DM4 Distortion Modeler
52
DISTORTION MODELER DETAILS
The following pages introduce the 16 models of the Distortion Modeler. As the pages describe,
these models were created as the result of our in-depth studies of a dream collection of classic
effect stomp boxes. The models of your Distortion Modeler are designed to capture the sonic
spirit of these classics, and bring it to you with the powerful new advantages of programmability
and versatility. We’ve provided you with a sample setting for each model, plus the history on
each unit we studied and its place in guitar tone history.
Using the Optional Noise Gate
While developing the models for your Distortion Modeler, we thought, ‘wouldn’t it be cool
and oh-so-21st century to add a noise gate to tame any annoying single-coil hum, and/or
unwanted non-fuzz noise?’ So we did, and we've given you the option of turning the noise gate
on or off for each of the four preset memories. Follow these steps to set the gate for each preset:
DM4 Distortion Modeler
1. It's important you start from bypass mode (all lights must be OFF). Now, choose one of the
four preset stomp switches, and press and hold it to turn the preset on and enter the noise
gate select mode.
2. While still holding down the preset switch turn the Volume knob to set the status of the
noise gate on the preset. (Above 12 o’clock is On, below 12 o’clock is Off).
3. The LED of the currently selected preset indicates the status of the noise gate:
• LED lit = noise gate on
• LED unlit = noise gate off
53
Boost/Comp – based on a MXR Micro Amp.
From phasers to flangers, and from the friendly Dyna Comp to the
mysterious Blue Box, vintage MXR effects continue to influence
the modern generation of retro tone. While many of these effects
add obvious swirl and swoosh, you may have missed the humble
effect of the Micro Amp. This box was used by many a guitar god
to “push” the front-end of their non-master volume tube amp,
helping them to achieve that cranked sound at a somewhat-less
than stadium level.
Our model delivers the same “goose the input of the amp”
experience and serves up a little secret sauce on the side. You see,
the Micro Amp had only one knob. That left us with four other
knobs ready and willing to serve. Careful tweaking of these knobs
will allow you to season your tone with EQ, and then add some
compression strangely reminiscent of a Dyna Comp. Bon Appetit.
DM4 Distortion Modeler
COLOR DRIVE
HEAVY DISTORTION
CLASSIC DISTORTION
OVERDRIVE
SCREAMER
TUBE DRIVE
BUZZ SAW
FACIAL FUZZ
JUMBO FUZZ
OCTAVE FUZZ
BOOST/COMP
FUZZ PI
JET FUZZ
LINE 6 DRIVE
LINE 6 DISTORTION
SUB OCTAVE FUZZ
DM4 Distortion Modeler
DRIVE VOLUMEBASS MID TREBLE
P
ROGRAMMABLE OVERDRIVE & DISTORTION
sub
jet
fdbk
comp
/
jet
rate
This image is provided for the sole purpose of identifying the specific product that was studied
during Line 6's sound model development, and does not imply any cooperation or endorsement.
gate
54
MID adjusts the amount of compression.
Tube Drive – based on the Chandler Tube Driver.
Designed by keyboardist Brent Butler, the first Tube Driver
was born to add grind and girth to his Farfisa. Brent was also
the father of one of the rarest overdrive boxes called the
Mini Matrix (aka Mini Boogee). But it’s his Tube Driver that
drives us crazy.
Utilizing a single 12AX7 preamp tube, the Tube Driver
delivers the sweet singing sustain craved by guitarists
worldwide, and has been a staple of Eric Johnson’s rig since
the mid ’80s.
Our model of this classic offers sweet tone with Hi and
Lo EQ controls like the original. And as with many of the
DM4 models, we’ve added an optional Mid control that
allows you to boost or cut the mids to tailor the tone for you
and your guitar.
