Have stripped down versions of effects, so DSP is not consumed for features that aren't often used. For example, have a Parametric EQ without the "lows" or "highs" shelves and have a delay without tone controls.
Have lower quality versions of effects, such as a reverb that uses the same DSP as most effects.
Separate the amp and cab blocks, so you can route 1 amp to 2 cabs or 2 amps to 1 cab - this should use up much less DSP.
If it will use less DSP, make mono versions of the stereo effects. This could particularly help with the Reverbs.
Top of Wish List
I. Devkit
Create a devkit for the community and developers to create their own firmware. I envision there would be two API's. One would be used to create and compile amp models or effects - anything that would be used to process the audio signal(s). This API would compile this code down to machine code and wrap it in an information and interface layer (to access data about the object and manipulate accessible parameters) used by the other API. The other API would handle the system-level functionality of the unit, including manipulating the display, controlling how footswitches and other user input are handled, routing audio signals, placing audio-processing-elements in the signal chain, etc. If done properly, Line 6 would not have to divulge its existing amp models' and effect models' code beyond at a machine code and interface level; but it would provide enough power to developers to implement all the requests listed above.
Top of Wish List
XII. Effects
A. Preferred Effects
i. Chorus
ii. Flangers
iii. Compressors
iv. Reverb
v. Delay
vi. Pre-EQ
B. Dialing in the Flangers
C. Substitutes
D. Ordering
I'm not a huge effects guy, but I had to learn a few things to really dial in some patches, and I thought I should share.
A. Preferred Effects
These are my personal preferences for certain types of effects, with why I prefer them.
I. Chorus
Analog Chorus - Good traditional chorus sound. Just be aware that it only affects one side of the stereo spectrum. If you are running mono, be sure to place a mono effect behind this to force the sound to sum to mono. Don't put this in one of the two channels in the path split, then pan that channel hard left/right in the mixer.
Dimension - Great modulation tone. Despite lacking configurability, it seems to give me the tone I want from a Mod unit. Also it takes up very little DSP.
Pitch Glide - Yes, Pitch Glide. Turn the expression controller off for the pitch, and set pitch to +/- 0.1. Now you're just getting a slight detune effect, which is the same thing as a chorus (although a real chorus actually modulates the amount of small pitch shift). Some prefer this tone to the true chorus effects. I think it's a great tone, but I can rarely justify the DSP consumption.
Top of Effects
Ii. Flanger
AC Flanger - Honestly, this is the only flanger I use. It needs to be specifically dialed in to sound right (See Below).
80A Flanger - Good but not great. Easiest to dial in and instantly get that flanger sound, but a bit dark and really messes with your tone.
Analog Flanger - According to the model gallery, this is a variation of the AC Flanger.
Top of Effects
Iii. Compressors
Tube Comp - This is the only compressor I like. It is very transparent to the tone, but offers a nice compression. It can squash a clean tone or thicken up a distorted tone. The other compressors tend to kill your pick attack, or do something funky to the tone.
Top of Effects
Iv. Reverb
Spring Reverb (Either one) - Most lush-sounding reverb in the Pod, but a high DSP price.
Hall Reverb - This is my go-to. Great tone and natural decay. It's also mono wet, stereo dry, so you get stereo bleed via the effect, which I find sounds nice, but may be a dealbreaker if you're running dual outputs.
Room Reverb - Similar to the Hall Reverb but not quite as nice and its hard to get the decay to sound completely natural. True stereo effect, though.
Plate Reverb - Pretty good and basic reverb sound. Maybe less expensive DSP-wise than Room Reverb?
Top of Effects
V. Delay
Digital Delay - I like my delay to sound simply like delay. Here it is in full transparency. However, to make it sound more like a real echo, turn the treble down a hair.
Digital Delay w/ Mod - If I can't fit a Mod effect due to DSP constraints or I want a very subtle mod in the tone, I like this effect.
Echo Platter Dry - This is what I use if I want to let the delay shape the tone a little. This effect warms it up a bit.
Stereo Delay - If I wanna sound 80's.
Ping Pong Delay - I actually dial this in so there's no ping-pong effect, but I like to use it because it takes up the least DSP, allowing me to squeeze in another effect.
Top of Effects
Vi. Pre-EQ
For more on Pre-EQ'ing, see the Amp/Distortion page
Q Filter - I set this as a band-pass with low Q, medium low Mix, and center the frequency around 56%. Somehow it works better than a Parametric EQ. It's eery how well this works to boost an amp.
Line 6 Drive - With a Mids parameter that actually sets the center frequency of a mids-boost, this Distortion effect is equipped to be used as a boost. Find the sweet spot for mids, then compensate with bass/treble.
Screamer - Classic overdrive pedal. Low drive, high output, leave the bass/treble around 50% (don't even exist on the real deal), and slowly increase Tone until you find the sweet spot. I find it's a little scratchier/brighter than the Line 6 Drive, which can sometimes be too much but other times be the extreme sound you want.
Tube Drive - A bit more vintage than the 2 above options.
Mid-Focus EQ - Useful to trim bass to dial out the mud or some extreme high end to make the amp less scratchy or splatty. I use this in addition to one of the other offerings on occasion.
Graphic/Parametric EQ - Either can be used to put a nice hump shape in the frequency response to get that mid-boost you need to get a tight distortion from an amp. The Graphic gives you a bit more ability to shape the low end at the expense of finding a good center frequency.
Wah Pedals - I don't usually use this approach, but some have found luck using a Wah as a filter to dial in a tighter amp tone. I believe the Pod's wah offerings include a mix parameter, so if you keep that low, you won't sound like you're just using a cocked wah.
