M9 Stompbox Modeler v2.0
DELAY MOD DISTORTION FILTER VERB

Advanced Guide

An in-depth exploration of the digital technologies and musical machinations of the M9 Stompbox Modeler.
Electrophonic Limited Edition
Please Note: Line 6, DL4, MM4, FM4, DM4, Verbzilla, POD 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 6s sound model development for this product. The use of these products, trademarks, images, and artists names does not imply any cooperation or endorsement.

M9 v2.0 Advanced Guide

M9 v2.0 Advanced Guide 2009 Line 6, Inc.

Table of Contents

Features... 11
Firmware Update v2.0... 12.

Setup Details... 21

Tuner, Setup Mode... 21 Looper: Levels & EQ... 22. Tempo, Expression Pedals... 22 Preferences, Scenes; Routing... 23 Dim, Auto Save & Manual Save; Scene Modes; Relative Pots. 24 MIDI, Gate, Display; Factory Reset... 25 Gate, Display, Version... 26

Model Details... 31

Tap-based FX; Fine-Tune Mode... 31 DryThru Models; Model Defaults.. 32 Expression Pedal Details... 33 Tube Compressor Model... 33

Scene Mode Details... 41

Momentary Scene Mode... 41 Latch Scene Mode... 42 Auto Save... 43. Manual Save.... 44. Scene Copy; Scene Folders.... 45 Effect Copy.... 46

Looper Details.. 51.

Looper & Live Guitar... 51 Expression Pedal Control... 51. Looper Switches.... 52 Looper Tutorial.... 54.
Appendix A: Reference... A1
MIDI Control.... A1 Looper & Expression Pedals... A1. FX Toggle On/Off.... A2. Scene Select.... A2 BPM / Milliseconds... A3

Appendix B:Tips...B1

MIDI Dumps.... B1 Recalling The Current Scene... B2 Firmware Update Instructions.. B2

Features

Welcome to the M9 Stompbox Modeler v2.0 Advanced Guide. This guide contains indepth details of your M9s features and functionality not included in the Pilots Handbook. With over 100 Models and a Looper in one device, theres 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 youre looking for. In the chapters that follow, well be referring to the six Knobs that adjust the various parameters of the M9 effects. These are located directly under the LCD display. As illustrated in the graphic below, in the top row left is the Model Select knob. To the right of that are Knobs 1 and 2. Knobs 3, 4 and 5 are in the second row, left to right. So when we mention adjusting an effects first parameter with Knob 1, were referring to the knob to the right of the Model Select knob, labeled 1 in the illustration.
The current effects switch location (1B) is displayed upper left Push Model Select knob to select the FX type - turn it to select the individual effect The name of the currently selected effect is displayed here (Growler) Turn Knobs 1 thru 5 to adjust the 5 parameters of the current effect When Relative Mode is active, settings smoothly change relative to knob position

Firmware Updates

As of October, 2009, Line 6 has released Flash Memory Update v2.0 for the M9, adding numerous new FX Models and features. If youre not running v2.0 firmware or greater, be sure to visit www.Line6.com for the latest info, and see Appendix B for instructions on how to upgrade your M9 using the Line 6 Monkey application (for free).

Firmware Update v2.0

Heres an overview of the new features weve included in the v2.0 firmware update:

New FX Models

Weve added over 20 new models in the v2.0 firmware. These include Pitch Glide, Smart Harmony, 6 different Mod FX including 2 unique Flangers, a Pattern Tremolo and a handwired MXR Phase 90-inspired Phaser, a new Particle Verb, a Bass Octaver, 5 custom EQs and 8 Wah models from the POD X3 series.

Sync To MIDI Clock

You can now sync your Tap-based M9 FX to external MIDI clock, a popular user request that were happy to include in v2.0.

Re-syncable LFO

Sync your Mod FX to the downbeat by simply hitting the TAP switch while playing.

Relative Mode

For those who want smooth parameter changes when they wake up their physical knobs to adjust parameter values, weve implemented a user-selectable Relative Mode. For example, if your virtual setting is at 10% but your knob is at 80%, your setting will smoothly move in the direction you turn the knob, instead of rudely jumping to the knobs 80% position.

Pixel Heel & Toe

Your expression pedal heel & toe values are now displayed as pixel cutouts in the LCD. See Chapter 3 for details.

Dim FX LED On/Off

For those who want to see only the active FX LEDs, you can globally turn Dim mode off.

Scene Folders

You now have access to 4 Scene folders (24 Scenes), with the ability to backup/restore an individual Scene, a Scene folder of 6 Scenes, or all 4 Scene folders at once via MIDI.

Setup Details

Before you begin using your M9, its always a good idea to get in tune.
To enter Tuner mode, press the 2B+3B switches simultaneously. The LCD will immediately display the Tuner. The current note youre tuning will be displayed in the lower center of the LCD. If youd like to tune to a reference other than standard 440, turn Knob 3 to select from 425 to 455. To toggle between Mute Audio (your guitar will be silent) and Bypass Audio (youll hear your guitar dry with no FX), turn Knob 5.

50 b 440HZ REF

50 # MUTE AUDIO BYPASS AUDIO
Tuning is straightforward: when the graphic diamond is to the left of center, your note is flat; when its to the right, youre sharp. When the diamond is precisely in the center, two triangles will appear above and below it, indicating your string is in tune. To exit Tuner mode, press any footswitch and youll return to normal operation.

Setup Mode

To enter Setup mode, press the 1B+2B switches simultaneously. The M9s LCD will display the first Setup screen, Looper: Levels & EQ. To access the three other Setup screens, one at a time, press the Model Select encoder. Youll toggle thru Tempo & Expression Pedals, Preferences & Scenes, MIDI, Gate & Display, then back to Looper: Levels & EQ again. Remember how to enter Setup mode - well be referring to it several times in the chapters that follow. Its the first step in adjusting numerous settings that determine the way the M9 operates. Depending on the way you like to work, most of your Global settings can be left alone after youve set them initially. Theyll be recalled each time you power-up. Other settings are saved with individual presets. In the following pages well describe them all in detail.

Looper: Levels & EQ

In the first Setup screen youll see two Looper Levels to adjust in the center of the LCD. The first is Play, which determines the volume of your Loopers playback as balanced with your live guitar. The second is Overdub, which determines the volume of your loop in Overdub mode.

