Behringer Bass V-Amp User manual

Version 1.1 March 2003
Users Manual
ENGLISH
BASS V-AMP/BASS V-AMP PRO
BASS V-AMP PRO
BASS V-AMP

2
BASS V-AMP/BASS V-AMP PRO
SAFETY PRECAUTIONS
CAUTION: To reduce the risk of electric shock, do not remove
the cover (or back). No user serviceable parts
inside; refer servicing to qualified personnel.
WARNING: To reduce the risk of fire or electric shock, do not
expose this device to rain and moisture.
This symbol, herever it appears, alerts you to the
presence of uninsulated dangerous voltage inside
the enclosurevoltage that may be sufficient to
constitute a risk of shock.
This symbol, herever it appears, alerts you to
important operating and maintenance instructions
in the accompanying literature. Please read the
manual.
DETAILED SAFETY INSTRUCTIONS:
1) Read these instructi ns.
2) Keep these instructi ns.
3) Heed all warnings.
4) F ll w all instructi ns.
5) D n t use this device near water.
6) Clean nly with a dry cl th.
7) D n t bl ck any ventilati n penings. Install in
acc rdance with the manufacturers instructi ns.
8) D n t install near any heat s urces such as radiat rs,
heat registers, st ves, r ther apparatus (including
amplifiers) that pr duce heat.
9) D n t defeat the safety purp se f the p larized r
gr unding-type plug. A p larized plug has tw blades
with ne wider than the ther. A gr unding type plug
has tw blades and a third gr unding pr ng. The wide
blade r the third pr ng are pr vided f r y ur safety. If
the pr vided plug d es n t fit int y ur utlet, c nsult
an electrician f r replacement f the bs lete utlet.
10) Pr tect the p wer c rd fr m being walked n r
pinched particularly at plugs, extensi n c rds, and the
p int at which they exit the unit.
11) Only use attachments/access ries specified by the
manufacturer.
12) Use nly with the cart, stand, trip d, bracket, r table
specified by the manufacturer, r s ld with the device.
When a cart is used, use cauti n when m ving the cart/
device c mbinati n t av id injury fr m stumbling ver
it.
13) Unplug this device during lightning st rms r when
n t used f r l ng peri ds f time.
14) Refer all servicing t qualified service pers nnel.
Servicing is required when the unit has been damaged
in any way, such as p wer supply c rd r plug is
damaged, liquid has been spilled r bjects have fallen
int the device, the unit has been exp sed t rain r
m isture, d es n t perate n rmally, r has been
dr pped.

3
BASS V-AMP/BASS V-AMP PRO
BASSV-AMP/BASS V-AMP PRO
BASS V-AMP/BASS V-AMP PRO
BASS V-AMP/BASS V-AMP PRO
The Ultimate Tone Toolbox for Bass, Acoustic/Electric Guitar and Keyboard Amp Modeling
s32 unsurpassed authentic amp models: 16 classic bass amps, 8 of the best V-AM amp models, 4 typical
keyboard amps and 4 acoustic models
s23 renowned cabinet simulations: from traditional to contemporary sounds with original characterfrom
1 x 8" to 8 x 10", all the way to 18" speakers
s16 absolutely first-class effects, e.g. Ultrabass, 3-Voice Synth, Delay/Loop Sampler, Chorus, Flanger,
Rotary Speaker, Voice Box, Wah Wah as well as various combinationsmay be used without amp simulation
as well!
s4 renowned distortion and overdrive stomp boxes with adjustable DRIVE, TONE, BOOST and S LIT functions
s125 outstanding presets in 25 banks, easily editable and storable
sIndependent compressor and efficient denoiser
sIntegrated, auto-chromatic tuner (can be calibrated) for easy tuning of bass guitars and other electronic
instruments
sExtensive MIDI implementation for control/automation of all MIDI functions
sBASS V-AM : Adjustable stereo aux input for mixing line-level signals (e.g. CD player, sound card etc.)
sBASS V-AM : Gig bag and footswitch (for switching presets and activating the tuner) included
sBASS V-AM RO: AES/EBU and S/ DIF outputs and adjustable wordclock input for synchronization
with 24-bit and 32 - 96 kHz
sBASS V-AM RO: Balanced stereo XLR DI output with ground/lift switch and ULTRA-G speaker simulation
sBASS V-AM RO: re DS and post DS effects loops for connecting external effects processors
sExtremely rugged construction guarantees outstanding dependability, even under harsh conditions
sManufactured under ISO9000 certified management system

4
BASS V-AMP/BASS V-AMP PRO
FOREWORD
Dear Customer,
elcome to the team of
BEHRINGER users, and
thank you very much for
expressing your confi-
dence in us by pur-
chasing the BASS V-AMP/
BASS V-AMP PRO.
Writing this fore ord for
you gives me great
pleasure, because it
represents the cul-
mination of many months
of hard ork delivered
by our engineering team
to achieve a very
ambitious goal: to pre-
sent t o outstanding
virtual bass amplifiers,
hose advanced sound
capabilities and re-
markable features offer a maximum of flexibility and performance.
The task of designing our ne BASS V-AMP/BASS V-AMP PRO
certainly meant a great deal of responsibility, hich e assumed
by focusing on you, the discerning user and musician. Meeting
your expectations also meant a lot of ork and night shifts. But
it as fun, too. Developing a product usually brings a lot of
people together, and hat a great feeling it is hen all ho
participated in such a project can be proud of hat theyve
achieved.
It is our philosophy to share our enjoyment ith you, because
you are the most important member of the BEHRINGER team.
