There are still many people who are confused about V-Amp 2.0. Let me sort out the instructions collected online and my previous experience, hoping to help you.

1, Introduction

Congratulations! The V-AMP2 you purchased is an improved product of the V-AMP virtual guitar speaker. The ultimate goal of our improvement is to produce reliable timbre of classic speakers through "physical simulation" combined with the latest DSP effector.

V-AMP2 has many advantages over its predecessor, V-amp: the number of analog speakers doubles; Five operation modes that can be adjusted globally; Because of the preamplifier bypass, you can also simply use this device as an effector.

We are faced with the challenge of developing products again. Of course, it may still be people's topic in the future. V-AMP2 is a multifunctional product, which can not only bring you the timbre of 32 reliable and even special speakers without causing any signal transmission problems, but also provide you with various sounds brought by multi-effect processor technology. In short, V-AMP2 gives you a sound tool, which contains all kinds of elements that today's musicians dream of.

Bailingda is a company developed from professional recording studio technology. Over the years, we have successfully developed a variety of products for recording studios and performance venues, including microphones and various standard rack equipment (such as compressors, amplifiers, noise gates, electron tube processors, headphone amplifiers, digital effect equipment and DI boxes, etc.). ), monitors, mixers and professional live and studio mixers. We have integrated all the technologies we have mastered into V-AMP2.

Flexibility is a crucial link in the field of music. A modern guitarist not only needs to play a variety of timbres, but also needs to be able to adapt to different playing environments (home recording, recording studio, live performance). Therefore, the huge loudspeaker array has become a thing of the past. V-AMP2 integrates as many functions as possible, and it is very convenient to set up and carry and easy to master.

The built-in EPROM is easy to replace, which makes V-AMP2 lead the times. In other words, we will listen to your suggestions and continue to study new algorithms. Then put it on the internet for you to download for free, so that even in the future, V-AMP2 will not fall behind.

Seeing is not worth a try. Next, you will experience a new generation of virtual guitar speakers with the following amazing features:

The timbre is enough to make all traditional guitar speakers fall behind;

Perfect electronic tube timbre simulation avoids the common problems of general electronic tube speakers (short life, high calorific value and high sensitivity);

The latest DSP technology brings a lot of effect timbre from classical to modern;

The sturdy structure can adapt to even the worst environment.

New functions of 1. 1 V-AMP2

V-AMP2 is an updated product of virtual guitar speaker V-AMP. On the basis of the previous generation products, the new functions brought by V-AMP2 will make this equipment an indispensable part of your equipment:

Add 16 speaker timbres, totaling 32 reliable virtual amplification modes with speaker bypass;

Five optional basic settings to adapt to different recording studios and scene environments (see Chapter 2);

You can set "Presence" for each speaker;

The effect parameters that can be set directly on the equipment are added;

You can freely adjust the three-stage tuner attached to the equipment until it matches the various speakers (combinations) used in the live performance;

Support the adjustment of original timbre based on V-AMP;

In www.behringer.com/v-amp2;. Download editing software for free on www.youtheme.com.

1.2 before we start.

In order to prevent damage during transportation, this product has been tightly packed before leaving the factory. If your product shows signs of packaging damage, we suggest that you check it immediately to avoid further deterioration.

Once you find the problem, please inform your dealer and freight company immediately to avoid unnecessary losses. But please don't send the product back to us.

The power supply provides a reliable connection between the V-AMP2 and the power supply. When it is plugged into the socket, the product will automatically turn on.

When using, remember to connect V-AMP2 to the power supply first, and then connect the power supply to the power supply; This step cannot be reversed.

Please use the standard DIN interface for MIDI connection (input/output) (input/output). Data is transmitted at zero voltage through optocoupler. See Chapter 7 "Installation" for details.

1.2. 1 serial number

The serial number of V-AMP2 is printed on the side of the product. To ensure good after-sales service, please send the complete "Quality Assurance Card" back to our company within 14 days after purchasing this product, or register online (www.behringer.com).

1.3 control unit

1.3. 1 user interface

(Please refer to the product drawings in the English description. )

[1] "Main"-used to control the volume of V-AMP2;

The function of this control knob is different from "AUX LEVEL" [20], which is a conventional control knob of V-AMP2, and other control parts are coding knobs.

