40-00-0089 Electrophonic Limited Edition available @ www.line6.

com Rev A
Pilots Handbook
Manuel de pilotage
Pilotenhandbuch
Pilotenhandboek
Before using your Variax you should read these Important
Safety Instructions. Keep these instructions in a safe place.
1. Obey all warnings in this Pilots Handbook.
2. Do not place near heat sources, such as radiators, heat registers, or appliances which produce heat.
3. Guard against objects or liquids.
4. Power the XPS Footswitch only with the included Power Supply or equivalent.
5. Connect the Power Supply only to AC power outlets rated 100-120V or 230V 47-63Hz (depending on the voltage range of the included
power supply).
6. Do not step on power cords. Do not place items on top of power cords so that they are pinched or leaned on.
7. Unplug your Variax and XPS Footswitch when not in use for extended periods of time.
8. Do not perform service operations beyond those described in the Variax Pilots Handbook. Repairs and service operations beyond the
scope of those in the Pilots Handbook should be performed only by qualified service personnel.
9. Prolonged listening at high volume levels may cause irreparable hearing loss and/or damage. Always be sure to practice safe listening.
Your Variax should include these accessories:
Gigbag, XPS Footswitch, Power Supply, TRS Cable, Bridge Saddle Wrench, Truss Rod Wrench
CAUTION: This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to
Part 15 of FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and
(2) this device must accept any interference received, including interference that may cause undesired operation.
WARNING: To reduce the risk of re or electric shock,
do not expose this appliance to rain or moisture.
CAUTION: No user-serviceable parts inside. Refer
servicing to qualied service personnel.
Please Note:
Line 6, Variax, POD, and the Line 6 and Variax logo are 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, images, and artists names are used solely to identify
the products whose tones and sounds were studied during Line 6s sound model
development for this product. The use of these products, trademarks, images,
and artists names does not imply any cooperation or endorsement.
Table of Contents
Welcome to Variax ................................. 12
Basic Operations......................................... 3-6
Connections
Battery Power
XPS Footswitch Power
XPS Footswitch Direct Out
Controls.................................................. 7-10
Controls
Build a Custom Guitar
Contents of Custom Knob Positions
The Guitars of Variax........................... 12-22
General Notes About the Models
Pickup Numbering
Model Descriptions
Care and Maintenance ........................ 23-25
Neck Relief Adjustment
Intonation Adjustment
Action Adjustment
Tremolo Setup
Welcome to Variax
Thanks for buying a Variax and joining us in our
quest to apply the miracle of modern technology to
the pursuit of great guitar tone. You now own detailed
models of some of the most distinctive electric and
acoustic guitars of all time wrapped up in a single
comfortable and highly-playable instrument with a
style all its own.
How does it work?
How do we get all of these sounds in a guitar that
doesn't even have any visible pickups? We use piezo
bridge pickups to capture each individual strings
vibrations, and process the signals through software
algorithms that capture the physical and electronic
properties of the guitars that we've modeled.
This process dynamically alters Variaxs own natural
string vibrations to match the modeled instrument's
unique tonal characteristics. That means theres no
delay caused by having to detect a pitch and turn
it into a MIDI note, and theres also no issue with
tracking bends, hammer-on's, pull-off's, slides or
any other techniques that are a part of your style.
Plus, since Variax delivers its uncannily accurate
sounds without the use of traditional magnetic
pickups, it isn't susceptible to hum from fluorescent
lights or computer monitors.
How did we manage to capture the tonal souls of
all these classic guitars and spirit them into your
Variax? Were glad you asked.
The Dream...
A couple of years before Variax was born, we turned
our attention from the PODs, amps, and effects that
we had been developing to take a fresh look at the
guitar itself. Like all guitarists, we were intimately
familiar with the unique pleasures that come from
various instruments, and the great tonal variety that
the world of electric and acoustic guitars has to offer.
We wonderedcould it be possible to capture a
complete range of this tone in a single instrument?
It was a daunting task, but then so was the idea of
