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{{Crumbs|blue|1|Line 6 Pod HD Wishlist#Output Modes, Cabs, and IR's|Output Modes, Cabs, IRs|Line 6 Pod HD Wishlist#Amps|Amps|Line 6 Pod HD Wishlist#Utilities|Utilities|Line 6 Pod HD Wishlist#Routing|Routing|Line 6 Pod HD Wishlist#EQ's|EQ's|Line 6 Pod HD Wishlist#Footswitches/controls/Midi|External Control|Line 6 Pod HD Wishlist#Effects|Effects|Line 6 Pod HD Wishlist#DSP Saving Features|DSP Mgmt|Line 6 Pod HD Wishlist#Devkit|Devkit}}
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{{Crumbs|blue|2|Line 6 Pod HD Wishlist#Output Modes, Cabs, and IR's|Output Modes, Cabs, IRs|Line 6 Pod HD Wishlist#Amps|Amps|Line 6 Pod HD Wishlist#Utilities|Utilities|Line 6 Pod HD Wishlist#Routing|Routing|Line 6 Pod HD Wishlist#EQ's|EQ's|Line 6 Pod HD Wishlist#Footswitches/controls/Midi|External Control|Line 6 Pod HD Wishlist#Effects|Effects|Line 6 Pod HD Wishlist#DSP Saving Features|DSP Mgmt|Line 6 Pod HD Wishlist#Devkit|Devkit}}
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{{Crumbs|blue|4|Line 6 Pod HD Wishlist#Output Modes, Cabs, and IR's|Output Modes, Cabs, IRs|Line 6 Pod HD Wishlist#Amps|Amps|Line 6 Pod HD Wishlist#Utilities|Utilities|Line 6 Pod HD Wishlist#Routing|Routing|Line 6 Pod HD Wishlist#EQ's|EQ's|Line 6 Pod HD Wishlist#Footswitches/controls/Midi|External Control|Line 6 Pod HD Wishlist#Effects|Effects|Line 6 Pod HD Wishlist#DSP Saving Features|DSP Mgmt|Line 6 Pod HD Wishlist#Devkit|Devkit}}
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{{Crumbs|blue|5|Line 6 Pod HD Wishlist#Output Modes, Cabs, and IR's|Output Modes, Cabs, IRs|Line 6 Pod HD Wishlist#Amps|Amps|Line 6 Pod HD Wishlist#Utilities|Utilities|Line 6 Pod HD Wishlist#Routing|Routing|Line 6 Pod HD Wishlist#EQ's|EQ's|Line 6 Pod HD Wishlist#Footswitches/controls/Midi|External Control|Line 6 Pod HD Wishlist#Effects|Effects|Line 6 Pod HD Wishlist#DSP Saving Features|DSP Mgmt|Line 6 Pod HD Wishlist#Devkit|Devkit}}Have a * A dual Parametric EQ without the "lows" or "highs". * Include the EQ from the XT/X3 - two shelves, and two peak/valleys, all with adjustable gain and frequencies. If 8 parameters is not possible, do two shelves and one peak/valley. Include a * A Mesa Mark Series graphic EQ: 80, 240, 750, 2200, 5500 HZHz. Include a * A notch EQ: 3 sets of frequency and gain to dial out narrow ugly spots in the frequency spectrum. * Always display frequency in HZHz, not %. Similarly, display gain in db, not %. Include a global (Global EQ (possibly as mentioned in the Output Modes section aboveFW 2.6 features Hz/db.). Include a * A Fletcher Munson switch/dial to compensate for the varying frequency sensitivity the human ear has as different volumes. Include a * A view in HD Edit and possibly in the Pod itself to sum the various EQ effects and display the resulting EQ curve dialed in, similar to how it was done in Gearbox. * Increase the headroom in the Parametric EQ (and Graphic and Mid-Focus EQ's), so it doesn't clip on hot input. Its headroom should be as high as the Pod's digital resolution. Top of Page{{top}}
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→EQ's
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== Output Modes, Cabs, and IR's ==
The whole Output Modes setting is confusing and unnecessary. The Line 6 forum sees countless posts solved by setting up the unit correctly - most don't know these settings exist, and when they select a cab/mic when setting up their patch, they expect cab/mic simulation OR they accidentally apply cab/mic modeling when running to a real amp, since by default when you select an amp it automatically applies a cab/mic combination. Get rid of output mode altogether and replace it with the following components:
•Global EQ - replaces the "front" modes which use EQ controls to adjust the EQ at the end of the digital signal chain. Adding a bass boost switch replaces the difference between Stack/Combo modes.
