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The heart of the crafty Trademark 30 is a modified version of the super flexible SansAmp GT2 pedal design. Construct your tone by selecting amp character, gain structure and speaker type, and then use the drive controls and active three-band EQ to nail your sound. The 30-watt output is plenty loud for practice and monitoring but the balanced XLR and 1/4 in. outputs bring the big tones of this little combo to the studio mixer or PA system. Bedroom, rehearsal, studio or club, the Trademark 30 will prove it’s a giant amongst compact combos.

Tech21 TM30 Trademark 30 Guitar Combo Amplifier (30 Watts, 1×10 in.) Features…

Character section to mix and match individual amplifier components and “architecturally” create a rig in seconds.

Special Design 10 in. speaker.

Rich, full-sounding Accutronics 3-spring reverb.

3-band, active tone controls, boost or cut 12dB.

Effect loop.

Headphone output, which doubles as a 1/4 in. direct out.

3 preset speaker styles you can choose with the flick of a switch.

XLR direct output.

Buy Tech21 TM30 Trademark 30 Guitar Combo Amplifier (30 Watts, 1×10 in.)

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I hate to lowball, or mediumball, this thing with only a few other reviews, but I gotta share. I really wanted to like this amp, based on the soundclips at the site and the glowing reviews, but to me this amp, at its worst, sounded noisy, harsh, metallic, (those may be good for some, I suppose) and small. My amp of comparison is an old hybrid combo with a 12AX7 tube in the preamp (that has been to the shop too many times, thus the need for a new amp). Never thought I would be one of those tube purists, but maybe that's what I have unknowingly become.

bacopa (09/08/2005)

Nice !

If you are familiar with the sansamp GT2, then you can easily understand this thing. You could buy a GT2, hardwire a balanced XLR output, a (real)30 watt amp, put it in a box with a 10" speaker, or you could by this thing. It sounds great and it's easy to use. You can get most any classic guitar tone from it and switching between tones is fast, but not instantaneous. It has no provisions for instant channel switching. So if you need to switch sounds instantly on-the-fly for your live gigs, you might want to check out one of the other models. Personally, I find that for most sessions, channel switching is seldom needed, nor is it necessary for live Jazz gigs. Either way, you can solve that problem with an effects pedal or a different amp. I just love this thing. It's light, compact and is plenty loud enough for sessions, Jazz gigs and rehearsals.

All the sansamp / tech 21 stuff I've used works great, and sounds great. This little beauty is no exception.

Insane rock star settings. Yours for the taking.

Instantly access hundreds of killer sounds designed by the world’s most notorious rock stars.

Get your hands on the latest generation of Line 6 modeling technology for the most detailed amp and effect models ever created.

If you crave the sounds you hear on stage or on your favorite albums, Spider III is here to deliver.

With Spider III 75, 120, 150, and HD150, take your pick from 250 artist presets, including settings hand-crafted by:

– 311

– Thursday

– Lacuna Coil

– Hawthorne Heights

– Slipknot

– Ash

– Albert Lee

– Athlete

– John 5

– and many more!

Or if you want to find a sound that you heard on a specific track, choose from another 150 song-based presets including:

– No More Tears

– Enter Sandman

– Stinkfist

– Back In Black

– Bark at the Moon

– and many more!

New to the Spider III is a huge range of killer mid-gain guitar tones. A critical advancement was made to the sound and feel of the Spider III line when their discerning panel of artists focused in on the venerable “mid-gain” range of tone to deliver the complex, layered and dynamic amp tone we all appreciate from classic and boutique amps.

Plug in and separate yourself from the posers.

Spider III 120

Spider III delivers detailed amp models based on some of the greatest guitar sounds ever created. To keep these sounds authentic, Line 6 kidnapped some of Line 6’s favorite artists to dial in each amp model. Now you can rule the stage with the Insane model with its truly massive gain or explore your sensitive side in the studio with the Clean model. It’s all up to you.

Line6 Spider III 120 Stereo Guitar Combo Amplifier (2×60 Watts, 2×10 in.) Features…

12 Custom Amp Models from Clean to Insane

7 Smart Control FX (up to 3 simultaneous) including Tape Echo, Sweep Echo, Standard Delay (all with Tap Tempo) Chorus/Flanger, Phaser, Tremolo, and Reverb

250 artist-created presets

150 song-based presets

Plus 36 user programmable presets

Built-in front panel tuner

2 x 10 in. Custom Celestion speakers

120 watts stereo (60W x 2)

Amp Models

Clean

Red LED — Select this Amp Model and adjust the tone controls 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.

Glassy

Green LED — Line 6 developed this Amp Model to emulate those late 60’s and early 70’s clean tones. It started off as an Amp Model based on* a 1973 Hiwatt Custom 100. Line 6 extended the tone control range and tightened up the low end.

Twang

Red LED — This Amp Model draws on* Line 6’s analysis of mid 60’s Fender amps, including the blackface ‘65 Twin Reverb and blackface ‘64 Deluxe Reverb. Line 6 wanted an Amp Model that has that classic glassy high end tone, with some snap and bite.

Twin Twang

Green LED — This Amp Model is based on* a number of vintage tweed amps. Line 6 evaluated a ‘53 Fender tweed Deluxe Reverb, ‘58 Fender tweed Bassman and a ‘60 Gibson Explorer to create a swingin’ Rockabilly tone.

Blues

Red LED – Based on* a mix of a ‘65 Marshall JTM-45, a ‘58 Fender Bassman, a ‘63 Fender Vibroverb and a Supro, this Amp Model slides between gritty swamp-infected cleans to syrupy smooth, walloping drive tones.

