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,

TABLE OF CONTENTS

1. INTRODUCTION.. 5
1.1 Before you get started.. 5 1.1.1 Serial number... 5

2. CONTROL ELEMENTS.. 5

2.1 Unit top/front side.. 5 2.2 Rear panel of the BASS V-AMP PRO.. 7 2.3 BASS V-AMP connectors (side).. 8

3. APPLICATION EXAMPLES/OPERATING MODES. 8
3.1 3.2 3.3 3.4 Selecting an operating mode (CONFIGURATION). 8 Standard setup... 8 Recording situation.. 9 Live setup with a connection to an external bass. amplifier... 9
4. PRESETS OF THE BASS V-AMP/BASS V-AMP PRO. 9
4.1 4.2 4.3 4.4 4.5 Recalling presets... 9 Editing presets.. 10 Saving user presets... 10 Overriding edits/Restoring single factory presets.. 10 Restoring all factory presets.. 10
5. AMP/SPEAKER SIMULATION.. 10
5.1 Amp descriptions... 11 5.2 Speaker descriptions.. 12 5.3 Denoiser and compressor.. 13
6. EFFECTS PROCESSOR.. 13
6.1 Pre-amp effects... 13 6.2 (OVER)DRIVE simulations.. 13 6.3 Post amp effects... 14 6.3.1 Reverb and delay algorithms.. 14 6.3.2 Modulation effects.. 14 6.3.3 Special effects.. 14 6.3.4 Virtual analog bass synth.. 15

7. TUNER... 15

7.1 Tuning instruments... 15 7.2 Setting up the a reference tone.. 15

8. INSTALLATION.. 15

8.1 8.2 8.3 8.4 Rack mounting (BASS V-AMP PRO). 15 Voltage (BASS V-AMP PRO).. 15 Audio connections.. 15 MIDI connections.. 16 8.4.1 Receiving/sending MIDI-SysEx data. 16 8.5 AES/EBU and S/PDIF standards.. 16
9. SPECIFICATIONS... 17 10.APPENDIX... 19 11.WARRANTY... 20

Uli Behringer

WARNING!
We would like to bring your attention to the fact that extremely loud sound levels may damage your hearing as well as your headphones. Please lower all OUTPUT LEVEL knobs all the way to the left before powering up the unit.

1. INTRODUCTION

Congratulations! By purchasing the BASS V-AMP/ BASS V-AMP PRO, you have selected a modern virtual bass amplifier that sets new standards in the world of bass preamps. Our primary goal was to achieve the classic sound of bass amps by using Physical Modeling and implementing the newest DSP effects. Following the tremendous success of our V-AMP and its successor V-AMP 2, with the BASS V-AMP/ BASS V-AMP PRO we are finally able to offer bass players the same diversity of sound. Should the condition of the cardboard box suggest that damage may have taken place, please inspect the unit immediately and look for physical indications of damage. Damaged units should NEVER be sent directly to us. Please inform the dealer from whom you acquired the unit immediately as well as the transportation company from which you took delivery. Otherwise, all claims for replacement/repair may be rendered invalid. Please make sure the unit is provided with sufficient ventilation, and never place the BASS V-AMP/BASS V-AMP PRO on top of an amplifier or in the vicinity of a heater to avoid the risk of overheating. Before plugging the unit into a power socket, please make sure you have selected the correct voltage! Power is supplied via the cable included with the unit. All requiered safety precautions have been adhered to. When you hook up your BASS V-AMP/BASS V-AMP PRO to the mains, the unit is automatically turned on. 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. MIDI connections (IN, OUT/THRU) use standard DIN plug-in connectors. Data transfer takes place via the dry-contact optical couplers. Additional information can be found in chapter 8 (INSTALLATION).

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.