squeezing a whole collection of amps and effects
into one little kidney bean shaped metal box. So
we figured, why not give it a go?
What, we asked ourselves, might this marvel do?
Well, for one thing, how about giving you access to
an unprecedented number of certified classic sounds?
How about letting you change from the sound of a
50s solidbody to the sound of a 60s electric 12-
string as easily as using a pickup selector switch?
How about the round, smoky tone of a hollowbody
1
archtop or the full-bodied resonance of a
dreadnought acoustic? How about the raspy growl
of a resonator, or the buzzing drone of a sitar?
The Journey
We knew our sounds would have to be amazingly
accurate to meet the needs of discriminating
guitarists, so we began an intensive research project
into guitar physics. Like Frankensteins lab, our own
R&D facility became the site of round-the-clock
investigations of the mysterious secrets of guitars
life force. We systematically examined every factor
that contributes to each guitars tone, and developed
ways to measure the complex interactions of
vibrating strings, resonant bodies, and magnetic
pickups. Equally important, we developed ways to
capture these interactions mathematically so we
could get the same sounds from our own guitar-in-
the-making.
As we refined our measuring and modeling
techniques, we perfected a new, powerful hardware
platform that could deliver our astoundingly accurate
sounds. With the ability to switch sounds in the
fraction of a second that it takes to slap a pickup
selector switch to the next position. With less noise
than a standard humbucker. That could be powered
in a variety of ways. And, most importantly, that
performs so flawlessly that you can forget its even
there.
Of course, a guitar that delivers such a vast array of
tones really needs a look all its own, so we started
developing the look and feel of a guitar that could
be used in any musical endeavor. We combined our
innovative guitar modeling technology with a
deceptively simple control layout and a comfortable,
balanced body inspired by the best aspects of many
of the guitars we had chosen to model.
With the body and brain of the Variax completed,
it was time for us to create the soul. We auditioned
a drool-inducing array of vintage instruments to
find the ones with the most distinctive voices and
personalities. We applied our painstaking measuring
techniques to these specimens, and refined our
models while constantly referring back to the
originals for accuracy. When each model reached
the point of not only sounding like the original, but
also being as much fun to play, it was done.
The result of our labors? Variax. An entire guitar
collection in a single instrument.
2
Basic Operations
Connections
You may have already noticed that the Variax has
two output connectors: a familiar 1/4-inch jack and
a second mystery jack protected by a rubber cap.
The "mystery" connector provides digital audio to
Line 6 products with a special Variax input, like
PODXT Live or Vetta II, and also allows you to create
your own personalized guitar models using the Variax
Workbench. All of the operations described in this
manual, however, will use "old school" 1/4-inch
output.
Guitar Cable to Amp
The simplest way to use the Variax is to connect it
directly to your amplifier (or stompboxes) with a
standard mono guitar cable.
Battery Power
Of course, the electronics of the Variax will need
power, so youll have to install six AA cells in the
on-board battery compartment. If you use fresh
alkalines, you should get approximately 10-12 hours
of operation.
The battery will only be used when a mono cable
is connected the standard cable youd use for a
guitar. For longest battery life, always unplug your
Variax when not in use.
NOTE: If you find yourself at a gig with no AA
cells, you can unclip the plastic battery holder from
the connector and substitute an ordinary 9V battery.
3
XPS Footswitch Power
We realize that constantly changing batteries can
be a real drag, so we included a more convenient
optionthe unobtrusive yet capable XPS
Footswitch.
XLR
1/4
POWER
Tip
Ring
Sleeve
To Variax To Amp
PX-2 Power Supply
Powering your Variax with the XPS Footswitch is
easy. Use the included TRS cable (meaning tip-
ring-sleeve or also simply known as a stereo cable)
to connect the Variax to the INPUT jack of the
XPS Footswitch. Connect the PX-2 power supply
to the XPS Footswitch POWER jack, and use a
standard mono guitar cable to connect the XPS
Footswitchs 1/4" OUTPUT to your amp or effects.
TRS Cable
Mono Cable
XLR
1/4
POWER
NOTE: If you have batteries installed in your Variax,
