Line 6 Pod Hd500 Patch SoftwarePHD - Line 6 POD HD5. Patch. Signal Chain and Footswitch Assignments. Home HD500 Treadplate Tones HD500 Treadplate Tones Line 6 POD HD500 Metal Tones. I’d be willing to say this is Line 6’s most popular amp model for all of their amp modeling units for rock and metal tones. Line 6's own driver software also allows for latency. Volume Pedal (EXP 2)Graphic EQ (FS1) – this is meant to stay on all the time. Facial Fuzz (FS4) – use this for solos and lead lines. This sound is inspired by Lincoln Brewster. Analog Delay with Mod (FS2) – set to a quarter note delay time. Heavy modulation on the repeats. Digital Delay with Mod (FS3) – set to dotted 8th note delay. For when you want to sound like The Edge, or in other words, modern worship music. Particle Verb (FS6) – this creates a pad type sound. Use for ambient swells. Octo Verb (FS7) – this is shimmer – also use for ambient swells. Amp – PHD Motorway (based on a Dr. Z amp)’6. 3 Spring Reverb (FS8) – this is meant to be an always on type of reverb.
It’s set pretty low and adds a bit of depth to the tone. Usage. We like to keep the graphic EQ and ’6. The Graphic EQ just cleans up the sound and gives you a more articulate sound, while the spring reverb gives a sense of space. The amp is set on the verge of breakup, so when you dig into it, it will break up like a good tube amp should. This is great for a rhythm tone. If you back off (either by playing lightly or by rolling your guitar’s volume back a bit) you’ll get more of a clean tone. This patch works well if you vary the dynamics of your playing. The Facial Fuzz is great for leads. This would be Lincoln Brewster type solo leads. Pair it with some delay to really let it shine. If you don’t play lead lines much, this would be a good pedal to swap out for maybe another drive pedal (if you want more gain). The two delays will give you a very cool washy delay sound, and they work well when stacked together. The dotted 8th delay is much more pristine, while the quarter note delay has a lot of modulation, which works well when paired with the reverbs. Turn on both delays and Octo and Particle verbs for really nice ambient swells. Add the Facial Fuzz for really crazy swells. Tweaking the patch for your guitar and needs. One thing we’ve noticed about the POD is that the patches can be very sensitive to different guitars and pickup types. We created this patch with a Mexican made Fender Telecaster with a humbucker in the neck (stock). If you’re playing a Strat, Les Paul, or even std Telecaster, you may need to tweak this patch to get it sounding best. Line 6 Pod Hd500 Patch SkinReviewed: Line 6 Pod HD500. In the Pod HD500, there’s also 100+ stomp models to choose from giving a massive array of sounds to choose from. You can also run two amp models in a singe patch. LINE 6 20th ANNIVERSARY. Line 6 celebrates two decades, dedicated to your tone. We first recommend making a copy of the patch, and then editing the copy. Start with the amp settings. Make sure the drive is set so that the amp breaks up a bit when you play hard. This is a very important factor in this patch. From there, change the EQ to your taste and to your room. The other settings should be fairly universal. Finally, change the footswitch assignments so they fit your needs and your playing style. Does their latest offering keep them at the front of the pack? DSP chips have evolved considerably since the original Line 6 Pod was launched, and the extra power available for the new Pod HD5. Line 6 to refresh their range (Line 6 say there's up to 1. The new HD series includes more detailed algorithms, and the company have added a. Line 6 also say that the extra power allows them to make their amp models behave even more like the real thing, especially when you pull down the guitar volume to clean up the amp sound. The HD series of Pods comes in three versions, the HD3. HD4. 00 and HD5. 00. Because stomp effects are routinely controlled by foot, the HD. I'll focus on the top. On the output side, there are two balanced XLRs for the left and right channels (which are duplicated on unbalanced quarter. The unit also includes a. This is fair enough, but I. The audio output is fixed at 2. Line 6's own driver software also allows for latency. As you'd expect, there's the usual nod towards the likes of Marshall, Vox and Fender, but there are also more boutique brands, such as Bogner and Dr Z. Everything is programmable, so that you can emulate the adjustments you might make to the actual hardware. In fact, in some cases you can take adjustments even further: the AC3. TB model, for example, has three. There are 5. 12 preset slots, half of which are filled with factory sounds for you to try, and half of which are available for your new patches. In addition to the more usual studio effects, there are also numerous processors that can be used to make guitars sound more synth. These include four knobs below the display that control whatever functions are currently on- screen, and a. To the right of the display is a. When you first hit Record, the loop starts recording; hit it again, and you'll be overdubbing. The expression pedal can perform different functions, which are indicated by LEDs. However, most presets are designed to show off the abilities of the device, which, of course, means that most of them are too over. One approach that worked well for me was to find a. The Dual Tones Playlist should provide all the starting points you need for either processing two separate inputs or setting up a. From the view showing the signal chain, you can use the cursor to locate the blocks of interest, and change them or adjust them using the knobs below the screen. The effects menu is simply vast ! There are seemingly endless variations on overdrive, delay, wah and modulation, as well as rotary speakers, octave generators, pitch. There are also processors designed to produce synth. The left of the page (see screenshot above) shows the patches in the currently selected playlist, with a. The remaining area can be switched to focus on editing Effects, Amps, Mixer or Set Lists, the last of which includes the provision to re. In the Mixer window, you can balance the two patches of a. This is also where you set up the Variax input if you happen to be using a. Using this feature, you can force the Variax to switch guitar models when you change presets or allow it to remain independent. The source selection is done on the Pod itself so I. It turned out to be very clean, with plenty of mic gain on hand for vocals. This was fine for dynamic mics, but the lack of phantom power meant that I. Still, it's worth mentioning that, compared with earlier Pods, I. The general character of the amp models is similar to the way it's always been (at least in the case of the common amp types, with which I'm familiar), but they do feel more responsive when playing, and the choice of modelled mics and on. I'd say that the amp modelling is in the same league (at least subjectively) as IK Multimedia's Amplitube, but the effects section offers the same kind of familiar. In general, the effects are first- class, with only the pitch- shifters sounding a. Each has its own character, and they vary in their level of sophistication regarding effects choice and routing.
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