ENGLISH

User’s Manual
Version 1.0 September 2002
V-AMP PRO

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DETAILED SAFETY INSTRUCTIONS:
SAFETY INSTRUCTIONS
All the safety and operation instructions should be read before
the appliance is operated.
Retain Instructions:
The safety and operating instructions should be retained for
future reference.
Heed Warnings:
All warnings on the appliance and in the operating instructions
should be adhered to.
Follow instructions:
CAUTION: To reduce the risk of electric shock, do not remove All operation and user instructions should be followed.
the top cover (or the rear section). No user Water and Moisture:
serviceable parts inside; refer servicing to qualified The appliance should not be used near water (e.g. near a
personnel. bathtub, washbowl, kitchen sink, laundry tub, in a wet basement,
near a swimming pool etc.).
Ventilation:
WARNING: To reduce the risk of fire or electric shock, do not The appliance should be situated so that its location or position
expose this appliance to rain and moisture. does not interfere with its proper ventilation. For example, the
appliance should not be placed on a bed, sofa, rug, or similar
surface that may block the ventilation openings, or placed in a
built-in installation, such as a bookcase or cabinet that may impede
the flow of air through the ventilation openings.
Heat:
The appliance should be situated away from heat sources
This symbol, wherever it appears, alerts you to the such as radiators, heat registers, stoves, or other appliances
presence of uninsulated dangerous voltage inside (including amplifiers) that produce heat.
the enclosure—voltage that may be sufficient to Power Source:
constitute a risk of shock. The appliance should be connected to a power supply only of
the type described in the operating instructions or as marked on
the appliance.
This symbol, wherever it appears, alerts you to Grounding or Polarization:
important operating and maintenance instructions This device must be grounded.
in the accompanying literature. Please read the
Power-Cord Protection:
manual.
Power supply cords should be routed so that they are not
likely to be walked on or pinched by items placed upon or against
them, paying particular attention to cords and plugs, extension
cords and the point where they exit from the appliance.
Cleaning:
The appliance should be cleaned only as recommended by the
manufacturer.
Non-use Periods:
The power cord of the appliance should be unplugged from
the outlet when left unused for extended periods of time.
Debris and Liquid Entry:
Care should be taken that debris and/or liquids do not enter the
enclosure through openings.
Damage Requiring Service:
The appliance should be serviced by qualified service
personnel when:
s The power supply cord or the plug has been damaged; or
s Debris or liquid has entered the appliance; or
s The appliance has been exposed to rain; or
s The appliance does not appear to operate normally or
exhibits a noticable change in performance; or
s The appliance has been dropped, or the enclosure
damaged.
Servicing:
The user should not attempt to service the appliance beyond
that which is described in the operating instructions. All other
servicing should be referred to qualified service personnel.

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FOREWORD TABLE OF CONTENTS
Dear Customer,
1. INTRODUCTION ......................................................... 4
Welcome to the team of
1.1 ... before you get started ............................................... 4
BEHRINGER users and
1.1.1 Serial number ....................................................... 4
thank you very much for
expressing your con-
fidence in BEHRINGER 2. CONTROL ELEMENTS ............................................... 4
products by purchasing 2.1 Front panel ...................................................................... 4
the V-AMP PRO. 2.2 Rear panel ...................................................................... 6
Writing this foreword
for you gives me great 3. EXAMPLES OF USE/OPERATING MODES
pleasure, because it (CONFIGURATION) ................................................... 7
represents the cul- 3.1 Selecting CONFIGURATION modes ................................ 7
mination of many months 3.2 Standard set-up with MIDI foot controller and
of hard work delivered (optional) recording system ........................................... 7
by our engineering team 3.3 Hard-disk recording studio ............................................. 7
to achieve a very am- 3.4 Live set-up in combination with a
bitious goal: to present full-range monitor system .............................................. 7
you with an excellent 3.5 Live set-up with P.A. system and
virtual guitar amplifier, your own guitar amp on stage ....................................... 8
which gives you maxi-
mum flexibility and performance through its advanced sound 4. V-AMP PRO PRESETS ............................................... 8
and remarkable range of functions. The task of designing our
new V-AMP PRO certainly meant a great deal of responsibility 4.1 Calling up presets ........................................................... 8
which we assumed by focusing on you, the discerning user and 4.2 Editing presets ................................................................ 9
musician. Meeting your expectations also meant a lot of work 4.3 Storing presets ............................................................... 9
and night shifts. But it was fun, too. Developing a product usually 4.4 Discarding an edited preset/restoring a single
brings a lot of people together, and what a great feeling it is factory preset ................................................................. 9
when all who participated in such a project can be proud of 4.5 Restoring all factory presets ......................................... 9
what they’ve achieved.
5. AMP/SPEAKER SIMULATION .................................... 9
It is our philosophy to share our enjoyment with you, because
you are the most important member of the BEHRINGER team. 5.1 Amp descriptions ........................................................... 9
With your highly competent suggestions for new products you’ve 5.2 Speaker descriptions .................................................... 11
made a significant contribution to shaping our company and
making it successful. In return, we guarantee you uncom- 6. EFFECTS PROCESSOR ............................................ 11
promising quality as well as excellent technical and audio 6.1 Effect descriptions ....................................................... 11
properties at an extremely reasonable price. All of this will enable Reverb and delay algorithms ....................................... 11
you to give free rein to your creativity without being hampered Modulation effects ........................................................ 11
by budget constraints. Combinations of effect algorithms
We are often asked how we manage to produce such high- (multi-effects programs) .............................................. 11
quality devices at such unbelievably low prices. The answer is Special effects .............................................................. 12
quite simple: it’s you, our customers! Many satisfied customers 6.2 The separate reverb effect ......................................... 12
mean large sales volumes enabling us to get better purchasing
terms for components, etc. Isn’t it only fair to pass this benefit on 7. TUNER ...................................................................... 12
to you? Because we know that your success is our success 7.1 Tuning your guitar ........................................................ 12
too! 7.2 Setting reference pitch “A” .......................................... 12
I would like to thank all of you who have made the V-AMP PRO
possible. You have all made your own personal contributions, 8. INSTALLATION ......................................................... 12
from the developers to the many other employees at this company. 8.1 Rack mounting .............................................................. 12
8.2 Mains voltage ................................................................ 12
8.3 Audio connections ....................................................... 12
My friends, it’s been worth the effort! 8.4 MIDI connections .......................................................... 13
8.4.1 Sending/receiving MIDI-Sysex data ................... 13
8.5 AES/EBU and S/PDIF standards ................................... 13
Thank you very much,
9. SPECIFICATIONS ..................................................... 14

[Link] IMPLEMENTATION .......................................... 15

[Link] ............................................................. 16
Uli Behringer
CAUTION!
+ Please note that high volume levels may cause
permanent damage to your hearing and/or your
headphones. Turn all LEVEL controls to the left
before you switch on the unit. Be sure to keep the
volume at an appropriate level.

