Line6 POD HD400 Advanced Guide

POD® HD400

®

Advanced Guide

An in-depth exploration of the features &

functionality of POD HD400

Electrophonic Limited Edition

Table of Contents

Setup Details .......................................................................... 1•1

Setup Options ................................................................................................ 1•1

Pedal Calibration ........................................................................................... 1•4

Factory Restore ............................................................................................... 1•5

Features & Functionality ....................................................... 2•1

Tuner Mode .................................................................................................... 2•1

Smart FX ........................................................................................................ 2•1

Noise Gate ..................................................................................................... 2•3

Volume ........................................................................................................... 2•3

FX Loop .......................................................................................................... 2•4

Tap Tempo ...................................................................................................... 2•4

Pedal Control ................................................................................................. 2•4

L6 LINK™ ..................................................................................................... 2•5

Output Mode Options .................................................................................... 2•6

POD HD400 Edit Software ............................................................................ 2•7

Working with Presets ............................................................3•1

Accessing Presets ........................................................................................... 3•1

Saving Presets ................................................................................................. 3•3

Edit Mode ............................................................................... 4•1

Accessing Edit Mode ...................................................................................... 4•1

SETUP Menu ................................................................................................. 4•2

AMP Menu .................................................................................................... 4•2

FX1 Menu ....................................................................................................... 4•2

FX2 Menu ....................................................................................................... 4•3

FX3 Menu ....................................................................................................... 4•3

REVERB Menu .............................................................................................. 4•3

GATE Menu ................................................................................................... 4•4

WAH Menu ................................................................................................... 4•5

VOL Menu ..................................................................................................... 4•5

FX Loop Menu ............................................................................................... 4•6

MIDI DUMP .................................................................................................. 4•8

Amp, Cab & Mic Models ........................................................5•1

Parameter Details ........................................................................................... 5•1

AMP Edit Mode ............................................................................................. 5•3

Manual Mode ................................................................................................. 5•5

FX Only Mode ................................................................................................ 5•6

AutoFX SETUP Parameter ............................................................................ 5•6

Amp Model Descriptions ............................................................................... 5•7

Cab Model Descriptions .............................................................................. 5•10

FX1 Models ............................................................................. 6•1

Parameter Details ........................................................................................... 6•1

GAIN Swoosh Models ................................................................................... 6•4

VARIOUS Swoosh Models ......................................................................... 6•11

PITCH Swoosh Models ............................................................................... 6•18

FX2 Models ............................................................................. 7•1

Parameter Details ........................................................................................... 7•1

MOD Swoosh Models ................................................................................... 7•4

PITCH Swoosh Models ................................................................................. 7•8

TREMOLO Swoosh Models ........................................................................ 7•10

FX3 Models ............................................................................. 8•1

Parameter Details ........................................................................................... 8•1

DELAY Swoosh Models ................................................................................. 8•4

TAPE ECHO Swoosh Models ...................................................................... 8•8

SWEEP ECHO Swoosh Models .................................................................. 8•10

Reverb Models ........................................................................ 9•1

Parameter Details ........................................................................................... 9•1

Reverb Models ............................................................................................... 9•2

Wah Models .......................................................................... 10•1

Using the Pedal ............................................................................................ 10•1

Model Select ................................................................................................ 10•1

Wah Models ................................................................................................. 10•1

Using the Looper ................................................................. 11•1

Looper Controls ........................................................................................... 11•1

Looper Tutorial ............................................................................................. 11•2

USB Audio ............................................................................ 12•1

The Line 6 USB Audio Driver .................................................................... 12•1

The Line 6 Audio-MIDI Devices Panel ...................................................... 12•3

Mac® - Line 6 Audio-MIDI Devices ........................................................... 12•3

Windows® - Line 6 Audio-MIDI Devices ................................................... 12•7

Appendix A: Line 6 Monkey™ .............................................. A•1

Launch Line 6 Monkey ................................................................................. A•1

Appendix B: MIDI ...................................................................B•1

MIDI SysEx Functionality .............................................................................B•1

MIDI Dump - Backing Up Presets .................................................................B•2

Restoring Presets ............................................................................................ B•2

USB MIDI - MIDI Control Messages ............................................................B•3

Line 6, POD, DT50, DL4, MM4, FM4, DM4, Verbzilla,Vetta, CustomTone, Variax, L6 LINK and Line 6 Monkey are

trademarks of Line 6, Inc. All other product names, trademarks and artists’ names are the property of their respective owners,

which are in no way associated or afﬁliated with Line 6. Product names, images, and artists’ names are used solely to identify

the products whose tones and sounds were studied during the Line 6 sound model development for this product. The use of these

products, trademarks, images, and artists’ names does not imply any cooperation or endorsement.

Setup DetailS

Setup Details

In this chapter, we’ll cover the options found within the POD® HD400 Setup screen, calibrating your device’s on-board pedal and performing a Factory Reset.

This Guide covers POD HD400 with Flash Memory version 1.10 installed. Your device may have an earlier ﬁrmware version, therefore, you should check for and install the

1.10 (or the latest available) Flash Memory version. Please see “Appendix A: Line 6

Monkey™” on page A•1

for instructions.

Setup Options

The Setup screen is where you can conﬁgure several system settings for your POD HD400. Depending on the way you like to work, most of the Setup options can be left as-is after you’ve set them initially. They’ll be recalled each time you power-up and are “global” (they persist regardless of the current Preset). To access the Setup options, press the PRESETS knob, and use the Nav. Disc Left/Right arrow buttons to navigate to the SETUP menu:

Use Left/Right to navigate to SETUP menu

Use Up/Down to select the next/previous SETUP parameter

Press knob to enter EDIT mode

Rotate the knob to change the setting for the selected parameter

1•1

Output Mode - Live Options

The OUTPUT MODE switch on the back of your POD HD400 device is where you can conﬁgure the type of signal fed to your outputs (Balanced, Unbalanced, L6 LINK™ & USB Record Send outs) for Live mode (see “Output Mode Options” on page 2•6). Choose the setting that best matches the type of connection into which you are plugging POD HD400.

Setup Details

• ComboFrt: For connecting into the front input of a typical combo amp (this is the default setting).

1•2

• ComboAmp: For connecting to the power amp of a combo amp (such as when connecting into the ampliﬁer’s FX Loop “Return” jack).

• StackFrt: For connecting into the front input of a typical amp head.

• StackAmp: For connecting to the power amp of an amp head.

AutoFX

• AutoFX - Disabled: Selecting an Amp Model from the Amp knob does not alter any FX models or settings.

• AutoFX - AmpSetFX: When an Amp Model is selected from the Amp knob, FX models & settings are automatically changed to the assigned default values for the selected Amp Model.

USB Monitor Level

When utilizing POD HD400 as a USB audio device with your computer, this option controls the volume of your processed guitar tone output for monitoring (which is the signal fed to the device’s BALANCED & UNBALANCED OUTS and PHONES jacks). It does not affect the level of the recording signal that is fed to your computer via the Record Send. This allows you to balance your guitar’s monitor level against the playback audio from your computer, such as when recording in DAW software. This is a “persistent” parameter which retains the value you set it to, regardless of the Preset loaded. See “USB

Audio” on page 12•1 for more information.

