USER MANUAL
®
TimeLine - User Manual
REC / DUB PLAY
STOP
TYPE
REVERSE
FILTER
DUAL
DIGITAL
dBUCKET
PATTERN
dTAPE
push (bank / time)
hold (looper)
hold (save)
push (param)
ICE
TREM
DUCK
SWELL
®
LO-FI
VALUE
FILTER
GRIT SPEED DEPTH
B TAPA
TIME
REPEATS MIX
MOD
BANK DOWN BANK UP
hold (global)
Front Panel Controls
®
VALUE: Provides fine
adjustment of delay time.
Push to access the parameter
menu for the current delay
machine. Hold to access the
global menu.
TYPE: Selects the
currently active delay
machine. Push to toggle
the display between
showing time and the
current bank. Hold to
save the current preset.
TIP: If the parameter or
global menu is currently
displayed, push to exit
and show bank or time.
A & B LEDS: Green
if active. Amber if the
preset has been edited.
Off if bypassed.
TAP LED: Flashes to
indicate delay time in
quarter notes. Flashes
alternating red/green
while looper is active.
Flashes amber to
indicate that a tap
division is active.
TIP: To find the knob
positions of a saved
preset, turn each knob
until the LED returns
to GREEN after glowing
Amber.
TIME: Provides coarse
adjustment of delay time.
FILTER: Controls the shape of the repeats filter.
dTape: controls tape age
dBucket: controls the special dBucket filter. See
dBucket section for full details.
Filter: controls center frequency of LFO filter.
FOOTSWITCH A: Press to
engage or bypass preset A
of the current bank. Hold to
activate infinite repeats.
Looper Active: Activates
record if there is
no loop recorded
or clears the loop
and starts recording
if the looper is
stopped. Overdubs if
loop is playing.
REPEATS: Sets the delay feedback
level (number of repeats.)
MIX: Adjusts the mix of
analog dry signal to wet
delay signal. The Mix
occurs in analog. Set
around 3 o’clock for a
50/50 mix.
GRIT:
Progressively
adds distortion
and artifacts
dTape: controls
tape bias
dBucket:
controls bucket
loss
SPEED:
Controls
the speed
of the delay
modulation LFO
dTape: controls
tape crinkle
DEPTH:
Controls the
intensity of
the delay
modulation.
dTape: controls
wow & flutter
FOOTSWITCH B: Press to engage or bypass
preset B of the current bank. Hold to activate
infinite repeats.
Looper Active: Starts playing loop. Restarts
loop from beginning if pressed while playing.
TAP: Tap to set the delay
time.
Looper Active: Stops loop.
Hold to enter and exit
looper.
BANK SELECT: Press A & B to select a lower bank. Press B & TAP to select a
higher bank. While the selected bank is pending it is displayed as “B.A.N.K.” After
the desired bank is selected, press A or B to activate a preset from that bank.
pg 2
TimeLine - User Manual
Rear Panel
®
INPUTS: High impedance inputs. Use
LEFT input for mono. RIGHT IN is used
as an effect return if the feedback loop
is selected.
OUTPUTS: Use LEFT output
for mono. RIGHT OUT is
used as an effect send if the
feedback loop is selected.
EXP: Connect an
expression pedal or
switch for external
tap tempo. See EXP
Connections
POWER: NEVER plug into voltage
higher than 9VDC. Requires at least
300mA of available current. 9V DC
center negative polarity.
MIDI: Full featured MIDI input
and output supporting Midi CCs,
Program changes, etc. See the
MIDI Specification section for
a complete list of features and
commands.
LOOP SWITCH: Set switch to
feedback loop to insert an effect
in the delay feedback path. See
Feedback Loop.
pg 3
TimeLine - User Manual
GRIT SPEED DEPTH
REPEATS MIX
MOD
FILTER
GRIT SPEED DEPTH
TIME
REPEATS MIX
MOD
TYPE
FILTER
push (param)
ICE
TREM
DUCK
SWELL
®
LO-FI
VALUE
FILTER
GRIT SPEED DEPTH
TIME
REPEATS MIX
MOD
hold (global)
In Depth: Filter & Grit controls
The Filter knob works in conjunction with the Grit knob to shape the fidelity of the repeats. The brightest and cleanest
repeats occur when they are both set at the minimum position.
*The below descriptions are for the Digital, Dual, Pattern, Reverse, Ice, Duck, Swell, Trem & Lo-Fi delay machines. To see how the Filter &
Grit knobs work for dBucket and dTape delay machines see their respective sections.
FILTER: At minimum setting, the Filter
Function provides a flat full-bandwidth
response. As you turn the knob up, the repeats
get progressively darker. Around 12:00, the
filter is voiced to give an analog delay EQ curve.
The darkest repeats occur with the Filter knob
between 12:00 and 2:00 in these machine types.
As you continue to turn the Filter Knob, the low
end is progressively reduced, and some highs
are added back in to create an EQ curve similar
to that of a Tape delay when the knob is at
maximum position.
GRIT: The intensity of the
Grit control will depend on the
strength of the input signal. Hotter
inputs will intensify the effect of the
Grit knob in all modes. The volume
of the wet signal may change as you
increase the Grit control (getting
louder or softer depending on the
input signal strength). Use the MIX
knob to compensate accordingly.
®
Delay time ranges and Display
to toggle the display
push the
TYPE encoder
Digital, Dual, Pattern, Reverse, Ice, Duck, Swell, Trem, Filter 60mS - 2500mS
Lo-Fi 2 mS - 2500mS
dBucket (RANGE = SINGLE) 40mS - 400mS
dBucket (RANGE = DOUBLE) 80mS - 800mS
dTape (TAPE SPEED = NORMAL) 60mS - 2500mS
dTape (TAPE SPEED = FAST) 30mS - 1250mS
between BANK & TIME
TIME can be displayed in
milliseconds or BPM based on
the MS/BPM global parameter
pg 4
TimeLine - User Manual
EXP Connections
Connect a Strymon
MiniSwitch to tap tempo
remotely. Use a standard
TRS cable to connect the
external switch. Set the
EXP MD global setting to
TAP to use external tap.
®
TRS
®
OR
Connect a standard TRS
expression pedal for
continuous control over
any knob. To select the
knob(s) controlled by the
expression pedal, use the
EP SET parameter in each
preset. All knobs can be
controlled simultaneously.
See Common Parameters
for set up instructions.
Connect a Strymon
MultiSwitch for external
bank selection, preset
selection, or extended
control of TimeLine’s
built-in looper. Set the
EXP MD global setting
to either TAP, BANK,
PRESET, or LOOPER.
