Behringer V-AMP 2 Tuner, Tuning your guitar, Setting reference pitch “A”, Modulation effects

V-AMPIRE/V-AMP PRO/V-AMP 2

DELAY: This algorithm delays the input signal, with different tempo settings producing interesting delay effects. U2’s The Edge has impressivley 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.

6.2.3Combinations of effect algorithms (multi-effects programs)

PHASER & DELAY: Phaser and delay combined.

FLANGER & DELAY: Here the input signal is delayed and processed with a pronounced wave-like effect. It is particularly effective for highlighting single notes, but can also be used to make solos more interesting.

CHORUS & DELAY: This algorithm combines signal delay with the popular chorus effect.

CHORUS & COMP: Incredible sustain effects can be produced with the compressor. This is especially useful for sustaining individual guitar notes. Combined with chorus, it can make the audio signal extremely dense.

6.2.4 Special effects

COMPRESSOR: A compressor limits the dynamic range of the audio material, thus producing audible and creative sound effects. Pronounced use of the compressor (using the EFFECTS control) allows you to compress the overall dynamic range of the material.

AUTO WAH: The legendary wah-wah effect owes its fame mainly to Jimi Hendrix. Describing it is certainly more difficult than simply listening to Hendrix using it on Voodoo Chile. In American funk music of the ’70s you can hear auto-wah effects used in a variety of applications. The auto-wah alters its filter frequency automatically depending on the signal’s magnitude, rather than being controlled by the position of a pedal.

TREMOLO: Simulates the classic Fender Tremolo. It has returned to popularity with trip-hop.

ROTARY: This is the quintessential simulation of the classic organ effect normally produced by speakers rotating at slow or fast speed in an extremely heavy speaker cabinet. This effect uses the physical principle of the Doppler effect to modulate the sound.

NOISE GATE: Noise gates are used to remove or reduce noise or other interference. Guitar signals in particular are very sensitive to interference. Not only do guitarists often use high- gain settings but guitar pick-ups can amplify unwanted inter- ference. This can be painfully apparent during breaks in the music. And how does a noise gate work? It simply mutes the signal￿during breaks, eliminating any interference at the same time. ￿￿￿￿￿￿￿￿￿￿￿6.3 The separate reverb￿￿￿￿￿￿￿effect

The reverb effect is independent of the multi-effects processor and can be added to the mix signal at any time. To edit the REVERB function, press button D in EDIT mode (pressing the two arrow keys simultaneously) and use the two arrow keys to select one of the nine different reverb types available:

1Tiny Room

2	Small Room	Classic room simulation featuring various
3	Medium Room	room sizes from bathroom to cathedral.

4Large Room

5	Ultra Room	Special effect transforming guitar signals
		into heavenly pad sounds.
6	Small Spring	Simulations of typical spring reverbs.
7	Medium Spring
8	Short Ambience	Simulates the early reflections of a
9	Long Ambience	reverbless room.

Tab. 6.2: The different reverb effects

7. TUNER

Press the TUNER button to activate the built-in tuner.

7.1 Tuning your guitar

The chromatic tuner automatically recognizes the frequencies of all the standard guitar notes. For the A-string this means a frequency of 220 Hz. When you plug your guitar into the device and play an open string, the tuner will recognize and display the note. Since the tuner uses an auto-chromatic scale, it can also recognize semi-tones, which are shown with a “b” in the display.

It may happen, however, that a note is displayed as “A” but is actually slightly out of tune. This is shown by at least one of the four LEDs at the foot of the display lighting up. In certain cases even two of the LEDs may light up, which indicates that the pitch of the note played lies between the pitches represented by the two LEDs. When the circular tuner LED in the middle lights up, this means the note played is in tune.

7.2 Setting reference pitch “A”

To give you maximum freedom for tuning your guitar, you can change the preset reference pitch “A”. For clarity’s sake, let’s look at this in more detail.

The so-called concert pitch “A” has been raised steadily over time. For example, the tuning forks used by Bach, Händel or Mozart were 415, 420 or 421 Hz (oscillations per second). Today’s orchestras tune to “A” at 444 Hz, and the Berlin Philharmonic Orchestra lead the field with their own concert pitch “A” at 447 Hz.

The reference “A” on your V-AMPIRE/V-AMP PRO/V-AMP 2 has been factory-programmed at 440 Hz. If you are going to play with a big orchestra tuning their instruments to a reference pitch of 444 Hz, you will need a function that allows you to change your reference pitch. To activate this function, switch on the tuner by pressing the TUNER button and switch to EDIT mode by

14 7. TUNER