Behringer Musical Instrument Amplifier V AMP 2 User Manual
User’s Manual  
Version 1.1 March 2003  
V-AMPIRE  
V-AMP PRO  
V-AMP 2  
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V-AMPIRE/V-AMP PRO/V-AMP 2  
V-AMPIRE/V-AMP PRO/V-AMP 2  
Ultra-flexible virtual guitar amps with tube simulation and digital multi-effects processor  
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32 authentic virtual amp simulations, 15 speaker cabinets and preamp bypass  
Dedicated selectors for amp model, speaker cabinet and digital effects  
Amps selector allows you to directly select popular guitar amp simulations ranging from classic clean to  
crunch and modern Hi Gain sounds with the original tube amp character  
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Effects selector selects first-class effects such as chorus, flanger, phaser, rotary, auto wah, echo, delay,  
compressor and various effects combinations—can be used without amp simulation!  
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Dedicated reverb control adds 1 of 9 different reverb types  
125 memory locations divided into 25 banks for easy editing  
Extensive MIDI implementation allows complete real-time remote control and automation, data transfer  
and access to additional parameters  
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Five globally selectable configurations for various studio and live applications, some with additional 3-band  
live-EQ  
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Built-in chromatic tuner for connection of your guitar or other electronic instruments  
V-AMPIRE: 2 x 50 Watt guitar combo with 1x12" Jensen® loudspeaker  
V-AMPIRE: Two additional outputs for connection of external loudspeakers  
V-AMPIRE/V-AMP PRO: Balanced stereo XLR DI Out with ground lift and switchable ULTRA-G speaker  
simulation  
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V-AMPIRE/V-AMP 2:Adjustable stereo aux input for line-level signals(CD, drum computer, sound card etc.)  
V-AMPIRE/V-AMP PRO: Pre DSP send/return loop for dry recording and wet monitoring or as serial  
effects loop  
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V-AMP PRO: AES/EBU and S/PDIF connectors allow usage as universal A/D converter with high-impedance  
input, 24-bit/96 kHz resolution and 100 dB dynamic range  
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V-AMP PRO: BNC wordclock input for external sample rate synchronization up to 96 kHz  
V-AMP PRO: Post DSP stereo inserts for connection of external effects devices  
V-AMP 2: Gig bag and footswitch for preset selection and tuner control included  
Manufactured under ISO9000 certified management system  
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V-AMPIRE/V-AMP PRO/V-AMP 2  
FOREWORD  
TABLE OF CONTENTS  
Dear Customer,  
1. INTRODUCTION ......................................................... 5  
welcome to the team of  
BEHRINGER users, and  
thank you very much for  
expressing your confi-  
dence in us by pur-  
chasing this virtual guitar  
amplifier.  
1.1 ... before you get started ............................................. 5  
1.1.1 Serial number ..................................................... 5  
2. CONTROL ELEMENTS ............................................... 5  
2.1 Front panel/surface ...................................................... 5  
2.2 Rear panel/side ............................................................. 7  
3. OPERATING MODESANDAPPLICATIONS ................ 8  
Writing this foreword  
for you gives me great  
pleasure, because it  
represents the cul-  
mination of many months  
of hard work delivered  
by our engineering team  
3.1 Selecting an operating mode in CONFIGURATION  
mode ............................................................................. 8  
3.2 Rehearsal or recording at home .................................. 8  
3.2.1 V-AMPIRE ........................................................... 8  
3.2.2 V-AMPPRO ........................................................ 8  
3.2.3 V-AMP 2.............................................................. 8  
3.3 Live on stage or in a rehearsal room ........................... 8  
3.3.1 V-AMPIRE ........................................................... 9  
3.3.2 V-AMPPRO ........................................................ 9  
3.3.3 V-AMP 2.............................................................. 9  
3.4 Recording...................................................................... 9  
3.4.1 V-AMPIRE ........................................................... 9  
3.4.2 V-AMPPRO ........................................................ 9  
3.4.3 V-AMP 2.............................................................. 9  
to achieve  
a
very  
ambitious goal: to  
develop three outstan-  
ding devices, that give  
you maximum flexibility  
and performance with their unique sound character and broad  
range of functions. The task of designing these new products  
certainly meant a great deal of responsibility, which we assumed  
by focusing on you, the discerning user and musician. Meeting  
your expectations also meant a lot of work and night shifts. But  
it was fun, too. Developing a product usually brings a lot of  
people together, and what a great feeling it is when all who  
participated in such a project can be proud of what they’ve  
achieved.  
4. PRESETS .................................................................10  
4.1 Calling up presets ....................................................... 10  
4.2 Editing presets ............................................................ 10  
4.3 Storing presets ........................................................... 10  
4.4 Discarding an edited preset/restoring a single  
factory preset ............................................................. 11  
4.5 Restoring all factory presets...................................... 11  
It is our philosophy to share our enjoyment with you, because  
you are the most important member of the BEHRINGER team.  
With your highly competent suggestions for new products you’ve  
made a significant contribution to shaping our company and making  
it successful. In return, we guarantee you uncompromising quality  
as well as excellent technical and audio properties at an extremely  
reasonable price. All of this will enable you to give free rein to  
your creativity without being hampered by budget constraints.  
5. AMP/SPEAKER SIMULATION .................................. 11  
5.1 Amp descriptions ........................................................ 11  
5.2 Speaker descriptions .................................................. 12  
6. EFFECTSPROCESSOR ............................................13  
6.1 Wah Wah .................................................................... 13  
6.2 Effect descriptions ..................................................... 13  
6.2.1 Reverb and delay algorithms ........................... 13  
6.2.2 Modulation effects............................................ 14  
6.2.3 Combinations of effect algorithms  
(multi-effects programs) .................................. 14  
6.2.4 Special effects ................................................. 14  
6.3 The separate reverb effect........................................ 14  
We are often asked how we manage to produce such high-  
quality devices at such unbelievably low prices. The answer is  
quite simple: it’s you, our customers! Many satisfied customers  
means large sales volumes, enabling us to get better purchasing  
terms for components, etc. Isn’t it only fair to pass this benefit on  
to you? Because we know that your success is our success  
too!  
I would like to thank all of you who have made the V-AMPIRE/  
V-AMP PRO/V-AMP 2 possible. You have all made your own  
personal contributions, from the developers to the many other  
employees at this company, and to you, the BEHRINGER user.  
7. TUNER ......................................................................14  
7.1 Tuning your guitar....................................................... 14  
7.2 Setting reference pitch “A” ........................................ 14  
8. INSTALLATION .........................................................15  
8.1 Mains voltage .............................................................. 15  
8.2 Audio connections...................................................... 15  
8.3 MIDI connections ......................................................... 15  
8.3.1 Sending/receiving MIDI-Sysex data ................. 16  
8.4 AES/EBU and S/PDIF standards ................................. 16  
My friends, it’s been worth the effort!  
Thank you very much,  
9. APPENDIX ................................................................17  
10.SPECIFICATIONS ....................................................18  
11.WARRANTY .............................................................19  
Uli Behringer  
CAUTION!  
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Please note that high volume levels may cause  
permanent damage to your hearing and/or your  
headphones. Turn all LEVEL controls to the left  
before you switch on the unit. Be sure to keep the  
volume at an appropriate level.  
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V-AMPIRE/V-AMP PRO/V-AMP 2  
1. INTRODUCTION  
2. CONTROL ELEMENTS  
Congratulations! With the V-AMPIRE, V-AMP PRO and V-AMP 2  
you have acquired an up-to-date guitar amp of the newest  
generation. Each one offers you a range of sonic posibilities as  
wide as your own imagination.  
On the added view sheet you will find the corresponding  
illustrations for all control elements. The numbering of most of  
the control elements is the same for all three products. Because  
of the different design and some varying elements, the numbering  
is not always consistent. We therefore marked those differences  
adding a “V-AMPIRE only”, “V-AMP PRO only” or “V-AMP 2 only”.  
With the V-AMPIRE you own the new combo version of our  
famous V-AMP 2. It’s an allrounder with so many features that  
you hardly need any other equipment.  
2.1 Front panel/surface  
The V-AMP PRO is the “big brother” of the V-AMP 2. Besides  
the V-AMP 2 features, the PRO version offers digital output  
signals and you can even select the output format. External  
synchronization of your V-AMP PRO is possible via wordclock.  
Use the POWER switch to put the V-AMPIRE (rear) and  
the V-AMP PRO (front) into operation. The POWER switch  
should be in the “off” position (not pressed) if you want to  
connect the device to the mains.  
The V-AMP 2 is the revised and furtherly developed well-  
known V-AMP model. With this modern virtual guitar amp we  
have set a new standard. The V-AMP 2 offers 32 authentic amp  
and even special loudspeaker cabinet sounds without the usual  
transportation problems.  
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Attention: The POWER switch does not fully  
disconnect the unit from the mains. Unplug the  
power cord completely when the unit is not used  
for prolonged periods of time.  
The GAIN control determines the distortion level of an  
amp simulation.  
But enough of this talk: Nothing will convince you more than  
what you hear and feel when you test your virtual amp for the  
first time.  
The VOLUME control determines the volume of the se-  
But ...  
lected preset.  
The BASS control in the EQ section is for boosting or  
cutting the low-frequency range.  
1.1 ... before you get started  
The MID control is for boosting or cutting the mid-range  
frequencies.  
The unit was carefully packed at the factory and the packaging  
is 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 which may have  
occurred during transit.  
TREBLE controls the high-frequency range of the selected  
preset.  
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The LED rings around the VOLUME, BASS, MID,  
TREBLE, GAIN, EFFECTS MIX and REVERB controls  
each have nine LEDs. On each ring either one LED or  
two neighboring LEDs (in between positon) will light  
up at a time, indicating a total of 17 different  
positions.  
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If the unit is damaged, please do NOT return it to  
BEHRINGER, but notify your dealer and the shipping  
company immediately. Otherwise, claims for  
damage or replacement may not be granted.  
Be sure that there is enough space around the unit for cooling  
and, to avoid overheating, please do not place the device near  
radiators etc.  
