M
ODELED
A
MPS
& C
ABS
:
W
HICH
A
MPS
AND
C
ABS
A
RE
M
ODELED
?
4 • 7
Who. Liberal use of the
Bass
,
Middle
, and
Treble
controls will let you go beyond
the tones that the Fuzz Face could deliver, enabling you to discover your own
unique recipe for those elusive fuzz tones in your head. Just a note: when recording
Purple Haze, Jimi didn’t even use an amp – he just went straight from a Fuzz Face
to an Orange power amp to a 4x12 cabinet. Which is the same sort of tone you
find here....
Tube Preamp -
Not even close to being a guitar amp, but once we got
started, we just couldn’t stop ourselves. The thinking went like this: ‘Once people
get this POD, it’s gonna be so great that they’re gonna wish they could use it for
everything – warming up keyboards, crunching up drums, fuzzing up vocals. We’ve
gotta give ’em something to do that!’ So we did. The
Tube Preamp
Amp Model
lets you warm up any sound source the way producers and engineers often do in
the studio with vintage tube gear. For more “edge” on vocals, try running your
vocal tracks through POD. Or punch up (or munch up) a synth bass track by
sending it through POD and cranking up the drive and EQ controls to suit your
taste. Although this is not actually a guitar amp model, you can even get some
great guitar tones out of it. Also try using it as a direct box for bass. When you do
this stuff, you want to use the
Drive
control like a mix knob on a reverb to control
how much processing you want to hear. You generally don’t want to mix the pre-
POD sound with the post-POD sound because of the comb filtering that results.
Instead, jack the sound source right into POD and then only monitor it post-POD
processing. With the tone controls at 12 o’clock, the EQ is “flat.”
Line 6 Twang
(Hold Tap + Line 6 Clean)
-
This model draws on our analysis of
the '60s Fender blackface Deluxe amps and the '50s Fender Bassman. (It includes
the classic Fender glassy high end, plus the snap and bite of these vintage amps.)
Things don’t really get too crunchy until you get to the top range of the
Drive
knob. The tone controls provide more range than the blackface Deluxe or
Bassman.
Line 6 Crunch #2
(Hold Tap + Line 6 Crunch)
-
This sound was crafted
during our studies of the '68 50 Watt Marshall Plexi. But unlike the Plexi, this
