Please ensure Javascript is enabled for purposes of website accessibility Jump to content

Search the Community

Showing results for tags 'connect'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Community Support
    • Multi-Effects Units
    • Variax Instruments
    • Amplifiers
    • Computer Based Recording
    • Live Sound
    • Pedals/Controllers
    • Dream Rig - Line 6 Product Integration
  • General Discussion
    • Tone Discussion
    • Line 6 Lounge

Categories

  • General FAQ
    • Operating System-specific Information
  • Tutorial Videos
  • Effects/Controllers
    • HELIX/HX
    • DL4 MkII Stompbox Modeler
    • FBV Controllers (MKII / 3)
    • M5
  • Amplifiers
    • Powercab
    • Catalyst
    • Spider V
  • POD
    • POD Go
    • Pocket POD
    • POD Express
  • Guitars
    • JTV / Shuriken / Variax Standard / Workbench HD
  • Relay/XD-V Digital Wireless
  • Recording
    • Helix Native
    • Metallurgy
    • Echo Farm/Amp Farm
    • POD Farm 1/2.0/2.5
    • Computer Audio Set Up and Troubleshooting
  • Legacy Products
    • POD
    • Amps
    • 1st Gen Variax Guitars / Bass / Workbench
    • Effects and Controllers
    • AMPLIFi Series
    • Live Sound
    • Digital Wireless
    • Mobile Products
    • POD Studio / Tone Port / GuitarPort
    • Software
    • Dream Rig

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Location


Interests


Registered Products

  1. Recently, I upgraded to a L6 Helix, two M-Audio speaker monitors, and the Clarett+ 4pre audio interface. My issue is how to connect what I have to get the most out of it. This setup isn't for gigs, it's for home recording. 1.-- I have a spdif cable connected from the output of the helix to the "optical in" of the clarett+. It's a "cinnamon" toslink optical cable. I have two more "digital" livewire spdif cables. I see there is an extra spdif "in" and "out" on the back of the Clarett audio interface, besides the optical in. On the Helix, the spdif output is connected to the clarett optical in, but the input is available. How many spdif cables should I connect? How should they be connected? Also, I have xlr to 1/4 cables--the music store said I would still need these even with Spdif input and output. Do I need to use two xlr - 1/4 cables in addition to spdif (Helix xlr outputs to Clarett audio interface 1/4 line inputs)? Should I not use both spdif and xlr together? 2.-- Both the Clarett+ audio interface and the Helix use usb interfaces to connect to a computer. Clarett uses a mini usb, and Helix uses a more traditional (looking) usb. I was told to either use the Helix usb or both, and they leaned toward both being preferable. Which is the best configuration? 3.-- I feel novice as hell asking this, but should I plug my instrument (guitar, in this case) into the Clarett AI or the Helix? If I want distortion, do I have to plug it into the Helix? Appreciate the help ~Ven
  2. Hello everyone, I want to connect my helix effects to the ipad pro. I tried to do it with a USB hub and an adapter but it didn’t work. I want to record my voice with a mic plugged into the helix effects and want to to connect it with loopy pro. (i do loopstation beatbox) I would appreciate any help.
  3. Although the Firehawk 1500 is still available for purchase, it is no longer being developed, meaning we will not release any new firmware or software for it. The Firehawk Remote app is free to download. When installing Firehawk Remote it warns that it was developed for an older version of Android and may not work correctly.
  4. If you've installed a Line 6 driver and the device will not subsequently connect, it is possible that the driver is disabled by the system. How to check if the software is disabled by the system: • Click on the Apple symbol in top-left corner of the screen and go to "About this Mac -> Overview ->System Information -> Disabled Software”. • If there is disabled software, it will be presented with a 10-digit software ID and a file descriptor, similar to "VCN535JA6Y - com.line6.driver.xtaudio" • Take a screen shot or write down the ID (in this example it’s VCN535JA6Y – yours might be different). How to enable software that is disabled by the system: • Uninstall the drivers: https://line6.com/support/page/kb/recording/computer-audio-set-up-and-troubleshooting/how-to-uninstall-line-6-drivers-from-mac-osx-r85/ • Reboot to recovery, holding down Command-R while restarting. • From Menu -> Utilities, open Terminal and type the following (replacing the system ID with yours): “spctl kext-consent disable” “spctl kext-consent add VCN535JA6Y" (replace the VCN535JA6Y with yours if different) “spctl kext-consent enable" • Reinstall the driver. • Open System Preferences -> Line6 Audio-Midi devices and plug the device into the Mac. The device should appear in a few seconds.
  5. Hi, I was wondering if there are vdi cables available to purchase in Europe? I am searching for a better quality that the one from line6 offers. Some previous posts discuss about such alternatives, but they seems to be only available in the US. Thanks for any advice you may have!
  6. Hey guys! I am looking to buy a Line 6 Spyder amp, but do not know what footswitch to buy along with it. Could someone send me a link for the correct footswitch for the 60 watt one?
  7. Hello, all. Some Spider V customers have expressed that they were expecting a Mac/PC editor because the amp includes a USB port, and that the manual’s wording on item (17) in the Rear Panel Connections section adds to the confusion: MAC/PC/ANDROID USB B Port – Connect a Mac/PC or Android device (with OTG adapter) to edit tones, update, playback and record audio. Future releases of the manual will revise this wording to read: MAC/PC/ANDROID USB B Port – Connect a Mac/PC (update; playback/record audio) or Android device with OTG adapter (edit tones; update; playback/record audio). As it stands, there is no Mac/PC editor, but we are aware of the request for one. At this time, we cannot divulge if or when one will be released. We apologize for any misunderstandings. As always, you are encouraged to voice your opinion at line6.ideascale.com, where ideas are voted on and consistently reviewed by our Product Managers.
  8. I would like to connect my Firehawk to my Mac and edit like i would on the iPhone.
  9. Hi there, I bought back in 2013 an UX2 Audio Interface, and until then, everything was working perfectly. Today I plugged the USB cable into my computer and these two red dots went on and off indefinitely... I tried other USB ports on my computer, desinstalling/reinstalling drivers, monkey, license manager, etc...Nothing does. I get this error code with LINE 6 MONKEY : "There was an error communicating with your device. If it is a USB device, try disconnecting then reconnecting the USB cable. Error: (Code 80007103) Failed read from firmware." Of course, disconnecting and reconnecting the USB cable doesn't solve the problem... If anyone can help me out with this issue, I will be soooo grateful Here are my specs : Windows 8.1 LINE 6 POD UX2 Studio audio interface Intel Core i5-4440 CPU @ 3.10GHz 8.00 Go RAM x64 bits system (please, excuse my english spelling) Thank you in advance :)
  10. Hi all, I'm currently trying to build a rig with both my trusty POD HD Pro X and my new EVH 5150-III. Currently I'm using the POD direct to FOH and patch changes are taken care off by Cubase through the MIDI connections. As the 50W 5150 is also MIDI compatible I figured to design a rig with the POD to FOH and the 5150 for stage sound. Now I was wondering whether it's OK or not to connect the "dry out" on the back of the POD to the regular guitar input of the 5150? I know a little bit about impedances and line volumes, but not enough to judge whether solution would damage the tube amp. Who can help me? :) Thanks in advance!
  11. I'm just starting guitar, so sorry if I sound dumb about this, but currently I have a Line 6 Spider IV 15 and I would really like to know how, or if I can connect it to my PC to use Monkey and the various other Line 6 softwares, thanks!
  12. We have seen a variety of behaviors where the app is indicating a good connection to the hardware, but it is not actually communicating with the hardware. Music will still stream from the device, but the app will not connect to the hardware. This can happen following a firmware update over Bluetooth or during any app connection. In order to avoid or resolve this, we suggest the following: Android For AMPLIFi 75/150/TT, first try a factory reset on the AMPLIFi on to clear out any of it's stored Bluetooth settings. To perform a factory reset, press and hold the master volume knob and the 'tone' button as you power on the unit. turn the amp off and press and hold both the 'Tone' and Master Volume down as you power on the amp. Keep holding them both down until you see the LED's around the Master Volume light up. For AMPLIFi FX100, turn the pedal off and press and hold both the 'Tap' and Master Volume down as you power on the pedal. Keep holding them both down until you see the display light up with '01'. Next, on your mobile device, make sure that the AMPLIFi Remote app is fully closed and not running in the background. Within your mobile device Bluetooth settings you will need to delete any entries for AMPLIFi if possible. Press and hold the Bluetooth button on the AMPLIFi for 2 seconds until it begins to flash. It should then shortly appear within your mobile device Bluetooth settings, tap on it to re-pair. Try again to launch AMPLIFi Remote app, tap the menu button located in the upper left of the app and look to see if it shows that your AMPLIFi is 'connected' or not. iOS For AMPLIFi 75/150/TT, first try a factory reset on the AMPLIFi on to clear out any of its stored Bluetooth settings. To perform a factory reset, press and hold the master volume knob and the 'tone' button as you power on the unit. Turn the amp off and press and hold both the 'Tone' and Master Volume down as you power on the amp. Keep holding them both down until you see the LEDs around the Master Volume light up. For AMPLIFi FX100, turn the pedal off and press and hold both the 'Tap' and Master Volume down as you power on the pedal. Keep holding them both down until you see the display light up with '01'. Next, on your iOS device, make sure that the AMPLIFi Remote app is fully closed by double tapping on the home button and swiping up across the AMPLIFi Remote app. Than within your iOS device Bluetooth settings you will need to 'forget' any entries for AMPLIFi, by tapping the 'i' to the right of any AMPLIFi entry and than tapping 'Forget this device'. Than press and hold the Bluetooth button on the AMPLIFi for 2 seconds until it begins to flash. It should than shortly appear within your iOS device Bluetooth settings, tap on it to re-pair. Than try again to launch AMPLIFi Remote app, tap the menu button located in the upper left of the app and look to see if it shows that your AMPLIFi is 'connected' or not. If your AMPLIFi is detected by the AMPLIFi Remote app, the next thing to do is to apply the available firmware update using the instructions found at the link below: http://line6.com/sup...ifirmwareupdate
  13. Hello fellow audio engineering junkies!! I just recently downloaded Line6's POD HD500X software along with a patch that has opened right to 'Setlist 1'. I do not have an external Line6 device, however, I do have an Akai Professional MPK25 USB/Midi Performance Keyboard and just recently bought my Tascam US 2x2 Audio Interface to record with and I was having Issues with setting up my POD HD500X with my MPK25 midi keyboard. Is there a way to arm devices through Line6 or arm the pod through any other programs like my Mixcraft 6 recording software? I have a midi patch set up on a setlist, yet It Is not registering through my midi. If anybody has any suggestions on how to run and arm Line6 through various devices then I would love to know ASAP. If there are any drivers that would make this possible, please feel free to link It In your reply. I would like to start creating and downloading patches to use for my devices, but I need It to come through on them first!! Here's Hoping, Brendan
  14. Hi there, I am a solo musician based in Spain and I have a couple of question. I have a few g30 systems for my show as It was a similar price to buy the whole system as it was to buy the transmitters separate. I want to connect the v75 mic with the g30 receiver. I plan on going from the g30 receiver, which is placed inside a large pedalboard, to a vocal pedal. It says on this site that the v75 is compatible with the g30, but are there any flaws I will run into if I use a g30 receiver instead of the proper kit? will I need anything else to make it work properly? and also what benefits will I get if I use the normal xd-v75 system instead of the g30 receiver? Thanks for your help!
