In fact, I didn’t touch this plugin again for several months after I purchased the upgrade.

But one day, I decided to revisit BIAS FX 2. I spent a few hours going through all of the high gain amps again and pairing them with different cabinets, mics, and such.

I finally came across what I feel to be a pretty awesome metal tone with BIAS FX 2. And I’m going to share my settings with you, as well as some other little tricks I’ve learned to make BIAS FX 2 sound great for metal.

Initial Frustration with BIAS FX 2

I’ll get straight to the point. But first, let me share a little backstory with you before we get into the meat and potatoes…

Having been a long-time user of their original BIAS FX, I was pretty excited about this second release. There were some particular updates I was hoping for, one of them being more (and better) options for metal amps.

But instead, here’s what happened when I upgraded to BIAS FX 2…

• Immediately replicated my best metal tone that I created from the original BIAS FX plugin – Treadplate + Celestion V20 and Greenback speakers
• Suffered great disappointment that this same tone sucked so bad with BIAS FX 2
• Went through all of the high gain amps – I even made a video and have another post on the stock settings here
• Dialed in some good metal tones, but not great; nothing really stood out to me
• Continued to mess around with BIAS FX 2 for a few weeks and then…
• Went back to playing the original BIAS FX for my metal tones

**To be fair, I had created some pretty cool non-metal tones with FX 2 for another project I’m working on. These sounds are a mix of clean and some lower-gain rock.

I must admit, those tones sound awesome and the quality of the effects is definitely a highlight.

Alright, let’s get to how to dial in a good metal tone with BIAS FX 2…

VIDEO: Jason’s BIAS FX 2 Metal Tone

You can watch the video version below. But I’m giving you more details in this post below than what I covered in the video.

So definitely keep reading my ‘rules for BIAS FX 2 metal tones’ after the video…

Rules for BIAS FX 2 Metal Tones

Let me start by saying these ‘rules’ are just my opinion, and nothing else. You may agree or disagree, and that’s okay. Well, really it’s not. But whatever.

My rules for dialing in a good metal tone with BIAS FX 2 will:

1. Save you time
2. Help you simplify things and dial in a good tone, fast – you can thank me by listening/buying my music here

You can dial in a great metal tone using BIAS FX 2. And I’m going to take you through every component of my personal favorite metal tone that I created.

Rule 1: Choosing the Right Amp for Metal

Naturally, I started out with the Treadplate V2. That’s been my go-to amp in the original BIAS FX plugin. And I’ve dialed in some killer tones with that amp.

But the FX 2 version just wasn’t giving me the tones I wanted or expected. And you know how hard it is to part with something that you really like. I had to move on.

**If you own the original BIAS FX, do not expect the tones you created in that plugin to sound the same in BIAS FX 2.

The best metal amp in BIAS FX 2 is the 04 Insane 5153 V2. I have tested this amp relentlessly against all of the other high gain amps, and nothing matches it’s tight, punchy, and distinct saturation. So I recommend starting with the Insane 5153 V2.

Now, a huge part of the tone is going to be determined by what cabinet you pair this amp with. The default cab is decent, but I’m going to show you a better way after I go through my settings blow.

There are a couple of other decent amps for metal.
But for the sake of keeping things simple, just start with the 04 Insane 5153 V2 amp, and follow the rest of my rules below.

This will make you happy. Trust me.

Amp Settings and EQ for Metal

So you’ve got the amp, now let’s dig into the settings and EQ. This is where I keep things extremely simple, and I recommend that you do the same with BIAS FX 2.

Here are my 04 Insane 5153 V2 settings:

• Gain: 6.5
• Bass: 4.7
• Mids: 4
• Treble: 7
• Presence: 6
• Master: 5.5

For clarity, you don’t need your gain cranked up with the 04 Insane 5153 V2 amp. In the real (hardware/tube) world, a true metal amp should give you an awesome saturated tone without the gain being cranked up to ’10.’

I do cut the bass a little. This helps my tone sit better in the mix.

You have to remember that the tone you play by itself may require different settings when recording for a full mix. You need to leave room for the bass guitar and kick drum to carry the bottom end, not your guitar.

I also cut mids. That’s just my personal preference with metal tones in general, but not too much.

And I gave the treble and presence a boost. This also helps the guitar cut through the mix.

*For my guitar solos, I boost my mids to around 6, gain around 8, and I’ll also add a little more bass to those tracks.

Volume Difference Between BIAS FX and FX 2

One thing I noticed about BIAS FX 2 is that the overall volume of this plugin is lower than the original BIAS FX. So I have my master volume up a little to compensate for that.

You may also need to turn up your interface volume a little due to this. Just make sure your signal isn’t clipping (not hanging around in the red zone).

Another ‘rule’ I have is that if I have to spend too much time tweaking the amp to get a good tone, I move on to another amp.

If you have to fight that much to dial in a decent tone, ditch it now.

Because whatever perfect tone you think you finally dialed in after the fight, you’re probably not going to be happy with it tomorrow. And you’ll be there again, in that same spot endlessly trying to make it work.

Look, it was a bad relationship from the beginning…just accept it, and let it go!

Rule 2: Pairing Your Amp with the Right Cabinet

In BIAS FX 2, there are only a few cabinets that will pair well with each amp. Especially for metal.

Choosing the right cabinet is just as important as the amp itself. The most awesome metal amp is going to sound like total crap if it’s paired with the wrong cabinet in BIAS FX 2.

For the most part, the default cabinets that each amp is paired with will be decent. But ‘decent tone’ isn’t what we’re looking for. We want a kick-ass metal tone!

So I recommend that you get the ‘BIAS FX 2 Elite’ so that you have access to the Classic Celestion speakers. This used to only be available with BIAS Amp 2 but you can now use them with FX2 – this was an awesome move by Positive Grid!

*You can learn more about BIAS FX 2 packages on thier website here.

So, what cabinet pairs best with the 04 Insane 5153 V2 amp?

There are actually two:

1. Classic Celestion Vintage 30
2. Classic Celestion G12 Greenback

Here’s how I use both of these cabinets…

I record two rhythm guitar tracks and hard-pan each track.

• Left-panned track = Celestion Vintage 30
• Right-panned track = Celestion G12 Greenback

For leads, I mainly find myself using the Vintage 30 with the mic placed closer to the cone, which we’re about to talk more about below.

You can use the default cabinet with this amp and still get a good tone. But these Classic Celestions blow everything else away. I actually have another post just on these speakers here.

However, I need to reiterate that the tones you created, even with the Celestions, in the original BIAS FX are not going to sound the same in FX 2.

For example, the Treadplate tones I created with the Celestion speakers with the original BIAS FX sound amazing. But they sound like poop in FX 2.

Mics and Mic Placements

We can’t talk about cabinets without talking about mics and mic placements. This is where Positive Grid really shines. All of the BIAS FX 2 mic options are solid.

That said, it almost doesn’t matter which mic you use; you can get a great metal tone with any of those mics as long as you have the right amp and cabinet paired together.

