Behringer X V-AMP User manual

X V-AMP
Version 1.1 December 2005
Users manual

2
X V-AMP
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. The
apparatus shall not be exposed to dripping or
splashing and no objects filled with liquids, such
as vases, shall be placed on the apparatus.
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 apparatus near water.
6) Clean nly with 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, c nvenience receptacles,
and the p int where they exit fr m the apparatus.
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
apparatus. When a cart is used, use cauti n when m ving
the cart/apparatus c mbinati n t av id injury fr m
tip- ver.
13) Unplug this apparatus during lightning st rms r
when unused f r l ng peri ds f time.
14) Refer all servicing t qualified service pers nnel.
Servicing is required when the apparatus 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 apparatus, the apparatus has been exp sed t
rain r m isture, d es n t perate n rmally, r has been
dr pped.
15) CAUTION - These service instructi ns are f r use by
qualified service pers nnel nly. T reduce the risk f
electric sh ck d n t perf rm any servicing ther than
that c ntained in the perati n instructi ns unless y u
are qualified t d s .

3
X V-AMP
X V-AMP
X V-AMP
Ultra-Flexible Modeling Amp/Multi-Effects Processor with ntegrated Expression Pedal
s16 original V-AMP amp/speaker simulations including a special acoustic simulation and amp bypass
function
sFreely assignable expression pedal for real-time control of effects or wah/volume control
s24-bit high-resolution stereo multi-effects processor including first-class stomp box simulations delay
wah wah chorus flanger reverb noise gate and compressor effects and many more
sAmp and cabinet simulation compressor noise gate EQ modulation effects delay and reverb can be
used simultaneously in any combination
sAwesome modulation and pitch bend effects
sDedicated semi-parametric EQs for low-end and presence control
s9 different output configurations for utmost flexibility
s100 memory locationseasily editable and storable
s2 separate 1/4" TRS outputs usable as stereo line/phones and guitar amp input
s2-digit numeric LED display and intuitive control elements allow visual feedback while editing
sAdjustable super-precise auto-chromatic tuner
sPower supply included
sHigh-quality components and exceptionally rugged construction ensure long life
sConceived and designed by BEHRINGER Germany

4
X V-AMP
TABLE OF CONTENTS
1. INTRODUCTION ......................................................... 4
1.1 Before you get started ................................................... 4
1.1.1 Online registration ................................................. 5
2. CONTROL ELEMENTS AND CONNECTORS .............. 5
2.1 Basic advice on using the controls ................................ 5
3. OPERATING MODES (CONFIGURATIONS) ................. 7
3.1 Selecting a CONFIGURATION ......................................... 7
3.2 Application (example) ..................................................... 8
4. PRESETS ................................................................... 8
4.1 Calling up presets ........................................................... 8
4.2 Editing presets ................................................................ 8
4.3 Storing presets ................................................................ 8
4.4 Discarding an edited preset/
restoring a single factory preset .......................................... 9
4.5 Restoring all factory presets .......................................... 9
5. AMP/SPEAKER SIMULATION .................................... 9
6. EFFECTS PROCESSOR ............................................ 1
6.1 Effect descriptions ....................................................... 10
6.1.1 Reverb and delay algorithms .............................. 10
6.1.2 Modulation effects ............................................... 10
6.1.3 Special effects .................................................... 11
6.2 Reverb .......................................................................... 11
7. TUNER ...................................................................... 11
7.1 Tuning your guitar ......................................................... 11
7.2 Setting reference pitch A .......................................... 11
8. INSTALLATION ......................................................... 12
8.1 Audio connections ........................................................ 12
9. SPECIFICATIONS ..................................................... 12
1 . WARRANTY ............................................................ 13
FOREWORD
Dear Customer,
welcome to the team of
X V-AMP users, and
thank you very much for
expressing your confi-
dence in BEHRINGER by
purchasing the X V-AMP.
Writing this foreword
for you gives me great
pleasure, because it
represents the culmi-
nation of many months of
hard work delivered by
our engineering team to
achieve a very ambitious
goal: to present an
outstanding guitar multi-
effects floor unit whose
amazing functions offer
a maximum on flexibility
and performance. The task of designing our new X V-AMP
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 let you give free rein to your
creativity without being hampered by budget constraints.
