Bass POD Pro
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Pilot’s Handbook
An in-depth exploration of the revolutionary technologies and pulsing tonal
pleasures that power your Bass POD Pro, plus the insider information on its
optional companion Line 6 foot controllers – the
Floor Board
and
FB4
.
Electrophonic version available at www.line6.com and on accompanying CD. Revision A.
20
PRO
THE BASS RECORDING & LIVE SOUND SOLUTION
BASS POD
DIGITAL SYNC
44.1KHz 48 KHz EXTERNAL
S/H
19 18
6
:
DANISH DRIVER
BASS SYNTH
S/H + DRIVER
S/H + FLANGER
's
5
1
12' s
14
TRON UP
TRON DOWN
GRAY FLANGER
ORANGE PHASE
CABS
AND EQ
MIDI
TO D.I.
APPLY FX
TUNER
MANUAL SAVE
7
A
6
BRIT CLASS A
SILVER PANEL
BRIT SUPER
BRIT MAJOR
LINE INPUT BASS INPUT
3
LARGE PIE
PIG FOOT
's
8
1
RODENT
B
A
C
O
N
BYPASS
(CAB SELECT)
10' s
OCTAVE DOWN
ANALOG CHORUS
DANISH CHORUS
TWEAKCOMPRESS
EFFECT
VOLUME
CHANNEL
15 16 17
10
MOTOR CITY
FLIP TOP
DRIVE BASS MIDDLE TREBLE OUTPUT
SUB DUB
INPUT CLIP
59
13
12
11
SIGNAL
EFFECT SETUPS
Effect Tweak Notes
Bypass n/a Turns off the effects
Octave Down Mix modeled after Boss OC-2
Analog Chorus Range of choruses modeled after Roland CE-1
(MIDDLE SWEEP)(FX LO-CUT)(EQ)(DIG OUT LEVEL) (EQ) (NOISE GATE)(EQ)(CABS AND EQ FUNCTIONS)
010010
*
Eden “David” 4x10
Cabinet Model Based on:
Cabs with 10" Speakers 1979 Ampeg SVT 8X10 Cab
SWR “Goliath II” 4x10
010 010
30Hz 8 KHz OFF 1 KHz+12 OFF ON+0 B +24 B -
CAB MODELS
Danish Chorus Range of choruses modeled after t.c. electronics Chorus/Flanger
Orange Phase Speed modeled after MXR Phase 90
Gray Flanger Range of choruses modeled after MXR Flanger
Tron Down Filter Peak modeled after Mu-Tron III in the “down” position
Tron Up Filter Peak modeled after Mu-Tron III in the “up” position
S/H Speed modeled after Oberheim Voltage Controlled Filter (sample & hold effect)
Hartke 4x10
1968 Marshall 4x12 with “pre-Rola” 25’s
Polytone 1x15 closed back combo
Vox AC-100 2x15
Cabs with 12" Speakers 60’s Versatone Pan-O-Flex 1x12
Cabs with 15" Speakers Ampeg B-15 1x15 closed back combo
S/H + Flanger S/H Speed Sample & Hold meets the Gray Flanger
S/H + Driver S/H Speed Sample & Hold meets the Danish Driver
Bass Synth Decay Inspired by the Boss Bass Synth plus a little extra attitude
Danish Driver Distortion modeled after t.c. electronics Booster Line Driver + Distortion
Large Pie Distortion modeled after Electro-Harmonix Big Muff Pi
Pig Foot Distortion modeled after Hogs Foot
Rodent Distortion modeled after Pro-co Rat
Mesa/Boogie 2x15 (front loaded and front ported)
Fender Bassman 2x15 with JBL’s
1969 Marshall Major 4x15 cab (Yeah, Baby!)
Sunn Coliseum 8028 cab (1x18 + 1x12)
Acoustic 360 cab (1x18 in special folded horn enclosure)
Cabs with 18" Speakers SWR 1x18
28
25 2627
24
23
AMP MODELS EFFECTS / CABS
BASS POD PRO FRONT PANEL
REDUCED SIZE BACK COVER FOLDOUT FOR ELECTROPHONIC PILOT'S GUIDE
ROCK CLASSIC
8
AMP 360
STADIUM
EIGHTIES
POWER
1
CALIFORNIA
JAZZ TONE
ADAM & EVE
TUBE PREAMP
SESSION
PHONES BASS INPUT
4 2
*
AMP MODELS
Amp Model Based on:
Session 1987 SWR SM-400
California 1989 Mesa/Boogie Bass 400+
Jazz Tone 70’s Polytone Mini Brute
Adam & Eve Eden WT-300 (The Traveller)
Eighties Gallien-Krueger 800RB
Staduim Sunn Coliseum 300
Amp 360 Acoustic 360
Rock Classic 1974 Ampeg SVT
Brit Major 1969 Marshall Major
29
Brit Super 1968 Marshall Super Bass “Plexi”
SIlver Panel 1967 Fender “Silverface” Bassman Amp
Brit Class A 1965 Vox AC-100
Motor City 60’s Versatone Pan-O-Flex
Flip Top 60’s Ampeg B-15
Sub Dub When it's time to get ultra-low....
Tube Preamp Tube-based instrument preamp
FLEXTONE: TAP LIT BUTTON FOR TAP TEMPO / HOLD LIT BUTTON FOR MANUAL
* Fender, Marshall, Vox, and other amplifier and effect models are all trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely for the purpose of describing certain amplifier and effect tones produced using Line 6's modeling technology.
Line 6's modeling technology provides POD with a wide variety of sounds and effects modeled after some of the most popular sounds of these classic amps. Line 6, POD, Bass POD, Floor Board, the Line 6 logo, the POD logo, and the Bass POD logo are trademarks of Line 6, Inc.
