Behringer BASS V-AMP PRO User Manual download pdf (Page 11)

BASS V-AMP/BASS V-AMP PRO

5. AMP/SPEAKER SIMULATION

BRITISH 70s: This virtual amp is based on the 69 Marshall

Major. Its a classic among tube amps, and was used by Jack

Bruce, among others. The sound remains warm even in high

drive settings, and gets a natural-sounding distortion

characteristic, commonly found on old Cream records.

BRITISH 80s: A sound coined in the 80s by musicians such

as Trace Elliot or Mark King from Level 42. Its a very transparent

and wirily sound that produced a lot of pressure.

BRITISH POP: Created using the Vox AC-100 as a model. This

amp was very in in the 60s because it had a memorable bass

foundation while still leaving enough playroom in the highs. The

AC-100 had one very unique feature: the bass control worked

the wrong way around! Turning the control to the left meant

elevating the bass frequencies. Since this feature takes some

time to get used to, we stuck to the more conventional solution,

so that turning the control leftward lowers the bass frequencies

and turning the control rightward elevates them.

THUNDERBIRD: This simulation leans in the direction of

smaller bass combos, similar to the BEHRINGER THUNDERBIRD

BX108, hence the designation. The result is a full and warm

sound that forgives minor playing impreciseness.

MOSOUND: No other amp was used more often in Motown

recordings as this one: the Ampeg B-15. The list of artists who

used the typical B-15 bass sound looks like Whos Who in

Motown: The Supremes, The Four Tops, The Temptations, Marvin

Gaye and Stevie Wonder to mention just a few.

ROCK CLASSIC: A little quiz question: whats the name of the

bass amp that has been manufactured for the past 30 years,

without modifications, and is still as popular as ever? Correct: it

is the Ampeg SVT Classica true power package. With its

300 Watts of raw tube power, this amp has been indispensible

to rock bass players for years. Among others, Van Halen and

the Rolling Stones use this amp.

ROCK 2: Here we have the next stage in the development of

the SVT CLASSIC: SVT PRO II. With this model you can use a

graphic EQ, which was a feature that made this amp well liked

among hard rock and heavy metal bands. But pop-rock combos

like those of Bruce Springsteen and David Lee Roth use it often.

SILVER PANEL: This simulation reproduces the 67 Fender

Bassmanits an amp from the legendary Silverface series.

Shortly after its introduction it became many a bass players

absolute darling. Paul McCartney used the Bassman on the later

Beatles albums and also used it on his first solo album with the

Wings.

WHITE PANEL: What would the 80s be without their typical

bass sound? This decade was hugely influenced by the sound

of Gallien/Krueger bass amps. Some liked the authentic

reproduction of transistor-powered amps; others yearned for

the warmth, for that special something that was missing.

Whatever the case: the Gallien/Krueger was in the early 80s,

along with Trace Elliot, the amp of choice. Therefore, we chose

the WHITE PANEL as the model for the 800RB, as it is popular

even today, and used by the likes of Flea (Red Hot Chilli Peppers).

RED PANEL: The relatively young company by the name of

SWR started creating the so-called L. A.-Sound in the mid 80s.

The decisive factor was the combination of tubes (preamp) and

transistors (power amp). Since then, the SWR amps belong

surely to the most demanded amps on the market. The SWR

SM-400 was used as a model for RED PANELits a 500-Watt

mono head that finds its home in many bass racks due to its rich

tone possibilities.

GOLD PANEL: This is a simulation of the Eden Traveller

WT-300. This amp got its name from its developer: David Eden.

He proved his engineering prowice at SWR before starting to

design bass amps of his own. Eden amps became famous

through their typically crystal-clear and powerful sound.

CALIFORNIAN: Toward the end of the 80s Mesa Boogie

presented the 400+. This amps head is extremely easy to

navigate, and features four preamp tubes and twelwe amp tubes,

delivering a massive 500 Watts of power.

JAZZ TONE: This amp, with its typical Marcus Miller sound,

has a classic amp as its role model: the Polytone A101. Its a 15"

speaker bass combo. If youre yearning for a jazzy sound, this is

the right amp for the occasion.

BOTTOM END: How times change: nowadays, almost all current

music productions feature a markedly deep bass sound that

could previously only be achieved on a synth. But to preserve

true liveliness, it is advantageous to bring in an electric bass.

Only then can you have authentic dead notes and a percussive

way of playing. A bass player who became very popular thanks

to his ultra-deep bass sound is Justin Meldal-Johnsen. He played

for Beck and Tori Amos, among others. But hip hop, trance and

rave musicians will find this sound just right.

TUBE PREAMP: Sound engineers discovered the appeal of a

tube very early on. They use tubes to endow sound sources of

all kinds with warmth. You can modify not only the sound of a

bass, but can for example also run a vocal signal through you

BASS V-AMP/BASS V-AMP PRO and polish it with the TUBE

PREAMP. (This amp model is however best suited to instill more

life into your bass guitar.)

BRITISH CLASS A: Created by using the Vox AC 30 as a role

model. The roots of this amp go all the way back to the sixties.

Back then, bass players demanded sound with a brilliant

characteristic, which Vox engineers addressed by including

revolutionary bass and treble controls. Brian May and U2

guitarist The Edge are the most famous users of this amp.

MODERN HI GAIN: In this case, sound controls take a back

seat to distortion, giving the extremely distorted sound more

strength. The sound of MODERN HI GAIN is ideal for grunge

guitarists, but also finds its appeal among the guitarists such as

Steve Vai and Joe Satriani. Steve Lukathar, Nuno Bettencourt,

Steve Vai and others made the Soldano sound famous. When

using a Gibson Les Paul, MODERN HI GAIN sounds at its best

when the volume control on the guitar itself is somewhat

supressed.

RECTIFIED HI GAIN: This amps role model was a 1994 Mesa

Boogie Dual Rectifier Trem-O-Verb. Its modern, high-gain-oriented

sound marks this amp, and it works very well when playing in a

band. Sound control takes place post distortion, which makes a

post-treatment of distorted sounds possible. The amp works

optimally for heavy metal, but also for achieving Steve Lukather

sounds. The most famous user of this amp is Dream Theaters

guitarist John Petrucci.

CUSTOM HI GAIN: This sound originates in the sound of a 69

50-Watt Marshall Plexi Pate modified by Jose Arrendondo.

Arrendondo was Eddie Van Halens guitar tech. The amp is

characterized by its great mids and the ability to obtain the ultimate

gain without blurring the sound. Attention: addictive!

ULTIMATE PLUS: Those to whom DRIVE V-AMP (see below)

is not enough will find more gain than they could ever ask for.

CRUNCH V-AMP: This amp is ideally suited for modern blues

or jazz sounds: its sound is neither too low-key nor too intrusive.

DRIVE V-AMP: This is a modern high gain lead amp. It produces

a soft but still formidable sound with a lot of drive, therefore ideal

for a lead guitar. The role model was the Mesa Boogie Mark III.

BRIT. HI GAIN: Compare this model with a Marshall JCM 800.

Even though the original caused a furry mostly due to its distorted

sound, this model produces a similar effect even with moderate

gain. You get excellent Steve Ray Vaughan/Michael Landau

sounds. When distorting, it is ideal for producing the old Gary

Moore sound as well as heavy metal sound.

PIEZO SIM: Simulates a piezo pick up. This way, sound with

an acoustic character is created. Electric guitars get this accoustic

touch, but without the feedback typical for acoustic instruments.

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Behringer BASS V-AMP PRO User Manual Page 11

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