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If you are building a patch, the ABSOLUTE BEST thing you can do is find an artist whose tone is the closest to what you want to achieve, and finding a section in their music where the guitars are playing without any other instruments. If you can find one where it's only one guitar, not a double-track or quad-tracking, even better. Even if this clip is only 2 seconds long, it's an incredible reference point - you're likely to really hear the distortion tone, EQ'ing, and effects.
== Branching/Evolving Patches ==
Sometimes you'll make a tweak and like both your original tone and the new version. You don't have to choose between them. You can keep them both and branch out from there. I'll often do this for a tone when I want a different set of effects on the patch, but the same general EQ'ing and distortion tone.
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== Setlist Tips ==
If you have a patch with a common effect that you toggle on and off, set the footswitch that toggles the effect as the one above the patch's switch. For example, if you are using a patch located at "A", set the effect's toggle switch to FS1, which is right above "A" or FS5. If the patch is "B", use FS2, etc. This way, if you accidentally hit the footswitch on the lower row when you go to toggle the effect on/off, you won't switch patches. Also, if you want the effect on as soon as you enter the patch, you can press the patch switch with your heel, then quickly hit the effect toggle switch with your toe.
If you have patches with lots of effects that you will be toggling on/off, order your switches in the order that the effects appear in the chain. This is easier to remember, and if you have to guess, at least it's an educated guess.
The same thing goes if you're building your patches at a different volume level than you'll actually be practicing or gigging at. Make a setlist copy, but change all the "full" amps to "pre" (make sure you change all the amp, cab, and mic settings to how you had them before – changing amps will automatically load that amp's default settings). Then if your amp/power amp is getting cranked and changing the way your patches sound, you can switch setlists. I can't guarantee it'll necessarily sound better with the "pre" variants, but it COULD be a lifesaver. Of course, I recommend that you build your patches at the volume level you'll be using for practice and gigs; but if this is impossible, make an alternative setlist just in case.
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== Effect Switching/Tips ==
When building a patch, I try to keep the effects order in the Edit software the same as the order they occur in the chain just to keep things simple. If I later want to move things around, I'll take a screen shot or write down my settings and re-do the patch.
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== Recording Tips ==
The best way to get a heavy metal rhythm sound is to double track the guitars. It's quite noticeable if the two tracks are not in perfect rhythm. Tighten those chops up and always use a drum/click track or metronome to keep time.
I go back and forth on how to pan the two tracks - sometimes I like full left/right separation but sometimes I blend them a little. When they're run through the same speaker, you get some phasing. It's not a perfect phasing like a comb filter, but you can hear it anyhow. If you're listening through headphones, full left/right panning can sound harsh when only one side is playing; but it sound much more natural through speakers. Right now I'm leaning towards full left/right.
I try to start with my instruments pre-mixed more-or-less. I want each instrument to have a unique frequency range emphasized, so that they all stand out and do not clash with each other. For guitars, that's generally around 250-1,500 Hz.
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== Monitoring ==
I like to test my patches through 2 different pairs of headphones (commonplace consumer headphones and "pro-level" studio headphones), and through my studio monitors (which aren't that great but still sound good). If my patch sounds good across the board, it gets my approval. Sometimes it'll sound good on one piece of hardware, but have way too much or too little bass or some other frequency range on a different one. I have to adjust so it sounds balanced on EVERYTHING. For my "live" patches, I want them to sound good through my amp first. Once I think they're good, I set the cab to Treadplate 4x12 and the mic to the SM 57 off axis mic, and I test it through my headphones and monitors. I find this cab/mic simulation combo sounds most like a real amp, so it serves as a solid second reference.
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== DSP Allocation/Advice ==
Here are a couple tips to avoiding "DSP limit reached" message. Dual amps are very expensive. If you want to use numerous effects, you probably can't get away with using them. If you need to use them, keep in mind the "pre" versions use a little less DSP than the "full" ones, possibly allowing you to squeeze in that least effect, but your tone will be altered.
Pitch shifters, especially the Smart Harmony and Pitch Glide, use a lot of DSP. If you know you want to use one in a patch, build the patch with that restriction in mind – don't build up an entire patch then try to put it in at the end, only to find the DSP error then have to backtrack to figure out how to get it in.