With your highly competent suggestions for ne products youve
made a significant contribution to shaping our company and making
it successful. In return, e guarantee you uncompromising quality
as ell as excellent technical and audio properties at an extremely
reasonable price. All of this ill enable you to give free rein to
your creativity ithout being hampered by budget constraints.
We are often asked ho e manage to produce such high-
quality devices at such unbelievably lo prices. The ans er is
quite simple: its you, our customers! Many satisfied customers
mean large sales volumes enabling us to get better purchasing
terms for components, etc. Isnt it only fair to pass this benefit on
to you? Because e kno that your success is our success
too!
I ould like to thank all of you ho have made the BASS V-AMP/
BASS V-AMP PRO possible. You have all made your o n personal
contributions, from the developers to the many other employees
at this company, and to you, the BEHRINGER user.
My friends, its been orth the effort!
Thank you very much,
Uli Behringer
WARNING!
+We w uld like t bring y ur attenti n t the fact that
extremely l ud s und levels may damage y ur
hearing as well as y ur headph nes. Please l wer
all OUTPUT LEVEL kn bs all the way t the left bef re
p wering up the unit.
TABLE OF CONTENTS
1. INTRODUCTION ......................................................... 5
1.1 Before you get started ................................................. 5
1.1.1 Serial number ..................................................... 5
2. CONTROL ELEMENTS ............................................... 5
2.1 Unit top/front side ......................................................... 5
2.2 Rear panel of the BASS V-AMP PRO ........................... 7
2.3 BASS V-AMP connectors (side) .................................. 8
3. APPLICATION EXAMPLES/OPERATING MODES ....... 8
3.1 Selecting an operating mode (CONFIGURATION) ........ 8
3.2 Standard setup ............................................................. 8
3.3 Recording situation ....................................................... 9
3.4 Live setup ith a connection to an external bass ........
amplifier ......................................................................... 9
4. PRESETS OF THE BASS V-AMP/BASS V-AMP PRO . 9
4.1 Recalling presets .......................................................... 9
4.2 Editing presets ............................................................ 10
4.3 Saving user presets ................................................... 10
4.4 Overriding edits/Restoring single factory presets ..... 10
4.5 Restoring all factory presets ...................................... 10
5. AMP/SPEA ER SIMULATION .................................. 10
5.1 Amp descriptions ........................................................ 11
5.2 Speaker descriptions .................................................. 12
5.3 Denoiser and compressor .......................................... 13
6. EFFECTS PROCESSOR ............................................ 13
6.1 Pre-amp effects .......................................................... 13
6.2 (OVER)DRIVE simulations .......................................... 13
6.3 Post amp effects ........................................................ 14
6.3.1 Reverb and delay algorithms ........................... 14
6.3.2 Modulation effects ............................................ 14
6.3.3 Special effects ................................................. 14
6.3.4 Virtual analog bass synth ................................ 15
7. TUNER ...................................................................... 15
7.1 Tuning instruments ..................................................... 15
7.2 Setting up the a reference tone .............................. 15
8. INSTALLATION ......................................................... 15
8.1 Rack mounting (BASS V-AMP PRO) .......................... 15
8.2 Voltage (BASS V-AMP PRO) ...................................... 15
8.3 Audio connections ...................................................... 15
8.4 MIDI connections ......................................................... 16
8.4.1 Receiving/sending MIDI-SysEx data ................ 16
8.5 AES/EBU and S/PDIF standards ................................. 16
9. SPECIFICATIONS ..................................................... 17
10.APPENDIX ............................................................... 19
11.WARRANTY ............................................................. 20

5
BASS V-AMP/BASS V-AMP PRO
1. INTRODUCTION
Congratulations! By purchasing the BASS V-AMP/
BASS V-AMP PRO, you have selected a modern virtual bass
amplifier that sets ne standards in the orld of bass preamps.
Our primary goal as to achieve the classic sound of bass
amps by using Physical Modeling and implementing the ne est
DSP effects. Follo ing the tremendous success of our V-AMP
and its successor V-AMP 2, ith the BASS V-AMP/
BASS V-AMP PRO e are finally able to offer bass players the
same diversity of sound.
Ho ever, e ent a step further and expanded the concept
to include items of interest to keyboarders and electric/acoustic
guitar players. Those ho have already used the V-AMP or the
V-AMP 2 ill appreciate the BASS V-AMP/BASS V-AMP PRO as
a terrific improvement.
We anted to create t o devices that ould stir conversations
in years to come: the BASS V-AMP/BASS V-AMP PRO is
universally usable and offers authentic amp and even speaker
soundsall this ithout having to transport heavy equipment!
Additionally, the most modern multi-effects processors assure
unprecedented tonal freedom. In short, the BASS V-AMP/
BASS V-AMP PRO gives you a sound machine sporting the
hottest features of the day.
Future EPROM updates ill make sure your BASS V-AMP/
BASS V-AMP PRO al ays has the latest soft are and features.
BEHRINGER is a company in the field of professional audio
studio technology. We have been successfully developing
products for live and studio applications for years. Among those
are microphones and 19" gear of all kinds (compressors,
enhancers, noise gates, tube processors, headphone amplifiers,
digital effects units etc.), monitoring and PA loudspeakers as
ell as professional live and recording mixing consoles. Our
entire technical kno -ho has gone into creating your
BASS V-AMP/BASS V-AMP PRO.
To top it all, e orked together ith professional bass players,
hose sound suggestions led to the creation of original artist
presets. Just a single glance at the separate preset sheet ill be
enough to completely amaze you.
