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Deep Dive into the Effects of the POD HD Multi-Effects Processors: Stereo Delay

It’s been a little while since my last Tips & Tricks blog post, but it’s good to be back exploring some of the effects in POD HD multi-effects processors! We’re well on our way through all 19 delay models in these bad boys, but we still have a few more to go.

About the Stereo Delay Effect

This week I want to talk a little about the Stereo Delay model in POD HD multi-effects processors.

This is a Line 6 original delay effect, so there’s really no traditional “history” to the effect. When I asked Angelo Mazzocco, Line 6’s Lead DSP and Embedded Systems Engineer about the Stereo Delay effect model, he said:

“The Stereo Delay model is just a straight digital delay on each side. The nice thing about it is you can have completely different signals feeding the left and right delays, and they stay separate.”

This could definitely come in handy if you’re the type of musician who likes to send a stereo signal into your effects chain.

The Stereo Delay effect is very clean and, in my opinion, sparkles just a bit. It’s also quite versatile, not only for its ability to accept two discreet input signals and keep them separate, but also because it sounds great with low gain as well as high gain tones.

Stereo Delay Parameters

The Stereo Delay in POD HD multi-effects processors has five main parameters:

Left Time – This parameter sets the speed of the delay on the left side of the stereo field.

Left Feedback – This parameter sets the amount of repeats on the left side of the stereo field.

Right Time – Same as Left Time, only this applies to the right side of the stereo field.

Right Feedback – Same as Left Feedback, only this applies to the right side of the stereo field.

Mix – The amount of delay signal to mix into your dry signal.

If you’ve been reading my blogs you know I always include some tones and sound clips, and this blog is no exception. You can download the following tones, as well as all of my tones, at Custom Tone. Enjoy!


There’s nothing fancy here. This tone is just a Blackface Dbl Norm amp model and a single Stereo Delay Effect. It sounds great if you have a guitar with humbuckers set to the neck pickups. If you’re a finger style guitarist, this tone can work particularly well for you. The Left Time parameter is set to about 255ms and I have Right Time set to dotted ¼ notes. The Left Feedback parameter is at 60% while Right Feedback is set to 65%. I have the delay Mix set to 60% as well.


For some reason I always find myself coming back to the Gibtone 185 model in POD HD multi-effects processors. I absolutely LOVE the way this little amp breaks up when you crank the Drive parameter. It sounds wonderful through a guitar sporting humbuckers with the pickups in the bridge position. Similar to how I set the delay effect in the RawStereoDly tone, I have the Left Time parameter set to 295ms and the Right Time set to dotted 8th notes instead of ¼ notes. The Left Feedback parameter is set to 50% while the right side Feedback parameter is set to 60%. The Mix parameter is once again set to 60%.


I don’t know what my infatuation with Reggae tones is, but every time I play with my POD HD500 I seem to try and dial in a better one. This particular tone is fairly straightforward, and showcases the Stereo Delay quite nicely. I’m once again using the Blackface Double Nrm amp model. The Left Time parameter on the Stereo Delay is set to 155ms and the right side Time is set to ¼ note triplet. The Left Feedback parameter is set to a lower 25% and the Right Feedback parameter is set slightly higher at 40%. I’ve got the Mix parameter set just above half way at 55%


Ok. Here it is. That big 80’s rock sound we mention in the POD HD manuals. It’s really easy to dial in this type of tone using the Stereo Delay. You might want to tweak it to taste, but I think it’s pretty close. I’m using the classic Brit J-800 amp model here. The delay parameters are set a bit differently here. I’ve got the Left Time set to a very low 80ms. The Right Time is set much higher to 500ms. The Left Feedback parameter is set to a whopping 80% while the right side Feedback is much lower at 20%. The Mix parameter is set to an even 50%. This is a fun tone.

Hopefully I’ve given you some insight into the Stereo Delay effect and just how versatile of a delay it can be.

It can be used to create all sorts of tones, for many different musical genres. Experiment with it using headphones or a stereo amplifier setup, and you’ll easily create a tone that just might become one of your favorites!

Next time we’ll talk about the Sweep Echo delay effect. This unique delay sounds similar to the Tube Echo delay but adds a funky sweeping sound to the repeats.

*All product names used in this webpage are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development.

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Deep Dive into the Effects of the POD HD Multi-Effects Processors: Dynamic Delay

The Dynamic Delay effect in the POD HD multi-effects processors is, in my opinion, the cleanest sounding digital delay model in the entire device. It should be. It’s inspired by* the famous T.C. Electronic® 2290 Dynamic Digital Delay, a true industry standard in the music world throughout the late 80s into the 90s and even today.

Brief History of T.C. Electronic®
T.C. Electronic® was born in 1976. A Danish company, it was the brainchild of brothers Kim and John Rishøj. During the early years, the company focused on developing guitar effect pedals but eventually branched out into the rack-mounted effects products world. Jump ahead to 2002 where T.C. Electronic® became the T.C. Group® after acquiring several smaller musical instrument companies including TC-Helicon®, makers of various harmony effects and vocal processors.

