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Digital_Igloo

How does everyone manage POD HD Presets?

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Hi Guys—a few questions if you don't mind:

 

1. When performing, how do you select tones?

A. One preset per song, turning blocks on and off as needed from assigned footswitches

B. One to four presets per song, switching between A, B, C, and D in the same bank, and then switching banks for a new song

C. One to four presets for the entire set, and A, B, C, and D represent four primary tones (example: clean, overdrive, high gain, solo lead)

D. Several presets, laid out randomly across multiple banks

E. One or more presets, but block bypass and/or preset selection is accomplished remotely from a computer, via MIDI, by an off-stage technician, etc.

F. Other (please explain)

 

2. Which one of the following best represents preset management before a gig?

A. I may rearrange presets to accommodate the set's song order

B. Little to no management; preset order is independent of the set's song order

C. I do have a method to my preset management, but it's not tied to song order (please explain)

 

3. How (if at all) do you use Setlists?

A. Different order of the same presets from a different Setlist

B. Different types of presets—Clean, dirty, effected, etc.

C. I pretty much stay within the same Setlist of 64 presets

D. Other (please explain)

 

Thanks!

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1. I use anywhere from 1-4 presets per song. I switch between them using midi patch changes coming from Ableton Live which provides a metronome and any prerecorded tracks needed.

 

2. I arrange presets based on setlist order.

 

3. Usually create a new setlist for each performance

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for #3 at least i'd rather replace setlists with "categories" just have 1-128 A/B/C/D or whatever... and have them categorized... 

sort of a dynamic setlist...

categories aka setlists  would be able to split at say 1-120 for guitar and 121-128 for bass as an oversimplified example... just saying kind of like moving the setlist divider...

the setlists as they are seem more like an un-needed barrier between my tones... although i can see benefit to dividing them in some manner...

i would just like them to flow one into the other via the bank up/down functions.

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1. - C, I have my basic tones for clean, dirty, and FUNK with some various extras on the top row of footswitches

 

2. - B. see above, haha

 

3. - D. I have my setlists laid out for live performance into a cab, recording tones, and experimenting tones (basically just where I mess around to see what I like, then save to either my performance or recording setlist), I haven't had a need to overwrite any of the stock presets in any of the setlists, I just don't use them.

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1-C: although there's waaaay too much delay to switch ABCD patches in the middle of a song for me. So I am in the process of changing to F: FS1 thru FS8 for the entire set. If FS1 thru FS8 isn't enough for the whole set then I'll do F: FS1 thru FS8 plus several patches for the entire set, changing patches only between a song.

 

2- A: I can't think about playing with the guitar AND playing with the HD500, so I put them in song order, if the patches need to change.

 

3-C: I use the other Setlists for place holders and storage.

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1. C, but once in awhile also B.

 

2. B

 

3. D, but more for different types of sets. I have one for playing at church, which has clean/crunch/distortion/lead on most banks, and then other setlists for different types of songs. So other setlists are geared toward different genres, like one setlist for 70s rock, one for 80s rock, one for metal, etc.

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1.B : each bank can accommodate 1-4  songs, each song "stays" in one bank, some banks may have empty slots..
2.A
3.D:new setlist 4 each live performance

ps
I also use a "version control" on my presets stored on the pc hard disk, with mixed numbers and letters. Numbers mean significant changes and letters mean level matching.

eg
somesong2 is the next version of somesong1, but somesong2a and somesong2b r mainly identical, besides output level (regulated either my mixer, or amp vol, or studio eq gain); this is necessary, cause levels may be different on each live, as they depend on each playlist's songs.

I also ensure that each preset uses only one fs (solo boost-gain, harmony, reverb, etc). And this single fs is "synchronized" with the bank position/letter occupied by the preset.
eg
I have designed 2 Aqualung presets: 2AQUALUNG1a (main riff+solo) and 2AQUALUNG clnP3- (acoustic parts).

In one live setlist 2AQUALUNG1a is stored in position C, the fs 4 soloing is FS3.
In nother live setlist 2AQUALUNG1a is stored in position A, the fs 4 soloing is FS1.
In this way I always know that the appropriate fs is right abv the preset position letter:
ie
all presets in position A use FS1, all presets in position B use FS2, and so on...

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1. When performing, how do you select tones?


