Behringer V-AMP2 User's Manual
Contents
1. 7 6 18 6 17 8 20 21 gl NI 4 5 2 Car w lt ww GAIN AUX LEVEL Et 7 TREBLE PRESENCE v pave REVERE GATE EFFECTS CONFIGURATION ROTARY s or sed s d 2 fs 7 22 gt E d ease ues AUTO WAH TAL 10 XE mm CHORUS DELAY co 47 123 Epi J ET 2 PAR cn 1 1 PREAMP BYPASS 2 REVERB p om Pad 121114 13 15 Fig 1 1 Control elements user interface 1 INTRODUCTION 7 2 The MASTER control determines the volume of the V AMP 2 Apart from the AUX LEVEL control 20 this is the only conventional control on the V AMP 2 All the other controls are encoder type rotary controls The VOLUME control is for the volume of the selected preset The BASS control in the EQ section is for raising or lowering the low frequency range The MID control is for raising or lowering the mid range frequencies2. 3 When you select an amp simulation an appropriate speaker simulation is activated automatically see tab 8 2 in the appendix Otherwise the authenticity of the sound could be affected by an unsuitable cabinet especially if you are using headphones Naturally you can combine the amp simulations with other cabinets according to taste 41 Ampdescriptions AMERICAN BLUES This virtual amp is modelled on the Fender Bassman 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 flexible enough in the mid and treble ranges AND DELUXE A synthesis of a 1960 Fender Blackface Deluxe and a 50s Fender Bassman The result is a crystal clear sound that still simlates the edge of the vintage amps The V AMP 2 sound control gives you even greater scope than the EQ controls on the originals MODERN CLASS A This amp is characterized by its slight distortion and sounds almost like hi fi It is modelled on the Matchless Chieftain a very expensive hand made amp CUSTOM CLASS A The model for this simulation was the Budda Twinmaster This Class A amp was renowned for its warm sound combined with irresistible tube distortion Although the original amp did not have a mid control we have given the V AMP 2 the capability of suiting the mid range to your taste
3. TWEED COMBO This was Jeff 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 SMALL COMBO This modelis based on the 1960 Tweed Champ The main attraction of this amp simulation is when the DRIVE function is used a lot Although this amp was actually designed for beginners on the guitar it soon became a favorite amp of many guitar afficionados The reason for that was that it produced an 4 AMP SPEAKER SIMULATION 15 2 amazingly distorted sound even at low volume The Tweed Champ had volume control but EQ control If you want to get the most authentic sound out of this amp keep the sound control on the V AMP 2 in the mid range CLASSIC CLEAN Back in the 80s the Roland JC 120 was the preferred sound of Buzzy Feiten guitarist with the Dave Weckl Band The unique quality of this transistor amp s sound is the way its brilliance cuts through any mix It is ideal for the New Wave sound of the 80s that is making a come back today The JC 120 was also popular among Fender Rhodes pianists by the way BLACK TWIN This simulation was modeled on a Fender Blackface Twin from the year 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 t
4. The TUNER button is for switching on the tuner In addition this button can also be used to leave the EDIT mode Use the two arrow keys to select a different bank BANK DOWN and BANK UP You can skip banks by holding each of the keys down To activate the EDIT mode press both keys simultaneously If you press one of the keys A E L8 in that mode the arrow keys can be used for setting parameters The DISPLAY shows you what preset bank you have selected and gives you information on parameter changes when you are editing In TUNER mode the DISPLAY shows the pitch of the instrument connected to the unit If the amplifier simulations 17 32 have been selected the LED in the bottom left hand corner of the DISPLAY lights up 1 3 2 Connections on the V AMP 2 side panel 16 17 AUX LEVEL iva Fig 1 2 Connections on the V AMP 2 side panel Connect the stereo jack plug of your FS112V footswitch to the FOOTSWITCH socket This will enable you to recall the presets from one bank To switch on the tuner hold down the DOWN button on the footswitch for more than two seconds You can also switch the tuner off again using the same button The V AMP 2 has MIDI inputs and outputs to which you can connect a MIDI foot pedal e g the BEHRINGER MIDI FOOT CONTROLLER FCB1010 or a PC 1 INTRODUCTION 9 18 19 20 21 22
5. TREBLE controls the high frequency range of the activated preset If the TAP key 12 is down the TREBLE control changes to a PRESENCE control This enables you to boost cut a high frequency filter tuned to whatever amp model is active thus simulating the frequency sensitive coupling of tube amps The GAIN control determines the distortion level The AMPS control is for selecting one of 32 different amplifier simulation models The control is surrounded by a ring of 16 LEDs Each LED corresponds to two types of amplifier The first 16 simulations can be selected by turning the AMPS control marked on the housing in white To select the simulation models 17 32 marked on the housing in gray press down the TAP key while making your selection by turning the AMPS control The LED 17 32 in the bottom left hand corner of the DISPLAY indicates that one of the simulation models 17 32 has been selected In adddition you can activate a PREAMP BYPASS by pressing the key combination TAP and TUNER If PREAMP BYPASS has been selected none of the LEDs on the AMPS control lights up These five keys are for selecting a preset A E within one bank In EDIT mode activated by simultaneously pressing the arrow keys described in 141 the keys perform the function printed directly above them A Accesses the MIDI functions Use the arrow keys to set the MIDI channels for transmitting and receiving 1 through 16
6. 23 2 Connect the enclosed power supply unit the AC IN socket The balanced LINE OUT 1 4 sockets provide the audio signal from the 2 in stereo for example for recording purposes You can connect the LINE OUT outputs with balanced or unbalanced jack plugs The left line output of the 2 can be used to route the audio signalto a guitar amp with a mono input Please note that the signal from the multi effects processor will then not be available in stereo either The AUX LEVEL control is used for determining the volume of the signal received at the AUX IN input The AUX IN jack socket enables you to feed in additional stereo signals on the V AMP 2 and play with a drum computer or play back for example The PHONES jack allows you to monitor the V AMP 2 audio signal with standard headphones When you connect your headphones the V AMP 2 automatically activates studio mode 1 S1 If the current preset or setting does not have a cabinet model the V AMP 2 will also select a default speaker simulation automatically as soon as you plug in your headphones The standard cabinet simulations are shown in tab 8 2 However you can intentionally change or deactivate the simulation when using headphones by selecting in the CABINETS mode The INPUT socket is the V AMP 2 s 1 4 jack socket for your guitar Please use a standard 1 4 mono jack cable 2 EXAMPLES OF USE CONFIGURATIONS To adapt the V
7. B Selects the DRIVE function This noticably raises distortion and volume Use the arrow keys to switch DRIVE on and off The DRIVE function is wired before the GAIN control While editing the DRIVE function you can also activate and adjust the wah wah effect by turning the EFFECTS control The LEDs surrounding the EFFECTS control indicate the position of the pedal If none of the LEDs lights up the wah wah is bypassed C This key activates the CABINETS mode Use the arrow keys to select the type of speaker or combination of speakers you want You can also switch off the speaker simuilation completely For further details please refer to chapter 4 2 Speaker descriptions D Use this key to select the HEVERB function The arrow keys can be used to select one of nine different types of reverb in addition to the multi effects processor For further details see chapter 5 2 E Here you can activate the NOISE GATE function Use the arrow keys to adjust the noise reduction level CONFIGURATION If you press the B and D keys simultaneously in Play mode you can select the V AMP 2 s general operating modes allowing adjustments to different studio and live situations see chapter 2 If an effect has been selected 110 its part of the overall sound can be set using this EFFECTS control If you select the Compressor effect you can use the EFFECTS control to adjust the compression intensity If you turn the control to
