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:
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
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