Some New Parameters
The Dynamic Delay effect model has many of the same tweakable parameters as the other traditional analog and digital delay effects in the POD HD multi-effects processors. Mix, Feedback, and Time are all in there. However, we are introduced to a couple of new parameters you may not normally see in other more “traditional” delay effect models.

Ducking: Depending on how you play, echo effects can sound cluttered and, well, not very defined. The Ducking parameter will actually force your repeats to “duck” (volume wise) below the next incoming guitar signal and then bounce back up once that signal has passed. Pretty cool!

Threshold: The Threshold parameter works in tandem with the Ducking parameter. Basically, you set this parameter to tell the effect to duck only when the input signal is a certain strength. If the signal doesn’t reach that strength, the delay will not duck.

If you’ve been following my blogs about the FX in the POD HD multi-effects processors you’re familiar with the fact that I always post a few tones on Custom Tone for you all to check out. This week is no different except now I’ve added sound clips as well! You guys asked so you shall receive!


The Dynamic Delay effect model allows you to dial in great slap back delay tones. I’d venture to say this slap back tone sounds almost as good as some of the other slap back delays I dialed in using the Analog Echo and Tube and Tape Echo models. I’m using the Blackface Dbl Nrm amp model here as it’s one of my favorite models and really makes the slap back tone come alive.


The Divide 9/15 amp model is capable of generating some great crunch tones similar to what you might here on various punk rock albums. I added a touch of Dynamic Delay to this tone to bring it all together.


Here’s something a little heavier for you high-gain folks out there. I’m using the Treadplate amp model here. You might hear a tone like this on some of the more modern punk rock albums, i.e. NOFX, Less Than Jake, etc. It would also work well for metal. I added only a touch of the Dynamic Delay model to give it more of a reverb- type quality as opposed to a true delay sound.


I love the little Super O model on the POD HD multi-effects processors. If you’ve been reading my blogs you already know this. This particular amp model breaks up beautifully when you drive it and in my opinion, is very easy to dial in. This tone highlights the Ducking and Threshold parameters on the Dynamic Delay effect model. When I attack a note you can hear the delay duck a bit. This would be a good tone for a softer intro in a song, right before it explodes!

Next time we’ll talk a bit about the Stereo Delay model which is perfect for high gain tones to create huge 80’s hair band tones. Fun!

*All product names used in this webpage are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development.

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Deep Dive into the Effects of the POD HD Multi-Effects Processors: Echo Platter

The Echo Platter delay model on the POD HD multi-effect processors is a very special effect indeed. It is based on one of the most sought-after and revered delay effects of all time, the Binson Echorec.

Brief History of Binson

The very first Echorec units were introduced in the late 1950s. Located in Milan, Italy, Binson delay devices were touted as having superior sound quality, and a much more durable design build than other tape delay effect units of the same time period. Indeed, one thing that truly set the apart from other tape delays was the inclusion of a steel/alloy disc drum that held a flat metal tape. The drum was said to have a life span of 40 years or more! Situated around the drum head was a record head as well as several playback heads which provided a delay time of up to 350-375 milliseconds.

Who Used It?

Arguably the most famous guitar players to ever play a Binson device were David Gilmour and Syd Barrett of Pink Floyd. This effect can be heard all over Pink Floyd’s opus “The Wall”. A great representation would be on the track “Run Like Hell”.

Authentic units are selling for many thousands of dollars these days. Lucky for you, the POD HD multi-effects processors include this much-cherished effect!

As usual, I dialed in some nice tones that highlight what the Echo Platter model can do on the POD HD muti-effect processors. You can find all of my tones HERE.


This is a tone I created based on David Gilmour’s tone in the Pink Floyd song “Run Like Hell”. I used the Hiway 100 amp model here and had to add an Analog Chorus effect to get that drippy lush sound he accomplished for the intro. I find that playing this tone with the pickup selector in the neck position sounds the best.


A tone inspired by the solo in Pink Floyd’s “Comfortably Numb”. I’m using the same Hiway 100 model here with the drive dialed up a bit. Again, I feel like using the neck pickup here sounds best. The Hall reverb really adds that nice ethereal sound. One thing I noticed about the Echo Platter delay model is that unlike other tape delays, it doesn’t give you a “reverby” type effect mixed with delay. Later models of the Echorec included some reverb options.


There’s nothing too fancy here. Just a sweet-sounding Blackface Dbl Nrm amp model played through one instance of the Echo Platter. This tone could easily be used as a slapback delay. Just take the time parameter back a bit to 100-150 ms and you’re there.


Another original tone I put together. I can’t get enough of the Super O amp model on the POD HD multi-effect processors. This amp model breaks up so nice that it was just natural for me to want to stick the Echo Platter delay model after it.

