® 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.
Please Note: Line 6, DL4, MM4, FM4, DM4,Verbzilla, POD X3, POD X3 Live, POD X3 Pro, PODxt andVetta 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.
M13 Advanced Guide M13 Advanced Guide © 2008 Line 6, Inc.
Table of Contents Setup Details........................................................................... 1•1 Tuner, Setup Mode.......................................................................................... 1•1 Expression Pedals............................................................................................ 1•2 Looper Levels & EQ........................................................................................ 1•2 Preferences, True Bypass, Scenes................................
Delay Models........................................................................... 5•1 Parameter Details............................................................................................ 5•1 Modulation Models................................................................. 6•1 Parameter Details............................................................................................ 6•1 Distortion Models...................................................................
Setup Details Setup Details 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.
Setup Details Expression Pedals 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.
Setup Details Preferences 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.
Setup Details FX Loop 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.
Setup Details 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).
Model Details Model Details 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.
Model Details 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.
Model Details Expression Pedal Details 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.
Scenes Details Scenes Details 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.
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. 3•2 Let’s load a Factory Scene and see what happens in Autosave mode.
Scenes Details 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.
Looper Details Looper Details 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.
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: 9 4•2 6 7 8 2 3 4 1 5 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.
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.
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.
Delay Models Delay Models 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.
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 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. 5•4 • 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 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. 5•6 • Knob 3: Bass EQ. • Knob 4: Treble EQ. • 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. 5•8 • 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 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.
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. 6•2 • Knob 5: Mix.
Modulation Models 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. Phaser B MOD SPEED DEPTH FDBK STG 4 MIX • Knob 1: Phaser Speed. STG 8 STG 12 STG 16 • 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.
Modulation Models Panned Phaser Modeled from the Ibanez® Flying Pan, a 4-stage phase shifter with panner built in. The original featured a 3-position switch to assign phasing to the left, right, or center. B Panned Phaser MOD SPEED DEPTH CENTER PAN SPD Mix LEFT RIGHT • Knob 1: Phaser Speed. • Knob 2: Phaser Depth. • Knob 3: Assigns the Phaser output to the Left, Center or Right channels. 6•4 • Knob 4: Pan Speed. Higher values result in faster panning. • Knob 5: Mix.
Modulation Models 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. Analog Flange B MOD SPEED DEPTH FDBK MAN MIX • Knob 1: Speed. • Knob 2: Depth. • Knob 3: Flanger Feedback. • Knob 4: Manual control, to adjust the delay time for the flanging effect. • Knob 5: Mix. From 0% to 100%. 6•5 Jet Flanger This is our model of the A/DA “studio quiet” Flanger.
Modulation Models 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. Analog Chorus B MOD SPEED DEPTH CHORUS TONE MIX VIBRATO • 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.
Modulation Models 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. Pitch Vibrato B MOD SPEED DEPTH RISE VOLSENS MIX • Knob 1: Vibrato Speed. • Knob 2: Vibrato Depth. • Knob 3: Rise Time control. Lower levels mean a longer Rise Time. • Knob 4: Volume Sensitivity.
Modulation Models Rotary Drum Based on a Fender® Vibratone, which features a rotating drum surrounding a 10” speaker. The Styrofoam drum has two slots, and the cabinet has three (left, right and top). The drum rotates with a vertical motion, sending sound spinning in all directions. B Rotary Drum MOD FAST DEPTH TONE DRIVE MIX SLOW • 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.
Modulation Models 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. Dimension B MOD SW1 ON SW2 ON SW3 OFF SW4 OFF MIX • Knob 1: Selects Switch 1 On or Off. • Knob 2: Selects Switch 2 On or Off.
Distortion Models Distortion Models 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 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. 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.
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 7•7 Based on the Boss® CS1 Compression Sustainer with the Treble switch off. A DIST 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 7•8 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.
Filter Models Filter Models 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 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.
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. 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).
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.
Appendix A : Reference Appendix A : Reference 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.
Appendix A : Reference FX On/Off Toggle Memory Location FX Unit 1A FX Unit 1B FX Unit 1C FX Unit 2A FX Unit 2B FX Unit 2C FX Unit 3A FX Unit 3B FX Unit 3C FX Unit 4A FX Unit 4B FX Unit 4C MIDI CC# 11 12 13 14 15 16 17 18 19 20 21 22 0 to 63 = Bypass 0 to 63 = Bypass 0 to 63 = Bypass 0 to 63 = Bypass 0 to 63 = Bypass 0 to 63 = Bypass 0 to 63 = Bypass 0 to 63 = Bypass 0 to 63 = Bypass 0 to 63 = Bypass 0 to 63 = Bypass 0 to 63 = Bypass 64 to 127 = On 64 to 127 = On 64 to 127 = On 64 to 127 = On 64 to 127 =
Appendix A : Reference BPM / Milliseconds BPM 80 82 84 86 88 90 92 94 96 98 100 102 104 106 108 110 112 114 116 118 120 122 124 126 128 130 132 1/4 Note 750 732 714 698 682 667 652 638 625 612 600 588 577 566 555 545 536 526 517 508 500 492 484 476 469 462 455 1/8 Note 375 366 357 348 341 333 326 319 312 306 300 294 288 283 277 272 268 263 259 254 250 246 242 238 234 231 227 1/16 Note 187.
Appendix B :Tips Appendix B : Tips 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.
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: • 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. 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.
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).
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.