8. TWIN COMBO IBLACKTWIN 2 x 12 TWIN COMBO 2x 12 BRIT 67 2x 12 BRIT 67 BRIT HIGAIN _ 12 4x1e VINTAGEGo ERIT LASS ATSW rx 12 BRIT 4 x 12 V AMP CUSTOM 4 x 12 STANDARD 78 TUBE PREAMP po cab ruse on vocas CUSTOM CLEAN 5 BLAGKFAGE Tab 8 2 Default cabinets amp models 8 APPENDIX 25 9 SPECIFICATIONS AUDIO INPUTS Guitar input Input impedance Aux inputs Input impedance AUDIO OUTPUTS Line outputs Output impedance S N ratio Headphones MIDIINTERFACE Type DIGITAL PROCESSING Converters Sampling rate DSP Delay time DISPLAY Type POWER SUPPLY Power consumption DIMENSIONS WEIGHT Dimensions H x W x D Weight BEHRINGER constantly strives to maintain the highest quality standards Modifications may be made if necessary without prior V AMP 2 1 4 mono phone jack unbalanced approx 1 1 4 stereo connector balanced approx 50 1 4 stereo connector balanced approx 2 90 dB preamp bypass 1 4 stereo phone jack 5 pos DIN jacks IN OUT 24 Bit Delta Sigma 64 128 oversampling 31 250 kHz 100 Mips max 1 933 ms 2 digit numeric LED 13 W approx 2 1 2 63 mm x 9 1 4 236 mm x 7 1 8 180 mm approx 1 2 kg notice The specifications and appearance of the equipment may therefore differ from those listed or illustrated 26 9 SPECIFICATIONS 2 10 WARRANTY 1 WARRANTY CARD ONLINE REGISTRATION To
9. u u u 15 4 1 Aine enete rane 15 4 2 Speaker 17 5 EFFECIS PROCESSOR saiisicssssiccsscarsiseantstscrndassieaxeceriatvesacsyiacwessrasiniacucsacenncisiunseeuniarasnduanauies 18 5 1 iEMSCHASSCHIPUOMS cm 19 Reverb and delay algorithms 19 Modulation uuu wee ves dal gee sv FAAEE ANNEER A 19 Combinations of effect algorithms multi effects programs 19 uuu uu EE 20 5 2 The separate reverb effect 20 uu 21 6 1 TUNING your guitar 21 6 2 Setting reference 21 Ta INSTALLATION 22 7 1 Ve oke olaja ei eTa ERR 22 7 2 MIDIGONNeGIIOSu u SS S ea A i ee et 23 7 2 1 Sending receiving MIDI Sysex 23 APPENDIX 24 8 1 MIDI ampletmentatiOr uuu a E 24 8 2 Default cabinets amp 25 9 SPECIFI
10. using the EFFECTS control allows you to compress the overall dynamic range of the material AUTO WAH The legendary wah wah effect owes its fame mainly to Jimi Hendrix Describing it is certainly more difficult than simply listening to Hendrix using it Voodoo Chile In American funk music of the 70s you can hear auto wah effects used in a variety of applications The auto wah alters its filter frequency automatically depending on the signal s magnitude rather than being controlled by the position of a pedal TREMOLO Simulates the classic Fender Tremolo It has returned to popularity with trip hop ROTARY This is the quintessential simulation of the classic organ effect normally produced by speakers rotating at slow or fast speed in an extremely heavy speaker cabinet This effect uses the physical principle of the Doppler effect to modulate the sound 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 interference 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 5 2 The separate reverb effect The reverb effect from your V AMP 2 is independent of the multi effects processor and can be added to the mix signal at any time To
11. 3 band EQ with amp model dependent characteristics A New presence control adjusts a high frequency filter simulating the negative feedback of tube amps A Extremely low noise S N ratio now 90 dB A Adjustable stereo aux input for line level signals CD drum box sound card MIDI backing etc A Stereo line output with virtual speaker simulation for recording and live applications A Five new practical configuration modes for various studio and live applications some with additional global 3 band EQ A Master volume control and stereo headphones output A Extensive MIDI implementation allows complete real time remote control and automation data transfer and access to additional parameters A Built in auto chromatic tuner A Tap tempo function allows real time adjustment of effects soeed parameter A Professional noise reduction system on board A Gig bag and dual footswitch for preset selection and tuner control included A The V AMP is protected by US patents No D444 169 and D444 493 A Manufactured under 1509000 certified management system 4 2 TABLE CONTENTS 1 INTRODUCTION 6 1 1 The new functions of the V AMP 2 6 ta Bolbro eorom a n 7 12 1 Serial iieiea a a 7 1 85 Gontrolelemenls 20 ntt tcrra euer tere
12. AMP 2 best to different studio and live situations you have a choice of five modes CONFIGURATION Regardless of the settings on the unit itself these modes determine from where the V AMP 2 s output signal is taken And the left and right output signals can be used differently at the same time too One look at the following table will clearly show that you can optionally take the signal with or without speaker simulation or sound control at the V AMP 2 output The effects signal at the output does not necessarily have to be present on both sides either Operating mode LINE OUT L LINE OUTR Applications Studio 1 51 Stereo operation Wilh selecied 2 AC effects and speaker simulations g f line channel on the mixing console Left Right Recording situation with the left channel connected to the dry signal only with modulation recording device The right channel is used for monitoring Studio 2 S2 plus delay and only with effect Advantage while recording you don t have to specify the effect used during the mix down but can still monitor wet signals Stereo operation V AMP 2 connected to a guitar amp with stereo input The Live 1 L1 additional 3 band EQ additional EQ BASS MID amp TREBLE controls allows you adjustable in to match the sound to the amplifier used The additional auto wah reverb effects CONFIGURATION mode EQ does not affect the settings of your presets Here too the V AM
13. and packing Such costs will also be invoiced separately when the buyer has sent in a written repair order S5WARRANTY TRANSFERABILITY This warranty is extended exclusively to the original buyer customer of retail dealer and is not transferable to anyone who may subsequently purchase this product No other person retail dealer etc shall be entitled to give any warranty promise on behalf of BEHRINGER S 6 CLAIM FOR DAMAGES Failure of BEHRINGER to provide proper warranty service shall not entitle the buyer to claim consequential damages In no event shall the liability of BEHRINGER exceed the invoiced value of the product 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW 1 This warranty does not exclude or limit the buyer s statutory rights provided by national law in particular any such rights against the seller that arise from a legally effective purchase contract 2 The warranty regulations mentioned herein are applicable unless they constitute an infringement of national warranty law Customers in the European Union please contact BEHRINGER Germany Support for further details The information contained in this manual is subject to change without notice No part of this manual may be reproduced or transmitted in any form or by any means electronic or mechanical including photocopying and recording of any kind for any purpose without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH All the regis