Flexibility is hat matters most in the music industry. Bass
players should be able to offer a ide array of different sounds,
and should also be able to temporarily adjust to the demands of
home recording, studio and live applications. Bulky amp
combinations are out of sync ith todays times precisely
because of this reason. The BASS V-AMP/BASS V-AMP PRO
offers you a maximum set of features in a compact unit that can
be figured out in no time.
But enough talking: Nothing ill convince you more than the
shear joy of hat you ill hear and feel the first time you play
ith your BASS V-AMP/BASS V-AMP PRO. You ill experience
a latest-generation virtual bass amplifier ith fascinating features:
sExtreme sound variety and flexible output routing options
for bass players
sMulti effects, amp and loudspeaker simulations for keyboard
players
sRemarkably clean, high-gain sound and acoustic simulations
for electric guitars
sSound enhancer for acoustic guitar sound pickup
sUncompromising loop/sampler function, super-phat analog
bass synth and the best distortion pedal simulations.
1.1 Before you get started
The BASS V-AMP/BASS V-AMP PRO as carefully packed at
the assembly plant to assure its secure transport.
2. CONTROL ELEMENTS
Should the condition of the cardboard box suggest that damage
may have taken place, please inspect the unit immediately and
look for physical indications of damage.
+Damaged units sh uld NEVER be sent directly t us.
Please inf rm the dealer fr m wh m y u acquired
the unit immediately as well as the transp rtati n
c mpany fr m which y u t k delivery. Otherwise,
all claims f r replacement/repair may be rendered
invalid.
Please make sure the unit is provided ith sufficient ventilation,
and never place the BASS V-AMP/BASS V-AMP PRO on top of
an amplifier or in the vicinity of a heater to avoid the risk of
overheating.
+Bef re plugging the unit int a p wer s cket, please
make sure y u have selected the c rrect v ltage!
Po er is supplied via the cable included ith the unit. All
requiered safety precautions have been adhered to. When you
hook up your BASS V-AMP/BASS V-AMP PRO to the mains, the
unit is automatically turned on.
+Please make sure that the unit is gr unded at all
times. F r y ur wn pr tecti n, y u sh uld never
tamper with the gr unding f the cable r the unit
itself.
MIDI connections (IN, OUT/THRU) use standard DIN plug-in
connectors. Data transfer takes place via the dry-contact optical
couplers. Additional information can be found in chapter 8
(INSTALLATION).
1.1.1 Serial number
The serial number of your BASS V-AMP/BASS V-AMP PRO is
located on the back. Please send the completely filled out
registration card ithin 14 days of purchase to assure
unproblematic arranty processing in the future. Or use our
online registration form at .behringer.com.
2. CONTROL ELEMENTS
An illustration of all control elements is located on the separate
sheet included ith this users manual. The controls on both
devices are numbered the same ay. Ho the t o versions
differ is clearly marked by using the designations BASS V-AMP
only or BASS V-AMP PRO only. Connections on both versions
are covered in a separate chapter in this users manual.
2.1 Unit top/front side
Turn your BASS V-AMP PRO on using the POWER s itch.
The POWER s itch should al ays be in the Off position
(depressed) henever you first connect the unit to the
mains.
+Please n te: Merely switching the unit ff d es n t
mean that it is fully disc nnected fr m the mains
(BASS V-AMP PRO nly). When n t using the unit f r
pr l nged peri ds f time, please unplug the units
p wer c rd fr m the wall.
The GAIN control determines level and saturation charac-
teristics of the amp simulation.
The VOLUME control governs the volume of the selected
preset.
The BASS control on the EQ section lo ers or elevates
bass frequencies.
+When the TAP butt n is depressed, the BASS
c ntr l changes its functi n t DEEP c ntr l, which
influences the s und in the l wer frequency
segment.

6
BASS V-AMP/BASS V-AMP PRO
sC: This key activates the CABINETS mode. Use the arro
keys to select a type of loudspeaker or a combination of
loudspeakers. You can also completely s itch off the
speaker simulation (-). Additional information is available
in chapter 5.2.
sD: Activates the X-OVER function. Use the arro s to
regulate the cut-off frequency bet een high-pass and
lo -pass filter. This is done in 50 gradients (please also
see chapter 6.3).
sE: Activates the DENOISER function. You may change the
threshold of the expander by using the arro keys. The
EFFECTS control regulates the sensitivity of the noise
reduction system, hile pressing TAP changes the function
of the EFFECTS control so that it regulates the frequency
range of the noise reduction system (also see ch. 5.3).
+After preset editing, press the TUNER/EXIT butt n
t quit (the EDIT MODE LED dies ut).
+DIGITAL OUT: The digital utput n the BASS V-AMP PRO
can be c nfigured by pressing butt ns A and B
simultane usly. The display sh ws SP f r S/PDIF
r AE f r AES/EBU f rmat. Alternating between
the tw f rmats is d ne by using the TAP key. The
LEDs let y u see the respective sample rate
(internal synchr nizati n and sampling rates f 44.1,
48 r 96 kHz r external w rdcl ck synchr nizati n;
see table 2.1). T select the m st appr priate
sampling rate f r the receiving unit, please use the
arr w keys. Press the TUNER/EXIT key t quit.
+CONFIGURATION: By pressing the D and E keys
simultane usly n y ur BASS V-AMP PRO, y u can
select the gl bal perating m de (keys B and D n
y ur BASS V-AMP), s that an adjustment t diverse
studi and live situati ns is p ssible (see chapter
3). Please press the TUNER/EXIT key t quit.
