Behringer V-AMP 3 Manual
Behringer V-AMP 3 - Brochure, size: 646 KB
Vintage guitar amps and effects pedals are right at your fingertips with the Behringer V-AMP 3. The V-AMP 3 comes loaded with 32 amp models, 15 speaker cabinet models and 16 classic effects. But that's only the beginning-you also get the UCA222 USB audio interface and free energyXT2.5 Compact software. Your creativity will be unleashed when using the V-AMP 3 for live or home studio recording. energyXT2.5 Compact BEHRINGER Edition included! If you're ready to take your projects to an even... Read more
Part Number: 000-96102-00000
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Behringer V Amp 2 Demo
User reviews and opinions
|rodion||8:48pm on Wednesday, August 18th, 2010|
|Does this device have any real flaws? Lets address some real shortcomingsÂ of the iPad. The iPad is exactly what I expected, easy to use, very well executed so long as you understand that it is mainly a device to consume media.|
|martinko||5:26pm on Saturday, July 31st, 2010|
|Awesome game player, and has replaced my laptop but I do not have to need for business and so I do not know about how those work. Great for traveling,...|
|sebcsaba||7:08am on Saturday, May 22nd, 2010|
|This product is EXACTLY what I wanted. It fits perfectly and it got here very fast. The item was all that the description said it would be! I am very pleased with this product and would recommend it to friends.|
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Next-Generation Virtual Guitar Amplifier with USB Audio Interface and energyXT2.5 Recording Software
V-AMP3 User Manual
Table of Contents
Thank you.. 2 Important Safety Instructions.. 3 Legal Disclaimer.. 3 Limited Warranty.. 3 Basic Operation... 5 Audio Connections... 5 Controls and Connectors.. 6 Operating Modes.. 8 Amp/Speaker Simulation.. 10 Effects Processor... 13 Tuner... 14 MIDI... 15 Application... 16 Online Registration.. 17 Shipment.. 17 Specifications... 17
Thank you for choosing the V-AMP 3. This powerful and versatile guitar preamp is the latest in the line of acclaimed V-AMP series processors, adding 4 new amp models over its predecessor, the V-AMP 2. With 32amp models, 15 speaker cabinet simulations and a host of high-quality digital effects, its like having a studio full of guitar gear in a device smaller than your computer keyboard. In addition to the many features and applications found in the V-AMP 3, weve also included the UCA222 USB audio interface to unlock your full potential as a recording musician. This simple interface features stereo inputs and outputs, optical S/PDIF output, and dedicated monitoring via headphone outputand it requires no external power. Along with this bonus comes a " TRS to stereo RCA adapter cable, low-latency drivers for Windows XP and Vista, and the multiplatform music pro-duction software energyXT2.5 Compact BEHRINGER Edition. Visit behringer.com to find out what this powerful software has to offer.
Important Safety Instructions
Terminals marked with this symbol carry electrical current of sufficient magnitude to constitute risk of electric shock. Use only high-quality commercially-available speaker cables with " TS plugs pre-installed. All other installation or modification should be performed only by qualified personnel. This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosure - voltage that may be sufficient to constitute a risk of shock. This symbol, wherever it appears, alerts you to important operating and maintenance instructions in the accompanying literature. Please read the manual. Caution To reduce the risk of electric shock, do not remove the top cover (or the rear section). No user serviceable parts inside. Refer servicing to qualified personnel. Caution To reduce the risk of fire or electric shock, do not expose this appliance to rain and moisture. The apparatus shall not be exposed to dripping or splashing liquids and no objects filled with liquids, such as vases, shall be placed on the apparatus. Caution These service instructions are for use by qualified service personnel only. To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions. Repairs have to be performed by qualified service personnel. 1. Read these instructions. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions. 5. Do not use this apparatus near water. 6. Clean only with dry cloth. 7. Do not block any ventilation openings. Install in accordance with the manufacturers instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 11. Use only attachments/accessories specified by the manufacturer. 12. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. 13. Unplug this apparatus during lightning storms or when unused for long periods of time. 14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. 15. The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection. 16. Where the MAINS plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable.
Technical specifications and appearance are subject to change without notice. The information contained herein is correct at the time of printing. All trademarks are the property of their respective owners. MUSIC Group accepts no liability for any loss which may be suffered by any person who relies either wholly or in part upon any description, photograph or statement contained herein. Colors and specifications may vary slightly from product. BEHRINGER products are sold through authorized dealers only. Distributors and dealers are not agents of MUSIC Group and have absolutely no authority to bind MUSIC Group by any express or implied undertaking or representation. This manual is copyrighted. 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 Red Chip Company Ltd. ALL RIGHTS RESERVED. 2010 Red Chip Company Ltd. Trident Chambers, Wickhams Cay, P.O. Box 146, Road Town, Tortola, British Virgin Islands
 Subsequently, the product must be returned in its original shipping carton, together with the return authorization number to the address indicated by MUSIC Group.  Shipments without freight prepaid will not be accepted.
4 Warranty Exclusions  This limited warranty does not cover consumable parts including, but not limited to, fuses and batteries. Where applicable, MUSIC Group warrants the valves or meters contained in the product to be free from defects in material and workmanship for a period of ninety (90) days from date of purchase.  This limited warranty does not cover the product if it has been electronically or mechanically modified in any way. 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. This limited warranty does not cover any such modification/adaptation, regardless of whether it was carried out properly or not. Under the terms of this limited warranty, MUSIC Group shall not be held responsible for any cost resulting from such a modification/adaptation.  This limited warranty covers only the product hardware. It does not cover technical assistance for hardware or software usage and it does not cover any software products whether or not contained in the product. Any such software is provided AS IS unless expressly provided for in any enclosed software limited warranty.  This limited warranty is invalid if the factoryapplied serial number has been altered or removed from the product.  Free inspections and maintenance/repair work are expressly excluded from this limited 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, guitar strings, illuminants and similar parts.  Damage/defects caused by the following conditions are not covered by this limited 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; damage/defects caused by acts of God/Nature (accident, fire, flood, etc) or any other condition that is beyond the control of MUSIC Group.
 Any repair or opening of the unit carried out by unauthorized personnel (user included) will void the limited warranty.  If an inspection of the product by MUSIC Group shows that the defect in question is not covered by the limited warranty, the inspection costs are payable by the customer.  Products which do not meet the terms of this limited warranty will be repaired exclusively at the buyers expense. MUSIC Group or its authorized service center will inform the buyer of any such circumstance. If the buyer fails to submit a written repair order within 6 weeks after notification, MUSIC Group 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.  Authorized BEHRINGER dealers do not sell new products directly in online auctions. Purchases made through an online auction are on a buyer beware basis. Online auction confirmations or sales receipts are not accepted for warranty verification and MUSIC Group will not repair or replace any product purchased through an online auction.