It’s hard to believe that we’re just about half way through talking about the delay effects in the POD HD multi-effect processors! Next time, we’ll talk about the Dynamic Delay model inspired by* the T.C. Electronic® 2290 Dynamic Digital Delay.

*All product names used in this webpage are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development.

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Deep Dive into the Effects of the POD HD Multi-Effects Processors: Multi-Head Delay

It’s amazing how many classic, groundbreaking delay effect models are loaded into the POD HD multi-effects processors. In my previous blog posts in this series we’ve already touched on a few of these great delay effects and this week is no exception.

The Multi-Head delay effect loaded into the POD HD multi-effects processors is inspired by* a true gem: the Roland® RE-101 Space Echo.


Roland was founded by a gentleman named Ikutaro Kakehashi in 1972. Prior to the creation of the Roland Corporation, Kakehashi owned an electronics repair shop named “Kakehashi Musen” which he later changed the name of to Ace Electrical Company. In those early years, Kakehashi designed a few musical gadgets including guitar amplifiers and rhythm machines. In 1972 Kakehashi became a minority share holder in his own company and decided to break away and the Roland Corporation was born.

Two short years later Roland released perhaps their best known delay effect series, the Space Echo. There were a few different models of the Space Echo including the RE-101 and famous RE-201 among other later models. The Multi-Head delay effect in the POD HD multi-effects processors is inspired by the RE-101 model.


The Multi-Head delay model is named as such because the original RE-101 model was a delay unit that recorded an incoming audio signal to a loop of magnetic tape. That signal would then get played back through several play heads, in this case four. Each play head can be turned on or off completely in the POD HD multi-effects processor, resulting in a vast combination of echo sounds. For example, you can leave all of the play heads on and have a consistent level of delay repeats with no decay. Or, you can turn one tape head off, say head three, and as a result, your signal level will remain consistent as it passes through heads one and two, and then drop off or decay, only to bounce back again when it hits tape head four.  Couple that with the other parameters including Time (including note values), Feedback, and Mix and you’re in for a world of creative tweaking. As I mentioned before, this is a true gem of a delay effect.

Here are some tones for you guys to give a whirl. All of my tones can be found on Custom Tone at Line 6 Miller’s Tones. You won’t find any POD HD300 tones in this week’s blog simply because the POD HD300 does not include the Multi-Head delay model.

Missile Crisis

In 1992 a band by the name of King Missile released an album entitled “Happy Hour.” The band had a modest hit single about the singer (John Hall) losing a certain, ahem, body part after a night of partying. If you have no idea what I’m talking about just Google the band and you’ll get it. I actually stumbled across this tone by accident while trying to build some other tones for this blog. It’s a simple crunch amp sound with a fairly long time signature Multi-Head delay effect. I threw an Overdrive effect before the amp in the chain and capped the signal chain off by adding a 4 Band Shift EQ. I actually think I came pretty close with this one and if you play the riff right you can see for yourself.

Multi Duel

This next tone will only work with the POD HD500 multi-effects processor because I actually have two delays running in the signal chain.  You can really hear all four heads from each Multi-Head delay in action. I’ve got radically different time signatures going on in each delay, which illustrates some off-time, quirky delay effects.


For some reason this tone reminds me of breaking glass hence the name. It’s probably because I used a Class A-30 TB amp model with the drive dimed out to 100% and the treble and presence parameters tweaked fairly high as well. There are quite a few FX going on in the signal chain with this tone but nothing too radical. I added a noise gate in front to tame the inherent buzz of this amp model (something the real amp does) and boosted the signal a bit after the Multi-Head delay effect. I finished the tone off with a slightly tweaked Graphic EQ in the chain.

Ragga Drops

This is my first official attempt at creating a reggae tone in this blog series. I’m using the Blackface Dbl Vib amp model with the drive parameter turned down quite a bit. One nice sounding Multi-Head delay model is all you need here and I’m only using the first tape head on the effect. The time, feedback, and mix parameters are dialed in fairly conservatively. That’s all there is to it! Try playing some simple reggae chords with this one and let me know how close you think it is!

In the next blog we’ll talk about, you got it, ANOTHER classic delay model you get with the POD HD multi-effects processors. The Echo Platter delay effect model which is inspired by* the Binson EchoRec is a staple delay effect for several legendary bands including Pink Floyd. Until next time!

*All product names used in this webpage are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development.

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Deep Dive into the Effects of the POD HD Multi-Effects Processors: Analog w/MOD

Welcome back! If you’ve been following my blog series you’ve already read about the history of three very popular delay models in the POD HD multi-effects processor family; the Analog Echo (based on* the Boss® DM-2 delay) , the Tube Echo (based on* the Maestro® EP-1) , and the Tape Echo (based on* the Maestro EP-3).

