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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
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
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
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
When your
To give you a better overview of the wide range of amp simulations on the
CLASSIC CLEAN: Back in the ’80s, the Roland
BRITISH PLEXI: This amp model, created by leaning closely to a ’59 Marshall Plexi
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
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
NUMETAL GAIN: This model is based on a 1994 Mesa Boogie Dual Rectifier
MODERN GAIN: Here, the tone control is
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
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.
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