Guitar Amp & Cab Models

1953 Small Tweed Modeled after* a 1953 "wide panel" Fender® Tweed Deluxe Reverb®, the 1953 Small Tweed Amp Model will snarl with the best of them. The original amp had only a single tone control, essentially a treble roll off. We set up the Treble knob to give you this treble roll off when using this Amp Model. Which left us with the Bass and Middle knobs just sitting there, so we set up the Bass and Middle as post-Amp Model controls, which essentially lets you EQ up your tone as you would do on a mixing console after recording your amp. Set the Bass and Middle knobs at halfway to put them in 'neutral', turn the Presence to 0, and try the Treble knob somewhere above halfway for a classic Tweed sound.

* FENDER® and DELUXE REVERB® are registered trademarks of Fender Musical Instruments Corporation and are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

The 1959 Tweed B-Man Model is based on* the classic '58 Fender® Bassman® 4x10 combo, the amp that started it all — instant rock and roll tone. Originally a bass guitar amp, the Bassman® became a Blues staple for 6-string guitarists. It has the fat bottom end you'd expect from a bass amp, but also has the Fender® twang on the top. Incidentally, when Jim Marshall built his first amps with Ken Bran they were heavily influenced by the early Bassman®. One of the interesting things about the Bassman® is just how interactive the Middle and Treble controls are. The Middle control isn't a bandpass, as in most tone control setups. Instead, it's almost like a second treble control. The two are additive, so if you're running your Middle knob higher than halfway up with this model, you'll find that the Treble control might give you more bright than you really want. On the other hand, when you turn the Middle knob down, you'll probably want to boost the Treble. The Bassman®, like many of the amps modeled for GearBox, didn't have a master volume. So to get the kind of tone that the Bassman® can deliver at higher gain settings, you had to crank it up loud enough to do some serious damage to anyone who might be standing close by. Now you can get that kind of tone at a bedroom or studio level — or even through your headphones! Try a Drive setting of about 4 or 5 — it's guaranteed to dredge up the best R & B licks you know.

* FENDER® and BASSMAN® are registered trademarks of Fender Musical Instruments Corporation and are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

The Holy Grail for many blues, country, and "roots" players has been a blackface Fender® Deluxe Reverb®. After listening to quite a few candidates back when we were seeking the ultimate Deluxe Reverb® for our 1964 Blackface 'Lux model to be based on*, we stumbled upon an extremely cool '64 Deluxe Reverb®. We still haven't found one better. Most players love a Deluxe Reverb® when it's turned up to about 7 for a nice gritty sound that cleans up when you back off your guitar's volume knob just a little. Notice how the tone control response changes as this Amp Model's Drive is changed: clean settings are crisp and present, while more driven settings will mellow the high end. This is typical of what you get from a Deluxe Reverb® and is nicely captured here. The Deluxe Reverb® itself has only Bass and Treble controls, leaving us, once again, with the prospect of a couple knobs with nothing to say for themselves. But fear not; in this case, we've set up the model's Middle knob so you can add some post-Amp Model Midrange contouring for a little more flexibility, while Presence adds, well, Presence. Once again, set the Middle knob to its "neutral" 12 o'clock position and the Presence knob to 0 for the classic Deluxe sound. Tweaked up right, this tone will cut through and sing. We jacked into Input 1 of the Vibrato Channel to get this model cooked up.

* FENDER® and DELUXE REVERB® are registered trademarks of Fender Musical Instruments Corporation and are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

The 1967 Class A-30 Top Boost model is based on* a Vox® AC 30. Music was changing in the early '60s and guitarists were asking for more brilliance & twang. So the Jennings Company, makers of Vox® amps, decided to add Treble and Bass controls (and an extra 12AX7 gain stage, incidentally) in addition to the Treble Cut knob it already had (which in actuality was a sliding bandpass filter that always seemed like it was working backwards); this additional circuit became known as Top Boost. The AC 30 with Top Boost was the amp made famous by many British invasion bands. Much of the unique character of the Vox® sound can be attributed to the fact that Class A amps overdrive in a very different way than Class AB. Brian May of Queen, Mike Campbell of Tom Petty's Heartbreakers, and The Edge of U2 have all used classic AC 30s to make their music. Although usually played fairly clean, a cranked AC 30 has a great saturated lead tone, a la Brian May on the early Queen albums. On this Amp Model, the Middle control acts like the original Cut knob on the AC 30. We plugged into the Hi gain input of the AC 30's Brilliant channel when creating it. We also turned the tone controls around, since original Top Boost amps had the bass and treble turned all the way down when the knob was all the way up. Go figure.