COLOR DRIVE
HEAVY DISTORTION
CLASSIC DISTORTION
OVERDRIVE
SCREAMER
TUBE DRIVE
BUZZ SAW
FACIAL FUZZ
JUMBO FUZZ
OCTAVE FUZZ
BOOST/COMP
FUZZ PI
JET FUZZ
LINE 6 DRIVE
LINE 6 DISTORTION
SUB OCTAVE FUZZ
DM4 Distortion Modeler
DRIVE VOLUMEBASS MID TREBLE
Set Bass and Treble to 12 o’clock
P
ROGRAMMABLE OVERDRIVE & DISTORTION
sub
jet
fdbk
comp
/
for the classic sound.
during Line 6's sound model development, and does not imply any cooperation or endorsement.
jet
rate
gate
This image is provided for the sole purpose of identifying the specific product that was studied
DM4 Distortion Modeler
MID in the 12 o’clock position has no effect.
(Below 12 o’clock is cut, above is boost.)
55
Screamer –
Based on the Ibanez TS-808 Tube Screamer.
From Stevie Ray Vaughan to Michael Landau, the simple
Tube Screamer is the overdrive heard ’round the world. This
medium-gain pedal was introduced in the early ’80s, and
in many blues circles, you’re not allowed to solo without
Over the years, Ibanez issued several variations of the
venerable Tube Screamer, but none have reached the fabled
status of the TS-808. Of course, we obsessed over which
of our vintage 808s to model, and in the end we think
you’ll agree that this green jewel makes a precious addition
to the DM4.
True to the original, the MID knob on the DM4 acts
like the Tube Screamer’s tone knob. In addition, you can
shape your tone using the Bass and Treble controls.
(Or leave these in the 12 o’clock position, and they’ll
have no effect).
DM4 Distortion Modeler
COLOR DRIVE
HEAVY DISTORTION
CLASSIC DISTORTION
OVERDRIVE
SCREAMER
TUBE DRIVE
BUZZ SAW
FACIAL FUZZ
JUMBO FUZZ
OCTAVE FUZZ
BOOST/COMP
FUZZ PI
JET FUZZ
LINE 6 DRIVE
LINE 6 DISTORTION
SUB OCTAVE FUZZ
DM4 Distortion Modeler
DRIVE VOLUMEBASS MID TREBLE
one.
P
ROGRAMMABLE OVERDRIVE & DISTORTION
sub
jet
fdbk
comp
/
jet
rate
This image is provided for the sole purpose of identifying the specific product that was studied
during Line 6's sound model development, and does not imply any cooperation or endorsement.
gate
56
Overdrive –
MID funtions like the original 808 tone control.
Based on the DOD Overdrive/Preamp 250
Similar to the MXR Micro Amp, the DOD Overdrive
Preamp is designed to slam the input of a tube guitar amp
as well as add distortion. This increase of input level causes
the amp to distort in such a way that guarantees a visit
from your mom, who obviously does not share your
enthusiasm for distortion!
For several guitarists, including Yngwie Malmsteen,
the Overdrive Preamp became an integral part of their
signature sound.
Once again the original had only gain and level
controls, so your DM4 has knobs to spare. Fear not! You
may now approach the EQ. When used tastefully, you’ll
bring a tear to your momma’s one good eye. Or, you can
go for the extremes and start looking for a new place to
sleep. We’ll trust you on this one.
COLOR DRIVE
HEAVY DISTORTION
CLASSIC DISTORTION
OVERDRIVE
SCREAMER
TUBE DRIVE
BUZZ SAW
FACIAL FUZZ
JUMBO FUZZ
OCTAVE FUZZ
BOOST/COMP
FUZZ PI
JET FUZZ
LINE 6 DRIVE
LINE 6 DISTORTION
SUB OCTAVE FUZZ
DM4 Distortion Modeler
DRIVE VOLUMEBASS MID TREBLE
Set Bass and Treble to 12 o’clock
.
P
ROGRAMMABLE OVERDRIVE & DISTORTION
sub
jet
fdbk
comp
/
for the classic sound.
during Line 6's sound model development, and does not imply any cooperation or endorsement.
jet
rate
gate
This image is provided for the sole purpose of identifying the specific product that was studied
DM4 Distortion Modeler
Set Bass, Mid and Treble to 12 o’clock for the classic sound.
57
Classic Distortion – Based on the ProCo Rat.
