Behringer V-Amp 2 User manual

Version 1.1 March 2003
Users Manual
ENGLISH
V-AMPIRE/V-AMP PRO/V-AMP 2
V-AMP PRO
V-AMP 2
V-AMPIRE

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

3
V-AMPIRE/V-AMP PRO/V-AMP 2
V-AMPIRE/ V-AMP PRO/V-AMP 2
V-AMPIRE/V-AMP PRO/V-AMP 2
Ultra-flexible virtual guitar amps with tube simulation and digital multi-effects processor
s32 authentic virtual amp simulations, 15 speaker cabinets and preamp bypass
sDedicated selectors for amp model, speaker cabinet and di ital effects
sAmps selector allows you to directly select popular uitar amp simulations ran in from classic clean to
crunch and modern Hi Gain sounds with the ori inal tube amp character
sEffects selector selects first-class effects such as chorus, flan er, phaser, rotary, auto wah, echo, delay,
compressor and various effects combinationscan be used without amp simulation!
sDedicated reverb control adds 1 of 9 different reverb types
s125 memory locations divided into 25 banks for easy editin
sExtensive MIDI implementation allows complete real-time remote control and automation, data transfer
and access to additional parameters
sFive lobally selectable confi urations for various studio and live applications, some with additional 3-band
live-EQ
sBuilt-in chromatic tuner for connection of your uitar or other electronic instruments
sV-AMPIRE: 2 x 50 Watt uitar combo with 1x12" Jensen® loudspeaker
sV-AMPIRE: Two additional outputs for connection of external loudspeakers
sV-AMPIRE/V-AMP PRO: Balanced stereo XLR DI Out with round lift and switchable ULTRA-G speaker
simulation
sV-AMPIRE/V-AMP 2: Adjustable stereo aux input for line-level si nals (CD, drum computer, sound card etc.)
sV-AMPIRE/V-AMP PRO: Pre DSP send/return loop for dry recordin and wet monitorin or as serial
effects loop
sV-AMP PRO: AES/EBU and S/PDIF connectors allow usa e as universal A/D converter with hi h-impedance
input, 24-bit/96 kHz resolution and 100 dB dynamic ran e
sV-AMP PRO: BNC wordclock input for external sample rate synchronization up to 96 kHz
sV-AMP PRO: Post DSP stereo inserts for connection of external effects devices
sV-AMP 2: Gi ba and footswitch for preset selection and tuner control included
sManufactured under ISO9000 certified mana ement system

4
V-AMPIRE/V-AMP PRO/V-AMP 2
FOREWORD
Dear Customer,
welcome to the team of
BEHRINGER users, and
thank you very much for
expressing your confi-
dence in us by pur-
chasing this virtual guitar
amplifier.
Writing this foreword
for you gives me great
pleasure, because it
represents the cul-
mination of many months
of hard work delivered
by our engineering team
to achieve a very
ambitious goal: to
develop three outstan-
ding devices, that give
you maximum flexibility
and performance with their unique sound character and broad
range of functions. The task of designing these new products
certainly meant a great deal of responsibility, which we assumed
by focusing on you, the discerning user and musician. Meeting
your expectations also meant a lot of work and night shifts. But
it was fun, too. Developing a product usually brings a lot of
people together, and what a great feeling it is when all who
participated in such a project can be proud of what theyve
achieved.
It is our philosophy to share our enjoyment with you, because
you are the most important member of the BEHRINGER team.
With your highly competent suggestions for new products youve
made a significant contribution to shaping our company and making
it successful. In return, we guarantee you uncompromising quality
as well as excellent technical and audio properties at an extremely
reasonable price. All of this will enable you to give free rein to
your creativity without being hampered by budget constraints.
We are often asked how we manage to produce such high-
quality devices at such unbelievably low prices. The answer is
quite simple: its you, our customers! Many satisfied customers
means large sales volumes, enabling us to get better purchasing
terms for components, etc. Isnt it only fair to pass this benefit on
to you? Because we know that your success is our success
too!
I would like to thank all of you who have made the V-AMPIRE/
V-AMP PRO/V-AMP 2 possible. You have all made your own
personal contributions, from the developers to the many other
employees at this company, and to you, the BEHRINGER user.
My friends, its been worth the effort!
Thank you very much,
Uli Behringer
CAUTION!
+Please n te that high v lume levels may cause
permanent damage t y ur hearing and/ r y ur
headph nes. Turn all LEVEL c ntr ls t the left
bef re y u switch n the unit. Be sure t keep the
v lume at an appr priate level.
