Behringer XV manual Effects Processor, Effect descriptions, Reverb and delay algorithms

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).

+The standard operating mode of the multi-effects processor is stereo, so you can use stereo effects for recording purposes via the LINE OUT or play in stereo using a second amplifier.

+To match speed-based effects to the tempo of the music, please press the TAP button at least twice in the beat of your music.

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”.

STEREO DELAY: 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 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.

SLAP ECHO: 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.

PING PONG: A delay effect that changes position in the stereo image.

6.1.2 Modulation effects

If modulation effects have been selected (key LED blinks), 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).

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 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.

The second parameter controls resonance, the third controls the phaser model (1 - 4).

PITCH BEND: The Digitech Whammy pedal and the PS5 Super 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 is 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).

+Since pitch bend effects 2 and 3 require the expression pedal, this automatically disengages other expression pedal functions, such as Wah Wah. 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 alternate between 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 modulation sound.

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. 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).

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 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.

10 6. EFFECTS PROCESSOR