Line6Tony

Q: How many Rack Units does the X3 Pro take up? A: 3 Rack Units Q: What are the dimensions of the POD X3 Pro? A: X3 Pro Dimensions: Width: 17" (19" including the ears) Heighth: 5" Depth: 8" Q: The Specifications on the web states that the X3Pro requires USB 2.0 but the actual USB input on the back panel is not labeled. Does it required USB 2.0? A: POD X3 Pro, as well as POD X3 and X3 Live, requires USB 2.0. For details on USB connectivity please refer to the USB Connectivity Guide Q: How do I restore the X3 Pro to it’s the Factory Presets? A: Press and hold the 'Home/Hold For Commands' button, select'Reset User Presets' and press the 'Save' knob to reset the User bank to its factory presets. Q: Will the included POD Farm Plugin require us to use the X3Pro as a dongle? A: The POD Farm Plugin works with the POD X3 Pro just like it does with other compatible products. The answer is yes. Q: Are any of the inputs/outputs, processors or other hardware/software sonically superior to the X3L/Bean? A: No Q: What are the MIDI implications of the X3 Pro? A: The MIDI Implications are the same as the POD X3 and the POD X3 Live. The X3 series include a USB connection, and these units will both expose a set of USB MIDI In/Out ports on your Windows or Mac computer. However, these devices utilize different types of commands and, therefore, will not respond to MIDI control data. As with POD X3 Live, the Pro includes 5-pin MIDI In/Out jacks that can be used strictly for receiving MIDI Program Change messages (For scrolling through User Presets) and for sending MIDI CC data when using the onboard pedal for Volume, Wah, and Tweak parameters. Q: What is the software compatibility of the X3 Pro? A: The POD X3 Pro is currently compatible with Line 6 Monkey, Gearbox, Guitarport Online, Workbench (w/ a Variax Guitar), and as a dongle for the POD Farm Plug-in (within your DAW only). Q: How can I tell which version of Flash Memory & USB firmware is installed in my X3Pro? A: Press and hold 'OUTPUTS' for system settings. Use the directional keys to scroll to the last page: The versions are displayed under 'CNTRST'™ Shown as: FLASH MEMORY VERSION: x.xx USB FIRMWARE VERSION: x.xx Q: How do I sync the POD X3 Pro to slave over S/PDIF? A: The POD X3 Pro expects the master clock signal on its S/PDIF input only, so, connecting the S/PDIF IN must be connected to master clock source. Make sure you connect the S/PDIF OUT on your POD X3 Pro to the S/PDIF IN of your clock master unit and S/PDIF IN on your POD X3 Pro to S/PDIF OUT of your clock master. In the INPUTS page of the POD X3 Pro, set anything BUT Variax as Tone 1 and Tone 2 and DIGITAL set to S/PDIF. In the OUTPUTS page of the POD X3 Pro, set your S/PDIF outputs settings in the Studio Direct Mix menu, and MATCH DIG IN for RATE.

Deutsch Français Q: What are the presets on my Micro Spider amplifier? A: There are five presets on the Micro Spider: Clean, Crunch, Metal, Insane, and Acoustic. If you would like to return your unit to the original presets, please perform a factory reset. Q: How do I perform a factory reset on my Micro Spider? A: The factory reset for a Micro Spider is to hold down the clean button as you turn on the power and hold the button for 5-8 seconds. Q: Are there any videos I can view to learn about the Micro Spider? Micro Spider Movies Q: Can the Micro Spider microphone input and/or the CD/MP3 input be used at the same time with the same guitar input? Will I hear all of these devices through the headphones? A: Yes Q: I noticed that the mid-range knob reacts differently on my Micro Spider's Insane Setting than other Spider amplifiers I have played on? A: The Micro Spider's midrange control is optimized for the volume/tone features for that particular patch, so the control response may seem a little different than other Spider amplifiers. Q: Is there a “vocal eliminator” so I can jam with my CD/MP3 input without the vocals getting in the way of my incredible shredding? A: No, but that usually doesn't stop people from shredding. Setup/Connections Q: What can I connect to the Micro Spider? A: Guitars, Microphones, Basses, Acoustic Guitars, via the 1/4” instrument input. MP3/CD players via the 3.5 mm jack, headphones via the stereo ¼” output. Q: Is there a direct out on the Micro Spider? A: The headphones jack is a stereo ¼” output which can also be used as a recording output. Q: Can I use an FBV controller with the Micro Spider? A: There is no FBV control capability on the Micro Spider. Q: Can I connect an external pre-amp (i.e. Line 6 POD) to the Micro Spider? Can I connect the Micro Spider into a PA system of home stereo? A: You can connect an external preamp into the CD input or the Mic input of the Micro Spider, and connect the headphone outputs of the Micro Spider into a PA or stereo system. Q: Does the Micro Spider have an effects loop? A: There is no effect loop on the Micro Spider amplifier. Specifications Q: How do I power my Line 6 Micro Spider? A: You can use the Line 6 PX 2 (included), or you can use six (6) C-cell batteries (not included). Q: How can I get a cover for the Micro Spider? A: The Micro Spider does not have a cover available from Line 6 at this time. Registration/Warranty Q: What is the warranty on the Micro Spider? A: the warranty on the Micro Spider is twelve months from the date of purchase. Q: How can I register my Micro Spider? http://line6.com/account/registergear/ Troubleshooting/Service Q: My Micro Spider seems to be malfunctioning. What can I do as an end user? Line 6 Amp Troubleshooting. Q: Where can I get replacement knobs/speakers/logos for my Micro Spider amp? A: Line 6 Store Q: Where can I download a Micro Spider manual? Micro Spider Manual Welche Presets sind auf dem Micro Spider vorinstalliert? Es sind 5 Presets bereits auf dem Spider installiert: Clean, Crunch, Metal, Insane und Acoustic. Sollten Sie die Presets zurücksetzen wollen, dann müssen Sie das Gerät auf die Werkseinstellungen zurückstellen. Wie kann ich main Spider Micro auf Werkseinstellungen zurücksetzen? Halten Sie einfach die Clean Taste für 5-8 Sekunden während des Startens des Gerätes gedrückt. Gibt es Tutorial Videos für den Micro Spider? Micro Spider Movies Können Mikro und/oder CD/MP3 Eingänge gleichzeitig mit dem Gitarreneingang verwendet werden? Und kann ich dann alle Geräte noch durch die Kopfhörer hören? Ja und Ja. Der Mid Knopf reagiert anders im Insane Preset als auf anderen Spider Verstärkern, ist das normal? Ja, das ist so gewollt. Gibt es einen Vocal Eliminator? Nein. Installation und Anschlüsse Welche geräte kann ich an den Micro Spider anschließen? Gitarren, Mikrofone, Bässe und akustik Gitarren können an den ¼“ Instrumenteeingang, Mp3/CD Spieler an die 3,5mm Klinke und Kopfhörer an den ¼“ Ausgang angeschlossen werden. Gibt es einen Direct Out? Die Kopfhörer ¼“ Klinke ist ein stereo Anschluss, der zur Aufnahme verwendet werden kann. Kann ich einen FBV Controller mit dem Micro Spider benutzen? Nein, der Verstärker ist nicht kompatibel. Kann ich einen externen Vorverstärker oder eine Stereoanlage anschließen? Ja, den Vorverstärker können Sie an den CD oder Mikro Input anschließen und die Stereoanlage an den Kopfhörerausgang. Hat der Micro Spider einen Effects Loop? Nein. Spezifikationen: Wie versorge ich mein Micro Spider mit Strom? Entweder mit einem Line 6 PX 2 (enthalten) oder mit sechs C Batterien. Woher bekomme ich eine Schutzhülle? Line 6 stellt leider keine Schutzhüllen für den Micro Spider her. Registrierung und Garantie: Wie lange habe ich Garantie auf den Micro Spider? 12 Monate vom Kaufdatum. Wie kann ich meinen Verstärker registrieren? http://de.line6.com/account/registergear/ Problembehebung und Service: Mein Micro Spider macht Probleme, was kann ich tun? http://line6.com/support/page/articles/_/general-faq/amplifier-troubleshooting-r439#de Wo bekomme ich Ersatzknöpfe/lautsprecher oder Logos her? Line 6 Store Wo kann ich das Benutzerhandbuch herunterladen? Micro Spider Manual Quels sont les presets sur mon Micro Spider ? Il y en a cinq presets : Clean, Crunch, Metal, Insane et Acoustic. Si vous voulez les presets originaux, vous devez réinitialiser l’appareil. Comment est-ce que je réinitialise l’appareil ? Tandis que vous allumez l’appareil, maintenez enfoncé le bouton Clean pour 5 à 8 secondes. Y a-t-il des vidéos tutoriels sur le Micro Spider ? Micro Spider Movies Puis-je utiliser les entrées Micro et/ou CD/MP3 avec la même entrée guitare en même temps ? Est-ce que je peux entendre tous ces appareils dans les casques ? Oui. Le bouton Mid fonctionne différemment sur Insane avec le Micro Spider en comparaison avec les autres amplis Spider, est-ce que c’est normal ? Oui, c’est normal. Y a-t-il un « Vocal Eliminator » ? Non. Installation et Connexions : Quels appareils puis-je connecter au Micro Spider ? Guitares, Microphones, Basses et Guitares Acoustiques à l’entrée 1/4’’ Instrument. Lecteurs MP3 et CD au 3.5mm jack et les casques à la sortie 1/4" stéréo. Y a-t-il en Direct Out ? Le jack de casques est une sortie 1/4" stéréo que vous pouvez utiliser comme sortie d’enregistrement. Puis-je utiliser un contrôleur FBV avec le Micro Spider ? Non. Est-ce qu’on peut connecter un préampli externe ou une chaine stéréo ? Vous pouvez connecter un préampli externe à l’entrée CD ou Micro et connecter une chaine stéréo à la sortie de casques. Y a-t-il un Effects Loop ? Non. Spécifications : Comment puis-je alimenter mon Micro Spider ? Vous pouvez utiliser un Line 6 PX 2 ou six batteries C. Ou est-ce que je peux acheter une couverture ? Line 6 ne produit pas des couvertures pour le Micro Spider à ce moment. Régistration et Garantie : Combien de garantie y a-t-il sur le Micro Spider ? 12 mois au départ de la date d’achat. Comment puis-je enregistrer mon Micro Spider ? http://fr.line6.com/account/registergear/ Dépannage et Service : Quelque chose ne fonctionne pas, qu’est-ce que je fais ? http://line6.com/support/page/articles/_/general-faq/amplifier-troubleshooting-r439#fr Ou puis-je télécharger le mode d’emploi ? Micro Spider Manual

Français Deutsch Application Q: What are the presets on my Spider Jam amplifier? A: Please be aware that the user presets are identical to the Spider III, and the Song/Artist presets are very similar to the Spider III. The Spider Jam user presets are the 36 user-programmable presets (banks 1-9, A-D). The Artist/Song presets location cannot be saved, but you can modify and/or store these settings in the 36 user-programmable presets. If you would like to return your unit to the original presets, please perform a factory reset. Q: How many song and/or drum loops are included on the Spider Jam? A: There are 71 song jam loops (arranged by tempo), and 81 drum loops (also arranged in tempo) totaling 152 pre-recorded song jams. Q: I noticed that some of the Artist/Song Presets from the Spider III are not present on the Spider Jam? A: Yes, some of the Artist/Song Presets from the original Spider III release were not included in the Spider Jam release, due to space restrictions (please compare the two lists for clarification). Q: Are there any video tutorials I can view to learn how to use the Spider Jam? A: Q: Are the song guitar presets (i.e. 70s sounds) accompanied by backing tracks of those songs as well? A: No, all of the backing tracks on the Spider Jam are original compositions written and performed specifically for the Spider Jam playback. If you want to play along with the actual songsyou have a couple options. You can connect your CD or MP3 player into the jack to play along with tone song, or you can convert the song to a 44.1/16 bit mono wav file and install the song on your unit using the SD Card. Q: How can I change the tempo of the pre-recorded patterns, and will it change the pitch? A:In the original version of the Spider Jam (Version 1.04), the tempo of the pre-recorded patterns could be changed by using the Tempo / Pitch control wheel, which also changed the pitch of the patterns in ½ step increments. Go to the second page of song/drums to access this control. The pitch adjustment can be made while recording and the playback will reflect the pitch changes. Spider Jam Version 2.0x allows the change of tempo without changing pitch. See pages 43 and 44 of the Spider Jam Manual (rev. C or later) for more details. Q: Does the Spider Jam have a drum machine or are the patterns pre-programmed? A: All of the songs and drum patterns in the Spider Jam are actual performances and not re-programmable. Q: Are the songs and drum tracks mixed to the center or are they spread into a stereo image? A: All of the audio of the pre-recorded tracks are centered, creating a dual-mono image that will appear in both the left and right outputs either on the headphone outputs or the RCA outputs. The center imaging allowed twice as many to tracks to be included on the Spider Jam songs. Q: Can I change the pitch/speed of the CD/MP3 input jack as well? A: No, the CD/MP3 input pitch cannot be altered by the Spider Jam. Q: How can I transfer my recorded loops from my Spider Jam to my computer? Can I use an SD-card to store/transfer my songs from the Spider Jam to my CPU? A: There are stereo RCA outputs on the back of the unit to export your Pod/CD quality audio into your favorite recording device. The Spider Jam version 2.x and later can transfer 44.1K/16 bit mono .wav files to and from your computer. The SD-card slot can be used to upgrade the Spider Jam version 1 to version 2. Please see the update link below to update an earlier Spider Jam unit. Q: How long can I record on the Spider Jam and what is the recording format? A: You can record for up to 24 minutes in the .wav format (this is the only format used on the Spider Jam) Q: Can the Spider Jam recorder work as a loop sample to be used on the fly like a Line 6 DL-4? A: Yes, with the exception of the reverse mode looper. Q: Can the Spider Jam aux input and the guitar input be used at the same time with the same guitar tone? A: Yes, by holding the record/send button for two seconds and selecting the Aux Input assignment - turn the select knob to 'mixed with guitar'. Q: Can I use a different amp sound when I use two guitar inputs (i.e. the main instrument and aux inputs) on the Spider Jam? A: No, but if you leave the aux input on a clean tone you could use the mic channel to get a different sound. Q: How can I record processed AND unprocessed guitar straight from the Spider Jam into a recording program? A: You can record processed guitar into the main instrument input and unprocessed into the auxiliary input, but not at the same time. Q: Is there a 'vocal eliminator' so I can jam with my CD/MP3 input without the vocals getting in the way of my incredible shredding? A: No, but that usually doesn't stop people from shredding. Setup/Connections Q: What can I connect to the Spider Jam? A: Guitars, Microphones, Basses, Acoustic Guitars, CD players, headphones, home stereos, P.A.s. Q: Is there a direct out on the Spider Jam? A: There are stereo RCA outputs on the back of the unit with CD quality (44.1K, 16 bit) audio output. Q: Is the CD/MP3 input stereo or mono? A: The CD input is stereo, which you can use a standard 3.5mm TRS cable with. This will allow you to hear your CD/MP3 input in "true stereo" when using your Spider Jam with headphones. Q: How is the signal routed when in performance mode on the Spider Jam? A: The guitar is routed to the 12" speaker, and there is no guitar signal routed to the RCA jacks (but the song output is). Q: Which Line 6 floor controller(s) can I use with the Spider Jam? A: We recommend the Line 6 FBV series Shortboard or the FBV Express, although the FBV works as well (be aware that the amp 1&2, stomp 2/3 buttons, tremolo, and favorite channel buttons will have no effect). The FBV2 pedal will only move the presets up and down and will not control any of the recording functions. Q: When I connect my FBV Shortboard Mk II, the function 2 button has no effect? A: The Function 2 button has no effect on the current version (2.09) Spider Jam firmware. Q: Can I connect an external pre-amp (i.e. Line 6 POD) to the Spider Jam? Can I connect the Spider Jam into a PA system of home stereo? A: You can connect an external preamp into the CD input or the Aux input of the Spider jam, and connect the RCA outputs of the Spider Jam into a PA or stereo system by using the RCA outputs. Q: Does the Spider Jam have an effects loop? A: There is no effect loop on the Spider Jam amplifier. Specifications Q: Is the SD memory card slot user accessible on my Spider Jam? A: The SD memory card slot can be used to update the Spider Jam firmware and transfer wav files between the amplifier and a computer (see below for the update information). Q: Does the Spider Jam come with the SD memory card? What is the maximum/minimum size to the SD card to be used with the Spider Jam? A: The Spider Jam does not include an SD memory card, and the maximum size to the SD card to be used with the Spider Jam is 2 Gigs of RAM. Q: How can I get a cover for the Spider Jam? A: The Spider Jam has the same dimensions as the Spider II 112 and the Spider III 75 combo amp, and can be purchased at the Line 6 store link below: Line 6 Store . Registration/Warranty Q: What is the warranty on the Spider Jam? A: *the warranty on the Spider Jam is twelve months from the date of purchase. Q: How can I register my Spider Jam? Registration Troubleshooting/Service Q: How do I perform a factory reset on my Spider Jam? A: The factory reset for a Spider Jam is to hold down the settings/tone button as you turn on the power and hold the button for 5-8 seconds. Q: I am noticing a lot of noise on my recorded guitar and/or aux input tracks (either on preformance or playback)? A: If the mic/aux input compression and/or EQ controls are set to high levels (above 6 db), this may affect the guitar palyback levels as well. Please return to the compression or EQ settings to "normal" levels or perform a factory reset to avoid the noise. Q: I am noticing clipping and or popping sounds on my backing tracks? A: Some backing tracks are louder than others and may clip. If you notice clipping occuring you can lower the song/drums playback level until the clipping is no longer heard. Q: How do I update my SpiderJam to the latest firmware? Spider Jam/JM4 2.09 Update Instructions Q: Where can I get replacement knobs/speakers/logos for my Spider amplifier? Line 6 Store Quels sont les presets sur l’ampli Spider Jam? Vous pouvez trouver une liste der presets user et les presets des artistes pour le Spider Jam en tant que pièce jointe à la fin du document. Les presets user sont les mêmes comme ceux du Spider III et les presets des artistes sont très similaire. Les presets user sont les 36 presets programmables (1-9, A-D) et les presets artistes sont fixés. Si vous voulez retourner aux presets originaux, vous pouvez réinitialiser l’appareil. Combien de boucles sont inclus avec le Spider Jam ? Le Jam a 71 jam loops et 81 drum loops donc 152 loops en total. Quelques presets artistes du Spider III manquent sur le Jam ? Oui, on n’a pas inclus tous les presets artistes à cause des problèmes d’espace dans le Jam. Comparez les deux listes de presets pour voir les différences. Est-ce qu’il y en a des tutoriels sur le Spider Jam ? Spider Jam Tutorials Est-ce que les presets de guitares ont des playbacks des chansons ? Non, tous les playbacks sur le Spider Jam sont des compositions originales pour le Spider Jam mais vous avez des options pour ca. Connectez un lecteur de CD ou MP3 au Spider Jam et jouez en même temps ou vous convertissez la chanson en 44.1kHz/16bit mono .wav et installez le sur le Jam avec une carte SD. Comment est-ce que je peux changer le tempo des modèles préenregistrés est est-ce que cette action changera le pitch ? Pour la version originale du Spider Jam (Version 1.04), vous pouvez changer le tempo avec la molette de commande Tempo/Pitch qui change aussi le pitch en étapes ½. Accédez la deuxième page des contrôles Song/Drums pour cette configuration. Vous pouvez ajuster le Pitch pendant l’enregistrement et le playback reflètera les changes du Pitch. Avec la version 2.0x du Spider Jam, vous pouvez ajuster le tempo sans changer le pitch. Si vous avez besoin de plus de détails consultez pages 43 et 44 du mode d’emploi (rév. C ou plus récent). Est-ce que le Spider Jam a une boîte à rythmes ou est-ce qu’elles sont préprogrammées ? Tous les chansons et modèles de batteries sont performances réelles, donc vous ne pouvez pas les reprogrammer. Est-ce que les chansons et batteries sont mono ou stéréo ? Tous ces sons sont des pistes préenregistrés monos. Avec cet enregistrement mono, nous pouvions inclure deux fois les pistes. Est-ce que je peux changer le pitch/speed de l’entrée jack CD/MP3 ? Non. Comment est-ce que je peux transférer mes loops enregistés à mon ordinateur ? Est-ce que peux utiliser une carte SD ? Le Spider Jam a des sorties RCA pour exporter du audio de qualité CD a votre appareil d’enregistrement. La version Spider Jam 2.0x peut aussi transférer des fichiers 44.1kHz/16bit mono .wav à votre ordinateur et retour. Combien de temps est-ce que je peux enregistrer sur le Spider Jam et quel format est utilisé ? Vous pouvez enregistrer jusqu’à 24 minutes en format .wav. Est-ce que je peux utiliser le Spider Jam comme loop sampler comme le DL4 ? Oui, excepte le reverse mode looper. Est-ce que je peux utiliser l’entrée AUX et l’entrée guitare en même temps avec le même ton de guitare ? Oui, maintenez le bouton Record/Send pour deux secondes et sélectez « AUX input assignment » et tournez le bouton Select à « mixed with guitar » Est-ce que je peux utiliser un autre son d’ampli si j’utilise deux entrées de guitares ? (ex. l’instrument principal et les entrées AUX) Non, mais si vous laissez l’entrée AUX sur un ton clean, vous pouvez utiliser le canal MIC pour recevoir un ton différent. Comment est-ce que je peux enregistrer un son guitare traité et un son guitare non traité de mon Spider Jam à mon programme d’enregistrement ? Vous pouvez enregistrer un signal de guitare traité avec l’entrée du instrument principale et le signal de guitare non traité avec l’entrée AUX mais pas en même temps. Est-ce qu’il y en a un « vocal eliminator » ? Non. Installation/Connexions Quels appareils est-ce que je peux connecter au Spider Jam IV ? Guitares, microphones, basses, lecteurs de CD, casques, chaîne hifi ou système de sonorisation. Est-ce qu’il y en a une sortie directe sur le Spider Jam ? Le Jam a des sorties RCA avec qualité CD (44,1kHz ; 16bit). L’entrée CD/MP3, est-elle stéréo ou mono ? L’entrée est stéréo, vous pouvez utiliser des câbles jack 3 points (TRS) 3,5mm. Avec cette configuration vous pouvez écouter à la musique stéréo si vous utilisez des casques. Comment est le signal routé en mode performance ? La guitare est routé au haut-parleur 12’’ et aucun signal guitare est routé aux connecteurs RCA (mais la chanson est) Quels contrôleurs Line 6 est-ce que je peux utiliser avec le Spider Jam ? Nous recommandons le Line 6 FBV Shortboard ou Express mais le FBV fonctionne également. (Les boutons Amp 1&2, Stomp 2/3, Tremolo ou Favorite n’ont aucun effet.) Le pédale FBV 2 uniquement change les presets vers le haut et vers le bas et ne contrôle aucune fonction d’enregistrement. Si je connecte mon Shortboard MkII, le bouton Function 2 n’a aucune fonction, est-ce que c’est normal ? Avec la version courante (2.09) le bouton Function 2 n’a aucun effet. Est-ce que je peux connecter un préampli (comme un Line 6 POD) au Spider Jam ? Puis-je le connecter à ma chaîne hifi ? Vous pouvez connecter un préampli externe à l’entrée CD ou AUX du Spider Jam et connecter les sorties RCA à une sonorisation ou chaîne hifi. Est-ce que le Spider Jam a un Effects Loop ? Non. Spécifications : Est-ce que je peux accéder la fente pour carte SD du Spider Jam ? Oui, la fente est utilisé pour transférer des fichiers .wav et des mises à jours du firmware. Est-ce qu’une carte SD est incluse avec le Spider Jam ? Non, mais attention, la capacité maximale ne peut pas dépasser 2 Go si vous le voulez utiliser avec un Spider Jam. Est-ce que je peux acheter une couverture pour mon Spider Jam ? Le Spider Jam a les mêmes dimensions que le Spider II 112 et Spider III 75 Combo. Vous pouvez acheter la couverture ici : Line 6 Store Régistration/Garantie: Quelle est la durée de garantie sur le Spider Jam ? Douze mois après la date d'achat. Comment est-ce que je peux registrer mon Spider Jam ? Régistration Dépannage et service : Comment puis-je réinitialiser mon Spider Jam ? Tandis que vous allumez le Spider Jam, maintenez enfoncé le bouton Settings/Tone pour 5 à 8 secondes. J’ai beaucoup de bruit dans mes enregistrements de guitare et/ou pistes d’entrée AUX (Performance et Playback). Qu’est-ce que je peux faire ? Si la compression et/ou l’EQ sur les entrées sont mis à des niveaux élevés (plus que 6 dB), les levels de Playback peuvent souffrent. Éssayez de retourner la compression et/ou EQ ou réinitialisez l’appareil. J’ai des coupures et claques dans le son, qu’est ce que je fais ? Quelques pistes d’accompagnement sont trop fortes pour les autres sons, donc ils coupent. Si vous remarquez des coupures, abaissez le niveau du Playback de la chanson ou de la batterie jusqu'à ce que vous ne puissiez plus entendre la coupure. Comment est-ce que je peux mettre mon Spider Jam à jour ? Spider Jam/ JM4 2.09 Update Instructions Où est-ce que je peux acheter des remplacements ? Line 6 Store Wo kann ich die Presets des Spider Jam finden? Die User Presets und Artist/Song Presets können Sie im Anhang an dieses Dokument finden. Die User Presets sind dabei identisch der User Presets des Spider III und die Artist/Song Presets sind denen des Spider III sehr ähnlich. Der Spider Jam hat 36 User Presets (Banken 1-9 und A-D). Die Artist/Song Presets können nur auf die 36 User Presets abgespeichert werden. Um die original Presets zurückzubekommen müssen Sie das Gerät auf Werkseisntellungen zurücksetzen. Wieviele Song/Drum Loops sind im Spider Jam enthalten? 71 Song Loops (angeordnet nach Tempo) sowie 81 Drum Loops (angeordnet nach Tempo). Manche Artist/Song Presets des Spider III sind nicht auf dem Spider Jam vorhanden, weshalb? Manche der Artisten/Song Presets sind nicht enthalten auf Grund von Speicherplatzbeschränkungen. (Vergleichen Sie bitte beide Preset Listen um herauszufinden welche fehlen.) Gibt es Video Tutorials über die Nutzung des Spider Jam? Spider Jam Tutorials (Englisch) Haben Sie Gitarren Presets auch Backing Tracks der Songs? Nein, alle Backing Tracks auf dem Spider Jam sind original Kompositionen speziell für den Spider Jam. Wollen Sie nun aber mit Ihren Songs mitspielen, können Sie entweder Ihren CD oder MP3 Spieler an den Spider Jam anschließen oder einen Song in eine .wav 44.1kHz 16bit Datei konvertieren und dann den Song anhand einer SD Karte auf Ihren Spider Jam kopieren. Wie kann ich das Tempo der aufgezeichneten Patterns verändern und ändert dies die Tonhöhe? In der originalen Version 1.04 des Spider Jam konnte das Tempo des aufgezeichneten Patterns anhand des Tempo/Pitch Rades kontrolliert werden, was aber auch die Tonhöhe in Halbschritten verändert. Auf der zweiten Seite des Song/Drum Menus können Sie diese Einstellung durchführen. Die Tonhöhe kann während des Aufnehmens eingestellt werden. Seit der Version 2.0 kann das Tempo unabhänging der Tonhöhe eingestellt werden. Für weitere Details können Sie Seiten 43 und 44 im Benutzerhandbuch das Spider Jam lesen. Hat der Spider Jam eine Drum Machine oder sind die Patterns vorprogrammiert? Die Song und Drum Patterns sind nicht programmierbar. Sind Song und Drum Spuren mono oder stereo? Die Spuren sind mono, so konnten wir die doppelte Menge Spider Jam Songs einschließen. Kann ich Pitch/Speed des CD/MP3 Eingang Jacks verändern? Nein. Wie kann ich meine aufgenommenen Spider Jam loops auf meinen Computer übertragen? Kann ich eine SD Karte zum Transfer verwenden? Der Spider Jam hat RCA Ausgänge um CD Qualität Audio auf Ihr Aufzeichnungsgerät zu übertragen. Spider Jam Version 2.0x und neuer können aber auch 44,1kHz / 16bit .wav Dateien auf die SD Karte abspeichern. Der SD Karten Slot wird ausserdem dazu verwendet den Spider Jam von Version 1 auf Versin 2 zu aktualisieren. Wie lange kann ich mit dem Spider Jam aufnehmen und was ist das Aufnahmeformat? Sie können bis zu 24 Minuten im .WAV Format aufnehmen. Kann der Spider Jam Musik auch als Loop Sample aufnehmen wie der Line 6 DL4? Ja, abgesehen vom Reverse Mode Looper. Können AUX In und Guitar In gleichzeitig mit dem selben Gitarrenton verwendet werden? Ja, halten Sie Record/Send für 2 Sekunden gedrückt und wählen Sie dann AUX Input Assignment aus. Drehen Sie dann am Select Knopf bis Sie Mixed With Guitar auswählen können. Kann ich, wenn ich zwei Gitarreneingänge verwende, auf beiden Eingängen verschiedene Verstärkertöne benutzen? (Gitarreneingang und AUX Eingang) Nein, wenn Sie aber den AUX Eingang auf sauberem Ton lassen, können Sie den Mic Kanal benutzen um einen anderen Ton zu bekommen. Wie kann ich ein verarbeitetes Aufnahmesignal und ein unverarbeitetes Aufnahmesignal vom Spider Jam zusammen in mein Aufnahmeprogramm einspielen? Sie können das verarbeitete Signal in den Main Instrument Eingang und das unverarbeitete Signal in den AUX Eingang zinspielen aber nicht gleichzeitig. Gibt es einen „Vocal Eliminiator“? Nein. Installation und Anschlüsse Welche Geräte kann ich an den Spider Jam anschließen? Gitarren, Mikrofone, Bässe, Akustische Gitarren, CD Player, Kopfhörer, Stereoanlagen und Beschallungsanlagen. Hat der Spider Jam einen direkten Ausgang? Der Spider Jam hat RCA Ausgänge auf der Rückseite in CD Qualität: 44,1kHz; 16bit. Ist der CD/MP3 Eingang Stereo oder Mono? Der CD Eingang ist stereo, Sie können also ein normales TRS 3,5mm Kabel anschließen. Sie können somit auch per Kopfhöre, wenn Sie diese an den Spider Jam anschliessen, stereo Ton hören. Wie wird das Signal im Performance Modus geleitet? Die Gitarre ist an den 12“ Lautsprecher angeschlossen und der Song Output an die RCA Anschlüsse. Welches Line 6 Floorboard kann ich mit dem Spider Jam benutzen? Wir empfehlen, das Line 6 FBV Shortboard oder Express zu benutzen. Obwohl das FBV auch funktioniert können die Amp 1&2, Stomp 2/3, Tremolo sowie Favorite Kanalknöpfe nicht benutzt werden. Das FBV2 Pedal kann nur Presets nach oben und unten schalten und keine Aufnahmefunktionen konfigurieren. Wenn ich mein FBV Shortboard Mk II benutze hat Function 2 keinen Effekt. Weshalb? Auf der derzeitigen 2.09 Version hat der Knopf keinen Effekt. Kann ich einen externen Vorverstärker an den Spider Jam anschließen? Kann ich den Spider Jam in eine Stereoanlage einbinden? Sie können einen externen Vorverstärker am CD Eingang oder AUX Eingang anschließen und die RCA Ausgänge an eine Beschallungsanlage oder Stereoanlage anschließen. Hat der Spider Jam einen Effektloop? Nein. Spezifikationen: Habe ich Zugriff auf den SD Karten Slot? Ja, der Slot kann dazu verwendet werden ein Firmwareupdate durchzuführen oder .wav Dateien zwischen Spider Jam und Computer zu übertragen. Ist beim Spider Jam eine SD Karte enthalten? Nein, die maximale Sapazität, die der Spider Jam unterstützt ist 2Gb. Wo kann ich eine Schutzhülle für den Spider Jam kaufen? Der Spider Jam hat exakt die selben Maße wie ein Spider II 112 und Spider III 75 Combo und kann in unserem Line 6 Webstore gekauft werden: Line 6 Store Registrierung und Garantie: Wie lange habe ich Garantie auf dem Spider Jam? 12 Monate ab Kaufdatum. Wie kann ich mein Spider Jam registrieren? Registration Fehlerbehebung und Service: Wie kann das Gerät auf Werkseinstellungen zurücksetzen? Halten Sie während des Startens des Gerätes den Settings/Tone Knopf 5-8 Sekunden gedrückt. Ich höre sehr viel Rauschen auf meinen aufgenommenen Gitarren und/oder Eingangsspuren, woran liegt das? Wenn Mic/Aux Eingänge eine hohe Kompression oder EQ Einstellung haben (mehr als 6db) kann das Playback Level beeinträchtigen. Bitte setzen Sie Kompression und EQ wieder auf „Normal“ und testen Sie erneut. Ich kann Clipping und Popping auf meinen Backingtracks hören, woran liegt das? Manche Backingtracks sind lauter als andere und können so zu Clipping führen. Versuchen Sie die Playback Level für Song/Drum zu verringern bis das Clipping nachlässt. Wie kann ich mein Spider Jam aktualisieren? Spider Jam/JM4 2.09 Update Instructions Wo kann ich Ersatzteile für den Spider Jam kaufen? Line 6 Store

