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Spider Valve MKII FX INFUSION v2.0 is a free firmware upgrade for your Spider Valve MKII 112, 212 and HD100. This new firmware features: A total of 56 FX Models, bringing the total in your updated amp to 76! (All the FX from Spider FX Infusion 1.52 plus 28 more Stomps, Comps, Mods, Delays, Reverbs and Wahs). Overdrives / Stomps Bronze Master (Maestro Bass Brassmaster) Dingo Tron (Mu-Tron III (down switch on) Facial Fuzz (Arbiter Fuzz Face) Classic Distortion (ProCo Rat) Tube Drive (Chandler Tube Driver) Compressors Blue Comp Treb (Boss CS-1 Compressor (treble switch off) Line 6 Comp (Teletronics LA-2A) Line 6 Vetta Comp EQ Line 6 Two band Parametric EQ Delay Echo Platter (Binson EchoRec) Line 6 Phaze Eko Tube Echo (EP-1 Tube Echoplex) Reverb Line 6 Brite Room Reverb Line 6 Cavernous Reverb Line 6 Dark Hall Line 6 Rich Chamber Line 6 Slap Plate Reverb Line 6 Standard Spring Reverb Mods Analog Square Chorus (Boss Square CE-1 Chorus w/ square wave) Line 6 Expo Chorus Line 6 POD Purple X Line 6 Random Sample and Hold Line 6 Square Flange Line 6 Tape Eater Wahs Chrome Custom Wah (Custom Vox V847 Wah) Conductor Wah (Maestro Boomerang Wah) Fassel Wah (Cry Baby Super - Jen Electronics) Throaty Wah (RMC Real McCoy 1 Wah) Continued compatibility (added with 1.50) with Spider Valve Edit. Update Instructions: All Spider IV 112, 212 and HD100 amplifiers can be updated using an FBV MkII Express, FBV MkII Shortboard, or via MIDI with a USB to MIDI interface as follows: Connect your FBV MkII to your Spider Valve MKII using a standard FBV cable. Connect your FBV MkII to your computer using a standard USB cable. Launch Line 6 Monkey on your computer. Select your Spider Valve MKII as the connected device if it isn't automatically selected. Select the Flash Memory line item and click "Update Selection". Please also refer to the following FAQ for further update details: http://line6.com/support/page/articles/_/amplifiers/spider-ivspider-online/updating-the-spider-iv-75-120-150-150hd-us-r319 (Register your FBV MkII Express or Shortboard if it isn't already registered, then proceed with the update) Updating Note: Updating firmware does not erase User Presets. To return the amp to its factory settings, which includes restoring original User Presets and Amp Model Defaults, press the "A" Channel button on power up, then press the "Presets" encoder. *If you have already registered your hardware, launch Line 6 Monkey to download the v2.00 update.

Français Deutsch SPIDER FX INFUSION v2.0 is a free firmware upgrade for your Spider IV 75, 120, 150 and HD 150. It requires the purchase and registration of either of the USB equipped FBV Shortboard MkII or FBV Express MkII foot-controllers to enable computer connectivity to the amp. This new firmware features: A total of 56 FX Models, bringing the total in your updated amp to 76! (All the FX from Spider FX Infusion 1.52 plus 28 more Stomps, Comps, Mods, Delays, Reverbs and Wahs). Overdrives / Stomps Bronze Master (Maestro Bass Brassmaster) Dingo Tron (Mu-Tron III (down switch on) Facial Fuzz (Arbiter Fuzz Face) Classic Distortion (ProCo Rat) Tube Drive (Chandler Tube Driver) Compressors Blue Comp Treb (Boss CS-1 Compressor (treble switch off) Line 6 Comp (Teletronics LA-2A) Line 6 Vetta Comp EQ Line 6 Two band Parametric EQ Delay Echo Platter (Binson EchoRec) Line 6 Phaze Eko Tube Echo (EP-1 Tube Echoplex) Reverb Line 6 Brite Room Reverb Line 6 Cavernous Reverb Line 6 Dark Hall Line 6 Rich Chamber Line 6 Slap Plate Reverb Line 6 Standard Spring Reverb Mods Analog Square Chorus (Boss Square CE-1 Chorus w/ square wave) Line 6 Expo Chorus Line 6 POD Purple X Line 6 Random Sample and Hold Line 6 Square Flange Line 6 Tape Eater Wahs Chrome Custom Wah (Custom Vox V847 Wah) Conductor Wah (Maestro Boomerang Wah) Fassel Wah (Cry Baby Super - Jen Electronics) Throaty Wah (RMC Real McCoy 1 Wah) Continued compatibility (added with 1.52) with Spider IV Edit. Update Instructions: All Spider IV 75, 120, 150 and 150HD amplifiers can be updated using an FBV MkII Express or FBV MkII Shortboard, as follows: Connect your FBV MkII to your Spider IV using a standard FBV cable. Connect your FBV MkII to your computer using a standard USB cable. Launch Line 6 Monkey on your computer. Select your Spider IV as the connected device if it isn't automatically selected. Select the Flash Memory line item and click "Update Selection". Please also refer to the following FAQ for further update details: http://line6.com/support/page/articles/_/amplifiers/spider-ivspider-online/updating-the-spider-iv-75-120-150-150hd-us-r319 (Register your FBV MkII Express or Shortboard if it isn't already registered, then proceed with the update) Updating Note: Updating firmware does not erase User Presets. To return the amp to its factory settings, which includes restoring original User Presets and Amp Model Defaults, press the "A" Channel button on power up, then press the "Presets" encoder. *If you have already registered your hardware, launch Line 6 Monkey to download the v2.00 update. La mise à jour Spider FX Infusion version 2 est une mise à jour firmware gratuite pour votre Spider IV 75, 120, 150 et HD 150. Vous avez besoin d’un FBV Shortboard MkII ou FBX Express MkII registré avec connexion USB pour le connecter à l’ordinateur. Nouvelles fonctionnalités : 56 modèles FX nouveaux. (Tous les modèles FX de la mise à jour 1.52 et 28 modèles complètement nouveaux Stomp, Comp, Mod, Delay, Reverb et Wah) Overdrives / Stomps Bronze Master (Maestro Bass Brassmaster) Dingo Tron (Mu-Tron III (down switch on) Facial Fuzz (Arbiter Fuzz Face) Classic Distortion (ProCo Rat) Tube Drive (Chandler Tube Driver) Compressors Blue Comp Treb (Boss CS-1 Compressor (treble switch off) Line 6 Comp (Teletronics LA-2A) Line 6 Vetta Comp EQ Line 6 Two band Parametric EQ Delay Echo Platter (Binson EchoRec) Line 6 Phaze Eko Tube Echo (EP-1 Tube Echoplex) Reverb Line 6 Brite Room Reverb Line 6 Cavernous Reverb Line 6 Dark Hall Line 6 Rich Chamber Line 6 Slap Plate Reverb Line 6 Standard Spring Reverb Mods Analog Square Chorus (Boss Square CE-1 Chorus w/ square wave) Line 6 Expo Chorus Line 6 POD Purple X Line 6 Random Sample and Hold Line 6 Square Flange Line 6 Tape Eater Wahs Chrome Custom Wah (Custom Vox V847 Wah) Conductor Wah (Maestro Boomerang Wah) Fassel Wah (Cry Baby Super - Jen Electronics) Throaty Wah (RMC Real McCoy 1 Wah) Instructions: Vous pouvez mettre à jour tous les amplis Spider IV 75, 120, 150 et 150HD avec un FBV Shortboard MkII ou un FBV Express MkII : Le FBV MkII doit être enregistré. Connectez le FBV MkII à l’ampli Spider IV avec un câble FBV standard. Connectez le FBV MkII à un ordinateur avec un câble USB standard. Lancez Line 6 Monkey sur l’oridnateur. Sélectez le Spider IV comme appareil connecté s’il n’est pas sélecté automatiquement. Sélectez Flash Memory et cliquez Update Selection. Pour plus de details utilisez cette foire aux questions: http://line6.com/support/page/articles/_/amplifiers/spider-ivspider-online/updating-the-spider-iv-75-120-150-150hd-us-r319#fr Attention, cette mise à jour n’effacera pas vos presets. Pour réinitialiser l’appareil (avec réinitialisation des presets, modèles amplis et configurations), cliquez le bouton canal « A » durant la mise sous tension et après, cliquez « Preset ». Si vous avez déjà registré le matériel, lancez Line 6 Monkey et effectuez la mise à jour. Das Spider FX Infusion V2.0 ist eine gratis Firmware Aktualisierung für Ihr Spider IV 75, 120, 150 und 150HD. Sie brauche nzur Installation entweder ein FBV Shortboard MkII oder ein FBV Express MkII mit USB Anschluss um dieses an den Computer anschließen zu können. Hinzugefügt mit der Aktualisierung: Insgesamt 56 FX Modelle, Sie haben also insgesamt 76 Modelle! (Das sind alle FX Modelle aus Patch 1.52 sowie 28 neue Stomp, Comp, Mod, Delay, Reverb und Wah Modelle). Overdrives / Stomps Bronze Master (Maestro Bass Brassmaster) Dingo Tron (Mu-Tron III (down switch on) Facial Fuzz (Arbiter Fuzz Face) Classic Distortion (ProCo Rat) Tube Drive (Chandler Tube Driver) Compressors Blue Comp Treb (Boss CS-1 Compressor (treble switch off) Line 6 Comp (Teletronics LA-2A) Line 6 Vetta Comp EQ Line 6 Two band Parametric EQ Delay Echo Platter (Binson EchoRec) Line 6 Phaze Eko Tube Echo (EP-1 Tube Echoplex) Reverb Line 6 Brite Room Reverb Line 6 Cavernous Reverb Line 6 Dark Hall Line 6 Rich Chamber Line 6 Slap Plate Reverb Line 6 Standard Spring Reverb Mods Analog Square Chorus (Boss Square CE-1 Chorus w/ square wave) Line 6 Expo Chorus Line 6 POD Purple X Line 6 Random Sample and Hold Line 6 Square Flange Line 6 Tape Eater Wahs Chrome Custom Wah (Custom Vox V847 Wah) Conductor Wah (Maestro Boomerang Wah) Fassel Wah (Cry Baby Super - Jen Electronics) Throaty Wah (RMC Real McCoy 1 Wah) Anweisungen zur Aktualisierung: Alle Spider IV 75, 120, 150 und HD150 Verstärker müssen per FBV MkII mit einem Computer verbunden sein: Verbinden Sie das FBV MkII mit dem Spider IV mit standart FBV Kabel. Verbinden Sie das FBV MkII mit dem Computer mit standart USB Kabel. Starten Sie Line 6 Monkey auf dem Computer. Wählen Sie den Spider IV als verbundenes Gerät auf falls dies nicht automatisch passiert ist. Wählen Sie Flash Memory aus und klicken Sie dann auf „Update Selection“. Falls Sie mehr Details benötigen, verwenden Sie bitte folgendes FAQ: http://line6.com/support/page/articles/_/amplifiers/spider-ivspider-online/updating-the-spider-iv-75-120-150-150hd-us-r319#de (Registrieren Sie Ihr FBV MkII falls es noch nicht registriert ist) Achtung, die Aktualisierung der Firmware löscht keine Presets. Um das Gerät vollständig zurückzusetzen (inklusive Presets und Verstärkermodelle) drücken Sie den A Kanal Knopf beim Start des Gerätes und dann Preset. Falls das Gerät bereits registriert ist brauchen Sie nur Line 6 Monkey zu starten und das Update herunterzuladen.

Q: Will the POD HD modelers work with the POD Farm standalone or plug in software? A: No. POD Farm is not compatible with any of our POD HD multi effect processor devices however, Line 6 has developed a proprietary editor librarian software called POD HD Edit that is a free download and will allow you to edit your tones on your computer. POD HD Edit is a free download and can be downloaded from our Software Downloads Page.

Q: Do all of the POD HD modelers sport dual tone functionality? A: No. Only the POD HD500/500x, Pod HD desktop, and Pod HD Pro/Pro X have the ability to run dual tone configurations.

Q: How many amp models are included in the POD HD300? A: The POD HD devices come with 16, built from the ground up HD amp models. Q: How many effects are included with the POD HD modelers? A:The POD HD modelers sport 80, 90, and 100+ effect types respectively derived from the Line 6 M9/M13 effects processors. Click HERE for a complete list of effects models.

Below is a list of current compatible and released apps that can be used with MIDI Mobilizer. MIDI Memo Recorder MIDI Surface MIDI Live Pianist Pro bs-16i S1MIDI Trigger Little MIDI Machine NLog MIDI Synth NLogSynth PRO Music Studio NanoStudio StepPolyArp

These instructions come to us courtesy of user timowens. NOTE: We cannot tell you how to manipulate ZIP files. Google probably can, though. I think the problem is you have to add the .x3m extension to the file; you should also use GearBox for better versatility. I use Windows but here's how it worked for me... Note: In GearBox you can load bundles or individual presets from from your hard drive and it does not actually save them to the POD until you click on Put All or Put Selected. Download the zip file. Open it and save the file LB-PODX3-V1 to your hard drive. Rename the file LB-PODX3-V1.x3m Open GearBox. In the Hardware Memory Window click on Open Bundle. Find the file you just saved "LB-PODX3-V1.x3m" and click open. Now all the presets are loaded into GearBox (but not the POD). You can double click on the presets in the Hardware Memory Window to load them into the GearBox window and audition them. When you find a tone you want to save to the POD, click on the preset in the Hardware Memory Window the highlight it and click on Put Selected to save it to the POD. When you are done, click on Get All in the Hardware Memory Window to reload the presets that you didn't just overwrite from the POD into GearBox. As an alternative, what I like to do is load the bundle into GearBox, find a preset that I want to save, double click on it in the Hardware Memory Window to load it into the GearBox Window and click on the File menu, click on DualTone and then Save As, give the preset a name and save it. This will save only this one preset to my harddrive. When I've saved all the presets that I want I can either close GearBox and restart it or click on Get All in the Hardware Memory Window to reload GearBox with the memory from the POD. Now I can find a preset in the POD that I don't want to keep, double click on it to load it and then use the File/DualTone/Open command to load one of the individual presets that I just saved on the harddrive. Now you just have to use Put Selected or Put All to commit the changes to the POD. Hope this helps.

The GearBox Plug-In (AU, RTAS, VST) Effect license and software support has been discontinued since the release of POD Farm Plug-In Version 1.00 on October 29, 2008. Line 6 has not tested the GearBox Plug-In functionality with any newer DAW version releases since October of 2008. If you are experiencing issues trying to get the Plug-In Effect to work properly in current recording software programs, please use the latest version of POD Farm Plug-In software instead. For new users with no previous Line 6 USB hardware or license purchase history, the option in 2011 for a Line 6 amp modelling Plug-In Effect is to purchase the POD Farm 2.5 license and run that software version. NOTE: GearBox "Standalone" software usage is still currently supported for GuitarPort Online subscribers.