Warranty service conditions are subject to change without notice. For the latest warranty terms and conditions and additional information regarding MUSIC Groups limited warranty, please see complete details online at behringer.com.
* MUSIC Group Macao Commercial Oshore Limited of Rue de Pequim No. 202-A, Macau Finance Centre 9/J, Macau, including all MUSIC Group companies
5 Warranty transferability This limited warranty is extended exclusively to the original buyer (customer of authorized 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 MUSIC Group. 6 Claim for damage
Subject only to the operation of mandatory applicable local laws, MUSIC Group shall have no liability to the buyer under this warranty for any consequential or indirect loss or damage of any kind. In no event shall the liability of MUSIC Group under this limited warranty exceed the invoiced value of the product.
7 Limitation of liability This limited warranty is the complete and exclusive warranty between you and MUSIC Group. It supersedes all other written or oral communications related to this product. MUSIC Group provides no other warranties for this product. 8 Other warranty rights and national law  This limited warranty does not exclude or limit the buyers statutory rights as a consumer in any way.  The limited warranty regulations mentioned herein are applicable unless they constitute an infringement of applicable mandatory local laws.  This warranty does not detract from the sellers obligations in regard to any lack of conformity of the product and any hidden defect.
1. Plug the included power cable into the AC IN on the side of the unit. TheV-AMP 3 will automatically turn on and resume the previously selected preset. 2. Plug your guitar into the INPUT using a " instrument cable. 3. Connect a monitoring system:
If using a pair of headphones, connect to the PHONES jack. If using a guitar amplifier, connect a " cable from the V-AMP 3s
" TRS headphones connector
strain relief clamp sleeve ring tip
LEFT LINE OUT jack to the amplifiers effects loop return jack. Use the Live 3 output configuration for best results. (See Operating Modes section for details.) to a stereo channel on the main house mixer. Use the Live 1 output configuration for best results.
If plugging straight to the house PA system, connect the LINE OUT jacks
If using the UCA222 to record or jam to a track on your computer,
ring right signal tip left signal
youmay use the included " TRS-to-RCA adaptor cable to connect the V-AMP 3s PHONES jack to the UCA222 and monitor the signal with the UCA222 headphone jack.
4. Connect the optional FS112V footswitch to the FOOTSWITCH input. Thefootswitch allows you to scroll through the presets while playing. Pressing and holding down the DOWN button on the footswitch accesses the tuner. Tap the DOWN button again to return to normal play mode. 5. Make sure the volume control on your guitar is turned up, then turn up the MASTER knob to desired level. NOTE: If the current preset volume is set low, there may be a considerable increase in volume when you change presets. 6. Press the TUNER button if you need to tune your guitar. 7. Press the BANK UP and BANK DOWN buttons to scroll through the banks of presets. Press the A E buttons to select a preset in that bank. 8. Adjust the tone with the GAIN, TREBLE, MID and BASS knobs. 9. Select a new amp model by turning the AMPS knob. Hold the TAP button while turning the AMPS knob to select one of the 2nd level amps (grey lettering). 10. Add an effect by turning the EFFECT SELECT knob to the desired selection. Adjust the EFFECTS knob to determine the level of the effect. Hold the TAP button while turning the EFFECTS knob to adjust the second effects parameter. (see effects table for details) 11. Add reverb by adjusting the REVERB knob. 12. Save your settings. If you have altered a preset or made one from scratch, thepreset LED will blink. In order to save this setting, first select the bank you would like to save to, then hold down one of the A E buttons for 2seconds. Make sure you save over a preset that you no longer want to keep. 13. Rock out and have fun! NOTE: The UCA222 will work on both PC and Mac computers without any additional software. However, we recommend that PC users install the low-latency USB ASIO driver for Windows XP/Vista, available for download on our website at behringer.com. Most users will benefit from the most recent version (2.8.17) of the driver, but rare computer chipsets may require the older 2.8.14 version. Please visit behringer.com regularly for updates, add-ons and tips regarding your V-AMP 3.
Calling up presets When the unit is powered on, it automatically loads the last used preset. In the following example, the last preset selected was preset D in bank 25:
The V-AMP 3 features 125 presets that are divided into 25 banks. There are 5presets per bank, all of which can be modified and saved. Each preset consists of a maximum of five ingredients:
Amp simulation (including GAIN, EQ and VOLUME settings) Cabinet simulation Pre-amp effects (such as noise gate, compressor, auto wah and wah-wah) Post-amp multi-effects (such as delay, modulation, or a combination of both) Reverb
In this case, pressing button A, B, C or E will call up another preset within bank25. The two arrow buttons (BANK UP and BANK DOWN) enable you to change banks. The display will show which bank has been selected, but the preset will not change until you press one of the A E buttons. The LED beneath the preset letter lights up when that preset is activated. Editing presets Customizing presets in the V-AMP 3 is fast and simple. One option is to call up a preset you like and tweak it to fit your desired sound. If you would like a new amp model, turn the AMPS knob until you find the right amp simulation. The VOLUME, BASS, MID, TREBLE/PRESENCE and GAIN knobs may also be adjusted if necessary. You may select an effect and adjust its parameters using the EFFECTS knob, oradd reverb by simply turning the REVERB knob.
Apart from the compressor and auto wah, all multi-effects have a
The first 16 banks consist of 20 different tones in the style of clean, rock, metaland blues. These tones are optimized for either a Stratocaster-style guitar with single-coil pickups, or a Les Paul-style guitar with humbuckers. Thesetones are meant mainly as a guide to get you started and help familiarize you with some of the possibilities. Eventually, you will probably want to tweak and customize these to suit your specific liking. Feel free to experiment and find a unique sound. Next you will find 2 banks dedicated to acoustic presets, followed by 2 banks of bass guitar presets. Though the V-AMP 3 does not specialize in these applications, it can accommodate them for recording purposes especially. Banks21-24 focus on studio amplification setups that will make your recordings sound their best. These are comprised of full stack rock models and small combo models, both with and without effects. Lastly, you will find a bank full of crazy and experimental sounds to really stretch your imagination.
speed-based parameter. This can easily be adjusted by pressing the TAP button at least 2 times to the tempo of the music, allowing the effect to operate in sync with the music you are playing to.
For deeper edits to the preset, press the BANK UP and BANK DOWN buttons simultaneously to enter EDIT mode. Now you can choose to edit various categories (MIDI, DRIVE, CABINETS, REVERB and NOISE GATE) by pressing one of the A E buttons. The following describes the features and adjustments of each category:
MIDI Enter EDIT mode and press the A button to edit MIDI settings. Selecta
MIDI channel by pressing the BANK UP and DOWN buttons. To change from MIDI OUT to MIDI THRU, press the TAP button. The TAP LED will light up when MIDI THRU is selected. Pressthe BANK UP and DOWN buttons to change between clean and distorted amp settings. The display will show a 0 for clean and
DRIVE Enter EDIT mode and press the B button to edit DRIVE settings.
a 1 for distortion.
