Behringer LX1B PRO, LX1B User Manual

User Manual

BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO

The Ultimate Tone Toolbox for Bass/Acoustic/Electric Guitar and
Keyboard Amp Modeling

2 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

Table of Contents

Important Safety Instructions ...................................... 3

Legal Disclaimer ............................................................. 3

Limited Warranty ...........................................................3

1. Introduction ............................................................... 5

1.1 Before you get started ...................................................... 5

2. Control Elements ....................................................... 5

2.1 Unit top/front side .............................................................. 5

2.2 Rear panel of the BASS V-AMP PRO ............................ 7

2.3 BASS V-AMP connectors (side) ...................................... 8

3. Application Examples/Operating Modes ................ 8

3.1 Selecting an operating mode (CONFIGURATION)... 8

3.2 Standard setup .................................................................... 8

3.3 Recording situation ........................................................... 9

3.4 Live setup with a connection to an

external bass amplier ............................................................. 9

4. Presets of the BASS VAMP/BASS VAMP PRO ....... 9

4.1 Recalling presets ................................................................. 9

4.2 Editing presets ..................................................................... 9

4.3 Saving user presets .......................................................... 10

4.4 Overriding edits/

Restoring single factorypresets.......................................... 10

4.5 Restoring all factory presets ......................................... 10

5. Amp/Speaker Simulation ........................................ 10

5.1 Amp descriptions .............................................................. 10

5.2 Speaker descriptions ....................................................... 12

5.3 Denoiser and compressor ............................................. 13

6. Eects Processor ...................................................... 13

6.1 Pre-amp eects ................................................................. 13

6.2 (OVER)DRIVE simulations ............................................... 14

6.3 Post-amp eects ............................................................... 14

7. Tu ne r .........................................................................15

7.1 Tuning instruments .......................................................... 15

7.2 Setting up the “a” reference tone ............................... 15

8. Installation ............................................................... 15

8.1 Rack mounting (BASS V-AMP PRO) ............................. 15

8.2 Voltage (BASS V-AMP PRO) ........................................... 15

8.3 Audio connections ........................................................... 16

8.4 MIDI connections ............................................................. 16

8.5 AES/EBU and S/PDIF standards .................................. 17

9. Specications ........................................................... 17

10. Appendix ................................................................ 20

3 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

9. Do not defeat the safety purpose of the polarized

UNDERTAKING OR REPRESENTATION. THIS MANUAL

ce

electronic components of this product to be free of defects

period is mandated by applicable local laws. If the product

Incase MUSICGroup decides to replace the entire product,

Important Safety Instructions

Terminals marked with this symbol carry
electrical current of su cient magnitude

to constitute risk of electric shock.
Use only high-quality professional speaker cables with
¼" TS or twist-locking plugs pre-installed. Allother
installation or modi cation should be performed only
by quali edpersonnel.

This symbol, wherever it appears,

alertsyou to the presence of uninsulated

dangerous voltage inside the
enclosure-voltage that may be su cient to constitute a
risk ofshock.

This symbol, wherever it appears,

alertsyou to important operating and

maintenance instructions in the
accompanying literature. Please read the manual.

Caution

To reduce the risk of electric shock, donot

remove the top cover (or the rear section).
No user serviceable parts inside. Refer servicing to
quali ed personnel.

Caution

To reduce the risk of  re or electric shock,

do not expose this appliance to rain and
moisture. The apparatus shall not be exposed to dripping
or splashing liquids and no objects  lled with liquids,
suchas vases, shall be placed on the apparatus.

Caution

These service instructions are for use

by quali ed service personnel only.
Toreduce the risk of electric shock do not perform any
servicing other than that contained in the operation
instructions. Repairs have to be performed by quali ed
servicepersonnel.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install in

accordance with the manufacturer’s instructions.

8. Do not install near any heat sources such as
radiators, heat registers, stoves, or other apparatus
(including ampli ers) that produce heat.

or grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding-type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. Ifthe
provided plug does not  t into your outlet, consult an
electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.

11. Use only attachments/accessories speci ed by
themanufacturer.

12. Use only with the
cart, stand, tripod, bracket,
or table speci ed by the
manufacturer, orsold with
the apparatus. When a cart
is used, use caution when
moving the cart/apparatus
combination to avoid

injury from tip-over.

13. Unplug this apparatus during lightning storms or
when unused for long periods of time.

14. Refer all servicing to quali ed ser vice personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power supply cord or plug
is damaged, liquid has been spilled or objects have fallen
into the apparatus, the apparatus has been exposed
to rain or moisture, does not operate normally, or has
beendropped.

15. The apparatus shall be connected to a MAINS socket
outlet with a protective earthing connection.

16. Where the MAINS plug or an appliance coupler is
used as the disconnect device, the disconnect device shall
remain readily operable.

LEGAL DISCLAIMER

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

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, Tor tola, British Virgin Islands

LIMITED WARRANTY

§ 1 Warranty

(1) This limited warranty is valid only if you purchased
the product from a MUSIC Group Authorized Reseller in
the country of purchase. A list of authorized resellers can
be found on BEHRINGER’s website behringer. com under
“Where to Buy”, or you can contact the MUSIC Group o
closest to you.

(2) MUSICGroup* warrants the mechanical and

in material and workmanship if used under normal
operating conditions for a period of one (1) year from
the original date of purchase (see the Limited Warranty
terms in §4 below), unless a longer minimum warranty

shows any defects within the speci ed warranty period
and that defect is not excluded under §4, MUSICGroup
shall, at its discretion, either replace or repair the product
using suitable new or reconditioned product or parts.

thislimited warranty shall apply to the replacement
product for the remaining initial warranty period, i.e.,
one (1) year (or otherwise applicable minimum warranty
period) from the date of purchase of the original product.

(3) Upon validation of the warranty claim, the repaired
or replacement product will be returned to the user
freight prepaid by MUSICGroup.

(4) Warranty claims other than those indicated above
are expressly excluded.

PLEASE RETAIN YOUR SALES RECEIPT. IT IS YOUR PROOF
OF PURCHASE COVERING YOUR LIMITED WARRANTY.
THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOF
OFPURCHASE.

§ 2 Online registration

Please do remember to register your new BEHRINGER
equipment right after your purchase at behringer. com
under “Support” and kindly read the terms and conditions
of our limited warranty carefully. Registeringyour
purchase and equipment with us helps us process
your repair claims quicker and more e ciently.
Thankyouforyour cooperation!

§ 3 Return materials authorization

(1) To obtain warranty service, please contact the
retailer from whom the equipment was purchased.
Should your MUSIC Group Authorized Reseller not be
located in your vicinity, you may contact the MUSICGroup
Authorized Ful ller for your country listed under

4 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

“Support” at behringer. com. Ifyour country is not

• connection or operation of the unit in any way

This warranty does not detract from the seller’s

Warranty service conditions are subject to change without

listed, please check if your problem can be dealt with
by our “OnlineSupport” which may also be found under
“Support” at behringer. com. Alternatively,please submit
an online warranty claim at behringer. com BEFORE
returning the product. All inquiries must be accompanied
by a description of the problem and the serial number
of the product. Afterverifying the product’s warranty
eligibility with the original sales receipt, MUSICGroup
will then issue a ReturnMaterials Authorization
(“RMA”)number.

(2) Subsequently, the product must be returned in
its original shipping carton, together with the return
authorization number to the address indicated by
MUSICGroup.

(3) Shipments without freight prepaid will not
beaccepted.

§ 4 Warranty Exclusions

(1) This limited warranty does not cover consumable
parts including, but not limited to, fuses and batteries.
Where applicable, MUSICGroup warrants the valves or
meters contained in the product to be free from defects
in material and workmanship for a period of ninety (90)
days from date of purchase.

(2) This limited warranty does not cover the product
if it has been electronically or mechanically modi ed
in any way. If the product needs to be modi ed or
adapted in order to comply with applicable technical
or safety standards on a national or local level, inany
country which is not the country for which the
product was originally developed and manufactured,
thismodi cation/adaptation shall not be considered a
defect in materials or workmanship. Thislimited warranty
does not cover any such modi cation/adaptation,
regardless of whether it was carried out properly or not.
Under the terms of this limited warranty, MUSICGroup
shall not be held responsible for any cost resulting from
such a modi cation/adaptation.

(3) This limited warranty covers only the product
hardware. It does not cover technical assistance for
hardware or software usage and it does not cover
any software products whether or not contained in
the product. Any such software is provided “AS IS”
unless expressly provided for in any enclosed software
limitedwarranty.

(4) This limited warranty is invalid if the
factory- appliedserial number has been altered or
removed from theproduct.

(5) Free inspections and maintenance/repair work
are expressly excluded from this limited warranty,
inparticular, if caused by improper handling of the
product by the user. This also applies to defects caused
by normal wear and tear, in particular, of faders,
crossfaders, potentiometers, keys/buttons, guitar strings,
illuminantsand similar parts.

(6) Damage/defects caused by the following conditions
are not covered by this limited warranty:

• improper handling, neglect or failure to operate the
unit in compliance with the instructions given in
BEHRINGER user or service manuals;

that does not comply with the technical or safety
regulations applicable in the country where the
product is used;

• damage/defects caused by acts of God/Nature
(accident,  re,  ood, etc) or any other condition that
is beyond the control of MUSICGroup.

(7) Any repair or opening of the unit carried out by
unauthorized personnel (user included) will void the
limitedwarranty.

(8) If an inspection of the product by MUSICGroup
shows that the defect in question is not covered by the
limited warranty, the inspection costs are payable by
thecustomer.

(9) Products which do not meet the terms of this
limited warranty will be repaired exclusively at the buyer’s
expense. MUSICGroup or its authorized service center will
inform the buyer of any such circumstance. If the buyer
fails to submit a written repair order within 6 weeks after
noti cation, MUSICGroup will return the unit C.O.D. with
a separate invoice for freight and packing. Such costs will
also be invoiced separately when the buyer has sent in a
written repair order.

(10) MUSIC Group Authorized Resellers do not sell new
products directly in online auctions. Purchasesmade
through an online auction are on a “buyer beware” basis.
Online auction con rmations or sales receipts are not
accepted for warranty veri cation and MUSICGroup will
not repair or replace any product purchased through an
online auction.

§ 5 Warranty transferability

This limited warranty is extended exclusively to the
original buyer (customer of authorized reseller) andis
not transferable to anyone who may subsequently
purchase this product. No other person (reseller,etc.)
shallbe entitled to give any warranty promise on behalf
of MUSICGroup.

§ 6 Claim for damage

Subject only to the operation of mandatory applicable
local laws, MUSICGroup shall have no liability to the buyer
under this warranty for any consequential or indirect
loss or damage of any kind. In no event shall the liability
of MUSICGroup under this limited warranty exceed the
invoiced value of the product.

§ 7 Limitation of liability

This limited warranty is the complete and exclusive
warranty between you and MUSICGroup. It supersedes
all other written or oral communications related to this
product. MUSICGroup provides no other warranties for
this product.

§ 8 Other warranty rights and
nationallaw

(1) This limited warranty does not exclude or limit the
buyer’s statutory rights as a consumer in any way.

(2) The limited warranty regulations mentioned herein
are applicable unless they constitute an infringement of
applicable mandatory local laws.