Class A

Green LED — This Amp Model is based on* a fawn Vox AC-30 amplifier with an updated and expanded tone control circuit. Line 6 wanted to capture that early British pop rock tone that the Beatles and the Stones are so well known for.

Crunch

Red LED — This sound was crafted during Line 6’s studies* of the ‘68 Marshall Plexi 50 Watt. This type of Marshall amp was used by a number of early metal bands. Crunch provides a wider range of tone control settings than the original Marshall amp had.

On Fire

Green LED — This Amp Model is based on* a ?68 Marshall Plexi 100 watt with a few added extras; The combination of a Variac and the jumped input channels creates that infamous brown sound.

Metal

Red LED — This Amp Model is based on* the Mesa/Boogie Dual Rectifier. Use this Amp Model to get a tight and punchy, high gain Metal sound.

Spinal Puppet

Green LED — 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. The Mid knob for this Amp 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 mimics the creamy modern high gain amp tones. And when the Mid knob is turned up to max, it’s very much reminiscent of that Class A sound.

Insane

Red LED — This model is Line 6’s “dialed in for shredding” version based on* 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.

80s Solo

Green LED — Line 6’s 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.

Effects

A great amp isn’t the only part of a great guitar sound. With Smart Control FX, an exclusive Line 6 feature that automatically dials in different effect parameters, you spend more time playing and less time tweaking. Simply find the effect that you want, turn the knob to your desired intensity, and you’re done. You can even use multiple effects at the same if you wanna get really crazy.

Effects Models (Up to 3 effects simultaneous):

– Phaser

– Chorus/Flanger

– Tremolo

– Sweep Echo

– Tape Echo

– Reverb

Ins & Outs

When you’re playing with your band on stage just drag the Spider III on stage and crank it up. When it comes time to record, use the headphone/direct out and plug it straight into the mixing board for world-class POD 2.0 direct tone used in pro studios and stages everywhere! You can also use the same out with headphones for practicing in your bedroom. Want to play along with your favorite songs? Plug into the CD/MP3 input and you’re good to go.

* 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.

Buy Line6 Spider III 120 Stereo Guitar Combo Amplifier (2×60 Watts, 2×10 in.)

"Line 6 doesn't work for me."

I will not consider Line 6 amps in the future.

No good value if it can't be used for it's intended purpose.

After powering up perhaps to 1/4 way volume with some of the clean presets I was struck by the awful build quality and rattling of the cabinet and speakers. Absolute junk. Speakers were tight as they would go without splitting the MDF that is simply glued together. Perhaps they should put 2 x 5" speakers in here and it may hold together.

They seem to e mail back quite quickly.

a customer from hotmail.com (8/22/2008)

"Best Amp Out There"

I didn't want to buy it just because it sounded like it was a good amp, I also liked the color, and the way its made. The lights were cool looking when I turned it on for the first time. the color is perfect for performances. I only like dark colored amps. Not blue or white or ect.

The price is worth buying it. For everything it can do is worth the money.

It is made really well. It is dependable. You don't have to worry about it coming apart or anything, but one thing you have to keep an eye on is how you handle it when on the road. The bumps on the road could do damage inside it, because it is all computerised inside.

Overall this amp is the best I have ever played through. I may upgrade to the 150 watt amp. But for right now I am going to keep this one for quite a while. Everything about it is awesome. If thuis amp was lost or stolen I would buy the same one again. Before I bought it I wish I knew what all it could do. Really the only thing I don't like about it is that its a little heavy, but that doesn't bother me. I LOVE IT!! I DEFINETLY RECOMMEND IT!!!

a customer from frontiernet.net (7/25/2008)

With a name as descriptive and dead-on accurate as Tone Blaster Xtreme, you almost don’t need to check the features. (But you should anyway). Ibanez’s all-new line of guitar amps completely delivers the full metal goods and more.

Ibanez TBX65R Tone Blaster X Guitar Combo Amplifier (65 Watts, 1×12 in.) Features…

Dimensions: 19.5 in. W x 17.8 in. H x 10.1 in. D

Weight: 42 lbs.

Buy Ibanez TBX65R Tone Blaster X Guitar Combo Amplifier (65 Watts, 1×12 in.)

Introducing the new Classic Plus range of all-tube amplifiers from Vox. This EL34-powered line-up marries the classic Vox tone and chime of rock and roll legend with a versatile high-gain channel that goes beyond anything in Vox’s 50 year history and into all-new Vox sonic territory. With the new AC50CP2 50-Watt combo, the Classic Plus range delivers amps that do it all — from the ’50s to tomorrow. Sound big? You bet. What do 50 years of classic Vox sonic history sound like? Play one.

2 Channels, Endless Possibilities

The Classic Plus is a channel-switching valve pre and power-amp guitar amplifier that can produce many flavors of tone, from pristine clean to impressive high-gains, and all points between. The 2 channels have a variety of wide-ranging controls to help you create the sound textures that you desire.

Channel 1 covers classic Vox AC30 tones, from sparkling clean to raunchy overdrive. The EQ on this channel is of the interactive passive format that is historic to Vox Top Boost amplifiers and boasts the addition of the famous Tone Cut control, which musically rolls off high end as it is turned up.

