Behringer LX110 user manual Effects Processor, Effect descriptions

V-AMPIRE LX110

AMP BYPASS: In this setting, no amp simulation is selected. This makes it possible, for example, to play through an external guitar preamp and only use the effects.

ACOUSTIC: A guitar with steel strings miked with a dynamic microphone is simulated here. While piezo pickups have the tendency to make the sound rather hard, using a mic makes the sound much more evened-out. Of course, the feedback typical for miking acoustic instruments is no longer an issue.

Engl, Fender, Gibson, Ibanez, Marshall, Mesa Boogie, Roland, Soldano, Vox ProCo, Tube Screamer, The Rat 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

Aspecial feature of your V-AMPIRE 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).

To synchronize speed-based effects with the tempo of the music, tap the ADJUST (TAP) button at least twice to the beat of the music.

6.1 Effect descriptions

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

6.1.1 Delay algorithms

The delay effects can be modified by changing the following

3 parameters:

by turning the ADJUST control (effect mix),

by pressing and turning the ADJUST control (feedback), and

by pressing or tapping the ADJUST control to the beat of the music (interval between echoes/delay time).

STEREO DELAY: This effect 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 echoes is 50% longer than the time interval measured between two taps on the ADJUST (TAP) control. This way, you can create a frequently used echo effect easily: if you tap and play in quarter-notes, the echoes are positioned three eighths away. This effect can be best demonstrated by U2’s guitarist The Edge.

SLAP ECHO: As the name suggests, a delay with a very short repetition interval. The V-AMPIRE takes a half of the time interval measured between the taps on ADJUST (TAP) while the echo velocity doubles.

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

6.1.2 Modulation effects

When editing the modulation effects you can modify up to

4 parameters:

1.by turning the ADJUST control (depending on the effect, this controls the effect intensity or the effect mix),

2.by pressing and turning the ADJUST control (second parameter, see description of effects),

3.by pressing the UP and DOWN buttons to select various effect models (1 – 4), and

4.by tapping the ADJUST control to the beat of the music (modulation speed).

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 4-level MXR Phase 90 (1) and the 12-level Boss PH2 (4). Additionally, the V-AMPIRE offers 2 additional exceptional 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 PS-5 Super Shifter from Boss are extremely well-liked effects which 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 Super Shifter (1) generates a fixed interval of several half-tones based on the source tone. When the T-Arm Simulation

(2)is used, this interval will be active only if the expression pedal is fully pressed. The time that elapses before the interval is reached can be determined by pressing the ADJUST (TAP) control repeatedly.

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 that is only a fraction of a half-tone. It sounds roughly like a permanently activated chorus.

The second parameter controls to what extent 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, other expression pedal functions, such as Wah Wah, are automatically deactivated. 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 chose from 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 the sounds modulation.

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. By putting a finger on the left reel of one of the machines, the reel and, consequently, the playback slowed down. The resulting delay produced phase shifts of the signals. Outstanding examples of this effect genre are the Ultra Flanger on the BF-3 (1) and the classic BF-2 (2) from Boss 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).

10 6. EFFECTS PROCESSOR