125 outstanding presets in 25 banks, easily editable and storable
Independent compressor and efficient denoiser
Integrated, auto-chromatic tuner (can be calibrated) for easy tuning of bass guitars and other electronic instruments
Extensive MIDI implementation for control/automation of all MIDI functions
BASS V-AMP: Adjustable stereo aux input for mixing line-level signals (e.g. CD player, sound card etc.)
BASS V-AMP: Gig bag and footswitch (for switching presets and activating the tuner) included
BASS V-AMP PRO: AES/EBU and S/PDIF outputs and adjustable wordclock input for synchronization with 24-bit and 32 - 96 kHz
BASS V-AMP PRO: Balanced stereo XLR DI output with ground/lift switch and ULTRA-G speaker simulation
BASS V-AMP PRO: Pre DSP and post DSP effects loops for connecting external effects processors
Extremely rugged construction guarantees outstanding dependability, even under harsh conditions
Conceived and designed by BEHRINGER Germany

FOREWORD

Dear Customer, welcome to the team of BEHRINGER users, and thank you very much for expressing your confidence in us by purchasing the BASS V-AMP/ BASS V-AMP PRO. Writing this foreword for you gives me great pleasure, because it represents the culmination of many months of hard work delivered by our engineering team to achieve a very ambitious goal: to present two outstanding virtual bass amplifiers, whose advanced sound capabilities and remarkable features offer a maximum of flexibility and performance. The task of designing our new BASS V-AMP/BASS V-AMP PRO 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 theyve achieved. 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 youve 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. We are often asked how we manage to produce such highquality devices at such unbelievably low prices. The answer is quite simple: its you, our customers! Many satisfied customers mean large sales volumes enabling us to get better purchasing terms for components, etc. Isnt 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 BASS V-AMP/ BASS V-AMP PRO 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. My friends, its been worth the effort! Thank you very much,

TREBLE control to regulate PRESENCE in a particular amp simulation. 2nd parameter: The second effect parameter (regulated by the EFFECTS control) is accessed by keeping the TAP button pressed (see chapter 6). Amp models 17 - 32: Keep the TAP key pressed and select the desired simulation by using the AMPS control. MIDI Thru: The MIDI Out connector can be set to MIDI Thru (see A). Compressor: The compressor control regulates the ). attack time when the TAP key is kept pressed (see DISPLAY shows the selected effects bank and gives information about the changes occurring while editing. When the tuner is enabled, the display shows the tuning of the connected instrument. When one of the amp simulations numbered 17 - 32 is selected, the LED located in the lower left corner of the DISPLAY lights up. The display on the BASS V-AMP PRO gives additional information about the digital format and the sample rate of the unit, and indicates that the BASS V-AMP PRO should be synchronized to an external wordclock signal. Connected input signals are displayed with the green SIGNAL LED; distorted signals are marked with the red CLIP LED. When the TAP key is kept pressed, a second effects parameter can be regulated using the EFFECTS control (see tables 6.1 and 6.2). The MASTER control regulates the overall volume of your BASS V-AMP/BASS V-AMP PRO. In addition to the AUX LEVEL control on the BASS V-AMP, this is the only non-programmable control of the BASS V-AMP/BASS V-AMP PRO. All additional controls are infinitely turnable, and their positions can be saved in a preset. The LED circles surrounding the VOLUME, BASS, MID, TREBLE, GAIN, EFFECTS MIX and COMPRESSOR controls each have nine LEDs. Either one LED or two adjacent LEDs light up in each LED circle at any one time. This occurs when the control is in an inbetween position. This way, a total of 17 positions can be displayed. The connector labeled INPUT is the 1/4" TS jack input of the BASS V-AMP/BASS V-AMP PRO, which is where an electric bass, an acoustic guitar, a keyboard etc. can be connected. Use a common 1/4" mono jack cable for this purpose. The LINE IN switch regulates which signal source of the BASS V-AMP PRO is processed. When the switch is not pressed, this refers to the the signal connected to the input connector (e.g. electric bass). When the switch is depressed, the line signal connected to the PRE DSP ) is routed to the processor (parINSERT (LINE IN, ticularly useful for keyboards). You can connect standard headphones to the PHONES connector of your BASS V-AMP/BASS V-AMP PRO. When headphones are connected to your BASS V-AMP/ BASS V-AMP PRO, studio mode 1 (S1) is automatically activated. If you opted not to select a loudspeaker type in your setup and then connect a set of headphones, your BASS V-AMP/BASS V-AMP PRO automatically selects a speaker simulation. This improves the subjective listening impression while using headphones. To look up which speaker simulation is paired to which amp, please see table 5.1. However, you can deactivate a simulation while listening to headphones by selecting - in CABINETS mode. Conversely, it is possible to freely select the global output configuration when a set of headphones is connected, so that you can for example check the effect various modes have on your sound.