Channel 2 picks up where Channel 1 leaves off, delivering everything from modern blues and classic rock tones all the way to high gain classic metal sounds and fluid lead tones. While Channel 2’s EQ controls are also of the interactive passive format, they are centered on different frequencies to enhance the higher gain capabilities of Channel 2. The Channel 2 Bright Switch brings in an extra capacitor (switch down) across the Gain control to boost the high-mid and upper frequencies and is particularly effective on lower gain settings. The Bright Switch is great for giving extra bite and clarity to muddy sounding humbuckers. The Fat Switch adds extra gain, and focuses the mid range of the guitar and amp, which helps produce a “singing” tone when playing lead lines.

The Presence Control circuit is another unique feature to the AC range. It combines the traditional active power amp feedback circuit with a passive circuit within Channel 2’s preamp. This not only focuses the Presence boost, but, if you turn the control down, it will also introduce a high frequency cut filter that can be used to de-fuzz the preamp distortion, making it less aggressive and sweeter. Since the channels of the Classic Plus are totally independent, you do not need to compromise to achieve your desired tonal palette. It’s almost like being able to mix and match two completely different amplifiers!

Total, Tonal Control

The Classic Plus range is packed with features and controls that meld the best of Vox’s history with modern conveniences. The Classic Plus features a long spring, high-quality Spring Reverb with individual, foot-switchable level control for each channel, plus series FX looping with selectable level control and bypass switching. The Bypass slide switch will either engage the loop (switch On) or disconnect the effects loop circuitry from the rest of the amplifier (switch Off). With the Loop switch in the Off position, the Send jack socket is still operational and can therefore be used to send the signal to another device such as a tuner or slave amplifier. The Loop Level switch allows the loop to used at 2 different signal levels (approximately +4dBV (high) and -10dBV (low)). This will enable a wide range of devices to be connected to the amplifier. Channel switching and on/off reverb control is managed with the supplied VF002 dual footswitch.

Go Direct

The Classic Plus range features extensive direct recording and line out capabilities from both balanced XLR and unbalanced 1/4 in. outputs with rotary level control and ground lift switching. To enable great sounding connection into PA or recording equipment, the DI also features a speaker emulating Low Pass Filter (LPF) network. This can be switched into or out of circuit as required. Another great plus of the DI circuit is that it is post the power amplifier’s phase inverter valve, and before the Output Master Volume control. No matter how loud or quiet your stage level is, you have totally independent control of the DI output level. You can even turn the Master Volume totally off and use the DI output for “silent” recording for those midnight sessions.

Power Trio

The Classic Plus range is comprised of the 50-Watt AC50CPH head (4 x 12AX7/ECC83, 2 x EL34B), the 100-Watt AC100CPH head (4 x 12AX7/ECC83, 4 x EL34B), and the 50-Watt AC50CP2 combo (4 x 12AX7/ECC83, 2 x EL34B). The AC50CP2 comes loaded with 2 Vox original design 12 in. speakers voiced for maximum performance with the Classic Plus. Pair either of the heads with Vox’s V412BN cabinet, and you’ve got an unbeatable tone machine. No matter how you play, there’s a Classic Plus for you. And with their combination of unmatched tone, flexibility and ultra-cool looks, the Classic Plus range is at home on any size stage. Plug in and hear them roar!

Vox AC50CP2 Classic Plus Guitar Combo Amplifier (50 Watts, 2×12 in.) Features…

Power Output: 50 watts RMS into selectable 8 or 16-ohm loudspeaker load

Loudspeaker complement: 2 off Vox/Wharfedale GSH1230 8-ohm loudspeakers wired in series for a total of 16-ohm load

Valve complement: 4 x 12AX7/ECC83 (V1:Low microphonic) and 2 x EL34B

Dimensions (W x H x D): 702 x 265 x 540 mm / 27.6 x 10.4 x 21.3 in.

Weight: 35 kg / 77.2 lbs.

Included items: Power cable, VF002 footswitch

Buy Vox AC50CP2 Classic Plus Guitar Combo Amplifier (50 Watts, 2×12 in.)

Classic vox tone that packs a punch

Just bought this amp a few days ago…so far i have nothing to complain about. im running thru a prs ce model and it really sings. on channel 1, the cleans are smooth…would probably sound great thru a strat. this channel especially remeinds of a classic ac30. nice chimey sound if you turn up the gain a bit. if you pair it with a good OD pedal you can get some great lead sounds. Channel 2: I honestly can't say im thrilled with this channel. its cool i guess and might be useful to some…but personally i think i will probably just stay with channel one. It is def. capable of more gain than channel one. all in all im really happy with this amp. reverb is great too.

almightymike1441 from Los Angeles (Feb 12, 2008)

Finally…

Classic AC30 chime with a flamethrower drive channel and 50W of EL34 joy. Incredibly flexible tone shaping and an effects loop. The Wharfdale speakers actually really sing with the extra 20W over an AC30. Master volume keeps it reasonable, but it shines when wide open. I use a 72 Tele Deluxe, Hagstrom Deluxe F, and a 60s Fender Strat. I usually run a boost, but hardly ever a drive pedal. My favorite tone so far is with the gain on Channel 1 at about 9 o'clock, EQ mostly flat with slight boost to the treble and bass, tone cut at 9 o'clock, and both channel volume and master volume cranked… delightful. Actually the same settings on Channel 2 are great for a thick but defined crunch. No regrets here.