We are often asked how we manage to produce such high-
quality equipment at such unbelievably low prices. The answer
is quite simple: its you, our customers! Many satisfied customers
mean large sales volumes enabling us to get better purchasing
terms for components, etc. Isnt it only fair to pass these benefits
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 X V-AMP
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
1. INTRODUCTION
Congratulations! By purchasing the X V-AMP, youve got your
hands on the latest-generation floor-based effects machine.
The X V-AMP gives you extensive options to create an
awesome stage show. The latest technology, simple and intuitive
operation and robust construction result in optimal performance
and dependability.
Your X V-AMP unites a selection of the best and most-liked
effects and amp simulations from our venerable V-AMP 2. These
effects and amp simulation can of course be edited and stored.
Additional features, such as compressor, noise gate and the
most current modulation effects, give you a maximum on flexibility
and let your creativity come to full expression.
1.1 Before you get started
Your X V-AMP was carefully packed at the factory to assure
it will survive the rigors of the road. If the cardboard packaging
looks like its been through a lot, please inspect the contents and
look for indications of damage.
+In case y ur X V-AMP is damaged, DO NOT send it
directly t us. Instead, first n tify the st re where
y u b ught it as well as the carrier wh made the
delivery. Otherwise, y u may v id y ur warranty.
Always make sure your X V-AMP gets enough air flow and
never put it near the heating or other heat-emitting equipment to
avoid damage to the device.
Power is delivered via the enclosed power supply. All requiered
safety precautions have been adhered to. As soon as you
connect the X V-AMP to the mains via the power supply, your
X V-AMP is automatically switched on.
1. INTRODUCTION

5
X V-AMP
1.1.1 Online registration
Please do remember to register your new BEHRINGER
equipment right after your purchase by visiting
www.behringer.com (alternatively www.behringer.de) and
kindly read the terms and conditions of our warranty carefully.
Should your BEHRINGER product malfunction, our goal is to have
it repaired as quickly as possible. To arrange for warranty service,
please contact the retailer from whom the equipment was purchased.
Should your BEHRINGER dealer not be located in your vicinity, you
may directly contact one of our subsidiaries. Corresponding contact
information is included in the original equipment packaging (Global
Contact Information/European Contact Information). Should your
country not be listed, please contact the distributor nearest you. A
list of distributors can be found in the support area of our website
(www.behringer.com/support).
Registering your purchase and equipment with us helps us
process your repair claims quicker and more efficiently.
Thank you for your cooperation!
2. CONTROL ELEMENTS AND
CONNECTORS
In this chapter, we will describe different control elements of
your X V-AMP. All controls and connectors will be explained in
detail, and you will also get useful advice on how to use them.
2.1 Basic advice on using the controls
Here is some quick information about the most basic and most
important control elements of your X V-AMP.
s Keys , , , and : use these keys to directly
select effects settings and operating modes.
s FX/AMPS control : Uset the right-hand half to select amp
simulations in a preset. The corresponding LED lights up. Use the
left-hand half to select the effects. When effects blocks are
selected using the keys , and , the LED on the
current effect lights up.
s TAP LED : The frequency at which the LED blinks indicates
the speed and/or the rhythm of a delay or a modulation effect
(also see chapter 6 EFFECTS PROCESSOR).
By keeping TAP depressed, 2nd FUNCTION is activated. By
doing this, the second level of the FX/AMPS control (gray)
and ADJUST is accessible.
s Footswitches UP and DOWN : Used to select presets
these presets are indicated in the DISPLAY . Footswitches
UP and DOWN are also used to activate the BYPASS/
TUNER function (also see chapter 7 TUNER).
s DISPLAY LEDs: PEDAL ASSIGN indicates the function to which
the pedal has been assigned. CONFIGURATION permanently
indicates the selected operating mode.
ADJUST: Used to perform various adjustments. You can
find more information about using ADJUST in the
descriptions of individual control elements as well as in
chapter 6 EFFECTS PROCESSOR.
GAIN. Use this control to regulate the drive of the amp
simulation, i.e. the degree of distortion. Use it when none
of the keys , , , or are blinking.
VOLUME: If you hold the TAP key depressed, using
ADJUST lets you adjust the volume of a preset.
STORE. The presets on the X V-AMP are saved using the
STORE key. If the STORE key lights up, it means that a
preset has been changed but has not yet been stored. By
keeping the STORE key depressed (longer than 2 seconds),
the newly edited preset is stored. When the STORE LED is
no longer lit up, the stored preset shown in the display is
now active.
+After briefly pressing the STORE key (the STORE
key blinks), use the UP/DOWN keys t select
an ther st rage sl t. By briefly pressing the STORE
key yet again, the save pr cedure is canceled.
