Line 6 M13 User's Guide

®

M13 Stompbox Modeler

DELAY MOD DISTORTION FILTER VERB

Advanced Guide

An in-depth exploration of the digital technologies and

musical machinations of the M13 Stompbox Modeler.

Electrophonic Limited Edition

Please Note:

Line 6, DL4, MM4, FM4, DM4, Verbzilla, POD X3, POD X3 Live, POD X3 Pro, PODxt 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.

M13 Ad v A n c e d Gu i d e

Table of Contents

Setup Details .......................................................................... 1•1

Tuner, Setup Mode ......................................................................................... 1•1

Expression Pedals Looper Levels & EQ Preferences, True Bypass, Scenes

........................................................................................... 1•2

....................................................................................... 1•2

................................................................... 1•3

FX Loop, Factory Reset MIDI Backup, Global Noise Gate, Displays

.................................................................................. 1•4

.................................................. 1•5

Model Details ......................................................................... 2•1

Tap-based FX, Fine-Tune Mode ..................................................................... 2•1

DryThru Models, Model Defaults, Mix Expression Pedal Details

Tube Compressor Model

................................................................................ 2•3

......................................................... 2•2

Scenes Details ........................................................................ 3•1

Momentary Scene Mode, Latch Scene Mode ............................................... 3•1

Autosave, Manual Save Scene Setup, Effect Copy

................................................................................. 3•2

............................................................................... 3•3

Looper Details ........................................................................ 4•1

Looper & Live Guitar .................................................................................... 4•1

Expression Pedal Control Looper Switches Looper Tutorial

............................................................................................. 4•2

............................................................................................... 4•4

............................................................................... 4•1

Delay Models .......................................................................... 5•1

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

Modulation Models ................................................................ 6•1

Parameter Details ........................................................................................... 6•1

Distortion Models .................................................................. 7•1

Parameter Details ........................................................................................... 7•1

Filter Models .......................................................................... 8•1

Parameter Details ........................................................................................... 8•1

Reverb Models ........................................................................ 9•1

Parameter Details ........................................................................................... 9•1

Appendix A: Reference ......................................................... A•1

MIDI Control ................................................................................................ A•1

Looper & Expression Pedals FX Toggle On/Off Scene Select BPM / Milliseconds

.......................................................................................... A•2

.................................................................................................. A•2

....................................................................................... A•3

.......................................................................... A•1

Appendix B: Tips.....................................................................B•1

MIDI Dumps ..................................................................................................B•1

Saving Scenes Internally, Recalling The Current Scene Firmware Update Instructions Backup Tip For Mac Users

.......................................................................B•3

............................................................................. B•4

..............................B•2

Se t u p de t A i l S

[ ]

50 50

440HZ MUTE

AUDIOREF

b#

BYPASS

AUDIO

[ ]

50 50

440HZ MUTE

AUDIOREF

b#

BYPASS

AUDIO

D

Welcome to the M13 Stompbox Modeler Advanced Guide. This guide contains in-depth details of your M13’s features and functionality. With over 80 Models and a Looper in one device, there’s a lot to work with. Our goal with this guide is to provide you with the information you need to make it easy to ﬁnd the sounds you’re looking for.

In the chapters that follow, we’ll be referring to the six Knobs that adjust the various parameters of the M13. These are located below each of the four LCD displays. On the top row left is the Model Select Knob. To the right of that are Knobs 1 and 2. Knobs 3, 4

and 5 are in the second row, left to right. Now to begin, let’s get in tune.

Tuner

To enter Tuner mode, press and hold the Tap switch for a few seconds. LCD 3 will display the Tuner. LCD 4 will display the note you’re tuning. If you’d like to tune to a reference

other than standard 440, turn Knob 3 to select from 425 to 455. To toggle between Mute

Audio (your guitar will be silent) and Bypass Audio (you’ll hear your guitar dry with no

FX), turn Knob 5.

Setup Details

1•1

Tuning is straightforward: when the graphic diamond is to the left of center, your note is ﬂat; when it’s to the right, you’re sharp. When the diamond is precisely in the center, two triangles will appear above and below it, indicating your string is in tune. To exit Tuner mode, press Tap again, or any other foot switch.

Setup Mode

To enter Setup mode, press and hold the Looper Controls switch for a few seconds. The M13’s four LCDs will display your settings, including Expression Pedals in LCD 1, Looper Levels & EQ in LCD 2, Preferences, Scenes & FX Loop in LCD 3, and MIDI, Gate & Displays in LCD 4.

Depending on the way you like to work, most of your Global settings can be left as is after you’ve set them initially. They’ll be recalled each time you power-up. In the following pages we’ll describe them all in detail.

Setup Details

Expression Pedals

FX3:PDL1 FX4:PDL1

FX2:PDL1

FX1:PDL1

LPR:PDL2

LPR:PDL1

LPR:OFF

FX1:OFF

FX1:PDL2

FX3:OFF

FX3:PDL2

FX2:OFF

FX2:PDL2

FX4:0FF

FX4:PDL2

Looper: Levels EQ

OVERDUB LO CUT

HI CUT

PLAY

HI CUT

LO CUT

PLAY

OVERDUB

Expression Pedals

1•2

Looper Levels & EQ

In LCD 1 you set up your expression pedal assignments. Any or all 4 FX Units in the M13 can be controlled by an expression pedal. You can use up to 2 pedals at once. Each can be assigned to an FX Unit or the Looper. You have 3 selection choices here: Pedal 1, Pedal 2, or Off. Knobs 1 & 2 set the assignments for FX 1 & FX 2, Knob 3 sets the assignment for

the Looper, and Knobs 4 & 5 set the assignments for FX 3 & FX 4.

*Looper pedal control is a global setting. FX pedal control settings are saved per Scene. See Chapter 2 for more details on how to set up heel and toe expression pedal settings.

There are two Looper Levels to set up in LCD 2. The ﬁrst is Play, which determines the volume of your Looper’s playback as balanced with your live guitar. The second is Overdub, which determines the volume of your loop in Overdub mode. To clarify, if your Overdub Level is set to 90%, each time your loop begins a new overdub its volume will be reduced by 10%, sounding quieter and quieter with each overdub pass. The default level for both Play and Overdub is 100%. Use Knobs 1 and 4 to adjust these levels, if desired.

With Knobs 2 and 5 you can adjust Looper Hi Cut and Lo Cut EQ levels. Hi Cut rolls off the high end for loop playback (@2kHz), and Lo Cut rolls off the low end (@500Hz). If

applied, this EQ affects the sound of loop playback only, having no effect on live guitar.

Preferences

Prefs Scenes FX Lp

MOMEN

PRE ALL

DSP BYP AUTOSAVE

1>2>3>4

SCENE

TRUEBYP

4>3>2>1

LATCH SCENE

MNL SAVE POSTFX1

POSTFX2

POSTFX3

POST ALL

In LCD 3 you set up FX Preferences, beginning with FX order. The default is 1>2>3>4, left to right. If you prefer, you can set it to 4>3>2>1 using Knob 3. With this setting, your signal ﬂow begins with FX Unit 4 and ﬂows right to left. Set the FX order you prefer.

The Model Select Knob toggles between True Bypass and DSP Bypass. In True Bypass, mechanically switching relays route your signal directly from input jack to output jack, bypassing all circuitry, for absolutely no processing or conversion when bypassing all FX.