Lad Goesl from Texas (Jul 12, 2007)

 MIDI Continuous Controller Reference

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 Vetta II User’s Guide

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Vetta II is the latest evolution of Line 6’s flagship Vetta amp family. Vetta II contains a complete arsenal of amps, stompboxes, and studio-quality effects ready to be instantly wired up and tweaked to perfection at the touch of a button. Vetta II delivers unbelievably authentic amp models, based on a world-class collection of vintage and modern amps, stompbox and studio effects, digital I/O, and Variax connectivity. Vetta II is loaded with a pair of custom 12″ Celestion speakers driven by a 150-watt stereo power section, ideal for the most demanding performance situations. This is normally used in stereo (75 watts per speaker), but can also be split to provide 75 watts of one channel to both internal speakers while feeding the other channel’s 75 watts into an external speaker cabinet. The power amplifier design has substantial peak power capability, which provides for lots of headroom and significant transient blink factor. Vetta II is the perfect recording rig with its independent XLR balanced direct outs, AES/EBU and S/PDIF 24-bit/96KHz digital inputs and outputs and A.I.R. mic/speaker simulation. In addition, a direct digital Variax Modeling Guitar input seamlessly integrates Variax’s collection of guitars with Vetta II’s collection of amps, cabs, and effects. Add an FBV pedal board, and this entire setup can be transformed into virtually any rig with just the press of a footswitch.

Vetta II – Unlimited Possibilities

Features Meticulously crafted modern and classic amp models

Over 50 stompbox effects models, including filter and synth effects

24/bit/96kHz digital recording via AES/EBU or S/PDIF

Digitally connects to Variax modeling guitar

Saves Variax and Vetta setting at the touch of a footswitch

Vetta II contains the entire Line 6 collection of meticulously crafted amp models, including more than two-dozen exclusive Line 6 signature tones. Line 6 signature tones are unobtainable on any other amp and include: Purge, Octone, Spinal Puppet, Smash, among others. Any two amp models can be used simultaneously, providing for endless combinations of amps and settings with exacting tonal detail.

Vetta II also contains over 100 models of speaker cabinets, stompbox effects, studio effects, and microphones. Vetta II includes models of vintage and modern effects, as well as many Line 6 original creations. Some of these are of the stompbox variety, some are studio-style post effects, and some can fit into either group. The categories of effects in Vetta II include Distortion, Overdrive, Compressors, Chorus, Flangers, Phasers, Tremolos, Pitch Shifters, Filter effects, Synthesizer effects, Digital Delays, Analog Delays, Tape and Tube-based Delays, Rotary Speakers, EQs, Spring, Room, Plate, Hall, and effect Reverbs, and quite a few that defy definition.

Two Amps at Once

One of the revolutionary features of Vetta II is its ability to provide two totally independent amp models at the same time. You have complete control over where they’re placed in the stereo field. You can pick any two amps and pan them hard left and hard right, send one amp to a Vetta external cab, or layer them right on top of each other. Just about anything you can think up, Vetta II can do it. For an even bigger sound, kick on the Double Tracker and now it sounds like you’re in the studio ‘double tracking’ your guitar part. Once you experience two amps at once, you may have a hard time going back to just one. We did. Now, take a look at the over 70 amps you can double-up and party with.

Vetta II Amplifier Models

1. Bypass (no amp)

2. Line 6 Tube Preamp

3. Line 6 Variax Acous

4. Line 6 Piezacustic1

5. Line 6 Piezacustic2

6. Line 6 Clean

7. Line 6 Super Clean

8. Line 6 Sparkle

9. Line 6 Super Sparkl

10. Line 6 Sparkle Clean

11. Line 6 Twang

12. Line 6 Bayou

13. Line 6 Class A

14. Line 6 JTS-45

15. Line 6 Mood

16. Line 6 Purge

17. Line 6 Crunch

18. Line 6 Throttle

19. Line 6 Chemical X

20. Line 6 Smash

21. Line 6 Spinal Puppet

22. Line 6 Fuzz

23. Line 6 Chnk Chnk

24. Line 6 Big Bottom

25. Line 6 Treadplate

26. Line 6 Lunatic

27. Line 6 Agro

28. Line 6 Insane

29. Line 6 Octone

30. ‘02 Bomber X-TC: Based on Bogner ‘02 Ecstasy

31. ‘02 Bomber Uber: Based on Bogner ‘02 Uberschall

32. ‘01 Zen Master: Based on Budda ?01 Twinmaster

33. ‘03 Connor 50: Based on Conford ‘03 mk50h

34. ‘03 Deity Crunch: Based on Diezel ‘03 VH4-Crunch

35. ‘03 Deity Lead: Based on Deizel ‘03 VH-4-Lead

36. ‘03 Deity’s Son: Based on Diezel ‘03 Herbert

37. ‘02 ANGEL P-Ball: Based on ENGL ‘02 Powerball

38. ‘53 Fn Tweed Small Tweed: Based on Fender ?53 Tweed Deluxe

39. ‘58 Fn Tweed B-Man: Based on Fender ‘58 Bassman

40. ‘61 Fn Tweed Tiny Tweed: Based on Fender ‘61 Tweed Champ

41. ‘63 Fn Black Vib Verb: Based on Fender ‘63 Vibroverb

42. ‘64 Fn Black Lux: Based on Fender ‘64 Deluxe

43. ‘65 Fn Black Double: Based on Fender ‘65 Twin Reverb

44. ‘67 Fn Black Dual Show: Based on Fender ‘67 Dual Showman Head

45. ‘72 Fn Silver Bass Head: Based on Fender ‘72 Bassman Head

46. ‘96 Fn Mini Double: Based on Fender ‘96 Mini Twin

47. ‘60 Gibtone Explorer: Based on Gibson ‘60 GA-18 Explorer

48. ‘60 G-Brand Two-Tone: Based on Gretsch ‘60 6156

49. ‘73 Hiway 100 Custom: Based on Hiwatt ‘73 Custom 100

50. ‘65 Brit Plexi J-45: Based on Marshall ‘65 JTM-45

51. ‘68 Brit Plexi Lead 100: Based on Marshall ‘68 Super Lead

52. ‘68 Brit Plexi Bass 100: Based on Marshall ‘68 Super Bass

53. ‘68 Brit Plexi Jump Lead: Based on Marshall ‘68 S Ld (jumpered)