I also like to turn the Hum Amp DEP up to 55% - just this small tweak makes the distortion thicker and darker and more aggressive. I turn Bias X up to ~70% - this gives notes more "bloom" but doesn't lead to unnatural compression or wonk to the tone.
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== Clean Boost ==
I believe the FX Loop uses less DSP than the Studio EQ, but it also requires a patch cable and that you aren't already using the loop. Also, the loop can introduce additional noise into the tone.
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== Leveling Patches ==
If you are using a dual amp patch, I like to use a Mid-Focus EQ or Studio EQ as the last (or close to the last) effect in my chain, behind the mixer. The Gain parameter on these EQ's does not affect frequency response, only output level. So you can use these to set a final patch level, keeping the amp blocks' Ch. Vol. control conservative, preventing unwanted clipping. The Mid-Focus EQ is not neutral by default and is sensitive to a hot input signal. I prefer the Studio EQ if I'm just using this effect for patch leveling. However, I'm usually using a Mid-Focus to roll off a bit of high and low end anyway, so it doubles as my final output control.
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== Clarifying Confusing Volume Controls ==
It's just a switch and easy to do a quick experiment with. Try it out before you spend money on buffer pedals or engage in laborious adjustments to your guitar.
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=== The MASTER Knob ===
Also, keep in mind that the Pod is designed for high resistance headphones. The headphones I have are 64 ohm, far below what Line 6 suggests using. Most consumer headphones fall into this category. If I were to turn up the Master Knob when using headphones, I'd deafen myself. I make sure to turn down the Master Knob to 20-60% when using headphones, unless they are high-ohm studio headphones.
=== Amp/Channel Volume aka VOLUME Knob ===
The Volume Knob is also a physical knob, but it controls a digital setting which can be set and saved to different settings for each patch. When a patch is pulled up, it is set to the saved value, not the value the physical knob is currently set to. The digital setting will only change to the knob's value when you start turning it, like the EQ knobs. It controls the Vol/Ch Vol parameter located on each amp block, again similar to the EQ knobs. This is a tone-transparent control, not designed to change how the amp model behaves - to get the "cranked" amp tone, you use the Master DEP, discussed below.
The particular quirk to note about this control is that it boosts/cuts at the location of the amp model in the signal chain. Thus, any effects downstream of the amp will respond differently if they are level dependent. If set too high, you can get [[#Effects Clipping|effects]] or [[#Signal Clipping|signal clipping]].
I generally use a conservative volume on this control, keeping it around 40-50%. When I use [[Line 6 Pod HD Cab/Mic Tone#Dual Cabs_2|dual cabs]], I use this control to balance the levels between each channel. Then I'll use the mixer levels (or a Studio/Mid-Focus EQ's Gain level) to try to set my overall patch volume. The mixer levels have less resolution than this control, so I'll come back to this to fine-tune the final levels where necessary.
=== Mixer Levels ===
Master DEP refers to the [[Line_6_Pod_HD_Amp/Distortion_Tone#Master|Master Volume deep-editing parameter (DEP)]]. It is designed to model the amount of power amp distortion achieved in the amp modeling algorithms. It does have some affect on the patch's volume level, but you should not use it to adjust volume levels - use the amp/channel volume or mixer levels instead. It is a digital setting that can be saved per patch. It is accessible on the unit itself by double-clicking the "ENTER" button when selecting an amp block in the Pod's edit window to bring up the amp's settings, then clicking the right arrow. In Edit, the control is visible under the standard Drive and EQ controls on the AMPS tab.
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== Clipping ==
You will be VERY frustrated trying to dial in the Pod if there's clipping somewhere in your signal chain. I've experienced numerous types of clipping on the Pod HD 500, so hopefully I can steer you away from my mistakes. Below is a description of the different types of clipping you may encounter. For a more systematic process of diagnosing what is causing your clipping, see the [[Line_6_Pod_HD_Troubleshooting#Tone_has_digital_clipping|clipping section on the troubleshooting page]].
=== Input Clipping ===
In the same vein, the effects loop return on the Pod connects to an A/D converter, which can also be overdriven. I'm not sure if reducing the return level setting in the Pod will help reduce clipping or not. It is best to reduce the output level of the final effect in the loop until the clipping disappears.