The TUNER key engages the tuner. Additionally, you can
exit the EDIT mode by pressing this key (see chapter 7).
Both arro keys are used to select the next preset bank
(BANK DOWN und BANK UP). Keeping the keys pressed
lets you quickly jump through the preset banks. Pressing
both arro keys at the same time engages the EDIT mode.
When you press one of the A - E buttons ( ) after ards,
each arro key takes over an edit function.
The TAP key has eight functions:
sTap: Tap the TAP key in the rhythm of a tune, and the
selected effect adjusts automatically to the appropriate
speed.
sDeep: By keeping the TAP key pressed, the BASS
control assumes the function of a DEEP control, so that it
regulates the sound in the deep bass end of the spectrum.
sMid-Shift/Shape: When an amp simulation is selected
using the AMPS control, keep the TAP key pressed and
use the MID control to regulate the middle portion of the
frequency range (SHIFT).
Our BEHRINGER SHAPE filter is automatically activated
ith amp simulations that do not have such a function (as
described above) in the original.
sPresence: Keep the TAP key pressed to use the
TREBLE control to regulate PRESENCE in a particular amp
simulation.
s2nd parameter: The second effect parameter (regulated
by the EFFECTS control) is accessed by keeping the TAP
button pressed (see chapter 6).
sAmp m dels 17 - 32: Keep the TAP key pressed and
select the desired simulation by using the AMPS control.
sMIDI Thru: The MIDI Out connector can be set to MIDI
Thru (see A).
2. CONTROL ELEMENTS
The MID control lo ers or elevates the mid frequencies.
+MID-SHIFT/SHAPE: When y u select an amp simulati n
using the AMPS c ntr l, press the TAP butt n t
use the MID c ntr l t adjust the mid frequency
range (SHIFT). With amp simulati ns that d nt
riginally have such a functi n, pressing the TAP
butt n as described ab ve activates the BEHRINGER
SHAPE filter instead.
The TREBLE control regulates the upper frequency range
of an activated preset.
+Pressing the TAP butt n changes the functi n
f the TREBLE c ntr l t PRESENCE c ntr l. This
enables l wering/elevating upper frequency range
values f a filter selected f r the amp m del active
at this time. This filter simulates the frequency-
dependent c upling f tube amps.
+Please pay attenti n t the special functi ns
(described under ) f the f ll wing p ints: ,
and !
The AMPS control lets you select one of the 32 amp
simulations. 16 LEDs surround this control, hereby 1 LED
is assigned to 2 amp types. You select one of the first 16
amp types ( hite lettering) by simply turning the control.
To select the next 16 amps (17 - 32, grey lettering), keep
the TAP button pressed as you turn the AMPS control.
+The 17 - 32 LED in the l wer left c rner f the
DISPLAY lights up when ne f the amp simulati ns
numbered 17 - 32 is selected.
Additionally, you have the option to activate a PREAMP
BYPASS via the TUNER and TAP key combi-
nation. When PREAMP BYPASS feature is activated, no
AMPS control LED is on. To disengage the PREAMP
BYPASS feature, either select an amp model of your choice
or press the TUNER and TAP keys again.
These five keys are used (among other things) for preset
selection of the presets bank sho n in the display.
In EDIT mode (activated by simultaneously pressing the
arro keys described under ), the function of individual
keys is indicated by the print located directly above the
respective button:
sA: Activates the MIDI function. By utilizing the arro keys,
the MIDI channel used for sending and receiving (1 to 16)
can be set up.
After selecting a MIDI function via the A key, pressing the
TAP key relays the MIDI out connector to MIDI Thru. When in
this mode, the unit sends no MIDI information of its o n;
instead, it merely passes on the data received at the MIDI In.
sB: S itches the DRIVE function on and off. When DRIVE
is enabled, the controls , and take up the
follo ing functions:
- GAIN regulates the distortion degree (DRIVE).
- The VOLUME control regulates an additional volume
control (BOOST).
- Use the MID control like the tone control on a simulated
distortion pedal (TONE).
Well-kno n floor effects units are simulated ith these
setups.
+When the DRIVE functi n is activated, turning the
EFFECTS MIX c ntr ls lets y u als set up the Wah-
Wah. The LEDs surr unding the EFFECTS MIX c ntr l
sh w the p siti n f the pedal. When the LED is n t
n, the Wah-Wah is inactive.
+When the Aut Wah/P-Funkn is activated, the Wah-
Wah cann t be used.

7
BASS V-AMP/BASS V-AMP PRO
2. CONTROL ELEMENTS
sC mpress r: The compressor control regulates the
attack time hen the TAP key is kept pressed (see ).
DISPLAY sho s the selected effects bank and gives
information about the changes occurring hile editing.
When the tuner is enabled, the display sho s the tuning of
the connected instrument. When one of the amp simulations
numbered 17 - 32 is selected, the LED located in the lo er
left corner of the DISPLAY lights up.
The display on the BASS V-AMP PRO gives additional
information about the digital format and the sample rate of
the unit, and indicates that the BASS V-AMP PRO should
be synchronized to an external ordclock signal. Connec-
ted input signals are displayed ith the green SIGNAL
LED; distorted signals are marked ith the red CLIP LED.
Fig. 2.1: BASS V-AMP PRO di play
Tab. 2.1: Output format and LED allocation in the diplay
(BASS V-AMP PRO only)
The EFFECTS control lets you select an effects preset or
a combination of several effects. This continuously turnable
control is surrounded by a circle of 16 LEDs. Each effect
has a corresponding LED.
