Posts Tagged ‘timeline’

This Week’s Preset: TimeLine – “Hell Float Trip”

Posted by Matt

Here is something a little weird and spooky I made for Halloween: a TimeLine preset I call “Hell Float Trip.” It uses the Ice delay machine to create an eerie wash of smeared repeats that fall in pitch with each regeneration. At first I’d considered calling it “Drag Me to Hell,” but I thought the preset sounded more relaxed than that, like floating down a lazy river of sulfurous smoke and torment in Hades. In the audio example below I play a few notes on the lower frets of the guitar at the beginning, pause, and then play a few high notes so you can hear how the effect sounds when processing different frequency ranges.

Listen here:

Preset details:

The image below shows the knob settings and parameters that I used in the audio clip.


The Ice delay machine slices up the input signal and plays back the slices after pitch-shifting them at selectable intervals. In this preset, the slices are being pitched down by 25 cents. I have the BLEND parameter set all the way to ICE, so only the Ice delay lines are heard, and not the regular (dry) delay lines (which can also be blended into the sound when using the Ice delay machine if desired). With the Blend parameter set all the way to ICE, the SPEED and DEPTH knobs have no effect, since they only modulate the regular (dry) delay lines, which are not heard in this preset. The Ice delay lines are not modulated by the MOD controls.

Other notes: I have the SMEAR parameter set at maximum to soften the attack of the repeats. I’ll also mention that if you want to hear some really chaotic strangeness, try changing the SLICE setting to LONG, and experiment with increasing the delay time. At longer delay times I tried setting the INTERVAL for -50 cents, and I thought it sounded cool. By the way, if you also happen to have a BigSky reverb pedal, this Hell Float Trip preset could be complimented nicely by the Falling Angel BigSky preset posted here a few weeks ago, which uses the Shimmer reverb machine to create a ghostly ever-falling-pitch effect.

Download the preset:

Using the Strymon Librarian? Download the “Hell Float Trip” preset and load it into your TimeLine.

What do you think?

Made your own tweaks to this preset? Post them below or tag them #StrymonPreset online. Are there other preset types that you’d like to see in upcoming blog posts? Let us know what you think. Thanks!

Pedalboard Feature: Walter Hill

Posted by Angela

Between touring with two bands, recording, and running his studio (Twin Hill Studio), Walter Hill keeps himself surrounded by music. Find out about all the musical endeavors that are keeping Walter busy, plus the ins and outs of the pedal board he tours and records with below!

What kind of pedalboard is this, and what is your signal path?

I use Brady Cases for my pedal board and amp cases. Love his cases!

My signal path is always changing… Right now it is:
– Guitar/Lap Steel
– Cusack Mono to Mono Y Box
– Cusack PBT9 (which has an A/B switch to switch between my guitar and lap steel, it also has a buffer on the input and output, 9 effect loops, preset mode and a mute to my Sonic Research Strobo tuner!) This thing is really cool!
Loop 1 – Xotic SP Compressor
Loop 2 – Cusack Scruzz
Loop 3 – Cusack Scream
Loop 4 – EH Nano Pog
Loop 5 – Hilton Volume
Loop 6 – (Open at the moment)
Loop 7 – Strymon TimeLine
Loop 8 – Eventide H9
Loop 9 – Strymon BigSky


Can you tell us about your studio, Twin Hill Studio?

I started Twin Hill Studio about 4 years ago. The studio is run by myself and Jonathan Berlin of Berlin Mastering, also the lead singer of my band SUNBEARS! Twin Hill offers tracking, mixing and mastering. We also have a record lathe and now offer disc mastering and short run lathe cut vinyl. Twin Hill is also set up to facilitate a client’s entire production from the initial recording stage to the final packaging of their vinyl.

Could you tell us about your current musical projects, including Johnnyswim?

