Amazon.com: Line 6 Variax 700 N Acoustic Guitar: Musical Instruments

Product Description

From the Manufacturer
Variax® Acoustic 700 offers you 16 models of the finest acoustic instruments on the planet with the push of a button. You can easily access jumbos, 12-strings, or even a nylon string classical to suit any style of play. Variax Acoustic 700 gives you the freedom to achieve an expertly mic'd acoustic sound without complex setups or feedback, even at concert-level volumes! Recording a great acoustic sound no longer requires a noise-free environment or a big equipment budget; just plug in and go. You also get instant access to alternate tunings for endless possibilities to fuel your inspiration.

An Entire Collection in One Guitar
Several years before Variax® Acoustic was born, we turned our attention from the POD®, amps, and effects that we had been developing to take a fresh look at the guitar itself. We wondered–could it be possible to capture a complete range of guitar tone in a single instrument? After a couple of years of research, development, and countless hours playing dozens of vintage electric and acoustic guitars, we released the original Variax, the world’s first modeling guitar. But while the Variax is perhaps the ultimate general-purpose guitar, we also wanted to specifically address the unique needs of the acoustic musician.

We decided to tackle a problem that had plagued acoustic guitarists since the advent of electrified music–how to get a great acoustic sound on-stage and in the studio. With our unique Mic Position control, you can adjust your tone the way professionals do–by changing mic position. And since our mic is a DSP algorithm, you don’t have to worry about feedback or noise leakage. Another key ingredient to both live and recorded acoustic instrument sound is compression. To further simplify the life of the Variax Acoustic owner, we decided to add a remarkably effective, yet simple to operate compressor. Many acoustic guitarists are fond of alternate tunings, but re-tuning during a performance can often become–literally–a show-stopper. To remove this obstacle, we gave the Variax Acoustic the ability to re-tune for you, at the press of a button.

And of course, to fill our instrument with the sounds of so many archetype acoustics, we had to audition truckloads of vintage guitars to find the ones with just the right sound. Just as we did with the original Variax, we 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 Acoustic 700. An entire acoustic collection in a single instrument.

The Guitars of Variax
With a simple twist of the MODEL SELECT knob, you'll hear a diverse range of instruments from no-frills workhorses to the upper echelons of collectibility. And a few exotic oddities that most of us don't even know how to tune, much less play. With the Variax® Acoustic, you won't get the vintage patina or the strangely erotic musty case smell, but you won't have to deal with the neck re-sets and cracked tops either. Instead, you get only the very best part: the sound.

Variax Models Based On*:

