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But enough for now of the clever stuff inside the box, let's take a look around the back, where the selection of inputs and outputs is impressively 'professional'. There are stereo outputs for taking advantage of the various stereo reverb, delay and modulation effects and, more unusually, stereo inputs as well. These aren't much use for guitar, but open up the possibility of using the M13 with other gear.
You can do all the usual data storage via MIDI, as well as remotely controlling scene and FX changes and operating the looper. Unusually for an all-in-one multi-FX unit, the M13 has a stereo effects loop. Even better, you can position the loop where you want in the signal chain, opening up a huge range of connection possibilities. Obviously, you don't have to go to those lengths; you could easily just use the effects loop to add a couple of cherished stompboxes to the M13's signal chain.
After all these years of POD-ism, it seems strange to be unpacking a new Line 6 product and not plugging it straight into a mixing desk. However, the M13 is a stompbox modeller, so it's back to the amp - how retro. To give you a random sample, there are eight types of fuzz seven of which are models of vintage classics , three types of tape echo, three phasers and a number of more outlandish effects based on guitar synths, filters and voice boxes.
It's instantly apparent that the M13 has been created primarily for use with guitar amps rather than line-level connections; the sounds have a crisp 3D quality that is often lost when you plug modelling units into guitar amps. The reverbs, in particular, are crisp and detailed, even in mono through a small valve amp. The factory preset scenes give a good idea of what the unit can do, showing that you can easily have multiple instances of the same effect type in a chain. Four delay pedals in series, anyone?
The one thing we missed at this point was a proper master volume control; it'd be nice to be able to adjust the overall output from the M13, rather than the amp which may have to be set at a particular gain level to maximise clean output, for instance. The colors match the original Line 6 stompbox modelers as shown below:. This means the lights not only tell you which stompboxes are activated, but they also tell you what type of effects are activated. So when you look down, you will instantly know what type of effects are being used and which footswitch controls each effect.
To show how useful this is, take a look at the below photo and think about what type of effects are currently active in each column:. Immediately we know that there is a distortion active in the first column yellow , a filter in the second column purple , a modulation in the third column blue and a delay in the fourth column green. So if you wanted to turn off the delay, you would simply look for the green light and hit the relevant footswitch.
Color coding is definitely the way to go! What makes the M13 different to other multi-effects pedals is the layout. Most multi-effects units use banks and presets and to move between different combinations of effects you have to move through different banks. The M13 is designed to look and act similar to a pedalboard filled with individual stompboxes. You are presented with a grid or matrix of four columns the column on the far right controls other features and three rows.
This gives you twelve footswitches which can individually be loaded with up to 12 stompboxes. You can assign any type of effect in any position although I would recommend grouping your effects based on the columns eg: keep all your delays on one column. At the top of the M13 you will see four LCD screens with six dedicated controls for each screen.
This layout acts exactly like a stompbox. The knobs control the assigned stompbox effect in the same way a real stompbox has knobs you control in real-time. This style of control is very similar to the Zoom G5 which is the easiest control layout on a multi-effects pedal I have ever used. We know it is distortion because the screen lights up as yellow. The six knobs control the six parameters you see the first one changes the effect type.
So for example, if you wanted to increase the mid-range, you would simply turn the lower left knob up and you would see the screen change in real-time. This is a unique feature to the M13 and is a result of the matrix style layout. The basic idea is that you can load up to 12 effects on the pedalboard at one time and save that layout to a scene.
Examples of practical uses of this would be to dedicate a scene for different songs in your setlist, different scenes for different styles of music, different scenes for different types of rigs. You can save 12 scenes per folder and can have up to four folders.
That means you have up to 48 scenes in total you can save to the M The earbuds reach up to 6 hours on a single charge , and the case can recharge them four times before needing new power itself. The Mpow M13 has touch controls, which activate by tapping the round part of the bud.
All the desired controls are there:. Connectivity is good. The Bluetooth signal holds stable up to meters away from your device, and you can switch seamlessly between using one or two earbuds - for example, if you want to charge one bud if you listen to the other. Music doesn't automatically pause when you take a bud out. Watching videos is a breeze with the Mpow M You'll encounter flawless synchronization between audio and video on both iPhone and Android phones. There is a noticeable delay in sound effects when you're playing games, however, and the M13 doesn't have a low-latency mode to tackle this.
Phone calls aren't a strong suit of the M Your voice has enough volume, but it can be as if there's a cushion on your voice. You can sound a bit dampened, especially when the Mpow tries to reduce noises from your surroundings.
Traffic passing, nearby chatter, and especially wind don't sound loud on the line, but they reduce your voice output heavily. A phone call in a quiet indoor area is fine. It's not advised to enter a video call with these. Your voice sounds soft, hollow and fragile in Microsoft Teams or Zoom meetings. Meanwhile, brighter sounds from your surroundings come through loud.
The Mpow M13 sound is easy to describe: warm and smooth. The M13 has a steady bass thump that behaves well. The mid-bass doesn't pump too heavy in your ears, nor does it show much texture, but it provides drums and electronic bass in hip-hop or dance genres with plenty of energy.
The sub-bass the bass you can feel as much as hear also has some power. It rumbles controlled and dives fairly deep, as always, perfectly shown in James Blake's Limit to Your Love.
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