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Behringer V-AMP3 [11/18] Speaker descriptions
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11 VIRTUAL AMPLIFICATION V-AMP 3 User Manual
BRIT BLUES: Modeled on the JTM 45, the rst Marshall amp ever designed.
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.
V-CRUNCH: This amp is ideal for modern blues or jazz. Its sound is subtle but
crunchy and dynamic.
CUSTOM BLUES: This simulation is based on a 1965 Marshall JTM 45
Bluesbreaker, but has more exibility of sound control. Turn the GAIN control to
the left and this simulation sounds like a Marshall; turn it to the right and it builds
a thick boutique distortion tone.
BRIT 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 eect on the sound if distortion was high.
METAL
NUMETAL GAIN: This model is based on a 1994 Mesa Boogie Dual Rectier
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 eect. This amp is perfect for heavy metal, but also for
Steve Lukather sounds. The best-known user of this amp is John Petrucci of the
progressive rock super group Dream Theater.
NUMETAL HD: This simulation is modeled on a Mesa Boogie Dual Rectier
head. Much like the Trem-O-Verb, this amp produces an even higher gain sound.
Thetone controls are most eective with the gain knob cranked.
SAVAGE BEAST: Engl is well known for amps that really cut through. The Savage
120 in particular has built up a large following among guitarists. For some time
now, Ritchie Blackmore has been a major endorser of this German company,
andRandy Hanson, the best Hendrix since Jimi, also swears by this amp.
Theunique feature of the Savage is its extreme power and is 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!
CUSTOM HI GAIN: This sound goes back to a 1969 50-Watt Marshall Plexi
modied by Jose Arrendondo. Arrendondo was none other than Eddie Van
Halen’s guitar technician. The unique features of this amp are its ne mid-range
sounds and its ability to produce the ultimate in gain without making the sound
muddy. Warning: highly addictive!
BRIT 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 guitar tone. In distortion mode, it sounds like Gary Moore in his
early days, but it’s also good for heavy metal.
MODERN HI GAIN: Modeled after a Soldano SLO, the tone control is post-gain
here as well, allowing the extremely distorted sound to cut through the mix.
TheMODERN HI GAIN sound is ideal for playing Grunge, but is also used by
guitarists such as Steve Vai and Joe Satriani. If you’re playing a Les Paul-style
guitar, MODERN HI GAIN sounds best when you turn down the volume control on
the guitar a little.
NEW! ULTRAZONIC: This is a new, aggressive, in-your-face hi-gain sound similar
to the crunch channel of the Bugera 333XL. Detuned, palm-muted, fast rhythm
guitar ris are as clear and articulate as can be.
ULTIMATE PLUS: Those who nd the ULTRAZONIC too tame will nd enough
gain here for an overdose, and nearly endless sustain.
ROCK
NEW! ROCK 59SL: This is modeled on the sound of a Marshall 1959SLP,
which stands out for its extremely dynamic rock sound, dishing out fat clean
tone as well as solid crunch. This new amp model captures the liveliness and
responsiveness of the real thing.
BRIT 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.
NEW! HI BRIT 100: This is new model provides an assertive rhythm guitar
sound based on the Hiwatt Custom 100, which is most suitable for punchy
power chords. Think of Pete Townshend’s ingenious guitar work on The Who’s
“PinballWizard” to get an idea.
CUSTOM CLASS A: The model for this simulation is the Budda Twinmaster.
ThisClass A amp is renowned for its warm sound combined with irresistible tube
distortion. Although the original amp does not have a mid control, we have given
the capability of tailoring the midrange to suit your taste.
NEW! AMBER 120: Another new model, this time of the vintage distortion
sound typical of the Orange OD120. It is worth digging into the tone controls of
the Amber 120. If you crank the gain, the preamp tone controls greatly inuence
the sound.
CLASS A NORM: This amp is characterized by its mild distortion and highly
dynamic response. It is modeled on the Matchless Chieftain, a very expensive
hand-made amp.
BRIT CLASSIC: Based on a 1959 Marshall Plexi 100 Watt, this amp provides
a remarkable range of clean and crunch sounds thanks to its two channels
which can be run in parallel. It was used by many famous guitar players like
JimiHendrix, Eric Clapton, and Je Beck, to name a few.
BRITISH CLASS A 15 W: Another Vox model, based on the rst channel of an AC
15 from 1960. Unlike the AC 30, this amp had only one 12" speaker and produced
a warmer sound. Tip: to make this simulation sound as authentic as possible,
leave the BASS and MID controls in middle position and adjust the TREBLE
control only.
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 use the
eects or the speaker simulation. To activate the PREAMP BYPASS, press TAP and
TUNER simultaneously.
Fender, Vox, Marshall, Mesa Boogie, Gibson, Soldano, Matchless, Dumble, Budda, Tweed, Engl, Roland, Bugera,
Hiwatt, Orange and the names of musicians and groups are registered trademarks belonging to the respective
owners and are in no way associated with BEHRINGER.
Speaker Descriptions
The sound of any guitar combo depends largely on the type and combination of
speakers used. In the past 50 years there has been widespread experimentation
to nd out what type of speaker is best suited to any one specic guitar sound
and in what way the sound is modied when a certain speaker is combined
with others.
• When you select an amp simulation, an appropriate speaker
simulation is automatically activated (see graphic table below).
Otherwise,theauthenticity of the sound could be aected 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 depends on many dierent variables.
Thefollowing table shows a list of all speaker cabinets on the V-AMP 3.