s
s
a
O
P
r
e
s
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s
e
P
D
More great sounds for your Bass POD will soon be available at www.line6.com
A
Working Man – Rock Classic with Compression (a la Working Man by Rush)
B
Hip Hop – Sub Dub with 1X18 Cab and Compression (a la Massive Attack and Dr. Dre)
C Synth – Tube Preamp with Bass Synth and Compression
D R&B – Motor City with Compression
BANK 1BANK 2BANK 3BANK 4BANK 5BANK 6BANK 7BANK 8BANK 9
A Sleepless In Seattle – Silver Face with heavy Analog Chorus (a la Come As You Are by Nirvana)
B Major Sunshine – Brit Major, 4X12 Cab and Octave Down (a la Sunshine of Your Love by Cream)
C Brit Super – with Compression (a la Fire by Jimi Hendrix)
D Funk – with Tron Down and Compression (a la Bootsy Collins)
B
A Session – with light Compression and Danish Chorus
B Wicked Garden – Adam & Eve with Gray Flanger and Compression (a la Tool)
C Deep Goo – Flip Top with cab modeled after Versatone 1X12 plus S/H + Driver with Compression
D Chili – California with Tron Up and Compression (a la Higher Ground by Red Hot Chili Peppers)
A Eighties – with Danish Chorus (the sound of 80’s Metal)
B Stadium – with full Large Pie (a la Smashing Pumpkins)
C Class Trip – Brit Class A with Compression (a la Day Tripper by The Beatles)
D Major Jones – Brit Major w/ mid boost and Compression (a la Whole Lotta Love by John Paul Jones)
A Growling Mids – Rock Classic with mid boost and Compression (a la New Year's Day by U2)
B Mean Motor City – Motor City with everything on 10
C Sub Dub Fuzz – with full Drive and Compression
D Moody Monk – Jazz Tone with light Analog Chorus (a la Monk's Mood by Thelonious Monk)
A Rock Classic – modeled after a 1974 Ampeg SVT
B Brit Major – modeled after a 1969 Marshall Major
C Brit Super – modeled after a 1968 Marshall Super Bass “Plexi”
D Silver Panel – modeled after a 1967 Fender Bassman Head
A Brit Class A – modeled after a 1965 Vox AC-100
B Motor City – modeled after a 60’s Versatone Pan-O-Flex
C Flip Top – modeled after a 1960’s Ampeg B-15
D Sub Dub – Lo-fi goodness perfect for Electronica, Dance, Hip Hop and more...
A Tube Preamp – for direct recording of non-bass instruments
B Session – modeled after an SWR SM-400
C California – modeled after a Mesa Boogie Bass 400+
D Jazz Tone – modeled after a Polytone Mini Brute
A Adam & Eve – modeled after an Eden Traveler WT-300
B Eighties – modeled after a Gallien Krueger 800 RB
C Stadium – modeled after a Sunn Coliseum
Fender, Marshall, Vox, and other amplifier model designations, and the names of musical artists, song titles and
groups, and effects, are all trademarks of their respective owners, which are in no way associated or affiliated with
Line 6. These marks and names are used solely for the purpose of describing certain amplifier tones produced using
Line 6’s modeling technology. The Line 6 modeling technology provides Bass POD with a wide variety of sounds and
effects modeled after some of the most popular sounds of the classic amps, effects, and artists mentioned here.
D Amp 360 – modeled after an Acoustic 360
Rev A
The serial number can be found on the back panel of your
Bass POD Pro. Please note it here for future reference:
SERIAL NO:
WARNING:
electric shock, do not expose this appliance to
rain or moisture.
CAUTION:
pursuant to Part 15 of FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause
harmful interference, and (2) this device must accept any interference received, including interference that may cause
undesired operation.
The lightning symbol within a triangle means
“electrical caution!” It indicates the presence
of information about operating voltage and
potential risks of electrical shock.
Bass POD Pro Pilot’s Handbook © 2000, Line 6, Inc. Line 6, POD, POD Pro, Bass POD, Bass POD Pro, Flextone, Floor Board, FB4,
AX2, and Amp Farm are trademarks of Line 6, Inc. All other product trademarks are property of their respective owners.
YOU
To reduce the risk of fire or
This equipment has been tested and found to comply with the limits for a Class B digital device
CAUTION:
do not remove screws. No user-serviceable parts inside. Refer
servicing to qualified service personnel.
To reduce the risk of fire or electric shock,
The exclamation point within a
triangle means “caution!” Please
read the information next to all
caution signs.
SHOULD READ THESE IMPORTANT SAFETY INSTRUCTIONS
EEP THESE INSTRUCTIONS IN A SAFE PLACE
K
Before using your Bass POD Pro, be sure to carefully read the applicable
items of these operating instructions and the safety suggestions.
1. Obey all warnings on the Bass POD Pro and in this Pilot’s Handbook.
2. Do not place near heat sources, such as radiators, heat registers, or appliances which produce heat.
4. Guard against objects or liquids entering the enclosure.
5. Connect only to AC power outlets rated 100-120V or 230V 47-63Hz (depending on the voltage range of the unit;
refer to the back panel). Current ratings should be 400mA for the 120V range and 200mA for the 230V range.
6. Do not step on power cords. Do not place items on top of power cords so that they are pinched or leaned on. Pay
particular attention to the cord at the plug end and the point where it connects to the amp.
7. Unplug your Bass POD Pro when not in use for extended periods of time.
8. Do not perform service operations beyond those described in the Bass POD Pro Pilot’s Handbook. In the
following circumstances, repairs should be performed only by qualified service personnel:
•liquid is spilled into the unit
•an object falls into the unit
•the unit does not operate normally or changes in performance in a significant way
•the fuse is blown (replace with 400mA timed fuse for 120V, and 200mA timed fuse for 230V)
•the unit is dropped or the enclosure is damaged
9. Prolonged listening at high volume levels may cause irreparable hearing loss and/or damage. Always be sure to
practice “safe listening.”
CHAPTER 1: Q
UICK START GUIDE
M
ANUAL
? I DON’T N
Register and Get Great Free Stuff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1•1
Get On-line: Line 6 Internet Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1•2
I
NTRODUCTION
Modeling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1•3
Amp & Cab Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1•4
There’s Magic in the A.I.R.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1•5
Let’s Go Out: Model and D.I. Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1•7
ToneTransfer: POD Sound Exchange and Web Library . . . . . . . . . . . . . . . . . . . . . . . . . . 1•7
CHAPTER 2: C
Front Panel Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2•1
Rear Panel Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2•10
CHAPTER 3: S
Live/Studio Mode Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3•1
Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3•1
Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3•2
Re-Amping and Processing Line Level and Non-Bass Signals . . . . . . . . . . . . . . . . . . . . . 3•7
Radiation Alert: Hum Induced by Computer Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . 3•9
EED NO STINKING
: W
ELCOME THE
ONTROLS
ETTING UP IN THE STUDIO
& C
POD...
ONNECTIONS
M
ANUAL
!