One to four presets for the entire set, and A, B, C, and D represent four primary tones (example: clean, overdrive, high gain, solo lead)


 


Bank A is the main sounds (with JTV switching): 12 String, 6 String, Clean/Crunch, Distorted


Bank B onwards is for odd ones (only just into C) - Songs with alternate tunings or different from the main bank sounds


All of the Banks have a variety of effects on them that I switch in an out as required (FS 1-8 Mode).  It is not that big a deal to press the up or down button to jump between presets, but most sound changes are just effect on/off


 


2. Which one of the following best represents preset management before a gig?


B Little to no management; preset order is independent of the set's song order


 


Set lists change right up to the... well the song starts (we do have a plan, but you have to be prepared for it to change).  Only have 10 Live presets anyway


 


3. How (if at all) do you use Setlists?


C I pretty much stay within the same Setlist of 64 presets


 


I play into FRFR and keep within a single Setlist all the time.  When building a new/replacement patch I just switch to the next bank with an unused preset and work on that.

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1. When performing, how do you select tones?


A. One preset per song, turning blocks on and off as needed from lollipopigned footswitches


C. One to four presets for the entire set, and A, B, C, and D represent four primary tones (example: clean, overdrive, high gain, solo lead)


 


I also use FS5 - FS8 so I can turn effects off and on.


As with Rewolf48, I also have most if not all presets with JTV switching : 12 String, 6 String, alternate turnings and other JTV guitars.


 


I will also use the same patch (differnet names) for mulitple sets but with different JTV guitars activated.


 


2. Which one of the following best represents preset management before a gig?


B. Little to no management; preset order is independent of the set's song order


 


All the setlist management is before the show or event I am playing but most are static once they are setup.


 


I also use a printed setlist with my patch locations in case I forget or need to replay a song we have already played.


 


3. How (if at all) do you use Setlists?


C. I pretty much stay within the same Setlist of 64 presets


 


I have a template preset/patch made with all my foot switches pre-set to what I want them to be. For instance, fs1 - controls the distortion, fs2 - chorus, fs3 - reverb/special, fs4 - boost.


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1.- When I had a Korg AX3000G, each song had one bank lollipopigned. 4 combinations were enough back then, and when less, I just repeated the last preset from left to right. Currently, I use the same method in the pod, but I feel I'm wasting lots of preset space using this method. Still, I only use 3 setlist effectively; 2 setlists with the same presets but tweaked for 2 different amps and one setlist to work with my monitors.

2.- By having each bank lollipopigned to one song, I don't mind if we don't play songs in order. Changing banks is not that hard, and even if I'm the singer of my band as well, I can manage between songs and still talk to the audience.

3.- Setlists are lollipopigned to the type of output I use. As I explained above, I have one setlist tweaked for a combo amp I use at home and rehearsals, and another tweaked for a live stack amp I use on stage. The 3rd list I use is tweaked for my studio monitors.


Edit: You should revise your forum rules as regards to the word asign with 2 s. Replaced where lollipop appears should make my text have sense.

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I have about 20 presets for each of two guitars I mainly use. Most of my presets use the pedal to go from the rhythm sound and level to the lead sound and level. I usually have a modulation effect and delay effect (or pitch, etc) on the top row of buttons, to spice things up, however my presets also usually adjust the primary delay and verb as I depress the pedal (more ambience for the solo).

 

I play several gigs a week, with a wide variety of styles, from reggae to jazz, so I don't mess with set lists. I know my priests cold so it's just a moment to switch them.

 

I don't use more than one set list. I usually have presets I'm fooling with on the other set lists.

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Some bands I work with use set lists some don't. What I do and have done with every processor I have ever used(Digitech RP-1/2000/Boss GT3/GT10/Roland GR55 etc...) is set up 4 patches  starting with bank 1

 

             Bank 1 General Purpose

 

1.Funk

2.Clean Chorus

3. Marshall or Boogie style crunch/lead

4. Marshall or Boogie etc..crunch /lead with Fuzz and Tube Driver always available(when i use my HD500)

 

            Bank 2 Roots/Country/Blues

 

1. Fender Twin w/Tube Driver and EQ pedal boost available 

2. Fender Deluxe w/ "                                                     "

3.Dr.Z w/                 "                                                       "

4. VOX AC30 w/ "                                                            "

 

           Bank 3 -Jazz

1 thru 4 variations of Fender twin tones for Wes/Benson type things

and maybe a Robben Ford patch in slot 4

 

           Bank 4

1. Acoustic sim.

2.Clean Chorus/Twin

3. Treadplate crunch

4.Another slightly hotter Treadplate or other heavy amp tone w/lead boost available at all times

 

I don't use the set list feature as of yet. With my patches arranged like this I can cover and most importantly get to almost anything I need in a couple of seconds as most of the time the bandleaders on my gigs call "audibles" instead of using set lists.

