Manual do amplificador Line 6 FLEXTONE III (PORTUGUÊS)

An in-depth exploration of the revolutionary
technologies and tonal pleasures of the Flextone III.
Electrophonic Limited Edition. Also available at www.line6.com. Revision C.
Pilot’s HandbookManual do Usuário
Uma exploração profunda dentro da
prazerosa tecnologia de timbres do Flextone III
www.habro.com.br/line6
info@habro.com.br

O número de série pode ser encontrado no painel traseiro de seu Flextone III. É o
número que começa com “(21)”. Anote-o aqui para uma possível consulta futura:
No DE SÉRIE: ___________________________
SERIAL NO:
YOU SHOULD READ THESE IMPORTANT SAFETY INSTRUCTIONS
KEEP THESE INSTRUCTIONS IN A SAFE PLACE
The serial number can be found on the back panel of your Flextone III. It’s
the number that begins with “(21)”. Please note it here for future reference:
CAUTION: To reduce the risk of fire or electric shock,
do not remove screws. No user-serviceable parts inside. Refer
servicing to qualified service personnel.
The lightning symbol within a triangle means
“electrical caution!” It indicates the presence
of information about operating voltage and
potential risks of electrical shock.
The exclamation point within a
triangle means “caution!” Please
read the information next to all
caution signs.
Flextone III Pilot’s Handbook © 2003, Line 6, Inc.
Before using your Flextone III, carefully read the applicable items of these operating instructions and safety
suggestions:
1. Obey all warnings on the Flextone III and in this Pilot’s Handbook.
2. Do not place near heat sources, such as radiators, heat registers, or appliances which produce heat.
3. Guard against objects or liquids entering the enclosure.
4. Connect only to AC power outlets rated 100-120V or 230V 47-63Hz (depending on the voltage range of the
unit; refer to the back panel). Current ratings should be 4A for the 120V range and 2 A for the 230V range.
5. Do not step on power cords. Do not place items on top of power cords so that they are pinched or leaned on.
Pay particular attention to the cord at the plug end and the point where it connects to the amp.
6. Unplug your Flextone III when not in use for extended periods of time.
7. Do not perform service operations beyond those described in the Flextone III Pilot’s Handbook. In the
following circumstances, repairs should be performed only by qualified service personnel:
• liquid is spilled into the unit
• an object falls into the unit
• the unit does not operate normally or changes in performance in a significant way
• the unit is dropped or the enclosure is damaged
8. Prolonged listening at high volume levels may cause irreparable hearing loss and/or damage. Always be sure
to practice “safe listening.”
WARNING: To reduce the risk of fire or
electric shock, do not expose this appliance to
rain or moisture.
CAUTION: This equipment has been tested and found to comply with the limits for a Class B digital device
pursuant to Part 15 of FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause
harmful interference, and (2) this device must accept any interference received, including interference that may cause
undesired operation.
Você deve ler essas Importantes Instruções de Segurança.
Mantenha essas instruções em um local seguro.
Antes de usar seu Flextone III, leia cuidadosamente os ítens dessas instruções de operações e sugestões de segurança.
Obedeça todos os avisos do Manual do Flextone III.1.
Não mantenha o produto perto de fontes de calor, radiação, registros de calor, ou ferramentas que produzam calor. ]2.
Proteja para que objetos e líquidos não entrem dentro da unidade.3.
Conecte apenas em tomadas AC de 100-120V ou 200-240V 47-63Hz (dependendo da voltagem escrita no produto,4.
no painel traseiro). Current ratings should be 4A for the 120V range e 2 A for the 230V range.
Não pise nos cabos de alimentação. Não pise nos cabos. Não deixe objetos em cima dos cabos de forma que eles sejam5.
esmagados. Preste atenção especial à extremidade do cabo em seu conector e à ponta em que se conecta ao dispositi-
vo.
Desligue o Flextone III quando não utilizado por um longo tempo.6.
Não execute nenhuma operação de serviço que não as descritas no Manual do Spider III. A manutenção será neces-7.
sária quando o produto
apresentar danos,tais como:•
líquido for espirrado ou objetos derrubados no produto•
an object falls into the unit•
a unidade não operar normalmente ou ter a performance alterada de uma maneira significante•
a unidade for derrubada ou sua carcaça for quebrada.•
Uso prolongado em alto volume pode causar perda/dano na audição. Sempre use um “volume seguro.”8.
Flextone III Manual do Usuário
O desenho de um raio dentro de um
triângulo signica “cuidado elétrico!”. Ele
indica a presença de informações sobre
voltagem operacional e risco potencial
de choque elétrico.
O ponto de exclamação dentro de um
triângulo signica “cuidado!”. Por favor,
leia as informações após esse símbolo.
SERIAL NO:
caution signs.
suggestions:
rain or moisture.
SERIAL NO:
caution signs.
suggestions:
rain or moisture.
AVISO: Para reduzir o risco de fogo ou choque elétri-
co, não exponha o produto a chuva ou umidade.
CUIDADO: Para reduzir o risco de fogo ou choque elétrico,
não remova parafusos. Não mexa no interior do produto. Procu-
re prossionais qualicados para manutenção.
CUIDADO: Esse equipamento foi testado e projetado para obedecer os limites de um dispositivo digital Classe B segui-
dores da parte 15 das leis federais. A operação está sujeita às seguintes condições: (1) esse dispositivo não deve causar interfe-
rência nociva, e (2) esse dispositivo deve aceitar qualquer interferência recebida, inclusive interferências que possam causar
operação indesejável.

Nota:
Line 6, Flextone,Vetta, POD, Duoverb, Tone Transfer, Line
6 edit, FBV Shortboard e FBV são marcas da Line 6, Inc.
Todos outros nomes de produtos, marcas, e nomes de
artistas são de propriedades de seus respectivos donos,
que não estão de forma alguma associados com a Line
6. Nomes de produtos, imagens, e nomes de artistas são
utilizados unicamente para identificar os timbres dos
sons que estudamos durante o desenvolvimento dos
modelos da Line 6 para esses produtos. O uso desses
produtos, marcas, imagens, e nomes de artistas não im-
plicam nenhuma cooperação ou patrocínio.

Bem-Vindo ao Flextone III
Registro
Grato por comprar um Flextone III! Por favor envie o cartão de registro incluso ou clique
em www.line6.com para registrar. Estaremos esperando...
Conecte em www.line6.com
Junte-se à crescente comunidade em www.line6.com. Esse é o local do ToneTransfer, a bi-
blioteca online de timbres para produtos Line 6. Também é o local para obter gratuitamen-
te o Line 6 Edit que permite ajustar cada pequeno detalhe do som do seu Flextone, fazer
o backup da memória, e construir sua própria biblioteca de timbres em seu computador!
Os fóruns estão cheios de usuários Line 6 compartilhando os pensamentos para obter o
máximo de seu equipamento e da grande aventura de fazer música. E você pode também
aprender as novidades dos artistas que confiam na Line 6, seja o primeiro a saber sobre no-
vos produtos, e explorar o poderoso sistema FAQTRAQ em Support.
Line 6 e Flextone III
Você provavelmente conhece a Line 6 por ter a tecnologia invadora de guitarra a primei-
ra do mundo a colocar a tecnologia de software de modelagem digital para trabalhar em
combos de guitarra, pioneira em tecnologia de gravação direta no POD e outros produtos,
e capturar a alma de pedais clássicos em modernos stomp boxes. Fazemos equipamentos
cheios de características e descobertas tecnológicas, e oferecer novos valores e capacidades
aos guitarristas.
Com o Flextone III, nosso objetivo foi poder oferecer tudo o que precisa para sua gig - in-
cluindo volume estrondoso e operação simples em um gabinete compacto. Da mesma
forma, seus modelos de amp premiados iguais aos do Vetta e POD XT foram cuidadosa-
mente selecionados, para a versatilidade de ir de um ritmo doce e aveludado direto para
um crunch pesado sem perder um beat. E poderosos e excelentes efeitos que também são
muito simples de usar. Os modelos 112+ e 212 ainda incluem as exclusivas saídas direct outs
A.I.R. II, portanto você pode sempre mandar seu timbre para o seu destino sem meio termo
ou complicações. E, é claro, ele está pronto para impressionar seu público com a elegante
aparência e sensação de um clássico amp valvulado.
Portanto vire a página, seu sortudo. E vamos levar seu novo som para dar uma volta!