Please refer to the
MultiSwitch user manual for
detailed setup information:
www.strymon.net/support/
multiswitch
TRS
®
pg 5
TimeLine - User Manual
TYPE
FILTER
push (param)
ICE
TREM
DUCK
SWELL
®
LO-FI
VALUE
FILTER
GRIT SPEED DEPTH
TIME
REPEATS MIX
MOD
hold (global)
TYPE
FILTER
push (param)
ICE
TREM
DUCK
SWELL
®
LO-FI
VALUE
FILTER
GRIT SPEED DEPTH
TIME
REPEATS MIX
MOD
hold (global)
TYPE
FILTER
push (param)
ICE
TREM
DUCK
SWELL
®
LO-FI
VALUE
FILTER
GRIT SPEED DEPTH
TIME
REPEATS MIX
MOD
hold (global)
VALUE
TIME
REPEATS MIX
TYPE
REVERSE
FILTER
DUAL
DIGITAL
dBUCKET
PATTERN
dTAPE
push (bank / time)
hold (save)
push (param)
ICE
TREM
DUCK
SWELL
®
LO-FI
VALUE
FILTER
GRIT SPEED DEPTH
B TAPA
TIME
REPEATS MIX
MOD
BANK DOWN BANK UP
hold (global)
TYPE
REVERSE
FILTER
DUAL
DIGITAL
dBUCKET
PATTERN
dTAPE
push (bank / time)
hold (save)
push (param)
ICE
TREM
DUCK
SWELL
®
LO-FI
VALUE
FILTER
GRIT SPEED DEPTH
B TAPA
TIME
REPEATS MIX
MOD
BANK DOWN BANK UP
hold (global)
TYPE
FILTER
push (param)
ICE
TREM
DUCK
SWELL
®
LO-FI
VALUE
FILTER
GRIT SPEED DEPTH
TIME
REPEATS MIX
MOD
hold (global)
VALUE
TIME
REPEATS MIX
VALUE
TIME
REPEATS MIX
VALUE
TIME
REPEATS MIX
Banks and Presets
TimeLine has 100 banks with A & B presets in each bank. Banks are numbered 0 to 99 on the display. The
presets in banks 0-49 are duplicated in banks 50-99 at the factory.
Saving Presets
Save a preset to the current location:
®
hold the
TYPE encoder
push the TYPE encoder
to save your settings
Save a preset to a new location:
to select the bank to
save to
push the TYPE encoder
or the A or B footswitch
to save your settings
hold the
TYPE encoder
turn the
VALUE encoder
Note: To cancel an in-progress save press the TAP footswitch.
Restoring Factory Presets
CAUTION: This procedure will erase any custom presets saved in the TimeLine and restore them to factory
REINIT will be displayed
and all factory presets will
automatically be restored
or
Editing Parameters
POWER UP TimeLine while holding A & TA P. Keep holding for 5 seconds after
TimeLine has powered up.
While displaying
BANK or TIME
value encoder
to enter PARAMS
push the
menu
push the value
encoder again
and turn to edit
the selected
PARAMETER
turn the
value encoder
to select the desired
PARAMETER
pg 6
TimeLine - User Manual
Delay Machines: Common Parameters
All Delay Machines share a set of parameters. These parameters are saved with each preset and include:
Tap Division: Selects the subdivision to use for delay repeats when tapping in a tempo.
Tap division options include:
Quarter notes (default), Dotted Eighth notes, Eighth notes, Triplets, Sixteenth notes
note: If TAPDIV is set to anything other than Quarter notes, the TAP LED will blink in amber
Boost: +/- 3dB of boost/cut. This can be useful for level matching in your effects chain, or can be
used as an effect such as boosting a solo with delay.
Persist: Turns on delay persist “trails” which will spill over when the effect is bypassed. Use this if
it is desired for delay repeats to continue after the effect has been bypassed. Note that if
persist is set to ON, the bypass mode will automatically be analog bypass.
Name: Allows editing the 16 character name of the current preset. Use the VALUE encoder to
change the selected character. Use the TYPE encoder to select a character. Exit by pressing
the VALUE encoder, then press and hold the TYPE encoder to SAVE the name permanently.
note: For the preset name to be displayed the NAMES global must be set to ON or SCROLL.
®
Expression Pedal ON/OFF: Enables or disables the expression pedal input for each preset.
Expression Pedal Set: Enters the expression pedal setup for each preset. All knobs can be configured to be
used with the expression pedal. To set up which knobs are controlled by the expression
pedal, push the Value encoder when it displays “EP SET” and it will then display “HEEL”.
Turn the knob(s) to the position desired at heel down on the expression pedal. Then, turn
the Value encoder right to display”TOE” and set the knobs to their desired values at the toe
down position on the expression pedal. An expression pedal can control all of the knobs
simultaneously.
Tap Mode: Adjusts how the last tapped tempo affects preset changes. Set to PRESET so the delay
time will change to the saved value in the preset. Set to GLOBAL so the delay time will
remain at the last tapped tempo regardless of what tempo is saved in the preset.
MIDI Clock ON/OFF: When set to ON, TimeLine will respond to external MIDI clock from the MIDI input.
This parameter is saved independently so that only presets with this parameter set to
ON will respond to MIDI Clock.
pg 7
TimeLine - User Manual
REVERSE
DUAL
DIGITAL
PATTERN
push (param)
ICE
TREM
DUCK
SWELL
VALUE
TIME
REPEATS MIX
hold (global)
Delay Machines: Digital
A classic crystal-clear “voiced” digital delay. A wide range of delay tones are possible by tweaking the Filter, Grit and
Modulation controls. Modern to classic 80’s delay tones are easily achievable with this delay machine.
PARAMETERS:
Smear: Softens the attack of the repeats while maintaining full frequency response. This
allows for higher mix levels while keeping the delay out of the way of the dry
signal. With high Repeats levels, the delayed signal gets dreamy and ethereal.
OFF
|||||||||
High Pass: Reduces the low frequency content of the wet signal after the delay. A useful
additional tone sculptor for delays on low-note riffs or chords where you want to
reduce booming in your rig.
®
OFF
20Hz
40Hz
60Hz
80Hz
100Hz
120Hz
140Hz
160Hz
180Hz
200Hz
230Hz
260Hz
300Hz
350Hz
400Hz
500Hz
600Hz
700Hz
800Hz
900Hz
Repeat Dynamics: Reduces the Repeats in a non-linear fashion so that the delay tapers off faster
than it normally would. The effect is most easily heard with high Repeats levels,
allowing for high repeats that trail off to allow the next phrase or chord to stand
out more.
OFF
ON
TIPS & TRICKS: The HIPASS parameter can be very effective in producing bright repeats for a ‘super-clean’ digital
delay. Set the Filter and GRIT knobs to minimum position for full bandwidth and experiment.
