Pilot’s Handbook Your source for the insider information on your Flextone II and the optional foot controllers, Floor Board and FB4. Rev H. Electrophonic version available at www.line6.com and on accompanying CD. 0 2 10 (DELAY FEEDBACK) 10 MID (DELAY LEVEL) 0 B 15 18 16 Amp Model Line 6 Twang Line 6 Crunch #2 Line 6 Blues Line 6 Layer Tube Preamp Small Tweed #2 Boutique #3 Black Panel #2 Brit Class A #3 Brit Class A #2 California Crunch #1 California Crunch #2 Boutique #1 Rectified #2 Modern Hi Gain #2 Boutique #2 10 0 7 10 (VOLUME BOOST ON/OFF) (NOISE GATE ON/OFF) Based on: Volume Pedal Reverb Fender Deluxe and Bassman, with more tone control range Pre Spring ’68 Marshall Plexi 50 watt with more tone control range Pre Room Marshall JTM-45 meets Budda Twinmaster meets Line 6 Pre Room Line 6 Clean meets Psychotic Drive Post Room Tube Instrument Preamp Post Room ’60 Tweed Fender Champ Pre Room Budda Twinmaster head Pre Room ’65 Blackface Fender Twin Pre Spring ’60 Vox AC 15 Pre Room ’60 Vox AC 30 non-Top Boost Pre Room ’85 Mesa Boogie Mark IIc+ Clean Channel Pre Spring ’85 Mesa Boogie Mark IIc+ Drive Channel Post Spring Dumble Overdrive Special Clean Channel Pre Room ’95 Mesa Boogie Dual Rectifier Head Post Room ’89 Soldano SLO Super Lead Overdrive Post Room Dumble Overdrive Special Drive Channel Post Room 19 0 8 10 (HOLD TAP FOR ALTERNATE FUNCTIONS) TAP (HOLD) 13 Hold TAP and turn the Amp Models knob to select Amp Models 17-32. (PRESENCE ON/OFF) 0 6 SAVE 12 (CAB SELECT) DELAY ROTARY SPEAKER 2x12 DELAY/COMPRESSOR FLANGER 2 9 DELAY/TREMOLO FLANGER 1 DELAY/CHORUS 1 CHORUS 2 DELAY/CHORUS 2 CHORUS 1 DELAY/FLANGER 1 TREMOLO DELAY/FLANGER 2 COMPRESSOR 1x8 OFF DELAY/SWELL BYPASS EFFECTS Chorus Speed Range of choruses Chorus Speed Range of choruses Chorus 1 Delay Time Delay Swell FLEXTONE: TAP LIT BUTTON FOR TAP TEMPO / HOLD LIT BUTTON FOR MANUAL 20 Delay Time Delay Heavier flange with more feedback Notes Turns off the effects Higher settings "squeeze" your volume more. The tremolo was designed with the characteristic Fender shape. Square wave LFO, "rack" type chorus setup; subtler than Chorus 2 Sine wave LFO, approx. 10% feedback; emulates an old Roland CE-1 for classic stomp box-type sound. Light Flange This emulates a classic spinning speaker, a la the Leslie Delay Level Very quick delays will have no repeats for better slapback Swell Time Volume swell Flanger Speed Range of flangers Flanger 2 Flanger Speed Range of flangers Rotary Speaker Rotary Speed Depth Flanger 1 Chorus 2 Tremolo Speed Depth Tremolo Tweak n/a Ratio Tap n/a n/a Effect Bypass Compressor EFFECT SETUPS (EFFECT/TAP SPEED) CHAN VOL REVERB FX TWEAK D * Fender, Marshall, Vox, Budda, Dumble, Matchless, Mesa Boogie, Soldano, Roland, Arbiter, and other amplifier and effect models are all trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely for the purpose of describing certain amplifier tones produced using Line 6's modeling technology. Line 6's modeling technology provides the Flextone with a wide variety of sounds and effects modeled after some of the most popular sounds of these classic amps. Line 6, Flextone, Floor Board, the Line 6 logo and the Flextone logo are trademarks of Line 6, Inc. 14 Based on: Volume Pedal Reverb Line 6 21st Century Clean Pre Room Line 6 Thick Grindage Pre Spring Line 6 Industrial Strength OD Post Room Way too many hours of shredding Post Room ’87 Roland JC-120 Pre Spring ’52 Fender Deluxe Pre Room ’59 Fender Bassman Pre Spring ’65 Fender Deluxe Pre Spring ’96 Matchless Chieftain Pre Spring ’63 Vox AC 30 with Top Boost Pre Room ’65 Marshall JTM-45 Pre Room ’68 Marshall Plexi 50 watt Pre Room ’90 Marshall JCM-800 Post Room ’94 Mesa Boogie Dual Rectifier Tremoverb Combo Post Room ’89 Soldano X88R Preamp Post Room ’60’s Dallas Arbiter Fuzz Face Post Room 10 TREBLE 0 C CHANNEL SELECT Tap plus... (Line 6 Clean) (Line 6 Crunch) (Line 6 Drive) (Line 6 Insane) (Jazz Clean) (Small Tweed) (Tweed Blues) (Black Panel) (Modern Class A) (Brit Class A) (Brit Blues) (Brit Classic) (Brit Hi Gain) (Rectified) (Modern Hi Gain) (Fuzz Box) (DISTORTION ON/OFF) 10 BASS 0 5 A Amp Model Line 6 Clean Line 6 Crunch Line 6 Drive Line 6 Insane Jazz Clean Small Tweed Tweed Blues Black Panel Modern Class A Brit Class A Brit Blues Brit Classic Brit Hi Gain Rectified Modern Hi Gain Fuzz Box 17 10 DRIVE 0 4 11 AMP MODELS 17-32:* (AMPS 17-32) BLACK PANEL TWEED BLUES MODERN CLASS A SMALL TWEED3 BRIT CLASS A JAZZ CLEAN BRIT BLUES LINE 6 INSANE BRIT CLASSIC LINE 6 DRIVE BRIT HI GAIN LINE 6 CRUNCH RECTIFIED LINE 6 CLEAN MODERN HI GAIN FUZZ MANUAL 10 1x12 AMP MODELS 1-16:* INPUT MASTER VOLUME 1 ToneTransfer Compatible POD II / Flextone II AMP MODELS 4x1 2 FLEXTONE II FRONT PANEL: REDUCED SIZE BACK COVER FOLDOUT FOR ELECTROPHONIC PILOT'S GUIDE 0 4x1 The serial number can be found on the back panel of your Flextone II. Please note it here for future reference: SERIAL NO: WARNING: To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture. CAUTION: To reduce the risk of fire or electric shock, do not remove screws. 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. The lightning symbol within a triangle means “electrical caution!” It indicates the presence of information about operating voltage and potential risks of electrical shock. The exclamation point within a triangle means “caution!” Please read the information next to all caution signs. Flextone II Pilot’s Handbook © 2000, Line 6, Inc. Line 6, Flextone, Floor Board, FB4, POD, POD Pro, Bass POD, AX2, Amp Farm and Echo Farm are trademarks of Line 6, Inc. All other product trademarks are property of their respective owners. YOU SHOULD READ THESE IMPORTANT SAFETY INSTRUCTIONS KEEP THESE INSTRUCTIONS IN A SAFE PLACE Before using your Flextone, be sure to carefully read the applicable items of these operating instructions and the safety suggestions. 1. Obey all warnings on the amp and in this Pilot’s Handbook. 2. Do not place near heat sources, such as radiators, heat registers, or appliances which produce heat. Keep the rear of the unit at least 3 inches from walls or other items that might block heat radiation. 3. Do not block any of the ventilation openings or use in an enclosed space. 4. Guard against objects or liquids entering the enclosure. 5. Connect only to AC power outlets rated 100-120V or 200-240V 47-63Hz (depending on the voltage range of the unit; refer to the back panel). Current ratings should be a minimum of 5A for the 120V range and 2.5A for the 240V range. 6. Do not step on power cords. Do not place items on top of power cords so that they are pinched or leaned on. Pay particular attention to the cord at the plug end and the point where it connects to the amp. 7. Unplug the amp when not in use for extended periods of time. 8. Do not perform service operations beyond those described in the Flextone II Pilot’s Handbook. In the following circumstances, repairs should be performed only by qualified service personnel: •liquid is spilled into the unit •an object falls into the unit •the unit does not operate normally or changes in performance in a significant way •the fuse is blown •the unit is dropped or the enclosure is damaged 9. Prolonged listening at high volume levels may cause irreparable hearing loss and/or damage. Always be sure to practice “safe listening.” CHAPTER 1: INTRODUCTION QUICK START GUIDE or “Manual? I don’t need no stinking manual!”. . . . . . . . . . . . . . . . . . . . . . . . . . . 1•1 INTRODUCTION Register And Get Great Free Stuff! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Get On-line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flextone! Meet the Flextone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Modeling /Amp & Cab Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . There’s Magic in the A.I.R. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Customizing your Amp Models and Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ToneTransfer: Exchanging sounds with Flextones and PODs and the Internet . . . . . . . . . . . . . . . . . . . . . CHAPTER 2: GRAND TOUR Front Panel Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dual Mode Direct Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flextone II Flavors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1•1 1•2 1•3 1•3 1•5 1•7 1•7 2•1 2•7 2•9 2•11 CHAPTER 3: MODELED AMPS Which Amps and Cabs are Modeled? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3•1 Cabinet Model List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3•13 CHAPTER 4: FLEXTONE EFFECTS Deep Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4•1 Onboard Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4•1 CHAPTER 5: CREATING & STORING SOUNDS Using the Manual Mode Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the Channel Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ToneTransfer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edit Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Customizing Amp Models & Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Memory Reset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHAPTER 6: THAT’S USING YOUR FEET USING THE FLOOR BOARD WITH THE FLEXTONE Getting Connected . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TWO MODES: I. CHANNEL SELECT MODE Banks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Channel Select. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Manual Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Editing & Saving Channels with the Floor Board. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tap Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tuner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wah Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Volume Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2. EFFECT ON/OFF MODE Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Drive/Boost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Trem/Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Effect On/Off Settings Stored With Programmed Sounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5•1 5•1 5•2 5•4 5•4 5•7 6•1 6•2 6•3 6•3 6•4 6•4 6•5 6•5 6•6 6•7 6•7 6•7 6•8 6•8 6•8 6•8 USING THE FB4 WITH THE FLEXTONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•9 CHAPTER 7: DEEP EDITING & MIDI CONTROL MIDI Basics: In/Out, MIDI Channel, MIDI Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flextone II / POD / POD Pro ToneTransfer via MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Backing Up Your Flextone’s Memory to Other Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emagic SoundDiver Software: Editing your Flextone Sounds with a Computer . . . . . . . . . . . . . . . . . . . . Other Things You Can Do with MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Step by Step with SoundDiver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7•1 7•3 7•5 7•6 7•7 7•9 CHAPTER 8: INSIDE YOUR HEAD (FLEXTONE II HD) Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Effects Loop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Series vs Parallel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Making the Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting Effect Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mono/Stereo Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cabinet Hookups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Open Back / Closed Back Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Take a Load Off. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•1 8•1 8•2 8•3 8•4 8•4 8•5 8•6 8•7 APPENDIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-F QUICK START GUIDE: “MANUAL? I DON’T NEED NO STINKING MANUAL!” QUICK START GUIDE or: “MANUAL? I DON’T NEED NO STINKING MANUAL!” 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. Turn the CHANNEL VOLUME and MASTER VOLUME controls all the way down to zero. Plug the power cord into the rear POWER CONNECTOR, then plug the other end into an AC wall socket. Connect your guitar to the INPUT JACK. Switch on the POWER. Select an AMP MODEL. Set the CHANNEL VOLUME anywhere from 3 to 5 o’clock, adjust the MASTER VOLUME to a comfortable level, and set the BASS, MID, and TREBLE to your heart’s desire. Select your desired EFFECTS setting and adjust the REVERB and EFFECTS TWEAK so you’re happy with the sound. Channel A, B, C, D buttons select one of the Flextone’s four programmable channels. Press SAVE then one of these to save your own sound to one of these channels. Press the MANUAL button any time for a “Manual Override” that gives you where-the-knobs-are-is-how-it-sounds operation. What number 10? You’re ready to go! But wait, before you go any further, flip to the inside back cover of this manual and notice that it folds out. The idea is to have this handy pictorial reference always opened out while you’re thumbing through the manual. Photocopy the back of it and you’ll have a handy template for making a note of your favorite settings. REGISTER AND GET GREAT FREE STUFF! Included in this manual is a handy, postage-paid card for you to send back to us to register your purchase, and let us know a little about yourself. It is very important that you fill that registration card out right now, and send it to us in the mail or 1•1 QUICK START GUIDE: 1•2 GET ONLINE jump on the internet and register at the Line 6 Support Center – www.line6.com. How come? Well, for one thing, it gets you all set up for warranty service should you ever have a problem with your Flextone. (Warranty info is at the end of this manual.) It also ensures that we will be able to contact you if new software versions or other enhancements are offered – cutting edge technology and all that. GET ONLINE Here at Line 6, our mission is to bring powerful new technologies to musicians. As part of that mission, we focus great effort on making the Internet a valuable resource for every one of our customers. You may already have surfed the Line 6 site at http://www.line6.com when you were considering your purchase, and found all the information already there on Line 6 products and technologies. The Line 6 web site is one of the most effective ways for us to bring you what you need. Through the Internet, we can give you instant access to all kinds of great, free stuff to make you and your Flextone ever more powerful. Like easy email access to our product support experts, handy tips & tricks, electronic versions of this and other documentation, the latest news of what’s happening with Line 6 and the products we make for you, and.... Line 6 ToneTransfer and Discussion Forums: Visit the web site, and you’ll find a powerful way to connect to other Flextone and POD users. Swap sounds, get and give advice, and generally hang out and get Flextone-a-licious, all from the privacy of your own comfy computer chair! Already on the Internet? Great! Visit us often and check out the late-breaking news and the other resources there. Not on the Internet yet? This may be the time to make the big jump, and thereby ensure that you will get all the great resources we can offer for you and your Flextone. INTRODUCTION: FLEXTONE! MEET THE FLEXTONE.... INTRODUCTION FLEXTONE! MEET THE FLEXTONE.... Thank you for buying a Flextone, the flexible Digital Guitar Amplifier System with the killer tone (and you were wondering how we came up with the name). There’s a bunch of stuff we have to talk about and only a few pages to do it in, so let’s get started. What makes the Flextone so different from every other guitar amp? It’s... MODELING Modeling: just what is it, and why is it so important? (By the way, you sent in that registration card or did it on the web, right? OK, just checking.) Tubes, we can all agree, are the heart and soul of every legendary guitar amp and are responsible for the warm, harmonic-rich tone quality of those amps. Solid state devices (transistors) are simply unable to duplicate tube warmth and performance. And “hybrids” – a tube in a circuit along with a bunch of transistors – are really a vain attempt at warming up a transistor-based tone. They fall short in any comparison to a 100% tube circuit. So that’s it – tubes or nothin’, right? Well, not any more.... You see, the engineers at Line 6, being an adventurous lot, and totally pumped about this whole guitar tone thing as well, decided to stock up on the coffee, bust out the engineering equipment, and get down to learning everything there is to know about tubes. Riding high on the caffeine wave, they began a three-year project to analyze and map out exactly how different types of tubes respond under various conditions typical of guitar amplifier design. How tubes process an input signal, how the signal is colored and shaped, at what point it begins to distort, the quality and characteristic of the distortion – complicated stuff, but all analyzable as electronic data. A guitar pickup output, after all, is an electronic signal, and tubes are really just a complex form of signal processing. 1•3 INTRODUCTION: 1•4 FLEXTONE! MEET THE FLEXTONE.... The Line 6 engineers also directed their caffeine-enhanced attention to a study of guitar speaker cabinets, and the important part they play in communicating great guitar tone. Having sussed it all out, the Line 6 engineers were then able to apply their digital expertise to develop software which simulates the tube and other circuitry’s signal processing entirely within the digital domain. Cool, huh? This revolutionary DSP (digital signal processing) software-based modeling technology gives Line 6 the power to create super butt-kickin’ Digital Guitar Amplifier Systems like the Flextone: value-packed amps with a whole new kind of tonal flexibility. AMP & CAB MODELS This modeling know-how allowed Line 6 to create software Amp and Cab Models modeled after a collection of amplifiers and speaker cabinets recognized by guitarists the world over as true “tone classics.” We got these amps and cabs together, cranked ’em up, and had a look at the electronic data generated by the tubes, transformers, capacitors, plate and grid voltages, tone control curves – and the whole mess of components and elements unique to each amplifier design. This research led to the creation of Line 6’s software Amp and Cab Models. These models were tweaked up through careful, scientific A/B comparisons to the gear that inspired them, with an ear open for the effects of different volume levels and settings of the originals’ tone and gain controls. The gain and equalization characteristics of the modeled amps were carefully measured so that changes to amp knobs on the models would mirror the effects of these changes on the originals as closely as possible. We’re talkin’ major attention to detail here. Tone control center frequencies, slopes, and cut/boost range were painstakingly analyzed, and we also carefully attended to the effect of presence switches, “bright” channels, and other model-specific factors. Not only that, but since these old amps have highly interactive circuits, we paid careful attention to the way that the setting of one knob changes the way that another knob on the amp behaves. All in an effort to make our Amp and Cab Models as much like the amps and cabs we modeled as possible. INTRODUCTION: FLEXTONE! MEET THE FLEXTONE.... The resulting Amp and Cab Models are the foundation of the Flextone guitar amp. Now, then. Here are a couple of things we want to be crystal clear on: 1. The Line 6 modeling process is a 100% digital software-based technology exclusive to Line 6. 