Deutsch Francais Introduction This is a primer for using audio cables, how they work, and what the common cable types are. Below are a couple of books that are excellent reference materials that expand on the subject: Wire, Cable, and Fiber Optics for Video & Audio Engineers by Stephen H. Lampen (Aug 1, 1997) http://www.amazon.com/Cable-Fiber-Optics-Video-Engineers/dp/0070381348/ref=lp_B001HO3HHQ_1_2?ie=UTF8&qid=1335303440&sr=1-2 Audio/Video Cable Installer's Pocket Guide (Pocket Reference) by Stephen H. Lampen (Jan 15, 2002) http://www.amazon.com/Audio-Video-Installers-Pocket-Reference/dp/0071386211/ref=sr_1_fkmr1_2?s=books&ie=UTF8&qid=1335303294&sr=1-2-fkmr1 How an Audio Cable Works Audio cables work by sending electrical signals from one place to another. This is very similar to the way that electrical current flows from a power outlet in your house. However audio cables use much smaller voltages than a common 110 volt plug. Electricity 101 In order for electricity to flow between two points you need two things: a hot or positive wire and a neutral or negative wire. This completes a circuit and allows the electrical signal from your instrument to your amp, mixing console or computer interface. All standard audio cables use this basic electrical principle no matter what connector is attached to the end. This is what is happening when you plug your guitar into your amp with a "¼" guitar cable or when you connect your DVD player to your TV with an RCA plug, they both work exactly the same way. Balanced and Unbalanced Audio Cables I have noticed online that there seems to be a lot of confusion and long explanations about the difference between balanced and unbalanced audio cables. All most guitarists and recording enthusiasts need to know is the basic electrical difference between the two and what that means for them. I’m going to try to explain the difference in plain English as best I can. Unbalanced cables work exactly as I just described. In a guitar cable for instance there is positive wire or tip which connects to the tip of the connector at the end of the cable. And a neutral sleeve that wraps around the wire connected to the tip. The neutral or sleeve serves two purposes: To provide a neutral conductor so that electricity can flow and to shield the positive middle wire from outside interference. -Low impedance audio, or mic level would be 48-52 Ohms (3-pin XLR connectors, balanced lines). -Higher (but not high) impedance audio for mixers and other distributive audio equipment instrument level is around 1,000 [between 680 to 1,800] Ohms (1/4" phone connectors, TS-unbalanced and TRS-balance lines). -High impedance audio Mixers, other circuit applications, distribution amps and other distributive audio line level require 1,000 to 10,000 Ohms (RCA connectors, unbalanced lines). Q: So my guitar cables and pedals are unbalanced? A: YES, nearly all guitar equipment is. Q: Is that bad? A: Absolutely NOT. Unbalanced cables can be prone to outside electrical interference over long distances. Basically the longer the cable, the less effective the sleeve is going to be at shielding the cable from outside electrical interference. Fortunately most guitar cables and patch cables are relatively short so this is usually not an issue for most musicians. A good rule of thumb for any unbalanced cable is if it's over 10ft long and you are using it in a room or on a stage with a lot of other electrical equipment you could hear unwanted hum, buzz, or noise. Q: What does this mean for me? A.(1) Nobody likes to be tied to their amp but try to keep guitar and other unbalanced cables around 10ft or shorter for the least amount of noise and strongest signal. (15ft is usually ok, 25ft is pushing it.) A.(2) In recording situations it's ok to use unbalanced cables in most cases but if you want crystal clear audio try to keep them under 10ft. Also, watch out for unbalanced connections on the back of rack gear. Having an unbalanced connection near that much other gear could cause noise problems. Balanced Cables Balanced cables still rely on a hot conductor and a neutral conductor to carry electrical signals but they add another element to the equation: a ground. A ground is called a ground because well it literally goes into the ground! Straight through the cable, through your balanced audio gear, through the wall to the fuse box and down a wire or pipe into the Earth. In balanced audio cables the sleeve is used as the ground. The ground or sleeve does NOT carry a signal and is NOT heard in the audio. It's simply there to protect from unwanted noise while the hot and neutral carry the signal. Now for the magic: the hot and neutral both carry the same signal, noise and all. Hot is flowing in a positive direction, neutral in a negative direction. Balanced audio equipment simply outputs the voltage difference between the two wires. Since the noise is represented equally on both hot and neutral it is inverted and cancelled out. I know this might sound complicated but what it means for you is that you can have hundreds of feet of balanced cable and still have noise free audio. Q. What types of things use balanced audio cables? A. Microphones and recording equipment is, or should be, balanced in most cases. Q. If I use a balanced cable with my guitar can I balance the signal? A. No. The equipment you are using must have balanced connections as well. Q. Why are balanced cables so expensive? A. They are made with a process called twisted pairing which is more expensive to manufacture than unbalanced cables. Q. If I have the choice of using balanced or unbalanced cables which one should I use? A. In most cases if you are using balanced equipment you should use balanced cables. But if you get into a tight spot and need run something unbalanced it's ok as long as the cable length is short and you get no unwanted noise. How to tell the difference between balanced and unbalanced cables: The technical name for guitar cables is TS which stands for Tip (hot), Sleeve (Neutral). Studio ¼ cables are called TRS which stands for Tip (Hot) Ring (Neutral) Sleeve (Ground) TS Cables have one ring on the connector: TRS Cables have two. Any cable that has three prongs or legs like an XLR Cable is usually balanced. Some cables are made for odd routing situations and are three legged on one side and two pronged on the other. These are still unbalanced. Glossary of Cables: Unbalanced: TS 1/4": This is the standard ¼" cable seen on guitars and unbalanced recording equipment. TS 1/8" Mini: A TS or mono mini plug is most commonly seen as an adapter. RCA or Phono: RCA connections are seen primarily on entry level recording equipment. They are also found on consumer products like DVD players, turntables, and older television sets. Banana Plug: Banana plugs are mostly used for consumer audio speaker connections. Insert or Y Cable: An insert cable splits a stereo signal into two mono parts and is referred to as a Y-Cable because it is literally shaped like a Y. Balanced: XLR: XLR is the most common connection for microphones and is often referred to as a mic cable. TRS ¼": (Notice the two rings around the top of the connector.) TRS is a balanced ¼" cable that is used in studios and live sound reinforcement to minimize noise over long distances. TRS 1/8" Mini: The 1/8" mini plug connector is often used on headphones and other consumer sources like sound cards. Tiny Telephone or TT: The TT or Tiny Telephone is a balanced connection used for connections in professional patch bays. Digital Connections: Most digital connections use the same principles we have already discussed; they just use them in a different way. Digital cables are made to send pulses of current or light that can be decoded by a computer. It is VERY important to use the proper cable type with digital connections. Things like impedance or the amount of resistance present in the cable play an important role in how this information is sent. Just because a S/PDIF cable looks like an RCA Cable doesn't mean the RCA cable plugged into your DVD player can handle a S/PDIF connection. You might experience strange errors and digital distortion if you use a cable that is not properly rated. S/PDIF: S/PDIF or Sony/Phillips Digital Interface is by far the most common digital connection. It uses a 75 ohm unbalanced RCA phono connection. You can use standard RCA cables if they are rated at 75ohms. Optical or Light Pipe: Optical or Light Pipe is a discrete multichannel digital standard developed for the ADAT. It is most commonly seen on digital audio interfaces and preamps. You may also see optical ports on high end consumer devices as an audio connection. Optical cables use pulses of light to send information. They tend to be expensive and fragile so handle with care. AES/EBU: AES/EBU: is basically S/PDIFs big brother. AES uses the same protocol as S/PDIF but it can handle more information at once. AES/EBU uses a balanced connection with XLR on both sides. When using an XLR make sure it is Type 1 (referring to pin order) and rated at 110 ohms. BNC or Bayonet: BNC is an unbalanced connection that is used primarily in professional video as an alternative to RCA. On the audio side of things it is mainly used to carry word clock information. BNC comes in 50 and 75 Ohm varieties, most audio equipment uses 75 ohm. Multi-pin Connectors Multi-pin connectors are usually found on high end audio interfaces and consoles, they are used as a balanced multi channel connection that saves space on the back of a piece of gear. Each pin on the connector is a discrete channel that carries audio or digital information from one point to another. Most guitarists and home recording enthusiasts won't run into these connections too often because they are mainly used in recording or live sound equipment that is very expensive. D-Sub/DB25: D-Sub is a family of connectors used on computer devices and comes in multiple pin configurations. The most common D-Sub connection is the one found on the back of VGA computer monitors. It is not uncommon for companies to use D-Sub to carry audio on high end peripherals because the connectors are common and relatively inexpensive. Elco/Edac: Elco and Edac (which in many cases are interchangeable) are large multi pin connectors that can have as many 120 pins. They can be heavy and have an actuating screw that holds the male and female connectors in place. TDIF: A proprietary type of 25 pin D-Sub that was created by Tascam. It is found on a wide variety of professional recording equipment as an alternative to the ADAT standard. Audio Kabel für Beginner Einführung: Dies ist ein Leitfaden zur Nutzung von Audio Kabeln, wie diese funktionieren und welche die gebräuchlichsten Arten sind. Hierunter finden Sie zwei Bücher, die das Thema Audio Kabel exzellent behandeln: (Achtung, Englisch) Wire, Cable, and Fiber Optics for Video & Audio Engineers von Stephen H. Lampen (1 Aug, 1997) http://www.amazon.com/Cable-Fiber-Optics-Video-Engineers/dp/0070381348/ref=lp_B001HO3HHQ_1_2?ie=UTF8&qid=1335303440&sr=1-2 Audio/Video Cable Installer's Pocket Guide (Pocket Reference) von Stephen H. Lampen (15 Jan, 2002) http://www.amazon.com/Audio-Video-Installers-Pocket-Reference/dp/0071386211/ref=sr_1_fkmr1_2?s=books&ie=UTF8&qid=1335303294&sr=1-2-fkmr1 Die Funktionsweise eines Audiokabels: Audiokabel versenden ein elektrisches Signal von einem Punkt zum anderen. Dies ist dem normalen Stromfluss wie aus der Steckdose Zuhause sehr ähnlich. Audiokabel benutzen jedoch sehr viel kleinere Spannungen als die Normale 230 Volt Steckdosen-Spannung. Elektrizität: Damit Elektrizität zwischen zwei Punkten fließen kann, braucht es zwei Dinge, einmal eine positive Leitung und eine neutrale Leitung. Wenn man beide hat kann nun ein elektrischer Kreis entstehen, der ein Signal vom Instrument an Ihren Verstärker, Ihren Mixer oder den Computer weiterleitet. Alle standart Audiokabel benutzen dieses Grundprinzip der Elektrik egal welcher Anschluss an das Ende angeschlossen ist. Dies geschieht, wenn Sie z.B. Ihre Gitarre an Ihren Verstärker mit einem 6.35mm Kabel anschließen oder wenn Sie Ihren DVD Player anhand eines RCA Steckers mit Ihrem Fernseher verbinden. Beide funktionieren genau auf diese Weise. Symmetrische und asymmetrische Audiokabel: Im Netz entstehen oft Verwirrung und ewige Erklärungen was das Thema symmetrisch und asymmetrisch angeht. Alles was Gitaristen und Aufnahme-Enthusiasten kennen müssen ist der grundlegende Unterschied zwischen beiden und was das bedeutet. Asymmetrische Kabel funktionieren genu so, wie bisher beschrieben. Im Gittarenkabel (6.35mm – ¼") gibt es somit die positive Leitung, die Spitze und die neutrale Leitung, den Schaft, der sich um die Leitung legt, die an die Spitze angeschlossen ist. Das Neutrale dient hier zwei verschiedenen Zwecken: Erstens dient es als neutrale Leitung um einen Stromfluss erst möglich zu machen und zweitens schützt es die positive, mittlere Leitung vor außenliegenden Interferenzen. Audio niedriger Impedanz: Der Mikrofon-Pegel liegt zwischen 48 und 52 Ω (3 Pin XLR Stecker und symmetrische Verbindungen) Audio höherer Impedanz (aber nicht hoch), für Mixer und andere verteilende Audiogeräte. Der Instrument-Pegel ist hier ca. 1000 Ω (genauer: zwischen 680 und 1800 Ω). (6.35mm Telefonstecker, TS ("tip"= Spitze "sleeve"= Schaft) asymmetrisch und TRS ("tip"= Spitze "ring"= Ring "sleeve"= Schaft) symmetrisch) Audio hoher Impedanz für Mixer, Schaltkreise, verteilende Verstärker oder andere verteilende Audiogeräte. Line-Pegel benötigt 1000 bis 10000 Ω. Also sind meine Gitarren Kabel und Pedale asymmetrisch? Ja, fast jedes Gitarren Equipment ist asymetrisch. Ist das schlecht? Nein... Asymmetrische Kabel sind anfällig für Interferenzen von Außen über lange Distanzen. Im Grunde, desdo länger das Kabel, desdo weniger effektiv ist der Schaft im Schützen des Kabels vor elektrischen Interferenzen. Zum Glück sind die meisten Gitarren- und Patchkabel relativ kurz, was bedeutet, dass es hier meist kein Problem gibt. Als Faustregel gilt: Das asymmetrische Kabel sollte nicht länger sein als 3 Meter sein, wenn Sie es in einem Raum oder auf der Bühne benutzten mit viel elektrischem Material in der Nähe. Wenn es länger ist kann es sein, dass Unerwünschtes wie Brummen, Rauschen und Krach auftaucht. Was bedeutet das für mich? Niemand will an seinen Verstärker gebunden sein, trotzdem sollten Sie versuchen das asymetrische Kabel unter 3 Metern Länge zu halten um möglichst wenig Krach zu erhalten und ein starkes Signal zu haben. (4,5m ist meist noch ok und 7.5m ist grenzwertig) In Aufnahmesituationen ist es meist in Ordnung asymetrische Kabel zu benutzen, wenn Sie aber kristallklaren Ton haben wollen versuchen Sie die Länge der Kabel unter 3 Metern zu halten. Außerdem sollten Sie auf asymetrische Verbindungen auf der Rückseite des Racks achten. Wenn ein asymmetrisches Kabel in der Nähe von so viel Material ist kann ein Rauschen entstehen. Symmetrische Kabel: Symmetrische Kabel benutzen immer noch den positiven und negativen Leiter um das elektrische Signal zu tragen aber hier wird ein drittes Element hinzugefügt: Die Masse. Die Masse geht durch das Kabel, in Ihr symmetrisches Gerät, durch die Wand, den Sicherungskasten und in den Boden. Bei symmetrischen Kabeln dient der Schaft als Masse. Die Masse trägt KEIN Signal und kann nicht im Ton gehört werden. Die Masse dient einzig und allein der Abschirmung vor ungewollten Geräuschen während positiv und neutral das Signal transportieren. Welche Geräte benutzen symmetrische Audiokabel? Mikrofone und Aufnahmegerät sind, oder sollten, in den meisten Fällen symmetrisch sein. Wenn ich ein symmetrisches Kabel mit meiner Gitarre benutzen, kann ich das Signal symmetrisch machen? Nein, das Gerät muss auch immer symmetrisch sein. Warum sind symmetrische Kabel so teuer? Symmetrische Kabel werden mit einem speziellen Verfahren hergestellt, das "Twisted Pairing" oder auch "Aderverdrillung".Dieses Verfahren ist teurer als die normale Herstellung wie bei asymmetrischen Kabeln. Wenn ich die Wahl habe symmetrische oder asymmetrische Kabel zu benutzen, welche benutze ich dann? In den meisten Fällen sollten Sie bei symmetrischen Geräten auch symmetrische Kabel benutzen. Wenn Sie aber mal unbedingt ein asymmetrisches Kabel benutzen müssen, ist das in Ordnung sofern es nicht zu lang ist und Sie kein unerwünschtes Krachen bekommen. Wie kann ich ein symmetrisches von einem asymmetrischen Kabel unterscheiden? Der technische Name für Gitarrenkabel ist TS, was für Tip (= Spitze), das Positive und Sleeve (= Schaft), das Neutrale steht. 6.35mm (1/4") Studio Kabel werden TRS gennant, für Tip (= Spitze), das Positive; Ring, das Neutrale und Sleeve (= Schaft), die Masse. TS Kabel haben einen Ring auf dem Stecker. TRS Kabel haben zwei Ringe. Kabel, die drei Zinken oder Beine haben, wie ein XLR Kabel, sind meist symmetrisch. Manche Kabel werden für sehr spezielle Routing Situationen hergestellt und haben drei Beine an einem Stecker und zwei am anderen. Diese sind immer noch asymmetrisch. Glossar der Kabel: Asymmetrisch: TS 6.35mm (1/4"): Dies ist ein standart 6.35mm Kabel wie bei Gitarren und anderen asymmetrischen Aufnahmegeräten. TS 3.5mm (1/8") Mini: Solch ein TS oder Mono Mini Stecker wird meist als Adapter benutzt. RCA oder Phono: RCA Anschmüsse werden meist bei Einsteiger Aufnahmegeräten verbaut. Außerdem kann man diese auf Verbrauchergeräten finden wie DVD Playern, Turntables oder alten Fernsehgeräten. Bananenstecker: Banenenanschlüsse werden meist bei Lautsprechern für den Endkonsumenten verbaut. Y-, Insertkabel: Ein Insertkabel teilt ein Stereo Signal in zwei Mono Signale und werden Y-Kabel genannt, da es diese Form hat. Symmetrisch: XLR: XLR Kabel werden meist für Mikrofone benutzt und werden so auch oft Mikrofonkabel genannt. TRS 6.3mm (1/4"): Das TRS ist ein symmetrisches Kabel, welches in Studios und bei Liveauftritten verwendet wird um Krachen und Rauschen über lange Distanzen zu minimieren. TRS 3.5mm Mini: Der 3.5mm "Mini" Stecker wird meist bei Kopfhörern oder anderen Konsumentenprodukten verwendet, wie z.B. Soundkarten. Tiny Telephone oder TT: Der TT Stecker wird als symmetrische Kabel für professionelle Patch-Panel verwendet. Digitale Anschlüsse: Die meisten digitalen Anschlüsse verwenden die gleichen Prinzipien wie die, die wir bereits behandelt haben, verwenden diese aber auf eine andere Art. Digitale Kabel senden Strom- oder Lichtimpulse, die von einem Computer entschlüsselt werden können. Bei digitalen Anschlüssen ist es sehr wichtig das korrekte Kabel zu verwenden. Impedanz oder Resistenz spielen bei diesen Kabeln eine große Rolle bei der Datenübertragung. Nur weil ein S/PDIF Kabel wie ein RCA Kabel aussieht, bedeutet das nicht, dass das RCA Kabel, welches man in einen DVD Player einsteckt auch eine P/PDIF Verbindung handhaben kann. S/PDIF: S/PDIF oder Sony/Phillips Digital Interface ist bei Weitem der gebräuchlichste Anschluss. Es benutzt einen 75 Ω, asymmetrischen RCA Stecker. ADAT Lightpipe: ADAT Lightpipe ist ein Audio Protokoll, welches als digitaler multikanal Standart für ADAT entwickelt wurde. Am häufigsten findet man diesen Anschluss bei digitalen Audioschnittstellen und Vorverstärkern. Diese Lichtleitanschlüsse kann man manchmal auch auf hochwertigen Verbraucher-Geräten als Audioanschluss finden. Lichtwellenkabel benutzen Lichtimpulse um Informationen zu versenden. Oftmals sind diese Kabel eher teuer und zerbrechlich und müssen daher mit Sorgfalt behandelt werden. AES/EBU: AES/EBU ist eigentlich der große Brider des S/PDIF Anschlusses. AES benutzt das selbe Protokoll wie der S/PDIF Anschluss, kann aber viel mehr Informationen gleichzeitig transportieren. AES/EBU sind symmetrisch und haben auch dementsprechende symmetrische XLR Stecker an beiden Enden. Wenn Sie ein einfaches XLR Kabel benutzen wollen brachen Sie eines des Typen 1 (in Bezug auf die Stiftordnung) bei 110 Ω. BNC oder Bayonet: Das BNC ist ein asymmetrisches Kabel, welches vorwiegend bei professionellen Video Anwendungen als Alternative zu RCA verwendet wird. Was Audio angeht, wird es meist als Träger für Wordclock Informationen verwendet. BNC hat einmal eine 50 Ω und eine 75 Ω Variation, die meisten Audiogeräte verwenden aber die 75 Ω Variante. Mehrpolige Stecker: Mehrpolige Stecker, bzw. Multi-Pin Stecker sind meist auf High-End Audio Schnittstellen und Konsolen zu sehen. Sie werden als symmetrische Multikanal-Verbindung benutzt, die Platz auf der Rückseite des Gerätes spart. Jeder Pin ist ein separater Kanal, der ein Audio Signal oder digitale Informationen trägt. Die meisten Gitaristen und Aufnahmeenthusiasten werden nicht sehr oft auf diese Art Stecker stoßen, da diese meist bei sehr teurem Aufnahme- und Live-Sound-Geräten verwendet werden. D-Sub/DB25: Die D-Sub Steckerfamilie wird oft bei Computern benutzt und kommt in verschiedensten Pin-Konfigurationen. Der gebräuchlichste D-Sub ist der VGA Stecker, den man auf der Rückseite vieler Computer Monitore finden kann. Der D-Sub Stecker wird oftmals verwendet, da die Stecker sehr weit verbreitet und relativ billig herzustellen sind. Elco/Edac: Elco und Edac (die meist untereinander austauschbar sind), sind große Multi-Pin Stecker, die bis zu 120 Pins beinhalten. Sie können sehr schwer werden und haben eine Schraube zum Einrasten, die das männliche und weibliche Ende zusammenhält. TDIF: Der TDIF Stecker ist eine Art D-Sub, aber mit 25 Pins. Er wurde von Tascam entwickelt. Dieser Anschluss wird oft auf porfessionellen Aufnahmegeräten als Alternative zum ADAT Standart verwendet. Câbles audio pour les débutants Introduction: Ce document explique les différents câbles audio, comment ils fonctionnent et quels sont les câbles les plus populaires. Les livres ci-dessous sont des références excellentes concernant ce sujet: (Anglais) Wire, Cable, and Fiber Optics for Video & Audio Engineers de Stephen H. Lampen (Aug 1, 1997) http://www.amazon.com/Cable-Fiber-Optics-Video-Engineers/dp/0070381348/ref=lp_B001HO3HHQ_1_2?ie=UTF8&qid=1335303440&sr=1-2 Audio/Video Cable Installer's Pocket Guide (Pocket Reference) de Stephen H. Lampen (Jan 15, 2002) http://www.amazon.com/Audio-Video-Installers-Pocket-Reference/dp/0071386211/ref=sr_1_fkmr1_2?s=books&ie=UTF8&qid=1335303294&sr=1-2-fkmr1 Fonctionnement du câble audio: Les câbles audio fonctionnent en envoyant des signaux électriques d'un endroit à un autre. Ceci est très similaire à la façon dont le courant électrique dans votre maison circule. Mais les câbles audio utilisent des tensions beaucoup plus faibles que la prise 230 volt générale. Électricité: Afin d'électricité de circuler entre deux points, vous avez besoin de deux choses: Un fil positive et un fil neutre. Ceci achève un circuit et permet un signal électrique de votre instrument à votre ampli, table de mixage ou ordinateur. Tous les câbles audio standard utilisent ce principe de base en électricité n'importe quel connecteur est fixée à l'extrémité. Tous ca arrivent si vous connectez votre guitare à un ampli avec un câble 6.35mm ou si vous connectez un lecteur DVD avec une TV avec une prise RCA. Les deux travaillent de la même façon. Câbles audio symétriques et asymétriques Il y en a beaucoup de confusion et explications longues concernant les différences entre les câbles symétrique et asymétrique. La plupart des guitaristes et enthousiastes d'enregistrement doivent seulement savoir que la différence de base électrique et ce que ca veut dire. Les câbles asymétriques fonctionnent exactement comme décrit ci-dessus. Dans un câble guitare, par exemple, il y en a un fil positif, la "pointe" et un fil neutre, le "manchon". Le neutre sert à deux choses: Fournir un conducteur neutre pour que l'électricité peut circuler et de protéger le fil de milieu positif de toute interférence extérieure. Audio d'impédance basse, ou sur "niveau microphone". De 48 à 52 Ω. (connexion XLR à 3 broches, lignes symétriques) Audio d'impédance plus haute (mais pas haute) pour les tables de mixage ou autres équipement audio de distribution. Le "niveau instrument" est environ 1 000 Ω (entre 680 et 1 800). Connecteurs jack 6.35mm, lignes TS asymétrique (jack 2 points) et TRS symétrique (jack 3 points). Audio d'impédance haute pour les tables de mixage, amplificateurs de distribution et autre audio distributive. Le niveau de ligne a besoin de 1 000 à 10 000 Ω. (connecteurs RCA, lignes asymétrique) Donc, mes câbles de guitare et pédale sont asymétriques? Oui, presque tout le matériel de guitare est asymétrique. Est-ce que c'est mauvais? Non. Les câbles asymétriques peuvent être vulnérables pour les interférences électriques sur longues distances. En général, si le câble est plus long, le manchon sera moins efficace à protéger le câble des interférences électriques externes. Heureusement, la plupart des câbles de guitare et câbles de raccordement sont normalement courtes donc ce n'est généralement pas un problème pour la plupart des musiciens. Règle générale: Si le câble est plus long que 3 mètres, et vous l'utilisez avec beaucoup de matériel électrique dans une chambre ou sur une scène, vous pouvez entendre bruits, bourdonnements ou rumeurs indésirables. Qu'est-ce que ca veut dire pour moi? Personne n'aime être "lié" à l'ampli mais essayez de na pas utiliser des câbles plus long que 3 mètres pour le signal plus fort et stable. (4,5m est normalement ok mais 7,5m sera habituellement trop de distance.) Dans les situations d'enregistrement, c'est bien d'utiliser des câbles asymétriques dans la plupart des cas mais si vous voulez du son limpide, essayez d'avoir des câbles sous 3m. Faites attentions aux connexions asymétriques en arrière du rack. Si vous avez beaucoup d'autre matériel près d'une connexion asymétrique peut causer des problèmes de bruit. Câbles symétriques Les câbles symétriques toujours utilisent un positive et neutre pour générer un signal électrique mais ils ajoutent un troisième élément: la terre électrique. La terre est appelé terre parce que elle va via le câble et votre matériel symétrique dans le mur, la boîte à fusibles dans la terre. Pour les câbles symétriques, le manchon est utilisé comme terre. La terre n'a aucun signal et ne peut pas être entendu dans l'audio. La terre protège seulement des bruits indésirables. Maintenant, la magique: Le positif et le neutre transportent le même signal, tous le son et les bruits…. Le matériel symétrique uniquement sortie la différence de tension entre les deux. Car le bruit est représenté également sur les deux, il est inversé et annulé. Ca veut dire que vous pouvez avoir centaines de mètres de câble symétrique et toujours avoir du audio sans bruit. Quel matériel utilise des câbles audio symétriques? Microphones et matériel d'enregistrement sont, ou devraient être symétriques. Si j'utilise un câble symétrique avec ma guitare, est-ce que je peux faire le signal symétrique? Non, le matériel vous utilisez doit être symétrique également. Pourquoi est-ce que les câbles symétriques sont si chers? Ces câbles sont produits de façon "paire torsadée", ce procès est plus cher que la production normale du câble asymétrique. Si j'ai la possibilité d'utiliser des câbles symétriques ou asymétriques, lequel dois-je utiliser? Dans la plupart des cas, si vous utilisez du matériel symétrique, vous devez utiliser des câbles symétriques. Mais si vous devez une fois utiliser un câble asymétrique, c'est bon à condition que le câble soit court et vous ne recevez pas du bruit indésirable. Comment est-ce qu'on fait la différence entre les câbles symétriques et asymétriques? Le nom technique des câbles guitare sera TS: "Tip" (pointe: positive) et "Sleeve" (manchon: neutre) Câbles studio 6.35mm seront des câbles TRS: "Tip" (pointe: positive), "Ring" (anneau: neutre) et "Sleeve" (manchon: terre) Les câbles TS ont un anneau sur le connecteur. Les câbles TRS ont deux anneaux. Les câbles avec trois dents, comme un câble XLR sont habituellement symétriques. Certains câbles sont produits pour des situations de routage bizarres. Ils ont trois broches à un connecteur et deux broches sur l'autre. Ces câbles sont asymétriques. Glossaire des câbles: Asymétriques: TS 6.35mm: C'est le câble standard pour les guitares et pour le matériel asymétrique d'enregistrement. TS 3.5mm Mini: Ce connecteur Mono ou TS est le plus souvent considéré comme un adaptateur. RCA ou Phono: Les connecteurs RCA sont vus principalement sur ​​l'équipement d'enregistrement d'entrée de gamme. Ces connecteurs sont également sur les produits de consommateur, comme le lecteur DVD, les plaques tournantes ou plus vieux télévisions. Fiche banane: Les fiches banane sont principalement utilisées pour les connexions des haut-parleurs du consommateur. Câbles Y, Insert: Le câble Y divise le signal stéréo dans deux parties mono. Symétriques: XLR: Le câble XLR est le câble la plus fréquente pour les microphones et est souvent désigné comme un "câble micro". Câble TRS 6.35mm: (Remarquez les deux anneaux autour de la partie supérieure du connecteur.) TRS est un câble 6.35 symétrique utilisé dans les studios et live pour minimiser les bruits sur longues distances. TRS 3.5mm Mini: Ce connecteur est souvent utilisé pour les écouteurs et autres appareils du consommateur comme les cartes de son. Tiny Telephone ou TT: Ce câble est une connexion symétrique pour les patchs professionnels. Connexions digitales: La plupart de connexions digitales utilisent les mêmes fonctions de base que nous avons déjà discutés; ces connexions seulement les utilisent dans une autre manière. Les câbles digitaux envoient des impulsions de courant ou lumière. Ce signal peut-être décodé de l'ordinateur. C'est très important d'utiliser le câble approprié pour les connexions digitales. L'impédance ou résistance jouent un rôle très important dans la façon dont cette information est envoyée. Juste parce qu'un câble S/PDIF ressemble à un câble RCA ne veut pas dire que le câble RCA peut traiter une connexion S/PDIF. Vous pourriez rencontrer des erreurs bizarres et de la distorsion numérique si vous utilisez un câble qui n'est pas correctement évalué. S/PDIF: S/PDIF ou Sony/Phillips Digital Interface est le câble le plus commun pour les connexions digitales. Ce câble utilise une connexion RCA Phono de 75 Ω. Câbles ADAT Lightpipe: ADAT Lightpipe est une norme digitale développé pour ADAT. Ils sont vu plus communs sur les interfaces audio digitales et sur préamplificateurs. Parfois, vous le pouvez trouver sur des appareils haut de gamme des consommateurs comme connexion audio. Ces câbles utilisent des impulsions de lumière pour envoyer des informations. Ces câbles ont tendance à être cher et fragile, donc: Manipuler avec précaution. AES/EBU: Câbles AES/EBU utilisent le même protocole comme le câble S/PDIF mais sais transporter plus d'informations en même temps. AES/EBU a des connecteurs symétriques XLR. Si vous voulez utiliser un câble XLR, veuillez vous assurer que c'est un Type 1 à 110 Ω. BNC ou Bayonet: BNC est une connexion asymétrique utilisée principalement en vidéo professionnel comme alternative pour RCA. Pour audio, ce câble est habituellement utilisé pour transporter des informations Wordclock. BNC est 50 Ω ou 75 Ω mais la plupart du matériel audio utilise la version 75 Ω. Connecteurs multibroches: Connecteurs multibroches se trouvent généralement sur les interfaces audio haut de gamme et sur consoles, ils sont utilisés come connexion multicanal symétrique qui économise de l'espace sur le dos d'une pièce d'équipement. Chaque broche est un canal séparé qui transporte des informations audio ou numérique d'un point à un autre. La plupart des guitaristes et enthousiastes d'enregistrement ne trouvent ces connexions très souvent. Ces connexions sont principalement utilisées dans les équipements d'enregistrement ou de son live qui est très cher. D-Sub/DB25: D-Sub est une famille des connecteurs utilisés pour les ordinateurs et est disponible dans multiples configurations des broches. La connexion la plus fréquent est laquelle trouvé sur le dos des moniteurs VGA. Ces connecteurs sont très répandu pour transporter des signaux audio parce qu'ils sont commun est bon marché. Elco/Edac: Elco et Edac sont des connecteurs multibroches larges qui peuvent avoir jusqu'à 120 broches. Ces connecteurs peuvent être très lourds et ont une vis pour attaché mâle et femelle. TDIF: Un type de D-Sub 25 broches qui ont été créé par Tascam. Ce connecteur se trouve sur une grande variété de matériel d'enregistrement professionnel en tant qu'alternative à la norme ADAT.

