Behringer LX1B Manual De Usuario

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.

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).

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.

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.

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.

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.