Line 6 M13, M9, M5 FX Parameters

®

M5, M9 & M13

DELAY MOD DISTORTION FILTER VERB

FX Parameters

An in-depth guide to the FX Parameters of the

M5, M9 & M13 Stompbox Modelers

Electrophonic Limited Edition

Please Note:

Line 6®, DL4™, MM4™, FM4™, DM4™, Verbzilla®,
POD®, LowDown® and Vetta™ are trademarks of
Line 6, Inc. All other product names, trademarks and
artists’ names are the property of their respective
owners, which are in no way associated or affiliated
with Line 6. Product names, images, and artists’
names are used solely to identify the products whose
tones and sounds were studied during Line 6’s sound
model development for this product. The use of these
products, trademarks, images, and artists’ names does
not imply any cooperation or endorsement.

M5, M9 & M13 FX ParaMeters

M5, M9 & M13 FX Parameters © 2011 Line 6, Inc.

Table of Contents

Delay Models ..........................................................................1•1

Parameter Details ........................................................................................... 1•1

Modulation Models ................................................................ 2•1

Parameter Details ........................................................................................... 2•1

Distortion Models .................................................................. 3•1

Parameter Details ........................................................................................... 3•1

Filter Models .......................................................................... 4•1

Parameter Details ........................................................................................... 4•1

Reverb Models ........................................................................ 5•1

Parameter Details ........................................................................................... 5•1

Delay MoDels

This chapter contains details on the M5, M9 & M13 Delay models, which include all the
Delay models from the Line 6 DL4. We’ve also added Echo Platter from Echo Pro and 4
new DryThru models for Tube Echo, Tape Echo, Sweep Echo and Echo Platter.

Parameter Details

Below is a Reference Table listing all the Controls and Parameters for the Delay models.
Knobs 1, 2 and 5 are basically the same for all models, adjusting Delay Time, Feedback
and Mix respectively. Knobs 3 and 4 control various parameters depending on the Delay
model loaded. We’ll detail them all in the following pages.

Delay Models Reference Table : Controls & Parameters

Model Knob 1 Knob 2 Knob 3 Knob 4 Knob 5

Tube Echo & DryThru Time Fdbk Wow/Flutter Drive Mix

Tape Echo & DryThru Time Fdbk Bass Treble Mix

Multi-Head Time Fdbk Heads 1-2 Heads 3-4 Mix

Analog Echo Time Fdbk Bass Treble Mix

Analog w/Mod Time Fdbk Mod Speed Mod Depth Mix

Sweep Echo & DryThru Time Fdbk Sweep Speed Sweep Depth Mix

Lo Res Delay Time Fdbk Tone Resolution Mix

Digital Delay Time Fdbk Bass Treble Mix

Digital Delay w/ Mod Time Fdbk Mod Speed Mod Depth Mix

Stereo Delay Left Time Left Fdbk Right Time Right Fdbk Mix

Ping Pong Time Fdbk Time Offset Stereo Spread Mix

Reverse Time Fdbk Mod Speed Mod Depth Mix

Dynamic Delay Time Fdbk Threshold Ducking Mix

Auto Volume Echo Time Fdbk Mod Depth Swell Time Mix

Echo Platter & DryThru Time Fdbk Wow/Flutter Drive Mix

Delay Models

1•1

Delay Models

Tube Echo & Tube Echo DryThru

Based on the classic ‘63 Maestro® EP-1, the first of a series of “Echoplex” designs featuring
a cartridge of looped 1/4” tape that passed over separate record and playback heads. In the
M5, M9 or M13, we’ve also included a new DryThru model, with a flat, dry signal path
when Mix is set to 0%. For more info on DryThru models, see Chapter 2, Model Details.

1•2

A

DELAY FDBK

WOW/FLT DRIVE MIX

Tube Echo

169 MS

A

WOW/FLT DRIVE MIX

Tube Echo DryThru

DELAY FDBK

169 MS

• Knob 1: Delay Time. Displayed in milliseconds or note value.

• Knob 2: Delay Feedback.

• Knob 3: Wow / Flutter. Controls the tape emulation wow and flutter effect.

• Knob 4: Drive. Adjusts the emulated tube distortion and tape saturation.

• Knob 5: Mix.

Tape Echo & Tape Echo DryThru

Based on the solid state EP-3, with transistors instead of tubes for the sound electronics.
The EP-3 used the same basic mechanical design as the original Echoplex, including the
looped 1/4” tape. Unlike the Tube Echo Model, which gives you control of wow, flutter
and distortion, our EP-3 emulation is designed to give you a less distorted tape emulation
with adjustable tone controls. We’ve also included a Tape Echo DryThru model.

A

DELAY FDBK

BASS TREBLE MIX

Tape Echo

279 MS

A

Tape Echo DryThru

DELAY FDBK

BASS TREBLE MIX

279 MS

• Knob 1: Delay Time. Displayed in milliseconds or note value.

• Knob 2: Delay Feedback.

• Knob 3: Bass EQ.

• Knob 4: Treble EQ.

• Knob 5: Mix.

* 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. Maestro® is a registered trademark of Gibson Guitar Corp.

Multi Head

Based on the Roland® RE-101 Space Echo, which had multiple stationary heads. You
change delay times by switching amongst these heads, and you can play back on multiple
heads at the same time to get multi-tap delay effects.

Delay Models

A

DELAY FDBK

1-2 ON

1-2 OFF

HD1 ON

1-2 ON

HD2 ON

Multi-Head

554 MS

HD4 ON

3-4 OFF

HD3 ON

3-4 ON

HD4 ON

MIX

• Knob 1: Delay Time. Displayed in milliseconds or note value.

• Knob 2: Delay Feedback.

• Knob 3: Turns heads 1 & 2 on and off.

• Knob 4: Turns heads 3 & 4 on and off.

• Knob 5: Mix.

When using the Multi Head Delay model, you’ll find there are many possible combinations
of delay effects, depending on your selection of Head On/Off parameters. It’s best to set a
Delay Time first by adjusting Knob 1.

1•3

To set a Delay Time to a precise millisecond value, dial in a delay time that’s close to what
you want, then fine tune it by pressing and holding Tap while continuing to turn Knob 1.
As an option you can set Delay Time to a note value by turning Knob 1 clockwise until
the 1/4 note symbol is displayed, then Tap in the tempo of your song.

Once your main tempo is set, experiment with different delay repeats by selecting different
combinations of the Head On/Off settings, using Knobs 3 and 4. When you have the
effect you want, adjust the Delay Feedback amount using Knob 2.

* 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. Roland® is a registered trademark of Roland Corp.

Delay Models

Analog Echo

Based on the Boss® DM-2, an analog echo unit treasured for the warm, distorted tones it
produced. This model is great for creating more experimental delay sounds.

1•4

A

DELAY FDBK

BASS TREBLE MIX

Analog Echo

255 MS

• Knob 1: Delay Time. Displayed in milliseconds or note value.

• Knob 2: Delay Feedback. Higher levels result in more repeats.

• Knob 3: Bass EQ.

• Knob 4: Treble EQ.

• Knob 5: Mix. At 100% you will hear the delay only.

Analog With Modulation

This model is based on the Electro-Harmonix® Deluxe Memory Man. This pedal uses the
“bucket brigade” electronics of other analog echoes and adds an adjustable chorus circuit,
which is applied to the echoes only, leaving the direct sound unaffected.

A

DELAY FDBK

MODSPD DEPTH MIX

Analog w/Mod

470 MS

• Knob 1: Delay Time. Displayed in milliseconds or note value.

• Knob 2: Delay Feedback.

• Knob 3: Modulation Speed. Higher levels result in faster modulation.

• Knob 4: Modulation Depth.

• Knob 5: Mix.

