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→Patch-building Tips
== Patch-building Tips ==
I divide my tone hunt into several groups: [[#High-Gain Amp Roundup|amp selection]], [[#Cabs/Mics Roundup|cab/mic selection]], [[#Pre-EQ'ing a Distortion tone|pre-EQ'ing]], [[#Gain_Staging|gain staging]], amp EQ'ing, [[#EQ Effects Roundup|post-EQ'ing]], [[#Amp DEP's|amp DEP's]], [[#Cab DEP's|cab DEP's]], and effects. I usually approach any patch in that order, but as the patch comes together I start jumping around and making various improvements.
I start by choosing what I think is the ideal amp model - that also clues me in to whether I want to pre-EQ the amp, and how I want to do so. For instance, I know if I want a really warm tone, I'll use a Tube Drive, and if I want it to have a nice crunch I'll use a Marshall amp. Try to familiarize yourself with how each amp is affected by pre-EQ'ing using EQ's, the Tube Drive, Line 6 Drive, Q Filter, and the Screamer effects - those are the main filter/boosts you're likely going to use, and they have more impact on tone than the Amp or Cab DEP's, post-EQ'ing, or other effects. If I'm going for an artist's tone, I try to match his rig as a starting point.
For a direct tone, if you need a lot of effects (or expensive effects like pitch shifting or spring reverb), you probably won't have enough DSP to do a dual amp setup, so you can use dual cabs. Otherwise, I recommend you try a dual cab configuration. It takes a bit more time to dial in, but the tone is worth the payoff. See [[Line_6_Pod_HD_Cab/Mic_Tone#Dual_Cabs_2|here for instructions ]] to set that up. If you are running to a real amp or using external IR's, don't worry about dual cabs, or dual amps in general.
I add effects to my patch in the order of importance. That way if I run into DSP limit errors, I don't need to rebuild my patch. Be aware of how expensive each effect/amp is DSP-wise. You can find [[Line_6_Pod_HD_Tips_and_Pitfalls#DSP_Allocation.2FAdvice|that info here]]. Be aware of common substitutions or other ways to save DSP.
== High-Gain Amp Roundup ==