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    • Line6Tony

      Welcome to the Line 6 forums!

      Hello, Line 6ers. We are pleased to announce the latest incarnation of our community support forums. Feel free to explore and post threads. Our forums are here so that our community members will continue to help one another, partake in respectful, thought-provoking debates and conversations, and forge great relationships.   Line 6 has appointed the Line 6 Experts to moderate the forums, but occasionally, Line 6 staff will post to certain threads. As these are community support forums, please remember that your post is not a direct message to Line 6. If you need to contact our technical staff, please do so at www.Line6.com/support. Also, please submit your product ideas at www.line6.ideascale.com so the community can vote up the best ideas.
      For those who've used our previous forum system, please note that the old forums are archived in a read-only state at http://line6.com/supportarchivenew/ There's still a lot of useful information there.   We'd like to remind everyone that by using our forums, you are agreeing to our Terms of Use, found at http://line6.com/termsofuse.html. Please remember to treat everyone with respect, and expect the same from your fellow community members. We're looking forward to your continued contributions to our community.       Line 6 Customer Support
    • Line6Tony

      What tones do you want Line 6 to build?

      Folks,   Here is where to go to let Line 6 know what tones you are interested in seeing built: http://line6.ideascale.com/a/ideafactory.do?mode=top&discussionFilter=byids&discussionID=47764. We will use your feedback when creating how-to videos and setting presets on our products.   One tone per submission so others can vote on it, please. We encourage you all to submit as many tones as you want, but it doesn't work when you lump them all into one submission. Thanks!       Line 6 Customer Support
    • Line6Tony

      Templates and tones from L6 Tone Made Easy classes

      Tone Made Easy is a series of classes presented by Line 6 that teaches the fundamentals of how to create great guitar tone using basic techniques and equipment knowledge.   For content that you can reference to learn how to become a better sounding guitar player, including the templates that re-create some of your favorite guitarist's tones, go to http://line6.com/tone-templates/.   To learn more about Tone Made Easy and other events, go to http://line6.com/events/.
    • Line6Tony

      "Why is Line 6 not responding???"   10/29/2015

      Friends of Line 6,   We notice that many times, customers ask on our forums "Why is Line 6 not responding???"   Please understand that our forums exist so that our community members can help one another and talk to each other. Our very knowledgeable Line 6 Experts monitor and moderate our forums, and have direct lines to Line 6 staff to report trouble or get useful information, but they are not paid employees of Line 6. Line 6 staff is generally aware of the most sensitive and/or active forum threads, and occasionally will post to certain threads. However, our forum is not the appropriate place to ask Line 6 for a response to your questions. Additionally, sending a private message to a Line 6 staff member does not guarantee a response.   Remember, if you need to contact our technical staff, we welcome you to do so at www.Line6.com/support. Here you can either create a support ticket or call our US or EU staffs.   Also, "Why is Line 6 not responding???" can mean "Why is Line 6 not fixing {insert issue}???" Again, Line 6 staff is generally aware of the most sensitive and/or active forum threads and issues. Please know that once we are aware of a given issue, we have to capture enough data to reproduce and understand the issue, create the resolution for the problem, test it, and make sure that nothing else is broken in the process. Unfortunately, the process takes weeks and sometimes even months, depending on the complexity of the issue, cooperation of other companies, and a variety of other factors. We appreciate your patience during those times, and we'll do even better at providing meaningful communications periodically.   In the end, we, your fellow musicians, truly want to resolve any such issues as quickly as possible so you can get back to making music with your Line 6 gear. We thank you for your patronage and your understanding.       Best Regards,   Line 6
    • Line6Tony

      Warning about downloaded tones, patches and presets   01/11/2016

      Please be aware that downloaded tones, patches and presets that were created by other users have the potential to be corrupted and not work correctly on the target device. Firewall/Antivirus/Internet security applications, Internet/video accelerators and proxy servers, among other things, can be causes of trouble with downloaded files.   If your device freezes, a rule of thumb is to back up your custom patches, reset the unit to its factory state, ensure the unit does not freeze while in this state, then load your patches one by one, testing after each load to determine which patch is faulty.   Otherwise, please contact our Customer Support team at www.Line6.com/support/tickets. Please be prepared to supply your backup file so that we can investigate your case further.

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Found 34 results

  1. Sending Midi program change, bank select and CC69 (snapshot) from Bitwig to Helix often kills the Helix. the display of the helix gets empty/black, and there is no sound any more. Frightening. this didn't happen before, I wonder if it is related to a bitwig or helix update. Using Bitwig 2.3.2, Helix Firmware 2.50.0 and Windows 10.
  2. I finally got my dual switching for the internal HX Looper working - using a One Control Basilisk and looping back the MIDI out to the MIDI IN of the HX using a MIDI Solutions Quadra Merge - but... It appears that Instant Commands are stored at the preset level, not the snapshot level - is that true? Also, it appears footswitch MIDI commands only work when you are in "stompbox" mode? - is that true? Thanks! Steve
  3. I'm using the helix lt to control Loop Community's "prime" application on an Ipad. I'm using the MIDI ports on the helix to do this. I'm wanting to add more stomp buttons to help me have more control. Is it possible to use something like this (https://www.sweetwater.com/store/detail/FSB106Ad1--bugera-fsb106a-6-button-footswitch-for-bugera-trirec) to connect with a TRS cable to the helix's EXP Pedal 2? I'm wanting to still be able to use the helix to control parameters in prime, but I'm also wanting more stomp options. So my first though was just to extend the helix with another pedal. Any thoughts or advice?
  4. Hx Effets : Prg Changes ...

    Hi, Here is what I would like to do : I want my HX effect to send Program changes when I press a switch which is programed to do so, but I don't want each time i recall a preset, that the unit send a PRG CHANGE command according to its number. How can I do that ? In global pref ? Thanks for your help !
  5. Helix and MainStage