Born and bred in the late ’70s, the Rat was the beginning
of a new generation of distortion boxes. With a sound
that was angrier and more aggressive than a fuzz, the
Rat put teeth into a new breed of metal that was
beginning to crawl to the surface.
Through its lifespan, the Rat has seen several
changes, and the unanimous choices for tone are the
originals pictured here. Inside, these two Rats use the
same board, and their circuits are identical. (For those
that need to know, we modeled the smaller one.)
The MID knob functions like the original Rat's “filter”
control, which gives you brighter tone at lower settings,
and darker tone at higher settings. Once bitten, you’ll
know why we call this one tone with teeth!
DM4 Distortion Modeler
COLOR DRIVE
HEAVY DISTORTION
CLASSIC DISTORTION
OVERDRIVE
SCREAMER
TUBE DRIVE
BUZZ SAW
FACIAL FUZZ
JUMBO FUZZ
OCTAVE FUZZ
BOOST/COMP
FUZZ PI
JET FUZZ
LINE 6 DRIVE
LINE 6 DISTORTION
SUB OCTAVE FUZZ
DM4 Distortion Modeler
DRIVE VOLUMEBASS MID TREBLE
P
ROGRAMMABLE OVERDRIVE & DISTORTION
sub
jet
fdbk
comp
/
jet
rate
This image is provided for the sole purpose of identifying the specific product that was studied
during Line 6's sound model development, and does not imply any cooperation or endorsement.
gate
58
MID funtions like the Rat's “filter” control.
Heavy Distortion – Based on Boss MT-2 Metal Zone.
This pedal debuted at the height of the big-hair metal
craze of the late ’80s/early ’90s. Its name says it all: it’s
the Metal Zone. Heavy and scooped, the tones of this
model beg to be chunked upon.
Don’t hold back, you know what to do... just don’t
let us catch you wearing your sister's spandex!
COLOR DRIVE
HEAVY DISTORTION
CLASSIC DISTORTION
OVERDRIVE
SCREAMER
TUBE DRIVE
BUZZ SAW
FACIAL FUZZ
JUMBO FUZZ
OCTAVE FUZZ
BOOST/COMP
FUZZ PI
JET FUZZ
LINE 6 DRIVE
LINE 6 DISTORTION
SUB OCTAVE FUZZ
DM4 Distortion Modeler
DRIVE VOLUMEBASS MID TREBLE
Set Bass and Treble to 12 o’clock
P
ROGRAMMABLE OVERDRIVE & DISTORTION
sub
jet
fdbk
comp
/
for the classic sound.
during Line 6's sound model development, and does not imply any cooperation or endorsement.
jet
rate
gate
This image is provided for the sole purpose of identifying the specific product that was studied
DM4 Distortion Modeler
59
Colordrive – Based on the Colorsound Overdriver.
What? You haven’t heard of this one? Maybe you could
ask Jeff Beck or any of the other guitar greats who hung
around London’s Macari’s Music Exchange in 1965.
Born out of the demand for Tone Benders, brothers
Larry and Joe Macari started building pedals under the
name Sola/Colorsound. Sola also made pedals for Marshall
(the Supa Fuzz), Park (Fuzz Sound), and Vox (the three
knob Tone Bender).
Our model oozes vintage tone, and will transport you
instantly back to that breeding ground of British guitar
heroes. Don’t be surprised if you smell incense burning!
DM4 Distortion Modeler
COLOR DRIVE
HEAVY DISTORTION
CLASSIC DISTORTION
OVERDRIVE
SCREAMER
TUBE DRIVE
BUZZ SAW
FACIAL FUZZ
JUMBO FUZZ
OCTAVE FUZZ
BOOST/COMP
FUZZ PI
JET FUZZ
LINE 6 DRIVE
LINE 6 DISTORTION
SUB OCTAVE FUZZ
DM4 Distortion Modeler
DRIVE VOLUMEBASS MID TREBLE
P
ROGRAMMABLE OVERDRIVE & DISTORTION
sub
jet
fdbk
comp
/
jet
rate
This image is provided for the sole purpose of identifying the specific product that was studied
during Line 6's sound model development, and does not imply any cooperation or endorsement.
gate
60
(below 12 o’clock is cut, above is boost)
Buzz Saw – Based on the Maestro Fuzz Tone.