So, I’ll share my personal preferences for mic setup below:

• My go-to BIAS FX 2 mic is the Shure SM57 sim
• For the Celestion Vintage 30 speaker, I place the mic off to the side of the cone, and close to the grill
• For the Celestion G12 Greenback speaker, I place the mic a little closer to the cone but not directly in the center, and close to the grill
• For my lead tracks, as I mentioned earlier, I typically use the Vintage 30 with the mic closer to the cone
• Occasionally, I’ll record a guitar track with one of the other mics (I’ll just randomly pick one of the others; again, they’re all great mic sims)

*Try using the 421 with the Celestion Greenback for one track (panned left), and the 57 with the Celestion Vintage 30 for the other (panned right). That’s a great sounding mix.

3 – BIAS FX 2 Effects for Metal

I recommend that you use minimal effects for your BIAS FX 2 metal tones. Using too many effects will just take away from your tone and will complicate everything.

I’m going to show you how to get a better tone while keeping things simple. Here’s what I use…

• Noise Gate
• Green Overdrive
• Reverb
• Delay – only for lead guitar tracks

Noise Gate Settings

There’s nothing special about my noise gate settings. And this may be different for everyone based on the type of guitar pickups you’re using.

I’ve found that the Positive Grid noise gate works best for metal. It does exactly what you expect it to do – cuts the excess noise while not taking away from your tone.

Green ‘Screamer’ Overdrive Settings

I do not use the typical overdrive metal settings that a lot of metal guitarists use. Many will crank the level all the way up, and of course, keep the gain/drive all the way down.

Try backing that level off a little to about 7. You may find that you get more clarity and also more of the natural sound from the amp.

What you see in the image above is the only overdrive I use in BIAS FX 2. In fact, I use that on other non-metal tones as well over the other drives and distortions. It’s simple and it sounds awesome.

Reverb

Reverb is not something I use all the time. But just a little touch of reverb can give you a nice-sounding tone.

Just be careful because if you use too much reverb, you’ll lose clarity on your guitar notes, especially if you’re like me and do a lot of riffing.

For that slight touch of reverb, I like this digital reverb pedal. But I also really like the ambient reverb for some of my clean tones when I want that spacy sound.

Delay

I only use a delay for my leads, as I mentioned earlier. And this particular digital delay sim sounds amazing, giving you just enough to make your guitar solos shine.

You can also expand your settings with this pedal for those spacy, far-out sounds. I’ll use this with the ambient reverb on clean tones sometimes to get that true ambient feel. Those types of sounds are great for intros, outros, or when you want a break in the song.

What About a Rackmount EQ?

I’ve played around with this specific rackmount post-amp EQ. You can really dig more into shaping your tone, but I personally don’t use these that often.

The one piece of advice I’ll give regarding these types of EQs in plugins is this:

• Don’t overdo it
• It’s best to only cut certain frequencies, like the low end to tighten up your tone

Just take a look at my settings above. They’re subtle, simple, and mainly consists of cutting certain frequencies, not boosting.

Again, I rarely use any type of additional EQ. I prefer the natural tone of the amp without it. I feel like adding too many things to your amp gives you that ‘over-processed’ sound, which is why a lot of modern metal bands sound the same.

What’s Your Favorite BIAS FX 2 Metal Amp?

Do you have a favorite amp and tone for BIAS FX 2? If so, leave that in a comment on the YouTube video I created for this post (and make sure you subscribe to my channel), here.

I’ll admit, BIAS FX 2 is not my absolute favorite plugin for metal tones. But that doesn’t mean it’s a ‘bad’ plugin for metal. For most of my metal tones, I prefer the Fortin NTS.

And I’m more than content with this one particular tone using the 04 Insane 5153 V2 amp pairs with Celestion speakers. That tone is something I would consider using for a metal album or project.

I hope my rules of getting a good metal tone with BIAS FX 2 helped you! Please feel free to share this on your social media pages.

**Also, if you’d like to support me and this site, check out the links below:

• Stream/buy my albums
• Get my CDs and merch

Thank you for supporting independent metal music!

Keep it Metal,

Jason

The post Rules to Getting a Good Metal Tone with BIAS FX 2 appeared first on Jason Stallworth.

So it’s no surprise that I jumped on the latest BIAS FX 2. And as you would expect, I went straight for the high gain metal amps. But when I purchased it, I had no idea that I was going to do what I did…

I got this crazy idea to create a video playing through all 30 of the high gain amps.

TMI Backstory: I was actually taking an Epson salt bath when I received this holy revelation to record a video with all 30 BIAS FX 2 high gain amps.

So I immediately cut my bathtime short and started working on this for you! Yeah, I know…TMI.

Anyway, here’s what you’ll get in this post…

• Video: Listen to All 30 BIAS FX 2 High Gain Amps
• BIAS FX 2 High Gain Amp List
• My Favorite 5 Amps for Metal Tones
• BIAS FX 2 VS the Original BIAS FX
• Recording with BIAS FX 2
• What Songs Was I Playing?

Video: Listen to All 30 BIAS FX 2 High Gain Amps

First, I’m going to give you the video below so you can listen to all 30 high gain amps. You’ll hear each amp cranking out some metal for just under a minute.

Oh, and so that you know which amp is being played, there’s a screenshot of the amp in the lower right corner of the video. And one more thing – I’m wearing a different t-shirt for each amp as another distinguishing factor for each tone.
*I didn’t realize I had that many shirts…and here I am trying to be a minimalist!

Here’s the BIAS F 2 high gain amps video…

Special Note: What you’re hearing is the factory settings. I did not (and did not have the patience to) mess with the EQ or cabinet it was paired with and such. I literally just pulled up each and started playing/recording.

BIAS FX 2 High Gain Amp List

Before I go into the details of each amp, here’s the full list of BIAS FX 2 high gain amp. I also included the time each amp is being played and the t-shirt I’m wearing for each amp.

This helps serve as a reference guide for the video (and it also helped me when it came time to synch the audio and video!).

Below this reference table, I’ll give my 5 personal favorite BIAS FX 2 amps. And don’t forget at the end of this post, I’m giving you the details of how I recorded these tracks.

*You can get the comprehensive list of BIAS FX amps and what each amp is modeled after on Positive Grid’s website: BIAS FX Amp 2 Amp Model List.

My Favorite 5 Amps for Metal Tones

Now let’s go through which the amps are best for metal guitar tones. As I mentioned in the beginning, this is just my personal opinion based on my taste and style.

I’ll list the amp, what it’s modeled after, and a short description based on my thoughts. And these are in the order of my top preferences, although that’s subject to change at any time. You know how us guitarists are always flopping back and forth between tones!

Also, I’m giving you more details on the below amps as I’ve toyed around with these more after creating the video of the 30 high gain amp (remember, I did not touch the settings for that video). But after making the video, I took my personal favorites and started tweaking the settings, cabinets, mics, etc.

One more thing…you’ll notice ‘V2’ by the first 3 the amps below. These are amps that are in the original BIAS FX suite.