2. Line 6 Modeling is not sampling, nor is it solid state; no special guitar, pickup, or cabling is needed. THERE’S MAGIC IN THE A.I.R. When you’re ready to do some recording, Flextone delivers its modeling tones through another innovation: Line 6's A.I.R. direct recording output. The A.I.R. (acoustically integrated recording) technology is the result of intensive research and careful study of the tonal characteristics produced by the interaction of amplifiers, cabinets, speakers, microphones and the recording room during the recording process. The direct output of many preamps, amplifiers and direct box-style amp replacements available today offer some limited form of cabinet simulation or speaker emulation. Those that happen to be more than simple high end roll offs have little or no control options. These cabinet simulations cannot reproduce the markedly different tones of different cabinets which arise from the choice of speakers, wood, and other design elements. They also fail to reproduce the significant tonal contribution of microphone selection and placement, and do nothing to reproduce the subtle ambience of the recording space. The result is the familiar dissatisfaction with direct recording products – even those that deliver a reasonably usable basic tone fail to reproduce the “life” of the guitar sound, and destroy the proper feel in the process. It is as if your guitar strings became heavier and less responsive, like they just went up a couple of gauges when you plugged into your direct box. And your sound lost its life. Flextone’s combination of Amp Models and A.I.R. technology provides superior direct tones by recreating all the elements contributing to a great recorded guitar sound, and giving you that tone with the same feel as playing through a real amp and speaker cabinet: 1•5 INTRODUCTION: 1•6 FLEXTONE! MEET THE FLEXTONE.... • The effect of the guitar amplifier electronics is emulated by the Amp Model you choose. Each model was developed from extensive study of a classic amplifier treasured as a tone classic. • In a guitar amp, once the guitar signal passes through the electronics, it is output to one or more speakers in a speaker cabinet. The specific design of the speakers, how many there are, and how they are arranged contributes significantly to your guitar tone, as does the construction and resulting tone of the wood box itself. A Marshall head driving a single 12-inch speaker in an open-back cabinet, for instance, will sound dramatically different from the same head driving a 4x12 closed-back cabinet. Line 6 has carefully constructed virtual software speaker cabinets that emulate the contribution made by real speaker cabinets to great guitar sound. • Once the sound makes it out of the speaker cabinet, the next important link in the recording system is the microphone that receives that sound. Guitar recordists select different microphones, and arrange them in different placements, to get particular sounds. A microphone pointing directly into the cone of a speaker will hear something different than one positioned off-axis. Line 6 carefully analyzed the coloring that standard microphones add to the guitar sound, as well as the effects of different mic placement techniques, and developed a set of cabinet simulations that give you the tone of great speaker cabinet and microphone combinations. • The guitar amp, cabinet, and microphone don't just sit in empty space. The room that they are in contributes importantly to the guitar sound you will record. Reverb can be used to capture the basic character of the space, simulating the effect of the sound reflecting off the room's walls, floors and ceiling. But there are other subtle details that have more to do with the “spread” of the sound as it passes through the air between the speaker and microphone. This final component is the key to the sense that the listener is in one position in the room, and the guitar sound is in another position, and that the two are separated by a mass of air that sound spreads through to reach the listener. All of these important sound-shaping components are accounted for in Line 6's Flextone. Turn the Amp Model knob to call up the amplifier emulation you want. Flextone automatically matches that amplifier with an appropriate cabinet and microphone setup, and gives you the sound of that setup coming through the air of a recording space. You can add reverb to taste, and start recording incredible mic'd up sound. The included SoundDiver MIDI-control software lets you use a Macintosh or Windows computer to do “deep editing” of these and other Flextone INTRODUCTION: FLEXTONE! MEET THE FLEXTONE.... parameters. With it, you can design your own custom rig, making new combinations of Amp Model and cabinet/microphone emulation, and adjusting the contribution of the “spread” of the sound as well. The A.I.R. direct recording output is exclusive to Line 6. In combination with Line 6's Amp Models, it is the key to Flextone’s phenomenally satisfying direct recording sound. CUSTOMIZING YOUR AMP MODELS AND EFFECTS New with version 2.0 software, you can customize the settings for each of Flextone’s Amp Models and Effects. This way, when you pull up an Amp Model or Effect via their knobs, you’ll get your very own favorite setting for that amp or effect, without having to do a lot of knob twiddling. Chapter 5 has all the details. TONETRANSFER With your Flextone, you get a constantly-expanding universe of sounds, and the ability to use those sounds with POD, POD Pro, or any of the Flextone II series amplifiers. Visit our ToneTransfer Web Library at www.line6.com, or one of the many other sources popping up for sound exchange. The sounds you collect transfer seamlessly between POD, POD Pro and Flextone II series amps, so wherever you go, all your sounds can make the trip. AND AWAY WE GO.... So, now that you know what’s in store, it’s time to experience all this juicy Flextone fun for yourself. Grab your favorite axe, plug in to the Flextone, and flip back to the handy Quick Start Guide on Page 1•1 if you haven’t already been through that. Then, press ahead with us to the Flextone Grand Tour.... 1•7 GRAND TOUR: FRONT PANEL CONTROLS GRAND TOUR 2•1 FRONT PANEL CONTROLS If you haven’t already done so, turn to the inside back cover of this manual and notice that it folds out. Ooh, pretty pictures! The idea is to have this essential pictorial reference always opened out while you’re thumbing through the manual. And then you can photocopy the back of it, and you’ll have a handy template for making a note of your favorite settings. The boxed numbers that pop up throughout the manual correspond to the numbers on the foldout’s illustrations. If you have a Flextone II HD head, you’ll notice very slight differences with your front panel – for one thing, the power switch is on the front. Most of the Flextone controls operate exactly the way you’d expect them to: 1 Input - You plug your guitar in here. (Well, we want the manual to be complete, don’t we?). 2 Master Volume - Controls the overall output level of the amp. Also sets the headphone level. This setting is not saved when you store a setup into one of the Flextone’s memory locations. Unlike many conventional amps, changing the Master Volume level does not change your tone. So you can get the tone you want at any volume level. 3 Amp Models - When you spin this knob, it’s essentially like changing what electronic “circuitry” is running inside the Flextone to make your amp sound (see Chapter 3 for descriptions of the Amp Models). We’ve arranged the Amp GRAND TOUR: FRONT PANEL CONTROLS Models around the knob so you get Line 6’s four custom sounds first. From there, the models go clockwise from “cleanest” (Small Tweed) to “dirtiest” (Fuzz). 2•2 New with Flextone II, you have a selection of 32 Amp Models from this knob (the original Flextone could access only 16). To access models 17-32, hold down the TAP button and turn the Amp Models knob. When you choose an Amp Model, a Cabinet Model is also loaded automatically. For instance, when you choose the Brit Hi Gain model (based on the classic Marshall JCM 800 head), a Cabinet Model based on a Marshall 4x12 will be loaded with it. You can choose a different cabinet via the Effects/Cab knob (below). In fact, with Flextone II, all amp-related settings are automatically loaded when you turn the Amp Models knob. Drive, Bass, Mid, Treble, Cab, Reverb type, etc. will all be determined by the Amp Model you choose – giving you a ready-to-rock sound with the turn of just this one knob. Once you get familiar with your Flextone, you can change these Amp-associated settings to customize the settings of each of the Amp Models to fit your tastes. Note that when you are in Manual Mode the Drive, Bass, Middle, Treble, and Channel Volume are set by the knob positions instead of being automatically set with the amp selection. Complete details are in Chapter 6. 4 Drive - This knob controls how hard you’re driving the chosen amp model. Think of it like the input volume control on a non-master volume amp; the higher the setting, the more “dirt.” 5 Tone Controls - Bass, Mid, and Treble. Just like a regular guitar amp, only when you change Amp Models, the response and interactivity of the controls changes too – to act like the tone controls of the original amp that inspired the Amp Model you’ve selected. The Flextone also has a Presence bump that can be switched on and off when you hold the Tap Tempo button. The detail is in the Tap section that begins in just a couple more pages.... GRAND TOUR: FRONT PANEL CONTROLS 6 Channel Volume - This knob controls the relative volume level of the channel you are playing through. Use this to balance levels between the setups you store in two different channels (say between your rhythm and lead setups). 2•3 7 Reverb - How much reverb do you want today? Spin this knob to set the Reverb level. There are two flavors of reverb that live inside your Flextone; a model of a spring reverb, and a standard digital room reverb tone. Which one you get depends on which Amp Model you select. Generally speaking, if the amp that inspired a given Amp Model had a spring reverb, that’s what you’ll get. If the amp didn’t have a reverb (like the 1968 Marshall “Plexi” which inspired the Brit Classic model), you’ll hear the room reverb. The back cover foldout, Chapter 4, and Appendix A run down the details. 8 Effect Tweak - This knob will always change something, but exactly what it changes will vary depending on which effect you have chosen. Turn it up and something will go deeper or louder or just plain more. The speed of the effects (delay, tremolo, chorus, flanger, rotary speaker simulation) is set by the Tap Tempo switch (see below). For all the inside poop, look at the back cover foldout, see Appendix B for Effect Parameters, and read the Effects chapter. 9 Effects - Selects which effect or combination of effects you get. Once again, all the details will be in the Effects chapter. 10 Manual Select Switch - Press this button to light it and activate Manual Mode. In this mode, wherever the knobs are set is what you’re hearing. Move knobs around to change sounds. Or.... GRAND TOUR: 2•4 FRONT PANEL CONTROLS 11 Channel Select Switches (A, B, C, D) - You use these buttons to save and recall complete amp-and-effects setups in your Flextone. By using the four programmable channels, you can save all the details of a complete Flextone setup for easy, instant recall any time. Thanks to these programmable channels, you won’t ever have to waste any time when you want to change from one setup to another, and you’ll never have to lose your “perfect” setups. The position of every Flextone knob (except the Master Volume) is stored into the channel memory when you save a channel. You can also save and recall your Flextone channels hands-free when you use the optional Floor Board (which lets you save and recall 36 channels) or FB4 foot controllers (see That’s Using Your Feet in Chapter 6 for more details). Once you get used to the Flextone’s programmable channels, you’ll wonder how you could ever stand to play an amp without them! 12 Save - This button saves a complete “snapshot” of all the knob positions into one of the Channel memories. Chapter 5 explains exactly how it works. 13 Tap - This control sets and displays the current tempo or speed of delay or tremolo/chorus/flange/rotary speaker. To use the Tap control, just tap the button at the tempo you want. For Chorus and Flange effects, the speed is actually displayed by the blinking of the button and set at twice the speed of the effect so you don’t have to count to 23 between taps if you want to set up a really slow chorus. And for Tremolo the tapped tempo is displayed and set at half the speed of the Tremolo effect, so you can get fast tremolo settings even if you can’t tap as fast as Bruce Lee. You can also simply hold the Tap button and turn the Effect Tweak knob to change the speed or tempo of your effects. This is especially useful if you are trying to nudge your Tap setting to just the right value. See the Effects chapter, the back cover foldout, and Appendix B for Effect Parameters to learn exactly what Tap controls for each of the Effect settings. GRAND TOUR: FRONT PANEL CONTROLS 13 Tap (HOLD) Functions - The Tap button also lets you access a second layer of Flextone features, labeled in gray: Amp Models 17-32, Cab Model selection, Delay Feedback, Delay Level, a Noise Gate, a Presence Boost, a Volume Boost, and a Drive Boost. Here’s the detail: Amp Models 17-32: Hold down, and keep holding down, the Tap button as you turn the Amp Models knob to select Amp Models 17-32. Appendix A lists these Amp Models and details about them. Chapter 4 describes them. Cab Model Select (Effects Knob): Hold down, and keep holding down, the Tap button as you turn the Effects knob to select Cab Models. The cab models are labeled in gray. You’ll find a list of the Cab Models at the end of Chapter 4. Drive Boost On/Off (Drive Knob): Hold down, and keep holding down, the Tap button as you turn the Drive knob up past twelve o’clock, and you get the kind of extra ‘dirt’ that you’d expect from a Distortion pedal with the distortion control set low and the output control set high. It boosts your guitar signal before it reaches the Amp Model, so that you hit the model harder and get a dirtier sound. This is just the same as kicking on the Distortion at the Floor Board (details in Chapter 7). As you do this, the Channel A light comes on if you turn the Distortion on. Delay Repeats (Bass Knob): Hold down, and keep holding down, the Tap button as you turn the Bass knob to set Delay Repeats any time you’re using a Delay effect. More Delay details are in the Effects Chapter. Delay Level (Middle Knob): Hold down, and keep holding down, the Tap button as you turn the Middle knob to set Delay Level any time you’re using a Delay effect. More Delay details are in the Effects Chapter. 2•5 GRAND TOUR: 2•6 FRONT PANEL CONTROLS Presence Bump On/Off (Treble Knob): Hold down, and keep holding down, the Tap button as you turn the Treble knob up past twelve o’clock, and you get a Presence boost, brightening your tone. Same as the EQ boost on the Floor Board (details in Chapter 7). As you do this, the Channel C light comes on if you turn the Presence “circuit” on. Volume Boost On/Off (Chan Vol Knob): Hold down, and keep holding down, the Tap button as you turn the Chan Vol knob up past twelve o’clock, and a Volume Boost kicks in. This boosts volume without extra ‘dirt’ – like for a lead boost. This is the same as kicking on Drive/Boost at the Floor Board (details in Chapter 7). As you do this, the Channel B light comes on if you turn the Drive Boost on. Noise Gate On/Off (Reverb Knob): Hold down, and keep holding down, the Tap button as you turn the Reverb knob up past twelve o’clock, and you’ll activate Flextone’s built-in Noise Gate. Turn below twelve o’clock to turn the Noise Gate off. As you do this, the Channel D light comes on if you turn the Noise Gate on. Effect Speed (Effect Tweak Knob): Hold down, and keep holding down, the Tap button as you turn the Effect Tweak knob to fine tune the current Effect’s speed. More Effect details are in the Effects Chapter. 13 Tap (HOLD) Latch Mode - Now that you’ve discovered the “second layer” of Flextone II features, you’re probably wishing you could tweak these controls while keeping one hand on your guitar... We heard ya, and your wish has been granted! We call it Latch Mode, and it allows you to adjust any of the “hold Tap and tweak...” controls without the use of your best Twister contortions. Here’s how it works: Press TAP and MANUAL simultaneously to enter Latch Mode, where all Flextone’s knobs perform their alternate functions, and when you’re finished tweaking, press any button - except SAVE - to exit. GRAND TOUR: REAR PANEL REAR PANEL Power Connector - This is where you plug the end of the power cord that doesn’t connect to the wall socket. Power Switch - The red button switch by the power connector is the ultimate digital control; On or Off. Choice is everything. You smart kids will recognize that this switch is on the front of the Flextone II HD. Foot Pedal Connector - The jack that looks like a telephone connector on steroids is where you connect the Floor Board or FB4 foot controller. MIDI In and Out - Jack your MIDI equipment in here to control channel selection, alter Flextone parameters, and more. This is also the magic connection for ToneTransfer and SoundDiver editing – see Chapter 7 for all the details. Effects Send and Return - The Flextone’s Stereo Effect Send and Return are pre-Master Volume. Use The Right Cable! - When hooking up your effect send/return, be sure to use a stereo cable to connect them to other devices. If you are connecting to a device with separate left and right inputs or outputs, you’ll want to use a standard “insert” cable, which gives you a single stereo quarter inch connector for the Flextone end, and two mono quarter inch connectors for the two ins or outs of your other device. Note: If you use a mono cable, you will only get one side of the signal on the send, and 2•7 GRAND TOUR: REAR PANEL when using a mono cable for the return, the returned signal will only be fed to one of your Flextone’s speakers. 