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'52 Fender Tweed Deluxe
Small Tweed - Modeled after a 1952 "wide panel" Fender Tweed Deluxe, this Amp Model will snarl with the best of them. The original amp had only a single tone control, essentially a Treble roll off. Line 6 set up the Treble knob to give you this Treble roll off when using this Amp Model. Which left the Bass and Mid knobs just sitting there. That just didn't seem right, so Line 6 figured out a way to put those knobs to work without mucking about with the authenticity of this Amp Model's Treble tone control. They set up the Bass and Mid as post-TubeTone controls, which essentially lets you EQ up your tone as you would do on a mixing console after recording your amp. Set the Bass and Mid knobs at halfway for a classic Tweed sound.
Default Speaker Cabinet: 1x12" '52 Fender Tweed Deluxe

'59 Fender Bassman
Tweed Blues - The classic 1959 Fender Bassman 4x10 combo was the amp that started it all - instant rock and roll tone. Originally a bass guitar amp, the Bassman became a Blues staple for 6-string guitarists. It has the fat bottom end you'd expect from a bass amp but also has the Fender twang on the top. The Bassman was the "blueprint" for Line 6's Tweed Blues. Incidentally, when Jim Marshall built his first amps with Ken bran they were heavily influenced by the early Bassman. One of the interesting things about the Bassman is just how interactive the Mid and Treble controls are. The Mid control isn't a bandpass, as in most tone control setups. Instead, it's almost like a second Treble control. The two are additive, so if you're running the Mid knob higher than halfway up, you'll find that the Treble Control might give you more bright than you really want. On the other hand, when you turn the Mid knob down, you'll probably want to boost the Treble. The Bassman, like many of the amps modeled, didn't have a master volume. So to get the kind of tone that the Bassman can deliver at higher gain settings, you had to crank it up loud enough to do some serious damage to anyone who might be standing close by. Now you can get that kind of tone at a bedroom or studio level - or through your headphones even! Try a drive setting of about 4 or 5 - it's guaranteed to dredge up the best R&B licks you know.
Default Speaker Cabinet: 4x10" '59 Fender Bassman

'60 Fender Tweed Champ
Small Tweed #2 - Modeled after a 1960 Tweed Champ, this is a great sound when the Drive is cranked (not bad clean, either). These amps were originally designed to be sold to beginners, but rock and rollers quickly discovered that you could get a great distorted sound at fairly low volume levels. Many of the classic guitar solos of the 50's were recorded through a Champ. The Champ had no tone control, only Volume. It's easy to get a classic Champ tone. Just leave all the Bass, Mid, and Treble controls of the MAIN Row parked at 12 o'clock, which means they are "flat," making no contribution to the tone. Still, Line 6 hates to waste those things, so they put the Bass, Mid, and Treble controls to work post-TubeTone in the manner described above. Remember, for the authentic emulated sound of the Champ, set all the tone controls at 12 o'clock.
Default Speaker Cabinet: 1x8" '60 Fender Tweed Champ

'64 Fender Deluxe
Black Panel - The Holy Grail for many blues, country, and "roots" players has been a blackface Fender Deluxe Reverb (Of course, now that may all change). After listening to quite a few candidates for modeling, Line 6 stumbled upon an extremely cool '64 Deluxe. Most players love a Deluxe when it's turned up to about 7 for a nice gritty sound that cleans up when you back off your guitar's volume knob just a little. Notice how the tone control response changes as this Amp Model's Drive is changed; clean settings are crisp and present, while more driven settings will mellow the high end. This is typical of what you get from a Deluxe, and is nicely captured. The Deluxe itself has only a Bass and Treble controls. That left one knob with nothing to say for itself. But fear not, Line 6 set up the Mid for some post-TubeTone Midrange contouring for a little more flexibility. Once again, set the Mid knob to its "neutral" 12 o'clock position for the classic Deluxe sound. Tweaked up right, this tone will cut through and sing.
Default Speaker Cabinet: 1x12" '60 Fender Blackface Deluxe

