Nope, but since we were recreating sounds from Shep's big board you can check out his stuff and then go be amazed that the M13 can get close or nail it.
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M9/M13 Tricks
- Thread starter MultiScaleMale
- Start date
So looking into it Shep, because it's more likely I'd be using it all Studio based than live (though may change with the next album) I'm going to get a http://www.copilotfx.com/broadcast.html and get the expression control for the ratio so I can mess with the speed of the LFO's but as divisions of the correct tempo and because my stuff can be a preset time as opposed to midi clock sync I won't have the issue you're going to resolve with the MP201
However still looking at the Subdecay DLX pedals and will pick up a Misson expression pedal (or whatever the best rebrand ends up being) maybe an expressionator as well depending on how it all goes.
Can easily have the expr off the M13 board if its all setup so you just plug in one cable but can control 4-5 pedals at once. However don't want all of the above to become more expensive than the MP201 (not including the Subdecay pedals of course)
However still looking at the Subdecay DLX pedals and will pick up a Misson expression pedal (or whatever the best rebrand ends up being) maybe an expressionator as well depending on how it all goes.
Can easily have the expr off the M13 board if its all setup so you just plug in one cable but can control 4-5 pedals at once. However don't want all of the above to become more expensive than the MP201 (not including the Subdecay pedals of course)
Yea, I gotta disagree as well. That only stands true if "analog" is the sound you are wanting. Then of course it's true - I mean that's like trying to make your dog behave like a cat. Just get a cat.
But I've found many digital distortion sounds that are not only useful, but quite good and inspiring.
If you're attempting to make a digital effect sound like an SVT, and get frustrated with that effort ... I'd suggest getting an SVT. But if you use digital models with an open mind, and don't try to make them do tricks they are incapable of doing (then complaining about how incompetent they are) there's a lot to be said for them. There's digital dirt sounds that beat analog ~hands down~.
It's all opinions anyway.
I have a bit of an issue with some of the models in the M-series. When sweeping some parameters there is a difinitve ~jump~ at certain given points in the parameter's available sweep. Some of the EQs display that characteristic pretty clearly. Right around the zero point between negative levels and positive levels there is an audible jump that can really frustrate the heck out of any efforts to control things smoothly. I mean it's something that can sortof be "programed around" if you're clever about it, but that quirk does pose some limitations in an otherwise outstanding feature. Using a foot control to retweak various parameters in realtime in a multi-parameter fashion can sound sophomorish if you aren't clever about how the foot control is applied.
NOTE: Yet one more modification needed for the M-series --
programmable foot control curve. Some sortof ~translator~ that would be a go-between inserted between the foot control input and the models, where the foot control's actual sweeping curve could be adjusted. (forward, reverse, linear, exponential, reverse exponential, custom, etc ...). Just dreamin' here...
I hear you.
The only thing I'm struggling with in using 2 expression pedals rather than the MP-201 is midi clock divisions!
With the MP-201 I can use the Q Filter patch on the M13 as basically every possible type of LFO modulator... I can make it sound like the Panner, Throbber etc etc. and it has the added benefit of being able to receive midi and me set the foot pedal to be whole notes at the heel and a specific clock division at the toe.
With the M13 it's not big deal to use a different patch for each song, bit I can't sync up the midi as well. 1stly the midi clock on the M13 is crap and constantly drifts. It's not the end of the world as the tap tempo can bring me back to the downbeat, but even so. Next, while you can assign something like a Tremolo to a specific clock division, as soon as you do the expression pedal becomes useless... You can sync the heel to the beat and then move it!? This means all my LFO stuff needs to be either set up by ear and set and heel and toe position myself, OR set up 2 patches with 2 divisions and tap between them rather than 'flowing' between them.
Really Line6 - why give a unit the ability to sync to a midi clock at a specific clock division and then not let you move that with your expression pedal!?!??!?
