TABLE OF CONTENTS

1. INTRODUCTION.. 5
1.1. before you get started.. 5 1.1.1 Serial number... 5 1.2 The manual... 5

2. CONTROL ELEMENTS.. 6

2.1 Front panel... 6 2.2 Rear panel... 8
3. OPERATING MODES AND APPLICATIONS. 9
3.1 Selecting an operating mode in CONFIGURATION mode.. 9 3.2 Live on stage or in a rehearsal room.. 9 3.3 Rehearsal or recording at home.. 9 3.4 Studio recording/recording... 10

4. PRESETS... 11

4.1 4.2 4.3 4.4 Calling up presets.. Editing presets.. Storing presets... Discarding an edited preset/restoring a single factory preset.. 4.5 Restoring all factory presets.. 11
5. AMP/SPEAKER-SIMULATION.. 12
5.1 Amp descriptions... 12 5.2 Speaker descriptions.. 14
6. EFFECTS PROCESSOR.. 14
6.1 Wah Wah... 15 6.2 Effect descriptions... 15 6.2.1 Reverb and delay algorithms.. 15 6.2.2 Modulation effects.. 15 6.2.3 Combinations of effect algorithms (multi-effects programs).. 15 6.2.4 Special effects.. 15 6.3 The separate reverb effect.. 16

7. TUNER... 16

7.1 Tuning your guitar.. 16 7.2 Setting reference pitch A.. 16

8. INSTALLATION.. 17

8.1 Mains voltage.. 17 8.2 Audio connections.. 17 8.3 MIDI connections.. 18 8.3.1 Sending/receiving MIDI Sysex data.. 18
My friends, its been worth the effort!

Thank you very much,

9. SPECIFICATIONS... 18 10. APPENDIX.. 19 11. WARRANTY.. 20

Uli Behringer

WARNING!
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.

1. INTRODUCTION

Congratulations! With the V-AMPIRE LX1200H, you have the newest generation of modeling guitar amps. It offers an extremely broad range of options and possibilities, the only limit being your own imagination. The V-AMPIRE is is so versitile and has so many features that you will hardly need any other equipment. Use it with a guitar speaker cabinet like our BG412V to deliver either 120 Watts mono or 2 x 60 Watts stereo. However you use your V-AMPIRE, you will always profit from its enormous flexibility. So enough talk: Nothing will convince you more than what you actually hear and feel when you play your V-AMPIRE. But.

1.1.1 Serial number

The serial number is located on the rear panel of your V-AMPIRE. Please take the time to fill out and return the warranty card within 14 days after the date of purchase to qualify for our extended warranty. Or register online at www.behringer.com.

1.2 The manual

This manual has been designed so that you can get a clear overview of all control elements and at the same time find detailed information on how to use them. To let you quickly get an overview of different topics, we have grouped various control elements according to their function. If you need more information on specific topics, please visit our web site at www.behringer.com. For example, there you can find complete information about MIDI implementation.

A: Accesses the MIDI functions. Use the arrow buttons to set the MIDI channels (1 through 16) for transmitting and receiving MIDI data. If you use button A in EDIT mode to select the MIDI function and then press the TAP button, 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.
B: Selects the DRIVE function. This noticeably raises distortion and volume. Use the arrow buttons 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 light up, the Wah-Wah is not activated. C: This button activates the CABINETS mode. Use the arrow buttons 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. D: Use this button to select the REVERB function. The arrow buttons 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. E: Here you can activate the NOISE GATE function. Use the arrow buttons to adjust the noise reduction threshold. After preset editing, please press TUNER/EXIT to quit (the EDIT MODE LED dies out). CONFIGURATION: If you press the D and E buttons simultaneously, you can select the general operating mode of your V-AMPIRE, allowing adjustments to different studio and live situations (see chapter 3). To do that, first exit the EDIT mode by pressing TUNER (Exit). The TUNER button is for switching on the tuner. In addition, this button can be used to quit EDIT mode (Exit). Use the two arrow buttons to select a different bank (BANK DOWN and BANK UP). You can skip banks by holding each of the buttons down. To activate the EDIT mode, press both buttons simultaneously. If you press one of the buttons A - E ( ) in that mode, the arrow buttons can be used for setting parameters.
The TAP button has seven functions: s 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. Presence: While holding down the TAP button, you can use the TREBLE control to change the PRESENCE setting of the amp model youve selected. 2nd parameter: You also can access the second effects parameter set by using the EFFECT control while holding down the TAP button. 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 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 ) you change the value (please refer to chapter 3.1 for further information).

Fig. 2.3: Control elements of the V-AMPIRE (rear panel)

2.2 Rear panel

The LX1200H features a serial insert path for external effects. 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. 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. As soon as the VAMPIREs LINE IN (Return) is connected, the signal is automatically routed to the DSP. The input signal from the front will then be interrupted at this point. The ANALOG LINE OUTPUTS provide the stereo signal without analog speaker simulation applied. Use these connectors, for example, to connect an external amp on stage. You may use both balanced and unbalanced plugs with the LINE OUTs. Connect the stereo connector of your FS112V footswitch (included) to the FOOTSWITCH socket. 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 GROUND LIFT switch disconnects (switch pressed) the ground connection at the DI OUT outputs co to effectively eliminate hum noise resulting from ground loops. When the switch is pressed (LIFT), the ground connection is interrupted. The DI OUT output provides the balanced stereo signal of your LX1200H. Connect this output (L/R) to two balanced microphone inputs on your mixing console. With configuration modes L1 and L2 the maximum level is reduced to -10 dBu so that you can directly connect them to the mic inputs of your mixing console. The AUX IN connector socket enables you to feed in additional stereo signals. This way, you can for example play a drum computer or a playback.
The AUX LEVEL control is used for determining the volume of the signal received at the AUX IN input. Connect two loudspeakers (LEFT/MONO or RIGHT) to these connectors A loudspeaker with minimum 4 Ohms impedance and 120 Watt power handling can be connected to the left output (mono). Two speakers with minimum 8 Ohms/60 Watts each can be connected to both outputs. Our ULTRASTACK BG412 series speakers are a perfect match because they can be operated in either mono or stereo mode. This is the MIDI OUT/THRU connector. It is configured as MIDI OUT but can be set to act as a MIDI THRU connector (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). 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). FUSE HOLDER/VOLTAGE SELECTOR. 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 higher fuse rating is required (see chapter 8 INSTALLATION). The mains connection is on an IEC receptacle. An appropriate power cord is included. Use the POWER switch to put the V-AMPIRE into operation. The POWER switch should be in the off position (not pressed) if you want to connect the device to the mains. 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.