    Hi Guys Im having problems using Helix to control MainStage. I have set up Helix to have a preset for each song in my set, I want MainStage to have a playback and metronome click for each preset. I have successfully got Helix and MS synced up so when I change presets it changes patches on MS using an instant command in command centre. I also set up 2 switches on my Helix for each patch, one to turn on the metronome, the other to turn on a playback in MS. That works fine. However when I change presets using the Helix it also immediately fires either the metronome or the playback neither of which I want to happen. Ive tried all sort of combinations in MS but can't seem to stop it happening. Im no expert in midi so maybe my commands are wrong - Im using CC toggle commands for the playback and metronome but have no idea what CC# means so have tried different numbers which does nothing. Then I read on this forum that when Helix sends PC commands it also send all the other commands as well so Im wondering if this is the issue. Any help on this would be appreciated
  6. I put my HX Effects in the loop of my HD500 and use the HD as an I/O, Midi Controller and a few extra effects. Overall it works great, but I want to use the volume pedal block in the HX Effects (it has the taper option)... that is where the problem comes in. I have no problem assigning the EXP1 from my HD to the volume pedal block on the HX... but there is too much latency to make it usable, somewhere around 250ms or so which is not very responsive. Patch changes are instant, as are snapshot changes. I use a short midi cable (3') and have tried two different cables with the same results. In the meantime I just setup a volume pedal block in the HD but I've never liked it because it's linear... I prefer the option of using the Audio (LOG) taper. I could also use an external expression pedal - that seems to work fine, but I'm trying to avoid extra pieces. So - this isn't a big deal as I can work around it... but if anyone has any suggestions about the latency I'd be willing to give it a shot.
  7. PROBLEM: MIDI assignments can not be stored globally. If we want to set up MIDI assignments for several stomp pedals in order to control some device such as iOS loopers or MIDI controlled effects - this has to be done PER PATCH. So this involves a lot of work if one uses several different presets for different sounds. Also one might want to send MIDI CC messages to say an iOS Looper but experiment with different patches. Or a new one. Currently this cannot be done. MIDI assignments have to be done PER PATCH. SOLUTION: Have a special block - linked to a foot-switch which - when turned on - makes some or all of the foot-switches temporarily become MIDI controllers. This would operate much in the similar fashion to how we currently enter or exit the LOOPER mode in the Helix. In this mode each switch would have dedicated scribble-strip names i could customise. If needed - some switches could still be assigned - say to an effect or a snapshot in order that one can make simple sonic changes without leaving the "MIDI mode". https://line6.ideascale.com/a/dtd/MIDI-CONTROLLER-Block-where-all-footswitches-become-MIDI-pedal/802355-23508#idea-tab-comments
  8. Hello all, This is my first post in the community, and I'm wondering where I can learn how to automate my Helix Rack to properly and effectively change presets as well as manipulate the values of individual chain loaded effects. Here is what I'm looking to accomplish with Helix (for live use) and as of right now I know nothing of where to start: I'm running my show with Ableton live 9 lite. I want to use MIDI tracks (envelope automation) in Ableton to change my patches throughout the songs and set, as well as automate the toggling the on/off of stompboxes and delay/reverb swells & ramp-ups of the mix percentage within each patch. All I know is that I need to assign the parameters in which I want to control to the open MIDI CC channels in Helix, but I do not know how to technically achieve this the most effective and proper way. Any input or direction to reading materials on this subject is greatly appreciated. Like i said, I know nothing about this process. Thanks! Nino Lucarelli nlucarelli93@gmail.com ninolucarelli.com/heartsoul
  9. First, connect the FBV via USB to the computer and use the FBV Control software. In the File>Open menu, select the ‘Gearbox’ preset for the FBV. This will store on the FBV automatically. Close FBV Control. Then, start Gearbox with the FBV still connected to the computer. Go to the Edit>Preferences window, and in the ‘MIDI/Control’ tab, select USB Audio Device for MIDI Input. Hit Apply and then, OK. The FBV will now control certain parameters of the program including Wah/Volume sweep and toggling. If you would like to change the behavior of the switches, you should than exit Gearbox and go back to FBV Control once again to assign MIDI CC Toggle messages that correspond with what they want to control in the program. You can reference the chart for Gearbox MIDI CC messages starting on page 2.14 of the following Gearbox MIDI CC Reference Guide: http://line6.com/data/6/0a060b316ac34f0593546810e/application/pdf/MIDI%20Continuous%20Controller%20Reference%20-%20English%20(%20Rev%20F%20).pdf
  10. La version française. Zur deutschen Version. With the latest v2.0 update for the DT25/DT50 amplifiers, you must send MIDI parameters to the amp to change the settings such as the preamp models. Here are the links to the MIDI documentation to reference when programming your MIDI gear to send the proper parameters to control the settings of the DT series amplifiers: http://line6.com/media/dt50/DT50_MIDI_CC_Reference_v2_0_RevA_English.pdf http://line6.com/media/dt50/DT25_MIDI_CC_Reference_v2_0_RevA_English.pdf http://line6.com/media/dt50/DT_MIDIGuide_v2_0_RevA_English.pdf Using the POD HD500/HD500x to Send MIDI Parameters to the DT amplifiers You can use the POD HD500 as a MIDI controller to send MIDI CC parameters to change. Just connect the MIDI OUT from the POD HD500/HD500x to the MIDI IN on the DT amplifier with a MIDI cable. Then, go in the POD HD500/HD500x's MIDI assign screen (by holding the MOVE button for a few seconds) to assign a footswitch to send the desired MIDI parameters to change the settings on the DT amplifier. From here, you need to reference the DT amplifier's MIDI CC reference charts above to assign the proper MIDI CC to a footswitch on the POD HD500/HD500x. For example, on the DT50 amplifiers, sending MIDI CC# 11 with a value of 0-30 will change the assigned HD amp model set to any one of the voicings on Channel A of the DT50. So, if you want to change Voicing I of Channel A on the DT50 amp from the original Fender Blackface to be a Hiway 100 amp model instead, do the following: On any preset (blank or not) on the POD, go to the POD's MIDI Assign screen by holding the MOVE button for a few seconds. We suggest doing this on a blank new preset so that you can use this preset to send these MIDI messages to your DT amplifier. Let's assign Footswitch 1 (FS1) to send MIDI CC# 11 with a value of 003. Press on FS1 so that the arrow is pointing to it in the POD's screen. Turn Knob 1 to select MIDI CH: Base. Turn Knob 2 to select Message: CC. Turn Knob 3 to select CC# 011. Turn Knob 4 to select Value: 003. You can exit the MIDI Assign screen by pressing the View button once. Now, by simply pressing the FS1 footswitch, you will be sending MIDI CC# 11 value 003 to the DT50 amp which will change the Voicing I of Channel A on the DT50 amp from the original Fender Blackface to be a Hiway 100 amp model. Press the Save button once, rename the preset with the knobs below the screen, then press the Save button once again to store these settings to the POD's preset. MIDI CC#11 value 0-30 will change the HD amp model on Channel A of the selected voicing on the DT25/DT50 amp. MIDI CC#12 value 0-30 will change the HD amp model on Channel B of the selected voicing on the DT25/DT50 amp. Here are reference charts for both the DT25 and the DT50 from the MIDI Reference guide to help you set your values when programming MIDI to the switches of the POD HD500/HD500x. MIDI can be assigned to any of the footswitches of the POD HD500/HD500x EXCEPT for the Bank Up and Bank Down switches. Using MIDI OX to send MIDI parameters to the DT amplifiers You can also use MIDI OX software to send the desired MIDI messages to your DT amplifier when using a dedicated MIDI interface connected between your computer set to work with MIDI OX and the DT amplifier's MIDI IN port. In MIDI OX, click on the Send MIDI Controller Messages button to see the following window: You’ll want to use the drop down window to select the desired controller event (as referenced in the documentation above such as MIDI CC# 11 or CC#12, etc.) and then select the value on the right (as in the previous example above, value of 0-30, etc.) then, hit the Send button to send that MIDI message to the DT amplifier. Notice the text by the numbers which are simply part of the standard MIDI spec. These descriptors are irrelevant for the DT amps – again, just look for the number that correlates to the DT parameter you want to send. It also may be confusing that the numbers are not listed sequentially. If you wanted to change the preamp for the current Voicing of channel A you would select number 11 (labeled expression in the MIDI OX drop down) and number 3 (if you wanted to load the Hiway 100 model for example) using the up/down buttons in the field labeled Value. Hit send and the current Voicing on Channel A should be the Hiway 100. Avec la dernière mise à jour 2.0 pour le DT25 et DT50, vous devez transférer des paramètres MIDI pour changer des configurations comme les modèles préamplis. Documentation MIDI : http://line6.com/med...evA_English.pdf http://line6.com/med...evA_English.pdf http://line6.com/med...evA_English.pdf L’utilisation du POD HD500 ou HD500x pour la transmission des paramètres MIDI : Vous pouvez utiliser POD HD 500 ou HD 500x comme contrôleur MIDI pour transmettre des informations MIDI CC. Connectez le MIDI OUT du POD HD500/500x au MIDI IN de l’ampli DT avec un câble MIDI. Dans le menu MIDI Assign (maintenez le bouton MOVE pour quelques secondes) et assignez la fonction MIDI désirée a un des commutateurs au pied pour changer les configurations sur le DT. D’ici, utilisez la référence MIDI CC des amplis DT au-dessus pour assigner des commandes MIDI CC propres à un commutateur au pied POD HD500/HD500x. Exemple : Sur l’ampli DT50, envoyer une commande MIDI CC# 11 avec une valeur de 0 à 30 changera le modèle ampli HD à un des tons sur le canal A du DT50. Donc, si vous voulez changer le ton 1 du canal A sur le DT50 d’un Fender Blackface à un modèle Hiway 100 : Sur un des presets (vide ou pas) sur le POD naviguez dans l’écran MIDI Assign (en maintenant le bouton MOVE pour quelques secondes.) Nous suggérons de faire ca avec un preset vide, comme ca, vous pouvez l’utiliser pour transmettre des commandes MIDI à l’ampli DT. Assignez Footswitch 1 (FS1) la commande MIDI CC# 11 avec une valeur de 003. Cliquez FS1 (la flèche doit pointer au FS1 sur l’écran du POD). Tournez le bouton pour sélectionner MIDI CH : Base. Tournez-le pour sélectionner Message : CC. Tournez-le pour sélectionner CC# 011. Tournez-le pour sélectionner Value : 003. Quittez l’écran MIDI Assign avec le bouton View. Poussez FS1 pour envoyer la commande MIDI CC#11 avec valeur 003 à l’ampli DT. Cette action changera le ton 1 du canal A sur le DT de Fender Blackface à Hiway 100. Poussez le bouton Save, renommez le preset avec les boutons dessous l’écran et poussez Save encore une fois pour enregistrer les configurations. MIDI CC#11 avec une valeur de 0 à 30 changera le modèle ampli HD sur canal A du ton sélecté sur l’ampli DT25/DT50. MIDI CC#12 avec une valeur de 0 à 30 changera le modèle ampli HD sur canal B du ton sélecté sur l’ampli DT25/DT50. Tableaux de référence : Vous pouvez assigner MIDI à tous les commutateurs à pied sur le POD HD500/HD500x sauf les commutateurs Bank Up et Bank Down. L’utilisation de MIDI OX pour envoyer des paramètres MIDI aux amplis DT : Vous pouvez utiliser le logiciel MIDI OX pour transmettre des paramètres MIDI à votre ampli DT si vous utilisez une interface MIDI connecté à votre ordinateur et le MIDI IN du DT. En MIDI OX, cliquez « Send MIDI Controller Messages » pour voir cet écran : Utilisez le menu déroulant pour sélecter la commande, comme MIDI CC#11 ou CC#12. Après, vous pouvez sélecter la valeur sur le côté droit. (Une valeur de 0 à 30). Cliquez « Send » pour transmettre le paramètre à votre ampli DT. Ici vous pouvez voir les descriptions a côté des nombres, ignorez-les. Cherchez le nombre que vous voulez configurer sur le DT. Exemple : Si vous voulez changer le préampli du ton sélectez sur canal A, vous sélectez #11 (le texte dit que c’est « Expression » mais ignorez ca.) et 3 dans le menu « Value » si vous voulez le Hiway 100. Seit der neusten Aktualisierung 2.0 für die DT25 und DT50 Verstärker müssen Sie MIDI Parameter and den Verstärker senden um Eisntellungen wie Vorverstärkermodelle zu verändern. Quellen zur MIDI Programmierung: http://line6.com/med...evA_English.pdf http://line6.com/med...evA_English.pdf http://line6.com/med...evA_English.pdf MIDI Parameter per POD HD500/HD500x übertragen: Sie können das POD HD500 als MIDI Controller verwenden um MIDI CC Parameter zu übertragen. Schließen Sie dazu den MIDI OUT Ausgang des POD HD500/500x an den MIDI IN Eingang am DT Verstärker mit einem MIDI Kabel an. Öffnen Sie dann das MIDI Assign Menu auf dem POD indem Sie den MOVE Knopf gedrückt halten um hier nun einen Fußschalter zuzuweisen, der dann die MIDI Parameter and den DT Verstärker versendet. Von hier an sollten Sie das oben erwähnte Referenzmaterial verwenden um die korrekten MIDI Parameter auf den Fußschalter zuzuweisen. Zum Beispiel: Wenn Sie vom POD die MIDI Parameter MIDI CC#11 mit einm Wert von 0 bis 30 an den DT Verstärker verschicken, wird das ausgewählte HD Verstärkermodell auf einen der Töne des Kanals A vom DT50 umstellen. Was also bedeutet, dass wenn Sie Voicing 1 des Kanals A auf dem Verstärker vom original Fender Blackface auf einen Hiway 100 umstellen wollen, machen Sie folgendes: Von irgendeinem Preset aus, öffnen Sie das MIDI Assign Menu indem Sie den MOVE Knopf gedrückt halten. Wir empfehlen, dass Sie einen freien Preset Slot verwenden, sodass Sie weiterhin von diesem Slot aus die MIDI Parameter versenden können. Verwenden wir nun Fußschalter 1 (FS 1) um die Parameter MIDI CC#11 mit Wert 003 zu versenden. Drücken Sie dazu auf den FS1 sodass der Pfeil auf den POD Bildschirm zeigt. Drehen Sie dann Knopf 1 um MIDI CH: Base auszuwählen. Drehen Sie an Knopf 2 um Message: CC auszuwählen. Drehen Sie an Knopf 3 um CC#011 auszuwählen. Drehen Sie an Knopf 4 um Value: 003 auszuwählen. Jetzt können Sie das Fenster verlassen indem Sie den View Knopf drücken. Nun können Sie, indem Sie FS1 drücken, die zugewählten MIDI Parameter an den Verstärker senden, was in unserem Fall dazu führt, dass Voicing 1 auf Kanal A auf das Hiway 100 Modell umgestellt wird. Drücken Sie den Save Knopf. Bennen Sie das Preset mit den Knöpfen unter dem Bildschirm um und drücken Sie dann wiederum Save um alle Einstellungen auf dem Preset abzuspeichern. MIDI CC#11 Wert 0-30 verändert das HD Verstärker Modell auf dem gewählten Voicing des Kanals A des DT Verstärkers. MIDI CC#12 Wert 0-30 verändert das HD Verstärker Modell auf dem gewählten Voicing des Kanals B des DT Verstärkers. Hier noch Listen der MIDI Parameter als Referenz: MIDI Parameter mit MIDI OX versenden: Sie können auch die MIDI OX Software verwenden um MIDI Parameter an den DT Verstärker zu schicken. Dazu benötigen Sie eine MIDI Schnittstelle für Ihren Computer, den Sie dann an den MIDI IN des Verstärkers anschließen, sowie an Ihren Computer. Klicken Sie im MIDI OX Fenster auf Send MIDI „Controller Messages“. Folgendes Fenster öffnet sich: Verwenden Sie dann das Dropdown Menu um den gewünschten MIDI CC# auszuwählen. Wählen Sie dann einen Wert aus auf der rechten Seite und klicken Sie den „Send“ Knopf. Achtung, im Dropdown Menu werden den Zahlen verschiedene Texte zugewiesen. Ignorieren Sie diese einfach. Die Beschreibungen sind hier irrelevant. Suchen Sie nach der Nummer und wählen Sie diese aus. Die Zahlen Sind außerdem nicht immer geordnet. Wenn Sie also das Voicing des Kanals A einstellen wollen, wählen Sie Nummer 11. Nummer 11 hat bei uns zum Beispiel die Beschreibung „Expression“, die uns aber nicht weiter interessiert. Außerdem wählen Sie die Nummer 3 im „Value“ Feld. Klicken Sie dann „Send“. Das derzeitige Voicing des A Kanals sollte nun auf Hiway 100 gestellt sein.
  11. Update Instructions: All Spider Valve Mk II 112, 212 and HD100 amplifiers can be updated using an FBV MkII Express, FBV MkII Shortboard, or via MIDI with a USB to MIDI interface as follows: Connect your FBV MkII to your Spider Valve MKII using a standard FBV cable. Connect your FBV MkII to your computer using a standard USB cable. Launch Line 6 Monkey on your computer. Select your Spider Valve MKII as the connected device if it isn't automatically selected. Select the Flash Memory line item and click "Update Selection". Please also refer to the following FAQ for further update details: http://line6.com/support/page/articles/_/amplifiers/spider-ivspider-online/updating-the-spider-iv-75-120-150-150hd-us-r319 ***Please note: You MUST register your Spider Valve Mk II amp, and the FBV MkII Express or FBV Shortboard MkII in order to proceed with the update. Updating Note: Updating firmware does not erase User Presets. To return the amp to its factory settings, which includes restoring original User Presets and Amp Model Defaults, press the "A" Channel button on power up, then press the "Presets" encoder.
  12. DT50/DT25: FAQ

