37 tones found
Tones by chrisjw5
||DumbleVOX AC30||Santana, Bonamassa, Pearl Jam, Eric Clapton, John Mayer||Santana, Bonamassa, Pearl Jam, Eric Clapton, John Mayer||Class A-30 TB||1943|
|chrisjw5||I saw this great YouTube clip via The Gear Page of a Dumble-esque sound (http://www.youtube.com/watch?&v=tWIKeUFUDUY), so I tried to emulate it. Using the Line 6 blog post about Bias and Sag (http://bit.ly/18Y8kDZ), I fiddled quite a bit with the AC30TB. I didn't quite get Galo's tone - his is a bit smoother - but I got (what I think is) a really nice medium-gain sound using a Vintage Pre and a Red Comp, and adding a Screamer in for some boost. I also can't play like Galo, but I've been messing with warmer OD songs like Yellow Ledbetter and I like how this came out. I'm using an original Aerodyne Strat with SD single-spaced buckers and a heavy Tom Anderson trem bridge in it, so you'll have to adjust for taste. Give this some time and a bit of tweaking. I think you'll like it.||6/9/13|
||Kings X Ty Tabor||Ty Tabor||King's X||MS-Diamondplate||Metal Shred||297|
|chrisjw5||Stomp for solo boost Modified Brian's a bit||6/23/09|
||Zeppelin PLEXI||Jimmy Page||What Is And What Should Never Be||Led Zeppelin||458840||1863|
|chrisjw5||I was watching some YouTube videos from Chicago Music Exchange showing off some of the gorgeous pieces they have. And I got to thinking, 'the way they show these, it's an excellent platform to try to cop these sounds'. So I focused on a 57 Goldtop demo ["http://www.youtube.com/watch?v=TZB8rRBOQ0U"] as a basis for a good Zeppelin tone, specifically What Is And What Should Never Be. For that, the demo is using a /13 so I started with a Plexi 100 Bright and a Spring Reverb. My guitar is an Edwards Jimmy Page with the Supercircuit (not engaged) loaded with Duncans. I was keying on the dirty clean chording in the verse of the song. After getting close, I started adding in pedals that would be close to what Page used. So I threw in the Vox ToneBender (FS5) for LZ1 and LZ2 distortion, a Tube Driver (FS1) to push the distortion for a later Graffiti sound. But I couldn't get that not-quite-fuzz, but more than dirty-clean breakup, until I put a MicroAmp (FS6) in. I like it for nudging that dirty-clean Plexi tone into OD without going to distortion. I added in a Barberpole Phaser for that Rover/Nobody's Fault sound and a Memory Man for some analog delay. Feedback welcome.||6/16/12|
||BLACKFACE||Blackface 'Lux Nrm||Rock||2745|
|chrisjw5||I've been using this for live work in a cover band. Try it. Cuts through really well for me with both singles and buckers. Set up a little dirty, it's my 'clean-ish' sound. Put a Screamer in front and it's my Crunch. Throw an OD and I can solo with it. I use it for everything from 867-5309 to Don't Stop Believing. Tom Petty, Bryan Adams, Sublime. It just worked. It cut through, it was articulate. It was great. If you're looking for a tone-for-tone cop of any of those songs, this isn't it. If you're looking for an articulate rock patch to cut through on stage, try it. I go with my HD500 right into a Tech 21 PE60 and adjust for the room with the PE60's EQ.||12/14/11|
||KoL Marshall Ambient||Matthew Followill||Kings of Leon||Brit J-800||Rock||1248|
||LA Metal Mick||Mick Mars||Girls, Girls, Girls||Motley Crue||Brit P-75||1457|
|chrisjw5||This is a v1.31 update of an earlier patch. I really like Mick Mars tone (and his playing - tasty) and wanted to capture that punchy but not overly distorted thing he's got going. Trying playing the riff to Wild Side or Kickstart with this and tell me it doesn't cut right through.||6/9/11|
||Randy Rhoads||Randy Rhoads||Crazy Train / Blizzard of Ozz||Ozzy Osbourne||Brit P-75 / Blackface Double||Metal||4704|
|chrisjw5||This is about as close as I can get to Randy's tone on the new Blizzard re-release. On it's own, it's nasally... so was Randy's tone. Play it with a backing track or against the song and you'll see how close it is. Randy's was a bit smoother and if I can improve on it, I'll reload it here. I did this was a Carvin Contour 66 - a super Strat with a fairly hot bridge pickup. This tone runs at the edge of literally going off the rails. You may need to adjust the Master on the amp at louder volumes (I haven't tried it fully cranked).||6/7/11|
||LA Metal Mick||Mick Mars, CC DeVille||Girls, Girls, Girls; Talk Dirty To Me||Motley Crue, Poison||Brit P-75||80's Metal||3427|
