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CabI have done some pretty thorough research on this, and am continuing to update it. The link below is a spreadsheet with a matrix of every possible combination of cab/Mic Delay Times Matrixmic with another, for the Tread V-30, Hiway, XXL, Greenbacks, Uber, Brit, and Blackbacks 4x12 cabs with all available mics with the delay in samples@96kHz required to make them in-phase. It contains tabs/sheets on how to use it, a list of relatively tone-transparent effects with the amount of delay they introduce, and the combination of effects necessary to get any particular amount of delay. === [http://foobazaar.com/podhd/toneGuide/CabsDelayTimes_V3.xlsx this spreadsheet]/[https://docs.google.com/spreadsheet/ccc?key=0AsSFadRSa9zYdG1kc1J2b1ZvRFVlUVIydXRMVVoyZnc&usp=sharing alternate Google Cloud version]/[http://www.foobazaar.com/podhd/toneGuide/tripGuitar_cab_delay.pdf pdf version] ===
If this seems confusing, it can be a bit tricky at first. That is why I made this setlist. It contains numerous example patches demonstrating how to achieve phase correction. You can toggle the effects on/off (usually with FS2) to hear the difference they make to the tone.
* Even with phase correction, the bass can get a bit woofy sounding if you dial in bass on both cabinets. I set the Low Cut Cab DEP to around 50% (260 HZ) on my "bright cab" to prevent having both too much bass and it sounding a bit "off". The bass is going to sound cleaner and tighter from the "dark cab" anyway. Edit: I found the striked-out statement to make my sound too thin. With proper pairing of cabs/mics and dialing in of the low-end response on both, you should not need to kill the bass on your bright cab. The bass will remain rich and powerful.
=== Favorite combinations ===Here's the list of successful matches I've used. If you find others, feel free to add them below.
Here's the list of successful matches I've used. Please let us know if you find others.{|class="wikitable" |Uber V-30 4x12 || 57 on axis |-|XXL 4x12 ||121 Ribbon |}
{|class="wikitable"|Uber V-30 4x12 ||409 Dynamic |-|XXL 4x12 ||57 on axis |}
{|class="wikitable"| Tread V-30 4x12 ||57 on axis |-| Uber 4x12 ||409 Dynamic |}
{|class="wikitable"| Tread V-30 4x12 ||57 on axis |-|Uber 4x12 ||121 Ribbon |}
{|class="wikitable"| Tread V-30 4x12 ||57 on axis ||1 EQ |-|Uber 4x12 ||87 Condenser |||}
{|class="wikitable"| Greenbacks 4x12 ||57 off axis |-| Greenbacks 4x12 ||67 Condenser |}
{|class="wikitable"| Tread V-30 4x12 ||57 on axis ||1 EQ |-| XXL V-30 4x12 ||57 off axis |||}
{|class="wikitable"| Tread V-30 4x12 ||57 on axis |-| XXL V-30 4x12 ||409 Dynamic |}
{|class="wikitable"| Tread V-30 4x12 ||57 on axis |-| XXL V-30 4x12 ||121 Ribbon |}
{|class="wikitable"| Uber 4x12 ||57 on axis ||1 EQ |-| Uber 4x12 ||67 Condenser |||}
{|class="wikitable"| Tread V-30 4x12 ||57 on axis |-| Greenbacks 4x12 ||121 Ribbon |}
{|class="wikitable"| Hiway 4x12 ||57 on axis |-| Uber 4x12 ||409 Dynamic |}
{|class="wikitable"| Hiway 4x12 ||57 on axis | XXL V-30 4x12 ||409 Dynamic |}
→Dual Cabs
=== Introduction ===
Using the dual cab technique I'm presenting here can improve your direct tone ''dramatically''. However, this is not for the faint of heart. It requires about 2x as much time to dial in as a single cab patch. You will also take a heavy DSP hit, so this is not recommended where you need many effects on your patches - in some cases you won't be able to fit a single reverb after adding a distortion effect and the necessary EQ effects.
Every cab/mic will have some frequency range that sounds fake, washed out, or muffled. Luckily, I don't believe these are always in the same spot. ''This means that you can combine complementary cab/mic's to get what sounds like one great cab.''
=== Getting the Patch Ready ===
Setting up the technique is quite simple: you just create a dual amp patch, choose the same amp model for both amps, and dial in basically the same settings. You only change the cab/mic's being used between them. I recommend you start with the exact same gain, EQ, and DEP settings. Make sure you pan each Channel to center in the Mixer. You want one great mono tone, not a kind of stereo mix.
