User Manual

Sub Octave Fuzz – Inspired by* the PAiA Roctave Divider
No surprises here – this model is a fuzz with an octave below! It’s just what you need to give those Moog players fits – deep fat
square wave distortion with enough grind and glory to shame any analog synth. The Roctave Divider pedal made a name for
itself by combining a double octave shift with fuzz capability. Our model gives you that same kind of octave shift-plus-fuzz expe-
rience, but with our own particular flavor of fuzz for the fuzz part of the experience. Our model includes BASS and TREBLE
tone controls, and the MID knob allows you to blend in just the right amount of the lower octave effect. DRIVE, of course,
controls the amount of fuzz.
Octave Fuzz – Based on* the Tycobrahe Octavia
What was that? If it sounded like a phantom guitar possessed by The Ghost of Great Guitarists Past, then it probably was an
Octavia. The Octavia is an example of a fuzz+octave effect. One pioneering user of this type of effect was Jimi Hendrix. The
Tychobrahe Octavia was used by Jeff Beck, and continues to be an essential part of Michael Landau’s tone making tool kit. The
Octavia uses an audio output transformer and two germanium diodes to rectify (a fancy word for whack) the guitar signal, thus
creating the high octave type sound. For our model, we studied the original pictured here. We knew we had a keeper when every
guitarist in the building wanted to take it home for a little of their own after hours “research.”
Line 6 Distortion – Completely over the top
What can we say? We were left on our own for just a little too long, and this is the fine mess we got ourselves into. Sure, it’s
massive. Yes, it’s over the top. Okay, it’s a whole lotta crazy... So when are you gonna make a hit record with this effect so we
can use you as our musical example? Of course, we’d like a credit in the liner notes, tickets to the Grammy’s, and the obligatory
mention in your acceptance speech!
Line 6 Drive – Time Travelling in the Tonal Dimension
We started with this premise: what if we could go back to the 60’s and be a part of the fuzz revolution? Or how about designing
distortions in the big hair 80’s? In fact, what if we gave you your own grit-making tone machine, capable of visiting any one of
those seminal moments of guitar tone history, as well as points in between. With the Line 6 Drive model, we’ve done just that.
Think of the MID knob as your very own time control. Set it fully counterclockwise at its minimum position, and you’re trans-
ported to the time of those cheezy Japanese fuzz box clones of the 70’s. Spin the knob up toward 12 o’clock, and you step into
the more modern neighborhood of high gain hard rock tone. And, then, if you turn the knob fully clockwise to its maximum
position, get set to flash back to the mid-60’s.
* All product names used in this manual 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.