'65 Fender Twin
Black Panel #2 - The classic blackface Fender Twin Reverb (in this case, a 1965 Twin) was a real workhorse. Everybody used it from jazz and country players to serious rockers. The Twin has a lot of tonal flexibility and is at home in a great many different situations. It never gets extremely overdriven and dirty, mostly just louder; a lot louder. This is the amp for the classic surf sound. Dial up the spring reverb, switch on the tremolo, crank up the volume, and look out for bikinis.
Default Speaker Cabinet: 2x12" '65 Fender Blackface Twin

'65 Marshall JTM-45
Brit Blues - This Amp Model is based on a circa 1964-65 JTM-45 head with block logo (predates the "scrolled" Marshall logo), complete with a gold Plexiglass (Plexi) front panel, although the sound normally associated with Plexi amps coms from the late 60's, 50-watt version that was the inspiration for the next in the line up of TubeTone Amp Models. The JTM-45 marked the beginning of Marshall's transition from a mellower Fender-like tone to the distinctive bright "crunchy" sound of the later Marshalls.
Default Speaker Cabinet: 4x12" '68 Marshall basketweave with "Greenbacks"

'68 Marshall Plexi
Brit Classic - Modeled after the infamous Marshall Plexi - coveted by tone connoisseurs the world over. By this time (ca. 1968) Marshall had completely changed the circuitry away from the Fender 6L6 power tube heritage and moved to an EL34 tube; another major tone difference was due to the necessary output & power supply transformer changes. All this mucking about added up to create a tone forever linked with Rock Guitar. Amps of this era didn't have any sort of master volume control, so to get this sound you'd have to crank your "Mark II Super Amp" to max - just the thing to help you really make friends with the neighbors. Hendrix used Marshalls of this era; 20 years later Van Halen's first two records owed their "brown sound" to a 100-watt Plexi. In order to get a crunch sound out of a Plexi you would likely crank up the input volume and the tone controls (to 10!). You'll find that the Brit Classic, in keeping with our basic "make it sound like the original" concept, is set up to do pretty darned near the same thing. Max out the Mid and Treble knobs and turn Bass to about 9 or 10 o'clock when using this Plexi-inspired Amp Model and you can treat those nice neighbors to a tasty slice of fat rock tone.
Default Speaker Cabinet: 4x12" '68 Marshall basketweave with "Greenbacks"

'90 Marshall JCM800
Brit Hi Gain - Turn to this Amp Model to conjure up tones of the coveted JCM 800, one of Marshall's most universally-acclaimed modern amps. This updated version of the plexi continued Marshall's heritage with added gain and edge for a new generation of rock guitarists. One of the biggest differences here is that the tone controls are located after the preamp tubes. Line 6 worked with a 1990 JCM 800 with Master Volume to develop this model. Incidentally, some versions of JCM 800's get their distortion from clipping a diode. The amp the modeled uses a tube for distortion. This is the metal sound Marshall made famous. Although not many people play Marshalls clean, it's a great tone, so you should also be sure to check out this model with a low drive setting, too. Of course, you can always pump up the drive and rage...
Default Speaker Cabinet: 4x12" '96 Marshall with Celestion Vintage 30s

'96 Matchless Chieftain
Modern Class A - The '96 Matchless Chieftain, which was studied for the Modern Class A selection, is a very expensive handmade amp. Originally designed to sound like a top-boost Vox AC 30, the Matchless doesn't exactly have a Vox sound, but something unique (largely due to the complicated EQ scheme); the sound is sort of "future retro." Its soft clipping is typical of Class A amplifiers; almost a "hi-fi" sound in a great rock n' roll amplifier.
Default Speaker Cabinet: 2x12" '65 Matchless Chieftain

'85 Mesa Boogie Mark IIc+
California Crunch #1 - The first of the "boutique" amp makers was probably Mesa Boogie. Boogie made their mark in the late 70's and early 80's by adding master volumes and more gain stages to amps with Fender-style circuitry. You can hear the Fender heritage but with more "punch" in the mids. This model is based on the Clean Channel of the classic Boogie Mark IIc, with the enhancements of the + version of the Mark IIc circuitry design.
Default Speaker Cabinet: 4x12" '98 Line 6 Custom
California Crunch #2 - And this Amp Model emulates the Drive Channel of the Mark IIc+. Try your Santana licks here.
Default Speaker Cabinet: 1x12" '60 Fender Blackface Deluxe

