Behringer DJ Equipment LX1B User Manual

User Manual  
BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO  
The Ultimate Tone Toolbox for Bass/Acoustic/Electric Guitar and  
Keyboard Amp Modeling  
 
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BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
9. Do not defeat the safety purpose of the polarized  
UNDERTAKING OR REPRESENTATION. THIS MANUAL  
IS COPYRIGHTED. NO PART OF THIS MANUAL MAY  
BE REPRODUCED OR TRANSMITTED IN ANY FORM  
OR BY ANY MEANS, ELECTRONIC OR MECHANICAL,  
Important Safety  
Instructions  
or grounding-type plug. A polarized plug has two blades  
with one wider than the other. A grounding-type plug  
has two blades and a third grounding prong. The wide  
blade or the third prong are provided for your safety. If the INCLUDING PHOTOCOPYING AND RECORDING OF ANY  
provided plug does not fit into your outlet, consult an  
electrician for replacement of the obsolete outlet.  
KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS  
WRITTEN PERMISSION OF MUSIC GROUP IP LTD.  
10. Protect the power cord from being walked on or  
pinched particularly at plugs, convenience receptacles,  
and the point where they exit from the apparatus.  
ALL RIGHTS RESERVED.  
© 2012 MUSIC Group IP Ltd.  
Trident Chambers, Wickhams Cay, P.O. Box 146,  
Road Town, Tortola, British Virgin Islands  
Terminals marked with this symbol carry  
electrical current of sufficient magnitude  
to constitute risk of electric shock.  
11. Use only attachments/accessories specified by  
the manufacturer.  
Use only high-quality professional speaker cables with  
¼" TS or twist-locking plugs pre-installed. All other  
installation or modification should be performed only  
by qualified personnel.  
12. Use only with the  
cart, stand, tripod, bracket,  
or table specified by the  
LIMITED WARRANTY  
§ 1 Warranty  
manufacturer, or sold with (1) This limited warranty is valid only if you purchased  
the apparatus. When a cart the product from a MUSIC Group Authorized Reseller in  
This symbol, wherever it appears,  
alerts you to the presence of uninsulated  
dangerous voltage inside the  
is used, use caution when  
the country of purchase. A list of authorized resellers can  
moving the cart/apparatus be found on BEHRINGER’s website behringer.com under  
enclosure - voltage that may be sufficient to constitute a  
risk of shock.  
combination to avoid  
“Where to Buy, or you can contact the MUSIC Group office  
closest to you.  
injury from tip-over.  
This symbol, wherever it appears,  
alerts you to important operating and  
maintenance instructions in the  
13. Unplug this apparatus during lightning storms or  
(2) MUSIC Group* warrants the mechanical and  
when unused for long periods of time.  
electronic components of this product to be free of defects  
in material and workmanship if used under normal  
operating conditions for a period of one (1) year from  
the original date of purchase (see the Limited Warranty  
terms in § 4 below), unless a longer minimum warranty  
period is mandated by applicable local laws. If the product  
shows any defects within the specified warranty period  
and that defect is not excluded under § 4, MUSIC Group  
shall, at its discretion, either replace or repair the product  
using suitable new or reconditioned product or parts.  
In case MUSIC Group decides to replace the entire product,  
this limited warranty shall apply to the replacement  
product for the remaining initial warranty period, i.e.,  
one (1) year (or otherwise applicable minimum warranty  
period) from the date of purchase of the original product.  
14. Refer all servicing to qualified service personnel.  
Servicing is required when the apparatus has been  
damaged in any way, such as power supply cord or plug  
is damaged, liquid has been spilled or objects have fallen  
into the apparatus, the apparatus has been exposed  
to rain or moisture, does not operate normally, or has  
been dropped.  
accompanying literature. Please read the manual.  
Caution  
To reduce the risk of electric shock, do not  
remove the top cover (or the rear section).  
No user serviceable parts inside. Refer servicing to  
qualified personnel.  
Caution  
To reduce the risk of fire or electric shock,  
do not expose this appliance to rain and  
15. The apparatus shall be connected to a MAINS socket  
outlet with a protective earthing connection.  
16. Where the MAINS plug or an appliance coupler is  
used as the disconnect device, the disconnect device shall  
remain readily operable.  
moisture. The apparatus shall not be exposed to dripping  
or splashing liquids and no objects filled with liquids,  
such as vases, shall be placed on the apparatus.  
Caution  
These service instructions are for use  
by qualified service personnel only.  
(3) Upon validation of the warranty claim, the repaired  
or replacement product will be returned to the user  
freight prepaid by MUSIC Group.  
To reduce the risk of electric shock do not perform any  
servicing other than that contained in the operation  
instructions. Repairs have to be performed by qualified  
service personnel.  
(4) Warranty claims other than those indicated above  
are expressly excluded.  
PLEASE RETAIN YOUR SALES RECEIPT. IT IS YOUR PROOF  
OF PURCHASE COVERING YOUR LIMITED WARRANTY.  
THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOF  
OF PURCHASE.  
1. Read these instructions.  
2. Keep these instructions.  
3. Heed all warnings.  
LEGAL DISCLAIMER  
TECHNICAL SPECIFICATIONS AND APPEARANCES  
ARE SUBJECT TO CHANGE WITHOUT NOTICE AND  
ACCURACY IS NOT GUARANTEED. BEHRINGER IS  
PART OF THE MUSIC GROUP (MUSIC-GROUP.COM).  
ALL TRADEMARKS ARE THE PROPERTY OF THEIR  
RESPECTIVE OWNERS. MUSIC GROUP ACCEPTS NO  
LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED  
BY ANY PERSON WHO RELIES EITHER WHOLLY OR  
IN PART UPON ANY DESCRIPTION, PHOTOGRAPH  
OR STATEMENT CONTAINED HEREIN. COLORS AND  
SPECIFICATIONS MAY VARY FROM ACTUAL PRODUCT.  
MUSIC GROUP PRODUCTS ARE SOLD THROUGH  
AUTHORIZED FULLFILLERS AND RESELLERS ONLY.  
FULLFILLERS AND RESELLERS ARE NOT AGENTS OF  
MUSIC GROUP AND HAVE ABSOLUTELY NO AUTHORITY  
TO BIND MUSIC GROUP BY ANY EXPRESS OR IMPLIED  
§ 2 Online registration  
4. Follow all instructions.  
5. Do not use this apparatus near water.  
6. Clean only with dry cloth.  
Please do remember to register your new BEHRINGER  
equipment right after your purchase at behringer.com  
under“Support”and kindly read the terms and conditions  
of our limited warranty carefully. Registering your  
purchase and equipment with us helps us process  
your repair claims quicker and more efficiently.  
Thank you for your cooperation!  
7. Do not block any ventilation openings. Install in  
accordance with the manufacturer’s instructions.  
8. Do not install near any heat sources such as  
radiators, heat registers, stoves, or other apparatus  
(including amplifiers) that produce heat.  
§ 3 Return materials authorization  
(1) To obtain warranty service, please contact the  
retailer from whom the equipment was purchased.  
Should your MUSIC Group Authorized Reseller not be  
located in your vicinity, you may contact the MUSIC Group  
Authorized Fulfiller for your country listed under  
 
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BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
“Support”at behringer.com. If your country is not  
listed, please check if your problem can be dealt with  
by our“Online Support”which may also be found under  
“Support”at behringer.com. Alternatively, please submit  
an online warranty claim at behringer.com BEFORE  
returning the product. All inquiries must be accompanied  
by a description of the problem and the serial number  
of the product. After verifying the product’s warranty  
eligibility with the original sales receipt, MUSIC Group  
will then issue a Return Materials Authorization  
(“RMA”) number.  
connection or operation of the unit in any way  
that does not comply with the technical or safety  
regulations applicable in the country where the  
product is used;  
(3) This warranty does not detract from the seller’s  
obligations in regard to any lack of conformity of the  
product and any hidden defect.  
§ 9 Amendment  
damage/defects caused by acts of God/Nature  
(accident, fire, flood, etc) or any other condition that  
is beyond the control of MUSIC Group.  
Warranty service conditions are subject to change without  
notice. For the latest warranty terms and conditions  
and additional information regarding MUSIC Group’s  
limited warranty, please see complete details online at  
behringer.com.  
(7) Any repair or opening of the unit carried out by  
unauthorized personnel (user included) will void the  
limited warranty.  
* MUSIC Group Macao Commercial Offshore Limited of  
Rue de Pequim No. 202-A, Macau Finance Centre 9/J, Macau,  
including all MUSIC Group companies  
(8) If an inspection of the product by MUSIC Group  
shows that the defect in question is not covered by the  
limited warranty, the inspection costs are payable by  
the customer.  
(2) Subsequently, the product must be returned in  
its original shipping carton, together with the return  
authorization number to the address indicated by  
MUSIC Group.  
(9) Products which do not meet the terms of this  
limited warranty will be repaired exclusively at the buyer’s  
expense. MUSIC Group or its authorized service center will  
inform the buyer of any such circumstance. If the buyer  
fails to submit a written repair order within 6 weeks after  
notification, MUSIC Group will return the unit C.O.D. with  
a separate invoice for freight and packing. Such costs will  
also be invoiced separately when the buyer has sent in a  
written repair order.  
(3) Shipments without freight prepaid will not  
be accepted.  
§ 4 Warranty Exclusions  
(1) This limited warranty does not cover consumable  
parts including, but not limited to, fuses and batteries.  
Where applicable, MUSIC Group warrants the valves or  
meters contained in the product to be free from defects  
in material and workmanship for a period of ninety (90)  
days from date of purchase.  
(10) MUSIC Group Authorized Resellers do not sell new  
products directly in online auctions. Purchases made  
through an online auction are on a“buyer beware”basis.  
Online auction confirmations or sales receipts are not  
accepted for warranty verification and MUSIC Group will  
not repair or replace any product purchased through an  
online auction.  
(2) This limited warranty does not cover the product  
if it has been electronically or mechanically modified  
in any way. If the product needs to be modified or  
adapted in order to comply with applicable technical  
or safety standards on a national or local level, in any  
country which is not the country for which the  
product was originally developed and manufactured,  
this modification/adaptation shall not be considered a  
defect in materials or workmanship. This limited warranty  
does not cover any such modification/adaptation,  
regardless of whether it was carried out properly or not.  
Under the terms of this limited warranty, MUSIC Group  
shall not be held responsible for any cost resulting from  
such a modification/adaptation.  
§ 5 Warranty transferability  
This limited warranty is extended exclusively to the  
original buyer (customer of authorized reseller) and is  
not transferable to anyone who may subsequently  
purchase this product. No other person (reseller, etc.)  
shall be entitled to give any warranty promise on behalf  
of MUSIC Group.  
(3) This limited warranty covers only the product  
hardware. It does not cover technical assistance for  
hardware or software usage and it does not cover  
any software products whether or not contained in  
the product. Any such software is provided“AS IS”  
unless expressly provided for in any enclosed software  
limited warranty.  
§ 6 Claim for damage  
Subject only to the operation of mandatory applicable  
local laws, MUSIC Group shall have no liability to the buyer  
under this warranty for any consequential or indirect  
loss or damage of any kind. In no event shall the liability  
of MUSIC Group under this limited warranty exceed the  
invoiced value of the product.  
(4) This limited warranty is invalid if the  
factory-applied serial number has been altered or  
removed from the product.  
§ 7 Limitation of liability  
This limited warranty is the complete and exclusive  
warranty between you and MUSIC Group. It supersedes  
all other written or oral communications related to this  
product. MUSIC Group provides no other warranties for  
this product.  
(5) Free inspections and maintenance/repair work  
are expressly excluded from this limited warranty,  
in particular, if caused by improper handling of the  
product by the user. This also applies to defects caused  
by normal wear and tear, in particular, of faders,  
crossfaders, potentiometers, keys/buttons, guitar strings,  
illuminants and similar parts.  
§ 8 Other warranty rights and  
national law  
(1) This limited warranty does not exclude or limit the  
buyer’s statutory rights as a consumer in any way.  
(6) Damage/defects caused by the following conditions  
are not covered by this limited warranty:  
(2) The limited warranty regulations mentioned herein  
are applicable unless they constitute an infringement of  
applicable mandatory local laws.  
improper handling, neglect or failure to operate the  
unit in compliance with the instructions given in  
BEHRINGER user or service manuals;  
 