14. be protected by the extended warranty the buyer must complete and return the enclosed warranty card within 14 days of the date of purchase to BEHRINGER Spezielle Studiotechnik GmbH in accordance with the conditions stipulated in 3 Failure to return the card in due time date as per postmark will void any extended warranty claims Based on the conditions herein the buyer may also choose to use the online registration option via the Internet www behringer com or www behringer de 2 WARRANTY 1 BEHRINGER BEHRINGER Spezielle Studiotechnik GmbH including all BEHRINGER subsidiaries listed on the enclosed page except BEHRINGER Japan warrants the mechanical and electronic components of this product to be free of defects in material and workmanship for a period of one 1 year from the original date of purchase in accordance with the warranty regulations described below If the product shows any defects within the specified warranty period that are not excluded from this warranty as described under 3 and 4 BEHRINGER shall at its discretion either replace or repair the product using suitable new or reconditioned parts In the case that other parts are used which constitute an improvement BEHRINGER may at its discretion charge the customer for the additional cost of these parts 2 If the warranty claim proves to be justified the product will be returned to the user freight prepaid 3 Warranty claims other than those indicat
15. clean sounds It was used by Jimi Hendrix Eric Clapton and Jeff Beck CLASSIC 50 W This is also a Plexi but we have extensively widened its sound range The sound controls on the original Marshall Plexi 50 Watt hardly had any effect on the sound if distortion was high BRITISH HI GAIN Compare this model with a Marshall JCM 800 Although the original was renowned mainly for its distorted sounds this amp also sounds very good with low gain settings It s good at reproducing Steve Ray Vaughan s and Michael Landau s sounds In distortion mode it sounds like Gary Moore in his early days but it s also good for heavy metal BRITISH CLASS A 15 W Another Vox model based on the first channel of an AC 15 from 1960 Unlike the AC 30 this amp had only one 12 speaker instead of two and produced a warmer sound Tip to make this simulation sound as authentically as possible leave the BASS and MID controls in mid travel position and vary the TREBLE control only RECTIFIED HI GAIN This model is based on a 1994 Mesa Boogie Dual Rectifier Trem O Verb featuring a modern high gain sound that also comes over well in a band context The tone control is post gain which allows you to tailor distorted sounds to great effect This amp is perfect for heavy metal but also for Steve Lukather sounds The best known user of this amp is Dream Theater s guitarist John Petrucci RECTIFIED HEAD This simulation is modeled on a Mesa Boogie Dual Rectifier top Un
16. controls not only all the keyboards but also effects and other peripheral devices In such a studio set up you can control the V AMP 2 in real time from a computer For live performances in particular you can also use a MIDI Foot Controller to control both effect parameters and preset changes on your V AMP 2 The MIDI connectors on the side panel of the V AMP 2 are international standard 5 pin DIN jacks To connect your V AMP 2 to other MIDI equipment you will need dedicated MIDI cables They are commercially available in various standard lengths MIDI IN receives MIDI controller data The receiving channel can be adjusted in EDIT mode by pressing the A button and then using the arrow keys MIDI OUT MIDI OUT is for sending data to a computer or any other devices You can transmit both preset data and parameter changes 7 2 4 Sending receiving MIDI Sysex data The V AMP 2 can receive system exclusive data from other MIDI devices provided that the MIDI function button A has been activated in EDIT mode However this means that all presets on the V AMP 2 will be overwritten automatically You can also transmit MIDI data from your V AMP 2 to other devices total dump by switching to EDIT mode and pressing the MIDI button until the display reads d The total dump function can be useful for transferring all the stored data from your V AMP 2 to a MIDI sequencer and storing it there To send individual presets to other devices switch to EDIT mode
17. duit Pr ade pred ut aa 7 Lo Usar ena uuu E E TTS 7 1 3 2 Connections the V AMP 2 side 9 2 EXAMPLES OF USE CONFIGURATIONS nennen nenne nennen nnn nnne 10 2 1 Selecting CONFIGURATION modes 11 2 2 Standard set up with guitar footswitch and external 11 2 3 RECONGING uuu uq 12 2 4 Live set up with an external 12 2 5 Live set up with P A system and your own monitor on 13 VAMP 2PRESETS u u u L 13 31 Calling Up presets 13 93 2 EdillligipreSels eii ed eir rei tore diede a dator a ukku aqhayay 14 3 3 Storing pfesels oc tion eet eiie True Co eee ed EB RE es 14 3 4 Discarding an edited preset recovering a factory programmed preset 14 3 5 Restoring all factory programmed presets enne nennen 15 AMP SPEAKEHRH SIMULATION U U u
18. edit the REVERB function press button D in EDIT mode pressing the two arrow keys simultaneously and use the two arrow keys to select one of the nine different reverb types available uid 2 Small Room Classic room simulation featuring various room sizes from bathroom to cathedral 5 Ultra Room Special effect transforming guitar signals into heavenly pad sounds Meer oer Simulations of typical spring reverbs 8 Short Ambience Simulates the early reflections of a 9 Long Ambience reverbless room Tab 5 2 The different types of reverb effects on the V AMP 2 20 5 EFFECTS PROCESSOR 2 6 TUNER Press the TUNER button to activate the built in tuner 61 Tuning your guitar The chromatic tuner automatically recognizes the frequencies of all the standard guitar notes For the A string this means a frequency of 220 Hz When you plug your guitar into the V AMP 2 and play an open string the tuner will recognize and display the note Since the tuner uses an auto chromatic scale it can also recognize semi tones which are shown with a b in the display It may happen however that a note is displayed as A but is actually slightly out of tune This is shown by at least one of the four LEDs at the foot of the display lighting up In certain cases even two of the LEDs may light up which indicates that the pitch of the note played lies between the pitches represented by the two LEDs When the circu
19. processor in your 2 EXI EXI 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 5 2 ECHO Echo 15 like the stereo delay effect in that it is a delayed repetition of the input signal apart from the fact that the high frequency content of the repeated signals steadily decreases This simulates tape delay used in the pre digital era producing a vintage sound In addition the reflections are routed in turns to the left and right channels creating a quasi stereo effect DELAY This algorithm delays the input signal with different tempo settings producing interesting delay effects U2 s The Edge has impressivley demonstrated the potential of this effect PING PONG A delay effect that changes position on the stereo channels Modulation effects PHASER The principle behind the phaser is that a second phase shifted signalis added to the audio signal This makes the sound richer and above all livlier This effect is popular among guitarists and keyboard players alike but was also used extensively in the 70s with other instruments such as electric pianos Depending on how you set it the V AMP 2 phaser can be us
20. AMP Here we have managed to simulate the sound of a Roland JC 120 and comined it with our BRIT CLASSIC model The result is the brilliance of a transistor amp which however features the cutting power of a Marshall Plexi Turn the GAIN control clockwise and the Marshall comes in CALIFORNIA CLEAN This model is based on the clean channel of the Mesa Boogie Mark c It sounds a little like a Fender but has more of a punch in the mid range TUBE PREAMP Sound engineers were quick to recognize the appeal of tubes They used tube amps to add warmth to all kinds of sounds This amp model is not only for refining guitar sounds Try putting a vocal track through the V AMP 2 and give it the finishing touch with TUBE PREAMP CUSTOM CLEAN This simulation is of the clean channel on our Dumble amp PREAMP BYPASS In this setting no amp simulation is selected This makes it possible for example to play through an external guitar preamp and only to use the effects or the speaker simulation on the V AMP 2 To activate the PREAMP BYPASS press TAP and TUNER Fender Vox Marshall Mesa Boogie Gibson Soldano Matchless Dumble Budda Tweed Roland and the names of musicians and groups are registered trademarks belonging to the respective owners and are in no way associated with BEHRINGER 4 2 Speaker descriptions The sound of any guitar combo depends largely on the type and combination of speakers used In the p
