TimeLine - User Manual
®
Front Panel Controls
VALUE: Provides fine
adjustment of delay
time. Push to access the
parameter menu for the
current delay machine.
Hold to access the
global menu.
FILTER: Controls the shape of the
repeats filter.
dTape: controls tape age
dBucket: controls the special dBucket
filter. See dBucket section for full
details.
Filter: controls center frequency of
LFO filter.
TIME: Provides coarse adjustment of
delay time.
TYPE: Turn to
select desired
Delay Machine.
Push to toggle
the display to
show delay time
or the current
bank. Hold to
save current
preset.
REPEATS: Sets the delay
feedback level (number of
repeats).
MIX: Adjusts the
mix of analog
dry signal to wet
delay signal.
The Mix occurs
in analog. Set
around 3 o’clock
for a 50/50 mix.
GRIT: Progressively adds
distortion and artifacts.
dTape: controls tape
bias
dBucket: controls
bucket loss
MOD CONTROLS: Speed controls
the speed of the delay modulation
LFO while Depth controls the
intensity of the delay modulation.
NOTE: In dTape mode Speed
controls Tape Crinkle and Depth
controls wow & flutter.
Continued on Next Page
pg 2
TimeLine - User Manual
®
Front Panel Controls Continued
FOOTSWITCH B: Press to engage or bypass preset B of the current
bank. Hold to activate infinite repeats.
Looper Active: Starts playing loop. Restarts loop from beginning if
pressed while playing.
TAP: Tap to set the delay time.
Looper Active: Stops loop. Hold to
enter and exit looper.
FOOTSWITCH A: Press to
engage or bypass preset
A of the current bank.
Hold to activate infinite
repeats.
Looper Active: Activates
record if there is no loop
recorded or clears the
loop and starts recording
if the looper is stopped.
Overdubs if loop is
playing.
BANK SELECT: Press A & B
to select a lower bank. Press
B & TAP to select a higher
bank. While the selected bank
is pending it is displayed as
“B.A.N.K.” After the desired
bank is selected, press A or B to
activate a preset from that bank.
pg 3
TimeLine - User Manual
®
Rear Panel
INPUTS: High
impedance inputs.
Use LEFT input
for mono. RIGHT
IN is used as an
effect return if the
feedback loop is
selected.
OUTPUTS: Use
LEFT output for
mono. RIGHT
OUT is used as an
effect send if the
feedback loop is
selected.
EXP: Connect
an expression
pedal or switch
for external tap
tempo. See EXP
Connections.
POWER: NEVER
plug into voltage
higher than
9VDC. Requires
at least 300mA of
available current.
9V DC center
negative polarity.
MIDI: Full featured MIDI input and output
supporting MIDI CCs, Program changes, etc. See
the MIDI Specification section for a complete list of
features and commands.
LOOP SWITCH: Set switch to feedback loop to
insert an effect in the delay feedback path. See
Feedback Loop.
pg 4
TimeLine - User Manual
In Depth: Filter & Grit Controls
The Filter knob works in conjunction with the Grit knob to shape
the fidelity of the repeats. The brightest and cleanest repeats occur
when they are both set at the minimum position. NOTE: The below
descriptions are for the Digital, Dual, Pattern, Reverse, Ice, Duck,
Swell, Trem & Lo-Fi delay machines. To see how the Filter & Grit
knobs work for dBucket and dTape delay machines see their respective
sections.
VALUE
TIME
push (param)
hold (global)
FILTER
®
B REPEATS
TIME
ILTER
AY
®
PLAY
GRIT
B
FILTER:
At minimum
REPEATS
MIX setting, the Filter Function
provides a flat full-bandwidth response. As you turn
the knob up, the repeats get progressively darker.
Around 12:00, the filter is voiced to give an analog
delay EQ curve. The darkest repeats occur with the
Filter knob between 12:00 and 2:00 in these machine
MOD
GRIT
SPEED
types. As you
continueDEPTH
to turn the Filter Knob, the
low end is progressively reduced, and some highs are
added back in to create an EQ curve similar to that of
a Tape delay when the knob is at maximum position.
MIX
TAP
GRIT: The intensity of the Grit control will depend
onBANK
theUP strength of the input signal. Hotter inputs will
intensify the effect of the Grit knob in all modes. The
volume of the wet signal may change as you increase
STOP
the Grit
hold (looper)louder or softer depending
MOD control (getting
SPEED
DEPTH
on the input signal strength). Use the MIX knob to
compensate accordingly.
TAP
BANK UP
STOP
hold (looper)
pg 5
TimeLine - User Manual
®
Delay Time Ranges & Display
VALUE
ICE
REVERSE
PATTERN
DUCK
REPEATS
TIME
push (param)
hold (global)
MIX
SWELL
DUAL
DIGITAL
TREM
dBUCKET
FILTER
dTAPE
LO-FI
FILTER
to toggle the
display between
BANKB & TIME
TYPE
push (bank / time)
hold (save)
push the
ATYPE
encoder
BANK DOWN
REC / DUB
GRIT
SPEED
MOD
DEPTH
®
BANK UP
PLAY
TAP can be displayed
TIME
in milliseconds or BPM
based on the MS/BPM
global parameter
STOP
hold (looper)
Digital, Dual, Pattern, Reverse,
Ice, Duck, Swell, Trem, Filter 60mS - 2500mS
Lo-Fi
dBucket (RANGE = SINGLE)
dBucket (RANGE = DOUBLE)
dTape (TAPE SPEED = NORMAL)
dTape (TAPE SPEED = FAST)
2 mS - 2500mS
40mS - 400mS
80mS - 800mS
60mS - 2500mS
30mS - 1250mS
pg 6
TimeLine - User Manual
®
EXP Connections
Connect a Strymon
MiniSwitch to tap
tempo remotely. Use a
standard TRS cable to
connect the external
switch. Set the EXP MD
global setting to TAP to
use external tap.
Connect a standard
TRS expression pedal
for continuous control
over any knob. To select
the knob(s) controlled
by the expression
pedal, use the EP SET
parameter in each
preset. All knobs
can be controlled
simultaneously. See
Common Parameters
for set up instructions.
TRS
®
OR
TRS
®
Connect a Strymon MultiSwitch for external bank selection, preset
selection, or extended control of TimeLine’s built-in looper. Set the
EXP MD global setting to either TAP, BANK, PRESET, or LOOPER.
Please refer to the MultiSwitch user manual for detailed setup
information: www.strymon.net/support/multiswitch
pg 7
TimeLine - User Manual
®
Banks and Presets
TimeLine has 100 banks with A & B presets in each bank. Banks are
numbered 0 to 99 on the display. The factory presets in banks 0-49 are
duplicated in banks 50-99.
Saving Presets
VALUE
Save a preset
to theICEcurrent location:
push (param)
REVERSE
PATTERN
hold (global)
DUCK
PATTERN
DUAL
SWELL
TREM
DIGITAL
TREM
dBUCKET
FILTER
LO-FI
TYPE
dTAPE
REPEATS
BANK UP
PLAY
REC / DUB
TREM
TYPE
GRIT
VALUE
®
ICE
REVERSE
push (bank / time)
hold (save)
REVERSE
DUCK
hold the DUAL
ATYPE DIGITAL
encoder dBUCKET
SWELL
TREM
FILTER
dTAPE
FILTER
LO-FI
BANK DOWN
TYPE
®
TREM
dBUCKET
DEPTH
REPEATS dTAPE
TAP
GRIT
BANK UP
or A
STOP SWELL
hold (looper)
DUAL
to select the
bank to save to
push (param)
hold (global)
turn
the
VALUE
B encoder
DUCK
PATTERN
MOD
SPEED
TIME
push (bank / time)
VALUE
hold (save)
push (param)
hold (global)
BANK DOWN
ICE
DIGITAL
FILTER
B FIL
LO-FI
TYPE
PATTERN
FILTER
FILTER
MIX
TYPE
LO-FI
push (bank / time)
hold (save)
REC / DUB
push the TYPE
encoder
or the A
A
or
B
footswitch
to
MOD
SPEED
DEPTH
save your settings
BANK DOWN
push (bank / time)
hold (save)
To cancel
an in-progress save press the TAP
footswitch.