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1•1
CHAPTER 4: L
Live/Studio Mode Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4•1
Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4•1
Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4•2
Voicing of the 1/4 Model Out in Live Mode: Tuning POD for your Speaker Cabinets . . 4•5
Pedal Power: Foot Control Options for POD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4•6
POD Takes Over: Using POD as a Front-End for Another Bass Amplifier. . . . . . . . . . . . 4•7
CHAPTER 5: M
IVE SETUPS
ODELED AMPS
& C
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5•1
ABS
CHAPTER 6: B
Deep Editing: Where to Look for More Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•1
POD Onboard Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•1
Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•2
Octave Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•2
Analog Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•3
Danish Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•3
Orange Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•3
Gray Flanger. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•3
Tron Down & Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•4
S & H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•4
S & H + Flanger. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•4
S & H + Danish Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•4
Bass Synth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•4
Danish Driver. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•5
Large Pie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•5
Pig Foot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•5
Rodent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•5
ASS
POD E
FFECTS
CHAPTER 7: C
Using the Manual Mode Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7•1
Using the Channel Program Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7•1
ToneTransfer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7•2
POD Sounds on the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7•2
Swapping POD Channels with Friends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7•2
Edit Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7•3
Customizing Amp Models and Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7•4
Activating Customization Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7•6
Memory Reset: Returning your POD to its Factory-Programmed State of Mind . . . . . . . 7•7
CHAPTER 8: T
Floor Board: The Full-Featured POD Foot Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•1
Getting Connected. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•1
Effect On/Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•2
Banks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•2
Channel Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•2
Manual Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•3
Editing and Saving POD Channels with the Floor Board . . . . . . . . . . . . . . . . . . . . . 8•3
Tap Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•4
REATING
HAT’S USING YOUR FEET
& S
TORING PROGRAMS
CHAPTER 8: T
HAT’S USING YOUR FEET (CONTINUED
)
Tuner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•4
Wah Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•5
Volume Pedal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•5
Effect On/Off Setting Stored with Programmed Channels. . . . . . . . . . . . . . 8•6
FB4: Simple Foot Control for POD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•7
CHAPTER 9: D
MIDI Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•1
What’s MIDI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•1
MIDI In/Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•1
MIDI Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•2
MIDI Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•2
Transferring Sounds Between Bass PODs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•4
Transferring All Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•4
Transferring Some Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•4
Backing Up POD Programs to Other Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•5
Transferring All Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•5
Transferring Some Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•5
Emagic SoundDiver Software for Deep Editing and ToneTransfer . . . . . . . . . . . . . . . . . . 9•6
Other Things You Can Do with MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•7
Changing POD Channels with MIDI Program Changes . . . . . . . . . . . . . . . . . . . . . . 9•7
Tweaking POD Tones with MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•7
Full MIDI Automation of POD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•7
Step-By-Step With SoundDiver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•9
SoundDiver Setup Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•14
EEP EDITING
& MIDI C
ONTROL
MIDI Program Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•2
MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•2
MIDI Sysex Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•3
APPENDIX
A: Amp & Cab Models and Associated Parameters
B: Effect Parameters: Tapping, Tweaking & More
C: MIDI Program Changes
D: MIDI Controls
E: Line 6 Contact: Customer Service & Other Line 6 Products
F: Warranty Info & Instructions for Obtaining Factory Service
Q
UICK START GUIDE
:
“M
ANUAL
DON’T NEED NO STINKING MANUAL
? I
!”
Q
UICK
“M
ANUAL
1. If you’re using your POD for recording, set the rear panel LIVE/
STUDIO switch to ‘STUDIO,’ and connect POD’s 1/4 inch or XLR
outputs to your mixer or recorder inputs, or connect headphones.
2. If you’re using your POD as a preamp into a power amp and
speaker cab(s), set the rear panel L
connect POD’s 1/4 inch Model output (not the XLR output) to your
amp inputs.
3. Connect your bass to the B
switch above the jack to ‘BASS INPUT.’
4. Connect the rear panel P
switch to fire up. (Keep the volume down on your amp or mixer in
case of audible pops at POD’s outputs during power up).
5. Select an A
6. Set the C
to your heart’s desire. OUTPUT LEVEL sets output level. (Clever!)
7. Pick an E
COMPRESS LEVEL so you’re happy with the sound.
8. Browse the pre-programmed settings using the U
Or press the MANUAL button for a “Manual Override” that gives
you where-the-knobs-are-is-how-it-sounds operation.
9. What number 9? You’re already up and running!
S
TART
? I
DON’T NEED NO STINKING
MP MODEL.
HANNEL VOLUME to max and the BASS, MID, and TREBLE
FFECTS setting and adjust the EFFECT TWEAK and
G
UIDE
or:
IVE/STUDIO switch to ‘LIVE,’ and
ASS INPUT JACK and set the toggle
OWER and flip the front panel POWER
P/DOWN arrows.
1 • 1
MANUAL!”
But wait, before you go any further, flip to the inside back cover of this manual and
notice that it folds out. The idea is to have this handy pictorial reference always
opened out while you’re thumbing through the manual. If you photocopy the back
of it, you’ll have a handy template for making a note of your favorite POD
settings. Now then, before you run off....
REGISTER AND GET GREAT FREE STUFF!
Included in this manual is a handy, postage-paid card for you to send back to us to
register your purchase, and let us know a little about yourself. It is
very important
QUICK START GUIDE: GET ON-LINE
1 • 2
that you fill that registration card out right now, and send it to us in the mail or
jump on the internet and register at the Line 6 Support Center – www.line6.com.
How come? Well, for one thing, it gets you all set up for warranty service should
you ever have a problem with your POD. (Warranty info is at the end of this
manual.) It also ensures that we will be able to contact you if new software
versions or other enhancements are offered – cutting edge technology and all that.
GET ON-LINE
Here at Line 6, our mission is to bring powerful new technologies to musicians. As
part of that mission, we focus great effort on making the Internet a valuable
resource for every one of our customers. You may already have surfed the Line 6
site at http://www.line6.com when you were considering your purchase, and
found all the information already there on Line 6 products and technologies.
The Line 6 web site is one of the most effective ways for us to bring you what you
need. Through the Internet, we can give you instant access to all kinds of great,
free stuff to make you and your POD ever more powerful. Like a powerful help
library staffed by our helpful product support experts, handy tips & tricks,
electronic versions of this and other documentation, the latest news of what’s
happening with Line 6 and the products we make for you, and....
Line 6 ToneTransfer and Discussion Forums: Visit the web site, and you’ll
find a powerful way to connect to other POD and Flextone II users. Swap sounds,
get and give advice, and generally hang out and get POD-a-licious, all from the
privacy of your own comfy computer chair!
Already on the Internet? Great! Visit us often and check out the late-breaking
news and the other resources there. Not on the Internet yet? This may be the time
to make the big jump, and thereby ensure that you will get all the great resources
we can offer for you and your POD.
INTRODUCTION: WELCOME THE POD...
INTRODUCTION
WELCOME THE POD...
Thank you for inviting a POD home with you. Whether you use your POD as a
direct recording miracle, a stomp box on steroids, for practice, or as a creative
digital signal processing tool – and heck, why should it be just one? – we think
you’ll agree that POD is about the most amazing thing to happen to electric bass
since the addition of a low B-string. POD mines the tonal heritage of the past forty
years of bass amplifier design and matches it up with the kind of digital signal
processing magic that will still be ahead of its time in the next century.