I play Guitar and Keys in a band called SUNBEARS!. SUNBEARS! started as a two piece, Jonathan Berlin and Jared Bowser. At that time, I played in another band called Shangrala and started playing shows with SUNBEARS! in 2007 I believe. I became a fan the first time I heard them. About two years ago Jonathan told me he was thinking of adding some more guys to the band and wanted me to join. I’m a huge fan of his music and honored to start playing with them.

I started playing guitar with Johnnyswim about two years ago. Johnnyswim is a husband and wife duo, Abner and Amanda. I have known Abner since I was about 4-5 years old. We grew up together and learned how to play music together. We played in bands together all through our teenage years. A couple of years ago they started bringing a band along with them and asked me to start playing guitar. Watching these two perform every night is amazing, and I am so excited to share the stage with them.

It’s pretty rare to get to travel and play music with some of your favorite people in the world!

Is there a venue that you haven’t played at that you can’t wait to get to?

The Ryman – Nashville, TN
It just got booked for December 21st!

Pedalboard Feature: Dave Depper

Posted by Angela

Looking for someone that enjoys talking gear? Dave Depper is your person. He said so himself here :) Now with Death Cab For Cutie, Dave has stayed busy playing and recording with a slew of great artists. He also has kept his talent going with solo projects including one where he did a cover album of Paul McCartney’s Ram, titled The Ram Project.

What kind of pedalboard is this, and what is your signal path?

I’m using a Pedaltrain 2 board, and powering everything with a Voodoo Lab Pedal Power Mondo.

My main guitars are both made by Fano. One is the PX6, which is loosely based on a non-reverse Gibson Firebird, and it has Lollar Firebird pickups installed. The other is the GF6, which in turn is inspired by the Fender Starcaster, and it has Fralin P90s in it.

dave depper fano dave depper fano

I’m also using a Rickenbacker 330 12-string on several numbers, as well as an old Martin D-28 of Ray LaMontagne’s which he very kindly gave me at the end of our run together last year.

Dave Depper Pedalboard

My signal path, in order:

TC Electronic Polytune Mini – not much to say about this one other than it’s small and convenient!

Earthquaker Devices Fuzz Master General – incredible little nuclear bomb of a pedal, it’s EQD’s spin on the Ace Tone Fuzz Master, and dang, does it sound good. I’m currently using it to play the guitar solo on the Death Cab single “Black Sun” – it needs a very specific octave-fuzzy kind of sound, and this pedal nails it.

ARC Effects Klone V2 – ARC is a really wonderful builder in upstate NY. His handiwork is beautiful and he’s a total pleasure to work with. The Klone, as the name implies, is a faithful recreation of a Klon Centaur. Obviously, this is a cottage industry these days, and there’s many Klon clones to choose from, but of all the ones I’ve tried, this one just NAILS it. Also, there’s an optional bass boost switch which ably makes up for some of the low frequency drop that this type of pedal is known for at higher gain settings.

I use the Klone for mild overdrive and as a dirty boost – volume around 10 o’clock, tone at noon, and gain ranging from 9 to 1 o’clock, depending on the song. I have it on about 80% of the time.

Xotic BB Preamp – Possibly my favorite pedal of all time. In Death Cab, I’m using it for my medium to heavy gainl/lead tones. However, I’ve used this pedal for years in all sorts of roles, from a clean boost to a dirty boost to a simple EQ to a rock distortion machine.

My original BB Preamp got wet during soundcheck at Red Rocks at our show earlier this year, I foolishly didn’t have a backup, and the thing shorted out during the second song. I had a disaster of an evening as a result, so dependent am I on this miracle baby. I learned my lesson and have three now!

Catalinbread Dirty Little Secret – Another incredible device, this is the best Marshall-in-a-box pedal I’ve come across. It has a both a Super Lead and a Super Bass mode, selectable via an internal slider switch. I use this one for really high-gain stuff like “The New Year” and “We Laugh Indoors.”

Mr. Black Boost Tiger – my favorite transparent boost, made in Portland to boot. Sadly discontinued.

Strymon TimeLine – More on this during the next question!

Strymon BigSky – see above!