STOP
REC / DUB
REVERSE
ICE
A
VALUE
PLAY
TIME
push (param)
hold (global)
REPEATS
Restoring Factory Presets
PATTERN
DUCK
B
MIX
hold (looper)
REC / DUB
TAP
SWELL
DUAL
DIGITAL
TREM
BANK DOWN
BANK UP
CAUTION: This procedureFILTER
will erase
customDEPTH
presets saved in the
GRIT any SPEED
STOP
TYPERECand
/ DUB
PLAY
TimeLine
restore them to factory
hold (looper)
dBUCKET
FILTER
dTAPE
MOD
LO-FI
®
push (bank / time)
hold (save)
A
B
BANK DOWN
REC / DUB
DU
®
DUAL
MIX
hold (global)
LO-FI
ICE
FILTER
PATTERN
TYPE
SWELL
REC / DUB
dTAPE
DEPTHREVERSE
push the TYPE encoderDIGITAL
B to saveAyour settings
TAP dBUCKET
dTAPE
TIME
Save aICE preset to push
aVALUE
new location:
(param) BANK DOWN
REVERSE
dBUCKET
MOD
LO-FI
push (bank / time)
hold (save)
hold the
TYPE
A encoder
DUCK
SPEEDFILTER
GRIT
®
push (bank / time)
hold (save)
DIGITAL
DUCK
DIGITAL
FILTER
VALUE
push (param)
hold (global)
SWELL
dTAPE
DUAL
MIX
ICE
REVERSE
DUAL
dBUCKET
PATTERN
REPEATS
TIME
TAP
BANK UP
PLAY
STOP
hold (looper)
POWER UP TimeLine while holding A & TAP. Keep
holding for 5 seconds after TimeLine has powered up.
REINIT will be
displayed and all
factory presets will
automatically be
restored
pg 8
PLAY
TimeLine - User Manual
®
Editing Parameters
VALUE
DIGITAL
to enterICE
PATTERN
PARAMS
DUAL
menu
FILTER
dTAPE
DIGITAL
dBUCKET
FILTER
LO-FI
TYPE
A
GRIT
SWELL
LO-FI
REPEA
TIME
turn the
value encoder
TREM
MOD
SPEED
FILTER
DEPTH
TYPE
®
GRIT
®
push (bank / time)
hold (save)
VALUE
REPEATSB
TIME
push (param)
hold (global)
push the value
SWELL encoder again
BANK DOWN
DUCK
DUCK
VALUE
push (param)
hold (global)
FILTER
dTAPE
push (bank / time)
hold (save)
ICE
MIX
REVERSE
TREM
dBUCKET
REPEATS
TIME
push (param)
While ICE
hold (global)
PATTERN
DUCK
push the
displaying
SWELL
DUAL
BANK or TIME value encoder
REVERSE
MIX
A
and turn to edit the
selected PARAMETER
TAP
BANK UP
to select the desired
PARAMETER
B
BANK DOWN
BANK UP
TREM
FILTER REC / DUB
LO-FI
TYPE
bank / time)
d (save)
FILTER
GRIT
PLAY
MOD
REC / DUB
SPEED
DEPTH
STOP
hold (looper)
PLAY
Delay Machines: Common Parameters
®
B share a set of parameters.
TAP
All Delay Machines
These parameters are
saved with each preset and include:
BANK DOWN
BANK UP
TAP DIVISION:PLAY
Selects the subdivision to
STOP use for delay repeats when
hold (looper)
tapping in a tempo. Tap division options include:
Quarter notes (default), Dotted Eighth notes, Eighth
notes, Triplets, Sixteenth notes.
NOTE: If TAPDIV is set to anything other than Quarter
notes, the TAP LED will blink in amber.
BOOST: +/- 3dB of boost/cut. This can be useful for level
matching in your effects chain, or can be used as an
effect such as boosting a solo with delay.
PERSIST:
Turns on delay persist “trails” which will spill over
when the effect is bypassed. Use this if it is desired
for delay repeats to continue after the effect has been
bypassed. Note that if persist is set to ON, the bypass
mode will automatically be analog bypass.
Continued on Next Page
pg 9
TimeLine - User Manual
®
Delay Machines: Common Parameters Continued
NAME:
Allows editing the 16 character name of the current
preset. Use the VALUE encoder to change the selected
character. Use the TYPE encoder to select a character.
Exit by pressing the VALUE encoder, then press and
hold the TYPE encoder to SAVE the name permanently.
NOTE: For the preset name to be displayed the NAMES
global must be set to ON or SCROLL.
EXPRESSION PEDAL ON/OFF: Enables or disables the expression
pedal input for each preset.
EXPRESSION PEDAL SET: Enters the expression pedal setup for each
preset. All knobs can be configured to be used with the
expression pedal. To set up which knobs are controlled
by the expression pedal, push the Value encoder
when it displays “EP SET” and it will then display
“HEEL”. Turn the knob(s) to the position desired at heel
down on the expression pedal. Then, turn the Value
encoder right to display”TOE” and set the knobs to
their desired values at the toe down position on the
expression pedal. An expression pedal can control all
of the knobs simultaneously.
TAP MODE: Adjusts how the last tapped tempo affects preset
changes. Set to PRESET so the delay time will change
to the saved value in the preset. Set to GLOBAL so
the delay time will remain at the last tapped tempo
regardless of what tempo is saved in the preset.
MIDI CLOCK ON/OFF: When set to ON, TimeLine will respond
to external MIDI clock from the MIDI input. This
parameter is saved independently so that only presets
with this parameter set to ON will respond to MIDI
clock.
pg 10
VALU
REVERSE
TimeLine - User Manual
PATTERN
Delay Machines: Digital
push (pa
hold (glo
ICE
DUCK
DUAL
SWELL
DIGITAL
TREM
dBUCKET
®
FILTER
A classic crystal-clear “voiced” digital delay.dTAPE
A wide range
LO-FIof delay
tones are possible by tweaking the Filter, Grit andTYPE
Modulation controls.
Modern to classic 80’s delay tones are easily achievable
BANK / TIME with this delay
hold (save)
machine.
PARAMETERS:
SMEAR: OFF
|||||||||
HIGH PASS: OFF
20Hz
40Hz
60Hz
80Hz
100Hz
A
Softens the attack of the repeats while maintaining
full frequency response. This allows for higher mix
DOWN
levels while keeping the delay out of the wayBANK
of the
dry signal. With high Repeats levels, the delayed
signal gets dreamy and ethereal.
REC / DUB
Reduces the low frequency content of the wet signal
after the delay. A useful additional tone sculptor for
delays on low-note riffs or chords where you want to
reduce booming in your rig.
120Hz
140Hz
160Hz
180Hz
200Hz
230Hz
260Hz
300Hz
350Hz
400Hz
500Hz
600Hz
700Hz
800Hz
900Hz
REPEAT DYNAMICS: Reduces the Repeats in a non-linear fashion so
that the delay tapers off faster than it normally would.
