®

METALLURGY
Metallurgy Collection
Metallurgy: DoomMetallurgy: Modern
Metallurgy: Thrash

Pilot’s Guide

A guide to the features and functionality of the Line 6 Metallurgy plugins and standalone apps
Rev. A (v1.0) 		 						www.line6.com 			© 2022 Yamaha Guitar Group, Inc. All rights reserved.

Contents
Welcome to Metallurgy������������������������������������������������������������������ 2

Amplifier View������������������������������������������������������������������������������26

Features������������������������������������������������������������������������������������������������������������������������� 2
Requirements and Installation�������������������������������������������������������������������������������������� 2
Purchasing the Software License��������������������������������������������������������������������������������� 3
Authorizing Your Computer������������������������������������������������������������������������������������������� 4
Line 6 Marketplace�������������������������������������������������������������������������������������������������������� 5
Checking for Updates��������������������������������������������������������������������������������������������������� 6

Amp Model Selectors�������������������������������������������������������������������������������������������������� 26
Doom Amplifier Models����������������������������������������������������������������������������������������������� 26
Modern Amplifier Models�������������������������������������������������������������������������������������������� 28
Thrash Amplifier Models��������������������������������������������������������������������������������������������� 30

Quick Start�������������������������������������������������������������������������������������� 7
Mono and Stereo Track Plugin Functionality���������������������������������������������������������������� 9
Live Input Monitoring Through the Plugin��������������������������������������������������������������������� 9
GUI Overview�������������������������������������������������������������������������������������������������������������� 10

Toolbar Controls��������������������������������������������������������������������������� 12
Preset Browser������������������������������������������������������������������������������������������������������������ 12
Preset Tempo Control (Standalone App)�������������������������������������������������������������������� 13
A/B Compare��������������������������������������������������������������������������������������������������������������� 14
Undo and Redo����������������������������������������������������������������������������������������������������������� 14
MIDI Control���������������������������������������������������������������������������������������������������������������� 15
Tuner���������������������������������������������������������������������������������������������������������������������������� 16
Account����������������������������������������������������������������������������������������������������������������������� 17
Help����������������������������������������������������������������������������������������������������������������������������� 18
Preferences����������������������������������������������������������������������������������������������������������������� 18
I/O Controls, Meters, and View Selectors������������������������������������������������������������������� 19

Utility Drawer�������������������������������������������������������������������������������� 21
Capo���������������������������������������������������������������������������������������������������������������������������� 21
Noise Reduction���������������������������������������������������������������������������������������������������������� 21
Focus Filter������������������������������������������������������������������������������������������������������������������ 21

Cabinet View���������������������������������������������������������������������������������32
Cab View Workflow����������������������������������������������������������������������������������������������������� 32
Cab Panel Options������������������������������������������������������������������������������������������������������ 33
Mixer Panel Options���������������������������������������������������������������������������������������������������� 34
Using Impulse Responses������������������������������������������������������������������������������������������ 35

Post FX View���������������������������������������������������������������������������������39
Doom Post FX Models������������������������������������������������������������������������������������������������ 39
Modern Post FX Models��������������������������������������������������������������������������������������������� 41
Thrash Post FX Models����������������������������������������������������������������������������������������������� 42
Using the Delay Sync Options������������������������������������������������������������������������������������ 43

Plugin Parameter Automation�����������������������������������������������������45
Automating a Parameter��������������������������������������������������������������������������������������������� 45
Writing Parameter Automation������������������������������������������������������������������������������������ 47

Standalone Application����������������������������������������������������������������48
Application Preferences: Configuring Your Device & Tempo Settings����������������������� 48
Post FX Delays - Tap Tempo and Note Sync�������������������������������������������������������������� 49
Application Menus������������������������������������������������������������������������������������������������������� 50

Additional Resources������������������������������������������������������������������� 51

Pre FX View����������������������������������������������������������������������������������22
Doom Pre FX Models�������������������������������������������������������������������������������������������������� 22
Modern Pre FX Models����������������������������������������������������������������������������������������������� 23
Thrash Pre FX Models������������������������������������������������������������������������������������������������� 24© 2022 Yamaha Guitar Group, Inc. All rights reserved.
Line 6, the Line 6 logo, Metallurgy, POD, Helix, and HX are trademarks or registered trademarks of Yamaha Guitar Group, Inc. in the U.S. and/or other jurisdictions. Apple, Mac, macOS, and Logic Pro are trademarks of Apple, Inc., registered in the U.S. and other countries. Windows is a registered trademark of Microsoft Corporation in the United States and/or other countries. ASIO, Cubase, Nuendo, and VST
are registered trademarks of Steinberg Media Technologies GmbH. Avid and Pro Tools are registered trademarks of Avid Technology, Inc.

Welcome to Metallurgy•••

Thank you for purchasing the Line 6® Metallurgy™ software, a focused collection ofguitar amp, cab/IR, and effects models sonically engineered for metal guitar styles.
Metallurgy software is available in three different versions: Metallurgy: Doom, Metallurgy: Modern, and Metallurgy: Thrash—available individually or bundled within the
Metallurgy Collection. Each version runs as a plugin within all popular DAW hostapps, or as a standalone application, on Mac and Windows® computers.

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Multiple stompbox effects and stereo post-amplifier effects
Studio-grade noise reduction, room microphone simulation, and chromatic tuner
High-quality, polyphonic pitch shifting “Capo” for up or down-tuning
4-band parametric equalizer
Oversampling for superb audio quality
Photorealistic graphics and modern design
Custom presets crafted for producers, artists, and engineers
External MIDI control support with MIDI Learn
64-bit plug-in for AAX, Audio Unit, and VST3 hosts
Standalone application for “Plug & Play”

Requirements and Installation
Ready to jump in? The latest Metallurgy software installers for Mac & Windows computers can be downloaded from the Line 6 Software page—either individually or bundled within the Metallurgy Collection.* Once installed, a free 15-day trial is available,
allowing you to fully try the software on your system. After 15 days, you are required
to purchase and authorize the software to continue using it on your system. Pleasecheck the requirements below to make sure your computer and DAW software meetthe minimum requirements.

System Requirements
To follow are the requirements to install and use the Metallurgy software on your DAW
computer system. Note that all Metallurgy plugins are 64-bit and, therefore, requirethat your host DAW application supports 64-bit plugins.

The Metallurgy: Modern Plugin - Amplifier View

This guide contains details covering all Metallurgy plugin and standalone application
features and functionality. Since the user interface and workflow is very similar foreach of the three Metallurgy versions, all are described collectively here, with any
unique features called out where applicable.

Mac Computers:•

All behaviors are also the same on Mac and Windows computers, for all plugin formats(AAX, AU, and VST®3) and for the standalone apps, except where otherwise noted.
For the most part, the many host DAW applications on the market work very similarly
regarding how you insert and utilize effects plugins. However, each host may havesome unique features and settings you’ll want to take advantage of, so be sure to readthrough your host DAW application’s user documentation as well.

•

Windows Computers:••

Core i5 2.6 GHz processor or faster8 GB of RAM• 200 MB of free disk space• Internet connection required for license authorization and use of trial version• DAW host software to support AAX, AU, or VST3 plugin• Audio interface for DAW host app and the Metallurgy standalone apps (mustinclude an ASIO® device driver for Windows)*Please refer to the Metallurgy installer’s Release Notes and Line 6 Support for specificdetails about support with the very latest Mac and Windows operating system versions.
•

Although the Metallurgy titles are designed with a specific genre in mind, each ismuch more than a “one-trick” guitar plugin or standalone app. You can configure a fullsignal path, including your choice of stompbox effects, amp, multiple speaker cabs
(or Impulse Responses), with options for mic types and positioning, EQ, and postpositioned time-based effects—all within a simple, but powerful, user interface.
•••

Windows 10 and Windows 11 (64-bit versions only)*
For plugins: 64-bit AAX Native, or VST3 host DAW software

Minimum Hardware Requirements

Features•

macOS 10.14 and later*
For plugins: 64-bit AAX Native, Apple Audio Unit (AU), or VST3 host DAW software•

Specially curated HX amplifiers
Expertly captured speaker cabinet IRs
Mic models with adjustable positioning
IR mixer with user IR loading

2

Installing Metallurgy

NOTE: The preceding image shows the Metallurgy Collection installer—if you’re runningone of the individual product installers, you’ll see only the AU, VST3, AAX plugins and theStandalone app for the individual Metallurgy product.

The first step is to sign in to your Line 6 User Account. If you don't already haveone, just go ahead and create one now at line6.com/account—all the cool kids
have one, and it's free! Then follow the steps below.
NOTE: An Internet connection is required for the computer on which you want to installand run the Metallurgy trial version, as well as for license authorization & deauthorization.
License authorization on your computer is required for the use of Metallurgy plugins andstandalone apps.

1.

2.

Once signed in, you can head directly to the Line 6 Store page and purchaseyour Metallurgy Collection or individual Metallurgy Doom, Modern, or Thrashlicense (see “Purchasing the Software License” on page 3), or proceed
to the next step to install the Metallurgy software on your computer andoptionally choose the 15-day free trial.

4.

Launch your host DAW application and it will scan and find the Metallurgy
plugin(s) and list them within its audio plugin insert menus. Or, launch theMetallurgy standalone application.

5.

Insert the Metallurgy plugin on a track within your DAW project (see “Quick
Start” on page 7). You'll see the license authorization screen on the initiallaunch of the plugin or standalone app.
••

Go to the Line 6.com/software page and download the full Metallurgy
Collection software installer for your Mac or Windows system. (You canchoose to install just Metallurgy titles using the Collection installer, or
optionally download just the individual Metallurgy product installer.)

If You Have Already Purchased a Software License - You'll be prompted
to authorize the computer for this license—please skip ahead to “AuthorizingYour Computer” on page 4.
If You Have Not Yet Purchased a Software License - You can either choose
to purchase now (see the next section), or start a 15-day free trial (see “To Use
Metallurgy in Trial Mode” on page 4). Once the trial expires, it is necessary to purchase and then authorize on the computer with which you will beusing Thrash, or the plugin/app will no longer be functional.

Purchasing the Software License
The full Metallurgy Collection or individual Metallurgy Doom, Modern, or Thrashlicense is available for purchase from the Line 6 Online Store. Just add the software
to your shopping cart, checkout, and, through the power of the Interwebs, a software
license is immediately deposited into your Line 6 User Account. Alternatively, you canfirst download and install the software and then choose to purchase or run it as afree trial first (see the preceding section). Once you've purchased the license, use theAuthorization screen on launch to authorize your computer, as covered in the following
section.
The line6.com software downloads page3.

Exit your host DAW and all other applications, then run the installer andfollow its steps to complete the installation (yes, we do recommend readingeach screen before just clicking to the next!).
If desired, you can select only the plugin format(s) you require (AAX, AU, or
VST3) for your particular host DAW application, and optionally whether you
want to install the standalone app.

Mac - Custom install options(click the Customize button to access options)Windows - Custom install options

3

Authorizing Your Computer

To Purchase the Software License
Click the Buy button for either the full Metallurgy Collection or individual Metallurgy
software and follow the steps on the secure Line 6 Online Store. Once complete, asoftware license will be deposited into your Line 6 account. Your purchased license
will be found and your computer will be authorized to run the software.

Before you can use the Metallurgy software, the computer on which you will be running must be authorized for your purchased software license. Authorization is accomplished within the plugin or standalone app’s built-in Authorization screen, via an Internet connection directly from your DAW computer. Once you've installed the Metallurgy
software, insert a plugin instance, or launch the standalone app. (See “Quick Start”
on page 7 .)1.

To Use Metallurgy in Trial Mode
Click the Start Free Trial button for the Metallurgy software and you'll be able to use
it without restriction on this computer for 15 days (an active Internet connection isrequired for the Trial Mode). You may be prompted to sign in for each session whenusing the software in trial mode. After the trial period expires, the Metallurgy plugins andstandalone apps will no longer be functional unless you choose to purchase the software
license.

Sign in - Once launched, the sign in screen is displayed, prompting you tosign in using your Line 6 User Account username and password. (Note thatyour username is typically the name you created when creating the accountand not your email address!)

NOTE: Once you’ve started the free trial version, you’ll see your remaining trial time displayed with your account sign in name at the top of the plugin window. Click directly on
the indicator if you wish to purchase your Metallurgy license.

Deauthorizing - Moving to Another Computer
Once you have purchased the software license and authorized your computer (or,when using the free trial version), if you wish to run the Metallurgy plugins or standalone apps on a different computer, it may be necessary that you first deauthorize yourcurrent computer.

The initial Authorization - Sign In screen
NOTE: Once a Metallurgy Collection or individual license is purchased and your computer successfully authorized, you will no longer be prompted to sign in on each use.
Being actively signed in is then only necessary to deauthorize your computer, and to initially sync the license of any new purchases you might make from “Line 6 Marketplace”
•

•

2.

Click on the Toolbar’s Account button menu to Sign In to your Line 6 account, thenchoose Deauthorize Computer from this menu. (Also see “Account” on page 17).

If you have an existing Line 6 account but forgot your login - Click the
Forgot password/username? option and follow the steps to reset your login
credentials.
If you don't yet have a line 6 account - Click the Create a Line 6 Accountlink to create one. Or you can do that right now by going here—it's free!

Enter your username and password and click Sign In to proceed.
••

Selecting Deauthorize Computer from the Account button menu

If you have already purchased your Metallurgy product's license with thisLine 6 Account - Upon signing in, select the Authorize Computer option andyou should see confirmation that your computer is now successfully authorized.* You can now start using your Metallurgy software!
If you have not yet purchased your Metallurgy product's license - You'll be
informed that no license was found on your Line 6 account, and you'll have theoption to buy it now, or start a free trial.

Once you’ve deatuhorized the computer, authorize it again at any time by performing
the Sign In to your account from the Account menu. In this scenario, since you had
previously authorized this computer, it is automatically authorized upon a successful
sign in.
NOTE: Be sure to Sign In using the same Line 6 Account you used when making thesoftware license purchase!

NOTE: Be sure to Sign In using the same Line 6 Account you used when making thelicense purchase!

4Line 6 Marketplace

Removing Metallurgy
Should you ever desire to remove Metallurgy from your computer system, first quit
your host DAW or standalone application, then follow the instructions below.

Mac
To uninstall Metallurgy plugins and standalone apps, move the following files to theTrash.
Doom:
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AU plugin: /Library/Audio/Plugins/Components/Doom.component
VST3 plugin: /Library/Audio/Plugins/VST3/Line 6/Doom.vst3
AAX plugin: /Library/Application Support/Avid/Audio/Plugins/Line 6/Doom.
aaxplugin (or, you can optionally drag the Doom.aaxplugin file into the/Plugins (Unused) folder)Standalone: /Applications/Line6/Doom/Metallurgy Doom.app

Be sure to visit the Line 6 Marketplace online shop, where you’ll find 3rd-party add-on
assets that further enhance the functionality of Line 6 software and hardware devices.
Available now are professionally crafted presets and IRs that can be instantly purchased and added to your Metallurgy software. An Internet connection is required
for the computer to use Metallurgy plugins and standalone apps to initially sync andauthorize the licenses to use Marketplace premium assets.

Modern:••••AU plugin: /Library/Audio/Plugins/Components/Modern.component
VST3 plugin: /Library/Audio/Plugins/VST3/Line 6/Modern.vst3
AAX plugin: /Library/Application Support/Avid/Audio/Plugins/Line 6/Modern.
aaxplugin (or, you can optionally drag the Modern.aaxplugin file into the/Plugins (Unused) folder)Standalone: /Applications/Line6/Modern/Metallurgy Modern.app

NOTE: The authorization required for your Metallurgy Collection, Doom, Modern, or Thrash
software license also covers the use of any Marketplace premium assets on up to four of
your computers. Please see “Authorizing Your Computer” on page 4.

Get Your Marketplace Assets
Access the Line 6 Marketplace website at https://line6.com/marketplace/) and sign
in to your Line 6 account.* When browsing the Marketplace site, simply choose thedesired packs of presets or IRs, add them to your cart, and check out.

Thrash:••••AU plugin: /Library/Audio/Plugins/Components/Thrash.component
VST3 plugin: /Library/Audio/Plugins/VST3/Line 6/Thrash.vst3
AAX plugin: /Library/Application Support/Avid/Audio/Plugins/Line 6/Thrash.
aaxplugin (or, you can optionally drag the Thrash.aaxplugin file into the/Plugins (Unused) folder)Standalone: /Applications/Line6/Thrash/ Metallurgy Thrash.app*NOTE: Be sure to sign in to the same Line 6 user account with which you purchased your
Metallurgy software license so that your Marketplace licenses are deposited into the sameaccount!

Once you've made a Marketplace purchase, use the following steps to start using
your new assets.
1.

Windows
To uninstall all plugin formats and the standalone application:••

Click the Start button, choose Settings > Apps & Features, and select thedesired Metallurgy uninstaller.
• If you've installed the full Metallurgy Collection, select the Line 6 Metallurgy
Collection Uninstaller• If you've installed an individual Metallurgy software, select its uninstaller:
Doom Uninstaller, Modern Uninstaller, or Thrash Uninstaller.
Click Uninstall and follow the on-screen instructions to remove the software.

To download your purchased assets, click on the Manage Account commandfrom the Metallurgy plugin or standalone app Toolbar’s Account menu (orgo directly to https://line6.com/account/), sign in to your account and selectMarketplace Downloads from the Hardware & Software section at the left.

Each Marketplace purchase is downloadable as a “zip” file that you’ll needto “unzip” on your local hard drive once downloaded.

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2.

Licenses for your purchased assets are automatically added to your Line 6
account, and “synced” the next time you use an instance of your Metallurgy
plugin (or next launch of your Metallurgy standalone app) when actively
signed in to your Line 6 account from the Account menu.

3.

Once you’ve signed in and authorized your computer for use with theMetallurgy software, your computer is also authorized for your premiumMarketplace assets—your presets and IRs can then be imported and usedjust like any other presets and IRs.

4.

Premium Marketplace presets and premium Impulse Responses appear witha golden guitar pick “badge” within the Metallurgy Presets and IR Browser
windows. (See page 12 and page 35 for more about loading presets andIRs.)