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1. INTRODUCTION 2. CONTROL ELEMENTS
Congratulations! With the V-AMP PRO you have acquired the
professional 19" rack version of the V-AMP 2. Our ultimate aim in 2.1 Front panel
developing it was to create the authentic sound of classic guitar
amplifiers by means of “physical modeling” and to combine this
with the latest DSP effects.
The V-AMP PRO has a number of decisive advantages over
its “little brother”, the V-AMP 2: the output signal can now be
taken in digital form—and you can even select the output
format. External synchronization of your V-AMP PRO is possible
via word clock and, what is more, the V-AMP PRO features
an additional analog speaker simulation, giving you unprece-
dented flexibility. But if you think the V-AMP PRO has been
designed for guitarists only, you’re wrong: for example, with its
innovative preamp bypass feature you can even use it purely
as an effects processor. And thanks to its digital signal
processing, the V-AMP PRO also works as an all-purpose A/D
converter with an extremely low-noise, high-impedance input.
But enough of this talk. Nothing we say will convince you as
readily as what you hear and feel when you test your
V-AMP PRO for the first time. But...
Fig. 2.1: V-AMP PRO front panel (section 1)
1.1 ... before you get started Use the POWER switch to put the V-AMP PRO into
The V-AMP PRO was carefully packed at the factory and the operation.
packaging is designed to protect the unit from rough handling. The GAIN control determines the distortion level of an
Nevertheless, we recommend that you carefully examine the amp simulation.
packaging and its contents for any signs of physical damage
which may have occurred during transit. The VOLUME control determines the volume of the se-
lected preset.
+ If the unit is damaged, please do NOT return it to
The BASS control in the EQ section is for boosting or
BEHRINGER, but notify your dealer and the shipping
company immediately. Otherwise, claims for cutting the low-frequency range.
damage or replacement may not be granted. The MID control is for boosting or cutting the mid-range
frequencies.
Be sure that there is enough space around the unit for cooling
and, to avoid overheating, please do not place the V-AMP PRO TREBLE controls the high-frequency range of the selected
near radiators etc. preset.

+ Before you connect the V-AMP PRO to the mains, + If the TAP key is down (see fig. 2.2), the TREBLE
please make sure that the voltage setting on the control functions as a PRESENCE control. This
unit matches the local voltage! enables you to boost/cut a high-frequency filter
tuned to whatever amp model is active, thus
The mains connection is made using the enclosed power cord simulating the frequency-dependent coupling of
and a standard IEC receptacle. It meets all of the international tube amps.
safety certification requirements. The AMPS control is for selecting one of 32 different
+ Please make sure that all units have a proper
amplifier simulation models. The control is surrounded by a
ring of 16 LEDs. Each LED corresponds to two types of
ground connection. For your own safety, never
amplifier. The first 16 simulations can be selected by turning
remove or disable the ground conductor from the
the AMPS control (marked on the housing in: white).
unit or of the AC power cord.
To select the simulation models 17 - 32 (marked on the
The MIDI connections (IN, OUT/THRU) are for standard DIN housing in: gray), press down the TAP key while making
connectors. Data is transferred via ground-free opto-couplers. your selection by turning the AMPS control.
Further information can be found in chapter 8 “INSTALLATION”.
+ The LED “17 - 32” in the bottom left-hand corner of
the DISPLAY indicates that one of the simulation
1.1.1 Serial number
models 17 - 32 has been selected.
The V-AMP PRO’s serial number is located on the rear. Please
take the time to fill in and return the warranty card within 14 days In addition, you can activate a PREAMP BYPASS by
after the date of purchase, so as to benefit from our extended pressing the key combination TUNER and TAP. If
warranty. Or register online at [Link]. PREAMP BYPASS has been selected, none of the LEDs
on the AMPS control lights up. To disable PREAMP
BYPASS, simply select a different amp model or press
both keys again.

4 1. INTRODUCTION

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+ CONFIGURATION: If you press the D and E keys
simultaneously, you can select the V-AMP PRO’s
general operating mode allowing adjustments to
different studio and live situations (see chapter 3).
Press TUNER/EXIT to quit configuration.
The TUNER button is for switching on the tuner. In addition,
this button can be used to quit EDIT mode (“Exit”).
Use the two arrow keys to select a different bank (BANK
DOWN and BANK UP). You can skip banks by holding
each of the keys down. To activate the EDIT mode, press
both keys simultaneously (THE EDIT MODE LED in the
display lights up). if you press one of the keys A - E ( )
in that mode, the arrow keys can be used for setting
parameters.
The TAP button performs five functions:
s “Tap”: Tap the rhythm of a piece of music on the TAP
Fig. 2.2: V-AMP PRO front panel (section 2) button and the selected effect automatically adapts to the
tempo of the music.
These five keys are for selecting a preset (A - E) within
one bank. s “Presence”: Holding down the TAP button, you can use
the TREBLE control to change the PRESENCE setting of
In EDIT mode (activated by simultaneously pressing the the amp simulation model you’ve selected.
arrow keys described in ), the keys perform the
function printed directly above them. As long as EDIT mode s “2nd parameter”: You also can access the second effects
is active, the EDIT MODE LED lights up. parameter set by the EFFECT control by holding down the
TAP button (see chapter 6).
s A: Accesses the MIDI functions. Use the arrow keys to
set the MIDI channels for transmitting and receiving s “Amp models 17 - 32”: Keep the TAP button pressed
(1 through 16). down and select an amp model using the AMPS control.

If you use key A in EDIT mode to select the MIDI function s “MIDI Thru”: The MIDI OUT jack can be set to act as
and then press the TAP key, the MIDI OUT jack is set to act MIDI THRU (see A).
as a MIDI THRU. In this case, the V-AMP PRO does not
send its own MIDI information, but passes on the signal
received at the MIDI IN jack.
s B: Selects the DRIVE function. This noticeably raises
distortion and volume. Use the arrow keys to switch DRIVE
on and off. The DRIVE function is wired pre GAIN control.
+ While editing the DRIVE function, you can also
activate and adjust the wah-wah effect by turning
the EFFECTS control. The LEDs surrounding the
EFFECTS control indicate the position of the pedal. Fig. 2.3: V-AMP PRO display
If none of the LEDs lights up, the wah-wah is
bypassed.
s C: This key activates the CABINETS mode. Use the arrow
keys to select the type of speaker or combination of
speakers you want. You can also switch off the speaker
simulation completely (“-”). For further details, please refer
to chapter 5.2 “Speaker descriptions”. Tab. 2.1: Output formats and display LED assignments
s D: Use this key to select the REVERB function. The The DISPLAY shows you what preset bank you have
arrow keys can be used to select one of nine different selected and gives you information on parameter changes
types of reverb in addition to the multi-effects processor. when you are editing. In TUNER mode the DISPLAY shows
For further details see chapter 6.2. the pitch of the instrument connected to the unit. If one of
s E: Here you can activate the NOISE GATE function. Use the amplifier simulations 17 - 32 has been selected, the
the arrow keys to adjust the noise reduction threshold. LED in the bottom left-hand corner of the DISPLAY lights
up. Additionally, the DISPLAY reads the digital format
+ After preset editing, please press TUNER/EXIT to output and the sample rate of your V-AMP PRO and
quit (the EDIT MODE LED dies out). illustrates whenever the V-AMP PRO is synchronized by
+ DIGITAL OUT: The digital output can be configured if
an external word clock signal. Applied signals are indicated
by the SIGNAL LED, overload signals by the red CLIP LED.
keys A and B are pressed simultaneously. The
display reads either “SP” for S/PDIF or “AE” for
AES/EBU. Please switch between these two formats
using the TAP key. The LEDs in the display illustrate,
whether you have chosen internal synchronization
(with 44.1, 48 or 96 kHz sample rate) or external
synchronization via word clock (see tab. 2.1 in this
user’s manual). Use the arrow keys to select the
appropriate sample rate with respect to the
receiving device. The TUNER/EXIT key allows you to
quit the DIGITAL OUT configuration.