Setup Details

Footswitch Mode

Just to make things even more ﬂexible, we’ve offered two types of behaviors for how the

MODE switch accesses the “Preset,” “Pedal” and “Looper” footswitch modes. (Please also

see your POD HD400 Pilot’s Guide for more about the MODE footswitch.)

• Normal: Sets the “Normal” behavior, where each click of the MODE footswitch incrementally selects one of the three modes: Preset Mode (green LED), Pedal Mode (amber LED) and Looper Mode (red LED).

• Hold4Lpr: Sets an alternative “Hold for Looper” behavior, where clicking the

MODE footswitch incrementally selects only the Preset or Pedal Footswitch Modes.

To access Looper Mode, press and hold the MODE footswitch for approximately 2 seconds. To exit Looper Mode, simply click the MODE footswitch again. This provides access to the Looper Mode only when you want it, and toggle between Preset & Pedal Footswitch Modes more rapidly, if that is the way you prefer it.

AC Rate

1•3

The HD Amp Models within POD HD400 include simulation of AC hum typical of the AC Vacuum Tube Heater component, which is an important part of the tonality of a tube ampliﬁer. We’ve provided the option to set the AC Rate to match that of the USA (60 Hz) or UK (50 Hz) frequency for authenticity.

Note: This setting may be subtle depending on the current Amp Model settings and may be more apparent when synchronizing this setting with the AC rate of any tube ampliﬁer that POD HD400 may be plugged into.

Setup Details

1•4

Pedal Calibration

Tap Tempo Light

• TpLite - AlwaysOn: The TAP light on the device will ﬂash constantly, showing the current tempo setting. This is the initial default setting.

• TpLite - AlwaysOn: The TAP light will ﬂash only 8 times, immediately after a new Tempo value is set, and then remain unlit.

Firmware Version

This SETUP screen displays your device’s ﬁrmware-ﬂash memory version. This is an informational screen only - press the Nav. Disc down button to get to the next Setup item.

Note: If you’ve just performed a Factory Restore on your device (see below), that process included Pedal Calibration and it is not necessary to perform the following steps again. However, you can use these instructions to perform only the Pedal Calibration process at any time.

Before you put the POD HD400 pedal to use, it is recommended that you calibrate it to optimize its functionality. Begin with POD HD400 powered off. Hold down the D footswitch while powering the unit on, until you see the LCD display the following:

Please skip ahead to step 5 of the Factory Restore section on page 1•6 and follow the remaining steps to complete the Pedal Calibration.

Factory Restore

There may be times when you’d like to reset your POD HD400 to its original factory settings. To do a Factory Restore, ﬁrst back up any Presets you’d like to keep (“POD HD400

Edit Software” on page 2•7), then follow these steps:

NOTE: This process also performs a Pedal Calibration, and it is necessary that you complete all the steps listed here when dong a Factory Restore. However, if you want to perform only a Pedal Calibration, please see “Pedal Calibration” on page 1•4.

1. Begin with POD HD400 powered off. Hold down the A footswitch while powering the unit on, until you see the LCD display the following:

2. Press the PRESETS knob, then press it again to proceed once you see the following prompt:

Setup Details

1•5

3. Watch the LCD screen and you’ll see it display the progress %. Do not touch any controls on the device during this process.

4. Once it reaches 100%, you are prompted to start the Pedal Calibration process. Press the D footswitch to proceed.

Setup Details

1•6

5. You are next prompted to press and hold the pedal’s “toe” switch:

6. Press the pedal ﬁrmly all the way forward to click the toe switch and hold this

position for a few seconds until you see the next prompt.

7. As instructed, move the pedal to the minimum “heel” position and press the D switch.

8. Move the pedal to the maximum forward position (but do not click the toe switch) and press D.

9. At this point, the pedal is calibrated but not saved. If calibrated correctly, moving the pedal will display values from 0-127 on the LCD screen.

7. Press D switch once again to save if all is correct to perform the save.

Please wait while your device re-initializes itself and the Presets screen is displayed. The process is now complete!

Features & Functionality

FeatureS & Functionality

It is recommended that you ﬁrst review the POD HD400 Pilot’s Handbook included with your device to become familiar with the hardware controls, inputs & outputs. In this chapter, we’ll go into more detail on the major features & functionality offered on POD® HD400.

Tuner Mode

The Tuner is available whenever your POD HD400 MODE switch is set to “Pedal On/Off” or “Presets” Mode. To enter Tuner mode, press and hold the TAP button.* The volume is muted while in Tuner mode, so you won’t hear any signal from your device.

* Note: Holding the TAP button when in “Looper” Mode triggers the Clear Loop function. Please see “Using the Looper” on page 11•1 for more info.

Tuning is straightforward. Pluck an individual string on your guitar. When right-pointing arrows appear, your note is ﬂat; when left-pointing arrows appear, your note is sharp. The fewer the arrows, the closer you are to the reference note. When two asterisks appear, your string is in tune.

2•1

Flat In Tune Sharp

Press the TAP switch, or any other footswitch, to exit Tuner Mode.

Smart FX

Features & Functionality

The FX1, FX2 & FX3 knobs are what we refer to as the “Smart FX” controls, in reference to their clever design. Spin one of these 3 knobs to quickly and easily load one of the currently assigned FX Models and useful, pre-conﬁgured settings for it. Turning an FX knob all the way counter-clockwise disables the effect.

Each Smart FX knob includes 3 “Swoosh” categories, as indicated by the labeling around

2•2

the knob. Each Swoosh offers one assigned effect, which you’ll see displayed on the LCD screen as you rotate the FX knob. You can customize the FX Models that are assigned to each FX Knob’s Swoosh category and edit the individual parameters for each FX Model, as covered in the following section.

For details on all FX models available within each FX Swoosh category, as well as descriptions of all customizable FX parameters, please see the following FX1 Models, FX2

Models

& FX3 Models chapters!

Customizing FX

• Use the “Smart” feature - This method is the easiest... Simply turn the FX knob and the LCD screen will momentarily display the current FX model name within the FX knob’s Swoosh category, as well as a bar to indicate the “intensity” of its settings. For example, if you slowly rotate the FX1 knob clockwise from the OFF position, you’ll see and hear the Screamer effect activated, with higher amounts of overdrive dialed in as you continue to turn the FX1 knob within the GAIN Swoosh range.

• Change the FX Model - As covered in the above example, each Swoosh category initially loads a default effect model. But you can choose from among several models within each Swoosh. Just turn the PRESETS knob while the above momentary FX screen is displayed to select your desired effect. Once you’ve changed to a different effect, your selection will be stored in the FX Swoosh location per saved Preset. You’ll see the FX1 knob, GAIN Swoosh’s LED change color to green (if the 2nd model is selected) or amber (if the 3rd or later model is selected) to remind you that the Swoosh’s model has been “customized.”