If you’re playing back a loop, however, or you want your Delay and Reverb trails to be heard when bypassing all FX, you must use DSP Bypass. True Bypass can only be activated when all of the following conditions are met:

•

True Bypass is enabled in Setup mode (via the Model Select Knob).

All 4 FX Units are in a bypass state.•

The Looper is stopped.•

Looper Controls mode is inactive (Looper Controls footswitch light is off).•

Setup Details

1•3

Scenes

Knob 1 toggles between Autosave or Manual Save. With Autosave, every change you make to your Scene is saved, like a real pedal board. With Manual Save, changes made to your individual FX will be saved only if you don’t change Scenes; if you do recall a Scene, all your changes will be lost. Manual Save is a good choice, however, when you want to be sure your Scenes will always be recalled exactly as programmed.

Knob 4 selects Momentary Scene or Latch Scene mode. Please see Chapter 3, Scenes Details, for more in-depth information on Momentary Scene and Latch Scene modes.

Setup Details

MIDI Gate Displays

DECAY V. 1.00

DUMP ALL? CONTRSTOFF

CH 1

DUMP EDIT?

RST FACT?

CH 1-16

OMNI

THRESH

DECAY

FX Loop

1•4

Factory Reset

You can insert the FX Loop anywhere in the signal path. Use Knob 5, LCD 3 to select your

insert point. Your choices are Pre All, Post FX 1, Post FX 2, Post FX 3, and Post All. The following are a few routing examples to demonstrate the M13’s ﬂexibility. (Be aware that multiple amps may cause ground hum - the common cure for this is a ground lift box):

•

Add an external FX unit to the M13: for example, run Vetta Comp in FX 1, U-Vibe in FX2, then assign the FX Loop to Post FX 2 and feed an external distortion pedal. That pedal’s output would return to feed FX 3 and 4 to add M13 Delay and Reverb.

Double routing: set the Loop to Post FX 1 and send an Octave Fuzz from FX1 out

•

to the front of a tube amp. Route the amp’s FX Send back into the M13 mono FX Return. Now add M13 Filter, Flange and Delay FX and send the M13 mono Out to your amp’s FX return. All the time-based FX will be post your tube amp’s preamp.

Wet/dry stereo: send a Comp or Dist model via FX Loop Send (Post FX 1) to a tube

•

amp for your dry sound. Add Panned Phaser, Ping Pong and Reverb in the M13 and set all Mix controls to 100% wet. Now connect the M13 stereo outputs to 2 other guitar amps. You’ll get wide, stereo FX left and right with dry guitar in the middle.

There may be times when you’d like to reset your M13 to its Factory settings. You may want to recall a particular Factory Scene, for example. To do a Factory Reset, ﬁrst back up

any Scenes you’d like to keep (see MIDI Backup on page 1•5), then follow these steps:

•

Turn the Model Select Knob under LCD 4 until “Rst Fact?” is displayed.

Press down on the Model Select Knob - “Reset To Factory?” will be displayed.•

To initiate the Factory Reset, press down on the Model Select Knob again.•

All Factory defaults will be reset, including Scene Presets and Global settings.•

MIDI Backup

With a MIDI interface and a sysex application, you can back up your M13 Scenes to computer. It makes it easy to build a custom Scenes library, or exchange Scenes with others. To backup your Scenes, or to dump the current edit buffer, follow these steps:

•

Turn Knob 3 to set your MIDI Channel from Ch. 1-16 or Omni (default is Ch. 1).

Turn the Model Select Knob to select “Dump All?” (to back up all 12 Scenes) or • “Dump Edit?” (to back up the current Scene in its current state).

With your computer set up to record sysex, press down the Model Select knob.

•

The M13 will transmit the sysex ﬁle to your computer, creating a backup of your Scenes that you can store and recall at any time.

To load a Scene into your M13, simply transmit the sysex ﬁle from your computer into the M13 via MIDI. This will immediately load the Scene into the M13’s memory.

Global Noise Gate

Knobs 1 and 4 in the center of LCD 4 control the Global Noise Gate. When activated, the Gate is in effect full time, for all your FX.

Knob 1 turns on the Gate and sets the Gate Threshold. Lower values make the Gate kick in at quieter levels, higher values make it kick in at louder levels.

Setup Details

1•5

Knob 4 sets the Gate Decay. Higher levels result in a longer transition from non-gated to

gated audio.

Displays

To adjust the contrast of the LCD displays, use Knob 5. Set it to a value that looks good to you. Settings from 30-50% usually work well.

When you’ve set all the M13’s Global parameters to your liking, press any switch to exit Setup mode. As mentioned previously, the next time you power up your M13, all your Global settings will be recalled.

Mo d e l de t A i l S

Digital Delay

A

BASS TREBLE MIX

DELAY FDBK

q

Stereo Delay

A

R-FDBK MIX

DELAY L-FDBK

L 240MS

R 480MS

The following are details on a few late-breaking models and features that were implemented in the latest M13 ﬁrmware. These were the result of customer requests, as well as features the development team wanted to add in the ﬁnal months of development.

Tap-based FX

Many guitarists who use time-based effects like to set their delay times to a note value relative to the song tempo, as opposed to setting delay times in milliseconds. This has been included in the M13 as Tap-based FX. To set your delay time to tap tempo, turn Knob 1 to the far right and you’ll see a quarter note symbol in the LCD. Change it to any note you like. Now tap the desired tempo and your time-based effect will sync to it. Your note value is persistent, so when you scroll through other effects it will be retained. To set your delay time to ms, turn Knob 2 to the right again, and you’ll return to Time-based mode.

Model Details

2•1

Fine-Tune Mode

When you’re in Time-based mode, you may want to ﬁne-tune your delay time to an exact number. This may be necessary to match a song’s tempo, or to set up precise stereo delays, to 240 ms and 480 ms for example. To make this easy to do, we’ve implemented Fine-Tune mode. When you want to dial in a precise delay time, simply do the following:

•

Adjust Knob 1 to set the delay time close to the desired value.

Press and hold the Tap switch and turn Knob 1 again to enter Fine-tune mode.•

You can now ﬁne-tune your delay time to the millisecond with Knob 1. •

Model Details

Sweep Echo DryThru

SWP SPD SWP DEP MIX

DELAY FDBK

A

469 MS

Tape Echo DryThru

BASS TREBLE MIX

DELAY FDBK

A

279 MS

Echo Platter DryThru

A

WOW/FLT DRIVE MIX

DELAY FDBK

225 MS

Tube Echo DryThru

WOW/FLT DRIVE MIX

DELAY FDBK

A

169 MS

DryThru Models

2•2

Another popular request from DL4 users was to provide a completely dry signal path when using speciﬁc Delay models with a dry Mix setting, so that no tone coloration was added. When we originally created our Tape Echo, Tube Echo, Sweep Echo and Echo Platter models, for example, we also modeled the dry path of the classic delays these models were based on. We did this because the original effects added a certain tonal character to the sound when Mix was set to dry, and many guitarists wanted that sound.

To make everybody happy, we decided to add what we call DryThru models. These four models are identical to the original models of the same name, but when Mix is at 0%, we removed the tonal coloration of the originals, giving you a ﬂat, uncolored sound.

