Behringer No Manuel D’Utilisation
ENGLISH
V-AMP 3 User Manual
11
Amp Descriptions
CLEAN
TUBE PREAMP: Sound engineers were quick to recognize the appeal
of tubes. They used tube amps to add warmth to all kinds of sounds. By
default, this amp model does not use a speaker simulation, and can be
used with vocals, but adding a speaker cab produces good clean tones
for guitar as well.
of tubes. They used tube amps to add warmth to all kinds of sounds. By
default, this amp model does not use a speaker simulation, and can be
used with vocals, but adding a speaker cab produces good clean tones
for guitar as well.
SMALL COMBO: This model is based on one of the most simple yet
effective guitar amps of all time, the Fender Champ. Being as small as it
is, you can easily take it beyond its clean range, and the Champ rewards
you with compression and rich distortion. Originally designed for begin-
ners, the amp soon became a favorite of many guitar aficionados due to
its amazing distortion at manageably low volume.
effective guitar amps of all time, the Fender Champ. Being as small as it
is, you can easily take it beyond its clean range, and the Champ rewards
you with compression and rich distortion. Originally designed for begin-
ners, the amp soon became a favorite of many guitar aficionados due to
its amazing distortion at manageably low volume.
CLASSIC CLEAN: Back in the 80s, the Roland JC-120 was the preferred
sound of Buzzy Feiten, guitarist for the Dave Weckl Band. The unique
quality of this amp is the way its brilliance cuts through any mix. It is
ideal for the New Wave sound of the 80s that is making a comeback
today.
sound of Buzzy Feiten, guitarist for the Dave Weckl Band. The unique
quality of this amp is the way its brilliance cuts through any mix. It is
ideal for the New Wave sound of the 80s that is making a comeback
today.
TWEED COMBO: This was Jeff Beck’s favorite when he recorded the
albums Blow by Blow and Wired. This amp was not actually designed for
heavy distortion, but due to its low power, it is ideal for uncompromising
overdrive. The Tweed Champ had a volume control, but no EQ control. If
you want to get the most authentic sound out of this amp, keep the EQ
on your V-AMP 3 in the mid position.
albums Blow by Blow and Wired. This amp was not actually designed for
heavy distortion, but due to its low power, it is ideal for uncompromising
overdrive. The Tweed Champ had a volume control, but no EQ control. If
you want to get the most authentic sound out of this amp, keep the EQ
on your V-AMP 3 in the mid position.
CLEAN V-AMP: Here we have managed to simulate the sound of a
Roland JC-120 and combine it with our BRIT CLASSIC model. The result
blends the brilliance of a transistor amp with the cutting power of a
Marshall Plexi. The Marshall cut appears when you turn the GAIN control
clockwise.
Roland JC-120 and combine it with our BRIT CLASSIC model. The result
blends the brilliance of a transistor amp with the cutting power of a
Marshall Plexi. The Marshall cut appears when you turn the GAIN control
clockwise.
CALIFORNIA CLEAN: This model is based on the clean channel of the
Mesa Boogie Mark II C. It sounds like a Fender, but has more punch in
the midrange.
Mesa Boogie Mark II C. It sounds like a Fender, but has more punch in
the midrange.
BLACK TWIN: This simulation was modeled on a Fender Blackface Twin
from 1965. In the ‘60s, this amp was used by jazz, country, and even rock
guitarists. The Blackface Twin was unique for being exceptionally loud
while the amount of distortion remained relatively low.
from 1965. In the ‘60s, this amp was used by jazz, country, and even rock
guitarists. The Blackface Twin was unique for being exceptionally loud
while the amount of distortion remained relatively low.
CUSTOM CLEAN: This model simulates the clean channel from a
Dumble, an expensive boutique amp. The clean sound really cuts
through, especially when used with compressor attack settings around
2 milliseconds.
Dumble, an expensive boutique amp. The clean sound really cuts
through, especially when used with compressor attack settings around
2 milliseconds.