****If you recently purchased a Relay V75-SC Super Cardioid Microphone and that capsule does not have microphone models when placed on another XDV-75 handheld microphone body, then you will need to update the firmware on that handheld microphone to version 2.10. Instructions for updating Line 6 wireless systems can be found in other Knowledge Base articles.**** Range XD-V 70/75 systems are rated at 300 feet under ideal conditions and the XD-V30 systems are rated at a 100 foot range. This ‘Open Air Wireless Range’ also known as ‘Line of Sight’, meaning the transmitter’s antenna must have a clear path to the receiver’s antenna and be reasonably free of interference. For best performance ‘Line of Sight’ should be maintained between the receiver’s antennas and the transmitter’s antennas. Radio waves travel in straight lines and do not go around corners. Barriers such as walls can impede the path of radio waves depending on the thickness and the type of construction. RF will not transmit efficiently through metal barriers. If you have aluminum siding or a metal roof, it is unlikely the RF signal will transmit through this barrier with much efficiency. When using wireless systems indoors you could experience a moderate reduction in range compared to outdoors depending on conditions. RF will not transmit through the earth so if the receiver is placed in the basement, and the earth or ground is obstructing the line of sight transmission, it will not receive the direct signal. Human bodies also absorb RF energy and can affect maximum range so remember to place your antennas accordingly. Avoid cupping the bottom of the handheld mic as it will block the antenna resulting in a loss of range. Another significant reduction of range can be expected if the receiver antennas for the XD-V systems are very close to other intentional radiators in the same frequency band such as Wi-Fi wireless access points. Using the XD-V70 with remote paddle antennas and separating the antennas by several feet can be an effective way to mitigate this condition. Interference Q: What is the difference between Analog and Digital wireless systems handling of interference? A: Since the XD-V wireless system is digital, it is able to ‘intelligently’ ignore all signals that are not specifically intended for it. As a result, no audible interference can be generated due to other RF signals occurring simultaneously with the XD-V RF signals. Additionally, the XD-V system utilizes a frequency diversity system in which four different RF frequencies are transmitted for each single audio channel. Only if there are errors or loss of signal on all four RF frequencies within a single transmission packet will an XD-V system mute. Loss of RF signal can be the result of trying to function at too great a distance, having unintentional transmitters too close to a receiver (near/far), or a significant amount of close-by RF signals within the same 2.4GHz range (Wi-Fi, microwave ovens, etc.). In all cases, the symptoms will be the same: reduction of RF LEDs on the front panel that indicate usable RF signal strength, followed by the audio signal muting. Once good enough RF signal is received again, the signal will unmute. Put simply, all forms of potential interference for the XD-V system will have the net effect of reducing the total usable distance for the system. If your application does not require maximum range, then typically little concern about other radio signals is required. If you intend to use your system at a distance, it is recommended that you ‘walk test’ your system in advance of an event to verify that sufficient RF signal is available to avoid mutes from occurring over the entire desired range. Output Level Q: Why does the level change when I swap an XD-V digital wireless with my old wireless system? A: XD-V digital wireless are designed to be the same as a wired mic and are "unity" at the receiver's output relative to input to the transmitter. Most other wireless systems have gain stages that amplify the signal above the mic level itself. This means there is no relationship between the input level to the transmitter and the output level of the receiver. If the gain has been turned up on your old system then you will likely notice a drop in level when you hot-swap with an XD-V. This is a simple ‘gain-structure’ issue and is not a measure of sound quality. So if you hot-swap an XD-V wireless with the same mic as the model you have selected you will not need to make any changes to your gain structure. If you are replacing an older wireless unit that has gain added, you will need to balance the trim (gain) controls on your mixer inputs to accommodate the ‘unity mic level’ of the XD-V. This is why mixer inputs have gain adjustments ‘¦ so you can properly match mic preamp gain to the input source. Remember, XD-V digital wireless is mic level output only and must be plugged into a mic level input and not a line level input. If the trim controls are calibrated on your input strips a gain of 25-30 dB will probably be in the ballpark with an average vocalist. Frequency/Channels Q: What is different about the XD-V systems compared to the XDR-955? A: The XD-V30/XD-V70 systems use a higher frequency (2.4 GHz) and operate on 6 or 12 channels respectively, rather than 5. The XD-V channels numbers do not correspond to 802.11 Wi-Fi channels however. Q: Can the XDR-955 microphone be used with the XD-V systems? A: Both systems run in completely different frequency ranges so they are not inter-compatible, but X2 and XD-V units can be used on the same stage (along with any other analog wireless systems) with no problems. Q: Are the Relay G-series components compatible with the XD-V series components (or vice versa)? A: Because they both operate in the same 2.4 GHz frequency range, they are compatible. Q: Do the XD-V digital wireless systems share channels with the Relay systems? A: Both XD-V systems share their first 6 channels with the Relay G30. The XD-V70 shares all 12 of its channels with the Relay G50 and G90 models. A total of up to 14 systems can potentially be combined if the V70 firmware has been updated. Batteries and Power Supplies Q: Can I use rechargeable batteries? A: Yes, but the hours and minutes are calibrated to alkaline batteries. Different battery chemistries discharge at different rates, therefore the battery meter reading may be inaccurate when alkaline batteries are not used. The run time will be directly related to the current capability of the batteries. Some experimentation will be necessary to determine how they perform for you. Carbon Zinc batteries should not be used with XD-V wireless systems. Q: Why is the battery meter higher when I restart than when I shut off the transmitter? A: Line 6 2.4G wireless transmitters have a circuit that measures the actual real-time voltage of the installed batteries and transmits that data to the battery meters in the receivers. The battery meters are very accurate when they have been running continuously since new batteries were installed in the transmitter and the transmitter power has not been cycled on and off. However due to the chemical nature of Alkaline batteries, when they have been shut off, the voltage begins to ‘rebound ‘ and the voltage actually increases compared to its value at shutoff. Unfortunately it does not last long and it reverts to true self over twenty minutes or so. For this reason when you first turn on a Transmitter that has been run but allowed to rest the meter will give a high reading that quickly falls over the first few minutes and continues to fall quickly for the first few minutes. This is normal behavior for Alkaline batteries. Q: What's the battery life of XD-V digital wireless systems? A: Battery life depends on the current capacity of the batteries used. Typically AA alkaline batteries can provide about 2400 mAh and will provide about 8 hours of continuous use from two AA alkaline batteries when run on "high" power. Typically you will get 10 hours on the "low" power setting. Be aware of "alkaline rebound" when turning off the unit and turning it back on, as it may look like it has more power than it really has. Antenna Distro Q: Can the RX212 Receiver antennas be linked together? A: Up to 6 receivers can be daisy-chained together using the built-in antenna distro system. LMR-195 antenna cable is required for linking up multiple XD-V receivers. The last unit in the chain should be "terminated" (using the supplied term plugs) when linking receivers together. (Please see the Advanced User Guide). External Antennas Q: What type of antennas work with the XD-V70 receiver (RX212)? A: Line 6 offers both "omni"(P360) and "patch" (P180) directional paddle style antennas as options. http://store.line6.com/. These antennas have built-in line amps to accommodate long cable runs (up to 100' or more) depending on cable type. Antennas connect to Line 6 receivers with BNC connectors. LMR-195 cable (or better) should be used and the gain switch should be set to match the approximate loss of the cable. There are many specialty antennas made by third parties that may also be used. They must be specifically tuned for the 2.4GHz band. You must remember to take into account line loss when using passive antennas Mic Capsules for XD-V Handheld Transmitters Q: What mic capsules can be used with the XD-V handheld transmitters? A: XD-V Handheld transmitters have been designed to allow for the use of interchangeable capsules from 3rd party manufacturers such as Earthworks, Telefunken, Shure and others. However since there is no actual standard for compatibility there is some risk of unintended signal or mechanical issues. Users are advised to test specific combinations prior to purchase. Before replacing a capsule the power should be shut off. Simply screw on the desired capsule, then turn on the power. Mic modeling is bypassed (and not available) when using 3rd party capsules. Depending on the level of the capsule and the loudness of the person singing/speaking into it, the Environment filter may need to be switched ‘off’ if a gating sound occurs. Using Third Party Mics w/ Beltpacks Q: What is the pin-out for wiring to a TA4F connector? A: Pin 1 - Gnd Pin 2 - V+ Pin 3 - Signal Pin 4 - Z (leave open for instrument)(short to pin 3 for mic) For a normal, everyday, run-of-the-mill, Tip/Sleeve (TS) connector for a 1/4" instrument cable end,... the signal goes from 1/4" Tip to TA4F pin-3 (Signal), and 1/4" Sleeve goes to TA4F pin-1 (Gnd). Don’t worry about pins 2 and 4, those are used for Lavaliere Mic connections. Q: What mics work with the XD-V70 Beltpack Transmitter A: Questions often come up as to what mics are compatible with the system and how to adjust the gain to match other wireless systems. Line 6 XD-V70 beltpacks (TBP12) are essentially unity level devices meaning the output voltage of receiver essentially matches the input voltage of the transmitter. So it raises the question’¦ ‘match the level to what?’. Traditional systems are essentially a mic coupled with a preamp, not just a microphone alone. This may require thinking about your system in a new way. With traditional wireless systems that have limited dynamic range, gain and level control are essential if one hopes to have reasonable hiss free operation without excessive distortion. No gain or level matching is required when using XD-V wireless systems because of the XD-V’s wide dynamic range and compander free operation. So the system gain requirement is to have the speech or vocal input to the microphone present an appropriate level into the mic preamp so that the preamp can raise the voltage to be optimum into the next stage of the mixer. Gain is likely needed somewhere in this chain, but as long as the mic preamp has enough gain available there is no problem re-adjusting the input trim to do this. Just turn it up as much as needed. Just remember to plug the output of the XD-V into a ‘mic level’ input on the mixer as it is not intended to be used into a ‘line level’ input. In order to be able to certify a mic and being compatible one would have to know the distance from the user’s mouth and the level of their singing/speech. The sensitivity of both the Line 6 HS70 and the LM4-T lav mic is -46 dB, so using a mic that is approximately the same in sensitivity will result in a similar output voltage to the factory supplied mic. If a lower sensitivity mic were used with any traditional wireless system you would need to turn up the gain in the transmitter, receiver and/or the mixer. If the levels of these three controls are not in perfect sync with each other the result will be extra distortion or extra noise/hiss. With Line 6 XD-V is greatly simplified. Simply make adjustments at the mixer (in the same way as you work with a mic with a cable). Much less complicated (although it may be different than what a user is used to) it insures maximum headroom and far less chance to get it wrong. Just turn up the mixer, that’s why the knobs move. Remember, the relative position of a knob means almost nothing. The correct place is the correct place’¦ no matter where it occurs on the rotation. Examples: Shure® WL-185â„¢ lav is -45.5 dB WL-184â„¢ lav is -44.5 dB’¦ so these mics would be almost identical to The Line 6 LM4. WH30TQâ„¢ headset is -55 dB so it will need a 10 dB boost of the mic trim control on the mixer as compared to the LM4-T to have the same level. Countryman® E6 headsets come with different sensitivities and are specified per application. The E6ow5â„¢ is for general speaking and is the closest to our LM4 levels The E6ow6â„¢ is for strong speaking and singing The E6ow7â„¢ is for ‘powerful vocals’ and will seem very quiet if used for ‘normal speech’ as compared to our LM4-T. This would likely be a poor choice for general speech but could be the proper mic for a screaming singer. Countryman also provides caps to cover and further modify the mic element which can provide additional gain. Audio Technica® AT831 lav is -46 dB AT898 lav is -46 dB * Please double-check that the Audio Technica mic is a model equipped with the TA4F connector. You may need to special order a unit with the correct connection type or refit your existing cable end with the TA4F plug. DPA® 4066 omni headset is -44 dB 4061 omni lav is -44 dB 4060 high output omni lav is ‘“ 35 dB good with very quiet talkers or if the mic is some distance from the performer. Microphone sensitivity does affect the performance of the Environment Filter. If the sensitivity of the mic used is too low there may be audible artifacts. Depending on the situation it may be advisable to switch the filter to ‘off’. Racking V70/75 Receivers Q: How do I connect multiple receivers for rack mounting? A: The XD-V 70/75 half rack sized receivers can be locked together to become a single rack width using the supplied "dovetail key". When mounting a pair of receivers side by side, start with the dovetail inserted approximately half way in the side groove. Then start the second unit, from the front towards the rear and slide until they are closely aligned. A small tap with a mallet and block will align and secure the key in place and level the front faces. Use the short rack ear supplied with each receiver to complete the pair. Multiple rack pairs can be linked together by using dovetail keys in the top and bottom slots of a rack pair. When assembling more than a single pair it is recommended that the left ‘half’ and the right ‘half’ be assembled first and then the ‘halves’ joined together into the 19’ assembly. Wi-Fi Interference Q: Why does my Wi-Fi slow down when I get my transmitter near my computer? A: Because Wi-Fi and Line 6 2.4GHz wireless products share the same frequency band-space. Some users may experience a slowing down or even interruption of their Wi-Fi capabilities when using microphone or instrument transmitters in close proximity to their computers or routers. This is an example of a near/far interference problem and it may be intensified because consumer grade Wi-Fi typically has limited RF dynamic range. Using more XD-V channels operating at the same time will create more competition to Wi-Fi than a single channel would. If your Line 6 transmitter gets within 6 feet of your laptop you may witness this situation especially if your Wi-Fi access point is some distance away. Typically, simply moving your Line 6 transmitter farther away from your computer will remedy the situation. Users of Line 6 twelve channel systems can switch their transmitters to the ‘low power’ setting as this will mitigate the problem as well. If you are using the system outside the USA you can likely switch your Wi-Fi channels to 12, 13 or 14 depending on your location. The frequencies for these channels are outside the Line 6 2.4GHz frequencies. Likewise, switching Wi-Fi to 802.11n in the 5GHz band will avoid Line 6 wireless frequencies and double your potential Wi-Fi throughput. Suggested channels settings to avoid interfering with Wi-Fi. If your WiFi network utilizes the channel listed, use the channel # listed under the Line 6 wireless channel column. Troubleshooting Q: Why am I getting dropouts? A: Assuming no hardware issues, dropouts generally occur because of local conditions. Do I have clear line of sight? The transmitter antenna should be able to ‘see’ the receiver’s antennas. Is your audience blocking the line of sight? Raising antennas to 6-8 feet high will often fix this problem. Make sure you are not being blocked by obstacles such as metal posts, walls, etc. Are your antennas connected firmly and splayed at 90 degrees? If they are straight up and down you could fall victim to a dead zone. Are other XD-Vs operating on the same channel? Each system needs its own unique channel to operate on. Do you have the receiver’s antennas near any intentional transmitters such as walkie-talkies, In-Ear Monitors, etc? They will need to be separated. The distance will depend on the strength of the transmitter and the gain of the transmitting antenna. Are you using the factory power supply? If you are using a substitute supply you must make certain it can supply the required 9vdc at 350 ma. Q: Why is the signal so weak compared to other wireless systems? A: XD-V digital wireless systems have "mic level" outputs (both XLR and 1/4" jacks) and need to be connected in the same manner as wired microphones are and with similar gain/trim settings. Plugging into a "line level" input or a channel with pads engaged will result in a weak and likely noise signal. The preferred connection is with the XLR output on the receiver to an XLR input on the mixer. The 1/4" output is unbalanced and is included as a convenience for users plugging into instrument amplifiers. It is important to NOT use TRS plugs into this jack as the "ring" is used for system upgrades and carries digital information that could be "noisy" if it were connected to an audio input. Q: Why is the sound so "thin"? A: This may be caused by the "Environment Filter" is the signal is too weak, especially when using lav mics. Try turning the filter to the "off" position. Q: What does the Near/Far spec mean? A: The Near/Far interference problem is common to all radio systems and happens when a strong RF signal in the same band uses a large portion of the available gain in a receiver making it difficult or impossible for the receiver to decode the weaker signal. Imagine having a conversation in a quiet room with a person 20 feet away from you. It is likely that you can carry on a conversation with normal voice levels. Now if you move to a noisy environment, with lots of other voices right around your ears, it may be very difficult for the conversation to continue with your long distance friend without the both of you shouting. A similar circumstance occurs with radios, and since the long distance transmitter is incapable of increasing its power output, it is very likely a very near transmitter may interrupt it. In the real world, this is rarely an unmanageable problem. You should avoid having a transmitter closer than 3 feet to a receiver that is not on your channel if the intended transmitter is more than 50 feet from this receiver. If this is a regular requirement you should install remote paddle antennas (G90, XD-V70 series). The near/far spec for XD-V70 is 50’/3’ which means if another transmitter (even though it is on a different channel) gets within 3 feet of your channels antennas at the same time you get 50 feet away the system could be affected in a negative manner.. By increasing the distance between antennas (using the paddle antennas) or simply raising the units up higher, it will become far less a possibility. LED Codes Q: What do the different LED colors mean on the XD-V system components? XD-V70 System THH12 Handheld Transmitter: No LEDs (see owner’s manual for LCD screen info) TBP12 Beltpack Transmitter LED states: Blue LED = power/>1hr battery life Solid red LED = Low Flashing red LED = Very Low/Change batteries Audio LED = Green LED (indicates audio signal) RX212 Receiver: Audio Green LEDs = audio signal present Battery Green LEDs = full battery life Red LED = less than two hours remaining Flashing red = Very Low / Change batteries RF Transmitter on same channel as receiver: Green to indicate signal strength/quality: from 5 Green = Data excellent, interference low to 1 Green meaning Data minimal, may have significant interference. When transmitter is off, or set to different channel than receiver these LEDs show as follows: No LED = No data, no interference 1 Red = No data, some potential interference up to 5 Red = No data, high potential interference. XD-V30 System THH06 Handheld Transmitter LED states: Channel LEDs - Illuminates blue to show the current active channel THH06 is transmitting on. Channel 6 LED will illuminate red when battery life is low and blink red when very low (change batteries). TBP06 Beltpack Transmitter LED states: Audio Green LED = Audio Signal Orange = On power/channel change Battery Blue LED = power/>1hr battery life Solid Red LED = Low Charge Flashing Red LED = Very Low Charge Purple: On channel change RXT06 Receiver LED states 3 Green = Data excellent 2 Green = Data OK, may have some interference 1 Green = Data minimal, may have significant interference No LED = No data, no interference 1 Red = No data, some interference 2 Red = No data, more interference 3 Red = No data, high interference Q: Does USB 3.0 create interference in the 2.4GHz frequency range? A: USB 3.0 computer cables and peripherals, including hard drives, are known to emit radio frequency interference throughout the 2.4GHz band, which results in reduced range and/or performance for any 2.4GHz device in its proximity (including wireless keyboard or mouse, WiFi, etc.). We recommend placing any digital wireless receivers at least two meters away from the USB 3.0 device and its cabling. Below is a link to a study by Intel regarding this interference. http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html