C mplete the save by keeping the STORE key
depressed f r l nger than 2 sec nds.
2. CONTROL ELEMENTS AND CONNECTORS
Fig. 2.1: X V-AMP user in erface

6
X V-AMP
+Y u can rest re a single fact ry preset by keeping
the TAP and STORE keys depressed simul-
tane usly f r l nger than 2 sec nds. Y u can als
rest re all fact ry presets. This is d ne by keeping
b th TAP and STORE keys depressed f r l nger
than 2 sec nds and then p wering up the X V-AMP
(i.e. y u start the pr cedure when y ur X V-AMP is
ff).
NOISE G. The NOISE GATE is active and can be edited
when the key LED is lit up. The threshold can be controlled
by using ADJUST. When the ADJUST control is turned all
the way to the left, the NOISE GATE is off and the LED is no
longer lit up.
Release is adjusted using the ADJUST control while the
TAP key is depressed.
How the NOISE GATE works is explained in chapter 6.1.3.
CONFIGURE. By simultaneously pressing NOISE G.
and COMPR. , you get to the configuration menu. Use
the COMPR. or NOISE G. keys to alternate between indi-
vidual operating modes. This way, you can implement a
global setting on your X V-AMP that lets you adjust to
different studio and live situations. A table with all
configurations as well as additional information on this
subject can be found in chapter 3.
+Press COMPR. and NOISE G. simultane usly again
t leave CONFIG. m de.
COMPRESSOR. Press this key to get to the compressor
menu. Use the ADJUST control to regulate ratio, or use
TAP + ADJUST to regulate attack. When the ADJUST
control is turned all the way to the left, the COMPRESSOR
is off and the LED is no longer lit up.
How the compressor works is explained in chapter 6.1.3.
BASS EQ. Simultaneously press COMPR. and MODUL.
(both LEDs are blinking) to control bass frequencies in
a preset. Use ADJUST to increase or decrease low
frequencies. Keep TAP pressed while turning ADJUST to
determine if you want to affect only the deepest
frequencies (ADJUST turned all the way to the left) or if
you also want to affect higher bass frequencies.
MODULATION. After you press this key (its LED blinks),
you can select one of the eight modulation effects by using
the FX/AMPS control : Chorus, flanger, phaser, pitch
bend, tremolo, rotary, auto wah and P-funkn. You get to
the second-layer effects (gray) by keeping the TAP key
depressed while you are turning the FX/AMPS control the
2nd FUNCTION LED lights up. ADJUST controls the effect
ratio in the preset. The speed parameter is adjusted using
TAP. By hitting MODUL. again, or by selecting a different
parameter, you quit.
You can find a more detailed description of modulation
effects and how they function in chapter 6 EFFECTS
PROCESSOR.
+M dulati n effects aut wah, pitch bend and
P-Funkn cann t be used simultane usly with Wah
Wah. If y u select ne f these three effects while
the pedal is already assigned t the wah wah effect,
its assignment t the pedal is annulled (the WAH
LED in the display is n l nger lit up).
+Assigning the expressi n pedal t the Wah Wah
effect aut matically deactivates aut wah and pitch
bend respectively, s that n m dulati n effect is
active (all m dulati n effect and ADJUST LEDs are
n l nger lit up).
PRESENCE. You activate PRESENCE by simultaneously
pressing MODUL. and DELAY (both LEDs are
blinking). Starting at the middle setting of the ADJUST control
(neutral), the share of PRESENCE (high frequencies) can
be lowered or increased in a preset. Keeping TAP pressed
while you turn ADJUST allows you to determine the center
frequency of the filter.
DELAY. Pressing this key adjusts DELAY. A delay lets you
create a lag in the input signal similar to an echo. Use
ADJUST to regulate the intensity when you keep TAP
pressed while you turn ADJUST, you set up feedback. The
rhythm in which you tap at the TAP key determines the time
between individual echos.
