I have this theory that most people only use a very small portion of their multi-effects units on a regular basis.
But maybe it's just me...

Guidelines for this poll:
- Stick/tapping specific answers only.
- Built in tuners, tap tempo changes, expression pedals etc. do NOT count as "a patch".
-"Regular use" refers to a setting that you would use almost every time you perform, record or rehearse.
- Slight "as you go" tweaks are NOT considered "a patch". I'm looking for permanent settings here (user or presets OK).
- Multiple units still count as "one patch" if used in that context.

I currently use 3 patches on the melody + 1 on bass every time I gig:
- Reverb with EQ (bass and melody side)
- Reverb/Delay with EQ
- As above with slow volume swell

Cheers,
Andy

This should be an interesting poll Andy!

In my band context I use a Line-6 Floorpod Plus on the melody side and use 4 patches total. Two clean patches, one with just reverb and one with reverb and delay. And two distorted patches ... one dry and one with delay, reverb and a slow attack. On the bass side I use VERY LITTLE reverb and mostly EQ and an Ampeg amp simulation from a Line-6 BassPod XT.

When I play solo (currently only at home) generally I just use a little reverb from my sound board on both sides and some EQing, that's it.

I haven't recorded with the Stick yet but I suspect when I do effects will be determined by it's use in the song.

I tend to use very few different sounds. Bass is pure Stickup all the time with some occasional delay added in. On the melody side, I have about three tones that I use a lot and probably about three others that creep in just on occasion.

My "patches" are programmed into my MIDI foot controller and I usually have a patch for each tune I play. Those patches, however, are simply different combinations of the small handful of tones I like to use and the in many cases, the only variable is delay settings (time, feedback, etc).

If you listen to something like "Frantic In Nature", almost the entirety of the tune is looped clean Stick with some delay. That is ... except for the solo part where the distortion gets kicked on.

Glenn

My reasoning for the purchase of the PODX3 Live was that I had NO decent amps or effects-just an OLD SansAmp w/ comp. and chorus thru a mixer and ONE usable melody patch ina Sony GP-5, so I'm just trying to get one or two GREAT bass patches w/ a few nice- but extremely different- guitar amps for melody. Right now I'm just feeling the new gizmo out, so when things settle down, I'll have an update. So I didn't vote- too many variables!

Marty

On my bass side I use a Digitech BSW (mostly on an Octave setting on Stick) and a Phaser. On the Melody side there's a Line 6 Echo Park (mostly set on weird delays) and Digitech Whammy (mostly set on 4th^/5th^ or 2 octaves up.)

I have been using a PODxt on my NS/Stick since I got it. I don't preform, only record so I have a short list of patches that I like. I have two that I have developed for bass parts. The one that I like the most is just a preamp with a little adjustment on the EQ. For melody parts I get a little more carried away. I still like experimenting and developing new tones. However, I still come back to the 4 or 5 tones that I like. It's mostly delay or chorus and/or distortion of some degree. Now that the 10 string has arrived I want experiment with the whole stereo thing, which I haven't even touch on the NS. I want to see what kind of combinations of tones I can get from each side to create a unique tone for a single part.

If you look at whatever sonic environment you are in at the moment as a canvass (live performance, recording, practicing), think about your patches as colors of paint. Especially when you're practicing, try different ones, see how they convey your idea. Sounds can inspire ideas, or they can be a lens through which we present an idea.

When you practice, practice "playing" with all of the colors, especially how they blend when you have different sounds on both sides of the instrument.

The best example of this I can point to from my own work is "Water on the Moon." Each segment of the one-hour piece is really delineated and inspired by a multi-effects patch.

For general use, I'm trying to get down to 2 bass patches, one punchy and one a bit smoother, and two melody patches, one with crystal like chiming (ooer!) and one with rip yer face off distortion.

That will do until such time as I have acquired a vast repertoire that requires extra colour (current projection May 3rd 2034)

Sadly, all four tones are still eluding me.