21. CATIONS iu ua uu 26 e 27 CAUTION I amp Please note that high loudness levels may cause permanent damage to your hearing Turn the VOLUME control down all the way before switching on the equipment Be sure to keep the volume at an appropriate level 2 1 INTRODUCTION Congratulations The 2 you have purchased is the revised version of the state of the art virtual guitar amplifier that has set new standards Our ultimate aim in developing it was to create the authentic sound of classic amplifiers by means of physical modeling and to combine this with the latest DSP effects The V AMP 2 has a number of decisive advantages over its predecessor the V AMP the number of amp simulations has been doubled there are now five globally adjustable operating modes and you can also use this device purely as an effects unit thanks to its innovative Preamp Bypass Once again we took up the challenge of creating a device that would still be talked about for years to come The 2 is an all purpose device that offers 32 authentic amplifier sounds and in fact even special speaker sounds without causing you any transport problems In addition it has all the versatility of sound provided by state of the art multi effects processor technology In short the V AMP 2 gives you a sound tool that has eve
22. P 2 can be connected to a guitar amp with a stereo input The additional EQ BASS Live 2 L2 iaa TREBLE controls allows you to match the sound to the but without cabinet simulation amplifier used However since no cabinet simulation is enabled speaker sound is determined by the combo cabinet used effects but without additional is used for the mix I Right V AMP 2 as a stage amp with the left output connected additional with cabinet and by 3 band EQ with modulation dela to a line input on the monitor amp The additional EQ Live 3 L3 tion del nditevorb off id BASS MID amp TREBLE controls allows you to match the d nd 5 ay but i sound optimally to the monitor amp The right channel DI TEVEN Out is connected to mixing console stage box 10 cabinet simulation 3 band EQ Tab 2 1 V AMP 2 modes with examples of use 2 EXAMPLES OF USE CONFIGURATIONS 2 I3 In modes L1 L2 and L3 the additional 3 band EQ is set with the BASS MID and TREBLE controls As this EQ works globally it has no effect on the settings of these three controls from the preset programming I f you plug in your headphones the V AMP 2 automatically selects S1 mode 2 1 Selecting CONFIGURATION modes Your V AMP 2 left the factory set in Studio 1 S1 mode To change modes you have to switch to CONFIGURATION mode To do this pr
23. SE CONFIGURATIONS 2 For this application please select mode L1 L2 under CONFIGURATION depending on whether you want to have the external amp with or without cabinet simulation Thus you can also optimize the sound on the amp with TREBLE and BASS of the global 3 band 2 5 Live set up with P A system and your own monitor amp on stage This application is intended to give you your own guitar signal on stage so that you can have complete control of intentionally produced feedback for example The monitor amp is controlled via LINE OUT L including additional 3 band EQ and effects but no cabinet simulation LINE OUT R feeds the DI signal to the P A mixer Here the effects and cabinet simulation can be used without the 3 band monitoring EQ 00000000 BLUE DEVIL GX112 Mixing Console Line Out L Line Out R MIDI FOOT CONTROLLER FCB1010 Electric Guitar Fig 2 4 Live set up with P A system and on stage monitor amp I gt Forthis application please select CONFIGURATION mode L3 You can adjust the sound on the left channel for your stage amp independently using the global 3 band EQ 3 V AMP 2 PRESETS The V AMP 2 has 125 overwritable presets divided into 25 banks In other words there are five presets available per bank Each preset consists of a maximum of five ingredients amp simulation including GAIN EQ and VOLUME settings cabinet model compleme
24. TREBLE AMPS A TUBE PREAMP CLEAN VAMP _____ AMERICAN BLUES CRUNCH ____ DRIVE V AMP ___ ULTIMATE V AMP MODERN CLASS A TWEED COMBO CLASSIC CLEAN FUZZ BOX _ BRIT BLUES MODERN HI GAIN __ BRIT CLASS A RECTIFIED HI GAIN _ BRIT CLASSIC BRIT HI GAIN BEHRINGER VOLUME MASTER V AMP 2 User s Manual 2 9 Version 1 1 January 2002 Q EFFECTS 22 D ROTARY TREMOLO 77 ECHO FLANGER DELAY CHORUS e PING PONG PHASER PH DELAY AUTO WAH 5 FL DELAY 1 COMPRESSOR FL DELAY 2 CHORUS COMP CH DELAY 1 CHORUS DELAY 2 REVERB IBEHRINGER INSTRUMENT AMPLIFICATION 2 INSTRUCTIONS CAUTION To reduce the risk of electric shock do not remove the cover or back No user serviceable parts inside refer servicing to qualified personnel WARNING To reduce the risk of fire or electric shock do not expose this appliance to rain or moisture CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN This symbol wherever it appears This symbol wherever it appears alerts alerts you to the presence of you to important operating and uninsulated dangerous voltage inside maintenance instructions in the the enclosure voltage that may be accompanying literature Read the sufficient to constitute a risk of shock man
25. a highly ambitious goal to improve on what is already an excellent virtual guitar amp whose highly developed sound and remarkable array of functions offers you maximum flexibility and performance Naturally the task of developing our new V AMP 2 was a great responsibility At all times the focus was on you the discerning user and musician Meeting these demands meant a lot of effort and late nights for us and a lot of fun too A development project of this kind always brings a lot of different people together That makes it all the better when everyone involved is proud of the result Giving you a share in our enjoyment is our philosophy That s because you are the most important member of our team It is your competent proposals for new products that have helped to shape our company and make it a success In return we can guarantee you uncompromising quality excellent sound and technical features at very reasonable price All of this enables you to let loose your creativity without the price getting in the way We re often asked how we manage to produce equipment of this quality at such incredibly low prices The answer is very simple you make it possible A large number of satisfied customers means high production volume High production volume means that we can get better purchasing terms for components etc And isn t it only fair to pass on these benefits to you After all your success is our success too would like to thank all of those
26. ast 50 years there has been widespread experimentation to find out what type of speaker is best suited to any one specific guitar sound and in what way the sound is modified when a certain speaker is combined with others I When you select an amp simulation an appropriate speaker simulation is activated automatically see tab 8 2 in the appendix Otherwise the authenticity of the sound could be affected by an unsuitable cabinet especially if you are using headphones Naturally you can combine the amp simulations with other cabinets according to taste The character of a loudspeaker is a combination of its power rating impedance sound pressure and size as well as the material it is made of 8 10 and 12 speakers have established themselves as the best sizes for electric guitar amplification The following list shows the speaker cabinets on the V AMP 2 4 AMP SPEAKER SIMULATION 17 2 BYPASS NO SPEAKER SIMULATION 4 x 10 V AMP CUSTOM 6 1x 12 BRIT 60 1x 12 DELUXE 52 8 2x12TIWINCOMBO 9 2x 12 US CLASS A 2 x 12 BRIT 67 4 x 12 VINTAGE 30 4 x 12 STANDARD 78 4x 12 OFF AXIS 4 x 12 V AMP CUSTOM Tab 4 1 Cabinets on the V AMP 2 5 EFFECTS PROCESSOR A special feature of your V AMP 2 is its built in multi effects processor module offering 16 different presets of first class effects such as chorus flanger delay and auto wah as well as various combinations of effects The MIDI