PEDAL ASSIGN. Press DELAY and REVERB
simultaneously to assign a function to the EXPRESSION
PEDAL (PA is shown in the display). At the same time,
one of the right-hand LEDs in the display is blinking (speed,
effect, volume, wah). Now you can assign one of the
following functions to the pedal:
sSpeed: to dial up the SPEED parameter of an effect, hit the
respective effect module key ( or ) and then briefly
press TAP: SPEED, TAP and effect key LEDs are blinking.
sEffect: To modify effect parameters mix, depth,
feedback and decay using the pedal, press the effect
module key of your choice and then modify the desired
parameter (either using ADJUST or ADJUST + TAP): the
EFFECT LED blinks in the display (2nd FUNCTION and the
effect key where applicable).
sV lume: If you want to use the expression pedal to control
the volume, hold TAP and briefly move ADJUST. The 2nd
FUNCTION and VOLUME LEDs blink.
sGain: To use the expression pedal to control GAIN in a
preset, you only have to quickly modify GAIN using ADJUST
(VOLUME LED blinks) then, use the pedal to modify GAIN.
sWah Wah: Pressing the expression pedal automatically
selects the wah function. The Wah LED blinks.
+Summary: T assign a parameter t the expressi n
pedal, y u have t activate PEDAL ASSIGN and
m dify the desired parameter.
+Aut wah and pitch bend are aut matically
deactivated as l ng as the expressi n pedal
c ntr ls the Wah Wah effect.
+T c nfirm a new selecti n y u made and t
aband n PEDAL ASSIGN, hit DELAY and REVERB
at the same time again.
REVERB. Press this key to set up REVERB. A reverb effect
lets you simulate room characteristics in the overall sound.
You can choose between 4 different reverb types:
Ambience, cathedral, spring and reverb. The FX/AMPS
control lets you select between reverb and cathedral, and
if you keep TAP pressed at the same time, then you can
additionally select between spring and ambience (second
layer).
The adjustable reverb parameters are decay and mix.
ADJUST controls the mix, and ADJUST + TAP control decay.
A description of individual reverb types can be found in
chapter 6.2.
The TAP key performs several functions:
sGAIN/VOLUME: Use ADJUST to determine the amount of
distortion (GAIN). If you keep TAP pressed while you move
ADJUST, you control the volume of a preset instead.
When editing effect blocks, ADJUST lets you access the
second function layer for parameter settings.
sFX/AMPS control and 2nd FUNCTION: Hitting TAP lets you
select the second layer of the effects and AMP simulations
(gray).
sSpeed: Keep hitting the TAP key in the rhythm of a song,
and the selected effect (delay or modulation effect) adjusts
itself automatically to the tapped rhythm.
2. CONTROL ELEMENTS AND CONNECTORS

7
X V-AMP
2nd FUNCTION. As soon as any second-layer function on
the FX/AMPS control is dialed up, 2nd FUNCTION LED lights
up.
FX/AMPS. A LED on the FX/AMPS control indicates the
current AMP model. If the 2nd FUNCTION LED is also lit up,
youre dealing with one of the second-layer AMP models
(gray) if not, then one of the first-layer AMP models is
selected (white). By turning FX/AMPS (and by holding tap,
if necessary), you can switch to another AMP model.
IF the effect block is selected (MODULATION , DELAY
or REVERB LED blinks), the respective effect
type can be read-off and selected using the FX/AMPS
control. By turning the FX/AMPS control (and by holding
TAP, if necessary), you can switch to another effect.
+If ne f the AMPS LEDs lights up (right half), use
ADJUST t c ntr l either GAIN r VOLUME.
+If ne f the EFFECT LEDs lights up (left half), use
ADJUST t c ntr l the respective effect parameters.
The DISPLAY indicates which preset has been selected
and gives information on the modifications done during
editing. When the TUNER is activated, the DISPLAY indi-
cates which tone is played on the instrument you connected
to your X V-AMP.
Fig. 2.1: X V-AMP display
DOWN. Use this footswitch to dial down presets (99 - 00,
downwards). Keep the footswitch depressed longer to
skip through the presets downwards.
UP. Use this footswitch to dial up presets (00 - 99, upwards).
Keep the footswitch depressed longer to skip through the
presets upwards.
+By simultane usly pressing b th f tswitches, the
TUNER/BYPASS m de is activated. T deactivate it,
y u can simply press ne f the f tswitches.
Additi nal inf rmati n n the TUNER can be f und
in chapter 7 TUNER.
EXPRESSION PEDAL. The expression pedal controls
(among others) the Wah Wah effect. The switch located
beneath the pedal switches the Wah Wah on and off in this
case.
PEDAL ASSIGN lets you assign another function to the
pedal (e. g. volume, effect intensity etc.). See also .
LINE OUT/PHONES. You can take the audio signal of
your X V-AMP at the LINE OUT/PHONES connector. You
can either connect your headphones to the X V-AMP, or
connect the X V-AMP to a mixer.