  15. Hey Guys First my gear : Line6 POD xt Pro, Laney Ironheart Irt 60 I want to connect my Podxt with my Amp. So how do i do that ? The POD should be used as a effect processor in Distortion Channel of the Amp But as a clean sound i want to use my POD settings and only use the amp as an poweramp for the xt. So anyone out there who knows what i have to do ?
  16. My computer does not pick up my pod HD 500 I installed the driver with line 6 monkey for the pod HD 500 and the installation processes said it was successful, but when I go back into line 6 monkey the option to update the driver is still there. When I say connect to device in line 6 monkey it doesn't want to connect and in Pod HD EDIT it does not detect the device. What am I doing wrong ?
  17. If you are experiencing problems in trying to log into your account on the Line 6 website and/or support forums, here are a few tips to try to help you get logged in: Clear the cookies, temporary internet files, and cache within your internet browser. This can typically be done within the Preferences or Options of the internet browser you are using. ***NOTE: Clearing these items may result in losing your browsing history, saved passwords, and other offline files that have been cached for navigating websites. [*]Try a different internet browser. There are several internet browsers that are available for free to browse the internet with such as: Internet Explorer, Mozilla Firefox, Google Chrome, Firefox, Safari, Opera, etc. [*]Disable any anti-virus, pop-up blockers, anti-spyware, or download accelerators. [*]If none of the tips above help, please contact your internet service provider to check for any problems with your internet connection.
  18. Français. Deutsch. What instruments and pickups can I plug into my Relay transmitter? Relay digital wireless systems basically just replace your instrument cable so basically you can plug anything into the transmitter that you could have plugged into your amp (as long as you don't exceed an input level of 6V p-p at the input). Examples: Instrument with piezo pickup - If you are currently happy with the sound you get from plugging from your instrument into your amp, then your rig will work just fine substituting Relay for your cable. The input of the Relay transmitter has a very high input impedance (1.3 Mohm) so as not to load down your instrument. This is equal to or even higher than most preamps specifically intended for piezo pickups. Stereo pickups with Y-Cord - Could also be standard pickups combined with a bridge saddle pickup. Again, if you are happy with the sound you get using this configuration then Relay will not get in the way of your sound. Or you could run each pickup to it's own individual Relay system which could then be split into stereo. Active instruments w/ preamps - If your instrument has an active preamp and is powered with a single 9v battery you will have no problems using Relay. If you have a double 9v preamp it is theoritically possible to clip the input of the transmitter but unlikely in the real world. Should this actually happen you can remedy it by backing off a bit on the master volume control, adding a pad to the cable or removing one of the batteries. The extra headroom offered by these systems is only a benefit if it fits in with the system gain structure (unless you are using it to purposly clip the input of your amp). Remember, unused headroom is wasted. Where should I plug Relay into my chain? Relay replaces the cable from your instrument to wherever the other end of that cable was plugged into. Plug your instrument into the transmitter and plug the output from the receiver into wherever that cable was before. Generally speaking, you are un-tethering yourself from the first piece in your chain. You don't have to worry about gain or level matching as Relay is a "unity" device. That means you get the same level (voltage) at the output jack of the receiver as you are getting from the output of your instrument. Nothing changes ... Relay's output level is neither louder nor softer than the original. The output from the "tuner" out is exactly the same as the main output in level and impedance. Only difference is the pressing the "mute" button on a G50/90 transmitter shuts off the main out but leaves the tuner output active. The XLR and 1/4" outputs on the G90 are also identical and are provided to give the user more versitility in connecting to other gear. What IS different? Depending on how you've set the cable modeling, you could be sending a lot more "highs" into your system than ever before. This could result in more apparent noise or hiss. It would be the same as if you had connected your instrument into your system with a 1-foot cable (which is pretty difficult to do unless you are a contortionist guitarist!). Adjusting to the proper cable model should remedy this situation. On the other hand, if you are using an acoustic guitar leaving the model off will sound like the freshest set of strings you've ever played. Relay: Digital Wireless: Was schließe ich an und wie? Welche Instrumente und Pickups kann ich an den Relay Transmitter anschließen? Relay Digital Wireless ersetzt einfach nur das Instrumentkabel, Sie können also fast alles in Ihren Transmitter stecken, was Sie auch in Ihren Verstärker gestöpselt hätten. (Solange Sie die Eingangsspannung von 6V pp nicht überschreiten.) Beispiele: Instrumente mit Piezo Pickup: Wenn Sie zur Zeit schon froh sind mit dem Soun den Sie bekommen, wenn Sie Ihr Instrument normal in den Verstärker stecken, dann wird das auch mit Relay als Kabelersatz genau so gut funktionieren. Der Eingang des Relay Transmitters hat eine extrem hohe Impedanz (1,3 Mohm), damit Ihr Instrument nicht belastet wird. Diese Impedanz ist gleich oder höher der meisten Vorverstärker speziell für Piezo Pickups. Stereo Pickups mit Y-Kabel: (oder standart Pickups kombiniert mit "bridge saddle" Pickup). Wenn Sie zur Zeit schon froh sind mit dem Soun den Sie bekommen, wenn Sie Ihr Instrument normal in den Verstärker stecken, dann wird das auch mit Relay als Kabelersatz genau so gut funktionieren. Sie könnten aber auch die einzelnen Pickups separat an verschiedene Relay Systeme anschließen um das Stereosignal aufzuspalten. Aktive Instrumente mit Vorverstärkern: Wenn Ihr Instrument einen aktiven Vorverstärker hat und durch eine einzelne 9V Batterie angetrieben wird, werden Sie keinerlei Probleme mit Relay haben. Wen nSie aber einen Vorverstärker mit doppelter 9V Batterie haben, ist es theoretisch möglich den Eingang des Transmitters zu übersteuern. Sollte dies passieren können Sie das Problem lösen indem Sie das Master Volume ein wenig herunterdrehen, dem Ausgang ein Padding geben oder eine der Batterien entfernen. Die zusätzliche Freiheit bei hohen Frequenzen bei solchen Systemen ist nur dann von Vorteil, wenn es mit dem Gain des Sytems zusammenpasst. (Außer natürlich, Sie verwenden es um absichtlich das Singal zu übersteuern.) Denken Sie daran, dass nicht benutze Freiheit bei hohen Frequenzen verschwendet ist. Wo soll ich mein Relay in die Kette schalten? Relay ersetzt einfach nur das Kabel vom Instrument zum Gerät, welches Sie mit dem Instrument verbinden wollen. Stecken Sie das Instrument in den Transmitter und dann den Ausgang des Empfängers worin auch immer das Instrument vorher steckte. Sie müssen sich nicht mehr um Gain- oder Levelabstimmung kümmern, da Relay ein "Unity" Gerät ist. Das bedeutet, dass Sie immer die gleiche Spannung im Ausgang des Empfängers haben, wie Sie aus dem Ausgang des Instrumentes bekommen. Nicht ändert... Der Ausgangspegel ist nicht höher odre tiefer als das Original. Der Ausgang des "Tuners" hat denselben Ausgangspegel und –impedanz, wie der Main-Ausgang. Der einzige Unterschied ist, dass durch drücken des "Mute" Knopfes auf dem G50/90 Transmitter nur die Main-Ausgänge und nicht der Tunerausgang abgeschaltet wird. Die XLR und 6.35mm Ausgänge des G90 sind identisch und sind vorhanden um dem Benutzer mehr Flexibilität für die Verbindung seiner Ausrüstung zu verleihen. Was ist anders? Jenachdem, wie Sie das Kabel-Modeling eingestellt haben kann es sein, dass Sie weit aus mehr "Höhen" in Ihr System senden, als vorher. Dies könnte zu deutlicherem Rauschen und Zischen führen. Das wäre dann dasselbe, als wenn Sie Ihr Instrument mit einem 30cm Kabel an das System angeschlossen hätten. (Was eventuell schwer zu machen ist.) Das Anpassen auf das korrekte Kabelmodell sollte dieses Problem lösen. Andererseits, wenn Sie eine akustische Gitarre benutzen können Sie das Modell abschalten und Wird das ganze sich anhören, wie der frischeste Satz Saiten, den Sie je gespielt haben. Relay: Signal sans fil digital: Qu'est-ce que je branche et comment? Quels instruments et micros est-ce que je peux brancher dans le transmetteur Relay? Les systèmes numériques sans fil Relay simplement remplacent les câbles instruments, donc vous pouvez brancher tous les instruments que vous pouvez brancher dans l'ampli. (Tant que vous ne dépassez pas un niveau d'entrée de 6V pp à l'entrée). Exemples: Instruments avec micro piezo: Si vous êtes actuellement satisfait du son que vous obtenez de brancher votre instrument à votre ampli, votre rig fonctionnera très bien avec Relay comme remplacement pour le câble. L'entrée du transmetteur Relay a une impédance très haute 1,3 (MOhm) pour ne pas surcharger votre instrument. C'est égal ou même supérieur à la plupart des préamplis spécifiquement destinés aux micros piezo. Micros stéréo avec câble Y: (ou micros standard combiné avec un micro bridge saddle). Vous êtes actuellement satisfait du son que vous obtenez de brancher votre instrument à votre ampli, votre rig fonctionnera très bien avec Relay comme remplacement pour le câble. Ou, vous pouvez connecter chanque micro avec un système Relay individuel pour le diviser en stéréo. Instruments actives avec préamplis: Si votre instrument a un préampli actif et est allumé avec une seule batterie 9V, vous n'aurez aucun problème avec Relay. Si vous avez un préampli double 9V, c'est théoriquement possible de brancher l'entrée du transmetteur mais c'est peu probable en réalité. Si cet événement se produit, vous pouvez reculer un peu sur le Master Volume, ajouter un pad sur le câble ou enlever une des deux batteries. La marge supplémentaire offerte par ces systèmes est seulement un avantage si elle s'inscrit dans la structure de gain du système (sauf si vous l'utilisez pour couper intentionnellement l'entrée de votre ampli). Rappelez-vous, marge non utilisée est perdue. Où est-ce que je dois brancher Relay dans la chaine? Relay remplace le câble de votre instrument à n'importe quel appareil vous voulez connecter votre instrument. Branchez votre instrument dans le transmetteur et la sortie du récepteur dans n'importe où ce câble était avant. Vous n'avez pas à vous soucier de gain ou de niveau correspondant parce que Relay est un appareil d '«unité». Ca veut dire que vous recevez le même niveau de tension au jack de sortie que vous recevez de la sortie de l'instrument. Rien ne change… Le niveau de sortie de relais n'est ni plus fort ni plus douce que l'original. La sortie du "Tuner" est exactement le même que la sortie Main (principale) en niveau et impédance. La seule différence est que pousser le bouton "Mute" sur un G50/G90 éteints la sortie Main mais laisse la sortie du tuner actif. Les orties XLR et 6.35mm sur le G90 sont identiques et sont fournis pour donner plus versatilité à l'utilisateur pour se connecter à autres appareils. Quelle est la différence? Selon la façon dont vous avez configuré la modélisation de câbles, vous pourriez envoyer beaucoup plus d'«hauts» dans votre système que jamais auparavant. Cela pourrait entraîner du bruit ou sifflement plus apparente. Ce serait le même que si vous aviez connecté votre appareil dans votre système avec un câble de 30cm. (ce qui est plutôt difficile à faire) Ajustement au modèle de câble approprié doit remédier à cette situation. D'autre part, si vous utilisez une guitare acoustique laissant le modèle off retentit comme l'ensemble le plus nouveau de cordes que vous n'avez jamais joué.
