January 2006

SOURCE: VETTAVILLe.NL

Tonecore - Modular Tonedocks and Modules... 20-01-2006

Agoura Hills, CA—January 20, 2006—Line 6, inventors of digital modeling guitars, amplifiers, and effects, announced today the availability of ToneCore® effect modules and ToneDock mono and stereo stompboxes. Users now have the ability to swap out the module inside a ToneCore pedal with any module from the entire line including Uber Metal™, Echo Park™, Crunchtone™, Space Chorus™, Tap Tremolo™, Constrictor™, Dr. Distorto™, Verbzilla™, Liqua Flange™, Roto-Machine™, and Otto Filter™.

ToneCore pedals provide guitarists of all ages and playing styles, unique Line 6 tones, advanced sound and extraordinary control.

“With ToneCore modules, users can easily and inexpensively expand their tonal options at any time,” said Jeorge Tripps, product line manager, Line 6. “With ToneCore docks on your pedalboard, you can change your effects setup in seconds to get the right sounds for any gig.”

ToneCore modules can be placed in either mono or stereo ToneDock stompboxes. The ToneDock mono and stereo stompbox base stations can be powered by a standard 9 Volt battery, or the optional DC-1 power supply.

ToneCore Module MSRP:
ToneDock Mono - $99.99
ToneDock Stereo - $112.99
Uber Metal Module - $41.99
Echo Park Module - $99.99
Crunchtone Module - $41.99
Space Chorus Module - $55.99
Tap Tremolo Module - $55.99
Constrictor Module - $55.99
Dr. Distorto Module - $41.99
Verbzilla Module - $99.99
Liqua Flange Module - $55.99
Roto-Machine Module - $55.99
Otto Filter Module - $41.99

• Expected this Spring...

Source: Line 6 / vettaville.nl

Variax - Alt Tunings - Volume Balance - Amps Sounds... 11-01-2006

With the development of Variax Workbench software, you can now tune your Variax electric to any alternate tuning you like. The Variax Acoustic 700 has this feature built into the guitar itself. With the physical Variax tuned to standard pitch, however, the Variax DSP must create the alternate tunings in real time, note by note as you play. This is no easy task, and as with any developing technology, there are limitations. To get the best musical experience from your alt-tuned Variax, please check out the following four Alternate Tuning Tips. They address the most frequently asked questions of Variax owners.

1.Guitar Volume Balance: If you hear the standard tuning of your physical Variax along with the alt-tuning, your ears may be fooled into thinking the alt-tuning is out of tune. This is especially true for Acoustic 700 owners, but the solution is easy. In a studio situation, turn up your headphones; in a live situation, turn up the volume of your alt-tuned guitar amp or stage monitor so that it drowns out the physical guitar sound. When you adjust your guitar volume balance so that all you hear is the alt-tuned guitar, your alt-tuning will sound the way you expect it to.

2.Odd-Sounding Notes: If you use pull-offs, especially on an open G string that's tuned down a full step or more, or if you use Capo mode and tune several frets up or down and play harmonics or hammer-ons, you may sometimes hear odd-sounding notes. The general cure for this is to adjust your playing technique so that you play very cleanly when doing pull-offs, play with a lighter touch on extremely alt-tuned notes and harmonics, fret your notes accurately, and avoid any problem zones that may produce odd sounds. It’s not difficult to get clean-sounding alt-tuning tracks. It just takes a little time to adapt to the particular alt-tuning you're using, then avoid any obvious problem spots you may encounter by adjusting your playing technique and choice of notes.

3.Ringing Overtones: When you play certain notes and you don’t mute your other strings, occasionally a note you're playing may cause a harmonic to resonate from a non-muted string. This can be a good thing, but sometimes it may result in an odd sound as in #2 above. The solution is to mute the strings you aren't using, especially when playing single notes. This way the DSP won't be 'confused' by unwanted notes resonating against the intended note.

4.Amp Sounds: For Variax Acoustic Models, use an Amp Bypass setting or go direct whenever possible. Acoustics, Resos, Sitar, etc. don't like preamp gain, so cleaner is better in order to bring out the full range of these Models. If you use a Vetta II or PODxt Live, it’s a good idea to set up an Amp Preset for each of your favorite alt-tuned Variax Models, and save the Variax Model with your Amp Preset.

Source: Line 6

Variax - Guide to Wireless Communication (Vetta only)... 11-01-2006

In the latest Vetta II update, Version 2.5, a new unplublicized feature was added at request of some high profile artists. This feature allows a Vetta II ampliflier to cummunicate with a Variax guitar wirelessly with some special cables, an off the shelff MIDI wireless system and an audio wireless system.

If this is what you would like to experiment with please read on.

Wireless communication between a Vetta and a Variax falls into the category of an "unsupported, use at your own risk" feature. (it's a category of one!)

Note: There is no intension on Line 6's part to offer a commercial solution for wireless communication between Vetta II and Variax guitar, however in the spirit of supporting the needs of our community Line 6 decided to share this bit of information with you.

While a VDI cable provides bi-directional communication between a Vetta and a Variax, the wireless link described on these pages and document provides one-way communication from Vetta to the Variax. This solution simply transmits Guitar Model patch change data, as well as tone pot data to the Variax, as they were programmed into the Vetta's patches, which must be done with a Variax connected to a Vetta with a VDI cable.

How / Why it works:

When the Variax is physically connected to the Vetta via the VDI cable, the Vetta reconfigures to accept digital audio and digital audio sync from the VDI interface. Vetta also recieved patch, patch name and tone pot information from the guitar whenever somthing is changed, that way it can store and recall the appropriate Variax information within it's own patch structure. Variax W/L (wireless) mode allows the Vetta to operate, (internal sync, analog input) without the Variax connected to the VDI connector, howver it still send the Variax patch information out via the VDI connector whenever a Vetta patch is recalled.

Programming patches for use in the Variax W/L mode:

1. You must build your Vetta / Variax presets with the Variax W/L mode off, and with a VDI cable connecting the two products.
2. Once you presets are built, you can disconnect the Variax, connect up your wireless rig, and enable the Variax W/L mode.

How to set up your Vetta II and a Variax Guitar to operate wirelessly.

First you're going to need some things to get this all together. Here's a shopping list:

1. Vetta II with V 2.5 frmware and a Variax.
2. A Wireless MIDI solution, Line 6 tested the system with the MIDIJet wireless transciever from Organworks. They also have a pro version with a longer range. Also CME recently announced the WIDI-X8.
3. Two special cables to adapt the MIDI cables to the VDI connectors on the Vetta and the Variax (schematics provided). You may want to ask your techie friend to help you out with this one. Basically, start with a Ethernet cable, a MIDI cable, a few simple electronic components ( 1x 1N5231 5.1V Zener Diode, 2x 220 Ohm 1% resistors) and a soldering iron...
4. An audio wireless to get audio signal from the Variax 1/4" output to the Vetta Input.
5. Loads of batteries for your Variax, the audio wireless pack, and the MIDI wireless transciever.