5
BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
1. Introduction  
Damaged units should NEVER be sent directly to us. Please inform  
the dealer from whom you acquired the unit immediately as well  
as the transportation company from which you took delivery.  
Otherwise, all claims for replacement/repair may be rendered invalid.  
Congratulations! By purchasing the BASS V-AMP/BASS V-AMP PRO, you have  
selected a modern virtual bass amplifier that sets new standards in the world of  
bass preamps. Our primary goal was to achieve the classic sound of bass amps by  
using “Physical Modeling” and implementing the newest DSP effects.  
Following the tremendous success of our V-AMP and its successor V-AMP 2,  
with the BASS V-AMP/BASS V-AMP PRO we are finally able to offer bass players  
the same diversity of sound.  
Please make sure the unit is provided with sufficient ventilation, and never place  
the BASS V-AMP/BASS V-AMP PRO on top of an amplifier or in the vicinity of a  
heater to avoid the risk of overheating.  
Before plugging the unit into a power socket, please make sure you  
have selected the correct voltage!  
Power is supplied via the cable included with the unit. All requiered safety  
precautions have been adhered to. When you hook up your BASS V-AMP/  
BASS V-AMP PRO to the mains, the unit is automatically turned on.  
However, we went a step further and expanded the concept to include items  
of interest to keyboarders and electric/acoustic guitar players. Those who  
have already used the V-AMP or the V-AMP 2 will appreciate the BASS V-AMP/  
BASS V-AMP PRO as a terrific improvement.  
Please make sure that the unit is grounded at all times. For your own  
protection, you should never tamper with the grounding of the cable or  
the unit itself.  
We wanted to create two devices that would stir conversations in years to come:  
the BASS V-AMP/BASS V-AMP PRO is universally usable and offers authentic  
amp and even speaker sounds—all this without having to transport heavy  
equipment! Additionally, the most modern multi-effects processors assure  
unprecedented tonal freedom. In short, the BASS V-AMP/BASS V-AMP PRO gives  
you a “sound machine” sporting the hottest features of the day.  
MIDI connections (IN, OUT/THRU) use standard DIN plug-in connectors.  
Data transfer takes place via the dry-contact optical couplers.  
Additional information can be found in chapter 8 (“INSTALLATION”).  
1.1.1 Online registration  
Future EPROM updates will make sure your BASS V-AMP/BASS V-AMP PRO always  
has the latest software and features.  
Please register your new BEHRINGER equipment right after your purchase  
warranty carefully.  
BEHRINGER is a company in the field of professional audio studio technology.  
We have been successfully developing products for live and studio  
applications for years. Among those are microphones and 19" gear of all kinds  
(compressors, enhancers, noise gates, tube processors, headphone amplifiers,  
Should your BEHRINGER product malfunction, it is our intention to have it  
repaired as quickly as possible. To arrange for warranty service, please contact  
digital effects units etc.), monitoring and PA loudspeakers as well as professional the BEHRINGER retailer from whom the equipment was purchased. Should your  
live and recording mixing consoles. Our entire technical know-how has gone into BEHRINGER dealer not be located in your vicinity, you may directly contact  
creating your BASS V-AMP/BASS V-AMP PRO.  
one of our subsidiaries. Corresponding contact information is included in the  
original equipment packaging (Global Contact Information/European Contact  
Information). Should your country not be listed, please contact the distributor  
nearest you. A list of distributors can be found in the support area of our website  
(http://behringer.com).  
To top it all, we worked together with professional bass players, whose sound  
suggestions led to the creation of original artist presets. Just a single glance at  
the separate preset sheet will be enough to completely amaze you.  
Flexibility is what matters most in the music industry. Bass players should be able  
to offer a wide array of different sounds, and should also be able to temporarily  
adjust to the demands of home recording, studio and live applications. Bulky amp  
combinations are out of sync with today’s times precisely because of this reason.  
The BASS V-AMP/BASS V-AMP PRO offers you a maximum set of features in a  
compact unit that can be figured out in no time.  
Registering your purchase and equipment with us helps us process your repair  
claims more quickly and efficiently.  
Thank you for your cooperation!  
2. Control Elements  
But enough talking: Nothing will convince you more than the shear joy of what  
you will hear and feel the first time you play with your BASS V-AMP/BASS V-AMP An illustration of all control elements is located on the separate sheet included  
PRO. You will experience a latest-generation virtual bass amplifier with  
fascinating features:  
with this user’s manual. The controls on both devices are numbered the same  
way. How the two versions differ is clearly marked by using the designations  
“BASS V-AMP only” or “BASS V-AMP PRO only.” Connections on both versions are  
covered in a separate chapter in this user’s manual.  
Extreme sound variety and flexible output routing options for bass players  
Multi effects, amp and loudspeaker simulations for keyboard players  
2.1 Unit top/front side  
(1) Turn your BASS V-AMP PRO on using the POWER switch. The POWER switch  
should always be in the “Off“ position (depressed) whenever you first  
connect the unit to the mains.  
Remarkably clean, high-gain sound and acoustic simulations for  
electric guitars  
Sound enhancer for acoustic guitar sound pickup  
Uncompromising loop/sampler function, super-phat analog bass synth and  
the best distortion pedal simulations.  
Please note: Merely switching the unit off does not mean that it is fully  
disconnected from the mains (BASS V-AMP PRO only). When not using  
the unit for prolonged periods of time, please unplug the unit’s power  
cord from the wall.  
1.1 Before you get started  
The BASS V-AMP/BASS V-AMP PRO was carefully packed at the assembly plant to  
assure its secure transport.  
(2) The GAIN control determines level and saturation charac-teristics of the  
amp simulation.  
Should the condition of the cardboard box suggest that damage may have taken  
place, please inspect the unit immediately and look for physical indications  
of damage.  
(3) The VOLUME control governs the volume of the selected preset.  
(4) The BASS control on the EQ section lowers or elevates bass frequencies.  
 
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BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
When the TAP button (11) is depressed, the BASS control changes its  
function to DEEP control, which influences the sound in the lower  
frequency segment.  
C: This key activates the CABINETS mode. Use the arrow keys to select a type  
of loudspeaker or a combination of loudspeakers. You can also completely  
switch off the speaker simulation (“-”). Additional information is available in  
chapter 5.2.  
(5) The MID control lowers or elevates the mid frequencies.  
D: Activates the X-OVER function. Use the arrows to regulate the  
cut-off frequency between high-pass and low-pass filter. This is done in  
50 gradients (please also see chapter 6.3).  
MID-SHIFT/SHAPE: When you select an amp simulation using the AMPS  
control, press the TAP button to use the MID control to adjust the mid  
frequency range (SHIFT). With amp simulations that don’t originally  
have such a function, pressing the TAP button as described above  
activates the BEHRINGER SHAPE filter instead.  
E: Activates the DENOISER function. You may change the threshold of  
the expander by using the arrow keys. The EFFECTS control regulates the  
sensitivity of the noise reduction system, while pressing TAP changes the  
function of the EFFECTS control so that it regulates the frequency range of  
the noise reduction system (also see ch. 5.3).  
(6) The TREBLE control regulates the upper frequency range of an  
activated preset.  
Pressing the TAP button (11) changes the function of the TREBLE control  
to PRESENCE control. This enables lowering/elevating upper frequency  
range values of a filter selected for the amp model active at this time.  
This filter simulates the frequency-dependent coupling of tube amps.  
After preset editing, press the TUNER/EXIT button to quit  
(the EDIT MODE LED dies out).  
DIGITAL OUT: The digital output on the BASS V-AMP PRO can be  
configured by pressing buttons A and B simultaneously. The display  
shows “SP” for S/PDIF or “AE” for AES/EBU format. Alternating between  
the two formats is done by using the TAP key. The LEDs let you see the  
respective sample rate (internal synchronization and sampling rates of  
44.1, 48 or 96 kHz or external wordclock synchronization; see table 2.1).  
To select the most appropriate sampling rate for the receiving unit,  
please use the arrow keys. Press the TUNER/EXIT key to quit.  
Please pay attention to the special functions (described under ( 8 ) )  
of the following points: ( 2 ) , ( 3 ) and ( 5 ) !  
(7) The AMPS control lets you select one of the 32 amp simulations. 16 LEDs  
surround this control, whereby 1 LED is assigned to 2 amp types. You select  
one of the first 16 amp types (white lettering) by simply turning the control.  
To select the next 16 amps (17 - 32, grey lettering), keep the TAP button  
pressed as you turn the AMPS control.  
CONFIGURATION: By pressing the D and E keys simultaneously on your  
BASS V-AMP PRO, you can select the global operating mode (keys B and  
D on your BASS V-AMP), so that an adjustment to diverse studio and live  
situations is possible (see chapter 3). Please press the TUNER/EXIT key  
to quit.  
The “17 - 32” LED in the lower left corner of the DISPLAY lights up when  
one of the amp simulations numbered 17 - 32 is selected.  
Additionally, you have the option to activate a PREAMP BYPASS via the  
TUNER (9) and TAP (11) key combi-nation. When PREAMP BYPASS feature  
is activated, no AMPS control LED is on. To disengage the PREAMP BYPASS  
feature, either select an amp model of your choice or press the TUNER and  
TAP keys again.  
(9) The TUNER key engages the tuner. Additionally, you can exit the EDIT mode  
by pressing this key (see chapter 7).  
(10) Both arrow keys are used to select the next preset bank (BANK DOWN und  
BANK UP). Keeping the keys pressed lets you quickly jump through the  
preset banks. Pressing both arrow keys at the same time engages the EDIT  
mode. When you press one of the A - E buttons ((8)) afterwards, each arrow  
key takes over an edit function.  
(8) These five keys are used (among other things) for preset selection of the  
presets bank shown in the display.  
In EDIT mode (activated by simultaneously pressing the arrow keys described  
under (10) ), the function of individual keys is indicated by the print located  
directly above the respective button:  
(11) The TAP key has eight functions:  
“Tap”: Tap the TAP key in the rhythm of a tune, and the selected effect  
A: Activates the MIDI function. By utilizing the arrow keys, the MIDI channel  
adjusts automatically to the appropriate speed.  
used for sending and receiving (1 to 16) can be set up.  
“Deep”: By keeping the TAP key pressed, the BASS control assumes the  
function of a DEEP control, so that it regulates the sound in the deep bass  
end of the spectrum.  
After selecting a MIDI function via the A key, pressing the TAP key relays the  
MIDI out connector to MIDI Thru. When in this mode, the unit sends no MIDI  
information of its own; instead, it merely passes on the data received at  
the MIDI In.  
“Mid-Shift/Shape”: When an amp simulation is selected using the AMPS  
control, keep the TAP key pressed and use the MID control to regulate the  
middle portion of the frequency range (SHIFT).  
B: Switches the DRIVE function on and off. When DRIVE is enabled, the  
controls (2), (3) and (5) take up the following functions:  
Our BEHRINGER SHAPE filter is automatically activated with amp simulations  
that do not have such a function (as described above) in the original.  
GAIN regulates the distortion degree (“DRIVE”).  
The VOLUME control regulates an additional volume  
control (“BOOST”).  
“Presence”: Keep the TAP key pressed to use the TREBLE control to regulate  
PRESENCE in a particular amp simulation.  
Use the MID control like the tone control on a simulated distortion  
pedal (“TONE”).  
“2nd parameter”: The second effect parameter (regulated by the EFFECTS  
control) is accessed by keeping the TAP button pressed (see chapter 6).  
Well-known floor effects units are simulated with these setups.  
“Amp models 17 - 32”: Keep the TAP key pressed and select the desired  
simulation by using the AMPS control.  
When the DRIVE function is activated, turning the EFFECTS MIX controls  
lets you also set up the Wah- Wah. The LEDs surrounding the EFFECTS  
MIX control show the position of the pedal. When the LED is not on,  
the Wah-Wah is inactive.  
“MIDI Thru”: The MIDI Out connector can be set to MIDI Thru (see (8) A).  
“Compressor”: The compressor control regulates the attack time when the  
TAP key is kept pressed (see (14) ).  
When the Auto Wah/P-Funk’n is activated, the Wah- Wah cannot  
be used.  
 
