Pilot’s Handbook
Manuel de pilotage Pilotenhandbuch Pilotenhandboek
40-00-0089 |
Electrophonic Limited Edition available @ www.line6.com |
Rev A |
Before using your Variax you should read these Important Safety Instructions. Keep these instructions in a safe place.
1.Obey all warnings in this Pilot’s Handbook.
2.Do not place near heat sources, such as radiators, heat registers, or appliances which produce heat.
3.Guard against objects or liquids.
4.Power the XPS Footswitch only with the included Power Supply or equivalent.
5.Connect the Power Supply only to AC power outlets rated 100-120V or 230V 47-63Hz (depending on the voltage range of the included power supply).
6.Do not step on power cords. Do not place items on top of power cords so that they are pinched or leaned on.
7.Unplug your Variax and XPS Footswitch when not in use for extended periods of time.
8.Do not perform service operations beyond those described in the Variax Pilot’s Handbook. Repairs and service operations beyond the scope of those in the Pilot’s Handbook should be performed only by qualified service personnel.
9.Prolonged listening at high volume levels may cause irreparable hearing loss and/or damage. Always be sure to practice “safe listening.”
Your Variax should include these accessories:
Gigbag, XPS Footswitch, Power Supply,TRS Cable, Bridge Saddle Wrench,Truss Rod Wrench
WARNING: To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture.
CAUTION: No user-serviceable parts inside. Refer servicing to qualified service personnel.
CAUTION: This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to Part 15 of FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and
(2) this device must accept any interference received, including interference that may cause undesired operation.
Please Note:
Line 6,Variax, POD, and the Line 6 and Variax logo 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. Product names, images, and artists’ names are used solely to identify the products whose tones and sounds were studied during Line 6’s sound model development for this product.The use of these products, trademarks, images, and artists’ names does not imply any cooperation or endorsement.
Table of Contents
Welcome toVariax ................................. |
1–2 |
Basic Operations......................................... |
3-6 |
Connections |
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Battery Power |
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XPS Footswitch Power |
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XPS Footswitch Direct Out |
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Controls.................................................. |
7-10 |
Controls |
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Build a Custom Guitar |
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Contents of Custom Knob Positions |
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The Guitars ofVariax........................... |
12-22 |
General Notes About the Models |
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Pickup Numbering |
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Model Descriptions |
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Care and Maintenance ........................ |
23-25 |
Neck Relief Adjustment |
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Intonation Adjustment |
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Action Adjustment |
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Tremolo Setup |
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Welcome to Variax
Thanks for buying a Variax and joining us in our quest to apply the miracle of modern technology to the pursuit of great guitar tone. You now own detailed models of some of the most distinctive electric and acoustic guitars of all time— wrapped up in a single comfortable and highly-playable instrument with a style all its own.
How does it work?
How do we get all of these sounds in a guitar that doesn't even have any visible pickups? We use piezo bridge pickups to capture each individual string’s vibrations, and process the signals through software algorithms that capture the physical and electronic properties of the guitars that we've modeled.
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This process dynamically alters Variax’s own natural |
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string vibrations to match the modeled instrument's |
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unique tonal characteristics. That means there’s no |
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delay caused by having to detect a pitch and turn |
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it into a MIDI note, and there’s also no issue with |
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tracking bends, hammer-on's, pull-off's, slides or |
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any other techniques that are a part of your style. |
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Plus, since Variax delivers its uncannily accurate |
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sounds without the use of traditional magnetic |
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pickups, it isn't susceptible to hum from fluorescent |
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lights or computer monitors. |
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How did we manage to capture the tonal souls of all these classic guitars and spirit them into your Variax? We’re glad you asked.…
The Dream...
A couple of years before Variax was born, we turned our attention from the PODs, amps, and effects that we had been developing to take a fresh look at the guitar itself. Like all guitarists, we were intimately familiar with the unique pleasures that come from various instruments, and the great tonal variety that the world of electric and acoustic guitars has to offer. We wondered—could it be possible to capture a complete range of this tone in a single instrument? It was a daunting task, but then so was the idea of squeezing a whole collection of amps and effects into one little kidney bean shaped metal box. So we figured, why not give it a go?