2•8 And note: You probably won’t want to use stomp box-type effects in this loop, as they aren’t usually designed to take line level signals. Most likely you’ll want to plug your guitar straight into the stomp box, and then go from the stomp box to the Flextone’s input. And note yet further: Additional details regarding the Flextone II HD’s effect loop are in the oft-mentioned Chapter 8. Speaker Outs (Flextone II Plus, XL, and HD) - This is where you can hook up external cabinets to be run by your Flextone amp. Please note, the Flextone XL and Plus are designed to be connected to 8Ω speaker loads only. Flextone II XL – Plugging into either the Left or Right speaker connection disconnects the internal speaker and lets you run another 8Ω speaker cabinet instead. Flextone II Plus – If you have a Flextone Plus, these jacks will be labeled Internal and External. Plugging into the Internal connection disconnects the internal speaker and lets you run another 8Ω speaker cabinet instead. The External connection is designed for the Flextone Cab. It supplies 50 Watts of power to the Flextone Cab, to give you a 100 Watt Stereo configuration. Flextone II HD – Please check out Chapter 8, which describes the whole speaker out thing for the head in glorious detail. Headphone Out - Plug your headphones into this jack to silence the internal speakers, providing you with private listening. (Now you’re ready for some all night shredding without waking the rest of the family!) The Master Volume GRAND TOUR: REAR PANEL knob controls the output level here, too, so be sure your level isn’t cranked up too high before strapping on the headphones. Flextone II – If you have the 1x12 Flextone II, you can also use this jack as a direct connection to your mixing board or recorder. Plugging into this output turns on the A.I.R. processing for speaker-mic-room emulation, so no direct box is needed for recording; just plug into this Direct Out for great sound right out of the box! The Master Volume controls the output level here, so be sure your level isn’t cranked up so high that it’s overdriving the input of your recorder when using this as a Direct Out. Flextone II Plus, XL, and HD – If you have a Flextone Plus, XL or HD, you’ll want to use the XLR direct outs when recording or playing live.... Plus/XL rear panel shown here. HD jacks and switch are at right side of rear panel Dual Mode Direct Outs - One of the especially groovy features added to the Flextone Plus, XL, and HD when they became Flextone IIs is their Dual Mode Direct Outs. These versatile connections are designed to give you the perfect pair 2•9 GRAND TOUR: REAR PANEL of direct connections for live performance and studio recording sessions. They’re powered by the Line 6 exclusive direct out technology that has made POD the new standard for guitar recording, and the revolutionary tone-tool for live performance. 2 • 10 Studio Mode – Slide the Live/Studio Switch to the Studio position, and the XLR Outputs will be +4 line level outputs with A.I.R. speaker-mic-room simulation, ready to plug right into your recorder to lay down your guitar parts. No hasseling with microphones (or neighbors annoyed by the ruckus) required! The speakers are disabled in this mode. Live Mode – In Live Mode, the XLR Outputs are mic level, ready to plug in to the mic snakes you’ll probably find at your gigs. The direct out signal is speciallytailored for live sound and the speakers, of course, stay active to rock the house. Ground Lift – This switch lifts the grounds on the XLRs. Use it to eliminate ground loops if you get ground hum when connecting to the XLR outputs. GRAND TOUR: FLEXTONE FLAVORS FLEXTONE FLAVORS In case you haven’t noticed, the Flextone II actually comes in several different flavors. Here’s what each one’s got: Flextone II - Mono, 60 watt setup with a single 12-inch speaker. Flextone II XL - This is the stereo, 100 watt setup (50 watts per side) with a pair of 12-inch speakers. It includes our unique Dual Mode Direct Outputs, as well as speaker outputs for connecting external speaker cabinets. Flextone II Plus - This is the stereo, single 12-inch speaker setup. It includes our unique Dual Mode Direct Outputs, as well as speaker outputs for connecting external speaker cabinets. It also includes an extra power amp for powering the companion Flextone Cab. With no Flextone Cab, you get 60 watts of power. Plug in the Flextone Cab, and you’ve got 100 watts – 50 watts per side. Flextone II HD - Rule the world with this stadium-ready, high power head. The Flextone II HD delivers the power and feel of two 100 Watt tube heads into any cabinet set-up (full power at 4, 8, or 16 ohms!) Includes Dual Mode direct outs, and a switchable Series/Parallel Effects Loop. Flextone Cab - The Flextone Cab is an 8 ohm open-back cabinet loaded with a custom 12-inch speaker, designed by Line 6 for use with the Flextone Plus. Connect it to the Plus’s satellite speaker output for 100 Watt, stereo amplification. Flextone Cab 212S - 2x12” speakers; 150 watts max.; Mono/Stereo operation, 4 or 8 ohms; removable casters. Tone big enough to fill a club, yet small enough to cart around in a Bug. Flextone Cab 412S & 412SB - 4x12” speakers; 300 watts max.; Mono/Stereo operation, 2, 4, 8 or 16 ohm switchable; removable casters, metal handles and corners. Classic British design and monster tone! 2 • 11 MODELED AMPS & CABS: WHICH AMPS AND CABS ARE MODELED? MODELED AMPS & CABS WHICH AMPS AND CABS ARE MODELED? Note: For the following description of the Line 6 Amp Models, and other references that you will find throughout this manual, please be aware that Fender, Marshall, Vox, Boogie, Soldano, Peavey, Roland, Matchless, Arbiter, ADA, Leslie, and other amplifier model designations, and the names of musical artists and groups, and effects, are all trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These marks and names are used solely for the purpose of describing certain amplifier tones produced using Line 6’s modeling technology. The Line 6 modeling technology provides Flextone II with a wide variety of sounds and effects modeled after some of the most popular sounds of the classic amps, effects, and artists mentioned here. There are 32 Amp Models living within your Flextone II, plus 16 Cab Model selections. When you turn the Amp Models knob, you select an Amp/Cab combination. You can then mix ’n’ match different cabs with the amp by holding the Tap button and turning the Effects knob. Chapter 5 tells you how you can customize these amp/cab combinations. We list all the Amp Models and the Cabinet Models below, and describe the original equipment that inspired them: Line 6 Clean - To create this Amp Model, we essentially grafted the top end of a JC-120 (Roland’s popular “Jazz Chorus” solid state combo) onto the bottom end of a classic Marshall JTM-45 tube head, to give you the crisp and clear top end of a solid state amp, but with a rich, satisfying tube amp-style bottom. 3•1 MODELED AMPS & CABS: WHICH AMPS AND CABS ARE MODELED? Line 6 Crunch - Our “boutique” sound. Not too clean, but not too raging. We spent some time with a rare Dumble combo, and picked up a few tricks from it to put together this tone. Great for modern blues or jazz, this sound should be like a fine cognac, smooth and warm going down, but with a nice kick. The Mid control is located before the Amp Model’s Drive, but the Bass and Treble controls are placed after the Drive for maximum range. 3•2 Line 6 Drive - Our version of the modern, super-saturated, high gain, lead amp; smooth, yet biting. All the tone controls here are post-Amp Model for maximum control with minimum muddiness. Again, this unique overdrive tone was created by merging different tone-shaping elements from different high-gain amps. It’s like playing through a collection of amps simultaneously – a studio technique that has made possible some of the greatest guitar tones of modern recordings (Line 6 Layer builds on this idea with even more versatility). With your Flextone, you can get this same kind of rich, multi-amp tone out of one combo, a feat that wouldn’t be possible with traditional guitar amps. 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 (sort of like a Dual Rectifier on 10 being used as a preamp for a Soldano), 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! Jazz Clean - This 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 Jazz Clean Amp 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 wave” sound. Alternatively, try backing off on the Treble and turn up the Bass and Mid 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. MODELED AMPS & CABS: WHICH AMPS AND CABS ARE MODELED? Small Tweed - Modeled after a 1952 “wide panel” Fender Tweed Deluxe, this 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 Mid knobs just sitting there. That just didn’t seem right, so we figured out a way to put those knobs to work without mucking about with the authenticity of this Amp Model’s treble tone control. We set up the Bass and Mid as post-Amp Model controls, which essentially lets you EQ up your tone as you would do on a mixing console after recording your amp. Set the Bass and Mid knobs at halfway to put them in “neutral,” and try the Treble knob somewhere above halfway for a classic Tweed sound. Tweed Blues - The classic ’59 Fender Bassman 4x10 combo was 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. The Bassman was the “blueprint” for Flextone’s Tweed Blues. 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 Mid and Treble controls are. The Mid 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 the Mid knob higher than halfway up, you’ll find that the Treble control might give you more bright than you really want. On the other hand, when you turn the Mid knob down, you’ll probably want to boost the Treble. The Bassman, like many of the amps modeled for the Flextone, 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. With your Flextone, you can get that kind of tone at a bedroom or studio level – or through your headphones even! Try a Drive setting of about 4 or 5 – it’s guaranteed to dredge up the best R&B licks you know. 3•3 MODELED AMPS & CABS: WHICH AMPS AND CABS ARE MODELED? Black Panel - The Holy Grail for many blues, country, and “roots” players 3•4 has been a blackface Fender Deluxe Reverb. (Of course, now that the Flextone’s here, that may all change.) After listening to quite a few candidates for modeling, we stumbled upon an extremely cool ’64 Deluxe. Most players love a Deluxe 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, and is nicely captured here. The Deluxe itself has only Bass and Treble controls. Leaving us, once again, with the prospect of a knob with nothing to say for itself. But fear not; in this case, we’ve set up your Flextone’s Mid knob so you can add some post-Amp Model Midrange contouring for a little more flexibility. Once again, set the Mid knob to its “neutral” 12 o’clock position for the classic Deluxe sound. Tweaked up right, this tone will cut through and sing. Modern Class A - The ’96 Matchless Chieftain, which was studied for the Modern Class A selection, is a very expensive handmade amp. Originally designed to sound like a contemporary Vox, the Matchless doesn’t exactly have a Vox sound, but something unique (largely due to the complicated EQ scheme); the sound is sort of “future retro.” Its soft clipping is typical of Class A amplifiers; almost a “hi-fi” sound in a great rock n’ roll amplifier. Brit Class A - Music was changing in the early 60’s 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); 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 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 also used classic AC 30s to make their music. On this Amp Model, your Flextone’s Mid control acts like the Cut knob on the AC 30. Although usually played fairly clean, a MODELED AMPS & CABS: WHICH AMPS AND CABS ARE MODELED? cranked AC 30 has a great saturated lead tone, a la Brian May on the early Queen albums. A non-Top Boost AC 30 is modeled for your Flextone’s Brit Class A #2 Amp Model, which comes up in a few more pages. Brit Blues - This Amp Model is based on a circa 1964-65 JTM-45 head with block logo (predates the “scrolled” Marshall logo), complete with a gold Plexiglas (Plexi) front panel, although the sound normally associated with Plexi amps comes from the late 60’s, 50-watt version that was the inspiration for the next in Flextone’s line up of Amp Models. The JTM-45 marked the beginning of Marshall’s transition from a mellower Fender-like tone to the distinctive bright “crunchy” sound of the later Marshalls. Brit Classic - Modeled after the infamous Marshall Plexi – coveted by tone connoisseurs the world over. By this time (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. (See, we told you we spent some time looking into all this stuff.) 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 master volume control, so to get this sound you’d have to crank your “Mark III Super Amp” to max – just the thing to help you really make friends with the neighbors. Hendrix used Marshalls of this era; 20 years later Van Halen’s first two records owed their “brown sound” to a 100-watt Plexi. In order to get a crunch sound out of a Plexi you would likely crank up the input volume and the tone controls (to 10!). You’ll find that the Brit Classic, in keeping with our basic “make-it-sound-a-whole-lotlike-the-original” concept, is set up to do pretty darned near the same thing. Max out the Mid and Treble knobs and turn Bass to about 9 or 10 o’clock on your Flextone when using this Plexi-inspired Amp Model and you can treat those nice neighbors to a tasty slice of fat rock tone. 3•5 MODELED AMPS & CABS: WHICH AMPS AND CABS ARE MODELED? Brit Hi Gain - Turn to this Amp Model to conjure up tones of the coveted 3•6 JCM 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. We worked with a 1990 JCM 800 with Master Volume to develop this model. Incidentally, some versions of JCM800’s get their distortion from clipping a diode. The amp we modeled uses a tube for distortion. This is the metal sound Marshall made famous. Although not many people play Marshalls clean, it’s a great tone, so you should also be sure to check out this model with a low Drive setting, too. Of course, you can always pump up the drive and rage.... Rectified - This model is modeled after a 1994 Mesa Boogie Dual Rectifier Tremoverb. You can use this Amp Model to get that tight, high gain sound used by bands like Dream Theater or Metallica. Boogie made their mark in the late 70’s and early 80’s by adding master volumes and more gain stages to amps with Fender-style circuitry. You can hear the Fender heritage but with more “punch” in the mids. The Boogie Dual Rectifier’s tone controls are post-distortion and, as with the tone sections of most of the amps we based our models on, the individual controls interact with each other and with the Drive. With high drive settings, you can scoop the mids and crank the bottom end for some great Seattle grunge sounds. Modern Hi Gain - The Soldano 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 Flextone Modern Hi Gain Amp Model is based on one of Mike Soldano’s rackmount 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. MODELED AMPS & CABS: WHICH AMPS AND CABS ARE MODELED? Fuzz - Although not technically an amp, we felt that the unique tonal qualities of the classic 1960’s Arbiter Fuzz Face earned it a place among the amps modeled to create your Flextone’s Amp Models. This fuzz box used broad frequency transistor-based clipping. The result is a buzzing kind of distortion 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.... Line 6 Twang (Hold Tap + Line 6 Clean) - This model draws on our analysis of the '60s Fender blackface Deluxe amps and the '50s Fender Bassman. (It includes the classic Fender glassy high end, plus the snap and bite of these vintage amps.) Things don’t really get too crunchy until you get to the top range of the Drive knob. The tone controls provide more range than the blackface Deluxe or Bassman. Line 6 Crunch #2 (Hold Tap + Line 6 Crunch) - This sound was crafted during our studies of the '68 50 Watt Marshall Plexi. But unlike the Plexi, this Amp Model provides more wide-ranging tone controls. With the Plexi, once you’re overdriven, the tone controls really don’t do much, but your Flextone will allow you to scoop out the mids even at the highest Drive settings. 3•7 MODELED AMPS & CABS: WHICH AMPS AND CABS ARE MODELED? Line 6 Blues (Hold Tap + Line 6 Drive) - This tone is based on the '65 Marshall JTM-45 Bluesbreaker but incorporates wider range tone controls. Once you get into higher Drive settings, this Amp Model begins to transition into a variant of the Budda Twinmaster (a high end boutique amp) for sweeter overdrive tonality. 3•8 Line 6 Layer (Hold Tap + Line 6 Insane) - Line 6 Clean meets Line 6 Drive. As we’ve already mentioned, many guitarists and producers have experimented with running multiple amps simultaneously, with each amp making a contribution to the overall tone. Stevie Ray Vaughn, for example, would split his guitar signal to drive a Marshall, Fender, and Dumble Steel String Singer simultaneously to get some of the great sounds on his records. This Amp Model was produced by superimposing a “traditional” clean guitar tone and a particularly tweaked-up variant of the Line 6 Drive. The Drive knob acts as a blender control – fully left you’ve got big bottom 21st Century Clean, and fully right you’ve got paint-peeling Ultra-drive. Set it anywhere in between, and you get to have your cake and smear it all over your audience, too. Tube Preamp (Hold Tap + Jazz Clean) - Not even close to being a guitar amp, but once we got started, we just couldn’t stop ourselves. This Amp Model was developed for POD. The thinking went like this: ‘Once people get this POD, it’s gonna be so great that they’re gonna wish they could use it for everything – warming up keyboards, crunching up drums, fuzzing up vocals. We’ve gotta give ’em something to do that!’ So we did. And we’re giving it to you, too. The Tube Preamp Amp Model lets you warm up any sound source the way producers and engineers often do by jamming tracks through a guitar amplifier for playback, or through some vintage tube gear. For more “edge” on vocals, try running your vocal tracks through your Flextone. Or punch up (or munch up) a synth bass track by sending it through your Flextone and cranking up the drive and EQ controls to suit your taste. Although this is not actually a guitar amp model, you can even get some great guitar tones out of it. Also try using it as a direct box for bass. 