Checking for Updates
Choose Check for Updates from the Help button menu to check if any new updates
are available for your Metallurgy software. An active Internet connection is required forthis check. It is highly recommended to always use the latest version to benefit fromthe latest features and the smoothest product functionality. The process is as follows.
1.

Sign In - If you have not already done so, click the Toolbar's Account buttonand choose Sign In. Once signed in, click Help - Check for Updates.

2.

If a newer software version is available, you’ll be prompted.

3.

Click OK in the prompt window to launch your browser and download
the Metallurgy Collection or individual Metallurgy software installers fromthe line6.com website. (You may be prompted to sign in to your line6.com
account on the website before downloading.)
Read the License Agreement, click OK to proceed, and choose yourdownload location on your computer to start the download.
IMPORTANT! You must first exit any DAW host and Metallurgy standalone applications
before running the downloaded installer.

4.

Double-click on the downloaded Installer file and follow the installer screens’
steps to install the new version.

The Metallurgy Collection installer (Mac)Once the installation is complete, you are ready to put the newly updated
Metallurgy software to use!

6

Quick Start

Steinberg Cubase
The Cubase® application is offered for both for Mac & PC. Cubase supports the VST3
plugin format.

OK, we know you're eager to jump right in! To follow are steps for adding an instanceof a Metallurgy plugin within a host DAW application's audio track to get you up andrunning.

NOTE: These steps are also very similar with the Steinberg Nuendo® application.

1.

NOTE: As their names suggest, the Metallurgy “standalone” applications require no
host DAW application. You can simply launch them from your computer’s Applications folder or menu—but you’ll need to choose your audio interface options toinitially get up and running. Please see “Standalone Application” on page 48.

Select your audio track within the Cubase project. Within the track's Inspector
at the left of the track (or within the Cubase Mixer window's channel strip forthis track), click on one of the slot's menus in the Inserts section.

You will find the Thrash plugin within your host DAW application's plugin insert menus
along with all other audio effects plugins. The initial steps in any host DAW application
are as follows.
1.

Create a Session or Project in your DAW host application.

2.

Create at least one audio track.

3.

4.

Depending on your host DAW application, it may offer options for “mono”
or “stereo” type audio tracks, or just one common audio track type that canrecord or import either mono or stereo audio, depending upon the hardware
input type you choose for the track. Either way, Thrash plugin can be added
into the effects insert of your audio track.
Record some unprocessed “dry” guitar into the audio track, or importan existing recorded audio file into the track so you have something forplayback.

Inserting Thrash plugin on a Cubase Pro audio track2.

Now you can proceed to insert an instance of Thrash on this track by
selecting it from the host DAW track's effects insert menu. To follow we've
provided examples on several popular host DAW applications.

3.

For the following host DAW examples, we’ll load a Thrash plugin instance—the process is the same if you’re using the Doom or Modern plugins.

7

In the Effects menu, choose Line 6 > Other > Thrash. Note that Cubase offers
both mono and stereo track types. You can simply choose the Thrash plugin
and it will conform to your Cubase track type (see “Mono and Stereo Track
Plugin Functionality” on page 9).
You will then see the Thrash plugin appear in the Effects Insert window. Turnyour monitoring system to a low level, then choose a preset from the plugin's
Preset Browser and hit Play to hear the results.

Apple Logic Pro

Avid Pro Tools

Logic Pro is an extremely popular host DAW for Mac. Logic Pro supports the Apple
Audio Unit (AU) plugin format.

The Avid® Pro Tools® host DAW application for is available for Mac & Windows. Pro
Tools supports the Avid AAX plugin format.

1.

1.

Select your audio track within the Logic Pro project. Within the track's
Inspector channel strip (or within the Logic Pro Mixer window's channel strip
for this track), click on the Audio FX track effects insert menu.

Select your audio track within your Pro Tools project. Within the track header
at the left of the track (or within the Pro Tools Mixer window's channel strip
for this track), click on one of the slot's menus in the Inserts section.

Inserting Thrash plugin on a Pro Tools mono audio track2.
Inserting Thrash plugin on a Logic Pro X audio track2.

In the FX window, choose the Audio Unit (AU) plugin format type and selectLine 6 > Thrash. Note that Logic Pro offers both mono and stereo input track
types, therefore, you'll have different sub-options depending on your track's
type. The Thrash plugin is available for mono and stereo track plugin type
options (Mono, Mono-Stereo, Stereo, and Dual Mono).* Also, see “Mono andStereo Track Plugin Functionality” on page 9).

*NOTE: The Pro Tools Multi-Mono insert plugin option, available on stereo tracks, inserts
two mono instances of the plugin (each accessed via the L and R buttons at the top of
the plugin window). Each instance processes the left and right audio channels of thestereo track independently. Using Metallurgy plugins in this dual mono format allows you toapply different tones to each the left and right audio channels for the track, but will also utilize
2x the CPU power.

*NOTE: The Logic Pro Dual Mono insert plugin option, available on stereo tracks, inserts
two mono instances of the plugin (each accessed via the L and R buttons at the top of
the plugin window). Each instance processes the left and right audio channels of thestereo track independently. Using Metallurgy plugins in this dual mono format allows you toapply different tones to each the left and right audio channels for the track, but will also utilize
2x the CPU power.
Note that some of the Metallurgy plugins’ parameters do not support the Logic Dual Mono Couple feature and, therefore, will not be “linked” for the L and R instances. These include
Amp, Cab, Mic, & IR loading, and the Mixer’s Room Mic and Mic/IR selectors.

3.

In the plugin menu, choose Line 6 > Thrash. Note that Pro Tools offers both mono
input and stereo input track types, therefore, you'll have different sub-options
depending on your track's type. The Thrash plugin is available for all mono andstereo track plugin type options (Mono, Mono-Stereo, Stereo, and Multi-Mono).*Also, see “Mono and Stereo Track Plugin Functionality” on page 9).

Note that some of the Metallurgy plugins’ parameters do not support the Pro Tools Multi-Mono- Link feature and, therefore, will not be “linked” for the L and R instances. These include Amp,
Cab, Mic, & IR loading, and the Mixer’s Room Mic and Mic/IR selectors.

3.

You will then see the Thrash plugin appear in the Effects Insert window. Turnyour monitoring system to a low level, then choose a preset from the plugin's
Preset Browser and hit Play to hear the results.

TIP: Most host DAWs also allow you to insert plugins on Send, Bus, or Aux track types.
Host DAWs differ slightly in their naming and features of these track types, but their main
purpose is to allow you to insert a single instance of your plugin and then route the output
of any number of audio tracks into it to process them using the same effect. This is the preferred way of processing multiple tracks since, obviously, one instance of your plugin utilizes
less CPU power as compared to inserting individual instances on each audio track! Pleaserefer to your host DAW’s documentation for details.

You will then see Thrash appear within the plugin window. Be sure to turnyour monitoring system to a low level, then choose a preset from the plugin's
Preset Browser and hit Play to hear the results.

8

Mono and Stereo Track Plugin Functionality
The Metallurgy plugins are capable of being inserted on a mono or stereo audio track.
Note that, when inserted on a stereo input track, the left and right input signals are collapsed to mono upon entering the plugin. The Cabinet and Post FX Views are capableof applying panning and stereo effects, which you’ll hear in stereo exiting the plugin,assuming your track output and monitoring system are configured for stereo.

2.

Insert your Metallurgy plugin on the track, as described in the previous examples.

3.

Set the track's Record Arm button to “on” so that the track receives audio input.

4.

Activate the track's “Input Monitoring” feature. This is typically a button foundnear the Record Arm button. This feature allows the live track input to be fed
through the DAW track and fed through all plugins inserted on the track.
Record Arm

For DAW host applications that offer the option (e.g., Logic Pro or Pro Tools) to choose
the mono, mono-stereo, or stereo version of the Metallurgy plugin for your track, theplugin will comply and provide mono or stereo output as expected. When inserting amono output instance of any Metallurgy plugin in these host applications, all the plugin’s Cabinet View - Mixer Pan controls and Post FX - stereo Pan and Delay options
appear dimmed, indicating they are disabled to provide a mono plugin signal that isrouted to the host track’s mono output.

Input Monitor

An audio track in Cubase configured with Record Arm & Input Monitoring active
NOTE: When utilizing your DAW track’s “Input Monitoring” feature, you’ll want to be sure
to disable any “Direct Monitoring” signal on your audio interface (many interfaces offer an
optional function that routes your input signal directly to its outputs, without going
through the DAW software). This way you’ll hear only the input signal fed through the plugin.
See your audio interface’s documentation for details.

Mixer Pan controls are disabled in amono output plugin instance5.

Now when you bash a chord on your guitar, you should hear your signal
through the track with the glorious Metallurgy processing applied. You can
hit the Record button and try a pass at recording your performance. Upon
playback you can then experiment with tweaking the plugin settings evenfurther!

About Latency
Since your input signal is being fed round-trip—into your audio interface, through the
DAW host and plugin software (or standalone app), and back out your audio interface's outputs—it is subject to some amount of “latency.” Latency is the time between
when you pluck a note on your guitar and hear the resulting audio output through yourmonitoring system. Latency is primarily a function of your audio interface, host DAW
software, and the recording capabilities of your computer system. You can generally
get the lowest latency by reducing your buffer size options for your audio interface
driver within in your host DAW software's Preferences. Please see your DAW software’s documentation for details. For the Metallurgy standalone applications, you can
use the Buffer Size option within the app’s Audio Settings window—see page 48.

Example of a mono output plugin instance (Doom Mixer)

For DAW host apps that do not offer the mono, mono-stereo, or stereo plugin option(e.g., Reaper or StudioOne), Metallurgy plugins will typically conform to the track’s
input format.

Live Input Monitoring Through the Plugin
Another great benefit of audio effects plugins is the ability to monitor your input signal
through the plugin inserted on the track. This allows you to dial in the desired tone,such as a customized set of effects, amp, and cabs/IRs within the instance of your
Metallurgy plugin, and then hear your guitar processed in real-time. Once you hit
record, only your “dry” D.I. guitar signal is actually recorded into the track, which provides the huge benefit of being able to completely change the plugin settings at any
time, right up until you do a final mix-down of the DAW project!
Live Input Monitoring is a function of your host DAW application, and is typicallyaccomplished by the following steps. Each host DAW is slightly different, so be sure to
consult your DAW application's documentation for details.
1.

Configure your audio track's input options to receive input from whatever audio
interface input your guitar is plugged into.

9GUI Overview

The Four Views

The Metallurgy plugin’s main window consists of two main sections, the Toolbar, with
its collapsible Utility Drawer, and the View Panel.
Toolbar with Utility Drawer Open

Hide Utility Drawer Button

The Doom plugin

View Panel

The Toolbar consists of two rows of controls which include the Preset browser, Command buttons, Metering, and View buttons. The Utility Drawer expands from the Toolbar and is shown by default (as pictured above), offering the Capo, Noise gate andFocus Filter options. These components provide easy access to all features of theplugin.
The View Panel panel displays the selected View’s contents, the Pre FX, Amplifier,Cabinet, or Post FX View, as shown in the following images. Click on the Toolbar’s
View Selector button to display the desired view. This is where you can adjust any ofthe effects, amp, cab, and signal flow mix parameters to sculpt your tone. See thefollowing chapters for details.
The Modern plugin
Click the View Selectors to choose between the four views

10Parameter Reset
For a handy shortcut to quickly “reset” any individual parameter to its initial default
value, hold the Option key (Mac) or Alt key (Windows) and click on the knob, slider, or
switch.

Tooltips
You’ll see helpful text tooltips automatically displayed within the Status Bar, across thebottom of the plugin or standalone app's main window, when hovering your mouse
cursor over and accessing the different options and parameters.

The Thrash plugin

Parameter Value Indicators

A descriptive Tooltip appears in the Status Bar when accessing controls

For most parameter controls throughout the plugin, you’ll see a value indicator pop-up
when hovering your mouse over and when adjusting the control, allowing you to see
your exact settings. Double-click within the pop-up box once it appears and you cantype in your desired value for precise edits. Note that for knob and slider type controls,
you can double-click directly on the knob or slider to immediately display and edit the
pop-up box value.

Parameter value indicator
TIP: For knobs—drag your mouse vertically to adjust knob controls (rather than try to
drag and “turn” them with your mouse).

11

Toolbar Controls•

The controls found within the Toolbar are always available, regardless of the currently
loaded view or preset. These controls are common to Metallurgy Doom, Modern, andThrash.

••The Toolbar (Thrash)•

The Toolbar consists of two rows of controls that are always visible. First we’ll cover
the controls in the top row of the Toolbar.
Preset Browser

A/B Compare

Preset Tempo (Standalone App)*NOTE: The Default, Factory, and Marketplace presets are “read-only” and cannot be
overwritten using the preset browser's Rename or Save commands. But you can edit any
these presets as desired and use the browser's Save As command and rename thepreset to save your edited copy. Marketplace presets created with Save As remain as licensed
for your Metallurgy software use and computer authorization use only.

Tuner Account Preferences

Undo/Redo

MIDI Learn

HelpLine 6 Marketplace Presets

The Toolbar - top row controls (Thrash standalone app)

Looking for more presets? Be sure to visit the Line 6 Marketplace! Please see “Line 6
Marketplace” on page 5. You must initially have your Metallurgy plugin (or Metallurgy standalone app) signed in, and your computer authorized to initially open andload new Marketplace premium presets for their license synchronization. On subsequent uses of your Marketplace presets, being signed in nor an Internet connection
are necessary.

Preset Browser
The Preset Browser provides access to the included factory presets, as well as yourown custom-created presets. Click on the Preset name field to open the Browser
list, where you'll find the following preset types. Presets are compatible with both theplugin and standalone app for each individual Metallurgy product.
Preset File - Open/Save
Menu Button

Default Preset - The Default named preset is the one that loads automaticallyon launch of any new plugin instance. (The standalone app launches remembering your last-loaded preset, but you can choose the Default preset in the
Browser anytime.) The Default preset is read-only.*
Factory Preset Folders - A range of assorted factory presets are provided
to get you started. Click to expand any Factory Presets folder to access its
presets within. These presets are read-only.*
Marketplace Presets - Premium Metallurgy presets purchased from the Line
6 Marketplace, once added into your Presets folder, appear with a gold guitar
pick badge to their left. These presets are licensed for your Metallurgy use only
and read-only.* Also see the following section.
User Presets - Presets you’ve created and saved appear within the browser
list with no icon. These can be edited and overwritten with the Save command.

You can manually copy your Marketplace premium presets into the respective Metallurgy Presets folder, which will then allow them to appear within the Metallurgy plugin
or app Preset Browser windows. To do so, copy your Marketplace preset files into thefollowing folder locations (Mac or Windows):

Preset Name Field
Next/Previous Preset
Buttons•

Default Preset•

Factory Preset
Folders•

Marketplace Presets(Gold Pick Icon)
User Presets(No Icon)Marketplace Doom presets: These preset files include the “.mtd” extension
for their filename. They should be copied into Documents > Line 6 > Doom
> Presets.
Marketplace Modern presets: These preset files include the “.mtm” extension for their filename. They should be copied into Documents > Line 6 >Modern > Presets.
Marketplace Thrash presets: These preset files include the “.mtt” extension
for their filename. They should be copied into Documents > Line 6 > Thrash> Presets.
TIP: You can manually create your own custom named sub-folders within the above
preset folder paths and move your individual presets into your sub-folders to organize
them however you like.

The Preset Browser

12Loading a Preset

Presets are saved into the designated Presets location (within your Mac or Windows Documents folder):There are a few ways to load a preset:
•
•

•

•

Click on the Next/Previous arrow buttons to cycle through the complete preset
list sequentially, without needing to open the Preset Browser's list.
Click on the name field to pop open the Preset Browser List and click on thedesired preset within the folder to load it. As you create and save your own
presets, you'll see them appear in this preset list as User presets.
Click on the Preset File - Open/Save menu button and choose Open. This
provides direct access to all your own created User presets and any Marketplace premium presets you may have purchased, wherever they reside on
your computer (also see the next section).

••

Doom presets: Documents > Line 6 > Doom > Presets
Modern presets: Documents > Line 6 > Modern > Presets
Thrash presets: Documents > Line 6 > Thrash > Presets
TIP: It’s a good idea to make backups once you start creating your own User presets.
You can do so by simply copying the Presets folder to another location on your computer
system.

The following settings are stored within a preset:•

When a Marketplace preset is loaded, you’ll see its title appear in gold text as anindicator.

•••

A loaded Marketplace preset•

Whenever the currently-loaded preset has been edited, its title within the Preset
Browser appears in italics and followed by an asterisk. This lets you know to Save thepreset (or do a Save As, if it is a read-only preset) to retain your edited settings—see
the next section.

•••

Plugin Input & Output levels, Capo, Noise Gate, and Focus Filter parametervalues and On/Off states
On/Off states for the four Views
All Pre FX parameter values and On/Off states
Amplifier model selection and all amp parameter values and On/Off state
All Cab, IR, Mic, Mixer, and EQ selections and their parameter values
All Post FX parameter values and On/Off states
Preset Tempo BPM (standalone app only, when configured for Preset tempo
source)Custom preset name entered via the Preset Browser
NOTE: Some host DAW applications also offer their own preset library and Save options
for plugins. Any such host application’s presets are saved and managed independently—
please refer to your host’s documentation for details.

Preset in a “dirty” state

Saving a Preset

Preset Tempo Control (Standalone App)To save your preset, click the Preset File - Open/Save menu button and choose Saveor Save As. The standard File - Save window is presented, where you can rename thepreset as desired, then click OK. You can save a virtually unlimited number of Userpresets.
NOTE: The Default, Factory, and Marketplace presets are read-only and cannot berenamed or overwritten. You can use Save As for read-only presets.

The standalone app’s Preset Tempo control

The “Tap Tempo” button and BPM indicator control are displayed in the Metallurgy
standalone applications only, to provide a source tempo for the apps’ Post FX Delay
repeat times to follow. (The Metallurgy plugins’ Post FX Delay times follow your host
DAW project tempo as their source.) When the Tempo Source in set to Preset (Post
FX) within the standalone apps’ application Preferences, this Preset Tempo control
becomes enabled, allowing you to “tap” in your desired tempo, or double-click on
the BPM indicator to type in a precise tempo, which is saved per preset. Please see“Application Preferences: Configuring Your Device & Tempo Settings” on page 48
for details.