How does POD help you create tone that is out of this world, and then get that
tone wherever you need it? Easy! It’s…
MODELING
Modeling: just what is it, and why is it so important? (By the way, you sent in that
registration card or did it on the web, right? OK, just checking.)
1 • 3
At its most basic, modeling means making a software-based system that delivers
the same experience as a traditional system based on physical electronics, wood,
and all the rest. Line 6 makes software that captures the heart and soul of the
components of classic amp and cabinet designs, and delivers that tonal heritage to
you in your POD. It all got started a while ago in a Los Angeles laboratory....
The engineers at Line 6, being an adventurous lot, and totally pumped about this
whole tone thing as well, decided to stock up on the coffee, bust out the
engineering equipment, and get down to learning everything there is to know
about classic amp and speaker cabinet designs. Riding high on the caffeine wave,
they began a three-year project to analyze and map out exactly how different types
of tubes, other electronics, and cabinets respond under various conditions typical
of amplifier design. How the amps process an input signal, how the signal is
colored and shaped, at what point it begins to distort, the quality and
INTRODUCTION: WELCOME THE POD...
1 • 4
characteristic of the distortion, the important role speaker cabinets play in
communicating great tone – complicated stuff, but all analyzable as electronic
data. A guitar or bass pickup output, after all, is an electronic signal, and tubes and
the rest of the system are really just a complex form of signal processing.
Having sussed it all out, the Line 6 engineers were then able to apply their digital
expertise to develop software which simulates the signal processing of the tubes
and other electronics, as well as the speaker cabinets, entirely within the digital
domain. Cool, huh?
This revolutionary DSP (digital signal processing) software-based modeling
technology gives Line 6 the power to create super silicon-based life forms like
POD: a tonally mind-blowing, multi-FX packed, shiny wonder box with ultimate
flexibility for creating awesome tone....
AMP & CAB MODELS
This modeling know-how allowed Line 6 to create software Amp and Cab Models
modeled after a collection of amplifiers and speaker cabinets recognized by players
the world over as true “tone classics.” We got these amps and cabs together,
cranked ’em up, and had a look at the electronic data generated by the tubes,
transformers, capacitors, plate and grid voltages, tone control curves – and the
whole mess of components and elements unique to each amplifier design. This
research led to the creation of Line 6’s software Amp and Cab Models. These
models were tweaked up through careful, scientific A/B comparisons to the gear
that inspired them, with an ear open for the effects of different volume levels and
settings of the originals’ tone and gain controls. The gain and equalization
characteristics of the modeled amps were carefully measured so that changes to
amp knobs on the models would mirror the effects of these changes on the
originals as closely as possible. We’re talkin’ major attention to detail here. Tone
control center frequencies, slopes, and cut/boost range were painstakingly
analyzed, and we also carefully attended to the effect of presence switches, “bright”
channels, and other model-specific factors. Not only that, but since these old amps
have highly interactive circuits, we paid careful attention to the way that the
setting of one knob changes the way that another knob on the amp behaves.
All in an effort to make our Amp and Cab Models as much like the amps and cabs
we modeled as possible.
INTRODUCTION: WELCOME THE POD...
The resulting Amp and Cab Models are the foundation of your POD. Now, then –
here are a couple of things we want to be completely crystal clear on:
1. The Line 6 modeling process is a patented, 100% digital software-based
technology exclusive to Line 6.
2. Line 6 Modeling is not sampling, nor is it solid state; no special bass, pickup,
or cabling is needed.
THERE’S MAGIC IN THE A.I.R.
POD delivers its modeling tones through another innovation: Line 6's A.I.R.
direct recording output. The A.I.R. (acoustically integrated recording) technology
is the result of intensive research and careful study of the tonal characteristics
produced by the interaction of amplifiers, cabinets, speakers, microphones and the
recording room during the recording process.
The direct output of many preamps, amplifiers and direct box-style amp
replacements available today offer some limited form of cabinet simulation or
speaker emulation. Those that happen to be more than simple high end roll offs
have little or no control options. These cabinet simulations cannot reproduce the
markedly different tones of different cabinets which arise from the choice of
speakers, wood, and other design elements. They also fail to reproduce the
significant tonal contribution of microphone selection and placement, and do
nothing to reproduce the subtle ambience of the recording space.
1 • 5
The result is the familiar dissatisfaction with direct recording products – even
those that deliver a reasonably usable basic tone fail to reproduce the “life” of the
sound, and destroy the proper feel in the process. Your sound lost its magic.
POD's combination of Amp Models and A.I.R. technology provides superior
direct tones by recreating all the elements contributing to a great recorded bass
sound, and giving you that tone with the same feel as playing through a classic
amp and speaker cabinet:
• The effect of the amplifier electronics is emulated by the Amp Model you
choose. Each model was developed from extensive study of a classic amplifier
treasured as a tone classic.
• In a bass amp, once the signal passes through the electronics, it is output to one
INTRODUCTION: WELCOME THE POD...
1 • 6
or more speakers in a speaker cabinet. The specific design of the speakers, how
many there are, and how they are arranged contributes significantly to your
tone, as does the construction and resulting tone of the wood box itself. An
Ampeg SVT head driving a cabinet with a single 15-inch speaker, for instance,
will sound dramatically different from the same head driving an 8x10 cabinet, or
a cabinet that combines various speakers and a horn. Line 6 has carefully
constructed virtual software speaker cabinets that emulate the contribution
made by real speaker cabinets in the quest for great bass sound.
• Once the sound makes it out of the speaker cabinet, the next important link in
the recording system is the microphone that receives that sound. Bass recordists
select different microphones, and arrange them in different placements, to get
particular sounds. A microphone pointing directly into the cone of a speaker
will hear something different than one positioned off-axis. Line 6 carefully
analyzed the coloring that standard microphones add to the sound, as well as the
effects of different mic placement techniques, and developed a set of cabinet
simulations that give you the tone of great speaker cabinet and microphone
combinations.
• The amp, cabinet, and microphone don't just sit in empty space. The room that
they are in contributes importantly to the sound you will record. Reverb can be
used to capture the basic character of the space, simulating the effect of the
sound reflecting off the room's walls, floors and ceiling. But there are other
subtle details that have more to do with the “spread” of the sound as it passes
through the air between the speaker and microphone. This final component is
the key to the sense that the listener is in one position in the room, and the
sound is in another position, and that the two are separated by a mass of air that
sound spreads through to reach the listener.
All of these important sound-shaping components are accounted for in your POD.