Disaster Area DMC-3XL – genius MIDI foot controller. I have many different presets on both Strymon pedals, so this pedal essential creates a master preset on a song by song basis out of a combination of the two, and I can scroll through it rapidly and intuitively. It also includes a shortcut to the looping function on the TimeLine pedal, which comes in VERY handy.

Please tell us a bit about how you use BigSky during your Death Cab For Cutie set. Also, can you tell us about how the FOH uses BigSky?

The BigSky and the TimeLine are both fundamental components of my live sound.

With the BigSky, about half the time I am using the Spring reverb machine, especially on the rockier songs. I like running my amp very clean and effect-free, getting most of my tonal variation from my pedalboard. I adore the Spring machine’s warm, natural sound.

My favorite application, however, is the Bloom machine. It’s quite simply my favorite reverb sound I’ve ever encountered, and I use it pretty liberally throughout the set, especially during the slower, more atmospheric songs like “Transatlanticsm” and “You’ve Haunted Me All My Life.” And I ESPECIALLY love holding down the switch to engage the Infinite Sustain when using the Bloom machine. Freezing the sound in place like that ends up sounding almost like a synth pad, and it’s kind of like having a piano sustain pedal for my guitar. I use this trick fairly often throughout the set.

I’m just as reliant on the TimeLine, and have a different present built for nearly every song. I use the Digital machine for U2-like syncopated delays in songs like “You Are a Tourist” and “Your Heart Is An Empty Room.” I use the Analog machine for subtle slapback in songs like “Cath…” and “Why You’d Want To Live Here.” And the Tape machine comes in handy for all-out mayhem on “I Will Possess Your Heart” and “Bixby Canyon Bridge.” I definitely find myself abusing the self-oscillation function several times throughout the set.

With Death Cab For Cutie you have played on Jimmy Kimmel and Conan. What is it like getting ready to perform on late night? Is performing on late night shows all the same, or is there some differences?

I’m not going to lie – it’s a very nerve-wracking experience! When playing a full-length show, even if it’s a high-pressure one, you still have a couple of hours to settle in and get comfortable over the course of the performance. And even if you make a few mistakes here and there, overall a good show is a good show.

With TV, you have three minutes to flawlessly play a song, cold, and know that it’s being watched by several million people, frozen in amber forever on YouTube, etc.

And yes, all of the shows are fairly different experiences. With Letterman, for example, he wasn’t hanging around the studio beforehand – the first time you’d see him would be two minutes before you performed the song, when you’re brought down from the green room and told to take your places on the stage and there he was at his famous desk. Fallon and Conan, by contrast, make a point to say hi and make you feel comfortable earlier in the day. Not a knock on Letterman at all – he’d been doing it for 30-odd years and I don’t blame him for streamlining his day!

Each show has its own specific vibe and backstage culture that is more or less a reflection of the host’s personality. And they’re all a blast.

What was your first break in becoming a working musician?

Well, I don’t know if I’ve necessarily had any “breaks” that I can particularly identify. Every project I’ve been involved in has seemed like a pretty organic progression from the last.

But in terms of being a paid professional, I suppose I can pinpoint the beginning of that – seven or eight years ago, I was a member of a great band called Norfolk and Western. The drummer, Rachel Blumberg, also happened to drum for M. Ward. Ward produced an album by Jolie Holland called “The Living and the Dead” and used Rachel as the drummer. When it came time for Jolie to put together a touring band, Rachel was a part of it from the get go and she recommended me as the bass player. So that was my first experience as a touring “hired gun, ” so to speak – playing bass for Jolie Holland.

What are some must go to venues in Portland to see a band? Which one would be a must perform at venue?

My favorite venue in the world happens to be in Portland – the Doug Fir. It was designed from the ground up with great sound and performer/audience experience in mind. Both performing and seeing shows there is a treat. I’ve played there dozens of times.

Other great spots include Mississippi Studios, Holocene, Revolution Hall, and the Crystal Ballroom.

