User manual LINE 6 DL4 QUICK START PILOTS HANDBOOK REV A

[. . . ] PLAY/STOP - Once you've recorded the loop, use this switch to start and stop the loop. From Stop, pressing this starts playback from the beginning of the loop. You can also step on this switch while Recording to stop the recording and start immediate loop playback. PLAY ONCE - This switch allows "one shot" playback (the Play Once and Play/Stop lights come on during one shot playback). From Record, press Play Once to stop recording and start one shot playback immediately. [. . . ] Instead of having one movable playback head (like the Echoplex) this machine has multiple stationary heads. You change delay times by switching amongst these heads, and then fine-tune delay time with a motor speed control. The groovy part is that you can play back on multiple heads at the same time to get multi-tap delay effects. The TWEAK and TWEEZ knobs let you select combinations of the emulated tape heads. TWEAK turns heads 3 & 4 on and off. Sweep Echo This Model is a Line 6 original. Starting with the basic tone of our EP-1 tape delay emulation, we added a sweeping filter effect to the delay repeats to give you unique new creative possibilities for adjusting the tone of your delays. You can use these controls to create and explore your own shifting landscape of tonal possibilities. With the optional Line 6 expression pedal, you can set things up so that the pedal takes you from no modulation (TWEEZ at its minimum value) at the heel-down position to swimming modulation when you pedal forward, so you can bring out the Sweep part of the Sweep Echo for your big solo. * 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 6's sound model development. Roland® is a registered trademarks of Roland Corp. Analog Echo ­ based on* the Boss® DM-2 Analog echo units like the DM-2 were designed as improvements over the tape echoes that came before them, using "bucket brigade" electronics to give guitarists echo units that were more reliable than the tape-based delays. Analog delays are treasured for the warm, distorted tones they produce, and are also great for creating more experimental sounds. Try this, for instance: set the DELAY TIME at 12 o'clock and REPEATS knob to max and play in some guitar, so the delay circuit "overloads. " Now spin the DELAY TIME knob quickly to get something like the sound of a space-aged speeding race car imploding on itself. TWEEZ adjusts treble. Analog Echo w/ Mod ­ based on* Electro-Harmonix® Deluxe Memory Man. This pedal uses the "bucket brigade" electronics of other analog echoes, and adds a chorus circuit. This adjustable chorus is applied to the echoes only, leaving the direct sound unaffected. This popular pedal, with its warm, distorted tone and swimming echoes, became an important tool for many guitarists, and was an essential part of the guitar sounds for the first U2 album. Part of the Deluxe in Deluxe Memoryman was the increased delay time of 500 milliseconds. Your Delay Modeler's Analog Echo emulates classic Memoryman tone with the added advantage of 2. 5 seconds of delay time. TWEEZ adjusts modulation depth. Lo Res Delay The first digital delay units were introduced in the early 80's. These pedals and rack boxes took advantage of emerging digital technology to provide guitarists with longer delay times. Unlike the high resolution 24 Bit processing of your Line 6 Delay Modeler, these early digital units generally had only 8 bit resolution. Low bit resolution can create a unique sort of grunge and noise that is sometimes just the sound you're looking for. Early model digital samplers are sometimes used in modern-day industrial and electronica to achieve these effects. [. . . ] Hit RECORD/OVERDUB to stop the overdubbing and play the whole shebang, and then double-tap the 1/2 SPEED/REVERSE switch. Now the loop is playing forward again, and the last part you recorded is backward in relation to everything else. You can imagine where a half hour of this kind of thing could get you. And If That's Not Exciting Enough For You. . . You might want to turn the lights down low for this next bit. We're going to record a new loop that highlights the opportunities for sonic experimentation that your new Loop Sampler provides: From Stop, tap the 1/2 SPEED/REVERSE switch once to light it and "arm" half speed. [. . . ]