Behringer X V-AMP LX1-X Music Pedal User Manual


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10 X V-AMP LX1-X User Manual
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 rectier amp.
TWEED COMBO: This was Je 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 exible 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 oor pedal, and is
associated with mighty lead sounds, even though it oers rather modest
distortion. Itssecret is that it “knows” better than other oor 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 eect 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 dierent. As the name suggest, the rat 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 eects.
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.
Engl, Fender, Gibson, Ibanez, Marshall, Mesa Boogie, Roland, Soldano, Vox ProCo, Tube Screamer, The Rat as
well the names of musicians and bands are registered trademarks of their respective owners and are in no way
associated with BEHRINGER. The brand names appearing here are mentioned solely to describe the character of
sounds and effects created in the X V-AMP.
6. Eects Processor
A special feature of your X V-AMP is its built-in multi-eects processor module
oering 16 dierent groups of rst-class eects such as chorus, anger, delay,
auto wah as well as various combinations of eects. You can select one eect out
of each of the three eects blocks (modulation, delay and reverb).
◊ 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.
◊ To match speed-based effects to the tempo of the music, please press
the TAP button at least twice in the beat of your music.
6.1 Eect descriptions
The following section contains short descriptions of the eects that you can use.
6.1.1 Reverb and delay algorithms
The delay eects can be modied 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. Dierent tempo settings let you
create a wide array of delay eects. Be experimental, try going from short to
very long delays.
LONG ECHO: What’s so special about this delay eect 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 eect
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 eect that changes position in the stereo image.
6.1.2 Modulation eects
If modulation eects have been selected (key LED (7) blinks), you can modify up
to four parameters on each eect:
• By turning ADJUST (eect intensity),
• by turning ADJUST while TAP is pressed (second parameter,
please see respective eect description),
• by turning ADJUST while both TAP und MODUL. keys are pressed
(third parameter), you can dial up a dierent eect 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eect has been popular for decades because it can be used to
produce slightly modulating or strongly alienating eects, regardless of what
instrument you are using. Two of the classic versions of this eect that we
simulate are the four-level MXR Phase 90 (1) and the 12-level Boss PH2 (4).
Additionally, the X V-AMP oers 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 eects that produce an eect signal that is out of tune
with the input signal. Models 1 - 4 oer the best pitch bend eects.
Use ADJUST to determine “mix”.
The PS-5 pitch shifter (1) creates a xed 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 (18) is pressed. The tempo at which the interval is
reached can be modied using the TAP key.
With the Whammy eect (3), detuning depends on the position of the pedal
(pedal up = original tone pitch, pedal down = the interval entered under (2)).
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