Switchless design. "Clear-Tone" buffer circuit ensures pure guitar tone and maintains signal level in bypass and wah mode. Works with BASS guitar too!
Ease of Use:
Sound:
Reliability & Durability:
Impression:
Anyone ivited to visit this blog. especially for guitarist or someone who likes guitar
Switchless design. "Clear-Tone" buffer circuit ensures pure guitar tone and maintains signal level in bypass and wah mode. Works with BASS guitar too!
Ease of Use:
Reliability & Durability:
Impression:

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LINE 6 GUITAR EFFECT
Line 6, founded in 1996 and based in Calabasas, California, is a manufacturer of digital modelling electric guitars, acoustic guitars, amplifiers and effects processors.
The company underwent a rapid expansion in the early 2000s due to the success of their POD product line, which imitates the sound of various classic and modern guitar amplifiers, effects pedals, amplifier cabinets and microphones. The PODx3 and Podx3 Live products are the most recent development, and they further extend the features of the original POD with more simulations, effects and output options in a 'bean' or in a pedalboard package.
Line 6 currently has several other product lines in production:
Their current flagship amplifier is the Vetta II, which can model two amplifiers at once, plus multiple effects and effects chains, both pre and post amplification. The unit is software-upgradeable, so as new amplifier and effects models become available they can be added to the device. The Vetta I can be upgraded to a Vetta II with a software upgrade and the addition of a hardware interface. This interface provides both digital input and output for the amplifier, in both AES/EBU and S/PDIF formats, as well as a digital signal path for the Line 6 Variax brand of guitars. The interface takes the form of a standard RJ45 connector, which provides not only the signal path, but power to the Variax as well. The Variax portion of this interface is available on the PODxt Live and Bass PODxt Live.
Line 6 has an active user community, and provides software that allows users to easily download and share patches or device settings. This software covers all of Line 6's existing flagship products.
A Delay or Echo pedal creates a copy of an incoming sound and slightly time-delays it, creating either a "slap" (single repetition) or an echo (multiple repetitions) effect. Delay pedals may use either analog or digital technology. Analog delays often are less flexible and not as "perfect" sounding as digital delays, but some guitarists argue that analog effects produce "warmer" tones. Early delay devices actually used magnetic tape to produce the time delay effect. U2's guitarist, the Edge, is known for his extensive use of delay effects. Some common Delay pedals are:

Another technology that is used in Delay units is a feedback circuit, consisting of a tracking oscillator circuit to hold a note of the last interval, and after amplifying the signal, send it back to the input side of the delay. While it was first associated with Boss DF-2 Super Feedbacker & Distortion, currently, the signal feedback circuit is employed by Delay pedals, and if used under "hold" mode (As in Boss DD-3) it will provide a sustain effect instead of a simply delay effect.
Extremely long delay times form a looping pedal, which allows performers to record a phrase or passage and play along with it. This allows a solo performer to record an accompaniment or ostinato passage and then, with the looping pedal playing back this passage, perform solo improvisations over the accompaniment. The guitarist creates the loop either on the spot or it is held in storage for later use (as in playback) when needed. Some examples of loops effects are:
Chorus uses a short variable cycling delay. The individual repetitions blend together to form a chorus. The effect sounds like several guitarists playing the same thing at the same time resulting in a wide swelling sound. Some common chorus pedals are:
Famous songs using the Electro-Harmonix Small Clone pedal:
Reverb is the persistence of sound in a particular space after the original sound is removed. When sound is produced in a space, a large number of echoes build up and then slowly decay as the sound is absorbed by the walls and air, creating reverberation, or reverb. A plate reverb system uses an electromechanical transducer, similar to the driver in a loudspeaker, to create vibration in a plate of sheet metal. A pickup captures the vibrations as they bounce across the plate, and the result is output as an audio signal. A spring reverb system uses a transducer at one end of a spring and a pickup at the other, similar to those used in plate reverbs, to create and capture vibrations within a metal spring. Guitar amplifiers frequently incorporate spring reverbs due to their compact construction. Spring reverberators were once widely used in semi-professional recording due to their modest cost and small size. Due to quality problems and improved digital reverb units, spring reverberators are declining rapidly in use. Digital reverb units use various signal processing algorithms in order to create the reverb effect. Since reverberation is essentially caused by a very large number of echoes, simple DSPs use multiple feedback delay circuits to create a large, decaying series of echoes that die out over time.
Examples of reverb pedals include:
A Flanger simulates the sound effect originally created by momentarily slowing the tape during recording by holding something against the flange, or edge of the tape reel, and then allowing it to speed up again. This effect was used to simulate passing into "warp speed," in scifi films, and also in psychedelic rock music of the 1960s. Flanging has a sound similar to an auto-wah, but weaker, yet is closely related to the production of chorus.
The first pedal-operated flanger designed for use as a guitar effect was designed by Jim Gamble of Tycobrahe Sound Company in Hermosa Beach, CA, during the mid 1970s. Last made in 1977, the existing "Pedalflangers" appear occasionally on eBay and sell for several hundred dollars. A modern "clone" of the Tycobrahe Pedalflanger is sold by Chicago Iron.Famous users of this Flanger effect include Randy Rhoads and Eddie Van Halen, coincidentally they both used the MXR M-117R flanger and Eddie Van Halen even has his own signature model now.
Examples:
Distortion is an important part of an electric guitar's sound in many genres, particularly for rock, hard rock, and metal. A distortion pedal takes a normal electric guitar signal and distorts the signal's waveform by "clipping" the signal. There are several different types of distortion effects, each with distinct sonic characteristics. These include overdrive/distortion (or vacuum tube-style distortion), overdrive/crunch, fuzz, and hi-gain.

