Behringer DJ Equipment 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

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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

IS COPYRIGHTED. NO PART OF THIS MANUAL MAY

BE REPRODUCED OR TRANSMITTED IN ANY FORM

OR BY ANY MEANS, ELECTRONIC OR MECHANICAL,

Important Safety

Instructions

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 INCLUDING PHOTOCOPYING AND RECORDING OF ANY

provided plug does not ﬁt into your outlet, consult an

electrician for replacement of the obsolete outlet.

KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS

WRITTEN PERMISSION OF MUSIC GROUP IP LTD.

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.

Trident Chambers, Wickhams Cay, P.O. Box 146,

Road Town, Tortola, British Virgin Islands

Terminals marked with this symbol carry

electrical current of suﬃcient magnitude

to constitute risk of electric shock.

11. Use only attachments/accessories speciﬁed by

the manufacturer.

Use only high-quality professional speaker cables with

¼" TS or twist-locking plugs pre-installed. All other

installation or modiﬁcation should be performed only

by qualiﬁed personnel.

12. Use only with the

cart, stand, tripod, bracket,

or table speciﬁed by the

LIMITED WARRANTY

§ 1 Warranty

manufacturer, or sold with (1) This limited warranty is valid only if you purchased

the apparatus. When a cart the product from a MUSIC Group Authorized Reseller in

This symbol, wherever it appears,

alerts you to the presence of uninsulated

dangerous voltage inside the

is used, use caution when

the country of purchase. A list of authorized resellers can

moving the cart/apparatus be found on BEHRINGER’s website behringer.com under

enclosure - voltage that may be suﬃcient to constitute a

risk of shock.

combination to avoid

“Where to Buy”, or you can contact the MUSIC Group oﬃce

closest to you.

injury from tip-over.

This symbol, wherever it appears,

alerts you to important operating and

maintenance instructions in the

13. Unplug this apparatus during lightning storms or

(2) MUSIC Group* warrants the mechanical and

when unused for long periods of time.

electronic components of this product to be free of defects

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

period is mandated by applicable local laws. If the product

shows any defects within the speciﬁed 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.

In case MUSIC Group decides to replace the entire product,

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.

14. Refer all servicing to qualiﬁed service 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.

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

qualiﬁed personnel.

Caution

To reduce the risk of ﬁre or electric shock,

do not expose this appliance to rain and

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.

moisture. The apparatus shall not be exposed to dripping

or splashing liquids and no objects ﬁlled with liquids,

such as vases, shall be placed on the apparatus.

Caution

These service instructions are for use

by qualiﬁed service personnel only.

(3) Upon validation of the warranty claim, the repaired

or replacement product will be returned to the user

freight prepaid by MUSIC Group.

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 qualiﬁed

service personnel.

(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.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

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

§ 2 Online registration

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry cloth.

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 eﬃciently.

Thank you for your cooperation!

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 ampliﬁers) that produce heat.

§ 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 Fulﬁller for your country listed under

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

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

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.

•

connection or operation of the unit in any way

that does not comply with the technical or safety

regulations applicable in the country where the

product is used;

(3) This warranty does not detract from the seller’s

obligations in regard to any lack of conformity of the

product and any hidden defect.

§ 9 Amendment

•

damage/defects caused by acts of God/Nature

(accident, ﬁre, ﬂood, etc) or any other condition that

is beyond the control of MUSIC Group.

Warranty service conditions are subject to change without

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.

(7) Any repair or opening of the unit carried out by

unauthorized personnel (user included) will void the

limited warranty.

* MUSIC Group Macao Commercial Oﬀshore Limited of

Rue de Pequim No. 202-A, Macau Finance Centre 9/J, Macau,

including all MUSIC Group companies

(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.

(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.

(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

notiﬁcation, 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.

(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.

(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 conﬁrmations or sales receipts are not

accepted for warranty veriﬁcation and MUSIC Group will

not repair or replace any product purchased through an

online auction.

(2) This limited warranty does not cover the product

if it has been electronically or mechanically modiﬁed

in any way. If the product needs to be modiﬁed 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 modiﬁcation/adaptation shall not be considered a

defect in materials or workmanship. This limited warranty

does not cover any such modiﬁcation/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 modiﬁcation/adaptation.

§ 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.

(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.

§ 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.

(4) This limited warranty is invalid if the

factory-applied serial number has been altered or

removed from 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.

(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.

§ 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.

(6) Damage/defects caused by the following conditions

are not covered by this limited warranty:

(2) The limited warranty regulations mentioned herein

are applicable unless they constitute an infringement of

applicable mandatory local laws.

•

improper handling, neglect or failure to operate the

unit in compliance with the instructions given in

BEHRINGER user or service manuals;

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

1. Introduction

◊

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.

Congratulations! By purchasing the BASS V-AMP/BASS V-AMP PRO, you have

selected a modern virtual bass ampliﬁer 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 eﬀects.

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 ﬁnally able to oﬀer bass players

the same diversity of sound.

Please make sure the unit is provided with suﬃcient ventilation, and never place

the BASS V-AMP/BASS V-AMP PRO on top of an ampliﬁer 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.