Q: Will the Stompbox Modelers work with other instruments besides guitar? Yes, the Stomp Box Modelers will work with just about any "instrument level" device including bass guitar. Q: How can I reset my DL4 to the factory presets? A: You can reset your pedal to the factory settings by powering it up with the A and D footswitches held down - the power is turned on and off on the modeler pedals by inserting a plug into the left mono input jack. Q: How can I set up my DL4 in an effects chain? What kind of power supply does the DL4 require? A: For information on setting up your DL4 in an effects chain or power supply information, please click here. Q: Does the DL4 have reverb? A: The DL4 delay Modeler does not have reverb. It has 15 different delay models and a loop sampler. Q: What are some features and functions of the looper? A: The DL4 Loop Sampler function operates at 14 seconds to summed mono outputs at regular speed, and 28 seconds at half speed. A loop sampled and played at normal speed, then switched to half speed, will drop the pitch an octave. A loop sampled and played at half speed will play back at normal pitch. If the speed is then returned to normal, the pitch will be raised an octave. When the DL4 is in 1/2 speed mode, the sampling rate and consequently the bandwidth have been halfed. This shouldn't be very noticeable though as this halfed bandwidth is still wider than most standard electric guitar amps. If you were using the unit with a very clean, bright electric guitar (or acoustic guitar)and monitoring through studio monitors, you may notice the change in bandwidth. While in "Loop Sampler" mode, the DL4 will receive signal through each of its two inputs simultaneously. The input signal will then be summed to mono, sampled and then sent to the two outputs. In order to sample both inputs separately (or in stereo), the unit would have required two separate sample processors and a lot more RAM. Needless to say, this would have increased the cost of the unit dramatically. All other DL4 "Delay Models" will however have a discrete left and right stereo output. Q: How can I use an EX-1 Expression pedal with my DL4? A: For information on using an EX-1 expression pedal with the DL4, please click here. Q: How is the Expression pedal implemented in the loop/sampler portion of the DL4? Can you adjust the feedback level of the loop (so loops start to fade), or just the mix of loop in the output signal? A: The expression pedal works the same way in the Loop Sampler mode as it does in the regular delay mode. You can set the toe-down position of the pedal to one setting of the knobs (excluding the model selector knob) and the heel-down position to another setting. For example you could have the toe-down position set for the loop mix (mix knob) at maximum, the delay level (tweez) at medium, the delay modulation (tweak)at minimum, the delay repeats at half-way, and the delay time set fast (say 3 o'clock). You could then put the pedal in the heel-down position and set the knobs for the loop level at minimum, the delay level at maximum, the modulation at minimum, the repeats at minimum and the delay time long (say 9 o'clock). Now when you're playing (and the play/stop button is switched on), putting the pedal in the toe down position will give you the loop at full volume, pre-loop delay that is of medium volume volume with no modulation and a fast time. When you switch to heel-down, you'd get no loop (even with the play/stop button switched on)with a long single delay that is very loud. Yes it will remember your settings after you turn the DL4 off. The loop sampler can either play the loop indefinitely (until you hit the stop button)or play it one time only then stop (Button C). It will not trail off on it's own. You would have to use the expression pedal to ride it's level. Q: On the stomp-box modelers, how do I turn on the alternate (delay trails) bypass and what does it do? A: Alternate Bypass will allow the delay to remain in the signal (fade off into the distance) when the pedal is turned off, where True Bypass will stop the delay as soon as the pedal is turned off. Alternate bypass mode should prevent any drop in volume level when the pedal is engaged. In addition, it will not cut off delay trails in a long delay setting. To switch between true bypass and alternate bypass mode, you will need to hold down the a and c buttons at the same time for at least three seconds while inserting the left mono input(which will turn on the unit) to initialize alternate bypass. It will remember the selected bypass mode. Since it's a simple toggle, if you want to switch back, just repeat the process. Q: I'm having a hard time getting my bass loops to sync up with my drum tracks. It almost sounds as though the bass loops are slowing down. Is that possible? Or are there some tricks to getting the loops right on the money? A: What you are experiencing is caused by the fact that it is very difficult to record a perfectly timed loop. Even if the original loop is off by the slightest amount of time, that time will be compounded with every repeat of the loop. Example: if the end of the loop is 1ms off, after 10 loops the guitar parts are now 10ms faster or slower than the drum parts. After 15 loops it will have a 15ms difference etc...You may need to re-sample the loop if after using it 6-8 times it doesn't match perfectly. With practice, you will get the feel of the correctly timed loop. Q: Can I make the sampled loop louder without overpowering my guitar? A: While in the LOOP SAMPLER mode, a simple turn of the MIX knob should enable you to control the level of the initial loops. Also, using the DL4 with a Line 6 EX-1 Expression Pedal will enable you to "morph" between two different MIX settings on the fly, from the floor, in real time. Simply place the EX-1 in the "heel down" position and program the pedal to your first desired setting. Next, put the EX-1 in the toe down position and program your second desired setting. Now, move the pedal back and forth and morph away baby! More information on the DL4 can be found at our Stomp Box Modelers product page. Q: What is the "suppressed carrier" frequency of the ring modulator patch? Is it fixed, or does it change with the variable waveform control (tweak or tweez)? A: It is variable and controlled via the tweak knob. 0 = sine, 10 = square wave. Q: How do I get the "Alvin Lee" dotted eighth note rhythm or "U2/Edge" delay from the DL4 pedal? A: The Alvin Lee Dotted Eighth Note Rhythm: The "Alvin Lee" sound is a single slap-back repeat. To set it up: 1. Tap the dotted eighth rhythm into the Digital Delay model. 2. Set Repeats, Tweak and Tweez to zero and the mix to 1:00. It may seem difficult to tap that rhythm in with your foot, but with a little practice, it becomes pretty easy. There is no preset delay value of a dotted eighth rhythm in the Rhythmic Delay model. The "U2 / Edge" Delay: The "U2/Edge" sound has 1.5 to 2 repeats on each of the stereo delays. To set this up: 1. Set the delay model to stereo delay and the unit automatically defaults to the "U2" sound. The Edge delay is actually a dotted eighth rhythm on the left side and a quarter note rhythm on the right side. The way to adjust the delay to this sound is to set the delay time to 11:00, repeats to 7:30, Tweak to 11:30, Tweez to 7:30 and mix to 1:00. If you want the tempo to be faster, just move the Delay Time and Tweak knobs a little counter-clockwise. You will have to make adjustments by ear to get that perfect "dotted eighth and quarter note" sound. The default Tap Tempo rhythm for the models is a quarter note. It is not possible to change this default rhythm. The only solution would be to save the presets with a different rhythm. This would allow for six presets if you used the optional expression pedal.

On POD X3L, physical expression pedal positions, when assigned to a TWEAK parameter, will not be stored upon saving the patch. However, the position or value of the effect parameters in Edit Mode (UI) that the TWEAK Pedal is assigned to, will be stored upon save. This means that when you recall a patch with your expression pedal in the heel position, assuming the expression pedal is set to control a tweak parameter (IE: delay mix), the patch will recall the value you saved the tweak at (IE:Delay Mix 80%) and not the PHYSICAL PEDAL POSITION of the expression pedal (IE: Heel position or NO DELAY MIX) This behavior is similar to the way the POD XTL and Vetta works.

Due to the subjective nature of the audio recording, we really cannot delve into the specifics of how to properly mix and master your Line 6 recordings. We can, however, point you in the right direction to some sites that offer great information on how to get your recordings mixed and mastered properly to sound like they were created in a pro studio! Ask Video http://askvideo.com/ Provide great instructional DVD's on a wide variety of recording and music creation programs. Keyfax NewMedia http://www.keyfax.com/ An independent music technology music support company that offers many on-line videos and DVD's. Groove3 http://www.groove3.com/str/ Another great site featuring instructional videos on many music technology products, programs, and techniques.

So you got the perfect sound... Now you want to save your own patch... Press 'SAVE' to bring you to the "SAVE TO:' screen. The bottom 4 knobs are critical to this process as they change the values that are directly positioned above. The first knob alternates between saving in Tone 1 and Tone 2, the third knob moves the cursor left and right, and the fourth knob changes the character that the cursor is positioned under. Use these knobs to select whether you want to save the patch to Tone 1 or Tone 2 and to change the name of the patch itself. Once you have set the name and tone position, use the save knob to choose which bank you want to save this to, then press the save knob again to save it.

USER: 1A Plex Lead 1B Class A30 TB 1C Clean Chorus 1D Treadplate 2A Down the Hall 2B Vibe 2C SunnyRainDay 2D Smooth Criminal 3A K-ROCK 3B Ogre 3C Burning Fish 3D Shred 4A Wishbook Jazz 4B Phaz Pong 4C Roomtone 4D Bohemian 5A Misfit Toys 5B Reverse 5C Plexi Phase 5D PurPLe 6A Blackface 6B Clean Rotary-1 6C Brit Clean 6D Subphonic 7A Blue Expo 7B Slick Willy 7C Vibe Clean 7D WholeNote Hold-1 8A Au Natural 8B DynamicSwirl 8C Vibro Blues 8D Tweed Solo 9A Mr. Sparkle 9B Seismik Mellow 9C Plexi+Screamer 9D Space Fuzz 10A Red Bean Blues 10B Beat The Dragon1 10C Sideways Sky 10D New Day 11A PushComesToShove 11B Thru Zero-L 11C Double Sweep-L 11D Big Solo 12A Near & Far-L 12B In the Rain-L 12C JazzyChorus-L 12D PhantomElectric 1&2 13A Clean Tremolo / Slap Vocal 13B Heavy Crunch / Dly Vocal 13C Piezo Rock Strum / Verb Vocal 13D Tube Bass / Smooth Vocal 14A Power Pop Bass 14B Chorus Bass 14C Thumb Slap Bass 14D Buzz Kill Bass 15A Advisory Bass 15B Pusher Bass 15C Sixty Four Bass 15D Hazzard Bass 16A 1Mic'd Acoustic 16B Piezo FingerPick 16C Piezo Rock Strum 16D Direct Varx Acst 17A Bright Cln Vocal 17B Rockabillly Vocal 17C Jolie Vocal 17D Megaphone Vocal 18A-32C User 32D Tutorial LO-GAIN 1. Bad 2. Badge 3. Blackface Vibro 4. Blue Ballad 5. Bottle 6. Bumpin' 7. Class A-30 TB 8. Clean Guitar 9. Country List 10. Trademark Clean 11. False Harmonics 12. Guitar Genius 13. Gypsy Jazz 14. Heads 15. Like Heaven 16. Malibu 17. Modern Jazz 18. Mr. Clean 19. New Wave 20. Out of My Head 21. Parvo 22. Riverside Jazz 23. Run Like Hell 24. Skilletlicker 25. Springy 26. Squash 27. Steel Bendies 28. Verse 29. Wooble Wobble 30. Z Surf HI-GAIN 1. American Punk 2. Angel P-Ball 3. Arena Jazz 4. Bayou Rock 5. Blizzard 6. Blossom 7. Bluse Slide 8. Bomber X-TC 9. Brit J900 Dist 10. British Metal 11. British Steel 12. California Spin 13. Chunk Chunk 14. Classic Grind 15. Cocked Wah 16 Deity Crunch 17. Deity Sweep 18. Eruption 19. Full Throttle 20. Fuzz O 21. Fuzzy Wuzzy 22. Green Fuzz 23. Hairloom 24. InsaneBeachParty 25. L6Puree 26. Moody Tweed 27. Prime Crime 28. Son of Privilege 29. UberUber 30. Zoo Stories FX HVY 1. Analog Square 2. Blue Come Treb 3. Boost & EQ 4. Bubble Echo 5. Buzz Wave 6. Double Bass 7. Expo Flange 8. Low Rez 9. Lumpy Phase 10. Random Chorus 11. Saturn & Ringmod 12. Seismik Synth 13. Sexi Plexi 14. Square Chorus 15. Synth Analog 16? Synth String 17. Tape Echo 18. Tube Drive 19. Useless Alien 20. Warble-Matic SONGS 1. 5160 2. Anthem (Dist) 3. BohemianRhapsody 4. Bombtrack 5. Bridge of Sighs 6. Cliffs of Dover 7. Cold Shot 8.Comfortably Numb 9. Comm Breakdown 10. Crushing Day 11. Day Tripper 12. Every Breath 13. Flight of Icarus 14. For the Love 15. Funk 49 16 Heartbreaker 17. Highway to Hell 18. Machine Gun 19. Metropolis 20. Money For Nothing 21. Monkey Wrech 22. Mother 23. No More Tears 24. Nuages 25. NuthinElseMatter 26. Passage2Bangkok 27. Purple Haze Solo 28. ReelinInTheYears 29. Stray Cat Strut 30. StreetsHavNoName 31. Sultans Of Swing 32. Sunshine of Love 33. SweetChild'oMine 34. Teen Spirit 35. TeeageWasteland 36. The Rover 37. Under the Bridge 38. War Ensemble 39. Welcome 2 Jungle 40. Wheel in the Sky BLENDS 1. Jazz Jazz 2. Darkness Jazz 3. Clean Plexolay 4. Acousticky 5. Ryan Twang 6. AC Twang 7. Bf Slppage 8. Stereo 4 Swell 9. Dominoes 10.Blown Up Blues 11. Texass 12. Two Tone Blues 13. Brit Chrome 14. Fatt Crunch 15. Chorus Chunk 16 Dark N Fuzzy 17. Stompin' Metal 18. UK Horns 19. Solo Screamers 20. Tremometal 21. Extreme Gate 22. Evil Mids 23. Megafuzz 24. Gargull 25. Twang N Crunch 26. Neil Downs 27. Spacey Phase 28. Vapor Trails 29. WholeNote Hold 30. PushComesToShove PAIRS 1. Jazz Clean / DDL Voc 2. Piezo Rock Strum / Verb Doc 3. Jangle / Slap Voc 4. Piezo FingerPick / Comp Voc 5. Trem Twang / Cintage Voc 6. Fab Classic / Fab Voc 7. Country Fried / Country Voc 8. Spank Chorus / Mod Voc 9. Tweedle / Echo Voc 10. Blues Breakin' / Blues Voc 11. Travelin' / Travelin' Doc 12. Double Rotor / Double Rotor Voc 13. Plexish / Verb Voc 14. Limelight / Limelight Voc 15. Heavy Crunch / Dly Voc 16 Chunky Verb / Verb Voc 17. Destruction / Verb Voc 18. UK Machine / UK Machine Voc 19. Lead Solo / Lead Voc 20. Double Grunge / Grunge Voc 21. Phasey Flangey / Phasey Voc 22. Sweepy OctoTrem / Sweepy Voc 23. Echo Echo / Echo Echo Voc 24. Seaweed / Seaweed Voc 25. J Bass / Verb Voc 26. Tube Bass / Smooth Voc 27. Fab Bass / Fab Voc 28. Auto Wah Bass / Warm Voc 29. Grizz Bass / Grizz Voc 30. Darkside Bass / Darkside Voc ACOUST 1. Direct San Diego 2. Direct Varx Acst 3. Mic'd Clean Room 4. Mic'd CleanStrum 5. Mic'd HeadGrange 6. Mic'd Nashville 7. Mic'd Sad Picker 8. Mic'd Tiny Radio 9. Mic'dBigAcoustic 10. Mic'dBoomSource 11. Mic'dLateSweeper 12. Mic'dPhaszedAcoust 13. Piezo Fingerpick 14. Piezo Gritty 15. Piezo Rock Strum BASS 1. 4x15 2. '60s R&B 3. Advisory 4. Albert Hall 5. Arena Bass Solo 6. Band Room 7. Barney 8. Big 360 9. Blacklisted 10. Buffalo Soldier 11. Buzz Kill 12. Chemistry 13. Chorus Shimmer 14. Detroit Bass 15. East Lansing 16. Garden Fresh 17. Haze 18. Hazzard 19. Invasion 20. Jamaican 360 21. Metal Odyssey 22. Metal Theatre 23. Modern Rock 24. Organ Bass 25. Pawn Shop Punk 26. Power Pop 27. Prog Rock Epic 28. Pusher 29. Secret Agent Spy 30. Sixty Four 31. Skate Park 32. Slap 33. Smokey Lounge 34. Sub Dub 35. Subterranean 36. Texas 37. The Incident 38. Thumb Slap 39. Tres Bas 40. Zero Roadie VOCAL 1. BoomBox Vox 2. Bright And Clean 3. Choirt 4. Classic Vocal 5. Joliet Vocal 6. Megaphone 7. Modern 8. Nashville USA 9. Prog Rock Vocal 10. Rhapsody Vocal 11. Rockabilly 12. Studio Vocal 13. Trench 14. Vocal Spin 15. Warm And Clean

GUITAR AMPS 1. Line 6 Agro 2. Line 6 Bayou 3. Line 6 Big Bottom 4. Line 6 Boutique #1 5. Line 6 Chemical X 6. Line 6 Chunk Chunk 7. Line 6 Class A 8. Line 6 Clean 9. Line 6 Crunch 10. Line 6 Fuzz 11. Line 6 Insane 12. Line 6 JTS-45 13. Line 6 Lunatic 14. Line 6 Modern Hi Gain 15. Line 6 Mood 16. Line 6 Octave 17. Line 6 Piezacoustic 2 18. Line 6 Purge 19. Line 6 Smash 20. Line 6 Sparkle 21. Line 6 Sparkle Clean 22. Line 6 Spinal Puppet 23. Line 6 Surfer Clean 24. Line 6 Surfer Sparkle 25. Line 6 Throttle 26. Line 6 Treadplate 27. Line 6 Tube Preamp 28. Line 6 Line 6 Twain 29. Line 6 Variax Acoustic 30. 2002 Angel P-Ball 31. 1964 Blackface ?Lux 32. 1963 Blackface Vibro 33. 2002 Bomber Uber 34. Bomber X-TC 35. 1968 Brit Plexi Bass 100 36. Brit Gain 18 37. 2003 Brit Gain J-2000 38. J-2000 #2 39. 1990 Brit J-800 40. 1992 Brit J900 CLN 41. 1992 Brit J900 DIST 42. 1996 Brit JM Pre 43. 1969 Brit Plexi Lead 200 44. 1967 Brit Gain SLVR J 45. 1985 Cali Crunch 46. Citrus D-30 47. 1960 Class A-15 48. Class A-30 Fawn 49. 1967 Classic A30 Top Boost 50. 2003 Connor 50 51. 2002 Criminal 52. 2003 Deity Crunch 53. 2003 Deity Lead 54. 2003 Deity?s Son 55. 2001 Diamond Plate 56. 1967 Double Show 57. 1965 Double Verb 58. 1960 Gibtone Expo 59. 1973 Highway 100 60. 1987 Jazz Clean 61. 1996 Match Chief 62. 1993 Match D-30 63. 1996 Mini Double 64. 1965 Plexi 45 65. 1968 Plexi Jump Lead 66. 1968 Plexi Jump Lead 100 67. 1968 Plexi Variac?D 68. 1967 Silver Twelve 69. 1972 Silverface Bass 70. 1953 Small Tweed 71. 1993 Solo 100 Head 72. 1960s Super O 73. 1962 Super O Thunder 74. 1960 Tiny Tweed 75. 2001 Treadplate Cual 76. 1958 Tweed B-man 77. 1960 Two-Tone 78. 2001 Zen Master 79. NO AMP GUITAR CABS 1x6 60s Super O 1x8 Tiny Tweed 1x10 '59 Gibtone 1x10 '60 G-Brand 1x12 01 Line6 1x12 '53 Small Tweed 1x12 '64 Blackface Vibrolux 1x12 '60 Class A 15 2x2 01 Mini T 2x12 01 Line 6 2x12 '65 Blackface 2x12 '96 Match Chief 2x12 '87 Jazz Clean 2x12 '57 Cleass A-30 4x10 01 Line 6 4x10 '58 Tweed Bassman 4x12 01 Line 6 4x12 '67 Green 20s 4x12 '68 Green 25s 4x12 '78 Brit Celest t-75s 4x12 '96 Brit Celest V30s 4x12 01 Treadplate 1x15 '62 Thunder 2x12 '67 Wishbook No Cabinet GUITAR MICS 1. 57 On Axis 2. 57 Off Axis 3. 421 Dynamic 4. 67 Condenser BASS AMPS 1. Line 6 Brit Invader 2. Line 6 Classic Jazz 3. Line 6 Doppleganger 4. Line 6 Ebony Lux 5. Line 6 Frankenstein 6. Line 6 Sub Dub 7. Line 6 Super Thor 8. Line 6 Tube PreAmp 9. 1998 Adam & Eve 10. 1975 Alchemist 11. 1972 Amp 360 12. 1968 Brit Bass 13. 1965 Brit Class A 100 14. 1969 British Major 15. 2003 California 16. 1964 Double Show 17. 1989 Eighties 18. 1968 Flip Top 19. 1973 Highway 100 20. 1971 Highway 200 21. 2003 Jaguar 22. 1998 Jazz Tone 23. 1967 Motor City 24. 1974 Rock Classic 25. 1967 Silverface Bass 26. 1978 Stadium 27. 2002 Studio Tone 28. 1958 Tweed B-Man BASS CABS 1. BASS-1X12 Boutique 2. BASS-1x12 Motor City 3. BASS-1x15 Flip Top 4. BASS-1x15 Jazz Tone 5. BASS-1x18 Session 6. BASS-1x18 Amp 360 7. BASS-1x18 California 8. BASS-1x18+12 Stadium 9. BASS-2x10 Modern UK 10. BASS-2x15 Doubleshow 11. BASS-2x15 California 12. BASS-2x15 Class A 13. BASS-4x10 Line 6 14. BASS-4x10 Tweed 15. BASS-4x10 Adam & Eve 16. BASS-4x10 Silvertone 17. BASS-4x10 Session 18. BASS-4x12 Highway 19. BASS-4x12 Green 20s 20. BASS-4x12 Green 25s 21. BASS-4x15 Big Boy 22. BASS-8x10 Classic 23. BASS-No Cabinet BASS MICS 1. 20 Dynamic 2. 112 Dynamic 3. 47 Tube Close 4. 47 Tube Close WAH 1. Vetta Wah 2. Fassel 3. Weeper 4. Chrome 5. Chrome Custom 6. Throaty 7. Conductor 8. Colorful STOMP 1. DISTORTION Facial Fuzz 2. DISTORTION Fuzz Pi 3. DISTORTION Screamer 4. DISTORTION Classic Distortion 5. DISTORTION Octave Fuzz 6. DISTORTION Killer Z 7. DISTORTION Tube Drive 8. DISTORTION Boost + EQ 9. DISTORTION Bass Overdrive 10. DISTORTION Bronze Master 11. DYNAMICS Red Comp 12. DYNAMICS Blue Comp 13. DYNAMICS Blue Comp Treb 14. DYNAMICS Vetta Comp 15. DYNAMICS Vetta Juice 16. DYNAMICS Auto Swell 17. DYNAMICS Female De-Esser 18. DYNAMICS Male De-Esser 19. FILTER Auto Wah 20. FILTER Dingo Tron 21. FILTER Clean Sweep 22. FILTER Seismik Synth 23. FILTER Double Bass 24. FILTER Buzz Wave 25. FILTER Rez Synth 26. FILTER Saturn 5 Ring Mod 27. FILTER Synth Analog 28. FILTER Synth FX 29. FILTER Synth Harmony 30. FILTER Synth Lead 31. FILTER Synth String 32. FILTER Sub Octaves 33. FILTER Bender MOD 1. Sine Chorus 2. Analog Chorus 3. Line 6 Flanger 4. Jet Flanger 5. Phaser 6. U-Vibe 7. Opto Tremolo 8. Bias Tremolo 9. Rotary Drum + Horn 10. Rotary Drum 11. Auto Pan 12. Analog Square Chorus 13. Stereo Square Chorus 14. Stereo Expo Chorus 15. Random Chorus 16. Stereo Square Flange 17. Expo Flange 18. Lumpy Phase 19. Hi Talk 20. Sweeper 21. POD Purple X 22. Random S & H 23. Tape Eater 24. Warble-Matic DELAYS 1. Analog Delay 2. Analog with Modulation 3. Tube Echo 4. Multi-Head Delay 5. Sweep Echo 6. Digital Delay 6. Stereo Delay 7. Ping Pong Delay 8. Reverse Delay 9. Echo Platter 10. Tape Echo 11. Low Rez Delay 12. Phaze Echo 13. Bubble Echo VERB 1. 'Lux Spring 2. Standard Spring 3. King Spring 4. Small Room 5. Tiled Room 6. Brite Room 7. Dark Hall 8. Medium Hall 9. Large Hall 10. Rich Chamber 11. Chamber 12. Cavernous 13. Slap Plate 14. Vintage Plate 15. Large Plate

