Behringer V-Amp 2 User manual

Version 1.0 August 2001
Users Manual
ENGLISH
V-AMP®

2
V-AMP 2
This symbol, wherever it appears, alerts
you to important operating and
maintenan e instru tions in the
a ompanying literature. Read the
manual.
SAFETY INSTRUCTIONS
CAUTION: To redu e the risk of ele tri sho k, do not remove
the over (or ba k). No user servi eable parts inside;
refer servi ing to qualified personnel.
WARNING: To redu e the risk of fire or ele tri sho k, do not
expose this applian e to rain or moisture.
DETAILED SAFETY INSTRUCTIONS:
All the safety and operation instru tions should be read before the applian e is operated.
Retain Instructions:
The safety and operating instru tions should be retained for future referen e.
Heed Warnings:
All warnings on the applian e and in the operating instru tions should be adhered to.
Follo instructions:
All operation and user instru tions should be followed.
Water and Moisture:
The applian e should not be used near water (e.g. near a bathtub, washbowl, kit hen sink, laundry tub, in a
wet basement, or near a swimming pool et .).
Ventilation:
The applian e should be situated so that its lo ation or position does not interfere with its proper ventilation.
For example, the applian e should not be situated on a bed, sofa, rug, or similar surfa e that may blo k the
ventilation openings, or pla ed in a built-in installation, su h as a book ase or abinet that may impede the
flow of air through the ventilation openings.
Heat:
The applian e should be situated away from heat sour es su h as radiators, heat registers, stoves, or other
applian es (in luding amplifiers) that produ e heat.
Po er Source:
The applian e should be onne ted to a power supply only of the type des ribed in the operating instru tions
or as marked on the applian e.
Grounding or Polarization:
Pre autions should be taken so that the grounding or polarization means of an applian e is not defeated.
Po er-Cord Protection:
Power supply ords should be routed so that they are not likely to be walked on or pin hed by items pla ed
upon or against them, paying parti ular attention to ords and plugs, onvenien e re epta les and the point
where they exit from the applian e.
Cleaning:
The applian e should be leaned only as re ommended by the manufa turer.
Non-use Periods:
The power ord of the applian e should be unplugged from the outlet when left unused for a long period of
time.
Debris and Liquid Entry:
Care should be taken that debris and/or liquids do not enter the en losure through openings.
Damage Requiring Service:
The applian e should be servi ed by qualified servi e personnel when:
- The power supply ord or the plug has been damaged; or
- Debris or liquid has entered the applian e; or
- The applian e has been exposed to rain; or
- The applian e does not appear to operate normally or exhibits a marked hange in performan e; or
- The applian e has been dropped, or the en losure damaged.
Servicing:
The user should not attempt to servi e the applian e beyond that whi h is des ribed in the operating
instru tions. All other servi ing should be referred to qualified servi e personnel.
This symbol, wherever it appears,
alerts you to the presen e of
uninsulated dangerous voltage inside
the en losurevoltage that may be
suffi ient to onstitute a risk of sho k.

3
V-AMP 2
FOREWORD
Dear Customer,
Wel ome to the ommunity of BEHRINGER users and thank you for the trust you have shown us in buying
the V-AMP 2.
It gives me parti ular pleasure to write this to you be ause, after months of hard work, our engineers have
a hieved a highly ambitious goal: to improve on what is already an ex ellent virtual guitar amp whose highly
developed sound and remarkable array of fun tions offers you maximum flexibility and performan e. Naturally,
the task of developing our new V-AMP 2 was a great responsibility. At all times the fo us was on you, the
dis erning user and musi ian. Meeting these demands meant a lot of effort and late nights for usand a lot
of fun, too. A development proje t of this kind always brings a lot of different people together. That makes it
all the better when everyone involved is proud of the result.
Giving you a share in our enjoyment is our philosophy. Thats be ause you are the most important member
of our team. It is your ompetent proposals for new produ ts that have helped to shape our ompany and
make it a su ess. In return we an guarantee you un ompromising quality, ex ellent sound and te hni al
features at very reasonable pri e. All of this enables you to let loose your reativity, without the pri e getting
in the way.
Were often asked how we manage to produ e equipment of this quality at su h in redibly low pri es. The
answer is very simple: you make it possible! A large number of satisfied ustomers means high produ tion
volume. High produ tion volume means that we an get better pur hasing terms for omponents, et . And
isnt it only fair to pass on these benefits to you? After all, your su ess is our su ess too!
I would like to thank all of those who have made the V-AMP 2 possible. They have all made their personal
ontributions, starting with the designers and in luding the many other employees in our ompany (many
thanks to Volker, Thomas, Jan and Oliver).
Friends, it was worth it!
Thank you,
Uli Behringer

4
V-AMP 2
V-AMP
V-AMP®
Virtual guitar amplifier with tube simulation and digital multi-effects processor
sAuthenti virtual guitar preamp with 32 amp and 15 speaker simulation models
sDedi ated sele tors for amp models, speaker abinets and digital effe ts
sTransparent user interfa e with dire t display of all essential settings
s32 simulations of popular guitar amps, ranging from lean to run h to tube distortion sounds
s15 speaker simulations dire tly sele table and freely ombinable with any amp model
s24-bit high-resolution stereo multi-effe ts pro essor with first- lass algorithms like horus, flanging,
phasing, rotary, auto-wah, e ho, delay, ompressor and various effe ts ombinations
sAdditional effe ts parameters now dire tly a essible on the unit
sNew preamp bypass fun tion allows use as a stereo effe ts unit without amp model
s125 presets, in luding 50 original artist presets, organized in 25 banks for easy editing
sDedi ated reverb ontrol adds 1 of 9 stereo reverb types to any amp, speaker or effe ts setting
sSeparate wah-wah effe t an be ontrolled manually or via MIDI and is available in addition to any other
effe ts ombination
sEffe tive 3-band EQ with amp model dependent hara teristi s
sNew presen e ontrol adjusts a high-frequen y filter, simulating the negative feedba k of tube amps
sExtremely low-noiseS/N ratio now 90 dB
sAdjustable stereo aux input for line-level signals (CD, drum box, sound ard, MIDI ba king et .)
sStereo line output with virtual speaker simulation for re ording and live appli ations
sFive new, pra ti al onfiguration modes for various studio and live appli ations, some with additional
global 3-band EQ
sMaster volume ontrol and stereo headphones output
sExtensive MIDI implementation allows omplete real-time remote ontrol and automation, data transfer
and a ess to additional parameters
sBuilt-in auto- hromati tuner
sTap-tempo fun tion allows real-time adjustment of effe ts speed parameter
sProfessional noise redu tion system on board
sGig bag and dual footswit h for preset sele tion and tuner ontrol in luded
sThe V-AMP is prote ted by US patents No. D444,169 and D444,493
sManufa tured under ISO9000 ertified management system

