Behringer Guitar Combo Amplifiers

Bought from local music store (Allen Music) in Paducah, Ky. for $229.00 to replace a small practice amp. The Blue Devil has plenty of power for practice or a small gig! Still easy to carry, but has great bass response and volume to spare. The 99 preset effects are very good. The clean channel is fantastic! I would put it up against any $1000 amp! The distortion channel is a little weak if you like to use a heave crunch. A good distortion box in the clean channel is the best way to go with the Blue Devil. It is very rugged and easy to carry. Haven't had it long, but seems to hold up well. Fantastic value for the price. I've never seen a unit with so many features for anywhere near this price! This review was originally published on http://www.musicgearreview.com

This piece contains a 10" bugera dual-cone full-range speaker with a 45 watt digital modeling system which delivers clear mids and highs and surprisingly robust, chugging lows. This can definately play alongside a drumset and bass in a garage or basement and still cut through, although further amplification of mids and high wouldn't hurt. Plug-ins include headphone and auxilary. Includes 16 Cabinets and 7 effects with complete versatility. You can use just one.. or any combination. I sat and experimented with the sound I wanted for a riff for hours just because all the vibes I found were so cool in their own way. UTILIZATION The effects are simply inspiring. I can't plug into this thing, play, and ever dislike what I play unless I TRY TO SUCK. Truly a beautiful behringer delay, giving off water-related vibes. Try a distorted reverb and soar like a bird out of a fountain. Maybe you have a junker for a guitar, well, tune your strings and plug into this to be literally in awe. One can faithfully say this amp has both the ability to make cheap guitars sound good AND stay true to the tones produced by finer products. SOUNDS I primarily used a Les Paul and the plexi cabinet with this fella with some Noise Gate and reverb to get a full, temple-ish, sound from aggressive rythmic chord plucking. I also enjoy some slow, drawn out, single notes coated in light distortion with delay or reverb to bring egyptian vibes and temple de ja vu's. Depending on your guitar model and overall setup the EQ might help you sculpt your sound a little more precisely. OVERALL OPINION This piece is so inspiring to say the least. If you can find one I guarentee you won't be let down. Any of the V - Amp series amps are ideal for musicians looking to mold authentic sounds at surprisingly powerful volumes without spending too much. If you desire more or different effects, you can get different Behringer amps with different V-Amp workstations and still rock with the 10" bugera. Overall, a powerful and inspiring piece of equipment.

I've been looking for an amp for home so I don't have to crank up my 50 Watt Marshall Super Lead, but I didn't want to sacrifice too much tone. I also wanted an amp that works well playing blues and rock. I saw this amp in a pawn shop and had no knowledge of it at all. When I asked about the $50. price tag, they said it had a volume issue. I left but turned around and went back in to check it out further. Sure enough I plugged in and the clerk said "see?" It barely made a sound. Then I saw that the master volume was on 1/4. I turned it up and shook the windows. I said I'll take it!. I've been gigging and rehearsing with this amp and I love it. Tonally it's easy to dial in a sound. it holds up after hours of playing and the DSP effects are not thin in a club setting. I'm playing a Strat most of the time. The first time I plugged my LP into it I was thrilled with the amazing tone! Thanks Behringer!!! If I lost this one, I replace it in a heartbeat, and wouldn't wait for a $50. deal. As it's been said the Jensen is sweet. I only wish it had a speaker out to go into my 4-12 Celestion-loaded Duncan cab. I can only imagine what that must sound like!