54. ‘68 Brit Plexi Variac: Based on Marshall ‘68 Variac Plexi

55. ‘69 Brit Plexi Lead 200: Based on Marshall ‘69 Major

56. ‘87 Brit Gain J-800: Based on Marshall ‘87 JCM 800

57. ‘87 Brit Gain Silver J: Based on Marshall ‘87 Silver Jubilee

58. ‘68 Brit Gain JM Pre: Based on Marshall ‘96 JMP-1

59. ‘92 Brit Gain J-900 Clean: Based on Marshall ‘92 JCM-900-Clean

60. ‘92 Brit Gain J-900 Dist: Based on Marshall ‘92 JCM-900-Dist

61. ‘03 Brit Gain J-2000: Based on Marshall ‘03 JCM 2000

62. ‘96 Match Chief: Based on Matchless ‘96 Chieftain

63. ‘93 Match D-30: Based on Matchless ‘93 DC-30

64. ‘85 California Crunch: Based on Mesa Boogie ‘85 Mark IIC+

65. ‘01 California Treadplate: Based on Mesa Boogie ‘01 Dual Rectifier

66. ‘01 CaliforniaDiamondPlate: Based on Mesa Boogie ‘01 Triple Rectifier

67. ‘02 Missippi Criminal: Based on Peavey ‘02 5150 II

68. ‘87 Jazz Clean 120: Based on Roland ‘87 Jazz Chorus

69. ‘67 Wishbook Silver 12: Based on Silvertone ‘67 Twin Twelve

70. ‘93 Hi Gain Solo 100: Based on Soldano ‘93 SLO

71. ‘63 Super O Pawnshop: Based on Supro ’60s S6616

72. ‘62 Super O Thunder: Based on Supro ‘62 Thunderbolt

73. ‘61 Class A C-15: Based on Vox ‘61 AC-15

74. ‘67 Class A C-30 TB: Based on Vox ‘67 AC-30 Top Boost

Effects and the Kitchen Sink

From dirty stompbox distortion to studio-quality reverb lushness, Vetta II gives you models of the greatest effects in guitar history. Vetta II gives you the ability to have ALL of these effects on at the same time: Any three of 53 stompbox models, a wah pedal, a volume pedal, a noise gate, a studio-grade compressor, two types of tremolo, graphic or parametric post EQ, a choice of 21 modulation effects, a choice of 14 delay effects, and any one of 16 different reverb types.

But, what fun are a bunch of effects if you can’t hook them up in strange ways? Well, Vetta II has more routing options than even we can keep track of. You can even LOCK all of Vetta II’s modulation and delay effects to the Tap Tempo function. Now you can change the tempo of multiple delays, plus chorus and tremolo speeds all with a single FBV footswitch. But that’s not all. Here’s a quick start guide to some of Vetta II’s routing madness.

Stompboxes

Vetta II gives you any three of 53 stompboxes to go mad with at once. They can all be different, they can all be the same, and they can be ‘wired’ in any configuration you please, into either or both amps. What if you put a delay into a flanger and then into a fuzz? How about three different kinds of delay? Be different. We dare ya!

In-Line Effects

The Tremolo, Gate, Comp(ressor) and EQ buttons make up the In-Line effects group. Gate comes before all of the stompboxes while the rest come right after the amp/cab.

Routable Post Effects

The Loop, Pitch Shift, Mod, Delay, and Reverb are all part of the post studio-type effects. Just like the stompboxes always stay before the amp, these effects are always after the amp/cab. You can change the order of the post effects, the signal flow (series, parallel or chain) and even their physical output assignment. If this is the stuff you crave, Vetta II’s manual is practically a history lesson on how effects routing works.

