LINE 6 SPIDER IV 75. AMPLIFICATORE PER CHITARRA ELETTRICA.
L'AMPLIFICATORE MODELING CON IL MAGGIOR NUMERO DI PRESET PREPARATI DA MUSICISTI E GLI ESPERTI TECNICI DELLA LINE6.
OLTRE 500 PRESET MEMORIZZATI NELL'AMPLIFICATORE, SUBITO PRONTI DA SUONARE E MODIFICABILI .
INSERISCI IL JACK DELLA CHITARRA E HAI SUBITO ACCESSO AL SUONO DI 200 SONGS FAMOSE ( SMOKE ON THE WATER, BROWN SUGAR, STAIRWAY TO HEAVEN, SULTANS OF SWING, HEY JOE, HOTEL CALIFORNIA, ECC. ) E 300 ARTISTS PRESETS.
SENZA DOVER USARE COMPUTER O TABLET, ANDROID, ECC. ...
€299,99
75-watt guitar amp
16 amp models
76 effects
12" custom Celestion speaker
ACCORDATORE CROMATICO
LOOP
AUX IN
USCITA CUFFIA
CON IL PITCH GLIDE / SMART HARMONY, HAI POSSIBILITA' DI RADDOPPIARE IL SUONO CON L'INTERVALLO CHE VUOI, OTTAVA, QUARTA, SECONDA, TERZA MINORE, TERZA MAGGIORE, ECC. ECC.
http://line6.com/data/6/0a06434c46ab523b7898d04fb/application/pdf/Spider%20IV%20Pilot's%20Guide%20-%20English%20(%20Rev%20F%20).pdf
http://line6.com/data/6/0a060b316ac34f0593339b3f6/application/pdf/Spider%20IV%20FX%20Infusion%20Addendum%20-%20English%20(%20Rev%20D%20).pdf
www.chitarralampo.com
Caratteristiche.
Potenza: 75 watt
Cono: Custom Celestion 12"
16 modelli di amplificazione
20 modelli di effetti digitali Smart Control (4 simultanei)
Nuovi effetti: Pitch Glide, Smart Harmony
Tap Tempo globale per sincronizzare tutti gli effetti simultaneamente
300 preset creati da rock star internazionali + 200 preset basati su brani rock
64 preset programmabili
4 canali
Sound-on-sound Loop da 14 sec.
Noise Gate regolabile
Boost regolabile
ingresso CD/MP3
uscita cuffie/diretta
accordatore integrato
display LCD
pedaliere opzionali: FBV2, FBV Express MkII, FBV Shortboard MkII
Get ready to experience the distinct tonal nuances of some of the most celebrated American, British and European guitar amps. Choose from 16 amazing amp models—from a classic rockabilly sound inspired by the bite of a pint-sized Gretsch® 6156, to the beautiful high-end shimmer inspired by a Marshall® JCM-900, to a killer crunch inspired by an Orange® AD30. And that’s just the beginning.*
CLEAN RED
Inspired by* the tone of a Marshall® JCM-900, Clean Red is scooped and highly responsive to the player’s touch, Clean Red has a beautiful high-end shimmer for one of the best feeling clean tones we’ve ever made.
CLEAN GREEN
Inspired by* some aspects of a Hiwatt® Custom 100, Clean Green emulates the classic clean tones of the late 60s/early 70s. This model is full-bodied with a creamy mid-range and a tight low-end.
TWANG RED
Twang Red is inspired by* the sound of a 60s Fender® Blackface Twin Reverb® to produce a classic Nashville spank. Crank the Drive knob for some extra grit and growl!
TWANG GREEN
More aggressive than Twang Red, Twang Green has plenty of cut, punch and attitude inspired by* a 60s Fender® Blackface Deluxe Reverb®.
CLASS A RED
Brilliant, singing tones with an addictive chime made famous by generations of Brit-rockers, Class A Red is inspired by* a Vox® AC30 Top Boost.
CLASS A GREEN
Terrifically dynamic, Class A Green offers boutique-style feel inspired by* some of our favorite amps including the Divided by 13 9/15. Sweet tones on the edge of breaking up give way to seriously throaty Overdrive when the Drive knob is cranked.
BLUES RED
The vintage charm of Blues Red is inspired by* the classic tones of a ‘50s wide panel Fender® Deluxe Reverb®.
BLUES GREEN
Voiced with more attitude than Blues Red, Blues Green delivers a more forward mid-range for a classic rockabilly sound inspired by* the bite of a pint-sized Gretsch® 6156.
CRUNCH RED
A celebration of the tone used by numerous early metal bands, Crunch Red was inspired by* the signature crunch of a ‘68 Marshall® Plexi 50-Watt.
CRUNCH GREEN
Crunch Green provides a rounded off British-style distortion with a cool mid-honk and great cut. Inspired by* the killer crunch of an Orange® AD30.
HI GAIN RED
Hi Gain Red is inspired by* the infamous brown sound of a ‘68 Marshall® Plexi 100-Watt with a Variac and jumped input channels.
HI GAIN GREEN
A modern, scooped metal sound, Hi Gain Green is a refined distortion inspired by* the high-gain mayhem of a Diezel® Herbert.
METAL RED
A one-way ticket to tight and punchy high-gain heaven, Metal Red is inspired by* the high-gain tone of a Mesa/Boogie® Dual Rectifier®.
METAL GREEN
Metal Green delivers high-gain aggression with supreme versatility. Sweep the Mid knob to control the character of the distortion. (Set to minimum for fuzz pedal characteristics; set to noon for creamy, modern high-gain tones; set to max to conjure the Class A sound.)
INSANE RED
Dialed in for shredding, Insane Red combines the intensity and impact of Metal Red but it delivers more mid-range teeth for that bone-crushing grind. Inspired by* the tone of a Mesa/Boogie® Dual Rectifier® (red channel).
INSANE GREEN
As much input gain distortion as possible short of a complete meltdown! Insane Green delivers an obscene helping of distortion while still retaining tonal definition and character.
* All product names used in this webpage are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development.
Line 6 Spider IV 75 Guitar Amp
Clean Red
Inspired by* the tone of a Marshall® JCM-900,
Clean Red is scooped and highly responsive to
the player's touch, Clean Red has a beautiful
high-end shimmer for one of the best feeling
clean tones we've ever made.
Clean Green
Inspired by* some aspects of a Hiwatt® Custom
100, Clean Green emulates the classic clean
tones of the late 60s/early 70s. This model is
full-bodied with a creamy mid-range and a tight
low-end.
Twang Red
Twang Red is inspired by* the sound of a 60s
Fender® Blackface Twin Reverb® to produce a
classic Nashville spank. Crank the Drive knob
for some extra grit and growl!
Twang Green
More aggressive than Twang Red, Twang Green
has plenty of cut, punch and attitude inspired
by* a 60s Fender® Blackface Deluxe Reverb®.
NEW! Class A Red
Brilliant, singing tones with an addictive chime
made famous by generations of Brit-rockers,
Class A Red is inspired by* a Vox® AC30 Top
Boost.
NEW! Class A Green
Terrifically dynamic, Class A Green offers
boutique-style feel inspired by* some of our
favorite amps including the Divided by 13 9/15.
Sweet tones on the edge of breaking up give way
to seriously throaty Overdrive when the Drive
knob is cranked.
Blues Red
The vintage charm of Blues Red is inspired by*
the classic tones of a '50s wide panel Fender®
Deluxe Reverb®.
NEW! Blues Green
Voiced with more attitude than Blues Red, Blues
Green delivers a more forward mid-range for a
classic rockabilly sound inspired by* the bite of
a pint-sized Gretsch® 6156.
Crunch Red
A celebration of the tone used by numerous
early metal bands, Crunch Red was inspired by*
the signature crunch of a '68 Marshall® Plexi
50-Watt.
NEW! Crunch Green
Crunch Green provides a rounded off Britishstyle
distortion with a cool mid-honk and great
cut. Inspired by* the killer crunch of an
Orange® AD30.
Hi Gain Red
Hi Gain Red is inspired by* the infamous brown
sound of a '68 Marshall® Plexi 100-Watt with a
Variac and jumped input channels.
NEW! Hi Gain Green
A modern, scooped metal sound, Hi Gain Green
is a refined distortion inspired by* the high-gain
mayhem of a Diezel® Herbert.