* 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. Boss® is a registered trademark of Roland Corp. Electro-Harmonix® is a registered trademark of New Sensor Corp.

Sweep Echo & Sweep Echo DryThru

For this model we started with the tone of our EP-1 delay emulation, then added a sweep­ing filter effect to the delay repeats. By design, our original Sweep Echo model did not
have a flat EQ response in the dry signal path, so the character of the original was retained.
In the M5, M9 or M13 we’ve added a DryThru version, with flat EQ when Mix is at 0%.

Delay Models

A

DELAY FDBK

SWP SPD SWP DEP MIX

Sweep Echo

469 MS

SWP SPD SWP DEP MIX

Sweep Echo DryThru

A

DELAY FDBK

469 MS

• Knob 1: Delay Time. Displayed in milliseconds or note value.

• Knob 2: Delay Feedback.

• Knob 3: Speed of the sweep effect.

• Knob 4: Depth of the sweep effect.

• Knob 5: Mix between dry guitar and wet. At 100% you will hear the delay only.

Lo Res Delay

Low bit resolution can create a unique sort of grunge and noise that is sometimes just the
sound you’re looking for, and that’s what the Lo Res Delay model provides.

A

DELAY FDBK

TONE RES MIX

• Knob 1: Delay Time. Displayed in milliseconds or note value.

Lo Res Delay

403 MS

1•5

• Knob 2: Delay Feedback.

• Knob 3: Tone of the delays only.

• Knob 4: Resolution, adjustable from 6 to 24 bits.

• Knob 5: Mix.

* 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.

Delay Models

Digital Delay

This model is a Line 6 original. With 32 bit floating point processing and a true stereo
audio path, it’s one of the best digital delays you’ll find in a pedal unit. Use it when you
want a clean delay effect.

1•6

A

DELAY FDBK

BASS TREBLE MIX

Digital Delay

751 MS

• Knob 1: Delay Time. Displayed in milliseconds or note value.

• Knob 2: Delay Feedback. Higher levels result in more repeats.

• Knob 3: Bass EQ.

• Knob 4: Treble EQ.

• Knob 5: Mix. At 0% you will hear dry guitar; at 100% you will hear the delay only.

Digital Delay With Modulation

Use this model to add a chorus effect to your digital delays. Like the chorus in the Analog
Delay w/ Mod model, the modulation is applied to the delay repeats only, leaving your
direct sound unaffected.

A

DELAY FDBK

MODSPD DEPTH MIX

Dig Dly w/Mod

437 MS

• Knob 1: Delay Time. Displayed in milliseconds or note value.

• Knob 2: Delay Feedback.

• Knob 3: Modulation Speed. Higher levels result in faster modulation.

• Knob 4: Modulation Depth.

• Knob 5: Mix.

Stereo Delay

This is another Line 6 high resolution digital delay, with separate delay times available
for L and R channels. Some players set one side as a fast echo with many repeats, and the
other slow with just a few repeats. Set it to taste for a rhythmic stereo delay effect.

Delay Models

A

DELAY L-FDBK

R 911MS

Stereo Delay

L 342MS

R-FDBK MIX

• Knob 1: Delay Time for the left channel only.

• Knob 2: Feedback amount for the left channel.

• Knob 3: Delay Time for the right channel only.

• Knob 4: Feedback amount for the right channel.

• Knob 5: Mix.

Ping Pong

The ever-popular Ping Pong Delay has two separate channels of delay panned left and
right, with the output of each channel flowing into the other, usually used with a moderate
level of feedback.

A

DELAY FDBK

OFFSET SPREAD MIX

Ping Pong

470 MS

1•7

• Knob 1: Delay Time for the left channel, displayed in milliseconds or note value.

• Knob 2: Delay Feedback. Higher levels result in more repeats.

• Knob 3: Offset. This sets the right channel delay time as a percentage of the left

channel delay time. Half of the value in the screenshot above would equal 235 ms.

• Knob 4: Spread. The minimum position is mono, while max would be wide stereo.

• Knob 5: Mix.

Delay Models

Reverse

As the name implies, whatever you play on guitar is played back in reverse, delayed by the
time you set with Knob 1.

1•8

A

DELAY FDBK

MODSPD DEPTH MIX

Reverse

2000 MS

• Knob 1: Delay Time. Displayed in milliseconds or note value.

• Knob 2: Delay Feedback.

• Knob 3: Modulation Speed. Higher levels result in faster modulation.

• Knob 4: Modulation Depth.

• Knob 5: Mix. 100% means you’ll hear the reverse delay only.

Dynamic Delay

This effect was made popular by the TC Electronic® 2290 Dynamic Digital Delay. It fea­tures a “smart” volume control for your delay effect’s echoes, which sets the loudness of the
delays based on how hard you play. When you stop playing in between phrases, the delay
level increases for a dynamic effect.

A

DELAY FDBK

THRESH DUCKING MIX

Dynamic Dly

437 MS

• Knob 1: Delay Time. Displayed in milliseconds or note value.

• Knob 2: Delay Feedback.

• Knob 3: Threshold. The breakpoint where the automatic volume control stops

working and lets the echoes through at full volume.

• Knob 4: Ducking. Adjusts the level of the “ducked” repeats; higher settings will
duck the delay level down more.

• Knob 5: Mix.

* 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. T.C. Electronic® is a registered trademark of T.C. Electronic A/S Corp.

Auto Volume Echo

This model gives you two effects in one. The first is an auto-volume fade-in, like the attack
time on a synthesizer’s envelope generator. Higher Swell settings will give you a longer
swell time, so that the sound slowly fades in. The second is an echo, complete with tape­style wow & flutter modulation.

Delay Models

A

DELAY FDBK

MODDEP SWELL MIX

Auto-Volume Echo

392 MS

• Knob 1: Delay Time. Displayed in milliseconds or note value.

• Knob 2: Delay Feedback.

• Knob 3: Modulation Depth.

• Knob 4: Swell. Sets the ramp time for the auto-volume swell.

• Knob 5: Mix.

Echo Platter & Echo Platter DryThru

The Echo Platter model was orginally inspired by the Binson Echorec. The dry signal
path had such a cool tone that we decided to include it in our original model. Echo Platter
DryThru is the same model, but it gives you the option of a flat signal path when the Mix
is set to 0%.

A

DELAY FDBK

WOW/FLT DRIVE MIX

Echo Platter

225 MS

A

WOW/FLT DRIVE MIX

Echo Platter DryThru

DELAY FDBK

225 MS

1•9

• Knob 1: Delay Time. Displayed in milliseconds or note value.

• Knob 2: Delay Feedback.

• Knob 3: Wow / Flutter. Adjusts the emulated tape’s wow and flutter amount.

• Knob 4: Drive. Adjusts the amount of distortion created by the tube electronics and

tape saturation.

• Knob 5: Mix.

* 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.

Modulation Models

MoDulation MoDels

There are 22 Modulation Models in the M5, M9 or M13. 16 are from the Line 6 MM4
Modulation Modeler Stompbox, based on a dream collection of classic effects, stomp
boxes and rack units. 6 new Mod models have been added with the v2.0 firmware update.

In this chapter we’ll describe the various parameters of the Modulation Models in detail.
Below is a chart of all the Controls and Parameters you can adjust using Knobs 1 thru 5.

