® M5, M9 & M13 DELAY MOD DISTORTION FILTER VERB FX Parameters An in-depth guide to the FX Parameters of the M5, M9 & M13 Stompbox Modelers Electrophonic Limited Edition
Please Note: Line 6®, DL4™, MM4™, FM4™, DM4™, Verbzilla®, POD®, LowDown® and Vetta™ are trademarks of Line 6, Inc. All other product names, trademarks and artists’ names are the property of their respective owners, which are in no way associated or affiliated with Line 6. Product names, images, and artists’ names are used solely to identify the products whose tones and sounds were studied during Line 6’s sound model development for this product.
M5, M9 & M13 FX Parameters M5, M9 & M13 FX Parameters © 2011 Line 6, Inc.
Table of Contents Delay Models........................................................................... 1•1 Parameter Details............................................................................................ 1•1 Modulation Models................................................................. 2•1 Parameter Details............................................................................................ 2•1 Distortion Models...................................................................
Delay Models Delay Models This chapter contains details on the M5, M9 & M13 Delay models, which include all the Delay models from the Line 6 DL4. We’ve also added Echo Platter from Echo Pro and 4 new DryThru models for Tube Echo, Tape Echo, Sweep Echo and Echo Platter. Parameter Details Below is a Reference Table listing all the Controls and Parameters for the Delay models. Knobs 1, 2 and 5 are basically the same for all models, adjusting Delay Time, Feedback and Mix respectively.
Delay Models Tube Echo & Tube Echo DryThru Based on the classic ‘63 Maestro® EP-1, the first of a series of “Echoplex” designs featuring a cartridge of looped 1/4” tape that passed over separate record and playback heads. In the M5, M9 or M13, we’ve also included a new DryThru model, with a flat, dry signal path when Mix is set to 0%. For more info on DryThru models, see Chapter 2, Model Details.
Delay Models Multi Head Based on the Roland® RE-101 Space Echo, which had multiple stationary heads. You change delay times by switching amongst these heads, and you can play back on multiple heads at the same time to get multi-tap delay effects. A Multi-Head DELAY 554 MS FDBK 1-2 ON HD4 ON MIX 1-2 OFF 3-4 OFF HD1 ON HD3 ON 1-2 ON 3-4 ON HD2 ON HD4 ON • 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 Analog Echo Based on the Boss® DM-2, an analog echo unit treasured for the warm, distorted tones it produced. This model is great for creating more experimental delay sounds. A Analog Echo DELAY 255 MS FDBK BASS TREBLE MIX • 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.
Delay Models Sweep Echo & Sweep Echo DryThru For this model we started with the tone of our EP-1 delay emulation, then added a sweeping filter effect to the delay repeats. By design, our original Sweep Echo model did not have a flat EQ response in the dry signal path, so the character of the original was retained. In the M5, M9 or M13 we’ve added a DryThru version, with flat EQ when Mix is at 0%.
Delay Models 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. A Digital Delay DELAY 751 MS FDBK BASS TREBLE MIX • 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. 1•6 • Knob 5: Mix.
Delay Models Stereo Delay This is another Line 6 high resolution digital delay, with separate delay times available for L and R channels. Some players set one side as a fast echo with many repeats, and the other slow with just a few repeats. Set it to taste for a rhythmic stereo delay effect. A DELAY R 911MS Stereo Delay L 342MS L-FDBK R-FDBK MIX • Knob 1: Delay Time for the left channel only. • Knob 2: Feedback amount for the left channel. • Knob 3: Delay Time for the right channel only.
Delay Models Reverse As the name implies, whatever you play on guitar is played back in reverse, delayed by the time you set with Knob 1. A Reverse DELAY 2000 MS FDBK MODSPD DEPTH MIX • 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.
Delay Models Auto Volume Echo This model gives you two effects in one. The first is an auto-volume fade-in, like the attack time on a synthesizer’s envelope generator. Higher Swell settings will give you a longer swell time, so that the sound slowly fades in. The second is an echo, complete with tapestyle wow & flutter modulation. A Auto-Volume Echo DELAY 392 MS FDBK MODDEP SWELL MIX • Knob 1: Delay Time. Displayed in milliseconds or note value. • Knob 2: Delay Feedback.
