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USER MANUAL

1. C _ BANKDOWN CC BANKUP REC DUB PLAY STOP hold looper A amp B LEDS Green if active Amber if the preset has been edited Off if bypassed TAP LED Flashes to DEPTH Controls the intensity of the delay modulation dTape controls wow amp flutter indicate delay time in quarter notes Flashes alternating red green while looper is active Flashes amber to indicate that a tap division is active TIP To find the knob positions of a saved preset turn each knob until the LED returns to GREEN after glowing Amber 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 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 BANK SELECT Press A amp B to select a lower bank Press B amp 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 2 TimeLine User Manual Rear Pan
2. TimeLine User Manual strymon Features e 12 hand crafted delay machine algorithms for meticulous and nuanced delay sounds e Ultra Low Noise high performance A D and D A Converters e Premium analog front end and output section e Analog dry path for a zero latency dry signal that is never converted to digital e High Performance DSP e 200 presets selectable via encoder or on the fly via footswitch e Numerous deep edit parameters on all delay machines e Full time 30 second looper available pre or post delay e Stereo Input amp Output e Expression pedal input with selectable simultaneous control over multiple knob parameters e Feedback loop option for inserting an external effect into the delay feedback e 3dB adjustable analog boost or cut configurable per preset e Delay persist trails selectable per preset e Full time Tap Tempo footswitch and external Tap footswitch available via EXP input e Rugged amp Lightweight Anodized Aluminum Chassis e Intuitive performance friendly User Interface e Global bypass selectable between True Bypass or Analog Buffered Bypass Sperica one Input Impedance 1Meg Ohm Output Impedance 100 Ohm Signal to Noise 115 dB typical A D amp D A 24 bit 96kHz Frequency Response 20Hz to 20kHz Max Input Level 8dBu Bypass Switching Dimensions Power Supply Input Voltage Required Current True Bypass electromechanical relay switching or Analog Buffered Bypass with selectable delay
3. RETURN Connect an external TAP switch 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 strymon TimeLine User Manual strymon Banks and Patches TimeLine has 100 banks with A amp B patches in each bank Banks are numbered 0 to 99 on the display The patches in banks 0 49 are duplicated in banks 50 99 at the factory Saving Patches to SAVE your to save to the current will be displayed when current settings push the TYPE patch location the patch has been saved Koldthe encoder again A TYPE encoder y VALUE to select the bank to turn the value Save to push the TYPE encoder encoder or the A or B footswitch Restoring Factory Patches TAP sss CD A REINIT will be displayed and all factory patches will automatically be restored oA B O C BANKDOWN O C BANKUP A POWER UP TimeLine while holding A amp TAP Keep holding for 5 seconds after TimeLine has powered up pg 6 TimeLine User Manual strymon Editing Parameters While displaying to enter PARAMS VALUE to select the desired BANK or TIME push
4. INPUT FEEDBACK e N pos log WA 7O neg thru gt 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 REGEN MANUAL FAVORITE l t BYPASS dBucket Flanger strymon pg 23 TimeLine User Manual strymon MIDI Specification KNOBS CCH Value Range MIDI Patch changes Type encoder 19 0 11 Time 3 0 127 TimeLine patches are arranged in 100 banks of 2 Repeats 9 0 127 patches each for a total of 200 presets MIDI access Mix 14 0 127 to these patches is available as MIDI program change Filter 15 0 127 messages Via MIDI the patches are numbered Grit 16 0 127 sequentially for example Speed 17 0 127 Depth 18 0 127 BANK 1A MIDI program 0 BANK 1B MIDI program 1 get abe 21 0 4 BANK 2A MIDI program 2 ae eee BANK 2B MIDI program 3 Persiei 29 0 1 BANK 3A MIDI program 4 Smear 38 0 18 ee nna a as To access patches 0 127 via MIDI send regular dTAPE Tape Speed 08 0 1 program change messages To access patches 128 to dTAPE Low End 59 0 20 199 first send a MIDI Patch Bank message CC 0 dBUCKET Range 45 0 1 with a value of 1 then the program change message DIGITAL Repeat Dynamics 06 0 1 DUAL Time 2 32 0 26 Other MIDI CC numbers DUAL Repeats 2 34 0 18 DUAL Mix 2 33 0 18 Se NEUE ane DUAL Config 34 0 1 A fo
