Line 6 ToneCore Pedals

Blow your mind!

By Elias Cole

Since unleashing the world's first digital modeling amp in 1996, Line 6 has been at the forefront of modeling technology. Over the years, they've stayed on top in the field with such innovations as the POD, GuitarPort, Variax guitars and basses, and Vetta amps. Proving once again that they're never content to rest on their laurels, the engineers at Line 6 have come up with the ToneCore series of modeling effects pedals. Each of the six pedals brings its own unique effects set to your sound and combines simple, intuitive controls with solid construction and incredible value. Musician's Friend let me try all of them and I was extremely pleased with their performance to say the least.

Space out, man
The Space Chorus takes the standard chorus effect to the outer limits, if you so desire. There are three different model settings: Chorus, Tri, and Vibrato. The Chorus setting emulates vintage and modern chorus effects that use "bucket brigade" electronics. It can be used with mono or stereo outputs, and the effect is different with each. If a mono signal is employed, the chorus comes out on the left channel, with the right signal dry. With a stereo input, both channels are processed. Tri mode models classic multivoiced chorus units, creating a lush, wet effect. Vibrato delivers a pitch variation for that classic warble.

There are the traditional Speed and Depth controls, plus a Color knob that tweaks the sounds further. The Color knob's function varies depending on the model setting you're using. In Chorus mode, it moves the effect from vintage on the left to modern on the right. In Tri mode, it changes the overall tone from warm to bright. On the Vibrato setting, it lets you choose between three distinct styles of the effect—Vintage, Euro, and Blue.

With all of these options, it's easy to create your own unique take on what a chorus effect should sound like. You can go from traditional to downright "out there" sounds. It's definitely the most versatile chorus pedal I've used.

Walk in the park
The Echo Park pedal is based on Line 6's DL4 delay modeler. It's a bit more involved control-wise than the Space Chorus, so it's good to spend some time checking out the different settings. There are 11 different delay patterns and three model settings. The Tape setting models a vintage tape-based echo, giving you that dark '60s vibe. The Digital model creates crisp, clean echoes and provides the precise control you'd expect from a digital delay. Lastly, the Analog model re-creates the solid state "bucket brigade" delay sound that was popular in the '70s.

As if all this control didn't provide enough versatility, the Mix, Repeat, Time, and Mod knobs allow further tweaking. Line 6 also included a Trails switch that will ring out the effect when you switch to bypass, which I found really cool when coming off a lead that uses the effect. The Echo Park is capable of so many different delay effects that finding your own unique ones won't be a problem. It does have a slight learning curve if you want to venture away from a standard delay, but with so many killer tones to be discovered, your time will be well spent.

Click to Enlarge Overdriven
The Crunchtone's name really says it all. The three models—Blues, Pop, and Crunch—are based on Line 6's power tube overdrive models. The Blues setting delivers a sharp, crisp overdrive that's perfect for blues or hard rock. If it's a '60s tone you're after, the Pop setting will suit you well with its mild, vintage tube sound. And when you want that classic British punch, Crunch pumps out some seriously driven, slightly compressed tone. I found it perfect for many of my leads that just weren't hitting the mark with my standard setup. The three model settings are only the beginning, as the Crunchtone also has knobs for Bass, Treble, Level, and Drive and two gate settings so you can find just the tone to fit your style. It will take you to the edge of metal.

Over the edge
If the Crunchtone takes you to the edge of metal, then the Über Metal pushes you over and plunges you into the abyss of sinister tone. Line 6 has incorporated some of their most brutal high-gain tones into this little beast. There are three model settings, and they are aptly named Metal, Pulverize, and Insane. Metal puts out a blistering but controlled distortion that's perfect for riffing or sizzling leads. Pulverize is a bit meatier, with tube-melting, high-gain crunch. And Insane is, well, insane. Talk about some face-shredding tone! This setting really screams and, thanks to the Level, Mid & Scoop, Drive, and Bass and Treble controls it's easily tweakable for the ultimate metal sound—be it classic, thrash, or nu-metal.

As with the Crunchtone, there are two gate settings to further hone the effect to your particular style. The Über Metal really captures the best of Line 6's distortion effects.