CABINETS Enter EDIT mode and press the C button to select one of the
Restoring all factory presets All factory presets can be restored as follows:
While holding buttons D and E, power on the unit. CL appears in the display. Release the D and E buttons. Press the arrow keys (BANK UP and DOWN) simultaneously.
speaker CABINETS. Press the BANK UP and DOWN buttons to select one of the 15 available speaker cabs. Press the BANK UP and DOWN buttons to select one of the 9 reverb types. You may use the REVERB knob to adjust the amount of reverb while in EDIT mode.
REVERB Enter EDIT mode and press the D button to edit REVERB settings.
NOISE GATE Enter EDIT mode and press the E button to edit NOISE GATE
This erases all saved edits and returns all presets to their factory settings. Refer to the MIDI chapter for information on saving your settings via MIDI.
settings. Press the BANK UP and DOWN buttons to select a noise gate level (0 = off, 15 = maximum gating effect).
The heart of the V-AMP 3s sound lies in its amp and speaker simulation. With 32 amp simulations and 15 interchangeable speaker cabinets, youreguaranteed to find a tone to fit any situation. Not only this, but the V-AMP 3 eliminates the need to mic an actual speaker, which is difficult to do properly and creates a lot of excess noise. Any style from jazz to heavy metal can easily be accommodated, and are further enhanced by the effects and reverb options. Youre sure to find many sounds that spur your creativity and allow you to explore new sonic possibilities. When you power on the V-AMP 3, it automatically loads the last selected preset. The LED ring around the AMPS knob shows which amp is currently selected. Ifthe 17-32 LED is lit inside the display, the second amp model (written in grey) nextto the AMPS LED is active. To select another amp, simply turn the AMPS knob. Hold the TAP button while turning the AMPS knob to select one of the 17-32 models. You may further edit the sound of the amp by turning the VOLUME, GAIN, BASS, MID, and TREBLE knobs. Hold the TAP button while turning the TREBLE knob to adjust the PRESENCE filter. Each amp has an adjustable DRIVE function that acts similar to changing channels on an amp. The simulation is still the same, but when switched to distortion mode (default for most ROCK and METAL amps), the gain setting is significantly higher. This feature enables all 32 amps to produce clean or distorted tones, much like the actual amps themselves would. See Edit Mode under the Presets section for details on changing an amps DRIVE setting. You should always select an amp model first, then change the cabinet simulation (if necessary), followed by an effect. To give you a better overview of the extensive range of amp simulations, we have compiled the following descriptions of the different types of amps.
When you have made your adjustments, press the TUNER button to exit EDIT mode and return to normal operation. Storing presets As soon as you make any change to a preset, be it a new amp model, effectselection, or EQ adjustment, the preset LED will flash. The flashing LED informs you that in order to keep this new sound, you must save the preset. Tosave the preset, simply hold the current preset button down for approximately 2 seconds. When the LED stops flashing, you have saved your current settings in that preset location. You do not necessarily have to save an altered preset to its current location. Youmay select another preset in that bank, or use the BANK UP and DOWN buttons to choose another bank and save to one of those 5 presets. Again, hold the targeted preset button down for approximately 2 seconds until the LED stops flashing. Discarding an edited preset/restoring a single factory preset If you edit a preset, but decide that you do not like your changes and would rather return to the original setting, you may simply select another preset without saving. This way when you return to that preset, it will recall the settings as they were before you started editing. This method works as long as you do not save your unwanted edit. If you do save an edit and would like to return to the original factory preset that was stored there, hold down the two arrow keys (BANK UP and DOWN) until the display reads Pr. If you would like to keep the original factory setting for this preset, hold down the preset button for approximately 2 seconds to save.
V-AMP 3 Preset Chart
Single-coil pickups 5 Humbucker pickups Humbucker pickups 24 25
acoustic ambienc crunch rhythm tight rhythm break da blues ACOUSTIC AMBIENC CRUNCH RHYTHM TIGHT RHYTHM BREAK da BLUES acoustic ambienc crunch rhythm tight rhythm break da blues ACOUSTIC AMBIENC CRUNCH RHYTHM TIGHT RHYTHM BREAK da BLUES acoustic 1 acoustic 6 BASS 1 BASS 6 StudioRockStack StudioRockStaFX SessionCombo1 SessionComFX1 weirdo 1
clean reverb windmill rhythm tight hi octane crunch a blues CLEAN REVERB WIND MILL RHYTHM TIGHT HI OCTANE CRUNCH a BLUES clean reverb windmill rhythm tight hi octane crunch a blues CLEAN REVERB WIND MILL RHYTHM TIGHT HI OCTANE CRUNCH a BLUES acoustic 2 acoustic 7 BASS 2 BASS 7 StudioRockStack+ StudioRockStaFX+ SessionCombo2 SessionComFX2 weirdo 2
blackface dry EL34power crunch 80s metallic blisteringblue BLACKFACE DRY EL34 POWR CRUNCH 80s METALLIC BLISTERING BLUE blackface dry EL34power crunch 80s metallic blisteringblue BLACKFACE DRY EL34 POWR CRUNCH 80s METALLIC BLISTERING BLUE acoustic 3 acoustic 8 BASS 3 BASS 8 StudioRockStack2 StudioRockStaFX2 SessionCombo3 SessionComFX3 weirdo 3
calif. compressed british crunch 90s metallic american hot CALIF. COMPRESSED BRITISH CRUNCH 90s METALLIC AMERICAN HOT calif. compressed british crunch 90s metallic american hot CALIF. COMPRESSED BRITISH CRUNCH 90s METALLIC AMERICAN HOT acoustic 4 acoustic 9 BASS 4 BASS 9 StudioRockStack3 StudioRockStaFX3 SessionCombo4 SessionComFX4 weirdo 4
clean comp+CH+RV british solo 80s harmonics brit rotary CLEAN COMP+CH+RV BRITISH SOLO 80s HARMONICS BRIT ROTARY clean comp+CH+RV british solo 80s harmonics brit rotary CLEAN COMP+CH+RV BRITISH SOLO 80s HARMONICS BRIT ROTARY acoustic 5 acoustic 10 BASS 5 BASS 10 StudioRockStack4 StudioRockStaFX4 SessionCombo5 SessionComFX5 weirdo 5
Acoustic guitars Bass guitars
Studio session Extreme sounds
CLEAN TUBE PREAMP: Sound engineers were quick to recognize the appeal of tubes. They used tube amps to add warmth to all kinds of sounds. By default, thisamp model does not use a speaker simulation, and can be used with vocals, butadding a speaker cab produces good clean tones for guitar as well. SMALL COMBO: This model is based on one of the most simple yet effective guitar amps of all time, the Fender Champ. Being as small as it is, you can easily take it beyond its clean range, and the Champ rewards you with compression and rich distortion. Originally designed for beginners, the amp soon became a favorite of many guitar aficionados due to its amazing distortion at manageably low volume. CLASSIC CLEAN: Back in the 80s, the Roland JC-120 was the preferred sound of Buzzy Feiten, guitarist for the Dave Weckl Band. The unique quality of this amp is the way its brilliance cuts through any mix. It is ideal for the New Wave sound of the 80s that is making a comeback today. TWEED COMBO: This was Jeff Becks favorite when he recorded the albums Blow by Blow and Wired. This amp was not actually designed for heavy distortion, butdue to its low power, it is ideal for uncompromising overdrive. The Tweed Champ had a volume control, but no EQ control. If you want to get the most authentic sound out of this amp, keep the EQ on your V-AMP 3 in the mid position. CLEAN V-AMP: Here we have managed to simulate the sound of a Roland JC-120 and combine it with our BRIT CLASSIC model. The result blends the brilliance of a transistor amp with the cutting power of a Marshall Plexi. The Marshall cut appears when you turn the GAIN control clockwise.