Modulation Models Modulation Models There are 22 Modulation Models in the M5, M9 or M13. 16 are from the Line 6 MM4 Modulation Modeler Stompbox, based on a dream collection of classic effects, stomp boxes and rack units. 6 new Mod models have been added with the v2.0 firmware update. In this chapter we’ll describe the various parameters of the Modulation Models in detail. Below is a chart of all the Controls and Parameters you can adjust using Knobs 1 thru 5.
Modulation Models Opto Tremolo Based on the tremolo circuitry of the 1965 Fender® Deluxe Reverb® amplifier, which features a pulsing light source directed at a photo resistor. Opto Tremolo B MOD SPEED DEPTH SHAPE VOLSENS MIX • Knob 1: Tremolo Speed. • Knob 2: Tremolo Depth. • Knob 3: Shape, from classic smooth tremolo to dramatic sci-fi throb. • Knob 4: Volume Sensitivity. Louder input signals speed up the tremolo and lower input slows it down. • Knob 5: Mix.
Modulation Models Pattern Tremolo A 4-step sequenced tremolo. Inspired by the fantastic GoatKeeper pedal by Lightfoot Labs. Select 1 through 16 tremolo pulses per step; or you can MUTE the step, SKIP the step, or pass FULL audio. Pattern Tremolo B MOD SPEED 6 7 2 6 • Knob 1: Speed or Note value. • Knob 2: Pattern step 1. • Knob 3: Pattern step 2. • Knob 4: Pattern step 3. • Knob 5: Pattern step 4.
Modulation Models Dual Phaser Based on the Mu-Tron® Bi-Phase, a multi-stage phaser known for its big jet sound. Our Dual Phaser gives you the lush, offset phasing that made the Bi-Phase a classic. B Dual Phaser MOD SPEED DEPTH FDBK SINE MIX SQUARE • Knob 1:Phaser Speed. • Knob 2: Phaser Depth. Sounds best at maximum. • Knob 3: Variable feedback control. • Knob 4: LFO Shape. Minimum is a Sine wave and maximum is a Square wave. • Knob 5: Mix. From 0% to 100%.
Modulation Models Barberpole Phaser A classic effect from the world of modular synths. Instead of being driven by a classic LFO, this phaser always sounds like it is rising in the UP mode, and always sounds like it is falling in the DOWN mode. Stereo mode gives you both up and down. Barberpole Phaser B MOD SPEED FDBK STEREO MIX • Knob 1: Speed. Select a Speed or Note value. • Knob 2: Feedback. Sets7 the amount of feedback. • Knob 4: Select Up, Down or Stereo. • Knob 5: Mix.
Modulation Models U-Vibe Essentially a four-stage phase shifter, the legendary Uni-Vibe® is best known for its watery texture and sultry tones. Made famous by the late, great Jimi Hendrix. U-Vibe B MOD SPEED DEPTH FDBK VOLSENS MIX • Knob 1: Speed. • Knob 2: Depth. • Knob 3: Feedback amount. • Knob 4: Volume Sensitivity. Play harder and the U-Vibe effect speeds up, play softer and it slows down. • Knob 5: Mix. Setting Mix at 100% switches on a vibrato effect, like the original.
Modulation Models Jet Flanger This is our model of the A/DA “studio quiet” Flanger. Introduced in 1977, this stomp box has a sweep range of 35-to-1 and a built-in compressor that work together with the tone circuitry to give the A/DA its signature jet-like sweep. It’s a bit more dramatic than the MXR®, and has a different wave shape. Jet Flanger B MOD SPEED DEPTH FDBK MAN MIX • Knob 1: Speed. • Knob 2: Depth. • Knob 3: Feedback amount. • Knob 4: Manual.
Modulation Models 80A Flanger A new Line 6 killer A/DA Flanger model. Also based on a Reticon bucket brigade chip recreation.. 80A Flanger B MOD SPEED RANGE ENHANCE MANUAL ODD • Knob 1: Speed. Select between two speeds, Fast or Slow. • Knob 2: Range. • Knob 3: Enhance. • Knob 4: Manual. Adjust the flange setting manually. • Knob 5: Mix. Analog Chorus 2•8 Based on the classic stomp box chorus, the Boss® CE-1.
