Behringer V-AMPIRE LX210 Benutzerhandbuch

V-AMPIRE LX1200H/LX210

6. EFFECTS PROCESSOR

A special feature of your V-AMPIRE is its built-in multi-effects

processor module offering 16 different groups of first-class

effects such as chorus, flanger, delay, auto wah as well as

various effects combinations.

The appendix gives an overview of all MIDI data transmitted

and received by your V-AMPIRE.

The standard operating mode of the multi-effects

processor is stereo, so you can use stereo effects

for recording purposes via the LINE OUT or play in

stereo using a second amplifier.

You can adjust up to 3 effects parameters: by turning the

EFFECTS control; by tapping the TAP button in the beat of the

music; and by turning the EFFECTS control holding down the

TAP button. The following table lists the effects parameters.

To match speed-based effects to the tempo of the

music, press the TAP button at least twice in the

beat of the music.

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1 ECHO

Mix

Feedback

Delay Time

CC49, val 1

CC54

CC53

CC50+51

2 DELAY

Mix

Feedback

Delay Time

CC49, val 0

CC54

CC53

CC50+51

3 PING PONG

Mix

Feedback

Delay Time

CC49, val 2

CC54

CC53

CC50+51

4 PHASER/DELAY

Delay Mix

Mod. Mix

Delay Time

CC55, val 1 + CC49, val 0

CC54

CC59

CC50+51

5 FLANGER/DELAY 1

Delay Mix

Mod. Mix

Delay Time

CC55, val 5 + CC49, val 0

CC54

CC59

CC50+51

6 FLANGER/DELAY 2

Delay Mix

Mod. Mix

Delay Time

CC55, val 5 + CC49, val 2

CC54

CC59

CC50+51

7 CHORUS/DELAY 1

Delay Mix

Mod. Mix

Delay Time

CC55, val 3 + CC49, val 0

CC54

CC59

CC50+51

8 CHORUS/DELAY 2

Delay Mix

Mod. Mix

Delay Time

CC55, val 3 + CC49, val 2

CC54

CC59

CC50+51

9 CHORUS/COMPRESSOR

Sense

Mod. Mix

Modulation Speed

CC55, val 4 + CC44, val 1

CC45

CC59

CC58

10 COMPRESSOR

Sense

Attack

CC44, val 1

CC45

CC46

11 AUTO WAH

Depth

Speed

CC44, val 2

CC45

CC46

12 PHASER

Mix

Feedback

Modulation Speed

CC55, val 1

CC59

CC58

CC56

13 CHORUS

Mix

Depth

Modulation Speed

CC55, val 4

CC59

CC57

CC56

14 FLANGER

Mix

Feedback

Modulation Speed

CC55, val 6

CC59

CC58

CC56

15 TREMOLO

Mix

Modulation Speed

CC55, val 2

CC59

CC56

16 ROTARY

Mix

Depth

Modulation Speed

CC55, val 0

CC59

CC57

CC56

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Table 6.1: Effects and MIDI controllers

Table 6.1 shows the MIDI controllers for the

corresponding parameters. The settings are made

via MIDI. A detailed list of all controllable MIDI

parameters will be available free of charge on the

BEHRINGER internet site: www.behringer.com.

6.1 Wah Wah

The MIDI function enables you to use an additional Wah Wah

effect. The optimum control of this effect is achieved by using a

MIDI foot controller with expression pedal, e.g. our BEHRINGER

MIDI FOOT CONTROLLER FCB1010.

Adjust the filter characteristic and grade in the DRIVE

menu by simultaneously pressing TAP and turning

the EFFECTS control (see also

B).

6.2 Effect descriptions

The following section contains short descriptions of the effects

that can be produced using the multi-effects processor.

6.2.1 Reverb and delay algorithms

REVERB: Reverb is still the most important effect for mixing or

live performance. Thats why we at BEHRINGER make a point of

giving you as many as nine different reverb programs so that

you can use the most suitable reverb program for any situation.

The reverb effect can be added separately to all the other effects

(see chapter 6.2).

ECHO: Echo is similar to the stereo delay effect in that it is a

delayed repetition of the input signal. The main difference is that

the high-frequency content of the repeated signals steadily

decreases. This simulates a tape delay used in the pre-digital

era, producing a vintage sound. In addition, the reflections are

routed in turn to the left and right channels, creating a quasi-

stereo effect.

DELAY: This algorithm delays the input signal, with different

tempo settings producing interesting delay effects. U2s The

Edge has impressively demonstrated the potential of this effect.

PING PONG: A delay effect that changes position in the stereo

image.

6.2.2 Modulation effects

PHASER: The principle behind the phaser is that a second,

phase-shifted signal is added to the audio signal. This makes the

sound richer and, above all, livelier. This effect is popular among

guitarists and keyboard players alike, but was also used

extensively in the 70s with other instruments, such as electric

pianos. Depending on how you set it, the phaser can be used to

produce slightly modulating or strongly alienating effects.

FLANGER: This effect is self-explanatory. Originally, the flanger

effect was produced by running two synchronized tape

recorders at the same time. The same signals (e.g. a guitar solo)

were recorded on both machines. Putting a finger on the left reel

of one of the machines caused it and the speed of the playback

to slow. The resulting delay produced phase shifts of the signals.

CHORUS: This effect adds a slightly modulated off-key element

to the original signal, thus creating a pleasant floating effect

through variations in pitch.