Table of Contents
Advertisement
CHORUS: This effect adds a slightly modulated off-key element
to the original signal, thus creating a pleasant floating effect
through variations in pitch. One of the most popular studio chorus
effects was the Tri Stereo Chorus, with its 12 (!) voices that are
modulated against each other. The V-AMPIRE offers you this
effect in two versions (1, 2), in addition to the 2 classic effects
Boss Chorus Ensemble CE-1 (3) and the Roland Dimension D (4).
The second parameter controls the modulation depth while the
UP and DOWN buttons are used to select the chorus model
(1 – 4). The modulation speed is set by pressing ADJUST (TAP).
High depth and speed values result in a clearly audible detuning
of the signal (off-key sound).
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 regulates automatically
depending on the signal level. In doing so, our effect is similar to
the EHX MuTron III in the up position.
The ADJUST control determines the sensitivity.
The second parameter determines how quickly the filter is shifted;
the third parameter selects the effects block (1 - 4).
P-FUNK'N: This is our attempt at replicating the legendary MuTron
III, and we succeeded! The most famous user of this effect is
probably Bootsy Collins. The MuTron III had an up/down switch.
Our particular effect resembles the MuTron in the down position.
The ADJUST control determines the sensitivity.
The second parameter determines how quickly the filter is shifted,
while the third parameter determines the effects block (1 – 4).
6.1.3 Special effects
WAH WAH: The legendary Wah Wah effect owes its fame mainly
to Jimi Hendrix. To describe this effect would certainly be more
difficult than to simply suggest to listen to Hendrix using it on
"Voodoo Chile".
Wah Wah is not available when auto wah, P-Funk'n
or pitch bend are being used.
COMPRESSOR: Our simulation is based on the well-known MXR
Dyna Comp. A compressor limits the dynamic range of a signal
by reducing the signal level as soon as a pre-determined threshold
is exceeded. A compressor lets you achieve noticeable and
creative sound effects. The extent at which the compressor
kicks in is controlled with ADJUST, allowing you to achieve
apparent sustain. When ADJUST is turned all the way to the left,
the compressor function is deactivated.
The second parameter (attack) controls the amount of time that
the compressor needs to react, once the threshold has been
exceeded. If you set up a short attack time, the compressor will
react very fast.
NOISE GATE: Noise gates are used to remove or reduce
noise or other interference. Guitar signals in particular are very
sensitive to interference. Not only do guitarists often use high-
gain settings but guitar pickups can amplify unwanted
interference. This can be painfully obvious 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 ADJUST control determines when the noise gate starts
processing. This control allows you to suppress background
noise more or less pronouncedly. When ADJUST is turned all the
way to the left, the noise gate function is deactivated.
The second parameter (release) determines the time that the
noise gate remains open after it had fallen below the threshold.
Setting up a short release time means that the noise gate
suppresses the signal very soon after it detects noise.
The reverb is still one of the most important effects used in a mix
or at a live event. BEHRINGER offers you four different reverb
programs, so that you can always find the reverb that best fits
the music style:
Ambience: a short room simulation without reverb tail.
Cathedral: a long, rich reverb, like in a cathedral.
Spring: the typical sound of a classic spring reverb.
Reverb: a universal, warm reverb simulating a concert hall.
ADJUST controls the reverb intensity, while the second parameter
determines decay.
Press the TREBLE and BASS buttons simultaneously to assign a
specific function to the expression pedal (the display shows
"PA"). At the same time, one of the right-hand LEDs on the display
starts to flash (speed, effect, volume, wah). If Pedal Assign is
active, simply edit the parameter of your choice to automatically
assign it to the expression pedal (the corresponding Assign LED
lights up). Press TREBLE and BASS again to confirm your
selection:
SPEED: the pedal controls the SPEED parameter of a delay
or modulation effect (e.g. delay time).
EFFECT: the pedal controls the first effect parameter
(depending on the effect used, this is the effect mix or
effect depth).
VOLUME: the pedal controls the preset volume.
WAH: the pedal controls the wah effect. You can also just
move the expression pedal to select the wah function.
When the pedal function is activated, one parameter
is always assigned to the pedal.
Auto Wah and/or Pitch Bend are disabled as long as
the Wah-Wah effect is assigned to the expression
pedal.
Press TREBLE and BASS a third time to confirm your selection
and quit the PEDAL menu.
Please follow the steps below to optimally adapt the pedal control
range of the FCV100:
Hold down the BASS and TREBLE buttons for more than 2
seconds while switching on the unit to enter pedal
calibration mode.
Press the pedal fully down. The display shows "PL" (Pedal
Low).
Then, move the pedal fully up. The display shows "PU"
(Pedal Up). The calibration is now complete.
To quit the pedal calibration mode, press the BASS and
TREBLE buttons simultaneously.
A/DA, Boss, DyTronics, Electro Harmonix (EHX), MXR, Digitech, Vox 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
V-AMPIRE LX110
6.2 Reverb
6.3 Pedal function
6.3.1 FCV100 pedal calibration
11
Hide quick links:
Advertisement
Table of Contents