Metal Red
A one-way ticket to high-gain heaven, Metal
Red is tight, punchy and inspired by* the highgain
tone of a Mesa/Boogie® Dual Rectifier®.
Metal Green
Metal Green delivers high-gain aggression with
supreme versatility. Sweep the Mid knob to
control the character of the distortion! (Set to
minimum for fuzz pedal characteristics; set to
noon for creamy, modern high-gain tones; set to
max to conjure the Class A sound.)
Insane Red
Dialed in for shredding, Insane Red combines
the intensity and impact of Metal Red but it
delivers more mid-range teeth for that bonecrushing
grind. Inspired by* the tone of a
Mesa/Boogie® Dual Rectifier® (red channel).
Insane Green
As much input gain distortion as possible short
of a complete meltdown! Insane Green delivers
an obscene helping of distortion while still
retaining tonal definition and character.
AMAZING TONE.
IN AN INSTANT.
Dialed-in and ready to rock.
Professional guitarists, acclaimed producers, and the experienced engineers and sound designers at Line 6® spent countless hours creating and dialing in every last guitar amp model—so you don’t have to. Whether you’re looking for a practice amp or a rig for gigging, Spider is like having your own personal amp tech ready to dial in your tone for you at a moments notice.
ARTISTS PRESETS:
311
BEAUT DISASTER
CANNONBALL
HEY YOU
311 DOWN
TAIGED
MIT LEAD
RUNNING
PRISONER
Albert Lee
ALBERT LEE 1
ALBERT LEE 2
ALBERT LEE 3
ALBERT BALLAD
American Bang
NASHVILLE CLN
T BONE
WILD SIDE
CLEAN BANG
DEMONS
WHISKEY WALK
BANG BROWN
ACID BANG
As I Lay Dying
BALL DROPPER
BIG CHUGS
CHOLO SOLO
RIFFOLICIOUS
SHRED
4 CORNER
CLEAN CAVE
Ash
ASH
BLACK CADDY
BURN BABY BURN
SCI+FI BABY
PURPLE LIGHT
ORPHEUS
ORPHEUS FLANGE
LIL FUNNY
Bernard Butler
BERNARD BUTLER
THE DROWNERS
PANTOMIME
LOVERS ROCK
DONT OOK CRAK
REFUGEES
GHOST LESLIE
AUTOGRAPH
Bumblefoot
BUMBLEFOOT 1
BUMBLEFOOT 2
BUMBLEFOOT 3
Ben Moody
BEN MOODY
COMFORTABLE
FIREFIGHT
RIVER OF BLOOD
MY IMMORAL
MCMARS
BEN CRUNCH
OCTAVE JUICE
Pat Bergeson
JAZZ ME
WAHS THAT?
SQUEEZEMEOFTEN
CLEAN LIVING
POINT HER OUT
ROUGH EDGE
SAFE CARNY
ROUGH AGAIN
Christian Nesmith
CLNDREAMYBLUES
YOUNG GIBBONS
SPANKY ARENA
THE CAVERN
IRON PIG LEAF
ROCK STAR SOLO
Coheed & Cambria
TRAVIS10SPEED
TRAVMOTHERMAYI
TRAVISFINALCUT
TRAVTIMECONSMR
CLAUDIOFUZWALL
CUTTINGTHEGILS
CLAUDIOWELHOME
CLAUDIORO-BOT
The Cribs
RYAN DIRTY
RYANEVERYTHING
Dashboard Confessional
DASHBRDCONFESS
AS LOVERS GO
HANDS DOWN
VOLUME SWELL
STREETNONAME
DONT WAIT
66 GEORGE
HOMESICALIEN
REGATTABLANC
YOU 2 BAD
David Torn
CHORD MAGIC
LAKES
SWAMP THROAT
FROGGY NIGHT
NASTY FROGS
AGRO FROGS
FIELD OF FROGS
Deftones
DEFTONES
STEF CRUNCH
DJ Ashba
CHROME BONE
DEMENTED MIND
ASHBALAND
LIFEISBEAUTIFU
Donnas
GOLD MEDAL
ALLISONIFIED
WASTED
GET OFF
Elbow
ELBOW
FORGET MYSELF
LEADERS
GRACE INTRO
NEWBORN
POWDER BLUE
TORN CURTAIN
DAMPED ARPS
Family Force 5
RIP IT UP
DRAYGON FUZZ
CHAP STIQUE
REPLACE ME
HOWINTHEWORLD
PARTYFOUL
Fear Factory
RYTHYM
LEAD
DELAY
Forever The Sickest
Kids
BELEVMEIMLYING
MARC CLEAN
MARC DRIVE
FTS CHIME
SHE'S A LADY
Greg V
SWIRL & TWIRL
SOLO SWIRL
SWELLOTRON
SUN SPOTS
DUSTY ROAD
RUBY CAVE
Hawthorne Heights
HAWTHORNHEIGHTS
JT RHYTHM
HH SEXY
HH MICHA
SURE FIRE LEAD
HH CLASS A
JOBOJ
JOBOJ
CONDIMENT
SMOKE 20
WHAT
D PLATE
CAYENNE
MYWORSTNITEMAR MALIBU SUN
DESERT MOON
HH GRIND
HH CLEAN
SPIRAL GRAF
John Jorgenson
BRITCNTRYVRBEP
CHIMEDLYCHVRB
MEDDRDLYVRB
MEDDRSLAPVRB
CRUNCHPHASEVRB
HIGAINDLYVRB
EXTREME8VAVRB
SWELLMULTIVRB
Julien K
AMIR DERAKH
AMIR RHYTHM
AMIR LEAD
AMIR SPOOKY
Kevin Dukes
C ME BRO
INSTA QUEEN C
WHAMARIFIC 8S
OCTAVE BOX
FLIP THE TAPE
CRY BABY
LOOPERIFIC
Kirk Pengilly
PENGILLY 1
PENGILLY 2
PRETTY VEGAS
NEW SENSATION
Killswitch Engage
KILSWTCH ENGAGE
CHUGGERNAUT
SWEET LEAD
MR CLEAN
DIRTY BIRD
DELAY PARTY
KUATO TWANG
DEEPFRIEDRIF
NEXT ROOM
PBS
Lee Ritenour
LEERIT-L5
RITMUTEPHAZE
LEERITACC-ELEC
LEERITSWEETDIS
LEERITFLANGDIS
CAPT FINGERS 1
CAPT FINGERS 2
CAPT FINGERS 3
Lincoln Brewster
CLEAN IT UP!
