VINTAGER AC112
Additionally, you can deactivate the LFO in LFO-controlled modulation effects, and modulate these effects with MIDI controller #15. To activate this MIDI controller, you need to set the LFO speed to zero, either on the VINTAGER or by means of the corresponding MIDI controller.
Of course, you can also control the VINTAGER from a computer-based sequencer software, particularly in a home recording environment. Specific environments for popular MIDI sequencer programs will soon be available from our web site (www.behringer.com).
3.2.1 Store Enable mode
Store Enable mode allows you to store parameter changes directly, e.g. from a MIDI sequencer. Activate this mode by pressing both UP and DOWN on the multi-effects processor for about 2 seconds, then use the same keys to select a channel for MIDI reception (1 through 16, or ON (Omni) with decimal point). Confirm your selection with ENTER. Now, if you use MIDI controller #18 to send data from your MIDI sequencer on the adjusted MIDI channel, any parameter changes made to the currently active preset will be stored. Sending MIDI controller #18 data while Store Enable mode is on has the same effect as a long key press on the effect module’s ENTER key.
4. HISTORICAL BACKGROUND by Neville Marten (Guitarist Magazine)
The guitar amp: your tone generator
Many guitar players think of their amplifier as the least important link in their musical chain. Sure, everyone needs the right guitar, with the right finish, pickups and tremolo; and of course effects these days are so important in looking and sounding cool.
But what of the humble guitar amp? Is it just an ugly box that stands behind you, a heavy hindrance that's just a drag to get into and out of the car? No, it's your powerhouse, a tone generator that should work as an equal member with you, your guitar and effects in the creation of the best possible sound.
Ever since the 1940s, when a radio repairman in Orange County California started customising tube radio circuits for the new breed of electric guitarists, guitar amps have been evolving into what we see today. Great American names like Fender , Ampeg and Gibson supplied small-output amplifiers to the guitarists of the '40s and '50s, creating the sound of electric jazz, rock'n'roll and country music; a sound that's still as fresh as ever at the dawn of this new millennium.
As the '50s became the '60s, the British sound was born with Vox producing small-powered valve amps for groups like The Shadows, then later The Beatles and The Rolling Stones, The Hollies and The Hermits. Then, in the mid-'60s a drummer from London was asked by some budding musicians to build them some amplification. Jim Marshall took the basic American design and using British components and speakers, created higher Wattage amps and multi-speaker cabinets to give bands like The Who, Cream and The Jimi Hendrix Experience the power to begin their assaults on the rock stadiums of the world.
Amp design has come a long way since then. Multi-channels and cascading gain stages, as pioneered by Randall Smith and his Mesa Boogie amps, are found in the majority of stacks and combos built by amp manufacturers all over the world today. Modern, solid-state circuits and digital effects are now commonplace and in some instances work successfully on their own, or hand-in-hand with classic tube designs, to create versatile performing instruments for working guitarists. Other manufacturers are looking back to the old ways, with hand-wired, vintage-style “boutique” amps than can cost the earth.
Whichever option you choose, the ears of discerning musicians recognise that, behind the bells, whistles and hype, there must be a great-sounding amplifier – a real musical tool that not only uses the best of today's technologies, but pays its respects to the great pioneers that have gone before.
(We would like to thank Mr. Neville Marten, the editor of Guitarist Magazine, for this little essay about the history of guitar amp development.)
Fender , Ampeg , Gibson , Vox , Marshall , Mesa Boogie and the names of musical artists and groups are all registered trademarks of their respective owners, which are in no way associated or affiliated with BEHRINGER.