I have noticed that when using dual amp patches, there can be some comb filtering due to the two signals becoming out of phase. If the cab DEP's included a short variable delay (0 - 10 or 20ms), this could be fixed. I am currently using EQ's to try to achieve phase correction which has very limited accuracy. See this thread.
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== Amps ==
Separate the pre-amp and power amp components of the amplifiers into separate blocks. This would allow mixing pre-amps with other amps power amps, as well as being able to place effects between pre-amp and power amp (otherwise known as an effects loop).
Add some of the following high-gain amp models: Peavey 5150, Peavey 5150II, Mesa/Boogie Mark IIC+, Mesa/Boogie Mark IV, Diezel VH4, Diezel Herbert, Soldano SLO-100 (available on 300/400 as of 7/18)ENGL Invader, ENGL Powerball, Friedman HBE, Friedman Smallbox, Randall WarheadBogner Helios, Bogner Ecstacy, Krank Revolution, Carvin Legacy. The least you could do is port the XT/X3's "Mississippi Criminal" or "Big Bottom" models, Randall Warhead.
Level the amp models, so they have roughly the same output volume at default values.
Lower the default Master Volume DEP settings for cleaner amps that tend to exhibit crossover distortion. For instance the Blackface Dbl is defaulted to 100%, when it offers no tonal benefit to do so (unless you like crossover distortion). Especially change the Elektrik's MV off of 100% - it sounds like garbage at that setting.
== Utilities ==
Include a clip meter for anytime the signal exceeds the max resolution in the chain or at the input, preferably indicating exactly where in the chain the clipping is occurring.
Include DSP management tools. Have a DSP meter display how much DSP is currently being used. When selecting a new effect, rather than put it right into the chain causing the DSP error message and blanking out the effect block, display how much more DSP it would take up before you actually add it to the chain.
== Routing ==
The routing is a bit confusing. There should be better care to document how it actually works. Additionally, it would be nice to display how the signal lines are actually stereo signals and are mixed down for mono effects. Or otherwise, indicate in either Edit or the onboard editor whether an effect is mono or stereo.
The mixer, the end of the signal chain, or even a separate effect should be able to set a very precise, short, and variable delay (0.00 - 5.00 ms)to each side of the signal. This would be useful to achieve phase correction and avoid comb filtering, due to delays introduced into the signals by using different signal chains. Or even add the delay into the biggest offenders, effect-wise. I imagine this would be the most DSP intensive effects, or the ones that require the largest discrete time samples.
== EQ's ==
== Footswitches/controls/Midi ==
Allow footswitches to toggle effects between two sets of parameters, not just on/off. Similarly, allow footswitches to always turn effects on or off, independent of their current state, rather than just toggling them.
More control over the footswitch "modes". For instance, I wouldn't mind an all-patch-switch mode, where all 8 footswitches change patches, FS1-4 access patches 2A-2D while FS5-8 access patches 1A-1D for instance. Also, allow the bank up/down switches to be used for next/previous patch, which would be really helpful in pedalboard mode, so you don't have to hit two switches to change patch.
== Effects ==
Spend some more time on the Screamer. It's not very accurate, and it's one of the most commonly used effects in the Pod.
Allow daily trails through patch switches where enough DSP is available.
== DSP Saving Features ==
Have stripped down versions of effects, so DSP is not consumed for features that aren't often used. For example, have a Parametric EQ without the "lows" or "highs" shelves and have a delay without tone controls.
If it will use less DSP, make mono versions of the stereo effects. This could particularly help with the Reverbs.
== Devkit ==
Create a devkit for the community and developers to create their own firmware. I envision there would be two API's. One would be used to create and compile amp models or effects - anything that would be used to process the audio signal(s). This API would compile this code down to machine code and wrap it in an information and interface layer (to access data about the object and manipulate accessible parameters) used by the other API. The other API would handle the system-level functionality of the unit, including manipulating the display, controlling how footswitches and other user input are handled, routing audio signals, placing audio-processing-elements in the signal chain, etc. If done properly, Line 6 would not have to divulge its existing amp models' and effect models' code beyond at a machine code and interface level; but it would provide enough power to developers to implement all the requests listed above.
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[[Category:Modelers]]
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