Take a deep breath and repeat: “I can’t get no (duh, duh,
duh) Satisfaction.” If you have an ear that works, you’ve
definitely heard this one. Legend has it that the sound of
this pedal was inspired by a broken and buzzing mixer
channel heard in Nashville in 1961. Not long after that,
a circuit was designed to re-create the “fuzzy sound effect”
and a new era was born.
Notable Fuzz Tone users include The Door’s Robbie
Krieger, Yes’s Steve Howe, and of course, Keith Richards.
No collection of classic trash-tone would be complete
without the relentless buzzing of the Maestro Fuzz Tone.
And thanks to your DM4, Satisfaction is guaranteed.
MID in the 12 o’clock position has no effect.
COLOR DRIVE
HEAVY DISTORTION
CLASSIC DISTORTION
OVERDRIVE
SCREAMER
TUBE DRIVE
BUZZ SAW
FACIAL FUZZ
JUMBO FUZZ
OCTAVE FUZZ
BOOST/COMP
FUZZ PI
JET FUZZ
LINE 6 DRIVE
LINE 6 DISTORTION
SUB OCTAVE FUZZ
DM4 Distortion Modeler
DRIVE VOLUMEBASS MID TREBLE
P
ROGRAMMABLE OVERDRIVE & DISTORTION
sub
jet
fdbk
comp
/
jet
rate
This image is provided for the sole purpose of identifying the specific product that was studied
during Line 6's sound model development, and does not imply any cooperation or endorsement.
gate
DM4 Distortion Modeler
Set Bass, Mid, Treble to 12 o’clock for the classic sound.
61
Facial Fuzz – Based on the Arbiter Fuzz Face.
Sometime in late 1966, this infamous circular stompbox
hit the London music scene. Designed and built by Arbiter
Music, the Fuzz Face would soon begin its famous association
with guitar legend Jimi Hendrix.
Like all stompboxes from the early era, the Fuzz Face
would see many design changes, as well as re-issues. Our
model is based on the germanium-powered treasure pictured
here: An original, very early “gray with black screening”
Arbiter Fuzz Face.
This legend is now yours, thanks to the DM4's faithful
recreation of its fuzz and glory. Crank up the drive, and
you’ll be seeing Purple Haze right before your eyes.
DM4 Distortion Modeler
COLOR DRIVE
HEAVY DISTORTION
CLASSIC DISTORTION
OVERDRIVE
SCREAMER
TUBE DRIVE
BUZZ SAW
FACIAL FUZZ
JUMBO FUZZ
OCTAVE FUZZ
BOOST/COMP
FUZZ PI
JET FUZZ
LINE 6 DRIVE
LINE 6 DISTORTION
SUB OCTAVE FUZZ
DM4 Distortion Modeler
DRIVE VOLUMEBASS MID TREBLE
P
ROGRAMMABLE OVERDRIVE & DISTORTION
sub
jet
fdbk
comp
/
jet
rate
This image is provided for the sole purpose of identifying the specific product that was studied
during Line 6's sound model development, and does not imply any cooperation or endorsement.
gate
62
Jumbo Fuzz – Based on the Vox Tone Bender.
Have you noticed how the British music scene of the ’60s
not only gave us great bands, but also inspired a bunch of
cool gear, too? Thus is the case with Vox. Most people are
familiar with Vox's classic AC-30 amplifier, but did you
know they were influential in the stompbox world as well?
To measure their success, all you had to do was track
down Jimmy Page. Once you found him, if you looked
carefully you’d find a Vox Tone Bender close-by. The classic
Tone Bender signature can be heard all over the first two
Led Zeppelin records, and is especially apparent on
“Communication Breakdown.”
Set Bass, Mid and Treble to 12 o’clock for the classic sound.
