User Manual
V-AMP3
Next-Generation Virtual Guitar Amplifier with USB Audio
Interface and energyXT2.5 Recording Software
behringer.com
3
V-AMP3 User Manual
9. Do not defeat the safety purpose of the polarized
or grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding-type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an
electrician for replacement of the obsolete outlet.
Limited Warranty
§ 1 Warranty
[1] This limited warranty is valid only if you purchased
the product from a BEHRINGER authorized dealer in the
country of purchase. A list of authorized dealers can be
found on BEHRINGER’s website behringer.com under
“Where to Buy“, or you can contact the BEHRINGER office
closest to you.
Important Safety
Instructions
10. Protect the power cord from being walked on or
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.
Terminals marked with this symbol carry
electrical current of sufficient magnitude to
constitute risk of electric shock. Use only
[2] MUSIC Group* warrants the mechanical and
electronic components of this product to be free of defects
in material and workmanship if used under normal
operating conditions for a period of one (1) year from
the original date of purchase (see the Limited Warranty
11. Use only attachments/accessories specified by
the manufacturer.
high-quality commercially-available speaker cables with
¼" TS plugs pre-installed. All other installation or
modification should be performed only by
qualified personnel.
12. Use only with the
cart, stand, tripod, bracket, terms in § 4 below), unless a longer minimum warranty
or table specified by the period is mandated by applicable local laws. If the product
manufacturer, or sold with shows any defects within the specified warranty period
the apparatus. When a cart and that defect is not excluded under § 4, MUSIC Group
is used, use caution when shall, at its discretion, either replace or repair the product
moving the cart/apparatus using suitable new or reconditioned product or parts.
This symbol, wherever it appears, alerts you
to the presence of uninsulated dangerous
voltage inside the enclosure - voltage that
may be sufficient to constitute a risk of shock.
combination to avoid
In case MUSIC Group decides to replace the entire product,
this limited warranty shall apply to the replacement
product for the remaining initial warranty period, i.e.,
one (1) year (or otherwise applicable minimum warranty
period) from the date of purchase of the original product.
This symbol, wherever it appears, alerts you injury from tip-over.
to important operating and maintenance
instructions in the accompanying literature.
Please read the manual.
13. Unplug this apparatus during lightning storms or
when unused for long periods of time.
14. Refer all servicing to qualified service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power supply cord or plug
is damaged, liquid has been spilled or objects have fallen
into the apparatus, the apparatus has been exposed
to rain or moisture, does not operate normally, or has
been dropped.
[3] Upon validation of the warranty claim, the repaired
or replacement product will be returned to the user freight
prepaid by MUSIC Group.
Caution
To reduce the risk of electric shock, do not
remove the top cover (or the rear section).
No user serviceable parts inside. Refer servicing to
qualified personnel.
[4] Warranty claims other than those indicated above
are expressly excluded.
PLEASE RETAIN YOUR SALES RECEIPT. IT IS YOUR PROOF
OF PURCHASE COVERING YOUR LIMITED WARRANTY.
THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOF
OF PURCHASE.
Caution
15. The apparatus shall be connected to a MAINS socket
outlet with a protective earthing connection.
To reduce the risk of fire or electric shock,
do not expose this appliance to rain and
moisture. The apparatus shall not be exposed to dripping
16. Where the MAINS plug or an appliance coupler is
or splashing liquids and no objects filled with liquids, such used as the disconnect device, the disconnect device shall
§ 2 Online registration
as vases, shall be placed on the apparatus.
remain readily operable.
Please do remember to register your new BEHRINGER
equipment right after your purchase at behringer.com
under“Support”and kindly read the terms and conditions
of our limited warranty carefully. Registering your
purchase and equipment with us helps us process
your repair claims quicker and more efficiently.
Thank you for your cooperation!
Caution
These service instructions are for use
by qualified service personnel only.
To reduce the risk of electric shock do not perform any
servicing other than that contained in the operation
instructions. Repairs have to be performed by qualified
service personnel.
§ 3 Return materials authorization
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
[1] To obtain warranty service, please contact the
retailer from whom the equipment was purchased.
Should your BEHRINGER dealer not be located in your
vicinity, you may contact the BEHRINGER distributor for
your country listed under“Support”at behringer.com.
If your country is not listed, please check if your problem
can be dealt with by our“Online Support”which may
also be found under“Support”at behringer.com.
Alternatively, please submit an online warranty claim at
behringer.com BEFORE returning the product. All inquiries
must be accompanied by a description of the problem
and the serial number of the product. After verifying
the product’s warranty eligibility with the original sales
receipt, MUSIC Group will then issue a Return Materials
Authorization (“RMA”) number.
Legal Disclaimer
Technical specifications and appearance are subject to change without
notice. The information contained herein is correct at the time of printing.
All trademarks are the property of their respective owners. MUSIC Group
accepts no liability for any loss which may be suffered by any person
who relies either wholly or in part upon any description, photograph or
statement contained herein. Colors and specifications may vary slightly from
product. BEHRINGER products are sold through authorized dealers only.
Distributors and dealers are not agents of MUSIC Group and have absolutely
no authority to bind MUSIC Group by any express or implied undertaking
or representation. This manual is copyrighted. 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 Red Chip Company Ltd.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry cloth.
7. Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
8. Do not install near any heat sources such as
radiators, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.
ALL RIGHTS RESERVED.
© 2010 Red Chip Company Ltd.
Trident Chambers, Wickhams Cay, P.O. Box 146,
Road Town, Tortola, British Virgin Islands
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V-AMP3 User Manual
[2] Subsequently, the product must be returned in
its original shipping carton, together with the return
authorization number to the address indicated by
MUSIC Group.
§ 9 Amendment
[7] Any repair or opening of the unit carried out by
unauthorized personnel (user included) will void the
limited warranty.
Warranty service conditions are subject to change without
notice. For the latest warranty terms and conditions
and additional information regarding MUSIC Group’s
limited warranty, please see complete details online at
behringer.com.
[8] If an inspection of the product by MUSIC Group
shows that the defect in question is not covered by the
limited warranty, the inspection costs are payable by
the customer.
[3] Shipments without freight prepaid will not
be accepted.