Deutsch Français Q: Why is the battery meter higher when I restart than when I shut off the transmitter? A: Line 6 2.4G wireless transmitters have a circuit that measures the actual real-time voltage of the installed batteries and transmits that data to the battery meters in the receivers. The battery meters are very accurate when they have been running continuously since new batteries were installed in the transmitter and the transmitter power has not been cycled on and off. However due to the chemical nature of Alkaline batteries, when they have been shut off, the voltage begins to “rebound “ and the voltage actually increases compared to its value at shutoff. Unfortunately it does not last long and it reverts to true self over twenty minutes or so. For this reason when you first turn on a Transmitter that has been run but allowed to rest the meter will give a high reading that quickly falls over the first few minutes and continues to fall quickly for the first few minutes. This is normal behavior for Alkaline batteries. Q: Does USB 3.0 create interference in the 2.4GHz frequency range? A: USB 3.0 computer cables and peripherals, including hard drives, are known to emit radio frequency interference throughout the 2.4GHz band, which results in reduced range and/or performance for any 2.4GHz device in its proximity (including wireless keyboard or mouse, WiFi, etc.). We recommend placing any digital wireless receivers at least two meters away from the USB 3.0 device and its cabling. Below is a link to a study by Intel regarding this interference. http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html Q: Why does my wi-fi slow down when I get my transmitter near my computer? A: Because wi-fi and Line 6 2.4G wireless products share the same bandwidth some users may experience a slowing down of their wi-fi capabilities when using microphone or instrument transmitters near computers. This is an example of a near/far interference problem and it is heightened because consumer grade wi-fi has very low power. If your Line 6 transmitter gets within 6 feet of your laptop you may witness this situation especially if your wi-fi access point is some distance away. Typically simply moving your Line 6 transmitter farther away from your computer will remedy the situation. Users of Line 6 twelve channel systems should switch their transmitters to the “low power” setting as this will mitigate the problem as well. Suggested channels settings to avoid interfering with wi-fi: Q: What does the Near/Far spec mean to me? A: The Near/Far interference problem is common to most radio systems and happens when a strong signal captures a receiver making it difficult or impossible for the receiver to decode the weaker signal. Imagine having a conversation in a quiet room with a person 20 feet away from you. It is likely that you can carry on a conversation with normal voice levels. Now if you move to a noisy environment, with lots of other voices right around your ears it may be very difficult for the conversation to continue with your long distance friend without the both of you shouting. A similar circumstance occurs with radios and since the long distance transmitter is incapable of increasing its power output it is very likely a very near transmitter may interrupt it. In the real world this is rarely an unmanageable problem. You should avoid being closer than 3 feet to a receiver that is not on your channel if the intended transmitter is more than 50 feet from this receiver. If this is a regular requirement you will need to remote your antennas (G50, G90 XD-V70). FAQ zu 2.4GHz Wireless Warum ist die Batterianzeige höher wenn ich den Transmitter neustarte als wenn ich ihn abschalte? Line 6 2.4G Wireless Transmitter haben eine Schaltung integriert, welche die Spannung der installierten Batterien in Echtzeit misst und diese Daten dann an die Batterieanzeige im Empfänger sendet. Die Batterieanzeige ist dadurch sehr genau wenn das Gerät durchgehend gelaufen ist nachdem neue Batterien eingesteckt wurden und der Transmitter nicht abgeschaltet und neugestartet wurde. Aufgrund der chemischen Natur von Alkaline Batterien nimmt die Spannung jedoch ab wenn das Gerät abgeschaltet wird und übersteigt dann den Wert den sie hatte vor dem Abschalten. Leider hält dies nicht lange und springt wider auf Normal zurück nach ca. 20 Minuten. Wenn Sie also zum ersten Mal einen Transmitter anschalten der vorher gelaufen ist, wird Ihnen die Batterieanzeige eine hohe Anzhl ausgeben, die dann aber schnell wieder fällt innerhalb der nächsten Minuten. Das ist ganz normal für Alkaline Batterien. Entstehen Interferenzen durch USB 3.0 im 2,4GHz Frequenzbereich? USB 3.0 Computerkabel und –geräte sind dafür bekannt Interferenzen bei Radio Frequenzen im 2,4GHz Bereich zu erzeugen was zu verringerter Reichweite und Performance für alle 2.4GHz Geräte (inklusive kabellose Tastatur oder Maus sowie WiFi und viele andere) in der Nähe führen kann. Wir empfehlen alle digitalen Kabellosempfänger mindestens 2m von den USB 3.0 Geräten und deren Verkablung weit weg zu plazieren. Nachstehend können Sie einen Link zur Untersuchung von Intel über Interferenzen mit USB 3.0 finden: http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html Warum wird mein WiFi langsamer wenn ich meinen Transmitter in die Nähe des Computers bewege? Da sich WiFi, sowie Line 6 2.4G Wireless Produkte die selbe Bandbreite teilen kann es sein, dass das WiFi bei manchen Benutzern langsamer wird wenn Sie Mikrofone oder Instrument-Transmitter in der Nähe von Computer verwenden. Dies ist dann ein Beispiel für "Near/Far" (Nah/Weit) Interferenzen und wird noch bestärkt dadurch, dass WiFi Produkte für den Endverbraucher eine sehr schwache Signalstärke haben. Wenn Ihr Line 6 Gerät sich innerhalb der Reichweite von 2 Metern zu Ihrem Computer befindet, kann dieses Problem auftauchen, besonders dann, wenn der WiFi Zugriffspunkt ein wenig weiter entfernt steht. Normalerweise können Sie dann einfach den Line 6 Transmitter weiter weg platzieren, was Ihr Problem lösen sollte. Benutzer eines Line 6 Systems mit 12 Kanälen sollten Ihren transmitter auf "low power" stellen, was das Problem dann auch behebt. Empfohlene Kanaleinstellungen um Interferenzen zu vermeiden: Was genau heißt das Near/Far? Die Near/Far Interferenzen sind bei Funksignalen sehr verbreitet, da diese entstehen, sobald ein starkes Signal einen Empfänger sozusagen "einnimmt", was es sehr schwer macht für den Empfänger ein schwächeres Signal zu entschlüsseln. Stellen Sie sich einfach eine Konversation in einem ruhigen Raum vor. Sie sind 6 Meter von Ihrem Gesprächspartner entfernt und können sich eigentlich ohne die Lautstärke zu heben mit diesem unterhalten. Wenn Sie diese Konversation nun in eine laute Umgebung verlegen, in der viele Gespräche rund um Sie herum stattfinden, wird es sehr schwer sich zu unterhalten ohne anfangen zu müssen zu schreien. So ähnlich geschieht es mit dem Funksignel, da der Transmitter nicht die Möglichkeit hat seine Signalstärke zu erhöhen, kann es sehr gut sein, dass ein näherer transmitter dies unterbricht. In der Realität ist das Problem in den meisten Fällen schnell zu lösen. Sie sollten es vermeiden näher als 1 Meter zum Empfänger zu sein, der nicht auf Ihrem Kanal ist, wenn der Transmitter der eigentlich mit disem Empfänger verbunden sein soll sich weiter als 15 Meter von diesem befinden. Wenn das eine regelmäßige Anforderung für System sein sollten, müssen Sie wahrscheinlich Ihre Antennen verlängern. (G50, G90 XD-V70) 2,4GHz Wireless F.A.Q. Pourquoi est-ce que la jauge de batterie est plus haute si je redémarre que si j'éteins le transmetteur? Les transmetteurs sans fil 2,4GHz de Line 6 les émetteurs comportent un dispositif qui mesure la tension des piles en temps réel et transmet ces données aux jauges de batterie dans les récepteurs. Les jauges de batterie deviennent très précises si ils ont été en cours d'exécution sans interruption depuis nouvelles batteries ont été installées dans l'émetteur et si le transmetteur n'pas été éteints et allumé. Mais à cause de la naturel chimique des batteries Alcaline, si ils ont étés éteints, la tension commence à "rebondir" et la tension augmente en comparaison avec la valeur de tension pendant être éteint. Malheureusement, cela ne durera pas longtemps et il revient à la valeur vraie après plus ou moins vingt minutes. Pour cette raison, lorsque vous allumez un émetteur qui a été exécuté avant, l'appareil donnera une tension élevée qui tombe rapidement au cours des premières minutes et continue de diminuer rapidement au cours des prochaines minutes. Ce comportement est normal pour les batteries Alcalines. Est-ce que USB 3.0 crée des interférences dans la gamme de fréquences 2,4 GHz? Les câbles et périphériques USB 3.0 sont connus pour émettre des interférences de fréquence radio dans la bande 2,4 GHz, que cause une gamme et/ou performance des appareils 2.4 GHz réduite dans la proximité. (Y inclus sont les claviers ou souris sans fil, WiFi, etc.) Nous recommandons de placer le récepteur sans fil numérique au moins 2 mètres loin des appareils USB 3.0 et ses câbles. Voici un lien vers une étude réalisée par Intel au sujet de cette interférence: http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html Pourquoi est-ce que mon WiFi ralentit si je place mon émetteur près de mon ordinateur? WiFi et les produits sans fils Line 6 partagent la même bande passante, certains utilisateurs peuvent rencontrer un ralentissement de du WiFi à cause du placement du microphone ou des émetteurs d'instruments près ordinateurs. Ceci est un exemple d'un problème d'interférence "Near/Far" (près/loin) et est renforcé parce que les appareils WiFi consommateurs ont une puissance très faible. Si le transmetteur Line 6 est très proche (moins que 2 mètres) de votre ordinateur sans fil, vous pouvez rencontrer de cette situation, surtout si votre point d'accès WiFi est un peu plus loin. Normalement, si vous déplacer le transmetteur Line 6 plus loin de votre ordinateur, sa résous le problème. Les utilisateurs des systèmes Line 6 avec 12 canaux doivent mettre les émetteurs sur la configuration "low power". Ca résous le problème également. Configurations suggérés de canaux pour éviter des interférences WiFi: Qu'est-ce que le "Near/Far"? Le problème d'interférence Near/Far est commun pour les systèmes radio et se produit, si un signal fort capture un récepteur, s'est très difficile pour le récepteur de décoder le signal plus faible. Imaginez une conversation dans une chambre tranquille avec une personne 6 mètres plus loin. Il est probable que vous pouvez avoir une conversation avec des niveaux de voix normale. Si vous passez à un environnement plus bruyant, avec beaucoup de voix autour de vous, vos oreilles il peut être très difficile pour la conversation de continuer avec votre ami de longue distance sans crier. Un cas très similaire se produit pour les radios et puisque l'émetteur de longue distance est incapable d'augmenter sa puissance, probablement émetteur un très proche interrompre. En réalité, c'est principalement un problème résoluble. Vous devez éviter d'être plus proche qu'un mètre du récepteur qui n'est pas sur votre canal si l'émetteur destiné est plus loin que 15 mètres de ce récepteur. S'il s'agit d'une condition régulière, vous aurez besoin d'éloigner vos antennes. (G50, G90 XD-V70).