Français Deutsch Explained below is a definition of the Line 6 Audio-MIDI Control Panel. It explains and defines the function of each setting within the application. The "Driver" tab Driver Operating at: The "Driver operating at:" status actually shows the sample rate and bit depth of the data going through the USB cable and the hardware. For X3, the hardware always runs at 48000 Hz, 24 bit regardless of what the driver is doing, so you'll always see 48k, 24bit. From the Gearbox Manual page 3.4 Driver Operation indicator: TonePort & GuitarPort devices - Displays what sample and bit rate the current device is operating at(or with no text if not in use). Note: POD XT devices do not utilize this feature and therefore no text will appear here when a PODxt is the selected device. These devices run at a fixed sample rate which is why you'll see the Sample Rate Converter light always on when viewing the Control Panel with a POD XT device connected. The POD XT is always converting from the custom rate to it's fixed sample rate. Similarly, the SRC light will always be on for X3, unless you're running the driver at 48kHz. Lock Format: The "Lock Format" check box affects two things. 1)All WDM applications 2)The hardware sample rate, if it isn't already locked by the hardware (like X3 or XT). From the Gearbox Manual page 3.4 Lock Driver Format: When checked, this forces the Line 6 audio driver to operate at the Sample and Bit rate settings entered in the two fields below (as opposed to following the sample rate requested by a host audio application). Note: Lock Format doesn't affect the ASIO driver. All sample rates will still work for ASIO even if Lock Format is checked. With TonePort devices, Lock Format will lock that hardware to the given sample rate. If ASIO software asks for a different sample rate, our driver will perform the necessary Sample Rate Conversion. ASIO Settings: The ASIO Settings section are the displayed settings of what you are actually running your ASIO driver at. From the Gearbox Manual page 3.3/3.4 ASIO Client: If you are running audio software that is using this Line 6 device as its ASIO sound card, the name of the software will appear here. If not in use by an ASIO software, none is displayed here as shown. Default Buffer Size: The ASIO buffer size in use. Note this field is only active when in use by an ASIO application. As your audio software documentation will likely tell you, the ASIO Buffer Size will affect the responsiveness and latency of the audio. The lower the setting, the faster the response, but with the trade-off of higher processor usage and the risk of audio dropouts. Raise the value if you are getting inconsistent playback or recording in the audio software. Basically, 512 is generally a good average setting.* Default Bit Depth: The ASIO bit depth in use. Note this field is only active when in use by an ASIO application. It is best to use the highest bit rate your ASIO software will support to ensure high quality audio. Sample Rate Converter: TonePorts support 44.1 and 48 kHz sample rates natively. Some TonePorts also support 88 and 96 kHz sample rates by way of an internal sample rate converter. This indicator lights up to show you when this converter is active, which can be any time your ASIO software is requesting a different sample rate than what your device natively supports. TonePort UX8 supports 44.1, 48, 88.2 and 96 kHz sample rates natively, meaning that these sample rates are not converted. The Inputs and Recording tab: From the Gearbox Manual page 3.5: Input Source Select:* This is a mirrored control for the Source Select within the GearBox application where it allows the user to select which physical input is used on the device. Note that this control is ONLY selectable when the GearBox software is not in use by the current device. When GearBox is in use, it remains grayed out, but displays the current Source that is selected within GearBox. When Gearbox is not in use by the selected Line 6 device, this Input Source Select, like the Source Select in the GearBox application, offers a list of input options. GuitarPort and PODxt devices are always fixed to only route their instrument 1 /4 input signal into GearBox. When a GuitarPort or PODxt is the selected device, this Input Source Select list offers only Instrument as the source. F.A.Q. zur Line 6 Audio-MIDI Steuerung: Im Folgenden sind die Funktionen des Line 6 Audio-MIDI erklärt: Der "Driver" Reiter: Driver Operating at: Der "Driver Operating at:"Status zeigt Ihnen die Samplerate und Bitauflösung der Daten an, die durch das USB Kabel und die Hardware gehen. Für das X3, die Hardware läuft immer auf 48kHz, 24bit egal was der Treiber macht also wird Ihnen immer 48kHz, 24bit angezeigt. Aus dem GearBox Benutzerhandbuch, Seite 3.4: Driver Operation Anzeige: TonePort und GuitarPort Geräte: Anzeige der Samplerate und Bitauflösung des derzeit angeschlossenen Gerätes (oder ohne Text wenn es nicht benutzt wird). Achtung, PODxt Geräte benutzen diese Eigenschaft nicht und somit wird dann auch kein Text angezeigt, wenn ein PODxt ausgewählt wird. Diese Geräte laufen mit einer festgesetzten Samplerate, deshalb wird das Sample Rate Converter Licht immer an sein wenn Sie die Steuerung mit einem PODxt Gerät öffnen. Das PODxt wird immer von der benutzerdefinierten Samplerate auf seine festgesetzte Samplerate konvertieren. So wird das SRC Licht auch immer bei einem X3 angeschaltet sein außer Sie lassen den Treiber auf 48kHz laufen. Lock Format: Das Lock Format Kontrollkästchen beeinflusst zwei Dinge: Alle WDM Programme. Die Hardware Samplerate, sofern diese nicht von der Hardware festgesetzt ist. Aus dem GearBox Benutzerhandbuch, Seite 3.4: Lock Driver Format: Wenn diese Option angekreuzt ist, wird der Line 6 Audiotreiber dazu gezwungen mit der unten eingegebenen Samplerate und Bitauflösung zu arbeiten. Im Gegensatz zur Einhaltung der Samplerate die vom Audio Programme angefordert wird. Achtung, Lock Format beeinflusst nicht den ASIO Treiber. Alle Sampleraten werden weiterhin für ASIO funktionieren auch wenn Lock Format angekreuzt ist. Mit TonePort Geräten wird Lock Format die Hardware auf die angegebene Samplerate fixieren. Wenn ASIO Software nach einener anderen Samplerate fragt wird unser Treiber die nötige Konvertierung vornehmen. ASIO Settings: Die Sektion der ASIO Settings zeigt alle Einstellungen des ASIO Treibers an die tatsächlich laufen. Aus dem GearBox Benutzerhandbuch, Seite 3.3/3.4: ASIO Client: Wenn Sie eine Audio Software benutzen, die das Line 6 Gerät als ASIO Soundkarte verwendet, wird der Name der Software hier erscheinen. Wenn es nicht mit ASIO Software verwendet wird, wird hier "none" stehen. Default Buffer Size: Die ASIO Buffergröße in Benutzung. Achtung, dieses Feld ist nur dann aktiv, wenn es mit einem ASIO Programm benutzt wird. Die ASIO Buffergröße wird die Reaktionsfähigkeit und Latenz des Tons beeinflussen. Je tiefer diese Einstellung, umso schneller die Resonanz. Dies führt jedoch zu einer höheren Prozessorauslastung und man riskiert Audio Aussetzer. Erhöhen Sie diesen Wert wenn Sie einen unbeständigen Ton in Ihrer Audio Software erhalten. Am Allgemeinen ist 512 eine gute, durchschnittliche Einstellung. Default Bit Depth: Die ASIO Bitauflösung in Benutzung. Achtung, dieses Feld ist nur dann aktiv, wenn es mit einem ASIO Programm benutzt wird. Am besten benutzen Sie die höchste, von Ihrer ASIO Software unterstützte, Bitauflösung um eine hohe Audioqualität zu gewährleisten. Sample Rate Converter: TonePorts unterstützen von Haus aus 44.1 und 48kHz Sampleraten. Manche TonePorts unterstützen sogar 88 und 96kHz Sampleraten anhand eines internen Konverters. Diese Anzeige leuchtet auf um Ihnen zu zeigen, dass dieser Konverter aktiv ist. Dies kann jederzeit geschehen, wenn Ihre ASIO Software eine unterschiedliche Samplerate erfordert als die, die Ihr Gerät nativ unterstützt. TonePort UX8 unterstützt 44.1, 48, 88.2 und 96kHz Sampleraten, was bedeutet, dass keine Kovertierung stattfindet. Der Input and Recording Reiter: Aus dem GearBox Benutzerhandbuch, Seite 3.5: Input Source Select ist eine Spiegelung des Source Select des GearBox Programmes, welches Ihnen die Möglichkeit gibt, den physischen Eingang, der auf Ihrem Gerät genutzt werden soll, auwählen zu können. Achtung, diese Eisntellung ist nur dann auswählbar, wenn die GearBox Software derzeit nicht von einem Gerät benutzt wird. Wenn diese von einem Gerät in Benutzung ist, wird die Einstellung grau bleiben aber Ihnen die derzeitige Quelle anzeigen, die im GearBox ausgewählt ist. Wenn GearBox nicht von einem Gerät in Benutzung ist, dann können Sie hier, wie beim Source Select der GearBox Software eine Liste von Eingangsoptionen benutzen. GuitarPort und PODxt Geräte sind immer festgesetzt, um ausschließlich den "Instrument" 6.35mm Eingang ins GearBox zu nutzen. Wenn also ein GuitarPort oder PODxt das ausgewählte Gerät ist dann hat diese Input Source Select Liste nur eine Option, "Instrument". TonePort UX8 hat einen größeren Satz Optionen, schauen Sie sich dazu den Inputs & Recordings Reiter an. Panneau de configuration Line 6 Audio-MIDI: F.A.Q. Explications des options du Line 6 Audio-MIDI: Le tab Driver: Driver operating at: Le statut "Driver operating at:" vous montre la fréquence d'échantillonnage et la profondeur de bits des données traversant le câble USB et le hardware. Pour le X3, le hardware est toujours à 48000 Hz, 24bit n'importe quoi le pilote fait. Vous voyez toujours 48k, 24bit. Retiré de la page 3.4 du manuel d'utilisation Gearbox: Indicateur Driver Operation: Appareils TonePort & GuitarPort: Affiche la fréquence d'échantillonnage et la profondeur de bits à laquelle l'appareil fonctionne. (Aucun texte si l'appareil n'est pas en cours d'utilisation.) Attention, les appareils PODxt n'utilisent pas cette option donc aucun texte n'apparaît si un appareil PODxt est connecté. Ces appareils fonctionnent à une fréquence d'échantillonnage fixée donc la lumière "Sample Rate Converter" est toujours allumée si un appareil PODxt est connecté. Le PODxt toujours convertit la fréquence personnalisée à sa fréquence fixée. De même façon, la lumière SRC est aussi toujours allumée avec un appareil X3, sauf vous exécutez le pilote à 48kHz. Lock Format: La case à cocher "Lock Format" affecte deux choses: Toutes les applications WDM. La fréquence d'échantillonnage du hardware si ce n'est pas fixé par le hardware (comme X3 ou XT). Retiré de la page 3.4 du manuel d'utilisation Gearbox: "Lock Driver Format": Si coché, cette option force le pilote Line 6 de fonctionner à la fréquence d'échantillonnage et profondeur de bits entrés ci-dessous. Contrairement à l'utilisation de la fréquence d'échantillonnage demandé par l'application audio. Attention, Lock Format n'affecte pas le pilote ASIO. Toutes les fréquences d'échantillonnage fonctionnent même si Lock Format est coché. Pour les appareils TonePort, Lock Format verrouille le hardware à la fréquence d'échantillonnage donné. Si le logiciel ASIO demande une fréquence d'échantillonnage différente, notre pilote effectue la conversion de fréquence d'échantillonnage nécessaire. ASIO Settings: La section ASIO Settings affiche les réglages vous exécutez le pilote ASIO réellement. Retiré de la page 3.3/3.4 du manuel d'utilisation Gearbox: ASIO Client: Si vous exécutez un programme qui utilise l'appareil Line 6 comme carte de son ASIO, le nom du logiciel apparais ici. S'il n'est pas utilisé d'un logiciel ASIO, "none" sera affichée ici. Default Buffer Size: Ce montre la taille de buffer ASIO en utilisation. Cet espace est seulement active si utilisé par une application ASIO. Cette taille de buffer ASIO affectera la réactivité et latence du audio. Abaissement de cette option améliore la réactivité mais l'utilisation du processeur augmente et on risque le décrochage du son. Augmentez ce valeur si vous recevez du audio inconsistant dans le logiciel audio. Normalement, 512 est un réglage bon moyenne. Default Bit Depth: Ce montre la profondeur de bits ASIO en utilisation. Cet espace est seulement active si utilisé par une application ASIO. Utilisez le plus haut réglage que votre logiciel ASIO soutient pour garantir une haute qualité audio. Sample Rate Converter: Les TonePorts soutiennent les fréquences d'échantillonnage 44.1 et 48kHz nativement. Certains TonePorts soutiennent 88 et 96kHz aussi avec un convertisseur de fréquence d'échantillonnage interne. L'indicateur s'allume si ce convertisseur est active, que peut-être n'importe quand votre logiciel ASIO demande une fréquence d'échantillonnage différente que laquelle votre appareil soutient nativement. Le TonePort UX8 soutient les fréquences d'échantillonnage 44.1, 48, 88.2 et 96kHz nativement que veut dire que ces fréquences d'échantillonnage ne sont pas converties. Le tab Inputs and Recording: Retiré de la page 3.5 du manuel d'utilisation Gearbox: Input Source Select: C'est un réglage reflète du Source Select dans l'application GearBox, ce réglage vous permet de sélecter quel entrée physique est utilisée sur l'appareil. Attention, ce réglage est seulement sélectionnable si le logiciel GearBox n'est pas en cours d'utilisation de l'appareil. Si GearBox est en cours d'utilisation, il reste grisé mais affiche la source actuelle du GearBox. Si GearBox n'est pas en cours d'utilisation, cette sélection vous offre une liste des options d'entrées. GuitarPort et PODxt sont fixés ici, ils font passer seulement le signal d'entrée 6.35mm "Instrument" dans le GearBox. Donc, si un GuitarPort ou PODxt est l'appareil choisis, cette liste Input Source Select a uniquement "Instrument" comme source. Le TonePort UX8 a un nombre plus vaste des options. Veuillez visiter le tab Inputs & Recording.

Q: Does Line 6 offer a 64-bit driver for stand-alone applications? A: Line 6 offers a 64-bit compatible driver for Windows XP, Vista and 7 platforms as well as compatible drivers for 64 bit Kernel installs of Mac OSX. You can download the latest compatible drivers (as well as compatible versions of our Gearbox and POD Farm editors and plug-in applications) at the software page at the link below: http://www.line6.com/software/ Q: My DAW only supports 64 bit native plug ins. Are the Gearbox and POD Farm plug ins 64 bit natively? A: The Gearbox/POD Farm plug-in is not a native 64-bit plug-in, but is 64-bit compatible.? If your DAW requires a 64-bit plug-in the Gearbox/POD Farm plug in will not be recognized.

Q: Can I upgrade my XT device to an X3? A: Here is the list of model packs included on the X3, model packs that are included on XT devices are listed after the model pack: Power Pack(included on the Pod XT series) FX Junkie (included on the Pod XT Live) Collector Classic Metal Shop Bass Expansion (included on the Bass Pod XT) Please note that the FX Junkie, Collector Classic, and Metal Shop model packs can be purchased as a Triple Pack for a savings of ~$50. Q: How can I upgrade the hardware on my XT series unit? A: The other differences such as the effects loop, XLR input, etc. are hardware improvements that cannot be upgraded. Q: Does Line 6 offer a trade-in program for my XT unit for an X3 unit? A: We recommend seeing your local Line 6 dealer regarding the possibility of trading your XT unit for an X3 if you are interested in obtaining an X3 at a lower price. Q: When will Gearbox and the Gearbox plug-in be available for the Pod X3 series? A: We released a compatible version of Gearbox on February 29th, 2008. Q: Is the POD X3 series compatible with Riffworks? A: Yes, you must download and install Riffworks Line 6 Edition version 2.22 or better from the downloads page.

Q: What quality are the UX8's A/D converters? A: The UX-8 uses the same converter chip that the Apogee Ensemble ($1949), Echo Audiofire 12 ($699), Focusrite Saffire Pro ($699) and probably more use. A/D Conversion: 16-bit & 24-bit 44.1, 48, 88.2 & 96 kHz This info comes from our UX8 specs page at: http://line6.com/toneportux8/specifications.html

The POD X3 offers a fun feature that allows you to create patches on Tone 1 and Tone 2 and blend them together or sweep from one patch to another using the expression pedal on the Live. For any musician seeking seamless patch switching, this is the feature for you! Setting up this function is simple: 1) Set the volume on patch 1 at 100% heel, 0% toe (Page 5.16 of the user manual.) 2) Set the volume on patch 2 to the exact opposite, 100% toe, 0% heel. 3) Now rock the pedal back and forth. The pedal will now blend from 100% Patch 1 to 100% Patch 2 and anywhere in between.

The POD X3/X3 Live does not offer phantom power which is needed when using any condenser type microphones for recording. You can purchase phantom power boxes from several online music dealers. Some boxes start as low as $30.00. For more information on phantom power and how it works, please see the link below. http://en.wikipedia.org/wiki/Phantom_power If using phantom power with your microphone, do not connect your microphone to the X3's Mic input. The X3 is not equipped to handle external phantom power. If you do not own a condenser type microphone and your POD is still not putting out any levels there are a couple things you can check. 1)Press the Inputs button on your POD and make sure the input for your tone is set to "Mic". 2)Check the Trim knob near the XLR input on the back of your POD and make sure that is turned up. At this point if you are still not hearing any signal output then your POD have a hardware problem and will need to be repaired. You can locate a Service Center near you on our website and arrange a repair for your POD.

TonePort UX8 Frequently Asked Questions Q: Is TonePort UX8 an audio interface or software? Does it record? A: TonePort UX8 is a USB audio interface. Every TonePort audio interface works with the included GearBox modeling software as an integrated hardware/software system. The TonePort device gets audio signals into your computer and GearBox software makes everything you record sound amazing. TonePort UX8 is a unique integration of professional hardware and amp and effects modeling software. Designed with high quality electrical components and a rugged exterior, TonePort UX8 provides a wide dynamic range and an exceedingly low noise floor. The UX8, like every TonePort device, works together with the included GearBox software as an integrated hardware/software system, making everything you record sound amazing. Additionally, TonePort UX8 features Line 6's exclusive ToneDirect Monitoring, which lets you hear your GearBox-processed signal instantaneously, providing unmatched responsiveness while you record. Q: What is ToneDirect monitoring? A: ToneDirect monitoring allows you to monitor a fully processed signal with extremely low latency, regardless of the buffer size of your recording application. This means that there is an incredibly small delay between when you play a note and when you actually hear the sound from your speakers. This is unusual among audio interfaces because with other more traditional monitoring solutions, you either have to listen to processed audio with significant latency, often such that it is hard to play along with what you are recording or listen to a signal with no processing. It's uninspiring to say the least to hear completely dry electric guitar with no amp, cab, or effect processing. Q: What is GearBox? A: GearBox is the standalone software application that works with your TonePort audio interface, providing everything you need to record professional sounding tracks. GearBox contains models of vintage and modern amps, speaker cabinets, stompbox and studio effects for guitar, bass and vocals and can be applied while recording to any pair of inputs. Q: Can I apply Gearbox effects to all 8 inputs at once? A: Yes, using the Gearbox plug-in that is included with the UX8. Q: Will Gearbox be able to record at 96K? A: The UX8 driver can process audio at 96K, but Gearbox operates at 48K. Gearbox converts the 96k signal from the UX8 driver, converts it to 48k, processes it, then sends the signal to the UX8 driver, which then converts the signal to 96k. Q: Can I use TonePort UX8 without the GearBox software? A: Yes, you can use the TonePort hardware without GearBox software. Q: Can you re-amp with UX8? A: Not the same way you can with a PODxt, but you can via the GearBox Plug-In. The method for re-amping with a PODxt is pointed out in Knowledge Base document 3940. Q: What is GearBox Plug-In? A: GearBox Plug-In is a VST, AU and RTAS plug-in, providing the same models as the standalone application and additional flexibility when mixing and mastering. Q: Is the GearBox Plug-In included with TonePort UX8? A: Yes, it is. Q: Are TonePort UX8 and GearBox Intel Mac compatible? A: Yes, they are. Q: What recording software can I use with TonePort UX8? A: Every TonePort supports the ASIO standard on Windows and Core Audio on the Macintosh and should work well with any recording application that supports one of these protocols. The UX8 is designed to work with most major applications such as ProTools, Logic, Cubase, Nuendo, Sonar and Ableton Live. Q: Can I use TonePort UX8 and GearBox processing as a front end for Pro Tools? A: Yes, if your Pro Tools® hardware interface has a S/PDIF input you can run the stereo S/PDIF output of your TonePort UX8 directly into your Pro Tools hardware, complete with ToneDirectâ„¢ monitoring and GearBox processing. You can also utilize the Pro Tools compatible RTAS-format GearBox Plug-In for mixing and mastering. Q: Is RiffWorks 2 Line 6 Edition compatible with TonePort UX8? A: No, RiffWorks Line 6 and Riffworks 2 Line 6 Edition are not compatible with the UX8. However, the Standard Edition (full version) of Riffworks available for purchase through the Sonoma WireWorks website: http://www.sonomawireworks.com/. Q: Can I expand the model set of TonePort UX8 with Line 6 Model Packs? A: Yes, you can. They are available as optional Model Pack purchases from our online Store. Q: Can I transfer model packs that I purchased on another Line 6 hardware device over to my new UX8? A: Yes. Once you've purchased a model pack license key, that key remains with your user account indefinitely. You cannot, however have two or more different registered hardware devices running the same model pack simultaneously. Only one hardware device can have the model pack installed on it at any given time. Q: Do the gain controls on the front panel control the line input jacks on the back of the unit? A: The gain controls the input level of the XLR inputs, not the instrument cable inputs (as these are assuming line level and most instruments will have their own level control). Q: What do the VU meters do on TonePort UX8? A: The GearBox application allows you to assign the signal that is monitored by the VU meters to various audio sources: including input, record send, output and monitor levels. Q: How accurate are the VU meters on the UX8 in relation to the meters in the software? A: Very accurate, with the smallest of variance between Gearbox and the physical meters. Q: What will happen if my signal clips the unbalanced analog input on the UX8? A: The clipping will be a "natural clipping". The cure is to lower the incoming signal at the source. Q: How many Instruments/Mics can I record at one time? Since you are monitoring directly out of the UX8, am I going to experience any latency when recording all 8 inputs? A: 8 inputs can be recorded at any given time. Outputs 1 & 2 are monitored via ToneDirect, with the remaining outputs monitored from the hardware at near zero latency. Q: Can the phantom power from the UX8 damage my dynamic mic? A: No, it will not. Q: What is the signal to noise ratio on the analog inputs? A: The UX8 has an input signal to noise ratio of .005% THD, with a dynamic range of 111 dB. Q: What do flashing lights on the unit mean? A: The LED status indicators (Main Mute and Main Clip LEDs provide secondary functions in their ability to indicate the connection status of USB and S/PDIF) as follows: No USB connection: The main clip LEDs alternate steadily between left and right, about once every second. The USB cable may be unplugged or the UX8 driver may not be installed on your computer. No S/PDIF clock sync: The Mute LED blinks 3 times rapidly about once every second when the clock mode set to S/PDIF, and no external clock is present. Q: What are the dimensions and weight of the UX8? A: The UX8 is a standard two-unit rack space module, with dimensions of 17"w x 7"d (8" with knobs) x 3.5"h. The shipping weight is 11.6 lbs. Known Issues: An incompatibility for systems running on Intel ICH10 USB Chipsets; UX8 will hang the user's computer system. The solution for this is to use a PCI USB 2.0 interface card to connect UX8. Record buss mis-routing of UX8 in Gearbox when recording into DAW Gearbox is remembering POD Farm 1 and 2 Record send settings if PF (1 or 2) was used before Gearbox program. Workaround is to reset the Record Send settings that were made in POD Farm 1 or 2, or to reboot the computer.

1. Plug the Variax into the PODxt Live Variax input 2. Press the OUTPUT MODE b\utton and scroll the SELECT knob until you see MIDI/VARIAX. Use the fourth soft black button under VARIAX to activate input 3. Press the EDIT button. Scroll the SELECT knob clockwise to the very last page. 4. Change Variax models by highlighting MODEL with a soft button under the main LCD screen and use the tweak knob to the right of the screen. 5. Parameters are saved per patch and settings are reinforced when the patch is loaded. NOTE about Alternate Tunings: Alternate tunings are part of your Variax customization in Workbench and called up within a PODxt Live patch with the customized guitar model. To select or customize tuning in Workbench: 1. Click PRESET (1) at the bottom left hand corner of the editor screen. 2. Select 'Alternate Tuning' preset, load, and close. 3. Click SEND (2) and apply setting to one of your custom guitars. In the illustration I used Custom Lester Model 2*1 4. Go back to the Workbench Main Page and SYNC your Variax with the changed settings 5. You can now exit Workbench. On the PODxt Live: Select the model you wish to load & save patch to desired location.

Q: Is Biasing covered under warranty? A: Typically not. It should be considered as part of the routine maintenance in keeping your amplifier at its peak performance. However, if re-biasing is required as part of other warranty service, it will be covered under the warranty policy. Q: My tubes are not working (i.e. not lighting up, no output, etc). A: Check the following: Make sure the tube is firmly seated in the tube socket Other tube situations: My tubes make a popping sound accompanied by intermittent light from tubes - the tube is failing and needs to be replaced. The appearance of 'white frost' inside the tube - the tube has cracked and it must be replaced. General Guideline for Replacing Tubes: Always replace power amp tubes with matched set(s) every 12-24 months depending on the amount of use, and have the bias checked and/ or adjusted by an Authorized Line 6 Service Center. Preamp tubes (such as the two 12AX7s) only need to be replaced when they are microphonic (ringing sound from tubes when tapped), noisy, or damaged.

Application Q: What are the presets on my Spider Valve amplifier? A: The user presets and artist/song presets for the Spider Valve are listed as attachments at the bottom of this document (please be aware that they are identical to the Spider III with the exceptions notated in the document). The Spider Valve user presets are the 36 user-programmable presets. The artist/song presets location cannot be saved, but you can modify and/or store these setting in the 36 user-programmable presets. If you would like to return your unit to the original presets, please perform a factory reset. Q: I noticed that some of the Artist/Song Presets from the Spider III are not present on the Spider Valve? A: Yes, some of the Artist/Song Presets from the original Spider III release were not included in the Spider Valve release due to space restrictions (please compare the two lists for clarification). Q: Are the Spider Valve series amps Mono(phonic)? A: Yes, the Spider Valve series amplifiers have a monophonic output (as are most tube amplifiers). Q: How can I connect a POD unit to my Spider Valve series amplifier? Connecting to Amps and Computers, Output Settings, Floorboard Compatibilty, Fletcher Munson, Multiple Amps Q: Do the Master volume and presence control applied to the power amp section only? A: Yes, the master volume and presence control are true analog. Q: Where is the Master volume located in the chain? A: it is after the preamp, and before the power amp. Specifications Q: What speakers are used in the Spider Valve amplifiers? Spider Valve 112: Celestion Vintage 30, 8 ohm Spider Valve 212: (2) Celestion Vintage 30s, 16 ohm Spider Valve 412 cabinet: (4) Celestion Vintage 30s, 16 ohm Q: What tubes ship in the Spider Valve amplifiers? What is the power output? Spider Valve 112: (2) Sovtek 12AX7LPS preamp tubes, (2) Sovtek 5881/6L6WXT power amp tubes. 40 watts. Spider Valve 212: (2) Sovtek 12AX7LPS preamp tubes, (2) Sovtek 5881/6L6WXT power amp tubes. 40 watts. Spider Valve HD: (2) Sovtek 12AX7LPS preamp tubes, (4) Sovtek 5881/6L6WXT power amp tubes. 100 watts. Q: What are the function of the 12AX7 tubes? A: V1 is the booster to the output tubes, V2 is the phase inverter for the output tubes. When viewing the amplifier from the back, V1 is on the left side on the combo and the right side on the head. Q: Can the SV handle another 12A_7 style tube without damage to tubes or circuitry? A: Yes, but as these tubes act as a phase inverter and a boost to the power amp (rather than traditionally "cleaning up" the preamp section), you may not get the result you are looking for. Q: What Line 6 controllers work with the Spider Valve series amplifier? Controller compatibility chart Setup/Connection Q: Is there a bias switch to change the power tubes to EL-34s or other power tube types? A: No, the Spider Valve does not offer bias switchable options and was designed to only be used with 6L6 power amp output tubes. Q: Is the effect loop series or parallel? Is the effect loop mono or stereo? A: The effect loop is series mono. Q: Is there a headphone output on the Spider Valve series? A: There is no headphone output on the Spider Valve Series, but you can use the XLR output to go to a mixer, then use the headphone jack from the mixer. Q: Can I run my Spider Valve amplifier without a speaker load? A:No, you cannot run the Spider Valve series without a speaker load. Please see the following link for more information on cabinet connections: Cabinet Connection and Ohm F.A.Q. Q: Can the Spider Valve be run with a Variac? A: This is not recommended as the lower voltage can cause problems with the digital processing in the Preamp section of the Spider Valve. Q: Can I run a Palmer S.E., THD Hot Plate, Power Soak, etc. for speaker simulation or power attenuation? A: There are no known issues regarding the use of any direct recording simulators or power attenuators between the power amp output and the speaker cabinet, but if there is damage caused by improper connections or malfunctioning gear it will not covered under the Line 6 warranty. Q: Do the 112 and 212 combos support external speaker cabinets? If so, will the external cabs mute the internal speakers of the SV? A: Yes, the Spider Valve supports the use of additional cabinets. Please ensure that the ohm load is correct to avoid damaging your amplifier. Q: What is the bias voltage for the 6L6 tubes? A: 35 ma (or mv) Q: Does the XLR output still send signal when the amplifier is on standby? Is there an FX loop? MIDI ports? A: The XLR Direct Out (which is a POD-style output with speaker simulation) will function when the amplifier is in standby mode.The Spider Valve has a pre-amp out (effect send) and Power amp in (effect return) section. There are no MIDI ports on the Spider Valve series. Q: What do the FBV shortboard stomp, FX Loop/Function 1, and Function 2 do? A: The Stomp button activates the "boost" on both the original (Mark I) and Mark II shortboard. The FX Loop (Mk I)/Function 1 (Mk II) activates the Noise gate. The Function 2 (Mk II only) has no function on the Spider Valve. Q: Does the FBV controller (long board) work any differently that the other FBV controller switch the Spider Valve series? A: The FBV controller (long board) work just like the other controllers, but there are numerous buttons that will have no functions, such as the Stomp 2/3 buttons, tremolo, and favorite channel. Q: Where is the fuse located in the chain? A: The fuse is located between the 12AX7s and 6L6s (there is no "master" fuse). Spider Valve Cabinet FAQs Q: What are the specs for the 4x12 cabinet? A: 9 ply, ¾" wood with Celestion Vintage 30 speakers. There is no ‘internal baffle`. Q: What are the ohm load options for the 4x12 cabinet? A: The switchable ohm load options for the 4x12 cabinet are 16 ohm mono, 8 ohm stereo, and 4 ohm mono. Trouble shooting: Q: What is the manufacturer’s warranty for SV? A: The warranty for the Spider Valve amplifier is 12 months from the date of purchase, the tubes are warrantied for 90 days from the date of purchase. Q: How do I perform a factory reset on my Spider Valve? A: The factory reset for the Spider Valve series is to hold the "A" button while powering the unit. Q: Will using different brands of 6L6 tubes in the Spider Valve void the warranty? A: No, feel free to experiment with other tubes of the same type. Q: My amp seems to be malfunctioning. What can I do as an end user? Amp Troubleshooting Tube Troubleshooting and Replacement *Q: Where can I download a Spider Valve manual? Line 6 Manuals Miscellaneous Q: Where can I get a cover for my Line 6 amplifier? Cases And Covers Q: In the manual's explanation of how to save patch and perform 'NAME EDIT' with the FBV shortboard: Page 45, it states to use the 'COMP' & 'MOD' button to select one of the characters of the channel name. I don't see a COMP button, what should I use? A: Please use the 'STOMP' & 'MOD' button to select the characters from left to right. This was an error in the manual due for revision. Spider Valve Preset Patches.pdf