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Question 1: Usually A, sometimes B

Question 2: B

Question 3: D. I have 2 'live' set lists depending whether I am FRFR or through an amp. 1 set list is used for experimenting (A/B testing) in the studio. 1 set list for recording so I can recall appropriate tones for retakes etc....

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Hey Igloo,

 

can you give some feedback to whoever controls the "filters" on the site because the "lollypop" thing is causing the meaning of messages to become quite hard to understand.  For example "A s s i g n e d" when used perfectly correctly is being lollypopped:

 

"I have the footswitch 1 assigned to a compressor" 

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we've already raised the issue, will likely be back to normal a little later today.. when the people at L6 HQ get in the office.

Hey Igloo,

 

can you give some feedback to whoever controls the "filters" on the site because the "lollypop" thing is causing the meaning of messages to become quite hard to understand.  For example "A s s i g n e d" when used perfectly correctly is being lollypopped:

 

"I have the footswitch 1 lollipopigned to a compressor" 

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1. When performing, how do you select tones?


D. Several presets, laid out randomly across multiple banks


 


2. Which one of the following best represents preset management before a gig?


B. Little to no management; preset order is independent of the set's song order


 


3. How (if at all) do you use Setlists?


C. I pretty much stay within the same Setlist of 64 presets


 


I setup a couple of Amp setups very much like I would if I were not using emulattions but the real thing. So I have about 4 to 5 of my favorite ones for shows that geared towards specific sytles. Heavy gain, Clean, Blues, etc... I swtich to these depending on the song or honestly just whatever I feel like i wanna sound like for partiuclar song. I still tap dance the footswitches just like I was using pedals. Basically I use the POD/DT as a subtitue for all the expensive gear I can't afford! Live peformances to me are not so much about making it sound exactly the original recording, it's about entertaining and having a good time. If they audience wanted to hear the song exactly as it was recorded then they could buy it and sit at home and listen cheaper, so for live, I really don't use a lot different main tones.


 


Now for recording, this is a very different game. I will spending hours playing with Amp models, pedals (emulated and Real), mics, or mic'ing my DT or going direct(more the norm) to get a specific sound. Then for overdups or other layered parts I might use a completely different setup. All get saved off to the PC usally with songtitle and label for which part it is. But live I rarely uses these patches.


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Hope so - found a few others.

 

"A passable attempt and a classic rock sound through FRFR"

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And now they have been fixed.

 

At least I lollypopume they have been  ;)

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When performing, how do you select tones?

C. Four present for the entire set and A,B,C & D four clean, crunch, overdrive and lead

 

How do you manage your presents before a gig?

B. No management, normally I use the same patch throughout the gig (with the above mentioned four presents)

 

How do you use setlists (if at all)?

D. Have specific setlists for different types of guitar (solid body, semi-hollow bode, steel string acoustic, classical and archtop). Furthermore I have different setlists for recording (full amp models and studio/direct output) and Live (pre-amp models and combo Poweramp output)

 

Buy hey Igloo: Why do you want to know this anyway?

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When performing, how do you select tones?

B. To some extent also A but I prefer to push the buttons in the first row  ;)

 

How do you manage your presents before a gig?

B.

 

How do you use setlists (if at all)?

A.

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Buy hey Igloo: Why do you want to know this anyway?

 

I design gear and manage existing (and yet unreleased) products for Line 6.  :)

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1. When performing, how do you select tones?

C. One to four presets for the entire set, and A, B, C, and D represent four primary tones (example: clean, overdrive, high gain, solo lead)

 

Pretty much this. What I like to do is use a bank for an amp model and set up the presets in that bank parallel to other banks. So the A preset in each bank may be my clean w/ delay. B will be crunch. C will be lead, and D may be a wild card. But that way it gives me the flexibility to use different amp models, but it also makes me familiar with what I'm doing in any given bank. I also try to keep the same types of effects assigned to the same footswitches.