Model Defaults

All FX in the M13 are programmed with Model Default settings. These provide you with a good musical experience when you ﬁrst load up each effect, giving you great “stock” settings for that model. Some are also pre-conﬁgured for expression pedal control, so if you have an expression pedal plugged in and assigned to an FX Unit and you select a new model, we start you off with what we think is a good expression pedal setup for it. (See the next page for more info on setting heel and toe values for expression pedals).

Mix

As with all other model details, the Mix control is set up to work like it did on the DL4, MM4 or other Line 6 product that ﬁrst introduced a particular model. In keeping with this, setting Mix to 100% sometimes engages a special setting found on the original effect,

such as vibrato in the U-Vibe, or a richer Leslie® sound in the Rotary Drm/Hrn.

* 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.

Expression Pedal Details

Tube Comp

A

DIST LEVEL

THRESH

Almost any parameter in the M13 can be controlled by an expression pedal, as long as you’ve set up your FX Units and Looper assignments accordingly, in Setup Mode. To set up expression pedal heel and toe values for the parameter you’d like to control, here’s an example of how to do it. Let’s say you’d like to control the Mix level of a Reverse Delay.

•

Select Reverse Delay in one of the FX Units, and adjust the sound to your liking.

Plug in your expression pedal, and set it to the heel down position.•

Adjust the Mix level of the Reverse Delay with Knob 5. Set it to 0%. •

Put your expression pedal in the toe down position and set the Mix level to 100%.•

Play your guitar and work your pedal; the reverse guitar will fade in and out.•

You can repeat this with any effect parameters you like. Your expression pedal will control them simultaneously. If you get to a point where you want to start over, simply unplug your pedal from the rear panel and all unsaved pedal assignments will be cleared.

Tube Compressor Model

In addition to the 5 compressors described in the manual, which are all typical stomp

box type compressors, we also snuck in a Tube Comp model based on the studio classic Teletronix LA-2A® Optical Compressor, known for its smooth, easy to adjust, tube sound.

You’ll nd it at the end of the Distortion FX group. Here’s how it works:

Model Details

2•3

Adjust Knob 1 to set the Threshold - lower values result in more compression, along

•

with an automatic makeup gain stage dependent upon the Threshold setting.

Set the output Level with Knob 2. To use the Tube Comp model for boost only, use

•

a high Threshold value and adjust your Level as desired.

* 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.

Sc e n e S de t A i l S

The M13 offers you two different ways to select your Scenes, depending on the way you like to work. Your choices are Momentary Scene mode or Latch Scene mode.

To clarify what we mean by a Scene, it’s basically the equivalent of a unique pedal board setup, which you can program yourself. It includes up to 4 active FX and another 8 FX set up but bypassed. When you select a particular Scene, a combination of 4 active FX is immediately loaded into your M13. The other 8 FX will also be loaded, but bypassed. You can switch any of the 8 FX on at any time, replacing any of the 4 you started with.

If you use an expression pedal in your rig, you should know that all of your heel & toe pedal

assignments can be stored in a Scene, so many unique combinations are possible. Here are

some details explaining Momentary Scene mode and Latch Scene mode.

Momentary Scene Mode

In Momentary Scene mode, here’s what happens:

•

When you step on the Scenes switch, the 4 LCDs will display the 12 Scene names in your M13.

You select a Scene by stepping on any of the 12 A, B, C switches that correspond with

•

the Scene names in the LCD. The Scene you choose will be loaded immediately.

Scenes Details

3•1

You will now see the 4 active FX displayed in the 4 FX Unit LCDs. You can tweak

•

the parameters of each, if you like, or you can activate any of the bypassed FX.

Any changes you make to the Scene will be saved, like a real pedal board. (see page

• 3•2 for details on Autosave vs. Manual Save)

To select a new Scene, you must step on the Scenes switch again, and you’ll see the

•

12 Scene names you started with. Repeat the steps above for new selections.

Latch Scene Mode

In Latch Scene mode, the only difference is when you step on the Scenes switch, the 12 Scene names remain in the LCDs. Any Scene you select will be loaded the same way, but you won’t see it’s FX displayed in the LCDs. The advantage to Latch Scene mode is, you’re always only 1 switch away from selecting a new Scene. So you can have 12 completely different setups ready to go, each only 1 switch away. The disadvantage is, you can’t tweak or bypass any of the individual FX. You can only bypass the entire Scene.

Scenes Details

Autosave

Whether you’re in Momentary Scene mode or Latch Scene mode, your choice of Autosave or Manual Save is an important one. In Autosave, any change you make to your Scene is saved automatically. This includes not only the on or off state of the individual FX while your scene is loaded, but also the conﬁguration of the Scene itself.

Let’s load a Factory Scene and see what happens in Autosave mode. Make sure you’re in Autosave and Momentary mode ﬁrst, so you can access the individual FX. To doublecheck, press and hold the Looper Controls switch for a few seconds, to enter Setup mode.

3•2

Look at LCD 3 under ‘Scenes’ and see if

MNL SAVE and LATCH SCENE, change them with Knob 2 and Knob 4.

Now press the Scenes switch and you’ll see all 12 Scene names displayed. Choose Scene 2A, Bridge Of Vibes. Notice the four A switches are lit. That’s because the loaded FX, which are displayed in the LCDs, are loaded in the A locations of all 4 FX Units. You should see U-Vibe, Tube Drive, Plate and Ping Pong displayed.

Play your guitar for a minute on the neck pickup. You’ll hear a Robin Trower/Hendrix type of sound. Step on all 4 C switches now. You’ll see Facial Fuzz, Analog Flange, Rotary

Drum and Tape Echo. It’s a very different sound. Now step on the Scenes switch and select 1C Swamp Thing. You’ll see 3 LCDs lit, because FX Unit 2 is bypassed. Step on the Scenes switch again and go back to 2A, Bridge Of Vibes. It’s lost its Trower U-Vibe sound. That’s because Autosave has saved your changes. Notice all the C switches are lit.

AUTOSAVE and MOMEN SCENE are assigned. If you see

Manual Save

To see how Manual Save differs from Autosave, let’s do a Factory Reset and start over. If you have any special Scenes saved, you can defer this exercise until you back up your

Scenes to computer. Read all about it in Chapter 1, Page 5. Assuming you’re okay to do

a reset, press and hold the Looper Controls switch to enter Setup mode again. This time turn the Model Select Knob under LCD 4 to select Press again to initiate the reset. After it resets, select

Now repeat the same steps you did before. Press the Scene switch, select Scene 2A, then switch on all the C switches to change the sound of Bridge Of Vibes. Step on the Scenes switch again, select Scene 1C, then step on the Scenes switch and select 2A again. Play your guitar. Notice all the A switches are lit this time. Scene 2A did not retain the changes you made. This can be a good thing, especially if you want to return to the exact same sound you originally programmed. In Manual Save mode, every time you select a Scene, it will be recalled exactly the same way, even if you make temporary changes to it.

RST FACT? and press down on the knob.

MNL SAVE under LCD 3.

Scene Setup

With the M13 you can create your own custom Scenes and save them in all 12 Scene locations. Combine this with the fact that you can back up all your Scenes to computer,

and you have an unlimited ability to customize and store your own library of sounds.

When you begin tweaking the FX models and creating combinations you like, you’ll want

to familiarize yourself with Scene Setup mode. This is where you store and name your

custom Scenes. Let’s take it step by step, and you’ll see how easy it is. Once you have a combination of FX you’d like to store, do the following:

•

With your custom Scene ready to be stored, press and hold the Scenes switch.