The effect is most easily heard with high Repeats
levels, allowing for high repeats that trail off to allow
OFF
the next phrase or chord to stand out more.
ON
TIPS & TRICKS: The HIPASS parameter can be very effective in
producing bright repeats for a ‘super-clean’ digital delay. Set the
Filter and GRIT knobs to minimum position for full bandwidth and
experiment.
Set GRIT and FILTER knobs to 12:00 for an “analog-voiced” digital
delay, or try GRIT at minimum and FILTER at maximum for a “tapevoiced” digital delay.
pg 11
TimeLine - User Manual
®
ICE
REVERSE
PATTERN
Delay Machines: Dual
DUCK
DUAL
SWELL
DIGITAL
TREM
Two independent delay lines that can be run in series or parallel. The
dBUCKET
FILTER
second delay tracks the first at selectable
time ratios. This
is very
dTAPE
LO-FI
useful for creating interesting rhythmic delays that feed into each
TYPE
other or act independently in parallel.
BANK / TIME
hold (save)
PARAMETERS:
TIME 2: A
Adjusts the delay time of Delay 2 relative to Delay
1. Since Delay 2 is a ratio of Delay 1, it adjusts with
changes in delay TIME or Tap Tempo to keep the same
BANK DOWN
ratio, and allows for cool rhythmic effects.
1/8
1/7
1/6
1/5
2/5
1/2
2/3
5/6
7/8
1/1
REC / DUB
3/2
5/3
2/1
7/2
4/1
5/1
1/4
1/3
3/4
4/5
5/4
4/3
5/2
3/1
6/1
7/1
REPEATS 2: TRACK
|||||||||||
MIX 2: TRACK
|||||||||||
8/1
Adjusts the repeats level of Delay 2. Set to TRACK to
follow Delay 1 Repeats knob. When not set to TRACK,
you can set an independent repeat level for delay 2.
In this case changing the Repeats knob will only affect
the repeats level for Delay 1.
Adjusts the mix level of Delay 2. Set to TRACK to follow
Delay 1 Mix, set by the Mix knob. When not set to
TRACK, you can set an independent mix level for delay
2. In this case changing the Mix knob will only affect
the mix level for Delay 1.
Continued on Next Page
VALUE
push (param
hold (global)
pg 12
TimeLine - User Manual
®
Delay Machines: Dual Continued
HIGH PASS: OFF
20Hz
40Hz
60Hz
80Hz
100Hz
Reduces the low frequency content of the wet signal
after the delay. A useful additional tone sculptor for
delays on low-note riffs or chords where you want to
reduce booming in your rig.
120Hz
140Hz
160Hz
180Hz
200Hz
230Hz
260Hz
300Hz
350Hz
400Hz
500Hz
600Hz
700Hz
800Hz
900Hz
CONFIGURATION: Select from a series or parallel dual delay setup.
In series, Delay 1 feeds Delay 2, just as if you had
two independent stereo delays connected on your
pedalboard. In parallel configuration, the input signal
SERIES
goes to Delay 1 and Delay 2 simultaneously, and the
PARA
output of the two delays are fed to the Left and Right
channels respectively (or summed to the Left channel
in Mono operation).
TIPS & TRICKS: Set the CONFIG param to PARALLEL to get
independent Right and Left channel delay lines (the two parallel
delays will be summed to mono in mono operation - very useful for
rhythmic delays). This also allows for a ‘wet - dry’ stereo setup as
follows:
CONFIG param to PARALLEL ::: Turn the MIX knob to minimum
(dry) ::: Set RPT2 param to TRACK ::: Set TIME2 param to 1:1 :::
Set MIX2 param to set the level of the delays.
Now the knobs on the machine will control Delay2 (Right channel),
while Delay1 (Left channel) is dry only (since MIX knob is minimum).
The repeats will only be heard from the Right channel.
pg 13
TimeLine - User Manual
®
Delay Machines: Pattern
REVERSE
ICE
PATTERN
DUCK
SWELL
DUAL
A delay with selectable repeat patterns that provide a wide range of
TREM
sounds. Rhythmic, Ambient delays areDIGITAL
easily achievable.
dBUCKET
PARAMETERS:
PATTERN: dTAPE
7
8
9
10
12
13
14
15
6
11
16
SMEAR: OFF
|||||||||
HIGH PASS: OFF
20Hz
40Hz
60Hz
80Hz
100Hz
FILTER
LO-FI
TYPE
From simple ping-pong to rhythmic
trances, the
BANK / TIME
patterns can inspire new musical
The patterns
holdideas.
(save)
will create a stereo field of delay taps when using both
the L and R outputs, but will sum to the mono output
A
when the R output jack is unplugged.
1
2
3
4
5
BANK DOWN
REC / DUB
Softens the attack of the repeats while maintaining
full frequency response. This allows for higher mix
levels while keeping the delay out of the way of the dry
signal. With high Repeats levels, the delayed signal
gets dreamy and ethereal.
Reduces the low frequency content of the wet signal
after the delay. A useful additional tone sculptor for
delays on low-note riffs or chords where you want to
reduce booming in your rig.
120Hz
140Hz
160Hz
180Hz
200Hz
230Hz
260Hz
300Hz
350Hz
400Hz
500Hz
600Hz
700Hz
800Hz
900Hz
Continued on Next Page
VALU
push (pa
hold (glo
pg 14
TimeLine - User Manual
®
Delay Machines: Pattern Continued
TIPS & TRICKS: The more intricate patterns can be most effective
when the input is simple or ‘sparse’.
Pattern 16 is a sort of ‘early reflection’ pattern. Experiment with
delay times around 200mS, lots of Repeats and the SMEAR param
at maximum to create reverb-like sounds. Add some MOD DEPTH
at lower MOD SPEED and play with the Filter and Grit knobs and
HIPASS param to dial in the ‘reverb’ tone.
pg 15
TimeLine - User Manual
®
VALUE
Delay Machines: Reverse
REVERSE
push (param
hold (global
ICE
DUCK
PATTERN
An improvement on the classic reverse
SWELLtriggers
DUAL delay. The input signal
the delay so the reverse signal is always predictable, musical and
DIGITAL
TREM
repeatable.
dBUCKET
PARAMETERS:
SMEAR: OFF
|||||||||
HIGH PASS: OFF
20Hz
40Hz
60Hz
80Hz
100Hz
FILTER
dTAPE
LO-FI
TYPE
Softens the attack of the repeats
while maintaining
BANK / TIME
hold
(save)
full frequency response. This allows for higher mix
levels while keeping the delay out of the way of the dry
signal. With high Repeats levels, the delayed signal
gets dreamy and ethereal. A
Reduces the low frequency content of the BANK
wetDOWN
signal
after the delay. A useful additional tone sculptor for
delays on low-note riffs or chords where you want to
reduce booming in your
rig.
REC / DUB
120Hz
140Hz
160Hz
180Hz
200Hz
230Hz
260Hz
300Hz
350Hz
400Hz
500Hz
600Hz
700Hz
800Hz
900Hz
TIPS & TRICKS: Try setting the TIME knob to around 500mS, and
hold a ringing chord for an interesting rhythmic effect. Experiment
with the FILTER, GRIT and MOD knobs.
To keep your dry signal feeding into the reverse delay while
effectively bypassed, assign an expression to control the MIX knob.