For all of you first-time readers, make sure you go back and check out my previous posts about these great effects at the Line 6 Blog.

This week I’m going to talk a little about the Analog w/MOD delay effect in the POD HD multi-effects processor family.  This effect is based on* yet another legendary pedal from Electro-Harmonix. Of course, I am referring to the classic Electro-Harmonix® Deluxe Memory Man.

Electro-Harmonix was founded in 1968 by Mike Matthews with a measly $1000.00. The company saw exponential growth over the next 10 years and soon became one of the biggest effects pedals manufacturer of the time. The Deluxe Memory Man was just one of many timeless effects that Electro-Harmonix manufactured over the next several years.

Like the Analog Echo effect inspired by* the Boss® DM-2 pedal, the Analog w/MOD delay is also a “bucket brigade” type delay in that, the analog signal enters a series of capacitors on the circuit board at which time the signal rate is controlled by an oscillating clock.

Several musicians have used this classic delay pedal; most notably, the Edge from U2. If you’re looking for a starting point for that classic Edge tone, this is a great effect to start with.

The Deluxe Memory Man has six parameters:

-          Blend (Mix)

-          Level

-          Feedback

-          Chorus/Vibrato (Mod Speed)

-          Depth

-          Delay (Time)

Below I’ve created a few tones with this delay effect that you can download from Custom Tone for you POD HD multi-effects processor. There are options for the POD HD300, POD HD400, POD HD500 and POD HD Desktop. You can find them at Line6Millers Tones.


This is a fun tone I put together. I was trying to capture a bit of 80’s hair or glam by using a high gain amp model with the modulation really dialed up a bit on the Analog w/Mod delay effect. Doing this gives the tone a sort of “shimmery” feel. I’m using the Treadplate amp model here based on* the Mesa Boogie® Dual Rectifier amp; a true classic in the high gain amp world. I’ve stuck with the default 4×12 Treadplate V-30 cabinet and the 87 Condenser Mic.

I added a Noise Gate to my signal chain. Decay is set to 35% and Threshold is set to 15%. This quiets the buzz a bit without killing the sustain. For the delay, I cranked the Depth parameter up to a fairly high 70% which is what really adds the “shimmer”. I dialed in this tone using a dual humbucker guitar with the pickup selector set to the bridge position. When playing this tone, palm mute up and down the fret board and then let the “shimmer” out by letting a power chord sustain. Yeah!

HugeHair 300





This tone is inspired by the classic delays from U2’s The Edge and it gets you close to something he might dial in. The trick to the tone is simple. Add two Analog Delay w/MOD effects BEFORE the amps. Set one delay to short delay time and little to no feedback. Set the other delay to a longer delay time and a healthy amount of feedback and two Class A-30 TB amp models to round out the tone. If anything, I feel it’s a pretty nice delay tone on its own anyway and I hope you like it too!



(Not Available for HD300 or HD400)


This is another fun original tone I set up. I wasn’t aiming for any particular artist or band tone. I just wanted something fun and a little weird. I added an Octo Reverb effect to the tone because I love that eerie choir type tone it brings. The Depth parameters on the delay models are dialed up quite a bit and I went with the Blackface ‘Lux Nrm amp model.



(Not Available for HD300 or HD400)

Fortress of Solitude

I’m not sure why, but I just envision Superman and crystals when I play this tone. Weird, I know. Anyway, it’s a pretty nice overdriven tone with a cool glassy Analog Delay w/MOD effect added to it. The Delay time parameter is set relatively low and I jacked up the Feedback a bit to 60%. I went with the Class A-15 amp model because I like the crunch it adds to the tone.





Make sure you continue to keep reading! Next time I’ll go over the Multi Head delay effect based on* yet another legendary delay device, the Roland® RE-101 Space Echo. This effect was a true game changer so you’ll not want to miss this one! Thanks for reading. Until next time!

*All product names used in this webpage are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development.

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Deep Dive into the Effects of the POD HD Multi-Effects Processors: Tube and Tape Echo

Thanks for joining me once again as we travel through the effects of the POD HD multi-effects processors. If you read my blog last week, you learned about the Analog Echo delay model in the POD HD series and some useful ways it can be used. Today, we’ll learn a little about the Tube Echo and Tape Echo models on the POD HD series of multi-effects processors.

The Maestro® EP-1 is regarded by many as one of the most famous delay devices of all time. It’s been used by countless guitarists including Chet Atkins, Les Paul, Jimmy Page, and Joe Walsh.

The very first Echoplex EP-1 was made in the late 1950’s by a company from Cleveland, Ohio called Market Electronics. It was invented by engineer Mike Battle who recently passed away in 2008.  However, it wasn’t until a company called Harris-Teller of Chicago began manufacturing the Echoplex that the device really took off. Marketed under a brand known as Maestro, the Echoplex began its rise to what many consider the greatest delay effect unit ever created.