If the TAP key  
is down, the TREBLE control  
functions as a PRESENCE control. This enables you  
to boost/cut a high-frequency filter tuned to  
whatever amp model is active, thus simulating the  
frequency-dependent coupling of tube amps.  
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Before you connect the unit to the mains, please  
make sure that the voltage setting on the unit  
matches the local voltage!  
The AMPS control is for selecting one of 32 different  
amplifier simulation models. The control is surrounded by a  
ring of 16 LEDs. Each LED corresponds to two types of  
amplifier. The first 16 simulations can be selected by turning  
the AMPS control (V-AMP PRO/V-AMP 2: white, V-AMPIRE:  
black).  
The mains connection of the V-AMP 2 is made by using the  
enclosed power supply, which meets all of the international  
safety certification requirements. As soon as the V-AMP 2 is  
connected to the mains via its power supply, the unit is switched  
on automatically.  
To select the simulation models 17 - 32 (V-AMP PRO/  
V-AMP 2: gray, V-AMPIRE: white), press down the TAP  
key while making your selection by turning the AMPS  
control.  
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Please make sure that all units have a proper  
ground connection. For your own safety, never  
remove or disable the ground conductor from the  
unit or of the AC power cord.  
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The LED “17 - 32” in the bottom left-hand corner of  
the DISPLAY indicates that one of the simulation  
models 17 - 32 has been selected.  
The MIDI connections (IN, OUT/THRU) are for standard DIN  
connectors. Data is transferred via ground-free opto-couplers.  
Further information can be found in chapter 8 “INSTALLATION”.  
In addition, you can activate a PREAMP BYPASS by  
pressing the key combination TUNER  
and TAP  
. If  
1.1.1 Serial number  
PREAMP BYPASS has been selected, none of the LEDs  
on the AMPS control lights up. To disable PREAMP  
BYPASS, simply select a different amp model or press  
both keys again.  
The serial number is located on the rear panel of your  
V-AMPIRE/V-AMP PRO/V-AMP 2. Please take the time to fill in  
and return the warranty card within 14 days after the date of  
purchase, so as to benefit from our extended warranty. Or  
register online at www.behringer.com.  
These five keys are for selecting a preset (A - E) within  
one bank.  
In EDIT mode (activated by simultaneously pressing the  
arrow keys described in  
), the keys perform the  
function printed directly above them:  
2. CONTROL ELEMENTS  
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V-AMPIRE/V-AMP PRO/V-AMP 2  
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A: Accesses the MIDI functions. Use the arrow keys to  
set the MIDI channels (1 through 16) for transmitting and  
receiving MIDI data.  
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“Amp models 17 - 32”: Keep the TAP button pressed  
down and select an amp model using the AMPS control.  
“MIDI Thru”: The MIDI OUT jack can be set to act as  
If you use key A in EDIT mode to select the MIDI function  
and then press the TAP key, the MIDI OUT jack is set to act  
as a MIDI THRU. In this setting (the TAP LED is lit) no MIDI  
data is sent, but the device passes on the signal received  
at the MIDI IN jack.  
MIDI THRU (see  
A).  
“Drive”: Using the TAP button and the EFFECT control  
changes the sound of the Wah-Wah effect.  
“Input Gain”: By pressing the TAP button in the  
configuration menu (see  
refer to chapter 3.1 for further information).  
) you change the value (please  
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B: Selects the DRIVE function. This noticeably raises  
distortion and volume. Use the arrow keys to switch DRIVE  
on and off. The DRIVE function is wired pre GAIN control.  
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While editing the DRIVE function, you can also  
activate and adjust the Wah-Wah effect by turning  
the EFFECTS control. The LEDs surrounding the  
EFFECTS control indicate the position of the pedal.  
If none of the LEDs lights up, the Wah-Wah is not  
acitvated.  
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C: This key activates the CABINETS mode. Use the arrow  
keys to select the type of speaker or combination of  
speakers you want. You can also switch off the speaker  
simulation completely (“-”). For further details, please refer  
to chapter 5.2.  
Fig. 2.1: V-AMP PRO display  
D: Use this key to select the REVERB function. The  
arrow keys can be used to select one of nine different  
types of reverb in addition to the multi-effects processor.  
For further details see chapter 6.3.  
Tab. 2.1: Output formats and display LED assignments  
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E: Here you can activate the NOISE GATE function. Use  
the arrow keys to adjust the noise reduction threshold.  
The DISPLAY shows you which preset bank you have  
selected and gives you information on parameter changes  
when you are editing. In TUNER mode the DISPLAY shows  
the pitch of the instrument connected to the unit. If one of  
the amplifier simulations 17 - 32 has been selected, the  
LED in the bottom left-hand corner of the DISPLAY lights  
up. Additionally, the DISPLAY reads the digital format  
output and the sample rate (V-AMP PRO only) and illustrates  
whenever the V-AMP PRO is synchronized by an external  
word clock signal (EXT.). Applied signals are indicated by  
the green SIGNAL LED, overload signals by the red CLIP  
LED (V-AMPIRE and V-AMP PRO only).  
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After preset editing, please press TUNER/EXIT to  
quit (the EDIT MODE LED dies out).  
DIGITAL OUT: The digital output (V-AMP PRO only)  
can be configured if keys A and B are pressed  
simultaneously. The display reads either “SP” for  
S/PDIF or “AE” for AES/EBU. Switch between these  
two formats using the TAP key. The LEDs in the  
display show whether you have chosen internal  
synchronization (with 44.1, 48 or 96 kHz sample rate)  
or external synchronization via word clock (see tab.  
2.1 in this user’s manual). Use the arrow keys to  
select the appropriate sample rate with respect to  
the receiving device. The TUNER/EXIT key allows you  
to quit the DIGITAL OUT configuration.  
This control is for selecting an effect or a combination of  
effects. This encoder-type rotary control is also surrounded  
by a ring of 16 LEDs. Each LED corresonds to one specific  
effects preset.  
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CONFIGURATION: If you press the D and E keys  
simultaneously (B and D on the V-AMP 2), you can  
select the general operating mode of your device  
allowing adjustments to different studio and live  
situations (see chapter 3). Press TUNER/EXIT to quit  
configuration.  
Using the REVERB control, you can add the reverb content  
of your choice to your overall sound. By turning it to the left  
until all the LEDs are off, you deactivate the reverb. To  
fade out the original signal, turn the control to the right until  
only the last LED lights up.  
If an effect has been selected via  
, its part of the  
The TUNER button is for switching on the tuner. In addition,  
this button can be used to quit EDIT mode (“Exit”).  
overall sound can be set using this EFFECTS control. If  
you select the “Compressor” effect, you can use the  
EFFECTS control to adjust the compression intensity.  
Turning the control to the left until all the LEDs are off  
disables the effect. This is known as an effects bypass.  
Use the two arrow keys to select a different bank (BANK  
DOWN and BANK UP). You can skip banks by holding  
each of the keys down. To activate the EDIT mode, press  
both keys simultaneously. If you press one of the keys  
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By pressing the TAP key, you can set a second  
effects parameter using the EFFECTS control (see  
tab 6.1).  
A - E (  
) in that mode, the arrow keys can be used for  
setting parameters.  
The TAP button performs seven functions:  
The MASTER control determines the overall volume of  
your device.  
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“Tap”: Tap the rhythm of a piece of music on the TAP  
button and the selected effect automatically adapts to the  
tempo of the music.  
This is, besides the AUX LEVEL control of the  
V-AMP 2, the only “conventional” and non-  
programmable control. All the other controls are  
encoder-type rotary controls whose settings can  
be stored in a preset.  
“Presence”: While holding down the TAP button, you  
can use the TREBLE control to change the PRESENCE  
setting of the amp model you’ve selected.  
“2nd parameter”: You also can access the second effects  
parameter set by using the EFFECT control while holding  
down the TAP button.  
The INPUT socket is the 1/4" jack socket for your guitar.  
Please use a standard 1/4" mono jack cable.  
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2. CONTROL ELEMENTS  
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V-AMPIRE/V-AMP PRO/V-AMP 2  
The LINE IN (V-AMP PRO only) switch determines which  
The POST DSP SEND (OUT) stereo output (V-AMP PRO  
only) allows you to connect the inputs of an external stereo  
effects device. The signal provided here is the same as  
the signal present at the digital outputs. Unlike the SEND/  
signal source is processed by the V-AMP PRO, either  
(switch not pressed) the signal applied at the high-  
impedance INPUT jack, for example, your guitar, or (switch  
pressed) the line signal connected to the PRE DSP INSERT  
LINE OUT output  
corresponding RETURN (IN) jacks  
ANALOG LINE OUTPUTS provide an identical signal.  
this signal is post-DSP. If the two  
(LINE IN,  
).  
are not used, the  
The stereo PHONES jack allows you to monitor the audio  
signal with standard headphones (e.g. BEHRINGER HP  
series).  
The S/PDIF output provides the digital output signal of your  
V-AMP PRO.  
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Your V-AMPIRE/V-AMP PRO/V-AMP 2 automatically  
activates studio mode 1 (S1) when connecting  
headphones. In this mode the digital speaker  
simulations are activated. With the headphones  
plugged in, you are able to select any other  
configuration, e.g. for monitoring purposes (see  
also chapter 3).  
The AES/EBU output (XLR connector) delivers the digital  
signal of your V-AMP PRO in an AES/EBU format, provided  
that AES/EBU has been selected as digital output format  
(please refer to the 2nd note under  
E).  
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The coax-type S/PDIF and balanced AES/EBU output  
are using the same output transformer and must  
therefore not be used at the same time. To change  
between the S/PDIF and AES/EBU formats please  
If you did not choose a speaker simulation with the  
current setting and connect headphones, the device  
will automatically switch to a speaker simulation.  
This will increase the listener’s sound impression.  
Please refer to table 5.2 for detailed information on  
the various speaker/amp combinations. However,  
you can intentionally change or deactivate the  
simulation when using headphones by selecting  
select the digital out menu (see  
).  
The WORDCLOCK BNC jack is used to connect equipment  
for the external synchronization of your V-AMP PRO. This  
high-impedance jack has no internal terminating resistor  
(75 Ohms).  
