Behringer BASS V-AMP オーナーマニュアル
12
BASS V-AMP/BASS V-AMP PRO
5. AMP/SPEAKER SIMULATION
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.
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.
touch, but without the feedback typical for acoustic instruments.
MIC SIM: A guitar with steel strings miked with a dynamic
microphone is simulated here. While piezo pickups have the
tendency to make the sound rather hard, using a mic makes the
sound much more evened-out. Of course, the feedback typical
for miking acoustic instruments is no longer an issue.
tendency to make the sound rather hard, using a mic makes the
sound much more evened-out. Of course, the feedback typical
for miking acoustic instruments is no longer an issue.
MAGNETIC EQ: Magnetic pick ups are very common in western
guitars because they can easily be mounted into the instrument’s
cavity. However, the sound produced is not so clear as with
piezo systems or with mics, because only the vibrations of the
strings are captured in the signal. This amp model corrects the
tone quality of a magnetic pick up system and gives it an acoustic
character.
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.
A discreet ambience effect lets your instrumet
sound more “natural”.
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.
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.
was used by jazz, country and even rock musicians. Its appeal
was in that it was exceptionally loud, so it was primarily used in
live situations. You can drive your Blackface Twin extremely
loud, but the distortion remains moderate even as you increase
the volume. Try using it with the sound of a Rhodes electric piano
sound or another electric piano.
ORGAN CLASSIC: Here we have a simulation of a Leslie 760
amp that strongly 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.
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.
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.
by using a foot controller board, such as the
BEHRINGER MIDI FOOT CONTROLLER FCB1010. This
way, you get even closer to the original sound.
BRITISH CLASSIC: This amp model, created by leaning closely
to a ’59 Marshall Plexi 100-Watt amp, is particularly well suited
for creating clean sounds. The amp was used by Jimi Hendrix,
Eric Clapton and 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).
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).
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.
guitarist). What makes this solid-state amp special is the brilliance
of its sound, noticable in every mix. It is also outstanding for the
new wave sound of the ’80s that’s making a come-back. Not to
forget its popularity with Fender Rhodes pianists live on the
stage with a Yamaha CP70 or a Wurlitzer electric piano.
Fender, Vox, 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.
respective owners and are in no way associated with BEHRINGER.
5.2 Speaker descriptions
The sound of a bass combo depends a great deal on the
speaker type and combination. We saw a lot of experimentation
in this 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.
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.
Among other things, the character of a speaker is determined
by its power rating, impedance, sound pressure level and its
size.
size.
Also, never underestimate the importance of the material(s)
used to build it. Over the years, using a 15" speaker together
with a 4 x 10" speaker became standard-issue for electric bass
applications.
with a 4 x 10" speaker became standard-issue for electric bass
applications.
This combination produced a healthy bass foundation and at
the same time ensured perceptible highs. The sound was also
balanced and not too strained, which was often the case with
15" speakers used alone. Nowadays, in bass cabinets you can
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.
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.
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.
speaker simulation is automatically activated as well
(see table 5.1). Otherwise, the authenticity of the
sound could be jeopardized, particularly when you
use headphones. Of course, you can alter these
settings depending on personal preferences.
A list of speaker/cabinet simulations can be found in the
following section.
Am ps 1 - 16
(w hite )
Am
p
#
Cabine t s im ulation
(de fault s e tting)
Ca
b
#
BRITISH '60s
0
68 Marshall 4x12"
6
BRITISH '70s
1
68 Marshall 4x12"
6
BRITISH '80s
2
Trace Elliot 4x10"
2
BRITISH POP
3
Voc AC100 2x15"
9
THUNDERBIRD
4
1x8" Tweed
16
MOSOUND
5
Ampeg B15 1x15" Closed Back Comb o
7
ROCK CLA SSIC
6
Ampeg SVT 8x 10" '79
1
ROCK 2
7
Ampeg SVT 8x 10" '79
1
SILV ER PA NEL
8
Fender Bassman 2x15" with JBLs
11
WHITE PA NEL
9
6x10" SW R G oliath Senior
3
RED PA NEL
10
6x10" SW R G oliath Senior
3
GOLD PA NEL
11
Ampeg 4x10"
4
CA LIFORNIA N
12
Mes a/Boogie 2x15"
10
JA ZZ TONE
13 Polytone A101, 1x15" Closed Back Comb o
8
BOTTOM END
14
Ampeg SVT 18E, 1x 18"
14
TUBE PREA MP
15
No c ab inet simulation
-
Am ps 17 - 32
(gr e y)
Am
p
#
Cabine t s im ulation
(de fault s e tting)
Ca
b
#
BRITISH CLA SS A
16
2x12" Twin Comb o
18
MODERN HI GA IN
17
4x12" V-AMP Custom
23
NUMETA L GA IN
18
4x 12" Vintage 30
20
CUSTOM HI GA IN
19
4x12" '78 Std.
21
ULTIMA TE PLUS
20
4x12" V-AMP Custom
23
CRUNCH V -A MP
21
4x12" '78 Std.
21
DRIV E V -A MP
22
4x 12" Vintage 30
20
BRIT. HIGH GA IN
23
4x12" '78 Std.
21
PIEZO SIM.
24
No c ab inet simulation
-
MIC. SIM.
25
No c ab inet simulation
-
MA GNETIC EQ
26
No c ab inet simulation
-
PIEZO EQ
27
No c ab inet simulation
-
BLA CK TWIN
28
2x12" Twin Comb o
18
ORGA N CLA SSIC
29
Leslie 760 Cab inet, 1x15"+HF Horn
12
BRITISH CLA SSIC
30
4x12" '78 Std.
21
CLA SSIC CLEA N
31
2x12" V-AMP Custom
19
PREA MP BY PA SS
32
No c ab inet simulation
-
Tab. 5.1: Assignment of cabinet simulations to amp models