V2.5 Update
Pilot’s Handbook Addendum
Electrophonic Limited Edition. Also available at www.line6.com. Revision A.
Vetta II Manual Rev B Addendum
Page 2
An Introduction
Welcome to the Vetta™ II Update Addendum for Version 2.5 firmware. This is a free update for all
Vetta I and II customers. We’ve pored over the boards at Vettaville, Institute of Noise and in the Line
6 Forums to capture the Vetta community’s wish list for new features and improvements on our Flagship amplifier. We appreciate the Vetta community’s candor and patience with us. Now on to the
party!
Installing the Firmware
To install your free Vetta II Version 2.5 Firmware Update you’ll need 4 things: 1 - a Computer running Windows® XP, Windows® 2000, Windows® ME, Windows® 98SE or Mac® OS X, 2 - The Line
6 Monkey Installer Application, (go to http://www.line6.com/software/ to get your free copy today!),
3 - A MIDI Interface connected to your Vetta, and 4 - About 10 minutes to carefully read and follow
the installation instructions presented by the Line 6 Monkey. Once you’ve got that sorted out you
can move on to enjoying the new features....
Vetta II 2.5 Manual Addendum © 2006, Line 6, Inc.
Page 3
New Features in Vetta II Version 2.5
Modeled Wahs
I have a feeling that this is going to make you smile. Modeled Wah is probably the most requested
feature for these amplifiers. We now present to you a half dozen painstakingly modeled classic wahs
for your amusement. And just in case we didn’t nail your particular wah fantasy, we’ve created an
Uber Custom Wah model, inspired by the Teese RMC3 that you can tweak to your heart’s delight.
What’s included:
Display Name
The model was based on* careful study of this actual Wah:
Vetta Wah
Original POD® xt/Vetta Wah
Chrome
Vox® V847
Chrome Custom
Custom Vox® V847
Colorful
Colorsound® Wah-Fuzz
Conductor
Maestro® Boomerang
Fassel
Cry Baby Super – Jen Electronics
Throaty
RMC Real McCoy 1
Weeper
Arbiter® Cry Baby
* All product names u sed in this manual are trademarks of their r espectiv e owners, which are in no way associated or
affiliated with Line 6. These trademark s of other manufactu re rs are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model dev elopment. Vox is a register ed trade mark of Vox R&D Limited. Colorsound is a registered tradem ark of Sola Sound Limited. Maestro is a registered trademark of Gibson Guitar Co rp. Arbiter is a re gistered trademark of Arbiter Group Plc.
Page 4
Operation of the Custom Wah Model
The custom wah was inspired by the Geoffrey Teese - Real McCoy RMC3. You can customize the
Frequency Range of the wah as well as the Q, (sometimes called Resonance) of the filter.
Top - Sets the frequency of the wah when the foot controller is toe down.
Bot - Sets the frequency of the wah when the foot controller is heal down.
Q - Sets the peaking filter’s sharpness and intensity, from Mellow (0) to Peaky (127).
Bender
It’s all over modern music, and now its appearing in a Vetta near you, we offer you our take on the
classic foot controlled pitch shifting effect in the STOMP category. There are so many ways to set
this pedal up, we elected to give you full control with three parameters:
Parameter
Range
Description
Heel Pitch
-24 ~ +24 in 1 semitone increments
Heel Down Pitch Shift
Toe Pitch
-24 ~ +24 in 1 semitone increments
Toe Down Pitch Shift
Mix
0-127
Wet/Dry Mix
Wa rn i ng : a s wi t h m an y “ f oo t c on t rolled pit c h b e nd e rs” ou r B e nde r m o del doe s
not ha nd le multiple n o t e s (p oly ph o n ic) ma te ria l v e ry w e ll. S t i ck t o th e s i n g l e
not e g u ita r s lin g e r g y mn as ti c s a nd a l l w i ll b e f i n e .
Page 5
New Amp Models
We’ve added a few choice amp model selections to round out the list to a whopping 80 amp models.
Here’s what’s new for 2005:
Line 6 Boutique #1 - from POD® 2.0 Based on* the POD 2.0 model of the Clean Channel from
the Dumble® Overdrive Special. The Dumble® Overdrive Special is one of those incredibly expensive, custom amps that most people never get a chance to actually get close to in this lifetime. Each
incarnation of the Dumble® magic is a little bit different, because each of these amps is hand built for
a specific customer, and voiced to match their playing and desires. With that in mind, we based this
TubeTone® Amp Model on the analysis of several different Dumble® Overdrive Specials. Despite this
tuning to the individual owner, these amplifiers tend to have a number of features in common; the
clean channel is very sensitive to attack, and dynamically responsive, and the drive channel has a
thick, liquid, singing sustain that doesn’t lose string definition when driven hard. The tone controls
on this Amp Model are quite subtle, like those of the Dumble® itself.
Line 6 Modern High Gain #1 - Based on* the POD® 2.0 model of the Soldano X88R. The Sol-
dano sound is intensely overdriven, and also has EQ after the preamp distortion. This oversaturated
tone is well suited to thrash metal and grunge bands, but has also been used more subtly by artists like
Eric Clapton. This is a good Amp Model to use if you want to get a current Van Halen or Joe Satriani
sound. The POD Modern Hi Gain Amp Model is based on one of Mike Soldano’s rack mount preamps. Talk about high gain preamp tube distortion! The X88R we studied to create this Amp Model
would have been the rage for Los Angeles studio use in the late ‘80s.
* All product names u sed in this manual are trademarks of their r espectiv e owners, which are in no way associated or
affiliated with Line 6. These trademark s of other manufactu re rs are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model dev elopment. Dumble is a registered
trademark of Howard Dumble.