2. CONTROL ELEMENTS 5

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2.2 Rear panel

Fig. 2.4: V-AMP PRO front panel (section 3)

Fig. 2.5: V-AMP PRO rear panel (section 1)
This control is for selecting an effect or a combination of
effects. This encoder-type rotary control is also surrounded Your V-AMP PRO features a serial insert path for external
by a ring of 16 LEDs. Each LED corresonds to one specific effects, such as a wah-wah pedal. Connect the SEND/
effects preset. LINE OUT jack to the input of your effects device.
The SEND/LINE OUT output is taken directly pre-digital
Using the REVERB control, you can add the reverb content processor (PRE DSP), which means you can use this jack
of your choice to your overall sound. By turning it to the left also to record a “dry” direct signal without any effect added.
until all the LEDs are off, you deactivate the reverb. To
fade out the original signal, turn the control to the right until Connect the RETURN/LINE IN jack to the output of your
only the last LED lights up. external effects device.
If an effect has been selected via , its part of the + When using the serial insert path, please do not
overall sound can be set using this EFFECTS control. If set the effects device to 100% effects signal (“wet”);
you select the “Compressor” effect, you can use the otherwise, the direct signal will be missing.
EFFECTS control to adjust the compression intensity.
Turning the control to the left until all the LEDs are off
+ Press the LINE IN key to route the signal applied
at the RETURN/LINE IN to the V-AMP PRO. This function
disables the effect. This is known as an effects bypass.
is useful, for example, to monitor a “dry” guitar
+ By pressing the TAP key, you can set a second signal with the V-AMP PRO before adding any effects
effects parameter using the EFFECTS control (see (see enclosed sheet, fig. 1).
tab. 3 on the separate sheet).
The ANALOG LINE OUTPUTS provide the stereo signal of
The MASTER control determines the overall volume of your V-AMP PRO without analog speaker simulation applied.
your V-AMP PRO. Use this jacks, for example, to connect an external amp on
stage.
+ This is the only “conventional” control on the
V-AMP PRO. All the other controls are encoder- Connect the POST DSP INSERT RETURN (IN) pair of
type rotary controls whose settings can be stored stereo 1/4" jacks to the outputs of the external stereo
in a preset. effects device and use this path to return the signal sent
out from the POST DSP SEND (OUT) outputs .
+ The LED rings around the VOLUME, BASS, MID,
TREBLE, GAIN, EFFECTS and REVERB controls each The GROUND LIFT switch disconnects (switch pressed)
have nine LEDs. On each ring either one LED or the ground connection at the DI OUT outputs to
two neighboring LEDs will light up at a time, effectively eliminate hum noise resulting from ground loops.
indicating a total of 17 different positions.
The DI OUT output provides the balanced stereo signal of
The INPUT socket is the V-AMP PRO’s 1/4" jack socket for your V-AMP PRO. Connect this output to two balanced
your guitar. Please use a standard 1/4" mono jack cable. channel inputs on your mixing console.
The LINE IN switch determines which signal source is The POST DSP SEND (OUT) stereo output allows you to
processed by the V-AMP PRO, either (switch not pressed) connect the inputs of an external stereo effects device.
the signal applied at the high-impedance INPUT jack, for The signal provided here is the same as the signal present
example, your guitar, or (switch pressed) the line signal at the digital outputs. Unlike the SEND/LINE OUT output
connected to the PRE DSP INSERT (LINE IN, ). this signal is post-DSP. If the two corresponding RETURN
(IN) jacks are not used, the ANALOG LINE OUTPUTS
The stereo PHONES jack allows you to monitor the provide an identical signal.
V-AMP PRO’s audio signal with standard headphones.
+ When you connect your headphones, the
V-AMP PRO automatically activates studio mode 1
(S1). If the current preset or setting does not have
a cabinet model, the V-AMP PRO will also select a
default speaker simulation automatically, as soon
as you plug in your headphones. This improves the
aural impression when using headphones. The
standard cabinet simulations are shown in table 4
(enclosed sheet). However, you can intentionally
change or deactivate the simulation when using
headphones by selecting “-” in the CABINETS mode.

6 2. CONTROL ELEMENTS

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3. EXAMPLES OF OUTPUT
CONFIGURATIONS
To adapt the V-AMP PRO best to different studio and live
situations, you can select between five operating modes
(CONFIGURATION). Regardless of the settings on the unit itself,
these modes determine in which way the V-AMP PRO’s output
signal is taken. Basically, there are 3 studio and 2 live operating
modes (with additional EQ). This also allows for using the left
and right output signals differently at the same time. In operating
mode “Live 2”, it is necessary to distinguish between the balanced
XLR outputs (DI OUT) and the 1/4" jack outputs (UNBALANCED).

Fig. 2.6: V-AMP PRO rear panel (section 2)

3.1 Selecting CONFIGURATION modes
The S/PDIF output provides the digital output signal of your
Your V-AMP PRO left the factory set in “Studio 1” (S1) mode.
V-AMP PRO.
To change modes, you have to switch to CONFIGURATION
The AES/EBU output (XLR connector) provides the digital mode. To do this, press buttons D and E simultaneously. Use the
output signal of your V-AMP PRO in an AES/EBU format, arrow keys to switch from one mode to another. Press TUNER
provided that AES/EBU has been selected as digital output to quit CONFIGURATION mode.
format (please refer to the 2nd note under E).
The WORDCLOCK BNC jack is used to connect equipment 3.2 Standard set-up with MIDI foot controller
for the external synchronization of your V-AMP PRO. This and (optional) recording system
high-impedance jack has no internal terminating resistor
(75 Ohms). Set up and wire your V-AMP PRO as shown in fig. 1 on the
enclosed sheet. Connect your headphones to the PHONES jack
This is the MIDI OUT/THRU jack of your V-AMP PRO. It is if required. The MIDI foot controller enables you to select
configured as MIDI OUT but can be set to act as a MIDI programs, enable/disable the tuner and control the wah-wah
THRU jack (see A). effect (see chapter 10).
Use the MIDI IN to connect a foot controller, for example,
the BEHRINGER MIDI FOOT CONTROLLER FCB1010.
+ For this application please select CONFIGURATION
mode S1!
See also chapter 8.4.

+ To monitor the recorded signal please press button

!

3.3 Hard-disk recording studio

A widely used recording application is to make a “dry” recording
of the output signal while monitoring the signal with effects (see
fig. 2 on the enclosed sheet). The advantage here is that you
don’t have to make a final decision on what effect to use during
mix-down. For this purpose, connect the left output of the
V-AMP PRO to the recording device, and use the right output
for monitoring (with effects).
If you have a MIDI foot controller, you can use it to control
preset, bank and amp model changes. It is also convenient for
switching the tuner on and off.

Fig. 2.7: V-AMP PRO rear panel (section 3) + If you select CONFIGURATION mode S2 for this
application, the cabinet simulation is active both on
SERIAL NUMBER. Please take the time to fill in and return the left and right channels.
the warranty card within 14 days after the date of purchase,
so as to benefit from our extended warranty. Or register + Please select CONFIGURATION mode S3 to use the
online at ([Link]). left output without cabinet simulation!
FUSE HOLDER/VOLTAGE SELECTOR. Before
connecting the unit to the mains, make sure that the voltage
setting matches your local voltage. A blown fuse should 3.4 Live set-up in combination with a
only be replaced by a fuse of the same type and rating. On full-range monitor system
some units, the fuse holder can be switched to one of two
When you’re playing on stage, it is extremely important to
positions, i.e. 230 V and 115 V. When operating the unit
monitor your guitar sound properly. To this end, the
outside Europe at 115 V, a higher fuse rating is required
V-AMP PRO is ideally connected to a monitor system with
(see chapter 8 “INSTALLATION”).
sufficient power to reproduce the V-AMP PRO’s sound potential
The mains connection is on an IEC receptacle. An to the full (see fig. 3 on the separate sheet).
appropriate power cord is included.
+ For this application, please select mode L1 under
CONFIGURATION. The additional 3-band EQ can be
set with the BASS, MID and TREBLE controls. As this
is a global EQ, it has no effect on the setting of
these three controls stored with a preset.

3. EXAMPLES OF OUTPUT CONFIGURATIONS 7

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+ When headphones are connected, the V-AMP PRO
4.1 Calling up presets
selects operating mode S1 automatically.
When the unit is switched on, it automatically loads the preset
used last. In the following example, the last preset selected was
3.5 Live set-up with P.A. system and preset D in bank 25:
your own guitar amp on stage
This application is intended to give you your own guitar signal
on stage so that you can have complete control of intentionally
produced feedback, for example. Use the UNBALANCED LINE
OUTPUTS to drive the guitar amp, and the 3-band EQ plus effects
on this output (but no cabinet simulation!) to optimize the sound.
The DI OUT provides a DI signal for the FOH mixing console—with
effects and ULTRA-G cabinet simulation!

