Line 6 TonePort UX2, TonePort GX, TonePort UX1, Power Pack, POD xt User Manual

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Model Packs

Pilot’s Handbook

Chapter 1		...................................................... Metal Shop Model Set
Chapter 2 ...........................................		Collector Classics Model Set
Chapter 3 .........................................................		FX Junkie Model Set
Chapter 4 ......................................................		Power Pack Model set
Chapter 5 ............................................................		Bass Expansion set

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Please Note: Line 6®, POD®, POD® xt, POD® xt Live, Bass POD® xt Live, POD® xt Pro, A.I.R.™, FBV™, FBV Express™, FBV Shortboard™, FB4™, FBV2™, Amp Farm®, Line 6 Monkey™, Line 6 Edit™, and Variax® are trademarks of Line 6, Inc. All product names, trademarks, and artist names are the property of their respective owners, which are in no way associated or affiliated with Line 6. Product names, images, and artist’ names are used solely to identify the products whose tones and sounds were studied during Line 6’s sound model development. The use of these products, trademarks, images and names does not imply any cooperation or endorsement.

Metal Shop Bomber Uber: Based on* a Bogner Uberschall

METAL SHOP

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

Bomber Uber: Based on* a Bogner Uberschall

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

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

Line 6 TonePort UX2, TonePort GX, TonePort UX1, Power Pack, POD xt User Manual

Metal Shop Connor 50: Based on* a Cornford mk50h

Connor 50: Based on* a Cornford mk50h

The Cornford mk50h is a fine, British-made

boutique amplifier that our very own

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Line 6 UK lads tipped us onto. The Cornford has a fair amount of gain and breaks up like a Marshall® Plexi, but retains a certain clarity that is more typical of Vox® amplifiers. One odd thing about the Cornford is the fact that it actually runs its drive channel in series with the Clean

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

Deity Lead: Based on* a Diezel VH4 Channel 4

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

MARSHALL is a registered trademark of Marshall Ampliﬁcation PLC.

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

Deity’s Son: Based on* a Diezel Herbert

After messing with the VH4 we knew you’d

get into another amp from Peter Diezel.

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Herbert is one of those simple, ingenious designs. It is unique among amps in its ability to achieve an incredibly wide range of tone on a single channel. This model is very

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

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

Designed by Edmund Engl in Bartholoma, Germany. The ENGL® Powerball uses a combination of 12AX7, ECC 83 and 6L6GC tubes for this 100 watt monster. Courtesy of its ability to crank out tight, focused low end, glossy top end and jaw-dropping sound, it is a

favorite of such artists as Matthis Jabs and Rudolph Schenker of The Scorpions, Phil Campbell of Motor Head and Ritchie Blackmore of Rainbow and Deep Purple. The Powerball is a four-channel amplifier. We modeled channel 2 (soft lead.) All aspects of the presence control were modeled. This amp has a “Depth/Punch” control which we set at 7 o’clock. This control shapes the low frequency response in the power amp stage.

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

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

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

In 1987, to commemorate 25 years in the amp

business, Jim Marshall introduced a limited edition

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collection of tube amps based on the 2203 and 2204 master volume designs. They were very distinctive products, with silver vinyl covering and chrome panels, known simply as the “25/50 Silver Jubilee” Series models. The Silver Jubilee models used a unique diode clipping stage for extra gain and a redesigned tone block to offer much more tonal variation than previous Marshalls. Guns N’ Roses’ lead guitarist, Slash, is way into this amp. So much so, in fact, that Marshall reintroduced the 100 watt model as the “Slash Limited Edition Signature Amplifier” in 1996.

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

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

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

This is what we consider to be the first true modern high gain amp from Marshall®. Throughout history guitar

players have been modifying their Marshall® amps to 1• 5 enhance the gain and tone. It seems like Marshall took a

look at some JCM-800s with popular modifications and armed with that knowledge created the JCM-900. The tone knobs are all “post” distortion and the amp uses 6550 power tubes. Bravo Marshall®! This is a model of the clean channel.