Tech instructions:

Build the cables, mark the Vetta side cable with the extra electronic components: Vetta, mark the Variax Cable as well. The cables are not revirsible, so please mark them to avoid confusion at critical moments in your performing career.

Diagram 1		Diagram 2

Click on the pictures to enlarge

Putting it all together:

1. Connect the Vetta VDI to the MIDI wireless Transmitter with the VDI to MIDI adapter cable.
2. Connect the MIDI wireless reciever to the Variax with the MIDI To Variax VDI cable that you build.
3. Connect the wireless audio transmitter to the 1/4 connector on your Variax, and the audio wireless tramsmitter reciever to the 1/4 input on the Vetta.
4. Power it all up.
5. Set the Vetta's Variax W/L parameter to On, and you're all set.

So there you have it, everything you'll need to get your Vetta / Variax rig up and running wireless at a gig.

Note: This is an "unsupported" feature in Vetta, and yet it is something Line 6 wanted to share with the Vetta community.

A great source for advanced Vetta capabillities is the Vetta community that largely resides on the Line 6 forums, Institute of Noise and Vettaville.com and Vettaville.nl sites. Thanks go out to Line 6 for going the extra mile on this one.

Oh, and you want a .pdf to make your personal wireless system, no worries, just click here to download

Source: Line 6 / vettaville.nl

Variax - Alt Tunings... 11-01-2006

With the development of Variax Workbench software, you can now tune your Variax electric to any alternate tuning you like. The Variax Acoustic 700 has this feature built into the guitar itself. With the physical Variax tuned to standard pitch, however, the Variax DSP must create the alternate tunings in real time, note by note as you play. This is no easy task, and as with any developing technology, there are limitations. To get the best musical experience from your alt-tuned Variax, please check out the following four Alternate Tuning Tips. They address the most frequently asked questions of Variax owners.

1.Guitar Volume Balance: If you hear the standard tuning of your physical Variax along with the alt-tuning, your ears may be fooled into thinking the alt-tuning is out of tune. This is especially true for Acoustic 700 owners, but the solution is easy. In a studio situation, turn up your headphones; in a live situation, turn up the volume of your alt-tuned guitar amp or stage monitor so that it drowns out the physical guitar sound. When you adjust your guitar volume balance so that all you hear is the alt-tuned guitar, your alt-tuning will sound the way you expect it to.

2.Odd-Sounding Notes: If you use pull-offs, especially on an open G string that's tuned down a full step or more, or if you use Capo mode and tune several frets up or down and play harmonics or hammer-ons, you may sometimes hear odd-sounding notes. The general cure for this is to adjust your playing technique so that you play very cleanly when doing pull-offs, play with a lighter touch on extremely alt-tuned notes and harmonics, fret your notes accurately, and avoid any problem zones that may produce odd sounds. It’s not difficult to get clean-sounding alt-tuning tracks. It just takes a little time to adapt to the particular alt-tuning you're using, then avoid any obvious problem spots you may encounter by adjusting your playing technique and choice of notes.

3.Ringing Overtones: When you play certain notes and you don’t mute your other strings, occasionally a note you're playing may cause a harmonic to resonate from a non-muted string. This can be a good thing, but sometimes it may result in an odd sound as in #2 above. The solution is to mute the strings you aren't using, especially when playing single notes. This way the DSP won't be 'confused' by unwanted notes resonating against the intended note.

4.Amp Sounds: For Variax Acoustic Models, use an Amp Bypass setting or go direct whenever possible. Acoustics, Resos, Sitar, etc. don't like preamp gain, so cleaner is better in order to bring out the full range of these Models. If you use a Vetta II or PODxt Live, it’s a good idea to set up an Amp Preset for each of your favorite alt-tuned Variax Models, and save the Variax Model with your Amp Preset.

Source: Line 6 / vettaville.nl

Variax - Alt Tunings... 11-01-2006

With the development of Variax Workbench software, you can now tune your Variax electric to any alternate tuning you like. The Variax Acoustic 700 has this feature built into the guitar itself. With the physical Variax tuned to standard pitch, however, the Variax DSP must create the alternate tunings in real time, note by note as you play. This is no easy task, and as with any developing technology, there are limitations. To get the best musical experience from your alt-tuned Variax, please check out the following four Alternate Tuning Tips. They address the most frequently asked questions of Variax owners.

1.Guitar Volume Balance: If you hear the standard tuning of your physical Variax along with the alt-tuning, your ears may be fooled into thinking the alt-tuning is out of tune. This is especially true for Acoustic 700 owners, but the solution is easy. In a studio situation, turn up your headphones; in a live situation, turn up the volume of your alt-tuned guitar amp or stage monitor so that it drowns out the physical guitar sound. When you adjust your guitar volume balance so that all you hear is the alt-tuned guitar, your alt-tuning will sound the way you expect it to.

2.Odd-Sounding Notes: If you use pull-offs, especially on an open G string that's tuned down a full step or more, or if you use Capo mode and tune several frets up or down and play harmonics or hammer-ons, you may sometimes hear odd-sounding notes. The general cure for this is to adjust your playing technique so that you play very cleanly when doing pull-offs, play with a lighter touch on extremely alt-tuned notes and harmonics, fret your notes accurately, and avoid any problem zones that may produce odd sounds. It’s not difficult to get clean-sounding alt-tuning tracks. It just takes a little time to adapt to the particular alt-tuning you're using, then avoid any obvious problem spots you may encounter by adjusting your playing technique and choice of notes.

3.Ringing Overtones: When you play certain notes and you don’t mute your other strings, occasionally a note you're playing may cause a harmonic to resonate from a non-muted string. This can be a good thing, but sometimes it may result in an odd sound as in #2 above. The solution is to mute the strings you aren't using, especially when playing single notes. This way the DSP won't be 'confused' by unwanted notes resonating against the intended note.

4.Amp Sounds: For Variax Acoustic Models, use an Amp Bypass setting or go direct whenever possible. Acoustics, Resos, Sitar, etc. don't like preamp gain, so cleaner is better in order to bring out the full range of these Models. If you use a Vetta II or PODxt Live, it’s a good idea to set up an Amp Preset for each of your favorite alt-tuned Variax Models, and save the Variax Model with your Amp Preset.