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. You generally don’t want to mix the pre-Flextone sound with the post-Flextone sound because of the comb filtering MODELED AMPS & CABS: WHICH AMPS AND CABS ARE MODELED? that results. Instead, jack the sound source right into Flextone and then only monitor it post-Flextone processing. With the tone controls at 12 o’clock, the EQ is “flat.” Small Tweed #2 (Hold Tap + Small Tweed) - Modeled after a 1960 Tweed Champ, this is a great sound when the Drive is cranked (not bad clean, either). These amps were originally designed to be sold to beginners, but rock and rollers quickly discovered that you could get a great distorted sound at fairly low volume levels. Many of the classic guitar solos of the 50’s were recorded through a Champ. The Champ had no tone control, only volume. With your Flextone, it’s easy to get a classic Champ tone. Just leave all the Bass, Mid, and Treble controls parked at 12 o’clock, which means they are “flat,” making no contribution to the tone. Still, we’d hate to waste those things, so we figured out a way to put the Bass, Mid, and Treble controls to work without mucking about with the authenticity of this Amp Model. When using this Amp Model, all these tone controls are applied after the Amp Model processing, which essentially lets you EQ up your tone as you would do on a mixing console after recording your amp. Remember, for the authentic emulated sound of the Champ, set all the tone controls at 12 o’clock. Boutique #3 (Hold Tap + Tweed Blues) - This model is based on a Budda Twinmaster head. The Budda has a great, warm, Class A, sound. This was Budda’s first offering. The Budda philosophy is all about power tube distortion. Simplicity is the key. With relatively low front end gain, highly interactive tone controls, and tube rectifier “sag” it’s great at getting a classic cranked sound for small gigs and recording. Once again, since the Twinmaster has no mid control, we’ve added a little bonus in the form of some post-Amp Model mid contouring available via your Flextone’s Mid control. As usual, set this control to 12 o’clock to get groovy with the unadorned Budda-style vibe. Black Panel #2 (Hold Tap + Black Panel) - The classic blackface Fender Twin (in this case, a 1965 Twin) was a real workhorse. Everybody used it, from jazz and country players to serious rockers. I remember seeing Johnny Winter at a concert where both he and Rick Derringer – am I dating myself or what? – were using six 3•9 MODELED AMPS & CABS: WHICH AMPS AND CABS ARE MODELED? Twins stacked in a pyramid each. We were in the second balcony and it was REALLY loud even all the way back there. The Twin has a lot of tonal flexibility and is at home in a great many different situations. It never gets extremely overdriven and dirty, mostly just louder; a lot louder. This is the amp for the classic surf sound. Dial up the spring reverb, switch on the tremolo, crank up the volume, and look out for bikinis. 3 • 10 Brit Class A #3 (Hold Tap + Modern Class A) - Here’s another Vox-inspired Amp Model. This model is based on Channel 1 of a wonderful 1960 AC 15. The sound is similar to that of the Vox AC 30s that were studied for your Flextone’s Brit Class A and Brit Class A #2 Amp Models, but this is a smaller amp (one, instead of two, 12" speakers) with a warmer, more “woody” sound. Once again, the original amp had only a single tone control – a treble cut. We faithfully modeled that and then slipped in some post-Amp Model Bass and Mid contouring. Set the Bass and Mid in neutral (12 o’clock, or halfway up) and play with the Treble control to get yourself some of those classic British invasion sounds. Brit Class A #2 (Hold Tap + Brit Class A) - This Amp Model is based on the Normal Channel of a Non Top Boost Vox AC-30. As we mentioned in reference to the Vox AC 30 Top Boost, the early Vox amps were the first designed especially for electric guitar (Hey, some early amps from other manufacturers have Accordion inputs! Polka, anyone?), and used Class A power amp designs, rather than the much more common Class AB type. We were lucky enough to find what we are told was one of Bryan Adams’ favorite AC 30s for recording. Lenny Kravitz happened to be using it the week before we began testing. It was one of the gems in a great collection of vintage amplifiers offered for rental in Los Angeles, where Line 6 is located. We later bought this amp, and continued to hone our emulation of it to bring you the Amp Model it inspired in the Flextone. This is definitely a good place to start to get yourself some of those classic British invasion sounds. Like the AC 15 (above), the AC 30 NTB has only a single treble control, so your Flextone’s Bass and Mid controls here are set up for boost after the Amp Model processing to add a little extra flexibility without compromising the accuracy of the model. The 12 o’clock setting on these controls is flat response. MODELED AMPS & CABS: WHICH AMPS AND CABS ARE MODELED? California Crunch #1 (Hold Tap + Brit Blues) -The first of the “boutique” amp makers was probably Mesa Boogie. Boogie made their mark in the late 70’s and early 80’s by adding master volumes and more gain stages to amps with Fender-style circuitry. You can hear the Fender heritage but with more “punch” in the mids. This model is based on the Clean Channel of the classic Boogie Mark IIc, with the enhancements of the + version of the Mark IIc circuitry design. 3 • 11 California Crunch #2 (Hold Tap + Brit Classic) - And this Amp Model emulates the Drive Channel of the IIc+. Try your Santana licks here. Boutique #1 (Hold Tap + Brit Hi Gain) - Based on the Clean Channel of 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 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. Your Flextone’s tone controls on this Amp Model are quite subtle, like those of the Dumble itself. Rectified #2 (Hold Tap + Rectified) - This Amp Model is modeled after a 1995 Mesa Boogie Dual Rectifier head. As with the Tremoverb combo that was modeled for the POD Rectified Amp Model, 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. MODELED AMPS & CABS: WHICH AMPS AND CABS ARE MODELED? Modern Hi Gain #2 (Hold Tap + Modern HiGain) - This sound is modeled after a Soldano SLO – Super Lead Overdrive – head. With snake skin tolex and everything! Unlike the X88R preamp used for the Flextone Modern Hi Gain Amp Model, the SLO includes a presence control, plus other little details that give it a bit of a different sound. With the Drive control cranked way up, you’ll get sustain for days.... Go out’n’ave a bite – when you come back it’ll still be sustaining! 3 • 12 Boutique #2 (Hold Tap + Fuzz) - Based on the Dumble Overdrive Special Drive Channel (just described). If you like the Dumble sound, you might also want to check out the Line 6 Crunch model – it was created to deliver a similar kind of tone. MODELED AMPS & CABS: WHICH AMPS AND CABS ARE MODELED? Cabinet Models - The following Cabinet Models are available, and are accessed by holding the Tap button and turning the Effects knob: 1x8 1960 Fender Tweed Champ 1x12s 1952 Fender Tweed Deluxe 1960 Vox AC-15 1964 Fender Blackface Deluxe Line 6 1x12 2x12s 1965 Fender Blackface Twin 1967 Vox AC-30 1995 Matchless Chieftain Line 6 2x12 4x10s 1959 Fender Bassman Line 6 4x10 4x12s 1996 Marshall with Vintage 30s 1978 Marshall with stock 70s 1968 Marshall Basketweave with Greenbacks Line 6 4x12 No Cab You will probably want to use this Cabinet model with the Tube Preamp model for non-guitar sources. It is selected by default when you pull up the Tube Preamp Amp Model. The Cabinet Model is automatically selected by the Amp Model. You can customize these Amp/Cabinet pairings, as described in Chapter 5. 3 • 13 FLEXTONE EFFECTS: DEEP EDITING FLEXTONE EFFECTS DEEP EDITING For tweak heads and MIDI-philes, we’ve included a handy MIDI editor/librarian program which is made by emagic, and called SoundDiver. The program runs on Macintosh and Windows computers, and can turn your computer into a Flextone command station. It lets you take “remote control,” and do everything that can be done from your Flextone’s top panel, plus a bunch of other cool stuff like saving and swapping sounds on the computer, as well as accessing additional effect parameters that lurk deep within the heart of your Flextone. All the details are in the Deep Editing & MIDI Control chapter. Once you’ve looked over the basic information below on the effects, you may want to check out that chapter to find out about the extras that a Flextone-computer-MIDI connection can bring you. ONBOARD EFFECTS In addition to all the great Amp Models built into the Flextone, there are some great sounding effects. To pick which effect you want to hear, turn the Effects Knob ( 9 ). When you first select the Effect you want, your helpful Flextone will preset the effect’s parameters so you’re instantly ready to go with a great sound (you can also customize this effect “preset” as described in Chapter 6). You can adjust the character of the effect you’ve chosen by tapping the Tap ( 13 ) control, and turning the Effect Tweak ( 8 ) knob like so.... 4•1 FLEXTONE EFFECTS: 4•2 ONBOARD EFFECTS Reverbs - Reverb is the effect that makes it sound like something is in a room. It’s basically a whole bunch of echoes smeared together to give you a sense of sound in an ambient space. With the Flextone, Reverb is always available. You control how much with the Reverb knob. There are two basic reverbs in the Flextone; a model of a spring reverb, and a standard digital room reverb tone. Which one you get depends on which Amp Model you select. The reverb type is chosen when you select an Amp Model. (And you can customize this Amp Model/ Reverb Type pairing as described in Chapter 6.) Generally speaking, if the amp that inspired a given Amp Model had a spring reverb, we give you the spring reverb. If the amp didn’t have a reverb (like the 1968 Marshall “Plexi” which inspired the Brit Classic model), we’ve given you the room reverb. The back cover foldout and Appendix A run down the details on the standard pairings of the Amp Models/Reverb types. Compressor - A compressor “squeezes” your sound so that the softer sounds are louder and the louder sounds won’t be as loud. It helps to even out your playing, and can also be used to give increased sustain. Compression is often expressed in ratios, like 2:1 or 5:1. The higher the ratio, the less difference there is between your softest and loudest playing. The Tweak knob will control the compression ratio. There are 5 settings: 1.4:1, 2:1, 3:1, 6:1, and :1. (The figure eight on its side means “infinity.” With Effect Tweak set to max, you get infinite compression, which is the same as having a limiter.) The compressor is pre-Amp Model processing, so it’s like having a compressor pedal as part of your setup. FLEXTONE EFFECTS: ONBOARD EFFECTS Tremolo - Modeled after the classic Fender tremolo. The Effect Tweak knob controls the depth; Tap controls the speed. The tremolo speed will be twice as fast as you tap (and twice as fast as the Tap light flashes), allowing you to set fast tremolos without having to tap like a madman. Chorus - You’ll find two different chorus sounds in your Flextone. Chorus 1 is modulated by a square wave, so it sounds more like a “rackmount effect” type chorus. Chorus 2 is modulated by a sine wave with more feedback, so it has a richer harmonic content with more movement. Chorus 2 was massaged to closely approximate the classic tone of an old Roland CE-1 box. The Effect Tweak knob spins you through a range of chorus settings from subtle to extreme; Tap controls the speed of the effect. By the way, if you want to get a really slow chorus, you have to tap really slow – try about 6 or 7 seconds between taps. And if you don’t like that, remember that you can always set your tempo by holding down the Tap button and then twisting the Effect Tweak knob to wherever you want to go. Flanger - Flanging is that familiar “jet-plane” whoosh you remember from recordings of the 70’s. Originally the effect was used rarely, mostly because engineers had to use finger pressure on one of the tape reels to slow down and speed up the tape in tiny increments to get this effect. Since the part of the tape reel they pressed on is called the flange, you can see how the effect got its name. As soon as someone figured out how to get this effect electronically, it was no longer rare and was probably used a little too much for the next several years. We’ve got two flavors of flanging available on your Flextone, both of which closely model the tone of an old ADA flanger stomp box. Flanger 1 is a light flange with no pre-delay, and is subtler than Flanger 2, which is inverted, and has a deeper range (depth). The Effect Tweak knob gives you a range of Flanger effects from just a bit to Holy Cow! Tap dials in the speed. 4•3 FLEXTONE EFFECTS: ONBOARD EFFECTS Rotary - This effect simulates the effect of a mic’d, rotating high frequency speaker horn, like on a Leslie. Rotary speakers have two speeds: slow and fast. We’ve set up your Flextone’s Rotary Speaker emulation to select a fixed slow speed if you tap slowly, and a fixed fast speed if you tap quickly. When you switch from one speed to the other, you’ll notice that the speed doesn’t change immediately, but gradually changes from one speed to the other, just as a real rotating speaker’s speed would ramp from one setting to the other. The Effect Tweak knob controls the amount of Doppler effect (pitch modulation); Tap controls the speed. 4•4 Delay - Sometimes referred to as echo or slap back. The Effect Tweak knob controls the level; Tap controls the delay time – in other words, how far apart the echoes are spaced from each other. When you are using quicker delay times, we cut down the number of repeats so you can get those rockabilly and surf slap back sounds. You can fine tune the number of delay repeats by holding the Tap button and turning the Bass knob, set the delay level by holding the Tap button and turning the Middle knob, and fine tune your delay time by holding the Tap button and turning the Effect Tweak knob. By the way, we let you set the maximum delay level high enough that your delay’s echoes can be louder than your direct signal. You may find this handy for getting delay effect setups like U2’s The Edge is known for. If you’re using your Flextone with a Floor Board or MIDI control, the delay is always available, even when some other effect is selected. Just switch it on from the Floor Board Delay On/Off switch, or from the Emagic Sound Diver software, or with a MIDI Controller message (Appendix D lists MIDI Controllers). FLEXTONE EFFECTS: ONBOARD EFFECTS Noise Gate - Your Flextone also includes a built-in noise gate, intended to reduce the hiss and noise guitar systems tend to put out when you’re not playing, especially at high gain settings (since high gain means that noise is turned up along with your guitar sound). The Noise Gate is can be turned on and off by holding the Tap button, and turning the Reverb knob, as described in Chapter 2’s section on the Tap (HOLD) functions. Any time you want to disable the noise gate, hold down the Tap button, and turn the Reverb knob to any position below 12 o’clock. While you’re doing this, the Channel D light will show whether the gate is on (light on) or off (the light ain’t on). While holding the Tap button, turn the Reverb knob above 12 o’clock, and the noise gate will kick in and your hiss magically disappears.... 4•5 FLEXTONE EFFECTS: COMBINED EFFECTS COMBINED EFFECTS The rest of the effects are combinations of Delay and one other effect. They should be fairly self-explanatory. Tap sets the delay speed for all these effects. Remember that the Delay Repeats (Tap + Bass knob) and Delay Level (Tap + Middle knob) controls are also available with all these effects. (Details are in the Tap (HOLD) description in Chapter 2). 4•6 Delay/Compressor - Tweak controls Compression Ratio. Delay/Tremolo - Tweak automatically controls both speed and depth to give you a variety of Tremolos. If you want more fine control of the Tremolo, use the Tremolo (without Delay) effect setting. Delay/Chorus 1 - Tweak spins you through a variety of chorus settings. Delay/Chorus 2 - Tweak spins you through a variety of chorus settings. Delay/Flanger 1 - Tweak spins you through a variety of flanger settings. Delay/Flanger 2 - Tweak spins you through a variety of flanger settings. Delay/Swell - Well, here’s one we haven’t explained before. Swell is like an automatic volume pedal that will give you a very even volume swell with each note or chord you play. Effect Tweak controls the attack speed of the volume swell. You can, of course, achieve a similar effect by using a Line 6 Floor Board with your Flextone, and riding its volume pedal, by using a MIDI pedal or other controller, or turning the volume knob on your guitar with your the heel of your picking hand. Or spin the Effects knob here and have your friendly Flextone do the job for you! CREATING & STORING SOUNDS: USING THE MANUAL MODE FEATURES CREATING & STORING SOUNDS USING THE MANUAL MODE FEATURES When you are in the Manual Mode of the Flextone, all of the controls are active and the sound of the amp always reflects the knob settings. Sounds just like any ordinary guitar amp, doesn’t it? Who says technology is threatening? You know you’re in Manual Mode, by the way, whenever the Manual button is lit (but you probably already figured out that part). Play with the knobs until you get a sound that you really like. At this point, you can either follow tradition and put tiny little pieces of tape on the amp or mess it all up with grease pencil to mark your favorite settings, or you can take a bold step into new technology and save your sound to one of the Flextone’s memory locations. Which we’re about to tell you how to do in the next section of the manual, appropriately titled… USING THE CHANNEL MEMORIES So, there you are with a sound that you really like – wouldn’t it be nice to be able to call it up any time you want it? That’s simple once you have it stored into one of the Flextone channel memories. How do you do it? Just press the Save button ( 12 ). It will start to flash. Press the Channel Select ( 11 ) button (A, B, C, or D) for the location where you want to store the sound. It will start to flash. Once you’re finished staring at the flashing lights, press the Save button a second time. The lights will stop flashing, and the sound is stored at the location you chose. Doesn’t get much simpler than that. After the sound is stored, you can bring it back any old time by simply pressing the button for the location where you stored it. (See Chapter 6 to learn how to do all this with your feet on the Floor Board).If you decide that you don’t want to store the sound after you’ve got all the lights blinking, pressing the Tap or Manual or Tuner buttons will abandon the save. (Save mode will also be canceled if you don’t press any buttons for 5 seconds after having pressed Save.) 5•1 CREATING & STORING SOUNDS: TONETRANSFER TONETRANSFER Flextone Sounds on the Web Your Flextone gives you access to a constantly-expanding world of sounds. Visit the ToneTransfer Web Library at www.line6.com and you’ll find a growing collection of sounds for your Flextone, created by Line 6 users around the world. The SoundDiver software included on the CD with this manual will help you store, organize, and transfer your sounds. 