Line 6 continues to offer guitar-focused products, focusing on ease of use and excellent features. Line 6 M13 is a showcase with more than 75 modeled stompboxes, and you can use four of those features simultaneously, a DL4 delay combination, MM4 modulation, DM4 distortion. And FM4 filter modeler into one device, delivering all the effects in those four pedals and more.
This is said to be an excellent multi-effect pedal off the line 6 and is well received by the community of users and music professionals; if you are planning to invest in this pedal, join Fidlar. Discover the unique features of this multi-effect pedal right at Line 6 M13 Review.
Table of Contents
Line 6 M13 Stompbox Modeler Review
- Pedal Type: Multi-FX
- Analog/Digital: Digital
- Effects Types: Over 75 Stompbox Effects
- Inputs: 2 x 1/4″ (stereo in), 2 x 1/4″ (FX Return)
- Outputs: 2 x 1/4″ (stereo out), 2 x 1/4″ (FX Send)
- MIDI I/O: In/Out
- Expression Control: 2 x 1/4″ (pedal 1, pedal 2)
- Power Source: 9V AC 2000mA power supply (included)
- Height: 3″
- Width: 15″
- Depth: 11.5″
- Weight: 10 lbs.
- Manufacturer Part Number: 99-040-3005
- Incredibly easy to use interface
- Acts extremely well as a stompbox-style pedalboard
- The ability to use expression pedals means you could use the M13 for your entire rig
- Color coding of effect types is fantastic
- It is big so if you already have a lot of pedals on your pedalboard, it’s going to take up space
- Expression pedals need to be purchased separately
The Line 6 M13 was made to mimic a stompbox pedalboard. Here is a different approach to multi-effects pedals like the Line 6 POD HD500X, and I will compare both later on.
There are 109 impacts on the M13 links with the newest firmware version. Let us begin by looking at precisely what impacts are contained on the M13:
The Line 6 DL4 Delay Modeler is among the most popular and productive delay pedals out there. Each of the consequences from the DL4 is reproduced from the M13, which virtually is all of the delay kinds you’d want.
From regular delays like Analog using modulation, Tape Echo, Digital Delay or Stereo Delay, to much more innovative style delays like Ping Pong, Echo Platter, Reverse, Lo-Res, or Multi-Head, should you hear any delay at a tune you are likely to find it.
These are located from this Line 6 MM4 Modulation Modeler and comprise a wide range of Tremolo, Phaser, U-Vibe, Chorus, Vibrato, Flangers, etc.
The distortions are located from this Line 6 DM4 Distortion Modeler and also provide you a range of fuzz, boost, octave drive, tube pushes, etc.
Many distortions are modeled from celebrity stompboxes like the Ibanez Tube Screamer, ProCo Rat, BOSS Metal Zone, Arbiter Fuzz Face, Big Muff Pi, etc.
29 Compressors and EQs
This is a sudden characteristic and gives you a lot of control over your tone. You may get access to tube compressors, noise gates, graphic/studio/parametric EQ, etc.
The filters are located from this Line 6 FM4 Filter Modeler, and while lots of them offer quite out-there sounds like the Tron Up, Growler, or even Synth String, most are very usable like the Octisynth, VoiceBox, and range of wah Pedals (needs an expression pedal).
A few of those rivers are in the Line 6 Verbzilla and comprise pretty much every significant kind of reverb accessible. As you can see later, there’s the choice to join the M13 to an amp’s effects loop, and then that is where these reverbs bring their very best tone.
Up to 4 impacts concurrently
You can rig up the M13 to perform with four stompbox effects at precisely the same time and also have access to a different eight immediately (explained later).
By comparison, the bigger M9 permits up to 3 impacts simultaneously, and the M5 enables one effect at one time. Additionally, it is worth mentioning that the four effects can be some mix of impacts and in any sequence.
Tap Tempo, Tuner & 28 next Looper
There’s a dedicated Tap Tempo footswitch that may universally control all of your time-based outcomes. Maintaining the Tap footswitch allows the tuner.
The M13 also offers an inbuilt longer with as much as 28 minutes of recording time (or you may double the recording time with the half-rate effect).
It is worth mentioning the loop has committed footswitches such as Record/Overdub, Play/Stop, Play After, Undo/Redo, Half-Speed, and Reverse, so you’ve got complete control over your loop.
Line 6 m9 dimensions: 15.5″ (L) x 12″ (W) x 3.5″ (H)
To place those measurements in perspective, it is about the size of 2 DL4s side by side. This is a big unit, but it is well worth the distance if you consider what it could do.