|chrisjw5||I use this as a generic 80's Metal tone. Hair band purists will find it doesn't nail any one specific tone, but it does cover a wide variety. Use it for live covers of Motley or Poison or Warrant. I based it on CC's "Talk Dirty" tone and Mick Mars' "Girls" sound. You'll find a Screamer for solo boost at FS1, Phaser at FS2 and Flanger at FS3 -you can even knock out some DLR-era VH with these. Another choice is to pick which one you'll use least and sub it out for a longer delay to trigger at FS1 for a more "LA" solo. Your call.||2/26/11|
||ZZ TWEED||Billy Gibbons||Just Got Paid/Cheap Sunglasses||ZZ Top||Tweed B-Man Brt||1935|
|chrisjw5||I was watching some YouTube videos from Chicago Music Exchange showing off some of the gorgeous pieces they have. And I got to thinking, 'the way they show these, it's an excellent platform to try to cop these sounds'. So I focused on a Pearly Gates demo to get a (duh) Gibbons tone cooking. ["http://www.youtube.com/watch?v=iHJZEJlosEg"] Starting with Pearly, they used a 20 watt Tweed, a TS808 and the Lester. So I set up a Tweed bright with a 421 Dynamic, a Screamer and a 63 reverb as my starting point. My guitar is an Edwards Jimmy Page with the Supercircuit (not engaged) loaded with Duncans. And with some tweaking, some back-and-forth and some walking away to let my ears rest, damn if I didn't come up with something close. FS5 kicks in a Tube Driver to push harder and make those harmonics jump, FS3 is a Memory Man for some analog delay and FS2 is a Dimension chorus for that Rough Boy sound. Try it.||6/16/12|
||LA Metal||Phil Collen||Photograph||Def Leppard||Treadplate||Rock||1421|
|chrisjw5||FS1 is Tube Driver for a bit of a boost. FS5 is the Screamer for more of a solo push. FS2 is Analog Chorus, FS3 is a Reverb (on), FS4 is a Delay (adjust to taste, I leave it mostly off). FS6 is the trick, it's the Mid Focus EQ that adds a midrange bump, think the Tom Scholz Rockman for that Boston sound. It can also make a good solo boost. This was dialed in using a Jimmy Page Les Paul with Duncans. Here are some suggestions, depending upon what tone you're trying to cop. Def Leppard (Photograph), use the distortions at FS1 and F5 for solo work, for most rhythm stuff, just the amp is fine. FS2 Chorus gives a nice shimmer to the chorus arpeggios Boston (Don't Look Back), use FS6, the mid-Focus EQ, and maybe the Tube Screamer if you're good with palm muting, because it can run away on you quickly (and Scholz didn't use that much gain). Most hair metal (Poison, Motley Crue), use the mid-focus for the earlier stuff (Talk Dirty), leave it off for later stuff (Kickstart, Ride the Wind) This is NOT an exact copy of anyones tones. But it should get you covers-close to a lot of stuff. Before you evaluate and rate, I'd suggest going to a site like guitarbackingtracks.com and playing the patch WITH the song. In many cases a patch will sound 'wrong' on it's own. But that's not the goal, it should sit in the mix well. Try it.||3/24/12|
Model Packs increase the number of Amp or FX Models of a GuitarPort, TonePort, PODxt, PODxt Live or PODxt Pro, for a wider variety of tone possibilities. When a particular tone in the library relies on a Model available in one of these packs, you'll see symbol(s) to indicate which Packs: MS (Metal Shop), CC (Classics Collection), FX (FX Junkie), and PP (Power Pack).
The models within the FX Junkie Model Pack are already included in PODxt Live, and offered for purchase to add-on to GuitarPort, TonePort, PODxt and PODxt Pro.
Variax is the uniquely flexibile guitar from Line 6. Our Vetta II amplifier includes a digital connection for the Variax that lets you store settings for both your amp and your guitar in the Vetta II so that when you call up a Vetta Channel Memory your amp and guitar can change sounds together. Vetta II Tones marked with this guitar symbol include this Variax data.
For each tone in the library, you'll see an icon for either a single coil or humbucker pickup. This tells you whether the tone is best for use with a single coil pickup or a humbucker, so you can select the appropriate pickup on your guitar when using this tone.
Attention POD 2.0, Flextone and HD147 owners... Your hardware doesn't do Stomp effects, so you'll hear something different than what was intended. Try increasing the Drive or choose a higher gain Amp Model to get the right sound. The other aspects of the sound should translate as expected, so you'll at least get a great starting place for tweaking.
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