had this for some time and it wasn't until yesterday tht I learned I was suppose to get a footswitch with it and didn't, attempted to find a source to purchase one from behringer only to be told they don't come with the footswitch now, and the footswitch is discontinued so I asked for a schem to see if I could use a different vendors switch and was told no because I am not a certified repair partener. this would have been the end of it except the behringer employee got snotty when asking why I waited 2 years and as I had already told him I wasn't even aware it was suppose to have came with one till I looked at the manual yesterday. i have repaired this amp myself a total of 8 times since buying it new because right after the warranty expired it started failing, well last night i went ahead and cracked her open to do a complete and thorough inspection and find a whole slew of problems ranging from missing 100pf capacitors on the footswitch board to a blob of solder UNDER a couple of the electrolytic caps ( which i have never replaced). in a nutshell the quality is substandard as is the apparent lack of QC at the factory, after removing the solder from under the caps ( and by under i mean on top of circuit board underneath the caps NOT the solder pads)it satrated to work better than it ever has, i also bought a footswitch today from a local pawn shop for 10.00 and the switch doesn't work on the amp but causes the channel selection and effects to go wonky and not work when plugged in. after spending all day looking i found the old randall footswitch is correctly wired, functioning and SHOULD work with the GMX212, however there are 2 x 100pf surface mount caps shown on the schematic which locates them on the tiny circuit board where the footswitch plugs in yet the actual tiny circuit board is MISSING these 2 caps, so i ordered them in hopes that it fixes the footswitch. to be honest i would advise against this amp or any other behringer product based on poor customer service ( actually lack thereof) and look for something else. while at it avoid anything from any sister companies or close partners of behringer to include Bugerra. there are far better amps with better quality than this one.

The GMX 112 is a 60 watt analog modelling amp with a Bugera speaker. It has all of the effects that a typical guitarist could hope to use along with 3 amp models and different gain types. Visually, it is a pleasant amp to look at. I has a "vintage" look to it and color coded led lights for reference in low lighting. The knobs and decal on the front look cheap but I never had a problem with them breaking. On the front panel there are two sets of knob controls for drive, EQ (low, mid, high), and level for each of the 2 channels. To the right of these are controls for selecting and editing effects. UTILIZATION It is difficult to get what I would truly call a "good sound" out of this amp. The amp seems to be an all-in-one solution for a hobby guitarist on a budget wanting a variety of effects. I purchased it as a practice amp years ago when I was more inexperienced with guitar effects. It is very much fun to experiment with the different settings, though looking back I think options such as the Digitech RP series would have been better for its hands-on knob tweaking. The GMX gets the job done however, and is so easy to operate that I never needed the manual for what I was using it for. SOUNDS I've used this amp most with a Paul Reed Smith solid body electric guitar. I really feel that this amp is a compromise in sound, and effects. You get many options but none are particularly amazing. That said I do enjoy the Chorus and Rotary speaker effects, they offer a decent emulation and are fun to play with. Every effect sounds as it should, but most are lacking in one way or the other as far as depth goes. This amp neither excels at distorted and heavy sounds or acoustic and twangy. I always find I'm wanting more out of it, especially the amp models. The distorted sounds are pretty bad at higher volumes, and at the lower volumes they sound distant and withheld. I think this is in part because the amp models have a greater affect on the EQ than they should. I often have had problems where the gain doesn't seem to increase consistently, it will jump from one level to the next at certain intervals on the knob. I ended up pairing a Danelectro EQ fish and chips pedal with this amp because I didn't feel like it had enough control over the frequencies. OVERALL OPINION I like how much you get for the price. It really is a good amp for a young guitarist who wants to play with effects and different sounds, or maybe in a lessons studio where a student may want to try something they heard on the radio just once. But I would never point a professional guitarist to this amp for performance or recording. If you can even find this amp anymore, you can probably find it cheap. It uses the V-Tone sounds so any of Behringer's V-AMP series will have similar features for a similar price. I wouldn't pay more than $100 USD for one today. If you are a guitarist who just wants lots of sounds to play with, you should be aware that there are many software that offer nearly limitless sound design potential at a pro quality for much less than most multi-effects units today. Try Natvie Instrument's Guitar Rig or a similar program. There are likely even demos to find one you like. Like I said the GMX is by no means a bad purchase, but there are better options out there for what it does, such as Line 6 spider series and Digitech's RP.