1941 Martin® 5-17: Introduced 1898. All mahogany body, rosewood fingerboard 21 3/8" scale.
Before the days of audio recording, radio, or internet file sharing, the only way to hear music was for someone to play it. Parlor instruments were designed to be kept in homes for the musical amusements of residents and guests. A wide variety of parlor guitars were available from a number of manufacturers, but they are all distinguished by their small size and even, balanced tone. The 5 was one of the smallest, and was often used tuned a major third over standard tuning. Marty Robbins was a prominent user of the size 5 in the early 1960's.
1946 Martin® 000-28: Introduced 1902. Brazilian rosewood back and sides, ebony fingerboard 24.9" scale.
The evolution of musical styles in the early 20th century was mirrored by the evolution of American guitar design. By combining larger bodies and steel strings with its innovative X bracing, Martin® created the modern flat-top acoustic. The unique tonal properties of the 000 make it ideal for music in which the guitar is the dominant instrument. In recent years, electric rock artists like Eric Clapton have chosen the 000-28 for unplugged performances.
1960 Martin® D-21: Introduced 1955. Brazilian Rosewood back, sides, and fingerboard 25.4" scale.
The "D" or dreadnought guitar has been around since 1916, but its loud bass and large body did not make it popular for the musical style of the time. As music continued to evolve, Martin® Dreadnoughts, particularly the D-18 and D-28, became the instrument of choice for folk, bluegrass, country, and rock. The 21 series used similar materials to the 28 series, but with simplified ornamentation and a rosewood fingerboard. This particular specimen puts to rest the myth that postwar Martin® instruments are tonally inferior to their prewar brethren.
1954 Gibson® J45®: Introduced 1941. Mahogany back and sides, rosewood fingerboard 24 3/4" scale.
Gibson® added flat-tops to its product line in the mid 1920’s, and by the mid thirties had introduced the classic Jumbo series. Though one of the less ornate of the Jumbo family, the distinctive sunburst finish and warm tone of the J-45® made it perhaps the most successful model of their diverse acoustic range.
1951 Gibson® SJ®-200: Introduced 1938. Maple back and sides, ebony fingerboard 25 3/8" scale.
The Gibson® "Super Jumbo" was conceived as the ideal stage companion for singing cowboys and was developed with the input of Western actor, singer, and songwriter Ray Whitley. Its enormous size, ostentatious ornamentation, and rich sound made it a favorite of artists like Tex Ritter, Elvis Presley, and Emmylou Harris.
1933 Selmer® Maccaferri: Introduced 1932. Rosewood back and sides, ebony fingerboard 648mm scale.
Italian guitarist and luthier Mario Maccaferri designed his best known instrument during his short association with Selmer®, a French manufacturer. The distinctive cutting tone of these unique benttop guitars was used to great effect by legendary gypsy guitarist Django Reinhardt. We’ve modeled the first "D-Hole" version, without the controversial internal resonator.
1951 D'Angelico New Yorker: Introduced 1936. Figured maple back and sides, ebony fingerboard 25 3/4" scale.
New York luthier John D'Angelico started making Gibson® derivative archtops in 1932, but in a few short years had developed his own models. With its 18 inch body and ornate yet tasteful appointments, the D'Angelico New Yorker is the epitome of the arch-top jazz guitars for many connoisseurs. The instrument we modeled formerly belonged to Ray Gogarty, Brian Setzer's guitar teacher.
1958 Manuel Velazquez: Introduced 1930's. Brazilian rosewood back and sides, ebony fingerboard 640mm scale.
One of America's most respected classical luthiers, Manuel Velazquez has been called the "dean of luthiers" for the balance and clarity of his instruments. Velazquez instruments are built in the Torres/Hauser tradition and notable for quality rather than innovation.
1973 Guild® F412: Introduced late 1960's. Arched maple back, maple sides, ebony fingerboard 25 5/8" scale. While many 12-string guitars seem to be the result of simply adding extra strings to an existing six string model, Guild® 12-strings were actually designed as 12-string guitars from the ground up. The wide fingerboard offered enough room to fret cleanly, and the jumbo body provided the elusive combination of volume and clarity.
To hear a Guild® 12-string in action, check out the intro to "And You and I" from the Yes album Close to the Edge.
1935 Stella® Auditorium: Introduced 1935. Birch back and sides 26 3/8" scale.
he Stella® brand guitars before 1940 have achieved legendary status despite the fact that they were originally budget instruments. The 12-strings are especially prized because of their association with blues artists like Huddie "Leadbelly" Ledbetter. The long scale made these guitars especially suitable for low tunings, over half a century before the advent of Nü Metal.
1939 National Reso-Phonic Style "O": Introduced 1930. Nickel plated Brass Body 25 3/8" scale.
The Style "O" was developed as a simpler and less expensive alternative to their mechanically complex Tricone instruments. Though the convoluted relationship between National Reso-Phonic and Dobro® make precise distinctions difficult, single-cone Nationals are now usually associated with Delta blues, and musicians like Son House.
1937 Dobro® Model 27: Introduced 1934. Birch back and sides 24 2/4" scale.
ohn Dopyera formed Dobro® (short for "Dopyera Brothers") to compete with his former partners at National Reso-phonic. To overcome what he felt were deficiencies in single cone guitars, John designed an aluminum "spider" to transfer vibrations to the edge, rather than the center, of the cone. This arrangement produced a sweeter sound with more sustain. Dobro® wood-bodied instruments are associated with bluegrass music and musicians like Bashful Brother Oswald.
Gibson® Mastertone banjo: Introduced 1925. Maple Ply Rim, Figured maple resonator 26 3/8" scale.
The innovative tone ring gave the Gibson® Mastertone the power to cut through the loudest bluegrass band. The Mastertone series quickly became the definitive Bluegrass banjo, due in no small measure to a long-standing association with virtuoso Earl Scruggs.
Mandola: Introduced 19th century. 25" scale.
Around the beginning of the 20th century, a peculiar form of mass hysteria swept the United States called mandolin orchestras. In these ensembles, mandolins functioned as violins, mandolas were used as violas, and mandocellos played the part of cellos. While the mandolin itself is still a main ingredient in bluegrass, the rest of the family (and the similar bouzouki) are now often used for folk, celtic, and Middle Eastern music.
Japanese Shamisen: Introduced 16th Century. Various body woods, catskin or dogskin heads . The shamisen, essentially a three-stringed fretless banjo played with an ice-scraper sized plectrum, is closely related to the Chinese sanxian and Okinawan shanshin.
No samurai movie soundtrack would be complete without at least a few poignant notes from this instrument. Part of what makes the Shamisen sound unique is that the notes go flat when plucked, but then return to pitch as the note sustains. The special Alternate Tuning Setup mode for this model lets you fine tune this aspect of the sound. "Detune" controls how flat the note goes, and "Settle Time" controls the speed at which it returns to normal pitch.
Indian Sitar: Introduced 16th Century. Introduced late Mogul era (circa 1700). Pumpkin body and resonator . Scale varies with pumpkin size .
Still very popular in Northern India, the unique buzz of the sitar is used in Indian classical, folk, and popular music. The sitar is widely recognized in the west largely because of the brilliant performances and recordings of Ravi Shankar. We've tuned the drone strings chromatically, so the Sitar model will work in any key. The Alternate Tuning Setup mode for this model lets you vary the volume of the drone strings with "Drone Level", and fine tune them with "Drone Tuning".