This Week’s Preset: TimeLine – “Lucid Dream”

Posted by Matt

This Week's Preset - TimeLine DelayOne of my favorite effects to use is a delay with a lot of repeats and a slowly sweeping filter on those repeats. I think it creates a really dreamlike atmosphere, not only when used on guitar, but also on vocals (sparingly) or keyboards (like electric piano, for example). Whenever I’m trying out a delay, whether it be in software or hardware, I invariably try to create a version of this effect. Using TimeLine, it was easy for me to dial in the sound I was going for, using the Filter delay machine.

Listen here:

Preset details:

The image below shows the knob settings and parameters that I used in the audio clip. Note that the slow delay modulation I’ve included is what provides the nice stereo spread in the sound (using the Speed and Depth knobs for delay modulation, not to be confused with the SPEED and DEPTH parameters controlling the filter sweep). Also, I’ve placed the filter after the delay line by setting the LOCATION parameter to POST. This results in a much stronger effect.

I really have the Repeats knob turned up high, just on the verge of too much feedback (just how I like it!). When using this effect live, you might want to assign your expression pedal to control the repeats, not only for expressiveness but also in case you find yourself in a situation where you turn off the effect and the repeats persist just a bit too long afterward. I think this effect sounds nice with a generous helping of reverb on the guitar, though I did not use any reverb in the sound example.

Download the preset:

Using the Strymon Librarian? Download the “Lucid Dream” preset and load it into your TimeLine.

What do you think?

Made your own tweaks to this preset? Post them below or tag them #StrymonPreset online. Are there other preset types that you’d like to see in upcoming blog posts? Let us know what you think. Thanks!

Using MIDI to Control Your Strymon Pedals – Part 1

Posted by Hugo

TimeLine MIDIIf you have a Timeline, BigSky, or Mobius, you will notice that there are MIDI IN and MIDI OUT ports on the back of your pedal.  These can be used to control the pedals from an external MIDI controller that is programmed to send MIDI messages that can change presets and control parameters on the pedal from the controller.

What is MIDI (briefly)?

If you are not familiar with MIDI, it is a communication language that is used for MIDI equipped hardware to talk to each other.  This allows one device to send a MIDI message to another device as a digital signal to pass along real time musical information.  There are several different types of MIDI messages that can be sent on up to 16 MIDI Channels.  These messages are sent via the MIDI IN and MIDI OUT ports on compatible devices.  It is important to also remember that MIDI does NOT transmit audio; only digital MIDI messages.  Today we will focus on MIDI Program Change to recall and change presets on the pedal.

MIDI Connections

MIDI messages are usually sent across MIDI cables that connect to the MIDI IN and MIDI OUT ports of MIDI compatible devices.  Most devices, like our pedals, utilize a 5-pin MIDI cable, but there are some 7-pin MIDI connections and some devices can communicate with MIDI over USB and other connections.

It is normal practice to connect a cable from the MIDI OUT port of a device like a MIDI controller to the MIDI IN port of the receiving device like one of our pedals. 

MIDI cable plugged into Strymon pedal and MIDI controller

There are also some devices and MIDI interfaces that will tell you where to connect the cables with text on the ends that may say TO MIDI IN or TO MIDI OUT.  Just be sure to check the MIDI device or its documentation for the correct connection setup.

If you would like to control two or more Strymon pedals with a MIDI connection, you can start by connecting the MIDI OUT from the MIDI Controller to the MIDI IN port of the first Strymon pedal.  Then, connect the MIDI OUT from that first Strymon pedal to the MIDI IN of the next Strymon pedal and do the same for any additional MIDI equipped pedals you would like to control.

Connecting multiple Strymon pedals together via MIDI

Now, in order for the MIDI messages from the controller to be passed on to each device in the MIDI chain, you must enable MIDI Through on each pedal before the last device in the MIDI chain.  On the Strymon pedals, this is found in the GLOBLS menu in the MIDI TH parameter.  Set MIDI TH to ON and this will enable MIDI Through on the pedal.