* MUSIC Group Macao Commercial Offshore Limited of
Rue de Pequim No. 202-A, Macau Finance Centre 9/J, Macau,
including all MUSIC Group companies
§ 4 Warranty Exclusions
[9] Products which do not meet the terms of this
limited warranty will be repaired exclusively at the buyer’s
expense. MUSIC Group or its authorized service center will
inform the buyer of any such circumstance. If the buyer
fails to submit a written repair order within 6 weeks after
notification, MUSIC Group will return the unit C.O.D. with
a separate invoice for freight and packing. Such costs will
also be invoiced separately when the buyer has sent in a
written repair order.
[1] This limited warranty does not cover consumable
parts including, but not limited to, fuses and batteries.
Where applicable, MUSIC Group warrants the valves or
meters contained in the product to be free from defects in
material and workmanship for a period of ninety (90) days
from date of purchase.
[2] This limited warranty does not cover the product
if it has been electronically or mechanically modified
in any way. 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. This limited warranty does
not cover any such modification/adaptation, regardless
of whether it was carried out properly or not. Under the
terms of this limited warranty, MUSIC Group shall not
be held responsible for any cost resulting from such a
modification/adaptation.
[10] Authorized BEHRINGER dealers do not sell new
products directly in online auctions. Purchases made
through an online auction are on a“buyer beware”basis.
Online auction confirmations or sales receipts are not
accepted for warranty verification and MUSIC Group will
not repair or replace any product purchased through an
online auction.
§ 5 Warranty transferability
This limited warranty is extended exclusively to the
original buyer (customer of authorized 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 MUSIC Group.
[3] This limited warranty covers only the product
hardware. It does not cover technical assistance for
hardware or software usage and it does not cover
any software products whether or not contained in
the product. Any such software is provided“AS IS”
unless expressly provided for in any enclosed software
limited warranty.
§ 6 Claim for damage
Subject only to the operation of mandatory applicable
local laws, MUSIC Group shall have no liability to the buyer
under this warranty for any consequential or indirect
loss or damage of any kind. In no event shall the liability
of MUSIC Group under this limited warranty exceed the
invoiced value of the product.
[4] This limited warranty is invalid if the factory-
applied serial number has been altered or removed from
the product.
[5] Free inspections and maintenance/repair work
are expressly excluded from this limited 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, crossfaders,
potentiometers, keys/buttons, guitar strings, illuminants
and similar parts.
§ 7 Limitation of liability
This limited warranty is the complete and exclusive
warranty between you and MUSIC Group. It supersedes
all other written or oral communications related to this
product. MUSIC Group provides no other warranties for
this product.
[6] Damage/defects caused by the following conditions
are not covered by this limited warranty:
§ 8 Other warranty rights and
national law
[1] This limited warranty does not exclude or limit the
•
improper handling, neglect or failure to operate the
unit in compliance with the instructions given in
BEHRINGER user or service manuals;
buyer’s statutory rights as a consumer in any way.
[2] The limited warranty regulations mentioned herein
are applicable unless they constitute an infringement of
applicable mandatory local laws.
•
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;
[3] This warranty does not detract from the seller’s
obligations in regard to any lack of conformity of the
product and any hidden defect.
•
damage/defects caused by acts of God/Nature
(accident, fire, flood, etc) or any other condition that
is beyond the control of MUSIC Group.
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V-AMP3 User Manual
Basic Operation
1. Plug the included power cable into the AC IN on the side of the unit.
The V-AMP 3 will automatically turn on and resume the previously
selected preset.
Audio Connections
¼" TRS headphones connector
strain relief clamp
2. Plug your guitar into the INPUT using a ¼" instrument cable.
3. Connect a monitoring system:
sleeve
ring
tip
•
•
If using a pair of headphones, connect to the PHONES jack.
If using a guitar amplifier, connect a ¼" cable from the V-AMP 3’s
LEFT LINE OUT jack to the amplifier’s effects loop return jack. Use the
Live 3 output configuration for best results. (See Operating Modes
section for details.)
sleeve
ground/shield
•
•
If plugging straight to the house PA system, connect the LINE OUT jacks
to a stereo channel on the main house mixer. Use the Live 1 output
configuration for best results.
ring
right signal
If using the UCA222 to record or jam to a track on your computer,
you may use the included ¼" TRS-to-RCA adaptor cable to connect the
V-AMP 3’s PHONES jack to the UCA222 and monitor the signal with the
UCA222 headphone jack.
tip
left signal
4. Connect the optional FS112V footswitch to the FOOTSWITCH input.
The footswitch allows you to scroll through the presets while playing.
Pressing and holding down the DOWN button on the footswitch accesses the
tuner. Tap the DOWN button again to return to normal play mode.
Unbalanced ¼" TS connector
Strain relief clamp
Sleeve
5. Make sure the volume control on your guitar is turned up, then turn up the
MASTER knob to desired level.
NOTE: If the current preset volume is set low, there may be a considerable
increase in volume when you change presets.
Tip
6. Press the TUNER button if you need to tune your guitar.
7. Press the BANK UP and BANK DOWN buttons to scroll through the banks of
presets. Press the A – E buttons to select a preset in that bank.
Sleeve
(ground/shield)
8. Adjust the tone with the GAIN, TREBLE, MID and BASS knobs.
9. Select a new amp model by turning the AMPS knob. Hold the TAP
button while turning the AMPS knob to select one of the 2nd level amps
(grey lettering).
Tip
(signal)
10. Add an effect by turning the EFFECT SELECT knob to the desired selection.
Adjust the EFFECTS knob to determine the level of the effect. Hold the
TAP button while turning the EFFECTS knob to adjust the second effects
parameter. (see effects table for details)
11. Add reverb by adjusting the REVERB knob.
12. Save your settings. If you have altered a preset or made one from scratch,
the preset LED will blink. In order to save this setting, first select the bank
you would like to save to, then hold down one of the A – E buttons for
2 seconds. Make sure you save over a preset that you no longer want to keep.
Right channel
Tip
13. Rock out and have fun!
Ring
Sleeve
Sleeve
NOTE: The UCA222 will work on both PC and Mac computers without any
additional software. However, we recommend that PC users install the
low-latency USB ASIO driver for Windows XP/Vista, available for download on
our website at behringer.com. Most users will benefit from the most recent
version (2.8.17) of the driver, but rare computer chipsets may require the older
2.8.14 version.
Left channel
Sleeve
Tip
Tip
¼" TRS to stereo RCA
Please visit behringer.com regularly for updates, add-ons and tips regarding
your V-AMP 3.