Next we get to cab selection. I like to start by picking my cabs based on their general tone and feel, ignoring the mics for the time being. The mics chosen will likely depend on [http://foobazaar.com/podhd/toneGuide/CabsDelayTimes_V2.xlsx this spreadsheet]/[https://docs.google.com/spreadsheet/ccc?key=0AsSFadRSa9zYdG1kc1J2b1ZvRFVlUVIydXRMVVoyZnc&usp=sharing alternate Google Cloud version]/[http://www.foobazaar.com/podhd/toneGuide/tripGuitar_cab_delay.pdf pdf version], which we will get into in the next section. But the basic idea is to choose "compatible" but complementary cabs. For example, the Tread V-30 and XXL V-30 work nicely together because they are both tight, modern-sounding cabs using the same speakers, yet one is rather thin and the other has lots of punch. On the other hand, the Tread V-30 and Hiway might work less well together because they are both a bit bright but have two different sounds to them. You have to be familiar with the qualities of the cabs individually before choosing which to mix. Use the descriptions above and demo their tones to figure this out. Or check out my [[#Favorite Combinations|favorites combinations below]].
I tend to use the Hiway, Tread V-30, Uber, or Greenbacks with a 57 on axis mic as the cab in Channel A - this will be my "bright cab". For Channel B I like to use the Uber, Greenbacks, or XXL V-30 with the 121 Ribbon, 67 Cond, 409 Dyn, or 57 off axis mic. However, I use this as a loose starting position. They might not work well together, even if they are compatible and complementary from their individual characteristics, as we'll see below. Be ready to abandon your initial choice for something similar. For instance, if you wanted to use the 409 mic, you may have to use the 421 mic, or a 67 cond - something somewhat similar. In some cases you may want to use an entirely different cab.
Just keep in mind you don't want to have to EQ the crap out of either of the cabs. You want them to simply blend together into one full-sounding cab. You also want to adjust the volume of each amp to balance them. Neither should overpower the other. I generally find I like them with the same volume, but sometimes I use the darker cab a little louder. Start with your bright cab's volume at 0% and slowly turn up the volume until the sound gets nice and full but it doesn't start to overtake the darker cab. You'll need the bright cab's high-end to make the guitar tone cut through, but you don't want to sacrifice midrange or "body" in the process.
When you first setup your patch, the results might not be as pretty as you'd like. I've actually found that many combinations sound bad at first but can be fixed. This leads me to the next section on phase correction, but first I'd like to say that I prefer to use cab/mic combinations that do not require phase correction, or only require using a single EQ effect to do so. If you find the section below too confusing or know in advance that you won't have an extra EQ or 2 to spare on phase correction, just use [[#Favorite Combinations|the combinations below ]] as a cheat sheet - it lists combinations that don't require any phase correction, or it lists which cab needs to be delayed and by how much. Or demo examples in This [http://foobazaar.com/podhd/toneGuide/dualCabs.h5s this setlist].
=== Phase Correction ===
Higher-pitched frequencies get the worst of it. Because they have a shorter wavelength, even a slight delay can cause perfect cancellation. This is probably what you notice. The tone sounds like a blanket was thrown over the amp. Even though the Pod is using different cabs, the signals aren't as different as they sound. Even the dark cab has some treble in there, and it can wash out the bright cab's high-end. Even if you use the same mic on both cabs, it doesn't mean the signal isn't delayed more in one than the other. This could be a result of how the cabs themselves behave, differences in the distances Line 6 used to mic them, or differences in how the DSP processing implements them.
''I have discovered a method to phase correct the two cabs. Some effects can be set to be transparent to the signal; however, they do require processing time, which introduces a very slight delay to the signal. '' The most common effects I use are EQ's and Compressors. By using a combination of such effects, we can acheive phase correction. The difference is night and day.
''Author's note: the information below gets fairly technical and might be more work than necessary. '' The easier way to do this is to simply throw a parametric EQ with default settings behind one of the amps before the mixer. Toggle it on/off and see if the tone improves with it on. If not, do the same test on Channel B. If the tone sounds muffled with no EQ, EQ on Channel A, and EQ on Channel B, or if it just sounds "off" and "phasy", give up on the combination you've picked - you'll probably need to use 2 or more effects to phase correct the cab/mic choices, which starts to become a hindrance. I list combinations below and in this spreadsheet/alternate Google Cloud version/pdf version that work well using 0 or 1 EQ's. This setlist also contains examples.
I have done some pretty thorough research on this, list [[#Favorite Combinations|combinations below]] and am continuing to update itin the spreadsheets linked belowthat work well using 0 or 1 EQ's. [http://foobazaar. The link below is a spreadsheet with a matrix of every possible combination of cabcom/podhd/toneGuide/mic with another, for the Tread V-30, Hiway, XXL, Greenbacks, Uber, Brit, and Blackbacks 4x12 cabs with all available mics with the delay required to make them in-phase represented in a number of samples assuming a 96 kHZ sample ratedualCabs. It h5s This setlist] also contains tabs on how to use it, a list of relatively tone-transparent effects with the amount of delay they introduce, and the combination of effects necessary to get any particular amount of delayexamples.