    Zur deutschen Version. La version française. Please read through the DT50/DT25 Terminology FAQ first, to familiarize yourself with the terms that will be referenced here. Application Q: Are there any presets on the DT50/DT25 amplifier in the manner of previous Line 6 amps? A: No. The DT50/DT25 behaves like a traditional amp where the user simply dials in a tone to the WYSIWYG (what you see is what you get) functionality. Q: Are the DT50/DT25 amplifiers Mono(phonic)? A: As with most tube amplifiers, yes. Q: Which type of amp modeling is using with the DT50/DT25? A: Line 6's newest HD amp models (same as our new POD HD). Q: How does the power amp tubes contribute to the DT50/DT25's sound? A: The EL34's (DT50) or EL84's (DT25) are the main source of distortion in the amp. The guitar signal is actually being amplified at every progressive stage in the circuit, but the power tubes are the first to truly "clip" and provide the distortion that most tube amp devotees desire. Q: How does the modeling of the DT50/DT25 contribute to the overall tone? A: In the DT50/DT25's "normal mode", the modeling performs the function of the preamp: mating the digital preamp with the analog power amp so the whole system creates the sound of the amp modeled. This is different than our previous Spider Valve amps, where we modelled the entire amp model (pre-amp and power amp) and then fed that signal through the output tube power section. In "low power mode" (pulling the master volume switch out on the DT50 or on the DT25 flipping the switch on the back panel), the digital modeling section will assume duties for the power amp section and the Master Volume has been scaled so that you can have the sound of a driven power amp at lower monitoring volume levels. If you turn the master volume knob all the way up in this mode, you will have Spider Valve-like tones behavior (where the pre and power amp software modeling signal is pushing the EL34 or EL84 tubes). In both Normal and Low Power modes, cabinet modeling is applied to the output signal fed to the power tubes. When using a POD HD device connected via L6 Link, you must use the default cabinet model that is recalled on the POD HD 'pre' amp model when using the L6 Link connection with the DT amp to get the same type of sound as using the DT amplifier by itself with the same amp model. Lastly, when using Low Volume Mode on the DT amp with a POD HD connected via L6 Link, the sound of a 'Pre' amp model selected on the POD preset will sound slightly different if an identical amp model is selected on the DT amplifier (on Channel B ). This is because when using the Low Volume Mode on the DT amp with L6 Link, Channel A on the DT amp with the POD modeling is still using the just the PRE amp model with the scaled Master Volume knob, whereas Channel B on the DT amp uses the preamp AND power amp modeling with the scaled Master Volume. The inclusion of the power modeling is what makes it sound differently. Q: What is the difference between the DT25 and the DT50 amplifier? A: The DT25 operates at 25 watts maximum output using two (2) EL84 power tubes vs. the EL34's found in our DT50's. Otherwise, it is essentially the same as its big-brother, the DT50. For more info, please check the new product page for the DT25 here. DT50/DT25 Voicings Switch I – Negative Feedback Loop (NFL) setting is high; channel control behavior much like that of a West Coast American amp of the 1960’s. Recommended settings: Class AB & Pentode. II – NFL is medium; channel control behavior much like that of a classic British amp of the 1960’s known for it's "glassy" yet warm tones. Recommended settings: Class AB & Pentode. III – Zero Negative Feedback Loop operation (a very open/dynamic feeling amp); channel control behavior much like that of a “chime-like toned” British amp of the 1960’s. Recommended settings: Class A & Pentode (clean) or switch to Triode (for rounder, more vintage feel). IV – NFL is low in value, with an added low frequency resonance ideally suited for modern high-gain voicing; channel control behavior much like that of a more recent West Coast American amp of the 1990's. Recommended settings: Class AB & Pentode. Class A & Class AB Switch Class A: Cathode biased. Provides the player with more dynamic with touch sensitivity. DT50 operates at 25 watts. DT25 operates at 10 watts. Class AB: Fixed biased. Provides greater headroom and power than Class A. DT50 operates at 50 watts. DT25 operates at 25 watts. Pentode & Triode Switch Pentode: Clearer tone and more headroom. Triode: Rounder tone, less output and more vintage feel. L6 Link L6 LINK is a proprietary Digital Audio connection developed for exclusive connection between the POD HD series modeling processors and the DT50/DT25 amplifier(s). Do NOT connect any other sort of analog audio device that appears to have a standard 3-pin (XLR) connector to the L6 LINK, as damage will occur. Connect a digital XLR cable (AES/EBU cable) from the POD HD L6 LINK jack directly to the DT amp’s L6 LINK IN jack. Most XLR cables should provide sufficient performance, but use a digital XLR (AES/EBU) cable for best performance and signal to noise ratio. Specifications DT50 Specifications DT25 Specifications Q: Is there a chart for the amp models of the DT series amps and the POD HD series? A: Yes, there is a .pdf document with this information here. *Please note, most of the amp models on the DT series are only accessible via MIDI. Please reference the following document for information on accessing these models: Using MIDI to Change Amp Settings on the DT50/DT25 Amplifiers Q: What speakers are used the DT50/DT25 amps? A: DT50/DT25 112 Combo has the Celestion custom G12H90 12” speaker. DT50 212 Combo has a Celestion custom G12H90 12” and a Celestion Vintage 30 12” speaker. Q: What tubes ship in the DT50/DT25 amps? A: DT50: Electro-Harmonix 12AX7 preamps tubes (2) and Electro-Harmonix EL34 power tubes (2). DT25: Chinese-branded 12AX7 preamp tube (1) and Electro-Harmonix EL84 power tubes (2). Q: What is the Bias Spec on the DT50's EL34 power tubes? A: 36 mV +/- 1 mV. Q: What is the Bias Spec on the DT25's EL84 power tubes? A: 25 mV +/- 3 mV. Q: What Line 6 controllers work with the DT50/DT25? A: Any of the POD HD series units. They utilize the new proprietary L6 Link (3-pin) digital connection to control amp topology settings in Channel A to whatever parameters are set in the active POD HD patch. There is a jack labelled for "Footswitch" on the back of the amp to allow for switching between Channel A and B. Please use a "tip-sleeve" (mono 1/4") latching-type footswitch to use this feature. Setup/Connection Q: Is there a headphone output on the DT50/DT25 series? A: No. Q: Is there a bias switch to change the power tubes to 6L6’s or other tube types? A: No, the DT50/DT25 series do not offer bias-switchable options and were designed to operate with the EL34 (DT50) or EL84 (DT25) power output tubes. Q: Can I run my DT50/DT25 without a speaker load? A: No! You should always run a tube amplifier with a speaker load present. Please follow the properly load connection requirements as silkscreened on the back of the amplifier chassis. Q: Will installing casters on a DT50/DT25 112 or 212 combo chassis void my warranty? A: No, correctly installed casters will not void the warranty. However, if you are not 100% sure on how to correctly install casters, please take your amp to a qualified amp/service technician and have them install the hardware. We do NOT cover damage caused to the amplifier from an incorrect installation! *** Here is a link to one of our Forum Members (MDinice) who was kind enough to share a template for Ernie Ball type casters: http://line6.com/community/thread/57744?tstart=0 (the template is also available at the bottom of this document). Known-Issues 12AX7 Preamp Tube Swapping: If you decide to swap out different 12AX7 preamp tubes, do NOT use anything labeled “LP” (Long Plate) for the first preamp tube stage (labeled as V3), as “LP” labeled tubes are extremely microphonic. Q: How do I control the v2.0 update features of the DT25/DT50 amplifier using MIDI? A: We have created a document to help with sending MIDI to your DT amplifier to control the various additional features of the v2.0 update. Please see the following document for these instructions: Using MIDI to Change Amp Settings on the DT50/DT25 Amplifiers Also, here is a link with information on troubleshooting tube amplifiers: Troubleshooting Your Tube Amp Bitte lesen Sie sich zuerst DT50/DT25 Terminology FAQ durch um sich mit den Begriffen bekannt zu machen, die im folgenden Dokument Verwendung finden. Gibt es Presets auf dem DT25/DT50, so wie auf anderen Line 6 Verstärkern? Nein, die DT25/DT50 Verstärker verhalten sich genau wie traditionelle Verstärker. Sind die DT25/DT50 Verstärker Mono? Ja, so wie die meisten Röhrenverstärker. Welche Art Verstärkermodelierung wird bei den DT25/DT50 angewandt? Wir verwenden sie neusten Line 6 HD Verstärkermodelle. (wie im POD HD) Wie tragen die Röhren zum Sound der DT25/DT50 bei? Die EL34 (DT50) und EL84 (DT25) sind die Hauptquelle für die Verzerrung des Verstärkers. Das Signal wird nach und nach im Verstärker verstärkt, aber die Röhren haben hier den größten Einfluss. Sie liefern den ersehnten Verzerrungston, den die meisten Röhrenverstärker haben. Wie trägt das Modelling der DT25/DT50 zum Sound bei? Im „Normal“ Modus übernimmt das Modelling die Funktion des Vorverstärkers. Es führt die digitale Vorverstärkung mit der analogen Endstufe zusammen um den modellierten Sound zu erreichen. Bei unseren alten Spider Verstärkern, im Gegensatz, haben wir den gesamten Verstärker modelliert und dieses Signal durch die Röhren geschickt. Im „Low“ Modus übernimmt das digitale Modelling die Arbeit der Endstufe und der Master Volume Knopf ist so skaliert, dass Sie den Ton einer aufgedrehten Endstufe auch bei niedrigen Abhörlautstärken erreichen. Wenn Sie den Master Volume Knopf hinten gegen drehen erhalten Sie einen Sound der ähnlich klingt wie die Spider Valve Verstärker. In beiden Modi wird das Cab Modelling in den Ausgang gespeist, direkt in die Röhren. Wenn Sie ein POD HD Gerät verwenden, welches via L6 Link verbunden ist, müssen Sie das standard Cab Modell benutzen, welches auf dem POD HD Vorverstärker Modell ist wenn Sie es mit L6 Link an den DT Verstärker anschließen. So erhalten sie den gleichen Ton, den Sie erhalten würden, wenn Sie den DT Verstärker allein mit diesem Modell verwenden würden. Außerdem wird der Ton im „Low“ Modus auf dem DT, wenn dieser per L6 Link an einen POD HD angeschlossen ist und Sie ein Vorverstärkermodell auswählen auf dem POD, etwas unterschiedlich klingen als wenn Sie das Modell sofort auf dem DT auf Kanal A auswählen. Das kommt daher, dass wenn Sie den „Low“ Modus auf dem DT mit L6 Link verwenden der Kanal A auf dem DT mit POD Modelling immer noch nur das Voverstärker Modell mit skaliertem Master Volume verwendet während Kanal B auf dem DT Voverstärker UND Endstufe modelliert. Was ist der Unterschied zwischen DT25 und DT50? Der DT25 hat maximal 25 Watt mit seinen zwei EL84 im Gegensatz zu den EL34 im DT50 mit maximal 50 Watt. DT 50 und DT 25 Stimmungen: I – Negative Feedback Loop (NFL) eingestellt auf High. Die Kanalkontrolle verhält sich wie bei einem West Coast American Verstärker aus den 60er Jahren. Empfohlene Eisntellungen: Class AB & Pentode. II – NFL ist auf Medium eingestellt. Die Kanalkontrolle verhält sich wie ein klassischer britischer Verstärker der 60er Jahre. Empfohlene Eisntellungen: Class AB & Pentode. III – Zero Negative Feedback führt zu einem sehr dynamischen und offenen Verstärkersound. Die Kanalkontrolle wirkt wie bei einem britischen Verstärker der 60er Jahre. Empfohlene Einstellungen: Class A & Pentode oder Triode. IV – NFL auf niedriger Einstellung: Zusätzliche Tieffrequenzresonanz für den modernen High-Gain. Die Kanalkontrolle wirkt wie bei