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Currently Being ModeratedRe: Pod HD High Gain Tone Guide
and there you have it from an expert!
The site is actually being prepared to enter Version 2.0 soon. Pics and clips galore. Maybe some how-to vids.
I've also found some new dual cab settings that blow the old ones away.
Usually I use a Hiway or Treadplate with 57 on axis and a XXL with 57 on axis. Something about the 57 on axis tone just doesn't sit right with me, though. It especially won't fit into a mix very nicely when I try to play over certain recordings. I've found I can mix the Treadplate and Hiway both using 57 off axis produces exactly the tone I want. The only issue is the Treadplate needs a Mid-Focus EQ behind it to get in phase with the Hiway. But I need that anyway to trim the excessive highs off the Treadplate. To tame the excessive low end, I use the Cab DEP's.
I'll have some patches and clips up this week.
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Currently Being ModeratedRe: Pod HD High Gain Tone Guide
here are some samples of the latest tweaks I've made:
Petrucci Mark II Lead:
http://www.foobazaar.com/podhd/toneDemo/patches/SH_DT-Mk2L_0823.h5e
Petrucci Mark IV Rhythm
http://www.foobazaar.com/podhd/toneDemo/patches/SH_DT-Mk4R_0823.h5e
Periphery Rhythm:
http://www.foobazaar.com/podhd/toneDemo/patches/MM_PeriphR_0822.h5e
Vai Ultra Zone/Story of Light Lead:
http://www.foobazaar.com/podhd/toneDemo/patches/SH_Vai-UZ_0823.h5e
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Currently Being ModeratedRe: Pod HD High Gain Tone Guide
You get the best of all issues by using both the "guitar" and "aux" inputs via a split feed. The level is not doubled w additional noise floor like "same". It sounds better, simply A/B it. Using "same" increases the input level which may or may not be helpful when you do not want it. And the noise floor is worse on "same", again simply A/B it. Try not to make all tone judgements and tweaks using just uber gain tones which simply cover over most issues. Fine example is the noise gates, uber gain you do not hear how they are effecting the tone and bandwidth of the true signal.
The case of the 6 db drop on the loop is not noticed on the 4CM method because the gain level is hiding the drop. Any avid player should realize intense gain hides a lot of issues like levels.
If you run pedals in the loop you will find when engauged the level drops so much you cannot properly drive effects at a std level. You can try line level but w effects level pedals this is not cool, might help the amp but not pedals. Simply A/B on/off on a clean sound and there it is a level drop.
Prevented me from trying to use the POD on the 4CM, no matter the fixes rendered by several also seeing the problem, everything just served to increase the noise floor so badly it was not useable. I believe L6 has the loop level lowered because it has a high noise floor and they are trying to keep that unnoticed for those commonly using the 4CM. One might consider the effects loop has a return level increase "from zero boost" but the output is exactly opposite, comes up to a "zero db" increase but that send level is several db lower than unity. Obviously if I am seeing it, it exists. I am not a teenager not knowing how to rig boards.
This became a deal killer for me on using the POD. While I consider the unit an excellent bang for the buck and perhaps an excellent fun recording tool. Several issues with the unit just built to the point I stopped using it as the basis for my tone.
Critical issues (of which Line 6 offers nothing or no hint if they intend to fix these issues or can)
1) Pitch Glide edit controller is set on percentage of pedal sweep w no decimal fine. It is impossible to set the pedal for a true in-tune interval like a 4th or a 5th up or down, like a REAL Whammy easily does.
2) Effects loop level suffers an apparent 5-6db drop. Various means to increase this internally and externally increase the noise floor hiss and do not sound natural. I put a transparent class A clean boost on the effects output and it brought the level up to unity but the noise was unuseable.
3) Digital noise floor hiss, can be pretty bad in this unit mainly caused by over pushing effect outputs and levels, which do not work the same as the physics of a pedal board signal to noise ratio. I never had to use a noise gate or NR pedal before I got the POD. While with cleaner amps and such it can be avoided, at some point one has to set one up to stop the noise floor of this unit no matter how well you control levels and work to get the preset quiet. Problem is noise gates are not transparent to the tone, not at all and again using intense uber gain covers up these issues but they are there in frequency response and bandwidth.
4.) the majority of effect models are just not that great and although one compensates and uses various tricks and mods inherent to the POD, anyone is kiddind themselves that these effects are as good or close to pedals, they are not. Pedals used in front of the POD work very well, no problems, OD, boost, compressors work well against the POD amp front ends. But the "effects loop" with pedals, seriously, does not work.
