User manual BEHRINGER X V-AMP

[. . . ] Users manual Version 1. 1 December 2005 X V-AMP X V-AMP IMPORTANT SAFETY INSTRUCTIONS DETAILED SAFETY INSTRUCTIONS: 1) Read these instructions. CAUTION: To reduce the risk of electric shock, do not remove the top cover (or the rear section). No user serviceable parts inside; refer servicing to qualified personnel. 8) Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. [. . . ] Among others, Steve Lukather, Nuno Bettencourt and Steve Vai have all popularized the Soldano sound. If youre playing a Gibson Les Paul, MODERN HI GAIN sounds best when you turn down the volume control on the guitar a little. BLACK TWIN: This simulation was modeled on a Fender Blackface Twin from 1965. In the 60s this amp was used by jazz, country and even rock guitarists. What was unique about it was that it was exceptionally loud and was therefore mainly used for live performances. The secret of the Blackface Twin was that although you could play it extremely loud, the distortion remained relatively low. ULTIMATE GAIN: From clean to brutal hi-gain, this brute covers the entire range. TWEED COMBO: This was Jeff Becks favorite when he recorded the albums Blow by Blow and Wired. This amp was not actually designed for heavy distortion, but due to its low power, it is ideal for uncompromising overdrive sound. Originally designed as a bass amp, it soon became a standard amp of blues legends such as Steve Ray Vaughan or Billy Gibbons due to its characteristic distortion. As you would expect, it packs a solid punch in the bass range, but is still flexible enough in the mid and treble ranges. SCREAMER: Having been around since the beginning of the 80s, the Ibanez Tube Screamer TS808 has pretty much achieved cult status. It has the reputation of being the ultimate classical overdrive/treble booster floor pedal, and is associated with mighty lead sounds, even though it offers rather modest distortion. Its secret is that it knows better than other floor pedals how to squeeze the very last bit out of the amp to which it is connected. the BEHRINGER AC112), with this simulation you can authentically reproduce the effect of the tube screamerall this without dishing out too much cash to own a cult piece of equipment. EL RATON: The Rat from ProCo was also a distortion pedal similar to the tube screamer, and it also came around about the same time, but its basic sound and applications couldnt be more different. As the name suggest, the rat is all about aggressive distortion from the pedal itself, and the TS808 is more about unobtrusive overdrive in the amp further down the chain. With the rat simulation, you have the metal sound of the early 80s totally covered. This makes it possible, for example, to play through an external guitar preamp and only use the effects. ACOUSTIC: A guitar with steel strings miked with a dynamic microphone is simulated here. While piezo pickups have the tendency to make the sound rather hard, using a mic makes the sound much more evened-out. Of course, the feedback typical for miking acoustic instruments is no longer an issue. Engl, Fender, Gibson, Ibanez, Marshall, Mesa Boogie, Roland, Soldano, Vox ProCo, Tube Screamer, The Rat as well the names of musicians and bands are registered trademarks of their respective owners and are in no way associated with BEHRINGER. [. . . ] Any product deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced. If the product needs to be modified or adapted in order to comply with applicable technical or safety standards on a national or local level, in any country which is not the country for which the product was originally developed and manufactured, this modification/adaptation shall not be considered a defect in materials or workmanship. The warranty does not cover any 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. [. . . ]