(by hurghanico)

the descriptions follow the same order of the models into the device loaded with a full bundle model
pack..

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Small Tweed: based on a 1961 Fender Tweed Champ

This model has 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. With this model,
it’s easy to get a classic Champ tone. Just leave the BASS, MIDDLE and TREBLE controls parked
at 12 o’clock, which means they are “flat,” making no contribution to the tone. Set PRESENCE to
0, and it will also be letting the unadorned classic Champ tone through. When you’re ready to
explore further sonic territory, spin those and work your magic.

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 Jazz Rivet: based on a 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.

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 PV PANAMA: based on the Peavey 5150 MkII.

No doubt, Eddie Van Halen will forever be known as one of the premier rock guitarists of all time.
His technique and tone inspired legions of young guitar players, a couple of EVH custom guitars
and this Peavey amp. Apparently Eddie committed some serious time to tweaking the distortion,
tone and control range of this amp until it played and sounded just right. Interesting enough,it goes
way beyond the classic “brown sound” that Eddie famously coaxed out of walls of Marshalls, and
takes you into some serious rhythmic shredding territory. This is the model of the Lead channel.

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 SVT: based on an Ampeg SVT

For 30 years now, we’ve heard the tone and felt the power of the mighty Ampeg SVT. This
workhorse has appeared on innumerable recordings and arena stages worldwide – there is no equal
to the original SVT and its 300 watts of pure tube magic. (FYI – replacing the tubes in a SVT
nowadays would cost you more than a POD!) First introduced in July 1969, the SVT set the tone,
punch and arena-rattling standard for all future big gun bass rigs. Its users have included everyone
from The Rolling Stones to Van Halen, and pretty much every “rock” bass player in between. For
this model, we selected a 1974 Ampeg SVT to model, and we’ve also given you a 70’s SVT 8x10
speaker cabinet to pair it with. The sonic combination of this head and cab is beyond big, but you
had to pray that your bandmates would help you move it! Now you can get big classic rock bass
tone without frequent visits to the chiropractor.

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 MAHADEVA: based on a Bogner Shiva

Sweet, rich-sounding amp with aggressive, English-style midrange punch. People think Bogners are
dark but they really aren't. The reason they seem that way is the pot tapers. Most people assume
knobs should be set somewhere around noon. If you do this on a Bogner it's like turning the treble
way down on a Marshall. Close your eyes and adjust the tone controls with your ears. Don't be
afraid to turn them way up or way down

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G COUGAR 800: based on a Gallien-Krueger 800RB

What would any collection of bass amps be without a Gallien-Krueger 800RB, whose great tone
was modeled for the Eighties amp model? After all, this solid state amp helped define what new
bass amps sounded like for the better part of that decade. Geddy Lee had one. Will Lee used one on
Late Night With David Letterman. And bands like Def Leppard powered through a decade of pop
metal with the 800RB. The GK 800RB produces a very scooped sound, and doesn’t really distort.
Try pairing this amp with another legend of the Eighties, the Hartke 410 cabinet. This rig is known
for producing what we call the “mid 80’s metal bass” tone. It’s the perfect choice when you’re
ready for a little Pyromania....

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 Brit 2204: based on 1982 Marshall JCM-800 (remastered version)

As Marshall amplifiers evolved through the course of the ’80s, the JCM-800 (1981-’90) came to
stand out as the new flagship of the range. While the 2210 version—previously modeled by Line
6—was enjoyed by many for its 100 watts of power and two foot switchable channels, the 2204 50-
watter came to be known as the flag-bearer of classic Marshall tone. With its one, dual-input
channel, added versatility of its Pre-Amp Volume and Marshall’s new Master Volume control, the
JCM-800 2204 was otherwise not a stone’s throw from the hallowed “plexi” and “metal” panel
1987 Lead Models of the late ’60s and early ’70s, although its front-end gain could be tapped more
easily without blowing your head off. Cranked through a closed-back 4x12” with Celestion G12T-
75 speakers, this is the pure sound of ’80s rock, the amp that propelled countless hits from that
decade and beyond.

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 Mandarin 80: based on the Orange OR80

The first Orange amplifiers, in the late 60s and early 70s, were the so called Graphic Amps. They
got this name because they had images to describe the knob functions. The OR80 is 80 watts of
British tone. Its F.A.C. control stands for Frequency Analysing Control. It is a mid-range sweep that
offers many variations on the Orange sound. Experiment with different settings for a variety of
sounds. Orange Amps have been used and endorsed by many rock guitarists, including Jimmy Page
of Led Zeppelin, Omar Rodriguez-Lopez of At The Drive-In and The Mars Volta, Wata, guitarist
for Boris, Rivers Cuomo/Brian Bell of Weezer, The Edge of U2, and Noel Gallagher of Oasis.