*You can read about and hear my original BIAS FX tones in this post: Positive Grid BIAS FX Metal Tones

92 Treadplate V2

Modeled after the Mesa Boogie Triple Rectifier

From the original to the new BIAS FX 2, the ’92 Treadplate has been my favorite virtual amp from Positive Grid (including BIAS Amp 2). It’s also the most diverse as you can dial in tones for almost any sub-genre of metal with this amp.

The Treadplate is super tight and it’s got that nice mid-range. It also gives a ton of clarity making it great if you do a lot of riffing, which is the core reason it’s been my go-to amp for metal.

With the Treadplate V2, you don’t need to crank up the gain super high for your rhythms. Try your gain at around 5-6. That will give you the most clarity while still having that saturated tone. Crank it to about 7-8 for leads and you’ll get all the sustain you need.

The Treadplate V2 can also be paired with the standard cabs or the Celestion cabs if you have the BIAS FX 2 Elite version. I use the Celestion Vintage 30s for one rhythm and the Celestion Greenbacks for the other rhythm track (and hard-pan each; I’ll get into more of that at the end of this post).

I used the BIAS Amp 2 version of the Treadplate for my album Masterpeace. And this album features 7 string guitars and is more of a ‘power metal meets thrash metal’ style. And it has about 4 different vocal styles, too.

I also used the Treadplate from the first geneal BIAS FX for my album Heavy Metal Workout. This is a classic instrumental metal album (and as you may have guess, it’s made for pushing iron!).

04 Insane 5153 V2

Modeled after the Peavey 5150

I was going back and forth between this amp and the Treadplate (from the original BIAS FX) when I was recording the Heavy Metal Workout album. This amp sounds awesome but there was something lacking in the original version that the Treadplate had.

The new version, ’04 Insane 5153 V2, sounds amazing. I’m almost liking it more than the Treadplate V2. I can see myself using both amps together in the future.

One thing I’ve noticed about this virtual amp is I boost the mids a little more than I normally do, and that gives you a smooth, crystal clear tone. And like the Treadplate V2, you don’t need a ton of gain for your rhythms.

Like the Treadplate V2, I also recommend using the Celestion impulses with the ’04 Insane 5153 V2. If you’re using the standard cabs, try the Thrasher; that will give you more of a melodic death metal tone.

Modded Mark IIc+ V2

Modeled after the Mesa Boogie Mark IIc+

Here we are with another V2 from the original BIAS FX. The Modded Mark LLc+ just has a really cool sound. And to me, the BIAS FX 2 version is definitely a step up from the original.

The original has this weird frequency that I just could never get rid of or EQ out. Of course, that could have been just me. But this new version in BIAS FX 2 is solid!

You can cut the mids of the Modded Mark LLc+ V2 and get that old Metallica guitar tone along with several other classic and thrash metal tones.

For cabinets and speakers, I prefer using the standard BIAS FX cabinets for this amp. To my ears, those fit this amp better than any of the Celestion impulses.

Black 100

Modeled after the ENGL RB100

I’ve always loved the sounds of real ENGL amps. In fact, many of the European metal bands I listen to use ENGL amps.

But many amp sims fall short in trying to capture the true sound and essence of an ENGL amp. So for me to put this particular amp in my top 5 is saying something.

The funny thing is BIAS FX 2 has an amp sim called ‘Invader’ which is clearly modeled after the ENGL Invader 100. But that one just doesn’t do it for me. However, I really dig the RB100 here.

The standard BIAS FX cabinets seem to work best with this amp. Especially the ENGL and Thrasher cabs. You could mix those cabs for 2 rhythm guitar tracks and get a really nice metal mix! And this amp is the gateway to some of the heavier and darker sub-genres of metal.

1979 British High Gain

Modeled after the Marshall JPM Plexi 1979

This is probably the most diverse virtual amp in the BIAS FX 2 suite. Of course, being modeled after a Marshall it’s clearly a good choice for classic and thrash metal music. But I’m surprised at how well it can handle some of the heavier and more modern metal.

This amp is perfect for stuff like Judas Priest, Iron Maiden, and Queensryche. It’s got that distinct tone and distortion but it’s also a lot tighter than what you would expect. And for solos, dude, your leads will soar with this amp. I’ll do a separate video on solos later.

You can also back the gain down and get that raw, hard rock tone. Or if you have parts of a song where the guitars die down a bit, like holding out or arpeggiating your chords, backing the gain down will make those parts sound awesome.

As far as cabinets go, the standard cabs work quite well with the 1979 British High Gain virtual amp. I also like the lead tone you get when pairing with the Orange cab impulse. That really helps your notes cut through the mix.

BIAS FX 2 VS the Original BIAS FX

Now for the ultimate question…

Is the new BIAS FX 2 better than BIAS FX?

Well, you tell me (watch/listen to the video below)!

I did a comparison video using both virtual amps using my favorite metal amp: the Treadplate. I was happy to see that they included the Treadplate in FX 2.

And for this video, I dialed in my personal amp settings. You can check them out below:

• Gain: 6.9
• Bass: 5.5
• Mid: 3.7
• Treble: 6.7
• Presence: 3.4
• Volume: 6.0

I also used the tube screamer simulator in front of the amp (Gain: 0, Level: about 7, and Tone: 6), and a noise gate.

I did use the default cabinet settings for both virtual amps. I believe this is called the Treadlate 4×12. And I used the SM57 mic sim with the same placement.

Recording with BIAS FX 2

So how did I record the guitar tracks for my BIAS FX 2 video? Here’s basically everything I did…

• Amp/Cab Settings: Used the factory EQ, cabinet, and mic presets for each amp
• Effects: Only used a noise gate and tube screamer in front of the amp with a slight touch of reverb after the amp
• Guitar Tracks: I recorded 2 rhythm guitar tracks and hard-panned each (each track had the exact same amp settings)
• Bass: Recorded one bass track but used Studio Devil’s Bass Amp Pro – I may do a BIAS FX 2 bass amp demo in the future
• Drums: I compiled some loops from Toontrack’s EZ Drummer using a mix of Metal Machine and Death Metal packs

That’s pretty much it. I kept it simple. Now, let me tell you more about the actual songs you heard in the video…

What Songs Was I Playing?

Everything you hear in the video is my original music. I literally wrote everything the day I started recording the video.

In fact, I’d say 98 percent of my YouTube videos feature my own music. I’ve just never been a huge fan of playing someone else’s music. That doesn’t mean I won’t do a cover from time to time, because that’s cool. But most of the music you hear from me, in general, is going to be my own.

*My albums and releases are on all the major platforms like Spotify, Apple Music, Google Play, Amazon Music, etc.

You can find these links to listen to, buy, and stream all of my music here: Jason’s Music.

Now the secret here is I didn’t write a full 23 minutes of music (that’s about what you’re getting in the video). I actually wrote 6 pieces of music and played those 5 times. I suck at math, but I think that equals 30 (30 high gain amps).

So you’re hearing the same riffs every 6th song/amp. I figured that would be enough distance between the songs to not become too monotonous.