MONO AMP OUT. Connect the input of your guitar amp
here. In contrast to the LINE OUT/PHONES signal, this
signal is reproduced with a level that is 20 dB lower.
INSTRUMENT INPUT. This is the 1/4" jack input of your
X V-AMP. Connect your instrument here. Always use high-
quality 1/4" mono jack cables.
AC IN. Connect the enclosed power supply to the AC IN
connector. As soon as you plug the power supply into the
mains, your X V-AMP is automatically on. More information
on the power supply can be found in chapter 9
SPECIFICATIONS.
3. OPERATING MODES (CONFIGURATIONS)
SERIAL NUMBER.
3. OPERATING MODES
(CONFIGURATIONS)
An outstanding characteristic of the entire V-AMP product line
is the freedom to personally select which signal segments
(according to your own needs and desires) will be fed to the
outputs. To optimally adjust your X V-AMP to various studio and
live situations, you can select one of the 9 possible configurations.
These configurations assign where individual signals for line
outputs and headphone outputs are coming fromand all this
independent from the settings stored in the presets.
3.1 Selecting a CONFIGU ATION
When you press NOISE GATE and COMPRESSOR at
the same time, CONFIGURATION mode is activated or
deactivated. The key LEDs are blinking as long as you are in
CONFIGURATION mode.
Dialing up individual configurations in CONFIGURATION mode
is done by using NOISE G. and COMPR. . A table with
the respective configurations is shown below.
Volume is adjustable globally by using the ADJUST control.
Input gain can be adjusted using ADJUST + TAP, so that you
can adjust your X V-AMP globally to instruments with varying
output signal levels, whereby the following goes: a higher setting
is for quieter instruments, and a lower setting is for louder
instruments.
3
3
3
$
$
$
)
)
)
23(5$7,1*02'(
RQO\);
(without
speaker and
amp
simulations)
/28'1(66
Increasing bass and highs
35(6(1&(
Accentuation of upper mids, lowering of
bass tones
)/$7 Neutral EQ
/28'1(66
Increasing bass and highs
35(6(1&( Accentuation of upper mids, lowering of
bass tones
;9$03&21),*85$7,21
$03);
(without
speaker
simulations)
35(6(1&(
Accentuation of upper mids, lowering of
bass tones
)/$7
Neutral EQ
3+21(6
(with all
speaker and
amp
simulations
)/$7
Neutral EQ
/28'1(66
Increasing bass and highs
Tab. 3.1: Opera ing modes (CONFIGURATIONS)

8
X V-AMP
4. PRESETS
4. PRESETS
Your X V-AMP features 100 user-rewritable presets (00 -
99). Each preset consists out of a maximum of 7 ingredients:
samp simulation,
sspeaker simulation,
spre-amp effects (noise gate, compressor, Wah Wah),
sadjustable presence and bass EQs,
smodulation effect (e.g. phaser, chorus etc.),
sdelay effect and
sreverb.
When the STORE key lights up, it means that a preset was
modified but has not been stored yet. When the STORE LED is no
longer on, the stored preset shown in the display is active.
When the STORE key blinks (briefly press STORE), you can use
the UP/DOWN footswitches ( & ) to dial up another
storage space, where you can then store the current settings.
Storing is done by keeping the STORE key pressed longer than 2
seconds.
A single factory preset can be restored by keeping TAP +
STORE pressed for longer than 2 seconds. You can also restore
all factory presets by keeping TAP + STORE pressed for longer
than 2 seconds while you are powering up your X V-AMP.
When you dial up a preset or when editing a preset is complete,
the key LEDs indicate the active blocks.
4.1 Calling up presets
The preset you used last is always automatically recalled when
you turn your X V-AMP on.
4.2 Editing presets
Editing presets on your X V-AMP is quick and easy to do. One
way to do this is to call up a preset of your choice and then
modify it according to your own taste. Select an amp model of
your choice by turning the FX/AMPS control.
The STORE LED is lit up, signalizing that you have modified a
preset. If you now wish to add a modulation effect to this preset,
simply press the MODUL key . Now you can use the FX/
AMPS control to make a selection among the effects. To store
your settings, keep the STORE key pressed for about 2 seconds.
+Alm st all delay and m dulati n effects feature a
temp r time parameter. Say, y u want t adjust
an effect t the temp f y ur playback material: T
d this, tap the TAP key at least twice in the beat f
y ur music. The effect temp adjusts itself aut -
matically t the temp f y ur music.