Source: Line 6 / vettaville.nl

Variax - New Flashmemory V 3.10... 11-01-2006

Line 6 released new flashmemory. Here are the highlighted changes

• Fixed bug in the 12-string and Alt.-tuned models that caused F# at the 16th fret on the D string not to track.
• Improved pitch tracking speed, vibrato tracking and general tracking stability for 12-string and Alt.-tuned models.
• Detune amount is lessened for User 12-string Models.

Please update using Line 6 Monkey 1.10 or later. There are different versions for Variax 300/600 and the Variax 500/700 models.

• Click here to go to the Line 6 downloadarea
  

Source: Line 6 / vettaville.nl

Workbench - Alternate Tuning Tips... 11-01-2006

With the development of Variax Workbench software, you can now tune your Variax electric to any alternate tuning you like. The Variax Acoustic 700 has this feature built into the guitar itself. With the physical Variax tuned to standard pitch, however, the Variax DSP must create the alternate tunings in real time, note by note as you play. This is no easy task, and as with any developing technology, there are limitations. To get the best musical experience from your alt-tuned Variax, please check out the following four Alternate Tuning Tips. They address the most frequently asked questions of Variax owners.

1.Guitar Volume Balance: If you hear the standard tuning of your physical Variax along with the alt-tuning, your ears may be fooled into thinking the alt-tuning is out of tune. This is especially true for Acoustic 700 owners, but the solution is easy. In a studio situation, turn up your headphones; in a live situation, turn up the volume of your alt-tuned guitar amp or stage monitor so that it drowns out the physical guitar sound. When you adjust your guitar volume balance so that all you hear is the alt-tuned guitar, your alt-tuning will sound the way you expect it to.

2.Odd-Sounding Notes: If you use pull-offs, especially on an open G string that's tuned down a full step or more, or if you use Capo mode and tune several frets up or down and play harmonics or hammer-ons, you may sometimes hear odd-sounding notes. The general cure for this is to adjust your playing technique so that you play very cleanly when doing pull-offs, play with a lighter touch on extremely alt-tuned notes and harmonics, fret your notes accurately, and avoid any problem zones that may produce odd sounds. It’s not difficult to get clean-sounding alt-tuning tracks. It just takes a little time to adapt to the particular alt-tuning you're using, then avoid any obvious problem spots you may encounter by adjusting your playing technique and choice of notes.

3.Ringing Overtones: When you play certain notes and you don’t mute your other strings, occasionally a note you're playing may cause a harmonic to resonate from a non-muted string. This can be a good thing, but sometimes it may result in an odd sound as in #2 above. The solution is to mute the strings you aren't using, especially when playing single notes. This way the DSP won't be 'confused' by unwanted notes resonating against the intended note.

4.Amp Sounds: For Variax Acoustic Models, use an Amp Bypass setting or go direct whenever possible. Acoustics, Resos, Sitar, etc. don't like preamp gain, so cleaner is better in order to bring out the full range of these Models. If you use a Vetta II or PODxt Live, it’s a good idea to set up an Amp Preset for each of your favorite alt-tuned Variax Models, and save the Variax Model with your Amp Preset.

Source: Line 6 / vettaville.nl

Variax - Automated Variax Reference Sheet... 06-01-2006

The Automated Variax Workbench Reference Sheet provides a single page reference sheet of the models stored on your Variax. It loads with the default contents of the Variax Electrics.

• The Automated Variax Workbench Reference Sheet is an Excel sheet providing a single page reference sheet of the models stored on your Variax. It loads with the default (factory) contents of the Variax Electrics 300, 500, 600 and 700.
• The layout of the sheet is optimised for printing, and it automatically substitutes default Variax names for their historical counterparts, eg. "Spank-1" will appear as "(B) 1959 Fender Stratocaster"
• If you enable macros, it's also able to read the HTML files exported by workbench, supporting the same features for your custom or renamed models. Models which are named as one of the defaults (it doesn't have to be in the same position) will automatically be displayed using the name of the historical counterpart. Models with names you have created will appear with the name you gave them.

• More on the Automated Variax Workbench referencesheet

Source: Andy Allsop / vettaville.nl

Documents - POD xt series - Automated Referencesheet... 05-01-2006

Automated PODxt series Reference Sheet

• The Automated PODxt series Reference Sheet is an Excel sheet providing a single page reference sheet of the patches stored on your PODxt series. It loads the actual contents of your PODxt (PODxt; PODxt Pro; PODxt Live.
• The layout of the sheet is optimised for printing, and it automatically substitutes default PODxt series names
• If you enable macros, it's also able to read the HTML files exported by Line 6 Edit.

How does it work

1. The macros are unlocked, so you can see exactly how it works, verify that it is harmless, and make any improvements that are specific to your needs.

   The only other cleverness is some conditional formatting, which I'm using to flag FX, VAR, or Spare slots. Unfortunately, the Line 6 Edit export doesn't include any information other the name and position, so I can only determine these using the tone name.

   
   Instructions:
   1. Download and save the file above.
   2. Use Line 6 Edit with your connected PODxt series to create an HTML file of your tone names and positions.

   1. To activate it. Connect your PODxt to your computer.
   2. Run Line 6 Edit, Let all the patches load into Line 6 Edit (right window of Line 6 Edit on your screen).
   3. Click File > export HTML tone list, name and save it on your computer.

3. Open the downloaded file in Excel Parser.
4. Click the big button.

How does it look

click on the picture above for a closer look

How to get it

• Click here to download the Automated PODxt series referencesheet / Excel parser

Macro
All macros are left unlocked so that you can make alterations or improvements as required.

Who did it ?

Andy Allsopp did it. Be nice and thanks Andy when you 'see' him at the boards. He took the time and effort to create it and share it with you. Thanks Andy!

Source: Andy Allsop / vettaville.nl

Documents - Workbench - Automated Workbench Reference Sheet... 05-01-2006

Automated Variax Workbench Reference Sheet

• The Automated Variax Workbench Reference Sheet is an Excel sheet providing a single page reference sheet of the models stored on your Variax. It loads with the default (factory) contents of the Variax Electrics 300, 500, 600 and 700.
• The layout of the sheet is optimised for printing, and it automatically substitutes default Variax names for their historical counterparts, eg. "Spank-1" will appear as "(B) 1959 Fender Stratocaster"
• If you enable macros, it's also able to read the HTML files exported by workbench, supporting the same features for your custom or renamed models. Models which are named as one of the defaults (it doesn't have to be in the same position) will automatically be displayed using the name of the historical counterpart. Models with names you have created will appear with the name you gave them.

