Community: Message List - Pod HD Series Bass Patches

Re: Pod HD Series Bass Patches

support@line6.com — Tue, 29 Jan 2013 10:57:19 GMT

Thanks to everyone for this useful thread!!! Is the one I needed from long time. I was thinking to be the only one using the Line6 HD500 for bass guitar. I'll try all the patches soon. Thanks again!

Re: Pod HD Series Bass Patches

support@line6.com — Wed, 16 Jan 2013 13:36:52 GMT

About the Inputs and Mixer settings using the config above (single arm chain):

Config 1: Just to play (Stereo)

Input 1 - Guitar

Input 2 - (Doesn´t matter, since PathB is muted.).

Mixer - PathA +12 dB center, PathB Muted (panned 100%R just for convenience when using config2)

Config 2: Recording

(2 mono channels, Left Wet (processed), Right Dry (unprocessed, or DI)

Input 2 - Guitar

Input 2 - Same

Mixer- PathA +12dB 100% Left, PathB +12dB 100% Right

So you can:

Record a stereo track selecting the stereo input, and then split the track on two separate mono tracks on your DAW.

OR, arm two mono tracks on your secuencer selecting each separate mono input, and record both at the same time.

Personally I like best the second approach, becouse I´m using Logic Pro, maybe in your secuencer there is an easier or practical way to do the first one.

Re: Pod HD Series Bass Patches

support@line6.com — Thu, 24 Jan 2013 16:29:11 GMT

I'll add my voice to Cairnsfella - I'm watching and reading. I have downloaded the patches and experimented with them, and I certainly find them useful. Thanks for all your good work in making these available.

I think part of the low turnout may be that you have set this up as a Group - which serves a purpose but creates an entry barrier - people have to decide to Join the group to participate. While not much of a barrier it takes an extra step and a decision as oppsed to just hitting the Reply button. So don't infer from the low participation rate that people aren't watching and benefiting.

I am a very occasional bass player - actually I use bass guitar patches in a Variax JTV-59 to run through a bass preset on a Pod HD500 for recording purposes. So I have only periodic needs for bass but I do appreciate and use your patches when I play bass.

Keep 'em coming!

Thanks.

Re: Pod HD Series Bass Patches

support@line6.com — Thu, 24 Jan 2013 14:04:55 GMT

I really appreciate it, Cairnsfella!

I was a little discouraged by the low turnout.

Pod HD Series Bass Patches

support@line6.com — Wed, 09 Jan 2013 14:50:01 GMT

This thread is meant to share information and patches for Bass, using Pod HD series.

To start the discussion, here's my Bass Setlist for HD500 with 20 patches:

Updated: V3 added (same setlist with different settings) Read the whole thread to find some info.

HD500 Setlist v3 - "High Output Bass Amps" (16-Jan)

http://www.mediafire.com/?h4yta8468nawfzt

-This version solves the low volume output you usually get with a bass.

It is focused on amps+cabs. Includes some effects.

This may require more detailed info. We can discuss later what I've done here, if you like.

Give it a try, and come here to comment! invite your friends!

--Old versions-- (deprecated since V3):

HD500 Setlist v2 - "Clean Bass Amps" (11-Jan) http://www.mediafire.com/?8m27l5g3uc5wv3o

HD500 Setlist v1 - "Bass Amps" (09-Jan) http://www.mediafire.com/?59syh3dt9900aby

Update: Converted Setlists:

I´m using this tool: http://www.jzab.de/content/pod-hd

- For Pod HD PRO : You can simply change the file extension or use the converter to load a HD500 setlist.

- For HD Desktop: Use the converter to prevent any issue.

- For Pod HD400/300: There´s no Tube comp here, but you can convert my HD500 setlist with any other comp using the converter.

Re: Pod HD Series Bass Patches

support@line6.com — Wed, 23 Jan 2013 00:40:29 GMT

All good stuff going on here Ed. Just want to let you know that at least someone is paying attention (though I will have to confess that it will take me sometime to actualy read and digest everything you have written to date, as 'play time' is severely limited at the moment.

Re: Pod HD Series Bass Patches

support@line6.com — Fri, 18 Jan 2013 14:31:40 GMT

About the Compressors (from various sources. Links below):

A bass compressor is easily the most often used effect used by bassists. It’s also one of the most unglamorous effects.