5•2 Your Flextone Sounds Transfer to POD and POD Pro The sounds of your Flextone are compatible with POD, POD Pro, and of course all the Flextone II series amplifiers, so you can use your sounds with any of these products. Use your Flextone for practice sessions and live gigs, and then transfer your sounds to a POD Pro when you go into the studio. For more information on POD or POD Pro, visit www.line6.com. Swapping Flextone Sounds With Friends OK, so you go over to a friend’s house who also had the good taste and intelligence to buy a Flextone. He’s created this awesome sound that’s stored in the Channel A location. You’ve got to have this sound so you can write the song that’s going to make you rich, but your friend forgot to make a copy of the Sound Programmer’s Sheet on the back of the Flextone manual and write down his settings. (Perhaps we can learn a valuable lesson from this: always back up your work!) Do you have to give up your dreams of rock and roll success and spend the rest of your life cleaning bird cages to pay the bills? Luckily, we thought this one through in advance. We provided you with a way to get those settings. Just press and keep holding the Save button on your friend’s Flextone and turn any one of the Flextone’s knobs (except the Master Volume knob – that one’s not saved into programs). You’ll notice the Manual light comes on. Don’t worry, holding down CREATING & STORING SOUNDS: TONETRANSFER the Save button won’t cause your settings to be altered or cause Save Mode to be entered. Instead, when the knob position exactly matches the stored setting, the Manual light will turn off. After you’ve done this for every knob and noted the Tap speed, you can write down the settings on the Programmer’s sheet, take it home, enter it in your own Flextone, and write the anthem for a future (or past) generation. And be sure to thank us in the album’s liner notes. To check that you’ve got everything just right, once the knobs are set, you can also switch to Manual Mode and see if the sound changes. (It shouldn’t change, unless the Tap speed is different.) If that sounds too complicated, and you have a MIDI cable handy, flip ahead to Chapter 7: “Deep Editing & MIDI Control” to find out how to swap sounds between two Flextones (or your Flextone and a POD or POD Pro) with MIDI. It’s also possible to swap Flextone sounds on computer, using the emagic SoundDiver software – for both Macintosh and Windows computers – that’s included on the CD with this manual. 5•3 CREATING & STORING SOUNDS: EDIT MODE EDIT MODE 5•4 Alright, so let’s say you’ve got that sound you saved in one of the Flextone’s handy channel memories, and you want to add some more Bass. No problem. If the channel’s not already selected with its button lit, press that button to recall the sound. Now, grab the Bass knob and crank it up. The Save button lights up, letting you know that you’ve made a change to your stored setup, and (if you like it better that way) you should use the Save button to save it. This is what’s called Edit Mode since you’ve done just that: edited a stored channel. To commit your edit to the Flextone’s memory, press Save and then the button corresponding to the channel you want to save to. But, if you don’t want to save your edit, that’s OK, too – just ignore the Save button. If you decide not to save after pressing Save, you can touch the Manual or Tap switch to abandon saving. Keep in mind that if you switch to another channel without saving your edit, all your sound changes made during that edit will be forgotten. CUSTOMIZING AMP MODELS & EFFECTS New with the II in Flextone II, you can customize the settings that are called up by the Amp Models and Effects knobs. Using this powerful new feature, you can pack your Flextone with all the special sound genius that only you possess, and have this brilliance available instantly at the turn of a single knob. Here’s how it’s gonna work.... About Customization Mode Hold (and keep holding) the Save button, then press the Manual button. The Save, Manual, A, B, C, and D lights will all start a-flashing (and you can let go of those buttons now). You have entered the Customization Mode where you get to put your very own stamp on the settings called up by the Amp Models and CREATING & STORING SOUNDS: CUSTOMIZING AMP MODELS & EFFECTS Effects knobs. To understand how this Customization works, we’ll start by explaining what happens when you turn the Amp Models and Effects knobs: Turning the Amp Models knob picks an Amp Model, and turning the Effects knob picks an effect, right? Actually, each of these knobs is setting a number of parameters behind the scenes. When you pick an Amp Model, your Flextone sets the following controls to values determined by the Amp Models knobs: Controls affected by the Amp Models Knob Amp Model Cabinet Model Drive Drive 2 (if Amp Model is Line 6 Layer) * Bass Middle Treble Bright Switch (if available on Amp Model) * Channel Volume Distortion On/Off (Hold Tap, turn Drive to set) Volume Boost On/Off (Hold Tap, Turn Channel Volume to set) Presence Bump On/Off (Hold Tap, Turn Treble to set) Noise Gate On/Off (Hold Tap, Turn Reverb to set) Noise Gate Decay Time * Reverb Type * Reverb Decay * Reverb Tone * Reverb Diffusion * Reverb Density * Volume Pedal Location (before or after the Amp Model) * Volume Pedal Minimum * Wah Minimum * Wah Maximum * *You only get access to these extra controls via the SoundDiver software or MIDI. 5•5 CREATING & STORING SOUNDS: CUSTOMIZING AMP MODELS & EFFECTS In the same way, turning the Effects knob sets all the parameters related to the effect you choose. Customization allows you to store your own personal favorite adjustments for all these parameters so they live on the 16 positions of the Amp Models and Effects knobs. This way, when you turn the Amp Models knob to the Rectifier position, you’ll get your personal Rectifier, with all the controls in the list above set for your very own version of the Rectifier. Same thing for the Effects – your Chorus, Tremolo, etc. is always just one knob click away. 5•6 So where is stuff going to be saved, exactly? If you’re customizing the Amp Model, then you’ll be saving to the knob position of the selected Amp Model. For instance, if your sound uses the Rectifier, and you do the Customized Save of the Amp settings, you will now get those settings whenever you turn the knob to the Rectifier position. Alternatively, if your sound uses the Small Tweed, then doing the Customized Save will save your settings there. Your Flextone will choose the correct place to store the information regardless of the present physical position of the Amp Models encoder – so don’t worry, you can’t accidentally copy your Modern HiGain settings to the Small Tweed position. Same deal goes for the effects; your Flextone knows whether you’re using Tremolo or Rotary Speaker or whatever, and will save to that knob position. So what if you’re not sure which Amp Model or effect you are using right now, and want to find out before you make your Customization? That’s easy, too: Just press (and keep holding) the Save button and turn the Amp Models or Effects knob. The Manual light will come on (as described above) if you’ve got the knob pointing to anything other than the saved position. Once you have them in the right position, both the Manual light will turn off. The Tap light will also light solid if your Amp Model is part of the second “layer” of models (17-32). So, now that you know exactly what you’re getting yourself into, lets get to it: CREATING & STORING SOUNDS: MEMORY RESET Activating Customization Mode The first thing to do is get an Amp or Effect setting that you really like and want to store to the Amp Models or Effects knob. This amp or effect setting can come from a factory preset, one of your own edits, a sound you downloaded off the web, or a sound you’ve tweaked up in SoundDiver. Whatever its source, all you have to do is get that sound into your Flextone so it’s active and you’re playing though it. With that done, you’ll hold (and keep holding) the Save button, then press the Manual button. The Save, Manual, A, B, C, and D lights will all start a-flashing (and you can let go of those buttons now). You have entered the Customization Mode. If you press the A button now, you will instruct your Flextone that you want to save your present Amp settings to live on the Amp Models knob. If you press B, your Flextone will understand that you want to save your current effects setting to the Effects knob. And then you’ll press the SAVE button to finalize your choice. Got it? Here are the steps in handy list form: 1. Get an amp or effect you love happening on your Flextone. 2. Hold Save, and press Manual. Save, Manual, A, B, C, D lights flash. 3. Press A (Amps) or B (Effects). (Pressing C or D will activate a MIDI dump, as described in Chapter 7.) 4. Press Save to complete the deed. MEMORY RESET If, for any reason, or just for the sheer mad joy of it, you decide you need to reset your Flextone’s memory to its factory-programmed state, hold down all 4 channel buttons (A, B, C, and D) and power up the amp. That’ll blow your Flextone’s memory and reset it just like it was when it left the Line 6 factory. Warning: This will erase ALL the channels, as well as the custom amp and effect settings you might have created. So be sure and ask yourself “Do I really want to do this?” If the answer is yes, go on ahead with your bad self. 5•7 THAT’S USING YOUR FEET: FLOOR BOARD THAT’S USING YOUR FEET You really get the most out of your Flextone with a foot controller. Two different foot controllers can be used with your amp: Line 6’s Floor Board and FB4. FLOOR BOARD Using the Floor Board with the Flextone lets you access many features of the amp that are not available otherwise. This all-steel chassis, oh-so-stylish foot control wonder gives you plenty of stuff: A volume pedal. A wah pedal with a Crybabystyle toe-down on/off switch so you can kick the wah effect in and out. A built-in chromatic digital guitar tuner. Stomp box-style on/off control of your Flextone’s effects. Plus, 32 additional channels for storing your programmed sounds. This brings the total to 36 channels, and, of course, they all come already loaded with monstrous tones programmed by the incredible tone mavens at Line 6 right after they finished writing this manual. If you haven’t already discovered the back panel foldout, get set for a surprise. If you have, go ahead and jump to the next paragraph. Still here? Alright – flip to the inside back cover of this manual. Hmm, looks like the cover is all folded up. Unfold it, and hey, presto! It’s your very own Flextone road map. The idea is to have this handy pictorial reference always opened out while you’re breezing through this manual and becoming an expert on all things Flextone. The boxed numbers throughout the following text refer to the fold out illustration. Getting Connected So, how’s that Floor Board work, exactly? Well, the very first thing is to plug it into your Flextone with the handy cable that came with your Floor Board. We 6•1 THAT’S USING YOUR FEET: FLOOR BOARD recommend you turn the Flextone off first, but you do whatever you feel like – it’s your amp! Then, plug in your guitar, turn on the Flextone (scared you, didn’t we?) and just press that Volume Pedal on the far right side of the Floor Board ( 19 ) all the way forward so you can hear something. TWO MODES The first thing to know is that the Floor Board has two Modes of operation: Channel Select Mode, and Effect On/Off Mode. The Mode Select switch ( 14 ) chooses which mode you’re in. 6•2 Mine Looks Funny: Your Floor Board may look a little different than the one illustrated on the Flextone manual’s fold out back cover. Older Floor Boards have the label Select Sound instead of Channel Select. We decided to change the name to Channel Select for this mode, since that’s, in fact, what you do with it. We changed Sound A, B, C, D to Channel A, B, C, and D, too. However the Floor Board’s decorated, it works the same. 1. CHANNEL SELECT MODE Let’s start with Channel Select Mode. Note the line that traces from the Mode Select switch ( 14 ) and points to the two light-up arrows below. The top arrow lights if you’ve selected Effect On/Off, and the bottom arrow lights if you’ve chosen Channel Select mode. Give that Mode Select switch a kick if necessary, and get that lower arrow (Channel Select) lit. Banks The two left-most stomp switches on the bottom row ( 15 on your handy back cover foldout Floor Board diagram) are labeled Bank Down and Bank Up. A Bank is a section of the Flextone’s memory that holds four channel settings. The THAT’S USING YOUR FEET: FLOOR BOARD Flextone combos have nine memory banks, for a total of 36 channel memories. These memory locations come pre-loaded with some tasty little tones created at Line 6, but you can change them into whatever you want, and store those changes back into one of the memory locations. The Floor Board notes that you can press the Bank Up & Down buttons at the same time to switch between Preset and User Banks. This doesn’t apply to Flextone II. (When we added the II, we made all memories usereditable in response to our customer requests for this feature.) When you’re using a Flextone without a Floor Board, by the way, you’re always in Bank 1. With the Floor Board, you’ve got a choice of 1 thru 9. You know which Bank you’ve got because the Floor Board’s display ( 16 ) will show you. Channel Select So, now that we’ve got this whole Bank thing down, let’s move onto the other four switches on the bottom row. These let you pick which of the four channels – A, B, C, or D – you want to use in the bank you’ve selected. Pick your Bank ( 15 ), hit one of the Channel Select switches ( 17 ), and you’re ready to roll. Manual Mode Hey, what about Manual Mode? Don’t worry – you can get there any time. Let’s you have a particular Channel selected. The channel’s corresponding light is lit above its Floor Board Channel Select switch, right? OK, step on this switch a second time and hold it for at least a second. Boom! You'll find yourself transported directly to Manual Mode. The Floor Board display will show a zero. To get back out of Manual Mode, use the Bank Up or Bank Down foot switches and you’ll be switched right back to wherever you were when you entered. 6•3 THAT’S USING YOUR FEET: FLOOR BOARD Editing and Saving Channels with the Floor Board The basic story on editing channels is in Chapter 5 of this manual. With a Floor Board you’ll find that the display ( 16 ) will show an E (for “Edited”) whenever you’ve edited a channel. It will display an S (Save) if you press the Save button on the Flextone in preparation for saving a channel. When you decide you want to save an edited channel, you can select any of the locations via the Floor Board as your destination. Here’s how: 1. 2. 3. 6•4 EDIT A CHANNEL’S SETUP TO YOUR LIKING. PRESS THE SAVE BUTTON ON THE FLEXTONE. PICK THE MEMORY BANK YOU WANT TO STORE TO WITH THE BANK UP AND BANK DOWN SWITCHES ON THE FLOOR BOARD. 4A. ON THE FLEXTONE, PICK THE CHANNEL MEMORY LOCATION (A, B, C, OR D) YOU WANT TO SAVE TO WITHIN THE SELECTED BANK, AND 5. PRESS THE SAVE BUTTON TO COMMIT THE SETUP TO THE FLEXTONE’S MEMORY. OR, 4B. SKIP 4A AND 5, AND JUST KICK YOUR CHOSEN FLOOR BOARD CHANNEL SELECT SWITCH TWICE TO SAVE THE SETUP INTO THAT CHANNEL. Tap Tempo Now, then, how about that handy Tap Tempo thing on your Flextone? Sure would be nice to be able to change the speed of your effects without taking your hands off your guitar, wouldn’t it? That’s what the Tap Tempo ( 18 ) foot switch is for. The light to the left of it (you’ve already probably been entranced by it as it pulses away), flashes just like the Tap Tempo button on your Flextone to let you know the speed of your effect. To change this speed, all you’ve got to do is tap on this Tap Tempo switch. THAT’S USING YOUR FEET: FLOOR BOARD Tuner Well, Tap Tempo/Tuner switch, really( 18 ). Hold that puppy down for a second or more and – shazam! Instant digital chromatic tuner. All TubeTone and effects processing are bypassed so you can hear those questionably-tuned strings clearly, should you choose to do so. If you’d rather appear more professional, don’t worry; the volume pedal still works. Play a note on your guitar and the Floor Board will show you what it is in that handy display ( 16 ). Play that string again, give its tuning key a spin, and the six LEDs above the bottom row of Floor Board switches give you a light show. The idea is that the LEDs to the left light if you’re flat. The LEDs to the right light if you’re sharp. And the two LEDs in the center will light at the same time when you’ve got it just right. Give any one of the Floor Board’s switches a stomp and the tuner disappears just as swiftly as it came and you’re right back to Channel Select Mode. What if you want to tune to a different reference than A=440Hz? When you’re in the tuner mode, turn the Mid knob on the Flextone while watching the display on the Floor Board. Hey, it changes! You can set the reference frequency anywhere from 435-445Hz. This setting is stored so you don’t have to reset it every time you turn on the amp if you decide you want to be different (or if that piano in your rehearsal room has decided to be different). Wah Pedal So how about that Wah pedal? It’s the one on the left ( 19 ). Get yourself planted with your foot on there nice and comfortable. Now, press down with your toes, let go, and do it again. You should see a little light turning on and off to the left of the Wah pedal. When the light’s on, the wah’s on. When the light’s off, the wah’s off. Neat. Incidentally, the Flextone Wah is modeled after a late 60’s Vox wah, with plenty of “growl” in the heel back position. Now then, turn the wah light on, switch to the Black Panel Amp Model, set your Drive to about 5, and do a little fast rhythm playing while you rock back and forth to the beat on that wah pedal. Hang a disco ball, unbutton your shirt to your navel (assuming you don’t have it that way all the time), hang some gold chains around your neck, and get ready to party! You can do subtle things with the wah pedal too, like turning it on just a tiny bit and leaving it there, just barely caressing your sound. But then, that’s not as much fun as playing the theme to “Shaft,” is it? 6•5 THAT’S USING YOUR FEET: FLOOR BOARD Volume Pedal Not nearly as fun as the wah pedal, but arguably more useful (and it doesn’t require you to have Very Large Hair to use it convincingly). Put your foot up on that thing ( 19 ). It’s the one on the far right. Press the volume pedal forward with your toes for loud, and back with your heel for quiet. The volume pedal is tapered for a very musical swell. It starts out slow and then gets faster as you move your toe down, very much like an Ernie Ball volume pedal. 