How does it work

1. The workbook contains three worksheets. The button on 'Model Table' runs a macro called 'PopulateModelTable'. This raises a fileopen dialog allowing you to select the exported file, then reads the results into hidden columns I to M, rows 7 to 18.
2. The second sheet holds mapping information for the rotary knob. 'Model Table' shows the rotary label (for example 'U-SPANK') and uses VLOOKUP functions to add the definition 'Stratocasters'.
3. The third sheet holds mapping information for the default model names. Hidden columns O to S on 'Model Table' use VLOOKUP to retrieve the name of the actual model, so that 'Spank-1' will appear as '(B) 1959 Fender Stratocaster'.
   Columns C to G of 'Model Table' use an ISERROR statement to show either the model name stored on the Variax, or the mapped model name if present.

How does it look

click on the picture above for a closer look

Instructions for using your exported workbench file

1. Use the Variax Workbench to generate an HTML formatted export of the model names. (From inside workbench, choose File | Export HTML Model List)
2. Open the spreadsheet, and click the button at the top of Sheet1 (Model Table). Please note: You will need to enable macros. Also, you should open the file in Excel proper rather than internet explorer acting as Excel, as this seems to have a few issues.
3. When prompted, browse to the file exported by workbench and confirm the dialogue.

How to get it

• Click here to download the Automated Variax Workbench referencesheet / Excel parser

Macro
All macros are left unlocked so that you can make alterations or improvements as required.

Who did it ?

Andy Allsopp did it. Be nice and thanks Andy when you 'see' him at the boards. He took the time and effort to create it and share it with you. Thanks Andy!

Source: Andy Allsop / vettaville.nl

Documents - Variax - Workbench - Automated Workbench Reference Sheet... 05-01-2006

Automated Variax Workbench Reference Sheet

• The Automated Variax Workbench Reference Sheet is an Excel sheet providing a single page reference sheet of the models stored on your Variax. It loads with the default (factory) contents of the Variax Electrics 300, 500, 600 and 700.
• The layout of the sheet is optimised for printing, and it automatically substitutes default Variax names for their historical counterparts, eg. "Spank-1" will appear as "(B) 1959 Fender Stratocaster"
• If you enable macros, it's also able to read the HTML files exported by workbench, supporting the same features for your custom or renamed models. Models which are named as one of the defaults (it doesn't have to be in the same position) will automatically be displayed using the name of the historical counterpart. Models with names you have created will appear with the name you gave them.

How does it work

1. The workbook contains three worksheets. The button on 'Model Table' runs a macro called 'PopulateModelTable'. This raises a fileopen dialog allowing you to select the exported file, then reads the results into hidden columns I to M, rows 7 to 18.
2. The second sheet holds mapping information for the rotary knob. 'Model Table' shows the rotary label (for example 'U-SPANK') and uses VLOOKUP functions to add the definition 'Stratocasters'.
3. The third sheet holds mapping information for the default model names. Hidden columns O to S on 'Model Table' use VLOOKUP to retrieve the name of the actual model, so that 'Spank-1' will appear as '(B) 1959 Fender Stratocaster'.
   Columns C to G of 'Model Table' use an ISERROR statement to show either the model name stored on the Variax, or the mapped model name if present.

How does it look

click on the picture above for a closer look

Instructions for using your exported workbench file

1. Use the Variax Workbench to generate an HTML formatted export of the model names. (From inside workbench, choose File | Export HTML Model List)
2. Open the spreadsheet, and click the button at the top of Sheet1 (Model Table). Please note: You will need to enable macros. Also, you should open the file in Excel proper rather than internet explorer acting as Excel, as this seems to have a few issues.
3. When prompted, browse to the file exported by workbench and confirm the dialogue.

How to get it

• Click here to download the Automated Variax Workbench referencesheet / Excel parser

Macro
All macros are left unlocked so that you can make alterations or improvements as required.

Who did it ?

Andy Allsopp did it. Be nice and thanks Andy when you 'see' him at the boards. He took the time and effort to create it and share it with you. Thanks Andy!

Source: Andy Allsop / vettaville.nl

Documents - Variax - Electric - Reference Sheet (colour) Lefthanded... 05-01-2006

Variax reference sheet in colour for Lefthanded guitarists made by Stratman57 (Line 6 Channel Forum member). All modelled guitars in Variax are present at the right switch position.

• Download Variax reference sheet in colour for Lefthanded guitarists.

Source: Stratman 57 / vettaville.nl

Tonecore - New Tonecore Modular Shipped... 05-01-2006

Line 6, is now shipping the ToneCore® effect modules and ToneDock mono and stereo stompboxes. Users now have the ability to swap out the module inside a ToneCore pedal with any module from the entire line.

Source: Line 6 / vettaville.nl

FCB Files - Introduction... 05-01-2006

Operating your Line 6 gear can be done by using the Line 6 floorboards.

That is one way of doing it, however Line 6 gear cannot only be operated with the Line 6's FBV floorboards, but also (via MIDI / sysex) with other brands floorboards. To help those along that have other brands of floorboards here's some help on how to get it working.

1) The Line 6 gear and Line 6 FBV floorboards are designed to work together

2) Different brand floorboards could be designed for different purposes, however you can use them to work with Line 6 gear.

3) This page and info are in no way affiliated with Line 6. All other product names used in this website are trademarks of their respective owners, which are in no way associated or affiliated with Line 6 or Vettaville. These trademarks of other manufacturers are used solely to identify the products of those manufacturers.

4) These page(s) content is made by and with courtesy of Daniel Lemoine (a.k.a. TigerBill ) a Channel 6 forum member.

5) All changes made, could trigger malfunction of your gear, and could void your warranty, check your manuals before continuing.

Source: vettaville.nl

FCB Files - FCB 1010 Files Info... 05-01-2006

This Section gives you the possibillity to use a Behringer FCB 1010 floorpedal with the following Line 6 gear:

• HD147
• Flextone III
• Flextone II
• POD xt V2.0
• POD xt V1.xx
• POD 2.0

At the present time there also included a Flextone III Tuning Wizard, also made by Daniel Lemoine, scroll down to reach the different paragraph(s)

FCB files

General purpose

Source: Daniel Lemoine / vettaville.nl

FCB Files - FCB 1010 with HD 147... 05-01-2006

This Section gives you the possibillity to use a Behringer FCB 1010 floorpedal with a HD 147 currently tests are done to see if the same files could be used for HD 147, when clear on that we'll post so.

.