5. push the A footswitch push the TAP footswitch to enter the to start recording again to overdub footswitch to stop loop looper or y hold the TAP OR footswitch to exit push the B footswitch to play the loop Any time the B footswitch is pressed it will re trigger the loop TIPS amp TRICKS Connect an external MIDI controll to access additional looper features like Reverse Half Speed Undo to initial recorded loop and Redo 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 CED GHD 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 pg 20 TimeLine User Manual strymon Global parameters affect TimeLine regardless of what patch is currently active Time Display Configures the display to show delay time in Milliseconds or Beats Per Minute ED
6. 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 single line playing with extreme ducking you can play a dry solo and only the last note played will repeat GATE High Pass 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 20Hz 40Hz 60Hz 80Hz 100Hz 120Hz 140Hz 160Hz 180Hz 200Hz 230Hz 260Hz 300Hz 350Hz 400Hz 500Hz 600Hz 700Hz 800Hz 900Hz TIPS amp 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 13 TimeLine User Manual strymon A variable attack time delay that can swell into notes or chords This can create atmosphere and ambience in a subtle and stealthy manner PARAMETERS Rise Time Sets the time c
7. lofi and full resolution signal along with any dVinyl noise goes through the selected filter Portable Vintage Amp Cheerleader s Plastic Megaphone Antique Telephone Ear Piece Cell Phone Victrola Phonograph 70s Clock Radio MON aon co Ol Bullhorn Megaphone Apartment Intercom po 17 TimeLine User Manual Delay Machines dTape An intricate re creation of a sliding head tape delay system PARAMETERS Tape Speed dTAPE Choose Fast speed for a higher fidelity experience or Normal for standard tape machine operation The Wow Flutter Mod Depth knob and Tape Crinkle Mod Speed knob track the tape speed for a huge range of tape machine experiences NORMAL strymon TIPS amp TRICKS The mechanical effects of wow flutter and tape crinkle will track to the Tape Speed parameter Select FAST for 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 Low End Contour Allows for shaping the low end from full low end to extreme progressive high passing With high repeats this control is a major factor in the overall tape machine sound Il KNOB FUNCTIONS In dTape four of the knobs assume different controls than the other delay machines FILTER A TAPE AG
8. 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 TimeLine User Manual strymon A delay with selectable repeat patterns that provide a wide range of sounds Rhythmic Ambient delays are easily achievable PARAMETERS Pattern From simple ping pong to rhythmic trances the patterns can Inspire new musical ideas The patterns will create a stereo field of delay taps when using both the Land R outputs but will sum to the mono output when the R output jack is unplugged 2 7 12 3 8 13 4 9 14 5 10 15 6 11 16 Smear 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 High Pass 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 20Hz 120Hz 230Hz 500Hz 40Hz 140Hz 260Hz 600Hz 60Hz 160Hz 300Hz 700Hz 80Hz 180Hz 350Hz 800Hz 100Hz 200Hz 400Hz 900Hz TIPS amp 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 lot
9. or post delay PARAMETERS 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 treatments Choose a random LFO at higher speeds and high Filt Q for a futuristic sound CEHA Triangle Triangle Sine Down Square Ramp Up Square Saw Sine Random Speed Selects the ratio at which the LFO tracks the delay time 1 24 1 9 1 4 1 1 7 2 1 18 1 8 1 3 4 3 4 1 1 16 1 7 1 2 3 2 5 1 1 12 1 6 2 3 9 2 6 1 1 10 1 5 3 4 3 1 7 1 Depth mid point of the sweep to get the precise range you desire LULLLLII Filter Q strymon TIPS amp TRICKS 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 8 1 18 1 9 1 24 1 10 1 32 1 12 1 16 1 Selects the depth or intensity of the filter sweep Use in conjunction with the Filter knob which sets the 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 05 0 7 1 2 2 0 3 0 1 0 1 5 2 5 4 0 7 0 This paramet
10. persist trails 5 deep x 6 75 wide x 1 87 tall 9VDC Center Negative 300mA pg 29 TimeLine User Manual strymon 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 th
11. the expression pedal setup for each patch 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 pg 7 TimeLine User Manual strymon A classic crystal clear voiced digital delay A wide range of delay tones are possible by tweaking the Filter Grit and Modulation controls Modern to classic 80 s delay tones are easily achievable with this delay machine PARAMETERS Smear 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 High Pass 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 OFF 20Hz 120Hz 230Hz 500Hz 40Hz 140Hz 260Hz 600Hz 60Hz 160Hz 300Hz 700Hz 80Hz 180Hz 350Hz 800Hz 100Hz 200Hz 400Hz 900Hz Repeat Dynamics Reduces the Repeats in a non l