3. OPERATING MODES AND APPLICATIONS
One outstanding V-AMPIRE LX1200H feature is that you can choose 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. Because the choice of the most suitable operating mode depends on where you use it, we have described some typical applications.
3.2 Live on stage or in a rehearsal room
Figure 3.1 shows a single 4 Ohm speaker cabinet connected to the left speaker output (mono) to deliver the full 120 Watts.
With the headphone plugged, the device automatically switches into S1 operating mode.
3.1 Selecting an operating mode in CONFIGURATION mode

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Studio 1 (S1)
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simulation Amp and speaker simulation, dry, effects Amp simulation dry, effects Amp and speaker simulation, dry, vu effects Amp simulation vu effects
Fig. 3.1: Mono operation at 4 Ohms impedance Figure 3.2 shows a stereo cabinet (e.g. the BG412V from our ULTRASTACK series) connected to the left and right speaker outputs. The cabinet is then powered by 2 x 60 Watts at 2 x 8 Ohms impedance to get the most from the V-AMPIREs stereo effects.

Studio 2 (S2)

Studio 3 (S3)
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ULTRA-G speaker simulation

Live 1 (L1)

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3-band EQ + Effects

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Live 2 (L2) but with 3-band EQ, amp simulations + effects
Table 3.1: Operating modes (CONFIGURATIONS) The settings of the configurations are made in the configuration menu by simultaneously pressing the buttons D and E. The display shows the current configuration. Use the arrow buttons to select another configuration. Please refer to table 3.1 for information on the corresponding output signals.
By pressing the TAP button and adjusting the GAIN control you can additionally adapt the input amplification to particularly loud pick ups.
Fig. 3.2: Stereo operation at 2 x 8 Ohms impedance Our favourite operating mode for live applications is Live 2 (L2), i.e., a mono signal (1 x 4 Ohms) or a stereo signal (2 x 8 Ohms), with all effects, amp simulation and live EQ but no speaker simulation. The XLR output has analog ULTRA-G speaker simulation that can be connected to a sound reinforcement system. Here, the MASTER control only influences the stage volume but not the XLR output level. If you want to listen to a digital speaker simulation using an amplifier, select L1.

In the configuration menu you can adapt the input gain to different pick up types. To do this, keep the TAP button 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. Quit the configuration menu by pressing TUNER/EXIT.
3.3 Rehearsal or recording at home
When using headphones, the LX1200H 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.
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 favorite presets and make them accessible for other users. Using studio mode 2 (S2) at home can be a good idea when it 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. Figure 3.3 shows a typical home/rehearsal room application. We recommend modes S1, L1 or L2.
3.4 Studio recording/recording
For this applications we assume that at least a mixing console and a recording device is available. 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 adjustment. Since the usual volume problem does not exist in studio environments, the LX1200H has more to offer than those features described in chapter 3.3. In the studio you can raise the volume to take full advantage of the V-AMPIREs own sound. This can be of particular interest if you have a particular speaker cabinet with its own sonic character, or if acoustic feedback from the guitar speaker to the guitar is desired. For the first scenario, you will need to use a microphone to capture this special loudspeaker tonal quality. For the second scenario, you can directly feed the XLR output into the console without the feedback sound being gone. We recommend mode L2, with 3-band EQ but without digital speaker simulation.

Fig. 3.3: Standard stereo setup with 2 x 8 impedance (stereo) S1 comprises all amp, speaker and effects simulations. The same applies to mode L1 which also includes the 3-band EQ for additional sound adjustment, for example when you use headphones of inferior quality. Mode L2 works similarly but here the digital speaker simulation (stored in a preset) is switched off and replaced by our analog ULTRA-G simulation (enabled on the XLR or phones outputs only).
Fig. 3.4: Expanded recording setup with a multitrack-recorder and a mixing console
When connecting headphones, the amp signal is automatically muted. Thus, if you unplug the headphones we strongly recommend to turn the MASTER control to the very left. The XLR output is independent of the MASTER control setting. This allows to tap into a line signal for recording purposes, even when MASTER control is set to minimum.
The stereo AUX input enables you to play back line signals like CDs, drum computer etc.
3. OPERATING MODES AND EXAMPLES

4. PRESETS

Your V-AMPIRE 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 s s amp simulation (including GAIN, EQ and VOLUME settings) cabinet simulation 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

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 buttons (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.
The enclosed sheet shows an overview of all the presets.

5. AMP/SPEAKER-SIMULATION
The very heart of the V-AMPIRE sound is its amp/speaker simulation. The 32 simulation models can make work in a home recording studio very much easier because it isnt necessary to mike up the guitar amp. With the LX1200H it is childs 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. 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 ). 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 amplifiers. 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 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 amps 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. 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 Claptons favorite amp when he was with Cream. The JTM 45 was the forerunner of many of Marshalls 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. 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. 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 U2s The Edge are probably the best-known users of this sound. 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 amps normal channel. 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. 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. 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. Its good at reproducing Steve Ray Vaughans and Michael Landaus sounds. In distortion mode it sounds like Gary Moore in his early days, but its also good for heavy metal. 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. RECTIFIED HI GAIN: This model is based on a 1994 Mesa Boogie Dual Rectifier Trem-O-Verb featuring a modern, highgain 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 Theaters guitarist John Petrucci.

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.

5.1 Amp descriptions

AMERICAN BLUES: This virtual amp is modeled on the Fender Bassman 4 x 10 Combo. Originally designed as a bass amp, it soon became a standard amp of blues legends such as Steve Ray Vaughan 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. 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. MODERN CLASS A: This amp is characterized by its slight distortion and sounds almost like hi-fi. It is modeled on the Matchless Chieftain, a very expensive, hand-made amp. 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 Becks 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 aficionados. The reason for that was that it produced an amazingly distorted sound even at low volume.
5. AMP/SPEAKER SIMULATION
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. 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 youre playing a Gibson Les Paul, MODERN HI GAIN sounds best when you turn down the volume control on the guitar a little. 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 Blackmore has been a major endorser of this German company, and Randy Hanson, the best Hendrix since Jimi, also swears by this amp. The unique feature of the Savage is its extreme power and is therefore highly popular with heavy metal guitarists. Silent Force/Sinner guitarist Alex Beyrodt has been an enthusiastic Engl user for years. An amp for making yourself heard! 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. 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 Halens 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. 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 channeldefinitely the right choice for Santana songs. CRUNCH V-AMP: This amp is ideal for modern blues or jazz. Its sound is not too subtle, but not in-your-face eitherits crunchy, thats all. CUSTOM DRIVE: This simulates the Dumble Overdrive Specialan 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 weve done here is simulate the drive channel of one of these rare Dumble amps. CLEAN V-AMP: Here we have managed to simulate the sound of a Roland JC-120 and combine it with our BRIT CLASSIC model. The result 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. 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 LX1200H 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. PREAMP BYPASS: In this setting, no amp simulation is selected. This makes it possible, for example, to play through an external guitar preamp and only use the effects or the speaker simulation. To activate the PREAMP BYPASS, press TAP and TUNER.