Features & Functionality

• Edit the FX Model’s Parameters - You can dive deeper and access numerous parameters for any effect model by pushing the PRESETS knob and entering Edit Mode. Please see page 4•1 for details on Edit Mode.

• To retain your customized FX settings, save your Preset before calling up a new one.

Noise Gate

POD HD400 includes two handy tools for reducing unwanted noise: Noise Gate and Noise Reduction. These tools and their settings can be accessed in the Edit Mode options

- please see “GATE Menu” on page 4•4 for details. The Gate settings are saved individually with each Preset.

2•3

Volume

We’ve included a handy Volume effect in POD HD400, which you can control with the device’s on-board pedal, as well as position “Pre” or “Post” of your Amp model! Just move the pedal forward and click the “toe switch” to toggle the pedal’s assignment between the

WAH and VOL effect. These options are saved per Preset. Settings for the Volume effect

can be accessed in the Edit Mode options - please see “VOL Menu” on page 4•5 for details.

Features & Functionality

FX Loop

The FX Loop that is built into your POD HD400 can be controlled with several options, including, “Pre” or “Post” positioning and level control. These options are accessed in the Edit Mode - please see “FX Loop Menu” on page 4•6.

2•4

Tap Tempo

Tap Tempo is the term we use to refer to the “system” tempo value that is accessed via the TAP button on your POD HD400 device. Simply stomp rhythmically on the TAP button in 1/4 note beats to set your Tap Tempo.

You’ll see the LED on the TAP switch blink to indicate your current Tap Tempo. FX2 and FX3 model sets each offer a global Tap Control setting which, when set to “Control,” conﬁgures these effects’ modulation speed and delay repeat time to follow the current Tap Tempo. See the Common Parameters descriptions for FX2 on page 7•2 and for FX3 on page 8•2 for more details.

Pedal Control

Either the on-board Pedal or Pedal 2 of your POD HD400 device can be assigned to the Volume, Wah or FX1 Pitch Glide effects. For most Presets, you’ll ﬁnd that, not surprisingly, when the pedal is set to the WAH mode it controls the Preset’s current Wah model, and when set to the VOL mode

the pedal it controls the Volume effect. When no Pedal 2 is connected, clicking the Pedal’s “toe switch” toggles the on-board Pedal’s mode function, allowing the Pedal to alternate between controlling one or the other. You’ll see the device’s WAH or

VOL LED illuminate to indicate the current mode.

Features & Functionality

Pitch Glide

Either of these WAH or VOL modes can alternatively be assigned to control the Pitch Glide effect. This pedal assignment setting is found among the effect’s Edit Mode settings

- see “Pitch Glide” on page 6•20. Pedal assignment for any of these 3 FX is saved individually with each Preset. When controlling the Pitch Glide effect, you’ll see both the WAH and

VOL LEDs illuminated.

Pedal 2

Optionally, you can connect an additional Expression Pedal (such as the Line 6 EX-1) to the PEDAL 2 jack on the back of POD HD400. Once connected, the WAH mode is automatically assigned to the on-board Pedal, and the VOL assigned to Pedal 2. You’ll see both the WAH and VOL LEDs lit to indicate this state. Note that you can still assign either the WAH or VOL mode to the Pitch

Glide effect, and it will be controlled by the individual, assigned pedal.

L6 LINK™

A revolutionary new feature included with all POD HD devices is L6 LINK, which provides the ability to send your tones to Line 6 DT50™ tube ampliﬁers, as well as to remotely control DT50 amp functions. The L6 LINK connection on the back of POD HD400 utilizes a single, standard XLR cable to connect directly with a DT50 ampliﬁer. For details on L6 LINK, please see the additional documentation available at http://line6.

com/software/manuals/.

2•5

The L6 LINK jack

Features & Functionality

Output Mode Options

As brieﬂy described in the POD HD400 Pilot’s Guide, the OUTPUT MODE switch on the back panel of your device allows you to change the type of output signal that is fed to the analog BALANCED, UNBALANCED OUTPUT* and PHONES jacks, as well as to the

USB Record Send and the L6 LINK™ output.

2•6

The MASTER VOLUME knob on the back of your device controls the overall level of these outputs. Here are some pointers for the use of the Output Mode options.

*Note: The hardware LINE<>AMP switch located between the UNBALANCED OUTPUT jacks allows you to optimize the signal level sent from these sets of outputs.

The OUTPUT MODE switch

• LIVE Mode: In this mode, the analog outputs are fed a signal which includes your selected Amp and specially voiced “Live” Cab version (without a Mic model) which is suited for direct input to an external guitar amp. All active FX models are applied as well. When in LIVE Mode, there are also additional options found in the SETUP menu to allow you to choose the type of amp you are connecting to (see “Setup

Options” on page 1•1).

TIP: This LIVE Mode is the recommended setting to use when connecting your analog outputs to an external tube amp, or if using L6 LINK™ to connect to a Line 6 DT50™ amp (also see “Amp Model Mode” on page 5•3).

• STUDIO Mode: In this mode, the outputs are fed the complete processed signal, which includes your selected Amp, Cab, Mic and FX models. This is the best choice when routing the analog outputs into recording or P.A. gear, or if using the USB connection for recording into DAW software.

Features & Functionality

• DUAL Mode: This option offers more performance ﬂexibility, routing the LIVE Mode signal to the left BALANCED and UNBALANCED outputs and a great sounding mic’d amp tone to the right outputs. This allows you to send a mono signal tailored for a guitar amp, while simultaneously routing a mono mic’d cab signal to a mixer or recorder!

POD HD400 Edit Software

Be sure to visit line6.com/software to download Line 6 POD HD400 Edit - the free patch editor/librarian software for Mac® and Windows® computers. Using POD HD400 Edit and a USB connection you can easily create, audition, customize and save an unlimited number of Tone Presets for your device. This software also makes it a snap to back up and restore the full set of Presets on your device.

2•7

The POD HD400 Edit application

Working with Presets

Working With preSetS

POD® HD400 includes the ability to store up to 128 Presets within its internal memory. These Presets are found within the Bank and Channel locations on the device, numbered 01A to 32D. In this chapter we’ll cover accessing and saving Presets on POD HD400. For details on editing the many Tone parameters saved within Presets, please refer to “Edit

Mode” on page 4•1.

Accessing Presets

POD HD400 includes 32 Preset Banks (1 through 32), each containing 4 Channel locations (A,B, C & D). Each location is capable of storing one Preset. There are two ways to access the Presets on the POD HD400 device: using the Preset Select controls or using the Bank & Channel footswitches.

Preset Select Controls

Use the 4-way Nav. Disc button, and PRESETS knob to navigate and load Presets.

Currently loaded Preset indicator LED

Up/Down selects the next/previous Bank

Left/Right have no function for the Preset Select screen

The amber LED indicator and the top row of the LCD screen shows the current Preset location Bank/Channel. Use the Nav. Disc functions to increment through Presets one Bank at a time. Presets are loaded instantly.

Rotate knob to select and load the next/previous Preset

3•1

The lower row on the screen displays the name of the current Preset - use the Presets knob to scroll through Preset Channels linearly. A Preset is loaded automatically as you select it by turning this knob.