einem neueren West Coast American Verstärker der 90er Jahre. Empfohlene Einstellungen: Class AB & Pentode. Class A & Class AB Schalter: Class A: Gittervorspannung (Cathode Bias). Dynamischerer und empfindlicher. DT 50 läuft hier mit 25 Watt und DT 25 mit 10. Class AB: Fixed Bias: Mehr Headroom als in Class A. (DT50 läuft auf 50 Watt und DT25 auf 25). Pentode & Triode Schalter: Pentode: Klarerer Ton und mehr Headroom. Triode: Runderer Ton mit weniger Ausgangssignalstärke und Vintage Gefühl. L6 Link: L6 Link ist eine Digitale Audio Verbindung von Line 6. Entwickelt exklusiv für den Verbindungsaufbau zwischen POD HD und DT25 sowie DT50 Verstärkern. Verbinden Sie KEIN anderes Gerät mit XLR Anschluss mit L6 Link. Dies kann Schäden hervorrufen. Stecken Sie ein XLR Kabel (AES/EBU) in den POD HD L6 LINK Ausgang und das andere Ende in den Jack Eingang des DT Verstärkers. Die meisten XLR Kabel sollten ausreichend Performance liefern. Sie können aber auch ein digitales XLR Kabel verwenden um die beste Performance zu erreichen. Spezifikationen: DT50 Specifications DT25 Specifications Gibt es seine List der Verstärkermodelle für die Verstärker der DT Serie? Ja. Es gibt ein pdf Dokument hier. Achtung, die meisten Vorverstärkermodelle für die DT Serie können nur via MIDI erreicht werden. Nutzen Sie dazu folgendes Dokument: Using MIDI to Change Amp Settings on the DT50/DT25 Amplifiers Welche Lautsprecher warden im Verstärker verwendet? Im DT50 und DT25 112 Combo sind Celestion Custom G12H90 12“ Lautsprecher installiert. Die DT50 212 Combo hat auch einen 12“ Celestion Custom und zusätzlich einen Celestion Vintage 30 12“. Welche Röhren Sind in den Verstärkern eingebaut? DT50: Electro-Harmonix 12AX7 Voverstärker Röhren. (2 Stück) Sowie Electro-Harmonix EL34 Röhren. (2 Stück) DT25: Eine 12AX7 Voverstärker Röhre aus chinesicher Herstellung sowie zwei Sovtek EL84 Röhren. Was ist die Voreinstellung der DT50 EL34 Röhren? 36mV +/- 1mV. Was ist die Voreinstellung der DT25 EL84 Röhren? 25mV +/- 3,V Welche Line 6 Steuerungen funktionieren mit den DT25 und DT50? Alle POD HD Geräte. Diese Geräte verwenden die neue, digitale L6 Link Verbindung um Kanal A auf die Einstellungen im derzeitigen POD HD Patch zu setzen. Auf der Rückseite ist ein „Footswitch“ Jack, um zwischen Kanal A und B zu wechseln. Wenn Sie dieses Feature verwenden wollen, schließen Sie bitte einen TS Mono (1/4“) Fußschalter hier an. Gibt es einen Kopfhörerausgang am DT25/DT50? Nein. Gibt es einen Vorspannungsschalter um die Röhren auf 6L6 oder andere Röhrenarten aumzuschalten? Nein, die DT25/DT50 Verstärker sind für den EL34/EL84 Gebrauch entworfen. Kann ich die DT25/DT50 ohne Lautsprecherlast verwenden? Nein! Sie sollten Röhrenverstärker niemals ohne angeschlossenen Lautsprecher verwenden. Bitte folgen Sie den Belastungsvorschriften auf der Rückseite des Gerätes. Erlischt meine Garantie, wenn ich Rollen an meine DT50/DT25 112 oder 212 Combo installiere? Nein, bei korrekt installierten Rollen bleibt die Garantie bestehen. Sollten Sie jedoch nicht 100% sicher sein wie Sie die Rollen installieren sollen, sollten Sie die Installation von einem qualifizierten Techniker durchführen lassen. Line 6 deckt keine Schäden, die durch falsche Installation von Rollen entstehen. Eines unserer Forenmitglieder MDinice hat netterweise eine Vorlage hochgeladen für die Installation von Ernie Ball Rollen: http://line6.com/support/thread/57744?tstart=0 Bekannte Probleme: Austausch der 12AX7 Vorverstärker Röhren: Verwenden Sie keine Long Plate „LP“ Röhren, da diese extrem mikrofonisch sind. Wie kann ich die neuen Funktionen des 2.0 Updates auf dem DT25/DT50 Verstärker per MIDI kontrollieren? Wir haben ein Dokument erstellt um Ihnen dabei zu helfen: Using MIDI to Change Amp Settings on the DT50/DT25 Amplifiers Und hier noch ein Link mit Informationen zur Fehlerbehebung bei Röhrenverstärkern: Troubleshooting Your Tube Amp Avant de lire ce document familiarisez-vous avec les termes utilisés: DT50/DT25 Terminology FAQ Est-ce qu’il y en a des presets sur les amplis DT25 et DT50 comme pour les autres amplis Line6 ? Non. Le DT25/DT50 se comporte comme un ampli traditionnel. Est-ce que les amplis DT25/DT50 sont monophoniques ? Oui, comme la plupart des amplis a lampes. Quelle modélisation d’ampli est-ce que le DT25/DT50 utilise ? Las modélisation HD la plus nouvelle de Line 6. (Comme notre nouveau POD HD) Comment est-ce que les lampes contribuent au ton de l’ampli ? Les EL34 (DT50) et EL84 (DT25) sont la source primaire pour la distorsion de l’ampli. Le signal de la guitare est amplifié à chaque étape progressive dans le circuit mais les lampes sont les premiers de distordre que la plupart des fidèles d'amplis à tubes désirent. Comment est-ce que la modélisation du DT25/DT50 contribue au ton de l’ampli ? En mode normal du DT25/DT50, la modélisation fonctionne comme le préampli. Il connecte le préampli digital avec l’ampli de puissance analogue pour créer le son d’ampli désiré. C’est différent de nos amplis Spider Valve. Pour ces amplis, nous avons modélisé tout le ampli (préampli et ampli de puissance) et dérivent ce signal à la sortie de l’ampli de puissance à lampes. En mode « low power », la modélisation digitale assumera les fonctions de l’ampli de puissance et le bouton Master Volume est modifié : Un son qui ressemble un ampli de puissance avec une haute entrée qui peut être écouté avec un volume faible du moniteur. Si vous tournez le bouton Master Volume au maximum, vous recevez des tons Spider Valve (le logiciel de modélisation du ampli et préampli utilise les lampes EL34 et EL84). En modes « Low Power » et « Normal » la modélisation est appliquée au signal de sortie envoyé à l’ampli de puissance à lampes. Si vous utilisés un POD HD connecté avec L6 Link vous devez utiliser le modèle de baffle par défaut de du modèle préampli sur le POD HD si vous utilisez une connexion L6 Link avec l’ampli DT pour recevoir le même son si vous utilisez l’ampli DT par lui-même. Finalement, l’ampli a un mode « Low Volume » s’il est connecté à un POD HD via câble L6 Link. Le ton d’un modèle préampli sélecté sur le preset POD sonnera légèrement différente si un modèle identique est sélecté sur l’ampli DT sur canal A parce que en mode Low Volume, canal A sur le DT utilise seulement le modèle préampli avec le bouton Master Volume modifié et canal B sur le DT utilise la modélisation préampli ET ampli de puissance avec le bouton Master Volume modifié. L’inclusion de la modélisation du ampli de puissance est la différence ici. Quelle est la différence entre le DT25 et le DT50 ? Le DT25 a 25 watt maximum et 2 lampes EL84 et le DT50 e 50 watts maximum avec des lampes EL34. Trouvez le DT25 ICI et le DT50 ICI. DT50/DT25 Voicings Switch : I – La configuration de la boucle de rétroaction négative est sur HIGH. Le contrôle du canal fonctionne un peut comme un ampli West Coast American des années 1960. Configurations recommandés : Class AB et Pentode. II - La configuration de la boucle de rétroaction négative est sur MEDIUM. Le contrôle du canal fonctionne comme un ampli anglais classique des années 1960. Configurations recommandés : Class AB et Pentode. III – Aucune boucle de rétroaction négative. Un ampli dynamique Configurations recommandés : Class A Pentode ou Triode IV - La configuration de la boucle de rétroaction négative est sur LOW avec une résonance de fréquence basse pour les tons modernes à haut gain. Le contrôle canal fonctionne comme un des plus nouveaux amplis West Coast American des années 90. Configurations recommandés : Class AB et Pentode. Class A & Class AB Switch: Class A: Cathode bias. Fournit le joueur avec plus de dynamique et de la sensibilité de toucher. Le DT50 fonctionne à 25 watts et le DT25 à 10 watts. Class AB : Fixed biased. Fournit plus d’hauteur de niveau maximum de l’entrée et plus de puissance que Class A. Le DT50 fonctionne à 50 watts et le DT25 à 25 watts. Pentode & Triode Switch : Pentode : Du son clair et beaucoup d’hauteur de niveau d’entrée. Triode : Son ronde avec une sensation vintage. Moins de niveau. L6 Link L6 Link est une connexion Digital Audio propriétaire de Line 6 développé pour une connexion exclusive des produits de Line 6 avec Line 6 Link. Ne connectez pas un autre appareil analogue avec un connecteur XLR standard au Line 6 Link. Dommage se produira. Connectez un câble XLR digital (AES/EBU) du POD HD jack L6 LINK directement dans le L6 LINK IN de l’ampli DT. La plupart des câbles XLR offrent des performances suffisantes mais vous pouvez utiliser un câble XLR digital pour une performance meilleure. Spécifications : Spécifications du DT50 Spécifications du DT25 Est-ce qu’il y en a une table pour les modèles des amplis DT et des POD HD ? Oui, Il y en a un document pdf. ICI. Attention, une plupart des modèles sont uniquement accessibles via MIDI. Consultez ce document pour plus d’informations sur l’accès de ces modèles: Using MIDI to Change Amp Settings on the DT50/DT25 Amplifiers Quels haut-parleurs est-ce que vous utilisez avec les amplis DT25/DT50? Nous installons des Celestion Custom G12H90 12’’ dans la DT50/DT25 112 Combo et Un Celestion Custom G12H90 12’’ avec un Celestion Vintage 12’’ dans la combo DT50 212. Quels tubes est-ce que vous utilisez ? DT50 : Deux tubes Electro-Harmonix 12AX7 préampli et deux tubes Electro-Harmonix de puissances EL34. DT25 : Un tube 12AX7 préampli chinois et deux tubes de puissances Sovtel EL84. Quel est la polarisation sur les EL34 dans le DT50 ? 36mV +/- 1mV Quel est la polarisation sur les EL84 dans le DT25 ? 25mV +/- 3mV Quels contrôleurs Line 6 fonctionnent avec le DT50/DT25 ? Tous les appareils POD HD. Ils utilisent la nouvelle connexion digitale L6 Link pour contrôler les configurations an canal A. Il y en a un jack « Footswitch » à l’arrière de l’ampli pour changer entre canal A et B. Utilisez un commutateur au pied contact 2 points (mono 1/4") de type verrouillage. Est-ce qu’il y en a une sortie casque sur les DT25/DT50 ? Non. Est-ce qu’il y en a un commutateur pour changer les tubes en 6L6 ou autres types ? Non les DT25/DT50 n’ont pas une fonction pour changer le type du tube. Le DT25/DT50 a été conçu pour les tubes EL34 et EL84. Est-ce que je peux utiliser l’ampli sans impédance sur la sortie (c'est-à -dire un haut-parleur) ? Non! Vous devriez toujours utiliser un amplificateur à tube avec un haut-parleur présent. Suivez les instructions de raccordement indiqué sur l'arrière du châssis de l'amplificateur. Seront l’installation de roulettes sur mon DT50/DT25 annuler ma garantie? Non, roulettes correctement installés ne seront pas annuler la garantie. Mais si vous n'êtes pas certain à 100% de comment installer les roulettes correctement, prenez votre ampli à un technicien ampli / service qualifié pour faire installer le matériel. Nous ne couvrons pas les dommages causés à l'amplificateur à cause d’un montage incorrect! MDinice, un membre de notre forum a eu la gentillesse de partager un modèle de roulettes de type Ernie Ball : http://line6.com/support/thread/57744?tstart=0 Problèmes connus : Si vous voulez échanger les 12AX7 tubes du préampli, n’utilisez pas les tubes LP (Long Plate) pour la première partie du préampli (V3). Les tubes LP sont très microphoniques. Comment est-ce que je peux contrôler nouveaux fonctions de la mise à jour V2.0 de l’ampli DT25 et DT50 via MIDI ? Nous avons crées un document pour vous aider avec la communication MIDI avec l’ampli DT pour contrôler les fonctions de la mise à jour 2.0 : Using MIDI to Change Amp Settings on the DT50/DT25 Amplifiers Informations sur le dépannage des amplis à tubes: Troubleshooting Your Tube Amp
  13. Below is a list of current compatible and released apps that can be used with MIDI Mobilizer. MIDI Memo Recorder MIDI Surface MIDI Live Pianist Pro bs-16i S1MIDI Trigger Little MIDI Machine NLog MIDI Synth NLogSynth PRO Music Studio NanoStudio StepPolyArp
  14. MIDI Mobilizer (I & II) FAQ

