#BEHRINGER GUITAR AMP PATCH#
#BEHRINGER GUITAR AMP FULL#

There are separate controls for the Effects Mix and the amount of Reverb, as well as a Tap button for quick and easy setting of delay times and modulation rates. When using the V‑Amp for recording, the two outputs allow stereo effects. There are eight different reverb types varying from small room to cavern, with two ambience and two spring settings. The reverb is separate from the other effects so it can be added to any patch. A 16‑way rotary switch selects from a range of guitar amplifier types and a second 16‑way rotary switch selects an effect or dual‑effect combination based on delay, modulation (phase, chorus, flange), auto‑wah, rotary speaker and compression. The general control layout of the V‑Amp is unarguably Pod‑like, comprising Volume, Bass, Mid, Treble and Gain controls for the preamp section, as well as a Master output level control. Alternatively, you could use Behringer's forthcoming heavy‑duty FCB1010 MIDI pedalboard for live control.

#BEHRINGER GUITAR AMP FULL#

However, if you aren't able to use Sound Diver, you can still edit the V‑Amp from your sequencer by referring to the full MIDI implementation chart provided.

#BEHRINGER GUITAR AMP PATCH#

MIDI In and Out sockets are provided for remote parameter control, patch changing and patch dumping - the special version of Emagic's Sound Diver software, available as an optional extra, uses the MIDI interfacing to allow editing from a computer. Given that most guitar speakers take a dive above 3kHz, this should be more than adequate.Ī rather neat Aux Input, on a stereo quarter‑inch jack with its own thumbwheel level control, allows any stereo line‑level signal to be monitored along with the guitar sound - ideal for jamming along to CDs or drum machines. The sample rate is 31.25kHz, which equates to an audio bandwidth of around 15kHz. Oversampling 24‑bit converters are used for the guitar input, providing plenty of dynamic range without the user having to mess around with sensitivity controls. A headphone socket is also provided, and it puts out plenty of level for personal practice.

The high‑impedance Input socket matches any type of electric guitar pickup, while the stereo line output can be used with balanced or unbalanced connectors. The lead from the footswitch connects to a quarter‑inch jack socket and can then be used for navigating through the internal patches. The V‑Amp comes packed in a neat padded gig bag, with an AC adaptor and a surprisingly solid dual footswitch. The V‑Amp's comprehensive MIDI implementation allows remote editing and full real‑time control of all parameters. The construction looks similar, but closer inspection reveals that the V‑Amp is made from tough ABS plastic, rather than from cast metal, and that the knobs are not regular pots but continuous encoders surrounded by rings of LEDs. For a start, the V‑Amp is bright blue rather than red, and instead of the Pod's distinct kidney shape its outline is a caricature of an electric guitar. But although the V‑Amp tips a cheeky nod in the direction of that product, and offers very similar facilities, you'd never mistake one for the other. If this sounds in any way familiar, it's because Behringer are clearly after a share of the market niche carved out by the ground‑breaking Line 6 Pod. Paul White approves.īehringer's V‑Amp is a modelling guitar preamp, complete with speaker simulator, effects and an optional Emagic Sound Diver patch editor. Behringer's take on the desktop amp modeller adds a new twist - rotary shaft encoders with LED displays.

Behringer guitar amp