I hope you enjoyed the BIAS FX 2 high gain amps…all 30 of them! Leave a comment on the video if you have questions, and also let me know what amp tone you like best!

Keep it Metal,

Jason

The post BIAS FX 2 Metal Tones: High Gain Virtual Amps appeared first on Jason Stallworth.

In this post, I’m going to give you my exact amp settings and show you how to create some killer metal guitar tones with your POD HD500.

So go grab your guitar and get ready to dial in some new metal tones!

Below you’ll find the sections for each HD500 metal amp (I’ve got some extra tones for you too)…

HD500 Treadplate Tone

The Line 6 HD500 Treadplate amp is based on the Mesa Boogie Dual Rectifier amp (probably more accurately the Mesa half stack). I’d be willing to say this is Line 6’s most popular amp model for all of their amp modeling units for both rock and metal tones.

This is probably due to two things:

1. The Mesa Dual Rectifier amp is one of the most sought after tones for hard rock and heavy metal music and…
2. I think Line 6 nailed it with their Treadplate amp modeled after the Mesa Dual. Even with their earlier units such as the POD XT Live (which I have a few videos on as well), the Treadplate seems to be the amp model most rock and metal guitarists use.

This is the first video I made for the Line 6 POD HD500, and I made this shortly after upgrading from the POD XT Live to the HD500.

Since I had used the Treadplate as my go-to amp model with the XT Live I immediately started programming my settings for the Treadplate when I brought home my HD500.

Even though there was a learning curve for me with the HD500, it didn’t take long to program a solid metal tone with the Treadplate. Check it out below…

HD500 Treadplate Video

**Compare this the HD500 Treadplate to the Positive Grid BIAS Amp 2 Treadplate (using the Celestion IRs) in this post: BIAS Amp 2 Metal Tones

Treadplate Settings

The settings below are slightly different from the settings I used in the video. I made minor changes to my EQ settings, mic, and I eliminated the Compressor/Sustainer (I found the tone to be clearer without these).

Here’s my Treadplate settings that you can use for your HD500…

Amp and Cabinet Settings:

• Amp: Treadplate
• Cabinet: 4×12 Tread V-30
• Mic: 87 condenser (67 mic for the other panned rhythm)
• Drive: 80
• Bass: 55
• Mid: 38
• Treble: 72
• Presence: 40
• Channel Volume: 50

Pedals and Effects:

• Noise Gate: Decay 20, Thresh 60
• Screamer: Bass 55, Tone 70, Treble 65, Drive 20, Output 80
• Parametric EQ: Lows 50, Highs 50, Frequency 60, Q 50, Gain 40
• Delay: Settings vary based on the song and used mainly on leads

**These are my rhythms settings for the HD500 Treadplate amp. I usually record two rhythm tracks for metal and hard pan them both. I use the Neumann U 87 mic sim for the guitar track pan left and the 67 mic for the one I pan right.

​

And I also use the 87 mic for lead tracks. I use various delay effects and settings depending on the song, and I normally only use delays for my lead guitar tracks. If you see any settings I did not post then that just means I didn’t change anything.

HD500 Angel FBALL Metal Tone

The Line 6 HD500 Angel FBALL is based on ENGL Fireball amp. These German-made amps (ENGL) have an extremely distinct tone and feel.

They’re widely used by melodic death metal, Gothic metal, symphonic metal, and power metal bands (all of which I love!). They deliver a ton of gain without lacking clarity.

That being said, I was eager to see what metal tones I could dial in using the Angel FBALL.

At first, I was battling between the Treadplate and Angel FBALL, and a fierce battle this! Both had proven to deliver the best HD500 metal tones (in my opinion…the other models are decent but do not hold a candle to these two).

Here’s my Angel FBALL metal tone…

HD500 Angel FBALL Video

Angel FBALL Settings

The settings below are my most recent HD500 Angel FBALL settings and are slightly different from the one’s you hear in the video above (though you may not be able to tell).

The changes aren’t substantial but I’ve found that I like the FBALL tones better with boosted mids rather than the typical scooped mids you hear in many metal songs.

Amp and Cabinet Settings:

• Amp: Angel FBALL
• Cabinet: 4X12 XXL V-30
• Mic: 57 off axis (57 on axis mic for the other panned rhythm)
• Drive: 90
• Bass: 50
• Mid: 55
• Treble: 72
• Presence: 70
• Channel Volume: 50

Pedals and Effects:

• Screamer: Bass 55, Tone 70, Treble 65, Drive 20, Output 80
• Parametric EQ: Lows 50, Highs 50, Frequency 60, Q 50, Gain 40
• Delay: Settings vary based on the song and used mainly on leads

**The overdrive, parametric EQ, and delay for leads for the same that I use for Treadplate (or at least similar)…this is the case for most of my metal tones.

First Metal Album Recorded Using the POD HD500

Well, I don’t know if this is the FIRST metal album using the POD HD500 for guitar tones, but it was used on my first album!

I released Apocalyptic Dreams in 2013. This is an instrumental metal album with a classic metal style. There’s plenty of riffs and chunky palm muting, so I needed that clarity and needed a tight guitar tone.

At the time, the HD500 was what I had to work with. And having my studio in our small apartment back then, it was a feasible option.

What tone did I use for Apocalyptic Dreams?

You guess it…the Angel FBALL (same settings and all that you read about above!).

You can buy/listen to Apocalyptic Dreams below…

​

Listen to Apocalyptic Dreams

• • Apple Music
  • Spotify
  • Amazon Music

HD500 Brit J800 Hard Rock Tone

I like Marshall amps but I don’t love them. Yes, I know, that’s total blasphemy.

They’re great for hard rock tones, and of course there are a few old school metal bands that use or have used them (Megadeth and Slayer use Marshalls, and Hetfield had a modded Marshall he used for Metallica’s first two albums).

But I’ve always been more into the tones from ENGL, 5150/6505, and a few other amps for metal. However, when it comes to rock or hard rock tones, it’s tough to beat a Marshall.

It was no surprise that I didn’t care much for the Line 6 POD HD500 Brit J800 at first. However, for some reason I decided to spend some time tweaking the settings.

When I recorded the song that you’ll hear in the video below, I was blown away by the overall mix and how good the Brit J800 sounded!

There was a trick I used, and once I learned this trick, I’ve used it on every single song and album I’ve ever released.

It’s typical for me to record two rhythm guitar tracks and hard pan each one. But this time, I made some subtle changes to the second rhythm guitar tracks. Nothing major, just moved the EQ here and there, and maybe the mic placement.

Once I did that, the two guitars sounded like the Heavens opening up in my studio.

HD500 Brit J800 Video

**Compare the HD500 J800 to the BIAS FX Snake’s Lead tones in this post: BIAS FX Metal and Rock Tones

Brit J800 Settings

My Brit J800 amp settings below are for one rhythm track (the one panned hard left).

I do give you the mic I used for the second rhythm guitar. But you can mess around with the EQ to make more changes if you want (mainly to your mids and highs).