The COMPRESSOR control lets you compress or limit your
sound. When you turn the COMPRESSOR control as far
left as possible ithout triggering off a LED, the dynamic
characteristics of the signal are not changed. The
compressor on the BASS V-AMP/BASS V-AMP PRO
controls t o important functions:
sYou set the compression sensitivity by turning the
COMPRESSOR control. The more you turn the control, the
more pronounced the compression. When the last LED
lights up hile turning the control to the right, the effect
acts as a limiter.
sTurning the COMPRESSOR control hile keeping the TAP
key pressed lets you set the attack parameter of the com-
pressor.
+M re detailed inf rmati n ab ut h w a c mpress r
w rks can be f und in chapter 5.3.
When an effect is selected using the EFFECTS control ,
the proportion ith hich this effect influences the entire
sound is regulated using the EFFECTS MIX control. As
long as no LED lights up hile turning the control left ards,
no effect is mixed in. This is also called an effect bypass,
and mutes all effects accross the board.
+When the TAP key is kept pressed, a sec nd effects
parameter can be regulated using the EFFECTS
c ntr l (see tables 6.1 and 6.2).
The MASTER control regulates the overall volume of your
BASS V-AMP/BASS V-AMP PRO.
+In additi n t the AUX LEVEL c ntr l n the BASS V-AMP,
this is the nly n n-pr grammable c ntr l f the
BASS V-AMP/BASS V-AMP PRO. All additi nal c ntr ls
are infinitely turnable, and their p siti ns can be
saved in a preset.
+The LED circles surr unding the VOLUME, BASS,
MID, TREBLE, GAIN, EFFECTS MIX and COMPRESSOR
c ntr ls each have nine LEDs. Either ne LED r
tw adjacent LEDs light up in each LED circle at any
ne time. This ccurs when the c ntr l is in an in-
between p siti n. This way, a t tal f 17 p siti ns
can be displayed.
The connector labeled INPUT is the 1/4" TS jack input of
the BASS V-AMP/BASS V-AMP PRO, hich is here an
electric bass, an acoustic guitar, a keyboard etc. can be
connected. Use a common 1/4" mono jack cable for this
purpose.
The LINE IN s itch regulates hich signal source of the
BASS V-AMP PRO is processed. When the s itch is not
pressed, this refers to the the signal connected to the input
connector (e.g. electric bass). When the s itch is
depressed, the line signal connected to the PRE DSP
INSERT (LINE IN, ) is routed to the processor (par-
ticularly useful for keyboards).
You can connect standard headphones to the PHONES
connector of your BASS V-AMP/BASS V-AMP PRO.
+When headph nes are c nnected t y ur BASS V-AMP/
BASS V-AMP PRO, studi m de 1 (S1) is aut matically
activated. If y u pted n t t select a l udspeaker
type in y ur setup and then c nnect a set f
headph nes, y ur BASS V-AMP/BASS V-AMP PRO
aut matically selects a speaker simulati n. This
impr ves the subjective listening impressi n while
using headph nes. T l k up which speaker
simulati n is paired t which amp, please see table
5.1. H wever, y u can deactivate a simulati n while
listening t headph nes by selecting - in
CABINETS m de. C nversely, it is p ssible t freely
select the gl bal utput c nfigurati n when a set
f headph nes is c nnected, s that y u can f r
example check the effect vari us m des have n
y ur s und.
2.2 Rear panel of the BASS V-AMP PRO
You can insert external effects into the serial insert loop
featured on the BASS V-AMP PRO. The SEND/LINE OUT
connector is connected to the input of your effects unit for
this purpose. The SEND/LINE OUT output is tapped into
directly before the digital signal processor (PRE DSP). This
connector is therefore ideal for recording dry signals
(i.e. ithout the effects portion).
Please connect the RETURN/LINE IN connector ith the
output of your external effects processor or recorder.
+When using the serial insert l p, please make sure
that y ur effects pr cess r is n t set t 100% effect
signal (wet), because therwise the direct signal
is missing.
+Pressing the LINE IN switch r utes the signal
c nnected t the RETURN/LINE IN c nnect r t y ur
BASS V-AMP PRO. This functi n may be f use when
f r example listening t a dry rec rding f a guitar
signal n y ur BASS V-AMP PRO bef re running it
thr ugh the effects.
The stereo signal of the BASS V-AMP PRO ithout analog
speaker simulations can be taken at the ANALOG LINE
OUTPUTS. For example, this is ho you connect an
external stage amp hen performing live.
The POST DSP INSERT RETURN (IN) stereo jack pair is
used for connecting to the outputs of your external stereo
effects processor. The signal taken at the POST DSP SEND
(OUT) outputs is brought back into these jacks.
The ground connection on the DI OUT outputs can be
interrupted ith the GROUND LIFT s itch. This ay,
rumble noise and ground loops can be avoided.

8
BASS V-AMP/BASS V-AMP PRO
3. A LICATION EXAM LES/O ERATING MODES
The ground connection is interrupted hen the s itch is
depressed (LIFT).
The balanced stereo signal of your BASS V-AMP PRO can
be taken at the DI OUT. This output should be connected to
t o balanced channel inputs on your mixing console. The
signal level is set at +4 dBu in studio modes and at -10 dBu
for live modes.
The connection to the inputs of an external stereo effects
unit can be made using the POST DSP SEND (OUT) stereo
output. The signal present at this output is identical to the
signal at the digital outputs. In contrast to the SEND/LINE
OUT connector , the signal is POST DSP here. In case
both of the respective RETURN (IN) connectors are
not in use, the identical signal can be taken at the ANALOG
LINE OUTPUTS .