Содержание
- User manual 1
- Virtual amplification v amp 3 1
- Table of contents 2
- Thank you 2
- Important safety instructions 3
- Legal disclaimer 3
- Limited warranty 3
- Audio connections 4
- Basic operation 4
- Controls and connectors 5
- Front panel 5
- Rear side panel 6
- Operating modes 7
- Edit mode 8
- Live mode 1 2 and 3 8
- Presets 8
- Amp speaker simulation 9
- American this virtual amp is modeled 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 and 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 10
- Amp descriptions 10
- Bank a preset b preset c preset d preset e preset 10
- 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 the blackface twin was unique for being exceptionally loud while the amount of distortion remained relatively low 10
- California clean this model is based on the clean channel of the mesa boogie mark ii c it sounds like a fender but has more punch in the midrange 10
- Classic clean back in the 80s the roland jc 120 was the preferred sound of buzzy feiten guitarist for the dave weckl band the unique quality of this amp is the way its brilliance cuts through any mix it is ideal for the new wave sound of the 80s that is making a comeback today 10
- Clean v amp here we have managed to simulate the sound of a roland jc 120 and combine it with our brit classic model the result blends the brilliance of a transistor amp with the cutting power of a marshall plexi the marshall cut appears when you turn the gain control clockwise 10
- Custom clean this model simulates the clean channel from a dumble an expensive boutique amp the clean sound really cuts through especially when used with compressor attack settings around 2 milliseconds 10
- Deluxe blues a synthesis of a 1960 fender blackface deluxe and a 50s fender bassman the result is a crystal clear sound that still simulates the edge of the vintage amps the eq controls on this model give you even greater scope than the eq controls on the original amp 10
- Fuzz box this sound is not actually based on any one amp but instead simulates a particular fuzz box jimi hendrix was one of 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 with alternative rock and grunge 10
- Small combo this model is based on one of the most simple yet effective guitar amps of all time the fender champ being as small as it is you can easily take it beyond its clean range and the champ rewards you with compression and rich distortion originally designed for beginners the amp soon became a favorite of many guitar aficionados due to its amazing distortion at manageably low volume 10
- Tube preamp sound engineers were quick to recognize the appeal of tubes they used tube amps to add warmth to all kinds of sounds by default this amp model does not use a speaker simulation and can be used with vocals but adding a speaker cab produces good clean tones for guitar as well 10
- 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 the tweed champ had a volume control but no eq control if you want to get the most authentic sound out of this amp keep the eq on your v amp 3 in the mid position 10
- V amp 3 preset chart 10
- V amp drive this simulation is based on the mesa boogie mark iii a more modern high gain lead amp this model produces a smooth and precise tone with plenty of drive making it ideal for lead guitar work 10
- Virtual amplification v amp 3 user manual 10
- Speaker descriptions 11
- A great complement to the selection of amps and speaker cabinets is the built in multi effects processor you may select from 16 high quality effects such as chorus flanger delay auto wah and many others these effects can be used to thicken up your guitar tone in a subtle way or create extreme and experimental sounds that push your creative limits the standard operating mode of the multi effects processor is stereo but other options are available see configurations section 12
- Amps 1 16 category speaker simulation cabinet 12
- Cabinets 12
- Control with tap 12
- Effect effect effect control 12
- Effects 12
- Effects processor 12
- Push button 12
- Tap push button 12
- Virtual amplification v amp 3 user manual 12
- You can adjust up to 3 parameters for each available effect two of these parameters are adjusted using the effects knob with or without the tap button held down tempo based parameters are adjusted by pressing the tap button at least twice in sync with the music the following table displays the parameter controls for each effect 12
- Effects descriptions 13
- Separate reverb effect 13
- Setting reference pitch a 13
- Tuning your guitar 13
- Wah wah 13
- Activate the midi function and briefly tap the midi button the preset data is transmitted and first filed in the temporary buffer of the receiving v amp 3 14
- Midi connections 14
- Midi in this receives midi controller data the receiving channel can be adjusted in edit mode by pressing the a button and then using the arrow keys 14
- Midi out thru this sends data to a computer or any other device you can transmit both preset data and parameter changes if set to midi thru the v amp 3 does not send its own midi information but passes on the signal received at the midi in connector the tap led lights when the v amp 3 is set to midi thru see the edit mode section for details 14
- Sending receiving midi sysex data 14
- Store the new information in the preset position of your choice using the store function 14
- Switch the transmitting v amp 3 to edit mode by pressing the bank up and down buttons simultaneously 14
- The midi connectors are international standard 5 pin din connectors to connect your device to other midi equipment you will need dedicated midi cables they are commercially available in various standard lengths 14
- The midi standard musical instrument 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 controls not only all the keyboards but also affects other peripheral devices in such a studio setup you can control the v amp 3 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 14
- The v amp 3 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 your device will be overwritten automatically you can also transmit midi data from your v amp 3 to other devices total dump by switching to edit mode and holding the midi button a until the display reads d the total dump function can be useful for transferring all the stored data from your device to a midi sequencer and storing it there 14
- To exchange individual presets with other devices such as another v amp 3 or a pc 14
- Application 15
- Jamming with a pc using uca222 15
- Latency free home recording using uca222 15
- Live performance with a guitar amplifer 15
- Live performance without a guitar amplifer 15
- Studio recording 15
- Virtual amplification v amp 3 user manual 15
- Online registration 16
- Shipment 16
- Specifications 16
- Federal communications commission compliance information 17
- Virtual amplification v amp 3 17
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