What, we asked ourselves, might this marvel do? Well, for one thing, how about giving you access to an unprecedented number of certified classic sounds? How about letting you change from the sound of a 50’s solidbody to the sound of a 60’s electric 12string as easily as using a pickup selector switch? How about the round, smoky tone of a hollowbody
archtop or the full-bodied resonance of a dreadnought acoustic? How about the raspy growl of a resonator, or the buzzing drone of a sitar?
The Journey
We knew our sounds would have to be amazingly accurate to meet the needs of discriminating guitarists, so we began an intensive research project into guitar physics. Like Frankenstein’s lab, our own R&D facility became the site of round-the-clock investigations of the mysterious secrets of guitars’ life force. We systematically examined every factor that contributes to each guitar’s tone, and developed ways to measure the complex interactions of vibrating strings, resonant bodies, and magnetic pickups. Equally important, we developed ways to capture these interactions mathematically so we could get the same sounds from our own guitar-in- the-making.
As we refined our measuring and modeling techniques, we perfected a new, powerful hardware platform that could deliver our astoundingly accurate sounds. With the ability to switch sounds in the fraction of a second that it takes to slap a pickup selector switch to the next position. With less noise than a standard humbucker. That could be powered in a variety of ways. And, most importantly, that performs so flawlessly that you can forget it’s even there.
Of course, a guitar that delivers such a vast array of tones really needs a look all it’s own, so we started developing the look and feel of a guitar that could be used in any musical endeavor. We combined our innovative guitar modeling technology with a deceptively simple control layout and a comfortable, balanced body inspired by the best aspects of many of the guitars we had chosen to model.
With the body and brain of the Variax completed, it was time for us to create the soul. We auditioned a drool-inducing array of vintage instruments to find the ones with the most distinctive voices and personalities. We applied our painstaking measuring techniques to these specimens, and refined our models while constantly referring back to the originals for accuracy. When each model reached the point of not only sounding like the original, but also being as much fun to play, it was done.
The result of our labors? Variax. An entire guitar collection in a single instrument.
2
Basic Operations
Connections
You may have already noticed that the Variax has two output connectors: a familiar 1/4-inch jack and a second “mystery” jack protected by a rubber cap. The "mystery" connector provides digital audio to Line 6 products with a special Variax input, like PODXT Live or Vetta II, and also allows you to create your own personalized guitar models using the Variax Workbench. All of the operations described in this manual, however, will use "old school" 1/4-inch output.
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Guitar Cable to Amp |
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The simplest way to use the Variax is to connect it |
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directly to your amplifier (or stompboxes) with a |
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standard mono guitar cable. |
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Battery Power
Of course, the electronics of the Variax will need power, so you’ll have to install six AA cells in the on-board battery compartment. If you use fresh alkalines, you should get approximately 10-12 hours of operation.
The battery will only be used when a mono cable is connected – the standard cable you’d use for a guitar. For longest battery life, always unplug your Variax when not in use.
NOTE: If you find yourself at a gig with no AA cells, you can unclip the plastic battery holder from the connector and substitute an ordinary 9V battery.
XPS Footswitch Power
We realize that constantly changing batteries can be a real drag, so we included a more convenient option—the unobtrusive yet capable XPS Footswitch.
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PX-2 Power Supply |
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XLR |
POWER |
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To Amp |
1/4” |
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To Variax |
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Tip |
Sleeve |
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Ring |
Powering your Variax with the XPS Footswitch is easy. Use the included TRS cable (meaning “tip- ring-sleeve” or also simply known as a “stereo” cable) to connect the Variax to the INPUT jack of the XPS Footswitch. Connect the PX-2 power supply to the XPS Footswitch POWER jack, and use a standard mono guitar cable to connect the XPS Footswitch’s 1/4" OUTPUT to your amp or effects.
Mono Cable
TRS Cable
NOTE: If you have batteries installed in your Variax, they will be bypassed when using your XPS Footswitch. If the guitar is connected to the XPS and the XPS power is disconnected, any batteries installed in the Variax will be drained.