Turn the Amp Model knob to call up the amplifier emulation you want. POD
automatically matches that amplifier with an appropriate cabinet and microphone
setup, and gives you the sound of that setup coming through the air of a recording
space. You can add effects to taste, and start recording incredible mic'd up sound.
The included SoundDiver MIDI-control software lets you use a Macintosh or
Windows computer to do “deep editing” of these and other POD parameters. With
it, you can design your own custom rig, making new combinations of Amp Model
and cabinet/microphone emulation, and adjusting the contribution of the “spread”
of the sound as well.
INTRODUCTION: WELCOME THE POD...
LET’S GO OUT...
While doing the research for your POD, we asked leading bass players and
recording engineers what’s the best way to record great bass tone. Their answer
was clear: You need two tracks, one for the mic’d up amp, and another for a high
quality direct input from the bass. That’s why your POD has two distinctly
different outputs – both serve up great tone, each with its own purpose. Be sure to
get all of the juicy details in Chapter 3.
TONETRANSFER
With your POD, you get a constantly-expanding universe of sounds. We created a
ToneTransfer Web Library for the original guitar POD at www.line6.com –
searchable by artist, musical style, and more. Look for a Bass POD ToneTransfer
library as well, where you’ll be able to grab great sounds or post your own. The
sounds you collect transfer seamlessly between Bass PODs and any Macintosh or
Windows based computer – so wherever you go, all your sounds can make the trip.
AND AWAY WE GO....
1 • 7
So, now that you know what’s in store, it’s time to experience POD for yourself.
Grab your favorite axe, plug in to POD, and flip back to the handy Quick Start
Guide on the first page of this chapter if you haven’t already been through that.
Then, press ahead to the POD Grand Tour....
FRONT PANEL CONTROLS
FRONT PANEL CONTROLS
If you haven’t already done so, turn to the inside back cover of this manual and
notice that it folds out. Ooh, pretty pictures! The idea is to have this essential
pictorial reference always opened out while you’re thumbing through the manual.
And if you photocopy the back of it, you’ll have a handy template for making a
note of your favorite settings. The boxed numbers that pop up throughout the
manual correspond to the numbers on the foldout’s illustrations.
1
Power Switch - Left side of front panel. Flip to bring your POD to life.
2
Bass Input - Right side of front panel. Plug your bass in here. (You techies
will want to know this is a mono, unbalanced connection). There is also a line
level input on the back for use when you are re-amping (processing tracks playing
back from tape or disk), or when you are processing non-bass line level sources.
This is also great for the line level output from many wireless systems. Make sure
you set the...
2 • 1
Input Select Switch - Right side of front panel. This switch selects
3
either the front panel Bass Input or the rear panel Line Input. Pick one.
Phones - Left side of front panel. Plug in your headphones here for silent
4
practicing. Volume’s set by the Output Level knob. The headphone amplifier is
designed to provide hot signals for a variety of headphones. As a result, you can get
very loud output from this connector. Be sure to set levels carefully so you don’t
blow your head off when listening to your POD through your phones.
FRONT PANEL CONTROLS
5
Output - Far right knob in the “knob trench.” Controls the overall output
level of POD. Also sets the headphone level. This setting is not saved when you
store settings into one of the POD’s memory locations. Changing the Output level
2 • 2
does not change your tone. So you can get the tone you want at any volume level.
POD will give the best signal-to-noise ratio performance when you have the
Output level control at max. With the Output level control turned down low, you
may get extra hiss that obviously ain’t what you want. In order to allow you to set
the Output level as high as possible with recording, mixing, and other studio gear,
be sure you are plugging POD’s outputs into line level, not microphone or
instrument level inputs, when you have Studio Mode selected (via the rear panel
switch described in the following pages). Line level inputs should allow you to turn
POD’s Output level up all the way (or close to it) and thereby get the best sound
possible. If your gear has inputs that function as mic/line level inputs, start by
setting the trim for those inputs to the minimum level, and set POD’s Output to
max, when setting levels.
Manual Button - In the middle of your POD. Press this button to light it
6
and activate “Manual” Mode. In this mode, wherever the knobs are set is what
you’re hearing. Move knobs around to change sounds. Or....
Channel Up/Down Buttons - To the left of the Manual button.
7
POD has 36 channel locations (POD is like a 36-channel amp) that store a huge
variety of complete amp-and-effect selections pre-programmed by the tone mavens
at Line 6 to rock your world. They are arranged in nine banks of four channels
each. (The four are called A, B, C, and D.) You can think of each bank as a sort of
virtual four-channel bass amp – and you’ll find that the same layout is used on the
optional Line 6 foot controllers for POD (the Floor Board and FB4) which are
discussed later in their own chapter.
FRONT PANEL CONTROLS
You access POD channels by pressing the Up and Down buttons. Tap either
button to move to the next channel in the bank; press and hold down either Up or
Down button to jump from bank to bank. The Manual button’s light goes off to let
you know you’re not in Manual – the “where-the-knobs-are-is-how-POD-sounds” –
Mode anymore. When recalling a channel, its settings will not be reflected by the
present knob positions – like you may have left the Bass knob at minimum whereas
the just-recalled channel has this control set to max. To change anything, just grab
the knob you want and tweak. More on all that later.
Amp Models - Top left knob on the POD with words all round it. When
8
you spin this knob, it’s essentially like changing what electronic “circuitry” is
running inside POD to make your amp sound. (Also see Modeled Amps and
Cabs in Chapter 4.)
When you choose an Amp Model, a Cabinet Model is also loaded automatically.
For instance, when you choose the Rock Classic model (based on the classic
Ampeg SVT head), a Cabinet Model based on a AMPEG SVT 8x10 will be loaded
with it. You can choose a different cabinet via the Effects/Cab knob (below). In
fact, in your Bass POD, all amp-related settings are automatically loaded when you
turn the Amp Models knob. Drive, Bass, Mid, Treble, Cab, etc. will all be
determined by the Amp Model you choose – giving you a ready-to-rock sound with
the turn of just this one knob. Once you get familiar with POD, you can change
these Amp-associated settings to customize the settings of each of the Amp Models
to fit your tastes. Complete details are coming up in Chapter 7.
2 • 3
Drive - Far left knob in the “knob trench.” This knob controls how hard
9
you’re driving the input of the chosen Amp Model. Like the input volume control
on a non-master volume bass amp, higher settings give you more “dirt.”
FRONT PANEL CONTROLS
Tone Controls - Continuing to the right of the Drive knob... Bass, Middle,
10
Treble. Just like a regular bass amp, only when you change Amp Models, the
response and interactivity of the controls changes, too – to act like the tone
2 • 4
controls of the original amp that inspired the Amp Model you’ve selected.
