Blog Posts

Zelda Main Theme: metalkrapo has put together quite a creative video using the Variax and a POD X3 Live.  It builds slowly in the beginning but the ending is worth the wait.  Complete annotations are provided explaining the gear he used and the process for building the live loops.

If you liked the video, let him know in the comments section here.

Want your video featured on the Line 6 blog?  Post your videos on YouTube with the tag: "line6vidclip".

We'll post our favorites on this blog.

Reamping is a technique that allows you to capture a dry (unprocessed) guitar signal so that later, if you decide you want to change your tone, you can alter the signal processing without having to replay the guitar parts. There are a few ways to reamp guitar tracks. In this article, I will go over two different methods: one using a DI (Direct Insertion) box, and one using a POD Studio interface (UX1, UX2, or UX8 will work).

I don't know about you, but for me, personally, I get red-light syndrome whenever I step foot into a professional recording studio. Producers and engineers just make me nervous. So I usually record dry guitar takes in the comfort of my own home, bring them to the studio, and then run them through one of the nice amps in the studio. Even if you do perform your guitar parts in the studio, it's still a good idea to hang on to the dry signal just in case you want to change the tone later on.

How do you reamp? Like I mentioned, there are a few different ways to achieve reamping. You can use a DI box, which will split the signal without changing the impedance. Send a copy of the signal from the DI box to your amplifier, and one directly into your recording device. (You probably want to mute the track you're sending the dry signal to, because it's not very pleasant sounding.)

Now for the POD Studio method. All POD Studio USB recording interfaces include a version of Ableton® Live Lite and POD Farm™ plug-in. The only other things you will need are a computer, a guitar, a guitar amplifier, and a microphone. Run a cable from your guitar to the guitar input in your POD Studio interface. Open up Ableton Live Lite, or your DAW (Digital Audio Workstation) of choice. Create an audio track and insert an instance of POD Farm plug-in. Record some wicked guitar noodling.

Now disable or remove POD Farm plug-in. Make sure the output of your guitar track is set to one of the analog outs of your POD Studio interface, and run a quarter-inch cable from the interface to your amplifier. Mute the other tracks in your session or route them to a different output (unless you really want to send your whole mix through your amp – who knows, it might sound cool). Set up a microphone in front of the amp and run it into a mic input in the POD Studio interface. MAKE SURE that you're not sending the output of the record-enabled track back out to the amp. Just to be safe, turn down the volumes of the track and the amp. Press play in the DAW. Now gradually turn up the volumes. Remember, ears are a gift. Now hit record and you should be good to go.

Reamping can be done with instruments other than guitar. Vocals, violin, and keyboards can sound really cool through a distorted amplifier.

Have fun!

Nothing will test your meddle (and your gear) like a few months on the road with Creed, Staind, Hoobastank, and Saliva. In a production of that magnitude, there’s no room for error. Matt recounts how he and the boys pulled it off.

By Matt (Like A Storm)

THE CALL

Touring arenas and amphitheatres in the US with Creed was mind-blowing. It was an absolute dream come true for us – a band all the way from Auckland, New Zealand.

When we got the call about the tour, we had only two weeks until our first show in Pittsburgh, PA. We had played our fair share of clubs, but this was a whole new level for us – sharing the stage every night with Creed, and also Staind, Hoobastank, and Saliva.

THE TOUR

The scale of production of the tour was incredible – like nothing I had ever seen before. The sheer number of crew members, the precision with which the show had to run, and of course the thousands of fans watching every night meant that our setup had to be as quick and painless as possible.

With this “throw and go” situation in such a high-pressure environment, the reliability and simplicity of our guitar rigs was a major factor.

THE EASE

This is where our Line 6 gear really came to the party. We didn't have time to troubleshoot countless old cables, untangle pedal boards, or any of the usual pre-gig fun you might enjoy at a club. Our Vetta™ II heads and cabs were rolled onstage, our sound guy took the signal from the direct outs, and we were literally ready to rock. No mics, no hassle.

The amps were given a quick line check from our guitar tech, and then left on standby for the first riff of our opening song, “Chemical Infatuation”. We never even set foot onstage until show time.

