variax 600 user manual - english ( rev a )

8/12/2019 Variax 600 User Manual - English ( Rev a )

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40-00-0089 Electrophonic Limited Edition available @ www.line6.com Rev A

Pilots HandbookManuel de pilotage

Pilotenhandbuch

Pilotenhandboek


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Before using your Variax you should read these ImportantSafety Instructions. Keep these instructions in a safe place.

1. Obey all warnings in this Pilots Handbook.

2. Do not place near heat sources, such as radiators, heat registers, or appliances which produce heat.

3. Guard against objects or liquids.

4. Power the XPS Footswitch only with the included Power Supply or equivalent.

5. Connect the Power Supply only to AC power outlets rated 100-120V or 230V 47-63Hz (depending on the voltage range of the includedpower supply).

6. Do not step on power cords. Do not place items on top of power cords so that they are pinched or leaned on.

7. Unplug your Variax and XPS Footswitch when not in use for extended periods of time.

8. Do not perform service operations beyond those described in the Variax Pilots Handbook. Repairs and service operations beyond thescope of those in the Pilots Handbook should be performed only by qualified service personnel.

9. Prolonged listening at high volume levels may cause irreparable hearing loss and/or damage. Always be sure to practice safe listening.

Your Variax should include these accessories:Gigbag, XPS Footswitch, Power Supply, TRS Cable, Bridge Saddle Wrench, Truss Rod Wrench

CAUTION: This equipment has been tested and found to comply with the limits for a Class B digital device pursuant toPart 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.

WARNING: To reduce the risk of fire or electric shock,do not expose this appliance to rain or moisture.

CAUTION: No user-serviceable parts inside. Referservicing to qualified service personnel.


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Please Note:

Line 6, Variax, POD, and the Line 6 and Variax logo are trademarks of Line 6,Inc. All other product names, trademarks, and artists names are the propertyof their respective owners, which are in no way associated or affiliated withLine 6. Product names, images, and artists names are used solely to identify

the products whose tones and sounds were studied during Line 6s sound modeldevelopment for this product. The use of these products, trademarks, images,and artists names does not imply any cooperation or endorsement.


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Table of Contents

Welcome to Variax ................................. 12

Basic Operations......................................... 3-6Connections

Battery PowerXPS Footswitch PowerXPS Footswitch Direct Out

Controls.................................................. 7-10ControlsBuild a Custom GuitarContents of Custom Knob Positions

The Guitars of Variax........................... 12-22General Notes About the ModelsPickup NumberingModel Descriptions

Care and Maintenance ........................23-25Neck Relief AdjustmentIntonation Adjustment

Action AdjustmentTremolo Setup


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Welcome to Variax

Thanks for buying a Variax and joining us in ourquest to apply the miracle of modern technology tothe pursuit of great guitar tone. You now own detailedmodels of some of the most distinctive electric andacoustic guitars of all time wrapped up in a singlecomfortable and highly-playable instrument with astyle all its own.

How does it work?How do we get all of these sounds in a guitar thatdoesn't even have any visible pickups? We use piezobridge pickups to capture each individual stringsvibrations, and process the signals through softwarealgorithms that capture the physical and electronicproperties of the guitars that we've modeled.

This process dynamically alters Variaxs own naturalstring vibrations to match the modeled instrument'sunique tonal characteristics. That means theres nodelay caused by having to detect a pitch and turnit into a MIDI note, and theres also no issue with

tracking bends, hammer-on's, pull-off's, slides orany other techniques that are a part of your style.Plus, since Variax delivers its uncannily accuratesounds without the use of traditional magneticpickups, it isn't susceptible to hum from fluorescentlights or computer monitors.

How did we manage to capture the tonal souls ofall these classic guitars and spirit them into yourVariax? Were glad you asked.

The Dream...A couple of years before Variax was born, we turnedour attention from the PODs, amps, and effects thatwe had been developing to take a fresh look at theguitar itself. Like all guitarists, we were intimatelyfamiliar with the unique pleasures that come fromvarious instruments, and the great tonal variety thatthe world of electric and acoustic guitars has to offer.We wonderedcould it be possible to capture acomplete range of this tone in a single instrument?It was a daunting task, but then so was the idea ofsqueezing a whole collection of amps and effectsinto one little kidney bean shaped metal box. Sowe figured, why not give it a go?