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

Given that the JCM-900 has two channels, naturally we figured you might want a model of each. This model is based on the Lead channel of the JCM-900. It uses a fixed bandpass before the distortion, and adds some diode clipping. It's sort of like having an onboard Rat pedal. Nice mid tone with lots of gain.

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

The JCM2000 captures the modern Marshall® tone, by refining the JCM series into a multi-channel power house. Our recreation captures the OD2 channel, with the Deep switch kicked in on a 60W TSL. The JCM2000 uses a quartet of ECC83 pre-amp tubes and a pair of EL34 output tubes.

* 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.

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

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

This model is based on the Channel 3 ‘Modern’

setting of a 2001 Mesa/Boogie® Triple Rectifier® Solo

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Head. Rock and roll is all about excess, now, isn’t it? If two are good, three have got to be better, especially if you like the spongy feel of sagging rectifier tubes.

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

As with the Dual Rectifier® model, we used Channel 3 in its Modern mode, with the rear switches set to Bold and Tube for this.

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

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

Criminal: Based on* the Peavey® 5150 MkII

No doubt, Eddie Van Halen will forever be known

as one of the premier rock guitarists of all time. His

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technique and tone inspired legions of young guitar players, a couple of EVH® custom guitars and this Peavey® amp. Apparently Eddie committed some serious time to tweaking the distortion, tone and

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

L6 Big Bottom

Just can’t seem to get enough bottom end out of your cabinet? Try punishing it with Big Bottom. We crossed a Boogie Triple Rectifier® with a Rivera® Los Lobottom® sub rig and dialed it in for serious disembowelment. But it’s not just about the bass. A super wide midrange control and an extra presence high midrange maintain articulation and power throughout the tonal range of this amp.

L6 Chunk Chunk

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

* 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. RECTIFIER is a registered trademark of Mesa/Boogie, Ltd. PEAVEY is a registered trademark of Peacey Electronics Corporation. RIVERA and LOS LOBOTTOM are registered trademarks of Rivera Research and Development Corp.

Metal Shop L6 Fuzz

L6 Fuzz

Although not technically an amp, we loved the unique tonal qualities of the classic
1960’s Arbiter® Fuzz Face enough to base a special amp model on it. This fuzz box used
broad frequency, transistor-based clipping. The result is a buzzing kind of distortion	1•	8
that has become popular again with the alternative and grunge set. Jimi Hendrix was
among the ﬁrst guitarists to popularize the Fuzz Face in the States, but our model is
considerably dirtier than the tones found on “Are You Experienced.” Try playing
“Satisfaction” by the Stones, or the lead from “American Woman” by The Guess
Who. Liberal use of the Bass, Mid, and Treble controls will let you go beyond the
tones that the Fuzz Face could deliver, enabling you to discover your own unique
recipe for those elusive fuzz tones in your head. Just a note: when recording “Purple
Haze”, Jimi didn't even use an amp – he just went straight from a Fuzz Face to an
Orange® power amp to a 4x12 cabinet. Which is the same sort of tone you ﬁnd here....

L6 Octone

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

L6 Smash

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

ORANGE® is a registered trademark of Orange Personal Communications Services Limited.

Metal Shop L6 Sparkle Cln

L6 Sparkle Cln

Need Lots of Sparkle? Need lots of clean? You’ve come to the right place. Plenty of high end zing.

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L6 Throttle

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

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

COLLECTOR CLASSICS

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These 18 Amp Models range across the spectrum from vintage classics to pawn shop treasures to modern masterpieces. Many are from the quality amp collection of the Flextone III ampliﬁers, and all are also found in the model set of our ﬂagship Vetta II. When you add the Collector Classics Model Pack, you’ll bring a whole new world of tonal ﬂexibility, richness and quality to your own tone gallery. Let’s jump right in and meet the gang:

Bomber X-TC: Based on* a Bogner Extacy

Reinhold Bogner was good enough to personally select and deliver a Bogner Extacy for use in crafting this model. Reinhold was designing and building amplifiers long before he left Germany in 1989 to move to Los Angeles. Once in the US, he quickly gained the trust of many influential players

including Steve Stevens, Dann Huff, Allan Holdsworth, Mike Landau and Steve Vai. They all sought out his skill at modifying and custom-building their amps. Eddie Van Halen entrusted Reinhold to overhaul and revitalize Eddie’s #1 Marshall® Plexi. We hear that Eddie was pleased. The Extacy covers a wide range of tone, and you’ll ﬁnd that the Bomber X-TC model lets you do much the same as you work the Drive knob, as well as your guitar’s volume knob. On the top end, this one’ll bark like a Plexi, or you can take it down through swampy crunch and ﬁnally arrive in the realm of lush clean tone. The Extacy is a really versatile amp from a really great guy, and we’re pleased that he helped us model it for you.

* 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.

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

Deity Crunch: Based on* a Diezel VH4 Channel 3

What is it about Deutschland and high gain guitar

amplifiers? When we met Peter Diezel, and opened up

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the VH4 we new we were in the presence of a serious tone fanatic. The VH4 is the Ducati® of high performance guitar amplifiers. Meticulous attention to every detail, and enough tone and power to not only take on but seriously destroy any competitor. Some of the most serious players in the Metal genre have come to depend on their VH4’s for tight, focused and perfectly refined tone. Our model captures channel 3 on this sublime beauty.

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

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

In early 1963 the Fender® 2x10 brown tolex Vibroverb was

introduced and later that same year it was replaced by the

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1x15 blackface Vibroverb made famous by SRV only to be discontinued in 1964. The Vibroverb was introduced right before Fender® decided to change the look of the entire amp line to what guitarists now call “Blackface Fenders”. The Vibroverb we studied to create this model has the two 10-inch speakers and transitional cosmetics. There’s black

tolex, a dark brown numbered faceplate and brown barrel knobs. Like other Vibroverb 2x10 amps, it’s 40 watts of pure heaven. These were the first guitar amps with on-board reverb and also utilized a vibrato circuit that modulates the bias of the power tubes for creamy smooth tremolo sounds. It all added up to great tone with the latest guitar effects built-in... sort of like a POD! The electronicallyinclined will also appreciate the fact that this version of the Vibroverb also used a tapped treble control and a 7025 phase inverter (as opposed to a 12AT7). The Vibroverb had no Mid or Presence controls, so these are both “extras” on our model. You can set Mid to 12 o’clock and Presence to minimum for the unadulterated Vibroverb-style sound.

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

This sound was made famous by Dick Dale and his brilliant surf tunes. We modeled the tremolo channel with the bright switch off. This channel uses two7025 preamp tubes and the 85 watt power amp uses four 6L6GC tubes. The Dual Showman® was

sold as a “piggy back” system, an amp head and a 2x15 cabinet. We added a MID knob with a center frequency of 750Hz. You can cut or boost 10dB. Leave this setting at 12 noon for the classic sound. We also added a Presence knob. Set this control to minimum for the classic sound.

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

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

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

Paul McCartney used this amp during the “Let It

Be” sessions, as well as the famous rooftop

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performance. He also used this amp in the early years of Wings. This amp has a very pronounced midrange response. We modeled the Bass channel, which uses two 7025 preamp tubes. The “Deep”

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

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

There are times when you find yourself in a unique position to do something other than what people might have expected, and when our gaze came to rest on the little plastic Mini Twin Reverb®, we knew it was one of those times... Based on the little battery powered, dual 2-inch speaker Fender® novelty item, this model is the biggest thing in little! Plus, you might as well admit it, you’ve always

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

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

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

Gibtone Expo: Based on* the Gibson® Explorer®

This one is Based on* a 1960 Gibson® Model GA-18T

Explorer® (little brother to the Gibson® “Les Paul” GA40T).