Operando
Ansioso? Bem, então, leia ao menos essa página e volte depois para ler o resto:
Guia para Início Rápido
POWER: Conecte o cabo de alimentação do painel traseiro do Flextone III à sua tomada de
energia.
Mas não ligue a alimentação ainda.
PLUG IN: Conecte sua guitarra no INPUT do Flextone III. Gire o botão MASTER do Flex-
tone III (o primeiro da direita) para o mínimo. Localize o botão POWER na traseira perto do
cabo de alimentação, e ligue o bandido. Gire o MASTER para posição 9 horas ou quase.
Prepare-se para sons maravilhosos...
Botão MODELS: Gire-o para selecionar entre os 16 modelos de amp, cada um com duas va-
riações, para um total de 32 Modelos de Amp.
Botões DRIVE, BASS, MID, TREBLE, PRESENCE, VOLUME: Aqui o que se vê é o que se ob-
tém - gire estes botões até o som ficar bom!
DELAY: Pressione o botão à esquerda do botão Delay para selecionar um dos efeitos de
Delay. Tecle um andamento para o Delay no botão TAP TEMPO, e gire o botão Delay para
obter mais ou menos efeito.
MOD: Pressione o botão à esquerda do botão Mod para selecionar um dos efeitos Mod. Gire
o botão Mod para acelerar ou diminuir o efeito selecionado.
COMP/GATE: Pressione COMP e/ou GATE para ativar cada efeito. O compressor irá aplai-
nar a dinâmica e aumentar o sustain. O Gate irá silenciar o ruído inerente comum de
timbres de amps de alto ganho quando você não estiver tocando.
Memórias de Canais: Estes são como botões de memória para gravar estações favoritas em
um rádio. Pressione A, B, C ou D para carregar uma das 4 Memórias de Canais. Pressione o
mesmo botão novamente para voltar ao “modo manual”. Você estará no modo manual se
nenhum dos botões A, B, C, ou D estiver aceso. E assim como no rádio, mantenha qualquer
um dos botões pressionado por 3 segundos para salvar seus ajustes atuais.

Características do Painel FrontalWorking It • Front Panel Features
2• 2
Front Panel Features
1. Guitar Input: Plug your guitar in here.
2. Models - Amps: As you turn this knob, one of the lights surrounding it will light. An
AMBER (yellow) light next to one of the Model names tells you that you’ve selected
that Amp Model. Turn the knob one more click to get a RED light, and you’ve chosen
a second variation of that amp “ﬂavor.” Chapter 3 describes all 32 Amp Models.
Models - Cabs: When you select an Amp Model, your Flextone III is selecting an
appropriate Cab Model to go with it behind the scenes. To choose a different one from
the 16 available Cab Models, press and hold the Model knob while turning it; you’ll
see GREEN lights. The cabs run from smallest to largest, so selecting green lights from
“Line 6 Crunch” through “Gib Explorer” takes you all the way from petite combo amp
cabinets to ferocious 4x12s. Turn to “Line 6 Clean” to bypass the cab modeling.
3. Drive: Turn this knob to set how hard you’re driving the chosen Amp Model. Similar
to the input volume control on a non-master volume amp, the higher the setting, the
more “dirt.”
4. Tone Controls – Bass, Mid,Treble and Presence: These controls are made to
behave like the controls of the amps that were modeled for Flextone III. Twist ’em
round until things sound just the way you like. See Chapter 3 for details.
Gib Explorer
Double Verb
MODELS
DRIVE BASS MID TREBLE PRESENCINPUT
0 10 0 10 0 10 0 10 0 10
Tweed B-man Match Chief
Class A-30Blackface Lux
Plexi 45Jazz Clean
Line 6 Insane Plexi Lead 100
Line 6 Mood Brit J-800
TreadplateLine 6 Crunch
Line 6 Clean Solo 100
CHANNEL SELECT
51 32 4
A B C D
(PRESS TO SELECT CAB)
1. Guitar Input: Conecte sua guitarra aqui.
2. Models - Amps:
Conforme você gira este botão, uma das luzes em volta dele irá acender. Uma luz AMBAR
(amarela) ao lado do nome do Modelo indica que você selecionou aquele modelo de Amp.
Gire o botão um clique a mais para a luz ficar VERMELHA, e você estará escolhendo uma
segunda variação daquele modelo de amp. O Capítulo 3 descreve todos os 32 Modelos de
Amp.
Models - Cabs: Quando você selecionar um Modelo de Amp, seu Flextone III irá selecionar
um Modelo de Gabinete apropriado para acompanhá-lo automaticamente. Para escolher
um Modelo de Gabinete diferente entre os 16 disponíveis, mantenha pressionado o botão
Model enquanto o gira; você verá luzes VERDES. Os gabinetes vão do menor ao maior,
portanto ao selecionar uma luz verde de “Line 6 Crunch” a “Gib Explorer” o leva por todos
os modelos de pequenos gabinetes de combos até as 4x12 animais. Gire para “Line 6 Clean”
para desativar a simulação de gabinete.
3. Drive: Gire este botão para ajustar qual a intensidade que você está saturando o Modelo
de Amp escolhido. Parecido com o controle de volume de entrada de um amp sem master,
quanto maior o ajuste, mais “sujo”.
4. Controles de Tonalidade – Bass, Mid, Treble e Presence: Estes controles são feitos para se
comportar como os controles dos amps modelados para o Flextone III. Gire-os até que o
som fique do seu gosto. Veja o Capítulo 3 para mais detalhes.

5. Botões de Seleção de Canais – A, B, C, D: O Flextone III usa estes botões para lembrar
seus ajustes favoritos - não é mais preciso marcar na frente do amp com caneta seus ajustes
favoritos! Cada memória é pré ajustada com um som maravilhoso quando o Flextone III sai
da fábrica - pressione um botão para ouvir o ajuste salvo. Conforme faz isso, perceba que as
luzes do Flextone III indicam o Modelo de Amp usado na Memória do Canal, quais efeitos
estão ligados, etc. PAra voltar ao “modo manual”, basta pressionar o botão de Canal aceso
para apagá-lo. E mais...
Conforme você chega a um ajuste favorito que gostaria de manter, você pode salvá-lo nos
botões A, B, C e D para substituir os presets de fábrica. Basta manter pressionado qualquer
um dos botões A, B, C ou D buttons por cerca de 3 segundos até que todos os ajustes pis-
quem e pronto - o Flextone III agora tem seu timbre personalizado memorizado para ser
carregado facilmente! Veja Usando as Memórias de Canais na página 2•6 para mais detalhes.
As pedaleiras da série FBV da Line 6 permitem selecionar essas memórias de canais com os
pés - e aumentam o número de memórias disponíveis para um total de 36. O Capítulo 5
tem os detalhes.
6. Volume: Use-o para ajustar o volume do canal atual, e mantenha-o no volume correto
em relação aos outros canais que você usar.
7. Reverb: Basta girar o botão para obter a quantidade de reverb que quiser. Gire o botão
totalmente no sentido anti-horário para nenhum som de reverb.
Característica Bonus: Reverb Tweak - para ajustar o tipo e o decay do Reverb, mantenha
pressionado o botão Tap Tempo button e gire o botão Reverb. Existem três tipos de Reverb
diferentes acessíveis pelo botão. O primeiro terço do botão é um Spring, o segundo terço
do botão um Room e o terço final um Plate, cada um com uma faixa de decays, de curtos a
longos.
Working It • Front Panel Features
2• 3
5. Channel Select Buttons – A, B, C, D: Flextone III uses these buttons to remember
your favorite settings—no more need to mark up the front of your amp with grease
pencil to note your favorite settings! Each memory is pre-set with delicious tone when
a Flextone III leaves the factory—press a button to hear the saved setting. As you do,
notice that Flextone III’s lights indicate which Amp Model is used in the Channel
Memory, which effects are on, etc. To get back to the “manual mode,” just press the lit
button again to turn it off. Plus...
As you come across your own favorite settings that you’d like to keep, you can save
them to the A, B, C and D buttons to replace the factory presets. Just hold down any of
A, B, C or D buttons for about 3 seconds until all of them flash and presto—Flextone
III has now memorized your custom tone for easy recall! See UsingThe Channel
Memories on page 2•6 for more detail. The Line 6 FBV class foot controllers let you
select these Channel Memories with your feet—and expand the number of memories
available to a total of 36. Chapter 5 has got the details.
6. Volume: Use this to set the volume for the current channel, and get it to the right
relative volume versus the other channels that you use.
7. Reverb: Just turn the knob to get the amount of reverb you’d like. Turn the knob fully
counter-clockwise for no reverb.
Bonus Feature: ReverbTweak- To adjust the type and decay of the Reverb, press
and hold the Tap Tempo button and turn the Reverb knob. There are three different
Reverb types accessible throughout the range of the knob. The first third of the knob is
a spring, the second third a Room, and the final third a Plate, each with a range of
decays, from short to long.
MID TREBLE PRESENCE VOLUME REVERB
0 10 0 10 0 10 0 10 0 10
CHANNEL SELECT
A B C D
5 76