What, we asked ourselves, might this marvel do?Well, for one thing, how about giving you access toan unprecedented number of certified classic sounds?How about letting you change from the sound of a50s solidbody to the sound of a 60s electric 12-string as easily as using a pickup selector switch?How about the round, smoky tone of a hollowbody

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archtop or the full-bodied resonance of adreadnought acoustic? How about the raspy growlof a resonator, or the buzzing drone of a sitar?

The JourneyWe knew our sounds would have to be amazingly

accurate to meet the needs of discriminatingguitarists, so we began an intensive research projectinto guitar physics. Like Frankensteins lab, our ownR&D facility became the site of round-the-clockinvestigations of the mysterious secrets of guitarslife force. We systematically examined every factorthat contributes to each guitars tone, and developedways to measure the complex interactions ofvibrating strings, resonant bodies, and magnetic

pickups. Equally important, we developed ways tocapture these interactions mathematically so wecould get the same sounds from our own guitar-in-the-making.

As we refined our measuring and modelingtechniques, we perfected a new, powerful hardwareplatform that could deliver our astoundingly accuratesounds. With the ability to switch sounds in the

fraction of a second that it takes to slap a pickupselector switch to the next position. With less noisethan a standard humbucker. That could be poweredin a variety of ways. And, most importantly, thatperforms so flawlessly that you can forget its eventhere.

Of course, a guitar that delivers such a vast array oftones really needs a look all its own, so we starteddeveloping the look and feel of a guitar that couldbe used in any musical endeavor. We combined ourinnovative guitar modeling technology with adeceptively simple control layout and a comfortable,

balanced body inspired by the best aspects of manyof the guitars we had chosen to model.

With the body and brain of the Variax completed,it was time for us to create the soul. We auditioneda drool-inducing array of vintage instruments tofind the ones with the most distinctive voices andpersonalities. We applied our painstaking measuringtechniques to these specimens, and refined our

models while constantly referring back to theoriginals for accuracy. When each model reachedthe point of not only sounding like the original, butalso being as much fun to play, it was done.

The result of our labors? Variax. An entire guitarcollection in a single instrument.


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Basic Operations

ConnectionsYou may have already noticed that the Variax hastwo output connectors: a familiar 1/4-inch jack and

a second mystery jack protected by a rubber cap.The "mystery" connector provides digital audio toLine 6 products with a special Variax input, likePODXTLive or Vetta II, and also allows you to createyour own personalized guitar models using the VariaxWorkbench. All of the operations described in thismanual, however, will use "old school" 1/4-inchoutput.

Guitar Cable to AmpThe simplest way to use the Variax is to connect itdirectly to your amplifier (or stompboxes) with astandard mono guitar cable.

Battery PowerOf course, the electronics of the Variax will needpower, so youll have to install six AA cells in theon-board battery compartment. If you use freshalkalines, you should get approximately 10-12 hoursof operation.

The battery will only be used when a mono cableis connected the standard cable youd use for aguitar. For longest battery life, always unplug your

Variax when not in use.

NOTE:If you find yourself at a gig with no AAcells, you can unclip the plastic battery holder fromthe connector and substitute an ordinary 9V battery.

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XPS Footswitch PowerWe realize that constantly changing batteries canbe a real drag, so we included a more convenientoptionthe unobtrusive yet capable XPSFootswitch.

XLR

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POWER

Tip

Ring

Sleeve

To VariaxTo Amp

PX-2 Power Supply

Powering your Variax with the XPS Footswitch iseasy. Use the included TRS cable (meaning tip-ring-sleeve or also simply known as a stereo cable)to connect the Variax to the INPUTjack of theXPS Footswitch. Connect the PX-2power supply

to the XPS Footswitch POWERjack, and use astandard mono guitar cable to connect the XPSFootswitchs 1/4" OUTPUTto your amp or effects.

TRS Cable

Mono Cable

XLR

1/4

POWER

NOTE:If you have batteries installed in your Variax,

they will be bypassed when using your XPSFootswitch. If the guitar is connected to the XPSand the XPS power is disconnected, any batteriesinstalled in the Variax will be drained.

