V-AMPIRE/V-AMP PRO/V-AMP 2
4.4Discarding an edited preset/restoring a single factory preset
If you have edited a preset and find that you don’t like the edited version, you can, of course, discard it. Let’s assume you’ve selected and then edited preset C (the corresponding LED has lit up), but you would now like to return to the configuration stored previously. Simply select another preset. The next time you call up the preset, the temporarily edited version is discarded. After editing, you can also hold down the two arrow keys until “Pr” appears in the display, which brings back the factory preset that was originally stored there. How- ever, you then have to save it again by holding down the corresponding preset button for approx. two seconds.
4.5 Restoring all factory presets
All factory presets can be restored as follows: Hold down buttons D and E and then switch on the device. “CL” appears in the display. Now release the two buttons and press the two arrow keys simultaneously. This erases all the edited presets you have stored and restores the factory presets. Please refer to chapter 8.3.1 if you need information on how to save your settings via MIDI.
5. AMP/SPEAKER SIMULATION
The very heart of the
When you switch on the device, it automatically loads the last preset selected. The LED ring around the AMPS control shows which amp has been selected. The corresponding LED lights up. To select another amp simply turn the control. Use the VOLUME, BASS, MID, TREBLE and GAIN controls to modify the basic sound of the amp. Hold down the TAP button and turn the TREBLE control to raise or lower an additional
filter (see 
).
As a rule, you will want to select an amp first, then a cabinet and finally an effect. See chapter 4 for how to store your modifications. To give you a better overview of the extensive range of amp simulations, we have compiled the following descriptions of the different types of amp.
+When you select an amp simulation, an appropriate speaker simulation is activated automatically (see tab. 5.2). Otherwise, the authenticity of the sound could be affected by an unsuitable cabinet— especially if you are using headphones. Naturally, you can combine the amp simulations with other cabinets according to taste.
5.1 Amp descriptions
AMERICAN BLUES: This virtual amp is modelled 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 or 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.
AND DELUXE: A synthesis of a 1960 Fender Blackface Deluxe and a ’50s Fender Bassman. The result is a
MODERN CLASS A: This amp is characterized by its slight distortion and sounds almost like
CUSTOM CLASS A: The model for this simulation is the Budda Twinmaster. This Class 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 suiting the mid range to your taste.
TWEED COMBO: This was Jeff Beck’s favorite when he recorded the albums Blow by Blow and Wired. This amp was not actually designed for heavy distortion, but due to its low power, it is ideal for uncompromising overdrive sound.
SMALL COMBO: This model is based on the 1960 Tweed Champ. The main attraction of this amp simulation is when the DRIVE function is used a lot. Although this amp was actually designed for beginners on the guitar, it soon became a favorite amp of many guitar afficionados. The reason for that was that it produced an amazingly distorted sound even at low volume.
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 sound control on your
CLASSIC CLEAN: Back in the ’80s, the Roland
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. What was unique about it was that it was exceptionally loud and was therefore mainly used for live performances. The secret of the Blackface Twin was that although you could play it extremely loud, the distortion remained relatively low.
BRIT BLUES: Modeled on the JTM 45, the first Marshall amp ever. This, by the way, was Eric Clapton’s favorite amp when he was with Cream. The JTM 45 was the forerunner of many of Marshall’s later amps with their distinctive, powerful sound. 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.
AND CUSTOM: 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 is more reminiscent of the Budda.
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 U2’s The Edge are probably the
NON TOP BOOST: This is a Vox AC 30 as used by Bryan Adams in the recording studio. Unlike the
BRIT CLASSIC: Based on a 1959 Marshall Plexi 100 Watt, this amp is ideal for producing clean sounds. It was used by Jimi Hendrix, Eric Clapton and Jeff Beck.
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.
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. It’s good at reproducing Steve Ray Vaughan’s and Michael
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