Vetta II Distortion Stompboxes

1. Facial Fuzz: Based on Arbiter Fuzz Face

2. Tube Drive: Based on Chandler Tube Driver

3. Fuzz Pi: Based on Electro-Harmonix Big Muff Pi

4. Screamer: Based on Ibanez TS-808 Tube Screamer

5. Octave Fuzz: Based on Tycobrahe Octavia

6. Classic Dist: Based on ProCo Rat

7. Metal Z: Based on Boss MT-2 Metal Zone

8. L6 Boost + EQ: Based on Line 6 Gain Boost

Vetta II Modulation Stompboxes

1. Jet Flanger: Based on A/DA Flanger

2. Analog Chorus: Based on Boss CE-1 Chorus Ensemble

3. Phaser: Based on MXR Phase 90

4. U-Vibe: Based on Univox Uni-Vibe

5. Lumpy Phase: Based on Line 6 lumpy phase

6. Sine Chorus: Based on Line 6 Sine Chorus

7. Square Chorus: Based on Line 6 Square Chorus

8. Expo Flange: Based on Line 6 Exponential Flange

9. Random Chorus: Based on Line 6 Random Chorus

10. Analog Square: Based on Square CE-1 Chorus

11. POD Purple X: Based on POD Purple X

12. Random S&H: Based on Line 6 Sample and Hold

13. Tape Eater: Based on Line 6 Tape Eater

14. Opto Trem: Based on Fender ‘65 Twin Tremolo

15. Bias Trem: Based on Vox ‘67 AC-30 Tremolo

Vetta II Delay Stompboxes

1. Analog Echo: Based on Boss DM-2 Analog Delay

2. Analog w/Mod: Based on Electro-Harmonix Deluxe Memory Man

3. Tube Echo: Based on Maestro EP-1 Echoplex

4. Tape Echo: Based on Maestro EP-3 Echoplex

5. Multi-head: Based on Roland RE-101 Space Echo

6. Echo Platter: Based on Binson EchoRec

7. Digital: Based on Line 6 Digital Delay

8. Reverse Delay: Based on Line 6 Reverse Delay

9. Low Rez: Based on Line 6 Low Rez Delay

10. Phaze Eko: Based on Line 6 Phaze Eko

11. Sweep Echo: Based on Line 6 Sweep echo

12. Bubble Echo: Based on Line 6 Bubble Echo

Vetta II Dynamic Stompboxes

1. Blue Comp: Based on Boss CS-1 Compression Sustainer

2. Blue Comp Treb: Based on Boss CS-1 w/ treble switch on

3. Red Comp: Based on MXR Dynacomp

4. Vetta Comp: Based on Vetta Comp

5. Vetta Juice: Based on Vetta Juice

6. Auto Swell: Based on Line 6 Auto Swell

Vetta II Synth/Filter Stompboxes

1. Synth Lead: Based on Moog Lead

2. Synth String: Based on ARP/Solina Strings

3. Synth Analog: Based on Moog and ARP

4. Synth FX: Based on Line 6 Synth FX

5. Buzz Wave: Based on Line 6 Buzz Wave

6. Rez Synth: Based on Line 6 Rez Synth

7. Saturn 5 Ring M: Based on Line 6 Ring Modulator

8. Double Bass: Based on Line 6 Double Bass

9. Synth Harmony: Based on Line 6 Synth Harmony

10. Auto Wah: Based on Mutron III Up

11. Dingo-Tron: Based on Mutron III Down

12. Sparkle Sweep: Based on Line 6 Filter Sweep

Vetta II Tremolo Post Effect Models

1. Opto Trem: Based on Fender ‘65 Twin Tremolo

2. Bias Trem: Based on Vox ‘67 AC-30 Tremolo

Vetta II Gate/Post Compressor Effect Models

Noise Gate

Studio Compressor per amp

Vetta II Post EQ Effect Models

1. Graphic EQ: Based on 4 Band Graphic EQ/Amp

2. 4 Band EQ: Based on 4 Band Parametric EQ/Amp

Vetta II Pitch Shift Modulation Post Effect Models
Dual Voice Pitch Shifter

1. Jet Flanger: Based on A/DA Flanger

2. Analog Chorus: Based on Boss CE-1 Chorus Ensemble

3. Phaser: Based on MXR Phase 90

4. U-Vibe: Based on Univox Uni-Vibe

5. Lumpy Phase: Based on Line 6 Lumpy Phase

6. Sine Chorus: Based on Line 6 Sine Chorus

7. Square Chorus: Based on Line 6 Square Chorus

8. Expo Flange: Based on Line 6 Exponential Flange

9. Random Chorus: Based on Line 6 Random Chorus

10. Analog Square: Based on Square CE-1 Chorus

11. POD Purple X: Based on POD Purple X

12. Random S&H: Based on Line 6 Sample and Hold

13. Tape Eater: Based on Line 6 Tape Eater

14. RotaryDrum+Horn: Based on Leslie 145 Rotary Speaker

15. RotaryDrum: Based on Fender Vibratone

16. Stereo Chorus: Based on Line 6 Stereo Chorus

17. Stereo Flange: Based on Line 6 Stereo Flange

18. Hi-Talk: Based on Line 6 Hi Talk

19. L6 Sweeper: Based on Line 6 Sweeper

20. Warble-Matic: Based on Line 6 Warble-Matic

21. Auto Pan: Based on Line 6 Auto Panner

Vetta II Delay Post Effect Models

1. Analog Echo: Based on Boss DM-2 Analog Delay

2. Analog w/Mod: Based on Electro-Harmonix Deluxe Memory Man

3. Tube Echo: Based on Maestro EP-1 Echoplex

4. Tape Echo: Based on Maestro EP-3 Echoplex

5. Multi-head: Based on Roland RE-101 Space Echo

6. Echo Platter: Based on Binson EchoRec

7. Digital: Based on Line 6 Digital Delay

8. Reverse Delay: Based on Line 6 Reverse Delay

9. Low Rez: Based on Line 6 Low Rez Delay

10. Phaze Eko: Based on Line 6 Phaze Eko

11. Sweep Echo: Based on Line 6 Sweep echo

12. Bubble Echo: Based on Line 6 Bubble Echo

13. Ping Pong Delay: Based on Line 6 Ping Pong Delay

14. Stereo Delay: Based on Line 6 Stereo Delay