7
BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
(12) DISPLAY shows the selected effects bank and gives information about the  
changes occurring while editing. When the tuner is enabled, the display  
shows the tuning of the connected instrument. When one of the amp  
simulations numbered 17 - 32 is selected, the LED located in the lower left  
corner of the DISPLAY lights up.  
In addition to the AUX LEVEL control on the BASS V-AMP, this is the  
only non-programmable control of the BASS V-AMP/BASS V-AMP PRO.  
All additional controls are infinitely turnable, and their positions can  
be saved in a preset.  
The LED circles surrounding the VOLUME, BASS, MID, TREBLE, GAIN,  
EFFECTS MIX and COMPRESSOR controls each have nine LEDs. Either one  
LED or two adjacent LEDs light up in each LED circle at any one time.  
This occurs when the control is in an in-between position. This way,  
a total of 17 positions can be displayed.  
The display on the BASS V-AMP PRO gives additional information about  
the digital format and the sample rate of the unit, and indicates that  
the BASS V-AMP PRO should be synchronized to an external wordclock  
signal. Connec-ted input signals are displayed with the green SIGNAL LED;  
distorted signals are marked with the red CLIP LED.  
(17) The connector labeled INPUT is the 1" TS jack input of the BASS V-AMP/  
BASS V-AMP PRO, which is where an electric bass, an acoustic guitar,  
a keyboard etc. can be connected. Use a common 1/4” mono jack cable  
for this purpose.  
(18) The LINE IN switch regulates which signal source of the BASS V-AMP PRO  
is processed. When the switch is not pressed, this refers to the the signal  
connected to the input connector (e.g. electric bass). When the switch is  
depressed, the line signal connected to the PRE DSP INSERT (LINE IN, (20))  
is routed to the processor (par-ticularly useful for keyboards).  
(19) You can connect standard headphones to the PHONES connector of your  
BASS V-AMP/BASS V-AMP PRO.  
When headphones are connected to your BASS V-AMP/BASS V-AMP  
PRO, studio mode 1 (S1) is automatically activated. If you opted not  
to select a loudspeaker type in your setup and then connect a set of  
headphones, your BASS V-AMP/BASS V-AMP PRO automatically selects  
a speaker simulation. This improves the subjective listening impression  
while using headphones. To look up which speaker simulation is paired  
to which amp, please see table 5.1. However, you can deactivate a  
simulation while listening to headphones by selecting “-” in CABINETS  
mode. Conversely, it is possible to freely select the global output  
configuration when a set of headphones is connected, so that you can  
for example check the effect various modes have on your sound.  
Fig. 2.1: BASS V-AMP PRO display  
Clock  
LED ext.  
LED 48 kHz  
LED 96 kHz  
internal 44.1 kHz  
internal 48 kHz  
internal 96 kHz  
external (any frequency)  
Tab. 2.1: Output formats and LED allocation in the diplay (BASS V-AMP PRO only)  
(13) The EFFECTS control lets you select an effects preset or a combination of  
several effects. This continuously turnable control is surrounded by a circle of  
16 LEDs. Each effect has a corresponding LED.  
2.2 Rear panel of the BASS V-AMP PRO  
(20) You can insert external effects into the serial insert loop featured on the  
BASS V-AMP PRO. The SEND/LINE OUT connector is connected to the input  
of your effects unit for this purpose. The SEND/LINE OUT output is tapped  
into directly before the digital signal processor (PRE DSP). This connector is  
therefore ideal for recording “dry” signals (i.e. without the effects portion).  
(14) The COMPRESSOR control lets you compress or limit your sound. When you  
turn the COMPRESSOR control as far left as possible without triggering  
off a LED, the dynamic characteristics of the signal are not changed.  
The compressor on the BASS V-AMP/BASS V-AMP PRO controls two  
important functions:  
Please connect the RETURN/LINE IN connector with the output of your  
external effects processor or recorder.  
You set the compression sensitivity by turning the COMPRESSOR control.  
The more you turn the control, the more pronounced the compression.  
When the last LED lights up while turning the control to the right, the effect  
acts as a limiter.  
When using the serial insert loop, please make sure that your effects  
processor is not set to 100% effect signal (“wet”), because otherwise  
the direct signal is missing.  
Turning the COMPRESSOR control while keeping the TAP key pressed lets you  
set the attack parameter of the com-pressor.  
Pressing the LINE IN switch (22) routes the signal connected to the  
RETURN/LINE IN connector to your BASS V-AMP PRO. This function may  
be of use when for example listening to a “dry” recording of a guitar  
signal on your BASS V-AMP PRO before running it through the effects.  
More detailed information about how a compressor works can be found  
in chapter 5.3.  
(21) The stereo signal of the BASS V-AMP PRO without analog speaker  
simulations can be taken at the ANALOG LINE OUTPUTS. For example,  
this is how you connect an external stage amp when performing live.  
(15) When an effect is selected using the EFFECTS control (13), the proportion  
with which this effect influences the entire sound is regulated using  
the EFFECTS MIX control. As long as no LED lights up while turning the  
control leftwards, no effect is mixed in. This is also called an effect bypass,  
and mutes all effects accross the board.  
(22) The POST DSP INSERT RETURN (IN) stereo jack pair is used for connecting  
to the outputs of your external stereo effects processor. The signal taken at  
the POST DSP SEND (OUT) outputs (25) is brought back into these jacks.  
When the TAP key is kept pressed, a second effects parameter can be  
regulated using the EFFECTS control (see tables 6.1 and 6.2).  
(23) The ground connection on the DI OUT outputs (24) can be interrupted  
with the GROUND LIFT switch. This way, rumble noise and ground loops  
can be avoided. The ground connection is interrupted when the switch is  
depressed (LIFT).  
(16) The MASTER control regulates the overall volume of your BASS V-AMP/  
BASS V-AMP PRO.  
 
8
BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
(24) The balanced stereo signal of your BASS V-AMP PRO can be taken at the  
DI OUT. This output should be connected to two balanced channel inputs on  
your mixing console. The signal level is set at +4 dBu in studio modes and at  
-10 dBu for live modes.  
(36) By using the AUX IN jack input, you can feed an additional stereo signal  
into your BASS V-AMP. This way, you can play along to a drum computer  
or a playback.  
(25) The connection to the inputs of an external stereo effects unit can be made  
using the POST DSP SEND (OUT) stereo output. The signal present at this  
output is identical to the signal at the digital outputs. In contrast to the  
SEND/LINE OUT connector (20), the signal is POST DSP here. In case both of  
the respective RETURN (IN) connectors (22) are not in use, the identical signal  
can be taken at the ANALOG LINE OUTPUTS (21).  
3. Application Examples/  
Operating Modes  
To optimally adapt your BASS V-AMP/BASS V-AMP PRO to various studio and/  
or live situations, you may choose between six different operating modes  
(CONFIGURATION, keys B and D in the case of BASS V-AMP as well as keys D and E  
in the case of BASS V-AMP PRO). These operating modes function independently  
from the settings already selected on the unit itself (i.e. how the output signal  
of your BASS V-AMP/BASS V-AMP PRO is taken). This way, the left and the right  
output signals can be used entirely differently. The table on the following  
page explains in full detail how you can tap into the signal at the output of  
your BASS V-AMP/BASS V-AMP PRO with or without a speaker simulation/EQ.  
Additionally, the effects signal at the output does not necessarily have to be  
identical for both sides (see table 3.1).  
(26) BASS V-AMP PRO’s signal can be digitally taken at the S/PDIF output.  
(27) The digital output signal of the BASS V-AMP PRO in AES/EBU format is  
found at the AES/EBU output (XLR connector), provided AES/EBU has  
been selected as output signal format (please adhere to the second note  
under (8) E).  
(28) Devices used to externally synchronize your BASS V-AMP PRO should  
be connected at the WORDCLOCK connector. This is a high-impedance  
connector, meaning that it has no internal terminal resistor (75 Ohm).  
3.1 Selecting an operating mode  
(29) This is the MIDI OUT/THRU connector of the BASS V-AMP PRO.  
The connector is preconfigured in the MIDI Out setting at the assembly plant, (CONFIGURATION)  
but it can be switched to MIDI Thru (see (8) A).  
Your BASS V-AMP/BASS V-AMP PRO is set to studio 1 (S1) operating mode when  
(30) A MIDI foot pedal, for example the BEHRINGER MIDI FOOT CONTROLLER  
FCB1010, can be connected at the MIDI IN connector. Please also read  
chapter 8.4.  
it leaves the assembly plant. To change this setting, select the CONFIGURATION  
mode. Please press the B and D keys at the same time (BASS V-AMP) or D and  
E (BASS V-AMP PRO). By using the arrow keys, you select between different  
operating modes. To exit this mode, press TUNER once.  
(31) SERIAL NUMBER.  
Various operating modes are described on the following pages in greater detail.  
To adjust the output level of your instrument, use a specific level control located  
at the beginning of the signal path. This way, it is possible to adjust the input  
sensitivity by +12/-6 dB (middle value = 0 dB): Please select the CONFIGURATION  
mode and adjust the desired sensitivity level by keeping the TAP key pressed and  
turning the GAIN control.  
(32) FUSE RETAINER/VOLTAGE SELECTOR. Please make sure that the voltage  
indicated in the voltage selector maches the local voltage before you  
connect the unit to the mains. Always replace blown fuses with fuses of  
the same type. Some units feature a fuse retainer in which a selection  
between 230 V and 120 V is possible. Please beware: When using  
your unit outside of Europe on 120 V, a higher fuse rate is required  
(see chapter 8 “INSTALLATION”).  
A change in input gain has an effect on all presets. Therefore, use it  
with caution to allow for example an adjustment to instruments with  
strongly vary-ing signal levels.  
(33) Power is supplied via an IEC connector. The matching cable is provided with  
the unit.  
3.2 Standard setup  
2.3 BASS V-AMP connectors (side)  
To use your BASS V-AMP/BASS V-AMP PRO at the practice room, connect the  
unit as described in fig. 1.4. and 2.3 of the included appendix. Instead of a bass,  
you can of course connect other musical instruments. Connect your headphones  
to the PHONES connector. By using the FS112V footswitch delivered with your  
BASS V-AMP/BASS V-AMP PRO, you can alternate between the five presets  
contained in a preset bank, or you can power up the tuner.  
(21) The stereo output signal of your BASS V-AMP can be taken at the balanced  
LINE OUT connectors.  
(29) This is the MIDI OUT/THRU connector of the BASS V-AMP. The connector is  
configured to MIDI Out at the assembly plant, but it can be reconfigured to  
MIDI Thru (see (8) A).  
(30) A MIDI foot pedal (e.g. the BEHRINGER MIDI FOOT CONTROLLER FCB1010)  
can be connected to the MIDI IN connector. More on this subject in  
chapter 8.4.  
Live modes L1 and L2 featured in figures 1.4, 1.5 and 2.4 are particularly well  
suited for more demanding live or practice room applications. By using a MIDI  
foot controller (fig. 1.4 and 2.5), you can alternate between different presets,  
banks and amps, the tuner etc. An additional stereo signal can be fed into your  
BASS V-AMP/BASS V-AMP PRO at the aux in (see fig. 1.3 and 1.5).  
(33) Connect the power supply unit via the AC IN connector. When you plug  
the power supply unit in the mains, your BASS V-AMP is automatically  
switched on.  
Naturally, your BASS V-AMP/BASS V-AMP PRO is in its best shape when its bass  
parts are immortalized on an analog or digital recording medium. Its advantages  
are most apparent when used in recording situations. Your BASS V-AMP/  
BASS V-AMP PRO gives you unsurpassed flexibility because you can simply  
take it with you into the control room and forget all about having to use  
speakers. This way, you have the best control of the sound of your BASS V-AMP/  
BASS V-AMP PRO at all times.  
(34) Connect the stereo jack of your footswitch FS112V to the FOOTSWITCH  
connector. This will enable you to alternate between different presets  
within a preset bank. When you keep the DOWN button on the footswitch  
pressed for longer than two seconds, this automatically powers up the tuner.  
Doing the same again alternately turns the tuner off.  
(35) The volume of the signal fed into the AUX IN input is adjusted by using the  
AUX LEVEL control.  
If you realize that you have to change the signal on the mixing console,  
you can work with the tone engineer on your sound so that the recording  
is done optimally, capturing your sound the way you want it. Simply put:  
no annoying back-and-forth trips between studio and control room.  
 