+ For this application, please select CONFIGURATION

mode L2!

4. V-AMP PRO PRESETS

The V-AMP PRO features 125 overwritable presets divided
into 25 banks. In other words, there are five presets available Fig. 4.1: Calling up presets
per bank. Each preset consists of a maximum of five “ingredients”:
In this case, by pressing button A, B, C or E you can immediately
s amp simulation (including GAIN, EQ and VOLUME settings) call up another preset of the same bank. The two arrow keys
(BANK UP and BANK DOWN) enable you to switch banks. The
s cabinet simulation
display on the V-AMP PRO always shows which bank has been
s pre-amp effect, such as noise gate, compressor, auto wah selected. When you switch banks, the preset has to be called up
and wah-wah by pressing one of the buttons A - E. One LED lights up to show
you which preset in the respective bank has been activated.
s post-amp multi-effect, such as delay, modulation effect, or
a combination of both
s reverb effect
The enclosed sheet shows an overview of all the presets on
your V-AMP PRO.

Tab. 4.1: V-AMP PRO modes with application examples

8 4. V-AMP PRO PRESETS

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4.2 Editing presets 5. AMP/SPEAKER SIMULATION
Editing presets is fast and simple with the V-AMP PRO. One
The very heart of your V-AMP PRO is its amp/speaker
option is to call up a preset you like and then start editing it. Select
simulation. The 32 simulation models can make work in a home
an amp model by means of the AMPS encoder. The LED on the
recording studio very much easier because it isn’t necessary to
preset button flashes (e.g. D) and signals that you have made a
mike up the guitar amp. The V-AMP PRO makes it child’s play
change to the preset.
for you to choose one of the legendary guitar amps, be it for
Now change the settings of the VOLUME, BASS, MID, TREBLE Brit Pop, Blues, Heavy Metal or whatever. In addition, you can
and GAIN controls as you like. If you select an effect, you can tailor the sound of the respective amp to suit your ideas and
adjust its ratio in the overall sound using the EFFECTS control. then connect it virtually to one of 15 speaker simulations
You then switch to EDIT mode by pressing the arrow keys (cabinets). On top of all that, you can even choose digital
simultaneously. If you use buttons B - E to activate the DRIVE, effect and reverb types for your virtual amp. See chapter 4
CABINETS, REVERB and NOISE GATE functions respectively “V-AMP PRO PRESETS” for more details.
and then edit using the arrow keys, the value of the respective
When you switch on the V-AMP PRO, it automatically loads the
parameter is shown in the display. To leave EDIT mode, briefly
last preset selected. The LED ring around the AMPS control
press the TUNER button.
shows what amp has been selected. The corresponding LED
If you hold the TAP button down while using the TREBLE control, lights up. To select another amp simply turn the control. Use the
you can raise or lower an additional high-frequency filter VOLUME, BASS, MID, TREBLE and GAIN controls to modify the
(PRESENCE). This simulates the frequency-sensitive coupling of basic sound of the amp. Hold down the TAP button and turn the
tube amps. TREBLE control to raise or lower an additional high-frequency
PRESENCE filter (see ).
+ Apart from compressor and auto wah, all the multi-
effects have a speed-based parameter. Say you As a rule, you will want to select an amp first, then a cabinet
want to set the effect you’ve selected to the tempo and finally an effect. See chapter 4 for how to store your
of your playback: just tap the TAP button twice in modifications. To give you a better overview of the extensive
time to the music and the effect tempo will match range of amp simulations on the V-AMP PRO, we have com-
the tempo of your piece. piled the following descriptions of the different types of amp.

+ When you select an amp simulation, an appropriate

speaker simulation is activated automatically (see
4.3 Storing presets
tab. 4 on the separate sheet). Otherwise, the
To store your edited preset, hold down the preset button authenticity of the sound could be affected by an
required for approx. 2 seconds for the preset to be overwritten unsuitable cabinet—especially if you are using
(the corresponding LED lights up throughout). headphones. Naturally, you can combine the amp
simulations with other cabinets according to taste.
+ You do not necessarily have to store your edited
preset in place of the original preset selected. If
you choose a different storage position, select the 5.1 Amp descriptions
preset bank you want using the arrow keys (BANK
UP and BANK DOWN). You can store your changes by AMERICAN BLUES: This virtual amp is modelled on the Fender
holding down the preset button for approx. two Bassman 4 x 10 Combo. Originally designed as a bass amp, it
seconds. For example, you can edit a preset soon became a standard amp of blues legends such as Steve
originally stored in bank 5, position D, and then store Ray Vaughan or Billy Gibbons due to its characteristic distortion.
it in bank 6, position A. As you would expect, it packs a solid punch in the bass range,
but is still flexible enough in the mid and treble ranges.
AND DELUXE: A synthesis of a 1960 Fender Blackface Deluxe
4.4 Discarding an edited preset/restoring a and a ’50s Fender Bassman. The result is a crystal-clear sound
single factory preset that still simlates the edge of the vintage amps. The V-AMP PRO
sound control gives you even greater scope than the EQ controls
If you have edited a preset and find that you don’t like the
on the originals.
edited version, you can, of course, discard it. Let’s assume
you’ve selected and then edited preset C (the corresponding MODERN CLASS A: This amp is characterized by its slight
LED has lit up), but you would now like to return to the distortion and sounds almost like hi-fi. It is modelled on the
configuration stored previously. Simply select another preset. Matchless Chieftain, a very expensive, hand-made amp.
The next time you call up the preset, the temporary edited
version is discarded. After editing, you can also hold down the CUSTOM CLASS A: The model for this simulation is the Budda
two arrow keys until “Pr” appears in the display, which brings Twinmaster. This Class-A amp is renowned for its warm sound
back the factory preset that was originally stored there. How- combined with irresistible tube distortion. Although the original
ever, you then have to save it again by holding down the amp does not have a mid control, we have given the
corresponding preset button for approx. two seconds. V-AMP PRO the capability of suiting the mid range to your taste.
TWEED COMBO: This was Jeff Beck’s favorite when he
recorded the albums Blow by Blow and Wired. This amp was
4.5 Restoring all factory presets not actually designed for heavy distortion, but due to its low
All factory presets can be restored as follows: Hold down power, it is ideal for uncompromising overdrive sound.
buttons D and E and then switch on the V-AMP PRO. “CL”
SMALL COMBO: This model is based on the 1960 Tweed
appears in the display. Now release the two buttons and press
Champ. The main attraction of this amp simulation is when the
the two arrow keys simultaneously. This erases all the edited
DRIVE function is used a lot. Although this amp was actually
presets you have stored and restores the factory presets.
designed for beginners on the guitar, it soon became a favorite
amp of many guitar afficionados. The reason for that was that it
produced an amazingly distorted sound even at low volume. The
Tweed Champ had a volume control, but no EQ control. If you
want to get the most authentic sound out of this amp, keep the
sound control on the V-AMP PRO in the mid-range.