Modulation Models Reference Table : Controls & Parameters

Model Knob 1 Knob 2 Knob 3 Knob 4 Knob 5

Opto Tremolo Speed Depth Shape Vol Sensing Mix

Bias Tremolo Speed Depth Shape Vol Sensing Mix

Pattern Tremolo Speed

Phaser Speed Depth Feedback Phase Stage Mix

Dual Phaser Speed Depth Feedback LFO Shape Mix

Panned Phaser Speed Depth Output Pan Speed Mix

Barberpole Phaser Speed Fdbk Up/Dwn/St

Script Phase Speed

U-Vibe Speed Depth Feedback Vol Sensing Mix

Analog Flanger Speed Depth Feedback Manual Mix

Jet Flanger Speed Depth Feedback Manual Mix

AC Flanger Speed Width Regen Manual

80A Flanger Speed Range Enhance Manual Even/Odd

Analog Chorus Speed Depth Chrs/Vibrato Tone Mix

Tri Chorus Speed Depth 1 Depth 2 Depth 3 Mix

Pitch Vibrato Speed Depth Rise Time Vol Sensing Mix

Panner Speed Depth Shape Vol Sensing Mix

Rotary Drum Speed Depth Tone Drive Mix

Rotary Drm/Hrn Speed Depth Horn Depth Drive Mix

Dimension Swtch 1 Swtch 2 Switch 3 Switch 4 Mix

Ring Modulator Speed Depth Shape AM/FM Select Mix

Frequency Shifter Freq Up/Dwn/St Mix

Pattern Pattern Pattern Pattern

Mix

2•1

Modulation Models

Opto Tremolo

Based on the tremolo circuitry of the 1965 Fender® Deluxe Reverb® amplifier, which
features a pulsing light source directed at a photo resistor.

2•2

B

MOD DEPTH

SHAPE

Opto Tremolo

SPEED

VOLSENS MIX

• Knob 1: Tremolo Speed.

• Knob 2: Tremolo Depth.

• Knob 3: Shape, from classic smooth tremolo to dramatic sci-fi throb.

• Knob 4: Volume Sensitivity. Louder input signals speed up the tremolo and lower

input slows it down.

• Knob 5: Mix. Tremolo usually sounds best from 90-100% wet.

Bias Tremolo

This Model emulates a classic Vox® tremolo circuit design. Bias tremolo produces a deep,
3-dimensional tremolo with a wide stereo spread.

B

MOD DEPTH

SHAPE

Bias Tremolo

SPEED

VOLSENS MIX

• Knob 1: Tremolo Speed.

• Knob 2: Tremolo Depth.

• Knob 3: Shape. The minimuim setting is a sign wave and max is a square wave.

• Knob 4: Volme Sensitivity. Louder input signals speed up the tremolo and lower

volume inputs slow it down.

• Knob 5: Mix. As with Opto, BiasTremolo usually sounds best from 90-100% wet.

* 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. Fender® and Deluxe Reverb® are registered trademarks of Fender Musical Instruments Corp.Vox® is a registered trademark of Vox R&D Limited.

Modulation Models

26

Pattern Tremolo

A 4-step sequenced tremolo. Inspired by the fantastic GoatKeeper pedal by

Lightfoot Labs. Select 1 through 16 tremolo pulses per step; or you can MUTE the
step, SKIP the step, or pass FULL audio.

B

MOD 6

7

Pattern Tremolo

SPEED

• Knob 1: Speed or Note value.

• Knob 2: Pattern step 1.

• Knob 3: Pattern step 2.

• Knob 4: Pattern step 3.

• Knob 5: Pattern step 4.

Phaser

Based on the MXR® Phase 90, a four-stage phaser that has a relatively subtle sound
compared to other phasers, but it has a lush, organic quality to it.

B

MOD DEPTH

FDBK STG 4

STG 8 STG 12 STG 16

• Knob 1: Phaser Speed.

Phaser

SPEED

MIX

2•3

• Knob 2: Phaser Depth. Keep at maximum for classic phase sounds.

• Knob 3: Feedback. Keep at minimum for classic, subtle phasing.

• Knob 4: Selects phase Stage, which determines the degree of out-of-phase-ness.

• Knob 5: Mix, from 0% (dry) to 100% (wet).

* 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. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Mu-Tron® is a registered trademark of Mark Simonsen.

Modulation Models

Dual Phaser

Based on the Mu-Tron® Bi-Phase, a multi-stage phaser known for its big jet sound. Our
Dual Phaser gives you the lush, offset phasing that made the Bi-Phase a classic.

2•4

B

MOD DEPTH

FDBK

Dual Phaser

SPEED

SINE MIX

SQUARE

• Knob 1:Phaser Speed.

• Knob 2: Phaser Depth. Sounds best at maximum.

• Knob 3: Variable feedback control.

• Knob 4: LFO Shape. Minimum is a Sine wave and maximum is a Square wave.

• Knob 5: Mix. From 0% to 100%.

Panned Phaser

Modeled from the Ibanez® Flying Pan, a 4-stage phase shifter with panner built in. The
original featured a 3-position switch to assign phasing to the left, right, or center.

B

MOD DEPTH

CENTER

Panned Phaser

SPEED

PAN SPD Mix

LEFT

RIGHT

• Knob 1: Phaser Speed.

• Knob 2: Phaser Depth.

• Knob 3: Assigns the Phaser output to the Left, Center or Right channels.

• Knob 4: Pan Speed. Higher values result in faster panning.

• Knob 5: Mix.

* 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. Uni-Vibe® is a registered trademark of Dunlop Manufacturing, Inc. Ibanez® is a registered trademark of Hoshino, Inc.

Modulation Models

Barberpole Phaser

A classic effect from the world of modular synths. Instead of being driven by a classic
LFO, this phaser always sounds like it is rising in the UP mode, and always sounds like it
is falling in the DOWN mode. Stereo mode gives you both up and down.

B

Barberpole Phaser

MOD FDBK

SPEED

STEREO MIX

• Knob 1: Speed. Select a Speed or Note value.

• Knob 2: Feedback. Sets the amount of feedback.

• Knob 4: Select Up, Down or Stereo.

• Knob 5: Mix.

Script Phase

A new model based on a hand wired ‘74 MXR® Phase 90. We’ve kept this one simple,
offering just a Speed control like the original.

B

MOD

Script Phase

SPEED

2•5

• Knob 1: Speed. Adjust your Speed. That’s all you need.

* 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. MXR® is a registered trademark of Dunlop Manufacturing, Inc.

Modulation Models

U-Vibe

Essentially a four-stage phase shifter, the legendary Uni-Vibe® is best known for its watery
texture and sultry tones. Made famous by the late, great Jimi Hendrix.

2•6

B

MOD DEPTH

FDBK

U-Vibe

SPEED

VOLSENS MIX

• Knob 1: Speed.

• Knob 2: Depth.

• Knob 3: Feedback amount.

• Knob 4: Volume Sensitivity. Play harder and the U-Vibe effect speeds up, play softer

and it slows down.

• Knob 5: Mix. Setting Mix at 100% switches on a vibrato effect, like the original.

Analog Flanger

This is our model of the classic MXR® Flanger. It’s known for a very warm-sounding
flange, featuring a bucket brigade analog circuit design and a uniquely shaped waveform.

B

MOD DEPTH

FDBK

Analog Flange

SPEED

MAN MIX

• Knob 1: Speed.

• Knob 2: Depth.

• Knob 3: Flanger Feedback.

• Knob 4: Manual control, to adjust the delay time for the flanging effect.

• Knob 5: Mix. From 0% to 100%.

* 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. Boss® is a registered trademark of Roland Corp.

Modulation Models

Jet Flanger

This is our model of the A/DA “studio quiet” Flanger. Introduced in 1977, this stomp box
has a sweep range of 35-to-1 and a built-in compressor that work together with the tone
circuitry to give the A/DA its signature jet-like sweep. It’s a bit more dramatic than the
MXR®, and has a different wave shape.

B

MOD DEPTH

FDBK

Jet Flanger

SPEED

MAN MIX

• Knob 1: Speed.

• Knob 2: Depth.