Plus, the amps delivered the same kickass tones, every single night – no temperamental knobs or vintage wiring to throw you a curveball mid-set in front of thousands of people.

THE TONE

Initially we were drawn to Line 6 amps because of their monstrous tones and incredible effects, little did we know it would become the secret weapon of our arena shows. Every night we walked out onstage confident in our guitar sounds, and able to focus on the main thing – the show.

Our Vetta II heads and cabs were amazing for this simple and reliable setup. And the onboard effects, powered floorboard, built in tuner, and programmable presets allowed us to have a “one stop shop” no bigger than a standard 4x12 speaker cabinet road-case.

THE END

In the electric and high-pressure environment that is an arena tour, we relied on our Vetta II rigs to deliver night after night. Our show was better every night for having gear that not only gave us monstrous tones and a vast array of effects, but was also reliable and quick to setup.

         Powered by Line 6: Matt on stage with Like A Storm.

Pay no attention to the pedal behind the curtain!  The M9 Stompbox Modeler has been unleashed on the world for a few months now and you've posted some interesting videos showcasing how to put this gizmo to use.

M9 Tutorial: studio1087 does a great job of explaining some of the subtle operation steps that make the M9 as easy to use as a typical stompbox.

Particle Verb. Ambient Guitar Heaven: badbrad demonstrates the sonic bliss encompassed in the particle verb effect.

Ambient Looping Demo: Walking in the footsteps of Brian Eno himself, mynameizbrian conjures up ambient soundscapes...and he apparently had just pulled it out of the box.

How do you use the M9 and other Line 6 gear?

Do you have a unique way of working Line 6 gear into your rig or an otherworldly sound that the community needs to know how to create?  Post your videos on YouTube with the tag: "line6vidclip".

We'll post our favorites from time to time on this blog.

By Loren Gold

When he’s not music-directing Hilary Duff, composing TV soundtracks, or keeping contestants moving on Dancing With The Stars, Los Angeles-based keyboardist Loren Gold is working with the Who for the Super Bowl XLIV halftime show, one of the most anticipated musical events of the year. Loren’s setup isn’t complete without its newest addition, M9 Stompbox Modeler. (See below for a few of his settings.)

For the start of Roger Daltrey’s “Use It Or Lose It Tour,” I added the new M9 Stompbox Modeler to my rig. Working with so many guitarists over the years, you can't help but notice how everyone has at least one Line 6 stompbox pedal in their arsenal. As a keyboardist, I wanted to share in the experience. M9 is a perfect solution, covering all of the effects I need in a single, portable device.

For this tour, the M9 sits on top of my Hammond™ XK-3, which is routed to a Leslie™ 122. Distortion, delay, flanger – it's all there. The cool thing is that whenever someone walks by my rig, they see this small effects box within arms reach and say, “Hey, what's that?” I offer up all the buttons and let them start pushing away while I riff on the organ. Needless to say, a few people are picking one up at tour’s end.

My top reasons for using M9:

•    The box. Ability to mix and match sounds from all of the Line 6 pedals. 
•    The portability. I can put the M9 right on my keyboard for a show, and put it in my backpack when I'm done.
•   The sound quality. The same sounds guitarists have been using for  years.

Right now I'm backstage in Ontario, Canada, about to hit the stage – so that's all for now!

      Roger, Roger! Loren Gold is ready to rock with Roger Daltrey and M9 Stompbox Modeler.

Loren’s M9 settings for a few signature songs:

“My Generation”
Tube Drive – Driveat 15%; Bass, Mid, Treble at default settings

“Boris The Spider”
Tube Drive – Drive at 50%; Bass, Mid, Treble at default settings

“Who's Gonna Walk On Water”
Tube Drive – Drive at 25%; Bass, Mid, Treble at default settings
Script Phase – Set to 20% to make it kinda watery, which fits the song
(Set to about 60/40 in favor of Tube Drive)

“Naked Eye”
Tube Drive – Drive at 20%; Bass, Mid, Treble at default settings

“Cache Cache”
Tube Echo (default settings), just for delay

Want more? Read what guitarist and Adrian Belew collaborator Saul Zonana has to say about M9 Stompbox Modeler.

