Behringer Bass V-Amp User manual
Version 1.1 March 2003
Users 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 enclosurevoltage 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 manufacturers 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 characterfrom
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 combinationsmay 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 theyve
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 youve
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: its you, our customers! Many satisfied customers
mean large sales volumes enabling us to get better purchasing
terms for components, etc. Isnt 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, its 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
soundsall 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 todays 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 users 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 users 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 units
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:
sTap: Tap the TAP key in the rhythm of a tune, and the
selected effect adjusts automatically to the appropriate
speed.
sDeep: 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.
sMid-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.
sPresence: Keep the TAP key pressed to use the
TREBLE control to regulate PRESENCE in a particular amp
simulation.
s2nd parameter: The second effect parameter (regulated
by the EFFECTS control) is accessed by keeping the TAP
button pressed (see chapter 6).
sAmp m dels 17 - 32: Keep the TAP key pressed and
select the desired simulation by using the AMPS control.
sMIDI 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 nt
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-Funkn is activated, the Wah-
Wah cann t be used.
7
BASS V-AMP/BASS V-AMP PRO
2. CONTROL ELEMENTS
sC 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 PROs 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
dont 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 users 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/ 28738765 2873876/ 28738765
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
ZRXW
Cab Sim
For Amp
ZRXW
Live EQ
ZLWK
Cab Sim
XLR/Phones: ULTRA-G active
(digital Cab Sim out)
Stereo: Amp, FX + Live EQ
2SHUDWLRQPRGH
Amp, Cab Sim + FX DI Out (unprocessed
direct signal)
%$669$03352
6WHUHRRSHUDWLRQ
with the selected effects and
speaker simulations
Amp w/out FX +
Cab Sim Amp, Cab Sim + FX
%$669$03
Studio 1 (S1)
Studio 2 (S2)
6WHUHRRSHUDWLRQ
with the selected effects and
speaker simulations
Amp w/out FX +
Cab Sim Amp, Cab Sim + FX
Live 2 (L2)
XLR/Phones: ULTRA-G active
(digital Cab Sim out)
%L$PSLQJPRGHZRXW&D LQHW6LPXODWLRQ %L$PSLQJPRGHZRXW&D LQHW6LPXODWLRQ
XLR/PHONES: ULTRA-G active
6WHUHRRSHUDWLRQ
Live EQ, Amp, Cab Sim and FX
6WHUHRRSHUDWLRQ
Live EQ, Amp, Cab Sim und FX
Studio 3 (S3)
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. Lets 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 nt 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. Lets 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).
11
BASS V-AMP/BASS V-AMP PRO
5. AM /S EAKER SIMULATION
BRITISH 70s: This virtual amp is based on the 69 Marshall
Major. Its a classic among tube amps, and as used by Jack
Bruce, among others. The sound remains arm even in high
drive settings, and gets a natural-sounding distortion
characteristic, commonly found on old Cream records.
BRITISH 80s: A sound coined in the 80s by musicians such
as Trace Elliot or Mark King from Level 42. Its a very transparent
and irily sound that produced a lot of pressure.
BRITISH POP: Created using the Vox AC-100 as a model. This
amp as very in in the 60s because it had a memorable bass
foundation hile still leaving enough playroom in the highs. The
AC-100 had one very unique feature: the bass control orked
the rong ay around! Turning the control to the left meant
elevating the bass frequencies. Since this feature takes some
time to get used to, e stuck to the more conventional solution,
so that turning the control left ard lo ers the bass frequencies
and turning the control right ard elevates them.
THUNDERBIRD: This simulation leans in the direction of
smaller bass combos, similar to the BEHRINGER THUNDERBIRD
BX108, hence the designation. The result is a full and arm
sound that forgives minor playing impreciseness.
MOSOUND: No other amp as used more often in Moto n
recordings as this one: the Ampeg B-15. The list of artists ho
used the typical B-15 bass sound looks like Whos Who in
Moto n: The Supremes, The Four Tops, The Temptations, Marvin
Gaye and Stevie Wonder to mention just a fe .
ROCK CLASSIC: A little quiz question: hats the name of the
bass amp that has been manufactured for the past 30 years,
ithout modifications, and is still as popular as ever? Correct: it
is the Ampeg SVT Classica true po er package. With its
300 Watts of ra tube po er, this amp has been indispensible
to rock bass players for years. Among others, Van Halen and
the Rolling Stones use this amp.
ROCK 2: Here e have the next stage in the development of
the SVT CLASSIC: SVT PRO II. With this model you can use a
graphic EQ, hich as a feature that made this amp ell liked
among hard rock and heavy metal bands. But pop-rock combos
like those of Bruce Springsteen and David Lee Roth use it often.
SILVER PANEL: This simulation reproduces the 67 Fender
Bassmanits an amp from the legendary Silverface series.
Shortly after its introduction it became many a bass players
absolute darling. Paul McCartney used the Bassman on the later
Beatles albums and also used it on his first solo album ith the
Wings.
WHITE PANEL: What ould the 80s be ithout their typical
bass sound? This decade as hugely influenced by the sound
of Gallien/Krueger bass amps. Some liked the authentic
reproduction of transistor-po ered amps; others yearned for
the armth, for that special something that as missing.
Whatever the case: the Gallien/Krueger as in the early 80s,
along ith Trace Elliot, the amp of choice. Therefore, e chose
the WHITE PANEL as the model for the 800RB, as it is popular
even today, and used by the likes of Flea (Red Hot Chilli Peppers).
RED PANEL: The relatively young company by the name of
SWR started creating the so-called L. A.-Sound in the mid 80s.
The decisive factor as the combination of tubes (preamp) and
transistors (po er amp). Since then, the SWR amps belong
surely to the most demanded amps on the market. The SWR
SM-400 as used as a model for RED PANELits a 500-Watt
mono head that finds its home in many bass racks due to its rich
tone possibilities.
GOLD PANEL: This is a simulation of the Eden Traveller
WT-300. This amp got its name from its developer: David Eden.
He proved his engineering pro ice at SWR before starting to
design bass amps of his o n. Eden amps became famous
through their typically crystal-clear and po erful sound.
CALIFORNIAN: To ard the end of the 80s Mesa Boogie
presented the 400+. This amps head is extremely easy to
navigate, and features four preamp tubes and t el e amp tubes,
delivering a massive 500 Watts of po er.
JAZZ TONE: This amp, ith its typical Marcus Miller sound,
has a classic amp as its role model: the Polytone A101. Its a 15"
speaker bass combo. If youre yearning for a jazzy sound, this is
the right amp for the occasion.