8. Seletor de Delay: Pressione-o para avançar entre os efeitos de Delay listados à esquerda do
botão Delay, ou para desligar o Delay (todas as luzes apagadas).
9. Tap Tempo: Tecle este botão no andamento que você quiser - o delay time será ajustado
para combinar com esse andamento.
10. Delay: Ajusta dinamicamente múltiplos parâmetros do delay, incluindo mix, feedback e
tone. Gire-o para obter mais ou menos delay.
Característica Bonus: Delay Feedback - Para ajustar apenas o Delay Feedback, mantenha
pressionado o botão Seletor de Delay e gire o botão Delay. Nota: Girar o botão Delay depois
de ajustar o feedback irá sobrepor o seu ajuste de feedback. Por isso é melhor escolher antes
o Delay com o botão Delay, e então fazer um ajuste fino do seu feedback se necessário.
Delay Time - Para ajustar o delay time sem ter que mexer com andamentos e tal, mantenha
pressionado o botão Tap Tempo enquanto gira o botão Delay. Para delays mais curtos, gire
no sentido anti-horário. Para delays longos, no sentido horário.
Working It • Front Panel Features
2• 4
8. Delay Select: Press this to step though the Delay effects listed to the left of the Delay
knob, or to turn off the Delay (all lights off).
9. TapTempo: Tap the button at the tempo you’d like—the delay time switches to
match that tempo.
10. Delay: Dynamically adjusts multiple delay parameters, including mix, feedback and
tone. Spin it to get more or less delay.
Bonus Features: Delay Feedback - To adjust only the Delay Feedback, press and
hold the Delay Select button and turn the Delay knob. Note: Turning the Delay knob
after tweaking the feedback will override your feedback setting. So it’s best to first get the
general Delay set with the Delay knob, and then fine-tune the feedback if necessary.
DelayTime - To set the delay time without having to deal with tempos and such,
press and hold the TapTempo button while turning the Delay knob. For shorter
delays dial counter-clockwise. Long delays, clockwise.
GATE COMP
TAP
TEMPO
DELAY MOD MASTER
TUBE ECHO
TAPE ECHO
SWEEP ECHO
PING PONG
DIGITAL
ROTARY
FLANGER
PHASER
U-VIBE
CHORUS
0 10
ANALOG
TREMOLO
8 11 1410
1513129

11. Mod: Pressione-o para avançar entre os efeitos Mod listados à esquerda do botão Mod, ou
para desligar o Mod (todas luzes apagadas).
12. Gate: Ativa o gate on-board. O gate entra em ação quando o sinal da sua guitarra cair
abaixo de um certo “threshold”, e tem a intenção de silenciar o ruído que você poderia
ouvir naquele momento sem o gate. Para ajustar o threshold do Gate, mantenha pressiona-
do o botão Gate enquanto gira o botão Delay ou Mod. Quanto menor o threshold (sentido
horário), mais sustain das suas notas tenderão a ser cortados.
13. Comp: Ativa o Compressor on-board. O compressor irá adicionar sustain ao seu som
de guitarra, e aplainar a dinâmica. Para ajustar a quantidade de compressão, mantenha
pressionado o botão Comp enquanto gira o botão Delay ou Mod. Quanto menor o ajuste,
(sentido horário) mais notas irão sustentar.
14. Mod: Ajusta dinamicamente os múltiplos parâmetros de modulação, incluindo rate e
depth.
Característica Bonus: Modulation 2a Função - Cada modelo de modulação pode ser ajusta-
do mantendo o botão Mod pressionado enquanto gira o botão Mod. A lista a seguir mostra
quais ajustes finos estão disponíveis para cada efeito. Nota: Girar o botão Mod depois de
ajustar um efeito irá sobrepor o parâmetro que você ajustou. Portanto é melhor antes esco-
lher o Mod com o botão Mod, e depois fazer um ajuste fino se necessário.
MOD Effect Fine-Tune
Rotary Tone
U-Vibe Depth
Phaser Feedback
Flanger Feedback
Chorus Depth
Tremolo Depth
15. Master: Ajusta o nível de volume geral do seu Flextone III. Ajuste-o para obter a sono-
ridade básica, então use o botão de Volume do Canal para equilibrar o volume em relação
aos volumes dos sons que você gravou nos botões A, B, C, D.

Modo Manual: O queVocêVê é o queVocê Obtém
Quando nenhum dos botões A, B, C, D estiver aceso, o Flextone III estará operando em
Modo Manual, o que significa que todos os controles estão ativos e o som do amp é deter-
minado pelos ajustes atuais das posições dos controles. Tal qual um ampificador normal,
correto?
Caso você não esteja no Modo Manual e gostaria de estar, simplesmente de um rápido aper-
to no botãoA,B, C, ou D que estiver aceso.
Usando as Memórias de Canais
O Flextone III pode gravar e carregar seus ajustes favoritos usando os botões A, B, C, D.
Salvar: A qualquer momento que você tiver regulado um som e desejar salvá-lo para uso
posterior, tudo o que você precisa fazer é manter um dos botões A, B, C ou D pressionado
por 3 segundos. Após os 3 segundos, o botão pressionado irá piscar para avisá-lo que você
salvou com sucesso todos os ajustes atuais de todos os controles naquele botão.
Carga: Quando você pressionar um dos botões A, B, C, D para ativá-lo, o Flextone III irá
carregar os ajustes que foram salvos na Memmória de Canal daquele botão. Isto inclui os
Modelos de Amp e Gabinete escolhidos, os ajustes do Drive, Bass, Mid, Treble, Presence, Re-
verb e Volume do Canal, mais os ajustes de Mod e Delay. Nota: O ajuste de Volume Master
não é salvo em cada Canal, invés disso ele atua como um controle de Volume global que
controla o volume geral de todos os canais.
As várias luzes do painel frontal irão mostrar os ajustes carregados, porém os botões não.
Girar um botão ou apertar qualquer tecla irá sobrepor o ajuste carregado apenas daquele
controle. Para sobrepor todos os ajustes carregados e ter o som determinado pelas posi-
ções atuais de todos os controles. pressione o botão A, B, C, ou D aceso. Você irá retornar ao
Modo Manual onde o que você vê é o que você obtém.
Veja o Capítulo 5 para detalhes sobre como salvar e carregar um total de 36 Memórias de
Canais usando seus pés.
Para restaurar todas as Memórias de Canais (incluindo as 36 disponíveis via FBV e MIDI)
para seus padrões de fábrica, mantenha os botões A e D pressionados quando ligar o seu
Flextone III.

Criando Padrões de Amp
Padrões de Amp são simplesmente fotografias de todas os controles importantes do mo-
delo de Amp que são carregadas automaticamente quando você seleciona um Amp com
o botão Model. Sempre que você selecionar um modelo, o Flextone III carrega o Padrão do
Amp correspondente para agilizar o acesso ao seu som.
Você pode editar qualquer um ou todos os Padrões de Amp, e encher seu Flextone III com
todo o talento de preparação de amp especial que só você possui. Esta genialidade irá então
estar disponível instantaneamente ao girar do botão MODEL. Por exemplo, quando você
girar o botão MODEL para carregar o modelo Plexi-45, Você obterá o seu Plexi-45 persona-
lizado, com todos os controles ajustados com o uma versão exclusiva só sua! Eis como isso
funciona:
Escolha um Modelo de Amp, mude o gabinete caso queira, regule os controles do amp, etc.
Quando estiver satisfeito com o que conseguir, mantenha pressionado o botão MODEL
tomando cuidado para não girá-lo. Após cerca de 5 segundos, a luz do modelo selecionado
irá começar a piscar e você pode soltar o botão. Seus ajustes personalizados terão sido salvos.
Usando MIDI, você pode personalizar um grupo inteiro de outro controles e salvá-los
com os Padrões do Amp. Baixe o programa gratuito Line 6 Edit de www.line6.com para
fazer tudo isto com este programa projetado para seu Flextone III. O Apêndice MIDI traz
detalhes sobre as mensagens MIDI continuous controller que controlam cada um desses
parâmetros. Após fazer os ajustes via MIDI, você pode salvar o resultado como um Padrão
de Amp.
Os parâmetros do Amp acessíveis via MIDI e Line 6 Edit são:
Drive Ganho da Compressão Modelo de Reverb
Bass Threshold da Compressão Decay do Reverb
Mid Ativação da Compressão Timbre do Reverb
Treble Threshold do Gate Modelo A.I.R. II
Presence Decay Time do Gate Modelo de Gabinete
Volume do Canal Ativação do Noise Gate Volume PRE/POS

