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36 tones found

Tones by chrisjw5

Product   Tone Name Guitarist Song Band Amp Style Downloads  
 
  
Author   Comments Date Pickup Rating
 
POD HD500

Slash AFD Slash Sweet Child O' Mine, et al Guns N' Roses Brit J-800 Pre Hard Rock 232
chrisjw5 Does anyone have more presets named after him than Slash? Add one more. This is a tweak on my JCM800 patch to sweeten it a bit. I added more mid and treble, made the mic a 57 On Axis instead of Off, for more bite. I widened the delay and reverb (prob more than I'd normally use, but I was trying to think differently). FS5 introduces a Tube Drive and longer delay for soloing. I also put an Octaver at FS2, mimicing the new Slash Octave Fuzz pedal from MXR 1/26/13
 
POD HD500

Shimmer XII Tom Petty, The Cure Stairway To Heaven, Just Like Heaven Tweed B-Man Brt 304
chrisjw5 I started out trying to emulate a 12 string, which is one of the things I don't think the HD series does well. What I did get is a cool twist on it. Using the Whammy, I set it an octave up and panned it slightly left, with a Flanger after it to give a delayed bit of slight wobble. Is it a true 12? No, but it IS a very cool (IMO) shimmering tone that can sub for an electric 12 live. Try playing anything from the Stairway intro to Tom Petty-esque jangle to 80's Cure and even War-era U2. Think New Year's Day. This won't be your main tone, but I think this will stick in the rotation. 1/26/13
 
POD HD500

MARSHALL JCM800 AC/DC, Foghat, Foreigner, Stone Temple Pilots, Brit J-800 Hard rock 387
chrisjw5 I know there are a million Marshall 800 patches on here, but I never found anything that had what I wanted. So I tore down my existing ones and built from scratch. Played through my Edwards Jimmy Page or my single-space SD HB Tele this is (for me) the perfect balance of bite and articulation. And no mud. I'm also learning more about using Delay and Reverb to widen the sound without making it sound like an overprocessed echo chamber. I put my two favorite ODs at FS1 (Tube Drive to beef rhythm) and the Screamer at FS5 (for solo boost). I also tossed in a Flanger at FS2. Heavy enough to play Foghat and AC/DC, articulate enough to play Sonic Temple-era Cult, and AC/DC {UPDATE} I also put Vetta Juice at FS7, kick this on - especially if not using the ODs - to goose the front end. 1/26/13
 
POD HD500

Slash Plexi Slash Sweet Child O'Mine Guns N'Roses 458840 Hard Rock 814
chrisjw5 This is an update of my previous Slash Plexi, still using the Plexi Lead, but I kept swapping out cabs (and adjusting the mid-Boost EQ acc'd to Meambobo's guide) until I got to this. One of the keys was an interview where Slash talked about how the key to his heavy sound was a Fuzz box, not Distortion as I had always assumed. FS5 hits the Fuzz, FS2 is an analog Chorus and I threw an Octave at FS6 because Slash is now selling a pedal that does both Fuzz and Octave. I'm playing with a stock Edwards Jimmy Page Les Paul. 8/19/12
 
POD HD500

PARK Joe Walsh - Billy Duffy - Billy Squier James Gang - The Cult - Free - Foghat Brit P-75 Brt Rock 828
chrisjw5 For Marshall tones, I can't get past the Park with the Tube Comp engaged full-time. I keep FS1 on 90% of the time and I can cover a TON of ground. Joe Walsh/James Gang? Check. Free, Foghat and other 70's rock? Check. 80's crunch pop like Billy Squier? Check. Hit FS2 for some Analog Flanger and I can do most Billy Duffy stuff from the Cult (try the She Sells Sanctuary, Sun King and Fire Woman riffs). FS4 is a delay and FS5 is the DOD yellow OD for solo work. Try it, as this is rapidly becoming one of my favorite patches. This and my Blackface patch will cover most of your live needs. I've been on a good run of 4 and 5 star rated patches and I'm hoping you all find this as useful. 8/16/12
 
POD HD500

Kings of Leon Matthew Followill Sex on Fire / Use Somebody Kings of Leon Blackface 'Lux Nrm 788
chrisjw5 I wrote this to try to cover some Kings songs with one guitar. As written, it uses a standard Blackface, good for the Sex on Fire intro. FS1 engages the Tube Driver for some slight bump - think Caleb's rhythm chorus to Use Somebody. FS5 is Matthew's lead sound. It introduces a Screamer, a Modulated Delay and some Analog Chorus for that big, almost U2 sound on Only By The Night. This is your lead Chorus to all the big-sounding songs. Use FS5 and FS8 (Opto Trem) for a decent approximation of Jared's delayed bass as the hook to Closer. FS2 is a Dimension chorus, just because I had the room. 7/6/12
 
