14BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

Effect no.

 

POST FX

 

EFFECTS

 

EFFECTS +

 

TAP button

 

MIDI 1

 

MIDI 2

 

MIDI 3

 

MIDI 4

 

 

 

TAP button

 

 

 

 

 

 

 

Controller 40

 

 

Controller 46

 

Controller 42

 

Controller 43

 

Controller 44

 

Controller 45

 

 

 

 

 

Controller 41

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1

 

VCF + FLANGER

 

VCF Mix

 

Flanger Mix

 

VCF Speed

 

Speed/Depth

 

Flanger Feedback

 

VCF Frequency

 

VCF Q

 

 

 

 

 

 

 

 

2

 

DELAY + CHORUS

 

Delay Mix

 

Chorus Mix

 

Delay Time

 

Feedback

 

Feedback LP

 

Speed/Depth

 

Delay Time

3

 

STEREO DELAY

 

Delay Mix

 

Feedback

 

Delay Time

 

—

 

Feedback LP

 

—

 

Delay Time

4

 

DELAY / LOOP

 

Delay Mix

 

Feedback

 

Delay Time

 

—

 

—

 

—

 

—

5

 

REVERB

 

Reverb Mix

 

Decay

 

—

 

Damping

 

Diffusion

 

—

 

—

6

 

AMBIENCE

 

Ambience

 

Decay

 

—

 

Size

 

—

 

—

 

—

7

 

VOICE BOX

 

Mix

 

Vowel

 

Speed

 

Pedal

 

—

 

—

 

—

8

 

ULTRABASS

 

SubMix

 

Sensitivity

 

—

 

—

 

—

 

—

 

—

9

 

ROTARY CAB.

 

Mix

 

Balance

 

Speed

 

Split Frequency

 

—

 

—

 

—

10

 

PHASER

 

Mix

 

Feedback

 

Speed

 

Feedback LP

 

Stereo Spread

 

—

 

—

11

 

FLANGER

 

Mix

 

Speed/Depth

 

—

 

Intensity

 

—

 

—

 

—

12

 

CHORUS

 

Mix

 

Speed/Depth

 

—

 

Intensity

 

—

 

—

 

—

13

 

STEREO CHORUS

 

Mix

 

Speed/Depth

 

—

 

Intensity

 

—

 

—

 

—

14

 

SYNTH

 

Synth Mix

 

Variation

 

—

 

—

 

Interval

 

Key

 

—

15

 

MIDI SYNTH

 

Synth Mix

 

Variation

 

—

 

—

 

—

 

Reverb

 

—

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Tab. 6.1: Post FX and MIDI controller

6.2 (OVER)DRIVE simulations

Our overdrive simulations offer you a selection of classic stomp box effects. Just like with the originals, you can set up drive, tone and boost (see (8) B). The split function () lets you set up an independent crossover (pre distortion pedal). This crossover lets the high frequencies pass through without distortion. (left position = off (bypass)/left to right: 41 - 600 Hz). The illustration displays the frequency range.

CLASSIC CL

 

 

 

BOT TOM END

 

145Hz

174Hz

BRITISH CL ASSIC

 

209Hz JAZZ TONE

121Hz

 

 

ORGAN CL ASSIC

 

 

251Hz

 

 

 

CALIFORNIAN

 

SHIFT [TONE]

BL ACK T WIN

101Hz

GOLD PANEL

 

 

PIEZO EQ 301Hz

84Hz

 

 

RED PANEL

 

 

MAGNETIC EQ 362Hz

 

 

 

WHITE PANEL

 

 

 

MIC SIM.

70Hz

 

 

SILVER PANEL

 

 

416Hz

 

 

 

PIEZO SIM.

 

 

 

ROCK

58Hz

 

 

470Hz BRIT. HI G

 

 

 

ACOUSTIC

49Hz

 

 

531Hz

41Hz

 

DEEP [SPLIT]

600Hz

6.3.1 Reverb and delay algorithms

DELAY+CHORUS: This algorithm combines a delay and the ever-popular chorus effect.

ST. DELAY: A delay of the input signal. Different tempo settings enable you to produce interesting delay effects. This way, you can quickly create repititions particularly with “slapping” that wouldn’t even be possible without a delay.

DELAY/LOOP: This function allows you to jam along with your own signal.

To do that, record with the delay/loop effect a short sequence (max. 15.36 sec.). This sequence can be played back in an endless loop.

You can for example use this loop as a foundation for your melody and improvise around it. To record this sequence via MIDI, send the respective MIDI controller (see chapter 10 ). When you use this function without MIDI, the delay can last a maximum of 1023 msecs.

REVERB: The reverb is still the most important effect in a mixdown or during a live event. A reverb is used to add ambience to an otherwise “dry” sound.

AMBIENCE: This effect simulates a room without reflexions.

Fig. 6.1: SPLIT steps

6.3 Post-amp effects

The post-amp effects described in the following paragraphs are located post amp and cabinet simulations in the signal chain. An integrated crossover determines at what frequency the effects start working and regulates the bass information when the unit is used without effects. The cut-off frequency of this 18 dB/octave Butterworth crossover is regulated in EDIT mode under X-OVER. The display shows the frequency divided by factor 10. Adjustments are made by using the bank UP/DOWN keys. If the display shows “-”, the crossover is not activated and the complete signal is affected by the effects. When, for example, “8” is shown in the display, this means that frequencies under 80 Hz remain unaffected by the effects.

Volume balance between the high pass and the low pass can be adjusted when you are setting up the crossover settings by using the EFFECTS control (all the way to the left = low pass signal only, all the way to the right = high pass signal only).

6.3.2 Modulation effects

PHASER: The phaser functions according to the principle that a second, phase-shifted signal is added to the original signal. This way, the signal seems thicker and livelier. This effect was originally used for guitar sounds and keyboards. In the ’70s, it started being used for other instruments as well (e. g. electric piano and electric bass).

FLANGER: A flanger modulates the tone pitch of a signal upwards and downwards at a constant tempo.

(STEREO) CHORUS: This effect subtly detunes the original signal. This way,

a pleasant effect is created in combination with a tone pitch variation. This effect is particularly well-suited to lend a warm characteristic to the bass sound. Additionally, when “popping” occurs, it can make the tone sound less intrusive and harsh.