BOTTOM END: Ho times change: no adays, almost all current
music productions feature a markedly deep bass sound that
could previously only be achieved on a synth. But to preserve
true liveliness, it is advantageous to bring in an electric bass.
Only then can you have authentic dead notes and a percussive
ay of playing. A bass player ho became very popular thanks
to his ultra-deep bass sound is Justin Meldal-Johnsen. He played
for Beck and Tori Amos, among others. But hip hop, trance and
rave musicians ill find this sound just right.
TUBE PREAMP: Sound engineers discovered the appeal of a
tube very early on. They use tubes to endo sound sources of
all kinds ith armth. You can modify not only the sound of a
bass, but can for example also run a vocal signal through you
BASS V-AMP/BASS V-AMP PRO and polish it ith the TUBE
PREAMP. (This amp model is ho ever best suited to instill more
life into your bass guitar.)
BRITISH CLASS A: Created by using the Vox AC 30 as a role
model. The roots of this amp go all the ay back to the sixties.
Back then, bass players demanded sound ith a brilliant
characteristic, hich Vox engineers addressed by including
revolutionary bass and treble controls. Brian May and U2
guitarist The Edge are the most famous users of this amp.
MODERN HI GAIN: In this case, sound controls take a back
seat to distortion, giving the extremely distorted sound more
strength. The sound of MODERN HI GAIN is ideal for grunge
guitarists, but also finds its appeal among the guitarists such as
Steve Vai and Joe Satriani. Steve Lukathar, Nuno Bettencourt,
Steve Vai and others made the Soldano sound famous. When
using a Gibson Les Paul, MODERN HI GAIN sounds at its best
hen the volume control on the guitar itself is some hat
supressed.
RECTIFIED HI GAIN: This amps role model as a 1994 Mesa
Boogie Dual Rectifier Trem-O-Verb. Its modern, high-gain-oriented
sound marks this amp, and it orks very ell hen playing in a
band. Sound control takes place post distortion, hich makes a
post-treatment of distorted sounds possible. The amp orks
optimally for heavy metal, but also for achieving Steve Lukather
sounds. The most famous user of this amp is Dream Theaters
guitarist John Petrucci.
CUSTOM HI GAIN: This sound originates in the sound of a 69
50-Watt Marshall Plexi Pate modified by Jose Arrendondo.
Arrendondo as Eddie Van Halens guitar tech. The amp is
characterized by its great mids and the ability to obtain the ultimate
gain ithout blurring the sound. Attention: addictive!
ULTIMATE PLUS: Those to hom DRIVE V-AMP (see belo )
is not enough ill find more gain than they could ever ask for.
CRUNCH V-AMP: This amp is ideally suited for modern blues
or jazz sounds: its sound is neither too lo -key nor too intrusive.
DRIVE V-AMP: This is a modern high gain lead amp. It produces
a soft but still formidable sound ith a lot of drive, therefore ideal
for a lead guitar. The role model as the Mesa Boogie Mark III.
BRIT. HI GAIN: Compare this model ith a Marshall JCM 800.
Even though the original caused a furry mostly due to its distorted
sound, this model produces a similar effect even ith moderate
gain. You get excellent Steve Ray Vaughan/Michael Landau
sounds. When distorting, it is ideal for producing the old Gary
Moore sound as ell as heavy metal sound.
PIEZO SIM: Simulates a piezo pick up. This ay, sound ith
an acoustic character is created. Electric guitars get this accoustic
touch, but ithout the feedback typical for acoustic instruments.
12
BASS V-AMP/BASS V-AMP PRO
5. AM /S EAKER SIMULATION
MIC SIM: A guitar ith steel strings miked ith a dynamic
microphone is simulated here. While piezo pickups have the
tendency to make the sound rather hard, using a mic makes the
sound much more evened-out. Of course, the feedback typical
for miking acoustic instruments is no longer an issue.
MAGNETIC EQ: Magnetic pick ups are very common in estern
guitars because they can easily be mounted into the instruments
cavity. Ho ever, the sound produced is not so clear as ith
piezo systems or ith mics, because only the vibrations of the
strings are captured in the signal. This amp model corrects the
tone quality of a magnetic pick up system and gives it an acoustic
character.
+A discreet ambience effect lets y ur instrumet
s und m re natural.
PIEZO EQ: The sound character of the instrument is presented
a bit more harshly. The EQ corrects the sound so that the end
result sounds like it as directly recorded using a mic.
BLACK TWIN: A Fender Blackface T in from the year 1965
as the role model used for this simulation. In the 60s, this amp
as used by jazz, country and even rock musicians. Its appeal
as in that it as exceptionally loud, so it as primarily used in
live situations. You can drive your Blackface T in extremely
loud, but the distortion remains moderate even as you increase
the volume. Try using it ith the sound of a Rhodes electric piano
sound or another electric piano.
ORGAN CLASSIC: Here e have a simulation of a Leslie 760
amp that strongly influenced the classical Hammond sound. During
the analysis of this system, e noticed distortions that partly
spring from the organ tube end amp and partly from a Leslie.
Both characteristics can be controlled ith a gain control the
same they ould be controlled by using a Hammond volume
pedal. This sound and the rotary cabinet effect make a Rhodes
electric piano sound amazing, a clavinet sound absolutely cool,
analog synth sounds (Moog) get even better, and an electric
bass and even drum sounds get nicely elevated.
+Y u can dynamically steer the GAIN c ntr l via MIDI
by using a f t c ntr ller b ard, such as the
BEHRINGER MIDI FOOT CONTROLLER FCB1010. This
way, y u get even cl ser t the riginal s und.
BRITISH CLASSIC: This amp model, created by leaning closely
to a 59 Marshall Plexi 100-Watt amp, is particularly ell suited
for creating clean sounds. The amp as used by Jimi Hendrix,
Eric Clapton and Jeff Beck. This amp model is therefore located
among the keyboard models because you can create the organ
sound influenced by John Lord (Deep Purple).
CLASSIC CLEAN: In the 80s, the chorus effect of a Roland
JC-120 as the trademark of Buzzy Feiten (Dave Weckl Band
guitarist). What makes this solid-state amp special is the brilliance
of its sound, noticable in every mix. It is also outstanding for the
ne ave sound of the 80s thats making a come-back. Not to
forget its popularity ith Fender Rhodes pianists live on the
stage ith a Yamaha CP70 or a Wurlitzer electric piano.
Fender, Vox, Marshall, Mesa Boogie, Leslie, Roland, Motown, Ampeg, Gallien-Krueger, SWR,
den as well as the names of musicians and music groups are registered trademarks of their
respective owners and are in no way associated with B HRING R.