9
BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
When you connect line out L with aux in R (plug plugged in half-way)  
in S3 mode, you can add the direct signal to the effect signal.  
BASS V-AMP  
OUTPUTS L OUTPUTS R  
Stereo operation with the selected Stereo operation with the selected  
BASS V-AMP PRO  
Operation  
mode  
OUTPUTS L OUTPUTS R  
Avoid connecting line out L to aux in L as well as line out R and aux in R,  
as feedback may occur.  
Studio 1 (S1)  
Studio 2 (S2)  
effects and speaker simulations effects and speaker simulations  
Amp w/out  
Amp,  
Cab Sim + FX  
Amp w/out  
FX + Cab Sim  
Amp,  
Cab Sim + FX  
FX + Cab Sim  
4. Presets of the BASS V-AMP/  
BASS V-AMP PRO  
XLR/Phones: ULTRA-G active  
(digital Cab Sim out)  
DI Out  
(unprocessed  
direct signal)  
Amp,  
Studio 3 (S3)  
Live 1 (L1)  
Cab Sim + FX  
Amp w/out FX  
Amp + FX  
The BASS V-AMP/BASS V-AMP PRO features 125 rewritable presets, divided into  
25 banks. Therefore, there are five presets per preset bank. Each preset consists  
of a maximum of five “ingredients”:  
Stereo operation:  
Live EQ, Amp, Cab Sim and FX  
Stereo operation:  
Live EQ, Amp, Cab Sim and FX  
Bi-Amping mode w/out Cabinet  
Simulation XLR/PHONES:  
ULTRA-G active  
Bi-Amping mode w/out  
Cabinet Simulation  
the simulation of an amplifier (incl. GAIN, EQ and VOLUME settings),  
the loudspeaker simulation,  
Live 2 (L2)  
HP: Live EQ,  
Amp, FX  
LP: without  
effects  
HP: Live EQ,  
Amp, FX  
LP: w/out effect  
section  
a “pre-amp” effect (e.g. Denoiser, Auto Wah, Wah Wah),  
For Amp with  
Live EQ w/out  
Cab Sim  
For Amp w/out  
Live EQ with  
Cab Sim  
XLR/Phones: ULTRA-G active  
(digital Cab Sim out)  
Stereo: Amp, FX + Live EQ  
Live 3 (L3)  
a “post-amp” multi effect (e.g. stereo delay, modulation effect or a  
combination of both) and  
Tab. 3.1: Operating modes of the BASS V-AMP/BASS V-AMP PRO with application examples  
the compressor setting.  
3.3 Recording situation  
An overview of all presets of your BASS V-AMP/BASS V-AMP PRO is included with  
this user’s manual.  
Depending on the recording situation and the desired effect, all studio  
modes come into play (S1, S2 und S3). While S1 carries the complete signal  
(including all amps, speakers and effects simulations) in stereo, S2 produces  
two mono signals, whereby the right output contains the signals with all the  
simulations, while the left output without the effects. A typical home recording  
setup is shown in fig. 1.3.  
4.1 Recalling presets  
The most recently used preset is automatically recalled each time you power the  
unit on. The following example in fig. 4.1 shows the BASS V-AMP: preset D in the  
25th bank was selected.  
S3 serves the purpose of recording a fully unprocessed signal (right output)  
and still hear it with all the effects applied (left output). Since the  
In this case you can press the keys A, B, C or E to recall a different preset of the  
same preset bank. You can select a different preset bank by pressing either one of  
the two arrow keys.  
BASS V-AMP PRO has an additional PRE DSP INSERT, this operating mode  
(known as “Re-Amping”) is possible in every output mode (see fig. 2.5 and 2.6).  
Figure 2.6 describes the possibility of recording the direct signal via an analog  
sound card input and simultaneously recording the completely processed signal.  
Should the sound of your mix require reworking, you don’t have to bring the  
signal in again, since the direct signal is still available.  
The display of the BASS V-AMP/BASS V-AMP PRO always shows which preset bank  
is selected. To recall a preset after selecting a different preset bank, press one of  
the A - E keys. Which preset from the respective bank is currectly active is always  
displayed in the key LED.  
In the case of the BASS V-AMP PRO, you can directly feed a digital mixing  
console (our BEHRINGER DDX3216 in this illustration). The unit can be externally  
synchronized via worldclock (fig. 2.5).  
3.4 Live setup with a connection to an external  
bass amplifier  
The BASS V-AMP/BASS V-AMP PRO is naturally in top form when it is used  
as a preamp in connection with an external bass amplifer. In the case of the  
BASS V-AMP, it is advisable to connect your bass amp via the L/AMP OUT output,  
while the R/DI OUT output is used to connect to the mixing console or the stage  
box (fig. 1.6 and 2.3). Connecting the BASS V-AMP PRO to a mixing console should  
be done via the ULTRA-G DI OUT output.  
Fig. 4.1: Recalling presets  
The advantage of this application: You are ultra-flexible, since you can set up the  
necessary monitor volume/tone needed for the stage directly on the external  
bass amplifier, and at the same time utilize the various sound options of the  
4.2 Editing presets  
BASS V-AMP/BASS V-AMP PRO. When you use the R/DI output of the BASS V-AMP Editing presets on your BASS V-AMP/BASS V-AMP PRO is simple and quick to do.  
to control your mixing console, the front mix benefits from the unique sound You can for example recall a preset in order to modify it. To do so, select a desired  
achieved by the BASS V-AMP, which is optimized for P.A. applications by virtue of amp model by turning the AMPS control to the desired amp model. The preset  
utilizing the equalizer in the channel strip of the mixing console.  
key LED flashes (for example, D) and signals that you have edited a preset.  
In the case of the BASS V-AMP, selecting studio 3 (S3) and connecting  
Line Out R with Aux In L lets you bring the direct signal in addition to  
the output signal by using the aux control.  
Now, modify the settings of the VOLUME, BASS, MID, TREBLE and GAIN controls.  
After having selected the desired effect by using the EFFECTS control, you can  
modify its part of the entire sound by using the EFFECTS MIX control.  
 
10 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
To get into the EDIT mode, press both arrow keys simultaneously. By using the  
Powering up your BASS V-AMP/BASS V-AMP PRO automatically loads the preset  
keys B - E, you can activate the DRIVE, CABINETS, X-OVER and DENOISER functions you used most recently. The LED circle surrounding the AMPS control shows  
respectively. You can then edit these functions by using the arrow keys, and the  
respective parameters will be shown in the display. To leave EDIT mode again,  
briefly press the TUNER key.  
which amp is currently selected: its respective LED is on. By turning the control,  
you can select a different amp. To change the basic parameters of the sound  
signal, use the VOLUME, BASS, MID, TREBLE and GAIN controls. When the TAP key  
is pressed, the TREBLE control assumes the function of lowering/increasing the  
PRESENCE filter in the upper frequency range (see (6)).  
By turning the TREBLE control while the TAP key is pressed, you can lower  
or increase an additional filter in the upper frequency range (PRESENCE).  
This simulates the frequency-dependant decoupling of tube amps.  
As a rule, you first select an amp, then a cabinet and finally an effect.  
With the exception of Compressor und Auto Wah, there is a speed  
parameter present in all multi-effects. Let’s say you want to adjust  
respective effects according to the tempo of your playback. Tap the  
TAP key twice in the tempo of your playback and the tempo of the  
effect is automatically matched to the tempo of your musical piece.  
How to save your changes is described in chapter 4. To get a better overview of  
the rich choice of amp simulations of the BASS V-AMP/BASS V-AMP PRO, read the  
descriptions of various amp types in the section below.  
When you select an amp simulation, a matching speaker simulation  
is automatically selected (see table 5.1). Otherwise, the authenticity  
of the sound could suffer from a poorly selected speaker,  
particularly when you use headphones. Of course, you can select other  
cabinet simulations for the respective amp type depending on your  
personal preferences.  
4.3 Saving user presets  
To save your edits, keep the desired preset key pressed for roughly two seconds.  
This will overwrite the previous settings (the key LED lights constantly again).  
Of course, you don’t have to necessarily save your preset in the location  
of the previously selected preset. To save your preset elsewhere,  
press the arrow keys (BANK UP and BANK DOWN) to get to the desired  
preset bank. Then, you can save your preset by keeping the desired  
preset key pressed for roughly two seconds. For example, you can edit a  
preset located in preset bank five and location D and save it in bank six  
and location A.  
5.1 Amp descriptions  
BRITISH ’60s: A ’68 Marshall Super Bass Plexi with Vintage EL-34 tubes was  
the role model for this simulation. This amp has richer highs than the Marshall  
Major and sounds a bit like a fuzz box in the upper drive settings. This amp  
was a must in the ’60s, particularly among UK bands. For example, it was used  
by John Entwhistle (The Who), Noel Redding (The Jimi Hendrix Experience),  
Ron Wood (Jeff Beck Group) and Roger Glover (Deep Purple).  
4.4 Overriding edits/Restoring single  
factory presets  
BRITISH ’70s: This virtual amp is based on the ’69 Marshall Major. It’s a classic  
among tube amps, and was used by Jack Bruce, among others. The sound  
You can of course undo an edit of a preset. Let’s say, you selected preset C and  
edited it (key LED is blinking), but then you want to revert to the previously saved remains warm even in high drive settings, and gets a natural-sounding distortion  
configuration: Simply select a different preset. Each time you recall a different  
preset, unsaved edits from the current edit are lost. However, keeping both arrow  
keys pressed after editing for so long until “Pr” appears in the display recalls the  
factory preset that was originally at this location. To activate this factory preset,  
you still have to save it again by keeping the respective preset button for roughly  
two seconds.  
characteristic, commonly found on old Cream records.  
BRITISH ’80s: A sound coined in the ’80s by musicians such as Trace Elliot or  
Mark King from Level 42. It’s a very transparent and “wirily” sound that produced  
a lot of pressure.  
BRITISH POP: Created using the Vox AC-100 as a model. This amp was very  
“in” in the ’60s because it had a memorable bass foundation while still leaving  
enough playroom in the highs. The AC-100 had one very unique feature: the bass  
control worked the wrong way around! Turning the control to the left meant  
elevating the bass frequencies. Since this feature takes some time to get used to,  
we stuck to the more conventional solution, so that turning the control leftward  
lowers the bass frequencies and turning the control rightward elevates them.  
4.5 Restoring all factory presets  
To restore all factory presets, do the following: keep keys D and E pressed and  
only then power up your BASS V-AMP/BASS V-AMP PRO. “CL” is shown in the  
display. Now, let go of the D and E keys and simultaneously press both arrow  
keys. This procedure overwrites all presets that you may have created and  
restores all factory presets. How to save your presets before restoring factory  
presets is explained under 8.4.1.  
THUNDERBIRD: This simulation leans in the direction of smaller bass combos,  
similar to the BEHRINGER THUNDERBIRD BX108, hence the designation. The  
result is a full and warm sound that forgives minor playing impreciseness.  
MOSOUND: No other amp was used more often in Motown recordings as  
this one: the Ampeg B-15. The list of artists who used the typical B-15 bass  
sound looks like “Who’s Who in Motown”: The Supremes, The Four Tops,  
The Temptations, Marvin Gaye and Stevie Wonder to mention just a few.  
5. Amp/Speaker Simulation  
The heart and soul of your BASS V-AMP/BASS V-AMP PRO are its amp/speaker  
simulations. 32 simulation models can enormously ease the work at your home  
recording studio, because you avoid having to mic an amp. With your BASS V-AMP/  
BASS V-AMP PRO, you are in the position to simply choose an amp that once  
wrote history, regardless of whether we are talking funk, blues, heavy metal or  
any other musical style. Moreover, you can freely modify the sound of the amp  
of your choosing and virtually wire it up to one of the 23 simulated speaker types  
(“cabinets”). Last but not least, you can enable a digital effect and a preferred  
degree of compression for your virtual amp (see chapter 4, “BASS V-AMP/  
BASS V-AMP PRO PRESETS”).  
ROCK CLASSIC: A little quiz question: what’s the name of the bass amp that has  
been manufactured for the past 30 years, without modifications, and is still as  
popular as ever? Correct: it is the Ampeg SVT Classic—a true power package.  
With its 300 Watts of raw tube power, this amp has been indispensible to rock  
bass players for years. Among others, Van Halen and the Rolling Stones use  
this amp.  
ROCK 2: Here we have the next stage in the development of the SVT CLASSIC:  
SVT PRO II. With this model you can use a graphic EQ, which was a feature that  
made this amp well liked among hard rock and heavy metal bands. But pop-rock  
combos like those of Bruce Springsteen and David Lee Roth use it often.  
 