Assign the HEEL position to the MIX knob at minimum. Assign
the TOE position to the desired wet mix on the MIX knob. Rock the
expression pedal all the way back to bypass the delay. Rock the
pedal to the TOE position to hear reverse repeats that have already
been generating while the mix was at full dry.
pg 16
TimeLine - User Manual
®
VALUE
Delay Machines:REVERSE
Ice
ICE
DUCK
PATTERN
push (param)
hold (global)
A delay that slices up the input signal and plays back the pieces at
SWELL
DUAL
selectable intervals. The playback interval can be varied from -1 octave
to +2 octaves. The slice size can also be varied, changing the size of
DIGITAL
TREM
the audio chunks being played back.
dBUCKET
PARAMETERS:
INTERVAL: -Octave
-Major 7th
-minor 7th
-Major 6th
-minor 6th
-Perfect 5th
-Tritone
-Perfect 4th
-Major 3rd
SLICE: FILTER
dTAPE
FILT
LO-FI
TYPE
®
Selects the pitch
interval of the audio slices from an
BANK / TIME
octave down hold
to two
octaves up.
(save)
A
-minor 3rd
-Major 2nd
-minor 2nd
-50 cents
-25 cents
+25 cents
+50 cents
+minor 2nd
REC / DUB
+Major 2nd
+minor 7th
+minor 3rd
+Major 7th
+Major 3rd
+Octave
+Perfect 4th
+Octave & 5th
+TritoneBANK DOWN+2 Octaves
+Perfect 5th
+minor 6th
+Major 6th
PLAY
Selects the size of the audio chunks that get sliced and
pitched. The slice sizes scale with the delay time.
SHORT
MEDIUM
LONG
BLEND: | I
SMEAR: OFF
|||||||||
I I
D
Blends between the Dry and Ice signal on the delay
line, Huge sounds can be obtained when keeping this
control below half-way, and setting the Repeats knob
around 3 o’clock.
Softens the attack of the repeats while maintaining
full frequency response. This allows for higher mix
levels while keeping the delay out of the way of the dry
signal. With high Repeats levels, the delayed signal
gets dreamy and ethereal.
Continued on Next Page
pg 17
TimeLine - User Manual
®
Delay Machines: Ice Continued
HIGH PASS: OFF
20Hz
40Hz
60Hz
80Hz
100Hz
Reduces the low frequency content of the wet signal
after the delay. A useful additional tone sculptor for
delays on low-note riffs or chords where you want to
reduce booming in your rig.
120Hz
140Hz
160Hz
180Hz
200Hz
230Hz
260Hz
300Hz
350Hz
400Hz
500Hz
600Hz
700Hz
800Hz
900Hz
TIPS & TRICKS: The BLEND param settings nearer the Dry side
can result in very deep and atmospheric delays with the Repeats
knob set for many repeats. The ICE signal appears to ‘float in’ as
the repeats regenerate. The MOD knobs can add much dimension to
these sounds as well.
pg 18
TimeLine - User Manual
VALUE
push (param)
hold (global)
ICE
REVERSE
PATTERNDuck
Delay Machines:
®
DUCK
SWELL
DUAL
A dynamic delay that reacts to your playing with adjustable sensitivity
TREM
and release time.DIGITAL
As the sensitivity is increased,
the ducking effect
becomes more pronounced.
dBUCKET
FILTER
FILTER
dTAPE
LO-FI
PARAMETERS:
TYPE
BANK / TIME
SENSITIVITY: Adjusts the input
sensitivity for the ducking feature.
hold (save)
Turn to higher settings for more extreme ducking. A
low level guitar signal will require higher settings to
B
achieve theAsame ducking effect as a high level guitar
|||||
signal. At low settings, subtle ducking effects can be
achieved.
®
BANK DOWN
RELEASE TIME: Sets the release time for the ducking effect. This
determines how quickly the delay signal returns to
full level
once you stop playing. A fast Release with
REC / DUB
PLAY
extreme ducking can create a dramatic special effect,
while slower releases with moderate ducking can be
transparent yet effective.
0.01
0.05
0.10
0.15
0.20
0.25
0.30
0.35
0.40
0.45
0.50
0.55
0.60
0.65
0.70
0.75
0.80
0.85
0.90
0.95
1.00
DUCKING FEEDBACK: Sets the feedback ducking parameter. When
on, the Repeats knob is effectively set to minimum
while you are playing, and then quickly returns to
the Knob setting when you stop playing. Very cool for
NORMAL single line playing with extreme ducking, you can play
GATE
a ‘dry’ solo, and only the last note played will repeat.
Continued on Next Page
pg 19
TIME
TimeLine - User Manual
®
Delay Machines: Duck Continued
HIGH PASS: OFF
20Hz
40Hz
60Hz
80Hz
100Hz
Reduces the low frequency content of the wet signal
after the delay. A useful additional tone sculptor for
delays on low-note riffs or chords where you want to
reduce booming in your rig.
120Hz
140Hz
160Hz
180Hz
200Hz
230Hz
260Hz
300Hz
350Hz
400Hz
500Hz
600Hz
700Hz
800Hz
900Hz
TIPS & TRICKS: With very slight amounts of ducking, the dynamics
of the delay are more ‘felt’ than ‘heard’. Set the SENS parameter
to just ever-so-slightly reduce the delay volume when you play
(most easily discovered with high REPEATS and MIX settings, and
RELEASE around 0.30). Then reduce the RELEASE param to 0.01,
while keeping the FEEDBK param at NORMAL. Now set the MIX and
REPEATS to your liking. The results can be addicting.
pg 20
VALUE
TimeLine - User Manual
ICE
REVERSE
PATTERN
DUCK
DUAL Swell
Delay Machines:
®
push (param)
hold (global)
SWELL
DIGITAL
A variable attack time
delay that can swellTREM
into notes or chords. This
dBUCKET
FILTER
can create atmosphere and ambience in a subtle and stealthy manner.
FILTER
dTAPE
PARAMETERS:
RISE TIME: LO-FI
TYPE
®
BANK / TIME
hold (save)
Sets the time constant of the ramp input to the delay.
The display indicates the ramp time in seconds. Try
setting theA
ramp time to about the same value as theB
delay time for natural swell effects.
0.10
0.15
0.20
0.25
0.30
0.50
0.60
0.70
0.80 REC / DUB
1.00
1.10
1.20
1.30
BANK DOWN
1.50
1.60
1.70
1.80
2.00
2.20
2.40
2.60
0.40
0.90
1.40
1.90
2.80
SMEAR: OFF
|||||||||
HIGH PASS: OFF
20Hz
40Hz
60Hz
80Hz
100Hz
3.00
4.00
PLAY
Softens the attack of the repeats while maintaining
full frequency response. This allows for higher mix
levels while keeping the delay out of the way of the dry
signal. With high Repeats levels, the delayed signal
gets dreamy and ethereal.
Reduces the low frequency content of the wet signal
after the delay. A useful additional tone sculptor for
delays on low-note riffs or chords where you want to
reduce booming in your rig.
120Hz
140Hz
160Hz
180Hz
200Hz
230Hz
260Hz
300Hz
350Hz
400Hz
500Hz
600Hz
700Hz
800Hz
900Hz
TIPS & TRICKS: Set the RISE param to match the delay time
for natural swell-meets-delay effects. Turn the MIX fully CW for
volume-pedal swell effects.
pg 21
TIME
VALUE
TimeLine - UserPATTERN
Manual
TIME
push (param)
hold (global)
ICE
REVERSE
DUCK
®
SWELL
DUAL
Delay Machines:
Trem
DIGITAL
TREM
dBUCKET
FILTER
FILTER
A delay with synchronized
tremolo LO-FI
affecting the repeats. Selectable
dTAPE
LFOs are provided for the tremolo
TYPE waveshape.