Working with Presets

Bank & Channel Footswitches

POD HD400 also offers Preset selection completely “hands-free” by way of the Preset Mode. Place the POD HD400 footswitches into Preset Mode by pressing the MODE switch until the lower (green) LED is lit (also see “Footswitch Mode” on page 1•3). This conﬁgures the 4 footswitches to the right to function as A, B, C & D Channel switches.

3•2

The green LEDs indicate Preset Mode The lit A,B,C,D footswitch indicates

Press the A, B, C or D switch to instantly recall its Channel location within the currently selected Bank. For example, if the LED displays 12A, then Bank 12 is the current Bank, and switches A, B, C and D will load Presets 12A, 12B, 12C and 12D, respectively.

the selected Channel

To navigate through Banks, press the footswitch for Bank Up, or the footswitch for Bank Down. Using these Bank switches will “queue” the selected Bank - no new Preset is loaded until you press the desired A, B, C or D Channel switch. Here is an example... Let’s say Preset 06A is the currently loaded Preset. The amber LED Preset indicator shows 06A:

• Press to “Bank Up” once.

• The LED now displays 07A ﬂashing, to indicate that Bank 7 is queued. (Note that 06A is still the active, loaded Preset that you hear.)

• Now press the C switch and you will see the LED change to 07C, solidly lit, and Preset 07C is audibly loaded.

Working with Presets

Saving Presets

If you’ve edited any of your Tone settings, and/or if you want to rename or move the current Preset to a new Preset location, you can use the Save function. Press the SAVE button and you’ll see it start ﬂashing red. To follow are the steps for saving the currently loaded Preset.

Rotate knob to edit

selected text character. Up/Down selects the next/previous location as the destination

Press to select next

character group

3•3

Left/Right selects one of the 14 text characters

- the selected character ﬂashes

Press SAVE button to

initiate and complete

Preset Save

• The top row of the LCD screen shows the current Preset location, followed by the destination Channel location where the Preset will be saved. In the above example, our current 06A Preset is set to be saved in location 01B.

• If you want to save your Preset to a new location, use the Nav. Disc buttons to choose the new Channel location. You’ll also see the amber LED display ﬂashing, indicating the destination Channel location.

• If you want to overwrite the Preset within the current location, simply keep the Channel location the same.

• Use the Nav. Disc buttons to select each character of the Preset name displayed in the lower row of the LCD screen. Turn the PRESETS knob to change the selected character to enter your own custom Preset name.

• Press the ﬂashing SAVE button once again to perform the save. Or, if you change your mind about saving, press the TAP switch instead of the SAVE button to abort the process.

Be sure to also check out the free Line 6 POD HD400 Edit software. It can be used to create, customize & manage an unlimited library of POD HD400 Presets right on your Mac® or Windows® computer! See “POD HD400 Edit Software” on page 2•7.

eDit MoDe

Within this chapter, we’ll cover the Edit Mode within POD® HD400, which provides access to all the editable Tone parameters that are saved within a Preset, as well as several “global” settings and system functions.

Accessing Edit Mode

To enter Edit Mode, press the PRESETS knob, then use Nav. Disc and PRESETS knob to call up and adjust the many parameters:

Edit Mode

Use Left/Right to navigate the menus of editable parameters

Use Up/Down to select the next/previous parameter within the current menu

TIP: You can also access Edit Mode directly for the last-accessed FX model type. For example, if you turn the REVERB knob to adjust it, and then immediately push the PRESETS knob, this calls up the Reverb Edit Mode menu.

Push the PRESETS knob to enter or exit Edit Mode

Rotate the knob to change the setting for the selected parameter

Fine/Coarse Tuning

When turning the PRESETS knob to adjust parameters that utilize numerical values (such as %, ms, dB type values), this typically adjusts the value incrementally by single integer amounts (1%, 2%, 3%, etc.) But if you push the PRESETS knob while turning, this provides a “coarse” adjustment, jumping in larger increments, to speed up the process if desired!

To follow, we’ve listed information about each of the menus found within Edit Mode. You will also be directed to the other chapters of this document where additional details are provided for individual parameters.

4•1

Edit Mode

SETUP Menu

AMP Menu

The parameters in this menu allow conﬁguration of your POD HD400 hardware. Please see “Setup Details” on page 1•1 where these settings are described.

The Edit Mode - SETUP menu

4•2

The AMP menu offers several parameters that affect the Amp/Preamp models, as well as the ability to select a different Speaker Cabinet or Mic Model for the current Amp. Please see “AMP Edit Mode” on page 5•3 for details on all these parameters.

The Edit Mode - AMP menu

FX1 Menu

The FX1 menu offers access to all editable parameters for each model within the FX1 category. Use the Model - Select option to choose the desired model, and you’ll then be able to access its individual parameters. Please see “FX1 Models” on page 6•1 for details on all FX1 parameters.

The Edit Mode - FX1 menu

FX2 Menu

The FX2 menu offers access to all editable parameters for each model within the FX2 category. Use the Model - Select option to choose the desired model, and you’ll then be able to access its individual parameters. Please see “FX2 Models” on page 7•1 for details on all FX2 parameters.

The Edit Mode - FX2 menu

Edit Mode

FX3 Menu

The FX3 menu offers access to all editable parameters for each model within the FX3 category. Use the Model - Select option to choose the desired model, and you’ll then be able to access its individual parameters. Please see “FX3 Models” on page 8•1 for details on all FX3 parameters.

The Edit Mode - FX3 menu

REVERB Menu

The REVERB menu offers access to all editable parameters for each Reverb model. Use the Model - Select option to choose the desired model, and you’ll then be able to access its individual parameters. Please see “Reverb Models” on page 9•1 for details on all the individual parameters available.

The Edit Mode - Reverb menu

4•3

Edit Mode

GATE Menu

The GATE menu offers access to all editable parameters for the Noise Reduction and Noise Gate. These tools can be used together or separately on any Preset to reduce unwanted buzz & hum from your guitar input signal. All settings made here are stored individually for each Preset.

Mode

4•4

• Off - Disables both the Noise Reduction and Noise Gate.

• Gate - Enables only the Noise Gate.

• NR - Enables only the Noise Reduction.

• Gate+NR - Enables both the Noise Reduction and Noise Gate.

Threshold

Sets the Gate Threshold. Lower values make the Gate kick in at quieter levels, higher values make it kick in at louder levels.

Decay

Sets the Gate Decay. Higher levels result in a longer transition from non-gated to gated audio.

WAH Menu

The WAH menu offers selection of any Wah model. This setting, as well as the Wah enabled/disabled state and pedal assignment, are stored individually for each Preset.* The Wah model is enabled and disabled automatically via the status of your POD HD400 pedal (as indicated by the WAH and VOL LEDs next to the pedal). Please also see “Pedal

Control” on page 2•4 and “Wah Models” on page 10•1 for more details.

*Note: Either the WAH and VOL pedal functions of POD HD400 can be alternatively assigned to control the FX1 Pitch Glide effect per Preset for some wild pitch-bending antics. Please see “Pitch Glide” on page 6•20.

