![Behringer V-AMP3 [7/18] Operating modes](/img/pdf.png)
Behringer V-AMP3 [7/18] Operating modes
![Behringer V-AMP3 [7/18] Operating modes](/views2/2008353/page7/bg7.png)
7 VIRTUAL AMPLIFICATION V-AMP 3 User Manual
(22)
MIDI OUT/THRU: Sends MIDI information from the V-AMP 3 or directly from
the MIDI IN jack.
(23)
MIDI IN: Receives MIDI signals from a footswitch or other device.
(24)
FOOTSWITCH: Plug the FS112V footswitch into this jack with the
¼" TRS cable.
Operating Modes
Conguration mode
The V-AMP 3 oers many options that allow you to route selected parts of
the signal to the LINE OUT jacks. Some features are well suited for one playing
situation, but not necessary for others. In order to adapt your device to various
studio and live applications, you can choose between 5 dierent operating
modes (Congurations). Independent of the settings stored in the presets,
theseglobal operating modes determine how the LINE OUT signal is processed so
that either stereo operation or unique left and right sends are possible.
Selecting a conguration
Press the B and D buttons simultaneously to enter conguration mode.
Thedisplay shows the current selection. Use the BANK UP and BANK DOWN arrow
buttons to select a new conguration. See table for routing options.
• When headphones are plugged into the PHONES jack, the V-AMP 3
automatically switches to Studio 1 (S1) operating mode.
• Press the TAP key and turn the GAIN knob to adjust the input sensitivity to
match the output of your guitar’s pickups. If the CLIP LED lights, the input
sensitivity must be reduced. Only raise the sensitivity if the pickups have
particularly weak output.
To exit conguration mode, press the TUNER/EXIT button.
Operating
Mode
Function
Application
LINE OUT L LINE OUT R
Studio 1 (S1)
Stereo operation with selected eects
and speaker simulations.
V-AMP 3 as practice amp,
e.g. with headphones.
Recording situation: (V-AMP 3 is
connected to stereo line channel on
the mixing console).
Studio 2 (S2)
Left (dry signal,
only compressor
plus auto-wah).
Right (with
modulation,
delay and
reverb eects).
Recording situation: with the left
channel connected to the recording
device. The right channel is used
for monitoring only (with eect).
Advantage: while recording,
youdon't have to specify the eect
used during the mix-down, but can
still monitor wet signals.
Live 1 (L1)
Stereo operation + additional
3-band EQ (adjustable in
CONFIGURATION mode).
V-AMP 3 connected to a guitar amp
with stereo input. The additional
EQ (BASS, MID & TREBLE controls)
allows you to match the sound to
the amplier used. The additional
EQ does not aect the settings of
your presets.
Live 2 (L2)
Stereo operation + additional 3-band
EQ, but without cabinet simulation.
Here, too, the V-AMP 3 can be
connected to a guitar amp with
a stereo input. The additional EQ
(BASS, MID & TREBLE controls)
allows you to match the sound to the
amplier used. However, since no
cabinet simulation is enabled,
the speaker sound is determined by
the combo/cabinet used.
Live 3 (L3)
Left + additional
3-band EQ with
modulation, delay
and reverb eects,
butwithout
cabinet simulation
Right with
cabinet and
modulation,
delay and
reverb eects,
but without
additional
3-band EQ.
V-AMP 3 as a stage amp, withthe
left output connected to a line input
on the monitor amp. Theadditional
EQ (BASS, MID & TREBLE controls)
allows you to match the sound
optimally to the monitor amp.
Theright channel (DI Out) is
connected to the mixing console
or stage box and is used for the
FOH mix.
Studio mode 1 and 2
When using headphones, the V-AMP 3 will automatically switch into Studio
Mode 1 (S1). This stereo mode works well for both monitoring and recording
with eects, amp and speaker modeling. If you are certain the tone you have
selected is what you want permanently recorded, then Studio Mode 1 is a good
option. This Mode does not apply the 3-band EQ to the signal, but most recording
programs have advanced graphic EQ capabilities that allow you much more
precise adjustments.
In addition to advanced EQ, recording programs often possess high quality
eects plug-ins that can be tweaked and edited to your heart’s content.
Inthis regard, Studio Mode 2 may be a better option to allow the most editing
exibility. Thisconguration sends a signal with amp and speaker simulation in
both channels, but only the right output has the eects, leaving the left output
“dry” and ready for editing in your DAW. You may either record both outputs
to separate tracks, or only record the “dry” left output while monitoring the
right output.
Visit behringer.com for tips about integrating your V-AMP 3 with your computer
system and exchanging presets and experiences with other V-AMP users.
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
Похожие устройства
- Behringer VP1220 Руководство по эксплуатации
- Behringer VP1220D Руководство по эксплуатации
- Behringer VP1520 Руководство по эксплуатации
- Behringer UMC204 Руководство по эксплуатации
- Behringer X32 CORE Руководство по эксплуатации
- Boss GT-001 Руководство по эксплуатации
- Behringer RX1602 Руководство по эксплуатации
- Behringer UFX1604 Руководство по эксплуатации
- Behringer ST2600 Руководство по эксплуатации
- Behringer XL1600 Руководство по эксплуатации
- Behringer UB1204-PRO Руководство по эксплуатации
- Behringer NEKKST K10S Руководство по эксплуатации
- Behringer NOX101 Руководство по эксплуатации
- Behringer U-Phoria UMC202HD Руководство по эксплуатации
- Behringer UB1222FX-PRO Руководство по эксплуатации
- Behringer NU1000DSP Руководство по эксплуатации
- Behringer UB1202FX Руководство по эксплуатации
- Behringer NU12000 Руководство по эксплуатации
- Behringer NX4-6000 Руководство по эксплуатации
- Behringer PMP960M Руководство по эксплуатации