Francais Deutsch How do I balance the volume of my presets? A: The best way to balance your presets is to first store your cleanest/quietest preset with the channel volume at 90-95%. You can then balance the volume of your other presets against this preset by using the channel volume control and storing each sound. This is the sole purpose of the Channel/Tone Volume knob. It does not increase/decrease gain, change tone or otherwise alter the preset - just volume. Q: How do I create a sound like an artist? A: There are a number of ways to create patches to emulate a specific guitarist. Perhaps the quickest/easiest way is to find a patch in your Line 6 unit that is similar to the sound you are trying to emulate, make the modifications necessary and then rename/save the patch (see your manual for the specifics on how to save your patches). You can also find ready-made Line 6 tones in the style of particular artists at www.customtone.com, then install these tones on your Line 6 unit. We recommend doing a bit of research on the guitarist you are trying to emulate if you are interested in creating patches from scratch. Web sites such as www.guitargeek.com and www.uberproaudio.com, list the rigs of many well-known guitarists, and Guitar and recording magazines often print accurate diagrams and layouts (sometimes with the actual microphones used and distance from the cabinet).Finding the following information will help you create an artist tone from scratch: Amplifier, speaker and cabinet. Generally speaking, open-back guitar cabinets (such as a 2x12 cabinet found on many Fender and Vox amplifiers) will have less low-end response than a closed-back cabinet (such as a 4x12 closed-back cabinet used with many Marshall® and Mesa/Boogie® amplifiers) Guitar (make/model) and pickup type. Alder or Ash bodies (commonly found on many Fender® guitars) sound different than mahogany bodies with or without maple tops (commonly found on many Gibson® guitars). Single-coil pickups (often used for bright/clean tones) sound different than humbuckers (which sound darker than single-coil pickups but not as noisy when used for higher gain tones) Pedals, effects and signal-chain placement. Effects can drastically change a guitar tone so you should know what effects were used and where they were placed (between the instrument and amplifier, or after the amplifier). Microphone type and placement. If possible, find out the kind of microphone used to record the tone and its angle and distance from the speaker. All of these play a significant role in changing the sound. On top of the following good information called out below, this website is an AMAZING resource for finding out which artist plays what gear: http://www.uberproaudio.com/who-plays-what Use the following list of artist guitar rigs to help emulate some well-known guitar tones: Ace Frehley/KISS: Gibson Les Paul Custom w/ Dimarzio Super Distortion (3 pickup version) > Vox Wah > Mutron Octave divider > Echoplex > Various Marshall heads and cabinets. Adam Dutkiewicz/Killswitch Engage: Caparison PLM-3 guitars w/ EMG 85 in the Bridge > Maxon OD808 Overdrive > H&K Triamp or Mesa Triple Recto/Roadster > Maxon AD9 Delay (FX Loop) > Mesa 412 w/ Vintage 30 speakers. Adam Jones/Tool: Dunlop Wah > Ibanez Delay > Ibanez Flanger SPLIT Mesa Dual Recto, Marshall Bass Head, Diezel VH4 w/ 4 12 cabs (GG.com) Adrian Smith/ Iron Maiden Piece of Mind Tour (1983): Gibson Guitar > Cry Baby Wah > MXR Preamp > Yamaha Flanger > Yamaha Phaser > Yamaha analog delay > Marshall Mk II 100w head > Marshall 412 cabinet with EV speakers. Guitar World December 2006: Fender Strat (HB) or Gibson SG > TS9 > Digitech Whammy Pedal > Dunlop Wah > Marshall 30th Anniversary 100w (6100LM) Head > FX LOOP (PV Tubefex) > Marshall 412 w/ Celestion 75w G12-T75 Al Mckay/Earth Wind & Fire: Tele (SC) and ES-335 (HB) > Boss PS-2 > Rat distortion > CE-2 > JC120 Albert King: 1958 Gibson Flying V > Acoustic 261 head and 261 cabinet. (Guitar Xtra Nov 2007) Albert Lee: Fender Telecaster > Echoplex tape delay > Ernie Ball 410 combo. Alexi Laiho/Children of Bodom: ESP Alexi Laiho Signature guitars w/ EMG Pickups > Lee Jackson Perfect Connection GP-1000 tube preamp > RSP 2400 Hush/Enhancer/Exciter > Rocktron Intellifex > VHT Two/Fifty/Two Stereo tube poweramp > Marshall 1960B 4×12 Cab w/ G12T-75 Speakers Allan Holdsworth: Custom SB (HB) > Boogie Mk I combo for Clean into 1x12, Dual rectos for solos - FX loop: (2) PCM 41s, (2) Yamaha 1500, (2) Roland SDE-3K, (2) Delta Lab Effectrons > Mesa Dual recto 212 cabinet. (Guitar shop 1994, The Recording Guitarist by John Chappell) Alex Lifeson/Rush * 70s rig: Gibson SB (HB) volume pedal, Cry Baby, BOSS CE-1, Mistress flanger, phase shifters, tape delays, Plexi Marshall, Marshall Cabs * Moving Picture era: Gibson or Fender > Morley Volume Pedal > MXR distortion > MXR Micro Amp > Roland 301 Echo Unit > AAD Delay > Electric Mistress > Roland chorus SPLIT (2) Marshall combos and (2) Hiwatt 100 heads > (2) 4x12 cabinets and 1 Leslie cabinet (Moving Pictures tour book) Amir Derakh/Orgy: Jackson SB (HB), Boss FZ-2, Boss PH-2, Boss PS-3, Boss GE-7, Marshall JMC 2000 (FX Loop TC 2290) > Marshall 412 w/ V30s (GG.com) Andy Summers/Police: 1961 Fender Tele > MXR Dynacomp > EH Flanger > MXR delay > Maestro Echolplex > Marshall 100w head > 412 cabinet. (Guitar Edge May/June 2009) Andrew Stockdale/Wolfmother: Gibson guitar > Fulltone Clyde Deluxe Wah > Boss Metal Zone > Fulltone Supa-Trem Tremolo > Boss Tremolo > Digitech Whammy pedal > Electro Harmonix Micro Synth > Electro-Harmonix Small Stone phaser > Orange AD30 and Thunderverb 200 and PCC412 cabinets, Marshall non-master volume superleads, Vox AC30 amplifier head Angus Young/ AC/DC: Gibson SG > Marshall JTM 45 or 1969 SLP reissues, Marshall 412 cabs w/ Vintage 30s or 25w Greenbacks (December 96 Guitar Shop, May 1996 Guitar World) A Levine/Maroon 5: Gibson SB (HB) > Line 6 DL4 > Ibanez TS9 > Boss NS2 SPLIT: Fender tone master and/or Triple Recto > Marshall 312 w/ 75w Celestions (October 2005 G1) Billy Joe Armstrong/Green Day: Black Les Paul, Les Paul Junior, Fernandez Strat (w/ SD JB) > TS-9 > Ibanez Phaser > Boss Tremelo > Marshall 100w Plexi heads (w/ Dookie Mod w/ better preamp and biasing) > Marshall 412 w/ V30. Also has a CAE Preamp > Marshall power amp rig (Jan 2005 G1) Billy Duffy/The Cult: (Dreamline and Love albums): 70s Gretch Falcon > Roland JC 120 (August 2007 Guitar Edge) (Electric album): Les Paul > Cry Baby Wah > MXR Phase 100 > Boss DM2 > Boss DD3 > Marshall JCM 800(August 2007 Guitar Edge) Billy Gibbons/ZZ Top: Les Paul (HB) > 1959 Marshall Plexi through a 2x12 cab Brad Nowell/Sublime: Ibanez S-470 > Boss OS-2 > Boss DD-3 (splitter) Marshall JCM 800 combo 212 and JC-120 (GG.com) Billy Howedel/Perfect Circle: Les Paul (Tom Anderson HB) > Lexicon MPX G2 > 1978 Marshall JPM 100w Superlead (FX Loop send) > TC Fireworx > Digitech GSP 2101 > Eventide Orville > TC Electronics G Force VHT Straight cabs w. 25w Celestion Greenbacks and Vintage 30s (Guitar World July 2004) Brad Whitford/Aerosmith: Crybaby wah, Marshall guvner, Boss CD-2, Boss CE-5, Chandler Echo, Bogner Extacy head, Bogner cabinet (internet) Brett Hinds/Mastadon: Gibson V or Explorer > Monster Effect Mastortion > Tube Screamer > Boss EQ, Delay > CS-3 > Marshall JCM800 Split channel (Guitar Edge May/June 2009) Brett Mason: Strats, Teles, Les Pauls > Bassman or Showman head or AC30 combo Brian May/Queen: Custom SB w/ 3 SC > Brian May treble booster > Dunlop Cry baby > Eventide H3K > Vox AC30 w/ TB (no EQ or Cut). Eventide H3K used for stereo flanger, 800 & 1600 ms DDL w/ no repeats (Guitar shop 1994, GG.com) Brian Setzer/Stray Cats: Signature Gretsch Semi-hollow > TS9 > Roland 301 Echo unit or Echolplex > fender tremolo > 63 Fender Bassman head > 212 cabs w/ Celestion V30. Buckethead: Superstrat > Peavey Reknown > Boss ME50, Alesis Midiverb, Rocktron Intellifex, Rockman XP100 (in FX loop) > Harry Kolbe 412 cabinets (Guitar Shop May 1997) Chuck Berry: Gibson ES335 > Fender Bassman, Fender Twin, or Fender Super Reverb (GG.com) Chuck Schuldiner/Death: 1988 BC Rich Stealth w/ Dimarzio XN2 > Marshall Valvestate w/ BBE unit > Marshall 412 (Guitar School Sep 93) Claudio Sanchez/Coheed and Cambria: Gibson Explorer with EMG-81/85 pick-ups > Dunlop CryBaby Wah > Line 6 Tremolo > Bogner Uberschall and/or Mesa Triple Rectifier >Mesa 412 Recto Cab. Clean amp: Fender 65 Twin Reverb amp. Cristiano Migliore/Lacuna Coil: ESP/LTD SC-607B Stephen Carpenter 7-strings with standard EMG pickups > Dunlop Dime Crybaby from Hell > Line 6 Hd 147 heads > Mesa Boogie Cabinets C Muncey/Jet: Gibson flying V (HB) > TS-9 > SD-1 > Boss Tremelo > 50 Marshall head > Marshall 412 (March 2005 G1) Corey Beaulieu/Trivum: Jackson with EMG HB > Dunlop Wah> MXR OD > MXR Smart Gate > Peavey 6505 > Marshall 412 with Celestion 75w speakers (Guitar World Mar 2010) Dan Donegan/Disturbed: Les Paul Standard (HB) > E Ball Volume > Whammy Pedal > Boss PH-2 > Crybaby Wah > Mesa Triple Recto > Mesa 412 w/ V30s (GG.com) Dave Grohl/Foo Fighters: Gibson SB (HB) > Boss TR-2 > Ernie Ball Volume > Boss DD-2 > MXR Phase 90 > Boss BF-2 > Mesa Road King > TC G Force (in FX loop) > Mesa 412 w/ Celestion Vintage 30s (Jan 2006, Guitar One) David Gilmour/Pink Floyd: Strat w/ EMGs, Tube driver, Rat distortion, Boss CS-2, MXR comp, Boss HM-2, Boss GE7, univibe, T.C. 2290, Lexicon PCM 70, MXR rack DDL, Hiwatt head > Marshall 412 & Doppola (miced w/ u87 and SM57s) (Guitar Shop December 1996). Dave Keuning/Killers: Electro-Harmonix Big Muff Pi > banez TS-9 Tube Screamer > Boss CE-1 chorus pedal > Ibanez Analog Delay (for shorter delay) > XR Phase 100 pedals > Hiwatt Gilmour 100 head > Hiwatt 4x12 cabs Dave Murray/Iron Maiden: Piece of Mind Tour (1983): 1957 Super Strat > Cry Baby Wah > MXR 10 band EQ > Boss FET Preamp > MXR Distortion Plus > MXR Phase 90 > Yamaha Analog Delay > Marshall Mk II 50 head > > Marshall 4x12 w/ Celestion speakers Guitar World February 07: Super Strat > JMP 1 > Marshall JFX > JCM 2K (power amp) > Marshall 4x12 w/ 75w speakers Dave Mustaine/Megadeth: ESP signature Solid bodies w/ SD HBs > Rocktron Prophesy > Marshall 100/100 (EL34s) > Marshall 412 w/ V30s (May 2005 G1) Dave Navarro/Jane’s Addition, Red Hot Chili Peppers: Ibanez or PRS > Cry Baby Wah > Boss Distortion DS-1 > Boss Phaser PH2 > Boss Octave OC2 > Boss Chorus CH1 > Boss Delay DD3 > Marshall JCM900 > Marshall 412. Dean DeLeo/Stone Temple Pilots: Gibson or PRS > Dunlop Cry Baby Wah (Fassel Inducter) > Boss CE1 >> SPLIT 1) Sib! Overdrive > VOX AC30 2) Demeter Preamp > Rocktron Intelliverb > VHT Power amp > Marshall 412 cabinet w/ Celestion Vintage 30s Note – Both rigs are powered at all times (August 2009 Guitar Edge) Derek Trucks: Custom Washburn > 1964 Fender Super Reverb (July 1998 Guitar Shop) “Dimebagâ€� Darrell Abbott/Pantera: Dean guitar (HM) > Digitech WH-1 Whammy Original > Dunlop 535Q Wah Pedal > Boss PS-3 > Boss DS-2 > Boss DD-3 > Furman PQ-3 Parametric EQ > MXR Flanger/Doubler > Randall Century 200 HD > Randall 4x12 cabinet w/ Celestion vintage 30s (March 1999 Guitar Shop, GG.com, The Recording Guitarist by John Chappell) Duane Allman/Allman Brothers: 1959 Les Paul Standard > Marshall 50 watt head Edward Van Halen (70s Rig) Superstrat w/ Gibson PAF humbucker > MXR Phase 90 > MXR Flanger > Echoplex > Unicox EC-80 echo (divebomb of Eruption only) > 1966 Marshall Superlead w/Variac > Marshall 412 > (2) SM 57 mics (one on the cone, one offset) (Guitar World May 1996) (90s Rig) Wolfgang SB (HB) > Boss SD-1 > Boss OC-2 > MXR Phase 90 > Cry baby Wah > 5150 head > (FX loop H3K > (2) Roland SDE-3K > PCM-70 > Peavey 412 w/ 75w speakers (Guitar Shop, Spring 1994) Edge/U2: (early years) Explorer or Strat > Big Muff > Boss GE-7 > Boss CS-2 > Memory Man > SPX 90 > Yamaha Rev 7 > 1964 Vox AC30 (later years) Various guitars > Digitech Whammy > Dunlop Wah pedal > Lovetone Envelope Filter > Lovetone Phaser/Vibrato > Electro-Harmonix Big Muff > Ibanez TS-9 Tuber Screamer > Boss GE-7 EQ > Boss CS-2 Compressor > Boss FA-1 Preamp booster > Eventide Ultra Harmonizer > (2) Lexicon Processors > (4) TC Electronics 2290 delay units, (2) AMS delay units, (2) Korg SDD 3000 delays units > 1964 Vox AC-30 Eric Clapton: Cream era: Gibson ES-335, Firebird, or Les Paul / SG Standard > Vox 847 Wah > Dallas Arbiter Fuzz Face, Marshall Supa Fuzz, UniVox Super Fuzz, or Vox Tone Bender > Marshall JTM-45 Head > Marshall 4x12 Cabinet (Guitargeek.com, Guitar Extra, November 2007) Eric Johnson: Strat w/ Dimarzio HS-2 single coil pickups sent to A/B boxes, to split to three (3) rigs: * Rig 1: Echoplex > Chandler Tube Driver > 1966-68 100w Marshall plexi head > Marshall 412 cabinets * Rig 2: Dallas Arbiter fuzzface > MXR DDL and/or Echoplex > 1966-68 100w Marshall plexi head > Marshall 412 cabinets * Rig 3: Echoplex > TC Electronics Chorus >> (2) Fender Vibrolux Amplifiers (Guitar Shop October 1996, September 1997, The Recording Guitarist by John Chappell) Greg Tribbett/Mudvayne: Gibson Les Paul Studio > BBE 482 Noise Reduction > Morley Wah SPLIT to JC 120 & Line 6 DL4 > VHT Pitbull Ultra Lead > Mesa 412 cabinet (May 2002 G1) H Garza/Los Lonely Boys: Fender Strat (SC) > Vox Wah > Ibanez TS808 SPLIT: Marshall 2K (w/ Fender reverb unit) > Tone Tubby 412, Fender Twin w/ Jensen speakers (Holiday 2005 G1) Head/ Korn: Ibanez 7 string > DOD Metal Distortion > Boss Super Phaser > Boss Stereo Chorus > Mesa Triple recto > Marshall 412 w/ V30s (Guitar World July 97 and GG.Com) In Flames (Bjorn Gelotte/ Jesper Stromblad): Gibson Les Paul Custom with EMG 85 > Peavey 5150 amp > Line 6 Effects > 412 cab J Garvey/Hinder: Gibson Les Paul or Explorer (HB w/ drop C tuning) > Boss CE1 > Ibanez TS9 > TC Nova Delay > Mesa Dual Roadster head > Mesa 412 w/ celestion vintage 30 speakers. Gibson J-185 acoustic to DI (Feb 2009 Guitar World). J Milligan/Anberlin: Les Paul > POD XTLive > Marshall JCM 2000 > Marshall 412 w/ 75 watt speakers . Also uses Fender Tele and Alvarez 12 string (April 2009 GW) J Valentine/Maroon 5: Fender SB > EB Volume > wah > Line 6 DL4 > MXR Phase 90 > Fulltone Deja Vibe > Z Vex SD Fuzz SPLITTER: Tonemaster 100, FTR 37, RSA 23, Two Rock Custom Reverb > 112 (V30) and 212 (V30 and Alnico Bulldog) (October 2005 G1) J.D. Conrise/ The Sword: Gibson Explorer > ElectroHarmonix Metal Muff > MXR Phase 90 > Orange OR80 head > Orange 412 cab (Guitar World Holiday 2009 Jade Puget/A.F.I.: Les Paul Studio > Dunlop Rotovibe > Dunlop Dime CryBaby from Hell > Ibanez Tube Screamer pedals > TC Electronic G Major rack unit > Mesa Dual Recto or Marshall Plexi >Marshall 412 or JC120 Jack White/White Stripes: Digitech Whammy IV > MXR Micro-Amp > Electro-Harmonix Big Muff Pi > Electro-Harmonix Polyphonic Octave Generator > Boss CS3 > 1970's Fender Twin Reverb amp. James Hetfield/Metallica: ESP guitars with EMG Pickups (10-46 string) Boss SE-50, BBE > Rocktron Juice Extractor > Aphex Parametric EQ > Hush Noise Reduction > Mesa Boogie Mk IIC+ head > Marshall 412 w/ Celestion Vintage 30s, JC-120 combo for clean (May 1996 Guitar World) James Honeyman-Scott/Pretenders: Gibson or Fender guitar > Boss compressor > Boss Chorus > Boss Overdrive > Marshall 100 watt head > 412 cabinet Jason Hook/ Five Finger Death Punch: Gibson Explorer with EMG HB > Marshall JMP1 > GCX = TC G-Major, Line 6 Echo Pro, Line 6 Mod Pro > Marshall 9200 power amp > Marshall 412 with V30 speakers (Guitar World April 2010) Jeff Beck (Guitar Shop recording): Strat or Tele > (2) Fender the Twin, Fender Princeton Reverb II. (Guitar World May 1996) Stage rig: Strat or Tele > Rat distortion Pedal > Boss DD-2 > Late 60s Marshall 50w head (Guitar World May 1996) Jerry Cantrell/Alice in Chains *Guitar Shop Spring 1994: G&L Rampage w/ Duncan HB pickup & Kahler tremolo > Dunlop Crybaby wah > Bogner Fish Preamp > Rocktron Intelliverb > Mosvalve 500 power amp > Marshall 412 w/Celestion 30-watt Vintage and 25-watt Celestion Greenback speakers. Taylor G10 acoustic guitar with Fishman preamp > Trace Elliot TA100R amplifier. *November 1992 Guitar (Dirt recording): G&L Rampage w/ Duncan HB pickup & Kahler tremolo or Gibson Les Paul split to Bogner and Marshall panned the opposite direction. Jimi Hendrix: Fender Strat (SC) > Crybaby or Vox Wah > Axis Fuzz > Arbiter Fuzz Face > Univibe (w/ pedal) > Octavia > Marshall Plexi 100w > Marshall 4x12s (Guitar shop 94, The Recording Guitarist by John Chappell) Jim Root (7)/Slipknot: Warlock guitar > Marshall JPM1 > Boss FX unit > Mesa 2:90 > Carvin 400w 412 cabinet (Guitargeek.com 2001) Joan Jett & the Blackhearts: Gibson Melody Maker > Ibanez TS-9 > Mesa Boogie mark III 112 combo sent out to vox 212 cabinet (J Jett Backline Rider - 2005) Joey Ramone/Ramones: Mosrite guitar > Marshall 1959 Superlead (no master volume) > Marshall 412 w/ 25w Celestions (rockometer.com) Joe Satriani: Superstrat > Cry Baby wah > Boss DS-1 > Whammy Pedal > Fulltone Ultimate Octave > Boss CH-1 > Boss DD-2/3 > Chandler DDL (450-550 ms) > Chandler DDL (600-800ms) > Marshall 6100 (Anniversary) head with 6550 power tubes > Marshall 412 w/ V30s. (Guitar Shop Summer 94, Nov 97, GG.com, The Recording Guitarist by John Chappell) Joe Walsh/James Gang, Eagles: Fender Tele or Strat > Heil Talk Box > Vox or Crybaby Wah > Echoplex > Fender Vibrolux, Twins, and Super Reverbs, Leslie cabinets. John 5/Rob Zombie: Fender Tele with HB > Dunlop Wah > Boss CH1 > Boss SD1 > Boss NS2 > Marshall JCM900 > Marshall 412 with 75w Celestion speakers (Guitar World Jan 2010). John Christ/Danzig: BC Rich SB (HB) > VHT Pitbull Classic Head, Rocktron Intellifex > VHT Chromeface power amp > Marshall 412 cabs (Guitar Shop 1994) John Fogerty/Creedence Clearwater Revival, Solo: Gibson Les Paul Custom or ES-175 > Fender Vibrolux silver face with two 12" JBL , Fender Concert, or Kustom amp. John Frusciante/Red Hot Chili Peppers: Rig 1: 50s or 60s Fender > Boss DS-2 > Big Muff Pi > Phase 90 > Ibanez Wah > CE-1 SPLIT to Marshall Major 200w head and Marshall Silver Anniversary head > Marshall 412 cabs. (GG.com) Rig 2: 50s Gretsch Falcon > DS-1 > Fender showman head > Marshall 412 (GG.com) John Jorgenson/Hellcasters: G& L ASAT (tele style) > Ibanez TS5 > TS 808 > Boss DC 2 > Boss DD2 (125 ms) > Boss RV-2 > Matchless SC-30 (Guitar shop 1995, The Recording Guitarist by John Chappell) John Scofield: Ibanez AS200 (semihollow) > Digitech Whammy > Vox AC 30 (March 2009 Guitar Edge) John Petrucci/Dream Theater: Guitar Shop - Summer 94: Custom Ibanez SB (HB) > Mesa Triaxis > DBX 166 > TC 2290 > PCM 70 > Mesa 2:90 > Mesa Recto cabs Guitar Edge – August 2007: Signature series Music Man guitar (9-42) > Boss DS-1 > Boss TR-2 > MXR EVH Flanger > MXR EVH Phaser > Ernie Ball Volume > DBX 266 compressor > Eventide DSP700 > TC 2290 > TC M3000 Multi-effects > Mesa Mark IV (distortion) & Mesa Lone Star (Clean) > Mesa 412 Stiletto Cabinet. Johnny Winter Early rig: Fender Mustang > Fender Twin Later Rig: Gibson Firebird (HB, open D tuning for Slide) > CE-2 (rate = 10 pm, depth = 2 pm, always on) > Musicman 410 w/ Celestion Vintage 10 (all tones @ 0 except treble at 10, no reverb) (April 2005 G1) Jonny Greenwood/Radiohead: Fender Tele Plus > Marshall shred master > Boss RV-3 > Boss SD-1 > Volume to: * RIG 1: Fender Deluxe (SS) * RIG 2: Whammy pedal > Trem (home made) > DOD envelope filter > EH Small Stone > Space echo > Mutron Mutator > Vox AC-30. Jonny Lang: 1975 Fender Thinline > Ibanez 808 Tube Screamer > Hard-on Distortion pedal > Vox Wah > Fender Vibro King (May 1997 Guitar Shop) Joshua Cain/Motion City Sountrack: Les Paul Jr with P-90 > Z-Vex Super Duper > TC Vintage Dual Distortion > Morley echo/reverb > KJ Audio head > Marshall 412 with G-12 speakers (Guitar World June 2010) Kirk Hammett (Metallica): ESP Guitar (active HB) > Ernie Ball Wah pedal > Marshall JMP-1 preamp, Mesa Triaxis preamp, and Mesa Dual Rectifier preamp > Mesa Power amp > Mesa 412 cabinet (The Recording Guitarist by John Chappell) Kurt Cobain/Nirvana: Nevermind session: Fender Mustang, Jaguar or Strat with Dimarzio humbuckers > Boss DS-1 > EH Small Clone chorus > Mesa Studio 22 miked with a Shure 57, U87, 414, or 421. Also used a Vox AC 30 for clean and Rat distortion pedal. Lithium used a EH Big Muff > Fender bassman > U87 microphone. "In Utero" Live rig: Fender "Jag-stang" > Boss DS-2 > Sansamp (as distortion) > EH Poly Flange > EH Small Tone > Mesa Studio or Quad Preamp > Crest 4801 Power amp > Marshall 4x12 cabs (May 1997 Guitar Shop) Kim Thayill/Soundgarden: Guild SG w/ HB > cry baby > DOD FX 10 preamp > CE-2 > Mesa Dual Recto head > to Mesa cabs or Fender Leslie (Guitar Shop 1994) Kenny Wayne Sheppard: Late 50s/ early 60s Strats (SC, 11-58): Dunlop CB wah > TS 808 (modded) > TS9 (modded) > Octavia > L6 DM4 > L6 DL4 > Analog Man chorus > SPLIT: Blackface Twin reissue (EVL speakers), Fuchs 100 OD supreme > Fuchs 410 (v30s), Marshall 1959 SLP reissue > Marshall 412 (V30s) (July 2005 G1) Kerry King/Slayer Guitar Shop 1995: Jackson w/ EMG HB > Bogner Shark Preamp, Eventide H3K, Boss EQ, VHT Power amps (Wet), Marshall JCM 800s (6550s) (Dry) > Marshall 4x12 w/ 75w Celestions August 2005 G1: ESP guitars (EMG pickups) > Dunlop Wah > Boss RGE-10 EQ > Yamaha SPX 900 > Eventide H3K > JCM800 w/ 6550 > Marshall 412 w/ Celestion Vintage 30s Lenny Kravitz: Gibson SB (HB) > rack splitter > Boss OC-3 > Fat boost > MXR Dynacomp > MXR Phase 90 > L6 Echo Pro > L6 Mod pro > L6 Filter Pro > L6 POD pro SPLIT > (2) Fender Deluxe reverbs > 112 Greenback, (2) Marshall 50w Plexi Heads > Marshall 412 w/ 25 greenback, (2) Twin Reverbs > 212 80w G12s. (November 2005 G1) Malcolm Young/AC/DC: Gretsch Semi hollow w/ 12-56 gauge strings > 1966 Marshall 100w Plexi > Marshall 412 w/ 25w Greenbacks. (May 1996 Guitar World) Mark Morton/Lamb of God: Jackson Custom (HB) > Dunlop wah > MXR GT-OD > MXR EVH Phase 90 > DBX compressor > Mesa Mark IV > Mesa 412 (March 2009 Guitar Edge) Matt Bellamy/Muse: Manson custom guitar (HB) > Digitech WH-1 Whammy Reissue > MXR Phase 90 > Diezel VH4 > TC2990 Delay > Soldano 4x12 cabinet (various research) Matt DeVries/Chimaira: ESP (with EMG 81) > Peavey 5150II/6505 (Boss CE-20 in FX Loop) > Mesa 412 cabinet with Celestion Vintage 30 (Guitar World Holiday 2009) Michael Amott/Carcass, Arch Enemy: - Dunlop Zakk Wylde wah-wah pedal > Ibanez TS-808 Tube Screamer > MXR Phase 90 > Ibanez AD-9 Analog Delay > Roland SDE-3000 Rack Delay Unit > Peavey 5150 > Krank "Revolution" cabs (loaded with Celestion Vintage 30's) Michael Schenker: Flying V (w/ HBs) > Dunlop Wah (rack mounted) > Boss DD3 > Boss CE-5 > JCM800 50w (dist) SPLIT JCM 2k (clean) > Marshall 412 w/ 75w Celestions (June 2005 G1) Mike Campbell/Tom Petty: Cry Baby > Camel Toe overdrive > Boss EQ > Line 6 DL4 > Line 6 MM4 > Fender Reverb SPLIT TO Fender Blackface deluxe, Vox AC30, Fender Tweed Deluxe, Fender Princeton > Vox 412 speaker cabinet (Guitar Edge May/June 2009) Mike Izinger/Incubus: Semi Hollow PRS > H&K Rotosphere > (2) Boss PH-2 > DOD Gonlulator (ring modulation) > Boss RV-3 > MXR Phase 90 > DOD FX25 (envelope filter) > Boss CS-3 > DOD FX75 Flanger > Boss GE7 > OC-2 > DOD overdrive > Mesa Dual Trem-o-verbs (1 clean, 1 distorted) > mesa 212 or 412 cabs w/ V30s (Sep 2002 Guitar One, GG.com) M Padget/Bullet for My Valentine: ESP Flying Vs w/ EMG 81/85 > Slash Dumlop Wah > TS9 > TC Electronics G-Force SPLIT Mesa Triple Rectifier (Dirty) > Mesa 300w 412 cab and JC120 (Clean). Mike Schleimbaum/Darkest Hour: Washburn N4 (HB) > Tubescreamer > Digitech Whammy > MXR Phase 90 > Dunlop Wah > Line 6 DL4 > 5150 III (FX loop – Alesis Quadraverb) > 5150 cabs w/ EVH Celestion G12 (Guitar World Anniversary 2010) Munkey/ Korn: Ibanez 7 string > Digitech Whammy pedal > Univibe > EH Flanger > EH Big Muff > EH Small Stone Phase Shifter > Boss Rev/DDL > DOD FX25 Envelope Filter > Mesa Triple Recto > Marshall 4x12 w/ V30 speakers (November 1998 Guitar Shop) Neal Schon/Journey: Les Paul > Crybaby Wah > Boss DS-1 > Ibanez TS9 > Boss CS-3 > Boss NS-2 SPLIT Hiwatt Custom 100 (FX Loop - Roland DDS) > Marshall 412 w/ Greenbacks, Hot Rod Deville 410 (composite of Journey 80s rig and January 98 Guitar Shop). Noodles/Offspring: Ibanez Talman > Mesa Boogie Mark IV > Alesis Quadraverb (in FX Loop) > Mesa 4x12 cabinets (September 1997 Guitar Shop) Nuno Bettencourt/Extreme, solo: Extreme: Washburn signature series > Rat distortion > Marshall JMC 800 (Guitar Xtra Nov 2007) Solo: Washburn signature series > MXR Phase 90 >Boss OC2 > Demeter Tremlator > Marshall, H&K or Fender Head w/ Boss DD3 in FX loop > Marshall 412 cabinet (May 1997 Guitar Shop) N Cester/Jet: Gibson ES 335 (Semi hollow, HB) > Z-Vex Fuzz Factory > Hot Cake distortion > Hiwatt 50w Custom > Marshall 412 (March 2005 G1) Omar Rodrugiez-Lopez/ Mars Volta, At the Drive in: Fender and Gibsons > BOSS HR-2 harmonist > BOSS CE-3 > BOSS Phaser > Boss reverb > Orange AD140HTC guitar amplifier heads > 4x12 Orange Cabinets Otis Rush: custom strat > Mesa Mk III > Mesa 412 cab (Guitar Shop Winter 1994) Oli Herbert/All That Remains: Washburn, Gibson, Ibanez guitars > Peavey 5150 and 6105 heads > Mesa Boogie 412 cabinets (Feb 2009 Guitar Edge) Page Hamilton/Helmet: ESP SB (HB) Vox Wah > MXR Dist+ > Dyna-comp > Tech 21 double drive > Z Vex Fuzz Factory > ProCo Rat > PE COB > octave Pedal > MSC Microamp > MXR Bass octave > Whammy pedal > ADA FLanger > MXR Stereo chorus > DD6 > VHT Pitbull Head > VHT 412 w/ Eminence 50w (September 2005 G1) Pete Townshend/Who (Who's Next Album): 1957 Gretsch 2180 guitar > Edwards volume pedal > late 50s tweed Bandmaster. (Guitar World May 1996) Randy Rhoads/Osbourne, Ozzy: Les Paul > MXR Distortion plus > MXR EQ (heavy midrange emphasis)> MXR Chorus > MXR Flanger > Korg Echo unit > Cry Baby or Vox wah > Marshall 1959 Super Lead Plexi heads > Marshall 4x12 cabinets with Altec speakers. Shure 57s close-miked on cabinet, Neumann U87 20' away. Robby Krieger/Doors: Gibson SG > Maestro Fuzz-tone > Fender Twin Reverb or Acoustic 260 Robert Cray: early 60s strats & Gibson 345, (2) Fender Super Reverbs Ron Thall/Guns & Roses: Vigier and Les Paul guitars w/ Dimarzio humbucking pickups and Ernie Ball Strings> Line 6 Vetta (Feb 2009 Guitar Edge). Scott Ian/Anthrax: Jackson guitar w. EMG Humbuckers > TC Distortion > JCM 800 > Marshall cabs. Slash: Les Paul (HB) > EMB Remote Wah > Marshall 25th Anniversary series head > Marshall 412 w/ Celestion Vintage 30s (Guitar Shop 1995, June 1996) Sonny Landreth: Strat (SC) > MXR Dynacomp >> Split to 1954 Fender Deluxe and Demeter TGA-3 > Demeter silent Speaker chamber with a Celestion Vintage 30 and Shure SM-57 (The Recording Guitarist by John Chappell) Son Seals: Gibson ES-335 > mid 60s Fender Super reverb (Guitar Shop 95) Steve Jones/Sex Pistols: Les Paul > Fender silverface Twin w/ Gause Speakers (May 1996 Guitar World) Steve Miller: Fender Strat > Fender Bassman (w/ SM 57)http://www.guitarplayer.com/story.aspx?id=23214&terms=steve+miller Stevie Ray Vaughan: Fender Strat (Rosewood fretboard) > Vox Wah > Diaz Square fuzz or TS808 > Tychobrahe Octavia > Boss Chorus > Split to: Leslie Speaker cabinet, Fender Vibroverb (2x10), Fender Super Reverb (4x10), Fender Bassman head with 2x12 cabinet, Marshall head (6550 power tubes) > Marshall 4x12 cab with EVM speakers ( The Recording Guitarist by John Chappell) Steve Stevens/Billy Idol: Hamer SB (HB) > crybaby wah > Rat dist > MXR Phase 90 > Boss CS-2 > 1969 Marshall head > Lexicon PCM 41 & 70, Yamaha XPS 90, Eventide 969 in looping system > Marshall 412 w/ 25w speakers. (July 87 Guitar World) Steve Vai * Guitar Shop 1994: Ibanez SB (HB) > Boss SD-1 > Cry baby wah > Whammy Pedal > JCM 8/900 > Roland SDE 3K > Eventide H3K > Marshall 412 w/ Celestion Vintage 30. * Guitar Shop 1995: Ibanez SB (HB) > Boss DS-2 > Cry baby wah > Whammy Pedal > Laney and Bogner Extacy > Roland SDE 3K > Eventide H3K & H4K > Marshall 412 w/ Celestion Vintage 30s * December 2005 G1: Ibanez SB (HB) > Morley Volume > Digitech whammy > Boss DS1 > Ibanez TS9 > MXR Phase 90 & Phase 100 > Carvin Legacy HD (loop w/ Eventide Harmonizer & TC G Force) > Carvin 412 w/ Celestion Vintage 30s. Stone Gossard/ Pearl Jam: * Rig 1: Les Paul > TS-9 > mid 70s Twin reverb (EV 75w speakers) * Rig 2: Les Paul > TS-9 > Matchless HC30 head > Marshall 412 w/ 25w speakers * Rig 3: Les Paul > TS-9 > 1968 Marshall Plexi Super bass > Marshall 412 w/ 25w speakers (Guitar Shop 1994) Tom Delong/Blink 182: Superstrat SPLIT to Marshall JCM 900 (clean) and Mesa Triple Recto (distortion) > Mesa 412 cab (GG.com) Tom Dumont/No Doubt: Hamer Explorer style guitar w/ humbucking or SC pickups (10-45 gauge) > Crybaby wah > MXR Microamp (boost for solos) > Dunlop tremolo > Univibe Split Fender Tone Master > 4x12 Tone Master Cab AND Mesa Dual Recto > 4x12 Tonemaster cab. Acoustic Guitars: Guild D25, Takamine NP65C nylon string. Tony Iommi/Black Sabbath: SG with humbuckers > Tychobrahe ParaPedal Wah > Ranger Master Treble booster > Laney 100Watt Supergroup Head > Laney 412 cabinet (Guitar World May 1996, Guitargeek.com) Tom Morello: RATM/Audioslave: Superstrat w/ EMG humbuckers> crybaby wah > Whammy Pedal > Boss DD3 > DOD EQ > Ibanez digital Flanger > Marshall JCM 2205 50w > Peavey 412 Cab (November 97 Guitar Shop) Tom Petty: Tele or Rickenbacker (SC)> Vox Wah > Red Llama OD > Ibanez TS-9 > Boss CE-2 > Boss RV-3 SPLIT TO: Fender Bassman and Vox AC 30 (GG.com) Tom Scholz/Boston: 1968 Gibson Deluxe Gold top Les Paul with Dimarzio Super Humbucker pickups > EQ > Cry baby wah > Maestro Echoplex > 100-watt Marshall head > Marshall 412 (EMT Gold Plate reverb used on mixing). Trevor Rabin/Yes (90215 Era): Fender strat (HB) > Boss DS-1 > Boss Chorus > Ampeg VT 120 (Guitar Edge November 2009) Warren Hayes/Allman Brothers: Fender Strat w/ Lace pickups, PRS (Humbuckers), Les Paul Standard w/ Pearly Gates Pickups > Soldano SLO 100 (FX loop – Alesis Quadraverb) > 412 cab w/ EV 16 ohm speakers. Amp settings: normal gain: 1 pm, Overdrive gain: 9:30, treble 2 pm, mid 11 pm, bass 2 pm, normal output: max, overdrive master: max, presence: almost maxed. 425 MS ddl, hall reverb 1.8s to 2.4 second @ ~ 50%. (Guitar Shop Spring 94) Wayne Lozinak/Hatebreed: Jackson with EMG HB > Dunlop Wah > Boss SD1 > Boss DD3 > Boss NS2 > Marshall JCM2000 > Marshall 412 with 75w Celestion speakers (Guitar World Feb 2010) Wes Borland/Limp Bizkit: Ibanez 7 string > noise Gate > MXR Bluebox > Mutron III > Morley Volume/wah > MXR Phase 90 > Boss reverb/delay > Fulltone Deja Vibe > DOD Buzz Box > Mesa Dual Recto > Mesa 4x12 cabinet (September 1998 Guitar Shop) Willie Adler/ Lamb of God: ESP Custom w/Seymour Duncan (HB) > DBX compressor > Mesa Mark IV > Mesa 412 (March 2009 Guitar Edge) Yngwie Malmsteen: Strat w/ HM3 pickups > BF-2 Flanger > Marshall JMP 50w MK II heads > (2) KORG DDL (DDL and Chorus) > Roland SDE 3K > Marshall 412 w/ 25w speakers. (GG.com, Guitar Shop Winter 95) Zach Myers/Shinedown: PRS signature with HB > whammy pedal > Dunlop Wah > Univibe > Boss DC-2 > Digitech Hyperphase > TS9 > CS-3 > DL4 > Micro POG split to three heads >>>Fender bassman (Clean) Diamond Spitfire (Dirty) Diezel Herbert (dirty) > Engl 212 cabinet (Guitar World Dec 2010) Zack Blair/Rise Against: Gibson with HB > MXR Phase 90 > Marshall JCM900 AND Mesa Dual Recto > Mesa 412 with Celestion V30s (Guitar Edge Nov 2010) Zakk Wylde/Ozzy Osbourne, Black Label Society: - Les Paul w/ EMG HB > Dunlop Rotovibe > Crybaby > Boss SD-1 > Boss CH-1 > Marshall JCM 800 > Marshall 412 w/ 75w speakers. (Guitar Shop 94, GG.com) Zoltan Bathory/5 Finger Death Punch: BC Rich Assassin (HB) > Diamond Nitrox HD > Digitech GSP1101 (FX loop) > Diamond 412 cab w/ V30s (March 2009 GW) Création et ajustement des sons Comment est-ce que j'ajuste le volume de mes presets? Veuillez enregistrez votre preset le plus propre et calme premièrement pendant que Channel Volume est sur 90 à 95%. Maintenant, vous pouvez égaler les autres presets avec ce preset en utilisant l'option Channel Volume. Enregistrez chaque son. Ceci est la seul fonction du bouton Channel/Tone. Cette réglage n'augmente ni réduite le Gain, change des sons ou presets, elle uniquement règle le volume. Comment est-ce que je peux créer un son comme un artiste? Il existe plusieurs chemins pour créer des Patchs afin de copier guitaristes. Le chemin le probablement plus facile et rapide est de trouver un Patch sur votre appareil Line 6 qui est similaire, ajustez et enregistrez le. (Consultez le mode d'emploi de votre appareil pour voir comment vous pouvez enregistrer et ajuster des Patchs.) Vous pouvez trouver des sons finis Line 6 de certains artistes sur www.customtone.com également. Simplement installez le modèle téléchargé sur votre appareil. Nous recommandons une recherche sur le guitariste dont vous êtes intéressé, si vous voulez créer un nouveau modèle. Les sites web comme www.guitargeek.com et www.uberproaudio.com ont des listes des Rigs des différents guitaristes. En outre, les magazines de guitare et enregistrement souvent impriment des diagrammes et des schémas détaillés, que vous pouvez utiliser également. (Parfois avec des microphones et ces distances jusqu'aux haut-parleurs.) Les informations suivantes peuvent vous aider à créer un complètement nouveau modèle: Amplis, haut-parleurs et baffles. Généralement, ce sont les amplis d'arrière ouvert (par exemple: les baffles 2x12 comme la plupart des amplis Fender® et Vox®.) qui ont une plus petite bande de fréquence basse que les amplis d'arrière fermé. (par exemple: les baffles 4x12 comme la plupart des amplis Marshall® et Mesa/Boogie®.) Type de guitare (fabricant et modèle) et micro de guitare. Corps de frêne ou aulne (souvent avec les guitares Fender®) sonnent différent que les corps acajou avec ou sans haut d'érable (souvent avec les guitares Gibson®). Les micros single coil, comme utilisé avec les sons clairs et lumineux sonnent différent que les micros humbucker, qui sonnent plus sombres que les micros single coil mais pas si bruyant aux sons avec un Gain très fort. Pédales, effets et la position dans la chaîne des signaux. Attention, les effets peuvent changer le son de guitare radicalement donc vous devez savoir lesquels effets vous souhaitez d'utiliser et ou vous les voulez placer. (Entre ampli et instrument ou après l'ampli.) Type et placement du micro. Si possible, vous devriez essayer de trouver quel microphone était utilisé pour l'enregistrement et l'angle dans lequel il a été placé. Tout cela joue un rôle majeur dans le changement du son. En plus de l'information ci-dessus, vous pouvez voir l'équipement de nombreux artistes sur le site web suivant: http://www.uberproaudio.com/who-plays-what Utilisez la liste suivante des Rigs-guitares pour copier des artistes: Ace Frehley/KISS: Gibson Les Paul Custom avec Dimarzio Super Distorsion (3 Pickups Version) > Vox Wah > Mutron Octave divider > Echoplex > Divers têtes d'ampli et baffles Marshall. Adam Dutkiewicz/Killswitch Engage: Guitares Caparison PLM-3 avec EMG 85 dans le pont> Maxon OD808 Overdrive > H&K Triamp ou Mesa Triple Recto/Roadster > Maxon AD9 Delay (FX Loop) > Mesa 412 avec haut-paleur Vintage 30. Adam Jones/Tool: Dunlop Wah > Ibanez Delay > Ibanez Flanger SPLIT Mesa Dual Recto, Marshall Bass Head, Diezel VH4 avec haut-parleurs 4x12 (GG.com). Adrian Smith/ Iron Maiden *Piece of Mind Tour (1983): Guitare Gibson > Cry Baby Wah > préampli MXR> Yamaha Flanger > Yamaha Phaser > Yamaha Delay analogue > tête d'ampli Marshall Mk II 100w> baffle Marshall 412 avec haut-parleurs EV. *Guitar World December 2006: Fender Strat (HB) ou Gibson SG > TS9 > Digitech Whammy pédale > Dunlop Wah > Marshall 30th Anniversary 100w (6100LM) Topteil > FX LOOP (PV Tubefex) > Marshall 412 avec Celestion 75w G12-T75 Al Mckay/Earth Wind & Fire: Tele (SC) et ES-335 (HB) > Boss PS-2 > Rat Distorsion > CE-2 > JC120 Albert King: 1958 Gibson Flying V > tête d'ampli Acoustic 261 et baffle 261. (Guitar Xtra Nov 2007) Albert Lee: Fender Telecaster > Echoplex Tape Delay > Ernie Ball 410 Combo. Alexi Laiho/Children of Bodom: Guitares ESP Alexi Laiho Signature avec micros EMG > préampli de tube Lee Jackson Perfect Connection GP-1000 > RSP 2400 Hush/Enhancer/Exciter > Rocktron Intellifex > ampli de puissance tube VHT Two/Fifty/Two Stereo > baffle Marshall 1960B 4×12 avec haut-parleurs G12T-75. Allan Holdsworth: Custom SB (HB) > Boogie Mk I Combo avec 1x12, Dual Rectos pour les Solos - FX loop: (2) PCM 41s, (2) Yamaha 1500, (2) Roland SDE-3K, (2) Delta Lab Effectrons > baffle Mesa Dual Recto 212. (Guitar shop 1994, The Recording Guitarist by John Chappell) Alex Lifeson/Rush *70s rig: Pédale de volume Gibson SB (HB), Cry Baby, BOSS CE-1, Mistress flanger, phase shifters, tape delays, Plexi Marshall, baffles Marshall. *Moving Picture era: Gibson ou Fender > Pédale de volume Morley > MXR Distorsion > MXR Micro Amp > Roland 301 Echo Unit > AAD Delay > Electric Mistress > Roland chorus SPLIT (2) Marshall Combos et (2) têtes d'ampli Hiwatt 100 > (2) baffles 4x12 et 1 baffle Leslie (Moving Pictures tour book) Amir Derakh/Orgy: Jackson SB (HB), Boss FZ-2, Boss PH-2, Boss PS-3, Boss GE-7, Marshall JMC 2000 (FX Loop TC 2290) > Marshall 412 avecV30s (GG.com) Andy Summers/Police: 1961 Fender Tele > MXR Dynacomp > EH Flanger > MXR delay > Maestro Echolplex > tête d'ampli Marshall 100w> baffle 412. (Guitar Edge May/June 2009) Andrew Stockdale/Wolfmother: Guitare Gibson > Fulltone Clyde Deluxe Wah > Boss Metal Zone > Fulltone Supa-Trem Tremolo > Boss Tremolo > Digitech Whammy Pédale > Electro Harmonix Micro Synth > Electro-Harmonix Small Stone phaser > Orange AD30 et Thunderverb 200 et baffles PCC412, Marshall Superleads sans Master Volume, tête d'ampli Vox AC30. Angus Young/ AC/DC: Gibson SG > Marshall JTM 45 ou 1969 SLP reissues, beffles Marshall 412 avec Vintage 30s ou 25w Greenbacks (December 96 Guitar Shop, May 1996 Guitar World) A Levine/Maroon 5: Gibson SB (HB) > Line 6 DL4 > Ibanez TS9 > Boss NS2 SPLIT: Fender tone master et/ou Triple Recto > Marshall 312 avec 75w Celestions (October 2005 G1) Billy Joe Armstrong/Green Day: Black Les Paul, Les Paul Junior, Fernandez Strat (avec SD JB) > TS-9 > Ibanez Phaser > Boss Tremelo > têtes d'ampli Marshall 100w Plexi (avec Dookie Mod et préampli et biasing augementé) > Marshall 412 avec V30. A aussi un préampli CAE > Marshall Rig d'ampli de puissance (Jan 2005 G1) Billy Duffy/The Cult: (albums Dreamline et Love): 70s Gretch Falcon > Roland JC 120 (August 2007 Guitar Edge) (album Electric): Les Paul > Cry Baby Wah > MXR Phase 100 > Boss DM2 > Boss DD3 > Marshall JCM 800 (August 2007 Guitar Edge) Billy Gibbons/ZZ Top: Les Paul (HB) > 1959 Marshall Plexi à travers d'une baffle 2x12. Brad Nowell/Sublime: Ibanez S-470 > Boss OS-2 > Boss DD-3 (splitter) Marshall JCM 800 combo 212 et JC-120 (GG.com) Billy Howedel/Perfect Circle: Les Paul (Tom Anderson HB) > Lexicon MPX G2 > 1978 Marshall JPM 100w Superlead (FX Loop send) > TC Fireworx > Digitech GSP 2101 > Eventide Orville > TC Electronics G Force baffles VHT Straight avec 25w Celestion Greenbacks et Vintage 30s (Guitar World July 2004) Brad Whitford/Aerosmith: Crybaby wah, Marshall guvner, Boss CD-2, Boss CE-5, Chandler Echo, tête d'ampli Bogner Extacy, baffle Bogner (internet) Brett Hinds/Mastadon: Gibson V ou Explorer > Monster Effect Mastortion > Tube Screamer > Boss EQ, Delay > CS-3 > Marshall JCM800 Split channel (Guitar Edge May/June 2009) Brett Mason: Strats, Teles, Les Pauls > Bassman ou tête d'ampli Showman ou AC30 Combo. Brian May/Queen: Custom SB avec 3 SC > Brian May treble booster > Dunlop Cry baby > Eventide H3K > Vox AC30 avec TB (no EQ or Cut). Eventide H3K pour stereo flanger, 800 & 1600 ms DDL sans repeats (Guitar shop 1994, GG.com) Brian Setzer/Stray Cats: Signature Gretsch Semi-hollow > TS9 > unité Roland 301 Echo ou Echolplex > Fender Tremolo > tête d'ampli 63 Fender Bassman > baffles 212 avec Celestion V30. Buckethead: Superstrat > Peavey Reknown > Boss ME50, Alesis Midiverb, Rocktron Intellifex, Rockman XP100 (in FX loop) > baffles Harry Kolbe 412 (Guitar Shop May 1997) Chuck Berry: Gibson ES335 > Fender Bassman, Fender Twin ou Fender Super Reverb (GG.com) Chuck Schuldiner/Death: 1988 BC Rich Stealth avec Dimarzio XN2 > Marshall Valvestate avec unité BBE> Marshall 412 (Guitar School Sep 93) Claudio Sanchez/Coheed and Cambria: Gibson Explorer avec micros EMG-81/85 > Dunlop CryBaby Wah > Line 6 Tremolo > Bogner Uberschall et/ou Mesa Triple Rectifier >Mesa 412 Recto Cab. Ampli Clean: Ampli Fender 65 Twin Reverb. Cristiano Migliore/Lacuna Coil: ESP/LTD SC-607B Stephen Carpenter 7-strings avec micros standart EMG> Dunlop Dime Crybaby from Hell > tête d'ampli Line 6 Hd 147> baffles Mesa Boogie. C Muncey/Jet: Gibson flying V (HB) > TS-9 > SD-1 > Boss Tremelo > tête d'ampli 50 Marshall> Marshall 412 (March 2005 G1). Corey Beaulieu/Trivum: Jackson avec EMG HB > Dunlop Wah> MXR OD > MXR Smart Gate > Peavey 6505 > Marshall 412 avec haut-parleurs Celestion 75w (Guitar World Mar 2010). Dan Donegan/Disturbed: Les Paul Standard (HB) > E Ball Volume > Whammy Pédale > Boss PH-2 > Crybaby Wah > Mesa Triple Recto > Mesa 412 avec V30s (GG.com). Dave Grohl/Foo Fighters: Gibson SB (HB) > Boss TR-2 > Ernie Ball Volume > Boss DD-2 > MXR Phase 90 > Boss BF-2 > Mesa Road King > TC G Force (in FX loop) > Mesa 412 avec Celestion Vintage 30s (Jan 2006, Guitar One) David Gilmour/Pink Floyd: Strat avec EMGs, Tube driver, Rat Distorsion, Boss CS-2, MXR comp, Boss HM-2, Boss GE7, univibe, T.C. 2290, Lexicon PCM 70, MXR rack DDL, tête d'ampli Hiwatt> Marshall 412 & Doppola (mélange avec u87 et SM57s) (Guitar Shop December 1996). Dave Keuning/Killers: Electro-Harmonix Big Muff Pi > Ibanez TS-9 Tube Screamer > Boss CE-1 pédale chorus > Ibanez Analog Delay (pour delay réduit) > XR Phase 100 Pédale > tête d'ampli Hiwatt Gilmour 100> baffles Hiwatt 4x12 Dave Murray/Iron Maiden: Piece of Mind Tour (1983): 1957 Super Strat > Cry Baby Wah > MXR 10 band EQ > préampli Boss FET> MXR Distorsion Plus > MXR Phase 90 > Yamaha Analog Delay > tête d'ampli Marshall Mk II 50> > Marshall 4x12 avec haut-parleurs Celestion. Guitar World February 07: Super Strat > JMP 1 > Marshall JFX > JCM 2K (ampli de puissance) > Marshall 4x12 avec haut-parleurs 75w. Dave Mustaine/Megadeth: ESP signature Solid bodies avec SD HBs > Rocktron Prophesy > Marshall 100/100 (EL34s) > Marshall 412 avec V30s (May 2005 G1) Dave Navarro/Jane’s Addition, Red Hot Chili Peppers: Ibanez ou PRS > Cry Baby Wah > Boss Distorsion DS-1 > Boss Phaser PH2 > Boss Octave OC2 > Boss Chorus CH1 > Boss Delay DD3 > Marshall JCM900 > Marshall 412. Dean DeLeo/Stone Temple Pilots: Gibson ou PRS > Dunlop Cry Baby Wah (Fassel Inducter) > Boss CE1 >> SPLIT 1) Sib! Overdrive > VOX AC30 2) Demeter Vorverstärker > Rocktron Intelliverb > VHT Endstufe > Marshall 412 Box avec Celestion Vintage 30s Attention, les deux rigs doivent toujours être allumés. (August 2009 Guitar Edge) Derek Trucks: Custom Washburn > 1964 Fender Super Reverb (July 1998 Guitar Shop) “Dimebagâ€� Darrell Abbott/Pantera: Guitare Dean (HM) > Digitech WH-1 Whammy Original > Dunlop 535Q Wah Pédale > Boss PS-3 > Boss DS-2 > Boss DD-3 > Furman PQ-3 Parametric EQ > MXR Flanger/Doubler > Randall Century 200 HD > Randall 4x12 Box avec Celestion vintage 30s (March 1999 Guitar Shop, GG.com, The Recording Guitarist by John Chappell) Duane Allman/Allman Brothers: 1959 Les Paul Standard > tête d'ampli Marshall 50 watt Edward Van Halen: (70s Rig) Superstrat avec Gibson PAF micro humbucker > MXR Phase 90 > MXR Flanger > Echoplex > Unicox EC-80 echo (seulement divebomb of Eruption) > 1966 Marshall Superlead avec Variac > Marshall 412 > (2) microphones SM 57 (un à la bobine et un à l'extérieur) (Guitar World May 1996) (90s Rig) Wolfgang SB (HB) > Boss SD-1 > Boss OC-2 > MXR Phase 90 > Cry baby Wah > tête d'ampli 5150 > (FX loop H3K > (2) Roland SDE-3K > PCM-70 > Peavey 412 avec haut-parleurs 75w (Guitar Shop, Spring 1994) Edge/U2: (les années précédentes) Explorer ou Strat > Big Muff > Boss GE-7 > Boss CS-2 > Memory Man > SPX 90 > Yamaha Rev 7 > 1964 Vox AC30 (plus tard) Divers guitares > Digitech Whammy > Dunlop Wah Pédale > Lovetone Envelope Filter > Lovetone Phaser/Vibrato > Electro-Harmonix Big Muff > Ibanez TS-9 Tuber Screamer > Boss GE-7 EQ > Boss CS-2 Compressor > Boss FA-1 Preamp booster > Eventide Ultra Harmonizer > (2) Lexicon Processors > (4) unités TC Electronics 2290 Delay, (2) unités AMS Delay, (2) unités Korg SDD 3000 Delay > 1964 Vox AC-30 Eric Clapton: Cream era: Gibson ES-335, Firebird, ou Les Paul / SG Standard > Vox 847 Wah > Dallas Arbiter Fuzz Face, Marshall Supa Fuzz, UniVox Super Fuzz, ou Vox Tone Bender > tête d'ampli Marshall JTM-45> baffle Marshall 4x12 (Guitargeek.com, Guitar Extra, November 2007) Eric Johnson: Strat avec micros single coil Dimarzio HS-2 qui envoyent aux baffles A/B, pour partager aux 3 rigs: * Rig 1: Echoplex > Chandler Tube Driver > tête d'ampli 1966-68 100w Marshall plexi> baffles Marshall 412 * Rig 2: Dallas Arbiter fuzzface > MXR DDL et/ou Echoplex > tête d'ampli 1966-68 100w Marshall plexi> baffles Marshall 412 Rig 3: Echoplex > TC Electronics Chorus >> (2) amplis Fender Vibrolux (Guitar Shop October 1996, September 1997, The Recording Guitarist by John Chappell) Greg Tribbett/Mudvayne: Gibson Les Paul Studio > BBE 482 Noise Reduction > Morley Wah partagent à JC 120 et Line 6 DL4 > VHT Pitbull Ultra Lead > Mesa 412 Box (May 2002 G1) H Garza/Los Lonely Boys: Fender Strat (SC) > Vox Wah > Ibanez TS808 SPLIT: Marshall 2K (avec unite Fender reverb) > Tone Tubby 412, Fender Twin avec haut-parleurs Jensen (Holiday 2005 G1) Head/ Korn: Ibanez 7 String > DOD Metal Distorsion > Boss Super Phaser > Boss Stereo Chorus > Mesa Triple recto > Marshall 412 avec V30s (Guitar World July 97 und GG.Com) In Flames (Björn Gelotte/ Jesper Strömblad): Gibson Les Paul Custom avec EMG 85 > ampli Peavey 5150 > effets Line 6> baffle 412 J Garvey/Hinder: Gibson Les Paul ou Explorer (HB avec drop C tuning) > Boss CE1 > Ibanez TS9 > TC Nova Delay > tête d'ampli Mesa Dual Roadster > Mesa 412 avec haut-parleurs Celestion vintage 30. Gibson J-185 acoustic DI (Feb 2009 Guitar World). J Milligan/Anberlin: Les Paul > POD XTLive > Marshall JCM 2000 > Marshall 412 avec haut-parleurs 75 watt. Également utilise Tele et Alvarez 12 string (April 2009 GW) J Valentine/Maroon 5: Fender SB > EB Volume > wah > Line 6 DL4 > MXR Phase 90 > Fulltone Deja Vibe > Z Vex SD Fuzz SPLITTER: Tonemaster 100, FTR 37, RSA 23, Two Rock Custom Reverb > 112 (V30) et 212 (V30 et Alnico Bulldog) (October 2005 G1) J.D. Conrise/ The Sword: Gibson Explorer > ElectroHarmonix Metal Muff > MXR Phase 90 > tête d'ampli Orange OR80> baffle Orange 412 (Guitar World Holiday 2009) Jade Puget/A.F.I.: Les Paul Studio > Dunlop Rotovibe > Dunlop Dime CryBaby from Hell > Ibanez Tube Screamer pédales > unités TC Electronic G Major rack > Mesa Dual Recto ou Marshall Plexi >Marshall 412 ou JC120 Jack White/White Stripes: Digitech Whammy IV > MXR Micro-Amp > Electro-Harmonix Big Muff Pi > Electro-Harmonix Polyphonic Octave Generator > Boss CS3 > ampli 1970's Fender Twin Reverb. James Hetfield/Metallica: guitares ESP avec micros EMG (10-46 string) Boss SE-50, BBE > Rocktron Juice Extractor > Aphex Parametric EQ > Hush Noise Reduction > Mesa Boogie Mk IIC+ tête d'ampl > Marshall 412 avec Celestion Vintage 30s, JC-120 Combo (May 1996 Guitar World) James Honeyman-Scott/Pretenders: guitar Gibson ou Fender > Boss compressor > Boss Chorus > Boss Overdrive > tête d'ampli Marshall 100 watt > 412 Box Jason Hook/ Five Finger Death Punch: Gibson Explorer avec EMG HB > Marshall JMP1 > GCX = TC G-Major, Line 6 Echo Pro, Line 6 Mod Pro > ampli de puissance Marshall 9200> Marshall 412 avec haut-parleurs V30 (Guitar World April 2010) Jeff Beck (Guitar Shop enregistrement): Strat ou Tele > (2) Fender “the Twinâ€�, Fender Princeton Reverb II. (Guitar World May 1996) Rig de stage: Strat ou Tele > Rat distorsion Pédale > Boss DD-2 > tête d'ampli Late 60s Marshall 50w (Guitar World May 1996) Jerry Cantrell/Alice in Chains *Guitar Shop Spring 1994: G&L Rampage avec micro Duncan HB et Kahler Tremolo > Dunlop Crybaby wah > préampli Bogner Fish > Rocktron Intelliverb > ampli de puissance Mosvalve 500> Marshall 412 avec Celestion 30-watt Vintage et haut-parleurs 25-watt Celestion Greenback. Guitare acoustique Taylor G10 avec préampli Fishman > ampli Trace Elliot TA100R. *November 1992 Guitar (Dirt recording): G&L Rampage avec micro Duncan HB et Kahler Tremolo ou Gibson Les Paul partagant à