Set GRIT and FILTER knobs to 12:00 for an “analog-voiced” digital delay, or try GRIT at minimum and FILTER at
maximum for a “tape-voiced” digital delay.
pg 8
TimeLine - User Manual
REVERSE
DUAL
PATTERN
push (param)
ICE
DUCK
SWELL
VALUE
TIME
REPEATS MIX
hold (global)
Delay Machines: Dual
Two independent delay lines that can be run in series or parallel. The second delay tracks the first at selectable time ratios.
This is very useful for creating interesting rhythmic delays that feed into each other or act independently in parallel.
PARAMETERS:
Time 2: Adjusts the delay time of Delay 2 relative to Delay 1. Since Delay 2 is a ratio of Delay 1, it adjusts with
changes in delay TIME or Tap Tempo to keep the same ratio, and allows for cool rhythmic effects.
1/8
1/7
1/6
1/5
1/4
1/3
Repeats 2: Adjusts the repeats level of Delay 2. Set to TRACK to follow Delay 1 Repeats knob. When not set to TRACK,
you can set an independent repeat level for delay 2. In this case changing the Repeats knob will only
affect the repeats level for Delay 1.
TRACK
|||||||||||
2/5
1/2
2/3
3/4
4/5
5/6
7/8
1/1
5/4
4/3
3/2
5/3
2/1
5/2
3/1
7/2 8/1
4/1
5/1
6/1
7/1
®
Mix 2: Adjusts the mix level of Delay 2. Set to TRACK to follow Delay 1 Mix, set by the Mix knob. When not set
to TRACK, you can set an independent mix level for delay 2. In this case changing the Mix knob will only
affect the mix level for Delay 1.
TRACK
|||||||||||
High Pass: Reduces the low frequency content of the wet signal after the delay. A useful additional tone sculptor for
delays on low-note riffs or chords where you want to reduce booming in your rig.
OFF
20Hz
40Hz
60Hz
80Hz
100Hz
120Hz
140Hz
160Hz
180Hz
200Hz
230Hz
260Hz
300Hz
350Hz
400Hz
500Hz
600Hz
700Hz
800Hz
900Hz
Configuration: Select from a series or parallel dual delay setup. In series, Delay 1 feeds Delay 2, just as if you had two
independent stereo delays connected on your pedalboard. In parallel configuration, the input signal goes
to Delay 1 and Delay 2 simultaneously, and the output of the two delays are fed to the Left and Right
channels respectively (or summed to the Left channel in Mono operation).
SERIES
PARA
TIPS & TRICKS: Set the CONFIG param to PARALLEL to get independent Right and Left channel delay lines
(the two parallel delays will be summed to mono in mono operation - very useful for rhythmic delays). This also
allows for a ‘wet - dry’ stereo setup as follows:
CONFIG param to PARALLEL ::: Turn the MIX knob to minimum (dry) ::: Set RPT2 param to TRACK
Set TIME2 param to 1:1 ::: Set MIX2 param to set the level of the delays
Now the knobs on the machine will control Delay2 (Right channel), while Delay1 (Left channel) is dry only (since
MIX knob is minimum). The repeats will only be heard from the Right channel.
pg 9
TimeLine - User Manual
REVERSE
PATTERN
push (param)
ICE
DUCK
VALUE
TIME
REPEATS MIX
hold (global)
Delay Machines: Pattern
A delay with selectable repeat patterns that provide a wide range of sounds. Rhythmic, Ambient delays are easily achievable.
PARAMETERS:
Pattern: From simple ping-pong to rhythmic trances, the patterns can inspire new musical
ideas. The patterns will create a stereo field of delay taps when using both the L and R
outputs, but will sum to the mono output when the R output jack is unplugged.
1
2
3
4
5
6
Smear: Softens the attack of the repeats while maintaining full frequency response. This
allows for higher mix levels while keeping the delay out of the way of the dry
signal. With high Repeats levels, the delayed signal gets dreamy and ethereal.
7
8
9
10
11
12
13
14
15
16
®
OFF
|||||||||
High Pass: Reduces the low frequency content of the wet signal after the delay. A useful
additional tone sculptor for delays on low-note riffs or chords where you want to
reduce booming in your rig.
OFF
20Hz
40Hz
60Hz
80Hz
100Hz
TIPS & TRICKS: The more intricate patterns can be most effective when the input is simple or ‘sparse’.
Pattern 16 is a sort of ‘early reflection’ pattern. Experiment with delay times around 200mS, lots of Repeats and the
SMEAR param at maximum to create reverb-like sounds. Add some MOD DEPTH at lower MOD SPEED and play with
the Filter and Grit knobs and HIPASS param to dial in the ‘reverb’ tone.
120Hz
140Hz
160Hz
180Hz
200Hz
230Hz
260Hz
300Hz
350Hz
400Hz
500Hz
600Hz
700Hz
800Hz
900Hz
pg 10
TimeLine - User Manual
REVERSE
push (param)
ICE
VALUE
TIME
REPEATS MIX
hold (global)
Delay Machines: Reverse
An improvement on the classic reverse delay. The input signal triggers the delay so the reverse signal is always predictable,
musical and repeatable.
PARAMETERS:
Smear: Softens the attack of the repeats while maintaining full frequency response. This
allows for higher mix levels while keeping the delay out of the way of the dry
signal. With high Repeats levels, the delayed signal gets dreamy and ethereal.
OFF
|||||||||
High Pass: Reduces the low frequency content of the wet signal after the delay. A useful
additional tone sculptor for delays on low-note riffs or chords where you want to
reduce booming in your rig.
®
OFF
20Hz
40Hz
60Hz
80Hz
100Hz
120Hz
140Hz
160Hz
180Hz
200Hz
230Hz
260Hz
300Hz
350Hz
400Hz
500Hz
600Hz
700Hz
800Hz
900Hz
TIPS & TRICKS: Try setting the TIME knob to around 500mS, and hold a ringing chord for an interesting rhythmic
effect. Experiment with the FILTER, GRIT and MOD knobs.
To keep your dry signal feeding into the reverse delay while effectively bypassed, assign an expression to control the
MIX knob. Assign the HEEL position to the MIX knob at minimum. Assign the TOE position to the desired wet mix on the
MIX knob. Rock the expression pedal all the way back to bypass the delay. Rock the pedal to the TOE position to hear
reverse repeats that have already been generating while the mix was at full dry.
pg 11
TimeLine - User Manual
push (param)
ICE
VALUE
TIME
REPEATS MIX
hold (global)
Delay Machines: Ice
A delay that slices up the input signal and plays back the pieces at selectable intervals. The playback interval can be varied
from -1 octave to +2 octaves. The slice size can also be varied, changing the size of the audio chunks being played back.
PARAMETERS:
Interval: Selects the pitch interval of the audio slices from an octave down to two octaves up.