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.

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.
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 CRUNCH V-AMP CLEAN V-AMP TUBE PREAMP

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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 V-AMPIRE speaker cabinets:
! # WDIU6B@76TT ( ! !VT8G6TT6 'WDIU6B@UX@@9 ' ! !UXDI8PH7P ! # !WDIU6B@" ! !7SDU%& ! # !WDIU6B@" ! # !WDIU6B@" $ # !W6HQ8VTUPH $ # !W6HQ8VTUPH # # !PAA6YDT $ # !W6HQ8VTUPH $ # !W6HQ8VTUPH $ # !W6HQ8VTUPH $ # !W6HQ8VTUPH Iphivrvyhv srvuphy

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AND DELUXE 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 CUSTOM DRIVE CALIF. CLEAN CUSTOM CLEAN

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15 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 x 12" DELUXE x 12" TWIN COMBO 2 x 12" US CLASS A 2 x 12" V-AMP CUSTOM 2 x 12" BRIT x 12" VINTAGE x 12" STANDARD x 12" OFF AXIS 4 x 12" V-AMP CUSTOM
! # WDIU6B@76TT ( ! !VT8G6TT6 'WDIU6B@UX@@9 ' ! !UXDI8PH7P ! # !WDIU6B@" ! !7SDU%& " # !TU6I96S9&' % !7SDU% $ # !W6HQ8VTUPH " # !TU6I96S9&' $ # !W6HQ8VTUPH $ # !W6HQ8VTUPH # !HD98PH7P $ !7G68FA68@ # !HD98PH7P $ !7G68FA68@
Table 5.2: Loudspeaker/amp simulation default settings
Table 5.1: V-AMPIRE cabinets

6. EFFECTS PROCESSOR

A special feature of your V-AMPIRE 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 LX1200H.

Tiny Room Small Room Medium Room Large Room Ultra Room
7.2 Setting reference pitch A
To give you maximum freedom for tuning your guitar, you can change the preset reference pitch A. For claritys sake, lets 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, Hndel or Mozart were 415, 420 or 421 Hz (oscillations per second). Todays 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 has been factoryprogrammed 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 buttons simultaneously. The display will show 40, which means 440 Hz. Use the arrow buttons 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.
Small Spring Medium Spring Short Ambience Long Ambience
Table 6.2: Different reverb effects

8. INSTALLATION

8.1 Mains voltage
Before connecting 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. 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 9 SPECIFICATIONS for details. Blown fuses must be replaced by fuses of the same type and rating! Please refer to chapter 9 SPECIFICATIONS for details.
Fig. 8.2: 1/4" TS connector
The mains connection is made using the enclosed power cord and a standard IEC receptacle. It meets all of the international safety certification requirements.
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 V-AMPIRE LX1200H 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 are on XLR connectors.
Fig. 8.3: 1/4" TRS connector
Fig. 8.4: Headphone connector

Fig. 8.1: XLR connectors

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 LX1200H 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 buttons. 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 does not send its own MIDI information, but passes on the signal received at the MIDI IN connector (see chapter 2.1, A). AUDIO INPUTS Instrument input Input impedance Max. input level Aux In Stereo Input impedance Pre DSP Return Line In Input impedance Max. input level AUDIO OUTPUTS Analog Line Outputs L/R Output impedance Max. output level Pre DSP Send/Line Out Output impedance Max. output level Balanced Line Out Output impedance Max. output level Headphone connector Max. output level MIDI Type Converter Dynamics A/D Dynamics D/A Sampling rate DSP Delay time Runtime (Line In > Line Out) DISPLAY Type AMPLIFIER Mono power (1 x 4 ) 120 W Stereo power (2 x 8 ) 2 x 60 W Sound pressure level 116 dB @ 1 m POWER SUPPLY Mains voltage General export model Power consumption Fuse Mains connection DIMENSIONS/WEIGHT Dimensions (H x W x D) Weight 226 mm (9") x 612 mm (24") x 266 mm (10 1/2") ca. 14.6 kg (47 1/2 lb) USA/Canada 120 V~, 60 Hz Europe/U.K./Australia 230 V~, 50 Hz Japan 100 V~, 50 - 60 Hz 120/230 V~, 50 - 60 Hz 200 W max. 100 - 120 V~: T 5 A H 250 V 200 - 240 V~: T 2.5 A H 250 V Standard ICE receptacle two-digit 7-segment LED display 1/4" TS connector, unbalanced ca. 680 +9 dBu 1/4" TS connector, unbalanced <1 k +9 dBu XLR, balanced 100 +14 dBu (Studio); 0 dBu (Live) 1/4" TRS connector, unbalanced +15 dBu/100 (+23 dBm) 5-pole DIN jacks IN, OUT/THRU 24-Bit Delta-Sigma, 64/128 times oversampling 104 dB @ Preamp Bypass 92 dB 31,250 kHz 100 Mips max. 1933 ms approx. 5 ms 1/4" TS connector, unbalanced 1 M +9 dBu 1/4" TRS stereo connector 4,7 k 1/4" TS connector, unbalanced 2 k +9 dBu

Table 10.1: MIDI implementation

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). 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. 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. 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. 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. 4 WARRANTY REGULATIONS 1. Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealers invoice. Any product deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced. 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. 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: 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. 7. Products which do not meet the terms of this warranty will be repaired exclusively at the buyers 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. 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. 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. 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW 1. This warranty does not exclude or limit the buyers 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.

TABLE OF CONTENTS

1. INTRODUCTION.. 5
1.1 Before you get started... 5 1.1.1 Shipment... 5 1.1.2 Initial operation.. 5 1.1.3 Online registration.. 5
2. CONTROL ELEMENTS AND CONNECTORS. 6
2.1 Front panel... 6 2.2 Rear panel... 8
3. APPLICATION EXAMPLE.. 8 4. PRESETS.. 8
4.1 Editing presets... 8 4.2 Restoring the factory presets.. 9
5. AMP/SPEAKER SIMULATION. 9 6. EFFECTS PROCESSOR.. 10
6.1 Effect descriptions.. 10 6.1.1 Delay algorithms.. 10 6.1.2 Modulation effects.. 10 6.1.3 Special effects... 11 6.2 Reverb... 11 6.3 Pedal function... 11 6.3.1 FCV100 pedal calibration.. 11

7. TUNER... 12

7.1 Tuning your guitar... 12 7.2 Setting reference pitch A.. 12 7.3 Tuner Bypass volume.. 12
8. INSTALLATION.. 12 9. SPECIFICATIONS... 13 10. APPENDIX.. 14 11. WARRANTY.. 15 FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION.. 16
My friends, its been worth the effort!