BASS V-AMP PROs signal can be digitally taken at the
S/PDIF output.
The digital output signal of the BASS V-AMP PRO in AES/
EBU format is found at the AES/EBU output (XLR connector),
provided AES/EBU has been selected as output signal
format (please adhere to the second note under E).
Devices used to externally synchronize your BASS V-AMP PRO
should be connected at the WORDCLOCK connector. This
is a high-impedance connector, meaning that it has no
internal terminal resistor (75 Ohm).
This is the MIDI OUT/THRU connector of the BASS V-AMP
PRO. The connector is preconfigured in the MIDI Out setting
at the assembly plant, but it can be s itched to MIDI Thru
(see A).
A MIDI foot pedal, for example the BEHRINGER MIDI FOOT
CONTROLLER FCB1010, can be connected at the MIDI IN
connector. Please also read chapter 8.4.
SERIAL NUMBER. Please send the completely filled out
arranty card ithin 14 days of purchase to us, as
arranty claims may other ise be rendered invalid. Or
register online at .behringer.com.
FUSE RETAINER/VOLTAGE SELECTOR. Please make
sure that the voltage indicated in the voltage selector
maches the local voltage before you connect the unit to the
mains. Al ays replace blo n fuses ith fuses of the
same type. Some units feature a fuse retainer in hich a
selection bet een 230 V and 120 V is possible. Please
be are: When using your unit outside of Europe on 120 V,
a higher fuse rate is required (see chapter 8
INSTALLATION).
Po er is supplied via an IEC connector. The matching
cable is provided ith the unit.
2. BASS V-AMP connectors (side)
The stereo output signal of your BASS V-AMP can be
taken at the balanced LINE OUT connectors.
This is the MIDI OUT/THRU connector of the BASS V-AMP.
The connector is configured to MIDI Out at the assembly
plant, but it can be reconfigured to MIDI Thru (see A).
A MIDI foot pedal (e.g. the BEHRINGER MIDI FOOT
CONTROLLER FCB1010) can be connected to the MIDI IN
connector. More on this subject in chapter 8.4.
Connect the po er supply unit via the AC IN connector.
When you plug the po er supply unit in the mains, your
BASS V-AMP is automatically s itched on.
Connect the stereo jack of your foots itch FS112V to the
FOOTSWITCH connector. This ill enable you to alternate
bet een different presets ithin a preset bank. When you
keep the DOWN button on the foots itch pressed for longer
than t o seconds, this automatically po ers up the tuner.
Doing the same again alternately turns the tuner off.
The volume of the signal fed into the AUX IN input is
adjusted by using the AUX LEVEL control.
By using the AUX IN jack input, you can feed an additional
stereo signal into your BASS V-AMP. This ay, you can
play along to a drum computer or a playback.
3. APPLICATION EXAMPLES/
OPERATING MODES
To optimally adapt your BASS V-AMP/BASS V-AMP PRO to
various studio and/or live situations, you may choose bet een
six different operating modes (CONFIGURATION, keys B and D
in the case of BASS V-AMP as ell as keys D and E in the case
of BASS V-AMP PRO). These operating modes function
independently from the settings already selected on the unit
itself (i.e. ho the output signal of your BASS V-AMP/
BASS V-AMP PRO is taken). This ay, the left and the right
output signals can be used entirely differently. The table on the
follo ing page explains in full detail ho you can tap into the
signal at the output of your BASS V-AMP/BASS V-AMP PRO
ith or ithout a speaker simulation/EQ. Additionally, the effects
signal at the output does not necessarily have to be identical for
both sides (see table 3.1).
.1 Selecting an operating mode
(CONFIGURATION)
Your BASS V-AMP/BASS V-AMP PRO is set to studio 1 (S1)
operating mode hen it leaves the assembly plant. To change
this setting, select the CONFIGURATION mode. Please press the
B and D keys at the same time (BASS V-AMP) or D and E (BASS
V-AMP PRO). By using the arro keys, you select bet een
different operating modes. To exit this mode, press TUNER once.
Various operating modes are described on the follo ing pages
in greater detail. To adjust the output level of your instrument,
use a specific level control located at the beginning of the signal
path. This ay, it is possible to adjust the input sensitivity by
+12/-6 dB (middle value = 0 dB): Please select the
CONFIGURATION mode and adjust the desired sensitivity level
by keeping the TAP key pressed and turning the GAIN control.
+A change in input gain has an effect n all presets.
Theref re, use it with cauti n t all w f r example
an adjustment t instruments with str ngly vary-
ing signal levels.
.2 Standard setup
To use your BASS V-AMP/BASS V-AMP PRO at the practice
room, connect the unit as described in fig. 1.4. and 2.3 of the
included appendix. Instead of a bass, you can of course connect
other musical instruments. Connect your headphones to the
PHONES connector. By using the FS112V foots itch delivered
ith your BASS V-AMP/BASS V-AMP PRO, you can alternate
bet een the five presets contained in a preset bank, or you can
po er up the tuner.
Live modes L1 and L2 featured in figures 1.4, 1.5 and 2.4 are
particularly ell suited for more demanding live or practice room
applications. By using a MIDI foot controller (fig. 1.4 and 2.5), you
can alternate bet een different presets, banks and amps, the
tuner etc. An additional stereo signal can be fed into your
BASS V-AMP/BASS V-AMP PRO at the aux in (see fig. 1.3 and
1.5).