5
V-AMP 2
TABLE OF CONTENTS
1. INTRODUCTION ...................................................................................................................... 6
1.1 The new fun tions of the V-AMP 2 ................................................................................................. 6
1.2 Before you begin ............................................................................................................................ 7
1.2.1 Serial number ....................................................................................................................... 7
1.3 Control elements ............................................................................................................................ 7
1.3.1 User interfa e ....................................................................................................................... 7
1.3.2 Conne tions on the V-AMP 2 side panel .............................................................................. 9
2. EXAMPLES OF USE/CONFIGURATIONS ............................................................................ 10
2.1 Sele ting CONFIGURATION modes ............................................................................................. 11
2.2 Standard set-up with guitar, footswit h and external playba k .......................................................11
2.3 Re ording ..................................................................................................................................... 12
2.4 Live set-up with an external guitar amp ........................................................................................ 12
2.5 Live set-up with P.A. system and your own monitor amp on stage................................................ 13
3. V-AMP 2 PRESETS ................................................................................................................ 13
3.1 Calling up presets ......................................................................................................................... 13
3.2 Editing presets .............................................................................................................................. 14
3.3 Storing presets ............................................................................................................................. 14
3.4 Dis arding an edited preset/re overing a fa tory-programmed preset ......................................... 14
3.5 Restoring all fa tory-programmed presets .................................................................................... 15
4. AMP/SPEAKER SIMULATION .............................................................................................. 15
4.1 Amp des riptions .......................................................................................................................... 15
4.2 Speaker des riptions .................................................................................................................... 17
5. EFFECTS PROCESSOR .......................................................................................................18
5.1 Effe t des riptions ........................................................................................................................ 19
Reverb and delay algorithms ........................................................................................................ 19
Modulation effe ts ........................................................................................................................ 19
Combinations of effe t algorithms (multi-effe ts programs) .......................................................... 19
Spe ial effe ts .............................................................................................................................. 20
5.2 The separate reverb effe t ........................................................................................................... 20
6. TUNER ................................................................................................................................... 21
6.1 Tuning your guitar ......................................................................................................................... 21
6.2 Setting referen e pit h A ............................................................................................................ 21
. INSTALLATION ...................................................................................................................... 22
7.1 Audio onne tions ........................................................................................................................ 22
7.2 MIDI onne tions .......................................................................................................................... 23
7.2.1 Sending/re eiving MIDI-Sysex data .................................................................................... 23
8. APPENDIX ............................................................................................................................. 24
8.1 MIDI implementation .................................................................................................................... 24
8.2 Default abinets/amp models ....................................................................................................... 25
9. SPECIFICATIONS .................................................................................................................. 26
10.WARRANTY ........................................................................................................................... 2
CAUTION!
+Please note that high loudness levels may cause permanent damage to your hearing. Turn the
VOLUME control do n all the ay before s itching on the equipment. Be sure to keep the
volume at an appropriate level.

6
V-AMP 2
1. INTRODUCTION
Congratulations! The V-AMP 2 you have pur hased is the revised version of the V-AMPa state-of-the-art
virtual guitar amplifier that has set new standards. Our ultimate aim in developing it was to reate the authenti
sound of lassi amplifiers by means of physi al modeling and to ombine this with the latest DSP effe ts.
The V-AMP 2 has a number of de isive advantages over its prede essor, the V-AMP: the number of amp
simulations has been doubled, there are now five globally adjustable operating modes, and you an also use
this devi e purely as an effe ts unit thanks to its innovative Preamp Bypass.
On e again we took up the hallenge of reating a devi e that would still be talked about for years to ome.
The V-AMP 2 is an all-purpose devi e that offers 32 authenti amplifier soundsand, in fa t, even spe ial
speaker soundswithout ausing you any transport problems! In addition, it has all the versatility of sound
provided by state-of-the-art multi-effe ts pro essor te hnology. In short: the V-AMP 2 gives you a sound tool
that has everything on a musi ians wish-list today.
BEHRINGER is a ompany with its roots in professional re ording studio te hnology. For many years now
we have been su essful in developing produ ts for studio and live use. These in lude mi rophones and
19" devi es of all kinds ( ompressors, enhan ers, noise gates, tube pro essors, headphone amplifiers,
digital effe ts devi es, DI boxes, et .), monitor and P.A. speakers and professional live and re ording mixers.
Our entire te hni al know-how has gone into your V-AMP 2.
Flexibility is the name of the game in the musi business. A guitarist today has to be able not only to offer a
wide range of sounds, but also to adapt at short noti e to different environmentshome re ording, studio,
live gigs. For that very reason, enormous amplifier sta ks have be ome a thing of the past. The V-AMP 2
offers you the maximum number of features in su h a ompa t form that you an set up and pa k up in
se onds and you an master it with ease.
The V-AMP 2 will still be state-of-the-art years from now be ause we have equipped it with an EPROM that
an be repla ed without the slightest diffi ulty. This means that we an keep on working on new algorithms,
taking your ideas and suggestions into a ount. We will then make these software updates available to you
free of harge on the Internet, thus ensuring that the V-AMP 2 remains state-of-the-art in the future too.
But enough of this talk. Nothing we say will onvin e you as readily as what you hear and feel when you test
your V-AMP 2 for the first time. Then you will experien e a new generation of virtual guitar amplifiers with
some amazing features:
sKno k-out sound options that will blow away any onventional guitar amp.
sPerfe t tube sound emulation without the typi al tube amp drawba ks (short lifespan, heat generation,
me hani al sensitivity).
sLatest DSP te hnology, giving you a wide range of lassi and modern effe ts sounds.
sRugged, indestru tible build, allowing you to use the V-AMP 2 in the toughest onditions on the road.
1.1 The new functions of the V-AMP 2
The V-AMP 2 was designed to be an evolutionary improvement on our popular virtual guitar amp, the V-AMP.
Alongside the popular features of its prede essor, the V-AMP 2 offers many new features whi h will make
this unit an indispensable part of your equipment:
s16 additional amp soundsin total, 32 authenti virtual amplifi ation models plus amp bypass available.
s5 basi onfigurations an be sele ted for different studio and live situations (see hapter 2).
sPRESENCE ontrol an now be set for ea h amp.
sAn additional effe ts parameter an now be set dire tly on the devi e (see hapter 5).
sGlobally adjustable 3-band EQ an be set as required in the live modes to mat h the V-AMP 2 sounds
with different amps/ ombos.
sTotal preset ompatibility for existing V-AMP sounds.
sEditor software available free of harge at www.behringer. om/V-AMP 2.
1. INTRODUCTION