The stereo signal of the BASS V-AMP PRO without analog speaker simulations can be taken at the ANALOG LINE OUTPUTS. For example, this is how you connect an external stage amp when performing live. The POST DSP INSERT RETURN (IN) stereo jack pair is used for connecting to the outputs of your external stereo effects processor. The signal taken at the POST DSP SEND (OUT) outputs is brought back into these jacks. The ground connection on the DI OUT outputs can be interrupted with the GROUND LIFT switch. This way, rumble noise and ground loops can be avoided. The ground connection is interrupted when the switch is depressed (LIFT). The balanced stereo signal of your BASS V-AMP PRO can be taken at the DI OUT. This output should be connected to two balanced channel inputs on your mixing console. The signal level is set at +4 dBu in studio modes and at -10 dBu for live modes. The connection to the inputs of an external stereo effects unit can be made using the POST DSP SEND (OUT) stereo output. The signal present at this output is identical to the signal at the digital outputs. In contrast to the SEND/LINE OUT connector , the signal is POST DSP here. In case both of the respective RETURN (IN) connectors are not in use, the identical signal can be taken at the ANALOG. LINE OUTPUTS BASS V-AMP PROs signal can be digitally taken at the S/PDIF output. The digital output signal of the BASS V-AMP PRO in AES/ EBU format is found at the AES/EBU output (XLR connector), provided AES/EBU has been selected as output signal E). format (please adhere to the second note under Devices used to externally synchronize your BASS V-AMP PRO should be connected at the WORDCLOCK connector. This is a high-impedance connector, meaning that it has no internal terminal resistor (75 Ohm). This is the MIDI OUT/THRU connector of the BASS V-AMP PRO. The connector is preconfigured in the MIDI Out setting at the assembly plant, but it can be switched to MIDI Thru (see A). A MIDI foot pedal, for example the BEHRINGER MIDI FOOT CONTROLLER FCB1010, can be connected at the MIDI IN connector. Please also read chapter 8.4. SERIAL NUMBER. FUSE RETAINER/VOLTAGE SELECTOR. Please make sure that the voltage indicated in the voltage selector maches the local voltage before you connect the unit to the mains. Always replace blown fuses with fuses of the same type. Some units feature a fuse retainer in which a selection between 230 V and 120 V is possible. Please beware: When using your unit outside of Europe on 120 V, a higher fuse rate is required (see chapter 8 INSTALLATION). Power is supplied via an IEC connector. The matching cable is provided with the unit. Connect the power supply unit via the AC IN connector. When you plug the power supply unit in the mains, your BASS V-AMP is automatically switched on. Connect the stereo jack of your footswitch FS112V to the FOOTSWITCH connector. This will enable you to alternate between different presets within a preset bank. When you keep the DOWN button on the footswitch pressed for longer than two seconds, this automatically powers up the tuner. Doing the same again alternately turns the tuner off. The volume of the signal fed into the AUX IN input is adjusted by using the AUX LEVEL control. By using the AUX IN jack input, you can feed an additional stereo signal into your BASS V-AMP. This way, you can play along to a drum computer or a playback.

3. APPLICATION EXAMPLES/ OPERATING MODES
To optimally adapt your BASS V-AMP/BASS V-AMP PRO to various studio and/or live situations, you may choose between six different operating modes (CONFIGURATION, keys B and D in the case of BASS V-AMP as well as keys D and E in the case of BASS V-AMP PRO). These operating modes function independently from the settings already selected on the unit itself (i.e. how the output signal of your BASS V-AMP/ BASS V-AMP PRO is taken). This way, the left and the right output signals can be used entirely differently. The table on the following page explains in full detail how you can tap into the signal at the output of your BASS V-AMP/BASS V-AMP PRO with or without a speaker simulation/EQ. Additionally, the effects signal at the output does not necessarily have to be identical for both sides (see table 3.1).
3.1 Selecting an operating mode (CONFIGURATION)
Your BASS V-AMP/BASS V-AMP PRO is set to studio 1 (S1) operating mode when it leaves the assembly plant. To change this setting, select the CONFIGURATION mode. Please press the B and D keys at the same time (BASS V-AMP) or D and E (BASS V-AMP PRO). By using the arrow keys, you select between different operating modes. To exit this mode, press TUNER once. Various operating modes are described on the following pages in greater detail. To adjust the output level of your instrument, use a specific level control located at the beginning of the signal path. This way, it is possible to adjust the input sensitivity by +12/-6 dB (middle value = 0 dB): Please select the CONFIGURATION mode and adjust the desired sensitivity level by keeping the TAP key pressed and turning the GAIN control. A change in input gain has an effect on all presets. Therefore, use it with caution to allow for example an adjustment to instruments with strongly varying signal levels.

3.2 Standard setup

To use your BASS V-AMP/BASS V-AMP PRO at the practice room, connect the unit as described in fig. 1.4. and 2.3 of the included appendix. Instead of a bass, you can of course connect other musical instruments. Connect your headphones to the PHONES connector. By using the FS112V footswitch delivered with your BASS V-AMP/BASS V-AMP PRO, you can alternate between the five presets contained in a preset bank, or you can power up the tuner. Live modes L1 and L2 featured in figures 1.4, 1.5 and 2.4 are particularly well suited for more demanding live or practice room applications. By using a MIDI foot controller (fig. 1.4 and 2.5), you can alternate between different presets, banks and amps, the tuner etc. An additional stereo signal can be fed into your BASS V-AMP/BASS V-AMP PRO at the aux in (see fig. 1.3 and 1.5).
2.3 BASS V-AMP connectors (side)