Características do PainelTraseiroWorking It • Rear Panel Features
2• 8
Rear Panel Features
16. Phones: Keep it quiet around the house by connecting headphones to the Phones
jack—plugging in headphones disables your speaker outputs. The Master knob sets
the level while you’re using headphones—turn it down as you switch between
headphones and the speakers so you won’t unexpectedly blast yourself with volume.
17. Pedal: Connect the RJ-45 cable supplied with your FBV or FBV Shortboard here.
Chapter 5 has the full details.
18. MIDI In MIDI Out: Connect standard MIDI cables here. Flextone III always sends
and receives on MIDI Channel 1. Use MIDI with the free Line 6 Edit software from
www.line6.com. See the MIDI appendix for more MIDI details.
19. Effects Loop: Use the Left(Mono) Send and Return for a mono rack effect. Connect
stereo effects as shown. Generally, stomp boxes go before the amp, not in this loop.
PHONES
Class 2 Wiring
8 Ohms Only
For Plus Configuration Only:
Connect Right Speaker Output to External Cab
-22dBu
RIGHT LEFT/MONO
LEVEL TRIM
+4dBu
XLR OUTPUTS - PIN 2 HOT
GROUND
MIDI OUTMIDI IN
SEND
LEFT (MONO) RIGHT LEFT (MONO) RIGHT
EFFECTS LOOP
RETURN
PEDAL
connect FBV Class Foot Controller here
(not compatible with Floor Board)
LEFTRIGHT
SPEAKER OUTS
PHONES
Class 2 Wiring
8 Ohms Only
-22dBu
RIGHT LEFT/MONO
LEVEL TRIM
+4dBu
GROUND
MIDI OUTMIDI IN
SEND
EFFECTS LOOP
RETURN
PEDAL
LEFTRIGHT
SPEAKER OUTS
1822
12 13 14 15 16 1716 17 18 19 20 21
LIFT
®
U.S. PATENT NO. 5,789,689
Part #41-00-1027 Rev. B
LIFT
®
Part #41-00-1027 Rev. B
RETURNSEND
EFFECTS LOOP
Rack FX unit
INPUTOUTPUT
RIGHTLEFTRIGHTLEFT
Flextone III FX Loop
Working It • Rear Panel Features
2• 8
Rear Panel Features
16. Phones: Keep it quiet around the house by connecting headphones to the Phones
jack—plugging in headphones disables your speaker outputs. The Master knob sets
the level while you’re using headphones—turn it down as you switch between
headphones and the speakers so you won’t unexpectedly blast yourself with volume.
17. Pedal: Connect the RJ-45 cable supplied with your FBV or FBV Shortboard here.
Chapter 5 has the full details.
18. MIDI In MIDI Out: Connect standard MIDI cables here. Flextone III always sends
and receives on MIDI Channel 1. Use MIDI with the free Line 6 Edit software from
www.line6.com. See the MIDI appendix for more MIDI details.
19. Effects Loop: Use the Left(Mono) Send and Return for a mono rack effect. Connect
stereo effects as shown. Generally, stomp boxes go before the amp, not in this loop.
PHONES
Class 2 Wiring
8 Ohms Only
-22dBu
RIGHT LEFT/MONO
LEVEL TRIM
+4dBu
GROUND
MIDI OUTMIDI IN
SEND
EFFECTS LOOP
RETURN
PEDAL
LEFTRIGHT
SPEAKER OUTS
PHONES
Class 2 Wiring
8 Ohms Only
-22dBu
RIGHT LEFT/MONO
LEVEL TRIM
+4dBu
GROUND
MIDI OUTMIDI IN
SEND
EFFECTS LOOP
RETURN
PEDAL
LEFTRIGHT
SPEAKER OUTS
1822
12 13 14 15 16 1716 17 18 19 20 21
LIFT
®
Part #41-00-1027 Rev. B
LIFT
®
Part #41-00-1027 Rev. B
RETURNSEND
EFFECTS LOOP
Rack FX unit
INPUTOUTPUT
RIGHTLEFTRIGHTLEFT
Flextone III FX Loop
16. Phones: Mantenha o silêncio da casa conectando fones de ouvido no conector Phones
- conectar o fone desativa a saída do falante. O botão Master ajusta o nível de volume dos
fones - diminua-o antes de tirar o fone e voltar para o falante para que você não seja surpre-
endido com o volume.
17. Pedal: Conecte aqui o cabo RJ-45 que acompanha sua FBV ou FBV Shortboard. O Capí-
tulo 5 tem todos os detalhes.
18. MIDI In MIDI Out: Conecte aqui os cabos padrão MIDI. O Flextone III sempre envia e
recebe no Canal MIDI 1. Use o MIDI com o programa gratuito Line 6 Edit disponível em
www.line6.com. Veja o apêndice MIDI para mais detalhes.
19. Effects Loop: Use o Left(Mono) Send e Return para um efeito externo mono. Conecte
efeitos estéreo conforme a figura. Geralmente, pedais vão antes do amp, não neste loop.

20. Level Trim: O nível das Saídas XLR é ajustado pelo pequeno controle do painel traseiro,
e não é afetado pelo botão Master.
21. Saídas Balanceadas XLR Ground Lift: Estes versáteis conectores foram projetados
com a exclusiva tecnologia A.I.R. II da Line 6 para oferecer um per perfeito de saídas diretas
para apresentações ao vivo e gravações em estúdios. Veja Usando As Saídas Diretas XLR na
página 2•10 para detalhes. Tente inverter a chave Ground Lift caso estejam ocorrendo zum-
bidos ou roncos nas Direct XLR Outs.
Por favor Note: pode haver um ‘estralho’ audível nas saídas XLR ao ligar ou desligar o
Flextone III. Recomendamos que você desconecte as saídas diretas ou desligue os aparelhos
conectados antes de ligar ou desligar seu Flextone III.
22. Speaker Outs: Aqui é onde você pode conectar uma ou duas caixas externas a serem
amplificadas com seu Flextone III. Por favor note que os Flextone III XL e Plus são projeta-
dos para conexão somente com caixas com carga total de 8 ohms..
Flextone III XL – Ao conectar caixas tanto em Left ou Right speaker desconecta o falante
interno e permite o uso com uma caixa de 8 ohms.
Flextone III Plus – Caso você possua um Flextone III Plus, estes conectores estarão marca-
dos Internal e External. Conectar uma caixa em Internal desconecta o falante interno e
permite usar uma caixa de 8 ohms. A conexão External é projetada para a Caixa Flextone
Cab, e funciona ao mesmo tempo junto com o falante interno. Ela fornece 50 Watts de
potência para a Flextone Cab, formando uma configuração de 100 Watts Estéreo.
Power Switch Connector (não mostrados na figura): Estes estão do lado do painel tra-
seiro e não estão mostradas na figura. Conecte o cabo de alimentação incluso na tomada,
então acione o botão power para deixar os elétrons fazerem seu trabalho.

Usando As Saídas Diretas XLR
Uma das engenhosas caracetrísticas dentro do seu Flextone III é a tecnologia A.I.R. II ex-
clusica da Line 6 que permite obter um excelente som de sinal microfonado de seu ampli-
ficador sem microfone! Suas Saídas Diretas podem ser usadas tanto no estúdio como para
alimentar o sistema de som da casa para apresentações ao vivo.
O botão Master de seu Flextone III ajusta o nível do falante interno (e quaisquer caixas
externas conectadas), sem afetar o nível de suas Saídas Diretas. Isto é bom, por exemplo para
tocar ao vivo. O que significa que você pode ajustar um nível de volume mais baixo para o
amp no palco (talvez seja pequeno) enquanto manda o nível total pelas saídas diretas para
que o sistema de som da casa receba o sinal com todo o gás. E quaisquer ajustes feitos no
volume no palco durante o show não obriguem o técnico de som a ficar se virando para
compensar o lado dele. Isto também é bom se você estiver gravando no estúdio, usando seu
amp como monitor com os outros membros da banda enquanto o sinal da saída direta é
gravado. Mais uma vez, o baixo nível de volume master apropriado que você desejar para o
amp não significará um baixo nível de sinal indo para o gravador, e os ajustes que você fizer
no nível não irão interferir com os níveis do control room.
O Flextone III pode enviar nível direct out suficiente para mandar os medidores de entra-
da de gravadores profissionais a +4 dBu. Para sistemas de sonorização ou mesmo em muitos
sistemas de gravação projetados para trabalhar com níveis menores, isto pode as vezes ser
excessivo. O botão Level Trim do painel traseiro do Flextone III permite atenuar o nível do
direct out e manter o técnico de som ou gravador felizes.
Caso esteja ajustando os níveis pessoalmente e quer ter certeza de não extrapolá-los, você
pode seguir essas três etapas básicas. Primeiro, conecte a guitarra com nível de saída mais
alto que você planeja usar no Flextone III, selecione o ajuste mais radical de captação, e ar-
regace o volume de saída (ou coloque o mais alto como nunca usou). Caso pretenda mudar
os sons do seu Flextone III durante o show, comece selecionando o som do Flextone III que
pareça ter o mais alto nível de saída. Você pode então ajustar seu botão Master no Flextone
III mais baixo para você não estoure tudo; isso não afeta o nível do direct output. Agora
com a guitara e o Flextone III ajustados, toque com vontade (para enviar o volume máxi-
mo pelas saídas direct outputs) e peça a alguém para ajustar o botão Level Trim do painel
traseiro do Flextone III até que um bom nível de sinal seja recebido pelo equipamento par
onde estamos mandando o sinal. O nível não deve ser muito forte a ponto de causar distor-
ção ou clipamento na entrada do equipamento que recebe o sinal. Se o equipamento que
recebe o sinal possuir ajuste do nível de entrada, você provavelmente irá obter a melhor
relação sinal/ruído ajustando-o o mais baixo possível com o ajuste do Level Trim do Flex-
tone o mais alto possível.

Os Amps Gabinetes
O coração do Flextone III é sua coleção de Modelos de Amps e Gabinetes — resultando
do estudo meticuloso que a Line 6 fez de uma coleção dos sonhos de amplificadores e
gabinetes clássicos e modernos. Cada posição do botão Model do Flextone III carrega uma
determinada combinação de Amp/Gabinete, alimentada por muitos dos mesmos modelos
cobiçados que aparecem nos amps da série Vetta e também no POD XT da Line 6.
Conheça a Família
Assim que decidimos criar uma simulação de software de um determinado modelo de
amp ou gabinete aqui na Line 6, o primeiro passo é por as mãos no melhor exemplar que
pudermos encontrar para estudá-lo. Nós vasculharemos (e estamos) o mundo a procura do
espécime certo - aquele, equipamento muito especial que tem a magia.
Afinal, amps de ’57, ’62, ’65, ’67, ’75, e 2002 podem até ter o mesmo nome, porém ter projetos
de circuitos, som e resposta completamente diferentes — e na maioria das vezes uma apa-
rência diferente também. Mesmo dois amps com o mesmo projeto de circuito, da mesma
época, podem ter o som radicalmente diferente, tanto por causa de variações nas tolerân-
cias dos componentes como a forma de ligação — e talvez até mesmo pelo que o montador
almoçou no dia. Mais o fato que cada amp tem sua própria maneira especial de amaciar ao
longo dos anos e assim como as pessoas, algumas só melhoram com a idade.
Cada um dos notáveis amps e gabinetes que selecionamos para modelar tem uma caracte-
rística única e especial tão particular como um amigo querido. E incluímos as fotos aqui
dos amps que selecionamos, estudamos e medimos para que você conheça exatamente
sobre qual amp estamos falando.
Portanto vamos conhecer os Modelos de Amp e Gabinete que vivem dentro de seu Flexto-
ne III, e os equipamentos originais que nos ajudaram a tornar isso possível....