• Knob 3: Feedback amount.

• Knob 4: Manual. This controls the delay time for the flanging effect.

• Knob 5: Mix.

AC Flanger

A Line 6 killer killer MXR® Flanger model. Based on a new Reticon bucket brigade chip
recreation.

B

MOD WIDTH

AC Flanger

SPEED

REGEN MANUAL

2•7

• Knob 1: Speed. Select a Speed or Note value.

• Knob 2: Width. Sets the width of the flange.

• Knob 4: Regen. Regeneration amount.

• Knob 5: Manual. Adjust the flange setting manually.

* 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. Boss® is a registered trademark of Roland Corp.

Modulation Models

80A Flanger

A new Line 6 killer A/DA Flanger model. Also based on a Reticon bucket brigade chip
recreation..

2•8

B

MOD RANGE

ENHANCE

80A Flanger

SPEED

MANUAL ODD

• Knob 1: Speed. Select between two speeds, Fast or Slow.

• Knob 2: Range.

• Knob 3: Enhance.

• Knob 4: Manual. Adjust the flange setting manually.

• Knob 5: Mix.

Analog Chorus

Based on the classic stomp box chorus, the Boss® CE-1. The CE-1 came onto the music
scene in 1977 and made waves with its big, warm chorus tones.

B

MOD DEPTH

CHORUS

Analog Chorus

SPEED

TONE MIX

VIBRATO

• Knob 1: Chorus Speed.

• Knob 2: Choru Depth.

• Knob 3: Selects Chorus or Vibrato.

• Knob 4: Adjusts overall Tone of the Chorus effect.

• Knob 5: Mix. Usually sounds best with higher Mix levels.

* 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. Leslie® is a registered trademark of Suzuki Musical Instrument Manufacturing Co. Ltd. Fender® is a registered trademark of Fender Musical Instruments Corp. Hammond is a registered trademark of Hammond-Suzuki.

Modulation Models

Tri Chorus

This model is based on the Songbird/DyTronics Tri-Stereo Chorus. This analog chorus
featured 3 chorus circuits working off of 12 low frequency oscillators and 3 delay lines.

B

MOD DEPTH

DEPTH2

Tri Chorus

SPEED

DEPTH3 MIX

• Knob 1: Chorus Speed.

• Knob 2: Depth of Circuit 1.

• Knob 3: Depth of Circuit 2.

• Knob 4: Depth of Circuit 3.

• Knob 5: Mix from 0% (dry) to 100% (wet).

Pitch Vibrato

Based on the Boss® VB-2 vibrato, which featured a bucket brigade analog circuit that
produced a lively vibrato. Its big claim to fame was the “Rise Time” control. Thanks to
this clever circuit, each time you kicked it on, it sped up to where you last had it set.

B

MOD DEPTH

RISE MIX

Pitch Vibrato

SPEED

VOLSENS

2•9

• Knob 1: Vibrato Speed.

• Knob 2: Vibrato Depth.

• Knob 3: Rise Time control. Lower levels mean a longer Rise Time.

• Knob 4: Volume Sensitivity. A louder input speeds up the vibrato, and a lower input

slows it down.

• Knob 5: Mix.

* 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. Roland® is a registered trademark of Roland Corp.

Modulation Models

Panner

The Panner model makes your sound constantly pan back and forth between the left and
right stereo channels. If you decide to run it in mono, you’ll basically hear tremolo.

2•10

B

MOD DEPTH

SINE

SQUARE

TRIANGLE

Panner

SPEED

VOLSENS MIX

• Knob 1: Speed.

• Knob 2: Depth.

• Knob 3: Wave Shape. Minimum for Triangle, 50% for Sine, maximum for Square.

• Knob 4: Volume Sensitivity. Input level speeds up or slows down the panning rate.

• Knob 5: Mix. For wide stereo panning, set Mix to 100%.

Rotary Drum

Based on a Fender® Vibratone, which features a rotating drum surrounding a 10” speaker.
The Styrofoam drum has two slots, and the cabinet has three (left, right and top). The
drum rotates with a vertical motion, sending sound spinning in all directions.

B

MOD DEPTH

TONE

Rotary Drum

FAST

DRIVE MIX

SLOW

• Knob 1: Speed. Select between two speeds, Fast or Slow.

• Knob 2: Depth.

• Knob 3: Overall Tone of the Rotary effect.

• Knob 4: Drive. Higher levels add an overdriven effect.

• Knob 5: Mix. For best results, set Mix at or near maximum.

Modulation Models

Rotary Drum/Horn

Based on a Leslie® 145, originally designed for the Hammond® B3. The 145 features two
sound sources: the lower part of the cabinet, which has a 12” speaker surrounded by a mo­torized rotary drum, and the upper enclosure, which houses a spinning horn.

B

MOD DEPTH

HRN DEP

Rotary Drm/Hrn

FAST

DRIVE MIX

SLOW

• Knob 1: Speed. Select between two speeds, Fast or Slow.

• Knob 2: Depth of the lower part of the cabinet.

• Knob 3: Horn Depth. This adjusts the depth of the horn sound.

• Knob 4: Drive. Higher levels add an overdriven effect.

• Knob 5: Mix. For best results, set Mix at or near maximum.

Dimension

Based on the Roland® Dimension D, one of the first true stereo chorus units that featured
two separate delay lines working off the same oscillator. These independent chorus effects
were then panned between the stereo outputs, resulting in a wide stereo image. Various
combinations of the on/off switches provide a rich, smooth chorus.

B

MOD

SW3 OFF SW4 OFF

Dimension

SW1 ON

SW2 ON

MIX

2•11

• Knob 1: Selects Switch 1 On or Off.

• Knob 2: Selects Switch 2 On or Off.

• Knob 3: Selects Switch 3 On or Off.

• Knob 4: Selects Switch 4 On or Off.

• Knob 5: Mix. Keep it set near max for the best chorus sound.

* 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. Roland® is a registered trademark of Roland Corp.

Modulation Models

Ring Modulator

Ring modulators are for those special times when you want different, distinctive, weird,
strange and otherwise non-traditional guitar sounds. With Mix set under 100%, some of
your dry guitar sound will be heard. At 100%, there are no rules.

2•12

B

ring modulator

MOD DEPTH

SHAPE

Ring Modulator

SPEED

AM/FM

MIX

• Knob 1: Speed.

• Knob 2: Depth.

• Knob 3: Adjusts your Wave Shape from Sine to Square.

• Knob 4: Select AM (amplitude modulation) or FM (frequency modulation). Set

to minimum for AM, maximum for FM, or anywhere in-between to blend the two.

• Knob 5: Mix. Experiment with different Mix levels for different effects.

Frequency Shifter

Another classic effect from the world of modular synths. Similar to a ring modulator, but
a ring modulator gives you both up and down shifted frequencies. Here you can select just
the up or down shifted frequencies, or set it to stereo.

B

Frequency Shifter

MOD DOWN

110HZ

MIX

• Knob 1: Frequency.

• Knob 2: Up, Down or Stereo shift.

• Knob 5: Mix. Experiment with different Mix levels for different effects.

* 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. Roland® is a registered trademark of Roland Corp.

Distortion Models

Distortion MoDels

This chapter provides parameter details on the 16 Distortion models from the Line 6 DM4
plus the new Bass Octaver. Also included are a Volume model, 6 Compressors, Noise Gate
and 5 EQs. Most Distortions have the same parameters, controlled by Knobs 1 thru 5:

• Knob 1: Drive control.

• Knob 2: Bass EQ.

• Knob 3: Mid EQ.

• Knob 4: Treble EQ.

• Knob 5: Output level.