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CLASSIC CLEAN: Back in the ’80s, the Roland JC-120 was MODERN HI GAIN: Here, too, the tone control is post-gain,
the preferred sound of Buzzy Feiten (guitarist with the Dave allowing the extremely distorted sound to cut through the mix.
Weckl Band). The unique quality of this transistor amp’s sound is The MODERN HI GAIN sound is ideal for playing Grunge, but is
the way its brilliance cuts through any mix. It is ideal for the New also used by guitarists such as Steve Vai and Joe Satriani.
Wave sound of the 80s that is making a come-back today. By the Among others, Steve Lukather, Nuno Bettencourt and Steve Vai
way, the JC-120 was also popular among Fender Rhodes pianists. have all popularized the Soldano sound. If you’re playing a
Gibson Les Paul, MODERN HI GAIN sounds best when you
BLACK TWIN: This simulation was modeled on a Fender turn down the volume control on the guitar a little.
Blackface Twin from 1965. In the ’60s this amp was used by
jazz, country and even rock guitarists. What was unique about SAVAGE BEAST: Engl is well-known for amps that really cut
it was that it was exceptionally loud and was therefore mainly through. The Savage 120 in particular has built up a large
used for live performances. The secret of the Blackface Twin following among guitarists. For some time now Ritchie Black-
was that although you could play it extremely loud, the distortion more has been an major endorser of this German company, and
remained relatively low. Randy Hanson, the best Hendrix since Jimi, also swears by this
amp. The unique feature of the Savage is its extreme power and
BRITISH BLUES: Modeled on the JTM 45, the first Marshall is therefore highly popular with heavy metal guitarists. Silent
amp ever. This, by the way, was Eric Clapton’s favorite amp Force/Sinner guitarist Alex Beyrodt has been an enthusiastic
when he was with Cream. The JTM 45 was the forerunner of Engl user for years. An amp for making yourself heard!
many of Marshall’s later amps with their distinctive, powerful
sound. Extreme gain settings produce a highly compressed and FUZZ BOX: This sound is not actually based on any one amp,
really “dirty” sounding distortion. Combined with a 2 x 12" speaker but on a particular fuzz box. Jimi Hendrix was one of the first
simulation it produces impressive Bluesbreaker sounds. guitarists to recognize the potential in this legendary broadband
transistor distortion. The humming distortion sound of the FUZZ
AND CUSTOM: This simulation is based on a 1965 Marshall BOX has returned to popularity with Alternative Rock and Grunge.
JTM 45 Bluesbreaker but has more flexibility of sound control.
Turn the GAIN control to the left and this simulation sounds like a CUSTOM HI GAIN: This sound goes back to a 1969 50-Watt
Marshall; turn it to the right and it is more reminiscent of the Marshall Plexi modified by Jose Arrendondo. Arrendondo was
Budda. none other than Eddie Van Halen’s guitar technician. The unique
features of this amp are its fine mid-range sounds and its ability
BRITISH CLASS A: This simulation is modeled on the Vox to produce the ultimate in gain without making the sound muddy.
AC 30. This amp was originally designed in the ’60s when Warning: highly addictive!
guitarists wanted amps with enhanced brilliance, a feature that
Vox successfully implemented by means of “revolutionary” bass ULTIMATE V-AMP: From clean to brutal hi-gain, this “brute”
and treble controls. Brian May and U2’s The Edge are probably covers the entire range. The ULTIMATE V-AMP is basically a
the best-known users of this sound. souped-up rectifier amp.
NON TOP BOOST: This is a Vox AC 30 as used by Bryan ULTIMATE PLUS: Those who find the ULTIMATE V-AMP too
Adams in the recording studio. Unlike the well-known AC 30 tame will find enough gain here for an overdose.
with treble boost, the former amp version did not have this feature.
This simulation copies the original amp’s “normal” channel. DRIVE V-AMP: This simulation is based on a more modern
high-gain lead amp producing a soft but precise sound with
BRITISH CLASSIC: Based on a 1959 Marshall Plexi 100 Watt, plenty of drive, making it ideal for lead guitar work. The DRIVE
this amp is ideal for producing clean sounds. It was used by Jimi V-AMP is modeled on the Mesa Boogie Mark III.
Hendrix, Eric Clapton and Jeff Beck.
CALIFORNIA DRIVE: Based on the Mesa Boogie Mark II c, this
CLASSIC 50 W: This is also a Plexi, but we have extensively is purely a simulation of its drive channel—definitely the right
widened its sound range. The sound controls on the original choice for Santana songs.
Marshall Plexi 50 Watt hardly had any effect on the sound if
distortion was high. CRUNCH V-AMP: This amp is ideal for modern blues or jazz.
Its sound is not too subtle, but not in-your-face either—it’s
BRITISH HI GAIN: Compare this model with a Marshall JCM crunchy, that’s all.
800. Although the original was renowned mainly for its distorted
sounds, this amp also sounds very good with low gain settings. CUSTOM DRIVE: This simulates the Dumble Overdrive
It’s good at reproducing Steve Ray Vaughan’s and Michael Special—an amp that was at the top of many guitarists’ wish-list
Landau’s sounds. In distortion mode it sounds like Gary Moore in but beyond their financial means. Dumble amps are hand-made
his early days, but it’s also good for heavy metal. and can be custom-built for the individual guitarist. What we’ve
done here is simulate the drive channel of one of these rare
BRITISH CLASS A 15 W: Another Vox model, based on the Dumble amps.
first channel of an AC 15 from 1960. Unlike the AC 30 this amp
had only one 12" speaker, instead of two, and produced a CLEAN V-AMP: Here we have managed to simulate the sound
warmer sound. Tip: to make this simulation sound as authentically of a Roland JC-120 and comine it with our BRIT CLASSIC model.
as possible, leave the BASS and MID controls in mid-travel The result is the brilliance of a transistor amp which, however,
position and vary the TREBLE control only. features the cutting power of a Marshall Plexi. Turn the GAIN
control clockwise and the Marshall comes in.
RECTIFIED HI GAIN: This model is based on a 1994 Mesa
Boogie Dual Rectifier Trem-O-Verb featuring a modern, high- CALIFORNIA CLEAN: This model is based on the clean channel
gain sound that also comes over well in a band context. The tone of the Mesa Boogie Mark II c. It sounds a little like a Fender, but
control is post-gain, which allows you to tailor distorted sounds has more of a punch in the mid-range.
to great effect. This amp is perfect for heavy metal, but also for TUBE PREAMP: Sound engineers were quick to recognize
Steve Lukather sounds. The best-known user of this amp is the appeal of tubes. They used tube amps to add warmth to all
Dream Theater’s guitarist John Petrucci. kinds of sounds. This amp model is not only for refining guitar
RECTIFIED HEAD: This simulation is modeled on a Mesa Boogie sounds. Try putting a vocal track through the V-AMP PRO and
Dual Rectifier top. Unlike the Trem-O-Verb, this amp produces a give it the finishing touch with TUBE PREAMP.
more modern high-gain sound. The tone control is most effective CUSTOM CLEAN: This simulation is of the clean channel on
at high gain settings. our Dumble amp.

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PREAMP BYPASS: In this setting, no amp simulation is se- 6.1 Effect descriptions
lected. This makes it possible, for example, to play through an
external guitar preamp and only use the effects or the speaker The following section contains short descriptions of the effects
simulation on the V-AMP PRO. To activate the PREAMP BYPASS, that can be produced using the multi-effects processor in your
press TAP and TUNER. V-AMP PRO.
Fender, Vox, Marshall, Mesa Boogie, Gibson, Soldano, Matchless,
Dumble, Budda, Tweed, Engl, Roland and the names of musicians and
groups are registered trademarks belonging to the respective owners and are in
no way associated with BEHRINGER.

