Behringer V Amp 3 User Manual
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View and Download Behringer V-AMP 3 operating/safety instructions manual online. Behringer V-AMP 3 Virtual Amplification, Guitar amplifier. V-AMP 3 Amplifier pdf manual download. View and Download Behringer V-AMP 2 user manual online. Ultra Flexible Virtual Guitar amps with tube simulation and digital multi-effects processor. V-AMP 2 Amplifier pdf manual download. Also for: V-amp pro, V. Behringer.com 2 V-AMP3 User Manual Thank you Thank you for choosing the V-AMP 3. This powerful and versatile guitar preamp is the latest in the line of acclaimed V-AMP series processors, adding 4 new amp models over its predecessor, the V-AMP 2. With 32 amp models, 15 speaker.
Guitar Modeling/Effects Processors
VIRTUAL AMPLIFICATION V-AMP 3
Next-Generation Modeling Guitar Amplifier with 480 Virtual Combos and USB Audio Interface
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4 all-new plus 28 improved amp models multiplied by 15 speaker cabinet simulations give you a total of 480 virtual combos
USB audio interface included, featuring stereo I/O, optical S/PDIF out, direct monitoring and separate control for phones out
No-latency guitar-to-PC recording— edit and monitor your sound on your V-AMP 3 and record straight
to your PC
Studio quality multi-effects including reverb, chorus, flanger, phaser, rotary, auto-wah, echo, delay, compressor and
various effects combinations
125 memory locations pre-arranged for many popular styles and embedded in the acclaimed intuitive V-AMP user interface
Tap-tempo function and many other parameters directly accessible on the unit
Presence control adjusts a high-frequency filter, simulating the negative feedback of tube amps
Preamp bypass function allows use as a stereo effects processor without amp modeling
Stereo Aux input lets you play along to a cue from your PC, CD, MP3
or drum computer for practice, teaching and home-recording applications
Playing along with MP3s on a PC
If a lack of money and floor space is all that’s been standing between you and a home recording studio full of badass vintage guitar amps and effects pedals, get ready to love the V-AMP 3. This red
rocker comes loaded with 32 amp models, 15 speaker cabinet models and 16 classic effects. But that’s only the beginning— you also get the UCA222 USB audio interface and all the software you’ll need for no-latency guitar-to-PC recording.
In short, the V-AMP3 gives you the power to start recording a molten magnum opus in no time!
Turn your home into a hit factory—in seconds!
Hook the V-AMP3 up to your computer using the included ¼' TRS-to-RCA
cable and UCA222 USB interface. Connect V-AMP3 Phones output with the stereo line inputs of UCA222, and switch its direct monitoring function on.
Then connect the UCA222 USB cable to your computer. You can monitor the
signal with the UCA222’s headphone jack. (This is also a great way to jam along with the MP3’s on your computer).
Any classic you like
The V-AMP 3’s 32 amp models are organized into four groups: CLEAN, BLUES, METAL and ROCK. Just twist the dedicated dial to plug into unbelievably authentic simulations of the greatest British and American tube amps from the 1950s to today. You even get models of uncommon—yet renowned—
boutique tube amps! When you select an amp model, a speaker cabinet model is automatically selected.
But if you’d prefer a different model, just go to EDIT>CABINETS, then use the BANK UP/DOWN buttons to navigate through all 15 options.
Just like on an actual guitar amp, you’ve got a three-band EQ, GAIN, REVERB, VOLUME and MASTER VOLUME dials. By holding the TAP button, the TREBLE dial becomes a PRESENCE control. This enables the adjustment
of a high-frequency filter that can add or remove a ”shimmer“ from the V-AMP 3’s tone.
Continued on next page
VIRTUAL AMPLIFICATION V-AMP 3
Balanced stereo Line output can be configured for many recording and live applications
Adjustable auto-chromatic tuner plus effective global configurations and equalization easily adopts the V-AMP 3 to any situation outside your home studio
MIDI implementation includes program changes, control changes and SysEx, allowing complete MIDI remote control or automation with your preferred DAW
High-quality components and exceptionally rugged construction ensure long life
Conceived and designed by
BEHRINGER Germany
Page 2 of 5
Top tone—in full effect | Stunning in the studio |
The V-AMP 3 gives you flanger, chorus, compression, delay and 12 other beautiful digital effects to apply to your sound.