5.2 Speaker descriptions
The sound of a bass combo depends a great deal on the
speaker type and combination. We sa a lot of experimentation
in this field in the past 50 years. The goal as to figure out hich
speakers are most suited for reproducing bass sounds and
ho the sound changes hen you combine a particular speaker
ith other speaker types.
Among other things, the character of a speaker is determined
by its po er rating, impedance, sound pressure level and its
size.
Also, never underestimate the importance of the material(s)
used to build it. Over the years, using a 15" speaker together
ith a 4 x 10" speaker became standard-issue for electric bass
applications.
This combination produced a healthy bass foundation and at
the same time ensured perceptible highs. The sound as also
balanced and not too strained, hich as often the case ith
15" speakers used alone. No adays, in bass cabinets you can
find almost all speaker sizes you can think of: 8", 10", 12", 15" or
18". Even HF drivers are no longer a rarity in bass cabinets.
+When y u select an amp simulati n, a matching
speaker simulati n is aut matically activated as well
(see table 5.1). Otherwise, the authenticity f the
s und c uld be je pardized, particularly when y u
use headph nes. Of c urse, y u can alter these
settings depending n pers nal preferences.
A list of speaker/cabinet simulations can be found in the
follo ing section.
$P SV
ZKLWH
$
P
S
&DELQHWVLPXODWLRQ
GHIDXOWVHWWLQJ
&
D
E
BRITISH ’60s
0DUVKDOO[
BRITISH ’70s
0DUVKDOO[
BRITISH ’80s
7UDFH(OOLRW[
BRITIS H POP
9RF$&[
THUNDERBIRD
[7ZHHG
MOSOUND
$P HJ%[&ORVHG%DFN&RPER
ROCK CLA SSIC
$P HJ697[
ROCK 2
$P HJ697[
SILV ER PA NEL
)HQGHU%DVVPDQ[ZLWK-%/V
WHITE PANEL
[6:5*ROLDWK6HQLRU
RED PA NEL
[6:5*ROLDWK6HQLRU
GOLD PA NEL
$P HJ[
CA LIFORNIA N
0HVD%RRJLH[
JAZZ TONE
3RO\WRQH$[&ORVHG%DFN&RPER
BOTTOM END
$P HJ697([
TUBE PREA MP
1RFDELQHWVLPXODWLRQ
$P SV
JUH\
$
P
S
&DELQHWVLPXODWLRQ
GHIDXOWVHWWLQJ
&
D
E
BRITISH CL A S S A
[7ZLQ&RPER
MODERN HI GA IN
[9$03&XVWRP
RECTIFIED HIGH GA IN
[9LQWDJH
CUSTOM HI GA IN
[6WG
ULTIMA TE PLUS
[9$03&XVWRP
CRUNCH V - A MP
[6WG
DRIV E V -A MP
[9LQWDJH
BRIT. HIGH GAIN
[6WG
PIEZ O S IM.
1RFDELQHWVLPXODWLRQ
MIC. SIM.
1RFDELQHWVLPXODWLRQ
MA GNETIC EQ
1RFDELQHWVLPXODWLRQ
PIEZ O EQ
1RFDELQHWVLPXODWLRQ
BLACK TWIN
[7ZLQ&RPER
ORGA N CLA SSIC
/HVOLH&DELQHW[+)+RUQ
BRITISH CL A S S IC
[6WG
CLA SSIC CLEA N
[9$03&XVWRP
PREA MP BY PA S S
1RFDELQHWVLPXODWLRQ
Tab. 5.1: A ignment of cabinet imulation to amp model
13
BASS V-AMP/BASS V-AMP PRO
6. EFFECTS ROCESSOR
- BYPASS (NO SPEAKER SIMULATION)
1 AMPEG SVT 8 x 10" ’97
2 TRACE ELLIOT 4 x 10"
3 SWR GOLIATH 4 x 10"
4 AMPEG 4 x 10"
5 GALLIEN KRUEGER B120
6 68 MARSHALL 4 x 12"
7 AMPEG B15 1 x 15" CLOSED BACK COMBO
8 POLYTONE A101 1 x 15" CLOSED BACK COMBO
9 VOX AC100 2 x 15"
10 MESA/BOOGIE 2 x 15"
11 FENDER BASSMAN 2 x 15" WITH JBLs
12 LESLIE 760 CABINET, 1 x 15" + HF-DRIVER
13 SWR 1 x 18"
14 AMPEG SVT 18E, 1 x 18"
15 SUNN COLISEUM 1 x 18" + 1 x 12"
16 1 x 8" TWEED
17 1x 12" MID
18 2 x 12" TWIN COMBO
19 2 x 12" V-AMP CUSTOM
20 4 x 12" VINTAGE 30
21 4 x 12" ’78 STD.
22 4 x 12" OFF AXIS
23 4 x 12" V-AMP CUSTOM
&DELQHWVLPXODWLRQV
Tab. 5.2: Overview of cabinet imulation
5. Denoiser and compressor
DENOISER: A Denoiser is used to remove or minimize noise or
other interference sounds. Such noise becomes particularly
apparent during pauses. The time-proven BEHRINGER denoiser
removes or reduces such noise very effectively.
A dynamic lo -pass filter eliminates the noise present in the
signal, hile the integrated expander supresses noise during
pauses. Concerning this dynamic filter you can adjust frequency
range and sensitivity, hile the expander adjusts both the
threshold and the time parameter.
+The BASS V-AMP/BASS V-AMP PROs den iser can
be used independently fr m the integrated multi-
effects pr cess r. See chapter 2.1 ( E) f r
inf rmati n ab ut using the den iser.
COMPRESSOR: A compressor is used to elevate lo -level
signals, hereas loud parts are lo ered if needed.
Letting the compressor kick in strongly (done by turning the
EFFECTS control clock ise) tightens the entire dynamic of the
signal. This dynamic effect is the one that is most used in a
connection ith an electric bass. On the other hand, a limiter
cuts off the signal above a set threshold to prevent distortion.
+BASS V-AMP/BASS V-AMP PROs c mpress r can
always be activated independently fr m the
integrated multi-effects pr cess r.
6. EFFECTS PROCESSOR
The integrated multi-effects processor is a distinctive feature
of your BASS V-AMP/BASS V-AMP PRO. This effects module
offers you 16 different groups of first-class effects, such as
chorus, flanger, stereo delay, rotary cab., synth as ell as
various combination effects. Additionally, you can use an extra
ah ah effect via the MIDI function. This can be optimized by
using a MIDI foot controller ith an expression pedal, for
example the BEHRINGER MIDI FOOT CONTROLLER FCB1010.
