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Sick Riff preset through a Mesa/Boogie Mark IV head and Marshall 1X12 cab
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Line 6 Variax modeling guitars are a cool application of modeling technology. They offer models of popular guitars, but also other stringed instruments, like banjo, resonator, and sitar. The latest Line 6 Variax is the Shuriken, an extended-range guitar designed with Steve “Stevic” MacKay of Australian band Twelve Foot Ninja.
Model Behavior
The Variax Shuriken’s wicked body shape and reverse headstock scream “metal.” It comes in a matte black finish over an alder body with all-black hardware, apart from the silver LR Baggs piezo saddles. The guitar’s control panel consists of four knobs—volume, tone, guitar model selector, and tuning selector. The indented model-selector and tuning knobs are embossed with names of specific models and tunings. To select, you turn to the desired preset and push the knob. An LED indicates when the setting is active.
There’s also a 5-way pickup selector switch, which lets you access five models from the chosen guitar bank or five pickup choices (if the bank only consists of one guitar type, as with the S-style and T-style models). On the model selector knob are labels for Users I to IV, which enable access to the 20 banks that MacKay uses. These banks require the guitar be tuned to dropped D, and they feature unique guitar models and esoteric tunings. If you’re not interested in McKay’s sounds, you can use the same banks to store your own presets.
A Ninja’s Quest
I tested the Variax Shuriken through a Mesa/Boogie Mark IV and started with some of MacKay’s unique presets. These presets are great for the curious guitarist, and can inspire you to go places you’d rarely go otherwise. That’s definitely the case with the Sick Riff preset, which is tuned to A-E-A-E-F#-B. The lowest four open strings make up two A5 power chords an octave apart. The tuning prompted cool call-and-response riffs between the 6th-string root power chords and the octave-up 4th-string root versions. I also mixed in some massive chord sounds by combing both sets of power chords. I probably wouldn’t have explored these ideas were the alternate tuning not so easily and immediately available.
Model Behavior
The Variax Shuriken’s wicked body shape and reverse headstock scream “metal.” It comes in a matte black finish over an alder body with all-black hardware, apart from the silver LR Baggs piezo saddles. The guitar’s control panel consists of four knobs—volume, tone, guitar model selector, and tuning selector. The indented model-selector and tuning knobs are embossed with names of specific models and tunings. To select, you turn to the desired preset and push the knob. An LED indicates when the setting is active.
There’s also a 5-way pickup selector switch, which lets you access five models from the chosen guitar bank or five pickup choices (if the bank only consists of one guitar type, as with the S-style and T-style models). On the model selector knob are labels for Users I to IV, which enable access to the 20 banks that MacKay uses. These banks require the guitar be tuned to dropped D, and they feature unique guitar models and esoteric tunings. If you’re not interested in McKay’s sounds, you can use the same banks to store your own presets.
A Ninja’s Quest
I tested the Variax Shuriken through a Mesa/Boogie Mark IV and started with some of MacKay’s unique presets. These presets are great for the curious guitarist, and can inspire you to go places you’d rarely go otherwise. That’s definitely the case with the Sick Riff preset, which is tuned to A-E-A-E-F#-B. The lowest four open strings make up two A5 power chords an octave apart. The tuning prompted cool call-and-response riffs between the 6th-string root power chords and the octave-up 4th-string root versions. I also mixed in some massive chord sounds by combing both sets of power chords. I probably wouldn’t have explored these ideas were the alternate tuning not so easily and immediately available.
It was a blast going between the modeled 12-strings to modeled 6-string for mood shifts within a song.
Another really cool feature of the Variax Shuriken is the ability to mute specific strings. The Post Modern Spank preset, for example, is D-A-D-G-B-E with the two lowest strings muted, and Collateral is A-E-E-E-E-E with the 5th string muted. Interestingly, on my test, the muted strings weren’t actually muted, but were much lower in volume (you could hear them clearly in isolation) and sort of swelled in with no attack. The banjo preset called Tumbi, which uses D-A-D-G-B-A tuning and has all but the 1st string muted, leaves all muted strings totally silent.