Cable SpecificationsIf you happen to lose the Custom Cable suppliedwith your Variax, you can obtain a replacement

from Line 6 Customer Service (see your WarrantyInformation booklet for contact information.) Youcan also simply use any high-quality TRS cable upto 18 feet.


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XPS Footswitch Direct OutBut waittheres more: Not content to merelyprovide power to the Variax, the eager to pleaseXPS Footswitch also functions as a combinationA/B switch and direct box.

Why, you ask? Well, the detailed acoustic modelsof the Variax may lack something when playedthrough an electric guitar amplifier, because theseguitar amps dont have the extended high frequencyrange of, say, an acoustic guitar amp with a tweeter,or a PA system. To ensure that you get that all-important high end shimmer from your acousticsounds, heres the drill:

Connect your guitar cable from the XPS 1/4"OUTPUTjack to your amp and/or stompboxes.Connect the (balanced, +4 dBu compatible) XLROUTPUT of your XPS to your PA system oracoustic amplifier with a standard mic cable.

When the 1/4"indicator light is lit on your XPSFootswitch, youve got your guitar routed to your

standard amp. Jump on the switch to light the XLRindicator light, and your signal will now be routedto the XLROUTPUT, bathing you in the tonalglory of full frequency range sound!

The Phantom MenaceWhen sending the XLR output of the XPS to amixing board, be sure that phantom power is eitheroff or not supplied to the XPS. Since phantompower puts a healthy voltage on the cable, usingthe A/B switching function of the XPS will producea very unhealthypop in the speakers. The soundmanwill not be pleased.

XLR Hum and A/B SwitchingThe XLR output of the XPS is designed to connectto the balanced inputs that are typical on goodquality mixers and recording systems. Connectingthe XLR output to a device with an un-balanced

input may cause hum on that device when the XPS1/4-inch output is selected.

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TRS Cable

To Amp - Mono Cable

To P.A. or Acoustic Amp

XLR

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POWER


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ControlsLets start simple, and work up to the fancy stuff:

The Volume Knob, appropriately enough, controlsthe volume. You may notice that the taper (howfast you go from minimum to medium to maximum),as well as the volume controls effect on tone, willbe slightly different for various models. For electric-based models, volume response and tone interactionduplicate the experience of the modeledinstrumentmaximizing model authenticity. Foracoustic models, the Volume is simply a level control.

The Tone Knobcontrolsyou guessed it!the

tone. As with the Volume, the response of thiscontrol varies to match the modeled electricinstruments. If youve spent much time recordingacousticinstruments, youve probably discoveredthe kind of tonal variations possible by simplyaltering microphone position. For the ACOUSTICand RESO models, the tone control gives you thesame kind of variations.

When you get to the Model Select Knob, thingsstart to get really interesting. Ten of its positionseach offer 5 distinct sounds (representing one, twoor even five different guitars), accessed by the Pickup

Selector. For specifics on the models and variationsavailable, see The Guitars of Variax.

The other two positions of the Model Select Knob

Custom 1 and Custom 2 save and recall yourown custom setups. For the secrets of the Custompositions, see Build a Custom Guitar.

The Pickup Selectorwill work exactly as youexpect it to on the electric models. In a three pickupmodel, like SPANK, all five positions will duplicatethose on the modeled instrument. In more commontwo pickup models, positions 1, 3, and 5 will give

you the characteristic sounds for those instruments bridge pickup only, both pickups, and neck pickuponly. The in-between positions (2 and 4) usuallyoffer sounds from related guitars. After all, who canhave enough variety?

When it comes to the acoustic models, the PickupSelectoroffers 5 distinct instrument sounds, all aswitch-flick away! The individual model descriptionsin The Guitars of Variax section get down anddirty with the details.

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MODEL SELECT

VOLUME

OUTPUT JACK

TONEPICKUP SELECTOR


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Build a Custom GuitarTo really take advantage of the range and versatilityof the Variax, especially when performing, you needimmediate access to your essential sounds. Use thecustom banks of Variaxs model knob to get yourten favorite tones ready for recall with a well-timed

flick of your pinky.