THATSSOSWELL
6STRINGSING
Lacuna Coil
LACUNA COIL
JAZZY MAUS
ECHO CLEAN
THE GAME
PIZZA CLEAN
PIZZA PHAT
PIZZA SOLO
SPACE PIZZA
Maroon 5
MAROON 5
LINT FREE
FOR BILL
HANG BRAINS
CHOPPER DAN
ARREST ME
OPPROBIUS
WJBV AM
Johnny Marr
JOHNNYCLNRYTHM
JOHNNYMARRTREM
JOHNNY ROCK
JM SPIRIT
Jerry McPherson
VIBE/GOODCLEAN
YOUR CLASSY A
KERRUNCHTIME
EASY LEAD
OOZEYOUCANUSE
VIBROTONE
THWACKED
TORTURE ROOM
Minus The Bear
MINUS THE BEAR
PACHULASUNRIS1
DAVE KNIGHTS
OCT-IVE-MOM
PACHULASUNRIS2
JAKE DIST
JAKE KNIGHTS
JAKE PHASE
Meshuggah
MESHUGGAH
52_057
Pete Andreson
BB THE KING
COUNTRY TELE
HONKY TONK
DELTA SLIDE
Phil X
MOD ROCK CLEAN
BARKING DOG
FREAK FUZZ
PHILSANCTUARY
SPANKTHATSTRAT
POD
MARCOS CURIEL
MARCOS DELAY
MARCOS PHASE
Richard Fortus
DIV BY 4TUS
AC 4TUS
LOUD & CLEAR
CHANNEL 4
Riggs
RIGGS
RIGGS INSANE
RIGGS LOVE PIG
RIGGS SHRED
Royalush
ROYALUSH
MR GREEN
SUNNYRAINYDAY
PUSHCOMES2SHOVE
OPEN ROAD
LIMOZEEN
SONSANDDAUGTRS
MISFIT TOYS
TOAST
PURPLE DECAF
NEW DAY
HOT NINJA
Steve Stevens
REBEL RHYTHM
SS SOLO
SS LUSH CLEAN
SS VIBRO-KRAZE
Slipknot
SLIPKNOT
SANITARIUM
CHEESE
Sparta
SPARTA
PHONO
WESTERN TOWN
HERO WORSHIP
Stone Sour
JOSHS RHYTHM
JOSHS LEAD
COREYS CLEAN
SILLYWORLD
Stavesacre
STAVESACRE
TEN
ELEVEN
FUTURE HISTORY
SNARL
MICK DRIVE
MICK CLEAN
HOLD 2 AMP
GOING BYE
DRAIN ALIVE
FINGER PICK
GOLDNSILVER
KMD
GRACE
LOST DAYS
Tim Pierce
DELAYDIOHEAD
TOUCH FILTER
DRY POWER
PINKFLOYDPHASE
TWIN PEAK TREM
ULTIMATE LEAD
VOLUME SWELLS
Thursday
THURSDAY
THURSDAY DIRT
ROOM TREM
SIGNALS CLEAN
THURS OD
THURSWATTDLY
STEAK FACE
SLOW DEALAY
Volto
VOLTO
VOLTO GILLZ
VOLTO SOLO
VOLTO ZWEEPO
Vertical Horizon
STARLIFTER CLN
LOST BIRD
FUZZY LUMPKIN
IM HAPPY HERE
VERTICALHRIZON
RIFTED
GLASS RAFT
BEACONS
FROTH CATCHER
Song-based Presets
Songs from the 50s
HONKY TONK
JOHNNY B GOOD
THAT'S ALRIGHT
Songs from the 60s
BROWN SUGAR
CARMA
CINNAMON GIRL
DAY TRIPPER
FOLSOM PRISON
GENTLY WEEPING
GETTING BETTER
GIMME SHELTER
HARDDAYSNIGHT
HEY JOE
MAGICCARPRIDE
RED HOUSE
REVOLUTION
SUNSHINE LOVE
WINDCRIESMARY
Songs from the 70s
10YEARGONECLN
10YEARSGONE
ALL RIGHT NOW
AQUA LUNG
BARRACUDA
BLUJEANBLUES
BORN2BEWILD
BOYS
BRIDGE O SIGHS
CATSCRATCHFEVR
CHARLEMGNE
COMF NUMB SOLO
CUSTARD PIE
DAYOFTHEEAGLE
DAZEDCONFUSED
FRANKENSTEIN
FUNK 49
GODZILLA
HEARTBREAKER
HOTEL CALI
HRTBREAKERSOLO
LA GRANGE
LAZY
LEMON SONG
MISS QUEEN
MRETHNAFEELING
WONTGETFOOLAGN
NO MATTER WHAT
ONE WAY OUT
PRECIOUS
ROCKNROLLLEAD
ROCKYMNTWAY
ROUNDABOUT
SHINE ON PINK
SINCE I BEEN
SMOKEONWATER
SPIRITOFRADIO
STAIRWAYLEAD
STRANGLEHOLD
SWEETHOMEBAMA
SWEE HOME 2
THE REAPER
TRAVELIN BAND
TUSH
WALK THIS WAY
WHIPPING POST
ZAP PA SO LO
ZZ THANKS YOU
Songs from the 80s
ACES HIGH
ANOTHER BRICK
ATOMIC PUNK
BACK N BLACK
BARK MOON LEAD
BLACK OUT
BOY YOU TWO
BREAKNTHELAW
CATHEDRAL
CRAZY TRAIN
CRZYTHNGCALLUV
CULT OF PERSON
HEARTBREAKER
HEREIGOAGAIN
HIGHWAYTOHELL
I WILL FOLLOW
LOVE REMOVAL
MASTER PUPPUTS
ME GIANT
MONEY 4 NOTHIN
MOTHER
MESSAGEBOTTLE
MOUNTAIN SONG
NUMBER BEAST
PURPLE RAIN
PURPLE SOLO
ROCKHURRICANE
ROCK THIS TOWN
ROSANNA
ROXANNE
SATCH BOOGIE
SATCH FLANGE
SHARPDRSMAN
STILL OF NIGHT
SULTANOFSWING
SWEET CHILD LD
THING COMIN'
TNT
WALKING MOON
YYZ
Songs from the 90's
4THE LOVE VAI
BED OF ROSES
BLACK DAYS
BOMBTRACK
CHERUB ROCK
CLIFFSOFDOVE
COWBOY HELL
CROSSFIRE
DECEMBER
DS MASK
ENTERCLNMAN
ENTERMTLMAN
EVEN FLOW
FAITHOPELOVE
GONNAGOMYWAY
HARD2HANDLE
IN BLOOM
MANHATTAN
MONKEY WRENCH
Songs from the 00's
BETTER LIFE 00
BLVD OF DREAMS
BYOB
DRAMASTABBER
GONNABEMYGIRL
HOLY WAR SOLO
LAID TO REST
MISS MURDER
PARDON ME
SCHISM
SMOOTH
THE KILL
USA IDIOT
WE WILL RISE
WHENYOUWEREYNG
Songs of worship
DWELL
FACE DOWN
GLEN PEARCE
I WILLWORSHIP
NOW IS THE TIME
SWEETLY BROKEN
Just plain fun
AMBIENT
BROKEN TILE
BLACK MORE
LESLIE BITES
ORANGE CRUNCH
SPAGHETTI
LOWBUDGETSCORE
SWELL PEDAL
CHESS TONE
NO MORE TEARS
NOTHING ELSE
ONEARMEDSHEAR
OUTSHINED
OVER MY HEAD
PARDON ME UNDER
STINKFIST
STELLAR
STREETSNONAME
SUCK MY KISS
THEM BONES
WHOMBELLTOLL
Pitch
OCTAVEDNCLEAN
OCTAVEDNDRIVE
A MINOR 4THUP
A MAJOR 5THUP
CMAJOR 3RDUP
C MAJOR 6THDN
D MINOR 6THDN
E MINOR 5THDN
E MAJOR 3RDUP
OCTAVEUPDRIVE
FBVOCTAVEUPTOE
FBV 12DN+12UP
FBV 12DN+7UP
FBV 7DN+12UP
FBV 9UP+DELAY
FBV 7DN+9UP
FBV 5DN+7UP
FBV 7UP DRIVE
FBV 24DN+12DN
FBVTOEDNCHORUS
FBVTOEDNDETUNE
FBV 3DN+4UPCN
MR UNSTOPPABLE
20 Smart FX (up to 4 at once) Fully Adjustable Parameters
Red Comp
Inspired by* an extremely popular
stompbox compressor, the MXR® Dyna
Comp, Red Comp evens out your volume
and adds sustain to your slow leads.
Sensitivity, Level,
Routing
Fuzz Pi
Fuzz Pi delivers plenty of thick distortion
and oceans of sustain inspired by* the
tone of the Electro-Harmonix® Big Muff
Pi®,
Drive, Gain, Tone,
Routing
Auto Wah
Too lazy to use your feet? Dependent upon
how hard you hit the strings, Auto Wah
opens and closes to add some seriously
vibey goodness!
Sensitivity, Q,
Routing
Auto Swell
Instant drama! Auto Swell emulates the
gradual volume increase of volume pedal
or of slowly turning up the volume on your
guitar.
Ramp, Depth,
Routing
Pitch Glide
Four-octave range! Drop some dive bombs
and throw some ice picks, a la Tom
Morello. Connect an FBV™ MkII foot
controller or EX-1™ Expression Pedal for
the full effect. Inspired by* a Digitech
Whammy®.
Position, Heel, Toe,
Mix, FBV™ Control,
Routing
Smart
Harmony
Turn that 6-string into a 12-string, rip
some '80s dual leads and so much more.
This intelligent pitch shifter is inspired by*
an Eventide® H3000.
Key, Scale, Interval
Shift, Mix, Routing
Sine Chorus
Dialed back for subtlety or cranked and
severe, Sine Chorus will add an
otherworldly warble to your tone.
Tap Tempo, Speed,
Depth, Bass, Treble,
Mix, Routing
Line 6
Flanger
Wet down your guitar tones with the
slippery swirl of the vividly colorful Line 6
Flanger.
Tap Tempo, Speed,
Depth, Mix, Routing
Phaser
Just add the "brown" sound and you're
emulating one of rock's most celebrated
guitar tones! Phaser is inspired by* the
sound of an MXR® Phase 90.