4.3 Storing presets
When the STORE key is blinking (briefly pressing STORE) you
can use the UP/DOWN footswitches ( & ) to dial up
another storage slot so you can store your current settings at
this location. You store your settings by keeping the STORE key
pressed for longer than 2 seconds.
3.2 Application (example)
Our example shows a typical X V-AMP application: Connection to a guitar amp (BEHRINGER V-TONE GMX212) using operating
modes A1-F3 (without speaker simulation). The V-TONE GMX212 features a stereo aux input, while many other amps have only a
mono instrument input. For jam sessions at your own pad, connect a set of high-quality headphones (e.g. our BEHRINGER HPS3000)
to the LINE OUT/PHONES connector.
Fig. 3.1: S andard applica ion (example)

9
X V-AMP
5. AMP/SPEAKER SIMULATION
4.4 Discarding an edited preset/
restoring a single factory preset
If you have edited a preset and find that you dont like the
edited version, simply choose a different preset to discard your
edits. You can restore a single factory preset by keeping TAP +
STORE depressed for longer than 2 seconds.
4.5 estoring all factory presets
Restoring all factory presets is done by keeping
TAP + STORE depressed for longer than 2 seconds while you
power up the X V-AMP.
5. AMP/SPEAKER SIMULATION
The very heart of your X V-AMP is its amp/speaker simulation.
The X V-AMP makes it a childs play for you to choose one of the
legendary guitar amps, be it for brit pop, blues, heavy metal or
whatever. In addition, you can tailor the sound of the respective
amp to suit your ideas. On top of all that, you can even choose
digital effect and reverb types for your virtual amp. See chapter
6 EFFECTS PROCESSOR for more details.
When you turn on your X V-AMP, it automatically loads the last
preset selected. The LED ring around the FX/AMPS control
shows what amp has been selected. The corresponding LED
lights up. To select another amp simply turn the control.
To give you a better overview of the extensive range of amp
simulations on the X V-AMP, we have compiled the following
descriptions of the different types of amps.
CLASSIC CLEAN: Back in the 80s, the Roland JC-120 was
the preferred sound of Buzzy Feiten (guitarist with the Dave
Weckl Band). The unique quality of this transistor amps sound is
the way its brilliance cuts through any mix. It is ideal for the New
Wave sound of the 80s that is making a come-back today. By
the way, the JC-120 was also popular among Fender Rhodes
pianists.
V-AMP CRUNCH: This amp is ideal for modern blues or jazz.
Its sound is not too subtle, but not in-your-face eitherits
crunchy, thats all.
BRITISH PLEXI: This amp model, created by leaning closely to
a 59 Marshall Plexi 100-Watt amp, is particularly well suited for
creating clean sounds. The amp was used by Jimi Hendrix, Eric
Clapton and Jeff Beck.
BRIT CLASS A: This simulation is modeled on the Vox
AC 30. This amp was originally designed in the 60s when
guitarists wanted amps with enhanced brilliance, a feature that
Vox successfully implemented by means of revolutionary bass
and treble controls. Brian May and U2s The Edge are probably
the best-known users of this sound.
BRIT 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 reproducing Steve Ray Vaughans and Michael
Landaus sounds. In distortion mode it sounds like Gary Moore in
his early days, but its also good for heavy metal.
SAVAGE BEAST: Engl is well-known for amps that really cut
through. The Savage 120 in particular has built up a large
following among guitarists. For some time now Ritchie Black-
more has been a major endorser of this German company, and
Randy Hanson, the best Hendrix since Jimi, also swears by this
amp. The unique feature of the Savage is its extreme power and
is therefore highly popular with heavy metal guitarists. Silent
Force/Sinner guitarist Alex Beyrodt has been an enthusiastic
Engl user for years. An amp for making yourself heard!
NUMETAL GAIN: This model is based on a 1994 Mesa Boogie
Dual Rectifier Trem-O-Verb featuring a modern, high-gain sound
that also comes over well in a band context.
MODERN GAIN: Here, the tone control is post-gain, allowing
the extremely distorted sound to cut through the mix. The MODERN
HI GAIN sound is ideal for playing grunge, but is also used by
guitarists such as Steve Vai and Joe Satriani. Among others,
Steve Lukather, Nuno Bettencourt and Steve Vai have all
popularized the Soldano sound. If youre playing a Gibson
Les Paul, MODERN HI GAIN sounds best when you turn down
the volume control on the guitar a little.
