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Building on the success of the M9 pedal, Line 6 expands the capabilities with the M13 stompbox modeling pedal. Built for the stage, this multieffects unit lets you create chains of up to four effects, make detailed changes throughout the signal path, and save your configurations in any of the 48 recallable "scene" banks. On top of all that, the Line 6 M13 comes equipped with an onboard tuner, stereo I/O, MIDI capability, and a 28-second looper.
The Line 6 M13 is built for gigging, and the metal chassis is up to the task. The unit measure 15.25 inches wide by 11.75 inches deep, with an angled top so there's less risk of a mis-trigger. A 12-foot power cable is included, expanding your reach when outlets are scarce. All of the M13's cable connections (stereo I/O, stereo effects loop, a pair of expression pedal inputs, MIDI I/O) sprout from the rear panel. The Line 6 M13 does not offer digital I/O.
You can use the MIDI connection to update firmware, install new effects models from Line 6's website, and even archive your saved scenes to computer. The quick-start manual that's included with the M13 is good enough to get you started right out of the box, but you'll want to download the advanced manual for an in-depth understanding of all the features.
Think of the M13 as a series of four effects modules positioned side by side across the top of the chassis. Each has a rectangular LCD display and six parameter knobs, all guarded by a metal bumper to keep your boots at bay. Below each bumper, three stomp switches let you trigger individual effects in the chain. Press one of the switches, then use the top left parameter knob (Model Select) to assign an effect. The remaining five knobs offer access to different parameters, depending on the effect you select.
Effects are color-coded by type, and the LCD display will change color when you spin the Model Select knob. Delay effects are green, time-based modulation effects are blue, reverbs are orange, filtering and EQ effects are purple, and distortion/overdrive effects are yellow.
Load a selected effect into any of the three chrome switches in the module, and the switch will toggle the effect on and off just like a standard stompbox. Each switch has an LED displaying the color of the loaded effect type, glowing dimly when the effect is bypassed and brightly when engaged. Effects can be assigned to any switch in any order, and each of the four effects modules can be routed in any sequence.
You may choose to assign a different effect type to each stomp switch, giving you instant access to up to twelve individual effects. You may also choose to route the same effect to all three switches in a single module, assigning different parameters to each. You may have a light distortion set up on switch A, for example, adding a little bite to the verse. Switch B has the same effect with some additional drive, fattening up the sound when you switch to the chorus. Switch C has increased gain, adding boost to bring you up over the mix during the solo.
The M13 saves a snapshot of your complete pedalboard setup, including all effects and parameter changes per stomp switch, as a single "scene". Use the Scene Setup switch (located on the right side under the M13 logo) to name your scene and store it in any of the 48 (4 banks of 12) scene locations. Line 6 preloads the M13 with twelve preset scenes to get you started, but these can all be overwritten as you build more of your own. Need more than 48? You can offload your scenes to computer via MIDI, and build yourself a new set. Keep in mind, even though you can have up to 48 scenes in the M13 at a time, only twelve scenes at a time can be accessed via foot switch. Use the Model Select knob to scroll through the four banks, and call up what you need.
Once you've got the effects dialed in, activate the Looper Controls and some of the stomp switches take on additional duties. Record/Overdub, Play/Stop, Play Once, Undo/Redo, Half Speed, and Reverse are all useful for creating looped parts, and there's even a Pre/Post function that lets you route the looper before or after the effects. Not wanting to be thought a slacker, the tap tempo switch also does double duty. Hold it down for a few seconds and you've got access to the onboard tuner. Mute the output, bypass the effects while tuning, or change the reference pitch with the parameter knobs.
Obviously, this unit does a ton of stuff, and it may seem like it would be a bit overwhelming. Fortunately, the main controls are clearly labeled and laid out in a familiar format, so it's pretty intuitive. When I pulled it out of the box, I was able to tune up and dial up some effects without so much as a glance at the manual. That said, you'll want to keep that manual handy the first few times you save and load your scenes. Switching scenes is pretty painless, though depending on the effects you have loaded you may notice audio dropouts as the new scene is engaged.
If you've ever played around with Line 6's DL4 or any other brand of looper, you won't have any problems walking yourself through the M13's looper functions. There isn't a single-button bypass, though you could set up the tuner to do this.
As I dug deeper into the effects models, I felt the M13 was a little too skewed toward chorus and phase effects (more than I probably need) and a little light in the distortion department. Also, the default settings on the distortion patches all sounded a little too similar, for the most part. Still, with some time spent tweaking fuzz and overdrive parameters, you could easily broaden the range of available tones.
Beyond the obligatory set of standard multieffects, I had some fun messing with the harmonizer patches, ring modulator, and the Seeker, a kind of 'super filter' that produces thick, rhythmic wah sounds. I also really dug the Pitch Vibrato, which is modeled after Boss's VB-2 pedal, complete with the "rise time" speed control. The models of analog delay and echo effects sounded pretty accurate, but the reverbs were kind of hit or miss, I felt. Common hall patches were a bit lacking, though I did like the sound I got with the '63 Spring setting.
It seems pretty clear Line 6 designed this for live gigging, but I put it to good use in the studio as well. Some of the sounds worked well as aux effects while mixing, though I did need to boost the input up to a useable level as it's not set up to handle a line level input. The Boost Comp effect helped with this.
I experimented heavily with the echos in the studio. While they lacked a little of the personality of the originals, they sounded really nice in the mix. Harmonizers such as the Bass Octaver worked great too. The tracking was rock-solid and the tone was rich and fat.
Beyond the effects themselves, the ability to save scenes is totally studio-friendly. You can store your exact settings away and call everything right back if you need to punch up the mix at some point in the future. And with the number of different effects available in one convenient unit, you've got all the options you could want at mixdown. If the M13 came with digital I/O, it would be a studio must-have.
Guitar multieffects units aren't exactly a new concept, but the M13 does go a long way toward giving you a complete selection of classic and modern effects in a rugged, gig-ready package. Every player has their list of favorite pedals, and with over 100 effects on board the M13 has the chops to satisfy them all.
The onboard MIDI control and effects loop make it easy to interface with the rest of your rig, and the expression pedal inputs and onboard looper take you well beyond the traditional effects box.
Straightforward and intuitive interface, instant access to a large number of effects. Powerful looper with pre/post operation. Active support community at Line 6's website.
Effects skewed toward modulation; a little lacking on distortion. Reverbs could be more consistent.
4.5 out of 5
(50 ratings)
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