Bogner et Marshall, qui sont tournés dans l'autre direction. Jimi Hendrix: Fender Strat (SC) > Crybaby ou Vox Wah > Axis Fuzz > Arbiter Fuzz Face > Univibe (avec pédale) > Octavia > Marshall Plexi 100w > Marshall 4x12 (Guitar shop 94, The Recording Guitarist by John Chappell) Jim Root (7)/Slipknot: guitare Warlock > Marshall JPM1 > unité Boss FX > Mesa 2:90 > baffle Carvin 400w 412 (Guitargeek.com – 2001) Joan Jett & the Blackhearts: Gibson Melody Maker > Ibanez TS-9 > Mesa Boogie mark III 112 combo qui envoy à une baffle Vox 212 (J Jett Backline Rider - 2005) Joey Ramone/Ramones: guitare Mosrite > Marshall 1959 Superlead (sans Master Volume) > Marshall 412 avec 25w Celestions (rockometer.com) Joe Satriani: Superstrat > Cry Baby wah > Boss DS-1 > Whammy Pédale > Fulltone Ultimate Octave > Boss CH-1 > Boss DD-2/3 > Chandler DDL (450-550 ms) > Chandler DDL (600-800ms) > tête d'ampli Marshall 6100 (Anniversary) avec tube 6550> Marshall 412 avec V30s. (Guitar Shop Summer 94, Nov 97, GG.com, The Recording Guitarist by John Chappell) Joe Walsh/James Gang, Eagles: Fender Tele ou Strat > baffle Heil Talk > Vox ou Crybaby Wah > Echoplex > Fender Vibrolux, Twins, et Super Reverbs, baffles Leslie. John 5/Rob Zombie: Fender Tele avec HB > Dunlop Wah > Boss CH1 > Boss SD1 > Boss NS2 > Marshall JCM900 > Marshall 412 avec haut-parleurs 75w Celestion (Guitar World Jan 2010). John Christ/Danzig: BC Rich SB (HB) > VHT Pitbull Classic Topteil, Rocktron Intellifex > VHT Chromeface Endstufe > baffles Marshall 412 (Guitar Shop 1994) John Fogerty/Creedence Clearwater Revival, Solo: Gibson Les Paul Custom ou ES-175 > Fender Vibrolux silver face avec deux 12" JBL , Fender Concert, ou ampli Kustom. John Frusciante/Red Hot Chili Peppers: *Rig 1: 50s or 60s Fender > Boss DS-2 > Big Muff Pi > Phase 90 > Ibanez Wah > CE-1 SPLIT après tête d'ampli Marshall Major 200w et tête d'ampli Marshall Silver Anniversary > baffles Marshall 412. (GG.com) *Rig 2: 50s Gretsch Falcon > DS-1 > tête d'ampli Fender showman > Marshall 412 (GG.com) John Jorgenson/Hellcasters: G& L ASAT (tele style) > Ibanez TS5 > TS 808 > Boss DC 2 > Boss DD2 (125 ms) > Boss RV-2 > Matchless SC-30 (Guitar shop 1995, The Recording Guitarist by John Chappell) John Scofield: Ibanez AS200 (semi-creuse) > Digitech Whammy > Vox AC 30 (March 2009 Guitar Edge) John Petrucci/Dream Theater: *Guitar Shop - Summer 94: Custom Ibanez SB (HB) > Mesa Triaxis > DBX 166 > TC 2290 > PCM 70 > Mesa 2:90 > baffles Mesa Recto *Guitar Edge – August 2007: guitare Signature Music Man (9-42) > Boss DS-1 > Boss TR-2 > MXR EVH Flanger > MXR EVH Phaser > Ernie Ball Volume > DBX 266 compresseur > Eventide DSP700 > TC 2290 > TC M3000 Multi-effects > Mesa Mark IV (distorsion) & Mesa Lone Star (Clean) > Mesa 412 Stiletto Box. Johnny Winter Rig plus tôt: Fender Mustang > Fender Twin Rig plus tard: Gibson Firebird (HB, open D tuning pour Slide) > CE-2 (rate = 10 pm, depth = 2 pm, toujours allumé) > Musicman 410 avec Celestion Vintage 10 (tous les sons à 0 mais Treble à 10, pas de reverb) (April 2005 G1) Jonny Greenwood/Radiohead: Fender Tele Plus > Marshall shred master > Boss RV-3 > Boss SD-1 > vers: * RIG 1: Fender Deluxe (SS) * RIG 2: Whammy Pédale > Trem > DOD Envelope Filter > EH Small Stone > Space echo > Mutron Mutator > Vox AC-30. Jonny Lang: 1975 Fender Thinline > Ibanez 808 Tube Screamer > pédale Hard-on Distorsion > Vox Wah > Fender Vibro King (May 1997 Guitar Shop) Joshua Cain/Motion City Sountrack: Les Paul Jr avec P-90 > Z-Vex Super Duper > TC Vintage Dual Distorsion > Morley echo/reverb > tête d'ampli KJ Audio> Marshall 412 avec haut-parleurs G-12 (Guitar World June 2010) Kirk Hammett (Metallica): ESP Guitar (active HB) > pédale Ernie Ball Wah > préampli Marshall JMP-1, préampli Mesa Triaxis et préampli Mesa Dual Rectifier > ampli de puissance Mesa > baffles Mesa 412 (The Recording Guitarist by John Chappell) Kurt Cobain/Nirvana: *Nevermind session: Fender Mustang, Jaguar ou Strat avec Dimarzio micros humbucker > Boss DS-1 > EH Small Clone Chor > Mesa Studio 22 mélangé avec Shure 57, U87, 414, ou 421. Utilisez également Vox AC 30 pour Clean et Rat Distorsion Pédale. Lithium utilise un EH Big Muff > Fender bassman > microphone U87. *"In Utero" Live rig: Fender "Jag-stang" > Boss DS-2 > Sansamp (comme distorsion) > EH Poly Flange > EH Small Tone > Mesa Studio ou préampli Quad > ampli de puissance Crest 4801> baffles Marshall 4x12 (May 1997 Guitar Shop) Kim Thayill/Soundgarden: Guild SG avec HB > cry baby > préampli DOD FX 10 > CE-2 > tête d'ampli Mesa Dual Recto> vers baffles Mesa ou Fender Leslie (Guitar Shop 1994) Kenny Wayne Sheppard: Strats de fin des années 50/ début des années 60 (SC, 11-58): Dunlop CB wah > TS 808 (moddé) > TS9 (moddé) > Octavia > L6 DM4 > L6 DL4 > Analog Man Chorus > SPLIT: Blackface Twin reissue (jhaut-parleur EVL), Fuchs 100 OD supreme > Fuchs 410 (v30s), Marshall 1959 SLP reissue > Marshall 412 (V30s) (July 2005 G1) Kerry King/Slayer *Guitar Shop 1995: Jackson avec EMG HB > préampli Bogner Shark, Eventide H3K, Boss EQ, ampli de puissance VHT (Wet), Marshall JCM 800s (6550s) (Dry) > Marshall 4x12 avec 75w Celestions. *August 2005 G1: guitares ESP (micros EMG) > Dunlop Wah > Boss RGE-10 EQ > Yamaha SPX 900 > Eventide H3K > JCM800 avec 6550 > Marshall 412 avec Celestion Vintage 30s. Lenny Kravitz: Gibson SB (HB) > rack splitter > Boss OC-3 > Fat boost > MXR Dynacomp > MXR Phase 90 > L6 Echo Pro > L6 Mod pro > L6 Filter Pro > L6 POD pro SPLIT > (2) Fender Deluxe reverbs > 112 Greenback, (2) têtes d'ampli Marshall 50w Plexi> Marshall 412 avec 25 greenback, (2) Twin Reverbs > 212 80w G12s. (November 2005 G1) Malcolm Young/AC/DC: Gretsch semi-creuse avec cordes 12-56 > 1966 Marshall 100w Plexi > Marshall 412 avec 25w Greenbacks. (May 1996 Guitar World) Mark Morton/Lamb of God: Jackson Custom (HB) > Dunlop wah > MXR GT-OD > MXR EVH Phase 90 > DBX compresseur > Mesa Mark IV > Mesa 412 (March 2009 Guitar Edge) Matt Bellamy/Muse: guitare Manson custom (HB) > Digitech WH-1 Whammy Reissue > MXR Phase 90 > Diezel VH4 > TC2990 Delay > Soldano 4x12 Box Matt DeVries/Chimaira: ESP (avec EMG 81) > Peavey 5150II/6505 (Boss CE-20 in FX Loop) > baffle Mesa 412 avec Celestion Vintage 30 (Guitar World Holiday 2009) Michael Amott/Carcass, Arch Enemy: - Dunlop Zakk Wylde wah-wah Pédale > Ibanez TS-808 Tube Screamer > MXR Phase 90 > Ibanez AD-9 Analog Delay > Roland SDE-3000 Rack Delay Unit > Peavey 5150 > baffles Krank "Revolution" (avec Celestion Vintage 30's) Michael Schenker: Flying V (avec HBs) > Dunlop Wah (dans un rack) > Boss DD3 > Boss CE-5 > JCM800 50w (Dist) SPLIT JCM 2k (Clean) > Marshall 412 avec 75w Celestions (June 2005 G1) Mike Campbell/Tom Petty: Cry Baby > Camel Toe overdrive > Boss EQ > Line 6 DL4 > Line 6 MM4 > Fender Reverb SPLIT TO Fender Blackface deluxe, Vox AC30, Fender Tweed Deluxe, Fender Princeton > baffle Vox 412 (Guitar Edge May/June 2009) Mike Izinger/Incubus: PRS semi-creuse> H&K Rotosphere > (2) Boss PH-2 > DOD Gonlulator (ring modulation) > Boss RV-3 > MXR Phase 90 > DOD FX25 (envelope filter) > Boss CS-3 > DOD FX75 Flanger > Boss GE7 > OC-2 > DOD overdrive > Mesa Dual Trem-o-verbs (1 clean, 1 distorted) > Mesa 212 ou 412 Boxen avec V30s (Sep 2002 Guitar One, GG.com) M Padget/Bullet für My Valentine: ESP Flying Vs avec EMG 81/85 > Slash Dunlop Wah > TS9 > TC Electronics G-Force SPLIT Mesa Triple Rectifier (Dirty) > baffle Mesa 300w 412 et JC120 (Clean). Mike Schleimbaum/Darkest Hour: Washburn N4 (HB) > Tubescreamer > Digitech Whammy > MXR Phase 90 > Dunlop Wah > Line 6 DL4 > 5150 III (FX loop – Alesis Quadraverb) > baffles 5150 avec EVH Celestion G12 (Guitar World Anniversary 2010) Munkey/ Korn: Ibanez 7 String > Digitech Whammy Pédale > Univibe > EH Flanger > EH Big Muff > EH Small Stone Phase Shifter > Boss Rev/DDL > DOD FX25 Envelope Filter > Mesa Triple Recto > Marshall 4x12 avec haut-parleurs V30 (November 1998 Guitar Shop) Neal Schon/Journey: Les Paul > Crybaby Wah > Boss DS-1 > Ibanez TS9 > Boss CS-3 > Boss NS-2 SPLIT Hiwatt Custom 100 (FX Loop - Roland DDS) > Marshall 412 avec Greenbacks, Hot Rod Deville 410 (Partie du Journey 80s Rig et January 98 Guitar Shop). Noodles/Offspring: Ibanez Talman > Mesa Boogie Mark IV > Alesis Quadraverb (in FX Loop) > baffles Mesa 4x12 (September 1997 Guitar Shop) Nuno Bettencourt/Extreme, solo: Extreme: Washburn signature series > Rat distorsion > Marshall JMC 800 (Guitar Xtra Nov 2007) Solo: Washburn signature series > MXR Phase 90 >Boss OC2 > Demeter Tremlator > Marshall, H&K ou tête d'ampli Fender avec Boss DD3 in FX loop > abffle Marshall 412 (May 1997 Guitar Shop) N Cester/Jet: Gibson ES 335 (semi-creuse, HB) > Z-Vex Fuzz Factory > Hot Cake distorsion > Hiwatt 50w Custom > Marshall 412 (March 2005 G1) Omar Rodrugiez-Lopez/ Mars Volta, At the Drive in: Fender et Gibsons > BOSS HR-2 harmonist > BOSS CE-3 > BOSS Phaser > Boss reverb > préampli de guitare Orange AD140HTC> baffles 4x12 Orange Otis Rush: custom strat > Mesa Mk III > baffle Mesa 412 (Guitar Shop Winter 1994) Oli Herbert/All That Remains: guitares Washburn, Gibson, Ibanez> têtes d'ampli Peavey 5150 et 6105> baffles Mesa Boogie 412 (Feb 2009 Guitar Edge) Page Hamilton/Helmet: ESP SB (HB) Vox Wah > MXR Dist+ > Dyna-comp > Tech 21 double drive > Z Vex Fuzz Factory > ProCo Rat > PE COB > octave Pédale > MSC Microamp > MXR Bass octave > Whammy pédale > ADA FLanger > MXR Stereo chorus > DD6 > VHT Pitbull Head > VHT 412 avec Eminence 50w (September 2005 G1) Pete Townshend/Who (album Who’s Next): guitare 1957 Gretsch 2180> Pédale de volume Edwards > late 50s tweed Bandmaster. (Guitar World May 1996) Randy Rhoads/Osbourne, Ozzy: Les Paul > MXR Distorsion plus > MXR EQ (milieu de gamme très fort)> MXR Chorus > MXR Flanger > unité Korg Echo> Cry Baby ou Vox wah > têtes d'ampli Marshall 1959 Super Lead Plexi> baffles Marshall 4x12 avec haut-parleurs Altec. Shure 57s close-miked on cabinet, Neumann U87 20' away. Robby Krieger/Doors: Gibson SG > Maestro Fuzz-tone > Fender Twin Reverb ou Acoustic 260 Robert Cray: Strats des début des années 60 & Gibson 345, (2) Fender Super Reverbs Ron Thall/Guns & Roses: guitares Vigier et Les Paul avec micros Dimarzio humbucker et cordes Ernie Ball > Line 6 Vetta (Feb 2009 Guitar Edge). Scott Ian/Anthrax: guitare Jackson avec micros EMG humbucker > TC Distorsion > JCM 800 > baffles Marshall. Slash: Les Paul (HB) > EMB Remote Wah > tête d'ampli de série Marshall 25th Anniversary> Marshall 412 avec Celestion Vintage 30s (Guitar Shop 1995, June 1996) Sonny Landreth: Strat (SC) > MXR Dynacomp >> partagant à 1954 Fender Deluxe et Demeter TGA-3 > Demeter Silent Speaker Chamber avec Celestion Vintage 30 et Shure SM-57 (The Recording Guitarist by John Chappell) Son Seals: Gibson ES-335 > Fender Super reverb du début des années 60 (Guitar Shop 95) Steve Jones/Sex Pistols: Les Paul > Fender “silverfaceâ€� Twin avec haut-parleurs Gause (May 1996 Guitar World) Steve Miller: Fender Strat > Fender Bassman (avec SM 57) http://www.guitarpla...ms=steve miller Stevie Ray Vaughan: Fender Strat (Rosewood fretboard) > Vox Wah > Diaz Square fuzz or TS808 > Tychobrahe Octavia > Boss Chorus > partagé vers: baffle Leslie, Fender Vibroverb (2x10), Fender Super Reverb (4x10), tête d'ampli Fender Bassman avec baffle 2x12, tête d'ampli Marshall (tube 6550)> baffle Marshall 4x12 avec haut-parleurs EVM ( The Recording Guitarist by John Chappell) Steve Stevens/Billy Idol: Hamer SB (HB) > crybaby wah > Rat dist > MXR Phase 90 > Boss CS-2 > tête d'ampli 1969 Marshall> Lexicon PCM 41 & 70, Yamaha XPS 90, Eventide 969 dans le système looping> Marshall 412 avec haut-parleurs 25w. (July 87 Guitar World) Steve Vai *Guitar Shop 1994: Ibanez SB (HB) > Boss SD-1 > Cry baby wah > Whammy Pédale > JCM 8/900 > Roland SDE 3K > Eventide H3K > Marshall 412 avec Celestion Vintage 30. *Guitar Shop 1995: Ibanez SB (HB) > Boss DS-2 > Cry baby wah > Whammy Pédale > Laney et Bogner Extacy > Roland SDE 3K > Eventide H3K & H4K > Marshall 412 avec Celestion Vintage 30s *December 2005 G1: Ibanez SB (HB) > Morley Volume > Digitech whammy > Boss DS1 > Ibanez TS9 > MXR Phase 90 & Phase 100 > Carvin Legacy HD (Loop avec Eventide Harmonizer® & TC G Force) > Carvin 412 avec Celestion Vintage 30s. Stone Gossard/ Pearl Jam: *Rig 1: Les Paul > TS-9 > mid 70s Twin reverb (haut-parleurs EV 75w) *Rig 2: Les Paul > TS-9 > tête d'ampli Matchless HC30> Marshall 412 avec haut-parleurs 25w *Rig 3: Les Paul > TS-9 > 1968 Marshall Plexi Super Bass > Marshall 412 avec haut-parleurs 25w (Guitar Shop 1994) Tom Delong/Blink 182: Superstrat partagant vers Marshall JCM 900 (clean) et Mesa Triple Recto (distorsion) > Mesa 412 Box (GG.com) Tom Dumont/No Doubt: guitar Hamer Explorer style avec micro humbucker ou micros SC (10-45) > Crybaby wah > MXR Microamp (boost for solos) > Dunlop Tremolo > Univibe Split Fender Tone Master > 4x12 Tone Master Boc et Mesa Dual Recto > 4x12 Tonemaster Box. Guitars acoustiques: Guild D25, Takamine NP65C corde nylon. Tony Iommi/Black Sabbath: SG avec micros humbucker > Tychobrahe ParaPedal Wah > Ranger Master Treble booster > tête d'ampli Laney 100Watt Supergroup> baffle Laney 412 (Guitar World May 1996, Guitargeek.com) Tom Morello: RATM/Audioslave: Superstrat avec micros EMG humbucker> crybaby wah > Whammy Pédale > Boss DD3 > DOD EQ > Ibanez digital Flanger > Marshall JCM 2205 50w > baffle Peavey 412 (November 97 Guitar Shop) Tom Petty: Tele ou Rickenbacker (SC)> Vox Wah > Red Llama OD > Ibanez TS-9 > Boss CE-2 > Boss RV-3 SPLIT TO: Fender Bassman et Vox AC 30 (GG.com) Tom Scholz/Boston: 1968 Gibson Deluxe Gold top Les Paul avec micros Dimarzio Super Humbucker Pickups > EQ > Cry baby wah > Maestro Echoplex > tête d'ampli 100-watt Marshall> Marshall 412 (EMT Gold Plate reverb pour mélanger). Trevor Rabin/Yes (90215 Era): Fender strat (HB) > Boss DS-1 > Boss Chorus > Ampeg VT 120 (Guitar Edge November 2009) Warren Hayes/Allman Brothers: Fender Strat avec micros Lace, PRS (Humbucker), Les Paul Standard avec micros Pearly Gates> Soldano SLO 100 (FX loop – Alesis Quadraverb) > 412 Box avec haut-parleurs EV 16 ohm. Réglages de la préampli: normal gain: 1 pm, Overdrive gain: 9:30, treble 2 pm, mid 11 pm, bass 2 pm, normal output: max, overdrive master: max, presence: fast Maximum. 425 MS ddl, hall reverb 1.8s à 2.4 seconds à ~ 50%. (Guitar Shop Spring 94) Wayne Lozinak/Hatebreed: Jackson avec EMG HB > Dunlop Wah > Boss SD1 > Boss DD3 > Boss NS2 > Marshall JCM2000 > Marshall 412 avec haut-parleurs 75w Celestion (Guitar World Feb 2010) Wes Borland/Limp Bizkit: Ibanez 7 string > noise Gate > MXR Bluebox > Mutron III > Morley Volume/wah > MXR Phase 90 > Boss reverb/delay > Fulltone Deja Vibe > DOD Buzz Box > Mesa Dual Recto > baffle Mesa 4x12 (September 1998 Guitar Shop) Willie Adler/ Lamb of God: ESP Custom avec Seymour Duncan (HB) > DBX compresseur > Mesa Mark IV > Mesa 412 (March 2009 Guitar Edge) Yngwie Malmsteen: Strat avec micros HM3> BF-2 Flanger > têtes d'ampli Marshall JMP 50w MK II > (2) KORG DDL (DDL et Chorus) > Roland SDE 3K > Marshall 412 avec haut-parleurs 25w. (GG.com, Guitar Shop Winter 95) Zach Myers/Shinedown: PRS signature avecHB > whammy pédale > Dunlop Wah > Univibe > Boss DC-2 > Digitech Hyperphase > TS9 > CS-3 > DL4 > Micro POG partagant à trios têtes d'ampli >>>Fender bassman (Clean) Diamond Spitfire (Dirty) Diezel Herbert (dirty) > baffle Engl 212 (Guitar World Dec 2010) Zack Blair/Rise Against: Gibson avec HB > MXR Phase 90 > Marshall JCM900 AND Mesa Dual Recto > Mesa 412 avec Celestion V30s (Guitar Edge Nov 2010) Zakk Wylde/Ozzy Osbourne, Black Label Society: - Les Paul avec EMG HB > Dunlop Rotovibe > Crybaby > Boss SD-1 > Boss CH-1 > Marshall JCM 800 > Marshall 412 avec haut-parleurs 75w. (Guitar Shop 94, GG.com) Zoltan Bathory/5 Finger Death Punch: BC Rich Assassin (HB) > Diamond Nitrox HD > Digitech GSP1101 (FX loop) > Diamond 412 Box avec V30s (March 2009 GW) Die Erstellung und Abstimmung von Klängen Wie kann ich die Lautstärke meiner Presets abstimmen? Vorerst sollten Sie Ihr sauberstes und ruhigstes Preset abspeichern während Channel Volume auf 90-95% ist. Dann können Sie die Lautstärke anderer Presets mit diesem Preset abstimmen indem Sie die Channel Volume Einstellung verwenden und so jeden Sound abspeichern. Dies ist die einzige Aufgabe des Channel/Tone Knopfes. Diese Einstellung erhöht oder verringert Gain nicht, ändert keine Klänge oder verändert Presets er stellt ausschließlich die Lautstärke ein. Wie kann ich einen Sound wie ein Künstler erstellen? Es gibt mehrere Wege Patches zu erstellen, um bestimmte Gitarristen nachzuahmen. Der Wahrscheinlich einfachste und schnellste Weg ist es, einen Patch auf Ihrem Line 6 Gerät zu finden, der ähnlich dem Sound ist, den Sie versuchen nachzuahmen und passen Sie diesen Patch an dann speichern Sie ihn ab (Schauen Sie sich dazu das Benutzerhundbuch Ihres Gerätes an um zu sehen wie Sie ein Patch Abspeichern/Verändern können.). Außerdem können Sie fertige Line 6-Klänge im Stil eines bestimmten Artisten auch auf www.customtone.com finden, installieren Sie dann dieses Modell einfach auf Ihr Gerät. Wir empfehlen ein wenig Nachforschung über den Gitarristen zu betreiben, für den Sie sich interessieren, sollten Sie ein komplett neues Modell erstellen wollen. Webseiten, wie www.Guitargeek.com und www.uberproaudio.com haben Listen der Rigs der verschiedenen Gitarristen. Zusätzlich drucken Gitarren- und Aufnahmemagazine oft genaue Diagramme und Layouts aus, die Sie vielleicht auch benutzen können (manchmal sogar mit den eigentlichen Mikrofonen und Distanzen zu den Boxen, die benutzt wurden.). Folgende Informationen werden Ihnen helfen ein komplett neues Modell zu erstellen: Verstärker, Lautsprecher und Boxen. Im Allgemeinen sind dies Verstärker mit offener Rückseite (z.B. 2x12 Boxen wie bei den meisten Fender® und Vox® Verstärkern.), die einen kleineren Low-End-Frequenzbereich haben als Boxen mit geschlossener Rückseite (z.B. 4x12 Boxen wie bei vielen Marshall® und Mesa/Boogie® Verstärkern.). Gitarren- (Hersteller und Modell) und Pickup Typ. Erle- oder Eschekorpora (oft bei Fender® Gitarren) klingen unders als Mahagonikorpora mit oder ohne Ahorntops (oft bei Gibson® Gitarren). Single-Coil Pickup, wie sehr oft bei klaren und hellen Tönen verwendet, klingen unders als Humbucker, die dunkler als Single-Coil Pickup Klingen jedoch nicht so rauschig bei Klängen mit hohem Gain. Pedale, Effekte und die Platzierungen in der Signalkette. Effekte können den Gitarren-Sound drastisch verändern also sollten Sie genau wissen welche Effekte Sie verwenden wollen und wohin Sie diese plazieren. (zwischen Instrument und Verstärker oder nach dem Verstärker) Mikrofon-Art und Platzierung. Wenn möglich sollten Sie versuchen herauszufinden welches Mikrofon zur Tonaufnahme benutzt und den Winkel in dem es aufgestellt wurde. All das spielt eine große Rolle in der Veränderung des Klangs. Zusätzlich zu den oben genannten Informationen können Sie auf dieser Seite das Equipment vieler Artisten einsehen: http://www.uberproaudio.com/who-plays-what Benutzen Sie die folgende Liste von Gittaren-Rigs, da sie Ihnen helfen kann diese nachzuahmen: Ace Frehley/KISS: Gibson Les Paul Custom mit Dimarzio Super Distortion (3 Pickups Version) > Vox Wah > Mutron Octave divider > Echoplex > Verschiedene Marshall Topteile und Boxen. Adam Dutkiewicz/Killswitch Engage: Caparison PLM-3 Gitarren mit EMG 85 in der Brücke > Maxon OD808 Overdrive > H&K Triamp oder Mesa Triple Recto/Roadster > Maxon AD9 Delay (FX Loop) > Mesa 412 mit Vintage 30 Lautsprecher. Adam Jones/Tool: Dunlop Wah > Ibanez Delay > Ibanez Flanger SPLIT Mesa Dual Recto, Marshall Bass Head, Diezel VH4 mit 4x12 Boxen (GG.com). Adrian Smith/ Iron Maiden *Piece of Mind Tour (1983): Gibson Gitarre > Cry Baby Wah > MXR Vorverstärker > Yamaha Flanger > Yamaha Phaser > Yamaha analoges Delay > Marshall Mk II 100w Topteil > Marshall 412 Box mit EV Lautsprechern. *Guitar World December 2006: Fender Strat (HB) oder Gibson SG > TS9 > Digitech Whammy Pedal > Dunlop Wah > Marshall 30th Anniversary 100w (6100LM) Topteil > FX LOOP (PV Tubefex) > Marshall 412 mit Celestion 75w G12-T75 Al Mckay/Earth Wind & Fire: Tele (SC) und ES-335 (HB) > Boss PS-2 > Rat Distortion > CE-2 > JC120 Albert King: 1958 Gibson Flying V > Acoustic 261 Topteil und 261 Box. (Guitar Xtra Nov 2007) Albert Lee: Fender Telecaster > Echoplex Tape Delay > Ernie Ball 410 Combo. Alexi Laiho/Children of Bodom: ESP Alexi Laiho Signature Gitarren mit EMG Pickups > Lee Jackson Perfect Connection GP-1000 Röhrenvorverstärker > RSP 2400 Hush/Enhancer/Exciter > Rocktron Intellifex > VHT Two/Fifty/Two Stereo Röhrenendstufe > Marshall 1960B 4×12 Box mit G12T-75 Lautsprechern. Allan Holdsworth: Custom SB (HB) > Boogie Mk I Combo in 1x12, Dual Rectos für Solos - FX loop: (2) PCM 41s, (2) Yamaha 1500, (2) Roland SDE-3K, (2) Delta Lab Effectrons > Mesa Dual Recto 212 Box. (Guitar shop 1994, The Recording Guitarist by John Chappell) Alex Lifeson/Rush *70s rig: Gibson SB (HB) Lautstärkepedal, Cry Baby, BOSS CE-1, Mistress flanger, phase shifters, tape delays, Plexi Marshall, Marshall Boxen. *Moving Picture era: Gibson or Fender > Morley Lautstärkepedal > MXR Distortion > MXR Micro Amp > Roland 301 Echo Unit > AAD Delay > Electric Mistress > Roland chorus SPLIT (2) Marshall Combos und (2) Hiwatt 100 Topteile > (2) 4x12 Boxen und 1 Leslie Boxe (Moving Pictures tour book) Amir Derakh/Orgy: Jackson SB (HB), Boss FZ-2, Boss PH-2, Boss PS-3, Boss GE-7, Marshall JMC 2000 (FX Loop TC 2290) > Marshall 412 mit V30s (GG.com) Andy Summers/Police: 1961 Fender Tele > MXR Dynacomp > EH Flanger > MXR delay > Maestro Echolplex > Marshall 100w Topteil > 412 Box. (Guitar Edge May/June 2009) Andrew Stockdale/Wolfmother: Gibson Gitarre > Fulltone Clyde Deluxe Wah > Boss Metal Zone > Fulltone Supa-Trem Tremolo > Boss Tremolo > Digitech Whammy Pedal > Electro Harmonix Micro Synth > Electro-Harmonix Small Stone phaser > Orange AD30 und Thunderverb 200 und PCC412 Boxen, Marshall Superleads ohne Master Volume, Vox AC30 Verstärkertopteil. Angus Young/ AC/DC: Gibson SG > Marshall JTM 45 or 1969 SLP reissues, Marshall 412 Boxen mit Vintage 30s oder 25w Greenbacks (December 96 Guitar Shop, May 1996 Guitar World) A Levine/Maroon 5: Gibson SB (HB) > Line 6 DL4 > Ibanez TS9 > Boss NS2 SPLIT: Fender tone master und/oder Triple Recto > Marshall 312 mit 75w Celestions (October 2005 G1) Billy Joe Armstrong/Green Day: Black Les Paul, Les Paul Junior, Fernandez Strat (mit SD JB) > TS-9 > Ibanez Phaser > Boss Tremelo > Marshall 100w Plexi Topteile (mit Dookie Mod und besserem Vorverstärker und Biasing) > Marshall 412 mit V30. Hat außerdem einen CAE Vorverstärker > Marshall Endstufen-Rig (Jan 2005 G1) Billy Duffy/The Cult: (Dreamline und Love Alben): 70s Gretch Falcon > Roland JC 120 (August 2007 Guitar Edge) (Electric Album): Les Paul > Cry Baby Wah > MXR Phase 100 > Boss DM2 > Boss DD3 > Marshall JCM 800 (August 2007 Guitar Edge) Billy Gibbons/ZZ Top: Les Paul (HB) > 1959 Marshall Plexi durch eine 2x12 Box. Brad Nowell/Sublime: Ibanez S-470 > Boss OS-2 > Boss DD-3 (splitter) Marshall JCM 800 combo 212 und JC-120 (GG.com) Billy Howedel/Perfect Circle: Les Paul (Tom Anderson HB) > Lexicon MPX G2 > 1978 Marshall JPM 100w Superlead (FX Loop send) > TC Fireworx > Digitech GSP 2101 > Eventide Orville > TC Electronics G Force VHT Straight Boxen mit 25w Celestion Greenbacks und Vintage 30s (Guitar World July 2004) Brad Whitford/Aerosmith: Crybaby wah, Marshall guvner, Boss CD-2, Boss CE-5, Chandler Echo, Bogner Extacy Topteil, Bogner Box (internet) Brett Hinds/Mastadon: Gibson V oder Explorer > Monster Effect Mastortion > Tube Screamer > Boss EQ, Delay > CS-3 > Marshall JCM800 Split channel (Guitar Edge May/June 2009) Brett Mason: Strats, Teles, Les Pauls > Bassman oder Showman Topteil oder AC30 Combo. Brian May/Queen: Custom SB mit 3 SC > Brian May treble booster > Dunlop Cry baby > Eventide H3K > Vox AC30 mit TB (no EQ or Cut). Eventide H3K für stereo flanger, 800 & 1600 ms DDL ohne repeats (Guitar shop 1994, GG.com) Brian Setzer/Stray Cats: Signature Gretsch Semi-hollow > TS9 > Roland 301 Echo Einheit oder Echolplex > Fender Tremolo > 63 Fender Bassman Topteil > 212 Boxen mit Celestion V30. Buckethead: Superstrat > Peavey Reknown > Boss ME50, Alesis Midiverb, Rocktron Intellifex, Rockman XP100 (in FX loop) > Harry Kolbe 412 Boxen (Guitar Shop May 1997) Chuck Berry: Gibson ES335 > Fender Bassman, Fender Twin oder Fender Super Reverb (GG.com) Chuck Schuldiner/Death: 1988 BC Rich Stealth mit Dimarzio XN2 > Marshall Valvestate mit BBE Einheit > Marshall 412 (Guitar School Sep 93) Claudio Sanchez/Coheed and Cambria: Gibson Explorer mit EMG-81/85 Pick-ups > Dunlop CryBaby Wah > Line 6 Tremolo > Bogner Uberschall und/oder Mesa Triple Rectifier >Mesa 412 Recto Cab. Clean Verstärker: Fender 65 Twin Reverb Verstärker. Cristiano Migliore/Lacuna Coil: ESP/LTD SC-607B Stephen Carpenter 7-strings mit standart EMG Pickups > Dunlop Dime Crybaby from Hell > Line 6 Hd 147 Topteile > Mesa Boogie Boxen. C Muncey/Jet: Gibson flying V (HB) > TS-9 > SD-1 > Boss Tremelo > 50 Marshall Topteil > Marshall 412 (March 2005 G1). Corey Beaulieu/Trivum: Jackson mit EMG HB > Dunlop Wah> MXR OD > MXR Smart Gate > Peavey 6505 > Marshall 412 mit Celestion 75w Lautsprechern (Guitar World Mar 2010). Dan Donegan/Disturbed: Les Paul Standard (HB) > E Ball Volume > Whammy Pedal > Boss PH-2 > Crybaby Wah > Mesa Triple Recto > Mesa 412 mit V30s (GG.com). Dave Grohl/Foo Fighters: Gibson SB (HB) > Boss TR-2 > Ernie Ball Volume > Boss DD-2 > MXR Phase 90 > Boss BF-2 > Mesa Road King > TC G Force (in FX loop) > Mesa 412 mit Celestion Vintage 30s (Jan 2006, Guitar One) David Gilmour/Pink Floyd: Strat mit EMGs, Tube driver, Rat Distortion, Boss CS-2, MXR comp, Boss HM-2, Boss GE7, univibe, T.C. 2290, Lexicon PCM 70, MXR rack DDL, Hiwatt Topteil > Marshall 412 & Doppola (gemischt mit u87 und SM57s) (Guitar Shop December 1996). Dave Keuning/Killers: Electro-Harmonix Big Muff Pi > Ibanez TS-9 Tube Screamer > Boss CE-1 chorus pedal > Ibanez Analog Delay (für verringerten Delay) > XR Phase 100 Pedale > Hiwatt Gilmour 100 Topteil > Hiwatt 4x12 Boxen Dave Murray/Iron Maiden: *Piece of Mind Tour (1983): 1957 Super Strat > Cry Baby Wah > MXR 10 band EQ > Boss FET Vorverstärker > MXR Distortion Plus > MXR Phase 90 > Yamaha Analog Delay > Marshall Mk II 50 head > > Marshall 4x12 mit Celestion Lautsprecher. *Guitar World February 07: Super Strat > JMP 1 > Marshall JFX > JCM 2K (Endstufe) > Marshall 4x12 mit 75w Lautsprechern. Dave Mustaine/Megadeth: ESP signature Solid bodies mit SD HBs > Rocktron Prophesy > Marshall 100/100 (EL34s) > Marshall 412 mit V30s (May 2005 G1) Dave Navarro/Jane’s Addition, Red Hot Chili Peppers: Ibanez or PRS > Cry Baby Wah > Boss Distortion DS-1 > Boss Phaser PH2 > Boss Octave OC2 > Boss Chorus CH1 > Boss Delay DD3 > Marshall JCM900 > Marshall 412. Dean DeLeo/Stone Temple Pilots: Gibson oder PRS > Dunlop Cry Baby Wah (Fassel Inducter) > Boss CE1 >> SPLIT 1) Sib! Overdrive > VOX AC30 2) Demeter Vorverstärker > Rocktron Intelliverb > VHT Endstufe > Marshall 412 Box mit Celestion Vintage 30s Achtung, beide Rigs sind durchgehend eingeschaltet. (August 2009 Guitar Edge) Derek Trucks: Custom Washburn > 1964 Fender Super Reverb (July 1998 Guitar Shop) “Dimebagâ€� Darrell Abbott/Pantera: Dean Gitarre (HM) > Digitech WH-1 Whammy Original > Dunlop 535Q Wah Pedal > Boss PS-3 > Boss DS-2 > Boss DD-3 > Furman PQ-3 Parametric EQ > MXR Flanger/Doubler > Randall Century 200 HD > Randall 4x12 Box mit Celestion vintage 30s (March 1999 Guitar Shop, GG.com, The Recording Guitarist by John Chappell) Duane Allman/Allman Brothers: 1959 Les Paul Standard > Marshall 50 watt Topteil Edward Van Halen *70s Rig: Superstrat mit Gibson PAF Humbucker > MXR Phase 90 > MXR Flanger > Echoplex > Unicox EC-80 echo (Nur divebomb of Eruption) > 1966 Marshall Superlead mit Variac > Marshall 412 > (2) SM 57 Mikrofonen (eines an der Abdeckkappe, eines außerhalb) (Guitar World May 1996) *90s Rig: Wolfgang SB (HB) > Boss SD-1 > Boss OC-2 > MXR Phase 90 > Cry baby Wah > 5150 Topteil > (FX loop H3K > (2) Roland SDE-3K > PCM-70 > Peavey 412 mit 75w Lautsprechern (Guitar Shop, Spring 1994) Edge/U2: *(In frühen Jahren) Explorer oder Strat > Big Muff > Boss GE-7 > Boss CS-2 > Memory Man > SPX 90 > Yamaha Rev 7 > 1964 Vox AC30 *(später dann) Verscheidene Gitarren > Digitech Whammy > Dunlop Wah Pedal > Lovetone Envelope Filter > Lovetone Phaser/Vibrato > Electro-Harmonix Big Muff > Ibanez TS-9 Tuber Screamer > Boss GE-7 EQ > Boss CS-2 Compressor > Boss FA-1 Preamp booster > Eventide Ultra Harmonizer > (2) Lexicon Processors > (4) TC Electronics 2290 Delay Einheiten, (2) AMS Delay Einheiten, (2) Korg SDD 3000 Delay Einheiten > 1964 Vox AC-30 Eric Clapton: Cream era: Gibson ES-335, Firebird, oder Les Paul / SG Standard > Vox 847 Wah > Dallas Arbiter Fuzz Face, Marshall Supa Fuzz, UniVox Super Fuzz, oder Vox Tone Bender > Marshall JTM-45 Head > Marshall 4x12 Box (Guitargeek.com, Guitar Extra, November 2007) Eric Johnson: Strat mit Dimarzio HS-2 single coil pickups die an A/B Boxen senden, um die 3 Rigs zu teilen: *Rig 1: Echoplex > Chandler Tube Driver > 1966-68 100w Marshall plexi Topteil > Marshall 412 Boxen *Rig 2: Dallas Arbiter fuzzface > MXR DDL und/oder Echoplex > 1966-68 100w Marshall plexi Topteil > Marshall 412 Boxen *Rig 3: Echoplex > TC Electronics Chorus >> (2) Fender Vibrolux Verstärker (Guitar Shop October 1996, September 1997, The Recording Guitarist by John Chappell) Greg Tribbett/Mudvayne: Gibson Les Paul Studio > BBE 482 Noise Reduction > Morley Wah SPLIT nach JC 120 & Line 6 DL4 > VHT Pitbull Ultra Lead > Mesa 412 Box (May 2002 G1) H Garza/Los Lonely Boys: Fender Strat (SC) > Vox Wah > Ibanez TS808 SPLIT: Marshall 2K (mit Fender reverb Einheit) > Tone Tubby 412, Fender Twin mit Jensen Lautsprechern (Holiday 2005 G1) Head/ Korn: Ibanez 7 String > DOD Metal Distortion > Boss Super Phaser > Boss Stereo Chorus > Mesa Triple recto > Marshall 412 mit V30s (Guitar World July 97 und GG.Com) In Flames (Björn Gelotte/ Jesper Strömblad): Gibson Les Paul Custom mit EMG 85 > Peavey 5150 Verstärker > Line 6 Effekten > 412 Box J Garvey/Hinder: Gibson Les Paul oder Explorer (HB mit drop C tuning) > Boss CE1 > Ibanez TS9 > TC Nova Delay > Mesa Dual Roadster Topteil > Mesa 412 mit Celestion vintage 30 Lautsprechern. Gibson J-185 Acoustic nach DI (Feb 2009 Guitar World). J Milligan/Anberlin: Les Paul > POD XTLive > Marshall JCM 2000 > Marshall 412 mit 75 watt Lautsprechern. Benutzt außerdem Fender Tele und Alvarez 12 string (April 2009 GW) J Valentine/Maroon 5: Fender SB > EB Volume > wah > Line 6 DL4 > MXR Phase 90 > Fulltone Deja Vibe > Z Vex SD Fuzz SPLITTER: Tonemaster 100, FTR 37, RSA 23, Two Rock Custom Reverb > 112 (V30) und 212 (V30 und Alnico Bulldog) (October 2005 G1) J.D. Conrise/ The Sword: Gibson Explorer > ElectroHarmonix Metal Muff > MXR Phase 90 > Orange OR80 Topteil > Orange 412 Box (Guitar World Holiday 2009 Jade Puget/A.F.I.: Les Paul Studio > Dunlop Rotovibe > Dunlop Dime CryBaby from Hell > Ibanez Tube Screamer pedals > TC Electronic G Major rack Einheit > Mesa Dual Recto or Marshall Plexi >Marshall 412 oder JC120 Jack White/White Stripes: Digitech Whammy IV > MXR Micro-Amp > Electro-Harmonix Big Muff Pi > Electro-Harmonix Polyphonic Octave Generator > Boss CS3 > 1970's Fender Twin Reverb Verstärker. James Hetfield/Metallica: ESP Gitarren mit EMG Pickups (10-46 string) Boss SE-50, BBE > Rocktron Juice Extractor > Aphex Parametric EQ > Hush Noise Reduction > Mesa Boogie Mk IIC+ Topteil > Marshall 412 mit Celestion Vintage 30s, JC-120 Combo (May 1996 Guitar World) James Honeyman-Scott/Pretenders: Gibson oder Fender Gitarre > Boss compressor > Boss Chorus > Boss Overdrive > Marshall 100 watt Topteil > 412 Box Jason Hook/ Five Finger Death Punch: Gibson Explorer mit EMG HB > Marshall JMP1 > GCX = TC G-Major, Line 6 Echo Pro, Line 6 Mod Pro > Marshall 9200 Endstufe > Marshall 412 mit V30 Lautsprechern (Guitar World April 2010) Jeff Beck (Guitar Shop Aufnahme): Strat oder Tele > (2) Fender “the Twinâ€�, Fender Princeton Reverb II. (Guitar World May 1996) Bühnen-Rig: Strat oder Tele > Rat distortion Pedal > Boss DD-2 > Late 60s Marshall 50w Topteil (Guitar World May 1996) Jerry Cantrell/Alice in Chains *Guitar Shop Spring 1994: G&L Rampage mit Duncan HB pickup & Kahler Tremolo > Dunlop Crybaby wah > Bogner Fish Vorverstärker > Rocktron Intelliverb > Mosvalve 500 Endstufe > Marshall 412 mit Celestion 30-watt Vintage und 25-watt Celestion Greenback Lautsprecher. Taylor G10 akustische Gitarre mit Fishman Vorverstärker > Trace Elliot TA100R Verstärker. *November 1992 Guitar (Dirt recording): G&L Rampage mit Duncan HB Pickup & Kahler Tremolo oder Gibson Les Paul aufgeteilt nach Bogner und Marshall, die in die andere Richtung gedreht sind. Jimi Hendrix: Fender Strat (SC) > Crybaby oder Vox Wah > Axis Fuzz > Arbiter Fuzz Face > Univibe (mit Pedal) > Octavia > Marshall Plexi 100w > Marshall 4x12 (Guitar shop 94, The Recording Guitarist by John Chappell) Jim Root (7)/Slipknot: Warlock Gitarre > Marshall JPM1 > Boss FX Einheit > Mesa 2:90 > Carvin 400w 412 Box (Guitargeek.com – 2001) Joan Jett & the Blackhearts: Gibson Melody Maker > Ibanez TS-9 > Mesa Boogie mark III 112 combo sendet an Vox 212 Box (J Jett Backline Rider - 2005) Joey Ramone/Ramones: Mosrite Gitarre > Marshall 1959 Superlead (ohne Master Volume) > Marshall 412 mit 25w Celestions (rockometer.com) Joe Satriani: Superstrat > Cry Baby wah > Boss DS-1 > Whammy Pedal > Fulltone Ultimate Octave > Boss CH-1 > Boss DD-2/3 > Chandler DDL (450-550 ms) > Chandler DDL (600-800ms) > Marshall 6100 (Anniversary) Topteil mit 6550 Elektronenröhre > Marshall 412 mit V30s. (Guitar Shop Summer 94, Nov 97, GG.com, The Recording Guitarist by John Chappell) Joe Walsh/James Gang, Eagles: Fender Tele oder Strat > Heil Talk Box > Vox oder Crybaby Wah > Echoplex > Fender Vibrolux, Twins, und Super Reverbs, Leslie Boxen. John 5/Rob Zombie: Fender Tele mit HB > Dunlop Wah > Boss CH1 > Boss SD1 > Boss NS2 > Marshall JCM900 > Marshall 412 mit 75w Celestion Lautsprechern (Guitar World Jan 2010). John Christ/Danzig: BC Rich SB (HB) > VHT Pitbull Classic Topteil, Rocktron Intellifex > VHT Chromeface Endstufe > Marshall 412 Boxen (Guitar Shop 1994) John Fogerty/Creedence Clearwater Revival, Solo: Gibson Les Paul Custom oder ES-175 > Fender Vibrolux silver face mit zwei 12" JBL , Fender Concert, oder Kustom Verstärker. John Frusciante/Red Hot Chili Peppers: *Rig 1: 50s or 60s Fender > Boss DS-2 > Big Muff Pi > Phase 90 > Ibanez Wah > CE-1 SPLIT nach Marshall Major 200w Topteil und Marshall Silver Anniversary Topteil > Marshall 412 Boxen. (GG.com) *Rig 2: 50s Gretsch Falcon > DS-1 > Fender showman Topteil > Marshall 412 (GG.com) John Jorgenson/Hellcasters: G& L ASAT (tele style) > Ibanez TS5 > TS 808 > Boss DC 2 > Boss DD2 (125 ms) > Boss RV-2 > Matchless SC-30 (Guitar shop 1995, The Recording Guitarist by John Chappell) John Scofield: Ibanez AS200 (halbhohl) > Digitech Whammy > Vox AC 30 (March 2009 Guitar Edge) John Petrucci/Dream Theater: *Guitar Shop - Summer 94: Custom Ibanez SB (HB) > Mesa Triaxis > DBX 166 > TC 2290 > PCM 70 > Mesa 2:90 > Mesa Recto Boxen *Guitar Edge – August 2007: Signature Music Man Gitarre (9-42) > Boss DS-1 > Boss TR-2 > MXR EVH Flanger > MXR EVH Phaser > Ernie Ball Volume > DBX 266 Kompressor > Eventide DSP700 > TC 2290 > TC M3000 Multi-effects > Mesa Mark IV (distortion) & Mesa Lone Star (Clean) > Mesa 412 Stiletto Box. Johnny Winter Früheres Rig: Fender Mustang > Fender Twin Späteres Rig: Gibson Firebird (HB, open D tuning für Slide) > CE-2 (rate = 10 pm, depth = 2 pm, immer an) > Musicman 410 mit Celestion Vintage 10 (Alle Klänge auf 0 außer Treble auf 10, kein reverb) (April 2005 G1) Jonny Greenwood/Radiohead: Fender Tele Plus > Marshall shred master > Boss RV-3 > Boss SD-1 > Lautstärke nach: * RIG 1: Fender Deluxe (SS) * RIG 2: Whammy Pedal > Trem (selbstgemacht) > DOD Envelope Filter > EH Small Stone > Space echo > Mutron Mutator > Vox AC-30. Jonny Lang: 1975 Fender Thinline > Ibanez 808 Tube Screamer > Hard-on Distortion Pedal > Vox Wah > Fender Vibro King (May 1997 Guitar Shop) Joshua Cain/Motion City Sountrack: Les Paul Jr mit P-90 > Z-Vex Super Duper > TC Vintage Dual Distortion > Morley echo/reverb > KJ Audio Topteil > Marshall 412 mit G-12 Lautsprechern (Guitar World June 2010) Kirk Hammett (Metallica): ESP Guitar (active HB) > Ernie Ball Wah Pedal > Marshall JMP-1 Vorverstäker, Mesa Triaxis Vorverstärker und Mesa Dual Rectifier Vorverstärker > Mesa Endstufe > Mesa 412 Boxen (The Recording Guitarist by John Chappell) Kurt Cobain/Nirvana: *Nevermind session: Fender Mustang, Jaguar oder Strat mit Dimarzio Humbuckern > Boss DS-1 > EH Small Clone Chor > Mesa Studio 22 gemischt mit Shure 57, U87, 414, oder 421. Benutzte außerdem Vox AC 30 für Clean und Rat Distortion Pedal. Lithium benutzte ein EH Big Muff > Fender bassman > U87 Mikrofon. *"In Utero" Live rig: Fender "Jag-stang" > Boss DS-2 > Sansamp (als distortion) > EH Poly Flange > EH Small Tone > Mesa Studio oder Quad Vorverstärker > Crest 4801 Endstufe > Marshall 4x12 Boxen (May 1997 Guitar Shop) Kim Thayill/Soundgarden: Guild SG mit HB > cry baby > DOD FX 10 Vorverstärker > CE-2 > Mesa Dual Recto Topteil > nach Mesa Boxen oder Fender Leslie (Guitar Shop 1994) Kenny Wayne Sheppard: Late 50s/ early 60s Strats (SC, 11-58): Dunlop CB wah > TS 808 (gemoddet) > TS9 (gemoddet) > Octavia > L6 DM4 > L6 DL4 > Analog Man Chor > SPLIT: Blackface Twin reissue (EVL Lautsprecher), Fuchs 100 OD supreme > Fuchs 410 (v30s), Marshall 1959 SLP reissue > Marshall 412 (V30s) (July 2005 G1) Kerry King/Slayer *Guitar Shop 1995: Jackson mit EMG HB > Bogner Shark Vorverstärker, Eventide H3K, Boss EQ, VHT Endstufen (Wet), Marshall JCM 800s (6550s) (Dry) > Marshall 4x12 mit 75w Celestions. *August 2005 G1: ESP Gitarren (EMG Pickups) > Dunlop Wah > Boss RGE-10 EQ > Yamaha SPX 900 > Eventide H3K > JCM800 mit 6550 > Marshall 412 mit Celestion Vintage 30s. Lenny Kravitz: Gibson SB (HB) > rack splitter > Boss OC-3 > Fat boost > MXR Dynacomp > MXR Phase 90 > L6 Echo Pro > L6 Mod pro > L6 Filter Pro > L6 POD pro SPLIT > (2) Fender Deluxe reverbs > 112 Greenback, (2) Marshall 50w Plexi Topteile > Marshall 412 mit 25 greenback, (2) Twin Reverbs > 212 80w G12s. (November 2005 G1) Malcolm Young/AC/DC: Gretsch halbhohl mit 12-56 Saiten > 1966 Marshall 100w Plexi > Marshall 412 mit 25w Greenbacks. (May 1996 Guitar World) Mark Morton/Lamb of God: Jackson Custom (HB) > Dunlop wah > MXR GT-OD > MXR EVH Phase 90 > DBX Kompressor > Mesa Mark IV > Mesa 412 (March 2009 Guitar Edge) Matt Bellamy/Muse: Manson custom Gitarre (HB) > Digitech WH-1 Whammy Reissue > MXR Phase 90 > Diezel VH4 > TC2990 Delay > Soldano 4x12 Box Matt DeVries/Chimaira: ESP (with EMG 81) > Peavey 5150II/6505 (Boss CE-20 in FX Loop) > Mesa 412 Box mit Celestion Vintage 30 (Guitar World Holiday 2009) Michael Amott/Carcass, Arch Enemy: - Dunlop Zakk Wylde wah-wah Pedal > Ibanez TS-808 Tube Screamer > MXR Phase 90 > Ibanez AD-9 Analog Delay > Roland SDE-3000 Rack Delay Unit > Peavey 5150 > Krank "Revolution" Boxen (mit Celestion Vintage 30's) Michael Schenker: Flying V (mit HBs) > Dunlop Wah (im Rack) > Boss DD3 > Boss CE-5 > JCM800 50w (Dist) SPLIT JCM 2k (Clean) > Marshall 412 mit 75w Celestions (June 2005 G1) Mike Campbell/Tom Petty: Cry Baby > Camel Toe overdrive > Boss EQ > Line 6 DL4 > Line 6 MM4 > Fender Reverb SPLIT TO Fender Blackface deluxe, Vox AC30, Fender Tweed Deluxe, Fender Princeton > Vox 412 Lautsprecherbox (Guitar Edge May/June 2009) Mike Izinger/Incubus: PRS halbhohl > H&K Rotosphere > (2) Boss PH-2 > DOD Gonlulator (ring modulation) > Boss RV-3 > MXR Phase 90 > DOD FX25 (envelope filter) > Boss CS-3 > DOD FX75 Flanger > Boss GE7 > OC-2 > DOD overdrive > Mesa Dual Trem-o-verbs (1 clean, 1 distorted) > mesa 212 or 412 Boxen mit V30s (Sep 2002 Guitar One, GG.com) M Padget/Bullet für My Valentine: ESP Flying Vs mit EMG 81/85 > Slash Dunlop Wah > TS9 > TC Electronics G-Force SPLIT Mesa Triple Rectifier (Dirty) > Mesa 300w 412 Box und JC120 (Clean). Mike Schleimbaum/Darkest Hour: Washburn N4 (HB) > Tubescreamer > Digitech Whammy > MXR Phase 90 > Dunlop Wah > Line 6 DL4 > 5150 III (FX loop – Alesis Quadraverb) > 5150 Boxen mit EVH Celestion G12 (Guitar World Anniversary 2010) Munkey/ Korn: Ibanez 7 String > Digitech Whammy Pedal > Univibe > EH Flanger > EH Big Muff > EH Small Stone Phase Shifter > Boss Rev/DDL > DOD FX25 Envelope Filter > Mesa Triple Recto > Marshall 4x12 mit V30 Lautsprechern (November 1998 Guitar Shop) Neal Schon/Journey: Les Paul > Crybaby Wah > Boss DS-1 > Ibanez TS9 > Boss CS-3 > Boss NS-2 SPLIT Hiwatt Custom 100 (FX Loop - Roland DDS) > Marshall 412 mit Greenbacks, Hot Rod Deville 410 (Teil des Journey 80s Rig und January 98 Guitar Shop). Noodles/Offspring: Ibanez Talman > Mesa Boogie Mark IV > Alesis Quadraverb (in FX Loop) > Mesa 4x12 Boxen (September 1997 Guitar Shop) Nuno Bettencourt/Extreme, solo: Extreme: Washburn signature series > Rat distortion > Marshall JMC 800 (Guitar Xtra Nov 2007) Solo: Washburn signature series > MXR Phase 90 >Boss OC2 > Demeter Tremlator > Marshall, H&K oder Fender Topteil mit Boss DD3 in FX loop > Marshall 412 Box (May 1997 Guitar Shop) N Cester/Jet: Gibson ES 335 (Semi hollow, HB) > Z-Vex Fuzz Factory > Hot Cake distortion > Hiwatt 50w Custom > Marshall 412 (March 2005 G1) Omar Rodrugiez-Lopez/ Mars Volta, At the Drive in: Fender and Gibsons > BOSS HR-2 harmonist > BOSS CE-3 > BOSS Phaser > Boss reverb > Orange AD140HTC Gitarrenvorverstärker> 4x12 Orange Boxen Otis Rush: custom strat > Mesa Mk III > Mesa 412 Box (Guitar Shop Winter 1994) Oli Herbert/All That Remains: Washburn, Gibson, Ibanez Gitarren > Peavey 5150 und 6105 Topteile > Mesa Boogie 412 Boxen (Feb 2009 Guitar Edge) Page Hamilton/Helmet: ESP SB (HB) Vox Wah > MXR Dist+ > Dyna-comp > Tech 21 double drive > Z Vex Fuzz Factory > ProCo Rat > PE COB > octave Pedal > MSC Microamp > MXR Bass octave > Whammy pedal > ADA FLanger > MXR Stereo chorus > DD6 > VHT Pitbull Head > VHT 412 mit Eminence 50w (September 2005 G1) Pete Townshend/Who (Who’s Next Album): 1957 Gretsch 2180 Gitarre > Edwards Lautstärkepedal > late 50s tweed Bandmaster. (Guitar World May 1996) Randy Rhoads/Osbourne, Ozzy: Les Paul > MXR Distortion plus > MXR EQ (heavy midrange emphasis)> MXR Chorus > MXR Flanger > Korg Echo Einheit > Cry Baby oder Vox wah > Marshall 1959 Super Lead Plexi Topteile > Marshall 4x12 Boxen mit Altec Lautsprechern. Shure 57s close-miked on cabinet, Neumann U87 20' away. Robby Krieger/Doors: Gibson SG > Maestro Fuzz-tone > Fender Twin Reverb oder Acoustic 260 Robert Cray: early 60s strats & Gibson 345, (2) Fender Super Reverbs Ron Thall/Guns & Roses: Vigier und Les Paul Gitarren mit Dimarzio Humbucker Pickups und Ernie Ball Strings> Line 6 Vetta (Feb 2009 Guitar Edge). Scott Ian/Anthrax: Jackson Gitarre mit EMG Humbuckern > TC Distortion > JCM 800 > Marshall Boxen. Slash: Les Paul (HB) > EMB Remote Wah > Marshall 25th Anniversary series Topteil > Marshall 412 mit Celestion Vintage 30s (Guitar Shop 1995, June 1996) Sonny Landreth: Strat (SC) > MXR Dynacomp >> geteilt nach 1954 Fender Deluxe und Demeter TGA-3 > Demeter Silent Speaker Chamber mit einem Celestion Vintage 30 und Shure SM-57 (The Recording Guitarist by John Chappell) Son Seals: Gibson ES-335 > mid 60s Fender Super reverb (Guitar Shop 95) Steve Jones/Sex Pistols: Les Paul > Fender “silverfaceâ€� Twin mit Gause Lautsprechern (May 1996 Guitar World) Steve Miller: Fender Strat > Fender Bassman (mit SM 57) http://www.guitarpla...ms=steve miller Stevie Ray Vaughan: Fender Strat (Rosewood fretboard) > Vox Wah > Diaz Square fuzz or TS808 > Tychobrahe Octavia > Boss Chorus > Geteilt nach: Leslie Lautsprecherbox, Fender Vibroverb (2x10), Fender Super Reverb (4x10), Fender Bassman Topteil mit 2x12 Box, Marshall Topteil (6550 Elektronenröhre) > Marshall 4x12 Box mit EVM Lautsprechern ( The Recording Guitarist by John Chappell) Steve Stevens/Billy Idol: Hamer SB (HB) > crybaby wah > Rat dist > MXR Phase 90 > Boss CS-2 > 1969 Marshall Topteil > Lexicon PCM 41 & 70, Yamaha XPS 90, Eventide 969 im looping System > Marshall 412 mit 25w Lautsprechern. (July 87 Guitar World) Steve Vai *Guitar Shop 1994: Ibanez SB (HB) > Boss SD-1 > Cry baby wah > Whammy Pedal > JCM 8/900 > Roland SDE 3K > Eventide H3K > Marshall 412 mit Celestion Vintage 30. *Guitar Shop 1995: Ibanez SB (HB) > Boss DS-2 > Cry baby wah > Whammy Pedal > Laney und Bogner Extacy > Roland SDE 3K > Eventide H3K & H4K > Marshall 412 mit Celestion Vintage 30s *December 2005 G1: Ibanez SB (HB) > Morley Volume > Digitech whammy > Boss DS1 > Ibanez TS9 > MXR Phase 90 & Phase 100 > Carvin Legacy HD (Loop mit Eventide Harmonizer® & TC G Force) > Carvin 412 mit Celestion Vintage 30s. Stone Gossard/ Pearl Jam: * Rig 1: Les Paul > TS-9 > mid 70s Twin reverb (EV 75w Lautsprechern) * Rig 2: Les Paul > TS-9 > Matchless HC30 Topteil > Marshall 412 mit 25w Lautsprechern * Rig 3: Les Paul > TS-9 > 1968 Marshall Plexi Super Bass > Marshall 412 mit 25w Lautsprechern (Guitar Shop 1994) Tom Delong/Blink 182: Superstrat SPLIT nach Marshall JCM 900 (clean) und Mesa Triple Recto (distortion) > Mesa 412 Box (GG.com) Tom Dumont/No Doubt: Hamer Explorer style Gitarre mit Humbuckern oder SC Pickups (10-45 gauge) > Crybaby wah > MXR Microamp (boost for solos) > Dunlop Tremolo > Univibe Split Fender Tone Master > 4x12 Tone Master Boc und Mesa Dual Recto > 4x12 Tonemaster Box. Acoustic Guitars: Guild D25, Takamine NP65C Nylon Saite. Tony Iommi/Black Sabbath: SG mit Humbuckern > Tychobrahe ParaPedal Wah > Ranger Master Treble booster > Laney 100Watt Supergroup Topteil > Laney 412 Box (Guitar World May 1996, Guitargeek.com) Tom Morello: RATM/Audioslave: Superstrat mit EMG Humbuckern> crybaby wah > Whammy Pedal > Boss DD3 > DOD EQ > Ibanez digital Flanger > Marshall JCM 2205 50w > Peavey 412 Box (November 97 Guitar Shop) Tom Petty: Tele oder Rickenbacker (SC)> Vox Wah > Red Llama OD > Ibanez TS-9 > Boss CE-2 > Boss RV-3 SPLIT TO: Fender Bassman und Vox AC 30 (GG.com) Tom Scholz/Boston: 1968 Gibson Deluxe Gold top Les Paul mit Dimarzio Super Humbucker Pickups > EQ > Cry baby wah > Maestro Echoplex > 100-watt Marshall Topteil > Marshall 412 (EMT Gold Plate reverb zum mixen). Trevor Rabin/Yes (90215 Era): Fender strat (HB) > Boss DS-1 > Boss Chorus > Ampeg VT 120 (Guitar Edge November 2009) Warren Hayes/Allman Brothers: Fender Strat mit Lace pickups, PRS (Humbuckern), Les Paul Standard mit Pearly Gates Pickups > Soldano SLO 100 (FX loop – Alesis Quadraverb) > 412 Box mit EV 16 ohm Lautsprechern. Verstärkereinstellungen: normal gain: 1 pm, Overdrive gain: 9:30, treble 2 pm, mid 11 pm, bass 2 pm, normal output: max, overdrive master: max, presence: fast Maximum. 425 MS ddl, hall reverb 1.8s auf 2.4 Sekunden bei ~ 50%. (Guitar Shop Spring 94) Wayne Lozinak/Hatebreed: Jackson mit EMG HB > Dunlop Wah > Boss SD1 > Boss DD3 > Boss NS2 > Marshall JCM2000 > Marshall 412 mit 75w Celestion Lautsprechern (Guitar World Feb 2010) Wes Borland/Limp Bizkit: Ibanez 7 string > noise Gate > MXR Bluebox > Mutron III > Morley Volume/wah > MXR Phase 90 > Boss reverb/delay > Fulltone Deja Vibe > DOD Buzz Box > Mesa Dual Recto > Mesa 4x12 Box (September 1998 Guitar Shop) Willie Adler/ Lamb of God: ESP Custom mit Seymour Duncan (HB) > DBX Kompressor > Mesa Mark IV > Mesa 412 (March 2009 Guitar Edge) Yngwie Malmsteen: Strat mit HM3 Pickups > BF-2 Flanger > Marshall JMP 50w MK II Topteilen > (2) KORG DDL (DDL und Chor) > Roland SDE 3K > Marshall 412 mit 25w Lautsprechern. (GG.com, Guitar Shop Winter 95) Zach Myers/Shinedown: PRS signature mit HB > whammy pedal > Dunlop Wah > Univibe > Boss DC-2 > Digitech Hyperphase > TS9 > CS-3 > DL4 > Micro POG aufgeteilt auf drei Topteile >>>Fender bassman (Clean) Diamond Spitfire (Dirty) Diezel Herbert (dirty) > Engl 212 Box (Guitar World Dec 2010) Zack Blair/Rise Against: Gibson mit HB > MXR Phase 90 > Marshall JCM900 AND Mesa Dual Recto > Mesa 412 mit Celestion V30s (Guitar Edge Nov 2010) Zakk Wylde/Ozzy Osbourne, Black Label Society: - Les Paul mit EMG HB > Dunlop Rotovibe > Crybaby > Boss SD-1 > Boss CH-1 > Marshall JCM 800 > Marshall 412 mit 75w Lautsprechern. (Guitar Shop 94, GG.com) Zoltan Bathory/5 Finger Death Punch: BC Rich Assassin (HB) > Diamond Nitrox HD > Digitech GSP1101 (FX loop) > Diamond 412 Box mit V30s (March 2009 GW)