Cable Specifications
If you happen to lose the Custom Cable supplied with your Variax, you can obtain a replacement from Line 6 Customer Service (see your Warranty Information booklet for contact information.) You can also simply use any high-quality TRS cable up to 18 feet.
4
XPS Footswitch Direct Out
But wait—there’s more: Not content to merely provide power to the Variax, the eager to please XPS Footswitch also functions as a combination A/B switch and direct box.
Why, you ask? Well, the detailed acoustic models of the Variax may lack something when played through an electric guitar amplifier, because these guitar amps don’t have the extended high frequency range of, say, an acoustic guitar amp with a tweeter, or a PA system. To ensure that you get that allimportant high end shimmer from your acoustic sounds, here’s the drill:
Connect your guitar cable from the XPS 1/4" OUTPUT jack to your amp and/or stompboxes. Connect the (balanced, +4 dBu compatible) XLR OUTPUT of your XPS to your PA system or acoustic amplifier with a standard mic cable.
When the 1/4" indicator light is lit on your XPS Footswitch, you’ve got your guitar routed to your standard amp. Jump on the switch to light the XLR indicator light, and your signal will now be routed to the XLR OUTPUT, bathing you in the tonal glory of full frequency range sound!
The Phantom Menace
When sending the XLR output of the XPS to a mixing board, be sure that phantom power is either off or not supplied to the XPS. Since phantom power puts a healthy voltage on the cable, using the A/B switching function of the XPS will produce a very unhealthy pop in the speakers. The soundman will not be pleased.
XLR Hum and A/B Switching
The XLR output of the XPS is designed to connect to the balanced inputs that are typical on good quality mixers and recording systems. Connecting the XLR output to a device with an un-balanced input may cause hum on that device when the XPS 1/4-inch output is selected.
5
To P.A. or Acoustic Amp
To Amp - Mono Cable
TRS Cable
6
Controls
Let’s start simple, and work up to the fancy stuff:
The Volume Knob, appropriately enough, controls the volume. You may notice that the taper (how fast you go from minimum to medium to maximum), as well as the volume control’s effect on tone, will be slightly different for various models. For electricbased models, volume response and tone interaction duplicate the experience of the modeled instrument—maximizing model authenticity. For acoustic models, the Volume is simply a level control.
The Tone Knob controls—you guessed it!—the tone. As with the Volume, the response of this control varies to match the modeled electric instruments. If you’ve spent much time recording acoustic instruments, you’ve probably discovered the kind of tonal variations possible by simply altering microphone position. For the ACOUSTIC and RESO models, the tone control gives you the same kind of variations.
When you get to the Model Select Knob, things start to get really interesting. Ten of its positions each offer 5 distinct sounds (representing one, two or even five different guitars), accessed by the Pickup
Selector. For specifics on the models and variations available, see “The Guitars of Variax”.
The other two positions of the Model Select Knob
— Custom 1 and Custom 2 save and recall your own custom setups. For the secrets of the Custom positions, see “Build a Custom Guitar”.
The Pickup Selector will work exactly as you expect it to on the electric models. In a three pickup model, like SPANK, all five positions will duplicate those on the modeled instrument. In more common two pickup models, positions 1, 3, and 5 will give you the characteristic sounds for those instruments
— bridge pickup only, both pickups, and neck pickup only. The “in-between” positions (2 and 4) usually offer sounds from related guitars. After all, who can have enough variety?
When it comes to the acoustic models, the Pickup Selector offers 5 distinct instrument sounds, all a switch-flick away! The individual model descriptions in “The Guitars of Variax” section get down and dirty with the details.
7
VOLUME
TONE 
PICKUP SELECTOR
MODEL SELECT
OUTPUT JACK
8
Build a Custom Guitar
To really take advantage of the range and versatility of the Variax, especially when performing, you need immediate access to your essential sounds. Use the custom banks of Variax’s model knob to get your ten favorite tones ready for recall with a well-timed flick of your pinky.
You’ve got 
at the beginning of the Model Select rotation, and 
at the end. Each of these can store a different set of five of your favorite sounds. You could, for instance, put acoustic sounds in 
, and electric sounds in 
. Or load one up for your disco band, and the other for your polka gig.
