Mesa Boogie Stereo Receiver V AMP2 User Manual

User’s Manual

Version 1.3 July 2004

V-AMPIRE

V-AMP PRO

V-AMP 2

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V-AMPIRE/V-AMP PRO/V-AMP 2

Ultra-flexible virtual guitar amps with tube simulation and digital multi-effects processor

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

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!

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

Five globally selectable configurations for various studio and live applications, some with additional 3-band

live-EQ

Built-in chromatic tuner for connection of your guitar or other electronic instruments

V-AMPIRE: 2 x 60 Watt guitar combo with 1 x 12" JENSEN^®/BUGERA^TMloudspeaker

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

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

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

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

Conceived and designed by BEHRINGER Germany. Made in China

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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

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!

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.

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.

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.

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.

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.

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. The unit shall always

be connected to the mains socket outlet with a

protective earthing connection.

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

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.

1.1.1 Serial number

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

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

A: Accesses the MIDI functions. Use the arrow keys to

set the MIDI channels (1 through 16) for transmitting and

receiving MIDI data.

“Amp models 17 - 32”: Keep the TAP button pressed

down and select an amp model using the AMPS control.

“MIDI Thru”: The MIDI OUT connector 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 connector 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 connection.

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

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.

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.

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

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).

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.

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

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.

“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.

“2^ndparameter”: 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" connector for your guitar.

Please use a standard 1/4" TS connector.

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 connector, for example, your guitar, or

(switch pressed) the line signal connected to the PRE DSP

LINE OUT output

corresponding RETURN (IN) connectors

the ANALOG LINE OUTPUTS provide an identical signal.

this signal is post-DSP. If the two

INSERT (LINE IN,

are not used,

The stereo PHONES connector 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.

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).

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 connector is used to connect

equipment for the external synchronization of your V-AMP

PRO. This high-impedance connector has no internal

terminating resistor (75 Ohms).

This is the MIDI OUT/THRU connector. It is configured as

MIDI OUT but can be set to act as a MIDI THRU connector

“-” in the CABINETS mode (see

C).

(see

A).

2.2 Rear panel/side

Use the MIDI IN to connect a foot controller, for example,

the BEHRINGER MIDI FOOT CONTROLLER FCB1010 (see

chapter 8.3 for details).

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 connector 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 connector also to record a “dry” direct signal

without any effect added. Connect the RETURN/LINE IN

connector 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.

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.

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

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”).

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 connectors, for example, to

connect an external amp on stage.

Connect the stereo connector 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.

You may use balanced or unbalanced plugs with

the LINE OUTs.

The AUX IN connector 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" connectors to the outputs of your external

stereo effects device and use this path to return the signal

sent out from the POST DSP SEND (OUT) outputs

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.

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.

Without external loudspeakers the internal speaker

runs at 70 Watts mono. The left output (the internal

speaker automatically shuts off) allows to connect

2. CONTROL ELEMENTS

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V-AMPIRE/V-AMP PRO/V-AMP 2

a loudspeaker with 4 W of impedance and 120 Watts

Using studio mode 2 (S2) at home can be a good idea when it

power. At the right output you may connect an 8 W/

60 Watts speaker that runs together with the

internal speaker. Two speakers with 8 W/60 Watts

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.

3.2.1 V-AMPIRE

Figure 1.3 on the view sheet shows a typical home application.

We recommend modes S1, L1 or L2.

3. OPERATING MODES AND

APPLICATIONS

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.

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.

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).

As with the V-AMP 2 the stereo AUX input enables you to play

back line signals like CDs, drum computer etc.

With the headphones plugged, the device auto-

matically switches into studio 1 (S1) operating

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.

3.1 Selecting an operating mode in

CONFIGURATION mode

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.

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.

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.

3.2.3 V-AMP 2

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.

3.2 Rehearsal or recording at home

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.

Fig. 3.4 on the view sheet shows the previously mentioned

arrangement for S2.

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.

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.

3. OPERATING MODES AND APPLICATIONS

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V-AMPIRE/V-AMP PRO/V-AMP 2

3.3.1 V-AMPIRE

3.4 Recording

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 120 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.

For this applications we assume that at least a mixing console

and a recording device is available.

3.4.1 V-AMPIRE

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.

You can also connect to an external stereo speaker

arrangement, e.g. our BG412S. In this configuration the V-AMPIRE

developes 2 x 60 W into 8 Ω per side. This lets you take full

advantage of the V-AMPIRE’s stereo effects (fig. 1.5).

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).

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.

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.