Sysex files for FCB 1010 with Flextone III and HD 147

FBV_enhanced.syx FBV_Enhanced.txt	3 KB 03/08/2004 2 KB 03/08/2004	An emulation of the FBV Shortboard with some tone editing features on #0 bank ( A.I.R. II settings )   Help file for the FBV shortboard emulation
FBV_enhanced_RevD.syx	3 KB 03/19/2004	Same as the original, but Min Vol pedal to keep audible sound with pedal at Min
FBV_enhanced_RevE.syx	3 KB 03/23/2004	Same as the original, but Min & Max defined for the Vol pedal ( 30% to 70% overall power)
FBV_6x6.syx FBV_6x6.txt	3 KB 03/26/2004 5 KB 03/26/2004	FCB with 6 banks x 6 tones and Enhanced Editing in 3 more banks (bank #7 unused) Help file for FBV-6x6
FBV_6x6_Cabs.syx FBV_6x6_Rvb.syx FBV_6x6_Rv-cab.txt	3 KB 03/30/2004 3 KB 03/30/2004 6 KB 03/30/2004	Same as FBV_6x6 plus Cabs on bank#7   Same as FBV_6x6 plus Reverbs on bank#7   Help file for FBV 6 x6 w /Cabs or Revb
Studio_Deep_Edit_RevC.syx Studio_Deep_Edit_revC.txt	3 KB 03/08/2004 7 KB 03/08/2004	A studio tone Editor. All parameters are accessible.. Full options (let use the FCB1010 instead of the Line6 Edit software) Help file for the Deep editor
Stage_Enhanced.syx Stage_enhanced.txt	3 KB 03/08/2004 6 KB 03/08/2004	A middle version between the FBV_Enhanced emulation & the Studio ( 4 banks x 9 tones and enhanced editing features in 6 banks ) Help file for the Stage enhanced

Source: Daniel Lemoine / vettaville.nl

FCB Files - FCB 1010 with Flextone III... 05-01-2006

This Section gives you the possibillity to use a Behringer FCB 1010 floorpedal with a Line 6 Flextone III.

 .

Sysex files for FCB 1010 with Flextone III and HD 147

FBV_enhanced.syx FBV_Enhanced.txt	3 KB 03/08/2004 2 KB 03/08/2004	An emulation of the FBV Shortboard with some tone editing features on #0 bank ( A.I.R. II settings )   Help file for the FBV shortboard emulation
FBV_enhanced_RevD.syx	3 KB 03/19/2004	Same as the original, but Min Vol pedal to keep audible sound with pedal at Min
FBV_enhanced_RevE.syx	3 KB 03/23/2004	Same as the original, but Min & Max defined for the Vol pedal ( 30% to 70% overall power)
FBV_6x6.syx FBV_6x6.txt	3 KB 03/26/2004 5 KB 03/26/2004	FCB with 6 banks x 6 tones and Enhanced Editing in 3 more banks (bank #7 unused) Help file for FBV-6x6
FBV_6x6_Cabs.syx FBV_6x6_Rvb.syx FBV_6x6_Rv-cab.txt	3 KB 03/30/2004 3 KB 03/30/2004 6 KB 03/30/2004	Same as FBV_6x6 plus Cabs on bank#7   Same as FBV_6x6 plus Reverbs on bank#7   Help file for FBV 6 x6 w /Cabs or Revb
Studio_Deep_Edit_RevC.syx Studio_Deep_Edit_revC.txt	3 KB 03/08/2004 7 KB 03/08/2004	A studio tone Editor. All parameters are accessible.. Full options (let use the FCB1010 instead of the Line6 Edit software) Help file for the Deep editor
Stage_Enhanced.syx Stage_enhanced.txt	3 KB 03/08/2004 6 KB 03/08/2004	A middle version between the FBV_Enhanced emulation & the Studio ( 4 banks x 9 tones and enhanced editing features in 6 banks ) Help file for the Stage enhanced

Source: Daniel Lemoine / vettaville.nl

FCB Files - FCB 1010 with PODxt V 2.0... 05-01-2006

This Section gives you the possibillity to use a Behringer FCB 1010 floorpedal with a Line 6 POD Xt Version 2.0

POD Xt SysEx files

Source: Daniel Lemoine / vettaville.nl

FCB Files - FCB 1010 with PODxt V 1.xx... 05-01-2006

This Section gives you the possibillity to use a Behringer FCB 1010 floorpedal with a Line 6 POD Xt Version 1.xx

POD Xt SysEx files

POD Xt 8X8.syx   POD Xt 8X8 Mix.syx   POD Xt 8X8.txt

3 KB 26/05/2004     3 KB 26/05/2004   3 KB 26/05/2004

8 banks of 8 patches ( FCB banks #1 to #8 ). Odd POD banks on lower row pedals. Even POD banks on upper ones ( STOMP toggle on each pedal 1st press: Off 2nd: On) AIR, Comp, MOD, Delay, Reverb, Gate and Tuner controls in banks #0 & #9   Same as the previous, but lower row pedals with STOMP On / Off       Help file for the POD Xt SysEx files

Source: Daniel Lemoine / vettaville.nl

FCB Files - FCB 1010 with POD V 2.0... 05-01-2006

This Section gives you the possibillity to use a Behringer FCB 1010 floorpedal with a Line 6 POD 2.0

.

POD 2.0 SysEx files

Source: Daniel Lemoine / vettaville.nl

FCB Files - FCB 1010 with Flextone II... 05-01-2006

This Section gives you the possibillity to use a Behringer FCB 1010 floorpedal with a Line 6 Flextone II and POD 2.0

.

Flextone II SysEx files

Floorboard enhanced.syx     Floorboard Rvb ctl.syx     Floorboard Enhanced.txt

3 KB 10/04/2004   2 KB 17/04/2004   2 KB 17/04/2004

An emulation of the Floorboard with cabs selection and AIR control on #0 bank ( no reverb control ). Drive boost on each patch ( 1st press: Off 2nd: On ) Same as the previous, but with Reverb settings on patches #5 instead of Tap tempo   Help file for the Floorboard emulation

Source: Daniel Lemoine / vettaville.nl

Marcus Ryle 2006 - InVettagation - Part 1... 04-01-2006

For introduction purposes, quoted from the Line 6 website:

Marcus Ryle
Co-Founder and Senior Vice-President, Product Development

Marcus Ryle, co-founder and Senior vice-president, product development is responsible for the long-term technology and product strategies and leads all research and development initiatives. He also serves on the Line 6 Board of Directors. Prior to Line 6, Mr. Ryle co-founded Fast Forward Designs in 1985, which became Line 6 in 1996. From 1980 to 1985, he worked at Oberheim Electronics, Inc. as a senior designer responsible for developing many of the company's successful synthesizers.

Mr. Ryle's long history and expertise in technology and product development have resulted in the co-invention of several patents. He is member of the Audio Engineering Society and has served on many industry standards and advisory committees. A classically trained pianist, Mr. Ryle has been involved playing keyboards and/or creating sounds for several motion picture and television soundtracks, as well as numerous professional recording artists, including Barbara Streisand, Olivia Newton-John, Christopher Cross, Chicago, Chaka Khan and Lee Ritenour.

