Line 6 headphones powered monitors, GEARBOX 3.1 Basic Manual

Download

Can run with any

TonePort, GuitarPort

or PODXT.

Part of GearBox Plug-In Bundles.

Can be added to any

GearBox supported

hardware.

IMPORTANT:

Connect Speakers or

Headphones to Line 6

hardware, not directly

to computer.

Line 6 hardware must also be connected via USB.

computer

USB

Line Outs

Hardware Unit

Phones Out

USB REQUIRED:

Line 6 hardware

must be connected

via USB to use

GearBox Plug-In.

Optional ToneDirect™ Monitoring:

For no-compromise feel & responsiveness during recording, you can send unprocessed audio to your recording program, but monitor it instantly through the TonePort DI’s analog outputs.

To enjoy it, connect audio and run the separate GearBox program alongside your recording program and plug-ins.

A typical setup for ToneDirect™ Monitoring TonePort DI alongside a second recording interface is shown below. MORE INFO

DI Out: This will be the source to run the plug-in on. Connect to an input on your audio interface and choose as the input for the track with the GearBox

computer

Plug-in. Mute recording application’s

monitoring of this track input.

recording sources

headphones powered monitors

or mixer/amp

& monitors

Want to hear your computer’s internal soundcard and GearBox sound through the same set of speakers?

MORE INFO

We don’t recommend hooking a TonePort or GuitarPort to the input of a guitar amp. Still want to attempt this?

MORE INFO

ADDING PLUG-IN

OPERATION

Add plug-in operation to your GearBox setup to enjoy the same Models you already own — including any Model Packs you’ve added on — now operating in GearBox Plug-In mode! It’s all just a click away:

www.line6.com/store

Analog Outs:

These give the

USB

DI Out

Analog Outs

ToneDirect™

Monitoring magic.

Connect to other

inputs on your

recording interface

and enable its

direct analog

monitoring of these

— NOT monitoring

“through” the

recording

application!

Or connect them to

guitar/bass

your mixer for

monitoring.

MORE INFO

TonePort DI’s outputs feed 3 separate inputs on your recording interface

Your Recording Interface

Got different Line 6 hardware? MORE INFO

Line 6 GearBox 3.1 – Basic Features Guide

LINE 6 GEARBOX 3.1 – BASIC FEATURES GUIDE

Table of Contents

Activation...................................................................................................................................................................4

Before using GearBox............................................................................................................................................5

System Requirements and Installation.................................................................................................................5

Updating & Registering with Line 6 Monkey.......................................................................................................5

Searching this Guide’s Contents............................................................................................................................6

Compatibility Check...............................................................................................................................................7

GearBox (Full Program) Basics..........................................................................................................................8

GearBox controls and operation............................................................................................................................8

GearBox with TonePort and GuitarPort.............................................................................................................. 13

GearBox with PODxt.............................................................................................................................................20

GearBox (Plug-in) Basics...................................................................................................................................22

A Quickie Plug-in Primer.......................................................................................................................................22

Activating the GearBox Plug-in............................................................................................................................24

GearBox Plug-in Controls and Operation...........................................................................................................26

Where can I find the GearBox Plug-in on my computer?................................................................................27

Hardware Hookup.................................................................................................................................................28

TonePort UX1 Connections..................................................................................................................................28

TonePort UX2 Connections..................................................................................................................................30

TonePort KB37 Connections................................................................................................................................32

TonePort DI Connections.....................................................................................................................................34

GuitarPort Connections.........................................................................................................................................36

PODxt Connections ...............................................................................................................................................37

PODxt Live Connections.......................................................................................................................................38

PODxt PRO Connections.......................................................................................................................................39

Routing audio from your Line 6 hardware to an external device...................................................................41

How To…..................................................................................................................................................................43

Basic Operation......................................................................................................................................................44

Change and Save Tones.......................................................................................................................................50

Hardware setup.....................................................................................................................................................53

Stay Up To Date....................................................................................................................................................55

GuitarPort Online Operation ................................................................................................................................57

GearBox Plug-in Operation ..................................................................................................................................68

Model Gallery..........................................................................................................................................................69

Guitar Amp & Cab Models....................................................................................................................................71

Guitar Cab Models.................................................................................................................................................81

Bass Amp/Cab Models..........................................................................................................................................82

Preamp Models......................................................................................................................................................86

Effects.....................................................................................................................................................................89

Delay

.......................................................................................................................................................................89

Page 2

Mod

..........................................................................................................................................................................90

Stomp

......................................................................................................................................................................93

Verb (Reverb) Wah

.........................................................................................................................................................................96

Bass Effects Other Effects

Model List...............................................................................................................................................................101

Online Help and Support..................................................................................................................................110

PODxt - Audio Signal Routing & Re-Amping.............................................................................................111

Recording & Driver.............................................................................................................................................114

Audio Routing......................................................................................................................................................114

The Line 6 Audio-MIDI Device Control Panel..................................................................................................115

Important Things to Know When Recording...................................................................................................125

Sound Cards and Sound Issues......................................................................................................................128

ToneDirect™ Monitoring...................................................................................................................................131

Transferring your GearBox Activation.........................................................................................................134

Troubleshooting ..................................................................................................................................................136

What Is…...............................................................................................................................................................151

Windows XP Optimization...............................................................................................................................187

........................................................................................................................................................95

............................................................................................................................................................97

..........................................................................................................................................................98

Line 6 GearBox 3.1 – Basic Features Guide

Line 6, PODxt, PODxt Pro, TonePort, GearBox, GuitarPort, Line 6 Edit and Custom Tone are

trademarks of Line 6, Inc. All other product names, trademarks, and artists’ names are the property of their respective owners, which are in no way associated or affiliated with Line 6.

Page 3

Line 6 GearBox 3.1 – Basic Features Guide

ACTIVATION

Some features of GearBox require “activation” using Line 6 Monkey and your Internet connection. Activation turns these features on in your GearBox-compatible hardware, so they can operate in the GearBox stand-alone application and Plug-in. “Monkey, you say?” – get the skinny on Line 6 Monkey in the next

Detailed information on activating GearBox Plug-In can be found

Model Packs that you purchase from instructions on just how to do that

You may also transfer your activations to another computer with or without Internet access.

section describes the process in detail.

chapter.

here.

www.line6.com/store also need to be activated. You’ll find

here.

This

Page 4

Line 6 GearBox 3.1 – Basic Features Guide

BEFORE USING GEARBOX

OK, you’ve got your guitar, a computer and a head full of songs and cool licks, so how do you get this all going? You’re just a few steps away from turning your computer into a serious Tone, jamming and recording machine. First, here is some valuable information to ensure you have all the latest and greatest updates….

System Requirements and Installation

If you need to check the system requirements or some assistance with installing GearBox on your Windows or Mac computer, please refer to the separate documents located on the

Help page of the Line 6 website.

GearBox Online

Updating & Registering with Line 6 Monkey

Line 6 Monkey is the intelligent updater utility that is automatically installed with your GearBox application. You are prompted to run Line 6 Monkey at the end of your GearBox installation, but it’s a great idea to do this often so you can be sure you have all the latest updates for all your Line 6 software and hardware products. Registering your Line 6 hardware is also very important because it ensures that you’re dialed in for warranty service and makes it possible for us to contact you if new software versions or other cool enhancements are offered - cutting edge technology and such! So don’t put this off any longer. Connect your Line 6 hardware to your computer and follow these steps to launch Line 6 Monkey...

• On Mac®, go to Applications - Line 6.

• On Windows®, go to Start - Programs - Line 6 - Tools.

You’ll need to Login so that Line 6 Monkey can communicate with the online Line 6 Server and provide you with exactly what you need. It’s just a few clicks, and it’s free!

• If you have a Line 6 account, then type in your User Name and Password at the top of

the Monkey dialog.

• If you have not yet created an account, click the New User button and you’ll be walked

right through the steps.

If you have not already done so, you’ll be prompted to Register your connected Line 6 hardware. It’s a painless process really, so click that Register Now button and fill in the blanks on the Web page. This page will list all your registered Line 6 gear in one place.

Page 5

Line 6 GearBox 3.1 – Basic Features Guide

Searching this Guide’s Contents

To make it easier to “look for stuff” in this guide, please use the search features of Adobe Reader® (Windows®) or Preview® (Mac®). Here’s how:

Windows®:

Look for the Search button on the File Toolbar. To display this Toolbar, go to View>Toolbars>File. Clicking the Search button will open a pane on the right side of the screen.

Mac®:

The Search field is at the top of the Drawer, which you can open by clicking View>Drawer.

Page 6

Line 6 GearBox 3.1 – Basic Features Guide

COMPATIBILITY CHECK

To check your Mac® or Windows® computer system to see if it meets the requirements to run GearBox, launch Line 6 Monkey and go to the Compatibility tab:

Just click the Run Check button and Monkey will check your system and list a report of all items in the window, letting you know if they pass the minimum requirements needed for GearBox.

For a complete list of GearBox system requirements, please see the GearBox 2 Release Notes document on the

GearBox Online Help page of the Line 6 website.

Page 7

Line 6 GearBox 3.1 – Basic Features Guide

GEARBOX (FULL PROGRAM) BASICS

The GearBox software is your new Tone Control Central. It gives you visual control, makes it easy to create, edit and save your Tones, includes plenty of great presets, and connects you directly to our exclusive online Tone Library of thousands of professionally programmed Tones. GearBox can run alongside your favorite recording software, letting you easily control every detail of your sound right from your computer during recording. And our additional step-by-step instruction for using GearBox with some of the most popular Windows® and Mac® recording software, to help make your computer recording experience a great one. GearBox even connects you to GuitarPort Online, our exclusive online world for guitarists who want to play along with the latest and greatest tracks, lessons and licks, covering the greatest guitarists of all time. Check it out when you’re looking to pick up a few new tricks, or just want to have a great time playing some tunes.

The GearBox software is free for every owner of our TonePort, GuitarPort and PODxt recording and modeling interfaces. Combine that with Line 6 Monkey, our world class driver software technology, options like GuitarPort Online and Model Packs, plus access to the online Tone Library, and it all adds up to be the world’s most advanced tone system for guitarists. We call the whole shooting match The GearBox Platform. To follow is a tour of the GearBox interface - note that the GearBox interface includes different options depending on if you are using TonePort, GuitarPort or PODxt hardware. Click on a number to go to its description…

GearBox Online Help documentation includes

GearBox controls and operation

1 2 3 4 5 6 7 8 9 10

19 18 17

Page 8

Line 6 GearBox 3.1 – Basic Features Guide

The above screen shows GearBox running with a TonePort device in use. There are some differences when connected to a GuitarPort or PODxt device - look for the mentions of device-specific controls and behaviors in the descriptions below. Some of the unique GuitarPort and PODxt controls and behaviors are also called out in following sections. All descriptions that follow are the same for Windows® or Mac®, unless otherwise noted.

1 - Source Select menu:

TonePort UX1, UX2, KB37 - Here is where you choose which physical input(s) you want to use for the GearBox Tone path. Note that TonePort devices also offer a Dual-Tone Source option. See the next Dual-Tone section for more about this.

TonePort DI, GuitarPort, PODxt – No Source Selct is shown since these units offer only one input.

2 - Show/Hide button: Clicking this button collapses or expands the viewable height of the Amp and Effects controls. It’s useful to collapse these controls if you want to maximize the size of only the lower Browser window.

3 - Tone Menu: Click here to choose from all saved Tones – when you create and save your own masterpiece Tones, they’ll appear here too.

4 - Amp Model menu: Choose from all available Amp Models available for your connected device. Remember, you can add more models with optional Model Packs from the

Line 6 store!

5 - Cab Model menu: Choose from a huge assortment of speaker cabinets. We’ve pre-chosen cabs to match up with your selected amp, but you can choose the Cab here independently - a different cab can make a huge difference on the sound, so try a few different ones!

6 - Tone Options menu: Click this button to do an “A/B” Compare of your settings vs. preset settings, view or edit the Tone Info, Save the Tone, or Save As to do a copy of the current Tone.

7 - Monitor controls:

• Monitor Volume - the level of whatever input signal you are feeding into GearBox (e.g. -

your guitar) – this is independent of the level routed to your Record Send 1-2 as well as the “playback” level of audio software that is routing its output to your Line 6 device.

• Monitor/Clip light – will light up green to indicate your signal, and gets yellow and then red

as the level increases. Red means your signal is too hot (in which case you should turn down your input source and/or Monitor vol.)

• Mute button - Mutes the monitor signal only.

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Line 6 GearBox 3.1 – Basic Features Guide

Note – GearBox will not display this Mute button when PODxt is the source device.

• Pan slider - Pans your source input left or right. This affects the signal that is routed to

BOTH your Record Send 1-2 and the Monitor path. Double click on the slider to set it to dead center.

For TonePort devices - When using a single Tone Source, these control the Record Send 1-2 Monitor signal path. Send 3-4 has its own set of Monitor controls (accessible in the effects panel when you click the Send 3-4 icon). If you are in a Dual-Tone Source mode, these controls will affect the current, visible Tone only.

8 - Out To Hardware controls:

TonePort & GuitarPort -

• Volume knob - controls the level of audio routed out the analog Line Outs (and headphone

out) of your device. This will affect both your Monitor signal AND the playback signal coming into your Line 6 device from your audio software. It does NOT affect the level of your signal going to the Record Send 1-2.

• Output Indicator/Clip light - will light up green to indicate your signal, and gets yellow and

then red as the level increases. Red means your signal is too hot and you should reduce all individual levels and/or the Volume knob.

• Mute Line Out button – Mutes all signals routed to the Line Outs only (and not your

headphone out), but does not affect the signal routed to the Record Sends. This is very useful when recording with a Mic since it stops your mic signal from coming out your speakers (to avoid feedback) but still lets your hear it and everything else through your headphones.

Note – GearBox will not display this set of Out To Hardware controls when PODxt is the source device.

For TonePort/GuitarPort devices – These controls affect the Monitor and playback signal paths for both Record Sends 1-2 and 3-4, or both Tones when using a Dual-Tone Source.

9 - Bypass button:

TonePort - will bypass all amp and effects processing for the currently displayed Tone. Just your “naked”, unprocessed signal will be heard as well as routed to your Record Sends when bypassed.

GuitarPort - will bypass all amp and effects processing. Just your “naked”, unprocessed signal will be heard as well as routed to your Record Sends when bypassed.

PODxt - will bypass only the amp

10 - Tuner button: Toggles the display of the Guitar Tuner.

11&12 - Effects Show/Hide and On/Off toggles:

• Clicking on the top portion of each of the little “stomp box” icons in this row will toggle the

lower Effects Panel to display that effect’s controls. You can do this independently of

Page 10

Line 6 GearBox 3.1 – Basic Features Guide

switching the effect itself On/Off. Note that you can use your left or right mouse button to do this.

• Clicking the bottom portion of the stomp box will toggle the effect On and Off.

13 - Send 1-2 VU Meters:

TonePort & GuitarPort - These show the level sent to your recording program tracks that are receiving Send 1-2. If the little indicator at the bottom of each meter lights red, turn down the RECORD knob and/or turn off the +18 button, because you are clipping your audio, which can cause harsh, bad sound for your recording.

These indicators will light up red when the signal is clipping

Note – Gearbox will not display VU Meters when a PODxt is the source device.

14 - Record Send 1-2 controls:

• Record knob - controls the level of your GearBox processed Tone that is routed to Record

Send 1-2. this will ultimately control the record level into your audio software for any track receiving this Send 1-2 signal.

• +18 button - Boosts the level of the Record Send – useful if your GearBox signal is a weak

one and you need more level to get a good record level.

• Mono button – sums the GearBox stereo Tone to a Mono signal for Record Send 1-2 (the

same mono signal is fed to both Send 1 and 2 channels). Useful if you want to record from Send 1 or 2 and ensure it is not one side of a stereo signal.

Note – Gearbox will not display the Mono button when a PODxt is the source device.

15 - USB device connection indicator:

TonePort & GuitarPort - This little USB plug icon appears flashing if GearBox does not find a supported Line 6 USB device connected to the computer.

PODxt - When GearBox is set to use a PODxt source device, a little red PODxt icon is displayed. If the PODxt device is disconnected or powered off, the icon appears with a question mark.