'94 Mesa Boogie Trem-O-Verb
Rectified - This model is modeled after a 1994 Mesa Boogie Dual Rectifier Trem-O-Verb combo. You can use this Amp Model to get that tight, high gain sound used by bands like Dream Theater or Metallica. Boogie made their mark in the late 70's and early 80's by adding master volumes and more gain stages to amps with Fender-style circuitry. You can hear the Fender heritage but with more "punch" in the mids. The Boogie Dual Rectifier's Tone controls are post-distortion, and as with the tone sections of most of the amps Line 6 based their models on, the individual controls interact with each other and with the drive. With high drive settings, you can scoop the mids and crank the bottom end for some great Seattle grunge sounds.
Default Speaker Cabinet: 4x12" '98 Line 6 Custom

'95 Mesa Boogie Dual Rectifier
Rectified #2 - This Amp Model is modeled after a 1995 Mesa Boogie Dual Rectifier Head. As Boogie did with the Trem-O-Verb combo that was modeled for the Rectified Amp Model, with the Dual Rectifier Boogie took a more modern, high gain approach for that "big hair" sound. In contrast to the earlier Boogies, the Dual Rectifier's tone controls have more influence at high gain settings, so you can scoop the mids and increase the bottom end.
Default Speaker Cabinet: 4x12" '96 Marshall with Celestion Vintage 30s

'87 Roland JC-120
Jazz Clean - This Amp Model is modeled after the classic Roland JC-120. This transistor amp was known for a strident clean sound and built-in stereo chorus. When using the Jazz Clean Amp Model, try cranking up the treble for a shimmering clean sound that'll cut through just about any mix. It's also perfect for that 80's "new wave" sound. Alternatively, try backing off on the treble and turn up the bass and mids for a darker jazz tone. It'll give you an essentially flat response, providing a balanced tone across the fret board for jazz chord melodies or single-line phrasing.
Default Speaker Cabinet: 2x12" '98 Line 6 Custom

'89 Soldano X88R
Modern Hi Gain - The Soldano sound is intensely overdriven, and also has EQ after the preamp distortion. This oversaturated tone is well-suited to thrash metal and grunge bands, but has also been used more subtly by artists like Eric Clapton. This is a good Amp Model to use if you want to get a current Van Halen or Joe Satriani sound. The Modern Hi Gain Amp Model is based on one of Mike Soldano's rackmount preamps. Talk about high gain preamp tube distortion! The X88R we studied to create this Amp Model would have been the rage for Los Angeles studio use in the late '80s.
Default Speaker Cabinet: 4x12" '96 Marshall with Celestion Vintage 30s

'89 Soldano SLO 100
Modern Hi Gain #2 - This sound is modeled after a Soldano SLO - Super Lead Overdrive - head. With snake skin tolex covering and everything! Unlike the X88R preamp used for the Modern Hi Gain Amp Model, the SLO includes a presence control, plus other little details that give it a bit of a different sound. With the Drive control cranked way up, you'll get sustain for days... Go out'n'ave a bite - when you come back it'll still be sustaining!
Default Speaker Cabinet: 4x12" '96 Marshall with Celestion Vintage 30s

'60 Vox AC-30
Brit Class A - Music was changing in the early 60's and guitarists were asking for more brilliance & twang. So the Jennings Company, makers of Vox amps, decided to add Treble and Bass controls (and an extra 12AX7 gain stage, incidentally); this addtional circuit became known as Top Boost. The AC-30 with Top Boost was the amp made famous by many British invasion bands. Much of the unique character of the Vox sound can be attributed to the fact that Class A amps overdrive in a very different way than Class AB. Brian May of Queen, Mike Campbell of Tom Petty's Heartbreakers, and The Edge of U2 have also used classic AC-30's to make their music. On this Amp Model, the Mid Control acts like the Cut knob on the AC-30. Although usually played fairly clean, a cranked AC-30 has a great saturated lead tone, a'la Brian May on the early Queen albums.
Default Speaker Cabinet: 2x12" '67 Vox AC30
Brit Class A #2 - This Amp Model is based on the Normal Channel of a Non Top Boost Vox AC-30. As mentioned in reference to the Vox AC-30 Top Boost, the early Vox amps were the first designed especially for electric guitar (Hey, some early amps from other manufacturers have Accordion inputs! Polka, anyone?), and used Class A power amp designs, rather than the much more common Class AB type. Line 6 were lucky enough to find what they were told was one of Bryan Adams' favorite AC-30s for recording. Lenny Kravitz happened to be using it the week before they began testing. It was one of the gems in a great collection of vintage amplifiers offered for rental in Los Angeles, where Line 6 is located. Line 6 later bought this amp, and continued to hone their emulation of it to bring you the Amp Model it inspired. This is definitely a good place to start to get yourself some of those classic British invasion sounds. Like the AC-15 (below), the AC-30 NTB has only a single Treble control, so the Bass and Mid controls here are set up for boost after the TubeTone modeling to add a little extra flexibility without compromising the accuracy of the model. The 12 o'clock setting on these controls is flat response.
Default Speaker Cabinet: 2x12" '67 Vox AC30