11 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
SILVER PANEL: This simulation reproduces the ’67 Fender Bassman—it’s an amp NUMETAL GAIN: This amp’s role model was a 1994 Mesa Boogie Dual Rectifier  
from the legendary “Silverface” series. Shortly after its introduction it became  
many a bass player’s absolute darling. Paul McCartney used the Bassman on the  
later Beatles albums and also used it on his first solo album with the Wings.  
Trem-O-Verb. Its modern, high-gain-oriented sound marks this amp, and it works  
very well when playing in a band. Sound control takes place post distortion,  
which makes a “post-treatment” of distorted sounds possible. The amp works  
optimally for heavy metal, but also for achieving Steve Lukather sounds.  
The most famous user of this amp is Dream Theater’s guitarist John Petrucci.  
WHITE PANEL: What would the ’80s be without their typical bass sound?  
This decade was hugely influenced by the sound of Gallien/Krueger bass  
amps. Some liked the authentic reproduction of transistor-powered amps;  
others yearned for the warmth, for that special something that was missing.  
Whatever the case: the Gallien/Krueger was in the early ’80s, along with  
Trace Elliot, the amp of choice. Therefore, we chose the WHITE PANEL as the  
model for the 800RB, as it is popular even today, and used by the likes of Flea  
(Red Hot Chilli Peppers).  
CUSTOM HI GAIN: This sound originates in the sound of a ’69 50-Watt Marshall  
Plexi Pate modified by Jose Arrendondo. Arrendondo was Eddie Van Halen’s  
guitar tech. The amp is characterized by its great mids and the ability to obtain  
the ultimate gain without blurring the sound. Attention: addictive!  
ULTIMATE PLUS: Those to whom DRIVE V-AMP (see below) is not enough will  
find more gain than they could ever ask for.  
RED PANEL: The relatively young company by the name of SWR started  
creating the so-called “L. A.-Sound” in the mid ’80s. The decisive factor was  
the combination of tubes (preamp) and transistors (power amp). Since then,  
the SWR amps belong surely to the most demanded amps on the market.  
The SWR SM-400 was used as a model for RED PANEL—it’s a 500-Watt mono  
head that finds its home in many bass racks due to its rich tone possibilities.  
CRUNCH V-AMP: This amp is ideally suited for modern blues or jazz sounds:  
its sound is neither too low-key nor too intrusive.  
DRIVE V-AMP: This is a modern high gain lead amp. It produces a soft but still  
formidable sound with a lot of drive, therefore ideal for a lead guitar. The role  
model was the Mesa Boogie Mark III.  
BRIT. HI GAIN: Compare this model with a Marshall JCM 800. Even though the  
original caused a furry mostly due to its distorted sound, this model produces a  
similar effect even with moderate gain. You get excellent Steve Ray Vaughan/  
Michael Landau sounds. When distorting, it is ideal for producing the old  
Gary Moore sound as well as heavy metal sound.  
GOLD PANEL: This is a simulation of the Eden Traveller WT-300. This amp got  
its name from its developer: David Eden. He proved his engineering prowice at  
SWR before starting to design bass amps of his own. Eden amps became famous  
through their typically crystal-clear and powerful sound.  
CALIFORNIAN: Toward the end of the ’80s Mesa Boogie presented the 400+.  
This amp’s head is extremely easy to navigate, and features four preamp tubes  
and twelwe amp tubes, delivering a massive 500 Watts of power.  
PIEZO SIM: Simulates a piezo pick up. This way, sound with an acoustic character  
is created. Electric guitars get this accoustic touch, but without the feedback  
typical for acoustic instruments.  
JAZZ TONE: This amp, with its typical Marcus Miller sound, has a classic amp as  
its role model: the Polytone A101. It’s a 15" speaker bass combo. If you’re yearning  
for a jazzy sound, this is the right amp for the occasion.  
MIC SIM: A guitar with steel strings miked with a dynamic microphone is  
simulated here. While piezo pickups have the tendency to make the sound  
rather hard, using a mic makes the sound much more evened-out. Of course,  
the feedback typical for miking acoustic instruments is no longer an issue.  
BOTTOM END: How times change: nowadays, almost all current music  
productions feature a markedly deep bass sound that could previously only  
be achieved on a synth. But to preserve “true” liveliness, it is advantageous  
to bring in an electric bass. Only then can you have authentic dead notes and  
a percussive way of playing. A bass player who became very popular thanks  
to his ultra-deep bass sound is Justin Meldal-Johnsen. He played for Beck and  
Tori Amos, among others. But hip hop, trance and rave musicians will find this  
sound just right.  
MAGNETIC EQ: Magnetic pick ups are very common in western guitars because  
they can easily be mounted into the instrument’s cavity. However, the sound  
produced is not so clear as with piezo systems or with mics, because only the  
vibrations of the strings are captured in the signal. This amp model corrects the  
tone quality of a magnetic pick up system and gives it an acoustic character.  
TUBE PREAMP: Sound engineers discovered the appeal of a tube very early  
on. They use tubes to endow sound sources of all kinds with warmth. You can  
modify not only the sound of a bass, but can for example also run a vocal signal  
through you BASS V-AMP/BASS V-AMP PRO and polish it with the TUBE PREAMP.  
(This amp model is however best suited to instill more life into your bass guitar.)  
A discreet ambience effect lets your instrumet sound more “natural”.  
PIEZO EQ: The sound character of the instrument is presented a bit more harshly.  
The EQ corrects the sound so that the end result sounds like it was directly  
recorded using a mic.  
BLACK TWIN: A Fender Blackface Twin from the year 1965 was the role model  
used for this simulation. In the ’60s, this amp was used by jazz, country and  
even rock musicians. Its appeal was in that it was exceptionally loud, so it was  
primarily used in live situations. You can drive your Blackface Twin extremely  
loud, but the distortion remains moderate even as you increase the volume.  
Try using it with the sound of a Rhodes electric piano sound or another  
electric piano.  
BRITISH CLASS A: Created by using the Vox AC 30 as a role model. The roots of  
this amp go all the way back to the sixties. Back then, bass players demanded  
sound with a brilliant characteristic, which Vox engineers addressed by including  
“revolutionary” bass and treble controls. Brian May and U2 guitarist The Edge are  
the most famous users of this amp.  
MODERN HI GAIN: In this case, sound controls take a back seat to distortion,  
giving the extremely distorted sound more strength. The sound of MODERN HI  
GAIN is ideal for grunge guitarists, but also finds its appeal among the guitarists  
such as Steve Vai and Joe Satriani. Steve Lukathar, Nuno Bettencourt, Steve Vai  
and others made the Soldano sound famous. When using a Gibson Les Paul,  
MODERN HI GAIN sounds at its best when the volume control on the guitar itself  
is somewhat supressed.  
ORGAN CLASSIC: Here we have a simulation of a Leslie 760 amp that strongly  
influenced the classical Hammond sound. During the analysis of this system,  
we noticed distortions that partly spring from the organ tube end amp and partly  
from a Leslie. Both characteristics can be controlled with a gain control the same  
they would be controlled by using a Hammond volume pedal. This sound and  
the rotary cabinet effect make a Rhodes electric piano sound amazing, a clavinet  
sound absolutely cool, analog synth sounds (Moog) get even better, and an  
electric bass and even drum sounds get nicely elevated.  
 