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V-AMP3 User Manual
Controls and Connectors
Front panel
[1] GAIN: Adjusts the distortion level of an amp simulation.
[2] TREBLE: Adjusts the upper frequencies of the guitar tone.
[3] MID: Adjusts the mid range frequencies.
[4] BASS: Adjusts the low frequencies.
[10] BANK UP and DOWN: In play mode, use these buttons to scroll through
the banks of presets. Press both buttons simultaneously to enter EDIT mode.
After an edit category has been selected (buttons A – E), use the BANK UP
and DOWN buttons to edit parameters.
[11] TAP: Performs seven functions:
•
•
•
•
•
•
•
Tap: Tap this button to the rhythm of the music and the selected effect
will adapt its parameter to the tempo.
Presence: While holding down the TAP button, use the TREBLE knob to
adjust the PRESENCE setting of the amp simulation.
[5] VOLUME: Adjusts the volume level of the current preset. This will allow you
to keep the volume even between various presets.
2nd parameter: While holding down the TAP button, use the EFFECTS
knob to adjust the 2nd effects parameter of the selected effect.
[6] MASTER: Adjusts the overall output to the PHONES and LINE OUT.
[7] AMPS: Selects the amp simulation. Hold the TAP button while turning the
Amp models 17 – 32: While holding down the TAP button, use the AMPS
knob to select one of the second set of amps (written in grey lettering).
AMPS knob to select one of the 17-32 amp models (grey lettering).
•
Each LED ring around the VOLUME, BASS, MID, TREBLE, GAIN,
EFFECTS and REVERB knobs has nine LEDs. Either one LED or two
neighboring LEDs (in between position) will light on each ring,
indicating a total of 17 positions per knob.
MIDI Thru: In EDIT MIDI mode, press the TAP button to change
MIDI OUT to MIDI THRU. (See the MIDI chapter.)
Drive: In EDIT DRIVE mode, hold the TAP button while turning the
EFFECTS knob to adjust the Wah-Wah effect’s resonance character.
•
If the TAP button is held down, the TREBLE knob functions as a
PRESENCE control. This allows you to add or remove a high-end
“shimmer” in the amp tone.
Input Gain: in Configuration mode, hold the TAP button
while turning the GAIN knob to adjust the overall input gain.
(See Configuration mode.)
[8] PRESET BUTTONS: Recall saved presets within a bank. These buttons also
select various categories in EDIT mode and allow access to Configuration
mode. (see EDIT mode and Configuration mode sections)
[12] TUNER: Press this button to access the tuner. During tuning mode,
the output signal is muted (depending on the VOLUME setting). During EDIT
mode, press this button to exit and return to play mode.
[9] DISPLAY: Displays current bank and preset in play mode. Other LEDs give the
[13] EFFECTS: Selects the effect for the current preset.
following information:
[14] EFFECTS SELECT: Adjusts the first parameter for the selected effect.
Hold the TAP button while turning the EFFECTS knob to adjust the 2nd
effects parameter.
•
•
TUNER: Displays the pitch of the instrument connected to the unit.
(see TUNING section for more details)
17-32: Lights when one of the amp simulations 17-32 is selected.
[15] REVERB: Adjusts the amount of reverb for the current preset.
[2] [7] [1] [8]
[13]
[3]
[4]
[14]
[15]
[5]
[10]
[11]
[12]
[6]
[9]
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V-AMP3 User Manual
Rear/Side panel
[16] INPUT: Plug a guitar into this jack using a ¼" instrument cable.
[19] AUX LEVEL: Adjusts the input level of the AUX IN jack.
[17] PHONES: Plug a pair of headphones into this jack using a ¼" TRS cable.
[20] LINE OUT: Plug balanced or unbalanced ¼" cables into these jacks to send
the stereo signal for recording or performance applications.
[21] AC IN: Plug the included power cable into this socket. When connected to
the mains, the V-AMP 3 switches on automatically.
[18] AUX IN: Plug an external sound source into this jack using a ¼" TS or
TRS cable.
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V-AMP3 User Manual
To exit configuration mode, press the TUNER/EXIT button.
Operating
Mode
Function
LINE OUT L LINE OUT R
Application
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).
Stereo operation with selected effects
and speaker simulations.
Studio 1 (S1)
Studio 2 (S2)
Recording situation: with the left
channel connected to the recording
device. The right channel is used
for monitoring 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.
Right (with
Left (dry signal,
modulation,
[22] MIDI OUT/THRU: Sends MIDI information from the V-AMP 3 or directly from
the MIDI IN jack.
only compressor
delay and
plus auto-wah).
reverb effects).
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 amplifier used. The additional
EQ does not affect the settings of
your presets.
Stereo operation + additional
3-band EQ (adjustable in
CONFIGURATION mode).
Live 1 (L1)
Live 2 (L2)
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
amplifier used. However, since no
cabinet simulation is enabled,
the speaker sound is determined by
the combo/cabinet used.
[23] MIDI IN: Receives MIDI signals from a footswitch or other device.
Stereo operation + additional 3-band
EQ, but without cabinet simulation.
V-AMP 3 as a stage amp, with the
left output connected to a line input
on the monitor amp. The additional
EQ (BASS, MID & TREBLE controls)
allows you to match the sound
optimally to the monitor amp.
The right channel (DI Out) is
connected to the mixing console
or stage box and is used for the
FOH mix.
Right with
cabinet and
modulation,
Left + additional
3-band EQ with
modulation, delay delay and
and reverb effects, reverb effects,
but without
cabinet simulation additional
3-band EQ.
Live 3 (L3)
but without
[24] FOOTSWITCH: Plug the FS112V footswitch into this jack with the
¼" TRS cable.
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 effects, 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.
Operating Modes
Configuration mode
The V-AMP 3 offers 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 different operating
modes (Configurations). Independent of the settings stored in the presets,
these global operating modes determine how the LINE OUT signal is processed so
that either stereo operation or unique left and right sends are possible.
In addition to advanced EQ, recording programs often possess high quality
effects plug-ins that can be tweaked and edited to your heart’s content.
In this regard, Studio Mode 2 may be a better option to allow the most editing
flexibility. This configuration sends a signal with amp and speaker simulation in
both channels, but only the right output has the effects, 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.
Selecting a configuration
Press the B and D buttons simultaneously to enter configuration mode.
