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Francais Deutsch Once you have installed Line 6 Monkey and the applicable drivers for your Line 6 device, you will be able to assign your USB capable device as the sound card for your computer. See the following instructions for assigning your Line 6 device as a sound card for your Mac computer: Select the "Apple dropdown" menu, then select "System Preferences" Select "Sound" in the Hardware section Select "Input", then select your Line 6 device in the Sound Playback dropdown menu (This example uses the Guitarport). Select "Output", then select your Line 6 device in the Sound Playback dropdown menu (This example uses the Guitarport). Close the window. Be sure that your speakers and/or headphones are connected to your Line 6 device (rather than the computer's sound card). Ein Line 6 Gerät als Sound Karte für Ihren Mac Computer zuweisen Nachdem Sie Line 6 Monkey und alle nötigen Treiber für Ihr Line 6 Gerät installiert haben können Sie ein USB-Gerät von Line 6 als Sound Karte für Ihren Computer zuweisen. Wenn Sie Probleme bei der Installation von Monkey oder den Treibern haben besuchen Sie bitte folgende Webseiten: Line 6 Monkey: Installation und F.A.Q. Installation von Treibern für Ihr Line 6 Gerät Folgen Sie den anschließenden Anweisungen um Ihr Line 6 Gerät als Sound Karte zuzuweisen: Im Apple Menu, klicken Sie "Systemeinstellungen". Wählen Sie dann "Ton" in der Kategorie "Hardware" aus. Klicken Sie oben "Eingabe" an und wählen Sie dann das Line 6 Gerät aus der Liste. Wir benutzen für unser Beispiel GuitarPort. Klicken Sie dann oben auf "Ausgabe" und wählen Sie wieder das Line 6 Gerät aus. Wir benutzen für unser Beispiel GuitarPort. Schließen Sie das Fenster. Verbinden Sie nun Ihre Lautsprecher und/oder Kopfhörer mit dem Line 6 Gerät anstelle der sirekten Verbindung an Ihren Computer. Assigner un appareil Line 6 comme carte de son de votre ordinateur Mac Si vous avez installé Line 6 Monkey et les pilotes pour votre appareil, vous pouvez assigner votre appareil USB comme carte de son pour votre ordinateur. Si vous avez des problèmes d'installation de Line 6 Monkey ou des pilotes, visitez ces sites: Installation et F.A.Q.: Line 6 Monkey Installation des pilotes pour l'appareil Line 6 Suivez les instructions suivantes pour assigner l'appareil Line 6 come carte de son: Cliquez "Préférences Système…" dans le menu Apple. Cliquez l'icône "Son" dans la catégorie "Matériel". Sélectez "Entrée" et choisissez l'appareil Line 6. Nous utilisons "GuitarPort" pour cet exemple. Sélectez "Sortie" et choisissez l'appareil Line 6. Nous utilisons "GuitarPort" pour cet exemple. Fermez la fenêtre. Assurez-vous que vos haut-parleurs et/ou écouteurs sont connectés à l'appareil Line 6.

Once you have installed Line 6 Monkey and the applicable drivers for your Line 6 device, you will be able to assign your USB capable device as the sound card for your computer. See the following instructions for assigning your Line 6 device as a sound card for your Windows Vista Operating System: 1) Select the "start menu" and select "Control Panel". 2) Select "Classic View" if not already selected, then select "Sound". 3) Select the playback tab, then select your Line 6 device (this example uses a Toneport UX-1), then select "Set Default". 4) Select the Recording tab, select your Line 6 device (this example uses a Toneport UX-1), then select "set as default" (if applicable). Then select "OK". 5) Close the window. Be sure that your speakers and/or headphones are connected to your Line 6 device (rather than the computer's sound card).

Once you have installed Line 6 Monkey and the applicable drivers for your Line 6 device, you will be able to assign your USB capable device as the sound card for your computer. See the following instructions for assigning your Line 6 device as a sound card for your Windows XP Operating System: 1) Select the "start menu". 2) select "Control Panel". 3a) If you Control Panel looks like this, select "Switch to Classic View". 3b) Select "Sound and Audio Devices". 4) Select the center tab labeled "Audio". 5) Select your Line 6 device in the Sound Playback dropdown menu (This example uses the Guitarport). 6) Select your Line 6 device in the Sound Recording dropdown menu (This example uses the Guitarport). 7) Select "Apply". 8) Close the window.? Be sure that your speakers and/or headphones are connected to your Line 6 device (rather than the computer's sound card).