The first Maestro® Echoplex EP-1 and EP-2 devices were of tube design but were shortly followed by the EP-3 solid state version. Line 6’s Tape Echo effect is modeled after* the Echoplex EP-3 while the Tube Echo is modeled after* the EP-1.

The Echoplex is not an effect pedal rather it’s a device that runs and records tape heads in a loop at different speeds much like I talked about in my Intro to Delay blog a couple of weeks ago.  Both the Tube Echo and Tape Echo models have a nice warm, slightly overdriven delay sound to it. Creating great slap back delays is easy with either of these models and the WOW/Flutter parameter on the Tube Echo is especially fun to play around with at higher settings.

The Maestro® EP-1 had 4 parameters:

-          Instrument/Mic Volume (Mix)**

-          Echo Repeats (Feedback)

-          Echo Volume (Mix)**

-          Delay Time Slider  (Time)

**The POD MIX setting combines the Instrument/Mic Volume and Echo Volume parameters. This was actually implemented the same way in the Echoplex EP-2 model.

The Maestro® EP-3 had 3 main parameters:

-          Echo Volume (Mix)

-          Echo Sustain (Feedback)

-          Echo Delay (Time)

It’s important to keep in mind that the Line 6 versions of these two great effects were inspired by* the originals. So, much like the Analog Echo model in the POD HD multi-effects processor, which has a couple more parameters to tweak than the actual Boss® DM-2 delay pedal, the Tube and Tape Echo effects offer some more parameter versatility as well.

You may have also noticed that Line 6 offers an effect variation to both of these delay models. I am of course talking about the “Studio” or “Dry Thru” Tube and Tape Echo models. These effects are exactly the same as the original Tube and Tape Echo delay models with one small exception; we modeled the dry thru signal path of these classic delays. This was done to give the user the ability to dial out any tonal character and coloration the original Tube and Tape Echo models added to the audio signal when the Mix parameter was set to 0%. A very handy feature!

I’ve dialed in a few tones using both the Tube Echo and Tape Echo effect and as always, you can download all of my tones to date here: Line6MillersTones


For this tone I wanted to see how close I could get to the classic Jimmy Page sound on Led Zeppelin’s “Whole Lotta Love”.  If you know the main lick, play it and let me know what you think. I dialed this in using a dual humbucker guitar with the guitar in the bridge position. I went directly into the guitar input on my Pod HD 500 multi-effects processer and set the output mode to Studio Direct. This is a dual tone which I panned 50% hard left and right from the mixer block in the POD. I went with the Super O amp model on the POD which is based on* the Supro®S6616. Jimmy Page confirmed that he used a Supro in the studio on most of the Led Zeppelin and Led Zeppelin II albums but he never said which one. I think this little amp sounds pretty close though. I went with the Tape Echo model here as it’s well known that Jimmy used the EP-3 quite a bit live. Time is set to 160ms, Feedback to 20%, Bass 48%, Treble 50%, and Mix at 20%.


This is pretty much the same exact tone as my TapeEchoLuv tone, accept I tweaked the drive parameter a bit on Amp 2 bringing it down to 11% and instead of using the Tape Echo model, I went with the Tube Echo delay. The Tube Echo has an added Wow/Flutter parameter that literally represents analog tape flutter or “frequency wobble” as a result of the tape working its way through the reels. Really cool! It also has a Drive parameter that will add a bit more bite to your tone as you raise it. Time is set to 160ms, Feedback to 20%, Wow/Flutter to 25%, Drive to 10% and mix to 20%.


I know I already created a slap back delay type tone in my last blog but the Tube Echo model is really the perfect delay to use for this. Both Chet Atkins and Les Paul’s tones became synonymous with this slap back sound. I’m using the Blackface Dbl Nrm amp model for this with the Drive parameter turned all of the way down. I made some minor adjustments to the amp’s EQ but for the most part I left everything else alone. The Time on the delay is set fairly low to 100ms. Feedback is at 25%, Wow/FLT is set to 30%, Drive is at 0%, and I’ve got the Mix set to 35%.


OK. Enough of all this traditional usage stuff. Let’s have some fun with the Tube Echo model. For this tone I wanted something a little unusual. It may not be a sound many of you can use regularly but I think it could make for a good effect in a small part of a song…maybe an intro for example. The trick to this tone is to hang out on the high E and the B strings. Experiment with letting notes sustain around the 12th fret. The effect should sound sparkly and a bit wobbly due to the Wow/FLT being set so high. I find that letting the notes sustain for as long as possible really make this tone shine. I’m using the PhD Motorway amp model based on* the DrZ® Route 66 amp. The Drive is set fairly high to 67% but you can tweak to taste. I’ve got the Time parameter on the Tube Echo delay model set to 260ms. The Feedback is up pretty high at 75%. I really crank the Wow/FLT parameter on this patch for that extra “wobble”. It’s set to 65%. Drive is set to 0% and Mix is way up at 75%. Have fun with this one.