+The multi-effects pr cess r functi ns basically in
stere . This way, y u can use stere effects f r
rec rding purp ses via the LINEOUT n the BASS
V-AMP r via the ANALOG LINE OUTPUT n the BASS
V-AMP PRO. Y u can als use a sec nd amp t play
in stere (als see table 3.1).
The effects can be edited in three parameters:
1. By rotating the EFFECTS control.
2. By rotating the EFFECTS control hile the TAP key is
pressed.
3. By pressing the TAP key in the beat of a music piece. Table
6.1 sho s the effects parameters of your BASS V-AMP/
BASS V-AMP PRO.
+T adapt beat-based effects t y ur musical
pr gram, press the TAP key twice in the beat f the
music.
6.1 Pre-amp effects
0MIDIWAH - - -
1 P-FUNK’N Depth Sensitivity Base frequency
2 AUTO WAH Depth Sensitivity Base frequency
0,',
Controller 50
())(&76
7$3EXWWRQ
Controller 49
(
I
I
H
F
W
Q
R
35(); ())(&76
Controller 48
Tab. 6.2: Pre FX
MIDI WAH: The legendary ah ah as primarlily made
famous by Jimi Hedrix. Explaining it ould be surely more difficult
than simply telling you to go listen Hendrix Voodoo Chile. When
the DRIVE function is activated, turning the EFFECTS control
sets the ah ah. The LED circle around the control displays
the position of the pedal. When no LED is on, the MIDI ah ah
is not active.
P-FUNKN: This is our attempt at replicating the legendary
MuTron III, and e succeeded! The MuTron III as a mixture out
of Auto ah ah and filter effect. The most famous user of this
effect is probably Bootsy Collins. The MuTron III had an up/do n
s itch. Here, the effect resembles the MuTron in the do n
position.
AUTO WAH: The American funk in the 70s proved that auto
ah had many possible applications. Instead of regulating the
filter frequency ith your foot, our effect does this automatically,
depending on the signal level. In doing so, our effect is similar to
the MuTron III in the up position.
+Wah wah is n t available when aut wah r P-Funkn
are being used.
6.2 (OVER)DRIVE simulations
Our overdrive simulations offer you a selection of classic
stomp box effects. Just like ith the originals, you can set up
drive, tone and boost (see B). The split function ( ) lets
you set up an independent crossover (pre distortion pedal). This
crossover lets the high frequencies pass through ithout
distortion. (left position = off (bypass)/left to right:
41 - 600 Hz). The illustration displays the frequency range.
14
BASS V-AMP/BASS V-AMP PRO
ACOUSTIC
SHIFT [TONE]
DEEP [SPLIT]
ROC
K
JAZZ TONE
CALIFORNIAN
GOLD PANEL
RED PANEL
WHITE PANEL
SILVER PANEL
BRIT. HI
ORGAN CLASSIC
BLACK TWIN
PIEZO EQ
MAGNETIC EQ
MIC SIM.
PIEZO SIM.
BOTTOM END
BRITISH CLASSIC
CLASSIC
600Hz41Hz
470Hz58Hz
362Hz84Hz
251Hz121Hz
174Hz
531Hz49Hz
416Hz70Hz
209Hz145Hz
301Hz101Hz
Fig. 6.1: SPLIT tep
6. Post-amp effects
The post-amp effects described in the follo ing paragraphs
are located post amp and cabinet simulations in the signal chain.
An integrated crossover determines at hat frequency the
effects start orking and regulates the bass information hen
the unit is used ithout effects. The cut-off frequency of this
18 dB/octave Butter orth crossover is regulated in EDIT mode
under X-OVER. The display sho s the frequency divided by
factor 10. Adjustments are made by using the bank UP/DOWN
keys. If the display sho s -, the crossover is not activated and
the complete signal is affected by the effects. When, for example,
8 is sho n in the display, this means that frequencies under
80 Hz remain unaffected by the effects.
Volume balance bet een the high pass and the lo pass can
be adjusted hen you are setting up the crossover settings by
using the EFFECTS control (all the ay to the left = lo pass
signal only, all the ay to the right = high pass signal only).
6.3.1 Reverb and delay algorithms
DELAY+CHORUS: This algorithm combines a delay and the
ever-popular chorus effect.
ST. DELAY: A delay of the input signal. Different tempo settings
enable you to produce interesting delay effects. This ay, you
can quickly create repititionsparticularly ith slappingthat
ouldnt even be possible ithout a delay.
DELAY/LOOP: This function allo s you to jam along ith your
o n signal. To do that, record ith the delay/loop effect a short
sequence (max. 15.36 sec.). This sequence can be played back
in an endless loop.
6. EFFECTS ROCESSOR
You can for example use this loop as a foundation for your
melody and improvise around it. To record this sequence via
MIDI, send the respective MIDI controller (see chapter 10 ). When
you use this function ithout MIDI, the delay can last a maximum
of 1023 msecs.
REVERB: The reverb is still the most important effect in a
mixdo n or during a live event. A reverb is used to add ambience
to an other ise dry sound.
AMBIENCE: This effect simulates a room ithout reflexions.
6.3.2 Modulation effects
PHASER: The phaser functions according to the principle that
a second, phase-shifted signal is added to the original signal.
This ay, the signal seems thicker and livelier. This effect as
originally used for guitar sounds and keyboards. In the 70s, it
started being used for other instruments as ell (e.g. electric
piano and electric bass).
FLANGER: A flanger modulates the tone pitch of a signal
up ards and do n ards at a constant tempo.
(STEREO) CHORUS: This effect subtly detunes the original
signal. This ay, a pleasant effect is created in combination
ith a tone pitch variation. This effect is particularly ell-suited
to lend a arm characteristic to the bass sound. Additionally,
hen popping occurs, it can make the tone sound less intrusive
and harsh.
6.3.3 Special effects
VCF+FLANGER: The combination of filter and flanger effect.
VOICE BOX: This vocal simulation fades bet een various
vo els (a/e, a/i, a/o etc.) by using a LFO (Lo -Frequency
Oscillator). You can control this effect via a MIDI foot controller.
ULTRABASS: A very lo bass sound that lies an entire octave
beneath the lo est bass frequency present in the mix is currently
very popular. Ho ever, this sound can often only be created at
the studio because most bass amplifiers have no subharmonic
function. The ULTRABASS processor, hich has also found
home in various BEHRINGER bass amps, makes creating this
effect a no-brainer. You ill be amazed ho ultra-lo the sounds
created ith the ULTRABASS function are.