Amp and Cabinet Settings:

• Amp: Brit J800
• Cabinet: 4×12 Brit 75
• Mic: 409 mic (57 mic on axis for the other panned rhythm)
• Drive: 90
• Bass: 60
• Mid: 60
• Treble: 72
• Presence: 40
• Channel Volume: 50

Pedals and Effects:

• Noise Gate: Decay 20, Thresh 60
• Screamer: Bass 55, Tone 70, Treble 65, Drive 50, Output 80
• Parametric EQ: Lows 50, Highs 50, Frequency 60, Q 50, Gain 40
• Delay: Mostly leads, some rhythms and the settings will vary

HD500 SOLO 100 Rock/Metal Tone (Crunch and Overdrive)

I’m not too familiar with the actual Soldano amps. And I’ve never been a fan of the processors or amp simulators that have modeled this amp.

I decided to shoot a video with the HD500 SOLO 100 amp out of curiosity. I just wanted to hear it with my style of playing, and in a full mix.

I was pleasantly surprised with this amp, but not so much for the type of metal I play. It’s more of a rock or hard rock tone (that’s why I’m calling this the SOLO 100 ‘Rock’ instead of Metal in the title).

So here it is…my curiosity video!

HD500 SOLO 100 Video

SOLO 100 Settings

In the video, I broke down the amp tones into four parts:

• SOLO Crunch 1
• SOLO Crunch 2
• SOLO Crunch 3
• SOLO Lead (Overdrive)

As the settings are similar between all of these, I’m listing one set below. The core change for the Crunch, or the rhythm patches is the different cabinets and mics used (which are listed below).

Amp and Cabinet Settings:

• Amp: SOLO 100 (Crunch and Overdrive)
• Cabinet and Mic 1: 4×12 Brit 75 with SM57 mic off axis
• Cabinet and Mic 2: 4×12 Greenback 25 with 409 mic
• Cabinet and Mic 3: 4×12 Blackback 30 with 409 mic
• Drive: 71
• Bass: 60
• Mid: 71
• Treble: 75
• Presence: 38
• Channel Volume: 50

Pedals and Effects:

• Noise Gate: Decay 20, Thresh 60
• Screamer: Bass 55, Tone 70, Treble 65, Drive 50, Output 80
• Parametric EQ: Lows 50, Highs 50, Frequency 80, Q 60, Gain 40
• Delay: Mostly leads, some rhythms and the settings will vary

**Cabinet and Mic 3 was used on both the Crunch 3 and Overdrive (lead) tones

HD500 BF Double VIB Clean Tone

This is my absolute favorite clean tone among all amp modelers, effects processors, and software (VST) amp sims…

The HD500 BF Double VIB (such a long name, eh??!).

I assume this amp is modeled after the Fender Blackface Deluxe, or maybe one of the Fender Reverb editions. I’m not certain.

And I will not attempt to compare the HD500BF Double VIB to a real Fender tube amp (you tone snobs would put out a hit on me if I did that!). But to my ears, this amp model is a win.

It also fits perfectly with the many HD500 effects, especially the delays and reverbs. In particular, you get some astounding ambient tones using the HD500 Particle Verb effects (I’ve yet to find anything that replicates this sound, which is why I still own my HD500 unit).

Is this a metal tone? No, but it’s a killer clean tone that would fit nicely in any metal song, like an intro, outro, or breakdown during the song.

HD500 BF Double VIB Video

**There’s also some killer ambient tones I came up with using Positive Grid’s BIAS FX plugin in this post: BIAS FX Clean and Ambient Tones

BF Double VID Settings

You can dial in the exact tones with the settings below. But I do encourage you to mess around with the settings. You can also add an overdrive in front of the amp to get some cool tones.

The effects are also something I suggest you spend adequate time on. There’s some crazy ambient sounds you can get mixing the different reverbs and delays. Just have fun with this one!

Amp and Cabinet Settings:

• Amp: BF Double VIB
• Cabinet: 4×12 Blackback 30
• Mic: 409 mic (57 mic on axis for the other panned rhythm)
• Drive: 90
• Bass: 60
• Mid: 60
• Treble: 72
• Presence: 40
• Channel Volume: 50

Pedals and Effects:

• Noise Gate: Decay 20, Thresh 60
• Screamer: Bass 55, Tone 70, Treble 65, Drive 50, Output 80
• Parametric EQ: Lows 50, Highs 50, Frequency 60, Q 50, Gain 40
• Delay: Mostly leads, some rhythms and the settings will vary
• Chorus

HD500 Brit P-75 Rock Tone

Even though it’s not built for metal, the HD500 Brit P-75 is one of my all-time favorite amp models from the Line 6 POD HD500 for rock or any style of music except extreme metal.

It’s modeled (at least I think) after the Marshall Park amp. This amp has a warmth and subtle punch that I’ve never heard before.

The HD500 Brit P-75 is immensely diverse as you can go from a hard rock to softer and more gritty guitar tones. I also think the Brit P-75 amp sounds more realistic to a real amplifier than any of the other HD amp models.

HD500 Brit-75 Video

Brit P-75 Settings

For my Brit P-75 Rhythm I crank the amp’s gain and include the HD500 tube screamer model, a noise gate, parametric EQ, reverb and delay.

My Brit P-75 lead guitar tone is pretty much the same with more amp gain and I include a 2nd Screamer pedal. The gain on the tube screamers are low to mid-way. The Screamer seems to clean up the tone and also adds some punch.

For all of the tones I’m using the 4 x 12 Blackback 30 cabinet model (same cab I used in my clean tone above). I also demonstrate a cleaner tone with this amp which sounds really nice.

I don’t use a tube screamer sim on this one and the amp’s gain is only at about 20%. This tone with the bridge pickup gives you a nice warm guitar tone.

The most important piece is probably the mic which I’m using the Dynamic 409 mic model. The Brit P-75 sounds good with the 57 On Axis and 57 Off Axis mic models but the 409 condenser mic gives it a darker tone, which is what I prefer as opposed to the brighter and hissy tones, and the 409 mic also seems to make the notes more pronounced and cleaner.

Amp and Cabinet Settings:

• Amp: Brit P-75
• Cabinet: 4×12 Brit 75
• Mic: 409 mic (57 mic on axis for the other panned rhythm)
• Drive: 70
• Bass: 56
• Mid: 74
• Treble: 74
• Presence: 30
• Channel Volume: 50

Pedals and Effects:

• Noise Gate: Decay 20, Thresh 60
• Screamer: Bass 55, Tone 70, Treble 65, Drive 50, Output 80
• Parametric EQ: Lows 50, Highs 50, Frequency 80, Q 60, Gain 40
• Delay: Mostly leads, some rhythms and the settings will vary

**For LEADS, I boosted the gain, bass and mids, and I also used two tube screamer sims with the same settings to give more sustain.

7 String Guitar Metal Tone with HD500

Several years later, after my POD HD500 had collected much dust, I was curious to hear what it would sound like with my 7 string guitar.

The 7 string is an ESP E-II Horizon FR-7 with EMG707 pickups.