-Octave
-Major 7th
-minor 7th
-Major 6th
-minor 6th
-Perfect 5th
-Tritone
-Perfect 4th
-Major 3rd
-minor 3rd
-Major 2nd
-minor 2nd
-50 cents
-25 cents
+25 cents
+50 cents
+minor 2nd
+Major 2nd
+minor 3rd
+Major 3rd
+Perfect 4th
+Tritone
+Perfect 5th
+minor 6th
+Major 6th
+minor 7th
+Major 7th
+Octave
+Octave & 5th
+2 Octaves
®
Slice: Selects the size of the audio chunks that get sliced and pitched. The slice sizes scale
with the delay time.
SHORT
MEDIUM
LONG
Blend: Blends between the Dry and Ice signal on the delay line, Huge
sounds can be obtained when keeping this control below halfway, and setting the Repeats knob around 3 o’clock.
D | I
I
I
TIPS & TRICKS: The
BLEND param settings
nearer the Dry side can
result in very deep and
atmospheric delays with
the Repeats knob set
for many repeats. The
Smear: Softens the attack of the repeats while maintaining full
frequency response. This allows for higher mix levels while
keeping the delay out of the way of the dry signal. With high
Repeats levels, the delayed signal gets dreamy and ethereal.
OFF
ICE signal appears to
‘float in’ as the repeats
regenerate. The MOD
knobs can add much
dimension to these
sounds as well.
|||||||||
High Pass: Reduces the low frequency content of the wet signal after the delay. A useful
additional tone sculptor for delays on low-note riffs or chords where you want to
reduce booming in your rig.
OFF
20Hz
40Hz
60Hz
80Hz
100Hz
120Hz
140Hz
160Hz
180Hz
200Hz
230Hz
260Hz
300Hz
350Hz
400Hz
500Hz
600Hz
700Hz
800Hz
900Hz
pg 12
TimeLine - User Manual
push (param)
ICE
DUCK
VALUE
TIME
REPEATS MIX
hold (global)
Delay Machines: Duck
A dynamic delay that reacts to your playing with adjustable sensitivity and release time. As the sensitivity is increased, the
ducking effect becomes more pronounced.
PARAMETERS:
Sensitivity: Adjusts the input sensitivity for the ducking feature. Turn to higher settings for more
extreme ducking. A low level guitar signal will require higher settings to achieve the
same ducking effect as a high level guitar signal. At low settings, subtle ducking effects
can be achieved.
|||||
Release Time: Sets the release time for the ducking effect. This determines how quickly the
delay signal returns to full level once you stop playing. A fast Release with
extreme ducking can create a dramatic special effect, while slower releases with
moderate ducking can be transparent yet effective.
0.01
0.05
0.10
0.15
0.20
0.25
0.30
0.35
0.40
0.45
0.50
0.55
0.60
0.65
0.70
0.75
0.80
0.85
0.90
0.95
1.00
®
Ducking Feedback: Sets the feedback ducking parameter. When on, the Repeats knob is effectively set
to minimum while you are playing, and then quickly returns to the Knob setting when
you stop playing. Very cool for single line playing with extreme ducking, you can play a
‘dry’ solo, and only the last note played will repeat.
NORMAL
GATE
High Pass: Reduces the low frequency content of the wet signal after the delay. A useful
additional tone sculptor for delays on low-note riffs or chords where you want to
reduce booming in your rig.
OFF
20Hz
40Hz
60Hz
80Hz
100Hz
TIPS & TRICKS: With very slight amounts of ducking, the dynamics of the delay are more ‘felt’ than ‘heard’. Set the
SENS parameter to just ever-so-slightly reduce the delay volume when you play (most easily discovered with high
REPEATS and MIX settings, and RELEASE around 0.30). Then reduce the RELEASE param to 0.01, while keeping the
FEEDBK param at NORMAL. Now set the MIX and REPEATS to your liking. The results can be addicting.
120Hz
140Hz
160Hz
180Hz
200Hz
230Hz
260Hz
300Hz
350Hz
400Hz
500Hz
600Hz
700Hz
800Hz
900Hz
pg 13
TimeLine - User Manual
push (param)
DUCK
SWELL
VALUE
TIME
REPEATS MIX
hold (global)
Delay Machines: Swell
A variable attack time delay that can swell into notes or chords. This can create atmosphere and ambience in a subtle and
stealthy manner.
PARAMETERS:
Rise Time: Sets the time constant of the ramp input to the delay. The display indicates the
ramp time in seconds. Try setting the ramp time to about the same value as the
delay time for natural swell effects.
0.10
0.15
0.20
0.25
0.30
0.40
0.50
0.60
0.70
0.80
0.90
1.00
1.10
1.20
1.30
1.40
1.50
1.60
1.70
1.80
1.90
2.00
2.20
2.40
2.60
2.80
3.00
4.00
®
Smear: Softens the attack of the repeats while maintaining full frequency response. This
allows for higher mix levels while keeping the delay out of the way of the dry
signal. With high Repeats levels, the delayed signal gets dreamy and ethereal.
OFF
|||||||||
High Pass: Reduces the low frequency content of the wet signal after the delay. A useful
additional tone sculptor for delays on low-note riffs or chords where you want to
reduce booming in your rig.
OFF
20Hz
40Hz
60Hz
80Hz
100Hz
120Hz
140Hz
160Hz
180Hz
200Hz
230Hz
260Hz
300Hz
350Hz
400Hz
500Hz
600Hz
700Hz
800Hz
900Hz
TIPS & TRICKS: Set the RISE param to match the delay time for natural swell-meets-delay effects. Turn the MIX fully
CW for volume-pedal swell effects.
pg 14
TimeLine - User Manual
push (param)
TREM
DUCK
SWELL
VALUE
TIME
REPEATS MIX
hold (global)
Delay Machines: Trem
A delay with synchronized tremolo affecting the repeats. Selectable LFOs are provided for the tremolo waveshape.
PARAMETERS:
LFO (Low Frequency Oscillator): Selects from a variety of LFO waveforms to control the trem
envelope of the delayed signal. For a choppy trem delay, choose the SQUARE lfo, or for
smoother sounds try the SINE waveform. A fast lfo speed with a SAW wave can create a
mandolin-like plectrum effect.
TRIANGLE
SQUARE
SINE
Speed: Controls the speed of the trem waveform in relationship to the Delay Time. When the
delay time is changed by adjusting the Delay TIME knob or with the TAP footswitch, the
lfo will track the change in delay time to stay in sync.