Adjust the effect’s level in the mix via the EFFECTS dial. To adjust effect parameters, you can rhythmically press the TAP button to alter delay times or LFO speeds, or hold down the TAP button and twist the EFFECTS knob to access e.g. feedback or depth. By using a MIDI pedal, such as the BEHRINGER FCB1010, you can access an additional Wah Wah effect. You can adjust the filter characteristic by entering EDIT mode, selecting the DRIVE menu and turning the EFFECTS knob while holding the TAP button.
Presenting the presets
All of these elements have been combined into 125 different presets divided into 25 banks, accessible through the BANK UP/BANK DOWN buttons. Within each bank, you can press buttons A through E to explore its different presets. You can also create and save your own presets. Start by selecting a preset, then making any changes you wish: amp, EQ, effect, etc. The preset LED will begin to flash, indicating that the V-AMP 3 is ready to save your settings. To do this, hold the preset button down for about
two seconds. Once the LED stops flashing, you have saved the modified preset.
On top of all this, the V-AMP 3 also features a built-in tuner and noise gate. In essence, it’s a Swiss Army Knife for the home recording enthusiast or gigging guitarist who can’t seem to settle
on one amp.
The V-AMP 3 features several configurations that make it an invaluable asset in the studio. Access the configuration menu by pressing the
B and D buttons at the same time. Then use BANK UP and BANK DOWN to select a configuration.
When using headphones, the V-AMP3 will switch into Studio Mode 1 (S1).
This stereo mode works well for both monitoring and recording with effects, amp and speaker modeling. It doesn’t apply the additional three-band EQ to the signal, but most recording programs have their own EQ.
In Studio Mode 2 (S2), the V-AMP 3 sends a signal with amp and speaker simulation, but only the right output has effects. You can either record both left and right outputs to separate tracks, or record the “dry” left output while monitoring the right output.
Stellar on stage
The V-AMP 3 has three live configurations. When performing live with this device, you can either run it to an amp on stage, run directly to the mixing board, or both. Live Mode 1 is the best choice for running the outputs directly to the mixer, because it applies
amp and speaker simulation, effects and an additional 3-band EQ.
Use Live Mode 2 to run the V-AMP 3 into the effects return inputs of 2
different guitar amps. This configuration does not feature speaker simulation, allowing the amplifier’s natural speaker sound to go unaltered. In this scenario, the amps would be mic’d on stage to get the sound to the house speakers, and having a dedicated monitor would be less important.
Continued on next page
VIRTUAL AMPLIFICATION V-AMP 3
In Live Mode 3, you can send the left output to an amp’s effects return for onstage volume, while the right output sends signal to the main mixer for inclusion in the main house mix.
Also note that you can press the TAP key while turning the GAIN knob to adjust the input sensitivity to match the output of your guitar’s pickups. If the CLIP LED lights, the input's sensitivity should be reduced.
Veni, MIDI, Vici
The V-AMP 3 comes fully equipped to fit right into a MIDI (Musical Instrument Digital Interface) setup. It can be controlled in real time from a computer, or via a MIDI foot controller during a live performance. Its MIDI connectors are international-standard 5-pin DIN connectors. You will need dedicated MIDI cables (not included).
The MIDI IN jack receives MIDI controller data. It can be adjusted in EDIT mode by pressing the A button and then using the arrow keys. MIDI OUT/THRU sends data to a computer. You can transmit both preset data and parameter changes. Some people even use the V-AMP as a remote control for
parameters of their DAW or VST instruments, which is more handy than using the mouse alone. If set to MIDI THRU, the V-AMP 3
does not send its own MIDI information, but passes on the signal received at the MIDI IN connector.
So much sound, so little hassle
It’s hard enough finding another virtual guitar amplifier with this much versatility, let alone one as economical as the V-AMP3. This go-anywhere, do-anything wonder will leave you reeling in your own creativity, with cash to spare for other gear you’ll need along the way to becoming a sonic titan both live and in your home studio.