5.1 Amp descriptions

mono head that finds its home in many bass racks due to its rich tone possibilities. GOLD PANEL: This is a simulation of the Eden Traveller WT-300. This amp got its name from its developer: David Eden. He proved his engineering prowice at SWR before starting to design bass amps of his own. Eden amps became famous through their typically crystal-clear and powerful sound. CALIFORNIAN: Toward the end of the 80s Mesa Boogie presented the 400+. This amps head is extremely easy to navigate, and features four preamp tubes and twelwe amp tubes, delivering a massive 500 Watts of power. JAZZ TONE: This amp, with its typical Marcus Miller sound, has a classic amp as its role model: the Polytone A101. Its a 15" speaker bass combo. If youre yearning for a jazzy sound, this is the right amp for the occasion. BOTTOM END: How times change: nowadays, almost all current music productions feature a markedly deep bass sound that could previously only be achieved on a synth. But to preserve true liveliness, it is advantageous to bring in an electric bass. Only then can you have authentic dead notes and a percussive way of playing. A bass player who became very popular thanks to his ultra-deep bass sound is Justin Meldal-Johnsen. He played for Beck and Tori Amos, among others. But hip hop, trance and rave musicians will find this sound just right. TUBE PREAMP: Sound engineers discovered the appeal of a tube very early on. They use tubes to endow sound sources of all kinds with warmth. You can modify not only the sound of a bass, but can for example also run a vocal signal through you BASS V-AMP/BASS V-AMP PRO and polish it with the TUBE PREAMP. (This amp model is however best suited to instill more life into your bass guitar.) BRITISH 60s: A 68 Marshall Super Bass Plexi with Vintage EL-34 tubes was the role model for this simulation. This amp has richer highs than the Marshall Major and sounds a bit like a fuzz box in the upper drive settings. This amp was a must in the 60s, particularly among UK bands. For example, it was used by John Entwhistle (The Who), Noel Redding (The Jimi Hendrix Experience), Ron Wood (Jeff Beck Group) and Roger Glover (Deep Purple). BRITISH 70s: This virtual amp is based on the 69 Marshall Major. Its a classic among tube amps, and was used by Jack Bruce, among others. The sound remains warm even in high drive settings, and gets a natural-sounding distortion characteristic, commonly found on old Cream records. BRITISH 80s: A sound coined in the 80s by musicians such as Trace Elliot or Mark King from Level 42. Its a very transparent and wirily sound that produced a lot of pressure. BRITISH POP: Created using the Vox AC-100 as a model. This amp was very in in the 60s because it had a memorable bass foundation while still leaving enough playroom in the highs. The AC-100 had one very unique feature: the bass control worked the wrong way around! Turning the control to the left meant elevating the bass frequencies. Since this feature takes some time to get used to, we stuck to the more conventional solution, so that turning the control leftward lowers the bass frequencies and turning the control rightward elevates them. THUNDERBIRD: This simulation leans in the direction of smaller bass combos, similar to the BEHRINGER THUNDERBIRD BX108, hence the designation. The result is a full and warm sound that forgives minor playing impreciseness. MOSOUND: No other amp was used more often in Motown recordings as this one: the Ampeg B-15. The list of artists who used the typical B-15 bass sound looks like Whos Who in Motown: The Supremes, The Four Tops, The Temptations, Marvin Gaye and Stevie Wonder to mention just a few. ROCK CLASSIC: A little quiz question: whats the name of the bass amp that has been manufactured for the past 30 years, without modifications, and is still as popular as ever? Correct: it is the Ampeg SVT Classica true power package. With its 300 Watts of raw tube power, this amp has been indispensible to rock bass players for years. Among others, Van Halen and the Rolling Stones use this amp. ROCK 2: Here we have the next stage in the development of the SVT CLASSIC: SVT PRO II. With this model you can use a graphic EQ, which was a feature that made this amp well liked among hard rock and heavy metal bands. But pop-rock combos like those of Bruce Springsteen and David Lee Roth use it often. SILVER PANEL: This simulation reproduces the 67 Fender Bassmanits an amp from the legendary Silverface series. Shortly after its introduction it became many a bass players absolute darling. Paul McCartney used the Bassman on the later Beatles albums and also used it on his first solo album with the Wings. WHITE PANEL: What would the 80s be without their typical bass sound? This decade was hugely influenced by the sound of Gallien/Krueger bass amps. Some liked the authentic reproduction of transistor-powered amps; others yearned for the warmth, for that special something that was missing. Whatever the case: the Gallien/Krueger was in the early 80s, along with Trace Elliot, the amp of choice. Therefore, we chose the WHITE PANEL as the model for the 800RB, as it is popular even today, and used by the likes of Flea (Red Hot Chilli Peppers). RED PANEL: The relatively young company by the name of SWR started creating the so-called L. A.-Sound in the mid 80s. The decisive factor was the combination of tubes (preamp) and transistors (power amp). Since then, the SWR amps belong surely to the most demanded amps on the market. The SWR SM-400 was used as a model for RED PANELits a 500-Watt

Fender, Vox, Marshall, Mesa Boogie, Leslie, Roland, Motown, Ampeg, Gallien-Krueger, SWR, Eden as well as the names of musicians and music groups are registered trademarks of their respective owners and are in no way associated with BEHRINGER.

15 Amp # 32

13 Polytone A101, 1x15" Closed Back Comb o 8
Tab. 5.1: Assignment of cabinet simulations to amp models
Cabinet simulations 9 BYPASS (NO SPEAKER SIMULATION) AMPEG SVT 8 x 10" '97 TRACE ELLIOT 4 x 10" SWR GOLIATH 4 x 10" AMPEG 4 x 10" GALLIEN KRUEGER BMARSHALL 4 x 12" AMPEG Bx 15" CLOSED BACK COMBO POLYTONE Ax 15" CLOSED BACK COMBO VOX ACx 15"
3. By pressing the TAP key in the beat of a music piece. Table 6.1 shows the effects parameters of your BASS V-AMP/ BASS V-AMP PRO. To adapt beat-based effects to your musical program, press the TAP key twice in the beat of the music. 2. By rotating the EFFECTS control while the TAP key is pressed. The multi-effects processor functions basically in stereo. This way, you can use stereo effects for recording purposes via the LINE OUT on the BASS V-AMP or via the ANALOG LINE OUTPUT on the BASS V-AMP PRO. You can also use a second amp to play in stereo (also see table 3.1). The effects can be edited in three parameters: 1. By rotating the EFFECTS control.
10 MESA/BOOGIE 2 x 15" 11 FENDER BASSMAN 2 x 15" WITH JBLs 12 LESLIE 760 CABINET, 1 x 15" + HF-DRIVER 13 SWR 1 x 18" 14 AMPEG SVT 18E, 1 x 18" 15 SUNN COLISEUM 1 x 18" + 1 x 12" x 8" TWEED

Effect no.