Set MIDI Through on TimeLine, BigSky, Mobius

MIDI and TimeLine, BigSky, and Mobius

With TimeLine, BigSky, and Mobius, MIDI can be used to control the presets and parameters of the pedal externally from a MIDI Controller or from another MIDI equipped Strymon pedal.  You would just need to make sure that the MIDI controller and the Strymon pedals are set to communicate on the same MIDI Channel.  MIDI Channel 1 is set as the default MIDI Channel on the Strymon pedals.  To change the MIDI Channel, go into the pedal’s GLOBLS menu by pressing and  holding the VALUE encoder button down for a few seconds.  Then, turn the VALUE encoder to the MIDI CH parameter and press VALUE once again.  Here you can select the MIDI Channel you would like to use to control the pedal through.  Once selected, you can exit this menu by pressing the VALUE encoder, then, the TYPE encoder buttons.

Set MIDI Channel on TimeLine, BigSky, Mobius

MIDI Program Change

MIDI Program Change by itself can provide access for up to 128 different presets by sending MIDI Program Change numbers 0-127.  This will correspond to the first 128 presets on TimeLine, BigSky, and Mobius.  The presets on these pedals all correspond to MIDI Program Change messages.  For example, on TimeLine and Mobius pedals:

  • Preset 00A = MIDI Program Change #0
  • Preset 00B = MIDI Program Change #1
  • Preset 01A = MIDI Program Change #2
  • Preset 01B = MIDI Program Change #3
  • etc…

On BigSky, each Bank has 3 presets (A, B, and C) instead of 2 (A and B) like TimeLine and Mobius.  Here is how the presets on BigSky correspond to MIDI Program Change messages:

  • Preset 00A = MIDI Program Change #0
  • Preset 00B = MIDI Program Change #1
  • Preset 00C = MIDI Program Change #2
  • Preset 01A = MIDI Program Change #3
  • etc…

As an example, you can program a switch or button on a MIDI controller to send MIDI Program Change #0 to a Strymon pedal and it will recall the first preset (00A) on the pedal.  Keep this in mind when programming the rest of the controls on your MIDI controller so that you can recall the presets that  you like using MIDI messages.  We will cover additional MIDI messages in a future blog post on using MIDI with our pedals.

Have any questions? Post them below! Need some help setting up MIDI with your Strymon rig? Send us an email at and we’ll help you out.

Pedalboard Feature: Matthew Stevens

Posted by Angela

matthewstevens300Jazz guitarist Matthew Stevens  just released his debut album Woodwork, after working on numerous albums with Walter Smith III, Justin Kauflin, and Harvey Mason. Recently, Matthew has been touring with Esperanza Spalding and will be doing several solo shows around the U.S., Europe, and Japan. Learn more about Matthew and his gear below!

What kind of pedalboard is this, and what is your signal path?

This is a Pedaltrain board that has been added on to and customized by Matt Brewster who owns 30th st. Guitars here in New York. My signal path is Guitar > Boss TU2 > Fulltone OCD > Strymon Deco > Boss DD7 > Earthquaker Disaster Transport Jr. > Tech 21 Boost R.V.B > Strymon blueSky > 2 Vox AC 30s W/ Green Back Speakers. I’m very happy with it and have been especially blown away by the tape saturation on the Deco—it’s the most natural sounding and responsive overdrive I’ve ever used.


Can you tell us about your debut album Woodwork?

WoodworkCover300It feels good to share an album that I feel captures the musical world that I am trying to create with such a fantastic group of musicians (Gerald Clayton, Eric Doob, Vicente Archer, and Paulo Stagnaro). I wrote all the material except for a cover we do of a Bowie song called “Sunday” and produced the record as well, so I was in control of each element of the process. I wanted to feature the guitar as the main voice, like the lead singer of the band, and the result is what I feel is the truest recorded representation of my musical voice to date.

You have been involved with numerous albums for many different artists, how different was it to work on your own album?