Thanks go out to all the Marcus Ryle and Line 6, they have been very kind and helpfull.

Hi Marcus, thanks for taking the time to elaborate on Line 6, how you got there and your background. To keep it all in Line let’s start with the background. Since Line 6 is all about musicians and helping them to more creativity. What’s your background in the music industry?

Well Vinny, where do you want me to start? I’ve been interested in music since an early age.  I think I was six years old, I decided I wanted to be a famous musician. Although it’s not exactly how it turned out, it has had a big influence on me since my very young age.

Actually my first instrument was drums, but my mom couldn’t tolerate it too long. So I switched at seven to piano, and studied classical piano for about ten years. At the same time I was also very interested in technology. As a result, I bought my first synthesizer when I was twelve, which was an old Arp Odyssey.

At the age of twelve, I started playing in bands, mainly playing keyboards. After some poor attempts at guitar, bass became my main second instrument. Immersed in music and technology, I started to modify synthesizers and effects, learning more about technology through trial and error. Sometimes while attempting to modify an instrument it would break, so I had to figure out how to make it work again since I couldn’t afford to buy a new one.  Around the same time, I started teaching myself computer programming, using my father’s Apple II computer.

I attended California State University, Dominquez Hills, from age sixteen to nineteen. They had just installed a new 16-track recording studio and a synthesizer lab. I spend a lot of time recording different bands as well as my own, and teaching some classes in early digital synthesis. They had bought one of the first Synclavier I digital synthesizers, and I taught students how to write their own custom software to create new sounds on it. Tom Oberheim had heard that we had a Synclavier, and came to the studio to check it out.  To my surprise, he ended up offering me a job so…

From 1980 until 1985 I worked at Oberheim. My first project was the DSX, a polyphonic sequencer, and I then worked on the OB-8 and DMX, Matrix-12 and Xpander. A few months after I started there I met a French engineer named Michel Doidic. He came over from France to work for Oberheim, originally for six months, but he ended up never leaving..

Source: Vinny / vettaville.nl

Marcus Ryle 2006 - InVettagation - Part 2... 04-01-2006

Marcus Ryle
Co-Founder and Senior Vice-President, Product Development

Thanks go out to all the Marcus Ryle and Line 6, they have been very kind and helpfull.

Michel and I worked closely together for five years, being the two primary designers of the synthesizers. In 1985 we decided that we wanted to do more then the types of products that Oberheim was focused on. I very much love synthesizers, but we were interested in all things having to do with making music and audio. As a result, Michel and I decided to start a company called Fast Forward Designs along with my wife, Susan, who has been responsible for much of the business management and logistics of the company while Michel and I worked on product design (and she is also still at Line 6, by the way).

From 1985 through 1995 we were a product design consulting company. Our primary focus was that we wanted to develop innovative products and learn about new technology. We’ve always had great curiosity into how we could use new technologies to create new ways for musicians to be creative. We thought the best way to pursue this was to develop new products for other companies so that we could be involved in many different types of products.

During those ten years, we were involved in a lot of products for various companies. The most well known name would probably be Alesis. For Alesis, we helped develop about 40 products, including the ADAT, Quadraverb and Quadrasynths, the drum machines, and so on. We also did work for Digidesign, including the Samplecell series of products.

We also designed MIDI lightning controllers, and other various things in different parts of our industry. We had the chance to learn a lot about digital signal processing during all of this development, and always had a fascination with guitar (Michel is a guitarist as well). Around 1994, we began to believe that there was finally enough DSP power to properly emulate what goes on in a vacuum tube or valve in a guitar amp.

Although we were still consulting for other companies, we started a sort of a private research project on our own to see how good it could be and what it could do. That of course led into the introduction of the AxSys 212 in 1996 and all of the Line 6 products since then. That’s pretty much the technical career history, Vinny.

Source: vettaville.nl

Marcus Ryle 2006 - InVettagation - Part 3... 04-01-2006

Marcus Ryle
Co-Founder and Senior Vice-President, Product Development

Thanks go out to all the Marcus Ryle and Line 6, they have been very kind and helpfull.

What kind of music do you like or maybe influenced you?

Me? I’ve got a pretty wide range of musical interest. What I found in general is that in any musical style you can find a true artist. Unfortunately, in any musical style you can also find some pretty poor execution. I try not to dismiss any musical style, modern or classic, because I think there are great musicians everywhere.

An early influence for me, besides classical music, was progressive rock. Bands like Yes, Emerson, Lake and Palmer, and others like that. When I was a session musician, I became more appreciative of the detail going in to more commercial music, pop and rock, which were more the types of music I was playing in the L.A. sessions scene. A bit of everything.

More currently, I like think the latest U2 album is great, I also like Radiohead, Porcupine Tree, and Beck. As for guitarists, I have had the honor of knowing many great players for a long time, and they’ve all had a musical influence on me, including Steve Morse, Alan Holdsworth, Steve Lukather, and Jay Graydon. Great players and great guys.

Although playing music is what inspired my path, my passion for developing products and technology is really where I wanted to spend my time. As a result, I didn’t pursue further being a session musician, or choose it as a permanent career.

One thing that comes to mind is the confusion on the different forums on how the name Line 6 was established. Something to do with a telephone board? Could you tell us, once and for all…

Of course Vinny. As I was saying, our amp modeling experiment was a private research project. As with any kind of research, you start something and you don’t know how it’s going to turn out. It was quite possible we would discover there still wasn’t enough DSP power or that it wouldn’t sound good. We didn’t know what we would do with it and we wanted, in essence, to keep it a secret until we had figured it out.

We were doing development for other companies, and we would be visited sometimes by people we were doing work for. One of the difficult parts of keeping our research a secret is that we had to take old classic amps and turn them up very loud (since that’s when they sound best), and do our measurements.

Of course, you’d hear the guitars blasting from the back of the building. We realized that we would need to stop playing when we had visitors, since there was no good explanation as to why we would be blasting guitars at the office. So we needed a simple code to let the folks in the back know that a visitor was up front and that they should stop playing guitar. At that time. Fast Forward Designs was the name of our company, and we had 5 phone lines. Whenever we had a visitor at the front that we didn’t want to know about this research, the receptionist at the front desk would innocently page one of us on the intercom system of the building. The message was that we had a phone call on line 6.

Source: Vinny / vettaville.nl

Marcus Ryle 2006 - InVettagation - Part 4... 04-01-2006

Marcus Ryle
Co-Founder and Senior Vice-President, Product Development

Thanks go out to all the Marcus Ryle and Line 6, they have been very kind and helpfull.