I got this guitar amp with my first guitar pack the Behringer V-Tone GM108 guitar pack. It cost my dad $210 australian for the pack. We purchased it at a music shop called KC's Rock shop, Boronia in Victoria. I just love the fact that it has the amp, style and speaker settings to get different amp sounds which is great for beginers. It also features gain, high, low and mid controls +master (volume) If there is one thing i dont like about it is that the gain control does not have a wide distortion range compared to peavey and marshall. Even a 10watt marshall amp has more distortion that this. Well made. In the car boot it will topple over tons and still be in miint condition. Well made for a cheap amp. Proves that behringer are doing a great job. This is the PERFECT amp for the beginner. 15watts means your not gunna go on live with it but its not made for that either. Its made for the beginner to jam with a friend and practise because it has a LOT of options. This review was originally published on http://www.musicgearreview.com

I bought the Amp at a local music store for $114. A good friend had one and said it was a nice amp. Nice tones are available. It has the Behringer modeling tone setup: 3-amp(tweed, british & California), 3-gain(clean, overdrive & hot), 3-speaker(flat, 4-12 & 2-12). There is a gain control for input, a master volume and well-done three-pot tone control. Changes in instrument volume cause tube-like changes in amp tone and volume. The "Dynamizer" modeling is very nice. 30 watts are handy for practice, recording and some country gigs. You can mike it or send a signal to a PA for bigger gigs. I like the back of the unit; It has headphone out, external speaker out, preamp out and return. It is simple, light-weight and convenient. The price is nice. I've played and owned Marshall, Peavey and Fender amps. The Behringer Vintager 110 can sound believably like a tube amp at even low volume. I like it and would buy it again. What's not to like? However, it would be nice if Behringer made a 50 watt 1X12 with a clean-hot footswitch. It's well made and looks nice. German engineering- ja! Der grossen klang! Great tones,low price, great value, reliable, light weight and convenient. You can get about any sound you want with a Tele, Strat, SG or Les Paul. It's a good little amp. This review was originally published on http://www.musicgearreview.com

paid $199,bought two of them for guitar setup awesome clean channell with jensen speakers,for $199 you get fender twin quality sounds,handles fx pedals like digitech rp-50 sweet, basically this amp rocks the lead ch. is a complete waste of time, the worst I ever heard compared to the awesome clean sound. But great for just a tad of overdrive. try one of these with a rp-50 digitech pedal and you got the best sounds out there. fine used on 3 gigs thus far I would highly recommend this amp as long as you realize that the clean channell kicks butt and sounds tube like and that the lead ch. is a piece of crap.also, 2 of them gives unreal stereo sound,one is ok,but kind of weak. This review was originally published on http://www.musicgearreview.com

I got this little deal from Ameican Musical Supply (www.amercanmusical.com, check it out) for about $200.00 and free shipping. This was about a year and 4 months ago and now it costs like $150.00! I had been checking out other 50-65 watt amps like the Fender Princeton 65, a Crate 65 watt, and a Rouge, NEVER BUY A ROUGE,stuff like that. The only difference was the price, there was a 100+ dollar difference! I like the effects and how much you can change each one's parameters, not to mention the effects are of pretty high quality for this price range. It also has a crisp clean channel that stays clean even at high levels (6 or above), which is because of the great Jensen 10"ers. I also like having the versatility with all of the I/O in the back. You can hook up a tape player/recorder and lay down some rhythm and play lead to it! It seems to be fairly well built too! I absolutley hate the overdrive channel, i need thick, heavy distortion for jam sessions and i still have to use my Digitech Metal Master to get it! But I can live with it! I also got tired of lugging the thing (probably 40-50 lbs) to practice all the time, so I got some cheap casters and put them on it. Now it is effortless moving it around (and fun too!). The other thing I don't like is the knobs stick out to far from the edge of the amp itself, so after a year of practicing and moving it around i lost one of the effect parameter knobs! But it still works fine! It seems to be well built. I haven't dropped it off my deck or anyhting, but i can sit on it and play and it has got knocked over once or twice at insane practices. It only has a few dents and scratches, but that makes it look more like a well-used amp! The overall construction is very well built for this price range! If I had to go back and choose again between those 3 amps, I'd still pick this one. Not just for the price, but the durability, but for the look too. It looks like one of those Vintage Fender's that sell for 700 bucks! If you are a begginer or the next Steve Vai, this amp is definitley worth every penney. Sure, you can't play at an arena in front of 10000 people, but for practice, this make perfect! This review was originally published on http://www.musicgearreview.com