The Preset Open/Save menu

13

A/B Compare

Undo and Redo

The set of A/B Compare controls allow you to temporarily store all your current parameter settings as a starting point for further fine-tuning, and then easily compare new,edited settings with the original settings.

Undo and Redo are available for most edit actions performed within the currentlyloaded plugin or standalone app preset, accessible via the Toolbar's Undo and Redobuttons. The Undo/Redo history is tracked per loaded preset and per instance of theplugin—the history is cleared when a new preset is loaded, when the Metallurgy plugin
instance is removed, and when your host project is closed. The standalone app’s history is cleared when a new preset is loaded, and when the app is exited.

The A/B Compare controls
NOTE: DAW host applications often include their own A/B Compare feature for effects
plugins. However, since Metallurgy software includes numerous models and parameters,
it is recommended you use this A/B Compare for the plugin or standalone app settings.
These A/B Compare controls are also supported by Undo/Redo, allowing you to reverse theactions performed by the A, B, and Copy To buttons.

The Undo and Redo buttons

Undo/Redo is available for most actions, including:Parameter changes in Pre FX, Amplifier, Cab, and Post FX views
Amp and Cab model changes and IR file selection• Input and Output Level settings• Utility Drawer - Capo, Noise Gate, and Focus Filter parameter changes• A/B Compare functions— Undo/Redo tracks edits made across both A andB slots, and tracks which A/B Compare slot is active (also see the previous
section)Actions not available for Undo/Redo include the following:

To follow is an example for how to use this feature.
1.

••

Once you have loaded a preset or created a tone to your liking within theThrash Signal Flow, click the middle Copy To (arrow icon) button.

Copy A to B

You’ll see the B button flash a few times indicating the A settings have been
copied to the B state. Copying A to B provides you with a stored “starting
point” for further adjustments.
2.

•

Click the B button to load the B state and proceed to edit your tone to finetune it as desired. Note that you can make any type of edits you like within
the plugin—adjust knobs and switches, change amp or cab models, load adifferent IR, or even load a different preset.

3.

You can now switch between both settings by clicking the A/B buttons while
playing your track and audibly compare between them.

4.

Optionally, while the B button is selected, you can make further adjustments
and continue comparing to your original A settings.

5.

If you decide you still prefer your original settings, simply switch back to,
and remain on, setting A.
If you decide you prefer your edited settings, with the B button selected,
copy the B settings to the A location by pressing the Copy To A button.

•
•
•
•
•

Loading presets
View selection changes
Tuner window parameter changes (Tuner changes made in the Preferences
window are global and are also not available for Undo/Redo)
Edit actions written or performed via host automation or MIDI control
MIDI assignments created or cleared using MIDI Learn
Changes to any settings within the Preferences window (plugin and standalone app)

NOTE: Host DAW applications also typically offer their own Undo/Redo commands, andsome also offer “A/B Compare” features as well. However, due to the complex architecture of Metallurgy, these types of host commands typically cannot track all actions performed within the plugin. Therefore, we suggest you use only the built-in Undo/Redo withinyour Metallurgy plugin for restoring its actions.

Copy B to A

This allows you to have these settings now stored in both A and B as yournew “starting point,” from which you can repeat the steps 3-5 for further
fine-tuning.
All your current settings for A and B remain stored within the plugin instance for thehost DAW project. If your custom tone is one you want to keep permanently, save it asa preset­—see “Preset Browser” on page 12.

14

MIDI Control

To Create a MIDI Controller Assignment via MIDI Learn:
For this example, we’ll select the Thrash Pre FX Wah's Position parameter to be controlled via an external MIDI pedal controller, so it can be used just like a traditional
wah. The steps are the same for any Metallurgy plugin or standalone apps' continuous
parameters. (See the end of this section for controlling switch-type parameters.)

The Metallurgy plugins and standalone apps support remote, external control of mostparameters from a connected MIDI controller device (or MIDI software). MIDI control
can be “mapped” to the parameters using the MIDI Learn function, as covered in thefollowing steps.

Configuring MIDI Learn in the Plugin
You’ll first need to configure your DAW host application to receive MIDI Control input
from your external MIDI controller device or MIDI software. These settings are typicallyfound within the DAW application’s Preferences. Additionally, it is often necessary toconfigure your DAW host track routing so that the external MIDI Controller data is fed
directly to your desired plugin instance. Typically, this involves using a MIDI or Instrument track to receive the MIDI input and configuring the MIDI track output to be routed
to the audio track on which the Thrash plugin is inserted. Please see your application’s
documentation for details.

1.

Configure your external MIDI controller device's pedal/knob (or software) totransmit whatever MIDI CC# you like. For our example, we will configure apedal controller to send MIDI CC 7. The CC’s full value range (0-127) maps tothe full 0-100% of Thrash’s continuous-type parameters.

2.

Select the Pre FX View within Thrash and click on the MIDI Learn button to
enable MIDI Learn mode. When enabled, you’ll see the view dim slightly andall assignable knob and switch parameter “targets” within the view displayedwith outline indicators. The status bar on the bottom of the window also
informs you of the current MIDI Learn state and functions in each step.

NOTE: Your “learned” MIDI assignments within the plugin are retained by your DAW
host's current session for the specific Metallurgy plugin instance in which you createdthem (MIDI assignments are not saved individually with your plugin presets).

Configuring MIDI Learn in the Standalone App
For the app to receive MIDI Input, you'll first need to select your connected MIDI
controller device within the Metallurgy app's application Preferences options. Pleasesee “Application Preferences: Configuring Your Device & Tempo Settings” on page
48 for details. Once your MIDI device is configured, the following MIDI Learn steps
and functionality is the same on both the plugin and standalone app.
NOTE: Your “learned” MIDI assignments created within the standalone app are retained
globally within the application itself, until you choose to edit or remove them (MIDI
assignments are not saved individually with your presets).

MIDI Learn Mode enabled (Thrash - Pre FX View)

MIDI Learn Toolbar Button/MIDI In Indicator

NOTE: MIDI Learn is enabled for all parameters within the current View only (the Pre FX
View in our example).

The MIDI icon on the top row of the Toolbar toggles the MIDI Learn feature enabled/
disabled. The icon also serves as a MIDI input indicator. It lights up green to indicate
whenever it is detected that MIDI messages are entering the instance of the pluginor the standalone app. (This indicator is very helpful to let you know if you’ve routed
MIDI correctly, and that the plugin/app is indeed receiving MIDI messages from yourexternal controller.)

MIDI Learn
disabled

MIDI Learn
enabledWhen MIDI Learn is enabled, Toolbar options and View selectors are locked. To create a MIDI
controller assignment for any other View or “Utility Drawer” parameters, click the button todisable MIDI Learn, then choose the desired View Selector or expand the Utility Drawer andenable MIDI Learn again.

3.

Click on the pedal surface of the Thrash Wah to “arm” the Position
parameter—it appears with a red overlay to indicate the armed state.

MIDI input
detected

The Wah is armed for MIDI Learn

15

4.

Tuner

Thrash’s armed Wah - Position parameter “listens” for an incoming MIDI
CC message. Move your MIDI controller device’s pedal to send its MIDI CC
message into Thrash. When the MIDI CC message is received, MIDI Learn
mode exits and you’ll see the Thrash Wah display the “learned” CC 7. The
assigned CC remains displayed on the Wah for reference.

Now there’s no excuse to not be in tune before capturing that otherwise perfectrecording take! You can launch the pop-up Tuner window at any time in the plugin or
standalone app and it will receive your live input signal and show the detected note,and your string's sharp or flat status.
NOTE: When the Capo feature is on and the Tuner’s Mute is off, the Tuner automaticallydetects the Capo feature’s current pitch setting, so that the tuner displays the “capo'd”
note you’re actually hearing at the output of the plugin or standalone app!
See “Capo” on page 21.

Wah has Learned MIDI CC 7

The MIDI controller assignment for the Wah - Position parameter is now
complete and should respond to your MIDI controller. You can repeat thepreceding steps to configure any additional parameters for MIDI control.
5.

To remove any existing MIDI controller assignment within the current tab’sview, enable MIDI Learn and hover your over the assigned parameter—an“X” button appears. Click the “X” button to clear the MIDI assignment.

Mute
Button

Tuner
Graph

Tuner
Type

The following Tuner options are available within the Tuner window and allow you to
temporarily change the functionality while the Tuner window is open. Note that the
Toolbar Settings button > “Preferences” window includes global Tuner options, which
determine the default settings on each open of the Tuner window in all your Metallurgy
Doom, Modern, and Thrash plugins and standalone app instances. Both the Tuner
Window and Preferences Tuner options are described below.

MIDI Assignments for Switch-Type Parameters
Metallurgy plugins and apps include several non-continuous, switch-type parameters, such as On/Off switches, multi-stage mode selectors on stompboxes, etc. You
can also use MIDI Learn using the preceding steps to create assignments for theseparameters as well—with the following configurations for your controller’s MIDI CC
messages:•

Note and Target
Indicators

The Tuner (Needle tuner type)

NOTE: The Thrash Undo/Redo does not track assignments made or removed via MIDI
Learn.

•

NeedleIndicator•

For 2-state switches, such as the On/Off of any stompbox - A CC with avalue of 0-63 sets the switch Off, and 64-127 sets the switch On.
For multi-state switches, such as the 3-state Mode selector on some Pre
FX stompboxes, or the channel/jump switch on some amps, CC values map
directly to the individual switch states, where value 0 selects position 1, value
1 selects position 2, value 2 selects position 3, etc.

•

•

16

Mute On/Off - Toggle the Mute button to either hear your plugin or standalone
app's output signal or completely mute it while the Tuner is open. (The Tuner
automatically un-mutes when closed.)• The Toolbar Preferences - Mute On/Off option sets the global default for
the Mute state on each new open of the Tuner window (Mute On is the initial
global default).
Note and Target indicators - The tuner detects the note and displays its letter
here. The target arrows illuminate to inform you if the string is flat, sharp, orin tune.
Tuning Graph - When using the default Needle Tuner type display (as shownin the preceding image), the multi-color tuning graph helps you analyze yourtuning, with the bright green area in the center indicating the “in-tune” range.

•Needle/Strobe Display Type - Changes the tuner between Needle andStrobe type displays. When in Strobe mode, the white vertical bars “strobe”
left to indicate flat, and right to indicate sharp—when you get the vertical bars
to appear still and the green arrows both appear lit, your string is in tune to thedisplayed reference pitch.
• The Preferences - Mute Needle/Strobe option sets the global default
for the Tuner Needle/Strobe type on each new open of the Tuner window(Needle is the initial global default).

•

•

5.

Using the Needle Tuner - Tune your string to where the white Needle indicator appears in the center of the graph. The target arrow indicators also light up
green to inform you if the string is flat (left arrow is lit), sharp (right arrow is lit),
or in tune (both arrows are lit).
Using the Strobe Tuner - The lit white vertical indicators “strobe” left to indicate when your string is flat, and right to indicate sharp—the slower the movement, the closer you are to being in tune. When you get the white indicators toappear still, and both the green arrows are lit, your string is in tune.

To exit the Tuner, click the Tuner button again or click on the X button.

Account
Clicking the Toolbar’s Account button expands the menu which offers Sign In, computer Authorization, and management options for your Line6.com account.

The Strobe tuner•

The Preferences - Reference Frequency option sets the Tuner's base reference frequency, from 425 to 455 Hz. Note that changing this Reference
Frequency within the Preferences applies the new value globally on all
instances your Metallurgy plugins and standalone apps, and this value
remains in use until edited again. There is no option for this Reference Frequency within the Tuner window itself.

The Account menu (not signed in)

Sign In - (An Internet connection is required for sign in and authorization.) This
option launches the sign in window where you’ll need to enter your Line6.com
account username and password (or you can choose to create an account if you
haven’t already). Creating an account, signing in, and authorizing your computerare necessary for initially authorizing and using the Metallurgy software. Pleasesee “Purchasing the Software License” on page 3 for details.

Using the Tuner
1.

With your guitar signal routed into the DAW application’s audio track where
the Metallurgy plugin is inserted, activate the track’s “input monitoring” feature (see page 9) and turn up your connected guitar to feed the live input
through the plugin. If using the standalone app, simply turn up your connectedguitar and go to the next step.

2.

Click the Toolbar's Tuner button

3.

Optionally, click the Mute button to mute the output signal if you don’t want
to hear it while tuning. (Mute automatically deactivates when you close thetuner or when you close plugin window.)

NOTE: You'll also need to sign in after purchasing Metallurgy premium presets or IRs fromthe “Line 6 Marketplace”.

A sign in indicator to the left of the Account button “lights” when you are actively
signed in. You can click on the button to Sign Out, or Deauthorize your computer.

to display the Tuner.

TIP: If you’re using the “Capo” feature to change the audible tuning of your guitar, set theTuner’s Mute to Off and the Tuner will display the “capo'd” notes while tuning. (When
Mute is On, the tuner will display the natural note detected from your guitar input.)

4.

Pluck an individual string on your guitar and the detected target note isdisplayed—view the real-time tuner graph and indicators for your string’s
proximity to the target note pitch:
The My Account menu (signed in)17Preferences

Authorize/Deauthorize Computer - Once signed in, your computer is authorized,
which allows the Metallurgy plugins or standalone apps to run. While signed in, theDeauthorize Computer option is selectable. Deauthorizing is really only necessary
to free up one of your four available authorizations, or if you’re to be removing
the Metallurgy software. Please see “Authorizing Your Computer” on page 4.

Clicking on the little gear
erences window.

button on the plugin window’s toolbar launches the Pref-

NOTE: The Metallurgy standalone apps include an additional application Preferences
window, accessed from the main menu, where you can select and configure your audio &MIDI devices, as well as Tempo options—see page 48.

Manage Account - Takes you to the line6.com/account web page where you
can view and manage your account.

Help
Click on the ? Help button to choose the options from the menu.

The Help menu

About - Launches the About window, containing version information (ABOUT tab)and legal information (LEGAL tab) for the software.
The Preferences window
NOTE: All options within the above Preferences window are global for all your installed
Metallurgy plugins and standalone apps—that is, changes you make to these Preferences
options within any Metallurgy Doom, Modern, or Thrash plugin instance or standalone app will
be reflected in all of them!

Cabinet/IR Preferences
IR Library Path - This option defines the path where all Metallurgy plugins andstandalone apps will look for IR files when using the Cabinet View’s IR Browser(see “Using Impulse Responses” on page 35). By default, this is set to thefollowing location (within your Mac or Windows login's Documents folder):Documents > Line 6 > Metallurgy > Impulse Responses
You can optionally click the folder button and change this to your preferredcomputer directory. Wherever you have this path set is where you’ll want to copy
and store your third-party IR .wav files to allow your Metallurgy software to findand utilize them.

The About window (Doom)

Online Help - Takes you to the Support pages on the Line 6.com website.
Pilot’s Guide - Launches this PDF you are now reading.

NOTE: If you change this IR Library path, it is best to also copy or move any existing IR
files from your original IR folder to your new folder, so that existing Metallurgy plugin
instances and presets will be able to locate them.

Check for Updates - (Internet connection required) Checks the Line 6 website tosee if a newer Metallurgy software version is available. See “Checking for Updates”
on page 6.

18

Tuner Preferences

Input and Output Controls

These Tuner options determine the default settings on each open of the Tuner window
in your Metallurgy plugins and standalone app instances.

The multi-color Input and Output meters provide real-time reference for the signal
levels entering and exiting the plugin, with each also offering its own level knob. Eachmeter also includes a red clip indicator to show if the level exceeds the maximum—clipping does not produce the “good type” of distortion and should always be avoided
to achieve the best sonic results.

TIP: You can also access options within the Tuner window itself, which temporarilychange the specific plugin instance or standalone app's Tuner behaviors while the Tuner
window is open. Also, see “Tuner” on page 16.

NOTE: Input and Output level controls’ settings are saved per preset.

Mute - Configures the Tuner so that the plugin or standalone app's output iscompletely muted completely while the Tuner window is open (checked - True, theinitial default), or so that you can hear your output signal (unchecked - False). The
Tuner automatically un-mutes when the Tuner window is closed.

Input

Reference Frequency - Sets the Tuner's base reference frequency, from 425
to 455 Hz (standard 440 Hz is the initial default). Note that there is no option forthis Reference Frequency within the Tuner window itself—it can only be edited(globally) here in the Preferences.

Input Meter (Mono Input - Thrash)

Note that if you’ve selected a mono input version of the plugin (if your DAW host offers
this option), the Input meter appears as a single bar, as shown above; the meter has
two bars when a stereo input version is in use. Also, see “Mono and Stereo Track
Plugin Functionality” on page 9.

Miscellaneous Preferences
Utility Drawer is open by default - The Toolbar’s “Utility Drawer” can be shownor hidden manually at any time within the main window. This Preferences option
allows you to show or hide it initially upon launch of the plugin and standalone
app. By default, it is checked to show the Utility Drawer.

The Input level knob at the left of the Input meter adjusts the signal level that is fed
into the plugin. Note that the default setting is 0.0 dB (unity gain) and you can turn thisknob to optimize the level as needed—or, double-click directly on the numerical dB
value to type in a precise value.

I/O Controls, Meters, and View Selectors

Optimizing the Input Level

On the second row of the Toolbar, you’ll find the Input and Output Level controls andmeters, and the View Selectors.
Input Meter & Controls

Input Meter & dB Reference

Input Level Control

Needle/Strobe Display Type - Sets the Tuner for either Needle (the initial default)
or Strobe type displays.

The level of the input signal entering Thrash can affect the overall gain and saturationof your tones, therefore, it is essential to “gain stage” accordingly. Thrash is designed
to receive an “Instrument” level input signal, much like plugging a guitar directly into
the same types of effects pedals or amps we’ve modeled. To follow are several tips forachieving the optimal signal level.
• For the most accurate results when direct recording electric guitar, we recommend that you use an audio interface with a “Hi-Z” or “Instrument” input.
• Guitars with active pickups may have a hotter output than traditional passive
pickups. If your instrument utilizes active or especially high output pickups, set
your audio interface or preamp’s input “pad” to on, if available.
• Keep an eye on the Input Meter to reference the dB level measurement of
your input signal (or the playback level of any clips within your DAW track). For
best results, keep your input level between -36 dB to -12 dB, and try to avoid
exceeding -12 dB too often. We’ve made this easy by marking this “safe zone”
level range directly on the Input meter.