Modulation Models Tri Chorus This model is based on the Songbird/DyTronics Tri-Stereo Chorus. This analog chorus featured 3 chorus circuits working off of 12 low frequency oscillators and 3 delay lines. Tri Chorus B MOD SPEED DEPTH DEPTH2 DEPTH3 MIX • Knob 1: Chorus Speed. • Knob 2: Depth of Circuit 1. • Knob 3: Depth of Circuit 2. • Knob 4: Depth of Circuit 3. • Knob 5: Mix from 0% (dry) to 100% (wet).
Modulation Models Panner The Panner model makes your sound constantly pan back and forth between the left and right stereo channels. If you decide to run it in mono, you’ll basically hear tremolo. B Panner MOD SPEED DEPTH SINE VOLSENS MIX SQUARE • Knob 1: Speed. TRIANGLE • Knob 2: Depth. • Knob 3: Wave Shape. Minimum for Triangle, 50% for Sine, maximum for Square. • Knob 4: Volume Sensitivity. Input level speeds up or slows down the panning rate. • Knob 5: Mix.
Modulation Models Rotary Drum/Horn Based on a Leslie® 145, originally designed for the Hammond® B3. The 145 features two sound sources: the lower part of the cabinet, which has a 12” speaker surrounded by a motorized rotary drum, and the upper enclosure, which houses a spinning horn. Rotary Drm/Hrn B MOD FAST DEPTH HRN DEP DRIVE MIX SLOW • Knob 1: Speed. Select between two speeds, Fast or Slow. • Knob 2: Depth of the lower part of the cabinet. • Knob 3: Horn Depth.
Modulation Models Ring Modulator Ring modulators are for those special times when you want different, distinctive, weird, strange and otherwise non-traditional guitar sounds. With Mix set under 100%, some of your dry guitar sound will be heard. At 100%, there are no rules. Modulator B ringRing modulator MOD SPEED DEPTH SHAPE AM/FM MIX • Knob 1: Speed. • Knob 2: Depth. • Knob 3: Adjusts your Wave Shape from Sine to Square. • Knob 4: Select AM (amplitude modulation) or FM (frequency modulation).
Distortion Models Distortion Models This chapter provides parameter details on the 16 Distortion models from the Line 6 DM4 plus the new Bass Octaver. Also included are a Volume model, 6 Compressors, Noise Gate and 5 EQs. Most Distortions have the same parameters, controlled by Knobs 1 thru 5: • Knob 1: Drive control. • Knob 2: Bass EQ. • Knob 3: Mid EQ. • Knob 4: Treble EQ. • Knob 5: Output level.
Distortion Models Tube Drive Based on the Chandler Tube Driver®. The original was designed by keyboardist Brent Butler to add grind and girth to his Farfisa. Utilizing a single 12AX7 preamp tube, the Tube Driver delivers the sweet singing sustain craved by guitarists worldwide. Tube Drive A DIST DRIVE BASS MID TREBLE OUTPUT Screamer Based on the Ibanez® TS-808 Tube Screamer®. This medium-gain pedal was introduced in the early ’80s.
Distortion Models Classic Distortion Based on the ProCo Rat from the late ’70s. The Rat was the beginning of a new generation of distortion boxes, with a sound that was angrier and more aggressive than a conventional fuzz tone. Classic Dist A DIST DRIVE BASS FILTER TREBLE OUTPUT • 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.
Distortion Models Buzz Saw Based on the Maestro® Fuzz Tone. Legend has it that the sound of this pedal was inspired by a broken and buzzing mixer channel heard in Nashville in 1961. Buzz Saw A DIST DRIVE BASS MID TREBLE OUTPUT 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.
Distortion Models Jet Fuzz Based on the Roland® Jet Phaser/AP-7. As Roland states in their catalog from the ’70s: “... the Jet Phaser is a phase shifter producing dynamic jet sounds for rock guitar.” Jet Fuzz A DIST DRIVE FDBK TONE SPEED OUTPUT • 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.
Distortion Models Sub Octave Fuzz Inspired by the PAiA Roctave Divider, which combined a double octave shift with a fuzz effect, resulting in deep fat square wave distortion. Sub Oct Fuzz A DIST DRIVE BASS SUB TREBLE OUTPUT • Knob 3 controls the amount of Sub octave content. Bass Octaver The Bass Octaver was inspired by the EBS® OctaBass. It provides a clean octave down signal. Although this effect is great for bass, it’s also popular with guitarists such as the legendary Jeff Beck.