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 terriﬁc improvement.

◊

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.

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 oﬀers authentic

amp and even speaker sounds—all this without having to transport heavy

equipment! Additionally, the most modern multi-eﬀects 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.

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

Future EPROM updates will make sure your BASS V-AMP/BASS V-AMP PRO always

has the latest software and features.

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.

BEHRINGER is a company in the ﬁeld 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 ampliﬁers,

Should your BEHRINGER product malfunction, it is our intention to have it

repaired as quickly as possible. To arrange for warranty service, please contact

digital eﬀects units etc.), monitoring and PA loudspeakers as well as professional the BEHRINGER retailer from whom the equipment was purchased. Should your

live and recording mixing consoles. Our entire technical know-how has gone into BEHRINGER dealer not be located in your vicinity, you may directly contact

creating your BASS V-AMP/BASS V-AMP PRO.

one of our subsidiaries. Corresponding contact information is included in the

original equipment packaging (Global Contact Information/European Contact

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).

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 oﬀer a wide array of diﬀerent 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 oﬀers you a maximum set of features in a

compact unit that can be ﬁgured out in no time.

Registering your purchase and equipment with us helps us process your repair

claims more quickly and eﬃciently.

Thank you for your cooperation!

2. Control Elements

But enough talking: Nothing will convince you more than the shear joy of what

you will hear and feel the ﬁrst time you play with your BASS V-AMP/BASS V-AMP An illustration of all control elements is located on the separate sheet included

PRO. You will experience a latest-generation virtual bass ampliﬁer with

fascinating features:

with this user’s manual. The controls on both devices are numbered the same

way. How the two versions diﬀer 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.

•

Extreme sound variety and ﬂexible output routing options for bass players

Multi eﬀects, amp and loudspeaker simulations for keyboard players

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 “Oﬀ“ position (depressed) whenever you ﬁrst

connect the unit to the mains.

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 distortion pedal simulations.

◊

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.

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.

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

amp simulation.

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.

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

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

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◊

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.

•

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 oﬀ the speaker simulation (“-”). Additional information is available in

chapter 5.2.

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

•

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

cut-oﬀ frequency between high-pass and low-pass ﬁlter. This is done in

50 gradients (please also see chapter 6.3).

◊

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.

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).

(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.

◊

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.

◊

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 ﬁrst 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.

◊

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.

◊

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.

(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.

(8) These ﬁve keys are used (among other things) for preset selection 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:

(11) The TAP key has eight functions:

•

“Tap”: Tap the TAP key in the rhythm of a tune, and the selected eﬀect

•

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

adjusts automatically to the appropriate speed.

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

•

“Deep”: 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.

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.

•

“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).

B: Switches the DRIVE function on and oﬀ. When DRIVE is enabled, the

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

Our BEHRINGER SHAPE ﬁlter is automatically activated with amp simulations

that do not have such a function (as described above) in the original.

•

GAIN regulates the distortion degree (“DRIVE”).

The VOLUME control regulates an additional volume

control (“BOOST”).

•

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

PRESENCE in a particular amp simulation.

•

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

pedal (“TONE”).

“2nd parameter”: The second eﬀect parameter (regulated by the EFFECTS

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

Well-known ﬂoor eﬀects units are simulated with these setups.

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

simulation by using the AMPS control.

◊

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.

•

“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) ).

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

be used.

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

(12) DISPLAY shows the selected eﬀects 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.

◊

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.

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.

(17) The connector labeled INPUT is the 1" 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 connector 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.

Fig. 2.1: BASS V-AMP PRO display

Clock

LED ext.

—

LED 48 kHz

LED 96 kHz

internal 44.1 kHz

internal 48 kHz

internal 96 kHz

external (any frequency)

—



—



—



—

Tab. 2.1: Output formats and LED allocation in the diplay (BASS V-AMP PRO only)

(13) The EFFECTS control lets you select an eﬀects preset or a combination of

several eﬀects. This continuously turnable control is surrounded by a circle of

16 LEDs. Each eﬀect has a corresponding LED.

2.2 Rear panel of the BASS V-AMP PRO

(20) You can insert external eﬀects into the serial insert loop featured on the

BASS V-AMP PRO. The SEND/LINE OUT connector is connected to the input

of your eﬀects 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 eﬀects portion).

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

turn the COMPRESSOR control as far left as possible without triggering

oﬀ 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:

Please connect the RETURN/LINE IN connector with the output of your

external eﬀects processor or recorder.

•

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 eﬀect

acts as a limiter.

◊

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.

•

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

set the attack parameter of the com-pressor.

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.

◊

More detailed information about how a compressor works can be found

in chapter 5.3.

(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.

(15) When an eﬀect is selected using the EFFECTS control (13), the proportion

with which this eﬀect inﬂuences the entire sound is regulated using

the EFFECTS MIX control. As long as no LED lights up while turning the

control leftwards, no eﬀect is mixed in. This is also called an eﬀect bypass,

and mutes all eﬀects accross the board.

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

to the outputs of your external stereo eﬀects processor. The signal taken at

the POST DSP SEND (OUT) outputs (25) is brought back into these jacks.

◊

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).