VOL Menu

The VOL menu offers several options for how the POD HD400 pedal functions when set to control the Volume effect. These parameters, as well as the pedal assignment (see

“Pedal Control” on page 2•4), are all stored individually for each Preset. The Volume effect is

enabled and disabled automatically via the status of your POD HD400 pedal (as indicated by the WAH and VOL LEDs next to the pedal).

Edit Mode

4•5

Routing

Just as with signal paths of amps & FX in the analog world, you’ll get slightly different sonic behaviors when positioning the Volume pedal before or after the amp and some types of FX. Feel free to experiment here to get the desired results for your Tone!

• Pre - Positions the Volume effect before the Amp model (and before all other “Pre” designated FX) within the signal ﬂow.

• Post - Positions the Volume effect after the Amp model (and before all other “Post” designated FX) within the signal ﬂow.

Edit Mode

Minimum & Maximum

These two parameters allow you to conﬁgure the Volume level for the “heel” and “toe” positions of the Volume pedal, respectively. Adjust these as desired if you want something other than the normal behavior. For example, set Min to 100% and Max to 0% if you want to “reverse” the Volume pedal action!

4•6

FX Loop Menu

The FX Loop SEND and RETURN jacks on the back of POD HD400 allow you to patch in any number of external pedals or rack FX.

The FX Loop SEND & RETURN jacks

Use the only L/MONO jacks if connecting your external FX in a mono connection, or use the pairs of connections if your FX are in a stereo or mono-stereo conﬁguration. The FX

LOOP LEVEL switch should be used to optimize the level for your external FX; Use LINE

for rack FX or STOMP for pedals.

Once you have FX connected to the FX Loop, you can utilize the Edit Mode - FX Loop options for speciﬁc behaviors with your current tone. These settings are saved per Preset.

Routing

Just as with your POD HD400 FX models, you can conﬁgure the position of the FX Loop Send/Return patch point as either Pre or Post.

Edit Mode

• Pre - Positions the FX Loop before the Amp model (and between FX1 and FX2, if these FX are also set “Pre”).

• Post - Positions the FX Loop after the Amp model (and between FX1 and FX2, if these FX are also set “Post”) within the signal ﬂow.

Send & Return Levels

Use these options to attenuate the Send level fed into your external FX and the Return level fed from your external FX back into the POD HD400 signal path. Note that some external FX can greatly add or reduce gain level, so it is best to adjust the Return level accordingly to reduce over-loading the signal into your tone. (Also use the FX LOOP LEVEL switch, as mentioned on the previous page.)

Mix

Once again, just like most POD HD400 FX models, a Mix parameter is offered, allowing you to blend the amount of the FX Loop signal that is blended into you tone. At 100%, the full signal is fed to the FX Loop.

4•7

Note: Factory Presets are typically created with the Mix set to 100%, therefore, if you engage the FX LOOP footswitch with no connections to the SEND and RETURN jacks, you will hear silence.

Edit Mode

MIDI DUMP

This setting conﬁgures what speciﬁc MIDI SysEx data is fed out to the POD HD400 MIDI Out port when performing a MIDI Dump. When this MIDI menu is displayed in Edit Mode, the TAP button will initiate the MIDI Dump. Also see “Appendix B: MIDI” on

page B•1.

• Current - Sends only data for the currently loaded Preset.

4•8

• All - Sends all data for all 128 Presets.

Amp, Cab & Mic Models

aMp, cab & Mic MoDelS

This chapter provides details on the 16 exemplary Guitar Amp Models, all of which have been newly developed by our team of sound engineers for POD® HD400, and presented to you in full “HD” glory! Also covered here are details on Preamps, pairing a different Speaker Cab or Mic Model with any Amp and additional Amp - Edit Mode options.

Parameter Details

As you’ve likely already ﬁgured out, the 2nd row of knobs on your POD HD400 offers easy access to the Amp Model selection and Amp Tone parameters:

POD HD400 Amp Model Select knob and the 5 Amp Tone knobs

5•1

Upon adjusting the Amp Select knob, you’ll see the LCD display show the selected Amp Model for a few seconds, followed by a momentary display of the settings of the Amp Tone knobs (as well as the Reverb knob at the far right).

The current Amp Model is displayed... and the Amp’s actual knob values

The Amp knob values screen is also displayed momentarily whenever adjusting any of the 5 Amp tone knobs.

Note that some of the classic ampliﬁers we Modeled for POD HD400 include knobs other than the typical “Treble,” “Bass,” “Mid,” etc. In many such cases, we’ve mapped these types of controls to the POD HD400 Amp Tone knobs to retain the mojo of the original ampliﬁer. Please see “Amp Model Descriptions” on page 5•7 for these details.

Amp, Cab & Mic Models

About Default Amp Settings

We’ve designed each Amp Model to include its own “default” settings to provide a good starting point. This means that whenever you change to a different Amp Model via the Amp Selector knob, the Amp will automatically load a predetermined Cab & Mic model, as well as Amp Tone settings designed to complement the Amp. But you can also individually select any Cab and/or Mic Model to customize your Amp sound and save these settings with any Preset (more on these options in the following sections)!

Default Cab & Mic Models

The following table lists the default Cab & Mic Models assigned for each Amp.

5•2

Amp Selection Amp Model Default Cab Model Default Mic Model

CLEAN Red Blackface Double 2x12 Blackface Double 57 On Xs

CLEAN Green Hiway 100 Custom 4x12 Hiway 67 Cond

PAWNSHOP Red Super O 1x (6x9) Super O 421 Dyn

PAWNSHOP Green Gibtone 185 1x12 Field Coil 121 Rbn

BLUES Red Tweed B-Man 4x10 Tweed B-Man 67 Cond

BLUES Green Blackface ‘Lux 1x12 Blackface ‘Lux 57 On Xs

BOUTIQUE Red Divide 9/15 1x12 Brit 12-H 4038 Rbn

BOUTIQUE Green PhD Motorway 2x12 PhD Ported 409 Dyn

CLASS A Red Class A-15 1x12 Blue Bell 421 Dyn

CLASS A Green Class A-30 TB 2x12 Silver Bell 57 On Xs

CRUNCH Red Brit Plexi J-45 4x12 Greenback 25 421 Dyn

CRUNCH Green Brit P-75 4x12 Blackback 30 409 Dyn

HI GAIN Red Brit J-800 4x12 Brit T-75 57 Off Xs

HI GAIN Green Bomber Uber 4x12 Uber 87 Cond

METAL Red California Treadplate 4x12 Tread V-30 87 Cond

METAL Green Angel F-Ball 100 4x12 XXL V-30 409 Dyn

Amp, Cab & Mic Models

AMP Edit Mode

The AMP Edit Mode menu offers several options for customizing your Amp options. Press the PRESETS knob to enter Edit Mode:

Use Left/Right to navigate to the AMP menu

Use Up/Down to select the next/previous AMP parameter

Press the PRESETS knob to enter or exit Edit Mode

Rotate the knob to change the setting for the selected parameter

Amp Model Mode

As the default setting for all Amp models, this option is set to “Full” to provide the complete sonic characteristics of the classic amp’s preamp and power amp stages. However, this option allows you to select “Preamp” to obtain just the preamp stage of the amp. This can be very useful if you want to run your POD HD400 output into an external guitar or power amp. This setting is saved individually, per Preset.

