Behringer LX110 user manual AMP/SPEAKER Simulation, Restoring the factory presets

V-AMPIRE LX110

Modify the basic sound with the treble and bass filter functions. Press the respective function button and adjust the setting with the ADJUST control (see Chapter “2.1 Front Panel”).

Select the pre-amp effect you wish to use by activating the corresponding buttons (compressor, noise gate) and edit the effect with the ADJUST control (see Chapter “6.1.3 Special Effects”).

Add a delay, reverb and/or modulation effect to your sound by pressing the appropriate buttons and selecting the effects with the FX/AMPS control. Use the ADJUST control to edit various effect parameters (see Chapter “6. EFFECTS PROCESSOR”).

When you are satisfied with the settings, store the preset by pressing COMPR and N-GATE (STORE) for more than 2 seconds. The EDIT LED goes out and the edited preset is active. If you want to select a different memory location for your preset, press COMPR and N-GATE briefly, so that the two buttons start to flash. Now use the UP and DOWN buttons to select a different memory location. Then press COMPR and N-GATE for more than 2 seconds to finalize the store process.

If you select another preset while editing and without saving the currently selected preset, all changes that have been made so far will be discarded.

4.2 Restoring the factory presets

You can restore the factory presets of your V-AMPIRE at any

time.

When switching on the unit, hold down the DELAY and MODUL buttons for more than 2 seconds. This will restore all factory presets (“CL” flashes on the display).

5. AMP/SPEAKER SIMULATION

The very heart of your V-AMPIRE is its amp/speaker simulation. The V-AMPIRE makes it a breeze for you to select one of the legendary guitar amps, be it for Brit pop, blues, heavy metal or whatever. In addition, you can tailor the sound of the respective amp to suit your ideas. On top of all that, you can even choose digital effect and reverb types for your virtual amp. Read Chapter “6. EFFECTS PROCESSOR” for more details.

When your V-AMPIRE is switched on, it automatically activates the last preset selected. The LED ring around the FX/AMPS control shows what amp has been selected. The corresponding LED lights up. Simply turn the control to select another amp.

To give you a better overview of the wide range of amp simulations on the V-AMPIRE, we have compiled the following descriptions of the different types of amps.

CLASSIC CLEAN: Back in the ’80s, the Roland JC-120 was the preferred sound of Buzzy Feiten (guitarist with the Dave Weckl Band). The unique quality of this transistor amp’s sound is the way its brilliance cuts through any mix. It is ideal for the New Wave sound of the ’80s that is making a come-back today. By the way, the JC-120 was also popular among Fender Rhodes pianists.

V-AMP CRUNCH: This amp is ideal for modern blues or jazz. Its sound is not too subtle, but not in-your-face either—it’s crunchy, that’s all.

BRITISH PLEXI: This amp model, created by leaning closely to a ’59 Marshall Plexi 100-Watt amp, is particularly well-suited for creating clean sounds. The amp was used by Jimi Hendrix, Eric Clapton and Jeff Beck.

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 best-known users of this sound.

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 Landau’s sounds. In distortion mode it sounds like Gary Moore in his early days, but it’s also good for heavy metal.

SAVAGE BEAST: Engl is well-known for amps that really cut through. The Savage 120 in particular has built up a large following among guitarists. For some time now Ritchie Black- more has been a major endorser of this German company, and Randy Hanson, the best Hendrix since Jimi, also swears by this amp. The unique feature of the Savage is its extreme power and is therefore highly popular with heavy metal guitarists. Silent Force/Sinner guitarist Alex Beyrodt has been an enthusiastic Engl user for years. An amp for making yourself heard!

NUMETAL GAIN: This model is based on a 1994 Mesa Boogie Dual Rectifier Trem-O-Verb featuring a modern, high-gain sound that also comes over well in a band context.

MODERN GAIN: Here, the tone control is post-gain, allowing the extremely distorted sound to cut through the mix. The MODERN HI GAIN sound is ideal for playing grunge, but is also used by guitarists such as Steve Vai and Joe Satriani. Among others, Steve Lukather, Nuno Bettencourt and Steve Vai have all popularized the Soldano sound. If you’re playing a Gibson Les Paul, MODERN HI GAIN sounds best when you turn down the volume control on the guitar a little.

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.

ULTIMATE GAIN: From clean to brutal hi-gain, this “brute” covers the entire range. The ULTIMATE V-AMP is basically a souped-up rectifier amp.

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 owing to its low power, it is ideal for uncompromising overdrive sound.

TWEED BASS: This virtual amp is modeled on the Fender 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.

SCREAMER: Having been around since the beginning of the ’80s, the Ibanez Tube Screamer TS808 has pretty much achieved cult status. It has the reputation of being the ultimate classical overdrive/treble booster floor pedal, and is associated with mighty lead sounds, even though it offers rather modest distortion. Its secret is that it “knows” better than other floor pedals how to squeeze the very last bit out of the amp to which it is connected.

EL RATON: The Rat from ProCo was also a distortion pedal similar to the tube screamer, and it also came around about the same time, but its basic sound and applications couldn’t be more different. As the name suggests, the Rat is all about aggressive distortion from the pedal itself, and the TS808 is more about unobtrusive overdrive in the amp further down the chain. With the rat simulation, you have the metal sound of the early ’80s totally covered.

5. AMP-/SPEAKER-SIMULATION 9