This is the MIDI OUT/THRU jack. It is configured as MIDI  
“-” in the CABINETS mode (see  
C).  
OUT but can be set to act as a MIDI THRU jack (see  
A).  
Use the MIDI IN to connect a foot controller, for example,  
the BEHRINGER MIDI FOOT CONTROLLER FCB1010 (see  
chapter 8.3 for details).  
2.2 Rear panel/side  
Both V-AMPIRE and V-AMP PRO feature a serial insert  
path for external effects, such as a Wah-Wah pedal.  
Connect the SEND/LINE OUT jack to the input of your  
effects device. The SEND/LINE OUT output is taken directly  
pre-digital processor (PRE DSP), which means you can  
use this jack also to record a “dry” direct signal without  
any effect added. Connect the RETURN/LINE IN jack to  
the output of your external effects device.  
SERIAL NUMBER. Please take the time to fill in and return  
the warranty card within 14 days after the date of purchase,  
so as to benefit from our extended warranty. Or register  
online at (www.behringer.com).  
You find the serial number of the V-AMP 2 on the base of  
the casing.  
FUSE HOLDER/VOLTAGE SELECTOR (V-AMPIRE/  
V-AMP PRO only). Before connecting the unit to the mains,  
make sure that the voltage setting matches your local  
voltage. A blown fuse should only be replaced by a fuse  
of the same type and rating. On some units, the fuse holder  
can be switched to one of two positions, i.e. 230 V and  
120 V. When operating the unit outside Europe at 120 V, a  
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When using the serial insert path, please do not  
set the effects device to 100% effects signal (“wet”);  
otherwise, the direct signal will be missing.  
Press the LINE IN key  
to route the signal applied  
at the RETURN/LINE IN to the V-AMP PRO. This function  
is useful, for example, to monitor a “dry” guitar  
signal with the V-AMP PRO before adding any  
effects.  
higher fuse rating is required (see chapter  
“INSTALLATION”).  
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As soon as the VAMPIRE’s LINE IN (Return) is  
connected, the signal is automatically routed to the  
DSP. The input signal from the front will then be  
interrupted.  
The mains connection is on an IEC receptacle (V-AMPIRE/  
V-AMP PRO only). An appropriate power cord is included.  
V-AMP 2: Connect the enclosed power supply unit via the  
AC IN socket. If it is connected to the mains, your V-AMP 2  
will switch on automatically.  
The ANALOG LINE OUTPUTS provide the stereo signal  
without analog speaker simulation applied (V-AMPIRE and  
V-AMP PRO only). Use these jacks, for example, to connect  
an external amp on stage.  
Connect the stereo jack plug of your FS112V footswitch  
(included) to the FOOTSWITCH socket (V-AMPIRE/V-AMP 2  
only). This will enable you to recall the presets from one  
bank. To switch on the tuner, hold down the DOWN button  
on the footswitch for more than two seconds. You can  
also switch the tuner off again using the same button.  
The balanced LINE OUTs of the V-AMP 2 provide a stereo  
signal, e.g. for recording applications.  
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You may use balanced or unbalanced plugs with  
the LINE OUTs.  
The AUX IN jack socket (V-AMPIRE and V-AMP 2 only)  
enables you to feed in additional stereo signals on the  
V-AMP 2, to play with a drum computer or playback etc.  
Connect the POST DSP INSERT RETURN (IN) pair of  
stereo 1/4" jacks to the outputs of your external stereo  
effects device and use this path to return the signal sent  
The AUX LEVEL control (V-AMPIRE and V-AMP 2 only) is  
used for determining the volume of the signal received at  
the AUX IN input.  
out from the POST DSP SEND (OUT) outputs  
.
The GROUND LIFT switch disconnects (switch pressed)  
the ground connection at the DI OUT outputs to  
effectively eliminate hum noise resulting from ground loops.  
These outputs (V-AMPIRE only) are for connecting two  
external loudspeakers.  
The DI OUT output provides the balanced stereo signal of  
your V-AMPIRE/V-AMP PRO. Connect this output to two  
balanced microphone inputs on your mixing console. With  
configuration modes L1 and L2 the maximum level reduction  
is -10 dBu so that you can directly connect them to the mic  
inputs of your mixing console.  
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Without external loudspeakers the internal speaker  
runs at 70 Watts mono. The left output (the internal  
speaker automatically shuts off) allows to connect  
a loudspeaker with 4 W of impedance and 100 Watts  
power. At the right output you may connect an 8 W/  
50 Watts speaker that runs together with the  
2. CONTROL ELEMENTS  
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V-AMPIRE/V-AMP PRO/V-AMP 2  
internal speaker. Two speakers with 8 W/50 Watts  
Using studio mode 2 (S2) at home can be a good idea when it  
each can be connected to the outputs (the internal  
speaker automatically shuts off). Our ULTRASTACK  
BG412 series suits this application ideally.  
comes to recording an amp sound without effects (“dry”) but  
monitoring it with effects (“wet”). Working this way, you are  
able to choose the effects you want later during mixdown. In  
this case you would route the left output to the soundcard of  
your computer and monitor the right output via your mixing console.  
3. OPERATING MODES AND  
APPLICATIONS  
3.2.1 V-AMPIRE  
Figure 1.3 on the view sheet shows a typical home application.  
We recommend modes S1, L1 or L2.  
One outstanding feature of our V-AMP products is that you  
can choose yourself which parts of the signal you want to route  
to the outputs. To adapt your device perfectly to the various  
studio and live applications you can choose between 5 different  
operating modes (CONFIGURATIONS). Independent of the  
settings stored in the presets, these operating modes determine  
where the signal for the line outs and headphones comes from  
so that both left and right output signal can be used for different  
purposes.  
S1 comprises all amp, speaker and effects simulations. The same  
applies to mode L1 which also includes the 3-band EQ for additional  
sound adaption. Mode L2 works similarily but here the digital speaker  
simulation is switched off and our analog ULTRA-G simulation is  
enabled on the XLR or phones outputs.  
+
When connecting headphones, the amp signal is  
automatically muted. Thus, if you unplug the  
headphones we strongly recommmend to turn the  
MASTER control to the very left. The XLR output is  
independent of the MASTER control setting. This  
allows to take out a line signal for recording  
purposes while the MASTER control is set to  
minimum.  
The choice of your most suitable operating mode depends on  
where you use it. We have described some typical applications,  
distinguishing between particular features of the V-AMPIRE,  
V-AMP PRO and V-AMP 2 (see view sheet for details).  
+
With the headphones plugged, the device auto-  
matically switches into studio 1 (S1) operating  
mode.  
As with the V-AMP 2 the stereo AUX input enables you to play  
back line signals like CDs, drum computer etc.  
3.1 Selecting an operating mode in  
CONFIGURATION mode  
3.2.2 V-AMP PRO  
In the studio, monitoring will be performed at the mixing console,  
and for this reason there is no need for an aux input on the  
V-AMP PRO.  
The settings of the configurations are made in the configuration  
menu by pressing the buttons D and E (B and D for the V-AMP 2).  
The display shows the current configuration. Use the arrow  
keys to select another configuration. Please refer to table 3.1 for  
information on the corresponding output signals.  
Figure 2.4 of the view sheet shows how to connect the  
V-AMP PRO to the digital input of a PC in a recording application.  
Possible digital inputs on the PC are balanced AES/EBU or coax-  
type S/PDIF inputs. When the V-AMP PRO’s digital output is set to  
44.1, 48 or 96 kHz, the PC has to synchronize with the  
V-AMP PRO, i.e. in clock slave mode. If the PC or any other  
device is intended to work as clock master, the V-AMP PRO has  
to be synchronized externally via the wordclock input. The sample  
rate depends on the wordclock signal but must range between  
32 to 96 kHz.  
+
By pressing the TAP key and adjusting the GAIN  
control you can additionally adapt the input  
amplification to particularly loud pick ups.  
In the configuration menu you can adapt the input gain to  
different pick up types. To do this, keep the TAP key pressed  
and the surrounding GAIN control LEDs show the current setting.  
Turning the GAIN control from its center position to the left you  
will reduce the input amplification which probably is  
recommendable with very loud pick up types. GAIN settings in  
clockwise direction are only recommended with very weak pick  
up types.  
In addition, figure 2.4 shows an effects device connected to  
the Pre DSP INSERT in order to edit the input signal before any  
digital simulations. To do this, the LINE IN button has to be pressed.  
Depending on your application, we recommend studio mode  
S1 or S2. Mode S1 includes all amp and speaker simulations with  
effects in stereo while S2 has the effects at the right output only  
allowing you to record this track “dry” and add effects later at  
mixdown.  
Quit the configuration menu by pressing TUNER/EXIT.  
3.2 Rehearsal or recording at home  
3.2.3 V-AMP 2  
When using headphones, all three V-AMP models will switch  
into studio mode 1 (S1). This mode is particularly suitable for  
rehearsals or when recording/monitoring a stereo signal. You  
could also use live mode 1 (L1) which applies an additional  
3-band EQ.  
While rehearsing with your V-AMP 2, you are able to connect  
any kind of playback or a metronome in the AUX stereo input and  
adjust its level with the AUX LEVEL control (see fig. 3.3 on the  
view sheet). For monitoring you can take the line outputs to an  
amplifier, like our EUROPOWER series, or to a stereo, or you can  
use headphones connected to the phones output.  
One advantage of rehearsing at home is that there is often a  
computer available which allows you to design, edit, send, receive  
and archive new presets comfortably and effectively. Download  
our V-AMP DESIGN software free of charge at www.v-amp.com.  
You can create your own presets even with minimum system  
requirements (Windows PC with MIDI interface or gameport MIDI  
adapter). On the V-AMP homepage you also find an online preset  
database (ULI, user library interface) with plenty of presets created  
by other V-AMP users and famous artists. Here, you can upload  
your own favourite presets and make them accessable for other  
users.  
Fig. 3.4 on the view sheet shows the previously mentioned  
arrangement for S2.  
3.3 Live on stage or in a rehearsal room  
Since neither the V-AMP PRO nor the V-AMP 2 are fitted with  
speakers, some additional gear will be needed to hear the sound.  