[2] "Volume"-used to control the volume of the selected preset mode;

[3] "Bass"-raising or attenuating bass audio;

[4] "IF"-Enhance or attenuate IF audio;

[5] "treble"-raising or attenuating treble audio;

If the "TAP" button is pressed, the "treble" knob will change to the "PRESENCE" control. At this time, the high frequency of any activated speaker can be increased or decreased by using this knob, thus simulating an audio-sensitive electron tube speaker.

[6] "gain"-used to control the distortion;

[7] "AMPS"-Used to select any of the 32 analog speakers. There are 16 LEDs around the knob, and each LED represents two kinds of speakers. Adjust this control button to select the first 16 speaker (that is, the speaker type marked with white).

Once the "17-32" indicator light in the lower left corner of the indicator table lights up, it means that the last 16 analog speaker is selected.

In addition, you can press the Beat and Tune buttons at the same time to activate the Front Bypass. When this function is started, all the indicators on the "megaphone" knob will go out.

[8] These five buttons are used to select any preset in the library.

In edit mode (press two buttons with arrows in [14] to activate at the same time), these buttons can realize the function of printing on them.

Answer: Access the MIDI function. Use the arrow buttons to set the MIDI channel for transmission and reception;

B: loading function. It can obviously improve the distortion and volume. Use the arrow buttons to turn the load on and off. Before adjusting the "gain", the load function should be adjusted.

When editing the loading function, you can use the Effect knob to activate and adjust the frog sound. The indicator light around the knob indicates the position of the pedal. If the indicator light goes out, it means that the frog sound has been bypassed.

C: This button is used to start the "speaker" mode. Use the arrow buttons to select the speaker type or speaker combination you want. You can also turn off speaker simulation completely. See 4.2 "Speaker Types" for details.

D: This button is used to select the reverberation function. Using the arrow buttons, you can select nine different reverberation types except the Multi-effect Processor. See 5.2 for details.

E: "Noise Gate" function. Use the arrow buttons to adjust the degree of noise reduction.

Settings: If you press the B and D buttons at the same time in the playback mode, you can enter the basic operation mode of V-AMP2 and adjust the sound effects of different recording studios and live environments.

[9] Effect-If an effect is selected by the knob [10], this knob is used to control the timbre of the effect. If the selected effect is Compression, this knob is used to adjust the intensity of compression. Turn this knob to the left until the indicator goes out, and the effect will be turned off. That is, bypassing the so-called effect.

Press the "Beat" button to set the effect time with this knob. (See Table 5. 1)

[10] This knob is used to select an effect or combination of effects. There is also a circle of *** 16 indicator light around this coding knob. Each indicator indicates a specific preset effect.

[1 1] "Reverberation"-used to add reverberation on the basis of your adjusted timbre. If you turn left until the indicator light goes out, the reverberation is off. If you want to weaken the initial signal lever, you should turn this knob to the right until only the last indicator light on the right comes on.

There are 9 indicator lights around the knobs for Volume, Bass, Midrange, Treble, Gain, Effect and Reverberation. Only one lamp or two adjacent lamps emit light at a time, indicating 17 different positions.

[12] "faucet"-has the following three functions.

A. Choose the rhythm of a piece of music, and the selected effect will automatically adapt to the speed of this piece of music;

B. Press and hold this button, and you can adjust the "authenticity" of the selected speaker simulation type by using the "treble" knob;

C. Press and hold this button and use the "Effect" knob to adjust the parameters of the effect time. (See Table 5. 1)

[13] "Tuner"-used to turn on the tuning function. In addition, it will also be used when exiting the Edit function.

[14] These two arrow buttons are used to select different libraries (previous library and next library). Press and hold one of the buttons to skip and select Library. Press both buttons at the same time to enter edit mode. At this time, if you press any of the buttons in A-E above, the arrow buttons are used to adjust the parameters.

[15] "Display"-Displays the number of the preset "Library" and the current parameters when editing. In Calibration mode, it indicates the pitch of the instrument connected to the device. If speaker analog 17-32 is selected, the indicator light in the lower left corner will light up.

1.3.2 V-AMP2 side connector

[16] "Pedal switch socket"-used to connect your FS 1 12V pedal. You can use it to select any preset in the library. Press and hold the "Down" pedal for more than two seconds, and then you can turn on the tuner. This function can be turned off in the same way.