Tap Tempo, Speed,
Feedback, Mix,
Routing
U-Vibe
Inspired by* the pulsing push of the nowlegendary
Uni-Vibe®. One listen to
"Machine Gun" and you'll be hooked!
Tap Tempo, Speed,
Depth, Mix, Routing
Opto Trem
Opto Trem is inspired by* the optical
tremolo circuit that was used in the
blackface Fender® amps like the '64
Deluxe Reverb®.
Tap Tempo, Speed,
Wave, Mix, Routing
Bias Trem
Bias Trem is inspired by* the 1960 Vox®
AC-15 Tremolo, which got its pulse by
literally varying the bias of the power amp
tubes.
Tap Tempo, Speed,
Wave, Mix, Routing
Digital Delay
This model is a straight-up digital delay
with bass and treble tone controls. A great
workhorse delay with a transparent and
pristine echo-echo-echo-echo...
Tap Tempo, Time,
Feedback, Bass,
Treble, Mix, Routing
Analog
w/Mod
Inspired by* the cherished tone of the
Electro-Harmonix® Deluxe Memory Man
pedal, Analog w/ Mod delivers an organicsounding
analog delay with a hefty dollop
of lush, spatial chorus.
Tap Tempo, Time,
Feedback, Mod
Speed, Depth, Mix,
Routing
Tape Echo
Tape Echo is inspired by* the unmistakable
depth and sweetness of the Maestro® EP-
3 Echoplex, which used transistors instead
of tubes for its sound electronics.
Tap Tempo, Time,
Feedback, Bass,
Treble, Mix, Routing
Multi-Head
Echo
Multi-Head Echo's multi-tap-style delay
effect is inspired by* the sound created by
the multiple playback heads of the
Roland® RE-101 Space Echo.
Tap Tempo, Time,
Heads, Feedback,
Flutter, Mix, Routing
Sweep Echo
Add a sweeping warble to the Tube Echo
repeats and viola: Sweep Echo! This
unique texture adds a tangy flavor to your
delays.
Tap Tempo, Time,
Feedback, Speed,
Depth, Mix, Routing
Reverse !seltaeB eht dna xirdneH imiJ ekil tsuJ
Whatever you play comes out backwards!
Tap Tempo, Time,
Feedback, Mix,
Routing
Lux Spring
Reverb
Lux Spring Reverb is inspired by studiostandard
spring reverbs whose
characteristic resonant sounds were
created by springs suspended inside a
metal box.
Dwell, Tone, Mix,
Routing
Vintage Plate
Reverb
Vintage Plate Reverb is inspired by studio
plate reverbs, which share similar metallicsounding
resonant qualities with spring
reverbs.
Pre-Delay, Decay,
Tone, Mix, Routing
Additional System Effects
Quick Loop
This 14-second sound-on-sound looper is
ideal for creating layers and textures,
looping chords for your own
accompaniment and auditioning your tone.
Routing
Adjustable
Noise Gate
The Noise Gate can help you eliminate the
hiss from noisy pickups or the white noise
of extremely high-gain distortions.
Mode, Threshold,
Decay
Adjustable
Boost
Boost gives for the perfect punch of
volume to make your solos really pop! Up
to +8 dB (pre, post or both)
Active, Pre dB, Post
dB
Volume
Routing
Set and route your volume pre or post
amp model to take total control of your
sound.
Min, Max, Routing
Advanced Guide
®
Spider IV
Electrophonic Limited Edition
An in-depth guide to the features and functionality of the
Spider IV 75, 120, 150 and HD150
Spider IV Advanced Guide © 2009 Line 6, Inc.
Please Note:
Line 6®, POD® and Spider® are registered trademarks
of Line 6, Inc. All other product names, trademarks
and artists’ names are the property of their respective
owners, which are in no way associated or affiliated
with Line 6. Product names and artists’ names are
used solely to identify the products whose tones and
sounds were studied during Line 6’s sound model
development for this product. The use of these
products, trademarks, and artists’ names does not
imply any cooperation or endorsement.
Table of Contents
Overview................................................................................. 1•1
Features............................................................................................................1•1
Front Panel Controls...................................................................................... 1•2
Rear Panel I/O................................................................................................ 1•5
Presets .................................................................................... 2•1
Preset Select; Manual Mode .......................................................................... 2•1
Saving............................................................................................................. 2•2
Editing..................................................................................... 3•1
Edit Mode....................................................................................................... 3•1
Gate; Boost; Vol; Loop................................................................................... 3•3
Setup .............................................................................................................. 3•4
Smart FX................................................................................ 4•1
SmartFX Customization................................................................................. 4•3
Pitch Glide Tips ............................................................................................. 4•4
Smart Harmony Tips...................................................................................... 4•5
Looper Control Mode............................................................ 5•1
Auditioning & Editing Presets....................................................................... 5•1
Looper Tips..................................................................................................... 5•2
Foot Control........................................................................... 6•1
Foot Control Options .................................................................................... 6•1
Appendix: Amp Models ....................................................... A•1
Amp Model Reference.................................................................................. A•1
Overview
1•1
Overview
Welcome to the Spider IV Advanced Guide. This guide contains in-depth details of
Spider IV’s features and functionality that were not covered in the Pilot’s Handbook.
Spider IV is the next generation guitar amp from the Spider family. It features Line 6’s
most advanced amp modeling to date in a compact, affordable combo or head. Here’s an
overview of some of the new features Line 6 built into the Spider IV to take it to the next
level.
Features
• 16 Amp models, including 4 new mid-gain models based on legendary amps
• New Smart Harmony and Pitch Glide FX with 28 pre-programmed settings
• 18 FX models via 3 Smart FX knobs, with customizable primary & secondary FX
• 2 Reverb models with a dedicated Mix control on the Spider IV front panel
• A new Edit Mode enables deep editing of all Smart FX and Reverb parameters
• Adjustable pre & post Boost plus 2 new noise gate models (Gate+NR)
• Quick Loop feature, with 14 seconds of loop recording & overdubbing
• Updatable firmware — a new MIDI pipe via FBV MkII enables flash memory updates
• New power amp & speaker cab design for clean to mean sonic delivery
• New LCD display with Momentary Modes, giving you instant parameter feedback
• Time-based Delay and Mod FX
• Over 500 Artist-designed & Song-based Presets plus 64 User Preset locations
• FBV Pedal Control with an optional FBV Shortboard MkII or FBV Express MkII
• CD/MP3 Input for jamming with tracks or your favorite drum machine
• Stereo Headphones/Direct Output for monitoring or recording direct
To get started, let’s check out the Front Panel Controls.
Overview
1•2
1 Guitar In – Plug your axe in here.
2 Amp Models – Spin this knob to select 1 of 16 Amp Models out of the box. All
Tone and FX controls will automatically be set to sound great with that model, so you can
just play! When you select an Amp Model, the LCD Display will show the model name
plus the current settings for Drive, Bass, Mid, Treble, Channel Volume and Reverb.
3 Manual Mode – Press this button to enter Manual Mode. When it’s LED is
on, all the front panel Tone knobs determine your Tone settings. Even if you select a new
Amp Model, the Tone settings remain the same as your current knob positions. When you
exit Manual Mode by selecting a new Preset, that Preset’s stored settings will take over.
4 Tone Controls – Drive is like a volume or gain knob on conventional guitar
amps; it controls how much “dirt” you get in your sound. Bass, Mid, and Treble controls
are customized for each Amp Model to give you optimal tonal control, just like the original
amp the model was based on. When you turn any of these knobs, the LCD Display will
show the current settings for Drive, Bass, Mid, Treble, Channel Volume and Reverb.
5 Channel Volume – This control is pre-Master Volume in the signal flow. It
helps you balance the volumes of your different Amp-and-FX setups that you store in your
Spider IV’s User preset channels. When you turn this knob, the LCD Display will briefly
show the current settings for Drive, Bass, Mid, Treble, Channel Volume and Reverb.
6 Channels – Press any of the A B C D Channel buttons to select a Preset in the
current User Bank. The selected Preset name will appear in the LCD Display. To initiate
a Save, push and hold one of these buttons for 2 seconds. *See Chapter 2•2 for details.