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The particular amp we modeled originally belonged to the father of one of the high school buddies of Line 6’s Artist Relations guru, Tim Godwin. It was sitting in a crawlspace for years, until Tim happened to ask his friend if he still had the amp, and whether he was interested in selling it. When Tim finally got his hands on it, the amp still had the original Gibson® branded tubes in it! Some time passed, Tim brought his little treasure into the office one day, some of us played

through it and we cried out as one voice, “We’ve got to model this one!” Working from codes found on the pots and speaker, we were able to date this amp’s build to the week of May 21, 1960. 14 watts, with a 10-inch Jensen® speaker, the amp runs Class A with 6SJ7 preamp tubes, 6V6 Power tubes, and a 5Y3 rectifier—just in case you were interested.

Brit Bass: Based on* the Marshall® Super Bass

Based on a ’68 Super Bass Plexi head, the principal differences between the ’68 Super Bass and the ’68 Super Lead are some small changes in the tone stack. What look like minor differences in a schematic, though, can add up to larger differences in actual tone (like a bass control that actually seems to do something at higher levels). A number of ’60s British rock icons actually preferred the Super Bass to the Super Lead for these exact reasons. Check it out for yourself. You may find this is the bottom end you’ve been searching for.You guessed it, Input I was the one we connected our high tech modeling tools to.

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

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

Brit Major: Based on* the Marshall® Major

Where do you go when a 100 watt Super Lead just isn't

enough? Jim Marshall's answer was to design a 200 watt

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amp called the Major, on which we based this model. This amp became a favorite of many bassists of the era. Plus a number of guitar players, including Ritchie Blackmore, who had his Major modified so that the channels cascaded together, with one channel becoming, in essence, a preamp for the other channel. Leslie West also made the scene with his Major, and whoever was playing, one thing was always certain: these amps were LOUD. They had so much output, in fact that, according to Michael Doyle’s book, “History of Marshall”, production had to stop in 1974 when it was no longer possible to get the extra heavy-duty tube sockets

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

Silver Twelve: Based on* the Silvertone® Twin Twelve

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

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

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

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

Speaking of unusual speaker configurations... The Supro®

Thunderbolt, with its 1x15-inch cabinet, may have originally

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been intended as a bass amp, but it found much use as a guitar amp. We’ve heard from a number of sources that Jimi Hendrix was known to use a Thunderbolt in the studio, which is good enough reason for us to have included it here. Supro® amps, by the way, were made by the Valco company, who made amplifiers for Fred Gretsch that were sold under the Gretsch® Guitars

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

GRETSCH is a registered trademark of Fred W. Gretsch Enterprises, Ltd. NATIONAL is a registered trademark of Kaman Music Corporation.

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

L6 Bayou
Another Line 6 original model, this is the result of our quest to capture the fondly
remembered tone of a harp player blowing through a beat up old Fender® Deluxe
Reverb®, as heard in a roadhouse in Baton Rouge, Louisiana.	2•	8
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L6 Crunch

Just like a good chef, our Sound Designers are always experimenting with new recipes. They added a pinch of plexi, hardwired four inputs for increased gain, and then rounded it off with a dash of Secret Sauce. The result is this model really cooks. Just turn up the Drive and tweak to taste.

L6 Purge

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

L6 Sparkle

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

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

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

L6 Super Cln

Forget what you know about how clean or how bright a guitar amplifier can go. Line 6 Super Clean goes farther, adding a lot of brightness. While this model certainly is

Clean, it has two other fun tricks up its sleeve as well: Setting the Drive knob at max 2• 9 gives a really broken “small amp on 10 about to die” sound. FUN! And the bass knob

has an extreme effect when set to minimum— for sweet AM radio sounding tone.

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

L6 SuperSpark

You know how all great amps have a certain sweet spot — a particular setting where they sound magical — dripping with tone? Super Sparkle captures that organic vibe with a new twist: its voiced in the clean/low gain realm where everything usually sounds too clinical or too dark. Super Sparkle is an edgy tone that will sparkle and shimmer if you treat her right. So play nice.

L6 Twang

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

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

FX Junkie • Stomp Distortions & Compressors

FX JUNKIE

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The FX Junkie Model Pack is perfect when you’re looking for even more effects versatility, and you’re not afraid to take a walk on the wild side. Here you’ll ﬁnd distortion stomp boxes, stomp box compressors, synths, ﬁlters, choruses, ﬂangers, toneful delays and more than a few effects that defy categorization or easy description. From the sophisticated to the schizoid, the must-have staple to the never before possible, this Pack has got something for just about every mood and every musical situation. And It all starts with...