6•6 Many guitarists used to switch potentiometers in their volume pedal if they wanted to gradually swell an extremely overdriven tone. The Flextone is hip enough to know about this. When you select a low gain Amp Type (to the lefthand side of the 16-position switch) the Flextone automatically chooses the normal volume pedal taper and sets up the volume pedal to control the guitar’s volume before the preamp. Then, when you select a high-gain amp type, the Flextone changes the taper and re-patches the volume pedal location to be postpreamp, as this is the more valuable position for a volume pedal with this kind of amplifier tone. Details are in Appendix A. 2. EFFECT ON/OFF MODE Alright. So that wah pedal was pretty fun, but now you want to get down to some business with the rest of your Flextone effects. This is where we get to light up that top arrow of the pair that the Mode Select switch points to. Press the Mode Select switch ( 14 ) to get that arrow lit. Now, notice that the six stomp switches that we were using for the Channel Select Mode also have an alternative set of labels. This top row reads Distortion, Drive, EQ, Trem/Chorus, Delay, and Reverb (but you’re already seeing that on the handy fold out illustration and on the Floor Board itself, right? OK, just checking.... And you sent in your registration card, right? It always makes us really happy to get those things). The light above a stomp switch will be on if the Effect that it controls is on. The light will be off if the effect it controls is off. There goes that easy to use technology again.... THAT’S USING YOUR FEET: FLOOR BOARD Distortion The Distortion on/off switch works kinda like a distortion pedal. With a distortion pedal, you kick the Distortion on, and your sound is more distorted. You kick it off, and your sound is less distorted. Same thing here. What this does in actuality is increase the Drive of your Flextone. Distortion always can add more Drive to your sound, even if the Drive ( 4 ) knob is already crammed up to max. Thus, finally, you can get everything turned up louder than everything else. Drive/Boost Depending on when you buy your Floor Board, you may find that the Drive/ Boost switch is just labeled Drive instead. What gives? While the switch does control Drive on our other Digital Guitar Amplification Systems, on the Flextone it is actually setup to give you a Volume Boost. Our users asked us to put in this kind of capability – an easy to use volume boost/cut control – so here it is. The idea is that you can use this for a “lead boost” when you want to get a bit of extra volume and jump out over the band, or a “rhythm cut” when you want to drop your volume back a bit – like when you switch from lead to rhythm parts. With Drive/Boost on, you’re getting the full, boosted volume. With Drive/Boost off, your volume is backed off a bit. In light of all this good stuff, newer Floor Boards label this control Drive/Boost. Of course, we fully expect that those “vintage” Floor Boards will be highly prized in the future because of this. EQ The EQ on/off switch will kick in a presence boost of 3-6 dB, depending on which amp model is chosen. The abbreviation “dB” stands for decibels, a measure of sound volume. A “presence boost of 3-6 dB” is just a fancy way of saying your sound gets a bit brighter. In keeping with our attention to amp tone detail, the frequency range covered by the presence boost varies according to how the original amp that we modeled had its presence circuitry set up. 6•7 THAT’S USING YOUR FEET: FLOOR BOARD Trem/Chorus The Trem/Chorus on/off switch lets you kick your tremolo and pitch mangling effects (it says chorus, but it’s really chorus, flanger, tremolo or rotary speaker) on and off. Light on, effect on. Light off, effect off. Delay The Delay on/off switch turns your Delay effects on – light on. Or off – light off. Reverb 6•8 Bet you can guess this one already. Light on – reverb-o-rama. Light off – bone dry. Effect On/Off Settings Stored With Programmed Channels OK, this part’s mostly for the people who fret about all the little details that make other people think, “Wow, you’re way too concerned about all the little details!” What happens if you turn some of these handy effects off and on and then you save your setup into one of your User Channel memories? The effect on/off status gets stored, too. Cool. Now, what happens when you decide to head over to your friends’ house to show then how cool your Flextone is, and you jump on your bike, and decide taking the Floor Board along is too much hassle, so you leave it behind, pump the pedals while holding your Flextone on the handlebars with your chin, strut into your friends’ place trying not to look like you’re out of breath, plug in your Flextone, recall your FAVORITE setup from the handy channel select buttons, go to play that incredibly classic-sounding Ultimate Tremolo setup that you know is going to have your friends turning pale and quivery with envy, even if they do think you're too concerned about all the little details, and then it hits you – you turned the tremolo off from the Floor Board and stored the setup like that. Feel foolish, don’t you? Let that be a lesson – never leave your Floor Board behind. Especially when there are friends to impress. But we hate to see you suffer. So THAT’S USING YOUR FEET: USING THE FB4 WITH THE FLEXTONE here’s how to save your bacon: just grab the Effect Tweak ( 8 ) knob and give it a spin. Magically, your tremolo is back to make you a hero once again. That’s because a particular effect’s on/off status is overridden if you tweak that effect’s setting. So tremolo/chorus on/off comes on when you move the Effect Tweak knob to change your Tremolo, Chorus, Flanger, or Rotary Speaker setting. Ditto if it’s Drive or Delay or Reverb. And the opposite is true for Distortion and the EQ bump – these are automatically switched off if you tweak something related to them. So if you move the Drive knob ( 4 ), the Distortion turns off. Or if you move the Bass, Mid, or Treble knob ( 5 ), the EQ bump turns off. But only if the Floor Board’s not connected. See? A bunch of little details. Getting a headache, aren’t you? The important thing is, if you save channels with effects on or off and then you don’t have your Floor Board, no worries – we’ve made sure it doesn’t cause you problems. That’s it for the Floor Board section. Fun, wasn’t it? 6•9 USING THE FB4 WITH THE FLEXTONE The FB4 gives you basic control over channel switching on the Flextone. We tried to make it as simple as possible. Turn off the Flextone. Connect the FB4 to the Flextone with the thoughtfully-included connection cable. Turn on the Flextone. Select Sound A, B, C, or D by pressing the appropriate button on the FB4. The light will come on to indicate that the channel is selected. If you press and hold down the button at the lit channel for about a second, your Flextone will switch to Manual Mode. If you tap the button at the lit channel two (or more) times, it will set the Tap Tempo speed. And finally, if you unplug the FB4 from your amp and tap on one of its switches, nothing will happen. Note: For those aware of the extra banks of sounds accessible via the Floor Board, you’ll want to know that the FB4 is always selecting sounds from Bank 1 – the same four channels that are accessible from the Flextone itself. Deep Editing & MIDI Control: MIDI BASICS DEEP EDITING & MIDI CONTROL MIDI BASICS What’s MIDI? MIDI (Musical Instrument Digital Interface) is a communications protocol designed to let various music-making machines exchange information. It allows one device to control another, and several devices to all be used together in coordination. In/Out Your Flextone has two MIDI connections: In & Out. You connect your Flextone to other MIDI devices by connecting MIDI cables to these connections. Each connection is a one-way street: information flows from the OUT of one device to the IN of another device. To allow information to flow back, you must connect a second cable, from IN to OUT. MIDI Channel MIDI allows 16 different channels of information to be transmitted and received through one MIDI cable. The MIDI channel is independent of, and has nothing to do with, Flextone’s channels for storing individual sound programs. Flextone is always listening to MIDI Channel 1. Make sure that any other device you want the Flextone to talk to is tuning into MIDI Channel 1 also. 7•1 Deep Editing & MIDI Control: MIDI BASICS MIDI Messages MIDI allows several different kinds of messages, each with a different purpose: MIDI Program Changes - Program change messages tell a device to switch from one sound or memory to another. With your Flextone, program changes change channels. So, for instance, when your Flextone receives program change number 1, it will select Bank 1, Channel A. When it gets program change number 2, it will select Bank 1, Channel B. And so on, as the chart in Appendix C shows. 7•2 MIDI Controllers - MIDI controller messages allow you to control a device’s parameters in real time. So, for instance, you can use a MIDI controller to vary the setting the of your Flextone’s Drive control, or the Reverb level. Each of your Flextone’s parameters are mapped to a MIDI controller, so you can take full control of your Flextone. The chart in Appendix D lists each Flextone parameter, the controller assigned to it, and how that controller affects the amp. Note that the wah and volume pedals of the Floor Board also transmit MIDI controller messages via MIDI when used with your Flextone. To minimize “zipper” noise when controlling parameter changes via MIDI, try making gradual, rather than sudden changes to Flextone settings. MIDI Sysex Commands - Sysex stands for “System Exclusive.” Sysex commands are special commands that only a particular device understands – they are ‘exclusive’ to that device – as opposed to the more generic kind of program, controller, and other messages that almost all MIDI devices understand. Your Flextone uses Sysex to transmit the sounds that are programmed in its memory to another device, or to receive new sounds from another device. This exchange of data is typically called a “dump.” The emagic SoundDiver software included on the CD that accompanies thismanual uses Sysex commands to dump your Flextone programs to your computer for backup and editing, and to send programs from your computer to your Flextone. You can also have your Flextone exchange sounds with a POD, POD Pro, or another Flextone II series amplifier via Sysex directly, by hooking one to the other with a MIDI cable. The following sections tell you how all this works. Deep Editing & MIDI Control: FLEXTONE II / POD / POD PRO TONETRANSFER VIA MIDI FLEXTONE II / POD / POD PRO TONETRANSFER VIA MIDI If you just want to transfer sounds directly from Flextone to Flextone, or between a Flextone and a POD or POD Pro, follow the directions below. You’ll need a standard MIDI cable to do the deed. Connect the MIDI OUT of the transmitting device (Flextone, POD, or POD Pro) to the MIDI IN of the receiving device. Note the Flextone you are transferring sounds with MUST be a Flextone II (you’ll know it is if it has both MIDI IN and MIDI OUT jacks). Transferring All Sounds - To overwrite all sounds in the receiving device with the sounds in the transmitting device: 7•3 POD or POD Pro is transmitting: make sure that the POD’s MIDI button is lit up, and press the Save button. The POD’s single digit display will say “A” which means send All sounds via MIDI, and the Save button will flash as if to say, “press me again to start sending.” If you do press Save a second time, the entire memory of the transmitting POD will be dumped into the brain of your receiving Flextone, making one a virtual clone of the other. Pressing the Manual button on the transmitting POD will abort the transfer, saving the receiving Flextone II from the big brainwash. Flextone is transmitting: (These instructions are also printed on the back of the Flextone near the MIDI jacks.) Hold the Save button and then press the Manual button. The Channel A, B, C, D lights will flash on the Flextone. Press and release D button, then press Save. The entire memory of the transmitting Flextone will be dumped into the brain of the receiving Flextone or POD, so it now has all the same sounds as the transmitting Flextone. Pressing the Manual button on the transmitting Flextone will abort the transfer, saving the receiving Flextone/POD from the big brainwash. Deep Editing & MIDI Control: FLEXTONE II / POD / POD PRO TONETRANSFER VIA MIDI Transferring Only Some Sounds - To transfer only one or more individual sounds between your Flextone and another Flextone/POD/POD Pro, do like so: POD or POD Pro is transmitting: Start by having POD in normal operating mode (no MIDI button lit), and selecting the sound you want to transfer. You can make edits to it if you like; the POD is about to transfer whatever settings you make active. So, once you’ve got the sound you want, press MIDI. Now press Save. Use the Up button to change from “A” to “1” which means you only want to transfer ONE sound to the receiving POD. Press Save again to make the transfer, or press the Manual button to abort. One last important step: your receiving Flextone will now have its Save light flashing, and has the sound you transferred waiting to be stored into a memory location. You must press Save on your Flextone, choose a destination, and then press Save again to confirm that you really want that transferred sound to get stored at that location in your Flextone. 7•4 Flextone is transmitting: (These instructions are also printed on the back of the Flextone near the MIDI jacks.) Start by selecting the Flextone sound you want to transfer. You can make edits to it if you like; your Flextone is about to transfer whatever settings you make active. So, once you’ve got the sound you want, hold the Save button and then press the Manual button. The Channel A, B, C, D lights will flash on the Flextone. Press and release C button, then press Save again to make the transfer, or press the Manual button to abort. One last important step: the receiving Flextone will now have its Save light flashing, or the receiving POD/POD Pro will now have its Edited light lit. In both cases, the sound you transferred is waiting to be stored into a memory location. You must press Save on the receiving Flextone/POD/POD Pro, choose a destination, and then press Save again to confirm that you really want that transferred sound to get stored at that location in the receiving Flextone/POD/POD Pro’s memory. Deep Editing & MIDI Control: BACKING UP YOUR FLEXTONE’S MEMORY TO OTHER DEVICES BACKING UP YOUR FLEXTONE’S MEMORY TO OTHER DEVICES It’s recommended that you backup the sounds programmed into your Flextone so that you can restore them in case of some future disaster. If you want to transfer sounds from Flextone to some other MIDI device for backup (like say a MIDI file player or a hardware sequencer or keyboard workstation), things work pretty much the same way as they do for Flextone-to-Flextone/POD transfers. But we’ll spell it out anyway. You’ll need a standard MIDI cable to get everybody talking. Connect the MIDI OUT of your Flextone to the MIDI IN of the receiving MIDI devices. Set your MIDI device to receive MIDI CHANNEL 1. Transferring All Sounds - To dump all the programmed sounds from your Flextone to your MIDI recorder, hold the Save button on your Flextone and then press the Manual button. Press D on the Flextone. Start your MIDI recorder. Now, if you do press Save a second time, the entire memory of your Flextone will be dumped to the receiving MIDI device. Pressing the Manual button on your Flextone will abort the transfer. You also probably have to press STOP on your MIDI recorder once the transfer is complete. Transferring Only Some Sounds - To transfer only one or more individual sounds from your Flextone to your MIDI recorder, here’s the procedure. Start by selecting the Flextone sound you want to transfer. You can make edits to it if you like; your Flextone is about to transfer whatever settings you make active. So, once you’ve got the sound you want, hold the Save button on your Flextone and then press the Manual button. Press C on the Flextone, and your Flextone will know you only want to transfer ONE sound to the receiving device. Start the MIDI recorder going, and then press Save again to make the transfer, or press anything else to abort. Then you probably have to press STOP on your MIDI recorder. If you want to send another single sound, select it on your Flextone, hold the Save button on your Flextone and then press the Manual button. Press C on the Flextone. Set your recorder to receive again. Press Save on your Flextone to execute the dump. And press STOP on your MIDI recorder. 7•5 Deep Editing & MIDI Control: EMAGIC SOUNDDIVER SOFTWARE EMAGIC SOUNDDIVER SOFTWARE The Emagic SoundDiver software included on your the CD-Rom that accompanies this manual is an editor/librarian program that turns your computer into a Flextone control station. Check http://www.line6.com for the latest update for this software. SoundDiver lets you store your Flextone sounds on your computer and edit your Flextone sounds on-screen, with access to extra parameters not available when using your Flextone on its own. Included on the CD are installation instructions and an electronic user guide. Please refer to them for instruction, and for information on Emagic’s technical support services. 