The display shows the current selection. Use the BANK UP and BANK DOWN arrow
buttons to select a new configuration. See table for routing options.
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.
•
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.
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V-AMP3 User Manual
Live mode 1, 2 and 3
Calling up presets
When performing live with the V-AMP 3, the most common way to get the
When the unit is powered on, it automatically loads the last used preset. In the
sound to the crowd is to run the unit into an amplifier on stage, route your signal following example, the last preset selected was preset D in bank 25:
directly into a mixing board, or both.
If you chose to run the outputs directly to the main mixer, Live Mode 1 will be the
best option as it includes amp and speaker simulation, effects, and the 3-band
EQ. You will have no sound on stage unless the signal is sent to a monitor speaker,
so make sure the venue can accommodate this setup.
Another option is to use Live Mode 2 and run the V-AMP 3 into the effects loop
return inputs of 2 different guitar amps. This configuration does not feature
speaker simulation and allows the amplifier’s natural speaker sound to go
unaltered. In this scenario, the amps would be mic’ed on stage to get the sound
to the house speakers, and having a dedicated monitor would be less important.
The most practical and versatile way to use the V-AMP 3 in a live setting is using
Live Mode 3. This allows you to send the left output (without speaker simulation)
to an amp’s effects loop return to provide on-stage volume, and also send the
right output (with speaker simulation) to the main mixer for inclusion in the
main house mix.
Presets
In this case, pressing button A, B, C or E will call up another preset within
The V-AMP 3 features 125 presets that are divided into 25 banks. There are
5 presets per bank, all of which can be modified and saved. Each preset consists
of a maximum of five “ingredients”:
bank 25. The two arrow buttons (BANK UP and BANK DOWN) enable you to
change banks. The display will show which bank has been selected, but the
preset will not change until you press one of the A – E buttons. The LED beneath
the preset letter lights up when that preset is activated.
•
•
•
•
•
Amp simulation (including GAIN, EQ and VOLUME settings)
Cabinet simulation
Editing presets
Pre-amp effects (such as noise gate, compressor, auto wah and wah-wah)
Post-amp multi-effects (such as delay, modulation, or a combination of both)
Reverb
Customizing presets in the V-AMP 3 is fast and simple. One option is to call up a
preset you like and tweak it to fit your desired sound. If you would like a new amp
model, turn the AMPS knob until you find the right amp simulation. The VOLUME,
BASS, MID, TREBLE/PRESENCE and GAIN knobs may also be adjusted if necessary.
You may select an effect and adjust its parameters using the EFFECTS knob,
or add reverb by simply turning the REVERB knob.
The first 16 banks consist of 20 different tones in the style of clean, rock,
metal and blues. These tones are optimized for either a Stratocaster-style guitar
with single-coil pickups, or a Les Paul-style guitar with humbuckers. These tones
are meant mainly as a guide to get you started and help familiarize you with
some of the possibilities. Eventually, you will probably want to tweak and
customize these to suit your specific liking. Feel free to experiment and find a
unique sound.
•
Apart from the compressor and auto wah, all multi-effects have a
speed-based parameter. This can easily be adjusted by pressing the TAP
button at least 2 times to the tempo of the music, allowing the effect to
operate in sync with the music you are playing to.
Edit mode
Next you will find 2 banks dedicated to acoustic presets, followed by 2 banks
of bass guitar presets. Though the V-AMP 3 does not specialize in these
applications, it can accommodate them for recording purposes especially.
Banks 21-24 focus on studio amplification setups that will make your recordings
For deeper edits to the preset, press the BANK UP and BANK DOWN buttons
simultaneously to enter EDIT mode. Now you can choose to edit various
categories (MIDI, DRIVE, CABINETS, REVERB and NOISE GATE) by pressing one
sound their best. These are comprised of full stack rock models and small combo of the A – E buttons. The following describes the features and adjustments
models, both with and without effects. Lastly, you will find a bank full of crazy
and experimental sounds to really stretch your imagination.
of each category:
•
MIDI – Enter EDIT mode and press the A button to edit MIDI settings. Select a
MIDI channel by pressing the BANK UP and DOWN buttons. To change from
MIDI OUT to MIDI THRU, press the TAP button. The TAP LED will light up when
MIDI THRU is selected.
•
DRIVE – Enter EDIT mode and press the B button to edit DRIVE settings.
Press the BANK UP and DOWN buttons to change between clean
and distorted amp settings. The display will show a 0 for clean and
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10 V-AMP3 User Manual
a 1 for distortion.
Restoring all factory presets
•
•
CABINETS – Enter EDIT mode and press the C button to select one of the
speaker CABINETS. Press the BANK UP and DOWN buttons to select one of the
15 available speaker cabs.
All factory presets can be restored as follows:
•
•
•
While holding buttons D and E, power on the unit. “CL” appears in the display.
Release the D and E buttons.
REVERB – Enter EDIT mode and press the D button to edit REVERB settings.
Press the BANK UP and DOWN buttons to select one of the 9 reverb types.
You may use the REVERB knob to adjust the amount of reverb while in
EDIT mode.
Press the arrow keys (BANK UP and DOWN) simultaneously.
This erases all saved edits and returns all presets to their factory settings.
Refer to the MIDI chapter for information on saving your settings via MIDI.
•
NOISE GATE – Enter EDIT mode and press the E button to edit NOISE GATE
settings. Press the BANK UP and DOWN buttons to select a noise gate level
(0 = off, 15 = maximum gating effect).
Amp/Speaker Simulation
When you have made your adjustments, press the TUNER button to exit EDIT
mode and return to normal operation.
The heart of the V-AMP 3’s sound lies in its amp and speaker simulation.
With 32 amp simulations and 15 interchangeable speaker cabinets,
you’re guaranteed to find a tone to fit any situation. Not only this, but the
V-AMP 3 eliminates the need to mic an actual speaker, which is difficult to do
properly and creates a lot of excess noise. Any style from jazz to heavy metal can
easily be accommodated, and are further enhanced by the effects and reverb
options. You’re sure to find many sounds that spur your creativity and allow you
to explore new sonic possibilities.
Storing presets
As soon as you make any change to a preset, be it a new amp model,
effect selection, or EQ adjustment, the preset LED will flash. The flashing LED
informs you that in order to keep this new sound, you must save the preset.
To save the preset, simply hold the current preset button down for approximately
2 seconds. When the LED stops flashing, you have saved your current settings in
that preset location.