If you are using a sound reinforcement system, it is a good idea  
to make sure that either the analog ULTRA-G or one of the  
programmable digital speaker simulations is active.  
8
3. OPERATING MODES AND APPLICATIONS  
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V-AMPIRE/V-AMP PRO/V-AMP 2  
3.3.1 V-AMPIRE  
3.4.1 V-AMPIRE  
Not only does the V-AMPIRE has its own built-in speaker,  
which means you can plug in and play without further equipment,  
the V-AMPIRE also allows to connect a second external  
loudspeaker. Using the left speaker output mutes the internal  
speaker, diverting the full 100 W to the external 4 Ω speaker (see  
fig. 1.4). This makes sense particularly if the external speaker  
has a specific sound which cannot be recreated using the  
internal speaker.  
As with rehearsals at home or anywhere else, the V-AMPIRE  
can be connected directly to a mixing console or recording device  
via its XLR outputs. In addition, you can use the pre DSP insert  
send to record the same direct guitar signal without needing  
another DI-box for impedance adaption.  
Since the usual volume problem does not exist in studio  
environments, the V-AMPIRE has more to offer than those features  
described in chapter 3.2.1. In the studio you can raise the volume  
to take full advantage of the V-AMPIRE’s own sound. If you have  
a particular speaker cabinet with its own sonic character you can  
drive it via the speaker output. You will need to use a microphone  
to capture this special sound. If you want to create intentional  
feebacks from the speaker, you can still feed the XLR output into  
the console to be recorded. We recommend mode L2, with 3-band  
EQ but without digital speaker simulation (see fig. 1.4).  
You can also connect to an external stereo speaker  
arrangement, e.g. our BG412S. In this configuration the V-AMPIRE  
developes 2 x 50 W into 8 Ω per side. This lets you take full  
advantage of the V-AMPIRE’s stereo effects (fig. 1.5).  
Alternatively, an external 8 Ω speaker may be connected to  
the right speaker output. This also represents a stereo  
configuration, because the internal speaker is not muted, as  
shown in fig. 1.6.  
3.4.2 V-AMP PRO  
The starting configuration for this application would be L2, i.e.,  
a stereo signal with all effects, amp simulation and live EQ but no  
speaker simulation. The ULTRA-G speaker simulation is available  
at the XLR output and thus connectable to a sound reinforcement  
system. Here, the MASTER control only influences the stage  
volume but not the XLR output. If you want to listen to a digital  
speaker simulation using an amplifier, select L1.  
For studio applications we recommend modes S1, S2 or S3.  
S1 reproduces all amp and speaker simulations with effects in  
stereo (as with the V-AMP 2) while with S2, the effects are  
applied to the right channel only. In mode S3, the digital speaker  
simulation is shut off for the case that the speaker sound is to be  
determined later during mixdown. Therefore, in S3 mode the  
proven ULTRA-G speaker simulation is switched to the XLR and  
headphones outputs. When recording in S3 mode, the monitoring  
should thus be done at the analog XLR and headphones outputs  
and not at the digital outs. If you want to record the original guitar  
signal you could use the setup shown in fig. 2.3. Press the LINE  
INPUT switch if you want to monitor the recorded signal via the  
V-AMP PRO. We recommend to use modes S1 or L1. Mode S2 is  
an alternative if you want to adjust the effect ratio on the mixing  
console.  
3.3.2 V-AMP PRO  
Because of its additional outputs and the analog ULTRA-G  
speaker simulation the V-AMP PRO is even more flexible on  
stage. Figure 2.5 shows a stereo application with active stage  
monitors which are connected to the unbalanced line outs. Use  
the MASTER control to set the volume of the monitor speakers  
while the XLR output signal is sent at full volume to a sound  
reinforcement system. The appropriate modes are S1 or L1  
depending on whether the 3-band EQ is needed or not.  
+
Please note that the ULTRA-G speaker simulation  
in modes S3 and L2 only affects the XLR and  
headphones outputs and does not have any  
influence on the digital outputs.  
Since the receiver of the wireless system is connected to the  
rear line input, the line input switch on the front has to be pressed.  
Use this switch also to mute the signal while you change your  
guitar.  
3.4.3 V-AMP 2  
Figure 2.6 displays a very similar application: The monitor amp  
in this case is a guitar amp so that mode L2 (no speaker simulation)  
is recommendable.  
To record a stereo signal with all effects, amp and speaker  
simulations, select modes S1 or L1 (with 3-band EQ) and connect  
the balanced line outs with the mixing console or recording device.  
This advantage is a disadvantage at the same time:  
3.3.3 V-AMP 2  
You hear the sound exactly the way you record it. So if you  
decide to make a change, you will need to record the whole  
track again.  
Figure 3.5 on the view sheet shows the V-AMP 2 connected  
from its line out to the line input of the guitar amp or head. Using  
the instrument input would not be the best idea since the signal  
is passed through the whole pre amplifier stage. BEHRINGER  
offers a wide range of guitar amps which are equipped with an  
aux input and thus are perfect for this application. Since a guitar  
amp already has its own sound, a digital speaker simulation is  
not needed. We therefore recommend mode L2.  
With studio mode S2 all effects are therefore put out through  
the right channel only, while on the left channel you will find the  
amp and speaker simulations. This enables you to record the dry  
amp signal and determine the effects later on during mixdown  
(see fig. 3.4).  
Figure 3.6 describes another speciality of the V-AMP 2 in  
mode L3: A guitar amp is used as monitor speaker on stage  
while simultaneously a second signal is sent to a sound  
reinforcement system. By doing so, you can completely eliminate  
the need for miking the amp.  
If you want to go the safe way, we recommend to split up the  
input signal with a high-quality active DI-box, e.g. the BEHRINGER  
GI100. To do this, connect the guitar to the GI100 input, the direct  
link to the input of your V-AMP 2 and the XLR output to the  
recording device. In that manner, you can record the direct guitar  
signal with the amp simulation on one channel each and listen to  
the complete signal with all effects on your headphones (see  
fig. 3.4).  
A special feature of the L3 mode is that the signal to the guitar  
amp has no speaker simulation, instead it has an additional  
3-band EQ which allows you to tailor your on-stage sound. The  
signal for the sound reinforcement system remains unaffected  
by the 3-band EQ, but it does include the speaker simulation. This  
simulation is necessary to reproduce the character of a guitar  
cabinet sound using the speakers of the sound reinforcement  
system.  
3.4 Recording  
For this applications we assume that at least a mixing console  
and a recording device is available.  
3. OPERATING MODES AND APPLICATIONS  
9
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V-AMPIRE/V-AMP PRO/V-AMP 2  
with effects, amp and speaker simulation  
with effects, amp and speaker simulation  
Studio 1 (S1)  
Studio 2 (S2)  
Amp and speaker simulation, dry  
effects  
Amp and speaker simulation  
effects  
Amp and speaker simulation, dry  
effects  
Amp and speaker simulation  
effects  
Amp simulation, dry  
effects  
Amp simulation  
effects  
Studio 3 (S3)  
Live 1 (L1)  
with analog ULTRA-G speaker simulation  
: Speaker and amp simulation,  
3-band EQ + effects  
: Speaker and amp simulation,  
3-band EQ + effects  
speaker simulation but  
with 3-band EQ, amp simulation and effects  
speaker simulation  
but with 3-band EQ, amp simulations + effects  
Live 2 (L2)  
Live 3 (L3)  
with analog ULTRA-G speaker simulation  
Amp simulation with  
3-band EQ and effects but  
speaker simulations  
Amp-, speaker simulation  
and effects but  
3-band EQ  
Tab. 3.1: Configurations  
4.2 Editing presets  
4. PRESETS  
Editing presets is fast and simple. One option is to call up a  
preset you like and then start editing it. Select an amp model by  
means of the AMPS encoder. The LED on the preset button  
flashes (e.g. D) and signals that you have made a change to the  
preset.  
Your device features 125 overwritable presets divided into 25  
banks. In other words, there are five presets available per bank.  
Each preset consists of a maximum of five “ingredients”:  
s
s
s
amp simulation (including GAIN, EQ and VOLUME settings)  
cabinet simulation  
Now change the settings of the VOLUME, BASS, MID, TREBLE  
and GAIN controls as you like. If you select an effect, you can  
adjust its ratio in the overall sound using the EFFECTS control.  
You then switch to EDIT mode by pressing the arrow keys  
simultaneously. If you use buttons B - E to activate the DRIVE,  
CABINETS, REVERB and NOISE GATE functions respectively  
and then edit using the arrow keys, the value of the respective  
parameter is shown in the display. To quit EDIT mode, briefly  
press the TUNER button.  
pre-amp effect, such as noise gate, compressor, auto wah  
and wah-wah  
s
s
post-amp multi-effect, such as delay, modulation effect, or  
a combination of both  
reverb effect  
The enclosed sheet shows an overview of all the presets.  
If you hold the TAP button down while using the TREBLE control,  
you can raise or lower an additional high-frequency filter  
(PRESENCE). This simulates the frequency-sensitive coupling of  
tube amps.  
4.1 Calling up presets  
When the unit is switched on, it automatically loads the last  
used preset. In the following example, the last preset selected  
was preset D in bank 25:  
+
Apart from compressor and auto wah, all the multi-  
effects have a speed-based parameter. Say you  
want to set the effect you’ve selected to the tempo  
of your playback: just tap the TAP button twice in  
time to the music and the effect tempo will match  
the tempo of your piece.  
4.3 Storing presets  
To store your edited preset, hold down the preset button  
required for approx. 2 seconds for the preset to be overwritten  
(the corresponding LED lights up throughout).  
+
You do not necessarily have to store your edited  
preset in place of the original preset selected. If  
you choose a different storage position, select the  
preset bank you want using the arrow keys (BANK  
UP and BANK DOWN). You can store your changes by  
holding down the preset button for approx. two  
seconds. For example, you can edit a preset  
originally stored in bank 5, position D, and then store  
it in bank 6, position A.  