Thank you very much,

Uli Behringer

1. INTRODUCTION

Congratulations! With the V-AMPIRE, you have the newest generation of guitar amps. It offers an extremely broad range of options and possibilities, the only limit being your own imagination. The V-AMPIRE LX110 is an all-rounder with so many features that you hardly need any other equipment.
1.1.3 Online registration
Please do remember to register your new BEHRINGER equipment right after your purchase by visiting www.behringer.com (alternatively www.behringer.de) and kindly read the terms and conditions of our warranty carefully. Should your BEHRINGER product malfunction, our goal is to have it repaired as quickly as possible. To arrange for warranty service, please contact the retailer from whom the equipment was purchased. Should your BEHRINGER dealer not be located in your vicinity, you may directly contact one of our subsidiaries. Corresponding contact information is included in the original equipment packaging (Global Contact Information/European Contact Information). Should your country not be listed, please contact the distributor nearest you. A list of distributors can be found in the support area of our website (www.behringer.com/ support). Registering your purchase and equipment with us helps us process your repair claims quicker and more efficiently. Thank you for your cooperation!

1.1 Before you get started

1.1.1 Shipment

Your V-AMPIRE was carefully packed at the factory, and the packaging was designed to protect the unit from rough handling. Nevertheless, we recommend that you carefully examine the packaging and its contents for any signs of physical damage that may have occurred during transit. If the unit is damaged, please do NOT return it to BEHRINGER. Instead, notify your dealer and the shipping company immediately. Otherwise, claims for damage or replacement may not be honored. Always use the original packing carton to prevent damage during storage or transport. Make sure that no children are left unsupervised with the unit or its packaging. Please ensure proper disposal of all packing materials.
IMPORTANT NOTES CONCERNING INSTALLATION
The sound quality may diminish within the range of powerful broadcasting stations and high-frequency sources. Increase the distance between the transmitter and the device and use shielded cables for all connections.

1.1.2 Initial operation

Be sure that there is enough space around the unit for cooling. To avoid overheating, please do not place the V-AMPIRE near radiators and other equipment emanating heat. Please keep in mind that all the equipment has to be grounded at all times. For your own protection, never change or disable the grounding on your equipment or on the cables! The unit must always be connected to the mains outlet with a protective earthing connection.

WARNING!

We would like to bring to your attention the fact that extremely loud sound levels may damage your hearing as well as your headphones. Please turn the MASTER control all the way to the left before powering up the unit. Keep the volume at an appropriate level at all times.
2. CONTROL ELEMENTS AND CONNECTORS
Fig 2.1: V-AMPIRE control elements (front view)

2.1 Front panel

The GUITAR socket is the 1/4" connector for your guitar. Please use a standard 1/4" TS connector. The PHONES connector allows you to monitor the audio signal with standard headphones (e.g. BEHRINGER HP Series). This connector can also be used as a stereo line output. Plugging in the headphones automatically mutes the power amp signal. So, before pulling the headphones connector from the socket, please turn the MASTER control fully left. The FOOTSWITCH jack is used to connect an FS112 footswitch for preset selection (UP/DOWN). The FCV100 jack is used to connect an FCV100 expression pedal (not included), which can control various functions (effects parameters, wah-wah, volume, etc.). To assign a function to the pedal, press the TREBLE and ). and BASS button simultaneously (see Please read Chapter 6.3 Pedal Function for more information. The CD/TAPE INPUT RCA inputs allow you to feed in an additional stereo signal, for example, to play along to a drum computer or music playback. Use the MASTER control to adjust the overall volume of the LX110. The MASTER control is not programmable, i.e. its setting cannot be stored in a preset. After pressing the TREBLE control you can use the ADJUST control to raise or lower the high-frequency range. Press and turn the control to change the frequency range you are modifying. The TREBLE button lights up when this function is active and flashes while you are editing its settings. After pressing the BASS control you can use the ADJUST control to raise or lower the low-frequency range. Press and turn the control to change the frequency range you are modifying. The BASS button lights up when this function is active, and flashes while you are editing its settings. Press the TREBLE and BASS buttons simultaneously to assign a specific function to the expression pedal (the display shows PA). Please read Chapter 6.3 Pedal Function for more information.

Press the COMPR control to adjust the compressor. controls the sensitivity. Press and turn the ADJUST control to adjust the attack and release times. The COMPR button lights up when this function is active and flashes while you are editing its settings. Chapter 6.1.3 Special Effects explains in detail how the compressor works. Press the N-GATE button to adjust the noise gate. ADJUST controls the sensitivity. Press and turn the control to adjust the attack and release times. The N-GATE button lights up when this function is active and flashes while you are editing its settings. Chapter 6.1.3 Special Effects explains in detail how the noise gate works. When you press the COMPR and N-GATE buttons simultaneously, you can use the UP and DOWN buttons to select a memory location for the preset you are editing. Keep the COMPR and N-GATE buttons pressed for a while to store the preset. Please read Chapter 4. PRESETS for more information. To select a preset (99 00, decremental), press the DOWN button once quickly. Keep the button pressed to scroll through the presets quickly. To select a preset (00 99, incremental), press the UP button once quickly. Keep the button pressed to scroll through the presets quickly. Pressing the DOWN and UP buttons simultaneously activates the TUNER mode of the V-AMPIRE. Press either one of the two buttons to deactivate the TUNER mode. Please read Chapter 7. TUNER for more information.
The DISPLAY shows the preset number or the selected effects model. It also informs you about any parameter changes while editing a preset. In TUNER mode, the DISPLAY indicates the target note, while in calibration mode, the calibration is shown in Hertz (Hz). The decimal points start to flash when the V-AMPIRE signal is overloading. The decimal points shine continuously when a 2nd LAYER AMP or FX model is active. Press the DELAY button to adjust the DELAY effect. Delay generates an echo-type delay of the input signal. The FX/AMPS control selects a DELAY model. ADJUST controls the effect intensity. Press and turn this control to set the feedback level. The rhythm with which you tap the ADJUST control determines the intervals between the individual echoes (delay time). The DELAY button flashes in edit mode and shines continuously when the effect is active. The delay effects are described in full detail in Chapter 6.1.1 Delay Algorithms. Press the REVERB button to adjust the REVERB effect. REVERB allows you to add a specific hall or room ambience quality to the overall sound. Use the FX/AMPS control to select one of four different reverb types: Ambience (2nd LAYER LED flashes), Cathedral, Spring (2nd LAYER LED flashes) and Reverb. ADJUST determines the reverb intensity (Mix). Press and turn this control to adjust the decay time. The REVERB button LED flashes in edit mode and shines continuously when the reverb effect is active. The reverb types are described in full detail in Chapter 6.2 Reverb. Press the MODUL(ulation) button to select one of eight modulation effects with the FX/AMPS control: Chorus, Flanger, Phaser, Pitch Bend, Tremolo, Rotary, Auto Wah and P-Funkn. The 2nd layer effects (2nd LAYER LED flashes) can be accessed by simultaneously pressing and turning this control. Depending on the selected modulation effect, the ADJUST control determines either the effect intensity (Mix) in the preset or the effect depth. Press and turn this control to edit a second parameter which depends on the effect selected. The speed parameter can be set by pressing ADJUST (TAP). Use the UP and DOWN buttons to selected different models within an effect. The MODUL button flashes in edit mode and shines continuously when the effect is active. The modulation effects are described in full detail in Chapter 6.1.2 Modulation Effects. Press the DELAY and MODUL button simultaneously to adjust the global input gain of the V-AMPIRE with the ADJUST control. With particularly low or highlevel guitar signals set the control to the right or left of its center position respectively. Use the UP and DOWN buttons to activate an additional filter preset for optimizing the sound. Both buttons flash in edit mode. The modulation effects Auto Wah, Pitch Bend and P-Funkn cannot be used in combination with the Wah-Wah effect. When either one of these three effects has been selected while the pedal is assigned to the Wah effect, the latter will be deactivated (WAH LED goes out in the display). Assigning the expression pedal to the Wah effect automatically disables the Auto Wah or Pitch Bend effect, so that the modulation effects are no longer active (all modulation effect LEDs go out). Please see Chapter 10. APPENDIX for a list of all functions.