COLOR DRIVE
HEAVY DISTORTION
CLASSIC DISTORTION
OVERDRIVE
SCREAMER
TUBE DRIVE
BUZZ SAW
FACIAL FUZZ
JUMBO FUZZ
OCTAVE FUZZ
BOOST/COMP
FUZZ PI
JET FUZZ
LINE 6 DRIVE
LINE 6 DISTORTION
SUB OCTAVE FUZZ
DM4 Distortion Modeler
DRIVE VOLUMEBASS MID TREBLE
P
ROGRAMMABLE OVERDRIVE & DISTORTION
sub
jet
fdbk
comp
/
jet
rate
This image is provided for the sole purpose of identifying the specific product that was studied
during Line 6's sound model development, and does not imply any cooperation or endorsement.
gate
DM4 Distortion Modeler
Set Bass, Mid and Treble to 12 o’clock for the classic sound.
63
Fuzz Pi –
Based on the Electro-Harmonix Big Muff π.
Not to be outdone by the Brits, the colonies came up with
their own twist on the fuzz rage. Mike Mathews and his
band of merry men at Electro-Harmonix had been cooking
up all sorts of nifty effects when their attention turned to
the distortion/fuzz pedal. Their most popular offering was
the Big Muff π, known more for its sweet sustain than for
its buzz.
Electro-Harmonix was famous for their use of surplus
parts, and the results of this practice were ever-changing
circuit designs and parts specs. As you can see in the picture
of our collection, the Big Muff had several looks, but the
sweetheart of the bunch is the one in the middle, known
as the “triangle knob pattern” model. We know you’ll
agree, there’s nothing like a slice of π.
DM4 Distortion Modeler
COLOR DRIVE
HEAVY DISTORTION
CLASSIC DISTORTION
OVERDRIVE
SCREAMER
TUBE DRIVE
BUZZ SAW
FACIAL FUZZ
JUMBO FUZZ
OCTAVE FUZZ
BOOST/COMP
FUZZ PI
JET FUZZ
LINE 6 DRIVE
LINE 6 DISTORTION
SUB OCTAVE FUZZ
DM4 Distortion Modeler
DRIVE VOLUMEBASS MID TREBLE
P
ROGRAMMABLE OVERDRIVE & DISTORTION
sub
jet
fdbk
comp
/
jet
rate
This image is provided for the sole purpose of identifying the specific product that was studied
during Line 6's sound model development, and does not imply any cooperation or endorsement.
gate
64
MID funtions like the original Big Muff tone control.
Jet Fuzz – Based on the Roland Jet Phaser.
Yeah, yeah. We know. The phasers belong in our MM4
Modulation Modeler – but with this little fella, we just
couldn’t resist. It’s the AP-7 Jet Phaser. A Roland catalog
from the ’70s says it best, “...the Jet Phaser/AP-7 is a phase
shifter producing dynamic jet sounds for rock guitar.”
One listen to the fuzzy swoosh of this model is all it
takes to remind you of Ernie Isley’s Who’s That Lady, and
Uli Roth’s work with the Scorpions.
Take a close look at the small text labeling the BASS
and TREBLE knobs of your DM4. These knobs have special
functions for use with this model: BASS controls feedback
and TREBLE sets the rate of the phaser. The trusty MID
knob gives you tone control over the fuzz part of the effect.
COLOR DRIVE
HEAVY DISTORTION
CLASSIC DISTORTION
OVERDRIVE
SCREAMER
TUBE DRIVE
BUZZ SAW
FACIAL FUZZ
JUMBO FUZZ
OCTAVE FUZZ
BOOST/COMP
FUZZ PI
JET FUZZ
LINE 6 DRIVE
LINE 6 DISTORTION
SUB OCTAVE FUZZ
DM4 Distortion Modeler
DRIVE VOLUMEBASS MID TREBLE
Set Bass and Treble to 12 o’clock
P
ROGRAMMABLE OVERDRIVE & DISTORTION
sub
jet
fdbk
comp
/
for the classic sound.
during Line 6's sound model development, and does not imply any cooperation or endorsement.
jet
rate
gate
This image is provided for the sole purpose of identifying the specific product that was studied
DM4 Distortion Modeler
BASS adjusts the amount of phaser feedback.