5) If you are using the POD for an effects bank it pales next to quality pedals, a mimic of a cheesey pedal is no less cheese. The PODs best ability is its amp models. If you avoid these there is little point to having the POD, sure an array of effects of some quality can run 4-5 times the cost of a POD or more so at best it is a no budget means to get some effects. Some are quite good, I like the wahs, turn down the level a little and they are fine, ODs no, Dist's hell no, Compressor models are pedals I never like much to begin with. Modulations, some are good, Delays fine, Reverbs good. That being said you CAN develop decent tones from this unit and if that is all youc an afford you use what you have. Myself I would rather see less effects and a few better models. Seems to be an option on the POD that trying to use 2 amps sucks up most of the DSP and leaves next to nothing for any effects, not a great trade off. Buying the unit for its AMP modeling, good idea, buying to for an effects bank and library, not so much.
----Big down for me is customer reponse and notification of issues, Would it kill them to respond and say hey we know about that and are working to update it or we cannot fix that issue. Instead of we cannot duplicate your problem or a host of fixes which have nothing to do with your problem. They never drop a hint as to what they are working on or planing or response to anything you suggest as a tweak or a needed fix. That is not cool and is terrible customer service. I am not some teenager to talk down to or act as if I must be imagining a problem. When you hit a wall using a device you typically move on, you do not wait like a litle kid for christmas hoping santa got your letter and what you wanted. -----
UPSIDE:
1)Amp models are excellent of course higly dependent upon what you run the POD into or with. I got some amazing realistic superb tones avoiding the POD effects loop and using a std guitar amp by simply feeding the full range stereo 2 chain capable (HD500) signal into a full range power amp feeding a stereo split wired GUITAR cab. The real guitar speakers and transparent amp allowed the POD to sound like the real amps in some cases rather uncanny.
2) Pedals in front of the POD work well as long as you do not try to slam the input level w too much as the digital platform does not like excessive levels externally or internally.
3) Do not get me wrong, spend the time, learn the unit, read everything you can find about preset programming and tips and you can develop some great tones. The over used myth of thinking plugging in a preset of "sounds like" is going to make this unit easy and simple to use and "sound like your hero or tune" mentality is just a young players mistaken notion that copying someone's gear makes you sound like them. And seriously if that is all you do is copy and mimic while being fun in the short term that is not true music or creative muse. Learn to create and improvise or you remain a low fi mimic.
For those who refuse to read manuals or learn how a unit works or what it can do, the HD POD is not for you. It is not a plug and in and play and sounds like magic box, it is a tweakers mad scientist lab and can be a real hoot in recording or experimenting. Better than a well designed pedalboard, nope. The POd is limited to what you do with it and more importantly how you run it.
4) The ability of this unit to hold and externally store an infinite number of presets and tone lists is amazing. The ability to download software updates and tweaks is outstanding. Now if L6 would changed their policy of ignoring requested or needed fixes and offering no hints or mentions of what they plan, or can fix, is not something older experienced players have time to wait or the patience.
I have a special rig for the HD500 with a power amp which sounds amazing. But integrating it into my tube amp half stack was a disaster due to some of the limtations of the unit and no indictation anything is being fixed. So w my great sounding amp it is placed only in the amp loop and used for some modulatio, delays and reverbs, and just with that one can load a lot of options with the PODs switching ability and many memory slots. Have a great amp, you probably do not need a POD, have a crappy amp or a low powered designed clipping amp, no way the POD is going to make it sound like a ENGL or Marshall. Want to hear the stare of art in amp models feed it into something that allows it to do that.
That being said, I leave each of you to your opinions and what not. As you encounter some of the things I mentioned you will realize it was all true and factual.
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Currently Being ModeratedRe: Pod HD High Gain Tone Guide
The input 2 same issue for me isn't about noise or volume doubling. It's about the input 2 signal being slightly delayed compared to input 1. This makes comb filtering and a less tight tone. If you have dual amps and a mono summing effect before the split the problem becomes quite apparent.
Does anyone know if the pro has the same loop issues as the 500?
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Currently Being ModeratedRe: Pod HD High Gain Tone Guide
I don't bother changing the inputs, I leave them at Guitar/Same..
Instead I put my whole signal chain in one path. I rarely use dual amps. So everything stays in one row, meanwhile the other signal chain runs unobstructed to the mixer.
At the mixer I mute the unused signal chain. The one I'm using I centre and raise by 2db at the mixer. All my amps/FX are before the mixer so there are no issues in doing this.
I find this a neater way of doing things.
I still find the HD500 a complete at utter pain - as you can see from the 4CM article I wrote that someone linked to on the previous page. I tend to use my Zoom G3 much more isntead. I think L6 has made a largely broken range in terms of the POD HD and we shouldn't need hundreds of posts while we work out how the damn thing actually works.