It is recommended to select the Preamp option when feeding your output to an external tube amp, such as if connecting from the UNBALANCED OUTPUTS into the front or into the FX Loop Return of a guitar amp, or when using the L6 LINK™ connection with a Line 6 DT50™ ampliﬁer. That said, there is no wrong choice! PODs have always been about ﬂexibility... Check out all the possibilities and decide which Models work best for your tone!

5•3

Note that, when either the Full or Preamp option is selected, the additional application of Cab and Mic models is dependent upon the device’s OUTPUT MODE switch settings and the particular output jacks you are using. Please see “Output Mode Options” on page 2•6 for more info.

Amp, Cab & Mic Models

Cab Model Selection

When selecting a new Amp Model, the Amp automatically loads a default, matched speaker cabinet model (see “Cab Model Descriptions” on page 5•10). But you can use the

CabMdl option to choose any of the 16 available Cabs for any Amp Model:

Switching to a different cab can offer a surprising amount of variation in the tone and texture of the current Amp Model, so feel free to experiment! Your Cab Model selection is retained with each individual saved Preset.

Mic Model Selection

5•4

When selecting a new Amp model, a default Mic model is automatically loaded along with it (see table on page 5•2). But you can use the MicMdl option to choose a different Mic for any Amp Model:

Your Mic Model selection is retained with each individual saved Preset. The 8 Mic Model options for each Amp are as follows.

Mic Models

Mic Name

57 On Xs

57 Off Xs

409 Dyn

421 Dyn

Shure® SM57 On Axis

Shure® SM57 Off Axis

Sennheiser® MD 409 Dynamic

Sennheiser® MD 421 Dynamic

Based On...

4038 Rbn Coles 4038 Ribbon

121 Rbn

67 Cond

87 Cond

*

All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Shure® is a registered trademark of Shure Incorporated or Shure Acquisition Holdings, Inc., Sennheiser® is a registered trademark of Sennheiser Electronic Corporation, Neumann® is a registered trademark of GEORG NEUMANN GMBH, Royer® is a registered trademark of Bulldog Audio, Inc.

Royer® 121 Ribbon

Neumann® U 67 Condenser

Neumann® U 87 Condenser

*

Amp, Cab & Mic Models

E.R. (Early Reﬂections)

This option adds the amount of reﬂective “room tone” that is mixed with your Amp tone. 0% adds no early reﬂections and 100% adds the maximum amount.

Bypass Volume

This is a volume control strictly for the level heard when the Amp Model has been disabled (and when the FX ONLY feature is active - see page 5•6). This can be handy to adjust your device’s output level when using it just for the FX models.

Manual Mode

As described earlier, selecting a new Amp Model loads the new Amp, along with default settings for each of the 5 Amp Tone knobs & Reverb knob. If you prefer to not have these knob values change when selecting a new Amp Model, you can use the “Manual Mode,” available from the FX ONLY button:

5•5

Press and Hold the FX ONLY button to toggle in and out of Manual Mode

When in Manual Mode, the following behaviors apply:

• The amber LED Bank/Patch display shows - - - to indicate you are in Manual Mode.

• The positions of the 5 physical Amp Tone knobs & Reverb knob always reﬂect the values in use - what you see on the physical knobs is what you get.

Amp, Cab & Mic Models

• Selecting a new Amp Model does not load the Amp’s “default” settings for these 6 knobs. Instead, all 6 knobs’ settings remain as-is, unless you turn the knobs.

• Selecting any Preset will automatically exit Manually Mode and load the new Preset, including its last saved Amp Model, Amp Model Mode, Tone & Reverb knob settings.

FX Only Mode

It is also possible to use the “FX Only” mode if you prefer to keep the Amp, Cab & Mic models’ processing bypassed. This can be useful if you want to use only the unit’s FX, for example, if running POD HD400 directly into a guitar amp. The following behaviors apply for the FX Only mode:

5•6

• To toggle FX Only mode on/off, simply toggle the FX ONLY button, which remains lit when this mode is active.

• The FX Only mode is a “persistent” setting, therefore, the Amp, Cab & Mic processing remains bypassed when the mode is active, regardless of the Amp Model’s enabled/disabled state saved within any Preset.

• Since the FX Only mode bypasses the Amp, this also means the Amp’s tone knobs are disabled. Therefore, when the Amp is off, a “Bypass Volume” parameter is provided to allow signal level adjustment - see “Bypass Volume” on page 5•5.*

• The Reverb effect is still available when in FX Only mode, and fully adjustable via the REVERB knob, as well as via the Edit mode - Reverb menu.

* Note that the Amp & Cab processing can also be bypassed via the AMP footswitch, however, the footswitch only bypasses the Amp for the current Preset.

AutoFX SETUP Parameter

This option is a “persistent” setting, offered in the SETUP menu. Please see “AutoFX” on

page 1•2 for the full info. This setting will affect the FX behaviors when selecting a new Amp

Model via the Amp select knob.

Amp, Cab & Mic Models

Amp Model Descriptions

To follow are descriptions of the 16 HD Amp Models included within POD HD400.

Blackface Double (CLEAN Red)

Based on* the Normal input of a ‘65 “Blackface” Fender® Twin Reverb®, with the Bright switch off. This amp is considered by many to be the quintessential, high headroom clean tone machine, with its glassy high-end and plenty of snap for chick’n pick’n moments.

Hiway 100 Custom (CLEAN Green)

Based on* the Brilliant channel of a Hiwatt® Custom 100 (DR103). We developed this one to emulate those late ‘60s & early ‘70s clean tones, with an extended tone range & slightly tightened low end. Plenty of that big clean sound here, but crank the Drive up to a high setting to add a bit of grit and windmill a few D chords if you want that Townsend vibe.

Super O (PAWNSHOP Red)

Based on* one of the most coveted “pawnshop prize” amps, a ‘60s Supro® S6616, complete with an unusual 6 x 9 speaker. This little Supro® was known for having one of the hippest overdrive factors around, making it great for greasy blues, slide guitar, or just some good old Rock ‘n Roll. The actual Supro® only has a Drive and a Tone knob, so we mapped Tone to the MID knob and invented Bass, Treble, and Presence controls.

5•7

Gibtone 185 (PAWNSHOP Green)

Based on* the Microphone input of a Gibson® EH-185. This little 20-watt, tweedcovered tone monster was top-of-the-line in 1939, and highly sought today for its unique, harmonic-laden, sweet tones and association with jazz pioneer Charlie Christian. Jazzy, yes, but crank up that drive for some swampy, small-box grunt.