Q: Why did Line 6 create these Legacy forums? A: Line 6 will no longer be offering technical support for any products that are no longer manufactured and distributed. Because of this, we wanted to create a community where Legacy users can answer each other's questions, and also find all appropriate documentation for their products. Q: What does "Legacy" mean? A: Legacy is the term used by Line 6 to describe all products that are no longer manufactured, distributed, or supported by Line 6. Q: What if my Legacy product breaks down and needs repair? Can I still have it fixed? A: Yes. All of our authorized service centers still have access to all Legacy schematics and any available parts. However, depending on the failure, some parts may no longer be available. Please call your local Service Center for more details. Q: Will Line 6 still offer software support when it is used with a Legacy product? A: No. Technical support for software will not be offered by Line 6 when being used with a Legacy hardware device.

GearBox Plug-In license sales were halted upon the introduction of our POD Farm Version 1 Plug-In licenses back in the Fall of 2008. However, the GearBox software installer STILL contains the GearBox Plug-In file, because we still have end users who had purchased the GearBox Plug-In license prior to the Fall of 2008 who are still using said effect in their recording applications. If you are a new or recent user who has downloaded the GearBox 3.72 Installer and run this package, you will still see the GearBox Plug-In option appear in your recording program the next time you launch it, as most DAW's scan for new Plug-In files installed by default. If you wish to delete your GearBox Plug-In file (to avoid confusion), please remove the GearBox .dll file found in: Windows VST: C:\Program Files\Line6\VstPlugIns\Line 6 Windows RTAS: C:\Program Files\Common\Files\Digidesign\DAE\Plug-Ins\Line 6 Mac AU: Library > Audio > Plug-Ins > Components Mac RTAS: Library > Application Support > Digidesign > Plug-Ins > Line 6 Unless you purchased the optional GearBox license prior to the Fall of 2008, please note that only POD Farm and POD Farm 2 Plug-In licenses are available for purchase through our Line 6 Webstore.

These step-by-step instructions show how to install the necessary software to your Macintosh computer and properly connect your Line 6 device. This document will provide a great deal of information in terms of compatibility with your computer/audio hardware & software. Click on the hyperlinks to provide more information if you have questions on how to complete a step. 1: Create a Line 6 user account: Creating a Line 6 Account 2: Register your Line 6 device(s): Product Registration F.A.Q. Registering and Activating Line 6 Devices 3: Complete a support profile to provide Line 6 with a snapshot of your computer and overall setup: Create a support file This document assumes you have a reliable internet connection. Please see the following link if you have dial-up or satellite internet service: Unsupported Internet Connections: Satellite and Dial-up 4: See the following links MIDI and USB connectivity BEFORE installating your software or connecting your device: USB Connectivity with Line 6 Devices MIDI: Functionality, Control, and Connectivity with Line 6 devices 5: Optimize your computer to work with Line 6 gear by using the following information: Computer System Audio Optimization Downloading/Installing Software & Connecting Your Line 6 Device 6: See the following link for the hardware/sofware compatability chart to determine which software your device needs: Line 6 Software/Hardware Compatibility Chart Gearbox Installations: Please go the following link to download/install the Gearbox software installer, which also includes the Line 6 monkey intelligent updater and recent drivers for your Line 6 product. Gearbox installation Download GearBox 3.72 Release Notes & Known Issues POD Farm Installations: Please go the following link to download/install the POD Farm software installer, which also includes the Line 6 monkey intelligent updater and recent drivers for your Line 6 product. POD Farm 1.12 installation Download POD Farm 1.12: Release Notes and Known Issues POD Farm 2 Installations: Please go the following link to download/install the POD Farm 2.0 software installer, which also includes the Line 6 monkey intelligent updater and recent drivers for your Line 6 product. Please note that this is a paid upgrade that requires a license for many Line 6 products. POD Farm 2.5 installation Download POD Farm 2.5 Setup POD Farm 2.0 Upgrade Paths 7: See the following link for downloading and using Line 6 Monkey to install the drivers. The Line 6 Edit, Vyzex, Spider Edit, and Spider Valve Edit software programs require Line 6 Monkey to be downloaded separately and have the drivers manually installed. Line 6 Monkey Installation and F.A.Q. 8. Connect your Line 6 device and go through the driver installation described below: Mac: USB Device Driver Installation 9. If you unit has a USB port and you plan to use your Line 6 device as a sound card, see the following links for sound card configuration and connection: Mac: Setting External Sound Card Assigning your Line 6 Device as a Sound Card on your Mac Computer See the following links for more information on Line 6 Edit, Workbench, Vyzex, Spider Edit and Spider Valve Edit software. Please note that if you are using the Snow Leopard (10.6.x) operating system you will not be able to run Line 6 edit or Workbench, as these software programs depend on the Java 5 software that is unsupported by Snow Leopard. Line 6 Edit FAQs Video Tutorial: Downloading and Syncing Tones from Custom Tone with Line 6 Edit Java Errors with Line 6 Edit and Workbench Variax Workbench FAQs and v1.72 Release Notes/Known Issues Vyzex Editor Support Spider Edit FAQs Spider Valve Edit FAQs