7
V-AMP 2
1.2 Before you begin
Your V-AMP 2 was arefully pa ked before it left the fa tory to prote t it from damage in transit. If there are
signs of damage on the pa kaging, we re ommend that you immediately examine the devi e itself for further
signs of damage.
+In case of damage, do NOT return this device to us, but immediately notify your dealer and the
transport company, as any entitlement to damages may other ise be lost.
A power supply unit whi h meets the ne essary safety requirements is en losed for onne ting the V-AMP 2
to the mains. When the V-AMP 2 is onne ted to the mains via the power supply unit it is automati ally
swit hed on.
+Never connect the V-AMP 2 to a po er supply unit that is already plugged into the mains!
Al ays connect the V-AMP 2 to the po er suply unit first and then plug it into the mains.
The MIDI onne tions (IN/OUT) are for standard DIN onne tors. Data is transferred at zero potential via an
opto oupler. Please read hapter 7 INSTALLATION for further information.
1.2.1 Serial number
The V-AMP 2s serial number is lo ated on the rear side. In order to qualify for extended warranty entitlement,
please return the ompleted warranty ard to us within 14 days of pur hase, or simply register on-line
(www.behringer. om).
1.3 Control elements
1.3.1 User interface
Fig. 1.1: Control elements on the user interface
1. INTRODUCTION

8
V-AMP 2
1The MASTER ontrol determines the overall volume of the V-AMP 2.
+Apart from the AUX LEVEL control this is the only conventional control on the V-AMP 2.
All the other controls are encoder-type rotary controls.
2The VOLUME ontrol is for the volume of the sele ted preset.
3The ASS ontrol in the EQ se tion is for raising or lowering the low-frequen y range.
4The MID ontrol is for raising or lowering the mid-range frequen ies.
5TRE LE ontrols the high-frequen y range of the a tivated preset.
+If the TAP key is do n, theTREBLE control changes to a PRESENCE control. This enables
you to boost/cut a high-frequency filter tuned to hatever amp model is active, thus simulating
the frequency-sensitive coupling of tube amps.
6The GAIN ontrol determines the distortion level.
7The AMPS ontrol is for sele ting one of 32 different amplifier simulation models. The ontrol is
surrounded by a ring of 16 LEDs. Ea h LED orresponds to two types of amplifier. The first 16
simulations an be sele ted by turning the AMPS ontrol (marked on the housing in: white).
To sele t the simulation models 17 - 32 (marked on the housing in: gray), press down the TAP key
while making your sele tion by turning the AMPS ontrol.
+The LED 17 - 32 in the bottom left-hand corner of the DISPLAY indicates that one of the
simulation models 17 - 32 has been selected.
In adddition you an a tivate a PREAMP BYPASS by pressing the key ombination TAP and TUNER.
If PREAMP BYPASS has been sele ted, none of the LEDs on the AMPS ontrol lights up.
8These five keys are for sele ting a preset (A - E) within one bank.
In EDIT mode (a tivated by simultaneously pressing the arrow keys des ribed in ) the keys perform
the fun tion printed dire tly above them:
sA: A esses the MIDI fun tions. Use the arrow keys to set the MIDI hannels for transmitting and
re eiving (1 through 16).
sB: Sele ts the DRIVE fun tion. This noti ably raises distortion and volume. Use the arrow keys to
swit h DRIVE on and off. The DRIVE fun tion is wired before the GAIN ontrol.
+While editing the DRIVE function, you can also activate and adjust the ah- ah effect by turning
the EFFECTS control. The LEDs surrounding the EFFECTS control indicate the position of the
pedal. If none of the LEDs lights up, the ah- ah is bypassed.
sC: This key a tivates the CA INETS mode. Use the arrow keys to sele t the type of speaker or
ombination of speakers you want. You an also swit h off the speaker simuilation ompletely (-).
For further details, please refer to hapter 4.2 Speaker des riptions.
sD: Use this key to sele t the REVER fun tion. The arrow keys an be used to sele t one of nine
different types of reverb in addition to the multi-effe ts pro essor. For further details see hapter 5.2.
sE: Here you an a tivate the NOISE GATE fun tion. Use the arrow keys to adjust the noise redu tion
level.
+CONFIGURATION: If you press the B and D keys simultaneously in Play mode, you can select
the V-AMP 2s general operating modes allo ing adjustments to different studio and live
situations (see chapter 2).
9If an effe t has been sele ted via its part of the overall sound an be set using this EFFECTS
ontrol. If you sele t the Compressor effe t, you an use the EFFECTS ontrol to adjust the
ompression intensity. If you turn the ontrol to the left until all the LEDs are off, the effe t is disabled.
This is known as an effe t bypass.
+By pressing the TAP key you can set a second effects parameter using the EFFECTS control
(see tab. 5.1).
1. INTRODUCTION

9
V-AMP 2
10 This ontrol is for sele ting an effe t or a ombination of effe ts. This en oder-type rotary ontrol is
also surrounded by a ring of 16 LEDs. Ea h LED orresponds to one spe ifi effe ts preset.
11 Using the REVER ontrol, you an add the reverb ontent of your hoi e to your overall sound. By
turning it to the left until all the LEDs are off, you dea tivate the reverb. To fade out the original signal,
turn the ontrol to the right until only the last LED lights up.
+The LED rings around the VOLUME, BASS, MID, TREBLE, GAIN, EFFECTS and REVERB controls
each have nine LEDs. On each ring either one LED or t o neighboring LEDs ill light up at a
time, indicating a total of 17 different positions.
12 The TAP button performs three fun tions:
sTap the rhythm of a pie e of musi on the TAP button and the sele ted effe t automati ally adapts to
the tempo of the pie e of musi .
sHolding down the TAP button, you an use the TREBLE ontrol to hange the PRESENCE setting of
the amp simulation model youve sele ted.
sYou also an a ess the se ond effe ts parameter set by the EFFECTS ontrol by holding down the
TAP button (see tab. 5.1).
13 The TUNER button is for swit hing on the tuner. In addition, this button an also be used to leave the
EDIT mode.
14 Use the two arrow keys to sele t a different bank ( ANK DOWN and ANK UP). You an skip banks
by holding ea h of the keys down. To a tivate the EDIT mode, press both keys simultaneously. If you
press one of the keys A - E ( ) in that mode, the arrow keys an be used for setting parameters.
15 The DISPLAY shows you what preset bank you have sele ted and gives you information on parameter
hanges when you are editing. In TUNER mode the DISPLAY shows the pit h of the instrument
onne ted to the unit. If the amplifier simulations 17 - 32 have been sele ted, the LED in the bottom
left-hand orner of the DISPLAY lights up.
1.3.2 Connections on the V-AMP 2 side panel
Fig. 1.2: Connections on the V-AMP 2 side panel
16 Conne t the stereo ja k plug of your FS112V footswit h to the FOOTSWITCH so ket. This will enable
you to re all the presets from one bank. To swit h on the tuner, hold down the DOWN button on the
footswit h for more than two se onds. You an also swit h the tuner off again using the same button.
17 The V-AMP 2 has MIDI inputs and outputs to whi h you an onne t a MIDI foot pedal, e.g. the
BEHRINGER MIDI FOOT CONTROLLER FCB1010 or a PC.
1. INTRODUCTION