Distortion Models Volume Pedal Use the Volume Pedal model in any of the 4 FX Units to control Volume using an expression pedal. Set your minimum Volume by adjusting Knob 1. A DIST Volume Pedal VOLUME Red Comp Based on the MXR® Dyna Comp. A DIST Red Comp SUSTAIN LEVEL Blue Comp Based on the Boss® CS1 Compression Sustainer with the Treble switch off. A DIST 3•7 Blue Comp SUSTAIN LEVEL Blue Comp Treb Based on the Boss® CS1 Compression Sustainer with the Treble switch on.
Distortion Models Vetta Comp From the Line 6 Vetta. Adjust the threshold with Knob 1, the Sensitivity control. A DIST Vetta Comp SENS LEVEL Vetta Juice Another Vetta original. Knob 1 adjusts Amount, a variable Compression ratio control. Knob 2 adjusts Level, with 30dB of available gain. A DIST Vetta Juice AMOUNT LEVEL 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.
Distortion Models Graphic EQ Here’s a 5 band graphic EQ with + or - 12dB at 80Hz, 220Hz, 440Hz, 1.1kHz and 2.2kHz. A Studio EQ DIST 0.0 80 Graphic EQ 0.0 220 0.0 440 0.0 1K1 0.0 2K2 This is an API®-style EQ with constant Q and Soft Clipping output with Level control. A Parametric EQ Studio EQ DIST 500 HZ 0.0 1500 HZ 0.0 0.0 This EQ features Hi shelf, Low shelf and a fully parametric band with Gain control.
Filter Models Filter Models These pages provide details on the M5, M9 & M13’s Filter Models, 16 of which are from the Line 6 FM4 Filter Modeler Stompbox. We’ve also included a new Pitch Glide, Smart Harmony intelligent harmonizer, 8 Wah models from the POD X3 family and a few Line 6 originals. Parameter Details Below is a chart of all the Controls and Parameters you can adjust using Knobs 1 thru 5, located just below the LCD display. See the individual graphic illustrations for more info.
Filter Models 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. C Tron Down FILTER FREQ Q LOW LP MIX HIGH BP HP • Knob 1: Frequency. Determines the high and low settings of the filter sweep. • Knob 2: Q. Sets the width of the filter. • Knob 3: Range. Selects High or Low frequency focus of the filter effect. • Knob 4: Filter.
Filter Models Seeker 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. C Seeker FILTER FREQ Q 5.80HZ 8 STEPS MIX 2 STEPS 4 STEPS 3 STEPS 5 STEPS 6 STEPS 7 STEPS 9 STEPS • Knob 1: Frequency. Select from a range of sequenced patterns of wah filter settings. • Knob 2: Q. Sets the width of the filters. • Knob 3: Speed.
Filter Models Voice Box Inspired by Vocoders, this model gives your guitar a sound that’s typical of a classic “talk box”. It shifts between a starting and ending vowel sound as you play, automatically. Knob 1 selects a Start vowel and Knob 2 selects an End vowel. Auto lets you choose one of four settings for shifting back and forth between the Start vowel and End vowel, automatically shifting at the Speed you set with Knob 2. You can also use an expression pedal to control the shift.
Filter Models 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 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. C Throbber FILTER FREQ Q 4.80HZ RAMP UP MIX RAMP DW TRIANGLE SQUARE • Knob 1: Frequency: Selects a specific frequency range for the filter. • Knob 2: Q. Controls the width of the filter. • Knob 3: Speed.
Filter Models Comet Trails After several days spent crafting the code that makes up our digital secret sauce, one of our DSP developers came up with an inspired model that features 7 filters, all chasing each other around and looping back and forth across sonic space. We call it Comet Trails. C Comet Trails FILTER FREQ Q 3.33HZ GAIN MIX • Knob 1: Frequency. Controls the range of the filters. • Knob 2: Q. Controls the width of the filters. • Knob 3: Speed. Sets the rate of the filter movement.