Purchased the V-Ampire from Music Unlimited in San Leandro, CA. I know it's doubtful that anyone from the old neighborhood is reading this, but in case you are and haven't been to MU in awhile, it's no longer "Music Unreasonable". They actually sell stuff for the same price as GC or Musician's Friend now. Price paid: $299.00 (I reviewed Behringer's V-Amp Pro on other sites and the V-Ampire is identical to it except for being a complete combo amp instead of just the modeler, so I'm excerpting a lot of what I've already written) As far as modeling and signal processing goes, this is about as easy as it gets. For the dyed-in-the-wool knob twiddlers, this is probably a bad thing. Relatively speaking, you have very little control over what goes on here in terms of parameter tweaking. There's more than enough where the tone-shaping controls are concerned, but not with the effects/cab sims. For time-based effects you can adjust the tempo of delays and the speed for chorus/flange/phase/rotary, along with the dry/wet ratio, but that's about it. You cannot combine effects at will (although I understand with the downloadable software you have much more flexibility), you can't select where they appear in the chain, and you have no control over parameters like pre-delay or early reflections or any number of other factors like you would in a dedicated effects processor. Likewise, with the cabinet sims, you cannot determine mike placement or miked/direct levels. This is NOT a criticism of this unit. In fact it is one of things I most appreciate about it. I'm one of those people seriously afflicted with a condition known as, "Option Anxiety". Being faced with too many options for tone modification will usually cause me to put my guitar down and go find something else to do with my time. "Let's see, maybe if I roll off some low end, boost the mids and highs, then add a taste of flange with some delay, I'll get that sound I'm after. But wait, maybe I need more low end, and what if I flange the distortion rather than distorting the flange and go with echo rather than delay, then maybe add just a touch of pitch shift . . ." I HATE TRYING TO DIAL IN GUITAR TONES!!!!!!!!!!!!!!!!!!!!! I just want to plug 'n' play and with the V-Ampire, I can. I really have no complaints about the V-Ampire, but there are a few common complaints about Behringer. Mostly it has to do with their documentation. They have this nasty habit of making things sound much more difficult than they really are. I don't know if it's a translation problem or what, but the manuals definitely have the ability to confuse. Another thing about the documentation is it's never complete. The manuals make reference to sections and inserts that don't exist in the owner's manual. A quick trip to www.behringer.com will solve that because it's all there to be downloaded. One final common complaint regarding Behringer modelers, and this isn't a problem for me, has to do with patch changes. There is a noticeable lag or pause between some patches. I believe this has to do with the processor speed and horsepower and so is inherent in the design. A lot of manufacturers have overcome this, and perhaps Behringer will too (I understand they're pretty good when it comes to upgrades). The lag or pause is evident when changing between patches that use different amp models. When switching between those that use the same amp sim (even with everything else being completely different), there is no perceptible lag time. Weighing everything against what the purchase price is, I'd have to say that the build quality of all Behringer gear is pretty darned impressive. Cosmetically, the V-Ampire is easy on my eye. It's got kind of an updated blackface vibe going on (with a lot more buttons and LEDs, of course). A close examination will show where the cost cuts were. The hardware is not as heavy duty as you'll find on more expensive amps. The cabinet, while apparently sturdy, is not as chunky as you'll find elsewhere and the grill cloth on my V-Ampire is a little 'wrinkly' and looks like it could tear more easily than some. All things considered, though I think this is as good a quality as you can expect for the money (and probably better than a lot of alternatives in this price range). WARNING! I'm gonna let out some shaft and turn the 'RANT' knob up to '11', so if any of you are sensitive to the 100% subjective, unadulterated opinions of others then hit your browsers 'back' button now . . . Let's talk about amp modeling in general. In my opinion, the biggest error you can commit when checking ANY of this stuff out is using your eyes to read the amp list instead of your ears to hear what sounds are coming out of the machine. I'll use an example from one of the V-Ampire's presets: 6B-"Eddie's Tapping". If you plug in and access this preset, are you gonna hear 'Eruption' coming back out at you? Nope. Why? It's obvious isn't it? A) You don't have Eddie's fingers. B) You don't have Ted Templeman's ears. C) You don't have Donn