10
V-AMP 2
18 Conne t the en losed power supply unit via the AC IN so ket.
19 The balan ed LINE OUT 1/4" so kets provide the audio signal from the V-AMP 2 in stereo, for example,
for re ording purposes.
+You can connect the LINE OUT outputs ith balanced or unbalanced jack plugs. The left line
output of the V-AMP 2 can be used to route the audio signal to a guitar amp ith a mono input.
Please note that the signal from the multi-effects processor ill then not be available in stereo either.
20 The AUX LEVEL ontrol is used for determining the volume of the signal re eived at the AUX IN input.
21 The AUX IN ja k so ket enables you to feed in additional stereo signals on the V-AMP 2 and play with
a drum omputer or play-ba k, for example.
22 The PHONES ja k allows you to monitor the V-AMP 2 audio signal with standard headphones.
+When you connect your headphones, the V-AMP 2 automatically activates studio mode 1 (S1).
If the current preset or setting does not have a cabinet model, the V-AMP 2 ill also select a
default speaker simulation automatically, as soon as you plug in your headphones. The standard
cabinet simulations are sho n in tab. 8.2. Ho ever, you can intentionally change or deactivate
the simulation hen using headphones by selecting - in the CABINETS mode.
23 The INPUT so ket is the V-AMP 2s 1/4" ja k so ket for your guitar. Please use a standard 1/4" mono
ja k able.
2. EXAMPLES OF USE/CONFIGURATIONS
To adapt the V-AMP 2 best to different studio and live situations, you have a hoi e of five modes
(CONFIGURATION). Regardless of the settings on the unit itself, these modes determine from where the
V-AMP 2s output signal is taken. And the left and right output signals an be used differently at the same
time, too. One look at the following table will learly show that you an optionally take the signal with or
without speaker simulation or sound ontrol at the V-AMP 2 output. The effe ts signal at the output does not
ne essarily have to be present on both sides either:
LINE OUT L LINE OUT R
Studio 1 (S1)
s
V-AMP 2 as practice amp, e.g. with headphones.
s
Recording situation: (V-AMP 2 is connected to stereo
line channel on the mixing console).
Studio 2 (S2)
Left
(dry signal, only
compressor plus
auto-wah).
Right
(with modulation,
delay and
reverb effects).
s Recording situation: with the left channel connected to the
recording device. The right channel is used for monitoring
only (with effect). Advantage: while recording, you don’t
have to specify the effect used during the mix-down, but
can still monitor wet signals.
Live 1 (L1)
s V-AMP 2 connected to a guitar amp with stereo input. The
additional EQ (BASS, MID & TREBLE controls) allows you
to match the sound to the amplifier used. The additional
EQ does not affect the settings of your presets.
Live 2 (L2)
s
Here, too, the V-AMP 2 can be connected to a guitar amp
with a stereo input. The additional EQ (BASS, MID &
TREBLE controls) allows you to match the sound to the
amplifier used. However, since no cabinet simulation is
enabled, the speaker sound is determined by the combo/
cabinet used.
Live 3 (L3)
Left
+ additional
3-band EQ with
modulation, delay
and reverb
effects, but without
cabinet simulation.
Right
with cabinet and
modulation, delay
and reverb effects,
but without
additional
3-band EQ.
s V-AMP 2 as a stage amp, with the left output connected
to a line input on the monitor amp. The additional EQ
(BASS, MID & TREBLE controls) allows you to match the
sound optimally to the monitor amp. The right channel (DI
Out) is connected to the mixing console or stage box and
is used for the FOH mix.
Operating mode Function Applications
Stereo operation with selected
effects and speaker simulations.
Stereo operation
+ additional 3-band EQ
(adjustable in
CONFIGURATION mode).
Stereo operation
+ additional 3-band EQ,
but without cabinet simulation.
Tab. 2.1: V-AMP 2 modes with examples of use
2. EXAMPLES OF USE/CONFIGURATIONS

11
V-AMP 2
+In modes L1, L2 and L3, the additional 3-band EQ is set ith the BASS, MID and TREBLE
controls. As this EQ orks globally, it has no effect on the settings of these three controls from
the preset programming.
+If you plug in your headphones, the V-AMP 2 automatically selects S1 mode.
2.1 Selecting C NFIGURATI N modes
Your V-AMP 2 left the fa tory set in Studio 1 (S1) mode. To hange modes, you have to swit h to
CONFIGURATION mode. To do this, press buttons B and D simultaneously. You an swit h from one mode
to another by means of the arrow keys. To leave this mode, press TUNER.
2.2 Standard set-up with guitar, footswitch and external playback
For pra tising purposes set your V-AMP 2 up as shown in fig. 2.1, for example. You an of ourse also plug
in a drum omputer instead of a playba k sour e, su h as a tape de k. For silent pra tising plug your
headphones into the PHONES ja k. Use the FS112V footswit h supplied with the V-AMP 2 to swit h from
one bank to another or to a tivate the tuner.
Fig. 2.1: Standard set-up
+For this application please select CONFIGURATION mode S1!
The V-AMP 2 is of ourse also ideally suited for re ording your guitar parts for posterity, either on tape or
digitally. The advantage of the V-AMP 2 in re ording situations is obvious: it makes you ultra-flexible, be ause
you an simply take the virtual amp with you into the studio ontrol room without having to take along any
speakers. This gives you omplete ontrol of the sound on your V-AMP 2 at all times. If you feel the sound on
the mixer needs to be hanged, you an dis uss it with the sound engineer at on e and together you an set
the sound so that it is perfe tly suited to the re ording. In other words, no more hassle of trekking ba k and
forward between the re ording and ontrol rooms.
2. EXAMPLES OF USE/CONFIGURATIONS

