Справочник Пользователя для Behringer LX1200H/LX210

V-AMPIRE LX1200H/LX210

5. AMP/SPEAKER SIMULATION

4.3 Storing presets

To store your edited preset, hold down the preset button

required for approx. 2 seconds for the preset to be overwritten

(the corresponding LED lights up throughout).

You do not necessarily have to store your edited

preset in place of the original preset selected. If

you choose a different storage position, select the

preset bank you want using the arrow buttons

(BANK UP and BANK DOWN). You can store your

changes by holding down the preset button for

approx. two seconds. For example, you can edit a

preset originally stored in bank 5, position D, and

then store it in bank 6, position A.

4.4 Discarding an edited preset/restoring a

single factory preset

If you have edited a preset and find that you dont like the

edited version, you can, of course, discard it. Lets assume

youve selected and then edited preset C (the corresponding

LED has lit up), but you would now like to return to the

configuration stored previously. Simply select another preset.

The next time you call up the preset, the temporarily edited

version is discarded. After editing, you can also hold down the

two arrow buttons until Pr appears in the display, which brings

back the factory preset that was originally stored there. However,

you then have to save it again by holding down the corresponding

preset button for approx. two seconds.

4.5 Restoring all factory presets

All factory presets can be restored as follows: Hold down

buttons D and E and then switch on the device. CL

appears in the display. Now release the two buttons and press

the two arrow buttons simultaneously. This erases all the edited

presets you have stored and restores the factory presets. Please

refer to chapter 8.3.1 if you need information on how to save

your settings via MIDI.

5. AMP/SPEAKER-SIMULATION

The very heart of the V-AMPIRE sound is its amp/speaker

simulation. The 32 simulation models can make work in a home

recording studio very much easier because it isnt necessary to

mike up the guitar amp. With the V-AMPIRE it is childs play for

you to choose one of the legendary guitar amps, be it for Brit

Pop, Blues, Heavy Metal or whatever. In addition, you can tailor

the sound of the respective amp to suit your ideas and then

connect it virtually to one of 15 speaker simulations (cabinets).

On top of all that, you can even choose digital effect and reverb

types for your virtual amp. See chapter 6 EFFECTS PROCESSOR

for more details.

When you switch on the device, it automatically loads the last

preset selected. The LED ring around the AMPS control shows

which amp has been selected. The corresponding LED lights up.

To select another amp simply turn the control. Use the VOLUME,

BASS, MID, TREBLE and GAIN controls to modify the basic sound

of the amp. Hold down the TAP button and turn the TREBLE

control to raise or lower an additional high-frequency PRESENCE

filter (see

As a rule, you will want to select an amp first, then a cabinet

and finally an effect. See chapter 4 for how to store your

modifications. To give you a better overview of the extensive

range of amp simulations, we have compiled the following

descriptions of the different types of amplifiers.

When you select an amp simulation, an appropriate

speaker simulation is activated automatically (see

tab. 5.2). Otherwise, the authenticity of the sound

could be affected by an unsuitable cabinet

especially if you are using headphones. Naturally,

you can combine the amp simulations with other

cabinets according to taste.

5.1 Amp descriptions

AMERICAN BLUES: 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 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.

AND DELUXE: A synthesis of a 1960 Fender Blackface Deluxe

and a 50s Fender Bassman. The result is a crystal-clear sound

that still simulates the edge of the vintage amps. The sound

control gives you even greater scope than the EQ controls on

the originals.

MODERN CLASS A: This amp is characterized by its slight

distortion and sounds almost like hi-fi. It is modeled on the

Matchless Chieftain, a very expensive, hand-made amp.

CUSTOM CLASS A: The model for this simulation is the Budda

Twinmaster. This Class A amp is renowned for its warm sound

combined with irresistible tube distortion. Although the original

amp does not have a mid control, we have given the capability of

suiting the mid range to your taste.

TWEED COMBO: This was Jeff Becks 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.

SMALL COMBO: This model is based on the 1960 Tweed

Champ. The main attraction of this amp simulation is when the

DRIVE function is used a lot. Although this amp was actually

designed for beginners on the guitar, it soon became a favorite

amp of many guitar aficionados. The reason for that was that it

produced an amazingly distorted sound even at low volume.

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 sound control on your V-AMPIRE in the mid position.

CLASSIC CLEAN: Back in the 80s, the Roland JC-120 was

the preferred sound of Buzzy Feiten (guitarist with the Dave

Weckl Band). The unique quality of this transistor amps sound is

the way its brilliance cuts through any mix. It is ideal for the New

Wave sound of the 80s that is making a come-back today. By the

way, the JC-120 was also popular among Fender Rhodes pianists.

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.

BRIT BLUES: Modeled on the JTM 45, the first Marshall amp

ever. This, by the way, was Eric Claptons favorite amp when

he was with Cream. The JTM 45 was the forerunner of many of

Marshalls later amps with their distinctive, powerful sound.

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.

AND CUSTOM: 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 is more reminiscent of the

Budda.