Output Meter & Controls
View Selectors (Thrash)

Clicking on one of the View Selector buttons determines what is displayed within the
View Panel below: the Pre FX, Amplifier, Cabinet, or Post FX view, and also offer On/
Off buttons for each view—see “View Selectors” on page 20.

“Safe Zone” Input Level Indicator

19

•
•

If your audio interface offers input level adjustment, it is typically best to adjust
it there to keep the recording level entering the plugin within this optimal range.
If needed, you can adjust the Input control at the left to fine-tune the level.

Pre FX View - Displays the Pre FX view, where the pedalboard of stompbox
effects can be enabled and tweaked as desired. See “Pre FX View” on page
22.

Clipping, as indicated when the meter’s red clip Indicator lights up, should
always be avoided on the plugin or standalone app's input and output meters.
Once you’ve optimized your input level, you can use the various Pre FX, Amp,
and Cab/IR/Mixer’s Gain, Volume, and Level controls, as well as the Output
Level (see next) to adjust the output volume of the plugin.

Amplifier View - Displays the Amplifier view, where you can choose from the listof amplifier models and adjust front panel. See “Amplifier View” on page 26.
Cabinet View - Displays the Cabinet view where you can select from the list ofclassic speaker cabinets and mic models, optionally choose the IR option to load
your 3rd-party Impulse Responses, and use the Mixer to adjust the panning andlevels, and optionally apply some room ambience and EQ. See “Cabinet View”
on page 32.

OutputInput Meter & dB Reference

Post FX View - Displays the Post FX view, where the individual post-amplifier
positioned effects can be enabled and adjusted to taste. See “Post FX View” onpage 39.

Output Level Control

View On/Off

The main Output Meter is displayed at all times on the toolbar of the plugin, measuring
the plugin’s overall output level in real-time. Clipping, as indicated when any of themeters’ red clip Indicator light up, should always be avoided.

View On

View Off

Using any of the view buttons’ On/Off toggle can be a handy way to do things such ashear your preset with all your Pre FX stompboxes Off, without having to go manuallyturn Off each individual stompbox in the View Panel. This feature can also reduce CPU
usage of the plugin instance or standalone app—if you know you won't be needing
any models within a particular view for your current preset, toggle its button to Off. The
views’ On/Off states are saved per preset.

Clip indicator

The best practice is to “gain-stage” your levels throughout the plugin evenly. The various Pre FX, Amp, and Cab/IR/Mixer’s Gain, Volume, and Level controls will all affectthe output level of the plugin. Typically, you don’t want to excessively drive any one ofthese views’ levels, only then requiring you to turn the level way down in a later viewor with the Output level control to prevent constant clipping.

TIP: Use Option + click (Mac) or Alt + click on any View Selector, whether it is the current
view or not, to toggle its On/Off state.

Output Level

When a view is toggled Off, you'll see the View Selector button and the entire View
Panel appear dimmed, and the signal from the preceding view(s) are passed throughthe bypassed view to the next view. When the view is toggled back On, its models are
all returned to their previous individual On/Off states. Be aware that volume levels
may change when toggling a view On/Off, since the view’s models or controls
could potentially be raising or lowering your input signal significantly!

The Output level knob adjusts the volume of the processed (Pre FX + Amp + Cab +Post FX) signal leaving the plugin—turn this knob to optimize the level as needed, or
double-click directly on the numerical dB value to type in a precise value.

View Selectors

NOTE: When toggling the Post FX View to Off, this performs a complete “hard bypass”
of its processing, which means that any Post FX delay or reverb trails that might still begoing on are immediately silenced. If you want your trails to remain audible until they fadeout naturally after effect bypass, use the individual On/Off switch for the delay or reverb effects
within the Post FX View.

These four View Selectors determine the content displayed within the View Panel ofthe plugin or app window. For the currently-selected View Selector, click the On/Off
button to bypass/enable the entire view's processing in one click.

The Pre FX/Amplifier/Cabinet/Post FX View Selectors

20

Utility Drawer

Noise Reduction

The Utility Drawer portion of the Toolbar is shown by default upon launch of the plugin
or standalone app. Just click on arrow close button to hide it at any time (and you can
set the “Preferences” to hide it by default). Included are controls for the Capo (polyphonic pitch-shifter), Noise Reduction, and Focus Filter features. All Utility Drawerfeatures are Off initially, and their settings are saved per preset.
Noise Reduction

Capo

The Noise Reduction settings

Use the built-in Noise Reduction to curtail the audible hiss, hum, and other unwanted,
low-level noise from your signal. Unlike common “noise gate” circuits that cut out or
degrade your tone, the Metallurgy Noise Reduction acts more dynamically to attenuate audible noise, with minimal effect on the meat of your tone. Typically you’ll want toavoid too high a Threshold and too short a Decay to prevent the abrupt cutting yoursignal decay on and off—unless that’s the intended effect you’re going for!

Focus Filter

Close Button

Noise Gate Parameters

The Utility Drawer (Modern)Parameter Description
On/Off Toggle the switch to turn the Noise Reduction On or Off.

Capo

Threshold
Dynamic LPF

Adjust the slider to choose the signal level where the gate activates toreduce the noise.
This Low Pass Filter dynamically gates the high end of your signal. Adjust
the knob to the right to eliminate more high end noise.

Decay Adjust the time in milliseconds for how long it takes for the gate to release.

The Capo settings

If you’ve ever wished you had a seven string guitar or find yourself constantly up or
down-tuning your guitar for different tracks, you’ll love this feature! The Capo is a
polyphonic pitch shifter that changes all your strings’ tuning simultaneously, much likea virtual capo, that can be applied to raise or lower your guitar’s pitch as much as fivesemi-tones.

Focus Filter

NOTE: The Capo utilizes high-quality, polyphonic pitch shifting, which increases the plugin’s demand for computer resources.

The Focus Filter settings

The Focus Filter is an adjustable, pre-amplifier positioned, high pass filter that cuts 12
dB/octave. As its title suggests, it allows you to reduce the low frequencies from 20
Hz to up to 400 Hz via the knob to reduce any “boominess,” thus tightening up yourguitar’s low end. To disable the Focus Filter, click the selector to Off, or turn the knob
to minimum.

Capo Parameters
Parameter Description
On/Off Toggle the switch to turn the Capo On or Off.
Adjust the slider to choose the interval of polyphonic pitch-shifting that is
Interval applied—up to 5 semi-tones higher or lower in pitch. With the slider at 0,
no pitch shifting is applied.

TIP: All Utility Drawer parameters are available for automation and external MIDI control!

Toggle the switch to determine how the pitch shifting engine reacts to yourTracking playing. The Fast option is better for playing fast single string runs andlead lines, and X Stable provides the fewest artifacts with complex chords.

21

Pre FX View

Doom Pre FX Models
Bighorn Fuzz

Choose the View selector’s Pre FX button to display the Pre FX View within the View
Panel. Doom, Modern, and Thrash versions each include their own set of Pre FX View
stompbox effects, as detailed in this chapter. Your input signal is routed through theeffects from left to right (and from the Pre FX View into the Amplifier View).

Based on* the Electro-Harmonix® Big Muff Pi, 1973 “Ram’s Head” logo version. When it comes to fuzz pedals, this early Big Muff is still one of the mostdesired for its ultra-saturated sustain, thick body, and association with players such as David Gilmour and J. Mascis.

Bighorn Fuzz Parameters
Parameter Description
On/Off Switch Toggles the effect On or Off. The LED is lit when On.
Adjusts the overall output level. Set this to higher levels to boost the signal fed
Level into the amplifier for more amp distortion and sustain.
Adjusts the EQ response. Higher knob settings enhance the high end and rollTone of the lows, while lower knob settings increase the low end thump and roll off
the highs.
Adjusts the amount of fuzz and sustain, from a bit of grind to a heavy dose of
Sustain singing saturation.

Wringer Fuzz
Based on* the Boss® Hyper Fuzz FZ2. This Boss favorite was actually a takeon the vintage Ultravox Super-Fuzz, with added EQ and dual fuzz circuit
options. This one has quite a few flavors­—flip between the circuits and twist
the Gain knob to dial in to your personal taste.

The Pre FX View (Doom)NOTE: A bypass button on the Pre FX View Selector allows you to optionally bypass all
stompbox effects in one click as well as conserve CPU usage—see “View Selectors” onpage 20.

Pre FX Models and Parameters

Wringer Fuzz Parameters
Parameter Description

Just like the original stompbox effects, these models are dead simple to use, and offer
a wide variety of sounds and textures. Click and drag any knob to adjust its settings
for the effect. You can reference the parameter value for while hovering over or adjusting any effect’s knob—see “GUI Overview” on page 10.

Press the lower half of the pedal to toggle the effect On/Off. The LED at the top
On/Off Switch of the pedal appears lit when On.
Adjusts the overall output level. Set this to higher levels to boost the signal fed
Volume into the amplifier for more amp distortion and sustain.

TIP: Option/Alt + click on any knob to return it to its default value, or double-click directlyon the numerical value below any knob to type in a precise value.

Adjusts the low end—at center the response is flat, turn right to boost the bass
Bass or left to cut it.
Adjusts the high end—at center the response is flat, turn right to boost the
Treble treble or left to cut it.

To follow are descriptions of all Doom, Modern, and Thrash Pre FX stompbox models
and their parameters.

Adjusts the amount of fuzz and distortion for the selected Circuit, from mild grit
Gain to a wall of luscious fuzzy distortion.
Click directly on this switch on the side to select between the Fuzz 1 and 2
Type circuits. Fuzz 1 is a traditional fuzz-tone vibe, and Fuzz 2 is a more full-bodied
Fuzz 1/Fuzz 2 fuzz & distortion combo.

*See “U.S. Registered Trademarks” on page 44. All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated oraffiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

22Modern Pre FX Models

Vital Distortion
Based on* the EarthQuaker Devices® Life Octave/Distortion/
Boost pedal. This unit was a limited-edition design collaboration
between SUNN® and EarthQuaker Devices. With its octave inducing, Rat-like distortion, hefty output boost, and super tweak-able
options, you can dial in some seriously wicked textures. This is
like getting two pedals in one; the large Magnitude knob controls
the Magnitude boost and all upper knobs control the Amplitude octave/distortion
effect, with each having its own independent On/Off switch.

Rochester Comp
Based on* the Ashly® CLX-52 compressor. The original Ashly rack-mountcompressor has long been popular in studios for applying to guitar andbass, and has also made into some players’ live rigs. Its smooth, naturalsounding compression makes it a great tool for smoothing out clean or distorted guitars, as well as for adding sustain and a level boost, if desired.
Rochester Comp Parameters

Vital Distortion Parameters

Parameter Description

Parameter Description
The left footswitch toggles the boost On/Off (with the boost level controlled
Magnitude On/Off by the Magnitude knob). The LED above the switch is lit when On.

On/Off Switch The footswitch toggles the effect On/Off. The LED appears lit when On.
Adjusts the overall output level after the compression is applied, to “makeup”
Makeup any resulting reduction in output—can also be turned up to higher settings toboost your signal and drive the other stompboxes and amp harder.

Adjusts the level of the boost. Hit the left footswitch to enable the boost,Magnitude and crank this knob to slam your amp into further overdrive.
The right footswitch toggles the effect On/Off. The LED above the switch
Amplitude On/Off appears lit when On.

Sets the level where compression is applied. Compression is only applied
when your input signal level passes above this threshold value. For example,
Threshold if the Threshold level is set at -6 dB, only signal peaks that extend above thatlevel will be compressed.

Blends in the octave effect. Try automating or controlling this parameter via
Octave a MIDI expression pedal to mix some texture into your drones.

Adjusts the amount of compression that is applied to your input signal thatexceeds the Threshold setting. For a ratio of 2:1, an input signal that exceeds
Ratio the threshold by 2 dB will be attenuated down to 1 dB above the threshold, ora signal that exceeds the threshold by 8 dB will be attenuated down to 4 dB
above it, etc. Turn to higher settings for hard limiting.

Adjusts the amount distortion for the selected Clipping mode circuit, from
Distortion mild to nasty.
This 3-way switch allows you to choose between clipping modes, Op Amp,
Clipping Asymmetrical, or Symmetrical, which offer varying dynamics and compression qualities for the distortion.

Adjusts the amount of time it takes the compressor to kick in on an input signalthat exceeds the Threshold. Use lower settings for a very fast attack, which
Attack can be best for taming fast, percussive strums. Slightly higher settings cansound more natural for smoother playing styles.

Essentially a low pass filter, which rolls off the treble frequencies for sculptFilter ing your tone.
Adjusts the overall output level. Set this to higher levels to boost the signal
Amplitude fed into the amplifier for more amp distortion and sustain.

Adjusts the amount of time for the compressor to disengage on the input
signal. Use lower settings for fast release, which can be better for more
Release percussive chord hits, or higher settings for smoother, more sustained notes
and chords.

Pebble Phaser
Based on* the Electro-Harmonix® Small Stone phase shifter. The Small Stone
was introduced in the early 70s, making it one of the earliest compact phaseshifter effects, and widely adopted by guitarists of all genres.

Adjusts the dry/wet balance. Keep this set fully clockwise for your entire input
Mix signal to be processed by the compressor. Or, turn counter-clockwise to blend
in some of your uncompressed input signal in.

Pebble Phaser Parameters
Parameter Description
On/Off Switch Toggles the effect On/Off. The LED is lit when On.
This switch provides two types of phase sweep; Off produces the more tradiColor tional, thick rotating speaker emulation warble, where On gets you into more
intense, jet plane swoosh territory.
Rate Adjusts the speed of the modulation.
*See “U.S. Registered Trademarks” on page 44. All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated oraffiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

23

Thrash Pre FX Models

Minotaur
Based on* the Klon Centaur overdrive pedal. Few pedals havereached the collectible status of the original Klon, due to its simple,
but uniquely effective, overdrive tone and boost capabilities. Try it to
add a light natural overdrive or a full, throaty midrange distortion to
your signal.

Throaty Wah
Based on* the Real McCoy Custom RMC®1 Wah. This wah has the classic
character of those you hear on your favorite 60s and 70s recordings, butwith a more musical sweet-spot and a slightly extended range, just to giveyou bit “more.” The Throaty Wah can also be set to “Auto” mode, where
it will respond to your picking attack.

Minotaur Parameters
Parameter Description
On/Off Switch Toggles the effect On/Off. The LED appears lit when On.

Throaty Wah Parameters

Adjusts the amount of overdrive, from a slight sizzling breakup to a heavy
Gain roaring distortion.

Parameter Description
On/Off Switch The upper switch on the left of the pedal toggles the effect On (up position) andOff (down position). The LED above the switch is lit when the Wah is On.

Adjusts the EQ response. Higher knob settings enhance the midrange focus
Tone and adds high end clarity and lower knob settings soften the highs.

Auto Switch The lower switch on the left of the pedal toggles the Auto mode for the wah On(up position) and Off (down position). When Auto mode is active, the wah effectis triggered by your picking dynamics and resulting input level fed into thewah—use the Sensitivity to adjust how it responds

Adjusts the overall output level. Set this to higher levels to boost the signal fed
Volume into the amplifier for more amp distortion and sustain.

Sensitivity When the Auto mode is On, the Sensitivity to adjusts how the wah effect is
triggered by your picking—at lower Sensitivity settings you need pick harder totrigger the wah.

Caliper Drive
Based on* the Horizon Devices Precision Drive overdrive pedal. This isn’t
your dad’s old green screamer-type, but a modern take offering a healthyamount of additional drive, EQ control, and even a built-in noise gate tokeep that high gain noise floor under control.

Position Use your mouse to work the “pedal” from the heel to toe positions. (Position is
not functional when Auto mode is on.)High Freq Limit The upper knob on the right of the pedal adjusts the high frequency limit of the
wah effect, from 5 kHz - 500 Hz.
Low Freq Limit The lower knob on the right of the pedal adjusts the low frequency limit of the
wah effect, from 20 - 500 Hz.

Caliper Drive Parameters
Parameter Description

TIP: Optionally, for the Thrash plugin or standalone app, you can configure an external
MIDI Controller pedal or use your DAW host’s parameter automation to control the plugin’s Throaty Wah Position parameter in real-time, much like a standard wah—see “MIDI
Control” on page 15.

On/Off Switch The footswitch toggles the effect On/Off. The LED appears lit when On.
Adjusts the amount of overdrive, from a slight sizzling breakup to a heavy
Drive roaring distortion.
Adjusts the onset of the distortion­—at lower settings the lower-mids are accenAttack tuated. At higher settings picking is more defined for a modern sound.
Adjusts the high-end EQ response. Higher knob settings enhance the highBright mids and add high end clarity.
Adjusts the amount of noise gate applied. Set to minimum to turn the Gate Off
Gate (knob goes dim). Lower knob settings apply less gate for a looser response,
where the highest setting provides a fast, tight, modern gated signal.
Adjusts the overall output level. Set this to higher levels to boost the signal fed
Level into the amplifier for more amp distortion and sustain.

*See “U.S. Registered Trademarks” on page 44. All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated oraffiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

24

Pillars Overdrive
Based on* the EarthQuaker Devices® Plumes® overdrive pedal. A natural,
tube-like overdrive with plenty of boost on tap to push the input of your amp
for added drive and sustain.

Pillars Overdrive Parameters
Parameter Description
On/Off Switch Toggles the effect On/Off. The LED appears lit when On.
Determines the clipping mode for different distortion flavors: 1) Symmetrical
Clipping Mode LED - more crunch and compression, 2) OpAmp - no clipping, for clean boost,
Switch and 3) Asymmetrical Silicon Diode - transparent overdrive. Click directly on theswitch to cycle it through the three modes.
Adjusts the overall output level. Set this to higher levels to boost the signal fed
Level into the amplifier for more amp distortion and sustain.
Gain Adjusts the amount of overdrive, from a bit of grit to a heavy grind.
Adjusts the EQ response. Higher knob settings enhance the midrange focus
Tone and add high end clarity, while also tightening the low end. Lower knob settings add more low end girth and soften the highs.

