The Line 6 DL4 is delay pedal with 16 different settings, all based on other delay pedals. It also has a 14 second loop sampler. There are 1/4'' mono and stereo inputs and outputs and has 3 spaces for making your own presets and also has a tempo tap feature.

The pedal is very easy to use, although it takes some time to master it and to reach its full potential. Each knob has a different use for each setting and I would recommend looking at the manual for the full information on that, just because there is so much information and so much you can do with the pedal. Overall, its really easy to get some great sounds out of this though.

The effects on this are impeccable. While some are better than others, all of the sounds are very realistic and they don't sound too 'digital' at all. I use this mostly on electric guitar but I have used it on keyboards as well, and it works great with both. My favorite settings are the sweep delay and the reverse delay. I used the looper constantly, most of the time I just lay a chord progression down and make up lead parts over it - its a really great writing tool as well.

Analog voiced digital delay... more knob twisting, easy... yay!! Rackmount quality in a very, very small foot pedal package. 1/4" connections... no Midi here!

Very easy to use... as an effect. The typical user will absolutely, no questions asked, want to get an adapter with this pedal. This has a very high power draw. Eats batteries like tic tacs...AND aside from that, the battery compartment to this undersized, and lightweight pedal is a horrible design. It is sophomoric at best. The access to the battery compartment is covered by a tin plate, held together by a big black rubber band. Clumsy, difficult to attach, and worst of all... the battery feels like it needs to be forced into the space. NOT what you want to do to sensitive chips and circuit board... And not what you expect in a pedal that sells for 115.00 dollars.. but, I suppose the perspective on this would be that the price is for the quality of the effect. Get the adapter... And no worries! Other than that.. it is a straight ahead, 3 knob effect pedal that can be used without a manual... not sure mine came with one!

Rack mount quality in a foot pedal. Nice bypass... not True Bypass, exactly.. but buffered. I notice no tone loss with this pedal.
Using a Voodoo Lab Preamp, Carvin T100 poweramp,Cannabis Rex speakers in closed back cabs. Les Pauls,Strats,Tele's, etc. I don't use this much in my current rig, as I have a Digitech GSP2101 that I use for effects..but I have used it extensively with combo rigs, and it foots the bill.
I love the quality... better than my rack mount unit..( a little)...I don't use it because I need the other effects..and because I don't want 50 pedals on the floor in front of me....for very little difference in tone. ( I already have 2 footcontrollers and 3 other pedals in front of my rig... and all my effects essentially come from 1 unit. And hate lugging around more junk than I need!)
A solid "9" for sound quality. The bypass and organic tone beat all the other offerings in the price range ( Boss,Digitech)

Hmmmm..let's see... All analog, improved bypass,chip, capacitors,filaments, etc. classic overdrive reissue pedal. Good old fashioned ingredients. Texas Instruments integrated circuit. A buncha other stuff I have no idea about.
Easy knob twisting...no editing software, rack mounting, etc... just a great clean boost and/or overdrive.

Easy, easy, easy. Twist the knobs. Find your tone. No manual required, but the controls do function a bit differently than a stock Ibanez unit. The range of gain is higher, the level has become more of a clean boost...but..um. Honestly, no manual required.

Great overdrive. I mostly use my amps distortion (Voodoo labs Preamp) with this to push it into molten territory. Adds searing harmonics and "hair" to the signal... On a clean channel, this does add grit...giving a tweed overdrive characteristic...in front of my rhythm channel..all the way from Stevie Ray Vaughn to Eddie Van Halen. Lead channel...well, VH to whatever. This pedal is a bit geared toward mid tones, but won't impact your tone negatively if you have dialed your amp into a scooped metal sound.
Using this with a Strat, Les Paul, Telecaster, and some other humbucker equipped guitars, this offers something different with each. My favorite combination is using this with my Strat.. I have a Dimarzio HS-3 stacked humbucker in the bridge for this guitar. You don't typically think of a Strat as a screaming guitar..but this setup rocks. It adds harmonic richness and sustain. I am not one to say "notes leap off the fretboard"... but.. this has sure made them more "jumpy" :b

This pedal, even with the mods adds some noise to my signal, but let's face it. It IS an overdrive pedal...it IS noise!

Classic wah tones. Pure and simple.. at least the closest available using Fasel inductors.. maybe not the EXACT same tone as the original Clyde, but certainly the closest you can get without running the boutique route at about 100+ bucks more.
This is a pure analog device.. pivoting rocker pedal.. True Bypass, shiny chrome.. no modeling,chips or silicone...
No editing options.. Put it on the floor. Step on it. Click the button. Wiggle it back and forth. Yay! It's a wah wah.

Um.. no manual necessary... no editing options... see characteristics. My kid can figure this out. (of course.. he already thinks he knows everything... so.....

