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=== Parametric EQ ===
The Lows and Highs parameters control shelf filters with fixed Q and cutoff frequency. They can help even out a tone, but don't rely too much on them. Frequency goes from 60 HZ Hz to ~ 5000 HZHz, with ~900 HZ Hz at 50%. Low Q = wide boost/cuts, high Q = narrow. This effect is very useful for narrow cuts, to remove a fizz or harsh spot. It also works well for pre-EQ'ing, as you can dial in a nice mid-range hump in the exact sweet spot to get the distortion tone you want. It's also useful if you need to adjust a nice chunk of frequencies that fit between any two of the amp EQ controls. I find I often boost the punch or warmth that lies between the bass and mids knobs.
=== Mid-Focus EQ ===
This is useful to trim or roll-off the high and low ends of the tone. This is useful for both pre-EQ'ing and post-EQ'ing. I find it's necessary when using the SM57 on axis mic, especially with the Hiway 4x12, to get rid of the crackly high-end. The Gain parameter is a final output level, and has no control over how much filtering the EQ actually does. 50% Q is a quick drop off. Moving the Q higher will make the drop-off steeper, but also ends up boosting at the cut-off frequency (which may produce the opposite effect that you intended). 0% Q is a gradual roll-off. HP freq goes from 0-525 HZHz; LP goes from 500-18,000 HZ Hz - this is the only EQ that lets you really fine-tune the ultra high-end.
=== Studio EQ ===
=== Graphic EQ ===
5-band graphic EQ. Notice the highest adjustable frequency is 2200 HZHz. This EQ is not suitable for fine-tuning presence or treble after the amp. It works best for pre-EQ'ing. Also, notice that even with completely neutral settings, it tends to brighten the signal a tad. It is useful where you want a W or otherwise irregularly-shaped curve - if you just want a simple hump or valley, use the Parametric EQ.
=== 4-band Shift EQ ===
For more EQ advice, see the [[Line_6_Pod_HD_EQ#How_to_EQ_a_Hard_Rock_Tone|EQ'ing Page]].
The key aspects of a metal tone are punch (200-350 HZ Hz range), warmth (350-550), and "cold djent"(850-1400). Without these, your tone will simply sound weak or harsh when cranked up; and it won't cut through a mix. Which of these is most emphasized will define your tone; but even with one emphasized, you still want the others to be there.
I like to cut around 650 HZ Hz (what I call "honk") to make the tone sound more metal and scooped, but if you cut too much your tone disappears, especially in a mix. Try to make the cut somewhat narrow - not too narrow or it'll sound off, and only cut a bit - don't completely kill those frequencies. I'll often complement this with a wide boost of all the midrange, with a peak around 1 kHZkHz.
If you want a good metalcore tone, you need plenty of punch. Old Metallica tone emphasized the hot djent area around 2 kHZkHz, which gets a good palm mute bite but can be a bit harsh. Warmth is the key to a really creamy lead tone.
== Dual Cab ==