12. the menu mie PARAMETER value encoder value encoder and turn to edit push the value the selected encoder again PARAMETER All Delay Machines share a set of parameters These parameters are saved with each preset and include Tap Division Boost U D v N r Name Selects the subdivision to use for delay repeats when 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 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 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 Allows editing the 16 character name of the current patch 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 patch 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 patch Expression Pedal Set Enters
13. BPM Global Tap Allows the last tapped tempo to affect all presets regardless of the tempo saved in the preset GEA J7 PRESET when patch is changed delay time will change to saved value in preset GLOBAL delay time will remain at the last tapped tempo regardless of current preset Looper Location Switches the Looper to be Pre or Post delay POST Looper Level Sets the volume level of the looper playback Lewy i Looper Exit Determines if the looper stops when exiting or keeps playing in the background Gs Piae 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 BUFFERED BYPASS MIDI Channel Sets the MIDI Channel Can be set to 1 16 MIDI Continuous Controllers Turns MIDI CC messaging continuous controllers ON or OFF EB ee ON OFF MIDI Patch Change Turns MIDI patch change messaging ON or OFF aD OFF MIDI Through When set to ON MIDI messages that arrive at the input are sent to the output CBD ON OFF pg 21 TimeLine User Manual strymon Globals Menu 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 Gm TAP Dry Signal Turns the dry s
14. E In dlape 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 becomes limited The TAPE AGE control recreates this Set to minimum for a fresh full bandwidth tape As the knob is turns clockwise the tape will get progressively darker TAPE BIAS In dTape the GRIT knob takes on the function of TAPE BIAS This control adjusts tape machine bias from under biased to over biased Bias sets the dynamic range and headroom of the delay Signal Higher bias levels result in reduced echo volume and limited headroom Lower bias settings result 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 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 minimum for a fresh clean tape Set to maximum for a tape that has been mangled and chewed for years WOW amp FLUTTER In dlape the DEPTH knob takes on the function of WOW amp FLUTTER This control varies the amount of mechanically related tape speed fluctuations Thi
15. USER MANUAL TIMELIVE TimeLine User Manual strymon 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 MIX Adjusts the mix of analog dry signal to wet delay signal The Mix occurs in analog Set around 3 o clock fora 50 50 mix TIME Provides coarse adjustment of delay time REPEATS Sets the delay feedback level number of repeats FILTER Controls the shape of the repeats filter dTape controls tape age GRIT Progressively adds distortion and artifacts dTape controls tape bias dBucket controls bucket loss dBucket controls the special dBucket filter See dBucket section for full details TYPE Selects th Seen Filter controls center frequency of LFO filter currently active delay machine Push to toggle the display between showing time and the current bank Hold to save the current preset VALUE TIME REPEATS REVERSE push param hold global TIP If the parameter or global menu is currently displayed push to exit and show bank or time SPEED Controls the speed of the delay modulation LFO dTape controls tape crinkle PATTERN DUCK DUAL SWELL DIGITAL TREM ENCE oe FILTER GRIT SPEED Oo DEPTH dTAPE LO FI ore strymon push bank time hold save A