Let’s say you found a sound that you know you’ll be coming back to again and again. Here’s what you do:
HOLD 1. Press and hold the Model Select Knob 
to begin the Save process.
2. Rotate the Model Select Knob to the custom bank of your choice (
or 
).
3.Flick the Pickup Selector to the position you want to save your sound to. (Moving
the Pickup Selector while you’re saving won’t change the sound, only the save location.)
4. Release the Model Select knob.
RELEASE
That’s all there is to it. You’ve saved your sound to the current position of the Pickup Selector in the Custom Bank you’ve chosen. Now that you’ve got it all down, you can repeat these steps for the remaining nine positions. (Or not, if you like the ones we’ve already saved there for you. ) And if your tastes change, you can Save over any of those ten custom variations as often as you like.
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When you save a particular sound to one of the CUSTOM banks, the tone knob's position is also saved by default. You'll find that when you select a stored sound, it will sound as if the tone control was in the position it was in when you first saved the sound. The actual position of the tone control will be ignored, until you adjust it.
If you don't want to save the position of the tone control to your CUSTOM banks, just rotate the
tone control while you are holding down the Model Select Knob to save a sound. The tone control won't change the sound during this special Save model. When you select then this sound later, the actual position of the tone control will be used instead of a saved value. You can use both methods if you wish, sometimes choosing to save the tone, sometimes not, even in the same CUSTOM bank.
Contents Of Custom Knob Positions
Here's what's in the custom slots when a Variax ships from the factory:
Knob/Pickup Sel
CUSTOM 1 / 1 CUSTOM 1 / 2 CUSTOM 1 / 3 CUSTOM 1 / 4 CUSTOM 1 / 5 CUSTOM 2 / 1 CUSTOM 2 / 2 CUSTOM 2 / 3 CUSTOM 2 / 4 CUSTOM 2 / 5
Model Saved from
ACOUSTIC / 5 RESO / 4 ACOUSTIC / 4 RESO / 2 RESO / 1 LESTER / 1 R-BILLY / 2 CHIME / 3 SPANK / 4 SEMI / 4
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THE GUITARS OF VARIAX
General Notes About the Models
Each Variax model has five different variations available—one at each position of the Pickup Selector Switch. These five variations may all be based on the same guitar, two or three similar guitars, or, for the 
and 
models, each variation may be based on an entirely different instrument.
For electric models, the Volume and Tone controls work like the ones found on the instruments we modeled. Rolling off the volume, for instance, will typically result in a darker sound. The output level of each model is based on the modeled instrument. Models with humbucking pickups, for example, will tend to be louder than those with single-coils.
For acoustic models, the Volume control acts as a simple level control. Since acoustic guitars don’t have tone controls, we decided to let you shape the tone of these models by changing the position of a modeled microphone with Variax's Tone control. Give it a spin to explore a varying range of tonal flavor for each model.
Pickup Position Numbering
We’ve numbered the pickup positions in the manual starting with “bridge” (the position toward the bridge) as 1. Moving the pickup selector from there, you go through positions 2, 3 and 4 on your way to the “neck” position (the position toward the neck) which we label as number 5.
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T-MODEL
1 4
Based on 1960 Fender® Telecaster® Custom
Leo Fender’s Telecaster®, originally known as the Broadcaster, was the first commercially successful solidbody electric guitar and has been in continuous production for over fifty years. A brilliant example of functional, efficient design, the Telecaster® has been the guitar of choice for guitarists like Jeff Beck, Roy Buchanan, James Burton, Albert Collins, Danny Gatton, and Keith Richards.
Note: The neck pickup position of this model, like the original, has a very “deep” sound and the tone control is bypassed.
Position 1: Bridge
Position 4: Neck
3 5
Based on 1968 Fender® Telecaster® Thinline
Faced with the difficulty of obtaining lightweight ash, Fender introduced the Thinline model in 1967. The chambered body reduced the weight to about half that of a typical Tele® of the time, while the traditional electronics were retained to deliver a variation of the trademark Tele® sound.