  19. Deutsch Francais Introduction This is a primer for using audio cables, how they work, and what the common cable types are. Below are a couple of books that are excellent reference materials that expand on the subject: Wire, Cable, and Fiber Optics for Video & Audio Engineers by Stephen H. Lampen (Aug 1, 1997) http://www.amazon.com/Cable-Fiber-Optics-Video-Engineers/dp/0070381348/ref=lp_B001HO3HHQ_1_2?ie=UTF8&qid=1335303440&sr=1-2 Audio/Video Cable Installer's Pocket Guide (Pocket Reference) by Stephen H. Lampen (Jan 15, 2002) http://www.amazon.com/Audio-Video-Installers-Pocket-Reference/dp/0071386211/ref=sr_1_fkmr1_2?s=books&ie=UTF8&qid=1335303294&sr=1-2-fkmr1 How an Audio Cable Works Audio cables work by sending electrical signals from one place to another. This is very similar to the way that electrical current flows from a power outlet in your house. However audio cables use much smaller voltages than a common 110 volt plug. Electricity 101 In order for electricity to flow between two points you need two things: a hot or positive wire and a neutral or negative wire. This completes a circuit and allows the electrical signal from your instrument to your amp, mixing console or computer interface. All standard audio cables use this basic electrical principle no matter what connector is attached to the end. This is what is happening when you plug your guitar into your amp with a "¼" guitar cable or when you connect your DVD player to your TV with an RCA plug, they both work exactly the same way. Balanced and Unbalanced Audio Cables I have noticed online that there seems to be a lot of confusion and long explanations about the difference between balanced and unbalanced audio cables. All most guitarists and recording enthusiasts need to know is the basic electrical difference between the two and what that means for them. I’m going to try to explain the difference in plain English as best I can. Unbalanced cables work exactly as I just described. In a guitar cable for instance there is positive wire or tip which connects to the tip of the connector at the end of the cable. And a neutral sleeve that wraps around the wire connected to the tip. The neutral or sleeve serves two purposes: To provide a neutral conductor so that electricity can flow and to shield the positive middle wire from outside interference. -Low impedance audio, or mic level would be 48-52 Ohms (3-pin XLR connectors, balanced lines). -Higher (but not high) impedance audio for mixers and other distributive audio equipment instrument level is around 1,000 [between 680 to 1,800] Ohms (1/4" phone connectors, TS-unbalanced and TRS-balance lines). -High impedance audio Mixers, other circuit applications, distribution amps and other distributive audio line level require 1,000 to 10,000 Ohms (RCA connectors, unbalanced lines). Q: So my guitar cables and pedals are unbalanced? A: YES, nearly all guitar equipment is. Q: Is that bad? A: Absolutely NOT. Unbalanced cables can be prone to outside electrical interference over long distances. Basically the longer the cable, the less effective the sleeve is going to be at shielding the cable from outside electrical interference. Fortunately most guitar cables and patch cables are relatively short so this is usually not an issue for most musicians. A good rule of thumb for any unbalanced cable is if it's over 10ft long and you are using it in a room or on a stage with a lot of other electrical equipment you could hear unwanted hum, buzz, or noise. Q: What does this mean for me? A.(1) Nobody likes to be tied to their amp but try to keep guitar and other unbalanced cables around 10ft or shorter for the least amount of noise and strongest signal. (15ft is usually ok, 25ft is pushing it.) A.(2) In recording situations it's ok to use unbalanced cables in most cases but if you want crystal clear audio try to keep them under 10ft. Also, watch out for unbalanced connections on the back of rack gear. Having an unbalanced connection near that much other gear could cause noise problems. Balanced Cables Balanced cables still rely on a hot conductor and a neutral conductor to carry electrical signals but they add another element to the equation: a ground. A ground is called a ground because well it literally goes into the ground! Straight through the cable, through your balanced audio gear, through the wall to the fuse box and down a wire or pipe into the Earth. In balanced audio cables the sleeve is used as the ground. The ground or sleeve does NOT carry a signal and is NOT heard in the audio. It's simply there to protect from unwanted noise while the hot and neutral carry the signal. Now for the magic: the hot and neutral both carry the same signal, noise and all. Hot is flowing in a positive direction, neutral in a negative direction. Balanced audio equipment simply outputs the voltage difference between the two wires. Since the noise is represented equally on both hot and neutral it is inverted and cancelled out. I know this might sound complicated but what it means for you is that you can have hundreds of feet of balanced cable and still have noise free audio. Q. What types of things use balanced audio cables? A. Microphones and recording equipment is, or should be, balanced in most cases. Q. If I use a balanced cable with my guitar can I balance the signal? A. No. The equipment you are using must have balanced connections as well. Q. Why are balanced cables so expensive? A. They are made with a process called twisted pairing which is more expensive to manufacture than unbalanced cables. Q. If I have the choice of using balanced or unbalanced cables which one should I use? A. In most cases if you are using balanced equipment you should use balanced cables. But if you get into a tight spot and need run something unbalanced it's ok as long as the cable length is short and you get no unwanted noise. How to tell the difference between balanced and unbalanced cables: The technical name for guitar cables is TS which stands for Tip (hot), Sleeve (Neutral). Studio ¼ cables are called TRS which stands for Tip (Hot) Ring (Neutral) Sleeve (Ground) TS Cables have one ring on the connector: TRS Cables have two. Any cable that has three prongs or legs like an XLR Cable is usually balanced. Some cables are made for odd routing situations and are three legged on one side and two pronged on the other. These are still unbalanced. Glossary of Cables: Unbalanced: TS 1/4": This is the standard ¼" cable seen on guitars and unbalanced recording equipment. TS 1/8" Mini: A TS or mono mini plug is most commonly seen as an adapter. RCA or Phono: RCA connections are seen primarily on entry level recording equipment. They are also found on consumer products like DVD players, turntables, and older television sets. Banana Plug: Banana plugs are mostly used for consumer audio speaker connections. Insert or Y Cable: An insert cable splits a stereo signal into two mono parts and is referred to as a Y-Cable because it is literally shaped like a Y. Balanced: XLR: XLR is the most common connection for microphones and is often referred to as a mic cable. TRS ¼": (Notice the two rings around the top of the connector.) TRS is a balanced ¼" cable that is used in studios and live sound reinforcement to minimize noise over long distances. TRS 1/8" Mini: The 1/8" mini plug connector is often used on headphones and other consumer sources like sound cards. Tiny Telephone or TT: The TT or Tiny Telephone is a balanced connection used for connections in professional patch bays. Digital Connections: Most digital connections use the same principles we have already discussed; they just use them in a different way. Digital cables are made to send pulses of current or light that can be decoded by a computer. It is VERY important to use the proper cable type with digital connections. Things like impedance or the amount of resistance present in the cable play an important role in how this information is sent. Just because a S/PDIF cable looks like an RCA Cable doesn't mean the RCA cable plugged into your DVD player can handle a S/PDIF connection. You might experience strange errors and digital distortion if you use a cable that is not properly rated. S/PDIF: S/PDIF or Sony/Phillips Digital Interface is by far the most common digital connection. It uses a 75 ohm unbalanced RCA phono connection. You can use standard RCA cables if they are rated at 75ohms. Optical or Light Pipe: Optical or Light Pipe is a discrete multichannel digital standard developed for the ADAT. It is most commonly seen on digital audio interfaces and preamps. You may also see optical ports on high end consumer devices as an audio connection. Optical cables use pulses of light to send information. They tend to be expensive and fragile so handle with care. AES/EBU: AES/EBU: is basically S/PDIFs big brother. AES uses the same protocol as S/PDIF but it can handle more information at once. AES/EBU uses a balanced connection with XLR on both sides. When using an XLR make sure it is Type 1 (referring to pin order) and rated at 110 ohms. BNC or Bayonet: BNC is an unbalanced connection that is used primarily in professional video as an alternative to RCA. On the audio side of things it is mainly used to carry word clock information. BNC comes in 50 and 75 Ohm varieties, most audio equipment uses 75 ohm. Multi-pin Connectors Multi-pin connectors are usually found on high end audio interfaces and consoles, they are used as a balanced multi channel connection that saves space on the back of a piece of gear. Each pin on the connector is a discrete channel that carries audio or digital information from one point to another. Most guitarists and home recording enthusiasts won't run into these connections too often because they are mainly used in recording or live sound equipment that is very expensive. D-Sub/DB25: D-Sub is a family of connectors used on computer devices and comes in multiple pin configurations. The most common D-Sub connection is the one found on the back of VGA computer monitors. It is not uncommon for companies to use D-Sub to carry audio on high end peripherals because the connectors are common and relatively inexpensive. Elco/Edac: Elco and Edac (which in many cases are interchangeable) are large multi pin connectors that can have as many 120 pins. They can be heavy and have an actuating screw that holds the male and female connectors in place. TDIF: A proprietary type of 25 pin D-Sub that was created by Tascam. It is found