Page 6
'05 Brit Gain Eighteen - Based on* the Marshall® 1974X “authentic re-issue” of the famous 1974
18W Combo from the late ‘60’s. 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 compressed and
harmonically rich tone.
'63 Class A C-30 Fawn - The Fawn AC30 is a pre top-boost AC30. It has a tremendously neutral
tonality - which increases the importance of a great speaker model to get the AC30 tone. The Fawn
has a powerful Brit Rock tone when dimed out, and a complex moody tone when the drive is throttled back.
‘05 Citrus D-30 - Based on* the Orange® AD30TC Channel 1. The Orange is modern classic amp
that gracefully marries vintage British mid-gain breakup with modern shimmer and presence. Back
off the drive and you’ll get chimey boutique tones, dig in with the drive up and the AD30 purrs pure
Brit Rock tone.
‘01 J-2000 & Germ – Based on* a Marshall® JCM2000 DSL on the Classic Gain - Crunch chan-
nel with the Deep switch in and the Tone Shift switch out. In addition, the front end was driven
with a Prescription Electronics Germ pedal (modded for a flat tonality). The Germ gives it this incredible extra kick to the crunch, and opens up the top end. The rig belongs to Matt Scanell from
Vertical Horizon. It’s his studio rig, for which he takes out a duplicate set live. Thanks for the tip
Matt.
* All product names u sed in this manual are trademarks of their r espectiv e owners, which are in no way associated or
affiliated with Line 6. These trademark s of other manufactu re rs are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model dev elopment. Marshall is a re giste red
trademark of Marshall Amplification Plc. Orange is a registered trademar k of Orange Personal Communications Services Limited.
Page 7
New Effects
Ducking Delay - The new ducking delay is based on* the old TC Electronic 2290. It will operate
like a straight up digital delay with the one powerful exception of the envelope follower than can
attenuate the delay signal whenever dry signal is present. The ducking feature will tuck the delays
under your playing, and pull them out between your phrases - great for soloing. Duck sets the level
that triggers the envelope to duck the delay. Rate adjusts the speed at which the delay signal ramps up
to full volume. And Depth sets the attenuation of the delay signal while dry signal is present.
A.I.R. II Direct Outs
All the direct out models on the Vetta 2.5 release have been improved. We re-shot our convolutions
here at the studio with some Neve® 1073's, 33609's and a Apogee® PSX100. The added authenticity,
clarity and tone that this world-class front end provides are simply incredible.
Output Setup Page 3
You’ll notice a handful of changes to the Output Setups. 2X12 & 4X12 configurations remain, as
does Speakers On/Off. Added are Loudness and Presence Boost.
Loudness Compensation - Here’s a neat feature that came from the Vettaville boards. Turning on
“Loudness” on Output Page 2, Ties a Fletcher Munson loudness curve to the Master Volume control
so you can dial in your patches at any volume and have them sound pretty much the same at a variety
of master volumes.
Presence Boost - During the development of Vetta II we crafted a presence boost circuit for the
HD147 that inspired a lot of people around the office. That boost character was modeled and added
to the Vetta II. It was, and is defeat-able by dialing your master High EQ back to about 10:00. Some of
you noticed it, many did not. We’ve added a parameter so that you can bring the Presence Boost in or
out as per your personal preference.
* All product names u sed in this manual are trademarks of their r espectiv e owners, which are in no way associated or
affiliated with Line 6. These trademark s of other manufactu re rs are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model dev elopment. Neve is a re gistered trademark of AMS Neve Limited. Apogee is a registered trademark of Apogee Electronics Corporation.
Page 8
Foot Control Pages
Bender has been added to the lists for assignment to Pedal 1.
Solo Boost - The Vetta community has developed all sorts of expertise around kludging volume
boost functionality out the effects loops and such. We’ve heard your plea. So here’s a post FX loop
variable Boost, (up to +12dB) which you can assign to a handful of footswitches. It’s tucked away on
Foot Control Page 1. The Boost amount, and the pedal assignment are save-able with each patch.
New Footswitch Assignments
The Final Foot Control page offers four new pedal assignment possibilities: The FX LOOP,
TREMOLO and MOD can all be assigned unique functions from a short list and stored with each
patch.
Parameter
Values
FX Loop
Loop, Boost
Tremolo
Mod, Pitch, Tremolo, Boost
Modulation
Mod, Pitch, Tremolo
Uniquely, The FAVORITE foot switch can also be globally assigned to one of Favorite Channel,
Boost or Tuner.
Page 9
MIDI Clock
New to V2.5, the Vetta will now respond to MIDI clock presented at its MIDI Input for setting
Tempo. If you don’t know what MIDI clock is, then don’t worry about it - just keep tapping the Tap
Tempo button to keep your FX Tempo Synchronized.
MIDI Aux Program Change
As an added bonus, you can transmit up to 4 MIDI Program Changes, each on their own MIDI channel, per Vetta Patch. So re-wire those racks, and bring on the Intelligent Harmonization! It’s quite
simple to set up, select the MIDI channel and Program you would like to transmit. Then save your
patch.
Note: Vetta transmits a Program Change on it Global Channel whenever you select a new
patch, so please don’t set one of these Aux Channels to transmit on the Global MIDI channel or your
liable to have some seriously confused rack gear…
Variax Wireless (W/L)
And Finally for all of the industrious Vetta / Variax users in the house, we’ve added a special mode for
interfacing the Variax to the Vetta wirelessly. You’ll need three things to make this work:
1. Audio Wireless to get Audio out of the Variax and into the analog input of the Vetta.
2. A MIDI wireless to get MIDI data from the Vetta to the Variax
3. Instructions / Schematics available at the Line 6 Vetta Update FAW for building the spe-
cial cables required to interface this special Vetta – MIDI – Variax connection.
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