MNL SAVE MOMEN SCENE AUTOSAVE LATCH SCENE
The Model Select knob toggles between True Bypass and DSP Bypass. In True Bypass, mechanically switching relays route your signal directly from input jack to output jack, bypassing all circuitry, for absolutely no processing or conversion all FX are bypassed. If youre playing back a loop, however, or you want your Delay and Reverb trails to be heard when bypassing all FX, you must use DSP Bypass. If you want to use True Bypass, keep in mind that it can only be activated when all of the following conditions are met: True Bypass is enabled in Setup mode (via the Model Select knob). All 3 FX Units are in a bypass state. The looper is stopped. Looper mode is inactive (the Tap footswitch LED is not solid red).

Routing

Select your FX Routing setup with Knob 3: either 1>2>3 or 3>2>1. Please note that expression pedal assignments are retained per FX Unit # and follow the selected routing. For example, if FX1:PDL2, then PDL2 controls FX1 whether its first or last in the routing.
With the v2.0 updatee weve added a new feature that allows you to turn off the Dim setting for FX that are not active. With Dim set to OFF, only the active FX LEDs will be lit. All other LEDs will be off, making it easy to see which FX are currently ON. With Dim set to ON, the inactive FX LEDs will be dimly lit.
Auto Save & Manual Save
Knob 2 in Setup screen 3 toggles between Auto Save and Manual Save. With Auto Save, every change you make to your Scene is saved, like a real pedal board. So if you select another Scene then return to the previous Scene, your settings will be just as you left them. With Manual Save, changes made to your individual FX will be retained only if you dont change Scenes; if you do select a different Scene, all your changes will be lost. Manual Save is a good choice, however, when you want to be sure your Scenes will always be recalled exactly as you originally programmed them. See Chapter 4 for more details.

Scene Modes

Factory Reset

There may be times when youd like to reset your M9 to its Factory settings. You may want to recall a particular Factory Scene, for example, or just get back to square one. To do a Factory Reset, first back up any Scenes youd like to keep (as described above), then follow the steps on the next page.
Turn the Model Select knob until RST FACT? is displayed.

RST FACT? CH 1

Press and hold TAP while you press down on the Model Select knob - Reset To Factory? Are You Sure will be displayed.
RESET TO FACTORY? ARE YOU SURE?
To initiate the Factory Reset, press down on the Model Select knob again. All Factory defaults will be reset, including Scene Presets and Global settings.
Knobs 1 and 4 in the center of the LCD control the Global Noise Gate. When activated, the Gate is in effect full time, for all your FX. Knob 1 turns on the Gate and sets the Gate Threshold. Lower values make the Gate kick in at quieter levels; higher values make it kick in at louder levels. Knob 4 sets the Gate Decay. Higher levels result in a longer transition time from nongated to gated audio. Lower levels result in a quicker transition time.
To adjust the contrast of the M9s LCD display, use Knob 2. Set it to a value that looks good to you. Settings from 30-50% usually work well.

Version

Your current Flash Memory version number is displayed in the lower right of the LCD. This makes it easy to determine what version your M9 is currently running. That basically covers the four Setup screens. When youve adjusted all the M9s Setup parameters to your liking, press 1B+2B switches to exit Setup mode. As mentioned previously, the next time you power up your M9 all your Global settings will be recalled.

Model Details

The following are details about a few late-breaking models and features that were implemented in the current M9 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 FX like to set their delay times to a note value relative to the song tempo, as opposed to setting delay times in milliseconds. This has been included in the M9 as Tap-based FX. To set your delay time to tap tempo, turn Knob 1 to the far right and youll see a quarter note symbol in the LCD. Change it to any note value you like. Now tap the desired tempo and your time-based effect will sync to it. Your note value is persistent, so when you scroll through other FX it will be retained. To set your delay time to ms, turn Knob 2 to the right again and youll return to Time-based mode.

Digital Delay

TREBLE FDBK MIX

Fine-Tune Mode

Fine-Tune Mode makes it easy to fine-tune just about any FX parameter in the M9. To fine-tune a parameter, simply press and hold TAP then turn the knob for the parameter you want to fine-tune. For example, when youre in Time-based mode, you may want to fine-tune your delay time to an exact number. This may be necessary to match a songs tempo, or to set up precise stereo delays, to 240 ms L and 480 ms R for example. Heres how to do it: Adjust Knob 1 to set the L delay time close to the desired value. Press and hold the Tap switch and turn Knob 1 again to enter Fine-tune mode. Now fine-tune your L delay time to the ms with Knob 1 - repeat with Knob 3 for R.

DELAY R 480MS

Stereo Delay
L 240MS R-FDBK L-FDBK MIX

DryThru Models

Another popular request from DL4 users was to provide a completely dry signal path when using specific Delay models with a dry Mix setting, so that no tone coloration was added. When we originally created our Tape Echo, Tube Echo, Sweep Echo and Echo Platter models, for example, we also modeled the dry path of the classic delays these models were based on. We did this because the original effects added a certain tonal character to the sound when Mix was set to dry, and many guitar players wanted that sound. To make everybody happy, we decided to add what we call DryThru models. These four models are identical to the original models of the same name, but when Mix is at 0%, we removed the tonal coloration of the originals, giving you a flat, uncolored sound.

DELAY WOW/FLT

Echo Plattr DryThru

225 MS DRIVE FDBK MIX

Tube Echo DryThru

169 MS DRIVE FDBK MIX

WOW/FLT

DELAY BASS

Tape Echo DryThru

279 MS TREBLE FDBK MIX

Sweep Echo DryThru

469 MS SWP DEP FDBK MIX

SWP SPD

Model Defaults

FILTER 0.84HZ

Growler

FREQ PITCH Q MIX

If no expression pedal heel and toe values are set for a particular parameter, there will be no pixel cutout in the graphic.

Tube Compressor Model

In addition to the 5 compressors taken from the original M13 Stompbox Modeler, which are all typical stomp box type compressors, weve included a new Tube Comp model in the M9 based on the studio classic Teletronix LA-2A Optical Compressor, known for its smooth, easy to adjust, tube sound. Youll find it at the end of the Distortion FX group.

