Indianrock2020

Loving my JTV 59, but just like my POD 500x, it takes a little work to get where you want to be. Or, spend $5000+ on several of the "real" guitars and amps that the modeling copies. It's taken me a while to get POD patches I like and some time adjusting the neck on the JTV plus time in Workbench to get to where I'm happy with it ( in work bench it's mainly been reducing certain string volume levels -- particularly on 12-string models ). I don't use alternate tunings but have reverted to a real Capo rather than the "virtual capo" capability of the JTV on the somewhat rare occasions I don't want to play the chords in the actual key. Lots more to explore as I'm not even using the magnetic pickups on the JTV yet. The integration between POD-Helix and JTV is great -- program one patch to use your favorite amp/cab/effects AND specify the guitar model that goes with it.

Good idea

SpaceATL -- awesome response. I've been cranking Master to full on everything -- gotta start over as far as that goes. As an aside, combining the AC30 full amp with the Brit 2204 from the metal pack gets me into Nirvana. I'll have to look at what mic/cab combos I'm using but lately it's been: Tread V-30 4x12 57 on axis Uber 4x12 409 Dynamic "Great for thick vintage 30 tone with great mids - like a real Mesa cab with V30's - modern sounding but not too bright or harsh. Great for rhythms and leads." From: http://foobazaar.com/podhd/toneGuide/cabsMics#dualCab-faves

Yes I do focus on " being different " than the acoustic guitar. If you want to talk about instruments that swamp the whole frequency spectrum it's piano and keyboard. Those players usually learn in an environment where they will play recitals etc as the only instrument. In a band, I've actually seen experts recommend that keys players just use their right hand, or at least jump up a whole octave from where the music says to play. Generally, they look at me like I'm crazy to suggest those things. It's a real challenge to go from 3-piece rock combos to full bands, especially with volunteer sound techs who either don't get the music or don't like guitar :-) Sometimes you feel like you're no more than a stage prop.

I've been thinking about that, switching patches mid-song rather than hitting an upper-row switch for OD addition within the single patch. Yes other than keeping volume correct between patches, no harder to switch patches than effects ---- except that if I have 10 patches for a 5 song set, I may have to flip banks so it would be important that two patches for a single song exist in the same bank.

And you did this ( in one case to save DSP ) because you weren't satisfied with what could be accomplished with the built-in drive effects?

This has probably been covered but I've been considering something like the Wampler Paisley pedal for the 500x's effects loop. What have your experiences been trying something like that? I can get overdrive/amp mic/cab combinations I'm quite happy with using built-in stuff, but it is a bit of work. If I save a patch I like, then maybe switch guitars, it might take a fair amount of tweaking to get the earlier happy result.

Good idea Palico. Where would you put the mid boost or screamer? Almost all of my patches follow this form: Noise Gate>Compressor>Drive effect>Parametric EQ> DUAL AMPS>delay>reverb Generally the parametric is kicked on with the drive effect so notch out some of the fizzy frequencies. Practicing with the POD on top of a desk doesn't give me any practice with the expression pedal, but I still like the idea of boosting with an switch controlled effect for a more precise volume boost.

Yes, you have to tailor your patches to your environment. "general rules" don't always work. I play and run sound at our church where we have a lot happening in the band ( piano, keys, bass, acoustic drums, electric guitar and acoustic guitar plus vocals ). There are only 3 active speakers on stage -- two wedges for the front vocalists and the piano has a built-in speaker ( unfortunately ). The drums have an ineffective shield in front of them which probably just contributes to back wall reflections. The drums are mic'd but the sound guy really has no control of them. ( yes I've tried to change all of that -- no progress so far except the purchase of a somewhat quieter kit and cymbals ) I noticed yesterday that it takes quite a bit of boost at the board to get the electric guitar to cut through on passages where he should stand out ( electric guitars all use pods direct to PA and 3 of us have our own 500X's ). I've been avoiding the volume/expression pedal because I'm kind of awkward with it and use a footswitch to kick on a boost effect or overdrive during those passages. I now see that it's going to take more volume boost than I thought to cut through all of that, especially if you have 300 people singing out in the seats. Bass? I'll probably still not overdo the bass, but even with bass off it's going to take a boost in level to get heard. I use the faders to do that for the electric guitarists but some of the sound techs run on auto-pilot.