* VOX® is a registered trademark of Korg Europe Limited and is in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

The 1968 Plexi Lead 100 is modeled after* the infamous '68 Marshall® 'Plexi' Super Lead — coveted by tone connoisseurs the world over. We literally scoured the world for this particular amp, finally finding a great example of a Super Lead languishing (we like to think fate preserved it for us) in Holland. By the time this amp was built (ca. 1968), Marshall® had completely changed the circuitry away from the Fender® 6L6 power tube heritage and moved to an EL34 tube. Another major tone difference was due to the necessary output & power supply transformer changes. All this mucking about added up to create a tone forever linked with Rock Guitar. Amps of this era didn't have any sort of master volume control, so to get the sound you'd have to crank your Super Lead to max — just the thing to help you really make friends with the neighbors. Hendrix used Marshall®s of this era; a decade later Van Halen's first two records owed their "brown sound" to a 100-watt Plexi (Our Super Lead, in fact, has the 'lay down' transformer that was unique to '68 models, the same as Hendrix and Van Halen's Marshalls®.). To get a crunch sound out of a Plexi, you would likely crank the input volume and tone controls (to 10!). You'll find that, in keeping with our "make-it-sound-a-whole-lot-like-the-original" concept, this model is set up to do pretty darned near the same thing.

* All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are used solely to identify the specific products whose tones and sounds were studied during Line 6's sound model development. MARSHALL® is a registered trademark of Marshall Amplification PLC. FENDER® is a registered trademark of Fender Musical Instruments Corporation.

Guitar playing is all about experimentation, isn't it? That, and finding all the possible ways to get more distortion out of whatever gear you have at hand. One of the fun things you can do with a Plexi is take a short guitar cable and jumper channel I and channel II (as they're frequently numbered) together for a little extra saturation. Some guys loved this sound so much that they pulled the chassis and permanently wired a jumper into the amp. Being the obsessive/compulsive tone freaks we are, we just had to give you the 1968 Plexi Jump Lead model to give you a sound based on* of this setup.

* All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are used solely to identify the specific products whose tones and sounds were studied during Line 6's sound model development. MARSHALL® is a registered trademark of Marshall Amplification PLC. FENDER® is a registered trademark of Fender Musical Instruments Corporation.

The 1987 Jazz Clean Amp Model is modeled after* the classic Roland® JC-120. This transistor amp was known for a strident clean sound and built-in stereo chorus. When using the JC-120 model, try cranking up the Treble for a shimmering clean sound that'll cut through just about any mix. It's also perfect for that 80's "new wave" sound (after all, it was Andy Summers' favorite amp with The Police). You should also try setting all the tone controls at 12 o'clock for a darker jazz tone. It'll give you an essentially flat response, providing a balanced tone across the fret board for jazz chord melodies or single-line phrasing.

* ROLAND® is a registered trademark of Roland Corporation and is in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

The 1990 Brit J-800 Amp Model is based on* a Marshall® JCM 800. Turn to this Amp Model to conjure up tones of the coveted JCM 800, one of Marshall's most universally acclaimed modern amps. This updated version of the Plexi continued Marshall's heritage with added gain and edge for a new generation of rock guitarists. One of the biggest differences here is that the tone controls are located after the preamp tubes. Incidentally, some versions of JCM 800's get their distortion by clipping a diode. The amp we modeled uses a tube for distortion. The JCM 800 is, of course, the metal sound Marshall made famous. And although not many people play Marshalls clean, it is a great tone, so you should also be sure to check out this model with a low Drive setting. Of course, you can always pump up the drive and rage... * MARSHALL® is a registered trademark of Marshall Amplification PLC and is in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