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.

Francais. Deutsch. If you are having trouble with your Line 6 amplifier, please check the following points before taking your amplifier to your local Authorized Service Center: Q: I am noticing that I am getting volume/tone changes when playing at a high volume? A: Try "parking" the knobs (except master volume) at 100% to ensure that the knobs are not moving to the "current" location rather than the preset location. Recall a preset once the knobs are parked to ensure the tone you are working with is a preset rather than the current knob position. Q: My master volume has almost no change past 6? A: This is due to the volume pot installed on all Line 6 amplifiers. A solution to this would be to replace it with an "audio" pot, but this modification wouldn't make it louder - just smoother. Line 6 originally installed audio pots on the AXSYS, but players didn't like them because they made the amp feel "wimpy". Players also did not like the fact that they had to turn the amp up to about 4-5 before it would start "happening" and 7-8 on the gig. Even though there was still a good amount of headroom, player feedback was that they preferred the amplifier with the traditional volume pot, so that is the style used with Line 6 amplifiers. - Perform a factory reset of the unit: Factory Reset Procedures Volume and Signal Troubleshooting - turn off other volume controls not being used (i.e. volume trim pots) - Ensure there is no debris in the CAT-5 or input jacks. - Unplug all other units from the audio chain, as well as any CAT-5 cables and controllers. - Use a high-quality cable you know is functional (i.e. works in a different application) directly into the instrument input, bypassing all other effect units. - Ensure that the guitar/bass is outputting signal. Try the amplifier with another instrument you know is functional (if possible).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. - Ensure that both the positive (white) and negative (black or red) wires are fully connected to the speaker, and that the speaker output from the amplifier is plugged into the correct jack (when applicable). - Check the effects loop (if the amp has one). If you're not getting any signal, try plugging into the RETURN side of the loop to see if there is any output. Likewise, with a source feeding the input, plug the SEND into another line level device to see if you're getting signal. Tone and Rattle Troubleshooting - Check the make sure all buttons on the unit are not stuck - Be sure that all screws on the unit (handle, corners, baffle boards, speakers) are snug. - Ensure that there are no foreign objects (i.e. silicon packs) stuck in the speaker enclosures Q: Are the tone controls on the on a Line 6 amplifier passive or active, and where is the "flat" level? A: Each amp model is different, and the controls behaves like the target amp. Most tube amplifiers will have a passive tone stack with makeup gain. Line 6 tone stacks are designed to behave just like the modeled amp (both the good and the not so good). Some amplifier tone stacks are the closest to flat when set B-0, M-10, T-0, but it is different for each model. Power Troubleshooting - Ensure that there is sufficient power coming from the power outlet into the amplifier. Try a different circuit to ensure there is not a power issue at the outlet. - Make sure that the both ends of the power cable are snug in their sockets. Tube Amplifiers Troubleshooting - Make sure the tube is firmly seated in the tube socket. - If the tube(s) make a popping sound accompanied by intermittent light from tubes, the tube is failing and needs to be replaced. - If there is "white frost" inside the tube, the tube has cracked and it must be replaced. - If there is a "tube" ringing (not due to loose screws), there may be a failing tube. Replace the 12AX7s individually and the matched 6L6 pairs to determine if a tube has failed. 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. Replacing tubes should be done a Line 6 authorized service center. The digital stage and analog tube stages communicate with one another, and so are not like the all analog tube (valve) amps from the 1960's and 70's. As a result, one cannot swap tubes out like in the old days. So please use the following specified tubes (valves) when the amp is taken to a service center. For Spider Valve series amps use the following specified tubes, 12AX7B China for pre-amps. 5881WXT Sovtek (matched pair), with the base cup bottom. 