Amps that pair well with the Line 6 DL4 Delay Modeler

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (warm → bright)

Where this leans warm, PRS HX 50 Head answers back bright

Comes earlier in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (warm → bright)

Marshall Super Bass leans bright right where the warm tone needs it

Comes earlier in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

Line 6 DL4 Delay Modeler's warm voice goes in Peavey MiniMAX's effects loop — it's not there to compete with Peavey MiniMAX's own tight character

Comes earlier in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

Put Line 6 DL4 Delay Modeler in Ampeg RB-110's effects loop, clear of Ampeg RB-110's own gain stage

Comes earlier in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

Keep Line 6 DL4 Delay Modeler in Laney Richter's effects loop, clear of Laney Richter's own gain stage

Comes earlier in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

Keep Mesa Boogie Subway D-350's bright voice out front: Line 6 DL4 Delay Modeler goes in Mesa Boogie Subway D-350's effects loop so its warm voice doesn't muddy it

Comes earlier in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

Line 6 DL4 Delay Modeler's warm voice goes in Peavey MAX 208's effects loop — it's not there to compete with Peavey MAX 208's own full character

Comes earlier in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

Line 6 DL4 Delay Modeler's warm voice goes in Gallien-Krueger MB115MK2's effects loop — it's not there to compete with Gallien-Krueger MB115MK2's own full character

Comes earlier in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

Put Line 6 DL4 Delay Modeler in Peavey MiniMAX II Bass Head's effects loop, clear of Peavey MiniMAX II Bass Head's own gain stage

Comes earlier in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

Run the DL4's warm, vintage-voiced delay in the PF-50T's loop, past the amp's own warm midrange-forward tube tone.

Comes earlier in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

Keep Line 6 DL4 Delay Modeler in Peavey TNT-115's effects loop, clear of Peavey TNT-115's own gain stage

Comes earlier in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

Put Line 6 DL4 Delay Modeler in Blackstar Series One 45-Watt 2x12"'s effects loop, clear of Blackstar Series One 45-Watt 2x12"'s own gain stage

Comes earlier in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

Keep Line 6 DL4 Delay Modeler in Vox MV50 Brian May's effects loop, clear of Vox MV50 Brian May's own gain stage

Comes earlier in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

Line 6 DL4 Delay Modeler's warm voice goes in Fuchs ODH's effects loop — it's not there to compete with Fuchs ODH's own bright character

Comes earlier in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

Keep PRS DG's bright voice out front: Line 6 DL4 Delay Modeler goes in PRS DG's effects loop so its warm voice doesn't muddy it

Comes earlier in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

Run Line 6 DL4 Delay Modeler in Ceriatone Dizzy 30's effects loop, clear of Ceriatone Dizzy 30's own gain stage

Comes earlier in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

Keep Ceriatone C-Wreck's dynamic voice out front: Line 6 DL4 Delay Modeler goes in Ceriatone C-Wreck's effects loop so its warm voice doesn't muddy it

Comes earlier in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

Put Line 6 DL4 Delay Modeler in Ceriatone British Style Plexi50 Lead's effects loop, clear of Ceriatone British Style Plexi50 Lead's own gain stage

Comes earlier in the signal chain