®
BANK / TIME
hold (save)
PARAMETERS:
A
B
LFO (LOW FREQUENCY OSCILLATOR):
Selects from a variety of LFO
waveforms to control the trem envelope of the delayed
signal. For a choppy trem delay, choose the SQUARE
lfo, or for smoother sounds
try the SINE waveform. A
BANK DOWN
fast lfo speed with a SAW wave can create a mandolinlike plectrum effect.
REC / DUB
TRIANGLE
RAMP
SAW
SQUARE
SINE
SPEED: PLAY
Controls the speed of the trem waveform in
relationship to the Delay Time. When the delay time is
changed by adjusting the Delay TIME knob or with the
TAP footswitch, the lfo will track the change in delay
time to stay in sync.
1/32
1/24
1/18
1/16
1/9
1/8
1/7
1/4
1/3
1/2
1/1
4/3
3/2
7/2
4/1
5/1
8/1
9/1
10/1
1/12
1/10
1/6
1/5
2/3
3/4
5/2
3/1
6/1
7/1
12/1
16/1
DEPTH: 18/1
24/1
32/1
Selects the depth of the LFO waveform, with maximum
setting resulting in no delay volume when the lfo
waveform is at it’s lowest point.
OFF
|||||||||
Continued on Next Page
pg 22
TimeLine - User Manual
®
Delay Machines: Trem Continued
HIGH PASS: OFF
20Hz
40Hz
60Hz
80Hz
100Hz
Reduces the low frequency content of the wet signal
after the delay. A useful additional tone sculptor for
delays on low-note riffs or chords where you want to
reduce booming in your rig.
120Hz
140Hz
160Hz
180Hz
200Hz
230Hz
260Hz
300Hz
350Hz
400Hz
500Hz
600Hz
700Hz
800Hz
900Hz
TIPS & TRICKS: The SAW mode at higher LFO SPEED (3:1, 4:1, etc)
will create a high-impact ‘plectrum’ effect. RAMP mode at lower lfo
SPEED can create an interesting reverse envelope. Try SQUARE and
SINE at higher LFO SPEED for a traditionally-inspired new sound.
Experiment with the MIX control in conjunction with the DEPTH
parameter to dial in the intensity.
pg 23
ICE
REVERSE
PATTERN
DUCK
TimeLine - User Manual
DUAL
push (param)
hold (global)
SWELL
DIGITAL
®
TREM
Delay Machines:
Filter
dBUCKET
FILTER
dTAPE
FILTER
LO-FI
TYPE filter affecting the repeats. The
A delay with synchronized sweeping
BANK
/ TIME
filter can be placed pre or posthold
delay.
(save)
®
PARAMETERS:
A
B
LFO (LOW FREQUENCY OSCILLATOR): Selects from a variety of LFO
waveforms to control the filter envelope of the delayed
signal. Choose a sine at slow
speed for atmospheric
BANK DOWN
treatments. Choose a random LFO at higher speeds
and high Filt-Q for a futuristic sound.
+Triangle
-Triangle
-Square
+Square
+Sine
SPEED: REC / DUB
PLAY
-Sine
Ramp
Saw
Random
Down
Up
Selects the ratio at which the LFO tracks the delay
time.
1/32
1/24
1/18
1/16
1/9
1/8
1/7
1/4
1/3
1/2
1/1
4/3
3/2
7/2
4/1
5/1
8/1
9/1
10/1
1/12
1/10
1/6
1/5
2/3
3/4
5/2
3/1
6/1
7/1
12/1
16/1
DEPTH: OFF
|||||||||
18/1
24/1
32/1
Selects the depth or intensity of the filter sweep. Use
in conjunction with the Filter knob, which sets the
mid-point of the sweep, to get the precise range you
desire.
Continued on Next Page
pg 24
TimeLine - User Manual
®
Delay Machines: Filter Continued
FILTER Q: Adjusts the Q, or resonance, of the sweeping filter.
Lower values produce milder filtering effects with a
broader response and lower resonance. Higher values
create sharper resonant peaks which can lend to
dramatic sweeping and special effects.
0.5
0.7
1.0
LOCATION: PRE
POST
HIGH PASS: OFF
20Hz
40Hz
60Hz
80Hz
100Hz
1.2
1.5
2.0
2.5
3.0
4.0
5.0
7.0
10.0
This parameter places the LFO-controlled filter either
before the delay line (PRE) or after the delay line
(POST). The sonic differences between the two can
be substantial, with POST creating a more prominent
effect.
Reduces the low frequency content of the wet signal
after the delay. A useful additional tone sculptor for
delays on low-note riffs or chords where you want to
reduce booming in your rig.
120Hz
140Hz
160Hz
180Hz
200Hz
230Hz
260Hz
300Hz
350Hz
400Hz
500Hz
600Hz
700Hz
800Hz
900Hz
TIPS & TRICKS: 1) The ‘+’ or ‘-’ in front of the SINE, TRI and SQR
lfo shapes designates the polarity of the LFO when it sync to your
playing. The ‘+’ LFO shapes will have the highest frequency occur
synchronous to the input, while the ‘-’ LFOs will have their lowest
frequencies synchronous to the input.
2) The FILT-Q parameter sets the resonance or sharpness of the
filter. At higher settings, the increase in amplitude at the filter’s
resonant frequency can result in an increase in apparent wet signal
volume. Use the MIX knob to adjust the wet level accordingly.
pg 25
SWELL
DUAL
TimeLine - User Manual
DIGITAL
TREM
dBUCKET
®
FILTER
Delay Machines: Lo-Fi
dTAPE
FILTE
LO-FI
TYPE
®
Allows creative destruction of your
BANK /delay
TIME signal. Add filtering, vinyl
hold (save)
noise, low bit rate distortion, sample
rate aliasing, etc.
PARAMETERS:
A
SAMPLE RATE: Selects the sample rate of the delay line, from 96
KHz all the way down to 750Hz. As the sample rate is
reduced, aliasing artifacts wreak havoc on the repeats.
BANK DOWN
750Hz
1 kHz
1.5 kHz
2 kHz
3 kHz
4 kHz
5 kHz
6 kHz
REC / DUB
7 kHz
8 kHz
9 kHz
BIT DEPTH: 4 Bit
4.5 Bit
5 Bit
5.5 Bit
6 Bit
6.5 Bit
19 kHz
24 kHz
32 kHz
48 kHz
96 kHz
PLAY
Reduces the digital bit depth from 32 bits down to 4
bits. Fuzzy crunchy artifacts are introduced as the bit
depth is reduced.
7 Bit
7.5 Bit
8 Bit
9 Bit
10 Bit
MIX: 10 kHz
11 kHz
12 kHz
14 kHz
16 kHz
11 Bit
12 Bit
13 Bit
14 Bit
15 Bit
16 Bit
18 Bit
20 Bit
24 Bit
32 Bit
Mixes the lo-fi (bit and sample-rate dependent) signal
with the full resolution signal. Heinously corrupted
audio can sit on top of the full resolution signal, or go
full lo-fi mix for just the crud.
D
VINYL: | L
Our exclusive dVinyl technology introduces random
vinyl dust noise and scratches from a 33 1/3 rpm
record. The first half of the control (dynamic) adds
vinyl noise that only occurs with the repeats, while
the 2nd half of the control (static) adds full-time vinyl
noise for song intros, outros or bridges.
