Model Packs Handbook (Rev D) - English

7/31/2019 Model Packs Handbook (Rev D) - English

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Model Packs Pilot’s Handbook Electrophonic Limited Edition © 2006, Line 6, Inc. Revision D.

Model Packs

Pilot’s Handbook Chapter 1 ...................................................... Metal Shop Model Set

Chapter 2 ........................................... Collector Classics Model Set

Chapter 3 ......................................................... FX Junkie Model Set

Chapter 4 ...................................................... Power Pack Model set

Chapter 5 ............................................................Bass Expansion set

Learn about Model Packs:www.line6.com/modelpacks

Get License Key activation instructions:www.line6.com/store/activate.html

Please Note: Line 6 ®, POD ®, POD ® xt, POD ® xt Live, Bass POD ® xtLive, POD ® xt Pro, A.I.R.™, FBV™, FBV Express™, FBVShortboard™, FB4™, FBV2™, Amp Farm ®, Line 6 Monkey™, Line 6Edit™, and Variax ® are trademarks of Line 6, Inc. All productnames, trademarks, and artist names are the property of their

respective owners, which are in no way associated or affiliatedwith Line 6. Product names, images, and artist’ names are usedsolely to identify the products whose tones and sounds werestudied during Line 6’s sound model development. The use ofthese products, trademarks, images and names does not implyany cooperation or endorsement.



Metal Shop Bomber Uber: Based on* a Bogner Uberschall

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METAL SHOP

These 18 punishingly high gain Amp Models were wrenched kicking, screamingand breathing fire from our metal monster HD147. They also happen to be a partof the model set of our flagship amplifier, Vetta II. And by adding the Metal ShopModel Pack, you’ll harness their fearsome power to create your own monster of mayhem! Let’s learn a little about these fearsome fiends that hath such fury, shallwe?

Bomber Uber:Based on* a Bogner Uberschall

Much like the Bogner Extacy, the Uberschalldishes up serious tone for high gain players. This isa fabulous boutique amp with a focused high gaintone that’ll cut thought the band and soar overheadfor days. The Uberschall has a very unique Presencecontrol that we did our best to model here. Unlike

most presence controls that tend to shave off very high frequencies, the Uberschallpresence knob messes with the whole recipe. Mids, treble, bass and presence will comein and out, effecting both the pre gain and post gain tonality. A tonal roller coaster ridebrought to you by one of the tube amp world’s finest designers.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development.



Metal Shop Connor 50: Based on* a Cornford mk50h

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Connor 50: Based on* a Cornford mk50h

The Cornford mk50h is a fine, British-madeboutique amplifier that our very ownLine 6 UK lads tipped us onto. The Cornford hasa fair amount of gain and breaks up like aMarshall® Plexi, but retains a certain clarity thatis more typical of Vox® amplifiers. One odd thingabout the Cornford is the fact that it actually runsits drive channel in series with the Clean

channel. This provides for some unique interaction that we captured during ourmodeling process by sweeping both controls though their range at the same time, andtying all of this to the single Drive knob in this model. Lower Drive settings give you atone dominated by the clean channel tonalities. As you turn the knob up past noon,you’ll be moving it into more progressive high gain territory.

Deity Lead: Based on* a Diezel VH4 Channel 4

But wait, there's more! This model of channel 4 of theDiezel has even more gain than channel 3 (Crunch).It is perfect for lead work, and when the drive isbrought back to noon, affords some excellent rhythm

tones as well.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. VOX is a registered trademark of Vox R&D Limited.MARSHALL is a registered trademark of Marshall Amplification PLC.



Metal Shop Deity’s Son: Based on* a Diezel Herbert

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Deity’s Son: Based on* a Diezel Herbert

After messing with the VH4 we knew you’dget into another amp from Peter Diezel.Herbert is one of those simple, ingeniousdesigns. It is unique among amps in its abilityto achieve an incredibly wide range of toneon a single channel. This model is very

faithful to the original in tone, but due to a couple extra knobs on the Herbert, wehad to make a few choices for you. Our model tackles Channel 3 with the Deepcontrol preset to 2 O’Clock. The original also had a Mid Cut Intensity knob — thisis the magic control that affords this amp its serious tonal range. To bring you thissame joy, we set Herbert’s Mid knob to about 2 o’clock when modeling the tonestack. That allowed us to offer you control of Herbert’s unique Mid Cut Intensitywith the Mid knob in this model

ANGEL P-Ball: Based on* the ENGL® Powerball

Designed by Edmund Engl in Bartholoma,Germany. The ENGL® Powerball uses acombination of 12AX7, ECC 83 and 6L6GCtubes for this 100 watt monster. Courtesy of its

ability to crank out tight, focused low end,glossy top end and jaw-dropping sound, it is afavorite of such artists as Matthis Jabs and Rudolph Schenker of The Scorpions, PhilCampbell of Motor Head and Ritchie Blackmore of Rainbow and Deep Purple. ThePowerball is a four-channel amplifier. We modeled channel 2 (soft lead.) All aspects of the presence control were modeled. This amp has a “Depth/Punch” control which weset at 7 o’clock. This control shapes the low frequency response in the power amp stage.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. ENGL is a registered trademark of Beate Ausflug andEdmund Engl.



Metal Shop Brit Silver: Based on* the 1985 Marshall® Silver Jubilee

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Brit Silver: Based on* the 1985 Marshall® Silver Jubilee

In 1987, to commemorate 25 years in the ampbusiness, Jim Marshall introduced a limited editioncollection of tube amps based on the 2203 and 2204master volume designs. They were very distinctiveproducts, with silver vinyl covering and chromepanels, known simply as the “25/50 Silver Jubilee”Series models. The Silver Jubilee models used aunique diode clipping stage for extra gain and aredesigned tone block to offer much more tonalvariation than previous Marshalls. Guns N’ Roses’lead guitarist, Slash, is way into this amp. So much so,in fact, that Marshall reintroduced the 100 wattmodel as the “Slash Limited Edition SignatureAmplifier” in 1996.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. MARSHALL is a registered trademark of Marshall Amplification PLC.



Metal Shop Brit Gain J-900 Cln: Based on* the Marshall® JCM-900

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Brit Gain J-900 Cln: Based on* the Marshall® JCM-900

This is what we consider to be the first true modern highgain amp from Marshall®. Throughout history guitarplayers have been modifying their Marshall® amps toenhance the gain and tone. It seems like Marshall took alook at some JCM-800s with popular modifications and

armed with that knowledge created the JCM-900. The tone knobs are all “post”distortion and the amp uses 6550 power tubes. Bravo Marshall®! This is a model of theclean channel.

Brit Gain J-900 Dst: Based on* the Marshall® JCM-900

Given that the JCM-900 has two channels, naturally we figured you might want amodel of each. This model is based on the Lead channel of the JCM-900. It uses a fixed

bandpass before the distortion, and adds some diode clipping. It's sort of like having anonboard Rat pedal. Nice mid tone with lots of gain.

Brit J-2000: Based on* the Marshall® JCM2000

The JCM2000 captures the modern Marshall®

tone, by refiningthe JCM series into a multi-channel power house. Ourrecreation captures the OD2 channel, with the Deep switchkicked in on a 60W TSL. The JCM2000 uses a quartet of ECC83 pre-amp tubes and a pair of EL34 output tubes.




Metal Shop Diamond Plate: Based on* a Mesa/Boogie® 2001 Triple Rectifier®

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Diamond Plate: Based on* a Mesa/Boogie® 2001 Triple Rectifier®

This model is based on the Channel 3 ‘Modern’setting of a 2001 Mesa/Boogie® Triple Rectifier® SoloHead. Rock and roll is all about excess, now, isn’t it?If two are good, three have got to be better, especiallyif you like the spongy feel of sagging rectifier tubes.

No need to be bashful. Plug in, dial up some volume,and have some fun.

As with the Dual Rectifier® model, we used Channel3 in its Modern mode, with the rear switches set toBold and Tube for this.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. MESA/BOOGIE and RECTIFIER are registered trademarksof Mesa/Boogie, Ltd.



Metal Shop Criminal: Based on* the Peavey® 5150 MkII

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Criminal: Based on* the Peavey® 5150 MkII

No doubt, Eddie Van Halen will forever be knownas one of the premier rock guitarists of all time. Histechnique and tone inspired legions of young guitarplayers, a couple of EVH® custom guitars and thisPeavey® amp. Apparently Eddie committed someserious time to tweaking the distortion, tone and

control range of this amp until it played and sounded just right. Interesting enough,it goes way beyond the classic “brown sound” that Eddie famously coaxed out of walls of Marshalls, and takes you into some serious rhythmic shredding territory.This is the model of the Lead channel.

L6 Big Bottom Just can’t seem to get enough bottom end out of your cabinet? Try punishing it with Big

Bottom. We crossed a Boogie Triple Rectifier® with a Rivera® Los Lobottom® sub rigand dialed it in for serious disembowelment. But it’s not just about the bass. A superwide midrange control and an extra presence high midrange maintain articulation andpower throughout the tonal range of this amp.

L6 Chunk ChunkThe name says it all. You’re guaranteed to feel your pants flapping with this model.Plenty of low end with a tight response. This high gain model has lots of beef so startshredding.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. RECTIFIER is a registered trademark of Mesa/Boogie, Ltd.PEAVEY is a registered trademark of Peacey Electronics Corporation. RIVERA and LOS LOBOTTOM areregistered trademarks of Rivera Research and Development Corp.



Metal Shop L6 Fuzz

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L6 FuzzAlthough not technically an amp, we loved the unique tonal qualities of the classic

1960’s Arbiter® Fuzz Face enough to base a special amp model on it. This fuzz box usedbroad frequency, transistor-based clipping. The result is a buzzing kind of distortionthat has become popular again with the alternative and grunge set. Jimi Hendrix wasamong the first guitarists to popularize the Fuzz Face in the States, but our model isconsiderably dirtier than the tones found on “Are You Experienced.” Try playing“Satisfaction” by the Stones, or the lead from “American Woman” by The GuessWho. Liberal use of the Bass, Mid, and Treble controls will let you go beyond the

tones that the Fuzz Face could deliver, enabling you to discover your own uniquerecipe for those elusive fuzz tones in your head. Just a note: when recording “PurpleHaze”, Jimi didn't even use an amp – he just went straight from a Fuzz Face to anOrange® power amp to a 4x12 cabinet. Which is the same sort of tone you find here....

L6 Octone

Now here’s something we hope you’ll really like. What would it be like if you built atube-based Octave Distortion preamp for a Class A poweramp? Line 6 Octone providesthe answer. You’d get an Octave box that tracks better than anything you’ve ever used,deals with consonant intervals with a degree of panache that just wasn’t possible before,and kicks some major rock and roll butt!

L6 SmashGot an axe to grind? Dial up Smash to take it way over the top with an obscene helpingof gain. Smash delivers a tight bottom end, and a serious mid range void that’ll renderHi-Fi, butt-kicking rhythm tone every time.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. ARBITER® is a registered trademark of Arbiter Group Plc.ORANGE® is a registered trademark of Orange Personal Communications Services Limited.



Metal Shop L6 Sparkle Cln

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L6 Sparkle Cln Need Lots of Sparkle? Need lots of clean? You’ve come to the right place. Plenty of

high end zing.

L6 ThrottlePedal to the metal, this Line 6 original is a medium-high gain tone with a nice throatygrowl. Grab the Drive knob to give it some gas.