they will be bypassed when using your XPS
Footswitch. If the guitar is connected to the XPS
and the XPS power is disconnected, any batteries
installed in the Variax will be drained.
Cable Specifications
If you happen to lose the Custom Cable supplied
with your Variax, you can obtain a replacement
from Line 6 Customer Service (see your Warranty
Information booklet for contact information.) You
can also simply use any high-quality TRS cable up
to 18 feet.
4
XPS Footswitch Direct Out
But waittheres more: Not content to merely
provide power to the Variax, the eager to please
XPS Footswitch also functions as a combination
A/B switch and direct box.
Why, you ask? Well, the detailed acoustic models
of the Variax may lack something when played
through an electric guitar amplifier, because these
guitar amps dont have the extended high frequency
range of, say, an acoustic guitar amp with a tweeter,
or a PA system. To ensure that you get that all-
important high end shimmer from your acoustic
sounds, heres the drill:
Connect your guitar cable from the XPS 1/4"
OUTPUT jack to your amp and/or stompboxes.
Connect the (balanced, +4 dBu compatible) XLR
OUTPUT of your XPS to your PA system or
acoustic amplifier with a standard mic cable.
When the 1/4" indicator light is lit on your XPS
Footswitch, youve got your guitar routed to your
standard amp. Jump on the switch to light the XLR
indicator light, and your signal will now be routed
to the XLR OUTPUT, bathing you in the tonal
glory of full frequency range sound!
The Phantom Menace
When sending the XLR output of the XPS to a
mixing board, be sure that phantom power is either
off or not supplied to the XPS. Since phantom
power puts a healthy voltage on the cable, using
the A/B switching function of the XPS will produce
a very unhealthy pop in the speakers. The soundman
will not be pleased.
XLR Hum and A/B Switching
The XLR output of the XPS is designed to connect
to the balanced inputs that are typical on good
quality mixers and recording systems. Connecting
the XLR output to a device with an un-balanced
input may cause hum on that device when the XPS
1/4-inch output is selected.
5
TRS Cable
To Amp - Mono Cable
To P.A. or Acoustic Amp
XLR
1/4
POWER
6
Controls
Lets start simple, and work up to the fancy stuff:
The Volume Knob, appropriately enough, controls
the volume. You may notice that the taper (how
fast you go from minimum to medium to maximum),
as well as the volume controls effect on tone, will
be slightly different for various models. For electric-
based models, volume response and tone interaction
duplicate the experience of the modeled
instrumentmaximizing model authenticity. For
acoustic models, the Volume is simply a level control.
The Tone Knob controlsyou guessed it!the
tone. As with the Volume, the response of this
control varies to match the modeled electric
instruments. If youve spent much time recording
acoustic instruments, youve probably discovered
the kind of tonal variations possible by simply
altering microphone position. For the ACOUSTIC
and RESO models, the tone control gives you the
same kind of variations.
When you get to the Model Select Knob, things
start to get really interesting. Ten of its positions
each offer 5 distinct sounds (representing one, two
or even five different guitars), accessed by the Pickup
Selector. For specifics on the models and variations
available, see The Guitars of Variax.
The other two positions of the Model Select Knob
Custom 1 and Custom 2 save and recall your
own custom setups. For the secrets of the Custom
positions, see Build a Custom Guitar.
The Pickup Selector will work exactly as you
expect it to on the electric models. In a three pickup
model, like SPANK, all five positions will duplicate
those on the modeled instrument. In more common
two pickup models, positions 1, 3, and 5 will give
you the characteristic sounds for those instruments
bridge pickup only, both pickups, and neck pickup
only. The in-between positions (2 and 4) usually
offer sounds from related guitars. After all, who can
have enough variety?
When it comes to the acoustic models, the Pickup
Selector offers 5 distinct instrument sounds, all a
switch-flick away! The individual model descriptions
in The Guitars of Variax section get down and
dirty with the details.
7
MODEL SELECT
VOLUME
OUTPUT JACK
TONE
PICKUP SELECTOR
8
Build a Custom Guitar
To really take advantage of the range and versatility
of the Variax, especially when performing, you need
immediate access to your essential sounds. Use the
custom banks of Variaxs model knob to get your
ten favorite tones ready for recall with a well-timed
flick of your pinky.
Youve got