[17] "MIDI input/output"-interface "-used to connect MIDI pedals (such as Belinda MIDI pedal controller FCB10/kloc-0) or home computers.

[18] "power socket"-used to connect the power supply.

[19] "line out"-1/4 "dual-channel socket, which can output audio signals of V-AMP2 in stereo.

You can connect using a dual-channel or mono plug. The left audio output of V-AMP2 can be used to transmit audio signals to guitar speakers with mono input only.

Please note that the signal generated by the multi-effect processor is not stereo.

[20] "Aux level"-Adjust the volume of the input signal from the auxiliary equipment.

[21] "aux in"-This socket can be used to connect some stereo signal auxiliary equipment, such as drums or other playback equipment.

[22] "Headphones"-used to connect standard headphones to monitor the audio signal of V-AMP2.

When using headphones, the studio mode 1(S 1) is automatically activated. Once the earphone is plugged in, even if the current preset or setting does not include the speaker model, V-AMP2 will automatically select the default speaker for simulation. Table 8.2 shows the details of the standard speaker simulation. Of course, you can still choose "-"in Speaker mode to change it or turn it off altogether.

[23] "Input"-used to connect the guitar, please use the standard 1/4 "mono plug to connect.

2. Using and Setting Examples

You have five modes to choose from so that V-AMP2 can better adapt to different recording studios and scene environments. No matter how the device itself is set, the way V-AMP2 outputs signals will depend on these five modes, that is, the left and right output channels can output different signals at the same time. The following table details how to adjust whether to output speaker simulation or timbre control. The effect signal does not need to be output simultaneously in the left and right channels.

Operation mode: Studio 1(S 1)

Function: output the selected effect and the analog signal of the speaker in stereo mode;

Application: 1. V-AMP2 is used as a speaker. For example, in the case of an external earphone;

2. When recording: Connect V-AMP2 to the stereo channel on the mixer.

Operation mode: Studio 2(S2)

Function:

Left channel output: dry sound signal, only compressed automatic frog sound;

Right channel output: processed timbre, including delay and reverberation;

Application: when recording: output the left channel to the recording equipment; Right channel for monitoring. Advantages: You don't need to consider the effect in the recording equipment while monitoring the timbre of the effect.

Operation mode: field 1(L 1)

Function: stereo mode output, plus three-level equalization (adjustable in setting mode);

Application: Connect V-AMP2 to a guitar speaker with stereo input function. Provides adjustable three-level equalization without affecting your saved presets.

Operation mode: field 2(L2)

Function: stereo output, plus three-level equalization, no speaker simulation;

Purpose: Connect guitar speakers with stereo input function. However, the speaker simulation is automatically set to invalid, and the timbre of the speaker depends on the currently used speaker.

Operation mode: Field 3(L3)

Function:

Left channel output: three-level equalization, with delay and reverberation effect, but no speaker simulation;

Right channel output: timbre with delay, reverberation and speaker simulation, but without three-level equalization;

Application: V-AMP is used as a stage speaker, and the left channel output is connected to a monitor speaker. Provides adjustable three-level equalization. The right channel output is connected to a mixer or stage sound equipment.

(* Note: The original manual is in tabular form, and the translation has been changed to subsection translation for the convenience of webpage reading. )

In L 1, L2 and L3 modes, three-level equalization refers to the adjustment of the high, medium and low frequencies of timbre. Adjusting this item will not affect the related audio in the saved timbre effect.

2. 1 Select the setting mode

The factory default mode of V-AMP2 is S 1 mode. You can press and hold the B and D buttons at the same time to enter the setting mode to reset, then use the arrow buttons to select the corresponding mode, and then press the calibration button to exit the setting mode.

2.2 Standard settings when connecting guitars, pedals and external playback devices

Figure 2. 1 (see English manual) is a common practical connection. You can also choose a drum machine instead of an external playback device (such as a deck). You can also connect an earphone to achieve the effect of quiet practice. With the attached FS 1 12V pedal, you can switch between libraries or turn on the calibration function.

If the connection is successful, select S 1 mode in the setting mode.