COLLECTOR CLASSICS Bomber X-TC: Based on* a Bogner Extacy

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COLLECTOR CLASSICS

These 18 Amp Models range across the spectrum from vintage classics to pawnshop treasures to modern masterpieces. Many are from the quality amp collectionof the Flextone III amplifiers, and all are also found in the model set of our flagship

Vetta II. When you add the Collector Classics Model Pack, you’ll bring a wholenew world of tonal flexibility, richness and quality to your own tone gallery. Let’sjump right in and meet the gang:

Bomber X-TC: Based on* a Bogner Extacy

Reinhold Bogner was good enough to personallyselect and deliver a Bogner Extacy for use incrafting this model. Reinhold was designing andbuilding amplifiers long before he left Germany in1989 to move to Los Angeles. Once in the US, hequickly gained the trust of many influential players

including Steve Stevens, Dann Huff, Allan Holdsworth, Mike Landau and Steve Vai.They all sought out his skill at modifying and custom-building their amps. Eddie VanHalen entrusted Reinhold to overhaul and revitalize Eddie’s #1 Marshall® Plexi. Wehear that Eddie was pleased. The Extacy covers a wide range of tone, and you’ll findthat the Bomber X-TC model lets you do much the same as you work the Drive knob,as well as your guitar’s volume knob. On the top end, this one’ll bark like a Plexi, or youcan take it down through swampy crunch and finally arrive in the realm of lush clean

tone. The Extacy is a really versatile amp from a really great guy, and we’re pleased thathe helped us model it for you.




COLLECTOR CLASSICS Deity Crunch: Based on* a Diezel VH4 Channel 3

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Deity Crunch: Based on* a Diezel VH4 Channel 3

What is it about Deutschland and high gain guitaramplifiers? When we met Peter Diezel, and opened upthe VH4 we new we were in the presence of a serioustone fanatic. The VH4 is the Ducati® of highperformance guitar amplifiers. Meticulous attention toevery detail, and enough tone and power to not onlytake on but seriously destroy any competitor. Some of the most serious players in the Metal genre have come todepend on their VH4’s for tight, focused and perfectlyrefined tone. Our model captures channel 3 on thissublime beauty.




COLLECTOR CLASSICS Blackface Vibro: Based on* the Fender® Vibroverb 6G16

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Blackface Vibro: Based on* the Fender® Vibroverb 6G16

In early 1963 the Fender®

2x10 brown tolex Vibroverb wasintroduced and later that same year it was replaced by the1x15 blackface Vibroverb made famous by SRV only to bediscontinued in 1964. The Vibroverb was introduced rightbefore Fender® decided to change the look of the entireamp line to what guitarists now call “Blackface Fenders”.The Vibroverb we studied to create this model has the two10-inch speakers and transitional cosmetics. There’s black

tolex, a dark brown numbered faceplate and brown barrel knobs. Like otherVibroverb 2x10 amps, it’s 40 watts of pure heaven. These were the first guitar ampswith on-board reverb and also utilized a vibrato circuit that modulates the bias of the power tubes for creamy smooth tremolo sounds. It all added up to great tonewith the latest guitar effects built-in... sort of like a POD! The electronically-inclined will also appreciate the fact that this version of the Vibroverb also used atapped treble control and a 7025 phase inverter (as opposed to a 12AT7). The

Vibroverb had no Mid or Presence controls, so these are both “extras” on ourmodel. You can set Mid to 12 o’clock and Presence to minimum for theunadulterated Vibroverb-style sound.

Double Show: Based on* the Fender® Dual Showman®

This sound was made famous by Dick Dale and hisbrilliant surf tunes. We modeled the tremolo channelwith the bright switch off. This channel usestwo7025 preamp tubes and the 85 watt power ampuses four 6L6GC tubes. The Dual Showman® was

sold as a “piggy back” system, an amp head and a 2x15 cabinet. We added a MIDknob with a center frequency of 750Hz. You can cut or boost 10dB. Leave this

setting at 12 noon for the classic sound. We also added a Presence knob. Set thiscontrol to minimum for the classic sound.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. FENDER, and DUAL SHOWMAN are registeredtrademarks of Fender Musical Instruments Corporation.



COLLECTOR CLASSICS Silverface Bass: Based on* the Fender® Bassman® Head

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Silverface Bass: Based on* the Fender® Bassman® Head

Paul McCartney used this amp during the “Let ItBe” sessions, as well as the famous rooftopperformance. He also used this amp in the earlyyears of Wings. This amp has a very pronouncedmidrange response. We modeled the Bass channel,which uses two 7025 preamp tubes. The “Deep”

switch was on. The poweramp uses two 6L6GC tubes. The original amp has no Midknob, so for the classic sound set the Mid control to12 noon.

Mini Double: Based on* the Fender® Mini Twin Reverb®

There are times when you find yourself in a unique position to dosomething other than what people might have expected, and whenour gaze came to rest on the little plastic Mini Twin Reverb®, we

knew it was one of those times... Based on the little battery powered,dual 2-inch speaker Fender® novelty item, this model is the biggestthing in little! Plus, you might as well admit it, you’ve always

wondered what a Dual Rectifier® would sound like through a pair of 2-inch speakers,haven’t you? The Mini Twin’s only got one input, so that’s where we plugged in tomake our model.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. FENDER, BASSMAN and TWIN REVERB are registeredtrademarks of Fender Musical Instruments Corporation. RECTIFIER is a registered trademark of Mesa/Boogie Ltd.



COLLECTOR CLASSICS Gibtone Expo: Based on* the Gibson® Explorer®

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Gibtone Expo: Based on* the Gibson® Explorer®

This one is Based on* a 1960 Gibson®

Model GA-18TExplorer® (little brother to the Gibson® “Les Paul” GA40T).The particular amp we modeled originally belonged to thefather of one of the high school buddies of Line 6’s ArtistRelations guru, Tim Godwin. It was sitting in a crawlspace foryears, until Tim happened to ask his friend if he still had theamp, and whether he was interested in selling it. When Timfinally got his hands on it, the amp still had the original

Gibson® branded tubes in it! Some time passed, Tim broughthis little treasure into the office one day, some of us played

through it and we cried out as one voice, “We’ve got to model this one!” Working fromcodes found on the pots and speaker, we were able to date this amp’s build to the weekof May 21, 1960. 14 watts, with a 10-inch Jensen® speaker, the amp runs Class A with6SJ7 preamp tubes, 6V6 Power tubes, and a 5Y3 rectifier—just in case you wereinterested.

Brit Bass: Based on* the Marshall® Super Bass

Based on a ’68 Super Bass Plexi head, the principaldifferences between the ’68 Super Bass and the ’68 SuperLead are some small changes in the tone stack. What looklike minor differences in a schematic, though, can add upto larger differences in actual tone (like a bass control thatactually seems to do something at higher levels). A numberof ’60s British rock icons actually preferred the Super Bassto the Super Lead for these exact reasons. Check it out foryourself. You may find this is the bottom end you’ve beensearching for.You guessed it, Input I was the one weconnected our high tech modeling tools to.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. GIBSON and EXPLORER are registered trademarks of Gibson Guitar Corp. JENSEN is a registered trademark of Electronics Trademark Holding Company LLC.MARSHALL is a registered trademark of Marshall Amplification Plc.



COLLECTOR CLASSICS Brit Major: Based on* the Marshall® Major

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Brit Major: Based on* the Marshall® Major

Where do you go when a 100 watt Super Lead just isn'tenough? Jim Marshall's answer was to design a 200 wattamp called the Major, on which we based this model. Thisamp became a favorite of many bassists of the era. Plus anumber of guitar players, including Ritchie Blackmore, whohad his Major modified so that the channels cascadedtogether, with one channel becoming, in essence, a preampfor the other channel. Leslie West also made the scene with

his Major, and whoever was playing, one thing was alwayscertain: these amps were LOUD. They had so much output,in fact that, according to Michael Doyle’s book, “History of Marshall”, production had to stop in 1974 when it was nolonger possible to get the extra heavy-duty tube sockets

required to handle the Major's power. This model brings you the flavor of the Major,plus the option to keep the decibels less than deafening, if you so choose.We used Input

I on the Major to create this model.

Silver Twelve: Based on* the Silvertone® Twin Twelve

We modeled this one on the Silvertone® Twin Twelve head andcabinet combination that lives in one of the guy’s offices here atLine 6. One of the interesting features of this two 6L6, Class ABamp is that it was designed so you could store the head inside thecabinet for transport. What more would you expect from thecompany that also brought you the guitar with the amplifierbuilt into the case? The original lacked a Mid control, so, as isour custom, our Mid knob is placed after the amp model, so youcan simply set it to 12 o’clock for the classic tone.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. MARSHALL is a registered trademark of Marshall Amplification Plc. SILVERTONE is a registered trademark of Samick Music Corporation.



COLLECTOR CLASSICS Super-O-Thunder:Based on* the Supro® Thunderbolt

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Super-O-Thunder: Based on* the Supro® Thunderbolt

Speaking of unusual speaker configurations... The Supro®

Thunderbolt, with its 1x15-inch cabinet, may have originallybeen intended as a bass amp, but it found much use as a guitaramp. We’ve heard from a number of sources that Jimi Hendrixwas known to use a Thunderbolt in the studio, which is goodenough reason for us to have included it here. Supro® amps, bythe way, were made by the Valco company, who made amplifiersfor Fred Gretsch that were sold under the Gretsch® Guitars

brand, as well as solid-body electric guitars sold under the National® brand (theinfamous ’map’ body style).

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. SUPRO is a registered trademark of Zinky Electronics.GRETSCH is a registered trademark of Fred W. Gretsch Enterprises, Ltd. NATIONAL is a registered trademark of Kaman Music Corporation.




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L6 BayouAnother Line 6 original model, this is the result of our quest to capture the fondly

remembered tone of a harp player blowing through a beat up old Fender®

DeluxeReverb®, as heard in a roadhouse in Baton Rouge, Louisiana.

L6 Crunch Just like a good chef, our Sound Designers are always experimenting with new

recipes. They added a pinch of plexi, hardwired four inputs for increased gain, andthen rounded it off with a dash of Secret Sauce. The result is this model reallycooks. Just turn up the Drive and tweak to taste.

L6 PurgeLike ‘80s shred guitar? Well, then, you’re gonna love Line 6 Purge. We took ourmodel of a Marshall® JMP-1 preamp and hot-rodded it. It was hard work sticking inthat digital dual overhead cam and hooking up the virtual glasspacks, but when wewere done, we had the ultimate shred machine. Look out world, here you come.

L6 Sparkle

We love tweed Fenders. We love blackface Fenders. We love ’em both so much, wecan never really decide which one we like more. Luckily, we were able to come upwith the perfect way to share the love. We took the preamp and tone stack fromour model based on the ’58 Tweed Bassman®, and we wired (in the virtual world)our model of a blackface Bandmaster poweramp and transformer onto it. Voilà!Line 6 Sparkle.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. FENDER, BASSMAN and DELUXE REVERB areregistered trademarks of Fender Musical Instruments Corporation.




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L6 Super ClnForget what you know about how clean or how bright a guitar amplifier can go. Line 6

Super Clean goes farther, adding a lot of brightness. While this model certainly isClean, it has two other fun tricks up its sleeve as well: Setting the Drive knob at maxgives a really broken “small amp on 10 about to die” sound. FUN! And the bass knobhas an extreme effect when set to minimum— for sweet AM radio sounding tone.

Caution: Because Super Clean adds so much brightness, it generally won’t work so wellwith distortion pedals, since they usually add lots of high frequencies, too. Thecombination may produce unnatural artifacts—or just rip your head off. Plug an un-distorted guitar in here, though, and we’re talking super happy shiny bright.

L6 SuperSparkYou know how all great amps have a certain sweet spot — a particular settingwhere they sound magical — dripping with tone? Super Sparkle captures that

organic vibe with a new twist: its voiced in the clean/low gain realm whereeverything usually sounds too clinical or too dark. Super Sparkle is an edgy tonethat will sparkle and shimmer if you treat her right. So play nice.

L6 TwangHere’s the flip side of the Sparkle formula. Graft the preamp and tone stack fromour model based on a ’65 blackface Deluxe Reverb® onto the poweramp andtransformer based on a ‘58 Bassman®. Whaddya know? It ends up being a greatroots and rockabilly amp (like we should be surprised).

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. BASSMAN and DELUXE REVERB are registeredtrademarks of Fender Musical Instruments Corporation.