5.2 Speaker descriptions Reverb and delay algorithms

REVERB: Reverb is still the most important effect for mixing or
The sound of any guitar combo depends largely on the type
live performance. That’s why we at BEHRINGER make a point of
and combination of speakers used. In the past 50 years there
giving you as many as nine different reverb programs so that
has been widespread experimentation to find out what type of
you can use the most suitable reverb program for any situation.
speaker is best suited to any one specific guitar sound and in
The reverb effect can be added separately to all the other effects
what way the sound is modified when a certain speaker is
(see chapter 5.2).
combined with others.
ECHO: Echo is like the stereo delay effect in that it is a delayed
+ When you select an amp simulation, an appropriate repetition of the input signal, apart from the fact that the high-
speaker simulation is activated automatically (see frequency content of the repeated signals steadily decreases.
tab. 4 on the enclosed sheet). Otherwise, the This simulates a tape delay used in the pre-digital era, producing
authenticity of the sound could be affected by an a “vintage sound”. In addition, the reflections are routed in turns
unsuitable cabinet—especially if you are using to the left and right channels, creating a quasi-stereo effect.
headphones. Naturally, you can combine the amp
simulations with other cabinets according to taste. DELAY: This algorithm delays the input signal, with different
tempo settings producing interesting delay effects. U2’s The
The character of a loudspeaker is a combination of its power Edge has impressivley demonstrated the potential of this effect.
rating, impedance, sound pressure and size, as well as the
material it is made of. 8", 10" and 12" speakers have established PING PONG: A delay effect that changes position on the stereo
themselves as the best sizes for electric guitar amplification. channels.
The enclosed sheet shows a list of all speaker cabinets on the
V-AMP PRO (tab. 2).

6. EFFECTS PROCESSOR Modulation effects

A special feature of your V-AMP PRO is its built-in multi-effects PHASER: The principle behind the phaser is that a second,
processor module offering 16 different groups of first-class phase-shifted signal is added to the audio signal. This makes the
effects such as chorus, flanger, delay, auto wah as well as sound richer and, above all, livelier. This effect is popular among
various combinations of effects. The MIDI function also allows guitarists and keyboard players alike, but was also used
you to use an additional wah-wah effect which can be controlled extensively in the ’70s with other instruments, such as electric
best using a MIDI foot controller with an expression pedal, such pianos. Depending on how you set it, the V-AMP PRO phaser
as our BEHRINGER MIDI FOOT CONTROLLER FCB1010. See can be used to produce slightly modulating or strongly alienating
tab. 10.1 in this user’s manual for an overview of all MIDI data effects.
transmitted and received by the V-AMP PRO.
FLANGER: This effect is self-explanatory. Originally, the flanger
+ The standard operating mode of the multi-effects effect was produced by running two synchronized tape
recorders at the same time. The same signals (e.g. a guitar solo)
processor is stereo, so you can use stereo effects
for recording purposes via the LINE OUT or play in were recorded on both machines. Putting a finger on the left reel
stereo using a second amplifier. of one of the machines caused it and the speed of the playback
to slow. The resulting delay produced phase shifts of the signals.
The effects on the V-AMP PRO can be modified in three CHORUS: This effect adds a slightly modulated off-key element
parameters: by turning the EFFECTS control, by turning the to the original signal, thus creating a pleasant floating effect
EFFECTS control and holding down the TAP button, and by through variations in pitch.
pressing the TAP button alone in time to the music. Tab. 3 on
the enclosed sheet shows the effect parameters for the
V-AMP PRO.

+ To match speed-based effects to the tempo of the

music, please press the TAP button twice in time
to the music. Combinations of effect algorithms
(multi-effects programs)
PHASER & DELAY: Phaser and delay combined.
FLANGER & DELAY: Here the input signal is delayed and
processed with a pronounced wave-like effect. It is particularly
effective for highlighting single notes, but can also be used to
make solos more interesting.
CHORUS & DELAY: This algorithm combines signal delay with
the popular chorus effect.
CHORUS & COMP: Incredible sustain effects can be produced
with the compressor. This is especially useful for sustaining
individual guitar notes. Combined with chorus, it can make the
audio signal extremely dense.

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The so-called concert pitch “A” has been raised steadily over
time. For example, the tuning forks used by Bach, Händel or
Mozart were 415, 420 or 421 Hz (oscillations per second). Today’s
orchestras tune to “A” at 444 Hz, and the Berlin Philharmonic
Special effects Orchestra lead the field with their own concert pitch “A” at
447 Hz.
COMPRESSOR: A compressor limits the dynamic range of the
audio material, thus producing audible and creative sound effects. The reference “A” on your V-AMP PRO has been factory-
Pronounced use of the compressor (using the EFFECTS control) programmed at 440 Hz. If you are going to play with a big orchestra
allows you to compress the overall dynamic range of the material. tuning their instruments to a reference pitch of 444 Hz, you will
need a function that allows you to change your reference pitch.
AUTO-WAH: The legendary wah-wah effect owes its fame To activate this function, switch on the tuner by pressing the
mainly to Jimi Hendrix. Describing it is certainly more difficult than TUNER button and switch to EDIT mode by pressing the two
simply listening to Hendrix using it on Voodoo Chile. In American arrow keys simultaneously. The display will show “40”, which
funk music of the ’70s you can hear auto-wah effects used in a means 440 Hz. Use the arrow keys to raise or lower the reference
variety of applications. The auto-wah alters its filter frequency pitch by up to 15 Hz. The display always shows the last two
automatically depending on the signal’s magnitude, rather than digits as the first digit is always 4. For example, if you start with
being controlled by the position of a pedal. a reference pitch of 440 Hz and press the right-hand arrow
TREMOLO: Simulates the classic Fender Tremolo. It has three times, the display will read 43, i.e. 443 Hz. To quit EDIT
returned to popularity with trip-hop. mode, press either the TUNER or the TAP button. Any changes
will be stored automatically. The tones for the other strings on
ROTARY: This is the quintessential simulation of the classic your guitar will automatically be adjusted to the new reference
organ effect normally produced by speakers rotating at slow or pitch.
fast speed in an extremely heavy speaker cabinet. This effect
uses the physical principle of the Doppler effect to modulate the
sound.
8. INSTALLATION
NOISE GATE: Noise gates are used to remove or reduce
noise or other interference. Guitar signals in particular are very
sensitive to interference. Not only do guitarists often use high- 8.1 Rack mounting
gain settings but guitar pick-ups can amplify unwanted inter-
The BEHRINGER V-AMP PRO requires two height units (2 HU)
ference. This can be painfully apparent during breaks in the
for installation in a 19" rack. Please allow an additional 4" of
music. And how does a noise gate work? It simply mutes the
rack depth for the rear panel connectors.
signal during breaks, eliminating any interference at the same
time. Be sure that there is enough air space around the unit for
cooling. To avoid overheating, do not place the unit on power
amps, for example.
6.2 The separate reverb effect
The reverb effect from your V-AMP PRO is independent of
8.2 Mains voltage
the multi-effects processor and can be added to the mix signal
at any time. To edit the REVERB function, press button D in Before you connect the V-AMP PRO to the mains, please
EDIT mode (pressing the two arrow keys simultaneously) make sure that the voltage setting on the unit matches
and use the two arrow keys to select one of the nine different the local voltage! The fuse holder at the AC power connector
reverb types available (see enclosed sheet for further details). has 3 triangular markings. Two of these three triangles are
aligned with one another. The unit is set to the voltage shown
next to these markings and can be switched over by turning the
7. TUNER fuse holder by 180°. IMPORTANT: This does not apply to
export models designed exclusively for 115 V operation!
Press the TUNER button to activate the built-in tuner.
+ If you set the unit to a different mains voltage, be
sure to use a fuse of the correct type and rating.
7.1 Tuning your guitar Please refer to chapter 9 “SPECIFICATIONS” for
details.
The chromatic tuner automatically recognizes the frequencies
of all the standard guitar notes. For the A-string this means a
frequency of 220 Hz. When you plug your guitar into the + Blown fuses must be replaced by fuses of the same
V-AMP PRO and play an open string, the tuner will recognize type and rating! Please refer to chapter 9
and display the note. Since the tuner uses an auto-chromatic “SPECIFICATIONS” for details.
scale, it can also recognize semi-tones, which are shown with
The mains connection is made using the enclosed power cord
a “b” in the display.
and a standard IEC receptacle. It meets all of the international
It may happen, however, that a note is displayed as “A” but is safety certification requirements.
actually slightly out of tune. This is shown by at least one of the
four LEDs at the foot of the display lighting up. In certain cases + Please make sure that all units have a proper
even two of the LEDs may light up, which indicates that the pitch ground connection. For your own safety, never
of the note played lies between the pitches represented by the remove or disable the ground conductor from the
two LEDs. When the circular tuner LED in the middle lights up, unit or of the AC power cord.
this means the note played is in tune.

