3.3.1 V-AMPIRE
Not only does the V-AMPIRE has its own built-in speaker, which means you can plug in and play without further equipment, the V-AMPIRE also allows to connect a second external loudspeaker. Using the left speaker output mutes the internal speaker, diverting the full 120 W to the external 4 Ω speaker (see fig. 1.4). This makes sense particularly if the external speaker has a specific sound which cannot be recreated using the internal speaker.
You can also connect to an external stereo speaker arrangement, e.g. our BG412S. In this configuration the V-AMPIRE developes 2 x 60 W into 8 Ω per side. This lets you take full advantage of the V-AMPIRE’s stereo effects (fig. 1.5).
Alternatively, an external 8 Ω speaker may be connected to the right speaker output. This also represents a stereo configuration, because the internal speaker is not muted, as shown in fig. 1.6.
The starting configuration for this application would be L2, i.e., a stereo signal with all effects, amp simulation and live EQ but no speaker simulation. The ULTRA-G speaker simulation is available at the XLR output and thus connectable to a sound reinforcement system. Here, the MASTER control only influences the stage volume but not the XLR output. If you want to listen to a digital speaker simulation using an amplifier, select L1.
3.3.2 V-AMP PRO
Because of its additional outputs and the analog ULTRA-G speaker simulation the V-AMP PRO is even more flexible on stage. Figure 2.5 shows a stereo application with active stage monitors which are connected to the unbalanced line outs. Use the MASTER control to set the volume of the monitor speakers while the XLR output signal is sent at full volume to a sound reinforcement system. The appropriate modes are S1 or L1 depending on whether the 3-band EQ is needed or not.
Since the receiver of the wireless system is connected to the rear line input, the line input switch on the front has to be pressed. Use this switch also to mute the signal while you change your guitar.
Figure 2.6 displays a very similar application: The monitor amp in this case is a guitar amp so that mode L2 (no speaker simulation) is recommendable.
3.3.3 V-AMP 2
Figure 3.5 on the view sheet shows the V-AMP 2 connected from its line out to the line input of the guitar amp or head. Using the instrument input would not be the best idea since the signal is passed through the whole pre amplifier stage. BEHRINGER offers a wide range of guitar amps which are equipped with an aux input and thus are perfect for this application. Since a guitar amp already has its own sound, a digital speaker simulation is not needed. We therefore recommend mode L2.
Figure 3.6 describes another speciality of the V-AMP 2 in mode L3: A guitar amp is used as monitor speaker on stage while simultaneously a second signal is sent to a sound reinforcement system. By doing so, you can completely eliminate the need for miking the amp.
A special feature of the L3 mode is that the signal to the guitar amp has no speaker simulation, instead it has an additional 3-band EQ which allows you to tailor your on-stage sound. The signal for the sound reinforcement system remains unaffected by the 3-band EQ, but it does include the speaker simulation. This simulation is necessary to reproduce the character of a guitar cabinet sound using the speakers of the sound reinforcement system.
3.4 Recording
For this applications we assume that at least a mixing console and a recording device is available.
3.4.1 V-AMPIRE
As with rehearsals at home or anywhere else, the V-AMPIRE can be connected directly to a mixing console or recording device via its XLR outputs. In addition, you can use the pre DSP insert send to record the same direct guitar signal without needing another DI-box for impedance adaption.
Since the usual volume problem does not exist in studio environments, the V-AMPIRE has more to offer than those features described in chapter 3.2.1. In the studio you can raise the volume to take full advantage of the V-AMPIRE’s own sound. If you have a particular speaker cabinet with its own sonic character you can drive it via the speaker output. You will need to use a microphone to capture this special sound. If you want to create intentional feebacks from the speaker, you can still feed the XLR output into the console to be recorded. We recommend mode L2, with 3-band EQ but without digital speaker simulation (see fig. 1.4).
3.4.2 V-AMP PRO
For studio applications we recommend modes S1, S2 or S3. S1 reproduces all amp and speaker simulations with effects in stereo (as with the V-AMP 2) while with S2, the effects are applied to the right channel only. In mode S3, the digital speaker simulation is shut off for the case that the speaker sound is to be determined later during mixdown. Therefore, in S3 mode the proven ULTRA-G speaker simulation is switched to the XLR and headphones outputs. When recording in S3 mode, the monitoring should thus be done at the analog XLR and headphones outputs and not at the digital outs. If you want to record the original guitar signal you could use the setup shown in fig. 2.3. Press the LINE INPUT switch if you want to monitor the recorded signal via the V-AMP PRO. We recommend to use modes S1 or L1. Mode S2 is an alternative if you want to adjust the effect ratio on the mixing console.
+Please note that the ULTRA-G speaker simulation in modes S3 and L2 only affects the XLR and headphones outputs and does not have any influence on the digital outputs.
3.4.3 V-AMP 2
To record a stereo signal with all effects, amp and speaker simulations, select modes S1 or L1 (with 3-band EQ) and connect the balanced line outs with the mixing console or recording device. This advantage is a disadvantage at the same time:
You hear the sound exactly the way you record it. So if you decide to make a change, you will need to record the whole track again.
With studio mode S2 all effects are therefore put out through the right channel only, while on the left channel you will find the amp and speaker simulations. This enables you to record the dry amp signal and determine the effects later on during mixdown (see fig. 3.4).
If you want to go the safe way, we recommend to split up the input signal with a high-quality active DI-box, e.g. the BEHRINGER GI100. To do this, connect the guitar to the GI100 input, the direct link to the input of your V-AMP 2 and the XLR output to the recording device. In that manner, you can record the direct guitar signal with the amp simulation on one channel each and listen to the complete signal with all effects on your headphones (see fig. 3.4).