FX Junkie • Stomp Distortions & Compressors

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FX JUNKIE

The FX Junkie Model Pack is perfect when you’re looking for even more effectsversatility, and you’re not afraid to take a walk on the wild side. Here you’ll find

distortion stomp boxes, stomp box compressors, synths, filters, choruses, flangers,toneful delays and more than a few effects that defy categorization or easydescription. From the sophisticated to the schizoid, the must-have staple to thenever before possible, this Pack has got something for just about every mood andevery musical situation. And It all starts with...

Stomp Distortions & Compressors

Put some extra heat beneath your feet with these Stomp effect models from the FX Junkie Pack installation:

Killer Z: Based on* a Boss® Metal Zone MT-2

Since about 1989 the Boss® Metal Zone MT-2 has been the industry standard distortionpedal for metal players. Equipped with a dual gain circuit, the MT-2 provides amazingsustain plus heavy mids and lows similar to a stack of overdriven amps. We’ve simplifiedthe EQ controls a bit to make the Killer Z model, but you’ll still find the sought after

flavor of the MT-2 style sound.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. BOSS is a registered trademark of Roland Corporation.



FX Junkie • Tube Drive: Based on* a Chandler Tube Driver®

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Tube Drive: Based on* a Chandler Tube Driver®

Designed by keyboardist Brent Butler, the first Chandler TubeDriver® was born to add grind and girth to his Farfisa. Brent wasalso the father of one of the rarest overdrive boxes—the MiniMatrix (aka Mini Boogie). But it’s his Tube Driver that drivesus crazy. Utilizing a single 12AX7 preamp tube, the originalChandler Tube Driver® delivers the sweet singing sustaincraved by guitarists worldwide, and has been a staple of Eric

Johnson’s rig since the mid ’80s.

Our model of this classic offers sweet tone, with our BASS and TREBLE emulating theHi and Lo EQ controls of the original.

Vetta Juice

A Line 6 original originally created for our flagship Vetta II guitar amplifier, the‘Juice’ in Vetta Juice comes from the 30dB of available gain in the LEVEL knob. Holysmokes, this thing’s packin’ some heat! It’s got a fixed threshold of -40dB with theSENS knob varying compression ratio from 1.5: 1 all the way up to 20:1 (which is awhole heck of a lot). This combination of design features gives you the option of cranking the level enough to get some serious gain boost, or setting the gain lowerand dialing up a smooth, clean sustain. Take your pick, and dial away.




FX Junkie • Boost + EQ

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Boost + EQThe name pretty much says it all. This is a stompbox compressor that also provides

you with some EQ controls so you can further shape the tone. Since this EQ isapplied before the amp processing, it has a different tonal effect — especially if you’reusing a strongly overdriven Amp Model —than a Post EQ. Many players, in fact, relyon stompbox EQ like this to get their specially tailored sound from their amp.

Blue Comp Treb: Based on* the Boss®

CS-1 Compression Sustainer

Roland®/Boss® jumped on the compressor stompbox bandwagonwith this one. It has a fixed ratio, so this model has the SUSTAIN control varying the threshold of the compressor circuitry. LEVEL does what you’d expect. If you look close, you’ll also see from thepicture that the original Boss® pedal included a treble boostswitch. We flipped the little sucker on, set the modeling

machines for compression capture, and here you are!

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. ROLAND and BOSS are registered trademarks of RolandCorporation.



FX Junkie • Stomp Synths and Filters

3 • 4

Stomp Synths and Filters

The next models in the FX Junkie line-up are synths and filters made available from asStomp effects. All of these effects that have a WAVE parameter allow you to choosebetween 8 different waves. These are basically 8 different presets from the style of synththe name infers. The MIX control is the same as all other effects, a wet to dry ratio.

The FILTER available on some of these effects is a “low pass” filter. Meaning thatfrequencies above the low pass filter frequency are cut. The FILTER control changes thefrequency of the low pass filter. Turning the control to the left lowers the frequency of

the filter meaning less high frequencies get through. Turning the control to the rightraises the frequency of the filter meaning more high frequencies get through.

The ATTACK has a minimum setting of 10ms and a maximum setting of 300ms. Alower setting makes for a faster attack, while a higher setting makes for a slower attack.The higher the setting, the more substantial the affect. For more staccato style scales,try setting the attack to the minimum value.

Dingo-TronThis is similar to the sound made by a Mu-tron® III (modeled for our Auto Wah model)when you flip the “down” switch. It’s kind of like a reverse auto wah. Pick hard to getthe most out of this effect.

Clean SweepThis is a wide range sweeping filter with a slow decay. It’s similar to Auto Wah, butwith a band pass filter shape. Try setting the DECAY all the way up, the SENSITIVITY half way up and the Q all the way down.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. MU-TRON is a registered trademark of Mark Simonsen.




3 • 5

Seismik SynthThis effect has an oscillator that tracks the pitch of your guitar. You can choose

between 8 different wave shapes which give you different “flavors” – all of them one ortwo octaves down from the original pitch. DEATH TO ALL SUBWOOFERS!!

Double BassThis effect has two oscillators that track the pitch of your guitar. One square wavetuned one octave down, and one saw tooth wave two octaves down.

Buzz WaveThese are cool combinations of saw and square waves with fast vibrato. The 8 different

WAVE parameters offer different vibrato speeds and different pitches.

Rez SynthThese are all sweeping low pass filter effects with the resonance set high. Resonance isa peak at the frequency of the low pass filter.

Saturn 5 Ring MRing modulators take two signals (one supplied by your guitar, the other supplied by theeffect) then adds and subtracts similar frequencies. Electro-Harmonix® makes a ringmodulator pedal called the Frequency Analyzer that is a popular guitar effect. The only

limiting factor is that the pitch of the signal provided by the effect is constant. Meaningyou have to play only in the key of that pitch to be musical.

Synth AnalogThese are great for funky synth guitar (or bass) lines! These sounds were made popularby Moog and ARP.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. ELECTRO-HARMONIX is a registered trademark of NewSensor Corp.




3 • 6

Synth FXThese sounds aren’t really designed to be musical. These are more “special effects”

sounds. You’ll hear a lot of these kinds of sounds in movie sound tracks.

Synth HarmonyIf you loved those big synth leads from 70’s era prog bands then you’ll love this effect.There are two synth waves at work here. Your first two parameters allow you to choosea pitch interval of your original note played. Your WAVE parameter works differentlyfrom what you’d expect with the other synth models. Here the WAVE parametercontrols the gain of the saw wave, while the square wave gain remains constant.

Synth LeadThese are styled after popular analog monophonic synth lead sounds from Moog, ARP

and Sequential Circuits.

Synth StringThis emulates classic synth string sounds like those found in the ARP Solina StringEnsemble and the Elka® Synthex. The harder you pick, the brighter the sound.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. ELKA is a registered trademark of Generalmusic S.P.A.



FX Junkie • Mod Effects

3 • 7

Mod Effects

Whisk yourself away on a magic carpet ride of tone with these FX Junkie Modulationmodels:

Analog SquareA basic digital chorus, like the Sine Chorus, only in this case there’s a square waveacting as the magical modulator. As you’ll hear, using a square wave gives you more

sudden changes in the chorusing, and is slightly less smooth than the sine wave. Try’em both and see what suits you. This should be a good choice for country chickenpickin’ licks.

Square ChorusThis one’s a bit smoother than the Analog Square, but the basic vibe is similar, thanksto the square wave modulator at the heart of the effect.

Expo ChorusA Line 6 creation, the “Expo” in this chorus stands for exponential, which is a fancy

way of saying that the waveform of the chorus spends extra time in the ‘swooshy’ part of the chorus.

Random ChorusThis chorus uses three different modulating filters all running randomly. A very busy

chorus sound to be sure.

FX J ki




3 • 8

Square FlangeThis the same as the Line 6 Flanger, but using a square waveform instead of a sine wave.

Expo FlangeHere’s that exponential sweep we first found in the Expo Chorus, this time applied to aflange effect. The FEEDBACK and PRE-DELAY knobs can help you keep it in check ormake it as strange as you want. We think you know which way we’re leaning on thatone.

Lumpy PhaseA Line 6 original, Lumpy Phase is exactly that—‘lumpy.’ Kinda like a Uni-Vibe, butmore radical. It also has some built in overdrive and more of a ‘flange-y’ type of sounddue to our clever blending of a short delay into the swept signal. BASS and TREBLE knobs give you extra flexibility.

Hi TalkThe Line6 tone chefs managed to combine a moog-like filter and a rotary speaker in atouch-sensitive, tap-tempo package. As a result, the Hi Talk can make heads spin withits high-passed filtered frequencies. Try this one to dress up some mean distortion!

SweeperImagine having 2 wah pedals on steroids separated in a stereo field that are pulsating inopposite positions and you’re close to what you’ll hear here. Use the Q and FREQ to setthe character of the sweep and adjust your DEPTH to go from subtle to full on freak out.

Any resemblance to guitar tracks heard in a particular genre of B films is strictlycoincidental.

FX J nkie • M d Eff




3 • 9

POD Purple XThis is definitely a “sound effect.” We wanted something crazy that had a “broken”

sound to it. If played properly you can emulate the sound of a Pod Racer from Star WarsEpisode I.

Random S H (Sample and Hold)This has a similar effect as the old Oberheim® Voltage Controlled Filter. It createschanges in tone by randomly emphasizing certain frequencies. Try locking this effect tothe tap tempo and playing single chords to that tempo. This effect is so inspiring, you’llprobably write a few new tunes based around the effect.

Tape EaterIf you’ve ever had a cassette player eat a tape before you’ll know what we’re talking

about. After fixing the tape (if you’re lucky!) and reinserting it in to the player it alwayshad a warbled sound on that section of the tape. Now think of your guitar tone beingrecorded on that section of the tape! That’s the crazy effect we were after. Try this witha slow speed setting and a 100% wet mix.

Warble-MaticThis effect is reminiscent of the Sweeper model, but when used subtly it can produce anice mild phasey sound or with the DEPTH maxed you can simulate the sound of analien spacecraft landing in one of those old 50’s sci-fi movies!

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. OBERHEIM is a registered trademark of Gibson GuitarCorp.

FX Junkie • Dela Effects



FX Junkie • Delay Effects

3 • 10

Delay Effects

For those that like their echoes with a little more finesse, a bit of variety and even a bitof craziness, we round out the FX Junkie model set with this line up of Delay models:

Echo Platter: Based on* a Binson EchoRec

The Echo Platter model was inspired by the Binson EchoRec, a

magnetic platter echo used by psychedelli-clinicians like PinkFloyd. These units had a spinning metal platter, a record head,and multiple playback heads that floated on the platter. (Hey, it’skinda like a really primitive hard drive!). This delay issomewhere between the tube and solid-state Echoplexes in tone,with a different type of wow and flutter than tape delays have.

Tape Echo: Based on* a Maestro® EP-3

After the tube-based EP-1 and EP-2, Maestro® introduced thesolid state EP-3, with transistors instead of tubes for the soundelectronics. The EP-3 uses the same basic mechanical design as

the original Echoplex, including the looped 1/4-inch tape, butdoes not have the tube distortion sound of the EP-1. EP-3scontributed to many classic recordings of the ’70s, with a largelist of avid users including Eddie Van Halen and Jimmy Page.Unlike our EP-1 model, which gives you control of wow, flutterand distortion, our EP-3 emulation is designed to give you a lessdistorted tape emulation with adjustable BASS and TREBLE

controls.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. MAESTRO is a registered trademark of Gibson Guitar Corp.





3 • 11

Lo-RezThe first digital delay units were introduced in the early ’80s. These pedals and rack

boxes took advantage of emerging digital technology to provide guitarists with longerdelay times. Unlike the 16 bit digital of today’s CDs, and the even higher resolutionprovided by some audio gear (like a POD), these early digital units generally had only 8bit resolution. Low bit resolution can create a unique sort of grunge and noise that issometimes just the sound you’re looking for, and that’s why these old delays are stillused to give a particular shape to the sounds that are run through them. Early modeldigital samplers are sometimes used in modern-day industrial and electronica to achievethese effects as well. Try this model on a low resolution setting to get that characteristic

digital grunge.