at the beginning of the Model
Select rotation, and

at the end. Each of
these can store a different set of five of your favorite
sounds. You could, for instance, put acoustic sounds
in

, and electric sounds in

. Or
load one up for your disco band, and the other for
your polka gig.
Lets say you found a sound that you know youll be
coming back to again and again. Heres what you
do:
1.Press and hold the Model Select Knob
to begin the Save process.
2.Rotate the Model Select Knob to the
custom bank of your choice (
or ).
3. Flick the Pickup Selector to the position
you want to save your sound to. (Moving
the Pickup Selector while youre saving
wont change the sound, only the save
location.)
4.Release the Model Select knob.
Thats all there is to it. Youve saved your sound to
the current position of the Pickup Selector in the
Custom Bank youve chosen. Now that youve got
it all down, you can repeat these steps for the
remaining nine positions. (Or not, if you like the
ones weve already saved there for you. ) And if
your tastes change, you can Save over any of those
ten custom variations as often as you like.
HOLD
RELEASE
9
When you save a particular sound to one of the
CUSTOM banks, the tone knob's position is also
saved by default. You'll find that when you select
a stored sound, it will sound as if the tone control
was in the position it was in when you first saved
the sound. The actual position of the tone control
will be ignored, until you adjust it.
If you don't want to save the position of the tone
control to your CUSTOM banks, just rotate the
tone control while you are holding down the Model
Select Knob to save a sound. The tone control
won't change the sound during this special Save
model. When you select then this sound later, the
actual position of the tone control will be used
instead of a saved value. You can use both methods
if you wish, sometimes choosing to save the tone,
sometimes not, even in the same CUSTOM bank.
Contents Of Custom Knob Positions
Here's what's in the custom slots when a Variax ships from the factory:
Knob/Pickup Sel Model Saved from
CUSTOM 1 / 1 ACOUSTIC / 5
CUSTOM 1 / 2 RESO / 4
CUSTOM 1 / 3 ACOUSTIC / 4
CUSTOM 1 / 4 RESO / 2
CUSTOM 1 / 5 RESO / 1
CUSTOM 2 / 1 LESTER / 1
CUSTOM 2 / 2 R-BILLY / 2
CUSTOM 2 / 3 CHIME / 3
CUSTOM 2 / 4 SPANK / 4
CUSTOM 2 / 5 SEMI / 4
10
THE GUITARS OF VARIAX
General Notes About the Models
Each Variax model has five different variations
availableone at each position of the Pickup
Selector Switch. These five variations may all
be based on the same guitar, two or three similar
guitars, or, for the and models, each
variation may be based on an entirely different
instrument.
For electric models, the Volume and Tone controls
work like the ones found on the instruments we
modeled. Rolling off the volume, for instance, will
typically result in a darker sound. The output level
of each model is based on the modeled instrument.
Models with humbucking pickups, for example,
will tend to be louder than those with single-coils.
For acoustic models, the Volume control acts as
a simple level control. Since acoustic guitars dont
have tone controls, we decided to let you shape the
tone of these models by changing the position of
a modeled microphone with Variax's Tone control.
Give it a spin to explore a varying range of tonal
flavor for each model.
Pickup Position Numbering
Weve numbered the pickup positions in the manual
starting with bridge (the position toward the
bridge) as 1. Moving the pickup selector from there,
you go through positions 2, 3 and 4 on your way to
the neck position (the position toward the neck)
which we label as number 5.
12
Fender

, Telecaster

and Tele

are registered trademarks of Fender Musical Instruments Corporation. All product names are trademarks of their
respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole
purpose of identifying the specific products that were studied during Line 6s sound model development.
1
4
Based on 1960 Fender

Telecaster

Custom
Leo Fenders Telecaster

, originally known as the

Broadcaster, was the first commercially successful
solidbody electric guitar and has been in continuous
production for over fifty years. A brilliant example
of functional, efficient design, the Telecaster

has
been the guitar of choice for guitarists like Jeff Beck,
Roy Buchanan, James Burton, Albert Collins, Danny
Gatton, and Keith Richards.
Note: The neck pickup position of this model, like the
original, has a very deep sound and the tone control
is bypassed.
Position 1: Bridge
Position 4: Neck
Based on 1968 Fender