HPS3000
V-AMP3
UCA222
USB Audio Interface
Laptop | |
XENYX 502 |
Live Setup (Mode 3)
FS112V
V-AMP3
FCB1010
Continued on next page
VIRTUAL AMPLIFICATION V-AMP 3
List of Effects
ECHO | Delayed and filtered repetition of | ||||
the input signal. | |||||
DELAY | Delays the input signal, with different | ||||
tempo settings emulating an early | |||||
reflections room effect on the repetitions | |||||
producing an echo-like effect. | |||||
PING PONG | A delay effect that alternates between the | ||||
left and right channel/speaker. | |||||
PHASER | A second, phase-shifted signal is | ||||
added to the audio signal, creating a | |||||
wave-like effect. | |||||
FLANGER | Similar to a phaser in the fact that it | ||||
produces wave-like modulation to the | |||||
guitar tone. | |||||
CHORUS | Adds a slightly modulated off-key element | ||||
to the original signal. | |||||
PHASER & DELAY | Phaser and delay combined. | ||||
FLANGER & DELAY | Combines flanger and delay. | ||||
CHORUS & DELAY | Combines signal delay with chorus. | ||||
COMPRESSOR | Limits the dynamic range of the audio | ||||
material, increasing sustain and giving | |||||
notes a crisper quality. | |||||
CHORUS & COMP | Combines chorus and compression. | ||||
AUTO WAH | Alters a filter frequency automatically | ||||
depending on the signal’s magnitude, | |||||
giving notes a vowel sound-like quality. | |||||
TREMOLO | Volume is continuously modulated up and | ||||
down to an adjustable tempo. | |||||
ROTARY | Simulation of the classic organ effect | ||||
normally produced by speakers rotating at | |||||
slow or fast speed inside a speaker cabinet. | |||||
NOISE GATE | Removes or reduces noise or other | ||||
interference by muting the signal | |||||
during breaks. | |||||
REVERB NO. | REVERB TYPE | QUALITY | |||
1 | Tiny Room | Classic room simulation featuring | |||
2 | Small Room | ||||
various room sizes from bathroom | |||||
Medium Room/ | |||||
3 | to cathedral | ||||
Large Room | |||||
4 | Ultra Room | Special effect transforming guitar | |||
signals into heavenly pad sounds | |||||
5 | Small Spring | Simulations of typical spring reverbs | |||
6 | Medium Spring | ||||
7 | Short Ambience | Simulates the early reflections of a | |||
8 | Long Ambience | reverbless room | |||
List of Amps
CLEAN
TUBE PREAMP | Tube amps add warmth to all kinds |
of sounds. By default, this amp model | |
does not use a speaker simulation, and | |
can be used with vocals, but adding a | |
speaker cab produces good clean tones. | |
SMALL COMBO | Based on a small, simple amp originally |
made for beginners, but it’s no | |
“Tender Chump!”With plenty of gain, | |
it rewards you with compression and | |
rich distortion. | |
CLASSIC CLEAN | Shake it up with this model—ideal |
for the New Wave sound of the 80s that | |
is making a comeback today. | |
TWEED COMBO | A close cousin of the SMALL COMBO |
model, this super-simplified model will | |
toughen up your tone blow by blow! | |
CLEAN V-AMP | This model gives you the squeaky cleans |
of the CLASSIC CLEAN, but with the | |
cutting power of one of the most | |
famous British amps of all time. | |
You’ll believe in miracles when you hear | |
this “plexi”thing. | |
CALIFORNIA CLEAN | Based on the clean channel of a certain |
amp sharing a name with a big, | |
flat southwestern land form. | |
BLACK TWIN | Modeled after a famous 1960s 2x12 |
combo amp that was exceptionally loud | |
with low distortion. | |
CUSTOM CLEAN | Simulation of the clean channel from |
a very expensive boutique amp whose | |
name rhymes with “stumble”. | |
Loves compression. | |
BLUES | |
AMERICAN | Based on a timeless 60s 4x10 combo |
originally intended as a bass amp but | |
embraced by electric blues rockers. | |
FUZZ BOX | Not based on an amp, but a distortion |