Message was edited by Harry Neary to add a screenshot.
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Currently Being ModeratedRe: Pod HD High Gain Tone Guide
Wouldn't doing that type of routing in the signal chain prevent any type of stereo effect ? I play both in the studio and live and find that the stereo effect, especially live into two amps, really fills out the sound. I do agree that it takes a lot of time to get the PODHD sounding correct and there's a few quirks that don't help. But just like any software, I'd rather have options that take more time to configure than limits that make it easier but not quite what I want.
My only wish for the PODHD is a normal 10 or 12 band EQ.
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Currently Being ModeratedRe: Pod HD High Gain Tone Guide
You can have stereo at any point after the amp using stereo-preserving effects (I believe there is a list of these either on meambobbo's website or somewhere on this forum). The amp block mono-sums. Anything after that can be stereo as long as you don't use any mono-summing effects. If you use HarryN's setup with stereo effects post-amp, and pan channel A to Center, your Left and Right outputs will send a different signal that you can send into two amps (or two channels on a mixing board if going direct). With this setup you also have to be careful that you don't place any mono-summing effects before the path split, because that would defeat the purpose of splitting the paths and avoiding the combfilter issue of Guitar/Same.
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Currently Being ModeratedRe: Pod HD High Gain Tone Guide
Hi Joel. No my method still works fine with stereo effects.
Remember the A and B signal chains aren't two sides of a stereo channel - which I think is how a lot of people see them. Each is a complete stereo signal chain of its own. If they weren't, you wouldn't be able to pan them in the way you can.
So yes, any stereo effect you place in the chain will work as normal. Of course any mono effect will remove the stereo signal from any effect before it, but that's how the POD works even using both A and B signal chains. So if you put seven stereo FX (including the FX loop) after an amp block (amp blocks are mono) all seven will retain their stereo behaviour.
The ONLY thing you lose by my method is dual amps/dual parallel FX. I don't use these, so it's the ideal setup for me.
Try it.

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Currently Being ModeratedRe: Pod HD High Gain Tone Guide
That's absolutely right. Just pan the channel you use to center. Also note that the mixer's pan controls aren't "pushing" the stereo sound one way or the other. If you pan a channel full left, it simply drops the right half of that channel.
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Currently Being ModeratedRe: Pod HD High Gain Tone Guide
meambobbo wrote:
Also note that the mixer's pan controls aren't "pushing" the stereo sound one way or the other. If you pan a channel full left, it simply drops the right half of that channel.
Oh... I was not aware of this. This is pretty important. It's not a pan or a balance at all, then. It's some weird stereo trim. Why would it behave that way?!
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Currently Being ModeratedRe: Pod HD High Gain Tone Guide
Thanks Harry, that's great information. I'll try this out right away. I also just recently learned you can put the amp block after the mixer too. Maybe doing what you're talking about with muting one channel on the mixer and panning the other to center then feeding into the amp is something try also. That way you can control how hard or soft the amp input is being pushed. I haven't tried this yet either but I'm curious as to what it may do.
I sure am glad we have a forum like this to share ideas and information.
I share your frustration but I'm still hoping in the end it's wortth it. So far I'm happy with the HD but was close to giving up at one point.
Thanks again...
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Currently Being ModeratedRe: Pod HD High Gain Tone Guide
Another thing to try Joel is adjusting the input impedence. The default for the amp blocks when set on auto is 1M, but I've found the whole HD500 sounds better if I set impedence (otherwise known as "Z") to 230K globally.
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Currently Being ModeratedRe: Pod HD High Gain Tone Guide
I set my impendance all the way down to 32k globally. I'm using the ANGEL amp model and it seems to sound the best for me when I set the Z that low. I'm using DiMarzio Super Distortation pickups running thru the effect return of a pair of JCM900 amps. I don't use the JCM pre-amps at all. I tried all the differant output settings and Studio/Direct still sounds the best so far.
I'm currently in a Black Sabbath tribute band. I don't exactly mimic their sound I try to be somewhat close with a slightly modern flavor. Atleast that's what I'm trying to accomplish. It's never perfect...
www.ChildrenOfTheGraveBand.com
I'm the gray haired guy on guitar. Just having some fun.
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Currently Being ModeratedRe: Pod HD High Gain Tone Guide
Hrm, my amp has a "normal" and a "high gain" input that add about 6db, so maybe I'll just use the high gain input for 4CM

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Currently Being ModeratedRe: Pod HD High Gain Tone Guide
Awesome sound, Joel! Love that beefed up Marshall tone.
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