D ||| (dynamic)
S ||||| (static)
Continued on Next Page
pg 26
TimeLine - User Manual
®
Delay Machines: Lo-Fi Continued
FILTER SHAPE: A collection of filters inspired by telephones,
victrolas, am radios, bull horns, and other gadgets.
The mixed lofi and full-resolution signal (along with
any dVinyl noise) goes through the selected filter.
OFF
1
2
3
4
(Portable Vintage Amp)
(Victrola Phonograph)
(70s Clock Radio)
(Bullhorn Megaphone)
5
6
7
8
(Cheerleader’s Plastic Megaphone)
(Antique Telephone Ear Piece)
(Cell Phone)
(Apartment Intercom)
TIPS & TRICKS: With a minimum delay time of 2ms, you can set the
MIX to full wet (fully CW) and get a real-time lofi machine with bitcrush, sample-rate and filtering possibilities. All knobs and PARAMS
are still active. Additionally, you can create modulation effects
like chorus, flange and vibrato by using the MOD SPEED and MOD
DEPTH knobs to modulate the delay line. For modern digital mod
effects, set the SAMPLE rate to 96kHz and BITS to 32 and turn the
FILTER param to OFF. Experiment with the Filter and Grit knobs and
the Lo-Fi Params to go from pristine to vintage to garbage can.
pg 27
PATTERN
DUCK
DUAL
SWELL
DIGITAL
TREM
TimeLine - User Manual
hold (global)
®
Delay Machines: dTape
dBUCKET
FILTER
dTAPE
LO-FI
TYPE
BANK
An intricate re-creation of a sliding head tape/ TIME
delay system.
®
hold (save)
PARAMETERS:
A
SPEED: Choose Fast speed for a higher fidelity experience or
TAPE
Normal for standard tape machine operation. The
Wow/Flutter (Mod Depth knob) and Tape Crinkle (Mod
BANK DOWN
Speed knob) track the tape speed for a huge range of
tape machine experiences.
FAST
NORMAL
REC / DUB
LOW END CONTOUR: Allows for shaping the low-end from full lowend to extreme progressive high-passing. With high
repeats, this control is a major factor in the overall
tape machine sound.
+
||
-
KNOB FUNCTIONS
In dTape, four of the knobs assume different controls than the other
delay machines.
VALUE
TIME
push (param)
hold (global)
FILTER
®
B
TIME
PLAY
ILTER
B
GRIT
REPEATS
MIX
TAPE AGE: In dTape, the filter knob takes on the function
of TAPE AGE. This controls the bandwidth of the tape just
as it would change over time in a traditional tape delay
machine. As regular tapes wear out, their bandwidth
MOD The TAPE AGE control recreates this. Set
becomes
limited.
GRIT
SPEED
DEPTH
to minimum for a fresh, full bandwidth tape. As the knob is
turns clockwise, the tape will get progressively darker.
TAP
TAPE BIAS: In dTape, the GRIT knob takes on the function
REPEATS
MIX
of TAPE BIAS. This control adjusts tape machine bias, from
BANK UP
under-biased
to over-biased. Bias sets the dynamic range
and headroom of the delay signal. Higher bias levels result
STOP
in reduced echo volume
and limited headroom. Lower
hold (looper)
MOD
bias
SPEED settings
DEPTHresult in the cleanest echoes with the most
headroom. For an optimally biased tape machine set to
9:00. For an under biased tape machine with extra high
frequency response set to minimum.
TAP
Continued on Next Page
BANK UP
pg 28
TimeLine - User Manual
®
Delay Machines: dTape Continued
REPEATS
GRIT
MIX
SPEED
TAP
MIX
BANK UP
PEED
MOD
TAP
MOD
TAPE CRINKLE: In dTape, the SPEED knob takes on
the function of TAPE CRINKLE. This control adjusts the
amount and severity of tape irregularities, including
friction, creases, splices and contaminants. Tape Crinkle
characteristics
track accordingly to tape speed. Set to
DEPTH
minimum for a fresh, clean tape. Set to maximum for a
tape that has been mangled and chewed for years.
DEPTH
WOW & FLUTTER: In dTape, the DEPTH knob takes
on the function of WOW & FLUTTER. This control
varies the amount of mechanically related tape speed
fluctuations. This also results in natural tape machine
STOP
style modulation. Turn the knob fully counter clockwise
hold (looper)
for a perfectly tuned, cleaned and serviced tape machine.
Turn the knob fully clockwise to hear the sound of a
tape machine in need of service. In between the extreme
settings, a natural tape modulation is achieved.
TIPS & TRICKS: 1) The mechanical effects of wow/flutter and tape
STOP
will track to the Tape Speed parameter. Select FAST for
holdcrinkle
(looper)
higher fidelity, including wider playback head frequency response.
Select NORMAL for a warmer tape sound. High SPEED and DEPTH
knob settings (tape crinkle and wow/flutter) with NORMAL Tape
Speed will produce the characteristics of an old un-serviced tape
machine.
2) Reduce the Repeats knob if necessary when using minimum bias
to tame the regenerative high frequencies.
pg 29
PATTERN
TimeLine - User Manual
Delay Machines: dBucket
DUCK
DUAL
SWELL
DIGITAL
TREM
dBUCKET
®
FILTER
dTAPE
LO-FI
An fully nuanced re-creation of classic analog bucket
TYPEbrigade delay
systems.
BANK / TIME
hold (save)
PARAMETERS:
RANGE: SINGLE
DOUBLE
A
Varies the amount of bucket brigade circuits that the
delayed signal travels through. Single is essentially
one 4096 stage bucket brigade “chip” while Double is
BANK DOWN
equivalent to two 4096 stage bucket brigade “chips” in
series.
REC / DUB
KNOB FUNCTIONS
In dBucket, two of the knobs assume different controls than the other
delay machines.
VALUE
TIME
push (param)
hold (global)
FILTER
®
B REPEATS
TIME
ILTER
AY
push (p
hold (gl
ICE
REVERSE
PLAY
GRIT
B
REPEATS In dBucket,
MIX
FILTER:
the filter control makes the repeats
either darker or brighter depending on preference. 12:00
is a neutral filter setting. Turning the filter clockwise
makes the repeats darker and they will get progressively
darker with each
repeat. Increasing the bucket loss
MOD
GRIT
SPEED
DEPTH
will darken the repeats
even further. Turning the filter
counterclockwise makes the repeats brighter by applying
a ‘post’ high shelf EQ to the wet signal.
TAP
BUCKET LOSS: In dBucket, the GRIT knob takes the
function
of BUCKET LOSS. This controls the amount of
BANK UP
bucket brigade “chip” loss at each stage in the dBucket
algorithm, from no
loss at minimum, to full noisy loss
STOP
MOD
hold (looper)
SPEED
DEPTH
at maximum. Set to 3:00 to get maximum distortion loss
with just a hint of noise. Increasing from 3:00 adds more
noisy loss.
MIX
TAP
BANK UP
STOP
hold (looper)
Continued on Next Page
pg 30
TimeLine - User Manual
®
Delay Machines: dBucket Continued
TIPS & TRICKS: 1) The RANGE parameter selects a ‘one-chip’
dBucket delay, or a ‘two-chip’ dBucket delay. The one-chip delay
has half the delay range (SINGLE - 400mS) as the two-chip delay
(DOUBLE - 800mS), and experiences clock-related artifacts at half
the delay time as the two-chip delay. For cleaner delays of 300ms to
400ms, use DOUBLE with lower GRIT settings. For the warm, fuzzy,
lofi sound of the ealiest analog delays, use the single option with lots
of GRIT and set the Filter between 12:00 and 5:00 to taste.