Front Panel Controls
2 4 5
3
1
6
Overview
1•3
7 Smart FX Controls – Spin one of these 3 knobs to select great FX, fast and
easy. Each FX knob lets you choose one of 3 primary or 3 secondary FX Models, for a total
of 18 possibilities, with up to 3 active at once.
The lit LED indicates the active effect, either red or green. If an effect’s settings have been
customized, its LED will be amber. *See Chapter 4•3 for more info on FX Customization.
Turning an FX knob all the way off disables the effect and resets any customization.
FX-1 Knob: selects Red Comp or Fuzz Pi, Auto Wah or Auto Swell, Pitch Glide or Smart
Harmony, with a pre-set range of settings for each effect.
FX-2 Knob: selects Chorus or Flanger, Phaser or U-Vibe, Opto or Bias Trem, again with
a range of settings for each effect.
FX-3 Knob: selects Digital Delay or Analog Delay w/Mod, Tape Echo or Multi-Head,
Sweep Echo or Reverse, with a range of settings. The Tap LED flashes the delay time.
When you turn any of the 3 FX knobs, the Momentary FX Display will show you the
current FX Model name. To select the alternate model, turn the Presets knob while the
Momentary FX Display is showing. Your selection will be stored in that FX location per
saved preset.
8 Tap – To set your tempo for time-based Mod and Delay FX, press the Tap button
at least twice at the desired tempo. When Tap is set to Don’t Control in Edit Mode, set
the Delay time or Mod speed manually and it will remain independent of the Tap tempo.
7 9 10
8 11
12 13
14
15
Overview
1•4
Hold Tap For Tuner – To enter Tuner mode, hold the Tap button for a few seconds.
The Tuner will appear in the LCD Display, along with each note you’re tuning. It will
indicate whether you’re sharp or flat via the graphic lines to the right or left, respectively.
When you’re in tune, the graphic ** symbols will be lined up in the center of the LCD.
9 Reverb – When you adjust the Reverb knob, a bar graph will display the Reverb
Mix level for a few seconds in the LCD, along with the current Reverb Model name,
either Lux Spring or Vintage Plate. To toggle between the two Reverb Models, turn the
Presets knob left or right while the bar graph is displayed.
10 Master Volume – Sets the Master output level of your Spider IV. This knob
also controls the level of your Heaphones and Stereo Line Outputs.
11 Quick Loop – Pressing this button puts you in Looper Control Mode. When
it’s lit, the Tap button becomes your one-button control for Recording, Overdubbing, loop
Playback and Stop. *See Chapter 5 for in-depth info on recording and playing loops.
12 4-way Navigation Disc – Press the Up, Down, Left, or Right arrows to
select a parameter that you’d like to change. The arrows are displayed in the LCD for each
function. *For in-depth info on the many Amp Model and FX parameters you can access
with this control, see Chapter 3 Editing.
13 Presets/Press To Edit – When in Preset Select Mode, turn this knob to
select a User Preset from the current Bank, or scroll thru the numerous Artist and Song
presets. Push in the Presets knob to enter Edit Mode. This enables you to set various
parameters for all your FX, as well as select settings in Setup Mode and perform other
functions. *See Chapter 3 Editing for more info.
14 LCD Display – The LCD (liquid crystal display) is your window into the power
of Spider IV. Here you’ll see various “pages” as you adjust the various controls, including
Momentary Tone Display, Momentary FX Display, and numerous other Parameter menus
as you fine-tune your guitar sounds. The LCD is designed to give you instant feedback on
any parameter you’re currently adjusting.
15 Power – Flick this switch to power up your Spider IV. It’s best to have your
Master Volume turned down when you power up, then adjust your level as desired.
Overview
1•5
Rear Panel I/O
16 Stereo Phones/Direct Output – To listen with headphones, plug them
in here. This stereo jack also serves as a Direct Output to connect your Spider IV to a
mixer, PA, computer DAW, recording interface or other line input equipment. You’ll get
world class quality sound for recording - as good as it gets for direct guitar.
17 CD/MP3 In – This 1/8-inch input can be used for a CD or MP3 player or just
about any other audio source, making it easy to jam along with pre-recorded tracks or
your favorite drum machine. By adjusting the output level of your device, along with the
Channel Volume of your guitar Preset, it’s easy to balance your guitar level with the music
playback. Start with your device’s level at minimum, then bring it up to the level of your
guitar sound. Lower your Ch Vol if your guitar is too loud. Once your balance is set, adjust
the Master Volume control for overall level of both your guitar and the external device.
18 FBV Pedal Input – This RJ45 jack is the standard Line 6 connector for FBV
Foot Controllers. You can now update your Spider IV’s firmware via FBV Mk II pedals,
and with a proper MIDI setup you can send and receive Program Change and other MIDI
messages to control your Spider IV from a computer.
19 Extension Speaker Outs – For the Spider IV HD150 and 150 Combo you
can connect two 8 ohm speaker cabs for stereo output.
USE ONLY
STEREO 1/4”
TRS CABLE
FBV PEDAL
CD/
MP3
PHONES/
DIRECT OUT
16 17 18
SPEAKER OUTS / CLASS 2 WIRING
RIGHT
8 OHMS
LEFT
8 OHMS
19
Presets
2•1
Presets
Spider IV is ready to rock when you switch it on - just plug in your guitar and play.
By pressing a button, using the Nav Disc or Presets knob you can easily access every FX
parameter, the Looper, hundreds of presets, and ultimately customize your guitar sound.
Preset Select
When Spider IV is first powered up, it will be in Preset Select Mode. By simply turning the
Presets knob and using the 4-way Navigation Disc, you can select any User, Artist or Song
Preset. You can also press any A B C D button to select a User Preset in the current Bank,
or use an FBV foot controller to navigate thru the 16 User Banks.
Here’s a basic navigation overview for Preset Select Mode:
Manual Mode
Pressing the Manual Mode button puts the Spider IV in Manual Mode. This means that
all your settings, regardless of the saved settings, are determined by the physical positions
of the Drive, Bass, Mid, Treble, Channel Volume and Reverb knobs. To exit Manual Mode,
press the button again or load a preset via the Presets knob or one of the A B C D buttons.
• L/R Arrows on
4-way Nav Disc
select the Preset
type (User, Artist
or Song)
• Up/Down
Arrows take you
thru the next/
previous folder
within Preset type
• Turn Presets
knob to select
next/previous
Preset from the
current folder
• Current Preset
is displayed here
[Coldplay Wash]
Presets
2•2
Saving
Once you’ve edited a preset to your liking, you’ll want to save it in one of the User Banks.
Artist and Song presets can’t be overwritten, so if you want to save an edited version of an
Artist or Song preset, or a custom preset you’ve created from scratch, it must be stored in
one of the 64 memory locations in User Banks 1 thru 16, Channel A, B, C or D.
Here’s an overview of the Save routines for Spider IV:
• L/R Arrows on
4-way Nav Disc
select one of the
14 characters of
the Preset name
[it will flash]
• Up/Down
Arrows select
the next/previous
User Bank as the
Save destination
• Turn Presets
knob to change
the current
character in
Preset name
[push for quick
type change]
• Current Preset
Save destination
[Bank 31 Chan A]
To save a preset:
• Press & hold the channel button of the current preset location - all 4 LEDs will flash
• If you’re starting from an Artist or Song preset, press any A B C or D Channel button
• Select the destination Bank by pressing the up/down arrows on the Nav Disc
• Rename the preset if desired - L/R arrows select character - Presets knob changes it
• Once your preset name is set, press a Channel button as your preset destination
• The LEDs will flash rapidly a few times indicating the Save routine is complete
• Your preset is now saved to the Bank and Channel location you’ve selected
Editing
3•1
Edit Mode
In addition to standard Tone controls, Spider IV features a new Edit Mode that enables
you to perform deep editing of all your FX parameters. You can edit any available parameter
for FX1, FX2, FX3, Reverb, Gate, Boost, Volume, Loop and Setup.
For basic editing, it’s best to select your Amp Model first, or start with a pre-programmed
preset that’s close to the sound you want. Then adjust the Drive, Bass, Mid and Treble
controls. You’ll notice that when you touch a Tone control, all the Tone values and
Reverb level will be displayed in the LCD. This is called the Momentary Tone Display.
When you turn the Amp Model encoder, you’ll see the current Amp Model name in the
LCD. This is so you know which model is selected without looking at the encoder.