12 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
You can dynamically steer the GAIN control via MIDI by using a foot  
controller board, such as the BEHRINGER MIDI FOOT CONTROLLER  
FCB1010. This way, you get even closer to the original sound.  
A list of speaker/cabinet simulations can be found in the following section.  
Amps 1 - 16 (white)  
BRITISH '60s  
Amp # Cabinet simulation (default setting)  
Cab #  
6
0
1
68 Marshall 4 x 12"  
BRITISH CLASSIC: This amp model, created by leaning closely to a ’59 Marshall  
Plexi 100-Watt amp, is particularly well suited for creating clean sounds. The amp  
was used by Jimi Hendrix, Eric Clapton and Jeff Beck. This amp model is therefore  
located among the keyboard models because you can create the organ sound  
influenced by John Lord (Deep Purple).  
BRITISH '70s  
68 Marshall 4 x 12"  
6
BRITISH '80s  
2
Trace Elliot 4 x 10"  
2
BRITISH POP  
3
Voc AC100 2 x 15"  
9
THUNDERBIRD  
MOSOUND  
4
1 x 8" Tweed  
16  
7
5
Ampeg B15 1 x 15" Closed Back Combo  
Ampeg SVT 8 x 10" '79  
Ampeg SVT 8 x 10" '79  
Fender Bassman 2 x 15" with JBLs  
6 x 10" SWR Goliath Senior  
6 x 10" SWR Goliath Senior  
Ampeg 4 x 10"  
CLASSIC CLEAN: In the ’80s, the chorus effect of a Roland JC-120 was the  
trademark of Buzzy Feiten (Dave Weckl Band guitarist). What makes this  
solid-state amp special is the brilliance of its sound, noticable in every mix.  
It is also outstanding for the new wave sound of the ’80s that’s making a  
come-back. Not to forget its popularity with Fender Rhodes pianists live on the  
stage with a Yamaha CP70 or a Wurlitzer electric piano.  
ROCK CLASSIC  
ROCK 2  
6
1
7
1
SILVER PANEL  
WHITE PANEL  
RED PANEL  
8
11  
3
9
10  
11  
12  
13  
14  
15  
3
GOLD PANEL  
4
Fender, Vox, Marshall, Mesa Boogie, Leslie, Roland, Motown, Ampeg, Gallien-Krueger, SWR, Eden as well as the  
names of musicians and music groups are registered trademarks of their respective owners and are in no way  
associated with BEHRINGER.  
CALIFORNIAN  
JAZZ TONE  
Mesa/Boogie 2 x 15"  
10  
8
Polytone A101, 1 x 15" Closed Back Combo  
Ampeg SVT 18E, 1 x 18"  
No Cabinet-Simulation  
BOTTOM END  
TUBE PREAMP  
Amps 17 - 32 (grey)  
BRITISH CLASS A  
MODERN HI GAIN  
RECTIFIED HIGH GAIN  
CUSTOM HI GAIN  
ULTIMATE PLUS  
CRUNCH V-AMP  
DRIVE V-AMP  
BRIT. HIGH GAIN  
PIEZO SIM.  
14  
Cab #  
18  
23  
20  
21  
23  
21  
20  
21  
18  
12  
21  
19  
5.2 Speaker descriptions  
Amp # Cabinet simulation (default setting)  
The sound of a bass combo depends a great deal on the speaker type and  
combination. We saw a lot of experimentation in this field in the past 50 years.  
The goal was to figure out which speakers are most suited for reproducing bass  
sounds and how the sound changes when you combine a particular speaker with  
other speaker types.  
16  
17  
18  
19  
20  
21  
22  
23  
24  
25  
26  
27  
28  
29  
30  
31  
32  
2 x 12" Twin Combo  
4 x 12" V-AMP Custom  
4 x 12" Vintage 30  
4 x 12" '78 Std.  
4 x 12" V-AMP Custom  
4 x 12" '78 Std.  
Among other things, the character of a speaker is determined by its power rating,  
impedance, sound pressure level and its size.  
4 x 12" Vintage 30  
4 x 12" '78 Std.  
Also, never underestimate the importance of the material(s) used to build it.  
Over the years, using a 15" speaker together with a 4 x 10" speaker became  
standard-issue for electric bass applications.  
No Cabinet-Simulation  
No Cabinet-Simulation  
No Cabinet-Simulation  
No Cabinet-Simulation  
2 x 12" Twin Combo  
Leslie 760 Cabinet, 1 x 15" + HF Horn  
4 x 12" '78 Std.  
MIC. SIM.  
MAGNETIC EQ  
PIEZO EQ  
This combination produced a healthy bass foundation and at the same time  
ensured perceptible highs. The sound was also balanced and not too strained,  
which was often the case with 15" speakers used alone. Nowadays, in bass  
cabinets you can find almost all speaker sizes you can think of: 8", 10", 12",  
15" or 18". Even HF drivers are no longer a rarity in bass cabinets.  
BLACK TWIN  
ORGAN CLASSIC  
BRITISH CLASSIC  
CLASSIC CLEAN  
PREAMP BYPASS  
2 x 12" V-AMP Custom  
No Cabinet-Simulation  
When you select an amp simulation, a matching speaker  
simulation is automatically activated as well (see table 5.1).  
Otherwise, the authenticity of the sound could be jeopardized,  
particularly when you use headphones. Of course, you can alter these  
settings depending on personal preferences.  
Tab. 5.1: Assignment of cabinet simulations to amp models  
 
13 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
6. Effects Processor  
Cabinet simulations  
The integrated multi-effects processor is a distinctive feature of your  
BASS V-AMP/BASS V-AMP PRO. This effects module offers you 16 different  
groups of first-class effects, such as chorus, flanger, stereo delay, rotary cab.,  
synth as well as various combination effects. Additionally, you can use an extra  
wah wah effect via the MIDI function. This can be optimized by using a MIDI  
foot controller with an expression pedal, for example the BEHRINGER MIDI FOOT  
CONTROLLER FCB1010.  
1
BYPASS (NO SPEAKER SIMULATION)  
AMPEG SVT 8 x 10" '97  
TRACE ELLIOT 4 x 10"  
2
3
SWR GOLIATH 4 x 10"  
4
AMPEG 4 x 10"  
5
GALLIEN KRUEGER B120  
68 MARSHALL 4 x 12"  
6
The multi-effects processor functions basically in stereo. This way,  
you can use stereo effects for recording purposes via the LINE OUT on  
the BASS V-AMP or via the ANALOG LINE OUTPUT on the BASS V-AMP  
PRO. You can also use a second amp to play in stereo (also see table 3.1).  
7
AMPEG B15 1 x 15" CLOSED BACK COMBO  
POLYTONE A101 1 x 15" CLOSED BACK COMBO  
VOX AC100 2 x 15"  
8
9
10  
11  
12  
13  
14  
15  
16  
17  
18  
19  
20  
21  
22  
23  
MESA/BOOGIE 2 x 15"  
FENDER BASSMAN 2 x 15" WITH JBLs  
LESLIE 760 CABINET, 1 x 15" + HF-DRIVER  
SWR 1 x 18"  
The effects can be edited in three parameters:  
1. By rotating the EFFECTS control.  
2. By rotating the EFFECTS control while the TAP key is pressed.  
AMPEG SVT 18E, 1 x 18"  
SUNN COLISEUM 1 x 18" + 1 x 12"  
1 x 8" TWEED  
3. By pressing the TAP key in the beat of a music piece. Table 6.1 shows the  
effects parameters of your BASS V-AMP/BASS V-AMP PRO.  
1x 12" MID  
To adapt beat-based effects to your musical program, press the TAP key  
twice in the beat of the music.  
2 x 12" TWIN COMBO  
2 x 12" V-AMP CUSTOM  
4 x 12" VINTAGE 30  
6.1 Pre-amp effects  
4 x 12" '78 STD.  
4 x 12" OFF AXIS  
EFFECTS +  
TAP button  
Controller 49  
EFFECTS  
Controller 48  
MIDI 1  
Effect no. PRE FX  
4 x 12" V-AMP CUSTOM  
Controller 50  
Tab. 5.2: Overview of cabinet simulations  
0
1
2
MIDI WAH  
P-FUNK'N  
Depth  
Depth  
Sensitivity  
Sensitivity  
Base frequency  
Base frequency  
5.3 Denoiser and compressor  
AUTO WAH  
DENOISER: A Denoiser is used to remove or minimize noise or other interference  
sounds. Such noise becomes particularly apparent during pauses. The time-  
proven BEHRINGER denoiser removes or reduces such noise very effectively.  
Tab. 6.2: Pre FX  
MIDI WAH: The legendary wah wah was primarlily made famous by Jimi Hedrix.  
Explaining it would be surely more difficult than simply telling you to go listen  
Hendrix’ Voodoo Chile. When the DRIVE function is activated, turning the EFFECTS  
control sets the wah wah. The LED circle around the control displays the position  
of the pedal. When no LED is on, the MIDI wah wah is not active.  
A dynamic low-pass filter eliminates the noise present in the signal, while the  
integrated expander supresses noise during pauses. Concerning this dynamic  
filter you can adjust frequency range and sensitivity, while the expander adjusts  
both the threshold and the time parameter.  
P-FUNK’N: This is our attempt at replicating the legendary MuTron III, and we  
succeeded! The MuTron III was a mixture out of Auto wah wah and filter effect.  
The most famous user of this effect is probably Bootsy Collins. The MuTron III had  
an up/down switch. Here, the effect resembles the MuTron in the down position.  
The BASS V-AMP/BASS V-AMP PRO’s denoiser can be used independently  
from the integrated multi-effects processor. See chapter 2.1 (( 8 ) E)  
for information about using the denoiser.  
COMPRESSOR: A compressor is used to elevate low-level signals, whereas loud  
parts are lowered if needed.  
AUTO WAH: The American funk in the ’70s proved that auto wah had many  
possible applications. Instead of regulating the filter frequency with your foot,  
our effect does this automatically, depending on the signal level. In doing so,  
our effect is similar to the MuTron III in the up position.  
Letting the compressor kick in strongly (done by turning the EFFECTS control  
clockwise) tightens the entire dynamic of the signal. This dynamic effect is the  
one that is most used in a connection with an electric bass. On the other hand,  
a limiter cuts off the signal above a set threshold to prevent distortion.  
Wah wah is not available when auto wah or P-Funk’n are being used.  
BASS V-AMP/BASS V-AMP PRO’s compressor can always be activated  
independently from the integrated multi-effects processor.  
 
14 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
EFFECTS +  
EFFECTS  
Controller 40  
TAP button  
Controller 46  
MIDI 1  
Controller 42  
MIDI 2  
Controller 43  
MIDI 3  
Controller 44  
MIDI 4  
Controller 45  
Effect no. POST FX  
TAP button  
Controller 41  
1
2
VCF + FLANGER  
VCF Mix  
Delay Mix  
Delay Mix  
Delay Mix  
Reverb Mix  
Ambience  
Mix  
Flanger Mix  
Chorus Mix  
Feedback  
Feedback  
Decay  
VCF Speed  
Delay Time  
Delay Time  
Delay Time  
Speed/Depth  
Feedback  
Flanger Feedback  
VCF Frequency  
VCF Q  
Delay Time  
Delay Time  
DELAY + CHORUS  
STEREO DELAY  
DELAY / LOOP  
REVERB  
Feedback LP  
Speed/Depth  
3
Feedback LP  
4
5
Damping  
Size  
Diffusion  
6
AMBIENCE  
VOICE BOX  
ULTRABASS  
ROTARY CAB.  
PHASER  
Decay  
7
Vowel  
Speed  
Pedal  
8
SubMix  
Mix  
Sensitivity  
Balance  
9
Speed  
Speed  
Split Frequency  
Feedback LP  
Intensity  
Intensity  
Intensity  
10  
11  
12  
13  
14  
15  
Mix  
Feedback  
Speed/Depth  
Speed/Depth  
Speed/Depth  
Variation  
Variation  
Stereo Spread  
FLANGER  
Mix  
CHORUS  
Mix  
STEREO CHORUS  
SYNTH  
Mix  
Synth Mix  
Synth Mix  
Interval  
Key  
MIDI SYNTH  
Reverb  
Tab. 6.1: Post FX and MIDI controller  
6.2 (OVER)DRIVE simulations  
Our overdrive simulations offer you a selection of classic stomp box effects.  
Just like with the originals, you can set up drive, tone and boost (see (8) B).  
The split function () lets you set up an independent crossover (pre distortion  
pedal). This crossover lets the high frequencies pass through without distortion.  
(left position = off (bypass)/left to right: 41 - 600 Hz). The illustration displays  
the frequency range.  
6.3.1 Reverb and delay algorithms  
DELAY+CHORUS: This algorithm combines a delay and the ever-popular  
chorus effect.  
ST. DELAY: A delay of the input signal. Different tempo settings enable you to  
produce interesting delay effects. This way, you can quickly create repititions  
particularly with “slapping” that wouldn’t even be possible without a delay.  
CLASSIC CL  
BOT TOM END  
BRITISH CL ASSIC  
174Hz  
JAZZ TONE  
145Hz  
121Hz  
101Hz  
209HOzRGAN CL  
ASSIC  
DELAY/LOOP: This function allows you to jam along with your own signal.  
To do that, record with the delay/loop effect a short sequence (max. 15.36 sec.).  
This sequence can be played back in an endless loop.  
CALI2FO5R1NIHANz  
BL ACK T WIN  
SHIFT [TONE]  
GOLD PANEL  
301Hz  
PIEZO EQ  
RED PANEL  
84Hz  
70Hz  
MAGNETIC EQ 362Hz  
WHITE PANEL  
MIC SIM.  
You can for example use this loop as a foundation for your melody and improvise  
around it. To record this sequence via MIDI, send the respective MIDI controller  
(see chapter 10 ). When you use this function without MIDI, the delay can last a  
maximum of 1023 msecs.  
SILVER P4AN1E6L Hz  
PIEZO SIM.  
ROCK  
BRIT. HI GA  
58Hz  
49Hz  
ACOUST4IC70Hz  
531Hz  
600Hz  
REVERB: The reverb is still the most important effect in a mixdown or during a  
live event. A reverb is used to add ambience to an otherwise “dry” sound.  
DEEP [SPLIT]  
41Hz  
AMBIENCE: This effect simulates a room without reflexions.  
Fig. 6.1: SPLIT steps  
6.3.2 Modulation effects  
6.3 Post-amp effects  
PHASER: The phaser functions according to the principle that a second,  
phase-shifted signal is added to the original signal. This way, the signal  
seems thicker and livelier. This effect was originally used for guitar sounds  
and keyboards. In the ’70s, it started being used for other instruments as well  
(e. g. electric piano and electric bass).  
The post-amp effects described in the following paragraphs are located post amp  
and cabinet simulations in the signal chain. An integrated crossover determines  
at what frequency the effects start working and regulates the bass information  
when the unit is used without effects. The cut-off frequency of this 18 dB/octave  
Butterworth crossover is regulated in EDIT mode under X-OVER. The display  
shows the frequency divided by factor 10. Adjustments are made by using the  
bank UP/DOWN keys. If the display shows “-”, the crossover is not activated and  
the complete signal is affected by the effects. When, for example, “8” is shown  
in the display, this means that frequencies under 80 Hz remain unaffected by  
the effects.  
FLANGER: A flanger modulates the tone pitch of a signal upwards and  
downwards at a constant tempo.  
(STEREO) CHORUS: This effect subtly detunes the original signal. This way,  
a pleasant effect is created in combination with a tone pitch variation. This effect  
is particularly well-suited to lend a warm characteristic to the bass sound.  
Additionally, when “popping” occurs, it can make the tone sound less intrusive  
Volume balance between the high pass and the low pass can be adjusted when  
you are setting up the crossover settings by using the EFFECTS control (all the way and harsh.  
to the left = low pass signal only, all the way to the right = high pass signal only).  
 