What’s InThere
Line 6 Clean
To create this Amp Model, we essentially grafted the preamp e tone stack of a
JC-120 (Roland’s popular “Jazz Chorus” solid state combo) onto the power amp e
transformer of a classic Marshall JTM-45 tube head, thereby giving you the crisp e
clear front end typical of a solid state amp, but with a rich, satisfying tube amp-style
bite as you turn it up.
Line 6 Super Clean (Red alternate model for “Line 6 Clean”)
Forget what you know about how clean ou how bright a guitar amplifier can go. Line 6
Super Clean goes farther, adding a lot of brightness. Caution: Because Super Clean adds
so much brightness, it generally won’t work so well with distortion pedals, since they
usually add lots of high frequencies, too. The combination may produce un-natural
artifacts—ou just rip your head off. Plug an un-distorted guitar in here, though, e
we’re talking super happy shiny bright.
Line 6 Crunch
While having cousins marry is not such a good idea in real life, in the amp world, it can
have a great payoff. Since the design of some early Marshall amps had a lot in common
with the Fender Tweed Bassman circuitry, we wondered what it would be like if we
took the preamp e tone stack of our JTM-45 e ran it into the power amp e
transformer of our ’58 Tweed Bassman. Point, click, cut, paste (it would be nice if it
were really that easy, huh? We’d sure be able to get more sleep). What we got was way
happening, as Line 6 Crunch will attest. Great grind e nice punch. A tone that the
whole family can enjoy.
Line 6 Sparkle (Red alternate model for “Line 6 Crunch”)
We love tweed Fenders. We love blackface Fenders. We love ’em both so much, we can
never really decide which one we like more. Luckily, we were able to come up with the
perfect way to share the love. We took the preamp e tone stack from our model based
on the ’58 Tweed Bassman, e we wired (in the virtual world) our model of a
blackface Bandmaster power amp e transformer onto it. Voilà! Line 6 Sparkle.
Line 6 Mood
E here we give you a fantasia tone, based on our fondest memories of grunge guitar
tones we have known e loved.

Line 6 Chemical X (Red alternate model for “Line 6 Mood”)
Just like those secret ingredients that detergent companies used to crow about (Now!
Contains Ingredient X-27!), the Line 6 sound design guys wouldn’t tell us anything
about what the inspiration for this one was ou who it might have belonged to (no
matter what type of bribery we attempted). Suffice to say that it’s a very punchy hi-gain
sound that also cleans up quite nicely when you roll your volume back.
Line 6 Insane
Imagine running your Soldano SLO-100 as a preamp for your Boogie Dual Rectifier,
e you’ve got a pretty good picture of just how much sheer gain is involved in Line 6
Insane. It’s entirely possible to get completely out of control with this one, e we
heartily encourage you to do just that.
Line 6 Fuzz (Red alternate model for “Line 6 Insane”)
Although not technically an amp, we felt that the unique tonal qualities of the classic
1960’s Arbiter Fuzz Face earned it a place among the amps modeled to create your
Flextone’s Amp Models. This fuzz box used broad frequency, transistor-based clipping.
The result is a buzzing kind of distortion that has become popular again with the
alternative e grunge set. Jimi Hendrix was among the first guitarists to popularize
the Fuzz Face in the States, but our model is considerably dirtier than the tones found
on “Are You Experienced.” Try playing “Satisfaction” by the Stones, ou the lead from
“American Woman” by The Guess Who. Liberal use of the Bass, Mid, e Treble
controls will let you go beyond the tones that the Fuzz Face could deliver, enabling you
to discover your own unique recipe for those elusive fuzz tones in your head. Just a
note: when recording Purple Haze, Jimi didn’t even use an amp – he just went straight
from a Fuzz Face to an Orange power amp to a 4x12 cabinet. Which is the same sort of
tone you find here....

Todos os nomes de produtos são marcas registradas de seus respectivos proprietários, que não estão de forma alguma
associados ou relacionados com a Line 6. Estes nomes de produtos, imagens, e nomes de artistas são utilizados unica-
mente para identificar os timbres dos sons que estudamos durante o desenvolvimento dos modelos da Line 6.
Jazz Clean - based on a Roland JC-120The Amps Cabs • Jazz Clean - based on a Roland JC-120
3 • 4
Jazz Clean - based on a Roland JC-120
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 JC-120 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 (after all, it was Andy Summers’ favorite amp with The Police).
You should also try setting all the tone controls at 12 o’clock 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.
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 identifying the specific products that were
studied during Line 6’s sound model development.
This Amp Model is modeled after the classic Roland JC-120.
This transistor amp was known for a strident clean sound e built-in stereo chorus.
When using the JC-120 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 (after all, it was Andy Summers’ favorite amp with The Police).
You should also try setting all the tone controls at 12 o’clock 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 ou single-line phrasing.

Hiway 100 – based on a Hiwatt 1973 Custom 100The Amps Cabs • Hiway 100 – based on a Hiwatt 1973 Custom 100
3 • 5
Hiway 100 – based on a Hiwatt 1973 Custom 100
This is the alternate, “red light” model at the Jazz Clean spot on the Model knob.
Based on a Hiwatt DR-103, this model gives a great, punchy sound that will cut
through almost anything and retains great definition even when cranked. That’s
exactly what designer Dave Reeves was looking for when he left the Sound City
division of Dallas Arbiter in 1966 to form HyLight Electronics. Though his first designs
were more reminiscent of the Vox and Selmer amps of the day, it wasn’t long before
Reeves had started producing the amps that ’60s Brit-Rock fans have become familiar
with. Renowned for their ‘tank-like’ construction (due in part to Reeves’ hiring of ‘mil-
spec’ wiring specialist Harry Joyce), it was small wonder this amp was the choice of Pete
Townshend for so many years. In fact, many of the then-current crop of British rockers
like Pink Floyd, The Moody Blues, Manfred Mann, and Jethro Tull were also Hiwatt
endorsees. Crank this one up and you can see for miles.
This is the alternate, “red light” model at the Jazz Clean spot on the Model knob.
Based on a Hiwatt DR-103, this model gives a great, punchy sound that will cut
through almost anything e retains great definition even when cranked. That’s
exactly what designer Dave Reeves was looking for when he left the Sound City
division of Dallas Arbiter in 1966 to form HyLight Electronics. Though his first designs
were more reminiscent of the Vox e Selmer amps of the day, it wasn’t long before
Reeves had started producing the amps that ’60s Brit-Rock fans have become familiar
with. Renowned for their ‘tank-like’ construction (due in part to Reeves’ hiring of ‘mils-
pec’ wiring specialist Harry Joyce), it was small wonder this amp was the choice of Pete
Townshend for so many years. In fact, many of the then-current crop of British rockers
like Pink Floyd, The Moody Blues, Manfred Mann, e Jethro Tull were also Hiwatt
endorsees. Crank this one up e you can see for miles.

Blackface Lux – based on a 1964 Fender Deluxe ReverbThe Amps Cabs • Blackface Lux – based on a 1964 Fender Deluxe Reverb
3 • 6
Blackface Lux – based on a 1964 Fender Deluxe Reverb
The Holy Grail for many blues, country, and “roots” players has been a blackface
Fender Deluxe Reverb. The particular amp we studied for modeling was built in 1964,
and is truly one of the finest examples of what a Deluxe Reverb can be.
Most players love a Deluxe when it’s turned up to about 7 for a nice gritty sound that
cleans up when you back off your guitar’s volume knob just a little. Notice how the
tone control response changes as this Amp Model’s Drive is changed: clean settings are
crisp and present, while more driven settings will mellow the high end. This is typical
of what you get from a Deluxe and is nicely captured here.
The Deluxe itself has only Bass and Treble controls. The Mid knob of Flextone III’s
Blackface model lets you add some post-Amp Model midrange contouring when you
want to expand on the Deluxe Reverb’s capabilities for a little more flexibility. And
Presence adds, well, Presence. Set the Mid knob to its 12 o’clock position and the
Presence knob to 0 for the classic Deluxe sound. Tweaked up right, this tone will cut
through and sing.
The Holy Grail for many blues, country, e “roots” players has been a blackface
Fender Deluxe Reverb. The particular amp we studied for modeling was built in 1964,
e is truly one of the finest examples of what a Deluxe Reverb can be.
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 e present, while more driven settings will mellow the high end. This is typical
of what you get from a Deluxe e is nicely captured here.
The Deluxe itself has only Bass e Treble controls. The Mid knob of Flextone III’s
Blackface model lets you add some post-Amp Model midrange contouring when you
want to expand on the Deluxe Reverb’s capabilities for a little more flexibility. E
Presence adds, well, Presence. Set the Mid knob to its 12 o’clock position e the
Presence knob to 0 for the classic Deluxe sound. Tweaked up right, this tone will cut
through e sing.