By Line6Piper

Line6Piper (aka Matt Piper) teaches you how to play your guitar through Reason’s Malström synthesizer. Matt is the in-house Propellerhead Product Specialist at Line 6, and the author of the acclaimed instructional guide, Reason 4 Ignite.

Although Propellerhead Reason (by itself) only records MIDI information and does not record live audio, two of its synths (Malström and Thor) actually have audio inputs. Before Propellerhead Record came along, the only things you could connect to those inputs were the outputs of other Reason devices. Record allows you to connect a microphone, guitar, or other live audio source to the synthesizer audio inputs.

The video tutorial below will show you how to route your guitar through the Malström’s filters, and make some pretty interesting sounds while you’re at it! However, you will not hear the Malström’s oscillator section (the part of the synth that normally produces its basic tone). To trigger the oscillators, you would need a guitar with a synthesizer pickup. In that case, you would simply be using the guitar as a MIDI controller (instead of a MIDI keyboard), and you wouldn’t get to hear the actual tone of the guitar through the synth filters. If you follow the steps in the tutorial, your guitar will actually take the place of the Malström’s tone-producing oscillators.

What I have provided in the video is just an example. I hope it will inspire you to experiment, and come up with all sorts of unique sounds!

I've created a ready-to-load patch based on this tutorial, with a few added control features. To download it, please click below.

Download "Malstrummer" Patch

By Line6Piper

Line6Piper (aka Matt Piper) explains how a vocoder works, and teaches you how you can use Propellerhead Record + Reason to vocode with your guitar! Matt is the in-house Propellerhead Product Specialist at Line 6, and the author of the acclaimed instructional guide, Reason 4 Ignite.

I have always been attracted to the sound of a vocoder. I remember the first time I heard “Let’s Groove” by Earth Wind & Fire, the first time I witnessed the shiny metal Cylons on the original Battlestar Galactica TV series, and the first time I heard “Mr. Roboto” by Styx. Although vocoding is a relatively old technology, it still seems like magic (and so much fun) every time I hear it – or especially when I see someone doing it.

Vocoding was developed in the 1930’s for encoding speech for encrypted transmission (voice + encoder = vocoder). Here’s how it works (in its common musical application): A human voice is split into separate frequency bands. The ever-changing levels of these bands are used to continuously equalize (filter) audio signal from a synthesizer.  So the “shape” of the human voice signal is applied to the synthesizer signal. The audio signal from the synthesizer is called the carrier signal, and the voice signal is called the modulator signal, because it modulates (modifies) the carrier signal.

A human voice is split into separate frequency bands.

Propellerhead Reason has included a virtual vocoder for some time, but since Reason has no audio input, only previously recorded signals could be vocoded. However, by using Reason together with Propellerhead Record, live vocoding is possible! And you don’t have to use a synthesizer if you don’t want to – you can use an electric guitar instead! Although we have all heard famous recordings that feature use of a talk box (Peter Frampton’s “Do You Feel Like We Do,” Joe Walsh’s “Rocky Mountain Way”), I have personally never heard a guitar used for vocoding before. But that’s exactly what the following video is going to teach you how to do!

Technical notes about the video: You will notice I added a compressor to the vocal signal. I did this to provide a smooth, consistent audio signal for the vocoder’s modulator input. The compressor decreases the difference in signal level between the loudest and softest audio passages. The effect is subtle and the step is optional. Also, your ears may detect that I added some reverb, but I did not include that step in the video.

Download Files

Need to vocode right away? Download the setups used in the video! To download Record setups for vocoding with guitar, vocoding with Thor, as well as the "Boogie on Down" Thor patch used in the video, click here!

Taking a break from the rigors of the road, Lacuna Coil guitarist Cris "Pizza" Migliore waxes historic about the Coil’s introduction to Line 6, and the gear that has changed the way the band makes music.

By Cris “Pizza” Migliore (Lacuna Coil)

The relationship between Lacuna Coil and Line 6 started almost 10 years ago, while we were recording our EP Half-Life. We heard this new amp that could simulate a bunch of great amps and effects, and we ended up using it for the whole recording session. It was the Flextone™ HD!