box that debuted in the 60s and | |
provided “big fuzz”for 90s | |
grunge bands. | |
DELUXE BLUES | A synthesis of the AMERICAN and the |
BLACK TWIN, giving you a greater | |
EQ range. | |
V-AMP DRIVE | This simulation is based on a more |
modern high-gain lead amp that’ll | |
make you wanna boogie. This produces | |
a smooth and precise tone with plenty | |
of drive, making it ideal for lead | |
guitar work. | |
BRIT BLUES | Based on an amp that was considered |
the “cream”of the crop in the | |
psychedelic 60s. Try it with a 2 x 12' | |
speaker simulation. | |
V-CRUNCH | Ideal for modern blues or jazz. Its sound |
is subtle, but crunchy and dynamic. | |
CUSTOM BLUES | Like the BRIT BLUES, but capable of a |
thick boutique distortion tone when the | |
GAIN is cranked! | |
BRIT CLASSIC 50 W | 50 W blues breaker sibling of our Brit |
Classic model with extensively widened | |
sound range. | |
METAL | |
NUMETAL GAIN | Based on a 90s amp also bearing that |
big, flat southwestern name, featuring a | |
post-gain tone control for | |
ultra-customized distortion. |
Page 4 of 5 | |
NUMETAL HD | Much like the NUMETAL GAIN, this amp |
produces an even higher gain sound. | |
The tone controls are most effective | |
with the gain knob cranked. | |
SAVAGE BEAST | Half-English, so to speak, this model has |
extreme power and is therefore highly | |
popular with heavy metal guitarists. | |
CUSTOM HI GAIN | Based on a variation of the BRIT BLUES, |
modified by a famous eruption-inducing | |
guitarist’s technician. Great midrange | |
without the mud! | |
BRIT HI GAIN | Modeled after a big, bad stacked British |
amp renowned for its distorted sounds, | |
but also great on low-gain settings. | |
MODERN HI GAIN | Another model with post-gain EQ, |
this amp can easily go from fuzzed-out | |
grunge to laser-guided shredding. | |
NEW! ULTRAZONIC | New, aggressive, in-your-face hi-gain |
sound similar to the crunch channel of | |
the BUGERA 333XL. Excellent for | |
detuned, palm-muted, fast rhythm | |
guitar riffs. | |
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 | Stands out for its extremely dynamic |
rock sound, dishing out fat clean tone | |
as well as solid crunch. Here both | |
input channels are bridged for | |
parallel operation. | |
BRIT CLASS A | Simulation of an iconic double-wide |
British amp that helped a quartet of | |
longhairs cause mass panic in the 1960s. | |
NEW! HI BRIT 100 | Modeled after a custom high-watt amp |
that’ll have your audience wondering, | |
“How do you think he does it?” | |
CUSTOM CLASS A | Simulates an amp sharing a name with |
an obese Asian deity. 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 | |
suiting the midrange to your taste. | |
NEW! AMBER 120 | Based on an amp that brings |
citrus-laden goodness to mind. | |
Perfect for vintage distortion freaks. | |
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 sounds almost like hi-fi. | |
If there’s any match for this amp, we | |
ain’t found it! | |
BRIT CLASSIC | Based on the second channel of our |
59SL amp model, this one provides a | |
slightly darker range of clean and | |
crunch sounds. | |
BRITISH CLASS A | Unlike the BRIT CLASS A, this amp had |
15 W | 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. |
VIRTUAL
AMPLIFICATION
V-AMP 3
Behringer V Amp 3 User Manual Youtube
TREBLE doubles as PRESENCE when TAP is pressed and held
AC IN
MIDI IN and
MIDI OUT/THRU
MID
FOOTSWITCH jack accommodates any non-latching footswitch, i.e. FS112V
BASS
Preset VOLUME control
Hold TAP to select amps 17-32
MASTER VOLUME
BANK UP/
BANK DOWN buttons
Page 5 of 5
GAIN
¼' LINE OUT balanced left and right outputs