Overdrive distortion is the most well known of all distortions. It can be characterized stereotypically by the distortion of a Mar
shall JCM800 amplifier. Many pedals attempt to recreate this sound to provide a cheaper alternative. While the general purpose is to emulate classic "warm-tube" sounds, distortion pedals such as the ones in this list can be distinguished from overdrive pedals in that the intent is to provide players with instant access to the sound of a high-gain Marshall amplifier such as the JCM800 pushed past the point of tonal breakup an
d into the range of tonal distortion known to electric guitarists as "saturated gain." Al
though most distortion devices use solid-state circuitry, some "tube distortion" pedals are designed with preamplifier vacuum tubes. In some cases, tube distortion pedals use power tubes or a preamp tube used as a power tube driving a built-in "dummy load." Distortion pedals designed specifically for bass guitar are also available. Some distortion pedals include:

Some distortion effects provide an "overdrive" effec
t. Either by using a vacuum tube, or by using simulated tube modeling techniques, the top of the wave form is compressed, thus giving a smoother distorted signal than regular distortion effects. When an overdrive effect is used at a high setting, the sound's waveform can become clipped, which imparts a gritty or "dirty" tone, which sounds like a tube amplifier "driven" to its limit. Used in conjunction with an amplifier, especially a tube amplifier, driven to the point of mild tonal breakup, short of what would be generally considered distortion or overdrive, these pedals can produce extremely thick distortion sounds much like
those used by Carlos Santana or Eddie Van Halen. Today there is a huge variety of overdrive pedals, and some of them are:

Fuzz was originally intended to recreate the classic 1960's tone of an overdriven tube amp combined with torn speaker cones. Oldschool guitar players (like Link Wray) would use a screwdriver to poke several holes through the paperboard part of the guitar amp speaker to achieve a similar sound. Since the original designs, more extreme fuzz pedals have been designed and produced, incorporating octave-up effects, oscillation, gating, and greater amounts of distortion.
Some fuzzbox pedals include:
Famous songs using the fuzz effect:
Hi-Gain (descended from the more generic electric guitar amplification term high-gain) is the sound most used in heavy metal. High gain in normal electric guitar playing simply references a thick sound produced by heavily overdriven amplifier tubes, a distortion pedal, or some combination of both--the essential component is the typically loud, thick, harmonically rich, and sustaining quality of the tone. However, the Hi-Gain sound of modern pedals is somewhat distinct from, although descended from, this sound. The distortion often produces sounds not possible any other way. Many extreme distortions are either hi-gain or the descendents of such. The Mesa Boogie Triple Rectifier Series of amps are an example.
Some Hi-Gain Pedals Include:
A Power-Tube pedal contains a power tube and optional dummy load, or a preamp tube used as a power tube. This allows the device to produce power-tube distortion independently of volume; therefore, power-tube distortion can be used as an effects module in an effects chain. Some examples are:
A Power Attenuator enables a player to obtain power-tube distortion independently of listening volume. A power attenuator is a dummy load placed between the guitar amplifier's power tubes and the guitar speaker, or a power-supply based circuit to reduce the plate voltage on the power tubes. Examples of power attenuators are:
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