6.1 Pre-amp effects

PRE FX

MIDI WAH P-FUNK'N AUTO WAH
17 1x 12" MID x 12" TWIN COMBO x 12" V-AMP CUSTOM x 12" VINTAGE 4 x 12" '78 STD. x 12" OFF AXIS x 12" V-AMP CUSTOM
Tab. 5.2: Overview of cabinet simulations

EFFECTS

Controller 48 Depth Depth

EFFECTS + TAP button

Controller 49 Sensitivity Sensitivity

MIDI 1

Controller 50 Base frequency Base frequency
Tab. 6.2: Pre FX MIDI WAH: The legendary wah wah was primarlily made famous by Jimi Hedrix. Explaining it would be surely more difficult than simply telling you to go listen Hendrix Voodoo Chile. When the DRIVE function is activated, turning the EFFECTS control sets the wah wah. The LED circle around the control displays the position of the pedal. When no LED is on, the MIDI wah wah is not active. P-FUNKN: This is our attempt at replicating the legendary MuTron III, and we succeeded! The MuTron III was a mixture out of Auto wah wah and filter effect. The most famous user of this effect is probably Bootsy Collins. The MuTron III had an up/down switch. Here, the effect resembles the MuTron in the down position. 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 does this automatically, depending on the signal level. In doing so, our effect is similar to the MuTron III in the up position. Wah wah is not available when auto wah or P-Funkn are being used.

V CF + FLA NGER DELA Y + CHORUS STEREO DELA Y DELA Y / LOOP REV ERB A MBIENCE V OICE BOX ULTRA BA SS ROTA RY CA B. PHA SER FLA NGER CHORUS STEREO CHORUS SY NTH MIDI SY NTH
V CF Mix Delay Mix Delay Mix Delay Mix Reverb Mix A mbience Mix SubMix Mix Mix Mix Mix Mix Synth Mix Synth Mix
V CF Speed Delay Time Delay Time Delay Time Speed Speed Speed -
Speed/Depth Feedback Damping Size Pedal Split Frequency Feedback LP Intensity Intensity Intensity -
Flanger Feedback Feedback LP Feedback LP Dif f usion Stereo Spread Interval -
V CF Frequency Speed/Depth Key Reverb
V CF Q Delay Time Delay Time -
Tab. 6.1: Post FX and MIDI controller
BOTTOM END BRITISH CLASSIC CLASSIC
145Hz 121Hz 101Hz 84Hz 70Hz 58Hz 49Hz 41Hz

SHIFT [TONE]

174Hz 209HzJAZZ TONE ORGAN CLASSIC CALIFORNIAN 251Hz BLACK TWIN
GOLD PANEL PIEZO EQ 301Hz RED PANEL MAGNETIC EQ 362Hz WHITE PANEL MIC SIM. SILVER416Hz PANEL PIEZO SIM. ACOUSTIC
You can for example use this loop as a foundation for your melody and improvise around it. To record this sequence via MIDI, send the respective MIDI controller (see chapter 10 ). When you use this function without MIDI, the delay can last a maximum of 1023 msecs. REVERB: The reverb is still the most important effect in a mixdown or during a live event. A reverb is used to add ambience to an otherwise dry sound. AMBIENCE: This effect simulates a room without reflexions.

ROCK BRIT. HI

DEEP [SPLIT]

6.3.2 Modulation effects

Fig. 6.1: SPLIT steps PHASER: The phaser functions according to the principle that a second, phase-shifted signal is added to the original signal. This way, the signal seems thicker and livelier. This effect was originally used for guitar sounds and keyboards. In the 70s, it started being used for other instruments as well (e. g. electric piano and electric bass). FLANGER: A flanger modulates the tone pitch of a signal upwards and downwards at a constant tempo. (STEREO) CHORUS: This effect subtly detunes the original signal. This way, a pleasant effect is created in combination with a tone pitch variation. This effect is particularly well-suited to lend a warm characteristic to the bass sound. Additionally, when popping occurs, it can make the tone sound less intrusive and harsh.

6.3 Post-amp effects

The post-amp effects described in the following paragraphs are located post amp and cabinet simulations in the signal chain. An integrated crossover determines at what frequency the effects start working and regulates the bass information when the unit is used without effects. The cut-off frequency of this 18 dB/octave Butterworth crossover is regulated in EDIT mode under X-OVER. The display shows the frequency divided by factor 10. Adjustments are made by using the bank UP/DOWN keys. If the display shows -, the crossover is not activated and the complete signal is affected by the effects. When, for example, 8 is shown in the display, this means that frequencies under 80 Hz remain unaffected by the effects. Volume balance between the high pass and the low pass can be adjusted when you are setting up the crossover settings by using the EFFECTS control (all the way to the left = low pass signal only, all the way to the right = high pass signal only).