Vetta II Reverb Post Effect Models

1. Lux Spring: Based on Fender ‘64 Deluxe Spring

2. Std Spring: Based on Fender ‘65 Twin Reverb Spring

3. King Spring: Based on Line 6 Spring

4. Small Room: Based on Line 6 Small Room

5. Large Room: Based on Line 6 Large Room

6. Studio 6: Based on Line 6 Studio

7. Tiled Room: Based on Line 6 Tiled Room

8. Memphis Plate: Based on Line 6 Memphis Plate

9. Foil Plate: Based on Line 6 Foil Plate

10. Blue Plate: Based on Line 6 Blue Plate

11. Bingo Hall: Based on Line 6 Bingo Hall

12. Concert Hall: Based on Line 6 Concert Hall

13. War Memorial: Based on Line 6 War Memorial

14. Hangar 18: Based on Line 6 Hangar 18

15. Propellerverb: Based on Line 6 Propellerverb

16. Radioverb: Based on Line 6 Radioverb

Digital/Analog Effects Loop

While we’ve tried to anticipate all of your effects needs, you may still want to use other effects with Vetta II. Just like any normal guitar amp, you can run your old stompboxes right in front of Vetta II. If you’ve got rack gear, you can use the analog (1/4-inch TRS) or digital (S/PDIF or AES/EBU) connections on Vetta II’s back panel. The Effects Loop is switchable (from the front panel or the FBV controller), the on/off state is remembered in each preset, and you can even route the loop in series or parallel.

A.I.R. II

Vetta II is the most versatile recording amplifier in the world. The direct outputs of Vetta II include Line 6’s A.I.R. II microphone and cabinet technology. A.I.R. II allows you to choose from 3 different classic mic models, each in two different positions. The mic settings can also be saved into each preset of Vetta II.

Vetta II Cabinet Models

1. No Cab: No Cabinet Model

2. 1×6 Super O:Based on 1×6x9 Supro ’60s S6616

3. 1×8 Tweed: Based on 1×8 Fender ‘61 Tweed Champ

4. 1×10 Gibtone: Based on 1×10 Gibson ‘59 GA-18 Explorer

5. 1×10 G-Brand: Based on 1×10 Gretsch ‘60 6156

6. 1×12 Tweed: Based on 1×12 Fender ‘53 Tweed Deluxe

7. 1×12 Blackface: Based on 1×12 Fender ‘64 Deluxe

8. 1×12 Line 6: Based on 1×12 Line 6 Cabinet

9. 1×12 California: Based on 1×12 Mesa Boogie ‘85 Mark IIC+

10. 1×12 Class A: Based on 1×12 Vox ‘61 AC-15

11. 1×15 Thunder: Based on 1×15 Supro ‘62 Thunderbolt

12. 2×2 Mini T: Based on 2×2 Fender ‘96 Mini Twin

13. 2×12 Zen Master: Based on 2×12 Budda ?01 Twinmaster

14. 2×12 Blackface: Based on 2×12 Fender ‘65 Twin Reverb

15. 2×12 Line 6: Based on 2×12 Line 6 Cabinet

16. 2×12 Match: Based on 2×12 Matchless ‘96 Chieftain

17. 2×12 Jazz: Based on 2×12 Roland ‘87 Jazz Chorus

18. 2×12 Wishbook: Based on 2×12 Silvertone ‘67 Twin Twelve

19. 2×12 Class A: Based on 2×12 Vox ‘67 AC-30 Top Boost

20. 4×10 Tweed: Based on 4×10 Fender ‘58 Bassman

21. 4×12 Hiway: Based on 4×12 Hiwatt ‘73 Custom 100 Cabinet

22. 4×12 Line 6: Based on 4×12 Line 6 Cabinet

23. 4×12 Green 20’s: Based on 4×12 Marshall ‘67 Cab w/ Celestion Greenbacks

24. 4×12 Green 25’s: Based on 4×12 Marshall ‘68 Cab w/ Celestion Greenbacks

25. 4×12 Brit T75: Based on 4×12 Marshall Cab with Celestion G12-T75’s

26. 4×12 Brit V30’s: Based on 4×12 Marshall Cab w/ Celestion Vintage 30’s

27. 4×12 Treadplate: Based on 4×12 Mesa Boogie ‘01 Cabinet

28. 4×12 HiGn SOLO: Based on 4×12 Soldano ‘93 Cabinet

Vetta II A.I.R. II Microphone Models

1. SM-57: Based on Shure SM57 On Axis

2. SM-57 Off Axis: Based on Shure SM57 Off Axis

3. MD-421: Based on Sennheiser MD 421 On Axis

4. MD-421 Off Axis: Based on Sennheiser MD 421 Off Axis

5. U-67: Based on Neumann U 67 On Axis

6. U-67 Off Axis: Based on Neumann U 67 Off Axis

7. Off: No DI Mic or Cab Sim

Variax and Vetta II

Vetta II includes an ultra-rugged, locking Variax cable that is used to connect your Variax to Vetta II. This one cable (based on industry-standard CAT 5 Ethernet) provides everything needed to make the most complete guitar system ever created. The Vetta II now provides power, a direct digital audio connection, and bi-directional control of the Variax.

Each Vetta II preset can store the guitar model, pickup selection and exact position of the tone control. Plus, Vetta II can send the signal to the speakers, to the direct XLR and 1/4-inch outputs, or both. What does all of this mean? Now you can instantly switch from a single-coil guitar in the neck position with a fuzz and tape echo running into a head and 4×12 cabinet, to a carefully miked acoustic coming through just the P.A. system. Now imagine what you could do at your next session or gig!

Line6 Vetta II 212 Guitar Combo Amplifier (150 Watts, 2×12 in.) Features…

400 watt RMS, two channel, fan cooled amplifier.