^^^ In a sidechain reply to ~that~ .. didn't the HD series come out right about the same time as the Ms? It's like the HDs got more attention from the consumers (in other wirds the HDs sold better) and Line-6 just sortof lost interest in any serious development of the Ms. It's actually a bit of a surprise that the M series is even still a current offering.
There are so many simple/small things that need to be done to the Ms, with the talent level available at Line-6 these improvements would be "an afternoon's work" so to speak. Yet, here we sit moaning about what the Ms cannot do, or could do, or would be better if -- and so on.
I still contend that the BEST thing that Line-6 could do for the M series is offer open source subscription rights. Protect the rights with a dongle or something of that nature. Pay Line-6 some buckolas for the dongle and the rights, get on with tweakage.
There are any number of basement hackers that could write great new models, fix insects, create new abilities and tweaks for existing models, and so on. It might be a little complex, but not impossible. After all, someone wrote the OS and model software, and I'd bet those ~someones~ put their pants on one leg at a time and cannot walk upon water.
Again with the dreamin'. I don't know why I continue with this suggestion - it ain't never gonna happen!
That said, I try to enjoy what it CAN do and try not to whine too much about what it cannot do. I have found excellent uses for all three of my Ms (5, 9, and 13). I'm lightly considering a second M13 (I'll go ~used~ on that one though).
There are so many simple/small things that need to be done to the Ms, with the talent level available at Line-6 these improvements would be "an afternoon's work" so to speak. Yet, here we sit moaning about what the Ms cannot do, or could do, or would be better if -- and so on.
I still contend that the BEST thing that Line-6 could do for the M series is offer open source subscription rights. Protect the rights with a dongle or something of that nature. Pay Line-6 some buckolas for the dongle and the rights, get on with tweakage.
There are any number of basement hackers that could write great new models, fix insects, create new abilities and tweaks for existing models, and so on. It might be a little complex, but not impossible. After all, someone wrote the OS and model software, and I'd bet those ~someones~ put their pants on one leg at a time and cannot walk upon water.
Again with the dreamin'. I don't know why I continue with this suggestion - it ain't never gonna happen!
That said, I try to enjoy what it CAN do and try not to whine too much about what it cannot do. I have found excellent uses for all three of my Ms (5, 9, and 13). I'm lightly considering a second M13 (I'll go ~used~ on that one though).
Well I just found out I can use the m13 to be a midi controller with my iPad looper setup inc the expression pedals, to control panning and volume of tracks.
Little bit crude but certainly looking like a workable option.
Little bit crude but certainly looking like a workable option.
- Sep 3, 2003
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- Endorsing Artist: Fuzzrocious Pedals
Is it possible to use any of the filter effects as a sweepable low pass filter? Obviously with the use of an expression pedal.
Also if this is possible, does said filter cut the whole frequency range?
I had a Zoom B3 but the LPF effect wouldn't cut all the highs out so I couldn't get the real dubby sound I was after. It was like dub plus fizz.
Also if this is possible, does said filter cut the whole frequency range?
I had a Zoom B3 but the LPF effect wouldn't cut all the highs out so I couldn't get the real dubby sound I was after. It was like dub plus fizz.
The Q filter has a LP mode that can be used that way. I don't know how dubby it gets without running out and trying, which I'm not in position to do right at this second.
I've been using the Q filter in that way for a week or two now. It doesn't go as low as something like the Moog LPF or IE Xero and no real sub can come of it, but it goes low enough to remove all definition from dirt before it and give a strong high bass/low mid emphasis - making it perfect for synths swells (or all manner of dubtep wobbles if you have something that generates LFOs).
It's very usable in a mix, but ideal as a real low pass filter in the studio etc.
It's very usable in a mix, but ideal as a real low pass filter in the studio etc.
My favorite of the flanger effects is the BOH Flanger, but I find it boosts my volume and does not have an output control. Does anyone know a way to tame that? I need my volume to be unity when I turn the flanger on and off.
My 2nd favorite flanger is the Analog Flanger. It doesn't boost the volume but it's a distant second in terms of tone. I really want to get the BOH Flanger volume fixed.
