Signal Chain and Footswitch Assignments
- Volume Pedal (Exp. 2)
- Synth-O-Matic (FS1) – Used for single note swells, it creates a deep tone and has some really cool sound when it hovers in the mix of an ambient loop.
- Ping Pong Delay (FS2) – This delay is a pretty violent one, I leave it on for all the swells. It really drags out the sound of the guitar and has some cool droning aspects to it as well. Any kind of lead stuff, while using this patch, you more than likely will want to turn this effect off.
- Multi-Head Delay (FS3) – This is a nice subtle delay that adds depth to the sound.
- Analog Delay w/Mod (FS4) – My favorite, dotted 8th note delay! I pretty much leave this on for everything. Tap the bpm in to the song on the tap tempo and have some nice chugs on the guitar mixed with the dotted 8th note delay and you’re basically “the edge” from U2.
- Particle Verb (FS6) – We put this particle verb in front of the other reverbs because it creates a sound dampening effect and allows you to really start to play using dynamics. Do some fast double picking with this while you swell into a note and everyone will think you’re the greatest thing since sliced bread. It’s a very cool way to look at reverb, it can get out of hand so really play simple and build from there.
- Hall Reverb (FS7) – The hall verb is pretty low in the mix so that you don’t have too much of a digital sound. This is an ambient patch, but we have found that if you use too much delay and reverb, it becomes a huge wash (which is cool for some things) and that isn’t always the sound you’re going for. Little is much more. Always strive for that “organic” sound when coming to swell patches and ambient tones.
- Octo Verb (FS8) – This is a brilliant reverb. It adds some really cool undertones to the mix. it’s set pretty low so that it doesn’t get out of control.
- Amp (Class A-15) – This is modeled after the “VOX AC-15”
This patch is made for ear sensory overload. This patch is made to make the masses drool as they listen to it, whilst you’re sitting there saying, “Yeah, I did that, I’m awesome, I’m the best” (to yourself, of course…don’t want people thinking you’re an egotistical narcissist).
In all seriousness this patch is made to really add dynamics to the worship set. It is very good for transitions and behind prayer. We have found that on slow songs it is extremely useful, depth is everything in worship and for ambient styles of music. Make sure you are in control of the sound, don’t let the effects be in control of it. Play simple things and add to it in layers. Little will go a very long way with this patch.
Some of you are reading this and may have no idea what we are talking about when the word “swell(s)” is used. It’s a very easy concept to grasp and one of the most used techniques in ambient and worship music.
It is simple. Have your volume pedal in the OFF position or DOWN position and strum a chord or note and right after you strum that tone “SWELL” the sound into the mix. You are controlling the volume of the note from 0 percent sound to 100 percent sound (or your desired level of sound).
These reverbs, in our opinion, clash very well. They also sound fantastic without each other as well. Meaning that you have a range of reverberation sounds and you’re not limited to just that one sound that sounds good. They all sound excellent by themselves and together, that is the way we designed this patch. Very versatile.
The delays on this patch are all over the place, but that’s what makes it beautiful. I used the dotted 8th delay, not only because it’s my favorite, but for a base sound. You tap the tempo in for the dotted 8th and then add in the other delays for very rhythmic sounds. Play around with them and get used to them before you discard them, step outside of your box.
The amp is set pretty dirty and with heavy bass. We did this because it is the only overdrive sound on the patch. We have found that it is very dynamic to how you play it. Meaning, if you strum hard it plays a thicker or more distorted sound and when you strum lightly it is less of the distorted sound causing sweet clean tones to run about the mix.
Tweaking the patch for your guitar and needs
One thing we’ve noticed about the POD is that the patches can be very sensitive to different guitars and pickup types. We created this patch with an MJT Thinline Tele style guitar with vintage tele pickups. If you’re playing a Strat, Les Paul, or even other std Telecaster, you may need to tweak this patch to get it sounding best.
We first recommend making a copy of the patch, and then editing the copy. Start with the amp settings. Make sure the drive is set so that the amp just barely breaks up if you play really hard. From there, change the EQ to your taste and to your room. The other settings should be fairly universal.
Finally, change the footswitch assignments so they fit your needs and your playing style.