    MIDI Mobilizer II™ Specifications MIDI Mobilizer II™ Quick Start Guide Q: What is the difference between MIDI Mobilizer II and the original MIDI Mobilizer™? A: MIDI Mobilizer II provides support for CoreMIDI, which is the Apple® standard for MIDI on iOS Devices. It works on iPhone 4S, iPhone 4, iPhone 3GS, iPad, iPad 2, iPod Touch 4th Generation and iPod Touch 3rd Generation models. The original MIDI Mobilizer is still the perfect choice for older-generation Apple® iOS devices. It’s compatible with all generations of iPhone, iPad and iPod Touch, for the 50 Apps that have been written to support MIDI Mobilizer. MIDI Mobilizer does not support CoreMIDI. Q: Will CoreMIDI support be added to the original MIDI Mobilizer™? A: No, this is not possible for technical reasons. The original MIDI Mobilizer lacks hardware needed to communicate to the iOS Device via USB on the 30-pin dock connector, as is required for CoreMIDI interfaces. Q: What is MIDI Mobilizer™? A: MIDI Mobilizer is a MIDI interface that connects your MIDI gear to any Apple iDevice. It was the first of its kind and still lets you play, record, and backup MIDI information any time, any place on the most portable platform ever. Q: What iOS app do you use with the MIDI Mobilizer and MIDI Mobilizer II hardware? A:. There are 50 apps that support the original MIDI Mobilizer. Many apps support Apple's CoreMIDI standard, with more coming all the time and they all work with MIDI Mobilizer II. In addition, Line 6 publishes the app MIDI Memo Recorder (free at the Apple App Store™) that allows an iDevice to play and record any MIDI data it receives via a MIDI Mobilizer or MIDI Mobilizer II. It can capture musical ideas on a keyboard, save sounds or settings from an effects unit, or backup any MIDI device's data. Once inside an iDevice, a MIDI recording is stored as a Standard MIDI File (SMF) which includes all performance information (notes, controllers, pedals, pitch bend, after touch, etc.) as well as any special System Exclusive (SysEx) information (usually the parameter values of a keyboard or effect unit's sounds and settings. You can email any recorded MIDI file, or move files to or from your computer via iTunes File Sharing. Q: What apps can I use with the new MIDI Mobilizer II? A: Any CoreMIDI app available on the App Store™ will work with MIDI Mobilizer II and that includes synths, samplers, sequencers, control surfaces, lighting controllers, and many other kinds of apps that may even surprise you. Here are a few of our favorites. Q: Are MIDI Mobilizer and MIDI Mobilizer II compatible with the iPad? A: Both the original MIDI Mobilizer and the MIDI Mobilizer II are officially compatible with the iPad and iPad 2, and so is the MIDI Memo Recorder app. Q: Are MIDI Mobilizer and MIDI Mobilizer II compatible with iPhone 4S? A: Each Line 6 iOS accessory lists the Apple models that it's been certified compatible with. While none have been certified for iPhone 4S yet, and we can't officially claim support, our customers informally report that they all work fine. However, iPhone 4S users should be aware that Mobile In and MIDI Mobilizer II communicate with the iOS device using USB Host Mode, and some 4S customers have reported that USB Host Mode accessories from any manufacturer (not just Line 6) may affect wifi and 3G performance – so you may want to consider using Airplane Mode. Q: What are some compatible devices? A: A list of compatible Line 6 devices that will work with MIDI Mobilizer or MIDI Mobilizer II is available in the "Using MIDI Mobilizer with Line 6 Products" section of the Advanced User Guide. In this section you will learn how to backup your patches, scenes, and bundles via SysEx. Q: What connection does MIDI Mobilizer have with Planet Waves? A: Planet Waves provided the high-quality MIDI cables that are included with MIDI Mobilizer and MIDI Mobilizer II. Planet Waves was also a key partner in the initial development of software for the original MIDI Mobilizer, and participated with Line 6 at Apple's Worldwide Developer Conference presentation in June, 2009. Q: How do MIDI Mobilizer and MIDI Mobilizer II connect to my iDevice? A: MIDI Mobilizer and MIDI Mobilizer II plug into the 30-pin connector on the bottom of your iDevice. Two Planet Waves cables (each with a 2.5mm 3-conductor jack on one end, and a standard MIDI 5-pin DIN jack on the other) connect MIDI Mobilizer or MIDI Mobilizer II to the external MIDI device of your choice. Q: How can I use MIDI Mobilizer to back up the settings of my Line 6 gear? A: Most Line 6 products with MIDI In and MIDI Out jacks can back up and restore their settings via SysEx commands. Please download your product's user manual for specific explanations of this process. Q: What MIDI data can the MIDI Memo Recorder app record? A: MIDI Memo Recorder will capture and record all MIDI data that can be stored within a Standard MIDI File, which includes all performance information (notes, controllers, pedals, pitch bend, after touch, etc) as well as any System Exclusive data (usually the parameter values of a keyboard or effect unit's sounds and settings). It does not record System Real Time messages (which include Active Sensing, MIDI Timing Clock and Start/Stop/Continue), as these are not part of the Standard MIDI File format. All received MIDI messages are time-stamped to an accuracy of one millisecond (1/1000 second) in order to preserve very accurate timing for all MIDI events. Q: How many Memos can I have in MIDI Memo Recorder? A: Virtually unlimited. Since the iDevices have very large amounts of memory, and since MIDI data is very small, running out of room is nearly impossible. MIDI Memo Recorder makes it easy to rename, reorder and delete Memos in order to keep your information organized. You can also offload your Memo recordings to a computer via email or via iTunes File Sharing. Q: Can I copy a MIDI file from my computer into MIDI Memo Recorder? A: This can be accomplished via iTunes File Sharing with the MIDI Memo Recorder app. Alternatively, you can simply play any MIDI file out your computer's MIDI interface directly into MIDI Mobilizer or MIDI Mobilizer II, and record the data in our MIDI Memo Recorder app as a new MIDI Memo. This will capture and time-stamp all of the data, and the app can also play it back exactly as it was received. Q: Can I use MIDI Memo Recorder without MIDI Mobilizer? A: The MIDI Memo Recorder app will run without MIDI Mobilizer or MIDI Mobilizer II attached to your iDevice, but it won't be possible to send and receive MIDI data (as this requires a hardware MIDI interface). MIDI Memo Recorder will temporarily display a message that no MIDI Mobilizer is connected, but after dismissing this message you can use all of MIDI Memo Recorder's other functions: emailing, renaming, moving, or deleting Standard MIDI Files (MIDI Memos). Q: Will the MIDI Mobilizer or MIDI Mobilizer II™ work with the Line 6 KB37? A: No. The MIDI Mobilizer and MIDI Mobilizer II send and receive MIDI messages only on standard 5-pin MIDI cables. By contrast, KB37 doesn't have standard 5-pin MIDI In and MIDI Out jacks; it uses MIDI over USB instead. Q: Can the MIDI Mobilizer or MIDI Mobilizer II™ reflash my Line 6 device (i.e. Vetta, PODxt, etc.)? A: No. While the MIDI Mobilizer or MIDI Mobilizer II can backup patch bundles and store MIDI data, the MIDI Mobilizer or MIDI Mobilizer II cannot install flash memory to a Line 6 device. Q: Is it possible to import Standard MIDI Files (SMF) into the MIDI Memo Recorder app through the MIDI Mobilizer or MIDI Mobilizer II™ as you would a MIDI SysEx file? A: SMF's can be moved between computer and iDevice via iTunes File Sharing with the MIDI Memo Recorder app. Alternatively, you can simply play the SMF out your computer's MIDI interface and directly into MIDI Mobilizer or MIDI Mobilizer II, and record the data in our MIDI Memo Record app as a new MIDI Memo. Q: I thought MIDI Mobilizer was for editing Variax® and Vetta™ II settings? A: The first prototype of the original MIDI Mobilizer was shown as a proof of concept at the Apple's Worldwide Developer Conference in June, 2009. This demonstration showed that this type of product could be used to control sound settings, such as selecting Variax models or Vetta II presets. After the presentation, we received requests to provide MIDI functionality that could be used by all MIDI gear. The result is the MIDI Memo Recorder app, which can be used to record and playback any MIDI messages from any MIDI product. Although the specific Variax and Vetta II editing features proposed in the demo are not part of this app, all of the control capabilities are still possible via a Mac or PC with the software applications Line 6 Edit and Variax Workbench.
  15. For those getting started with a POD Studio GX/UX1/UX2 device and following through the Ableton Live Lite 7 tutorial, there has been some inquiries of confusion regarding page 5/12 in the starting tutorial. There is reference to the Line 6 Audio-MIDI Controller Mapping preferences menu page; if you continue reading down the tutorial, you'll see that this particular section refers to setting up a Line 6 KB37 (UX2 + MIDI keyboard controller) for Ableton MIDI CC mapping assignment. The POD Studio GX/UX1/UX2 is not a MIDI controller device whatsoever; the only two parameters that appear in the Audio-MIDI menu are for Footswitch 1 & 2 assignments only. The inclusion of this content is specific to KB37 owners wishing to try out Live Lite 7. We apologize for any confusion in the documentation to POD Studio GX/UX1/UX2 new users.
  16. Français Deutsch Explained below is a definition of the Line 6 Audio-MIDI Control Panel. It explains and defines the function of each setting within the application. The "Driver" tab Driver Operating at: The "Driver operating at:" status actually shows the sample rate and bit depth of the data going through the USB cable and the hardware. For X3, the hardware always runs at 48000 Hz, 24 bit regardless of what the driver is doing, so you'll always see 48k, 24bit. From the Gearbox Manual page 3.4 Driver Operation indicator: TonePort & GuitarPort devices - Displays what sample and bit rate the current device is operating at(or with no text if not in use). Note: POD XT devices do not utilize this feature and therefore no text will appear here when a PODxt is the selected device. These devices run at a fixed sample rate which is why you'll see the Sample Rate Converter light always on when viewing the Control Panel with a POD XT device connected. The POD XT is always converting from the custom rate to it's fixed sample rate. Similarly, the SRC light will always be on for X3, unless you're running the driver at 48kHz. Lock Format: The "Lock Format" check box affects two things. 1)All WDM applications 2)The hardware sample rate, if it isn't already locked by the hardware (like X3 or XT). From the Gearbox Manual page 3.4 Lock Driver Format: When checked, this forces the Line 6 audio driver to operate at the Sample and Bit rate settings entered in the two fields below (as opposed to following the sample rate requested by a host audio application). Note: Lock Format doesn't affect the ASIO driver. All sample rates will still work for ASIO even if Lock Format is checked. With TonePort devices, Lock Format will lock that hardware to the given sample rate. If ASIO software asks for a different sample rate, our driver will perform the necessary Sample Rate Conversion. ASIO Settings: The ASIO Settings section are the displayed settings of what you are actually running your ASIO driver at. From the Gearbox Manual page 3.3/3.4 ASIO Client: If you are running audio software that is using this Line 6 device as its ASIO sound card, the name of the software will appear here. If not in use by an ASIO software, none is displayed here as shown. Default Buffer Size: The ASIO buffer size in use. Note this field is only active when in use by an ASIO application. As your audio software documentation will likely tell you, the ASIO Buffer Size will affect the responsiveness and latency of the audio. The lower the setting, the faster the response, but with the trade-off of higher processor usage and the risk of audio dropouts. Raise the value if you are getting inconsistent playback or recording in the audio software. Basically, 512 is generally a good average setting.