Behringer LX1B PRO DJ Equipment User Manual


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11 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual
SILVER PANEL: This simulation reproduces the ’67 Fender Bassman—it’s an amp
from the legendary “Silverface” series. Shortly after its introduction it became
many a bass player’s absolute darling. Paul McCartney used the Bassman on the
later Beatles albums and also used it on his rst solo album with the Wings.
WHITE PANEL: What would the ’80s be without their typical bass sound?
Thisdecade was hugely inuenced by the sound of Gallien/Krueger bass
amps. Some liked the authentic reproduction of transistor-powered amps;
others yearned for the warmth, for that special something that was missing.
Whateverthe case: the Gallien/Krueger was in the early ’80s, along with
Trace Elliot, the amp of choice. Therefore, we chose the WHITE PANEL as the
model for the 800RB, as it is popular even today, and used by the likes of Flea
(RedHotChilliPeppers).
RED PANEL: The relatively young company by the name of SWR started
creating the so-called “L. A.-Sound” in the mid ’80s. The decisive factor was
the combination of tubes (preamp) and transistors (power amp). Since then,
theSWRamps belong surely to the most demanded amps on the market.
TheSWR SM-400 was used as a model for RED PANEL—it’s a 500-Watt mono
head that nds its home in many bass racks due to its rich tone possibilities.
GOLD PANEL: This is a simulation of the Eden Traveller WT-300. This amp got
its name from its developer: David Eden. He proved his engineering prowice at
SWR before starting to design bass amps of his own. Eden amps became famous
through their typically crystal-clear and powerful sound.
CALIFORNIAN: Toward the end of the ’80s Mesa Boogie presented the 400+.
This amp’s head is extremely easy to navigate, and features four preamp tubes
and twelwe amp tubes, delivering a massive 500 Watts of power.
JAZZ TONE: This amp, with its typical Marcus Miller sound, has a classic amp as
its role model: the Polytone A101. It’s a 15" speaker bass combo. If you’re yearning
for a jazzy sound, this is the right amp for the occasion.
BOTTOM END: How times change: nowadays, almost all current music
productions feature a markedly deep bass sound that could previously only
be achieved on a synth. But to preserve “true” liveliness, it is advantageous
to bring in an electric bass. Only then can you have authentic dead notes and
a percussive way of playing. A bass player who became very popular thanks
to his ultra-deep bass sound is Justin Meldal-Johnsen. He played for Beck and
Tori Amos, amongothers. But hip hop, trance and rave musicians will nd this
soundjustright.
TUBE PREAMP: Sound engineers discovered the appeal of a tube very early
on. They use tubes to endow sound sources of all kinds with warmth. You can
modify not only the sound of a bass, but can for example also run a vocal signal
through you BASS V-AMP/BASS V-AMP PRO and polish it with the TUBE PREAMP.
(Thisamp model is however best suited to instill more life into your bass guitar.)
BRITISH CLASS A: Created by using the Vox AC 30 as a role model. The roots of
this amp go all the way back to the sixties. Back then, bass players demanded
sound with a brilliant characteristic, which Vox engineers addressed by including
“revolutionary” bass and treble controls. Brian May and U2 guitarist The Edge are
the most famous users of this amp.
MODERN HI GAIN: In this case, sound controls take a back seat to distortion,
giving the extremely distorted sound more strength. The sound of MODERN HI
GAIN is ideal for grunge guitarists, but also nds its appeal among the guitarists
such as Steve Vai and Joe Satriani. Steve Lukathar, Nuno Bettencourt, Steve Vai
and others made the Soldano sound famous. When using a Gibson Les Paul,
MODERN HI GAIN sounds at its best when the volume control on the guitar itself
is somewhat supressed.
NUMETAL GAIN: This amp’s role model was a 1994 Mesa Boogie Dual Rectier
Trem-O-Verb. Its modern, high-gain-oriented sound marks this amp, and it works
very well when playing in a band. Sound control takes place post distortion,
which makes a “post-treatment” of distorted sounds possible. The amp works
optimally for heavy metal, but also for achieving Steve Lukather sounds.
Themost famous user of this amp is Dream Theater’s guitarist John Petrucci.
CUSTOM HI GAIN: This sound originates in the sound of a ’69 50-Watt Marshall
Plexi Pate modied by Jose Arrendondo. Arrendondo was Eddie Van Halen’s
guitar tech. The amp is characterized by its great mids and the ability to obtain
the ultimate gain without blurring the sound. Attention: addictive!
ULTIMATE PLUS: Those to whom DRIVE V-AMP (see below) is not enough will
nd more gain than they could ever ask for.
CRUNCH V-AMP: This amp is ideally suited for modern blues or jazz sounds:
itssound is neither too low-key nor too intrusive.
DRIVE V-AMP: This is a modern high gain lead amp. It produces a soft but still
formidable sound with a lot of drive, therefore ideal for a lead guitar. The role
model was the Mesa Boogie Mark III.
BRIT. HI GAIN: Compare this model with a Marshall JCM 800. Even though the
original caused a furry mostly due to its distorted sound, this model produces a
similar eect even with moderate gain. You get excellent Steve Ray Vaughan/
Michael Landau sounds. When distorting, it is ideal for producing the old
GaryMoore sound as well as heavy metal sound.
PIEZO SIM: Simulates a piezo pick up. This way, sound with an acoustic character
is created. Electric guitars get this accoustic touch, but without the feedback
typical for acoustic instruments.
MIC SIM: 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.
MAGNETIC EQ: Magnetic pick ups are very common in western guitars because
they can easily be mounted into the instrument’s cavity. However, the sound
produced is not so clear as with piezo systems or with mics, because only the
vibrations of the strings are captured in the signal. This amp model corrects the
tone quality of a magnetic pick up system and gives it an acoustic character.
◊ A discreet ambience effect lets your instrumet sound more “natural”.
PIEZO EQ: The sound character of the instrument is presented a bit more harshly.
The EQ corrects the sound so that the end result sounds like it was directly
recorded using a mic.
BLACK TWIN: A Fender Blackface Twin from the year 1965 was the role model
used for this simulation. In the ’60s, this amp was used by jazz, country and
even rock musicians. Its appeal was in that it was exceptionally loud, so it was
primarily used in live situations. You can drive your Blackface Twin extremely
loud, but the distortion remains moderate even as you increase the volume.
Tryusing it with the sound of a Rhodes electric piano sound or another
electricpiano.
ORGAN CLASSIC: Here we have a simulation of a Leslie 760 amp that strongly
inuenced the classical Hammond sound. During the analysis of this system,
wenoticed distortions that partly spring from the organ tube end amp and partly
from a Leslie. Both characteristics can be controlled with a gain control the same
they would be controlled by using a Hammond volume pedal. This sound and
the rotary cabinet eect make a Rhodes electric piano sound amazing, a clavinet
sound absolutely cool, analog synth sounds (Moog) get even better, and an
electric bass and even drum sounds get nicely elevated.
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