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Line 6 DM4 Distortion Modeller

 

Line 6 Distortion Modeller reviewed by The Man in the Jar

All models were run into a clean amplifier.

Features of the Line 6 DM4 Distortion Modeller

Construction - A class metal construction, this little unit looks and feels like a tank. 

Ins and Outs - One in and one out with an input for an optional expression pedal.

Power - 4 x C-type batteries (included) or 9 volt PSU (not included).

Controls - Six knobs set in a recessed panel. The first is a selector switch for the 16 modelled effects. This is followed in-line by Drive, Bass, Mid, Treble and Volume. The last four of those take on other functions such as Jet Rate and Feedback depending upon the model chosen. The manual suggests appropriate settings for each model that you are then free to tweak ad nauseum. Four footswitches provide homes for your four favourite presets.

Sounds of the Line 6 DM4 Distortion Modeller

Boost/Comp - based on the MXR Micro Amp - Classic, full blown rock sound with edge and bite, think of Lizzy's Jailbreak. The advantage here is the Line 6 EQ section which adds great versatility to the original MXR's single Gain control;

Tube Drive - based on the Chandler Tube Driver - Less full-on with a definite valve warmth and consequent sustain. I preferred a more overdriven setting than suggested in the manual;

Screamer - based on the Ibanez TS-808 Tube Screamer - This is a fuller more "middley" distortion than the previous models, better suited to bluesier soloing;

Overdrive - based on the DOD Overdrive Preamp 250 - I really liked this one. Whacking up the Drive control really pumps out a high distortion lead sound with a glassy brittle edge. Again the advantage over the original is the available EQ which adds broadness to the available sounds;

Classic - based on the ProCo Rat - A full-bodied "Recto" style of overdrive. Excellent percussive presence on the strings and a sustain that feeds back extraordinarily well;

Heavy - based on the Boss MT-2 Metal Zone - This is a double dose of the Classic channel! There's huge sensitivity on the attack. If you're good enough to control this one you'll be rewarded with excellent dynamics in a very heavy guitar sound;

Colordrive - based on the Colorsound Overdriver - I've used one of these in the dim and distant past. This model retrieves that excellent vintage sound. Engage the neck pickup and let go with some heavy electric blues...marvellous;

Buzzsaw - based on the Maestro Fuzz Tone - Flicking onto this setting from the previous ones is a bit disconcerting as it lacks the complexity of its stable-mates. I was wondering what to do with it until I read in the manual that Keith Richards used one of the originals. Play the "Satisfaction" riff and it all falls into place;

Facial Fuzz - based on the Arbiter Fuzz Face - I used to own one of these, I wonder if it's still in my Mum's attic.  The Fuzz Face delivers a far darker tonal pallette and I found that it worked best with the bridge pickup only which injects a bit of brightness into the sound;

Jumbo Fuzz - based on the Vox Tone Bender - Bigger and Fatter than the Fuzz Face and it liked it better for that. Jimmy Page was amongst the users of the original model;

Fuzz Pi - based on the Electro-Harmonix Big Muff - This delivers relentless sustain and a big overly-fat sound. Again I preferred to use the added brightness of the bridge pickup alone. This is a true classic that you're really going to enjoy;

Jet Fuzz - based on the Roland Jet Phaser - I'm an absolute sucker for Jet Phasing. Running in tandem with fuzz it adds an extra dimension to power chords and chugging rhythms. Love it;

Line 6 Drive - inspired by the Colorsound Tone Bender - Line 6 can never resist a brush with Dr Frankenstein. Here they create a Tone Bender with three Super Tone Controls;

Line 6 Distortion - Still in Frankenstein's lab the Line 6 loonies created something, in the words of their own manual, "completely over the top."   Insane...;

Sub Octave Fuzz - inspired by the PAiA Roctave Divider - A jelly-like double octave shift can be mixed into the original signal. It seems to need decent power from the guitar to maintain accuracy, so use both pickups if needs be. The fuzz element of this model is a Line 6 hybrid;

Octave Fuzz - inspired by the Tycobrahe Octavia - A high octave shift is added to the original signal. Jimi Hendrix was a pioneer of octidividing but few of us are regular users today (although I do cherish my Dano Beyond Metal). These two Line 6 models let you take it both ways.  

 

Overall Impressions of the Line 6 DM4 Distortion Modeller

I have become a great fan of modelling technology in all its various guises. The guitarist starting out today not only has far better quality equipment available, that equipment is becoming far more versatile. With the continuing development of modelling today's players have a palette of almost effortless classic, vintage and contemporary tones through which to express their playing ability.
Within the world of modelling I have a bit of a soft spot for Line 6. They approach their work with a humour that shines through in their exhaustive manuals. I think Line 6 are at their best when recreating the sounds of vintage equipment, and for that I can forgive them their Freaky Frankenstein moments.
The DM4 is not cheap, but the range of modelled effects is pretty comprehensive. If you play hard rock or metal in any of its various forms the DM4 has a highly desirable range of gigging effects all in one compact and durable package. The provision of four programmable presets makes your job on stage an absolute doddle. And if you play "Satisfaction" in your set then the DM4 is a must-have, just to get the Maestro clone.

Keeeeeef...What are you doin' here, man.....?   

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