12
V-AMP 2
2.3 Recording
A widely used re ording appli ation is to make a dry re ording of the output signal while monitoring the
signal with effe ts (wet). The advantage here is that you dont have to make a final de ision on what effe t
to use during mix-down. For this purpose onne t the left output of the V-AMP 2 to the re ording devi e, and
use the right output for monitoring.
If you have a MIDI foot ontroller, you an use it to ontrol preset, bank and amp model hanges. Its also
onvenient for swit hing the tuner on and off.
Fig. 2.2: Recording situation
+For this application please select CONFIGURATION mode S2!
2.4 Live set-up with an external guitar amp
When youre playing on stage its extremely important that you are able to hear your guitar properly. Its an
advantage to use a guitar amp with a line input, like the BEHRINGER BLUE DEVIL GX112. Apart from that,
the amp used should provide enough power to reprodu e the V-AMP 2s sound potential to the full.
Fig. 2.3: Live set-up with external guitar amplifier
2. EXAMPLES OF USE/CONFIGURATIONS

13
V-AMP 2
+For this application please select mode L1 or L2 under CONFIGURATION, depending on hether
you ant to have the external amp ith or ithout cabinet simulation! Thus, you can also
optimize the sound on the amp ith TREBLE, MID and BASS of the global 3-band EQ.
2.5 Live set-up with P.A. system and your own monitor amp on stage
This appli ation is intended to give you your own guitar signal on stage so that you an have omplete ontrol
of intentionally produ ed feedba k, for example. The monitor amp is ontrolled via LINE OUT L in luding
additional 3-band EQ and effe ts, but no abinet simulation. LINE OUT R feeds the DI signal to the P.A.
mixer. Here, the effe ts and abinet simulation an be used without the 3-band monitoring EQ.
Fig. 2.4: Live set-up with P.A. system and on-stage monitor amp
+For this application please select CONFIGURATION mode L3! You can adjust the sound on the
left channel for your stage amp independently using the global 3-band EQ.
3. V-AMP 2 PRESETS
The V-AMP 2 has 125 overwritable presets divided into 25 banks. In other words, there are five presets
available per bank. Ea h preset onsists of a maximum of five ingredients:
samp simulation (in luding GAIN, EQ and VOLUME settings),
sabinet model ( omplementing the respe tive amps sound),
spre-amp effe ts, su h as noise gate, ompressor, auto wah & wah-wah,
spost-amp multi-effe ts, su h as delay and modulation effe ts and
sreverb/room simulations.
An overview of all the presets on the V-AMP 2 is en losed with this manual.
3.1 Calling up presets
When the unit is swit hed on it automati ally loads the preset used last. In the following example, the last
preset sele ted was preset D in Bank 25:
3. V-AMP 2 PRESETS

14
V-AMP 2
Fig. 3.1: Calling up presets
In this ase, by pressing button A, B, C or E you an immediately all up another preset of the same bank.
The two arrow keys (BANK UP und BANK DOWN) enable you to swit h banks. The display on the V-AMP 2
always shows whi h bank has been sele ted. When you swit h banks, the preset has to be alled up by
pressing one of the buttons A - E. An LED lights up to show you whi h preset in the respe tive bank has been
a tivated.
3.2 Editing presets
Editing presets is fast and simple with the V-AMP 2. The best way is to all up a preset you like and then start
editing it. Sele t any amp model by means of the AMPS en oder. The LED on the preset button flashes (e.g.
D) and signals that you have made a hange.
Now hange the settings of the VOLUME, BASS, MID, TREBLE and GAIN ontrols as you like. If you sele t
an effe t, you an adjust its part in the overall sound using the EFFECTS ontrol. You then swit h to EDIT
mode by pressing the arrow keys simultaneously. If you use buttons B - E to a tivate the DRIVE, CABINETS,
REVERB and NOISE GATE fun tions respe tively and then edit using the arrow keys, the value of the
respe tive parameter is shown in the display. To leave EDIT mode, briefly press the TUNER button.
If you hold the TAP button down while using the TREBLE ontrol, you an raise or lower an additional higher-
frequen y filter (PRESENCE). This simulates the frequen y-sensitive oupling of tube amps.
+Apart from compressor and auto ah, all the multi-effects have a speed-based parameter.
Assuming you ant to set the effect youve selected to the tempo of your playback: just tap the
TAP button t ice in time to the music and the effect tempo ill match the tempo of your piece.
3.3 Storing presets
To store your edited preset, hold down the preset button required for approx. 2 se onds for the preset to be
overwritten (the orresponding LED lights up throughout).
+You do not necessarily have to store your edited preset in place of the original preset selected.
If you choose a different storage position, select the preset bank you ant using the arro
keys (BANK UP and BANK DOWN). You can then store your changes by holding do n the
preset button for approx. t o seconds. For example, you can edit a preset originally stored in
bank five, position D, and then store it in bank six, position A.
3.4 Discarding an edited preset/recovering a factory-programmed preset
If you have edited a preset and find that you dont like the edited version, you an, of ourse, dis ard it. Lets
assume youve sele ted and then edited preset C (the orresponding LED has lit up), but you would now like
to return to the onfiguration stored previously. Simply sele t another preset. The next time you all up the
3. V-AMP 2 PRESETS