Telecaster

Thinline
Faced with the difficulty of obtaining lightweight
ash, Fender introduced the Thinline model in 1967.
The chambered body reduced the weight to about
half that of a typical Tele

of the time, while the

traditional electronics were retained to deliver a
variation of the trademark Tele

sound.
Position 3: Bridge+Neck
Position 5: Neck
Based on modified 1968 Fender

Telecaster

Players looking for more versatility from the

workhorse Tele

discovered they could get a much

more powerful sound by combining the two pickups
in series (as on a humbucking pickup).
T-MODEL
2
13
3
5
Based on 1959 Fender

Stratocaster

The curvaceous Stratocaster

is further evidence of
the genius of Leo Fender. Considered a radical
departure at its introduction in 1954, the Strat

soon eclipsed the popularity of its older sibling and
became one of the most visible instruments in the
formative years of rock and roll. The Stratocaster

influenced electric guitar design more than any
other single instrument and its distinctive comfort-
contoured body, bolt-on neck, and versatile
electronics have become industry standard features.
Our model takes one slight liberty; unlike the
modeled instrument, the tone control works on the
Bridge pickup, too. We trust that Leo wont mind.
Position 1: Bridge
Position 2: Bridge+Middle
Position 3: Middle
Position 4: Neck+Middle
Position 5: Neck
1
2
3 4
5
Fender

, Strat

and Stratocaster

are registered trademarks of Fender Musical Instruments Corporation. All product names are trademarks of their
respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole
purpose of identifying the specific products that were studied during Line 6s sound model development.
SPANK
14
Based on 1958 Gibson

Les Paul

Standard
Gibson

s first solidbody electric design was a

collaboration with popular guitarist and recording
pioneer Les Paul. Unlike the easy-to-manufacture
Fender

designs, the Les Paul

retains the carved

top and set neck construction of their hollowbody
models. The original series was a commercial failure,
however, and was discontinued in 1961. Influential
musicians like Mike Bloomfield and Eric Clapton
discovered the sweet sustain of a Les Paul

through
an overdriven amp. The resulting resurgence of
popular interest led to its reintroduction in 1968.
Weve modeled a 1958 version that features the
coveted P.A.F. pickups.
Position 1: Bridge
Position 3: Bridge+Neck
Position 5: Neck
Based on 1952 Gibson

Les Paul

Goldtop
The Goldtop, nicknamed for its metallic gold
finish, was the first model of the Les Paul

series.
Our version features a P-90 pickup in the bridge
position.
Based on 1961 Gibson

Les Paul

Custom
In addition to its sophisticated ornamentation, this
particular incarnation of the Les Paul

Custom offers
three P.A.F.s. Weve modeled the combination of
bridge and middle pickups that sets this model apart.
Gibson

and Les Paul

are registered trademarks of Gibson Guitar Corp. Fender is a registered trademark of Fender Musical Instruments Corporation.
All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions
and images are provided for the sole purpose of identifying the specific products that were studied during Line 6s sound model development.
LESTER
1
3
5
2
4
15
Based on 1955 Gibson

Les Paul

Special
The Special was added to the Les Paul

line in 1955
as an intermediate step between the utilitarian Junior
and more luxurious Standard. The greater tonal
options made possible by the second P-90 helped
make the Special a favorite of reggae legend Bob
Marley. Our model is based on the original single
cutaway version.
Position 3: Bridge+Neck
Position 5: Neck
Based on 1956 Gibson

Les Paul

Junior
The Les Paul

Junior was introduced in 1954 as the

budget member of the Les Paul

Series. The body

is a flat mahogany slab, and the electronics are
simplified to include only a single P-90 in the bridge
position. The meaty tone, light weight, and
uncompromised playability made the Junior a
favorite of Mountains Leslie West.
Based on 1976 Gibson

Firebird V
The Firebird, introduced in 1963, was created with
the help of Detroit automobile designer Ray Dietrich.
Neck-through construction and Epiphone

-style
mini-humbuckers gave the Firebird a unique
combination of good sustain and a biting, trebly
soundcharacteristics which made it a favorite of
blues slide guitar legend Johnny Winter.
Position 2: Bridge
Position 4: Neck
Gibson