Control Panel
Volume: Push it toward the Model Select knob to get louder. Pretend to push it away from the Model Select knob when people ask you to turn down.

Mic Position: The top slider (the one furthest away from you when you hold the guitar) allows you to alter the position of the modeled microphone. Here’s a simple way to remember how it works: As you move the slider closer to the soundhole (away from the Model Select knob), the Mic Position is also getting closer to the soundhole. Some of the instruments modeled in the Variax Acoustic don't have a soundhole, but the control will work similarly for these instruments. When the slider is close to the Model Select knob, the strings (and upper frequencies) are emphasized; when the slider is close to the soundhole, the body (and lower frequencies) are emphasized.

Compressor: The bottom slider allows you to change the level of compression. A compressor usually has a lot of controls to adjust, but we take care of all the complicated stuff for you. Just push the slider toward the Model Select knob for more compression, and away from the knob for less.

Model Select: The Model Select knob has several functions. First of all, it allows you to choose the active instrument model. Rotate the knob to choose from the 16 Variax Acoustic models. The name visible in the slot is the active model. The LED will help you see the name on dark stages, or in the closet if you are very shy.

The Model Select knob also lets you engage the Instant Alternate Tuning function. With a quick press on the knob, the LED will change from green to red. Now, none of the notes are where you thought they were! To learn the method to our madness, check out the next section, Instant Alternate Tunings. But wait, there’s more: The Model Select knob also lets you save any customizations you have carried out. More on that in the upcoming Saving Custom Guitar Setups.

Alternate Tunings
Many guitarists, especially acoustic guitarists, play in tunings other than the familiar EADGBE. Rather than deal with the hassles of retuning during a performance or transporting multiple guitars, wouldn’t it be great to have a guitar that could retune itself automatically? We thought so, too, so we included this function on the Variax Acoustic.

Of course, this magic is performed on the output signal only. The physical strings are unchanged…and you’re still responsible for being in tune. For the most pleasant experience, you’ll want to have your amplified signal loud enough to drown out the sound of the physical strings. You should keep in mind that the retuning is relative to the actual strings. If you tune the actual strings of the Variax Acoustic to something besides EADGBE, and apply one of the tuning presets, you're going to get some unexpected, though not necessarily unmusical, results.

We made it easy to get to some of the most commonly used alternate tunings. First, enter the Alternate Tuning Set-Up mode with a quick double press on the model select knob. The LED will flash red-green-red-green to let you know you are in this mode. With the bottom (COMPRESSOR) slider all the way down, choose the tuning you want with the top (MIC) slider.

Virtual Capo and Custom Tuning
Of course, part of the fun of alternate tunings is in being different, so we give you the ability to retune any of the strings up to a 5th (7 half-steps) higher or up to an octave (12 half-steps) lower. Enter Alternate Tuning Set-Up with a quick DOUBLE press on the Model Select knob.

