Behringer No 사용자 설명서
ENGLISH
V-AMP 3 User Manual
15
Wah Wah
By using a MIDI pedal, such as the BEHRINGER FCB1010, you can access
an additional Wah Wah effect. You may adjust the sweepable filter char-
acteristic by entering EDIT mode, selecting the DRIVE menu and turning
the EFFECTS knob while holding the TAP button.
an additional Wah Wah effect. You may adjust the sweepable filter char-
acteristic by entering EDIT mode, selecting the DRIVE menu and turning
the EFFECTS knob while holding the TAP button.
Effects Descriptions
The following is a brief description of the various effects available on the
V-AMP 3:
V-AMP 3:
REVERB: Reverb is still the most important effect for mixing and live
performance. That’s why we at BEHRINGER make a point of giving you 9
different reverb programs, allowing you to use the most suitable reverb
program for any situation. The reverb effect can be added separately to
all the other effects.
performance. That’s why we at BEHRINGER make a point of giving you 9
different reverb programs, allowing you to use the most suitable reverb
program for any situation. The reverb effect can be added separately to
all the other effects.
ECHO: Echo is a delayed repetition of the input signal. The main differ-
ence from the DELAY effect 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 reflec-
tions are routed in turn to the left and right channels, creating a stereo
effect.
ence from the DELAY effect 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 reflec-
tions are routed in turn to the left and right channels, creating a stereo
effect.
DELAY: This algorithm repeats the input signal, with different tempo
settings producing interesting delay effects. U2’s The Edge has impres-
sively demonstrated the potential of this effect.
settings producing interesting delay effects. U2’s The Edge has impres-
sively demonstrated the potential of this effect.
PING PONG: A delay effect that alternates between the left and right
channel/speaker.
channel/speaker.
PHASER: The principle behind the phaser is that a second, phase-
shifted signal is added to the audio signal, creating a wave-like effect.
This makes the sound richer and, above all, livelier. Depending on how
you set it, the phaser can be used to produce slightly modulated or
other worldly effects.
shifted signal is added to the audio signal, creating a wave-like effect.
This makes the sound richer and, above all, livelier. Depending on how
you set it, the phaser can be used to produce slightly modulated or
other worldly effects.
FLANGER: This effect is similar to a phaser in the fact that it produces
wave-like modulation to the guitar tone. Create psychedelic effects by
mixing it heavily, or use a subtle mix to thicken up the tone.
wave-like modulation to the guitar tone. Create psychedelic effects by
mixing it heavily, or use a subtle mix to thicken up the tone.
CHORUS: This effect adds a slightly modulated off-key element to the
original signal, thus creating a pleasant floating effect through variations
in pitch.
original signal, thus creating a pleasant floating effect through variations
in pitch.
PHASER & DELAY: Phaser and delay combined.
FLANGER & DELAY: 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.
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.
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.
the compressor. This is especially useful for sustaining individual guitar
notes. Combined with chorus, it can make the audio signal extremely
dense.
COMPRESSOR: A compressor limits the dynamic range of the guitar
tone, thus producing audible and creative sound effects. Pronounced
use of the compressor (using the EFFECTS control) allows rhythm
sounds to really “pop.”
tone, thus producing audible and creative sound effects. Pronounced
use of the compressor (using the EFFECTS control) allows rhythm
sounds to really “pop.”
AUTO WAH: The legendary wah-wah effect owes its fame mainly to
Jimi Hendrix. The auto-wah alters its filter frequency automatically
depending on the signal’s magnitude, rather than being controlled
by the position of a pedal. The effect causes a guitar’s note to make a
distinct vowel sound, and is more pronounced the harder the strings are
plucked or strummed.
Jimi Hendrix. The auto-wah alters its filter frequency automatically
depending on the signal’s magnitude, rather than being controlled
by the position of a pedal. The effect causes a guitar’s note to make a
distinct vowel sound, and is more pronounced the harder the strings are
plucked or strummed.
TREMOLO: Simulates the classic Fender Tremolo where the volume
rapidly shifts up and down to a constant tempo. The tremolo effect has
returned to popularity with trip-hop.
rapidly shifts up and down to a constant tempo. The tremolo effect 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 inside
a heavy speaker cabinet. This effect uses the physical principle of the
Doppler effect to modulate the sound.
normally produced by speakers rotating at slow or fast speed inside
a 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 interfer-
ence. Not only do guitarists often use high-gain settings, but guitar
pickups can amplify unwanted interference that 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.
interference. Guitar signals in particular are very sensitive to interfer-
ence. Not only do guitarists often use high-gain settings, but guitar
pickups can amplify unwanted interference that 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.