16 - CPU meter: Shows how much of your computer’s processing power is currently being utilized. If it reaches the red then you may experience audible dropouts and therefore need to reduce other processes running, or bypass some GearBox effects.

Page 11

Line 6 GearBox 3.1 – Basic Features Guide

17 - Effects Control display: This panel displays the controls for the selected effect (see # 11 & 12 and #18 for how to choose to show an effect’s controls). For TonePort this can also show the Record Send 3-4 controls.

18 - Effect menu: Offers selection for which effect’s controls are shown in the Effects Control display area.

19 - Info Bar: Text appears in this bar relating to what your mouse cursor is currently hovering over. This is a very handy source of tips while using GearBox – remember to look here for info while clicking around!

20 - Browser controls: All button in this row control things that appear in the Browser panel below. We’ll go into more detail on the browser section separately, which includes the GuitarPort Online functionality, Player, Tone Locker, and more!

21 - UX2 Meters Show menu:

TonePort UX2/KB37 only - allows selection for what signal the VU meters on the TonePort UX2

device will measure.

22 - Show/Hide Effects display button: Click this button to collapse or expand the area which shows the Effects Control display and Record Send 1-2 controls.

23 - Hum Reducer feature: TonePort & GuitarPort - Use this feature to eliminate that annoying hum that guitars sometime

have, especially when in front of computer monitors. Click the Hum Reducer button to walk through the use of this feature:

Page 12

Note – GearBox will not display the Hum Reducer options when a PODxt is the source device.

Line 6 GearBox 3.1 – Basic Features Guide

GearBox with TonePort and GuitarPort

Using GearBox with a TonePort or GuitarPort device gives you access to multiple Record Sends, and with a TonePort UX1/UX2/KB37, you get Dual-Tone operation, bringing out the most out of GearBox!

Note: TonePort DI and GuitarPort can only run in Single-Tone configuration.

Record Send 3-4

GearBox will display this additional Record Send 3-4 for TonePort and GuitarPort devices, and it provides for several handy functions. Here are a few ways to get to them…

When you have a single input Source chosen in the Source Select menu, you’ll see the Send 3-4 icon in the row of the Effects icons.

Click on the Send 3-4 icon to show its controls in the panel below.

Select PRE to route an unprocessed signal to Send 3-4 Select POST to route a semi- processed signal to Send 3-4 (see below)

Record Send 3-4 has its own dedicated set of controls and meters that are equivalent in function to the Send 1-2 controls of the same name (see the When using an audio recording software configured to use the ASIO TonePort driver (on Windows®) or Core Audio driver (on Mac®), it is possible to select the GearBox Send 1-2 or Send 3-4 independently for your track inputs for recording.

GearBox Controls and Operations section).

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Line 6 GearBox 3.1 – Basic Features Guide

Please note that the pre/post setting of Record Send 3-4 is not saved within the Tone Preset.

Note – if your audio application is configured to use the TonePort WDM driver (on Windows®), you will only be able to access Send 1-2 in the recording software, and it will carry both GearBox Send 1-2 and 3-4 signal paths, pre-mixed into Send 1-2.

Monitoring a GearBox-processed tone while recording “Dry”

With GearBox Send 3-4, you can send a dry, unprocessed signal to your favorite recording application, while monitoring a fully GearBox-processed tone thru your hardware’s outputs. The Send’s Pre/Post switch gives you a couple of options:

• In the PRE position, Send 3-4 taps into the audio path before any processing is applied to the

input source, routing a totally dry signal thru the USB port. This of course is useful when using plug-ins, including the GearBox Plug-in, since you can record a pass with a nocompromise, great feeling tone, without committing any tone shaping to the track (see the

ToneDirect Monitoring section for more info).

• In the POST position, Send 3-4 taps into the audio path right after the EQ, and before any

post-FX are applied. With this setting, you can apply some amp or mic preamp modeling to your signal before routing it to Send 3-4.

In the POST scenario, you can designate the Modulation, Delay and Reverb FX to be either before or after Send 3-4 to determine if that effect is processed on the Send 3-4 signal or not. For example, if you move set a Delay and a Reverb effect both to “Post”, then they are only processed on the signal sent to Send 1-2, and Send 3-4 is tapping the signal just before these effects. This makes it possible to monitor Send 1-2 and hear these effects, but then choose Send 3-4 in your audio application and actually record the signal without them.

Click on an effect to display its

The selected effect’s icon moves to the left or right of the Send 3-4 icon depending on the effect’s Pre/Post setting

control display in the Effects panel

Use the Pre/Post toggle switch

Page 14

Line 6 GearBox 3.1 – Basic Features Guide

Dual-Tone operation (TonePort UX1/UX2/KB37)

These TonePort devices are unique in that they give you not one, but two independent Tone paths! This feature allows you to process two completely independent Tones for two separate inputs at the same time, such as your guitar plus a microphone, and allows your recording software to record each in its own separate track.

The “Dual-Tone” inputs are the ones in the Source Select menu that have the “&” symbol in the names (e.g. Inst. & Mic 1).

When choosing one of the Dual-Tone input Sources, this displays two distinct Tones within GearBox, allowing you to tweak each source with its own independent Tone settings. When in this Dual-Tone mode, GearBox automatically routes Tone 1 to Record Send 1-2, and Tone 2 to Record Send 3-4, which allows your recording software to record each into separate tracks.

In Dual -Tone mode, the Tone 1 & Tone 2 toggle buttons appear at the top left to allow you to show the Amp and FX configuration for the respective Tone path. Note that these other controls across the top of the dialog automatically adjust the currently displayed Tone’s settings. For example, here the “Inst. & Mic1” Source is selected, and the “Instrument” Source’s Tone path is selected. Several controls at the top now affect only the Instrument Tone. To adjust the Mic 1 Tone settings, you switch the Tone 1, 2 toggle button, and then adjust the controls independently.

Tone 1, 2 toggle buttons

Monitor controls affect the currently displayed Source’s

Selects a Tone preset for current Source’s Tone

Note that the Send meters and control automatically change when toggling between Tone 1 and Tone 2 Sources as well.

Page 15

Out To Hardware controls affect BOTH Tones

Line 6 GearBox 3.1 – Basic Features Guide

The Send 1-2 controls are shown for Tone 1, and Send 3-4 controls are shown for Tone 2

Operating GearBox in Dual-Tone mode can require some major processing power from your computer (not surprisingly, twice as much as a single Tone!). Each effect that is powered “on” will use some processing power – effects that are “off” do not use processing power.

MIDI Control

When using GearBox with TonePort and GuitarPort devices, GearBox offers options for remote control of its parameters. You can connect a 3

party MIDI controller device to a MIDI port on

your computer and set GearBox to receive MIDI Continuous Controller (CC) data from it.

GearBox is also capable of sending out MIDI CC data for the adjustment of the onscreen GearBox knobs and switches.

To send out MIDI CC data from the adjustment of GearBox onscreen knobs & switches, check this box.

To control GearBox features (such as Wah or Volume) from a 3

party hardware MIDI controller device or software, choose the MIDI Port that your controller unit is connected to. GearBox will then receive MIDI CC data on MIDI Channel 1.

Page 16

Line 6 GearBox 3.1 – Basic Features Guide

TonePort UX2/KB37 Controllers

Unique to TonePort UX2 and KB37 are two Footswitch jacks on the hardware which provide remote control of GearBox functions. Additionally, TonePort KB37 features an expression pedal jack and a number of knobs, wheels and buttons which can be configured to control various MIDI parameters, GearBox and 3 controllers, which you can of course re-configure in the Line 6 Audio-MIDI Devices control panel.

-party application functions. KB 37 ships with a default set of functions assigned to its

9 8 6 75

12 11 10

16 17 18 19

KB37 default messages for non-GearBox applications

Controller Default MIDI/Control message Controller Default MIDI/Control

message

1- Octave up None (internally shifts note numbers +1 octave;

Not Re-assignable)

2- Octave down None (internally shifts note numbers -1 octave;

Not Re-assignable)

3- Pitch Wheel Pitch Wheel (Not Re-Assignable) 13- Stop MMC Pause

4- Mod Wheel CC 1 (Modulation Wheel) 14- Play MMC Play/Stop 5- Program

increment 6- Program decrement 7- Knob 1 CC 73 (Attack Time) 17- Button 2 CC 127

8- Knob 2 CC 75 (Decay Time) 18- Button 3 CC 126

9- Knob 3 CC 72 (Release Time) 19- Button 4 CC 123

10-Knob 4 CC 91 (Effects 1 Depth) Expression

Footswitch 1 (Sustain)

+1 15- Record MMC Record/Punch

- 1 16- Button 1 CC 65

CC 64 (Sustain) Footswitch 2 MMC Record Punch

11- Rewind MMC Rewind

12- Forward MMC Fast Forward

(Portamento)

(Poly On)

(Mono On)

(All Notes Off) CC 11

pedal

(Expression)

Page 17

Line 6 GearBox 3.1 – Basic Features Guide

To re-map the functions of any of these controllers, go to Edit>Preferences and follow these steps:

Select the Hardware tab

Click here to display the Line 6

Audio-MIDI Device control

panel

Select the MIDI tab

Click here to recall any Preset or Default Mappings …

… Or click here to create a Custom MIDI Mapping

Page 18

Line 6 GearBox 3.1 – Basic Features Guide

This column populates with all re-assignable controllers for your device (TonePort KB37 shown here)

Name and Save your Custom Mapping as a Preset

Choose which GearBox function (if any) to assign to controllers

Note - For a complete list of GearBox MIDI - parameter assignments, and more help on Footswitch/Controller setup, please check out the GearBox Online Help.

Choose the Type of Control, which

CC/Action it will perform, and the Switch Mode for your controllers

Click Apply, then OK when done

Page 19

Line 6 GearBox 3.1 – Basic Features Guide

GearBox with PODxt

One difference between PODxt and TonePort or GuitarPort devices is that PODxt’s have their own onboard DSP processing and Memory. You can think of GearBox as a computer “user interface” for what is running on your PODxt device. Because of this hardware architecture, you’ll see a few differences here for GearBox controls with PODxt as compared to TonePort or GuitarPort. It also means that the processing horsepower used to apply all those juicy amp, cab and effects models to your Tone don’t need to run on your computer’s processor, which should give you a bit more reserve processing power for other things, like recording software and more complex sessions.

When using PODxt, PODxt Pro or PODxt Live hardware with GearBox, the GearBox interface offers a fixed set of Tone options. The Instrument input is “fixed” as the GearBox input source, and the input signal is routed to the Record Send 1-2. Please refer back to the section for description of the common interface features. To follow are some details on the items specific to using GearBox with PODxt devices.

GearBox controls and operation

The GearBox interface offers controls for a single Tone path when PODxt is in use. Click on a number to go to its description…

1 2 3 4 5 6

1 - Source Device indicator: A PODxt, PODxt Live or PODxt Pro* icon appears here to indicate

which type of device is now in use by GearBox as the Source device.

7 8

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Line 6 GearBox 3.1 – Basic Features Guide

2 - Tone menu: Select from your set of GearBox Tones folder to load one on your PODxt. Note that you can also select a preset directly on your PODxt hardware and all its settings will appear in GearBox. You can also use the Tone Locker in the GearBox Browser panel to access items stored in your PODxt Memory.

3 - Monitor Volume knob: Adjusts the monitoring level of your Tone - this is independent of the level routed to your Record Send 1-2 as well as the “playback” level of audio software that is routing its output back to your PODxt.

4 - Pan slider: Pans your source input left or right. This affects the signal that is routed to BOTH your Record Send 1-2 and the Monitor path. Double click on the slider to set it to dead center.

5 - Amp bypass: Bypasses the current Amp model so that you’ll hear your guitar with no amp processing (yawn), but you’ll still hear any effects that are powered on. Note that this bypassed signal is also what is routed to Record Send 1-2.

Note: The Amp Bypass control is an exclusive feature of PODxt devices. Any PODxt tone saved with the amp bypassed will load in a TonePort or GuitarPort device with the amp active.

6 - Tuner button: Toggles the display of the Guitar Tuner.

7, 8 - Record Send 1-2 controls:

• Record knob - controls the level of your PODxt Tone that is routed to Record Send 1-2. This

will ultimately control the record level into your audio software for any track receiving this Send 1-2 signal.

Note that for PODxt devices, there is also further control of what type of signal is routed to Record Send 1-2 within the Audio Signal Routing dialog. Get to this from the Line 6 AudioMIDI Devices control panel – read more about it in this section.

• +18 button - Boosts the level of the Record Send – useful if your signal is a weak one and

you need more level to get a good record level.

MIDI control

For PODxt, PODxt Pro and PODxt Live - MIDI control options are found on the device itself you can connect MIDI cables directly to your PODxt and then dial up the MIDI settings on the PODxt’s display panel. Please refer to your PODxt Pilot’s Handbook for all the details on MIDI control.

Using PODxt’s MIDI control features, you can remotely control most parameters on your PODxt device and hear them in real time. Likewise, PODxt can transmit MIDI CC data back out its MIDI Out when you adjust its knobs and switches. This interaction all takes place between PODxt and your MIDI device, without GearBox needing to be involved at all. When your PODxt is also connected to your computer and you are using it with GearBox, you will see the respective onscreen GearBox controls also automatically adjust when you are controlling PODxt remotely. Again, just think of Gearbox as a computer “user interface” for what is running on your PODxt hardware.

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Line 6 GearBox 3.1 – Basic Features Guide

GEARBOX (PLUG-IN) BASICS

Welcome to the wonderful world of GearBox Plug-in, where legendary studio-standard tone and classic vintage effects are all available to you within your favorite recording application, in a flexible native software plug-in format!

A Quickie Plug-in Primer

There are many types of plug-ins in the world of software. Plug-ins are relatively small applications that can only run when loaded inside a compatible host application. Plug-ins operate within the host application to extend the capabilities of the host. In the world of music software, audio plug-ins find frequent use inside audio/MIDI host applications, commonly referred to as DAWs (Digital Audio Workstations). Audio plug-ins provide signal processing for your audio tracks or live audio input.

A helpful analogy for plug-ins is to think of them as effects pedals. Effects pedals change the tone of your bass or guitar before the signal reaches your amplifier. As with pedals, rack effects units, or any other conventional piece of outboard gear, plug-ins provide graphical controls for whatever parameters they might expose. For example, a distortion plug-in will most likely have similar controls to a typical distortion pedal (such as drive, gain and tone). Visually, plug-ins often resemble the physical gear they emulate.

When working with DAWs, using plug-ins provides numerous benefits over using outboard effects like pedals or rack processors. Here are a few of the primary benefits:

• Plug-ins are “non-destructive” to your audio track – this means that you can add or remove

effects and tweak their settings as often as you like without actually affecting the original audio recording. Recording with outboard gear means that the signal going to tape will be “wet” (with effects and amp tone) and cannot be changed without recording another pass.

• Plug-ins sound the same way twice. Because you can store plug-in settings as presets, precise

settings can be loaded reliably with tweaking. Every time you go back to work on a specific song, you can rest assured that your tones will be identical to the last session.

• Plug-ins are automatable. Host applications provide easy ways to create and manipulate

automation, giving you surgical precision of your tone without having to “ride the faders” of external gear during a record pass.

• Plug-ins don’t break, corrode, take up space on your floor or get stolen

MIDI Remote Control and Plug-in automation

Most audio plug-ins are automatable, meaning their parameters can be manipulated in real-time by some method. The two most prevalent methods are MIDI automation and plug-in automation. Both methods provide unique benefits.

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Line 6 GearBox 3.1 – Basic Features Guide

MIDI automation means using MIDI messages, either from an external controller like a KB37, or from the host application, to modify parameter settings on the target plug-in. Most host applications, such as Cubase or SONAR, provide robust MIDI sequencing capabilities, allowing you to literally draw MIDI controller changes (MIDI automation), which then get sent to track plug-ins or externally, to outboard gear. The latter example is the most common use of MIDI before the rise in popularity of plug-ins.

Today the most common use of MIDI with plug-ins is simply to control them from a tactile control surface or, in the case of software instruments, from a MIDI keyboard. This is called MIDI remote control, because the MIDI control messages are coming from an external (remote) source. To successfully use MIDI remote control, you must know what parameters respond to a given MIDI CC function. Manufacturers typically supply this information with their product.