 

2. Which one of the following best represents preset management before a gig?

C. I do have a method to my preset management, but it's not tied to song order (please explain)

 

Pretty much what I explained above. I manage presets completely separately from the songs I'm playing. Mostly this has to do with the fact that I play with different people and groups, so the number of songs that I might need to know could well be between 30 and 50.

 

3. How (if at all) do you use Setlists?

D. Other (please explain)

 

Kind of keep setlists parallel as far how presets are arranged in them. But I mainly use them to keep presets I use when going direct separate from those I use with my DT25.

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I design gear and manage existing (and yet unreleased) products for Line 6.  :)

 

I think that after the latest f/w updates on JTV/workbench-HD/HD500 and the complete integration of all these products, a wireless VDI 2-way 2-channel communication bundle between JTV+HD500, with power provided by the existing JTV battery pack module will b the last finishing touch to a good painted table...

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1- Actually it depends on the song. some songs I use the same preset and just do a small "tap dance" to get to the other sound relative to that song. for example: having a big delay beginning the song and removing it entirely for the next part of the song. Other times during the same song I need to go to a solo that has different effects and different amps and so I completely change patch

 

2- Before a gig I get the setlist we designed as a band and arrange the presets in a way that it makes it ergonomic and less time consuming. Meaning Song 1 in bank 1 (presets 1 to 2) Song 2 in bank 1 (3 to 4) and so on. it depends on the song and of course it depends of my management in part 1 of the question! 
 

3- I use setlists like...well...setlists. I have all my presets saved on my pc and for every gig depending on the setlist I rearrange them using POD HD X Edit.  Also for safety purposes I make backups of all the setlists so if I need to play the same or a similar setlist I just upload it. It's a bit time consuming at the beginning but the perks are immense 

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1. I use anywhere from 1-4 presets per song. I switch between them using midi patch changes coming from Ableton Live which provides a metronome and any prerecorded tracks needed.

 

2. I arrange presets based on setlist order.

 

3. Usually create a new setlist for each performance

• What audio interface are you using for Ableton Live? What MIDI interface (if different)?

• How are you monitoring the click?

• How do you start/stop tracks during a show?

 

Cheers!

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1-C: although there's waaaay too much delay to switch ABCD patches in the middle of a song for me. So I am in the process of changing to F: FS1 thru FS8 for the entire set. If FS1 thru FS8 isn't enough for the whole set then I'll do F: FS1 thru FS8 plus several patches for the entire set, changing patches only between a song.

 

2- A: I can't think about playing with the guitar AND playing with the HD500, so I put them in song order, if the patches need to change.

 

3-C: I use the other Setlists for place holders and storage.

 

i'm just now getting into mine and have noticed that delay. My old Voodu Valve was instant, so I was assuming I'd be able to do patch switching as a part of my scheme.

 

So the conspicuous delay wasn't a bug fixed by some firmware update but is rather "just the way it is?" That's discouraging.

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• What audio interface are you using for Ableton Live? What MIDI interface (if different)?

• How are you monitoring the click?

• How do you start/stop tracks during a show?

 

Cheers!

Audio - http://www.kpodj.com/esi-maya44-usb-p-101360/?gclid=Cj0KEQjw_tOdBRDv9tuvl7eAtNEBEiQA9Qm5IkGba_MothjQESbrqMyD5JKmunJQmS5RBZ92baTf3n8aAptM8P8HAQ

 

MIDI - http://www.bestbuy.com/site/m-audio-m-track-usb-midi-audio-interface/8853059.p?id=1218918010956&skuId=8853059&st=midi&cp=1&lp=2

 

Our band monitors the click using the Behringer IEM system. Cheap but works perfect. I start and stop using the Behringer FP1010.

 

My ONLY issue has been that Ableton Live does not let you record program changes for an external device. So for a while I was using OSC on my iPad to input control changes that could be recorded and then sent back to the HD500 after being translated to program changes using a convertor box from MIDI Solutions. Recently I have used Ableton in the arrangement mode which lets me quickly create a 1 measure midi clip that can be assigned an extrernal program change, but only 1 per clip so a song my required 1-4 clips.

 

If there was an easy way to map CC to PC on the HD500 that might work as well. Not sure if that is even possible. I am responsible for music, audio, video, staging, and lighting at the church. Don't need another thing to learn!

 

Glad to know that someone from Line6 is reading and interested. Thanks!

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