I’m using the Angel F-BALL amp in the video below, and the settings are the same as in the Angel FBALL Metal Tone section (scroll up a ways and you’ll find it, or just go to the top of the page where the menu is and click on Angel FBALL Settings).

The style of the song I’m playing is melodic death metal. It’s actually a song from my album called Masterpeace. ​

Is the HD500 worthy of 7 string melodic death metal tones?

Well, it’s certainly not my favorite for 7 string metal, but I want you to check it out and let me know what you think…

HD500 7 String Metal Video

What is the Best HD500 Amp for Metal?

For metal tones, by far the HD500 Angel FBALL wins. You have to understand that I’ve spent relentless hours programming and tweaking tones for every rock and metal amp in the HD500 amp modeler.

I’m willing to bet you’ve spent your fair share of hours tweaking tones too! It’s the nature of our metal beast!

So what makes the Angel FBALL so special and outshine the others?

Here’s my list…

• Clarity of the tone – every note is pronounced
• Tightness of the tone (it even sounds decent without the screamer stomp box in front of it, though I still use it)
• Easy to dial in a good tone
• Doesn’t need any additional effects or EQs to sound good
• Sits very well in the mix

Now the one downside I found to the HD500 in general is its ability to sustain notes. The notes fade out much faster than if you were playing through a real amp (or some of the modern software amp sims).

I would imagine that Line 6 enhanced this in their future releases of the HD500X and Helix, though I’ve never played through any one of these.

The ultimate question is can you dial in a good metal tone with the HD500?

Where ‘good metal tone‘ is extremely subjective, I believe you can. And if it’s all you’ve got, I say use!

Don’t let your talent go to waste just because you don’t have or can’t afford the latest and greatest gear!

There have been MANY excellent albums recorded with mediocre gear…and just as many (if not MORE) crappy albums made with expensive, premium gear. So just let that set in.

In fact, I recorded my first studio album using the HD500 as my core guitar tones, which you’ll read more about below. You can also learn more about Line 6 products on their website here: https://line6.com/

More Tips for Dialing in HD500 Metal Tones

I hope you enjoyed reading about my HD500 metal guitar tones! I encourage you to plugin these settings and see how you like them.

If nothing else, my HD500 tones and settings will give you a good starting point to create your own metal tones.

Here’s a few final tips in using the HD500:

• Start out with all settings straight up the middle and made subtle changes from there as you test the sound.
• Play around with different cabinets and mics.
• Too many stomp boxes and effects may clutter your tone, so ‘less is more’ for HD500 metal tones.
• Use a little gain on the screamer/overdrive to tighten up the tone (the ‘0 gain’ as you may use with a real tube amp doesn’t work too well with the HD500…you need a little more punch).
• For leads, boost your mids, add more gain, and consider adding a compressor (this may sound par for the course, but it’s especially crucial with the HD500 as it does lack sustain).

Now go dial in some metal tones!

Keep it Metal,

Jason

The post POD HD500 Metal Tones appeared first on Jason Stallworth.

You’ll also learn why I believe the Fender Mustang IV is the absolute best modeling amp in its class.

Why I Bought the Fender Mustang IV Modeling Amp

I want to share a little background on what made me choose this amp in the first place. This is gonna sound strange coming from a seasoned guitarists (since 1990) but I hadn’t owned an amp in years before picking up the Fender Mustang IV. 

At this point in my life I was not in a band and was set on working in my own home studio writing and recording my own music.

So I technically didn’t need a huge tube amp.  

I had been relying on my KRK studio monitors and headphones for output and was using my POD HD500 and several VST plugins for tones.

Again, I wasn’t playing live so I didn’t see the need for a guitar amp.

However, I got tired of having to connect my computer and pull up the software when I wanted to just jam or practice. I wanted the freedom to be able to simply plugin and start playing.

I had played through this amp a couple of times and of course most of the tones I thought were amazing for cleans and rock/hard rock. This was good enough for me to use for practicing.

And to me, the Fender Mustang blows away all other amp modeling amps in its range. One of my good friend’s wanted to sell his and gave me first dibs, so I picked it up and couldn’t be happier.

Metal 2000 Tone: Fender Mustang IV

There are two points I’d like to make specifically about the what I’m about to share with you…

1. You’re going to get 2 videos below for the Metal 2000 tones.
2. I’m going to give you a LOT of details about playing through this particular amp model (because it’s just that awesome).

This is my first video on the Fender Mustang’s Metal 2000 amp tones. I understand this is amp modeling with a variety of tones but I really didn’t expect it to have a good amp model for metal.

I was extremely surprised (and extremely happy) when I plugged in and start dialing in my tone using the Metal 2000.

Here’s my first Fender Mustang IV Metal 2000 video (video 2 and settings will follow below)…

Metal 2000 Video 1

Metal 2000 Video 2

I didn’t expect to do any more videos or tone demos for this amp. Lo and behold, almost four years later, here we are…another video!

I really dig the Metal 2000 amp for, well, metal (duh, right??)! 

I guess what made me want to put something else out there is I play through this amp on a regular basis for practice, which I attempt to practice everyday. 

And this is the amp I pull up every single time. 

The difference with Video 2 is I felt like I got a better recording for this video, thus giving you a better demonstration of the what this amp can do.

Metal 2000 Settings

First let me go over how I recorded the Metal 2000 tones you’re hearing in the video.

I used the Shure SM57 mic snug up against the speaker. I had the mic placed about an inch to the right of the cone. This gave me a slightly darker tone, which is what I prefer.

I recorded the track using my Presonus Studio One Pro 2 software and the mic was run into my Presonus AudioBox USB interface.

My settings are fairly simple with pretty much amp or amp model I use. I learned a long time ago to not over complicate things when it comes to tones and amp settings.

I’d rather spend time practicing, writing, and recording my own music going through the chaos of searching for the perfect tone that doesn’t exist.

Metal 2000 Amp Settings

• Gain: 6 (for leads, about 8)
• Bass: 5
• Mid: 4 (bumped up to 5 for leads)
• Treble: 7
• Presence: 7
• Stomp Box Settings
• Tube Screamer Model – Level: 7, Gain: 2
• Delay for leads

More Metal 2000 Tone Notes

The Metal 2000 amp model has a ton of saturation but it’s a very clean distortion. You can distinguish each note as the tone is not muddy.

I’m not sure what this is modeled after but to me it sounds like a mixture between an ENGL and Peavey 6505.

I’d say it’s closer to the Peavey 6505 (or possibly the later EVH 5150 III).

The rhythms are extremely tight on this amp and the sustain is there

My lead and rhythm tones for the Metal 2000 amp are pretty much the same. For my leads I add a little more gain and I bump the mids up just a hair.

The lead tone on this amp soars and you can milk notes all day. Keep in my I’m playing at a volume of anywhere between 1 and 2 (maybe 3 when miking the amp to record).

The clarity of the notes is amazing, especially with the amount of saturation. Many amps have that problem of loss of clarity with increased saturation, which convinces me even more that Fender had the 6505 amp in mind when they created the Metal 2000 amp model.