SmallTweed – based on a 1953 FenderTweed DeluxeThe Amps Cabs • SmallTweed – based on a 1953 FenderTweed Deluxe
3 • 7
Small Tweed – based on a 1953 Fender Tweed Deluxe
This is the alternate, “red light” model at the Blackface Lux spot on the Model knob.
Modeled after a 1953 “wide panel” Fender Tweed Deluxe, this Amp Model will snarl
with the best of them. The original amp had only a single tone control, essentially a
Treble roll off. We set up Flextone III’s Treble knob to give you this roll off when using
this Amp Model.
Which left us with the Bass and Mid knobs just sitting there. So we set up the Bass and
Mid as post-Amp Model controls, which essentially lets you EQ up your tone as you
would do on a mixing console after recording your amp. For a classic Tweed sound, try
the Treble knob somewhere above halfway, set the Bass and Mid knobs at halfway to
put them in “neutral,” and turn the Presence to 0 for no extra Presence.
This is the alternate, “red light” model at the Blackface Lux spot on the Model knob.
Modeled after a 1953 “wide panel” Fender Tweed Deluxe, this Amp Model will snarl
with the best of them. The original amp had only a single tone control, essentially a
Treble roll off. We set up Flextone III’s Treble knob to give you this roll off when using
this Amp Model.
Which left us with the Bass e Mid knobs just sitting there. So we set up the Bass e
Mid as post-Amp Model controls, which essentially lets you EQ up your tone as you
would do on a mixing console after recording your amp. For a classic Tweed sound, try
the Treble knob somewhere above halfway, set the Bass e Mid knobs at halfway to
put them in “neutral,” e turn the Presence to 0 for no extra Presence.

Tweed B-man – based on a 1958 FenderTweed BassmanThe Amps Cabs • Tweed B-man – based on a 1958 FenderTweed Bassman
3 • 8
Tweed B-man – based on a 1958 Fender Tweed Bassman
The classic ’58 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 thanks to its fat bottom end and the Fender twang on the top.
An interesting thing about the Bassman—and Flextone III’s Tweed 410 model—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 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 by Flextone III, didn’t have a master
volume, and you had to really crank it up to get the great tone it delivers at high
volume. With Flextone III, you can get that kind of tone at a bedroom or studio level—
or through your headphones even—by cranking up the Drive knob. Give your best
RB licks a try with Drive set to about 4 or 5.
The classic ’58 Fender Bassman 4x10 combo was the amp that started it all—instant
rock e roll tone. Originally a bass guitar amp, the Bassman became a Blues staple for
6-string guitarists thanks to its fat bottom end e the Fender twang on the top.
An interesting thing about the Bassman—e Flextone III’s Tweed 410 model—is just
how interactive the Mid e 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 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 by Flextone III, didn’t have a master
volume, e you had to really crank it up to get the great tone it delivers at high
volume. With Flextone III, you can get that kind of tone at a bedroom ou studio level—
ou through your headphones even—by cranking up the Drive knob. Give your best
RB licks a try with Drive set to about 4 ou 5.

TweedVibro – based on a 1963 FenderVibroverb 6G16The Amps Cabs • TweedVibro – based on a 1963 FenderVibroverb 6G16
3 • 9
Tweed Vibro – based on a 1963 Fender Vibroverb 6G16
This is the alternate, “red light” model at the Tweed B-man spot on the Model knob.
In early 1963 the Fender 2x10 brown tolex Vibroverb was introduced and later that
same year it was replaced by the 1x15 blackface Vibroverb made famous by SRV only
to be discontinued in 1964. The Vibroverb was introduced right before Fender decided
to change the look of the entire amp line to what guitarists now call “Blackface
Fenders”. The Vibroverb we studied to create this model has the two 10-inch speakers
and transitional cosmetics. There’s black tolex, a dark brown numbered faceplate and
brown barrel knobs. Like other Vibroverb 2x10 amps, it’s 40 watts of pure heaven.
These were the first guitar amps with on-board reverb and also utilized a vibrato circuit
that modulates the bias of the power tubes for creamy smooth tremolo sounds. It all
added up to great tone with the latest guitar effects built-in... sort of like your Flextone
III! The electronically-inclined will also appreciate the fact that this version of the
Vibroverb also used a tapped treble control and a 7025 phase inverter (as opposed to a
12AT7). The Vibroverb had no Mid or Presence controls, so these are both “extras” on
our Tweed Vibro model. You can set Mid to 12 o’clock and Presence to minimum for
the unadulterated Vibroverb-style sound.
This is the alternate, “red light” model at the Tweed B-man spot on the Model knob.
In early 1963 the Fender 2x10 brown tolex Vibroverb was introduced e later that
same year it was replaced by the 1x15 blackface Vibroverb made famous by SRV only
to be discontinued in 1964. The Vibroverb was introduced right before Fender decided
to change the look of the entire amp line to what guitarists now call “Blackface
Fenders”. The Vibroverb we studied to create this model has the two 10-inch speakers
e transitional cosmetics. There’s black tolex, a dark brown numbered faceplate e
brown barrel knobs. Like other Vibroverb 2x10 amps, it’s 40 watts of pure heaven.
These were the first guitar amps with on-board reverb e also utilized a vibrato circuit
that modulates the bias of the power tubes for creamy smooth tremolo sounds. It all
added up to great tone with the latest guitar effects built-in... sort of like your Flextone
III! The electronically-inclined will also appreciate the fact that this version of the
Vibroverb also used a tapped treble control e a 7025 phase inverter (as opposed to a
12AT7). The Vibroverb had no Mid ou Presence controls, so these are both “extras” on
our Tweed Vibro model. You can set Mid to 12 o’clock e Presence to minimum for
the unadulterated Vibroverb-style sound.

DoubleVerb – based on a 1965 FenderTwin ReverbThe Amps Cabs • DoubleVerb – based on a 1965 FenderTwin Reverb
3 • 10
Double Verb – based on a 1965 Fender Twin Reverb
The classic blackface Fender Twin (in this case, a 1965 Twin) was a real workhorse.
Everybody used it, from jazz and country players to serious rockers. I myself remember
seeing Johnny Winter at a concert where both he and Rick Derringer—am I dating
myself or what?—were using six Twins stacked in a pyramid. Each. We were in the
second balcony and it was REALLY loud even all the way back there. The Twin has a
lot of tonal flexibility and is at home in a great many different situations. It never gets
extremely overdriven and dirty, mostly just louder—a lot louder.
With Flextone III’s killer spring reverb model, this is a great choice for the classic surf
sound. Goose the reverb, crank up the volume, and get ready to party with Annette
Funicello and the rest of the gang!
One quick note: Twins are generally regarded a really loud and fairly clean amplifiers. Most
people find that running the channel volume on a Twin at about 3 is quite adequate for gigs
and startling small children. To get the real Twin experience on your Flextone III, try setting
the Master Volume and Channel Volume to max, then bring up the Drive control to set your
level.
The classic blackface Fender Twin (in this case, a 1965 Twin) was a real workhorse.
Everybody used it, from jazz e country players to serious rockers. I myself remember
seeing Johnny Winter at a concert where both he e Rick Derringer—am I dating
myself ou what?—were using six Twins stacked in a pyramid. Each. We were in the
second balcony e it was REALLY loud even all the way back there. The Twin has a
lot of tonal flexibility e is at home in a great many different situations. It never gets
extremely overdriven e dirty, mostly just louder—a lot louder.
With Flextone III’s killer spring reverb model, this is a great choice for the classic surf
sound. Goose the reverb, crank up the volume, e get ready to party with Annette
Funicello e the rest of the gang!
One quick note: Twins are generally regarded a really loud e fairly clean amplifiers. Most
people find that running the channel volume on a Twin at about 3 is quite adequate for
gigs e startling small children. To get the real Twin experience on your Flextone III, try
setting the Master Volume e Channel Volume to max, then bring up the Drive control to
set your level.

Zen Master – based on a 2001 BuddaTwinmasterThe Amps Cabs • Zen Master – based on a 2001 BuddaTwinmaster
3 • 11
Zen Master – based on a 2001 Budda Twinmaster
This is the alternate, “red light” model at the Double Verb spot on the Model knob.
This model is based on a Budda Twinmaster 2x12 combo. The Budda has a great, warm,
Class A/B, sound. 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 (it’s all of 18 watts).
Since the original Twinmaster has no mid control, we’ve added a little bonus to our
model in the form of some post-Amp Model mid contouring available via Flextone III‘s
Mid control. Set this control to 12 o’clock to get groovy with the unadorned Budda-
style vibe. The Presence knob is also an “extra”—set it to 0 for no added Presence.
This is the alternate, “red light” model at the Double Verb spot on the Model knob.
This model is based on a Budda Twinmaster 2x12 combo. The Budda has a great, warm,
Class A/B, sound. The Budda philosophy is all about power tube distortion. Simplicity
is the key. With relatively low front end gain, highly interactive tone controls, e
tube rectifier “sag,” it’s great at getting a classic cranked sound for small gigs e
recording (it’s all of 18 watts).
Since the original Twinmaster has no mid control, we’ve added a little bonus to our
model in the form of some post-Amp Model mid contouring available via Flextone III‘s
Mid control. Set this control to 12 o’clock to get groovy with the unadorned Buddastyle
vibe. The Presence knob is also an “extra”—set it to 0 for no added Presence.