(3)

obligations in regard to any lack of conformity of the
product and any hidden defect.

§ 9 Amendment

notice. For the latest warranty terms and conditions
and additional information regarding MUSICGroup’s
limited warranty, please see complete details online at
behringer. com.

* MUSICGroup Macao Commercial O shore Limited of
RuedePequim No. 202-A, Macau Finance Centre 9/J, Macau,
including all MUSICGroup companies

5 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

1. Introduction

Congratulations! By purchasing the BASS V-AMP/BASS V-AMP PRO, you have
selected a modern virtual bass amplier that sets new standards in the world of
bass preamps. Our primary goal was to achieve the classic sound of bass amps by
using “Physical Modeling” and implementing the newest DSP eects.
Followingthe tremendous success of our V-AMP and its successor V-AMP 2,
withthe BASS V-AMP/BASS V-AMP PRO we are nally able to oer bass players
the same diversity of sound.

However, we went a step further and expanded the concept to include items
of interest to keyboarders and electric/acoustic guitar players. Those who
have already used the V-AMP or the V-AMP 2 will appreciate the BASS V-AMP/
BASS V-AMP PRO as a terric improvement.

We wanted to create two devices that would stir conversations in years to come:
theBASS V-AMP/BASS V-AMP PRO is universally usable and oers authentic
amp and even speaker sounds—all this without having to transport heavy
equipment! Additionally, the most modern multi-eects processors assure
unprecedented tonal freedom. In short, the BASS V-AMP/BASS V-AMP PRO gives
you a “sound machine” sporting the hottest features of the day.

Future EPROM updates will make sure your BASS V-AMP/BASS V-AMP PRO always
has the latest software and features.

BEHRINGER is a company in the eld of professional audio studio technology.
We have been successfully developing products for live and studio
applications for years. Among those are microphones and 19" gear of all kinds
(compressors,enhancers, noise gates, tube processors, headphone ampliers,
digital eects units etc.), monitoring and PA loudspeakers as well as professional
live and recording mixing consoles. Our entire technical know-how has gone into
creating your BASS V-AMP/BASS V-AMP PRO.

To top it all, we worked together with professional bass players, whose sound
suggestions led to the creation of original artist presets. Just a single glance at
the separate preset sheet will be enough to completely amaze you.

Flexibility is what matters most in the music industry. Bass players should be able
to oer a wide array of dierent sounds, and should also be able to temporarily
adjust to the demands of home recording, studio and live applications. Bulky amp
combinations are out of sync with today’s times precisely because of this reason.
The BASS V-AMP/BASS V-AMP PRO oers you a maximum set of features in a
compact unit that can be gured out in no time.

But enough talking: Nothing will convince you more than the shear joy of what
you will hear and feel the rst time you play with your BASS V-AMP/BASSV-AMP
PRO. You will experience a latest-generation vir tual bass amplier with
fascinating features:

• Extreme sound variety and exible output routing options for bass players

• Multi eects, amp and loudspeaker simulations for keyboard players

• Remarkably clean, high-gain sound and acoustic simulations for

electricguitars

• Sound enhancer for acoustic guitar sound pickup

• Uncompromising loop/sampler function, super-phat analog bass synth and

the best distor tion pedal simulations.

1.1 Before you get started

The BASS V-AMP/BASS V-AMP PRO was carefully packed at the assembly plant to
assure its secure transport.

Should the condition of the cardboard box suggest that damage may have taken
place, please inspect the unit immediately and look for physical indications
ofdamage.

◊ Damaged units should NEVER be sent directly to us. Please inform

the dealer from whom you acquired the unit immediately as well
as the transportation company from which you took delivery.
Otherwise, all claims for replacement/repair may be rendered invalid.

Please make sure the unit is provided with sucient ventilation, and never place
the BASS V-AMP/BASS V-AMP PRO on top of an amplier or in the vicinity of a
heater to avoid the risk of overheating.

◊ Before plugging the unit into a power socket, please make sure you

have selected the correct voltage!

Power is supplied via the cable included with the unit. All requiered safety
precautions have been adhered to. When you hook up your BASS V-AMP/
BASS V-AMP PRO to the mains, the unit is automatically turned on.

◊ Please make sure that the unit is grounded at all times. For your own

protection, you should never tamper with the grounding of the cable or
the unit itself.

MIDI connections (IN, OUT/THRU) use standard DIN plug-in connectors.
Datatransfer takes place via the dry-contact optical couplers.
Additionalinformation can be found in chapter 8 (“INSTALLATION”).

1.1.1 Online registration

Please register your new BEHRINGER equipment right after your purchase
by visiting http://behringer.com and read the terms and conditions of our
warrantycarefully.

Should your BEHRINGER product malfunction, it is our intention to have it
repaired as quickly as possible. To arrange for warranty service, please contact
the BEHRINGER retailer from whom the equipment was purchased. Shouldyour
BEHRINGER dealer not be located in your vicinity, you may directly contact
one of our subsidiaries. Corresponding contact information is included in the
original equipment packaging (Global Contact Information/European Contac t
Information). Should your country not be listed, please contact the distributor
nearest you. A list of distributors can be found in the support area of our website
(http://behringer.com).

Registering your purchase and equipment with us helps us process your repair
claims more quickly and eciently.

Thank you for your cooperation!

2. Control Elements

An illustration of all control elements is located on the separate sheet included
with this user’s manual. The controls on both devices are numbered the same
way. Howthe two versions dier is clearly marked by using the designations
“BASSV-AMP only” or “BASS V-AMP PRO only.” Connections on both versions are
covered in a separate chapter in this user’s manual.

2.1 Unit top/front side

(1) Turn your BASS V-AMP PRO on using the POWER switch. The POWER switch

should always be in the “O“ position (depressed) whenever you rst
connect the unit to the mains.

◊ Please note: Merely switching the unit off does not mean that it is fully

disconnected from the mains (BASS V-AMP PRO only). When not using
the unit for prolonged periods of time, please unplug the unit’s power
cord from the wall.

(2) The GAIN control determines level and saturation charac-teristics of the

ampsimulation.

(3) The VOLUME control governs the volume of the selected preset.

(4) The BASS control on the EQ section lowers or elevates bass frequencies.

6 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

◊ When the TAP button (11) is depressed, the BASS control changes its

function to DEEP control, which influences the sound in the lower
frequency segment.

(5) The MID control lowers or elevates the mid frequencies.

◊ MID-SHIFT/SHAPE: When you select an amp simulation using the AMPS

control, press the TAP button to use the MID control to adjust the mid
frequency range (SHIFT). With amp simulations that don’t originally
have such a function, pressing the TAP button as described above
activates the BEHRINGER SHAPE filter instead.

(6) The TREBLE control regulates the upper frequency range of an

activatedpreset.

◊ Pressing the TAP button (11) changes the function of the TREBLE control

to PRESENCE control. This enables lowering/elevating upper frequency
range values of a filter selected for the amp model active at this time.
This filter simulates the frequency-dependent coupling of tube amps.

◊ Please pay attention to the special functions (described under ( 8 ) )

of the following points: ( 2 ) , ( 3 ) and ( 5 ) !

(7) The AMPS control lets you select one of the 32 amp simulations. 16 LEDs

surround this control, whereby 1 LED is assigned to 2 amp types. You select
one of the rst 16 amp types (white lettering) by simply turning the control.

To select the next 16 amps (17 - 32, grey lettering), keep the TAP button
pressed as you turn the AMPS control.

◊ The “17 - 32” LED in the lower left corner of the DISPLAY lights up when

one of the amp simulations numbered 17 - 32 is selected.

Additionally, you have the option to activate a PREAMP BYPASS via the
TUNER (9) and TAP (11) key combi-nation. When PREAMP BYPASS feature
is activated, no AMPS control LED is on. To disengage the PREAMP BYPASS
feature, either select an amp model of your choice or press the TUNER and
TAP keys again.

(8) These ve keys are used (among other things) for preset selec tion of the

presets bank shown in the display.

In EDIT mode (activated by simultaneously pressing the arrow keys described
under (10) ), the function of individual keys is indicated by the print located
directly above the respective button:

• A: Activates the MIDI function. By utilizing the arrow keys, the MIDI channel

used for sending and receiving (1 to 16) can be set up.

After selecting a MIDI function via the A key, pressing the TAP key relays the
MIDI out connector to MIDI Thru. When in this mode, the unit sends no MIDI
information of its own; instead, it merely passes on the data received at
theMIDI In.

• B: Switches the DRIVE function on and o. When DRIVE is enabled, the

controls (2) , (3) and (5) take up the following functions:

• GAIN regulates the distortion degree (“DRIVE”).

• The VOLUME control regulates an additional volume

control (“BOOST”).

• Use the MID control like the tone control on a simulated distortion

pedal (“TONE” ).

Well-known oor eec ts units are simulated with these setups.

◊ When the DRIVE function is activated, turning the EFFECTS MIX controls

lets you also set up the Wah- Wah. The LEDs surrounding the EFFECTS
MIX control show the position of the pedal. When the LED is not on,
the Wah-Wah is inactive.

◊ When the Auto Wah/P-Funk’n is activated, the Wah- Wah cannot

be used.

• C: This key activates the CABINETS mode. Use the arrow keys to select a type

of loudspeaker or a combination of loudspeakers. You can also completely
switch o the speaker simulation (“-”). Additional information is available in
chapter 5.2.

• D: Activates the X-OVER function. Use the arrows to regulate the

cut-o frequency between high-pass and low-pass lter. This is done in
50gradients (please also see chapter 6.3).

• E: Activates the DENOISER function. You may change the threshold of

the expander by using the arrow keys. The EFFECTS control regulates the
sensitivity of the noise reduction system, while pressing TAP changes the
function of the EFFECTS control so that it regulates the frequency range of
the noise reduction system (also see ch. 5.3).

◊ After preset editing, press the TUNER/EXIT button to quit

(the EDIT MODE LED dies out).

◊ DIGITAL OUT: The digital output on the BASS V-AMP PRO can be

configured by pressing buttons A and B simultaneously. The display
shows “SP” for S/PDIF or “AE” for AES/EBU format. Alternating between
the two formats is done by using the TAP key. The LEDs let you see the
respective sample rate (internal synchronization and sampling rates of

44.1, 48 or 96 kHz or external wordclock synchronization; see table 2.1).
To select the most appropriate sampling rate for the receiving unit,
please use the arrow keys. Press the TUNER/EXIT key to quit.

◊ CONFIGURATION: By pressing the D and E keys simultaneously on your

BASS V-AMP PRO, you can select the global operating mode (keys B and
D on your BASS V-AMP), so that an adjustment to diverse studio and live
situations is possible (see chapter 3). Please press the TUNER/EXIT key
to quit.

(9) The TUNER key engages the tuner. Additionally, you can exit the EDIT mode

by pressing this key (see chapter 7).

(10) Both arrow keys are used to select the next preset bank (BANK DOWN und

BANK UP). Keeping the keys pressed lets you quickly jump through the

preset banks. Pressing both arrow keys at the same time engages the EDIT
mode. When you press one of the A - E buttons ( (8)) afterwards, each arrow
key takes over an edit function.

(11) The TAP key has eight functions:

• “Tap”: Tap the TAP key in the rhythm of a tune, and the selected eect

adjusts automatically to the appropriate speed.