BRITISH CLASS A: Created by using the Vox AC 30 as a role model. The roots of this amp go all the way back to the sixties. Back then, bass players demanded sound with a brilliant characteristic, which Vox engineers addressed by including revolutionary bass and treble controls. Brian May and U2 guitarist The Edge are the most famous users of this amp. MODERN HI GAIN: In this case, sound controls take a back seat to distortion, giving the extremely distorted sound more strength. The sound of MODERN HI GAIN is ideal for grunge guitarists, but also finds its appeal among the guitarists such as Steve Vai and Joe Satriani. Steve Lukathar, Nuno Bettencourt, Steve Vai and others made the Soldano sound famous. When using a Gibson Les Paul, MODERN HI GAIN sounds at its best when the volume control on the guitar itself is somewhat supressed. NUMETAL GAIN: This amps role model was a 1994 Mesa Boogie Dual Rectifier Trem-O-Verb. Its modern, high-gain-oriented sound marks this amp, and it works very well when playing in a band. Sound control takes place post distortion, which makes a post-treatment of distorted sounds possible. The amp works optimally for heavy metal, but also for achieving Steve Lukather sounds. The most famous user of this amp is Dream Theaters guitarist John Petrucci. CUSTOM HI GAIN: This sound originates in the sound of a 69 50-Watt Marshall Plexi Pate modified by Jose Arrendondo. Arrendondo was Eddie Van Halens guitar tech. The amp is characterized by its great mids and the ability to obtain the ultimate gain without blurring the sound. Attention: addictive! ULTIMATE PLUS: Those to whom DRIVE V-AMP (see below) is not enough will find more gain than they could ever ask for. CRUNCH V-AMP: This amp is ideally suited for modern blues or jazz sounds: its sound is neither too low-key nor too intrusive. DRIVE V-AMP: This is a modern high gain lead amp. It produces a soft but still formidable sound with a lot of drive, therefore ideal for a lead guitar. The role model was the Mesa Boogie Mark III.
BRIT. HI GAIN: Compare this model with a Marshall JCM 800. Even though the original caused a furry mostly due to its distorted sound, this model produces a similar effect even with moderate gain. You get excellent Steve Ray Vaughan/Michael Landau sounds. When distorting, it is ideal for producing the old Gary Moore sound as well as heavy metal sound.

5.2 Speaker descriptions

The sound of a bass combo depends a great deal on the speaker type and combination. We saw a lot of experimentation in this field in the past 50 years. The goal was to figure out which speakers are most suited for reproducing bass sounds and how the sound changes when you combine a particular speaker with other speaker types. Among other things, the character of a speaker is determined by its power rating, impedance, sound pressure level and its size. Also, never underestimate the importance of the material(s) used to build it. Over the years, using a 15" speaker together with a 4 x 10" speaker became standard-issue for electric bass applications. This combination produced a healthy bass foundation and at the same time ensured perceptible highs. The sound was also balanced and not too strained, which was often the case with 15" speakers used alone. Nowadays, in bass cabinets you can find almost all speaker sizes you can think of: 8", 10", 12", 15" or 18". Even HF drivers are no longer a rarity in bass cabinets. When you select an amp simulation, a matching speaker simulation is automatically activated as well (see table 5.1). Otherwise, the authenticity of the sound could be jeopardized, particularly when you use headphones. Of course, you can alter these settings depending on personal preferences. A list of speaker/cabinet simulations can be found in the following section.