5881WXT Sovtek (matched quartet), with the base cup bottom for the HD-100 and HD100 MkII. For the Alchemist series amps use the following specified tubes, 12AX7EH Electro-Harmonix low microphonic for V1-3 pre-amp positions. 12AX7AC5HG Ruby Tube HG-High Gain for V4. 12AX7B China for V5. 6L6GCMSTR Ruby Tube (matched pair) power amp. For the DT50 series amps use the following specified tubes, 12AX7EH Electro-Harmonix approved for the DT50 pre-amps. EL34EH Electro-Harmonix (matched pairs) for the power amps. For the DT25 series amps use the following specified tubes, 12AX7EH Electro-Harmonix approved for the DT25 pre-amps. EL84EH Electro-Harmonix (matched pairs) for the power amps. Visit your local Line 6 Service Center for servicing a tube amp, as these have High Voltage Shock Hazards. Product Repair Si vous avez des problèmes avec un des amplis Line 6, vérifiez les points suivants avant de retourner l’ampli. J’ai des changements de son si je joue à un volume très fort. Pourquoi ? Laissez tous les boutons sur 100% excepte le Master Volume pour assurer que le bouton ne tourne pas à la position courante mais à la position du preset. Démarrez un preset pour assurer le ton est le propre. Presque rien ne se passe si je tourne le Master Volume passe 6, pourquoi ? C’est à cause du potentiomètre installé dans les amplis Line 6. On pouvait installer un potentiomètre audio qui ne changerait pas le volume. Line 6 a essayé d’installer des potentiomètres audio mais les joueurs ne l’ont pas aimé. Dépannage de volume et signal : Éteignez les autres contrôles volumes comme les potentiomètres Volume Trim. Assurez qu’il n’y en a pas du débris dans les jacks CAT-5 ou entrée. Débranchez tous les autres appareils de la chaine audio aussi bien que tous les câbles CAT-5. Utilisez un câble que vous savez qu’il fonctionne directement dans l’entrée, contournant les effets. Assurez-vous que la guitare ou basse produit un signal. Essayez un autre instrument que vous savez fonctionne. Vérifiez tous les jacks d’entrée et sortie. Essayez l’instrument avec autres micros pour vérifier que ce n’est pas un micro défectueux. Vérifiez les câbles blanc et noir ou rouges connectés au haut-parleur. Vérifiez la sortie du haut-parleur du ampli est branché correctement. Vérifiez la boucle d’effets, si vous ne recevez aucun signal, branchez le dans le RETURN. Avec une source dans l’entrée, branchez le SEND dans le Line In d’un autre appareil pour vérifier le signal. Dépannage hochet et ton : Vérifiez si un des boutons et collé. Toutes les vis doivent être serrées. Assurez vous qu’il n y en a aucun objet étranger dans haut-parleurs. Est-ce que les contrôles sur l’ampli Line 6 sont passifs ou actives ? Et ou est le niveau « flat » ? Tous les modèles sont différents et les contrôles changent pour chaque modèle. La plupart des amplis à tubes sont passives. Le ton des amplis Line 6 sont conçus pour se comporter exactement comme l’ampli modelé. Quelques modèles sont très près de « flat » sur B-01, M-10 et T-0 mais c’est différent pour chaque modèle. Dépannage alimentation: Assurez-vous qu’il y en a assez de courant pour l’ampli. Vérifiez lé prise de courant. Vérifiez le câble et les connecteurs. Dépannage des amplis à lampes : Vérifiez que le tube est bien assis dans la douille. Si le tube fait des sons popping avec de la lumière intermittente. Vous devez remplacer le tube. S’il y en a de gelée blanche dans le tube, vous devez le remplacer. Si le son sonne c’est possible qu’un des tubes est défectueux, remplacez les tubes individuellement. Remplacement des tubes : Remplacez les tubes tous les 12 à 24 mois selon l’usage. Et laissez vérifier/ajuster le Bias d’un centre service Line 6 autorisé. Les tubes de préampli doivent uniquement être changés s’ils sont microphoniques endommagés ou bruyant. Si vous avez des problèmes après toutes ces suggestions, veuillez visiter un centre service Line 6 s.v.p. mais n’oubliez pas la preuve d’achat si vous êtes dans les 12 mois de garantie. Réparation des produits Sollten Sie Probleme mit Ihrem Line 6 Verstärker haben, dann überprüfen Sie bitte erste die Folgenden Punkte bevor Sie sich an ein Line 6 Service Center wenden: Ich kann Ton/Lautstärkeänderungen feststellen wobald ich sehr laut spiele, woher kommen diese? Stellen Sie die Knöpfe, abgesehen vom Master Volume auf 100% um sicherzustellen, dass diese sich nicht zur derzeitigen Position bewegen sondern auf der Position des Presets bleiben. Starten Sie