, Les Paul

and Epiphone

are registered trademarks of Gibson Guitar Corp. All product names are trademarks of their respective owners,
which are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying
the specific products that were studied during Line 6s sound model development.
SPECIAL
1 2 4
3
5
16
Based on 1959 Gretsch

6120
The 6120 was the first of several models that
Gretsch

developed with country guitar whiz Chet

Atkins. The 6120 is usually associated with the
twangy sounds of players like Duane Eddy, Eddie
Cochran, and Brian Setzer, but Pete Townshend
found his 6120 perfect for the crushing power chords
of Whos Next. This particular specimen is
equipped with Filtertron hum-canceling pickups
designed by Ray Butts.
Position 1: Bridge
Position 3: Bridge+Neck
Position 5: Neck
Based on 1956 Gretsch

Silver Jet
Gretsch

introduced a series of so-called Solid Body

guitars in 1955 that included the Jet Fire Bird with
a red top, the Duo-Jet with a black top, and the
Silver Jet with you guessed it a silver top.
Though called a solidbody by Gretsch

, the Jet series

actually has internal hollow chambers that contribute
to its light weight and resonant tone. The black
version (the Duo-Jet) was the favorite instrument
of Cliff Gallup, original lead guitarist for Gene
Vincents Blue Caps. The guitar we modeled had
DeArmond

pickups and a Melita bridge.

Position 2: Bridge
Position 4: Neck
Gretsch

is a registered trademark of Fred W. Gretsch Enterprises, Ltd. DeArmond

is a registered trademark of Fender Musical Instruments

Corporation. All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product
names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6s sound model
development.
R-BILLY
2 4
1
3
5
17
Based on 1968 Rickenbacker

360
Though overshadowed by the success of the 12
string, the 6 string versions of Rickenbacker

s stylish
models continue to be popular with players looking
for something a bit out of the ordinary, like Ed
OBrien of Radiohead.
Position 1: Bridge
Position 3: Bridge+Neck
Position 5: Neck
Based on 1966 Rickenbacker

360-12
Popularized by George Harrison in the Beatles and
Roger McGuinn in the Byrds, the distinctive jangle
of the 12 string Rickenbacker

was a significant part

of the 60s rock sound. Our model has the original
toaster pickups.
Position 2: Bridge
Position 4: Neck
Rickenbacker

is a registered trademark of Rickenbacker International Corporation. All product names are trademarks of their respective owners,
which are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying
the specific products that were studied during Line 6s sound model development.
CHIME
2 4
1
3
5
18
Based on 1961 Gibson

ES

-335
The Semi-hollow Gibson

was conceived as a blend

of the tone and sustain of a solidbody with the
balance and aesthetics of a hollowbody. The woody
tone of these guitars made them popular with Jazz
artists like Larry Carlton and Blues greats like B. B.
and Albert King. Our model is based on a 1961 dot
neck, with P.A.F.s and a stop tailpiece.
Position 1: Bridge
Position 3: Bridge+Neck
Position 5: Neck
Based on 1967 Epiphone

Casino
Gibson

acquired former rival Epiphone

in 1957
and began producing Epiphone

guitars in its
Kalamazoo factory. Some of the models developed
for Epiphone

were variations on then-current

Gibson

models. The Casino, for example, was

essentially a Gibson

ES

-330. John Lennon was

particularly fond of the Casino, and continued to
record with it long after the breakup of the Beatles.
Position 2: Bridge
Position 4: Neck
Gibson

, ES

and Epiphone

are registered trademarks of Gibson Guitar Corp. All product names are trademarks of their respective owners, which
are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the
specific products that were studied during Line 6s sound model development.
SEMI
2 4
1
3
5
19
Based on 1957 Gibson

ES

-175
Gibson

added a sharp Venetian cutaway and a

slightly fancier fingerboard to the budget ES-125
model to create the ES

-175 in 1949. With the

addition of a second pickup in 1953, and humbucking
pickups in 1957, the ES

-175 quickly became a

popular and enduring choice for electric jazz guitarists.
Position 1: Bridge
Position 3: Bridge+Neck
Position 5: Neck
Based on 1953 Gibson