Next week we’ll dive into a delay effect model that was inspired by* a pedal built by another legendary effects company. I’m talking about the Analog w/Mod delay model based on* the Electro Harmonix® Deluxe Memory Man. Thanks for reading. Until next week!

*All product names used in this webpage are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development.

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Deep Dive into the Effects of the POD HD Multi-Effects Processors: Analog Echo

Last week we talked briefly about the history of the delay effect and how it started out as a recording engineer trick requiring the use of tape heads on reel-to-reel recording systems to create a unique echo effect. This method, although effective, proved to be an arduous task. As a result, various companies began developing analog products that produced the same outcome in easier and faster ways.

The dawn of the digital age coupled with affordable parts and the use of digital signal processing (DSP) really brought the delay effect into a new era. Now users could manipulate their signals in ways no analog pedal ever could. The invention of amp modeling and multi-effects pedals now give us the option to emulate classic analog delays and even offer added parameters the original gear couldn’t provide.

The Analog Echo delay model in the POD® HD multi-effects pedals is a classic example of this. It is inspired by* the rare and often sought-after Boss® DM-2 analog delay pedal. The Boss® DM-2 is what is referred to as a “bucket brigade delay” in that the stored audio signal moves along a series of capacitors in steps and at certain clock cycles, like a group of people passing a bucket of water to each other down a straight line.

The Boss® DM-2 had three total parameters:

- Repeat Rate (Feedback)

- Intensity (Mix)

- Echo (Delay Time)

This pedal became known for its warm, soft feel and was often used as much for reverb as for delay. Additionally, this type of delay is perfect for a nice slap-back sound, something you might here in a Stray Cats tone. Artists known for using this pedal included Gary Moore of Thin Lizzy and Billy Duffy of The Cult.

The Analog Echo model in the POD HD multi-effects pedals takes the concept of the Boss® DM-2 a step further in that Line 6 gives you some added parameters to play with. Sure, you still have control over the feedback, mix and delay time but now you can also tweak bass and treble controls, dial in the delay time up to 2000ms and even choose rhythms including whole, half and dotted notes to name a few. It brings some of the digital new school into this effect and can really make it a fun model to play with.

I’m more of a traditional kind of guy so I like to use this effect for what it’s proven to be good for, great slap-backs and nice, warm delay and reverb at lower time settings. Below are four tones I dialed in with the POD HD300/HD400 and POD HD500. The images below are from the POD HD Edit software using the POD HD500 exclusively. I’ve uploaded these tones to CustomTone, Line 6’s free tone sharing website, and included POD HD300 and POD HD400 versions as well. You can get them here: Line6MillersTones


Gary Moore from Thin Lizzy quite often played out of a Marshall® JTM-45. Since the POD HD multi-effects processors actually include a model based on* this amp (it’s called “Brit J-45”) I figured it made perfect sense to demo the Analog Echo delay with it. I’m using the normal channel of this model which is a newly modeled channel offered in firmware version 1.31 for the PODs. I used a guitar with dual humbucker pickups in the bridge position. I panned the mixer settings in the POD HD500 to front and center from hard left/right. The Studio Direct output modes were used and I dialed in through a pair of studio-grade headphones.

I love the fuzz the 4×12 Greenback 25 cabinet brings to this tone and the J-45 model just sounds awesome anyway. I have the Analog Echo delay set to a relatively low delay time of 200ms. The Analog Echo really warms up the tone and brings a “reverby” type feel to it. Feedback is set to 25%. Bass and Treble parameters are set to 55% and Mix is set to 35%.


My “AnalogEchoGain2” patch is similar to the “AnalogEchoGain1” except I went with 4×12 Blackback 30 cabinet which helps lose some of the fuzz and gives it some more bite. As a result I tweaked the EQ a bit on the amp model to taste by bringing the drive down a bit and turning the presence completely off. Some minor tweaks were made to the bass parameter on the amp model.


The Analog Echo delay model is great for a slap-back type effect a la Stray Cats, rockabilly, etc. For this tone I used the same guitar with humbuckers. This tone uses the Blackface Dbl Nrm amp model and I panned the POD HD500 mixer to dead center (as I do with most of my single tone patches).  The Analog Echo parameters are different here. I set the delay time to 100ms and set the feedback to 30%. Mix is also at 30%. I took the bass parameter down a bit to 40%. Treble is at an even 50%.


I love the Gibtone 185 amp model in the POD HD multi-effects processors. It’s modeled after* the 1939 Gibson® EH-185 and it sounds sweet. It’s a perfect complement to the Analog Echo delay effect. It really lets you hear what kind of warmth the Analog Echo can bring to a tone. I’m using the same guitar (bridge selection), output mode and mixer settings as before. I cranked the drive to 100% on the amp because I just love how this little guy breaks up. I tweaked the delay settings here just a bit by setting the delay time a bit higher to 250ms as well as the feedback to 55%. Bass is set to 30% and Treble is set to 55%. The Mix is turned up a tad to 35%.