We were so impressed by it that we immediately went out and bought one! (We didn't have an endorsement back then.)

Later on, when we started touring the US and did a few successful tours with Type-0-Negative, Anthrax, Opeth, Ozzfest, and P.O.D., we finally got in touch with the guys at Line 6 and got a bunch of great stuff: amps, cabinets, and so on that we still use today. Honestly, this stuff is great! It gives you so many possibilities, so there are so many things you can do with it.

Just to give you an example of how versatile Line 6 is, let me tell you this: we wrote our latest album, Shallow Life, using a TonePort® UX2. We exchanged ideas via Internet and our home computers, and then recorded demos (and I mean everything: vocals, drums, guitars, and bass) at our rehearsal room using the same TonePort! How great is that?

We also used an HD147® and a Spider Valve™ HD100 to record all the guitar parts at NRG Studios for Shallow Life, and we're currently using two Spider Valve™ MkII HD100s, which are absolutely phenomenal! I can't believe how much better this new one is, considering that the first model was already pretty good...

I'm definitely a huge geek when it comes to new technology and Line 6 always comes up with stuff that's great to use and play with. We really never had a problem with our gear and we've really been touring a LOT in the past few years. That definitely proves that this stuff can take a lot and just keep delivering!

Lacuna Coil's Marco "Maus" Biazzi (left), and Cris "Pizza" Migliore with a road-worn Spider Valve MkII HD100 head. 

By Line6Piper

Line6Piper (aka Matt Piper) takes you through his favorite aspects of Propellerhead Record. You’re in good hands – Matt is the in-house Propellerhead Product Specialist at Line 6, and the author of the acclaimed instructional guide, Reason 4 Ignite.

1. I love how easy it is

First thing in the morning with the first cup of coffee, or any time of the night, Propellerhead Record feels like fun, not work. It never boggles my mind, and it never gets in my way. There’s nothing intimidating or daunting about it that will trigger my procrastination routines.

2. I love the mixer

My two favorite things about the mixer: The EQ section, and the Master Bus Compressor. The EQ sounds great. I appreciate that I do not have to decide which EQ plug-in to use, or find where the window for that plug-in is hiding. Especially if you have worked with hardware mixers, there is something quite pleasurable about the mixer in Record. I very quickly got a feel for which (virtual) knob to reach for when I need to dial in a sound, and now it is second nature to me. And the Master Bus Compressor On/Off button is as close to a “Hit” button as I’ve ever found in software. It really sounds good.

3. I enjoy the truly seamless integration

Record and Reason® integrate seamlessly. I launch Record, and all my Reason devices are inside. I can route my guitar signal through the filters in the Reason synthesizers for unique and creative sounds. I can use the Reason vocoder, my guitar, and a mic to make a killer talk-box effect. Pretty much any combination or connection I can think of, I can do easily with this software.

4. The Line 6 guitar tones

The built-in Line 6 POD® and Bass POD® both really sound good, with minimal or no tweaking required. One of the best guitarists I know heard a recording I’d made recently with my guitar plugged directly into my USB audio interface, using Record’s built-in Line 6 POD. He said it was an awesome tone and that he could hear the mic and the tube amp. He was really surprised to find out I had used neither! (I had also used a bit of the room reverb and plate reverb built into Record.)

In the coming weeks, I look forward to posting some how-to’s and tips and tricks about Propellerhead Record and Reason. In the mean time, I’d enjoy hearing about your experiences using Record and Reason, if you feel like leaving a comment.

One more thing-- Here’s a video I’ve just made that I hope will give you a better idea of what Record is all about:

By Travis Harrison

Stop the insanity! Engineer and recording studio owner Travis Harrison constantly sees bands sabotaging themselves in the studio. Want to make better recordings? Know the secrets.

1. IF YOU'RE ON A BUDGET, DON'T BE TOO AMBITIOUS

The majority of the bands I work with are on a limited budget. If you can only afford two days of studio time, it probably isn't in your best interests to attempt to record and mix your entire 45-minute live set.