15 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
7. 2 Setting up the “a” reference tone  
To put complete freedom at your disposal when tuning your instrument,  
you have the option to change the preset of the reference tone “a”. Here is a quick  
intro to the subject.  
6.3.3 Special effects  
VCF+FLANGER: The combination of filter and flanger effect.  
The so-called “chamber tone a” has been continually revised upwards ever  
since it was first measured: tuning forks of Bach, Handel or Mozart were at 415,  
420 or 421 Hz (vibrations pro second).  
VOICE BOX: This vocal simulation fades between various vowels (a/e, a/i, a/o etc.)  
by using a LFO (Low-Frequency Oscillator). You can control this effect via a MIDI  
foot controller.  
Nowadays, orchestra set the “a” with 444 Hz, and the Berlin Philcharmonic  
wishes to stay ahead still: their “chamber tone a” lies at a full 447 Hz.  
ULTRABASS: A very low bass sound that lies an entire octave beneath the lowest  
bass frequency present in the mix is currently very popular. However, this sound  
can often only be created at the studio because most bass amplifiers have no  
subharmonic function. The ULTRABASS processor, which has also found home in  
various BEHRINGER bass amps, makes creating this effect a no-brainer. You will  
be amazed how ultra-low the sounds created with the ULTRABASS function are.  
The reference tone “a” of the BASS V-AMP/BASS V-AMP PRO is programmed  
at 440 Hz. Let’s say, you want to work with a big orchestra that works with  
the chamber tone “a” set to 444 Hz. To activate the function that changes the  
chamber tone, do the following: activate the tuner by pressing the TUNER key  
and immediately switch over into the EDIT mode by simultaneous pressing both  
arrow keys. “40” appers in the display, which responds to 440 Hz. By pressing the  
arrow keys, you can adjust the “a” reference tone up or down in 1 Hz increments  
for a maximum of 15 Hz. The last two digits of the frequency value are always  
shown in the display, since the first digit is always a 4. For example, when you  
start with the 440 Hz basic tone, and then press the right arrow key four times,  
the display shows 44, which corresponds to a frequency of 444 Hz.  
6.3.4 Virtual analog bass synth  
SYNTH: This effect gives you a rad three-voice synthie bass and has many  
parameters that are pre-configured in 9 variants and can be selected via TAP and  
EFFECT. The TAP key can be used to control the envelope (ADSR) of the synthie  
sounds (short tap = short tone, slow tapping = long tone). Additionally, there is  
an “intelligent” envelope follower based on key and interval, whereas the  
VCO 1 (Voltage Controlled Oscillator) is set up for specific intervals, and the  
BASS V-AMP/BASS V-AMP PRO produces bass overtones that match the particular  
key. The EFFECTS control regulates the ratio between the bass synthie and the  
bass signal with all amp and cabinet combinations.  
To quit the EDIT mode, press the TUNER key. Your changes are automatically  
stored. Ideal tones for the remaining strings are automatically set up using the  
newly adjusted frequency as a reference.  
8. Installation  
8.1 Rack mounting (BASS V-AMP PRO)  
Your BEHRINGER BASS V-AMP PRO needs two rack units to be installed in a  
MIDI SYNTH: The absolute highlight of your BASS V-AMP/BASS V-AMP PRO is  
our MIDI SYNTH: With 40 parameters (already described), it offers you the best  
possible sound. You get a virtual analog MIDI synthesizer equipped with powerful 19-inch rack. Please keep in mind that you need an extra 10 cm depth for  
features. It is ideal for hardware and software sequencers, keyboards and for  
live applications. By using the EFFECTS control, you can mix the completely  
modelled instrument signal (EFFECT min. = modelled instrument signal only,  
EFFECT max. = bass synth only).  
accessing the cables running into the back.  
Assure that appropriate ventilation is provided, and never position your  
BASS V-AMP PRO on top of an amp, for example, to avoid the danger of  
overheating the unit.  
We equipped the MIDI synthesizer with a complete reverb section as an  
additional feature. Of course, you can access this section via MIDI.  
8.2 Voltage (BASS V-AMP PRO)  
ROTARY CAB.: A simulation of a classic organ effect that is normally achieved  
Before you connect your BASS V-AMP PRO to the mains, please check  
with a terribly heavy casing and slowly or quickly rotating speakers. The physical carefully if your unit is set to the correct voltage! The fuse mount near the  
principle of the Doppler effect is used to modulate the signal.  
power cord connector has three triangular markings. Two of these three triangles  
are facing opposite one another. Your BASS V-AMP PRO is set up for the voltage  
indicated near these markings, and can be altered by turning the fuse mount by  
180 degrees. ATTENTION: This does not apply to export models built for  
120 V, for example!  
7. Tuner  
The integrated tuner is activated by pressing the TUNER key.  
If you use the unit with a different voltage, you must change the fuses  
accordingly. The correct value of the fuses needed can be found in the  
chapter “Specifications.”  
7.1 Tuning instruments  
The chromatic tuner automatically recognizes the frequencies of all the standard  
bass notes. When you connect your instrument to the BASS V-AMP/BASS V-AMP  
PRO and strike a string, the tuner tries to recognize the tone and shows it in  
the display. Because the tuner functions chromatically, it can also recognize  
semitones. These are shown in the display with a “b” accompanying the value.  
Faulty fuses must be replaced with fuses of appropriate rating without  
exception! The correct value of the fuses needed can be found in the  
chapter “Specifications.”  
Power is delivered via the cable that was delivered with the unit. All requiered  
safety precautions have been adhered to.  
However, it may be the case that that a played note (shown in the display as  
for example “a”) slightly deviates from the ideal tone. This will be indicated by  
lighting up at least one of the four arrow LEDs at the lower edge of the display.  
When the note played lies between the deviations shown by means of the  
individual LEDs, two LEDs may light up. If the circular middle tuner LED lights up,  
the played note is identical to the note shown in the display.  
Please make sure that the unit is grounded at all times. For your own  
protection, you should never tamper with the grounding of the cable or  
the unit itself.  
 
16 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
8.3 Audio connections  
The input of the BEHRINGER BASS V-AMP/BASS V-AMP PRO is laid out as a mono  
1" TS connector. Line Out, Aux In as well as headphones output are laid out as  
stereo 1" TRS connectors. Line outputs can be connected to both balanced and  
unbalanced jacks. The DI OUT connectors of the BASS V-AMP PRO are available  
as balanced XLR connectors. Digital outputs are available as a cinch connector  
(S/PDIF) and XLR connector (AES/EBU). The BNC connector is used to feed in an  
external worldclock signal.  
Fig. 8.4: Stereo headphones connector  
8.4 MIDI connections  
The MIDI standard (Musical Instruments Digital Interface) was first developed  
at the beginning of the ’80s, with the goal of enabling mutual communication  
between electronic instruments of various manufacturers. Over the years,  
the number of possible MIDI applications has increased substantially;  
nowadays, it is perfectly normal to connect entire studios via MIDI.  
At the center of this network is a computer with a sequencing software, used to  
control not only keyboards but also effects processors and other peripheral  
equipment. In such a studio, you can control your BASS V-AMP/BASS V-AMP PRO  
in real time from a computer. Using a MIDI footswitch presents itself as a great  
idea, especially in live applications, because it allows you to control not only the  
effects but also selects the presets.  
Fig. 8.1: XLR connections  
Your BASS V-AMP/BASS V-AMP PRO is equipped with standard 5-prong DIN  
MIDI connectors. To connect your unit with other MIDI equippment, you will  
need a MIDI cable. Pre-packed cables available at stores are usually used for  
this purpose.  
MIDI IN: Used to receive MIDI control data. The MIDI channel is set up in EDIT  
mode by pressing the A key and subsequently using the arrow keys.  
MIDI OUT/THRU: MIDI OUT lets you send data to another computer or another  
piece of MIDI equipment. Preset data as well as parameter changes are  
transmited. When you reroute the connector to MIDI THRU, your BASS V-AMP/  
BASS V-AMP PRO sends no MIDI data of its own; instead, it merely forwards the  
data received at MIDI IN (see chapter 2.1, (8) A).  
Fig. 8.2: 1" TS connector  
8.4.1 Receiving/sending MIDI-Sysex data  
The BASS V-AMP/BASS V-AMP PRO can receive a SysEx dump from another MIDI  
unit as long as MIDI function in EDIT mode is activated (A key). However, this also  
automatically overwrites all BASS V-AMP/BASS V-AMP PRO presets. You can also  
send MIDI data to another MIDI device (total dump). While in EDIT mode, keep the  
MIDI key pressed until you get “d” shown in the display. Sending a “total dump“  
lets you transfer the entire memory contents to another MIDI sequencer and save  
it there.  
It is also possible to send just one selected preset to another MIDI device:  
switch into EDIT mode by simultaneously pressing both arrow keys on the  
sending device, activate the MIDI function and tap the MIDI key briefly.  
Preset information are then located in the temporary buffer, and can be saved  
at a desired preset location.  
Fig. 8.3: 1" TRS connector  
 