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 A-30 Fawn: based on a Non Top Boost Vox AC-30

This Amp Model is based on a Non Top Boost Vox AC-30. 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. We were lucky enough to find what we are told was one of Bryan
Adams’ favorite AC 30s for recording. Lenny Kravitz happened to be using it the week before we
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. We later bought this amp, and continued to hone our
emulation of it. This is definitely a good place to start to get yourself some of those classic British
invasion sounds. Like the Model A-15, the AC 30 NTB has only a single treble control.

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 Black Panel Pete: based on a Pete Anderson 64' modded Fender Deluxe Reverb

The Holy Grail for many blues, country, and “roots” players has been a blackface Fender Deluxe
Reverb. (Of course, now that POD’s here, that may all change.) After listening to quite a few
candidates for modeling, we 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 here. The
Deluxe itself has only Bass and Treble controls. Leaving us, once again, with the prospect of a knob
with nothing to say for itself. But fear not; in this case, we’ve set up POD’s Middle knob so you can
add some post-Amp Model Midrange contouring for a little more flexibility. Once again, set the
Middle knob to its “neutral” 12 o’clock position for the classic Deluxe sound. Tweaked up right,
this tone will cut through and sing.

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L6 Octone

Now here’s something we hope you’ll really like. What would it be like if you built a tube-based
Octave Distortion preamp for a Class A poweramp? Line 6 Octone provides the answer. You’d get
an Octave box that tracks better than anything you’ve ever used, deals with consonant intervals with
a degree of panache that just wasn’t possible before, and kicks some major rock and roll butt!

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 Line 6 Insane

Our goal 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 Mesa/Boogie Dual Rectifier on 10 being used as a preamp for a Soldano),
while still retaining tonal definition and character. As a result, you’ll enjoy lots of bottom end and
cabinet character with tons of wide-ranging tone shaping. Crank up the Drive and take no prisoners!

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L6 Big Bottom

Just can’t seem to get enough bottom end out of your cabinet? Try punishing it with Big Bottom.
We crossed a Boogie Triple Rectifier with a Rivera Los Lobottom sub rig and dialed it in for
serious disembowelment. But it’s not just about the bass. A super wide midrange control and an
extra presence high midrange maintain articulation and power throughout the tonal range of this
amp.

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Variac'ed Plexi: based on a Marshall Super Lead Variac

Ahhh, the stuff of legend. According to the stories, part of the magic behind Edward Van Halen’s
‘Brown Sound’ was a Marshall 100 watt Super Lead being purposely run at higher voltage through
the auspices of a Variable AC Transformer (aka a ‘Variac’). While we don’t generally recommend
experiments with high voltage sources, especially ones that might blow up precious gear, we felt it
was our duty to see if the stories were true. So we cranked the Variac up to 140v AC and gave the
’68 Super Lead a power workout. (Don’t worry, it survived to rock again.) We’re thinking those
stories must not be too far from wrong.

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 L6 Purge

Like ‘80s shred guitar? Well, then, you’re gonna love Line 6 Purge. We took our model of a
Marshall JMP-1 preamp and hot-rodded it. It was hard work sticking in that digital dual overhead
cam and hooking up the virtual glasspacks, but when we were done, we had the ultimate shred
machine. Look out world, here you come.

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L6 Agro

An aggressive high gain amp with a unique Mid control that will take you though the entire gamut
of tone on one knob. How did we do it? The mid knob for this model changes the character of the
distortion. When set to minimum the distortion exhibits Fuzz pedal characteristics. When the Mid is
set to noon it creates creamy modern high gain amp tones a la Soldano. And when the Mid knob is
turned up to Max it’s very much reminiscent of that Class A Vox sound. Of course, then there are
all the places in between....

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L6 Smash

Got an axe to grind? Dial up Smash to take it way over the top with an obscene helping of gain.
Smash delivers a tight bottom end, and a serious mid range void that’ll render Hi-Fi, butt-kicking
rhythm tone every time.

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Acoustic: (formerly known as Line 6 Piezacoustic 2)

This one is designed to work with the piezo output of solid body electrics that have one of those
newfangled bridges with the ‘acoustic’ pickup built in. Since you don’t have to worry about the
body shaking itself to pieces with feedback on that type of guitar, we’ve cooked up this model with
more low-mids and low frequencies. Try this one on your Line 6 Variax guitar’s acoustic models
too.