Mesa/Boogie V-AMPPRO 사용자 설명서

V-AMPIRE/V-AMP PRO/V-AMP 2

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 impressivley 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.

6.2.3 Combinations of effect algorithms

(multi-effects programs)

PHASER & DELAY: Phaser and delay combined.
FLANGER & DELAY: Here the input signal is delayed and

processed with a pronounced wave-like effect. It is particularly

effective for highlighting single notes, but can also be used to

make solos more interesting.

CHORUS & DELAY: This algorithm combines signal delay with

the popular chorus effect.

CHORUS & COMP: Incredible sustain effects can be produced

with the compressor. This is especially useful for sustaining

individual guitar notes. Combined with chorus, it can make the

audio signal extremely dense.

6.2.4 Special effects

COMPRESSOR: A compressor limits the dynamic range of the

audio material, thus producing audible and creative sound effects.

Pronounced use of the compressor (using the EFFECTS control)

allows you to compress the overall dynamic range of the material.

AUTO WAH: The legendary wah-wah effect owes its fame

mainly to Jimi Hendrix. Describing it is certainly more difficult than

simply listening to Hendrix using it on Voodoo Chile. In American

funk music of the 70s you can hear auto-wah effects used in a

variety of applications. The auto-wah alters its filter frequency

automatically depending on the signals magnitude, rather than

being controlled by the position of a pedal.

TREMOLO: Simulates the classic Fender Tremolo. It has

returned to popularity with trip-hop.

ROTARY: This is the quintessential simulation of the classic

organ effect normally produced by speakers rotating at slow or

fast speed in an extremely heavy speaker cabinet. This effect

uses the physical principle of the Doppler effect to modulate the

sound.

NOISE GATE: Noise gates are used to remove or reduce

noise or other interference. Guitar signals in particular are very

sensitive to interference. Not only do guitarists often use high-

gain settings but guitar pick-ups can amplify unwanted inter-

ference. This can be painfully apparent during breaks in the

music. And how does a noise gate work? It simply mutes the

signal during breaks, eliminating any interference at the same

time.

6.3 The separate reverb effect

The reverb effect is independent of the multi-effects processor

and can be added to the mix signal at any time. To edit the

REVERB function, press button D in EDIT mode (pressing the

two arrow keys simultaneously) and use the two arrow keys to

select one of the nine different reverb types available:

Tiny Room

Small Room

Medium Room

Large Room

Small Spring

Medium Spring

Short Ambience

Long Ambience

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Classic room simulation featuring various

room sizes from bathroom to cathedral.

Simulates the early reflections of a

reverbless room.

Ultra Room

Special effect transforming guitar signals

into heavenly pad sounds.

Simulations of typical spring reverbs.

Tab. 6.2: The different reverb effects

7. TUNER

Press the TUNER button to activate the built-in tuner.

7.1 Tuning your guitar

The chromatic tuner automatically recognizes the frequencies

of all the standard guitar notes. For the A-string this means a

frequency of 220 Hz. When you plug your guitar into the

device and play an open string, the tuner will recognize and

display the note. Since the tuner uses an auto-chromatic scale,

it can also recognize semi-tones, which are shown with a b in

the display.

7. TUNER