After all the years of POD-ism, it appears strange to be unpacking a new Line 6 product rather than plugging it directly into a mixing desk. On the other hand, the M13 is a stompbox modeler, so it is back into the amp – the way retro.
The M13 may have fewer impacts overall than PODxt and other multi-FX units, but it still has lots to give. To provide you a random sample, there are eight kinds of fuzz (seven of which are versions of classic classics), three kinds of tape echo, three phasers, and many outlandish impacts predicated on guitar synths, voice, and filters boxes.
It is immediately evident that the M13 was created primarily for use with guitar amps instead of line-level relations; the noises have a clear 3D quality that’s frequently lost once you plug modeling components into guitar amps.
The reverbs, particularly, are detailed and crisp, even in mono via a little valve amp. The factory preset scenes provide a fantastic notion about what the device can perform, demonstrating that you could easily have several instances of the identical influence type in a series. Four delay pedals in series, anybody?
The one thing we missed in this stage was a proper master volume control; it would be wonderful to have the ability to adjust the total output in the M13 in place of the amp (that might need to be put at a specific gain level to increase new output signal, for example ).
Another use could be determined by environment: whenever a specific footswitch isn’t being used, its own LED indicator still keeps the selected effect type.
These LEDs are somewhat reflective, and if they capture the light, it can be hard to determine which of a modeler’s three footswitches is busy.
We analyzed the M13 on a bright day, and the sun coming through the window made it quite tough to tell. Maybe the LEDs will need to be somewhat brighter?
Aside from both of these problems, we had a ball together with the M13’s sounds. The classic fuzz and overdrive sounds are awe-inspiring and do not appear to suffer in the overgenerous bottom-end that some people today dislike about the Line 6 amp modelers.
A number of these filter effects may create some spectacular spikes in the level, which means you need to be very careful with selecting core amp audio if you would like to steer clear of necessary and undesirable distortion.
The looper is just another impressive feature and can be easily among the most exhaustive loopers we have seen built to a multi-effects unit. The real luxury comes from using so many footswitches out there.
Regardless of the mono-only performance, the audio quality is quite excellent. The choice to decrease the degree of prior layers is beneficial, providing some excess headroom as soon as your loops become relatively compact.
Minor interface problems apart, the M13 is a joy to use. Getting it up and running may not be as intuitive as with lots of the standard patch-based multi-effects components (yes, we had to consult the guide ), but this is not enjoyed these components.
As a result of the typical well-written Line 6 guide, however, you are soon going to adjust to the M13 manner of believing. Yes, those are stompboxes.
Yes, they could be anything stompboxes you need them to be, and yes, you may have three moves at every. Oh, and you may then begin from scratch without dropping your initial settings 12 occasions over!
In only a shade under $400, it is likely to be from the range of the type of folks who purchase DigiTech RP or even BOSS ME units; however, for gigging players fighting with an increasingly more complex assortment of single-sound pedals; it is a must-try. The M13 is quite unlike anything else on the market these days.
Ease of use
The Line 6 M13 has the most straightforward interfaces I have ever used on a multi-effects pedal (the award for the most straightforward port would need to visit the Zoom G5).
There are a couple of primary reasons why the M13 is really user-friendly. I will go through every main facet below:
The simple fact which it is possible to save as many as 48 scenes around the M13 means it can be straightforward to eliminate track of that footswitches are committed to that impacts. The M13 changes that by assigning a color for every principal Kind of effect.
Green is for Delays, Blue for Modulation, Purple for Filters, Yellow for Distortions, and Orange for Reverbs. The colors match the first Line 6 stompbox modelers, as shown below:
This usually means the lights not just let you know which stompboxes are triggered, but they also let you know precisely what Kind of effects have been triggered.
So once you look down, you’ll immediately understand which Kind of outcomes are being used, and then the footswitch controls every result.
This truly is an excellent feature, and it is clear how useful color coding is each time I look at my HD500X’s reddish footswitch lights.
As soon as it’s relatively easy to memorize the designs for your presets I produce about the HD500X; color coding will be much simpler. It is excellent to find that Line 6 is ongoing this helpful feature in newer pedals, for example, their Firehawk FX.
To show how easy this is, Have a Look at the below photograph and consider what Kind of effects are now busy in each column:
Instantly we are aware that there’s a distortion active at the first column (yellowish ), a filter at the next column (purple), a modulation at the next column (blue) along with also a delay in the fourth column (green).