Chan Vol - This knob controls the relative volume level of the “channel”
11
you are playing through. Use this to balance levels between the sounds you store in
two different POD channels (say between your finger-style and thumb tones). In
general, you want to set the Chan Vol as high as possible to insure you’re getting
the best signal-to-noise ratio performance.
12
Compress - How much compression do you want today? Spin this knob
to set the Compressor level. Since compression plays such a vital role in
successfully recording the bass, we’ve included this awesome sounding
programmable compressor modeled after the legendary studio compressor, the LA2A. Turn the knob up for more compression; at the minimum knob position, the
compressor is turned off. More details in the Effects Chapter.
13
Effect Tweak - This knob varies the effect you’ve chosen. Turn it up and
the effect will go deeper, louder, faster, longer or just plain more. For all the inside
poop, look at the back cover foldout, Appendix B for Effect Parameters, and the
Effects chapter. If you set the Effects knob to Bypass, Effect Tweak will, of
course, not change anything.
14
Effects/Cabs - Top right knob on POD with words all round it. This knob
selects which effect or combination of effects you get (once again, all the details on
effects are in the POD Effects chapter), and also selects which cab model you’ll be
hearing. To choose a Cabinet Model, press the CABS and EQ button first, and
FRONT PANEL CONTROLS
then turn this knob; the available cabinets are labeled in gray around the knob.
Turning the Amp Models knob to choose an Amp Model will automatically select
an appropriate cabinet; you can customize this Amp/Cab pairing, as described in
Chapter 7.
15
Tuner - Button in the middle of POD. Press that puppy and – shazam!
Instant digital chromatic tuner. All POD’s Amp Model and effects processing are
bypassed so you can hear those questionably-tuned strings clearly, should you
choose to do so. Play a note on your bass and POD will show you what it is on that
handy single-character display; all notes are displayed as naturals or flats, so you’ll
see A instead of G . Play that string you’re trying to tune again, spin its tuning key
so it goes sharp and flat, and two little red arrows below the Tuner button will give
you a light show. The arrow on the left lights up if you’re flat. The arrow on the
right lights if you’re sharp. And both arrows will light at the same time when you’ve
got it just right. Give any one of POD’s buttons a push and the tuner disappears just
as swiftly as it came and you’re right back to normal POD operation.
2 • 5
Tuner Volume - You can adjust the tuning volume of your POD by turning the
Chan Vol knob while the tuner is active. When you exit tuner, you may need to re-
set this knob to get the right Channel Volume setting. Alternatively, if you have a
Floor Board connected, the volume pedal will control the tuner volume, too.
Tuner Reference - Want a different reference than A=440Hz? When you’re in
the tuner mode, turn the Middle knob on POD while watching the display. Hey, it
changes! You can set the reference frequency anywhere from 436-445 Hz. This
setting is stored so you don’t have to reset it every time you turn on POD if you
decide you want to be different (or if that piano in your rehearsal room has decided
it wants to be different). Since there’s only one digit in the POD display, all we
display is the last number, so if you set the tuner to reference 441 Hz, you’ll see “1”.
FRONT PANEL CONTROLS
16
Apply FX to D.I. - This button determines if the juicy effects you’ve
programmed will also be heard on the D.I. output. (They’re always heard on the
AMP MODEL output.) More FX details in the POD Effects chapter.
2 • 6
17
Cabs and EQ - When this button’s light is flashing, the knobs of your
POD flip into a Clark Kent-style alternate identity, and you are instantly endowed
with the following super powers:
Cab Model Select (Effects Knob): Make sure the Cabs and EQ button’s light
is flashing, then spin the Effects/Cab knob to select any of the 15 modeled bass
cabinets, or bypass for no cabinet.
Digital Out Level (Drive Knob): Make sure the Cabs and EQ button’s light is
flashing, then give the Drive knob a twist to set the level of your Digital Output.
At the minimum position, no additional gain is added to the digital out; at the
maximum knob setting, 24dB of extra gain is available to insure full range output at
the digital output. Be sure not to turn this TOO high, or you’ll quickly be
introduced to the joys of digital clipping.
Post-Modeling EQ (Bass, Middle and Treble Knobs): This is an extra
parametric-type EQ that can be used to fine tune your POD sounds. Use it to
remove resonant frequencies of a particular bass, or to add that “little extra
something” to your favorite amp model, or you can choose to simply ignore it. In
any case, this is how you get to it: Make sure the Cabs and EQ button’s light is
flashing, then use the Bass knob to select the EQ Frequency, the Middle knob to
select a narrow or broad range of frequencies, and the Treble knob to apply up to
+12db of boost, or an infinite amount of cut. Treble at 12 o’clock turns this EQ off.
FX Lo-cut (Chan Vol Knob): Now, here’s one you won’t see on your run-of-themill effects processor. After countless interviews with bass players, we got the
picture that effects are cool, but must not mess with the fundamental bass tone.
Enter the FX Lo-cut effects crossover. This special feature allows you to send the
higher frequencies to the effects, all the while leaving the all important
fundamental frequencies untouched and free to be felt and heard without
FRONT PANEL CONTROLS
effectification. It’s kinda like serving up your main course (the fundamentals), and
then adding the secret sauce (the effects) as a seasoning – instead of drowning the
whole thing in mayo. Tasty indeed! Make sure the Cabs and EQ button’s light is
flashing, then spin the Chan Vol knob to set the frequency of the FX Lo-Cut. Turn
this knob to minimum for no lo-cut (so your full signal feeds the FX).
Noise Gate (Compress Knob): Your POD includes a built-in noise gate,
intended to reduce the hiss and noise amps tend to put out when you’re not
playing, especially at high gain settings (since high gain means that noise is turned
up along with your awesome sound). To turn the Noise Gate on, make sure the
Cabs and EQ button’s light is flashing, then turn the Compress knob to the
right until it’s past the 1 o’clock position. To turn off the Noise Gate, make sure the
Cabs and EQ button’s light is flashing, then turn the Compress knob to the left
until it’s below the 11 o’clock position.
Mid Frequency Sweep (Effect Tweak Knob): Six of the amps that we modeled
for your POD include some kind of “selectable” or “sweepable” mid control. Our
models just wouldn’t be right if you couldn’t do the same, so “voilà”– your very own
Mid Sweep control! This function only applies to the Adam & Eve, Amp 360,
Rock Classic, Session, Stadium, and Sub Dub models. So don’t be calling our
lovable customer service folks when it doesn’t work on the Flip Top model, okay?
Details of the frequencies that are sweepable can be found with the Amp Model
descriptions in the Amp Models chapter. To do the Mid Sweep magic, make sure
the Cabs and EQ button’s light is flashing, then give the Effect Tweak knob a
twist to dial in the mid frequency of your choice.