POD HD500

Zeppelin PLEXI Jimmy Page What Is And What Should Never Be Led Zeppelin 458840 1239
chrisjw5 I was watching some YouTube videos from Chicago Music Exchange showing off some of the gorgeous pieces they have. And I got to thinking, 'the way they show these, it's an excellent platform to try to cop these sounds'. So I focused on a 57 Goldtop demo ["http://www.youtube.com/watch?v=TZB8rRBOQ0U"] as a basis for a good Zeppelin tone, specifically What Is And What Should Never Be. For that, the demo is using a /13 so I started with a Plexi 100 Bright and a Spring Reverb. My guitar is an Edwards Jimmy Page with the Supercircuit (not engaged) loaded with Duncans. I was keying on the dirty clean chording in the verse of the song. After getting close, I started adding in pedals that would be close to what Page used. So I threw in the Vox ToneBender (FS5) for LZ1 and LZ2 distortion, a Tube Driver (FS1) to push the distortion for a later Graffiti sound. But I couldn't get that not-quite-fuzz, but more than dirty-clean breakup, until I put a MicroAmp (FS6) in. I like it for nudging that dirty-clean Plexi tone into OD without going to distortion. I added in a Barberpole Phaser for that Rover/Nobody's Fault sound and a Memory Man for some analog delay. Feedback welcome. 6/16/12
 
POD HD500

ZZ TWEED Billy Gibbons Just Got Paid/Cheap Sunglasses ZZ Top Tweed B-Man Brt 1259
chrisjw5 I was watching some YouTube videos from Chicago Music Exchange showing off some of the gorgeous pieces they have. And I got to thinking, 'the way they show these, it's an excellent platform to try to cop these sounds'. So I focused on a Pearly Gates demo to get a (duh) Gibbons tone cooking. ["http://www.youtube.com/watch?v=iHJZEJlosEg"] Starting with Pearly, they used a 20 watt Tweed, a TS808 and the Lester. So I set up a Tweed bright with a 421 Dynamic, a Screamer and a 63 reverb as my starting point. My guitar is an Edwards Jimmy Page with the Supercircuit (not engaged) loaded with Duncans. And with some tweaking, some back-and-forth and some walking away to let my ears rest, damn if I didn't come up with something close. FS5 kicks in a Tube Driver to push harder and make those harmonics jump, FS3 is a Memory Man for some analog delay and FS2 is a Dimension chorus for that Rough Boy sound. Try it. 6/16/12
 
POD HD500

LA Metal Phil Collen Photograph Def Leppard Treadplate Rock 873
chrisjw5 FS1 is Tube Driver for a bit of a boost. FS5 is the Screamer for more of a solo push. FS2 is Analog Chorus, FS3 is a Reverb (on), FS4 is a Delay (adjust to taste, I leave it mostly off). FS6 is the trick, it's the Mid Focus EQ that adds a midrange bump, think the Tom Scholz Rockman for that Boston sound. It can also make a good solo boost. This was dialed in using a Jimmy Page Les Paul with Duncans. Here are some suggestions, depending upon what tone you're trying to cop. Def Leppard (Photograph), use the distortions at FS1 and F5 for solo work, for most rhythm stuff, just the amp is fine. FS2 Chorus gives a nice shimmer to the chorus arpeggios Boston (Don't Look Back), use FS6, the mid-Focus EQ, and maybe the Tube Screamer if you're good with palm muting, because it can run away on you quickly (and Scholz didn't use that much gain). Most hair metal (Poison, Motley Crue), use the mid-focus for the earlier stuff (Talk Dirty), leave it off for later stuff (Kickstart, Ride the Wind) This is NOT an exact copy of anyones tones. But it should get you covers-close to a lot of stuff. Before you evaluate and rate, I'd suggest going to a site like guitarbackingtracks.com and playing the patch WITH the song. In many cases a patch will sound 'wrong' on it's own. But that's not the goal, it should sit in the mix well. Try it. 3/24/12
 
POD HD500

BLACKFACE Blackface 'Lux Nrm Rock 1983
chrisjw5 I've been using this for live work in a cover band. Try it. Cuts through really well for me with both singles and buckers. Set up a little dirty, it's my 'clean-ish' sound. Put a Screamer in front and it's my Crunch. Throw an OD and I can solo with it. I use it for everything from 867-5309 to Don't Stop Believing. Tom Petty, Bryan Adams, Sublime. It just worked. It cut through, it was articulate. It was great. If you're looking for a tone-for-tone cop of any of those songs, this isn't it. If you're looking for an articulate rock patch to cut through on stage, try it. I go with my HD500 right into a Tech 21 PE60 and adjust for the room with the PE60's EQ. 12/14/11

Model Packs increase the number of Amp or FX Models of a GuitarPort, TonePort, PODxt, PODxt Live or PODxt Pro, for a wider variety of tone possibilities. When a particular tone in the library relies on a Model available in one of these packs, you'll see symbol(s) to indicate which Packs: MS (Metal Shop), CC (Classics Collection), FX (FX Junkie), and PP (Power Pack).

The models within the FX Junkie Model Pack are already included in PODxt Live, and offered for purchase to add-on to GuitarPort, TonePort, PODxt and PODxt Pro.

Variax is the uniquely flexibile guitar from Line 6. Our Vetta II amplifier includes a digital connection for the Variax that lets you store settings for both your amp and your guitar in the Vetta II so that when you call up a Vetta Channel Memory your amp and guitar can change sounds together. Vetta II Tones marked with this guitar symbol include this Variax data.

For each tone in the library, you'll see an icon for either a single coil or humbucker pickup. This tells you whether the tone is best for use with a single coil pickup or a humbucker, so you can select the appropriate pickup on your guitar when using this tone.

Attention POD 2.0, Flextone and HD147 owners... Your hardware doesn't do Stomp effects, so you'll hear something different than what was intended. Try increasing the Drive or choose a higher gain Amp Model to get the right sound. The other aspects of the sound should translate as expected, so you'll at least get a great starting place for tweaking.

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