Common Ground
MacKay’s presets are only part of the Variax Shuriken’s capabilities. The Lester model (based on a 1959 Gibson Les Paul Standard, 1955 Gibson Les Paul Special, and 1976 Gibson Firebird V) is great. With a little dirt, the Les Paul bridge and neck pickups sounded beefy with slightly more focused attack than my actual Gibson Les Paul Standard. Played clean, there was more acoustic-like clarity and depth, which sounded great to my ears. Les Paul purists may like these minor deviations less, but I thought they were excellent.
“Spank” (based on a 1959 Fender Stratocaster) sounds slightly meatier and brawnier than my actual Stratocaster, which lent presence in some situations. One weird thing was that on positions 2 and 4, which both offered a nice quack, the 1st and 2nd strings were distinctly lower in volume than the other strings. This was fairly noticeable when I played clean, but less so with a little gain in the mix.
The acoustic models will probably be used a lot by jack-of-all-trades gigging musicians. The 1 position is based on a 1959 Martin D-28 and was surprisingly robust. I expected to hear the harsh, metallic sound that some piezos produce, so it was a wonder to hear such a thick sound come out of a solidbody. It also picked up the timbral nuances from my various picking approaches.
Common Ground
MacKay’s presets are only part of the Variax Shuriken’s capabilities. The Lester model (based on a 1959 Gibson Les Paul Standard, 1955 Gibson Les Paul Special, and 1976 Gibson Firebird V) is great. With a little dirt, the Les Paul bridge and neck pickups sounded beefy with slightly more focused attack than my actual Gibson Les Paul Standard. Played clean, there was more acoustic-like clarity and depth, which sounded great to my ears. Les Paul purists may like these minor deviations less, but I thought they were excellent.
“Spank” (based on a 1959 Fender Stratocaster) sounds slightly meatier and brawnier than my actual Stratocaster, which lent presence in some situations. One weird thing was that on positions 2 and 4, which both offered a nice quack, the 1st and 2nd strings were distinctly lower in volume than the other strings. This was fairly noticeable when I played clean, but less so with a little gain in the mix.
The acoustic models will probably be used a lot by jack-of-all-trades gigging musicians. The 1 position is based on a 1959 Martin D-28 and was surprisingly robust. I expected to hear the harsh, metallic sound that some piezos produce, so it was a wonder to hear such a thick sound come out of a solidbody. It also picked up the timbral nuances from my various picking approaches.
Ratings
Pros:
Offers a world of instruments and tunings that you probably wouldn’t encounter otherwise.
Offers a world of instruments and tunings that you probably wouldn’t encounter otherwise.
Cons:
Styling might be too metal for some. Idm with crack and serial number for windows 7.
Styling might be too metal for some. Idm with crack and serial number for windows 7.
Tones:
Playability:
Build/Design:
Value:
Street:
$1,399
$1,399
Line 6 Variax Shuriken
line6.com
line6.com
The 4 and 2 positions of the acoustic bank are 12-string models, based on a 1966 Guild F212 and a 1970 Martin D12-28, respectively. Not surprisingly, acoustic models were the fullest sounding on open-position chords. It was a blast going between the modeled 12-strings (for chords) to modeled 6-string for mood shifts within a song.
On the Fast Track
A 27' extended scale length is used on Variax Shuriken to capture the low-tuned notes favored by many modern metal musicians. The C-shaped maple neck features 24 medium jumbo frets on a 12' radius rosewood fretboard, and was fairly comfortable to play, though it took some getting used to.
Tracking is flawless, regardless of how wacky and low the tuning. Even the speediest, EVH-style taps emerged instantaneously, and every lightning-fast nuance of thrash-style, low-string 16th-note riffs was perfectly articulated.
One thing to account for, if you go back and forth a lot through settings in real time, is that there are distinct changes in volume when switching between certain banks. But you can control these details, create tunings, and control properties of individual strings like volume and tuning (as far up or down as an octave) by connecting to Line 6’s custom Variax software Workbench—which lets you customize and save instruments, tunings, and settings. You can also connect to a device like Line 6’s Helix and have the ability to store up to eight snapshots—guitars, tunings, effects—that can be instantaneously recalled with precise volume levels between changes.