When you power on the V-AMP 3, it automatically loads the last selected preset.
The LED ring around the AMPS knob shows which amp is currently selected.
If the “17-32” LED is lit inside the display, the second amp model (written in grey)
next to the AMPS LED is active. To select another amp, simply turn the AMPS
knob. Hold the TAP button while turning the AMPS knob to select one of the
17-32 models. You may further edit the sound of the amp by turning the VOLUME,
GAIN, BASS, MID, and TREBLE knobs. Hold the TAP button while turning the
TREBLE knob to adjust the PRESENCE filter.
You do not necessarily have to save an altered preset to its current location.
You may select another preset in that bank, or use the BANK UP and
DOWN buttons to choose another bank and save to one of those 5 presets.
Again, hold the targeted preset button down for approximately 2 seconds until
the LED stops flashing.
Discarding an edited preset/restoring a single
factory preset
Each amp has an adjustable DRIVE function that acts similar to changing channels
on an amp. The simulation is still the same, but when switched to distortion
mode (default for most ROCK and METAL amps), the gain setting is significantly
higher. This feature enables all 32 amps to produce clean or distorted tones,
much like the actual amps themselves would. See ‘Edit Mode’ under the Presets
section for details on changing an amp’s DRIVE setting.
If you edit a preset, but decide that you do not like your changes and would
rather return to the original setting, you may simply select another preset
without saving. This way when you return to that preset, it will recall the settings
as they were before you started editing. This method works as long as you do not
save your unwanted edit.
You should always select an amp model first, then change the cabinet simulation
(if necessary), followed by an effect. To give you a better overview of the
extensive range of amp simulations, we have compiled the following descriptions
of the different types of amps.
If you do save an edit and would like to return to the original factory preset that
was stored there, hold down the two arrow keys (BANK UP and DOWN) until the
display reads “Pr.” If you would like to keep the original factory setting for this
preset, hold down the preset button for approximately 2 seconds to save.
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11 V-AMP3 User Manual
V-AMP 3 Preset Chart
Bank
A
Preset
B
Preset
C
Preset
D
Preset
E
Preset
1
2
3
4
acoustic ambienc
crunch rhythm
tight rhythm
break da blues
1
clean reverb
2
blackface dry
EL34power crunch
80s metallic
3
calif. compressed
british crunch
90s metallic
american hot
4
clean comp+CH+RV
5
6
windmill rhythm
tight hi octane
crunch a blues
7
8
9
british solo
10
15
20
Single-coil
pickups
11
16
12
17
13
18
14
19
80s harmonics
brit rotary
blisteringblue
CALIF.
COMPRESSED
CLEAN
COMP+CH+RV
5
ACOUSTIC AMBIENC
21
CLEAN REVERB
22
BLACKFACE DRY
23
24
25
Humbucker
pickups
6
7
CRUNCH RHYTHM
TIGHT RHYTHM
BREAK da BLUES
acoustic ambienc
crunch rhythm
tight rhythm
26
31
36
41
46
51
56
WIND MILL RHYTHM
TIGHT HI OCTANE
CRUNCH a BLUES
clean reverb
27
32
37
42
47
52
57
EL34 POWR CRUNCH
80s METALLIC
28
33
38
43
48
53
58
BRITISH CRUNCH
90s METALLIC
AMERICAN HOT
calif. compressed
british crunch
90s metallic
29
34
39
44
49
54
59
BRITISH SOLO
80s HARMONICS
BRIT ROTARY
30
35
40
45
50
55
60
8
BLISTERING BLUE
blackface dry
9
clean comp+CH+RV
british solo
10
11
12
windmill rhythm
tight hi octane
crunch a blues
EL34power crunch
80s metallic
Single-coil
pickups
80s harmonics
brit rotary
break da blues
blisteringblue
american hot
CALIF.
COMPRESSED
CLEAN
COMP+CH+RV
13
ACOUSTIC AMBIENC
61
CLEAN REVERB
62
BLACKFACE DRY
63
64
65
Humbucker
pickups
14
15
16
17
18
19
20
21
22
23
24
CRUNCH RHYTHM
TIGHT RHYTHM
BREAK da BLUES
acoustic 1
66
71
WIND MILL RHYTHM
TIGHT HI OCTANE
CRUNCH a BLUES
acoustic 2
67
72
EL34 POWR CRUNCH
80s METALLIC
BLISTERING BLUE
acoustic 3
68
73
BRITISH CRUNCH
90s METALLIC
AMERICAN HOT
acoustic 4
69
74
BRITISH SOLO
80s HARMONICS
BRIT ROTARY
acoustic 5
70
75
76
77
78
79
80
81
82
83
84
85
Acoustic
guitars
acoustic 6
86
acoustic 7
87
acoustic 8
88
acoustic 9
89
acoustic 10
90
BASS 1
91
BASS 2
92
BASS 3
93
BASS 4
94
BASS 5
95
Bass guitars
BASS 6
96
BASS 7
97
BASS 8
98
BASS 9
99
BASS 10
100
105
110
115
120
StudioRockStack
StudioRockStaFX
SessionCombo1
SessionComFX1
101
106
111
116
StudioRockStack+
StudioRockStaFX+
SessionCombo2
SessionComFX2
102
107
112
117
StudioRockStack2
StudioRockStaFX2
SessionCombo3
SessionComFX3
103
108
113
118
StudioRockStack3
StudioRockStaFX3
SessionCombo4
SessionComFX4
104
109
114
119
StudioRockStack4
StudioRockStaFX4
SessionCombo5
SessionComFX5
Studio
session
Extreme
sounds
25
weirdo 1
121
weirdo 2
122
weirdo 3
123
weirdo 4
124
weirdo 5
125
Amp Descriptions
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.
CLEAN
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.
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.
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.
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.
BLUES
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
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 distortion. As you would expect, it packs a solid punch in the bass range,
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.
but is still flexible enough in the mid and treble ranges.
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.
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.
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.
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.
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.
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12 V-AMP3 User Manual
BRIT BLUES: Modeled on the JTM 45, the first 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.
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.
V-CRUNCH: This amp is ideal for modern blues or jazz. Its sound is subtle but
crunchy and dynamic.
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
CUSTOM BLUES: 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 builds of “revolutionary” bass and treble controls. Brian May and U2’s The Edge are
a thick boutique distortion tone.
probably the best-known users of this sound.