My 2nd favorite flanger is the Analog Flanger. It doesn't boost the volume but it's a distant second in terms of tone. I really want to get the BOH Flanger volume fixed.
1.) Put an EQ either in front of, or after the flanger, in either case put the EQ right next to the flanger so you can get to both the flanger and the EQ with your foot easily.
2.) Set the EQ up ~flat~ but with a reduced output level. Now when you use the Flanger, hit the both footswitches at once (if you can .. if not, just quickly tap both switches, one after the other). That way you will have something that keeps the flanger's volume output in check. I mean, it might take two footstomps to get it done, but at least it's something!
*** OR ***
Turn your bass down a bit when using the flanger.
That's all I got.
Flux Jetson said:1.) Put an EQ either in front of, or after the flanger, in either case put the EQ right next to the flanger so you can get to both the flanger and the EQ with your foot easily.
2.) Set the EQ up ~flat~ but with a reduced output level. Now when you use the Flanger, hit the both footswitches at once (if you can .. if not, just quickly tap both switches, one after the other). That way you will have something that keeps the flanger's volume output in check. I mean, it might take two footstomps to get it done, but at least it's something!
*** OR ***
Turn your bass down a bit when using the flanger.
That's all I got.
Scene mode.
You could use the volume pedal instead as well.
Don't you have to hit the ~scene~ footswitch for that? Isn't that footswitch waaaay up on the top row? I was thinking put the flanger and the EQ on the bottom row where he could just pivot his foot on his heel to tap one then the other. If he has to hit the ~scene~ switch his foot has to leave the floor, making his balance less sturdy and consequently making it a more difficult action. If he puts the two FX next to each other on the bottom row, he can just plant his heel right between them and then tap-pivot-tap in a flash.
Unless my relative inexperience with my M-units is showing and "scene mode" offers the ability to change entire scenes in a single stomp. Otherwise he'll have to tap "scene" then a scene number, but his foot will have to leave the floor to so. That seems like it would be a lot more awkward than just tap-pivot-tap on two FX on the bottom row.
And using a volume pedal would mean tapping the flanger, then moving his foot to the volume pedal to adjust it properly, then back to the flanger, and then back to the volume pedal again to readjust the level. Talk about awkward!
Scene mode does exactly that, allows you to switch entire scenes in a single stomp.
With the size of my feet hitting two switches at the same time is no problem.
Trying to hit just one is a bit of a challenge!
I am already using the double-stomp trick for octaver+fuzz and fuzz+phaser.
Volume pedal won't work because it would be hard to get just the right volume every time if that volume is in the middle of the "travel". I have it set for toe=full-on and heel=starting-vol-for-cello-effect so I can't really use it for taming the flanger.
Unless I put another volume pedal control in another slot.
I still like the 2-boxes-in-one-stomp idea better.
Better yet if Line 6 would let us link effects in a single scene.
With the size of my feet hitting two switches at the same time is no problem.
Trying to hit just one is a bit of a challenge!
I am already using the double-stomp trick for octaver+fuzz and fuzz+phaser.
Volume pedal won't work because it would be hard to get just the right volume every time if that volume is in the middle of the "travel". I have it set for toe=full-on and heel=starting-vol-for-cello-effect so I can't really use it for taming the flanger.
Unless I put another volume pedal control in another slot.
I still like the 2-boxes-in-one-stomp idea better.
Better yet if Line 6 would let us link effects in a single scene.
It's a global setting. You set up the effects and then switch between scenes without loading the effects screens, so i can switch from 4 delays to 4 reverbs with one tap. one more for bypass
And using a volume pedal would mean tapping the flanger, then moving his foot to the volume pedal to adjust it properly, then back to the flanger, and then back to the volume pedal again to readjust the level. Talk about awkward!
Load the volume pedal effect, set the volume you want going into or out of the flanger as you described with the eq, forget it. every time that effect is called up it will be the same volume unless you attach an external expression pedal.
YMMV, but I use scene mode constantly for exactly what you are running into and it's a blessing.