Stupor O.D.
Based on* the Boss® Super OverDrive SD-1 pedal. Introduced in 1981, theSuper OverDrive built upon the unique, asymmetrical clipping of the BossOD-1, and delivered a warm, smooth distortion, yet with plenty of clarity
retained for tight, higher gain rhythms.

Stupor O.D. Parameters
Parameter Description
Press the lower half of the pedal to toggle the effect On/Off. The LED at the
On/Off Switch top of the pedal appears lit when On.
Adjusts the amount of distortion applied to the input signal, from light overDrive drive to smooth distortion.
Adjusts the EQ—higher settings reduce the low end for tightness and increase
Tone the high end bite.
Level Adjusts the overall output level, with higher settings boosting your signal level.

*See “U.S. Registered Trademarks” on page 44. All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated oraffiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

25

Amplifier View

Doom Amplifier ModelsMoo)))n - Brite and Normal Channels

Choose the Amp View Selector to display to go to the Amplifier View. Here you canchoose a Line 6 amplifier model and adjust its parameters.
NOTE: A bypass button on the Amplifier View Selector allows you to optionally bypass theentire Amplifier View, as well as conserve CPU usage—see “View Selectors” on page 20.

Amp Model Selectors

Based on* the Sunn® Model T. The original Sunn Model T amplifier from the 70s is
known for high headroom and big, bold low-end, making it perfect for stacking distortion and fuzz effects. It includes two channels, Brite and Normal, which can beselected individually or “jumped” for a bold combination of tones.

Amp model selectors appear across the top of the Amplifier View, which you use toload the preferred amp model.

Moo)))n Parameters
Parameter Description

The Amp model selectors (Doom)Three-way switch toggles between the amp’s individual Brite and Normal
channels, or “Jumped” to use both. When jumped, both the Brite andChannel/Jump Normal Volume knobs can be used to blend them as desired.
SwitchTIP: Click on the brt, jump, and nrm labels to select the desired channel
option, or click directly on the switch to cycle through the three settings.

Amp Models and Parameters
All Metallurgy plugins/apps include four amplifier models, providing a wide range ofclean, mid-gain, and blistering high-gain tonal options.

Bright Volume

TIP: Option/Alt + click on any knob to return it to its default value, or double-click directlyon the numerical value below any knob to type in a precise value.

Controls the volume level of the amp’s Brite channel.
Note that even when the Channel Switch is set to the Normal channel andJump is off, adjusting the Brite Volume still has a bit of “bleed” which canchange the Normal channel's tone and distortion—just like the original amp!

Normal Volume Controls the volume level of the amp’s Normal channel.

To follow are descriptions of all Doom, Modern, and Thrash Amplifier View models andtheir parameters.

Bass Adjusts the low frequency response (common for both amp channels).
Mid Adjusts the midrange frequency response (common for both amp channels).
Treble Adjusts the high frequency response (common for both amp channels).
Presence Adjusts the upper midrange and high frequencies for the power amp section.
Master Adjusts the overall volume level of the amplifier.

*See “U.S. Registered Trademarks” on page 44. All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated oraffiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

26

Mandarin Rocker

Mail Order Twin

Based on* the Gain channel of the Orange® Rockerverb 100 MkIII The original Orange
Rockerverb was introduced in 2014, as Orange’s first ever “high gain” amp. The MkIII version
expanded on the features of the earlier models, including greater headroom for even bigger
and bolder tones. This one may change your idea about what “British Gain” sounds like.

Based on* the Silvertone® 1484 Twin Twelve. Now considered a “pawnshop prize,” this
35 watt beauty was offered from 1963-1967 by Silvertone as their flagship combo amp
via the Sears mail order catalog. It offered up a range of tones from creamy, smooth
drive to full rock and roll crunch. Also built right in are a nice drippy spring reverb anddual-control tremolo for even more vintage flavor. Hit it with some of the included Pre
FX distortion and fuzz to create your own shades of doom.

Mandarin Rocker Parameters
Parameter Description

Mail Order Twin Parameters

Gain Adjusts the amount of gain—higher settings add more distortion.

Parameter Description

Bass Adjusts the low frequency response.

Drive Adjusts the amount of gain - higher settings add more distortion.

Mid Adjusts the midrange frequency response.

Bass Adjusts the low frequency response.

Treble Adjusts the high frequency response.

Mid Adjusts the midrange frequency response.

Master Adjusts the overall volume level of the amplifier.

Treble Adjusts the high frequency response.

Effects

Presence Adjusts the upper midrange and high frequencies for the power amp section.

Reverb Adjusts the amount of spring reverb added to your amp tone.

Master Adjusts the overall volume level of the amplifier.
Effects

Doom

Reverb Adjusts the amount of spring reverb added to your signal. Set to 0.00 for no
Depth reverb.
Tremolo Adjusts the intensity of the amplitude-based tremolo effect. Set to 0.00 for noStrength tremolo.
Tremolo Adjusts the rate of the tremolo effect.
Speed

A Line 6 original concoction, created especially with doom/sludge players in mind.
This one combines a Marshall® JCM800 preamp with a Hiwatt® power amp, eachtweaked slightly provide plenty of gain, a bit more sag, and some big, fat low end.
Doom Parameters
Parameter Description
Drive Adjusts the amount of gain - higher settings add more distortion.
Bass Adjusts the low frequency response.
Mid Adjusts the midrange frequency response.
Treble Adjusts the high frequency response.
Presence Adjusts the upper midrange and high frequencies for the power amp section.
Master Adjusts the overall volume level of the amplifier.
*See “U.S. Registered Trademarks” on page 44. All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated oraffiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

27Modern Amplifier Models

Revv Generator - Purple and Red Channels

Archetype - Clean and Lead Channels

Based on* the Revv® Generator 120. Revv is one of the newer tube amp makers toenter the market, and their flagship Generator 120 has quickly become a modern
metal favorite. We’ve included models of both the amp’s “Purple” and “Red” high gain
channels. The Purple channel is slightly lower gain, with a bit tighter & clearer feel thatsome prefer for rhythms, while the Red channel serves up a fatter, more saturated tone
many players pick for leads. But either can certainly be dialed in for huge, crushing
distortions, and offer plenty of voicing options.

Based on* the Paul Reed Smith® Archon® 50, Clean and Lead channels. Back in 2009,
Paul Reed Smith became enamored by Dallas, Texas amp builder Doug Sewell’s custom-built amps and convinced him to join the PRS team to develop its new line of top
quality tube amps. In 2013, PRS introduced the Archon, featuring five gain pre stages
and 6L6 power tubes to provide a full, lush distortion with plenty of punch. Not stopping there, the Archon also offers a high headroom clean channel for loud, rich & clear
tones that sound great on their own or pushed with pedals.

Revv Generator 120 Parameters
Parameter Description

Archetype Parameters

Toggle between the Red and Purple amp channels. You'll see the Channel
Channel Switch LED and “Revv” name plate change color to indicate the current channel.
All following parameters function for either channel.

Parameter Description
Toggles between the Clean and Lead channels of the amp. Each of the followChannel ing controls control the currently selected channel, with the exception of the
SwitchBright switch.
Bright Switch

Drive

Bass Adjusts the low frequency response.

Toggles the Bright mode On/Off for the Clean channel only. Enable to add
some upper end sparkle to your cleans.

Mid Adjusts the midrange frequency response.

Drive Controls the volume and gain level of the current amp channel.

Treble Adjusts the high frequency response.

Bass Adjusts the low frequency response.

Presence

Mid Adjusts the midrange frequency response.

Adjusts the upper midrange and high frequencies for the power amp
section.

Adjusts the amount of “damping” applied to lessen speaker cone vibraResonance tion—damping decreases as you turn the knob up, which results in more
low end at higher settings.

Treble Adjusts the high frequency response.
Presence Adjusts the upper midrange and high frequencies for the power amp section.
Depth

Adjusts the level of the preamp gain; distortion and saturation increase as
you turn up.

Selects between three aggression levels: least saturation, tight saturation,
Aggression & highest/fattest saturation. These aggression levels also interact with the
Drive knob, and offer many options for rhythm and lead distortions.

Adjusts the lower frequencies for the power amp section. Use along with theBass to achieve your desired clean or distorted low end contour.

Master Adjusts the overall volume level of the amplifier.

Master Adjusts the overall volume level of the amplifier.

*See “U.S. Registered Trademarks” on page 44. All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated oraffiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

28

Vitriol - Crunch and Lead Channels

BadonkBased on* the Peavey® Invective® 120, Crunch and Lead channels. Peavey designed
this 6L6 tube-powered monster in collaboration with Misha Mansoor of Periphery,with the goal of offering no-compromise, high-gain performance and flexibility. We’ve
offered both the Crunch and Lead channels to cover a plethora of metal rhythm andlead flavors.

This Line 6 original creation is all about massive gain and big bottom. The Badonk is asingle channel design with straight-forward parameters. It’s huge low end is especiallywell suited for low-tuned guitars and heavy riffing. Crank up the Depth to rattle thewalls.
Badonk Parameters

Vitriol Parameters

Param- Description
eter

Parameter Description

Drive Adjusts the amount of gain—higher settings add more distortion.

Channel Switch Toggle between the Crunch and Lead amp channels.
Pre GainBass Adjusts the low frequency response.

Adjusts the amount of gain and distortion from the preamp circuit of theamp.

Mid Adjusts the midrange frequency response.

Bass Adjusts the low frequency response.

Treble Adjusts the high frequency response.

Mid Adjusts the midrange frequency response.

Presence Adjusts the upper midrange and high frequencies for the power amp section.

Treble Adjusts the high frequency response.

Depth Adjusts the lower frequencies for expanded low end girth.

Adjusts the volume level of the current Crunch or Lead channel. You can
Post Gain achieve additional distortion setting both the Pre Gain ad Post Gain tohigher levels and using the Master to control the overall volume.
Presence
Depth

Master Adjusts the overall volume level of the amplifier.

Adjusts the upper midrange and high frequencies for the power amp
section.
Adjusts the amount of “damping” applied—damping decreases as theknob is turned up, which results in more low end at higher settings.

Master Adjusts the overall volume level of the amplifier.

*See “U.S. Registered Trademarks” on page 44. All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated oraffiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

29

Thrash Amplifier Models

Cali IV - Rhythm and Lead Channels

Rivet Clean

Based on* the Roland® Jazz Chorus 120, clean channel. This solid-state classic wasintroduced by Roland, Japan in 1975 and quickly gained popularity for it shimmeringclean tone, as well as its spacious built-in reverb and luscious chorus effects. Our
Rivet Clean model includes all these features, making it a great amp to use for thoseultra clean moments—or to drive mercilessly into oblivion using the Pre FX View overdrive and distortion pedals!

Based on* the Mesa/Boogie® Mark IV. It was the early 70s when engineer Randall
Smith’s California company, Mesa/Boogie, introduced the first compact 1x12 combo
tube amps. Their first Mark I amplifier featured a unique cascading gain stage preampthat provided large amounts of gain, and soon it seemed every pro player in California
wanted one. Mesa/Boogie’s Mark IV amplifier was introduced in 1990, expanding the“Mark” series, including 3 channels: Rhythm 1 (Clean), Rhythm 2 (Crunch), and Lead.
Our Cali IV model includes the features of the Crunch and Lead channels, providing anything from a light overdrive to heavily saturated distortion to cover your gain
requirements. We’ve even thrown in the ubiquitous Mesa/Boogie 5-band graphic EQ.

Rivet Clean Parameters

Cali IV Parameters

Parameter Description

Parameter Description

Bright Switch Toggles the Bright circuit On (up position) or Off.

Channel Switch Toggles between the Rhythm (Crunch) and Lead amp channels.

Volume Controls the volume level of the amp.

Rhythm Drive

Bass Adjusts the low frequency response.

Adjusts the amount of gain for the Lead channel. This first gain stage feeds
Lead Gain into the second (Lead Drive knob) gain stage, allowing you to push it evenharder.

Mid Adjusts the midrange frequency response.
Treble Adjusts the high frequency response.
Effects

Adjusts the amount of gain for the Lead channel, from mid to heavy distortion.
Lead Drive This second gain stage is fed by the first gain stage (Gain knob), which canalso be used to drive this stage harder.

Adjusts the amount of spring reverb added to your signal. Set to 0.00 for no
Reverbreverb effect.
Depth

Adjusts the amount of drive for the Rhythm channel, from light overdrive toheavy crunch.

Bass Adjusts the low frequency response for the current channel.

Adjusts the amount of chorus effect that is added to your signal. Set to 0.00
for no chorus effect. †Mid Adjusts the midrange frequency response for the current channel.

Speed Adjusts the modulation speed of the chorus effect.

Treble Adjusts the high frequency response for the current channel.
Presence Adjusts the upper midrange and high frequencies for the power amp section.

†

NOTE: Just like the original amp, the chorus effect is stereo—but you’ll need to pan the
Mixer Channels 1 & 2 Pan controls opposite to create the left and right spread (see“Channel 1 & 2 Strips” on page 34), and increase the Rivet’s Depth knob setting toachieve the desired effect. When the mono version of the Thrash plugin is used, the Chorus isstrictly mono.

Master Volume

Adjusts the overall output level of the amplifier.
5-Band Graphic EQ

80 Hz

Adjust any of the five sliders to apply a boost (from center to top position) or
240 Hz cut (from center to bottom) up to 9 dB at the respective frequency.
750 Hz Note that there is no On/Off switch for this EQ. Use Option+-click (Mac) or
2200 Hz Alt+click (Windows) on any slider to reset it to 0 (center position) and nofrequency boost or cut is applied.
6600 Hz*See “U.S. Registered Trademarks” on page 44. All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated oraffiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

30

Placater Dirty

Das Benzin - Mega and Lead Channels

Based on the Friedman BE-100. After spending the past few decades modifying Plexistyle amps for many A-list guitarists, Dave Friedman started building his own masterpieces. The BE-100 builds upon the classic 100 Watt EL-34 Plexi with separate clean
and dirty channels, a larger but tighter low end, smoother high end, and lots more gain
on tap. Our model is of the BE-100’s Dirty (BE/HBE) channel, which takes you fromclassic British crunch to searing high gain.

Based on* the Diezel VH4. Becoming dissatisfied with the tone and features on available amps at the time, in 1994, Peter Diezel decided to design and build his own
amp. The result was the 4-channel, 100 Watt, KT77 tube-powered VH4, which quickly
became one of the most in-demand amplifiers for the hard rock and metal guitarslingers­of the 90s—and continues to be to this day. Our model is of the VH4’s Megaand Lead channels, which delivers Diezel’s trademark heavy rhythm to blistering solo
tones.

Placater Dirty Parameters

Das Benzin Parameters

Parameter Description
Gain

Parameter Description

Adjusts the level of the preamp gain—lower settings provide lighter breakup
and crunch, with distortion and sustain increasing as you raise the level.

Toggles between the Mega and Lead channels. The Mega is the trademark
Mega/Lead
Channel Switch Diezel heavy crunch, where the Lead carries over with even more gain,
compression, bottom, and smoother high end.

Bass Adjusts the low frequency level of the amplifier.
Mid Adjusts the midrange frequency level of the amplifier.
Treble Adjusts the high frequency level of the amplifier.

Gain

Presence Adjusts the upper midrange and high frequencies for the power amp section.

Treble Adjusts the high frequency level of the amplifier.

Master Adjusts the overall volume level of the amplifier.

Mid Adjusts the midrange frequency level of the amplifier.

Toggles Fat mode On/Off. Engage the fat mode for a bolder low and mid
Fat Switch
response, such as to fatten up a single coil equipped guitar.
C45 Switch

Adjusts the level of the preamp gain—with lower settings having less distortion and more punch, and higher settings having more distortion and greater
compression. It is recommended to start with a 50% knob setting and thendial in for your preferred setting.

Bass Adjust the low frequency level of the amplifier.

Toggles the C45 mode On/Off. C45 is a custom EQ voicing that adds a bit
more girth.

Master Adjusts the overall volume level of the amplifier.
Presence Adjusts the upper midrange and high frequencies for the power amp section.

HBE Switch Toggles the HBE mode On/Off. The HBE mode adds more mids and gain.
Toggles Saturation mode On/Off. Designed to be enabled with the HBE or
Saturation C45 modes active to add gain, compression, and saturation. (It is normal for
Switchthe volume to drop slightly when active.)

Deep

An active bass control for the power amp section that adds low end punch
centered at 80 Hz.

*See “U.S. Registered Trademarks” on page 44. All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated oraffiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

31

Cabinet View

Cab View Workflow
When you select an amp model within the Amplifier View, you can select your desired
speaker cabinet model here in the Cabinet View, as well as your desired mic models,
which are fed into the Channel 1 & 2 strips of the Mixer Panel. Additionally, the Room
Mic channel and Parametric EQ are available for adding additional realism and tone
sculpting. To follow are workflow tips to get you going in the Cabinet View.

Click the Cab View selector on the top Toolbar to display this view. Actually, “Cabinet
View” is a rather simplified name, since this screen allows you to choose your speakercabinet, microphone types and placement, 3rd party IRs, apply room ambience, filters
and EQ, and then mix all these elements exactly how you like them! The Cabinet View
is divided into two main sections: the Cab and Mixer panels.

Try a different speaker cab: Click on the menu on the of the cabinet image within
the Cab Panel and select the desired cab model. Two mic models for the cab can
be selected and controlled using the Mixer’s Channel 1 & 2 strips. See the following“Cab Panel Options” section.
To adjust the mic positions: Click directly on either of the cab mic's stands anddrag them left/right for center/edge speaker cone placement, or up/down for close/distant positioning. See the following “Cab Panel Options” section.
Try a different mic: When the Mixer Panel’s Channel 1 or 2 strip is set to Mic, clickin the menu at the top of the strip to open the Mic Browser and select your desiredcab mic model. Adjust the channel strip’s Pan and Level to blend the mic signal asdesired. See “Channel 1 & 2 Strips” on page 34.
Use an IR instead of a cab mic: For either or both the Channel 1 & 2 strips, you
can toggle the Mic/IR switch on the strip and load an IR from the IR Browser. (Notethat you’ll first need to import your IR files into the Metallurgy IR Library folder
first for IRs to be available within the IR Browser.) Once your IR is loaded, use thechannel strip’s Low Cut, Pan and Level options to get your desired mix. See “Using
Impulse Responses” on page 35.