• “De ep”: By keeping the TAP key pressed, the BASS control assumes the

function of a DEEP control, so that it regulates the sound in the deep bass
end of the spectrum.

• “Mid-Shift/Shape”: When an amp simulation is selected using the AMPS

control, keep the TAP key pressed and use the MID control to regulate the
middle portion of the frequency range (SHIFT).

Our BEHRINGER SHAPE lter is automatically activated with amp simulations
that do not have such a function (as described above) in the original.

• “Presence”: Keep the TAP key pressed to use the TREBLE control to regulate

PRESENCE in a particular amp simulation.

• “2nd parameter”: The second eect parameter (regulated by the EFFECTS

control) is accessed by keeping the TAP button pressed (see chapter 6).

• “Amp models 17 - 32”: Keep the TAP key pressed and select the desired

simulation by using the AMPS control.

• “MIDI Thru”: The MIDI Out connector can be set to MIDI Thru (see (8) A).

• “Compressor”: The compressor control regulates the attack time when the

TAP key is kept pressed (see (14) ).

7 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

(12) DISPLAY shows the selected eects bank and gives information about the

changes occurring while editing. When the tuner is enabled, the display
shows the tuning of the connected instrument. When one of the amp
simulations numbered 17 - 32 is selected, the LED located in the lower left
corner of the DISPLAY lights up.

The display on the BASS V-AMP PRO gives additional information about
the digital format and the sample rate of the unit, and indicates that
the BASSV-AMP PRO should be synchronized to an external wordclock
signal. Connec-ted input signals are displayed with the green SIGNAL LED;
distortedsignals are marked with the red CLIP LED.

Fig. 2.1: BASS V-AMP PRO display

Clock LED ext. LED 48 kHz LED 96 kHz

internal 4 4.1 kHz — — —

internal 48 kHz —

internal 96 kHz — —

exter nal (any frequency)

Tab. 2.1: Outp ut formats and LED a llocation in the di play (BASS V-AMP PRO only)





— —

—



◊ In addition to the AUX LEVEL control on the BASS V-AMP, this is the

only non-programmable control of the BASS V-AMP/BASS V-AMP PRO.
All additional controls are infinitely turnable, and their positions can
be saved in a preset.

◊ The LED circles surrounding the VOLUME, BASS, MID, TREBLE, GAIN,

EFFECTS MIX and COMPRESSOR controls each have nine LEDs. Either one
LED or two adjacent LEDs light up in each LED circle at any one time.
This occurs when the control is in an in-between position. This way,
a total of 17 positions can be displayed.

(17) The connector labeled INPUT is the ¼" TS jack input of the BASS V-AMP/

BASSV-AMP PRO, which is where an electric bass, an acoustic guitar,
akeyboard etc. can be connected. Use a common 1/4” mono jack cable
forthispurpose.

(18) The LINE IN switch regulates which signal source of the BASS V-AMP PRO

is processed. When the switch is not pressed, this refers to the the signal
connected to the input connector (e.g. electric bass). When the switch is
depressed, the line signal connected to the PRE DSP INSERT (LINE IN, (20) )
isrouted to the processor (par-ticularly useful for keyboards).

(19) You can connect standard headphones to the PHONES connec tor of your

BASS V-AMP/BASS V-AMP PRO.

◊ When headphones are connected to your BASS V-AMP/BASS V-AMP

PRO, studio mode 1 (S1) is automatically activated. If you opted not
to select a loudspeaker type in your setup and then connect a set of
headphones, your BASS V-AMP/BASS V-AMP PRO automatically selects
a speaker simulation. This improves the subjective listening impression
while using headphones. To look up which speaker simulation is paired
to which amp, please see table 5.1. However, you can deactivate a
simulation while listening to headphones by selecting “-” in CABINETS
mode. Conversely, it is possible to freely select the global output
configuration when a set of headphones is connected, so that you can
for example check the effect various modes have on your sound.

(13) The EFFECTS control lets you selec t an eects preset or a combination of

several eects. This continuously turnable control is surrounded by a circle of
16 LEDs. Each eect has a corresponding LED.

(14) The COMPRESSOR control lets you compress or limit your sound. Whenyou

turn the COMPRESSOR control as far left as possible without triggering
o a LED, the dynamic characteristics of the signal are not changed.
Thecompressor on the BASS V-AMP/BASS V-AMP PRO controls two
important functions:

• You set the compression sensitivity by turning the COMPRESSOR control.

Themore you turn the control, the more pronounced the compression.
Whenthe last LED lights up while turning the control to the right, the eect
acts as a limiter.

• Turning the COMPRESSOR control while keeping the TAP key pressed lets you

set the attack parameter of the com-pressor.

◊ More detailed information about how a compressor works can be found

in chapter 5.3.

(15) When an eect is selected using the EFFECTS control (13) , the proportion

with which this eect inuences the entire sound is regulated using
theEFFECTS MIX control. As long as no LED lights up while turning the
control leftwards, no eect is mixed in. This is also called an eect bypass,
and mutes all eects accross the board.

◊ When the TAP key is kept pressed, a second effects parameter can be

regulated using the EFFECTS control (see tables 6.1 and 6.2).

(16) The MASTER control regulates the overall volume of your BASS V-AMP/

BASSV-AMP PRO.

2.2 Rear panel of the BASS V-AMP PRO

(20) You can insert external eects into the serial insert loop featured on the

BASS V-AMP PRO. The SEND/LINE OUT connector is connec ted to the input
of your eects unit for this purpose. The SEND/LINE OUT output is tapped
into directly before the digital signal processor (PRE DSP). This connector is
therefore ideal for recording “dry” signals (i.e. without the eects portion).

Please connect the RETURN/LINE IN connector with the output of your
external eects processor or recorder.

◊ When using the serial insert loop, please make sure that your effects

processor is not set to 100% effect signal (“wet”), because otherwise
the direct signal is missing.

◊ Pressing the LINE IN switch (22) routes the signal connected to the

RETURN/LINE IN connector to your BASS V-AMP PRO. This function may
be of use when for example listening to a “dry” recording of a guitar
signal on your BASS V-AMP PRO before running it through the effects.

(21) The stereo signal of the BASS V-AMP PRO without analog speaker

simulations can be taken at the ANALOG LINE OUTPUTS. For example,
thisis how you connect an external stage amp when performing live.

(22) The POST DSP INSERT RETURN (IN) stereo jack pair is used for connecting

to the outputs of your external stereo eects processor. Thesignal taken at
the POST DSP SEND (OUT) outputs (25) is brought back into these jacks.

(23) The ground connection on the DI OUT outputs (24) can be interrupted

with the GROUND LIFT switch. This way, rumble noise and ground loops
can beavoided. The ground connection is interrupted when the switch is
depressed (LIFT).

8 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

(24) The balanced stereo signal of your BASS V-AMP PRO can be taken at the

DI OUT. This output should be connected to two balanced channel inputs on
your mixing console. The signal level is set at +4 dBu in studio modes and at

-10 dBu for live modes.

(25) The connection to the inputs of an external stereo eects unit can be made

using the POST DSP SEND (OUT) stereo output. The signal present at this
output is identical to the signal at the digital outputs. In contrast to the
SEND/LINE OUT connector (20) , the signal is POST DSP here. In case both of
the respective RETURN (IN) connectors (22) are not in use, the identical signal
can be taken at the ANALOG LINE OUTPUTS (21) .

(26) BASS V-AMP PRO’s signal can be digitally taken at the S/PDIF output.

(27) The digital output signal of the BASS V-AMP PRO in AES/EBU format is

found at the AES/EBU output (XLR connector), provided AES/EBU has
been selected as output signal format (please adhere to the second note
under (8) E).

(28) Devices used to externally synchronize your BASS V-AMP PRO should

be connected at the WORDCLOCK connector. This is a high-impedance
connector, meaning that it has no internal terminal resistor (75 Ohm).

(29) This is the MIDI OUT/THRU connector of the BASS V-AMP PRO.

Theconnector is precongured in the MIDI Out setting at the assembly plant,
but it can be switched to MIDI Thru (see (8) A).

(30) A MIDI foot pedal, for example the BEHRINGER MIDI FOOT CONTROLLER

FCB1010, can be connected at the MIDI IN connector. Please also read
chapter 8.4.

(31) SERIAL NUMBER.

(32) FUSE RETAINER/VOLTAGE SELECTOR. Please make sure that the voltage

indicated in the voltage selector maches the local voltage before you
connect the unit to the mains. Always replace blown fuses with fuses of
the same type. Some units feature a fuse retainer in which a selection
between 230 V and 120 V is possible. Please beware: Whenusing
your unit outside of Europe on 120 V, a higher fuse rate is required
(see chapter 8 “INSTALLATION”).

(33) Power is supplied via an IEC connector. The matching cable is provided with

the unit.

(36) By using the AUX IN jack input, you can feed an additional stereo signal

into your BASS V-AMP. This way, you can play along to a drum computer
oraplayback.

3. Application Examples/ Operating Modes

To optimally adapt your BASS V-AMP/BASS V-AMP PRO to various studio and/
or live situations, you may choose between six dierent operating modes
(CONFIGURATION, keys B and D in the case of BASS V-AMP as well as keys D and E
in the case of BASS V-AMP PRO). These operating modes function independently
from the settings already selected on the unit itself (i.e. how the output signal
of your BASS V-AMP/BASS V-AMP PRO is taken). This way, the left and the right
output signals can be used entirely dierently. The table on the following
page explains in full detail how you can tap into the signal at the output of
your BASSV-AMP/BASS V-AMP PRO with or without a speaker simulation/EQ.
Additionally, the eects signal at the output does not necessarily have to be
identical for both sides (see table 3.1).

3.1 Selecting an operating mode (CONFIGURATION)

Your BASS V-AMP/BASS V-AMP PRO is set to studio 1 (S1) operating mode when
it leaves the assembly plant. To change this setting, select the CONFIGURATION
mode. Please press the B and D keys at the same time (BASS V-AMP) or D and
E (BASS V-AMP PRO). By using the arrow keys, you select between dierent
operating modes. To exit this mode, press TUNER once.

Various operating modes are described on the following pages in greater detail.
To adjust the output level of your instrument, use a specic level control located
at the beginning of the signal path. This way, it is possible to adjust the input
sensitivity by +12/-6 dB (middle value = 0 dB): Please select the CONFIGURATION
mode and adjust the desired sensitivity level by keeping the TAP key pressed and
turning the GAIN control.

◊ A change in input gain has an effect on all presets. Therefore, use it

with caution to allow for example an adjustment to instruments with
strongly vary-ing signal levels.

2.3 BASS V-AMP connectors (side)

(21) The stereo output signal of your BASS V-AMP can be taken at the balanced

LINE OUT connectors.

(29) This is the MIDI OUT/THRU connector of the BASS V-AMP. The connector is

congured to MIDI Out at the assembly plant, but it can be recongured to
MIDI Thru (see (8) A).

(30) A MIDI foot pedal (e.g. the BEHRINGER MIDI FOOT CONTROLLER FCB1010)

canbe connected to the MIDI IN connector. More on this subject in
chapter8.4.