(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).

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

BASS V-AMP PRO.

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(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.

(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.

(25) The connection to the inputs of an external stereo eﬀects 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).

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 diﬀerent 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 diﬀerently. 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 eﬀects signal at the output does not necessarily have to be

identical for both sides (see table 3.1).

(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).

3.1 Selecting an operating mode

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

The connector is preconﬁgured in the MIDI Out setting at the assembly plant, (CONFIGURATION)

but it can be switched to MIDI Thru (see (8) A).

Your BASS V-AMP/BASS V-AMP PRO is set to studio 1 (S1) operating mode when

(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.

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 diﬀerent

operating modes. To exit this mode, press TUNER once.

(31) SERIAL NUMBER.

Various operating modes are described on the following pages in greater detail.

To adjust the output level of your instrument, use a speciﬁc 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.

(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”).

◊

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.

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

the unit.

3.2 Standard setup

2.3 BASS V-AMP connectors (side)

To use your BASS V-AMP/BASS V-AMP PRO at the practice room, connect the

unit as described in ﬁg. 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 ﬁve presets

contained in a preset bank, or you can power up the tuner.

(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

conﬁgured to MIDI Out at the assembly plant, but it can be reconﬁgured 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.

Live modes L1 and L2 featured in ﬁgures 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 (ﬁg. 1.4 and 2.5), you can alternate between diﬀerent 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 ﬁg. 1.3 and 1.5).

(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.

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 ﬂexibility 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.

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

connector. This will enable you to alternate between diﬀerent 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 oﬀ.

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

AUX LEVEL control.

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.

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◊

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.

BASS V-AMP

OUTPUTS L OUTPUTS R

Stereo operation with the selected Stereo operation with the selected

BASS V-AMP PRO

Operation

mode

OUTPUTS L OUTPUTS R

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

as feedback may occur.

Studio 1 (S1)

Studio 2 (S2)

eﬀects and speaker simulations eﬀects and speaker simulations

Amp w/out

Amp,

Cab Sim + FX

Amp w/out

FX + Cab Sim

Amp,

Cab Sim + FX

FX + Cab Sim

4. Presets of the BASS V-AMP/

BASS V-AMP PRO

XLR/Phones: ULTRA-G active

(digital Cab Sim out)

DI Out

(unprocessed

direct signal)

Amp,

Studio 3 (S3)

Live 1 (L1)

Cab Sim + FX

Amp w/out FX

Amp + FX

The BASS V-AMP/BASS V-AMP PRO features 125 rewritable presets, divided into

25 banks. Therefore, there are ﬁve presets per preset bank. Each preset consists

of a maximum of ﬁve “ingredients”:

Stereo operation:

Live EQ, Amp, Cab Sim and FX

Stereo operation:

Live EQ, Amp, Cab Sim and FX

Bi-Amping mode w/out Cabinet

Simulation XLR/PHONES:

ULTRA-G active

Bi-Amping mode w/out

Cabinet Simulation

•

the simulation of an ampliﬁer (incl. GAIN, EQ and VOLUME settings),

the loudspeaker simulation,

Live 2 (L2)

HP: Live EQ,

Amp, FX

LP: without

eﬀects

HP: Live EQ,

Amp, FX

LP: w/out eﬀect

section

a “pre-amp” eﬀect (e.g. Denoiser, Auto Wah, Wah Wah),

For Amp with

Live EQ w/out

Cab Sim

For Amp w/out

Live EQ with

Cab Sim

XLR/Phones: ULTRA-G active

(digital Cab Sim out)

Stereo: Amp, FX + Live EQ

Live 3 (L3)

a “post-amp” multi eﬀect (e.g. stereo delay, modulation eﬀect or a

combination of both) and

Tab. 3.1: Operating modes of the BASS V-AMP/BASS V-AMP PRO with application examples

•

the compressor setting.

3.3 Recording situation

An overview of all presets of your BASS V-AMP/BASS V-AMP PRO is included with

this user’s manual.

Depending on the recording situation and the desired eﬀect, all studio

modes come into play (S1, S2 und S3). While S1 carries the complete signal

(including all amps, speakers and eﬀects 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 eﬀects. A typical home recording

setup is shown in ﬁg. 1.3.

4.1 Recalling presets

The most recently used preset is automatically recalled each time you power the

unit on. The following example in ﬁg. 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 eﬀects applied (left output). Since the

In this case you can press the keys A, B, C or E to recall a diﬀerent preset of the

same preset bank. You can select a diﬀerent preset bank by pressing either one of

the two arrow keys.

BASS V-AMP PRO has an additional PRE DSP INSERT, this operating mode

(known as “Re-Amping”) is possible in every output mode (see ﬁg. 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.

The display of the BASS V-AMP/BASS V-AMP PRO always shows which preset bank

is selected. To recall a preset after selecting a diﬀerent 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.

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 (ﬁg. 2.5).

3.4 Live setup with a connection to an external

bass ampliﬁer

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 (ﬁg. 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.