6.3.3 Special effects

VCF+FLANGER: The combination of filter and flanger effect. VOICE BOX: This vocal simulation fades between various vowels (a/e, a/i, a/o etc.) by using a LFO (Low-Frequency Oscillator). You can control this effect via a MIDI foot controller.
6.3.1 Reverb and delay algorithms
DELAY+CHORUS: This algorithm combines a delay and the ever-popular chorus effect. ST. DELAY: A delay of the input signal. Different tempo settings enable you to produce interesting delay effects. This way, you can quickly create repititionsparticularly with slappingthat wouldnt even be possible without a delay. DELAY/LOOP: This function allows you to jam along with your own signal. To do that, record with the delay/loop effect a short sequence (max. 15.36 sec.). This sequence can be played back in an endless loop.
ULTRABASS: A very low bass sound that lies an entire octave beneath the lowest bass frequency present in the mix is currently very popular. However, this sound can often only be created at the studio because most bass amplifiers have no subharmonic function. The ULTRABASS processor, which has also found home in various BEHRINGER bass amps, makes creating this effect a no-brainer. You will be amazed how ultra-low the sounds created with the ULTRABASS function are.
6.3.4 Virtual analog bass synth
SYNTH: This effect gives you a rad three-voice synthie bass and has many parameters that are pre-configured in 9 variants and can be selected via TAP and EFFECT. The TAP key can be used to control the envelope (ADSR) of the synthie sounds (short tap = short tone, slow tapping = long tone). Additionally, there is an intelligent envelope follower based on key and interval, whereas the VCO 1 (Voltage Controlled Oscillator) is set up for specific intervals, and the BASS V-AMP/BASS V-AMP PRO produces bass overtones that match the particular key. The EFFECTS control regulates the ratio between the bass synthie and the bass signal with all amp and cabinet combinations. MIDI SYNTH: The absolute highlight of your BASS V-AMP/ BASS V-AMP PRO is our MIDI SYNTH: With 40 parameters (already described), it offers you the best possible sound. You get a virtual analog MIDI synthesizer equipped with powerful features. It is ideal for hardware and software sequencers, keyboards and for live applications. By using the EFFECTS control, you can mix the completely modelled instrument signal (EFFECT min. = modelled instrument signal only , EFFECT max. = bass synth only). We equipped the MIDI synthesizer with a complete reverb section as an additional feature. Of course, you can access this section via MIDI. ROTARY CAB.: A simulation of a classic organ effect that is normally achieved with a terribly heavy casing and slowly or quickly rotating speakers. The physical principle of the Doppler effect is used to modulate the signal. 444 Hz. To activate the function that changes the chamber tone, do the following: activate the tuner by pressing the TUNER key and immediately switch over into the EDIT mode by simultaneous pressing both arrow keys. 40 appers in the display, which responds to 440 Hz. By pressing the arrow keys, you can adjust the a reference tone up or down in 1 Hz increments for a maximum of 15 Hz. The last two digits of the frequency value are always shown in the display, since the first digit is always a 4. For example, when you start with the 440 Hz basic tone, and then press the right arrow key four times, the display shows 44, which corresponds to a frequency of 444 Hz. To quit the EDIT mode, press the TUNER key. Your changes are automatically stored. Ideal tones for the remaining strings are automatically set up using the newly adjusted frequency as a reference.

8. INSTALLATION

8.1 Rack mounting (BASS V-AMP PRO)
Your BEHRINGER BASS V-AMP PRO needs two rack units to be installed in a 19-inch rack. Please keep in mind that you need an extra 10 cm depth for accessing the cables running into the back. Assure that appropriate ventilation is provided, and never position your BASS V-AMP PRO on top of an amp, for example, to avoid the danger of overheating the unit.
8.2 Voltage (BASS V-AMP PRO)
Before you connect your BASS V-AMP PRO to the mains, please check carefully if your unit is set to the correct voltage! The fuse mount near the power cord connector has three triangular markings. Two of these three triangles are facing opposite one another. Your BASS V-AMP PRO is set up for the voltage indicated near these markings, and can be altered by turning the fuse mount by 180 degrees. ATTENTION: This does not apply to export models built for 120 V, for example! If you use the unit with a different voltage, you must change the fuses accordingly. The correct value of the fuses needed can be found in the chapter SPECIFICATIONS. Faulty fuses must be replaced with fuses of appropriate rating without exception! The correct value of the fuses needed can be found in the chapter SPECIFICATIONS. Power is delivered via the cable that was delivered with the unit. All requiered safety precautions have been adhered to. Please make sure that the unit is grounded at all times. For your own protection, you should never tamper with the grounding of the cable or the unit itself.

7. TUNER

The integrated tuner is activated by pressing the TUNER key.

7.1 Tuning instruments

The chromatic tuner automatically recognizes the frequencies of all the standard bass notes. When you connect your instrument to the BASS V-AMP/BASS V-AMP PRO and strike a string, the tuner tries to recognize the tone and shows it in the display. Because the tuner functions chromatically, it can also recognize semitones. These are shown in the display with a b accompanying the value. However, it may be the case that that a played note (shown in the display as for example a) slightly deviates from the ideal tone. This will be indicated by lighting up at least one of the four arrow LEDs at the lower edge of the display. When the note played lies between the deviations shown by means of the individual LEDs, two LEDs may light up. If the circular middle tuner LED lights up, the played note is identical to the note shown in the display.
7.2 Setting up the a reference tone
To put complete freedom at your disposal when tuning your instrument, you have the option to change the preset of the reference tone a. Here is a quick intro to the subject. The so-called chamber tone a has been continually revised upwards ever since it was first measured: tuning forks of Bach, Handel or Mozart were at 415, 420 or 421 Hz (vibrations pro second). Nowadays, orchestra set the a with 444 Hz, and the Berlin Philcharmonic wishes to stay ahead still: their chamber tone a lies at a full 447 Hz. The reference tone a of the BASS V-AMP/BASS V-AMP PRO is programmed at 440 Hz. Lets say, you want to work with a big orchestra that works with the chamber tone a set to

8.3 Audio connections

The input of the BEHRINGER BASS V-AMP/BASS V-AMP PRO is laid out as a mono 1/4" TS connector. Line Out, Aux In as well as headphones output are laid out as stereo 1/4" TRS connectors. Line outputs can be connected to both balanced and unbalanced jacks. The DI OUT connectors of the BASS V-AMP PRO are available as balanced XLR connectors. Digital outputs are available as a cinch connector (S/PDIF) and XLR connector (AES/ EBU). The BNC connector is used to feed in an external worldclock signal.