* Default Bit Depth: The ASIO bit depth in use. Note this field is only active when in use by an ASIO application. It is best to use the highest bit rate your ASIO software will support to ensure high quality audio. Sample Rate Converter: TonePorts support 44.1 and 48 kHz sample rates natively. Some TonePorts also support 88 and 96 kHz sample rates by way of an internal sample rate converter. This indicator lights up to show you when this converter is active, which can be any time your ASIO software is requesting a different sample rate than what your device natively supports. TonePort UX8 supports 44.1, 48, 88.2 and 96 kHz sample rates natively, meaning that these sample rates are not converted. The Inputs and Recording tab: From the Gearbox Manual page 3.5: Input Source Select:* This is a mirrored control for the Source Select within the GearBox application where it allows the user to select which physical input is used on the device. Note that this control is ONLY selectable when the GearBox software is not in use by the current device. When GearBox is in use, it remains grayed out, but displays the current Source that is selected within GearBox. When Gearbox is not in use by the selected Line 6 device, this Input Source Select, like the Source Select in the GearBox application, offers a list of input options. GuitarPort and PODxt devices are always fixed to only route their instrument 1 /4 input signal into GearBox. When a GuitarPort or PODxt is the selected device, this Input Source Select list offers only Instrument as the source. F.A.Q. zur Line 6 Audio-MIDI Steuerung: Im Folgenden sind die Funktionen des Line 6 Audio-MIDI erklärt: Der "Driver" Reiter: Driver Operating at: Der "Driver Operating at:"Status zeigt Ihnen die Samplerate und Bitauflösung der Daten an, die durch das USB Kabel und die Hardware gehen. Für das X3, die Hardware läuft immer auf 48kHz, 24bit egal was der Treiber macht also wird Ihnen immer 48kHz, 24bit angezeigt. Aus dem GearBox Benutzerhandbuch, Seite 3.4: Driver Operation Anzeige: TonePort und GuitarPort Geräte: Anzeige der Samplerate und Bitauflösung des derzeit angeschlossenen Gerätes (oder ohne Text wenn es nicht benutzt wird). Achtung, PODxt Geräte benutzen diese Eigenschaft nicht und somit wird dann auch kein Text angezeigt, wenn ein PODxt ausgewählt wird. Diese Geräte laufen mit einer festgesetzten Samplerate, deshalb wird das Sample Rate Converter Licht immer an sein wenn Sie die Steuerung mit einem PODxt Gerät öffnen. Das PODxt wird immer von der benutzerdefinierten Samplerate auf seine festgesetzte Samplerate konvertieren. So wird das SRC Licht auch immer bei einem X3 angeschaltet sein außer Sie lassen den Treiber auf 48kHz laufen. Lock Format: Das Lock Format Kontrollkästchen beeinflusst zwei Dinge: Alle WDM Programme. Die Hardware Samplerate, sofern diese nicht von der Hardware festgesetzt ist. Aus dem GearBox Benutzerhandbuch, Seite 3.4: Lock Driver Format: Wenn diese Option angekreuzt ist, wird der Line 6 Audiotreiber dazu gezwungen mit der unten eingegebenen Samplerate und Bitauflösung zu arbeiten. Im Gegensatz zur Einhaltung der Samplerate die vom Audio Programme angefordert wird. Achtung, Lock Format beeinflusst nicht den ASIO Treiber. Alle Sampleraten werden weiterhin für ASIO funktionieren auch wenn Lock Format angekreuzt ist. Mit TonePort Geräten wird Lock Format die Hardware auf die angegebene Samplerate fixieren. Wenn ASIO Software nach einener anderen Samplerate fragt wird unser Treiber die nötige Konvertierung vornehmen. ASIO Settings: Die Sektion der ASIO Settings zeigt alle Einstellungen des ASIO Treibers an die tatsächlich laufen. Aus dem GearBox Benutzerhandbuch, Seite 3.3/3.4: ASIO Client: Wenn Sie eine Audio Software benutzen, die das Line 6 Gerät als ASIO Soundkarte verwendet, wird der Name der Software hier erscheinen. Wenn es nicht mit ASIO Software verwendet wird, wird hier "none" stehen. Default Buffer Size: Die ASIO Buffergröße in Benutzung. Achtung, dieses Feld ist nur dann aktiv, wenn es mit einem ASIO Programm benutzt wird. Die ASIO Buffergröße wird die Reaktionsfähigkeit und Latenz des Tons beeinflussen. Je tiefer diese Einstellung, umso schneller die Resonanz. Dies führt jedoch zu einer höheren Prozessorauslastung und man riskiert Audio Aussetzer. Erhöhen Sie diesen Wert wenn Sie einen unbeständigen Ton in Ihrer Audio Software erhalten. Am Allgemeinen ist 512 eine gute, durchschnittliche Einstellung. Default Bit Depth: Die ASIO Bitauflösung in Benutzung. Achtung, dieses Feld ist nur dann aktiv, wenn es mit einem ASIO Programm benutzt wird. Am besten benutzen Sie die höchste, von Ihrer ASIO Software unterstützte, Bitauflösung um eine hohe Audioqualität zu gewährleisten. Sample Rate Converter: TonePorts unterstützen von Haus aus 44.1 und 48kHz Sampleraten. Manche TonePorts unterstützen sogar 88 und 96kHz Sampleraten anhand eines internen Konverters. Diese Anzeige leuchtet auf um Ihnen zu zeigen, dass dieser Konverter aktiv ist. Dies kann jederzeit geschehen, wenn Ihre ASIO Software eine unterschiedliche Samplerate erfordert als die, die Ihr Gerät nativ unterstützt. TonePort UX8 unterstützt 44.1, 48, 88.2 und 96kHz Sampleraten, was bedeutet, dass keine Kovertierung stattfindet. Der Input and Recording Reiter: Aus dem GearBox Benutzerhandbuch, Seite 3.5: Input Source Select ist eine Spiegelung des Source Select des GearBox Programmes, welches Ihnen die Möglichkeit gibt, den physischen Eingang, der auf Ihrem Gerät genutzt werden soll, auwählen zu können. Achtung, diese Eisntellung ist nur dann auswählbar, wenn die GearBox Software derzeit nicht von einem Gerät benutzt wird. Wenn diese von einem Gerät in Benutzung ist, wird die Einstellung grau bleiben aber Ihnen die derzeitige Quelle anzeigen, die im GearBox ausgewählt ist. Wenn GearBox nicht von einem Gerät in Benutzung ist, dann können Sie hier, wie beim Source Select der GearBox Software eine Liste von Eingangsoptionen benutzen. GuitarPort und PODxt Geräte sind immer festgesetzt, um ausschließlich den "Instrument" 6.35mm Eingang ins GearBox zu nutzen. Wenn also ein GuitarPort oder PODxt das ausgewählte Gerät ist dann hat diese Input Source Select Liste nur eine Option, "Instrument". TonePort UX8 hat einen größeren Satz Optionen, schauen Sie sich dazu den Inputs & Recordings Reiter an. Panneau de configuration Line 6 Audio-MIDI: F.A.Q. Explications des options du Line 6 Audio-MIDI: Le tab Driver: Driver operating at: Le statut "Driver operating at:" vous montre la fréquence d'échantillonnage et la profondeur de bits des données traversant le câble USB et le hardware. Pour le X3, le hardware est toujours à 48000 Hz, 24bit n'importe quoi le pilote fait. Vous voyez toujours 48k, 24bit. Retiré de la page 3.4 du manuel d'utilisation Gearbox: Indicateur Driver Operation: Appareils TonePort & GuitarPort: Affiche la fréquence d'échantillonnage et la profondeur de bits à laquelle l'appareil fonctionne. (Aucun texte si l'appareil n'est pas en cours d'utilisation.) Attention, les appareils PODxt n'utilisent pas cette option donc aucun texte n'apparaît si un appareil PODxt est connecté. Ces appareils fonctionnent à une fréquence d'échantillonnage fixée donc la lumière "Sample Rate Converter" est toujours allumée si un appareil PODxt est connecté. Le PODxt toujours convertit la fréquence personnalisée à sa fréquence fixée. De même façon, la lumière SRC est aussi toujours allumée avec un appareil X3, sauf vous exécutez le pilote à 48kHz. Lock Format: La case à cocher "Lock Format" affecte deux choses: Toutes les applications WDM. La fréquence d'échantillonnage du hardware si ce n'est pas fixé par le hardware (comme X3 ou XT). Retiré de la page 3.4 du manuel d'utilisation Gearbox: "Lock Driver Format": Si coché, cette option force le pilote Line 6 de fonctionner à la fréquence d'échantillonnage et profondeur de bits entrés ci-dessous. Contrairement à l'utilisation de la fréquence d'échantillonnage demandé par l'application audio. Attention, Lock Format n'affecte pas le pilote ASIO. Toutes les fréquences d'échantillonnage fonctionnent même si Lock Format est coché. Pour les appareils TonePort, Lock Format verrouille le hardware à la fréquence d'échantillonnage donné. Si le logiciel ASIO demande une fréquence d'échantillonnage différente, notre pilote effectue la conversion de fréquence d'échantillonnage nécessaire. ASIO Settings: La section ASIO Settings affiche les réglages vous exécutez le pilote ASIO réellement. Retiré de la page 3.3/3.4 du manuel d'utilisation Gearbox: ASIO Client: Si vous exécutez un programme qui utilise l'appareil Line 6 comme carte de son ASIO, le nom du logiciel apparais ici. S'il n'est pas utilisé d'un logiciel ASIO, "none" sera affichée ici. Default Buffer Size: Ce montre la taille de buffer ASIO en utilisation. Cet espace est seulement active si utilisé par une application ASIO. Cette taille de buffer ASIO affectera la réactivité et latence du audio. Abaissement de cette option améliore la réactivité mais l'utilisation du processeur augmente et on risque le décrochage du son. Augmentez ce valeur si vous recevez du audio inconsistant dans le logiciel audio. Normalement, 512 est un réglage bon moyenne. Default Bit Depth: Ce montre la profondeur de bits ASIO en utilisation. Cet espace est seulement active si utilisé par une application ASIO. Utilisez le plus haut réglage que votre logiciel ASIO soutient pour garantir une haute qualité audio. Sample Rate Converter: Les TonePorts soutiennent les fréquences d'échantillonnage 44.1 et 48kHz nativement. Certains TonePorts soutiennent 88 et 96kHz aussi avec un convertisseur de fréquence d'échantillonnage interne. L'indicateur s'allume si ce convertisseur est active, que peut-être n'importe quand votre logiciel ASIO demande une fréquence d'échantillonnage différente que laquelle votre appareil soutient nativement. Le TonePort UX8 soutient les fréquences d'échantillonnage 44.1, 48, 88.2 et 96kHz nativement que veut dire que ces fréquences d'échantillonnage ne sont pas converties. Le tab Inputs and Recording: Retiré de la page 3.5 du manuel d'utilisation Gearbox: Input Source Select: C'est un réglage reflète du Source Select dans l'application GearBox, ce réglage vous permet de sélecter quel entrée physique est utilisée sur l'appareil. Attention, ce réglage est seulement sélectionnable si le logiciel GearBox n'est pas en cours d'utilisation de l'appareil. Si GearBox est en cours d'utilisation, il reste grisé mais affiche la source actuelle du GearBox. Si GearBox n'est pas en cours d'utilisation, cette sélection vous offre une liste des options d'entrées. GuitarPort et PODxt sont fixés ici, ils font passer seulement le signal d'entrée 6.35mm "Instrument" dans le GearBox. Donc, si un GuitarPort ou PODxt est l'appareil choisis, cette liste Input Source Select a uniquement "Instrument" comme source. Le TonePort UX8 a un nombre plus vaste des options. Veuillez visiter le tab Inputs & Recording.
  17. GearBox: MIDI CC Reference Chart