Youve got at the beginning of the ModelSelect rotation, and at the end. Each ofthese can store a different set of five of your favoritesounds. You could, for instance, put acoustic soundsin , and electric sounds in . Orload one up for your disco band, and the other foryour polka gig.

Lets say you found a sound that you know youll becoming back to again and again. Heres what youdo:

1. Press and hold the Model Select Knobto begin the Save process.

2. Rotate the Model SelectKnob to thecustom bank of your choice (

or ).

3. Flick the Pickup Selectorto the positionyou want to save your sound to. (Movingthe Pickup Selector while youre savingwont change the sound, only the savelocation.)

4. Release the Model Selectknob.

Thats all there is to it. Youve saved your sound tothe current position of the Pickup Selectorin theCustom Bank youve chosen. Now that youve gotit all down, you can repeat these steps for theremaining nine positions. (Or not, if you like theones weve already saved there for you. ) And if

your tastes change, you can Save over any of thoseten custom variations as often as you like.

HOLD

RELEASE

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When you save a particular sound to one of theCUSTOM banks, the tone knob's position is alsosaved by default. You'll find that when you selecta stored sound, it will sound as if the tone controlwas in the position it was in when you first savedthe sound. The actual position of the tone control

will be ignored, until you adjust it.

If you don't want to save the position of the tonecontrol to your CUSTOM banks, just rotate the

tone control while you are holding down the ModelSelect Knobto save a sound. The tone controlwon't change the sound during this special Savemodel. When you select then this sound later, theactual position of the tone control will be usedinstead of a saved value. You can use both methods

if you wish, sometimes choosing to save the tone,sometimes not, even in the same CUSTOM bank.

Contents Of Custom Knob PositionsHere's what's in the custom slots when a Variax ships from the factory:

Knob/Pickup Sel Model Saved from

CUSTOM 1 / 1 ACOUSTIC / 5

CUSTOM 1 / 2 RESO / 4

CUSTOM 1 / 3 ACOUSTIC / 4



CUSTOM 2 / 1 LESTER / 1

CUSTOM 2 / 2 R-BILLY / 2

CUSTOM 2 / 3 CHIME / 3

CUSTOM 2 / 4 SPANK / 4

CUSTOM 2 / 5 SEMI / 4


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THE GUITARS OF VARIAX

General Notes About the ModelsEach Variax model has five different variationsavailableone at each position of the PickupSelector Switch. These five variations may allbe based on the same guitar, two or three similarguitars, or, for the and models, eachvariation may be based on an entirely differentinstrument.

For electric models, the Volumeand Tonecontrolswork like the ones found on the instruments wemodeled. Rolling off the volume, for instance, will

typically result in a darker sound. The output levelof each model is based on the modeled instrument.Models with humbucking pickups, for example,will tend to be louder than those with single-coils.

For acoustic models, the Volumecontrol acts asa simple level control. Since acoustic guitars donthave tone controls, we decided to let you shape thetone of these models by changing the position of

a modeled microphone with Variax's Tonecontrol.Give it a spin to explore a varying range of tonalflavor for each model.

Pickup Position NumberingWeve numbered the pickup positions in the manualstarting with bridge (the position toward thebridge) as 1. Moving the pickup selector from there,you go through positions 2, 3 and 4 on your way tothe neck position (the position toward the neck)which we label as number 5.


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Fender, Telecasterand Teleare registered trademarks of Fender Musical Instruments Corporation. All product names are trademarks of theirrespective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the solepurpose of identifying the specific products that were studied during Line 6s sound model development.

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Based on 1960 FenderTelecasterCustomLeo Fenders Telecaster, originally known as theBroadcaster, was the first commercially successfulsolidbody electric guitar and has been in continuousproduction for over fifty years. A brilliant exampleof functional, efficient design, the Telecasterhas

been the guitar of choice for guitarists like Jeff Beck,Roy Buchanan, James Burton, Albert Collins, DannyGatton, and Keith Richards.

Note:The neck pickup position of this model, like theoriginal, has a very deep sound and the tone controlis bypassed.

Position 1: BridgePosition 4: Neck

Based on 1968 FenderTelecasterThinlineFaced with the difficulty of obtaining lightweightash, Fender introduced the Thinline model in 1967.The chambered body reduced the weight to abouthalf that of a typical Teleof the time, while thetraditional electronics were retained to deliver a

variation of the trademark Telesound.