The switch light will ﬂash, and you’ll see “Select a Scene for Setup” displayed.•

Select the switch for your current Scene, the one you want to save.•

Its name will appear in the center of the LCD. Name it by turning the Model • Select Knob for character, and Knob 2 far right to move to the next character.

*Here’s a tip: press down on the Model Select knob to quickly jump to ‘a’, ‘space’, ‘0’

or ‘A’. It makes it a lot faster to name your Scene.

With your scene named, press its switch again. It will stop ﬂashing.

•

Press the Scenes switch, then select your custom Scene. You’ve just saved it. •

Scenes Details

3•3

Effect Copy

The main purpose of Effect Copy is to enable you to move your current effect, with all its settings intact, to another location, and to save it there with all your edits intact. This can very useful when you’ve been tweaking an effect, and you get it sounding exactly right, but you’d rather have it routed either before or after another effect in your Scene. Effect Copy

makes this extremely easy to do. Here’s how:

•

Set up the Effect you want to copy, with all parameters adjusted to your liking.

Press down on the Select knob of the source FX Unit - its LCD will begin ﬂashing.•

Press the foot switch of the destination location you’d like to use. •

The LCD will stop ﬂashing, indicating the Effect Copy was successful. •

Your source effect will now be stored in the destination location, with all your settings intact. You can also use Effect Copy to simply re-arrange your existing FX in a Scene. Or experiment with duplicates of a particular sound you’ve created in the same Scene, for an extreme or unique musical effect.

lo o p e r de t A i l S

The Looper in the M13 is similar to the looper in the DL4 Stompbox Modeler. It gives you up to 30 seconds of mono recording time at normal speed, or 60 seconds at half speed. Keep in mind your loop will play back in mono, even if you’re running stereo FX.

Looper & Live Guitar

When you record and play back a loop, your current Scene will still be active. In fact, while your loop is playing you can select a new Scene at any time by stepping on the Scenes switch, then selecting a Scene as usual.

Looper Details

Since the M13 responds to MIDI messages, you can optionally set up a MIDI control device to control the looper, leaving all 12 of your FX Unit switches dedicated to your M13 effects. This way, you could switch your M13’s four sets of A, B and C effects on or off at

any time and still control Play, Record, Overdub, Half Speed and Reverse functions.

Below is a Reference Table of MIDI CC values for controlling M13 Looper functions via MIDI. For a more comprehensive list of M13 MIDI messages, see Appendix A.

MIDI CC Reference Table : Looper Control

M13 Footswitch MIDI CC# Looper Function

Record/Overdub 50 0 to 63 = Overdub 64 to 127 = Record

Play/Stop 28 0 to 63 = Stop 64 to 127 = Play

Half Speed 36 Toggles between Half Speed & Normal Speed

Reverse 85 Toggles Reverse On or Off

Undo 82 Activates Undo

Play Once 80 Activates Play Once function

Pre/Post 84 0 to 63 = Pre 64 to 127 = Post

Looper Levels --- Controlled via EXP pedal only -- not MIDI CC

Expression Pedal Control

You can optionally control Looper EQ, Playback and Overdub Levels with an expression pedal by setting up your heel and toe values and assignments in Setup Mode, as described in Chapter 1, Page 2. Also see Chapter 2 for more expression pedal info.

4•1

Looper Details

Looper Controls

When you engage the Looper Controls switch, the 7 switches in the two bottom rows will control the Looper, enabling you to record and play back a loop while your current Scene

is still active. Here are the details:

4•2

9

6

2

1

Looper Controls Switch – when you step on this switch it will light up red,

indicating the two bottom rows of footswitches will now control various functions of the Looper. Your current Scene will still be active, and each of the loaded FX in your Scene will be displayed in the four FX Unit LCDs.

2

Record/Overdub – to record a guitar loop, step on this switch and the M13 will

record up to 30 seconds of whatever you play. Step on it a second time and your recorded loop will begin to play back immediately, with Overdub mode activated (LED will ﬂash).

Overdubbing – once you have a loop recorded, you can layer an overdub on your current loop at any time. Simply play back the loop and step on the Record/Overdub switch. Your new live guitar will be recorded along with your previous guitar track.

Looper Levels – the Playback and Overdub Level of your loop will be determined by the Looper Levels you set in Chapter 1, Page 2. Play Level is the volume of your recorded loop in relation to your live guitar volume. Overdub Level is the level of your

7 8

3

4

5

1

Looper Details

loop that will be recorded each time the loop cycles in Overdub mode. In other words, if Overdub Level is set at 80%, every time your loop cycles in Overdub mode it will decrease in volume by 20% in relation to your live guitar. For no reduction in volume, set Overdub Level to 100%, but be aware that hot levels may build up and distort.

EQ – your recorded loop will also be affected by the EQ settings you made in Chapter

1, Page 1. If Hi Cut is set to On, your loop will play back with the high end slightly

attenuated. Conversely, if Low Cut is set to On, your loop will play back with the low

end slightly cut. Both Hi Cut and Low Cut can be active or off at the same time.

3

Play/Stop – this switch simply plays or stops your loop. When in Play mode, you

can step on Record/Overdub at any time to overdub live guitar with your recorded loop.

4

Half Speed – step on this switch while in Play mode and your loop will play back at

half speed. If you switch it again it will toggle back to normal speed. If you want to record an overdub while your loop is playing back at half speed, simply step on the Record switch and play. If you then switch back to normal speed, your new track will play at double speed, while your original track will play at normal speed, as it was originally recorded.

5

Reverse – this switch puts your loop into reverse, so it will play backwards. You can

activate Reverse at normal speed or half speed, and you can also record an overdub while Reverse is activated. If you do so, when you exit Reverse your newly recorded track will play backwards, and the original track will play back normally, as it was recorded.

4•3

6

Undo – to undo your most recent take while in Overdub mode, step on the Undo

switch. Your earlier recording will remain intact. Only the last take will be undone. *Note: there’s no way to archive loops in memory. Only the current loop is preserved.

7

Play Once – when you step on this switch, your loop will play once then stop.

8

Pre/Post – this switch controls whether your loop will play back pre or post the FX

in your current Scene. If toggled Pre (blue), this means your loop will not pass thru the current FX. If toggled Post (green), your loop will play back with your Scene FX applied.

9

FX Switches – when the Looper Controls are active, the top row of C switches

will control the on/off state of the four loaded FX in your Scene. Stepping on one of these switches will engage or bypass the Effect in that FX Unit, be it loaded in A, B or C. For example, if your current Scene includes a Tube Drive in FX1-A, stepping on the C switch for FX1 will toggle your Tube Drive on or off. This setup enables you to control all four of your FX while their locations may be hidden under the Looper switches.

Looper Details

Looper Tutorial

If you’re new to loopers, here’s a basic example of how you might use the M13 Looper along with your live guitar. We’ll step thru the recording of a loop, add an overdub or two,

use Half Speed and Reverse, and demonstrate how Pre/Post has an effect on the mix.

Start by selecting one of your favorite Scenes. For this example, make sure you’re in Momentary Scene mode by ﬁrst pressing and holding the Looper Controls switch. Now check the third LCD and make sure to

Now step on the Scenes switch and you’ll see the names of all 12 Scenes in the LCDs.