Plug-in automation means controlling plug-in parameters from with the host application. Conceptually this is similar to MIDI automation, in that you create automation within the track of the host application. The automation sends parameter change values to the plug-in. But there are a couple distinct advantages:

• Plug-in automation is sample accurate (far more accurate than MIDI). This high resolution

allows you to create smooth curves and fades, without any stair-stepping effect, ideal for critical, professional applications.

• Plug-in automation parameters carry the actual names of the parameters, where as MIDI

requires mapping generic MIDI control functions to various plug-in parameters.

Plug-in Formats

There are quite a few available plug-in formats in the digital audio recording world. The GearBox Plug-in uses the VST® (Virtual Studio Technology) format for Windows® recording environments, and the AU® (AudioUnits) format on the Mac® platform, and RTAS® (Real Time Audio Suite) for both Mac and Windows, for compatibility with the vast majority of audio recording software on the market.

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Line 6 GearBox 3.1 – Basic Features Guide

Activating the GearBox Plug-in

So how do I get the GearBox plug-in, you ask? The upgrade process is easy – make sure your Line 6 Hardware is connected to your computer (with an internet connection), and follow these steps:

Launch Line 6 Monkey

You’ll need to log into your Line 6 account, and make sure that your hardware is fully up-to-date. If this all new to you, get hip

here.

TonePort DI Silver/Gold bundle customers: The GearBox Plug-in is included in your purchase, and needs only to be enabled on your computer. This way, please…

Grab any available updates

Purchasing the GearBox Plug-in

Click on the Optional Add-Ons tab, select GearBox Plug-in, then click on Purchase Add-Ons. You will be taken to the Line 6 Store, where you can purchase a license for the plug-in. Follow the instructions on the resulting page to receive your activation key.

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Line 6 GearBox 3.1 – Basic Features Guide

Activating the Plug-in

In Line 6 Monkey, click on Activate Purchase. A window will pop up, that will prompt you to enter the activation key you just received.

Line 6 Monkey will connect to the server to validate the license, and program your hardware. That’s it, you’re done! You are now ready to use the GearBox Plug-in with your favorite recording application.

TonePort DI Customers

Your hardware comes with the GearBox Plug-in activated from the factory, so the Line 6 Monkey application will display an extra button for you, as shown:

Click the Optional Add-ons Tab

Click Authorize

This checkmark indicates the Plug-in is activated on your hardware

When clicking the Authorize button, Line 6 Monkey will connect to the server and enable your computer to use the activated add-ons. Tada! You are now ready to use the GearBox Plug-in with your favorite recording software!

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Line 6 GearBox 3.1 – Basic Features Guide

GearBox Plug-in Controls and Operation

The GearBox Plug-in Graphical User Interface or GUI (you guessed it, it’s pronounced “gooey”) is remarkably similar to that of the GearBox application, so we invite you to refer to the

Program) Basics section for a description of all the controls and functions. In this section, we’ll point

out the differences between the Plug-in and its full-version brother.

Only a single tone path per instance

Click here for Plug-in help

VU-Meters always show the GearBox Plug-in Output level

GearBox (Full

You can create Tones within the Plug-in, which you can save for later recall, or you can use any of the GearBox application Tones. GearBox Plug-in Tones are totally compatible with its full-version counterparts, and all Tones are stored in one convenient folder on your hard drive (the default location is My Documents/Line 6/Tones/GearBox on Windows®, and Documents/Line 6/Tones/GearBox on Mac®).

Sets the level sent to the track (or the next Plug-in)

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Attenuates the level of the signal fed into the Plug-in

Line 6 GearBox 3.1 – Basic Features Guide

Where can I find the GearBox Plug-in on my computer?

Your favorite recording application must locate the GearBox Plug-in in order to use it. Some applications scan your hard drive for all available plug-ins while others need you to point them to the correct folder.

On Windows® computers, you can define where the GearBox Plug-in is installed during the GearBox installation process. If you didn’t specify a location, then the VST plug-in is installed by default in the

C:\Program Files\Line6\VstPlugIns\Line 6 folder. RTAS® is installed to C:\PROGRAM

FILES\Common Files\Digidesign\DAE\Plug-Ins\Line 6

On Mac®, the AudioUnits® specification requires that the GearBox Plug-in be installed in Library>Audio>Plug-Ins>Components. RTAS is installed to Library>Application Support>Digidesign>Plug-Ins>Line 6

For detailed help on using the GearBox Plug-in with today’s most popular audio recording software applications, please visit the GearBox Online Help page.

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Line 6 GearBox 3.1 – Basic Features Guide

HARDWARE HOOKUP

The GearBox 3 software is designed to work with your Line 6 TonePort UX1, UX2, GuitarPort, PODxt, PODxt Live or PODxt Pro hardware. Your Line 6 device, since it connects to your computer via USB and utilizes the high-performance Line 6 Audio & MIDI drivers, it is easily configured to work as your computer’s sound card. This means that you can access all your Tones coming out of GearBox directly from most any audio recording application, all at the highest quality! But you are of course not just limited to using your Line 6 hardware to record into your computer – the outputs provided on the back of your device additionally allow you to feed your GearBox signal to external tape machines, DAT recorders, PA systems, or whatever else will accept an analog line level signal. Additionally, TonePort UX2 and PODxt Pro devices include a digital S/PDIF output to allow you to make these connections digitally!

There are some differences in the setup and functionality between the supported Line 6 devices, so be sure to look for the instructions in the following sections for your specific device. Primarily, TonePort and GuitarPort devices function quite similarly since all the Digital Signal Processing (DSP) is performed on your computer when using these units. PODxt devices do all their DSP magic inside the PODxt itself. Using the GearBox software is pretty similar for all these devices once you have everything setup. So here we go…

TonePort UX1 Connections

Connect a Microphone

Mic - To input a signal from a microphone, connect it here using and XLR cable. This inputs the microphone signal into GearBox where you can choose your tone, and then route the processed signal both to your audio software and out the TonePort outputs.

Guitar/Bass - To input your electric guitar or bass, plug it in here using a standard 1/4-inch TS instrument cable. This inputs the instrument’s signal into GearBox where you can then choose your tone and route the processed signal both to your audio software and out the TonePort outputs.

Phones - If you want to listen to the audio from TonePort using stereo headphones, then plug them into this 1/4-inch stereo jack. This headphone jack outputs the same signal fed to the Analog Outs on the rear panel of TonePort; the audio from your audio software on the computer, as well as anything plugged into any TonePort input.

Connect your electric Guitar or Bass

Connect your stereo Headphones

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Line 6 GearBox 3.1 – Basic Features Guide

Connect any line level input source that you want to record into the Line Inputs.

Connect any line level input source for monitoring to the Stereo Monitor In.

Connect your USB cable from here to your computer’s USB port.*

Connect the Analog Outs to your audio monitors.

*Note – be sure to always power off or mute your speakers or monitoring setup before connecting and disconnecting the USB cable between TonePort and your computer, as well as before booting up or shutting down your computer if TonePort is already connected. The best practice is to always power on your speakers last, and power them off first when connected to other audio gear to avoid a “pop”.

Line Inputs - To record the signal from a line level source, such as a keyboard, your stereo receiver, the line out from a mixing console, etc., connect them to these Left and Right ins using 1/4-inch TS audio cables.

Monitor In - If you want to hear the signal from a line level source along with all the other audio coming from your computer, but do not want this audio recorded, then plug the source in here. Note that this is a stereo jack, so you should use a stereo 1/4-inch TRS audio cable for this connection.

USB - This of course is where you connect the supplied USB cable to TonePort, with the other end going to your computer’s USB port. Note that you should always connect to a separate USB controller channel from other USB audio or MIDI interfaces to provide TonePort with the full USB bandwidth. TonePort also gets its power from this USB connection, so it should not be plugged into a non-powered USB hub, or operated on the same USB controller channel with unpowered devices. It is also recommended to connect directly into a USB port on your computer and not into a USB hub.

Analog Outs - These Left and Right unbalanced jacks output all the audio from TonePort; the audio from your audio software on the computer, and anything plugged into any TonePort input. These are what you want to connect to your powered speakers or monitoring system for a recording setup. Use 1/4-inch TS cables to connect directly to powered speakers, mixer or power amp setup. Note that you can also use the headphone jack on the front of TonePort if you want to use headphones for monitoring.

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Line 6 GearBox 3.1 – Basic Features Guide

TonePort UX2 Connections

Connect up to two Microphones

Microphone Inputs - You can receive input from one or two mics at the same time using these ins. There is also a +48V Phantom Power switch that you should toggle to “on” if your mic requires phantom power (most condenser type mics do, but check the documentation for your mic if you are not sure). Connect each mic using an XLR cable. This inputs each microphone signal independently into GearBox where you can choose your tone, and then route the processed signal both to your audio software and out the TonePort outputs.

Guitar/Bass Inputs -To input your electric guitar or bass, plug it into one of these inputs. Either of these routes the instrument’s signal into GearBox where you can choose your tone and route the processed signal both to your audio software and out the TonePort outputs. Norm – this input is for a standard instrument level output. Plug your guitar/bass into here using a standard 1/4-inch TS instrument cable.

Pad - this input is designed for high output level basses and guitars, especially those with active pickups. Plug your high output instrument into here using a standard 1/4-inch TS instrument cable.

Headphone - If you want to listen to the audio from TonePort using stereo headphones, then plug them into this 1/4-inch stereo jack. This Headphone jack outputs the same signal fed to the Analog Outs on the rear panel of TonePort; the audio from your audio software on the computer, as well as anything plugged into any TonePort input.

Connect your electric Guitar or Bass

Connect your stereo Headphones

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Connect up to two standard toggle or momentary pedal switches into the Footswitches jacks for remote control of GearBox and audio application functions

Connect any line level input source that you want to record into the Line Inputs.

Connect your USB cable from your computer’s USB

ort.*

Line 6 GearBox 3.1 – Basic Features Guide

Connect to the S/PDIF input of an external device to send TonePort’s output digitally.

Connect any line level input source for monitoring to the Stereo Monitor In.

Connect the Analog Outs to your audio monitors.

Line Inputs - if you want to record the signal from a line level source, such as a keyboard, your stereo receiver, the line out from a mixing console, etc., connect them to these Left and Right ins using 1/4-inch TS audio cables.

Footswitches - if you want to use one or two on/off toggle or momentary footswitches to remotely control functions in the GearBox software, you can plug the 1/4-inch footswitch plugs into these 1 and 2 jacks. To configure each Footswitch, go to the GearBox Preferences. You can also use these footswitches to trigger recording and playback commands within the included Ableton Live Lite 5 software!

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S/PDIF Digital Out - To send the output of TonePort to an external device digitally, connect a 75-Ohm coaxial cable into this RCA jack and then into the S/PDIF digital input on the external device. This is the best choice for connecting to digital recording devices, such as a DAT recorder. This S/PDIF output sends the same audio as is sent to TonePort’s Analog Outs* (with the exception that any audio coming into the TonePort’s Monitor In jack is not routed to the S/PDIF output). The digital signal is always sent at 24-bit resolution.

Analog Outs - These Left and Right balanced jacks output all the audio from TonePort; the audio from your audio software on the computer, and anything plugged into any TonePort input. So, these are what you want to connect to your monitoring system when using TonePort as your computer’s sound card. Use either 1/4-inch TS or TRS cables to connect directly to your powered speakers, mixer or power amp setup. Note that you can also use the headphone jack on the front of TonePort if you want to use headphones for monitoring.

Line 6 GearBox 3.1 – Basic Features Guide

TonePort KB37 Connections

Connect any line level input source for monitoring to the Stereo Monitor In

Connect your stereo Headphones

Connect the Analog Outs to your audio monitors

Connect any line level input source that you want to record into the Line Inputs

Connect your electric Guitar or Bass

Connect up to two Microphones

Connect to the S/PDIF input of an external device to send TonePort’s output digitally

Connect up to two standard toggle or momentary pedal switches into the Footswitches jacks for remote control of GearBox and audio application

Connect an

Expression

Connect your USB cable from your computer’s USB port.*

Pedal here for control of MIDI parameters

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Line 6 GearBox 3.1 – Basic Features Guide

if you are not sure). Connect each mic using an XLR cable. This inputs each microphone signal independently into GearBox where you can choose your tone, and then route the processed signal both to your audio software and out the TonePort outputs.

Guitar/Bass Input -To connect your electric guitar or bass, plug it into this input. This connection routes the instrument’s signal into GearBox where you can choose your tone and route the processed signal both to your audio software and out the TonePort outputs. This input also features a Pad switch; engage this switch when using a guitar/bass with high-output or active pickups, to avoid overdriving the input.

Headphones - If you want to listen to the audio from TonePort using stereo headphones, then plug them into this 1/4-inch stereo jack. This Headphone jack outputs the same signal fed to the Analog Outs on the rear panel of TonePort; the audio from your audio software on the computer, as well as anything plugged into any TonePort input.

Expression Pedal - Connect a 1/4-inch TS expression pedal to control Volume, Wah or any other MIDI CC parameter in GearBox or your recording application. To configure the expression pedal, go to the GearBox preferences .

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Line 6 GearBox 3.1 – Basic Features Guide

*Note that when using TonePort KB37 with GearBox, the GuitarPort Player playback audio is never routed to this S/PDIF output. This is necessary to comply with artist copyright requirements that Line 6 follows for the GuitarPort Online Tracks and artist content.

TonePort DI Connections

Connect your electric Guitar or Bass

Guitar/Bass - To input your electric guitar or bass, plug it in here using a standard 1/4-inch TS instrument cable. This input also features a Pad switch; engage this switch when using a guitar/bass with high-output or active pickups, to avoid overdriving the input.

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Line 6 GearBox 3.1 – Basic Features Guide

Connect your stereo Headphones

Connect to your 3 audio interface for recording with GearBox plug-in

-party

Connect USB cable from here

Analog Line Outs – connect to your powered speakers or mixer

to your computer

D.I Out - This connection lets you record an unprocessed signal to your track, to which you can apply the GearBox plug-in. If you use a 3

-party audio interface, connect the D.I. to one of its

inputs, and route that input to the track you’re recording into.

Analog Outputs - When using TonePort DI as an audio interface for your recording application, these outputs carry the Master stereo mix from your recording project. If you ‘re using a 3 Audio Interface, these outputs supply the ToneDirect™ magic to your interface or mixer, when using the GearBox application alongside the plug-in. See the

ToneDirect™ Monitoring section

for more details.

-party

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Line 6 GearBox 3.1 – Basic Features Guide

GuitarPort Connections

Instrument input - your electric guitar or bass, plug it into one of these inputs using a standard

1/4-inch TS instrument cable. This inputs the signal into GearBox where you can choose your Tone and route the processed signal both to your audio software and out the GuitarPort outputs.

Analog Line Outs – connect to your powered speakers or mixer

Connect your stereo

headphones

Monitor In – connect a line level, stereo

output (from your stereo, MP3 player, etc).

Connect USB cable from here to your computer

Analog Line Outs - These Left and Right RCA jacks output all audio signals; the audio from your audio software on the computer, and anything plugged into any the Instrument or Monitor inputs. So, these are what you want to connect to your monitoring system when using GuitarPort as your computer’s sound card. Use sheilded RCA to RCA tipped cables to connect directly to your powered speakers, mixer or power amp setup. Note that you can also use the headphone jack on GuitarPort if you want to use headphones for monitoring.

Headphones - If you want to listen to the audio using stereo headphones, then plug them into this 1/8inch stereo jack. This Headphone jack outputs the same signal fed to the Analog Line Outs; the audio from your audio software on the computer, as well as anything plugged into the Instrument or Line inputs.

Monitor In - If you want to hear the signal from a line level source mixed with all the other audio coming from your computer, but do not want this audio recorded, then plug the source in here. Note that this is a stereo jack, so you should use a stereo 1/8-inch tipped stereo audio cable for this connection. You’ll hear any audio coming into this jack via the Analog Line Outs and Phones, but it won’t go to GuitarPort’s Record Send 1-2.