Q: How do I use the Gearbox stand-alone program to record into ProTools? A: Both the Line 6 TonePort hardware (GX/UX1/UX2/KB37) and the ProTools hardware (MBox) will need to be connected to your CPU via USB. ProTools needs the MBox designated as the soundcard on the computer (input and output audio device for the computer). The Line 6 TonePort USB device will need the latest Monkey, drivers, firmware, and GearBox installed on the host computer. Plug the instrument into the Toneport ¼” input. Take the Toneport analog output into the Mbox ¼ line input. Set the MBox controls as you normally would for gain structure. You will now be able to use the Gearbox stand-alone program processing into your ProTools recording application. Q: How can I automate the Gearbox Plug-In in ProTools? A: It is possible to automate the Gearbox Plug-In in ProTools. The directions below will take you step by step through the automation process. Launch a new track in Protools: Track/New/Create. Arm your audio track for recording and record your audio. Once your audio is recorded launch the GearBox Plug-In and instantiate it on your audio track: Window/Mix/Insert Selector A/Plug-In/Other/Gearbox. Once the GearBox Plug-In is launched dial-in or call up the tone that you want. You'll notice at the top of the plug-in GUI there is a button marked "Auto". Clicking on the "Auto" button will open up an interface that lists all of the paramaters that can be automated by ProTools in the GearBox Plug-In. Choose the parameters you want to automate and click on the "Add" button in the middle of the interface. Once you've selected all of the parameters you want to automate, click OK. In your audio track change the Automation Mode Selector button from "Read" to "Write". DISARM YOUR AUDIO TRACK FOR RECORDING. Click the play button on your global transport controls in ProTools and WITH YOUR MOUSE, MANUALLY ADJUST THE PARAMETERS YOU PREVIOUSLY SELECTED FROM THE "AUTO" FEATURE IN THE PLUG-IN INTERFACE. When you play back your track you'll notice that your automation was recorded. The knobs in the GearBox Plug-In should be moving on their own. To verify further click the "Waveform" button in your audio track, scroll down to "(FX A) Gearbox" and click on the automated parameter or parameters. The automation settings should display over your recorded waveform in your audio track.*