4•4

Select one by stepping on the appropriate switch, and you’ll see the loaded FX models for that Scene displayed in the 4 LCDs. Play your guitar to make sure you’re happy with the sound. When you’re ready, step on the Looper Controls switch, then follow these steps:

MOMEN SCENE is displayed in the lower center. If it’s set

LATCH SCENE, turn Knob 4, bottom row center, to toggle it to MOMEN SCENE.

•

Step on the Record switch and play. Make sure you hit the downbeat accurately, so that when you play back the loop it will start exactly on the beat. This is especially important if you want the loop to be rhythmically correct when it cycles around.

When you reach a good out point, step on the Play switch. This will take your new

•

loop out of record and immediately play it back. Let it loop around a few times, and see if sounds good. If it doesn’t sync quite right, press Stop then record a new take.

If you’re happy with your loop, decide what you’d like to play as an overdub. Jam

•

along with your loop a few times in Play mode, then when you’re ready to layer an overdub, step on the Overdub switch and play your part. Finish it up before the loop cycles around again, then press Stop to exit Overdub mode.

Press Play and listen to your loop. You should hear your original guitar part plus your

• overdub. As it plays, press the Half Speed switch. You’ll hear your loop an octave lower, at half its normal speed. Press Half Speed again to return to normal speed.

As your loop continues to play, press the Reverse switch. You’ll hear your loop play

•

backwards. As an experiment, let it roll and hit the Overdub switch. Play for the

duration of your loop then hit Stop. (You might also try this with Half Speed)

Hit the Reverse switch to exit, then press Play. You’ll hear your initial loop and your

•

ﬁrst overdub as originally recorded, while your second overdub will play in reverse.

Toggle the Pre/Post switch, and you’ll hear your loop play back with and without

•

your current Scene’s FX applied to the loop. Jam along with live guitar.

This should demonstrate a few of the possibilities. Feel free to experiment on your own.

de l A y Mo d e l S

This chapter contains details on the 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. See Chapter 2, Model Details, for a description of the DryThru Delay models.

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

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

5•1

Delay Models

Tube Echo

A

WOW/FLT DRIVE MIX

DELAY FDBK

169 MS

Tube Echo DryThru

WOW/FLT DRIVE MIX

DELAY FDBK

A

169 MS

Tape Echo

A

BASS TREBLE MIX

DELAY FDBK

279 MS

Tape Echo DryThru

BASS TREBLE MIX

DELAY FDBK

A

279 MS

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 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.

•

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

5•2

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.

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

Knob 2: Delay Feedback.•

Knob 3: Bass EQ.•

Knob 4: Treble EQ.•

* 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.

Knob 5: Mix.•

Multi Head

Multi-Head

MIX

DELAY FDBK

A

554 MS

1-2 OFF

HD2 ON

3-4 OFF

HD4 ON

HD1 ON

1-2 ON

HD4 ON

HD3 ON

3-4 ON

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.

•

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

Knob 2: Delay Feedback.•

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

Delay Models

5•3

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

Knob 5: Mix.•

When using the Multi Head Delay model, you’ll nd 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.

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 w/Mod

MODSPD DEPTH MIX

DELAY FDBK

A

470 MS

Analog Echo

BASS TREBLE MIX

DELAY FDBK

A

255 MS

Analog Echo

5•4

Analog With Modulation

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.

•

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.•

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.

•

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

Sweep Echo

A

SWP SPD SWP DEP MIX

DELAY FDBK

469 MS

Sweep Echo DryThru

SWP SPD SWP DEP MIX

DELAY FDBK

A

469 MS

Lo Res Delay

TONE RES MIX

DELAY FDBK

A

403 MS

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 M13 we’ve added a DryThru version, with ﬂat EQ when Mix is at 0%.

•

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

Delay Models

5•5

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.

•

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

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

Dig Dly w/Mod

A

MODSPD DEPTH MIX

DELAY FDBK

437 MS

Digital Delay

A

BASS TREBLE MIX

DELAY FDBK

751 MS

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.

•

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

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

5•6

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.

•

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

Ping Pong

A

OFFSET SPREAD MIX

DELAY FDBK

470 MS

Stereo Delay

A

R-FDBK MIX

DELAY L-FDBK

L 342MS

R 911MS

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.

•

Knob 1: Delay Time for the left channel only.

Knob 2: Feedback amount for the left channel.•

Delay Models

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.

•

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.

•

5•7

Knob 5: Mix.•

Delay Models

Reverse

A

MODSPD DEPTH MIX

DELAY FDBK

2000 MS

Dynamic Dly

A

THRESH DUCKING MIX

DELAY FDBK

437 MS

Reverse

5•8

Dynamic Delay

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

•

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.•

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.

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

Auto-Volume Echo

A

MODDEP SWELL MIX

DELAY FDBK

392 MS

Echo Platter

A

WOW/FLT DRIVE MIX

DELAY FDBK

225 MS

Echo Platter DryThru

A

WOW/FLT DRIVE MIX

DELAY FDBK

225 MS

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.

•

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

Delay Models

5•9

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%.

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.

Mo d u l A t i o n Mo d e l S

The following pages provide information on the 16 Modulation Models in the M13. All 16 are from the Line 6 MM4 Modulation Modeler Stompbox. These models were originally based on a dream collection of classic effects, stomp boxes and rack units.

Parameter Details

In this chapter we’ll describe the various parameters of the Modulation Models in detail, to make it easier for you to tweak your sounds. Below is a chart of all the Controls and

Parameters you can adjust using Knobs 1 thru 5, located just below the LCD display.

Modulation Models Reference Table : Controls & Parameters

Modulation Models

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

Phaser Speed Depth Feedback Phase Stage Mix

Dual Phaser Speed Depth Feedback LFO Shape Mix

Panned Phaser Speed Depth Phaser Output Pan Speed Mix

U-Vibe Speed Depth Feedback Vol Sensing Mix

Analog Flange Speed Depth Feedback Manual Mix

Jet Flanger Speed Depth Feedback Manual Mix

Analog Chorus Speed Depth Chorus/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 Switch 1 Switch 2 Switch 3 Switch 4 Mix

Ring Modulator Speed Depth Shape AM/FM Select Mix

6•1

Modulation Models

Bias Tremolo

VOLSENS MIX

MOD DEPTH

B

SPEED

SHAPE

Opto Tremolo

VOLSENS MIX

MOD DEPTH

B

SPEED

SHAPE

Opto Tremolo

Based on the tremolo circuitry of the 1965 Fender® Deluxe Reverb® amplier, which

features a pulsing light source directed at a photo resistor.

•

6•2

•

Bias Tremolo

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.

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

•

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

Phaser

MIX

MOD DEPTH

B

SPEED

FDBK STG 4

STG 8 STG 12 STG 16

Dual Phaser

SINE MIX

MOD DEPTH

B

SPEED

FDBK

SQUARE

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.

•

Knob 1: Phaser Speed.

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).•

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.

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%.•

* 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.

6•3

Modulation Models

Panned Phaser

PAN SPD Mix

MOD DEPTH

B

SPEED

CENTER

LEFT

RIGHT

U-Vibe

VOLSENS MIX

MOD DEPTH

B

SPEED

FDBK

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.

•

Knob 1: Phaser Speed.

Knob 2: Phaser Depth.•

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

6•4

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

Knob 5: Mix.•

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.

