Behringer V-AMP PRO Musical Instrument Amplifier User Manual


 
13
V-AMPIRE/V-AMP PRO/V-AMP 2
AMERICAN BLUES
MODERN CLASS A
TWEED COMBO
CLASSIC CLEAN
BRIT. BLUES
BRIT. CLASS A
BRIT. CLASSIC
BRIT. HI GAIN
RECTIFIED HI GAIN
MODERN HI GAIN
FUZZ BOX
ULTIMATE V-AMP
DRIVE V-AMP
CRUNCH V-AMP
CLEAN V-AMP
TUBE PREAMP
AND DELUXE
CUSTOM CLASS A
SMALL COMBO
BLACK TWIN
AND CUSTOM
NON TOP BOOST
CLASSIC 50 W
BRIT. CLASS A 15 W
RECTIFIED HEAD
SAVAGE BEAST
CUSTOM HI GAIN
ULTIMATE PLUS
CALIF. DRIVE
CUSTOM DRIVE
CALIF. CLEAN
CUSTOM CLEAN
Tab. 5.2: Loudspeaker/amp simulation default settings
6. EFFECTS PROCESSOR
A special feature of your V-AMPIRE/V-AMP PRO/V-AMP 2 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 effects combinations.
The appendix gives an overview of all MIDI data transmitted
and received by your device.
+ The standard operating mode of the multi-effects
processor is stereo, so you can use stereo effects
for recording purposes via the LINE OUT or play in
stereo using a second amplifier.
You can adjust up to 3 effects parameters on the V-AMPIRE/
V-AMP PRO/V-AMP 2 by turning the EFFECTS control; by turning
the EFFECTS control holding down the TAP button, and simply by
pressing the TAP button while in time to the music.
+ To match speed-based effects to the tempo of the
music, press the TAP button at least twice in time
to the music.
1 ECHO Mix Feedback Delay Time
CC49, val 1 CC54 CC53 CC50+51
2 DELAY Mix Feedback Delay Time
CC49, val 0 CC54 CC53 CC50+51
3 PING PONG Mix Feedback Delay Time
CC49, val 2 CC54 CC53 CC50+51
4 PHASER/DELAY Delay Mix Mod. Mix Delay Time
CC55, val 1 + CC49, val 0 CC54 CC59 CC50+51
5 FLANGER/DELAY 1 Delay Mix Mod. Mix Delay Time
CC55, val 5 + CC49, val 0 CC54 CC59 CC50+51
6 FLANGER/DELAY 2 Delay Mix Mod. Mix Delay Time
CC55, val 5 + CC49, val 2 CC54 CC59 CC50+51
7 CHORUS/DELAY 1 Delay Mix Mod. Mix Delay Time
CC55, val 3 + CC49, val 0 CC54 CC59 CC50+51
8 CHORUS/DELAY 2 Delay Mix Mod. Mix Delay Time
CC55, val 3 + CC49, val 2 CC54 CC59 CC50+51
9 CHORUS/COMPRESSOR Sense Mod. Mix Modulation Speed
CC55, val 4 + CC44, val 1 CC45 CC59 CC58
10 COMPRESSOR Sense Attack -
CC44, val 1 CC45 CC46
11 AUTO WAH Depth Speed -
CC44, val 2 CC45 CC46
12 PHASER Mix Feedback Modulation Speed
CC55, val 1 CC59 CC58 CC56
13 CHORUS Mix Depth Modulation Speed
CC55, val 4 CC59 CC57 CC56
14 FLANGER Mix Feedback Modulation Speed
CC55, val 6 CC59 CC58 CC56
15 TREMOLO Mix - Modulation Speed
CC55, val 2 CC59 CC56
16 ROTARY Mix Depth Modulation Speed
CC55, val 0 CC59 CC57 CC56
Tab. 6.1: Effects and MIDI controllers
+ Table 6.1 shows the MIDI controllers for the
corresponding parameters. The settings are made
via MIDI. A detailed list of all controllable MIDI
parameters will be available free of charge on the
BEHRINGER internet site: www.behringer.com.
6.1 Wah Wah
The MIDI function enables you to use an additional Wah Wah
effect. The optimum control of this effect is achieved by using a
MIDI foot controller with expression pedal, e.g. our BEHRINGER
MIDI FOOT CONTROLLER FCB1010.
+ Adjust the filter characteristic and grade in the DRIVE
menu by simultaneously pressing TAP and turning
the EFFECTS control (see also B).
6.2 Effect descriptions
The following section contains short descriptions of the effects
that can be produced using the multi-effects processor.
6.2.1 Reverb and delay algorithms
REVERB: Reverb is still the most important effect for mixing or
live performance. Thats why we at BEHRINGER make a point of
giving you as many as nine different reverb programs so that
you can use the most suitable reverb program for any situation.
The reverb effect can be added separately to all the other effects
(see chapter 6.2).
ECHO: Echo is similar to the stereo delay effect in that it is a
delayed repetition of the input signal. The main difference is that
the high-frequency content of the repeated signals steadily
decreases. This simulates a tape delay used in the pre-digital
era, producing a vintage sound. In addition, the reflections are
routed in turn to the left and right channels, creating a quasi-
stereo effect.
6. EFFECTS PROCESSOR