Position 3: Bridge+Neck
Position 5: Neck
2
Based on modified 1968 Fender® Telecaster®
Players looking for more versatility from the workhorse Tele® discovered they could get a much more powerful sound by combining the two pickups in series (as on a humbucking pickup).
13Fender®,Telecaster® and Tele® are registered trademarks of Fender Musical Instruments Corporation. 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.
SPANK
1 2 3 4 5
Based on 1959 Fender® Stratocaster®
The curvaceous Stratocaster® is further evidence of the genius of Leo Fender. Considered a radical departure at its introduction in 1954, the Strat® soon eclipsed the popularity of its older sibling and became one of the most visible instruments in the formative years of rock and roll. The Stratocaster® influenced electric guitar design more than any other single instrument and its distinctive comfortcontoured body, bolt-on neck, and versatile electronics have become industry standard features.
Our model takes one slight liberty; unlike the modeled instrument, the tone control works on the Bridge pickup, too. We trust that Leo won’t mind.
Position 1: Bridge
Position 2: Bridge+Middle
Position 3: Middle
Position 4: Neck+Middle
Position 5: Neck
Fender®, Strat® and Stratocaster® are registered trademarks of Fender Musical Instruments Corporation.All product names are trademarks of their 14 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.
LESTER
1 |
3 |
5 |
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2 |
Based on 1958 Gibson® Les Paul® Standard
Gibson®’s first solidbody electric design was a collaboration with popular guitarist and recording pioneer Les Paul. Unlike the easy-to-manufacture Fender® designs, the Les Paul® retains the carved top and set neck construction of their hollowbody models. The original series was a commercial failure, however, and was discontinued in 1961. Influential musicians like Mike Bloomfield and Eric Clapton discovered the sweet sustain of a Les Paul® through an overdriven amp. The resulting resurgence of popular interest led to its reintroduction in 1968.
We’ve modeled a 1958 version that features the coveted “P.A.F.” pickups.
Position 1: Bridge
Position 3: Bridge+Neck
Position 5: Neck
Based on 1952 Gibson® Les Paul® “Goldtop”
The “Goldtop”, nicknamed for it’s metallic gold finish, was the first model of the Les Paul® series. Our version features a P-90 pickup in the bridge position.
4
Based on 1961 Gibson® Les Paul® Custom
In addition to its sophisticated ornamentation, this particular incarnation of the Les Paul® Custom offers three P.A.F.’s. We’ve modeled the combination of bridge and middle pickups that sets this model apart.
Gibson® and Les Paul®are registered trademarks of Gibson Guitar Corp. Fender® is a registered trademark of Fender Musical Instruments Corporation.
15All 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.
SPECIAL
1
Based on 1956 Gibson® Les Paul® Junior
The Les Paul® Junior was introduced in 1954 as the budget member of the Les Paul® Series. The body is a flat mahogany slab, and the electronics are simplified to include only a single P-90 in the bridge position. The meaty tone, light weight, and uncompromised playability made the Junior a favorite of Mountain’s Leslie West.
Based on 1955 Gibson® Les Paul® Special
The Special was added to the Les Paul® line in 1955 as an intermediate step between the utilitarian Junior and more luxurious Standard. The greater tonal options made possible by the second P-90 helped make the Special a favorite of reggae legend Bob Marley. Our model is based on the original single cutaway version.
Position 3: Bridge+Neck
Position 5: Neck
2 4
Based on 1976 Gibson® Firebird V
The Firebird, introduced in 1963, was created with the help of Detroit automobile designer Ray Dietrich. Neck-through construction and Epiphone®-style mini-humbuckers gave the Firebird a unique combination of good sustain and a biting, trebly sound—characteristics which made it a favorite of blues slide guitar legend Johnny Winter.
Position 2: Bridge
Position 4: Neck
3 5
Gibson®, Les Paul® and Epiphone® are registered trademarks of Gibson Guitar Corp.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 16 the specific products that were studied during Line 6’s sound model development.