Naturally, your BASS V-AMP/BASS V-AMP PRO is in its best
shape hen its bass parts are immortalized on an analog or
digital recording medium. Its advantages are most apparent hen
used in recording situations. Your BASS V-AMP/BASS V-AMP
PRO gives you unsurpassed flexibility because you can simply
take it ith you into the control room and forget all about having
to use speakers. This ay, you have the best control of the
sound of your BASS V-AMP/BASS V-AMP PRO at all times.
If you realize that you have to change the signal on the mixing
console, you can ork ith the tone engineer on your sound so

9
BASS V-AMP/BASS V-AMP PRO
4. RESETS OF THE BASS V-AM /BASS V-AM RO
that the recording is done optimally, capturing your sound the
ay you ant it. Simply put: no annoying back-and-forth trips
bet een studio and control room.
. Recording situation
Depending on the recording situation and the desired effect,
all studio modes come into play (S1, S2 und S3). While S1 carries
the complete signal (including all amps, speakers and effects
simulations) in stereo, S2 produces t o mono signals, hereby
the right output contains the signals ith all the simulations,
hile the left output ithout the effects. A typical home recording
setup is sho n in fig. 1.3.
S3 serves the purpose of recording a fully unprocessed signal
(right output) and still hear it ith all the effects applied (left
output). Since the BASS V-AMP PRO has an additional PRE DSP
INSERT, this operating mode (kno n as Re-Amping) is possible
in every output mode (see fig. 2.5 and 2.6). Figure 2.6 describes
the possibility of recording the direct signal via an analog sound
card input and simultaneously recording the completely processed
signal. Should the sound of your mix require re orking, you
dont have to bring the signal in again, since the direct signal is
still available.
In the case of the BASS V-AMP PRO, you can directly feed a
digital mixing console (our BEHRINGER DDX3216 in this
illustration). The unit can be externally synchronized via
orldclock (fig. 2.5).
.4 Live setup with a connection to an
external bass amplifier
The BASS V-AMP/BASS V-AMP PRO is naturally in top form
hen it is used as a preamp in connection ith an external bass
amplifer. In the case of the BASS V-AMP, it is advisable to connect
your bass amp via the L/AMP OUT output, hile the R/DI OUT
output is used to connect to the mixing console or the stage box
(fig. 1.6 and 2.3). Connecting the BASS V-AMP PRO to a mixing
console should be done via the ULTRA-G DI OUT output.
The advantage of this application: You are ultra-flexible, since
you can set up the necessary monitor volume/tone needed for
the stage directly on the external bass amplifier, and at the same
time utilize the various sound options of the BASS V-AMP/
BASS V-AMP PRO. When you use the R/DI output of the
BASS V-AMP to control your mixing console, the front mix
benefits from the unique sound achieved by the BASS V-AMP,
hich is optimized for P.A. applications by virtue of utilizing the
equalizer in the channel strip of the mixing console.
+In the case f the BASS V-AMP, selecting studi 3
(S3) and c nnecting Line Out R with Aux In L lets
y u bring the direct signal in additi n t the utput
signal by using the aux c ntr l.
+When y u c nnect line ut L with aux in R (plug
plugged in half-way) in S3 m de, y u can add the
direct signal t the effect signal.
+Av id c nnecting line ut L t aux in L as well as
line ut R and aux in R, as feedback may ccur.
4. PRESETS OF THE BASS V-AMP/
BASS V-AMP PRO
The BASS V-AMP/BASS V-AMP PRO features 125 re ritable
presets, divided into 25 banks. Therefore, there are five presets
per preset bank. Each preset consists of a maximum of five
ingredients:
sthe simulation of an amplifier (incl. GAIN, EQ and VOLUME
settings),
sthe loudspeaker simulation,
sa pre-amp effect (e.g. Denoiser, Auto Wah, Wah Wah),
sa post-amp multi effect (e.g. stereo delay, modulation
effect or a combination of both) and
sthe compressor setting.
An overvie of all presets of your BASS V-AMP/
BASS V-AMP PRO is included ith this users manual.
4.1 Recalling presets
The most recently used preset is automatically recalled each
time you po er the unit on. The follo ing example in fig. 4.1
sho s the BASS V-AMP: preset D in the 25th bank as selected.
In this case you can press the keys A, B, C or E to recall a
different preset of the same preset bank. You can select a
different preset bank by pressing either one of the t o arro
keys.
Tab. 3.1: Operating mode of the BASS V-AMP/BASS V-AMP PRO with application example
2873876/ 28738765 2873876/ 28738765
Amp w/out FX Amp + FX
Live 1 (L1)
+3
Live EQ, Amp, FX
/3
without effects
+3
Live EQ, Amp, FX
/3
w/out effect section
Live 3 (L3) For Amp
ZLWK
Live EQ
ZRXW
Cab Sim
For Amp
ZRXW
Live EQ
ZLWK
Cab Sim
XLR/Phones: ULTRA-G active
(digital Cab Sim out)
Stereo: Amp, FX + Live EQ
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Amp, Cab Sim + FX DI Out (unprocessed
direct signal)
%$669$03352
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with the selected effects and
speaker simulations
Amp w/out FX +
Cab Sim Amp, Cab Sim + FX
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Studio 1 (S1)
Studio 2 (S2)
6WHUHRRSHUDWLRQ
with the selected effects and
speaker simulations
Amp w/out FX +
Cab Sim Amp, Cab Sim + FX
Live 2 (L2)
XLR/Phones: ULTRA-G active
(digital Cab Sim out)
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10
BASS V-AMP/BASS V-AMP PRO
5. AM /S EAKER SIMULATION
The display of the BASS V-AMP/BASS V-AMP PRO al ays
sho s hich preset bank is selected. To recall a preset after
selecting a different preset bank, press one of the A - E keys.