•

Knob 1: Speed.

Knob 2: Depth.•

Knob 3: Feedback amount.•

* 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.

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.

•

Modulation Models

Analog Flange

B

MAN MIX

MOD DEPTH

SPEED

FDBK

Jet Flanger

B

MAN MIX

MOD DEPTH

SPEED

FDBK

Analog Flange

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.

•

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%.•

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.

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.•

* 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.

6•5

Modulation Models

Analog Chorus

B

VIBRATO

TONE MIX

MOD DEPTH

SPEED

CHORUS

Tri Chorus

B

DEPTH3 MIX

MOD DEPTH

SPEED

DEPTH2

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.

•

Knob 1: Chorus Speed.

Knob 2: Choru Depth.•

Knob 3: Selects Chorus or Vibrato.•

6•6

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

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

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.

•

Knob 1: Chorus Speed.

Knob 2: Depth of Circuit 1.•

Knob 3: Depth of Circuit 2.•

Knob 4: Depth of Circuit 3.•

* 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.

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

Modulation Models

Pitch Vibrato

B

RISE MIX

MOD DEPTH

SPEED

VOLSENS

Panner

B

VOLSENS MIX

MOD DEPTH

SPEED

SINE

SQUARE

TRIANGLE

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.

•

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.

•

6•7

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.

•

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.•

* 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.

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

Modulation Models

Rotary Drum

DRIVE MIX

MOD DEPTH

B

FAST

TONE

SLOW

Rotary Drm/Hrn

DRIVE MIX

MOD DEPTH

B

HRN DEP

FAST

SLOW

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.

•

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

Knob 2: Depth.•

Knob 3: Overall Tone of the Rotary effect.•

6•8

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

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

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 mo-

torized rotary drum, and the upper enclosure, which houses a spinning horn.

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.•

* 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.

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

Modulation Models

Dimension

B

MIX

SW1 ON

SW2 ON

SW3 OFF SW4 OFF

MOD

ring modulator

B

Ring Modulator

MIX

MOD DEPTH

AM/FM

SPEED

SHAPE

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.

•

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.•

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.

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.

•

* 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.

6•9

Distortion Models

di S t o r t i o n Mo d e l S

This chapter provides parameter details on the 16 Distortion models from the Line 6 DM4. Also included are a Volume model, 6 Compressors and a Noise Gate. Most of the

Distortions have the same parameters, and are controlled by Knobs 1 thru 5 as follows:

•

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

Octave Fuzz Drive Bass Mid Treble Output

Boost Comp Drive Bass Comp Treble Output

7•1

Distortion Models

Tube Drive

A

MID TREBLE OUTPUT

DIST BASS

DRIVE

Screamer

A

TONE TREBLE OUTPUT

DIST BASS

DRIVE

Overdrive

MID TREBLE OUTPUT

DIST BASS

A

DRIVE

Tube Drive

Based on the Chandler Tube Driver®. The original was designed by keyboardist Brent

Butler to add grind and girth to his Farsa. Utilizing a single 12AX7 preamp tube, the Tube

Driver delivers the sweet singing sustain craved by guitarists worldwide.

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.

7•2

•

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 M13 adds Bass, Mid and Treble EQ.

You can set Knob 1 at a minimum level on this and other Distortion models to get a

•

* 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.

boost in level without distorting your tone too much.

Distortion Models

Classic Dist

FILTER TREBLE OUTPUT

DIST BASS

A

DRIVE

Heavy Dist

MID TREBLE OUTPUT

DIST BASS

A

DRIVE

Colordrive

MID TREBLE OUTPUT

DIST BASS

A

DRIVE

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.

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.

7•3

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.

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

MID TREBLE OUTPUT

DIST BASS

A

DRIVE

Facial Fuzz

MID TREBLE OUTPUT

DIST BASS

A

DRIVE

Jumbo Fuzz

A

MID TREBLE OUTPUT

DIST BASS

DRIVE

Fuzz Pi

A

MID TREBLE OUTPUT

DIST BASS

DRIVE

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.

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.

7•4

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.”

Fuzz Pi

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

* 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.

Distortion Models

Jet Fuzz

TONE SPEED OUTPUT

DIST FDBK

A

DRIVE

Line 6 Drive

MID TREBLE OUTPUT

DIST BASS

A

DRIVE

Line 6 Dist

MID TREBLE OUTPUT

DIST BASS

A

DRIVE

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.”

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.

7•5

Line 6 Distortion

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.

* 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.

Distortion Models

Sub Oct Fuzz

SUB TREBLE OUTPUT

DIST BASS

A

DRIVE

Octave Fuzz

MID TREBLE OUTPUT

DIST BASS

A

DRIVE

Boost Comp

A

COMP TREBLE OUTPUT

DIST BASS

DRIVE

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.

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”.

7•6

Knob 3 controls the amount of Sub octave content.•

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.

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.

Distortion Models

Volume Pedal

DIST

A

VOLUME

Red Comp

A

DIST LEVEL

SUSTAIN

Blue Comp

A

DIST LEVEL

SUSTAIN

Blue Comp Treb

A

DIST LEVEL

SUSTAIN

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.

Red Comp

Based on the MXR® Dyna Comp.

Blue Comp

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

Blue Comp Treb

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

* 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.

7•7

Distortion Models

Tube Comp

A

DIST LEVEL

THRESH

Vetta Comp

A

DIST LEVEL

SENS

Vetta Juice

A

DIST LEVEL

AMOUNT

Noise Gate

A

DIST DECAY

THRESH

Vetta Comp

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

Vetta Juice

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

7•8

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.

Noise Gate

If you’re not using the 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.

* 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.

Fi l t e r Mo d e l S

These pages provide details on the 16 Filter Models in the M13. All 16 are from the Line 6 FM4 Filter Modeler Stompbox. A few Line 6 originals are also included.

Parameter Details

In this chapter we’ll describe the various parameters of all the Filter Models in detail, to make it easier for you to tweak your sounds. Below is a chart of all the Controls and

Parameters you can adjust using Knobs 1 thru 5, located just below the LCD display.

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)

Gain

Filter LP/BP/HP Mix

Filter Models

8•1

Filter Models

HIGH

BP

HP

Tron Up

MIX

FILTER Q

C

LOW LP

FREQ

HIGH

BP

HP

MIX

FILTER Q

LOW LP

FREQ

Tron Down

C

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.

•

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 lter effect.•

Knob 4: Filter. Selects Low Pass, Band Pass, or High Pass lter.•

Knob 5: Mix.•

Tron Up

8•2

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

•

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 lter effect.•

* 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.

Knob 4: Filter. Selects Low Pass, Band Pass, or High Pass lter.•

Knob 5: Mix.•

Seeker

MIX

FILTER

5.80HZ

C

FREQ

8 STEPS

Q

4 STEPS

9 STEPS

2 STEPS

3 STEPS 5 STEPS

6 STEPS

7 STEPS

Obi Wah

C

MIX

FILTER

6.33HZ

FREQ

BP

Q

LP

HP

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.

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.•

Filter Models

Obi-Wah

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

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. •

* 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.

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

Knob 5: Mix.•

8•3

Filter Models

Voice Box

C

MIX

FILTER

2.95HZ

AUTO 1

SRT "A"

END "I"

AUTO 2

AUTO 3

AUTO 4

SRT "E"

SRT "I"

SRT "O"

SRT "U"

END "A"

END "E"

END "O"

END "U"

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.

