Fig. 2.1: BASS V-AMP PRO display
Tab. 2.1: Output formats and LED allocation in the diplay (BASS V-AMP PRO only) The EFFECTS control lets you select an effects preset or a combination of several effects. This continuously turnable control is surrounded by a circle of 16 LEDs. Each effect has a corresponding LED. The COMPRESSOR control lets you compress or limit your sound. When you turn the COMPRESSOR control as far left as possible without triggering off a LED, the dynamic characteristics of the signal are not changed. The compressor on the BASS V-AMP/BASS V-AMP PRO controls two important functions: You set the compression sensitivity by turning the COMPRESSOR control. The more you turn the control, the more pronounced the compression. When the last LED lights up while turning the control to the right, the effect acts as a limiter. Turning the COMPRESSOR control while keeping the TAP key pressed lets you set the attack parameter of the compressor. More detailed information about how a compressor works can be found in chapter 5.3. When an effect is selected using the EFFECTS control , the proportion with which this effect influences the entire sound is regulated using the EFFECTS MIX control. As long as no LED lights up while turning the control leftwards, no effect is mixed in. This is also called an effect bypass, and mutes all effects accross the board.
2.2 Rear panel of the BASS V-AMP PRO
You can insert external effects into the serial insert loop featured on the BASS V-AMP PRO. The SEND/LINE OUT connector is connected to the input of your effects unit for this purpose. The SEND/LINE OUT output is tapped into directly before the digital signal processor (PRE DSP). This connector is therefore ideal for recording dry signals (i.e. without the effects portion). Please connect the RETURN/LINE IN connector with the output of your external effects processor or recorder. When using the serial insert loop, please make sure that your effects processor is not set to 100% effect signal (wet), because otherwise the direct signal is missing. Pressing the LINE IN switch routes the signal connected to the RETURN/LINE IN connector to your BASS V-AMP PRO. This function may be of use when for example listening to a dry recording of a guitar signal on your BASS V-AMP PRO before running it through the effects.

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)
The stereo output signal of your BASS V-AMP can be taken at the balanced LINE OUT connectors. This is the MIDI OUT/THRU connector of the BASS V-AMP. The connector is configured to MIDI Out at the assembly plant, but it can be reconfigured to MIDI Thru (see A). A MIDI foot pedal (e.g. the BEHRINGER MIDI FOOT CONTROLLER FCB1010) can be connected to the MIDI IN connector. More on this subject in chapter 8.4.
3. APPLICATION EXAMPLES/OPERATING MODES
Ope ra tion m ode BASS V-AMP OUTPUTS L OUTPUTS R BASS V-AMP PRO OUTPUTS L OUTPUTS R Studio 1 (S1) Ste re o ope ra tion with the selected effects and speaker simulations Amp w/out FX + Cab Sim Amp, Cab Sim + FX Ste re o ope ra tion with the selected effects and speaker simulations Amp w/out FX + Cab Sim Amp, Cab Sim + FX

Studio 2 (S2)

Studio 3 (S3)

Amp, Cab Sim + FX

DI Out (unprocessed direct signal)
XLR/Phones: ULTRA-G active (digital Cab Sim out) Amp w/out FX Amp + FX

Live 1 (L1)