(33) Connect the power supply unit via the AC IN connector. When you plug

the power supply unit in the mains, your BASS V-AMP is automatically
switchedon.

(34) Connect the stereo jack of your footswitch FS112V to the FOOTSWITCH

connector. This will enable you to alternate between dierent presets
within a preset bank. When you keep the DOWN button on the footswitch
pressed for longer than two seconds, this automatically powers up the tuner.
Doingthe same again alternately turns the tuner o.

(35) The volume of the signal fed into the AUX IN input is adjusted by using the

AUX LEVEL control.

3.2 Standard setup

To use your BASS V-AMP/BASS V-AMP PRO at the practice room, connect the
unit as described in g. 1.4. and 2.3 of the included appendix. Instead of a bass,
you can of course connect other musical instruments. Connect your headphones
to the PHONES connector. By using the FS112V footswitch delivered with your
BASSV-AMP/BASS V-AMP PRO, you can alternate between the ve presets
contained in a preset bank, or you can power up the tuner.

Live modes L1 and L2 featured in gures 1.4, 1.5 and 2.4 are particularly well
suited for more demanding live or practice room applications. By using a MIDI
foot controller (g. 1.4 and 2.5), you can alternate between dierent presets,
banks and amps, the tuner etc. An additional stereo signal can be fed into your
BASS V-AMP/BASS V-AMP PRO at the aux in (see g. 1.3 and 1.5).

Naturally, your BASS V-AMP/BASS V-AMP PRO is in its best shape when its bass
parts are immortalized on an analog or digital recording medium. Itsadvantages
are most apparent when used in recording situations. Your BASSV-AMP/
BASSV-AMP PRO gives you unsurpassed exibility because you can simply
take it with you into the control room and forget all about having to use
speakers. Thisway, you have the best control of the sound of your BASS V-AMP/
BASSV-AMP PRO at all times.

If you realize that you have to change the signal on the mixing console,
youcan work with the tone engineer on your sound so that the recording
is done optimally, capturing your sound the way you want it. Simply put:
noannoyingback-and-forth trips between studio and control room.

9 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

Operation
mode

Studio 1 (S1)

Studio 2 (S2)

Studio 3 (S3)

Live 1 (L1)

Live 2 (L2)

Live 3 (L3)

Tab. 3.1: Opera ting modes of the BA SS V-AMP/BASS V-AMP PRO with appl ication exampl es

BASS V-A MP BASS V-AMP PRO

OUTPUTS L OUTPUTS R OUTPUTS L OUTPUTS R

Stereo ope ration with the se lected

eects and speaker simulations

Amp w/o ut

FX + Cab Sim

Amp,

Cab Sim + FX

Stereo operation:

Live EQ, Amp, C ab Sim and FX

Bi-Amping mode w/out

Cabinet Simulation

HP: Live EQ,

Amp, FX

For Amp wit h
Live EQ w/out

Cab Sim

Amp,

Cab Sim + FX

DI Out
(unprocessed
direct signal)

LP: without

eects

For Amp w/out

Live EQ with

Cab Sim

Stereo ope ration with the se lected

eects and speaker simulations

Amp w/o ut

FX + Cab Sim

XLR/Phones: ULTRA-G active

(digital Ca b Sim out)

Amp w/out FX Am p + FX

Stereo operation:

Live EQ, Amp, C ab Sim and FX

Bi-Amping mode w/out Cabinet

Simulation XLR/PHONES:

ULTRA-G active

HP: Live EQ,

Amp, FX

XLR/Phones: ULTRA-G active

(digital Ca b Sim out)

Stereo: Amp, FX + L ive EQ

Amp,

Cab Sim + FX

LP: w/out eect

section

3.3 Recording situation

Depending on the recording situation and the desired eect, all studio
modes come into play (S1, S2 und S3). While S1 carries the complete signal
(includingallamps, speakers and eects simulations) in stereo, S2 produces
two mono signals, whereby the right output contains the signals with all the
simulations, whilethe left output without the eects. A typical home recording
setup is shown in g.1.3.

◊ When you connect line out L with aux in R (plug plugged in half-way)

in S3 mode, you can add the direct signal to the effect signal.

◊ Avoid connecting line out L to aux in L as well as line out R and aux in R,

as feedback may occur.

4. Presets of the BASS VAMP/
BASS VAMP PRO

The BASS V-AMP/BASS V-AMP PRO features 125 rewritable presets, divided into
25 banks. Therefore, there are ve presets per preset bank. Each preset consists
of a maximum of ve “ingredients”:

• the simulation of an amplier (incl. GAIN, EQ and VOLUME settings),

• the loudspeaker simulation,

• a “pre-amp” eect (e.g. Denoiser, Auto Wah, Wah Wah),

• a “post-amp” multi eect (e.g. stereo delay, modulation eect or a

combination of both) and

• the compressor setting.

An overview of all presets of your BASS V-AMP/BASS V-AMP PRO is included with
this user’s manual.

4.1 Recalling presets

The most recently used preset is automatically recalled each time you power the
unit on. The following example in g. 4.1 shows the BASS V-AMP: preset D in the
25th bank was selected.

S3 serves the purpose of recording a fully unprocessed signal (rightoutput)
andstill hear it with all the eects applied (left output). Since the
BASSV-AMPPRO has an additional PRE DSP INSERT, this operating mode
(knownas “Re-Amping”) is possible in every output mode (see g. 2.5 and 2.6).
Figure 2.6 describes the possibility of recording the direct signal via an analog
sound card input and simultaneously recording the completely processed signal.
Should the sound of your mix require reworking, you don’t have to bring the
signal in again, since the direct signal is still available.

In the case of the BASS V-AMP PRO, you can directly feed a digital mixing
console (our BEHRINGER DDX3216 in this illustration). The unit can be externally
synchronized via worldclock (g. 2.5).

3.4 Live setup with a connection to an external
bass amplier

The BASS V-AMP/BASS V-AMP PRO is naturally in top form when it is used
as a preamp in connection with an external bass amplifer. In the case of the
BASSV-AMP, it is advisable to connect your bass amp via the L/AMP OUT output,
while the R/DI OUT output is used to connect to the mixing console or the stage
box (g. 1.6 and 2.3). Connecting the BASS V-AMP PRO to a mixing console should
be done via the ULTRA-G DI OUT output.

The advantage of this application: You are ultra-exible, since you can set up the
necessary monitor volume/tone needed for the stage directly on the external
bass amplier, and at the same time utilize the various sound options of the
BASSV-AMP/BASS V-AMP PRO. When you use the R/DI output of the BASS V-AMP
to control your mixing console, the front mix benets from the unique sound
achieved by the BASS V-AMP, which is optimized for P.A. applications by virtue of
utilizing the equalizer in the channel strip of the mixing console.

In this case you can press the keys A, B, C or E to recall a dierent preset of the
same preset bank. You can select a dierent preset bank by pressing either one of
the two arrow keys.

The display of the BASS V-AMP/BASS V-AMP PRO always shows which preset bank
is selected. To recall a preset after selec ting a dierent preset bank, press one of
the A - E keys. Which preset from the respective bank is currectly active is always
displayed in the key LED.

Fig. 4.1: Recalling presets

4.2 Editing presets

Editing presets on your BASS V-AMP/BASS V-AMP PRO is simple and quick to do.
You can for example recall a preset in order to modify it. To do so, select a desired
amp model by turning the AMPS control to the desired amp model. The preset
key LED ashes (for example, D) and signals that you have edited a preset.

◊ In the case of the BASS V-AMP, selecting studio 3 (S3) and connecting

Line Out R with Aux In L lets you bring the direct signal in addition to
the output signal by using the aux control.

Now, modify the settings of the VOLUME, BASS, MID, TREBLE and GAIN controls.
After having selected the desired eect by using the EFFECTS control, you can
modify its part of the entire sound by using the EFFECTS MIX control.

10 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

To get into the EDIT mode, press both arrow keys simultaneously. By using the
keys B - E, you can activate the DRIVE, CABINETS, X-OVER and DENOISER functions
respectively. You can then edit these functions by using the arrow keys, and the
respective parameters will be shown in the display. To leave EDIT mode again,
briey press the TUNER key.

By turning the TREBLE control while the TAP key is pressed, you can lower
or increase an additional lter in the upper frequenc y range (PRESENCE).
Thissimulates the frequency-dependant decoupling of tube amps.

◊ With the exception of Compressor und Auto Wah, there is a speed

parameter present in all multi-ef fects. Let’s say you want to adjust
respective effects according to the tempo of your playback. Tap the
TAP key twice in the tempo of your playback and the tempo of the
effect is automatically matched to the tempo of your musical piece.

4.3 Saving user presets

To save your edits, keep the desired preset key pressed for roughly two seconds.
This will overwrite the previous settings (the key LED lights constantly again).

◊ Of course, you don’t have to necessarily save your preset in the location

of the previously selected preset. To save your preset elsewhere,
press the arrow keys (BANK UP and BANK DOWN) to get to the desired
preset bank. Then, you can save your preset by keeping the desired
preset key pressed for roughly two seconds. For example, you can edit a
preset located in preset bank five and location D and save it in bank six
and location A.

4.4 Overriding edits/Restoring single
factorypresets

You can of course undo an edit of a preset. Let’s say, you selected preset C and
edited it (key LED is blinking), but then you want to revert to the previously saved
conguration: Simply select a dierent preset. Each time you recall a dierent
preset, unsaved edits from the current edit are lost. However, keeping both arrow
keys pressed after editing for so long until “Pr” appears in the display recalls the
factory preset that was originally at this location. To activate this fac tory preset,
you still have to save it again by keeping the respective preset button for roughly
two seconds.

4.5 Restoring all factory presets

To restore all factory presets, do the following: keep keys D and E pressed and
only then power up your BASS V-AMP/BASS V-AMP PRO. “CL” is shown in the
display. Now, let go of the D and E keys and simultaneously press both arrow
keys. This procedure overwrites all presets that you may have created and
restores all factory presets. How to save your presets before restoring factory
presets is explained under 8.4.1.

Powering up your BASS V-AMP/BASS V-AMP PRO automatically loads the preset
you used most recently. The LED circle surrounding the AMPS control shows
which amp is currently selected: its respective LED is on. By turning the control,
you can select a dierent amp. To change the basic parameters of the sound
signal, use the VOLUME, BASS, MID, TREBLE and GAIN controls. When the TAP key
is pressed, the TREBLE control assumes the function of lowering/increasing the
PRESENCE lter in the upper frequency range (see (6) ).

As a rule, you rst select an amp, then a cabinet and nally an eect.

How to save your changes is described in chapter 4. To get a better overview of
the rich choice of amp simulations of the BASS V-AMP/BASS V-AMP PRO, read the
descriptions of various amp types in the section below.

◊ When you select an amp simulation, a matching speaker simulation

is automatically selected (see table 5.1). Otherwise, the authenticity
of the sound could suffer from a poorly selected speaker,
particularly when you use headphones. Of course, you can select other
cabinet simulations for the respective amp type depending on your
personal preferences.

5.1 Amp descriptions

BRITISH ’60s: A ’68 Marshall Super Bass Plexi with Vintage EL-34 tubes was
the role model for this simulation. This amp has richer highs than the Marshall
Major and sounds a bit like a fuzz box in the upper drive settings. This amp
was a must in the ’60s, particularly among UK bands. For example, it was used
by JohnEntwhistle (The Who), Noel Redding (The Jimi Hendrix Experience),
RonWood (Je Beck Group) and Roger Glover (Deep Purple).

