COMPARED WITH conventional amplifiers, digital amps typically offer a virtual warehouse of features. But that complexity comes at a price, and many chip-driven tone machines fall short in one area: ease of use. There's something reassuring about a straightforward channel-switching amp that you can set up in a matter of seconds. You may not have all the options afforded by a more complex machine, but you also don't have to spend much time and energy getting a good sound.
The Spider 212 uses the same sound engine that powers Line 6's popular POD and Flextone lines. It's a beefed-up combo featuring a redesigned stereo power amp (borrowed from the Flextone XL series) that pumps 100W (50W per side) into two 12-inch speakers. The Spider's basic features include six amp models, seven digital effects, and a multipurpose stereo line/headphone/direct recording output.
MODEL BEHAVIOR
Like the other members of the Line 6 family, the Spider's tone is based on digital models of analog guitar amps. But unlike some modeling amps, which take a literal approach by mimicking specific amplifiers of yore, the Spider goes for a wider interpretation.
The model palette includes Clean, Twang, Blues, Crunch, Recto, and Insane
(audio examples available on the Online Extras page). Some of the models are amalgams of specific amps, and others are unique creations. One of the things that's nice about the Spider's liberal sonic view is that it focuses not on “accuracy” but on tone; if a model sounds good and fits your needs, who cares if it can fool a listener in a blindfold test against a '59 Fender Bassman? For the most part, the Spider's models are versatile and responsive.
Based on Fender and Howard Dumble amps, Clean offers a wide tonal range with plenty of high-end sparkle. Twang is similar, but with a narrower frequency response that's more like a vintage amp. As implied by its name, Twang works especially well with a Fender Telecaster, but it is also a good choice for clean blues soloing. Blues — which, according to the manual, is an updated interpretation of the Marshall JT-45 mixed in with a Budda Twinmaster — has a range of tones, from minimal overdrive to grit bordering on distortion. It responds well to dynamics.
Designed to emulate and expand on the classic Marshall Plexi tone, Crunch works well for rhythm and lead playing, and, like Blues, responds well to dynamics. Recto, which uses a Mesa/Boogie Dual Rectifier as a starting point, sounds more compressed than the other models and has boosted high and low ends. The Spider's extra power brings out that model's aggressive nature. The well-named Insane (as in an insane amount of gain) may be over the top for most tastes, but it's there if you feel you need to go beyond the Crunch and Recto models.
ORGANIZATION AND CONTROL
The Spider's best asset may be what it doesn't have — a starship's worth of knobs and switches. A good illustration of its plug-and-play vibe is the Amp Models knob — when you select a new amp model, the Spider calls up a preset that offers optimal gain, EQ, and effects parameters to give you a good sonic starting point. Once you've selected a model, you can shape the basic tone with Drive (gain), Bass, Mid, and Treble controls. There are two master volume knobs: the Channel Volume sets the relative loudness of the preset, and the Master Volume controls the overall level of the amp.
The effects section is somewhat Spartan, but it's easy to use and the effects sound good. You can combine as many as three effects at a time, including reverb, delay (Delay, Tape Echo, or Ping Pong), and modulation (Flange, Chorus, or Tremolo). The reverb knob works in a conventional way, but the delay and modulation effects are operated with “smart controls.” Each knob has three zones, with each zone representing one of the effects. Turning the knob selects an effect, and turning it a bit more increases that effect. Although it's not particularly precise, it is extremely fast. A tap tempo control lets you tap in either delay time or modulation speed, depending on the effect.
You can also access “hidden” parameters by holding down the Tap button. Those include Clean Boost, Distortion Boost, Presence Boost, and Noise Gate. You can toggle those on and off, but they have no adjustable parameters. Once you've reached tonal nirvana, you can store your sound settings and assign them to one of four Channels, which can be accessed from the front panel or a foot controller.
Speaking of foot controllers, the Spider works with two types, both optional. The Line 6 FB4 ($99.99) lets you switch between four channels and access tap tempo functions. The more expensive Line 6 Floorboard ($369.99) adds welcome functionality by letting you turn effects (including the hidden ones) on and off. Plus, you get a built-in tuner, a nice-sounding wah with a virtual toe switch, a volume pedal, and the ability to store two additional channel banks, bringing the number of available channels to 12. Both foot controllers connect through the front panel's RJ-45 jack, one of those small details that makes it easier to set up onstage. (On the flip side, the power connection, recessed on the back of the cabinet, is somewhat hard to reach.)
THE PACKAGE
Overall, the amp looks good and operates as expected, but there are a couple of areas in which the Spider's less-is-more approach is somewhat lacking, especially for live performance. It would be nice to have an effects loop for interfacing outboard processors and a second speaker output for driving an extension cabinet.
As is the case with many modeling amps, most of the Spider's controls are data entry knobs — when you change presets, the position of the knobs may not reflect their current settings. You can operate the Spider in a mode that tells where the knobs are set, but the process is a bit cumbersome for stage use. A bigger problem is the position of the knobs and the ease with which they turn — when I tweaked one knob, I often moved an adjacent one unintentionally — a bit of a drag on a “grab and go” device like the Spider.
Still, the Spider is a nicely executed package. It sounds quite good and gets plenty of range from a limited set of controls — though I recommend investing in the Floorboard if you plan to use it onstage. The stereo 2×12 configuration is a real enhancement to the original one-speaker model and doesn't make the cabinet too heavy or bulky. The improved power amp adds definition to the distorted tones, and the stereo speakers sound especially good with effects like chorus and ping-pong delay. You might find digital modeling amps on the market with more features than the Spider 212, but thanks to its ease of use, this handsome combo makes for a solid entry into the digital domain.
