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V-AMP 3 User Manual

 

NUMETAL HD: This simulation is modeled on a Mesa Boogie Dual Rectifier head. Much like the Trem-O-Verb, this amp produces an even higher gain sound. The tone controls are most effective with the gain knob cranked.

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 Blackmore 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!

CUSTOM HI GAIN: This sound goes back to a 1969 50-Watt Marshall Plexi modified by Jose Arrendondo. Arrendondo was none other than Eddie Van Halen’s guitar technician. The unique features of this amp are its fine mid-range sounds and its ability to produce the ultimate in gain without making the sound muddy. Warning: highly addictive!

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 guitar tone. In distortion mode,

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

MODERN HI GAIN: Modeled after a Soldano SLO, the tone control is post-gain here as well, 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. If you’re playing a Les Paul-style guitar, MODERN HI GAIN sounds best when you turn down the volume control on the guitar a little.

NEW! ULTRAZONIC: This is a new, aggressive, in-your-face hi-gain sound similar to the crunch channel of the Bugera 333XL. Detuned, palm-muted, fast rhythm guitar riffs are as clear and articulate as can be.

ULTIMATE PLUS: Those who find the ULTRAZONIC too tame will find enough gain here for an overdose, and nearly endless sustain.

ROCK

NEW! ROCK 59SL: This is modeled on the sound of a Marshall 1959SLP, which stands out for its extremely dynamic rock sound, dishing out fat clean tone as well as solid crunch. This new amp model captures the liveliness and responsiveness of the real thing.

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.

NEW! HI BRIT 100: This is new model provides an assertive rhythm guitar sound based on the Hiwatt Custom 100, which is most suitable for punchy power chords. Think of Pete Townshend’s ingenious guitar work on The Who’s“Pinball Wizard”to get an idea.

CUSTOM CLASS A: The model for this simulation is the Budda Twin- master. This Class A amp is renowned for its warm sound combined with irresistible tube distortion. Although the original amp does not have a mid control, we have given the capability of tailoring the midrange to suit your taste.

NEW! AMBER 120: Another new model, this time of the vintage distortion sound typical of the Orange OD120. It is worth digging into the tone controls of the Amber 120. If you crank the gain, the preamp tone controls greatly influence the sound.

CLASS A NORM: This amp is characterized by its mild distortion and highly dynamic response. It is modeled on the Matchless Chieftain, a very expensive hand-made amp.

BRIT CLASSIC: Based on a 1959 Marshall Plexi 100 Watt, this amp provides a remarkable range of clean and crunch sounds thanks to its two channels which can be run in parallel. It was used by many famous guitar players like Jimi Hendrix, Eric Clapton, and Jeff Beck, to name a few.

BRITISH CLASS A 15W: Another Vox model, based on the first channel of an AC 15 from 1960. Unlike the AC 30, this amp had only one 12" speaker and produced a warmer sound. Tip: to make this simulation sound as authentic as possible, leave the BASS and MID controls in middle position and adjust the TREBLE control only.

PREAMP 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 or the speaker simulation. To activate the PREAMP BYPASS, press TAP and TUNER simultaneously.

Fender™,Vox™, Marshall™, Mesa Boogie™, Gibson™, Soldano™, Matchless™, Dumble™, Budda™,Tweed™, Engl™, Roland™, Bugera™, Hiwatt™, Orange™ and the names of musicians and groups are registered trademarks belonging to the respective owners and are in no way associated with BEHRINGER.