27. ave stored and restores the factory programmed presets 4 AMP SPEAKER SIMULATION The very heart of your V AMP 2 is its amp speaker simulation The 32 simulation models can make work in a home recording studio very much easier because it isn t necessary to mike up the guitar amp The V AMP 2 makes it child s play for you to choose one of the legendary guitar amps be it for Brit Pop Blues Heavy Metal or whatever In addition you can tailor the sound of the respective amp to suit your ideas and then connect it virtually to one of 15 speaker simulations cabinets And on top of all that you can even choose digital effect and reverb types for your virtual amp See chapter 3 V AMP 2 PRESETS for more details When you switch on the V AMP 2 it automatically loads the last preset selected The LED ring around the AMPS control shows what amp has been selected The corresponding LED lights up To select another amp simply turn the control Use the VOLUME BASS MID TREBLE and GAIN controls to modify the basic sound of the amp Hold down the TAP button and turn the TREBLE control to raise or lower an additional high frequency PRESENCE filter see 5 As a rule you will want to select an amp first then a cabinet and finally an effect See chapter 3 for how to store your modifications To give you a better overview of the extensive range of amp simulations on the V AMP 2 we have compiled the following descriptions of the different types of amp
28. by pressing both arrow keys on the transmitting unit simultaneously activate the MIDI function and briefly tap the MIDI button The preset data are first filed in the temporary buffer and can be stored in the preset position of your choice using the store function 7 INSTALLATION 23 2 8 APPENDIX 8 1 MIDI implementation MIDI Implementation Chart Function _ Transmitted Received 1 Remaks 1 16 N bom C ie es _____ 2 GENET ________ OO Amp 0 32 w o cabinet change 3 Y Y 0 124 127 Y N request only N request onl Y skipped on request Y skipped on request N request onl N request onl N request onl request only N N request onl N request only N request only 1 7 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 61 64 81 N request onl 82 83 84 85 87 ____49 N requestoni Y 0 System Exclusive Running Status Y 2s Timeout o Q 3 2 gm d 3 gt 8 1 MIDI implementation 24 8 APPENDIX 2 8 2 Default cabinets amp models cabinet aimulaton cabinet aimuation MODERN CLASS A s 2x12 USCLASSA _______ ax 12 USCLASSA 1 x 8 VINTAGE TWEED 1 x 8 VINTAGE TWEED ICLASSIC CLEAN 8 2 x 12
29. ed above are expressly excluded 3 RETURN AUTHORIZATION NUMBER 1 To obtain warranty service the buyer or his authorized dealer must call BEHRINGER see enclosed list during normal business hours BEFORE returning the product All inquiries must be accompanied by a description of the problem BEHRINGER will then issue a return authorization number 2 Subsequently the product must be returned in its original shipping carton together with the return authorization number to the address indicated by BEHRINGER 3 Shipments without freight prepaid will not be accepted 84 WARRANTY REGULATIONS 1 Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealer s invoice Any product deemed eligible for repair or replacement by BEHRINGER under the terms of this warranty will be repaired or replaced within 30 days of receipt of the product at BEHRINGER 2 If the product needs to be modified or adapted in order to comply with applicable technical or safety standards on a national or local level in any country which is not the country for which the product was originally developed and manufactured this modification adaptation shall not be considered a defect in materials or workmanship The warranty does not cover any such modification adaptation irrespective of whether it was carried out properly or not Under the terms of this warranty BEHRINGER shall not be held responsible for any co
30. ed to produce slightly modulating or strongly alienating effects FLANGER This effect is self explanatory Originally the flanger effect 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 finger 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 CHORUS This effect adds a slightly modulated off key element to the original signal thus creating a pleasant floating effect through variations in pitch EX Combinations of effect algorithms multi effects programs PHASER amp DELAY Phaser and delay combined FLANGER amp DELAY Here the input signal is delayed and processed with a pronounced wave like effect It is particularly effective for highlighting single notes but can also be used to make solos more interesting CHORUS amp DELAY This algorithm combines signal delay with the popular chorus effect CHORUS amp COMP Incredible sustain effects can be produced with the compressor This is especially useful for sustaining individual guitar notes Combined with chorus it can make the audio signal extremely dense 5 EFFECTS PROCESSOR 19 2 4 Special effects COMPRESSOR A compressor limits the dynamic range of the audio material thus producing audible and creative sound effects Pronounced use of the compressor
31. ess buttons B and D simultaneously You can switch from one mode to another by means of the arrow keys To leave this mode press TUNER 2 2 Standard set up with guitar footswitch and external playback For practising purposes set your V AMP 2 up as shown in fig 2 1 for example You can of course also plug in a drum computer instead of a playback source such as a tape deck For silent practising plug your headphones into the PHONES jack Use the FS112V footswitch supplied with the V AMP 2 to switch from one bank to another or to activate the tuner Tape Out Stereo Headphones optional Electric Guitar Footswitch Fig 2 1 Standard set up U33 For this application please select CONFIGURATION mode 51 The V AMP 2 is of course also ideally suited for recording your guitar parts for posterity either on tape or digitally The advantage of the V AMP 2 in recording situations is obvious it makes you ultra flexible because you can simply take the virtual amp with you into the studio control room without having to take along any speakers This gives you complete control of the sound on your V AMP 2 at all times If you feel the sound on the mixer needs to be changed you can discuss it with the sound engineer at once and together you can set the sound so that it is perfectly suited to the recording In other words no more has
32. function also allows you to use an additional wah wah effect which can be controlled best using a MIDI Foot Controller with an expression pedal such as our BEHRINGER FCB1010 See tab 8 1 for an overview of all MIDI data transmitted and received by the V AMP 2 lt gt 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 The effects on the V AMP 2 can be modified in three parameters by turning the EFFECTS control by turning the EFFECTS control and holding down the TAP button and by pressing the TAP button alone in time to the music The following table shows the effect parameters for the V AMP 2 EFFECTS EREEETS Control control with TAP key TAP key down 6 FLANGER DELAY2 Delay Mod 8 CHORUS DELAY2 Delay Mix_ Mod DelayTime 9 CHORUS COMPRESSOR Sense Mix Modulation Speed 10 COMPRESSOR Sene Atak 11 _ AUTOWAH Depth Sed 15 TREMOLO Mx Modulation Speed Tab 5 1 V AMP 2 effects 18 5 EFFECTS PROCESSOR 2 match speed based effects to the tempo of the music please press the TAP button twice in time to the music 51 Effect descriptions The following section contains short descriptions of the effects that can be produced using the multi effects