CALIFORNIA CLEAN: This model is based on the clean channel of the Mesa Boogie Mark II C. It sounds like a Fender, but has more punch in the midrange. BLACK TWIN: This simulation was modeled on a Fender Blackface Twin from 1965. In the 60s, this amp was used by jazz, country, and even rock guitarists. The Blackface Twin was unique for being exceptionally loud while the amount of distortion remained relatively low. CUSTOM CLEAN: This model simulates the clean channel from a Dumble, anexpensive boutique amp. The clean sound really cuts through, especially when used with compressor attack settings around 2 milliseconds. BLUES AMERICAN: This virtual amp is modeled on the Fender Bassman 4 x 10 Combo. Originally designed as a bass amp, it soon became a standard amp of blues legends such as Steve Ray Vaughan and Billy Gibbons due to its characteristic distortion. As you would expect, it packs a solid punch in the bass range, but is still flexible enough in the mid and treble ranges. FUZZ BOX: This sound is not actually based on any one amp, but instead simulates a particular fuzz box. Jimi Hendrix was one of the first guitarists to recognize the potential in this legendary broadband transistor distortion. Thehumming distortion sound of the FUZZ BOX has returned to popularity with Alternative Rock and Grunge. DELUXE BLUES: A synthesis of a 1960 Fender Blackface Deluxe and a 50s Fender Bassman. The result is a crystal clear sound that still simulates the edge of the vintage amps. The EQ controls on this model give you even greater scope than the EQ controls on the original amp. V-AMP DRIVE: This simulation is based on the Mesa Boogie Mark III, a more modern high-gain lead amp. This model produces a smooth and precise tone with plenty of drive, making it ideal for lead guitar work.
BRIT BLUES: Modeled on the JTM 45, the first Marshall amp ever designed. Extreme gain settings produce a highly compressed and really dirty sounding distortion. Combined with a 2 x 12" speaker simulation, it produces impressive Bluesbreaker sounds. V-CRUNCH: This amp is ideal for modern blues or jazz. Its sound is subtle but crunchy and dynamic. CUSTOM BLUES: This simulation is based on a 1965 Marshall JTM 45 Bluesbreaker, but has more flexibility of sound control. Turn the GAIN control to the left and this simulation sounds like a Marshall; turn it to the right and it builds a thick boutique distortion tone. BRIT CLASSIC 50 W: This is also a Plexi, but we have extensively widened its sound range. The sound controls on the original Marshall Plexi 50 Watt hardly had any effect on the sound if distortion was high. METAL NUMETAL GAIN: This model is based on a 1994 Mesa Boogie Dual Rectifier Trem-O-Verb, featuring a modern high-gain sound that also comes over well in a band context. The tone control is post-gain, which allows you to tailor distorted sounds to great effect. This amp is perfect for heavy metal, but also for Steve Lukather sounds. The best-known user of this amp is John Petrucci of the progressive rock super group Dream Theater. NUMETAL HD: This simulation is modeled on a Mesa Boogie Dual Rectifier head. Much like the Trem-O-Verb, this amp produces an even higher gain sound. Thetone controls are most effective with the gain knob cranked. SAVAGE BEAST: Engl is well known for amps that really cut through. The Savage 120 in particular has built up a large following among guitarists. For some time now, Ritchie Blackmore has been a major endorser of this German company, andRandy Hanson, the best Hendrix since Jimi, also swears by this amp. Theunique feature of the Savage is its extreme power and is therefore highly popular with heavy metal guitarists. Silent Force/Sinner guitarist Alex Beyrodt has been an enthusiastic Engl user for years. An amp for making yourself heard! CUSTOM HI GAIN: This sound goes back to a 1969 50-Watt Marshall Plexi modified by Jose Arrendondo. Arrendondo was none other than Eddie Van Halens guitar technician. The unique features of this amp are its fine mid-range sounds and its ability to produce the ultimate in gain without making the sound muddy. Warning: highly addictive! BRIT HI GAIN: Compare this model with a Marshall JCM 800. Although the original was renowned mainly for its distorted sounds, this amp also sounds very good with low gain settings. Its good at reproducing Steve Ray Vaughans and Michael Landaus guitar tone. In distortion mode, it sounds like Gary Moore in his early days, but its also good for heavy metal. MODERN HI GAIN: Modeled after a Soldano SLO, the tone control is post-gain here as well, allowing the extremely distorted sound to cut through the mix. TheMODERN HI GAIN sound is ideal for playing Grunge, but is also used by guitarists such as Steve Vai and Joe Satriani. If youre playing a Les Paul-style guitar, MODERN HI GAIN sounds best when you turn down the volume control on the guitar a little. NEW! ULTRAZONIC: This is a new, aggressive, in-your-face hi-gain sound similar to the crunch channel of the Bugera 333XL. Detuned, palm-muted, fast rhythm guitar riffs are as clear and articulate as can be. ULTIMATE PLUS: Those who find the ULTRAZONIC too tame will find enough gain here for an overdose, and nearly endless sustain.
