`
			Spider III Presets Catalogue
			Models
			V1.19
		AMP MODELS
		New to the Spider III amplifier 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 a 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.
		1R 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.
		1G Glassy: Green LED - Line 6 developed this Amp Model to emulate those late 60's and early 70's clean tones. It is like a 1973 Hiwatt Custom 100 with an extended tone control range and tightened up low end.
		2R Twang: Red LED - This Amp Model draws on the mid 60's Fender amps, including the blackface '65 Twin Reverb and blackface '64 Deluxe Reverb. We wanted an Amp Model that has that classic glassy high-end tone, with some snap and bite.
		2G Twin Twang: Green LED - This Amp Model is based on a number of vintage tweed amps: a '53 Fender tweed Deluxe Reverb, '58 Fender tweed Bassman and a '60 Gibson Explorer to create a swingin' Rockabilly tone.
		3R 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.
		3G Class A: Green LED - This Amp Model is based on a fawn Vox AC-30 amplifier with an updated and expanded tone control circuit. It captures that early British pop rock tone that the Beatles and the Stones are so well known for.
		4R Crunch: Red LED - This sound was crafted from 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.
		4G 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.
		5R 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.
		5G 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.
		6R Insane: Red LED - This model is a "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.
		6G 80s Solo: Green LED - The goal with Insane is 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.
		SMART FX MODELS
		The following FX would typically have multiple controls (speed, colour, depth, feedback, mix, decay, time, tone, repeat, modulation, trails etc) but obviously on the Spider there are only 2 to hand, the range of the chosen FX 1-9, and the Tap tempo (when relevant). I suspect that these controls will actually modify multiple aspects of the FX, maybe variously over the different Amp models,. The FX parameters may even vary based on Drive and Tone settings, which would be more in line with the Line6 ToneCore™ Modules / Pedals.
		PHASE EFFECTS MODELS
		nn Drive Distortion produced when the input signal is amplified past the limits of the amplifier, resulting in clipping. ie the peaks and troughs of a sinusoidal waveform are flattened, apporoaching a square wave.
		Cn Chorus/Flanger
		Chorus: To produce the effect, either naturally or in simulation, individual sounds with roughly the same timbre and nearly (but never exactly) the same pitch converge and are perceived as one. When the effect is produced successfully, none of the constituent sounds is perceived as being out of tune. Rather, this amalgam of sounds has a rich, shimmering quality which would be absent if the sound came from a single source. The effect is more apparent when listening to sounds that sustain for longer periods of time. The processor achieves the effect by taking an audio signal and mixing it with one or more delayed, pitch-modulated copies of itself. The pitch of the added voices is typically modulated by an LFO, which makes the overall effect similar to that of a flanger, except with longer delays and without feedback.
		Flanger:  Flanging is a time-based audio effect that occurs when two identical signals are mixed together, but with one signal time-delayed by a small and gradually changing amount, usually smaller than 20 milliseconds. This produces a swept comb filter effect: peaks and notches are produced in the resultant frequency spectrum, related to each other in a linear harmonic series. Varying the time delay causes these to sweep up and down the frequency spectrum. Part of the output signal is usually fed back to the input (a 're-circulating delay line'), producing a resonance effect which further enhances the intensity of the peaks and troughs. The phase of the fed-back signal is sometimes inverted, producing another variation on the flanging sound.
		Pn Phaser Flanging is one specific type of phasing. In phasing, the signal is passed through one or more all-pass filters which have non-linear phase response, and then added back to the original signal. This results in constructive and destructive interference that varies with frequency, giving a series of peaks and troughs in the frequency response of the system. In general, the position of these peaks and troughs do not occur in a harmonic series.
		In contrast, flanging relies on adding the signal to a uniform time-delayed copy of itself, which results in an output signal with peaks and troughs which are in a harmonic series. Extending the comb analogy, flanging uses a comb filter with regularly-spaced teeth, whereas phasing uses a comb filter with irregularly-spaced teeth.
		In both phasing and flanging, the characteristics (phase response and time delay, respectively) are generally varied in time, leading to an audible sweeping effect.
		To the ear, flanging and phasing sound similar, yet they are recognizable as distinct colorations. Commonly, flanging is referred to as having a "jet plane"-like characteristic that is most obvious when applied to a white noise or similar noise signal. If the frequency response of this effect is plotted on a graph, the trace resembles a comb, and so is called a comb filter.
		P9 Phaser (UniVibe) The Univibe was a phaser introduced in the 1960s and was intended to emulate the "Doppler sound" of a Leslie speaker. It is emulated at the far end of the Phaser FX.
		Tn Tremolo Tremolo produces a periodic variation in the amplitude (volume) of the note. On the Spider III, as the FX value is increased from 1-9 the Speed, Depth and Shape of the signal are all affected in one. Speed- the tremolo pulse adjusts from slow to fast (more frequent). Depth - at low settings, you’ll get a mild variation of your guitar volume, at high settings your volume will dip to silence with each pulse. Shape - at lower settings a smooth sine wave tremolo that gradually varies your volume up and down, or higher setting for a hard-chopping square wave that dramatically switches from loud to silent.
		DELAY EFFECTS MODELS
		Dn Delay The Tap button governs the delay Time interval and the Length of sample. As the FX value is increased from 1-9 both the Mix level and number of Repeats of the sample is increased, so a higher level of echo is looped into the input signal AND it takes longer to decay.
		Tn TapeEcho Gives you classic tape echo warmth. The Tap button governs the delay Time interval and the Length of sample. As the FX value is increased from 1-9 the number of Repeats of the sample is increased so it takes longer to decay. The Mix level remains constant but the high end frequencies will deteriorate with each repeat, in vintage tape echo style.
		Sn Sweep Echo Adds a sweeping filter to the feedback loop of the echoes. The Tap button governs the delay Time interval and the Length of sample. As the FX value is increased from 1-9 the Mix level of the sample is increased so it takes longer to decay. The number of Repeats remains constant, as does the Sweep rate.
		nn Reverb Digital reverberators use various signal processing algorithms in order to create the reverb effect. Since reverberation is essentially caused by a very large number of echoes, simple DSPs use multiple feedback delay circuits to create a large, decaying series of echoes that die out over time. More advanced digital reverb generators can simulate the time and frequency domain responses of real rooms (based upon room dimensions, absorption and other properties). In real music halls, the direct sound always arrives at the listeners ear first because it follows the shortest path. Shortly after the direct sound, the reverberant sound arrives. The time between the two is called the 'arrival time gap'. This gap is important in recorded music because it is the cue that gives the ear information on the size of the hall, better digital reverbs can incorporate this arrival time gap and hence sound more realistic.
	Please email comments, corrections or suggestions to    Spider@Gav1n.co.uk		www.Gav1n.co.uk/SpiderIII.htm
`	For further details, please see other tabs at bottom of screen.		V1.19