33. h Alternative Rock and Grunge CUSTOM HI GAIN This sound goes back to a 1969 50 watt Marshall Plexi modified by Jose Arrendondo Arrendondo was other than Eddie Van Halen s guitar technician The unique features of this amp its fine mid range sounds and its ability to produce the ultimate in gain without making the sound muddy Warning highly addictive ULTIMATE V AMP From clean to brutal hi gain the Brute covers the entire range The ULTIMATE V AMP is basically a souped up rectifier amp ULTIMATE PLUS Those who find the ULTIMATE V AMP too tame will find enough gain here to overdose on DRIVE V AMP This simulation is based on a more modern high gain lead amp producing a soft but precise sound with plenty of drive making it ideal for lead guitar work The DRIVE V AMP is modeled on the Mesa Boogie Mark lll CALIFORNIA DRIVE Based on the Mesa Boogie Mark II c this is purely a simulation of its drive channel definitely the right choice for Santana songs CRUNCH V AMP This amp is ideal for modern blues or jazz Its sound is not too subtle but not in your face either it s crunchy that s all CUSTOM DRIVE This simulates the Dumble Overdrive Special an amp that was at the top of many guitarists wish list but beyond their financial means Dumble amps are hand made and can be custom built for the individual guitarist What we ve done here is to simulate the drive channel of one of these rare Dumble amps CLEAN V
34. he Blackface Twin was that although you could play it extremely loud the distortion remained relatively low BRITISH BLUES Modeled on the JTM 45 the first Marshall amp ever This by the way was Eric Clapton s favorite amp when he was with Cream The JTM 45 was the forerunner of many of Marshall s later amps with their distinctive powerful sound Extreme gain settings produce a highly compressed and really dirty sounding distortion Combined with a 2 x 12 speaker simulation it produces impressive Bluesbreaker sounds AND CUSTOM This simulation is based on a 1965 Marshall JTM 45 Bluesbreaker but has more flexibility of sound control Turn the GAIN control to the left and this simulation sounds like a Marshall turn it to the right and it is more reminiscent of the Budda BRITISH CLASS A This simulation is modeled on the Vox AC 30 This amp was originally designed in the 60s when guitarists wanted amps with enhanced brilliance a feature that Vox successfully implemented by means of revolutionary bass and treble controls Brian May and U2 s The Edge are probably the best known users of this sound NON TOP BOOST This is a Vox AC 30 as used by Bryan Adams in the recording studio Unlike the well known AC 30 with treble boost the former amp version did not have this feature This simulation copies the original amp s normal channel BRITISH CLASSIC Based on a 1959 Marshall Plexi 100 Watt this amp is ideal for producing
35. ith the V AMP 2 The best way is to call up a preset you like and then start editing it Select any amp model by means of the AMPS encoder The LED on the preset button flashes e g D and signals that you have made a change Now change the settings of the VOLUME BASS MID TREBLE and GAIN controls as you like If you select an effect you can adjust its part in the overall sound using the EFFECTS control You then switch to EDIT mode by pressing the arrow keys simultaneously If you use buttons B E to activate the DRIVE CABINETS REVERB and NOISE GATE functions respectively and then edit using the arrow keys the value of the respective parameter is shown in the display To leave EDIT mode briefly press the TUNER button If you hold the TAP button down while using the TREBLE control you can raise or lower an additional higher frequency filter PRESENCE This simulates the frequency sensitive coupling of tube amps gt Apart from compressor and auto wah all the multi effects have a speed based parameter Assuming you want to set the effect you ve selected to the tempo of your playback just tap the TAP button twice in time to the music and the effect tempo will match the tempo of your piece 3 3 Storing presets To store your edited preset hold down the preset button required for approx 2 seconds for the preset to be overwritten the corresponding LED lights up throughout gt You do not necessarily have to store your edited prese
36. lar tuner LED in the middle lights up this means the note played is in tune 6 2 Setting reference pitch A To give you maximum freedom for tuning your guitar you can change the preset reference pitch A For the sake of clarity let s look at this in more detail The so called concert pitch A has been raised steadily over time For example the tuning forks used by Bach Handel or Mozart were 415 420 or 421 Hz oscillations per second Today s orchestras tune to A at 444 Hz and the Berlin Philharmonic Orchestra lead the field with their own concert pitch A at 447 Hz The reference A on your V AMP 2 has been factory programmed at 440 Hz If you are going to play with a big orchestra tuning their instruments to a reference pitch of 444 Hz you will need a function that allows you to change your reference pitch To activate this function switch on the tuner by pressing the TUNER button and switch to EDIT mode by pressing the two arrow keys simultaneously The display will show 40 which means 440 Hz Use the arrow keys to raise or lower the reference pitch by up to 15 Hz The display always shows the last two digits as the first digit is always 4 For example if you start with a reference pitch of 440 Hz and press the right hand arrow three times the display will read 43 i e 443 Hz To quit EDIT mode press either the TUNER or the TAP button Any changes will be stored automatically The tones for the o
37. like the Trem O Verb this amp produces a more modern high gain sound The tone control is most effective at high gain settings MODERN HI GAIN Here too the tone control is post gain allowing the extremely distorted sound to cut through the mix The MODERN HI GAIN sound is ideal for playing Grunge but is also used by guitarists such as Steve Vai and Joe Satriani Steve Lukather Nuno Bettencourt Steve Vai among others have popularized the Soldano sound If you re playing a Gibson Les Paul MODERN HI GAIN sounds best when you turn down the volume control on the guitar a little SAVAGE BEAST Engl is well known for amps that can make themselves heard The Savage 120 in particular has built up a large following among guitarists For some time now Ritchie Blackmore has been an major endorser of this German company and Randy Hanson the best Hendrix since Jimi also swears by this amp 16 4 AMP SPEAKER SIMULATION 2 The unique feature of the Savage is 15 extreme power and 15 therefore highly popular with heavy metal guitarists Silent Force Sinner guitarist Alex Beyrodt has been an enthusiastic Engl user for years An amp for making yourself heard FUZZ BOX This sound is not actually based on any one amp but on a particular fuzz box Jimi Hendrix was one the first guitarists to recognize the potential in this legendary broadband transistor distortion The humming distortion sound of the FUZZ BOX has returned to popularity wit
38. nting the respective amp s sound pre amp effects such as noise gate compressor auto wah amp wah wah post amp multi effects such as delay and modulation effects and reverb room simulations An overview of all the presets on the V AMP 2 is enclosed with this manual 3 1 Calling up presets When the unit is switched on it automatically loads the preset used last In the following example the last preset selected was preset D in Bank 25 3 V AMP 2 PRESETS 13 2 CABINETS REVERB NOISE GATE C V CONFIGURATION ROTARY AMERICAN BLUES TREMOLO MODERN CLASS FLANGER TWEED COMBO CHORUS CLASSIC CLEAN PHASER BRIT BLUES amp AUTO WAH CLASS COMPRESSOR I BnRIT CLASSIC CHORUS HI GAIN BANK UP CHORUS DELAY 2 HRINGER EXIT 2ND PAR PREAMP BYPASS Fig 3 1 Calling up presets In this case by pressing button A B C or E you can immediately call up another preset of the same bank The two arrow keys BANK UP und BANK DOWN enable you to switch banks The display on the V AMP 2 always shows which bank has been selected When you switch banks the preset has to be called up by pressing one of the buttons A E An LED lights up to show you which preset in the respective bank has been activated 3 2 Editing presets Editing presets is fast and simple w