on a wide variety of professional recording equipment as an alternative to the ADAT standard. Audio Kabel für Beginner Einführung: Dies ist ein Leitfaden zur Nutzung von Audio Kabeln, wie diese funktionieren und welche die gebräuchlichsten Arten sind. Hierunter finden Sie zwei Bücher, die das Thema Audio Kabel exzellent behandeln: (Achtung, Englisch) Wire, Cable, and Fiber Optics for Video & Audio Engineers von Stephen H. Lampen (1 Aug, 1997) http://www.amazon.com/Cable-Fiber-Optics-Video-Engineers/dp/0070381348/ref=lp_B001HO3HHQ_1_2?ie=UTF8&qid=1335303440&sr=1-2 Audio/Video Cable Installer's Pocket Guide (Pocket Reference) von Stephen H. Lampen (15 Jan, 2002) http://www.amazon.com/Audio-Video-Installers-Pocket-Reference/dp/0071386211/ref=sr_1_fkmr1_2?s=books&ie=UTF8&qid=1335303294&sr=1-2-fkmr1 Die Funktionsweise eines Audiokabels: Audiokabel versenden ein elektrisches Signal von einem Punkt zum anderen. Dies ist dem normalen Stromfluss wie aus der Steckdose Zuhause sehr ähnlich. Audiokabel benutzen jedoch sehr viel kleinere Spannungen als die Normale 230 Volt Steckdosen-Spannung. Elektrizität: Damit Elektrizität zwischen zwei Punkten fließen kann, braucht es zwei Dinge, einmal eine positive Leitung und eine neutrale Leitung. Wenn man beide hat kann nun ein elektrischer Kreis entstehen, der ein Signal vom Instrument an Ihren Verstärker, Ihren Mixer oder den Computer weiterleitet. Alle standart Audiokabel benutzen dieses Grundprinzip der Elektrik egal welcher Anschluss an das Ende angeschlossen ist. Dies geschieht, wenn Sie z.B. Ihre Gitarre an Ihren Verstärker mit einem 6.35mm Kabel anschließen oder wenn Sie Ihren DVD Player anhand eines RCA Steckers mit Ihrem Fernseher verbinden. Beide funktionieren genau auf diese Weise. Symmetrische und asymmetrische Audiokabel: Im Netz entstehen oft Verwirrung und ewige Erklärungen was das Thema symmetrisch und asymmetrisch angeht. Alles was Gitaristen und Aufnahme-Enthusiasten kennen müssen ist der grundlegende Unterschied zwischen beiden und was das bedeutet. Asymmetrische Kabel funktionieren genu so, wie bisher beschrieben. Im Gittarenkabel (6.35mm – ¼") gibt es somit die positive Leitung, die Spitze und die neutrale Leitung, den Schaft, der sich um die Leitung legt, die an die Spitze angeschlossen ist. Das Neutrale dient hier zwei verschiedenen Zwecken: Erstens dient es als neutrale Leitung um einen Stromfluss erst möglich zu machen und zweitens schützt es die positive, mittlere Leitung vor außenliegenden Interferenzen. Audio niedriger Impedanz: Der Mikrofon-Pegel liegt zwischen 48 und 52 Ω (3 Pin XLR Stecker und symmetrische Verbindungen) Audio höherer Impedanz (aber nicht hoch), für Mixer und andere verteilende Audiogeräte. Der Instrument-Pegel ist hier ca. 1000 Ω (genauer: zwischen 680 und 1800 Ω). (6.35mm Telefonstecker, TS ("tip"= Spitze "sleeve"= Schaft) asymmetrisch und TRS ("tip"= Spitze "ring"= Ring "sleeve"= Schaft) symmetrisch) Audio hoher Impedanz für Mixer, Schaltkreise, verteilende Verstärker oder andere verteilende Audiogeräte. Line-Pegel benötigt 1000 bis 10000 Ω. Also sind meine Gitarren Kabel und Pedale asymmetrisch? Ja, fast jedes Gitarren Equipment ist asymetrisch. Ist das schlecht? Nein... Asymmetrische Kabel sind anfällig für Interferenzen von Außen über lange Distanzen. Im Grunde, desdo länger das Kabel, desdo weniger effektiv ist der Schaft im Schützen des Kabels vor elektrischen Interferenzen. Zum Glück sind die meisten Gitarren- und Patchkabel relativ kurz, was bedeutet, dass es hier meist kein Problem gibt. Als Faustregel gilt: Das asymmetrische Kabel sollte nicht länger sein als 3 Meter sein, wenn Sie es in einem Raum oder auf der Bühne benutzten mit viel elektrischem Material in der Nähe. Wenn es länger ist kann es sein, dass Unerwünschtes wie Brummen, Rauschen und Krach auftaucht. Was bedeutet das für mich? Niemand will an seinen Verstärker gebunden sein, trotzdem sollten Sie versuchen das asymetrische Kabel unter 3 Metern Länge zu halten um möglichst wenig Krach zu erhalten und ein starkes Signal zu haben. (4,5m ist meist noch ok und 7.5m ist grenzwertig) In Aufnahmesituationen ist es meist in Ordnung asymetrische Kabel zu benutzen, wenn Sie aber kristallklaren Ton haben wollen versuchen Sie die Länge der Kabel unter 3 Metern zu halten. Außerdem sollten Sie auf asymetrische Verbindungen auf der Rückseite des Racks achten. Wenn ein asymmetrisches Kabel in der Nähe von so viel Material ist kann ein Rauschen entstehen. Symmetrische Kabel: Symmetrische Kabel benutzen immer noch den positiven und negativen Leiter um das elektrische Signal zu tragen aber hier wird ein drittes Element hinzugefügt: Die Masse. Die Masse geht durch das Kabel, in Ihr symmetrisches Gerät, durch die Wand, den Sicherungskasten und in den Boden. Bei symmetrischen Kabeln dient der Schaft als Masse. Die Masse trägt KEIN Signal und kann nicht im Ton gehört werden. Die Masse dient einzig und allein der Abschirmung vor ungewollten Geräuschen während positiv und neutral das Signal transportieren. Welche Geräte benutzen symmetrische Audiokabel? Mikrofone und Aufnahmegerät sind, oder sollten, in den meisten Fällen symmetrisch sein. Wenn ich ein symmetrisches Kabel mit meiner Gitarre benutzen, kann ich das Signal symmetrisch machen? Nein, das Gerät muss auch immer symmetrisch sein. Warum sind symmetrische Kabel so teuer? Symmetrische Kabel werden mit einem speziellen Verfahren hergestellt, das "Twisted Pairing" oder auch "Aderverdrillung".Dieses Verfahren ist teurer als die normale Herstellung wie bei asymmetrischen Kabeln. Wenn ich die Wahl habe symmetrische oder asymmetrische Kabel zu benutzen, welche benutze ich dann? In den meisten Fällen sollten Sie bei symmetrischen Geräten auch symmetrische Kabel benutzen. Wenn Sie aber mal unbedingt ein asymmetrisches Kabel benutzen müssen, ist das in Ordnung sofern es nicht zu lang ist und Sie kein unerwünschtes Krachen bekommen. Wie kann ich ein symmetrisches von einem asymmetrischen Kabel unterscheiden? Der technische Name für Gitarrenkabel ist TS, was für Tip (= Spitze), das Positive und Sleeve (= Schaft), das Neutrale steht. 6.35mm (1/4") Studio Kabel werden TRS gennant, für Tip (= Spitze), das Positive; Ring, das Neutrale und Sleeve (= Schaft), die Masse. TS Kabel haben einen Ring auf dem Stecker. TRS Kabel haben zwei Ringe. Kabel, die drei Zinken oder Beine haben, wie ein XLR Kabel, sind meist symmetrisch. Manche Kabel werden für sehr spezielle Routing Situationen hergestellt und haben drei Beine an einem Stecker und zwei am anderen. Diese sind immer noch asymmetrisch. Glossar der Kabel: Asymmetrisch: TS 6.35mm (1/4"): Dies ist ein standart 6.35mm Kabel wie bei Gitarren und anderen asymmetrischen Aufnahmegeräten. TS 3.5mm (1/8") Mini: Solch ein TS oder Mono Mini Stecker wird meist als Adapter benutzt. RCA oder Phono: RCA Anschmüsse werden meist bei Einsteiger Aufnahmegeräten verbaut. Außerdem kann man diese auf Verbrauchergeräten finden wie DVD Playern, Turntables oder alten Fernsehgeräten. Bananenstecker: Banenenanschlüsse werden meist bei Lautsprechern für den Endkonsumenten verbaut. Y-, Insertkabel: Ein Insertkabel teilt ein Stereo Signal in zwei Mono Signale und werden Y-Kabel genannt, da es diese Form hat. Symmetrisch: XLR: XLR Kabel werden meist für Mikrofone benutzt und werden so auch oft Mikrofonkabel genannt. TRS 6.3mm (1/4"): Das TRS ist ein symmetrisches Kabel, welches in Studios und bei Liveauftritten verwendet wird um Krachen und Rauschen über lange Distanzen zu minimieren. TRS 3.5mm Mini: Der 3.5mm "Mini" Stecker wird meist bei Kopfhörern oder anderen Konsumentenprodukten verwendet, wie z.B. Soundkarten. Tiny Telephone oder TT: Der TT Stecker wird als symmetrische Kabel für professionelle Patch-Panel verwendet. Digitale Anschlüsse: Die meisten digitalen Anschlüsse verwenden die gleichen Prinzipien wie die, die wir bereits behandelt haben, verwenden diese aber auf eine andere Art. Digitale Kabel senden Strom- oder Lichtimpulse, die von einem Computer entschlüsselt werden können. Bei digitalen Anschlüssen ist es sehr wichtig das korrekte Kabel zu verwenden. Impedanz oder Resistenz spielen bei diesen Kabeln eine große Rolle bei der Datenübertragung. Nur weil ein S/PDIF Kabel wie ein RCA Kabel aussieht, bedeutet das nicht, dass das RCA Kabel, welches man in einen DVD Player einsteckt auch eine P/PDIF Verbindung handhaben kann. S/PDIF: S/PDIF oder Sony/Phillips Digital Interface ist bei Weitem der gebräuchlichste Anschluss. Es benutzt einen 75 Ω, asymmetrischen RCA Stecker. ADAT Lightpipe: ADAT Lightpipe ist ein Audio Protokoll, welches als digitaler multikanal Standart für ADAT entwickelt wurde. Am häufigsten findet man diesen Anschluss bei digitalen Audioschnittstellen und Vorverstärkern. Diese Lichtleitanschlüsse kann man manchmal auch auf hochwertigen Verbraucher-Geräten als Audioanschluss finden. Lichtwellenkabel benutzen Lichtimpulse um Informationen zu versenden. Oftmals sind diese Kabel eher teuer und zerbrechlich und müssen daher mit Sorgfalt behandelt werden. AES/EBU: AES/EBU ist eigentlich der große Brider des S/PDIF Anschlusses. AES benutzt das selbe Protokoll wie der S/PDIF Anschluss, kann aber viel mehr Informationen gleichzeitig transportieren. AES/EBU sind symmetrisch und haben auch dementsprechende symmetrische XLR Stecker an beiden Enden. Wenn Sie ein einfaches XLR Kabel benutzen wollen brachen Sie eines des Typen 1 (in Bezug auf die Stiftordnung) bei 110 Ω. BNC oder Bayonet: Das BNC ist ein asymmetrisches Kabel, welches vorwiegend bei professionellen Video Anwendungen als Alternative zu RCA verwendet wird. Was Audio angeht, wird es meist als Träger für Wordclock Informationen verwendet. BNC hat einmal eine 50 Ω und eine 75 Ω Variation, die meisten Audiogeräte verwenden aber die 75 Ω Variante. Mehrpolige Stecker: Mehrpolige Stecker, bzw. Multi-Pin Stecker sind meist auf High-End Audio Schnittstellen und Konsolen zu sehen. Sie werden als symmetrische Multikanal-Verbindung benutzt, die Platz auf der Rückseite des Gerätes spart. Jeder Pin ist ein separater Kanal, der ein Audio Signal oder digitale Informationen trägt. Die meisten Gitaristen und Aufnahmeenthusiasten werden nicht sehr oft auf diese Art Stecker stoßen, da diese meist bei sehr teurem Aufnahme- und Live-Sound-Geräten verwendet werden. D-Sub/DB25: Die D-Sub Steckerfamilie wird oft bei Computern benutzt und kommt in verschiedensten Pin-Konfigurationen. Der gebräuchlichste D-Sub ist der VGA Stecker, den man auf der Rückseite vieler Computer Monitore finden kann. Der D-Sub