Fig. 4.1: Recalling presets

The advantage of this application: You are ultra-ﬂexible, since you can set up the

necessary monitor volume/tone needed for the stage directly on the external

bass ampliﬁer, and at the same time utilize the various sound options of the

4.2 Editing presets

BASS V-AMP/BASS V-AMP PRO. When you use the R/DI output of the BASS V-AMP Editing presets on your BASS V-AMP/BASS V-AMP PRO is simple and quick to do.

to control your mixing console, the front mix beneﬁts from the unique sound You can for example recall a preset in order to modify it. To do so, select a desired

achieved by the BASS V-AMP, which is optimized for P.A. applications by virtue of amp model by turning the AMPS control to the desired amp model. The preset

utilizing the equalizer in the channel strip of the mixing console.

key LED ﬂashes (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 eﬀect by using the EFFECTS control, you can

modify its part of the entire sound by using the EFFECTS MIX control.

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To get into the EDIT mode, press both arrow keys simultaneously. By using the

Powering up your BASS V-AMP/BASS V-AMP PRO automatically loads the preset

keys B - E, you can activate the DRIVE, CABINETS, X-OVER and DENOISER functions you used most recently. The LED circle surrounding the AMPS control shows

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,

brieﬂy press the TUNER key.

which amp is currently selected: its respective LED is on. By turning the control,

you can select a diﬀerent 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 ﬁlter in the upper frequency range (see (6)).

By turning the TREBLE control while the TAP key is pressed, you can lower

or increase an additional ﬁlter in the upper frequency range (PRESENCE).

This simulates the frequency-dependant decoupling of tube amps.

As a rule, you ﬁrst select an amp, then a cabinet and ﬁnally an eﬀect.

◊

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

parameter present in all multi-effects. 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.

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.

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.

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 (Jeﬀ Beck Group) and Roger Glover (Deep Purple).

4.4 Overriding edits/Restoring single

factory presets

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

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 remains warm even in high drive settings, and gets a natural-sounding distortion

conﬁguration: Simply select a diﬀerent preset. Each time you recall a diﬀerent

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 factory preset,

you still have to save it again by keeping the respective preset button for roughly

two seconds.

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.

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.

THUNDERBIRD: This simulation leans in the direction 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.

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.

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 eﬀect and a preferred

degree of compression for your virtual amp (see chapter 4, “BASS V-AMP/

BASS V-AMP PRO PRESETS”).

ROCK CLASSIC: A little quiz question: what’s the name of the bass amp that has

been manufactured for the past 30 years, without modiﬁcations, 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 often.

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SILVER PANEL: This simulation reproduces the ’67 Fender Bassman—it’s an amp NUMETAL GAIN: This amp’s role model was a 1994 Mesa Boogie Dual Rectiﬁer

from the legendary “Silverface” series. Shortly after its introduction it became

many a bass player’s absolute darling. Paul McCartney used the Bassman on the

later Beatles albums and also used it on his ﬁrst solo album with the Wings.

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.

WHITE PANEL: What would the ’80s be without their typical bass sound?

This decade was hugely inﬂuenced 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).

CUSTOM HI GAIN: This sound originates in the sound of a ’69 50-Watt Marshall

Plexi Pate modiﬁed 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

ﬁnd more gain than they could ever ask for.

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 ﬁnds its home in many bass racks due to its rich tone possibilities.

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 eﬀect 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.

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 starting 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.

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.

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.

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.

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 ﬁnd this

sound just right.

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.)

◊

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.

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 ﬁnds 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.

ORGAN CLASSIC: Here we have a simulation of a Leslie 760 amp that strongly

inﬂuenced 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 eﬀect 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.

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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.

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

Amps 1 - 16 (white)

BRITISH '60s

Amp # Cabinet simulation (default setting)

Cab #

68 Marshall 4 x 12"

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 Jeﬀ Beck. This amp model is therefore

located among the keyboard models because you can create the organ sound

inﬂuenced by John Lord (Deep Purple).

BRITISH '70s

68 Marshall 4 x 12"

BRITISH '80s

Trace Elliot 4 x 10"

BRITISH POP

Voc AC100 2 x 15"

THUNDERBIRD

MOSOUND

1 x 8" Tweed

Ampeg B15 1 x 15" Closed Back Combo

Ampeg SVT 8 x 10" '79

Fender Bassman 2 x 15" with JBLs

6 x 10" SWR Goliath Senior

Ampeg 4 x 10"

CLASSIC CLEAN: In the ’80s, the chorus eﬀect 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.

ROCK CLASSIC

ROCK 2

SILVER PANEL

WHITE PANEL

RED PANEL

GOLD PANEL

Fender, Vox, Marshall, Mesa Boogie, Leslie, Roland, Motown, Ampeg, Gallien-Krueger, SWR, Eden as well as the

names of musicians and music groups are registered trademarks of their respective owners and are in no way

associated with BEHRINGER.

CALIFORNIAN

JAZZ TONE

Mesa/Boogie 2 x 15"

Polytone A101, 1 x 15" Closed Back Combo

Ampeg SVT 18E, 1 x 18"

No Cabinet-Simulation

BOTTOM END

TUBE PREAMP

Amps 17 - 32 (grey)

BRITISH CLASS A

MODERN HI GAIN

RECTIFIED HIGH GAIN

CUSTOM HI GAIN

ULTIMATE PLUS

CRUNCH V-AMP

DRIVE V-AMP

BRIT. HIGH GAIN

PIEZO SIM.