The 1993 Solo 100 Head Amp Model is based on* a Soldano SLO-100 head. Mike Soldano first came to fame as the guy who could do all the really cool mods to your Marshall®. It wasn't long before he started building his own 'hot-rod' amps — sporting chromed transformers and chassis, no less. Mike's amps are also famous for their bullet-proof construction and military spec wiring and components. While primarily known for its high gain personality, the SLO-100 has a great clean tone as well. Eric Clapton put Soldano on the map when he played "Saturday Night Live" with his Soldano SLO-100. * MARSHALL® is a registered trademark of Marshall Amplification PLC and is in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

The 2001 Treadplate Dual Amp Model is based on* a 2001 3 Channel Mesa/Boogie® Dual Rectifier® Solo Head. The Dual Rectifier® was part of Boogie's more modern, high gain approach for that "big hair" sound. In contrast to the earlier Boogies, the Dual Rectifier's tone controls have more influence at high gain settings, so you can scoop the mids and increase the bottom end. We used Channel 3 on the Modern setting for this one with the rear switches set to Bold and Tube Rectifier®, respectively. * MESA/BOOGIE® and RECTIFIER® are registered trademarks of Mesa/Boogie, Limited and are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

Guitar Cab Models

While we're not going to bore you with complete descriptions of each cabinet that's modeled in GearBox ("...and with the change from 12 ply Finnish Spruce to 13 ply Baltic Birch in October of 1973, the resonant frequency of this cabinet dropped to 113.7Hz"), here's a list of all the speaker cabinets that were modeled for GearBox:

1 x 6 — 1960 Super O (based on Supro S6616)
1 x 8 — 1960 Tiny Tweed (based on Fender® Tweed Champ®)
1x10 — 1959 Gibtone (based on Gibson® combo)
1x10 — 1960 G-Brand (based on Gretsch® 6156)
1x12 — 1953 Small Tweed (based on Fender® Tweed Wide Panel Deluxe Reverb®)
1x12 — 1964 Blackface 'Lux (based on Fender® Deluxe Reverb®)
1x12 — 1960 Class A-15 (based on Vox® AC-15)
2 x 2 — 2001 Mini T (based on Fender® Mini Twin)
2x12 — 2001 Line 6
2x12 — 1965 Blackface (based on Fender® Blackface Twin Reverb®)
2x12 — 1996 Match Chief (based on Matchless Chieftain)
2x12 — 1987 Jazz Clean (based on Roland® Jazz Chorus 120)
2x12 — 1967 Class A-30 (based on Vox® AC-30 Top Boost)
4x10 — 2001 Line 6
4x10 — 1959 Tweed B-Man (based on Fender® Bassman® cab)
4x12 — 2001 Line 6
4x12 — 1967 Green 20s (based on Marshall® "Basket Weave" cab with Celestion® Greenbacks)
4x12 — 1968 Green 25s (based on Marshall® cab with Celestion® Greenbacks)
4x12 — 1978 Brit Celest T-75s (based on Marshall® cab with stock Celestion® T-75's)
4x12 — 1996 Brit Celest V-30s (based on Marshall® cab with Celestion® Vintage 30's)
4x12 — 2001 Treadplate (based on Mesa/Boogie® Dual Rectifier® cab)
1x15 — 1962 Thunder (based on Supro® '62 Thunderbolt)
2x12 — 1967 Wishbook (based on Silvertone '67 Twin Twelve)


* All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are used solely to identify the specific products whose tones and sounds were studied during Line 6’s sound model development. SUPRO is a registered trademark of Zinky Electronics. GIBSON is a registered trademark of Gibson Guitar Corp. GRETSCH is a registered trademark of Fred W. Gretsch Enterprises, Ltd. FENDER, CHAMP, DELUXE REVERB, TWIN REVERB and BASSMAN are registered trademarks of Fender Musical Instruments Corporation. VOX is a registered trademark of Korg Europe Limited. ROLAND is a registered trademark of Roland Corporation. MARSHALL is a registered trademark of Marshall Amplification PLC. MESA/BOOGIE and RECTIFIER are registered trademarks of Mesa/Boogie, Limited. SILVERTONE is a registered trademark of Samick Music Corporation.