The BITS knob, lets you adjust the delay anywhere from its normal sparklin’, pristine 32bit resolution down to as few as 6 truly nasty bits. Bear in mind that as you turn theknob clockwise, you’re reducing the bit resolution, so maximum bit reduction isachieved when the knob is all the way up (think of it as a more control for how manyless bits you want). Your direct sound, of course, stays full resolution. Tone control of

the delay is also provided, via the appropriately labeled TONE knob.

Phaze EkoThis is a new-fangled delay dreamed up by the free thinking sound design crew here atLine 6. Starting with the basic tone of our EP-1 tape delay emulation, they’ve added

something very much like a Uni-Vibe to the delay repeats. The result is an echo unitthat gives you unique new creative possibilities for adjusting the tone of your delayswith a beautiful, burbling texture—if we do say so ourselves.

Bubble EchoBubble Echo has a Sample and Hold filter on the repeats. A Sample and Hold filter, if you haven’t run across one before, takes a filter sweep (like the one on Sweep Echo),chops it up into little bits, and rearranges them semi-randomly, so that it sounds likesudden little bits of wah pedal randomly sprinkled about. Crazy, huh?

Power Pack • L6 Clean



Power Pack L6 Clean

4 • 1

POWER PACK

If you're a TonePort or GuitarPort owner that lusts after the expanded tonal power of the pro standard PODxt, the Power Pack is for you! Imagine the hours you'll spend withthe vibey 1960 Tiny Tweed or the mayhem you'll unleash with the Line 6 Lunatic. Lifewill be sweet with the 60's classic Octave Fuzz or the modern Line 6-exclusive, SweepEcho. And there will still be plenty more to enjoy with the Multi-Head echo, Analog

Chorus, Jet Flanger, Auto Wah and their friends! Altogether, this optional add-ongives your little red buddy 19 additional Amp Models and 26 more Effect Models. And,as we're about to learn, each of these models has its own unique story to tell....

L6 CleanTo create this Amp Model, we essentially grafted the preamp and tone stack of a JC-120 (Roland’s popular “Jazz Chorus” solid state combo) onto the poweramp andtransformer of a classic Marshall® JTM-45 tube head, thereby giving you the crisp andclear front end typical of a solid state amp, but with a rich, satisfying tube amp-stylebite as you turn it up.

L6 JTS-45Since the design of early Marshalls was based on the Fender® Tweed Bassman® circuitry, we wondered what it would be like if we took the preamp and tone stack of our JTM 45 and ran it into the poweramp and transformer of our ‘58 Tweed Bassman®.What we got was way happening, as JTS-45 will attest. Great grind and nice punch. Atone the whole family can enjoy.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. MARSHALL is a registered trademark of Marshall Amplification PLC. FENDER and BASSMAN are registered trademarks of Fender Musical InstrumentsCorporation.

Power Pack • L6 Class A



4 • 2

L6 Class AOne of the most satisfying tonal experiences as a guitarist is to play through an amp

that’s driven to the point where the poweramp is just starting to distort, but beforeit achieves full clipping. For many players, this is the coveted ‘sweet spot’ they lookfor on an amp. Because we’re not limited to physical reality when we’re creatingamps in the digital world, our goal for this one was to make an amp model that wasnothing but sweet spot. One of the great side effects is the ease of coaxing feedbackout of this one.

L6 MoodAnd here we give you a fantasia tone, based on our memories of grunge guitar tones wehave known and loved.

L6 AgroAn aggressive high gain amp with a unique Mid control that will take you though theentire gamut of tone on one knob. How did we do it? The mid knob for this modelchanges the character of the distortion. When set to minimum the distortion exhibitsFuzz pedal characteristics. When the Mid is set to noon it creates creamy modern highgain amp tones a la Soldano. And when the Mid knob is turned up to Max it’s verymuch reminiscent of that Class A Vox® sound. Of course, then there are all the placesin between....

L6 LunaticHigh gain with lots of high mids and no mud. Great for layering with other amps to cutthrough on the high end. A wide range of top is available with the Treble and Presencecontrols (maybe to the edge of lunacy).

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. VOX is a registered trademark of Vox R&D Limited.

Power Pack • L6 Variax Acoustic



4 • 3

L6 Variax AcousticOne of the great features of the Variax Digital Modeling Guitars from Line 6 are

their models of acoustic instruments. These sounds are best appreciated through afull range monitor or P.A., due to their high frequency content. This Amp Modelwas created in order to allow the Variax’s acoustic models to sound as full-range aspossible through the speakers of typical guitar amps. This can come in handy whenyou’re using an acoustic model from a Variax, and listening to it through a guitaramp’s speakers. Keep in mind that since this model provides a large amount of highfrequency boost (to compensate for the natural roll-off of typical guitar speakers)

and overdriving a model playing an acoustic guitar is not usually a desired thing,this model will likely appear softer than most of its compatriots. If you need moregain, the Drive knob can be used to add some tube preamplification.

Power Pack • Zen Master: Based on* a Budda Twinmaster 2x12 comb



4 • 4

Zen Master: Based on* a Budda Twinmaster 2x12 comb

The Budda has a great, warm, Class A/B, sound. TheBudda philosophy is all about power tube distortion.Simplicity is the key. With relatively low front end gain,highly interactive tone controls, and tube rectifier “sag,”it’s great at getting a classic cranked sound for small gigsand recording (it’s all of 18 watts). Since the originalTwinmaster has no mid control, we’ve added a little

bonus to our model in the form of some post-Amp Modelmid contouring available via the MIDDLE control. As istrue for all such “bonus” tone controls on our models, you

should set this control to 12 o’clock to get groovy with the unadorned Budda-style vibe.We used the Twinmaster’s Input 2, which is lower gain, when creating this model.


Power Pack • Tiny Tweed: Based on* a 1961 Fender® Tweed Champ®



4 • 5

Tiny Tweed: Based on* a 1961 Fender® Tweed Champ®

This model has a great sound when the Drive is cranked(not bad clean, either). These amps were originallydesigned to be sold to beginners, but rock and rollersquickly discovered that you could get a great distortedsound at fairly low volume levels. Many of the classic guitarsolos of the 50’s were recorded through a Champ®. TheChamp® had no tone control, only volume. With thismodel, it’s easy to get a classic Champ® tone. Just leave the

BASS, MIDDLE and TREBLE controls parked at 12 o’clock,which means they are “flat,” making no contribution to thetone. Set PRESENCE to 0, and it will also be letting the

unadorned classic Champ® tone through. When you’re ready to explore further sonicterritory, spin those and work your magic.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. FENDER and CHAMP are registered trademarks of FenderMusical Instruments Corporation.

Power Pack • Double Verb: Based on* a 1965 blackface Fender® Twin Reverb®



4 • 6

Double Verb: Based on* a 1965 blackface Fender® Twin Reverb®

The classic blackface Fender® Twin Reverb®(in this case,

a 1965 Twin) was a real workhorse. Everybody used it,from jazz and country players to serious rockers. I myself remember seeing Johnny Winter at a concert where bothhe and Rick Derringer—am I dating myself or what?—were using six Twins stacked in a pyramid. Each. Wewere in the second balcony and it was REALLY loudeven all the way back there. The Twin has a lot of tonal

flexibility and is at home in a great many differentsituations. It never gets extremely overdriven and dirty,mostly just louder—a lot louder. This is the amp for the

classic surf sound. Dial up the spring reverb, switch on the tremolo, crank up thevolume, and look out for bikinis. Like most everyone who owns one, we plugged intoInput 1 of the Normal Channel for modeling purposes.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. FENDER and TWIN REVERB are registered trademarks of Fender Musical Instruments Corporation.

Power Pack • Two-Tone: Based on* a Gretsch® 6156



4 • 7

Two-Tone: Based on* a Gretsch® 6156

Another amp made by Valco/Supro®, this is the Gretsch®

6156. One of its curiosities is that the output transformeris actually mounted on its single 10-inch speaker, ratherthan on the amp chassis. It also has a lovely wraparoundgrill cloth, for a real futuristic look (or what passed for itin the ’50s).

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. GRETSCH is a registered trademark of Fred W. GretschEnterprises, Ltd. SUPRO is a registered trademark of Zinky Electronics.

Power Pack • Hiway 100: Based on* a Hiwatt® DR-103



4 • 8

Hiway 100: Based on* a Hiwatt® DR-103

This model gives a great, punchy sound that will cut

through almost anything and retains great definitioneven when cranked. That’s exactly what designerDave Reeves was looking for when he left the SoundCity division of Dallas Arbiter in 1966 to formHyLight Electronics. Though his first designs weremore reminiscent of the Vox® and Selmer amps of the day, it wasn’t long before Reeves had started

producing the amps that ’60s Brit-Rock fans havebecome familiar with. Renowned for their ‘tank-like’construction (due in part to Reeves’ hiring of ‘mil-spec’ wiring specialist Harry Joyce), it was no smallwonder this amp was the choice of Pete Townshendfor so many years. It wasn’t just Townshend usingHiwatt®, either. Many of the then-current crop of British rockers like Pink Floyd, The Moody Blues,Manfred Mann, and Jethro Tull were also Hiwatt® endorsees. Crank this one up and you can see formiles.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. HIWATT is a registered trademark of Fernandes CompanyLtd. VOX is a registered trademark of Vox R&D Limited.

Power Pack • Plexi 45: Based on® a ’65 ‘block logo’ JTM-45 Head



4 • 9

Plexi 45: Based on® a ’65 ‘block logo’ JTM-45 Head

Complete with a gold Plexiglas front panel. When

the royal agents we had dispatched to the U.K. foundthis particular amp, we instantly fell in love. The ampeven has the original KT-66s in it, still in great shape!It’s one of the finest examples of a JTM-45 we’ve everheard, and it’s a constant battle at Line 6 to see whogets to take it home for the weekend.

Those interested in the genealogy of tone will beinterested to note that the JTM-45 marked thebeginning of Marshall® ’s transition from a mellowerFender® -like tone to the distinctive, bright “crunchy”sound of the later Marshalls.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. MARSHALL is a registered trademark of Marshall Amplification Plc. FENDER is a registered trademark of Fender Musical Instruments Corporation.

Power Pack • Plexi Variac: Based on* a Marshall® Super Lead Variac



4 • 10

Plexi Variac: Based on* a Marshall® Super Lead Variac

Ahhh, the stuff of legend. According to the stories,

part of the magic behind Edward Van Halen’s ‘BrownSound’ was a Marshall® 100 watt Super Lead beingpurposely run at higher voltage through the auspicesof a Variable AC Transformer (aka a ‘Variac’).

While we don’t generally recommend experimentswith high voltage sources, especially ones that might

blow up precious gear, we felt it was our duty to see if the stories were true. So we cranked the Variac up to140v AC and gave the ’68 Super Lead a powerworkout. (Don’t worry, it survived to rock again.)We’re thinking those stories must not be too far fromwrong.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. MARSHALL is a registered trademark of Marshall Amplification Plc.

Power Pack • Brit JM Pre: Based on* a Marshall® JMP-1



4 • 11

Brit JM Pre: Based on* a Marshall® JMP-1

Marshall’s entry into the rackmount preamp world,

the JMP-1, has been a favorite of ‘big-hair’ metalguitarists as well as many others looking for a tight,highly saturated tone without the compression of poweramp ‘sag.’ It was also one of the first MIDI-controllable preamps. The overdrive flavor of the

JMP is somewhat “Boogie-esque” and many people saw the JMP as Marshall’s answer tothe ADA MP-1 and Mesa/Boogie® preamps. First introduced in the early nineties, the

JMP has enjoyed a recent surge of popularity with new metal bands looking for a reallytight, aggressive, well focused tone without being overly scooped. Your seven string isgonna love our model developed from our careful study of the JMP-1.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. MARSHALL is a registered trademark of Marshall Amplification Plc. MESA/BOOGIE is a registered trademark of Mesa/Boogie, Ltd.