16. a flat full bandwidth response As you turn the knob up the repeats get progressively darker Around 12 00 the FILTER 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 types As you continue 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 Delay time ranges and Display to toggle the display between BANK amp TIME push the TYPE encoder Digital Dual Pattern Reverse Ice Duck Swell Trem Filter Lo Fi dBucket RANGE SINGLE dBucket RANGE DOUBLE dTape TAPE SPEED NORMAL dTape TAPE SPEED FAST GRIT The intensity of the Grit control will depend on the 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 the Grit control getting louder or softer depending on the input signal strength Use the MIX knob to compensate accordingly TIME can be displayed in milliseconds or BPM based on the MS BPM global parameter 60mS 2500mS 2 mS 2500mS 40mS 400mS 80mS 800mS 60mS 2500mS 30mS 1250mS pg 4 TimeLine User Manual EXP Connections LEFT IN RIGHT IN LEFT OUT RIGHT OUT 9VDC o MIDIIN MIDIOUT IN OUT O10 0 0 O SEND n
17. dal to the TOE position to hear reverse repeats that have already been generating while the mix was at full dry pg 11 TimeLine User Manual strymon Delay Machines Ice ICE A delay that slices up the input signal and plays back the pieces at 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 the audio chunks being played back PARAMETERS Interval Selects the pitch interval of the audio slices from an octave down to two octaves up Major 7th minor 3rd Major 2nd minor 7th minor 7th Major 2nd minor 3rd Major 7th Major 6th minor 2nd Major 3rd Octave minor 6th 50 cents Perfect 4th Octave amp 5th Perfect 5th 25 cents Tritone 2 Octaves Tritone 25 cents Perfect 5th Perfect 4th 50 cents minor 6th Major 3rd minor 2nd Major 6th Slice Selects the size of the audio chunks that get sliced and pitched The slice sizes scale with the delay time MEDIUM LONG Blend Blends between the Dry and Ice signal on the delay line Huge sounds can be obtained when keeping this control below nat _ oper the Diy ciderean way and setting the Repeats knob around 3 o clock result in very deep and JCENT D Il I atmospheric delays with the Repeats knob set for many repeats TIPS amp TRICKS The BLEND param settings The ICE signal appears to float in as the Smear Softens the attack of the repeats while maintainin
18. e 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 C pg 26
19. el INPUTS High impedance inputs Use LEFT input for mono RIGHT IN is used as an effect return if the feedback loop is selected LEFT IN RIGHT IN LEFT OUT e 0 0 RETURN RIGHT OUT strymon POWER NEVER plug into voltage higher than 9VDC Requires at least 300mA of available current 9V DC center negative polarity 9VDC MIDI IN MIDI OUT 4 STEREO IN OUT O ae SEND eh 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 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 3 TimeLine User Manual In Depth Filter amp Grit controls strymon 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 The below descriptions are for the Digital Dual Pattern Reverse Ice Duck Swell Trem amp Lo Fi delay machines To see how the Filter amp Grit knobs work for dBucket and dTape delay machines see their respective sections FILTER At minimum setting the Filter Function provides
20. er 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 rs PRE POST 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 Location High Pass 20Hz 120Hz 230Hz 500Hz 40Hz 140Hz 260Hz 600Hz 60Hz 160Hz 300Hz 700Hz 80Hz 180Hz 350Hz 800Hz 100Hz 200Hz 400Hz 900Hz 9 0 LL 10 0 TIPS amp TRICKS 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 16 TimeLine User Manual strymon Delay Machines Lo Fi Allows creative destruction of your delay signal Add filtering vinyl noise low bit rate distortion sample rate aliasing etc PARAMETERS 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 ELENA 750Hz TIPS amp TRICKS With a minimum 1 kHz 5 kHz 10 kHz 19 kHz delay time of 2ms 1 5 kHz 6 kHz 11 kHz 24 kHz you can set the MIX 2 kHz 7 kHz 12 kHz 32kHz to full wet fully CW 3 kHz 8 kHz 14 kH
21. g full frequency response This allows for higher mix levels while repeats regenerate keeping the delay out of the way of the dry signal With high The MOD knobs can Repeats levels the delayed signal gets dreamy and ethereal add much dimension to SMEAR OFF these sounds as well High Pass 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 20Hz 120Hz 230Hz 500Hz 40Hz 140Hz 260Hz 600Hz 60Hz 160Hz 300Hz 700Hz 80Hz 180Hz 350Hz 800Hz 100Hz 200Hz 400Hz 900Hz pg 12 TimeLine User Manual strymon A dynamic delay that reacts to your playing with adjustable sensitivity and release time As the sensitivity is increased the ducking effect becomes more pronounced PARAMETERS Sensitivity Adjusts the input sensitivity for the ducking feature Turn to higher settings for more extreme ducking A low level guitar signal will require higher settings to achieve the same ducking effect as a high level guitar signal At low settings subtle ducking effects can be achieved 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 extreme ducking can create a dramatic special effect while slower releases with moderate ducking can be transparent yet effective GEES non 0 05 0