8.3 Audio connections

7.2 Setting reference pitch “A”
The input of your BEHRINGER V-AMP PRO is a mono 1/4" jack.
To give you maximum freedom for tuning your guitar, you can All line out, line in and headphones outputs are 1/4" stereo jacks.
change the preset reference pitch “A”. For clarity’s sake, let’s The line outputs work with both balanced and unbalanced
look at this in more detail. connections. The DI OUT outputs are on XLR connectors.

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The digital outputs are on a cinch jack (S/PDIF) or XLR 8.4 MIDI connections
connector. The BNC jack is used to feed in external word clock
signals. The MIDI standard (Musical Instruments Digital Interface) was
developed in the early ’80s to enable different makes of electronic
instruments to communicate with each other. Over the years the
range of MIDI applications has constantly expanded, and today
it is standard practice to network entire recording studios using
the MIDI standard.
The heart of such a network is a computer with sequencer
software that controls not only all the keyboards but also effects
and other peripheral devices. In such a studio set-up you can
control the V-AMP PRO in real time from a computer. For live
performances in particular, you can also use a MIDI foot controller
to control both effect parameters and preset changes on your
V-AMP PRO.
The MIDI connectors on your V-AMP PRO are international-
standard 5-pin DIN jacks. To connect your V-AMP PRO to other
MIDI equipment you will need dedicated MIDI cables. They are
Fig. 8.1: XLR connectors commercially available in various standard lengths.
MIDI IN: receives MIDI controller data. The receiving channel
can be adjusted in EDIT mode by pressing the A button and then
using the arrow keys.
MIDI OUT/THRU: used for sending data to a computer or any
other devices. You can transmit both preset data and parameter
changes. If set to MIDI THRU, the V-AMP PRO does not send its
own MIDI information, but passes on the signal received at the
MIDI IN jack.

8.4.1 Sending/receiving MIDI-Sysex data

The V-AMP PRO can receive system-exclusive data from other
MIDI devices provided that the MIDI function (button A) has been
activated in EDIT mode. However, this means that all presets on
the V-AMP PRO will be overwritten automatically. You can also
transmit MIDI data from your V-AMP PRO to other devices (total
Fig. 8.2: 1/4" mono plug
dump) by switching to EDIT mode and pressing the MIDI button
until the display reads “d”. The total dump function can be useful
for transferring all the stored data from your V-AMP PRO to a
MIDI sequencer and storing it there.
To send individual presets to other devices: switch to EDIT
mode by pressing both arrow keys on the transmitting unit
simultaneously, activate the MIDI function and briefly tap the MIDI
button. The preset data are first filed in the temporary buffer and
can be stored in the preset position of your choice using the
store function.

8.5 AES/EBU and S/PDIF standards

In principle, there are two standards for digital signal
processing. AES/EBU is the professional, balanced connection
via XLR connectors. This interface is based on two identical
Fig. 8.3: 1/4" stereo plug protocols published in November 1985 (EBU Tech. 3250-E) by
the European Broadcast Union and in December 1985 by the
Audio Engineering Society (AES3-1985). Sony and Philips
oriented themselves to this standard and developed a further
interface with unbalanced signal routing and a few other major
differences, predominantly related to the assignment of the
channel status bits. This interface, named after the two com-
panies and known as S/PDIF (Sony/Philips Digital Interface),
uses either cinch jacks or optical connections with optical fiber
cables. The procedure, standardized in IEC 958, made a name
for itself mainly due to efforts to introduce a copy-protect
technique. This standard also describes the revised AES/EBU
interface, which was adapted to the S/PDIF format and named
IEC 958 Type I (professional). The name of the S/PDIF interface
is then IEC 958 Type II (consumer).

Fig. 8.4: Stereo headphones 1/4" plug

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9. SPECIFICATIONS

AUDIO INPUTS POWER SUPPLY

Guitar input unbalanced 1/4" TRS connector Mains voltage U.S.A./Canada 120 V ~, 60 Hz
Input impedance 1 MΩ U.K./Australia 240 V ~, 50 Hz
Max. input level +3 dBu Europe 230 V ~, 50 Hz
Pre DSP return/line in unbalanced 1/4" TRS connector General export model 100 - 120 V ~, 200 - 240 V ~,
Input impedance 45 kΩ 50 - 60 Hz
Max. input level +9 dBu Power consumption 15 W
Post DSP insert return L/R unbalanced 1/4" TRS connectors Fuse 100 - 120 V ~: T 400 mA H
Input impedance 40 kΩ 200 - 240 V ~: T 200 mA H
Max. input level +8 dBu Mains connection Standard IEC receptacle

AUDIO OUTPUTS DIMENSIONS/WEIGHT

Pre DSP send/line out unbalanced 1/4" TRS connector Dimensions (H x W x D) approx. 3 1/2" (89 mm) x 19"
Output impedance <1 kΩ (482.6 mm) x 5 1/4" (135 mm)
Max. output level +9 dBu Weight approx. 2.6 kg (5 3/4 lbs)
Analog line outputs L/R unbalanced 1/4" TRS connectors
Output impedance approx. 680 Ω
Max. output level +20 dBu
Analog DI out balanced XLR connector
Output impedance 100 Ω
Nom. level (S1 - S3) +4 dBu
Nom. level (L1 and L2) -10 dBu
Post DSP insert send L/R unbalanced 1/4" TRS connectors
Output impedance 1 kΩ
Max. output level +8 dBu
Headphones connector 1/4" TRS stereo connector
unbalanced
Max. output level +15 dBu/100 Ω (+23 dBm)

DIGITAL OUTPUTS
Type XLR (transformer-balanced)
Output impedance 110 Ω
Nominal output level 3.5 V peak to peak

Type RCA (transformer-unbalanced)

Output impedance 75 Ω
Nominal output level 0.5 V peak to peak
(not grounded, unbalanced)

Format AES/EBU and S/PDIF, switchable

Sample frequency 44.1 / 48 / 96 kHz internal,

44.1 - 96 kHz wordclock,
sample rate converter

WORDCLOCK INPUT
Type BNC
Input impedance 50 kΩ
Nom. input level 2 - 6 V peak to peak

MIDI INTERFACE
Type 5-pole DIN jacks IN, OUT / THRU

SIGNAL PROCESSING
Converter 24-bit Delta-Sigma,
64/128 oversampling
Dynamics A/D 100 dB @ preamp bypass
Dynamics D/A 92 dB
Sampling rate 31.250 kHz
DSP 100 Mips
Delay time max. 1,933 ms stereo
Runtime (line in -> line out) approx. 5 ms

BEHRINGER constantly strives to maintain the highest quality standards. Modifi-

DISPLAY cations may be made, if necessary, without prior notice. The specifications and appearance
Type 2-digit numeric LED of the equipment may therefore differ from those listed or illustrated.