These step-by-step instructions show how to install the necessary software to your Windows 7 computer and properly connect your Line 6 device. This document will provide a great deal of information in terms of compatibility with your computer/audio hardware & software. Click on the hyperlinks to provide more information if you have questions on how to complete a step. 1: Create a Line 6 user account: Creating a Line 6 Account 2: Register your Line 6 device(s): Product Registration F.A.Q. Registering and Activating Line 6 Devices 3: Complete a support profile to provide Line 6 with a snapshot of your computer and overall setup: Create a support file This document assumes you have a reliable internet connection. Please see the following link if you have dial-up or satellite internet service: Unsupported Internet Connections: Satellite and Dial-up 4: See the following links MIDI and USB connectivity BEFORE installating your software or connecting your device: USB Connectivity with Line 6 Devices MIDI: Functionality, Control, and Connectivity with Line 6 devices 5: Optimize your computer to work with Line 6 gear by using the following information: Computer System Audio Optimization Microsoft Vista, 7, and 8 Tweaks and Optimizations: Video Downloading, Installing Software & Connecting Your Line 6 Device 6: See the following link for the hardware/sofware compatability chart to determine which software your device needs: Line 6 Software/Hardware Compatibility Chart Gearbox Installations: Please go the following link to download/install the Gearbox software installer, which also includes the Line 6 monkey intelligent updater and recent drivers for your Line 6 product. Gearbox installation Download GearBox 3.72 Release Notes & Known Issues POD Farm Installations: Please go the following link to download/install the POD Farm software installer, which also includes the Line 6 monkey intelligent updater and recent drivers for your Line 6 product. POD Farm 1.12 installation Download POD Farm 1.12: Release Notes and Known Issues POD Farm 2/2.5 Installations: Please go the following link to download/install the POD Farm 2.5 software installer, which also includes the Line 6 monkey intelligent updater and recent drivers for your Line 6 product. Please note that this is a paid upgrade that requires a license for many Line 6 products. POD Farm 2.5 installation Download POD Farm 2.5 Setup POD Farm 2.0 Upgrade Paths 7: See the following link for downloading and using Line 6 Monkey to install the drivers. The Line 6 Edit, Vyzex, Spider Edit, and Spider Valve Edit software programs require Line 6 Monkey to be downloaded separately and have the drivers manually installed. Line 6 Monkey Installation and F.A.Q. 8. Connect your Line 6 device and go through the driver installation described below: Windows USB Device Driver Installation Video Tutorial: Installing Line 6 Drivers & Monkey to a Windows Vista System 9. If you unit has a USB port and you plan to use your Line 6 device as a sound card, see the following links for sound card configuration and connection: Setting up your Line 6 device as the External Sound Card on Windows Vista: Video Tutorial Assigning your Line 6 Device as a Sound Card on your Windows Vista Computer: Screen Shot Tutorial See the following links for more information on Line 6 Edit, Workbench, Vyzex, Spider Edit and Spider Valve Edit software: Line 6 Edit FAQs Video Tutorial: Downloading and Syncing Tones from Custom Tone with Line 6 Edit Java Errors with Line 6 Edit and Workbench Variax Workbench FAQs and v1.72 Release Notes/Known Issues Vyzex Editor Support Spider Edit FAQs Spider Valve Edit FAQs

These step-by-step instructions show how to install the necessary software to your Windows Vista computer and properly connect your Line 6 device. This document will also provide a great deal of information in terms of compatibility with your computer/audio hardware & software. Click on the hyperlinks to provide more information if you have questions on how to complete a step. 1: Create a Line 6 user account: Creating a Line 6 Account 2: Register your Line 6 device(s): Product Registration F.A.Q. Registering and Activating Line 6 Devices 3: Complete a support profile to provide Line 6 with a snapshot of your computer and overall setup: Create a support file This document assumes you have a reliable internet connection. Please see the following link if you have dial-up or satellite internet service: Unsupported Internet Connections: Satellite and Dial-up 4: See the following links MIDI and USB connectivity BEFORE installating your software or connecting your device: USB Connectivity with Line 6 Devices MIDI: Functionality, Control, and Connectivity with Line 6 devices 5: Optimize your computer to work with Line 6 gear by using the following information: Computer System Audio Optimization Microsoft Vista, 7, and 8 Tweaks and Optimizations: Video Downloading, Installing Software & Connecting Your Line 6 Device 6: See the following link for the hardware/sofware compatability chart to determine which software your device needs: Line 6 Software/Hardware Compatibility Chart Gearbox Installations: Please go the following link to download/install the Gearbox software installer, which also includes the Line 6 monkey intelligent updater and recent drivers for your Line 6 product. Gearbox installation Download GearBox 3.72 Release Notes & Known Issues POD Farm Installations: Please go the following link to download/install the POD Farm software installer, which also includes the Line 6 monkey intelligent updater and recent drivers for your Line 6 product. POD Farm 1.12 installation Download POD Farm 1.12: Release Notes and Known Issues POD Farm 2 Installations: Please go the following link to download/install the POD Farm 2.0 software installer, which also includes the Line 6 monkey intelligent updater and recent drivers for your Line 6 product. Please note that this is a paid upgrade that requires a license for many Line 6 products. POD Farm 2.5 installation Download POD Farm 2.5 Setup POD Farm 2.0 Upgrade Paths 7: See the following link for downloading and using Line 6 Monkey to install the drivers. The Line 6 Edit, Vyzex, Spider Edit, and Spider Valve Edit software programs require Line 6 Monkey to be downloaded separately and have the drivers manually installed. Line 6 Monkey Installation and F.A.Q. 8. Connect your Line 6 device and go through the driver installation described below: Windows USB Device Driver Installation Video Tutorial: Installing Line 6 Drivers & Monkey to a Windows Vista System 9. If you unit has a USB port and you plan to use your Line 6 device as a sound card, see the following links for sound card configuration and connection: Setting up your Line 6 device as the External Sound Card on Windows Vista: Video Tutorial Assigning your Line 6 Device as a Sound Card on your Windows Vista Computer: Screen Shot Tutorial See the following links for more information on Line 6 Edit, Workbench, Vyzex, Spider Edit and Spider Valve Edit software: Line 6 Edit FAQs Video Tutorial: Downloading and Syncing Tones from Custom Tone with Line 6 Edit Java Errors with Line 6 Edit and Workbench Variax Workbench FAQs and v1.72 Release Notes/Known Issues Vyzex Editor Support Spider Edit FAQs Spider Valve Edit FAQs

Q: I purchased model packs for my Line 6 device. If I upgrade to POD Farm 2 do I lose my model packs? A: As long as you purchase a Line 6 license key upgrade for POD Farm 2 then all of your previously purchased model packs will work within POD Farm 2. The only time this would not happen is if you purchased a "crossgrade" license key to POD Farm 2 iLok. Q: I purchased a Model Pack for my Line 6 audio interface and now I want to "crossgrade" to the iLok version of the plug in. Will I lose my model packs? A: If you "crossgrade" to the STANDARD POD Farm for iLok then yes. Model packs are not transferable from a Line 6 device over to an iLok key. However, you can purchase POD Farm 2 Platinum for iLok at a special "crossgrade" price. See the online store for details. Q: I purchased my POD Farm version 1 iLok key "Used/off of eBay" (basically NOT through the Line 6 Website Store or a Storefront/Dealer and had the key transferred to my account through Pace. Do I qualify for any upgrades or discount prices? A: No. Upgrades and discount pricing is only available to customers who purchased the POD Farm for iLok new from a dealer or through the Line 6 online store. Q: I purchased my Line 6 device used and there was a POD Farm version 1 license key tied to the device but not to my account. Do I qualify for any upgrade pricing or discounts on POD Farm 2? A: No. Upgrades and discount pricing is only available to customers who purchased the POD Farm Line 6 licenses new from the Line 6 online store. Q: Do I have to purchase a Line 6 license key to use POD Farm 2 as a standalone application for Tone Direct Monitoring? A: Yes. Unlike POD Farm version 1, which you can use in standalone mode for free without purchasing a key, you will need to purchase a Line 6 license key from our Online Store in order to use POD Farm 2 as a standalone application. Q: Will POD Farm 2 run in Standalone Mode with a iLok POD Farm 2 license key? A: No. The behavior is no different than that of POD Farm 1.x Plug-In effect with iLok licenses. It runs only as an AU/VST/RTAS Plug-In effect within a support host DAW application. Q: Will POD Farm 2 run in Standalone Mode with a PODxt or POD X3 (Bean, Live or Pro model) with a license installed in this device? A: No. The correct Standalone patch editing software for PODxt and POD X3 devices is GearBox (currently at version 3.72). Q: Will POD Farm 2 tones load into Gearbox to put on my POD xt/X3 hardware? A: No, POD Farm 2 tones will not load into the Gearbox software.

Preset Artist/Recording/Product/Style 1A: Slaptastic Slap-Bass style 1B: Motorcity Motown bass style 1C: Rock-It Rock bass style 1D: Dr. Moog based on* the Moog® Synth style 2A: Why Can't based on* the recording “Why Can’t This be Love” 2B: Happy Dub Dub music sound 2C: S-C-R-E-A-M-O Screamo music style 2D: Phat Farm No Artist/style 3A: Rotten Apple based on* the style of the band Alice in Chains 3B: It's Love based on* the style of the band King’s X 3C: Dogman based on* the style of the band King’s X 3D: Trousers No Artist/style 4A: Super Bass based on* the Marshall® Super Bass 4B: Feeling Down No Artist/style 4C: Under Pants No Artist/style 4D: Sub Divisions based on* the style of the band Rush® 5A: Garden Of based on* the Eden® amp model 5B: Rock Master Rock bass style 5C: The Big O No Artist/style 5D:Live – Wols No Artist/style 6A: Pat-A-Tussy based on* the style of John Patitucci 6B: Frankenstein based on* the style of Edgar Winter 6C: On The Cob based on* the style of the band Korn® 6D: Obie One No Artist/style 7A: Deep & Defined Rock bass style 7B: Hair of the Dog based on* the style of the band Nazareth® 7C: Sabotage based on* the style of the band Beastie Boys® 7D: Dark Waters No Artist/style 8A: The Real Deal based on* the Ampeg® B-15 fliptop 8B: Sub-Fuzz 9000 No Artist/style 8C: My Suhgah based on* the style of the band Meshuggah 8D: Von Prog No Artist/style 9A: In The Groove No Artist/style 9B: Funk-O-Rama Slap-bass style 9C: Lazer Guided No Artist/style 9D: Atomic Dog No Artist/style * The artist, recording, and product names used herein are in no way associated or affiliated with Line 6. These names are used solely to identify the artists, recordings, and products that were studied during Line 6’s tone preset development. Moog is a registered trademark of Moog Music, Inc. Marshall is a registered trademark of Marshall Amplification Plc. Rush is a registered trademark of Rush Productions. Eden is a registered trademark of U.S. Music Corporation. Korn is a registered trademark of The Korn Partnership. Nazareth is a registered trademark of Dan McCafferty and Peter Agnew. Beastie Boys is a registered trademark of Beastie Boys Michael Diamond, Adam Horowitz and Adam Yauch. Ampeg is a registered trademark of Loud Technologies, Inc.