Very sweet. The closest to classic tones available without spending at least $100.00 more. Great midrange manipulation within the lower ranges... it gets a bit screechy in the upper registers. The treble range becomes a bit tinny... almost similar to the high speed pitch shift on a Whammy effect... this can be neat, or annoying. Depending on the application. The best feature of this effect is the fact that it is not a watered down Morley effect.. with virtually no sweep, and tasteless generic flavor ( I cannot speak for the Vai or Tremonti wahs.. just their basic offerings. Never played the signature wahs..) And it is stronger than a Crybaby...(although from my understanding, this is built in the same facility) The recent addition Crybaby Classic also uses a Fasel inductor.. so.. the tones may be similar.. and at only $99.00.. it IS a worthy consideration... unless you need to see chrome on the floor. Whatever does it for you..
I have owned mine for almost 2 years.. and the pots are beginning to get scratchy. Yuck. Used with Les Pauls, Strats,Teles... running thru a Voodoo Lab Preamp, Carvin T100 poweramp, Digitech GSP2101 (for effects) into 2 closed back cabs with Eminence Cannabis Rex speakers. (more on those later
This wah provides realistic, classic tones heard on your favorite albums. As with any instrument.. the more you practice with it... improve your technique and level of control, the greater the sonic reward. It's sweep can be construed as a limitation.. in the fact that it gets TOO trebly, but this can be relegated to a control issue... when you become accustomed to the sweep, it is great to have the "gas in the tank". You may not need it.. or use it.. but it's there!

Wha wha pédal, analog

- can't be more easy to use

Good effect but the pédal seems poorly built: the bypass (not a true one) affect the sound quality (in the bad way), and when the effect is on, the signal drops and become thin
I'm modded mine and all those problems are over

Here's the link to compare moded and standard cry baby:
http://www.robtognoni.com/wahwah.htm

The Zoom Tri Metal is (how surprisingly!) a heavy-rock-oriented analog distortion pedal. Regarding controls we have the usual Gain & Level knobs, plus the classic Treble-Middle-Bass trilogy with a (very efficient) Range control for the mid frequencies. The pedal's case seems sturdy (probably even more than a Boss, which says a lot), the (big) on/off switch looks a bit unusual but seems reliable too.
According to the manual this stompbox was designed to handle the low frequencies of 7-string guitars -- I don't own one to test though.
This model was manufactured in Japan.

Obviously it takes more time to find your sound than it would on a mere Level-Tone-Drive (classic) distortion box... but if you have at least a bit of experience with that kind of settings it shouldn't be too much of a problem.

As usual with distortions the manual provides mostly very basic informations, plus a few examples of settings here and there. Nothing to complain about.

I use this pedal with a (mexican) Fender Fat Strat equipped with a Seymour Duncan SH4JB humbucker, into a SansAmp GT2 in clean (Tweed) setting which goes direct into the board, sometimes with a Small Clone between the Tri-Metal and GT2.

As the name "Tri-Metal" indicates, this box simulates three stages of distortion at once (I'm not too much into tube-amps technical informations but I assume the three stages correspond to two preamp tubes stages distorting plus the traditional crunch provided by power tubes). I can hardly compare it with "the real deal" (hey, I never played on a metal-plated or snake-skinned tube-powered beast!), anyway it provides a thick, mean, heavy and rather dynamic sound. Even with the drive level set low don't expect a clean sound out of it. It definitely sounds WAY hotter and versatile than EHX's Metal Muff, and provides a more "modern", tight sound compared with the Mesa (California) or Marshall (British) simulations on Tech 21's SansAmp GT2. As long as you want a modern distortion sound it will do the job, not only for metal but also punk, grunge, power pop and most certainly several other styles -- well, at least, that's as long as you concentrate on rhythm sounds...

Indeed, Zoom came up with what could have been a brilliant idea but in the end proves itself a major source of disappointment: they included a sort of internal noise reducer, which indeed succeeds in providing a surprisingly noise-free and hiss-free sound (I don't even need to use my ISP Decimator when the TM-01 is on), BUT in the same time it tends to reduce dramatically the sustain... had the circuit been equipped with an on/off switch so as to control this factor this might have been the PERFECT pedal for huge distortion sounds, but unfortunately it seems to me that this pedal will hardly be useful for soloing, even with a compressor or booster/overdrive in front of it.

Analog preamp + digital multifx in a 2U rack
Got more effects than you'll ever need in this unit

- you got to be patient when you setup the 2101, the effects chains can be very complicated: lots of paraméters, same effect can be used and re-used at any place in one chain. The manual is well designed and very helpfull

The effects are really good. 2 groups:

- analog (préamp): compressor (excellent), distorsions (transistor or tube, they both sound very good)
- digital (multifx): the wha is cheap but otherwise all the effects are great (you've got here all the effects you can think of, even the whammy). You can blend the ratio original signal/processed sound with the mixers in the chain. I only had problems with the réverbs: lot of people find it great, i don't (T.C. electronics reverbs sound 10 times better to me)

You can really achieve uncommun sounds ala allan holdsworth etc. Everything is possible!

- compressor limiter

- At first the setup can seem a little tricky and you'll need to read the manual (and even the online manual of the constructor website, where you can find some settings) to understand the use of the setting "response", but that's the only difficulty

Beautiful !
The Carl Martin compressor is well known for being one of the best "non-rack" compressor... Once you try it you understand why