39. ringer com V AMP 2 6 1 INTRODUCTION 2 1 2 Before you begin Your V AMP 2 was carefully packed before it left the factory to protect it from damage in transit If there are signs of damage on the packaging we recommend that you immediately examine the device itself for further signs of damage In case of damage do NOT return this device to us but immediately notify your dealer and the transport company as any entitlement to damages may otherwise be lost A power supply unit which meets the necessary safety requirements is enclosed for connecting the V AMP 2 to the mains When the V AMP 2 is connected to the mains via the power supply unit it is automatically switched on gt Never connect the V AMP 2 a power supply unit that is already plugged into the mains Always connect the V AMP 2 to the power suply unit first and then plug it into the mains The MIDI connections IN OUT are for standard DIN connectors Data is transferred at zero potential via an optocoupler Please read chapter 7 INSTALLATION for further information 1 2 1 Serial number The V AMP 2 s serial number is located on the rear side In order to qualify for extended warranty entitlement please return the completed warranty card to us within 14 days of purchase or simply register on line www behringer com 1 3 Control elements 1 3 1 User interface
40. rything on a musician s wish list today BEHRINGER is a company with its roots in professional recording studio technology For many years now we have been successful in developing products for studio and live use These include microphones and 19 devices of all kinds compressors enhancers noise gates tube processors headphone amplifiers digital effects devices DI boxes etc monitor and P A speakers and professional live and recording mixers Our entire technical know how has gone into your V AMP 2 Flexibility is the name of the game in the music business A guitarist today has to be able not only to offer a wide range of sounds but also to adapt at short notice to different environments home recording studio live gigs For that very reason enormous amplifier stacks have become a thing of the past The V AMP 2 offers you the maximum number of features in such a compact form that you can set up and pack up in seconds and you can master it with ease The V AMP 2 will still be state of the art years from now because we have equipped it with an EPROM that can be replaced without the slightest difficulty This means that we can keep on working on new algorithms taking your ideas and suggestions into account We will then make these software updates available to you free of charge on the Internet thus ensuring that the V AMP 2 remains state of the art in the future too But enough of this talk Nothing we say will convince you as readil
41. sle of trekking back and forward between the recording and control rooms 2 EXAMPLES OF USE CONFIGURATIONS 11 2 2 3 Recording widely used recording application is to make dry recording of the output signal while monitoring signal with effects wet The advantage here is that you don t have to make a final decision on what effect to use during mix down For this purpose left output of the 2 to the recording device and use the right output for monitoring If you have a MIDI foot controller you can use it to control preset bank and amp model changes It s also convenient for switching the tuner on and off Line In Recording Device MIDI FOOT CONTROLLER FCB1010 Electric Guitar Fig 2 2 Recording situation I For this application please select CONFIGURATION mode S2 2 4 Live set up with an external guitar amp When you re playing on stage it s extremely important that you are able to hear your guitar properly It s an advantage to use a guitar amp with a line input like the BEHRINGER BLUE DEVIL GX1 12 Apart from that the amp used should provide enough power to reproduce the V AMP 2 s sound potential to the full lt 4 Stereo In BLUE DEVIL GX112 Line Out L R Electric Guitar MIDI FOOT CONTROLLER FCB1010 Fig 2 3 Live set up with external guitar amplifier 12 2 EXAMPLES OF U
42. st resulting from such a modification adaptation 3 Free inspections and maintenance repair work are expressly excluded from this warranty in particular if caused by improper handling of the product by the user This also applies to defects caused by normal wear and tear in particular of faders potentiometers keys buttons and similar parts 4 Damages defects caused by the following conditions are not covered by this warranty A improper handling neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals A connection or operation of the unit in any way that does not comply with the technical or safety regulations applicable in the country where the product is used damages defects caused by force majeure or any other condition that is beyond the control of BEHRINGER 5 Any repair or opening of the unit carried out by unauthorized personnel user included will void the warranty 6 If an inspection of the product by BEHRINGER shows that the defect in question is not covered by the warranty the inspection costs are payable by the customer 7 Products which do not meet the terms of this warranty will be repaired exclusively at the buyer s expense BEHRINGER will inform the buyer of any such circumstance If the buyer fails to submit a written repair order within 6 weeks after notification BEHRINGER will return the unit C O D with a separate invoice for freight
43. supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them paying particular attention to cords and plugs convenience receptacles and the point where they exit from the appliance Cleaning The appliance should be cleaned only as recommended by the manufacturer Non use Periods The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time Debris and Liquid Entry Care should be taken that debris and or liquids do not enter the enclosure through openings Damage Requiring Service The appliance should be serviced by qualified service personnel when The power supply cord or the plug has been damaged or Debris or liquid has entered the appliance or The appliance has been exposed to rain or The appliance does not appear to operate normally or exhibits a marked change in performance or The appliance has been dropped or the enclosure damaged Servicing The user should not attempt to service the appliance beyond that which is described in the operating instructions All other servicing should be referred to qualified service personnel 2 2 FOREWORD Dear Customer Welcome to the community of BEHRINGER users and thank you for the trust you have shown us in buying the V AMP 2 It gives me particular pleasure to write this to you because after months of hard work our engineers have achieved
44. t in place of the original preset selected If you choose a different storage position select the preset bank you want using the arrow keys BANK UP and BANK DOWN You can then store your changes by holding down the preset button for approx two seconds For example you can edit a preset originally stored in bank five position D and then store it in bank six position A 3 4 Discarding an edited preset recovering a factory programmed preset If you have edited a preset and find that you don t like the edited version you can of course discard it Let s assume you ve selected and then edited preset C the corresponding LED has lit up but you would now like to return to the configuration stored previously Simply select another preset The next time you call up the 14 3 V AMP 2 PRESETS 2 preset the temporary edited version is discarded However after editing you can also hold down the two arrow keys until Pr appears in the display which brings back the factory preset that was originally stored there However you then have to save it again by holding down the corresponding preset button for approx two seconds 3 5 Restoring all factory programmed presets factory programmed presets can be restored in the following way Hold down buttons D and E and then switch on the V AMP 2 CL appears in the display Now release the two buttons and press the two arrow keys simultaneously This erases all the edited presets you h