So here's how to apply this knowledge. First look up any pair of cab/mic you want to use with any other cab/mic in the CabDelayTimes spreadsheet. Channel A's cab/mic is listed on the x axis, Channel B on the Y axis. Where these rows and columns meet, you'll see a number. That tells you the number of samples you need to delay Channel B to get phase correction. If the number is negative, that means you need to apply the delay to Channel A (if so, it might be simpler to simply switch the cab/mic in Channel B to Channel A and vice versa).
Once you have found the delay number, you need to add effects to channels A and B to get the specified delay. You'll notice in the FXDelayTimes spreadsheet, the smallest delay time for any effect is 6 samples. To get values less than that you need to add a larger delay to one Channel and a shorter delay to the other Channel. For instance, to get a 4 sample delay in Channel B, you'd put a Parameter EQ in Channel A and a Blue Comp in Channel B. This puts a delay of 10 samples in Channel B and 6 samples in Channel A, giving you a difference of 4 samples in Channel B. This is where the FX Combination Delay Times spreadsheet is useful - you can quickly look up combinations that will yield delay samples in increments of 1 sample from 1 to 20+.
''I have color-coded the cells that require 0 or only 1 EQ effect. I recommend sticking to using these cab/mic combinations. Otherwise you risk having to use too many effects blocks or DSP on phase correction, or you have to use effects whose tone-neutrality is highly suspect.'' If this seems confusing, it can be a bit tricky at first. That is why I made [http://foobazaar.com/podhd/toneGuide/dualCabs.h5s this setlist]. It contains numerous example patches demonstrating how to achieve phase correction. You can toggle the effects on/off (usually with FS2) to hear the difference they make to the tone.
A few notes:
* On my "dark cab", I find even with phase correction, the mixed high ends sound kinda fake together, especially when using different mics. So I generally set the amp's Treble control to 0% on my "dark cab". Edit: I do tend to dial back the treble on my "dark cab", but rarely to 0%, this can leave the tone sounding like something's missing. I dial it up until it starts to sound like it's interfering with the bright cab's highs, than back off a touch. You want it to fill in some frequencies but not take too much focus away from the "bright cab". I usually end up with EQ settings within 15% of each other between amps.
* Most of the compressors additionally include a LP filter. This is quite evident when they are applied to whichever channel you use as your "bright cab". Thus, I try to avoid using them to delay the signal on my "bright cab". If I need to use one to get the specified phase correction in my document, I just ignore that and get as close as I can using an EQ or something that definitely won't kill my high end. For instance, if I need an 8 sample delay, the closest is the Vetta Juice at 7.5 samples, but I instead use a Mid-Focus EQ with 6.5 samples, or even a simple Parametric at 6 samples. On my "dark" cab, this is not an issue. I'm ok with dialing out the high-end there, and will use whatever gets me closest to the research.
* Many cab/mic combinations are currently impractical. Using 3-4 effects to achieve phase correction is a huge drain on DSP and effect blocks. I hope my research isn't the end result, but a starting point for individuals to realize how powerful the onboard cab/mic sims can be if they could be dialed in as mentioned. The real end-game is for Line 6 to implement a feature to be able to delay each channel on the Mixer block by samples in increments of 1 from 0-60. This would require a buffer maximum of 60 samples, which at 24 bits is only 180 bytes of memory. It should require little to no DSP, similar to the Volume effect. Then any dual cab combination would become practical, even when using some DSP-expensive effects. If you want to help out on this front, please see this thread.
* Don't write off an EQ used for phase correction as a dummy block that's being wasted. Use it however you can. I'll often use a Mid-Focus EQ to get my phase-correction latency on my bright cab, then use its low pass to roll-off the excessive high end. Or I might dial additional hot djenty presence frequencies with a Parametric EQ. Similarly, if my dark cab has a boomy punch or excessive warmth, I can dial out those frequencies with a parametric EQ.
=== EQ'ing the tone ===
With two sets of amp EQ's and possible EQ effects on only one channel, EQ'ing can get much trickier than with a single amp tone. ''The important things to remember are that the controls will work slightly differently for each channel given the cabs' different frequency responses, and some frequencies will sound a bit better in one channel than the other. '' However, dialing frequencies out completely can make the tone "small" or a bit dead. I find both amp's need somewhat similar EQ settings, but not exactly the same. The ultimate goal is to blend them together for one full-range sound, playing into the strengths and weaknesses of each cab/mic.