Stecker wird oftmals verwendet, da die Stecker sehr weit verbreitet und relativ billig herzustellen sind. Elco/Edac: Elco und Edac (die meist untereinander austauschbar sind), sind große Multi-Pin Stecker, die bis zu 120 Pins beinhalten. Sie können sehr schwer werden und haben eine Schraube zum Einrasten, die das männliche und weibliche Ende zusammenhält. TDIF: Der TDIF Stecker ist eine Art D-Sub, aber mit 25 Pins. Er wurde von Tascam entwickelt. Dieser Anschluss wird oft auf porfessionellen Aufnahmegeräten als Alternative zum ADAT Standart verwendet. Câbles audio pour les débutants Introduction: Ce document explique les différents câbles audio, comment ils fonctionnent et quels sont les câbles les plus populaires. Les livres ci-dessous sont des références excellentes concernant ce sujet: (Anglais) Wire, Cable, and Fiber Optics for Video & Audio Engineers de Stephen H. Lampen (Aug 1, 1997) http://www.amazon.com/Cable-Fiber-Optics-Video-Engineers/dp/0070381348/ref=lp_B001HO3HHQ_1_2?ie=UTF8&qid=1335303440&sr=1-2 Audio/Video Cable Installer's Pocket Guide (Pocket Reference) de Stephen H. Lampen (Jan 15, 2002) http://www.amazon.com/Audio-Video-Installers-Pocket-Reference/dp/0071386211/ref=sr_1_fkmr1_2?s=books&ie=UTF8&qid=1335303294&sr=1-2-fkmr1 Fonctionnement du câble audio: Les câbles audio fonctionnent en envoyant des signaux électriques d'un endroit à un autre. Ceci est très similaire à la façon dont le courant électrique dans votre maison circule. Mais les câbles audio utilisent des tensions beaucoup plus faibles que la prise 230 volt générale. Électricité: Afin d'électricité de circuler entre deux points, vous avez besoin de deux choses: Un fil positive et un fil neutre. Ceci achève un circuit et permet un signal électrique de votre instrument à votre ampli, table de mixage ou ordinateur. Tous les câbles audio standard utilisent ce principe de base en électricité n'importe quel connecteur est fixée à l'extrémité. Tous ca arrivent si vous connectez votre guitare à un ampli avec un câble 6.35mm ou si vous connectez un lecteur DVD avec une TV avec une prise RCA. Les deux travaillent de la même façon. Câbles audio symétriques et asymétriques Il y en a beaucoup de confusion et explications longues concernant les différences entre les câbles symétrique et asymétrique. La plupart des guitaristes et enthousiastes d'enregistrement doivent seulement savoir que la différence de base électrique et ce que ca veut dire. Les câbles asymétriques fonctionnent exactement comme décrit ci-dessus. Dans un câble guitare, par exemple, il y en a un fil positif, la "pointe" et un fil neutre, le "manchon". Le neutre sert à deux choses: Fournir un conducteur neutre pour que l'électricité peut circuler et de protéger le fil de milieu positif de toute interférence extérieure. Audio d'impédance basse, ou sur "niveau microphone". De 48 à 52 Ω. (connexion XLR à 3 broches, lignes symétriques) Audio d'impédance plus haute (mais pas haute) pour les tables de mixage ou autres équipement audio de distribution. Le "niveau instrument" est environ 1 000 Ω (entre 680 et 1 800). Connecteurs jack 6.35mm, lignes TS asymétrique (jack 2 points) et TRS symétrique (jack 3 points). Audio d'impédance haute pour les tables de mixage, amplificateurs de distribution et autre audio distributive. Le niveau de ligne a besoin de 1 000 à 10 000 Ω. (connecteurs RCA, lignes asymétrique) Donc, mes câbles de guitare et pédale sont asymétriques? Oui, presque tout le matériel de guitare est asymétrique. Est-ce que c'est mauvais? Non. Les câbles asymétriques peuvent être vulnérables pour les interférences électriques sur longues distances. En général, si le câble est plus long, le manchon sera moins efficace à protéger le câble des interférences électriques externes. Heureusement, la plupart des câbles de guitare et câbles de raccordement sont normalement courtes donc ce n'est généralement pas un problème pour la plupart des musiciens. Règle générale: Si le câble est plus long que 3 mètres, et vous l'utilisez avec beaucoup de matériel électrique dans une chambre ou sur une scène, vous pouvez entendre bruits, bourdonnements ou rumeurs indésirables. Qu'est-ce que ca veut dire pour moi? Personne n'aime être "lié" à l'ampli mais essayez de na pas utiliser des câbles plus long que 3 mètres pour le signal plus fort et stable. (4,5m est normalement ok mais 7,5m sera habituellement trop de distance.) Dans les situations d'enregistrement, c'est bien d'utiliser des câbles asymétriques dans la plupart des cas mais si vous voulez du son limpide, essayez d'avoir des câbles sous 3m. Faites attentions aux connexions asymétriques en arrière du rack. Si vous avez beaucoup d'autre matériel près d'une connexion asymétrique peut causer des problèmes de bruit. Câbles symétriques Les câbles symétriques toujours utilisent un positive et neutre pour générer un signal électrique mais ils ajoutent un troisième élément: la terre électrique. La terre est appelé terre parce que elle va via le câble et votre matériel symétrique dans le mur, la boîte à fusibles dans la terre. Pour les câbles symétriques, le manchon est utilisé comme terre. La terre n'a aucun signal et ne peut pas être entendu dans l'audio. La terre protège seulement des bruits indésirables. Maintenant, la magique: Le positif et le neutre transportent le même signal, tous le son et les bruits…. Le matériel symétrique uniquement sortie la différence de tension entre les deux. Car le bruit est représenté également sur les deux, il est inversé et annulé. Ca veut dire que vous pouvez avoir centaines de mètres de câble symétrique et toujours avoir du audio sans bruit. Quel matériel utilise des câbles audio symétriques? Microphones et matériel d'enregistrement sont, ou devraient être symétriques. Si j'utilise un câble symétrique avec ma guitare, est-ce que je peux faire le signal symétrique? Non, le matériel vous utilisez doit être symétrique également. Pourquoi est-ce que les câbles symétriques sont si chers? Ces câbles sont produits de façon "paire torsadée", ce procès est plus cher que la production normale du câble asymétrique. Si j'ai la possibilité d'utiliser des câbles symétriques ou asymétriques, lequel dois-je utiliser? Dans la plupart des cas, si vous utilisez du matériel symétrique, vous devez utiliser des câbles symétriques. Mais si vous devez une fois utiliser un câble asymétrique, c'est bon à condition que le câble soit court et vous ne recevez pas du bruit indésirable. Comment est-ce qu'on fait la différence entre les câbles symétriques et asymétriques? Le nom technique des câbles guitare sera TS: "Tip" (pointe: positive) et "Sleeve" (manchon: neutre) Câbles studio 6.35mm seront des câbles TRS: "Tip" (pointe: positive), "Ring" (anneau: neutre) et "Sleeve" (manchon: terre) Les câbles TS ont un anneau sur le connecteur. Les câbles TRS ont deux anneaux. Les câbles avec trois dents, comme un câble XLR sont habituellement symétriques. Certains câbles sont produits pour des situations de routage bizarres. Ils ont trois broches à un connecteur et deux broches sur l'autre. Ces câbles sont asymétriques. Glossaire des câbles: Asymétriques: TS 6.35mm: C'est le câble standard pour les guitares et pour le matériel asymétrique d'enregistrement. TS 3.5mm Mini: Ce connecteur Mono ou TS est le plus souvent considéré comme un adaptateur. RCA ou Phono: Les connecteurs RCA sont vus principalement sur ​​l'équipement d'enregistrement d'entrée de gamme. Ces connecteurs sont également sur les produits de consommateur, comme le lecteur DVD, les plaques tournantes ou plus vieux télévisions. Fiche banane: Les fiches banane sont principalement utilisées pour les connexions des haut-parleurs du consommateur. Câbles Y, Insert: Le câble Y divise le signal stéréo dans deux parties mono. Symétriques: XLR: Le câble XLR est le câble la plus fréquente pour les microphones et est souvent désigné comme un "câble micro". Câble TRS 6.35mm: (Remarquez les deux anneaux autour de la partie supérieure du connecteur.) TRS est un câble 6.35 symétrique utilisé dans les studios et live pour minimiser les bruits sur longues distances. TRS 3.5mm Mini: Ce connecteur est souvent utilisé pour les écouteurs et autres appareils du consommateur comme les cartes de son. Tiny Telephone ou TT: Ce câble est une connexion symétrique pour les patchs professionnels. Connexions digitales: La plupart de connexions digitales utilisent les mêmes fonctions de base que nous avons déjà discutés; ces connexions seulement les utilisent dans une autre manière. Les câbles digitaux envoient des impulsions de courant ou lumière. Ce signal peut-être décodé de l'ordinateur. C'est très important d'utiliser le câble approprié pour les connexions digitales. L'impédance ou résistance jouent un rôle très important dans la façon dont cette information est envoyée. Juste parce qu'un câble S/PDIF ressemble à un câble RCA ne veut pas dire que le câble RCA peut traiter une connexion S/PDIF. Vous pourriez rencontrer des erreurs bizarres et de la distorsion numérique si vous utilisez un câble qui n'est pas correctement évalué. S/PDIF: S/PDIF ou Sony/Phillips Digital Interface est le câble le plus commun pour les connexions digitales. Ce câble utilise une connexion RCA Phono de 75 Ω. Câbles ADAT Lightpipe: ADAT Lightpipe est une norme digitale développé pour ADAT. Ils sont vu plus communs sur les interfaces audio digitales et sur préamplificateurs. Parfois, vous le pouvez trouver sur des appareils haut de gamme des consommateurs comme connexion audio. Ces câbles utilisent des impulsions de lumière pour envoyer des informations. Ces câbles ont tendance à être cher et fragile, donc: Manipuler avec précaution. AES/EBU: Câbles AES/EBU utilisent le même protocole comme le câble S/PDIF mais sais transporter plus d'informations en même temps. AES/EBU a des connecteurs symétriques XLR. Si vous voulez utiliser un câble XLR, veuillez vous assurer que c'est un Type 1 à 110 Ω. BNC ou Bayonet: BNC est une connexion asymétrique utilisée principalement en vidéo professionnel comme alternative pour RCA. Pour audio, ce câble est habituellement utilisé pour transporter des informations Wordclock. BNC est 50 Ω ou 75 Ω mais la plupart du matériel audio utilise la version 75 Ω. Connecteurs multibroches: Connecteurs multibroches se trouvent généralement sur les interfaces audio haut de gamme et sur consoles, ils sont utilisés come connexion multicanal symétrique qui économise de l'espace sur le dos d'une pièce d'équipement. Chaque broche est un canal séparé qui transporte des informations audio ou numérique d'un point à un autre. La plupart des guitaristes et enthousiastes d'enregistrement ne trouvent ces connexions très souvent. Ces connexions sont principalement utilisées dans les équipements d'enregistrement ou de son live qui est très cher. D-Sub/DB25: D-Sub est une famille des connecteurs utilisés pour les ordinateurs et est disponible dans multiples configurations des broches. La connexion la plus fréquent est laquelle trouvé sur le dos des moniteurs VGA. Ces connecteurs sont très répandu pour transporter des signaux audio parce qu'ils sont commun est bon marché. Elco/Edac: Elco et Edac sont des connecteurs multibroches larges qui peuvent avoir jusqu'à 120 broches. Ces connecteurs peuvent être très lourds et ont une vis pour attaché mâle et femelle. TDIF: Un type de D-Sub 25 broches qui ont été créé par Tascam. Ce connecteur se trouve sur une grande variété de matériel d'enregistrement professionnel en tant qu'alternative à la norme ADAT.