ROCK NEW! ROCK 59SL: This is modeled on the sound of a Marshall 1959SLP, which stands out for its extremely dynamic rock sound, dishing out fat clean tone as well as solid crunch. This new amp model captures the liveliness and responsiveness of the real thing. BRIT CLASS A: This simulation is modeled on the Vox AC 30. This amp was originally designed in the 60s when guitarists wanted amps with enhanced brilliance, a feature that Vox successfully implemented by means of revolutionary bass and treble controls. Brian May and U2s The Edge are probably the best-known users of this sound. NEW! HI BRIT 100: This is new model provides an assertive rhythm guitar sound based on the Hiwatt Custom 100, which is most suitable for punchy power chords. Think of Pete Townshends ingenious guitar work on The Whos PinballWizard to get an idea. CUSTOM CLASS A: The model for this simulation is the Budda Twinmaster. ThisClass A amp is renowned for its warm sound combined with irresistible tube distortion. Although the original amp does not have a mid control, we have given the capability of tailoring the midrange to suit your taste. NEW! AMBER 120: Another new model, this time of the vintage distortion sound typical of the Orange OD120. It is worth digging into the tone controls of the Amber 120. If you crank the gain, the preamp tone controls greatly influence the sound. CLASS A NORM: This amp is characterized by its mild distortion and highly dynamic response. It is modeled on the Matchless Chieftain, a very expensive hand-made amp. BRIT CLASSIC: Based on a 1959 Marshall Plexi 100 Watt, this amp provides a remarkable range of clean and crunch sounds thanks to its two channels which can be run in parallel. It was used by many famous guitar players like JimiHendrix, Eric Clapton, and Jeff Beck, to name a few. BRITISH CLASS A 15 W: Another Vox model, based on the first channel of an AC 15 from 1960. Unlike the AC 30, this amp had only one 12" speaker and produced a warmer sound. Tip: to make this simulation sound as authentic as possible, leave the BASS and MID controls in middle position and adjust the TREBLE control only. PREAMP BYPASS: In this setting, no amp simulation is selected. This makes it possible, for example, to play through an external guitar preamp and only use the effects or the speaker simulation. To activate the PREAMP BYPASS, press TAP and TUNER simultaneously.
By using a MIDI pedal, such as the BEHRINGER FCB1010, you can access an additional Wah Wah effect. You may adjust the sweepable filter characteristic by entering EDIT mode, selecting the DRIVE menu and turning the EFFECTS knob while holding the TAP button.
ROTARY: This is the quintessential simulation of the classic organ effect normally produced by speakers rotating at slow or fast speed inside a heavy speaker cabinet. This effect uses the physical principle of the Doppler effect to modulate the sound. NOISE GATE: Noise gates are used to remove or reduce noise or other interference. Guitar signals in particular are very sensitive to interference. Notonly do guitarists often use high-gain settings, but guitar pickups can amplify unwanted interference that can be painfully apparent during breaks in the music. And how does a noise gate work? It simply mutes the signal during breaks, eliminating any interference at the same time.
The following is a brief description of the various effects available on the V-AMP 3: REVERB: Reverb is still the most important effect for mixing and live performance. Thats why we at BEHRINGER make a point of giving you 9 different reverb programs, allowing you to use the most suitable reverb program for any situation. The reverb effect can be added separately to all the other effects. ECHO: Echo is a delayed repetition of the input signal. The main difference from the DELAY effect is that the high-frequency content of the repeated signals steadily decreases. This simulates a tape delay used in the pre-digital era, producing a vintage sound. In addition, the reflections are routed in turn to the left and right channels, creating a stereo effect. DELAY: This algorithm repeats the input signal, with different tempo settings producing interesting delay effects. U2s The Edge has impressively demonstrated the potential of this effect. PING PONG: A delay effect that alternates between the left and right channel/speaker. PHASER: The principle behind the phaser is that a second, phase-shifted signal is added to the audio signal, creating a wave-like effect. This makes the sound richer and, above all, livelier. Depending on how you set it, the phaser can be used to produce slightly modulated or other worldly effects. FLANGER: This effect is similar to a phaser in the fact that it produces wave-like modulation to the guitar tone. Create psychedelic effects by mixing it heavily, oruse a subtle mix to thicken up the tone. CHORUS: This effect adds a slightly modulated off-key element to the original signal, thus creating a pleasant floating effect through variations in pitch. PHASER & DELAY: Phaser and delay combined. FLANGER & DELAY: The input signal is delayed and processed with a pronounced wave-like effect. It is particularly effective for highlighting single notes, but can also be used to make solos more interesting. CHORUS & DELAY: This algorithm combines signal delay with the popular chorus effect. CHORUS & COMP: Incredible sustain effects can be produced with the compressor. This is especially useful for sustaining individual guitar notes. Combined with chorus, it can make the audio signal extremely dense. COMPRESSOR: A compressor limits the dynamic range of the guitar tone, thusproducing audible and creative sound effects. Pronounced use of the compressor (using the EFFECTS control) allows rhythm sounds to really pop. AUTO WAH: The legendary wah-wah effect owes its fame mainly to JimiHendrix. The auto-wah alters its filter frequency automatically depending on the signals magnitude, rather than being controlled by the position of a pedal. The effect causes a guitars note to make a distinct vowel sound, and is more pronounced the harder the strings are plucked or strummed. TREMOLO: Simulates the classic Fender Tremolo where the volume rapidly shifts up and down to a constant tempo. The tremolo effect has returned to popularity with trip-hop.
Y Y Y Y (skipped on request) Y (skipped on request) Y Y Y Y Y Y Y N (request only) Y Y N (request only) N (request only) N (request only) Y Y N (request only) Y Y N (request only) Y Y Y Y N (request only) N (request only) N N N (request only) Y Y Y Y Y Y Y (0-124) Y N N Y (2s Timeout)
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 (0-124, 127) Y N N Y
Amp Vol (0-127) Presence (0-127) Reverb Mix (0-127) *2 Amp Type (0-32) with default cabinet *3 Fx Type (0-15) with defaults *1 Fx off/on (0/127) Reverb Send off/on (0/127) Cabinet Type (0-15) *5 Reverb Type (0-8) *4 Noise Gate Level (0-15) Drive off/on (0/127) Wah off/position (0/1-127) pre Effect Type (0-2) *6 pre Effect Par 1 *6 pre Effect Par 2 *6 pre Effect Par 3 *6 pre Effect Par 4 *6 Delay Type (0-2) *7 Delay Time hi (0-117) *8 Delay Time lo (0-127) *8 Delay Spread (0-127) Delay Feedback (0-127) Delay Mix (0-127) *9 post Fx Mode (0-6) *10 post Fx Par 1 *10 post Fx Par 2 *10 post Fx Par 3 *10 post Fx Mix (0-127) *11 Assign Effects Control (0-15) *1 Amp Type (0-32) w/o cabinet change *3 Tap (Value > 63) Request Controls (Value = 80) 'Set Pos (0-15), Set Character (32-127) 'Tuner Bypass Volume (0-127) 'Tuner Center Frequency (25-55) Configuration (0-4=S1,S2,L1,L2,L3) Live EQ Treble (0-127) Live EQ Mid (0-127) Live EQ Bass (0-127) 127=Tuner see SysEx Documentation
Sending/receiving MIDI SysEx data
The V-AMP 3 can receive system-exclusive data from other MIDI devices provided that the MIDI function (button A) has been activated in EDIT mode. However,this means that all presets on your device will be overwritten automatically. Youcan also transmit MIDI data from your V-AMP 3 to other devices (total dump) byswitching to EDIT mode and holding the MIDI button (A) until the display reads d. The total dump function can be useful for transferring all the stored data from your device to a MIDI sequencer and storing it there. To exchange individual presets with other devices, such as another V-AMP 3 or a PC:
Switch the transmitting V-AMP 3 to EDIT mode by pressing the BANK UP and
DOWN buttons simultaneously.