2) A classic analog delay sound is one with a bright first repeat and
darker subsequent repeats. To dial this in, set the FILTER knob at
minimum and the GRIT (bucket loss) at 12:00. Set the delay time.
The bucket loss will reduce the bandwidth and fidelity of the repeats
progressively with minimum coloration from the FILTER.
pg 31
TimeLine - User Manual
Looper
®
A A
B B
TAP LED will turn red to indicate
looper controls are active and
blink green to show delay time.
The A LED will turn amber to
indicate looper is overdubbing
REC / DUB
REC / DUB
TAP
A
hold the TAP
footswitch
to enter the
looper
®
PLAY
®
A A
BANK UP
STOP
hold (looper)
PLAY
BA B
BANK DOWN
BANK DOWN
B
REC / DUB
REC / DUB
TAP TAP B
BANK UPBANK UP
STOP STOP
PLAY
hold (looper)
hold (looper)
PLAY PLAY
REC / DUB
push the A
footswitch to
start recording
REC / DUB
push the A
footswitch again
to overdub
A
OR
PLAY
®
A
B
push the TAP
footswitch to stop
loop or holdB the
TAP footswitch to
exit
TAP
®
BANK DOWN
REC / DUB
BANK DOWN
REC / DUB
PLAY
BANK UP
PLAY
STOP
hold (looper)
push the B footswitch to play the
loop. Any time the B footswitch is
pressed it will re-trigger the loop.
NOTE: The loop can be played in the background if desired. Normally
the loop will stop when exiting the looper. To keep playing the loop
when exiting looper set the Looper Exit global to PLAY. The looper can
also be controlled via MIDI at all times.
LOOPER GLOBALS: There are controls to vary the loop level, looper exit
behavior and looper pre or post configuration in the GLOBALS menu.
Please consult the globals section of the manual for more information.
LOOPER MIDI CONTROL: Controlling the looper via MIDI is
accomplished by sending MIDI note numbers with a velocity greater
than zero OR MIDI CCs. Record, Play, Stop, Reverse, Half Speed, Undo
(to initial recorded loo) and Redo can all be controlled via MIDI. See the
MIDI specification for the note numbers and CCs.
TIPS & TRICKS: Connect an external MIDI control to access
additional looper features like Reverse, Half Speed, Undo (to
initial recorded loop) and Redo.
pg 32
BANK UP
TimeLine - User Manual
®
Globals Menu
Global parameters affect TimeLine regardless of what preset is
currently active.
TIME DISPLAY: Configures the display to show delay time in
Milliseconds or Beats Per Minute.
MS
BPM
LOOPER LOCATION: Switches the Looper to be Pre or Post delay.
PRE
POST
LOOPER LEVEL: Sets the volume level of the looper playback.
|||||||
LOOPER EXIT: Determines if the looper stops when exiting or keeps
playing in the background.
PLAY
STOP
BYPASS SET-UP: Changes the bypass mode between True Bypass and
Buffered Bypass. In True Bypass, electromechanical
relays are used to bypass TimeLine so that no
components are touching the input signal. In Buffered
Bypass the bypassed signal runs through a high quality
analog buffer.
TRUE BYPASS
BUFFERED BYPASS
MIDI CHANNEL: Sets the MIDI Channel. Can be set to 1 - 16.
CH 1 - 16
MIDI CONTINUOUS CONTROLLERS: Turns MIDI CC messaging
(continuous controllers) ON or OFF.
ON
OFF
Continued on Next Page
pg 33
TimeLine - User Manual
®
Globals Menu Continued
MIDI PATCH CHANGE: Turns MIDI patch change messaging ON or
OFF.
ON
OFF
MIDI THROUGH: When set to THRU, MIDI messages that arrive at the
MIDI input are sent to the MIDI output without ANY
additional MIDI messages generated by TimeLine.
When set to MERGE, MIDI messages that arrive at the
input and those that are generated by TimeLine are
THRU
merged together to be sent to the MIDI output. When
MERGE
set to OFF, only MIDI messages generated by the
OFF
controls on TimeLine are sent to the MIDI output.
BANK SCROLL: Sets the maximum bank number to scroll to.
BNK 1-99
EXP INPUT MODE: Configures the EXP input to use an Expression
Pedal or an external TAP footswitch.
PEDAL -for use with Expression Pedal
TAP -for use with external TAP footswitch, or
MultiSwitch for tap and preset select
BANK -for use with MultiSwitch to select preset
banks
PRESET -for use with MultiSwitch to select presets
LOOPER -for use with MultiSwitch to control
Looper functions
Please refer to the MultiSwitch user manual for
detailed MultiSwitch setup information:
www.strymon.net/support/multiswitch
DRY SIGNAL: Turns the dry signal on or off. This is sometimes
useful in a parallel effects loop when an effect level is
necessary.
NORMAL
KILL - dry signal is muted allowing the MIX control
to be used as an effect level
Continued on Next Page
pg 34
TimeLine - User Manual
®
Globals Menu Continued
SPILLOVER: OFF
ON
Allows the wet delay signal of a currently selected
preset to “spill” into the next selected preset.
IMPORTANT: Because of the delay buffer architecture,
the current preset must be active for at least 5
seconds before spillover will be operational.
PRESET NAMES: Enables or disables the display of preset names
when displaying the current bank. If set to ON or
SCROLL, when incrementing through banks with the
VALUE encoder, the bank number will be displayed
with 2 digits followed by the first 3 characters of the
preset name.
- bank numbers are displayed instead of preset names
- the first 6 characters of the preset name are displayed
SCROLL - the preset name will scroll once completely through
its 16 characters then settle on the first 6 characters
OFF
ON
PRESET DUMP: Allows presets to be sent via MIDI to another TimeLine
or to a MIDI recorder device. Presets can be dumped
individually or all at one time. Select ALL to dump all
presets, or scroll to select an individual preset to send.
Initiate send by pressing VALUE encoder.
EXIT
ALL
PR 0A - 99C
MIDI CLOCK SWEEP: Allows the option to keep or remove delay pitch
artifacts when changing TAP tempo from an external
MIDI clock source.
ON
OFF
Continued on Next Page
pg 35
TimeLine - User Manual
®
Globals Menu Continued
MIDI CLOCK RESET: Allows the option to re-sync delay time back to
an external MIDI clock source tempo after tapping in a
new tempo or sweeping the time knob on TimeLine.
ON
OFF
MIDI SEND STATE: When a preset is loaded, the MIDI state (CC values)
of active preset MIDI parameters are sent to the MIDI
output.
OFF
ON
NOTE: If any of the above options do not appear in the GLOBLS
menu, you may need to update the firmware to the latest version.
Visit this link for instructions: www.strymon.net/update
pg 36
TimeLine - User Manual
®
Feedback Loop
Set the FEEDBACK LOOP switch to the down position to insert an
external effect into the delay feedback path.
NOTE: If not using an external effect in the feedback loop, set switch
to stereo.
Connect an external
effect to the feedback
loop. Any external effect
can be used. Feel free
to experiment with the
different sounds that
can be achieved. All of
the delay repeats will be
processed through the
external effect.