Tab. 6.1: Po t FX and MIDI controller
())(&76
7$3EXWWRQ
Controller 41
1 VCF + FLANGER VCF Mix Flanger Mix VCF Speed Speed/Depth Flanger Feedback VCF Frequency VCF Q
2 DELAY + CHORUS Delay Mix Chorus Mix Delay Time Feedback Feedback LP Speed/Depth Delay Time
3 STEREO DELAY Delay Mix Feedback Delay Time - Feedback LP - Delay Time
4 DELAY / LOOP Delay Mix Feedback Delay Time - - - -
5 REVERB Reverb Mix Decay - Damping Diffusion - -
6 AMBIENCE Ambience Decay - Size - - -
7 VOICE BOX Mix Vowel Speed Pedal - - -
8 ULTRABASS SubMix Sensitivity - - - - -
9 ROTARY CAB. Mix Balance Speed Split Frequency - - -
10 PHASER Mix Feedback Speed Feedback LP Stereo Spread - -
11 FLANGER Mix Speed/Depth - Intensity - - -
12 CHORUS Mix Speed/Depth - Intensity - - -
13 STEREO CHORUS Mix Speed/Depth - Intensity - - -
14 SYNTH Synth Mix Variation - - Interval Key -
15 MIDI SYNTH Synth Mix Variation - - - Reverb -
7$3EXWWRQ
Controller 46
(
I
I
H
F
W
Q
R
3267); ())(&76
Controller 40
0,',
Controller 42
0,',
Controller 44
0,',
Controller 45
0,',
Controller 43
15
BASS V-AMP/BASS V-AMP PRO
8. INSTALLATION
6.3.4 Virtual analog bass synth
SYNTH: This effect gives you a rad three-voice synthie bass
and has many parameters that are pre-configured in 9 variants
and can be selected via TAP and EFFECT. The TAP key can be
used to control the envelope (ADSR) of the synthie sounds
(short tap = short tone, slo tapping = long tone). Additionally,
there is an intelligent envelope follo er based on key and
interval, hereas the VCO 1 (Voltage Controlled Oscillator) is
set up for specific intervals, and the BASS V-AMP/BASS
V-AMP PRO produces bass overtones that match the particular
key. The EFFECTS control regulates the ratio bet een the bass
synthie and the bass signal ith all amp and cabinet combinations.
MIDI SYNTH: The absolute highlight of your BASS V-AMP/
BASS V-AMP PRO is our MIDI SYNTH: With 40 parameters (already
described), it offers you the best possible sound. You get a
virtual analog MIDI synthesizer equipped ith po erful features.
It is ideal for hard are and soft are sequencers, keyboards
and for live applications. By using the EFFECTS control, you can
mix the completely modelled instrument signal (EFFECT min. =
modelled instrument signal only , EFFECT max. = bass synth
only).
We equipped the MIDI synthesizer ith a complete reverb
section as an additional feature. Of course, you can access this
section via MIDI.
ROTARY CAB.: A simulation of a classic organ effect that is
normally achieved ith a terribly heavy casing and slo ly or
quickly rotating speakers. The physical principle of the Doppler
effect is used to modulate the signal.
7. TUNER
The integrated tuner is activated by pressing the TUNER key.
7.1 Tuning instruments
The chromatic tuner automatically recognizes the frequencies
of all the standard bass notes. When you connect your instrument
to the BASS V-AMP/BASS V-AMP PRO and strike a string, the
tuner tries to recognize the tone and sho s it in the display.
Because the tuner functions chromatically, it can also recognize
semitones. These are sho n in the display ith a b
accompanying the value.
Ho ever, it may be the case that that a played note (sho n in
the display as for example a) slightly deviates from the ideal
tone. This ill be indicated by lighting up at least one of the four
arro LEDs at the lo er edge of the display. When the note
played lies bet een the deviations sho n by means of the
individual LEDs, t o LEDs may light up. If the circular middle
tuner LED lights up, the played note is identical to the note sho n
in the display.
7.2 Setting up the a reference tone
To put complete freedom at your disposal hen tuning your
instrument, you have the option to change the preset of the
reference tone a. Here is a quick intro to the subject.
The so-called chamber tone a has been continually revised
up ards ever since it as first measured: tuning forks of Bach,
Handel or Mozart ere at 415, 420 or 421 Hz (vibrations pro
second).
No adays, orchestra set the a ith 444 Hz, and the Berlin
Philcharmonic ishes to stay ahead still: their chamber tone a
lies at a full 447 Hz.
The reference tone a of the BASS V-AMP/BASS V-AMP
PRO is programmed at 440 Hz. Lets say, you ant to ork ith
a big orchestra that orks ith the chamber tone a set to
444 Hz. To activate the function that changes the chamber tone,
do the follo ing: activate the tuner by pressing the TUNER key
and immediately s itch over into the EDIT mode by simultaneous
pressing both arro keys. 40 appers in the display, hich
responds to 440 Hz. By pressing the arro keys, you can adjust
the a reference tone up or do n in 1 Hz increments for a
maximum of 15 Hz. The last t o digits of the frequency value are
al ays sho n in the display, since the first digit is al ays a 4.
For example, hen you start ith the 440 Hz basic tone, and
then press the right arro key four times, the display sho s 44,
hich corresponds to a frequency of 444 Hz.
To quit the EDIT mode, press the TUNER key. Your changes
are automatically stored. Ideal tones for the remaining strings
are automatically set up using the ne ly adjusted frequency as
a reference.
8. INSTALLATION
8.1 Rack mounting (BASS V-AMP PRO)
Your BEHRINGERBASS V-AMP PRO needs t o rack units to
be installed in a 19-inch rack. Please keep in mind that you need
an extra 10 cm depth for accessing the cables running into the
back.
Assure that appropriate ventilation is provided, and never
position your BASS V-AMP PRO on top of an amp, for example,
to avoid the danger of overheating the unit.
8.2 Voltage (BASS V-AMP PRO)
Bef re y u c nnect y ur BASS V-AMP PRO t the mains,
please check carefully if y ur unit is set t the c rrect
v ltage! The fuse mount near the po er cord connector has
three triangular markings. T o of these three triangles are facing
opposite one another. Your BASS V-AMP PRO is set up for the
voltage indicated near these markings, and can be altered by
turning the fuse mount by 180 degrees. ATTENTION: This d es
n t apply t exp rt m dels built f r 120 V, f r example!
+If y u use the unit with a different v ltage, y u must
change the fuses acc rdingly. The c rrect value f
the fuses needed can be f und in the chapter
SPECIFICATIONS.
+Faulty fuses must be replaced with fuses f
appr priate rating with ut excepti n! The c rrect
value f the fuses needed can be f und in the
chapter SPECIFICATIONS.