BRITISH ’70s: This virtual amp is based on the ’69 Marshall Major. It’s a classic
among tube amps, and was used by Jack Bruce, among others. The sound
remains warm even in high drive settings, and gets a natural-sounding distor tion
characteristic, commonly found on old Cream records.

BRITISH ’80s: A sound coined in the ’80s by musicians such as Trace Elliot or
Mark King from Level 42. It’s a very transparent and “wirily” sound that produced
a lot of pressure.

BRITISH POP: Created using the Vox AC-100 as a model. This amp was very
“in” in the ’60s because it had a memorable bass foundation while still leaving
enough playroom in the highs. The AC-100 had one very unique feature: the bass
control worked the wrong way around! Turning the control to the left meant
elevating the bass frequencies. Since this feature takes some time to get used to,
we stuck to the more conventional solution, so that turning the control leftward
lowers the bass frequencies and turning the control rightward elevates them.

THUNDERBIRD: This simulation leans in the direc tion of smaller bass combos,
similar to the BEHRINGER THUNDERBIRD BX108, hence the designation. The
result is a full and warm sound that forgives minor playing impreciseness.

5. Amp/Speaker Simulation

The heart and soul of your BASS V-AMP/BASS V-AMP PRO are its amp/speaker
simulations. 32 simulation models can enormously ease the work at your home
recording studio, because you avoid having to mic an amp. With your BASS V-AMP/
BASS V-AMP PRO, you are in the position to simply choose an amp that once
wrote history, regardless of whether we are talking funk, blues, heavy metal or
any other musical style. Moreover, you can freely modify the sound of the amp
of your choosing and virtually wire it up to one of the 23 simulated speaker types
(“cabinets”). Last but not least, you can enable a digital eect and a preferred
degree of compression for your virtual amp (see chapter 4, “BASS V-AMP/
BASSV-AMP PRO PRESETS”).

MOSOUND: No other amp was used more often in Motown recordings as
this one: the Ampeg B-15. The list of artists who used the typical B-15 bass
sound looks like “Who’s Who in Motown”: The Supremes, The Four Tops,
TheTemptations, Marvin Gaye and Stevie Wonder to mention just a few.

ROCK CLASSIC: A little quiz question: what’s the name of the bass amp that has
been manufactured for the past 30 years, without modications, and is still as
popular as ever? Correct: it is the Ampeg SVT Classic—a true power package.
With its 300 Watts of raw tube power, this amp has been indispensible to rock
bass players for years. Among others, Van Halen and the Rolling Stones use
thisamp.

ROCK 2: Here we have the next stage in the development of the SVT CLASSIC:
SVT PRO II. With this model you can use a graphic EQ, which was a feature that
made this amp well liked among hard rock and heavy metal bands. But pop-rock
combos like those of Bruce Springsteen and David Lee Roth use it of ten.

11 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

SILVER PANEL: This simulation reproduces the ’67 Fender Bassman—it’s an amp
from the legendary “Silverface” series. Shortly af ter its introduction it became
many a bass player’s absolute darling. Paul McCar tney used the Bassman on the
later Beatles albums and also used it on his rst solo album with the Wings.

WHITE PANEL: What would the ’80s be without their t ypical bass sound?
Thisdecade was hugely inuenced by the sound of Gallien/Krueger bass
amps. Some liked the authentic reproduction of transistor-powered amps;
others yearned for the warmth, for that special something that was missing.
Whateverthe case: the Gallien/Krueger was in the early ’80s, along with
Trace Elliot, the amp of choice. Therefore, we chose the WHITE PANEL as the
model for the 800RB, as it is popular even today, and used by the likes of Flea
(RedHotChilliPeppers).

RED PANEL: The relatively young company by the name of SWR started
creating the so-called “L. A.-Sound” in the mid ’80s. The decisive factor was
the combination of tubes (preamp) and transistors (power amp). Since then,
theSWRamps belong surely to the most demanded amps on the market.
TheSWR SM-400 was used as a model for RED PANEL—it’s a 500-Watt mono
head that nds its home in many bass racks due to its rich tone possibilities.

GOLD PANEL: This is a simulation of the Eden Traveller WT-300. This amp got
its name from its developer: David Eden. He proved his engineering prowice at
SWR before star ting to design bass amps of his own. Eden amps became famous
through their typically crystal-clear and powerful sound.

CALIFORNIAN: Toward the end of the ’80s Mesa Boogie presented the 400+.
This amp’s head is extremely easy to navigate, and features four preamp tubes
and twelwe amp tubes, delivering a massive 500 Watts of power.

JAZZ TONE: This amp, with its typical Marcus Miller sound, has a classic amp as
its role model: the Polytone A101. It’s a 15" speaker bass combo. If you’re yearning
for a jazzy sound, this is the right amp for the occasion.

BOTTOM END: How times change: nowadays, almost all current music
productions feature a markedly deep bass sound that could previously only
be achieved on a synth. But to preserve “true” liveliness, it is advantageous
to bring in an electric bass. Only then can you have authentic dead notes and
a percussive way of playing. A bass player who became very popular thanks
to his ultra-deep bass sound is Justin Meldal-Johnsen. He played for Beck and
Tori Amos, amongothers. But hip hop, trance and rave musicians will nd this
soundjustright.

NUMETAL GAIN: This amp’s role model was a 1994 Mesa Boogie Dual Rectier
Trem-O-Verb. Its modern, high-gain-oriented sound marks this amp, and it works
very well when playing in a band. Sound control takes place post distortion,
which makes a “post-treatment” of distorted sounds possible. The amp works
optimally for heavy metal, but also for achieving Steve Lukather sounds.
Themost famous user of this amp is Dream Theater’s guitarist John Petrucci.

CUSTOM HI GAIN: This sound originates in the sound of a ’69 50-Watt Marshall
Plexi Pate modied by Jose Arrendondo. Arrendondo was Eddie Van Halen’s
guitar tech. The amp is characterized by its great mids and the ability to obtain
the ultimate gain without blurring the sound. Attention: addictive!

ULTIMATE PLUS: Those to whom DRIVE V-AMP (see below) is not enough will
nd more gain than they could ever ask for.

CRUNCH V-AMP: This amp is ideally suited for modern blues or jazz sounds:
itssound is neither too low-key nor too intrusive.

DRIVE V-AMP: This is a modern high gain lead amp. It produces a soft but still
formidable sound with a lot of drive, therefore ideal for a lead guitar. The role
model was the Mesa Boogie Mark III.

BRIT. HI GAIN: Compare this model with a Marshall JCM 800. Even though the
original caused a furry mostly due to its distorted sound, this model produces a
similar eect even with moderate gain. You get excellent Steve Ray Vaughan/
Michael Landau sounds. When distorting, it is ideal for producing the old
GaryMoore sound as well as heavy metal sound.

PIEZO SIM: Simulates a piezo pick up. This way, sound with an acoustic character
is created. Electric guitars get this accoustic touch, but without the feedback
typical for acoustic instruments.

MIC SIM: 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.

MAGNETIC EQ: Magnetic pick ups are very common in western guitars because
they can easily be mounted into the instrument’s cavity. However, the sound
produced is not so clear as with piezo systems or with mics, because only the
vibrations of the strings are captured in the signal. This amp model corrects the
tone quality of a magnetic pick up system and gives it an acoustic character.

TUBE PREAMP: Sound engineers discovered the appeal of a tube very early
on. They use tubes to endow sound sources of all kinds with warmth. You can
modify not only the sound of a bass, but can for example also run a vocal signal
through you BASS V-AMP/BASS V-AMP PRO and polish it with the TUBE PREAMP.
(Thisamp model is however best suited to instill more life into your bass guitar.)

BRITISH CLASS A: Created by using the Vox AC 30 as a role model. The roots of
this amp go all the way back to the sixties. Back then, bass players demanded
sound with a brilliant characteristic, which Vox engineers addressed by including
“revolutionary” bass and treble controls. Brian May and U2 guitarist The Edge are
the most famous users of this amp.

MODERN HI GAIN: In this case, sound controls take a back seat to distortion,
giving the extremely distorted sound more strength. The sound of MODERN HI
GAIN is ideal for grunge guitarists, but also nds its appeal among the guitarists
such as Steve Vai and Joe Satriani. Steve Lukathar, Nuno Bettencourt, Steve Vai
and others made the Soldano sound famous. When using a Gibson Les Paul,
MODERN HI GAIN sounds at its best when the volume control on the guitar itself
is somewhat supressed.

◊ A discreet ambience effect lets your instrumet sound more “natural”.

PIEZO EQ: The sound character of the instrument is presented a bit more harshly.
The EQ corrects the sound so that the end result sounds like it was directly
recorded using a mic.

BLACK TWIN: A Fender Blackface Twin from the year 1965 was the role model
used for this simulation. In the ’60s, this amp was used by jazz, country and
even rock musicians. Its appeal was in that it was exceptionally loud, so it was
primarily used in live situations. You can drive your Blackface Twin extremely
loud, but the distortion remains moderate even as you increase the volume.
Tryusing it with the sound of a Rhodes electric piano sound or another
electricpiano.

ORGAN CLASSIC: Here we have a simulation of a Leslie 760 amp that strongly
inuenced the classical Hammond sound. During the analysis of this system,
wenoticed distortions that partly spring from the organ tube end amp and partly
from a Leslie. Both characteristics can be controlled with a gain control the same
they would be controlled by using a Hammond volume pedal. This sound and
the rotary cabinet eect make a Rhodes electric piano sound amazing, a clavinet
sound absolutely cool, analog synth sounds (Moog) get even better, and an
electric bass and even drum sounds get nicely elevated.

12 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

◊ You can dynamically steer the GAIN control via MIDI by using a foot

controller board, such as the BEHRINGER MIDI FOOT CONTROLLER
FCB1010. This way, you get even closer to the original sound.

BRITISH CLASSIC: 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 Je Beck. This amp model is therefore
located among the keyboard models because you can create the organ sound
inuenced by John Lord (Deep Purple).

CLASSIC CLEAN: In the ’80s, the chorus eect of a Roland JC-120 was the
trademark of Buzzy Feiten (Dave Weckl Band guitarist). What makes this
solid-state amp special is the brilliance of its sound, noticable in every mix.
Itisalso outstanding for the new wave sound of the ’80s that’s making a
come-back. Not to forget its popularity with Fender Rhodes pianists live on the
stage with a Yamaha CP70 or a Wurlitzer electric piano.

Fender, Vox, Marsha ll, Mesa Boogie, Les lie, Roland, Motown, Ampe g, Gallien-Krue ger, SWR, Eden as well as the

names of music ians and music groups ar e registered tra demarks of their re spective ow ners and are in no way

associated with BEHRINGER .

5.2 Speaker descriptions

The sound of a bass combo depends a great deal on the speaker type and
combination. We saw a lot of experimentation in this eld in the past 50 years.
The goal was to gure out which speakers are most suited for reproducing bass
sounds and how the sound changes when you combine a particular speaker with
other speaker types.

Among other things, the charac ter of a speaker is determined by its power rating,
impedance, sound pressure level and its size.