Whether in analog or digital mode, V-AMP2 is also an ideal tool for recording performances. The advantages of recording with it are obvious: it is flexible, and you don't need to carry any amplification equipment to enter the recording studio. You can get the desired timbre by operating it. In the process of recording, if you feel that the timbre from the mixer is not satisfactory, immediately discuss with the sound engineer and adjust V-AMP2. In other words, you don't have to run between the recording studio and the control room like a "runner" anymore.

2.3 records

The most common recording method is to output the "dry" sound (unprocessed sound) signal to the mixer, while the effective timbre is output to the monitor speaker. The advantage is that you don't have to worry about the effect of the mixer when mixing with you. It is simple to achieve this effect: connect the left channel output of V-AMP2 with the recording equipment, and connect the right channel output with the monitor speaker.

If you use MIDI pedal controller, you can control the switching of preset, library and speaker simulation. Of course, it is also convenient to control the switch of the tuner.

If the connection is successful, please select S2 mode in the setting mode.

2.4 Setting of external guitar speakers for live performance

The most important thing to perform on the stage is that you can hear your own voice. This is also the importance of using a guitar amplifier with input function. Recommended Belinda devil GX 1 12. If you don't use this speaker, the speaker you use must have enough power to accurately restore the timbre when the sound of V-AMP2 is adjusted to the maximum.

If this connection is made, please select L 1 or L2 mode in the setup mode, which mode you choose depends on whether you want to use the speaker simulation function on the external speakers. Of course, you can also use a three-level equalizer to optimize the timbre.

2.5 In the live performance, the setting of external mixer and monitor speaker.

In this way, you can deliberately produce a feedback effect when playing on the stage. The monitor speaker is controlled by the left channel output with three-stage equalizer and effector, but there is no speaker simulation. The right channel output outputs signals to the mixer, which receives analog signals with effectors and speakers, but there is no three-level balanced signal.

If you connect like this, please select L3 mode in the setup mode. Moreover, the three-level equalization is only effective for the signal output from the left channel.

3. Preset of vertical AMP2

V-AMP2 has writable presets in 125, which are stored in 25 libraries respectively. In other words, each library includes five presets. Each preset contains at most the following five "elements":

Amplifier simulation (including gain, equalization and volume setting);

Speaker simulation (for different speaker timbres);

Pre-effects, such as noise gate, compression, automatic frog and frog sound;

Late effects, such as delay and simulation effects;

Reverberation and spatial simulation.

All assumptions are generally explained in this specification.

3. 1 Open preset

When the device is turned on, the last preset will be automatically loaded. In the following example, the last preset used is d in the resource library 25:

In this case, you can press A, B, C or E to open other presets in the same library. Use the arrow buttons to switch libraries. The display window of V-AMP2 will always show the library you currently select. When switching libraries, you must also press any button in A-E to select the desired preset. V-AMP2 uses LEDs to identify the preset you selected in the library.

3.2 Edit preset

V-AMP2 can be used for quick preset editing. The best way is to open a preset you like first, and then edit it on this basis. Use AMPS encoder to select any speaker type. At this point, the preset LED will start flashing (for example, D), which means that you have started to make adjustments.

Next, adjust the volume, low, medium, high and gain. If you select an effect, you can also use the effect control knob to adjust it. Then press and hold both arrow buttons at the same time to switch to edit mode. If you use buttons B-E to activate the load, speaker simulation, reverberation and noise gate respectively, you can use the arrow buttons to edit, and the parameters you edit will be displayed in the display window respectively. Press the calibration button to exit edit mode.

If you hold down the beat button while using the treble knob, you can adjust the additional high-frequency filter (fidelity) to increase or decrease. This can simulate a highly sensitive electron tube speaker.

Except for compressed and automatic frogs, all other effectors also have a speed parameter. Suppose you want to adjust the selected effect until it matches your playing speed, just press the beat button twice according to the speed and effect of the music.

3.3 Save the preset

Press and hold the preset button for more than 2 seconds to save the preset you edited (until the LED stops flashing).

3.4 Abandon the edited preset/restore the preset set by the factory.

If you are not satisfied with the edited preset, you can choose to give it up. Suppose that the preset you have selected and edited is C (the corresponding LED is on), and now you want to revert to the original saved setting, you only need to select any other preset. The next time you return to preset C, the edited preset will be cancelled. If you hold down the two arrow buttons at the same time after editing the preset until "PR" is displayed on the display window, the preset has been restored to the original factory settings. However, you must press and hold the preset button corresponding to the preset for more than two seconds before saving it again.

