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.
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.
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
DELAYFDBK
WOW/FLTDRIVEMIX
Tube Echo
169 MS
A
WOW/FLTDRIVEMIX
Tube Echo DryThru
DELAYFDBK
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
DELAYFDBK
BASSTREBLEMIX
Tape Echo
279 MS
A
Tape Echo DryThru
DELAYFDBK
BASSTREBLEMIX
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
DELAYFDBK
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
DELAYFDBK
BASSTREBLEMIX
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
DELAYFDBK
MODSPDDEPTHMIX
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
DELAYFDBK
SWP SPDSWP DEPMIX
Sweep Echo
469 MS
SWP SPDSWP DEPMIX
Sweep Echo DryThru
A
DELAYFDBK
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
DELAYFDBK
TONERESMIX
• 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
DELAYFDBK
BASSTREBLEMIX
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
DELAYFDBK
MODSPDDEPTHMIX
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
DELAYL-FDBK
R 911MS
Stereo Delay
L 342MS
R-FDBKMIX
• 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
DELAYFDBK
OFFSETSPREADMIX
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
DELAYFDBK
MODSPDDEPTHMIX
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
DELAYFDBK
THRESHDUCKINGMIX
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
DELAYFDBK
MODDEPSWELLMIX
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
DELAYFDBK
WOW/FLTDRIVEMIX
Echo Platter
225 MS
A
WOW/FLTDRIVEMIX
Echo Platter DryThru
DELAYFDBK
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.
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
MODDEPTH
SHAPE
Opto Tremolo
SPEED
VOLSENSMIX
• 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
MODDEPTH
SHAPE
Bias Tremolo
SPEED
VOLSENSMIX
• 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
MOD6
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
MODDEPTH
FDBKSTG 4
STG 8STG 12STG 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
MODDEPTH
FDBK
Dual Phaser
SPEED
SINEMIX
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
MODDEPTH
CENTER
Panned Phaser
SPEED
PAN SPDMix
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
MODFDBK
SPEED
STEREOMIX
• 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
MODDEPTH
FDBK
U-Vibe
SPEED
VOLSENSMIX
• 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
MODDEPTH
FDBK
Analog Flange
SPEED
MANMIX
• 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
MODDEPTH
FDBK
Jet Flanger
SPEED
MANMIX
• 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
MODWIDTH
AC Flanger
SPEED
REGENMANUAL
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
MODRANGE
ENHANCE
80A Flanger
SPEED
MANUALODD
• 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
MODDEPTH
CHORUS
Analog Chorus
SPEED
TONEMIX
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
MODDEPTH
DEPTH2
Tri Chorus
SPEED
DEPTH3MIX
• 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
MODDEPTH
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
MODDEPTH
SINE
SQUARE
TRIANGLE
Panner
SPEED
VOLSENSMIX
• 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
MODDEPTH
TONE
Rotary Drum
FAST
DRIVEMIX
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
MODDEPTH
HRN DEP
Rotary Drm/Hrn
FAST
DRIVEMIX
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 OFFSW4 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
MODDEPTH
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
MODDOWN
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:
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
DISTBASS
MIDTREBLEOUTPUT
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
DISTBASS
TONETREBLEOUTPUT
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
DISTBASS
MIDTREBLEOUTPUT
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
DISTBASS
FILTERTREBLEOUTPUT
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
DISTBASS
MIDTREBLEOUTPUT
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
DISTBASS
MIDTREBLEOUTPUT
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
DISTBASS
MIDTREBLEOUTPUT
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
DISTBASS
MIDTREBLEOUTPUT
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
DISTBASS
MIDTREBLEOUTPUT
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
DISTBASS
MIDTREBLEOUTPUT
* 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
DISTFDBK
TONESPEEDOUTPUT
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
DISTBASS
MIDTREBLEOUTPUT
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
DISTBASS
MIDTREBLEOUTPUT
* 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
DISTBASS
SUBTREBLEOUTPUT
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
TONENORMALOCTAVE
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
DISTBASS
MIDTREBLEOUTPUT
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
DISTBASS
COMPTREBLEOUTPUT
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
DISTLEVEL
Red Comp
SUSTAIN
Blue Comp
Based on the Boss® CS1 Compression Sustainer with the Treble switch off.
A
DISTLEVEL
Blue Comp
SUSTAIN
Blue Comp Treb
3•7
Based on the Boss® CS1 Compression Sustainer with the Treble switch on.
A
DISTLEVEL
* 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
DISTLEVEL
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
DISTLEVEL
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
DISTLEVEL
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
DISTDECAY
* 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
0.00.00.00.00.0
802204402K21K1
Studio EQ
This is an API®-style EQ with constant Q and Soft Clipping output with Level control.
A
DIST0.0
1500 HZ0.00.0
Studio EQ
500 HZ
Parametric EQ
This EQ features Hi shelf, Low shelf and a fully parametric band with Gain control.
A
DISTHIGHS
FREQQGAIN
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 HMIDSHFTHI
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
DISTHP Q
LP FREQLP QGAIN
* 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.
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
FILTERQ
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
FILTERQ
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
FILTERQ
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
FILTERQ
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 WahFassel
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
WeeperChrome
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 CustomThroaty
Modeled after a custom modified
Vox® 847 wah.
C
FILTER
Chrome Custom
POS
MIX
Modeled after the RMC Real McCoy
Custom wah.
C
FILTER
ConductorColorful
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)
Based on a 1963 brown self-contained spring reverb head unit. Best known for great surf
guitar tone.
5•2
D
REVERB110 ms
'63 Spring
DECAY
TONEMIX
Spring
Based on a studio spring reverb. The spring reverb’s characteristic resonant sound was
created by springs suspended inside a metal box.
D
REVERB110 ms
Spring
DECAY
TONEMIX
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
REVERB110 ms
Plate
DECAY
TONEMIX
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
REVERB110 ms
Room
DECAY
TONEMIX
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
REVERB110 ms
Chamber
DECAY
TONEMIX
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
REVERB110 ms
Hall
DECAY
TONEMIX
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
REVERB110 ms
Ducking
DECAY
TONEMIX
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
REVERB110 ms
Octo
DECAY
TONEMIX
Reverb Models
Cave
A Line 6 original. Cave is a surreal, cavernous echo chamber. Definitely deep.
D
REVERB110 ms
Cave
DECAY
TONEMIX
Tile
This model Emulates the acoustic reflections of a tiled room, such as a bathroom or shower,
with clearer/brighter discreet early reflections.
D
REVERB110 ms
Tile
DECAY
TONEMIX
Echo
Another Line 6 original. This is a lush echo with reverb, and distinct repeats as it decays.
D
REVERB110 ms
Echo
DECAY
TONEMIX
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
REVERBGAIN
Particle Verb
DWELL
STABLEMIX
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