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Bass Amp/Cab Models

Rock Classic

For 30 years now, we’ve heard the tone and felt the power of the mighty Ampeg® SVT® that GearBox's Rock Classic model is based on*. This workhorse has appeared on innumerable recordings and arena stages worldwide – there is no equal to the original SVT® and its 300 watts of pure tube magic. First introduced in July 1969, the SVT® set the tone, punch and arena-rattling standard for all future big gun bass rigs. Its users have included everyone from The Rolling Stones to Van Halen, and pretty much every “rock” bass player in between. For GearBox's Rock Classic Model, we selected a 1974 Ampeg® SVT®, and we’ve also given you a 70’s SVT 8x10 speaker cabinet to pair it with. The sonic combination of this head and cab is beyond big, but you had to pray that your bandmates would help you move it! Thanks to GearBox, you can now get big classic rock bass tone without frequent visits to the chiropractor. * AMPEG® and SVT® are registered trademarks of St. Louis Music, Inc. and are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

Flip Top

The Flip Top model is based on* a 60’s Ampeg® B-15 Portaflex® — one of the most popular studio bass amps of all time. It’s tuned and front-ported, has a closed back, is 25 watts with a single 15-inch speaker, and set a new standard for cabinet and speaker efficiency, tone and convenience in bass amplification. If we had to sum up the amp’s sound up in one sentence, we would simply say: Listen to James Jamerson’s bass playing on the Motown®/Tamala records of the 1960’s — The Supremes, The Four Tops, The Temptations, Marvin Gaye, Stevie Wonder, and many more. Jamerson played bass on more Motown hits than anyone else, and his choice for amplification was the Ampeg® B-15. We think you’ll agree that the sound of his P Bass® through that amp on those records is as fresh and exciting today as it was 35 years ago. And if he’s not enough to convince you, how about “Duck” Dunn! Don’t get us started....

* All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are used solely to identify the specific products whose tones and sounds were studied during Line 6's sound model development. AMPEG and PORTAFLEX are registered trademarks of St. Louis Music, Inc. MOTOWN is a registered trademark of UMG Recordings, Inc. P BASS is a registered trademark of Fender Musical Instruments Corporation.

  Adam and Eve

After David Eden made cabs for SWR® for 3 or 4 years, he went into the business of making his own bass amp and cabinet line. Jim Demeter designed the electronics of the first Eden amps, and they were quickly adopted by a veritable who’s who of modern bass society. GearBox’s Adam and Eve model is based on* the WT-300, one of Eden’s latter offerings which produces a clean, clear and rich tone. * SWR® is a registered trademark of Fender Musical Instruments Corporation and is in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

Silverface Bass

The Silverface Bass is modeled after* a 1967 Fender® Bassman®. By ’68, when the Beatles went in to record The White Album, they had pretty much done away with their Vox® amps in favor of the new “silverface” Fender® line. John and George each played through a Twin Reverb®, and Paul through the 2x15 “tall cab” Bassman®. This amp remained his favorite through the end of the Beatles’ recording career, and can be seen in the Revolution video (the cab is laying on its side), and all over the Let It Be movie — including the infamous “rooftop” concert which closes the film. Paul went on to use the amp for his first solo recordings, and live during the early Wings period. We’ve paired this Bassman® head with a 2x15 closed back cab loaded with JBL®’s. The sound of this cab also reminds us of the theme music from Barney Miller, and all of those days practicing with the high-school jazz ensemble. Try playing a little of the Peter Gunn Theme....

* All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are used solely to identify the specific products whose tones and sounds were studied during Line 6's sound model development. FENDER, BASSMAN, and TWIN REVERB are registered trademarks of Fender Musical Instruments Corporation. VOX is a registered trademark of Korg Europe Limited.

Eighties

What would any collection of bass amps be without a Gallien-Krueger 800RB? This model is based on the solid state amp that helped define what new bass amps sounded like for the better part of that decade. Geddy Lee had one. Will Lee used one on “Late Night With David Letterman”. And bands like Def Leppard powered through a decade of pop metal with the 800RB. The GK 800RB produces a very scooped sound, and doesn’t really distort. Try pairing this amp with another legend of the Eighties, the Hartke 410 cabinet. This rig is known for producing what we call the “mid 80’s metal bass” tone. It’s the perfect choice when you’re ready for a little Pyromania....

*All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are used solely to identify the specific products whose tones and sounds were studied during Line 6's sound model development.