8.4 MIDI connections

The MIDI standard (Musical Instruments Digital Interface) was first developed at the beginning of the 80s, with the goal of enabling mutual communication between electronic instruments of various manufacturers. Over the years, the number of possible MIDI applications has increased substantially; nowadays, it is perfectly normal to connect entire studios via MIDI. At the center of this network is a computer with a sequencing software, used to control not only keyboards but also effects processors and other peripheral equipment. In such a studio, you can control your BASS V-AMP/BASS V-AMP PRO in real time from a computer. Using a MIDI footswitch presents itself as a great idea, especially in live applications, because it allows you to control not only the effects but also selects the presets. Fig. 8.1: XLR connections Your BASS V-AMP/BASS V-AMP PRO is equipped with standard 5-prong DIN MIDI connectors. To connect your unit with other MIDI equippment, you will need a MIDI cable. Prepacked cables available at stores are usually used for this purpose. MIDI IN: Used to receive MIDI control data. The MIDI channel is set up in EDIT mode by pressing the A key and subsequently using the arrow keys. MIDI OUT/THRU: MIDI OUT lets you send data to another computer or another piece of MIDI equipment. Preset data as well as parameter changes are transmited. When you reroute the connector to MIDI THRU, your BASS V-AMP/BASS V-AMP PRO sends no MIDI data of its own; instead, it merely forwards the data received at MIDI IN (see chapter 2.1, A).
8.4.1 Receiving/sending MIDI-Sysex data
Fig. 8.2: 1/4" TS connector The BASS V-AMP/BASS V-AMP PRO can receive a SysEx dump from another MIDI unit as long as MIDI function in EDIT mode is activated (A key). However, this also automatically overwrites all BASS V-AMP/BASS V-AMP PRO presets. You can also send MIDI data to another MIDI device (total dump). While in EDIT mode, keep the MIDI key pressed until you get d shown in the display. Sending a total dump lets you transfer the entire memory contents to another MIDI sequencer and save it there. It is also possible to send just one selected preset to another MIDI device: switch into EDIT mode by simultaneously pressing both arrow keys on the sending device, activate the MIDI function and tap the MIDI key briefly. Preset information are then located in the temporary buffer, and can be saved at a desired preset location.

8.5 AES/EBU and S/PDIF standards
Fig. 8.3: 1/4" TRS connector In general, there are two different standards when the subject is digital signal processing. AES/EBU is the professional, balanced connection with XLR jack connectors. This interface is based on two identical protocols published in November 1985 by the European Broadcast Union (EBU Tech. 3250-E) and in December 1985 by the Audio Engineering Society (AES3-1985). Sony and Philips oriented themselves around this standard and developed an additional interface with unbalanced signal routing and several important differences that primarily have to do with allocating channel status bits. This standard, named after the two companies (S/PDIF = Sony/Philips Digital Interface) uses either cinch jacks or a digital connection with optical cables. It is relevant mostly because of the attempt to introduce copy protection embedded in the IEC 958 norm. This norm describes both the re-worked AES/EBU interface that has been modified to work with the S/PDIF format and described as IEC 958 Typ I (Professional). The formal description of the S/PDIF interface is IEC 958 Typ II (Consumer).
Fig. 8.4: Stereo headphones connector

9. SPECIFICATIONS

BASS V-AMP AUDIO INPUTS INSTRUMENT INPUT Input impedance Max. input level AUX IN Input impedance PRE DSP RETURN LINE IN Input impedance Max. input level POST DSP INSERT RETURN L/R 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 POST DSP INSERT SEND L/R Output impedance Max. output level BALANCED LINE OUT Output impedance Max. output level HEADPHONES Max. output level DIGITAL OUTPUTS XLR Output impedance Nom. output level RCA Output impedance Nom. output level Format Sample rate WORDCLOCK INPUT BNC Input impedance Nom. input level MIDI Type 5-pole DIN jacks IN, OUT/THRU coaxial 50 k 2 - 6 V peak-to-peak transformer-balanced 110 3.5 V peak-to-peak not grounded, unbalanced 75 0,5 V peak-to-peak AES/EBU or S/PDIF, selectable 44.1/48/96 kHz internal; 32 - 96 kHz wordclock, sample rate converter 1/4" TS connectors, unbalanced approx. 680 +20 dBu 1/4" TS connector, unbalanced <1 k +9 dBu 1/4" TS connectors, unbalanced 1 k +8 dBu XLR, balanced 100 +14 dBu (studio); 0 dBu (live) 1/4" TRS connector, unbalanced +15 dBu/100 (+23 dBm) 1/4" TRS connector, balanced 50 k 1/4" TS connector, unbalanced 1 M +3 dBu 1/4" TS connector, unbalanced 45 k +9 dBu 1/4" TS connector, unbalanced 40 k +8 dBu BASS V-AMP PRO
BASS V-AMP DIGITAL SIGNAL PROCESSING Converter Dynamics A/D Dynamics D/A Sample rate DSP Delay time Run time (Line In DISPLAY Type POWER SUPPLY USA/Canada 120 V~, 60 Hz U.K./Australia 240 V~, 50 Hz Mains voltage Europe 230 V~, 50 Hz China/Korea 220 V~, 50 Hz Japan 100 V~, 50 - 60 Hz Power consumption Fuse Mains connection DIMENSIONS/WEIGHT Dimensions (H x W x D) 63 x 236 x 180 mm 2 1/2" x 9 1/4" x 7 1/8" Weight approx. 1.2 kg approx. 2 3/4 lbs 89 x 482.6 x 135 mm 3 1/2" x 19" x 5 1/4" approx. 2.6 kg approx. 5 3/4 lbs 13 W external power supply USA/Canada 120 V~, 60 Hz Europe/U.K./Australia 230 V~, 50 Hz Japan 100 V~, 50 - 60 Hz China/Korea 220 V~, 50 Hz General export model 120/230 V~, 50 - 60 Hz 15 W 100 - 120 V~: T 400 mA H 200 - 240 V~: T 200 mA H Standard IEC receptacle 2-digit 7-segment-LED display Line Out) 24-bit Delta-Sigma, 64/128-times oversampling 100 dB @ preamp bypass 92 dB 31.250 kHz 100 Mips max. 1023 ms stereo/sampler delay: 15.36 s approx. 5 ms BASS V-AMP PRO