Tweed B-Man (BLUES Red)

Based on* one of the most beloved amps of all time, the ‘59 Fender® Tweed Bassman®, via the Normal channel input. Ironically, this was originally designed as a bass amp, but guitarists ﬂipped when they plugged in and turned one of these 4x10 combos up. Great for classic tones, with plenty of girth and sweet, singing highs.

* All product names are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These product names and descriptions are provided for the sole purpose of identifying the speciﬁc products that were studied during Line 6’s sound model development. Hiwatt® is a registered trademark of Fernandes Company, Ltd. Gibson® is a registered trademark of Gibson Guitar Corp. Fender®, Twin Reverb® and Bassman® are registered trademarks of Fender Musical Instruments Corporation. Supro® is a registered trademark of Zinky Electronics.

Amp, Cab & Mic Models

Blackface ‘Lux (BLUES Green)

There’s nothing like the sound of the classic* Fender® “Blackface” Deluxe Reverb®, the Holy Grail for many blues, country and roots rockers, and that is exactly what you get! We used the Normal channel input.

Divide 9/15 (BOUTIQUE Red)

Here’s our take on the EL84 circuit of one ampliﬁer quickly becoming a modern classic the Divided By 13 9/15. Note that we’ve conﬁgured the Amp Tone knobs to mimic those of the actual amp. The DRIVE knob controls the “clean” channel, and the BASS knob is being used as the drive knob for the “dirty” channel. Just think of the BASS knob as a “Drive 2” control.

Phd Motorway (BOUTIQUE Green)

5•8

Based on* the Dr. Z® Route 66. This deceptively simple little amp employs KT66 tubes, an EF86 front end and tube rectiﬁer, which all add up to some seriously thick tones and soulful clarity. Just like the Dr.’s creation, you’ll hear that the BASS, TREBLE and

VOLUME knobs all interact a bit, so spend a little time hearing what is possible with your

knob settings!

Class A-15 (CLASS A Red)

Based on* a wonderful ‘61 “fawn” Vox® AC-15. The EF86 preamp and Class A design deliver a surprisingly mean 15 watts and set it apart from its AC-30 sibling. Note that we’ve made the MID knob function like the classic Vox® “Cut” knob - turning the knob up reduces the treble.

Class A-30 TB (CLASS A Green)

Ready, steady....GO! This amp model is based on* the Brilliant channel of a Vox® AC-

30 “Treble Boost” ampliﬁer. We wanted to capture that early pop-rock tone that many British invasion bands are so well known for. Great for chimey cleans as well as a smooth overdrive with upper Drive settings. Note that we’ve made the MID knob function like the classic Vox® “Cut” knob - turning the knob up reduces the treble.

* All product names are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These product names and descriptions are provided for the sole purpose of identifying the speciﬁc products that were studied during Line 6’s sound model development. Fender® and Deluxe Reverb® are registered trademarks of Fender Musical Instruments Corporation. Vox® is a registered trademark of Vox R&D Limited. Marshall® is a registered trademark of Marshall Ampliﬁcation Plc. Dr. Z® is a registered trademark of Dr. Z Amps, Inc.

Amp, Cab & Mic Models

Brit Plexi J-45 (CRUNCH Red)

Based on* a 1965 Marshall® JTM-45 MkII head, complete with KT66 power tubes and a gold Plexiglas front panel. The tasty overdrive of this amp is the deﬁnition of rock guitar crunch! Descended from the design of the Fender® Tweed Bassman®, the JTM-45 was the ﬁrst Marshall® ampliﬁer to go into production - and the rest is rock history.

Brit P-75 (CRUNCH Green)

Based on* the Bright channel of a Park 75, a highly collectible model produced by Jim Marshall under his “Park” brand name starting in ‘69. Similar to the JTM-45 design, but its 6550 tubes deliver more power & headroom which provide some amazing dynamics and musicality.

Brit J-800 (HI GAIN Red)

Based on* the High input a Marshall® JCM-800, one of Marshall’s most universallyacclaimed modern amps. There were many variants of the JCM-800 produced. We obtained an amazing model 2204, all-tube, 50-watt head, which is one of the best we’ve ever heard! Great for classic to hard rock, with plenty of head-banging crunch.

Bomber Uber (HI GAIN Green)

5•9

Based on* a 2002 Bogner Uberschall. The Uberschall dishes up some extra thick & meaty tone for high-gain aﬁcionados. This one takes “chunk” to a new level.

California Treadplate (METAL Red)

Based on* channel 3 of the Mesa/Boogie® Dual Rectiﬁer®, one of the most inﬂuential high-gain monsters of the modern era. In case you’re wondering, we modeled this amp set on channel 3, set to “modern,” with solid-state rectiﬁcation and the “bold” power setting active. We also used the FX Loop for some extra gain-staging.

Angel F-Ball (METAL Green)

Based on* the Engl® Fireball 100, one of the newer boutique. ﬁre-breathing tube machines known for its thunderous lower-midrange punch and metal sensibilities.

* All product names are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These product names and descriptions are provided for the sole purpose of identifying the speciﬁc products that were studied during Line 6’s sound model development. Fender® and Deluxe Reverb® are registered trademarks of Fender Musical Instruments Corporation. Vox® is a registered trademark of Vox R&D Limited. Marshall® is a registered trademark of Marshall Ampliﬁcation Plc. Mesa/Boogie® and Dual Rectiﬁer® are registered trademarks of Mesa/Boogie, Ltd. Engl® is a registered trademark of Beate Ausﬂug and Edmund Engl.

Amp, Cab & Mic Models

Cab Model Descriptions

To follow are descriptions of each of the available Cab Models. (For the list of Cabs that are loaded automatically with each Amp, see “Default Cab & Mic Models” on page 5•2.)

2x12 Blackface Dbl

Based on* an open-back Fender® “Blackface” Twin Reverb® cabinet, containing 2 x 12 inch Jensen® speakers.

4x12 Hiway

Based on* a closed-back Hiwatt® cab, including 4 x 12 inch Fane® 12287 50w speakers.

1x(6x9) Super O

5•10

Based on* an open-back Supro® S6616 cabinet, containing one “6x9” size speaker.

1x12 Field Coil

Based on* an open-back Gibson® EH-185 combo cabinet, including 1 x 12 Field Coil Speaker.

4x10 Tweed B-Man

Based on* an open-back Fender® Tweed Bassman® combo cab, including 4 x 10 inch Jensen® alnico speakers.

1x12 Blackface ‘Lux

Based on* the open-back Fender® “Blackface” Deluxe Reverb® combo cab, including one 12 inch Oxford 12K5-6 speaker.

1X12 Brit 12-H

Based on* an open-back Divided by 13, 9/15 combo cab, containing one 12 inch Celestion® G12H Heritage (70th anniversary) speaker.

2x12 PhD Ported

Based on* an closed-back Dr. Z®, Z Best cabinet including 2 x 12 inch Celestion® speakers - one G12H Heritage and one Vintage 30.