Fig. 2.2: The display of the V-AMPIRE Status LEDs in the display: EDIT: lights up when a preset has been edited but not yet stored. TAP SPEED: flashes to indicate the effect speed adjusted with the TAP function for MODULATION and DELAY effects. PEDAL SPEED: lights up when an effect speed parameter has been assigned to the expression pedal. PEDAL EFFECT: lights up when any other effect parameter has been assigned to the expression pedal. PEDAL VOLUME: lights up when the expression pedal has been set to control the volume or gain setting. PEDAL WAH: lights up when the WAH effect has been assigned to the expression pedal and flashes when the WAH is active. In Tuner mode, this LED shows the pitch of the instrument. TUNER LEDs: In Tuner mode, these 5 LEDs indicate the pitch of the instrument (incl. PEDAL WAH LED). In general, the ADJUST control is used to adjust the GAIN settings of the presets and the effects parameters while editing a preset. Press and turn the control to determine the VOLUME settings and other effect parameters of the presets. Effect speed parameters can be adjusted by tapping the control several times (TAP). Additional information on the individual control elements can be found in Chapter 6. EFFECTS PROCESSOR. Next to the FX/AMPS control an LED shows the currently selected AMP model. The 2nd LAYER (PUSH) LED indicates that it is an AMP model from the 2nd LAYER (grey), otherwise it is a 1st layer AMP model (black). Turn the control to select a 1st layer AMP model/effect, press and turn the control to select a 2nd layer model. If one of the AMPS LEDs lights up (right half), use the ADJUST control to set the GAIN or VOLUME. If one of the EFFECT LEDs lights up (left half), the ADJUST control can be used to set the selected effect parameter.

2.2 Rear panel

3. APPLICATION EXAMPLE
Fig. 3.1 shows an example of how to use the V-AMPIRE LX110. When you connect headphones (thereby muting the speaker) and a CD player or drum computer, you get an ideal setup for practising at home.
Fig. 2.3: Operating elements of the V-AMPIRE (rear panel) SERIAL NUMBER. FUSE HOLDER/VOLTAGE SELECTOR. Before connecting the unit to the mains, ensure 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. Please note that when operating the unit outside Europe at 120 V, a higher fuse rating is required (see Chapter 9. SPECIFICATIONS). The mains connection is on an IEC receptacle. A suitable power cord is included with the unit. Use the POWER switch to operate the V-AMPIRE. The POWER switch should always be in the OFF position (out) when connecting the unit to the mains. Fig. 3.1: Practice setup The POWER switch does not fully disconnect the unit from the mains. To disconnect the unit from the mains, pull out the mains connector. When installing the product, ensure that the mains connector has not been damaged. Unplug the power cord completely when the unit is not used for long period of time.

4. PRESETS

Your V-AMPIRE features 100 rewritable presets (00 99). After power-up the last preset used is automatically recalled. Each preset consists of a maximum of 6 ingredients: one amp simulation, pre-amp effects (noise gate, compressor, wah-wah), tunable treble and bass EQs, one modulation effect (e.g. phaser, chorus, etc.), one delay effect, and one reverb effect.