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 Front panel/surface ...................................................... 5
2.2 Rear panel/side ............................................................. 7
3. OPERATING MODES AND APPLICATIONS ................ 8
3.1 Selecting an operating mode in CONFIGURATION
mode ............................................................................. 8
3.2 Rehearsal or recording at home .................................. 8
3.2.1 V-AMPIRE ........................................................... 8
3.2.2 V-AMP PRO ........................................................ 8
3.2.3 V-AMP 2 .............................................................. 8
3.3 Live on stage or in a rehearsal room ........................... 8
3.3.1 V-AMPIRE ........................................................... 9
3.3.2 V-AMP PRO ........................................................ 9
3.3.3 V-AMP 2 .............................................................. 9
3.4 Recording ...................................................................... 9
3.4.1 V-AMPIRE ........................................................... 9
3.4.2 V-AMP PRO ........................................................ 9
3.4.3 V-AMP 2 .............................................................. 9
4. PRESETS ................................................................. 10
4.1 Calling up presets ....................................................... 10
4.2 Editing presets ............................................................ 10
4.3 Storing presets ........................................................... 10
4.4 Discarding an edited preset/restoring a single
factory preset ............................................................. 11
4.5 Restoring all factory presets ...................................... 11
5. AMP/SPEAKER SIMULATION .................................. 11
5.1 Amp descriptions ........................................................ 11
5.2 Speaker descriptions .................................................. 12
6. EFFECTS PROCESSOR ............................................ 13
6.1 Wah Wah .................................................................... 13
6.2 Effect descriptions ..................................................... 13
6.2.1 Reverb and delay algorithms ........................... 13
6.2.2 Modulation effects ............................................ 14
6.2.3 Combinations of effect algorithms
(multi-effects programs) .................................. 14
6.2.4 Special effects ................................................. 14
6.3 The separate reverb effect ........................................ 14
7. TUNER ...................................................................... 14
7.1 Tuning your guitar ....................................................... 14
7.2 Setting reference pitch A ........................................ 14
8. INSTALLATION ......................................................... 15
8.1 Mains voltage .............................................................. 15
8.2 Audio connections ...................................................... 15
8.3 MIDI connections ......................................................... 15
8.3.1 Sending/receiving MIDI-Sysex data ................. 16
8.4 AES/EBU and S/PDIF standards ................................. 16
9. APPENDIX ................................................................ 17
10.SPECIFICATIONS .................................................... 18
11. ARRANTY ............................................................. 19

5
V-AMPIRE/V-AMP PRO/V-AMP 2
2. CONTROL ELEMENTS
On the added view sheet you will find the corresponding
illustrations for all control elements. The numbering of most of
the control elements is the same for all three products. Because
of the different design and some varying elements, the numbering
is not always consistent. We therefore marked those differences
adding a V-AMPIRE only, V-AMP PRO only or V-AMP 2 only.
2.1 Front panel/surface
Use the POWER switch to put the V-AMPIRE (rear) and
the V-AMP PRO (front) into operation. The POWER switch
should be in the off position (not pressed) if you want to
connect the device to the mains.
+Attenti n: The POWER switch d es n t fully
disc nnect the unit fr m the mains. Unplug the
p wer c rd c mpletely when the unit is n t used
f r pr l nged peri ds f time.
The GAIN control determines the distortion level of an
amp simulation.
The VOLUME control determines the volume of the se-
lected preset.
The BASS control in the EQ section is for boosting or
cutting the low-frequency range.
The MID control is for boosting or cutting the mid-range
frequencies.
TREBLE controls the high-frequency range of the selected
preset.
+The LED rings ar und the VOLUME, BASS, MID,
TREBLE, GAIN, EFFECTS MIX and REVERB c ntr ls
each have nine LEDs. On each ring either ne LED r
tw neighb ring LEDs (in between p sit n) will light
up at a time, indicating a t tal f 17 different
p siti ns.
+If the TAP key is d wn, the TREBLE c ntr l
functi ns as a PRESENCE c ntr l. This enables y u
t b st/cut a high-frequency filter tuned t
whatever amp m del is active, thus simulating the
frequency-dependent c upling f tube amps.
The AMPS control is for selecting one of 32 different
amplifier simulation models. The control is surrounded by a
ring of 16 LEDs. Each LED corresponds to two types of
amplifier. The first 16 simulations can be selected by turning
the AMPS control (V-AMP PRO/V-AMP 2: white, V-AMPIRE:
black).
To select the simulation models 17 - 32 (V-AMP PRO/
V-AMP 2: gray, V-AMPIRE: white), press down the TAP
key while making your selection by turning the AMPS
control.
+The LED 17 - 32 in the b tt m left-hand c rner f
the DISPLAY indicates that ne f the simulati n
m dels 17 - 32 has been selected.
In addition, you can activate a PREAMP BYPASS by
pressing the key combination TUNER and TAP . If
PREAMP BYPASS has been selected, none of the LEDs
on the AMPS control lights up. To disable PREAMP
BYPASS, simply select a different amp model or press
both keys again.
These five keys are for selecting a preset (A - E) within
one bank.