7•6 You will need to have a MIDI interface for your computer in order to use the SoundDiver software. Emagic makes interfaces, as well as a line of software and hardware for music recording that you should check out for use with your Flextone. See the end of this chapter for trouble-shooting help with SoundDiver setups. Emagic can be reached in the U.S. by phone at (530) 477-1051, or at their German headquarters: +49 4101 495-0. They’re also on the internet at http://www.emagic.de, and can be emailed at email@example.com – U.S. customers note that the web and email addresses are “.de” not “.com” because Emagic is headquartered in Germany. A list of Emagic distributors is under the Apple Menu in the SoundDiver Macintosh software Mac. If you’re using Windows, this list is available from the Welcome Window when you start up SoundDiver, or from the Help Menu > Emagic Distributors.... MIDI interfaces are also made by Mark of the Unicorn (www.motu.com), MIDI Man (www.midiman.com) and others. Deep Editing & MIDI Control: OTHER THINGS YOU CAN DO WITH MIDI OTHER THINGS YOU CAN DO WITH MIDI In addition to using the Emagic SoundDiver software on the accompanying CD to edit and store Flextone sounds, or using a MIDI connection for ToneTransfer between your Flextone, and other Flextones, PODs, and POD Pros, MIDI also gives you what you need for: Changing Flextone Channels via MIDI Program Changes The most basic thing to do with your Flextone via MIDI is change channels. You may have a foot controller or other device that sends MIDI program change messages. Hook its MIDI OUT to your Flextone’s MIDI IN, set the MIDI Channels of both devices to be the same, and refer to the chart in Appendix C to see what program number on the foot controller will select which Flextone Channel. Note that both Manual Mode and the Tuner can be selected with MIDI Program Change messages. You can also send MIDI Program change messages to your Flextone from a MIDI sequencer to allow you to change your Flextone sounds automatically in sync with your sequences. To minimize “zipper” noise when controlling parameter changes via MIDI, try making gradual, rather than sudden changes to your Flextone settings. Tweaking Flextone Sounds with MIDI Controllers If you have a hardware MIDI “fader box,” assignable MIDI controllers on a keyboard, or a stand-alone or computer software-based MIDI sequencer, you can take control of any Flextone parameter via MIDI. The chart in Appendix D lists which Flextone parameter is controlled by which MIDI Controller. Remember to make sure that the MIDI controller is transmitting on Channel 1 in order to control your Flextone. 7•7 Deep Editing & MIDI Control: OTHER THINGS YOU CAN DO WITH MIDI Full MIDI Automation of Flextone When you use your Flextone with a MIDI sequencer, you can automate any Flextone parameter using MIDI Controller messages. The Flextone front panel knobs all send out appropriate MIDI controllers (as do the wah and volume pedals of the optional Floor Board foot controller) that you can record into a MIDI track as you play through your Flextone along with a MIDI sequence. Hook your Flextone’s MIDI OUT to a MIDI IN on your sequencing setup. Hook a sequencer MIDI OUT to Flextone’s MIDI IN, and make sure your sequencer is ready to record and play back the Flextone information on MIDI Channel 1. 7•8 To allow MIDI-controlled automation, you need to set up a MIDI track in your sequencer to record the data flowing from your Flextone’s MIDI OUT. Set up a MIDI track to receive your Flextone’s MIDI output, record-enable it, and start the sequencer recording. Slowly turn Flextone’s Drive knob all the way up and then all the way down as your sequencer records, and then stop your sequencer. Now, look at the data that’s been recorded into the Flextone MIDI track on your sequencer. You’ll see that you’ve recorded MIDI controller #13 messages. This is the controller that’s assigned to Flextone’s Drive parameter. Play back the recorded MIDI track as you play through Flextone, and you’ll hear the Drive changes that you recorded into your MIDI track. To automate Flextone parameters that aren’t accessible from front panel controls (like the Reverb Tone), you need to use a hardware MIDI controller, or setup an on-screen fader or other controller on your software MIDI sequencer to transmit the correct MIDI Controller number to your Flextone on MIDI Channel 1. To minimize “zipper” noise when controlling parameter changes via MIDI, try making gradual, rather than sudden changes to your Flextone settings. Deep Editing & MIDI Control: STEP-BY-STEP WITH SOUNDDIVER STEP-BY-STEP WITH SOUNDDIVER Step 1 - Hook your Flextone up to your computer’s MIDI interface. Use both the MIDI IN and MIDI OUT connections for bi-directional communication (so Flextone can talk to your computer, and the computer can talk to Flextone). Remember that Flextone’s OUT connects to the computer’s IN, and the computer’s OUT connects to Flextone’s IN. Make sure Flextone is powered on. Step 2 - Install the SoundDiver software on your computer. We’ve included SoundDiver installers on the accompanying CD. We also strongly recommend that you surf the Support pages at www.line6.com to check for an updated version of the SoundDiver installer. Run the SoundDiver installer to get SoundDiver installed on your machine. Now, with your Flextone hooked up to the computer via MIDI and powered on, launch the newly-installed SoundDiver software. 7•9 Step 3 - First you’ll see the “splash screen” with Emagic’s contact info, including information on upgrading to the full version of the SoundDiver software. You’ll then get a dialogue box to select English or German (SoundDiver is made by Emagic, a German company). Step 4 (Macintosh) - Then you’ll configure your ports; make sure you are plugged into the right port on your Mac (Modem, Printer, or USB) and that you’ve checked the box for this port before hitting the OK button in the Preferences dialogue box. Step 4 (Windows) - SoundDiver will now probably give you a series of dialogue boxes to OK regarding MIDI ports. These will say something like “Port XXXX no longer exists,” and will include an OK button. Typically, you’ll get two dialogues referring to SoundBlaster ports, and eight referring to Unitor ports (the Unitor is a particular MIDI interface). Go ahead and OK all these dialogue boxes, and then SoundDiver should give you the dialogue box we’re about to describe in step 5.... Deep Editing & MIDI Control: STEP-BY-STEP WITH SOUNDDIVER Step 5 - SoundDiver should now establish communication with your Flextone (like we said above, make sure you have both MIDI In and MIDI Out connected to allow this), and will give you a dialogue box asking if you’d like to “Request Device’s Memories?” OK this dialogue, and SoundDiver sucks all the sounds out of your Flextone, and opens them in a window titled “Flextone” or something similarly inventive. Step 6 - You’ll have a window that looks about like the one on the left (this particular example shows a POD 2.0 window, but the one you’ll see will be just about the same). 7•10 Use your mouse to move your on-screen arrow pointer to the User Programs header bar as shown, and click once. The list of all 32 user memories will then be highlighted to show that they are all selected (clicking on the header bar is a handy “select all user memories” command). Step 7 (Macintosh) - Now, notice that there are two menus in this window: Entry and Options. From the Entry menu, choose Save as... > Selected Entries, as shown below: Deep Editing & MIDI Control: STEP-BY-STEP WITH SOUNDDIVER SoundDiver will give you a standard Save File dialogue box. A pop-up menu at the top of the dialogue box will say “Libraries,” letting you know you are about to save your library to the SoundDiver Libraries folder. You can click on this “Libraries” pop-up menu to navigate to another place if you want to save this library file some place else. You can also change the name of your library by typing one here (we recommend something like “Flextone Factory Sounds”), and then you complete the Save by clicking Save. 7•11 Step 7 (Windows) - On Windows, the Entry menu is at the top of the screen with File and the rest of ’em. From it, choose Save as... > Selected Entries. SoundDiver will give you a standard Save File dialogue box. The SoundDiver software’s Libraries folder has been automatically selected for you as the destination for your library file. You can change the name of your library by typing one here (we recommend something like “Flextone Factory Sounds”), and then complete the Save by clicking the Save button. Deep Editing & MIDI Control: STEP-BY-STEP WITH SOUNDDIVER Step 8 - As a final check to make sure everything went as it should, choose Open from the File menu, and open the library you just saved. You should see a window similar to the one at the left, listing all 36 of your Flextone’s memories. Congratulations! You’ve now backed up the memory of your Flextone, and gotten started with SoundDiver’s library features in the process! 7•12 Deep Editing & MIDI Control: STEP-BY-STEP WITH SOUNDDIVER A Few Other SoundDiver Tips We’re done with the tutorial on how to save your sounds to the computer, but we figured we should give you one or two other tips: Editing a Channel Memory/Program The SoundDiver window shown on the left shows you the contents of your Flextone’s memory (OK, it’s a Bass POD’s memory, actually, but your Flextone’s window will look the same). To edit any one of your Flextone’s channel memories (SoundDiver calls these “User Programs”), just double-click its name in the list, and you’ll get an editing window. Transmit/Request The “Transmit” and “Receive” commands are available in SoundDiver’s MIDI menu. These commands instruct SoundDiver to Transmit or Receive information to your Flextone, based on what youhave selected in SoundDiver. So, for instance., if you click on one of the channels/programs in the name list of the window above, and then choose the Transmit command, SoundDiver will understand you want to Transmit this sound to your Flextone (in other words, the parameters that define the sound are sent from the computer to Flextone, so now they both have the same information – what was in the computer has been copied to the Flextone as well). If you clicked on one of the names in the list, and then chose Request, that would instruct SoundDiver to Request this sound from your Flextone (in other words, the parameters that define the sound are sent from Flextone to the computer, so now they both have the same information – what was in Flextone has been copied to the computer as well). Keep these commands in mind any time your Flextone and computer don’t seem to be dealing with the same information; you can use Transmit and Request to get your Flextone and computer back in sync. 7•13 Deep Editing & MIDI Control: SOUNDDIVER SETUP TROUBLE-SHOOTING SOUNDDIVER SETUP TROUBLE-SHOOTING There are a couple of considerations with SoundDiver and Windows sound card systems. Here are some troubleshooting hints, courtesy of Line 6’s own product support hero, George Van Wagner: 1. SoundBlaster type cards have more than one MIDI driver. The system will usually default to the driver for the built-in synth on the card, rather than the external MIDI port. This means that you must select the correct driver, before SoundDiver can see the Flextone. 7•14 2. MIDI cables must run from out to in and vice versa (don’t connect Flextone’s MIDI In to your computer’s MIDI In; connect Flextone’s MIDI In to your computer’s MIDI Out). Think of it in terms of the direction that information is flowing; out of the Flextone in to the computer. Out of the computer in to the Flextone. 3. MIDI channels must be set to the same value. The quickest way to ensure communication is to simply set the Flextone MIDI Channel to A for all (In MIDIese, this is known as Omni mode). Here are some basic steps to ensure communication with the Flextone: 1. When you get the dialog box stating that no new device is found, click on the button that says Manually. You will be dropped in the Memory Manager window of SoundDiver. 2. On the left hand side of the Memory Manager window, you will see a list of parameters. Make sure that the Out Port is set to the driver for the External MIDI. As different companies have different driver names, there's no one set Deep Editing & MIDI Control: SOUNDDIVER SETUP TROUBLE-SHOOTING name, but the selection should be fairly obvious. 3. Make sure that the Device ID is set to 1. 4. On the right hand side of the Memory Manager, click on the title bar that says User Programs. This will highlight all 36 of the user preset locations that are currently blank. 5. Now click on the left-most icon in the upper left of the Memory Manager. It should look like a little keyboard with an arrow coming out of it and a small question mark. This requests the current programs from the Flextone. At this point, you should see all the patch names fill in, and you’re good to go. 7•15 Inside Your Head: FRONT PANEL INSIDE YOUR HEAD If you’re the proud owner of a Flextone II HD, this chapter’s just for you. While the Flextone II HD is much like its combo amplifier brethren, there are important features and functions that set the HD apart. They are detailed herein. FRONT PANEL If you look closely, you’ll notice that the illustration on the fold-out back cover of this User Manual is basically exactly the same as the front panel of your Flextone HD. The only difference is that the HD has a big light-up power switch on the front panel (the combos have their power switches rear-mounted). EFFECTS LOOP The Effects Loop allows you to hook up external effects and processors to the HD. Send and Return are both stereo, on tip-ring-sleeve jacks, and you can choose between Series and Parallel operation. In case any of that sounds like a foreign language to you, we’ll take a second here to hip you to some “effect loop application theory,” and details of hooking everything up: 8•1 Inside Your Head: EFFECTS LOOP Effects loops let you send sound out of a device (like the HD) to another device (like a rack mount effects processor), and then loop it back again, feeding the now-processed sound back into the thing that the unprocessed sound came from. Like when you want to add an echo to your guitar sound, or maybe you want to compress it. So, your HD creates the basic tone, and then that tone is sent out to the effects loop for further “seasoning,” and finally the seasoned sound is returned back to the amp for final output. In the HD, that seasoning can be applied in two ways: series or parallel... SERIES VS. PARALLEL In a series effects loop, all of your guitar signal goes out the “effect send” and into whatever effect you may be using. The signal is processed by the effect, and then the signal comes back into the “effect return” for final amplification and output. The effect is “in series” (comes after) the sound generator (your amp). If you turn the output volume of your effect to zero, you hear nothing, because all the sound is leaving the amp and then the effect processor is giving nothing back. 8•2 Now, in a parallel effects loop, only a part of your tone goes out the “effect send” and into whatever effect you may be using. It’s sort of like you’ve tapped a bit of the signal off from the main flow, to send it elsewhere (just like a typical effect send on a mixing board). But in the meantime, the main flow is still going, too, passing through the amp uneffected. The effect unit processes its parallel signal, and returns it to the amp, where it gets mixed back in with the uneffected signal. Why have both? Some effects have to be in series to be effective. Compressors, for instance, work by taking all of your signal and adjusting its volume as you play. Similarly, noise reducers need to work on all the signal. Generally, you’d also use EQ or “exciter” in a series loop. Other effects can work with only a portion of the guitar signal – in parallel. Reverb, for instance, or delay, can be driven with just a portion of the guitar signal. Same goes for chorus. One reason some people like to use parallel effect loops is that not all of their guitar tone has to go through the effect box. This can be especially important if you are using an old, low-resolution piece of gear that tends to suck out the warm details of your Inside Your Head: EFFECTS LOOP tone. By using a parallel effect loop, you get to keep plenty of your pure, unadulterated tone right inside the amp where it’s safe, and then just mix a bit of the processed sound in on top for extra flavor. USING THE EFFECTS LOOP The back panel of the HD shows an illustration of part of the HD signal flow, including the Effects Loop. As you can see, the series/parallel switch controls whether (1) some sound flows directly through the amp, bypassing the effect loop (this would be parallel), or (2) the direct path through the amp is interrupted, so all the guitar signal flows through the effect (this would be series). Note that the Master Volume control comes after the effects loop; you get the same signal level flowing to your effect, no matter what Master Volume level you set. 8•3 MAKING CONNECTIONS Run a cable from the HD effect send to the inputs of your effect unit. This effect send gives you a stereo, TRS (tip, ring, sleeve) connection. You can use a mono cable to connect to a mono input effect (in this case, the HD’s left signal will flow to the effect). For a stereo effect device that has separate left and right input jacks, use an “insert” cable – it’ll have a TRS connector on one end (that plugs into the HD effect send), and will fan out to two mono connectors on the other end, (those plug into your effect unit’s two inputs). For the return, do the same thing. Generally, you’ll want to use another “insert” cable, with the two mono connectors plugged into your effect’s left and right outputs, and the TRS connector plugged into the HD’s effect return. If you use a mono cable for the return, you will get the looped signal on only one side. If the effect loop is set for series operation, that means only the left channel of your HD will be heard. In that case, Inside Your Head: EFFECTS LOOP you’ll need to use a mono-to-stereo adapter on the mono cable from the effect, to feed both the effect return channels of the HD. SETTING EFFECT LEVELS The amount of effect you hear is controlled by the output volume of your effect. You want to turn it up enough to get a good healthy signal into the HD for amplification, but not so much that it distorts. If you’re using the effect loop in parallel, be sure to set the mix of your processor to 100% wet (so that it puts out only effected sound, with no uneffected “direct” signal mixed in), and then use the processor’s output level (not the mix control) to set just how much of the effect you want to hear along with your un-effected guitar signal. Running in parallel with the mix at less than 100% will cause what engineers call “comb filtering” and most other people would call “lame tone.” MONO/STEREO DETAIL 8•4 When using only the Left/Mono speaker output, the effects will be switched to mono. This also effects the Direct Outputs – they switch to mono, too (meaning the exact same thing comes out both jacks). If both left and right speaker outputs are in use, or neither are connected, the effects and direct outputs will be in stereo. Inside Your Head: CABINET HOOK-UPS CABINET HOOK-UPS In addition to all of the cool stuff like amp and cab modeling, awesome Direct Outs, and great effects, the