Also, never underestimate the importance of the material(s) used to build it.
Overthe years, using a 15" speaker together with a 4 x 10" speaker became
standard-issue for electric bass applications.

This combination produced a healthy bass foundation and at the same time
ensured perceptible highs. The sound was also balanced and not too strained,
which was often the case with 15" speakers used alone. Nowadays, in bass
cabinets you can nd almost all speaker sizes you can think of: 8", 10", 12",
15"or18". Even HF drivers are no longer a rarity in bass cabinets.

◊ When you select an amp simulation, a matching speaker

simulation is automatically activated as well (see table 5.1).
Otherwise, the authenticity of the sound could be jeopardized,
particularly when you use headphones. Of course, you can alter these
settings depending on personal preferences.

A list of speaker/cabinet simulations can be found in the following section.

Amps 1 - 16 (white) Amp # Cabinet simulation (default setting) Cab #

BRITISH '60s 0 68 Marsh all 4 x 12" 6

BRITISH '70s 1 68 Mar shall 4 x 12" 6

BRITISH '80s 2 Trac e Elliot 4 x 10" 2

BRITISH POP 3 Voc AC100 2 x 15" 9

THUNDERBIRD 4 1 x 8" Tweed 16

MOSOUND 5 Ampeg B15 1 x 15" Closed Ba ck Combo 7

ROCK CLASSIC 6 Ampeg SV T 8 x 10" '79 1

ROCK 2 7 Amp eg SVT 8 x 10" '79 1

SILVER PANEL 8 Fender B assman 2 x 15" with JBLs 11

WHITE PANEL 9 6 x 10" SW R Goliath Senior 3

RED PANEL 10 6 x 10" SWR G oliath Senior 3

GOLD PANEL 11 Ampeg 4 x 10" 4

CALIFORNIAN 12 Mes a/Boogie 2 x 15" 10

JAZZ TONE 13 Po lytone A101, 1 x 15" Closed B ack Combo 8

BOTTOM END 14 Amp eg SVT 18E, 1 x 18" 14

TUBE PREAMP 15 No Cabinet-Simulation —

Amps 17 - 32 (grey) Amp # Cabinet simulation (default setting) Cab #

BRITISH CLA SS A 16 2 x 12" Twin Combo 18

MODERN HI GAIN 17 4 x 12" V-AMP Custom 23

RECTIFIED HIGH GAIN 18 4 x 12" Vint age 30 20

CUSTOM HI GAIN 19 4 x 12" '78 Std. 21

ULTIMATE PLUS 20 4 x 12" V-AMP Custo m 23

CRUNCH V-AMP 21 4 x 12" '78 Std. 21

DRIVE V-AMP 22 4 x 12" Vintage 30 20

BRIT. HIGH GAIN 23 4 x 12" '78 Std. 21

PIEZO SIM . 24 No Cabinet-Simulation —

MIC. SIM. 25 No Cabinet-Simulation —

MAGNETIC EQ 26 No Cabinet-Simulation —

PIEZO EQ 27 No Cabinet-Simulation —

BLACK TWIN 28 2 x 12" Twin Combo 18

ORGAN CLASSIC 29 Leslie 760 Ca binet, 1 x 15" + HF Horn 12

BRITISH CLASSIC 30 4 x 12" '78 Std. 21

CLASSIC CLEAN 31 2 x 12" V-AMP Cu stom 19

PREAMP BYPASS 32 No Cabinet-Simulation —

Tab. 5.1: Assig nment of cabinet sim ulations to amp mode ls

13 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

Cabinet simulations

— BYPASS (NO SPEAKER SIMULATION)

1 AMPEG SVT 8 x 10" '97

2 TRACE ELLIOT 4 x 10"

3 SWR GOLIATH 4 x 10"

4 AMPEG 4 x 10"

5 GALLIEN KRUEGER B120

6 68 MARSHALL 4 x 12"

7 AMPEG B15 1 x 15" CLOSED BACK COM BO

8 POLYTONE A101 1 x 15" CLOSED BACK COMBO

9 VOX AC100 2 x 15"

10 MESA/B OOGIE 2 x 15"

11 FENDER B ASSMAN 2 x 15" WITH JBLs

12 LESLIE 760 C ABINET, 1 x 15" + HF-DRIVER

13 SWR 1 x 18"

14 AMPEG SV T 18E, 1 x 18"

15 SUNN COLISEUM 1 x 18" + 1 x 12"

16 1 x 8" TWEED

17 1x 12" MID

18 2 x 12" TWIN COMBO

19 2 x 12" V-AMP CUSTOM

20 4 x 12" VINTAGE 30

21 4 x 12" '78 STD.

22 4 x 12" OFF AXIS

23 4 x 12" V-AMP CUSTOM

Tab. 5.2: Overview of cabinet simulations

5.3 Denoiser and compressor

DENOISER: A Denoiser is used to remove or minimize noise or other interference
sounds. Such noise becomes particularly apparent during pauses. The time­proven BEHRINGER denoiser removes or reduces such noise very eectively.

A dynamic low-pass lter eliminates the noise present in the signal, while the
integrated expander supresses noise during pauses. Concerning this dynamic
lter you can adjust frequency range and sensitivity, while the expander adjusts
both the threshold and the time parameter.

◊ The BASS V-AMP/BASS V-AMP PRO’s denoiser can be used independently

from the integrated multi-effects processor. See chapter 2.1 ( ( 8 ) E)
for information about using the denoiser.

COMPRESSOR: A compressor is used to elevate low-level signals, whereas loud
parts are lowered if needed.

Letting the compressor kick in strongly (done by turning the EFFECTS control
clockwise) tightens the entire dynamic of the signal. This dynamic eect is the
one that is most used in a connection with an electric bass. On the other hand,
alimiter cuts o the signal above a set threshold to prevent distor tion.

6. Eects Processor

The integrated multi-eects processor is a distinctive feature of your
BASSV-AMP/BASS V-AMP PRO. This eec ts module oers you 16 dierent
groups of rst-class eects, such as chorus, anger, stereo delay, rotary cab.,
synth as well as various combination eects. Additionally, you can use an extra
wah wah eect via the MIDI function. This can be optimized by using a MIDI
foot controller with an expression pedal, for example the BEHRINGER MIDI FOOT
CONTROLLERFCB1010.

◊ The multi-effects processor functions basically in stereo. This way,

you can use stereo effects for recording purposes via the LINE OUT on
the BASS V-AMP or via the ANALOG LINE OUTPUT on the BASS V-AMP
PRO. You can also use a second amp to play in stereo (also see table 3.1).

The eects can be edited in three parameters:

1. By rotating the EFFECTS control.

2. By rotating the EFFECTS control while the TAP key is pressed.

3. By pressing the TAP key in the beat of a music piece. Table 6.1 shows the
eects parameters of your BASS V-AMP/BASS V-AMP PRO.

◊ To adapt beat-based effects to your musical program, press the TAP key

twice in the beat of the music.

6.1 Pre-amp eects

Eect no. PRE FX

0 MIDI WAH — — —

1 P-FUNK'N Depth Sensitivity Ba se frequency

2 AUTO WAH Depth Sensitivity Base frequency

Tab. 6.2: Pre FX

EFFECTS
Controller 48

MIDI WAH: The legendary wah wah was primarlily made famous by Jimi Hedrix.

Explaining it would be surely more dicult than simply telling you to go listen
Hendrix’ Voodoo Chile. When the DRIVE function is activated, turning the EFFECTS
control sets the wah wah. The LED circle around the control displays the position
of the pedal. When no LED is on, the MIDI wah wah is not active.

P-FUNK’N: This is our attempt at replicating the legendary MuTron III, and we
succeeded! The MuTron III was a mixture out of Auto wah wah and lter eect.
The most famous user of this eect is probably Bootsy Collins. The MuTron III had
an up/down switch. Here, the eect resembles the MuTron in the down position.

AUTO WAH: The American funk in the ’70s proved that auto wah had many
possible applications. Instead of regulating the lter frequency with your foot,
our eect does this automatically, depending on the signal level. In doing so,
oureect is similar to the MuTron III in the up position.

◊ Wah wah is not available when auto wah or P-Funk’n are being used.

EFFECTS +
TAP b utto n
Contro ller 49

MIDI 1
Controller 50

◊ BASS V-AMP/BASS V-AMP PRO’s compressor can always be activated

independently from the integrated multi-effects processor.

14 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

ROCK 2

BRIT. HI GAIN

TUBE PREAMP

CLASSIC CLEAN

Eect no. POST FX

1 VCF + FLANGE R VCF Mix Flanger Mix VCF Speed Speed/Depth Flanger Feedback VCF Frequency VCF Q

2 DELAY + CHORUS Delay Mix Chorus Mix Delay Time Feedback Feedback LP Speed/Depth Del ay Time

3 STEREO DELAY Delay Mix Feedback Del ay Time — Feedback LP — Delay Time

4 DELAY / LOOP Delay Mix Feedback Delay T ime — — — —

5 REVERB Reverb Mix Decay — Damping Diusion — —

6 AMBIENCE Ambience De cay — Size — — —

7 VOICE BOX Mix Vowel Speed Pedal — — —

8 ULT RABA SS SubMix Sensitivity — — — — —

9 ROTARY CAB. Mix Balance Speed Split Freque ncy — — —

10 PHASER Mix Feedback Speed Feedback LP Stereo Sprea d — —

11 FLANGER Mix Speed/Depth — Intensity — — —

12 CHORUS Mix Speed/Depth — Intensi ty — — —

13 STEREO CHORUS Mix Speed/Depth — Intensity — — —

14 SYNTH Synth Mi x Var iation — — Interval Key —

15 MIDI SYNTH Synt h Mix Variat ion — — — Reverb —

Tab. 6.1: Post F X and MIDI controlle r

EFFECTS
Controller 40

EFFECTS +
TAP b utto n
Controller 41

TAP b utto n
Controller 46

MIDI 1
Controller 42

MIDI 2
Controller 43

MIDI 3
Controller 44

6.2 (OVER)DRIVE simulations

Our overdrive simulations oer you a selection of classic stomp box eects.
Just like with the originals, you can set up drive, tone and boost (see (8) B).
The split function () lets you set up an independent crossover (pre distortion
pedal). Thiscrossover lets the high frequencies pass through without distortion.
(leftposition = o (bypass)/left to right: 41 - 600 Hz). The illustration displays
the frequency range.

BOT TOM END

174Hz

SHIFT [TONE]

DEEP [SPLIT]

209Hz145Hz

CALIFORNIAN

BL ACK T WIN

GOLD PANEL

PIEZO EQ

RED PANEL

BRITISH CL ASSIC

JAZZ TONE

ORGAN CL ASSIC

251Hz121Hz

301Hz101Hz

MAGNETIC EQ

WHITE PANEL

MIC SIM.

SILVER PANEL

ACOUSTIC

600Hz41Hz

362Hz84Hz

416Hz70Hz

PIEZO SIM.

470Hz58Hz

531Hz49Hz

6.3.1 Reverb and delay algorithms

DELAY+CHORUS: This algorithm combines a delay and the ever-popular
choruseect.