—

Cab #

—

5.2 Speaker descriptions

Amp # Cabinet simulation (default setting)

The sound of a bass combo depends a great deal on the speaker type and

combination. We saw a lot of experimentation in this ﬁeld in the past 50 years.

The goal was to ﬁgure 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.

2 x 12" Twin Combo

4 x 12" V-AMP Custom

4 x 12" Vintage 30

4 x 12" '78 Std.

4 x 12" V-AMP Custom

4 x 12" '78 Std.

Among other things, the character of a speaker is determined by its power rating,

impedance, sound pressure level and its size.

4 x 12" Vintage 30

4 x 12" '78 Std.

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.

No Cabinet-Simulation

2 x 12" Twin Combo

Leslie 760 Cabinet, 1 x 15" + HF Horn

4 x 12" '78 Std.

MIC. SIM.

MAGNETIC EQ

PIEZO EQ

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 ﬁnd 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.

BLACK TWIN

ORGAN CLASSIC

BRITISH CLASSIC

CLASSIC CLEAN

PREAMP BYPASS

2 x 12" V-AMP Custom

No Cabinet-Simulation

◊

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.

Tab. 5.1: Assignment of cabinet simulations to amp models

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

6. Eﬀects Processor

Cabinet simulations

The integrated multi-eﬀects processor is a distinctive feature of your

BASS V-AMP/BASS V-AMP PRO. This eﬀects module oﬀers you 16 diﬀerent

groups of ﬁrst-class eﬀects, such as chorus, ﬂanger, stereo delay, rotary cab.,

synth as well as various combination eﬀects. Additionally, you can use an extra

wah wah eﬀect 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.

—

BYPASS (NO SPEAKER SIMULATION)

AMPEG SVT 8 x 10" '97

TRACE ELLIOT 4 x 10"

SWR GOLIATH 4 x 10"

AMPEG 4 x 10"

GALLIEN KRUEGER B120

68 MARSHALL 4 x 12"

◊

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).

AMPEG B15 1 x 15" CLOSED BACK COMBO

POLYTONE A101 1 x 15" CLOSED BACK COMBO

VOX AC100 2 x 15"

MESA/BOOGIE 2 x 15"

FENDER BASSMAN 2 x 15" WITH JBLs

LESLIE 760 CABINET, 1 x 15" + HF-DRIVER

SWR 1 x 18"

The eﬀects can be edited in three parameters:

1. By rotating the EFFECTS control.

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

AMPEG SVT 18E, 1 x 18"

SUNN COLISEUM 1 x 18" + 1 x 12"

1 x 8" TWEED

3. By pressing the TAP key in the beat of a music piece. Table 6.1 shows the

eﬀects parameters of your BASS V-AMP/BASS V-AMP PRO.

1x 12" MID

◊

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

twice in the beat of the music.

2 x 12" TWIN COMBO

2 x 12" V-AMP CUSTOM

4 x 12" VINTAGE 30

6.1 Pre-amp eﬀects

4 x 12" '78 STD.

4 x 12" OFF AXIS

EFFECTS +

TAP button

Controller 49

EFFECTS

Controller 48

MIDI 1

Eﬀect no. PRE FX

4 x 12" V-AMP CUSTOM

Controller 50

Tab. 5.2: Overview of cabinet simulations

MIDI WAH

—

P-FUNK'N

Depth

Sensitivity

Base frequency

5.3 Denoiser and compressor

AUTO WAH

DENOISER: A Denoiser is used to remove or minimize noise or other interference

sounds. Such noise becomes particularly apparent during pauses. The time-

proven BEHRINGER denoiser removes or reduces such noise very eﬀectively.

Tab. 6.2: Pre FX

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

Explaining it would be surely more diﬃcult 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.

A dynamic low-pass ﬁlter eliminates the noise present in the signal, while the

integrated expander supresses noise during pauses. Concerning this dynamic

ﬁlter you can adjust frequency range and sensitivity, while the expander adjusts

both the threshold and the time parameter.

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 ﬁlter eﬀect.

The most famous user of this eﬀect is probably Bootsy Collins. The MuTron III had

an up/down switch. Here, the eﬀect resembles the MuTron in the down position.

◊

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.

AUTO WAH: The American funk in the ’70s proved that auto wah had many

possible applications. Instead of regulating the ﬁlter frequency with your foot,

our eﬀect does this automatically, depending on the signal level. In doing so,

our eﬀect is similar to the MuTron III in the up position.

Letting the compressor kick in strongly (done by turning the EFFECTS control

clockwise) tightens the entire dynamic of the signal. This dynamic eﬀect is the

one that is most used in a connection with an electric bass. On the other hand,

a limiter cuts oﬀ the signal above a set threshold to prevent distortion.

◊

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

◊

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

independently from the integrated multi-effects processor.