Deutsch Français Q: Can I use multiple transmitters with 1 receiver? A: Yes, you can use multiple transmitters with 1 receiver, however not at the same time on the same channel. The best practice for that type of usage is to have Transmitter A on channel 1 and Transmitter B on channel 2. Then switching the channel on your receiver from channel 1 to channel 2 will toggle which transmitter you will be hearing. You can do this with as many receivers as you have channels, provided each transmitter is on a different channel and you change the channel on your receiver accordingly. You can also set multiple transmitters to one channel, and turn them all off except for the one you'd be using. This way, when you switch instruments, you'd turn off transmitter A on the first instrument, then pick up the next instrument and turn on transmitter B. Just be sure that no one else using a Line 6 wireless system is using the same channel. Q: Does USB 3.0 create interference in the 2.4GHz frequency range? A: USB 3.0 computer cables and peripherals, including hard drives, are known to emit radio frequency interference throughout the 2.4GHz band, which results in reduced range and/or performance for any 2.4GHz device in its proximity (including wireless keyboard or mouse, WiFi, etc.). We recommend placing any digital wireless receivers at least two meters away from the USB 3.0 device and its cabling. Below is a link to a study by Intel regarding this interference. http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html Suggested channels settings to avoid interfering with Wi-Fi. If your wifi network utilizes the channel listed, use the channel # listed under the Line 6 wireless channel column. Q: Are all Line 6 wireless transmitters and receivers interchangable? A: Yes, any Line 6 brand wireless transmitter or microphone will work with any Line 6 receiver. It does not matter if they are XD-V or Relay systems, you can mix and match receivers with transmitters and they will work as long as the transmitter and receiver correspond to the same channel. Q: Is the Relay G5/G90 transmitter compatible with the X2 receiver (or vice versa)? A: Both systems run in completely different frequency ranges, so they are not interchangeable. However, the X2 and Relay units can be used on the same stage (along with any other analog wireless systems) with no problems. Q: Where do I get a Relay G50/G90 Series Wireless System? A: The Relay G50/G90 wireless units are available at all authorized Line 6 dealers. To locate a dealer near you, please see the Line 6 Dealer Finder: Line 6 Dealer Finder Q: Where can I purchase replacement Relay G50 transmitters (TBP12) or receivers (RXS12)? A: Individual transmitters and receivers can be ordered from any Line 6 dealer. Q: What are the specs on the provided Relay G50 Series power supply? A: 9V DC, 500mA, center pin negative (2.1mm). See the following link for more power supply FAQs: Power Supply and Amp Power F.A.Q. Q: How is the Relay G90 receiver powered? A: The Relay G90 uses a standard IEC power cable. Q: Can I use a Voodoo Lab Pedal Power Plus 2 to power the Relay G50 receiver? A: Yes, but you will need to use the Voodoo lab "current doubler" cable and you will need to use outputs 5 & 6 of the Pedal Power Plus away from "normal" position. VooDoo model PPAP. Q: What type of cable do I need between my guitar & Relay TBP12 transmitter? A: The Relay G50/G90 Transmitter (TBP12) uses a TA4F to 1/4" cable. Q: What is the pin-out for wiring to a TA4F connector? A: Pin 1 - Gnd Pin 2 - V+ Pin 3 - Signal Pin 4 - Z (leave open for instrument)(short to pin 3 for mic) For a normal, everyday, run-of-the-mill, Tip/Sleeve (TS) connector for a 1/4" instrument cable end,... the signal goes from 1/4" Tip to TA4F pin-3 (Signal), and 1/4" Sleeve goes to TA4F pin-1 (Gnd). Don’t worry about pins 2 and 4, those are used for Lavaliere Mic connections. Q: How many channels does the G50/G90 have?? Do they share channels with the G30 system? A: The G50/G90 have 12 channels, which share the first 6 channels with the G30. Q: Can I use the TBP12 from a G50 to transmit to a G90 or G30 (or vice versa?) A: Yes. All 2.4gHz Line 6 transmitters work with all Line 6 2.4gHz receivers to the lowest limitation, channel count, features, etc. Q: What type of antennas work with the G50 and G90? G50: 1/4 wave antennas, BNC-type connectors; detachable. G90: 1/2 wave antennas. The antennas can be detached but RG58-50 ohm radio wire connection is required. Be sure the antennas are not inside a metal case or touching any metal and get your antennas as high as possible. Q: How long does the pair of AA batteries in the transmitter typically last? A: 8 hours on high power & 11 hours on low power. If you leave the transmitter cable plugged but turn the power off on the transmitter, there is no battery draw. Q: How does the battery meter work? A: The battery meter displays 20 minute increments. Be aware of "alkaline rebound" when turning off the unit and turning it back on, as it may look like it has more power than it really has. Q: Can I use rechargeable batteries? A: Yes, but the hours and minutes are calibrated to alkaline batteries so the power reading may be inaccurate. Some rechargables while labeled AA are not true AA size and will not work. Q: What is the difference between the main output and the tuner output? A: The only difference is the tuner output still works when the transmitter is muted. Q: What is different about the Relay G50/G90 system compared to the X2 series? A: The Relay system works on a higher frequency (2.4 Ghz) and operates on 12 channels rather than 5. Q: Can the RXR12 Receiver antennas be linked together? A: Up to 6 receivers can be daisy-chained together. The last unit in the chain should be "terminated" when linking receivers together. Q: I'm a harmonica player and would like to use the G30 with a bullet microphone (high impedance and high output). Its output peaks at approximately 3V to 4V. Will there be clipping or distortion of the output? A: No problem with either impedance or input level. The Relay transmitters (TBP06 and TBP12) will handle 6V inputs. Q: What does the red audio LED mean on the G50 receiver? A: It means the incoming signal is clipping. This will not produce an audio dropout unless the red LED is on for a few seconds. This state will not damage the receiver. Q: How do I register my Relay G50/G90 System? Line 6 Product Registration F.A.Q. Q: What do the different colors states mean on the TBP12 transmitter? TBP12 LED States: Blue LED = full Solid red LED = Low Flashing red LED = Very Low / Change batteries Audio LED - Green LED = Audio Signal F.A.Q. zur Relay G50/G90 Serie Kann ich mehrere Sender mit einem Empfänger verwenden? Ja, aber nicht gleichzeitig auf den selben Kanälen. Für diese Nutzung schalten Sie am besten Sender A auf Kanal 1 und Sender B auf Kanal 2. Wenn Sie dann auf dem Empfänger von Kanal 1 auf 2 wechseln, wechseln Sie den Sender, den Sie hören. Sie können das mit sovielen Empfängern machen, wie Sie Kanäle zur Verfügung haben, solange Sie die Sender alle auf verschiedenen Kanälen haben und den Kanal des Empfängers demnach anpassen. Sie können auch mehrere Sender auf den selben Kanal stellen und dann alle abschalten, mit Ausnahme von dem, den Sie verwenden möchten. So können Sie Instrumente wechseln indem Sie einfach den Sender des Instrumentes A abschalten und einfach den Sender des Instrumentes B einschalten. Stellen Sie aber sicher, dass keine anderen ein Line 6 Wireless System im selben Kanal wie Sie verwenden. Entstehen Interferenzen durch USB 3.0 im 2,4GHz Frequenzbereich? USB 3.0 Computerkabel und –geräte sind dafür bekannt Interferenzen bei Radio Frequenzen im 2,4GHz Bereich zu erzeugen was zu verringerter Reichweite und Performance für alle 2.4GHz Geräte (inklusive kabellose Tastatur oder Maus sowie WiFi und viele andere) in der Nähe führen kann. Wir empfehlen alle digitalen Kabellosempfänger mindestens 2m von den USB 3.0 Geräten und deren Verkablung weit weg zu plazieren. Nachstehend können Sie einen Link zur Untersuchung von Intel über Interferenzen mit USB 3.0 finden: http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html Sind alle Line 6 Wireless Sender untereinander austauschbar? Ja, alle kabellosen Line 6 Sender oder Mikrofone funktionieren mit jedem Line 6 Empfänger. Es macht keinen Unterschied ob diese XD-V oder Relay Systeme sind. Sie können Empfänger und Sender mischen wie Sie wollen und dies wird funktionieren solange Sender und Empfänger den gleichen Kanal haben. Ist der Relay G50/G90 Sender kompatibel mit dem X2 Empfänger? (oder andersrum) Beide Systeme laufen auf vollkommen unterschiedlichen Frequenzbereichen und sind somit nicht kompatibel. Sie können jedoch zusammen auf der selben Bühne verwendet werden. (zusammen mit anderen analogen, kabellosen Systemen) Woher bekomme ich ein Relay G50/G90 System? Die Relay G50 und G90 Systeme sind bei allen autorisierten Line 6 Händlern erhältlich. Um einen Händler in Ihrer Nähe zu finden, klicken Sie folgenden Link an: Line 6 Dealer Finder Wo kann ich Relay G50 Ersatzsender (TBP12) und –empfänger (RXS12) kaufen? Einzelne Sender oder Empfänger können Sie bei Ihrem Line 6 Händler bestellen. Was sind die technischen Daten des Netzteils für die Relay G50 Serie? 9V Gleichstrom, 500mA, negativer Zentralpin (2.1mm). Klicken Sie folgen Link um weitere Informationen bezüglich Netzteilen zu erhalten: Power Supply and Amp Power F.A.Q. Wie sieht die Stromversorgung des G90 Empfängers aus? Das Relay G90 benutzt ein standart IEC Stromkabel. Kann ich ein Voodoo Lab Pedal Power Plus 2 benutzten um den Relay G50 Empfänger zu betreiben? Ja, aber dazu brauchen Sie ein Voodoo Lab "doubler" Kabel und Sie müssen die Ausgänge 5 und 6 des Pedal Power Plus verwenden, die auf "normal" eingestellt sind. Klicken Sie auf den folgenden Link um mehr Informationen über "doubler" Kabbel von Voodoo Labs zu erhalten: Voodoo Lab Kabel Welche Art Kabel brauche ich für die Verbindung zwischen Gitarre und Relay TBP12 Sender? Der Relay G50/G90 Sender (TBP12) verwendet ein TA4f zu ¼" (6.35mm) Kabel. Wie sieht die Pinbelegung für einen TA4F Stecker aus? Pin 1: Masse. Pin 2: Postiv. Pin 3: Signal. Pin 4: Z (Nicht anschließen bei Instrument) (Kurzschließen mit Pin 3 für Mikrofon) Wieviele Kanäle hat das G50/G90? Teilen sie sich Kanäle mit dem G30 System? Die G50/G90 Systeme haben 12 Kanäle und sie teilen sich die ersten 6 mit dem G30. Kann ich das TBP12 eines G50 verwenden um an einen G90 oder G30 zu senden? (oder andersrum?) Ja. Alle 2.4GHz Line 6 Sender funtionieren mit 2.4GHz Line 6 Empfängern. Welche Antennen funktionieren mit den G50 und G90? G50: Viertelwellen-Antennen, BNC Stecker; abnehmbar. G90: Halbwellen-Antennen. Die Antennen könne abgenommen werden, dann ist aber eine RG58-50Ohm Funkverkablung notwendig. Stellen Sie sicher, dass die Antennen sich nicht innerhalb einer Metallkiste befinden oder Metall berühren. Stellen Sie die Antennen imemr so hoch wie möglich auf. Wie lange hält ein Paar AA Batterien in einem Sender? 8 Stunden auf High Power und 11 Stunden auf Low Power Einstellung. Wenn Sie das Kabel des Senders stecken lassen während der Sender ausgeschaltet ist, dann wird kein Strom verbraucht. Wie funktioniert die Batterieanzeige? Die Batterieanzeige aktualisiert in 20 Minuten-Intervallen. Achtung bei Alkaline Batterien kann es sein, dass Ihnen eine falsche batteriemenge angezigt wird nachdem Sie das Gerät abgeschaltet haben und wieder einschalten. Dies ist ein bekanntes Problem mit Alkaline Batterien. Kann ich aufladbare Batterien verwenden? Ja, aber die Stunden/Minuten-Anzeige ist für Alkaline Batterien konfiguriert und wird so ungenau. Manche aufladbaren Batterien, auf denen AA steht sind nicht in Wirklichkeit AA Batterien und passen somit nicht. Was ist der Unterschied zwischen Main Ausgang und Tuner Ausgang? Der einzige Unterschied ist, dass der Tuner Ausgang auch dann weiterläuft, wenn der Sender stumm geschaltet ist. Was ist der Unterschied zwischen G50/G90 und X2 Serie? Das Relay System läuft auf höherer Frequenz (2.4GHz) und 12 Kanälen anstelle von 5. Können RXR12 Empfänger Antennen verbunden werden? Ja, bis zu 6 Empfänger können in eine Kette geschaltet werden. Die letzte Einheit der Kette muss einen Abschlusswiderstand angeschlossen haben. Ich bin ein Harmonikaspieler und würde gerne das G50 mit einem Kugelmikrofon benutzen (hohe Impedanz und Ausgang). Der Ausgang befindet sich da höchstens bei ca. 3V oder 4V. Wird dies zu Übersteuerung oder Verzerrung am Asugang führen? Nein, weder Impadanz noch Eingangspegel sind hier ein Problem. Die Relay Transmitter (TBP06 und TBP12) kommen mit Eingängen von bis zu 6V klar. Wie kann ich mein G50/G90 System registrieren? Line 6 Product Registration F.A.Q. Was bedeuten die verschiedenen LED Zustände des TBP12? Blaues LED: Batterie voll. Durchgehend leuchtendes rotes LED: Batterie schwach. Blinkendes rotes LED: Batterie fast leer, bitte ersetzen. Audio LED – Grünes LED: Audio Signal vorhanden. F.A.Q.: Les séries Relay G50 et G90 Est-ce que je peux utiliser plusieurs émetteurs avec 1 récepteur? Oui, mais vous ne les pouvez pas utiliser en même temps sur le même canal. Le plus simple est de mettre transmetteur A sur canal 1 et transmetteur B sur canal 2. Si vous changez le canal sur le récepteur, de canal 1 sur canal 2, ca aussi change quel transmetteur vous pouvez entendre. Vous pouvez faire ca avec autant de récepteurs que vous avez canaux. Chaque transmetteur doit avoir un canal différent et vous changez le canal sur l'émetteur. Vous pouvez également mettre plusieurs transmetteurs sur le même canal et éteindre tous sauf pour l'un que vous voulez utiliser. Comme-ca, si vous changez les instruments, vous pouvez éteindre transmetteur A sur le premier instrument et allumer le transmetteur B du deuxième instrument. Attention, vérifiez que personne n'est en train d'utiliser des appareils Line 6 sur le même canal que vous. Est-ce que USB 3.0 crée des interférences dans la gamme de fréquences 2,4 GHz? Les câbles et périphériques USB 3.0 sont connus pour émettre des interférences de fréquence radio dans la bande 2,4 GHz, que cause une gamme et/ou performance des appareils 2.4 GHz réduite dans la proximité. (Y inclus sont les claviers ou souris sans fil, WiFi, etc.) Nous recommandons de placer le récepteur sans fil numérique au moins 2 mètres loin des appareils USB 3.0 et ses câbles. Voici un lien vers une étude réalisée par Intel au sujet de cette interférence: http://www.intel.com/content/www/us/en/io/universal-serial-bus/usb3-frequency-interference-paper.html Est-ce que tous les transmetteurs et émetteurs Line 6 sans fil sont interchangeables? Oui, tous les transmetteurs et microphones sans fil de Line 6 fonctionnent avec des récepteurs Line 6. Si vous utilisez des systèmes XD-V or Relay, ce n'est aucun problème. Vous pouvez mélanger tous les récepteurs avec les transmetteurs et ca fonctionne à condition qu'ils correspondent au même canal. Est-ce que le transmetteur Relay G50/G90 est compatible avec le récepteur X2 (ou inversement)? Les deux systèmes travaillent en différents gammes de fréquence, donc ils ne sont pas interchangeables. Les appareils X2 et Relay peuvent être utilisés sur la même scène sans problème. (Ainsi que tous les autres systèmes sans fil analogiques) Où est-ce que je peux acheter les systèmes sans fil G50/G90? Vous les pouvez commander de n'importe quel distributeur autorisé. Où est-ce que je peux acheter des transmetteurs G50 (TBP12) ou récepteurs (RXS12) de remplacement? Transmetteurs et récepteurs individuels peuvent être commandés à partir de n'importe quel revendeur Line 6. Quels sont les spécifications d'alimentation Relay G50? 9V CC, 500mA, pin central négatif (2.1mm). Visitez le lien suivant pour plus d'informations concernant les alimentations: Power Supply and Amp Power F.A.Q. Comment est-ce que le récepteur G90 est allumé? Le Relay utilise un câble d'alimentation standard IEC. Est-ce que je peux utiliser un Voodoo Lab Pedal Power Plus 2 pour allumer le récepteur Relay G30? Oui mais vous devez utiliser le câble Voodoo Lab "doubler" et les deux sorties 5 et 6 du Pedal Power Plus sur la position "normal". Visitez le lien suivant pour plus d'informations sur les câbles "doubler" disponibles de Voodoo Lab: Câbles Voodoo Lab Quel câble est-ce que j'ai besoin pour la connexion guitar – transmetteur Relay TBP12? Le transmetteur Relay G50/G90 (TBP12) utilise un câble TA4f à ¼" (6.35mm). Quelle est le brochage pour câbler le connecteur TA4F? Broche 1 – Terre. Broche 2 – V+ Broche 3 – Signal Broche 4 – Z (laissez ouvert pour l'instrument)(court avec broche 3 pour connexion avec mirco) Combien de canaux est-ce que le G50/G90 a? Est-ce qu'ils partagent les canaux avec le système G30? Les G50/G90 ont 12 canaux et partagent les premières 6 avec le G30. Est-ce que je peux utiliser le TBP12 du G50 pour transmettre à un G90 ou G30? (ou inversement?) Oui, tous les transmetteurs Line 6 2.4GHz fonctionnent avec tous les récepteurs Line 6 2.4GHz. Quelles antennes fonctionnent avec le G50 et G90? G50: Antennes quart d'onde, connecteurs BNC détachables. G90: Antennes demi-onde. Les antennes peuvent-êtres détachés mais une connexion RG58-50 Ohm est nécessaire. Assurez-vous que les antennes ne sont pas dans un boîtier métallique ou touchent un métal. Mettez les antennes le plus haut possible. Combien de temps dure la paire de piles AA dans l'émetteur? 8 heures sur configuration "High Power" et 11 heures sur "Low Power". Si vous laissez le câble branché mais vous éteignez l'émetteur, il n'ya pas de vidange de la batterie. Comment est-ce que la jauge de batterie fonctionne? La jauge de batterie affiche des incréments de 20 minutes. Parfois, la jauge peut vous indiquer plus de batterie qu'en réalité disponible. C'est un problème connu avec les batteries alcalines. Est-ce que je peux utiliser des batteries rechargeables? Oui, mais les heurs et minutes sont calculés à partir des batteries alcalines, donc peuvent êtres inexactes. Quelques batteries rechargeables Certains rechargeables tandis étiquetées AA ne sont pas vraies AA et ne fonctionneront pas. Quelle est la différence entre la sortie Main et la sortie Tuner? La sortie Tuner fonctionne si le transmetteur est mis en sourdine. Quelle est la différence entre les systèmes G50/G90 et la série X2? Le Relay fonctionne sur la fréquence plus haute de 2.4GHz avec 12 canaux plutôt que 5. Est-ce que les antennes de récepteur RXR12 peuvent-être reliées? Jusqu'à 6 récepteurs peuvent être chaînés. Le dernier appareil dans la chaîne doit être "terminé" si vous relies les récepteurs. Je suis un harmoniciste et je voudrais bien utiliser le G50/G90 avec un micro harmonica (impédance et sorite haute). Sortie d'environ 3V à 4V. Est qu'il y aura du clipping ou de la distorsion du signal de sortie? Pas de problème ni avec l'impédance ou niveau d'entrée. Les transmetteurs Relay (TBP12) peuvent traiter des entrées de 6V. Comment est-ce que je peux enregistrer mon système Relay G30? Vous le pouvez enregistrer ici: Enregistrement Line 6. États LED: TBP12: LED Bleu: Batterie pleine. LED Rouge continu: Batterie faible. LED Rouge clignotant: Batterie très faible, changez la batterie. Audio LED: Vert: Signal audio.