CONFIGURATION Preset A…E buttons select the bank’s presets, but also live/studio configurations, MIDI settings, drive intensity, cabinet models, reverb varieties and noise gate intensity
AUX LEVEL for
AUX IN jack
AUX IN
EFFECTS level also doubles as a 2nd effects parameter control
EFFECTS selector
PHONES jack
¼' Guitar INPUT
REVERB dial
Bank display with clip and tuner LEDs
TUNER and Exit button
TAP determines 2nd parameter of effects and functions
Specifications
Audio Inputs | |
INSTRUMENT INPUT | ¼' TS connector, unbalanced |
Input impedence | 1 Mohms |
Max. input level | +9 dBu |
AUX IN STEREO | ¼' TRS stereo connector |
Input impedence | 15 kohms |
Audio Outputs | |
Analog Line Outputs L/R | ¼' TRS connector, balanced |
Output impedance | 2.2 kohms |
Max. output level | +20 dBu |
HEADPHONES | ¼' TRS stereo connector, Product Introduction Our X1 Model is On TV Now! How X1 Protected Our Customers 'I thought I'd share this with you. This is a video from my X1. The driver in front of me slowed down to a stop in the middle of the road, when I went to pass him he hit me intentionally. He tried to tell the police and insurance company. Kdlinks x1 manual download. |
unbalanced | |
CONNECTOR | |
Max. output level | +15 dBu/100 ohms (+23 dBm) |
MIDI
Type | 5-pin DIN connector IN, OUT/ |
THRU | |
Digital Signal Processing | |
Converter | 24-bit delta-sigma, |
64/128 x oversampling | |
Dynamics A/D | 104 dB @ preamp Bypass |
Dynamics D/A | 92 dB |
Sample rate | 31.250 kHz |
DSP | 100 Mips |
Delay time | max. 1,933 msecs. |
Latency | approx. 5 msecs. |
(Line In to Line Out) | |
Display | |
Type | 2-digit 7 segment LED display |
Power Supply
Mains voltage
USA/Canada | 120 V~, 60 Hz |
UK/Australia | 240 V~, 50 Hz |
Europe | 230 V~, 50 Hz |
China/Korea | 220 V~, 50/60 Hz |
Japan | 100 V~, 50/60 Hz |
Power consumption | 13 W |
Mains connection | external power supply unit |
Dimensions/Weight | |
Dimensions | 3 x 7 x 10.62' |
(H x W x D) | 78 x 180 x 270 mm |
Weight | approx. 1.76 lbs |
approx. 0.8 kg |
Please note these specifications are preliminary and conceptual in nature, and as such are subject to change as product development progresses. This information is supplied for market research purposes only and is not to be made public in any manner. This document is solely the property of The MUSIC Group, or one of its subsidiaries, and must be surrendered upon request of the owner.
For service, support or more information contact the BEHRINGER location nearest you:
Behringer V Amp Pro Manual
Europe | USA/Canada | Japan |
MUSIC Group Services UK | MUSIC Group Services NV Inc. | MUSIC Group Services JP K.K. |
Tel: +44 156 273 2290 | Tel: +1 702 800 8290 | Tel.: +81 3 6231 0454 |
Email: CARE@music-group.com | Email: CARE@music-group.com | Email: CARE@music-group.com |
Behringer User Manual
Technical specifications and appearances are subject to change without notice and accuracy is not guaranteed. BEHRINGER is part of the MUSIC Group (music-group.com). All trademarks are the property of their respective owners. MUSIC Group accepts no liability for any loss which may be suffered by any person who relies either wholly or in part upon any description, photograph or statement contained herein. Colors and specifications may vary from actual product. MUSIC Group products are sold through authorized fullfillers and resellers only. Fullfillers and resellers are not agents of MUSIC Group and have absolutely no authority to bind MUSIC Group by any express or implied undertaking or representation. This manual is copyrighted. No part of this manual may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any purpose, without the express written permission of MUSIC Group IP Ltd. ALL RIGHTS RESERVED. © 2012 MUSIC Group IP Ltd. Trident Chambers, Wickhams Cay, P.O. Box 146, Road Town, Tortola, British Virgin Islands.