15
V-AMP 2
preset the temporary edited version is dis arded. However, after editing you an also hold down the two
arrow keys until Pr appears in the display, whi h brings ba k the fa tory preset that was originally stored
there. However you then have to save it again by holding down the orresponding preset button for approx.
two se onds.
3.5 Restoring all factory-programmed presets
All fa tory-programmed presets an be restored in the following way: Hold down buttons D and E
and then swit h on the V-AMP 2. CL appears in the display. Now release the two buttons and press the two
arrow keys simultaneously. This erases all the edited presets you have stored and restores the fa tory-
programmed presets.
4. AMP/SPEAKER SIMULATION
The very heart of your V-AMP 2 is its amp/speaker simulation. The 32 simulation models an make work in
a home re ording studio very mu h easier be ause it isnt ne essary to mike up the guitar amp. The V-AMP
2 makes it hilds play for you to hoose one of the legendary guitar amps, be it for Brit Pop, Blues, Heavy
Metal or whatever. In addition, you an tailor the sound of the respe tive amp to suit your ideas and then
onne t it virtually to one of 15 speaker simulations ( abinets). And on top of all that, you an even hoose
digital effe t and reverb types for your virtual amp. See hapter 3 V-AMP 2 PRESETS for more details.
When you swit h on the V-AMP 2 it automati ally loads the last preset sele ted. The LED ring around the
AMPS ontrol shows what amp has been sele ted. The orresponding LED lights up. To sele t another amp
simply turn the ontrol. Use the VOLUME, BASS, MID, TREBLE and GAIN ontrols to modify the basi
sound of the amp. Hold down the TAP button and turn the TREBLE ontrol to raise or lower an additional
high-frequen y PRESENCE filter (see ).
As a rule, you will want to sele t an amp first, then a abinet and finally an effe t. See hapter 3 for how to
store your modifi ations. To give you a better overview of the extensive range of amp simulations on the
V-AMP 2, we have ompiled the following des riptions of the different types of amp.
+When you select an amp simulation, an appropriate speaker simulation is activated automatically
(see tab. 8.2 in the appendix). Other ise the authenticity of the sound could be affected by an
unsuitable cabinetespecially if you are using headphones. Naturally you can combine the
amp simulations ith other cabinets according to taste.
4.1 Amp descriptions
AMERICAN BLUES: This virtual amp is modelled on the Fender Bassman 4 x 10 Combo. Originally designed
as a bass amp it soon be ame a standard amp of blues legends su h as Steve Ray Vaughan or Billy Gibbons
due to its hara teristi distortion. As you would expe t, it pa ks a solid pun h in the bass range, but is still
flexible enough in the mid and treble ranges.
AND DELUXE: A synthesis of a 1960 Fender Bla kfa e Deluxe and a 50s Fender Bassman. The result is a
rystal- lear sound that still simlates the edge of the vintage amps. The V-AMP 2 sound ontrol gives you
even greater s ope than the EQ ontrols on the originals.
MODERN CLASS A: This amp is hara terized by its slight distortion and sounds almost like hi-fi. It is
modelled on the Mat hless Chieftain, a very expensive, hand-made amp.
CUSTOM CLASS A: The model for this simulation was the Budda Twinmaster. This Class-A amp was
renowned for its warm sound ombined with irresistible tube distortion. Although the original amp did not
have a mid ontrol, we have given the V-AMP 2 the apability of suiting the mid range to your taste.
TWEED COMBO: This was Jeff Be ks favorite when he re orded the albums low by low and Wired.
This amp was not a tually designed for heavy distortion, but due to its low power it is ideal for un ompromising
overdrive sound.
SMALL COMBO: This model is based on the 1960 Tweed Champ. The main attra tion of this amp simulation
is when the DRIVE fun tion is used a lot. Although this amp was a tually designed for beginners on the
guitar, it soon be ame a favorite amp of many guitar affi ionados. The reason for that was that it produ ed an
4. AMP/SPEAKER SIMULATION

16
V-AMP 2
amazingly distorted sound even at low volume. The Tweed Champ had a volume ontrol, but no EQ ontrol.
If you want to get the most authenti sound out of this amp, keep the sound ontrol on the V-AMP 2 in the
mid-range.
CLASSIC CLEAN: Ba k in the 80s, the Roland JC-120 was the preferred sound of Buzzy Feiten (guitarist
with the Dave We kl Band). The unique quality of this transistor amps sound is the way its brillian e uts
through any mix. It is ideal for the New Wave sound of the 80s that is making a ome-ba k today. The JC-120
was also popular among Fender Rhodes pianists, by the way.
BLACK TWIN: This simulation was modeled on a Fender Bla kfa e Twin from the year 1965. In the 60s this
amp was used by jazz, ountry and even ro k guitarists. What was unique about it was that it was ex eptionally
loud and was therefore mainly used for live performan es. The se ret of the Bla kfa e Twin was that although
you ould play it extremely loud, the distortion remained relatively low.
BRITISH BLUES: Modeled on the JTM 45, the first Marshall amp ever. This, by the way, was Eri Claptons
favorite amp when he was with Cream. The JTM 45 was the forerunner of many of Marshalls later amps with
their distin tive, powerful sound. Extreme gain settings produ e a highly ompressed and really dirty sounding
distortion. Combined with a 2 x 12" speaker simulation it produ es impressive Bluesbreaker sounds.
AND CUSTOM: This simulation is based on a 1965 Marshall JTM 45 Bluesbreaker but has more flexibility of
sound ontrol. Turn the GAIN ontrol to the left and this simulation sounds like a Marshall; turn it to the right
and it is more reminis ent of the Budda.
BRITISH CLASS A: This simulation is modeled on the Vox AC 30. This amp was originally designed in the
60s when guitarists wanted amps with enhan ed brillian e, a feature that Vox su essfully implemented by
means of revolutionary bass and treble ontrols. Brian May and U2s The Edge are probably the best-
known users of this sound.
NON TOP BOOST: This is a Vox AC 30 as used by Bryan Adams in the re ording studio. Unlike the well-
known AC 30 with treble boost, the former amp version did not have this feature. This simulation opies the
original amps normal hannel.
BRITISH CLASSIC: Based on a 1959 Marshall Plexi 100 Watt, this amp is ideal for produ ing lean sounds.
It was used by Jimi Hendrix, Eri Clapton and Jeff Be k.
CLASSIC 50 W: This is also a Plexi, but we have extensively widened its sound range. The sound ontrols
on the original Marshall Plexi 50 Watt hardly had any effe t on the sound if distortion was high.
BRITISH HI GAIN: Compare this model with a Marshall JCM 800. Although the original was renowned
mainly for its distorted sounds, this amp also sounds very good with low gain settings. Its good at reprodu ing
Steve Ray Vaughans and Mi hael Landaus sounds. In distortion mode it sounds like Gary Moore in his early
days, but its also good for heavy metal.
BRITISH CLASS A 15 W: Another Vox model, based on the first hannel of an AC 15 from 1960. Unlike the
AC 30 this amp had only one 12" speaker, instead of two, and produ ed a warmer sound. Tip: to make this
simulation sound as authenti ally as possible, leave the BASS and MID ontrols in mid-travel position and
vary the TREBLE ontrol only.
RECTIFIED HI GAIN: This model is based on a 1994 Mesa Boogie Dual Re tifier Trem-O-Verb featuring a
modern, high-gain sound that also omes over well in a band ontext. The tone ontrol is post-gain, whi h
allows you to tailor distorted sounds to great effe t. This amp is perfe t for heavy metal, but also for Steve
Lukather sounds. The best-known user of this amp is Dream Theaters guitarist John Petru i.
RECTIFIED HEAD: This simulation is modeled on a Mesa Boogie Dual Re tifier top. Unlike the
Trem-O-Verb, this amp produ es a more modern high-gain sound. The tone ontrol is most effe tive at high
gain settings.
MODERN HI GAIN: Here, too, the tone ontrol is post-gain, allowing the extremely distorted sound to ut
through the mix. The MODERN HI GAIN sound is ideal for playing Grunge, but is also used by guitarists su h
as Steve Vai and Joe Satriani. Steve Lukather, Nuno Betten ourt, Steve Vai, among others, have popularized
the Soldano sound. If youre playing a Gibson Les Paul, MODERN HI GAIN sounds best when you turn down
the volume ontrol on the guitar a little.
SAVAGE BEAST: Engl is well-known for amps that an make themselves heard. The Savage 120 in parti ular
has built up a large following among guitarists. For some time now Rit hie Bla kmore has been an major
endorser of this German ompany, and Randy Hanson, the best Hendrix sin e Jimi, also swears by this amp.
4. AMP/SPEAKER SIMULATION

