Getting proper recording-ready tones on a Pod HD

Discussion in 'Recording Studio' started by Rizzo, Aug 27, 2015.

  1. Rizzo

    Rizzo SS.org Regular

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    Hi guys, some sort of poll there: how do you approach the creation of tones exclusively for recording on your Pod?
    I'm used to build practice tones on my FRFR setup, and the good ones are generally feasible for recording, except for some drastic gain reduction on the distortion presets.

    Do you think it is more rightful to build tones directly through headphones?
    Or monitors, maybe? Or check them on all the possible devices?

    Also, do you really chisel at your tone right away on the Pod, with several EQs, or do you prefer to leave it quite raw and do the job afterwards in the DAW?

    Thanks.
     
  2. schwiz

    schwiz Lefty

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    Get your tone setup as good as you possibly can before recording. Crap in, crap out.

    When creating a tone, get the gain to where you would for a live setting, then dial it back 50%. Seriously. It may just be my monitors, but if I record with what sounds like low gain, then play it back, it sounds completely different than the tone (pre recorded). So take whatever amount of gain you think is appropriate and really dial it back.

    My POD HD Pro signal chain: NG -> OD -> NG -> Red Comp -> Engl FBall -> XXL (SM57 off) -> NG
     
  3. Rizzo

    Rizzo SS.org Regular

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    Thanks fellow lefty! So that drastic need of gain reduction was not just a feeling of mine.
     
  4. BeeG

    BeeG SS.org Regular

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    Honestly, I found a tone I liked a few years ago and haven't touched my X3 pro since, but my sound has changed drastically due to myself learning more and more about post-production each time I record so there is a way to do it in the DAW.
     
  5. Great Satan

    Great Satan Hell-o

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    I tend to attack it with eq's post amp to get it where i want, use only monitors generally.
    Some pretty consistent settings i use; Treadplate V30 cab + studio eq on 150hz & 1500hz,
    dial both back (sometimes fully) one for ridding that overwhelming low-end boom and 1500hz for dialing back that harsh high-mid spike from the tread's V30 sound.*

    After the amp but before the studio eq i use a vintage pre, input 45% output 75% which is unity level with minimum distortion (if this module is distorting then turn down chnl vol on the amp, put the vintage preamp before a studio eq then jack up the output knob on the studio eq to compensate) HPF around 70hz or so, LPF at 7.7khz.

    Beyond that mess with knobs and try different pedals for boosting, i use a vetta comp at 50% sens 75% output into a screamer 0% gain, 75% output, 10-35% bass, 50-75% tone & 10% treble (the bass controls the tightness and amount of low-end grind, if you want more gain/low end then turn this up a little).

    Beyond that i might use a mid shift eq directly after the amplifier block, the low mids is good for dialing in extra warmth (or dialing out excess boom even with 150hz cut -11), high mids is good for cutting through if the tone sounds a little flat, highs is good for dialing back if the treble seems a little cutting/harsh and lows is good for tightening the low-end, or adding bass if sounding too midsy.

    I also sometimes use a para eq if i still need further tweakage but not very often (all before vintage pre, after the amp).

    * i find when using blackouts on a 7 string, if you dial these two back fully and set all the Treadplate amp's tone settings to 75 with presence at 0, it nails the Mechanize era Fear Factory tone (especially with those comp+screamer settings i mentioned above when sandwiched by a couple noise gates).
     
  6. Shammas

    Shammas SS.org Regular

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    I try and get as even of a signal as possible, and I generally reference it in a mix if possible or at the very least dual tracked with guitars hard panned left and right like I would in a mix. As close to the final product as possible.
     
  7. Rizzo

    Rizzo SS.org Regular

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    Thanks Great Satan for your tips, I'll experiment.
     
  8. Great Satan

    Great Satan Hell-o

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    Yeah a reference always helps, you'll be surprised how little bass, how midsy or how much they cut out low mids of a tone in the mix (depending on the recording).
    i might re-engineer the same patch two or three times depending on the band i'm looking to emulate (some of my favs so far; Fear Factory, Amon Amarth, Bolt Thrower, Dethklok, Rammstein) as subtle changes can yield wide results.

    Sometimes changing to a guitar with the correct scale length and tuning is all i need to do in order to nail a tone, even using the same patch without any changes.
     
  9. Rizzo

    Rizzo SS.org Regular

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    I found that when double tracking, gritty and very "open" and trebly tones work for better results with a little post EQing in the daw, rather than "refined" tones from the pod that could feel a little muffled at times.
    I mean, I prefer to have a little extra frequencies and then smoothing them by cutting than the other way around.
    Maybe that was just a casualty due to the two tones I compared, but do you agree?
     
  10. kamello

    kamello DESU METARU!

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    You guys really take your time with this thing :lol:

    Personally, I just use a Noise gate, Tube screamer, whatever amp (mostly ENGL, L6 Elektryc, or Uber) and use a Parametric EQ in post amp, barely move the highs and lows knobs to adjust the sibbilance or low-end boom, and set the freq to 79%, Q to 95%, and gain to 30% (to get rid of a nasty high-mid spike that every amp model has)

    If Im playing live or with headphones, I tend to use the XXL with the 57 On Axis mic, but for recording, I just turn the cab sim off and use external IR's






    Don't you feel it lacks dynamics? 2 NG is almst overkill for me in that sense (same with the TubeScreamer + Red Comp setup) Nice for that ultra processed staccato/dj0nt riffing, but terrible for everything else :lol:



    :agreed:
     

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