In EDIT mode (activated by simultaneously pressing the
arrow keys described in ), the keys perform the
function printed directly above them:
2. CONTROL ELEMENTS
1. INTRODUCTION
Congratulations! With the V-AMPIRE, V-AMP PRO and V-AMP 2
you have acquired an up-to-date guitar amp of the newest
generation. Each one offers you a range of sonic posibilities as
wide as your own imagination.
With the V-AMPIRE you own the new combo version of our
famous V-AMP 2. Its an allrounder with so many features that
you hardly need any other equipment.
The V-AMP PRO is the big brother of the V-AMP 2. Besides
the V-AMP 2 features, the PRO version offers digital output
signals and you can even select the output format. External
synchronization of your V-AMP PRO is possible via wordclock.
The V-AMP 2 is the revised and furtherly developed well-
known V-AMP model. With this modern virtual guitar amp we
have set a new standard. The V-AMP 2 offers 32 authentic amp
and even special loudspeaker cabinet sounds without the usual
transportation problems.
But enough of this talk: Nothing will convince you more than
what you hear and feel when you test your virtual amp for the
first time.
But ...
1.1 ... before you get started
The unit was carefully packed at the factory and the packaging
is designed to protect the unit from rough handling. Nevertheless,
we recommend that you carefully examine the packaging and its
contents for any signs of physical damage which may have
occurred during transit.
+If the unit is damaged, please d NOT return it t
BEHRINGER, but n tify y ur dealer and the shipping
c mpany immediately. Otherwise, claims f r
damage r replacement may n t be granted.
Be sure that there is enough space around the unit for cooling
and, to avoid overheating, please do not place the device near
radiators etc.
+Bef re y u c nnect the unit t the mains, please
make sure that the v ltage setting n the unit
matches the l cal v ltage!
The mains connection of the V-AMP 2 is made by using the
enclosed power supply, which meets all of the international
safety certification requirements. As soon as the V-AMP 2 is
connected to the mains via its power supply, the unit is switched
on automatically.
+Please make sure that all units have a pr per
gr und c nnecti n. F r y ur wn safety, never
rem ve r disable the gr und c nduct r fr m the
unit r f the AC p wer c rd.
The MIDI connections (IN, OUT/THRU) are for standard DIN
connectors. Data is transferred via ground-free opto-couplers.
Further information can be found in chapter 8 INSTALLATION.
1.1.1 Serial number
The serial number is located on the rear panel of your
V-AMPIRE/V-AMP PRO/V-AMP 2. Please take the time to fill in
and return the warranty card within 14 days after the date of
purchase, so as to benefit from our extended warranty. Or
register online at www.behringer.com.

6
V-AMPIRE/V-AMP PRO/V-AMP 2
sA: Accesses the MIDI functions. Use the arrow keys to
set the MIDI channels (1 through 16) for transmitting and
receiving MIDI data.
If you use key A in EDIT mode to select the MIDI function
and then press the TAP key, the MIDI OUT jack is set to act
as a MIDI THRU. In this setting (the TAP LED is lit) no MIDI
data is sent, but the device passes on the signal received
at the MIDI IN jack.
sB: Selects the DRIVE function. This noticeably raises
distortion and volume. Use the arrow keys to switch DRIVE
on and off. The DRIVE function is wired pre GAIN control.
+While editing the DRIVE functi n, y u can als
activate and adjust the Wah-Wah effect by turning
the EFFECTS c ntr l. The LEDs surr unding the
EFFECTS c ntr l indicate the p siti n f the pedal.
If n ne f the LEDs lights up, the Wah-Wah is n t
acitvated.
sC: This key activates the CABINETS mode. Use the arrow
keys to select the type of speaker or combination of
speakers you want. You can also switch off the speaker
simulation completely (-). For further details, please refer
to chapter 5.2.
sD: Use this key to select the REVERB function. The
arrow keys can be used to select one of nine different
types of reverb in addition to the multi-effects processor.
For further details see chapter 6.3.
sE: Here you can activate the NOISE GATE function. Use
the arrow keys to adjust the noise reduction threshold.
+After preset editing, please press TUNER/EXIT t
quit (the EDIT MODE LED dies ut).
+DIGITAL OUT: The digital utput (V-AMP PRO nly)
can be c nfigured if keys A and B are pressed
simultane usly. The display reads either SP f r
S/PDIF r AE f r AES/EBU. Switch between these
tw f rmats using the TAP key. The LEDs in the
display sh w whether y u have ch sen internal
synchr nizati n (with 44.1, 48 r 96 kHz sample rate)
r external synchr nizati n via w rd cl ck (see tab.
2.1 in this users manual). Use the arr w keys t
select the appr priate sample rate with respect t
the receiving device. The TUNER/EXIT key all ws y u
t quit the DIGITAL OUT c nfigurati n.
+CONFIGURATION: If y u press the D and E keys
simultane usly (B and D n the V-AMP 2), y u can
select the general perating m de f y ur device
all wing adjustments t different studi and live
situati ns (see chapter 3). Press TUNER/EXIT t quit
c nfigurati n.