ST. DELAY: A delay of the input signal. Dierent tempo settings enable you to
produce interesting delay eects. This way, you can quickly create repititions
particularly with “slapping” that wouldn’t even be possible withoutadelay.

DELAY/LOOP: This function allows you to jam along with your own signal.
Todothat, record with the delay/loop eect a short sequence (max. 15.36 sec.).
This sequence can be played back in an endless loop.

You can for example use this loop as a foundation for your melody and improvise
around it. To record this sequence via MIDI, send the respective MIDI controller
(see chapter 10 ). When you use this function without MIDI, the delay can last a
maximum of 1023 msecs.

REVERB: The reverb is still the most important eect in a mixdown or during a
live event. A reverb is used to add ambience to an otherwise “dry” sound.

MIDI 4
Controller 45

Fig. 6.1: SPLIT steps

6.3 Post-amp eects

The post-amp eects described in the following paragraphs are located post amp
and cabinet simulations in the signal chain. An integrated crossover determines
at what frequency the eects start working and regulates the bass information
when the unit is used without eects. The cut-o frequency of this 18 dB/octave
Butterworth crossover is regulated in EDIT mode under X-OVER. The display
shows the frequency divided by factor 10. Adjustments are made by using the
bank UP/DOWN keys. If the display shows “-”, the crossover is not activated and
the complete signal is aected by the eects. When, for example, “8” is shown
in the display, this means that frequencies under 80 Hz remain unaected by
theeects.

Volume balance between the high pass and the low pass can be adjusted when
you are setting up the crossover settings by using the EFFECTS control (all the way
to the left = low pass signal only, all the way to the right = high pass signal only).

AMBIENCE: This eec t simulates a room without reexions.

6.3.2 Modulation eects

PHASER: The phaser functions according to the principle that a second,
phase-shifted signal is added to the original signal. This way, the signal
seems thicker and livelier. This eect was originally used for guitar sounds
and keyboards. In the ’70s, it started being used for other instruments as well
(e.g.electric piano and electric bass).

FLANGER: A anger modulates the tone pitch of a signal upwards and
downwards at a constant tempo.

(STEREO) CHORUS: This eect subtly detunes the original signal. This way,
apleasant eect is created in combination with a tone pitch variation. Thiseect
is particularly well-suited to lend a warm characteristic to the bass sound.
Additionally, when “popping” occurs, it can make the tone sound less intrusive
and harsh.

15 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

6.3.3 Special eects

VCF+FLANGER: The combination of lter and anger eect.

VOICE BOX: This vocal simulation fades between various vowels (a/e, a/i, a/oetc.)

by using a LFO (Low-Frequency Oscillator). You can control this eect via a MIDI
footcontroller.

ULTRABASS: A very low bass sound that lies an entire octave beneath the lowest
bass frequency present in the mix is currently very popular. However, this sound
can often only be created at the studio because most bass ampliers have no
subharmonic function. The ULTRABASS processor, which has also found home in
various BEHRINGER bass amps, makes creating this eect a no-brainer. You will
be amazed how ultra-low the sounds created with the ULTRABASS function are.

6.3.4 Virtual analog bass synth

SYNTH: This eec t gives you a rad three-voice synthie bass and has many
parameters that are pre-congured in 9 variants and can be selected via TAP and
EFFECT. The TAP key can be used to control the envelope (ADSR) of the synthie
sounds (short tap = short tone, slow tapping = long tone). Additionally,thereis
an “intelligent” envelope follower based on key and interval, whereas the
VCO 1 (Voltage Controlled Oscillator) is set up for specic intervals, and the
BASSV-AMP/BASS V-AMP PRO produces bass overtones that match the particular
key. The EFFECTS control regulates the ratio between the bass synthie and the
bass signal with all amp and cabinet combinations.

MIDI SYNTH: The absolute highlight of your BASS V-AMP/BASS V-AMP PRO is
our MIDI SYNTH: With 40 parameters (already described), it oers you the best
possible sound. You get a virtual analog MIDI synthesizer equipped with powerful
features. It is ideal for hardware and software sequencers, keyboards and for
live applications. By using the EFFECTS control, you can mix the completely
modelled instrument signal (EFFECT min. = modelled instrument signal only,
EFFECTmax.= bass synth only).

We equipped the MIDI synthesizer with a complete reverb sec tion as an
additional feature. Of course, you can access this sec tion via MIDI.

7. 2 Setting up the “a” reference tone

To put complete freedom at your disposal when tuning your instrument,
youhave the option to change the preset of the reference tone “a”. Here is a quick
intro to the subject.

The so-called “chamber tone a” has been continually revised upwards ever
since it was rst measured: tuning forks of Bach, Handel or Mozart were at 415,
420or421 Hz (vibrations pro second).

Nowadays, orchestra set the “a” with 444 Hz, and the Berlin Philcharmonic
wishes to stay ahead still: their “chamber tone a” lies at a full 447 Hz.

The reference tone “a” of the BASS V-AMP/BASS V-AMP PRO is programmed
at 440 Hz. Let ’s say, you want to work with a big orchestra that works with
the chamber tone “a” set to 444 Hz. To activate the function that changes the
chamber tone, do the following: activate the tuner by pressing the TUNER key
and immediately switch over into the EDIT mode by simultaneous pressing both
arrow keys. “40” appers in the display, which responds to 440 Hz. By pressing the
arrow keys, you can adjust the “a” reference tone up or down in 1 Hz increments
for a maximum of 15 Hz. The last two digits of the frequency value are always
shown in the display, since the rst digit is always a 4. For example, when you
start with the 440 Hz basic tone, and then press the right arrow key four times,
the display shows 44, which corresponds to a frequency of 444 Hz.

To quit the EDIT mode, press the TUNER key. Your changes are automatically
stored. Ideal tones for the remaining strings are automatically set up using the
newly adjusted frequency as a reference.

8. Installation

8.1 Rack mounting (BASS V-AMP PRO)

Your BEHRINGERBASS V-AMP PRO needs two rack units to be installed in a
19-inch rack. Please keep in mind that you need an extra 10 cm depth for
accessing the cables running into the back.

Assure that appropriate ventilation is provided, and never position your
BASSV-AMP PRO on top of an amp, for example, to avoid the danger of
overheating the unit.

8.2 Voltage (BASS V-AMP PRO)

ROTARY CAB.: A simulation of a classic organ eect that is normally achieved
with a terribly heavy casing and slowly or quickly rotating speakers. The physical
principle of the Doppler eect is used to modulate the signal.

7. Tuner

The integrated tuner is activated by pressing the TUNER key.

7.1 Tuning instruments

The chromatic tuner automatically recognizes the frequencies of all the standard
bass notes. When you connect your instrument to the BASS V-AMP/BASS V-AMP
PRO and strike a string, the tuner tries to recognize the tone and shows it in
the display. Because the tuner functions chromatically, it can also recognize
semitones. These are shown in the display with a “b” accompanying the value.

However, it may be the case that that a played note (shown in the display as
for example “a”) slightly deviates from the ideal tone. This will be indicated by
lighting up at least one of the four arrow LEDs at the lower edge of the display.
When the note played lies between the deviations shown by means of the
individual LEDs, two LEDs may light up. If the circular middle tuner LED lights up,
the played note is identical to the note shown in the display.

Before you connect your BASS V-AMP PRO to the mains, please check
carefully if your unit is set to the correct voltage! The fuse mount near the

power cord connector has three triangular markings. Two of these three triangles
are facing opposite one another. Your BASS V-AMP PRO is set up for the voltage
indicated near these markings, and can be altered by turning the fuse mount by
180 degrees. ATTENTION: This does not apply to export models built for

120 V, for example!

◊ If you use the unit with a dif ferent voltage, you must change the fuses

accordingly. The correct value of the fuses needed can be found in the
chapter “Specifications.”

◊ Faulty fuses must be replaced with fuses of appropriate rating without

exception! The correct value of the fuses needed can be found in the
chapter “Specifications.”

Power is delivered via the cable that was delivered with the unit. All requiered
safety precautions have been adhered to.

◊ Please make sure that the unit is grounded at all times. For your own

protection, you should never tamper with the grounding of the cable or
the unit itself.

16 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

8.3 Audio connections

The input of the BEHRINGER BASS V-AMP/BASS V-AMP PRO is laid out as a mono
¼" TS connector. Line Out, Aux In as well as headphones output are laid out as
stereo ¼" TRS connectors. Line outputs can be connected to both balanced and
unbalanced jacks. The DI OUT connectors of the BASS V-AMP PRO are available
as balanced XLR connectors. Digital outputs are available as a cinch connec tor
(S/PDIF) and XLR connector (AES/EBU). The BNC connector is used to feed in an
external worldclock signal.

Balanced use with XLR connectors

12

3

input

1 = ground/shield
2 = hot (+ve)
3 = cold (-ve)

1

2

3

output

For unbalanced use, pin 1 and pin 3
have to be bridged

Fig. 8.1: XLR connections

Unbalanced ¼" TS connector

strain relief clamp

sleeve

tip

sleeve

(ground/shield)

¼" TRS headphones connector

strain relief clamp

sleeve

ring

tip

sleeve

ground/shield

ring

right signal

tip

left signal

Fig. 8.4: Stereo headphones connector

8.4 MIDI connections

The MIDI standard (Musical Instruments Digital Interface) was rst developed
at the beginning of the ’80s, with the goal of enabling mutual communication
between electronic instruments of various manufacturers. Over the years,
thenumber of possible MIDI applications has increased substantially;
nowadays,it is perfectly normal to connec t entire studios via MIDI.

At the center of this network is a computer with a sequencing software, usedto
control not only keyboards but also eects processors and other peripheral
equipment. In such a studio, you can control your BASS V-AMP/BASS V-AMP PRO
in real time from a computer. Using a MIDI footswitch presents itself as a great
idea, especially in live applications, because it allows you to control not only the
eects but also selects the presets.

Your BASS V-AMP/BASS V-AMP PRO is equipped with standard 5-prong DIN
MIDI connectors. To connect your unit with other MIDI equippment, you will
need a MIDI cable. Pre-packed cables available at stores are usually used for
thispurpose.

MIDI IN: Used to receive MIDI control data. The MIDI channel is set up in EDIT
mode by pressing the A key and subsequently using the arrow keys.

tip

(signal)

Fig. 8.2: ¼" TS conne ctor

Balanced ¼" TRS connector

strain relief clamp

sleeve
ring
tip

sleeve

ground/shield

ring

cold (-ve)

tip

hot (+ve)

For connection of balanced and unbalanced plugs,
ring and sleeve have to be bridged at the stereo plug.

Fig. 8.3: ¼" TRS connector

MIDI OUT/THRU: MIDI OUT lets you send data to another computer or another
piece of MIDI equipment. Preset data as well as parameter changes are
transmited. When you reroute the connector to MIDI THRU, your BASS V-AMP/
BASS V-AMP PRO sends no MIDI data of its own; instead, it merely forwards the
data received at MIDI IN (see chapter 2.1, (8) A).

8.4 .1 Receiving/sending MIDI-Sysex data

The BASS V-AMP/BASS V-AMP PRO can receive a SysEx dump from another MIDI
unit as long as MIDI function in EDIT mode is activated (A key). However, this also
automatically overwrites all BASS V-AMP/BASS V-AMP PRO presets. You can also
send MIDI data to another MIDI device (total dump). While in EDIT mode, keep the
MIDI key pressed until you get “d” shown in the display. Sending a “total dump“
lets you transfer the entire memory contents to another MIDI sequencer and save
it there.