3.5 Restore all factory presets.

You can restore all factory presets by pressing and holding D and E at the same time, and then turning on the power. At this point, "CL" will be displayed in the display window, then release the D and E buttons and press the two arrow buttons at the same time. The above operation will delete all saved edited presets and restore them to the original factory preset.

4. Microphone/speaker simulation

Amplifier/speaker simulation is the core of V-AMP2. In home recording, 32 analog types are convenient and effective, and there is no need to adjust the guitar amplifier. V-AMP2 provides "fool" operation, so you can easily choose a classic guitar amplifier, whether it is British pop, blues, heavy metal or other types. In addition, you can adjust the speaker type according to the selected speaker (*** 15 option). Not only that, you can also adjust the digital effect and reverberation type of your virtual speaker under the above conditions. See Chapter 3 "Preset of V-AMP2" for details.

When you open V-AMP2, it will automatically load the preset you selected last time. The LED around the "megaphone" knob will remind you of the currently selected megaphone. Turn this knob to convert the simulated object. Use the volume, low, medium, high and gain controls to adjust the timbre of the speaker. Press and hold the "beat" button and rotate the "treble" knob at the same time to increase or decrease the additional high-frequency signal. See [5].

Generally speaking, you should choose a speaker first, then the speaker, and finally the effect. You can refer to Chapter 3 to learn how to save your changes to the factory preset. In order to give you a general understanding of the objects simulated by V-AMP2, we will make some specific introductions to these speakers below.

When you select an analog speaker, the simulation of the speaker will also be activated automatically (see Table 8.2 in the attachment). However, selecting inappropriate speaker simulation may affect the timbre, which is especially obvious when using headphones. Generally speaking, you can choose the combination of speaker and speaker simulation according to your personal preference.

4. 1 Speaker introduction

American Blues: It simulates the 4 X 10 combination of Fanta basman. At first, it was a woofer. Because of its unique distortion, it is loved by Bruce legend jimmie riu vaughan or Billy Gibbons, thus becoming a standard guitar speaker. As you might expect, its bass is quite strong, while its midrange and treble are smart.

Luxe (and Deluxe Edition): It is the synthesis of 1960 Fender Balkface Luxe and FENDER BASSMAN in the 1950s. The result can be imagined: the timbre is as transparent as crystal. This timbre from V-AMP2 is even better than the original sound.

Modern Class A: It simulates the unparalleled chieftain, a very expensive manual speaker, characterized by slight distortion, and the timbre is close to HI-FI.

Custom Class A: The simulated object is BUDDA TWINMASTER. This pure Class A speaker is famous for its warm timbre and irresistible tube distortion. Although the original machine has no midrange control, you can adjust the midrange part according to your own preferences on V-AMP2.

TWEED COMBO: This is the speaker that jeff baker used when recording the albums Blowing Back and forth and Wired. It is not designed for serious distortion, but because of its low power, it becomes an ideal choice for overloaded timbre.

Small combo: The simulation is the champion of 1960 tweed. The charm of this loudspeaker simulation lies in the use of the "overload" function. Although this loudspeaker was originally designed for beginners of guitar, it soon won the favor of many guitar lovers because it can produce wonderful distorted timbre at extremely low volume. This speaker itself has only one volume control switch, and there is no equalization control. If you want to enjoy the surprise brought by this speaker, please make more efforts on the midrange control of V-AMP2.

Classic Clean: Back in 1980s, Roland JC- 120 was Buzzy Feiten's most admired speaker. The timbre of this transistor speaker is not inferior to anything from the mixer. It is an ideal equipment for new wave music in 1980s, and this kind of music is sought after again today. Incidentally, JC 120 is also very popular among piano players in Finderodes.

Black Dual: FENDER BLACKFACE dual speakers produced by analog 1965. This device was the choice of some jazz, country and even rock guitarists in the 1960s. Its advantage lies in its huge volume, so it is mainly used for live performances. BLACKFACE's secret weapon is the ability to achieve slight distortion at high volume.

British Bruce: The simulation object is Marshall's first loudspeaker product-JTM 45, which was also eric clapton's favorite in Cream. Marshall's later loudspeaker products are famous for their bright timbre and magnificent momentum, and JTM45 is one of the pioneers. Strong gain on the device can provide high compression and rather "dirty" distorted timbre. When in use, with the simulation of 2 X 12 "speaker, a moving blues tone can be obtained.