The TUNER button is for switching on the tuner. In addition,
this button can be used to quit EDIT mode (Exit).
Use the two arrow keys to select a different bank (BANK
DOWN and BANK UP). You can skip banks by holding
each of the keys down. To activate the EDIT mode, press
both keys simultaneously. If you press one of the keys
A - E ( ) in that mode, the arrow keys can be used for
setting parameters.
The TAP button performs seven functions:
sTap: Tap the rhythm of a piece of music on the TAP
button and the selected effect automatically adapts to the
tempo of the music.
sPresence: While holding down the TAP button, you
can use the TREBLE control to change the PRESENCE
setting of the amp model youve selected.
s2nd parameter: You also can access the second effects
parameter set by using the EFFECT control while holding
down the TAP button.
2. CONTROL ELEMENTS
sAmp m dels 17 - 32: Keep the TAP button pressed
down and select an amp model using the AMPS control.
sMIDI Thru: The MIDI OUT jack can be set to act as
MIDI THRU (see A).
sDrive: Using the TAP button and the EFFECT control
changes the sound of the Wah-Wah effect.
sInput Gain: By pressing the TAP button in the
configuration menu (see ) you change the value (please
refer to chapter 3.1 for further information).
Fig. 2.1: V-AMP PRO disp ay
Tab. 2.1: Output formats and disp ay LED assignments
The DISPLAY shows you which preset bank you have
selected and gives you information on parameter changes
when you are editing. In TUNER mode the DISPLAY shows
the pitch of the instrument connected to the unit. If one of
the amplifier simulations 17 - 32 has been selected, the
LED in the bottom left-hand corner of the DISPLAY lights
up. Additionally, the DISPLAY reads the digital format
output and the sample rate (V-AMP PRO only) and illustrates
whenever the V-AMP PRO is synchronized by an external
word clock signal (EXT.). Applied signals are indicated by
the green SIGNAL LED, overload signals by the red CLIP
LED (V-AMPIRE and V-AMP PRO only).
This control is for selecting an effect or a combination of
effects. This encoder-type rotary control is also surrounded
by a ring of 16 LEDs. Each LED corresonds to one specific
effects preset.
Using the REVERB control, you can add the reverb content
of your choice to your overall sound. By turning it to the left
until all the LEDs are off, you deactivate the reverb. To
fade out the original signal, turn the control to the right until
only the last LED lights up.
If an effect has been selected via , its part of the
overall sound can be set using this EFFECTS control. If
you select the Compressor effect, you can use the
EFFECTS control to adjust the compression intensity.
Turning the control to the left until all the LEDs are off
disables the effect. This is known as an effects bypass.
+By pressing the TAP key, y u can set a sec nd
effects parameter using the EFFECTS c ntr l (see
tab 6.1).
The MASTER control determines the overall volume of
your device.
+This is, besides the AUX LEVEL c ntr l f the
V-AMP 2, the nly c nventi nal and n n-
pr grammable c ntr l. All the ther c ntr ls are
enc der-type r tary c ntr ls wh se settings can
be st red in a preset.
The INPUT socket is the 1/4" jack socket for your guitar.
Please use a standard 1/4" mono jack cable.

7
V-AMPIRE/V-AMP PRO/V-AMP 2
2. CONTROL ELEMENTS
The LINE IN (V-AMP PRO only) switch determines which
signal source is processed by the V-AMP PRO, either
(switch not pressed) the signal applied at the high-
impedance INPUT jack, for example, your guitar, or (switch
pressed) the line signal connected to the PRE DSP INSERT
(LINE IN, ).
The stereo PHONES jack allows you to monitor the audio
signal with standard headphones (e.g. BEHRINGER HP
series).
+Y ur V-AMPIRE/V-AMP PRO/V-AMP 2 aut matically
activates studi m de 1 (S1) when c nnecting
headph nes. In this m de the digital speaker
simulati ns are activated. With the headph nes
plugged in, y u are able t select any ther
c nfigurati n, e.g. f r m nit ring purp ses (see
als chapter 3).
+If y u did n t ch se a speaker simulati n with the
current setting and c nnect headph nes, the device
will aut matically switch t a speaker simulati n.
This will increase the listeners s und impressi n.
Please refer t table 5.2 f r detailed inf rmati n n
the vari us speaker/amp c mbinati ns. H wever,
y u can intenti nally change r deactivate the
simulati n when using headph nes by selecting
- in the CABINETS m de (see C).
2.2 Rear panel/side
Both V-AMPIRE and V-AMP PRO feature a serial insert
path for external effects, such as a Wah-Wah pedal.
Connect the SEND/LINE OUT jack to the input of your
effects device. The SEND/LINE OUT output is taken directly
pre-digital processor (PRE DSP), which means you can
use this jack also to record a dry direct signal without
any effect added. Connect the RETURN/LINE IN jack to
the output of your external effects device.
+When using the serial insert path, please d n t
set the effects device t 100% effects signal (wet);
therwise, the direct signal will be missing.