BLUES
AMERICAN: This virtual amp is modeled on the Fender Bassman 4 x 10
Combo. Originally designed as a bass amp, it soon became a standard
amp of blues legends such as Steve Ray Vaughan and Billy Gibbons
due to its characteristic distortion. As you would expect, it packs a solid
punch in the bass range, but is still flexible enough in the mid and treble
ranges.
FUZZ BOX: This sound is not actually based on any one amp, but
instead simulates a particular fuzz box. Jimi Hendrix was one of the first
guitarists to recognize the potential in this legendary broadband transis-
tor distortion. The humming distortion sound of the FUZZ BOX has
returned to popularity with Alternative Rock and Grunge.
Combo. Originally designed as a bass amp, it soon became a standard
amp of blues legends such as Steve Ray Vaughan and Billy Gibbons
due to its characteristic distortion. As you would expect, it packs a solid
punch in the bass range, but is still flexible enough in the mid and treble
ranges.
FUZZ BOX: This sound is not actually based on any one amp, but
instead simulates a particular fuzz box. Jimi Hendrix was one of the first
guitarists to recognize the potential in this legendary broadband transis-
tor distortion. The humming distortion sound of the FUZZ BOX has
returned to popularity with Alternative Rock and Grunge.
DELUXE BLUES: A synthesis of a 1960 Fender Blackface Deluxe and a
‘50s Fender Bassman. The result is a crystal clear sound that still simu-
lates the edge of the vintage amps. The EQ controls on this model give
you even greater scope than the EQ controls on the original amp.
‘50s Fender Bassman. The result is a crystal clear sound that still simu-
lates the edge of the vintage amps. The EQ controls on this model give
you even greater scope than the EQ controls on the original amp.
V-AMP DRIVE: This simulation is based on the Mesa Boogie Mark III, a
more modern high-gain lead amp. This model produces a smooth and
precise tone with plenty of drive, making it ideal for lead guitar work.
more modern high-gain lead amp. This model produces a smooth and
precise tone with plenty of drive, making it ideal for lead guitar work.
BRIT BLUES: Modeled on the JTM 45, the first Marshall amp ever
designed. Extreme gain settings produce a highly compressed and really
“dirty” sounding distortion. Combined with a 2 x 12" speaker simulation,
it produces impressive Bluesbreaker sounds.
designed. Extreme gain settings produce a highly compressed and really
“dirty” sounding distortion. Combined with a 2 x 12" speaker simulation,
it produces impressive Bluesbreaker sounds.
V-CRUNCH: This amp is ideal for modern blues or jazz. Its sound is
subtle but crunchy and dynamic.
subtle but crunchy and dynamic.
CUSTOM BLUES: This simulation is based on a 1965 Marshall JTM 45
Bluesbreaker, but has more flexibility of sound control. Turn the GAIN
control to the left and this simulation sounds like a Marshall; turn it to
the right and it builds a thick boutique distortion tone.
Bluesbreaker, but has more flexibility of sound control. Turn the GAIN
control to the left and this simulation sounds like a Marshall; turn it to
the right and it builds a thick boutique distortion tone.
BRIT CLASSIC 50 W: This is also a Plexi, but we have extensively
widened its sound range. The sound controls on the original Marshall
Plexi 50 Watt hardly had any effect on the sound if distortion was high.
widened its sound range. The sound controls on the original Marshall
Plexi 50 Watt hardly had any effect on the sound if distortion was high.
METAL
NUMETAL GAIN: This model is based on a 1994 Mesa Boogie Dual
Rectifier Trem-O-Verb, featuring a modern high-gain sound that also
comes over well in a band context. The tone control is post-gain, which
allows you to tailor distorted sounds to great effect. This amp is perfect
for heavy metal, but also for Steve Lukather sounds. The best-known
user of this amp is John Petrucci of the progressive rock super group
Dream Theater.
Rectifier Trem-O-Verb, featuring a modern high-gain sound that also
comes over well in a band context. The tone control is post-gain, which
allows you to tailor distorted sounds to great effect. This amp is perfect
for heavy metal, but also for Steve Lukather sounds. The best-known
user of this amp is John Petrucci of the progressive rock super group
Dream Theater.