American 90s Tone: Fender Mustang IV

I’m not certain what the Fender Mustang IV American 90s amp is modeled after. But if I had to guess, I’d say a Mesa Dual (though I could be wrong). 

Either way, the tone is tight and your notes are pronounced with this amp model. It’s built for metal music, but could also be used for most any rock-style of playing with the gain backed off. 

Here’s my demo of the Fender Mustang American 90s amp in the full mix…

American 90s Video

American 90s Settings

I also recorded this amp with the Shure SM57 mic going into my Presonus AudioBox interface (using Presonus Studio One Pro recording software). 

I recorded my usual two rhythm tracks and hard panned each. The lead track is up the middle. 

The settings I used for the American 90s are almost identical what I used for the Metal 2000 amp model. The core difference is I use a bit more gain with the American 90s.

American 90s Amp Settings

• Gain: 7 (for leads, about 8-9)
• Bass: 5
• Mid: 3 (bumped up to 5 for leads)
• Treble: 7
• Presence: 7
• Stomp Box Settings
• Tube Screamer Model – Level: 7, Gain: 4
• Delay for leads

Brit 80s Tone: Fender Mustang IV

This is the 2nd video recording I did for the Fender Mustang IV; the Brit 80s model. I have to assume this is modeled after a Marshall amp, given the tones I’m hearing.

As my personal style is more metal, I didn’t mess around too much with the Brit 80’s model at first. In fact, I almost didn’t bother with the Brit 80s at all!

I’m glad I did, because once I decided to dig in a little, it didn’t take much time at all to dial in a solid rock and roll tone – a tone that I was floored by (and you’ll hear it in the video below). 

Brit 80s Video

Brit 80s Settings

I found the Brit 80’s amp model doesn’t have a lot of saturation, which I guess is expected. It does hold a decent sustain and the overall quality of the tone is superior to any other modeling amp I’ve heard for rock and hard rock tones.

I also like the fact that if you back off the gain a little on the amp you get a nice, full crunch tone. This is perfect for parts of songs that don’t require as much distortion and also for those bluesy leads.

Actually, I was more impressed with the recorded tones I heard during playback than I was with the actual tone I hear when I play. I didn’t use any post processing EQ or compression.

It’s the raw tone coming from the Fender Mustang IV Brit 80s amp model. I do think the mic placement made the tone a bit darker (which is what I lean towards in all my tones; I’m not a fan of those super bright guitar tones).

Brit 80s Amp Settings

• Gain: 7 (for leads, about 9; for softer stuff, about 4)
• Bass: 6
• Mid: 5 (bumped up to 5 for leads)
• Treble: 7
• Presence: 5
• Stomp Box Settings
• Tube Screamer Model – Level: 7, Gain: 4
• Delay for leads

65 Twin Tone: Fender Mustang IV

Are you ready for one of the most beautiful, sparkling clean tone you’ve ever heard? Welcome to the Fender Mustang IV ’65 Twin model (almost sounds like I’m shooting a commercial!). 

Of course we wouldn’t expect anything less from a Fender amp, whether it’s a tube, solid state, or modeling amp. 

There is a warmth that you get with a tube amp that the Fender modeling amp doesn’t capture (after all, it is a solid state amp). But I challenge you to sit back and just listen to the sound and tone of this amp model.

And if you can record this, that’s even better. I think you’ll be amazed by the tones you hear!

65 Twin Video

65 Twin Tone Settings

My settings below are like all of my Fender Mustang IV amp settings – extremely simple. 

You can add the sine chorus effect with some reverb  (I’ve listed those settings below as well) for a spacious ambient sound. 

65 Twin Amp Settings

• Gain: 4
• Bass: 7
• Mid: 5.6
• Treble: 6.6
• Reverb: 5.5
• Sine Chorus
  • Rate: .62Hz
  • Depth: 1.8
  • Delay: 1.8
  • Phase: 5.5

7 String Metal Tone with the Fender Mustang IV

So far you’ve learned that the Fender Mustang IV modeling amp can handle everything from clean to rock, to metal tones. But what about extreme metal, such as metal played with a 7 string guitar? 

There was only one way to find out, and that was to record the tracks in a full mix.

You see, it’s one thing to plug into an amp and jam or practice, or whatever. Sure, you may dial in a tone you’re happy with in the room. But the true test is how it sounds in the mix!

I miked up the Fender Mustang IV with my Shure SM57 mic, and plugged in my 7 string guitar.

*This was when I had the LTD MH-1007, before I got my ESP E-II Horizon FR-7. 

When you to this, ask yourself…

• Are the tones tight?
• Do the notes have clarity?
• Are there any issues with the frequencies? 
• How does it sound in the mix?

7 String Video

Song Recorded with Fender Mustang IV

In the world of effects processors and amp modeling plugins, I wanted to record a song using a live amp. And I’m not talking about using the direct out either.

So I threw my Shure SM57 mic in front of the Fender Mustang IV (same as in the videos you heard above) and started recording tracks for a single I wanted to release.

This is a rock instrumental called ‘Christmas Presence.’ 

LISTEN below and hear how awesome these rhythm tracks came out…

**Make sure you add Christmas Presence to your Rock instrumental and Christmas/Holiday playlists!

Final Thoughts on the Fender Mustang IV Modeling Amp

I originally intended to only use the Fender Mustang IV as a practice amp. But who knew I’d actually end up using it to record a song that I would release professionally.

One thing I’ll add about the Fender Mustang IV amp in general is it encourages me to play and practice more. If you have a crappy tone, even if it’s just for practice, you’re less likely to pick up your guitar. And I’m inspired just about every time I sit down and play through this amp.

**You can read more about the Fender series of modeling amps on their website here: https://www.fender.com/pages/modeling-amps

Like I said in my first Fender Mustang IV video for the Metal 2000 amp model, I’m amazed by the tones that come out of this amp.

And let me be clear about something in regards to amp models; I’m not looking for an amp model to sound exactly like the amp it’s supposed to be modeled after. Really, I could care less. As long as I like the tone I hear coming out, I’m happy.

Keep it Metal,

Jason

The post Fender Mustang IV Metal Tones appeared first on Jason Stallworth.

You’re going to get every detail and setting I used to create your POD XT Live metal tones. Trust me, this is going to save you a lot of time and headache! 

You’re also going to experience the natural progression of metal tone creation as I’m giving you 3 different tone scenarios below. And each scenario includes a full video tutorial so that you can hear these metal tones in action! 

**If you want to hear m HD500 tones, go to this post: Jason’s HD500 Metal Tones

POD XT Live Metal Tone I: My First Usable Rhythm Tone

I’m sharing what I consider the first usable XT Live metal tone that I dialed in. So I suggest starting here by using the amp and mimicking the below settings. 

As I mentioned, it took me several days of playing through different amps to get a decent tone. 

TIP: The stock settings on the POD XT Live suck! So don’t judge the unit by those settings.

You do have to play around with this thing. It’s time consuming…but that’s why I made this post for you! So start with my settings below…

I applied these exact EQ and effects settings to 3 different amps with the XT Live, which are listed below. 