Click to Enlarge Put the squeeze on
The Constrictor is not your average compression pedal. The Mellow, Compact, and Squeeze model settings are derived from analog compressors from the '60s, '70s, and '80s respectively. Mellow emulates a tube compression and has a flat frequency response. The compression ratio for this setting is 3:1, with a fast 10ms attack time and an 82ms release time. Compact is based on vintage '70s stompbox compressors. The 37:1 compression ratio, 10ms fast attack and 295ms slow release time result in a slight boost to the midrange frequencies. Squeeze finds its model in the stompbox compressors of the '80s. It has a 19:1 compression ratio, with a 31ms slow attack and a 98ms fast release time, delivering a boost to the high frequencies without going too far.

The gate on the Constrictor is very unique to the pedal world and really helps reduce the noise produced by compressors when the sustain amount is turned up very high.

Knobs control the noise gate, the output level, and sustain settings. Having a noise gate on a compressor is something unique in the pedal world, and it really helps reduce the noise produced by most compressors when the sustain is turned up very high. Once I had dialed in the pedal to my rig, I loved the added sustain and overall brightness it gave to what I already considered a killer tone. It just goes to show there's always room for tonal improvement, and a good compressor like the Constrictor is a great starting point.

Last but not least
The final pedal in the ToneCore series is the Tap Tremolo. As you would expect, it delivers an array of trem effects. The three model settings are Opto, Bias, and Pan. Opto emulates the trem effect from '60s-era American amps, Bias delivers the '50s European sound, and Pan that sweeps back and forth between the left and right channel when run in stereo.

There are a number of ways to diversify the effects you get from the Tap Tremolo. The Speed and Depth controls are your standard starting points, allowing you to adjust the tremolo's pulse and volume variations. It gets to be really fun when you start playing with the Peak and Shape knobs. Peak changes the speed of the effect so that it gets faster as you play louder and slower as you quiet down. Shape changes the waveform from a silky sine wave to a rough, choppy square wave that fluctuates from loud to quiet. What all of these controls add up to is an extremely wide choice of trem effects. Spend some time with this pedal and you're sure to find a bunch more that fit your particular style.

But wait! There's more!
The Space Chorus, Echo Park, and Tap Tremolo pedals also feature a Tap Tempo function. Thanks to the dual-action footswitch on each of these boxes, you can lightly tap the switch to set the speed of the effect. This can be done with the effect on or off, which is handy for jumping right into a lead or break that requires a different speed. The first two light taps set the tempo with additional taps averaged in. The LED on each pedal will flash the set tempo and will vary in color depending on whether or not the effect is active or bypassed.

If the sounds that each pedal creates stand tall by themselves, when you start combining different ToneCores the results are out of this world. Try the Über Metal alongside the Echo Park for a killer metalized delay. The Crunchtone paired with the Tap Tremolo re-creates the dark, swampy sounds of early CCR. I actually used this exact setting on a couple of CCR covers that I play with my band—"Born on the Bayou" and their version of "The Midnight Special"—and it sounded awesome! An Echo Park/Crunchtone combination delivers that classic slightly driven, delayed tone that The Edge has made famous. The possibilities are endless.

The final analysis
The ToneCore effects pedals from Line 6 are an extraordinary value considering their sonic possibilities and solid construction. Whereas many effects pedals tend to sound redundant or exactly like their rivals, the ToneCores each bring a unique voice to your tone. In this day and age, finding your own sound is more important than ever. These pedals will surely take yours to new heights.

Features & Specs:

Space Chorus	Echo Park
3 distinct, analog-based chorus models Speed, Depth, and Color controls affect each model differently Tap Tempo function lets you set the effect's speed with footswitch	3 different analog and digital-based delay models Mix, Repeat, Time, and Mod knobs Function knob with 11 different delay types Trails switch lets effect ring out when going into bypass Tap Tempo function lets you set the effect's speed with footswitch
Crunchtone	Über Metal
3 killer overdrive models Dual-function noise gate Level, Bass, Treble, and Drive controls	3 shredding distortion models based on the Line 6 HD147 and Vetta II amps Dual-function noise gate Mid & Scoop, Drive, and Tone controls
Constrictor	Tap Tremolo
3 vintage, analog-based compression models Level, Sustain, and Gate controls Noise gate reduces much of the noise normally created by increased sustain levels	3 mind-melting tremolo effects Speed, Depth, Peak, and Shape controls for maximum tweakage Tap Tempo function lets you set the effect's speed with footswitch

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