Distortion Models Reference Table : Controls & Parameters

Model Knob 1 Knob 2 Knob 3 Knob 4 Knob 5

Tube Drive Drive Bass Mid Treble Output

Screamer Drive Bass Mid Treble Output

Overdrive Drive Bass Mid Treble Output

Classic Dist Drive Bass Filter Treble Output

Heavy Dist Drive Bass Mid Treble Output

Colordrive Drive Bass Mid Treble Output

Buzz Saw Drive Bass Mid Treble Output

Facial Fuzz Drive Bass Mid Treble Output

Jumbo Fuzz Drive Bass Mid Treble Output

Fuzz Pi Drive Bass Mid Treble Output

Jet Fuzz Drive Fdbk Tone Speed Output

Line 6 Drive Drive Bass Mid Treble Output

Line 6 Distortion Drive Bass Mid Treble Output

Sub Octave Fuzz Drive Bass Sub Treble Output

Bass Octaver Drive Bass Mid Treble Output

Octave Fuzz Drive Bass Mid Treble Output

Boost Comp Drive Bass Comp Treble Output

3•1

Distortion Models

Tube Drive

Based on the Chandler Tube Driver®. The original was designed by keyboardist Brent
Butler to add grind and girth to his Farfisa. Utilizing a single 12AX7 preamp tube, the Tube
Driver delivers the sweet singing sustain craved by guitarists worldwide.

3•2

A

DIST BASS

MID TREBLE OUTPUT

Tube Drive

DRIVE

Screamer

Based on the Ibanez® TS-808 Tube Screamer®. This medium-gain pedal was introduced
in the early ’80s. From Stevie Ray Vaughan to Michael Landau, the simple Tube Screamer
is the overdrive heard ’round the world.

A

DIST BASS

TONE TREBLE OUTPUT

Screamer

DRIVE

• Knob 3 controls Tone, true to the original Tube Screamer’s Tone knob.

Overdrive

Based on the DOD® Overdrive/Preamp 250, which was designed to slam the input of a
tube guitar amp as well as add distortion. The original had only gain and level controls,
but the M5, M9 & M13 adds Bass, Mid and Treble EQ.

A

DIST BASS

MID TREBLE OUTPUT

Overdrive

DRIVE

• You can set Knob 1 at a minimum level on this and other Distortion models to get a
boost in level without distorting your tone too much.

* 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. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of
DOD Electronics Corp.

Distortion Models

Classic Distortion

Based on the ProCo Rat from 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 conventional
fuzz tone.

A

DIST BASS

FILTER TREBLE OUTPUT

Classic Dist

DRIVE

• Knob 3 functions like the original Rat’s Filter control, which gives you a brighter
tone at lower settings, and a darker tone at higher settings.

Heavy Distortion

Based on the Boss® MT-2 Metal Zone, which was introduced at the height of the big-hair
metal craze of the late ’80s/early ’90s. Heavy and scooped, the tones of this model beg to
be chunked upon.

A

DIST BASS

MID TREBLE OUTPUT

Heavy Dist

DRIVE

Colordrive

Based on the Colorsound® Overdriver, which originated from London’s Macari’s Music
Exchange in 1965. With a high demand for Tone Benders at that time, brothers Larry and
Joe Macari started building their own unique pedals under the name Sola/Colorsound.

3•3

A

DIST BASS

MID TREBLE OUTPUT

Colordrive

DRIVE

• Knob 3 at 50% has no effect on the Mids; below 50% is a cut, above 50% a boost.

* 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. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp.

Distortion Models

Buzz Saw

Based on the Maestro® Fuzz Tone. Legend has it that the sound of this pedal was inspired
by a broken and buzzing mixer channel heard in Nashville in 1961.

3•4

A

DIST BASS

MID TREBLE OUTPUT

Buzz Saw

DRIVE

Facial Fuzz

Based on the Arbiter® Fuzz Face, the infamous circular stompbox that hit the London
music scene in 1966. It’s best known for its association with guitar legend Jimi Hendrix.

A

DIST BASS

MID TREBLE OUTPUT

Facial Fuzz

DRIVE

Jumbo Fuzz

Based on the Vox® Tone Bender. The classic Tone Bender sound can be heard all over the
early Led Zeppelin albums, and is especially apparent on “Communication Breakdown.”

A

DIST BASS

MID TREBLE OUTPUT

Jumbo Fuzz

DRIVE

Fuzz Pi

Based on the Electro-Harmonix® Big Muff®. America’s answer to the British fuzz pedals,
the Big Muff® was known more for its sweet sustain than for its buzz.

A

DIST BASS

MID TREBLE OUTPUT

* 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. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are
registered trademarks of New Sensor Corp.

Fuzz Pi

DRIVE

Distortion Models

Jet Fuzz

Based on the Roland® Jet Phaser/AP-7. As Roland states in their catalog from the ’70s: “...
the Jet Phaser is a phase shifter producing dynamic jet sounds for rock guitar.”

A

DIST FDBK

TONE SPEED OUTPUT

Jet Fuzz

DRIVE

• Knob 2 controls the amount Feedback.

• Knob 3 controls the Tone of the fuzz.

• Knob 4 controls the Speed of the phasing.

Line 6 Drive

A Line 6 original, this model makes special use of Knob 3, labeled Mid. At minimum,
you’ll get the sound of a ‘70s-style fuzz box clone. As you adjust it towards 50%, you’ll get
a more modern, high gain sound like the Rat or the Boss® Super Distortion. Turning it up
to maximum, you’ll get the gritty bite typical of a Sola Sound Tone Bender.

A

DIST BASS

MID TREBLE OUTPUT

Line 6 Drive

DRIVE

Line 6 Distortion

3•5

Another Line 6 original, this model is out of control. Sure, it’s massive. Yes, it’s over the
top. But it’s a great distortion model.

A

DIST BASS

MID TREBLE OUTPUT

* 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. Roland® and Boss® are registered trademarks of Roland Corp.

Line 6 Dist

DRIVE

Distortion Models

Sub Octave Fuzz

Inspired by the PAiA Roctave Divider, which combined a double octave shift with a fuzz
effect, resulting in deep fat square wave distortion.

3•6

A

DIST BASS

SUB TREBLE OUTPUT

Sub Oct Fuzz

DRIVE

• Knob 3 controls the amount of Sub octave content.

Bass Octaver

The Bass Octaver was inspired by the EBS® OctaBass. It provides a clean octave down
signal. Although this effect is great for bass, it’s also popular with guitarists such as the
legendary Jeff Beck.

A

DIST

TONE NORMAL OCTAVE

Bass Octaver

Octave Fuzz

Based on the Tycobrahe® Octavia, another example of a fuzz plus octave effect. The
Octavia used an audio output transformer and two germanium diodes to rectify the guitar
signal, creating the high octave type sound. Jimi Hendrix used one on “Purple Haze”.

A

DIST BASS

MID TREBLE OUTPUT

Octave Fuzz

DRIVE

Boost Comp

Based on the MXR® Micro Amp. This effect was used to “push” the front-end of non­master volume tube amps in order to achieve a cranked sound at less than stadium levels.

A

DIST BASS

COMP TREBLE OUTPUT

Boost Comp

DRIVE

• Knob 3 adds Compression similar to that of an MXR® Dyna Comp.

* 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. MXR® is a registered trademark of Dunlop Manufacturing, Inc. EBD® is a registered trademark of EBS Holding HB. Tycobrae® is a registered trademark of Kurt Stier.

Distortion Models

Volume Pedal

Use the Volume Pedal model in any of the 4 FX Units to control Volume using an
expression pedal. Set your minimum Volume by adjusting Knob 1.

A

DIST

Volume Pedal

VOLUME

Red Comp

Based on the MXR® Dyna Comp.

A

DIST LEVEL

Red Comp

SUSTAIN

Blue Comp

Based on the Boss® CS1 Compression Sustainer with the Treble switch off.