'60 Vox AC-15
Brit Class A #3 - Here's another Vox-inspired Amp Model. This model is based on Channel 1 of a wonderful 1960 AC-15. The sound is similar to that of the Vox AC-30s that were studied for the Brit Class A and Brit Class A #2 Amp Models, but this is a smaller amp (one, instead of two, 12" speakers) with a warmer, more "woody" sound. Once again, the original amp had only a single tone control - a treble cut. Line 6 faithfully modeled that and then slipped in some post-TubeTone Bass and Mid contouring. Set the Bass and Mid in neutral(12 o'clock, or halfway) and play with the Treble control to get yourself some of those classic British invasion sounds.
Default Speaker Cabinet: 1x12" '60 Vox AC15

Dumble Overdrive Special
Boutique #1 - Based on the clean channel of the Dumble Overdrive Special. The Dubmle Overdrive Special is one of those incredibly expensive, custom amps that most people never get a chance to actually get close to in this lifetime. Each incarnation of the Dumble magic is a little bit different, because each of these amps is hand built for a specific customer, and voiced to match their playing and desires. With that in mind, Line 6 based this TubeTone Amp Model on the analysis of several different Dumble Overdrive Specials. Depsite this tuning to the individual owner, these amplifiers tend to have a number of features in common; the clean channel is very sensitive to attack, and dynamically responsive, and the drive channel has a thick, liquid, singing sustain that doesn't lose string definition when driven hard. The tone controls on this Amp Model are quite subtle, like those of the Dumble itself.
Default Speaker Cabinet: 4x12" '78 Marshall with stock 70s
Boutique #2 - Based on the Dumble Overdrive Special Drive Channel (just described above). If you like the Dumble sound, you might also want to check out the Line 6 Crunch model - it was created to deliver a similar kind of tone.
Default Speaker Cabinet: 4x12" '96 Marshall with Celestion Vintage 30s

Budda Twinmaster
Boutique #3 - This model is based on a Budda Twinmaster head. The Budda has a great, warm, Class A, sound. This was Budda's first offering. The Budda philosophy is all about power tube distortion. Simplicity is the key. With relatively low front end gain, highly interactive tone controls, and tube rectifier "sag" it's great at getting a classic cranked sound for small gigs and recording. Once again, since the Twinmaster has no Mid control, they've added a little bonus in the form of some pos-TubeTone mid contouring available via the mid control. As usual, set this control to 12 o'clock to get groovy with the unadorned Budda-style vibe.
Default Speaker Cabinet: 4x12" '96 Marshall with Celestion Vintage 30s

'60s Dallas-Arbiter FuzzFace
Fuzz Box - Although not technically an amp, Line 6 felt that the unique tonal qualities of the classic 1960's Arbiter FuzzFace earned it a place among the amps modeled to create Line 6's TubeTone Amp Models. This fuzz box used broad frequency transistor-based clipping. The result is a buzzing kind of distortion that has become popular again with the alternative and grunge set. Jimi Hendrix was among the first guitarists to popularize the FuzzFace in the States, but our model is considerably dirtier than the tones found on "Are You Experienced." Try playing "Satisfaction" by the Stones, or the lead from "American Woman" by The Guess Who. Liberal use of the Bass, Mid, and Treble controls will let you go beyond the tones that the FuzzFace could deliver, enabling you to discover your own unique recipe for those elusive fuzz tones in your head. Just a note: when recording Purple Haze, Jimi didn't even use and amp - just went straight from FuzzFace to an Orange power amp to a 4x12 cabinet. Which is the same sort of tone you find here...
Default Speaker Cabinet: 4x12" '96 Marshall with Celestion Vintage 30s