Flextone II HD offers unmatched versatility and flexibility for powering almost any type of speaker cabinet(s). The type and number of speaker cabs you choose is up to you. Most likely, the cabinets you choose will depend on the situations you play in – some gigs require more of the closed back grind and thump, while other gigs will work better with the classic sound of open back speaker cabinets. Either way, the Flextone II HD has got you covered. First, some speaker cabinet basics: • Be sure to turn the amplifier off when connecting or disconnecting speaker cables and cabinets. (This protects both the amplifier and the speakers.) • Only use heavy gauge, unshielded cables for hooking up speaker cabinets. (Do not use standard guitar cables to connect your speaker cabinets, as they will degrade your sound. ) • Be sure to set the SPEAKER CABINET IMPEDENCE SWITCH to the setting that matches the cab(s) that are connected to your amp. VOLUME LEVELS 8•5 When using your Flextone guitar amplification system, be sure to exercise some common sense about volume levels. The Flextone II HD is a high-powered head designed to drive up to four 4x12 cabinets per side. So obviously it’s got enough juice to spare that you could fry the speakers of most setups if you really tried. WARNING SIGNS If you see the speakers practically jump out through the speaker grille, and they’re making rude noises, back off on the Flextone II HD’s Master Volume a wee bit to get things back into the realm of reasonable operational levels (note that, for Line 6 speaker cabinets, we’ve included some recommended maximum volume settings with the hook-up diagrams that follow in this manual). Also understand that Line 6 can not be liable for replacement of speakers damaged by abuse. So, feel free to crank it up, but do it with a bit of sense. Inside Your Head: CABINET HOOK-UPS OPEN-BACK / CLOSED-BACK EMULATION Being one of these modern day technological wonders and all that, we’ve tried to put a few little refinements into the Flextone Series amplifiers to make them more flexible than the old technology amps that came before them. One of the things we’ve included in your HD is a closed-back emulator for use with open-back cabinets. This lets you get the sound of a closed-back cabinet even when using open-back cabinets. So, if you use a big multi-stack closed-back cabinet setup on stage, but then you want to use a little open-back cabinet (like the 1-12" Flextone Cab) for monitoring when you’re recording in the studio with the Flextone HD’s direct outputs, you can get the same cabinet tone with both setups. By default, the Closed-back emulator is switched off. You activate it by following these easy dance steps: 1. Press and hold the SAVE button while switching on the power 2. Once powered up, press the B button to select “Open Back Mode” 3. Press SAVE to confirm your decision 8•6 Once you’ve selected it, the emulator will stay on until you clear it with another power up while holding the SAVE button and selecting the A Button, so don’t forget to switch it off when you get back to the mondo stack stage setup again! When you first turn on the Flextone II HD, it will flash the Channel A or Channel B light briefly to let you know which kind of cabinet it’s expecting to get plugged into: Channel A will flash briefly for closed-back, Channel B flashes briefly for open-back. MONO/STEREO DETAIL Remember that when you use only the Left/Mono speaker output, the effects switch to mono. This also effects the Direct Outputs – they switch to mono, too (ya get the exact same thing on both jacks). If both left and right speaker outputs are in use, or neither are connected, the effects and direct outputs will be in stereo. Inside Your Head: CABINET HOOK-UPS TAKE A LOAD OFF Operating the Flextone II HD without a load (that means without speakers attached) is OK! You do not need to have speakers connected to the amplifier in order to use the balanced Direct Outputs (you wouldn’t want to run a tube amplifier without a load). 8•7 APPENDIX A: AMP MODELS Please note that Fender, Marshall, Vox, Boogie, Soldano, Roland, Matchless, Budda, Arbiter, and other amplifier model designations, and effects, are all trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These marks and names are used solely for the purpose of describing certain amplifier tones produced using Line 6’s modeling technology. The Line 6 modeling technology provides Flextone II series amplifiers with a wide variety of sounds and effects modeled after some of the most popular sounds of the classic amps and effects mentioned here. Amp Model Name Based On Volume Pedal Position Reverb Type Bright Switch Line 6 Clean Line 6 Crunch Line 6 Drive Line 6 Insane Jazz Clean Small Tweed Tweed Blues Black Panel Modern Class A Brit Class A Brit Blues Brit Classic Brit Hi Gain Rectified Modern Hi Gain Fuzz Box Line 6 Twang Line 6 Crunch #2 Line 6 Blues Line 6 Layer Tube Preamp Small Tweed #2 Boutique #3 Black Panel #2 Brit Class A #3 Brit Class A #2 California Crunch #1 California Crunch #2 Boutique #1 Rectified #2 Modern Hi Gain #2 Boutique #2 Line 6 21st Century Clean Line 6 Thick Grindage Line 6 Industrial Strength OD Way too many hours of shredding ’87 Roland JC-120 ’52 Fender Deluxe ’59 Fender Bassman ’65 Fender Deluxe ’96 Matchless Chieftain ’63 Vox AC 30 with Top Boost ’65 Marshall JTM-45 ’68 Marshall Plexi 50 watt ’90 Marshall JCM-800 ’94 Mesa Boogie Dual Rectifier Tremoverb Combo ’89 Soldano X88R Preamp ’60’s Dallas Arbiter Fuzz Face Fender Deluxe and Bassman, with more tone control range ’68 Marshall Plexi 50 watt with more tone control range Marshall JTM-45 meets Budda Twinmaster meets Line 6 Line 6 Clean meets Psychotic Drive Tube Instrument Preamp ’60 Tweed Fender Champ Budda Twinmaster head ’65 Blackface Fender Twin ’60 Vox AC 15 ’60 Vox AC 30 non-Top Boost ’85 Mesa Boogie Mark IIc+ Clean Channel ’85 Mesa Boogie Mark IIc+ Drive Channel Dumble Overdrive Special Clean Channel ’95 Mesa Boogie Dual Rectifier Head ’89 Soldano SLO Super Lead Overdrive Dumble Overdrive Special Drive Channel Pre Pre Post Post Pre Pre Pre Pre Pre Pre Pre Pre Post Post Post Post Pre Pre Pre Post Post Pre Pre Pre Pre Pre Pre Post Pre Post Post Post Room Spring Room Room Spring Room Spring Spring Spring Room Room Room Room Room Room Room Spring Room Room Room Room Room Room Spring Room Room Spring Spring Room Room Room Room Yes Yes Yes No Yes No No No No No Yes No No No No No No No No Yes No No No Yes No No Yes No No No No No Flex2*Manual*Appendx*-*Rev*H Page 2 Friday, August 18, 2000 11:24 AM APPENDIX B: EFFECT PARAMETERS Effect Tap Tweak Notes Bypass n/a n/a Turns off the effects. Compressor n/a Ratio There are 5 Compressor ratios: 1.4:1, 2:1, 3:1, 6:1, and Higher settings “squeeze” your volume more. Tremolo Tremolo Speed Depth The tremolo was designed with the characteristic Fender tremolo shape. Chorus 1 Chorus Speed Range of Choruses Square wave LFO, “rack” type chorus setup; subtler than Chorus 2. Chorus 2 Chorus Speed Range of Choruses Sine wave LFO, approximately 10% feedback; emulates an old Roland CE-1 for classic stomp box-type sound. Flanger 1 Flanger Speed Range of Flangers Light flange. Flanger 2 Flanger Speed Range of Flangers Heavier flange; inverted, and with deeper range. Rotary Speaker Rotary Speed Depth This emulates a classic spinning speaker, a la the Leslie. Delay Delay Speed Delay Level Very quick delays will have no repeats for better slapback. Delay/ Compressor Delay Speed Compression Ratio There are 5 Compressor ratios: 1.4:1, 2:1, 3:1, 6:1, and Higher settings “squeeze” your volume more. Delay/Tremolo Delay Speed Range of Tremolos The delay speed is set for a short slapback (100 ms). Delay/ Chorus 1 Delay Speed Range of Choruses Chorus 1 uses a Square wave LFO, no feedback. This is the “rack” type chorus setup. Delay/ Chorus 2 Delay Speed Range of Choruses Chorus 2 uses a Sine wave LFO, approximately 10% feedback. This emulates an old Roland CE-1 for classic stomp box chorus sound. Delay/Flanger 1 Delay Speed Range of Flangers Light flange. Delay/Flanger 2 Delay Speed Range of Flangers Heavier flange; inverted, and with deeper range. Delay/Swell Delay Speed Swell Attack Speed Automatic volume pedal swells... Swell is a slow ramp-up, or swell of volume when you play each note. :1. :1. APPENDIX C: MIDI PROGRAM CHANGES Flextone II channels can be selected via MIDI program changes. Some devices number programs starting at zero. Some start at one. We start at zero (Manual Mode) and then work our way along through the channels as shown in this table: Flextone II Channel Bank 1 Channel A Channel B Channel C Channel D Bank 2 Channel A Channel B Channel C Channel D Bank 3 Channel A Channel B Channel C Channel D Bank 4 Channel A Channel B Channel C Channel D Bank 5 Channel A Channel B Channel C Channel D MIDI Program 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 Flextone II Channel Bank 6 Channel A Channel B Channel C Channel D Bank 7 Channel A Channel B Channel C Channel D Bank 8 Channel A Channel B Channel C Channel D Bank 9 Channel A Channel B Channel C Channel D Manual Mode Tuner MIDI Program 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 00 37 APPENDIX D: MIDI CONTROLS Sound Diver Parameters (1 of 3 pages) Transmitted MIDI Range Control # Selects Amp Model 0-15 transmitted from Amp Model knob 12 0 = Tube Preamp, 1-32 = Other Amp Models >32 treated as 32 Drive - 0-127 13 0-127 Drive 2 (only if Amp Type = Layer) - NO TRANSMIT 20 0-127 Bass - 0-127 14 0-127 Mid - 0-127 15 0-127 Treble - 0-127 16 0-127 On/Off Trans: Off=0/On=127 73 Rcv: 0-63=OFF, 64-127=ON Presence - On/Off (Hold TAP, turn TREBLE) 21 0-127 Channel Volume - 0-127 17 0-127 On/Off Trans: Off=0/On=127 22 Rcv: 0-63=OFF, 64-127=ON Gate Threshold - NO TRANSMIT 23 0-127 Gate Decay - NO TRANSMIT 24 0-127 0-15 0-15 19 0=Bypass, 1-15 other effects 0-127 1 0-127 Amp Model Bright Switch Noise Gate On/Off Effect Select Knob Notes Effect Tweak Received MIDI Range Distortion On/Off Adds Preset Amount of Drive FB SWITCH ON=127 OFF=0 (Or hold TAP, turn DRIVE) 25 Rcv: 0-63=OFF, 64-127=ON Drive/Boost 4dB Boost of Channel Volume FB SWITCH ON=127 OFF=0 (Or hold TAP, turn CH. VOLUME) 26 Rcv: 0-63=OFF, 64-127=ON EQ (presence Bump) Adds a Presence Boost FB SWITCH ON=127 OFF=0 (Or hold TAP, turn TREBLE) 27 Rcv: 0-63=OFF, 64-127=ON APPENDIX D: MIDI CONTROLS Sound Diver Parameters Delay (always available) (2 of 3 pages) Notes Transmitted MIDI Range Control # Received MIDI Range On/Off FB SWITCH ON=127 28 Rcv: 0-63=OFF, 64-127=ON Delay Time 0-3150 mS, 128 equal steps NO TRANSMIT 30 0-127 Double-precision control for Delay Time with Delay Time, gives 14 bit precision NO TRANSMIT 62 0-127 - 0-127 32 0-127 Delay Repeats Delay Level - 0-127 34 0-127 On/Off FB SWITCH ON=127 36 Rcv: 0-63=OFF, 64-127=ON Spring/Hall NO TRANSMIT 37 Rcv: 0-63=SPRING, 64127=HALL Reverb Decay - NO TRANSMIT 38 0-127 Reverb Tone - NO TRANSMIT 39 0-127 Reverb Diffusion - NO TRANSMIT 40 0-127 Reverb Density - NO TRANSMIT 41 0-127 Reverb (always available) Reverb Type Reverb Level Compression Ratio Wah Wah Pedal On/Off - 0-127 18 0-127 off, 1.4:1, 2:1, 3:1, 6:1, infinity:1 NO TRANSMIT 42 0-21=off, 22-44=1.4:1, 45-67=2:1, 68-90=3:1, 91-113=6:1, 114-127= infinity:1 On/Off FB SWITCH ON=127/ OFF=0 43 Rcv: 0-63=OFF, 64-127=ON Wah Pedal - 0-127 4 0-127 Wah Bottom Frequency - NO TRANSMIT 44 0-127 Wah Top Frequency - NO TRANSMIT 45 0-127 Volume Pedal - 0-127 7 0-127 Volume Pedal Minimum - NO TRANSMIT 46 0-127 Volume Pedal Location Pre Tube Drive / Post Tube Drive NO TRANSMIT 47 Rcv: 0-63=BEFORE TUBE, 64-127=AFTER TUBE On/Off NO TRANSMIT 48 Rcv: 0-63=OFF, 64-127=ON Volume Swell On/Off Volume Swell Ramp Time - NO TRANSMIT 49 0-127 Tap Tempo - TAP BUTTON OR FB SWITCH TRANSMITS 127 64 64-127= a Tap APPENDIX D: MIDI CONTROLS Sound Diver Parameters (3 of 3 pages) Notes Transmitted MIDI Range Control # Received MIDI Range On/Off FB SWITCH ON=127 50 Rcv: 0-63=OFF, 64-127=ON Chorus/Flange Speed - NO TRANSMIT 51 0-127 Chorus/Flange Depth - NO TRANSMIT 52 0-127 Chorus/Flange Feedback - NO TRANSMIT 53 0-63 negative, 64-127 positive Chorus PreDelay (if type = Chorus) - NO TRANSMIT 54 0-127 Slow/Fast NO TRANSMIT 55 0-63=SLOW, 64-127=FAST Rotary Max Speed - NO TRANSMIT 56 0-127 Rotary Min Speed - NO TRANSMIT 57 0-127 Tremolo Speed - NO TRANSMIT 58 0-127 Tremolo Depth - NO TRANSMIT 59 0-127 Selects Cab Simulation 0-15 71 0 = No Cab, 1-15 = Cab Models >15 treated as 15 0-127 NO TRANSMIT 72 0-127 Chorus/Rotary/Tremolo On/Off Rotary Speed Cabinet Type A.I.R. Ambience Level APPENDIX E: LINE 6 CONTACT CUSTOMER SERVICE Hope you enjoy your Flextone II. If you have any questions or comments, our diligent support staff can be contacted at (805) 379-8900 (weekdays, 8am-6pm Pacific Time), via our website (www.line6.com,) or via email (firstname.lastname@example.org). To ensure that your support experience is a pleasant one, we recommend taking some notes for yourself before you call. That way, you’ll remember to ask everything you want to ask the first time, and be able to get back to Flextone-ing ASAP. OTHER LINE 6 PRODUCTS We offer a full line of affordable amps that feature amp and cab models, built-in effects, programmable channels, foot control options, MIDI, and more. We also have POD, POD Pro, Bass POD, Bass POD Pro, and the Stomp Box Modelers series effect pedals. Learn about the full line up at the Line 6 web site (www.line6.com) or by contacting our sales or support staff via email (email@example.com or firstname.lastname@example.org) or phone: (805) 379-8900. POD Series – POD and POD Pro are ToneTransfer compatible with your Flextone II, and are ideal when you want your Flextone sounds in a compact carry-along, or rack mount format. POD Pro also includes digital out. Bass POD and Bass POD Pro are for bass guitar. Flextone II Series – This line of amplifiers includes 1x12 and 2x12 combos, as well as a high powered stereo head, plus 1x12, 2x12, and 4x12 speker cabinets. AX2 212 – The most tweakable Line 6 amplifier, AX2 matches Line 6 modeling technology with extensive multi-effects in an all-in-one 100 Watt 2x12" combo. Spider Series – 6 Amp Models and built-in FX in our lowest price amps. Stomp Box Modelers – A mass of modeled vintage effects in three stomp boxes: Delay Modeler includes Tape and Analog Delays, 14 Second Loop Sampler and more. Modulation Modeler includes classic Choruses, Flangers, Phasers, Rotary Speakers, Tremolos and more. Distortion Modeler brings you a collection of Distotion, Fuzz, and Overdrive models. Amp Farm & Echo Farm– Plug-in software for Pro Tools TDM systems puts Line 6 modeling right into your high-end computer music system. Requires Pro Tools TDM hardware. Amp Farm and Echo Farm are distributed by Digidesign; contact them directly for pre-sales information. Digidesign: Email email@example.com or telephone (800) 333-2137 (from USA) or (650) 842-7900. Surf www.digidesign.com. APPENDIX F: WARRANTY INFO Line 6 Limited Warranty Information Sending in your registration card allows us to register key information so that we may handle problems faster and inform you of advance information, upgrades, and other news. Thanks in advance for filling out your registration card and sending it to us. And good luck in your music! Line 6, Inc., warrants this product when purchased at an Authorized Line 6 Dealer in the United States of America or Canada, to be free of defects in materials and workmanship for a period of one year from the date of original purchase only upon completion and return of the Line 6 Warranty Registration form within 30 days from date of purchase. Please contact your distributor for information on warranty and service outside USA and Canada. During the warranty period Line 6 shall, at its option, either repair or replace any product that proves to be defective upon inspection by Line 6. Line 6 reserves the right to update any unit returned for repair, and reserves the right to change or improve the design of the product at any time without notice. This warranty is extended to the original retail purchaser. This warranty can be transferred to anyone who may subsequently purchase this product within the applicable warranty period by providing Line 6 with all Warranty Registration information for the new owner and proof of transfer within 30 days of the purchase. Final determination of warranty coverage lies solely with Line 6. This is your sole warranty. Line 6 does not authorize any third party, including any dealer or sales representative, to assume any liability on behalf of Line 6 or to make any warranty for Line 6. Line 6 may, at its option, require proof of the original date of purchase in the form of a dated copy of the original authorized dealer’s invoice or sales receipt. Service and repairs of Line 6 products are to be performed only at the factory (see below) unless otherwise authorized in advance by the Line 6 Service Department. Unauthorized service, repair or modification will void this warranty. To obtain factory service: Contact Line 6 at (805) 379-8900, 8AM to 5:30 PM Monday through Friday (Pacific Time) and request the Product Support department (or email firstname.lastname@example.org). If necessary, you will be given a return authorization (RA) number. Products returned without an RA number will be returned to you at your sole expense. Pack the product in its original shipping carton and attach a description of the problem along with your name and a phone number where Line 6 can contact you if necessary. Ship the product insured and freight prepaid to: Line 6 Product Support 6033 De Soto Avenue Woodland Hills, CA 91367 DISCLAIMER AND LIMITATION OF WARRANTY THE FORGOING WARRANTY IS THE ONLY WARRANTY GIVEN BY LINE 6 AND IS IN LIEU OF ALL OTHER WARRANTIES. ALL IMPLIED WARRANTIES, INCLUDING WARRANTIES OF MERCHANTABILITY AND FITNESS FOR ANY PARTICULAR PURPOSE, ARE HEREBY EXCLUDED. UPON EXPIRATION OF THE APPLICABLE EXPRESSED WARRANTY PERIOD, LINE 6 SHALL HAVE NO FURTHER WARRANTY OBLIGATION OF ANY KIND, EXPRESSED OR IMPLIED. LINE 6 SHALL IN NO EVENT BE OBLIGATED FOR ANY INCIDENTAL OR CONSEQUENTIAL DAMAGES THAT MAY RESULT FROM ANY DEFECT OR WARRANTY CLAIM, EXPRESSED OR IMPLIED. Some states do not allow the exclusion or limitation of incidental or consequential damages or limitation on how long implied warranties last, so some of the above limitation or exclusion may not apply to you. This warranty gives you specific legal rights, and you may also have other rights which vary from state to state. This warranty only applies to products sold and used in the United States of America and Canada. Line 6 shall not be liable for damages or loss resulting from negligent or intentional acts of shipper or his contract affiliates. You should contact the shipper for proper claims procedures in the event of damage or loss resulting from shipment.