A

DIST LEVEL

Blue Comp

SUSTAIN

Blue Comp Treb

3•7

Based on the Boss® CS1 Compression Sustainer with the Treble switch on.

A

DIST LEVEL

* 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. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Boss® is a registered trademark of Roland Corp.

Blue Comp Treb

SUSTAIN

Distortion Models

Vetta Comp

From the Line 6 Vetta. Adjust the threshold with Knob 1, the Sensitivity control.

3•8

A

DIST LEVEL

Vetta Comp

SENS

Vetta Juice

Another Vetta original. Knob 1 adjusts Amount, a variable Compression ratio control.
Knob 2 adjusts Level, with 30dB of available gain.

A

DIST LEVEL

Vetta Juice

AMOUNT

Tube Comp

This is a Compressor model from the POD X3 family, based on a vintage Teletronix LA­2A® optical compressor. Adjust Threshold with Knob 1 and Level with Knob 2.

A

DIST LEVEL

Tube Comp

THRESH

Noise Gate

If you’re not using the M5, M9 or M13’s Global Noise Gate, you can use this model in any
or the 4 FX Units. Knob 1 controls the Threshold, and Knob 2 controls Decay.

A

DIST DECAY

* 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. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

Noise Gate

THRESH

Distortion Models

Graphic EQ

Here’s a 5 band graphic EQ with + or - 12dB at 80Hz, 220Hz, 440Hz, 1.1kHz and 2.2kHz.

A

DIST

Graphic EQ

0.0 0.00.00.00.0

80 220 440 2K21K1

Studio EQ

This is an API®-style EQ with constant Q and Soft Clipping output with Level control.

A

DIST 0.0

1500 HZ 0.0 0.0

Studio EQ

500 HZ

Parametric EQ

This EQ features Hi shelf, Low shelf and a fully parametric band with Gain control.

A

DIST HIGHS

FREQ Q GAIN

Parametric EQ

LOWS

4 Band Shift EQ

Four band graphic but the shifter moves the lower band even lower and the higher bands
even higher. With Shifter above 50% it’s probably great for guitar - below 50%, probably
great for bass.

A

DIST

Mid Focus EQ

4 Band Shift EQ

0.00.00.00.0

LO LMID HMID SHFTHI

3•9

This is essentially a Hi Pass and a Low Pass both with frequency and gain control used
together to create a Band-Pass.

A

DIST HP Q

LP FREQ LP Q GAIN

* 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. API® is a registered trademark of Automated Processes, Inc.

Mid Focus EQ

HP FREQ

Filter Models

Filter MoDels

These pages provide details on the M5, M9 & M13’s Filter Models, 16 of which are from
the Line 6 FM4 Filter Modeler Stompbox. We’ve also included a new Pitch Glide, Smart
Harmony intelligent harmonizer, 8 Wah models from the POD X3 family and a few Line
6 originals.

Parameter Details

Below is a chart of all the Controls and Parameters you can adjust using Knobs 1 thru 5,
located just below the LCD display. See the individual graphic illustrations for more info.

Filter Models Reference Table : Controls & Parameters

Model Knob 1 Knob 2 Knob 3 Knob 4 Knob 5

Tron Down Freq Q (Width) Range Filter LP/BP/HP Mix

Tron Up Freq Q (Width) Range Filter LP/BP/HP Mix

Seeker Freq Q (Width) Speed Steps 2-9 Mix

Obi-Wah Freq Q (Width) Speed Filter LP/BP/HP Mix

Voice Box Strt Vowel End Vowel Speed Auto 1-4 Mix

V Tron Strt Vowel End Vowel Speed (Attack) Up/Down Mix

Throbber Freq Q (Width) Speed Shape Mix

Spin Cycle Freq Q (Width) Speed Vol Sensing Mix

Comet Trails Freq Q (Width) Speed Gain Mix

Slow Filter Freq Q (Width) Speed (Attack) Up/Down Mix

Octisynth Freq Q (Width) Speed (Vibrato) Depth (Vibrato) Mix

Synth O Matic Freq Q (Width) Waveform Pitch Mix

Attack Synth Freq Ramp Speed (Attack) Pitch Mix

Synth String Freq Attack Speed (Modulation) Pitch Mix

Growler Freq Q (Width) Speed Pitch Mix

Q Filter Freq Q (Width)

Wah (8 models) - - - Position Mix

Smart Harmony Scale -

Pitch Glide - -

Gain

Key

-

Filter LP/BP/HP Mix

Shift Mix

Pitch Mix

4•1

Filter Models

Tron Down

Inspired by the Mu-Tron® III envelope follower, part auto-wah, part triggered filter. The
original Mu-Tron® had an up/down switch. This model is the Tron Down version.

4•2

C

FILTER Q

LOW LP

HIGH

Tron Down

FREQ

MIX

BP

HP

• Knob 1: Frequency. Determines the high and low settings of the filter sweep.

• Knob 2: Q. Sets the width of the filter.

• Knob 3: Range. Selects High or Low frequency focus of the filter effect.

• Knob 4: Filter. Selects Low Pass, Band Pass, or High Pass filter.

• Knob 5: Mix.

Tron Up

This model emulates the Mutron® III with its switch in the up position.

C

FILTER Q

LOW LP

Tron Up

FREQ

MIX

HIGH

BP

HP

• Knob 1: Frequency. Determines the high and low settings of the filter sweep.

• Knob 2: Q. This sets the width of the filter.

• Knob 3: Range. Selects High or Low frequency focus of the filter effect.

• Knob 4: Filter. Selects Low Pass, Band Pass, or High Pass filter.

• Knob 5: Mix.

* 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. Mu-Tron® is a registered trademark of Mark Simonsen.

Seeker

9 STEPS

Inspired by the Z-Vex Seek Wah, a box that contains 8 parked wah filters that can be set
at varying positions and then sequenced through, creating a pulsating hypnotic effect.

Filter Models

C

FILTER

5.80HZ

2 STEPS

3 STEPS 5 STEPS

Seeker

FREQ

8 STEPS

4 STEPS

Q

MIX

6 STEPS

7 STEPS

• Knob 1: Frequency. Select from a range of sequenced patterns of wah filter settings.

• Knob 2: Q. Sets the width of the filters.

• Knob 3: Speed. Controls the time it takes to cycle through the filters.

• Knob 4: Steps. Sets the number of filter steps in the sequence, from 2 to 9.

• Knob 5: Mix.

Obi-Wah

Based on the Oberheim® Voltage Controlled Filter, a classic Sample and Hold filter,
which creates changes in tone by randomly emphasizing certain frequencies.

C

FILTER

6.33HZ

Obi Wah

FREQ

BP

Q

MIX

4•3

LP

HP

• Knob 1: Frequency. Sets the frequency where the filter will change your tone.

• Knob 2: Q. Controls the width of the filter.

• Knob 3: Speed. Sets the rate of the random filter changes.

• Knob 4: Filter. Selects the type of filter used (Low Pass, Band Pass or High Pass).

• Knob 5: Mix.

* 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. Oberheim® is a registered trademark of Gibson Guitar Corp.

Filter Models

Voice Box

Inspired by Vocoders, this model gives your guitar a sound that’s typical of a classic “talk
box”. It shifts between a starting and ending vowel sound as you play, automatically. Knob
1 selects a Start vowel and Knob 2 selects an End vowel.

Auto lets you choose one of four settings for shifting back and forth between the Start
vowel and End vowel, automatically shifting at the Speed you set with Knob 2. You can
also use an expression pedal to control the shift.

