Behringer X V-Amp LX1-X Manuale Proprietario

X V-AMP LX1-X User Manual

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. 

What was unique about it was that it was exceptionally loud and was therefore 

mainly used for live performances. The secret of the Blackface Twin was that 

although you could play it extremely loud, the distortion remained relatively low.
ULTIMATE GAIN: From clean to brutal hi-gain, this “brute” covers the entire 

range. The ULTIMATE V-AMP is basically a souped-up rectifier amp.
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 sound.
TWEED BASS: This virtual amp is modelled on the Fender 4 x 10 Combo. 

Originally designed as a bass amp, it soon became a standard amp of blues 

legends such as Steve Ray Vaughan or 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.
SCREAMER: Having been around since the beginning of the ’80s, the Ibanez 

Tube Screamer TS808 has pretty much achieved cult status. It has the reputation 

of being the ultimate classical overdrive/treble booster floor pedal, and is 

associated with mighty lead sounds, even though it offers rather modest 

distortion. Its secret is that it “knows” better than other floor pedals how to 

squeeze the very last bit out of the amp to which it is connected. If you hook 

up a decent tube amp to your X V-AMP (e. g. the BEHRINGER AC112), with this 

simulation you can authentically reproduce the effect of the tube screamer—all 

this without dishing out too much cash to own a cult piece of equipment.
EL RATON: The Rat from ProCo was also a distortion pedal similar to the tube 

screamer, and it also came around about the same time, but its basic sound 

and applications couldn’t be more different. As the name suggest, the rat is 

all about aggressive distortion from the pedal itself, and the TS808 is more 

about unobtrusive overdrive in the amp further down the chain. With the rat 

simulation, you have the metal sound of the early ’80s totally covered.
AMP BYPASS: In this setting, no amp simulation is selected. This makes it 

possible, for example, to play through an external guitar preamp and only use 

the effects.
ACOUSTIC: 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. 

Engl, Fender, Gibson, Ibanez, Marshall, Mesa Boogie, Roland, Soldano, Vox ProCo, Tube Screamer, The Rat as 
well the names of musicians and bands are registered trademarks of their respective owners and are in no way 
associated with BEHRINGER. The brand names appearing here are mentioned solely to describe the character of 
sounds and effects created in the X V-AMP.

A special feature of your X V-AMP 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 combinations of effects. You can select one effect out 

of each of the three effects blocks (modulation, delay and reverb).

The following section contains short descriptions of the effects that you can use.

6.1.1  Reverb and delay algorithms
The delay effects can be modified in three parameters:

Turn ADJUST to modify “mix”

Turn ADJUST while TAP is pressed to modify “feedback”, and

Tap the TAP key in the rhythm of your music to modify “delay time”.

STEREO DELAY: Delays the input signal. Different tempo settings let you 

create a wide array of delay effects. Be experimental, try going from short to 

very long delays. 
LONG ECHO: What’s so special about this delay effect is that the repetition 

interval of the echos is 50% longer than the time interval measured between 

two taps on the TAP key. This way, you can create a frequently used echo effect 

very simply: if you tap and play in quarter-note, the echos are located three 

eighths away. What the whole thing can sound like is best demonstrated by U2’s 

guitarist The Edge. 
SLAP ECHO: As the name suggests, a delay with a very short repetition interval. 

The X V-AMP takes a half of the time interval measured between the taps on TAP. 

The echo velocity doubles.
PING PONG: A delay effect that changes position in the stereo image.

6.1.2  Modulation effects
If modulation effects have been selected (key LED  

(7)

  blinks), you can modify up 

to four parameters on each effect: 

By turning ADJUST (effect intensity),

by turning ADJUST while TAP is pressed (second parameter, 

please see respective effect description),

by turning ADJUST while both TAP und MODUL. keys are pressed 

(third parameter), you can dial up a different effect model (1 - 4), and

by tapping at the TAP key in the rhythm of music (modulation/speed tempo).

PHASER: The principle behind a 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 has been popular for decades because it can be used to 

produce slightly modulating or strongly alienating effects, regardless of what 

instrument you are using. Two of the classic versions of this effect that we 

simulate are the four-level MXR Phase 90 (1) and the 12-level Boss PH2 (4). 

Additionally, the X V-AMP offers two additional rare versions of an 8-level (2) 

and a 10-level (3) phaser.
The second parameter controls resonance, the third controls the 

phaser model (1 - 4).
PITCH BEND: The Digitech Whammy pedal and the PS5 Super Shifter from Boss 

are extremely well-liked effects that produce an effect signal that is out of tune 

with the input signal. Models 1 - 4 offer the best pitch bend effects. 
Use ADJUST to determine “mix”.
The PS-5 pitch shifter (1) creates a fixed interval consisting of several half-tone 

steps to the input tone. With the T-Arm simulation (2), this interval is active 

only as long as the pedal key  

(18)

  is pressed. The tempo at which the interval is 

reached can be modified using the TAP key.
With the Whammy effect (3), detuning depends on the position of the pedal 

(pedal up = original tone pitch, pedal down = the interval entered under (2)).