Bass Cab Models

1 x 15 Flip Top Based on a 1960’s Ampeg® B-15
2 x 15 DoubleShow Based on a Fender® Dual Showman® D130F
4 x 10 Adam Eve Based on an Eden 410 cab
4 x 10 Silvercone Based on a Hartke 410 cab
8 x 10 Classic Based on an Ampeg® SVT® Cab

* All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are used solely to identify the specific products whose tones and sounds were studied during Line 6's sound model development. AMPEG and SVT are registered trademarks of St. Louis Music, Inc. FENDER and DUAL SHOWMAN are trademarks of Fender Musical Instruments Corporation.

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Preamp Models

This model is based on* an API 512 Mic Pre and API 550b EQ housed in an API Lunchbox 500 6-B. In 1967 API introduced the 512 as the first modular mic pre. Along for the ride also came the 550 EQ and together the modular components were housed in a 4 position rack complete with a handle — the lunchbox. This combination is responsible for many legendary recordings of the 60’s and 70’s. The resulting American Classic model also incorporates tonal elements of the analog tape machines of the day, by Revox, Studer, and MCI. Hence, our model is designed to give your inputs the "sonic love" of the entire analog recording process from the API mic pre, through the EQ, to the sound of recording to tape. * All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are used solely to identify the specific products whose tones and sounds were studied during Line 6's sound model development. SWR is a registered trademark of Fender Musical Instruments Corporation. REVOX and STUDER are trademarks of Studer Professional Audio GmbH.

GearBox's Vintage UK model is based on* the truly classic Neve 1073 pre-amp. Designed by Rupert Neve in the early 1970's, as a discrete transistor mic/line amp with 3-band EQ and high-pass filter, the 1073 was used in a variety of Neve consoles. NOT known for being the flattest or cleanest kid on the block, the Neve 1073 became the “Gold Standard” of pre amps regardless. It’s credits are endless and likely numerous songs playing on the radio right now, as you read this, were recorded with a Neve 1073. Like the American Classic, this model's sound is based not just on our analysis of the 1073, but also incorporates the kind of "sonic love" you'd have gotten when recording through a 1073 to legendary Revox, Studer, and MCI analog tape machines.

* All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are used solely to identify the specific products whose tones and sounds were studied during Line 6's sound model development. NEVE is a registered trademark of AMS Neve Ltd. REVOX and STUDER are trademarks of Studer Professional Audio GmbH.

Looking for something aggressive, trashy, or just plain interesting? Try the Lo-Fi tip. It gives you tones that are very band passed (meaning there's little low end or extreme high end), with lots of distortion available from the driver knob. You'll find it's just the thing when you want your vocals to sound like they came through a telephone, megaphone or toy microphone.

Effects

The Comp (Compressor) effect in GearBox is modeled after* the classic, studio-standard LA-2A® tube compressor. It’s just the thing when you want to smooth out your levels the way that you would typically do in a recording studio. The THRESHOLD knob determines how aggressive the compressor will be in smoothing things out. Turning the knob farther to the left give you more aggressive compression. The GAIN knob lets you increase level once you've smoothed things out. But be careful: if you add too much gain here, you may see that you start clipping, and need to back off again on the gain.

* LA-2A® is a trademark of William Putnam and is in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

Analog Delay w/Modulation



The Analog Delay w/ Modulation model is based on* the Electro-Harmonix® Deluxe Memory Man which is a pedal that uses the "bucket brigade" electronics of other analog echoes, and adds a chorus circuit to boot. This adjustable chorus is applied to the echoes only, leaving the direct sound unaffected. The Memory Man, with its warm, distorted tone and swimming echoes, became an important tool for many guitarists, and was an essential part of the guitar sounds for the first U2 album. Part of the Deluxe in Deluxe Memory Man was the increased delay time of 500 milliseconds. Analog w/Mod emulates that classic Memory Man tone with the added advantage of 2 seconds of delay time. The mod speed and depth controls set up the chorus on the delays.


* ELECTRO-HARMONIX® is a trademark of New Sensor Corp. and is in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.