45. tered trademarks names of musicians and groups are the property of their respective owners and are in no way associated with BEHRINGER BEHRINGER V AMP and BLUE DEVIL are registered trademarks BEHRINGER Instrument Amplification is a Division of BEHRINGER ALL RIGHTS RESERVED 2002 BEHRINGER Spezielle Studiotechnik GmbH BEHRINGER Spezielle Studiotechnik GmbH Hanns Martin Schleyer Str 36 38 47877 Willich M nchheide Il Germany Tel 49 0 21 54 92 06 0 Fax 49 0 21 54 92 06 30 10 WARRANTY 27
46. the left until all the LEDs are off the effect is disabled This is known as an effect bypass By pressing the TAP key you can set a second effects parameter using the EFFECTS control see tab 5 1 1 INTRODUCTION 10 1 12 13 14 15 2 This control is for selecting an effect or a combination of effects This encoder type rotary control is also surrounded by a ring of 16 LEDs Each LED corresponds to one specific effects preset Using the REVERB control you can add the reverb content of your choice to your overall sound By turning it to the left until all the LEDs are off you deactivate the reverb To fade out the original signal turn the control to the right until only the last LED lights up The LED rings around the VOLUME BASS MID TREBLE GAIN EFFECTS and REVERB controls each have nine LEDs On each ring either one LED or two neighboring LEDs will light up at a time indicating a total of 17 different positions The TAP button performs three functions Tap the rhythm of a piece of music on the TAP button and the selected effect automatically adapts to the tempo of the piece of music Holding down the TAP button you can use the TREBLE control to change the PRESENCE setting of the amp simulation model you ve selected You also can access the second effects parameter set by the EFFECTS control by holding down the TAP button see tab 5 1
47. ther strings on your guitar will automatically be adjusted to the new reference pitch 6 TUNER 21 7 INSTALLATION 71 Audio connections V AMP 2 The input of your BEHRINGER V AMP 2 is a mono 1 4 jack The Line Out Aux In and headphones outputs are stereo 1 4 jacks The Line Out outputs work with both balanced and unbalanced connections 22 Unbalanced use of mono 1 4 jack plugs Tip Signal Sleeve Ground Shield Tip Sleeve Strain relief clamp Balanced use of stereo 1 4 jack plugs Tip hot ve Ring cold ve Sleeve Ground Shield Tip Ring Sleeve Strain relief clamp For connection of balanced and unbalanced plugs ring and sleeve have to be bridged at the stereo plug Fig 7 1 Comparison of different plug types Headphones Aux In 1 4 connector Tip Left Signal Ring Right Signal Sleeve Ground Shield Tip Ring Sleeve Strain Relief Clamp Fig 7 2 Wiring of a stereo headphones 1 4 plug 7 INSTALLATION 2 7 2 MIDI connections The MIDI standard Musical Instruments Digital Interface was developed in the early 80s to enable different makes of electronic instruments to communicate with each other Over the years the range of MIDI applications has constantly expanded and today it is standard practice to network entire recording studios using the MIDI standard The heart of such a network is a computer with sequencer software that
48. ual DETAILED SAFETY INSTRUCTIONS All the safety and operation instructions should be read before the appliance is operated Retain Instructions The safety and operating instructions should be retained for future reference Heed Warnings All warnings on the appliance and in the operating instructions should be adhered to Follow instructions All operation and user instructions should be followed Water and Moisture The appliance should not be used near water e g near a bathtub washbowl kitchen sink laundry tub in a wet basement or near a swimming pool etc Ventilation The appliance should be situated so that its location or position does not interfere with its proper ventilation For example the appliance should not be situated on a bed sofa rug or similar surface that may block the ventilation openings or placed in a built in installation such as a bookcase or cabinet that may impede the flow of air through the ventilation openings Heat The appliance should be situated away from heat sources such as radiators heat registers stoves or other appliances including amplifiers that produce heat Power Source The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on the appliance Grounding or Polarization Precautions should be taken so that the grounding or polarization means of an appliance is not defeated Power Cord Protection Power
49. who have made the V AMP 2 possible They have all made their personal contributions starting with the designers and including the many other employees in our company many thanks to Volker Thomas Jan and Oliver Friends it was worth it Thank you Uli Behringer 2 V AMP 2 Virtual guitar amplifier with tube simulation and digital multi effects processor A Authentic virtual guitar preamp with 32 amp and 15 speaker simulation models A Dedicated selectors for amp models speaker cabinets and digital effects A Transparent user interface with direct display of all essential settings A 32 simulations of popular guitar amps ranging from clean to crunch to tube distortion sounds A 15 speaker simulations directly selectable and freely combinable with any amp model A 24 bit high resolution stereo multi effects processor with first class algorithms like chorus flanging phasing rotary auto wah echo delay compressor and various effects combinations A Additional effects parameters now directly accessible on the unit A New preamp bypass function allows use as a stereo effects unit without amp model A 125 presets including 50 original artist presets organized in 25 banks for easy editing A Dedicated reverb control adds 1 of 9 stereo reverb types to any amp speaker or effects setting A Separate wah wah effect can be controlled manually or via MIDI and is available in addition to any other effects combination A Effective
50. y as what you hear and feel when you test your V AMP 2 for the first time Then you will experience a new generation of virtual guitar amplifiers with some amazing features A Knock out sound options that will blow away any conventional guitar amp Perfect tube sound emulation without the typical tube amp drawbacks short lifespan heat generation mechanical sensitivity Latest DSP technology giving you a wide range of classic and modern effects sounds Rugged indestructible build allowing you to use the V AMP 2 in the toughest conditions the road 1 1 The new functions of the V AMP 2 The V AMP 2 was designed to be an evolutionary improvement on our popular virtual guitar amp the V AMP Alongside the popular features of its predecessor the V AMP 2 offers many new features which will make this unit an indispensable part of your equipment A 16 additional amp sounds in total 32 authentic virtual amplification models plus amp bypass available 5 basic configurations can be selected for different studio and live situations see chapter 2 PRESENCE control can now be set for each amp A An additional effects parameter can now be set directly on the device see chapter 5 A Globally adjustable 3 band EQ can be set as required in the live modes to match the V AMP 2 sounds with different amps combos Total preset compatibility for existing V AMP sounds Editor software available free of charge at www beh
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