Amp # Am ps 1 - 16 (w hite ) BRITISH '60s BRITISH '70s BRITISH '80s BRITISH POP THUNDERBIRD MOSOUND ROCK CLA SSIC ROCK 2 SILV ER PA NEL WHITE PA NEL RED PA NEL GOLD PA NEL CA LIFORNIA N JA ZZ TONE BOTTOM END TUBE PREA MP Am ps 17 - 32 (gr e y) BRITISH CLA SS A MODERN HI GA IN NUMETA L GA IN CUSTOM HI GA IN ULTIMA TE PLUS CRUNCH V -A MP DRIV E V -A MP BRIT. HIGH GA IN PIEZO SIM. MIC. SIM. MA GNETIC EQ PIEZO EQ BLA CK TWIN ORGA N CLA SSIC BRITISH CLA SSIC CLA SSIC CLEA N PREA MP BY PA SS Cabine t s im ulation (de fault s e tting) 68 Marshall 4x12" 68 Marshall 4x12" Trace Elliot 4x10" Voc AC100 2x15" 1x8" Tweed Ampeg B15 1x15" Closed Back Comb o Ampeg SVT 8x 10" '79 Ampeg SVT 8x 10" '79 Fender Bassman 2x15" with JBLs 6x10" SW R G oliath Senior 6x10" SW R G oliath Senior Ampeg 4x10" Mes a/Boogie 2x15" Ampeg SVT 18E, 1x 18" No c ab inet simulation Cabine t s im ulation (de fault s e tting) 2x12" Twin Comb o 4x12" V-AMP Custom 4x 12" Vintage 30 4x12" '78 Std. 4x12" V-AMP Custom 4x12" '78 Std. 4x 12" Vintage 30 4x12" '78 Std. No c ab inet simulation No c ab inet simulation No c ab inet simulation No c ab inet simulation 2x12" Twin Comb o Leslie 760 Cab inet, 1x15"+HF Horn 4x12" '78 Std. 2x12" V-AMP Custom No c ab inet simulation Cab # Cab # -
PIEZO SIM: Simulates a piezo pick up. This way, sound with an acoustic character is created. Electric guitars get this accoustic touch, but without the feedback typical for acoustic instruments. MIC SIM: 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. MAGNETIC EQ: Magnetic pick ups are very common in western guitars because they can easily be mounted into the instruments cavity. However, the sound produced is not so clear as with piezo systems or with mics, because only the vibrations of the strings are captured in the signal. This amp model corrects the tone quality of a magnetic pick up system and gives it an acoustic character. A discreet ambience effect lets your instrumet sound more natural. PIEZO EQ: The sound character of the instrument is presented a bit more harshly. The EQ corrects the sound so that the end result sounds like it was directly recorded using a mic.

BLACK TWIN: A Fender Blackface Twin from the year 1965 was the role model used for this simulation. In the 60s, this amp was used by jazz, country and even rock musicians. Its appeal was in that it was exceptionally loud, so it was primarily used in live situations. You can drive your Blackface Twin extremely loud, but the distortion remains moderate even as you increase the volume. Try using it with the sound of a Rhodes electric piano sound or another electric piano. ORGAN CLASSIC: Here we have a simulation of a Leslie 760 amp that strongly influenced the classical Hammond sound. During the analysis of this system, we noticed distortions that partly spring from the organ tube end amp and partly from a Leslie. Both characteristics can be controlled with a gain control the same they would be controlled by using a Hammond volume pedal. This sound and the rotary cabinet effect make a Rhodes electric piano sound amazing, a clavinet sound absolutely cool, analog synth sounds (Moog) get even better, and an electric bass and even drum sounds get nicely elevated. You can dynamically steer the GAIN control via MIDI by using a foot controller board, such as the BEHRINGER MIDI FOOT CONTROLLER FCB1010. This way, you get even closer to the original sound. BRITISH CLASSIC: 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. This amp model is therefore located among the keyboard models because you can create the organ sound influenced by John Lord (Deep Purple). CLASSIC CLEAN: In the 80s, the chorus effect of a Roland JC-120 was the trademark of Buzzy Feiten (Dave Weckl Band guitarist). What makes this solid-state amp special is the brilliance of its sound, noticable in every mix. It is also outstanding for the new wave sound of the 80s thats making a come-back. Not to forget its popularity with Fender Rhodes pianists live on the stage with a Yamaha CP70 or a Wurlitzer electric piano.
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.
5.3 Denoiser and compressor
DENOISER: A Denoiser is used to remove or minimize noise or other interference sounds. Such noise becomes particularly apparent during pauses. The time-proven BEHRINGER denoiser removes or reduces such noise very effectively. A dynamic low-pass filter eliminates the noise present in the signal, while the integrated expander supresses noise during pauses. Concerning this dynamic filter you can adjust frequency range and sensitivity, while the expander adjusts both the threshold and the time parameter. The BASS V-AMP/BASS V-AMP PROs denoiser can be used independently from the integrated multieffects processor. See chapter 2.1 ( E) for information about using the denoiser. COMPRESSOR: A compressor is used to elevate low-level signals, whereas loud parts are lowered if needed. Letting the compressor kick in strongly (done by turning the EFFECTS control clockwise) tightens the entire dynamic of the signal. This dynamic effect is the one that is most used in a connection with an electric bass. On the other hand, a limiter cuts off the signal above a set threshold to prevent distortion. BASS V-AMP/BASS V-AMP PROs compressor can always be activated independently from the integrated multi-effects processor.