So, this became our code to know that we had to shut up the guitars until the visitor was gone. It started out as just a silly code, and was never thought up of as a name for the company because it wasn’t even a company yet. It was just an idea and research at that time. Of course, over the next 18 months of research and development, we finally developed a product and it was time to come up with a company name.

During that time we tried had several brainstorming meetings to come up with a company name, just like you do when you start a band. But we really couldn’t find a name that we liked, and finally someone suggested why not just use line 6? That’s how it all started, and that’s what stuck!

Marcus during your info on your background it got me thinking on what your drive is to do it? Of course (almost) every company has a financial department that works towards making a small profit…

You know, money in a company like ours is the fuel, and is necessary to be able to fund ongoing research, but it’s not the primary purpose that drives a company like Line 6. I guess most people in the music industry would say that if their primary interest was making money, then there our other industries where you might have a lot easier time.

In our case, Line 6 is really driven by passion. We have so many great musicians inside the company, so many really interested in making a difference in how the new tools can change the lives of other musicians and help the creative process. We view ourselves as artists, much like the musicians who use our equipment. Our interest lies in the equipment and, just as a musician, it can have a critical success as well as a commercial success. You might make some money, but at least as important is the validation of your work.

We are very pleased when a product, such as POD or other things we’ve done, are very successful. That really shows the validation of the work we’ve put into that, that art. The success of a product like POD enables us to fund the research into modeling guitars, for instance. That was another project that started as an unknown, because again it starts with research into whether it can be done or not. The main thing that drives the research and the company is passion for music and the products that help create it.

Source: Vinny / vettaville.nl

Marcus Ryle 2006 - InVettagation - Part 5... 04-01-2006

Marcus Ryle
Co-Founder and Senior Vice-President, Product Development

Thanks go out to all the Marcus Ryle and Line 6, they have been very kind and helpfull.

Regarding the creative process Marcus, how do you decide on what direction you’re going to take regarding the possible products?

Our company is looking at the latent needs. The needs that might not even be known to the musician. This is because they might not know what new technology might be able to help them.

There are a number of things in our society that were born out of latent needs. For example, no one asked for the Internet. No one said if I just had the Internet, that would change my life, that would be a great thing, right? However it ended up serving a need and most people can’t imagine not having the Internet, because it became a part of life.

From the beginning of Line 6, no one was asking for a digital guitar amp. In fact, most people thought it was a bad idea because at that time, digital and guitar…, well they were oil and water, you know. It didn’t mix. Digital was perceived to be a bad thing.

We believed that the latent need was for guitar players to be able to have a wide palette of great sounds to fuel the creative process, and to be able to select sounds quickly plus be able to count on them being repeatable whenever they needed it (in other words, not be stuck with just how your amp decided to sound today). Why be limited to just the one sound of one amplifier? It limits so much what your musical creativity could be. Because of our keyboard background, we were spoiled. Helping to develop synthesizers and samplers and being able to have a huge palette of sounds for a keyboard player really fueled a lot of great music.

If you could give guitar players the opportunity to experience this, they could see this as a real value. This is what led us to design the amplifiers, the effects, PODs, and finally, guitars. We’re trying to give the guitar player complete control of their sound from their fingertips to the air, the entire path. Trying to free them of the technical and practical limitations that traditionally existed. So we keep looking for were more latent needs might exist.

From a business prospective, you might say it’s somewhat risky. Other companies might be successful in making products that are copies or variations on what other companies do. They can wait and see what’s successful and what’s not, and then just pick the successful products and make those. It’s of course much cheaper in development costs to run a company that way. But that’s not what where our passion is, what we’re interested in, so we’ll take more risk. There’s no guarantee that people will find a strong need for what we might do, but fortunately so far it seems to be turning out successfully.

Source: Vinny / vettaville.nl

Marcus Ryle 2006 - InVettagation - Part 7... 04-01-2006

Marcus Ryle
Co-Founder and Senior Vice-President, Product Development

Thanks go out to all the Marcus Ryle and Line 6, they have been very kind and helpfull.

It’s a very satisfying outcome when our products get this acceptance, but at the start there’s no way to know. Sometimes I see a parallel in the movie industry.
I don’t know if I’m elaborating too much, but I know that you do a fine job on editing Vinny, so I’ll read if it survived. (Yes it did).

Many people are making movies in Hollywood, and they can tell you they know everything about the movie business. But asked them to predict accurately what’s going to be a big hit and what pictures aren’t… That’s very difficult.

So you’ve got this creative process that goes on, they do testing with test audiences, all kinds of things. I think that in the end the ones that are successful are the ones that are created by people who followed their instincts and stayed true to their passion. Doing the thing that they think is the best thing to do and just see if that connects to their audience. In our case, the audience is musicians.

You worked together with Bose for the cylindrical radiator system. How did that cooperation get started and what part were you involved in?

We weren’t involved in the design of the actual system. In the research group at Bose they had been working for 10 years on that system. Bose is a very technology and innovation driven company, so we have some common thinking between the 2 companies.

It’s an interesting system that has a number of significant benefits. But to really fulfill their vision, they needed to change how musicians look at their backline products, and if there’s a guitar amp involved, it will get in the way of the benefits the system brings to the musician.

So Bose actually approached us just prior to their product launch. They had looked at ways to get rid of the guitar amp and looked at the various modeling products on the market, and decided we were the best of that world. They showed us their technology and shared their thoughts on it. We got exited because it’s providing even more tools for musicians, which we feel is always a great thing.

Not every tool is going to be right for everybody. So you want to have many different approaches. Some people just want to have a traditional amp and what that represents and how that feels. That’s great, and we and others obviously still make a lot of guitar amps. Other people just might not be satisfied with that approach, and might try something different.  The Bose system is an excellent alternative, and sounds great with a PODxt in front of it.

We worked with Bose and developed an adaptation of our modeling, specifically how the cabinet simulation works, that’s tailored for the Bose system.  This insures  the best guitar-amp experience when connected through the PODxt in “Bose mode”. This solution worked out very well. Our partnership now is more at a marketing level because we have nicely compatible products.

Bose has also been very enthusiastic about Variax. The Variax Acoustic in particular, because the Bose system is a great reproduction system for acoustic guitars. They were suffering from the same frustrations that led us to develop the Variax Acoustic: Piezos sounding bad, feedback problems, and all the other issues we tried to solve with the Variax Acoustic.
So they were thrilled when we showed them a prototype of the Variax Acoustic. Now it’s been a part of their promotion for us as well, because you can turn it up extremely loud without feedback, and their system really works great with it.

Source: Vinny / vettaville.nl

Marcus Ryle 2006 - InVettagation - Part 6... 04-01-2006

Marcus Ryle
Co-Founder and Senior Vice-President, Product Development

Thanks go out to all the Marcus Ryle and Line 6, they have been very kind and helpfull.