+Press the LINE IN key t r ute the signal applied
at the RETURN/LINE IN t the V-AMP PRO. This functi n
is useful, f r example, t m nit r a dry guitar
signal with the V-AMP PRO bef re adding any
effects.
+As s n as the VAMPIREs LINE IN (Return) is
c nnected, the signal is aut matically r uted t the
DSP. The input signal fr m the fr nt will then be
interrupted.
The ANALOG LINE OUTPUTS provide the stereo signal
without analog speaker simulation applied (V-AMPIRE and
V-AMP PRO only). Use these jacks, for example, to connect
an external amp on stage.
The balanced LINE OUTs of the V-AMP 2 provide a stereo
signal, e.g. for recording applications.
+Y u may use balanced r unbalanced plugs with
the LINE OUTs.
Connect the POST DSP INSERT RETURN (IN) pair of
stereo 1/4" jacks to the outputs of your external stereo
effects device and use this path to return the signal sent
out from the POST DSP SEND (OUT) outputs .
The GROUND LIFT switch disconnects (switch pressed)
the ground connection at the DI OUT outputs to
effectively eliminate hum noise resulting from ground loops.
The DI OUT output provides the balanced stereo signal of
your V-AMPIRE/V-AMP PRO. Connect this output to two
balanced microphone inputs on your mixing console. With
configuration modes L1 and L2 the maximum level reduction
is -10 dBu so that you can directly connect them to the mic
inputs of your mixing console.
The POST DSP SEND (OUT) stereo output (V-AMP PRO
only) allows you to connect the inputs of an external stereo
effects device. The signal provided here is the same as
the signal present at the digital outputs. Unlike the SEND/
LINE OUT output this signal is post-DSP. If the two
corresponding RETURN (IN) jacks are not used, the
ANALOG LINE OUTPUTS provide an identical signal.
The S/PDIF output provides the digital output signal of your
V-AMP PRO.
The AES/EBU output (XLR connector) delivers the digital
signal of your V-AMP PRO in an AES/EBU format, provided
that AES/EBU has been selected as digital output format
(please refer to the 2nd note under E).
+The c ax-type S/PDIF and balanced AES/EBU utput
are using the same utput transf rmer and must
theref re n t be used at the same time. T change
between the S/PDIF and AES/EBU f rmats please
select the digital ut menu (see ).
The WORDCLOCK BNC jack is used to connect equipment
for the external synchronization of your V-AMP PRO. This
high-impedance jack has no internal terminating resistor
(75 Ohms).
This is the MIDI OUT/THRU jack. It is configured as MIDI
OUT but can be set to act as a MIDI THRU jack (see A).
Use the MIDI IN to connect a foot controller, for example,
the BEHRINGER MIDI FOOT CONTROLLER FCB1010 (see
chapter 8.3 for details).
SERIAL NUMBER. Please take the time to fill in and return
the warranty card within 14 days after the date of purchase,
so as to benefit from our extended warranty. Or register
online at (www.behringer.com).
You find the serial number of the V-AMP 2 on the base of
the casing.
FUSE HOLDER/VOLTAGE SELECTOR (V-AMPIRE/
V-AMP PRO only). Before connecting the unit to the mains,
make sure that the voltage setting matches your local
voltage. A blown fuse should only be replaced by a fuse
of the same type and rating. On some units, the fuse holder
can be switched to one of two positions, i.e. 230 V and
120 V. When operating the unit outside Europe at 120 V, a
higher fuse rating is required (see chapter 8
INSTALLATION).
The mains connection is on an IEC receptacle (V-AMPIRE/
V-AMP PRO only). An appropriate power cord is included.
V-AMP 2: Connect the enclosed power supply unit via the
AC IN socket. If it is connected to the mains, your V-AMP 2
will switch on automatically.
Connect the stereo jack plug of your FS112V footswitch
(included) to the FOOTSWITCH socket (V-AMPIRE/V-AMP 2
only). This will enable you to recall the presets from one
bank. To switch on the tuner, hold down the DOWN button
on the footswitch for more than two seconds. You can
also switch the tuner off again using the same button.
The AUX IN jack socket (V-AMPIRE and V-AMP 2 only)
enables you to feed in additional stereo signals on the
V-AMP 2, to play with a drum computer or playback etc.
The AUX LEVEL control (V-AMPIRE and V-AMP 2 only) is
used for determining the volume of the signal received at
the AUX IN input.
These outputs (V-AMPIRE only) are for connecting two
external loudspeakers.
+With ut external l udspeakers the internal speaker
runs at 70 Watts m n . The left utput (the internal
speaker aut matically shuts ff) all ws t c nnect
a l udspeaker with 4 W f impedance and 100 Watts
p wer. At the right utput y u may c nnect an 8 W/
50 Watts speaker that runs t gether with the

8
V-AMPIRE/V-AMP PRO/V-AMP 2
3. OPERATING MODES AND APPLICATIONS
internal speaker. Tw speakers with 8 W/50 Watts
each can be c nnected t the utputs (the internal
speaker aut matically shuts ff). Our ULTRASTACK
BG412 series suits this applicati n ideally.