R-BILLY
1 |
3 |
5 |
2 |
4 |
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Based on 1959 Gretsch® 6120
The 6120 was the first of several models that Gretsch® developed with country guitar whiz Chet Atkins. The 6120 is usually associated with the “twangy” sounds of players like Duane Eddy, Eddie Cochran, and Brian Setzer, but Pete Townshend found his 6120 perfect for the crushing power chords of “Who’s Next.” This particular specimen is equipped with Filter’tron hum-canceling pickups designed by Ray Butts.
Position 1: Bridge
Position 3: Bridge+Neck
Position 5: Neck
Based on 1956 Gretsch® Silver Jet
Gretsch® introduced a series of so-called Solid Body guitars in 1955 that included the Jet Fire Bird with a red top, the Duo-Jet with a black top, and the Silver Jet with — you guessed it — a silver top. Though called a solidbody by Gretsch®, the Jet series actually has internal hollow chambers that contribute to its light weight and resonant tone. The black version (the Duo-Jet) was the favorite instrument of Cliff Gallup, original lead guitarist for Gene Vincent’s Blue Caps. The guitar we modeled had DeArmond® pickups and a Melita bridge.
Position 2: Bridge
Position 4: Neck
Gretsch® is a registered trademark of Fred W. Gretsch Enterprises, Ltd. DeArmond® is a registered trademark of Fender Musical Instruments
17Corporation.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.
CHIME
1 |
3 |
5 |
2 |
4 |
Based on 1968 Rickenbacker® 360
Though overshadowed by the success of the 12 string, the 6 string versions of Rickenbacker®’s stylish models continue to be popular with players looking for something a bit out of the ordinary, like Ed O’Brien of Radiohead.
Position 1: Bridge
Position 3: Bridge+Neck
Position 5: Neck
Based on 1966 Rickenbacker® 360-12
Popularized by George Harrison in the Beatles and Roger McGuinn in the Byrds, the distinctive jangle of the 12 string Rickenbacker® was a significant part of the 60’s rock sound. Our model has the original “toaster” pickups.
Position 2: Bridge
Position 4: Neck
Rickenbacker® is a registered trademark of Rickenbacker International Corporation.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 18 the specific products that were studied during Line 6’s sound model development.
SEMI
1 |
3 |
5 |
2 |
4 |
Based on 1961 Gibson® ES®-335
The Semi-hollow Gibson® was conceived as a blend of the tone and sustain of a solidbody with the balance and aesthetics of a hollowbody. The “woody” tone of these guitars made them popular with Jazz artists like Larry Carlton and Blues greats like B. B. and Albert King. Our model is based on a 1961 dot neck, with P.A.F.’s and a stop tailpiece.
Position 1: Bridge
Position 3: Bridge+Neck
Position 5: Neck
Based on 1967 Epiphone® Casino
Gibson® acquired former rival Epiphone® in 1957 and began producing Epiphone® guitars in its Kalamazoo factory. Some of the models developed for Epiphone® were variations on then-current Gibson® models. The Casino, for example, was essentially a Gibson® ES®-330. John Lennon was particularly fond of the Casino, and continued to record with it long after the breakup of the Beatles.
Position 2: Bridge
Position 4: Neck
Gibson®, ES® and Epiphone® are registered trademarks of Gibson Guitar Corp.All product names are trademarks of their respective owners, which
19are 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.
JAZZBOX
1 3 5
Based on 1957 Gibson® ES®-175
Gibson® added a sharp “Venetian” cutaway and a slightly fancier fingerboard to the budget ES-125 model to create the ES®-175 in 1949. With the addition of a second pickup in 1953, and humbucking pickups in 1957, the ES®-175 quickly became a popular and enduring choice for electric jazz guitarists.
Position 1: Bridge
Position 3: Bridge+Neck
Position 5: Neck
2 4
Based on 1953 Gibson® Super 400
By the end of the 1940’s, changing musical styles found premium archtops like the L-5 and Super 400 to be lacking in volume. By simply adding the pickups and controls developed for its early electric guitars, Gibson® created the electric version of the Super 400 in 1951. Our model is based on the early version with P-90’s. Check out Scotty Moore (and Elvis) playing a Super 400 in the ’68 Comeback Special.
Position 2: Bridge
Position 4: Neck
Gibson® and ES® are registered trademarks of Gibson Guitar Corp.All product names are trademarks of their respective owners, which are in no |
20 |
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.