8•4

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.

UP

SRT "E"

SRT "I"

SRT "O"

SRT "U"

END "A"

END "E"

END "I"

END "O"

SRT "A"

END "U"

MIXUP/DOWN SPEED

FILTER

V Tron

C

END "U"

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).

Filter Models

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.

8•5

Filter Models

RAMP DW

TRIANGLE

SQUARE

Throbber

MIX

FILTER

4.80HZ

C

FREQ

RAMP UP

Q

Spin Cycle

C

MIX

FILTER

1.21HZ

FREQ

VOLSENS

Q

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.

•

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.•

8•6

Spin Cycle

Inspired by Craig Anderton’s Wah/Anti-Wah, this effect takes full advantage of the 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.

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

Knob 2: Q. Controls the width of the 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. Electrix® is a registered trademark of Electrix Pro, Inc.

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.•

Comet Trails

C

MIX

FILTER

3.33HZ

FREQ

GAIN

Q

Slow Filter

MIX

FILTER

SPEED

C

FREQ

UP

Q

DOWN

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.

•

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.

Filter Models

8•7

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

MIX

FILTER

0.10HZ

C

FREQ

DEPTH

Q

Synth O Matic

MIX

FILTER Q

C

WAVE 7 PITCH

FREQ

WAVE 2 WAVE 3

WAVE 4

WAVE 5 WAVE 6

WAVE 1

WAVE 8

Octisynth

Synth O Matic

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.

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.•

8•8

including a Moog® Modular and an Oberhiem® Synthesizer Expander Module.

•

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.•

This model features waveforms captured from a collection of vintage analog synths,

* 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.

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

Knob 5: Mix.•

Attack Synth

MIX

FILTER

SPEED

C

FREQ

PITCH

RAMP

SQUARE

PWM

Synth String

MIX

FILTER

0.69HZ

C

FREQ

PITCH

ATTACK

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.

•

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.•

Filter Models

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.

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.

8•9

Filter Models

Growler

MIX

FILTER

0.84HZ

C

FREQ

PITCH

Q

Q Filter

MIX

FILTER Q

C

GAIN

FREQ

LP

BP

HP

Growler

Q Filter

8•10

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.

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.•

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.

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 lter 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.

re v e r b Mo d e l S

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. 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 M13 Reverb models are set up the same way. 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

9•1

Reverb Models

'63 Spring

D

TONE MIX

REVERB 110 ms

DECAY

Spring

D

TONE MIX

REVERB 110 ms

DECAY

Plate

D

TONE MIX

REVERB 110 ms

DECAY

Room

D

TONE MIX

REVERB 110 ms

DECAY

‘63 Spring

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

Spring

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

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.

9•2

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.

Hall

D

TONE MIX

REVERB 110 ms

DECAY

Chamber

D

TONE MIX

REVERB 110 ms

DECAY

Ducking

D

TONE MIX

REVERB 110 ms

DECAY

Octo

D

TONE MIX

REVERB 110 ms

DECAY

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

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.

Ducking

Reverb Models

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.

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.

9•3

Reverb Models

Cave

D

TONE MIX

REVERB 110 ms

DECAY

Echo

D

TONE MIX

REVERB 110 ms

DECAY

Tile

D

TONE MIX

REVERB 110 ms

DECAY

Cave

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

Tile

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

Echo

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

9•4

Appendix A : Reference

Ap p e n d i x A : re F e r e n c e

MIDI Control

The M13 will send and receive MIDI CC and Program Change messages on any MIDI Channel from 1 thru 16 or Omni, selectable from the M13 Setup mode, LCD 4. MIDI implementation includes MIDI CCs for Looper Control, FX Unit On and Bypass messages, Tap Tempo, Expression Pedal CCs and Program Change messages for Scene select. It is therefor possible to control the M13 from a MIDI controller or a computer sequencer.

The most common application would probably be to use a separate MIDI controller to control the M13 Looper, so that all 12 Scene select switches on the M13 would be available for individual FX control.

Individual Model selection and assignment for each FX Unit from the 5 different FX groups

is not implemented, but individual FX loaded into the A, B and C memory locations of all 4 FX Units can be engaged or bypassed via MIDI CCs. The MIDI Reference Tables in this chapter represent the currenly implemented MIDI spec. A more expanded MIDI implementation may be forthcoming in future M13 ﬁrmware updates.

Looper & Expression Pedals

M13 Footswitch MIDI CC# Looper Function

Record/Overdub 50 0 to 63 = Overdub 64 to 127 = Record

Play/Stop 28 0 to 63 = Stop 64 to 127 = Play

Half Speed 36 Toggles between Half Speed & Normal Speed

Reverse 85 Toggles Reverse On or Off

Undo 82 Activates Undo

Play Once 80 Activates Play Once function

Pre/Post 84 0 to 63 = Pre 64 to 127 = Post

Looper Levels --- Controlled via EXP pedal only -- not MIDI CC

Expression Pedal 1 1 0 to 127

Expression Pedal 2 2 0 to 127

Tap Tempo 64 2 taps determine tempo

A•1

Appendix A : Reference

FX On/Off Toggle

Memory Location MIDI CC#

FX Unit 1A 11 0 to 63 = Bypass 64 to 127 = On

FX Unit 1B 12 0 to 63 = Bypass 64 to 127 = On

FX Unit 1C 13 0 to 63 = Bypass 64 to 127 = On

FX Unit 2A 14 0 to 63 = Bypass 64 to 127 = On

FX Unit 2B 15 0 to 63 = Bypass 64 to 127 = On

FX Unit 2C 16 0 to 63 = Bypass 64 to 127 = On

FX Unit 3A 17 0 to 63 = Bypass 64 to 127 = On

FX Unit 3B 18 0 to 63 = Bypass 64 to 127 = On

FX Unit 3C 19 0 to 63 = Bypass 64 to 127 = On

FX Unit 4A 20 0 to 63 = Bypass 64 to 127 = On

FX Unit 4B 21 0 to 63 = Bypass 64 to 127 = On

FX Unit 4C 22 0 to 63 = Bypass 64 to 127 = On

Scene Select

A•2

Memory Location Program Change

Scene 1C 0 Scene 1C Selected

Scene 1B 1 Scene 1B Selected

Scene 1A 2 Scene 1A Selected

Scene 2C 3 Scene 2C Selected

Scene 2B 4 Scene 2B Selected

Scene 2A 5 Scene 2A Selected

Scene 3C 6 Scene 3C Selected

Scene 3B 7 Scene 3B Selected

Scene 3A 8 Scene 3A Selected

Scene 4C 9 Scene 4C Selected

Scene 4B 10 Scene 4B Selected

Scene 4A 11 Scene 4A Selected

Appendix A : Reference

BPM / Milliseconds

BPM 1/4 Note 1/8 Note 1/16 Note 1/4 Triplet 1/8 Triplet 1/32 Note

80 750 375 187.5 500 250 94

82 732 366 183 488 244 91

84 714 357 178 476 238 89

86 698 348 174 465 233 87

88 682 341 170 455 227 85

90 667 333 167 444 222 83

92 652 326 163 435 217 82

94 638 319 159 426 213 80

96 625 312 156 417 208 78

98 612 306 153 408 204 77

100 600 300 150 400 200 75

102 588 294 147 392 196 74

104 577 288 144 385 192 72

106 566 283 142 377 189 71

108 555 277 139 370 185 69

110 545 272 136 364 182 68

112 536 268 134 357 179 67

114 526 263 132 351 175 66

116 517

118 508 254 127 339 169 64

120 500 250 125 333 167 63

122 492 246 123 328 164 61

124 484 242 121 323 161 60

126 476 238 119 317 159 60

128 469 234 117 312 156 59

130 462 231 115 308 154 58

132 455 227 113 303 152 57

259 129 345 172 65

A•3

Appendix B : Tips

Ap p e n d i x b : ti p S

We’ve had several questions from M13 users regarding saving Scenes, either within the M13 itself or when performing MIDI Dumps to computer. This chapter includes some helpful tips on how to best save and recall your custom Scenes, as well as step by step instructions on how to update your ﬁrmware.