3. OPERATING MODES AND
APPLICATIONS
One outstanding feature of our V-AMP products is that you
can choose yourself which parts of the signal you want to route
to the outputs. To adapt your device perfectly to the various
studio and live applications you can choose between 5 different
operating modes (CONFIGURATIONS). Independent of the
settings stored in the presets, these operating modes determine
where the signal for the line outs and headphones comes from
so that both left and right output signal can be used for different
purposes.
The choice of your most suitable operating mode depends on
where you use it. We have described some typical applications,
distinguishing between particular features of the V-AMPIRE,
V-AMP PRO and V-AMP 2 (see view sheet for details).
+With the headph nes plugged, the device aut -
matically switches int studi 1 (S1) perating
m de.
3.1 Selecting an operating mode in
CONFI URATION mode
The settings of the configurations are made in the configuration
menu by pressing the buttons D and E (B and D for the V-AMP 2).
The display shows the current configuration. Use the arrow
keys to select another configuration. Please refer to table 3.1 for
information on the corresponding output signals.
+By pressing the TAP key and adjusting the GAIN
c ntr l y u can additi nally adapt the input
amplificati n t particularly l ud pick ups.
In the configuration menu you can adapt the input gain to
different pick up types. To do this, keep the TAP key pressed
and the surrounding GAIN control LEDs show the current setting.
Turning the GAIN control from its center position to the left you
will reduce the input amplification which probably is
recommendable with very loud pick up types. GAIN settings in
clockwise direction are only recommended with very weak pick
up types.
Quit the configuration menu by pressing TUNER/EXIT.
3.2 Rehearsal or recording at home
When using headphones, all three V-AMP models will switch
into studio mode 1 (S1). This mode is particularly suitable for
rehearsals or when recording/monitoring a stereo signal. You
could also use live mode 1 (L1) which applies an additional
3-band EQ.
One advantage of rehearsing at home is that there is often a
computer available which allows you to design, edit, send, receive
and archive new presets comfortably and effectively. Download
our V-AMP DESIGN software free of charge at www.v-amp.com.
You can create your own presets even with minimum system
requirements (Windows PC with MIDI interface or gameport MIDI
adapter). On the V-AMP homepage you also find an online preset
database (ULI, user library interface) with plenty of presets created
by other V-AMP users and famous artists. Here, you can upload
your own favourite presets and make them accessable for other
users.
Using studio mode 2 (S2) at home can be a good idea when it
comes to recording an amp sound without effects (dry) but
monitoring it with effects (wet). Working this way, you are
able to choose the effects you want later during mixdown. In
this case you would route the left output to the soundcard of
your computer and monitor the right output via your mixing console.
3.2.1 V-AMPIRE
Figure 1.3 on the view sheet shows a typical home application.
We recommend modes S1, L1 or L2.
S1 comprises all amp, speaker and effects simulations. The same
applies to mode L1 which also includes the 3-band EQ for additional
sound adaption. Mode L2 works similarily but here the digital speaker
simulation is switched off and our analog ULTRA-G simulation is
enabled on the XLR or phones outputs.
+When c nnecting headph nes, the amp signal is
aut matically muted. Thus, if y u unplug the
headph nes we str ngly rec mmmend t turn the
MASTER c ntr l t the very left. The XLR utput is
independent f the MASTER c ntr l setting. This
all ws t take ut a line signal f r rec rding
purp ses while the MASTER c ntr l is set t
minimum.
As with the V-AMP 2 the stereo AUX input enables you to play
back line signals like CDs, drum computer etc.
3.2.2 V-AMP PRO
In the studio, monitoring will be performed at the mixing console,
and for this reason there is no need for an aux input on the
V-AMP PRO.
Figure 2.4 of the view sheet shows how to connect the
V-AMP PRO to the digital input of a PC in a recording application.
Possible digital inputs on the PC are balanced AES/EBU or coax-
type S/PDIF inputs. When the V-AMP PROs digital output is set to
44.1, 48 or 96 kHz, the PC has to synchronize with the
V-AMP PRO, i.e. in clock slave mode. If the PC or any other
device is intended to work as clock master, the V-AMP PRO has
to be synchronized externally via the wordclock input. The sample
rate depends on the wordclock signal but must range between
32 to 96 kHz.
In addition, figure 2.4 shows an effects device connected to
the Pre DSP INSERT in order to edit the input signal before any
digital simulations. To do this, the LINE IN button has to be pressed.
Depending on your application, we recommend studio mode
S1 or S2. Mode S1 includes all amp and speaker simulations with
effects in stereo while S2 has the effects at the right output only
allowing you to record this track dry and add effects later at
mixdown.