1/32
1/24
1/18
1/16
1/12
1/10
1/9
1/8
1/7
1/6
1/5
RAMP
SAW
1/4
1/3
1/2
2/3
3/4
1/1
4/3
3/2
5/2
3/1
7/2 8/1
4/1
5/1
6/1
7/1
9/1
10/1
12/1
16/1
®
18/1
24/1
32/1
Depth: Selects the depth of the LFO waveform, with maximum setting resulting in no delay
volume when the lfo waveform is at it’s lowest point.
OFF
|||||||||
High Pass: Reduces the low frequency content of the wet signal after the delay. A useful
additional tone sculptor for delays on low-note riffs or chords where you want to
reduce booming in your rig.
OFF
20Hz
40Hz
60Hz
80Hz
100Hz
TIPS & TRICKS: The SAW mode at higher LFO SPEED (3:1, 4:1, etc) will create a high-impact ‘plectrum’ effect.
RAMP mode at lower lfo SPEED can create an interesting reverse envelope. Try SQUARE and SINE at higher LFO
SPEED for a traditionally-inspired new sound. Experiment with the MIX control in conjunction with the DEPTH
parameter to dial in the intensity.
120Hz
140Hz
160Hz
180Hz
200Hz
230Hz
260Hz
300Hz
350Hz
400Hz
500Hz
600Hz
700Hz
800Hz
900Hz
pg 15
TimeLine - User Manual
FILTER
push (param)
ICE
TREM
DUCK
SWELL
VALUE
FILTER
GRIT SPEED DEPTH
TIME
REPEATS MIX
MOD
hold (global)
Delay Machines: Filter
®
A delay with synchronized sweeping filter affecting the repeats. The filter can be placed pre or post
delay.
PARAMETERS:
LFO (Low Frequency Oscillator): Selects from a variety of LFO waveforms to control the filter
envelope of the delayed signal. Choose a sine at slow speed for atmospheric
treatments. Choose a random LFO at higher speeds and high Filt-Q for a
futuristic sound.
+Triangle
-Triangle
-Square
+Square
+Sine
-Sine
Ramp
Saw
Random
Down
Up
Speed: Selects the ratio at which the LFO tracks the delay time.
1/32
1/24
1/18
1/16
1/12
1/10
1/9
1/8
1/7
1/6
1/5
1/4
1/3
1/2
2/3
3/4
1/1
4/3
3/2
5/2
3/1
7/2 8/1
4/1
5/1
6/1
7/1
TIPS & TRICKS: The
‘+’ or ‘-’ in front of the
SINE, TRI and SQR
lfo shapes designates
the polarity of the
LFO when it sync to
your playing. The ‘+’
LFO shapes will have
the highest frequency
occur synchronous to
the input, while the ‘-’
LFOs will have their
lowest frequencies
synchronous to the
input.
18/1
9/1
10/1
24/1
32/1
12/1
16/1
Depth: Selects the depth or intensity of the filter sweep. Use in conjunction with the Filter knob, which sets the
mid-point of the sweep, to get the precise range you desire.
OFF
|||||||||
Filter Q: Adjusts the Q, or resonance, of the sweeping filter. Lower values produce milder filtering effects
with a broader response and lower resonance. Higher values create sharper resonant peaks which
can lend to dramatic sweeping and special effects
0.5
0.7
1.0
Location: This parameter places the LFO-controlled filter either before the delay line
(PRE) or after the delay line (POST). The sonic differences between the two
can be substantial, with POST creating a more prominent effect.
PRE
POST
High Pass: Reduces the low frequency content of the wet signal after the delay. A useful
additional tone sculptor for delays on low-note riffs or chords where you
want to reduce booming in your rig.
OFF
20Hz
40Hz
60Hz
80Hz
100Hz
1.2
1.5
2.0
2.5
120Hz
140Hz
160Hz
180Hz
200Hz
3.0
4.0
230Hz
260Hz
300Hz
350Hz
400Hz
5.0 10.0
7.0
TIPS & TRICKS: The
FILT-Q parameter
sets the resonance or
sharpness of the filter.
At higher settings, the
increase in amplitude
at the filter’s resonant
frequency can result in
an increase in apparent
wet signal volume.
Use the MIX knob to
500Hz
600Hz
adjust the wet level
accordingly.
700Hz
800Hz
900Hz
pg 16
TimeLine - User Manual
FILTER
push (param)
ICE
TREM
DUCK
SWELL
LO-FI
VALUE
FILTER
GRIT SPEED DEPTH
TIME
REPEATS MIX
MOD
hold (global)
Delay Machines: Lo-Fi
Allows creative destruction of your delay signal. Add filtering, vinyl noise, low bit rate distortion, sample rate aliasing, etc.
PARAMETERS:
Sample Rate: Selects the sample rate of the delay line, from 96 KHz all the way down to 750Hz. As the sample rate
is reduced, aliasing artifacts wreak havoc on the repeats.
750Hz
1 kHz
1.5 kHz
2 kHz
3 kHz
4 kHz
5 kHz
6 kHz
7 kHz
8 kHz
9 kHz
10 kHz
11 kHz
12 kHz
14 kHz
16 kHz
19 kHz
24 kHz
32 kHz
48 kHz
96 kHz
Bit Depth: Reduces the digital bit depth from 32 bits down to 4 bits. Fuzzy crunchy
artifacts are introduced as the bit depth is reduced.
4 Bit
4.5 Bit
5 Bit
5.5 Bit
6 Bit
6.5 Bit
7 Bit
7.5 Bit
8 Bit
9 Bit
10 Bit
11 Bit
12 Bit
13 Bit
14 Bit
15 Bit
16 Bit
18 Bit
20 Bit
24 Bit
32 Bit
Mix: Mixes the lo-fi (bit and sample-rate dependent) signal with the full
resolution signal. Heinously corrupted audio can sit on top of the full
resolution signal, or go full lo-fi mix for just the crud.
D | L
Vinyl: Our exclusive dVinyl technology introduces random vinyl dust noise and
scratches from a 33 1/3 rpm record. The first half of the control (dynamic)
adds vinyl noise that only occurs with the repeats, while the 2nd half of the
control (static) adds full-time vinyl noise for song intros, outros or bridges.
TIPS & TRICKS: With
a minimum delay time
of 2ms, you can set the
MIX to full wet (fully
CW) and get a realtime lofi machine with
bit-crush, samplerate and filtering
possibilities. All knobs
and PARAMS are still
active. Additionally, you
can create modulation
effects like chorus,
flange and vibrato by
using the MOD SPEED
and MOD DEPTH
knobs to modulate the
delay line. For modern
digital mod effects,
set the SAMPLE rate
to 96kHz and BITS
to 32 and turn the
FILTER param to OFF.
Experiment with the
Filter and Grit knobs
and the Lo-Fi Params
to go from pristine to
vintage to garbage
can.
®
D ||| (dynamic)
S ||||| (static)
Filter Shape: A collection of filters inspired by telephones, victrolas, am radios, bull horns, and other gadgets.