Fig. 4.1: Calling up presets on the V-AMP 2  
(similar to V-AMPIRE and V-AMP PRO)  
In this case, by pressing button A, B, C or E you can immediately  
call up another preset of the same bank. The two arrow keys  
(BANK UP and BANK DOWN) enable you to switch banks. The  
display always shows which bank has been selected. When  
you switch banks, the preset has to be called up by pressing  
one of the buttons A - E. One LED lights up to show you which  
preset in the respective bank has been activated.  
10  
4. PRESETS  
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V-AMPIRE/V-AMP PRO/V-AMP 2  
MODERN CLASS A: This amp is characterized by its slight  
distortion and sounds almost like hi-fi. It is modelled on the  
Matchless Chieftain, a very expensive, hand-made amp.  
4.4 Discarding an edited preset/restoring a  
single factory preset  
If you have edited a preset and find that you don’t like the  
edited version, you can, of course, discard it. Let’s assume  
you’ve selected and then edited preset C (the corresponding  
LED has lit up), but you would now like to return to the  
configuration stored previously. Simply select another preset.  
The next time you call up the preset, the temporarily edited  
version is discarded. After editing, you can also hold down the  
two arrow keys until “Pr” appears in the display, which brings  
back the factory preset that was originally stored there. How-  
ever, you then have to save it again by holding down the  
corresponding preset button for approx. two seconds.  
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  
suiting the mid range to your taste.  
TWEED COMBO: This was Jeff Beck’s favorite when he  
recorded the albums Blow by Blow and Wired. This amp was  
not actually designed for heavy distortion, but due to its low  
power, it is ideal for uncompromising overdrive sound.  
SMALL COMBO: This model is based on the 1960 Tweed  
Champ. The main attraction of this amp simulation is when the  
DRIVE function is used a lot. Although this amp was actually  
designed for beginners on the guitar, it soon became a favorite  
amp of many guitar afficionados. The reason for that was that it  
produced an amazingly distorted sound even at low volume.  
4.5 Restoring all factory presets  
All factory presets can be restored as follows: Hold down  
buttons D and E and then switch on the device. “CL”  
appears in the display. Now release the two buttons and press  
the two arrow keys simultaneously. This erases all the edited  
presets you have stored and restores the factory presets. Please  
refer to chapter 8.3.1 if you need information on how to save  
your settings via MIDI.  
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 sound control on your V-AMPIRE/V-AMP PRO/V-AMP 2 in  
the mid position.  
CLASSIC CLEAN: Back in the ’80s, the Roland JC-120 was  
the preferred sound of Buzzy Feiten (guitarist with the Dave  
Weckl Band). The unique quality of this transistor amp’s sound is  
the way its brilliance cuts through any mix. It is ideal for the New  
Wave sound of the 80s that is making a come-back today. By the  
way, the JC-120 was also popular among Fender Rhodes pianists.  
5. AMP/SPEAKER SIMULATION  
The very heart of the V-AMP sound is its amp/speaker  
simulation. The 32 simulation models can make work in a home  
recording studio very much easier because it isn’t necessary to  
mike up the guitar amp. With the V-AMPIRE/V-AMP PRO/V-AMP 2  
it is child’s play for you to choose one of the legendary guitar  
amps, be it for Brit Pop, Blues, Heavy Metal or whatever. In  
addition, you can tailor the sound of the respective amp to suit  
your ideas and then connect it virtually to one of 15 speaker  
simulations (cabinets). On top of all that, you can even choose  
digital effect and reverb types for your virtual amp. See chapter  
6 “EFFECTS PROCESSOR” for more details.  
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. What was unique about  
it was that it was exceptionally loud and was therefore mainly  
used for live performances. The secret of the Blackface Twin  
was that although you could play it extremely loud, the distortion  
remained relatively low.  
BRIT BLUES: Modeled on the JTM 45, the first Marshall amp  
ever. This, by the way, was Eric Clapton’s favorite amp when  
he was with Cream. The JTM 45 was the forerunner of many of  
Marshall’s later amps with their distinctive, powerful sound.  
Extreme gain settings produce a highly compressed and really  
“dirty” sounding distortion. Combined with a 2 x 12" speaker  
simulation it produces impressive Bluesbreaker sounds.  
When you switch on the device, it automatically loads the last  
preset selected. The LED ring around the AMPS control shows  
which amp has been selected. The corresponding LED lights up.  
To select another amp simply turn the control. Use the VOLUME,  
BASS, MID, TREBLE and GAIN controls to modify the basic sound  
of the amp. Hold down the TAP button and turn the TREBLE  
control to raise or lower an additional high-frequency PRESENCE  
filter (see  
).  
AND CUSTOM: This simulation is based on a 1965 Marshall  
JTM 45 Bluesbreaker but has more flexibility of sound control.  
Turn the GAIN control to the left and this simulation sounds like a  
Marshall; turn it to the right and it is more reminiscent of the  
Budda.  
As a rule, you will want to select an amp first, then a cabinet  
and finally an effect. See chapter 4 for how to store your  
modifications. To give you a better overview of the extensive  
range of amp simulations, we have compiled the following  
descriptions of the different types of amp.  
BRIT CLASS A: This simulation is modeled on the Vox  
AC 30. This amp was originally designed in the ’60s when  
guitarists wanted amps with enhanced brilliance, a feature that  
Vox successfully implemented by means of “revolutionary” bass  
and treble controls. Brian May and U2’s The Edge are probably  
the best-known users of this sound.  
+
When you select an amp simulation, an appropriate  
speaker simulation is activated automatically (see  
tab. 5.2). 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.  
NON TOP BOOST: This is a Vox AC 30 as used by Bryan  
Adams in the recording studio. Unlike the well-known AC 30  
with treble boost, the former amp version did not have this feature.  
This simulation copies the original amp’s “normal” channel.  
5.1 Amp descriptions  
BRIT CLASSIC: Based on a 1959 Marshall Plexi 100 Watt, this  
amp is ideal for producing clean sounds. It was used by Jimi  
Hendrix, Eric Clapton and Jeff Beck.  
AMERICAN BLUES: This virtual amp is modelled on the Fender  
Bassman 4 x 10 Combo. Originally designed as a bass amp, it  
soon became a standard amp of blues legends such as Steve  
Ray Vaughan or Billy Gibbons due to its characteristic distortion.  
As you would expect, it packs a solid punch in the bass range,  
but is still flexible enough in the mid and treble ranges.  
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.  
AND DELUXE: 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 sound  
control gives you even greater scope than the EQ controls on  
the originals.  
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  
5. AMP/SPEAKER SIMULATION  
11  
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V-AMPIRE/V-AMP PRO/V-AMP 2  
Landau’s sounds. In distortion mode it sounds like Gary Moore in  
his early days, but it’s also good for heavy metal.  
CLEAN V-AMP: Here we have managed to simulate the sound  
of a Roland JC-120 and comine it with our BRIT CLASSIC model.  
The result is the brilliance of a transistor amp which, however,  
features the cutting power of a Marshall Plexi. Turn the GAIN  
control clockwise and the Marshall comes in.  
BRITISH CLASS A 15 W: Another Vox model, based on the  
first channel of an AC 15 from 1960. Unlike the AC 30 this amp  
had only one 12" speaker, instead of two, and produced a  
warmer sound. Tip: to make this simulation sound as authentically  
as possible, leave the BASS and MID controls in mid-travel  
position and vary the TREBLE control only.  
CALIFORNIA CLEAN: This model is based on the clean channel  
of the Mesa Boogie Mark II c. It sounds a little like a Fender, but  
has more of a punch in the mid-range.  
RECTIFIED HI GAIN: This model is based on a 1994 Mesa  
Boogie Dual Rectifier Trem-O-Verb featuring a modern, high-  
gain sound that also comes over well in a band context. The tone  
control is post-gain, which allows you to tailor distorted sounds  
to great effect. This amp is perfect for heavy metal, but also for  
Steve Lukather sounds. The best-known user of this amp is  
Dream Theater’s guitarist John Petrucci.  
TUBE PREAMP: Sound engineers were quick to recognize  
the appeal of tubes. They used tube amps to add warmth to all  
kinds of sounds. This amp model is not only for refining guitar  
sounds. Try putting a vocal track through the V-AMPIRE/V-AMP  
PRO/V-AMP 2 and give it the finishing touch with TUBE PREAMP.  
CUSTOM CLEAN: This simulation is of the clean channel on  
our Dumble amp. A clean sound that really cuts through, especially  
when used with compressor attack settings around 2 ms.  
RECTIFIED HEAD: This simulation is modeled on a Mesa Boogie  
Dual Rectifier top. Unlike the Trem-O-Verb, this amp produces a  
more modern high-gain sound. The tone control is most effective  
at high gain settings.  
PREAMP BYPASS: In this setting, no amp simulation is se-  
lected. 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.  
MODERN HI GAIN: Here, too, the tone control is post-gain,  
allowing the extremely distorted sound to cut through the mix.  
The MODERN HI GAIN sound is ideal for playing Grunge, but is  
also used by guitarists such as Steve Vai and Joe Satriani.  
Among others, Steve Lukather, Nuno Bettencourt and Steve Vai  
have all popularized the Soldano sound. If you’re playing a  
Gibson Les Paul, MODERN HI GAIN sounds best when you  
turn down the volume control on the guitar a little.  
Fender, Vox, Marshall, Mesa Boogie, Gibson, Soldano, Matchless,  
Dumble, Budda, Tweed, Engl, Rolandand the names of musicians and  
groups are registered trademarks belonging to the respective owners and are in  
no way associated with BEHRINGER.  
5.2 Speaker descriptions  
SAVAGE BEAST: Engl is well-known for amps that really cut  
through. The Savage 120 in particular has built up a large  
following among guitarists. For some time now Ritchie Black-  
more 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!  
The sound of any guitar combo depends largely on the type  
and combination of speakers used. In the past 50 years there  
has been widespread experimentation to 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.  
+
When you select an amp simulation, an appropriate  
speaker simulation is activated automatically (see  
tab. 5.2). 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.  
FUZZ BOX: This sound is not actually based on any one amp,  
but on 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.  
The character of a loudspeaker is a combination of its power  
rating, impedance, sound pressure and size, as well as the  
material it is made of. 8", 10" and 12" speakers have established  
themselves as the best sizes for electric guitar amplification.  