Landee's engineering chops. Furthermore, even if the Tone Fairy somehow magically whisked you away to the actual recording sessions for VH's first album, and Eddie handed his guitar off to you, without changing a single thing in his setup, you wouldn't sound any more like him than a dump truck being dropped off the Empire State Building. I'm not being an A-hole, because I'm including myself here. VH is a better guitar player with his asscheeks than I'll ever be with all ten fingers (and toes for that matter), it's just a fact that one man's meat can be another man's poison and it's always the player that makes the biggest difference. Another thing is, unless you own or have owned a 60's Plexi, do you REALLY know what one sounds like? And the boutique stuff? Forget about it. I've been in a LOT of music stores over the last 30 years and I've never even seen a picture of a Dumble Overdrive let alone heard one. I wouldn't know one if it fell on my head. My point is, just disregard what kind of amps the manufacturer says they're modeling. Just play the damn thing and if it sounds good to you and you can get some use out of the tones, then it doesn't matter if it's supposed to be a Budda Twinmaster, a vintage Fender Bassman, or a Pennsyltucky Sooper Dooper Quadruple Rectal-fire. Originally, I bought the V-Amp Pro and got it exclusively for going direct to a mixer then to a digital recorder (just like a ton of other stuff from BOSS, Digitech, Yamaha, Korg, etc. etc.). After hearing how good it sounded, I ended up returning it for the V-Ampire since they're identical except for the fact that the V-Ampire is a complete combo amp. After getting that home and hearing how good IT sounded, I went back and bought a Behringer B412S stereo cabinet (all my 4X12s are mono). My guitars are either Les Pauls, or LP-inspired guitars by Gibson, Heritage and Hamer, although I ocassionally play an Ibanez S-Type WRM520S, and they all sound good with the V-Ampire. For me, the V-Ampire has some quality sounds built into it. I've gotten some very satisfying clean and crunch tones out of it. There are some fat, sparkly, warm and dimensional clean sounds available, and some of the dirtier tones are surprisingly articulate, fairly responsive, and slightly more tube-like than transistor-like. The effects, though not breathtaking, work very well with the other components. But again, if you're used to dedicated, high-end effects processors with a lot of parameter control, this could be disappointing for you. The unit has been for the most part, noise-free and the gate works very well. And finally on the 'My Amp Can Kick Your Amp's Ass' nonsense that goes on in chat rooms, bulletin boards, and review websites. To quote Brother Rodney, "Can't we all just get along?" Where modeling technology is concerned, I think objectively it's safe to say that there's nothing out there as real as the 'real thing' and probably not as good if one were being honest. I mean think about it for a minute. If Behringer, Line 6, Johnson, and the rest of the modeling manufacturers made amps that were superior tone generators, then Marshall, Boogie, Fender and everyone else would be trying to emulate their sound instead of the other way around. I know from first hand experience that there's nothing like being on stage in front of a stack of amps and driving them to the point where the tubes nearly liquify, but I also know the practical considerations of home recording and small club gigs, and this to me is where modeling technology can take a real bite out of the big boy's collective asses. Over the last 30 years I have played mostly Melodic Rock, Hard Rock, Old-School Progressive Rock and Old-School Metal and done it through Marshall, Hi-Watt, Orange, Fender, Peavey, L7, and Mesa/Boogie (at a time when they could have been considered 'boutique'). The V-Ampire has been compatible with a lot of the music I'm into and has proven to be a very useful tool for recording which is what I bought it for primarily. Behringer's line of modelers invites the inevitable comparison to Line 6 and rightfully so. Nothing against Line 6, but their stuff usually costs two or three times as much as Behringer's and there's no way you could convince me that Line 6 is worth the price difference for essentially identical pieces of equipment. But if you like Line 6, then that's alright with me and we can still be friends. Is the V-Ampire as good as having a stable of real (vs. virtual)amplifiers? No. Are the effects as good as anything from T.C. Electronics, Lexicon, or Eventide? No. Are you really gonna get a Dumble Overdrive for $299 instead of $12,000? F*ck NO. Are you gonna get a hell of a lot of bang for your buck? Yeah, you are. Even though this is far, far away from the ultimate tone generator (as is every other SINGLE piece of gear on earth, in my opinion), based on that old Value-to-Dollar Ratio, I gotta give this little combo a 10 on the 5-scale. This review was originally published on http://www.musicgearreview.com