Speak frankly with the engineers and producers you are working with. Make a realistic plan. Focus on fewer songs and get them right. I'm all for moving quickly and efficiently. But maybe it isn't wise to lay down seven basic tracks when you can only afford to complete three.

2. PRE-PRODUCTION

Schedule some rehearsal time specifically focused on preparing your music for the recording studio. Perhaps your producer or collaborator will be at the rehearsal. Record these rehearsals. The most primitive recording apparatus usually works fine. Listen back together.

• Is the singer out of tune? Try the song in a different key.

• Is the intro too long or are the transitions between sections clumsy? Tighten, expand or polish your arrangements.

• Is the drummer slowing down? Use a metronome to pick and practice a definitive tempo that works.

• Does the song sound cluttered? Everyone doesn't always have to be playing all the time. Maybe the second guitar player should lay out in the verses.

• Does the track need something else? Plan your overdubs.

The more you can prepare before you enter the studio and the clock starts running, the smoother and more fun the sessions will be.

3. DON'T PLAY/SING STUFF THAT YOU CAN'T PLAY/SING

If there's a guitar lick, vocal riff or drum fill that feels way too difficult, that probably means that it sounds way too difficult. Have the good sense and humility to edit your parts and performances before you enter the studio, waste precious time and money, and attempt many many takes of something that is unrealistic.

Keep it simple. Sometimes the problem is fundamental. Often songwriters will write songs that are difficult for them to sing. Embrace your limitations as well as your strengths, and choose or write material that will showcase how awesome you are.

4. DON'T SHORTCHANGE MIXING

Often bands will spend a lot of time tracking, then get hung up when it comes time to mix. They either try to jam pack a half-dozen mixes in one day, or get obsessed with one mix at the expense of others.

Know what you want, communicate clearly with your engineer about how best to accomplish this. Maintain focus without developing tunnel vision. Keep an open mind. Talking, laughing, eating and constant commentary from the peanut gallery can often distract your engineer's ears and detract from the efficiency of your session. And time is money.

P.S. It may not be in the best interests of your recording to have the entire band attend the mixing sessions.

5. DON'T SHORTCHANGE MASTERING

Don't underestimate the power of a top-notch mastering job. I've seen bands release unmastered mixes on MySpace, CDRs, even manufactured CDs or iTunes. BIG MISTAKE. No matter how sweet the final mix sounds, compare it to other mastered records. It should compete, it should sound good on a mix tape next to your favorite stuff, it needs to be mastered. Budget it in from the beginning.

Can you suggest any secrets that would help bands in the studio?

Travis Harrison owns and operates Serious Business Music, a bustling New York City recording studio, production facility, and record label.

Line 6 is constantly looking for new ways of making its users’ lives easier and more musical.

The new Line 6 blog will offer our users (and all musicians) a sprawling online destination loaded with a variety of interesting content. As the blog grows, features will include helpful Line 6 gear tips, sanity-saving recording advice, geek-inducing pedal board setups, eye-opening artist tour diaries, and much more.

Right now, armies of touring artists, studio musicians, recording engineers, and in-house Line 6ers are firing up their laptops and pouring their hearts, minds and professional experiences into an expanding collection of indispensible information for musicians.

As always, user comments are encouraged. Please let us know if you find the blog posts helpful or interesting. And feel free to suggest topics that you’d like to read about.

If you enjoy our MySpace blog, don’t worry, it’s not going anywhere. Music-related news, opinions and deep-reaching questions will still have a home there. And, of course, we’re all over Facebook, Twitter, YouTube, and Flickr.

Thanks,

Line 6

Tried the beer again last night with some friends. Starting to mellow out nicely. THe cinnamon is really poking through. It's a bit light but definitely refreshing.

So this weekend we bottled the honey Brown we had fermenting for the last two weeks. Upon opening the fermentation bucket, there was a sweet honey, cinnamon aroma. The color was fantastic. My brewing partner (Mike Murphy) tasted the beer later on in the night and said it was a bit hoppy but we fell it should mellow out in anohter couple of weeks.

Rick