The Verdict
The Variax Shuriken is a great sounding axe that could change the landscape of modern metal in performance. But if you’re not a metal head and are dissuaded by the guitar’s metal persona, don’t be. No matter what style of music you play, if you exploit the full capabilities of Variax Shuriken, the sky really is the limit.
On the Fast Track
A 27' extended scale length is used on Variax Shuriken to capture the low-tuned notes favored by many modern metal musicians. The C-shaped maple neck features 24 medium jumbo frets on a 12' radius rosewood fretboard, and was fairly comfortable to play, though it took some getting used to.
Tracking is flawless, regardless of how wacky and low the tuning. Even the speediest, EVH-style taps emerged instantaneously, and every lightning-fast nuance of thrash-style, low-string 16th-note riffs was perfectly articulated.
One thing to account for, if you go back and forth a lot through settings in real time, is that there are distinct changes in volume when switching between certain banks. But you can control these details, create tunings, and control properties of individual strings like volume and tuning (as far up or down as an octave) by connecting to Line 6’s custom Variax software Workbench—which lets you customize and save instruments, tunings, and settings. You can also connect to a device like Line 6’s Helix and have the ability to store up to eight snapshots—guitars, tunings, effects—that can be instantaneously recalled with precise volume levels between changes.
The Verdict
The Variax Shuriken is a great sounding axe that could change the landscape of modern metal in performance. But if you’re not a metal head and are dissuaded by the guitar’s metal persona, don’t be. No matter what style of music you play, if you exploit the full capabilities of Variax Shuriken, the sky really is the limit.
Electric Guitar With DSP Modelling
We get up to speed with the latest leaps in Line 6’s guitar‑modelling technology.
The Line 6 Variax has evolved considerably since the first models appeared. They sported no conventional magnetic pickups at all but instead had a set of six piezo pickups set into the bridge saddles. These picked up the signals from the individual strings and the guitar then converted them to a digital signal before processing them via the onboard DSP modelling engine. The same hexaphonic pickup system is still used today, but for the past few years the modelling technology has been put to work alongside the conventional magnetic guitar pickups. This has given the user the ability to switch between the ‘normal’ and Variax modelled sounds, and also to provide a safety net should the Variax battery ever go flat during a performance.
Since Line 6 were acquired by Yamaha, the Variax technology has been teamed with Yamaha‑built guitars, and this current generation uses a more detailed modelling process that has been made possible by increases in the DSP power that runs the HD v2.0 firmware. To take advantage of this power, the Line 6 engineers used the best‑sounding guitars from a very valuable collection as the benchmarks for their models. The basic formula, however, is pretty much the same as before for the majority of the guitars being modelled (see box).
There are now several different guitar models in the current Variax range, including two Shuriken models and three James Tyler models (often referred to as ‘JTV’), one of which is a dual‑humbucker, single‑cutaway design. In this review we are looking at the least costly Variax Standard — the specific model sent for review being the Variax Standard Limited Edition Onyx, the latter parts of the name referring to the finish on the body.
Banks & Tuning
A push/pull dial switches between regular and modelled guitars, and accesses one of 10 preset model banks plus two further user‑definable custom model banks. The user banks can be set up using the free Workbench HD software, which connects to the guitar via a dedicated USB interface. You can also just copy your favourite factory presets into the banks for ease of access, if you wish. The 10 switch positions are called banks because the five‑way pickup selector switch on the guitar accesses five different presets within the bank, usually (but not for the Acoustic and Reso models) corresponding to different pickups and/or combinations.
As with previous Variax models, the model selection is via conventional looking knurled knobs on the guitar — though now there are more and better models on offer.In Variax mode the Guitar Model Select knob LED illuminates to show the active guitar model. We’re told that the output levels of the modelled sounds have been matched to the original instruments, so a humbucker model may sound louder than a single‑coil model. As with earlier Variaxes, the guitar’s Tone control adjusts the virtual mic position rather than EQ for the acoustic models. Note, though, that the Workbench software allows you to mix in some of the sound of the guitar’s magnetic pickups with the modelled guitar sounds.
