Behringer LX1B DJ Equipment User Manual


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14 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual
Eect no. POST FX
EFFECTS
Controller 40
EFFECTS +
TAP button
Controller 41
TAP button
Controller 46
MIDI 1
Controller 42
MIDI 2
Controller 43
MIDI 3
Controller 44
MIDI 4
Controller 45
1 VCF + FLANGER VCF Mix Flanger Mix VCF Speed Speed/Depth Flanger Feedback VCF Frequency VCF Q
2 DELAY + CHORUS Delay Mix Chorus Mix Delay Time Feedback Feedback LP Speed/Depth Delay Time
3 STEREO DELAY Delay Mix Feedback Delay Time — Feedback LP — Delay Time
4 DELAY / LOOP Delay Mix Feedback Delay Time — — — —
5 REVERB Reverb Mix Decay — Damping Diusion — —
6 AMBIENCE Ambience Decay — Size — — —
7 VOICE BOX Mix Vowel Speed Pedal — — —
8 ULTRABASS SubMix Sensitivity — — — — —
9 ROTARY CAB. Mix Balance Speed Split Frequency — — —
10 PHASER Mix Feedback Speed Feedback LP Stereo Spread — —
11 FLANGER Mix Speed/Depth — Intensity — — —
12 CHORUS Mix Speed/Depth — Intensity — — —
13 STEREO CHORUS Mix Speed/Depth — Intensity — — —
14 SYNTH Synth Mix Variation — — Interval Key —
15 MIDI SYNTH Synth Mix Variation — — — Reverb —
Tab. 6.1: Post FX and MIDI controller
6.2 (OVER)DRIVE simulations
Our overdrive simulations oer you a selection of classic stomp box eects.
Just like with the originals, you can set up drive, tone and boost (see (8) B).
The split function () lets you set up an independent crossover (pre distortion
pedal). Thiscrossover lets the high frequencies pass through without distortion.
(leftposition = o (bypass)/left to right: 41 - 600 Hz). The illustration displays
the frequency range.
ACOUSTIC
SHIFT [TONE]
DEEP [SPLIT]
ROCK 2
JAZZ TONE
CALIFORNIAN
GOLD PANEL
RED PANEL
WHITE PANEL
SILVER PANEL
BRIT. HI GAIN
ORGAN CL ASSIC
BLACK T WIN
PIEZO EQ
MAGNETIC EQ
MIC SIM.
PIEZO SIM.
BOT TOM END
BRITISH CL ASSIC
TUBE PREAMP
CLASSIC CLEAN
600Hz41Hz
470Hz58Hz
362Hz84Hz
251Hz121Hz
174Hz
531Hz49Hz
416Hz70Hz
209Hz145Hz
301Hz101Hz
Fig. 6.1: SPLIT steps
6.3 Post-amp eects
The post-amp eects described in the following paragraphs are located post amp
and cabinet simulations in the signal chain. An integrated crossover determines
at what frequency the eects start working and regulates the bass information
when the unit is used without eects. The cut-o frequency of this 18 dB/octave
Butterworth crossover is regulated in EDIT mode under X-OVER. The display
shows the frequency divided by factor 10. Adjustments are made by using the
bank UP/DOWN keys. If the display shows “-”, the crossover is not activated and
the complete signal is aected by the eects. When, for example, “8” is shown
in the display, this means that frequencies under 80 Hz remain unaected by
theeects.
Volume balance between the high pass and the low pass can be adjusted when
you are setting up the crossover settings by using the EFFECTS control (all the way
to the left = low pass signal only, all the way to the right = high pass signal only).
6.3.1 Reverb and delay algorithms
DELAY+CHORUS: This algorithm combines a delay and the ever-popular
choruseect.
ST. DELAY: A delay of the input signal. Dierent tempo settings enable you to
produce interesting delay eects. This way, you can quickly create repititions
particularly with “slapping” that wouldn’t even be possible withoutadelay.
DELAY/LOOP: This function allows you to jam along with your own signal.
Todothat, record with the delay/loop eect a short sequence (max. 15.36 sec.).
This sequence can be played back in an endless loop.
You can for example use this loop as a foundation for your melody and improvise
around it. To record this sequence via MIDI, send the respective MIDI controller
(see chapter 10 ). When you use this function without MIDI, the delay can last a
maximum of 1023 msecs.
REVERB: The reverb is still the most important eect in a mixdown or during a
live event. A reverb is used to add ambience to an otherwise “dry” sound.
AMBIENCE: This eect simulates a room without reexions.
6.3.2 Modulation eects
PHASER: The phaser functions according to the principle that a second,
phase-shifted signal is added to the original signal. This way, the signal
seems thicker and livelier. This eect was originally used for guitar sounds
and keyboards. In the ’70s, it started being used for other instruments as well
(e.g.electric piano and electric bass).
FLANGER: A anger modulates the tone pitch of a signal upwards and
downwards at a constant tempo.
(STEREO) CHORUS: This eect subtly detunes the original signal. This way,
apleasant eect is created in combination with a tone pitch variation. Thiseect
is particularly well-suited to lend a warm characteristic to the bass sound.
Additionally, when “popping” occurs, it can make the tone sound less intrusive
and harsh.
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