If you have a compressor, you will probably always use it as you play.

Compressors fall into the family of dynamic effects. In music, dynamics refer to how loud or soft a sound is. Dynamic effects alter how loud or quiet a signal is.

What is Compression?

Compression squeezes, or compresses, the dynamic range of a signal. A compressor will reduce the volume of loud notes which in turn allows the overall volume to be boosted.

An excellent example of compression is when you hear a vocalist singing a quiet passage followed by a loud one. How come you can hear the whisper quiet passage, but the loud one doesn’t distort and blow out your eardrums? Most likely compression is being used on the vocals to compensate for the wide range of dynamics. The loud vocal passage’s volume is reduced by the compressor making room for the quieter passages to be turned up.

Why Do Bassists Use Compressors?

Using a slight amount of compression on bass beefs up your bass tone a bit. Compression can give your bass sound that smooth, glassy tone. You can get a punchier sound using compression. Compression can really balance out very dynamic playing styles like slap bass.

If you use too much compression your bass tone might sound lifeless. But, just a little makes a big tonal difference.

A bass compressor is about the only must-have effect for bassists regardless of the style you play. I highly recommend getting a compressor both for live playing and home recording. The average listener won’t know it’s there, but you will enjoy the subtle effects.

Compression Threshold

Compressors usually have an adjustable threshold setting. The compression threshold is the volume level (gain) at which the compression effect is engaged. Any signal passing through the compressor which is louder than the threshold setting will be compressed. Any signal lower than the threshold will be unaffected.

If you can adjust the threshold setting on your compressor, adjust it to taste. It depends on if you only want really loud notes compressed or most everything compressed.

Compression Ratio

The compression ratio selects the amount of compression to apply on signals above the threshold. The ratio might be something like 3:1 (3 to 1). That means for every 3 dB you send to the compressor beyond the threshold only 1 dB comes out. A 1:1 ratio would not compress anything.

An ∞:1 (infinity to 1) means any signal above the threshold sent to the compressor only 1dB comes out. This is known as limiting. You may see units called compressor/limiters. Limiters are often used to prevent damage to speakers. (Many TV sets now include limiters to squash loud commercials.)

On some effects units the ratio is just marked as ‘compression’ or ‘amount’. This setting increases the ratio.

Most bass players use a 2:1 up to 5:1 compression ratio. You really have to listen closely to adjust it. It’s very subtle. At first you might wonder if it’s even on and working! Try starting at the highest amount of compression and you’ll hear the dynamics squashed. Then slowly lower the compression amount until it suits your taste. A little goes a long way.

Makeup Gain

A compressor is a gain reduction device, therefore all compressors have a make up gain control so that if you are using 3db of gain reduction you can turn the output by that amount and still retain the same headroom.

Sources:

http://www.tunemybass.com/bass_effects_guide/bass_compressors.html

http://www.tunemybass.com/bass_effects_guide/bass_compressor_settings.html

http://www.sae.edu/reference_material/audio/pages/Compression.htm

http://en.wikipedia.org/wiki/Dynamic_range_compression

About Pod HD / M Series:

We are all at a bit of a disadvantage with the L6 Dynamics because a) amost all the parameters are fixed and b) they don't give you ANY information about the specific parameter settings including Ratio, Attack, Release, plus there is no Gain Reduction metering.

From the HD500 Manual ... they ONLY mention Threshold, Sustain, and Level in explanation yet the Vetta Comp uses "Sensitiviy" and "Amount" .....

• Threshold: For compressor FX, lower values result in greater compression, along with an automatic makeup gain stage dependent upon the Threshold setting.

• Sustain: Some compressors include Sustain, which is much the same as a Threshold control, but functions in reverse - higher settings add more compression and thus more sustain and squishy goodness.

• Level: Adjusts the overall volume - higher settings typically offer an output boost.

Tube Comp

Based on the Teletronix® LA-2A® studio compressor, is a fat dirty sound that is supposed to be like a vintage tube/optical compressor. It adds a layer of subtle distortion, and pumps the lows. Seems to be one of the most prefered choices by the (M and HD series) users when using a bass (see talkbass link below).

