ftuller

I play through a blues jr amp which doesn't have an fx loop so I'm using the HD500 as a stomp box (amp turned off inside POD). I recently bought 2 OD pedals and put them in the POD FX loop but I didn't like how it sounded. There is another thread titled FX Loop Noise that gets at this issue. So I'm using the ODs in front of the POD: guitar->little green wonder->fulldrive 2->POD guitar in->volume pedal->tube comp->digital delay->hall reverb->studio eq for clean boost->disabled amp block->mixer. This set up sounds good to my ears and the new OD pedals sound better than the POD OD models. I just couldn't get the POD OD models to sound right for my taste.

If you have amp channel volume assigned to one of the expression pedals then you also have to adjust max in the exp pedal. For example if you lower amp volume from 70 to 50 then you also have to go into your exp pedal assigned to amp volume and lower the max from 70 to 50. If you don't, the volume will stay at 70.

I was messing around with the pitch glide to comment on another thread and found that the pitch glide at the front of the chain, 50% mix, +0.1, gave a nice chorus tone (at least to my ears). I generally don't use the chorus for what I play but I added in the analog chorus to compare it to the pitch glide at +0.1 and thought the pitch glide sounded better.

I played around with the pitch glide through headphones in a single amp patch and got the best results at the front of the chain at 50% mix. Not that what I found is ground breaking but here is what I came up with... +12 octave up, -12 octave down of course. +5 single notes with distortion gave a decent 2 note power chord tone (perhaps useful for fast playing). +7 gave a decent harmony. +0.1 clean gave a nice chorus sound. +0.1 with distortion provided some depth to single notes which could be good for a solo. +0.3 gave a tremolo tone. -12 with the exp pedal max 0 and min -12 let's you use the pedal like a whammy bar. I also had decent success with the pitch glide +0.1 mix 50% in path B (in a single amp patch with a digital delay 50 ms in path A for thickening purposes) for single notes for soloing. As gckelloch mentioned, the pitch glide seems to add some high end so you may want to account for that.

Fender blackface deluxe vib full model with drive set around 75-85 range will give you a clean but semi crunchy tone which you can control by how hard or soft you strum or pick. I use drive at 83 and use exp-2 set to go from 73-83 heel to toe. If you need more crunch you can add a tube screamer before the amp with drive at 0 and output at 100.

1.Yes - effects should be the same as M9. 2. Yes - in the pod select "none" as the amp and select the global settings to use all 8 footswitches for the effects within your patch (rather than 4 footswitches for different patches and 4 for effects within the current patch).

I use the volume pedal at the beginning of the chain and in that spot it reduces the gain a little bit in addition to reducing volume. I have it assigned to exp-1 and use it for swells (the slight gain redcution/increase makes for a nice swell tone). I also use exp-1 volume pedal when I want to quickly cut off the volume. Exp-2 is assigned to amp volume (max 40, min 35) and I use that when I want a slight drop in volume but no change in tone.

I play through a blues jr with studio/direct output mode. I tried the "correct" combo front output but studio/direct sounds better. In the pod I use the blackface deluxe full amp model with drive set at 83 (still relatively clean tone). Blues jr settings are: reverb 3.5, master 11, middle 8, bass 10, treble 2, fat switch on, volume 2. The high master/low volume pushes the amp and works well with pod overdrive pedals. Together this gives me a lively clean tone and I use tubescreamers for crunch and heavy crunch tones. I've been happy with the blues jr/pod combination. It's worked well live in a medium theater environment.

Yes, you can assign more than 1 effect to the same footswitch. If you assign 2 effects to the same footswitch and turn one effect on and the other off, then the footswitch becomes a toggle between the 2 effects. And if you want you could set it up so 2 effects turn on and a 3rd turns off at the same time, for example. Or any combination. Just assign them to the same footswitch.

Try freeing up the pedal for the wah by using an effect slot in your chain for a clean boost triggered by footswitch. If you need wah and boost at the same time you can assign both to the same footswitch. The POD HD500 doesn't have a clean boost effect but there are a few ways to do it: short cable into fx loop (add fx loop to chain with +3db return for exanple), or use tube comp with 100% thresh and output to taste (+12-24), or use studio eq with flat settings and output to taste). Here's another post on the ways to do a clean boost: http://line6.com/support/topic/4186-lead-boost-for-hd500x/?fromsearch=1

Although not as good as an effect copy feature, you could set up a base patch with the effects at your new default settings and then copy that base patch and modify as necessary. That's what I do.

I use a blues jr. I tried combo front but studio/direct sounds better. In the pod I use the fender blackface deluxe vib full amp model. This supposedly goes against the rules but this sounds the best through the blues jr. Pod deluxe full amp settings are gain 83, bass ~60, mid ~55, treble ~50, presence ~40, volume 40. This gives a relatively clean tone. Blues jr settings are reverb 3.5, master 6, mid 8, bass 8.5, treble 2.5, volume 7, fat button on. At the levels noted above the tone is clean but close to break up. For crunch I add the tubescreamer at gain of 50, then for heavy crunch/gain I layer on a 2nd tube screamer at gain of 70. My experience has been good with the blues jr and I think it works well with the pod because the blues jr seems like a neutral amp if that makes sense. It seems like it has a lot of high end in it naturally which explains my high bass/mid and low treble settings.