Which preset from the respective bank is currectly active is
al ays displayed in the key LED.
2
ND
PAR.
PREAMP BYPASS
CONFIGURATIONCONFIGURATION
THRU
Fig. 4.1: Recalling pre et
4.2 Editing presets
Editing presets on your BASS V-AMP/BASS V-AMP PRO is
simple and quick to do. You can for example recall a preset in
order to modify it. To do so, select a desired amp model by
turning the AMPS control to the desired amp model. The preset
key LED flashes (for example, D) and signals that you have
edited a preset.
No , modify the settings of the VOLUME, BASS, MID, TREBLE
and GAIN controls. After having selected the desired effect by
using the EFFECTS control, you can modify its part of the entire
sound by using the EFFECTS MIX control.
To get into the EDIT mode, press both arro keys
simultaneously. By using the keys B - E, you can activate
the DRIVE, CABINETS, X-OVER and DENOISER functions
respectively. You can then edit these functions by using the
arro keys, and the respective parameters ill be sho n in the
display. To leave EDIT mode again, briefly press the TUNER key.
By turning the TREBLE control hile the TAP key is pressed,
you can lo er or increase an additional filter in the upper
frequency range (PRESENCE). This simulates the frequency-
dependant decoupling of tube amps.
+With the excepti n f C mpress r und Aut Wah,
there is a speed parameter present in all multi-
effects. Lets say y u want t adjust respective
effects acc rding t the temp f y ur playback.
Tap the TAP key twice in the temp f y ur playback
and the temp f the effect is aut matically matched
t the temp f y ur musical piece.
4. Saving user presets
To save your edits, keep the desired preset key pressed for
roughly t o seconds. This ill over rite the previous settings
(the key LED lights constantly again).
+Of c urse, y u d nt have t necessarily save y ur
preset in the l cati n f the previ usly selected
preset. T save y ur preset elsewhere, press the
arr w keys (BANK UP and BANK DOWN) t get t the
desired preset bank. Then, y u can save y ur
preset by keeping the desired preset key pressed
f r r ughly tw sec nds. F r example, y u can edit
a preset l cated in preset bank five and l cati n D
and save it in bank six and l cati n A.
4.4 Overriding edits/Restoring single factory
presets
You can of course undo an edit of a preset. Lets say, you
selected preset C and edited it (key LED is blinking), but then you
ant to revert to the previously saved configuration: Simply
select a different preset. Each time you recall a different preset,
unsaved edits from the current edit are lost. Ho ever, keeping
both arro keys pressed after editing for so long until Pr appears
in the display recalls the factory preset that as originally at this
location. To activate this factory preset, you still have to save it
again by keeping the respective preset button for roughly t o
seconds.
4.5 Restoring all factory presets
To restore all factory presets, do the follo ing: keep keys D
and E pressed and only then po er up your BASS V-AMP/
BASS V-AMP PRO. CL is sho n in the display. No , let go of
the D and E keys and simultaneously press both arro keys.
This procedure over rites all presets that you may have created
and restores all factory presets. Ho to save your presets
before restoring factory presets is explained under 8.4.1.
5. AMP/SPEA ER SIMULATION
The heart and soul of your BASS V-AMP/BASS V-AMP PRO
are its amp/speaker simulations. 32 simulation models can
enormously ease the ork at your home recording studio, because
you avoid having to mic an amp. With your BASS V-AMP/
BASS V-AMP PRO, you are in the position to simply choose an
amp that once rote history, regardless of hether e are
talking funk, blues, heavy metal or any other musical style.
Moreover, you can freely modify the sound of the amp of your
choosing and virtually ire it up to one of the 23 simulated speaker
types (cabinets). Last but not least, you can enable a digital
effect and a preferred degree of compression for your virtual
amp (see chapter 4, BASS V-AMP/BASS V-AMP PRO
PRESETS).
Po ering up your BASS V-AMP/BASS V-AMP PRO
automatically loads the preset you used most recently. The LED
circle surrounding the AMPS control sho s hich amp is
currently selected: its respective LED is on. By turning the control,
you can select a different amp. To change the basic parameters
of the sound signal, use the VOLUME, BASS, MID, TREBLE and
GAIN controls. When the TAP key is pressed, the TREBLE control
assumes the function of lo ering/increasing the PRESENCE filter
in the upper frequency range (see ).
As a rule, you first select an amp, then a cabinet and finally an
effect.
Ho to save your changes is described in chapter 4. To get a
better overvie of the rich choice of amp simulations of the
BASS V-AMP/BASS V-AMP PRO, read the descriptions of various
amp types in the section belo .
+When y u select an amp simulati n, a matching
speaker simulati n is aut matically selected (see
table 5.1). Otherwise, the authenticity f the s und
c uld suffer fr m a p rly selected speaker,
particularly when y u use headph nes. Of c urse,
y u can select ther cabinet simulati ns f r the
respective amp type depending n y ur pers nal
preferences.
5.1 Amp descriptions
BRITISH 60s: A 68 Marshall Super Bass Plexi ith Vintage
EL-34 tubes as the role model for this simulation. This amp has
richer highs than the Marshall Major and sounds a bit like a fuzz
box in the upper drive settings. This amp as a must in the 60s,
particularly among UK bands. For example, it as used by John
Ent histle (The Who), Noel Redding (The Jimi Hendrix Experience),
Ron Wood (Jeff Beck Group) and Roger Glover (Deep Purple).