4.1 Editing presets

Editing presets on the V-AMPIRE is quick and easy, simply follow the instructions below: First, determine the global gain by pressing the DELAY and MODUL buttons simultaneously. Then use the ADJUST control to set the gain. If required, use the UP and DOWN buttons to activate an additional filter preset for optimizing the basic sound. Press DELAY and MODUL again to quit this menu. Select a preset with the UP and DOWN buttons. Then, select an amp model with the FX/AMP control. The EDIT LED on the display lights up to indicate that you are editing the preset.
Modify the basic sound with the treble and bass filter functions. Press the respective function button and adjust the setting with the ADJUST control (see Chapter 2.1 Front Panel). Select the pre-amp effect you wish to use by activating the corresponding buttons (compressor, noise gate) and edit the effect with the ADJUST control (see Chapter 6.1.3 Special Effects). Add a delay, reverb and/or modulation effect to your sound by pressing the appropriate buttons and selecting the effects with the FX/AMPS control. Use the ADJUST control to edit various effect parameters (see Chapter 6. EFFECTS PROCESSOR). When you are satisfied with the settings, store the preset by pressing COMPR and N-GATE (STORE) for more than 2 seconds. The EDIT LED goes out and the edited preset is active. If you want to select a different memory location for your preset, press COMPR and N-GATE briefly, so that the two buttons start to flash. Now use the UP and DOWN buttons to select a different memory location. Then press COMPR and N-GATE for more than 2 seconds to finalize the store process. If you select another preset while editing and without saving the currently selected preset, all changes that have been made so far will be discarded. 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 U2s The Edge are probably the best-known users of this sound. 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. Its good at reproducing Steve Ray Vaughans and Michael Landaus sounds. In distortion mode it sounds like Gary Moore in his early days, but its also good for heavy metal. 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 Blackmore has been a major endorser of this German company, and Randy Hanson, the best Hendrix since Jimi, also swears by this amp. The unique feature of the Savage is its extreme power and is therefore highly popular with heavy metal guitarists. Silent Force/Sinner guitarist Alex Beyrodt has been an enthusiastic Engl user for years. An amp for making yourself heard! NUMETAL GAIN: This model is based on a 1994 Mesa Boogie Dual Rectifier Trem-O-Verb featuring a modern, high-gain sound that also comes over well in a band context. MODERN GAIN: Here, 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 youre playing a Gibson Les Paul, MODERN HI GAIN sounds best when you turn down the volume control on the guitar a little. 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. ULTIMATE GAIN: From clean to brutal hi-gain, this brute covers the entire range. The ULTIMATE V-AMP is basically a souped-up rectifier amp. TWEED COMBO: This was Jeff Becks favorite when he recorded the albums Blow by Blow and Wired. This amp was not actually designed for heavy distortion, but owing to its low power, it is ideal for uncompromising overdrive sound. TWEED BASS: This virtual amp is modeled on the Fender 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. SCREAMER: Having been around since the beginning of the 80s, the Ibanez Tube Screamer TS808 has pretty much achieved cult status. It has the reputation of being the ultimate classical overdrive/treble booster floor pedal, and is associated with mighty lead sounds, even though it offers rather modest distortion. Its secret is that it knows better than other floor pedals how to squeeze the very last bit out of the amp to which it is connected. EL RATON: The Rat from ProCo was also a distortion pedal similar to the tube screamer, and it also came around about the same time, but its basic sound and applications couldnt be more different. As the name suggests, the Rat is all about aggressive distortion from the pedal itself, and the TS808 is more about unobtrusive overdrive in the amp further down the chain. With the rat simulation, you have the metal sound of the early 80s totally covered.

4.2 Restoring the factory presets
You can restore the factory presets of your V-AMPIRE at any time. When switching on the unit, hold down the DELAY and MODUL buttons for more than 2 seconds. This will restore all factory presets (CL flashes on the display).
5. AMP/SPEAKER SIMULATION
The very heart of your V-AMPIRE is its amp/speaker simulation. The V-AMPIRE makes it a breeze for you to select 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. On top of all that, you can even choose digital effect and reverb types for your virtual amp. Read Chapter 6. EFFECTS PROCESSOR for more details. When your V-AMPIRE is switched on, it automatically activates the last preset selected. The LED ring around the FX/AMPS control shows what amp has been selected. The corresponding LED lights up. Simply turn the control to select another amp. To give you a better overview of the wide range of amp simulations on the V-AMPIRE, we have compiled the following descriptions of the different types of amps. 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 amps 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. V-AMP CRUNCH: This amp is ideal for modern blues or jazz. Its sound is not too subtle, but not in-your-face eitherits crunchy, thats all. BRITISH PLEXI: This amp model, created by leaning closely to a 59 Marshall Plexi 100-Watt amp, is particularly well-suited for creating clean sounds. The amp was used by Jimi Hendrix, Eric Clapton and Jeff Beck.
5. AMP-/SPEAKER-SIMULATION
AMP BYPASS: In this setting, no amp simulation is selected. This makes it possible, for example, to play through an external guitar preamp and only use the effects. ACOUSTIC: A guitar with steel strings miked with a dynamic microphone is simulated here. While piezo pickups have the tendency to make the sound rather hard, using a mic makes the sound much more evened-out. Of course, the feedback typical for miking acoustic instruments is no longer an issue.
Engl, Fender, Gibson, Ibanez, Marshall, Mesa Boogie, Roland, Soldano, Vox ProCo, Tube Screamer, The Rat as well the names of musicians and bands are registered trademarks of their respective owners and are in no way associated with BEHRINGER. The brand names appearing here are mentioned solely to describe the character of sounds and effects created in the V-AMPIRE.
PHASER: The principle behind a phaser is that a second, phaseshifted signal is added to the audio signal. This makes the sound richer and, above all, livelier. This effect has been popular for decades because it can be used to produce slightly modulating or strongly alienating effects, regardless of what instrument you are using. Two of the classic versions of this effect that we simulate are the 4-level MXR Phase 90 (1) and the 12-level Boss PH2 (4). Additionally, the V-AMPIRE offers 2 additional exceptional versions of an 8-level (2) and a 10-level (3) phaser. The second parameter controls resonance, the third controls the phaser model (1 - 4). PITCH BEND: The Digitech Whammy pedal and the PS-5 Super Shifter from Boss are extremely well-liked effects which produce an effect signal that is out of tune with the input signal. Models 1 - 4 offer the best pitch bend effects. Use ADJUST to determine mix. The PS-5 Super Shifter (1) generates a fixed interval of several half-tones based on the source tone. When the T-Arm Simulation (2) is used, this interval will be active only if the expression pedal is fully pressed. The time that elapses before the interval is reached can be determined by pressing the ADJUST (TAP) control repeatedly. With the Whammy effect (3), detuning depends on the position of the pedal (pedal up = original tone pitch, pedal down = the interval entered under (2)). In contrast to the pitch shifter, the detune effect (4) creates a modest out-of-tune interval that is only a fraction of a half-tone. It sounds roughly like a permanently activated chorus. The second parameter controls to what extent your tone detunes: - for models 1 to 3 (-12/-7/-5/-3/+3/+4/+5/+7/+12 half-tones), - for model 4 (-20 to +20% of a half-tone). The third parameter lets you select between different effects modules: pitch shift (1), T-Arm (2), Whammy (3) and detune (4). Since pitch bend effects 2 and 3 require the expression pedal, other expression pedal functions, such as Wah Wah, are automatically deactivated. In this case, the pedal assign effect LED lights up. TREMOLO: Simulates the classic Fender DeLuxe tremolo as well as the Vox AC15 and Gate tremolo. Ever since Trip Hop gained on importance, this volume modulation effect is totally in. The second parameter controls the dependence of modulation tempo on volume: loud input signal = quicker modulation, lower input signal = slower modulation. The third parameter lets you chose from different tremolo types: Fender (1), Vox (2), Gate (3) and Panning (4). 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. The second and the third parameters control the sounds modulation. 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. By putting a finger on the left reel of one of the machines, the reel and, consequently, the playback slowed down. The resulting delay produced phase shifts of the signals. Outstanding examples of this effect genre are the Ultra Flanger on the BF-3 (1) and the classic BF-2 (2) from Boss as well as the Flanger from MXR (3) and A/DA (4). The second parameter controls the resonance (effect feedback to the input), and the third parameter selects the flanger model (1 4).