    Q: Can I change presets via a MIDI Continuous Control (CC) in the Gearbox program? A: No, but you can control most of the other functions in gearbox by referring to the GearBox Continous Control (CC) MIDI list attached to this document. You will need to know how to program your external MIDI Control device control knob/swtich to the corresponding MIDI CC value for the parameter GearBox you wish to control. gearbox midi cc.pdf
  18. Deutsch Français Q: How do I access the tuner? Spider Tuner FAQs Q: How do I save the Artist/Song presets from the Spider III/IV into the user banks so I can access those presets from my FBV series controller? A: Hold the desired Channel button (A B C D) for two seconds, then use the four-way arrow selector to choose the bank (number) and location (A, B, C or D) where you want to save the preset to. Select the channel button again, and you will see a rapid flash on the channel light to show the preset has been saved. Q: How do I operate the "boost" on the Spider series amplifier? Spider I, II, and III: The Spider Distortion Boost is activated by holding down the “tap tempo” button while rotating the “drive” control above the 12 o'clock position. The B light will illuminate to indicate that the boost is active. Spider IV: The boost feature can be edited by pressing the presets encoder, then using the right/left function on the four-way arrow selector to select “boost”. You can then activate the feature, increase or decrease the amount of boost (up to 8 db), and select “pre” and/or “post”. This can be activated from the FBV Shortboard MK II by the “fucntion 1” button, and the Effect Loop button the FBV Shortboard (Mk I). Q: How do I operate the Noise Gate on the Spider series amplifier? Spider III: Press and hold Tap as you turn the Reverb knob up past twelve o’clock, and you turn on a built-in Noise Gate, which helps to cut down on hiss and noise. When you do this, the Channel D LED comes on to indicate that the Gate is on. Spider IV: The Noise Gate feature can be edited by pressing the “presets” encoder, then using the right/left function on the four-way arrow selector to select “gate”. You can then choose from “Off”, “Gate”, “Noise Reduction”, or “Gate + Noise Reduction”. Use the up/down arrows to select Threshold and Decay, which are adjustable with the Presets encoder. Q: Is there a way to control the amount of effect mix repeats the delay effect makes? Spider I, II, and III: we decided to remove some of the editing capabilities and make it as simple as possible. In addition, we wanted to make it as affordable as possible, and removing some of the edit features was one of the ways that we were able to keep the cost lower. This being the case, you cannot change the delay feedback rate on the Spider. Spider IV: The delay repeats (feedback) can be edited by pressing the presets encoder, turning to “FX3”, the using the up/down arrows to “FdBk”. You can then increase or decrease the amount of feedback by turning the preset encoder, as well as the delay time and mix. Q: Every time I switch to a certain amp model the delay comes on - how can I stop this? Spider I, II, and III: When you select an Amp Model, the Spider automatically sets its tone controls and effects to match that Amp Model. You can disable the auto-FX selection (but not tone control auto-selection), by powering up Spider with the Channel D/Insane button held. Be aware that the auto-selection is re-enabled next time you power up. If you absolutely never want to hear a particular effect (such as delay), you can turn the SmartFX knob to 'Off', then press and hold a channel button until it blinks, and you've saved a new version of the sound, without any effects. Spider IV: The Auto effect feature can be enabled by pressing the presets encoder, then using the right/left function on the four-way arrow selector to select “autoFX”. You can then activate the feature, as well as turn the tap light on/off and set the timer for the display backlight. Q: Why does the tap tempo light always blink? Can I turn the tap tempo light off? Spider I, II, and III 75-150: The tap tempo light shows the tempo of the delay, even if the delay is not active. There is no way to disable the tap tempo light on the Spider I, II, or III Series amplifiers. Spider IV 75-150: The tap tempo light is assignable to the modulation and delay effects, and shows the tempo of the assigned effect. The tap feature can be enabled by pressing the presets encoder, then using the right/left function on the four-way arrow selector to select your effect, then using the up/down arrow to locate “tap”. The tap feature can be enabled or disabled by turning the “presets” encoder, then using the right/left function on the four-way arrow selector to select”setup”. You can then use the up/down arrows to locate “Taplite”, and de-activate the tap light feature by turning the preset encoder. Q: Can I connect my Spider series combo amp (i.e. 15, 30, 75, 120) to an external speaker cabinet? A: No, as there is no external speaker jack to power an external cabinet. The Spider series 150 combo amplifier does have two 8 ohm external speaker outputs that will mute the internal speakers when engaged. See the following link for more cabinet connection information: Line 6 Head and Cabinet Connections Q: How can I record direct the Spider series amp signal directly into a computer? A: You can use the headphone jack as a direct line out to record your Spider series amplifier into any line input on your computer's sound card or audio interface. For sound card connection, you will need a cable with one male stereo 1/4" jack on one end-to plug into the headphone jack of the Spider, and a male 1/8" stereo mini jack-like (the kind on Ipod type headphones) to plug into the sound card. This will work for most computer sound cards, as they often have 1/8" stereo mini inputs and outputs. If you have an audio interface or a professional sound card that have multiple 1/4" inputs, you will need a cable with one male 1/4" TRS (stereo) jack on one end, and two male 1/4" mono jacks on the other end (commonly known as an “insert cable”) to create a stereo image. Take care in setting the output level on your amp: adjust the master volume to get the cleanest and most noise-free sound when the volume control on the toolbar of your computer is on full, with the volume control on your computer speakers set to normal, reasonable listening levels. If you set the output level on your amp too high, the sound will be undesirably distorted. Set it too low and the sound will be noisy. All you need then is some sort of recording software, of which there are many options available. Q: Is there a way to use the POD-Style Out (headphone) jack without disabling the speakers? A: There is no supported way to run both the speakers and the headphone jack at the same time. Q: Can I use an external effects pedal or processor with a Spider series amplifier? A: Effects pedals will almost always work well in front of the Spider series amplifiers. Just be certain that the output level of the external effect is not set too high as it could overload the input of the Spider. Most rack-mount processors are designed for line level use and often don't sound quite right when connected to the front of an amplifier. Q: Can I use a MIDI controller with a Spider amp? A: The Spider series amplifiers do not have MIDI In or Out connections, but the Spider Valve Mark II does have MIDI jacks. We recommend that you use the correct Line 6 controller with your Spider series amplifier. Q: Do any of the Spider Series amplifiers have an effects loop? A: The Spider series (I, II, III, IV) amplifiers are not equipped with an effects loop, but the Spider Valve (I or II) series does have an effect loop. Q: Can I edit/backup my Spider sounds on my computer? A: The Spider IV series amplifier can be edited with the Spider IV Edit Software. The previous Spider series (I, II, III) tone editing must be done on the face of the unit, as there is no computer editor for the earlier Spider series. See the following link for more information on the Spider Edit software: Spider IV Edit (v1.02) FAQs Q: Which controller will work with my Spider series amp? Controller compatibility chart Q: Where can I get replacement knobs/speakers/logos for my Spider amplifier? Line 6 Store Wie kann ich auf den Tuner zugreifen? Spider Tuner FAQs Wie kann ich die Artist/Song Presets auf dem Spider II/IV in eine Bank abspichern, sodass ich es per FBV Controller ansteuern kann? Halten Sie dazu denn Knopf des gewünschten Kanals für 2 Sekunden gedrückt und benutzen Sie dann den 4-Weg Schalter um Bank und Position auszuwählen. Drücken Sie dann den Kanalknopf noch einmal. Das LED des Kanals soltle blinken, wenn dies passiert wurde das Preset gespeichert. Wie funktioniert der Boost auf meinem Spider Verstärker? Spider I, II und III: Halten Sie den Tap/Tempo Knopf gedrückt während Sie den Drive Knopf hinten gegen drehen. Das B Licht wird dann angehen um anzuzeigen, dass Boost eingeschaltet ist. Spider IV: Drücken Sie Presets und benutzen Sie dann die rechts und links Pfeile um Boost auszuwählen. Hier können Sie Boost dann aktivieren, Boost erhöhen oder verringern (bis zu 8db) sowie Pre oder Post auswählen. Diese Funktion kann aktiviert werden vom FBV Shortboard MkII aus. Drücken Sie dazu den Function 1 Knopf. Beim FBV Shortboard MkI müssen Sie den Effect Loop Knopf drücken. Wie bediene ich Noise Gate? Spider III: Halten Sie Tap gedrückt während Sie den Reverb Knopf hinten gegen drehen. Dies schaltet das Nosie Gate ein um Rauschen und Zischen zu unterdrücken. Außerdem schlatet sich das Kanal D Licht ein um Ihnen anzuzeigen, dass Noise Gate eingeschaltet ist. Spider IV: Noise Gate kann auf dem Spider IV bearbeitet werden. Drücken Sie den Presets Knopf und wählen Sie dann mit den rechts links Pfeilen Gate aus. Hier können Sie sich dann zwischen Off, Gate, Noise Reduction oder Gate + Noise Reduction entscheiden. Benutzen Sie dann die rauf runter Pfeile um Threshold oder Decay auszuwählen. Diese beiden Einstellungen können Sie dann auch bearbeiten anhand des Preset Knopfes. Gibt es einen Weg, die Menge des Repeats des Effect Mixes, der vom Delay Effekt erzeugt wird zu kontrollieren? Spider I, II und III: Um die Geräte so eifnach wie möglich zu halten, haben wir verschiedene Bearbeitungseinstellungen entfernt. Sie können leider die Delay Feedback Rate nicht einstellen. Spider IV: Drücken Sie den Preset Knopf. Drehen Sie dann aux FX3 und anhand der rauf runter Pfeile wählen Sie FdBk aus. Hier können Sie die Rate, Zeit des Delays und Mix dann selbst einstellen. Wiese blinkt das Tap Tempo Licht? Kann ich es abschalten? Spider I, II und III: Das Licht zeigt das Tempo des Delays an, auch wenn dieser nicht aktiv ist. Sie können dies leider nicht abschalten. Spider IV 75-150: Das Tap Tempo Licht können Sie manuell der Modulation und dem Delay Effekt zuweisen. Es zeigt dann das Tempo des zugewiesenen Effekts an. Drücken Sie dazu den Presets Knopf, benutzen Sie dann die rechts links Pfeile um Ihren Effekt auszuwählen und dann die rauf runter Pfeile um Tap zu finden. Tap kann hier mit dem Presets Knopf an oder ausgeschaltet werden und per rechts links Pfeile können Sie dann Setup auswählen. Benutzen Sie denn die rauf runter Pfeile um Taplite zu finden. Mit dem Preset Knopf können Sie jetzt das Licht an oder ausschalten. Kann ich mein Spider Combo an eine externe Box anschließen? Nein, es sind keine Ausgangsjacks vorhanden, um Boxen anzuschließen. Das Spider 150 Combo hat zwei 8 Ohm Ausgänge, die die internen Lautsprecher stumm stellen, wenn angeschlossen. Line 6 Head and Cabinet Connections Wie kann ich das Ausgangssignal meines Verstärkers direkt in den Computer spielen? Sie können den Kopfhörerausgang als Line Out benutzen und an einen Stereo In Ihres Computers anschliessen, wie z.B. eine Soundkarte oder eine Audio Schnittstelle. Für die meisten Soundkarten brauchen Sie ein Kabel mit ¼“ männlich für an den Verstärker zu 1/8“ männlichen für an den Computer. Dies wird für die meisten Computer funktionieren, da der größte Teil der Soundkarten einen 1/8“ Eingang haben. Wenn Sie eine Audio Schnittstelle oder eine professionelle Soudkarte haben, die mehrere ¼“ Eingänge haben, dann brauchen Sie ein 1/4“ x2 mono zu ¼“ x1 stereo um Stereo Audio zu erhalten. Achten Sieaber bitte auf das Ausgangslevel des Verstärkers, Sie können so den Master Volume einstellen denn wenn dieser zu hoch eingestellt ist, dann wird der Sound verzerrt und wenn er zu niedrig ist, dann wird der Sound rauschen. Zu guter Letzt brauchen Sie dann noch eine Aufnahmesoftware. Kann ich den Kopfhörerausgang auch benutzen ohne die Lautsprecher abzuschalten? Nein, beides kann nicht gleichzeitig laufen. Kann ich ein externes Effekt Pedal oder einen Przessor benutzen? Effekt Pedale werden fast immer funktionieren, achten Sie einfach auf den Ausgang des Pedals, da dieser den Verstärker überladen kann. Die meisten Rack Prozessoren sind für Line Level entworfen und hören sich daher nicht richtig an, wenn man sie an den Verstärker anschließt. Kann ich einen MIDI Controller mit dem Spider Verstärker benutzen? Die Spider Verstärker haben weder MIDI Ein- noch Ausgang. Der Spider Valve Mark II jedoch hat einen. Wir empfehlen die Nutzung eines Line 6 Pedals. Haben die Spider Verstärker einen Effects Loop? Nein, nur die Spide Valve MkI sowie MkII haben einen. Kann ich Sounds, die auf meinem Spider sind auf meinem Computer abspeichern oder bearbeiten? Den Spider IV Verstärker können Sie anhand der Spider IV Edit Software bearbeitet werden. Bei allen anderen Spider wird die Tonbearbeitung direkt vorne am Verstärker durchgeführt, da diese keine Edit Software haben. Weitere Informationen: Spider IV Edit (v1.02) FAQs Welcher Controller funktioniert mit dem Spider Verstärker? Controller Kompatibilität Wo kann ich Ersatzteile für den Verstärker kaufen? Line 6 Store Comment puis-je accéder le Tuner? Spider Tuner FAQs Comment est-ce qu’on enregistre les presets Artist/Song sur le Spider II et IV dans une banque pour l’accéder avec un contrôleur FBV? Maintenez enfoncé le bouton du canal désiré pour deux secondes. Sélectez banque et position avec le contrôleur à quatre voies. Tapez le bouton du canal encore une fois et si la lumière du canal clignote, le preset a été enregistré. Comment fonctionne Boost sur mon ampli Spider ? Spider I, II et III : Maintenez enfoncé le bouton Top/Tempo et tournez Drive au maximum, si la lumière B s’allume, Boost est active. Spider IV : Poussez l’encodeur Presets et utilisez les flèches gauche et droite pour sélecter Boost. Maintenant vous pouvez activer Boost, augmenter et diminuer la quantité du Boost (jusqu’à 8db) et sélecter Pre et Post. Boost peut être activé avec le bouton Function 1 sur le FBV Shortboard MkII et avec le bouton Effects Loop pour le FBV Shortboard MkI. Comment est-ce que Noise Gate fonctionne ? Spider III : Maintenez enfoncé Tap et tournez Reverb au maximum. Cet allumera le Noise Gate. Si vous faites ça, le LED du canal D s’allume. Spider IV : Tapez l’encodeur Presets et utilisez les flèches gauche et droite pour sélecter Gate. Maintenant, vous pouvez choisir Off, Gate, Noise Reduction ou Gate + Noise Reduction. Utilisez les flèches haut et bas pour sélecter Threshold et Decay que vous pouvez ajuster avec l’encodeur Presets. Y a-t-il la possibilité de contrôler des répétitions de l’Effect Mix qui sont produits par l’effet Delay ? Spider I, II et III : Nous avons essayé de garder ces modèles aussi simple que possible. Ce n’est pas possible de changer cette fréquence. Spider IV : Poussez l’encodeur Presets, choisissez FX3 et utilisez les flèches pour choisir FdBk. Ici vous pouvez augmenter et diminuer cette fréquence en tournant le bouton Preset. Le delay se lance automatiquement si j’utilise un preset spécifique, comme puis-je arrêter ca ? Spider I, II et III : Vous pouvez désactiver auto-FX en allumant le Spider et maintenant enfoncé canal D/Insane en même temps. Si vous rallumez l’appareil, auto-FX ce lance aussi. Si vous voulez désactiver cette fonction en permanence, vous pouvez éteindre le bouton SmartFX et maintenir le bouton d’un canal jusqu’à ce qu’il clignote. Spider IV : Poussez Presets et utilisez les flèches gauche/droite pour choisir autoFX. Pourquoi est-ce que la lumière Tap Tempo clignote toujours ? Spider I, II et III 75-150 : Cette lumière vous montre la vitesse du delay même s’il n’est pas active. Vous ne pouvez pas le désactiver. Spider IV 75-150 : Vous pouvez assigner cette lumière aux effets. Elle montre la vitesse de l’effet. Poussez Presets et choisissez votre effet. Et trouvez Tap. Vous pouvez désactiver et activer Top ici avec l’encodeur Preset. Utilisez les flèches gauche/droite pour choisir Setup. Maintenant vous pouvez aussi chercher pour Taplite et désactiver la lumière en tournant l’encodeur Preset. Puis-je connecter mon ampli Spider combo (15, 30, 75, 120) à un baffle externe ? Non, parce qu’il y en a aucun jack pour un baffle externe. La combo Spider 150 a deux sorties pour un haut-parleur externe avec 8 ohms. Cette option assourdie les haut-parleurs intégrés. Line 6 Head and Cabinet Connections Comment puis-je enregistrer le signal de l’ampli Spider directement dans mon ordinateur? Vous pouvez utiliser le jack de casques comme Line Out pour enregistrer votre ampli Spider dans n’importe quelle entrée Line de votre ordinateur pour une connexion, vous avez besoin d’un câble 1/4’’ mâle stéréo à jack 1/8’’ mâle stéréo pour connecter à la carte son du ordinateur. Ça fonctionne avec la plupart des cartes sons parce qu’une plupart de ces cartes ont une entrée 1/8’’. Si vous avez une interface audio ou carte son professionnelle avec plusieurs entrée 1/4", vous avez besoin d’un câble 1/4" stéréo à 2x 1/4’’ mono pour recevoir du audio stéréo. Faites attention au niveau de sortie de l’ampli pour recevoir du audio propre et sans bruit. Si vous mettez le niveau de sortie de l’ampli trop fort, le son sera déformé. Mettez le niveau trop faible et le son sera bruyant. La dernière chose que vous avez besoin est un logiciel d’enregistrement audio pour l’ordinateur. Y a-t-il la possibilité d’utiliser une sortie jack sans désactiver les haut-parleurs ? Malheureusement pas. Puis-je utiliser un pédale effet ou processeur externe avec l’ampli Spider ? Les pédales effets fonctionneront presque toujours bien avec les amplis Spider mais ne mettez le niveau de pédale trop fort pour ne pas surcharger l’entrée de l’ampli. Les processeurs en rack souvent ne sonnent pas bien dans un ampli. Puis-je utiliser un contrôleur MIDI avec un ampli Spider ? Les amplis Spider n’ont aucune connexion MIDI. Seulement le Spider Valve Mark II a des connecteurs MIDI. Nous recommandons d’utiliser le contrôleur correct de Line 6 avec les amplis Spider. Ont-ils on Effects Loop ? Non, les amplis Spider I, II, III et IV n’ont pas de Effects Loop mais les amplis Spider Valve ont un Loop. Puis-je éditer ou sauvegarder mes sons sur mon ordinateur ? Vous pouvez faire tous ca sur le Spider IV avec le logiciel Spider IV Edit. Vous devez éditer les sons des autres amplis directement sur l’ampli. Spider IV Edit (v1.02) FAQs Quels contrôleurs fonctionnent avec mon Spider? Compatibilité avec des contrôleurs Ou puis-je acheter des remplacements ? Line 6 Store
  19. Studio Modelers FAQ