As always, experiment with this effect and see what it can do. Like I said last week, the only limit is your imagination. Next week we’ll take a closer look at the Tube Echo and Tape Echo models in the POD HD multi effects pedals based on* the Maestro® EP-1 and EP-3 Echoplex delay units. We’ll talk about their history a bit and some of the ways they can be used. Until next week!

*All product names used in this webpage are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development.

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Build the Best Artist Tones With Line 6 Modeling Amps and Multi-Effects

By Line6Miller

You’ve just purchased your new Line 6 gear. Whether it’s a Spider® IV modeling amplifier or new POD® HD multi-effect, your quest for tone has begun. The only problem is where to start. How do you approach tone-building? How do you dial in that blues, metal or rock tone that drove you to buy your new gear to begin with? How do you find that specific artist tone or band sound?

For a lot of people, this can be an overwhelming and often frustrating endeavor. While tone is always going to be subjective, this guide, hopefully, will help you develop and hone in your patch-building skills. Who knows, maybe along the way you’ll find your tone which can be even more exciting.

The Big Four

In this blog post, I’m going to provide you with four basic tips on how to approach dialing in a tone based on an artist, band or genre: know your gear, know the artist’s gear, use factory presets as starting points, and ask the Line 6 Community. These general guidelines will help you find that tone much quicker than if you blindly jumped in and started turning knobs. Here we go…

1. Know Your Gear

It sounds self-explanatory but it’s so important to understand — on as deep a level as possible — how your new Line 6 gear works. Reading the advanced guides available at will open up several new doors of understanding about your gear. I guarantee you’ll learn about a certain feature you didn’t even know existed, and it might play a crucial role in achieving that sound you’re looking for. (Understanding the output modes in our POD products comes to mind immediately.)

2. Know the Artist or Band’s Gear

Dialing in an artist or band tone on a POD or Spider is a lost cause if you don’t actually know what kind of gear the band or artist actually uses. Understanding the gear an artist uses and how it’s set up can save you countless hours of tweaking.

There are a couple of good resources on the internet that list what gear certain bands and artists actually use. The first one is GuitarGeek. This site is a great resource for learning what certain bands and artists actually use live and in the studio. One aspect of the site that is especially useful is the way the gear is graphically represented for each artist. Take a look at Dave Grohl’s rig as illustrated by Guitar Geek.

You’ll notice that the entire rig is laid out nice and neat in a full-color graphic making it easy to see the correct signal flow and all. Keep in mind, that this rig illustration is fairly old (circa 2000) so things may have changed since then.

Another great resource for learning about artist or band rigs is UberProAudio. Like GuitarGeek, UberProAudio lists several artists and band rigs but the layout is a bit different.  You won’t get nice little graphic representations but the ability to comment on rig listings as well as how UberProAudio constantly updates the rig info is very helpful. If anything, it puts into perspective just how many different types of guitars, amps, pedals, etc. a lot of your favorite artists or bands use!

See Dave Grohl’s gear according to UberProAudio. You’ll definitely notice gear differences between the two sites but for the most part, the amps and guitars are the same. Dave’s rig has definitely evolved a little over the years.

3. Use Factory Presets as Starting Points

Presets can be a really good “diving board” to get you on your way to achieving that sound you seek. There are several generalized sound, song and artist factory presets in the new POD HD series that are great starting points. Many of these presets may need only a few tweaks to get close to what you want. For example, if you’re looking for a Foo Fighters tone, start with the Ever Longing patch in the POD HD HD500 (preset 3A). Consider starting with that patch and tweaking it to what you think sounds close.

4. Ask the Line 6 Community

Line 6 has worked very hard to build a community devoted to sharing tones. This can be a valuable resource in the event you ever get stuck creating one. Here are some good threads and forums you may want to visit:

Share Your Settings. This is a great user-to-user forum within our online community where folks can talk about tone settings and share CustomTone patches.

Share your Line 6 Spider IV Settings. This is a thread within the Share Your Settings community created by “dylanjunk.” You’ll find specific knob settings for the smaller Spider IV series amplifiers.

Share Spider Settings. Another great thread within the Share Your Settings community created by “AgileReaper.” Look for more knob-specific settings called out here for all Spider amplifiers.

Tone Building Tips/Tricks. A more generalized thread for POD HD users within the POD HD support forums. In here you’ll find tips on how various users approach tone and patch-building as well as best-practices, etc.

CustomTone. A Line 6 website dedicated to tone-sharing and uploading. Here, you can download thousands of tones for various compatible Line 6 gear and use our editing software to sync them up. New tones are added everyday so check back often! (I’ve also uploaded my interpretation of a Foo Fighters patch on CustomTone using the Ever Longing factory preset as a starting point. You can find it here.)