6. EFFECTS PROCESSOR

A special feature of your V-AMPIRE 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 combinations of effects. You can select one effect out of each of the three effects blocks (modulation, delay and reverb). To synchronize speed-based effects with the tempo of the music, tap the ADJUST (TAP) button at least twice to the beat of the music.

6.1 Effect descriptions

The following section contains short descriptions of the effects that you can use.

6.1.1 Delay algorithms

The delay effects can be modified by changing the following 3 parameters: by turning the ADJUST control (effect mix), by pressing and turning the ADJUST control (feedback), and by pressing or tapping the ADJUST control to the beat of the music (interval between echoes/delay time). STEREO DELAY: This effect delays the input signal. Different tempo settings let you create a wide array of delay effects. Be experimentaltry going from short to very long delays. LONG ECHO: Whats so special about this delay effect is that the repetition interval of the echoes is 50% longer than the time interval measured between two taps on the ADJUST (TAP) control. This way, you can create a frequently used echo effect easily: if you tap and play in quarter-notes, the echoes are positioned three eighths away. This effect can be best demonstrated by U2s guitarist The Edge. SLAP ECHO: As the name suggests, a delay with a very short repetition interval. The V-AMPIRE takes a half of the time interval measured between the taps on ADJUST (TAP) while the echo velocity doubles. PING PONG: A delay effect that changes position in the stereo image.

6.1.2 Modulation effects

When editing the modulation effects you can modify up to 4 parameters: 1. 2. 3. 4. by turning the ADJUST control (depending on the effect, this controls the effect intensity or the effect mix), by pressing and turning the ADJUST control (second parameter, see description of effects), by pressing the UP and DOWN buttons to select various effect models (1 4), and by tapping the ADJUST control to the beat of the music (modulation speed).
CHORUS: This effect adds a slightly modulated off-key element to the original signal, thus creating a pleasant floating effect through variations in pitch. One of the most popular studio chorus effects was the Tri Stereo Chorus, with its 12 (!) voices that are modulated against each other. The V-AMPIRE offers you this effect in two versions (1, 2), in addition to the 2 classic effects Boss Chorus Ensemble CE-1 (3) and the Roland Dimension D (4). The second parameter controls the modulation depth while the UP and DOWN buttons are used to select the chorus model (1 4). The modulation speed is set by pressing ADJUST (TAP). High depth and speed values result in a clearly audible detuning of the signal (off-key sound). AUTO WAH: The American funk in the 70s proved that auto wah had many possible applications. Instead of regulating the filter frequency with your foot, our effect regulates automatically depending on the signal level. In doing so, our effect is similar to the EHX MuTron III in the up position. The ADJUST control determines the sensitivity. The second parameter determines how quickly the filter is shifted; the third parameter selects the effects block (1 - 4). P-FUNKN: This is our attempt at replicating the legendary MuTron III, and we succeeded! The most famous user of this effect is probably Bootsy Collins. The MuTron III had an up/down switch. Our particular effect resembles the MuTron in the down position. The ADJUST control determines the sensitivity. The second parameter determines how quickly the filter is shifted, while the third parameter determines the effects block (1 4).

6.2 Reverb

The reverb is still one of the most important effects used in a mix or at a live event. BEHRINGER offers you four different reverb programs, so that you can always find the reverb that best fits the music style: Ambience: a short room simulation without reverb tail. Cathedral: a long, rich reverb, like in a cathedral. Spring: the typical sound of a classic spring reverb. Reverb: a universal, warm reverb simulating a concert hall. ADJUST controls the reverb intensity, while the second parameter determines decay.

6.3 Pedal function

Press the TREBLE and BASS buttons simultaneously to assign a specific function to the expression pedal (the display shows PA). At the same time, one of the right-hand LEDs on the display starts to flash (speed, effect, volume, wah). If Pedal Assign is active, simply edit the parameter of your choice to automatically assign it to the expression pedal (the corresponding Assign LED lights up). Press TREBLE and BASS again to confirm your selection: SPEED: the pedal controls the SPEED parameter of a delay or modulation effect (e.g. delay time). EFFECT: the pedal controls the first effect parameter (depending on the effect used, this is the effect mix or effect depth). VOLUME: the pedal controls the preset volume. WAH: the pedal controls the wah effect. You can also just move the expression pedal to select the wah function. When the pedal function is activated, one parameter is always assigned to the pedal. Auto Wah and/or Pitch Bend are disabled as long as the Wah-Wah effect is assigned to the expression pedal. Press TREBLE and BASS a third time to confirm your selection and quit the PEDAL menu.

6.1.3 Special effects

WAH WAH: The legendary Wah Wah effect owes its fame mainly to Jimi Hendrix. To describe this effect would certainly be more difficult than to simply suggest to listen to Hendrix using it on Voodoo Chile. Wah Wah is not available when auto wah, P-Funkn or pitch bend are being used. COMPRESSOR: Our simulation is based on the well-known MXR Dyna Comp. A compressor limits the dynamic range of a signal by reducing the signal level as soon as a pre-determined threshold is exceeded. A compressor lets you achieve noticeable and creative sound effects. The extent at which the compressor kicks in is controlled with ADJUST, allowing you to achieve apparent sustain. When ADJUST is turned all the way to the left, the compressor function is deactivated. The second parameter (attack) controls the amount of time that the compressor needs to react, once the threshold has been exceeded. If you set up a short attack time, the compressor will react very fast. 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 highgain settings but guitar pickups can amplify unwanted interference. This can be painfully obvious 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. The ADJUST control determines when the noise gate starts processing. This control allows you to suppress background noise more or less pronouncedly. When ADJUST is turned all the way to the left, the noise gate function is deactivated. The second parameter (release) determines the time that the noise gate remains open after it had fallen below the threshold. Setting up a short release time means that the noise gate suppresses the signal very soon after it detects noise.

6.3.1 FCV100 pedal calibration
Please follow the steps below to optimally adapt the pedal control range of the FCV100: Hold down the BASS and TREBLE buttons for more than 2 seconds while switching on the unit to enter pedal calibration mode. Press the pedal fully down. The display shows PL (Pedal Low). Then, move the pedal fully up. The display shows PU (Pedal Up). The calibration is now complete. To quit the pedal calibration mode, press the BASS and TREBLE buttons simultaneously.
A/DA, Boss, DyTronics, Electro Harmonix (EHX), MXR, Digitech, Vox as well the names of musicians and bands are registered trademarks of their respective owners and are in no way associated with BEHRINGER. The brand names appearing here are mentioned solely to describe the character of sounds and effects created in the V-AMPIRE.

7. TUNER

The built-in tuner can be switched on and off by pressing the UP and DOWN buttons simultaneously. This switches the V-AMPIRE to bypass mode.