ACOUSTIC
1
Based on 1959 Martin® D-28
The D-28 is generally considered the definitive
Martin® flat-top. The Dreadnought (or “D”) body combined with rosewood back and sides produces a full sound ideal for flatpicking.
2
3
Based on 1967 Martin® O-18
The smaller “parlor” sized body with mahogany back and sides has a balanced tone ideal for fingerstyle
playing.
4
Based on 1966 Guild® F212
Guild®’s Jumbo-bodied 12-strings offered players the elusive combination of volume and clarity. We’ve modeled one of the simpler models in the line, the F212 with mahogany back and rims.
5
Based on 1970 Martin® D12-28
In 1970, Martin® added 6 more strings to the successful D-28 to capitalize on then-current folk music trends.
Based on 1995 Gibson® J-200
Easily identified by its impressive size and ornamentation, the J-200 was often seen played by flashy country and western artists and was a later favorite of Elvis Presley.
Martin® is a registered trademark of C.F. Martin & Co., Inc. Guild® is a registered trademark of Fender Musical Instruments Corporation. Gibson®
21is a registered trademark of Gibson Guitar Corp.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.
RESO
1
Based on 1935 Dobro® Model 32
Though the Dobro® is generally a wood-body instrument, a few were made from other materials. This model is based on an unusual specimen with an all-aluminum body that emphasizes midrange.
2
3
Based on 1965 Danelectro® 3021
Danelectro® managed to make great sounding guitars from Masonite and lipstick tubes. Our model is based on a 3021 (Jimmy Page’s favorite Dano®) with both pickups active.
4
Inspired by the Gibson® Mastertone Banjo
The Mastertone series was introduced in 1925 and quickly became the definitive Bluegrass banjo, due in no small measure to a long-standing association with virtuoso Earl Scruggs.
5
Inspired by the Coral Sitar®
Designed in conjunction with session guitarist and electronics experimenter Vinnie Bell, the Coral Sitar® offered guitarists the ability to get the buzz and drone of a sitar without having to learn a new instrument. On this model, the tone control changes the level of the drone strings.
Based on 1928 National® Tricone
The first National® guitar was the Tricone (or “TriPlate) introduced in 1926. The Tricone used three 6-inch cones mechanically coupled to the bridge to amplify string vibrations. The Tricone has a smoother sound than later, single-cone resonators and was the primary instrument of Sol Hoopii, influential Hawaiian steel guitarist.
Dobro® and Gibson® are registered trademarks of Gibson Guitar Corp. Coral Sitar® is a registered trademark of Jerry Jones. Danelectro® and Dano®
are registered trademarks of Evets Corporation. National® is a registered trademark of Kaman Music Corporation. All product names are trademarks 22 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.
Care and Maintenance
Only a few simple measures are required to keep your Variax looking and performing like new.
•After playing, wipe down the guitar and strings with a clean, soft cloth.
•Change strings when they become discolored or the guitar begins to sound dull.
•Occasionally clean the fingerboard surface with lemon oil and the painted surfaces with guitar or furniture polish.
Neck Relief Adjustment
Depending on where you live, seasonal temperature and humidity variations may make it necessary to adjust the neck relief of the Variax. If you find that your Variax suddenly starts buzzing or is generally difficult to play, it may be time for this kind of adjustment. To check the neck relief, press the high E string to the first fret with your left hand, and press the same string to the last fret with your right hand. While holding the string at both points, check the point where the E string passes over the 10th fret. If the string is touching the fret, or if there is more space under the string than the
23 thickness of a thin pick, it’s time to adjust the neck.
If you are familiar with this kind of adjustment, use the supplied wrench to adjust the truss rod. If the string was touching at the 10th fret (too little relief), turn the rod counterclockwise. If the gap was too great (too much relief), turn the rod clockwise. In both cases, make small adjustments and check the relief as you go. Never force the rod to turn—excessive tightening can damage your Variax. If you are unfamiliar or uncomfortable with this kind of adjustment, ask your local guitar shop to refer you to a qualified guitar tech.
LESS RELIEF |
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