The Cabinet View (Modern)
NOTE: The On/Off button on the Cabinet View selector allows you to optionally bypass
all cab, mic, and mixer components within this view in one click, as well as conserve CPU
usage—see “View Selectors” on page 20.

Add room ambience: Using the Mixer Panel’s Room Mic channel strip, choose
between two different room mics and adjust the Level slider to blend in the desired
amount of room signal. Use the Damping and Low Cut switches to EQ the tone of
the room for your mix. See “Room Mics Channel Strip” on page 37.

You can independently choose the source for your Mixer Channels 1 & 2: one or both ofthe microphones that you see in the Cab panel, to capture the sound of your selected
Cab model, or your choice of third-party IRs from your IR Library. These options arecovered in the following sections.

Apply some EQ: In the Mixer Panel’s EQ channel strip, flip the EQ’s switch to On
and adjust any of the four EQ bands and Low and High Shelving controls to precisely
sculpt your Mic/IR tone. See “Parametric Post EQ Controls” on page 38.

TIP: Looking for some professionally crafted IRs? Be sure to check out the “Line 6 Marketplace” on page 5.

Adjust the overall level: In the Mixer Panel’s Mix Bus channel strip, adjust theslider to optimize your Cab View’s overall level. See “Mix Bus Channel Strip” onpage 37.

*See “U.S. Registered Trademarks” on page 44. All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated oraffiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

32

Cab Panel Options•

Mic Distance and Position: You can drag each cab mic independently toconfigure its positioning in relation to the cab's speaker. You'll see the distanceand position value pop-ups appear as you drag the mics for reference.
• Drag either mic stand up/down to set the proximity of the mic to the speakercab. Moving the mic farther from the speaker results in reduced low end anda less focused tone.
• Drag either mic stand left/right to set the horizontal placement of the mic on
the speaker cone. Closer to the edge of the speaker cone results in a darker
tone, where closer to the center of the cone produces a tighter, brighter
tone.
TIP: Also see the Mic Angle option in the following section for setting the mic as on-axis
versus off-axis on the cab.

The following table lists the speaker cabinet models available within each Metallurgy
product, and the actual cabs and speakers on which each is based.

The Cab Panel (Doom)•Speaker Cabinet Models

Cabinet menu: Click the menu here to launch the Cabinet Browser, where you
can select from the list of Line 6 crafted speaker cabs. Clicking once on any
Cab within the browser loads it as the active cab, leaving the browser window
open so you can optionally select and audition other cabs. Double-clicking
on a cab loads the cab and closes the browser window. Optionally, you canclick on the up/down arrow buttons at the right of the menu to load the next/
previous mic model. The cabs available within each of the Metallurgy plugins& apps are listed in the following table.

Model Based On*
2x12 Mail C12Q

Doom

Modern Thrash

Silvertone 1484 2x12 combo, Jensen
C12Q speakers®

2x12 Rivet Roland Jazz Chorus 2x12
4x12 Cali V30

Mesa/Boogie 4FB, Celestion® Vintage 30
speakers

4x12 Brit V30

Vintage Marshall® 1960AV, Celestion
Vintage 30 speakers

4x12 1960 T75

Vintage Marshall 1960A, Celestion G12T-75
speakers

4x12 Blackback 30

Vintage Park® 75, Celestion G12H-30
Blackback speakers

4x12 Uber T75

Bogner® Uberkab T75, Celestion G12T-75
speakers

4x12 Uber V30

Bogner Uberkab, Celestion Vintage 30
speakers

4x12 Mandarin Em Vintage Orange®, Eminence® speakers
2x12 Mandarin V30

4x12 XXL V30 Engl® 412XXL, Celestion Vintage 30 speakers

Choosing a Cab from the Cabinet Browser (Doom)

4x12 MOO)))N T75 Sunn® 412, Celestion G12T-75 speakers

NOTE: If both the Mixer's Channel's 1 & 2 are set to “IR” for their sources, the Cabinet
menu within the Cab panel will be inaccessible, until at least one of the Mixer channels is
set to the “Cab” source—see the following “Channel 1 & 2 Strips” section.
•

Orange PPC 212, Celestion Vintage 30
speakers

Mic 1 and 2: The left and right mics are fed to the Mixer panel's Channels 1
and 2, respectively, when these channel strips are set to the Cab source. See
the following “Channel 1 & 2 Strips” section.

*See “U.S. Registered Trademarks” on page 44. All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated oraffiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

33

Mixer Panel Options•

Channel 1 & 2 Strips
You can select the source that is fed to the Mixer’s Channel 1 & 2 strips independently
by toggling the Mic/IR Source switch, as covered below.

•

Mic/IR Source•

Mic/IR Menu
Phase Button

Mic Angle (Mic source)
HPF (IR source)•

Pan Knob•
Solo and Mute
Buttons

Phase Button: When using different mics and/or IRs simultaneously,
you can sometimes encounter phase cancellation, where the combined
signal results in a “thin” or “hollow” sound. If you encounter this audible issue,
try enabling one of the Channel strips’ Phase buttons to invert its phase andlisten to hear if it corrects the problem.
Mic Angle Button: (Available when the Mic source is selected.) Allows
you to set the angle of a mic in relation to the speaker. Activating theswitch sets the mic to a 45º angle (“off-axis”) to the speaker, which accentuates the midrange and attenuates higher frequencies as compared to thedefault 90º angle.
HPF Button: (Available when the IR source is selected.) Toggles the highpass filter for the IR processed signal,
Pan Knob: Pan your Channel 1 and 2 strips individually to create a stereo
image with Mic/IR outputs. (This knob is disabled on Mono output instancesof the plugin.)
Solo and Mute Buttons: When fine tuning one channel’s settings, it can help
to enable the S (Solo) button, which effectively mutes the opposite Channel
1 or 2 strip and the Room Mic channel, allowing you to hear just the current
strip’s Cab or IR source. Or, you can enable the M (Mute) button to silence thecurrent channel if you want to hear the opposite Channel 1 or 2 and Room Mic
channel.
NOTE: If Solo is currently enabled on the channel strip, enabling Mute will mute the channel strip. If Mute is currently enabled, enabling Solo will disable Mute and Solo the channel.

Level Slider••

Level Slider: Adjust the channel’s individual volume level from -60 to +6 dB.
0 dB is unity gain.
Channel Strip Label: Identifies the channel as either Channel 1 or Channel 2.

Channel Strip Label
The Channel 1 and 2 Strip Parameters(Channel 1, Mic Source pictured)

Channel 1 & 2 Strip Controls••

Mic/IR Source Switch: You can select the source that is fed to the Mixer’s
Channel 1 & 2 strips independently by toggling this switch. Its setting determines the function Mic/IR menu at the top of the strip, allowing you to choose
the Mic type (for the currently loaded speaker cab shown in the Cab Panel) or
IR (for which you can select an IR file from your IR library). See “Selecting aMic” on page 35 and “Using Impulse Responses” on page 35.
Mic/IR Menu: Once you've selected the Channel's source (see the previous
Mic/IR Source switch description), click on this menu to choose the Mic type(for the Mic source) or the IR file (for the IR source). See “Selecting a Mic” onpage 35 and “Using Impulse Responses” on page 35.

*See “U.S. Registered Trademarks” on page 44. All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated oraffiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

34

Using Impulse Responses

Selecting a Mic
When the Mic source is selected on the Channel 1 or 2 strip, the Mic
Model menu appears in the menu at the top of the strip. Click to open the Mic Browser
and choose one of the mic models, as shown below. Clicking once on any mic within
the browser loads it, leaving the browser window open so you can optionally selectand audition other mics. Double-clicking on a mic loads it and closes the browser
window. Optionally, you can click on the up/down arrow buttons at the right of themenu to load the next/previous mic model.

What are IRs?
Third-party Impulse Responses (or “IRs”) that can be used in Metallurgy are audio files
that are the result of capturing the sound of a test tone (frequency sweep) through aspeaker cabinet, which has been de-convolved with the original tone signal. This represents
the frequency response of the speaker and cabinet and can be used to simulate the way it
alters the sound. This is similar to a convolution reverb, but with a much shorter decay.
You can choose an IR as an alternative for either, or both, of your Cab View Channel
1 & 2 signals as an alternative to using the Cab and Channel 1 & 2 mics to provide
speaker cabinet simulations for the current amp model.

Adding IRs to your IR Library Folder
The Metallurgy plugins and standalone app allows you to manually add IR .wav files
or “Line 6 Marketplace” IRs into the designated IR library folder for use within thesoftware­. Once you’ve obtained IR files, drag them into your designated IR folder
and you will see them appear within the IR browser of all instances of your Metallurgy
plugins and standalone apps.
TIP: By default, the IR library folder is located at (Mac or Windows) Documents > Line 6
Metallurgy > Impulse Responses. If you happen to own other Line 6 Metallurgy plugins,
they default to using this same folder—The same IR files can be utilized by all Metallurgy
software (and are also supported for use with Line 6 Helix® Native, HX™ Edit, and POD® Go
Edit applications).

Supported IR Formats
The Line 6 Metallurgy software supports the use of WAV (.wav) file IRs, sold separately by various vendors (as well as Marketplace IRs—see the next section). Most
IR producers and vendors typically offer IRs within the .wav format. It is possible toimport a mono or stereo .wav file IR, regardless of its bit depth, length, or sample ratefrequency. Once imported into your IR library folder, files are automatically conformed
to the compatible IR properties (48kHz, 32-bit float, mono, and 2048 samples). Pleasebe careful to import only .wav files that were created specifically for use as IRs, not justany audio .wav file, or you may experience unexpected sonic results.

Selecting a Cab Mic from the Mic Browser

The following set of Mic models are available in all Metallurgy plugins and standalone apps.
Mic Models
Model Based On*
Dynamic 906 Sennheiser® e906

Line 6 Marketplace IRs

Dynamic 57 Shure® SM57

Be sure to visit the Line 6 Marketplace for premium IRs! Please see “Line 6 Marketplace” on page 5. You must initially have the Metallurgy plugin or standalone app
signed in and your computer authorized to initially load and use new Marketplace
IRs for their license synchronization (see “Authorizing Your Computer” on page 4). On
subsequent uses of your Marketplace IRs, no sign in or an Internet connection arenecessary.

Dynamic 7 Shure SM57B
Dynamic 421 SennheiserMD421
Ribbon 121 Royer® R121
Ribbon 160 Beyerdynamic® M160
Ribbon 4038 Coles 4038

When premium Marketplace IRs (.hir files) are copied into your Metallurgy IR Libraryfolder, they are indicated by a gold pick badge at their left within the IR Browser
window—see the IR Browser image in the following section. Marketplace IRs can beselected from the IR Browser and utilized just like any other IR.

Condenser 67 Neumann® U67
Condenser 414 AKG® 414
Cond 47 FET Neumann U47 FET*See “U.S. Registered Trademarks” on page 44. All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated oraffiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

35

Once you’ve loaded a Marketplace IR, you’ll see its name appear in gold text within
the Channel’s IR menu.

Once an IR is loaded, you’ll see the IR filename abbreviated within the IR menu slot
at the top of the Channel Strip, where the last twelve characters of the name aredisplayed (since the end of most IR filenames typically include the unique identifying
portion of the name!). If you hover your mouse cursor over the IR menu, the full IR
filename is also displayed for your reference.

A loaded Marketplace IR

To Load an IR Using the IR Browser
Once you’ve added IR .wav files into your designated IR library folder (as covered in
the preceding section), you can then use the IR Browser to choose an IR for one orboth of your Cab View - Channels 1 & 2.

Loaded IR in Channel Strip - full IR filename appears on hover

Once an IR is loaded, use the channel strip’s controls to achieve your desired pan and levelto blend with the opposite Mic/IR channel—see “Channel 1 & 2 Strips” on page 34.

When the IR source is selected, the IR menu appears at the top of the
strip. Click to open the IR Browser and choose an IR file from your IR Library, or clickon the up/down arrow buttons at the right of the menu to load the next/previous IR.

Missing IR FileIf you load a preset that had an IR saved which is no longer within your IR Libraryfolder, you'll see an error pop-up alerting you, with the name of the missing IR file. If
you encounter this error, copy the missing IR .wav or .hir file back into your specified
IR Library folder, and select the IR again from the IR Browser. Alternatively, you canchoose a different IR from the IR Browser, and save your preset with the new IR toresolve this error.

Missing IR error (Thrash)

When the loaded IR is missing, its filename also appears in red test within the Channel
1 & 2 strips’ IR menu, to indicate the channel does not currently have a functional IR
loaded.

Selecting an IR from the IR Browser

While the IR Browser is open, click on any IR within the list—if you're playing audio
through the plugin or app, you'll hear your signal with the selected IR, allowing you
to preview and find the desired IR file . Alternatively, you can click the up/down arrow
buttons at the right of the channel strip menu to load the next/previous IR without evenopening the Browser.

Missing IR indicated by red text in Channel Strip IR menu

36

Room Mics Channel Strip•

The Room Mics channel strip allows you blend in a distant mic, to add some ambience
to your Channel 1 & 2 signals.

NOTE: If Solo is currently enabled on the channel strip, enabling Mute will mute theRoom Mics channel. If Mute is currently enabled, enabling Solo will disable Mute andSolo the channel.

Mic Type Selector
Current Room Mic
Model Label
Damping Switch

Solo and Mute Buttons: Enable the S (Solo) button to mute the Channel 1 & 2
strips, allowing you to hear just the Room Mic signal. Or, you can enable the M(Mute) button to silence the Room Mic signal and hear the Channel 1 & 2 signals.

•

Low Cut Switch

Pan Knob

Level Slider: Adjust the amount of Room Mic signal that is blended with yourChannel 1 & 2 Mic/IR signals. Start with a low slider setting and raise it up
to the desired level. When the slider is at minimum, the room mic signal isessentially Off.

Mix Bus Channel Strip
The final channel strip within the Mixer Panel is the Mix Bus, which offers an overalllevel control for your mixed Cab View elements. This controls the signal level that is
fed into the Post FX View of the plugin.

Solo and Mute
Buttons

Level Slider

Channel Strip Label
Room Mics Channel Strip
•
•
•

•
•

Room Mic Type Switch: Choose between a condenser or ribbon type RoomMic for different room sounds.
Room Mic Model Label: Displays the Room Mic type currently selected via
the above switch.
Damping Switch: Click to toggle the damping applied to the room
reflections, for 8 kHz (dim-less damping) or 3.7 kHz (lit-more damping).
Damping reduces the higher frequencies of the room reflections, much like theeffect of adding carpeting and absorbing panels in the room.
Low Cut Switch: Set to On to reduce the lower frequencies of the room
reflections (6 dB per octave, up to 320 Hz), which can lessen boominess.
Pan Knob: Pan the Room Mic signal left or right in the Cab View mix. (Thisknob is disabled on Mono output instances of the plugin.)

Level Slider

Channel Strip Label
The Mix Bus Channel Strip

TIP: As with most controls, you can double-click on the Pan knob to directly type in a
precise value. But for Pan, you’ll need to type “L” or “R” with your 1-100 value (e.g.,“L100” or “100L” for 100% left panning), or type “C” or “0” for centered.

37

Parametric Post EQ Controls

Parametric Post EQ Parameters
Parameter Range

The Parametric Post EQ offers a low cut, a high cut, and four bands (Low, Low-Mid,
High-Mid, and High) which you can use to surgically shape your Cabinet View tone.
The Parametric Post EQ features an automatic Q (the frequency band’s width) parameter on each band, where the Q value narrows as the band’s Gain is increased.

Frequency Gain
Controls

400 Hz 4 kHz

Selects the high-midrange frequency, which can then be boosted
or cut using the High Mid Gain knob.

Hi-Mid Gain ± 15 dB

Boosts or cuts the high-midrange frequency, as selected via the
Hi-Mid Freq knob.

100 Hz 1 kHz

Selects the low-midrange frequency, which can then be boosted
or cut using the Lo-Mid Gain knob.

Lo-Mid Gain ± 15 dB

Boosts or cuts the low-midrange frequency, as selected via the
Lo-Mid Freq knob.

20 Hz 200 Hz

Selects the low frequency, which can then be boosted or cut
using the Low Gain knob. When Low Freq Shelf/Bell switch is
set to Shelf, this knob determines the cutoff frequency for the
shelving filter.

Low Gain ± 15 dB

Boosts or cuts the low frequency, as selected via the L-Freq
knob.

Low Freq Shelf/Bell
SwitchThis button allows to you change the Low Freq band between ashelf versus bell curve type filter. The shelf type acts on everything
below your selected Low Freq value, where the bell type is best
for acting on a narrow freq. band.

Low Pass 1kHz Filter OFF

Adjusts the 6 dB per-octave Low Pass Filter.

High Pass OFF Filter 1kHz

Adjusts the 12 dB per octave High Pass Filter.

In/Out Switch On/Off

Toggles the EQ In (enabled) or Out (disabled).

Hi-Mid Freq

Lo-Mid Freq

Frequency Selectors
High Frequency
Shelf/Bell Switch

Low Freq

Low Frequency
Shelf/Bell Switch

High Pass Filter

Low Pass Filter

In/Out Switch
Channel Strip Label
The Parametric Post EQParametric Post EQ Parameters
Parameter Range

Description

1.8 kHz 18 kHz

Selects the high frequency, which can then be boosted or cut
using the High Gain knob. When High Freq Shelf/Bell switch is
set to Shelf, this knob determines the cutoff frequency for the
shelving filter.

High Gain ± 15 dB

Boosts or cuts the high frequency, as selected via the High Freq
knob.

High Freq Shelf/Bell
SwitchThis button allows to you change the High Freq band between ashelf versus bell curve type filter. The shelf type acts on everything
above your selected High Freq value, where the bell type is best
for acting on a narrow freq. band.

High Freq

38

Description

Post FX View

Doom Post FX Models
ADT (Automatic Double Tracking)In addition to the pedal effects found in the Pre FX View, we’ve also included twostereo, time-based effects here in their own Post FX View. As this view’s name suggests, these effects are after (“post”) the amp and cab within the signal chain. All
Post FX parameters are editable and saved per preset, with most also automatable (inthe plugin) and accessible via external MIDI control. Metallurgy Doom, Modern, andThrash each include their own specific Post FX models, as listed in this chapter.