MIDI Mobilizer II™ Specifications MIDI Mobilizer II™ Quick Start Guide Q: What is the difference between MIDI Mobilizer II and the original MIDI Mobilizer™? A: MIDI Mobilizer II provides support for CoreMIDI, which is the Apple® standard for MIDI on iOS Devices. It works on iPhone 4S, iPhone 4, iPhone 3GS, iPad, iPad 2, iPod Touch 4th Generation and iPod Touch 3rd Generation models. The original MIDI Mobilizer is still the perfect choice for older-generation Apple® iOS devices. It’s compatible with all generations of iPhone, iPad and iPod Touch, for the 50 Apps that have been written to support MIDI Mobilizer. MIDI Mobilizer does not support CoreMIDI. Q: Will CoreMIDI support be added to the original MIDI Mobilizer™? A: No, this is not possible for technical reasons. The original MIDI Mobilizer lacks hardware needed to communicate to the iOS Device via USB on the 30-pin dock connector, as is required for CoreMIDI interfaces. Q: What is MIDI Mobilizer™? A: MIDI Mobilizer is a MIDI interface that connects your MIDI gear to any Apple iDevice. It was the first of its kind and still lets you play, record, and backup MIDI information any time, any place on the most portable platform ever. Q: What iOS app do you use with the MIDI Mobilizer and MIDI Mobilizer II hardware? A:. There are 50 apps that support the original MIDI Mobilizer. Many apps support Apple's CoreMIDI standard, with more coming all the time and they all work with MIDI Mobilizer II. In addition, Line 6 publishes the app MIDI Memo Recorder (free at the Apple App Store™) that allows an iDevice to play and record any MIDI data it receives via a MIDI Mobilizer or MIDI Mobilizer II. It can capture musical ideas on a keyboard, save sounds or settings from an effects unit, or backup any MIDI device's data. Once inside an iDevice, a MIDI recording is stored as a Standard MIDI File (SMF) which includes all performance information (notes, controllers, pedals, pitch bend, after touch, etc.) as well as any special System Exclusive (SysEx) information (usually the parameter values of a keyboard or effect unit's sounds and settings. You can email any recorded MIDI file, or move files to or from your computer via iTunes File Sharing. Q: What apps can I use with the new MIDI Mobilizer II? A: Any CoreMIDI app available on the App Store™ will work with MIDI Mobilizer II and that includes synths, samplers, sequencers, control surfaces, lighting controllers, and many other kinds of apps that may even surprise you. Here are a few of our favorites. Q: Are MIDI Mobilizer and MIDI Mobilizer II compatible with the iPad? A: Both the original MIDI Mobilizer and the MIDI Mobilizer II are officially compatible with the iPad and iPad 2, and so is the MIDI Memo Recorder app. Q: Are MIDI Mobilizer and MIDI Mobilizer II compatible with iPhone 4S? A: Each Line 6 iOS accessory lists the Apple models that it's been certified compatible with. While none have been certified for iPhone 4S yet, and we can't officially claim support, our customers informally report that they all work fine. However, iPhone 4S users should be aware that Mobile In and MIDI Mobilizer II communicate with the iOS device using USB Host Mode, and some 4S customers have reported that USB Host Mode accessories from any manufacturer (not just Line 6) may affect wifi and 3G performance – so you may want to consider using Airplane Mode. Q: What are some compatible devices? A: A list of compatible Line 6 devices that will work with MIDI Mobilizer or MIDI Mobilizer II is available in the "Using MIDI Mobilizer with Line 6 Products" section of the Advanced User Guide. In this section you will learn how to backup your patches, scenes, and bundles via SysEx. Q: What connection does MIDI Mobilizer have with Planet Waves? A: Planet Waves provided the high-quality MIDI cables that are included with MIDI Mobilizer and MIDI Mobilizer II. Planet Waves was also a key partner in the initial development of software for the original MIDI Mobilizer, and participated with Line 6 at Apple's Worldwide Developer Conference presentation in June, 2009. Q: How do MIDI Mobilizer and MIDI Mobilizer II connect to my iDevice? A: MIDI Mobilizer and MIDI Mobilizer II plug into the 30-pin connector on the bottom of your iDevice. Two Planet Waves cables (each with a 2.5mm 3-conductor jack on one end, and a standard MIDI 5-pin DIN jack on the other) connect MIDI Mobilizer or MIDI Mobilizer II to the external MIDI device of your choice. Q: How can I use MIDI Mobilizer to back up the settings of my Line 6 gear? A: Most Line 6 products with MIDI In and MIDI Out jacks can back up and restore their settings via SysEx commands. Please download your product's user manual for specific explanations of this process. Q: What MIDI data can the MIDI Memo Recorder app record? A: MIDI Memo Recorder will capture and record all MIDI data that can be stored within a Standard MIDI File, which includes all performance information (notes, controllers, pedals, pitch bend, after touch, etc) as well as any System Exclusive data (usually the parameter values of a keyboard or effect unit's sounds and settings). It does not record System Real Time messages (which include Active Sensing, MIDI Timing Clock and Start/Stop/Continue), as these are not part of the Standard MIDI File format. All received MIDI messages are time-stamped to an accuracy of one millisecond (1/1000 second) in order to preserve very accurate timing for all MIDI events. Q: How many Memos can I have in MIDI Memo Recorder? A: Virtually unlimited. Since the iDevices have very large amounts of memory, and since MIDI data is very small, running out of room is nearly impossible. MIDI Memo Recorder makes it easy to rename, reorder and delete Memos in order to keep your information organized. You can also offload your Memo recordings to a computer via email or via iTunes File Sharing. Q: Can I copy a MIDI file from my computer into MIDI Memo Recorder? A: This can be accomplished via iTunes File Sharing with the MIDI Memo Recorder app. Alternatively, you can simply play any MIDI file out your computer's MIDI interface directly into MIDI Mobilizer or MIDI Mobilizer II, and record the data in our MIDI Memo Recorder app as a new MIDI Memo. This will capture and time-stamp all of the data, and the app can also play it back exactly as it was received. Q: Can I use MIDI Memo Recorder without MIDI Mobilizer? A: The MIDI Memo Recorder app will run without MIDI Mobilizer or MIDI Mobilizer II attached to your iDevice, but it won't be possible to send and receive MIDI data (as this requires a hardware MIDI interface). MIDI Memo Recorder will temporarily display a message that no MIDI Mobilizer is connected, but after dismissing this message you can use all of MIDI Memo Recorder's other functions: emailing, renaming, moving, or deleting Standard MIDI Files (MIDI Memos). Q: Will the MIDI Mobilizer or MIDI Mobilizer II™ work with the Line 6 KB37? A: No. The MIDI Mobilizer and MIDI Mobilizer II send and receive MIDI messages only on standard 5-pin MIDI cables. By contrast, KB37 doesn't have standard 5-pin MIDI In and MIDI Out jacks; it uses MIDI over USB instead. Q: Can the MIDI Mobilizer or MIDI Mobilizer II™ reflash my Line 6 device (i.e. Vetta, PODxt, etc.)? A: No. While the MIDI Mobilizer or MIDI Mobilizer II can backup patch bundles and store MIDI data, the MIDI Mobilizer or MIDI Mobilizer II cannot install flash memory to a Line 6 device. Q: Is it possible to import Standard MIDI Files (SMF) into the MIDI Memo Recorder app through the MIDI Mobilizer or MIDI Mobilizer II™ as you would a MIDI SysEx file? A: SMF's can be moved between computer and iDevice via iTunes File Sharing with the MIDI Memo Recorder app. Alternatively, you can simply play the SMF out your computer's MIDI interface and directly into MIDI Mobilizer or MIDI Mobilizer II, and record the data in our MIDI Memo Record app as a new MIDI Memo. Q: I thought MIDI Mobilizer was for editing Variax® and Vetta™ II settings? A: The first prototype of the original MIDI Mobilizer was shown as a proof of concept at the Apple's Worldwide Developer Conference in June, 2009. This demonstration showed that this type of product could be used to control sound settings, such as selecting Variax models or Vetta II presets. After the presentation, we received requests to provide MIDI functionality that could be used by all MIDI gear. The result is the MIDI Memo Recorder app, which can be used to record and playback any MIDI messages from any MIDI product. Although the specific Variax and Vetta II editing features proposed in the demo are not part of this app, all of the control capabilities are still possible via a Mac or PC with the software applications Line 6 Edit and Variax Workbench.

This installer provides a complete software package for POD Farm, the powerful amp and effects modeling plug-in for recording guitarists, delivering the industry-standard tone of POD to your DAW. Also included is the POD Farm standalone application, which features ToneDirect Monitoring for low latency performance with supported Line 6 devices. The installer includes these components: POD Farm plug-in (v1.12) for RTAS and VST POD Farm standalone application (v1.12), with support for POD Studio, TonePort and GuitarPort POD Farm Basic User Guide (v1.1) Device drivers (v4.0.2.6) for all supported devices Driver Control Panel for Line 6 devices (v3.41) Line 6 Monkey intelligent updater (v1.33) What's New? Full compatibility with Windows 7 and OS X 10.6 (up-to-date drivers included in the installer) Fixes for automation problems when bouncing tracks in Logic Fixes operation of knob controls in Digital Performer Numerous other stability and compatibility fixes Please read the POD Farm Basic User Guide for instructions on getting POD Farm up and running once it's installed. Online help is available in English and other languages HERE Note: This version of POD Farm includes support for both Line 6 hardware and iLok USB Smart Key. Licenses for each hardware platform are unique and not interchangeable. POD Farm or POD Farm Platinum iLok licenses are required for use with iLok keys. Activations for iLok keys are included with the retail version of the plug-ins or can be purchased from the Line 6 Online Store POD Farm and POD Farm Platinum iLok users may may choose not to install the components required for Line 6 devices. Likewise, POD Studio and other Line 6 hardware users of POD Farm may ignore any iLok specific installer components. All supported Line 6 devices require a POD Farm license for VST/AU/RTAS plug-in functionality. If your device does not already have a POD Farm license, one can be purchased at the Line 6 Online Store System Requirements: WINDOWS® Pentium® 4, 1.2GHz or better (2.5Ghz or higher recommended) Windows® XP® (with SP2 or better) XP x64, or Windows® Vista® (32 bit and 64 bit versions are supported) 512MB RAM minimum (1GB or more recommended) 1GB free HD space minimum (10GB or more recommended for recording) USB port on computer Internet connection required for activation (once activated, Internet connection is not required) Host application that supports RTAS, AU, or VST Plug-ins MACINTOSH® Intel® or Power PC® based G4 800MHz or better (G4 1.67 or better recommended) OS X 10.4.6 or better 512MB RAM minimum (1GB or more recommended) 1GB free HD space minimum (10GB or more recommended for recording) USB port on computer Internet connection required for activation (once activated, Internet connection is not required) Host application that supports RTAS, AU, or VST Plug-ins Known Issues: When using DAW automation to change model types all model parameter settings revert to their default settings. Work around is to instantiate POD Farm on separate tracks for alternating amp/effect setups or automate all parameters after a automating a model change. Loaded presets which include unauthorized cabinet models do not provide a graphic indication that the model is not active. The user must look at the drop down menu to know if the cabinet model is available or not. A user will never be able to create a preset (from scratch) which includes a model which is not owned. To avoid presets consisting unauthorized models, sort the preset browser's metadata by Own All Models. Not all automation parameters are available in Ableton Live's automation menu. Ableton Live is designed to display 128 automation parameters. POD Farm may not find previously installed GearBox presets by default. Clicking the refresh button in the "Presets" view will show the presets properly. If you create a preset with an amp and then delete that amp and perform a "Save As", you'll notice the deleted amp is called out in the "Save Tone As" window. This is just a GUI issue and your preset has been saved with no amp. Digital Performer does not process Pod Farm plug-in audio when bouncing. POD Farm subsequently freezes when the bounce is completed. The direct audio is bounced, but without the POD Farm effects. Digital Performer does not crash; you can still go to the inserts and remove the frozen POD Farm instance. Mac Exclusive: Clicking on a tone icon will automatically launch Gearbox if it is also installed on your computer. You need to manually associate tones on your Mac to open using POD Farm. Right click or CTRL click on the icon and select "Open With."

Below you can find the different POD Farm 2.0 upgrade scenarios based on when and how you purchased POD Farm version 1. For pricing details, please click on the link to the online store below. http://line6.com/store/ Please Note: 1.) Anyone who received POD Farm version 1 as part of the Line 6 September 2009 free giveaway does NOT qualify for any of the offers below. 2.) Anyone who was "comped" a POD Farm license key (iLok or Line 6) does NOT qualify for any of the offers below. 3.) POD Farm 2 is a paid upgrade for current POD Farm owners. POD Farm Stand Alone will not work unless you have purchased a license key. 4.) If eligible, run the Line 6 License Manager or log in to your Line 6 account and go to the Line 6 Online Store to redeem your special offer. 5.) The POD Farm (1/2) standalone software is not compatible with POD X3 series or iLok authorization. These devices are only used to authorize the POD Farm plug-in within a DAW with the appropriate license. -------------------------------------------------------- Line 6 License Key Upgrade Options: 1. If you purchased a POD Farm 1 Line 6 license BEFORE October 1st, 2009, you qualify for a discounted purchase price for POD Farm version 2 Line 6 license for 30 DAYS AFTER POD Farm 2 initial release. 2. If you purchased a Line 6 device with the POD Farm 1 plug in bundled with it (POD Studio, POD X3, UX8, DI) and enabled your POD Farm plug in with the Line 6 Monkey software BEFORE October 1st, 2009, you qualify for a discounted purchase price for POD Farm version 2 Line 6 license for 30 DAYS AFTER POD Farm 2 initial release. 3. If you purchased a Line 6 device with the POD Farm 1 plug in bundled with it (POD Studio, POD X3, UX8, DI) and enabled your POD Farm plug in AFTER October 1st, 2009, you qualify for a FREE upgrade to POD Farm version 2. 4. If you purchased a POD Farm 1 Line 6 license AFTER October 1st, 2009, you qualify for a FREE upgrade to POD Farm version 2. --------------------------------------------------------- iLok (purchased from Line6.com web store or via Authorized Dealer- independent seller transactions not eligible!): 1. If you purchased and activated a POD Farm version 1 STANDARD for iLok BEFORE October 1st, 2009, you qualify for a discounted upgrade price to POD Farm version 2 Standard for iLok for 30 DAYS AFTER POD Farm 2 initial release. 2. If you purchased and activated a POD Farm version 1 PLATINUM for iLok BEFORE October 1st, 2009, you qualify for a discounted upgrade price to POD Farm version 2 PLATINUM for iLok for 30 DAYS AFTER POD Farm 2 initial release. 3. If you purchased POD Farm version 1 STANDARD for iLok AFTER October 1st, 2009, you qualify for a FREE upgrade to POD Farm version 2 STANDARD for iLok. 4. If you purchased POD Farm version 1 PLATINUM for iLok AFTER October 1st, 2009, you qualify for a FREE upgrade to POD Farm version 2 PLATINUM for iLok. --------------------------------------------------------- Misc Upgrades: Q: I PURCHASED a POD Farm version 1 iLok key (Standard or Platinum) BEFORE POD Farm 2 was released but I didn't DEPOSIT it until AFTER POD Farm version 2 was released. Do I qualify for an upgrade? A: Yes. If you purchased an iLok key before the release of POD Farm version 2 but did not DEPOSIT it until after the version 2 release, you do qualify for a free upgrade to the same version of POD Farm 2. IE: Standard 1 will qualify to Standard 2 and Platinum 1 to Platinum 2. Q: What if I purchased a new POD Studio, POD X3, TonePort DI, or TonePort UX8 device after the release of POD Farm version 2? Do I qualify for a free upgrade to POD Farm version 2? A: Yes. When you connect your new device to Line 6 License Manager, the program will recognize the connection date and offer you a free upgrade to POD Farm version 2.5. The model set depends on what model set would have been offered to you with the included POD Farm 1 version. IE: UX1 and UX2 get standard version upgrade but UX8 and POD X3 devices get platinum version upgrades. Go to http://line6.com/store/, choose your device in the POD Farm 2 area and you will see a POD Farm 2 license at $0.00. Click Get Free Item, then use the Line 6 License Manager to authorize your hardware.

This installer provides a complete software package for POD Farm 2, the powerful amp and effects modeling plug-in for recording guitarists, delivering the industry-standard tone of POD to your DAW. Also included is the POD Farm standalone application, which features ToneDirect Monitoring for low latency performance on supported Line 6 devices. What's New? New version 2 features include: Flexible FX Routing, Intuitive MIDI Learn, POD Farm Elements Plug-Ins, Post-Amp Mic Pres, Automation Assignments, Set Lists, and more! For the complete POD Farm 2 feature set see the Line 6 POD Farm 2 Product Page page. The installer includes these components: POD Farm plug-in (v2.00) for AU, RTAS and VST POD Farm standalone application (v2.00), with support for POD Studio, TonePort and GuitarPort POD Farm 2 Basic User Guide Device drivers (v4.0.2.6 PC / v4.6.8 Mac) for all supported devices Driver Control Panel for Line 6 devices (v3.41) Line 6 Monkey intelligent updater (v1.33) Please read the POD Farm 2 Basic User Guide for instructions on getting POD Farm up and running once it's installed.Online help is available in English and other languages HERE. Note: All supported Line 6 devices require a POD Farm 2 license for VST/AU/RTAS plug-in functionality. If your device does not already have a POD Farm 2 license, one can be purchased at the Line 6 Online Store Please Note: POD Farm 2 is a paid upgrade for current POD Farm owners. The plug-in and stand alone app will not function unless you purchase a POD Farm 2 license. If you activated POD Farm on or after October 1st 2009, you are eligible for a FREE POD Farm 2 license. POD Farm owners who activated POD Farm before October 1st 2009 may be eligible for a discounted POD Farm 2 license (limited 30 Day promotion expires 4/30/10). Run the Line 6 Monkey or log in to your Line 6 account and go to the Line 6 Online Store to redeem your special offer. *Users who received a POD Farm license during the September 2009 FREE POD Farm offer are ineligible for FREE upgrade offers. Minimum System Requirements 1GB RAM 1GB free HD Space Hard Drive Speed 5400rpm (7200rpm or faster recommended) CD or DVD drive Mac AU/RTAS/VST and Windows RTAS/VST compatible Mac G5 dual 1.8 GHz OSX 10.4.6 Windows Pentium IV 1.4 GHz Windows XP (SP3) iLok iLok versions require iLok USB Smart Key (not included) and an Internet connection for activation Known Issues: POD Farm 2 VST plug-in does not function (blank GUI) in Bias Peak. AU plug-in works as expected POD Farm 2 VST plug-in does not function as a mono track insert in Melodyne. AU plug-in works as expected POD Farm 2 RTAS does not support Compare button in Pro Tools POD Farm 2 RTAS does not support parameter editing via text input POD Farm 2 parameters do not automatically appear in Ableton Live automation menus - please see the POD Farm 2 user manual to learn about automation assignments On first launch of Digital Performer after first install of POD Farm 2, AU scan and load times may take a few minutes Source Folders scroll bar does not display all visible folders after enabling and disabling "Expand / Collapse Preset Browser" button workaround is to click and drag the Source Folders window down manually Mixer settings are not remembered if POD Farm is launched with no device connected. Output volume when set to 0% will temporarily jump to 100% upon enabling/disabling a dual tone DAW playback will not respond to keyboard controls after manipulating parameters in POD Farm 2 (Win 7 64-bit ONLY) High / inconsistent CPU usage on PPC Macs when inserting POD Farm 2 as a plug in POD Farm 2 (plug-in) may not get audio to tuner unless the input source is set to "Left" or Tone A Male and Female De-Esser stepped frequency parameters do not match the automation parameters GUI in DAWs