Tube Echo



The classic 1963 Maestro EP-1 was the first of a series of "Echoplex" designs distributed by the company, and made by Harris-Teller in Chicago. As touted in a Maestro advertisement, the Echoplex's "...special effects range all the way from a controlled high speed reverberation to a full, throbbing echo"! The main feature of the Echoplex design is a special cartridge of looped 1/4-inch audio tape that wraps past separate record and playback heads. The position of the playback head can be moved to adjust the delay time from 60 to 650 milliseconds. Tube Echo is based on* the classic Echoplex tone with the extra advantage of up to 2 seconds of delay time. DRIVE lets you dial up some tube warmth like the original and FLUTTER (short for wow and flutter) adds that unique sound of a slipping, dirty tape capstan! * MAESTRO® and ECHOPLEX® are trademarks of Gibson Guitar Corp. and are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

This model is a straight up digital delay with Bass and Treble tone controls. Nothing fancy here, just basic echo-cho-cho-cho. After all, it’s good to cleanse the palate every once in a while.

Sine Chorus


Here's your basic digital chorus, which gives you the classic swimmy/watery sound of chorus, plus BASS and TREBLE controls for bass-ing and trebl-ing. :-)

Subtle settings of the chorus can also be used to give a fatter sound. Extreme settings can totally change the character of your sound.



Line 6 Flanger


Flanger is most famously known as the "jet-plane" whoosh effect of several classic 70s recordings. It can also be used to give a "swooshy" or "swept" sound to guitar and other sources, or just to create a "bigger" sound. Eddie Van Halen, for instance, used flanger effects as an important part of his signature sound on many classic Van Halen recordings, including "Ain't Talkin' 'Bout Love" and much of the Van Halen I album. For details on each of the Flanger controls, move your mouse over the control and look in the Info Bar at the bottom of the GearBox window. The Line 6 Flanger really shines when you set CONFIG to POST, letting the stereo sweep offset serve up luscious harmonic shimmer.


Phaser



GearBox's Phaser is based on* the MXR® Phase 90 — the guitar stompbox phaser that changed the world. The Phase 90 is relatively subtle compared to other phasers, and when you use it, it becomes part of the overall guitar tone rather than trying to grab the spotlight all to itself. Its lush, organic, and groovy swirl can be heard all over the first two Van Halen albums, as well as Jimmy Page's work on Physical Graffiti. The Phase 90 is a four stage phaser; its single knob controlled only speed. GearBox's Phaser gives you additional flexibility with MIX and FEEDBACK controls to adjust the intensity of the effect. * MXR® is a trademark of Applied Research and Technology, Inc. and is in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

The U-Vibe model is based on* the now-legendary Uni-Vibe, which was put on the map in 1969 by Jimi Hendrix. Essentially a four-stage phase shifter, the Uni-Vibe is best known for its watery texture and sultry tones. One listen to "Machine Gun" and you'll know what we mean. You can recreate the effect of the original Uni-Vibe's vibrato switch by turning the MIX control to 100% wet. (That's what the switch did on the original.) The DEPTH control acts like the Uni-Vibe's "Intensity" knob. *All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are used solely to identify the specific products whose tones and sounds were studied during Line 6’s sound model development.

The Opto Tremolo model is based on* the optical tremolo circuit that was used in the blackface Fender® amps, like the '64 Deluxe Reverb® and '65 Twin Reverb®. Basically a light bulb and a photo-resistor, when the light got brighter, the tremolo got louder. It's a very smooth, even tremolo, and the obvious choice for use with the amp models that are based on Fender® originals. * FENDER®, DELUXE REVERB® and TWIN REVERB® are trademarks of Fender Musical Instruments Corporation and are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

Fine furniture and cool tones — the Leslie® 145 that the Rotary Drum + Horn model is based on* gave you both at once! That tube-driven behemoth (you definitely don't want to try picking one up on your own) features a belt-drive rotating high frequency horn along with a downward-facing 15-inch speaker that had a segmented drum spinning under it to disperse the sound. It was originally designed to be used with electric organs like the Hammond B3, but once guitarists (and even vocalists!) heard it, they just had to get in on the rotate-o-rama. Our model gives you all that whirligig glory, without giving you a herniated disc. Slow/Fast switch acts like the one that came on the Leslie 145’s preamp, ramping between the two speeds. This effect also gives you TONE and MIX settings. For the truly authentic kind of spin that a Leslie delivers, you'll want to set the MIX knob to max, since a Leslie had no 'dry' path. * LESLIE® is a trademark of Suzuki Musical Instrument Manufacturing Co. Ltd. and is in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