Creating and Balancing Tones. This is an exceptional FAQ that Line 6 product specialist Andy Paredes created. It has a wealth of knowledge in regards to building tones and also includes a huge list of gear various artists actually use.

So to sum up, read your manual, research the artist you are trying to emulate, use the factory presets as starting points and refer to the Line 6 Community. If you follow these basic and simple guidelines, you’ll be on to mastering tone emulation and patch building in no time!

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Thinking Outside the Box with FBV Shortboard MkII

Do you know everything there is to know about FBV Shortboard™ MkII? Think again! Watch and learn as Line 6 support superstar Line6Miller takes iTunes to task with his trusty foot controller.

By Line6Miller

After reading Line6Colley’s blog post last week about how he uses BackTrack™ to capture his dog’s barking, I figured why not show some other cool, unorthodox applications for Line 6 gear.

In this post, I focused on the FBV Shortboard™ MkII pedal. We all know the FBV Shortboard MkII can be used to control all kinds of audio applications via MIDI over its USB connection (if you’re not familiar with what it can do, check out some of the video tutorials posted on our Line 6 Support Youtube Channel), but did you know we can also use the FBV Shortboard MkII to control Microsoft PowerPoint, iTunes, and Quicktime?

Using Bome’s MIDI Translator application (thanks to Eric Klein at Line 6 for introducing this program to me), we can turn any Hot Key shortcuts into Program Changes and assign them to switches on the FBV Shortboard MkII.

Honestly, who knows if this is practical, but it sure is fun! Take a look at this video to see how you can program the FBV Shortboard MkII to control the PLAY parameter in iTunes.

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On The Road with Mike Longworth and Loads of Line 6 Gear

Back in March, 2010, customer-service superstar Line6Miller had a chance to chat via text message with Kisses For Kings/Mest guitarist Mike Longworth. They talked about the Line 6 gear Mike uses and relies on live, as well as some of his other musical projects and backgrounds.

Rick: Hey Mike! Thanks for taking the time to chat with me a bit. Before we get into anything else why don’t you tell us a little about your musical background?
Mike: Hey Rick…No problem. At the tender age of 14 I heard “Master of Puppets” for the first time and haven’t been the same since. A few years later I got my first guitar and began playing in bands in Massachusetts and Rhode Island. After several years, I realized I couldn’t find people as serious as I was about making music. I had a few friends that had moved to Los Angeles and had pretty successful music careers, so it seemed like a logical step for me to make the move.
Rick: Living the dream for sure. You moved out here as a guitar player but shortly landed a gig playing bass for “Prong”. That must have been a trip!  What’s it like playing with, and going on the road with Tommy Victor?
Mike: A nightmare!! No, just kidding. I love Tommy! He’s a legend. True…I was a guitar player until I joined Prong. Before that I approached bass just like a guitar. Tommy and Prong really taught me how to look at bass rhythmically and lock into the groove with the drums. Most of the songs, the bass is doing its own thing with the drums so I had to learn how to hear things differently. Touring with him has also been amazing. He’s a seasoned veteran of the road and I’ve learned a lot about the world.
Rick: So you rocked a Line 6 LowDown® while out on tour with Prong. Tell us about your setup and what you liked about it.
Mike: I went totally Line 6! Lowdown 750 head and Lowdown cabs. I like the variety of sounds I can get from that head. Some songs I need a clean sound and some I need a very distorted sound. And never had a problem losing the low end. The cabs sound great too. Nice and light. I didn’t even throw them in the road cases. They took a beating and still sound and look great! The studio direct output made it a breeze for sound guys too.
Rick: Nice! Now, you’re a guitar player first and you recently went out on the road in Australia with pop punk icons Mest. Tell us a little about that tour and what gear you brought out with you. From the pics you sent me, it looks like the entire band was rocking Line 6!
Mike: Our North American tour we used an entire Line 6 backline. Tony Lovato, the singer, has been using a Vetta head for years and recently upgraded to the Vetta™ II. I used a Spider Valve™ Head and also brought out a Spider® HD150 and SV cabs. The bass player used my Prong bass rig. We threw some white spray paint on everything and it all looked cool! Unfortunately, we couldn’t bring it all on our Australia tour in November so we packed in a couple of M9’s and brought those over. When you can’t have the full rig, the pedals do the trick!
Rick: M9 to the rescue! So what’s your next for Mike? Any new projects we should be on the lookout for?
Mike: As a matter of fact yes! I have a new band called Kisses For Kings that I got going with Tony Lovato. I handle the guitar and bass. When we tour, I play guitar. We just recorded a 6 song EP that we are shopping and preparing to release. It’s definitely a lot different from Prong or Mest, but hey, I like it all.

The 6-song EP, titled Forget to Remember, is available now at