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Line 6 GearBox 3.1 – Basic Features Guide

USB - This is where you connect the supplied USB cable to GuitarPort, with the other end going to your computer’s USB port. Note that you should always connect to a separate USB controller channel from other USB audio or MIDI interfaces to provide GuitarPort with the full USB bandwidth. GuitarPort also gets its power from this USB connection, so it should not be plugged into a nonpowered USB hub, or operated on the same USB controller channel with un-powered devices. It is also recommended to connect directly into a USB port on your computer and not into a USB hub.

PODxt Connections

Phones - Connect your stereo Headphones

Instrument Input - Connect

your guitar or bass

Instrument input – Connect your electric guitar or bass here using a standard 1/4-inch TS instrument cable. PODxt itself contains the processing power that turns your naked input signal into that roaring guitar Tone, which is then fed out the Analog Line Outs, as well as fed to the Record Send 1-2 digitally to your computer across the USB connection. When you are connected via USB to your computer, you can also launch GearBox and use it to alternatively load Tones stored on your hard disc, edit them on your screen, and make adjustments for output and Record Send levels.

Phones - If you want to listen to the audio using stereo headphones, then plug them into this 1/4inch stereo jack. This Headphone jack outputs the same signal fed to the Analog Line Outs; the audio from your audio software on the computer, as well as anything plugged into the Instrument input.

USB - Connect to your computer

Analog Line Outs - These Left and Right ¼-inch jacks output all audio signals; the audio from your audio software on the computer, and anything plugged into any the Instrument input. So,

Analog Line Outs – connect to your powered speakers or mixer

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Line 6 GearBox 3.1 – Basic Features Guide

these are what you want to connect to your monitoring system when using PODxt as your computer’s sound card. Use shielded ¼-inch tipped cables to connect directly to your powered speakers, mixer or power amp setup. Note that you can also use the Phones jack on PODxt if you want to use headphones for monitoring.

USB - This is where you connect the supplied USB cable to PODxt, with the other end going to your computer’s USB port. Of course your PODxt is capable of processing your guitar Tone all by itself, but you’ll need to connect the USB cable to your computer to use it with GearBox, and to use PODxt as your sound card device. Note that you should always connect to a separate USB controller channel from other USB audio or MIDI interfaces to provide PODxt with the full USB bandwidth. It is also recommended to connect directly into a USB port on your computer and not into a USB hub.

PODxt Live Connections

Instrument Input - Connect

your guitar or bass

Analog Line Outs – connect to your powered speakers or mixer

Aux Input – (Monitor in) connect a line level, stereo output (from your stereo, MP3

er, etc).

Phones - Connect your stereo Headphones

USB - Connect to your computer

Instrument input – Connect your electric guitar or bass here using a standard 1/4-inch TS instrument cable. PODxt Live itself contains the processing power that turns your naked input signal into that roaring guitar Tone, which is then fed out the Analog Line Outs, as well as fed to the Record Send 1-2 digitally to your computer across the USB connection. When you are connected via USB to your computer, you can also launch GearBox and use it to alternatively load Tones stored on your hard disc, edit them on your screen, and make adjustments for output and Record Send levels.

Analog Line Outs - These Left and Right ¼-inch jacks output all audio signals; the audio from your audio software on the computer, and anything plugged into any the Instrument and Aux inputs. So, these are what you want to connect to your monitoring system when using PODxt Live as your computer’s sound card. Use shielded ¼-inch tipped cables to connect directly to your powered speakers, mixer or power amp setup. Note that you can also use the Phones jack on PODxt Live if you want to use headphones for monitoring.

Aux In (Monitor In) - If you want to hear the signal from a line level source mixed with all the other audio coming from your computer, but do not want this audio recorded, then plug the source in here. Note that this is a stereo jack, so you should use a stereo 1/8-inch tipped stereo

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Line 6 GearBox 3.1 – Basic Features Guide

audio cable for this connection. You’ll hear any audio coming into this jack via the Analog Line Outs and Phones, but it won’t go to PODxt Live’s Record Send 1-2.

USB - This is where you connect the supplied USB cable to PODxt Live, with the other end going to your computer’s USB port. Of course your PODxt Live is capable of processing your guitar Tone all by itself, but you’ll need to connect the USB cable to your computer to use it with GearBox, and to use PODxt Live as your sound card device. Note that you should always connect to a separate USB controller channel from other USB audio or MIDI interfaces to provide PODxt Live with the full USB bandwidth. It is also recommended to connect directly into a USB port on your computer and not into a USB hub.

PODxt PRO Connections

Phones -

Connect your stereo

Headphones

Instrument Input -

Connect your guitar or bass

Instrument input – Connect your electric guitar or bass here using a standard 1/4-inch TS instrument cable. PODxt Pro itself contains the processing power that turns your naked input signal into that roaring guitar Tone, which is then fed out the Analog and Digital Outs, as well as fed to the Record Send 1-2 digitally to your computer across the USB connection. When you are connected via USB to your computer, you can also launch GearBox and use it to alternatively load Tones stored on your hard disc, edit them on your screen, and make adjustments for output and Record Send levels.

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Line 6 GearBox 3.1 – Basic Features Guide

Connect any LineLevel source you want to record to the Line

Input

Unprocessed Instrument Out- When

using GearBox Plug-in, connect to

-party audio recording interface

USB - Connect to your computer

Analog Line Outs, Use either Unbalanced (¼

-inch) jacks or Balanced (XLR) jacks to connect to your powered speakers or mixer

Digital Input and Output – use the AES/EBU or S/PDIF type connections to connect to other digital gear that uses one of these formats

Line Input - if you want to record the signal from a line level source, such as a keyboard, your receiver, the line out from a mixing console, etc…, connect it to this input using a 1/4-inch TS audio cable.

Unprocessed Guitar Out- This connection allows you to send an unprocessed signal to your recording application, while monitoring the fully processed signal thru the main Outputs. Very handy if you’re using a 3-rd party recording interface with your recording application and the GearBox plug-in. For more info, go to the

ToneDirect™ Monitoring section of this Guide.

Note: Your PODxt PRO can also send an unprocessed signal thru its USB connector, as explained

here.

Unbalanced and Balanced Analog Line Outs - The Left and Right Unbalanced ¼-inch jacks and the Balanced XLR jacks output all audio signals; the audio from your audio software on the computer, and anything plugged into any the Instrument inputs (and effects loop, if you are using it). So, these are what you want to connect to your monitoring system when using PODxt Live as your computer’s sound card. Use shielded ¼-inch tipped or XLR tipped cables to connect directly to your powered speakers, mixer or power amp setup. Note that you can also use the Phones jack on PODxt Pro if you want to use headphones for monitoring.

USB - This is where you connect the supplied USB cable to PODxt Pro, with the other end going to your computer’s USB port. Of course your PODxt Pro is capable of processing your guitar Tone all by itself, but you’ll need to connect the USB cable to your computer to use it with GearBox, and to use PODxt Pro as your sound card device. Note that you should always connect to a separate USB controller channel from other USB audio or MIDI interfaces to provide PODxt Pro with the full USB bandwidth. It is also recommended to connect directly into a USB port on your computer and not into a USB hub.

AES/EBU and S/PDIF Digital connections - To connect to another digital audio device with your PODxt Pro, use the pair of these digital jacks that matches the format of your other device

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(AES/EBU or S/PDIF). Connecting digitally is the best choice for routing to external digital recording devices, such as a DAT recorder. These digital outputs send the same audio as is sent to PODxt Pro’s Analog Outs.* The digital signal is always sent at 24-bit resolution. All settings for configuring the PODxt Pro’s digital in/out options are found on the PODxt Pro device itself by pressing the “I/O Dig Select” button on the front panel (these digital I/O options are not accessible in GearBox). For more information on using these digital connections, please see your PODxt Pro Pilot’s Handbook.

Line 6 GearBox 3.1 – Basic Features Guide

Routing audio from your Line 6 hardware to an external device

In addition to the ability to route digital audio directly within your computer , you may instead want to route your GearBox or PODxt signal into another sound card on the same or separate computer. Better yet, with all the great tones you can now create for your mics & instruments with GearBox, there is no need to limit them to the inside of a computer! You may also want to send the signal to external hardware such as an analog or tape Multitrack unit, a DAT or video tape recorder, or even to an amplifier or P.A. system for live performance. To follow are instructions for these different types of setups.

Connecting analog outputs to an external device

You can route your GearBox Tone to just about any type of external device simply by connecting the Analog Outs from the back of your GuitarPort, TonePort or PODxt directly into the external device’s line level inputs. This allows you to amplify or record your GearBox signal using any external device that accepts analog line level inputs.

Connect your TonePort, GuitarPort or PODxt Analog Outs to the analog inputs on any external audio device

Routing analog outputs to another sound card

If you want to use GearBox and your Line 6 device in a computer recording setup where a sound card already exists, then you might find it useful to connect your Analog Outs into the analog inputs of the existing sound card. More information can be found in the

Issues section of this guide.

Sound Card and Sound

Connecting the Digital Output from TonePort UX2, KB37 or PODxt PRO to an external digital device

TonePort UX2, KB37 and PODxt Pro also include digital outputs, which allow you to connect to digital devices such as a DAT recorder, Minidisk, another sound card, or most any device that offers a

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S/PDIF (or AES/EBU for PODxt Pro) format digital input. Please refer to your hardware’s User Guide for more information.

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Line 6 GearBox 3.1 – Basic Features Guide

HOW TO…

Basic operation

Turn Knobs Fine-tune GearBox’s software knobs and Model or Tone menus Show Effect controls without turning on an effect Show/hide all Tone controls Show/hide the Browser Show/hide the Effect control panel Resize the GearBox window Use the Tuner Use the Metronome

Change and Save Tones

Initialize a Tone Save a Tone Change the factory Preset Tones Set the De-Esser Use the Wah and Volume effects

Hardware setup

Select Hardware for GearBox to use Select your Preferred Audio Device Connect your Hardware to a guitar amp

Stay up to date

Check versions and get updates with Line 6 Monkey Register Purchase Model Packs Use my Model Packs

GuitarPort Online and Player Operation

Adjust the volume balance between your guitar and the Track Connect to the Internet Disable Download Accelerators Find FAQs Find GearBox Tone and GuitarPort Track files on your hard disk Join GuitarPort Online Load an MP3, WAV or AIFF file Load a Track from an Audio CD Load a Track from GuitarPort Online Load a Track from your hard disk Load the GuitarPort Tutorial Track Prevent GuitarPort from trying to connect to the Internet Set Loop Start/End Points

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Share your Tones with other GuitarPort users

Line 6 GearBox 3.1 – Basic Features Guide

GearBox Plug-in Operation

Activate the GearBox Plug-in Locate the GearBox Plug-in on your hard drive

Basic Operation

How to turn GearBox's software knobs

• Click your mouse anywhere on the knob (Windows® users, you'll be using your left mouse

button for this).

• While continuing to hold the mouse button, drag the mouse up and down.

• Do not drag your mouse in a circular turning motion.

Also, check out the details on fine-tuning knob and other settings…

You can double-click many knobs such as Pan, Record, Monitor, Amp Model knobs and the Out To Hardware volume knob to re-set them to their default settings.

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How to fine-tune GearBox's knobs and Model or Tone menus

You can fine-tune the setting of most of GearBox's on-screen knobs as well as the Model and Tone menus.

For knobs:

• Click the left button of your mouse anywhere on the knob or other control.

• Use your keyboard's left/right arrows to jump big steps. The up/down arrows fine-tune.

• Or, use your number keypad's / and * for big jumps and + and - to fine-tune.

For Model and Tone menus:

• Your keyboard's up/down arrows select items in the menu once you've clicked on the menu

to select it.

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How to show an effect's controls without turning on an effect

To see an effect's controls without turning it on, click on the top portion of the effect’s “stomp box” icon. (Click directly on the On/Off portion of the icon to toggle the effect On/Off). Windows® users can also right-click anywhere on the icon to show its controls. Mac® users can control-click.

Click here to show effect’s controls.

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Click here to to

le effect On/Off

How to show/hide all Tone controls

Click the Collapse/Expand arrow button to the left of the Tone menu at the top left of the GearBox program's window to show/hide the Amp and Effects controls in one click. Note that this is independent of the Browser window, allowing you to keep the Browser window’s contents visible and toggle your Tone controls to be shown or hidden as you need them. There are also separate show/hide arrows for the Effects section and the Browser.

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How to show/hide the Browser

The bottom portion of the GearBox window, where the GuitarPort Online content and other items are shown, is called the Browser. Click the arrow button at the top left side of it, to the left of the Back/Fwd arrow buttons, to show/hide the Browser. There are also separate show/hide arrows for showing/hiding the Amp and Effects controls together individually, or you can click the top-most arrow button to show/hide the Amp and Effects in one motion.

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How to show/hide the Effect control panel

It can be handy to hide the Effects’ details when you don't need to fine-tune them and want more space available to view items in the Browser. Click the arrow button at the left side of the Effects area to show/hide the Effects control panel.

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There are also separate show/hide arrows for showing/hiding the Amp and Effects controls together individually, or you can click the top-most arrow button to show/hide the Amp and Effects in one motion.

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How to resize the GearBox program window

The width of the GearBox window cannot be changed. However, when the Browser is expanded. The height of the main Gearbox windows can be increased to allow the Browser to take as much vertical space as you have available on your computer's display.

On Windows® - When the main GearBox window is not maximized (and when the Browser is expanded), you can click and hold the top or bottom edge of the main GearBox window and drag to make it taller or shorter. You can also click the maximizing icon (at the top right edge of the program window's title bar) to maximize its vertical size.

On Mac® – When the Browser is expanded, you can click on the bottom right corner of the main GearBox windows and drag to resize it vertically.

The Show/Hide “arrow” buttons work in conjunction with the show/hide arrows for the Effects, Browser and Track sections display to allow you to show/hide portions of the GuitarPort controls and maximize the space available for the Browser to display information.

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Use the Tuner

Click the button at the top right of the GearBox interface to display the Tuners tuner. You can then play an open single string on your guitar (or bass guitar), and the display on the right side of the tuner will show you which note that string is currently tuned to. The large meter in the tuner shows you whether the string is sharp or flat relative to that note. When the needle is pointing anywhere on the left side of the meter, your string is flat and needs to be tuned up. When the needle is pointing anywhere on the right side of the meter, your string is sharp and needs to be tuned down. The Mute/Bypass switch lets you choose whether your guitar will be muted while tuning, or if you will hear it with amp/cab/effect processing bypassed.

The Tuner’s Reference control tells the Tuner what to tune to. 440Hz is the standard reference value for A and is generally used for tuning reference. Unless you have a particular need to adjust the Tuner's reference, you probably want to stick with the standard 440Hz setting for this control.

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Line 6 GearBox 3.1 – Basic Features Guide

The standard tuning for guitar is, from the largest string to the smallest, E-A-D-G-B-E. Other tunings are also sometimes used. For instance, "Drop-D" tuning is accomplished by tuning the biggest string down to D instead of E. The table below provides a number of alternate tunings for you to try. Tunings are listed on the left. Columns labeled String 6 (the fattest string) to String 1 (the thinnest string) tell you the pitch to which you need to tune that string:

Tuning String 6 String 5 String 4 String 3 String 2 String 1

Standard Down 1 Half Step Down 2 Half Steps Down 3 Half Steps Down 4 Half Steps Down 5 Half Steps Drop D Drop Db Drop A Drop B Drop C Open E Open E7 Open G Open D Open A DADGAD

E A D G B E

Eb Ab Db Gb Bb Eb

D G C F A D

Db Gb B E Ab Db

C F Bb Eb G C

Bb Eb Ab Db F Bb

D A D G B E

Db Ab Db Gb Bb Eb

A E A D Gb B B Gb B E Ab Db C G C F A D E B E Ab B E E B D Ab B E D G D G B D D A D Gb A D E A Db E A E D A D G A D

Note: All half-steps use flats to match the chromatic tuner.

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Metronome Tips

The Metronome p the metronome, pr

rovides a simple "beat sequencer" you can use to practice your timing. To use

ess the Metronome button above the Browser. The metronome will then be

displayed within the Browser panel.

Metronome Controls

• Speed - The metronom

is measured in beats-p click on the text box and manually enter the speed you want.