Activate the MIDI function and briefly tap the MIDI button. The preset data is
transmitted and first filed in the temporary buffer of the receiving V-AMP 3. store function.
Store the new information in the preset position of your choice using the
MIDI IMPLEMENTATION CHART Function
MIDI Channel Mode Note Number Velocity After Touch Pitch Blender Control Change 14 15
1-16 N N N N N N (request only) N (request only) Y Y Y Y
Always use the original packing carton to prevent damage during
storage or transport.
Make sure that no children are left unsupervised with the unit or
Please ensure proper disposal of all packing materials.
Latency (Line In to Line Out) approx. 5 msecs.
2-digit 7 segment LED display
Mains voltage Power consumption Mains connection
USA/Canada 120 V~, 60 Hz UK/Australia 240 V~, 50 Hz Europe 230 V~, 50 Hz China/Korea 220 V~, 50/60 Hz Japan 100 V~, 50/60 Hz 13 W external power supply unit
Dimensions (H x W x D) Weight
3.1 x 10.5 x 7" 79 x 267 x 180 mm 1.6 lbs / 0.8 kg
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
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.
Virtual Guitar Amplifier
4 all-new plus 28 improved amp models multiplied by 15 speaker cabinet simulations give you a total of 480 virtual combos USB audio interface included, featuring stereo I/O, optical S/PDIF out, direct monitoring and separate control for phones out No-latency guitar recording on your PCedit and monitor your sound directly on V-AMP 3 and record to the incredible multi-platform music production software energyXT2.5 Compact Studio quality multi-eects including reverb, chorus, anger, phaser, rotary, auto-wah, echo, delay, compressor and various eects combinations 125 memory locations pre-arranged for many popular styles and embedded in the acclaimed intuitive V-AMP user interface Tap-tempo function and many other parameters directly accessible on the unit Presence control adjusts a highfrequency lter, simulating the negative feedback of tube amps Preamp bypass function allows use as a stereo eects processor without amp modeling Stereo Aux input lets you play along to a cue from your PC, CD, MP3 or drum computer for practice, teaching and home-recording applications Balanced stereo Line output can be congured for many recording and live applications Adjustable auto-chromatic tuner plus eective global congurations and equalization easily adapts the V-AMP 3 to any situation outside your home studio MIDI implementation includes program changes, control changes and SysEx, allowing complete MIDI remote control or automation with your energyXT2.5 or other DAW High-quality components and exceptionally rugged construction ensure long life Conceived and designed by BEHRINGER Germany
Next-Generation Virtual Guitar Amplifier with USB Audio Interface and energyXT2 Recording Software
Playing along with MP3s on a PC If a lack of money and oor space is all thats been standing between you and a home recording studio full of badass vintage guitar amps and eects pedals, get ready to love the V-AMP 3. This red rocker comes loaded with 32 amp models, 15 speaker cabinet models and 16 classic eects. But thats only the beginning you also get the UCA222 USB audio interface and free energyXT2.5 Compact software. In short, the V-AMP3 gives you the power to start recording a molten magnum opus in no time! Turn your home into a hit factory in seconds! Hook the V-AMP3 up to your computer using the included " TRS-to-RCA cable and UCA222 USB interface. Connect V-AMP3 Phones output with the stereo line inputs of UCA222, and switch its direct monitoring function on. Then connect the UCA222 USB cable to your computer. You can monitor the signal with the UCA222s headphone jack. (This is also a great way to jam along with the MP3s on your computer). From there, the amazing energyXT2.5 DAW (digital audio workstation) makes it easy to manipulate your audio and MIDI les,
turning song ideas into stunning CD or web-ready recordings. energyXT2.5 includes its own multi-FX processor, built-in synthesizers and a drum machine, both of which can be accessed by any controller keyboard, such as the UMA25S or UMX series, or programmed in step-write mode. To learn more about energyXT, or to download the demo, visit http://www.energy-xt.com.
Continued on next page
Laptop with energyXT2.5
UCA222 USB Audio Interface
Any classic you like The V-AMP 3s 32 amp models are organized into four groups: CLEAN, BLUES, METAL and ROCK. Just twist the dedicated dial to plug into unbelievably authentic simulations of the greatest British and American tube amps from the 1950s to today. You even get models of uncommonyet renownedboutique tube amps! When you select an amp model, a speaker cabinet model is automatically selected. But if youd prefer a dierent model, just go to EDIT>CABINETS, then use the BANK UP/DOWN buttons to navigate through all 15 options. Just like on an actual guitar amp, youve got a three-band EQ, GAIN, REVERB, VOLUME and MASTER VOLUME dials. By holding the TAP button, the TREBLE dial becomes a PRESENCE control. This enables the adjustment of a high-frequency lter that can add or remove a shimmer from the V-AMP 3s tone. Top tonein full effect The V-AMP 3 gives you anger, chorus, compression, delay and 12 other beautiful digital eects to apply to your sound. Adjust the eects level in the mix via the EFFECTS dial. To adjust eect parameters, you can rhythmically press the TAP button to alter delay times or LFO speeds, or hold down the TAP button and twist the EFFECTS knob to access e.g. feedback or depth. By using a MIDI pedal, such as the BEHRINGER FCB1010, you can access an additional Wah Wah eect. You can adjust the lter characteristic by entering EDIT mode, selecting the DRIVE menu and turning the EFFECTS knob while holding the TAP button. Presenting the presets All of these elements have been combined into 125 dierent presets divided into 25 banks, accessible through the BANK UP/ BANK DOWN buttons. Within each bank, you can press buttons A through E to explore its dierent presets. You can also create and save your own presets. Start by selecting a preset, then making any changes you wish: amp, EQ, eect, etc. The preset LED will begin to ash, indicating that the V-AMP 3 is ready to save your settings. To do this, hold the preset button down for about two seconds. Once the LED stops ashing, you have saved the modied preset. On top of all this, the V-AMP 3 also features a built-in tuner and noise gate. In essence, its a Swiss Army Knife for the home recording enthusiast or gigging guitarist who cant seem to settle on one amp. Stunning in the studio The V-AMP 3 features several congurations that make it an invaluable asset in the studio. Access the conguration menu by pressing the B and D buttons at the same time. Then use BANK UP and BANK DOWN to select a conguration. When using headphones, the V-AMP 3 will switch into Studio Mode 1 (S1). This stereo mode works well for both monitoring and recording with eects, amp and speaker modeling. It doesnt apply the additional three-band EQ to the signal, but most recording programslike energyXT2.5 have their own EQ. In Studio Mode 2 (S2), the V-AMP 3 sends a signal with amp and speaker simulation, but only the right output has eects. You can either record both left and right outputs to separate tracks, or record the dry left output while monitoring the right output. Stellar on stage