The practice of “double-tracking” guitars has long been commonplace on recordings to add depth and stereo imaging to a
guitar part. In the early days of studio recording, engineers
recorded onto two separate tape decks simultaneously, achieving all kinds of interesting side effects by driving the inputs andmanipulating the speed of the decks differently. You can emulatethese effects with just your one guitar input by using the ADT!
ADT Parameters
Parameter Description
On/Off Switch Toggles the effect On or Off. The light at the top of the effect is lit when On.
Delay 1 Adjusts the delay time for the deck 1 signal, from 0 ms to 20 ms.
Adjusts the delay time for the deck 2 signal, from 0 ms to 200 ms. Use thisDelay 2 to create an offset from the deck 1 signal. Lower time values create phasing,flanging, and chorusing, and longer times create slapback.
This knob allows full left-right panning for the deck 1 output signal. Try panPan 1 † ning one or both of the decks for different stereo imaging results!
This knob allows full left-right panning for the deck 2 output signal. Try panPan 2 † ning one or both of the decks for different stereo imaging results!

The Post FX View (Doom)

Adds tape saturation, as you’d get driving a hot signal into a tape deck. This
Saturation 1 saturation is applied to deck 1, and will also be heard on the deck 2 signal, toemulate the deck 1 signal being “recorded” to deck 2.

NOTE: A bypass button on the Post FX View Selector allows you to optionally bypass
both effects within this view in one click, as well as conserve CPU usage—see “View
Selectors” on page 20.

Saturation 2

Setting the Post FX View to Off will immediately silence any delay or reverb trails, since it isperforming a “hard bypass” of the view's processing. (Toggling the individual effects' On/Off
switches allow trails to decay naturally after bypass, depending upon the Feedback or Decay
length parameter settings.)

Adds tape saturation, as you’d get driving a hot signal into a tape deck. Thissaturation is applied only to deck 2.

LFO Rate Adjusts the speed of the pitch modulation added to deck 2, from slow to fast.
LFO Depth

Adjusts the intensity of the pitch modulation, which is applied to deck 2. For
no modulation, set the knob to minimum.

Adjusts both the sensitivity for triggering the envelope, and the depth of theenvelope which, ­when triggered, lengthens the delay time of deck 2. When
Envelope set to minimum, the envelope is not triggered. As you increase the knob
Depthsetting, the envelope is triggered by your pick dynamics more easily, andincreases the deck 2 delay time for a more extreme effect.
Inverts the polarity of the deck 2 signal. If you encounter phasing issues when
Deck 2
Polarity both decks are panned center, or when outputting to mono, set this option to
Inverted to remedy the problem.

†

Volume 1

Adjusts the output level individually for deck 1.

Volume 2

Adjusts the output level individually for deck 2.

NOTE: These parameters are disabled on Mono output instances of the plugin to provide a mono output.

39

Adriatic Delay

Adriatic Delay Parameters

Based on* the legendary Boss® DM-2 analog delay pedal introduced
in 1981, this little box utilized “Bucket Brigade” (BBD) chips toachieve its warm delays and included all the wonderful sonic quirks
for which BBD-based delays are coveted by guitarists. Not stopping
there, Line 6 sound-design guru Ben Adrian modded this model,
virtually adding more BBD chips to expand the delay time and several other tweaks for even more delay colors.

Parameter Delay
Mode

Description

Time Right Ping Pong,(ms) † Dual

(When Delay Sync Right is set to ms.) Independently adjusts thetime for the right channel delay, from 20 - 1,800 milliseconds.

Time Right Ping Pong,(BPM) † Dual

(When Delay Sync Right is set to beat.) Independently adjusts
the time for the right channel delay—choose the desired note
subdivision that is applied to the current tempo.

Adriatic Delay Parameters
Parameter Delay
Mode
On/Off Switch All

Link †

Description
Toggles the effect On or Off. The LED to the right is lit when On.

Spread † Classic

Toggle the switch to select between the three delay modes:

Mode † All

Mix All

Delay Sync All
Left

Delay Sync Ping Pong,
Right † DualTime Left (ms) All
Time Left All(BPM)

Ping Pong,
Dual

CLASSIC - A vintage digital style delay. The TIME LEFT &RIGHT knobs and Delay Sync controls are always “linked” in thismode—adjusting either results in common delay times for boththe left and right output.
PING PONG - Your input flows serially from the left into the rightdelay, and back and forth like an auditory game of ping pong.
DUAL - Your signal is fed in parallel into the left and right delaylines, each with independently adjustable delay times for more
complex stereo effects.
Adjusts wet/dry balance from 0-100%. Completely dry at 0%,
half wet/half dry at 50%, and completely wet at 100%.
This set of buttons allows you to select the behavior between ms(milliseconds) or note subdivision (beat) values for the TIME LEFT
knob. (Note that when in Ping Pong or Dual Mode, this controls
the left delay independently.) When set to a note subdivision, thedelay time follows your DAW host’s project tempo for the plugin(or, follows the Tap Tempo for the “Standalone Application”).
See the following TIME LEFT parameter description, as well as“Using the Delay Sync Options” on page 43.
This set of buttons allows you to select the behavior between
ms (milliseconds) or note subdivision (beat) values for the TIMERIGHT knob. (Note that when in Classic Mode, these controls are
disabled.) When set to a note subdivision, the delay time follows
your DAW host’s project tempo for the plugin (or, follows the
Tap Tempo for the “Standalone Application”). See the following
TIME RIGHT parameter descriptions, as well as “Using the Delay
Sync Options” on page 43.

Toggling the switch to the “up” position turns Link On, whichlinks the TIME LEFT & RIGHT knobs and Delay Sync controls sothat —adjusting either results in common delay times for boththe left and right output.
(When the MODE is set to Classic, Link is always On.)
Creates a wider stereo image in Classic mode by offsetting theright channel of the delay from 0 to 20 ms.

Feedback All

Adjusts the number of delay repeats heard.

Modulation All

Toggles a pitch modulation effect for your delay repeats On/Off,with the light to the right of the switch lit when On. Modulation
adds a chorus type effect and thickens the tone. Note that themodulation is also influenced by the Diffusion and Character
knobs.

Diffusion All

Adjusts the amount of diffusion applied—higher settings smear
more of the repeats’ attacks and transients, resulting in asmoother, less prominent tone to the repeats.

Character All

Adjusts the BBD size and noise of the analog delay­. As this knob
is turned to the right, these BBD size decreases (which results inaudio quality degradation) and the noise increases to add somevintage analog vibe to your repeats.

High Pass All

Adjusts the reduction of low frequencies, from Off (20 Hz) up to
500 Hz. Reducing some of the low end can clear up muddinessin your delay repeats.

Low Pass All

Adjusts the reduction of high frequencies, from Off (20kHz) down
to 500 Hz. Reducing the high end can reduce harshness andmake your delay repeats blend more pleasantly with your input
signal.

†

NOTE: When using a mono output instance of the plugin, “Classic” is the only Modetype offered, and all other † indicated parameters are disabled to provide a mono output.

(When Delay Sync Left is set to ms.) Independently adjusts thetime for the left channel delay, from 20 - 1,800 milliseconds.
(When Delay Sync Left is set to beat.) Independently adjusts thetime for the left channel delay—choose the desired note subdivision that is applied to the current tempo.

*See “U.S. Registered Trademarks” on page 44. All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated oraffiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

40Modern Post FX Models

Mod Chorus Echo Parameters

Mod Chorus Echo
This Line 6 Original echo model offers more than warm delay repeats,
namely the ability to slather some thick chorus or warbly vibrato
modulation to your repeats. Further sonic control is provided via theClassic, Dual, and Ping Pong delay modes, stereo imaging, tempo
sync, and low and high cut EQ shaping.
Mod Chorus Echo Parameters
Parameter Delay
Mode
On/Off Switch All

Parameter Delay
Mode

Description

Time Left All(BPM)(When Delay Sync Left is set to beat.) Independently adjusts thetime for the left channel delay—choose the desired note subdivision that is applied to the current tempo.

Time Right Ping Pong,(ms) † Dual

(When Delay Sync Right is set to ms.) Independently adjusts thetime for the right channel delay, from 10 - 4,000 milliseconds.

Time Right Ping Pong,(BPM) † Dual

(When Delay Sync Right is set to beat.) Independently adjusts
the time for the right channel delay—choose the desired note
subdivision that is applied to the current tempo.

Description
Link
Toggles the effect On or Off. The LED is lit when On.
Click the Mode button to select between the three echo modes:

Mode †

All

Adjusts wet/dry balance from 0-100%. Completely dry at 0%,
half wet/half dry at 50%, and completely wet at 100%.

Delay Sync Ping Pong,
Left DualThis set of buttons allows you to select the behavior between
ms (milliseconds) or note subdivision (beat) values for the TIME
LEFT knob. (Note that when in Ping Pong or Dual Mode, thiscontrols the left delay independently.) When set to a note subdivision, the delay time follows your DAW host’s project tempo
for the plugin (or, follows the Tap Tempo for the “Standalone
Application”). See the following TIME LEFT parameter description, as well as “Using the Delay Sync Options” on page 43.

Delay Sync Ping Pong,
Right † DualTime Left (ms) All

Spread † Classic

CLASSIC - A vintage digital style echo. The TIME LEFT &RIGHT knobs and Delay Sync controls are always “linked” in thismode—adjusting either results in common delay times for boththe left and right output.
PING PONG - Your input flows serially from the left into the rightdelay, and back and forth like an auditory game of ping pong.
DUAL - Your signal is fed in parallel into the left and right delaylines, each with independently adjustable delay times for more
complex stereo effects.

Mix AllPing Pong,
Dual

Feedback All

This set of buttons allows you to select the behavior between
ms (milliseconds) or note subdivision (beat) values for the TIMERIGHT knob. (Note that when in Classic Mode, these controls
are disabled.) When set to a note subdivision, the delay time
follows your DAW host’s project tempo for the plugin (or, follows
the Tap Tempo for the “Standalone Application”). See thefollowing TIME RIGHT parameter descriptions, as well as “Using
the Delay Sync Options” on page 43.

Toggling the switch to the “up” position turns Link On, whichlinks the TIME LEFT & RIGHT knobs and Delay Sync controls sothat —adjusting either results in common delay times for boththe left and right output.
(When the MODE is set to Classic, Link is always On.)
Creates a wider stereo image by offsetting the right channel ofthe delay from 0 to 20 ms.
Adjusts the number of delay repeats heard.

Type Switch All

Toggles between a Chorus versus Vibrato style modulation
effect for your echo repeats. The modulation speed and intensity
are determined by the Rate and Depth knobs.

Rate All

Adjusts the speed of the Chorus or Vibrato modulation (asselected via the Type switch) from a slow sweep to a fast warble.

Depth All

Adjusts the intensity of the Chorus or Vibrato modulation(as selected via the Type switch) from none to pitch bending
wobble.

High Cut All

Adjusts the reduction of high frequencies, from Off (20 kHz)down to 500 Hz. Reducing some of the high end can reduceharshness and make your echo repeats blend more pleasantlywith your input signal.

Low Cut All

Adjusts the reduction of low frequencies, from Off (20 Hz) up to
500 Hz. Reducing some of the low end can clear up muddinessin your echo repeats.

†

NOTE: When using a mono output instance of the plugin, “Classic” is the only Modetype offered, and all other † indicated parameters are disabled to provide a mono output.

(When Delay Sync Left is set to ms.) Independently adjusts thetime for the left channel delay, from 10 - 4,000 milliseconds.

41

Thrash Post FX Models

Dynamic Hall Reverb
When the need for adding some large, smooth ambience to yourModern guitar tone, this Line 6 crafted reverb is just the thing. The
Dynamic Hall includes numerous adjustable parameters to attainyour desired medium to massive sized hall tones, with adjustable
decay up to 45 seconds!

ADT (Automatic Double Tracking)See “ADT (Automatic Double Tracking)” on page 39 for details.

Dynamic Hall Reverb Parameters
Parameter Description
Enable Switch Toggles the effect On or Off. The LED is lit when On.

Vintage Digital Delay

Decay Determines the length of the audible reverb tail, from 100 ms to 45 seconds.

Not just a simple echo effect here! The Post FX - Vintage Digital
Delay offers fully adjustable stereo delays, tempo sync withselectable note subdivisions, modulation, and Classic, Dual, andPing Pong delay modes. See parameter descriptions in the following table—note that, as indicated by the Delay Mode column,
some parameters are dedicated to specific modes only.

This 3-way switch selects the size of the hall space for your reverberations:
Room Size 10, 20, or 30 meters. Click on the labels to choose the size, or click directlyon the switch to cycle through the three options.
Determines the amount of time before the early reflections and reverb tail are
Predelay heard, from 0 to 200 ms. Higher settings can allow more clarity to the attackof your picking.
Adjusts the amount of diffusion applied—higher settings smear more of the
Diffusion reverb reflections and transients, resulting in a smoother tone to the reverbtails.

Vintage Digital Delay Parameters
Parameter Delay
Mode

Adjusts the amount of “damping” applied to the reverb tail above theselected frequency, from 500 Hz to 20 kHz. Lower slider settings darken theDamping
reverb tone, while higher value settings apply damping only to the highest
frequencies.
Mix

Adjusts wet/dry balance from 0-100%. Completely dry at 0%, half wet/half
dry at 50%, and completely wet at 100%.

Low Freq

This knob sets the frequency below which the Low Gain slider's setting isappliedLow Gain

Sets the reverb time for frequencies below the Low Freq knob's value. Values
below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than thetreble frequencies.

Low Cut

Adjusts the reduction of low frequencies, from Off (20 Hz) up to 1 kHz.
Reducing some of the low end can clear up muddiness in your reverb.

On/Of Switch All

Toggles the delay On or Off. The LED to is lit when On.
Click on the Mode button to select between the three delay modes:

Mode † All

Mix All

Adjusts the reduction of high frequencies, from Off (20 kHz) down to 500 Hz.
High Cut Reducing some of the high end can reduce harshness and make your reverb
blend more pleasantly with your input signal.
Mix

Description

Delay Sync All
Left

Adjusts wet/dry balance from 0-100%. Completely dry at 0%, half wet/half
dry at 50%, and completely wet at 100%.

42

CLASSIC - A vintage digital style delay. The TIME LEFT &RIGHT knobs and Delay Sync controls are always “linked” in thismode—adjusting either results in common delay times for boththe left and right output.
PING PONG - Your input flows serially from the left into the rightdelay, and back and forth like an auditory game of ping pong.
DUAL - Your signal is fed in parallel into the left and right delaylines, each with independently adjustable delay times for more
complex stereo effects.
Adjusts wet/dry balance from 0-100%. Completely dry at 0%,
half wet/half dry at 50%, and completely wet at 100%.
This set of buttons allows you to select the behavior between ms(milliseconds) or note subdivision (beat) values for the TIME LEFT
knob. (Note that when in Ping Pong or Dual Mode, this controls
the left delay independently.) When set to a note subdivision, thedelay time follows your DAW host’s project tempo for the plugin(or, follows the Tap Tempo for the “Standalone Application”).
See the following TIME LEFT parameter description, as well as“Using the Delay Sync Options” on page 43.

Using the Delay Sync Options

Vintage Digital Delay Parameters
Parameter Delay
Mode

Description

Delay Sync Ping Pong,
Right † DualThis set of buttons allows you to select the behavior between
ms (milliseconds) or note subdivision (beat) values for the TIMERIGHT knob. (Note that when in Classic Mode, these controls are
disabled.) When set to a note subdivision, the delay time follows
your DAW host’s project tempo for the plugin (or, follows the
Tap Tempo for the “Standalone Application”). See the following
TIME RIGHT parameter descriptions, as well as “Using the Delay
Sync Options” on page 43.

Time Left (ms) All

Milliseconds(When Delay Sync Left is set to ms.) Independently adjusts thetime for the left channel delay, from 10 - 4,000 milliseconds.

Time Left All(BPM)(When Delay Sync Left is set to beat.) Independently adjusts thetime for the left channel delay—choose the desired note subdivision that is applied to the current tempo, from 1/64 to 4/1.

Time Right Ping Pong,(ms) † Dual

(When Delay Sync Right is set to ms.) Independently adjusts thetime for the right channel delay, from 10 - 4,000 milliseconds.

Time Right Ping Pong,(ms) † Dual

(When Delay Sync Right is set to beat.) Independently adjusts
the time for the right channel delay—choose the desired note
subdivision that is applied to the current tempo, from 1/64 to 4/1.

Ping Pong,
Dual

Toggling the switch to the “up” position turns Link On, whichlinks the TIME LEFT & RIGHT knobs and Delay Sync controls sothat —adjusting either results in common delay times for boththe left and right output.
(When the MODE is set to Classic, Link is always On.)

Link

The Metallurgy plugins' Post FX Delay and Echo models include the functionality tosync to your host DAW project's tempo. The Delay Sync Left and Right selectors
allow you to choose the behavior independently for each the left and right delay line’sTime parameters, between milliseconds (ms) or Note Subdivision (1/4 note, Triplet, orDotted) values.

Note Subdivisions
Synced to Tempo
Post FX Delays - Delay Sync control••

When set to ms, both the delay repeats follow the time you set via the TIME
LEFT and TIME RIGHT knobs, regardless of your DAW host project tempo.*
When set to a Note Subdivision, the delay repeats sync to the DAW host project tempo as the tempo source.* You can choose one of the three note subdivision types (1/4 note, Triplet, or Dotted) from 1/64 to whole note.
•
1/4: Allows the TIME knobs to set standard note subdivisions, from
1/64 at minimum to 1/1 at max.
•

1/3: Allows the TIME knobs to set triplet note subdivisions, from 1/64
triplet minimum to 1/2 triplet max.

Creates a wider stereo image for the Classic mode by offsetting
the right channel of the delay from 0 to 20 ms.

•

DOT: Allows the TIME knobs to set to dotted note values, from 1/64
dotted minimum to 1/2 dotted max.

Feedback All

Adjusts the number of delay repeats heard.