Volume - The metronome's monitor volume is controlled by the Volume knob. The

•

metronome will not be sent to the digital out of GuitarPort. So without recording the metronome. So turn it up!

e's tempo is controlled by the Speed knob and text box on the left and

er-minute. For fine tuning, click the text box and drag it or just double

you can Record Digitally

Start/Stop - The Start/Stop switch will turn metronome play on and off.

•

Presets

Presets al

• Style - GearBox comes with several preset drum sequences available - just click on the

low you to instantly play along with a variety of patterns.

"STYLE" menu and select the one you want. If you can't find what you need, you can build it with the "beat sequencer".

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• Saving - The last modified sequence will be automatically saved as "Custom", but you may

want to click the "Save" button and give your percussive creation a name. This also keeps you from overwriting it later by modifying another sequence. If you get bored of one of your creations, just load it up from the "STYLE" menu and press the "Delete" button. You can not overwrite or delete the original presets.

ilding a Beat

If you don't find a p

attern you like, you can customize your own.

• Beat Slider - The Beat Slider indicates how many beats are played before the loop repeats

itself. Every tick mark is one half-beat. Two make one beat, so the numbers below

half-beats the tick marks indicate the total number of whole beats played per loop. You can have a maximum of 8 beats or 16 half-beats or a minimum of 1 half-beat to every loop.

Now comes the fun part - making the drum sequence. Each row in the matrix beneath the beat slider is a separate percussion sample and each column is a beat. To sound a drum sample on a particular beat, just click the button where the percussion row meats the beat you want. Enabled beats appear red with a small circle while disabled beats are blue. You can make modifications to the sequence while running the metronome - just click the Start switch to get it going. The light will sit over the currently playing beat.

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Line 6 GearBox 3.1 – Basic Features Guide

Change and Save Tones

How to initialize a Tone

Select Basic Guitar, Bass, or Vocal Tone from the Tone menu at the top left of the GearBox program's window to call up a Tone we've included as a basic starting place for use when you're creating your own Tones (hence the name "Basic Tone").

All the effects have basic sounds programmed so they're ready to go if you turn them on. This Tone is, of course, completely customizable by you, so you can turn it into whatever you want.

Saving the Basic Tone - Once you've made alterations to this basic Tone, you can then choose Save Tone from GearBox's File menu if you'd like to have your changes replace the Basic

Tone. Or...

Save As - Choose Save Tone As from GearBox's File menu if you'd like to leave the Basic Tone as it was, and save the new setting you've created as a new Tone. You'll then be given a dialog to name the Tone, and provide additional information to categorize the Tone if you like.

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How to save a Tone

You can create, edit and save your own Tones any time you like. A Tone includes your Guitar or Bass Amp & Cab, Preamp, and Effect Model selections and their settings. The yellow Tone menu at the top left of the GearBox program's window shows which Tone is currently selected and will also give you access to the new Tones you save.

If the Tone name is shown in italics in the Tone menu as shown above, it has been altered versus the saved version of the Tone. If the Tone name is shown without italics, the Tone has NOT been altered versus the saved version of the Tone. Once you've altered a Tone, if you want to keep that

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Line 6 GearBox 3.1 – Basic Features Guide

altered version you'll need to decide whether you want to Save your Tone or Save As, as described below.

Save Tone – If you select Save Tone from GearBox's drop down menu, your current settings will

replace the Tone whose name was shown in italics in the Tone Menu. The old version of the Tone will be erased and replaced by this new Tone, which will now be available from the Tone menu whenever you want it.

Save Tone As – If you select Save Tone As from GearBox's drop down menu, your current settings will be stored as a brand new Tone. The Tone whose name was shown in italics in the Tone Menu will not be affected. The new Tone you create will be added to the Tone menu so you can call it up again in the future whenever you want it. To Save As:

• From GearBox's drop down menu, select Save Tone As. You'll be able to name your Tone

and save descriptive information.

• Click the Browse button at the top of the Save Tone As dialog box if you want to choose a

different location to save this Tone, or you want to create a new folder for storing Tones in. Tones must be stored within GearBox's Tones folder in order for them to be accessible from the GearBox Tone menu.

• Click on the Save button to finish saving your new Tone.

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How to change the factory Preset Tones

If you want to tweak one of the factory Preset Tones, all you have to do is:

• Select a Tone from the Preset Folder in the Tones menu.

• Make the changes you want.

• From the File menu, select Save to update the Preset Tone with your changes.

• To save your new Tone without replacing the Preset Tone, choose Save As instead.

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How to set the De-Esser

The Female and Male De-esser Stomp effects are available in GearBox only when used with TonePort devices.

A de-esser is an audio tool designed to reduce sibilance (Sss and Shh sounds) from vocals. It does this by "listening" for audio energy focused at a selected FREQUENCY (the frequency where the objectionable part of the Sss and Shh sounds are occurring). When it hears high level audio at and

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around this frequency, it quickly ducks the volume by the AMOUNT you choose, effectively reducing the volume of Sss and Ssh sounds that get recorded.

To use the De-Esser appropriately, try first recording a test vocal track without it. If you hear more Sss and Shh sounds that you would like, try adding a band of EQ to that recorded track in your recording program. Set that EQ to provide a bandpass with a narrow width or Q, and set it to cut quite a bit, maybe something like -20dB. Now set the frequency for that band of EQ to one of the frequency points available from GearBox's De-Esser, and playback the recorded track, switching back and forth between enabling and bypassing the EQ to hear the results. Try different frequencies until you find the one that seems to have the most effect on the Sss and Shh sounds, then disable that EQ. Use that frequency setting in GearBox's De-Esser, set the AMOUNT knob to a medium setting, and record another test track. If all has gone well, you should hear that your Sss and Ssh sounds are being reduced, and you can then further adjust the AMOUNT knob as needed.

See the

Model Gallery for specifics of the Female De-Esser and Male De-Esser Models.

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How to use the Wah and Volume effects

GearBox's Wah and Volume effects can be controlled via MIDI using a hardware controller or messages from MIDI software. See the more about setting up MIDI control. The Wah effects can also be used without a MIDI controller for a "parked wah" sound: just turn the Wah effect on, and set its Position knob to get the sound you like.

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GearBox Online Help page of the Line 6 web site to learn

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Line 6 GearBox 3.1 – Basic Features Guide

Hardware setup

How to select hardware for GearBox to use

GearBox software can be used with TonePort UX1, UX2, GuitarPort, PODxt, PODxt Live, or PODxt Pro* hardware. When you start GearBox, it automatically looks for the Line 6 device connected to your computer. If GearBox cannot detect your Line 6 device at startup, it will show a ‘No Hardware Found’ message, and ask you to choose what Line 6 device to configure for.

You can also select use GearBox's Preferences to set how it will configure itself for your Line 6 hardware. Choose Preferences from GearBox's Edit menu (Windows®) or GearBox menu (Mac®) and select the Hardware tab:

If your Line 6 hardware is connected to your computer and it's not available from the "Launch GearBox using:" menu there, there is a USB connection error. It is specifically recommended to always connect your Line 6 device directly to your computer’s USB port, and not into a USB hub. USB hubs can sometimes cause communication errors with USB audio devices.

* Note – On Windows® systems, it is not recommended that you connect both a PODxt and PODxt Pro unit to the computer at the same time. These two specific Line 6 devices utilize a common device driver, and only one can be initialized at a time.

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Line 6 GearBox 3.1 – Basic Features Guide

How to select your Preferred Audio Device

See the Sound Cards and Sound Issues section of this guide to learn how to set your Line 6 device or some other soundcard as your Preferred Audio Device in Windows® or Mac®.

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How to connect your Hardware to a guitar amp

We get this one a lot – Many Line 6 users want to know how to physically connect their hardware to a guitar amp, because they think it will sound better that way. In fact, the opposite is true: Because the audio signal we provide for direct monitoring features a virtual amp emulation that’s optimized for full-range systems, the results you’ll get when using a guitar amp will be less than ideal, due to the limited range of guitar speakers. If a guitar amp is your only monitoring solution, following are a few pointers to help you get the most out this connection:

If your amp has an effect loop, plugging into the effect return is the preferred connection, for 2 reasons:

• You are bypassing the preamp’s tone stack, which tends to color the signal in an undesirable

fashion.

• Your Line 6 Hardware generally puts out a line-level signal, which is generally too hot for the

guitar input of your amp.

If your amp has no effect loop, then plug into the front input, following these steps:

• Place all your tone controls at the 12 O’clock position.

• Turn your amp’s Drive or Volume setting all the way to zero. If your amp has a Master

Volume, place that control at 12 O’clock or below.

• Plug in your hardware, and slowly bring up the Drive until you hear a satisfactory level of

volume, being careful not to overdrive the input.

You can also try disabling cabinet modeling, by selecting No Cab in GearBox’s Cabinet menu, to further enhance your tonal experience.

PODxt (PODxt PRO, PODxt Live) Users: Your device features an output setup menu that optimizes the output for different monitoring systems, including the front end or the loop of a guitar amp. Please refer to your PODxt Manual for more information.

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Line 6 GearBox 3.1 – Basic Features Guide

Stay Up To Date

How to check the versions of GearBox, Line 6 hardware driver & firmware, and get updates

To easily see what version of GearBox software you are using, just go the Help menu and choose About GearBox. This also lists the credits for the creation of this software.

To check for any available updates for GearBox or your Line 6 Gear…with your Line 6 hardware USB cable connected, and with your computer’s Internet connection active, launch Line 6 Monkey from GearBox's Help menu. Don’t forget to check out all those additional items available for you in the Optional Add-Ons tab of Line 6 Monkey!

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How to register your Line 6 Hardware purchase

It’s important to register your Line 6 hardware so that you can obtain customer support and stay informed about the latest new products and Add-Ons. Visit the Line 6 web site Support section and select the

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How to purchase Model Packs

Model Packs are additional sets of amp, cab and/or effects that you can purchase to expand your Tone possibilities for your Line 6 device! You can purchase, install and authorize Model Packs using Line6 Monkey online – you don’t even need to get out of your chair! With your Line 6 device connected, just launch Line 6 Monkey and go to the Optional Add-Ons tab and see what’s available for your Line 6 hardware. Follow the steps to easily purchase and download Add-Ons and start using them in minutes.

You can launch the Line 6 Monkey program from the GearBox Help menu by choosing Update & Configure with Line 6 Monkey.

Alternatively, you can launch Line 6 Monkey directly by going to:

• Windows® - Start Menu / Programs / Line 6 / Tools / Line 6 Monkey

• Mac® - Finder / Applications / Line 6 / Line 6 Monkey

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How to use your Model Packs with GearBox

Once you've purchased and authorized your Model Packs, simply restart GearBox with your Line 6 hardware connected and you’ll see the new models available within the GearBox.

The Metal Shop, Classic Collection & Bass Expansion pack models will appear under the AMP MODEL drop down menu with either an MS, CC or BX prefix added to the start of their names.

The FX Junkie pack models will be spread out among Stomps, Mods, and Delays and will be preceded by an FX.

The Power Pack is included as a standard feature set on PODxt family devices, and is an optional upgrade on TonePort/GuitarPort. Power Pack models will not have any special prefix, but they will appear under AMP MODEL, Stomps, Mods, Delays, and Verbs.

For more info on Model Packs, please check out the

Model Pack Handbooks.

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GuitarPort Online Operation

How to adjust the volume balance between your guitar and the Track

Use the Track Level slider under the Player button above the Browser to set the level for the current Track playback…

…and use the Volume knob on the amp panel to set the level of your guitar signal

More tips…

• Guitar still too quiet versus your Track? Try Guitar too quiet in the Troubleshooting section.

• For Track Level problems, see Track Level issues Troubleshooting.

• Getting distortion or clipping as you try to make these adjustments? See Noise and Distortion

troubleshooting.

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How to connect to the Internet

You need an Internet connection to use the GuitarPort Online features of GearBox. If you do not already have an Internet connection, you will need to contact an ISP (Internet Service Provider) and purchase an Internet access plan from them. We recommend a "broadband" connection such as DSL, ISDN or cable modem for use with GuitarPort Online. LAN (Local Area Network) connections such as many businesses have also should work well with GuitarPort Online (you can tell the boss you're doing "research"!). You can also use a "dial-up" connection, but these are generally slower and downloading Tracks from GuitarPort Online will take some time over a dial-up connection.

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Note – you will need to enable Cookies in your Internet Browser software to successfully connect to GuitarPort Online.

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Line 6 GearBox 3.1 – Basic Features Guide

How to disable Download Accelerators

Please see the troubleshooting topic for Download Errors – Download Accelerators.

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How to find FAQs

For the latest Frequently Asked Questions and up-to-the-minute support information, please visit the

GearBox Online Help page of the Line 6 website. You can also go to the Line6.com web site

directly, navigate to the FAQTRAQ system within the Support section and search for information on all Line 6 products!

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How to find GearBox Tone and GuitarPort Online Track files on your hard disk

GearBox stores Tones and GuitarPort Online Tracks as files on your hard disk. By default, the GearBox installer creates a GearBox folder and stores all your Tone files in this location:

Windows® - My Documents\Line 6\Tones\GearBox

Mac® – Documents/Line 6/Tones/GearBox

Tones must be stored in this GearBox folder to appear in the Tone menu at the top left of the GearBox window, and to appear in the Tone Locker. You can organize your Tones without leaving GearBox by using the Tone Locker, which is available from the Tone Locker button above the Browser.

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Additionally, by default the GearBox installer creates a Tracks folder and stores your GuitarPort Online Tracks within it at this location:

Windows® - My Documents\Line 6\Tracks

Mac® – Documents/Line 6/Tracks

Alternatively, Tracks can be stored anywhere on your hard disk, and can be opened from The GearBox File menu - Open command, or via the LOAD FROM HARD DISK button available from the Player button above the Browser.

To get to the default Tones and Tracks folders and access the Tone and Track files outside of the GearBox program:

Windows®

• Double-click the My Computer icon on your desktop.

• Double-click Drive C:, then Program Files, then Line6.

• Double-click the Tones or Tracks folder.

Mac®

• Open the Finder and select Documents.

• Select Line 6 and then look in the Tones or Tracks folders.

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How to join GuitarPort Online

If you're not already a member of GuitarPort Online, click the GuitarPort Online button above the Browser with your Internet connection active and the Browser will show you how to become a member or take a tour to see what GuitarPort Online is all about.

If you want to be a better player, and learn more licks, technique and songs, this is the place you need to be!

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How to load an MP3, WAV or AIFF file

Click the LOAD FROM HARD DISK button under the Player button above the Browser to load an MP3, WAV or AIFF file from your hard disk to use as a GuitarPort Track.

The recently used Tracks are also available in the GearBox File > Track > Recent Tracks menu

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How to load a Track from an Audio CD

Note – you do not need to be a GuitarPort Online to use the Player to load CD Tracks or audio files from your hard drive and play along with them!

GuitarPort can load audio from a standard Audio CD. The steps are slightly different depending if you are on Mac® or Windows®:

Mac®:

• Click on the Player button above the Browser.

• Insert an Audio CD (you can disable auto-launch of CD player programs).

• Click LOAD FROM: CD, select the Track you want, and click the Open button.

• This launches the Open window, where you can choose your CD drive to access its contents.

Choose your CD drive here to view its contents.

Select a track and click Play to preview the track before loading it.

Click Open to load the selected track into the Player

• Once you click Save, the CD track is automatically loaded in the Player and played directly

from your CD drive. You can play just like with any other GPO Track or Hard Disk file using the transport.

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TIP – You can launch the Mac® iTunes® program if you want to have it connect to the Internet and retrieve the CD Artist name and Track info for the CD. Once iTunes® does this, you can close it and the Open dialog will then show all the actual CD Track names since they will be stored in memory from iTunes®.

Windows®:

• Click on the Player button above the Browser.

• Insert an Audio CD (you can disable auto-launch of CD player programs).

• Click LOAD FROM: CD, select the Track you want, and click the Open button.

• You should now see the contents of your audio CD in the window.

If you want the dialog to retrieve the actual name of the CD, Artist and Track names, click the Get CD Info button.

Select a track and click Play to preview the track before loading it.

Click Refresh if you have a CD inserted but its tracks do not appear in the list.

Click Open to load the selected track.

• Once you click Open, you are prompted where to Save a copy of this Track – this “rips” the

CD track to your hard drive as a WAV file. The default Save directory is your \My Documents\Line 6\Tracks folder.