Power Pack • Match Chief: Based on* a Matchless Chieftain



4 • 12

Match Chief: Based on* a Matchless Chieftain

The Matchless has an EL34-powered “modern class A”

design — hence this model’s name — and a uniquetone (largely due to the complicated EQ scheme). TheChieftain was designed by Mark Sampson at Matchlessto blend a Fender®/Marshall® type front end with aclassic ‘spongy’ and very reactive Class A power section.With higher gain than the DC-30 (which is next in ourhit parade), the Chieftain is a great roots-music amp. It

also features the incredibly sexy feature of a light upfront logo name plate, which may not affect tone, but itsure does look cool. When, sad to say, Matchless went

out of business, both the Chieftain and the DC-30 became highly collectable pieces of gear, with used ones often fetching up to a thousand dollars more than their originalprice. We’re happy to do our part to keep the Matchless legacy alive with our Matchlessmodels.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. FENDER is a registered trademark of Fender MusicalInstruments Corporation. MARSHALL is a registered trademark of Marshall Amplification Plc.

Power Pack • Match D-30: Based on* a Matchless DC-30

M h D 30



4 • 13

Match D-30: Based on* a Matchless DC-30

This model is based on a Matchless DC-30. The DC-

30 was the amp that really put Matchless on the map.Mark Sampson, the amp’s designer, who was generousenough to tell us the story of this amp’s creation, setout to create a road-worthy Class A amp that couldcover a wide range of tones. Built like a tank (andweighing nearly as much), the DC-30 paid tribute toearly Vox® amps. So if you like a Vox® AC-30 (or our

model based on one), you’ll also want to check out thismodel of the DC-30.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. VOX is a registered trademark of Vox R&D Limited.

Power Pack • Cali Crunch: Based on* a Mesa/Boogie® Mark IIc+

C li C h d / ® k



4 • 14

Cali Crunch: Based on* a Mesa/Boogie® Mark IIc+

Mesa Engineering started out with Randall Smith

souping up old Fender® Princeton® amps for SF Bayarea musicians. Over the years, the amps evolved,adding effects loops, switchable channels, and Randall’sSimul-Class design, in which one pair of output tubes isrun Class AB and the second pair run Class A. Boogieswere really the first modern guitar amplifiers and werequickly adopted by many players looking for more

‘oomph’ in a smaller package.We used the Drivechannel to do our modeling.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. MESA/BOOGIE is a registered trademark of Mesa/Boogie,Ltd. FENDER and PRINCETON are registered trademarks of Fender Musical Instruments Corporation.

Power Pack • Super O: Based on* a Supro® S6616

S per O B d * S ® S6616



4 • 15

Super O: Based on* a Supro® S6616

Yet more of the stuff of legend. Jimmy Page has admitted

to using his ’58 Tele and a Supro® amp to record most of the first two Led Zeppelin albums. The only problem is,he’s never really copped to which Supro® model he used,since his simply saying the word ‘Supro’ caused a run onpawnshops and music stores everywhere, making itvirtually impossible to find another one of whichevermodel it was that he used. We went so far as to impose

on our friendship with people we know who wereactually present during the recording of “Led ZeppelinII” to see if they remembered anything about thatparticular amp. They didn’t recall the specific modelnumber, only that it was “a grey and silver tiny little

bastard.” Other sources have claimed that it was the 1x12-inch version. So, until Pageyspeaks, the mystery remains, but, whatever the truth of those Zep sessions may be, we’reconfident that this Supro® S6616 model can be a fine entrance ticket to the Houses of the Holy.

By the way, that’s a 6x9-inch speaker in this amp, just like in your car stereo. Go figure.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. SUPRO is a registered trademark of Zinky Electronics.

Power Pack • Class A-15: Based on* a 1960 Vox® AC 15

Class A 15: B d * 1960 V ® AC 15



4 • 16

Class A-15: Based on* a 1960 Vox® AC 15

Here’s another Vox-inspired Amp Model. This model

is based on Channel 1 of a wonderful 1960 AC 15. Thesound is similar to the more famous Vox® AC 30, butthis is a smaller amp (one, instead of two, 12-inchspeakers) with a warmer, more “woody” sound. Onceagain, the original amp had only a single tonecontrol—a treble cut. We faithfully modeled that andthen slipped in some post-Amp Model Bass and Mid

contouring. Set the BASS and MIDDLE in neutral (12o’clock, or halfway up), PRESENCE to 0, and play withthe TREBLE control to get yourself some of those classicBritish invasion sounds. To model this, we plugged intoInput 2, which is slightly darker than Input 1, and givesyou more of that classic warm sound that the AC 15 isfamous for.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development.VOX is a registered trademark of Vox R&D Limited.

Power Pack • Octave Fuzz: Based on* a Tycobrahe Octavia

Octave Fuzz: Based on* a Tycobrahe Octavia



4 • 17

Octave Fuzz: Based on* a Tycobrahe Octavia

What was that? If it sounded like a phantom guitar

possessed by The Ghost of Great Guitarists Past, then itprobably was a Tycobrahe Octavia. The Octavia is anexample of a fuzz+octave effect. One pioneering user of this type of effect was Jimi Hendrix. The TycobraheOctavia in particular was used by Jeff Beck, andcontinues to be an essential part of Michael Landau’stone making tool kit. The Octavia uses an audio output

transformer and two germanium diodes to rectify (afancy word for whack) the guitar signal, thus creatingthe high octave type sound. For our model, we studiedthe sweet-sounding original pictured here. We knew we

had a keeper when every guitarist in the building wanted to take it home for a little of their own after hours “research.”


Power Pack • Blue Comp: Based on* a Boss® CS-1

Blue Comp: Based on* a Boss® CS-1



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Blue Comp: Based on a Boss CS-1

Roland®/Boss® jumped on the compressor stompbox

bandwagon with the CS-1 Compression Sustainer. It has afixed ratio, so this model based on it has the sustain controlvarying the threshold of the compressor circuitry. level doeswhat you’d expect.

Red Comp: Based on* a MXR® Dyna Comp

Probably the most widely used stompbox compressor, andpretty much the standard against which others are judged,the MXR® Dynacomp has a fixed compression ratio withvariable threshold and gain, which is what you get in thismodel. The SUSTAIN knob varies your compressionthreshold, and LEVEL varies your (wait for it) level.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. ROLAND and BOSS are registered trademarks of RolandCorporation. MXR is a registered trademark of Dunlop Manufacturing, Inc.

Power Pack • Auto Swell

Auto Swell



4 • 19

Auto SwellThis effect is an envelope generator, similar to the Boss® SG-1 Slow Gear and other

pedals. Each note or chord that you play ramps up. You can dial in the ramp time hereto give you the kind of ‘bowed’ attacks that might otherwise require you to have yourpinky rolling the volume knob on your guitar with every pick attack. Longer ramptimes in combination with delay and reverb can keep you occupied for a pleasant houror two, seeing what kind of chords you can come up with to blend into each other.You’ve got RAMP time to set over how long the swell takes to happen, plus DEPTH todetermine how much the volume of your attacks is reduced.

Auto Wah: Based on* a Mu-Tron® III

What self-respecting filter-junkie would be without a Mu-Tron® III envelope follower? Part auto-wah, part triggeredfilter, it’s all about wacky, and this model based on the Mu-

Tron® III gives it to you both coming and going. Go ahead –unbutton that shirt, put on the flares, and get down with yourbad self!

The SENS knob varies the filter’s response to your playing, andQ adjusts the filter’s width.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. BOSS is a registered trademark of Roland Corporation. MU-TRON is a registered trademark of Mark Simonsen.

Power Pack • Analog Chorus: Based on* a Boss® CE-1 Chorus Ensemble

Analog Chorus: Based on* a Boss® CE-1 Chorus Ensemble



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g

Let’s take a minute to pay homage to the original

stompbox chorus, the Boss® CE-1 Chorus Ensemble.The CE-1 came onto the music scene in 1977 and madewaves with its big, warm and groovy chorus tones. Itquickly found its way onto Andy Summers’ pedal boardand then into our homes via the classic albums recordedby The Police. The CE-1’s controls included SPEED,DEPTH and a switch to go from chorus to vibrato mode

(see below). The CE-1 is spacious, and sounds greatfeeding into a distorted amp. The PODXT CE-1 model isevery bit as warm and gooey as its inspiration. Dial up some lush landscape and enterinto chorus heaven.

“Hey, wait a second!” you say, “The original CE-1 had a cool pitch vibrato mode, too.Whatcha gonna do about that?” Well, no worries, mate, we’ve got you covered. Since achorus is, when you come right down to it, a pitch vibrato mixed with a dry signal, what

the vibrato mode switch on a CE-1 did was simply turn off the dry signal. To get thateffect here, just set the MIX knob to 100% wet (in other words, crank it all the way up),and, presto change-o, you’ve got vibrato. You can use the DEPTH knob to get as seasickas you want, too.


Power Pack • Jet Flanger: Based on* a A/DA Flanger

Jet Flanger: Based on* a A/DA Flanger



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J g

This is our model of the A/DA “studio quiet” Flanger.

Introduced in 1977, this stompbox has a sweep range of 35-to-1 and a built-in compressor that work togetherwith the tone circuitry to give the A/DA its signaturejet-like sweep. It can be very dramatic with its uniquewave shape and ability to create almost ring modulator-like effects at extreme settings. When this model of theA/DA Flanger is selected for editing, the DEPTH knob

controls the sweep range. FDBK adjusts feedback (inother words, how much of the effected signal is fed backto the input of the effect), and the MANUAL knob

controls the length of the very short delay that’s applied to the sweep to make theflanging effect happen. Plug in, spin up the depth and feedback, and get ready for take-off!


Power Pack • Bias Trem

Bias Trem



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One of our long time favorite pieces of ‘Rube Goldberg’ engineering, the old Vox® tremolo (and a similar circuit in some blonde and brown Fender® amps) got its pulse byliterally varying the bias of the power amp tubes. While this tended to reduce the lifespan of the output tubes in these amps, it gave a beautifully liquid, uneven, and rather‘lumpy’ sound that bears a distinct resemblance to a Uni-Vibe or other phase shifter(mainly because treating the tube bias in such a cavalier manner actually caused somephase shift to occur).

Auto PanAlso known as a panner, this effect makes your sound go back and forth between theleft and right channels. Sure to keep you up late at night.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. VOX is a registered trademark of Vox R&D Limited.FENDER is a registered trademark of Fender Musical Instruments Corporation.

Power Pack • Rotary Drum: Based on* a Fender® Vibratone

Rotary Drum: Based on* a Fender® Vibratone



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When they noticed that guitar players had started

using Leslies, Fender® decided to come out with itsown, guitar-specific whirling dervish of a tonemachine. Dubbed the Vibratone, it used a styrofoambaffle spinning in front of a 12-inch speaker, kickingall the sound out the sides of the box. One of the bestknown examples of a Vibratone tone is Stevie RayVaughan’s classic ‘Cold Shot’.

The editing controls for the Vibratone are the same asfor the Leslie® 145. Take it for a spin!

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. FENDER is a registered trademark of Fender MusicalInstruments Corporation. LESLIE is a registered trademark of Suzuki Musical Instrument Manufacturing Co. Ltd.

Power Pack • Analog Echo: Based on* a Boss® DM-2

Analog Echo: Based on* a Boss® DM-2



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Analog echo units like the DM-2 were designed as

improvements over the tape echoes that came beforethem, using “bucket brigade” electronics to give guitaristsecho units that were more reliable than the tape-baseddelays, with the added advantage of a low-power circuitthat can be run on batteries. Analog delays are treasuredfor the warm, distorted tones they produce, and this modelbased on the Boss® DM-2 gets you the same sort of thing in

a new digital realm of existence.


Power Pack • Multi-Head: Based on* a Roland® RE-101 Space Echo

Multi-Head: Based on* a Roland® RE-101 Space Echo



4 • 25

Long before Boss® pedals, the RE-101 Space Echo

was Roland’s first venture into the world of effectsprocessing. Instead of having one movableplayback head (like the Echoplex) this machinehas multiple stationary heads. You change delaytimes by switching amongst these heads, and thenfine-tune delay time with a motor speed control.The groovy part is that you can play back on

multiple heads at the same time to get multi-tap delay effects. There’s a control forHEADS, which enables you to choose from the available combinations of the Multi-Head model’s 4 virtual tape heads. There’s also a FLUT (wow and flutter) control likethe Echoplex EP-1 model.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. ROLAND and BOSS are registered trademarks of RolandCorporation.

