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V-AMPIRE LX110
AMP BYPASS: In this setting, no amp simulation is selected. This
makes it possible, for example, to play through an external guitar
preamp and only use the effects.
ACOUSTIC: A guitar with steel strings miked with a dynamic
microphone is simulated here. While piezo pickups have the
tendency to make the sound rather hard, using a mic makes the
sound much more evened-out. Of course, the feedback typical
for miking acoustic instruments is no longer an issue.
Engl, Fender, Gibson, Ibanez, Marshall, Mesa Boogie, Roland, Soldano, Vox ProCo, Tube Screamer,
The Rat as well the names of musicians and bands are registered trademarks of their respective
owners and are in no way associated with BEHRINGER. The brand names appearing here are
mentioned solely to describe the character of sounds and effects created in the V-AMPIRE.
6. EFFECTS PROCESSOR
A special feature of your V-AMPIRE is its built-in multi-effects
processor module offering 16 different groups of first-class
effects, such as chorus, flanger, delay, auto wah as well as
various combinations of effects. You can select one effect out
of each of the three effects blocks (modulation, delay and reverb).
To synchronize speed-based effects with the
tempo of the music, tap the ADJUST (TAP) button at
least twice to the beat of the music.
6.1 Effect descriptions
The following section contains short descriptions of the effects
that you can use.
6.1.1 Delay algorithms
The delay effects can be modified by changing the following
3 parameters:
by turning the ADJUST control (effect mix),
by pressing and turning the ADJUST control (feedback),
and
by pressing or tapping the ADJUST control to the beat of
the music (interval between echoes/delay time).
STEREO DELAY: This effect delays the input signal. Different
tempo settings let you create a wide array of delay effects. Be
experimental—try going from short to very long delays.
LONG ECHO: What's so special about this delay effect is that
the repetition interval of the echoes is 50% longer than the time
interval measured between two taps on the ADJUST (TAP)
control. This way, you can create a frequently used echo effect
easily: if you tap and play in quarter-notes, the echoes are
positioned three eighths away. This effect can be best
demonstrated by U2's guitarist The Edge.
SLAP ECHO: As the name suggests, a delay with a very short
repetition interval. The V-AMPIRE takes a half of the time interval
measured between the taps on ADJUST (TAP) while the echo
velocity doubles.
PING PONG: A delay effect that changes position in the stereo
image.
6.1.2 Modulation effects
When editing the modulation effects you can modify up to
4 parameters:
1.
by turning the ADJUST control (depending on the effect,
this controls the effect intensity or the effect mix),
2.
by pressing and turning the ADJUST control (second
parameter, see description of effects),
3.
by pressing the UP and DOWN buttons to select various
effect models (1 – 4), and
4.
by tapping the ADJUST control to the beat of the music
(modulation speed).
10
PHASER: The principle behind a phaser is that a second, phase-
shifted signal is added to the audio signal. This makes the sound
richer and, above all, livelier. This effect has been popular for
decades because it can be used to produce slightly modulating
or strongly alienating effects, regardless of what instrument
you are using. Two of the classic versions of this effect that we
simulate are the 4-level MXR Phase 90 (1) and the 12-level Boss
PH2 (4). Additionally, the V-AMPIRE offers 2 additional exceptional
versions of an 8-level (2) and a 10-level (3) phaser.
The second parameter controls resonance, the third controls
the phaser model (1 - 4).
PITCH BEND: The Digitech Whammy pedal and the PS-5 Super
Shifter from Boss are extremely well-liked effects which produce
an effect signal that is out of tune with the input signal. Models
1 - 4 offer the best pitch bend effects.
Use ADJUST to determine "mix".
The PS-5 Super Shifter (1) generates a fixed interval of several
half-tones based on the source tone. When the T-Arm Simulation
(2) is used, this interval will be active only if the expression
pedal is fully pressed. The time that elapses before the interval is
reached can be determined by pressing the ADJUST (TAP) control
repeatedly.
With the Whammy effect (3), detuning depends on the position
of the pedal (pedal up = original tone pitch, pedal down = the
interval entered under (2)).
In contrast to the pitch shifter, the detune effect (4) creates a
modest out-of-tune interval that is only a fraction of a half-tone.
It sounds roughly like a permanently activated chorus.
The second parameter controls to what extent your tone detunes:
- for models 1 to 3 (-12/-7/-5/-3/+3/+4/+5/+7/+12 half-tones),
- for model 4 (-20 to +20% of a half-tone).
The third parameter lets you select between different effects
modules: pitch shift (1), T-Arm (2), Whammy (3) and detune (4).
Since pitch bend effects 2 and 3 require the
expression pedal, other expression pedal functions,
such as Wah Wah, are automatically deactivated. In
this case, the pedal assign effect LED lights up.
TREMOLO: Simulates the classic Fender DeLuxe tremolo as
well as the Vox AC15 and Gate tremolo. Ever since Trip Hop
gained on importance, this volume modulation effect is totally in.
The second parameter controls the dependence of modulation
tempo on volume: loud input signal = quicker modulation, lower
input signal = slower modulation.
The third parameter lets you chose from different tremolo types:
Fender (1), Vox (2), Gate (3) and Panning (4).
ROTARY: This is the quintessential simulation of the classic organ
effect normally produced by speakers rotating at slow or fast
speed in an extremely heavy speaker cabinet. This effect uses
the physical principle of the Doppler effect to modulate the sound.
The second and the third parameters control the sounds
modulation.
FLANGER: This effect is self-explanatory. Originally the flanger
effect was produced by running two synchronized tape
recorders at the same time. The same signals (e.g. a guitar solo)
were recorded on both machines. By putting a finger on the left
reel of one of the machines, the reel and, consequently, the
playback slowed down. The resulting delay produced phase
shifts of the signals. Outstanding examples of this effect genre
are the Ultra Flanger on the BF-3 (1) and the classic BF-2 (2)
from Boss as well as the Flanger from MXR (3) and A/DA (4).
The second parameter controls the resonance (effect feed-
back to the input), and the third parameter selects the flanger
model (1 – 4).
6. EFFECTS PROCESSOR
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