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• Once you click Save, the CD track is automatically loaded in the Player and you can play this

track just like any other GPO Track or Hard Disk file using the transport.

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How to load a Track file from GuitarPort Online

Note – you must be a GuitarPort Online member to gain access to GuitarPort Online tracks. For membership details, please visit www.guitarport.com

Click the LOAD FROM: Online button in the Player to load a Track from GuitarPort Online.

The recently used Tracks are also available from the Track Loaded menu:

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How to load a Track file from your hard disk

Click the LOAD FROM: Hard Disk button in the Player to load a GuitarPort Track file that you have saved to your hard disk.

The recently used Tracks are also available from the Track Loaded menu:

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How to load GuitarPort's Tutorial Track

GuitarPort includes a Tutorial Track to introduce you to its basic features and operation. You can load it from the Help menu at the top edge of the GearBox program's window, by selecting Open Tutorial Track.

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How to prevent GuitarPort Online from trying to connect to the Internet

By default, GearBox is configured so that GuitarPort Online will attempt to automatically connect to the Internet as needed to access the online features. You can disable the auto- connect behavior via the GearBox Preferences:

• Select Preferences from the GearBox menu (Mac ®) or Edit menu (Windows ®) and click the Internet tab.

• Click the Help question mark at the top of the dialog box and click an item for details.

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• Uncheck the Network Enabled box and then click OK to exit the Preferences.

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How to set the Loop start and end points

When the Loop is on for the Track loaded in the Player button above the Browser, you'll be able to see and set the Loop's start and end points in the Track Sections Display:

• Click the Loop button to light it red if it's not lit already.

• The looped portion of the Track is shown in orange.

• Light the BY SECTIONS button if you want the loop points to "snap" to the sections.

• Click, hold and drag the orange arrow at either end of the loop to set the start/end.

• There are also Hot Keys for setting Loop start, end and on/off.

• You can also double-click a section to set the loop start and end points to loop that section.

• You can hold the SHIFT key and double-click a section extend the loop to include that

section.

• If you choose Save Track from the GearBox File men u and save the Track to your hard disk, the Loop points will be saved with the track.

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How to share your Tones with other GuitarPort users

If you are a GuitarPort Online subscriber, you can put Tones you want to share in the Public folder of your Tone Locker. From there, any other GuitarPort Online member can access them and experience your Tone-creation genius! Tone is your Private folder will not be visible to other GuitarPort Online members.

You can also, of course, share Tones that are stored on your local hard disk by emailing them as individual file attachments to your friends who also have GearBox.

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GuitarPort Online members have access to the Online Tone Locker, which appears in this right pane of the Tone Locker.

How to show/hide all Tone controls

Click the Collapse/Expand arrow button to the left of the Tone menu at the top left of the GearBox program's window to show/hide the Amp and Effects controls in one click.

Note that this is independent of the Browser window, allowing you to keep GuitarPort Online visible and toggle your Tone controls to be shown or hidden as you need them. There are also separate show/hide arrows for the Effects and the Browser sections as well.

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How to show/hide the browser

The bottom portion of the GearBox window, where the GuitarPort Online content and other items are shown, is called the Browser. Click the arrow button at the top left to show/hide the Browser.

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How to show/hide the effect control panel

It can be handy to hide the effect details when you don't need to fine-tune the effects, and you want to have more space available to view items in the Browser. Click the arrow button at the left side of the effects area to show/hide the Effects control panel.

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How to show/hide the Track sections display

When you've selected the Player button above the Browser, you'll see a display like the one above. You can click the arrow button to the left of the GuitarPort Online tab button to show/hide the bottom portion of this display. Separate show/hide arrows control the display of tone controls together, Effects and the Browser.

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Line 6 GearBox 3.1 – Basic Features Guide

GearBox Plug-in Operation

The following topics are covered elsewhere in this guide, but we’ve included links here for convenience:

Activate the GearBox Plug-in Locate the GearBox Plug-in on your hard drive

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Line 6 GearBox 3.1 – Basic Features Guide

MODEL GALLERY

You probably know by now that we're relentless tone fanatics here at Line 6. Once we've set our sights on creating a software emulation of a particular piece of gear, we go to great lengths to be sure that we've gotten our hands on the very best example of an amp, preamp, effect or speaker cabinet that we can find to study. We will (and have) scoured the globe in search of just the right specimen — that one, very particular piece of "holy grail" gear that has the magic. In fact, we pride ourselves on hand selecting each and every one of the amps, effect, preamps and speaker cabinets that we studied to create the software models in GearBox and all of Line 6's other products. The result is an extensive line up of Models, some completely original to Line 6, some based on well loved classics.

To follow is the list of amp, cab and FX models that are included as “Factory-Standard*” models for TonePort. Many Models in this list are also included as standard with GuitarPort hardware. For the breakdown of the Factory-Standard Models for each Line 6 device, please see the Model List section in this document. For descriptions of the Factory-Standard Models included in PODxt, PODxt Pro and PODxt Live devices, please refer to your

Model Pack Handbooks.

* Factory-Standard Models are those that are included as permanently installed models on a Line 6 device. These models cannot be transferred to other Line 6 devices. However, it is possible to transfer the License Key that you are granted for any Add-On Model Packs that you purchase separately between any supporting Line 6 device that you own by using Line 6 Monkey. Please visit the Line 6 Online Support pages for more about Transferring License Keys.

PODxt Pilot’s Handbook, and more info is also available in the

Guitar Amp & Cab Models

Line 6 Chemical X Line 6 Insane Line 6 Piezoacoustic 2 Line 6 Spinal Puppet Line 6 Treadplate 1953 Small Tweed 1958 Tweed B-Man 1964 Blackface 'Lux 1967 Class A-30 Top Boost 1968 Plexi Lead 100 1968 Plexi Jump Lead 1987 Jazz Clean 1990 Brit J-800 1993 Solo 100 Head 2001 Treadplate Dual Brit Gain 18 Citrus D-30 Tube Instrument Preamp Guitar Cab Models

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Bass Amp & Cab Models

Rock Classic Flip Top Adam and Eve Silverface Bass Eighties Bass Cab Models

Preamp Models

American Classic Vintage UK Lo-Fi Vintage Modern Console

Effect Models

Delay

Analog Delay w/ Modulation Tube Echo Digital Delay

Mod

Sine Chorus Line 6 Flanger Phaser U-Vibe Opto Tremolo Rotary Drum + Horn Stomp Facial Fuzz Fuzz Pi Screamer Classic Distortion Vetta Comp

Verb (Reverb)

Standard Spring Brite Room Medium Hall Cavernous Slap Plate

Wah

Vetta Wah Weeper

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Bass Effects

Bass Overdrive Bronze Master Sub Octaves

Other Effects

Comp (Compressor) EQ Gate Vol (Volume) Female De-Esser Male De-Esser

Line 6 GearBox 3.1 – Basic Features Guide

Guitar Amp & Cab Models

Line 6 Chemical X

Just like those secret ingredients that detergent companies used to crow about (Now! Contains Ingredient X-27!), the Line 6 Sound Design guys wouldn't tell us anything about what the inspiration for this one was or who it might have belonged to (no matter what type of bribery we attempted). Suffice to say that it's a very punchy hi-gain sound that also cleans up quite nicely when you roll your volume back.

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Line 6 Insane

Our goal here was to provide you with as much input gain distortion as possible short of complete meltdown. You get ridiculous, rich tube drive to shame the distortion of pretty much any amp on the planet while still retaining tonal definition and character. As a result, you get way lots of bottom end and cabinet character with tons of wide-ranging tone shaping. Crank up the Drive control and take no prisoners!

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Line 6 Piezacoustic 2

This one is designed to work with the piezo output of solid body electrics that have one of those newfangled bridges with the 'acoustic' pickup built in. Since you don't have to worry about the body shaking itself to pieces with feedback on that type of guitar, we've cooked up this model with more low-mids and low frequencies.

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Line 6 Spinal Puppet

You know how, when you're playing head-bangin' music, you look out into the audience and see all those heads bobbing up and down? Those are Spinal Puppets. Need we say more?

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Line 6 Treadplate

Looking for tight, high gain tone? The kind of sound that powers classic Metallica or Dream Theater tracks? Then you've come to the right place, my friend. This model lets you dial in plenty of distortion perfect for chunk-chunk-chunking, and also ready to power some mosh pit punking. Its tone controls have plenty of range to let you scoop out your mids, or beef up the bottom for just the tone you need.

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1953 Small Tweed

Modeled after* a 1953 "wide panel" Fender® Tweed Deluxe Reverb®, the 1953 Small Tweed Amp Model will snarl with the best of them. The original amp had only a single tone control, essentially a treble roll off. We set up the Treble knob to give you this treble roll off when using this Amp Model, which left us with the Bass and Middle knobs just sitting there, so we set up the Bass and Middle as postAmp Model controls, which essentially lets you EQ up your tone as you would do on a mixing console after recording your

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amp. Set the Bass and Middle knobs at halfway to put them in 'neutral', turn the Presence to 0, and try the Treble knob somewhere above halfway for a classic Tweed sound.

* FENDER® and DELUXE REVERB® are registered trademarks of Fender Musical Instruments Corporation and 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 that were studied during Line 6’s sound model development.

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1958 Tweed B-Man

The 1959 Tweed B-Man Model is based on* the classic '58 Fender® Bassman® 4x10 combo, the amp that started it all — instant rock and roll tone. Originally a bass guitar amp, the Bassman® became a Blues staple for 6-string guitarists. It has the fat bottom end you'd expect from a bass amp, but also has the Fender® twang on the top. Incidentally, when Jim Marshall built his first amps with Ken Bran they were heavily influenced by the early Bassman®. One of the interesting things about the Bassman® is just how interactive the Middle and Treble controls are. The Middle control isn't a bandpass, as in most tone control setups. Instead, it's almost like a second treble control. The two are additive, so if you're running your Middle knob higher than halfway up with this model, you'll find that the Treble control might give you more bright than you really want. On the other hand, when you turn the Middle knob down, you'll probably want to boost the Treble.

The Bassman®, like many of the amps modeled for GearBox, didn't have a master volume. So to get the kind of tone that the Bassman® can deliver at higher gain settings, you had to crank it up loud enough to do some serious damage to anyone who might be standing close by. Now you can get that kind of tone at bedroom or studio level — or even through your headphones! Try a Drive setting of about 4 or — it's guaranteed to dredge up the best R & B licks you know.

* FENDER® and BASSMAN® are registered trademarks of Fender Musical Instruments Corporation and 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 that were studied during Line 6’s sound model development.

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Line 6 GearBox 3.1 – Basic Features Guide

1964 Blackface 'Lux

The Holy Grail for many blues, country, and "roots" players has been a blackface Fender® Deluxe Reverb®. After listening to quite a few candidates back when we were seeking the ultimate Deluxe Reverb® for our 1964 Blackface 'Lux model to be based on*, we stumbled upon an extremely cool '64 Deluxe Reverb®. We still haven't found one better.

Most players love a Deluxe Reverb® when it's turned up to about 7 for a nice gritty sound that cleans up when you back off your guitar's volume knob just a little. Notice how the tone control response changes as this Amp Model's Drive is changed: clean settings are crisp and present, while more driven settings will mellow the high end. This is typical of what you get from a Deluxe Reverb® and is nicely captured here. The Deluxe Reverb® itself has only Bass and Treble controls, leaving us, once again, with the prospect of a couple knobs with nothing to say for themselves. But fear not; in this case, we've set up the model's Middle knob so you can add some post-Amp Model Midrange contouring for a little more flexibility, while Presence adds, well, Presence. Once again, set the Middle knob to its "neutral" 12 o'clock position and the Presence knob to 0 for the classic Deluxe sound. Tweaked up right, this tone will cut through and sing. We jacked into Input 1 of the Vibrato Channel to get this model cooked up.

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1967 Class A-30 Top Boost

The 1967 Class A-30 Top Boost model is based on* a Vox® AC 30. Music was changing in the early '60s and guitarists were asking for more brilliance & twang. So the Jennings Company, makers of Vox® amps, decided to add Treble and Bass controls (and an extra 12AX7 gain stage, incidentally) in addition to the Treble Cut knob it already had (which in actuality was a sliding bandpass filter that always seemed like it was working backwards); this additional circuit became known as Top Boost.

The AC 30 with Top Boost was the amp made famous by many British invasion bands. Much of

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the unique character of the Vox® sound can be attributed to the fact that Class A amps overdrive in a very different way than Class AB. Brian May of Queen, Mike Campbell of Tom Petty's Heartbreakers, and The Edge of U2 have all used classic AC 30s to make their music. Although usually played fairly clean, a cranked AC 30 has a great saturated lead tone, a la Brian May on the early Queen albums.

On this Amp Model, the Middle control acts like the original Cut knob on the AC 30. We plugged into the Hi gain input of the AC 30's Brilliant channel when creating it. We also turned the tone controls around, since original Top Boost amps had the bass and treble turned all the way down when the knob was all the way up. Go figure.

VOX® is a registered trademark of Korg Europe Limited and is 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 that were studied during Line 6’s sound model development.

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1968 Plexi Lead 100

The 1968 Plexi Lead 100 is modeled after* the infamous '68 Marshall® 'Plexi' Super Lead — coveted by tone connoisseurs the world over. We literally scoured the world for this particular amp, finally finding a great example of a Super Lead languishing (we like to think fate preserved it for us) in Holland. By the time this amp was built (ca. 1968), Marshall® had completely changed the circuitry away from the Fender® 6L6 power tube heritage and moved to an EL34 tube. Another major tone difference was due to the necessary output & power supply transformer changes. All this mucking about added up to create a tone forever linked with Rock Guitar. Amps of this era didn't have any sort of maste volume control, so to get the sound you'd have to crank yo Super Lead to max — just the thing to help you really make friends with the neighbors. Hendrix used Marshall®s o era; a decade later Van Halen's first two records owed their "brown sound" to a 100-watt Plexi (Our Super Lead, in fact, has the 'lay down' transformer that was unique to '68 models, the same as Hendrix and Van Halen's Marshalls®.). To get a crunch sound out of a Plexi, you would likely crank the input volume and tone controls (to 10!). You'll find that, in keeping with our "make-it-sound-a-whole-lot-like-the-original" concept, this mo set up to do pretty darned near the same thing.

f this

del is

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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.

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1968 Plexi Jump Lead

Guitar playing is all about experimentation, isn't it? That, and finding all the possible ways to get more distortion out of whatever gear you have at hand. One of the fun things you can do with a Plexi is take a short guitar cable and jumper channel I and channel II (as they're frequently numbered) together for a little extra saturation. Some guys loved this sound so much that they pulled the chassis and permanently wired a jumper into the amp. Being the obsessive/compulsive tone freaks we are, we just had to give you the 1968 Plexi Jump Lead model to give you a sound based on* of this setup.

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1987 Jazz Clean

The 1987 Jazz Clean Amp Model is modeled after* the classic Roland® JC-120.

This transistor amp was known for a strident clean sound and built-in stereo chorus. When using the JC-120 model, try cranking up the Treble for a shimmering clean sound that'll cut through just about any mix. It's also perfect for that 80's "new

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wave" sound (after all, it was Andy Summers' favorite amp with The Police).

You should also try setting all the tone controls at 12 o'clock for a darker jazz tone. It'll give you an essentially flat response, providing a balanced tone across the fret board for jazz chord melodies or single-line phrasing.

* ROLAND® is a registered trademark of Roland Corporation and is 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 that were studied during Line 6’s sound model development.

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1990 Brit J-800

The 1990 Brit J-800 Amp Model is based on* a Marshall® J

800.

Turn to this Amp Model to conjure up tones of the coveted J

CM 800, one of Marshall's most universally acclaimed modern amps. This updated version of the Plexi continued Marshall's heritage with added gain and edge for a new generation of rock guitarists. One of the biggest differences here is that the tone controls are located after the preamp tubes.

Incidentally, some versions of JCM 800's get their distortion by clipping a diode. The amp we modeled uses a tube for distortion. The JCM 800 is, of course, the metal sound Marshall made famous. And although not many people play Marshalls clean, it is a great tone, so you should also be sure to check out this model with a low Drive setting. Of course, you can always pump up the drive and rage...

