Strymon TimeLine MX

The TimeLine has proved enduringly popular, on stage and in the studio. But as technology has evolved over the last 15 years, Strymon decided that the time was ripe for a significant redesign...

Strymon’s original TimeLine delay pedal was introduced over 15 years ago, and still has a place on the pedalboards of many top players. It’s understandable that Strymon decided this new version, the TimeLine MX, shouldn’t stray far from the ethos of the original: like that model, it offers a wide choice of delay algorithms, and has a friendly user interface that puts all the main controls on the top panel. At seven inches, the aluminium case is just a quarter‑inch wider. But although the physical format feels familiar, what lies beneath really has changed with the times.

The original had a SHARC‑based architecture, but the new model employs a modern 800MHz, tri‑core ARM processor. This delivers significantly more processing power, and enables the pedal to run two independent processing engines simultaneously. 32‑bit floating‑point processing is used, along with what Strymon describe as low‑noise, high‑performance A‑D and D‑A converters. In some respects, then, this evolution mirrors what Eventide did when adopting a more modern DSP platform to follow the ‘single algorithm at a time’ H9 with the dual‑algorithm H90. Strymon also plan for the TimeLine NX to be compatible with their Nixie 2 software, which will allow USB or wireless editing via Bluetooth — though at the time of writing, this functionality was not yet available.

The analogue circuitry now includes discrete JFET input preamps, along with a low‑impedance output stage, and the dry signal remains entirely in the analogue domain — this avoids unnecessary A‑D/D‑A conversion, ensuring that converter latency doesn’t combine with that of other digital pedals to compromise the playing feel. The bypass control can be set to engage a true bypass, which uses relay switching, or a buffered one; in the latter mode the delay and reverb tails can fade naturally. (When stereo outputs are in use, the bypass mode sets itself to buffered automatically.) While this pedal has a similar footprint to the original, the layout has changed somewhat, the most noticeable difference being a larger, more informative OLED display, but there are alternatives to the default view: in Stage mode, the preset name can fill the screen, and there’s also a mode in which the preset name can scroll across the screen if it’s too long to fit. Small touches, perhaps, but considerate ones, and they’re very useful in practice!

Making Connections

The connectivity has been updated too. Traditional 5‑pin MIDI in and out is still provided (for patch access and parameter control), but the MX variant adds MIDI over USB‑C (this connection will also be used for firmware updates and Nixie 2 editing), along with an expression jack. The latter is compatible with an optional TRS expression pedal, MultiSwitch, MultiSwitch Plus, or a TRS MIDI connection. Handily, MIDI Clock sync options can be saved on a per‑preset basis.

MIDI is now catered for in three ways: traditional 5‑pin DIN sockets, MIDI over USB‑C, and a TRS MIDI option using the expression pedal jack. The USB also caters for firmware updates and will facilitate communication with a forthcoming software editor.

All the connections are on the rear panel, which means that the pedal can be placed closer to pedals on either side. Selectable instrument or line‑level operation ensures compatibility with non‑guitar sources, including keyboards and studio equipment, and with a quoted maximum input level of +10dBu and typical signal‑to‑noise ratio of 116dB, the TimeLine MX should be very much at home whether used on stage or in a studio production environment. The centre‑negative power connector requires a 9V, 500mA DC supply; if your own PSU doesn’t deliver that much current, you’ll have to buy one, as there isn’t one included with the pedal. All the signal connections (stereo in and out, send and return) take the form of unbalanced TRS stereo jacks.

As with the original, there’s a looper, but as you’d expect it’s been improved. The 30‑second maximum loop time has now been extended to five minutes, and there’s now a One Button looping mode in addition to the multi‑button mode — in One Button mode it can be used on the fly without having to switch to a dedicated looper mode, which could prove very useful. The looper can be placed before or after the delay effects (but apparently not between them). The rightmost (Tap) footswitch can be used for both setting delay time and...