MID adjusts
fuzz tone.
TREBLE adjusts
phaser rate.
65
Line 6 Drive – Inspired by the Colorsound Tone Bender.
We started with this premise: What if we could go back
to the 60’s and be a part of the fuzz revolution... what
would we design? What would it sound like? What would
we call it? What’s up with all of these questions?
Being the obsessive bunch of guitar players that we
are, we had way too much fun with this model. We started
with one of our favorite pedals, the Colorsound Tone
Bender. Then we changed the single tone control into
three super tone controls. (Okay, we’re obsessive and control
freaks, too.) The resulting model gives you deliciously rich
and juicy fuzz, along with the flexibility to voice and
personalize the tone just for you.
DM4 Distortion Modeler
BUZZ SAW
COLOR DRIVE
HEAVY DISTORTION
CLASSIC DISTORTION
OVERDRIVE
SCREAMER
TUBE DRIVE
FACIAL FUZZ
JUMBO FUZZ
OCTAVE FUZZ
BOOST/COMP
FUZZ PI
JET FUZZ
LINE 6 DRIVE
LINE 6 DISTORTION
SUB OCTAVE FUZZ
DM4 Distortion Modeler
DRIVE VOLUMEBASS MID TREBLE
P
ROGRAMMABLE OVERDRIVE & DISTORTION
sub
jet
fdbk
comp
/
jet
rate
This image is provided for the sole purpose of identifying the specific product that was studied
during Line 6's sound model development, and does not imply any cooperation or endorsement.
gate
66
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 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!
BUZZ SAW
COLOR DRIVE
HEAVY DISTORTION
CLASSIC DISTORTION
OVERDRIVE
SCREAMER
TUBE DRIVE
FACIAL FUZZ
JUMBO FUZZ
OCTAVE FUZZ
BOOST/COMP
DM4 Distortion Modeler
FUZZ PI
JET FUZZ
LINE 6 DRIVE
LINE 6 DISTORTION
SUB OCTAVE FUZZ
DRIVE VOLUMEBASS MID TREBLE
P
ROGRAMMABLE OVERDRIVE & DISTORTION
sub
jet
fdbk
comp
/
jet
rate
DM4 Distortion Modeler
gate
67
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
experience, 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.
DM4 Distortion Modeler
COLOR DRIVE
HEAVY DISTORTION
CLASSIC DISTORTION
OVERDRIVE
SCREAMER
TUBE DRIVE
BUZZ SAW
FACIAL FUZZ
BOOST/COMP
JUMBO FUZZ
FUZZ PI
JET FUZZ
LINE 6 DRIVE
LINE 6 DISTORTION
SUB OCTAVE FUZZ
OCTAVE FUZZ
DM4 Distortion Modeler
DRIVE VOLUMEBASS MID TREBLE
P
ROGRAMMABLE OVERDRIVE & DISTORTION
sub
jet
fdbk
comp
/
jet
rate
This image is provided for the sole purpose of identifying the specific product that was studied
during Line 6's sound model development, and does not imply any cooperation or endorsement.
gate
68
MID adjusts the blend of sub-octave effect.
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.”
COLOR DRIVE
HEAVY DISTORTION
CLASSIC DISTORTION
OVERDRIVE
SCREAMER
TUBE DRIVE
BUZZ SAW
FACIAL FUZZ
BOOST/COMP
JUMBO FUZZ
FUZZ PI
JET FUZZ
LINE 6 DRIVE
LINE 6 DISTORTION
SUB OCTAVE FUZZ
OCTAVE FUZZ
DM4 Distortion Modeler
DRIVE VOLUMEBASS MID TREBLE
P
ROGRAMMABLE OVERDRIVE & DISTORTION
sub
jet
fdbk
comp
/
jet
rate
This image is provided for the sole purpose of identifying the specific product that was studied
during Line 6's sound model development, and does not imply any cooperation or endorsement.
gate
DM4 Distortion Modeler
Set Bass, Mid and Treble to 12 o’clock for the classic sound.
69
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