Q: Where can I get a Floor Pod Presets Chart? FloorPOD Presets FloorPOD Plus Presets Q: What is the warranty on my Floor Pod product? A: The warranty on the Floor POD and Floorpod Plus units is twelve months from the date of purchase. Q: How can I download the manual? A: Manuals Q: What power supply do I need to use? A: The Line 6 PX-2 is the correct power supply for the Floor Pod and Floor Pod Plus. Q: What are the MIDI jacks on my FloorPod Plus unit for? A: The MIDI jacks on the Floorpod Plus are are used to connect to MIDI jacks to update the patches on your Floorpod Plus using the Vyzex editor. Q: Where can I download the editor for the Floor Pod Plus? A: You can download the Vyzex Floor POD plus editor directly from the Line 6 software downloads page:Line 6 Software Downloads Q: Is there a settings list for the presets used on the demonstrations? A:There is no documentation on the settings used for the Floor POD and Floor POD Plus demonstrations Q: How do I calibrate my Floor Pod/Plus Unit? Floor Pod Plus - Hold toe-switch on VOL/WAH and power unit. The display will read "PC" (Pedal calibration) and then "000". - With the pedal at toe-position, hit the "A" button. The display will show "100". - With the pedal at the Heel-position, hit the "B" button. The display will show "100" - Press footswitch C to read the numeric values. Press pedal-toe switch on and observe lights around effects encoder, which will reveal the pedal position. - Press and hold tap switch for 2 seconds to save calibration. Floor POD - Power off, Hold toe switch on pedal and power on. When "PC" appears press and hold DIST switch until a number flashes in the Display. - Move pedal from toe-down to heel-down position and back up to toe-down position clicking the Toe-switch. - Wait 5 seconds and unplug power. preset chart (rev a).pdf