Power Pack • Sweep Echo

Sweep EchoThi d l i Li 6 i i l I fi d DL4 D l M d l d h



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This model is a Line 6 original. It first appeared on our DL4 Delay Modeler and hasturned out to be a special favorite amongst the many DL4 users that we’ve spoken to.

This one includes knobs for adjusting the speed and depth of the sweeping filter part of the effect. Sweep SPEED sets how fast the filter sweeps, and sweep DEPTH sets therange of frequencies that the filter affects, allowing you to create and explore your ownshifting landscape of tonal possibilities. There’s both subtle texture and seriousweirdness to be found in this one.

Stereo DelayEver asked yourself, “How did The Edge (U2) get that groovy sound on ‘Where theStreets Have No Name’”? Stereo delays, my friend. It’s the secret to many a U2 song, aswell as the “Big L.A. Solo” sound of the late ’80s. Set one side as a fast echo with manyrepeats, and the other as a slow delay with just a few repeats. Voila, you’re famous!

Run this effect post in order to hear it in stereo, with one delay on the left, and anotheron the right. The TIME parameter sets the left delay’s time, while OFFSET sets the rightdelay time as a percentage of the left. So, if you set TIME to 500ms, and OFFSET to 50%,your right delay time will be 50% of 500ms—in other words, 250ms. Ignoring theparticular value of the left delay time, 50% just means that your right delay happens inhalf the time. So if you think of the left delay as a quarter note, the right delay is aneighth note. You’ve also got independent left and right FEEDBACK controls, so forinstance you can have your left delay feedback set low for a small number of repeats,while the right feedback is set high to give you a large number of repeats.

Power Pack • Ping Pong Delay

Ping Pong Delay



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The Ping Pong Delay is the one delay that can be run

as a Post Delay Effect, but not as a stompbox (since thiskind of delay requires a stereo output to do its stuff). Ithas two separate channels of delay, with the output of each channel flowing into the other, going back andforth like a game of ping pong. The TIME knob sets thetime for the left side delay line. The OFFSET knob setsthe time for the right side delay line, as a percentage of the left delay’s TIME. And SPREAD sets the stereospread of the delays from mono to hard-panned left andright. Sound too tricky? Just use the TIME knob (or Tap

Tempo Button, if you want to set that up) to set the longer delay time you hear, andthen turn OFFSET to adjust the shorter delay time. If you set Offset straight up at 12o’clock, your left and right delays are evenly spaced. Then, once you’ve got your delaytimes set, use the SPREAD knob to adjust where the delay repeats appear in the stereofield.

Power Pack • Reverse Delay

Reverse Delay!seltaeB eht dna xirdneH imiJ ekil tsuJ Take a step back in time with your cool new



4 • 28

!seltaeB eht dna xirdneH imiJ ekil tsuJ — Take a step back in time with your cool newreverse delay. Whatever you play in comes back out at you backwards, delayed by thetime you set (up to 2 seconds). To use this little wonder most effectively, try playing alegato lick, ignoring the reverse playback as well as you can. Longer licks can translateinto very cool reverse phrases. We’ve seen Tom Petty guitarist Mike Campbell takingadvantage of the Reverse Delay in the Line 6® DM4 Delay Modeler stompbox to play abackwards guitar solo live—on a worldwide TV broadcast, no less.

When using Reverse, try setting the MIX knob to full (100% wetness) so all you hear is

the reversed sound—instant backwards guitar solo fun.

Power Pack • Reverb

Reverb



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Springs

Ahh, the ‘sproing’ of a good spring reverb tank. Ya say you wanna play surf music,neighbor? Well sir, you’ve come to the head of the stream! The only thing missing isthe ugly crash when the bass player stumbles over your amp.

Lux SpringThe blackface Fender® Deluxe Reverb®amp had a two spring reverb tank, whichwe’ve modeled here.

King SpringA Line 6 original, inspired by the Sealy Posturepedic®. If three springs are cool, howabout a whole mattress full of Slinkies? Richer, denser, wigglier. A good night sleep isguaranteed, or we’ll give you your money back.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.These product names, descriptions and images are provided for the sole purpose of identifying the specific products thatwere studied during Line 6’s sound model development. FENDER and DELUXE REVERB are registered trademarksof Fender Musical Instruments Corporation.


RoomsOver the years, inventive recording engineers have pressed all sorts of rooms into

i b h b S i ll h ll d b h b f h



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service as reverb chambers. Stairwells, hallways, and basements have been some of the

popular choices.

Small RoomAs its name implies, this reverb model will give you the kind of sound you’d get whenrecording an amp that’s mic’d up in a small room. Fortunately, unlike the small roomsthat you might have handy at home, say, this room has well-tuned acoustics, notraffic noise coming from the nearby street, and you don’t have to worry about theupstairs neighbors yelling, “Turn it down!”—don’t you hate it when people ruin agood take like that?

Tiled RoomThink of this one as recording your guitar in the hall bathroom. All that porce-lain has always made for great reverb, and lots of classic recordings were done bymaking the saxophone player stand in the ‘necessary’ and wail. Or at least that’swhat they told them. Sax players can be so naive.

HallsWe’re not talking about the passageway between your living room and bedroom. We’retalking large, cavernous spaces here.

Dark Hall

A large concert hall with many reflections. This one is all about size and is great forthat huge backdrop of reverb that doesn’t get in the way even when turned all theway up.

Large HallA very large concert hall. It doesn’t get much bigger than this.


ChambersBack in the day, there was no such thing as digital reverb. But people still wanted to bebl t dd ‘ ’ t th d th di S t th b i ht id



4 • 31

able to add more ‘room’ to the sounds they were recording. Someone got the bright idea

of building a big empty room where sound bounced around nicely. They stuck a speakerin there, fed the sounds that needed loving through said speaker, and arrangedmicrophones to pick up all the resulting ambience so it could be mixed back in with themusic. These early reverb chambers all had a different personality, and some studio’sreputations were made based on their individual reverb sound.

Rich ChamberA rich chamber great for making that crunch tone even fatter.

ChamberTypical of a studio chamber, this reverb goes well with just about anything.

Plates

Plate reverbs were the first type of ‘mechanical’ reverb. The basic design includes abig steel plate or sheet of gold foil with some sort of speaker driving it, and usuallymultiple pickups to capture the vibrations of the plate.

Vintage PlateA classic plate reverb that you won’t forget.

Large PlateWell with Large Hall and Cavernous lying around, we just had to dish up a big ol’Plate of goodness. This one makes a great bed of reverb for playing over and washesup real good with soap and water.

Bass Expansion Amp 360: Based on* an Acoustic 360

BASS EXPANSION



5 • 1

Become the master of world class bass tone! The Bass Expansion is a set of 28 Amp and22 Cab Models covering the full range of bass guitar tone from classic studio combos tostadium-shaking rock stacks and everything in between. Each Model comes from Line6’s Bass PODxt, the world standard for professional bass tone for direct recording. You’llbe able to freely mix and match these Amp and Cab Models with any other Amp, Caband Effect Models that you own, all within the Line 6 tone setup that you already knowand love.

But wait, there’s more! Before diving into the details of the individual Models in theBass Expansion, here’s a rundown on extra, bass-specific, features that come along withthese Models:

Amp 360: Based on* an Acoustic 360

This amp was modeled after an Acoustic 360, as used byLarry Graham, John Paul Jones, and Jaco Pastorius. Wemodeled an early 70’s Acoustic 360, featuring a separatepreamp “head,” plus a powered cabinet with a single 18-inch speaker in a folded horn. The 360 with the built infuzz and tuner was the choice was John Paul Jones’ choicefor Led Zeppelin’s Low end—he can be seen playingthrough two in the film, “The Song Remains the Same.”

But Jaco’s work with Weather Report really showed us whata versatile amp the 360 really was. When the band left himalone on stage for his bass solo, he really wrenchedeverything he could out of his gear which included twoAcoustic 360’s, a wah pedal, a rackmount “blue” MXR® digital delay and his trusty Jazz Bass®. Towards the end of his solo he would stomp on the wah pedal, turn on the fuzz

and do a great rendition of the “Star Spangled Banner.” Now its your turn!

*All product names are trademarks of their respective owners, which are in no way associated or affiliated withLine 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6’s sound model development. MXR is a registered trademark of Applied Research and Technology, Inc. JAZZ BASS is a registered trademark of Fender Musical InstrumentCorporation.

Bass Expansion Jaguar: Based on* an Aguilar ® DB750

Jaguar: Based on* an Aguilar® DB750

This monster is a relatively new addition to the



5 • 2

This monster is a relatively new addition to the

high-end bassist’s tone menagerie. And by high-end,we don’t mean “turn up the treble,” we mean high-end as in Rolls Royce®, Ferrari® or AC Cobra! These

hand-built babies are super-clean and super-warm and especially cool for players whohave super-discriminating ears and need to hear it all…You know, those guys who liketo hear the ridges of their calloused fingerprints scraping across the strings! Particularlypopular with high-end session bassists in New York and LA, the Aguilar® DB750 canalso be heard doing serious bass duty with Chris Chaney as he powers the likes of Jane’sAddiction, Alanis Morrissette and Methods of Mayhem.

*All product names are trademarks of their respective owners, which are in no way associated or affiliated withLine 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6’s sound model development. AGUILAR is a registeredtrademark of David Boonshoft. ROLLS-ROYCE is a registered trademark of Rolls-Royce PLC. FERRARI isa registered trademark of Ferrari S.P.A.

Bass Expansion Alchemist: Based on* an Alembic F-2B

Alchemist: Based on* an Alembic F-2B

Back in the mid and late ‘60’s, the San Francisco



5 • 3

Back in the mid and late 60 s, the San Francisco

Bay Area was quite a cultural hot spot. And as the“San Francisco Sound” became the soundtrack forthe Summer of Love, many local San Francisco-areamusicians were thrust into the international

spotlight to find themselves leading the Hippie “Peace and Love” charge. Behind thescenes there were more than underground chemists hard at work making thingsmagical! Electronics expert Jim Furman (of Furman Sound) was right there in themiddle of that cultural crucible, cooking up gizmos for the Jefferson Airplane and theGrateful Dead. If you take a close look at archival photographs of the Dead, theAirplane and other Bay Area bands of the time, quite often you see bassists andguitarists playing through Fender® Showman® and Dual Showman® amps chained infront of audiophile Macintosh power amps. The Alembic F-2B was Mr. Furman’s wildlysuccessful attempt to better the front end of that sweet signal chain by creating acleaner, sweeter version of the Showman® sound. So open up the Alchemist model,and you’ll be able to jump between various tones from the Summer of Love faster than

a hippie can change his tie-dye t-shirt! Oh, and don’t forget— Alembic F-2B’s haveoften found their way into Stanley Clarke’s rigs, and you’ll also find them in frequentuse in many a world-class studio’s rack, ready to guarantee bassists, engineers and recordproducers everywhere world-class tone.

*All product names are trademarks of their respective owners, which are in no way associated or affiliated withLine 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6’s sound model development. FENDER, SHOWMAN, andDUAL SHOWMAN are registered trademarks of Fender Musical Instrument Corporation.

Bass Expansion Rock Classic: Based on* an Ampeg ® SVT ®

Rock Classic: Based on* an Ampeg® SVT®

For 30 years now we’ve heard the tone and felt the power of the



5 • 4

For 30 years now, we ve heard the tone and felt the power of the

mighty Ampeg® SVT.® This workhorse has appeared oninnumerable recordings and arena stages worldwide – there is noequal to the original SVT® and its 300 watts of pure tube magic.(FYI – replacing the tubes in a SVT® nowadays would cost youmore than a POD!) First introduced in July 1969, the SVT® setthe tone, punch and arena-rattling standard for all future big gunbass rigs. Its users have included everyone from The Rolling

Stones to Van Halen, and pretty much every “rock” bass player inbetween. For this model, we selected a 1974 Ampeg® SVT® tomodel, and we’ve also given you a 70’s SVT 8x10 speaker cabinetto pair it with. The sonic combination of this head and cab is

beyond big, but you had to pray that your bandmates would help you move it! Now you can get big classic rock bass tone without frequent visits to thechiropractor.

