Behringer LX1B PRO - Manual (Page 10)

10 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual
To get into the EDIT mode, press both arrow keys simultaneously. By using the
keys B - E, you can activate the DRIVE, CABINETS, X-OVER and DENOISER functions
respectively. You can then edit these functions by using the arrow keys, and the
respective parameters will be shown in the display. To leave EDIT mode again,
briefly press the TUNER key.
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.
◊ 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.
4.3 Saving user presets
To save your edits, keep the desired preset key pressed for roughly two seconds.
This will overwrite the previous settings (the key LED lights constantly again).
◊ Of course, you don’t have to necessarily save your preset in the location
of the previously selected preset. To save your preset elsewhere,
press the arrow keys (BANK UP and BANK DOWN) to get to the desired
preset bank. Then, you can save your preset by keeping the desired
preset key pressed for roughly two seconds. For example, you can edit a
preset located in preset bank five and location D and save it in bank six
and location A.
4.4 Overriding edits/Restoring single
factory presets
You can of course undo an edit of a preset. Let’s say, you selected preset C and
edited it (key LED is blinking), but then you want to revert to the previously saved
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.
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.
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”).
Powering up your BASS V-AMP/BASS V-AMP PRO automatically loads the preset
you used most recently. The LED circle surrounding the AMPS control shows
which amp is currently selected: its respective LED is on. By turning the control,
you can select a 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)).
As a rule, you first select an amp, then a cabinet and finally an effect.
How to save your changes is described in chapter 4. To get a better overview of
the rich choice of amp simulations of the BASS V-AMP/BASS V-AMP PRO, read the
descriptions of various amp types in the section below.
◊ When you select an amp simulation, a matching speaker simulation
is automatically selected (see table 5.1). Otherwise, the authenticity
of the sound could suffer from a poorly selected speaker,
particularly when you use headphones. Of course, you can select other
cabinet simulations for the respective amp type depending on your
personal preferences.
5.1 Amp descriptions
BRITISH ’60s: A ’68 Marshall Super Bass Plexi with Vintage EL-34 tubes was
the role model for this simulation. This amp has richer highs than the Marshall
Major and sounds a bit like a fuzz box in the upper drive settings. This amp
was a must in the ’60s, particularly among UK bands. For example, it was used
by John Entwhistle (The Who), Noel Redding (The Jimi Hendrix Experience),
Ron Wood (Jeff Beck Group) and Roger Glover (Deep Purple).
BRITISH ’70s: This virtual amp is based on the ’69 Marshall Major. It’s a classic
among tube amps, and was used by Jack Bruce, among others. The sound
remains warm even in high drive settings, and gets a natural-sounding 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.