* 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. ALL RIGHTS RESERVED. 2005 BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Mnchheide II, Germany. Tel. +9206 0, Fax +9206 4903
FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION
Responsible party name: Address: MUSIC Group Services USA, Inc. 18912 North Creek Parkway, Suite 200 Bothell, WA 98011, USA Phone: +Fax: +673 7647

Phone/Fax No.:

complies with the FCC rules as mentioned in the followingparagraph: This equipment has been tested and found to comply with the limits for a ClassB digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the followingmeasures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician forhelp. This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.

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

V-AMP PRO

V-AMPIRE

V-AMP 2

V-AMPIRE / V-AMP PRO / V-AMP 2
POWER ) (V-AMPIRE V-AMP PRO

BEHRINGER V-AMP 2

V-AMP 2 PRO

V-AMP PRO V-AMP 2

V OL U M E

EQ V-AMP MID TREBLE

VOLUME BASS MID MIX REVERB LED 2 LED

TREBLE

GAIN 1

EFFECTS 9

TAP PRESENCE
V-AMPIRE / V-AMP PRO / V-AMP 2 AMPS V-AMPIRE / V-AMP PRO / V-AMP V-AMPIRE ) (V-AMP PRO/V-AMP 2 TAP (V-AMP PRO/V-AMP 1 LED LED AMPS V-AMPIRE ) 16
DISPLAY 17 - 32 TUNER PREAMP BYPASS BYPASS LED TAP 5 TAP

17 - 32

PREAMP AMPS PREAMP BYPASS TUNER

EDIT )

3 V-AMPIRE V-AMP PRO V-AMP 2
MIDI MIDI EDIT TAP THRU MIDI (1 - 16 )
MIDI MIDI OUT (TAP LED MIDI IN

MIDI )

B F DRIVE DRIVE DRIVE GAIN DRIVE EFFECTS LED C CABINET LED EFFECTS Input Gain CONFIGURATION TAP 3.1 ) ( ( ) Drive TAP EFFECT

( 5.2 D REVERB

2.1 V-AMP PRO 9
1 6.3 E NOISE GATE 2.1 TUNER/EXIT (EDIT MODE LED DIGITAL OUT S/PDIF AE TAP (44.1 / 48 / 96 ( ) ( 2.1 DIGITAL OUT DISPLAY ) ) AES/EBU LED ) ) TUNER/EXIT 16 LED REVERB LED TUNER EDIT 2 BANK UP) 2 A ( EXIT ) (BANK DOWN EDIT EFFECTS LED EFFECTS Compressor LED LED 1 DISPLAY LED 17-32 DISPLAY (V-AMP PRO ) (EXT.) TUNER DISPLAY LED

(V-AMP PRO

V-AMP PRO SIGNAL LED CLIP LED PRO )

(V-AMPIRE

CONFIGURATION B D) ( 3 )

E (V-AMP 2

TUNER/EXIT
7 TAP Tap TAP ( Presence PRESENCE 2nd parameter EFFECTS TAP V-AMP 2 AUX LEVEL TAP TREBLE 2 6.1 EFFECTS )
Amp models 17 - 32 AMPS MIDI Thru MIDI OUT ( A

INPUT MIDI THRU

6.3 mm 6.3 mm
LINE IN (V-AMP PRO INPUT ) PRE DSP INSERT ( LINE IN DI OUT V-AMPIRE/V-AMP PRO 2 L1 L2 ) -10 dBu POST DSP SEND (OUT) (V-AMP PRO SEND/LINE OUT ( DSP) RETURN (IN) ANALOG LINE OUTPUTS

PHONES )

(BEHRINGER

) DSP 2

V-AMPIRE/V-AMP PRO/V-AMP 2 1

S/PDIF

AES/EBU 5.2 CABINETS

(XLR V-AMP PRO

) AES/EBU

AES/EBU S/PDIF AES/EBU

V-AMPIRE V-AMP PRO 2 SEND/LINE OUT SEND/LINE OUT (DSP) ( DSP) RETURN/LINE IN
) V-AMP PRO (75 Ohm) MIDI OUT/THRU MIDI OUT (

WORDCLOCK BNC

MIDI THRU A )