* MARSHALL® is a registered trademark of Marshall Amplification PLC and is 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 that were studied during Line 6’s sound model development.

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1993 Solo 100 Head

The 1993 Solo 100 Head Amp Model is based on* a Soldano SLO-100 head.

Mike Soldano first came to fame as the guy who could do all t really cool mods to your Marshall®. It wasn't long before he started building his own 'hot-rod' amps — sporting chromed transformers and chassis, no less. Mike's amps are also famous for their bullet-proof construction and military spec wiring and components.

While primarily known for its high gain personality, the SLO100 has a great clean tone as well. Eric Clapton put Soldano on the map when he played "Saturday Night Live" with his Soldano SLO-100.

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2001 Treadplate Dual

The 2001 Treadplate Dual Amp Model is based on* a 2001 3 Channel Mesa/Boogie® Dual Rectifier® Solo Head. The Dual Rectifier® was part of Boogie's more modern, high gain approach for that "big hair" sound. In contrast to the earlier Boogies, the Dual Rectifier's tone controls have more influence at high gain settings, so you can scoop the mids and increase the bottom end.

We used Channel 3 on the Modern setting for this one with the rear switches set to Bold and Tube Rectifier®, respectively.

* MESA/BOOGIE® and RECTIFIER® are registered trademarks of Mesa/Boogie, Limited and 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 that were studied d Line 6’s sound model development.

uring

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Brit Gain 18

Based on the Marshall® 1974X “authentic re-issue” of the famous 1974 18W Combo from the late ‘60’s. (brief editorial aside: Marshall® has had a long tradition of coming up with model numbers that can easily be taken for years. The Model 1974 combo was manufacturer from 1965 to 1968, the Model 1961 and 1962 combos were first made in 1965. Is it any wonder we look confused sometimes?). The 1974 has a basic preamp, (gain and tone controls) and a cathode biased twin EL84 power amp. It is a great recording amplifier, with a wonderfully com-pressed and harmonically rich 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 that were studied during Line 6’s sound model development. MARSHALL® is a registered trademark of Marshall Amplification PLC.

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Citrus D-30

In 1968, in a little music store on Old Compton St. in London, Clifford Cooper was having trouble getting amplifier manufacturers to take him seriously as a dealer, as they thought he was too young, and his shop too small. So he did what seemed only logical to an enthusiastic young man with a background in electrical engineering – he designed and built his own amplifiers. Since he had come into a large quantity of bright orange vinyl that was what he used to cover his cabinets. It wasn’t long before highprofile musicians like Fleetwood Mac, Stevie Wonder, and Frank Zappa were beating a path to his door. This model is based on an Orange® AD30TC head, a 30 watt, Class A number with a great personality that gracefully marries vintage British mid-gain breakup with modern shimmer and presence. Back off the drive

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and you’ll get chimey boutique tones, dig in with the drive up and the AD30 purrs pure Brit Rock 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 that were studied during Line 6’s sound model development. ORANGE is a registered trademark of Orange Musical Electronic Company, Ltd.

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Tube Instrument Preamp

Before we created the dedicated Preamp Models featured in GearBox, we developed this simple tube preamp model for the Amp Model slot of our PODxt® and GuitarPort®. This model was created to give PODxt and GuitarPort users a solution for plugging the output from an acoustic guitar's piezo pickup or a bass into GuitarPort or PODxt hardware. It can also deliver some tasty tones with a standard electric guitar. With the tone controls at 12 o'clock, the EQ is "flat." Adventurous recordists will find that it can even be used to add some tube warmth or distorted grind to just about anything — warming up keyboards, crunching up drums, and fuzzing up vocals the way producers and engineers often do in the studio with vintage tube gear. When you do this stuff, you want to use the Drive control like a mix knob on a reverb to control how much processing you want to hear.

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Guitar Cab Models

While we're not going to bore you with complete descriptions of each cabinet that's modeled in GearBox ("...and with the change from 12 ply Finnish Spruce to 13 ply Baltic Birch in October of 1973, the resonant frequency of this cabinet dropped to 113.7Hz"), here's a list of all the speaker cabinets that were modeled for GearBox:

1 x 6 — 1960 Super O (based on Supro S6616) 1 x 8 — 1960 Tiny Tweed (based on Fender® Tweed Champ®) 1x10 — 1959 Gibtone (based on Gibson® combo) 1x10 — 1960 G-Brand (based on Gretsch® 6156) 1x12 — 1953 Small Tweed (based on Fender® Tweed Wide Panel Deluxe Reverb®) 1x12 — 1964 Blackface 'Lux (based on Fender® Deluxe Reverb®) 1x12 — 1960 Class A-15 (based on Vox® AC-15) 2 x 2 — 2001 Mini T (based on Fender® Mini Twin) 2x12 — 2001 Line 6 2x12 — 1965 Blackface (based on Fender® Blackface Twin Reverb®) 2x12 — 1996 Match Chief (based on Matchless Chieftain) 2x12 — 1987 Jazz Clean (based on Roland® Jazz Chorus 120) 2x12 — 1967 Class A-30 (based on Vox® AC-30 Top Boost) 4x10 — 2001 Line 6 4x10 — 1959 Tweed B-Man (based on Fender® Bassman® cab) 4x12 — 2001 Line 6 4x12 — 1967 Green 20s (based on Marshall® "Basket Weave" cab with Celestion® Greenbacks) 4x12 — 1968 Green 25s (based on Marshall® cab with Celestion® Greenbacks) 4x12 — 1978 Brit Celest T-75s (based on Marshall® cab with stock Celestion® T-75's) 4x12 — 1996 Brit Celest V-30s (based on Marshall® cab with Celestion® Vintage 30's) 4x12 — 2001 Treadplate (based on Mesa/Boogie® Dual Rectifier® cab) 1x15 — 1962 Thunder (based on Supro® '62 Thunderbolt) 2x12 — 1967 Wishbook (based on Silvertone '67 Twin Twelve)

* All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are used solely to identify the specific products whose tones and sounds were studied during Line 6’s sound model development. SUPRO is a registered trademark of Zinky Electronics. GIBSON is a registered trademark of Gibson Guitar Corp. GRETSCH is a registered trademark of Fred W. Gretsch Enterprises, Ltd. FENDER, CHAMP, DELUXE REVERB, TWIN REVERB and BASSMAN are registered trademarks of Fender Musical Instruments Corporation. VOX is a registered trademark of Korg Europe Limited. ROLAND is a registered trademark of Roland Corporation. MARSHALL is a registered trademark of Marshall Amplification PLC. MESA/BOOGIE and RECTIFIER are registered trademarks of Mesa/Boogie, Limited. SILVERTONE is a registered trademark of Samick Music Corporation.

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Bass Amp/Cab Models

Rock Classic

For 30 years now, we’ve heard the tone and felt the power of t mighty Ampeg® SVT® that GearBox's Rock Classic model is based on*. This workhorse has appeared on innumerable recordings and arena stages worldwide – there is no equal to the original SVT® and its 300 watts of pure tube magic. First introduced in July 1969, the SVT® set the tone, punch and arena-rattling standard for all future big gun bass rigs. Its users have included everyone from The Rolling Stones to Van Halen, and pretty much every “rock” bass player in between. For GearBox's Rock Classic Model, we selected a 1974 Ampeg® SVT®, and we’ve also given you a 70’s SVT 8x10 speaker cabinet to 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! Thanks to GearBox, you can now get big classic rock bass tone without frequent visits to the chiropractor.

* AMPEG® and SVT® are registered trademarks of St. Louis Music, Inc. and 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 that were studied during Line 6’s sound model development.

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Flip Top

The Flip Top model is based on* a 60’s Ampeg® B-15 Portaflex® — one of the most popular studio bass amps of all time. It’s tuned and front-ported, has a closed back, is 25 watts with a single 15-inch speaker, and set a new standard for cabinet and speaker efficiency, tone and convenience in bass amplification. If we had to sum up the amp’s sound up in one 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, The Temptations, Marvin Gaye, Stevie Wonder, and many more. Jamerson played bass on more Motown hits than anyone else, and his choice for amplification was the Ampeg® B-15. We think you’ll agree that the sound of his P Bass® through that amp on those records is as fresh and

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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....

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Line 6 GearBox 3.1 – Basic Features Guide

Adam and Eve

After David Eden made cabs for SWR® for 3 or 4 years, he went into the business of making his own bass amp and cabinet line. Jim Demeter designed the electronics of the first Eden amps, and they were quickly adopted by a veritable who’s who of modern bass society. GearBox’s Adam and Eve model is based on* the WT-300, one of Eden’s latter offerings which produces a clean, clear and rich tone.

* SWR® is a registered trademark of Fender Musical Instruments Corporation and is 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 that were studied during Line 6’s sound model development.

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Silverface Bass

The Silverface Bass is modeled after* a 1967 Fender® Bassman®. By ’68, when the Beatles went in to record The White Album, they had pretty much done away with their Vox® amps in favor of the new “silverface” Fender® line. John and George each played through a Twin Reverb®, and Paul through the 2x15 “tall cab” Bassman®. This amp remained 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 Be movie — including the infamous “rooftop” concert which closes the film. Paul went on to use the amp for his first solo recordings, and live during the early Wings period. We’ve paired this

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Bassman® head with a 2x15 closed back 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 practicing with the high-

school jazz ensemble. Try playing a little of the Peter Gunn Theme....

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Eighties

What would any collection of bass amps be without a Gallien-Krueger 800RB? This model is based on the solid state amp that helped define what new bass amps sounded like for the better part of that decade. Geddy Lee had one. Will Lee used one on “Late Night With David Letterman”. And bands like Def Leppard powered through a decade of pop metal with the 800RB. The GK 800RB produces a very scooped sound, and doesn’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’s metal bass” tone. It’s the perfect choice when you’re ready for a little

Pyromania....

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Line 6 GearBox 3.1 – Basic Features Guide

Bass Cab Models

1 x 15 Flip Top Based on a 1960’s Ampeg® B-15 2 x 15 DoubleShow Based on a Fender® Dual Showman® D130F 4 x 10 Adam Eve Based on an Eden 410 cab 4 x 10 Silvercone Based on a Hartke 410 cab 8 x 10 Classic Based on an Ampeg® SVT® Cab

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Line 6 GearBox 3.1 – Basic Features Guide

Preamp Models

American Classic

This model is based on* an API 512 Mic Pre and API 550b EQ housed in an API Lunchbox 500 6B. In 1967 API introduced the 512 as the first modular mic pre. Along for the ride also came the 550 EQ and together the modular components were housed in a 4 position rack complete with a handle — the lunchbox. This combination is responsible for many legendary recordings of the 60’s and 70’s. The resulting American Classic model also incorporates tonal elements of the analog tape machines of the day, by Revox, Studer, and MCI. Hence, our model is designed to give your inputs the "sonic love" of the entire analog recording process from the API mic pre, through the EQ, to the sound of recording to tape.

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Vintage U.K.

GearBox's Vintage UK model is based on* the truly classic Neve 1073 pre-amp. Designed by Rupert Neve in the early 1970's, as a discrete transistor mic/line amp with 3-band EQ and highpass filter, the 1073 was used in a variety of Neve consoles. NOT known for being the flattest or cleanest kid on the block, the Neve 1073 became the “Gold Standard” of pre amps regardless. It’s credits are endless and likely numerous songs playing on the radio right now, as you read this, were recorded with a Neve 1073. Like the American Classic, this model's sound is based not just on our analysis of the 1073, but also incorporates the kind of "sonic love" you'd have gotten when recording through a 1073 to legendary Revox, Studer, and MCI analog tape machines.

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Line 6 GearBox 3.1 – Basic Features Guide

Lo-Fi

Looking for something aggressive, trashy, or just plain interesting? Try the Lo-Fi tip. It gives you tones that are very band passed (meaning there's little low end or extreme high end), with lots of distortion available from the driver knob. You'll find it's just the thing when you want your vocals to sound like they came through a telephone, megaphone or toy microphone.

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Vintage

Incorporating elements of analog tape machines of the day, this composite model is true to form, lacking the crystal clear 8k and above which wouldn’t arrive for years.

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Modern

This model is based on* an Avalon® VT-737, which is an excellent example of a modern tube preamp design incorporating an all-discrete, Class A transistor circuit in the built-in 4-band equalizer. This is a good choice for clean, bright, noncompressed sound, with soft transients.

All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. AVALON is a registered trademark of Avalon Industries, Inc.

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Line 6 GearBox 3.1 – Basic Features Guide

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Console

Here's our model inspired by solid state console mic pre designs, delivering flat frequency response that is very clean and without the additional personality that the other Preamp Models provide. This is a great choice when you want to capture quality audio without adding color, as you might want to do when recording line level instruments like keyboards.

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Line 6 GearBox 3.1 – Basic Features Guide

Effects

Delay

Delay Effects create echoes by repeating a delayed version of the signal that feeds them. The FEEDBACK knob on Delay control panels determine how many repeats you'll hear. TIME determines how late the echo will be versus the input signal, and allows Tap Tempo. A short delay time and low feedback setting will give you a classic "slap back" delay. Longer delay times give you a distinctly separate echo, and higher feedback settings increase the number of echoes. There's always a MIX

control, and each of the Models has a few other controls as well....

Analog Delay w/Modulation

The Analog Delay w/ Modulation model is based on* the Electro-Harmonix® Deluxe Memory Man which is a pedal that uses the "bucket brigade" electronics of other analog echoes, and adds a chorus circuit to boot. This adjustable chorus is applied to the echoes only, leaving the direct sound unaffected. The Memory Man, with its warm, distorted tone and swimming echoes, became an important tool for many guitarists, and was an essential part of the guitar sounds for the first U2 album. Part of the Deluxe in Deluxe Memory Man was the increased delay time of 500 milliseconds. Analog w/Mod emulates that classic Memory Man tone with the added advantage of 2 seconds of delay time. The mod speed and depth controls set up the chorus on the delays.

* ELECTRO-HARMONIX® is a trademark of New Sensor Corp. and is 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 that were studied during Line 6’s sound model development.

Tube Echo

The classic 1963 Maestro EP-1 was the first of a series of "Echoplex" designs distributed by the company, and made by Harris-Teller in Chicago. As touted in a Maestro advertisement, the Echoplex's "...special effects range all the way from a controlled high speed reverberation to a full, throbbing echo"! The main feature of the Echoplex design is a special cartridge of

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looped 1/4-inch audio tape that wraps past separate record and playback heads. The position of the playback head can be moved to adjust the delay time from 60 to 650 milliseconds. Tube Echo is based on* the classic Echoplex tone with the extra advantage of up to 2 seconds of delay time. DRIVE lets you dial up some tube warmth like the original and FLUTTER (short for wow and flutter) adds that unique sound of a slipping, dirty tape capstan!

* MAESTRO® and ECHOPLEX® are trademarks of Gibson Guitar Corp. and 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 that were studied during Line 6’s sound model development.

Line 6 GearBox 3.1 – Basic Features Guide

Digital Delay

This model is a straight up digital delay with Bass and Treble tone controls. Nothing fancy here, just basic echo-cho-cho-cho. After all, it’s good to cleanse the palate every once in a while.

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Mod

Mod Effects are things that swoosh, pulse and warble — from phase shifters to flangers to choruses. Why are they called Mod (Modulation) effects? Well, if we consult a dictionary, we discover that 'modulate,' in the electronic world means to "alter the amplitude or frequency of (a wave) by (using) a wave of a lower frequency to carry a signal" (definition courtesy of The Oxford Encyclopedic English Dictionary, Third Edition, thank you very much). That modulating wave is what causes all that swooshing, pulsing, and warbling. The SPEED of the Mod effects controls how quickly (or slowly) the modulating waveform sweeps, and generally allows Tap Tempo. DEPTH controls overall amplitude of the modulating wave, which usually determines just how intense the effect will be. There's always a MIX control, and sometimes there are also other controls, as we're about to

describe....

Sine Chorus

Here's your basic digital chorus, which gives you the classic swimmy/watery sound of chorus, plus BASS and TREBLE controls for bass-ing and trebl-ing. :-)

Subtle settings of the chorus can also be used to give a fatter sound. Extreme settings can totally change the character of your sound.

