The DL4 Delay Modeler offers you an incredible array of sounds, from a tube driven, tape loop echo (complete with adjustable wow and flutter), through 24 bit squeaky clean digital echo, to real-time reverse delay. Not only that, but you’ve got complete programmable control over all aspects of the sound in the studio and on the stage. Incredibly simple to use, it’s an amazingly powerful tool offering you delay effects never before available in a single box.
The DL4 offers: Digital modeling based on* 15 of those vintage delay and echo effects you’ve always yearned for. Including: EP-1 Tube Echoplex, EP-3 solidstate Echoplex, Space Echo, Deluxe Memory Man, Reverse delay , Rhythmic delay, Dynamic delay and many more!
The DL4 Loop Sampler includes 14 seconds of memory + 800ms of Pre-delay (sort of a delay within a delay), and features half speed and/or reverse overdubbing, and more…
Line 6 DL-4 Delay Modeler Pedal Features:
3 programmable presets and on-board Tap Tempo
True Bypass switching, so your direct tone is exactly that; direct from your guitar to your amp
Expression Pedal Input – for real time control of all effect settings
DL4 runs in discrete stereo, both inputs and outputs, so Left stays left and Right stays right. (Loop Sampler sums signal to mono)
To call Boss’s new FBM-1 Pedal an effects pedal would be somewhat incorrect – sure it looks like a
traditional Boss stomp pedal, featuring the usual rugged build quality, is still powered by the traditional
9v battery (or adapter) but inside this little box is really a vintage Fender amp bustling to be let loose.
Fender have some of the most illustrious amps of all – think of the Fender Twin, the Deluxe, the Reverb and the Bassman.
Indeed in recognition of it’s status, Fender have reissued the ’59 Bassman – faithfully following the original design and specifications.
So what of the Boss pedal? – Well Boss have struck a deal with Fender to replicate that rich bright tone of the original Bassman and to condense
it into a pedal. Features include the same controls on the original Bassman: Presence, Treble, Mid, and Bass EQ controls. The FBM-1 also functions perfectly as a “pre-gain pedal” placed before an already overdriven amp to add the tone character of the Bassman.
Adopting the same beige colorings of the original – the Boss FBM-1 pedal has four controls – Middle, Bass,
Treble and Gain – there is also a “Bright in” input that provides additional coloring to the sound closely replicating the
So for those on a budget but still wanting an authentic Fender vintage tone – don’t look to your amp – look to your feet!
Octave pedals can add a great one to any guitar sound, adding either a bottom or top end to your usual tone.
The sound has got increasing prominance following Jack White and the “White Stripes” guitar sound.
The Boss OC-3 footpedal can be used with either a Bass or standard 6 string guitar, and comes with the usual boss robust build.
Powered by a 9V battery which can be accessed by unscrewing the fixing at the fot of the pedal.
There are 4 controls which adjust the volume and effect settings. The OC-3 has a number of usefull settings and has three modes, drive which adds some distortion, two octave and
polyphonic which can provide a “chord sound”. There are seperate inputs for bass and guitar – a direct line out and a
mono line out.
Line 6 are well known for producing some really great effects units with a variety of award winning units under thier belt from stomp boxes to multi effects units they seem to have the market covered – for a while the PoD XT (and it’s later incarnation the XT 3) seemed to have the gold star award – but for those just interested in the effects and don’t require the amp modelling the M13 looks like the answer.
The M13 is an all-in-one pedal board featuring a simply massive collection of stompbox sounds, on top of that you get a awesome full-featured looper. The 28-second looper is a beast and features dedicated footswitches to control (Play/Stop, Half-Speed, Reverse, Undo).
The M13 has over 75 effects which include the full range from distortions, reverbs, delays. Each stompbox model features it’ own controls to tune and tweak to your hearts content.
As with any Line 6 kit – the construction is really good and the M13 is no different and is a tough sturdy construction.
This unit is great for live play and you can create different pedal board setups for different scenarios (rock, clean etc), or “scenes”, for instant recall of selected sounds. Save up to 12 scenes, back them up to your computer and your good to go.
Sounds great show me what it can do!
Check out these great youtube vids for some stonking sounds from the M13
The Verbzilla from Line 6 features 11 reverb models in a single stomp box.
The verbzilla, powered by either a 9 Volt Battery or DC Power supply, features Mix, Decay, Time, Tone controls to allow the user to customize the available tones.
Line 6 Verbzilla list of controls
Mix – Allows you to control the amount of reverb in your signal from dry to 100% wet.
Decay – Controls how quickly the reverb tail fades to silence.
Time – Controls the length of pre-delay. This is the amount of delay before the signal hits the reverb chamber.
Tone – Allows you to adjust the tonal character of the reverb, giving you the flexibility to go from dark and subtle to bright and splashy.
Trails Switch – When switched on, Verbzilla’s processing is engaged while in bypass, so reverb smoothly trails away when you kick the effect off.
The unit also features a model switch to allow the user to select the type of reverb to be used these include spring reverb, Hall, Chamber. The unit also comes with a tone called Octo that provides harmonized decay similar to the “shimmer” effect employed by U2’s The Edge.
The Korg A3, now out of production, was originally released during the 1980’ and is fondly remembered as one of the best of the early rack mount effects units. Korg marketed the A3 an all in one multi Digital multi effects unit. The unit had 19 built in effects groups including 41 different types of effects to choose from and came with 20 built in effects chains. The chains and individual parameter settings of each effect could be edited and stored in one of 100 program slots on the RAM memory.
Effects available included reverb, compressor, distortion, delay, stereo delay, modulation delay, phaser, pitch shift and EQ. The A3 included Korg’s Digital Signal Processor which aimed to eliminate signal degradation. The A3 also utilized 4 times over sampling techniques to preserve the tones and provide a high quality output. The A3 allowed upto 6 effects at once which could be set up in a chain – the chain could then have his it’s own master volume, noise gate etc.
From Musiciansfriend.com – Line 6 M13 Stompbox Modeler
For great effects try Line 6′s Killer multi effect stompbox modeler
Users were able to upgrade the A3 through adding expansion cards which upped the number of presets and effects available. There was also an optional foot controller (the FC6) which enabled the user to control the unit via stomp boxes, especially useful during live situations.
The A3 did have some problems associated with it’s design – the soldering on the circuit mounted input/output jacks could be temperamental and loosen or break from time to time – necessitating minor repair work – backlights for the screen could also fail over time. Given the A3’s age the expansion cards can also be hard to come by (check out the usual auction sites) – these really are a must if you want to get the full A3 experience.
The A3 was widely used within the music industry (not just as a guitar unit!) and presets can often be heard if you listen close enough – one of the A3’s famous users was U2’s The Edge – take a listen to Mysterious Ways from the Achtung Baby cd and you can hear the Korg A3 in all it’s glory.
Where the A3 sits against today’s units is debatable – the POD XT series for example has such a range of effects and modeling capabilities that the A3 isn’t really able to compete – however what the A3 can offer is a range of impressive tones that would grace any guitarists sound.
As we said the A3 is now out of production – units crop up on auction sites from time to time for fairly reasonable prices – a quick search on google should be able to source the files needed to replicate the expansion cards – throw in a foot switch and you’ll have a great vintage unit capable of a broad range of tonal options.