I do the same thing hurghanico mentioned. I place the tube comp at 100 threshold early in the chain - after volume pedal and before tube screamer and digital delay. You can set the level to taste. I usually set it at 12 which is a slight boost. Amp model I use is b'face 'lux vib full model. The tube comp at 100 threshold seems to color the tone in a good way so I often leave it on all the time. The fender amp, tube comp, and tube screamer together gives you plenty of tube sound.

Geekydaddy - if I'm interpreting your issue correctly I would continue to use the variety of amps and patches but work on leveling your volumes across the patches. In other words, try to make all your clean patches the same volume no matter what amp you're using. Do the same for your crunch patches, heavy crunch patches, and gain patches. I use my ears and try to get as close as possible. This would then be good for the crowd, the sound guy, and your band.

I use the tube comp as a volume boost by setting threshold to 100 (ie no compression) and output to 12. But with that said, at 100 threshold and 12 output I like its effect on the tone and sometimes I find myself keeping it on as a base part of the tone. I like to do this on my clean patch which uses the blackface deluxe vib full amp with gain at 51 and digital delay dotted 8th at 40% mix. I put the tube comp early in the chain, after the volume pedal and before the tube screamer. It also sounds good with higher amp gain settings on the blackface deluxe vib (73 or 83) and with the tube screamer on.

To get a galloping delay effect I use digital delay dotted 8th into analog echo quarter note right before the amp. I use feedback at 10 for both delays (for a single repeat), dotted 8th mix at 70 and quarter note mix at 50. Bass and treble at 50.

In addition to using the mixer levels like rootmusic said, you can also use volume in amp edit which as far as I know is just a straight volume knob (no change to gain level). Using mixer and/or amp volume you should be able to match the clean and gain patch volumes.

Similar to what phil_m said, if you have the volume pedal as an effect and placed in front of your distortion pedal and amp then it will reduce the gain a little as you move the pedal towards the heel position. Some people do it like this intentionally and this worls well for using the pedal to do volume swells. If you put the cursor on your amp and double click the move button (I think as I'm not on my unit at the moment) you can assign exp-1 or exp-2 to your amp's channel volume and set the min and max levels. If you do this instead of using the volume pedal as I mentioned above, the exp pedal should just change volume and not reduce your gain.

I use the tube comp with thresh at 100 and level between 12-17 as a boost. My base chain order is volume pedal, tube comp, tube screamer, digital delay, amp.

I loaded several patches the other day that are used for a lot of Hillsong but are also used for Jesus Culture and Bethel. For example, I use the patch named Crunch for the Bethel version of One Thing Remains. If you go into customtone and search ftuller the patches should come up. They might work for you or at least give you a few ideas for your own patches. I play an SG but you might be able tweak the patches to fit your Tele.<br /><br />To answer your question on amps and effects for Jesus Culture/Bethel tone, amps would be AC-15, AC-30, or the Fender amp models, and the foundation for the effects would be a tube screamer, dotted 8th delay, and reverb. In addition, you could try chorus and the auto volume delay for swells. If you google "Jeffrey Kunde gear" you'll find his page where he goes through all his gear, which might be helpful.

I responded to another post yesterday on worship tones and was asked to post my patches. Probably the easiest way to access the 9 patches I posted is to go into customtone and search ftuller. I posted clean, crunch, gain, auto swell, and a few different uses of delay. Output option used is studio/direct so they should be fine for right into the system although you might need some tweaking for your guitars and the room you play in.

I use a blues jr. It doesn't have an effects return so you can't use the 4 cable method. Just plug straight in. I use studio/direct and the full amp blackface 'lux vib. Also input 1 guitar and input 2 variax. I tried the "correct" combo amp output options and it didn't sound as good. I tried using the pre models and it didn't sound as good. One of my bandmates also uses a blues jr with studio/direct but he uses the pre models.

My pleasure

Links to base patches are below plus a few different uses of delay such as the intro/verses for hillsong united's the time has come ("4 delay time"), the verses in fee's all because of Jesus ("4 delay"), the instrumental in hillsong live's cornerstone ("73 delay"). The gain lead patch is used on things like the intro to hillsong's healer and the solo in bethel church's one thing remains. The swell patch is used on hillsong united's with everything from the live in miami record. The clean patch also works well with this version of with everything. I read some of the comments above on what is worship music or the worship genre. I agree that it's not confined to any style of music. I actually think of the musical style we're discussing here as more along the lines of 1970s progressive rock (lots of dynamics, detailed guitar work, solid keys, etc.). If anyone wants to get a good feel for the type of tone that's being discussed in this thread, check out on youtube a block of three songs that run together from the hillsong united live in miami album: from the inside out/a song to sing/with everything. Comments are welcome and appreciated as I never seem to be 100% satisfied with the tone. http://line6.com/customtone/tone/225490/ http://line6.com/customtone/tone/225491/ http://line6.com/customtone/tone/225492/ http://line6.com/customtone/tone/225493/ http://line6.com/customtone/tone/225494/ http://line6.com/customtone/tone/225495/ http://line6.com/customtone/tone/225496/ http://line6.com/customtone/tone/225497/ http://line6.com/customtone/tone/225498/

I'm using exp-1 for amp volume with minimum at 0 but in the heel position I can still hear a little bit of sound. I've never had this issue before. I just successfully ran the recalibration but it didn't solve the problem. I read this post: http://line6.com/support/message/351090#351090 but I'm hoping to not have to open up the device. Any suggestions aside from what's in this post? Thanks.