Behringer XV manual AMP/SPEAKER Simulation, Restoring all factory presets

X V-AMP

4.4Discarding an edited preset/ restoring a single factory preset

If you have edited a preset and find that you don’t like the edited version, simply choose a different preset to discard your edits. You can restore a single factory preset by keeping TAP + STORE depressed for longer than 2 seconds.

4.5 Restoring all factory presets

Restoring all factory presets is done by keeping TAP + STORE depressed for longer than 2 seconds while you power up the X V-AMP.

5. AMP/SPEAKER SIMULATION

The very heart of your X V-AMP is its amp/speaker simulation. The X V-AMP makes it a child’s play for you to choose one of the legendary guitar amps, be it for brit pop, blues, heavy metal or whatever. In addition, you can tailor the sound of the respective amp to suit your ideas. On top of all that, you can even choose digital effect and reverb types for your virtual amp. See chapter 6 “EFFECTS PROCESSOR” for more details.

When you turn on your X V-AMP, it automatically loads the last preset selected. The LED ring around the FX/AMPS control shows what amp has been selected. The corresponding LED lights up. To select another amp simply turn the control.

To give you a better overview of the extensive range of amp simulations on the X V-AMP, we have compiled the following descriptions of the different types of amps.

CLASSIC CLEAN: Back in the ’80s, the Roland JC-120 was the preferred sound of Buzzy Feiten (guitarist with the Dave Weckl Band). The unique quality of this transistor amp’s sound is the way its brilliance cuts through any mix. It is ideal for the New Wave sound of the ’80s that is making a come-back today. By the way, the JC-120 was also popular among Fender Rhodes pianists.

V-AMP CRUNCH: This amp is ideal for modern blues or jazz. Its sound is not too subtle, but not in-your-face either—it’s crunchy, that’s all.

BRITISH PLEXI: This amp model, created by leaning closely to a ’59 Marshall Plexi 100-Watt amp, is particularly well suited for creating clean sounds. The amp was used by Jimi Hendrix, Eric Clapton and Jeff Beck.

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.

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 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 Black- more 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!

NUMETAL GAIN: This model is based on a 1994 Mesa Boogie Dual Rectifier Trem-O-Verb featuring a modern, high-gain sound that also comes over well in a band context.

MODERN GAIN: Here, the tone control is post-gain, 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. Among others, Steve Lukather, Nuno Bettencourt and Steve Vai have all popularized the Soldano sound. If you’re playing a Gibson Les Paul, MODERN HI GAIN sounds best when you turn down the volume control on the guitar a little.

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 hi-gain, this “brute” covers the entire range. The ULTIMATE V-AMP is basically a souped-up rectifier amp.

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 due to its low power, it is ideal for uncompromising overdrive sound.

TWEED BASS: This virtual amp is modelled 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. If you hook up a decent tube amp to your X V-AMP (e. g. the BEHRINGER AC112), with this simulation you can authentically reproduce the effect of the tube screamer—all this without dishing out too much cash to own a cult piece of equipment.

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 suggest, 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.

AMP 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.

ACOUSTIC: A guitar with steel strings miked with a dynamic microphone is simulated here. While piezo pickups have the tendency to make the sound rather hard, using a mic makes the sound much more evened-out. Of course, the feedback typical for miking acoustic instruments is no longer an issue.

Englä, Fenderä, Gibsonä, Ibanezä, Marshallä, Mesa Boogieä, Rolandä, Soldanoä, Voxä ProCoä, Tube Screamerä, The Ratä as well the names of musicians and bands are registered trademarks of their respective owners and are in no way associated with BEHRINGER. The brand names appearing here are mentioned solely to describe the character of sounds and effects created in the X V-AMP.

5. AMP/SPEAKER SIMULATION 9