Filter Models Octisynth This model is a velocity sensitive combination of Ring Modulator, Synthesizer VCO and Vibrato pedal. As an added bonus, your guitar’s volume knob can control the frequency of the oscillator. Set it low for a mellow, muted response, or turn it up all the way for a radical, aggressive sound. C Octisynth FILTER FREQ Q 0.10HZ DEPTH MIX • Knob 1: Frequency. Controls filter content, adding second order harmonics. • Knob 2: Q. Controls the width of the filters. • Knob 3: Speed.
Filter Models Attack Synth Inspired by a Korg® X911 Guitar Synth. The Attack Synth model features one of the waveforms used in the original X911, along with a few of the unique wave shaping functions we found on the unit we modeled. C Attack Synth FILTER FREQ RAMP SPEED PITCH MIX SQUARE PWM • Knob 1: Frequency. Controls the stop frequency of the filter (VCF on the X911). • Knob 2: Q. Selects Square, Pulse Width Modulation or Ramp for the waveform. • Knob 3: Speed.
Filter Models Growler For the Growler, we modeled yet another great-sounding GR700 tone and fused it with the characteristics of the Mu-tron III®, resulting in a model that gives you user-controllable pitch and pulse width modulation, and a unique sound. C Growler FILTER FREQ Q 0.84HZ PITCH MIX • Knob 1: Frequency. Controls the frequency of the filter. • Knob 2: Q. Sets the width of the filter. • Knob 3: Speed. Dials in the speed of the vibrato-y pulse width modulation. • Knob 4: Pitch.
Filter Models Included in the Distortion group are 8 exclusive Wah models from the POD X3. Vetta Wah Fassel An original Line 6 wah that made its debut in the Line 6 Vetta amplifier. Vetta Wah C C FILTER MIX Weeper POS MIX Chrome Modeled after the Dunlop Model GCB-95 Cry Baby. Weeper C Modeled after the Vox® Model 847 wah pedal. C FILTER Chrome FILTER POS MIX Chrome Custom POS MIX Throaty Modeled after a custom modified Vox® 847 wah.
Filter Models Smart Harmony Inspired by the Eventide® H3000™. Select a Scale, Key and Shift value and our DSP algorithms will do the rest, producing a perfect harmony note along with your guitar riffs. C FILTER E KEY Smart Harmony MAJOR SCALE +5TH SHIFT MIX • Knob 1: Scale. Select the Scale you’d like to use. • Knob 3: Key. Select the Key you’ll be playing in. • Knob 4: Shift. Determines the Shift value for the desired harmony note. • Knob 5: Mix. Sets the balance or your dry + harmony notes.
Reverb Models Reverb Models This chapter describes the 11 Reverb models we ported from the Line 6 Verbzilla pedal, one of our most popular stomps in the ToneCore family, plus the new Particle Verb. All Reverbs are stereo, and they sound best routed towards the end of your FX chain. Parameter Details As indicated in the Reference Table below, all M9 & M13 Reverb models are set up the same way with the exception of Particle Verb.
Reverb Models ‘63 Spring Based on a 1963 brown self-contained spring reverb head unit. Best known for great surf guitar tone. D REVERB '63 Spring DECAY 110 ms TONE MIX Spring Based on a studio spring reverb. The spring reverb’s characteristic resonant sound was created by springs suspended inside a metal box. D Spring REVERB DECAY 110 ms TONE MIX Plate Plate reverbs consisted of a thin metal sheet suspended inside a box.
Reverb Models Chamber An elongated ambient space such as a hallway, stairwell or elevator shaft creates this reverb type. Lots of decay on tap here. D REVERB Chamber DECAY 110 ms TONE MIX Hall This model simulates the sound of a concert hall or large open space with a strong reverb tail. Imagine a gymnasium, performance hall, or cathedral. D REVERB Hall DECAY 110 ms TONE MIX Ducking Built using a ‘Hall’ model but with a ducking effect.
Reverb Models Cave A Line 6 original. Cave is a surreal, cavernous echo chamber. Definitely deep. D REVERB Cave DECAY 110 ms TONE MIX Tile This model Emulates the acoustic reflections of a tiled room, such as a bathroom or shower, with clearer/brighter discreet early reflections. D REVERB Tile DECAY 110 ms TONE MIX Echo Another Line 6 original. This is a lush echo with reverb, and distinct repeats as it decays.