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

EFFECTS +

EFFECTS

Controller 40

TAP button

Controller 46

MIDI 1

Controller 42

MIDI 2

Controller 43

MIDI 3

Controller 44

MIDI 4

Controller 45

Eﬀect no. POST FX

TAP button

Controller 41

VCF + FLANGER

VCF Mix

Delay Mix

Reverb Mix

Ambience

Mix

Flanger Mix

Chorus Mix

Feedback

Decay

VCF Speed

Delay Time

—

Speed/Depth

Feedback

—

Flanger Feedback

VCF Frequency

VCF Q

Delay Time

—

DELAY + CHORUS

STEREO DELAY

DELAY / LOOP

REVERB

Feedback LP

Speed/Depth

—

Feedback LP

—

Damping

Size

Diﬀusion

—

AMBIENCE

VOICE BOX

ULTRABASS

ROTARY CAB.

PHASER

Decay

—

Vowel

Speed

—

Pedal

—

SubMix

Mix

Sensitivity

Balance

—

Speed

—

Split Frequency

Feedback LP

Intensity

—

Mix

Feedback

Speed/Depth

Variation

Stereo Spread

—

FLANGER

Mix

—

CHORUS

Mix

—

STEREO CHORUS

SYNTH

Mix

—

Synth Mix

—

Interval

—

Key

—

MIDI SYNTH

—

Reverb

—

Tab. 6.1: Post FX and MIDI controller

6.2 (OVER)DRIVE simulations

Our overdrive simulations oﬀer you a selection of classic stomp box eﬀects.

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 = oﬀ (bypass)/left to right: 41 - 600 Hz). The illustration displays

the frequency range.

6.3.1 Reverb and delay algorithms

DELAY+CHORUS: This algorithm combines a delay and the ever-popular

chorus eﬀect.

ST. DELAY: A delay of the input signal. Diﬀerent tempo settings enable you to

produce interesting delay eﬀects. This way, you can quickly create repititions

particularly with “slapping” that wouldn’t even be possible without a delay.

CLASSIC CL

BOT TOM END

BRITISH CL ASSIC

174Hz

JAZZ TONE

145Hz

121Hz

101Hz

209H_Oz_{RGAN CL}

ASSIC

DELAY/LOOP: This function allows you to jam along with your own signal.

To do that, record with the delay/loop eﬀect a short sequence (max. 15.36 sec.).

This sequence can be played back in an endless loop.

^CALI2^FO5^R1^NIH^ANz

BL ACK T WIN

SHIFT [TONE]

GOLD PANEL

301Hz

PIEZO EQ

RED PANEL

84Hz

70Hz

^{MAGNETIC EQ}362Hz

WHITE PANEL

MIC SIM.

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.

^{SILVER P}4^AN1^E6^LHz

PIEZO SIM.

ROCK

BRIT. HI GA

58Hz

49Hz

_ACOUST4_IC70Hz

531Hz

600Hz

REVERB: The reverb is still the most important eﬀect in a mixdown or during a

live event. A reverb is used to add ambience to an otherwise “dry” sound.

DEEP [SPLIT]

41Hz

AMBIENCE: This eﬀect simulates a room without reﬂexions.

Fig. 6.1: SPLIT steps

6.3.2 Modulation eﬀects

6.3 Post-amp eﬀects

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 eﬀect 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).

The post-amp eﬀects described in the following paragraphs are located post amp

and cabinet simulations in the signal chain. An integrated crossover determines

at what frequency the eﬀects start working and regulates the bass information

when the unit is used without eﬀects. The cut-oﬀ 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 aﬀected by the eﬀects. When, for example, “8” is shown

in the display, this means that frequencies under 80 Hz remain unaﬀected by

the eﬀects.

FLANGER: A ﬂanger modulates the tone pitch of a signal upwards and

downwards at a constant tempo.

(STEREO) CHORUS: This eﬀect subtly detunes the original signal. This way,

a pleasant eﬀect is created in combination with a tone pitch variation. This eﬀect

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

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 and harsh.

to the left = low pass signal only, all the way to the right = high pass signal only).

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

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.

6.3.3 Special eﬀects

VCF+FLANGER: The combination of ﬁlter and ﬂanger eﬀect.

The so-called “chamber tone a” has been continually revised upwards ever

since it was ﬁrst measured: tuning forks of Bach, Handel or Mozart were at 415,

420 or 421 Hz (vibrations pro second).

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 eﬀect via a MIDI

foot controller.

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.

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 ampliﬁers have no

subharmonic function. The ULTRABASS processor, which has also found home in

various BEHRINGER bass amps, makes creating this eﬀect a no-brainer. You will

be amazed how ultra-low the sounds created with the ULTRABASS function are.

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 ﬁrst 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.

6.3.4 Virtual analog bass synth

SYNTH: This eﬀect gives you a rad three-voice synthie bass and has many

parameters that are pre-conﬁgured 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 speciﬁc 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.

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

MIDI SYNTH: The absolute highlight of your BASS V-AMP/BASS V-AMP PRO is

our MIDI SYNTH: With 40 parameters (already described), it oﬀers you the best

possible sound. You get a virtual analog MIDI synthesizer equipped with powerful 19-inch rack. Please keep in mind that you need an extra 10 cm depth for

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).

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.