BLACK TWIN: This simulation was modeled on a Fender
Blackface Twin from 1965. In the 60s this amp was used by
jazz, country and even rock guitarists. What was unique about
it was that it was exceptionally loud and was therefore mainly
used for live performances. The secret of the Blackface Twin
was that although you could play it extremely loud, the distortion
remained relatively low.
ULTIMATE GAIN: From clean to brutal hi-gain, this brute
covers the entire range. The ULTIMATE V-AMP is basically a
souped-up rectifier amp.
TWEED COMBO: This was Jeff Becks favorite when he
recorded the albums Blow by Blow and Wired. This amp was not
actually designed for heavy distortion, but due to its low power,
it is ideal for uncompromising overdrive sound.
TWEED BASS: This virtual amp is modelled on the Fender
4 x 10 Combo. Originally designed as a bass amp, it soon became
a standard amp of blues legends such as Steve Ray Vaughan or
Billy Gibbons due to its characteristic distortion. As you would
expect, it packs a solid punch in the bass range, but is still
flexible enough in the mid and treble ranges.
SCREAMER: Having been around since the beginning of the
80s, the Ibanez Tube Screamer TS808 has pretty much achieved
cult status. It has the reputation of being the ultimate classical
overdrive/treble booster floor pedal, and is associated with mighty
lead sounds, even though it offers rather modest distortion. Its
secre is that it knows better than other floor pedals how to
squeeze the very last bit out of the amp to which it is connected.
If you hook up a decent tube amp to your X V-AMP (e. g. the
BEHRINGER AC112), with this simulation you can authentically
reproduce the effect of the tube screamerall this without
dishing out too much cash to own a cult piece of equipment.
EL RATON: The Rat from ProCo was also a distortion pedal
similar to the tube screamer, and it also came around about the
same time, but its basic sound and applications couldnt be more
different. As the name suggest, the ra is all about aggressive
distortion from the pedal itself, and the TS808 is more about
unobtrusive overdrive in the amp further down the chain. With
the rat simulation, you have the metal sound of the early 80s
totally covered.
AMP BYPASS: In this setting, no amp simulation is selected.
This makes it possible, for example, to play through an external
guitar preamp and only use the effects.
ACOUSTIC: A guitar with steel strings miked with a dynamic
microphone is simulated here. While piezo pickups have the
tendency to make the sound rather hard, using a mic makes the
sound much more evened-out. Of course, the feedback typical
for miking acoustic instruments is no longer an issue.
Englä, Fenderä, Gibsonä, Ibanezä, Marshallä, Mesa Boogieä, Rolandä, Soldanoä, Voxä
ProCoä, Tube Screamerä, The Ra ä as well he names of musicians and bands are regis ered
rademarks of heir respec ive owners and are in no way associa ed wi h BEHRINGER. The brand
names appearing here are men ioned solely o describe he charac er of sounds and effec s
crea ed in he X V-AMP.

10
X V-AMP
6. EFFECTS PROCESSOR
A special feature of your X V-AMP is its built-in multi-effects
processor module offering 16 different groups of first-class
effects such as chorus, flanger, delay, auto wah as well as
various combinations of effects. You can select one effect out
of each of the three effects blocks (modulation, delay and reverb).
+The standard perating m de f the multi-effects
pr cess r is stere , s y u can use stere effects
f r rec rding purp ses via the LINE OUT r play in
stere using a sec nd amplifier.
+T match speed-based effects t the temp f the
music, please press the TAP butt n at least twice
in the beat f y ur music.
6.1 Effect descriptions
The following section contains short descriptions of the effects
that you can use.
6.1.1 Reverb and delay algorithms
The delay effects can be modified in three parameters:
- Turn ADJUST to modify mix
- Turn ADJUST while TAP is pressed to modify feedback,
and
- Tap the TAP key in the rhythm of your music to modify delay
time.
STEREO DELAY: Delays the input signal. Different tempo
settings let you create a wide array of delay effects. Be
experimental, try going from short to very long delays.
LONG ECHO: Whats so special about this delay effect is that
the repetition interval of the echos is 50% longer than the time
interval measured between two taps on the TAP key. This way,
you can create a frequently used echo effect very simply: if you
tap and play in quarter-note, the echos are located three eighths
away. What the whole thing can sound like is best demonstrated
by U2s guitarist The Edge.
SLAP ECHO: As the name suggests, a delay with a very short
repetition interval. The X V-AMP takes a half of the time interval
measured between the taps on TAP. The echo velocity doubles.