The mixed lofi and full-resolution signal (along with any dVinyl noise) goes through the selected
filter.
OFF
1 (Portable Vintage Amp)
2 (Victrola Phonograph)
3 (70s Clock Radio)
4 (Bullhorn Megaphone)
5 (Cheerleader’s Plastic Megaphone)
6 (Antique Telephone Ear Piece)
7 (Cell Phone)
8 (Apartment Intercom)
pg 17
TimeLine - User Manual
REVERSE
FILTER
dTAPE
push (param)
ICE
TREM
DUCK
SWELL
LO-FI
VALUE
FILTER
GRIT SPEED DEPTH
TIME
REPEATS MIX
MOD
hold (global)
FILTER
GRIT SPEED DEPTH
TIME
REPEATS MIX
MOD
GRIT SPEED DEPTH
REPEATS MIX
MOD
MOD
Delay Machines: dTape
®
An intricate re-creation of a sliding head tape delay system.
PARAMETERS:
TIPS & TRICKS: The mechanical
effects of wow/flutter and tape
crinkle will track to the Tape Speed
parameter. Select FAST for higher
Tape Speed: Choose Fast speed for a higher fidelity experience
or Normal for standard tape machine operation. The
Wow/Flutter (Mod Depth knob) and Tape Crinkle (Mod
Speed knob) track the tape speed for a huge range of
tape machine experiences.
fidelity, including wider playback head
frequency response. Select NORMAL
for a warmer tape sound. High SPEED
and DEPTH knob settings (tape crinkle
and wow/flutter) with NORMAL Tape
Speed will produce the characteristics
FAST
of an old un-serviced tape machine.
NORMAL
Low End Contour: Allows for shaping the low-end from full low-end to extreme progressive high-
passing. With high repeats, this control is a major factor in the overall tape
machine sound.
+ | | -
KNOB FUNCTIONS: In dTape, four of the knobs assume different controls than the other delay machines.
TAPE AGE: In dTape,
the filter knob takes on
the function of TAPE
AGE. This controls the
bandwidth of the tape
just as it would change
over time in a traditional
tape delay machine.
As regular tapes wear
out, their bandwidth
becomes limited. The
TAPE AGE control
recreates this. Set to
minimum for a fresh,
full bandwidth tape.
As the knob is turns
clockwise, the tape will
get progressively darker.
TAPE BIAS: In dTape, the
GRIT knob takes on the
function of TAPE BIAS.
This control adjusts tape
machine bias, from underbiased to over-biased.
Bias sets the dynamic
range and headroom of
the delay signal. Higher
bias levels result in
reduced echo volume
and limited headroom.
Lower bias settings result
in the cleanest echoes
with the most headroom.
For an optimally biased
tape machine set to 9:00.
For an under biased tape
machine with extra high
frequency response set to
minimum.
TAPE CRINKLE: In dTape,
the SPEED knob takes
on the function of TAPE
CRINKLE. This control
adjusts the amount
and severity of tape
irregularities, including
friction, creases, splices
and contaminants. Tape
Crinkle characteristics
track accordingly to tape
speed. Set to minimum for
a fresh, clean tape. Set to
maximum for a tape that
has been mangled and
chewed for years.
WOW & FLUTTER: In
dTape, the DEPTH knob
takes on the function of
WOW & FLUTTER. This
control varies the amount
of mechanically related
tape speed fluctuations.
This also results in
natural tape machine style
modulation. Turn the knob
fully counter clockwise
for a perfectly tuned,
cleaned and serviced tape
machine. Turn the knob
fully clockwise to hear the
sound of a tape machine in
need of service. In between
the extreme settings, a
natural tape modulation is
achieved.
TIPS & TRICKS: Reduce the Repeats knob if necessary when
using minimum bias to tame the regenerative high frequencies.
pg 18
TimeLine - User Manual
REVERSE
FILTER
DUAL
dBUCKET
PATTERN
push (param)
ICE
TREM
DUCK
SWELL
VALUE
TIME
REPEATS MIX
MOD
hold (global)
FILTER
GRIT SPEED DEPTH
TIME
REPEATS MIX
MOD
GRIT SPEED DEPTH
REPEATS MIX
MOD
Delay Machines: dBucket
An fully nuanced re-creation of classic analog bucket brigade delay systems.
PARAMETERS:
Range: Varies the amount of bucket brigade circuits that the delayed signal travels
through. Single is essentially one 4096 stage bucket brigade “chip” while Double
is equivalent to two 4096 stage bucket brigade “chips” in series.
SINGLE
DOUBLE
TIPS & TRICKS: The RANGE parameter selects a ‘one-chip’
dBucket delay, or a ‘two-chip’ dBucket delay. The one-chip
delay has half the delay range (SINGLE - 400mS) as the twochip delay (DOUBLE - 800mS), and experiences clock-related
artifacts at half the delay time as the two-chip delay. For
cleaner delays of 300ms to 400ms, use DOUBLE with lower
GRIT settings. For the warm, fuzzy, lofi sound of the ealiest
analog delays, use the single option with lots of GRIT and set
the Filter between 12:00 and 5:00 to taste.
®
KNOB FUNCTIONS: In dBucket, two of the knobs assume different controls than the other delay machines.
FILTER: In dBucket, the filter control
makes the repeats either darker or
brighter depending on preference. 12:00
is a neutral filter setting. Turning the
filter clockwise makes the repeats darker
and they will get progressively darker
with each repeat. Increasing the bucket
loss will darken the repeats even further.
Turning the filter counterclockwise
BUCKET LOSS: In dBucket, the GRIT
knob takes the function of BUCKET
LOSS. This controls the amount of bucket
brigade “chip” loss at each stage in
the dBucket algorithm, from no loss at
minimum, to full noisy loss at maximum.
Set to 3:00 to get maximum distortion
loss with just a hint of noise. Increasing
from 3:00 adds more noisy loss.
makes the repeats brighter by applying a
‘post’ high shelf EQ to the wet signal.
TIPS & TRICKS: A classic analog delay sound is one with a bright first repeat and darker
subsequent repeats. To dial this in, set the FILTER knob at minimum and the GRIT (bucket
loss) at 12:00. Set the delay time. The bucket loss will reduce the bandwidth and fidelity of
the repeats progressively with minimum coloration from the FILTER.
pg 19
TimeLine - User Manual
STOP
hold (looper)
REC / DUB PLAY
STOP
hold (looper)
®
B TAPA
REC / DUB
A
BANK DOWN BANK UP
PLAY
B
REC / DUB
A
PLAY
B
STOP
hold (looper)
®
B TAPA
PLAY
B
STOP
hold (looper)
Looper
TAP LED will turn
red to indicate looper
controls are active and
blink green to show
delay time.