It’s important to be aware that the M13 will function differently depending on whether

you have it set to Auto Save or Manual Save mode, as described on Page 3•2 of the Scenes Details chapter. In the following examples, we’ll outline those differences and hopefully

answer any questions you may have regarding saving and recalling Scenes.

MIDI Dumps

When saving Scenes via MIDI Dumps and loading them back into your M13, as described

on Page 1•5, you should be aware of the fact that Auto Save and Manual Save will have

an effect on whether your Scenes are automatically saved in your M13 or not.

For example, if you back up a single custom Scene to your computer via MIDI using the DUMP EDIT command, then later you want to load that Scene back into your M13, here are your two options for saving your Scene:

1. With your M13 set to Auto Save...

•

Select the destination Scene location you want to use in your M13 (such as Scene 1A), then send the sysex from your computer via MIDI. Your custom Scene will load into Scene 1A and automatically save to that location.

2. With your M13 set to Manual Save...

Select the destination Scene location you want to use in your M13 (such as Scene

•

1A), then send the sysex from your computer via MIDI. Your custom Scene will load into Scene 1A, but it will NOT automatically save to that location. To save it, you must immediately enter Scene Setup Mode after you load the Scene into

location 1A, then manually save that Scene (as described on Page 3•3).

The exception to this rule is when you use the DUMP ALL command to back up all your Scenes to computer, then you want to load all those Scenes into your M13 again. In this case, when you send the sysex via MIDI from your computer into your M13, all your Scenes, including any custom Scenes, will load and be saved in your M13 regardless of

whether it’s set to Auto Save or Manual Save. *(Mac Users see Page B•4)

B•1

Appendix B : Tips

Saving Scenes Internally

With your M13 set to Auto Save, if you make changes to a Scene and you want to give it a new name, here’s how to do it:

•

Once you have the name you like, you can simply exit Scene Setup mode by pressing any switch and your new name for Scene 2B will be automatically saved.

With your M13 set to Manual Save, if you make changes to a Scene and you want to give it a new name, you start out the same way, but you add an extra step, as follows:

•

But this time, once you have the name you like, you must add the following step:

Enter Scene Setup mode by pressing and holding the Scenes switch.

Select the Scene you’re already on by stepping on its switch (2B for example).•

Rename it as described on Page 3•3. •

Enter Scene Setup mode by pressing and holding the Scenes switch.

Select the Scene you’re already on by stepping on its switch (2B for example).•

Rename it as described on Page 3•3.•

B•2

•

Press and hold the switch for Scene 2B again, until its LED stops ﬂashing.

The LCD will then display “Copy Completed”, and your new name will be saved, along with all the Scene’s current settings.

Recalling The Current Scene

If you change a Scene’s conﬁguration, then you step on the Scenes switch and recall the same Scene you’re already on, the Scene will not change from its current settings.

If you select a different Scene, however, then go back to your previous scene, you will get different results depending on whether you’re in Manual Save or Auto Save mode, as follows:

•

When in Auto Save mode, the M13 will retain all the changes you just made. All the previously saved settings will be overwritten with your most recent settings.

When In Manual Save mode, the M13 will NOT retain all the changes you just

•

made. Instead, it will recall the Scene’s previously saved settings.

Appendix B : Tips

Flash Memory Update Instructions

Here are some instructions on how to update your M13’s Flash Memory. Please note that

Line 6 does not endorse Cubase, MIDI Ox or Sysex Librarian. We refer to these apps as examples only, since users report that they often use them to perform ﬁrmware updates.

Needed:

A MIDI interface that connects to your computer via USB (download the current • Driver for it if you don’t have it installed).

2 MIDI cables (or a MIDI interface that comes with MIDI cables attached).

•

A MIDI sequencer app such as Cubase, or a sysex app such as MIDI Ox (Windows) • or Sysex Librarian (Mac).

Mac users: go to Page B•4 and follow the steps under Procedure.

Additional Info For Windows/MIDI Ox Users:

Make sure your MIDI interface Driver is installed and working.•

Run the MIDI Ox application.•

Go to Option, then MIDI Devices, select USB Audio Device for both MIDI Inputs • and MIDI Outputs; uncheck Automatically Attach Inputs To Outputs During Selection; click OK to accept it.

Go to View, then Port Routing, delete the connection between Input Ports and

•

Output ports if they are connected; make sure only MIDI Ox Event Port connects to Output Ports.

Go to View, then Sysex; In Sysex View and Scratchpad, go to Sysex, then Conﬁgure,

•

make sure you check Delay after F7 and set the Delay (Milliseconds Between Buffers) to 101; click OK to accept.

Now go to Page B•4 and follow the steps under Procedure.

(NOTE: if the update fails and you’re using a USB hub, please try it without the hub).

B•3

Appendix B : Tips

Procedure:

1. Connect your MIDI interface to your computer via USB cable.

2. Connect the M13 MIDI Out to your MIDI interface In, and connect the M13 MIDI In to your MIDI interface Out.

3. Make sure your computer is set up to ‘see’ the MIDI interface (on Mac, you must conﬁgure Audio MIDI Setup; on Win, see Additional Instructions For Windows Users on the previous page).

4. Download the latest M13 Firmware from the Line 6 website (log in with your Line 6 User Name).

5. Launch your sysex app and select your MIDI interface Out port (for Sysex Librarian,

use the top dropdown menu; for MIDI Ox, select Options/MIDI Devices).

6. Load the M13 sysex ﬁle (in Sysex Librarian, select ‘Add to Library’ from the File menu; In MIDI Ox, select Actions/Send/SysEx File from the File Menu; then navigate to the M13 sysex ﬁle you downloaded from the Line 6 website).

7. Press Play (Sysex Librarian), or if using MIDI Ox, the ﬁle will be automatically transmitted once it is selected in the previous step.

B•4

8. The M13 will receive the sysex data and the unit will be updated to the latest Firmware. It will reboot automatically.

Backup Tip For Mac Users

If you’re using Sysex Librarian to back up your Scenes, be sure to click on RECORD MANY in Sysex Librarian when you perform a DUMP ALL or DUMP EDIT command in your M13 (as opposed to clicking on RECORD ONE).

A DUMP ALL will transmit 196 messages, and a DUMP EDIT will transmit 16. So if you were to click on RECORD ONE, you would be recording only the ﬁrst message from the M13, instead of 196 or 16 messages, resulting in an incomplete and unusable backup ﬁle.

Line 6 M13 User's Guide

Specifications and Main Features

Frequently Asked Questions

User Manual