When you’re ready to add SmartFX to your preset, turn any of the 3 SmartFX knobs. You
can add 1 effect from each of the SmartFX per preset, in addition to Reverb.
To select an alternate FX Model for the current effect (or Reverb), turn the Presets knob
while the FX Model name is displayed in the LCD. The name will be displayed for 4
seconds every time you turn the knob, so if you change your mind, just touch the FX knob
again to wake it up - then turn the Presets knob left or right to select the alternate Model.
When you turn the Reverb knob, you’ll see the current Reverb Model name in the LCD
for a few seconds, along with a bar graph displaying the Reverb Mix level.
Editing
3•2
Use the L/R arrows to navigate thru the FX blocks. Use the up/down arrows to select the
various parameters in each block. To adjust a parameter value, turn the Presets knob.
Depending on the FX you’re editing, you’ll have a variety of parameters to adjust. These
include Routing, Mix, Tone, Feedback, Depth, Speed, Time and Tap Control, among
others that will be specific to each FX model.
A note about SmartFX
In Preset Select Mode, when you turn the FX1, FX2 or FX3 knobs to select effects, you’ll
notice that parameters have already been set up for you. These SmartFX provide you with
an instantly musical sound without having to tweak an effect’s individual parameters.
This makes it quick and easy to audition the various effects and not have to worry about
setting them up. When you hear an effect that you’d like to use for the current preset, you
can then enter Edit Mode to customize it to your personal taste.
*We’ll cover SmartFX in more detail, including customization, in Chapter 4 SmartFX.
With each of your FX assigned, you’ll want to enter Edit Mode to tweak the individual FX
parameters. To do so, press the Presets knob. The LCD will look like this (for FX3):
• L/R Arrows on
4-way Nav Disc
take you thru
FX1, FX2, FX3,
Reverb, Gate,
Boost, Vol, Loop
and Setup
• Up/Down
Arrows take you
thru the available
parameters of the
current selection
[Mix for FX3]
• Turn Presets
knob to adjust
the current
parameter
[Mix]
• Current Model
is displayed here
[Digital Delay]
Editing
3•3
Gate
If you press the right arrow from the Reverb screen, you’ll see the Gate screen. Your Gate
Mode choices are Off (Gate is disabled), Gate (a standard noise gate), NR (a frequency
dependent noise reduction) or Gate+NR (both Gate+NR together). You can also adjust
Threshold and Decay settings. Gate parameters are saved with the individual preset.
Boost
We’ve included a new Boost with Spider IV, which is the next Edit Mode screen to the
right of Gate. There are 3 parameters for Boost: Pre, which is the amount of Boost applied
before your signal hits the Amp Model, Post, which boosts your guitar audio after the Amp
Model, and Active, where your choices are On or Off. Boost is also saved per preset.
Vol
Press right arrow from the Boost screen to see Vol. If you have an FBV with an EXP pedal,
you can use it as a dedicated Volume pedal. The parameters for Volume are Min (the
minimum volume for heel down), Max (the maximum volume for toe down) and Routing,
which routes the volume pedal pre or post Amp Model. Vol is saved per preset.
Loop
If you press right arrow from the Vol screen you’ll arrive at Loop. This screen is dedicated
to Loop routing, and is saved per preset. Pre routes your loop playback before the Amp
Model, and Post routes it after the Amp Model.
Editing
3•4
• For AutoFX your choices are AmpSetFX, which means your FX will change when
you change Amp Models, or Disabled, meaning your FX don’t change when you
change Amp Models. Turn the Presets knob left or right to make your selection.
Setup
In Setup Mode there are 4 screens: Auto FX, Back Light, Tap Light and Version number.
To edit them, press the Presets knob to enter Edit Mode, then press the left/right arrows
until SETUP is displayed. Press the up/down arrows to display the following in the LCD:
• Press the down arrow to edit BkLite. Your choices are On, meaning the LCD will
always be lit, or 15SecOff, which means the LCD back light will turn off after 15
seconds of inactivity. Turn the Presets knob left or right to make your selection, then
press the down arrow to go to the next screen.
• For TpLite your choices are On, meaning the TAP light will always flash the current
tempo, or Flash 8, which means the TAP light will flash 8 times after the most recent
activity, then it will stay off. Turn the Presets knob to make your selection.
• The fourth Setup screen displays the current Flash Memory Version you’re running
in your Spider IV. This display cannot be edited.
SmartFX
4•1
Smart FX
As we mentioned in Chapter 3 Editing, FX1, FX2 and FX3 are SmartFX. SmartFX are
designed to give you instant great-sounding FX without having to tweak their parameters.
Of course you can enter Edit Mode at any time and adjust FX settings to your liking, but
it’s easiest to audition SmartFX by simply turning one of the 3 FX knobs.
When you turn a SmartFX knob you’ll hear a variety of pre-programmed settings that
change according to the knob’s ‘swoosh’ position. Swoosh is our term for the range of
travel between each effect’s starting point and ending point on the SmartFX knob.
For each SmartFX knob you can select 1 of 3 primary or 3 secondary FX models. For
example, turn the FX1 knob clockwise from the off position. The first LED will light up
red, incidating the primary Gain model Red Comp is now active. At the same time you’ll
see RED COMP displayed in the LCD with a bar graph indicating its swoosh position.
To select the secondary Gain model, turn the Presets knob to the right while RED COMP
is displayed in the LCD. FUZZ PI will now be displayed and the FX1 LED will turn green.
To change back to Red Comp, move the FX1 knob slightly to wake it up. You’ll see FUZZ
PI in the LCD again - turn the Presets knob to the left and Red Comp will load again.
Above are the primary and secondary FX1 models for the Gain, Auto and Pitch locations.
The small knob at min position indicates primary model; max position indicates secondary.
The bar graph displays the selected effect’s current swoosh position on the FX1 knob.
SmartFX
4•2
Again the small knob graphic indicates primary model (min) or secondary model (max).
The bar graph indicates the selected effect’s current swoosh position on the FX2 knob.
Here are the primary and secondary SmartFX models for the Chorus, Phaser and Tremolo
locations on the FX2 knob:
Here are the primary and secondary SmartFX models for the Delay, Tape Echo and Sweep
Echo memory locations on the FX3 knob:
SmartFX
4•3
Reverb isn’t in the SmartFX group, but it also features a primary and secondary model,
as illustrated below. Like the SmartFX, you select the model by turning the Presets knob
when the Reverb model name is displayed in the LCD. The difference is, the bar graph for
Reverb indicates its Mix level, which matches the Reverb knob position when you turn it.
Smart FX Customization
In addition to editing FX in a preset, as outlined in Chapter 3 Editing, you can also
customize the individual parameters of one effect per FX knob, so that when you select
that effect in a preset, your settings will be recalled. Customization settings are stored with
each preset. When a SmartFX model has been customized, its LED will light up amber
instead of Red or Green. Here’s an example of what you might see on the front panel:
• FX1: Auto Wah
[Red = primary]
• FX2: U-Vibe
[Green = secondary]
Since the FX3 LED is amber, you know it’s been customized. To determine whether the
FX3 model is Tape Echo (primary) or Multi-Head (secondary), you can either touch the
FX3 knob to wake it up or press the Presets button to enter Edit Mode and the model name
will be displayed. Here’s what the FX3 Edit screen would look like for the Mix parameter:
• FX3: Tape Echo or Multi-Head
[Amber = customized]
Notice the knob graphic instead of a swoosh graphic - this Mix has been customized.
SmartFX
4•4
Here are a few important points to remember regarding SmartFX customization:
• If you change any settings in Edit Mode for one of the SmartFX, your settings will be
recalled when you turn the SmartFX knob for that effect (and its LED will be amber)
• Parameters that you do not change will default to the pre-programmed SmartFX
settings for that effect - so when you turn the SmartFX knob, all settings other than
your customized settings will change as they normally would for that effect
• Only 1 effect per SmartFX knob can be customized at a time
• SmartFX customization settings are saved with each preset
• If you turn the SmartFX knob to the Off position, customization will be lost and all
effects for that SmartFX knob will revert to the default settings
To see what the individual settings are, select a setting on the FX1 knob, press the Presets
knob to enter Edit Mode, then use the up/down arrows to navigate thru the various Pitch
Glide parameters.
If you decide to customize your Pitch Glide settings, keep in mind that the note pitch will
be determined by a combination of Heel value, Toe value, and Pedal Position. With no
pedal connected and POS value set at 0, the Heel value determines the note you hear.