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Line 6 GearBox 3.1 – Basic Features Guide

Line 6 Flanger

Flanger is most famously known as the "jet-plane" whoosh effect of several classic 70s recordings. It can also be used to give a "swooshy" or "swept" sound to guitar and other sources, or just to create a "bigger" sound. Eddie Van Halen, for instance, used flanger effects as an important part of his signature sound on many classic Van Halen recordings, including "Ain't Talkin' 'Bout Love" and much of the Van Halen I album. For details on each of the Flanger controls, move your mouse over the control and look in the Info Bar at the bottom of the GearBox window. The Line 6 Flanger really shines when you set CONFIG to POST, letting the stereo sweep offset serve up luscious harmonic shimmer.

Phaser

GearBox's Phaser is based on* the MXR® Phase 90 — the guitar stomp box phaser that changed the world. The Phase 90 is relatively subtle compared to other phasers, and when you use it, it becomes part of the overall guitar tone rather than trying to grab the spotlight all to itself. Its lush, organic, and groovy swirl can be heard all over the first two Van Halen albums, as well as Jimmy Page's work on Physical Graffiti. The Phase 90 is a four stage phaser; its single knob controlled only speed. GearBox's Phaser gives you additional flexibility with MIX and FEEDBACK controls to adjust the intensity of the effect.

* MXR® is a trademark of Applied Research and Technology, Inc. and is 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 that were studied during Line 6’s sound model development.

U-Vibe

The U-Vibe model is based on* the nowlegendary Uni-Vibe, which was put on the map in 1969 by Jimi Hendrix. Essentially a four-stage phase shifter, the Uni-Vibe is best known for its watery texture and sultry tones. One listen to "Machine Gun" and you'll know what we mean. You can recreate the effect of the original UniVibe's vibrato switch by turning the MIX control to 100% wet. (That's what the switch did on the original.) The DEPTH control acts like the UniVibe's "Intensity" knob.

*All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and

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Line 6 GearBox 3.1 – Basic Features Guide

images are used solely to identify the specific products whose tones and sounds were studied during Line 6’s sound model development.

Opto Tremolo

The Opto Tremolo model is based on* the optical tremolo circuit that was used in the blackface Fender® amps, like the '64 Deluxe Reverb® and '65 Twin Reverb®. Basically a light bulb and a photo-resistor, when the light got brighter, the tremolo got louder. It's a very smooth, even tremolo, and the obvious choice for use with the amp models that are based on Fender® originals.

* FENDER®, DELUXE REVERB® and TWIN REVERB® are trademarks of Fender Musical Instruments Corporation and 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 that were studied during Line 6’s sound model development.

Rotary Drum + Horn

Fine furniture and cool tones — the Leslie® 145 that the Rotary Drum + Horn model is based on* gave you both at once! That tube-driven behemoth (you definitely don't want to try picking one up on your own) f a belt-drive rotating high frequency horn along with a downward-facing 15-inch speaker that had a segmented drum spinning under it to disperse the sound. It was originally designed to be used with electric organs like the Hammond B3, but once guitarists (and even vocalists!) heard it, they just had t get in on the rotate-o-rama. Our model gives you all that whirligig glory, without giving you a herniated disc. Slow/Fast switch acts like the one that came on the Leslie 145’s preamp, ramping between the two speeds. This effect also gives you TONE and MIX settings. For the truly authentic kind of spin that a Leslie delivers, you'll want to set the MIX knob to max, since a Leslie had no 'dry' path.

* LESLIE® is a trademark of Suzuki Musical Instrument Manufacturing Co. Ltd. and is 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 that were studied during Line 6’s sound model development.

eatures

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Line 6 GearBox 3.1 – Basic Features Guide

Stomp

Stomp Effects give you a choice of Models of classic distortions stompboxes, a stomp box-style compressor, and a couple of De-Esser effects designed for taming Sss and Shh sounds that are common when recording vocals.

Facial Fuzz

Sometime in late 1966, an infamous circular stomp box hit the London music scene. Designed and built by Arbiter Music, the Fuzz Face would soon begin its famous association with guitar legend Jimi Hendrix. Like all stompboxes from the early era, the Fuzz Face would see many design changes, as well as re-issues. Our model is based on* the germanium diode-powered treasure pictured here: an original, very early "gray with black screening" Arbiter Fuzz Face. Call the Facial Fuzz model up, and treat yourself to our faithful recreation of the original's fuzz and glory. Crank up the drive, and you’ll be seeing Purple Haze right before your eyes!

*All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, d and images are used solely to identify the specific produ whose tones and sounds were studied during Line 6’s so

Fuzz Pi

be outdone by the Brits, the colonies came up with their own twist on the fuzz rage. Mike

Not to Mathews and his band of merry men at ElectroHarmonix® had been cooking up all sorts of nift effects when their attention turned to the distortion/fuzz pedal. Their most popular was the Electro-Harmonix® Big Muff Pi, which GearBox's Fuzz Pi model is based on*. The Pi was known more for its sweet sustain than for i buzz.

*All product names used in this document are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptio specific products whose tones and sounds were studied during Line 6’s sound model development.

escriptions

cts und model development.

offering

ns and images are used solely to identify the

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Line 6 GearBox 3.1 – Basic Features Guide

Scream

Classic

Stevie Ray Vaughan to Michael Landau, the simple

From Ibanez® Tube Screamer® is the overdri world. T and in many blues circles, you're not allowed to solo witho one. Over the years, Ibanez® issued several variations of the venerable Tube Screamer®, but none have reached the fabled status of the TS-808® that this model is based on*.

his medium-gain pedal was introduced in the early '80s,

* IBANEZ® is a trademark of Hoshino Gakki Co. Ltd. and is in no way associated or affiliated with Line 6 product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

ve heard 'round the

Distortion

Born and bre the beginning of a new generation of dist boxes. With a soun aggressive than a fuzz, the Rat put teeth into a new breed of metal that was beginning to crawl to the surface of the music scene. The TONE knob on GearBox's Classic Distortion Model based on* the Rat model functions like the original's "filter" control, giving you brighter tone at lower settings, and darker tone at higher settings. Once bitten, you'll know why we call this one "tone with teeth!"

d in the late '70s, the ProCo Rat was

ortion

d that was angrier and more

. These

* All product names used in this docume are

in no way associated or affiliated with Line 6. These product names, descriptions and images are used solely to identify the specific products whose tones and sounds were studied during Line 6’s sound model development.

Vetta C

omp

This effect is Comp has a SENS knob In other words, turn the SENS knob 'til you like the way your signal's compressed, then set the volume with LEVEL.

taken from the Vetta II, Line 6's flagship guitar amplifier. A Line 6 original, Vetta fixed ratio (2.35:1, in case you're asking) with the threshold (that would be your ) adjustable from -9dB to -56dB and up to 12dB of gain available at the LEVEL knob.

nt a

re trademarks of their respective owners, which

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Line 6 GearBox 3.1 – Basic Features Guide

Verb (Reverb)

Verb Effects combines with countles physical environments ( with some sort of speaker driving it plus multiple pickups to pick up the vibrations of the plate) and spring reverbs (the kind guitar players know best). Choose a Spring Reverb when you want the kind of classic sound created by spring reverb tanks built into guitar amps, or used for studio processing classic recordings. This is the place to come, for instance, when you're looking for that signature Sur Music sound of splattering reverb. Choose a Room Reverb when you want a polished, modern studio sound. It simulates the sound of ambience in a room, and can be set to subtly enhance the size and polish of your tone, or make it sound like you're playing in a large, resonant chamber.

tandard Spring

One of the many things that people have loved about the blackface Fender® Twin Reverb® over the years has been The three-spring t sound than the Fender® earlier spring reverbs, a of course that's what the GearBox Standard Spring model is based on*. Go find yourself a bevy of bikini-clad beauties, wax up your board, and di in.

simulate the reverberation of sound in a physical space, where the source sound

s, tightly spaced echoes. GearBox's collection of reverb models emulate

rooms and halls), plate reverbs (which traditionally feature a big steel plate

its rich, dense reverb sound.

ank offered a more complex

* FENDER® and TWIN REVERB® are trademarks of Fender Musical Instruments Corporation and are in no way associated or descriptions and images are provided for the products that were studied during Line 6’

affiliated with Line 6. These product names,

sole purpose of identifying the specific

s sound model development.

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Line 6 GearBox 3.1 – Basic Features Guide

Brite Ro

Medium Hal

Here's the sound

of a live, bright room to add life to any track.

A medium sized hall with heavy reflections - this one is meant to be heard.

Cavernous

Now that's big! Fire this verb up and get set for a long night of dandelion dreams...

Slap Plate

This reverb dishes up the vibe of early rock and roll recordings, like Sam Phillips’ great work Sun Studios. Thank you very much.

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Retu

Wah

The GearBox Wah effects simulate classic wah pedals, and can be used to provide a "parked wah" sound, or can be controlled via MIDI for wah pedal effects.

Vetta Wah

This is the original PODxt/Vetta Wah Model, which is a bit of a play on an old classic. We’ve made it a nice balanced wah, designed to sound great in

most any style of playing.

Weeper

Modeled after* an Arbiter® Cry Baby, this is yet another variation on the original Vox® wah design. The biggest variation between many of these wah pedals is the inducto and the tolerances of the capacitors and resistors that make up the filter circuit. Just like vintag

e guitar amps, two of them made on the same day, by the same person, from the same parts bin m we could find.

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 provided fo Line 6’s sound model development. VOX® is a registered trademark of Korg Europe Limited. ARBITER® is a registered trademark of Arbiter Group PLC.

ight sound totally different. As always, we went for the best examples

r the sole purpose of identifying the specific products that were studied during

are

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Line 6 GearBox 3.1 – Basic Features Guide

Bass Effects

Bass Overdrive

This model wa taken by the Line 6 sound design team. The Sans Amp is famous for delivering a very quiet and crisp signal under all circumstances, wh metallic quality producers in all genres of music have come to favor the Bass Sans Amp for crunching up loops The Bass Overdrive covers the same sort of territory, with a bit of a uniquely Line 6 bent. Choose this distortion for your bass or any other signal and it will immediately become a very close and furry friend. Note for non-bass players: this stomp box absolutely rocks on signals other than bass. No, really, try it.

Bron

ze Master

The Maestro® Bass Brassmaster is considered by many to be the Holy Grail of bass distortion units, and ultra-rare bird designed in the ear Oberheim. It showed up o Brassmaster wa mind, and man, did Mr. Oberheim get it right! The original has a fairly elaborate set of controls include two separate volumes and toggles for accentuating different harmonic voicings. We weren’t able to make an exact duplicate of some of that complexity when creating the Bronze Master for GearBox, but you’ll find that this model does give you a luscious palette of supersweet bass fuzz in the style of the Brassmaster, with righteous distortion that doesn’t take away that all-important low end. For guitar players, think of it as somewhere between an Octave Fuzz and a synth. You can get positively freaky with this one.

s inspired by our look at the Tech 21 Bass Sans Amp, plus a few extra liberties

ile also serving up a very distinct distortion. Is pleasingly

makes it a favorite with the Post-Metal crowd and Industrial bands, and

ly ‘70’s for Maestro® by synth genius Tom

n Chris Squire’s gear list in a mid-70’s Yes tour program. In fact, the

s the first distortion unit we can think of designed primarily with the bassist in

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 speci Line 6’s sound model development. MAESTRO® is a registered trademark of Gibson Guitar Corp.

Sub Oct

aves

All b

assists know that in just about every musical situation, lower can be better! But we couldn’t just let bass players have all the fun, so we’ve included an Octave device in your PODxt t you down in below what you’re playing. Remember, lower can be better, especially when it makes the booty shake!

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All product names are trademarks of their respective owners, which are in no way associated or

hat’s inspired by the very popular Boss OC-2. Your Sub Octave gets

to booty-shaking territory mighty quick. Use it to create additional voices

fic products that were studied during

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affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

ther Effects

Line 6 GearBox 3.1 – Basic Features Guide

Comp (Compressor)

The Comp (Compressor) effect in GearBox is modeled after* the classic, studio-standard LA2A® tube compressor. It’s just the thing when you want to smooth out your would typically do in a recording studio. The THRESHOLD knob determines how aggressive the compressor will be in smoothing things out. Turning the knob farther to the left give you more aggressive compression. The GAIN knob lets you increase level once you've smoothed things out. But be careful: if you add too much gain here, you may see that you start clipping, and need to back off again on the gain.

levels the way that you

* LA-2A® is a trademark of William Putnam Line 6. These product n identifying the specific products that were studied during Line 6’s sound model development.

ames, descriptions and images are provided for the sole purpose of

nd is in no way associated or affiliated with

earBox's 4 Band Semi-Parametric EQ lets you emphasize and de-emphasize selected ranges of

G audio frequencies, from bass to midrange to treble. The knobs on the left of the EQ's control panel let you amount of gain that will be added to or subtracted from that frequency band.

The top knob pair is for the highest frequency range (the treble), providing a high shelf which boosts all the audio at and above the frequency point you select. As you make changes to this an the other EQ bands, the resulting EQ curve is shown in the EQ control panel's display area. The second knob pair down controls a bandpass filter for the for the high-mids, boosting frequencies at and around the frequency that you select. The third knob pair down is for the low mids, and the bottom knob pair, for the bass, controls a low which boosts all the audio at and below the frequency you select. Press the RESET button to "zero" out all the gains, and set each band to a default frequency point, which is generally a good starting point when you want to make EQ adjustments. As you make EQ adjustments, it's a good idea to frequently check what the Tone sounds like with the EQ turned off, to make sure that you're really making improvements when adding EQ!

choose the frequency that each of the 4 bands of the EQ will focus on, and set the

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Gate

earBox's Gate is designed to reduce the noise that your guitar or other source makes when you

G are not playing. You can think of it as a gate that opens to let your guitar or other sound through

en you play, and closes when you stop playing to shut out the noise you would otherwise hear

er you stop playing. (For guitars and basses, the Hum Reducer is available to tame noise in

aft another way.)

The Gate works by detecting the input level coming into GearBox. When the input level is below the level set for the gate's THRESHOLD knob, the gate will close at the speed set by the Gate's DECAY knob, and cut off the signal from your input. When the input level is above the

reshold, the gate will open to let

th clockwise increases the aggressiveness of the gate in its effort to cut off sound. The idea is to set the threshold low enough so that it doesn't cut off the signal as you are playing or a note is sustaining, but high enough so that the background noise from your guitar or other source doesn keep the gate open. When you're using a Stomp effect, Amp Model or Preamp Model that a lot of distortion to your Tone, you'll need to adjust the Gate to work well with that, and you'll probably have to tweak the Gate if you change Models, change drive settings, or use different guitar(s), pickup configurations, or other changes to your input source, and the volume of audio that it's providing.

You can turn the Gate on/off by clicking its icon, and the setting of the Gate is saved as part of Tone.

your input signal through. Turning the Threshold knob

Line 6 GearBox 3.1 – Basic Features Guide

dds a

Vol

(Volume)

earBox's Vol (Volume) allows a MIDI controller to operate a volume pedal effect in GearBox

G to control the volume of your processed sound. The CONFIGURE switch on the Volume control panel lets you processing ("P

Fem

ale De-Esser

he Female De-esser should be your first choice when taming the Sss and Shh sounds of female

T vocalists, although as with all things musical, you may find many uses for it and may find that for some male vocalis Essers, see the Set to know that this de-esser performs its gain reduction only on the selected frequency band, unlike the more typical insert-style De-Essing of the Male De-Esser.

Mal

e De-Esser

he Male De-esser should be your first choice for controlling the Sss and Shh sounds of male

T vocalists, although as with all things musical, you may find many uses for it and may find that for some female vocalists it works better than the Female De-Esser. For general information on DeEssers, see the Set the De-Esser topic in the How To section. Technically-savvy users will want

decide whether the volume pedal will run before the amp/cab/mic or Preamp

re"), or after ("Post").

ts it works better than the Male De-Esser. For general information on De the De-Esser topic in the How To section. Technically-savvy users will want

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to know that th

is is a standard insert-style de-esser, performing gain reduction on the full

Line 6 GearBox 3.1 – Basic Features Guide

bandwidth audio signal.

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Line 6 headphones powered monitors, GEARBOX 3.1 Basic Manual

Specifications and Main Features

Frequently Asked Questions

User Manual