Tube Comp

THRESH LEVEL
Heres how it works: Adjust Knob 1 to set the Threshold - lower values result in more compression, along with an automatic makeup gain stage dependent upon the Threshold setting. Set the output Level with Knob 2. To use the Tube Comp model for boost only, use a high Threshold value and adjust your Level as desired.
*For a detailed look at all the FX models in the M9 (over 100 of them), please download the M9 & M13 v2.0 FX Parameters pdf at www.line6.com/manuals.
* All product names used in this manual are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6s sound model development. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

Scene Mode Details

The M9 offers you two different ways to select your Scenes, depending on how you like to work. Your choices are Momentary Scene mode or Latch Scene mode. To clarify what we mean by a Scene, its basically the equivalent of a unique pedal board setup, which you can program yourself. It includes up to 3 active FX and another 3 FX set up but bypassed. When you select a particular Scene, all 6 FX are immediately loaded into your M9, exactly the way they were saved. You can switch on any of the 3 bypassed FX at any time, replacing any of the 3 active FX Units in their respective rows. If you use an expression pedal in your rig, you should know that all of your heel & toe pedal assignments can be stored in a Scene, making many unique combinations possible. Here are some details explaining Momentary Scene mode and Latch Scene mode.

Momentary Scene Mode

With your M9 in Momentary Scene mode, when you step on the 3A+Tap switches to enter Scene Select mode the LCD will display the 6 Scenes available as 3 rows of A & B, representing each of the 3 rows of FXA and FXB footswitches, as illustrated below.

DSP BYP 1>2>3 DIM ON REL POTS

AUTOSAVE MOMEN SCENE

Now press 3A+Tap to enter Scene Select mode. Choose Scene 2A, center row. Notice the three A switches are lit. Thats because the active FX are loaded in the A locations of all 3 FX Units. You should see the first effect, Tube Drive displayed in the LCD.
Play your guitar for a minute. Youll hear a heavy Flanging Reverse Delay sound. Step on all three B switches now and play. Its a very different sound. Now enter Scene Select mode (3A+Tap) and select 1B. Its a Sub Octave Fuzz preset. Enter Scene Select again, select 2A and play. 2A has lost its Flanging Reverse Delay sound. Thats because the M9 has saved your previous changes. Notice all three B switches are lit, just as you left them.

Manual Save

To see how Manual Save differs from Auto Save, lets do a Factory Reset and start over. If you have any special Scenes saved, you can defer this exercise until you back up your Scenes. Assuming youre okay to do a reset, press the 1B+2B switches simultaneously to enter Setup mode. Navigate to the MIDI screen and turn the Model Select knob so it displays RST FACT?

RST FACT?

Now hold TAP and press down on the Model Select knob (youll see Are You Sure?). Press Model Select again to confirm. After your M9 resets, enter Setup mode again (press 1B+2B), navigate to the Prefs LCD and select MNL SAVE under Scenes by turning Knob 2.

MNL SAVE MOMEN SCENE

TRUE BYP DIM OFF Now repeat the same steps you did in the Auto Save AUTOSAVE Enter Scene Select mode exercise. LATCH ABS (3A+Tap), select Scene 2A, then switch POTSall the B switches to change the sound of the on SCENE 3>2>1 Scene. Enter Scene Select mode again, select Scene 1B for a moment, re-enter Scene Select mode and select Scene 2A again. Now play your guitar - youll hear Reverse Delay.
Notice all the A switches are lit this time. Scene 2A did not retain the changes you made. In Manual Save mode, every time you select a Scene, it will be recalled exactly the same way the next time you select it, even if you make temporary changes to it.

Scene Copy

With the M9 you can create your own custom Scenes and save them in all 6 Scene memory locations. You also have 4 Scene folders that you can back up on your computer, as described below and in Chapter 1. This gives you the flexibility to customize and store an unlimited number of Scenes to build your own M9 library of sounds. Once you begin tweaking your FX models and creating combinations you like, youll want to familiarize yourself with Scene Setup mode. This is the mode in which youll store your custom Scenes. Lets take it step by step and youll see how easy it is. First set up a combination of FX youd like to store as a Scene, then do the following: Press and hold the 3A+Tap switches simulatneously for a few seconds. The LCD will briefly enter Scene Select mode, then change to Scene Setup mode. Youll see Save To: displayed in the LCD, indicating youre about to save a Scene.

Save To:

Select the destination of your Save by pressing the FX switch of your choice.

SAVE COMPLETED

Save Completed will appear in the LCD. Youve just saved your first Scene. You can use this same method to move Scenes around or customize them. Just start with the Scene you want to save, enter Scene Setup mode, then save it to any A or B location.
As described earlier, weve added 4 Scene Folders to the M9, each consisting of 6 Scenes, for a total of 24 Scene memories. Whenever youre in Scene Select mode, you can access any Scene in any of the 4 Scene folders by simply turning the Model Select knob. When the Scene folder number youre looking for is displayed in the LCD, select any A or B Scene in that folder by pressing the appropriate FX switch. You must select a Scene within a few seconds, or the M9 will time out and revert to the current Scene folder. If this happens before you make your selection, just turn the Model Select knob again and select your Scene. For info on Scene folder backup/restore, see Chapter 1 and Appendix A.

Effect Copy

The main purpose of Effect Copy is to enable you to copy your current effect to another FX A or B location, and to save it there with all your edits intact. This can be very useful when youve been tweaking an effect and you get it sounding exactly right, but youd rather have it routed either before or after another effect in your Scene. Effect Copy makes this extremely easy to do. Heres how - in FX 1A, select Growler from the Filter FX group: Play your guitar for a minute and adjust the parameters to your liking.
Press and hold the Model Select knob - the LCD will display the following:
Copy Effect: Select Destination
Press the FX 3A footswitch as the new destination for your edited Growler effect.

Copy Completed

The LCD will display Copy Completed- then Growler will appear in location 3A.
Thats all there is to it. You can use Effect Copy to simply re-arrange your existing FX in a Scene, or experiment with duplicates of a particular sound youve created in the same Scene for an extreme or unique musical effect.

Looper Details

The Looper in the M9 is similar to the looper in the DL4 Stompbox Modeler. It gives you up to 28 seconds of mono recording time at normal speed, or 56 seconds at half speed. Keep in mind your loop will play back in mono, even if youre running stereo FX.

