joemama78

The short answer is yes, the delays are easy to set up with the editor software, and once you get comfortable editing directly on the POD they are pretty easy there. But there is one downside; if you want to set the specific bpm instead of milleseconds, you have to go into the utilities menu. I love my DD20 and have started using it in the effects loop with great results.

I started with the B-man, a tube screamer, and digital delay, then started building individual patches for each song that I could recall next time we did that song. Now I'm back to a single patch - Screamer into PhD Motorway, delay and reverb. Last week I ran my DD-20 through the effects loop and my Fulldrive 2 into the front end. It's a lot of work, but it sounds fantastic. I know it's backward from what so many people do, but I just love having so many amp options while still running direct.

To do it in HD Edit, cick on the controller tab. Select the effect under "model", select the parameter you want to control, then select EXP-1 or 2. Then set the min and max.

Auto-Volume under the Delay effects. You can set how quickly you want the swell in, but you have to work around the delay if you don't want any of the effect on your signal.

The only way I know of that you can switch amps without the dry signal feeding through on the disabled line is this: Set the expression pedal to control the channel volume on both amps. Set the minimum on the Twin to 0 and the max to whatever you want. Then set the MAXIMUM on the Mesa to 0 and the MINIMUM to whatever your desired level is. Then you can use the expression pedal to sweep from one amp to the other. I'm not aware of a way to do it with a single button.

I use it to control the delay repeats on swells so you can create an infinitely sustaining pad, turn off the delay and play over it, then drop it down gradually when you're done.

They'll replace the X series with the Y series;)

I've found a lot of difficulty setting the BPM in HD Edit. I have to do that through the HD interface. Everything else seems to be fine.

There is a BPM option, but you have to go into the Setup menu on the POD itself (page 6) to edit it. The HD Edit program lets you change the BPM, but it doesn't actually work!

You can set the smart harmony up or down a 3rd, but it sounds like the two parts diverge from that single interval. You can try to set the smart harmony so that you can adjust the interval with the expression pedal.

After setting your output mode to Studio/Direct, change your input modes so one is Guitar and the other is Variax. It makes a difference. The pre-loaded patches are worthless for practical purposes, so try building one from scratch. I had a lot of success right away using the PC edit program. See if you can duplicate your analog rig. Then download some custom tones off the site and see what you like.

I went through all of my patches with audio metering and found the same thing as silverhead said - different patches respond differently in a live setting because of the tonal frequencies in band context. Audio metering will get you into the same general arena, but only live tweaking will get you a final level.

I have a solid-body Nashville Deluxe Power Telecaster with a fishman piezo under the bridge, so it has the attack regularly associated with an acoustic guitar, but because of the light strings and solid body, it doesn't sound much like a true acoustic. I have played around with effects and downloaded patches, but have not been able to find a satisfactory setting. What are the keys to making an electric guitar with a piezo sound like an acoustic? I've added reverb, but I don't have the foggiest clue how to dial in EQs.

Tboneous, I think you have run face-first into an issue of "worship" as shorthand within a specific subgroup, namely white, suburban evangelicals, (though surely plenty of people in this subgroup are non-white, urban or rural, and outside of evangelicalism) particularily in America, the UK, and Australia. We tend to draw from the same pool of artists, as named above (Chris Tomlin, Paul Baloche, Hillsong, etc) whose music receives airplay on Christian radio, who are featured at large conferences across the world, and whose music is backed by large Christian record labels. There are a lot of us who are descending onto music stores seeking guitars. amps, and effects that will help us to sound similar to the guitarists on those recordings. Indeed worship music is any music that is used in religious gatherings or with the intent of bringing glory to God, but in the world of guitarists, a large number of us use the word "worship" as shorthand for the specific genre of music we've been discussing. So when you bring up other styles of music used in worship, we are not trying to pretend they don't exist or aren't valid; we just are speaking from inside of our realm of experience.

I took down my worship tones from custom tone because they're nothing special, but I am very happy with what I have. My main patch is a clean B-man with compression for cleans and a screamer for dirt, with moderate reverb and digital delay. I have the same set-up with a Hiway amp, and similar with a DrZ Route 66 set to break up. I posted an ambient patch drenched in delay and verb here: http://line6.com/customtone/tone/224295. I downloaded this patch and use it very often: http://line6.com/customtone/tone/209576/ Hope that is some amount of help.

I second the EQ parameter controls and would add the following: 1. A more reliable and tweakable tremolo. I had the Seymour Duncan Shape Shifter, and the rise-fall shape function was fantastic. 2. Better signal-routing. Signal splitting is cumbersome and doesn't function much like a real pedalboard.

I use a lot of delay and reverb and when I switch patches between songs, the trailing signal just gets cut off abruptly. Is there any way to let the decay finish out (spill-over) even after switching to a new patch? I would prefer not to have to hook up an external delay in the fx loop.

I find it good to use some sort of dB meter as a guide. I plug it in to the computer and record, watching the levels and adjusting the mixer on each patch accordingly. Remember, dBs are only a guide, not a concrete goal. Your clean patches will not be as loud as your dirty patches. Overdrive/distortion patches will be pretty compressed, but clean patches will be more dynamic, so I try to make sure that my clean patches peak at the same volume as my OD patches (i.e. when I strum all six strings firmly). Adjust the POD's mixer output accordingly as you go during practice to get your final levels.

I plug the POD into my computer and record myself playing. Just watch the dB meter and adjust accordingly. If you don't have a recording program, you can download Audacity for free.

To be fair, in addition to the flip top (Ampeg), the tweed B-man is a bass amp too, based on a Fender Bassman

In pedalboard mode, when you press the bank button, the bottom switches select presets A-D, then automatically go back to controlling FX. If you are trying to do everything on one patch, then you shouldn't need the bottom 4 in preset mode, which opens you up to have amp A effects on top and amp B effects on the bottom. I don't know enough about amp settings and running dual amps, so I can't be of much help there.

1. Ignore the presets. Start from the ground up. Give all of the amps a preview and find one or two that are a good place to start. Perhaps start with something close to what you already own. Then do the same with pedals. Find a "home base" to help you get comfortable with the change from your physical rig to the POD. 2. Download patches from the Line6 custom tone section. There are a lot of cool patches uploaded here. You might find some effects you would have overlooked otherwise. You can also learn from others' mistakes. 3. Keep tweaking. Back up your patches on your computer, then improve, swap, simplify. Figure out if you need one patch that can do everything or separate patches for every sound.