Pitch Glide Tips
When you turn the FX1 knob to the Pitch position, the Pitch Glide effect will be activated.
Listen as you turn the FX1 knob slowly thru all the different SmartFX settings. Along with
your original note, you’ll hear a 2nd note 2 octaves down, then 1 octave down, then -9, -7,
-5, -4, -3, +3, +5,+7, +9 (in semitones), 1 octave up and 2 octaves up. Mix is set at 44%.
For example, with Heel at +7 and POS at 0, you get a 5th note, which is 7 half steps up.
SmartFX
4•5
To control the Pitch Glide effect with an FBV pedal, enter Edit Mode and navigate to the
Pitch Glide FBV parameter. Select Wah=Glid or Vol=Glid, depending on which pedal
you’d like to use to control the Pitch Glide. Keep in mind the note you hear will always be
the Position of your pedal, relative to the Heel and Toe values.
When Wah=Glid, if you switch the wah pedal off, the pedal will control volume as usual.
If you switch the Stomp switch on, the volume pedal will switch to Pitch Glide again.
Make sure your pedal volume is up all the way when you use the Stomp switch, however,
because once the Pitch Glide takes over the wah pedal, you can’t adjust volume unless
you’re using an external expression pedal for volume.
When you set the FBV parameter to Vol=Glid, you’ll have no volume control via the
pedal, since it will be controlling Pitch Glide. If you switch to wah, the pedal will control
wah as usual, and your volume will always be at 100%.
Smart Harmony Tips
To use the Smart Harmony effect, first select Pitch Glide by turning the FX1 knob to the
Pitch position. While the LCD displays the name Pitch Glide, turn the Presets knob to
the right - Smart Harmony will replace it.
Now listen to the various Smart Harmony settings by turning the FX1 knob while you
play an open E string, for example. First you’ll hear a low octave, then a few low harmony
notes, followed by some higher harmony notes up to an octave above your open E.
SmartFX
4•6
* Notice the two top screens display a swoosh graphic to the left of E and Major. This means
the Key and Scale settings are the Smart FX defaults and haven’t been customized. The
Shift and Mix parameters display a knob graphic, indicating they have been customized.
Routing always displays a knob graphic for Pre or Post.
Using the Smart Harmony settings above, if you play some single note riffs on your guitar
in the key of E you’ll hear a 5th note along with every note you play. With the Mix level
at 50%, the two notes should be equally balanced in volume. Give it a try.
• Select any Key by
turning the Presets
knob
• Routing can be
either Pre- or PostAmp
Modeling
• Set the balance of your
dry & harmony note
with the Mix control
• Select the harmony
note Shift by turning
the Presets knob
• Select any of the
available Scales for the
Key you’ll be playing in
If you want to experiment with your own Smart Harmony settings, you’ll want to enter
Edit Mode. With Smart Harmony selected, here are the various Smart Harmony edit
screens that will be available for tweaking:
SmartFX
4•7
Now let’s try a different scale and see how Smart Harmony works. We’ll keep the settings
the same for Key (E), Mix (50%) and Routing (Pre). But let’s set the Scale to pentatonic
major and Shift to +3rd.
Use the up/down arrows to display Scale, then turn the Presets knob to display PntMaj.
Use the up/down arrows again to display Shift, then turn the Presets knob to set it to +3rd.
Your Scale and Shift screens should look like this:
Now before you play anything, here’s a tip to help you understand what notes make up any
scale you might select. Set the Mix parameter to 100%, then navigate back to the Shift
screen. Set Shift to +None and play an open low E note - it should sound normal.
Now turn the Presets knob to the right one click at a time and play a single E note with
each click. Your notes will shift to +2nd, +3rd, +4th, +5th, +6th, +7th, +8th and +9th.
As you play your E note the notes you hear will be E (+None), F#, G#, B, C#, E, F#, G#
and B. Guess what? That’s your pentatonic major scale.
Now set your Scale and Shift values back to where they were in the graphic LCDs above
and play the 9 notes we just experimented with. Your harmony notes should be right in
tune. Improvise some single note riffs in the key of E, using only those same notes in any
combination. The harmony notes should be in perfect tune with your riffs.
Change the Shift parameter to +4th and play more riffs, again using only those 9 notes.
They should be in perfect harmony. Some Shift values like +2nd might not sound so
musical, but in most cases the Smart Harmony notes will sound pretty good.
If you have a degree in music theory, you already know what these scales are all about, but
if you’re a self taught rock’n’roller, do some experimenting and see what happens.
For a reference to all the Smart Harmony scales, check out the table on the next page.
SmartFX
4•8
Smart Harmony Scales
Looper Control Mode
5•1
• When you’re ready to record your loop, press the Tap button. Whatever you play
will be recorded (up to 14 seconds max). The LCD will look like this:
Looper Control Mode
Spider IV’s Quick Loop function enables you to easily record a guitar loop for jamming
or auditioning Presets. To enter Looper Control Mode, press the Quick Loop button.
You’ll notice that both the Tap button and the Quick Loop button remain lit. In Looper
Control Mode mode, all you have to do is press the Tap button to control various functions
of the looper, including Record, Overdub, Play, Stop and Delete. You can also edit presets
and save your changes while your loop continues to play back.
Auditioning & Editing Presets - To record a loop and play it back to audition
and edit Spider IV presets, plug in your guitar, select a preset and follow these steps:
• Press the Presets button to enter Edit Mode. Use the left arrow on the Nav Disc
to navigate to the LOOP screen. Set Routing to Pre by turning the Presets knob.
• Now press the Quick Loop button to enter Looper Control Mode. The button will
flash and the Tap button will remain lit; the LCD display will look like this:
• To stop recording and immediately play back your loop, press Tap again. This sets
your loop out-point and sends your loop back to the beginning in Play mode.
Looper Control Mode
5•2
• To stop loop playback, press the Quick Loop button then press the Tap button. To
clear your loop, press and hold Tap for at least 3 seconds.
• To exit Looper Control Mode, press the Quick Loop button again. Its LED will
turn off and the Tap button will return to normal operation.
To save your edited settings, press and hold any Channel button for a few seconds, rename
your preset and select a Bank destination for it, then press the desired Channel button to
complete the save, as described in Chapter 2.
Since your loop playback is set to Pre, you can select any preset you want and your guitar
sound will change the same as if you were playing live. Press the Quick Loop button to
temporarily exit Looper Control Mode. Select any of the A B C D Channel presets to hear
what they sound like. You can even change Banks or select Artist presets via the up/down
and left/right arrows. This is a great way to audition sounds.
If you want to stop playback, press Tap again. If your loop sounds good to you and you’re
ready to check out some presets, let it play. We’ll get into overdubbing on page 5•3.
Now let’s do some preset editing. If you want to stop your loop for a minute, press the
Quick Loop button to re-enter Looper Control Mode, then press Tap. When you’re ready
to go again, press Tap to play your loop, then press the Presets knob to enter Edit Mode.
Use the left/right arrows to navigate to the FX3 screen to edit Delay Mix. If you don’t have
a delay on, turn the FX3 knob to select one.
Feel free to navigate to any FX parameter and tweak it, change your Tone controls, even
load a different Amp Model, all while your loop continues to play.
Looper Control Mode
5•3
Looper Tips
For those of you who might be interested in multiple overdubbing and more advanced
control of the looper, Spider IV can accommodate you. Although all Quick Loop
functions are assigned to one button, which is Tap, we’ve added a second layer of control
by programming a ‘quick press’ and a ‘press and hold’ functionality for the Tap button.
Of course it isn’t easy to play guitar with both hands and press buttons at the same time, so
you might want to use an FBV foot controller to control your looper. Using the Tap switch
on an FBV Shortboard, for example, labeled in the graphic below, here are a few tips
you can try with your Spider IV when you’re in Looper Control Mode:
F
T
T
Record/Overdub – first press the Quick Loop button (or Function 2 ); now to
record your initial loop, set an accurate out-point and begin overdubbing immediately...
• Step on the Tap switch to begin recording your loop, but don’t release the switch
• With your initial take in progress, when you’re ready to set your loop out-point and
record your first overdub, lift your foot off the Tap switch
• Your loop will play back from the beginning and you’ll be in Overdub mode,
recording over your original loop
• If you continue to let it roll, you’ll add a new overdub with each pass; to stop
overdubbing and enter Playback mode, briefly press the Tap switch
You can now jam along with your loop, or press the Tap switch again to stop playback.