(quote: "It also has the most gain of all the models, such that I had to set the output level at minimum in order to avoid clipping the rest of my gear. So when I used it to push a tube amp into overdrive, it sounded really terrific--but it was almost unusable with a solid-state rig due to the nasty clipping.")

The original LA-2A has 40dB gain.

The compression position on the compress/limit switch on the LA-2A (again, the original thing) is considered 4:1, but really the ratio will fluctuate depending on the source.The LA-2A has a release time which requires about 60 milliseconds for 50% release, and then a gradual release over a period of 1 to 15 seconds to the point of complete release. You may think of the LA-2A as having a “composite” release; made up of several stages. When compression is heavy and/or the signal has been above threshold for a long time, the LA-2A's release will be slower.

Vetta Juice

The ‘Juice’ in Vetta Juice comes from the 30dB of available gain in the LEVEL knob.

It’s got a fixed threshold of -40dB with the SENS knob varying compression ratio from 1.5: 1 all the way up to 20:1 (which is a whole heck of a lot). This combination of design features gives you the option of cranking the level enough to get some serious gain boost, or setting the gain lower and dialing up a smooth, clean sustain.

Vetta Comp
Vetta Comp has a fixed ratio of 2.35:1 with the threshold (that would be your SENS knob) adjustable from -9dB to -56dB.

Up to 12dB of gain available at the LEVEL knob.

In other words, turn the Sens knob ’til you like the way your signal’s compressed, then set the volume with Level.

Boost Comp

Inspired by* a MXR® Micro Amp but with compression and EQ added. (Quote: "It's funny to me that the Boost model has the most controls, when the pedal it was based on has only one knob.")

The Vetta and Boost have the most natural, flattish frequency response of the group, good for "general purpose" use (including for bassists). Of those two, the Vetta is basic and clean while the Boost allows some extra drive and coloration, as well as having two-band EQ.

The Vetta and Boost both have better lows than the Blue, and the highs are about the same as the Red; and the Tube has massive lows, and OK highs.

Just like the majority of other digital comps, it's not so good at peak limiting. You can get some decent limiting in the Vetta mode, with the threshold low, if your playing is steady; but its ratio is only about 3:1, so if you hit it hard and fast (e.g. with slapping), it will certainly not stop those peaks.

However, the Vetta Juice has a widely variable compression ratio and a extra amount of gain to boost

Red Comp

Based on* the MXR® Dyna Comp

The Red model rolls off the lows severely, but has fairly open and present highs. Clearly meant for guitarists who want a bright sound.

Blue Comp

Based on* the Boss® CS-1 Compression Sustainer with the treble switch off.

The Blue model has a little better lows, but the highs are muted; Clearly meant for guitarists who want a dark sound.

Blue Comp Treb

Based on* the Boss® CS-1 Compression Sustainer with the treble switch on.

Sources:

Vetta II manual

http://www.ovnilab.com/reviews/l6m13.shtml

http://www.talkbass.com/forum/f36/compressors-m9-m13-704413/

http://line6.com/support/thread/86064

Re: Pod HD Series Bass Patches

support@line6.com — Wed, 16 Jan 2013 15:41:16 GMT

Bass Amps v3 Setlist now online.

What you get with this Setlist is a high volume of output using a Bass, forget the messes that involved the dual input configuration, and make the pod HD works in a very similar way to how the Bass Pod worked (regarding to mono wet and dry outputs). But here you have the advantage of being able to play your bass in true stereo, too.

Now you can have a balanced sound between the bass and guitar, and record comfortably in your sequencer.

I left the presets configured as inputs Guitar:Same, but please, I do not want to contribute to this confusion.
Using this new configuration (let's call it "single arm chain"), the input 2 has absolutely no effect on the sound (when using the config 1 mentioned above)

If you want to record two mono tracks (wet and dry, panned all the way L/R), then it makes sense to use the second input as "same" (when using the config 2 mentioned above). Unmuting the Channel 2 you actually obtain a completely dry signal from your instrument.
Of course you can also use a combination of both if you want to use another instrument on channel 2.

But most important is to understand that in this way we have two inputs completely separated from each other without causing strange effects in the other, or interfere in any way.

As I said before, for me this has been a great discovery. Thank you very much to Meambobbo.

By the way, previous versions of my setlist are now obsolete. The new v3 is a new departure for me.

And I hope it is also for you, and you also contribute your ideas and presets.