I've heard so often that in a band, you don't want much bass in your patch, so keep bass on amps and effects very low. Today as I was looking at a number of patches on custom tone and other places like the links below, I'm seeing bass ( and often mids cranked up ). Not sure if people are just going for best "tone in the bedroom" or if with a POD, the minimal bass advice doesn't apply to a band situation. Google will translate this one into English. http://www.cloudchair.net/guitar/pod-hd500-settings-of-the-demo-1/ https://youtu.be/rrP-WXiPlJs

Try running dual amp patches and use some of the suggested mic/cab combinations here: http://foobazaar.com/podhd/toneGuide/cabsMics#dualCab-faves You really need a good cab/mic setup to sound good through a PA. I use in-ear monitors where I play. Not all combinations available sound decent so I started with the offerings at that link. If it mentions "add one EQ" easiest thing is just avoid that particular combination because what he's saying is you need to put an EQ effect in the patch to even things out with that particular combination of cab and mic. I'd probably start with a simple patch like this: noise gate>compressor>overdrive> dual AC30 amp models>delay>reverb + suggested mic/cab options. Keep the bass on both amps very low unless you only play in the bedroom --- in a band you don't want too much bass on guitars. Later on you can add a parametric EQ after the overdrive and use it to notch out some ugly frequencies. Assign both OD and parametric to the same footswitch so they come on together. Using parametric eQ to notch out frequencies

I use some of the combinations at the link below. ..a few of them he recommends you add an EQ to equal out the phase /latency differences when running dual amps. I'd like to see a few more suggestions along those lines http://foobazaar.com/podhd/toneGuide/cabsMics#dualCab-faves

Some reviewers on Amazon confirmed their item has the same Schaller model number. I'll probably order these for my jtv59. Any tuning instability though seems to come more from inadequate string stretching and something going on at the bridge saddles. On the G string especially, after bending I get a "plink" their when I tune the string. Tried nut sauce on the saddle which works for a few days.

sent in my feedback

I use some quality masking tape. Place the ball end of the string into the bridge slot and stick on a few inches of tape while you get it into the tuner and tighten up.

I don't really play Van Halen stuff, but was just messing around with patches for Ain't Talkin Bout Love. Line 6 has a number of patches up on the patch site but combining the JazzBox guitar model with dual AC30 amps was really working. I'll have to take another look to see the mic/cabinet set up I was using. Add a little reverb/delay and analog flanger and pretty convincing. I didn't expect the jazzbox model and AC30 to produce what you might think needed a Lester model with higher gain amp. I have the metal pack for the Hd500x but the only model in there that I can use without much tweaking is the Brit 2204.

Still considering these ( the Schallers ). Amazon has what looks like the same thing as the Schaller 10060223 but that number isn't there so not sure. https://www.amazon.com/Schaller-Locking-Tuning-Machine-Chrome/dp/B0040WWUYS/ref=cm_cr_arp_d_product_top?ie=UTF8

I normally set up patches in my hd500x on a song-by-song basis, picking the guitar model along with amps, effects etc. If I wanted to switch from one guitar to another mid-song, what is the quickest, most reliable method? I could kick on another patch but that might not be as seamless as I'd like. Twisting the model knob I guess is the other option. This is usually when the 2nd half of the song calls for more gain/drive. So far putting an OD in front of the amp and kicking it on at the correct spot is my practice, just looking for other ways to get more gain with a different flavor, quickly.

Have you found combinations that work especially well, stacking two OD/distortion effects? What order did you use and before amps? After compressor? I'm also considering a quality OD pedal to run in the effects loop, although I kind of hate the idea of more stuff on the floor.

Just seemed more noticeable on the JTV than my 74 strat. Anyway I guess I'll have to have the overdrive effect do more boosting when playing lead lines that high, or put the volume pedal into play.

Seems like I use the Spank 2 or 4 model in my JTV 90% of the time and I've noticed that above the 12th fret, it can be kind of weak -- lower volume. I'm wondering if I need to mix in some magnetic pickup with these models. Or perhaps it's an issue with piezo pickups in general. The patch seemed pretty robust at lower frets ( HD500x vox/marshall amp patch with overdrive and/or tube drive in front of the dual amps )

Anyone managed to get a decent mandolin sound out of a JTV / HD500x type combination? For guitarists I'd think you want to mute the low A and E strings in workbench and basically have a 12-string guitar tuning on the four higher strings. That way you can use your familiar guitar chords instead of the standard Mandolin tuning shown below. 4 pairs of strings (two E Strings, 2 A Strings, 2 D Strings, and 2 G Strings),

What do you think this guy is using as far as delay/looper techniques? Not so much which delay does he own, but how is he achieving the sounds? ( and how to mimic with a POD 500x) https://youtu.be/qtPFGSjmDvA

I use dual amps quite a bit. Did you mean put in two of the Panamas? or pair it with something else

Patch for the Panama ( Peavey 5150) -- any general ideas on this? I've created some awesome tones with the remastered Brit 2204 in the metal pack, but the Panama needs some major taming. I'd love to get a tone like Van Halen's Panama.