Looper & Live Guitar

When you record and play back a loop, your current Scene will still be active. In fact, while your loop is playing you can select a new Scene at any time. Just press and hold the Tap switch to exit Looper mode, then select a Scene as usual and tweak your effects. Since the M9 responds to MIDI messages, you can optionally set up a MIDI control device to control the looper, leaving all 6 of your FX Unit switches dedicated to your M9 effects. That way you could switch your M9s 3 sets of A and B effects on or off at any time and still control Play, Record, Overdub, Half Speed and Reverse. Below is a Reference Table of MIDI CC values for controlling the M9 Looper functions via MIDI. For a more comprehensive list of M9 MIDI messages, see Appendix A.
MIDI CC Reference Table : Looper Control
M9 Footswitch Record/Overdub Play/Stop Half Speed Reverse Undo/Redo Play Once Pre/Post (in Setup) Looper Control MIDI CC# Looper Function 0 to 63 = Overdub 64 to 127 = Record 0 to 63 = Stop 64 to 127 = Play Toggles between Half Speed & Normal Speed Toggles Reverse On or Off Activates Undo/Redo Activates Play Once function 0 to 63 = Pre 64 to 127 = Post 0 to 63 = Exit 64 to 127 = Enter

Expression Pedal Control

You can optionally control Looper EQ, Playback and Overdub Levels with an expression pedal by setting up your heel and toe values and assignments in Setup Mode, as described in Chapter 22. Also see Chapter 3 for more expression pedal info.

Looper Mode

You enter Looper mode by pressing and holding the TAP switch. In Looper mode, the six A B switches control the Looper, enabling you to record and play back a loop while your current Scene is active. Here are the details:
1 Looper Switch when you press and hold the TAP switch for a few seconds it will remain lit solid red, indicating the two rows of FX A & B switches will now control various functions of the looper. Youll also see LPR ON briefly displayed in the LCD. Your current Scene will still be active, and the first effect in your Scene will be displayed in the LCD. 2 Record/Overdub to record a guitar loop, step on this switch and the looper will record up to 28 seconds of whatever you play. Step on it a second time and your recorded loop will play back immediately, with Overdub mode activated (its LED will flash). Overdubbing once you have a loop recorded, you can layer an overdub with your current loop at any time. Simply play back the loop and step on the Record/Overdub switch. Your new live guitar will be recorded along with your previous guitar track. Looper Levels the Playback and Overdub Level of your loop will be determined by the Looper Levels you set in Setup mode (see Chapter 22). Play Level is the volume of your recorded loop in relation to your live guitar volume. Overdub Level is the level of your loop that will be recorded each time the loop cycles in Overdub mode.

Looper Tutorial

If youre new to loopers, heres a basic example of how you might use the M9 Looper along with your live guitar. Well step thru the recording of a loop, add an overdub or two, then experiment with Half Speed and Reverse. Before we begin, make sure youre in Momentary Scene mode. Press 1B+2B to enter Setup mode, then navigate to the Prefs / Scenes LCD and make sure MOMEN SCENE is displayed in the lower right. If its set to LATCH SCENE, turn Knob 5, bottom row right, to toggle it to MOMEN SCENE. When youve done that, press 1B+2B to exit Setup mode. Now enter Scene Select mode (press 3A+Tap) and youll see the 3 rows of A B Scenes displayed in the LCD. Select a Scene by stepping on any A or B switch, and youll see the first loaded FX model for that Scene displayed in the LCD.
Play your guitar to make sure youre happy with the sound. If not, select a different Scene. When youre ready, press and hold the TAP switch to enter Looper mode, making sure the TAP light is lit solid red (not flashing), Now follow these steps: Step on the Record switch and play. Make sure you hit the downbeat accurately, so when you play back the loop it will start exactly on the beat. This is especially important if you want the loop to be rhythmically correct when it cycles around. When you reach a good out-point, step on the Play switch. This will take your new loop out of record and immediately play it back. Let it loop around a few times and see if sounds good. If it doesnt sync quite right, press Stop then record a new take. If youre happy with your loop, decide what youd like to play as an overdub. Jam along with your loop a few times in Play mode, then when youre ready to layer an overdub, step on the Overdub switch and play your part. Press Stop when youre done. If you made a mistake, press Undo to clear it. Press Redo to get it back. Press Play and listen to your loop. You should hear your original guitar part plus your overdub. As it plays, press the Half Speed switch. Youll hear your loop an octave lower, at half its normal speed. Press Half Speed again to return to normal speed. As your loop continues to play, press the Reverse switch. Youll hear your loop play backwards. As an experiment, let it roll and hit the Overdub switch. Play for the duration of your loop then hit Stop. Hit the Reverse switch to exit, then press Play. Youll hear your initial loop and your first overdub as originally recorded, while your second overdub plays in reverse. This should demonstrate a few of the possibilities. Feel free to experiment on your own.

Appendix A : Reference

MIDI Control
The M9 will send and receive MIDI CC and Program Change messages on any MIDI Channel from 1 thru 16 or Omni, selectable from the MIDI screen in Setup mode. 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 M9 from a MIDI controller or a computer sequencer. The most common application would probably be to use a separate MIDI controller to control the M9 Looper, so that all 6 Scene select switches on the M9 would be available for individual FX control. Individual Model selection and assignment for each FX Unit from the 5 different FX groups is not implemented, but individual FX loaded into the A and B memory locations of all 3 FX Units can be engaged or bypassed via MIDI CCs. The MIDI Reference Tables in this chapter represent the currently implemented MIDI spec.

Looper & Expression Pedals
M9 Footswitch Record/Overdub Play/Stop Half Speed Reverse Undo/Redo Play Once Pre/Post (in Setup) Looper Control Expression Pedal 1 Expression Pedal 2 Tap Tempo MIDI CC# 64 Looper Function 0 to 63 = Overdub 64 to 127 = Record 0 to 63 = Stop 64 to 127 = Play Toggles between Half Speed & Normal Speed Toggles Reverse On or Off Activates Undo/Redo Activates Play Once function 0 to 63 = Pre 64 to 127 = Post 0 to 63 = Exit 64 to 127 = Enter 0 to to taps determine tempo

FX On/Off Toggle

Memory Location FX Unit 1A FX Unit 1B FX Unit 2A FX Unit 2B FX Unit 3A FX Unit 3B MIDI CC# 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 = On 64 to 127 = On