The following table shows a list of all speaker cabinets on the  
V-AMPIRE/V-AMP PRO/V-AMP 2.  
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!  
ULTIMATE V-AMP: From clean to brutal hi-gain, this “brute”  
covers the entire range. The ULTIMATE V-AMP is basically a  
souped-up rectifier amp.  
-
1
2
3
4
5
6
7
8
BYPASS (NO SPEAKER SIMULATION)  
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  
ULTIMATE PLUS: Those who find the ULTIMATE V-AMP too  
tame will find enough gain here for an overdose.  
DRIVE V-AMP: This simulation is based on a more modern  
high-gain lead amp producing a soft but precise sound with  
plenty of drive, making it ideal for lead guitar work. The DRIVE  
V-AMP is modeled on the Mesa Boogie Mark III.  
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  
4 x 12" VINTAGE 30  
4 x 12" STANDARD ’78  
4 x 12" OFF AXIS  
9
CALIFORNIA DRIVE: Based on the Mesa Boogie Mark II c, this  
is purely a simulation of its drive channel—definitely the right  
choice for Santana songs.  
10  
11  
12  
13  
14  
15  
CRUNCH V-AMP: This amp is ideal for modern blues or jazz.  
Its sound is not too subtle, but not in-your-face either—it’s  
crunchy, that’s all.  
4 x 12" V-AMP CUSTOM  
CUSTOM DRIVE: This simulates the Dumble Overdrive  
Special—an amp that was at the top of many guitarists’ wish-list  
but beyond their financial means. Dumble amps are hand-made  
and can be custom-built for the individual guitarist. What we’ve  
done here is simulate the drive channel of one of these rare  
Dumble amps.  
Tab. 5.1: V-AMPIRE/V-AMP PRO/V-AMP 2 cabinets  
12  
5. AMP/SPEAKER SIMULATION  
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AMERICAN BLUES  
MODERN CLASS A  
TWEED COMBO  
CLASSIC CLEAN  
BRIT. BLUES  
BRIT. CLASS A  
BRIT. CLASSIC  
BRIT. HI GAIN  
RECTIFIED HI GAIN  
MODERN HI GAIN  
FUZZ BOX  
ULTIMATE V-AMP  
DRIVE V-AMP  
1
2
3
4
5
6
7
8
9
ECHO  
Mix  
Mix  
Mix  
Feedback  
Delay Time  
CC49, val 1  
CC49, val 0  
CC49, val 2  
CC54  
CC54  
CC54  
CC53  
CC50+51  
DELAY  
Feedback  
Delay Time  
CC53  
CC50+51  
PING PONG  
PHASER/DELAY  
Feedback  
Delay Time  
CC53  
CC50+51  
Delay Mix  
Mod. Mix  
Delay Time  
CC55, val 1 + CC49, val 0  
CC54  
CC59  
CC50+51  
FLANGER/DELAY 1  
Delay Mix  
Mod. Mix  
Delay Time  
CC55, val 5 + CC49, val 0  
CC54  
CC59  
CC50+51  
FLANGER/DELAY 2  
Delay Mix  
Mod. Mix  
Delay Time  
CC55, val 5 + CC49, val 2  
CC54  
CC59  
CC50+51  
CHORUS/DELAY 1  
Delay Mix  
Mod. Mix  
Delay Time  
CC55, val 3 + CC49, val 0  
CC54  
CC59  
CC50+51  
CHORUS/DELAY 2  
Delay Mix  
Mod. Mix  
Delay Time  
CC55, val 3 + CC49, val 2  
CC54  
CC59  
CC50+51  
CRUNCH V-AMP  
CLEAN V-AMP  
CHORUS/COMPRESSOR  
Sense  
Mod. Mix  
Modulation Speed  
CC55, val 4 + CC44, val 1  
CC45  
CC59  
CC58  
10 COMPRESSOR  
11 AUTO WAH  
12 PHASER  
Sense  
Attack  
-
-
TUBE PREAMP  
CC44, val 1  
CC44, val 2  
CC55, val 1  
CC55, val 4  
CC55, val 6  
CC55, val 2  
CC55, val 0  
CC45  
CC46  
Depth  
Speed  
CC45  
CC46  
Mix  
CC59  
Feedback Modulation Speed  
AND DELUXE  
CC58  
CC56  
13 CHORUS  
Mix  
CC59  
Depth  
Modulation Speed  
CUSTOM CLASS A  
SMALL COMBO  
BLACK TWIN  
AND CUSTOM  
NON TOP BOOST  
CLASSIC 50 W  
CC57  
CC56  
14 FLANGER  
15 TREMOLO  
16 ROTARY  
Mix  
CC59  
Feedback Modulation Speed  
CC58  
CC56  
Mix  
CC59  
-
Modulation Speed  
CC56  
Mix  
CC59  
Depth  
Modulation Speed  
CC57  
CC56  
BRIT. CLASS A 15 W  
RECTIFIED HEAD  
SAVAGE BEAST  
CUSTOM HI GAIN  
ULTIMATE PLUS  
CALIF. DRIVE  
Tab. 6.1: Effects and MIDI controllers  
+
Table 6.1 shows the MIDI controllers for the  
corresponding parameters. The settings are made  
via MIDI. A detailed list of all controllable MIDI  
parameters will be available free of charge on the  
BEHRINGER internet site: www.behringer.com.  
CUSTOM DRIVE  
CALIF. CLEAN  
CUSTOM CLEAN  
Tab. 5.2: Loudspeaker/amp simulation default settings  
6.1 Wah Wah  
The MIDI function enables you to use an additional Wah Wah  
effect. The optimum control of this effect is achieved by using a  
MIDI foot controller with expression pedal, e.g. our BEHRINGER  
MIDI FOOT CONTROLLER FCB1010.  
6. EFFECTS PROCESSOR  
A special feature of your V-AMPIRE/V-AMP PRO/V-AMP 2 is  
its built-in multi-effects processor module offering 16 different  
groups of first-class effects such as chorus, flanger, delay,  
auto wah as well as various effects combinations.  
+
Adjust the filter characteristic and grade in the DRIVE  
menu by simultaneously pressing TAP and turning  
the EFFECTS control (see also  
B).  
The appendix gives an overview of all MIDI data transmitted  
and received by your device.  
6.2 Effect descriptions  
+
The standard operating mode of the multi-effects  
processor is stereo, so you can use stereo effects  
for recording purposes via the LINE OUT or play in  
stereo using a second amplifier.  
The following section contains short descriptions of the effects  
that can be produced using the multi-effects processor.  
You can adjust up to 3 effects parameters on the V-AMPIRE/  
V-AMP PRO/V-AMP 2 by turning the EFFECTS control; by turning  
the EFFECTS control holding down the TAP button, and simply by  
pressing the TAP button while in time to the music.  
6.2.1 Reverb and delay algorithms  
REVERB: Reverb is still the most important effect for mixing or  
live performance. That’s why we at BEHRINGER make a point of  
giving you as many as nine different reverb programs so that  
you can use the most suitable reverb program for any situation.  
The reverb effect can be added separately to all the other effects  
(see chapter 6.2).  
+
To match speed-based effects to the tempo of the  
music, press the TAP button at least twice in time  
to the music.  
ECHO: Echo is similar to the stereo delay effect in that it is a  
delayed repetition of the input signal. The main difference 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 quasi-  
stereo effect.  
13  
6. EFFECTS PROCESSOR  
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DELAY: This algorithm delays the input signal, with different  
tempo settings producing interesting delay effects. U2’s The  
Edge has impressivley demonstrated the potential of this effect.  
NOISE GATE: Noise gates are used to remove or reduce  
noise or other interference. Guitar signals in particular are very  
sensitive to interference. Not only do guitarists often use high-  
gain settings but guitar pick-ups can amplify unwanted inter-  
ference. This can be painfully apparent during breaks in the  
music. And how does a noise gate work? It simply mutes the  
signal during breaks, eliminating any interference at the same  
time.  
PING PONG: A delay effect that changes position in the stereo  
image.  
6.3 The separate reverb effect  
6.2.2 Modulation effects  
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, press button D in EDIT mode (pressing the  
two arrow keys simultaneously) and use the two arrow keys to  
select one of the nine different reverb types available:  
PHASER: The principle behind the phaser is that a second,  
phase-shifted signal is added to the audio signal. This makes the  
sound richer and, above all, livelier. This effect is popular among  
guitarists and keyboard players alike, but was also used  
extensively in the ’70s with other instruments, such as electric  
pianos. Depending on how you set it, the phaser can be used to  
produce slightly modulating or strongly alienating effects.  
FLANGER: This effect is self-explanatory. Originally, the flanger  
effect was produced by running two synchronized tape  
recorders at the same time. The same signals (e.g. a guitar solo)  
were recorded on both machines. Putting a finger on the left reel  
of one of the machines caused it and the speed of the playback  
to slow. The resulting delay produced phase shifts of the signals.  
1
2
3
4
Tiny Room  
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.  
5
Ultra Room  
CHORUS: This effect adds a slightly modulated off-key element  
to the original signal, thus creating a pleasant floating effect  
through variations in pitch.  
6
7
8
9
Small Spring  
Medium Spring  
Short Ambience  
Long Ambience  
Simulations of typical spring reverbs.  
Simulates the early reflections of a  
reverbless room.  
Tab. 6.2: The different reverb effects  
6.2.3 Combinations of effect algorithms  
(multi-effects programs)  
7. TUNER  
PHASER & DELAY: Phaser and delay combined.  
Press the TUNER button to activate the built-in tuner.  
FLANGER & DELAY: Here the input signal is delayed and  
processed with a pronounced wave-like effect. It is particularly  
effective for highlighting single notes, but can also be used to  
make solos more interesting.  
7.1 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.  
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.  
It may happen, however, that a note is displayed as “A” but is  
actually slightly out of tune. This is shown by at least one of the  
four LEDs at the foot of the display lighting up. In certain cases  
even two of the LEDs may light up, which indicates that the pitch  
of the note played lies between the pitches represented by the  
two LEDs. When the circular tuner LED in the middle lights up,  
this means the note played is in tune.  
