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Behringer V-AMP3 [13/18] Effects descriptions
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13 VIRTUAL AMPLIFICATION V-AMP 3 User Manual
Wah Wah
By using a MIDI pedal, such as the BEHRINGER FCB1010, you can access an
additional Wah Wah eect. You may adjust the sweepable lter characteristic
by entering EDIT mode, selecting the DRIVE menu and turning the EFFECTS knob
while holding the TAP button.
Eects descriptions
The following is a brief description of the various eects available on the V-AMP 3:
REVERB: Reverb is still the most important eect for mixing and live
performance. That’s why we at BEHRINGER make a point of giving you 9 dierent
reverb programs, allowing you to use the most suitable reverb program for any
situation. The reverb eect can be added separately to all the other eects.
ECHO: Echo is a delayed repetition of the input signal. The main dierence from
the DELAY eect is that the high-frequency content of the repeated signals
steadily decreases. This simulates a tape delay used in the pre-digital era,
producing a vintage sound. In addition, the reections are routed in turn to the
left and right channels, creating a stereo eect.
DELAY: This algorithm repeats the input signal, with dierent tempo settings
producing interesting delay eects. U2’s The Edge has impressively demonstrated
the potential of this eect.
PING PONG: A delay eect that alternates between the left and right
channel/speaker.
PHASER: The principle behind the phaser is that a second, phase-shifted signal
is added to the audio signal, creating a wave-like eect. This makes the sound
richer and, above all, livelier. Depending on how you set it, the phaser can be
used to produce slightly modulated or other worldly eects.
FLANGER: This eect is similar to a phaser in the fact that it produces wave-like
modulation to the guitar tone. Create psychedelic eects by mixing it heavily,
oruse a subtle mix to thicken up the tone.
CHORUS: This eect adds a slightly modulated o-key element to the original
signal, thus creating a pleasant oating eect through variations in pitch.
PHASER & DELAY: Phaser and delay combined.
FLANGER & DELAY: The input signal is delayed and processed with a pronounced
wave-like eect. It is particularly eective for highlighting single notes, but can
also be used to make solos more interesting.
CHORUS & DELAY: This algorithm combines signal delay with the popular
chorus eect.
CHORUS & COMP: Incredible sustain eects 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.
COMPRESSOR: A compressor limits the dynamic range of the guitar tone,
thusproducing audible and creative sound eects. Pronounced use of the
compressor (using the EFFECTS control) allows rhythm sounds to really “pop”.
AUTO WAH: The legendary wah-wah eect owes its fame mainly to
JimiHendrix. The auto-wah alters its lter frequency automatically depending on
the signal’s magnitude, rather than being controlled by the position of a pedal.
The eect causes a guitar’s note to make a distinct vowel sound, and is more
pronounced the harder the strings are plucked or strummed.
TREMOLO: Simulates the classic Fender Tremolo where the volume rapidly shifts
up and down to a constant tempo. The tremolo eect has returned to popularity
with trip-hop.
ROTARY: This is the quintessential simulation of the classic organ eect normally
produced by speakers rotating at slow or fast speed inside a heavy speaker
cabinet. This eect uses the physical principle of the Doppler eect 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.
Notonly do guitarists often use high-gain settings, but guitar pickups can
amplify unwanted interference that 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.
Separate reverb eect
The reverb eect is independent of the multi-eects processor and can be added
to the mix signal at any time. To edit the REVERB function, enter EDIT mode
(press BANK UP and DOWN simultaneously) and press button D. Use the arrow
keys to select one of the 9 reverb types available:
Reverb # Reverb Type Quality
1 Tiny Room
Classic room simulation featuring various
room sizes from bathroom to cathedral
2 Small Room
3 Medium Room
4 Large Room
5 Ultra Room
Special eect transforming guitar signals into
heavenly pad sounds
6 Small Spring
Simulations of typical spring reverbs
7 Medium Spring
8 Short Ambience
Simulates the early reections of a
reverbless room
9 Long Ambience
Tuner
Press the TUNER button to activate the built-in tuner.
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 device 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. Thisis
shown by at least one of the four red or yellow 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 circular tuner LED in the middle lights up, this means the note
played is in tune.
Setting reference pitch “A”
To give you maximum freedom for tuning your guitar, you can change the preset
reference pitch “A”. 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 only shows
the last two digits as the rst digit is always 4. For example, if you start with
a reference pitch of 440 Hz and press the right 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 other strings
on your guitar will automatically be adjusted to the new reference pitch.
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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