3.2.3 V-AMP 2
While rehearsing with your V-AMP 2, you are able to connect
any kind of playback or a metronome in the AUX stereo input and
adjust its level with the AUX LEVEL control (see fig. 3.3 on the
view sheet). For monitoring you can take the line outputs to an
amplifier, like our EUROPOWER series, or to a stereo, or you can
use headphones connected to the phones output.
Fig. 3.4 on the view sheet shows the previously mentioned
arrangement for S2.
3.3 Live on stage or in a rehearsal room
Since neither the V-AMP PRO nor the V-AMP 2 are fitted with
speakers, some additional gear will be needed to hear the sound.
If you are using a sound reinforcement system, it is a good idea
to make sure that either the analog ULTRA-G or one of the
programmable digital speaker simulations is active.

9
V-AMPIRE/V-AMP PRO/V-AMP 2
3.3.1 V-AMPIRE
Not only does the V-AMPIRE has its own built-in speaker,
which means you can plug in and play without further equipment,
the V-AMPIRE also allows to connect a second external
loudspeaker. Using the left speaker output mutes the internal
speaker, diverting the full 100 W to the external 4 Ω speaker (see
fig. 1.4). This makes sense particularly if the external speaker
has a specific sound which cannot be recreated using the
internal speaker.
You can also connect to an external stereo speaker
arrangement, e.g. our BG412S. In this configuration the V-AMPIRE
developes 2 x 50 W into 8 Ω per side. This lets you take full
advantage of the V-AMPIREs stereo effects (fig. 1.5).
Alternatively, an external 8 Ω speaker may be connected to
the right speaker output. This also represents a stereo
configuration, because the internal speaker is not muted, as
shown in fig. 1.6.
The starting configuration for this application would be L2, i.e.,
a stereo signal with all effects, amp simulation and live EQ but no
speaker simulation. The ULTRA-G speaker simulation is available
at the XLR output and thus connectable to a sound reinforcement
system. Here, the MASTER control only influences the stage
volume but not the XLR output. If you want to listen to a digital
speaker simulation using an amplifier, select L1.
3.3.2 V-AMP PRO
Because of its additional outputs and the analog ULTRA-G
speaker simulation the V-AMP PRO is even more flexible on
stage. Figure 2.5 shows a stereo application with active stage
monitors which are connected to the unbalanced line outs. Use
the MASTER control to set the volume of the monitor speakers
while the XLR output signal is sent at full volume to a sound
reinforcement system. The appropriate modes are S1 or L1
depending on whether the 3-band EQ is needed or not.
Since the receiver of the wireless system is connected to the
rear line input, the line input switch on the front has to be pressed.
Use this switch also to mute the signal while you change your
guitar.
Figure 2.6 displays a very similar application: The monitor amp
in this case is a guitar amp so that mode L2 (no speaker simulation)
is recommendable.
3.3.3 V-AMP 2
Figure 3.5 on the view sheet shows the V-AMP 2 connected
from its line out to the line input of the guitar amp or head. Using
the instrument input would not be the best idea since the signal
is passed through the whole pre amplifier stage. BEHRINGER
offers a wide range of guitar amps which are equipped with an
aux input and thus are perfect for this application. Since a guitar
amp already has its own sound, a digital speaker simulation is
not needed. We therefore recommend mode L2.
Figure 3.6 describes another speciality of the V-AMP 2 in
mode L3: A guitar amp is used as monitor speaker on stage
while simultaneously a second signal is sent to a sound
reinforcement system. By doing so, you can completely eliminate
the need for miking the amp.
A special feature of the L3 mode is that the signal to the guitar
amp has no speaker simulation, instead it has an additional
3-band EQ which allows you to tailor your on-stage sound. The
signal for the sound reinforcement system remains unaffected
by the 3-band EQ, but it does include the speaker simulation. This
simulation is necessary to reproduce the character of a guitar
cabinet sound using the speakers of the sound reinforcement
system.
3.4 Recording
For this applications we assume that at least a mixing console
and a recording device is available.
3. OPERATING MODES AND APPLICATIONS
3.4.1 V-AMPIRE
As with rehearsals at home or anywhere else, the V-AMPIRE
can be connected directly to a mixing console or recording device
via its XLR outputs. In addition, you can use the pre DSP insert
send to record the same direct guitar signal without needing
another DI-box for impedance adaption.
Since the usual volume problem does not exist in studio
environments, the V-AMPIRE has more to offer than those features
described in chapter 3.2.1. In the studio you can raise the volume
to take full advantage of the V-AMPIREs own sound. If you have
a particular speaker cabinet with its own sonic character you can
drive it via the speaker output. You will need to use a microphone
to capture this special sound. If you want to create intentional
feebacks from the speaker, you can still feed the XLR output into
the console to be recorded. We recommend mode L2, with 3-band
EQ but without digital speaker simulation (see fig. 1.4).
3.4.2 V-AMP PRO
For studio applications we recommend modes S1, S2 or S3.