6.2.4 Special effects  
COMPRESSOR: A compressor limits the dynamic range of the  
audio material, thus producing audible and creative sound effects.  
Pronounced use of the compressor (using the EFFECTS control)  
allows you to compress the overall dynamic range of the material.  
7.2 Setting reference pitch “A”  
To give you maximum freedom for tuning your guitar, you can  
change the preset reference pitch “A”. For clarity’s sake, let’s  
look at this in more detail.  
AUTO WAH: The legendary wah-wah effect owes its fame  
mainly to Jimi Hendrix. Describing it is certainly more difficult than  
simply listening to Hendrix using it on Voodoo Chile. In American  
funk music of the ’70s you can hear auto-wah effects used in a  
variety of applications. The auto-wah alters its filter frequency  
automatically depending on the signal’s magnitude, rather than  
being controlled by the position of a pedal.  
The so-called concert pitch “A” has been raised steadily over  
time. For example, the tuning forks used by Bach, Händel or  
Mozart were 415, 420 or 421 Hz (oscillations per second). Today’s  
orchestras tune to “A” at 444 Hz, and the Berlin Philharmonic  
Orchestra lead the field with their own concert pitch “A” at  
447 Hz.  
TREMOLO: Simulates the classic Fender Tremolo. It has  
returned to popularity with trip-hop.  
The reference “A” on your V-AMPIRE/V-AMP PRO/V-AMP 2  
has been factory-programmed at 440 Hz. If you are going to play  
with a big orchestra tuning their instruments to a reference pitch  
of 444 Hz, you will need a function that allows you to change  
your reference pitch. To activate this function, switch on the  
tuner by pressing the TUNER button and switch to EDIT mode by  
ROTARY: This is the quintessential simulation of the classic  
organ effect normally produced by speakers rotating at slow or  
fast speed in an extremely heavy speaker cabinet. This effect  
uses the physical principle of the Doppler effect to modulate the  
sound.  
14  
7. TUNER  
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pressing the two arrow keys simultaneously. The display will  
show “40”, which means 440 Hz. Use the arrow keys to raise or  
lower the reference pitch by up to 15 Hz. The display always  
shows the last two digits as the first digit is always 4. For  
example, if you start with a reference pitch of 440 Hz and press  
the right-hand arrow three times, the display will read 43, i.e.  
443 Hz. To quit EDIT mode, press either the TUNER or the TAP  
button. Any changes will be stored automatically. The tones for  
the other strings on your guitar will automatically be adjusted to  
the new reference pitch.  
8. INSTALLATION  
Fig. 8.2: 1/4" TS connector  
8.1 Mains voltage  
Before you connect the unit to the mains, please make  
sure that the voltage setting on the unit matches the  
local voltage! The fuse holder at the AC power connector has  
3 triangular markings (V-AMPIRE/V-AMP PRO only). Two of these  
three triangles are aligned with one another. The unit is set to the  
voltage shown next to these markings and can be switched  
over by turning the fuse holder by 180°. IMPORTANT: This  
does not apply to export models designed exclusively  
for 120 V operation!  
+
If you set the unit to a different mains voltage, be  
sure to use a fuse of the correct type and rating.  
Please refer to chapter 10 “SPECIFICATIONS” for  
details.  
+
Blown fuses must be replaced by fuses of the same  
type and rating! Please refer to chapter 10  
“SPECIFICATIONS” for details.  
Fig. 8.3: 1/4" TRS connector  
V-AMPIRE/V-AMP PRO: The mains connection is made using  
the enclosed power cord and a standard IEC receptacle. It meets  
all of the international safety certification requirements.  
V-AMP 2: the mains connection is made using the enclosed  
power supply.  
+
Please make sure that all units have a proper  
ground connection. For your own safety, never  
remove or disable the ground conductor from the  
unit or of the AC power cord.  
8.2 Audio connections  
The inputs of your BEHRINGER V-AMPIRE/V-AMP PRO/  
V-AMP 2 come as mono 1/4" jacks. All line out, line in and  
headphones outputs are configured as 1/4" stereo jacks. The  
line outputs work with both balanced and unbalanced  
connections. The DI OUT outputs of your V-AMPIRE/V-AMP PRO  
are on XLR connectors.  
Fig. 8.4: Headphones connector  
8.3 MIDI connections  
The MIDI standard (Musical Instruments Digital Interface) was  
developed in the early ’80s to enable different makes of electronic  
instruments to communicate with each other. Over the years the  
range of MIDI applications has constantly expanded, and today it  
is standard practice to network entire recording studios using  
the MIDI standard.  
The heart of such a network is a computer with sequencer  
software that controls not only all the keyboards but also effects  
other peripheral devices. In such a studio set-up you can control  
the V-AMPIRE/V-AMP PRO/V-AMP 2 in real time from a computer.  
For live performances in particular, you can also use a MIDI foot  
controller to control both effect parameters and preset changes.  
The MIDI connectors are international-standard 5-pin DIN jacks.  
To connect your device to other MIDI equipment you will need  
dedicated MIDI cables. They are commercially available in various  
standard lengths.  
Fig. 8.1: XLR connectors  
15  
8. INSTALLATION  
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MIDI IN: receives MIDI controller data. The receiving channel  
can be adjusted in EDIT mode by pressing the A button and then  
using the arrow keys.  
MIDI OUT/THRU: used for sending data to a computer or any  
other devices. You can transmit both preset data and parameter  
changes. If set to MIDI THRU, the V-AMPIRE/V-AMP PRO/  
V-AMP 2 does not send its own MIDI information, but passes on  
the signal received at the MIDI IN jack (see chapter 2.1,  
A).  
8.3.1 Sending/receiving MIDI-Sysex data  
All V-AMP models 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-AMPIRE/V-AMP PRO/V-AMP 2 to  
other devices (total dump) by switching to EDIT mode and  
pressing the MIDI button until the display reads “d”. The total  
dump function can be useful for transferring all the stored data  
from your device to a MIDI sequencer and storing it there.  
To send individual presets to other devices: switch to EDIT  
mode by pressing both arrow keys on the transmitting unit  
simultaneously, activate the MIDI function and briefly tap the MIDI  
button. The preset data are first filed in the temporary buffer and  
can be stored in the preset position of your choice using the  
store function.  
8.4 AES/EBU and S/PDIF standards  
In principle, there are two standards for digital signal  
processing. AES/EBU is the professional, balanced connection  
via XLR connectors. This interface is based on two identical  
protocols published in November 1985 (EBU Tech. 3250-E) by  
the European Broadcast Union and in December 1985 by the  
Audio Engineering Society (AES3-1985). Sony and Philips  
oriented themselves to this standard and developed a further  
interface with unbalanced signal routing and a few other major  
differences, predominantly related to the assignment of the  
channel status bits. This interface, named after the two com-  
panies and known as S/PDIF (Sony/Philips Digital Interface),  
uses either RCA jacks or optical connections with optical fiber  
cables. The procedure, standardized in IEC 958, made a name  
for itself mainly due to efforts to introduce a copy-protect  
technique. This standard also describes the revised AES/EBU  
interface, which was adapted to the S/PDIF format and named  
IEC 958 Type I (professional). The name of the S/PDIF interface  
is then IEC 958 Type II (consumer).  
16  
8. INSTALLATION  
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V-AMPIRE/V-AMP PRO/V-AMP 2  
9. APPENDIX  
0,',ꢀ,PSOHPHQWDWLRQꢀ&KDUW  
MIDI Channel  
Mode  
Note Number  
Velocity  
After Touch  
Pitch Bender  
Control Change  
1-16  
N
N
N
N
N
-
1-16  
N
N
N
N
N
-
-
-
-
-
-
-
-
1
7
N (request only)  
N (request only)  
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
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Wah Pedal  
Volume Pedal  
12  
13  
14  
15  
16  
17  
18  
19  
20  
21  
22  
23  
24  
25  
26  
27  
44  
45  
46  
47  
48  
49  
50  
51  
52  
53  
54  
55  
56  
57  
58  
59  
60  
61  
64  
80  
81  
82  
83  
84  
85  
86  
87  
Y
Y
Y
Y
Y
Y
Y
Amp Gain (0-127)  
Amp Treble (0-127)  
Amp Mid (0-127)  
Amp Bass (0-127)  
Amp Vol (0-127)  
Presence (0-127)  
Reverb Mix (0-127) *2  
Amp Type (0-32) with default cabinet *3  
Fx Type (0-15) with defaults *1  
Fx off/on (0/127)  
Y (skipped on request)  
Y (skipped on request)  
Y
Y
Y
Y
Y
Y
Y
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  
pre Effect Par 2 *6  
pre Effect Par 3 *6  
pre Effect Par 4 *6  
Delay Type (0-2) *7  
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  
N (request only)  
Y
Y
N (request only)  
N (request only)  
N (request only)  
Y
Y
N (request only)  
Y
Y
N (request only)  
Y
Y
Y
Y
post Fx Par 2 *10  
post Fx Par 3 *10  
post Fx Mix (0-127) *11  
Assign Effects Control (0-15) *1  
Amp Type (0-32) w/o cabinet change *3  
Tap (Value > 63)  
Request Controls (Value = 80)  
Set Pos (0-15), Set Character (32-127)  
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)  
(V-AMP PRO only) Digital Out  
(44.1/48/96/ext; bit 2:pro)  
Input Gain (0-127)  
Wah character (0-127)  
127=Tuner  
N (request only)  
N (request only)  
N
N
N (request only)  
Y
Y
Y
Y
Y
Y
88  
Y
Y
89  
90  
Y
Y
Y
Y
Program Change  
System Exclusive  
System Common  
System Real Time  
Running Status  
Y (0-124)  
Y (0-124,127)  
Y
N
N
Y
N
N
Y
see SysEx Documentation  
-
-
-
Y (2s Timeout)  
Tab. 9.1: MIDI-Implementation  
17  
9. APPENDIX  
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10. SPECIFICATIONS  
1/4" TRS connector, unbalanced  
INSTRUMENT INPUT  
Input impedance  
Ω
1 M  
+9 dBu  
Max. input level  
AUX IN STEREO  
1/4" TRS stereo connector  
-
-
1/4" TRS stereo connector  
Input impedance  
Ω
4.7 k  
15 k  
Ω
1/4" TRS connector, unbalanced  
PRE DSP RETURN LINE IN  
Input impedance  
-
-
-
-
-
-
2 kΩ  
+9 dBu  
20 kΩ  
Max. input level  
+15 dBu  
POST DSP INSERT RETURN L/R  
Input impedance  
-
-
-
1/4" TRS connector, unbalanced  
40 kΩ  
+8 dBu  
Max. input level  
1/4" TRS connector, unbalanced  
ANALOG LINE OUTPUTS L/R  
Output impedance  
1/4" connector, balanced  
Ω
approx. 680  
2,2 kΩ  
+20 dBu  
Max. output level  
+9 dBu  
1/4" TRS connector, unbalanced  
PRE DSP SEND/LINE OUT  
Output impedance  
-
-
-
-
-
-
-
-
-
<1 k  
Ω
+9 dBu  
Max. output level  
POST DSP INSERT SEND L/R  
Output impedance  
-
-
-
1/4" TRS connector, unbalanced  
1 kΩ  
+8 dBu  
Max. output level  
XLR, balanced  
BALANCED LINE OUT  
Output impedance  
Ω
100  
+14 dBu (Studio); 0 dBu (Live)  
1/4" TRS connector, unbalanced  
Ω (+23 dBm)  
Max. output level  
HEADPHONES CONNECTOR  
Max. output level  
+15 dBu/100  
Format  
-
-
AES/EBU or S/PDIF, switchable  
-
-
44.1/48/96 kHz internal; 32 - 96 kHz  
Wordclock, Sample rate converter  
Sample frequency  
XLR  
-
-
-
-
-
-
transformer-balanced  
110 Ω  
3.5 V peak-to-peak  
not grounded, unbalanced  
-
-
-
-
-
-
Output impedance  
Nominal output level  
RCA  
Output impedance  
Nominal output level  
Ω
75  
0.5 V peak-to-peak  
BNC  
-
-
-
coax-type  
50 kΩ  
2 - 6 V peak-to-peak  
-
-
-
Input impedance  
Nominal input level  
5-pole DIN jacks IN, OUT/THRU  
Type  
24-bit Delta-Sigma, 64/128 times oversampling  
Converter  
104 dB @ Preamp bypass  
92 dB  
Dynamics A/D  
Dynamics D/A  
Sample rate  
DSP  
31.250 kHz  
100 Mips  
max. 1933 msec.  