Scene Select

Memory Location Scene 1A (Fldr 1; 3) Scene 1B (Fldr 1; 3) Scene 2A (Fldr 1; 3) Scene 2B (Fldr 1; 3) Scene 3A (Fldr 1; 3) Scene 3B (Fldr 1; 3) Scene 1A (Fldr 2; 4) Scene 1B (Fldr 2; 4) Scene 2A (Fldr 2; 4) Scene 2B (Fldr 2; 4) Scene 3A (Fldr 2; 4) Scene 3B (Fldr 2; 4) Program Change # 0 (Fldr 1); 12 (Fldr 3) 1 (Fldr 1); 13 (Fldr 3) 2 (Fldr 1); 14 (Fldr 3) 3 (Fldr 1); 15 (Fldr 3) 4 (Fldr 1); 16 (Fldr 3) 5 (Fldr 1); 17 (Fldr 3) 6 (Fldr 2); 18 (Fldr 4) 7 (Fldr 2); 19 (Fldr 4) 8 (Fldr 2); 20 (Fldr 4) 9 (Fldr 2); 21 (Fldr 4) 10 (Fldr 2); 22 (Fldr 4) 11 (Fldr 2); 23 (Fldr 4) Scene Selected 1A (Fldr 1); 1A (Fldr 3) 1B (Fldr 1); 1B (Fldr 3) 2A (Fldr 1); 2A (Fldr 3) 2B (Fldr 1); 2B (Fldr 3) 3A (Fldr 1); 3A (Fldr 3) 3B (Fldr 1); 3B (Fldr 3) 1A (Fldr 2); 1A (Fldr 4) 1B (Fldr 2); 1B (Fldr 4) 2A (Fldr 2); 2A (Fldr 4) 2B (Fldr 2); 2B (Fldr 4) 3A (Fldr 2); 3A (Fldr 4) 3B (Fldr 2); 3B (Fldr 4)

BPM / Milliseconds

BPM 132 1/4 Note 455 1/8 Note 227 1/16 Note 187.113 1/4 Triplet 303 1/8 Triplet 152 1/32 Note 57
Miscellaneous CC Commands
Command Bypass All + FX Loop Bypass All - FX Loop Tuner Mode Looper Levels MIDI CC# 69 --0 to 63 = Bypass 64 to 127 = Undo Byp. 0 to 63 = Bypass 64 to 127 = Undo Byp. 0 to 63 = Exit 64 to 127 = Enter Controlled via EXP pedal only -- not MIDI CC

Appendix B :Tips

Appendix B : Tips
This chapter includes some helpful tips on how to save and recall your custom Scenes, as well as step by step instructions on how to update your firmware. Its important to be aware that the M9 will function differently depending on whether you have it set to Auto Save or Manual Save mode, as described in Chapter 4. In the following examples, well outline those differences and hopefully answer any questions you may have regarding saving and recalling Scenes.

MIDI Dumps

When saving Scenes via MIDI Dumps and loading them back into your M9, you should be aware of the fact that Auto Save and Manual Save will have an effect on whether your Scenes are automatically saved in your M9 or not. For example, if you back up a single custom Scene to your computer via MIDI using the DUMP SCNE command, then later you want to load that Scene back into your M9, here are your two options for saving your Scene: 1. With your M9 set to Auto Save. Select the destination Scene location you want to use in your M9 (such as Scene 1A), then send the sysex from your computer via MIDI. Your custom Scene will load into Scene 1A and automatically save to that location. 2. With your M9 set to Manual Save. Select the destination Scene location you want to use in your M9 (such as Scene 1A), then send the sysex from your computer via MIDI. Your custom Scene will load into Scene 1A, but it will NOT automatically save to that location. To save it, you must immediately enter Scene Setup mode after you load the Scene into location 1A, then manually save that Scene (as described on Page 44). The exception to this rule is when you use the DUMP ALL or DUMP FLDR commands to back up your Scene folders to your computer, then you want to load those Scene folders into your M9 again. In this case, its best to set the M9 to Manual Save mode. Then when you send the sysex via MIDI from your computer into your M9, all your Scenes will load and be saved in your M9 automatically.
Recalling The Current Scene
If you change a Scenes configuration, then you enter Scene Select mode and recall the same Scene youre already on, the Scene will not change from its current settings. If you select a different Scene, however, then go back to your previous scene, you will get different results depending on whether youre in Manual Save or Auto Save mode, as follows: When in Auto Save mode, the M9 will retain all the changes you just made. All the previously saved settings will be overwritten with your most recent settings. When In Manual Save mode, the M9 will NOT retain all the changes you just made. Instead, it will recall the Scenes previously saved settings.
Flash Memory Update Instructions
Here are some instructions on how to update your M9s Flash Memory using your computer. Visit www.Line6.com to keep up-to-date on the latest M9 news - thats the best place to get information about any new firmware update that may be released.

Model Gallery

Premium quality models of immortal effects is what Line 6 Stompbox Modelers are all about. Heres what we offer in the M13 Stomp Box Modeler, M9 Stomp Box Modeler, DL4, MM4, FM4, DM4 and Verbzilla.

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Please Note: Line 6, M13 Stompbox Modeler, M9 Stompbox Modeler, DL4, MM4, FM4, DM4,Vetta and Echo Pro 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 6s sound model development for this product.The use of these products, trademarks, images, and artists names does not imply any cooperation or endorsement.
Model Gallery 2009 Line 6, Inc.
The effects in this gallery Feature a tonal heritage of the past forty years of stompbox and effects design. This gallery is a tribute and reference to the careful study and design of the effects found in the M13 Stompbox Modeler, M9 Stompbox Modeler, DL4, MM4, FM4, DM4 and Verbzilla. As you get familiar with the models found inside your product, please join us in thanking the generous people that loaned their treasured artifacts and antiques for our modeling analysis. Weve done our best to capture the special character of each of these units in the models that power your effect modeler. In alphabetical order, the contributors to the cause are: Tom Ayres, Tony Berg, Joey Brasler, Bill DeLap, Eric Dover, Mike Drake, Dave Friedman, Tim Godwin, Bob Hartry, His Intolerably Massive Omnipotence (a.k.a. Mr. Huge), Jamie Kime, Albert Molinaro, Angelo Mazzocco, Erik Norlander, Tim Pierce, Nigel Redmon, Mike Reiter, Walter G. Rice III, Marcus Ryle, James Santiago, Jeff Slingluff, Jack Sonni, Art Thompson, George Van Wagner, Dave Whiston, Lyle Workman, Zeke Zirngiebel, John Ziegler and, of course, the noise-tolerant upstairs neighbors. This publication is provided for your reference only see the Pilots Handbook of your Line 6 modeler for details on operation, care & maintenance. Away We Go.

