Some patches may be slightly out-of-date. For my most recent patches, see here. Notice the dates on the end of the files for versioning.
|Classic Metal||Randy Rhoads||Blizzard of Oz|
|Slash||Welcome to the Jungle|
|Sweet Child 'o Mine|
|Metallica||...And Justice For All|
|Pantera||Vulgar Display of Power|
|Reinventing the Steel|
|Shred/Prog||Eddie Van Halen||VHI|
|Ain't Talkin bout Love|
|John Petrucci||A Dramatic Turn of Events Rhythm|
|Mark IV Lead|
|Mark IIC+ Lead|
|Steve Vai||Legacy Lead|
|Whammy Pedal Madness|
|Joe Satriani||Is There Love in Space?|
|Always With You, Always With Me|
|Surfing with the Alien|
|Modern Metal||Lamb of God||Ashes of the Wake|
|As I Lay Dying||The Powerless Rise|
|Killswitch Engage||The End of Heartache|
|Scar Symmetry||Dark Matter Dimensions|
|Clean/Crunch||Spankin' Clean||John Petrucci|
|Fender Twin Reverb|
|Crunch/Lead||Until We Say Goodbye|
|Dr. Z Crunch|
|Deluxe Reverb Lead|
|Originals||Me Am Recto|
For some general guidelines on how to use the Pod HD and dial in patches similar to those below, please see my Pod HD tone guide.
All the clips below are recorded direct from a Pod HD 500 into my computer via an M-Audio Firewire solo interface using a SPDIF connection with 24-bit 96 kHZ settings. I used absolutely no pre or post processing on the signal, other than to slightly boost the volume and level the clips. These patches are all designed for "direct" use (headphones, direct to PA, straight into DAW, etc.). If you want live patches, just change the cab model to "no cab" (and possibly do some EQ adjustment for your gear).
Most clips were recorded using my EBMM John Petrucci sig, which is the earlier model with the Steve's Special/Air Norton pickups. I'm using a fresh set of Ernie Ball Cobalts, gauge .010-.046. For the 7/8 string clips, I used my Ibanez RGA8, which is equipped with Seymour Duncan AHB-1 Blackouts. It's tuned down a 1/2 step and uses .010-.080 gauge strings (keep in mind the longer 30" scale). For some of the metalcore clips, I use my Yamaha Pacifica, which has EB Cobalt .011 gauge strings and is tuned down a full step to standard D or drop C. It has a Blackouts AHB-1 in the bridge. For picks, I use Dunlop Ultex Jazz III's and a Starpic. The Starpic is a little thicker tone-wise, so I use pick selection to vary my tone a little as well. If your guitar's tone deviate from these, the patches may sound a little off when you use them, but you can adjust the pre-amp EQ adjustments or distortion effects to get in the same ballpark as my clips.
Most patches use Input 1: Guitar, Input 2: Guitar/Same. Some people have claimed setting Input 2 to Variax improves the tone. They are wrong - it merely reduces the input level (I have level compensated samples of each and cannot tell the difference via A/B'ing them). Considering most of my tones use dual amps, they will sound horrible if you disable Input 2. Or you might get less gain than I designed the patches to have. Make sure you do not disable Input 2. My input impedance settings are on Auto.
You'll notice a common convention I use is to use a dual amp signal chain, but use the same amp. This is my dual cab technique, which lets you mix the best aspects of two different cab/mic combinations to get one solid sounding tone. I most commonly use this when I want a Vintage 30 4x12 tone, which I find none of the stock cabs deliver. The Hiway 4x12 gets the crisp highs and rich mids I want but is too thin. The XXL V-30 helps fill in the bass/punch/warmth. I usually use the 57 off axis mic on those cabs, but you'll notice I sometimes mix it up to get a tone closer to the original artist's. I also vary the EQ on each amp. I'm trying to take the best frequencies from each with as little overlap as possible.
I often use an EQ or two after only one amp for a dual amp patch. Sometimes these EQ's often have completely neutral settings. This is done to achieve phase correction. Toggling them on/off will reveal a strong change in the high-end of the tone.
Another common convention for a single amp tone is to put all my effects between the amp and mixer in Channel A. This is so I can keep the amp volume low enough to not distort any effects (the Parametric EQ is particularly sensitive) and boost the mixer level at the end of the chain to get my volume back. Sometimes this isn't enough, so I'll put a Studio EQ towards the end of the chain and boost its gain parameter. I cover this in my guide.
If you are wondering why the patch files are named like they are the convention is "maB_xxxxxx_MMDD", "maB" for meamBobbo, xxxxxx is the artist and/or album and/or description, and MMDD is the last update month day to help me keep track of patches.
I've set these patches up to give you a fair amount of foot control for FS1-4. Most of these FX are not really meant to be toggled. I just wanted you to quickly be able to see how the items affect the tone to understand why I used them to help you tweak the tone or build your own. I recommend you disable such controls when your patches are mastered to prevent accidentally triggering one, especially for live use. Some FX are more clearly optional and can be toggled. I'll often save the patch with these turned off initially.
I totally realize a lot of the playing in these clips is pure garbage. I didn't have time to sit down and try to get perfect takes; and to be honest, I'm probably not capable of doing such for many of these artists (these guys ARE guitar gods!). I'd love to have better clips - better playing, double/quad-tracking, and full mixes. If you can record a better clip, please let me know! I'll either link to it or add it to this page, and you will get credit for creating it. Just PM on any of the following forums: Line6 Pod HD Support, SevenString.org, theGearPage.net.