A second knob selects from 10 pre‑loaded alternative tunings, but these can be changed using the Workbench software if you need something less common. The models and tunings can be used in any permutation. The Standard setting leaves your guitar tuning alone — in other words, it follows the way you’ve physically tuned the strings — but the pre‑loaded Alt tunings assume you’re using standard guitar tuning. The Model position uses whatever tuning is stored in the selected preset. And if you don’t use standard tuning or want something that’s not on offer, you can construct your own set of Alt tunings, again using the Workbench software.
The Guitar
The Variax standard is a three single‑coil pickup guitar with a vibrato bridge, and it shares its DNA with Yamaha’s Pacifica— which in turn tips a wink towards Leo Fender’s finest. Mx 2314n baixar do drivers for mac. This example has a bolt‑on, 22‑fret maple neck with a dark‑wood (known as Macassar ebony) 13.78‑inch radius fingerboard. The 25.5‑inch scale neck has a palm‑friendly medium profile, though I thought perhaps the fingerboard edges could have been rounded a touch, to make the guitar feel that little bit more comfortable. There’s a forearm chamfer but no belly cut on the rear of the alder body, which makes this guitar a little heavier than a typical Strat.
Our review model was set up well right out of the box and once the strings were stretched in, the tuning was pretty stable, aided perhaps by the black, self‑lubricating Tusq Graphtech nut. The three single‑coil Alnico V pickups are described as ‘vintage voiced’, and the piezo saddles are from LR Baggs. In ‘normal’ guitar mode, the pickup switch works as it would on any Strat‑type guitar, accessing individual pickups or either of the outer pickups combined with the middle pickup.
Unlike a Strat, there’s just a volume control and a single tone control (in contrast with the Fender Strat’s dual tone controls), and in modelling mode the volume pot taper is arranged to behave as on the modelled instrument. If you fancy a solderless rewire, you can change the pot and capacitor values in the Workbench software, as well as wiring pickup pairs in series or parallel.
Overall, the standard of finish and engineering is all that you’d expect from Yamaha, though it’s worth mentioning that the vibrato would benefit from a spring in the arm cavity, since the threaded arm feels quite loose until you reach the end of the thread.
By way of connectivity, there’s a standard quarter‑inch jack to connect to your amplifier, and a second port that takes a network‑style cable that connects to the included USB interface. Power comes from a lithium camera‑style battery that fits into a compartment on the back of the guitar, and a charger is included. A fully charged battery gives around 12 hours of operation. However, you can also supply power to the Variax without a battery if it is connected to VDI Digital Input equipped hardware, such as the Pod HD500X or Helix, or a JTV Cabled Power Kit. You can’t, however, charge the battery or power the guitar via USB. We’re told that the HD Variax range can be paired with the Line 6 Helix, Pod HD and Firehawk families for the saving of combined guitar/effects presets. There’s also limited compatibility with Pod XT, Pod X3, the Vetta II amplifier and some other legacy Line 6 products.
Both the body and headstock of the Onyx model usually appear almost black, but from certain angles and in the right light, the decorative pattern is revealed.In addition to the expected models inspired by Fender’s Strat and Telecaster, Gibson’s Les Paul, Special, Firebird, Super 400 and 335, there are semi‑acoustic rockabilly models based on Gretches, emulations of both six‑ and 12‑string Rickenbackers, a Danelectro and a smattering of acoustics, again with 12‑string options. There’s also a banjo, a resonator guitar and an electric sitar, where the tone control adjusts the level of the sympathetic strings. Some users have wondered why a ’Strat‑alike’ guitar needs a Strat model, and there are actually two reasons: firstly the model is hum‑free and secondly, you can use the alternate tunings with it.
Without using the Workbench HD software, you can store any of your favourite sounds into the user locations along with an Alt tuning if you need one. However, the Workbench HD software is very easy to use and lets you do things like change pickup type, position and angle as well as customise tunings and component values. If you fancy hearing a Les Paul body with two Strat pickups and a Gretsch ‘toaster’, you can build your own right here, and save it as one of your custom sounds. You can also replace any of the original Alt tunings, other than Model and Standard, as well as mixing in some of the magnetic pickups — which only makes sense on patches with standard tuning of course. The factory Alt tunings include drop D, down a semitone, down a tone, open G, baritone and DADGAD.