Stomp Distortions & Compressors

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

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

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

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

Tube Drive: Based on* a Chandler Tube Driver®

Designed by keyboardist Brent Butler, the first Chandler Tube Driver® was born to add grind and girth to his Farfisa. Brent was also the father of one of the rarest overdrive boxes—the Mini Matrix (aka Mini Boogie). But it’s his Tube Driver that drives us crazy. Utilizing a single 12AX7 preamp tube, the original

Chandler Tube Driver® delivers the sweet singing sustain 3 • 2 craved by guitarists worldwide, and has been a staple of Eric

Johnson’s rig since the mid ’80s.

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

Vetta Juice

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

FX Junkie • Boost + EQ

Boost + EQ

The name pretty much says it all. This is a stompbox compressor that also provides you with some EQ controls so you can further shape the tone. Since this EQ is applied before the amp processing, it has a different tonal effect — especially if you’re using a strongly overdriven Amp Model —than a Post EQ. Many players, in fact, rely on stompbox EQ like this to get their specially tailored sound from their amp.

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Blue Comp Treb: Based on* the Boss® CS-1 Compression Sustainer

Roland®/Boss® jumped on the compressor stompbox bandwagon with this one. It has a fixed ratio, so this model has the SUSTAIN control varying the threshold of the compressor circuitry. LEVEL does what you’d expect. If you look close, you’ll also see from the picture that the original Boss® pedal included a treble boost switch. We flipped the little sucker on, set the modeling machines for compression capture, and here you are!

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

FX Junkie • Stomp Synths and Filters

Stomp Synths and Filters

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

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The FILTER available on some of these effects is a “low pass” filter. Meaning that frequencies above the low pass filter frequency are cut. The FILTER control changes the frequency of the low pass filter. Turning the control to the left lowers the frequency of the filter meaning less high frequencies get through. Turning the control to the right raises the frequency of the filter meaning more high frequencies get through.

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

Dingo-Tron

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

Clean Sweep

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

FX Junkie • Stomp Synths and Filters

Seismik Synth

This effect has an oscillator that tracks the pitch of your guitar. You can choose between 8 different wave shapes which give you different “flavors” – all of them one or two octaves down from the original pitch. DEATH TO ALL SUBWOOFERS!!

Double Bass

This effect has two oscillators that track the pitch of your guitar. One square wave	3 • 5
tuned one octave down, and one saw tooth wave two octaves down.

Buzz Wave

These are cool combinations of saw and square waves with fast vibrato. The 8 different WAVE parameters offer different vibrato speeds and different pitches.

Rez Synth

These are all sweeping low pass filter effects with the resonance set high. Resonance is a peak at the frequency of the low pass filter.

Saturn 5 Ring M

Ring modulators take two signals (one supplied by your guitar, the other supplied by the effect) then adds and subtracts similar frequencies. Electro-Harmonix® makes a ring modulator pedal called the Frequency Analyzer that is a popular guitar effect. The only limiting factor is that the pitch of the signal provided by the effect is constant. Meaning you have to play only in the key of that pitch to be musical.

Synth Analog

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

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

+ 56 hidden pages

Line 6 TonePort UX2, TonePort GX, TonePort UX1, Power Pack, POD xt User Manual

L6 Big Bottom

L6 Chunk Chunk

L6 Fuzz

L6 Octone

L6 Smash

L6 Sparkle Cln

L6 Throttle

L6 Bayou

L6 Crunch

L6 Purge

L6 Sparkle

L6 Super Cln

L6 SuperSpark

L6 Twang

Stomp Distortions & Compressors

Vetta Juice

Boost + EQ

Stomp Synths and Filters

Dingo-Tron

Clean Sweep

Seismik Synth

Double Bass

Buzz Wave

Rez Synth

Saturn 5 Ring M

Synth Analog