BBD_123

I have to agree, but I'm going to have a real dig into this over the weekend, on headphones, no messing about :) . I *did* have to lower input impedance to get a truly clean tone on Jazz Rivet patches, so I will start with those. I'll duplicate a patch, set Zin back to 1MΩ again and try input selection switching. Then A/B the patches. That should shine a light where it needs to be shone.

It certainly was, and thank you for the links. Illuminating, as always.

I'm a bit puzzled by this too. My understanding of eg. this post is that it is better to set input B to [same] to avoid potential -6dB gain loss if using a mono-summing fx at the beginning of the signal chain. Can you explain why you do this?

Agreed. Keep it as simple as possible. Complexity tends to lead to mushiness. Pre-eq and a bit of drive (often in the same effect), right amp, right cab and mic, bit of verb and you are done.

I can't really go any further as I am PC-based, not Mac. I assume that your L6 Mac driver is up to date? Perhaps other forum members can take this forward?

Hi andrey To be sure it's not a basic hardware issue, it's also necessary to replace your USB cable with a new one. If this doesn't help, connect to a different port on the Mac. I had an outbreak of this problem about a year ago and it turned out to be a failing USB cable. That said, it does still happen occasionally, so there are probably several triggers.

@djspleen et al. This happens from time to time. Since your patches are already saved on the HD, it's no big deal. Usually all I have to do is exactly what the error message advises: - Exit Edit - Turn the HD off, wait a beat and turn it back on - Start Edit Very rarely, the problem persists and it is necessary to reboot the PC (with HD *off*). It's a minor and infrequent niggle. * * * Such a tool exists, and works very well. Look at the sticky at the top of this forum: http://line6.com/support/topic/2164-pod-hd-tone-conversion-utility/

My recollection from the thread that you have unfortunately now deleted is that you said something like: for great tones, max presence and zero cab resonance DEP. Perhaps I misunderstood you, or perhaps you are reconsidering what you actually wrote. Regrettably, it is now impossible to tell.

I don't want to argue about this because it's not worth the effort :-) But... I do think that you are slightly over-stating the importance of the presence control as a fundamental of tone shaping. I *do* agree that it is very important and perhaps both misunderstood and under-used. But I don't go all the way with you. I also agree with other commenters here that resonance DEP is an important part of some tones and simply zeroing it is to limit what you can do. I'm 65% with you :-)

Okay, but I can only respond to what you write, and that contradicts what you wrote above.

Ah, okay, I see what you mean (reading your new post has reminded me what you said originally). However - I think it's pushing it to say that the analysis shows that the presence control 'spans more or less all the frequency range of the bass [control]'. Mid and treble, yes. Bass, not so much.

@pfsmith Sorry - only just seen this thread - thanks for the analysis! I will look at the full pdf properly this weekend, but at first pass, the results appear to contradict Hurghanico's hypothesis that the presence control is *not* effectively a treble control. @Hurghanico - please do not delete entire threads. Everybody's contributions are lost. Just edit your own comments if need be :-)

Sony ain't what it used to be :(

You'll have to take the bottom off the unit. If you unscrew the external nut securing the headphone jack socket the body of the socket will fall into the unit and boring. Just be careful and take pix with your phone as you go if you think you will have trouble remembering the way things go back together.

Always nice when it works :) Have fun.

One possibility is that it was intentional. From the useful MeAmBobbo HD tone guide: There is one exception to this rule, which is if your second amp is actually "amp disabled". This uses no DSP whatsoever. And it'll give you a clean tone, which you can use to reinforce your distorted tone. You want to pan both mixer channels to center and set the clean tone so it is just barely audible. You want it to really just add a little attack because a heavily distorted tone can lose some attack. Most of the time, I don't use this setup; however, because it is difficult to get right and I don't find it really delivers a much better tone. It's easier to screw up than get right. If you do use this approach, try adding some compression and EQ to the channel with no amp; so you don't get too much attack or bright clean tone. >(If I try to enable an amp in Amp B I get a DSP limit error, but that's okay). Another possibility is that the patches were made on a POD HD model with more DSP headroom than yours. I think the B channel just blanks if you open a dual amp patch your kit can't handle.

Have you set up the Vol pedal correctly? Click the pedal toe switch to select Vol (Green LED) Pick the Volume Pedal effect and move it to the front of the effect chain Save selected Now go to Mixer and select Volume Pedal in Model and EXP TOE SWITCH in FS Assign. Parameter should be set to VOLUME Make sure that Minimum = 0% and Maximum = 100% Check that Green LED is on and EXP-2 is the selected Controller. Save Hopefully, that should sort it out.

MeAmBobbo's POD HD Guide is helpful too: http://foobazaar.com/podhd/toneGuide/eq#effects Pfsmith's frequency analysis is featured prominently.

My conscience is troubling me :) Here's a Mesa Boogie high gain patch. Set preamp gain to taste: http://line6.com/customtone/tone/1856899/

Late to the discussion, as ever, but here's a contribution: http://line6.com/customtone/tone/1811263/ Good, *really* clean tones seem a bit thin on the ground, which prompted me to make this dual Jazz Rivet (Roland JC-120) patch. Hope it helps. I appreciate that not everyone has bought the model pack with the JC-120 and this is not Mesa Boogie and the opposite of high gain, but that's the Internet for you.

cacheek It's got to come down to money. As it so often does. Stuff we know: - Helix is better than POD, but... - POD is bloody good - Helix is much more expensive than POD Lots of disposable income? Helix. Not so much? POD. It's a very good second best.

Both pretty nice tones :) To my ears, the first tone (POD) is just slightly less overdriven but has a touch more midrange / presence than the second (Behringer). The Behringer does sound a little bit more gritty, but also a bit flatter (to me, YMMV, of course). To try and get them closer (IMO, and using quality headphones *direct* to POD), I did this: Tube Drive Bass = 40 Mid = 35 - 40 Treb = 15 Drive = 25 Output = >80 - max (closer to max than your setting; you have higher-gain p/ups than those I am using so you will need to dial this in yourself) This wasn't perfect. I preferred switching away from Tube Drive to Line 6 Drive and starting at these settings: Bass = 50 Mid = 50 Treb = 40 [set to your preference] Drive = >20 Output = >80 [set to your preference] I also like to turn the Master Gain DEP on the amp up a bit for more bite and grit. Probably none of this will help, but it has been fun to try :)

Thanks for posting this. I've got to sleep now but I will listen to the comparisons in the morning and respond properly then. Can you just say which amp, cab and mic you are using in the POD? Thanks and sorry for the delay.

jpdennis Very glad the impedance tweak helped. Also glad - at last - to be able to put something back. I've had *lots* of excellent free advice out of comments here while lurking around ;-) Well, it's your money, but what I am going to do is keep on with the POD HD for another year or so - since it will take *at least* that long for me to get a reasonable grip on what it can really do - then I might begin to think about the Helix. :) Or so I keep telling myself...

kpsion There's plenty of upper-mid and high-end potential if you play around with the options. Have you tried the Screamer with the tone and treble cranked up >50%, drive above 25%, output maxed (or close to it), with some presence and treble boost in the amp tone stack? Just for example. The Screamer is a good tool for opening up the upper-mid and high end. One other thing - how do you have the Mixer set up? For the best single amp tone, put everything in the chain on Path A (upper path in Edit display). Set Path A gain to desired level and Path A pan to Center. *Mute* Path B. Get rid of it!. Listen to the difference: the tone is sharper, louder, more focused. This might help. Still, it's very hard to be sure what you are trying to achieve - and talking about tone can be like dancing about architecture :-)