  20. Application Q: What are the presets on my HD147 amplifier? A: The HD147 user presets are available from the manual download section. Q: What editing software works with the HD147? A: Line 6 Edit, which is a free download at www.line6.com/software. Q: How can I control my HD147 via MIDI? A: Please check the Appendix C on your Pilot's Handbook, you will have a list of MIDI program changes and their relation with the HD147 channels. So channel 1A would recall program 1 on your MIDI device. You can either overwrite program 1 on your device with the effects you want to use with channel 1A or you can go to the preset you want to use and internally reassign that preset to MIDI program 1 (if your device offer that option). You can also set the Expression pedal on a MIDI controller to the MIDI CC# you wish to control - for example if you want to control the Delay Mix with it set the CC# to 34. Please see the bottom of this document to download the HD147 manual. Setup/Connections Q: Is there a direct out on the HD147? A: There are stereo XLR outputs on the back of the unit to route the cabinet modeling directly to a PA or mixing console. Q: Which Line 6 floor controller(s) can I use with the HD147? A: We recommend the Line 6 FBV Shortboard , but any of the FBV series controllers will control the HD147. Q: Does the HD147 have an effects loop? A: Yes, the HD147 has a stereo unbalanced effect loop. Q: What is an effect loop used for? A: An effect loop is used for “line-level” input and output level devices. Many rack mount effect units are line level units, while most guitar effects are “instrument level” units meant to be run between the instrument and the amplifier. Q: Can I connect an external pre-amp (i.e. Line 6 POD unit) to the HD147? A: You can connect an external preamp into the or the effects loop return of the HD147. Be sure to use a ¼” dummy jack in the instrument input to send the head output to the speakers. Q: How should I connect my speaker cabinet(s) to the HD147? A:Please see the following document more more information on connecting cabinets to your HD147. Cabinet Connection and Ohm F.A.Q. Specifications Q: What's the rated wattage of my HD-147? A: The HD-147 is rated at 150w/channel RMS. 147 decibels is the level of loudness at which your head explodes. What we're trying to say is that this puppy is loud. Q: How many watts are my two 16 ohm cabs going to pull per side with my HD-147? A: A solid state amp without an impedance switch puts out more power with a lower speaker load. However, we do have an impedance switch in the back of the amp. The purpose of the switch is to make sure the amp puts out the same amount of power as long as it sees the correct load. So for your set up, you would plug one cab into one of the RIGHT jacks and the other into one the LEFT jack. Set the impedance switch to 16 ohms. Your amp should put out 150 watts per side. Registration/Warranty Q: What is the warranty on the HD147? A: the warranty on the HD147 is twelve months from the date of purchase. Q: How can I register my HD147? A: Registration Troubleshooting/Service Q: How do I perform a factory reset on my HD147? A: The reset for a HD147 is to hold the A and D Buttons while powering the amp. Q: My amp seems to be malfunctioning. What can I do as an end user? Line 6 Amp Trouble Shooting Q: Where can I get replacement knobs/speakers/logos for my HD147 amp? A: Line 6 Store Q: Where can I download a HD147 manual? A: Line 6 Manuals
  21. Français Deutsch Q: What are the input connections for the Spider Cabinet? A: The left or right input (single cable) connection is 4 ohms, with all four (4) speakers active. When both cables are used there will be an 8 ohm load on each side, using two (2) speakers for each side. Q: How should the Spider head be connected to the Spider cabinet? Spider II/III HD 75 - The HD75 is a mono head, which will have the same 75 watt/4 ohm total output when using one or two speaker cables between the head and cabinet. Spider II/III/IV HD 150: - The stereo outputs of the Spider 150 HD Series are rated at 8 ohms per side. You will need to connect both outputs of the head to both the Spider cabinet inputs. Be sure to use two (2) speaker cables to connect your head to your cabinet to ensure you have the correct ohm load. Be Careful not to use instruement cables to make this connection. Using instrument cables can produce a lower output volume than expected when the master is set between 6 and 9 o'clock, with the master volume is between 9 and 12 o'clock your signal can become extremely distorted, with the master volume at 12 o'clock or higher you will loose output all together. Be aware that the Spider cabinet jacks will produce an impedance of 4 ohms (either left or right jacks) when a single cable is connected, which will damage the Spider 150 HD. Q: Can I use other cabinets besides the Spider cabinet? A: Yes, the Spider HD and 150 (combo) series will work with any standard stereo 4x12 cabinet with two 8 ohm loads. Be aware that many guitar speaker cabinets will not have the flat response speakers found in Spider Cabinets, so the tone may be different than originally intended. A 16 ohm stereo cabinet will sound about 3dB quieter than an 8 ohm cab, but would not damage the Spider HD. A 4 ohm load on the other hand, will damage the Spider HD 150. Q: What are the speakers the Spider 4x12 cabinet? A: The Line 6 Spider cabinet uses four (4) 12" speakers rated at 16 ohm. The custom Celestion speaker manufactuered specifically for Line 6, but a common replacement speaker is the Celestion 70/80 speaker. Q: Is there a video where I can see the Spider Head and cabinet connections? Line 6 Head and Cabinet Connections Quels sont les entrées pour le Spider Cab? Les entrées gauche et droite sont 4 Ohms avec tous les haut-parleurs actifs (4). Les deux en même temps sont 8 Ohms avec 2 haut-parleurs par côté. Comment est-ce que je connecte la tête d’ampli avec le baffle Spider ? Spider II/III HD 75 Le HD75 est une tête d’ampli mono. Il a 75 watt à 4 ohms si vous utilisez 1 ou 2 câbles entre tête d’ampli et baffle. Spider II/III/IV HD 150 Les sorties stéréo du Spider 150 HD sont 8 ohms par côté. Vous devez brancher les deux sorties de la tête aux entrées du baffle. Utilisez 2 câbles haut-parleurs pour connecter la tête d’ampli au baffle. N’utilisez pas des câbles instruments. Les jacks du Spider baffle produisent une impédance de 4 ohms si un câble seul est connecté. Ce endommagera le Spider 150 HD. Puis-je utiliser des autres baffles ou seulement le Line 6 baffle ? Oui, Spider HD et 150(combo) fonctionnent avec tous les baffles standards stéréo 4x12 avec 8 ohms. Beaucoup de baffles guitares n’ont une réponse en fréquence plate comme les Spider IV. Un baffle 16ohms est plus ou moins 3dB plus faible qu’un baffle 8ohms mais cette configuration n’endommage pas le Spider HD. Attention, 4ohms endommageraient le HD 150. Quels haut-parleurs est-ce que vous installez dans le baffle 4x12 Spider? On utilise 4 hautparleurs de 12’’ à 16ohms. On installe des Celestion Custom, spécialement fabriqué pour Line 6 mais le Celestion 70/80 est le hautparleur de remplacement général. Y a-t-il une vidéo des connexions du Spider ? Line 6 Head and Cabinet Connections Was hat die Spider Box für Verbindungen? Der linke und rechte Eingang sind beide 4 Ohm bei allen 4 Lautsprechern angeschlossen. Wenn Sie beide Eingänge gleichzeitig benutzen, dann wird eine Impedanz von 8 Ohm auf beiden Seiten entstehen. 2 Lautsprecher pro Seite. Wie soll ich Spider Topteil mit Box verbinden? Spider II/III HD 75: Der HD75 ist ein mono Topteil, welches 75 Watt und 4 Ohm Ausgang hat wenn 1 oder 2 Kabel benutzt werden. Spider II/III/IV HD 150: Die Stereo Ausgänge das Spider HD 150 sind 8 Ohm pro Seite. Sie müssen beide Ausgänge an die Spider Box Eingänge anschliessen. Nutzen Sie dazu bitte nur Lautsprecherkabel und keine Instrumentkabel. Achtung, die Jacks werden eine 4 Ohm Impedanz produzieren wenn nur ein Kbale angeschlossen ist. Kann ich andere Boxen benutzen? Ja, Spider HD und 150(combo) werden mit den meisten 4x12 Verstärkern bei 8Ohm verschiedene. Aber achtung, diese Boxen haben oftmals keine Flachreaktioneszeit. Ein 16 Ohm Lautsprecher wird ca. 3dB leiser sein als 8Ohm aber sie werden den Verstärker auch nicht zerstören. Wenn aber 4 Ohm Ladung angeschlossen wird, wird das höchstwahrscheinlich den Spider HD 150 beeinflussen. Welche Lautsprecher sind eingebaut? Der Line 6 Spider Box mit 12‘‘ Lautpsrechern an 16 Ohm. Wir benutzen einen speziell für Line 6 hergestellten Celection Custom Lautsprecher. Die Celestion 70/80 ist ein verbreiteter Ersatzlautsprecher. Gibt es ein Video zur Verbindung des Topteils und der Box? Line 6 Head and Cabinet Connections