Delay Models

Featured in the M9/M13 Stompbox Modelers & DL4 Delay Modeler
Tube Echo Based on* Maestro EP-1. Some say the holy grail of delay. Like PB&J.tubes and tape is one great combination!
Tube Echo DryThru The same effect as the Tube Echo only it does not color your guitars dry signal. We let the dry pass through.
Tape Echo Based on* the Maestro EP-3 Echoplex. The EP-3 used transistors instead of tubes for the sound electronics.
Tape Echo DryThru The same effect as the Tape Echo only it does not color your guitars dry signal. We let the dry pass through.
Multi Head Based on* the Roland RE-101 Space Echo. This model emulates the multiple playback heads of the original for that multi-tap delay effect.
Analog Echo Based on* the Boss DM2 Analog Delay. Treasured for its warm, distorted delays only a bucket brigade delay can produce!
Analog W/MOD Heres a model based on* the Electro-Harmonix Deluxe Memory Man, which is an analog delay with chorus.
Sweep Echo Take the tone of the Tube Echo and add a sweeping effect to the repeats to give you unique textures for adjusting the tone of your delays.

Sweep Echo DryThru The same effect as the Sweep Echo only it does not color your guitars dry signal. We let the dry pass through.
Lo Res Delay Early digital delay units generally had only 8 bit resolution. Low bit resolution can create a unique sort of grunge and noise.
Digital Delay This model is a straight up digital delay with bass and treble tone controls. Nothing fancy here, just transparent pristine echo-cho-cho-cho.
Digital Delay W/MOD Choose this model to add a chorus effect to your digital delays.
* All product names used in this manual are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6s sound model development. Maestro is a registered trademark of Gibson Guitar Corp. Roland and Boss are registered trademarks of Roland Corp. Electro-Harmonix is a registered trademark of New Sensor Corp.
Stereo Delay Heres the secret to the Big L.A. Solo sound of the 80s. Set one side as a fast echo with many repeats, and the other as a slow delay with just a few repeats. Voil, youre famous!
Ping Pong This effect has two separate channels of delay, with the output of each channel flowing into the other, going back and forth like a game of ping pong.
Reverse !seltaeB eht dna xirdneH imiJ ekil tsuJ Take a step back in time. Whatever you play in comes back out at you backwards, delayed by the time you set (up to 2 seconds).
Dynamic Delay Made popular by the T.C. Electronic 2290 Dynamic Digital Delay. While you play, the Dynamic Delay keeps the volume of the echoes turned down, so that the echoes dont overwhelm what youre doing.
Auto-Volume Echo This model gives you two effects in one. A volume fadein swell used for a bowing effect. The other effect is an echo, complete with tape-style wow and flutter modulation.
Echo Platter Based on* the Binson EchoRec. A staple for the likes of Pink Floyd. Rather than using tape, the EchoRec used a magnetic platter to record and play back. (This Model is actually not available in DL4, but comes from our Echo Pro rack unit.)
Echo Platter DryThru The same effect as the Echo Platter only it does not color your guitars dry signal. We let the dry pass through.
Note that you can duplicate DL4s Rhythmic Delay feature by setting tap tempo to your choice of note valuesand you get to do that with any Delay Model!
* All product names used in this manual are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6s sound model development. T.C. Electronic is a registered trademark of T.C. Electronic A/S Corp.

Modulation Models

Featured in the M9/M13 Stompbox Modelers & MM4 Modulation Modeler
Opto Tremolo Based on* the optical tremolo circuit that was used in the blackface Fender amps, like the 64 Deluxe Reverb.
Bias Tremolo Based on* the 1960 Vox AC-15 Tremolo, which got its pulse by literally varying the bias of the power amp tubes.
Pattern Tremolo Inspired by* Lightfoot Labs Goatkeeper. This effect is what youd get if you could hook up a vintage keyboard sequencer to a tremolo.
Phaser Inspired by* the MXR Phase 90. Our model features additional parameters to take you there and back again.
Dual Phaser Based on* the Mu-Tron BiPhase known for its big jet sound.
Panned Phaser Based on* the Ibanez Flying Pan. Its a 4-stage phase shifter with a panner built in.
Barberpole Phaser A classic effect from the world of modular synths. This phaser either sounds like its always going up or always down depending on how you set it. Set to stereo you get both!
Script Phaser Based on* MXR Phase 90. Just one knob, Speed, like the original. Just add brown sound and youll be Talking Bout Love.
U-Vibe Based on* the now-legendary Uni-Vibe, one listen to Machine Gun and youll be hooked on this effect model!
Analog Flanger Inspired by* the classic MXR Flanger.
Jet Flanger Inspired by* the A/DA Flanger. Compared to the Analog Flanger, this model is more dramatic, with a different wave shape.
AC Flanger Based on* the classic MXR Flanger. Youve heard it on Van Halens Fair Warning, Women and Children First, and Unchained.
featured in the M9 and M13 Stompbox Modeler only. * All product names used in this manual are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6s sound model development. Fender and Deluxe Reverb are registered trademarks of Fender Musical Instruments Corp. Vox is a registered trademark of Vox R&D Limited. MXR and Uni-Vibe are registered trademarks of Dunlop Manufacturing, Inc. Mu-Tron is a registered trademark of Henry A. Zajac Jr. Ibanez is a registered trademark of Hoshino, Inc. Roland and Boss are registered trademarks of Roland Corp.
80A Flanger Based on* the A/DA Flanger with its signature jet-like sweep. True to the original, this model features same knob functions as the classic.
Analog Chorus Based on* the Boss CE-1 Chorus Ensemble, the original stompbox chorus with big, warm and groovy chorus tones.

Tri-Chorus Based on* the Song Bird / DyTronics Tri-Stereo Chorus. You may have never seen one, but youve heard it hundreds of times.
Pitch Vibrato Based on* the Boss VB-2. It contained a circuit that produced bubbly vibrato, but was popular for its rise time control that when engaged, sped up to where you last set it.
Panner This effect pans back and forth between your left and right channels. If you try and run it in mono, its basically tremolo.
Rotary Drum Based on* the Fender Vibratone. This rotating speaker effect was a popular hit with SRV. Think Cold Shot.
Rotary Drum & Horn Based on* the Leslie 145, the tube-driven rotating speaker cabinet. It was made for the B3 but guitarists fell in love with this shimmery effect.
Dimension Based on* the Roland Dimension D. One of the first true stereo chorus units. Relatively subtle in its nature, it became an industry standard for double-track effects.
Ring Modulator Ring modulators are for those special times when you want different, weird, strange and otherwise nontraditional guitar sounds.
Frequency Shifter A ring modulator gives you both up and down shifted frequencies. Here you can select just the up or down shifted frequencies.
featured in the M9 and M13 Stompbox Modeler only. * All product names used in this manual are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6s sound model development. Roland and Boss are registered trademarks of Roland Corp. Fender is a registered trademarks of Fender Musical Instruments Corp. Leslie is a registered trademark of Suzuki Musical Instrument Manufacturing Co. Ltd.

