Behringer BASS V-AMP PRO - Manual (Page 11)

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BASS V-AMP/BASS V-AMP PRO
5. AMP/SPEAKER SIMULATION
BRITISH ’70s: This virtual amp is based on the ’69 Marshall
Major. It’s a classic among tube amps, and was used by Jack
Bruce, among others. The sound remains warm even in high
drive settings, and gets a natural-sounding distortion
characteristic, commonly found on old Cream records.
BRITISH ’80s: A sound coined in the ’80s by musicians such
as Trace Elliot or Mark King from Level 42. It’s a very transparent
and “wirily” sound that produced a lot of pressure.
BRITISH POP: Created using the Vox AC-100 as a model. This
amp was very “in” in the ’60s because it had a memorable bass
foundation while still leaving enough playroom in the highs. The
AC-100 had one very unique feature: the bass control worked
the wrong way around! Turning the control to the left meant
elevating the bass frequencies. Since this feature takes some
time to get used to, we stuck to the more conventional solution,
so that turning the control leftward lowers the bass frequencies
and turning the control rightward elevates them.
THUNDERBIRD: This simulation leans in the 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.
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.
SILVER PANEL: This simulation reproduces the ’67 Fender
Bassman—it’s an amp 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.
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).
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.
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.
JAZZ TONE: This amp, with its typical Marcus Miller sound,
has a classic amp as its role model: the Polytone A101. It’s a 15"
speaker bass combo. If you’re yearning for a jazzy sound, this is
the right amp for the occasion.
BOTTOM END: How times change: nowadays, almost all current
music productions feature a markedly deep bass sound that
could previously only be achieved on a synth. But to preserve
“true” liveliness, it is advantageous to bring in an electric bass.
Only then can you have authentic dead notes and a percussive
way of playing. A bass player who became very popular thanks
to his ultra-deep bass sound is Justin Meldal-Johnsen. He played
for Beck and Tori Amos, among others. But hip hop, trance and
rave musicians will find this sound just right.
TUBE PREAMP: Sound engineers discovered the appeal of a
tube very early on. They use tubes to endow sound sources of
all kinds with warmth. You can modify not only the sound of a
bass, but can for example also run a vocal signal through you
BASS V-AMP/BASS V-AMP PRO and polish it with the TUBE
PREAMP. (This amp model is however best suited to instill more
life into your bass guitar.)
BRITISH CLASS A: Created by using the Vox AC 30 as a role
model. The roots of this amp go all the way back to the sixties.
Back then, bass players demanded sound with a brilliant
characteristic, which Vox engineers addressed by including
“revolutionary” bass and treble controls. Brian May and U2
guitarist The Edge are the most famous users of this amp.
MODERN HI GAIN: In this case, sound controls take a back
seat to distortion, giving the extremely distorted sound more
strength. The sound of MODERN HI GAIN is ideal for grunge
guitarists, but also 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.
RECTIFIED HI GAIN: This amp’s role model was a 1994 Mesa
Boogie Dual Rectifier Trem-O-Verb. Its modern, high-gain-oriented
sound marks this amp, and it works very well when playing in a
band. Sound control takes place post distortion, which makes a
“post-treatment” of distorted sounds possible. The amp works
optimally for heavy metal, but also for achieving Steve Lukather
sounds. The most famous user of this amp is Dream Theater’s
guitarist John Petrucci.
CUSTOM HI GAIN: This sound originates in the sound of a ’69
50-Watt Marshall Plexi Pate 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.
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.
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.