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The V-AMP 3 has three live congurations. When performing live with this device, you can either run it to an amp on stage, run directly to the mixing board, or both. Live Mode 1 is the best choice for running the outputs directly to the mixer, because it applies amp and speaker simulation, eects and an additional 3-band EQ. Use Live Mode 2 to run the V-AMP 3 into the eects return inputs of 2 dierent guitar amps. This conguration does not feature speaker simulation, allowing the ampliers natural speaker sound to go unaltered. In this scenario, the amps would be micd on stage to get the sound to the house speakers, and having a dedicated monitor would be less important. In Live Mode 3, you can send the left output to an amps eects return for onstage volume, while the right output sends signal to the main mixer for inclusion in the main house mix. Also note that you can press the TAP key while turning the GAIN knob to adjust the input sensitivity to match the output of your guitars pickups. If the CLIP LED lights, the input's sensitivity should be reduced. Veni, MIDI, Vici The V-AMP 3 comes fully equipped to t right into a MIDI (Musical Instru-
Live Setup (Mode 3)
UCA222 USB Audio Interface V-AMP3
ment Digital Interface) setup. It can be controlled in real time from a computer, or via a MIDI foot controller during a live performance. Its MIDI connectors are international-standard 5-pin DIN connectors. You will need dedicated MIDI cables (not included). The MIDI IN jack receives MIDI controller data. It can be adjusted in EDIT mode by pressing the A button and then using the arrow keys. MIDI OUT/THRU sends data to a computer. You can transmit both preset data and parameter changes. Some people even use the V-AMP as a remote control for parameters of their DAW or VST instruments, which is more handy than using the mouse alone. If set to MIDI THRU, the V-AMP 3 does not send its own MIDI information, but passes on the signal received at the MIDI IN connector. So much sound, so little hassle Its hard enough nding another virtual guitar amplier with this much versatility, let alone one as economical as the V-AMP 3. This go-anywhere, do-anything wonder will leave you reeling in your own creativity, with cash to spare for other gear youll need along the way to becoming a sonic titan both live and in your home studio.
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List of Amps
CLEAN TUBE PREAMP Tube amps add warmth to all kinds of sounds. By default, this amp model does not use a speaker simulation, and can be used with vocals, but adding a speaker cab produces good clean tones. Based on a small, simple amp originally made for beginners, but its no Tender Chump! With plenty of gain, it rewards you with compression and rich distortion. Shake it up with this modelideal for the New Wave sound of the 80s that is making a comeback today. A close cousin of the SMALL COMBO model, this super-simplied model will toughen up your tone blow by blow! This model gives you the squeaky cleans of the CLASSIC CLEAN, but with the cutting power of one of the most famous British amps of all time. Youll believe in miracles when you hear this plexi thing. Based on the clean channel of a certain amp sharing a name with a big, at southwestern land form. Modeled after a famous 1960s 2x12 combo amp that was exceptionally loud with low distortion. Simulation of the clean channel from a very expensive boutique amp whose name rhymes with stumble. Loves compression. Based on a timeless 60s 4x10 combo originally intended as a bass amp but embraced by electric blues rockers. Not based on an amp, but a distortion box that debuted in the 60s and provided big fuzz for 90s grunge bands. A synthesis of the AMERICAN and the BLACK TWIN, giving you a greater EQ range. This simulation is based on a more modern high-gain lead amp thatll make you wanna boogie. This produces a smooth and precise tone with plenty of drive, making it ideal for lead guitar work. Based on an amp that was considered the cream of the crop in the psychedelic 60s. Try it with a 2 x 12" speaker simulation. Ideal for modern blues or jazz. Its sound is subtle, but crunchy and dynamic. Like the BRIT BLUES, but capable of a thick boutique distortion tone when the GAIN is cranked! 50 W blues breaker sibling of our Brit Classic model with extensively widened sound range. Based on a 90s amp also bearing that big, at southwestern name, featuring a post-gain tone control for ultra-customized distortion. Much like the NUMETAL GAIN, this amp produces an even higher gain sound. The tone controls are most eective with the gain knob cranked.
CUSTOM HI GAIN
BRIT HI GAIN
MODERN HI GAIN
CLASSIC CLEAN TWEED COMBO
Half-English, so to speak, this model has extreme power and is therefore highly popular with heavy metal guitarists. Based on a variation of the BRIT BLUES, modied by a famous eruption-inducing guitarists technician. Great midrange without the mud! Modeled after a big, bad stacked British amp renowned for its distorted sounds, but also great on low-gain settings. Another model with post-gain EQ, this amp can easily go from fuzzed-out grunge to laser-guided shredding. New, aggressive, in-your-face hi-gain sound similar to the crunch channel of the BUGERA 333XL. Excellent for detuned, palm-muted, fast rhythm guitar ris. Those who nd the ULTRAZONIC too tame will nd enough gain here for an overdose, and nearly endless sustain. Stands out for its extremely dynamic rock sound, dishing out fat clean tone as well as solid crunch. Here both input channels are bridged for parallel operation. Simulation of an iconic doublewide British amp that helped a quartet of longhairs cause mass panic in the 1960s. Modeled after a custom high-watt amp thatll have your audience wondering, How do you think he does it? Simulates an amp sharing a name with an obese Asian deity. Renowned for its warm sound combined with irresistible tube distortion. Although the original amp does not have a mid control, we have given the capability of suiting the midrange to your taste. Based on an amp that brings citrus-laden goodness to mind. Perfect for vintage distortion freaks. If you crank the gain, the preamp tone controls greatly inuence the sound. This amp is characterized by its mild distortion and sounds almost like hi-. If theres any match for this amp, we aint found it! Based on the second channel of our 59SL amp model, this one provides a slightly darker range of clean and crunch sounds. Unlike the BRIT CLASS A, this amp had only one 12" speaker and produced a warmer sound. Tip: to make this simulation sound as authentic as possible, leave the BASS and MID controls in middle position and adjust the TREBLE control only. In this setting, no amp simulation is selected. This makes it possible, for example, to play through an external guitar preamp and only use the eects or the speaker simulation. To activate the PREAMP BYPASS, press TAP and TUNER simultaneously.
CALIFORNIA CLEAN BLACK TWIN CUSTOM CLEAN
ROCK NEW! ROCK 59SL
BRIT CLASS A
NEW! HI BRIT 100
CUSTOM CLASS A
DELUXE BLUES V-AMP DRIVE
NEW! AMBER 120
CLASS A NORM
V-CRUNCH CUSTOM BLUES BRIT CLASSIC 50 W
BRITISH CLASS A 15 W
METAL NUMETAL GAIN
TREBLE doubles as PRESENCE when TAP is pressed and held. " LINE OUT balanced left and right outputs. GAIN. AUX LEVEL for AUX IN jack.