dann ein Preset um zu überprüfen ob der Ton der des Presets und nicht der der derzeitigen Position des Knopfes. Mein Master Volume verändert die Lautstärke beinahe nicht nach 6, warum? Dies liegt am installierten Potentiometer, Line 6 hat in frühen Modellen mal einen Audio Potentiometer ausgetestet aber den Spieler gefiel dieser nicht. Lautstärke und Signalproblembehebung: Schalten Sie andere Lautstärkeregler ab (Trim Pots zum Beispiel). Stellen Sie sicher, dass kein Dreck im CAT-5 Eingang oder anderen Jacks ist. Entfernen Sie alle anderen Geräte und Cat-5 Kabel aus der Kette. Benutzen Sie ein Kabel, von dem Sie wissen dass es funktioniert und schließen Sie es direkt zwiscen Gerät und Instrument, umgehen Sie so alle zusätzlichen Effekte. Stellen Sie sicher, dass Ihr Isntrument ein Signal abgibt. Versuchen Sie falls möglich ein anderes Instrument von dem Sie wissen, dass es funktioniert. Versuchen Sie unterschiedliche Tonabnehmereinstellungen. Stellen Sie sicher, dass das weiße sowie das schwarze bzw. rote Kabel korrekt an den Lautsprecher angeschlossen sind. Überprüfen Sie außerdem den jack des Lautsprechers. Überprüfen Sie den Effects Loop, falls vorhanden. Wenn Sie kein Signal bekommen, dann versuchen Sie diesen in den RETURN zu stecken um zu sehen ob Sie ein Signal bekommen. Genauso sollten Sie auch den SEND in ein anderes LINE IN Gerät stecken. Ton und Rassel Probleme: Überprüfen Sie alle Knöpfe um zu sehen ob einer feststeckt. Überprüfen Sie ob alle Schrauben fest angezogen sind. Stellen Sie sicher, dass keine unerwünschten Objekte im Kautsprecher sind. Ist die Tonsteuerung aktiv oder passiv? Und wo ist die flach Einstellung? Jedes Modell ist unterschiedlich und die Steruerung des Verstärkers verhält sich so wie die des modellierten Verstärkers. Manche Modelle sind sehr flach, wenn sie auf B-01, M-10 und T-01 eingestellt sind, dies trifft aber nicht unbedingt zu da dies auch unterschiedlich ist zwischen den verschiedenen Modellen. Röhrenverstärker Problemlösung: Stellen Sie sicher, dass die Röhren fest im Sockel sitzen. Sollten die Röhren ein Poppen machen und dazu unterbrochen leuchten, dann ist diese kaputt und muss ersetzt werden. Falls weißer Frost in der Röhre ist, dann hat diese en Loch und muss ebenfalls ersetzt werden. Sollte ein Röhre klingeln, könnte es sich auch um eine kaputte Röhre handeln. Ersetzen Sie dann die Röhren einzeln um festzustellen, welche kaputt ist. Röhren ersetzen: Lassen Sie Röhren immer mit passenden Sets alle 12 bis 24 Monate je nach Nutzung ersetzen und lassen Sie den Bias von einem autorisierten Line 6 Service Center überprüfen bzw. anpassen. Vorverstärker Röhren brauchen erst dann ersetzt zu wernden, wenn sie mikrofonisch oder rauschend klingen bzw. beschädigt sind. Sollten Sie dann immernoch Probleme mit dem Verstärker haben besuchen Sie bitte ein Line 6 Service Center. Vergessen Sie aber nicht den Kaufbeleg falls Sie sich noch in den 12 Monaten der Garantie befinden. Produktreparatur

Have you ever had this happen to you? You've spent the afternoon getting all your sounds perfectly tweaked for tonight's gig, but when you get there and start playing, everything sounds really..... not right? Things sound overly bright, but also a little 'woofy', so you have to fix things on the fly as the night goes along and silently curse your amp. The next day, when you set things back up at home, you go back to re-tweak your sounds, and suddenly they sound okay again. Are you going nuts? Have your ears suddenly lost it? Is there a problem with your amp? Don't worry, they're both fine; you've just been bitten by the Fletcher-Munson curves. "What's this?", you ask. "I thought Thurman Munson was a catcher for the Yankees, not a pitcher, (although he hit the curve pretty well) and who the heck is this Fletcher guy?" Well, aside from the fact that the baseball trivia part of your brain is functioning just fine, there's a whole other story going on here. Although it may look a little daunting (especially that graph you see looming below), it's really pretty simple, so just bear with us a moment for the inside poop. Fletcher and Munson were researchers at Bell Laboratories who demonstrated, in 1933, that the human ear (and brain) perceive different frequencies in a shifting manner dependent on level. Their measurements showed that your ear is most sensitive to frequencies in the range of 3-4kHz, and that frequencies above and below those points must be louder, in absolute terms, in order to be perceived