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


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11 X V-AMP LX1-X User Manual
In contrast to the pitch shifter, the detune eect (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 dierent eects modules:
pitch shift (1), T-Arm (2), Whammy (3) and detune (4).
◊ Since pitch bend effects 2 and 3 require the expression pedal,
this automatically disengages other expression pedal functions,
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 eect 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 dierent tremolo types:
Fender(1), Vox (2), Gate (3) and Panning (4).
ROTARY: This is the quintessential simulation of the classic organ eect normally
produced by speakers rotating at slow or fast speed in an extremely heavy
speaker cabinet. This eect uses the physical principle of the Doppler eect to
modulate the sound.
The second and the third parameters control modulation sound.
FLANGER: This eect is self-explanatory. Originally the anger eect 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
nger 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 eect 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 (eect feed-back to the input),
andthe third parameter selects the anger model (1 - 4).
CHORUS: This eect adds a slightly modulated o-key element to the original
signal, thus creating a pleasant oating eect through variations in pitch. One of
the most often used studio chorus eects was the Tri Stereo Chorus, with its
12 (!) voices that are modulated against each other. The X V-AMP oers you this
eect 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.
AUTO WAH: The American funk in the ’70s proved that auto wah had many
possible applications. Instead of regulating the lter frequency with your foot,
our eect does this automatically, depending on the signal level. In doing so,
oureect is similar to the EHX MuTron III in the up position.
The second parameter determines how quickly the lter is shifted; the third
parameter selects the eects block (1 - 4).
P-FUNK’N: This is our attempt at replicating the legendary MuTron III, and we
succeeded! The most famous user of this eect is probably Bootsy Collins.
The MuTron III had an up/down switch. Here, the eect resembles the MuTron in
the down position.
The second parameter determines how quickly the lter is shifted, while the third
parameter determines the eects block (1 - 4).
6.1.3 Special eects
WAH WAH: The legendary Wah Wah eect owes its fame mainly to Jimi Hendrix.
Describing it is certainly more dicult than simply listening to Hendrix using it
on Voodoo Chile.
◊ Wah Wah is not available when auto wah, P-Funk’n or pitch bend are
being used.
COMPRESSOR: Our simulation is based on the well-known MXR Dyna Comp.
Acompressor limits the dynamic range of a signal, in that the signal level is
reduced as soon as a pre-determined threshold is exceeded. A compressor
lets you achieve noticeable and creative sound eects. How strongly the
compressor kicks in is controlled using ADJUST, allowing you to achieve
apparent sustain). When ADJUST is turned all the way to the left, the compressor
function is deactivated.
The second parameter (attack) controls the amount of time that the compressor
needs to react, once the threshold has been exceeded. If you set up a short attack
time, the compressor will react very fast.
NOISE GATE: Noise gates are used to remove or reduce noise or other
interference. Guitar signals in particular are very sensitive to interference.
Notonly do guitarists often use high-gain settings but guitar pick-ups can
amplify unwanted inter-ference. This can be painfully apparent during breaks
in the music. And how does a noise gate work? It simply mutes the signal during
breaks, eliminating any interference at the same time.
The ADJUST control determines, when the noise gate starts processing.
Thiscontrol lets you decide if you want to suppress background noise more or
less pronouncedly. When ADJUST is turned all the way to the left, the noise gate
function is deactivated.
The second parameter (release) determines the time that the noise gate remains
open after it had fallen below the threshold. If you set up a short release
time, this means that the noise gate will suppress the signal very soon after it
detects noise.
6.2 Reverb
The reverb is still one of the most important eects in a mix or at a live event.
BEHRINGER oers you four dierent reverb programs, so that you can always nd
the kind of reverb that ts your excact situation:
Ambience: short room simulation without reverb tail.
Cathedral: a long, rich reverb, like in a cathedral.
Spring: typical sound of a classic spring reverb.
Reverb: universal, warm reverb simulating a concert hall.
ADJUST controls the reverb intensity, while the second parameter
determines decay.
A/DA, Boss, DyTronics, Electro Harmonix (EHX), MXR, Digitech, Vox 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.
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