Re: Pod HD Series Bass Patches

support@line6.com — Tue, 15 Jan 2013 21:05:54 GMT

So this is the new structure for v3 patches (HD500 link soon available!!):

1- Noise Gate.
I'm currently using noise gates, until I learn how to use the hard gates. I'm a little slow! More details here:
http://foobazaar.com/podhd/toneGuide/ampTone#noiseGates

2- Tube comp.

Almost same settings than before.

3- Classic Distortion.

Still here, for now. You could also use a wah pedal or whatever else here, if you prefer.

4- Analog Chorus.

I removed the ugly delay in front of the amp, and now I have a chorus. I like this effect for bass, and I think this is the best sounding of the three possible. The Dimension and Triple chorus does not sound bad, but have far fewer parameters and are therefore less controllable. In contrast, analog chorus has many controls, a vibrato mode, a tone control, etc. For now I used a basic setting, but it sounds pretty good with the reverb.

5- Studio EQ.

Still here, for now. I'm not using it much now, because I have found that it can be a specific setting for each bass you use. Maybe try a parametric EQ, but it seems much more complicated for me: http://foobazaar.com/podhd/toneGuide/eq

6- Mid Focus EQ.

Hi and Low pass filters, now with settings 5%-65%. Gain between 0-30%

7- Spring Reverb.

I used a reverb that is noticeable, but not annoying. Sounds great alongside the chorus. At least I like to use them together to have a good time.

Note that when using chorus+reverb, overall volume will also rise up! I have had this in mind, so that the volume is not excessive when active.
Still, if you play too hard, this could produce clip, so look first at gain settings I put into the Mid EQ.

8- FX loop.
At the moment I turned off my loopstation to edit these presets, so I used some standard settings.

I´m using S/PDIF output with 0 Gain. Both XLR and unbalanced outputs from the HD500 seem almost unusable to me given the extremely low output I get (without using gain from my interface´s preamps). The volume I get from the S/PDIF is vastly superior and less noisy, so this is the only output I´m currently using (besides the FX loop).

Also, be sure you guitar input is not set to "pad" when you´re using a bass.

Re: Pod HD Series Bass Patches

support@line6.com — Tue, 15 Jan 2013 20:15:11 GMT

Hooray!
Great progress today!

Yesterday I received a friendly PM from Meambobbo, and have applied some of their tips. In fact, said PM is so interesting that I would like you all can read it, but that's up to him.

This has led to version 3 of my presets. I think they are now much better than before. Sound much louder! The wave that I can record in my sequencer is so good now that I do not need to increase it later.

But most important was the meambobbo advice, which consists of putting everything in Channel A for single amp patches, with the mixer last in the chain.

This has been something of a revelation to me.
Meambobbo has referred me to a thread where Will Chen and himself commented that.
I will quote some of their comments:

Will chen:
Said it before, and I'll say it again. Getting some harshness and/or unwanted clipping? Build your entire chain within a single arm of the parallel loop between the split and the mixer block. Mute the unused side and pan the used side to center. Voilà! You eliminate both the dual input gain issue (default input mode doubles the signal which is then summed if an amp is placed before the parallel split causing more level/distortion than intended) and the dual output level issue (if an amp is before the split a full level signal is sent to both sides and then summed at the mixer which can easily overdrive almost any effects post mixer). Seriously, limiting usage to a single arm of the effects chain was a huge improvement in the overall tone of the HD500 for me plus made dialing things in much, much easier.

Meambobbo:
I wanted to point out that Will's solution above will NOT force stereo effects to sum to mono. Each channel in the signal path is stereo, and you will get stereo output even if you are only using one side as he suggested, so long as you pan that channel in the mixer to center.
It is the ideal solution for single-amp tones.

Will Chen: Yep, each arm capable of full stereo. IMHO, the dual chain of the HD500 is absurd. They should have studied how Roland/Boss did it in the GT10/100...
I don't deny the power of dual chains nor the ability put the HD500's to good use. Simply their implementation is clumsy at best. Would have been way, way better to force the user into a dual or single mode to avoid all the "clever" ways the unit tries to sum/split signals which in a vast majority of cases (especially when getting to know the unit) makes the unit sound worse.

Please read the entire thread here: http://pop.thegearpage.net/board/showthread.php?t=1138278&page=4