Line 6 Modeling Amps


Flextone II
Line 6 Clean - To create this Amp Model, Line 6 essentially grafted the top end of a JC-120 (Roland's popular "Jazz Chorus" solid state como) onto the bottom end of a classic Marshall JTM-45 tube head, to give you the crisp and clear top end of a solid state amp, but with a rich, satisfying tube amp-style bottom.
Default Speaker Cabinet: 2x12" '98 Line 6 Custom
Line 6 Twang - This model draws on an analysis of the '60s Fender blackface Deluxe amps and the '50s Fender Bassman. (It includes the classic Fender glassy haigh end, plus the snap and bite of these vintage amps.) Things don't really get too crunchy until you get to the top range of the Drive knob. The tone controls provide more range than the blackface Deluxe or Bassman.
Default Speaker Cabinet: 1x12" '52 Fender Tweed Deluxe
Line 6 Crunch - Line 6's own "boutique" sound. Not too clean, but not too raging. They spent some time with a rare Dumble combo, and picked up a few tricks from it to put together this tone. Great for modern blues or jazz, this sound should be like a fine cognac, smooth and warm going down, but with a nice kick. The Mid control is located before the TubeTone Drive, but the Bass and Treble controls are placed after the Drive for maximum range.
Default Speaker Cabinet: 4x12" '96 Marshall with Celestion Vintage 30s
Line 6 Crunch #2 - This sound was crafted during studies of the '68 50 Watt Marshall Plexi. But unlike the Plexi, this Amp Model provides more wide-ranging tone controls. With the Plexi, once you're overdriven, the tone controls really don't do much, but with this Amp Model you will be able to scoop out the mids even at the highest Drive settings.
Default Speaker Cabinet: 4x12" '96 Marshall with Celestion Vintage 30s
Line 6 Blues - This tone is based on the '65 Marshall JTM-45 Bluesbreaker but incorporates wider range tone controls. Once you get into higher Drive settings, this Amp Model begins to transition into a variant of the Budda Twinmaster (a high end boutique amp) for sweeter overdrive tonality.
Default Speaker Cabinet: 4x12" '96 Marshall with Celestion Vintage 30s
Line 6 Drive - The Line 6 version of the modern, super-saturated, high gain, lead amp; smooth, yet biting. All the tone controls here are post-TubeTone for maximum control with minimum muddiness. Again, this unique overdrive tone was created by merging different tone-shaping elements from different high-gain amps. It's like playing through a collection of amps simultaneously - a studio technique that has made possible some of the greatest guitar tones of modern recordings (Line 6 Layer builds on this idea with even more versatility). You can get this same kind of rich, multi-amp tone out of one combo, a feat that wouldn't be possible with traditional guitar amps.
Default Speaker Cabinet: 4x12" '98 Line 6 Custom
Line 6 Layer - Line 6 Clean meets Line 6 Drive. As mentioned above, many guitarists and producers have experimented with running multiple amps simultaneously, with each amp making a contribution to the overall tone. Stevie Ray Vaughn, for example, would split his guitar signal to drive a Marshall, Fender Vibroflex, and Dumble Steel String Singer simultaneously to get some of the great sounds on his records. This Amp Model was produced by superimposing a "traditional" clean guitar tone and a particularly tweaked-up variant of the Line 6 Drive. The Drive knob acts as a blender control - fully left and you've got big bottom 21st Century Clean, and fully right you've got paint-peeling Ultra-drive. Set it anywhere in between, and you get to have your cake and smear it all over your audience, too.
Default Speaker Cabinet: 4x12" '98 Line 6 Custom
Line 6 Insane - The goal of Line 6 here was to provide you with as much input gain distortion as possible short of complete meltdown. You get ridiculous, rich tube drive to shame the distortion of pretty much any amp on the planet (sort of like a Dual Rectifier on 10 being used as a preamp for a Soldano), while still retaining tonal definition and character. As a result, you get way lots of bottom end and cabinet character with tons of wide-ranging tone shaping. Crank up the Drive control and take no prisoners!
Default Speaker Cabinet: 4x12" '98 Line 6 Custom
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