17 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
8.5 AES/EBU and S/PDIF standards  
9. Specifications  
BASS V-AMP  
In general, there are two different standards when the subject is digital signal  
processing. AES/EBU is the professional, balanced connection with XLR jack  
connectors. This interface is based on two identical protocols published in  
November 1985 by the European Broadcast Union (EBU Tech. 3250-E) and in  
December 1985 by the Audio Engineering Society (AES3-1985). Sony and Philips  
oriented themselves around this standard and developed an additional interface  
with unbalanced signal routing and several important differences that primarily  
have to do with allocating channel status bits. This standard, named after the  
two com-panies (S/PDIF = Sony/Philips Digital Interface) uses either cinch jacks  
or a digital connection with optical cables. It is relevant mostly because of the  
attempt to introduce copy protection embedded in the IEC 958 norm. This norm  
describes both the re-worked AES/EBU interface that has been modified to work  
with the S/PDIF format and described as IEC 958 Typ I (Professional). The formal  
description of the S/PDIF interface is IEC 958 Typ II (Consumer).  
Audio Inputs  
Instrument Input  
Input impedance  
Max. input level  
AUX IN  
1" TS connector, unbalanced  
1 MΩ  
+3 dBu  
1" TRS connector, balanced  
Input impedance  
50 kΩ  
Audio Outputs  
Analog Line Outputs L/R  
Output impedance  
Max. output level  
Headphones  
1" TS connectors, unbalanced  
approx. 680 Ω  
+20 dBu  
1" TRS connector, unbalanced  
+15 dBu/100 Ω (+23 dBm)  
Max. output level  
MIDI  
Type  
5-pole DIN jacks IN, OUT/THRU  
Digital Signal Processing  
Converter  
24-bit Delta-Sigma,  
64/128-times oversampling  
Dynamics A/D  
Dynamics D/A  
Sample rate  
DSP  
100 dB @ preamp bypass  
92 dB  
31.250 kHz  
100 Mips  
Delay time  
max. 1023 ms stereo/sampler delay:  
15.36 s  
Run time (Line In Line Out)  
approx. 5 ms  
Display  
Type  
2-digit 7-segment-LED display  
Power Supply  
Mains Voltage  
USA/Canada  
U.K./Australia  
Europe  
120 V~, 60 Hz  
240 V~, 50 Hz  
230 V~, 50 Hz  
220 V~, 50Hz  
100 V~, 50 - 60 Hz  
13 W  
China/Korea  
Japan  
Power consumption  
Mains connection  
external power supply  
 
18 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
Dimensions/Weight  
Digital Outputs  
Dimensions (H x W x D)  
Weight  
2 1 x 9 1 x 7 1/8"  
63 x 236 x 180 mm  
XLR  
transformer-balanced  
110 Ω  
Output impedance  
Nom. output level  
RCA  
approx. 4.4 lbs / approx. 2 kg  
3.5 V peak-to-peak  
not grounded, unbalanced  
75 Ω  
BASS V-AMP PRO  
Output impedance  
Nom. output level  
Format  
0.5 V peak-to-peak  
AES/EBU or S/PDIF, selectable  
Audio Inputs  
Instrument Input  
Input impedance  
1" TS connector, unbalanced  
Sample rate  
44.1/48/96 kHz internal; 32 - 96 kHz  
wordclock, sample rate converter  
1 MΩ  
Max. input level  
+3 dBu  
Wordclock Input  
Pre DSP Return Line In  
Input impedance  
1" TS connector, unbalanced  
BNC  
coaxial  
45 kΩ  
Input impedance  
Nom. input level  
50 kΩ  
Max. input level  
+9 dBu  
2 - 6 V peak-to-peak  
Post DSP Insert Return L/R  
Input impedance  
1" TS connector, unbalanced  
40 kΩ  
MIDI  
Max. input level  
+8 dBu  
Type  
5-pole DIN jacks IN, OUT/THRU  
Audio Outputs  
Digital Signal Processing  
Analog Line Outputs L/R  
Output impedance  
Max. output level  
1" TS connectors, unbalanced  
approx. 680 Ω  
Converter  
24-bit Delta-Sigma,  
64/128-times oversampling  
+20 dBu  
Dynamics A/D  
Dynamics D/A  
Sample rate  
DSP  
100 dB @ preamp bypass  
92 dB  
Pre Dsp Send/Line Out  
Output impedance  
Max. output level  
1" TS connector, unbalanced  
<1 kΩ  
31.250 kHz  
+9 dBu  
100 Mips  
Post DSP Insert Send L/R  
Output impedance  
Max. output level  
1" TS connectors, unbalanced  
1 kΩ  
Delay time  
max. 1023 ms stereo/  
sampler delay: 15.36 s  
Run time (Line In Line Out)  
approx. 5 ms  
+8 dBu  
Balanced Line Out  
Output impedance  
Max. output level  
XLR, balanced  
Display  
100 Ω  
Type  
2-digit 7-segment-LED display  
+14 dBu (studio); 0 dBu (live)  
1" TRS connector, unbalanced  
+15 dBu/100 Ω (+23 dBm)  
Headphones  
Max. output level  
 
19 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
Power Supply  
Mains Voltage  
USA/Canada  
120 V~, 60 Hz  
230 V~, 50 Hz  
100 V~, 50 - 60 Hz  
220 V~, 50Hz  
120/230 V~, 50 - 60 Hz  
15 W  
Europe/U.K./Australia  
Japan  
China/Korea  
General export model  
Power consumption  
Fuse  
100 - 120 V~: T 400 mA H  
200 - 240 V~: T 200 mA H  
Mains connection  
Standard IEC receptacle  
Dimensions/Weight  
Dimensions (H x W x D)  
3 1 x 19 x 5 1"  
89 x 482.6 x 135 mm  
Weight  
approx. 6.1 lbs / approx. 2.76 kg  
BEHRINGER constantly strives to maintain the highest quality standards. Modifications may be made,  
if necessary, without prior notice. The specifications and appearance of the equipment may therefore differ from  
those listed or illustrated.  
 
20 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
10. Appendix  
Function  
Transmitted  
Received  
Remarks  
Midi Channel  
1-16  
N
1-16  
Note Number  
Y
Y
Y
Y
MIDI Bass Synth (ID 14) only  
Velocity  
N
After Touch  
N
Pitch Bender  
N
Control Changes  
1
N (request only)  
Y
Wah Pedal  
7
N (request only)  
Y
Volume Pedal  
12  
13  
14  
15  
16  
17  
18  
19  
20  
21  
22  
23  
24  
25  
26  
27  
28  
29  
30  
31  
33  
34  
35  
36  
37  
38  
39  
40  
41  
42  
43  
44  
45  
46  
48  
49  
50  
51  
55  
56  
57  
58  
59  
Y
Y
Amp Gain (0-127)  
Y
Y
Amp Treble (0-127)  
Amp Mid (0-127)  
Y
Y
Y
Y
Amp Bass (0-127)  
Y
Y
Amp Vol (0-127)  
Y
Y
Presence (0-127)  
Y
Y
Compressor Density (0-127)  
Amp Type (0-32) with default cabinet *3  
Fx Type (0-15) with defaults *1  
Fx off/on (0/127)  
Y (skipped on request)  
Y
Y (skipped on request)  
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
N
N
N
N
N
Y
Y
Deep  
Y
Cabinet Type (0-23) *5  
Mid Shift/Shape *2  
Expander (0-15) *10  
Compressor Speed (0-127)  
Wah off/position (0/1-127)  
X-over frequency *4(0-99)  
X-over balance  
Y
Y
Y
Y
Y
Y
Y
Denoiser Sensitivity (0-127)  
Denoiser Range (0-127) *11  
Pedal simulation (0-4) *6  
Pedal simulation Drive (0-127)  
Pedal simulation Tone (0-127)  
Pedal simulation Boost (0-127)  
Pedal simulation Split (0-127) *12  
Compressor on/off (0/127)  
post FX Mode (0-15) *7  
post FX Par 1*7  
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
post FX Par 2*7  
Y
post FX Par 3*7  
Y
post FX Par 4*7  
Y
post FX Par 5*7  
Y
post FX Par 6*7  
Y
post FX Par 7*7  
Y
pre FX Mode*9  
Y
pre FX Par 1*9  
Y
pre FX Par 2*9  
Y
pre FX Par 3*9  
Y (if FX=Delay/Loop)  
Y (if FX=Delay/Loop)  
Y (if FX=Delay/Loop)  
Y (if FX=Delay/Loop)  
Y (if FX=Delay/Loop)  
Sampler REC *8  
Sampler PLAY *8  
Sampler STOP *8  
Sampler SPEED *8  
Sampler REVERSE *8  
 
21 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
Function  
Transmitted  
Received  
Remarks  
60  
61  
64  
80  
81  
82  
83  
84  
85  
86  
87  
N
Y (if FX=Delay/Loop)  
Sampler PLAY ONCE *8  
N (request only)  
Y
Y
Y
Y
Y
Y
Y
Y
Y
Y
Amp Type (0-32) w/o cabinet change  
Tap (Value > 63)  
N
N
Request Controls (Value = 80)  
Set Pos (0-15), Set Character (32-127)  
Tuner Bypass Volume (0-127)  
Tuner Center Frequency (25-55)  
Configuration (0-5=S1,S2,S3,L1,L2,L3)  
Live EQ Treble (0-127)  
N (request only)  
Y
Y
Y
Y
Y
Y
Live EQ Mid (0-127)  
Live EQ Bass (0-127)  
Digital Out (44.1/48/96/ext., bit 2=pro)*13  
(PRO models only)  
88  
Y
Y
89  
Y
Y
Global Input Gain (0-127)  
Program Change  
System Exclusive  
System Common  
System Real Time  
Running Status  
Y (0-124)  
Y (0-124,127)  
127=Tuner, toggle on/off  
Y
Y
N
N
Y
see SysEx Documentation  
N
N
Y (2s Timeout)  
Tab. 10.1: MIDI implementation  
MIDI Controller  
Function  
55  
REC  
56  
57  
58  
59  
60  
PLAY  
STOP  
SPEED  
REVERSE  
DIRECTION  
0=off,1=rew  
PLAY ONCE  
Controller value  
Range  
REC GAIN  
0-127  
PLAY GAIN  
0-127  
/
/
PLAY SPEED  
/
/
0=off,1=half,2=normal  
Tab. 10.2: MIDI controllers of the delay/loop effect  
 
22 BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO User Manual  
FEDERAL COMMUNICATIONS  
COMMISSION COMPLIANCE  
INFORMATION  
BASS V-AMP LX1B/  
BASS V-AMP PRO LX1B PRO  
Responsible Party Name:  
Address:  
MUSIC Group Services US Inc.  
18912 North Creek Parkway,  
Suite 200 Bothell, WA 98011,  
USA  
Phone/Fax No.:  
Phone: +1 425 672 0816  
Fax: +1 425 673 7647  
BASS V-AMP LX1B/BASS V-AMP PRO LX1B PRO  
complies with the FCC rules as mentioned in the following paragraph:  
This equipment has been tested and found to comply with the limits for a Class B  
digital device, pursuant to part 15 of the FCC Rules. These limits are designed  
to provide reasonable protection against harmful interference in a residential  
installation. This equipment generates, uses and can radiate radio frequency  
energy and, if not installed and used in accordance with the instructions, may cause  
harmful interference to radio communications. However, there is no guarantee that  
interference will not occur in a particular installation. If this equipment does cause  
harmful interference to radio or television reception, which can be determined  
by turning the equipment off and on, the user is encouraged to try to correct the  
interference by one or more of the following measures:  
Reorient or relocate the receiving antenna.  
Increase the separation between the equipment and receiver.  
Connect the equipment into an outlet on a circuit different from that to which the  
receiver is connected.  
Consult the dealer or an experienced radio/TV technician for help.  
This device complies with Part 15 of the FCC rules. Operation is subject to the  
following two conditions:  
(1) this device may not cause harmful interference, and  
(2) this device must accept any interference received, including interference that may  
cause undesired operation.  
Important information:  
Changes or modifications to the equipment not expressly approved by MUSIC Group  
can void the user’s authority to use the equipment.  
 
We Hear You  
 

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