Position 3: Bridge+NeckPosition 5: Neck

Based on modified 1968 FenderTelecaster

Players looking for more versatility from theworkhorse Telediscovered they could get a muchmore powerful sound by combining the two pickupsin series (as on a humbucking pickup).

T-MODEL

2

13

3 5


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Based on 1959 FenderStratocasterThe curvaceous Stratocasteris further evidence ofthe genius of Leo Fender. Considered a radicaldeparture at its introduction in 1954, the Strat

soon eclipsed the popularity of its older sibling andbecame one of the most visible instruments in theformative years of rock and roll. The Stratocaster

influenced electric guitar design more than any

other single instrument and its distinctive comfort-contoured body, bolt-on neck, and versatileelectronics have become industry standard features.

Our model takes one slight liberty; unlike themodeled instrument, the tone control works on theBridge pickup, too. We trust that Leo wont mind.

Position 1: BridgePosition 2: Bridge+MiddlePosition 3: MiddlePosition 4: Neck+Middle

Position 5: Neck

1 23 4 5

Fender, Stratand Stratocasterare registered trademarks of Fender Musical Instruments Corporation. All product names are trademarks of theirrespective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the solepurpose of identifying the specific products that were studied during Line 6s sound model development.

SPANK


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Based on 1958 GibsonLes PaulStandardGibsons first solidbody electric design was acollaboration with popular guitarist and recordingpioneer Les Paul. Unlike the easy-to-manufactureFenderdesigns, the Les Paulretains the carvedtop and set neck construction of their hollowbodymodels. The original series was a commercial failure,

however, and was discontinued in 1961. Influentialmusicians like Mike Bloomfield and Eric Claptondiscovered the sweet sustain of a Les Paulthroughan overdriven amp. The resulting resurgence ofpopular interest led to its reintroduction in 1968.

Weve modeled a 1958 version that features thecoveted P.A.F. pickups.

Position 1: BridgePosition 3: Bridge+NeckPosition 5: Neck

Based on 1952 GibsonLes PaulGoldtopThe Goldtop, nicknamed for its metallic goldfinish, was the first model of the Les Paulseries.Our version features a P-90 pickup in the bridgeposition.

Based on 1961 GibsonLes PaulCustomIn addition to its sophisticated ornamentation, thisparticular incarnation of the Les PaulCustom offersthree P.A.F.s. Weve modeled the combination ofbridge and middle pickups that sets this model apart.

Gibsonand Les Paulare registered trademarks of Gibson Guitar Corp. Fender is a registered trademark of Fender Musical Instruments Corporation.All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptionsand images are provided for the sole purpose of identifying the specific products that were studied during Line 6s sound model development.

LESTER

13 5

2

4

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Based on 1955 GibsonLes PaulSpecialThe Special was added to the Les Paulline in 1955as an intermediate step between the utilitarian Juniorand more luxurious Standard. The greater tonaloptions made possible by the second P-90 helpedmake the Special a favorite of reggae legend BobMarley. Our model is based on the original singlecutaway version.


Based on 1956 GibsonLes PaulJuniorThe Les PaulJunior was introduced in 1954 as thebudget member of the Les PaulSeries. The bodyis a flat mahogany slab, and the electronics aresimplified to include only a single P-90 in the bridgeposition. The meaty tone, light weight, anduncompromised playability made the Junior afavorite of Mountains Leslie West.

Based on 1976 GibsonFirebird VThe Firebird, introduced in 1963, was created withthe help of Detroit automobile designer Ray Dietrich.Neck-through construction and Epiphone-stylemini-humbuckers gave the Firebird a uniquecombination of good sustain and a biting, treblysoundcharacteristics which made it a favorite ofblues slide guitar legend Johnny Winter.


Gibson, Les Pauland Epiphoneare registered trademarks of Gibson Guitar Corp. All product names are trademarks of their respective owners,which are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifyingthe specific products that were studied during Line 6s sound model development.