• When using the Post FX delays’ PING PONG or DUAL Modes, you canModulation All

Toggles a pitch modulation effect for your delay repeats On/Off,with the light to the right of the switch lit when On. Modulation adds
a chorus type effect and thickens the tone. Note that the modulation is also influenced by the Diffusion and Character knobs.

Diffusion All

Adjusts the amount of diffusion applied—higher settings smear
more of the repeats’ attacks and transients, resulting in asmoother, less prominent tone to the repeats.

Character All

Adjusts the sample rate and bit depth­. As this knob is turned to
the right, the sample rate and bit depth of your repeats decrease,which results in fidelity degradation (which can be a good thing).

Low Cut All

Adjusts the reduction of low frequencies, from Off (20 Hz) up to
500 Hz. Reducing some of the low end can clear up muddinessin your delay repeats.

High Cut All

Adjusts the reduction of high frequencies, from Off (20 kHz) down to
500 kHz. Reducing the high end can reduce harshness and makeyour delay repeats blend more pleasantly with your input signal.

Spread † Classic

adjust the TIME LEFT and TIME RIGHT knobs independently to achieve twodifferent synced note subdivision values. (When in Classic mode, the Delay
Sync Right selector and TIME RIGHT knob are disabled.)

NOTE: If you’re using a Metallurgy standalone app... Rather than a DAW project
tempo to follow, you have a few options to choose and configure your Source Tempo (aglobal application tempo or per preset tempo). When selecting a Note Subdivision option
for the Delay, it is applied to the current Source Tempo in use, which you can set within thestandalone app's File > Preferences window. See “Application Preferences: Configuring Your
Device & Tempo Settings” on page 48.

†

NOTE: When using a mono output instance of the plugin, “Classic” is the only Modetype offered, and all other † indicated parameters are disabled to provide a mono output.

43

U.S. Registered Trademarks*All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.
AKG, is a registered trademark of Harman International Industries, Inc.
Ashly is a registered trademark of Ashly Audio, Inc.
Beyerdynamic is a registered trademark of Beyer Dynamic GmbH & Co. KG.
Bogner is a registered trademark of Bogner Amplification.
BOSS and Roland are registered trademarks of Roland Corporation U.S.
Celestion is a registered trademark of Celestion Corporation.
EarthQuaker Devices and Plumes are registered trademarks of EarthQuaker Devices, LLC.
Electro-Harmonix is a registered trademark of New Sensor Corp.
Eminence is a registered trademark of Eminence Speaker, LLC.
Engl is a registered trademark of Beate Ausflug and Edmund Engl.
Hiwatt is a registered trademark of 9574565 Canada Inc.
Marshall is a registered trademark of Marshall Amplification Plc.
Mesa/Boogie is a registered trademark of Mesa/Boogie, Ltd.
Neumann is a registered trademark of Georg Neumann GmbH.
Orange is a registered trademark of Orange Brand Services Limited.
Park is a registered trademark of AMP RX LLC.
Paul Reed Smith and Archon are registered trademarks of Paul Reed Smith Guitars, LP.
Peavey and Invective are registered trademarks of Peavey Electronics Corporation.
Revv is a registered trademark of Revv Amplification Inc.
RMC is a registered trademark of Richard McClish.
Royer is a registered trademark of Bulldog Audio, Inc. DBA Rover Labs.
Sennheiser is a registered trademark of Sennheiser Electronic GmbH & Co. KG.
Shure is a registered trademark of Shure Inc.
Silvertone is a registered trademark of Samick Music Corporation.
Sunn is a registered trademark of Fender Musical Instruments Corp.

44

Plugin Parameter
Automationa. In Cubase: Hover your mouse cursor over the bottom left area of the trackheader so that you see the Show/Hide Automation down arrow button
appear, as shown below. Click this button to show an automation lane.

The Metallurgy plugins support your host DAW application's features to read, write, andedit parameter automation, where the DAW can control the plugin's parameter values
over time using editable track envelopes. Most parameters within the plugin, including
those for the Utility Drawer, Pre FX, Amps, Cabs, Post FX, and Mixer are automatable,
providing a tremendous amount of control in your DAW projects!
Most DAW applications additionally allow you to record parameter automation in realtime, where you enter an automation “write” mode and changes to the selected pluginparameters are instantly recorded and displayed on the track as adjustable envelopes.
This allows all these plugin parameter changes to be played back (using the host's track“read” mode option) and incorporated into your project’s mix-down.

Cubase - The track’s Show/Hide Automation button

In the automation lane that appears, click on the parameter assignment
field (where it defaults to the track’s own Volume parameter), choose
More, to open the Add Parameter window.

Typically the list of automatable parameters for a plugin are available in the host DAW
app by way of an automation parameter menu, specific to the audio or aux track where
you have inserted the plugin. Metallurgy plugins follow this standard, and you’ll find
all automatable parameters accessible in the host application’s parameter automation
menus and windows.
TIP: All parameters that are available for DAW host automation are also available forexternal MIDI control within both the plugin and standalone app!

Automating a ParameterOnce you’ve inserted an instance of your Metallurgy plugin on any track within yourhost DAW application, all automatable parameters appear within the track’s automation menu or window. Note that how you choose and configure plugin parameters forautomation can differ quite a bit among host DAW applications, so we’ve provided a
few examples to follow using the Metallurgy: Thrash plugin—the steps are the sameusing the Doom or Modern plugins as well. Be sure to consult your host software’s
documentation for its specific instructions and parameter automation capabilities.
1.

Start by recording or importing an audio clip into your host DAW app’s audio
track, and insert an instance of the Thrash plugin on the track. See “Quick
Start” on page 7 for more information, if needed.

2.

This next step of selecting the specific Thrash automation parameter differs
among DAW hosts, so we’ve described the process in several popular apps.

Cubase - Choosing the Thrash plugin automation parameter for the track

Within the Add Parameter window, expand the Ins. (Inserts) folder, thenthe Thrash folder to see all the plugin’s automatable parameters. As you
can see, practically every Thrash Utility Drawer, Pre FX, Amp, Cab andPost FX parameter is available here for automation. For this example,
we’ll choose Cali IV - Lead Gain to automate the Cali IV amplifier Lead
Gain knob. Click OK. Note that you can repeat these steps in Cubase
to add additional automation tracks and choose a different, additionalThrash parameter for each.

45

b. In Logic Pro: Click and enable the Show/Hide Automation button at the
top of the Logic Pro main window to show the automation controls within
the track view.

In the Pro Tools Edit window, click the arrow button at the left of the trackheader to show an automation lane below the audio waveform track.

Logic Pro - Select the Show/Hide Automation button
Pro Tools - Show automation lane

Within the header of your track, click on the Automation Parameter menu
and choose 1 Thrash > Stupor OD - Volume, for this example, to automate
the Stupor Pre FX View - Stupor pedal’s Volume knob.

In the automation lane that appears, click on the Lane view selector(where it defaults to the track’s own Volume parameter), choose yourtrack name/effect instance (in this case, “Guitar” is our track’s name) andthen Thrash > Placater - Gain, for this example, to automate the Placater
amp’s Gain knob.

Logic - Choosing Thrash automation parameter for the track

Note that you can click the arrow in the Logic track header to add
additional automation tracks and choose a different, additional Thrashplugin parameter for each.
c. In Pro Tools: Within the top header of the Thrash plugin window, click
the Plug-in Automation Enable button. In the left column of the Plug-in
Automation window, choose any of the Thrash parameters you want toautomate—for this example, select all of the Placater amp’s parameters,
and click the Add button to add them to the window’s right column, whichenables them for automation within your Pro Tools session.

Choosing a Thrash automation parameter for the lane

Note that you can click the + button in the lane header to add additional
automation lanes and choose a different, additional Thrash parameterfor each.

Pro Tools - Add the desired Thrash parameters for automation

46

3.

Writing Parameter Automation

In your DAW app, you’ll now see the selected Thrash plugin parameter
assigned for the automation lane. Move your mouse cursor within theautomation lane and click to create an edit point, then drag the edit point up/
down to adjust the parameter’s level as desired at the time location. Repeat
to add more edit points to shape the automation envelope as needed.
(Optionally, you can click and drag to “draw” the envelope line, then adjust
the edit points.)

Most host DAW apps also provide several “Read/Write” modes for parameter automation, which typically appear as a set of options on the track (Off, Read, Write, Latch,
Touch, etc.).

The track automation Read & Write mode options in Logic Pro

When set to Read (typically the default), the track will actively “play back” the automation envelope edits on the track.

Automation lane - editing the automation envelope

4.

Open the Thrash plugin window, view the Amplifier View (or whichever view
your automated parameter’s block resides), and hit play to listen to the track.
Watch and listen as the parameter’s knob “reads” your automation envelope,and readjust your edit points to fine-tune automation as needed.

When one of the Write options (Touch, Latch, or Write) is set as active on the track,
you can then play the track and manually adjust any automatable switch, knob, or
slider within the Thrash plugin window, and your moves are recorded to the track inreal-time. Typically you'll be able to access the parameter's envelope in an automation
lane, edited with the adjustments that you have written, and you can manually dragindividual edit points to edit the envelope further as desired.

NOTE: You may need to enable the automation lane’s Read option, typically found in the
track or automation lane header, otherwise the automation envelope is ignored by yourDAW host on playback.

You can repeat the above steps to add additional automation lanes, andautomate an additional Thrash parameter within each.
NOTE: When selecting a switch type parameter (for example, a Thrash Pre FX or Post FX
On/Off switch), you’ll see that its automation envelope edit points adjust to only two corresponding positions—at maximum for On and minimum for Off, as shown below.

Automation envelope for a switch parameter47

Standalone Application

Just as with any DAW host application, the Metallurgy standalone applications requirethat you have an audio interface connected to your computer, capable of low latency
operation.* You’ll also need speaker monitors or headphones connected to your interface. This allows you to use your computer as a virtual guitar amp & effects rig for jamming along with music on your computer, or with the output of your interface routed toan amplifier or PA for live performance.

This chapter covers features unique to the Line 6 Metallurgy standalone applications
operation. Note that all other features are identical in operation to those of the Metallurgy
plugin, so please review the preceding chapters for details covering other features.

*NOTE: On a Windows computer, Metallurgy standalone apps only support and list audio
devices that include an installed ASIO type driver, since this provides you with the required
low-latency audio performance. This driver is provided by your audio device’s manufacturer—please check your device’s documentation for details. You’ll also need to exit any otheraudio application that is utilizing your ASIO device before launching your Metallurgy standalone
app, since ASIO does not permit use by more than one application at a time.

Application Preferences: Configuring Your Device& Tempo Settings
IMPORTANT! It is recommended to connect your and power on your audio and MIDI
device before launching the Metallurgy standalone app.
Be sure to first turn the volume level all the way down on your audio interface and monitoring systembefore making the following settings to avoid any potential unexpected loud bursts of audio.

Within the main application menu’s Preferences window, you’ll find options to selectand configure the audio interface and MIDI controller devices to use with the app. You
can additionally set the Tempo options to which the app’s Post FX Delays can sync.

The standalone application (Modern - Amplifier View)

For any Metallurgy software, the standalone application is installed by default alongwith all its plugin formats, and is authorized to run on your computer once you’ve completed the Authorization steps. For info on these steps, see “Requirements and Installation” on page 2.

On Mac, this Preferences window command is found within the Metallurgy: Doom,Metallurgy: Modern, and Metallurgy: Thrash main menu, or on Windows within theFile main menu.

To launch your installed Metallurgy standalone applications, you'll find them in theselocations:
Metallurgy: Doom••

Mac: /Applications/Line6/Metallurgy Doom.app
Windows: Start button menu > Programs list > Line 6 > Metallurgy DoomMetallurgy: Modern••

Mac: /Applications/Line6/Metallurgy Modern.app
Windows: Start button menu > Programs list > Line 6 > Metallurgy Modern

Metallurgy: Thrash••

Mac: /Applications/Line6/Metallurgy Thrash.app
Windows: Start button menu > Programs list > Line 6 > Metallurgy Thrash

NOTE: If you have not yet performed the authorization steps within your Metallurgy plugin,
you’ll be presented with the Authorization/Sign In screen upon launch of the your Metallurgy standalone app. You must authorize your computer to run the application—see“Authorizing Your Computer” on page 4 for details.

The standalone app - main menu Preferences (Mac)48

Audio Device Settings•

Audio Device: You’ll need to set this option before the other Audio settings will be available. Choose your connected audio interface that you wish
to use for audio input and output.

•

Audio Device Refresh Button: If your audio device does not appear in the
Device menu, make sure your device is powered up and connected and press
the Refresh button to allow the app to find it.
Input Channel: All available mono inputs of your selected Audio Device areavailable here. Choose the input into which you are connecting your guitar. For
best results, you’ll typically want to plug your electric guitar into a high impedance or “Instrument” type input on the device. Also, see “Input and Output
Controls” on page 19 for tips about input levels.
Output Channels: Choose the two outputs of your Audio Device to which you
are connecting your speakers or monitoring system. If you only need one output,
to connect to a mono amp or monitoring system, you can use either output.

••

Tempo Settings
These Tempo options allow you to set a “Tap Tempo” to which the Metallurgy standalone app - Post FX delays can sync when utilizing the delay’s note subdivision options.
(Also, see the following “Post FX Delays - Tap Tempo and Note Sync” section.)•to which the app’s Post FX Delay repeats can follow, regardless of the loaded
preset. You’ll see a Tap Tempo button appear to the right when this option
is selected, which you can “Tap” rhythmically to define the tempo BPM—orright-click on the button to type in a precise tempo value.
• Preset (Post FX) - Choose this option if you prefer to have your Post FX
Delays sync to an individual tempo that is stored per preset. When thisoption is selected, you can use the Tap Tempo button that appears on the
app’s Toolbar—see the next section. View to “Tap” in your desired BPM, orright-click the button to type in a precise tempo value. Remember to saveyour preset to retain your tempo.
Once all your settings are complete, click Close to exit the window.

NOTE: If you plan on only using one of your audio device’s outputs to route to a mono
amp, it is best to set all Cab View - Mixer Channels’ Pan controls to center, and Post FX
Left and Right Time controls to common settings, to optimize for a “mono” output signal.
•••

Post FX Delays - Tap Tempo and Note Sync

Sample Rate: Your audio device’s supported sample rates are available here
for you to choose. The higher the sample rate value, the higher the audio quality. However, higher sample rates also increase the demands on your computer’s processor. Typically, 48,000 is a good choice.
Buffer Size: The lower the buffer size, the lower latency performance you will
have with your standalone app. However, lower buffer sizes also increase thedemands on your computer’s processor and can result in audible dropouts or
clicks & pops in the audio output. Typically, 128 Samples is a good starting
value. If you encounter dropouts, choose a higher buffer size.
Round-Trip Latency: Once you’ve selected your Audio Device and above
settings, you’ll see this latency indicator appear in the window, reported fromyour device. It denotes the time (in milliseconds) it takes your guitar signal to
travel from entering your audio device’s input, be processed by the standalone
application, and exit the device’s output. Use the Buffer Size setting to optimize the latency on your computer.

As mentioned in the preceding Preferences window section, when you’ve set theTempo - Source option to Preset (Post FX), the preset’s Tap Tempo control becomesenabled. (This toolbar Tap Tempo control appears dimmed when the Preferences
Tempo - Source is set to Application, and shows the current global Application BPM.)
When enabled, you can “Tap” rhythmically on the Toolbar Tap Tempo button to define
the BPM for the current Preset—or right-click on the button to type in a precise tempo
value. Be sure to Save your preset to retain your entered tempo value.

Application Tempo
disabled•

Preset (Post FX) Tempo
enabledThe standalone app’s toolbar Tempo control (Modern)

MIDI Device Settings•

Source: Choose the Tempo source to which your Post FX Delay’s time can sync.
• Application - Select this option to allow you to set a global “system” tempo

The Post FX Delay’s - Time Left or Right values, when set to use a note subdivision, willthen sync to your defined Preset Tempo BPM. Also, see the plugin’s sections covering
the Post FX delay models for more about using the Delay Sync and Note Subdivision
options.

MIDI Input Device: Choose your connected device in the MIDI Input menu
here to use it for MIDI control of the standalone app’s many available parameters. See “MIDI Control” on page 15. Note that you must also have an
Audio Device selected before the standalone app may not receive MIDI fromyour selected MIDI device—see next item. (If you do not intend to use MIDI
control, you can leave the MIDI Input menu set to None.)
MIDI Device Refresh Button: If your MIDI device does not appear in the MIDI
Input Device menu, make sure your device is powered up and connected andpress the Refresh button to allow the app to find it.

•
•
•

49

Doom: “Adriatic Delay” on page 40
Modern: “Mod Chorus Echo” on page 41
Thrash: “Vintage Digital Delay” on page 42

Application Menus
At the top of your computer screen (Mac) or top of the application window (Windows),
you’ll find the application menu. To follow are descriptions of the application menu
commands for Mac and Windows.

Metallurgy: Doom, Metallurgy: Modern, or Metallurgy:
Thrash (Mac only)•

Preferences - Launches the application’s Preferences window, where you canselect and configure your audio interface and MIDI controller device, as well as
the Tap Tempo options (see the preceding section).

•

Quit (Doom/Modern/Thrash) - Exits the application. You can also quit theapplication by via the red close button at the top left of the window.

File (Windows only)•

Preferences - Launches the application’s Preferences window, where you canselect and configure your audio interface and MIDI controller device, as well as
the Tap Tempo (see the preceding section).

•

Quit - (Windows only) Exits the application. You can also exit the application
via the red “X” close button at the top right of the window.
NOTE: For Help, Updates, and Preferences, please click the Toolbar’s Help and Settings
buttons—see “Toolbar Controls” on page 12.

50Additional Resources
Looking for more info? We’ve got plenty of online resources, just a click away.
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•
•
•

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Download additional documentation covering Line 6 software and other gearfrom the Line 6 Product Manuals page.
Check out the Line 6 Support page for access to helpful tips, videos, discussion forums, or to contact Line 6 Technical Support.
Stay up to date with the latest updated version of Thrash and all your otherLine 6 applications, available from the Line 6 Software page.
Looking for some professionally crafted presets and Impulse Responses foryour Metallurgy plugin or standalone app? Check out the Line 6 Marketplace,and be sure to check back often for news and product announcements.
Can’t get enough Line 6 Gear & accessories? Head on over to the Line 6
Store.

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