Po er is delivered via the cable that as delivered ith the
unit. All requiered safety precautions have been adhered to.
+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.
8. Audio connections
The input of the BEHRINGER BASS V-AMP/BASS V-AMP PRO
is laid out as a mono 1/4" TS connector. Line Out, Aux In as ell
as headphones output are laid out as stereo 1/4" TRS connectors.
Line outputs can be connected to both balanced and unbalanced
jacks. The DI OUT connectors of the BASS V-AMP PRO are
available as balanced XLR connectors. Digital outputs are
available as a cinch connector (S/PDIF) and XLR connector (AES/
EBU). The BNC connector is used to feed in an external
orldclock signal.
16
BASS V-AMP/BASS V-AMP PRO
Fig. 8.1: XLR connection
Fig. 8.2: 1/4" TS connector
Fig. 8.3: 1/4" TRS connector
Fig. 8.4: Stereo headphone connector
8.4 MIDI connections
The MIDI standard (Musical Instruments Digital Interface) as
first developed at the beginning of the 80s, ith the goal of
enabling mutual communication bet een electronic instruments
of various manufacturers. Over the years, the number of possible
MIDI applications has increased substantially; no adays, it is
perfectly normal to connect entire studios via MIDI.
At the center of this net ork is a computer ith a sequencing
soft are, used to control not only keyboards but also effects
processors and other peripheral equipment. In such a studio,
you can control your BASS V-AMP/BASS V-AMP PRO in real
time from a computer. Using a MIDI foots itch presents itself as
a great idea, especially in live applications, because it allo s
you to control not only the effects but also selects the presets.
Your BASS V-AMP/BASS V-AMP PRO is equipped ith
standard 5-prong DIN MIDI connectors. To connect your unit
ith other MIDI equippment, you ill need a MIDI cable. Pre-
packed cables available at stores are usually used for this
purpose.
MIDI IN: Used to receive MIDI control data. The MIDI channel is
set up in EDIT mode by pressing the A key and subsequently
using the arro keys.
MIDI OUT/THRU: MIDI OUT lets you send data to another
computer or another piece of MIDI equipment. Preset data as
ell as parameter changes are transmited. When you reroute
the connector to MIDI THRU, your BASS V-AMP/BASS V-AMP
PRO sends no MIDI data of its o n; instead, it merely for ards
the data received at MIDI IN (see chapter 2.1, A).
8.4.1 Receiving/sending MIDI-Sysex data
The BASS V-AMP/BASS V-AMP PRO can receive a SysEx
dump from another MIDI unit as long as MIDI function in EDIT mode
is activated (A key). Ho ever, this also automatically over rites
all BASS V-AMP/BASS V-AMP PRO presets. You can also send
MIDI data to another MIDI device (total dump). While in EDIT mode,
keep the MIDI key pressed until you get d sho n in the display.
Sending a total dump lets you transfer the entire memory
contents to another MIDI sequencer and save it there.
It is also possible to send just one selected preset to another
MIDI device: s itch into EDIT mode by simultaneously pressing
both arro keys on the sending device, activate the MIDI function
and tap the MIDI key briefly. Preset information are then located
in the temporary buffer, and can be saved at a desired preset
location.
8.5 AES/EBU and S/PDIF standards
In general, there are t o different standards hen the subject
is digital signal processing. AES/EBU is the professional, balanced
connection ith XLR jack connectors. This interface is based on
t o identical protocols published in November 1985 by the
European Broadcast Union (EBU Tech. 3250-E) and in December
1985 by the Audio Engineering Society (AES3-1985). Sony and
Philips oriented themselves around this standard and developed
an additional interface ith unbalanced signal routing and several
important differences that primarily have to do ith allocating
channel status bits. This standard, named after the t o com-
panies (S/PDIF = Sony/Philips Digital Interface) uses either cinch
jacks or a digital connection ith optical cables. It is relevant
mostly because of the attempt to introduce copy protection
embedded in the IEC 958 norm. This norm describes both the
re- orked AES/EBU interface that has been modified to ork
ith the S/PDIF format and described as IEC 958 Typ I
(Professional). The formal description of the S/PDIF interface is
IEC 958 Typ II (Consumer).
8. INSTALLATION
17
BASS V-AMP/BASS V-AMP PRO
9. S ECIFICATIONS
9. SPECIFICATIONS
%$669$03 %$669$03352
$8',2,13876
INSTRUMENT INPUT
Input impedance
Max. input level
AUX IN 1/4" TRS connector, balanced -
Input impedance 50 kΩ-
PRE DSP RETURN LINE IN - 1/4" TS connector, unbalanced
Input impedance - 45 kΩ
Max. input level - +9 dBu
POST DSP INSERT RETURN L/R - 1/4" TS connector, unbalanced
Input impedance - 40 kΩ
Max. input level - +8 dBu
$8',22873876
ANALOG LINE OUTPUTS L/R
Output impedance
Max. output level
PRE DSP SEND/LINE OUT - 1/4" TS connector, unbalanced
Output impedance - <1 kΩ
Max. output level - +9 dBu
POST DSP INSERT SEND L/R - 1/4" TS connectors, unbalanced
Output impedance - 1 kΩ
Max. output level - +8 dBu
BALANCED LINE OUT - XLR, balanced
Output impedance - 100 Ω
Max. output level - +14 dBu (studio); 0 dBu (live)
HEADPHONES
Max. output level
',*,7$/2873876
XLR - transformer-balanced
Output impedance - 110 Ω
Nom. output level - 3.5 V peak-to-peak
RCA - not grounded, unbalanced
Output impedance - 75 Ω
Nom. output level - 0,5 V peak-to-peak
Format - AES/EBU or S/PDIF, selectable
Sample rate - 44.1/48/96 kHz internal; 32 - 96 kHz
wordclock, sample rate converter
:25'&/2&.,1387
BNC - coaxial
Input impedance - 50 kΩ
Nom. input level - 2 - 6 V peak-to-peak
0,',
Type
1/4" TS connector, unbalanced
1 MΩ
+3 dBu
1/4" TRS connector, unbalanced
1/4" TS connectors, unbalanced
approx. 680 Ω
+20 dBu
+15 dBu/100 Ω (+23 dBm)
5-pole DIN jacks IN, OUT/THRU
18
BASS V-AMP/BASS V-AMP PRO
BEHRINGER constantly strives to maintain the highest quality standards. Modifications may be made, if necessary, ithout prior notice. The specifications and appearance of the equipment
may therefore differ from those listed or illustrated.