PING PONG: A delay effect that changes position in the stereo
image.
6.1.2 Modulation effects
If modulation effects have been selected (key LED blinks),
you can modify up to four parameters on each effect:
- By turning ADJUST (effect intensity),
- by turning ADJUST while TAP is pressed (second parameter,
please see respective effect description),
- by turning ADJUST while both TAP und MODUL. keys are
pressed (third parameter), you can dial up a different effect
model (1 - 4), and
- by tapping at the TAP key in the rhythm of music (modulation/
speed tempo).
PHASER: The principle behind a phaser is that a second, phase-
shifted signal is added to the audio signal. This makes the sound
richer and, above all, livelier. This effect has been popular for
decades because it can be used to produce slightly modulating
or strongly alienating effects, regardless of what instrument
you are using. Two of the classic versions of this effect that we
simulate are the four-level MXR Phase 90 (1) and the 12-level
Boss PH2 (4). Additionally, the X V-AMP offers two additional
rare versions of an 8-level (2) and a 10-level (3) phaser.
The second parameter controls resonance, the third controls
the phaser model (1 - 4).
PITCH BEND: The Digitech Whammy pedal and the PS5 Super
Shifter from Boss are extremely well-liked effects that produce
an effect signal that is out of tune with the input signal. Models
1 - 4 offer the best pitch bend effects.
Use ADJUST to determine mix.
The PS-5 pitch shifter (1) creates a fixed interval consisting of
several half-tone steps to the input tone. With the T-Arm simulation
(2), this interval is active only as long as the pedal key is
pressed. The tempo at which the interval is reached can be
modified using the TAP key.
With the Whammy effect (3), detuning depends on the position
of the pedal (pedal up = original tone pitch, pedal down = the
interval entered under (2)).
In contrast to the pitch shifter, the detune effect (4) creates a
modest out-of-tune interval, consisting of only a fraction of a
half-tone. It sounds roughly like a permanently activated chorus.
The second parameter controls how much your tone detunes:
- for models 1 to 3 (-12/-7/-5/-3/+3/+4/+5/+7/+12 half-tones),
- for model 4 (-20 to +20% of a half-tone).
The third parameter lets you select between different effects
modules: pitch shift (1), T-Arm (2), Whammy (3) and detune (4).
+Since pitch bend effects 2 and 3 require the
expressi n pedal, this aut matically disengages
ther expressi n pedal functi ns, such as Wah Wah.
In this case, the pedal assign effect LED lights up.
TREMOLO: Simulates the classic Fender DeLuxe tremolo as
well as the Vox AC15 and Gate tremolo. Ever since Trip Hop
gained on importance, this volume modulation effect is totally in.
The second parameter controls the dependence of modulation
tempo on volume: loud input signal = quicker modulation, lower
input signal = slower modulation.
The third parameter lets you alternate between different tremolo
types: Fender (1), Vox (2), Gate (3) and Panning (4).
ROTARY: This is the quintessential simulation of the classic
organ effect normally produced by speakers rotating at slow or
fast speed in an extremely heavy speaker cabinet. This effect
uses the physical principle of the Doppler effect to modulate the
sound.
The second and the third parameters control modulation sound.
FLANGER: This effect is self-explanatory. Originally the flanger
effect was produced by running two synchronized tape
recorders at the same time. The same signals (e.g. a guitar solo)
were recorded on both machines. Putting a finger on the left reel
of one of the machines caused it and the speed of the playback
to slow. The resulting delay produced phase shifts of the signals.
Outstanding examples of this effect genre are for example the
Ultra Flanger on the BF-3 from Boss (1), and the classic BF-2 (2)
as well as the Flanger from MXR (3) and A/DA (4).
The second parameter controls the resonance (effect feed-
back to the input), and the third parameter selects the flanger
model (1 - 4).
CHORUS: This effect adds a slightly modulated off-key element
to the original signal, thus creating a pleasant floating effect
through variations in pitch. One of the most often used studio
chorus effects was the Tri Stereo Chorus, with its 12 (!) voices
that are modulated against each other. The X V-AMP offers you
this effect in two versions (1, 2). Two additional classics are the
Boss Chorus Ensemble CE-1 (3) and the Roland Dimension D (4).
The second parameter controls modulation depth, and the third
parameter selects the chorus model (1 - 4). Modulation speed
can be determined using the TAP key. High depth and speed
values create a signal that is noticeably out of tune.
6. EFFECTS PROCESSOR