8. INSTALLATION

The inputs of the BEHRINGER V-AMPIRE are on 1/4" TS connectors. The headphones output is on a 1/4" TRS connector. The CD/TAPE INPUT connectors are on unbalanced RCA jacks.

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 110 Hz. When you plug your guitar into the V-AMPIRE 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 semitones which are indicated with the flat symbol b in the display. However, it may happen, for example, 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 bottom of the display lighting up. In certain cases even two of the LEDs may light up indicating 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, then the note played is in tune.
Fig. 8.1: 1/4" TS connector
7.2 Setting reference pitch A
To give you maximum freedom when tuning your guitar, you can change the preset reference pitch A. For claritys sake, lets 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, Hndel or Mozart resonated at 415, 420 or 421 Hz (oscillations per second). Todays 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 has been factoryprogrammed at 440 Hz. If you are going to play with a big orchestra that tune their instruments to a reference pitch of 444 Hz, you will need a function that allows you to change your reference pitch: Switch on the tuner by pressing the UP and DOWN buttons simultaneously, then press and hold the ADJUST control to enter the calibration mode: The display shows 40, i.e. 440 Hz. Press and turn the ADJUST control to increment/decrement the reference tone A by 15 Hz each. The display always shows the last two digits of the basic tone, given that the first digit is always 4 (44 = 444 Hz, etc.). Release the ADJUST control to quit the calibration mode. Any changes made are stored automatically. The remaining strings of your guitar are now tuned on the basis of the adjusted reference tone.

Fig. 8.2: Headphones connector

Fig. 8.3: RCA cable

7.3 Tuner Bypass volume
In tuner mode, the ADJUST control adjusts the volume of the guitar signal while tuning up. Turning the control fully left mutes the signal.

9. SPECIFICATIONS

INSTRUMENT INPUT Type Input impedance Max. input level 1/4" TS connector, unbalanced approx. 1 M +5 dBu
LINE/HEADPHONE OUTPUT Type 1/4" TRS stereo connector, unbalanced Output impedance approx. 50 Max. output level +18 dBu @ 10 k / +21 dBm @ 100 AUX IN STEREO Type Input impedance
1/4" TRS stereo connector 4.7 k
DIGITAL SIGNAL PROCESSING Converter 24-bit Delta-Sigma, 64/128-times oversampling Dynamics A/D 100 dB @ preamp bypass Dynamics D/A 95 dB Sample rate 31.250 kHz DSP 100 Mips Delay time max. 1960 ms stereo DISPLAY Type AMPLIFIER Peak power INTERNAL SPEAKER Type Impedance Load capacity POWER SUPPLY Mains voltage 10" BUGERA Dual-Cone Full-Range, 10K50A50 W (IEC) 45 W / 4
2-digit, 7-segment LED display
Power consumption Fuse Mains connection DIMENSIONS/WEIGHT Dimensions (H x W x D)
U.S./Canada 120 V~, 60 Hz China/Korea 220 V~, 50/60 Hz Europe/U.K./ Australia 230 V~, 50 Hz Japan 100 V~, 50/60 Hz General export model 120/230 V~, 50 - 60 Hz 66 W max. 100 - 120 V~: T 2.5 A H 250 V 200 - 240 V~: T 1.25 A H 250 V Standard ICE receptacle

Weight

395 mm (15 1/2") x 355 mm (14") x 215 mm (8 1/2") ca. 8.2 kg (18 lbs.)
BEHRINGER constantly strives to maintain the highest quality standards. Modifications may be made, if necessary, without prior notice. The specifications and appearance of the equipment may therefore differ from those listed or illustrated.

10. APPENDIX

Operating element TREBLE BASS COMPR N-GATE MASTER UP/DOWN DELAY REVERB MODUL Function High EQ Bass EQ Compressor Noise Gate Output volume Selects a preset Calls up delay menu Calls up reverb menu Calls up modulation menu Selects effects and amp models FX/AMP Selects a delay effect Select a reverb effect Selects a modulation effect ADJUST boost/cut boost/cut Sensitivity Sensitivity Mix Mix Mix or Depth (depending on effect) ADJUST (Push + Hold) Filter frequency Filter frequency Attack/ Release Attack/ Release Feedback Decay Time 2nd parameter (depending on effect) ADJUST (Tap) Delay Time Speed UP/DOWN Preset selection Selection of various effect models -

FX/AMP

Key combinations UP + DOWN TREBLE + BASS COMPR + N-GATE DELAY + MODUL Activates the tuner Activates the pedal function Stores the preset Global input gain Tuner input volume Controls the input gain Power-up functions Selects pedal calibration menu during power-up Restores the factory presets during power-up Tuner calibration (425 - 455 Hz) Selects a memory location Selects a filter preset

TREBLE + BASS

The display shows "PU" or "PL"

DELAY + MODUL

The display shows "CL"
Table 10.1: Overview of functions

11. WARRANTY

1 OTHER WARRANTY RIGHTS AND NATIONAL LAW 1. This warranty does not exclude or limit the buyers 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. 2 ONLINE REGISTRATION Please do remember to register your new BEHRINGER equipment right after your purchase by visiting www.behringer.com (alternatively www.behringer.de) and kindly read the terms and conditions of our warranty carefully. Registering your purchase and equipment with us helps us process your repair claims quicker and more efficiently. Thank you for your cooperation! 3 WARRANTY 1. BEHRINGER (BEHRINGER International 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 5, 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. 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. 4 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. 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. 5 WARRANTY REGULATIONS 1. Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealers invoice. Any product deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced. 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 * Customers in the European Union please contact BEHRINGER Germany Support for further details. 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. 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: improper handling, neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals. 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. 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 buyers 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. 6 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. 7 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.

Technical specifications and appearance are subject to change without notice. The information contained herein is correct at the time of printing. All trademarks (except BEHRINGER, the BEHRINGER logo and JUST LISTEN) mentioned belong to their respective owners and are not affiliated 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. Colors and specifications may vary slightly from product. Products are sold through our authorized 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 International GmbH. ALL RIGHTS RESERVED. 2007 BEHRINGER International GmbH. BEHRINGER International GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Muenchheide II, Germany. Tel. +9206 0, Fax +9206 4903
FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION
Responsible party name: Address: Phone/Fax No.: hereby declares that the product
BEHRINGER USA, Inc. 18912 North Creek Parkway, Suite 200 Bothell, WA 98011, USA Phone: Fax: +672 0816, +673 7647
complies with the FCC rules as mentioned in the following paragraph: This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense. Important information: Changes or modifications to the equipment not expressly approved by BEHRINGER USA can void the users authority to use the equipment.