S1 reproduces all amp and speaker simulations with effects in
stereo (as with the V-AMP 2) while with S2, the effects are
applied to the right channel only. In mode S3, the digital speaker
simulation is shut off for the case that the speaker sound is to be
determined later during mixdown. Therefore, in S3 mode the
proven ULTRA-G speaker simulation is switched to the XLR and
headphones outputs. When recording in S3 mode, the monitoring
should thus be done at the analog XLR and headphones outputs
and not at the digital outs. If you want to record the original guitar
signal you could use the setup shown in fig. 2.3. Press the LINE
INPUT switch if you want to monitor the recorded signal via the
V-AMP PRO. We recommend to use modes S1 or L1. Mode S2 is
an alternative if you want to adjust the effect ratio on the mixing
console.
+Please n te that the ULTRA-G speaker simulati n
in m des S3 and L2 nly affects the XLR and
headph nes utputs and d es n t have any
influence n the digital utputs.
3.4.3 V-AMP 2
To record a stereo signal with all effects, amp and speaker
simulations, select modes S1 or L1 (with 3-band EQ) and connect
the balanced line outs with the mixing console or recording device.
This advantage is a disadvantage at the same time:
You hear the sound exactly the way you record it. So if you
decide to make a change, you will need to record the whole
track again.
With studio mode S2 all effects are therefore put out through
the right channel only, while on the left channel you will find the
amp and speaker simulations. This enables you to record the dry
amp signal and determine the effects later on during mixdown
(see fig. 3.4).
If you want to go the safe way, we recommend to split up the
input signal with a high-quality active DI-box, e.g. the BEHRINGER
GI100. To do this, connect the guitar to the GI100 input, the direct
link to the input of your V-AMP 2 and the XLR output to the
recording device. In that manner, you can record the direct guitar
signal with the amp simulation on one channel each and listen to
the complete signal with all effects on your headphones (see
fig. 3.4).

10
V-AMPIRE/V-AMP PRO/V-AMP 2
Tab. 3.1: Configurations
4. PRESETS
4. PRESETS
Your device features 125 overwritable presets divided into 25
banks. In other words, there are five presets available per bank.
Each preset consists of a maximum of five ingredients:
samp simulation (including GAIN, EQ and VOLUME settings)
scabinet simulation
spre-amp effect, such as noise gate, compressor, auto wah
and wah-wah
spost-amp multi-effect, such as delay, modulation effect, or
a combination of both
sreverb effect
The enclosed sheet shows an overview of all the presets.
4.1 Calling up presets
When the unit is switched on, it automatically loads the last
used preset. In the following example, the last preset selected
was preset D in bank 25:
Fig. 4.1: Ca ing up presets on the V-AMP 2
(simi ar to V-AMPIRE and V-AMP PRO)
In this case, by pressing button A, B, C or E you can immediately
call up another preset of the same bank. The two arrow keys
(BANK UP and BANK DOWN) enable you to switch banks. The
display always shows which bank has been selected. When
you switch banks, the preset has to be called up by pressing
one of the buttons A - E. One LED lights up to show you which
preset in the respective bank has been activated.
2873876/ 28738765 2873876/ 28738765
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4.2 Editing presets
Editing presets is fast and simple. One option is to call up a
preset you like and then start editing it. Select an amp model by
means of the AMPS encoder. The LED on the preset button
flashes (e.g. D) and signals that you have made a change to the
preset.
Now change the settings of the VOLUME, BASS, MID, TREBLE
and GAIN controls as you like. If you select an effect, you can
adjust its ratio in the overall sound using the EFFECTS control.
You then switch to EDIT mode by pressing the arrow keys
simultaneously. If you use buttons B - E to activate the DRIVE,
CABINETS, REVERB and NOISE GATE functions respectively
and then edit using the arrow keys, the value of the respective
parameter is shown in the display. To quit EDIT mode, briefly
press the TUNER button.
If you hold the TAP button down while using the TREBLE control,
you can raise or lower an additional high-frequency filter
(PRESENCE). This simulates the frequency-sensitive coupling of
tube amps.
+Apart fr m c mpress r and aut wah, all the multi-
effects have a speed-based parameter. Say y u
want t set the effect y uve selected t the temp
f y ur playback: just tap the TAP butt n twice in
time t the music and the effect temp will match
the temp f y ur piece.
4.3 Storing presets
To store your edited preset, hold down the preset button
required for approx. 2 seconds for the preset to be overwritten
(the corresponding LED lights up throughout).
+Y u d n t necessarily have t st re y ur edited
preset in place f the riginal preset selected. If
y u ch se a different st rage p siti n, select the
preset bank y u want using the arr w keys (BANK
UP and BANK DOWN). Y u can st re y ur changes by
h lding d wn the preset butt n f r appr x. tw
sec nds. F r example, y u can edit a preset
riginally st red in bank 5, p siti n D, and then st re
it in bank 6, p siti n A.