Select the string you want to tune with the bottom (COMPRESSOR) slider. The selected string will be louder than all of the others, so the easy way to select a string is to pluck it while moving the slider until you hear it get louder. The other strings will still be audible to assist you in selecting the right interval. Use the top (MIC POSITION) slider to change the interval. With the slider at either extreme, there is no retuning. Moving the slider away from the model select pot lets you lower the pitch in half-step increments; Moving it toward the model select pot lets you raise the pitch in half-step increments.

With your custom tuning all set, just press the Model Select knob once to leave Alternate Tuning Set-Up mode. You are now back in regular "Play" mode, with the Alternate Tuning on - notice the red LED. A quick press on the Model Select knob, and the Alternate Tuning goes away - notice the green LED. Another quick press - presto – Alternate Tuning returns, just as you left it. When you have an Alternate Tuning you like, you're going to want to save it so...

Saving Custom Guitar Setups
To really take advantage of the sonic capabilities of the Variax Acoustic, especially when performing, you want each instrument model to be set up for your specific needs. Use the Customize function of Variax Acoustic's model knob to get all sixteen models sounding just the way you want.

Choose which of the 16 instrument models you want to customize.
Find a Mic position and Compressor setting that suit your needs.
Select an Alternate Tuning in Alternate Tuning Set-Up, if desired.
Switch Alternate Tuning on or off, depending on how you want it to be saved.
Press the Model Select Knob down and hold for a few seconds until the indicator LED shines solid green or red.
Release the Model Select knob.

That's all there is to it. You've saved your settings for that model. Now that you've got it all down, you can repeat these steps for the remaining 15 positions. (Or not, if you like the factory settings.) And if your needs or tastes change, you can recustomize any of your models as often as you like.

Output Connections
Simple Operation: The simplest way to use the Variax Acoustic is to connect it directly to the mixer or an acoustic amplifier with a standard mono guitar cable.

Battery Power: Of course, the electronics of the Variax Acoustic will need power, so to use this simple hookup, you'll need 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.

At the gig with no AA batteries? Unclip the plastic battery holder from the connector and swap in an ordinary 9V battery. This "emergency" setup will give 1 to 2 hours of battery life.

Using the XPS Power SUpply
We realize that constantly changing batteries can be a real drag, so we included a more convenient option–the unobtrusive yet capable XPS.

Powering your Variax Acoustic with the XPS is easy. Use the included TRS cable (meaning "Tip-Ring-Sleeve" or also simply known as a "stereo" cable) to connect the Variax Acoustic to the INPUT jack of the XPS. Connect the PX-2 power supply to the XPS POWER jack, and use a standard mono guitar cable to connect the XPS's 1/4-inch OUTPUT to your acoustic amp or mixer.

Use a standard XLR/mic cable to connect the XPS's XLR output to feed a mixer or recorder's input with a balanced, +4dBu "line level" signal. While you can also connect this to some acoustic guitar amps, you may get better results with the 1/4-inch cable, because most amps like to receive a lower level signal than the XPS's XLR puts out. The XPS can also work as either an A/B or a Standby switch. If, for example, you want to send your DREADNOUGHT sound to the PA but want to send your ROUNDNECK sound to an acoustic amp, just use the switch: When the 1/4" indicator light is lit on your XPS, you've got your signal routed to the 1/4" OUTPUT.

NOTE: You may have already noticed that the Variax Acoustic has two output connectors: a familiar 1/4-inch jack and a second RJ-45 jack protected by a rubber cap. The RJ-45 connector will be the way you will connect to Line 6 products with a "Variax" input, and add additional sounds and abilities to your Variax Acoustic in the future.

* 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.

Product Description
Variax Acoustic 700 in natural is a breakthrough product for any guitarist, as it provides the best means by which to record great acoustics direct to achieve exquisite, professional results. Its output can be sent direct to a recording device or any standard acoustic amplifier. It will enable guitarists to achieve the best acoustic sounds possible without requiring expensive instruments, microphones and sound-proofed studio space. Variax Acoustic 700 brings guitarists the perfect acoustic sounds for live performances via direct output to a PA system or standard acoustic amplifier. It is the only acoustic guitar that can handle any high-volume onstage situation without feedback hassles or complex setups. Variax Acoustic 700 embodies Line 6's patent-pending guitar modeling technology to offer guitarists instant access to the sounds of a variety of steel-string acoustic, nylon-string classical, resonator and arch-top guitars, as well as non-guitar stringed instruments. The guitar features a set-in mahogany neck, chambered mahogany body and natural finish cedar top.