Line 6 headphones powered monitors Manuale Utente
Line 6 GearBox 3.1 – Basic Features Guide
1964 Blackface 'Lux
The Holy Grail for many blues, country, and
"roots" players has been a blackface Fender®
Deluxe Reverb®. After listening to quite a few
candidates back when we were seeking the
ultimate Deluxe Reverb® for our 1964 Blackface
'Lux model to be based on*, we stumbled upon an
extremely cool '64 Deluxe Reverb®. We still
haven't found one better.
Most players love a Deluxe Reverb® 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 Reverb® and is nicely captured here. The
Deluxe Reverb® itself has only Bass and Treble controls, leaving us, once again, with the
prospect of a couple knobs with nothing to say for themselves. But fear not; in this case, we've set
up the model's Middle knob so you can add some post-Amp Model Midrange contouring for a
little more flexibility, while Presence adds, well, Presence. Once again, set the Middle knob to its
"neutral" 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. We jacked into Input 1 of the Vibrato Channel to get
this model cooked up.
"roots" players has been a blackface Fender®
Deluxe Reverb®. After listening to quite a few
candidates back when we were seeking the
ultimate Deluxe Reverb® for our 1964 Blackface
'Lux model to be based on*, we stumbled upon an
extremely cool '64 Deluxe Reverb®. We still
haven't found one better.
Most players love a Deluxe Reverb® 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 Reverb® and is nicely captured here. The
Deluxe Reverb® itself has only Bass and Treble controls, leaving us, once again, with the
prospect of a couple knobs with nothing to say for themselves. But fear not; in this case, we've set
up the model's Middle knob so you can add some post-Amp Model Midrange contouring for a
little more flexibility, while Presence adds, well, Presence. Once again, set the Middle knob to its
"neutral" 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. We jacked into Input 1 of the Vibrato Channel to get
this model cooked up.
* FENDER® and DELUXE REVERB® are registered trademarks of Fender Musical
Instruments Corporation and 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.
Instruments Corporation and 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.
1967 Class A-30 Top Boost
The 1967 Class A-30 Top Boost model is based on* a Vox® AC 30. 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 that always seemed like it was
working backwards); 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
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 that always seemed like it was
working backwards); 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
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