100% (

MIDI IN B E HR IN GE R M ID I F OOT CONTROLLER FCB1010 ( 8.3 ) V-AMP PRO (V-AMPIRE/V-AMP PRO )

RETURN/LINE IN

V-AMPIRE LINE IN ( DSP ANALOG LINE OUTPUTS
) V-AMPIRE V (V-AMPIRE ( 8 ) 230 V 120 V

LINE OUT

IEC (V-AMPIRE/V-AMP PRO
V-AMP 2 LINE OUT FS112V POST DSP SEND (OUT)
POST DSP INSERT RETURN (IN) )

(V-AMPIRE/V-AMP 2

DOWN GROUND LIFT DI OUT (V-AMPIRE/V-AMP 2
AUX LEVEL AUX IN (V-AMPIRE/V-AMP 2 ) 2 (S2) (V-AMPIRE (L/R) 2 )

70 W 120 W

4 1.3 S1 L1 L2

3.2.1 V-AMPIRE

RIGHT 8 )

S1 LL2 ULTRA-G EQ

60 W ( ULTRASTACK BG412
( V-AMP 5 V-AMP (CONFIGURATIONS) V-AMP 2 AUX CD XLR MASTER MASTER )

MASTER

V-AMPIRE/V-AMP PRO/V-AMP 2 ( (S1) 2.4 ) V-AMP PRO

3.2.2 V-AMP PRO

AUX INPUTS
V-AMP PC AES/EBU V-AMP PRO 44.1 PC V-AMP PRO Clock Slave Clock Master

3.1 CONFIGURATION

(V-AMP 2 B D)

PC S/PDIF 96 kHz

48 3.1 TAP GAIN

PC V-AMP PRO kHz 2.4 TAP

CONFIGURATION ( ) GAIN GAIN
Pre DSP INSERT LINE IN S1 S1 S2 S2
GAIN CONFIGURATION TUNER/EXIT

(S1) 3 EQ 1 (L1) V-AMP

3.2.3 V-AMP 2
V-AMP 2 AUX AUX LEVEL ( 3.3 ) EUROPOWER S2 3.4 Hi-Fi

www.v-amp.com MIDI V-AMP

V-AMP DESIGN Windows PC MIDI

V-AMP (ULI) ULTRA-G

3.3.1 V-AMPIRE
120 W 4 1.4 V-AMPIRE V-AMPIRE XLR

3.4.1 V-AMPIRE

DSP BG412S 1.6 XLR L2 ULTRA-G MASTER XLR L1 XLR L2 ( 1.4 ) EQ 2 x 60 W V-AMPIRE 2 V-AMPIRE ( 1.5) DI 3.2.1 V-AMPIRE

3.4.2 V-AMP PRO

S1 S1 S2 V-AMP 2 S3 S2 S3 S3

3.3.2 V-AMP PRO

V-AMP PRO 2.5 MASTER XLR MASTER S1 EQ LS3 S1 ULTRA-G

ULTRA-G S3

2.3 LINE INPUT L1 L2 XLR V-AMP PRO S2 ULTRA-G

3.4.3 V-AMP 2

2.6 S1 L2

3.3.3 V-AMP 2

3.5 V-AMP 2 S2
BEHRINGER AUX L2 3.6 L3 V-AMP 2

( BEHRINGER

) V-AMP 2 DI GI100 V-AMP 2

GI 100

L3 EQ EQ
V-AMP (GAIN ) LED ) EQ VOLUME TAP

(BANK UP A

BANK DOWN)

4.1 4.4

D 4.1 V-AMP 2 (V-AMPIRE V-AMP PRO A UP B C E 2 BANK DOWN) A E LED (BANK 2 ) 8.3.1 MIDI E CL
V-AMP 32 V-AMPIRE/V-AMP PRO/V-AMP 2
15 AMPS LED 6 VOLUME BASS MID TREBLE GAIN AMPS EFFECTS DRIVE EDIT CABINETS EDIT TAP (PRESENCE) TREBLE REVERB B NOISE GATE TREBLE TUNER PRESENCE ( ) GAIN T R EB L E LED LED VOLU ME BASS MID TAP ( )

( ( ) ) (

E 12 V-AMPIRE/V-AMP PRO/V-AMP 2 ( 2)
5.3 V-AMPIRE/V-AMP PRO/V-AMP 2
16 V-AMPIRE/V-AMP PRO/V-AMP 2 MIDI LINE OUT

A V-AMP PRO 220 Hz

V-AMPIRE/V-AMP PRO/V-AMP TAP
EFFECTS EFFECTS TAP LED 2

LED LED LED

MIDI BEHRINGER V-AMP PRO 444Hz 440 Hz
MIDI MIDI www.behringer.com
REVERB EDIT D () 9 EDIT 3
EDIT Hz Hz 444 Hz TUNER TAP

440 Hz

BEHRINGER V-AMP PRO HU 10 cm 6.1 V-AMP PRO 19 2
MIDI FCB1010 BEHRINGER MIDI FOOT CONTROLLER MIDI V-AMP PRO

DRIVE TAP ( B

EFFECTS ) ( 120 V)
IEC MIDI V-AMP PRO MIDI MIDI IN MIDI EDIT MIDI OUT/THRU MIDI OUT (MIDI THRU ) MIDI

8.3 MIDI

5 DIN MIDI

8.3.1 MIDI-SysEx

V-AMP PRO EDIT MIDI MIDI SysEx V-AMP PRO EDIT (A )
MIDI 8.1 XLR V-AMP PRO ) MIDI V-AMP PRO

MIDI (

2 EDIT MIDI MIDI

6.3 mm

9. MIDI

9.1 MIDI