It was very different. Just the amount of responsibility alone was far greater. When you are working on someone else’s album, your primary responsibility is bringing to life that person’s musical vision, followed by being prepared to play at your best and to use your voice to enhance the overall sound of the music. When recording your own album, not only are you responsible to be playing at your best, but you have to be deeply in touch with what the overall aesthetic is that you are trying to create and to be able to lead everyone else in the right direction towards realizing that sound. And that’s not even getting into the logistics which even with the help and support of a label is still a lot to manage. All that being said, making this record has been the most fulfilling thing that I’ve done in my career thus far.

You currently are on tour with Esperanza Spalding. Can you tell us a bit about that experience?

It’s been a lot of fun! So far we’ve done about 6 shows with this new project and we are heading out for about a total of 6 weeks on the bus this summer in the U.S. Esperanza wrote some amazing music and with the core power trio of guitar, bass, and drums, it really reminds me of a cool mix between Joni Mitchell, Creme, the Police and Esperanza’s own very personal sounding music. It was also a blast to get the chance to work a bit with Tony Visconti, who co-produced the record.

What is hot right now in the Jazz scene? Is there any particular Jazz clubs that need to be put on the must go to list?

Well, my personal favorites are the Village Vanguard, The Jazz Standard and the 55 bar in NYC, The Blue Whale in LA, The Bohemian Caverns in DC, Snug Harbour in New Orleans, Wally’s Jazz Cafe in Boston, The Rex in Toronto, and the Green Mill in Chicago. If you ever have the chance to go to any of those clubs, I wouldn’t miss them!

Do you have a bit of advice for an up and coming Jazz guitarist?

My bit of advice would simply be to practice diligently every day for as long as you can possibly concentrate, and also to listen to a lot of music (jazz and otherwise) and to make a study of it’s history, and vocabulary.

This Week’s Preset – Eli Maiman’s “Shut Up and Dance” and “Different Colors”

Posted by Michael

This Week's Preset - TimeLine Delay
This edition of This Week’s Preset is brought to you by Eli Maiman from Walk the Moon, who shares three different TimeLine presets that can be heard on Walk the Moon’s “Shut Up and Dance” and “Different Colors.”  A big thanks to Eli for sending in these presets — we know you’ll dig them!


» Click here to read the rest of the article »

This Week’s Preset – Joe King’s “Starlight”

Posted by Michael

This Week's Preset - BigSky ReverbRemember a few weeks back, when we asked you to send us your favorite Strymon presets?  Well, we’ve received some amazing submissions – one of which we’re sharing with you today.

This Week’s Preset is extra special – not only is it a customer submission, it includes three different presets!  These presets come from Joe King, who demonstrates how he captures the lead tone from Muse’s “Starlight” during live performances using BigSkyTimeLine, and Mobius.  Check out the video below to hear the preset and learn how Joe dials in this unique sound.

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This Week’s Preset – Kevin Armstrong’s “Passenger” Preset

Posted by Michael

This Week's Preset - TimeLine DelayThere aren’t many professional guitarists who can claim to have worked with as many musical icons as Kevin Armstrong. In a career spanning 35 years he has clocked-up miles with some of the most influential artists of the era as a guitarist, songwriter, producer and musical director.

His credits include the likes of Thomas Dolby, David Bowie, Iggy Pop (with whom Kevin will be touring in June 2015), Morrissey and Sinéad O’Connor  – not to mention his stint playing for the original Jonathon Ross show’s live band where he played with greats such as Tom Jones, Roy Orbison, and Sir Paul McCartney.

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TimeLine / MultiSwitch looping demo videos

Posted by Ethan

TimeLine - Looper Pedal - Live Looping
Our TimeLine delay pedal provides you with twelve different delay machines, each with extensive control over sonic character and feel. Under the hood is a 30-second stereo looper, which can be routed pre- or post-delay—allowing you to record delay to your loop, or saturate your recorded loop in echoey goodness. When in TimeLine’s looper mode, you can access Record/Overdub, Play, and Stop for a fun and effortless looping experience.

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This Week’s Preset – We Want to Hear From You!

