in between the pitches represente
by the two single LEDs. When the circular tuner LED in the mi le lights up, the tone playe is in tune.
6.2 Adjusting reference pitch a
To give you maximum free om when tuning your guitar, you can change the preset reference pitch a. Just to
make things clear, lets iscuss this in some more etail.
The so-calle concert pitch a has been raise repeate ly over time: For example, the tuning forks use by
Bach, Han el or Mozart were tune to 415, 420 or 421 Hz respectively (oscillations per secon ). To ay,
orchestras tune to a = 444 Hz, an the Berlin Philharmonic Orchestra tries to lea the pack by using a
concert pitch of 447 Hz.
The reference pitch a in your V-AMP is set to 440 Hz. If you wish to play with a big orchestra who tune their
instruments to 444 Hz, you will nee a function that allows you to change the reference pitch a of your
V-AMP. Activate this function as follows: In PLAY mo e, activate the tuner by pressing the TUNER button,
then press both arrow keys to enter SETUP mo e. The isplay rea s 40, which correspon s to 440 Hz. Use
the arrow keys to raise or lower the reference pitch by up to 15 Hz. The isplay only rea s the two last figures
of the basic tone, because the first figure is always 4. For example, when you start with a reference pitch of
6. TUNER

18
V-AMP
440 Hz an press the right arrow key three times, the isplay rea s 43, i.e. 443 Hz. Quit SETUP mo e by
pressing the TUNER or TAP button. Any changes will be store automatically. The reference tones for the
remaining strings on your guitar will be a juste automatically to the new reference pitch.
7. INSTALLATION
7.1 Audio connections
The input of your BEHRINGER V-AMP is on a mono 1/4" jack. The LINE OUT, AUX IN an PHONES inputs/
outputs are on stereo 1/4" jacks. The LINE OUT works with both balance an unbalance connections.
Fig. 7.1: Wiring of various 1/4" plugs
7. INSTALLATION

19
V-AMP
Fig. 7.2: Wiring of a stereo headphones 1/4" plug
7.2 MIDI connection
The MIDI stan ar (Musical Instruments Digital Interface) was evelope in the early 80s to enable electronic
musical instruments of ifferent makes to communicate with each other. Over the years the range of MIDI
applications has constantly been expan e , an to ay it is completely normal to network entire recor ing
stu ios using the MIDI stan ar .
At the heart of this network we fin a computer loa e with a sequencer software that controls not only the
keyboar s but also effects an other peripheral evices. In such a stu io you coul control your V-AMP in real
time from a computer. In particular, when playing live gigs you can use a MIDI foot controller to control both the
effect parameters an preset/bank changes on your V-AMP.
The MIDI connectors on the rear of your V-AMP are internationally stan ar ize 5-pin DIN jacks. To connect
your V-AMP to other MIDI equipment, you nee e icate MIDI cables, which are commercially available in
various lengths.
MIDI IN: receives MIDI controller information. The receiving channel can be a juste in SETUP mo e by
pressing the A button; then, a just the parameter with the arrow keys.
MIDI OUT: the MIDI OUT allows you to sen ata to a computer or other evices connecte . Your V-AMP
transmits both preset ata an parameter changes.
7.2.1 Sending/receiving MIDI data
Your V-AMP can receive system-exclusive ata from other MIDI evices, provi e that you have the MIDI
function (button A) activate in SETUP mo e. However, all presets will be overwritten automatically. You can
transmit MIDI ata from your V-AMP to other evices (total ump), by entering SETUP mo e an pressing
the MIDI button until the isplay rea s  . This function may be useful e.g. to store preset e its not in the
V-AMP but on an external sequencer.
You can also sen single preset to other evice: Enter SETUP mo e by pressing both arrow keys, activate the
MIDI function an briefly hit the MIDI button.
7. INSTALLATION

20
V-AMP
8. APPENDIX
8.1 MIDI Implementation
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 Bender N N -
Control Change - - -
1 N (request only) Y Wah Pedal
7 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)
16 Y Y Amp Vol (0-127)
17 N (request only) Y Fx Mix Assign (0-15) *1
18 Y Y Reverb Mix (0-127) *2
19 Y Y Amp Type (0-15) *3
20 Y (skipped on request) Y Fx Type (0-15) *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 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 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 N (request only) Y Delay Feedback (0-127)
54 Y Y 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 N (request only) Y post Fx Par 2 *10
58 Y Y post Fx Par 3 *10
59 Y Y post Fx Mix (0-127) *11
64 N Y Tap (Value > 63)
80 N Y Request Controls (Value = 80)
81 N (request only) Y Set Cursor Pos (0-15),
Set Character (32-127)
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) Y -
MIDI Implementation Chart
Tab. 8.1: MIDI Implementation
8. APPENDIX