Behringer LX1200H/LX210 manual Effects Processor, Wah Wah, Effect descriptions, Modulation effects

V-AMPIRE LX1200H/LX210

6. EFFECTS PROCESSOR

A special 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 effects combinations.

The appendix gives an overview of all MIDI data transmitted and received by your V-AMPIRE.

+ 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.

￿beat of￿￿￿￿￿￿the	music. ￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿￿	￿￿￿￿￿￿￿
You can adjust	up to 3 effects parameters: by turning the

EFFECTS control; by tapping the TAP button in the beat of the music; and by turning the EFFECTS control holding down the TAP button. The following table lists the effects parameters.

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

1	ECHO	Mix	Feedback	Delay Time
	CC49, val 1	CC54	CC53	CC50+51
2	DELAY	Mix	Feedback	Delay Time
	CC49, val 0	CC54	CC53	CC50+51
3	PING PONG	Mix	Feedback	Delay Time
	CC49, val 2	CC54	CC53	CC50+51
4	PHASER/DELAY	Delay Mix	Mod. Mix	Delay Time
	CC55, val 1 + CC49, val 0	CC54	CC59	CC50+51
5	FLANGER/DELAY 1	Delay Mix	Mod. Mix	Delay Time
	CC55, val 5 + CC49, val 0	CC54	CC59	CC50+51
6	FLANGER/DELAY 2	Delay Mix	Mod. Mix	Delay Time
	CC55, val 5 + CC49, val 2	CC54	CC59	CC50+51
7	CHORUS/DELAY 1	Delay Mix	Mod. Mix	Delay Time
	CC55, val 3 + CC49, val 0	CC54	CC59	CC50+51
8	CHORUS/DELAY 2	Delay Mix	Mod. Mix	Delay Time
	CC55, val 3 + CC49, val 2	CC54	CC59	CC50+51
9	CHORUS/COMPRESSOR	Sense	Mod. Mix	Modulation Speed
	CC55, val 4 + CC44, val 1	CC45	CC59	CC58
10	COMPRESSOR	Sense	Attack	-
	CC44, val 1	CC45	CC46
11	AUTO WAH	Depth	Speed	-
	CC44, val 2	CC45	CC46
12	PHASER	Mix	Feedback	Modulation Speed
	CC55, val 1	CC59	CC58	CC56
13	CHORUS	Mix	Depth	Modulation Speed
	CC55, val 4	CC59	CC57	CC56
14	FLANGER	Mix	Feedback	Modulation Speed
	CC55, val 6	CC59	CC58	CC56
15	TREMOLO	Mix	-	Modulation Speed
	CC55, val 2	CC59		CC56
16	ROTARY	Mix	Depth	Modulation Speed
	CC55, val 0	CC59	CC57	CC56

Table 6.1: Effects and MIDI controllers

+Table 6.1 shows the MIDI controllers for the corresponding parameters. The settings are made via MIDI. A detailed list of all controllable MIDI parameters will be available free of charge on the BEHRINGER internet site: www.behringer.com.

6.1 Wah Wah

The MIDI function enables you to use an additional Wah Wah effect. The optimum control of this effect is achieved by using a MIDI foot controller with expression pedal, e.g. our BEHRINGER MIDI FOOT CONTROLLER FCB1010.

+Adjust the filter characteristic and grade in the DRIVE menu by simultaneously pressing TAP and turning

the EFFECTS control (see also B).

6.2 Effect descriptions

The following section contains short descriptions of the effects that can be produced using the multi-effects processor.

6.2.1 Reverb and delay algorithms

REVERB: Reverb is still the most important effect for mixing or live performance. That’s why we at BEHRINGER make a point of giving you as many as nine different reverb programs so that you can use the most suitable reverb program for any situation. The reverb effect can be added separately to all the other effects (see chapter 6.2).

ECHO: Echo is similar to the stereo delay effect in that it is a delayed repetition of the input signal. The main difference is that the high-frequency content of the repeated signals steadily decreases. This simulates a tape delay used in the pre-digital era, producing a “vintage sound.” In addition, the reflections are routed in turn to the left and right channels, creating a quasi- stereo effect.

DELAY: This algorithm delays the input signal, with different tempo settings producing interesting delay effects. U2’s The Edge has impressively demonstrated the potential of this effect.

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

6.2.2 Modulation effects

PHASER: The principle behind the 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 is popular among guitarists and keyboard players alike, but was also used extensively in the ’70s with other instruments, such as electric pianos. Depending on how you set it, the phaser can be used to produce slightly modulating or strongly alienating effects.

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.

CHORUS: This effect adds a slightly modulated off-key element to the original signal, thus creating a pleasant floating effect through variations in pitch.

14 6. EFFECTS PROCESSOR