14 9. SPECIFICATIONS

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10. MIDI IMPLEMENTATION

0,',,PSOHPHQWDWLRQ&KDUW
)XQFWLRQ 7UDQVPLWWHG 5HFHLYHG 5HPDUNV
Midi Channel 1-16 1-16 -
Mode N N -
Note Number N N -
Velocity N N -
After Touch N N -
Pitch Bender N N -
Control Change - - -
1 N (request only) Y Wah Pedal
7 N (request only) Y Volume Pedal
12 Y Y Amp Gain (0-127)
13 Y Y Amp Treble (0-127)
14 Y Y Amp Mid (0-127)
15 Y Y Amp Bass (0-127)
16 Y Y Amp Vol (0-127)
17 Y Y Presence (0-127)
18 Y Y Reverb Mix (0-127) *2
19 Y (skipped on request) Y Amp Type (0-32) with default cabinet *3
20 Y (skipped on request) Y Fx Type (0-15) with defaults *1
21 Y Y Fx off/on (0/127)
22 Y Y Reverb Send off/on (0/127)
23 Y Y Cabinet Type (0-15) *5
24 Y Y Reverb Type (0-8) *4
25 Y Y Noise Gate Level (0-15)
26 Y Y Drive off/on (0/127)
27 Y Y Wah off/position (0/1-127)
44 N (request only) Y pre Effect Type (0-2) *6
45 Y Y pre Effect Par 1 *6
46 Y Y pre Effect Par 2 *6
47 N (request only) Y pre Effect Par 3 *6
48 N (request only) Y pre Effect Par 4 *6
49 N (request only) Y Delay Type (0-2) *7
50 Y Y Delay Time hi (0-117) *8
51 Y Y Delay Time lo (0-127) *8
52 N (request only) Y Delay Spread (0-127)
53 Y Y Delay Feedback (0-127)
54 Y Y Delay Mix (0-127) *9
55 N (request only) Y post Fx Mode (0-6) *10
56 Y Y post Fx Par 1 *10
57 Y Y post Fx Par 2 *10
58 Y Y post Fx Par 3 *10
59 Y Y post Fx Mix (0-127) *11
60 N (request only) Y Assign Effects Control (0-15) *1
61 N (request only) Y Amp Type (0-32) w/o cabinet change *3
64 N Y Tap (Value > 63)
80 N Y Request Controls (Value = 80)
81 N (request only) Y Set Pos (0-15), Set Character (32-127)
82 Y Y Tuner Bypass Volume (0-127)
83 Y Y Tuner Center Frequency (25-55)
84 Y Y Configuration (0-4=S1,S2,S3,L1,L2)
85 Y Y Live EQ Treble (0-127)
86 Y Y Live EQ Mid (0-127)
87 Y Y Live EQ Bass (0-127)
88 Y Y Digital out (44.1/48/96/ext; bit 2:pro)
Program Change Y (0-124) Y (0-124,127) 127=Tuner
System Exclusive Y Y see SysEx Documentation
System Common N N -
System Real Time N N -
Running Status Y (2s Timeout) Y -

Tab. 10.1: MIDI Implementation

10. MIDI IMPLEMENTATION 15

DATA-MANFULL_V-AMP PRO_ENG_Rev_A.PMD
15 16.09.2002, 14:15
 V-AMP PRO
11. WARRANTY
§ 1 WARRANTY CARD/ONLINE REGISTRATION
To be protected by the extended warranty, the buyer must 3. Free inspections and maintenance/repair work are expressly
complete and return the enclosed warranty card within 14 days excluded from this warranty, in particular, if caused by improper
of the date of purchase to BEHRINGER Spezielle Studiotechnik handling of the product by the user. This also applies to defects
GmbH, in accordance with the conditions stipulated in § 3. Failure caused by normal wear and tear, in particular, of faders,
to return the card in due time (date as per postmark) will void any potentiometers, keys/buttons and similar parts.
extended warranty claims. Based on the conditions herein, the
buyer may also choose to use the online registration option via 4. Damages/defects caused by the following conditions are
the Internet ([Link] or [Link]). not covered by this warranty:

§ 2 WARRANTY s improper handling, neglect or failure to operate the unit in

compliance with the instructions given in BEHRINGER user
1. BEHRINGER (BEHRINGER Spezielle Studiotechnik GmbH or service manuals.
including all BEHRINGER subsidiaries listed on the enclosed page,
except BEHRINGER Japan) warrants the mechanical and s connection or operation of the unit in any way that does not
electronic components of this product to be free of defects in comply with the technical or safety regulations applicable in
material and workmanship for a period of one (1) year* from the the country where the product is used.
original date of purchase, in accordance with the warranty s damages/defects caused by force majeure or any other
regulations described below. If the product shows any defects condition that is beyond the control of BEHRINGER.
within the specified warranty period that are not excluded from
this warranty as described under § 3 and 4, BEHRINGER shall, at 5. Any repair or opening of the unit carried out by unauthorized
its discretion, either replace or repair the product using suitable personnel (user included) will void the warranty.
new or reconditioned parts. In the case that other parts are used 6. If an inspection of the product by BEHRINGER shows that
which constitute an improvement, BEHRINGER may, at its the defect in question is not covered by the warranty, the
discretion, charge the customer for the additional cost of these inspection costs are payable by the customer.
parts.
7. Products which do not meet the terms of this warranty will
2. If the warranty claim proves to be justified, the product will be repaired exclusively at the buyer’s expense. BEHRINGER will
be returned to the user freight prepaid. inform the buyer of any such circumstance. If the buyer fails to
3. Warranty claims other than those indicated above are submit a written repair order within 6 weeks after notification,
expressly excluded. BEHRINGER will return the unit C.O.D. with a separate invoice
for freight and packing. Such costs will also be invoiced
§ 3 RETURN AUTHORIZATION NUMBER separately when the buyer has sent in a written repair order.
1. To obtain warranty service, the buyer (or his authorized § 5 WARRANTY TRANSFERABILITY
dealer) must call BEHRINGER (see enclosed list) during normal
business hours BEFORE returning the product. All inquiries must This warranty is extended exclusively to the original buyer
be accompanied by a description of the problem. BEHRINGER (customer of retail dealer) and is not transferable to anyone
will then issue a return authorization number. who may subsequently purchase this product. No other person
(retail dealer, etc.) shall be entitled to give any warranty promise
2. Subsequently, the product must be returned in its original on behalf of BEHRINGER.
shipping carton, together with the return authorization number to
the address indicated by BEHRINGER. § 6 CLAIM FOR DAMAGES

3. Shipments without freight prepaid will not be accepted. Failure of BEHRINGER to provide proper warranty service shall
not entitle the buyer to claim (consequential) damages. In no
§ 4 WARRANTY REGULATIONS event shall the liability of BEHRINGER exceed the invoiced value
1. Warranty services will be furnished only if the product is of the product.
accompanied by a copy of the original retail dealer’s invoice. § 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW
Any product deemed eligible for repair or replacement by
BEHRINGER under the terms of this warranty will be repaired or 1. This warranty does not exclude or limit the buyer’s statutory
replaced within 30 days of receipt of the product at BEHRINGER. rights provided by national law, in particular, any such rights
against the seller that arise from a legally effective purchase
2. If the product needs to be modified or adapted in order to contract.
comply with applicable technical or safety standards on a national
or local level, in any country which is not the country for which 2. The warranty regulations mentioned herein are applicable
the product was originally developed and manufactured, this unless they constitute an infringement of national warranty law.
modification/adaptation shall not be considered a defect in * Customers in the European Union please contact BEHRINGER
materials or workmanship. The warranty does not cover any Germany Support for further details.
such modification/adaptation, irrespective of whether it was
carried out properly or not. Under the terms of this warranty,
BEHRINGER shall not be held responsible for any cost resulting
from such a modification/adaptation.

The information contained in this manual is subject to change without notice. No part of this manual may be reproduced or
transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any
purpose, without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH. All the registered trademarks,
names of musicians and groups are the property of their respective owners and are in no way associated with BEHRINGER.
BEHRINGER, V-AMP, ULTRA-G, BLUE DEVIL, ULTRATWIN and VIRTUALIZER are registered trademarks.
BEHRINGER Instrument Amplification is a Division of BEHRINGER.
ALL RIGHTS RESERVED. © 2002 BEHRINGER Spezielle Studiotechnik GmbH.
BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Münchheide II, Germany
Tel. +49 (0) 21 54 / 92 06-0, Fax +49 (0) 21 54 / 92 06-30

16 11. WARRANTY

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16 16.09.2002, 14:15