How do you decide on what’s next? What’s the process behind it? Your personal need could be completely different from the general latent need I guess..

There’s a number of things we do, Vinny. Some are typical business tools. You try to understand through various research what type of equipment people are using, where trends are going, how things are being used musically; we talk to a lot of artists, and talk to regular musicians, and read what people are saying on message boards.

We are also very fortunate that there are so many amazing guitar players at Line 6, of all types. We’ve got every style of music, and all kinds of instruments. This group can often be a good informal indicator before presenting ideas to outside groups of guitarists.

We say guitarists, but it’s really about musicians in general. It’s about making music, and that’s the common thread of all musicians. In our sales group, in our marketing group, in engineering, and so on, there are so many great musicians. It can be very telling if they are exited about an idea, or not so exited.

In the end, it comes back to the passion. We all share the passion in what our product’s potential is and how it can help musicians, that’s a shared passion within the company. In the end that can be enough of a reason to go forward and find out if other musicians end up interested in it. It’s a risk, but when you’re doing something like this there really is no way to know what the final outcome will be.

For several of the early years of modeling amplifiers, there was debate within Line 6, and among plenty of outsiders, on whether modeling would just be a niche market of guitar amplifiers. Is it just a special category on the sideline next to the real amplifiers, or is it a technology transition that will change how music is made in the future?

Not that long ago, all cameras used film.  When digital cameras were first introduced, they were somewhat of a novelty.  The quality was not as good as film, and many people felt that it would never replace film.  Now, digital cameras are not even viewed as a different category, and they now represent the majority of cameras sold.

But there’s not really a way of knowing how something like this will end when you start. We now are very pleased that we are the number 3 guitar amplifier company, behind Fender and Marshall, and we’ve managed to pass all of the other companies that make amplifiers. For us, this validation means that we are no longer that odd, separate category. Digital modeling has become something that’s well accepted, and it’s being used by a lot of musicians and artists of all levels.

Source: Vinny / vettaville.nl

Marcus Ryle 2006 - InVettagation - Part 8... 04-01-2006

Marcus Ryle
Co-Founder and Senior Vice-President, Product Development

Thanks go out to all the Marcus Ryle and Line 6, they have been very kind and helpfull.

Speaking of Variax, one of the things that puzzles is the question of modeling the body / wood of the original guitar for Variax. Does this actually play a role?

Actually it does play a factor. The thing with Variax is that the actual, physical instrument, that is the basis of the tone for the Variax. As you know, the Variax is not a synthesizer triggering anything. It’s taking the actual sound of the instrument and putting it through the modeling process to effectively put those strings on a different instrument. So the construction of the instrument is the basic tonal foundation. We understand the specific wood and design of the Variax and use it as the starting point for our modeling process in order to transform it properly into the ending point.

Different types of wood can effect the sustain properties, or some resonance. I’d say it’s not as critical as with an acoustic instrument, but it certainly plays a part. Changes of the physical instrument will result in changes in the final sound.  That was a fundamental reason why we developed the Variax the way we did, unlike the Roland VG system were you can put the pickup onto any guitar.

The Roland system obviously has some great advantages, however one disadvantage is that the instrument you put it on, and even more importantly, the accuracy of the placement of the hex pickup, can greatly alter what the output of the product is. They don’t really have any control over what the input signal is, because it’s up to the musician, and that could lead to a wide range of output. I don’t know how Roland approached this problem, but I think it would be a challenge for to accurately create models in this environment. That’s why we wanted to create a complete instrument, a complete solution.

As you know Vinny, people now put their Variax electronics in other physical instruments. Since the pickup doesn’t change position (because it’s in the bridge), the tonal changes are fairly subtle. Some people might prefer the modeled sound on an instrument that has more or less sustain than the Variax. It might mean that the models aren’t quite as accurate, since the string (amplitude) decay is one of the things modeled, but it’s more important that the musician uses what they like. And in the end, it might not be that important if the banjo rings a little longer then a real banjo might or something like that

Well Marcus this would mean that you could model different strings as well?

Well, yes. We did that on the Variax Bass, for example. One of the features is the ability to choose between round and flat wound strings. And on the Variax Acoustic, we have a model that makes a steel string into a nylon string. We use techniques such as dynamically altering the harmonic content to accomplish this.

Source: Vinny / vettaville.nl

Marcus Ryle 2006 - InVettagation - Part 9... 04-01-2006

Marcus Ryle
Co-Founder and Senior Vice-President, Product Development

Thanks go out to all the Marcus Ryle and Line 6, they have been very kind and helpfull.

Wouldn’t it be logical to do other stringed instruments as a next step? Like Violins for instance…

To make the Variax sound like a Violin? Is that what you’re thinking, Vinny? Yes. It’s certainly an interesting idea, mmm… I don’t know..  So far we’ve focused on plucked instruments like a banjo, mandolin etc, because they have the natural characteristics of the plucked strings. Putting in a bowed sound would seem to be quite drastic change. I’m not sure… It’s a good question…
I’m not sure if the preferred approach would be to attempt to model it, and have the string source still be the actual audio signal, or if we’d be better off taking a more guitar synthesizer approach. You’d have the guitar strings be a trigger for a sampled or a completely synthetic modeled string.

You know, the Variax Bass has some synth sounds. These would be examples of where the strings are not the actual sound source anymore. They are the trigger and pitch inputs for the synthesized sounds.

Mr. Ryle could you shed a light for the Vettaville readers on what direction Line 6 is moving towards? As you know the InVettagations always have something extra. What is it that you’re willing to share with us?

First let me just say that I think there may be many interesting things happening in the coming years. I also think we’re in the early years of Variax technology, and it’s an exiting area for us thinking about how guitars can continue to evolve. When we consider how little the electric guitar evolved in the past 50 years, we think this is a very interesting time.

Is there anything else that you want to share with my readers Marcus?

Thanks for asking. Actually, for the people that visit Vettaville and the many Line 6 forums, I want to say that I truly enjoy the shared passion that exists in the community. Sometimes it might mean that a few get a little short tempered, or might get upset with us, or might even believe that there’s some conspiracy behind each and every thing we do. But at its core is a passion for making music, and a passion for the gear to do exactly what each individual wants it to do, and I really appreciated the passion that drives all of that.

Even if someone is unhappy with Line 6, it’s rooted in this shared passion and it’s all fuel for what we are trying to do. It doesn’t upset me, and it’s also vary gratifying in that same community to read all the great ways that people are using our equipment and how it enables them to create their music.

I’m personally really appreciative of that community of dedicated musicians and artists that are interested in making sure that Line 6 is being the very best we can be at delivering useful tools.

Source: Vinny / vettaville.nl

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