  22. Note: The Flextone II was released in 2000 and replaced by the Flextone III in 2003. The Flextone II is now a Legacy Product. Application Q: What are the presets on my Flextone II amplifier? A: The Flextone II are available from the manual download section. If you would like to return your unit to the original presets, please perform a factory reset (see the trouble shooting section). Q: What editing software works with the Flextone II? A: Line 6 Edit allows the deep editing of all the Flextone II presets. Line 6 Edit FAQ Q: How can I control my Flextone via MIDI? A: Please check the Appendix C on your Pilot's Handbook, you will have a list of MIDI program changes and their relation with the Flextone channels. So channel 1A would recall program 1 on your MIDI device. You can either overwrite program 1 on your device with the effects you want to use with channel 1A or you can go to the preset you want to use and internally reassign that preset to MIDI program 1 (if your device offer that option). You can also set the Expression pedal on a MIDI controller to the MIDI CC# you wish to control - for example if you want to control the Delay Mix with it set the CC# to 34. Q: How is the Flextone II different from the Flextone I? Are the older Flextone I amp models changed in any way, software-wise? A: The Flextone II XL has more amp models, more editing capabilities, XLR outs, external speaker outs, improved tone, and an improved power amp stage. The models in the Flextone II are changed from the Flextone I models. The new models match exactly the models in the POD 2.0, so that patches made on one are completely interchangeable with the other. Q: How can I find out which cabinet models are used by default for the amp models? A: Hold down the save and tap tempo buttons at the same time and switch between the cabinet models. The manual button will flash off when the selected cabinet model is passed on the knob. Q: What are the secondary functions for each of the Flextone II's knobs? A: The secondary function for each of the Flextone II's knobs is as follows: DRIVE: Drive Boost on/off BASS: Delay Feedback (how many times it repeats) MIDDLE: Delay Amount TREBLE: Presence on/off CHANNEL VOLUME: Volume Boost on/off REVERB: Noise Gate on/off EFFECT TWEAK: Tap Tempo time Q: How can I control the "Delay Level" on my Flextone II when using the Delay in conjunction with another effect? A: The Delay Level and Delay Feedback can be adjusted on the Flextone II by holding down the TAP TEMPO button and turning the MIDDLE knob for Delay Level and the BASS knob for Delay Feedback. Q: Will the delay feedback on the Flextone II series repeat indefinitely if it is turned all the way up? A: Yes. The delay feedback on the Flextone II series will repeat indefinitely if it is turned all the way up. To turn the delay feedback on the Flextone II all the way up, simply hold down the TAP TEMPO button while turning the BASS knob to 10. Setup/Connections Q: Does the Flextone II have a line out? A: The Flextone II has a headphone jack that doubles as a good direct out. To utilize it properly, you should use a stereo-to-dual mono insert cable and use it as a stereo out into 2 channels on your mixer/recorder. If you need XLR direct outs, you may want to check into a Flextone Plus or XL. Q: Which Line 6 floor controller(s) can I use with the Flextone II? A: Either the FB4 or Floorboard will control the Flextone II, but we recommend the Line 6 floorboard. Please be aware that the Line 6 Floorboard and FB4 are no longer in production but may still be special ordered or found through used gear dealers. Q: Does the Flextone II have an effects loop? A: Yes, the Flextone II has a stereo unbalanced effect loop, located before the Master volume. Q: What is an effect loop used for? A: An effect loop is used for 'line-level' input and output level devices. Many rack mount effect units are line level units, while most guitar effects are 'instrument level' units meant to be run between the instrument and the amplifier. Q: Can I connect an external pre-amp (i.e. Line 6 POD unit) to the Flextone II? A: You can connect an external preamp into the front of the unit or the effects loop return of the Flextone II. Be sure to use a ¼" dummy jack in the instrument input to send the amplifier output to the speakers. Q: How should I connect my speaker cabinet(s) to the Flextone II? A: : Please see the following document (or your manual) for more information on connecting cabinets to your Flextone II. Cabinet Connection and Ohm F.A.Q. Q: What speakers are used in the Flextone II? A: The Flextone II amplifiers shipped with Line 6 "tubetone" speakers, which were manufactured by Celestion. The speakers are 80 watts and either 8 or 16 ohms. See the Line 6 Store for replacement speakers. Registration/Warranty Q: What is the warranty on the Flextone II? A: The warranty on the Flextone II is twelve months from the date of purchase. Q: How can I register my Flextone II? Product Registration F.A.Q. Troubleshooting/Service Q: How can I check the version of software on a Flextone II? A:* Hold down the C button as you power up. The D channel will flash and then the SAVE channel will flash. The number of D flashes = X The number of Save flashes = .X So if the D flashes twice and the SAVE button flashes twice, your version is 2.2. Q: My guitar's sustain is cut off after several seconds. Is there a way to stop this? A: This is likely because of the noise gate on the Flextone II. To turn it off, hold the Tap Tempo button and turn the Reverb knob down. To turn it back on, hold Tap and turn the Reverb knob up. Q: How do I perform a factory reset on my Flextone II? A: The factory reset for a Flextone II is to hold the A B C D Buttons while powering the amp. Q: My amplifier will not store presets anymore. What can I do? A: We use a 3v lithium coin cell battery in the Flextone II to store the user presets, a common replacement is the Panasonic BR2325-1HG. The current battery will need to be de-soldered and replaced with a new battery. If you are not confident in doing this replacement, it should be performed by an authorized Line 6 Service Center. Q: My amp seems to be malfunctioning. What can I do as an end user? Line 6 Amp Troubleshooting Q: Where can I download a Flextone II manual? A: Line 6 Manuals
  23. Note: The Flextone (I) was released in 1997 and replaced by the Flextone II in 2000 and is now a Legacy Product. Application Q: What are the presets on my Flextone (I) amplifier? A: The Flextone ( I) preset chart in the manuals section. If you want to return the amplifier to factory specifications, please see the factory reset procedure at the bottom of this document. Q: Is there editing software that works with the Flextone (I) series? A: There is no editing software for the Flextone series, as there are no MIDI jacks on the original Flextone series. Q: How do I adjust the Delay Feedback on my Flextone HD? A: Adjusting the Delay Feedback is not possible on the Flextone HD. Setup/Connections Q: What are the models available for the Flextone (I)? Flextone (I): 60 Watt Mono 1 x 12" Combo Flextone (I) XL: 100 Watt Stereo 2 x 12" Combo Flextone (I) Duo: 100 Watt Stereo 2 x 10" Combo Flextone (I) Plus: 100 Watt Stereo 1 x 12" Combo Flextone (I) HD: 300 Watt Stereo Head Q: Does the Flextone (I) have a line out? A: The Flextone (I) has a headphone jack that doubles as a good direct out. To utilize it properly, you should use a stereo-to-dual mono insert cable and use it as a stereo out into 2 channels on your mixer/recorder. If you need XLR direct outs, you may want to check into a Flextone (I) Plus or XL. Q: Which Line 6 floor controller(s) can I use with the Flextone (I)? A: Either the FB4 or Floorboard will control the Flextone I, but we recommend the Line 6 floorboard. Please be aware that the Line 6 Floorboard and FB4 are no longer in production but may still be special ordered or found through used gear dealers. Q: Does the Flextone (I) have an effects loop? A: Yes, the Flextone I units have a stereo unbalanced effect loop (the Flextone 112 is a mono effect loop), located before the Master volume. Q: What is an effect loop used for? A: An effect loop is used for “line-level” input and output level devices. Many rack mount effect units are line level units, while most guitar effects are “instrument level” units meant to be run between the instrument and the amplifier. Q: Can I connect an external pre-amp (i.e. Line 6 POD unit) to the Flextone (I)? A: You can connect an external preamp into the front of the unit or the effects loop return of the Flextone I. Be sure to use a ¼” dummy jack in the instrument input to send the amplifier output to the speakers. Q: How should I connect my speaker cabinet(s) to the Flextone (I)? A: Please see the following document (or your manual) for more information on connecting cabinets to your Flextone I. Cabinet Connection and Ohm F.A.Q. Q: What brand of speakers were used in the Flextone (I)? A: Eminence brand speakers custom made for Line 6. Registration/Warranty Q: What is the warranty on the Flextone (I)? A: The warranty on the Flextone I is twelve months from the date of purchase. Q: How can I register my Flextone (I)? Product Registration F.A.Q. Troubleshooting/Service/Upgrades Q: My guitar's sustain is cut off after several seconds. Is there a way to stop this? A: This is likely because of the noise gate on the Flextone. To turn it off, hold the Tap Tempo button and turn the Reverb knob down. To turn it back on, hold Tap and turn the Reverb knob up. Q: How do I perform a factory reset on my Flextone (I)? A: the factory reset for a Flextone I is to hold the A B C D Buttons while powering the amp. Q: Can a Flextone (I) be upgraded to a Flextone II? A: Unfortunately not. We are always trying to make our amps better and add features that are requested by our users. When we decided that it was time to make some changes to the Flextone amp, we found that the most requested features were things like midi and XLR outputs. To make these additions we found that we had to make significant hardware and software changes. We had to change the whole layout of the amplifier, as you can see from all of the new connectors on the rear panel. Since the Flextone II software will not work in the Flextone I amp and replacing the chassis would approach the cost of a new amp, we aren't able to offer a practical upgrade path. Q: My amp 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 Line 6 amplifier? A: Line 6 Store Q: Where can I download a Flextone (I) manual? A: Line 6 Manuals