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 effect on the sound if distortion was high.
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
“Pinball Wizard” to get an idea.
METAL
CUSTOM CLASS A: The model for this simulation is the Budda Twinmaster.
This Class 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.
NUMETAL 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 John Petrucci of the
progressive rock super group Dream Theater.
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 influence
the sound.
NUMETAL HD: This simulation is modeled on a Mesa Boogie Dual Rectifier
head. Much like the Trem-O-Verb, this amp produces an even higher gain sound.
The tone controls are most effective with the gain knob cranked.
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
SAVAGE BEAST: Engl is well known for amps that really cut through. The Savage hand-made amp.
120 in particular has built up a large following among guitarists. For some time
BRIT CLASSIC: Based on a 1959 Marshall Plexi 100 Watt, this amp provides
now, Ritchie Blackmore has been a major endorser of this German company,
and Randy Hanson, the best Hendrix since Jimi, also swears by this amp.
The unique 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!
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
Jimi Hendrix, Eric Clapton, and Jeff Beck, to name a few.
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 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.
CUSTOM HI GAIN: This sound goes back to a 1969 50-Watt Marshall Plexi
modified by Jose Arrendondo. Arrendondo was none other than Eddie Van
Halen’s guitar technician. The unique features of this amp are its fine mid-range
sounds and its ability to produce the ultimate in gain without making the sound
muddy. Warning: highly addictive!
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
effects or the speaker simulation. To activate the PREAMP BYPASS, press TAP and
TUNER simultaneously.
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.
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.
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.
The MODERN 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
Speaker Descriptions
The sound of any guitar combo depends largely on the type and combination of
guitar, MODERN HI GAIN sounds best when you turn down the volume control on speakers used. In the past 50 years there has been widespread experimentation
the guitar a little.
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.
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 riffs are as clear and articulate as can be.
•
When you select an amp simulation, an appropriate speaker
simulation is automatically activated (see graphic table below).
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.
ULTIMATE PLUS: Those who find the ULTRAZONIC too tame will find enough
gain here for an overdose, and nearly endless sustain.
The character of a loudspeaker depends on many different variables.
The following table shows a list of all speaker cabinets on the V-AMP 3.
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13 V-AMP3 User Manual
Effects Processor
Cabinets
BYPASS (NO SPEAKER SIMULATION)
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).
—
1
1 x 8" VINTAGE TWEED
4 x 10" VINTAGE BASS
4 x 10" V-AMP CUSTOM
1 x 12" MID COMBO
1 x 12" BLACKFACE
1 x 12" BRIT '60
2
3
4
5
6
7
1 x 12" DELUXE '52
2 x 12" TWIN COMBO
2 x 12" US CLASS A
2 x 12" V-AMP CUSTOM
2 x 12" BRIT '67
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.
8
9
10
11
12
13
14
15
4 x 12" VINTAGE 30
4 x 12" STANDARD '78
4 x 12" OFF AXIS
EFFECTS
EFFECT
Control
Effect #
Effect
control with TAP TAP push button
push button
4 x 12" V-AMP CUSTOM
1
2
ECHO CC49, val 1
Mix CC54
Feedback CC53
Delay Time CC50+51
DELAY CC49, val 0
Mix CC54
Feedback CC53
Delay Time CC50+51
AMPS 1-16
TUBE PRE
Category
Clean
Speaker simulation
—
Cabinet #
PING PONG
CC49, val 2
3
Mix CC54
Feedback CC53
Delay Time CC50+51
—
PHASER/DELAY
CC55, val 1 +
CC49, val 0
CLASSIC CLEAN
CLEAN V-AMP
BLACK TWIN
Clean
Clean
Clean
Blues
Blues
Blues
Blues
Metal
Metal
Metal
Metal
Rock
2 x 12" TWIN COMBO
4 x 12" V-AMP CUSTOM
2 x 12" TWIN COMBO
4 x 10" VINTAGE BASS
1 x 12" BLACKFACE
8
Delay Mix
4
Mod. Mix CC59
Delay Time CC50+51
15
8
CC54
FLANGER/DELAY
1 CC55, val 5 +
CC49, val 0
Delay Mix
CC54
AMERICAN
2
5
6
7
8
Mod. Mix CC59
Mod. Mix CC59
Mod. Mix CC59
Mod. Mix CC59
Delay Time CC50+51
Delay Time CC50+51
Delay Time CC50+51
Delay Time CC50+51
DELUXE BLUES
BRIT BLUES
5
FLANGER/ DELAY
2 CC55, val 5 +
CC49, val 2
4 x 12" VINTAGE 30
4 x 12" VINTAGE 30
4 x 12" V-AMP CUSTOM
4 x 12" V-AMP CUSTOM
4 x 12" VINTAGE 30
4 x 12" V-AMP CUSTOM
4 x 12" V-AMP CUSTOM
4 x 12" V-AMP CUSTOM
4 x 12" VINTAGE 30
4 x 12" V-AMP CUSTOM
1 x 8" VINTAGE TWEED
1 x 8" VINTAGE TWEED
4 x 12" V-AMP CUSTOM
1 x 12" BLACKFACE
12
12
15
15
12
15
15
15
12
15
1
Delay Mix
CC54
CUSTOM BLUES
NUMETAL GAIN
SAVAGE BEAST
BRIT HI GAIN
ULTRAZONIC
CHORUS/ DELAY
1 CC55, val 3 +
CC49, val 0
Delay Mix
CC54
CHORUS/ DELAY
2 CC55, val 3 +
CC49, val 2
Delay Mix
CC54
ROCK 59SL
HIBRIT 100
Rock
CHORUS/
COMPRESSOR
CC55, val 4 +
CC44, val 1
AMBER 120
Rock
Modulation Speed
9
Sense CC45
Mod. Mix CC59
BRIT CLASSIC
SMALL COMBO
TWEED COMBO
CALIF CLEAN
Rock
CC58
Clean
Clean
Clean
Clean
Rock
COMPRESSOR
CC44, val 1
1
10
11
12
13
14
15
16
Sense CC45
Depth CC45
Mix CC59
Mix CC59
Mix CC59
Mix CC59
Mix CC59
Attack CC46
Speed CC46
Feedback CC58
Depth CC57
Feedback CC58
—
—
—
15
5
AUTO WAH
CC44, val 2
CUSTOM CLEAN
FUZZ BOX
4 x 12" OFF AXIS
14
15
15
10
15
15
15
15
11
12
11
6
PHASER
CC55, val 1
Modulation Speed
V-AMP DRIVE
V-CRUNCH
Rock
4 x 12" V-AMP CUSTOM
4 x 12" V-AMP CUSTOM
2 x 12" V-AMP CUSTOM
4 x 12" V-AMP CUSTOM
4 x 12" V-AMP CUSTOM
4 x 12" V-AMP CUSTOM
4 x 12" V-AMP CUSTOM
2 x 12" BRIT '67
CC56
Rock
CHORUS
CC55, val 4
Modulation Speed
CC56
BRIT CLASSIC 50 W
NUMETAL HD
CUSTOM HI GAIN
MODERN HI GAIN
ULTIMATE PLUS
BRIT CLASS A
CUSTOM CLASS A
CLASS A NORM
BRIT CLASS A 15 W
Rock
FLANGER
CC55, val 6
Modulation Speed
Metal
Metal
Metal
Metal
Rock
CC56
TREMOLO
CC55, val 2
Modulation Speed
CC56
ROTARY
CC55, val 0
Modulation Speed
Depth CC57
CC56
Rock
4 x 12" VINTAGE 30
2 x 12" BRIT '67
Rock
Rock
1 x 12" BRIT '60
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14 V-AMP3 User Manual
Wah Wah
ROTARY: This is the quintessential simulation of the classic organ effect normally
produced by speakers rotating at slow or fast speed inside a heavy speaker
cabinet. This effect uses the physical principle of the Doppler effect to modulate
the sound.