For amps where you're using power amp distortion, EQ settings will affect distortion tone. In these cases, I want the EQ settings virtually identical...at least to start. Only after finishing the rest of my patch and using as many EQ effects as possible for final EQ will I revisit these controls to try to get the final EQ I want.
=== E.R. Settings ===
Normally, I avoid E.R. above a very minor touch because it has that "between two brick walls" feel to it, with an artificial-sounding short echo. However, adding it in mild doses to the "dark cab" only works wonders. It gives the tone just enough ambiance to sound natural, but the bass remains tight, the highs remain crisp, and there's no noticeable echo. ''I cannot understate how important this tweak is. '' It lets you go from a tone that sounds artificially dry to closely resembling a mic'ed cab.
So I often use 0 - 4% E.R. on my bright cab and ~5 - 15% E.R. on my dark cab. This works for both rhythms and leads.
I can get away with a non-spring reverb on most dual cab patches, but it means painful sacrifices. I generally like to run an EQ or Distortion effect in front of the amps. This may no longer fit. If I can fit it, it means I can't use any (or as much) post-Mixer EQ. Given the choice, I'd rather have a phase-correcting EQ behind one of the amps than an EQ effect behind the Mixer. I may need to rely more on the amps' EQ controls for most of my EQ.
''If you absolutely need some effect behind the mixer and you're using cab/mic combinations that require 1 or more EQ's for phase correction, you may need to select different cab/mics. I tend to use ones that require 0 or 1 EQ's for phase correction. More than that is very limiting.''
Instead of reverb, I more-often use a pair of Delays. These use less DSP together than a single reverb. The Ping Pong Delay uses less DSP than the others, and can be made so that there's no "ping pong" effect. I set one to imitate a mild reverb, which a delay time of ~40 - 200ms. I set the Feedback around 40-50% and keep the mix around 20-25%. By itself, this can sound too echo-ey. But the other delay masks this. I like it with a time of 300-600ms. To vary the sound a little more, I'll use a mod delay on the short delay.
Noise gates are relatively cheap, but I save them for last and only use them if I have room most of the time. For some patches, the noise gate is a critical part of the tone - then you have to work around it. But for traditional use, you can get a similar effect by setting the expression pedal to control both amps' Ch. Volume parameter. Then when you know you're not going to be playing, rock back the pedal - no more hum/hiss/noise. Also, keep in mind the regular Noise Gate uses less DSP than the Hard Gate, but it does alter your tone.
If you can't fit the mod effect you wanted, there may be enough DSP for an alternative. I find the Dimension can substitute for a Chorus or Flanger without consuming too much DSP. See this section [[Line 6 Pod HD Tips and Pitfalls#DSP Allocation/Advice|Tips and Pitfalls]] for more DSP advice. === Favorite Combinations ===
This is the last and to my ear best combination I've found. It seems natural - crisp highs and powerful mids. And there's less EQ'ing to deal with here too.
Nice feel like the one above, but not quite as much SNR. Maybe a clearer midrange though.
Great for thick vintage 30 tone with great mids - like a real Mesa cab with V30's - modern sounding but not too bright or harsh. Great for rhythms and leads.
Great for the Petrucci tone - like a real Mesa cab with V30's, with a mix of 57 and ribbon mics for a full, thick sound that is modern sounding but not too bright or harsh. Compared to the option above, it is a little thinner, but also has stronger midrange, maybe too strong for my tastes. Best used for leads.
Great for the Vai tone - like a nice 4x12 cab with Vintage 30's, with a mix of 57 and condenser mics for a midsy tone, that's still got a modern edge. Works best with a midsier tone - not going to really djent as well as the choice above.
Great for the Satriani tone - Kind of a loose, vintage-sounding tone, but good SNR and clarity.
Good for a modern yet bright metal tone. Keeps the clarity of the Vintage 30's and SM 57 but the XXL supplies enough punch and warmth to get a fuller tone. The XXL has a great grindy sound to it in addition to its punch, but the downside is that the XXL has a certain artificiality to it I get annoyed with.
This provides a lot of punch, which works great for a metalcore tone, but you don't get as much clarity or as rich midrange. Works for a punchy, scooped sound, but might be too scooped - it's a good idea to supplement this combo with a wide midrange boost. Even so, you won't dial out the artificial-ness of the XXL.
Modern yet midsy. Use this instead of the above option if you need more mids and clarity, but it has a bit less punch to it.
I use this for a modern T75 sound - harsh and raucous yet tight and djenty.
Old favorite I used for lead tones - very warm and full.
Kind of raucous, almost vintage high-end, but modern, tight bottom-end - Great for death or black metal or even a djenty 2000-era Meshuggah tone.
Same as above but with the characteristic punch and scooped mids of the XXL.