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CONFIGURATION Preset AE buttons select the banks presets, but also live/studio congurations, MIDI settings, drive intensity, cabinet models, reverb varieties and noise gate intensity.
AC IN. MIDI IN and MIDI OUT/THRU.
EFFECTS level also doubles as a 2nd eects parameter control.
MID. FOOTSWITCH jack accommodates any non-latching footswitch, i.e. FS112V.
EFFECTS selector. PHONES jack.
BASS. " Guitar INPUT.
Preset VOLUME control. Hold TAP to select amps 17-32. REVERB dial. MASTER VOLUME. Bank display with clip and tuner LEDs. BANK UP/ BANK DOWN buttons.
TUNER and Exit button. TAP determines 2nd parameter of eects and functions.
List of Effects
ECHO DELAY Delayed and ltered repetition of the input signal. Delays the input signal, with dierent tempo settings emulating an early reections room eect on the repetitions producing an echo-like eect. A delay eect that alternates between the left and right channel/speaker. A second, phase-shifted signal is added to the audio signal, creating a wave-like eect. Similar to a phaser in the fact that it produces wave-like modulation to the guitar tone. Adds a slightly modulated o-key element to the original signal. Phaser and delay combined. Combines anger and delay. Combines signal delay with chorus. Limits the dynamic range of the audio material, increasing sustain and giving notes a crisper quality. Combines chorus and compression. Alters a lter frequency automatically depending on the signals magnitude, giving notes a vowel sound-like quality. Volume is continuously modulated up and down to an adjustable tempo. Simulation of the classic organ eect normally produced by speakers rotating at slow or fast speed inside a speaker cabinet. Removes or reduces noise or other interference by muting the signal during breaks.
PING PONG PHASER FLANGER CHORUS PHASER & DELAY FLANGER & DELAY CHORUS & DELAY COMPRESSOR
Tiny Room Classic room simulation featuring various room sizes from bathroom to cathedral
Medium Room/Large Room
Special eect transforming guitar signals into heavenly pad sounds
CHORUS & COMP AUTO WAH
Small Spring Simulations of typical spring reverbs Medium Spring Short Ambience Simulates the early reections of a reverbless room
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AUDIO INPUTS INSTRUMENT INPUT Input impedence Max. input level AUX IN STEREO Input impedence AUDIO OUTPUTS ANALOG LINE OUTPUTS L/R Output impedance Max. output level HEADPHONES CONNECTOR Max. output level
" TS connector, unbalanced 1 Mohms +9 dBu " TRS stereo connector 15 kohms " TS connector, balanced 2.2 kohms +20 dBu " TRS stereo connector, unbalanced +15 dBu/100 ohms (+23 dBm)
5-pin DIN connector IN, OUT/THRU
POWER SUPPLY Mains voltage
DIGITAL SIGNAL PROCESSING Converter 24-bit delta-sigma, 64/128 x oversampling Dynamics A/D 104 dB @ preamp Bypass Dynamics D/A 92 dB Sample rate 31.250 kHz DSP 100 Mips Delay time max. 1,933 msecs. Latency (Line In to Line Out) approx. 5 msecs. DISPLAY Type 2-digit 7 segment LED display
Power consumption Mains connection DIMENSIONS/WEIGHT Dimensions (H x W x D) Weight
USA/Canada 120 V~, 60 Hz UK/Australia 240 V~, 50 Hz Europe 230 V~, 50 Hz China/Korea 220 V~, 50/60 Hz Japan 100 V~, 50/60 Hz 13 W external power supply unit 78 x 260 x 180 mm 3" x 10 " x 7" approx. 0.8 kg approx. 2 3/4 lb.
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these eorts, modications may be made from time to time to existing products without prior notice. Specications and appearance may dier from those listed or illustrated. energyXT2 is a trademark of XT Software AS.
For service, support or more information contact the BEHRINGER location nearest you: BEHRINGER Australia tel.: +9877 7170, fax: +BEHRINGER Germany tel.: +9206 4149, fax: +BEHRINGER Japan tel.: +5281 1180, fax: +BEHRINGER Singapore tel: +1800, fax: +0275 BEHRINGER USA / CANADA tel: +672 0816, fax: +673 7647
2009 BEHRINGER International GmbH. Technical specications and appearance subject to change without notice. The information contained herein is correct at the time of printing. BEHRINGER accepts no liability for any loss which may be suered by any person who relies either wholly or in part upon any description, photograph or statement contained herein. All trademarks (except BEHRINGER, the BEHRINGER logo, JUST LISTEN, V-AMP and XENYX) mentioned belong to their respective owners and are not aliated with BEHRINGER. energyXT2.5 and the energyXT logo are trademarks of XT Software AS incorporated in Norway, and are protected under the laws of Norway, and are being used under license by Behringer Holdings (Pte) Ltd and related companies. FOR INTERNAL USE BY BEHRINGER DEALERS ONLY. DO NOT DISTRIBUTE. 985-10000-00367
Vintage guitar amps and effects pedals are right at your fingertips with the Behringer V-AMP 3. The V-AMP 3 comes loaded with 32 amp models, 15 speaker cabinet models and 16 classic effects. But that's only the beginning-you also get the UCA222 USB audio interface and free energyXT2.5 Compact software. Your creativity will be unleashed when using the V-AMP 3 for live or home studio recording. energyXT2.5 Compact BEHRINGER Edition included! If you're ready to take your projects to an even higher level, XT Software's energyXT2.5 is just the trick. This amazing DAW (digital audio workstation) makes it easy to manipulate your audio and MIDI files, turning song ideas into stunning CD or web-ready recordings. energyXT2.5 includes built-in synthesizers, which can be accessed directly via an external controller or programmed by step-write mode. There's even a built-in drum machine and internal multi-FX processor. Behringer V AMP 3 Guitar Amp Modeling Processor Features 4 all-new plus 28 improved amp models multiplied by 15 speaker cabinet simulations give you a total of 480 virtual combos USB audio interface included, featuring stereo I/O, optical S/PDIF out, direct monitoring and separate control for phones out No-latency guitar recording on your PC-edit and monitor your sound directly on V-AMP 3 and record to the incredible multi-platform music production software energyXT2.5 Compact Studio quality multi-effects including reverb, chorus, flanger, phaser, rotary, auto-wah, echo, delay, compressor and various effects combinations 125 memory locations pre-arranged for many popular styles and embedded in the acclaimed intuitive V-AMP user interface Tap-tempo function and many other parameters directly accessible on the unit Presence control adjusts a high-frequency filter, simulating the negative feedback of tube amps Preamp bypass function allows use as a stereo effects processor without amp modeling Stereo Aux input lets you play along to a cue from your PC, CD, MP3 or drum computer for practice, teaching and home-recording applications Balanced stereo Line output can be configured for many recording and live applications Adjustable auto-chromatic tuner plus effective global configurations and equalization easily adopts the V-AMP 3 t
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