There is also customization: this simulator is based on MARSHALL JTM45 BLUESBREAKER of 1965, but it is more flexible than the original. The gain control of left rotation can simulate Marshall; ; On the contrary, it looks like a Buddha.

British class a: analog VOX AC 30. This loudspeaker was designed in 1960s to meet the requirements of stunning timbre pursued by guitarists at that time. Its most successful link is the revolutionary use of bass and treble control. BRIAN MAY and U2' s EDGE are the most famous musicians who use this timbre.

Non-top enhancement: this is the VOX AC 30 used by Brian ADAMS in the studio. Unlike previous models, it has no treble control. This simulator simulates the timbre when the original version is set to the "normal" gear.

British classic: Marshall Plexi100W based on 1959, which is ideal when using dry sound. JIMI· Hendrix, eric clapton and jeff baker all used it.

Classic 50W (Classic 50W): It's still the PLEXI above, but we deliberately enlarged its scope. The real Marshall PLEXI 50 watt timbre is basically ineffective under the condition of very large distortion.

British hi gain: similar to Marshall JCM 800. Although the original version is mainly famous for distortion, it actually shows outstanding performance at low gain. Use it to restore the timbre of jimmie riu vaughan and Michael Landau. Distortion mode is a bit like Gary Moore's early works, of course, playing with heavy metals is also good.

British Grade A 15W (pure British Grade A 15W): another VOX product, based on Track 1 1960 AC 15. Unlike AC30, which has only one 12 "speaker, it has two speakers, so it can emit warmer sound. Tip: Adjust the bass and midrange control knobs to the middle position, and then only adjust the treble knob, which can simulate quite real timbre.

The revised Higain: analog 1994 Mesa Boogi Gual corrector Trem-o-Verb, with its modern and high-gain timbre, can make the band's works sound different. Timbre control belongs to late gain, which can adjust distorted timbre. It is quite suitable for playing heavy metals, and can also be used to express the timbre of Steve Lukather. The most famous user is John Petro Lurgi, the guitarist of The Threat of Dreams.

Xuanhua Head: It simulates the head of Mesabuji double xuanhua device. Different from the above, it emits a more modern high-gain timbre. Tone adjustment plays a decisive role in high gain adjustment.

MODERN HI GAIN: This simulator is also a simulation of the tone control of the post-gain, which can produce a strong distortion signal for the mixer. This is an ideal device for playing junk music, but guitarists like Stie ·VAI and joe sutter Lini are also its users. Steve Lukather, Nuno Betancourt, Steve ·VAI and other musicians made Soldano's timbre popular. If you play Gibson's LES PAUL and turn down the volume, the sound quality of this simulator is the best.

Beast: The loudspeaker produced by the famous English company is loud enough to wake you up. A large number of guitarists follow SAVAGE 120. For a time, Ricky blakemore was the main spokesman of this German company, and Randy Hansen, who was more like Hendricks than JIMI, also used it to arm himself. It is very popular among heavy metal guitarists because of its powerful strength. Guitarist ALEX BEYRODT is also a silent power and sinner band, and has been a loyal user of ENGL for many years. It is a megaphone that can wake you up.

FUZZ BOX: Actually, no one has simulated this simulator. This is just a special Fazz box. JIMI· Hendrix was the first person to realize the potential of this legendary transistor distortion box. The distorted timbre produced by it has become popular again with the popularity of non-mainstream rock and junk music.

Custom HI Gain: This timbre can be traced back to 1969 50W MARSHALL PLEXI improved by JOSE ARRENDONDO. This man's guitar skills are no less than Eddie Van halen's. The particularity of this loudspeaker lies in its excellent midrange timbre and the ultimate gain of not making the timbre turbid.

Ultimate V-AMP: This guy can handle dry sound and wild high gain! This timbre simulates a booster rectifier speaker.

Ultimate PLUS: people who think that the tone above is not strong enough will be fascinated by this tone.

DRIVE V-AMP: Based on a more modern high-gain amplifier, this simulator can produce a delicate tone without losing strength, which is suitable for the lead guitarist of the band. Its prototype is Mesa Bujimak III.

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