  24. Note: The Flextone III was released in 2003 and discontinued in 2010. The Flextone III is now considered a Legacy Product. Q: Where can I find the original feature information on the Flextone III? A: Flextone III Product Info Application Q: What are the presets on my Flextone III amplifier? A: The Flextone III preset chart is in the manuals section. If you want to return the amplifier to factory specifications, please see the factory reset procedure at the bottom of this document. Q: What editing software works with the Flextone III? A: Line 6 Edit allows the deep editing of all 36 presets on the Flextone III series amplifier. Line 6 Edit FAQ Q: How can I transfer sysex information from a Flextone III? A: There are 3 special hidden functions on the Flextone III that will transmit a Sysex message that can be recorded by a MIDI application, or sent to another Flextone III amplifier. 1. Presets & Amp Setups - To transmit all of your custom presets and Amp Defaults: press and hold theTap Tempo, Comp & Mod Select buttons while powering up the amp. Connect the MIDI out of the source amp to the MIDI In of your computer or another amp. Press the Delay Select button to send the message. 2. The Whole Enchilada - To transmit the entire memory of the amplifier including your custom presets, amp setups, and DSP software, (the brains behind the operation): press and hold the Tap Tempo, Gate & Mod Select buttons while powering up the amp. Connect the MIDI out of the source amp to the MIDI In of your computer or another amp. Press the Mod Select button to send the message. 3. The Edit Buffer - To transmit the current state of the amp, press and hold theTap Tempo and any of the A, B, C or D buttons. Q: Can I transfer Flextone II presets to a Flextone III amp? A: No, the presets are not compatible between the Flextone II and Flextone III amps. Flextone II tones are only compatible with Flextone II, POD 2.0, and POD Pro devices. Flextone III tones are only compatible with Flextone III, HD147, and PODxt devices. Q: How can I control my Flextone III via MIDI? A:Please check the Appendix C on your Pilot's Handbook, you will have a list of MIDI program changes and their relation with the Flextone III channels. So channel 1A would recall program 1 on your MIDI device. You can either overwrite program 1 on your device with the effects you want to use with channel 1A or you can go to the preset you want to use and internally reassign that preset to MIDI program 1 (if your device offer that option). You can also set the Expression pedal on a MIDI controller to the MIDI CC# you wish to control - for example if you want to control the Delay Mix with it set the CC# to 34. Please see the top of this document to download the Flextone III manual. Q: How do I change the tuner's reference frequency on the Flextone III? ? A: The Flextone III's Tuner Reference Frequency cannot be changed - it's 440 all the way. Setup/Connections Q: Is there a direct out on the Flextone III? A: There are stereo XLR outputs on the back of the unit to route the cabinet modeling directly to a PA or mixing console. Q: Which Line 6 floor controller(s) can I use with the Flextone III? A: We recommend the Line 6 FBV Shortboard, but any of the FBV controllers will control the Flextone III. Q: Does the Flextone III have an effects loop? A: Yes, the Flextone III has a stereo unbalanced effect loop. Q: What is an effect loop used for? A: An effect loop is used for “line-level” input and output level devices. Many rack mount effect units are line level units, while most guitar effects are “instrument level” units meant to be run between the instrument and the amplifier. Q: Can I connect an external pre-amp (i.e. Line 6 POD unit) to the Flextone III? A: You can connect an external preamp into the or the effects loop return of the Flextone III. Be sure to use a ¼” dummy jack in the instrument input to send the output to the speakers. Q: How should I connect my speaker cabinet(s) to the Flextone III? Cabinet Connection and Ohm F.A.Q. Q: Can you change the cabinet models on the Flextone III? A: Like the Flextone II, the Flextone III allows you to choose whatever cabinet model you want to go with your chosen amp model. A 100 watt Marshall through a 6 in. Supro speaker you say? You can - you know, if you're into that sort of thing... Seriously though, depress the amp model selector and start a-twistin'. You'll see GREEN lights, indicating that the cab model is being edited. There are 15 cabinet models to choose from, with the smallest starting at "Line 6 Crunch". Turn the knob clockwise and you'll get increasingly larger cab models until you land on a big ol' Mesa Boogie 4X12 found under "Gib Explorer". Turn to "Line 6 Clean" to bypass the cabinet models. It's all spelled out in the manual on page 3*28. Cabinet models can also be chosen via MIDI Continuous Controller #71 using values of 0-15, if you're inclined that way. Q: Will my Flextone III Plus power a 4x12 cabinet? A: It's fine to connect a 4x12 cabinet to the Flextone III amplifier, please ensure the cabinet is set to "8 ohm mono ( Left only )" to protect your Flextone. Please follow the directions on the unit or the manual to ensure there will be no damage to your unit. Q: What are the FBV controller functions? (some functions will not apply on the shortboard): A: Flextone III units with Flash memory 1.10, BIOS 1.02 FX LOOP- toggles effects loop on/off. STOMP BOX 1: No function on the flextone STOMP BOX 2: No function on the flextone STOMP BOX 3: toggles Noise Gate on/off AMP 1: Toggles speaker emulation on/off AMP 2: No function on the flextone REVERB: Toggles Reverb on/off TREMOLO: Toggles Compressor on/off MODULATION: Toggles Modulation effects on/off DELAY: Toggles Delay on/off TAP TEMPO: Sets Tap Tempo and Tuner BANK UP; One bank up BANK DOWN: One bank down CHANNEL A/B/C/D: Selects the corresponding channel FAVORITE: Recalls a channel of choice that can be programmed (see the manual) Q: Can the FBV shortboard expression pedal be reassigned to a tweak function? A: Unfortunately no, the volume pedal on the FBV shortboard can not be reassigned. Specifications Q: What's the rated wattage of my Flextone III? A: The Flextone III plus (1x12) and XL (2x12) units both have a 150-watt stereo power amp (75-watts with the internal 1x12 and 150-watts when used with external cab). The original Flextone III (no longer in production) had a 75 watt power amp that only powered the internal speaker. Q: What are the speakers used in the Flextone III series? A: Line 6 speakers are custom built by Celestion to provide the flattest speaker response in combination with amp modeling. These speakers can be ordered directly the Line 6 Store. Registration/Warranty Q: What is the warranty on the Flextone III A: The warranty on the Flextone III is twelve months from the date of purchase. Q: How can I register my Flextone III? Product Registration F.A.Q. Troubleshooting/Service Q: How do I perform a factory reset on my Flextone III? A: The factory reset for a Flextone III is to hold the A and D Buttons while powering the amp. Q: How do I update the Flash on my Flextone III? A: See the following links before reflashing your Flextone III: Line 6 Monkey Installation and F.A.Q. MIDI: Functionality, Control, and Connectivity with Line 6 devices 1) Run Line 6 Monkey and connect to your Flextone III using the information provided in the links above. select the "Updates"tab, then select "Flash Memory", then "Update Selection". 2) If Monkey asks you to register, just click "Remind Me Later" 3) Monkey will ask if you want to continue, select "Yes" 4) Accept the software agreement, then select "OK" 5) Select your preference of how to deal with your current presets, then select "OK" 6) Select "Yes" to update the Flash on your Flextone III 7) Monkey will read the patches on your Flextone III 8) Monkey will then update the new flash memory to your Flextone III 9) Turn your amplifier off and on as instructed 10) Your unit is now updated. Q: My amp is locked up (i.e. most/all the lights are on) and it will not function correctly. Can I put the amp in a "safe mode" to reflash using Line 6 Monkey? A: Hold down A as you power up the amp to get into safe mode, then run the Monkey and reflash the firmware. Flextone III and Line 6 Edit Compressor Issues There is a known issue regarding the function of the compressor in Line 6 Edit with a Flextone III. A. The Comp button on the Amp and in Edit respond appropriately. B. The single Comp knob in Edit will control the Comp Amount or Gain (there is no Amp control for this) C. Holding down the Comp button on the Amp and turning Delay or Mod knob on the Amp controls the Comp Threshold and not the Amount (there is no control in Edit for this). Threshold is interactive with Drive and Tone controls - e.g.: If Drive and Bass controls are near maximum, you may need to adjust the Threshold to a higher level to avoid sounding too "squashed". This is where you'd use the Line 6 Edit control. Just to clear things up, you will not see Line 6 Edit's COMP knob move while you hold down COMP and turn the MOD button on the Flextone. You can use "Get Edit Buffer" before saving your tone. This will assure that adjustments made to the Comp Gain on the amp are retained in the Tone (though it isn't shown onscreen, the value that's set on the Amp is kept in the patch.) Q: It seems as if the effects on my Flextone III are behaving differently since I updated to the 1.1 software A: After updating to 1.1, you may see different behavior in the effects on some Flextone III amps. Why only some? Flextone III had a minor change to its OTP (one time programmable) BIOS chip after several months in production (from version 1.00 to version 1.02). This change affected the way some of the effects controls respond when an effect is loaded. None of the functionality was lost, and patches that you've stored are not changed. Flex III's behavior on recalling stored channels has not changed at all. How can I tell if my amp is going to change behavior or not? If you power up holding down the 'B' channel select button, the LED on the 'B' button will blink to indicate the major revision (in this case, it will blink once) and the LED on the 'D' button will blink to indicate the sub-release (in this case either it will blink twice or it won't blink at all). If this indicates that you have 1.00, your amp's behavior will not change from what it has been. If it indicates 1.02, it will change be as follows: On the affected (1.02 OTP) amps, when you first select an effect from edit mode (in other words, when you're first editing channel settings), its setting will reflect the current knob position, rather than an arbitrary default, and on two of the effects. You will also notice that the Tweak and 2nd Function controls are not reversed for the Chorus and Flanger effects. The changed control functions become Depth and Rate (Speed) instead of the previous Speed (Rate) and Depth/Feedback. Q: My amp seems to be malfunctioning. What can I do as an end user? Line 6 Amp Trouble Shooting Q: Where can I download a Flextone III manual? A: Line 6 Manuals
×
×
  • Create New...