3.4.2 V-AMP PRO

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.

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.

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.

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.

3.3.3 V-AMP 2

3.4.3 V-AMP 2

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.

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:

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.

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. OPERATING MODES AND APPLICATIONS

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V-AMPIRE/V-AMP PRO/V-AMP 2

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”:

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

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.

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.

5. AMP/SPEAKER SIMULATION

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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 sounds. In distortion mode it sounds like Gary Moore in

his early days, but it’s also good for heavy metal.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Fender, Vox, Marshall, Mesa Boogie, Gibson, Soldano, Matchless,

Dumble, Budda, Tweed, Engl, Roland and the names of musicians and

groups are registered trademarks belonging to the respective owners and are in

no way associated with BEHRINGER.

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!

5.2 Speaker descriptions

The sound of any guitar combo depends largely on the type

and combination of speakers used. In the past 50 years there

has been widespread experimentation to 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.

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.

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.

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!

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.

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.

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.

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.

5. AMP/SPEAKER SIMULATION

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V-AMPIRE/V-AMP PRO/V-AMP 2

6. EFFECTS PROCESSOR

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

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

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.

The appendix gives an overview of all MIDI data transmitted

and received by your device.

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.

4 x 12" VINTAGE 30

4 x 12" STANDARD ’78

4 x 12" OFF AXIS

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.

4 x 12" V-AMP CUSTOM

Tab. 5.1: V-AMPIRE/V-AMP PRO/V-AMP 2 cabinets

To match speed-based effects to the tempo of the

music, press the TAP button at least twice in time

to the music.

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

ECHO

Mix

Feedback

Delay Time

CC49, val 1

CC49, val 0

CC49, val 2

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

CRUNCH V-AMP

CLEAN V-AMP

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

TUBE PREAMP

CHORUS/DELAY 2

Delay Mix

Mod. Mix

Delay Time

CC55, val 3 + CC49, val 2

CC54

CC59

CC50+51

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

AND DELUXE

CC44, val 1

CC44, val 2

CC55, val 1

CC55, val 4

CC55, val 6

CC55, val 2

CC55, val 0

CC45

CC46

CUSTOM CLASS A

SMALL COMBO

BLACK TWIN

AND CUSTOM

NON TOP BOOST

CLASSIC 50 W

BRIT. CLASS A 15 W

RECTIFIED HEAD

SAVAGE BEAST

CUSTOM HI GAIN

ULTIMATE PLUS

CALIF. DRIVE

Depth

Speed

CC45

CC46

Mix

CC59

Feedback Modulation Speed

CC58

CC57

CC56

13 CHORUS

Mix

CC59

Depth

Modulation Speed

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

Tab. 6.1: Effects and MIDI controllers

CUSTOM DRIVE

CALIF. CLEAN

CUSTOM CLEAN

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.

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.

Adjust the filter characteristic and grade in the DRIVE

menu by simultaneously pressing TAP and turning

the EFFECTS control (see also

B).

6. EFFECTS PROCESSOR

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6.2 Effect descriptions

The following section contains short descriptions of the effects

that can be produced using the multi-effects processor.

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.

6.2.1 Reverb and delay algorithms

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.

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).

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.

TREMOLO: Simulates the classic Fender Tremolo. It has

returned to popularity with trip-hop.

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.

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.

6.2.2 Modulation effects

6.3 The separate reverb effect

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.

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:

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.

Tiny Room

Small Room

Medium Room

Large Room

Classic room simulation featuring various

room sizes from bathroom to cathedral.

CHORUS: This effect adds a slightly modulated off-key element

to the original signal, thus creating a pleasant floating effect

through variations in pitch.

Special effect transforming guitar signals

into heavenly pad sounds.

Ultra Room

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.

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.

Press the TUNER button to activate the built-in tuner.

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.

7. TUNER

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It may happen, however, that a note is displayed as “A” but is

8.2 Audio connections

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.

The inputs of your BEHRINGER V-AMPIRE/V-AMP PRO/

V-AMP 2 come as mono 1/4" connectors. All line out, line in and

headphones outputs are configured as 1/4" stereo connectors.

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.

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.

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.

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

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.

Fig. 8.1: XLR connectors

Fig. 8.2: 1/4" TS connector

Fig. 8.3: 1/4" TRS connector

8. INSTALLATION

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.

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. The unit shall always

be connected to the mains socket outlet with a

protective earthing connection.

8. INSTALLATION

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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 connectors 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).

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

connectors. To connect your device to other MIDI equipment you

will need dedicated MIDI cables. They are commercially available

in various standard lengths.