Super 400
By the end of the 1940s, changing musical styles
found premium archtops like the L-5 and Super 400
to be lacking in volume. By simply adding the
pickups and controls developed for its early electric
guitars, Gibson

created the electric version of the

Super 400 in 1951. Our model is based on the early
version with P-90s. Check out Scotty Moore (and
Elvis) playing a Super 400 in the 68 Comeback
Special.
Position 2: Bridge
Position 4: Neck
Gibson

and ES

are registered trademarks of Gibson Guitar Corp. All product names are trademarks of their respective owners, which are in no
way associated or affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific
products that were studied during Line 6s sound model development.
JAZZBOX
2 4
1
3
5
20
Based on 1959 Martin

D-28
The D-28 is generally considered the definitive
Martin

flat-top. The Dreadnought (or D) body

combined with rosewood back and sides produces
a full sound ideal for flatpicking.
Based on 1970 Martin

D12-28
In 1970, Martin

added 6 more strings to the

successful D-28 to capitalize on then-current folk
music trends.
Based on 1967 Martin

O-18
The smaller parlor sized body with mahogany back
and sides has a balanced tone ideal for fingerstyle
playing.
Based on 1966 Guild

F212
Guild

s Jumbo-bodied 12-strings offered players

the elusive combination of volume and clarity.
Weve modeled one of the simpler models in the
line, the F212 with mahogany back and rims.
Based on 1995 Gibson

J-200
Easily identified by its impressive size and
ornamentation, the J-200 was often seen played by
flashy country and western artists and was a later
favorite of Elvis Presley.
Martin

is a registered trademark of C.F. Martin & Co., Inc. Guild

is a registered trademark of Fender Musical Instruments Corporation. Gibson

is a registered trademark of Gibson Guitar Corp. All product names are trademarks of their respective owners, which are in no way associated or
affiliated with Line 6. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were
studied during Line 6s sound model development.
Based on 1959 Martin

D-28
The D-28 is generally considered the definitive
Martin

flat-top. The Dreadnought (or D) body

combined with rosewood back and sides produces
a full sound ideal for flatpicking.
Based on 1970 Martin

D12-28
In 1970, Martin

added 6 more strings to the

successful D-28 to capitalize on then-current folk
music trends.
Based on 1967 Martin

O-18
The smaller parlor sized body with mahogany back
and sides has a balanced tone ideal for fingerstyle
playing.
Based on 1966 Guild

F212
Guild

s Jumbo-bodied 12-strings offered players

the elusive combination of volume and clarity.
Weve modeled one of the simpler models in the
line, the F212 with mahogany back and rims.
Based on 1995 Gibson

J-200
Easily identified by its impressive size and
ornamentation, the J-200 was often seen played by
flashy country and western artists and was a later
favorite of Elvis Presley.
ACOUSTIC
1
2
3
5
4
21
Dobro

and Gibson

are registered trademarks of Gibson Guitar Corp. Coral Sitar

is a registered trademark of Jerry Jones. Danelectro

and Dano

are registered trademarks of Evets Corporation. National

is a registered trademark of Kaman Music Corporation. All product names are trademarks
of their respective owners, which are in no way associated or affiliated with Line 6. These product names, descriptions and images are provided for
the sole purpose of identifying the specific products that were studied during Line 6s sound model development.
RESO
Based on 1935 Dobro

Model 32
Though the Dobro

is generally a wood-body
instrument, a few were made from other materials.
This model is based on an unusual specimen with
an all-aluminum body that emphasizes midrange.
Inspired by the Coral Sitar

Designed in conjunction with session guitarist and

electronics experimenter Vinnie Bell, the Coral
Sitar

offered guitarists the ability to get the buzz

and drone of a sitar without having to learn a new
instrument. On this model, the tone control changes
the level of the drone strings.
Based on 1965 Danelectro

3021
Danelectro

managed to make great sounding guitars

from Masonite and lipstick tubes. Our model is
based on a 3021 (Jimmy Pages favorite Dano