9. S ECIFICATIONS
%$669$03 %$669$03352
',*,7$/6,*1$/352&(66,1*
Converter
Dynamics A/D
Dynamics D/A
Sample rate
DSP
Delay time
Run time (Line In
Æ
Line Out)
',63/$<
Type
32:(56833/<
USA/Canada 120 V~, 60 Hz USA/Canada 120 V~, 60 Hz
U.K./Australia 240 V~, 50 Hz Europe/U.K./Australia
230 V~, 50 Hz
Europe 230 V~, 50 Hz Japan 100 V~, 50 - 60 Hz
Japan 100 V~, 50 - 60 Hz General export model
120/230 V~, 50 - 60 Hz
Power consumption 13 W 15 W
- 100 - 120 V~:
7P$+
- 200 - 240 V~:
7P$+
Mains connection external power supply Standard IEC receptacle
',0(16,216:(,*+7
63 x 236 x 180 mm 89 x 482.6 x 135 mm
2 1/2" x 9 1/4" x 7 1/8" 3 1/2" x 19" x 5 1/4"
approx. 1.2 kg approx. 2.6 kg
approx. 2 3/4 lbs approx. 5 3/4 lbs
max. 1023 ms stereo/sampler delay: 15.36 s
approx. 5 ms
2-digit 7-segment-LED display
24-bit Delta-Sigma, 64/128-times oversampling
100 dB @ preamp bypass
92 dB
31.250 kHz
100 Mips
Mains voltage
Weight
Dimensions (H x W x D)
Fuse
19
BASS V-AMP/BASS V-AMP PRO
10. A ENDIX
10. APPENDIX
Tab. 10.1: MIDI implementation
Tab. 10.2: MIDI controller of the delay/loop effect
MIDI Controller
Function REC PLAY STOP SPEED REVERSE PLAY ONCE
Controller value REC GAIN PLAY GAIN / PLAY SPEED DIRECTION /
Range 0-127 0-127 / 0=off,1=half,2=normal 0=off,1=rew /
)XQFWLRQ 7UDQVPLWWHG 5HFHLYHG 5HPDUNV
Midi Channel 1-16 1-16
Note Number N Y MIDI Bass Synth (ID 14) only
Velocity N N
After Touch N N
Pitch Bender N N
Control Chan
g
es
1N
(
re
q
uest onl
y)
Y Wah Pedal
7N
(
re
q
uest onl
y)
Y Volume Pedal
12 Y Y Am
p
Gain
(
0-127
)
13 Y Y Am
p
Treble
(
0-127
)
14 Y Y Am
p
Mid
(
0-127
)
15 Y Y Am
p
Bass
(
0-127
)
16 Y Y Am
p
Vol
(
0-127
)
17 Y Y Presence
(
0-127
)
18 Y Y Com
p
ressor Densit
y
(
0-127
)
19 Y
(
ski
pp
ed on re
q
uest
)
YAm
p
T
yp
e
(
0-32
)
with default cabinet *3
20 Y
(
ski
pp
ed on re
q
uest
)
YFx T
yp
e
(
0-15
)
with defaults *1
21 Y Y Fx off/on
(
0/127
)
22 Y Y Dee
p
23 Y Y Cabinet T
yp
e
(
0-23
)
*5
24 Y Y Mid Shift/Sha
p
e *2
25 Y Y Ex
p
ander
(
0-15
)
*10
26 Y Y Com
p
ressor S
p
eed
(
0-127
)
27 Y Y Wah off/
p
osition
(
0/1-127
)
28 Y Y X-over fre
q
uenc
y
*4
(
0-99
)
29 Y Y X-over balance
30 Y Y Denoiser Sensitivit
y
(
0-127
)
31 Y Y Denoiser Ran
g
e
(
0-127
)
*11
33 Y Y Pedal simulation
(
0-4
)
*6
34 Y Y Pedal simulation Drive
(
0-127
)
35 Y Y Pedal simulation Tone
(
0-127
)
36 Y Y Pedal simulation Boost
(
0-127
)
37 Y Y Pedal simulation S
p
lit
(
0-127
)
*12
38 Y Y Com
p
ressor on/off
(
0/127
)
39 Y Y
p
ost FX Mode
(
0-15
)
*7
40 Y Y
p
ost FX Par 1*7
41 Y Y
p
ost FX Par 2*7
42 Y Y
p
ost FX Par 3*7
43 Y Y
p
ost FX Par 4*7
44 Y Y
p
ost FX Par 5*7
45 Y Y
p
ost FX Par 6*7
46 Y Y
p
ost FX Par 7*7
48 Y Y
p
re FX Mode*9
49 Y Y
p
re FX Par 1*9
50 Y Y
p
re FX Par 2*9
51 Y Y
p
re FX Par 3*9
55 N Y(if FX=Delay/Loop) Sam
p
ler REC *8
56 N Y
(
if FX=Dela
y
/Loo
p)
Sam
p
ler PLAY *8
57 N Y(if FX=Delay/Loop) Sam
p
ler STOP *8
58 N Y(if FX=Delay/Loop) Sam
p
ler SPEED *8
59 N Y(if FX=Delay/Loop) Sam
p
ler REVERSE *8
60 N Y(if FX=Delay/Loop) Sam
p
ler PLAY ONCE *8
61 N
(
re
q
uest onl
y)
YAm
p
T
yp
e
(
0-32
)
w/o cabinet chan
g
e
64 N Y Ta
p
(
Value > 63
)
80 N Y Re
q
uest Controls
(
Value = 80
)
81 N
(
re
q
uest onl
y)
YSetPos
(
0-15
)
, Set Character
(
32-127
)
82 Y Y Tuner B
yp
ass Volume
(
0-127
)
83 Y Y Tuner Center Fre
q
uenc
y
(
25-55
)
84 Y Y Confi
g
uration
(
0-5=S1,S2,S3,L1,L2,L3
)
85 Y Y Live EQ Treble
(
0-127
)
86 Y Y Live EQ Mid
(
0-127
)
87 Y Y Live EQ Bass
(
0-127
)
88 Y Y Digital Out (44.1/48/96/ext., bit 2=pro)*13
(PRO models only)
89 Y Y Global Input Gain (0-127)
Program Change Y (0-124) Y (0-124,127) 127=Tuner, toggle on/off
System Exclusive Y Y see SysEx Documentation
System Common N N
System Real Time N N
Running Status Y (2s Timeout) Y
20
BASS V-AMP/BASS V-AMP PRO
11. WARRANTY
The information contained in this manual is subject to change ithout notice. No part of this manual may be reproduced or
transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any
purpose, ithout the express ritten permission of BEHRINGER Spezielle Studiotechnik GmbH. All the registered trademarks,
names of musicians and groups are the property of their respective o ners and are in no ay associated ith BEHRINGER.