Although you have several choices for cabinets, I kept going back to just the one cabinet. I think most agree that cabinets were not the strength of the POD XT Live (or any amp/effects processor of that era). 

All of the below settings are specific to my metal rhythm guitar sound. You’ll learn about my lead tones in Part II.  

Metal Tone I: Details and Settings

Amp(s):

• Lunatic
• Treadplate
• Spinal Puppet

Cabinet and Mic:

• Treadplate 4×12
• SM57

Amp and EQ Settings:

• Drive: 7.5
• Bass: 8
• Mid: 3.5
• Treble: 7.5
• Presence: 7.5
• EQ Band 1: 2.8/255
• EQ Band 2: -2.2/310
• EQ Band 3: -2.6/3.8k
• EQ Band 4: 1.2/1.2k
• Compressor: Threshold -9dB, Gain 0dB
• Noise Gate: -48dB, Decay 2%

Stomp Box – Tube Screamer:

• Drive 9
• Gain 5
• Tone 5

** I used the FX Killer Stomp Box with the Spinal Puppet amp

POD XT Live Metal Tone II: Lead Tones

Now you know how to dial in a metal tone for rhythm guitars with the POD XT Live. It’s time to give you the lead tone!

There are only a few differences between my rhythm and lead tones:

• I only use the Spinal Puppet amp for leads
• The mids are turned up a bit more for leads
• I use some delay for leads

The reason I chose the XT Live Spinal Puppet amp for guitar solos is because it cut through the mix better than the other amps. 

It’s somewhat protocol for me to boost the mids and use delay on my leads. 

Metal Tone II: Details and Settings

Amp:

• Spinal Puppet

Cabinet and Mic:

• Treadplate 4×12
• SM57

Amp and EQ Settings:

• Drive: 7.5
• Bass: 8
• Mid: 6
• Treble: 7
• Presence: 6
• EQ Band 1: 2.8/255
• EQ Band 2: -2.2/310
• EQ Band 3: -2.6/3.8k
• EQ Band 4: 1.2/1.2k
• Compressor: Threshold -16dB, Gain 0dB
• Noise Gate: -67dB, Decay 0%

Stomp Box – Classic Distortion:

• Drive 8
• Gain 5
• Tone 5

Stereo Delay:

• Time: 470MS
• Offset: 75%
• Mix: 30%
• Feedback Left: 50%
• Feedback Right: 50%

POD XT Live Metal Tone III: Holy Grail of XT Live Metal Tones

This is where it all came together, and it’s what I deem as the HOLY GRAIL OF METAL TONES for the Line 6 POD XT Live unit. 

You’ll notice right away the amps are what you’ve seen in the first two sections. 

In short, I went with…

• Rhythm Tone: Treadplate
• Lead Tone: Lunatic

There’s no major differences in the EQ settings or effects. However, just a few slight tweaks here and there made a world of difference, at least to my ears. And I’m going to share them with you below…

Metal Tone III: Rhythm Settings

Amp:

• Treadplate

Cabinet and Mic:

• Treadplate 4×12
• Condenser 

Amp and EQ Settings:

• Drive: 6
• Bass: 5.5
• Mid: 4
• Treble: 6.5
• Presence: 3

Metal Tone III: Lead Settings

Amp:

• Lunatic

Cabinet and Mic:

• Treadplate 4×12
• Condenser 

Amp and EQ Settings:

• Drive: 7.5
• Bass: 5.5
• Mid: 6.5
• Treble: 6.5
• Presence: 3

POD XT Live Clean Tones: Blackface

Alright, so you’ve got a good dose of metal tones here but what a POD XT Live clean tone? 

I’m going to show you how easy it is to dial in a close-to-perfect clean guitar tone below using the XT Live’s Fender amp sim (this is either modeled after the Fender ’65 Deluxe or Twin Reverb amp). 

This clean tone fits perfectly with metal songs like

‘Welcome Home (Sanitarium)‘ or ‘One‘ – Metallica

‘Watching Over Me‘ – Iced Earth

Here’s your POD XT Live clean tone for metal songs (I guess it could be for non-metal too!)…

XT Live Blackface Tone: Details and Settings

Amp:

• Blackface 

Cabinet and Mic:

• Blackface cab
• Condesner 

Amp and EQ Settings:

• Drive: 6
• Bass: 6
• Mid: 5.5
• Treble: 6
• Presence: 5.5

Stomp Box – Sine Chorus:

• Chorus Rate: 3.67Hz
• Depth: 60%
• Mix: 52%
• Bass/Treble: 50% (for both)

Stereo Delay:

• Time: 480MS
• Offset: 50%
• Mix: 40%
• Feedback Left: 38%
• Feedback Right: 50%

Did I Use the POD XT Live Metal Tones for an Album? 

I bought the Line 6 POD XT Live used back in 2009. My intent was to use this for my first professional album release. 

Apocalyptic Dreams

Apocalyptic Dreams was released in December, 2013. It’s all instrumental with a classic metal style filled with heavy guitar melodic riffs and solos. 

Cranking up a tube amp was not an option as we were living in a small apartment back then. Even if your neighbors like metal (which most probably do not), they still don’t want to hear power chords and shredding over their TV shows they’re trying to watch. I get it.

I was actually a bit disappointed when I first plugged in the XT Live. The stock settings sounded like total crap! But I didn’t give up…

I was finally able to dial in some decent tones, especially when I got to ‘Metal Tones III’ above. 

In fact, I recall putting on Megadeth’s ‘End Game’ album and comparing that to my XT Live tone…they were extremely similar!!!  

But at the end of the day, I didn’t use the POD XT Live for my album (which I later released in 2013). I ended up upgrading to the POD HD500, and sold the XT Live. Who knows where that thing is now??

Final Thoughts: POD XT Live – 2nd Generation Amp Modeling and Effects

It was an exciting time for amp modeling and effects processors when the POD XT Live was released. There was a newfound feasibility of getting decent metal tones at lower volumes, and this brought on new possibilities for the home studio musician (like myself).

Prior to the XT Live, Line 6 had become quite famous for their PODs (those small bean shaped devices). The XT Live gave us more processing power with better sound amp modeling and effects. 

Of course not every guitar player was happy with this concept. You have your ‘purists‘ who claim nothing could replace a real amp, or rather, a real tube amp. 

I totally get that. But I also appreciate the leaps and bounds we’ve made through technology is pursuing other solutions, especially for recording and getting decent tones at lower volumes. 

And now we have an array of amp modeling units and effects processors that are being used in recording studios such as the Line 6 Helix, Axe FX, and Kemper. Not to mentioned the software-based amp sims like Amplitube and Positive Grid (BIAS FX and BIAS Amp 2). 

In regards to tone, at the end of the day it’s all about what sounds good to your ears. More importantly, it’s about what sounds good in the mix. Whether that’s an amp that’s miked with an SM57 or a processor or software is somewhat irrelevant. 

Keep it Metal,

Jason

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