Match Chief - based on a Matchless ChieftainThe Amps Cabs • Match Chief - based on a Matchless Chieftain
3 • 12
Match Chief - based on a Matchless Chieftain
We crafted this model from our studies of the Matchless Chieftain.
The Chieftain was designed by Mark Sampson at Matchless to blend a Fender/Marshall
type front end with a classic ‘spongy’ and very reactive Class A power section.
With its fairly high gain preamp section, the Chieftain is a great roots-music amp. It
also features the incredibly sexy feature of a light up front logo name plate, which may
not affect tone, but it sure does look cool.
When, sad to say, Matchless went out of business the Chieftain became highly
collectable pieces of gear, with used ones often fetching up to a thousand dollars more
than their original price. We’re happy to do our part to keep the Matchless legacy alive
with the Matchless models in your Flextone III.
We crafted this model from our studies of the Matchless Chieftain.
The Chieftain was designed by Mark Sampson at Matchless to blend a Fender/Marshall
type front end with a classic ‘spongy’ e very reactive Class A power section.
With its fairly high gain preamp section, the Chieftain is a great roots-music amp. It
also features the incredibly sexy feature of a light up front logo name plate, which may
not affect tone, but it sure does look cool.
When, sad to say, Matchless went out of business the Chieftain became highly
collectable pieces of gear, with used ones often fetching up to a thousand dollars more
than their original price. We’re happy to do our part to keep the Matchless legacy alive
with the Matchless models in your Flextone III.

Connor 50 – based on a Cornford mk50hThe Amps Cabs • Connor 50 – based on a Cornford mk50h
3 • 13
Connor 50 – based on a Cornford mk50h
This is the alternate, “red light” model at the Match Chief spot on the Model knob.
The Cornford mk50h is a fine, British-made boutique amplifier that our very own
Line 6 UK lads tipped us onto. The Cornford has a fair amount of gain and breaks up
like a Marshall Plexi, but retains a certain clarity that is more typical of Vox amplifiers.
One odd thing about the Cornford is the fact that it actually runs its drive channel in
series with the Clean channel. This provides for some unique interaction that we
captured during our modeling process by sweeping both controls though their range at
the same time, and tying all of this to your Flextone III’s Drive knob. Lower Drive
settings give you a tone dominated by the clean channel tonalities. As you turn the
knob up past noon, you’ll be moving into it more progressive high gain territory.
This is the alternate, “red light” model at the Match Chief spot on the Model knob.
The Cornford mk50h is a fine, British-made boutique amplifier that our very own
Line 6 UK lads tipped us onto. The Cornford has a fair amount of gain e breaks up
like a Marshall Plexi, but retains a certain clarity that is more typical of Vox amplifiers.
One odd thing about the Cornford is the fact that it actually runs its drive channel in
series with the Clean channel. This provides for some unique interaction that we
captured during our modeling process by sweeping both controls though their range at
the same time, e tying all of this to your Flextone III’s Drive knob. Lower Drive
settings give you a tone dominated by the clean channel tonalities. As you turn the
knob up past noon, you’ll be moving into it more progressive high gain territory.

Class A-30TB – based on a 1967Vox AC-30Top BoostThe Amps Cabs • Class A-30TB – based on a 1967Vox AC-30Top Boost
3 • 14
Class A-30 TB – based on a 1967 Vox AC-30 Top Boost
Music was changing in the early ’60s 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) in addition to the Treble Cut
knob it already had (which in actuality was a sliding bandpass filter); this additional
circuit became known as Top Boost.
The AC 30 with Top Boost was the amp made famous by many British invasion bands.
Much of the unique character of the Vox sound can be attributed to the Class A
circuitry—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 all
used classic AC 30s to make their music. Although often played fairly clean, a cranked
AC 30 has a great saturated lead tone, a la Brian May on early Queen albums.
On this Amp Model, Flextone III’s Mid control acts like the original Cut knob on the
AC 30. We also turned the Bass and Treble controls around, unlike the design of the
Top Boost electronics, which has the bass and treble turned all the way down when the
knob was all the way up. Go figure.
Music was changing in the early ’60s e guitarists were asking for more brilliance
twang. So the Jennings Company, makers of Vox amps, decided to add Treble e Bass
controls (e an extra 12AX7 gain stage, incidentally) in addition to the Treble Cut
knob it already had (which in actuality was a sliding bandpass filter); this additional
circuit became known as Top Boost.
The AC 30 with Top Boost was the amp made famous by many British invasion bands.
Much of the unique character of the Vox sound can be attributed to the Class A
circuitry—Class A amps overdrive in a very different way than Class AB. Brian May of
Queen, Mike Campbell of Tom Petty’s Heartbreakers, e The Edge of U2 have all
used classic AC 30s to make their music. Although often played fairly clean, a cranked
AC 30 has a great saturated lead tone, a la Brian May on early Queen albums.
On this Amp Model, Flextone III’s Mid control acts like the original Cut knob on the
AC 30. We also turned the Bass e Treble controls around, unlike the design of the
Top Boost electronics, which has the bass e treble turned all the way down when the
knob was all the way up. Go figure.

Class A-15 – based on a 1961Vox AC-15The Amps Cabs • Class A-15 – based on a 1961Vox AC-15
3 • 15
Class A-15 – based on a 1961 Vox AC-15
This is the alternate, “red light” model at the Class AC-30 TB spot on the Model knob.
This model is based on a wonderful 1961 Vox AC-15. The sound is similar to the
Vox AC-30 that was the inspiration for the Class A-30 model, but this is a smaller amp
(only one 12-inch speaker instead of two) with a warmer, more “woody” sound.
Once again, the original amp had only a single tone control—a treble cut. We
faithfully modeled that and then slipped in some post-Amp Model Bass and Mid
contouring. Set Bass and Mid in neutral (which is 12 o’clock, or halfway up), Presence
to 0, and play with the Treble control to get yourself some of those classic British
invasion sounds.
This is the alternate, “red light” model at the Class AC-30 TB spot on the Model knob.
This model is based on a wonderful 1961 Vox AC-15. The sound is similar to the
Vox AC-30 that was the inspiration for the Class A-30 model, but this is a smaller amp
(only one 12-inch speaker instead of two) with a warmer, more “woody” sound.
Once again, the original amp had only a single tone control—a treble cut. We
faithfully modeled that e then slipped in some post-Amp Model Bass e Mid
contouring. Set Bass e Mid in neutral (which is 12 o’clock, ou halfway up), Presence
to 0, e play with the Treble control to get yourself some of those classic British
invasion sounds.

Plexi 45 – based on a 1965 Marshall JTM-45The Amps Cabs • Plexi 45 – based on a 1965 Marshall JTM-45
3 • 16
Plexi 45 – based on a 1965 Marshall JTM-45
When the royal agents that we had dispatched to the UK found this particular amp, we
instantly fell in love. The amp even has the original KT-66 tubes in it, still in great
shape! It’s one of the finest examples of a JTM-45 we’ve ever heard, and it’s a constant
battle at Line 6 to see who gets to take it home for the weekend.
Those interested in the genealogy of tone will be interested to note that 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.
When the royal agents that we had dispatched to the UK found this particular amp, we
instantly fell in love. The amp even has the original KT-66 tubes in it, still in great
shape! It’s one of the finest examples of a JTM-45 we’ve ever heard, e it’s a constant
battle at Line 6 to see who gets to take it home for the weekend.
Those interested in the genealogy of tone will be interested to note that 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.

Plexi Bass 100 - Marshall 1968 Super BassThe Amps Cabs • Plexi Bass 100 - Marshall 1968 Super Bass
3 • 17
Plexi Bass 100 - Marshall 1968 Super Bass
This is the alternate, “red light” model at the Plexi 45 spot on the Model knob.
Based on a ’68 Super Bass Plexi head, the principal differences between the ’68 Super
Bass and the ’68 Super Lead are some small changes in the tone stack. What look like
minor differences in a schematic, though, can add up to larger differences in actual tone
(like a bass control that actually seems to do something at higher levels). A number of
’60s British rock icons actually preferred the Super Bass to the Super Lead for these
exact reasons. Check it out for yourself. You may find this is the bottom end you’ve
been searching for.
Input I was the one we connected our high tech modeling tools to.
This is the alternate, “red light” model at the Plexi 45 spot on the Model knob.
Based on a ’68 Super Bass Plexi head, the principal differences between the ’68 Super
Bass e the ’68 Super Lead are some small changes in the tone stack. What look like
minor differences in a schematic, though, can add up to larger differences in actual tone
(like a bass control that actually seems to do something at higher levels). A number of
’60s British rock icons actually preferred the Super Bass to the Super Lead for these
exact reasons. Check it out for yourself. You may find this is the bottom end you’ve
been searching for.
Input I was the one we connected our high tech modeling tools to.

