Mesa/Boogie V-AMPPRO 사용자 설명서

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

3.3.1 V-AMPIRE

Not only does the V-AMPIRE has its own built-in speaker,

which means you can plug in and play without further equipment,

the V-AMPIRE also allows to connect a second external

loudspeaker. Using the left speaker output mutes the internal

speaker, diverting the full 120 W to the external 4 Ω speaker (see

fig. 1.4). This makes sense particularly if the external speaker

has a specific sound which cannot be recreated using the

internal speaker.

You can also connect to an external stereo speaker

arrangement, e.g. our BG412S. In this configuration the V-AMPIRE

developes 2 x 60 W into 8 Ω per side. This lets you take full

advantage of the V-AMPIREs stereo effects (fig. 1.5).

Alternatively, an external 8 Ω speaker may be connected to

the right speaker output. This also represents a stereo

configuration, because the internal speaker is not muted, as

shown in fig. 1.6.

The starting configuration for this application would be L2, i.e.,

a stereo signal with all effects, amp simulation and live EQ but no

speaker simulation. The ULTRA-G speaker simulation is available

at the XLR output and thus connectable to a sound reinforcement

system. Here, the MASTER control only influences the stage

volume but not the XLR output. If you want to listen to a digital

speaker simulation using an amplifier, select L1.

3.3.2 V-AMP PRO

Because of its additional outputs and the analog ULTRA-G

speaker simulation the V-AMP PRO is even more flexible on

stage. Figure 2.5 shows a stereo application with active stage

monitors which are connected to the unbalanced line outs. Use

the MASTER control to set the volume of the monitor speakers

while the XLR output signal is sent at full volume to a sound

reinforcement system. The appropriate modes are S1 or L1

depending on whether the 3-band EQ is needed or not.

Since the receiver of the wireless system is connected to the

rear line input, the line input switch on the front has to be pressed.

Use this switch also to mute the signal while you change your

guitar.

Figure 2.6 displays a very similar application: The monitor amp

in this case is a guitar amp so that mode L2 (no speaker simulation)

is recommendable.

3.3.3 V-AMP 2

Figure 3.5 on the view sheet shows the V-AMP 2 connected

from its line out to the line input of the guitar amp or head. Using

the instrument input would not be the best idea since the signal

is passed through the whole pre amplifier stage. BEHRINGER

offers a wide range of guitar amps which are equipped with an

aux input and thus are perfect for this application. Since a guitar

amp already has its own sound, a digital speaker simulation is

not needed. We therefore recommend mode L2.

Figure 3.6 describes another speciality of the V-AMP 2 in

mode L3: A guitar amp is used as monitor speaker on stage

while simultaneously a second signal is sent to a sound

reinforcement system. By doing so, you can completely eliminate

the need for miking the amp.

A special feature of the L3 mode is that the signal to the guitar

amp has no speaker simulation, instead it has an additional

3-band EQ which allows you to tailor your on-stage sound. The

signal for the sound reinforcement system remains unaffected

by the 3-band EQ, but it does include the speaker simulation. This

simulation is necessary to reproduce the character of a guitar

cabinet sound using the speakers of the sound reinforcement

system.

3. OPERATING MODES AND APPLICATIONS

3.4 Recording

For this applications we assume that at least a mixing console

and a recording device is available.

3.4.1 V-AMPIRE

As with rehearsals at home or anywhere else, the V-AMPIRE

can be connected directly to a mixing console or recording device

via its XLR outputs. In addition, you can use the pre DSP insert

send to record the same direct guitar signal without needing

another DI-box for impedance adaption.

Since the usual volume problem does not exist in studio

environments, the V-AMPIRE has more to offer than those features

described in chapter 3.2.1. In the studio you can raise the volume

to take full advantage of the V-AMPIREs own sound. If you have

a particular speaker cabinet with its own sonic character you can

drive it via the speaker output. You will need to use a microphone

to capture this special sound. If you want to create intentional

feebacks from the speaker, you can still feed the XLR output into

the console to be recorded. We recommend mode L2, with 3-band

EQ but without digital speaker simulation (see fig. 1.4).

3.4.2 V-AMP PRO

For studio applications we recommend modes S1, S2 or S3.

S1 reproduces all amp and speaker simulations with effects in

stereo (as with the V-AMP 2) while with S2, the effects are

applied to the right channel only. In mode S3, the digital speaker

simulation is shut off for the case that the speaker sound is to be

determined later during mixdown. Therefore, in S3 mode the

proven ULTRA-G speaker simulation is switched to the XLR and

headphones outputs. When recording in S3 mode, the monitoring

should thus be done at the analog XLR and headphones outputs

and not at the digital outs. If you want to record the original guitar

signal you could use the setup shown in fig. 2.3. Press the LINE

INPUT switch if you want to monitor the recorded signal via the

V-AMP PRO. We recommend to use modes S1 or L1. Mode S2 is

an alternative if you want to adjust the effect ratio on the mixing

console.

Please note that the ULTRA-G speaker simulation

in modes S3 and L2 only affects the XLR and

headphones outputs and does not have any

influence on the digital outputs.

3.4.3 V-AMP 2

To record a stereo signal with all effects, amp and speaker

simulations, select modes S1 or L1 (with 3-band EQ) and connect

the balanced line outs with the mixing console or recording device.

This advantage is a disadvantage at the same time:

You hear the sound exactly the way you record it. So if you

decide to make a change, you will need to record the whole

track again.

With studio mode S2 all effects are therefore put out through

the right channel only, while on the left channel you will find the

amp and speaker simulations. This enables you to record the dry

amp signal and determine the effects later on during mixdown

(see fig. 3.4).

If you want to go the safe way, we recommend to split up the

input signal with a high-quality active DI-box, e.g. the BEHRINGER

GI100. To do this, connect the guitar to the GI100 input, the direct

link to the input of your V-AMP 2 and the XLR output to the

recording device. In that manner, you can record the direct guitar

signal with the amp simulation on one channel each and listen to

the complete signal with all effects on your headphones (see

fig. 3.4).