2 • 7
Time Alignment (HOLD Cabs and EQ, turn Chan Vol Knob): We’ve got
one more cool tool and no more knobs left. But fear not – where there’s a will,
there’s bound to be some way or other to stumble toward the goal. In this case,
we’re giving you a control for adjusting the time alignment of the D.I. output in
relation to the Model output. A natural consequence of the EQ, modeled tube, and
modeled cabinet and A.I.R. processing is a shift in the phase relationships of
various frequencies in the Model output signal. This is just what you’d get out of a
physical amp, physical speakers, and sound propagating through a physical
recording space. When you combine an unprocessed direct signal with this
dynamically shifting processed tone, it helps to have fine control over the time
FRONT PANEL CONTROLS
alignment of the two signals to ensure that they will blend in the most effective
way. We’ve given you up to 8 milliseconds of offset time for the D.I. to make this
fine tuning. In order to access this time alignment adjustment, you have to press,
2 • 8
and keep holding in the Cabs and EQ button, and turn the Chan Vol knob at
the same time. At the minimum knob position, you’ll have no offset of the D.I.
versus the model; at the maximum knob position you’ve got the 8 milliseconds.
When you release the Cabs and EQ button, the Chan Vol knob will return to it
normal life of setting the Channel Volume or adjusting the FX Lo-Cut. The Time
Alignment setting, by the way, is specific to the Channel you are currently using,
and it will be saved and recalled when you save and recall a Channel memory, just
like the other tone shaping parameters. This way, every one of your sounds can be
optimally tuned for the best Model + D.I. sound combination (as we’ve done for
you with all those juicy factory presets).
Save - When you want to store your own tweaked-up sounds in your POD,
18
this button is the key. Exactly how it works is detailed in Chapter 6: Creating &
Storing Sounds. But you’re probably impatient, so here are the basics:
When you are using one of the pre-programmed POD sounds, the POD’s singledigit number display will be lit, telling which bank you are in – 1 thru 9 – and one
of the channel letters – A thru D – will be lit also. If you turn one of POD’s knobs,
you’ll notice the word “EDITED” will be lit to the left of the POD single-digit
display. This is a reminder to you that you have tweaked the memorized channel,
and that you should save it if you want the memory to remember the tweak. To save
your changes, press the Save button . The button will start to flash. Press the
Up and Down buttons and you will see that you are switching through
memory locations A, B, C, and D in each of POD’s nine numbered banks. Pick
one to store your sound in, and press that Save button a second time. The button’s
light will stop flashing, and the sound is stored at the location you chose, replacing
the sound that was stored there before. Doesn’t get much simpler than that. After
the sound is stored, you can bring it back any old time by simply pressing the Up
and Down buttons to call up the location where you stored it. (See Chapter 7 to
learn how to do all this with your feet on the Floor Board).
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7
FRONT PANEL CONTROLS
If you aren’t using one of the pre-programmed POD sounds – you’re in Manual
mode, and you’re just getting the sound of where the knobs are set – you can store
that state into a memory location the same way. Press Save, use the Up and Down
buttons to choose a place to save to, and press Save again. If you decide you don’t
want to store the sound after you’ve started saving, press the Manual, Tuner, or
MIDI button to cancel the save. (The save will also be canceled if you don’t press
any buttons for 5 seconds after having pressed Save.)
You may want to audition the memorized POD “preset” sounds before you start
saving anything. Note the ones you can live without as locations you can save over.
The Save button also lets you customize any of the Amp Models and Effects to
your own taste, so your customized version of the amp or effect comes up instantly
when you turn Amp Models or Effects. See Chapter 7 for the details on that.
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MIDI - This button is used to set POD’s MIDI channel and dump sounds
via MIDI. Details are in the Deep Editing & MIDI Control chapter.
2 • 9
REAR PANEL CONNECTIONS
REAR PANEL CONNECTIONS
2 • 10
Here’s the part where we go behind-the-scenes of your POD Pro. Looking at the
rear panel, we’ll start from the left side:
Line Level Input & Output / “Pre” Effects Loop - The two
jacks illustrated below. These 1/4 inch connectors carry line level signals into and out
of your POD, and run signals that are unbalanced at -10 dBV level. If you want to
use the Line Level Input, be sure to set the front panel switch to the Line
Input position.
So what can you do with these jacks? Lots of stuff:
3
Re-Amping – One of the things that made the original POD a valued tone
tool was its value in re-amping of bass tracks. Say somebody has already
recorded some bass tracks, and you are now mixing them. If the bass seems to
need a bit more edge, or some other tone shaping, you can run your outputs
from your tape or disk tracks into the POD and make magic. Don’t forget to set
the front panel Input Select switch to the Line Input position.
Hardware Amp Farm – Line 6’s Amp Farm software is sort of like a
software POD that runs on a Pro Tools system. One of the things that Amp
Farm lets you do is record un-processed instruments to disk, while hearing
3
REAR PANEL CONNECTIONS
them processed non-destructively by the Amp Farm plug-in software. You hear
the sound of the amp simulation as you track, but you haven’t committed it
to the recording. (This is much like the way you would handle reverb when
recording a vocal; you record naked vocal to the track, while using reverb as
you monitor the post-tape/disk signal or a separate feed off the signal before
it goes to the track.) The line level in/out on your POD Pro let you do this.
Plug the Unprocessed Bass Out into your recorder, and plug the output of
that track into the Line Level Input (or feed the line level input via an
effect send that gets signal from the recorded track). Now you can hear your
POD processing as you track, but you haven’t committed your tone choice to
tape. That means you can change from a modeled Marshall to a modeled
Ampeg during the mix stage, once you see how your tracks are fitting
together. Or you can change Cab Models or any other aspect of your sound.
Don’t forget that you’ll need to set the front panel Input Select switch to the
3
Line Input position to do the re-amping boogie.
Non-Bass Processing – Another thing people like to do with both POD
and Amp Farm is process everything else but basses. Drums, vocals,
keyboards, entire mixes – you name it, people are using Line 6 modeling
products to process it. The line level input on your Bass POD Pro helps you
make the connections to these signals. Don’t forget to set the front panel Input
Select switch to the Line Input position.
3
2 • 11
Tuner Output – Want to use a stage tuner with your POD? The
Unprocessed Out is a perfect signal source.
Wireless Connection – Many wireless systems have a line level output.
You can plug it into your POD rear panel Line Level Input, and you’re ready
to rock. Don’t forget to set the front panel Input Select switch to the Line
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Input position.