Plexi Lead 100 - based on “Jumped”1968 Marshall Super LeadTheAmps Cabs • Plexi Lead 100 - based on“Jumped”1968 Marshall Super Lead
3 • 18
Plexi Lead 100 - based on “Jumped”1968 Marshall Super Lead
We literally scoured the world for this particular amp, finally
finding a great example of a Super Lead languishing (we like to
think fate preserved it for us) in Holland. One of the fun things
you can do with a Plexi is take a short guitar cable and jumper
channel I and channel II (as they’re frequently numbered)
together for a little extra saturation. Some guys loved this sound so
much that they pulled the chassis and permanently wired a jumper
into the amp. We modeled the Super Lead this way.
Hendrix used a Super Lead with the ‘lay down’ transformer unique to the 68 models,
and Van Halen’s first two records also owed their “brown sound” to a ’68 Plexi. To get a
nice crunch sound out of a Plexi, you crank all the volume and tone controls to 10. In
keeping with our “make-it-sound-a-whole-lot-like-the-original” concept, diming all
your knobs with Flextone III’s Plexi Lead gets you pretty darned near the same thing.
you can do with a Plexi is take a short guitar cable e jumper
channel I e channel II (as they’re frequently numbered)
much that they pulled the chassis e permanently wired a jumper
e Van Halen’s first two records also owed their “brown sound” to a ’68 Plexi. To get a
nice crunch sound out of a Plexi, you crank all the volume e tone controls to 10. In
TheAmps Cabs • Plexi Lead 100 - based on“Jumped”1968 Marshall Super Lead
3 • 18
Plexi Lead 100 - based on “Jumped”1968 Marshall Super Lead
you can do with a Plexi is take a short guitar cable and jumper
channel I and channel II (as they’re frequently numbered)
much that they pulled the chassis and permanently wired a jumper
and Van Halen’s first two records also owed their “brown sound” to a ’68 Plexi. To get a
nice crunch sound out of a Plexi, you crank all the volume and tone controls to 10. In

The Amps Cabs • Brit Silver – based on 1985 Marshall Silver Jubilee
3 • 19
Brit Silver – based on 1985 Marshall Silver Jubilee
This is the alternate, “red light” model at the Plexi Lead 100 spot on the Model knob.
In 1987, to commemorate 25 years in the amp business, Jim Marshall introduced a
limited edition collection of tube amps based on the 2203 and 2204 master volume
designs. They were very distinctive products, with silver vinyl covering and chrome
panels, known simply as the “25/50 Silver Jubilee” Series models. The Silver Jubilee
models used a unique diode clipping stage for extra gain and a redesigned tone block to
offer much more tonal variation than previous Marshalls.
Guns N’ Roses’ lead guitarist, Slash, is way into this amp. So much so, in fact, that
Marshall reintroduced the 100 watt model as the “Slash Limited Edition Signature
Amplifier” in 1996.
Brit Silver – based on 1985 Marshall Silver Jubilee
This is the alternate, “red light” model at the Plexi Lead 100 spot on the Model knob.
In 1987, to commemorate 25 years in the amp business, Jim Marshall introduced a
limited edition collection of tube amps based on the 2203 e 2204 master volume
designs. They were very distinctive products, with silver vinyl covering e chrome
panels, known simply as the “25/50 Silver Jubilee” Series models. The Silver Jubilee
models used a unique diode clipping stage for extra gain e a redesigned tone block to
offer much more tonal variation than previous Marshalls.
Guns N’ Roses’ lead guitarist, Slash, is way into this amp. So much so, in fact, that
Marshall reintroduced the 100 watt model as the “Slash Limited Edition Signature
Amplifier” in 1996.

The Amps Cabs • Brit J- 800 – based on a 1987 Marshall JCM 800
3 • 20
Brit J- 800 – based on a 1987 Marshall JCM 800
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, giving them more tone-sculpting effect at high gain settings. Some
versions of the JCM 800, by the way, get their distortion by clipping a diode. The amp
we modeled uses a tube for distortion.
The JCM 800 is, of course, the metal sound Marshall made famous. And although not
many people play Marshalls clean, it is a great tone, so you should also be sure to check
out this model with a low Drive setting. Of course, you can always pump up the drive
and rage....
Brit J- 800 – based on a 1987 Marshall JCM 800
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 e 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, giving them more tone-sculpting effect at high gain settings. Some
versions of the JCM 800, by the way, get their distortion by clipping a diode. The amp
we modeled uses a tube for distortion.
The JCM 800 is, of course, the metal sound Marshall made famous. E although not
many people play Marshalls clean, it is a great tone, so you should also be sure to check
out this model with a low Drive setting. Of course, you can always pump up the drive
e rage....

The Amps Cabs • Brit J-2000 – based on a Marshall JCM2000
3 • 21
Brit J-2000 – based on a Marshall JCM2000
This is the alternate, “red light” model at the Brit J-800 spot on the Model knob.
The JCM2000 captures the modern Marshall tone, by refining the JCM series into a
multi-channel power house. Our recreation captures the OD2 channel, with the Deep
switch kicked in on a 60W TSL. The JCM200 uses a quartet of ECC83 pre-amp tubes
and a pair of EL34 output tubes.
Brit J-2000 – based on a Marshall JCM2000
This is the alternate, “red light” model at the Brit J-800 spot on the Model knob.
The JCM2000 captures the modern Marshall tone, by refining the JCM series into a
multi-channel power house. Our recreation captures the OD2 channel, with the Deep
switch kicked in on a 60W TSL. The JCM200 uses a quartet of ECC83 pre-amp tubes
e a pair of EL34 output tubes.

TheAmps Cabs •Treadplate Dual – based on a 2001 Mesa Boogie Dual Rectiﬁer
3 • 22
Treadplate Dual – based on a 2001 Mesa Boogie Dual Rectifier
This Amp Model is based on a 2001 Mesa Boogie Dual Rectifier Solo Head.
The Dual Rectifier was part of Boogie’s more modern, high gain approach. 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. This is a great
model to try if you’re looking for the aggressively high gain sound of much of today’s
modern rock.
Treadplate Dual – based on a 2001 Mesa Boogie Dual Rectifier
This Amp Model is based on a 2001 Mesa Boogie Dual Rectifier Solo Head.
The Dual Rectifier was part of Boogie’s more modern, high gain approach. 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 e increase the bottom end. This is a great
model to try if you’re looking for the aggressively high gain sound of much of today’s
modern rock.

The Amps Cabs • TreadplateTriple – based on a Mesa Boogie 2001Triple
3 • 23
Treadplate Triple – based on a Mesa Boogie 2001 Triple Rectifier
This is the alternate, “red light” model at the Recto Dual spot on the Model knob.
This model is based on the Channel 3 ‘Modern’ setting of a 2001 Mesa Boogie Triple
Rectifier Solo Head. Rock and roll is all about excess, now, innit? If two are good, three
have got to be better, especially if you like the spongy feel of sagging rectifier tubes. No
need to be bashful. Plug in, dial up some volume, and have some fun.
As with the Dual Rectifier model, we used Channel 3 in its Modern mode, with the
rear switches set to Bold and Tube for this.
TreadplateTriple – based on a Mesa Boogie 2001Triple Rectifier
This is the alternate, “red light” model at the Recto Dual spot on the Model knob.
This model is based on the Channel 3 ‘Modern’ setting of a 2001 Mesa Boogie Triple
Rectifier Solo Head. Rock e roll is all about excess, now, innit? If two are good, three
have got to be better, especially if you like the spongy feel of sagging rectifier tubes. No
need to be bashful. Plug in, dial up some volume, e have some fun.
As with the Dual Rectifier model, we used Channel 3 in its Modern mode, with the
rear switches set to Bold e Tube for this.

The Amps Cabs • Solo 100 – based on a Soldano SLO-100
3 • 24
Solo 100 – based on a Soldano SLO-100
This model is based on a Soldano SLO-100 head.
Mike Soldano first came to fame as the guy who could do all the really cool mods to
your Marshall. It wasn’t long before he started building his own ‘hot-rod’ amps—
sporting chromed transformers and chassis, no less. Mike’s amps are also famous for
their bullet-proof construction and military spec wiring and components.
While primarily known for its high gain personality, the SLO-100 has a great clean
tone as well. Eric Clapton put Soldano on the map when he played “Saturday Night
Live” with his Soldano SLO-100.
Solo 100 – based on a Soldano SLO-100
This model is based on a Soldano SLO-100 head.
Mike Soldano first came to fame as the guy who could do all the really cool mods to
your Marshall. It wasn’t long before he started building his own ‘hot-rod’ amps—
sporting chromed transformers e chassis, no less. Mike’s amps are also famous for
their bullet-proof construction e military spec wiring e components.
While primarily known for its high gain personality, the SLO-100 has a great clean
tone as well. Eric Clapton put Soldano on the map when he played “Saturday Night
Live” with his Soldano SLO-100.

Manual do amplificador Line 6 FLEXTONE III (PORTUGUÊS)

Manual do amplificador Line 6 FLEXTONE III (PORTUGUÊS)

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