Distortion Models

Featured in the M9/M13 Stompbox Modelers & DM4 Modulation Modeler
Tube Drive Based on* the Chandler Tube Driver, delivering the sweet singing sustain craved by guitarists worldwide.
Screamer Based on* an Ibanez Tube Screamer. In many blues circles, youre not allowed to solo without one of these medium-gain pedals!
Overdrive Based on* the DOD Overdrive/Preamp 250 designed to slam the input of a tube guitar amp forcing the amp to distort violently.
Classic Distortion Based on* the ProCo Rat, an angry and aggressive distortion box that put teeth into a new breed of metal in the late 70s.
Heavy Distortion Based on* Boss Metal Zone, the industry standard distortion pedal for metal players since 1989.
Color Drive Based on* the Colorsound Overdriver. Our model will transport you instantly back to that breeding ground of British guitar heroes.

Buzz Saw Based on* the Maestro Fuzz Tone. Take a deep breath and repeat: I cant get no (duh, duh, duh) Satisfaction.
Facial Fuzz Based on* the Arbiter Fuzz Face, best known for its famous association with guitar legends Jimi Hendrix & Eric Johnson.
Jumbo Fuzz Based on* the Vox Tone Bender. It can be heard all over the first two Led Zeppelin records, and is especially apparent on Communication Breakdown.
Fuzz Pi Based on* the ElectroHarmonix Big Muff Pi, this is an American twist on the distortion/fuzz pedal, known more for its wicked sustain than its buzz.
Jet Fuzz Based on* the Roland Jet Phaser. Its a fuzz. Its a phaser. Yeah baby! Time to grab your 8-tracks of Uli Roth era Scorpions.
Line 6 Drive Inspired by* the Colorsound Tone Bender. If we could go back to the 60s and be a part of the fuzz revolution. this is what wed design.
* All product names used in this manual are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6s sound model development. Tube Driver is a registered trademark of Butler Audio, Inc. Ibanez is a registered trademark of Hoshino, Inc. Tube Screamer is a registered trademark of Hoshino Gakki Co. Ltd. DOD is a registered trademark of DOD Electronics Corp. Roland and Boss are registered trademarks of Roland Corp. Colorsound is a registered trademark of Sola Sound Limited Corp. Maestro is a registered trademark of Gibson Guitar Corp. Vox is a registered trademark of Vox R&D Limited. Electro-Harmonix and Big Muff Pi are registered trademarks of New Sensor Corp.
Line 6 Distortion Completely over the top. Sure, its massive. Yes, its over the top. Okay, its a lotta crazy!!!
Sub Octave Fuzz Inspired by* the PAiA Roctave Divider, this fuzz with an octave below is just what you need to give those Moog players a fit! Try it on bass guitarthis is the Octaver of Doom!
Bass Octaver Inspired by* the EBS OctaBass. This effect gives you a clean octave down signal. It is very popular in bass rigs but players such as Jeff Beck have been known to bust out this effect.
Octave Fuzz Based on* the Tycobrahe Octavia, the classic fuzz+octave effect. One pioneering user of this type of effect was Jimi Hendrix.
Boost Comp Inspired by* a MXR Micro Amp. Our model delivers the same goose the input of the amp experience and serves up a little secret sauce on the side.
Volume Pedal Effect We added this for those of you that plan to use an expression pedal, such as the Line 6 EX-1. Awesome for faux pedal steel and chords swells. Try it!
Red Comp Based on* the MXR Dyna Comp, probably the most widely used stompbox compressor. Slide players such as Lowell George loved it.

Blue Comp Based on* the Boss CS-1 Compression Sustainer with the treble switch off.
Blue Comp Treb Based on* the Boss CS-1 Compression Sustainer with the treble switch on.
Line 6 Vetta Comp Taken from Line 6s flagship guitar amplifier Vetta II. With a fixed ratio of 2.35:1, adjustable threshold and up to 12dB of gain available at the Level knob.
Line 6 Vetta Juice A Line 6 original also created for our flagship Vetta II guitar amplifier, the Juice in Vetta Juice comes from the 30dB of available gain in the Level knob.
Tube Comp Based on* the Teletronix LA-2A studio compressor. Considered one of the finest compressors in many circles.
featured in the M9 and M13 Stompbox Modeler only. * All product names used in this manual are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6s sound model development. EBS is a registered trademark of EBS Holding HB. MXR is a registered trademark of Dunlop Manufacturing, Inc. Boss is a registered trademark of Roland Corp. LA-2A is a trademark of William Putnam. Tycobrahe is a registered trademark of Kurt Stier. Teletronix and LA-2A are registered trademarks of Universal Audio, Inc.

Level (dB) 0

Shelf Q

Threshold Gain Reduction

Frequency
Noise Gate Use this to eliminate the hiss from noisy pickups or the white noise from extremely high gain distortions by placing the noise gate further in your signal path chain.
Graphic EQ Inspired by* graphic eq pedals such as the MXR ten band graphic equalizer which became an integral part of the live rig of Randy Rhoads.
Studio EQ Inspired by* API 550B. Featuring a constant Q and Soft Clipping output with level control.
Parametric EQ High shelf, low shelf, and a fully parametric band.

HI Pass Level (dB) 0

Low Pass

4 Band Shift EQ Four band graphic but the shifter moves the lower band even lower and the higher bands even higher. Try shifter above 50% for guitar and below for bass guitar.
Mid Focus EQ Its a high pass and a low pass both with frequency and gain control used together to create a band-pass. Also has a gain boost to make up for level loss in extreme band-passing.
featured in the M9 and M13 Stompbox Modeler only. * All product names used in this manual are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6s sound model development. API is a registered trademark of Automated Processes, Inc. MXR is a registered trademark of Dunlop Manufacturing, Inc.