By using a MIDI pedal, such as the BEHRINGER FCB1010, you can access an
additional Wah Wah effect. You may adjust the sweepable filter characteristic
by entering EDIT mode, selecting the DRIVE menu and turning the EFFECTS knob
while holding the TAP button.
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 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.
Effects descriptions
The following is a brief description of the various effects available on the V-AMP 3:
REVERB: Reverb is still the most important effect for mixing and live
performance. That’s why we at BEHRINGER make a point of giving you 9 different
reverb programs, allowing you to use the most suitable reverb program for any
situation. The reverb effect can be added separately to all the other effects.
Separate reverb effect
The reverb effect is independent of the multi-effects 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:
ECHO: Echo is a delayed repetition of the input signal. The main difference from
the DELAY effect 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 reflections are routed in turn to the
left and right channels, creating a stereo effect.
Reverb #
Reverb Type
Tiny Room
Quality
1
2
3
4
DELAY: This algorithm repeats the input signal, with different tempo settings
producing interesting delay effects. U2’s The Edge has impressively demonstrated
the potential of this effect.
Small Room
Medium Room
Large Room
Classic room simulation featuring various
room sizes from bathroom to cathedral
Special effect transforming guitar signals into
heavenly pad sounds
PING PONG: A delay effect that alternates between the left and right
5
Ultra Room
channel/speaker.
6
7
8
9
Small Spring
Simulations of typical spring reverbs
PHASER: The principle behind the phaser is that a second, phase-shifted signal
is added to the audio signal, creating a wave-like effect. 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 effects.
Medium Spring
Short Ambience
Long Ambience
Simulates the early reflections of a
reverbless room
FLANGER: This effect is similar to a phaser in the fact that it produces wave-like
modulation to the guitar tone. Create psychedelic effects by mixing it heavily,
or use a subtle mix to thicken up the tone.
Tuner
Press the TUNER button to activate the built-in tuner.
CHORUS: This effect adds a slightly modulated off-key element to the original
signal, thus creating a pleasant floating effect through variations in pitch.
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
PHASER & DELAY: Phaser and delay combined.
FLANGER & DELAY: The input signal is delayed and processed with a pronounced your guitar into the device and play an open string, the tuner will recognize
wave-like effect. It is particularly effective for highlighting single notes, but can
also be used to make solos more interesting.
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 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.
CHORUS & DELAY: This algorithm combines signal delay with the popular
chorus effect.
CHORUS & 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.
COMPRESSOR: A compressor limits the dynamic range of the guitar tone,
thus producing audible and creative sound effects. Pronounced use of the
compressor (using the EFFECTS control) allows rhythm sounds to really “pop”.
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 first 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
AUTO WAH: The legendary wah-wah effect owes its fame mainly to
Jimi Hendrix. The auto-wah alters its filter frequency automatically depending on
the signal’s magnitude, rather than being controlled by the position of a pedal.
The effect 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 will read “43”, i.e. 443 Hz. To quit EDIT mode, press either the TUNER or the TAP
up and down to a constant tempo. The tremolo effect has returned to popularity
with trip-hop.
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.
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15 V-AMP3 User Manual
MIDI
MIDI connections
MIDI IMPLEMENTATION CHART
Function
Transmitted
Received
Remarks
16
17
18
Y
Y
Y
Y
Y
Y
Amp Vol (0-127)
Presence (0-127)
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.
Reverb Mix (0-127) *2
Y (skipped on
request)
Amp Type (0-32) with default
cabinet *3
19
20
Y
Y
Y (skipped on
request)
Fx Type (0-15) with defaults *1
21
22
23
24
25
26
27
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Fx off/on (0/127)
Reverb Send off/on (0/127)
Cabinet Type (0-15) *5
Reverb Type (0-8) *4
Noise Gate Level (0-15)
Drive off/on (0/127)
Wah off/position (0/1-127)
pre Effect Type (0-2) *6
pre Effect Par 1 *6
Y
Y
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.
Y
Y
Y
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.
Y
N (request only)
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).
Y
Y
pre Effect Par 2 *6
N (request only)
pre Effect Par 3 *6
N (request only)
pre Effect Par 4 *6
N (request only)
Delay Type (0-2) *7
Y
Delay Time hi (0-117) *8
Delay Time lo (0-127) *8
Delay Spread (0-127)
Delay Feedback (0-127)
Delay Mix (0-127) *9
post Fx Mode (0-6) *10
post Fx Par 1 *10
Sending/receiving MIDI SysEx data
Y
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.