17
V-AMP 2
The unique feature of the Savage is its extreme power and is therefore highly popular with heavy metal
guitarists. Silent For e/Sinner guitarist Alex Beyrodt has been an enthusiasti Engl user for years. An amp for
making yourself heard!
FUZZ BOX: This sound is not a tually based on any one amp, but on a parti ular fuzz box. Jimi Hendrix was
one of the first guitarists to re ognize the potential in this legendary broadband transistor distortion. The
humming distortion sound of the FUZZ BOX has returned to popularity with Alternative Ro k and Grunge.
CUSTOM HI GAIN: This sound goes ba k to a 1969 50-watt Marshall Plexi modified by Jose Arrendondo.
Arrendondo was none other than Eddie Van Halens guitar te hni ian. The unique features of this amp are its
fine mid-range sounds and its ability to produ e the ultimate in gain without making the sound muddy. Warning:
highly addi tive!
ULTIMATE V-AMP: From lean to brutal hi-gain, the rute overs the entire range. The ULTIMATE V-AMP
is basi ally a souped-up re tifier amp.
ULTIMATE PLUS: Those who find the ULTIMATE V-AMP too tame will find enough gain here to overdose on.
DRIVE V-AMP: This simulation is based on a more modern high-gain lead amp produ ing a soft but pre ise
sound with plenty of drive, making it ideal for lead guitar work. The DRIVE V-AMP is modeled on the Mesa
Boogie Mark III.
CALIFORNIA DRIVE: Based on the Mesa Boogie Mark II this is purely a simulation of its drive hannel
definitely the right hoi e for Santana songs.
CRUNCH V-AMP: This amp is ideal for modern blues or jazz. Its sound is not too subtle, but not in-your-fa e
eitherits run hy, thats all.
CUSTOM DRIVE: This simulates the Dumble Overdrive Spe ialan amp that was at the top of many guitarists
wish-list but beyond their finan ial means. Dumble amps are hand-made and an be ustom-built for the
individual guitarist. What weve done here is to simulate the drive hannel of one of these rare Dumble amps.
CLEAN V-AMP: Here we have managed to simulate the sound of a Roland JC-120 and omined it with our
BRIT CLASSIC model. The result is the brillian e of a transistor amp whi h, however, features the utting
power of a Marshall Plexi. Turn the GAIN ontrol lo kwise and the Marshall omes in.
CALIFORNIA CLEAN: This model is based on the lean hannel of the Mesa Boogie Mark II . It sounds a
little like a Fender, but has more of a pun h in the mid-range.
TUBE PREAMP: Sound engineers were qui k to re ognize the appeal of tubes. They used tube amps to add
warmth to all kinds of sounds. This amp model is not only for refining guitar sounds. Try putting a vo al tra k
through the V-AMP 2 and give it the finishing tou h with TUBE PREAMP.
CUSTOM CLEAN: This simulation is of the lean hannel on our Dumble amp.
PREAMP BYPASS: In this setting, no amp simulation is sele ted. This makes it possible, for example, to
play through an external guitar preamp and only to use the effe ts or the speaker simulation on the V-AMP 2.
To a tivate the PREAMP BYPASS press TAP and TUNER.
Fenderä, Voxä, Marshallä, Mesa Boogieä, Gibsonä, Soldanoä, Matchlessä, Dumbleä, Buddaä, Tweedä, Englä, Rolandä and
the names of musicians and grou s are registered trademarks belonging to the res ective owners and are in no way associated with
BEHRINGER.
4.2 Speaker descriptions
The sound of any guitar ombo depends largely on the type and ombination of speakers used. In the past 50
years there has been widespread experimentation to find out what type of speaker is best suited to any one
spe ifi guitar sound and in what way the sound is modified when a ertain speaker is ombined with others.
+When you select an amp simulation, an appropriate speaker simulation is activated automatically
(see tab. 8.2 in the appendix). Other ise the authenticity of the sound could be affected by an
unsuitable cabinetespecially if you are using headphones. Naturally you can combine the
amp simulations ith other cabinets according to taste.
The hara ter of a loudspeaker is a ombination of its power rating, impedan e, sound pressure and size, as
well as the material it is made of. 8", 10" and 12" speakers have established themselves as the best sizes for
ele tri guitar amplifi ation. The following list shows the speaker abinets on the V-AMP 2:
4. AMP/SPEAKER SIMULATION