Posted by Michael

Over the last few months, we’ve been cooking up new presets for BigSky, TimeLine, and Mobius to share with you on our blog series – This Week’s Preset.  The original idea stemmed from our desire toThis Week's Preset - BigSky Reverb connect with our friends and fans creatively – through new, exciting, often experimental sounds.

However, this time we want to hear from you!  Send us your own preset, whether it’s your go-to favorite, something you’ve been experimenting with, or one you came up with at 3AM during a Netflix binge.  It can be a preset or favorite setting from any Strymon pedal, and you can share it with us however you like – whether it be in our blog comments, on Twitter, Instagram, or Facebook, or by emailing

Our favorite presets will be selected to appear in upcoming installments of This Week’s Preset!

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Gear Guide: How to Update Your Firmware

Posted by Hugo

With the release of our new MultiSwitch, we have created new firmware for TimeLine, BigSky, and Mobius to allow you to access the new features that MultiSwitch offers. The Strymon Preset Librarian software can be used to update the firmware on your TimeLine, BigSky, or Mobius directly within the application.  Below are instructions that illustrate how to update your pedal with the Librarian software.


In order to connect your pedal to the Librarian you must use a robust MIDI to USB interface with developed drivers for your computer’s specific operating system version.  Some MIDI Interfaces that will work with our products are the Roland UM-ONE, Yamaha UX-16, and M-Audio MIDISport Uno.  Make sure to connect the MIDI OUT from your interface to the MIDI IN port of your Strymon pedal and the MIDI IN from the MIDI interface to the MIDI OUT port on your Strymon pedal.


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TimeLine Looper Revisited

Posted by Michael

While I can’t say I possess the looping skills of the guy across the office (State Shirt), I am definitely a fan of looping – whether done live or in the studio.   This week, let’s take a look at some artists who are putting TimeLine’s built-in Looper to good use.

Mikhail Medvedev builds an amazing ambient song using just TimeLine and his guitar.

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(Even) More, More, More

Posted by Angela

Several months ago we featured our first Instagram Video is a Tease blog. At the time I didn’t think I’d be doing another one, but as I continue to watch Instagram videos, I still find myself saying to some of them “more, more, more” when the 15 seconds is up.

Here is a new batch of Instagram videos that just as you close your eyes and start getting into it, the video ends and leaves you yearning for more.

» Click here to read the rest of the article »

This Week’s Preset: TimeLine – “Stranger” from Boy & Bear

Posted by Angela

Remember our Pedalboard Feature a few months back with Killian Gavin, guitarist for Boy & Bear?  This Week’s Preset comes straight from Killiankilliangavin, who shares with us the TimeLine presets he used for Boy & Bear’s song “Stranger.”

TimeLine Preset “Double”

When recording “Stranger,” I used two different settings.

1.) The basic delay sound I used for the song’s guitar tracks was a simple Double Delay, in series to two amps. I often use two delays to give a bit more spread/width in my sound.  Playing live, I’ve found the Dual delay on the TimeLine really handy to achieve this.

Dual – delay time is roughly 540ms. I tap it in live.
Time 2 – 1/2
Repeats – Track
Mix 2 – Track
Highpass – Off
Config – Series
Tap – Qtr

“Double” is the name I gave it.



TimeLine Preset “Synth”

2.) The second setting on this song I created was a synth-like sound. You hear it on the guitar melody line in the chorus. Really cool sound. The only extra thing to note is I used a Strymon Ola Vibrato in front of the TimeLine to add swirl and modulation — fast speed, medium mix.

Ice – 200ms
Interval – Oct.5th
Slice – Medium
Blend – Dead middle of the range | || |
Smear – Fully smeared |||| |||| |||| ||||
Highpass – Off
Tap – Qtr



Below is an audio sample from Boy & Bear’s “Stranger”

Thanks to Killian Gavin from Boy & Bear for sharing This Week’s Preset with us!  Remember to share your own presets with us by either posting them in the “comments” section or posting to Twitter using hashtag #strymonpreset !

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