22. ignal on or off This is sometimes useful in a parallel effects loop when an effect level is necessary NORMAL a KILL dry signal is muted allowing the MIX control to be used as an effect level Spillover 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 ON Patch Names Enables or disables the display of patch 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 patch anme MANES Oe OFF bank numbers are displayed instead of patch names ON the first 6 characters of the patch name are displayed SCROLL the patch name will scroll once completely through it s 16 characters then settle on the first 6 characters pg 22 TimeLine User Manual strymon 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 9VDC LEFT IN RIGHT IN LEFT OUT RIGHT OUT EXP seo MIDI IN MIDIOUT 4 9 RETURN __________ _ SEND i I a Se Ss SS O eS A OUTPUT
23. ill only affect the repeats level for Delay 1 Mix 2 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 High Pass 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 20Hz 120Hz 230Hz 500Hz 40Hz 140Hz 260Hz 600Hz 60Hz 160Hz 300Hz 700Hz 80Hz 180Hz 350Hz 800Hz 100Hz 200Hz 400Hz 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 goes to Delay 1 and Delay 2 simultaneously and the output of the two delays are fed to the Left and Right channels respectively or summed to the Left channel in Mono operation PARA TIPS amp 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
24. inear 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 the next phrase or chord to stand out more ON TIPS amp 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 tape voiced digital delay pg 8 TimeLine User Manual Delay Machines Dual strymon Two independent delay lines that can be run in series or parallel The second delay tracks the first at selectable time ratios This is very useful for creating interesting rhythmic delays that feed into each other or act independently in parallel PARAMETERS Time 2 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 ratio and allows for cool rhythmic effects ay 1 7 2 5 5 6 3 2 7 2 1 6 1 2 7 8 5 3 4 1 1 5 2 3 1 1 2 1 5 1 1 4 3 4 5 4 5 2 6 1 1 3 4 5 4 3 3 1 7 1 Repeats 2 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 w
25. lay machines FILTER A FILTER In dBucket the filter control BUCKET LOSS In dBucket the GRIT makes the repeats either darker or knob takes the function of BUCKET brighter depending on preference LOSS This controls the amount of bucket 12 00 is a neutral filter setting Turning brigade chip loss at each stage in the filter clockwise makes the repeats the dBucket algorithm from no loss at darker and they will get progressively minimum to full noisy loss at maximum darker with each repeat Increasing Set to 3 00 to get maximum distortion the bucket loss will darken the loss with just a hint of noise Increasing repeats even further Turning the filter from 3 00 adds more noisy loss counterclockwise makes the repeats brighter by applying a post high shelf EQ to the wet signal TIPS amp TRICKS 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 19 TimeLine User Manual strymon TAP LED will turn red to indicate looper The ALED will controls are active turn amber to and blink green to indicate looper Is show delay time overdubbing e REC DUB s REC DUB hold looper hold looper hold the TAP push the A footswitch
26. onstant of the ramp input to the delay The display indicates the ramp time in seconds Try setting the ramp time to about the same value as the delay time for natural swell effects 0 15 0 50 1 00 1 50 2 00 3 00 0 20 0 60 1 10 1 60 2 20 4 00 0 25 0 70 1 20 1 70 2 40 0 30 0 80 1 30 1 80 2 60 0 40 0 90 1 40 1 90 2 80 Smear 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 High Pass 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 20Hz 120Hz 230Hz 500Hz 40Hz 140Hz 260Hz 600Hz 60Hz 160Hz 300Hz 700Hz 80Hz 180Hz 350Hz 800Hz 100Hz 200Hz 400Hz 900Hz TIPS amp 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 14 TimeLine User Manual strymon A delay with synchronized tremolo affecting the repeats Selectable LFOs are provided for the tremolo waveshape PARAMETERS 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 fast lfo speed wi