Q: I plugged my CD/MP3 Player output to the input jack on my Line 6 amplifier and I am not getting any sound? A:Please confirm that the cable(s) and MP3/CD player are functional outside of working with your amplifier. Be aware that many Line 6 products need to have a 1/4" jack in the instrument input, or the audio send to the speaker will be disabled. A 1/4" to 3.5mm (1/8") adapter tends to work well in this application. Q: Will there be effects on what I plug into the CD/MP3 input? A: The CD/MP3 input routes directly to the speaker, meaning none of the controls affect the signal you feed it. Q: The volume from my CD/MP3 Player is much different than my amplifier preset? A: The volume output of the CD/MP3 Player is determined by the external audio device on most Line 6 amplifiers. Please use the control on the CD/MP3 Player to determine the output volume. Q: My external audio device (i.e. CD/MP3 player) has a different type of audio connected than the 3.5mm jack on my Line 6 unit. How can I get it to work? A: Your output need need to be routed down to a 3.5mm (1/8") jack to be input to the Line 6 unit. Please obtain the appropriate cable and/or adapters to route the audio correctly.

Q: How can I reduce hum/noise/feedback when playing? -Single coils pickups used with higher gain settings will often cause noise. Try combining two pickups via the pick-up selector or trying a different guitar to see if the situation is the same. Make sure all the input and output jacks are tight. Check the instrument with different pickup settings to make sure it is not a bad pickup connection. -Higher gain settings tend to be the cause of many noise and feedback issues, try to dial the gain back on your amp a bit. Remember that heavy-rock bands often triple track (or more) when recording to create a thicker sound. -Turn your volume knob off when you are not playing (even during stops in a song when possible). -Turn off other volume controls not being used (i.e. volume trim pots) -Use the highest quality cables you can afford, and the shortest distance you can live with. RF can create many noises that can be eliminated with well shielded cables. -Experiment with distance and position between your guitar and amplifier/recording rig. - Avoid florescent lighting when possible. - Make sure that your instrument/rig is plugged into the same power source as the rest of your gear/band/PA system (to avoid ground loops). - User a power conditioner/regulator to filter RF and keep the voltage constant. - Experiment with the noise gate feature on your Line 6 unit or use an external noise gate. Q: I hear a "popping" sound when I turn my amp on, is this normal? How do I reduce the popping sound I hear when I turn my amp on? A: The popping sound is normal as it is a ramp of up the switch mode power supply. You can lessen the effect by: i) not having the input plugged in (disengaging the preamp section). ii) having the master volume turned all the way down (lowering the power amp output).

Q: Where can I find the manual for my Line 6 controller? A: Instructions on how to use your FBV controller can be found in the back of your specific amplifier's user manual. See the link below. user manual . Q: Which Line 6 controller works with which device? A: Please see the chart for more information on which controller will function with each Line 6 device. FBV compatibility chart Q: How do I engage the Wah? A: To engage the wah, simply press toe down on the foot pedal until it clicks over and you see the WAH light turn on. It takes a fair amount of pressure to get it to click over (if you get no results, try putting your entire weight on the toe position when you are standing). Over time this function will get easier. Q: Is it possible to control MIDI devices using the Floorboard via my Line 6 unit? For example, when I change to a specific channel/bank on the Line 6 unit, is a corresponding MIDI Program Change message sent from the MIDI Out to my other MIDI device? A: Yes, the Line 6 unit will send MIDI program change messages via it's MIDI out port when controlled by the floorboard. Q: Where are the sounds stored on the FBV board? A: The presets are always stored in the Line 6 unit, the FBV series only changes/controls the Line 6 device. Data Cable FAQs Q: What type of cables are used with the Line 6 controllers? A: The Line 6 controllers use a standard CAT-5 cable with standard RJ-45 ends. These cables are very common in data connection and can be found in most local computer outlets. The FBV controllers ship with a black 25' cable included in the box. Do not use CAT6, as it is a different impedance than CAT5. Q: How long can the CAT-5 cable be before I have communication errors? A: We have tested with cable lengths up to 50' with no problems. Q: Can I use a "cross-over" CAT-5 cable with Line 6 gear? A: You CANNOT use a "crossover" CAT-5 cable, as it may send voltage to unintended locations of your FBV Controller and damage the unit. Q: I used a new data cable to connect my FBV series controller and I saw smoke? A: It sounds as if you may have used a network "cross-over" cable, which has a different wiring configuration (but the same RJ-45 connection) as a standard CAT-5 cable. If this is the case, voltage that was intended to power the the pedal were routed to the wrong place, resulting in damage to the pedal. This FBV series controller will need to repaired/replaced. Q: Can I use a CAT-5 data splitter from my Line 6 unit(s) to run multiple FBV controllers on stage (or run multiple Line 6 units from a single controller)? A: No, The FBV controller was designed to work on its own with a single amplifier. FBV Express F.A.Q.s Q: Why doesn't the tuner feature work on my FBV Express? A: The tuner feature on the FBV Express only works when used with amps or units that feature a built-in tuner. For example the Spider II HD75 has no built in tuner, therefore the tuner on the FBV Express is disabled. Q: Can I access more than one bank of presets with my FBV EXPRESS? A: No, the FBV Express will only access the A, B, C or D channels of whatever bank your unit is selected. For example, if your POD XT is sent to BANK 5, then you would be able to access and change between 5A, 5B, 5C, and 5D. FBV and Shortboard F.A.Q.s Q: What is the difference between the FBV and the FBX controllers? A: These two pedals are identical. The pedal was originally released as the "FBX" controller, but the name was changed soon after the release to the "FBV" controller. Q: Are there any control functions on the FBV controller that will not work with all Line 6 devices? A: The FBV controller was designed for use with the Line 6 Vetta. While the majority of the buttons (i.e. A B C D) will work correctly, some buttons (i.e. amp 1/2, stomp 2/ 3, tremolo, favorite channel) may or may not have a function on your Line 6 Spider, Flextone, PODxt, POD X3, etc. See the documentation and FAQs for more specification application information. Q: I cannot see the patch name when editing my XT unit from my FBV (shortboard) controller? A: You will be able to see the patch name in the view window of the XT device, but you will not see the changes in the FBV controller window. External Expresion Pedal FAQs Q: What type of pedal do I need to use for an optional expression pedal with my Line 6 controller? A: The Line 6 EX-1 is the recommended expression pedal for additional control, and is connected to your Line 6 controller with a standard mono guitar cable. It utilizes a 10k Ohm pot. Q: When using an EX-1 expression pedal with an FBV shortboard, can I re-assign the EX-1 to control something other than volume? A: The Ex-1 expression pedal cannot be reassigned to a function other than controlling volume. Q: What are the specs for the EX-1? Line 6 Expression Pedal (EX-1) F.A.Q.s FBV MKII Questions Q: What is the difference between the original FBV series and the MKII series Express and Shortboard controllers? A: The MKII series Express and Shortboards will control any device that could be controlled by the MKI controller. See the following information for more specific physical changes: The MK II units have a USB port that can be used to connect to a computer for updating purposes or to be used as a controller for many recording softwares. Instead of Comp on the MKI, it's Stomp on the MKII. Instead of FX Loop on the MKI, it's Function 1 on the MKII. On the MKII, Function 2 is present. There is no such button on the MKI pedals, so Function 2 does nothing on older Line 6 products. The MKII Shortboard's view screen is 4 5/8" x 1/2", as compared to the 6" x 3/4" high view screen found on the MKI Shortboard. See the dimensions chart for other physical changes on the MKII series: Line 6 Product Dimensions Q: I noticed there is no driver for the FBV Mk II controller for connecting by USB. How is the FBV Mk II series recognized by a computer? A: The FBV Mk II series uses a class compliant driver that is already installed on your machine. Please see the following link if your machine is not recognizing the FBV Mk II controller: USB Connectivity with Line 6 Devices Q: Can I use the Mk II series pedals as an interface to my "MIDI-only" amplifier (i.e. Axsys, Flextone, HD147, Vetta) to update via Line 6 Monkey or edit using Line 6 edit? A: No, the Mk II device will not act as an interface for your "MIDI-only" device. Q: Can I change the assignements of the FBV buttons on the my computer that control my Line 6 device? A: The control assignments of the FBV mk II can be changed to whatever assignments you need on your computer, but the re-assigned buttons will not be recognized when connecting to a Line 6 device (the Line 6 device will only see the function(s) that were pre-determined). Q: My FBV device is no longer functional after bringing my computer out of "sleep mode"? A: This issue can be seen with many class-compliant driver devices. You can either turn off the "sleep mode" or restart your computer for the FBV Mk II unit to be recognized by your computer after coming out of sleep mode. FBV 3 FAQ Q: Can I assign the LEDs to different colors if I'm using a Line 6 product other than Firehawk 1500? A: Assignable color LEDs are available for use with Firehawk 1500 only. LEDs are red when FBV 3 is used with other Line 6 products. Q: How do I calibrate the FBV 3 expression pedal? A: You don't, the FBV 3 auto calibrates the pedal. Q: Will the FBV 3 work with my old Line 6 amp? A: Please check out the compatibility list here, FBV compatibility chart Q: I noticed there is no driver for the FBV 3 controller for connecting by USB. How is the FBV Mk II series recognized by a computer? A: The FBV 3 uses a class compliant driver that is already installed on your machine. Q: What type of pedal do I need to use for an optional expression pedal with my Line 6 controller? A: The Line 6 EX-1 is the recommended expression pedal for additional control, and is connected to your Line 6 controller with a standard mono guitar cable. It utilizes a 10k Ohm pot. Calibration Procedures Q: How do I calibrate the FBV 3 expression pedal? A: You don't, the FBV 3 auto calibrates the pedal. Note: FBV Mk II controllers will need to have firmware 1.10.0 or later installed for the calibration procedure, using Line 6 Monkey 1.31 or later. See the following link for more information on updating your firmware using Line 6 Monkey: FBV Mk II (Express and Shortboard) software update FBV Shortboard Mk. II: (Note: Before performing the calibration routine, please disconnect any expansion expression pedals IE: EX-1) 1) Hold the D button while connecting the CAT-5 cable on the FBV. The display will read 'CALIBRATE PEDAL' until the D button is released, at which point it will read '1 PEDAL TOE'. 2) Press and hold the internal pedal toe-switch until the LCD changes to '2 PEDAL MIN'. This should occur instantly. 3) Set the heel to (minimum) position, press the D button. The LCD will change to '3 LCD MAX'. 4) Set the toe position (maximum) and press the D button. The LCD will change to 'CHECK VALUE 127'. 5) Move the pedal and verify that the value reaches 0 in the minimum position and 127 in the maximum position. 6) Press D to exit FBV Express Mk. II: 1) Hold D while powering on the FBV. Upon release, the pedal display will read '1'. 2) Press and hold the pedal toeswitch until the 7 segment display changes to '2'. This should occur instantly. 3) Set the heel to the heel (minimum) position, press the D button. The 7 segment display will change to '3â'. 4) Set the toe position (maximum) and press the D button. The tuner LEDs above the 7 segment display will light. 5) Move the pedal and verify that the tuner LEDs sequentially turn off as the pedal moves to the minimum position, and refills when moved to the maximum position. 6) Press D to exit FBV Express (Mk I): 1) Unplug the RJ45 cable from your FBV EXPRESS 2) Move the expression pedal all the way to the toe down position 3) Hold down the A and D switches 4) Plug in your RJ45 with the switches still depressed and hold this for 10 seconds (you will see the LED go blank) 5) Move the expression pedal to the heel position and then all the way forward to the toe. 6) Shift all of your weight to the toe position (you will want to stand up) until the WAH light switches on. 7) Wait 10 seconds and click back to VOL. Your FBV EXPRESS is now calibrated. FBV Shortboard Calibration (Mk I) 1. Attach the CAT-5 cable from your Line 6 device to your FBV shortboard. Power on the Line 6 device. The FBV Shortboard LEDs should cycle and the display should read "LINE 6" with the backlight lit up. 2. Once the pedal is fully powered and showing the the preset from the Line 6 device, move the ONBOARD expression pedal to the center position, roughly halfway between the toe (maximum) and heel (minimum) position. 3. Press STOMP + DELAY + REVERB and hold for three seconds to begin calibration of the ONBOARD pedal. 4. Move the ONBOARD pedal to its MAXIMUM position (pedal all the way toe down) and press down hard enough to click the pedal's toe switch. You want need to stand up and put your fullweight on the pedal to ensure the pedal switches over you will hear a slight "click" sound. The second number grouping (from the left) in the display should read "127" 5. Move the ONBOARD pedal to its MINIMUM position and press down (pedal all the way heel down). The second number grouping (from the left) in the display should read "0". **If you have an EXTERNAL pedal, hook it up to your FBV SHORTBOARD now and continue on to step six. If you do NOT have an external pedal, simply turn off your Line 6 device, you are done calibrating. 6. Move the EXTERNAL pedal to the center position, roughly halfway between the MAXIMUM and MINIMUM position. 7. Press BANK DOWN + STOMP + DELAY and hold for three seconds, to begin calibration of the EXTERNAL pedal. 8. Move the EXTERNAL pedal to its MAXIMUM position (pedal all the way toe down). 9. Move the EXTERNAL pedal to its MINIMUM position and press down (pedal all the way heel down). 10. Turn OFF your Line 6 device. You have just calibrated your EXTERNAL pedal. FBV/FBX Pedal 1. Connect your FBX to your amp. The LEDs should cycle and the LCD should display "LINE 6" with the backlight lit. 2. Move both pedals to their center positions roughly halfway between the MAX and MIN position. 3. Press AMP1 + AMP2 + PITCHSHIFT/TREMOLO and hold for three seconds. This will reset the calibration values for the pedals to their default values. 4. Press AMP1 + AMP2 + DELAY and hold for three seconds. This will now display the pedal information for the LEFT pedal. 5. Move the LEFT pedal to its MAX position (pedal all the way toe down) and press down hard enough to actuate the pedal's toe switch. NOTE: You will only see 000 in the first column (AAA) until you click the toe switch down. 6. Move the LEFT pedal to its MIN position and press down (pedal all the way heel down). 7. Check the range on the MAX (number displayed on right hand side of the display) and MIN (number displayed second from right hand side of display) values to see that they are within spec (Pedal Testing section above). 8. Move the pedal to its MIN position. With the pedal just sitting there, check the number displayed in the second column (BBB). It should read 000. Press the pedal down at the heel position. This number should still read 000. 9. Press AMP1 + AMP2 + MODULATION and hold for three seconds. This will now display the pedal information for the RIGHT pedal. 10. Repeat steps 7 through 9 only for the RIGHT pedal. FBV Series Troubleshooting procedures: Calibrate the pedal (using the methods previously discussed). Ensure that all washers/nuts/screws are seated correctly and tight. Use a different CAT-5 cable to be sure the cable is functioning correctly. Use a different Line 6 device to ensure the problem is not in the CAT-5 input of the Line 6 device. If the unit is out of warranty: Open the bottom of the unit by removing the screws, and tighten the hex nut that holds the pedal to the chassis (the torque is 19 psi.) If you have no success with the troubleshooting suggestions above, please take your controller to the nearest Authorized Service Center.