It is also possible to send just one selected preset to another MIDI device:
switchinto EDIT mode by simultaneously pressing both arrow keys on the
sending device, activate the MIDI function and tap the MIDI key briey.
Presetinformation are then located in the temporary buer, and can be saved
ata desired presetlocation.

17 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

8.5 AES/EBU and S/PDIF standards

In general, there are two dierent standards when the subject is digital signal
processing. AES/EBU is the professional, balanced connection with XLR jack
connectors. This interface is based on two identical protocols published in
November 1985 by the European Broadcast Union (EBU Tech. 3250-E) and in
December 1985 by the Audio Engineering Society (AES3-1985). Sony and Philips
oriented themselves around this standard and developed an additional interface
with unbalanced signal routing and several important dierences that primarily
have to do with allocating channel status bits. This standard, named after the
two com-panies (S/PDIF = Sony/Philips Digital Interface) uses either cinch jacks
or a digital connection with optical cables. It is relevant mostly because of the
attempt to introduce copy protection embedded in the IEC 958 norm. This norm
describes both the re-worked AES/EBU interface that has been modied to work
with the S/PDIF format and described as IEC 958 Typ I (Professional). The formal
description of the S/PDIF interface is IEC 958 Typ II (Consumer).

9. Specications

BASS V-AMP

Audio Inputs

Instrument Input ¼" TS connector, unbalanced

Input impedance 1 M

Max. input level +3 dBu

AUX IN ¼" TRS connector, balanced

Input impedance 50 k

Audio Outputs

Analog Line Outputs L/R ¼" TS connectors, unbalanced

Output impedance approx. 680 

Max. output level +20 dBu

Headphones ¼" TRS connector, unbalanced

Max. output level +15 dBu/100  (+23 dBm)

MIDI

Type 5-pole DIN jacks IN, OUT/THRU

Digital Signal Processing

Converter 24-bit Delta-Sigma,

64/128-times oversampling

Dynamics A/D 100 dB @ preamp bypass

Dynamics D/A 92 dB

Sample rate 31.250 kHz

DSP 100 Mips

Delay time max. 1023 ms stereo/sampler delay:

15.36 s

Run time (Line In  Line Out) approx. 5 ms

Display

Type 2-digit 7-segment-LED display

Power Supply

Mains Voltage

USA/Canada 120 V~, 60 Hz

U.K./Australia 240 V~, 50 Hz

Europe 230 V~, 50 Hz

China/Korea 220 V~, 50Hz

Japan 100 V~, 50 - 60 Hz

Power consumption 13 W

Mains connection external power supply

18 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

Dimensions/Weight

Dimensions (H x W x D) 2 ½ x 9 ¼ x 7 ⁄"

63 x 236 x 180 mm

Weight approx. 4.4 lbs / approx. 2 kg

BASS V-AMP PRO

Audio Inputs

Instrument Input ¼" TS connector, unbalanced

Input impedance 1 M

Max. input level +3 dBu

Pre DSP Return Line In ¼" TS connector, unbalanced

Input impedance 45 k

Max. input level +9 dBu

Post DSP Insert Return L/R ¼" TS connector, unbalanced

Input impedance 40 k

Max. input level +8 dBu

Digital Outputs

XLR transformer-balanced

Output impedance 110 

Nom. output level 3.5 V peak-to-peak

RCA not grounded, unbalanced

Output impedance 75 

Nom. output level 0.5 V peak-to-peak

Format AES/EBU or S/PDIF, selectable

Sample rate 44.1/48/96 kHz internal; 32 - 96 kHz

wordclock, sample rate converter

Wordclock Input

BNC coaxial

Input impedance 50 k

Nom. input level 2 - 6 V peak-to-peak

MIDI

Type 5-pole DIN jacks IN, OUT/THRU

Audio Outputs

Analog Line Outputs L/R ¼" TS connectors, unbalanced

Output impedance approx. 680 

Max. output level +20 dBu

Pre Dsp Send/Line Out ¼" TS connector, unbalanced

Output impedance <1 k

Max. output level +9 dBu

Post DSP Insert Send L/R ¼" TS connectors, unbalanced

Output impedance 1 k

Max. output level +8 dBu

Balanced Line Out XLR, balanced

Output impedance 100 

Max. output level +14 dBu (studio); 0 dBu (live)

Headphones ¼" TRS connector, unbalanced

Max. output level +15 dBu/100  (+23 dBm)

Digital Signal Processing

Converter 24-bit Delta-Sigma,

64/128-times oversampling

Dynamics A/D 100 dB @ preamp bypass

Dynamics D/A 92 dB

Sample rate 31.250 kHz

DSP 100 Mips

Delay time max. 1023 ms stereo/

sampler delay: 15.36 s

Run time (Line In  Line Out) approx. 5 ms

Display

Type 2-digit 7-segment-LED display

19 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

Power Supply

Mains Voltage

USA/Canada 120 V~, 60 Hz

Europe/U.K./Australia 230 V~, 50 Hz

Japan 100 V~, 50 - 60 Hz

China/Korea 220 V~, 50Hz

General export model 120/230 V~, 50 - 60 Hz

Power consumption 15 W

Fuse 100 - 120 V~: T 400 mA H

200 - 240 V~: T 200 mA H

Mains connection Standard IEC receptacle

Dimensions/Weight

Dimensions (H x W x D) 3 ½ x 19 x 5 ¼"

89 x 482.6 x 135 mm

Weight approx. 6.1 lbs / approx. 2.76 kg

BEHRINGER co nstantly str ives to maintain the hig hest quality s tandards. Modif ications may be mad e,

if necess ary, without prio r notice. The speci fications and app earance of the equipm ent may therefore di ffer from

those lis ted or illustrate d.

20 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

10. Appendix

Function Transmitted Received Remarks

Midi Channel 1 -16 1-1 6 —

Note Number N Y M IDI Bass Synth (ID 14) only

Velocity N Y —

After Touch N Y —

Pitch Bender N Y —

Control Changes

1 N (reque st only) Y Wah Peda l

7 N (reque st only) Y Volume Pedal

12 Y Y A mp Gain (0-127)

13 Y Y Am p Treble (0 -127)

14 Y Y Amp M id (0-127)

15 Y Y Am p Bass (0-127)

16 Y Y Amp Vol (0-127)

17 Y Y P resence (0-127)

18 Y Y Com pressor Densit y (0-127)

19 Y (skipped on re quest) Y Amp Type (0-32) with def ault cabinet *3

20 Y (skipp ed on request) Y Fx Type (0 -15) with def aults *1

21 Y Y Fx o/on (0/127)

22 Y Y Deep

23 Y Y Cabinet Type (0-23) *5

24 Y Y Mi d Shift/Shap e *2

25 Y Y Expander (0 -15) *10

26 Y Y Compres sor Speed (0-127)

27 Y Y Wah o/posi tion (0/1-127)

28 Y Y X-over freq uency *4(0-99)

29 Y Y X-over balance

30 Y Y Denoiser Sensitivity (0-127)

31 Y Y Denoiser Range (0-127) *11

33 Y Y Pedal simu lation (0-4) *6

34 Y Y Pedal simulati on Drive (0-127)

35 Y Y Pedal simu lation Tone (0-127)

36 Y Y Pedal simulat ion Boost (0-127)

37 Y Y Pedal simu lation Split (0-127) *12

38 Y Y Compresso r on/o (0/127)

39 Y Y post FX M ode (0-15) *7

40 Y Y post FX Par 1*7

41 Y Y po st FX Par 2*7

42 Y Y post FX P ar 3*7

43 Y Y post FX P ar 4*7

44 Y Y post FX Par 5*7

45 Y Y post FX Pa r 6*7

46 Y Y post FX Par 7*7

48 Y Y pre FX Mode*9

49 Y Y pre FX Par 1*9

50 Y Y pre FX Par 2*9

51 Y Y pre FX Par 3* 9

55 N Y (if FX=Delay/Lo op) Sampler REC *8

56 N Y (if FX=Delay/Loop) Sampler PL AY *8

57 N Y (if FX=Delay/Loop) Sampler STO P *8

58 N Y (if FX=Delay/Loop) Sampler SPEED * 8

59 N Y (if FX=Delay/Loo p) Sampler REVERSE *8

21 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

Function Transmitted Received Remarks

60 N Y (i f FX=Delay/Loop) Sampler PLAY ONCE *8

61 N (request only) Y Amp Type (0 -32) w/o cabinet c hange

64 N Y Tap (Value > 63)

80 N Y Req uest Controls (Val ue = 80)

81 N (req uest only) Y Set Pos (0 -15), Set Charac ter (32-127)

82 Y Y Tuner Bypass Volum e (0-127)

83 Y Y Tuner Center Frequency (25-55)

84 Y Y Conguration (0-5=S1,S2,S3,L1,L2,L3)

85 Y Y Live EQ Treble (0-127)

86 Y Y Live EQ Mid (0-127)

87 Y Y Live EQ Bass (0 -127)

88 Y Y

89 Y Y Global Inpu t Gain (0-127)

Program Change Y (0-124) Y (0 -124,127) 127=Tuner, toggle on/o

System Exc lusive Y Y see SysEx D ocumentation

System Common N N —

System Real T ime N N —

Running Status Y (2s T imeout) Y —

Digital O ut (44.1/48/96/ex t., bit 2=pro)*13
(PRO models o nly)

Tab. 10.1: MIDI imple mentation

MIDI Controller 55 56 57 58 59 60

Function REC P LAY S TOP SPEED REVERSE PL AY ONCE

Controller value REC GAIN PLAY GAIN / PLAY SPEED DIRECTION /

Range 0-12 7 0 -127 / 0=o,1=half,2=normal 0 =o ,1=r ew /

Tab. 10.2: MIDI control lers of the delay/loo p eect

22 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual

FEDERAL COMMUNICATIONS
COMMISSION COMPLIANCE
INFORMATION

BASS V-AMP LX1B/
BASS V-AMP PRO LX1B PRO

Responsible Party Name: MUSIC Group Services US Inc.

Address: 18912 North Creek Parkway,

Suite 200 Bothell, WA 98011,
USA

Phone/Fax No.: Phone: [phone]

Fax: [phone]

BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO

complies with the FCC rules as mentioned in the followingparagraph:

This equipment has been tested and found to comply with the limits for a ClassB
digital device, pur suant to part 15 of the FCC Rules. These limits are designed
to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses and can radiate radio frequency
energy and, if not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a par ticular installation. If this equipment does cause
harmful interference to radio or television reception, which can be determined
by turning the equipment o and on, the user is encouraged to try to correct the
interference by one or more of the followingmeasures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit dierent from that to which the

receiver is connected.

• Consult the dealer or an experienced radio/TV technician forhelp.

This device complies with Part 15 of the FCC rules. Operation is subjec t to the
following two conditions:

(1) this device may not cause harmful interference, and
(2) this device must accept any inter ference received, including inter ference that may
cause undesired operation.

Important information:

Changes or modications to the equipment not expressly approved by MUSIC Group
can void the user’s authority to use the equipment.

We Hear You