BEHRINGER, V-AMP und ULTRA-G are registered trademarks.
BEHRINGER Instrument Amplification is a Division of BEHRINGER.
ALL RIGHTS RESERVED. © 2003 BEHRINGER Spezielle Studiotechnik GmbH.
BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Münchheide II, Germany
Tel. +49 (0) 21 54 / 92 06-0, Fax +49 (0) 21 54 / 92 06-30
11. WARRANTY
§ 1 WARRANTY CARD/ONLINE REGISTRATION
To be protected by the extended arranty, the buyer must
complete and return the enclosed arranty card ithin 14 days
of the date of purchase to BEHRINGER Spezielle Studiotechnik
GmbH, in accordance ith the conditions stipulated in § 3. Failure
to return the card in due time (date as per postmark) ill void any
extended arranty claims. Based on the conditions herein, the
buyer may also choose to use the online registration option via
the Internet ( .behringer.com or .behringer.de).
§ 2 WARRANTY
1. BEHRINGER (BEHRINGER Spezielle Studiotechnik GmbH
including all BEHRINGER subsidiaries listed on the enclosed page,
except BEHRINGER Japan) arrants the mechanical and
electronic components of this product to be free of defects in
material and orkmanship for a period of one (1) year* from the
original date of purchase, in accordance ith the arranty
regulations described belo . If the product sho s any defects
ithin the specified arranty period that are not excluded from
this arranty as described under § 3 and 4, BEHRINGER shall, at
its discretion, either replace or repair the product using suitable
ne or reconditioned parts. In the case that other parts are used
hich constitute an improvement, BEHRINGER may, at its
discretion, charge the customer for the additional cost of these
parts.
2. If the arranty claim proves to be justified, the product ill
be returned to the user freight prepaid.
3. Warranty claims other than those indicated above are
expressly excluded.
§ 3 RETURN AUTHORIZATION NUMBER
1. To obtain arranty service, the buyer (or his authorized
dealer) must call BEHRINGER (see enclosed list) during normal
business hours BEFORE returning the product. All inquiries must
be accompanied by a description of the problem. BEHRINGER
ill then issue a return authorization number.
2. Subsequently, the product must be returned in its original
shipping carton, together ith the return authorization number to
the address indicated by BEHRINGER.
3. Shipments ithout freight prepaid ill not be accepted.
§ 4 WARRANTY REGULATIONS
1. Warranty services ill be furnished only if the product is
accompanied by a copy of the original retail dealers invoice.
Any product deemed eligible for repair or replacement by
BEHRINGER under the terms of this arranty ill be repaired or
replaced ithin 30 days of receipt of the product at BEHRINGER.
2. If the product needs to be modified or adapted in order to
comply ith applicable technical or safety standards on a national
or local level, in any country hich is not the country for hich
the product as originally developed and manufactured, this
modification/adaptation shall not be considered a defect in
materials or orkmanship. The arranty does not cover any
such modification/adaptation, irrespective of hether it as
carried out properly or not. Under the terms of this arranty,
BEHRINGER shall not be held responsible for any cost resulting
from such a modification/adaptation.
3. Free inspections and maintenance/repair ork are expressly
excluded from this arranty, in particular, if caused by improper
handling of the product by the user. This also applies to defects
caused by normal ear and tear, in particular, of faders,
potentiometers, keys/buttons and similar parts.
4. Damages/defects caused by the follo ing conditions are
not covered by this arranty:
simproper handling, neglect or failure to operate the unit in
compliance ith the instructions given in BEHRINGER user
or service manuals.
sconnection or operation of the unit in any ay that does not
comply ith the technical or safety regulations applicable in
the country here the product is used.
sdamages/defects caused by force majeure or any other
condition that is beyond the control of BEHRINGER.
5. Any repair or opening of the unit carried out by unauthorized
personnel (user included) ill void the arranty.
6. If an inspection of the product by BEHRINGER sho s that
the defect in question is not covered by the arranty, the
inspection costs are payable by the customer.
7. Products hich do not meet the terms of this arranty ill
be repaired exclusively at the buyers expense. BEHRINGER ill
inform the buyer of any such circumstance. If the buyer fails to
submit a ritten repair order ithin 6 eeks after notification,
BEHRINGER ill return the unit C.O.D. ith a separate invoice
for freight and packing. Such costs ill also be invoiced
separately hen the buyer has sent in a ritten repair order.
§ 5 WARRANTY TRANSFERABILITY
This arranty is extended exclusively to the original buyer
(customer of retail dealer) and is not transferable to anyone
ho may subsequently purchase this product. No other person
(retail dealer, etc.) shall be entitled to give any arranty promise
on behalf of BEHRINGER.
§ 6 CLAIM FOR DAMAGES
Failure of BEHRINGER to provide proper arranty service shall
not entitle the buyer to claim (consequential) damages. In no
event shall the liability of BEHRINGER exceed the invoiced value
of the product.
§ 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW
1. This arranty does not exclude or limit the buyers statutory
rights provided by national la , in particular, any such rights
against the seller that arise from a legally effective purchase
contract.
2. The arranty regulations mentioned herein are applicable
unless they constitute an infringement of national arranty la .
* Customers in the European Union please contact BEHRINGER
Germany Support for further details.
Other manuals for Bass V-Amp
4
This manual suits for next models
1
Other Behringer Amplifier manuals
Behringer
Behringer EUROPOWER EPQ900 User manual
Behringer
Behringer Thunderbird BX108 User manual
Behringer
Behringer Ultratone K900FX User manual
Behringer
Behringer 902 VCA User manual
Behringer
Behringer EUROPOWER EP1500 User manual
Behringer
Behringer ULTRATONE KT108 User manual
Behringer
Behringer Thunderbird BX108 User manual
Behringer
Behringer V-AMPIRE LX110 User manual
Behringer
Behringer ULTRABASS BX4210A User manual
Behringer
Behringer Bass V-Amp Pro User manual
Behringer
Behringer TUBE ULTRAGAIN MIC200 User manual
Behringer
Behringer EUROPOWER EP4000 User manual
Behringer
Behringer MicroPHONO PP400 User manual
Behringer
Behringer FOUR PLAY User manual
Behringer
Behringer MICROMON MA400 User manual
Behringer
Behringer Virtual Amplification V-AMP 3 Assembly instructions
Behringer
Behringer iNuke NU12000DSP Owner's manual
Behringer
Behringer Bass V-Amp User manual
Behringer
Behringer V-Tone GMX110 User manual
Behringer
Behringer Ultrabass BXL3000A User manual