SPECIAL

1 2 4

3 5


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Based on 1959 Gretsch6120The 6120 was the first of several models thatGretschdeveloped with country guitar whiz ChetAtkins. The 6120 is usually associated with the

twangy sounds of players like Duane Eddy, EddieCochran, and Brian Setzer, but Pete Townshendfound his 6120 perfect for the crushing power chordsof Whos Next. This particular specimen isequipped with Filtertron hum-canceling pickupsdesigned by Ray Butts.

Position 1: Bridge


Based on 1956 GretschSilver JetGretschintroduced a series of so-called Solid Bodyguitars in 1955 that included the Jet Fire Bird witha red top, the Duo-Jet with a black top, and the

Silver Jet with you guessed it a silver top.Though called a solidbody by Gretsch, the Jet seriesactually has internal hollow chambers that contributeto its light weight and resonant tone. The blackversion (the Duo-Jet) was the favorite instrumentof Cliff Gallup, original lead guitarist for GeneVincents Blue Caps. The guitar we modeled hadDeArmondpickups and a Melita bridge.


Gretschis a registered trademark of Fred W. Gretsch Enterprises, Ltd. DeArmondis a registered trademark of Fender Musical InstrumentsCorporation. All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These productnames, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6s sound modeldevelopment.

R-BILLY

2 41 3 5

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Based on 1961 Gibson

ES

-335The Semi-hollow Gibsonwas conceived as a blendof the tone and sustain of a solidbody with thebalance and aesthetics of a hollowbody. The woodytone of these guitars made them popular with Jazzartists like Larry Carlton and Blues greats like B. B.and Albert King. Our model is based on a 1961 dotneck, with P.A.F.s and a stop tailpiece.

Position 1: BridgePosition 3: Bridge+NeckPosition 5: Neck

Based on 1967 Epiphone

CasinoGibsonacquired former rival Epiphonein 1957and began producing Epiphone guitars in itsKalamazoo factory. Some of the models developedfor Epiphonewere variations on then-currentGibsonmodels. The Casino, for example, wasessentially a GibsonES-330. John Lennon wasparticularly fond of the Casino, and continued torecord with it long after the breakup of the Beatles.


Gibson, ESand Epiphoneare registered trademarks of Gibson Guitar Corp. All product names are trademarks of their respective owners, whichare in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying thespecific products that were studied during Line 6s sound model development.

SEMI

2 413 5

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Based on 1957 GibsonES-175

Gibson

added a sharp Venetian cutaway and aslightly fancier fingerboard to the budget ES-125model to create the ES-175 in 1949. With theaddition of a second pickup in 1953, and humbuckingpickups in 1957, the ES-175 quickly became apopular and enduring choice for electric jazz guitarists.

Position 1: BridgePosition 3: Bridge+Neck

Position 5: Neck

Based on 1953 GibsonSuper 400

By the end of the 1940s, changing musical stylesfound premium archtops like the L-5 and Super 400to be lacking in volume. By simply adding thepickups and controls developed for its early electricguitars, Gibsoncreated the electric version of theSuper 400 in 1951. Our model is based on the earlyversion with P-90s. Check out Scotty Moore (andElvis) playing a Super 400 in the 68 ComebackSpecial.


Gibsonand ESare registered trademarks of Gibson Guitar Corp. All product names are trademarks of their respective owners, which are in noway associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specificproducts that were studied during Line 6s sound model development.

JAZZBOX

2 41

3 5


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Based on 1959 MartinD-28

The D-28 is generally considered the definitiveMartinflat-top. The Dreadnought (or D) bodycombined with rosewood back and sides producesa full sound ideal for flatpicking.

Based on 1970 MartinD12-28In 1970, Martin added 6 more strings to the

successful D-28 to capitalize on then-current folkmusic trends.

Based on 1967 MartinO-18

The smaller parlor sized body with mahogany backand sides has a balanced tone ideal for fingerstyleplaying.

Based on 1966 GuildF212Guilds Jumbo-bodied 12-strings offered players

the elusive combination of volume and clarity.Weve modeled one of the simpler models in theline, the F212 with mahogany back and rims.

Based on 1995 GibsonJ-200Easily identified by its impressive size andornamentation, the J-200 was often seen played by

flashy country and western artists and was a laterfavorite of Elvis Presley.