®
The A LED will
turn amber to
indicate looper is
overdubbing
hold the TAP
footswitch to enter the
looper
push the A footswitch
to start recording
push the A footswitch
again to overdub
push the TAP
footswitch to stop loop.
or
hold the TAP
OR
footswitch to exit
push the B footswitch to
play the loop. Any time the
B footswitch is pressed it
will re-trigger the loop.
TIPS & TRICKS: Connect an external MIDI controll to access additional looper features like
Reverse, Half Speed, Undo (to initial recorded loop) and Redo.
NOTE: The loop can be played in the background if desired. Normally the loop will stop when exiting the looper. To
keep playing the loop when exiting looper set the Looper Exit global to PLAY. The looper can also be controlled via
MIDI at all times.
LOOPER GLOBALS: There are controls to vary the loop level, looper exit behavior and looper pre or post
configuration in the GLOBALS menu. Please consult the globals section of the manual for more information.
LOOPER MIDI CONTROL: Controlling the looper via MIDI is accomplished by sending MIDI note numbers with a
velocity greater than zero OR MIDI CCs. Record, Play, Stop, Reverse, Half Speed, Undo (to initial recorded loop) and
Redo can all be controlled via MIDI. See the MIDI specification for the note numbers and CCs.
pg 20
TimeLine - User Manual
Globals Menu
Global parameters affect TimeLine regardless of what preset is currently active.
Time Display: Configures the display to show delay time in Milliseconds or Beats Per Minute.
MS
BPM
Looper Location: Switches the Looper to be Pre or Post delay.
PRE
POST
Looper Level: Sets the volume level of the looper playback.
|||||||
Looper Exit: Determines if the looper stops when exiting or keeps playing in the background.
PLAY
STOP
®
Bypass Set-Up: Changes the bypass mode between True Bypass and Buffered Bypass. In True
Bypass, electromechanical relays are used to bypass TimeLine so that no
components are touching the input signal. In Buffered Bypass the bypassed
signal runs through a high quality analog buffer.
TRUE BYPASS
BUFFERED BYPASS
MIDI Channel: Sets the MIDI Channel. Can be set to 1 - 16.
CH 1 - 16
MIDI Continuous Controllers: Turns MIDI CC messaging (continuous controllers) ON or OFF.
ON
OFF
MIDI Patch Change: Turns MIDI patch change messaging ON or OFF.
ON
OFF
MIDI Through: When set to THRU, MIDI messages that arrive at the MIDI input are sent to the MIDI
output without ANY additional MIDI messages generated by TimeLine. When set
to MERGE, MIDI messages that arrive at the input and those that are generated by
TimeLine are merged together to be sent to the MIDI output. When set to OFF, only
MIDI messages generated by the controls on Timeline are sent to the MIDI output.
THRU
MERGE
OFF
pg 21
TimeLine - User Manual
Globals Menu (continued)
Bank Scroll: Sets the maximum bank number to scroll to.
EXP input mode: Configures the EXP input to use an Expression Pedal, an external TAP footswitch, or
a Strymon MultiSwitch.
®
BNK 1-99
PEDAL
TAP
BANK
PRESET
LOOPER
Please refer to the MultiSwitch user manual for detailed MultiSwitch setup
information: www.strymon.net/support/multiswitch
- for use with Expression Pedal
- for use with external TAP footswitch, or MultiSwitch for tap and preset select
- for use with MultiSwitch to select preset banks
- for use with MultiSwitch to select presets
- for use with MultiSwitch to control Looper functions
Dry Signal: Turns the dry signal on or off. This is sometimes useful in a parallel effects loop
when an effect level is necessary.
NORMAL
- dry signal is muted allowing the MIX control to be used as an effect level
KILL
Spillover: Allows the wet delay signal of a currently selected preset to “spill” into the
next selected preset. IMPORTANT: Because of the delay buffer architecture,
the current preset must be active for at least 5 seconds before spillover will be
operational.
OFF
ON
Preset Names: Enables or disables the display of preset names when displaying the current
bank. If set to ON or SCROLL, when incrementing through banks with the VALUE
encoder, the bank number will be displayed with 2 digits followed by the first 3
characters of the preset name.
- bank numbers are displayed instead of preset names
OFF
- the first 6 characters of the preset name are displayed
ON
SCROLL
- the preset name will scroll once completely through it’s 16 characters
then settle on the first 6 characters
pg 22
TimeLine - User Manual
Globals Menu (continued)
Preset Dump: Allows presets to be sent via MIDI to another TimeLine or to a MIDI recorder
device. Presets can be dumped individually or all at one time. Select ALL to
dump all presets, or scroll to select an individual preset to send. Initiate send by
pressing VALUE encoder.
MIDI Clock Sweep: Allows the option to keep or remove delay pitch artifacts when changing TAP
tempo from an external MIDI clock source.
®
EXIT
ALL
PR 0A - 99C
ON
OFF
MIDI Clock Reset: Allows the option to re-sync delay time back to an external MIDI clock source
tempo after tapping in a new tempo or sweeping the time knob.
ON
OFF
MIDI Send State: When a preset is loaded, the MIDI state (CC values) of active preset MIDI
parameters are sent to the MIDI output.
OFF
ON
NOTE: If any of the above options do not appear in the GLOBLS menu, you may need to update
the firmware to the latest version. Visit the link below for instructions:
www.strymon.net/update
pg 23
TimeLine - User Manual
Feedback Loop
®
Set the FEEDBACK LOOP
switch to the down position to
insert an external effect into
the delay feedback path.
NOTE: If not using an external
effect in the feedback loop, set
switch to stereo.
OUTPUT
INPUT
Connect an external effect to
the feedback loop. Any external
effect can be used. Feel free to
experiment with the different
sounds that can be achieved.
All of the delay repeats will be
processed through the external
effect.