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).

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
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.

* 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.

La ditta BEHRINGER si sforza sempre di garantire il massimo standard di qualit. Modificazioni resesi necessarie saranno effettuate senza preavviso. I dati tecnici e laspetto dellapparecchio potrebbero quindi discostarsi dalle succitate indicazioni e rappresentazioni

10. APPENDICE

Function Midi Channel Note Number Velocity After Touch Pitch Bender Control Changes Program Change System Exclusive System Common System Real Time Running Status Transmitted 1-16 N N N N N (request only) N (request only) Y Y Y Y Y Y Y Y (skipped on request) Y (skipped on request) Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y N N N N N N N (request only) N N N (request only) Y Y Y Y Y Y Y Y Y (0-124) Y N N Y (2s Timeout) Received 1-16 Y N N N Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y(if FX=Delay/Loop) Y(if FX=Delay/Loop) Y(if FX=Delay/Loop) Y(if FX=Delay/Loop) Y(if FX=Delay/Loop) Y(if FX=Delay/Loop) Y Y Y Y Y Y Y Y Y Y Y Y Y (0-124,127) Y N N Y Wah Pedal Volume Pedal Amp Gain (0-127) Amp Treble (0-127) Amp Mid (0-127) Amp Bass (0-127) Amp Vol (0-127) Presence (0-127) Compressor Density (0-127) 3 Amp Type (0-32) with default cabinet * 1 Fx Type (0-15) with defaults * Fx off/on (0/127) Deep 5 Cabinet Type (0-23) * 2 Mid Shift/Shape * 10 Expander (0-15) * Compressor Speed (0-127) Wah off/position (0/1-127) 4 X-over frequency * (0-99) X-over balance Denoiser Sensitivity (0-127) 11 Denoiser Range (0-127) * 6 Pedal simulation (0-4) * Pedal simulation Drive (0-127) Pedal simulation Tone (0-127) Pedal simulation Boost (0-127) 12 Pedal simulation Split (0-127) * Compressor on/off (0/127) 7 post FX Mode (0-15) * 7 post FX Par 1* 7 post FX Par 2* 7 post FX Par 3* 7 post FX Par 4* 7 post FX Par 5* 7 post FX Par 6* 7 post FX Par 7* 9 pre FX Mode* 9 pre FX Par 1* 9 pre FX Par 2* 9 pre FX Par 3* 8 Sampler REC * 8 Sampler PLAY * 8 Sampler STOP * 8 Sampler SPEED * 8 Sampler REVERSE * 8 Sampler PLAY ONCE * Amp Type (0-32) w/o cabinet change Tap (Value > 63) Request Controls (Value = 80) Set Pos (0-15), Set Character (32-127) Tuner Bypass Volume (0-127) Tuner Center Frequency (25-55) Configuration (0-5=S1,S2,S3,L1,L2,L3) Live EQ Treble (0-127) Live EQ Mid (0-127) Live EQ Bass (0-127) 13 Digital Out (44.1/48/96/ext., bit 2=pro)* (PRO models only) Global Input Gain (0-127) 127=Tuner, toggle on/off see SysEx Documentation Remarks MIDI Bass Synth (ID 14) only
Tab. 10.1. Implementazione MIDI