Therefore, if you wished to switch off the delay, then you’d search for the green light and then hit the appropriate footswitch.
Compare the above photo to four lively Results on the Line 6 POD HD500X under:
There is no way to learn which footswitch controls that effect without memorizing them ahead.
Therefore, if you wished to turn off delay with this pedal, there is the possibility you could inadvertently hit on your distortion pedal and then burst your audience in the incorrect moment. Color coding is undoubtedly the best way to go!
What makes the Line 6 m13 stompbox modeler different from additional multi-effects pedals is your design. Many multi-effects units utilize banks and presets, and also, to move between different combinations of consequences, you must move through different banks.
The M13 is intended to look and behave somewhat like a pedalboard full of individual stompboxes.
You’re presented with a grid (or matrix) of four columns (the column on the far right controls additional features) and three rows. This provides you twelve footswitches that can independently be loaded up to 12 stompboxes.
It is possible to assign any effect in almost any proposition. However, I would advise grouping your effects on the columns (keep all of your flaws in a single column).
This sort of design means you have a lot more flexibility in switching between different impacts than some preset & lender style designs.
Stompbox design controlsLine 6 M13 Settings
On the peak of the M13, you may see four LCDs with six dedicated controllers for each display. This design acts like a stompbox. The knobs control the delegated stompbox effect in precisely the same manner a dedicated stompbox has knobs you restrain in real-time.
The M13’s autosave feature means that every tweak you create to your effects is saved precisely like a bodily pedal. This controller’s manner is quite much like the Zoom G5 which’s the most straightforward controller design on multi-effects I have ever employed.
You can see the fuzz Pi distortion in the picture to the right is loaded from the first column (FX 1 UNIT). We are aware that it is dia distortion because the display lights up as yellow.
Both knobs control the six parameters that you see (the primary one varies the effect kind ). So, for instance, if you wished to boost the mid-range, you’d turn the lower left knob upward, and you’d see the display shift in real-time.
Your changes will be automatically saved, not to be concerned about saving your changes, such as other pedals.
This is an exceptional characteristic of the M13 and can be due to the matrix-style layout. As you don’t have presets and banks, Line 6 created scenes.
The simple notion is that you could load up to 12 impacts on the pedalboard simultaneously and save this design to a spectacle.
Examples of practical applications are giving a spectacle for different tunes on your setlist, different scenes for different music styles, and different scenes for different Kinds of rings. Line M13 Scenes
It is possible to save 12 scenes in each folder and may consume up to four folders. This usually means you have up to 48 scenes incomplete you can save into the M13. 12 scenes are inclined to be everything you want. The committed Scenes footswitch (displayed to the right) lets you instantly switch between different scenes.
Scenes work exceptionally well with the M13, and it is a significant change compared with the typical presets and banks fashion design.
This is a large and robust unit that is designed to take a beating. This is an appropriate device for live guitarists. Also, it readily compliments a current pedalboard if you genuinely wish to go all out with consequences.
You can link up to two-term pedals that could offer you wah & volume control or the ability to restrain any impact parameter on the fly.
The M13 is, in fact, high quality in construction and layout, and that I expect it to last a long time without any problems. As you can see from above, you have loads of control on how you track your effects to your amp in addition to MIDI control.
Who’s it for?
Intermediate/advanced guitarists: this is an excellent device for intermediate to advanced guitarists as it provides you with a vast range of consequences at call.
If you are a beginner, you can undoubtedly consider it; however, there are more straightforward choices available for somebody just getting started (see below).
Having the capability to string your effects collectively, precisely the way you would like them, tweak all of the parameters, and set up scenes of effects provide an intermediate or advanced guitarist a lot of helpful approaches to control and shape their tone.
Live guitarists: Many guitarists use the M13 to get gigs, and it is relatively straightforward why. The stompbox-style controller works great reside, and due to the scenes, you will not be tap dance on your pedals.
The Line 6 m13 is a right pedal, complete. For casual gamers, the similarities between the M9 imply you may be entirely pleased with the smaller version, however, and also for musicians searching to get a gigging companion, choices such as the Zoom G5 trump it to get simultaneous consequences. Additionally, Line 6’s own POD HD collection also has amp models.
Therefore it is not a simple option. That said, if you are delighted with everything the M13 offers on newspaper, and you need the additional simultaneous impact, more stomps available at any moment, additional storage space, and more straightforward on the fly, it is pretty difficult to be disappointed in what it could perform.
Video: Line 6 m13 manual
Last update on 2021-04-13 / Affiliate links / Images from Amazon Product Advertising API