Effects Processor; Effect Descriptions; Reverb And Delay Algorithms; Modulation Effects - Behringer X V-AMP User Manual

X V-AMP

6. EFFECTS PROCESSOR

A special feature of your X V-AMP 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).
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6.1 Effect descriptions

The following section contains short descriptions of the effects
that you can use.

6.1.1 Reverb and delay algorithms

The delay effects can be modified in three parameters:
- Turn ADJUST to modify “mix”
- Turn ADJUST while TAP is pressed to modify “feedback”,
and
- Tap the TAP key in the rhythm of your music to modify “delay
time”.
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.
What’s so special about this delay effect is that
the repetition interval of the echos is 50% longer than the time
interval measured between two taps on the TAP key. This way,
you can create a frequently used echo effect very simply: if you
tap and play in quarter-note, the echos are located three eighths
away. What the whole thing can sound like is best demonstrated
by U2’s guitarist The Edge.
As the name suggests, a delay with a very short
repetition interval. The X V-AMP takes a half of the time interval
measured between the taps on TAP. The echo velocity doubles.
A delay effect that changes position in the stereo
image.

6.1.2 Modulation effects

If modulation effects have been selected (key LED
you can modify up to four parameters on each effect:
- By turning ADJUST (effect intensity),
- by turning ADJUST while TAP is pressed (second parameter,
please see respective effect description),
- by turning ADJUST while both TAP und MODUL. keys are
pressed (third parameter), you can dial up a different effect
model (1 - 4), and
- by tapping at the TAP key in the rhythm of music (modulation/
speed tempo).
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 four-level MXR Phase 90 (1) and the 12-level
Boss PH2 (4). Additionally, the X V-AMP offers two additional
rare versions of an 8-level (2) and a 10-level (3) phaser.
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The second parameter controls resonance, the third controls
the phaser model (1 - 4).
Shifter from Boss are extremely well-liked effects that 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 pitch shifter (1) creates a fixed interval consisting of
several half-tone steps to the input tone. With the T-Arm simulation
(2), this interval is active only as long as the pedal key
pressed. The tempo at which the interval is reached can be
modified using the TAP key.
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, consisting of only a fraction of a
half-tone. It sounds roughly like a permanently activated chorus.
The second parameter controls how much 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).
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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 alternate between different tremolo
types: Fender (1), Vox (2), Gate (3) and Panning (4).
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 modulation sound.
effect was produced by running two synchronized tape
blinks),
recorders at the same time. The same signals (e.g. a guitar solo)
were recorded on both machines. Putting a finger on the left reel
of one of the machines caused it and the speed of the playback
to slow. The resulting delay produced phase shifts of the signals.
Outstanding examples of this effect genre are for example the
Ultra Flanger on the BF-3 from Boss (1), and the classic BF-2 (2)
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).
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 often used studio
chorus effects was the Tri Stereo Chorus, with its 12 (!) voices
that are modulated against each other. The X V-AMP offers you
this effect in two versions (1, 2). Two additional classics are the
Boss Chorus Ensemble CE-1 (3) and the Roland Dimension D (4).
The second parameter controls modulation depth, and the third
parameter selects the chorus model (1 - 4). Modulation speed
can be determined using the TAP key. High depth and speed
values create a signal that is noticeably out of tune.
6. EFFECTS PROCESSOR
The Digitech Whammy pedal and the PS5 Super
Simulates the classic Fender DeLuxe tremolo as
This is the quintessential simulation of the classic
This effect is self-explanatory. Originally the flanger
is