Ste re o ope ra tion: Live EQ, Amp, Cab Sim und FX Bi-Am ping m ode w /out Ca bine t Sim ula tion
Ste re o ope ra tion: Live EQ, Amp, Cab Sim and FX Bi-Am ping m ode w /out Ca bine t Sim ula tion XLR/PHONES: ULTRA-G active HP: Live EQ, Amp, FX LP: w/out effect section
Live 2 (L2) HP: Live EQ, Amp, FX Live 3 (L3) LP: without effects
For Amp w ith Live EQ For Amp w /out Live EQ w /out Cab Sim w ith Cab Sim
XLR/Phones: ULTRA-G active (digital Cab Sim out) Stereo: Amp, FX + Live EQ
Tab. 3.1: Operating modes of the BASS V-AMP/BASS V-AMP PRO with application examples Naturally, your BASS V-AMP/BASS V-AMP PRO is in its best shape when its bass parts are immortalized on an analog or digital recording medium. Its advantages are most apparent when used in recording situations. Your BASS V-AMP/BASS V-AMP PRO gives you unsurpassed flexibility because you can simply take it with you into the control room and forget all about having to use speakers. This way, you have the best control of the sound of your BASS V-AMP/BASS V-AMP PRO at all times. If you realize that you have to change the signal on the mixing console, you can work with the tone engineer on your sound so that the recording is done optimally, capturing your sound the way you want it. Simply put: no annoying back-and-forth trips between studio and control room. output is used to connect to the mixing console or the stage box (fig. 1.6 and 2.3). Connecting the BASS V-AMP PRO to a mixing console should be done via the ULTRA-G DI OUT output. The advantage of this application: You are ultra-flexible, since you can set up the necessary monitor volume/tone needed for the stage directly on the external bass amplifier, and at the same time utilize the various sound options of the BASS V-AMP/ BASS V-AMP PRO. When you use the R/DI output of the BASS V-AMP to control your mixing console, the front mix benefits from the unique sound achieved by the BASS V-AMP, which is optimized for P.A. applications by virtue of utilizing the equalizer in the channel strip of the mixing console. In the case of the BASS V-AMP, selecting studio 3 (S3) and connecting Line Out R with Aux In L lets you bring the direct signal in addition to the output signal by using the aux control. When you connect line out L with aux in R (plug plugged in half-way) in S3 mode, you can add the direct signal to the effect signal. Avoid connecting line out L to aux in L as well as line out R and aux in R, as feedback may occur.

3.3 Recording situation

Depending on the recording situation and the desired effect, all studio modes come into play (S1, S2 und S3). While S1 carries the complete signal (including all amps, speakers and effects simulations) in stereo, S2 produces two mono signals, whereby the right output contains the signals with all the simulations, while the left output without the effects. A typical home recording setup is shown in fig. 1.3. S3 serves the purpose of recording a fully unprocessed signal (right output) and still hear it with all the effects applied (left output). Since the BASS V-AMP PRO has an additional PRE DSP INSERT, this operating mode (known as Re-Amping) is possible in every output mode (see fig. 2.5 and 2.6). Figure 2.6 describes the possibility of recording the direct signal via an analog sound card input and simultaneously recording the completely processed signal. Should the sound of your mix require reworking, you dont have to bring the signal in again, since the direct signal is still available. In the case of the BASS V-AMP PRO, you can directly feed a digital mixing console (our BEHRINGER DDX3216 in this illustration). The unit can be externally synchronized via worldclock (fig. 2.5).
4. PRESETS OF THE BASS V-AMP/ BASS V-AMP PRO
The BASS V-AMP/BASS V-AMP PRO features 125 rewritable presets, divided into 25 banks. Therefore, there are five presets per preset bank. Each preset consists of a maximum of five ingredients: the simulation of an amplifier (incl. GAIN, EQ and VOLUME settings), the loudspeaker simulation, a pre-amp effect (e.g. Denoiser, Auto Wah, Wah Wah), a post-amp multi effect (e.g. stereo delay, modulation effect or a combination of both) and the compressor setting. An overview of all presets of your BASS V-AMP/ BASS V-AMP PRO is included with this users manual.
3.4 Live setup with a connection to an external bass amplifier
The BASS V-AMP/BASS V-AMP PRO is naturally in top form when it is used as a preamp in connection with an external bass amplifer. In the case of the BASS V-AMP, it is advisable to connect your bass amp via the L/AMP OUT output, while the R/DI OUT
4. PRESETS OF THE BASS V-AMP/BASS V-AMP PRO

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.

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

Tab. 10.1: MIDI implementation
MIDI Controller Function Controller value Range 55

REC REC GAIN 0-127

PLAY PLAY GAIN 0-127

STOP / /

SPEED PLAY SPEED

0=off,1=half,2=normal

REVERSE DIRECTION 0=off,1=rew

PLAY ONCE / /

Tab. 10.2: MIDI controllers of the delay/loop effect

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 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.

* 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.

Important information: Changes or modifications to the equipment not expressly approved by MUSIC Group can void the users authority to use the equipment.