*All product names are trademarks of their respective owners, which are in no way associated or affiliated withLine 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6’s sound model development. AMPEG and SVT are registeredtrademarks of St. Louis Music, Inc.

Bass Expansion Flip Top: Based on* an Ampeg ® B-15

Flip Top: Based on* an Ampeg® B-15

This is modeled after a 60’s Ampeg® B-15 Portaflex® – one



5 • 5

This is modeled after a 60 s Ampeg B-15 Portaflex one

of the most popular studio bass amps of all time. It’s tunedand front-ported, has a closed back, is 25 watts with asingle 15-inch speaker, and set a new standard for cabinetand speaker efficiency, tone and convenience in bassamplification. If we had to sum up the amp’s sound up inone sentence, we would simply say: Listen to James

Jamerson’s bass playing on the Motown®/Tamala records

of the 1960’s—The Supremes, The Four Tops, TheTemptations, Marvin Gaye, Stevie Wonder, and manymore. Jamerson played bass on more Motown hits thananyone else, and his choice for amplification was the

Ampeg® B-15. We think you’ll agree that the sound of his P Bass® through thatamp on those records is as fresh and exciting today as it was 35 years ago. And if he’s not enough to convince you, how about “Duck” Dunn? Don’t get us started...

Adam and Eve: Based on* an Eden Traveller WT-300

After David Eden made cabs for SWR® for 3 or 4 years, hewent into the business of making his own bass amp andcabinet line. Jim Demeter designed the electronics of thefirst Eden amps, and they were quickly adopted by a

veritable who’s who of modern bass society. The inspirationfor the Adam & Eve model was the WT-300, one of Eden’slatter offerings which produces a clean, clear and rich tone.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated withLine 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6’s sound model development. SWR, FENDER, P Bass andBASSMAN are registered trademarks of Fender Musical Instruments Corporation. AMPEG, andPORTAFLX are registered trademarks of St. Louis Music, Inc. MOTOWN is a registered trademark of UMG Recordings, Inc.



Bass Expansion Silverface Bass: Based on* a Fender ® Bassman ® Head

Silverface Bass: Based on* a Fender® Bassman® Head

Modeled after a 1967 Fender® Bassman.® By ’68, when



5 • 7

y ,

the Beatles went in to record The White Album, theyhad pretty much done away with their Vox® amps infavor of the new “silverface” Fender® line. John andGeorge each played through a Twin Reverb,® and Paulthrough the 2x15 “tall cab” Bassman.® This ampremained his favorite through the end of the Beatles’recording career, and can be seen in the Revolution video

(the cab is laying on its side), and all over the Let it bemovie – including the infamous “rooftop” concert whichcloses the film. Paul went on to use the amp for his firstsolo recordings, and live during the early Wings period.We’ve paired this Bassman® head with a 2x15 closedback cab loaded with JBL®’s. The sound of this cab also

reminds us of the theme music from Barney Miller, and all of those days practicingwith the high-school jazz ensemble. Try playing a little of the Peter Gunn

Theme....

Double Show: Based on* a Fender® Dual Showman®

Have you ever wanted a Fender® Bassman® thatwouldn’t distort once you turned it up loud enough tohear yourself alongside any self-respecting drummerthumping on any decent drum set? Like a Genie in abottle, the Fender ®Dual Showman® answers your wish.Many Bassman® users, most notably Phil Lesh, have

used a Dual Showman at one time or another for that extra “whoomph” necessary to beheard. Voiced slightly brighter than the Bassman,® the Dual Showman® paired with a 2x15cabinet was the rig of choice for many a classic Rock and Roller. And as all types of bandsgot bigger and louder, the Dual Showman® became quite popular with Funk and R+Bplayers too.

*All product names are trademarks of their respective owners, which are in no way associated or affiliated withLine 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6’s sound model development. FENDER, BASSMAN, TWINREVERB, and DUAL SHOWMAN are registered trademarks of Fender Musical Instruments Corporation. JBL is a registered trademark of Harman International Industries, Inc. VOX is a registered trademark of Korg Europe Limited.

Bass Expansion Hiway 100: Based on* a Hiwatt ® DR-103

Eighties: Based on* a Gallien-Krueger 800RB

What would any collection of bass amps be



5 • 8

without a Gallien-Krueger 800RB, whose greattone was modeled for the Eighties amp model?After all, this solid state amp helped definewhat new bass amps sounded like for the better

part of that decade. Geddy Lee had one. Will Lee used one on Late Night WithDavid Letterman. And bands like Def Leppard powered through a decade of popmetal with the 800RB. The GK 800RB produces a very scooped sound, anddoesn’t really distort. Try pairing this amp with another legend of the Eighties, the

Hartke 410 cabinet. This rig is known for producing what we call the “mid 80’smetal bass” tone. It’s the perfect choice when you’re ready for a little Pyromania....

Hiway 100: Based on* a Hiwatt® DR-103

Long before instrument amp designers copped to thefact that you need a ton of wattage for “real” bass,

bassists were stuck with the unenviable task of sorting through a very limited selection of underpowered bass amps in an effort to try to findone that could at least be heard. Sometimes thesearch would lead us to a powerfully clean guitaramp and it would find its way into a bass rig and dothe job just fine. Imagine that day when the late,great John Entwistle walked across the stage in frontof Moonie’s drums to inquire, “Pete, would you mindif I tried your lovely Hiwatt® for a bit? I can’t hearmyself over the racket you two make…”

* All product names are trademarks of their respective owners, which are in no way associated or affiliated withLine 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6’s sound model development. HIWATT is a registeredtrademark of Fernandes Company Ltd.

Bass Expansion Hiway 200: Based on* a Hiwatt ® 200 DR

Hiway 200: Based on* a Hiwatt® 200 DR

Imagine a brighter SVT® with a little more attack and



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you’ve got an accurate aural image of this 200-watt, 75pound tone monster. And while you’re listening to thatlovely sound inside your head, think back to that era inthe late ‘60’s when Rock and Roll morphed into HardRock. Back then, as music got louder and louder, andhair got longer and longer, this was the bass amp of choice for many a low-ender across the Atlantic. Just aswe Americans fondly remember our silver-faced SVT®’s,

our British cousins happily recall these Hiwatts®! Rumorhas it that Black Sabbath’s Geezer Butler was quite fondof his and Glen Cornick of Jethro Tull used a 200 DRquite a lot in his band’s heyday. To this day, many anAmerican rocker, particularly those heavily influencedby all things English, favor the Hiwatt® 200DR, too. It’s

an “amp of choice” for Cheap Trick’s Tom Petersson, and crucial to the distinctive

growl roaring from his 8 and 12 string basses. So, load up the Hiway 200 model, grabyour aqualung and take the heavy, deep end plunge, British style!

* All product names are trademarks of their respective owners, which are in no way associated or affiliated withLine 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6’s sound model development. HIWATT is a registeredtrademark of Fernandes Company Ltd. AMPEG and SVT are registered trademarks of St. Louis Music, Inc.

Bass Expansion British Major: Based on* a Marshall ® Major

British Major: Based on* a Marshall® Major

For this model, we studied our 1969 Marshall®



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Major. While doing the initial research, wediscovered our amp had the wrong tubes in it,and that sent us on a quest to find some NOS(new old stock) vintage KT-88s. We calledexperts across the country looking for “new”thirty year old tubes. Several months and aking’s ransom later, our search paid off, and we

started over with an original set of vintageMullards in the amp. What an incredibledifference the “right” tubes in the “right” ampcan make! We “jumped” the channel 1 input tothe channel 2 input, thus combining the highand low channels (this was a common practicefor bassists and guitarists alike.) Wow! Standback and bow down to the royalty of British

Bass Tone. If this sound doesn’t cause yourneighbors to come looking for Jack Bruce, nothing will. Higher drive settings willget you those warm, natural overdrive tones heard on Cream records and manyothers from that era. The cabinet we’ve paired with the Marshall® Major is a ’76Marshall® 4x15 cab. The 4x15 sound is unique and awesome, and thecombination of the Major and this cab is somewhat darker that the Brit Bassmodel that’s coming up next....

* All product names are trademarks of their respective owners, which are in no way associated or affiliated withLine 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6’s sound model development. MARSHALL is a registeredtrademark of Marshall Amplification PLC.

Bass Expansion British Bass: Based on* a Marshall ® Super Plexi

British Bass: Based on* a Marshall® Super Plexi

This is modeled after a 1968 Marshall® Super



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Bass “plexi” with vintage EL-34 tubes. Ingeneral, the Super Bass is brighter than theMajor, and sounds a little “fuzzier” with higherDrive settings. The Marshall® of this erapowered the signature backline for most of theBritish bands, so you would have seen andheard them with John Entwistle (The Who),

Andy Fraser (Free), Noel Redding (JimiHendrix Experience), Ron Wood (Jeff BeckGroup), Jack Bruce (Cream), Tim Bogert(Vanilla Fudge), and Roger Glover (DeepPurple). We’ve matched this amp model upwith a cabinet model crafted from our studiesof the 1967 Marshall® 4x12 with pre-Rola® 20watt Celestion® greenbacks. This speaker

cabinet occupies an especially respected placein our studio. The ragged vinyl on this vintage

treasure proves it has earned its way on many a road gig, and its signaturebasketweave grille, gets every bassist and guitarist that passes through our shopstopping to plug in and learn what we have learned: this is the best cab we’ve everheard. Warm and woody, this cabinet has every player in the building bowingdown to the gods of great tone. And now, of course, thanks to the wonders of

modern technology, you get the tone modeled from this same, truly remarkablepiece of tone history.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated withLine 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6’s sound model development. MARSHALL is a registeredtrademark of Marshall Amplification PLC. ROLA is a registered trademark of Recoton Audio Corporation.CELESTION is a registered trademark of KH Technology Corporation.

Bass Expansion California: Based on* a Mesa/Boogie ® Bass 400+

California: Based on* a Mesa/Boogie® Bass 400+

Introduced in the late Eighties, the Bass 400+



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features 500 watts of Class A/B operation, withtwelve(!) 5881 Output tubes and four12AX7Preamp tubes. The Bass 400+ has been themainstay of Boogie’s bass line for over a decade.Both Michael Anthony (Van Halen) and Flea(Red Hot Chili Peppers) have toured with theBass 400+, which produces a warm, dynamic,

and earthy tone that’s well suited for manyplaying styles.

Jazz Tone: Based on* a Polytone Minibrute®

With this model, you now have your very own

place to go for the classic tones modeled after thePolytone Mini-Brute.® This amp is known as thecombo that knows every wedding standard andlounge hit from the last 40 years. The original amphouses a single 15-inch speaker that can best bedescribed as intimate and subdued. Plug in herewhen it’s time for your more introspective moodindigo moments.

*All product names are trademarks of their respective owners, which are in no way associated or affiliated withLine 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6’s sound model development. MESA/BOOGIE is a registeredtrademark of Mesa/Boogie, Limited. MINI-BRUTE is a registered trademark of Pamco Enterprises, Inc.

Bass Expansion Stadium: Based on* a Sunn ® Coliseum

Stadium: Based on* a Sunn® Coliseum

This model is based on the Sunn® Coliseum 300—the

l fi h d h l f l



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amplifier that spawned the explosion of power line-upsthroughout the 60’s and 70’s. The amplifier used by JimiHendrix and Noel Redding, by Pete Townshend and JohnEntwistle, by Tony Iommi and Geezer Butler, by... well...take a look at the inside cover of your Woodstock album,and you’ll get an idea of the impact that Sunn® amplifiershad in revolutionizing early rock music. Oddly, this ampwas developed by Conrad Sundholm for his brother Norm,who was the bass player for the Kingsmen of “Louie Louie”fame. Pair the Stadium model with our model of Sunn ®’sunique cab that features one front mounted 12-inchspeaker and one upward-angled 18-inch speaker and you’llexperience the Mojo first-hand!