4•4

C

FILTER

2.95HZ

SRT "E"

SRT "I"

SRT "O"

SRT "U"

Voice Box

SRT "A"

AUTO 1

AUTO 2

AUTO 3

AUTO 4

END "I"

MIX

END "A"

END "E"

END "O"

END "U"

• Knob 1: Sets the starting vowel sound (A, E, I, O or U).

• Knob 2: Sets the ending vowel sound (A, E, I, O or U).

• Knob 3: Speed. Set how long it takes to “speak” from Start to End vowel.

• Knob 4: Auto. Select among 4 different start-to-stop vocal transition settings.

• Knob 5: Mix.

* 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.

V Tron

This model is based on the combination of a Mu-Tron III® envelope filter and a Voice
Box effect. With the V Tron, your guitar “speaks” with an almost human voice in response
to your playing.

Each time you strike a new note or chord, the vowel sequence will be “spoken.” You can
choose whether to go from Start vowel to End vowel only (Up), or have it turn around and
come back again (Up/Down).

END "U"

C

FILTER

V Tron

SRT "A"

END "U"

MIXUP/DOWN SPEED

Filter Models

SRT "E"

SRT "I"

SRT "O"

SRT "U"

UP

END "A"

END "E"

END "I"

END "O"

• Knob 1: Sets the starting vowel sound (A, E, I, O or U).

• Knob 2: Sets the ending vowel sound (A, E, I, O or U).

• Knob 3: Speed. Set how long it takes to “speak” from Start to End vowel.

• Knob 4: Mode. Selects either Up or Up/Down.

• Knob 5: Mix.

* 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. Mu-Tron® is a registered trademark of Mark Simonsen.

4•5

Filter Models

Throbber

Inspired by the versatile Electrix® Filter Factory. Like the LFO section of the Filter Fac­tory, the Throbber alters the brightness of your tone with an emphasis on a specific fre­quency that you can select. Throbber is perfect for those Electronica sounds.

4•6

C

FILTER

4.80HZ

Throbber

FREQ

RAMP UP

RAMP DW

TRIANGLE

SQUARE

Q

MIX

• Knob 1: Frequency: Selects a specific frequency range for the filter.

• Knob 2: Q. Controls the width of the filter.

• Knob 3: Speed. Sets the rate of the low frequency oscillator.

• Knob 4: Mode. Selects between four different wave shapes.

• Knob 5: Mix.

Spin Cycle

Inspired by Craig Anderton’s Wah/Anti-Wah, this effect takes full advantage of the M5,
M9 or M13’s stereo capabilities. It’s essentially two wah pedals panned L & R that wah
in the opposite direction from each other. One goes up while the other goes down. Addi­tionally, the wahs are sweeping from min to max automatically, and they react to playing
volume.

C

FILTER

1.21HZ

Spin Cycle

FREQ

VOLSENS

Q

MIX

• Knob 1: Frequency. Controls the range of the filter emphasis in the wah tone.

• Knob 2: Q. Controls the width of the filter.

• Knob 3: Speed. Sets the speed at which the wah effects sweep.

• Knob 4: Volume Sensitivity. Sets the way volume will affect the speed of the effect.

• Knob 5: Mix.

* 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. Electrix® is a registered trademark of Electrix Pro, Inc.

Comet Trails

After several days spent crafting the code that makes up our digital secret sauce, one of
our DSP developers came up with an inspired model that features 7 filters, all chasing each
other around and looping back and forth across sonic space. We call it Comet Trails.

Filter Models

C

FILTER

3.33HZ

Comet Trails

FREQ

GAIN

Q

MIX

• Knob 1: Frequency. Controls the range of the filters.

• Knob 2: Q. Controls the width of the filters.

• Knob 3: Speed. Sets the rate of the filter movement.

• Knob 4: Gain. Controls the overall Gain.

• Knob 5: Mix.

Slow Filter

This triggered filter rolls off the high end of your tone, with adjustable speed. You get a
choice of having your tone sweep from dark to bright (Up mode), or bright to dark (Down
mode). The Q lets you further shape your tone by creating a sharp boost at the point of
the high end roll off.

C

FILTER

SPEED

Slow Filter

FREQ

UP

Q

MIX

4•7

DOWN

• Knob 1: Frequency. Sets where the filter begins its tone shaping roll-off.

• Knob 2: Q. Controls the width of the filter.

• Knob 3: Speed. Sets the speed of the filter sweep.

• Knob 4: Mode. Selects between two modes: Up or Down.

• Knob 5: Mix.

Filter Models

Octisynth

This model is a velocity sensitive combination of Ring Modulator, Synthesizer VCO and
Vibrato pedal. As an added bonus, your guitar’s volume knob can control the frequency of
the oscillator. Set it low for a mellow, muted response, or turn it up all the way for a radical,
aggressive sound.

4•8

C

FILTER

0.10HZ

Octisynth

FREQ

DEPTH

Q

MIX

• Knob 1: Frequency. Controls filter content, adding second order harmonics.

• Knob 2: Q. Controls the width of the filters.

• Knob 3: Speed. Sets the rate of the Vibrato.

• Knob 4: Depth. Controls the Depth of the Vibrato.

• Knob 5: Mix.

Synth O Matic

This model features waveforms captured from a collection of vintage analog synths,
including a Moog® Modular and an Oberhiem® Synthesizer Expander Module.

C

FILTER Q

WAVE 7 PITCH

WAVE 1

WAVE 5 WAVE 6

Synth O Matic

FREQ

WAVE 2 WAVE 3

MIX

WAVE 4

WAVE 8

• Knob 1: Frequency. Determines how bright your sound will be.

• Knob 2: Q. Sets filter width to add more or less emphasis on the selected frequency.

• Knob 3: Speed. Selects one of the eight synth waveforms.

• Knob 4: Pitch. Controls the Pitch of the synth sound.

• Knob 5: Mix.

* 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. Oberheim® is a registered trademark of Gibson Guitar Corp. Moog® is a registered trademark of Moog Music.

Attack Synth

Inspired by a Korg® X911 Guitar Synth. The Attack Synth model features one of the
waveforms used in the original X911, along with a few of the unique wave shaping functions
we found on the unit we modeled.

Filter Models

C

FILTER

SPEED

Attack Synth

FREQ

PITCH

RAMP

MIX

SQUARE

PWM

• Knob 1: Frequency. Controls the stop frequency of the filter (VCF on the X911).

• Knob 2: Q. Selects Square, Pulse Width Modulation or Ramp for the waveform.

• Knob 3: Speed. Controls Attack (the time it takes to get to the stop frequency).

• Knob 4: Pitch. Controls Pitch over a two octave range.

• Knob 5: Mix.

Synth String

Based on the Roland® GR700 Guitar Synth, which has some of the coolest analog synth
sounds designed for guitar. The Synth String model is based on one of the signature sounds
of the GR700.

C

FILTER

0.69HZ

Synth String

FREQ

PITCH

ATTACK

MIX

4•9

• Knob 1: Frequency. Controls a low pass filter tone control.

• Knob 2: Q. Controls the attack time.

• Knob 3: Speed. Sets the speed of the vibrato-y pulse width modulation.

• Knob 4: Pitch. Controls the Pitch of the effect over a two octave range.

• Knob 5: Mix.

* 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. Korg® is a registered trademark of Korg, Inc. Roland® is a registered trademark of Roland Corp.

Filter Models

Growler

For the Growler, we modeled yet another great-sounding GR700 tone and fused it with the
characteristics of the Mu-tron III®, resulting in a model that gives you user-controllable
pitch and pulse width modulation, and a unique sound.

4•10

C

FILTER

0.84HZ

Growler

FREQ

PITCH

Q

MIX

• Knob 1: Frequency. Controls the frequency of the filter.

• Knob 2: Q. Sets the width of the filter.