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 connector (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. INSTALLATION

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9. APPENDIX

0,',ꢀ,PSOHPHQWDWLRQꢀ&KDUW

MIDI Channel

Mode

Note Number

Velocity

After Touch

Pitch Bender

Control Change

1-16

N (request only)

Wah Pedal

Volume Pedal

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)

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)

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)

Program Change

System Exclusive

System Common

System Real Time

Running Status

Y (0-124)

Y (0-124,127)

see SysEx Documentation

Y (2s Timeout)

Tab. 9.1: MIDI-Implementation

9. APPENDIX

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10. SPECIFICATIONS

1/4" TS connector, unbalanced

INSTRUMENT INPUT

Input impedance

1 MΩ

+9 dBu

Max. input level

AUX IN STEREO

1/4" TRS stereo connector

Input impedance

4.7 k

Ω

15 k

Ω

1/4" TS connector, unbalanced

PRE DSP RETURN LINE IN

Input impedance

2 kΩ

+9 dBu

20 kΩ

+15 dBu

Max. input level

POST DSP INSERT RETURN L/R

Input impedance

1/4" TS connector, unbalanced

40 kΩ

+8 dBu

Max. input level

1/4" TS connector, unbalanced

ANALOG LINE OUTPUTS L/R

Output impedance

1/4" connector, balanced

approx. 680

Ω

2,2 k

Ω

+20 dBu

Max. output level

+9 dBu

1/4" TS connector, unbalanced

PRE DSP SEND/LINE OUT

Output impedance

<1 kΩ

+9 dBu

Max. output level

POST DSP INSERT SEND L/R

Output impedance

1/4" TS connector, unbalanced

1 kΩ

+8 dBu

Max. output level

XLR, balanced

BALANCED LINE OUT

Output impedance

100

Ω

+14 dBu (Studio); 0 dBu (Live)

Max. output level

1/4" TRS connector, unbalanced

HEADPHONES CONNECTOR

Max. output level

+15 dBu/100 Ω (+23 dBm)

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

0.5 V peak-to-peak

BNC

coax-type

50 kΩ

Input impedance

Nominal input level

2 - 6 V peak-to-peak

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

Type

line out)

7-digit LED

Mono power (1 x 4 Ω)

Mono power (1 x 8 Ω)

Stereo power (2 x 8 Ω)

Sound pressure level

120 W

70 W

2 x 60 W

116 dB @ 1 m

JENSEN^®/BUGERA^TM

8 Ω

Type

Impedance

Load capacity

70 W (IEC) / 140 W (DIN)

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

13 W

100 - 120 V~:

200 - 240 V~:

250 V

100 - 120 V~:

200 - 240 V~:

250 V

Standard ICE receptacle

Mains connection

External power supply

491 x 611 x 265 mm

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

19 1/3" x 24" x 10 2/5"

ca. 21.5 kg

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.

10. SPECIFICATIONS

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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).

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,

crossfaders, potentiometers, keys/buttons, tubes, guitar strings,

illuminants and similar parts.

4. Damages/defects caused by the following conditions are

not covered by this warranty:

§ 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 § 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 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.

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.

2. If the warranty claim proves to be justified, the product will

be returned to the user freight prepaid.

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.

3. Warranty claims other than those indicated above are

expressly excluded.

§ 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.

§ 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.

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.

§ 6 CLAIM FOR DAMAGES

§ 4 WARRANTY REGULATIONS

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.

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 under the

terms of this warranty will be repaired or replaced.

§ 7 OTHER WARRANTY RIGHTS AND NATIONAL 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.

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.

2. The warranty regulations mentioned herein are applicable

unless they constitute an infringement of national warranty law.

* Customers in the European Union please contact BEHRINGER

Germany Support for further details.

Technical specifications and appearance subject to change without notice. The information contained herein is correct at the time of printing. The names

of companies, institutions or publications pictured or mentioned and their respective logos are registered trademarks of their respective owners. Their use

neither constitutes a claim of the trademarks by BEHRINGER^®nor affiliation of the trademark owners with BEHRINGER^®. BEHRINGER^®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. Colours and specification may vary slightly from product. Products are sold through our authorised dealers only. Distributors and dealers are not

agents of BEHRINGER^®and have absolutely no authority to bind BEHRINGER^®by any express or implied undertaking or representation. 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. BEHRINGER^®is a registered trademark.

Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Münchheide II, Germany.

Tel. +49 2154 9206 0, Fax +49 2154 9206 4903

11. WARRANTY

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