Facial Fuzz



Sometime in late 1966, an infamous circular stompbox hit the London music scene. Designed and built by Arbiter Music, the Fuzz Face would soon begin its famous association with guitar legend Jimi Hendrix. Like all stompboxes from the early era, the Fuzz Face would see many design changes, as well as re-issues. Our model is based on* the germanium diode-powered treasure pictured here: an original, very early "gray with black screening" Arbiter Fuzz Face. Call the Facial Fuzz model up, and treat yourself to our faithful re-creation of the original's fuzz and glory. Crank up the drive, and you’ll be seeing Purple Haze right before your eyes! *All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are used solely to identify the specific products whose tones and sounds were studied during Line 6’s sound model development.

Not to be outdone by the Brits, the colonies came up with their own twist on the fuzz rage. Mike Mathews and his band of merry men at Electro-Harmonix® had been cooking up all sorts of nifty effects when their attention turned to the distortion/fuzz pedal. Their most popular offering was the Electro-Harmonix® Big Muff Pi, which GearBox's Fuzz Pi model is based on*. The Pi was known more for its sweet sustain than for its buzz. *All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are used solely to identify the specific products whose tones and sounds were studied during Line 6’s sound model development.

From Stevie Ray Vaughan to Michael Landau, the simple Ibanez® Tube Screamer is the overdrive heard 'round the world. This medium-gain pedal was introduced in the early '80s, and in many blues circles, you're not allowed to solo without one. Over the years, Ibanez® issued several variations of the venerable Tube Screamer, but none have reached the fabled status of the TS-808 that this model is based on*. * IBANEZ® is a trademark of Hoshino Gakki Co. Ltd. and is in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

Born and bred in the late '70s, the ProCo Rat was the beginning of a new generation of distortion boxes. With a sound that was angrier and more aggressive than a fuzz, the Rat put teeth into a new breed of metal that was beginning to crawl to the surface of the music scene. The TONE knob on GearBox's Classic Distortion Model based on* the Rat model functions like the original's "filter" control, giving you brighter tone at lower settings, and darker tone at higher settings. Once bitten, you'll know why we call this one "tone with teeth!" * All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are used solely to identify the specific products whose tones and sounds were studied during Line 6’s sound model development.

This effect is taken from the Vetta II, Line 6's flagship guitar amplifier. A Line 6 original, Vetta Comp has a fixed ratio (2.35:1, in case you're asking) with the threshold (that would be your SENS knob) adjustable from -9dB to -56dB and up to 12dB of gain available at the LEVEL knob. In other words, turn the SENS knob 'til you like the way your signal's compressed, then set the volume with LEVEL.

The Female De-esser should be your first choice when taming the Sss and Shh sounds of female vocalists, although as with all things musical, you may find many uses for it and may find that for some male vocalists it works better than the Male De-Esser. For general information on De-Essers, see the Set the De-Esser topic in the How To section. Technically-savvy users will want to know that this de-esser performs its gain reduction only on the selected frequency band, unlike the more typical insert-style De-Essing of the Male De-Esser.

The Male De-esser should be your first choice for controlling the Sss and Shh sounds of male vocalists, although as with all things musical, you may find many uses for it and may find that for some female vocalists it works better than the Female De-Esser. For general information on De-Essers, see the Set the De-Esser topic in the How To section. Technically-savvy users will want to know that this is a standard insert-style de-esser, performing gain reduction on the full bandwidth audio signal.

Standard Spring



One of the many things that people have loved about the blackface Fender® Twin Reverb® over the years has been its rich, dense reverb sound. The three-spring tank offered a more complex sound than Fender®’s earlier spring reverbs, and of course that's what GearBox's Standard Spring model is based on*. Go find yourself a bevy of bikini-clad beauties, wax up your board, and dig in. * FENDER® and TWIN REVERB® are trademarks of Fender Musical Instruments Corporation and are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

Here's the sound of a live, bright room to add life to any track.

GearBox's Wah simulates a classic wah pedal, and can be used to provide a "parked wah" sound, or can be controlled via MIDI for wah pedal effects.

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