FEEDBACK LFO
pos
+/-
neg
REGEN
dBucket Flanger
log
lin
thru
0
WIDTHSPEED
MANUALMIX
BYPA SSFAVORITE
®
pg 24
TimeLine - User Manual
MIDI Specification
®
KNOBS:
CC# Value Range
Type encoder 19 0-11
Time 3 0-127
Repeats 9 0-127
Mix 14 0-127
Filter 15 0-127
Grit 16 0-127
Speed 17 0-127
Depth 18 0-127
PARAMETERS:
Tap Division 21 0-4
Boost 23 0-60
Persist Off/On 22 0-1
Smear 38 0-18
High Pass 47 0-20
Expression Off/On 60 0-1
MIDI Clock Off/On 63 0-1
dTAPE - Tape Speed 58 0-1
dTAPE - Low End 59 0-20
dBUCKET - Range 45 0-1
DIGITAL - Repeat Dynamics 56 0-1
DUAL - Time 2 32 0-26
DUAL - Repeats 2 34 0-18
DUAL - Mix 2 33 0-18
DUAL - Config 36 0-1
PATTERN - Pattern 39 0-15
SWELL - Rise Time 44 0-27
TREM - Speed 61 0-34
TREM - Depth 57 0-18
TREM - LFO 29 0-4
FILTER - Q 40 0-11
FILTER - LFO 28 0-10
FILTER - Depth 41 0-18
FILTER - Speed 42 0-34
FILTER - Location 43 0-1
LO-Fi - Mix 51 0-20
LO-Fi - Vinyl 52 0-18
LO-Fi - Sample Rate 49 0-20
LO-Fi - Bit Depth 50 0-20
LO-Fi - Filter 53 0-8
ICE - Interval 30 0-29
ICE - Slice 46 0-2
ICE - Blend 25 0-20
DUCK - Sensitivity 37 0-17
DUCK - Release 55 0-20
DUCK - Feedback 54 0-1
MIDI Patch changes:
Timeline presets are arranged in a grid of 100 numbered
Banks (00-99) with 2 presets (A and B) within each Bank for
a total of 200 presets.
Because MIDI Program Change messages have a maximum
number of 128 (0-127), the presets are grouped into 2 MIDI
Patch Banks:
MIDI BANK 0 = PRESETS 00A-63B
MIDI BANK 1 = PRESETS 64A-99B
The presets are numbered sequentially within each bank:
PRESET 00A = MIDI program # 0
PRESET 00B = MIDI program # 1
PRESET 01A = MIDI program # 2
PRESET 01B = MIDI program # 3
PRESET 02A = MIDI program # 4 etc. up to #127...
TimeLine always powers up in MIDI Patch Bank 0, so if you
plan to stay within the first 127 presets (00A-63B), simply
send a standard MIDI Program Change message to load a
preset.
If you will be using MIDI Bank 1, it is advisable to send a
standard MIDI Bank Change message [MIDI CC# 0 with a
value equal to the MIDI Bank #] before each MIDI Program
Change.
Other MIDI CC numbers:
CC# Value Range
A footswitch 80 down=0 up=127
B footswitch 82 down=0 up=127
TAP footswitch 81 off=0 on=127
Remote TAP 93 any
Expression Pedal 100 0-127
Bypass 102 byp=0 eng=127
Phase Reset 125 any
MIDI Patch Bank 0 0-1
-Send a 0 value to access presets 00A - 63B.
-Send a 1 value to access presets 64A - 99A.
(continued on next page)
LOOPER:
Record 87 any
Play 86 any
Stop 85 any
Reverse (toggle) 94 any
Full/Half Speeed (toggle) 95 any
Pre/Post (toggle) 96 any
Undo (to initial loop) 89 any
Redo 90 any
Looper Level 98 0-127
pg 25
TimeLine - User Manual
MIDI Specification (continued)
Looper MIDI control via MIDI note #’s:
The looper can also be controlled with MIDI note numbers.
Record note 0, velocity > 0
Play note 2, velocity > 0
Stop note 4, velocity > 0
Reverse (toggle) note 14, velocity > 0
Full/Half Speed (toggle) note 16, velocity > 0
Pre/Post (toggle) note 17, velocity > 0
Undo (to initial loop) note 7, velocity > 0
Redo note 9, velocity > 0
Reverse (absolute) note 103, velocity = 127
Forward (absolute) note 103, velocity = 0
Half Speed (absolute) note 104, velocity = 127
Full Speed (absolute) note 104, velocity = 0
MIDI Clock:
®
TimeLine will accept MIDI clock at the MIDI input and sync delay time.
pg 26
TimeLine - User Manual
Features
• 12 hand crafted delay machine algorithms for meticulous and nuanced delay sounds
• Ultra Low Noise, high performance A/D and D/A Converters
• Premium analog front end and output section
• Analog dry path for a zero latency dry signal that is never converted to digital
• High Performance DSP
• 200 presets, selectable via encoder, MIDI or on the fly via footswitch
• Numerous deep edit parameters on all delay machines
• Full time 30 second looper available pre or post delay
• Stereo Input & Output
• Expression pedal input with selectable simultaneous control over multiple knob parameters
• Feedback loop option for inserting an external effect into the delay feedback
• +/- 3dB adjustable analog boost or cut configurable per preset
• Delay persist “trails” selectable per preset
• Full time Tap Tempo footswitch and external Tap footswitch available via EXP input
• Rugged & Lightweight Anodized Aluminum Chassis
• Intuitive, performance friendly User Interface
• Global bypass selectable between True Bypass or Analog Buffered Bypass on the fly via footswitch/MIDI
®
Specifications
Input Impedance 1Meg Ohm
Output Impedance 100 Ohm
Signal to Noise 115 dB typical
A/D & D/A 24-bit 96kHz
Frequency Response 20Hz to 20kHz
Max Input Level +8dBu
Bypass Switching True Bypass (electromechanical relay switching)
or Analog Buffered Bypass (with selectable delay persist “trails”)
Dimensions 5” deep x 6.75” wide x 1.87” tall
Power Supply
Input Voltage 9VDC Center Negative
Required Current 300mA
pg 27
TimeLine - User Manual
Strymon Non-Transferrable Limited Warranty
Warranty
Strymon warrants the product to be free from defects in material and workmanship for a period of one (1) year
from the original date of purchase. If the product fails within the warranty period, Strymon will repair or, at our
discretion, replace the product at no cost to the original purchaser.
Exclusions
This warranty covers defects in manufacturing discovered while using this product as recommended by
Strymon. This warranty does not cover loss or theft, nor does the coverage extend to damage caused by
misuse, abuse, unauthorized modification, improper storage, lightning, or natural disasters.
Limits of Liability
In the case of malfunction, the purchaser’s sole recourse shall be repair or replacement, as described in the
preceding paragraphs. Strymon will not be held liable to any party for damages that result from the failure of
this product. Damages excluded include, but are not limited to, the following: lost profits, lost savings, damage
to other equipment, and incidental or consequential damages arising from the use, or inability to use this
product. In no event will Strymon be liable for more than the amount of the purchase price, not to exceed the
current retail price of the product. Strymon disclaims any other warranties, express or implied. By using the
product, the user accepts all terms herein.
®
How to Obtain Service Under this Warranty
For North American customers: Contact Strymon through our website at http://www.strymon.net/support for
Return Authorization and information. Proof of original ownership may be required in the form of a purchase
receipt.
For International Customers: Contact the Strymon dealer from which the product was purchased from in order
to arrange warranty repair service.
Strymon® is a division of Damage Control®, LLC.
REV F 11.15.17
pg 28
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