27. otswitch 80 down 0 up 127 PATTERN Pattern 39 0 15 B footswitch 82 down 0 up 127 SWELL Rise Time id 0 27 TAP footswitch 81 down 0 up 1 27 TREM Speed b1 0 34 Infinite Repeats 97 off 0 on 127 TREM Depth 57 0 18 Remote TAP 93 any TREM LFO 29 4 Expression Pedal 100 0 127 FILTER Q 40 0 11 Bypass 102 byp 0 eng 127 FILTER LFO 28 0 10 FILTER Speed 42 0 34 value 0 or 1 send a 0 to access patches 0 to 127 El TER Location 43 0 1 send a 1 to access patches 128 to 199 LO Fi Mix 51 0 20 LO Fi Vinyl 32 0 18 Looper MIDI control via MIDI note s LO Fi Sample Rate 49 0 20 LO Fi Bit Depth 50 0 20 The full time looper can also be controlled by sending O Fi Filter 53 0 8 MIDI note numbers with a velocity greater than zero ICE interval 30 0 29 ICE slice 46 0 2 Record note 0 velocity gt 0 ICE blend 25 0 20 Play note 2 velocity gt 0 DUCK Sensitivity 37 0 17 Stop note 4 velocity gt 0 DUCK Relese ac 0 20 Reverse toggle note 14 velocity gt 0 DUCK Feedback 54 0 1 Full Half Speed toggle note 16 velocity gt 0 Pre Post toggle note 17 velocity gt 0 LOOPER Undo to initial loop note 7 velocity gt 0 Record 87 any Redo note 9 velocity gt 0 Play 86 any Stop 85 any Reverse toggle 94 any MIDI Time Clock Full Half Speeed toggle 95 any TimeLine will accept MIDI clock at the MIDI input and Pre Post toggle 96 any sync delay time Undo to initial loop 89 any Redo 90 any Looper Level 98 0 17 pg 24
28. s also results in natural tape machine style modulation Turn the knob fully counter clockwise 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 amp TRICKS Reduce the Repeats knob if necessary when using minimum bias to tame the regenerative high frequencies TimeLine User Manual strymon Delay Machines dBucket An fully nuanced re creation of classic analog bucket brigade delay systems PARAMETERS Range 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 equivalent to two 4096 stage bucket brigade chips in series amp DOUBLE TIPS amp TRICKS 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 KNOB FUNCTIONS In dBucket two of the knobs assume different controls than the other de
29. s 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 10 TimeLine User Manual strymon An improvement on the classic reverse delay The input signal triggers the delay so the reverse signal is always predictable musical and repeatable PARAMETERS Smear 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 High Pass 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 20Hz 120Hz 230Hz 500Hz 40Hz 140Hz 260Hz 600Hz 60Hz 160Hz 300Hz 700Hz 80Hz 180Hz 350Hz 800Hz 100Hz 200Hz 400Hz 900Hz TIPS amp 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 pe
30. th a SAW wave can create a mandolin like plectrum effect SQUARE ramp SINE SAW Speed 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 24 1 9 1 4 1 1 7 2 8 1 18 1 1 18 1 8 1 3 4 3 4 1 9 1 24 1 1 16 1 7 1 2 3 2 5 1 10 1 32 1 1 12 1 6 2 3 5 2 6 1 12 1 1 10 1 5 3 4 3 1 7 1 16 1 Depth 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 LILLEU High Pass 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 20Hz 120Hz 40Hz 140Hz 60Hz 160Hz 80Hz 180Hz 100Hz 200Hz 230Hz 260Hz 300Hz 350Hz 400Hz 500Hz 600Hz 700Hz 800Hz 900Hz TIPS amp 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 19 TimeLine User Manual A delay with synchronized sweeping filter affecting the repeats The filter can be placed pre
31. z akae ee ime lofi machine with 4 kHz 9 kHz 16 kHz 96 kHz bit crush sample rate and filtering Bit Depth Reduces the digital bit depth from 32 bits down to 4 bits Fuzzy crunchy possibilities All knobs artifacts are introduced as the bit depth is reduced and PARAMS are ciiil CHD eBt E 4 5 Bit 7 Bit 11 Bit 16 Bit D 5 Bit 7 5 Bit 12 Bit et ee like chorus flange 5 5 Bit 8 Bit 13 Bit 20 Bit and vibrato by using 6 Bit 9 Bit 14 Bit 24 Bit the MOD SPEED and 6 5 Bit 10 Bit 15 Bit aoe Pee eee oes modulate the delay line For modern Mix Mixes the lo fi bit and sample rate dependent signal with the full digital mod effects resolution signal Heinously corrupted audio can sit on top of the full set the SAMPLE rate resolution signal or go full lo fi mix for just the crud to 96kHz and BITS CHEO D I L to 32 and turn the FILTER param to OFF l l l l l Experiment with the Vinyl Our exclusive dVinyl technology introduces random vinyl dust noise and Filtera Cri knobs 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 f a control static adds full time vinyl noise for song intros outros or bridges to go trom pristine to vintage to garbage gt 3 D II dynamic can S III static and the Lo Fi Params Filter Shape A collection of filters inspired by telephones victrolas am radios bull horns and other gadgets The mixed

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