=== Signal Clipping ===
However, this is deceptive. Even if you don't max out the signal, you can still get effect clipping, which is covered in the next section. The only volume knob/control I recommend setting anywhere close to maximum is the [[#The MASTER Knob|MASTER knob]] - I believe this is an analog signal amplification occurring after all digital processing, thus not subject to digital signal clipping. ALL others are digital and subject to clipping.
=== Effects Clipping ===
The other way doesn't require an EQ effect to give me a clean boost. I just put EVERYTHING in Channel A, so that the mixer is the last piece of my signal chain, and I use the mixer levels to boost the volume to where I want it. This is an effective method, but it is no good for dual amp patches. Since I routinely use dual cabs, I rarely use this method.
=== Clipping external devices ===
If you are running into the front guitar input of an amp, you should set line/amp to amp and be very careful of how high you set the Master knob.
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=== "Digital Clipping" (Crossover Distortion) on "Full" Amp Models ===
For more on this topic see the [[Line_6_Pod_HD_Amp/Distortion_Tone#The_Elusive_Pure_Clean_Tone|elusive clean tone section]].
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== Bad Monitoring ==
Use headphones or re-amp to find your tone, especially if you are trying to dial in tone at lower volumes (which is generally a bad idea). The acoustic tone from your electric guitar will mislead you as to what your recorded/amplified tone actually sounds like. Using the HD's looper pre-position is a great way to dial in a tone. Or you can record a dry guitar, output it to a mp3 player, then play the clip on repeat from your mp3 player into your Pod. I use a 1/8" male to 1/8" male cable into a 1/8" female to 1/4" male converter into the guitar input of the Pod. You may need to adjust the gain, because your mp3 player's output level may vary from your guitar, but that's a simple adjustment. It's a good process that works.
=== Bad Monitors ===
Ultimately, the best thing you can do is buy excellent monitors. But this doesn't mean you have to spend a fortune. I use M-Audio BX8a's, which can be found for dirt cheap on Ebay. They're not exactly professional monitors, but I make it work. Conversely, you can spend lots of money on monitors that sound great but aren't necessarily a flat response, which prevents patches you dial in on them sounding good on other systems. Read lots of reviews with emphasis on a flat response. Also, if they have voicing options, try to set them up as described in the manual to neutralize any room colorations.
=== Bad Room ===
Your main goals should be to eliminate bass nodes and ringing. Most foam bass traps aren't actual bass traps, but they are thick foam and will absorb more bass than other foam wedges. Just keep in mind they will also absorb other frequencies as well. Prevent ringing by arranging your dampeners off-center from each other to prevent sound from reflecting back and forth on parallel walls. If you have hard, flat, parallel ceilings and floors, at least put a rug down on the floor.
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=== Low Volume ===
Thus, good tones at high volumes often sound wimpy at lower volumes - they don't seem to have enough bass and warmth, and can sound a little cold. Also, they tend to emphasize more mids, especially the upper mids/lower treble around 3 kHz, which can make them sound tinny and thin.
== Wrong Output Mode ==
Conversely, if you do use Studio/Direct output mode into a real guitar amp and cab, you are effectively running a simulation of a cabinet through a real cabinet, getting 2x the attenuation of the highs, plus various phase inaccuracies. The low-end you get will sound "teh brootz" - plenty of chuggage; however, the tone itself will sound like it has some kind of comb filtering going on, and the highs will be washed out. Sometimes running this way is acceptable depending on the real amp and cab you're using, but the tone will generally have more clarity using the correct output mode. If you want the brutal bass, try dialing it in a different way. If you don't like the high-end "fizz", roll it off using a [[Line 6 Pod HD EQ#Mid-Focus EQ|Mid-Focus EQ]].
== Gain Staging ==
Also, watch the amp/line switch and the MASTER knob settings. Setting line and full MASTER knob can often cause external gear to clip. Similarly, watch the send/receive levels on the FX Loop.
== Outside vs. Inside Mix ==
I break this rule myself way too often, and it always comes back to haunt me later on when I go to jam with someone or record a song. Funny thing is that once you are forced to make your tone slightly less heavy, I really like it. I guess it wears off over time.
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== Relying on Others' Patches ==