12″ Celestion (100 watts), 12″ high-excursion woofer (300 watts)

Response to 45Hz (-10dB)

Weight – 70lbs

Dimensions – 29.9″ W x 19.9″ H x 14.1″ D

Buy Line6 Vetta II 212 Guitar Combo Amplifier (150 Watts, 2×12 in.)

 MIDI Continuous Controller Reference

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 Vetta II User’s Guide

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"Not just an amp but the most versatile guitar tone tool in the world."

From a technical and tone seeking perspective, this is the sexiest amp on the market.

This is a "no brainer". Just add up how much it would cost to have 2 of every amp and effect that the Vetta II produces using its double rigging ability. This amp is the best value for money imaginable.

Finish and fit are perfect. This is a great looking amp.

I have dealt with Line 6 for some technical support for one of their software products and they are the friendliest and most helpful people out there. Throughout 32 years of using music gear, I have not found anyone as polite and helpful at the team at Line 6.

Submitted: 10/5/2007

With a little bit of playing around it can sound like any amp you want… I play a variety of guitars through it. PRS Customs, PRS Singlecutaway, Line 6Variax..Great distortion, super cleans, with the 2.5 upgrade even has choices for Wah pedals " if you have a short or long board ", built in noise gate….. With the Variax a whole new world opens up… To pull up a patch and have 440 tuning with clean and be able to hit a switch and drop your tunning down to Drop D and have a heavy distortion and hit a switch again and go to an open D tuning… What else can do that…

Has every sound possible for every gig you play…. Has every possible amp and more built in. Every cabinet make and model you could desire. Every stomp box or effect you need. Even has different mic's for DI outs to a board..

Been touring with it for 4 "Hard" years, never had one single problem….. Any issues I've had "typically software updates… line 6 edit, workbench, riffworks" Line 6 is almost instant with there email… Very good service..

The best amp I have every owned… I've owned Dual Rec's, Marshalls, Laney,just incredible…….

Thanks Line 6

Hands down the best bang for the buck… Guys, if you play in a cover band, you know it is impossible to have every sound you need for the 40-50 songs in your arrsenal… This has it!!!!!! Plug and play, nothing else needed…

Jeff Kasper (04/26/2006)

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The Peavey ValveKing Series is a new, all-tube guitar amp line combining boutique features and hot-rodded tones with legendary Peavey reliability. Peavey ValveKing amps feature a patent-pending, variable Class A-A/B control called Texture, which allows sweepable selection between Class A and Class A/B power structures, as well as any combination of the two. With this exclusive feature, guitarists can coax virtually any tone from this tweaked-out amplifier. The amp’s preamp and power sections are powered by 6L6GC and 12AX7 tubes, respectively, and drive specially voiced 12 inch ValveKing loudspeakers (112 and 212 versions only).

Additional standard features include two footswitchable channels with independent, three-band EQ and volume, plus a footswitchable gain/volume boost on the lead channel to provide extra volume for solos. ValveKing amps also feature global resonance, presence and reverb controls, a buffered effects loop and dual speaker jacks in parallel (head and 212 only).

Peavey Valve King 212 Guitar Combo Amplifier (100 Watts, 2×12 in.) Features…

Dimensions: 26.375 in. W x 20.625 in. H x 11.062 in. D (unpacked), 31.125 in. W x 25.75 in. H x 15.5 in. D (packed)

Weight: 74 lbs. (packed), 64.5 lbs. (unpacked)

Footswitch not included.

Buy Peavey Valve King 212 Guitar Combo Amplifier (100 Watts, 2×12 in.)

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fantastic apart from the speakers make the cleans muddy.more distortion that you will ever need.

the speakers bottom out with a lot of bass and give out too much mid. celestion vintage 30's soon i use a guitar with double coil pickups

Very versatile. Can play almost anything

3 band EQ (Bass, Mid, Treble)

Presence + Resonane

Effects loop

2 x 12 inch speakers

3 x JJ 12ax7

4 x RUBY 6l6gc

volume boost and gain boost

built like a tank. the reverb tank was loose only had 2 screws instead of 4

very versatile. VERY LOUD. i dont like the speakers.

james (07/21/2008)

I WONDER WHO'S GONNA PAY 1000$ MORE ANYMORE…

THIS THING IS ALL YOU NEED WHATEVER STYLE YOU PLAY.

INCREDIBLY FAT AND CRISPY CLEANS (THE RESONANCE KNOB IS A SURPRISE TO THE BOTTOM END LOVERS…)

GAIN….SOME SAY THAT IS NOT ENOUGH.

I GUESS THEY ARE USED TO COVER THE NOISE GETTING OUT OF THEIR FINGERS

WITH A CHEAP TRANSISTOR AMP.

ANYWAY,THIS AMP HAS A LOT OF GAIN FOR THEM TOO…

PERFECT FOR ANYTHING.BLUES,ROCK,HARD ROCK,SHREDDING STUFF ETC

IF YOU RE A BLACK METAL PLAYER, YOU LL NEVER FIND WHAT YOU RE LOOKING FOR…

ALL TUBE

4 6L6 – 3 12AX7

CLEAN/DRIVE CHANNEL WITH BOOST

SEPARATE EQ

RESONANCE/PRESENSE

MASTER REVERB

TEXTURE KNOB(NEW PATENT FROM PEAVEY)

6 MONTHS NOW NO PROBLEM OCCURED…

I DEPEND ON PEAVEYS RELIABILITY…

GO BUY IT NOW!!!

BEFORE THEY STOP PRODUCTION….

STEVE (11/01/2007)