Martinis a registered trademark of C.F. Martin & Co., Inc. Guildis a registered trademark of Fender Musical Instruments Corporation. Gibsonis a registered trademark of Gibson Guitar Corp. All product names are trademarks of their respective owners, which are in no way associated oraffiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that werestudied during Line 6s sound model development.

Based on 1959 MartinD-28

The D-28 is generally considered the definitiveMartinflat-top. The Dreadnought (or D) bodycombined with rosewood back and sides producesa full sound ideal for flatpicking.

Based on 1970 MartinD12-28In 1970, Martin added 6 more strings to the

successful D-28 to capitalize on then-current folkmusic trends.

Based on 1967 MartinO-18

The smaller parlor sized body with mahogany backand sides has a balanced tone ideal for fingerstyleplaying.

Based on 1966 GuildF212Guilds Jumbo-bodied 12-strings offered players

the elusive combination of volume and clarity.Weve modeled one of the simpler models in theline, the F212 with mahogany back and rims.

Based on 1995 GibsonJ-200Easily identified by its impressive size andornamentation, the J-200 was often seen played by

flashy country and western artists and was a laterfavorite of Elvis Presley.

ACOUSTIC

1

2

3

5

4

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Dobroand Gibsonare registered trademarks of Gibson Guitar Corp. Coral Sitaris a registered trademark of Jerry Jones. Danelectroand Danoare registered trademarks of Evets Corporation. Nationalis a registered trademark of Kaman Music Corporation. All product names are trademarksof their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided forthe sole purpose of identifying the specific products that were studied during Line 6s sound model development.

RESO

Based on 1935 DobroModel 32Though the Dobro is generally a wood-bodyinstrument, a few were made from other materials.This model is based on an unusual specimen withan all-aluminum body that emphasizes midrange.

Inspired by the Coral Sitar

Designed in conjunction with session guitarist andelectronics experimenter Vinnie Bell, the CoralSitaroffered guitarists the ability to get the buzz

and drone of a sitar without having to learn a newinstrument. On this model, the tone control changesthe level of the drone strings.

Based on 1965 Danelectro3021Danelectromanaged to make great sounding guitarsfrom Masonite and lipstick tubes. Our model isbased on a 3021 (Jimmy Pages favorite Dano) with

both pickups active.

Inspired by the GibsonMastertone BanjoThe Mastertone series was introduced in 1925 andquickly became the definitive Bluegrass banjo, duein no small measure to a long-standing associationwith virtuoso Earl Scruggs.

Based on 1928 NationalTriconeThe first Nationalguitar was the Tricone (or Tri-Plate) introduced in 1926. The Tricone used three6-inch cones mechanically coupled to the bridge toamplify string vibrations. The Tricone has a smoother

sound than later, single-cone resonators and wasthe primary instrument of Sol Hoopii, influentialHawaiian steel guitarist.

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2

4

3

5

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Intonation Adjustment

Intonation is adjusted by changing the position ofthe bridge saddles, which changes the length of thevibrating strings. The saddle position of each Variax

is adjusted before it leaves the factory, but changingstring brand, gauge, or action can change theintonation. To adjust the intonation, you will needan accurate tuner and a screwdriver. For each string,tune the open string as close as possible to correctpitch, then fret that string at the 12th fret andcheck the pitch. (Make this adjustment whileholding the guitar in playing position.) If the frettednote is sharp, the string length is too shortturn

the adjust screw clockwise. If the fretted note isflat, the string length is too long. Turn the adjustscrew counterclockwise. Make small adjustmentsand retune and check the pitch as you go.

Important Note:Never attempt to remove thebridge saddles. If any of the wires attached to thepiezo elements are broken or damaged, the Variaxwill not function properly.

Action Adjustment

Variax leaves the factory adjusted for playabilityacross a wide range of playing styles. The bridgesaddle height can be adjusted to optimize playabilityfor a particular style. If you are familiar with thiskind of adjustment, use the supplied Allen wrench

to raise or lower the bridge saddle screws as shown.As with neck adjustment, if you are unfamiliar withthis kind of adjustment, ask your local guitar shopto refer you to a qualified guitar tech.

DECREASESTRING LENGTH

DECREASESADDLE HEIGHT


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