as being of equal loudness. They also showed that the amount of increase of loudness in those other frequencies to achieve that perceived equality varies depending on what the overall SPL (Sound Pressure Level), or sound intensity, is in the first place. These discoveries helped kick off a whole new area of study called 'psychoacoustics' and brought you, among other things, that little button on your stereo labeled 'Loudness'. When they mapped our these curves (also known as 'Equal Loudness Contours') they looked something like this: When you look at these curves, you'll notice that when the 3-4 kHz range is at 0dB (or just barely audible), frequencies at 20Hz (about as low as you can perceive a distinct tone) have to be raised over 60 dB (which is 64 times as loud. Remember that decibels are measured on a logarithmic scale, so this is also 1000 times the power) to be perceived as being the same volume. On the other hand, when the base level for our 'home' frequencies is raised to 80dB, the lowest frequencies only have to be raised 10dB (or be twice as loud) to be perceived as being the same volume. Now what does this mean to you as a guitarist? Well, as we alluded to above, you'll notice that the curves flatten out substantially as you get louder. This means that the sounds you tweak up in your living room will have the low and high end boosted substantially (the infamous 'smile curve') to make those frequencies sound equally loud to the midrange frequencies to which you're most sensitive. When you take those sounds that you designed at around 60-70 dB (which is your basic living room, not gonna wake the neighbors or overly annoy the family level) and turn them up to the average 90dB+ stage levels, those same high and low frequencies will suddenly seem overly exaggerated making everything sound simultaneously painfully bright, yet woofy (kinda like a bad wine tasting description). Not only that, but those midrange frequencies (where the fundamental information about just which note you're playing live) are being overwhelmed by that, now excessive, high and low frequency information. So what's a fella to do? Well, if you can manage it without driving everyone crazy, studies have determined that the optimum level for reference mixing (which would apply to sound design as well) is about 85dB. This is loud enough to start flattening out the curve, but not so loud as to seriously hurt yourself (unless you do it for 14 hours straight) Get yourself an inexpensive SPL meter, set it to 'A' weighting (which shoots for the equivalent of the human hearing sensitivity) crank up your amp so you're averaging 85dB, and tweak in your patches. Of course, 85dB is, to put it in easily understandable terms, 'pretty darn loud', so this isn't something you can do a 2 AM when you can't sleep 'cause you're worrying about sounding just right for the next gig. The next best thing is to schedule a rehearsal with the rest of your band where you can crank it up, and make your final tweaks while the rest of the guys are there cracking jokes about obsessive/compulsive guitarists. Your third option, and probably the easiest, is to study the curves above carefully, and remember that if your sound is a little mid-heavy and seems a little bit dull at living room level, it's probably going to be about right when you crank that sucker up live. Here's a potential approach. Next time you're tweaking up a tone or two, make two versions; one that sounds right at living room levels, and one that you think, using the stuff you've learned here, should sound about right at stage levels. When you play live, leave the first one alone, and tweak the second one (if necessary), then go back the next day and compare the two. Pay attention to how they differ from each other. Now try and make a couple more, using the same process. After you've done this a few times, you should be getting a pretty good feel for just what you'll have to do to get 'em right the first time. Presto, you're one step closer to that elusive Ph.D in Tone. Now, if you're the type that really wants to dive in and get some serious information overload, you might want to try going here. This is one of the coolest online reference sites we've found in a long time, courtesy of Campanella Associates, an acoustic consulting firm. It's a fairly complete audio text and tutorial, that will give you more than you thought you needed to know (but not more than you should) about audio, acoustics, and sound.