    Q: Are the effects mono or stereo? A: The dry audio path and several effects are stereo, but many effects are mono - just like the original effects they were modeled after. Q: In which order should I connect multiple Studio Modelers? A: This is a matter of personal preference, but the general consensus is the Filter Pro first, then Mod Pro, with Echo Pro last. This configuration will allow you to use different Filter and Mod effects on different layers of a loop in the Echo Pro. Q: Can the Studio modelers perform spillover? A: To a certain extent you will be able to shift between programmed presets and maintain your signal. However there is a bit of time warp that is going to happen when switching between delays. It's kind of like changing the speeds on a multi-head delay unit. If you select a program from the delay select knob your signal will be interrupted. Q: Will the Studio Modelers respond to note division? A: Yes, all of the effects modelers have the ability to perform dotted and triplet quarter, eight and sixteenth notes. Q: Can I connect headphones to the studio modelers? A: It is possible to connect your headphones to the Studio Modelers 1/4 inch L/Stereo output. However, because this is a line level output intended for connection to an unbalanced input, there may not be enough volume level for a satisfying experience. We recommend using a mixer with a headphone amp for this type of application. Q: Can the studio modeler synch to a MIDI clock? A: Whether you are sync'd to MIDI clock or simply tapping in beats with the TAP button, a single press of the TAP button will set the running effect's "downbeat" (the time at which it starts moving). In other words, if you are using a tremolo effect and want to hear audio on the first beat, and nothing on the second beat, press the TAP button on the downbeat. Now, if you're locked to MIDI clock and want the computer to do it for you, simply send a single MIDI Continuous Controller #64 (Sustain Pedal) message to the Mod or Filter Pro on the downbeat and the units will start on their downbeat as well. Although the Studio Modelers will sync to external MIDI clock from your sequencer, drum machine, or what have you, as well as pass it along to other devices (providing the MIDI port is set to 'Thru'), they do not generate or transmit their own MIDI clock. Q: How can I control the Studio modelers? A: The Studio Modeler series are fully MIDI mappable and will accepts program change and continuous controller messages from any MIDI device. It is possible to connect and control a single or multiple Studio Modelers via MIDI. You can connect the MIDI Out of a POD, Flextone or other MIDI device to the MIDI In of the first Studio Modeler in the MIDI chain and control one or multiple units from the other MIDI device. The Line 6 EX-1 pedal will work with all of the Studio Modelers. allowing you to control your effects in real time. You can use this to morph from one set of parameters (toe-down) to another set (toe-up) within a given model.The expression pedal function can also be controlled on the Pro Modeler series by using a third party MIDI foot controller. You will need to program your expression pedal to send MIDI CC #4. Q: How do I synch to the bit rate in a recording program such as Protools? A: Bit depth and sample rate choice has to do with what your final media will be, i.e. CD, DVD, etc. Also, if you're working on a project with other people, it's good to have a game plan, for instance recording a project at 24 bit, 44.1khz, then dithering down to 16 bit for the final mix. Typically, this is a good way to go for CD projects (recording at 24 bit, 44.1khz) as you have a greater dynamic range for mixing with the 24 bits, and you don't have to do a sample rate conversion, as you already at 44.1 khz. If you choose a higher sample rate, try to choose a multiple of your final product, i.e. 88.2 khz for a 44.1 khz final product. Q: How can I go into bypass mode using MIDI? A: If you have setup a foot controller to send a bypass CC# or program change to the Studio Modeler, you will need to first engage the bypass by pressing on the footswitch once, and then dis-engage bypass by pressing the footswitch a second time. If you select a different program by using another footswitch, the Studio Modeler will also come out of bypass mode. You can also program and save a preset with your mix level set to 0%. Use this program as your bypass and then you will be able to access bypass and then proceed to another program without having to do a little dance on your foot controller. Q: Can I use a Line 6 FBV or floorboard to control the Studio Modelers? A: The Line 6 FBV or Floorboard will not work with the Echo Pro. However you can take advantage of the numerous MIDI mapping capabilities of the Studio Modelers used in conjunction with a third party MIDI foot controller. This would allow you to control program change, continuous controller parameter functions, tap tempo, and loop / sampler functions from your foot controller. Q: What are the dimensions of the Studio Modeler unit? A: Width: 19", Depth: 5.75", Height: 1.75", Weight: 6.2lb.
  20. Q: How do I turn on/off the Flextone's Noise Gate? A: On the original Flextone, just hold down the Tap Tempo button and rotate the Effects Select knob to Bypass to turn it off, or anything other than Bypass to turn it on. In firmware versions earlier than 1.4, the noise gate defaults to ON, 1.4 or later defaults to noise gate OFF. On the Flextone II, hold the tap tempo button and turn the REVERB button past 12 o'clock to turn the noise gate on, below 12 o'clock to turn it off.Q: Q: When I'm using the Flextone with the controller, why can't I turn on (insert effect name here)? A: Because the Flextone doesn't have as much raw processing power as the Vetta, it cannot run all of the different effects at the same time. You're limited to only one of the selections on the Effect Select knob per patch (Reverb is always available, though). If a patch is saved with, say, Delay/Flange 1 enabled, there's no way you can turn on a Rotary Speaker effect in that patch. You can, however, create an adjacent patch that is identical, except for the effects selection. Q: Do I need the Line6 Floor Board (Flextone I and II) or FBV controller (Flextone III) to access the 36 channels of the Flextone Series? A: Yes. The Line 6 controller will not only enable you to access all of the banks and channels in your Flextone amplifier, but the controller will also give you the ability to turn individual effects off and on, access the tuner and tap tempo functions, and includes a wah and volume pedal. Q: How do I find out the software version of my Flextone? A: In order to find out the software version of your Flextone, simply hold down the "C" button while you turn the amp on. If you continue to hold the "C" button down, you will notice that the "D" button will blink once or twice and then the "SAVE" button will blink a number of times. The number of times the "D" button blinks indicates the release number and the number of times the "SAVE" button blinks indicates the sub-release. For example, if the "D" button blinks once and the "SAVE" button blinks four times, this indicates software version 1.4. Q: How do I find out the stored settings in a particular Flextone Patch? A: To find out the stored settings in any given Flextone program, hold down the SAVE button while turning a knob. The Manual button will light until you reach the knobs stored setting, at which time the Manual light will turn off and the location of the knob will reflect it's stored setting. Hold down SAVE and TAP to view the secondary settings. Q: Can I download tones to my Flextone? A: If your amp is an original Flextone series, then Line 6 Edit software will not work, as there is no MIDI on these models. If it's a Flextone II or III series, you're in luck. You'll need a Mac or PC computer with a MIDI interface capable of handling large MIDI transfers. You can then download the tones from www.customtone.com to the amp, via the free Line 6 Edit software. Q: Will my Flextone II/III plus power a 4x12 cabinet? If so, about how many watts would this be? A:It's fine to connect a 4x12 cabinet to the Flextone II/III Plus, make sure the cab is set to "8 ohm mono ( Left only )" to protect your Flextone plus. The total watts connected in the manner will be about 50 watts per side 100 watts total. You can also use a Power amp and external cab with the Flextone II/III Plus by connecting from the XLR left mono line out to the power amp and on to the speaker cab. Q: What are the differences between Flextone models? A: The main differences between the Flextone, Flextone Plus and, Flextone XL lie mainly in the amplifiers' speaker configurations and wattage. The Classic Flextone comes with one 12 inch Celestion speaker along with one 75 watt amp to power it. The Flextone Plus also comes with one 12 inch Celestion speaker but has two 75 watt amps, one to power the existing speaker and one to power an extension cabinet through the Flextone's cabinet extension jack. Alone the amp will run at 75 watts. However, with the extension cabinet, the amp will run at 150 watts. The Flextone XL comes complete with two 12 inch Celestion speakers and two 75 watt power amps that put out a combined 150 watts of power. The original Flextone HD has two channels of 150 watts each into a 4 ohm load and 100 watts into 8 ohms, but lower impedance loads should be avoided . The amplifier will drive a 16 ohm load, but will not be as loud as if it were driving an 8 ohm load. The Flextone II HD is 100 watts per side at 4, 8, or 16 (switchable) ohms. The software within the Flextones are basically the same in each model as well as each generation. The main change is with the tones. At Line 6, we try to recreate as close as possible, the tone we are modeling to the original amp. As the modeling software for the POD and POD XT has become more accurate, these same characteristics have been passed along to our series of Flextone amps. As well as tonal changes, we've also added some new modeling in the newer versions of the software. The original Flextone comes stock with 16 amp models while the Flextone II and III families come with 32. The Flextone II also has 36 user presets instead of 12, 15 mix and match Cabinet Models, MIDI In and Out and most knobs have a secondary function. Plus, the Flextone II Plus, XL and HD feature external speaker outs and XLR outputs that can be used to connect the amp directly to a mixer. See your user manual for more information. Q: Can I use a MIDI controller with my Flextone amp? A: The Flextone will respond to MIDI Program Change and MIDI Sysex messages when used with an external MIDI controller. For more details on how MIDI functions with your Flextone download the user manual. Q: What upgrades are available for my Flextone amplifier? A: Unfortunately, for Flextone I, II and II HD owners, Line 6 no longer has or produces EPROM upgrade chips. For Flextone III users, certain Flash Memory updates can be made via our Line 6 Monkey software with your computer through a USB to MIDI interface. 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. Nobody knows what happened to 1.01, and nobody likes to talk about it). 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: The only change that you should see is that, 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.
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