F
Looper Control Mode
5•4
Set Out-Point/ Arm Overdub – to accurately set your loop out-point and arm
Overdub mode in advance of recording your next layer of guitar, try this:
• Step on Tap briefly and release to begin recording your loop
• Step on Tap at the out point and hold - you’ll enter Playback mode immediately
• When you’re ready to record an overdub, release the Tap switch to enter Overdub
mode; if you continue to let your loop roll, each time it loops around you’ll be adding
another overdub layer
• To exit Overdub mode and immediately enter Playback mode, briefly step on the
Tap switch; if you’d rather stop playback, step on the Tap switch and hold
Arm Overdub From Playback – after you’ve recorded your initial loop and set the
out-point, you can enter Overdub mode at any time. With your loop playing back:
• Press and hold the Tap switch - when you’re ready to record, release the Tap switch
and you’ll enter Overdub mode
• To enter Playback mode, press the Tap switch - to stop playback, press Tap again
Exit Overdub Mode/ Stop Playback – if you’re in Overdub mode and you’d like to
stop recording but keep playback going until a specific stop point:
• Record your initial loop as usual, and enter Overdub mode using any of the previously
described methods
• With your overdub in progress, when you’re finished overdubbing, press and hold the
Tap switch - your loop will be playing back but not recording
• To stop playback, lift your foot off the Tap switch - your loop will stop immediately
Foot Control
6•1
FBV Options
If you have an FBV Shortboard or Longboard, all the standard FBV functions will control
the Spider IV as expected, including Tuner, A B C D Preset select, Bank Up & Down,
Mod, Delay, Boost, Reverb and Tap Tempo. The Volume or Wah pedal can also be assigned
to control Pitch Glide, and Volume can be assigned a Min and Max value per preset. For
more info see Chapter 3 Editing (pg. 3•3 / 3•4) and Chapter 4 Smart FX (pg. 4•4).
Another important advantage to using an FBV is you can control Quick Loop functions
with the Tap button. This greatly expands the possibilities for recording, overdubbing and
live performances when in Looper Control Mode. See Chapter 5 for more info on how
to use your FBV to record and play back loops in Looper Control Mode.
The FBV Express and FBV Express MK II will also control many Spider IV functions,
including Tuner, Preset Select, Tap Tempo, and a few FX assignments for the pedal.
Foot Control
Foot Control
6•2
Firmware Updates: If you have an FBV Mk II series foot controller, you can now update
your Spider IV’s firmware via the RJ45 connector, should new versions of Flash Memory
be released in the future.
Be sure to check the Line 6 website for the latest info on firmware updates and step by step
instructions for updating your Spider IV. You can also download the FBV Mk II Advanced
Guide, which provides more details on the new FBV Mk II series foot controllers.
We’ve also added new switch functionality to the FBV Express MkII, as described below:
• To enter Tuner Mode, press and hold the currently lit Channel switch
• Press and hold either the A+B or C+D switches to enter Looper Control Mode; the
lit Channel switch will now control the Loop, like the front panel Tap switch
• To exit Looper Control Mode, press the A+B or C+D switches again
• You can exit Looper Control Mode while your loop is playing, change your preset
by pressing any Channel switch, then enter Looper Control Mode again at any time
FBV Shortboard MkII: The new FBV Shortboard Mk II features an extra switch labeled
Function 2. This switch toggles Quick Loop on or off. It makes it easy to enter and exit
Looper Control Mode from the FBV. The Function 2 switch has the same functionality as
the Quick Loop switch on the front panel of your Spider IV. (Function 1 toggles Boost).
Appendix: Amp Models
A•1
Appendix: Amp Models
Here’s a brief reference guide to the 16 Amp Models in your Spider IV:
Clean Red - Based on the clean channel of the Marshall® JCM 900, the first true modern
high gain amp from Marshall. Select Clean Red to get crisp, amazing clean tones, great warm
jazz tones, and all the high-end shimmer you’ll need with a generous amount of bottom end.
Clean Green - We developed this amp model to emulate those late 60s and early 70s
clean tones. We modeled a 1973 Hiwatt® custom 100, then extended the tone control range
and tightened up the low end for that big, ringing sound.
Twang Red - This amp model draws on our analysis of mid 60s Fender® amps, in particular
the blackface ’65 Twin Reverb®. We wanted that classic, glassy high end tone, with enough
snap and bite for some serious chick’n pick’n. Things don’t get too crunchy until you reach
the top range of the Drive knob.
Twang Green - There’s nothing like the sound of the classic Fender® blackface Deluxe
Reverb®, the Holy Grail for many blues, country and roots rockers.
Class A Red - Ready, steady....GO! This amp model is based on a Vox® AC-30 amplifier
with an updated and expanded TBX tone control circuit. We wanted to capture that early
pop rock tone that many British invasion bands are so well known for.
Class A Green - There are some great modern amps out today based on the legendary
tones of yesteryear. Here’s our take on the EL84 circuit of a Divided By 13 9/15 Model.
Blues Red - This amp model is inspired by that famous vintage tweed sound we all know
and love. We evaluated a ’53 Fender® wide panel Deluxe and this is what we came up with.
Blues Green - Blues Green is based on a Gretsch® 6156, a 1960 1x10 combo from the
days when rock’n’roll took the blues to a new level. Add some reverb and a slap echo and
be-bop-alu-la!
* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product
names and descriptions are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model
development. HIWATT® is a registered trademark of Fernandes Company, Ltd. FENDER®, TWIN REVERB® and DELUXE
REVERB® are registered trademarks of Fender Musical Instruments Corporation. VOX® is a registered trademark of Vox R&D Limited.
MARSHALL® is a registered trademark of Marshall Amplification Plc. GRETSCH® is a regustered trademark of Fred W. Gretsch
Enterprises, Ltd.
Appendix: Amp Models
A•2
Crunch Red - This sound was crafted during our studies of the ‘68 Marshall® Plexi 50
Watt, which was used by a number of early metal bands. Hi Gain Red provides a wider range
of tone control settings than the original jumpered Marshall®, allowing you to bump up the
mids even at the highest Drive settings.
Crunch Green - Here’s our inspired interpretation on a 2005 Orange® AD-30TC, a 30
watt, Class A head that oozes pure Brit rock tone, taking 60s crunch to a new level.
Hi Gain Red - Plexi On Fire! This amp model is based on a ‘68 Marshall® Plexi 100
watt with a few added extras; the combination of a Variac and the jumpered input channels
creates that infamous brown sound that will feel like flames are shooting out the input jack!
Hi Gain Green - Hi Gain Green was inspired by the Diezel® Herbert, the 180 watt
Ducati of high performance guitar amplifiers, featuring a huge, tight low end.
Metal Red - For this amp model we took the classic Mesa/Boogie® Dual Rectifier® and
added a few enhancements. The resulting Amp Model has a definite modern flavor. This
monster truck of tone delivers a bottom end that’s big, powerful, tight and fast. Use Metal
Red to get a punchy, high gain Metal sound.
Metal Green - This sound was created to be an aggressive high gain Amp Model with
a unique Mid control that will sweep though an entire spectrum of tone on one knob. With
the Mid knob is set to minimum, the distortion exhibits Fuzz pedal characteristics. When set
to noon, it mimics the creamy modern high gain amp tones. And when turned up to max, it’s
reminiscent of that maxed out Class A sound. Of course there are all the places in-between...
Insane Red - This model is our “dialed in for shredding” version of the Mesa/Boogie®
Dual Rectifier® red channel. It combines the intensity and impact of Metal Red, but delivers
more midrange and teeth for that bone-crushing, brain piercing insane grind.
Insane Green - Our goal with Insane was to provide you with as much input gain
distortion as possible short of complete meltdown. You get an obscene helping of distortion,
while still retaining tonal definition and character. As a result, you get way more bottom
end and cabinet character than other small amps. Crank up the Drive control and prepare
to dominate!
* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names
and descriptions are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.
ORANGE® is a registered trademark of Orange Personal Communications Services Ltd. MARSHALL® is a registered trademark
of Marshall Amplification Plc. MESA/BOOGIE® and RECTIFIER® are registered trademarks of Mesa/Boogie, Ltd. DEIZEL® is a
regustered trademark of Deizel GMBH.