) with
both pickups active.
Inspired by the Gibson

Mastertone Banjo
The Mastertone series was introduced in 1925 and
quickly became the definitive Bluegrass banjo, due
in no small measure to a long-standing association
with virtuoso Earl Scruggs.
Based on 1928 National

Tricone
The first National

guitar was the Tricone (or Tri-

Plate) introduced in 1926. The Tricone used three
6-inch cones mechanically coupled to the bridge to
amplify string vibrations. The Tricone has a smoother
sound than later, single-cone resonators and was
the primary instrument of Sol Hoopii, influential
Hawaiian steel guitarist.
1
2
4
3
5
22
Care and Maintenance
Only a few simple measures are required to keep
your Variax looking and performing like new.
After playing, wipe down the guitar and strings
with a clean, soft cloth.
Change strings when they become discolored or
the guitar begins to sound dull.
Occasionally clean the fingerboard surface with
lemon oil and the painted surfaces with guitar or
furniture polish.
Neck Relief Adjustment
Depending on where you live, seasonal temperature
and humidity variations may make it necessary to
adjust the neck relief of the Variax. If you find that
your Variax suddenly starts buzzing or is generally
difficult to play, it may be time for this kind of
adjustment. To check the neck relief, press the
high E string to the first fret with your left hand,
and press the same string to the last fret with your
right hand. While holding the string at both points,
check the point where the E string passes over the
10th fret. If the string is touching the fret, or if
there is more space under the string than the
thickness of a thin pick, its time to adjust the neck.

If you are familiar with this kind of adjustment,
use the supplied wrench to adjust the truss rod. If
the string was touching at the 10th fret (too little
relief), turn the rod counterclockwise. If the gap
was too great (too much relief), turn the rod
clockwise. In both cases, make small adjustments
and check the relief as you go. Never force the rod
to turnexcessive tightening can damage your
Variax. If you are unfamiliar or uncomfortable with
this kind of adjustment, ask your local guitar shop
to refer you to a qualified guitar tech.
LESS RELIEF
23
Intonation Adjustment
Intonation is adjusted by changing the position of
the bridge saddles, which changes the length of the
vibrating strings. The saddle position of each Variax
is adjusted before it leaves the factory, but changing
string brand, gauge, or action can change the
intonation. To adjust the intonation, you will need
an accurate tuner and a screwdriver. For each string,
tune the open string as close as possible to correct
pitch, then fret that string at the 12th fret and
check the pitch. (Make this adjustment while
holding the guitar in playing position.) If the fretted
note is sharp, the string length is too shortturn
the adjust screw clockwise. If the fretted note is
flat, the string length is too long. Turn the adjust
screw counterclockwise. Make small adjustments
and retune and check the pitch as you go.
Important Note: Never attempt to remove the
bridge saddles. If any of the wires attached to the
piezo elements are broken or damaged, the Variax
will not function properly.
Action Adjustment
Variax leaves the factory adjusted for playability
across a wide range of playing styles. The bridge
saddle height can be adjusted to optimize playability
for a particular style. If you are familiar with this
kind of adjustment, use the supplied Allen wrench
to raise or lower the bridge saddle screws as shown.
As with neck adjustment, if you are unfamiliar with
this kind of adjustment, ask your local guitar shop
to refer you to a qualified guitar tech.
DECREASE
STRING LENGTH
DECREASE
SADDLE HEIGHT
24
Tremolo Setup
When it leaves the factory, the tremolo bridge is
adjusted to lie flat against the top of the guitar.
This not only helps keep tuning consistent, but
also eliminates any flutter that could reduce the
accuracy of the modeled sounds.
If you need to adjust the action, we recommend
that you adjust the individual saddles, as described
in Action Adjustment, rather than adjusting the
bridge posts.
If your playing style requires a full-floating tremolo,
you can adjust the bridge for full-floating operation.
Remove the spring-cavity cover plate and turn the
claw screws counterclockwise until the back of the
bridge is no longer touching the top of the guitar.
You will probably have to retune and re-adjust
several times to get your desired amount of upward
pitch bend. Since the saddles moved along with
the rest of the bridge, you will also need to re-adjust
the intonation.
CLOCKWISE - INCREASE TENSION
COUNTERCLOCKWISE - DECREASE TENSION
25