Impressions
The use of piezo saddle pickups has both good and not‑so‑good aspects. The chief benefit is that they are totally immune to electromagnetic interference, which means the DSP always gets to deal with a clean signal. This is good news in the studio, where you might very well be working very close to equipment that causes conventional guitars to buzz and hum. The down‑side is that they make the bridge slightly microphonic. It’s not usually a problem in practice, though if you’re heavy‑handed on the vibrato arm you may hear some unwelcome noise. While this inevitably remains the case, this new model seems better behaved in this respect than the original Variax models.
Right out of the box, while the guitar itself is decently constructed, it felt a little too ‘new’ for my taste. It would benefit from a bit of playing in, and if it were my own guitar the first thing I’d do is ‘roll’ the fingerboard edges with a scraper. The sound from the new strings was a tad on the bright side, and this also translated to the modelled guitar sounds, but that’s something that would naturally settle down after playing for a few hours. Certainly there was no lack of ringing sustain, and the action was creditably low without choking. Played with the conventional pickups, it comes as no surprise that the guitar sounds very much like a Fender Strat, though having the single overall tone control is quite useful, as it allows the sometimes brash bridge pickup to be tamed.
Switching to the modelled S‑type and comparing with the real thing, the sound is close but not identical. That’s no surprise, though, as the Variax version models a specific instrument that has different pickups and its own unique resonances. The modelled sounds do seem to have a slightly exaggerated attack, possibly due to the response of the piezo pickups, but various forum exchanges suggest that these take only a few hours of playing to bed in fully.
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The other electric guitar models fare pretty well, and though getting a full‑on Les Paul grunt is a bit of an ask, if you’re in a covers band and you need to throw in a ZZ Top number, you can get close. To my ears, the other solid‑body models sound much as they do from my original Variax (which I still have) but with perhaps more in the way of dynamic response and also a little more clarity. As with earlier models, the 12‑string emulations work really well in the context of a band but, like the acoustic emulations, they still don’t really stand up to close solo scrutiny. In fact Line 6 might have missed a trick with the acoustic emulations, by not allowing some of the piezo pickup signal to be mixed in to ‘dilute’ the very aggressive filtering necessary to transform the spectrum of an electric guitar string into that of an acoustic guitar. The semi‑acoustic electric sounds are nicely convincing, while the resonator guitar is excellent. So too is the electric sitar and, in a mix, the banjo also sounds surprisingly authentic.
Given its modest asking price, the Variax Standard has the makings of a good electric guitar, even without its Variax capability — though I feel that not getting a gig bag as standard is perhaps a bit tight. Yes, the guitar would benefit from a little fettling to make it more comfortable, but at heart this is a well‑built guitar made using high‑quality materials.
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The Variax capability adds an immense convenience factor — very few of us can turn up at pub gigs or to a studio session with a dozen different guitars — and for the most part (I’m still not sold on the acoustic sounds, especially for recording), the sounds are reasonably convincing. There are plenty of good sounds to be had, all without the hassle of hum and buzz, and with alternate turnings available at the turn of a dial.
Alternatives
There aren’t really any direct competitors, though the more costly Roland V Guitar — which offers fewer options and no software editability — works well and is built into a US‑made Fender Stratocaster.
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Variax Sounds: Then & Now
Line 6 Variax Software
Regarding the question of how the original and HD modelling systems compare, Line 6 tell me that 18 of the 20 electric guitar models in Variax HD were remodelled versions of the same (or similar) physical guitars from the original Variax generation — and that the HD modelling is, from both a DSP and process perspective, more accurate this time around. There are some very distinct differences, if you’re listening out for them. For instance, the Les Paul pickups are louder, the archtops are more accurate, and the Strat is much more realistic. Line 6 have also, amongst other things, made improvements to the filtering of undesirable sonic artifacts and improvements to the response of the modelling when palm muting.
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Summary
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Though some users may perceive little difference in sound between the HD and previous Variax models, the partnership with Yamaha has produced a cost-effective guitar that plays well in its own right as well as delivering all the Variax options.
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