N (request only)
Y
Y
N (request only)
Y
Y
post Fx Par 2 *10
Y
post Fx Par 3 *10
To exchange individual presets with other devices, such as another V-AMP 3
or a PC:
Y
post Fx Mix (0-127) *11
Assign Effects Control (0-15) *1
N (request only)
Amp Type (0-32) w/o cabinet
change *3
61
64
80
N (request only)
Y
Y
Y
•
•
•
Switch the transmitting V-AMP 3 to EDIT mode by pressing the BANK UP and
DOWN buttons simultaneously.
N
N
Tap (Value > 63)
Request Controls
(Value = 80)
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.
'Set Pos (0-15),
Set Character (32-127)
81
N (request only)
Y
Store the new information in the preset position of your choice using the
store function.
82
83
84
85
86
87
Y
Y
'Tuner Bypass Volume (0-127)
'Tuner Center Frequency (25-55)
Configuration (0-4=S1,S2,L1,L2,L3)
Live EQ Treble (0-127)
Live EQ Mid (0-127)
Live EQ Bass (0-127)
127=Tuner
Y
Y
MIDI IMPLEMENTATION CHART
Y
Y
Y
Y
Function
Transmitted
Received
Remarks
Y
Y
MIDI Channel
1-16
1-16
N
—
Y
Y
Mode
N
—
—
Program Change
System Exclusive
System Common
System Real Time
Running Status
Y (0-124)
Y (0-124, 127)
Note Number
N
N
Y
Y
N
N
Y
see SysEx Documentation
—
Velocity
N
N
—
N
After Touch
N
N
—
N
—
Pitch Blender
N
N
—
Y (2s Timeout)
—
Control Change
—
—
Y
—
MIDI Implementation Chart
1
N (request only)
Wah Pedal
Volume Pedal
Amp Gain (0-127)
Amp Treble (0-127)
Amp Mid (0-127)
Amp Bass (0-127)
7
N (request only)
Y
12
13
14
15
Y
Y
Y
Y
Y
Y
Y
Y
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16 V-AMP3 User Manual
Application
HPM1000
X1222USB
EP2000
X1204USB
Balanced or
unbalanced cables
VP1520
MIDI cable
FCB1010
MIDI Controller
Studio Recording
Live 1 Configuration
Live performance without a guitar ampliꢀer
UCA222
HPM1000
¼" to RCA cable
AUX Input
EP2000
FS112V
(optional)
X1222USB
Jamming with a PC using UCA222
VP1520
GMX112
MIDI cable
B3031A
FCB1010
HPM1000
MIDI Controller
Live 3 Configuration
Live performance with a guitar ampliꢀer
Direct Monitoring = On
Latency-free home recording using UCA222
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17 V-AMP3 User Manual
Online Registration
Specifications
Audio Inputs
Please register your new BEHRINGER equipment right after your purchase
warranty carefully.
Instrument input
Input impedence
Max. input level
Aux in stereo
¼" TS connector, unbalanced
Should your BEHRINGER product malfunction, it is our intention to have it
repaired as quickly as possible. To arrange for warranty service, please contact
the BEHRINGER retailer from whom the equipment was purchased. Should your
BEHRINGER dealer not be located in your vicinity, you may directly contact
one of our subsidiaries. Corresponding contact information is included in the
original equipment packaging (Global Contact Information/European Contact
Information). Should your country not be listed, please contact the distributor
nearest you. A list of distributors can be found in the support area of our website
(http://behringer.com).
1 Mohms
+9 dBu
¼" TRS stereo connector
Input impedence
15 kohms
Audio Outputs
Analog line outputs L/R
Output impedance
Max. output level
Headphones connector
Max. input level
¼" TS connector, balanced
Registering your purchase and equipment with us helps us process your repair
claims more quickly and efficiently.
2.2 kohms
+20 dBu
Thank you for your cooperation!
¼" TRS stereo connector, unbalanced
+15 dBu/100 ohms (+23 dBm)
Shipment
MIDI
Your V-AMP 3 was carefully packed at the factory, and the packaging was
designed to protect the unit from rough handling. Nevertheless, we recommend
that you carefully examine the packaging and its contents for any signs of
physical damage that may have occurred during transit.
Type
5-pin DIN connector IN, OUT/THRU
Digital Signal Processing
Converter
◊
If the unit is damaged, please do NOT return it to BEHRINGER.
Instead, notify your dealer and the shipping company immediately.
Otherwise, claims for damage or replacement may not be honored.
24-bit delta-sigma, 64/128 x oversampling
Dynamics A/D
Dynamics D/A
Sample rate
DSP
104 dB @ preamp Bypass
92 dB
◊
◊
◊
Always use the original packing carton to prevent damage during
storage or transport.
31.250 kHz
Make sure that no children are left unsupervised with the unit or
its packaging.
100 Mips
Delay time
max. 1,933 msecs.
Please ensure proper disposal of all packing materials.
Latency (Line In to Line Out) approx. 5 msecs.
Display
Type
2-digit 7 segment LED display
Power Supply
Mains voltage
USA/Canada 120 V~, 60 Hz
UK/Australia 240 V~, 50 Hz
Europe 230 V~, 50 Hz
China/Korea 220 V~, 50/60 Hz
Japan 100 V~, 50/60 Hz
13 W
Power consumption
Mains connection
external power supply unit
Dimensions/Weight
Dimensions (H x W x D)
3.1 x 10.5 x 7"
79 x 267 x 180 mm
Weight
1.6 lbs / 0.8 kg
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18 V-AMP3 User Manual
FEDERAL COMMUNICATIONS
COMMISSION COMPLIANCE
INFORMATION
V-AMP3
Responsible party name:
Address:
MUSIC Group Services USA, Inc.
18912 North Creek Parkway,
Suite 200 Bothell, WA 98011,
USA
Phone/Fax No.:
Phone: +1 425 672 0816
Fax: +1 425 673 7647
V-AMP3
complies with the FCC rules as mentioned in the following paragraph:
This equipment has been tested and found to comply with the limits for a Class B
digital device, pursuant to part 15 of the FCC Rules. These limits are designed
to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses and can radiate radio frequency
energy and, if not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a particular installation. If this equipment does cause
harmful interference to radio or television reception, which can be determined
by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
•
•
•
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the
receiver is connected.
•
Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC rules. Operation is subject to the
following two conditions:
(1) this device may not cause harmful interference, and
(2) this device must accept any interference received, including interference that may
cause undesired operation.
Important information:
Changes or modifications to the equipment not expressly approved by MUSIC Group
can void the user’s authority to use the equipment.
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