We equipped the MIDI synthesizer with a complete reverb section as an

additional feature. Of course, you can access this section via MIDI.

8.2 Voltage (BASS V-AMP PRO)

ROTARY CAB.: A simulation of a classic organ eﬀect that is normally achieved

Before you connect your BASS V-AMP PRO to the mains, please check

with a terribly heavy casing and slowly or quickly rotating speakers. The physical carefully if your unit is set to the correct voltage! The fuse mount near the

principle of the Doppler eﬀect is used to modulate the signal.

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!

7. Tuner

The integrated tuner is activated by pressing the TUNER key.

◊

If you use the unit with a different voltage, you must change the fuses

accordingly. The correct value of the fuses needed can be found in the

chapter “Specifications.”

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.

◊

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.

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.

◊

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.

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

8.3 Audio connections

¼" TRS headphones connector

The input of the BEHRINGER BASS V-AMP/BASS V-AMP PRO is laid out as a mono

1" TS connector. Line Out, Aux In as well as headphones output are laid out as

stereo 1" 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 connector

(S/PDIF) and XLR connector (AES/EBU). The BNC connector is used to feed in an

external worldclock signal.

strain relief clamp

sleeve

ring

tip

sleeve

ground/shield

Balanced use with XLR connectors

ring

right signal

tip

left signal

input

Fig. 8.4: Stereo headphones connector

1 = ground/shield

2 = hot (+ve)

3 = cold (-ve)

8.4 MIDI connections

The MIDI standard (Musical Instruments Digital Interface) was ﬁrst 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 connect entire studios via MIDI.

output

For unbalanced use, pin 1 and pin 3

have to be bridged

At the center of this network is a computer with a sequencing software, used to

control not only keyboards but also eﬀects 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

eﬀects but also selects the presets.

Fig. 8.1: XLR connections

Unbalanced ¼" TS connector

strain relief clamp

sleeve

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.

tip

sleeve

(ground/shield)

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.

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).

tip

(signal)

Fig. 8.2: 1" TS connector

8.4.1 Receiving/sending MIDI-Sysex data

Balanced ¼" TRS connector

strain relief clamp

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.

sleeve

ring

tip

sleeve

ground/shield

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 brieﬂy.

Preset information are then located in the temporary buﬀer, and can be saved

at a desired preset location.

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: 1" TRS connector

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

8.5 AES/EBU and S/PDIF standards

9. Speciﬁcations

BASS V-AMP

In general, there are two diﬀerent 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 diﬀerences 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 modiﬁed 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).

Audio Inputs

Instrument Input

Input impedance

Max. input level

AUX IN

1" TS connector, unbalanced

1 MΩ

+3 dBu

1" TRS connector, balanced

Input impedance

50 kΩ

Audio Outputs

Analog Line Outputs L/R

Output impedance

Max. output level

Headphones

1" TS connectors, unbalanced

approx. 680 Ω

+20 dBu

1" TRS connector, unbalanced

+15 dBu/100 Ω (+23 dBm)

Max. output level

MIDI

Type

5-pole DIN jacks IN, OUT/THRU

Digital Signal Processing

Converter

24-bit Delta-Sigma,

64/128-times oversampling

Dynamics A/D

Dynamics D/A

Sample rate

DSP

100 dB @ preamp bypass

92 dB

31.250 kHz

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

U.K./Australia

Europe

120 V~, 60 Hz

240 V~, 50 Hz

230 V~, 50 Hz

220 V~, 50Hz

100 V~, 50 - 60 Hz

13 W

China/Korea

Japan

Power consumption

Mains connection

external power supply

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

Dimensions/Weight

Digital Outputs

Dimensions (H x W x D)

Weight

2 1 x 9 1 x 7 1/8"

63 x 236 x 180 mm

XLR

transformer-balanced

110 Ω

Output impedance

Nom. output level

RCA

approx. 4.4 lbs / approx. 2 kg

3.5 V peak-to-peak

not grounded, unbalanced

75 Ω

BASS V-AMP PRO

Output impedance

Nom. output level

Format

0.5 V peak-to-peak

AES/EBU or S/PDIF, selectable

Audio Inputs

Instrument Input

Input impedance

1" TS connector, unbalanced

Sample rate

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

wordclock, sample rate converter

1 MΩ

Max. input level

+3 dBu

Wordclock Input

Pre DSP Return Line In

Input impedance

1" TS connector, unbalanced

BNC

coaxial

45 kΩ

Input impedance

Nom. input level

50 kΩ

Max. input level

+9 dBu

2 - 6 V peak-to-peak

Post DSP Insert Return L/R

Input impedance

1" TS connector, unbalanced

40 kΩ

MIDI

Max. input level

+8 dBu

Type

5-pole DIN jacks IN, OUT/THRU

Audio Outputs

Digital Signal Processing

Analog Line Outputs L/R

Output impedance

Max. output level

1" TS connectors, unbalanced

approx. 680 Ω

Converter

24-bit Delta-Sigma,

64/128-times oversampling

+20 dBu

Dynamics A/D

Dynamics D/A

Sample rate

DSP

100 dB @ preamp bypass

92 dB

Pre Dsp Send/Line Out

Output impedance

Max. output level

1" TS connector, unbalanced

<1 kΩ

31.250 kHz

+9 dBu

100 Mips

Post DSP Insert Send L/R

Output impedance

Max. output level

1" TS connectors, unbalanced

1 kΩ

Delay time

max. 1023 ms stereo/

sampler delay: 15.36 s

Run time (Line In  Line Out)

approx. 5 ms

+8 dBu

Balanced Line Out

Output impedance

Max. output level

XLR, balanced

Display

100 Ω

Type

2-digit 7-segment-LED display

+14 dBu (studio); 0 dBu (live)