“Pre” Effects Loop – And, as if that weren’t enough, you also have the
option of using these connections as an effects loop. Connect the (Send) to
the input of some other effect unit you want to use, and connect that unit’s
REAR PANEL CONNECTIONS
output to the (Return). Your external effect’s processing is now inserted
before (“pre”) all your POD’s amp and effect processing. Note that this effect
is applied to both Model and the D.I. signals. If you prefer to apply some
2 • 12
additional effect processing to only the Model and leave the D.I. unaffected,
you’ll want to pay attention to the next set of jacks on our back panel tour:
“Post” Effects Loop - These quarter inch -10dBV unbalanced
connections give you an effect send and return so you can patch additional effects
into POD’s signal chain. This loop is applied only to the Model output, leaving the
D.I. output unaffected by the extra effect processing.
To use this effects loop, just connect the (Send) to the input of the other effect
unit you want to use, and connect that other effect unit’s output to the (Return).
Your external effect’s processing is now inserted after (“post”) all your POD’s amp
and effect processing, for the Model output only. As we mentioned, your D.I. output
is not affected by this effect loop. If you have an effect that you want to apply to
both the Model and the D.I. signals, you can use the Re-Amping/”Pre” Effect Loop
connections.
REAR PANEL CONNECTIONS
Live/Studio Mode, XLR & 1/4 inch Outputs - One of the
powerful features of your POD is its Live/Studio Modes and associated XLR and
1/4 inch connections. We’ve designed these to give you the most versatile bass tool
possible, whether you’re going to be in the studio or on stage, recording direct-todisk, or pumping a stadium full of sound through a wall of cabs.
Studio Mode – Flick the Live/Studio switch to the Studio position, and you
get a pair of XLR balanced +4dBu outputs, as well as a pair of 1/4 inch
unbalanced -10dBV connections. Both carry the same Modeled and D.I.
signals – including A.I.R. processing for speaker/mic/room emulation – and
you can use whichever connections are most appropriate for interfacing with
your recording gear.
2 • 13
Live Mode – Move the Live/Studio switch to the Live position, and you get
independent signals on the 1/4 inch and XLR outputs:
• The 1/4 inch Model output is now carrying your signal – without speaker/
mic/room simulation – to your on-stage power amp and cabinets. This lets
you drive your backline for a wall of stadium filling sound, or a more
modest power amp/cab setup for your personal on-stage pleasure.
REAR PANEL CONNECTIONS
• The 1/4 inch Direct output’s level is set by the front panel Volume knob
along with the 1/4 inch Model output. (The XLR Direct output is not
affected by the Volume knob.)
2 • 14
• The XLR jacks have been magically transformed into a pair of balanced
mic level outputs with ground lift, suitable for plugging into the typical onstage mic snake to feed your monster tones to the house mix or P.A. The
Model output’s signal is a specially-tuned speaker simulation that gives
you perfect sound without having to hassle with mics on your speaker
cabinets – plus the signal bleed and other challenges that come with them.
Remember this signal is mic level, so you’ll want to connect it to a mic
level (not line level) input on the house mixer or P.A.
• The XLR Direct output’s level is not affected by the front panel Volume
knob (unlike the 1/4 inch Direct output).
Live Mode 1/4 inch Output Voicing: In Live Mode you can select the
“voicing” of the 1/4 inch jacks to best match the speaker set-up you’ll be
using. There are four preset voicings from which to choose:
Setting the Live Mode 1/4 inch Output Voicing
1. Start with Bass POD Pro turned OFF.
2. Press and hold SAVE while powering up.
3. Use the Up/Down Buttons to select a mode:
A Standard Tuning (ideal for well-tuned full range systems;
we used Eden and SWR 4x10s with horns as our reference systems for
sound deveopment, with horns at 12 o’clock)
B Bass Boost (try this with small-diameter speakers)
C Mid Boost (try this to enhance the mid presence)
D Treble Boost (try this when driving bass-heavy cabs)
4. Press SAVE to confirm.
REAR PANEL CONNECTIONS
Digital Outputs and Clock - Your POD includes connections for both
AES/EBU and S/PDIF format 24 bit digital output. Use these to track your POD
direct to your digital input recording system (note that the loop does not affect the
digital outputs).
2 • 15
The External Digital Clock In connector receives a clock signal from your
digital mixer or recorder, synchronizing POD’s digital output to your system. POD’s
front panel Digital Sync switch determines its output sample rate (44.1kHz or
48kHz), and whether it will sync its output to the external clock source (in that
case, the sample rate syncs to the sample rate of the incoming digital clock).
Please see your digital mixer/recorder documentation for information on
configuring its digital clock. The Line 6 technical support crew, though they may
be friendly, talented, and always eager to please, won’t be able to instruct you on
how to configure your entire studio worth of new digital recording equipment, and
tell you why your digital audio program conflicts with your financial management
software. Nevertheless, we don’t want you floundering around in there all by
yourself, so here are a couple handy tips that should allow you to incorporate your
POD in an already-configured studio:
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REAR PANEL CONNECTIONS
Generally, you’re gonna have one of two situations:
• Situation Number Uno – If your digital recorder/mixer has a clock output
2 • 16
– like on a Digidesign Pro Tools 888, a MOTU 2408, a Yamaha 02R digital
mixer, etc. – you will want to make it the clock master (generally called
something like “Internal Sync”), and set POD’s Digital Sync switch to
External. POD will then derive its sample rate from your recorder/mixer,
and output a digital signal perfectly synced to the rest of your system.
• Situation Number Dos – If your system doesn’t have a clock output – like
a Digidesign Audiomedia, Digi 001, Digital Audio Labs Card D, etc. – you’ll
set POD’s Digital Sync switch to 44.1 or 48 (not External), and set your
recorder to sync to its digital input (which is coming from POD).
If you hear a click-click-clicking when you try to make this happen, it generally
means POD is outputting a non-synced signal to your system. Time to re-read
the two paragraphs above, then contact your recorder/mixer manufacturer’s
customer support staff if the situation persists. And don’t forget to check that
selector switch to make sure its properly set to output either AES-EBU or SPDIF. Also, note that POD’s digital clock connector is unterminated. If you are
hooking POD to equipment which requires a terminated connection, be sure
to use a BNC clock terminator.
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MIDI In & Out - Connect POD to your MIDI equipment to select channel
memories (via Program Change messages) or automate POD settings (via
controllers and/or Sysex). Emagic SoundDiver software is included on the
accompanying CD for sound editing/storage on a computer, as well as ToneTransfer
access to the sounds from the Line 6 Web Library or other sources. The POD MIDI
OUT connects to another device’s MIDI IN; its MIDI IN goes to another device’s
MIDI OUT. Please also see Chapter 9, Deep Editing and MIDI Control, to
setup your MIDI gear with POD and find out what MIDI can do for POD and you.
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