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== Classifying Please explore the Frequency Spectrum == Many guitarists fail to see their tone's general [[EQ|EQ in terms of specific frequencies, instead defining it by the cookie-cutter names "bass", "mid", "presence", and "treble", due to such controls being built into most ampspage]] before continuing. Sure, these names work well when speaking in generalities. But when you want to dial in a specific tone, those amp knobs usually don't cut it. You may want The information below pertains only to tweak "between" the knobs, or "narrower" or "fatter" than the knobs allow. Also, the precise frequencies these knobs control vary from amp to amp, forcing you to learn the nuances of the controls on each individual amp. Moreover, these controls don't necessarily adjust only EQ, especially if you are getting some power amp compression/distortion. Sometimes the knobs are gain-staged a certain way, so turning all the controls up to 100% affects tone differently than keeping them all at 50%. I still use those controls; I just don't rely on them exclusivelyPod HD.
When it comes to describing the frequency spectrum, I instead classify the frequency range using many more words. I use {|class="wikitable"!Frequency (HZ) !! Description|-|0-100 ||Thump |-|100-200 ||Boom |-|200-350 ||Punch |-|350-600 ||Warmth |-|600-850 ||Honk |-|850-1,400 ||Cold Djent |-|1,400-2,600 ||Hot Djent/Presence |-|2,600-5,000 ||Fizz |-|5000-10,000 ||Sizzle |-|10,000+ ||Broken Glass |} These names and frequencies are just a guideline. You may want to alter frequencies that span many of these sections, that peak "off-center", or that only affect a small part of one section. Top of Page == How to The Pod HD's EQ a Hard Rock Tone Effects ==
In general I mainly use the tone should be relatively flat Parametric and Mid- if you try to deviate too far from this, especially with narrow boosts or cutsFocus EQ's, and occasionally use the tone will simply sound "off"Studio and Graphic EQ effects. It might sound good at low-volume or outside 's a mixbit more difficult to tell exactly what the 4 Band Shift EQ is doing, but when cranked it will sound weirdseems to mildly duplicate the bass/mids/treble/presence controls on the amp. Making things more difficult, plasticmany parameters are expressed in terms of "%" rather than db, harshHZ, or get buried in the mixnormal Q coefficients like octave ranges. NO THANKS TO LINE 6, some community members have researched these EQ's and provided documentation of how they are actually operating, which I present below.
The slight deviations from "flat" will define what kind of tone you haveExcellent EQ effect video by Matt Mayfield: cold, warm, punchy, crisp, etc. Emphasizing mostly punch will give you a very metalcore chug-a-chug sound. Emphasizing cold djent and dialing back the warmth gives you that cold Meshuggah tone. Hot djent is the key to the older Metallica tone - kind of harsh and very crisp, add lots of bass to make it extremely heavy - the classic scooped thrash tone. Warmth gets you the creamy lead tone, and it can make a sterile-sounding rhythm tone come to life. Honk sounds like really vintage tone - I find it sounds a bit awkward in a modern metal tone but works for classic rock. <youtube>wLkVhOp5FCY</youtube>
You can emphasize combinations of these to dial in what you like best, but don't go too extreme. If your toneHere's frequency response looks like a saw when viewed through a frequency spectrum analyzer, it's likely to sound goofy[http://line6. If you want to dial a spot down, it's generally a good idea to do so mildly. If you cut too much, the tone just feels like part of it is missing - it isn't loud or "full" enough. It might sound good at a low volume, but when you crank the volume, you'll find the tone is very harsh or fakecom/support/topic/335-sounding. If I'm cutting I only do so until that spot blends into the rest of the tone, not so that it completely disappears. Yes, even the "fizz". When I emphasize some frequency range, I'll often boost it with a wide Q, so I'm also boosting the frequencies around it, just not as much. This keeps the tone "in balance". Neither thump (and boom) nor sizzle should dominate a good guitar tone. It will sound odd to completely dial them out, but they generally get buried in a full mix anyway. I like to de-emphasize them; however, they are often deresponse-emphasized to begin with graphs- guitar speakers (as well as the Pod's cab/mic sims) tend to roll off the ultra-highs and lows. For many of the Pod's cab/mic combinations, the sizzle is actually too weak; so I turn it up. If you have any "broken glass" in your tone, you should dial it out. It will be harsh and annoying. Only the Midfor-Focus EQ will allow you to do so. See down the page for how it works. If it's just a little; however, you might not even be able to hear it in a mix. Still, it will interfere with the tone of the cymbals and will taint a recording or live performance. == The Pod HD's EQ Effects == I mainly use the Parametric and Midhd500-Focus EQ's, and occasionally use the Studio and Graphic EQ effects. It's a bit more difficult to tell exactly what the 4 Band Shift EQ is doing, but it seems to mildly duplicate the bass/mids/trebleeqs/presence controls on the amp. Making things more difficult, many parameters are expressed in terms of "%" rather than db, HZ, or normal Q coefficients like octave ranges. NO THANKS TO LINE 6, some community members have researched these EQ's and provided documentation of how they are actually operating, which I present below. Here are links to this stuff: EQ analysis video by Matt Mayfield and Thread on Parametric EQ Frequencies. Here's a new thread by pfSmith0 on the new Line 6 forum], who most graciously allowed me to host his beautiful images here. Check them out below (and click to magnify them). They're absolutely amazing.
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I find one of the best tricks to getting the sound you want is to properly EQ the final tone. Unlike the [[Line 6 Pod HD Amp/Distortion Tone|Amp/Distortion Tone page]], which involves pre-eq'ing the tone before the primary distortion phase, this covers post-distortion EQ'ing.
With the EQ tools on the Pod, you can't really fine-tune the higher frequencies. You can boost or cut them as a whole, but not dial in or out small frequency ranges. The Parametric EQ's "highs" parameter is a shelf EQ starting at about 1.5kHZ. Setting its frequency parameter at 100% will only get you up to about 4.7 kHZ. The Studio EQ has 3, 5, and 8 kHZ settings for the high frequencies, but it does not have an adjustable Q. The Mid-Focus EQ's low-pass does extend almost all the way to 20 kHZ, but is very sensitive to the frequency control as shown below. Also, you can only cut, not boost. You'll likely have to do a combination the amp model's presence and treble controls, along with some combination of controls just mentioned to fine-tune your high end. Starting with a good cab/mic choice and cab DEP settings is absolutely essential.
{|class="wikitable"
!% !!Freq (HZ) |-|050% ||50 880 |- |50% ||75 50 |-|1055% ||105 1150 |- |155% ||135 75 |-|2060% ||175 1400 |- |2510% ||220 105 |-|3065% ||315 1670 |- |3515% ||395 135 |-|4070% ||540 2000 |- |4520% ||700 175 |-|5075% ||880 2300 |- |5525% ||1150 220 |-|6080% ||1400 2750 |- |6530% ||1670 315 |-|7085% ||2000 3150 |- |7535% ||2300 395 |-|8090% ||2750 3600 |- |8540% ||3150 540 |-|9095% ||3600 4000 |- |9545% ||4000 700 |-|100% ||4500
|}
I typically use the SM 57 mic, which is very bright. To compensate, I need to use the low-pass on this EQ to roll-off those highs to get a more natural-sounding amp tone. I find the frequency around 60-75% works, and I use very low Q values (0-20%).
=== Q Filter ===