1" TRS connector, unbalanced

+15 dBu/100 Ω (+23 dBm)

Headphones

Max. output level

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

Power Supply

Mains Voltage

USA/Canada

120 V~, 60 Hz

230 V~, 50 Hz

100 V~, 50 - 60 Hz

220 V~, 50Hz

120/230 V~, 50 - 60 Hz

15 W

Europe/U.K./Australia

Japan

China/Korea

General export model

Power consumption

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 1 x 19 x 5 1"

89 x 482.6 x 135 mm

Weight

approx. 6.1 lbs / approx. 2.76 kg

BEHRINGER constantly strives to maintain the highest quality standards. Modifications may be made,

if necessary, without prior notice. The specifications and appearance of the equipment may therefore differ from

those listed or illustrated.

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

10. Appendix

Function

Transmitted

Received

Remarks

Midi Channel

1-16

—

Note Number

MIDI Bass Synth (ID 14) only

Velocity

—

After Touch

Pitch Bender

Control Changes

N (request only)

Wah Pedal

N (request only)

Volume Pedal

Amp Gain (0-127)

Amp Treble (0-127)

Amp Mid (0-127)

Amp Bass (0-127)

Amp Vol (0-127)

Presence (0-127)

Compressor Density (0-127)

Amp Type (0-32) with default cabinet *3

Fx Type (0-15) with defaults *1

Fx oﬀ/on (0/127)

Y (skipped on request)

Deep

Cabinet Type (0-23) *5

Mid Shift/Shape *2

Expander (0-15) *10

Compressor Speed (0-127)

Wah oﬀ/position (0/1-127)

X-over frequency *4(0-99)

X-over balance

Denoiser Sensitivity (0-127)

Denoiser Range (0-127) *11

Pedal simulation (0-4) *6

Pedal simulation Drive (0-127)

Pedal simulation Tone (0-127)

Pedal simulation Boost (0-127)

Pedal simulation Split (0-127) *12

Compressor on/oﬀ (0/127)

post FX Mode (0-15) *7

post FX Par 1*7

post FX Par 2*7

post FX Par 3*7

post FX Par 4*7

post FX Par 5*7

post FX Par 6*7

post FX Par 7*7

pre FX Mode*9

pre FX Par 1*9

pre FX Par 2*9

pre FX Par 3*9

Y (if FX=Delay/Loop)

Sampler REC *8

Sampler PLAY *8

Sampler STOP *8

Sampler SPEED *8

Sampler REVERSE *8

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

Function

Transmitted

Received

Remarks

Y (if FX=Delay/Loop)

Sampler PLAY ONCE *8

N (request only)

Amp Type (0-32) w/o cabinet change

Tap (Value > 63)

Request Controls (Value = 80)

Set Pos (0-15), Set Character (32-127)

Tuner Bypass Volume (0-127)

Tuner Center Frequency (25-55)

Conﬁguration (0-5=S1,S2,S3,L1,L2,L3)

Live EQ Treble (0-127)

N (request only)

Live EQ Mid (0-127)

Live EQ Bass (0-127)

Digital Out (44.1/48/96/ext., bit 2=pro)*13

(PRO models only)

Global Input Gain (0-127)

Program Change

System Exclusive

System Common

System Real Time

Running Status

Y (0-124)

Y (0-124,127)

127=Tuner, toggle on/oﬀ

see SysEx Documentation

—

Y (2s Timeout)

Tab. 10.1: MIDI implementation

MIDI Controller

Function

REC

PLAY

STOP

SPEED

REVERSE

DIRECTION

0=oﬀ,1=rew

PLAY ONCE

Controller value

Range

REC GAIN

0-127

PLAY GAIN

0-127

PLAY SPEED

0=oﬀ,1=half,2=normal

Tab. 10.2: MIDI controllers of the delay/loop eﬀect

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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:

Address:

MUSIC Group Services US Inc.

18912 North Creek Parkway,

Suite 200 Bothell, WA 98011,

USA

Phone/Fax No.:

Phone: +1 425 672 0816

Fax: +1 425 673 7647

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, pursuant 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 particular installation. If this equipment does cause

harmful interference to radio or television reception, which can be determined

by turning the equipment oﬀ 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 diﬀerent 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 subject to the

following two conditions:

(1) this device may not cause harmful interference, and

(2) this device must accept any interference received, including interference that may

cause undesired operation.

Important information:

Changes or modiﬁcations to the equipment not expressly approved by MUSIC Group

can void the user’s authority to use the equipment.

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We Hear You

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