18
V-AMP 2
No. Configuration
- BYPASS (NO SPEAKER-SIMULATION)
1 1 x 8" VINTAGE TWEED
2 4 x 10" VINTAGE BASS
3 4 x 10" V-AMP CUSTOM
4 1 x 12" MID COMBO
5 1 x 12" BLACKFACE
6 1 x 12" BRIT ’60
71x12"DELUXE’52
82x12"TWINCOMBO
9 2 x 12" US CLASS A
10 2 x 12" V-AMP CUSTOM
11 2 x 12" BRIT ’67
12 4 x 12" VINTAGE 30
13 4 x 12" STANDARD ’78
14 4 x 12" OFF AXIS
15 4 x 12" V-AMP CUSTOM
Cabinets
Tab. 4.1: Cabinets on the V-AMP 2
5. EFFECTS PROCESSOR
A spe ial feature of your V-AMP 2 is its built-in multi-effe ts pro essor module offering 16 different presets of
first- lass effe ts su h as horus, flanger, delay, and auto-wah as well as various ombinations of effe ts.
The MIDI fun tion also allows you to use an additional wah-wah effe t whi h an be ontrolled best using a
MIDI Foot Controller with an expression pedal, su h as our BEHRINGER FCB1010. See tab. 8.1 for an
overview of all MIDI data transmitted and re eived by the V-AMP 2.
+The standard operating mode of the multi-effects processor is stereo, so you can use stereo
effects for recording purposes via the LINEOUT or play in stereo using a second amplifier.
The effe ts on the V-AMP 2 an be modified in three parameters: by turning the EFFECTS ontrol, by turning
the EFFECTS ontrol and holding down the TAP button and by pressing the TAP button alone in time to the
musi . The following table shows the effe t parameters for the V-AMP 2:
EFFECTS
control with
TAP key down
1 ECHO Mix Feedback Delay Time
2 DELAY Mix Feedback Delay Time
3 PING PONG Mix Feedback Delay Time
4 PHASER/DELAY Delay Mix Mod. Mix Delay Time
5 FLANGER/DELAY 1 Delay Mix Mod. Mix Delay Time
6 FLANGER/DELAY 2 Delay Mix Mod. Mix Delay Time
7 CHORUS/DELAY 1 Delay Mix Mod. Mix Delay Time
8 CHORUS/DELAY 2 Delay Mix Mod. Mix Delay Time
9 CHORUS/COMPRESSOR Sense Mod. Mix Modulation Speed
10 COMPRESSOR Sense Attack -
11 AUTO WAH Depth Speed -
12 PHASER Mix Feedback Modulation Speed
13 CHORUS Mix Depth Modulation Speed
14 FLANGER Mix Feedback Modulation Speed
15 TREMOLO Mix - Modulation Speed
16 ROTARY Mix Depth Modulation Speed
Effect No.
Effect EFFECTS
control TAP key
Tab. 5.1: V-AMP 2 effects
5. EFFECTS PROCESSOR

19
V-AMP 2
+To match speed-based effects to the tempo of the music, please press the TAP button t ice in
time to the music.
5.1 Effect descriptions
The following se tion ontains short des riptions of the effe ts that an be produ ed using the multi-effe ts
pro essor in your V-AMP 2.
Reverb and delay algorithms
REVERB: Reverb is still the most important effe t for mixing or live performan e. Thats why we at BEHRINGER
make a point of giving you as many as nine different reverb programs so that you an use the most suitable
reverb program for any situation. The reverb effe t an be added separately to all the other effe ts (see
hapter 5.2).
ECHO: E ho is like the stereo delay effe t in that it is a delayed repetition of the input signal, apart from the
fa t that the high-frequen y ontent of the repeated signals steadily de reases. This simulates a tape delay
used in the pre-digital era, produ ing a vintage sound. In addition, the refle tions are routed in turns to the
left and right hannels, reating a quasi-stereo effe t.
DELAY: This algorithm delays the input signal, with different tempo settings produ ing interesting delay
effe ts. U2s The Edge has impressivley demonstrated the potential of this effe t.
PING PONG: A delay effe t that hanges position on the stereo hannels.
Modulation effects
PHASER: The prin iple behind the phaser is that a se ond, phase-shifted signal is added to the audio signal.
This makes the sound ri her and, above all, livlier. This effe t is popular among guitarists and keyboard
players alike, but was also used extensively in the 70s with other instruments, su h as ele tri pianos.
Depending on how you set it, the V-AMP 2 phaser an be used to produ e slightly modulating or strongly
alienating effe ts.
FLANGER: This effe t is self-explanatory. Originally the flanger effe t was produ ed by running two
syn hronized tape re orders at the same time. The same signals (e.g. a guitar solo) were re orded on both
ma hines. Putting a finger on the left reel of one of the ma hines aused it and the speed of the playba k to
slow. The resulting delay produ ed phase shifts of the signals.
CHORUS: This effe t adds a slightly modulated off-key element to the original signal, thus reating a pleasant
floating effe t through variations in pit h.
Combinations of effect algorithms (multi-effects programs)
PHASER & DELAY: Phaser and delay ombined.
FLANGER & DELAY: Here the input signal is delayed and pro essed with a pronoun ed wave-like effe t. It
is parti ularly effe tive for highlighting single notes, but an also be used to make solos more interesting.
CHORUS & DELAY: This algorithm ombines signal delay with the popular horus effe t.
CHORUS & COMP: In redible sustain effe ts an be produ ed with the ompressor. This is espe ially
useful for sustaining individual guitar notes. Combined with horus, it an make the audio signal extremely
dense.
5. EFFECTS PROCESSOR

20
V-AMP 2
Special effects
COMPRESSOR: A ompressor limits the dynami range of the audio material, thus produ ing audible and
reative sound effe ts. Pronoun ed use of the ompressor (using the EFFECTS ontrol) allows you to
ompress the overall dynami range of the material.
AUTO-WAH: The legendary wah-wah effe t owes its fame mainly to Jimi Hendrix. Des ribing it is ertainly
more diffi ult than simply listening to Hendrix using it on Voodoo Chile. In Ameri an funk musi of the 70s you
an hear auto-wah effe ts used in a variety of appli ations. The auto-wah alters its filter frequen y automati ally
depending on the signals magnitude, rather than being ontrolled by the position of a pedal.
TREMOLO: Simulates the lassi Fender Tremolo. It has returned to popularity with trip-hop.
ROTARY: This is the quintessential simulation of the lassi organ effe t normally produ ed by speakers
rotating at slow or fast speed in an extremely heavy speaker abinet. This effe t uses the physi al prin iple
of the Doppler effe t to modulate the sound.
NOISE GATE: Noise gates are used to remove or redu e noise or other interferen e. Guitar signals in
parti ular are very sensitive to interferen e. Not only do guitarists often use high-gain settings but guitar
pi k-ups an amplify unwanted interferen e. This an be painfully apparent during breaks in the musi . And
how does a noise gate work? It simply mutes the signal during breaks, eliminating any interferen e at the
same time.
5.2 The separate reverb effect
The reverb effe t from your V-AMP 2 is independent of the multi-effe ts pro essor and an be added to the
mix signal at any time. To edit the REVERB fun tion, press button D in EDIT mode (pressing the two arrow
keys simultaneously) and use the two arrow keys to sele t one of the nine different reverb types available:
1 Tiny Room
2 Small Room
3 Medium Room
4 Large Room
6 Small Spring
7 Medium Spring
8 Short Ambience
9 Long Ambience Simulates the early reflections of a
reverbless room.
5 Ultra Room Special effect transforming guitar signals
into heavenly pad sounds.
Simulations of typical spring reverbs.
Reverb No.
Reverb Type Quality
Classic room simulation featuring various
room sizes from bathroom to cathedral.
Tab. 5.2: The different types of reverb effects on the V-AMP 2
5. EFFECTS PROCESSOR