OUTPUT
INPUT
FEEDBACK
LFO
log
pos
+/-
lin
neg
thru 0
SPEED
WIDTH
REGEN
MIX
MANUAL
FAVORITE
BYPASS
dBucket Flanger
®
pg 37
TimeLine - User Manual
®
MIDI Specification
KNOBS:
CC#
Type encoder 19
Time3
Repeats 9
Mix 14
Filter 15
Grit 16
Speed 17
Depth18
Value Range
0-11
0-127
0-127
0-127
0-127
0-127
0-127
0-127
PARAMETERS:
Tap Division 21
0-4
Boost23 0-60
Persist Off/On 22
0-1
Smear38 0-18
High Pass 47
0-20
Expression Off/On 60
0-1
MIDI Clock Off/On 63
0-1
dTAPE - Tape Speed 58
0-1
dTAPE - Low End 59
0-20
dBUCKET - Range 45
0-1
DIGITAL - Repeat Dynamics
56 0-1
DUAL - Time 2 32
0-26
DUAL - Repeats 2 34
0-18
DUAL - Mix 2 33
0-18
DUAL - Config 36
0-1
PATTERN - Pattern 39
0-15
SWELL - Rise Time 44
0-27
TREM - Speed 61
0-34
TREM - Depth 57
0-18
TREM - LFO 29
0-4
FILTER - Q 40
0-11
FILTER - LFO 28
0-10
FILTER - Depth 41
0-18
FILTER - Speed 42
0-34
FILTER - Location 43
0-1
LO-Fi - Mix 51
0-20
LO-Fi - Vinyl 52
0-18
LO-Fi - Sample Rate 49
0-20
LO-Fi - Bit Depth 50
0-20
LO-Fi - Filter 53
0-8
ICE - Interval 30
0-29
Continued on Next Page
pg 38
TimeLine - User Manual
®
MIDI Specification Continued
ICE - Slice
ICE - Blend
DUCK - Sensitivity
DUCK - Release
DUCK - Feedback
46
25
37
55
54
LOOPER:
CC#
Record87
Play86
Stop85
Reverse (toggle) 94
Full/Half Speeed (toggle)95
Pre/Post (toggle) 96
Undo (to initial loop) 89
Redo90
Looper Level 98
0-2
0-20
0-17
0-20
0-1
Value Range
any
any
any
any
any
any
any
any
0-127
MIDI PATCH CHANGES:
Timeline presets are arranged in a grid of 100 numbered Banks (00-99)
with 2 presets (A and B) within each Bank for a total of 200 presets.
Because MIDI Program Change messages have a maximum number of
128 (0-127), the presets are grouped into 2 MIDI Patch Banks:
MIDI BANK 0 = PRESETS 00A-63B
MIDI BANK 1 = PRESETS 64A-99B
The presets are numbered sequentially within each bank:
PRESET 00A = MIDI program # 0
PRESET 00B = MIDI program # 1
PRESET 01A = MIDI program # 2
PRESET 01B = MIDI program # 3
PRESET 02A = MIDI program # 4 etc. up to #127...
TimeLine always powers up in MIDI Patch Bank 0, so if you plan to stay
within the first 127 presets (00A-63B), simply send a standard MIDI
Program Change message to load a preset.
If you will be using MIDI Bank 1, it is advisable to send a standard MIDI
Bank Change message [MIDI CC# 0 with a value equal to the MIDI
Bank #] before each MIDI Program Change.
Continued on Next Page
pg 39
TimeLine - User Manual
®
MIDI Specification Continued
OTHER MIDI CC NUMBERS:
CC# VALUE RANGE
A footswitch
80 down=0 up=127
B footswitch
82 down=0 up=127
TAP footswitch
81 off=0 on=127
Remote TAP
93 any
Expression Pedal
100 0-127
Bypass
102 byp=0 eng=127
Phase Reset
125 any
MIDI Patch Bank
0
0-1
-Send a 0 value to access presets 00A - 63B.
-Send a 1 value to access presets 64A - 99A.
LOOPER MIDI CONTROL VIA MIDI NOTE #’S:
The looper can also be controlled with MIDI note
numbers.
Record
Play
Stop
Reverse (toggle)
Full/Half Speed (toggle)
Pre/Post (toggle)
Undo (to initial loop)
Redo
Reverse (absolute)
Forward (absolute)
Half Speed (absolute)
Full Speed (absolute)
note 0, velocity > 0
note 2, velocity > 0
note 4, velocity > 0
note 14, velocity > 0
note 16, velocity > 0
note 17, velocity > 0
note 7, velocity > 0
note 9, velocity > 0
note 103, velocity = 127
note 103, velocity = 0
note 104, velocity = 127
note 104, velocity = 0
MIDI CLOCK:
TimeLine will accept MIDI clock at the MIDI input and sync
delay time.
pg 40
TimeLine - User Manual
®
FEATURES
• 12 hand crafted delay machine algorithms for meticulous and
nuanced delay sounds
• Ultra Low Noise, high performance A/D and D/A Converters
• Premium analog front end and output section
• Analog dry path for a zero latency dry signal that is never converted
to digital
• High Performance DSP
• 200 presets, selectable via encoder, MIDI or on the fly via footswitch
• Numerous deep edit parameters on all delay machines
• Full time 30 second looper available pre or post delay
• Stereo Input & Output
• Expression pedal input with selectable simultaneous control over
multiple knob parameters
• Feedback loop option for inserting an external effect into the delay
feedback
• +/- 3dB adjustable analog boost or cut configurable per preset
• Delay persist “trails” selectable per preset
• Full time Tap Tempo footswitch and external Tap footswitch available
via EXP input
• Rugged & Lightweight Anodized Aluminum Chassis
• Intuitive, performance friendly User Interface
• Global bypass selectable between True Bypass or Analog Buffered
Bypass on the fly via footswitch/MIDI
SPECIFICATIONS
Input Impedance
Output Impedance
Signal to Noise
A/D & D/A
Frequency Response
Max Input Level
Bypass Switching
Dimensions
1Meg Ohm
100 Ohm
115 dB typical
24-bit 96kHz
20Hz to 20kHz
+8dBu
True Bypass (electromechanical relay
switching) or Analog Buffered Bypass (with
selectable delay persist “trails”)
5” deep x 6.75” wide x 1.87” tall
POWER SUPPLY
Input Voltage
Required Current
9VDC Center Negative
300mA
pg 41
TimeLine - User Manual
®
STRYMON NON-TRANSFERRABLE LIMITED WARRANTY
Warranty
Strymon warrants the product to be free from defects in material
and workmanship for a period of one (1) year from the original date
of purchase. If the product fails within the warranty period, Strymon
will repair or, at our discretion, replace the product at no cost to the
original purchaser.
Exclusions
This warranty covers defects in manufacturing discovered while using
this product as recommended by Strymon. This warranty does not
cover loss or theft, nor does the coverage extend to damage caused by
misuse, abuse, unauthorized modification, improper storage, lightning,
or natural disasters.
Limits of Liability
In the case of malfunction, the purchaser’s sole recourse shall be
repair or replacement, as described in the preceding paragraphs.
Strymon will not be held liable to any party for damages that result
from the failure of this product. Damages excluded include, but are
not limited to, the following: lost profits, lost savings, damage to other
equipment, and incidental or consequential damages arising from
the use, or inability to use this product. In no event will Strymon be
liable for more than the amount of the purchase price, not to exceed
the current retail price of the product. Strymon disclaims any other
warranties, express or implied. By using the product, the user accepts
all terms herein.
How to Obtain Service Under this Warranty
For North American customers: Contact Strymon through our website
at http://www.strymon.net/support for Return Authorization and
information. Proof of original ownership may be required in the form of
a purchase receipt.
For International Customers: Contact the Strymon dealer from which
the product was purchased from in order to arrange warranty repair
service.
Strymon® is a division of Damage Control®, LLC.
REV F 11.11.17
pg 42
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