• Knob 3: Speed. Dials in the speed of the vibrato-y pulse width modulation.

• Knob 4: Pitch. Controls the Pitch of the synth over a two octave range.

• Knob 5: Mix.

Q Filter

This is essentially a parked wah model – a wah “parked” in one position that creates
a unique, notched kind of sound. With the Q Filter, this effect is programmable and
repeatable. You can even use it as a wah pedal if you connect an expression pedal to the
M13 and set it to sweep Frequency from low to high.

C

FILTER Q

GAIN

Q Filter

FREQ

LP

MIX

BP

HP

• Knob 1: Frequency. Controls filter frequency (like the position of a wah pedal).

• Knob 2: Q. Controls the width of the filter.

• Knob 3: Speed. Sets the gain (the amount of boost the effect gives to your guitar).

• Knob 4: Filter. selects the type of filter effect (Low Pass, Band Pass, or High Pass).

• Knob 5: Mix.

* 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. Mu-Tron® is a registered trademark of Mark Simonsen. Roland® is a registered trademark of Roland Corp.

Included in the Distortion group are 8 exclusive Wah models from the POD X3.

Vetta Wah Fassel

An original Line 6 wah that made its
debut in the Line 6 Vetta amplifier.

A model of the Jen Electronics Super Cry
Baby, manufactured in Italy using the
famed Fasel Inductor.

Filter Models

C

FILTER

Vetta Wah

POS

C

FILTER

MIX

Weeper Chrome

Modeled after the Dunlop Model
GCB-95 Cry Baby.

C

FILTER

Weeper

POS

MIX

Modeled after the Vox® Model 847
wah pedal.

C

FILTER

Chrome Custom Throaty

Modeled after a custom modified
Vox® 847 wah.

C

FILTER

Chrome Custom

POS

MIX

Modeled after the RMC Real McCoy
Custom wah.

C

FILTER

Conductor Colorful

Fassel

POS

Chrome

POS

Throaty

POS

MIX

MIX

4•11

MIX

Modeled after the Maestro® Boomerang
Wah.

C

FILTER

* 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. Vox® is a registered trademark of Vox R&D Limited. Maestro® is a registered trademark of Gibson Guitar Corp. Colorsound® is a registered trademark of Sola Sound Limited.

Conductor

POS

MIX

Modeled after the Colorsound® Wah­Fuzz-Swell.

C

FILTER

Colorful

POS

MIX

Filter Models

Smart Harmony

Inspired by the Eventide® H3000™. Select a Scale, Key and Shift value and our DSP
algorithms will do the rest, producing a perfect harmony note along with your guitar riffs.

4•12

C

FILTER

KEY

Smart Harmony

E

MAJOR
SCALE

+5TH

SHIFT

MIX

• Knob 1: Scale. Select the Scale you’d like to use.

• Knob 3: Key. Select the Key you’ll be playing in.

• Knob 4: Shift. Determines the Shift value for the desired harmony note.

• Knob 5: Mix. Sets the balance or your dry + harmony notes.

Pitch Glide

Inspired by the Digitech Whammy®, the Line 6 Pitch Glide is designed to be used with an
expression pedal. Set your heel and toe values in the usual way, then glide between them.

C

FILTER

• Knob 4: Manually lets you select the Pitch.

Pitch Glide

0.0

MIX

• Knob 5: Mix.

* 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. DIGITECH and DIGITECH WHAMMY® are registered trademarks of Harman International Industries, Inc. EVENTIDE® and H3000™ are registered trademarks of Eventide, Inc.

reverb MoDels

This chapter describes the 11 Reverb models we ported from the Line 6 Verbzilla pedal,
one of our most popular stomps in the ToneCore family, plus the new Particle Verb. All
Reverbs are stereo, and they sound best routed towards the end of your FX chain.

Parameter Details

As indicated in the Reference Table below, all M9 & M13 Reverb models are set up the
same way with the exception of Particle Verb. Mix is persistent for all Reverbs (your Mix
level will stay the same when you load a different Reverb model). Knobs 1 thru 5 control
the following for all Reverb models:

• Knob 1: Decay time.

• Knob 2: Pre-delay time, adjustable from 20 to 200 milliseconds.

• Knob 3: No assignment for the Reverb models.

• Knob 4: Overall Tone of the wet reverb signal.

• Knob 5: Mix from 0% (dry) to 100% (at 100% you’ll hear wet reverb signal only)

Reverb Models Reference Table : Controls & Parameters

Reverb Models

Model Knob 1 Knob 2 Knob 3 Knob 4 Knob 5

‘63 Spring Decay Pre-Delay - Tone Mix

Spring Decay Pre-Delay - Tone Mix

Plate Decay Pre-Delay - Tone Mix

Room Decay Pre-Delay - Tone Mix

Chamber Decay Pre-Delay - Tone Mix

Hall Decay Pre-Delay - Tone Mix

Ducking Decay Pre-Delay - Tone Mix

Octo Decay Pre-Delay - Tone Mix

Cave Decay Pre-Delay - Tone Mix

Tile Decay Pre-Delay - Tone Mix

Echo Decay Pre-Delay - Tone Mix

Particle Verb Dwell Gain - Hazard/Stable Mix

5•1

Reverb Models

‘63 Spring

Based on a 1963 brown self-contained spring reverb head unit. Best known for great surf
guitar tone.

5•2

D

REVERB 110 ms

'63 Spring

DECAY

TONE MIX

Spring

Based on a studio spring reverb. The spring reverb’s characteristic resonant sound was
created by springs suspended inside a metal box.

D

REVERB 110 ms

Spring

DECAY

TONE MIX

Plate

Plate reverbs consisted of a thin metal sheet suspended inside a box. Dampening the metal
plate was a method for adjusting the reverberant effect.

D

REVERB 110 ms

Plate

DECAY

TONE MIX

Room

Simulates the acoustic properties of a classic echo chamber, which was a room used in
early recording studios for reverb effects. Room reverbs consist mainly of early reflections.

D

REVERB 110 ms

Room

DECAY

TONE MIX

Chamber

An elongated ambient space such as a hallway, stairwell or elevator shaft creates this
reverb type. Lots of decay on tap here.

Reverb Models

D

REVERB 110 ms

Chamber

DECAY

TONE MIX

Hall

This model simulates the sound of a concert hall or large open space with a strong reverb
tail. Imagine a gymnasium, performance hall, or cathedral.

D

REVERB 110 ms

Hall

DECAY

TONE MIX

Ducking

Built using a ‘Hall’ model but with a ducking effect. The volume of your reverb is “ducked”
(reduced) while you’re playing, and increases when you pause between phrases.

D

REVERB 110 ms

Ducking

DECAY

TONE MIX

Octo

Creates a lush, ambient space. Its dense, harmonic decay is controlled by Knob 1 (Decay
Time). Octo is very effective when using volume swells.

5•3

D

REVERB 110 ms

Octo

DECAY

TONE MIX

Reverb Models

Cave

A Line 6 original. Cave is a surreal, cavernous echo chamber. Definitely deep.

D

REVERB 110 ms

Cave

DECAY

TONE MIX

Tile

This model Emulates the acoustic reflections of a tiled room, such as a bathroom or shower,
with clearer/brighter discreet early reflections.

D

REVERB 110 ms

Tile

DECAY

TONE MIX

Echo

Another Line 6 original. This is a lush echo with reverb, and distinct repeats as it decays.

D

REVERB 110 ms

Echo

DECAY

TONE MIX

5•4

Particle Verb

A new kind of reverb effect which turns your chords into a lush modulated pad in STABLE
mode. CRITICAL mode is similar, but with a slight rise in pitch. In HAZARD mode, all
stops are removed.

D

REVERB GAIN

Particle Verb

DWELL

STABLE MIX