ca. 5 msec.  
Delay time  
Runtime (line in  
line out)  
7-digit LED  
Type  
100 W  
65 W  
-
-
-
-
-
-
-
-
Mono power (1 x 4 Ω)  
Mono power (1 x 8 Ω)  
Stereo power (2 x 8 Ω)  
Sound pressure level  
2 x 50 W  
116 dB @ 1 m  
JENSEN® JCH12/70  
8 Ω  
Type  
-
-
-
-
-
-
Impedance  
Load capacity  
70 W (IEC) / 140 W (DIN)  
USA/Canada 120 V~, 60 Hz  
USA/Canada 120 V~, 60 Hz  
Europe/U.K./Australia 230 V~, 50 Hz  
Japan 100 V~, 50 - 60 Hz  
U.K./Australia 240 V~, 50 Hz  
Mains voltage  
Europe 230 V~, 50 Hz  
General export model 120/230 V~, 50 - 60 Hz  
Japan 100 V~, 50 - 60 Hz  
Power consumption  
Fuse  
200 W max.  
15 W  
100 - 120 V~:  
13 W  
100 - 120 V~:  
200 - 240 V~:  
-
200 - 240 V~:  
-
Standard ICE receptacle  
Mains connection  
External power supply  
491 x 611 x 265 mm  
19 1/3" x 24" x 10 2/5"  
ca. 21.5 kg  
89 x 482.6 x 135 mm  
3 1/2" x 19" x 5 1/4"  
ca. 2.6 kg  
63 x 236 x 180 mm  
2 1/2" x 9 1/4" x 7 1/8"  
ca. 1.2 kg  
Dimensions (H x W x D)  
Weight  
47 1/2 lbs  
ca. 5 3/4 lbs  
ca. 2 3/4 lbs  
BEHRINGER continuously strives to assure the highest quality standards possible. Required modifications may be implemented without prior notice. Technical data and the appearance of  
the unit may deviate from the above values and/or illustrations.  
18  
10. SPECIFICATIONS  
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V-AMPIRE/V-AMP PRO/V-AMP 2  
3. Free inspections and maintenance/repair work are expressly  
excluded from this warranty, in particular, if caused by improper  
handling of the product by the user. This also applies to defects  
caused by normal wear and tear, in particular, of faders,  
potentiometers, keys/buttons and similar parts.  
11. WARRANTY  
§ 1 WARRANTY CARD/ONLINE REGISTRATION  
To be protected by the extended warranty, the buyer must  
complete and return the enclosed warranty card within 14 days  
of the date of purchase to BEHRINGER Spezielle Studiotechnik  
GmbH, in accordance with the conditions stipulated in § 3. Failure  
to return the card in due time (date as per postmark) will void any  
extended warranty claims. Based on the conditions herein, the  
buyer may also choose to use the online registration option via  
the Internet (www.behringer.com or www.behringer.de).  
4. Damages/defects caused by the following conditions are  
not covered by this warranty:  
s improper handling, neglect or failure to operate the unit in  
compliance with the instructions given in BEHRINGER user  
or service manuals.  
s 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.  
§ 2 WARRANTY  
1. BEHRINGER (BEHRINGER Spezielle Studiotechnik GmbH  
including all BEHRINGER subsidiaries listed on the enclosed page,  
except BEHRINGER Japan) warrants the mechanical and  
electronic components of this product to be free of defects in  
material and workmanship for a period of one (1) year* from the  
original date of purchase, in accordance with the warranty  
regulations described below. If the product shows any defects  
within the specified warranty period that are not excluded from  
this warranty as described under § 3 and 4, BEHRINGER shall, at  
its discretion, either replace or repair the product using suitable  
new or reconditioned parts. In the case that other parts are used  
which constitute an improvement, BEHRINGER may, at its  
discretion, charge the customer for the additional cost of these  
parts.  
s damages/defects caused by force majeure or any other  
condition that is beyond the control of BEHRINGER.  
5. Any repair or opening of the unit carried out by unauthorized  
personnel (user included) will void the warranty.  
6. If an inspection of the product by BEHRINGER shows that  
the defect in question is not covered by the warranty, the  
inspection costs are payable by the customer.  
7. Products which do not meet the terms of this warranty will  
be repaired exclusively at the buyer’s expense. BEHRINGER will  
inform the buyer of any such circumstance. If the buyer fails to  
submit a written repair order within 6 weeks after notification,  
BEHRINGER will return the unit C.O.D. with a separate invoice  
for freight and packing. Such costs will also be invoiced  
separately when the buyer has sent in a written repair order.  
2. If the warranty claim proves to be justified, the product will  
be returned to the user freight prepaid.  
3. Warranty claims other than those indicated above are  
expressly excluded.  
§ 5 WARRANTY TRANSFERABILITY  
This warranty is extended exclusively to the original buyer  
(customer of retail dealer) and is not transferable to anyone  
who may subsequently purchase this product. No other person  
(retail dealer, etc.) shall be entitled to give any warranty promise  
on behalf of BEHRINGER.  
§ 3 RETURN AUTHORIZATION NUMBER  
1. To obtain warranty service, the buyer (or his authorized  
dealer) must call BEHRINGER (see enclosed list) during normal  
business hours BEFORE returning the product. All inquiries must  
be accompanied by a description of the problem. BEHRINGER  
will then issue a return authorization number.  
§ 6 CLAIM FOR DAMAGES  
Failure of BEHRINGER to provide proper warranty service shall  
not entitle the buyer to claim (consequential) damages. In no  
event shall the liability of BEHRINGER exceed the invoiced value  
of the product.  
2. Subsequently, the product must be returned in its original  
shipping carton, together with the return authorization number to  
the address indicated by BEHRINGER.  
3. Shipments without freight prepaid will not be accepted.  
§ 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW  
§ 4 WARRANTY REGULATIONS  
1. This warranty does not exclude or limit the buyer’s statutory  
rights provided by national law, in particular, any such rights  
against the seller that arise from a legally effective purchase  
contract.  
1. Warranty services will be furnished only if the product is  
accompanied by a copy of the original retail dealer’s invoice.  
Any product deemed eligible for repair or replacement by  
BEHRINGER under the terms of this warranty will be repaired or  
replaced within 30 days of receipt of the product at BEHRINGER.  
2. The warranty regulations mentioned herein are applicable  
unless they constitute an infringement of national warranty law.  
2. If the product needs to be modified or adapted in order to  
comply with applicable technical or safety standards on a national  
or local level, in any country which is not the country for which  
the product was originally developed and manufactured, this  
modification/adaptation shall not be considered a defect in  
materials or workmanship. The warranty does not cover any  
such modification/adaptation, irrespective of whether it was  
carried out properly or not. Under the terms of this warranty,  
BEHRINGER shall not be held responsible for any cost resulting  
from such a modification/adaptation.  
* Customers in the European Union please contact BEHRINGER  
Germany Support for further details.  
The information contained in this manual is subject to change without notice. No part of this manual may be reproduced or  
transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any  
purpose, without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH. All the registered trademarks,  
names of musicians and groups are the property of their respective owners and are in no way associated with BEHRINGER.  
BEHRINGER, V-AMPIRE, V-AMP, ULTRA-G, EURORACK, TRUTH, ULTRATWIN, ULTRASTACK, VIRTUALIZER,  
EUROLIVE, BLUE DEVIL and EUROPOWER are registered trademarks.  
BEHRINGER InstrumentAmplification is a Division of BEHRINGER.  
ALLRIGHTS RESERVED. © 2003 BEHRINGER Spezielle Studiotechnik GmbH.  
BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Münchheide II, Germany  
Tel. +49 (0) 21 54 / 92 06-0, Fax +49 (0) 21 54 / 92 06-30  
19  
11. WARRANTY  
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