Filter Models

Featured in the M9/M13 Stompbox Modelers & FM4 Filter Modeler
Tron Up Inspired by* the Mu-Tron III envelope follower in the Up position. Part auto-wah, part triggered filter, its all about wacky.
Tron Down Inspired by* the Mu-Tron III envelope follower in the Down position.
Seeker Inspired by* the Z-Vex Seek Wah. Imagine 8 parked wah filters set at varying positions and then sequenced through, creating a pulsating hypnotic vibe.
Obi-Wah Based on* the Oberheim Voltage Controlled Sample and Hold filter. Voltage Controlled Filters create changes in tone by emphasizing random frequencies.
Voice Box Inspired by* Vocoders, Vocal Tracts & Surgical Tubing. This model gives your guitar a sound thats typical of a classic talk box. V-Tron Voice Box meets Mu-Tron III. In this model your guitar again speaks with an almost human voice, but now it does so in response to your playing. Throbber Inspired by* the Electrix Filter Factory. Its perfect for cool Electronica sounds. Spin Cycle Inspired by Craig Andertons Wah/Anti-Wah. This is what headphone mixes were made for! Imagine two wahs panned left and right working opposite directions from each other.
Comet Trails After several days spent crafting the code for our digital secret sauce, we found ourselves one afternoon surrounded by 10 empty cans of Dew, and sounds from another world.
Slow Filter Its Swell! This triggered filter rolls off the high end of your tone, with adjustable speed. Your choice from dark to bright (the UP mode), or bright to dark (the DOWN mode).
Octisynth Inspired by eight armed denizens of the deep. Everyone knows that all you need is a bottleneck and a reverb tank to get whale sounds, but how about our friend the Octopus?
Synth-O-Matic Inspired by a collection of vintage analog synths. This model features waveforms captured from a mouth watering collection of vintage synths.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6s sound model development. Mu-Tron is a registered trademark of Henry A. Zajac Jr. Oberheim is a registered trademark of Gibson Guitar Corp. Electrix is a registered trademark of Electrix Pro, Inc.
Attack Synth Based on* the Korg X911 Guitar Synth. Modeled after one of the waveforms in the X911, along with some of the wave shaping functions that are found on the original.
Synth String Based on* the Roland GR700 Guitar Synth. Your Filter Modelers Synth String model is based on one of the sounds of the GR700.
Growler R700 meets Mu-Tron III. Grrrrrrrrr!
Q Filter Your very own parked wah! Youve heard it before from Mark Knopfler and from Brian May of Queenits a wah parked in one position.
Vetta Wah Taken from Line 6s flagship guitar amplifier Vetta II. This is our sound designers take on a classic effect.
Fassel Based on* a Cry Baby Super. Coveted for the mojo of its Fasel inductor.
Weeper Based on* the Arbiter Cry Baby. Another variation of the original wah with a different inductor and other component choices.
Chrome Based on* a Vox V847. A successor to the original Clyde McCoy wah. Clyde is a trumpet player but guitarists everywhere thank him for suggesting Vox create this effect.
featured in the M9 and M13 Stompbox Modeler only. * All product names used in this manual are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6s sound model development. Mu-Tron is a registered trademark of Henry A. Zajac Jr. Roland is a registered trademark of Roland Corp. Cry Baby is a registered trademark of Dunlop Manufacturing, Inc. Vox is a registered trademark of Vox R&D Ltd. Korg is a registered trademark of Korg Inc.

Chrome Custom Based on* a modded Vox V847 that has the gain staging on the first transistor stage tweaked, and aftermarket inductor, the Q widened, and replaced with a 470k pot.
Throaty Based on* the RMC Real McCoy 1. Geoffrey Teese maticulously crafts the clones of the original and rare Vox Clyd McCoy Picture wah.
Conductor Based on* the Maestro Boomerang. According to original advertising material, this was not a wah-wah pedal but a wow-wow pedal. Po-tay-to or Po-tah-to?
Colorful Based on* the Colorsound Wah-fuzz. We only modeled the wah section of course. This pedal is different in that it was an inductor-less design. It uses a different circuit to get its frequency resonance.
Smart Harmony Inspired by* the Eventide H3000. This is a diatonic harmonizer. If you ever wished you had that second guitar player for dual guitar parts, this effect is for you.
Pitch Glide Inspired by* Digitech Whammy. Dive bomb or ice pick? This is how Tom Morello gets a lot of those crazy sounds. Youll want an expression pedal hooked up to enjoy this properly.
featured in the M9 and M13 Stompbox Modeler only. * All product names used in this manual are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6s sound model development. Vox is a registered trademark of Vox R&D Limited. Maestro is a registered trademark of Gibson Guitar Corp. Colorsound is a registered trademark of Sola Sound Ltd. Eventide is a registered trademark of Eventide, Inc. Digitech Whammy is a registered trademark of Harman International Industries, Inc.

Reverb FX Models

Featured in the M9/M13 Stompboxs Modeler & Verbzilla
63 Spring Based on a 1963 brown spring reverb head unit. Best known for great surf guitar tone!
Spring Based on a studio spring reverb. A spring reverbs characteristic resonant sound was created by springs suspended inside a metal box. Sweet!
Plate Based on a studio Plate reverb. Similar to the spring, in its metallic resonant quality. Plate reverbs consisted of a thin metal sheet suspended inside a box.
Room Simulates the acoustic properties of a classic echo chamber , which was a room used in early recording studios for reverb effects.

Chamber An elongated ambient space such as a hall, stairwell or elevator shaft creates this reverb type. Dreamy.
Hall Simulates the sound of a concert hall or large open space with a strong reverb tail. Imagine a gymnasium, performance hall, or cathedral.
Ducking Built using a Hall but with a ducking effect. The volume of your reverb is ducked (reduced) while youre playing, and increases when you stop.
Octo Creates a lush, ambient space with a harmonized decay whose harmonic denseness is controlled by the time knob. Use volume swells and prepare to float on cloud 9!
Cave Surreal cavernous echo chamber. Im just a simple caveman. Your world frightens and confuses me. what more can be said.
featured in the M9 and M13 Stompbox Modeler only.
Tile Emulates the acoustic reflections of a tiled room, such as a bathroom or shower, with clearer/brighter discreet early reflections.
Echo Just like it says echo echoecho. This is a lush echo with reverb.
Particle Verb A Line 6 original that turns your chords into a lush modulated pad in stable mode. Critical mode adds a slight rise in pitch. All stops are removed when in Hazard mode.