Studio Tone: Based on* a SWR® SM-500

A beefier, redefined version of the SM-400, this isone of the latest of the “contemporary classics” tocome out of SWR.® As one of the most, if not the most recognizable and popular of all contemporarybass amps, the SM-500 delivers a full range of toneand is especially known for its very defined highend. This makes the SM-500 a favorite amongst“slap and pop” players in all genres. These amps areso popular, they’re used on concert stages and instudios everywhere. Led Zeppelin alumnus JohnPaul Jones is one of their current users.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated withLine 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6’s sound model development. SUNN and SWR are registeredtrademarks of Fender Musical Instruments Corporation.

Bass Expansion Motor City: Based on* a Versatone Pan-O-Flex

Motor City: Based on* a Versatone Pan-O-Flex

While researching the legends of great bass gear,

di d l h V P



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we discovered a true lost gem: the Versatone Pan-O-Flex! This single 12-inch combo was designedby Bob Hall in the late 60’s and was a hit amongthe LA Studio scene – in particular, at RCAStudios. Carol Kaye used a Versatone amplifieron countless sessions, and Jack Casady still usesone with his SWR® amps. It’s a sealed back

combo with some cool internal baffling thatmakes it sound much larger than it actually is.Turn it up to about 1/3, and it has a warm tone.Turn it up a bit higher, and it will distort with a

sweet sustain. Turn to the Motor City model, and this range of tone is availablevia the Drive knob of this model. We think you’ll agree that it really delivers: thismodel may well become the secret of your sound. Its Bass and Presence knobs giveyou the classic Pan-O-Flex tone, and you can set its Mid and Treble knobs to their

12 o’clock positions to keep things traditional. Then, try creating your ownvariation on the classic Pan-O-Flex sound by turning the Middle and Treble knobsup or down for post-Model boost/cut.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated withLine 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6’s sound model development. SUNN and SWR are registeredtrademarks of Fender Musical Instruments Corporation.

Bass Expansion Brit Class A100: Based on* a Vox ® AC100

Brit Class A100: Based on* a Vox® AC100

The Brit Class A100 model is modeled after a Vox® AC-

100 th i P l M C t b i i 1965 h



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100, the rig Paul McCartney began using in 1965 whenhe had outgrown his Vox® T-60. This rig was used forrecording and touring thru 1965 and can be seen incountless pictures and videos of live Beatles performancessuch as the Shea Stadium concert, the Hollywood Bowlconcert and, of course, The Ed Sullivan Show in 1965. It’scharacterized by its low-down lows and sweet high end.

Now, those of you who have had the chance to getintimate with a Vox® AC-100 may know that, true toVox form, it’s got its quirks. One of the more obvious onesis that the Bass knob works backwards because it’stechnically a “Bass Cut” knob. While we strive forauthenticity when creating out models, we decided thatthis time it was appropriate to opt for ease of use bysetting this knob up so that you get more bass as you turn

up, and less bass as you turn down. You get the sameresponse curve and frequency control as the AC-100’s knob would have given you,but now you don’t have to learn how to work things backwards. And thus, balanceand harmony have been maintained in the Line 6 product design universe....

* All product names are trademarks of their respective owners, which are in no way associated or affiliated withLine 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6’s sound model development. VOX is a registered trademark of Korg Europe Limited.

Bass Expansion L6 Classic Jazz

L6 Classic Jazz Join us, for a moment, in contemplation of the Roland® JC120. If you think about it,it’s easy to follow our logic – it’s an amp that has a great reputation for cleanliness and

accuracy Now aren’t those two tonal characteristics often sought after by bassists in



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accuracy. Now aren t those two tonal characteristics often sought after by bassists inevery genre? Grab a bass, plus in, and behold—it definitely works for us! Push downthat CAB/A.I.R. button and try pairing the L6 Classic Jazz Model with the 8 x 10SVT® cabinet model. You’ll be glad you did.

L6 Brit Invader

Since Class A amps overdrive differently than their Class B cousins, we just had to jackour trusty basses into our favorite Vox® AC 30 Top Boost. Out of respect for thoseultra-rare blue back speakers (and fear of the repercussions of blowing one of ‘em!) weset our beloved Vox® on top of a Marshall® Major 4x15 cabinet. We happily found thisunlikely combination produced a very furry tone that readily responds to any tonaladjustments you may make on your bass or this model. And with a little tweaking wewent from a top end that could cut through anything to a pleasurable vintage“woofyness” that would make Joe Meek proud.

L6 Super ThorIf you were in a roomful of vintage gear, an open back, little ol’ combo amp is probablythe last thing you’d choose to play your bass through, right? Well, its one of the first weplugged into, but we like doing the unexpected. Anyway, this tough little cookie wecall the Super Thor is based on the Supro Thunderbolt, the bass-minded love childLine 6 and the infamous Supro S6616 of early Led Zeppelin fame. Our very reliable

sources also tell us that Jimi Hendrix occasionally played through a Supro Thunderbolt.We figured that if that little amp, mic’d up right in a studio, could churn out big guitartones for the big Jim’s, maybe a bass-loving cousin could do something similarly hugefor us. After you’ve dialed in a tone to your liking, notice that the harder you hit yourstrings, the more fuzz on the peach! We’ve also found that Super Thor adds a very warmcharacter to the Synth/Filter models in the FX Junkie Model Pack.

*All product names are trademarks of their respective owners, which are in no way associated or affiliated withLine 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6’s sound model development. ROLAND is a registeredtrademark of Roland Corporation. SVT is a registered trademark of St. Louis Music, Inc. VOX is a registeredtrademark of Korg Europe Limited.

Bass Expansion L6 Frankenstein

L6 FrankensteinAre your dreams filled with warm and fuzzy bass tones with lots of sustain? If so, thesound designers here at Line 6 are in the business of making your dreams come true.

We’re not sure what they used to cook up the JTS 400-S but based on the secret



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We re not sure what they used to cook up the JTS 400-S, but based on the secretapocryphal codex created by those afore-mentioned sound designers, our guess is thatthis is one of their Marshall®/Fender® Frankensteins. Could it be the front end of a 100watt Plexi grafted on to the power section of a Dual Showman®? Or something likethat? Whatever this is, our tone wizards (who, by the way, are seen occasionally insidethe Line 6 Tone Lab wearing capes and funny hats) concocted it with sweet, fuzzy bassin mind. The first time we plugged in to this dream machine, we, as Captain Beefheart

used to be fond of saying, “…hit the lunar note and let it float….” Man, we’re stillhappy we did.

L6 Ebony LuxThis original creation was inspired by a Fender® black face Deluxe Reverb.® Althoughnot commonly used for bass, plugging a bass into this Holy Grail of guitar tone yields amost pleasurable experience to say the least. Imagine a clear top end, transparentbottom and a nice mid scoop that makes your bass wonderfully unobtrusive. This ampmodel makes it easy to find the proper space for your bass when accompanying thosefinicky singer/songwriters who don’t want anything getting in the way of their preciousguitar or dainty piano!

L6 DoppelgangerLoosely based on a Fender Twin, this original Line 6 creation gives up the low end witha nice, friendly rattle in the high mid’s. To enhance the Doppelganger and its uniquesonic character, choose a speaker cabinet of the open back variety.

* All product names are trademarks of their respective owners, which are in no way associated or affiliated withLine 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6’s sound model development. MARSHALL is a registeredtrademark of Marshall Amplification PLC. FENDER, DUAL SHOWMAN, DELUXE REVErb, andTWIN REVERB are registered trademarks of Fender Musical Instruments Corporation.

Bass Expansion Sub Dub

Sub DubThis fabulous tone was brought to us by Justin Meldal-Johnsen currently in his ownband “Ima Robot”, who’s also played bass with Beck, Tori Amos, Air, Macy Gray and

other luminaries When we were creating the original Bass POD he brought his rack



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other luminaries. When we were creating the original Bass POD, he brought his rackfull of esoteric gear into the studio for us to poke and prod and model. The resultingAmp Model was included in the original Bass POD, and has become a particularfavorite of the Bass POD faithful. It’s perfect for Hip Hop, Electronica, Trance,Eurodance, Rave and all of your Alternative tone needs. Lower Drive settings producevirtually no clipping (distortion), while higher Drive settings will produce massivesquare wave distortion (thus giving your synth player tone envy). Dig Justin’s own

description...

“Dark and oh so deep, this is the sound you pull out when it’s time to go lower thanlow... to hit deeper than the Moog line, to rock harder than the 808 kick. The soundof this model is a particular, well-tuned, fundamental tone which gives you a lot of serious pure “note” without the muddiness you get when you try and make your ampdo it. For myself, the sound creates a similar effect to standing in front of a well-executed bass rig with a few 18-inch speakers involved to handle the low parts of the

sound spectrum (which is what I do playing live). Inspiration for this sound for mecame from everyone from Massive Attack to Dr. Dre, DeAngelo to Aphex Twin, KingTubby to Future Sound of London, and all other champions of the ultra-low.” Thanks

Justin – we couldn’t have said it any better!

Tube PreampThe thinking went like this: ‘Once people get this POD thing, it’s gonna be so greatthat they’re gonna wish they could use it for everything—warming up keyboards,crunching up drums, fuzzing up vocals. We’ve gotta give ’em something to do thatwith!’ So we did. Tube Preamp lets you warm up any sound source the way producersand engineers often do in the studio with vintage tube gear. With the tone controls at12 o’clock, the EQ is “flat.”

Bass Expansion Cabinet Models

Cabinet Models

Cabinet Model Based On...

1x12 Boutique 1x12 Euphonics CXL-112L



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q p

1x12 Motor City 1x12 Versatone Pan-O-Flex

1x15 Flip Top 1x15 Ampeg® B-15

1x15 Jazz Tone 1x15 Polytone Minibrute®

1x15 Session 1x15 SWR® Big Ben

1x15 Amp 360 1x18 Acoustic 360

1x18 California 1x18 Mesa/Boogie®

1x18+12 Stadium 1x18+12 Sunn® Coliseum

2x10 Modern UK 2x10 Ashdown ABM 210T

2x15 DoubleShow 2x15 Fender® Dual Showman® D130F

2x15 California 2x15 Mesa/Boogie®

2x15 Class A 2x15 Vox® AC-1004x10 Line 6 4x10 Line 6 Original Model

4x10 Tweed 4x10 Bassman®

Combo w/ new speakers4x10 Adam Eve 4x10 Bassman® Combo

4x10 SilverCone 4x10 Hartke 410

4x10 Session 4x10 David Eden

4x12 Hiway 4x12 Hiwatt® Bass Cab

4x12 Green 20’s 4x12 1967 Marshall® Basketweave with Greenbacks

4x12 Green 25’s4x12 1968 Marshall

®

Basketweave with Greenbacks4x15 Big Boy 4x15 Marshall® Major

8x10 Classic 8x10 Ampeg® SVT® CabNo Cab You will probably want to use this Cabinet model with the Tube

Preamp model for non-guitar sources. It is selected by defaultwhen you pull up the Tube Preamp Amp Model.

All product names are trademarks of their respective owners, which are in no way associated or affiliated withLine 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6’s sound model development. AMPEG AND SVT areregistered trademarks of St. Louis Music, Inc. SWR, SUNN, FENDER, DUAL SHOWMAN, andBASSMAN are registered trademarks of Fender Musical Instruments Corporation. MINI-BRUTE is aregistered trademark of Pamco Enterprises, Inc. MESA/BOOGIE is a registered trademark of Mesa/BoogieLimited. VOX is a registered trademark of Korg Europe Limited. HIWATT is a registered trademark of Fernandes Company Ltd. MARSHALL is a registered trademark of Marshall Amplification PLC.

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