37 tones found
Tones by chrisjw5
||Oasis Marshall||Noel Gallagher||Acquiesce||Oasis||Brit J-2000 #2||Rock||449|
|chrisjw5||This really mimics Noel's live sound - the Les Paul + Marshall combination.||12/12/08|
||LA Metal||Phil Collen||Photograph||Def Leppard||Treadplate||Rock||1434|
|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|
||Dave Navarro||Dave Navarro||Shocking/Habitual era||Brit J-800 Pre||Rock||684|
|chrisjw5||Done on a Strat with a double-blade bridge. FS1 engages the drive, FS2 engages the Comp. Both together make a great Stop! tone. Just the Comp (FS2 alone) with the amp is a dirty Been Caught Stealin' sound. Turn off both FS1 and 2 and hit FS3 and you have both a phaser and an analog chorus for that Classic Girl swirl, or the intro to Ocean Size. FS4 is a Bass Octaver if you want to do some One Hot Minute-era Chilis.||4/26/11|
||PARK||Joe Walsh - Billy Duffy - Billy Squier||James Gang - The Cult - Free - Foghat||Brit P-75 Brt||Rock||1149|
|chrisjw5||For Marshall tones, I can't get past the Park with the Tube Comp engaged full-time. I keep FS1 on 90% of the time and I can cover a TON of ground. Joe Walsh/James Gang? Check. Free, Foghat and other 70's rock? Check. 80's crunch pop like Billy Squier? Check. Hit FS2 for some Analog Flanger and I can do most Billy Duffy stuff from the Cult (try the She Sells Sanctuary, Sun King and Fire Woman riffs). FS4 is a delay and FS5 is the DOD yellow OD for solo work. Try it, as this is rapidly becoming one of my favorite patches. This and my Blackface patch will cover most of your live needs. I've been on a good run of 4 and 5 star rated patches and I'm hoping you all find this as useful.||8/16/12|
||STP||Dean DeLeo||Stone Temple Pilots||Angel F-Ball||Rock||1564|
|chrisjw5||Use FS1 to add compression, FS2 for Screamer and FS3 for Flanger (Sex Type Thing, Army Ants)||2/26/11|
||BLACKFACE||Blackface 'Lux Nrm||Rock||2754|
|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|
||Hiwatt Clean||Hiway 100||Rock||998|
|chrisjw5||Shimmery (but not too much so) Hiwatt clean. Great for the intro to Stairway to Heaven all the way up to Far Behind by Candlebox.||2/20/11|
||-13 Crunch||Divide 9/15||Rock||868|
|chrisjw5||You can use this for almost anything with moderate crunch. I play older ZZ Top on it, all the way up to Bryan Adams' Summer of '69.||2/20/11|
||Boston Acoustic||Tom Scholz||Peace Of Mind||Bsoton||Line 6 ACO 2||Rock||335|
||KoL Matchless||Caleb Followill||Kings of Leon||Match D-30||Rock||583|
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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