* All product names are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These product names and descriptions are provided for the sole purpose of identifying the speciﬁc products that were studied during Line 6’s sound model development. Hiwatt® is a registered trademark of Fernandes Company, Ltd. Fane® is a trademark of Fane International. Gibson® is a registered trademark of Gibson Guitar Corp. Fender®, Twin Reverb®, Bassman® and Deluxe Reverb® are registered trademarks of Fender Musical Instruments Corporation. Supro® is a registered trademark of Zinky Electronics. Celestion® is a registered trademark of Celestion International Ltd. Jensen® is a registered trademark of Jensen Loudspeakers and Audiovox Corporation. Vox® is a registered trademark of Vox R&D Limited. Marshall® is a registered trademark of Marshall Ampliﬁcation Plc. Mesa/Boogie® and Dual Rectiﬁer® are registered trademarks of Mesa/Boogie, Ltd. Engl® is a registered trademark of Beate Ausﬂug and Edmund Engl. Dr. Z® is a registered trademark of Dr. Z Amps, Inc.

Amp, Cab & Mic Models

1x12 Blue Bell

Based on* an open-back Vox® AC-15 combo cabinet, including one 12 inch Celestion® Alnico Blue speaker.

2x12 Silver Bell

Based on* an open-back Vox® AC-30 combo cabinet, including 2 x 12 inch Celestion® Alnico Silver Bell speakers.

4x12 Greenback 25

Based on* a closed-back Marshall® cabinet, including 4 x 12 inch Celestion® G12M “Greenback” speakers.

4x12 Blackback 30

Based on* a closed-back Marshall® cabinet, including 4 x 12 inch Celestion® Rola G12H30W “Blackback” speakers.

4x12 Brit T-75

Based on* a closed-back Marshall® cabinet, including 4 x 12 inch Celestion® G12T75 speakers.

4x12 Uber

Based on* a closed-back Bogner Uberschall cabinet, including 4 x 12 inch Celestion® speakers - 2 x G12T75 and 2 x Vintage 30 speakers.

4x12 Tread V-30

Based on* a closed-back Mesa/Boogie® cabinet, including 4 x 12 inch Celestion® Vintage 30 speakers.

4x12 XXL V-30

Based on* a closed-back Engl® Pro cabinet, including 4 x 12 inch Celestion® Vintage 30 speakers.

5•11

* All product names are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These product names and descriptions are provided for the sole purpose of identifying the speciﬁc products that were studied during Line 6’s sound model development. Celestion® is a registered trademark of Celestion International Ltd. Jensen® is a registered trademark of Jensen Loudspeakers and Audiovox Corporation. Vox® is a registered trademark of Vox R&D Limited. Marshall® is a registered trademark of Marshall Ampliﬁcation Plc. Mesa/Boogie® and Dual Rectiﬁer® are registered trademarks of Mesa/Boogie, Ltd. Engl® is a registered trademark of Beate Ausﬂug and Edmund Engl.

FX1 MoDelS

This chapter provides parameter details on the FX1 set of Models, which includes a plethora of “Stomp” effects (Distortions, Fuzzes, Compressors, Filters and more) from the Line 6 M13 Stompbox modeler. The following parameters are all accessible within Edit Mode for the FX1 category of models. Please see “Edit Mode” on page 4•1 for details on entering and navigating the Edit Mode features.

Parameter Details

Below is a Reference Table listing all parameters for the FX1 models. See the following sections for descriptions of each model and its available parameters.

FX1 Models - Parameter Reference Table

Model Parameters

GAIN Swoosh

Screamer Drive Bass Tone Treble Output

Tube Drive Drive Bass Mid Treble Output

Classic Distortion Drive Bass Filter Treble Output

Heavy Distortion Drive Bass Mid Treble Output

Color Drive Drive Bass Mid Treble Output

Overdrive Drive Bass Mid Treble Output

Line 6 Drive Drive Bass Mid Treble Output

Line 6 Distortion Drive Bass Mid Treble Output

Boost Comp Drive Bass Comp Treble Output

Red Comp - - - Sustain Level

Blue Comp - - - Sustain Level

FX1 Models

6•1

Blue Comp Treb - - - Sustain Level

Vetta Comp - - - Sensitivity Level

Vetta Juice - - - Amount Level

Fuzz Pi Drive Bass Mid Treble Output

Octave Fuzz Drive Bass Mid Treble Output

FX1 Models

Jet Fuzz Drive Fdbk Tone Speed Output

Sub Octave Fuzz Drive Bass Sub Treble Output

Buzz Saw Drive Bass Mid Treble Output

Facial Fuzz Drive Bass Mid Treble Output

Jumbo Fuzz Drive Bass Mid Treble Output

Spring - Decay Time Tone Mix

‘63 Spring - Decay Time Tone Mix

Particle Verb - Dwell Gain Verb Mix

Graphic EQ 80Hz 220Hz 440Hz 1.1kHz 2.2kHz

Studio EQ LowFreq LowAmt MidFreq MidAmt Output

Parametric EQ Lows Highs Freq Q (Width) Gain

4-Band Shift EQ Low Low Mid Hi Mid High Shift

Mid Focus EQ HPFreq HP Q LPFreq LP Q Gain

Slow Filter Speed Freq Q Filter Mix

Tron Down Freq Q (Width) Range Type Mix

Tron Up Freq Q (Width) Range Type Mix

6•2

Q Filter Freq Q (Width)

Ring Modulator Speed Depth Shape AM FM Mix

Dimension Switch 1 Switch 2 Switch 3 Switch 4 Mix

Frequency Shifter - - Freq Mode Mix

Rotary Drum Speed Depth Tone Drive Mix

Rtry Drm W/Hrn Speed Depth HDepth Drive Mix

Model Parameters

VARIOUS Swoosh

Gain

Filter Mix

Model Parameters

PITCH Swoosh

Smart Harmony - Key Scale Shift Mix

Pitch Glide Position Pedal

Attack Synth Speed Freq Wave Pitch Mix

Synth String Speed Freq Attack Pitch Mix

Growler Speed Freq Q (Width) Pitch Mix

Synth-O-Matic Freq Q (Width) Wave Pitch Mix

Bass Octaver - Tone Normal Octave -

V Tron Start (Vowel) End (Vowel) Speed Mode Mix

Heel

Toe Mix

Common FX1 Parameters

When you enter Edit Mode for any FX1 model, you’ll see several parameters available. All FX1 models offer the following two common parameters:

Model Select

FX1 Models

Allows you to choose from among the list of FX1 models.

Routing

Sets the FX1 model’s position within the signal ﬂow - Pre or Post.

• Pre: Positions the effect before the amp.

• Post: Positions the effect after the amp.

Please read on for details on all FX1 models & their parameters.

6•3

FX1 Models

GAIN Swoosh Models

Common Gain FX Parameters

The following parameters are found in several of the Gain Swoosh models:

• Drive: Adjusts the amount of overdrive/distortion/fuzz.

• Bass: Adjusts Bass EQ level.

• Mid: Adjusts the Midrange EQ level.

• Treble: Adjusts Treble EQ level.

• Output: Adjusts the overall volume level - higher settings typically offer an output boost.

The following model descriptions include parameters that differ from the above items.

6•4

Screamer

Based on* the Ibanez® TS-808 Tube Screamer®. This medium-gain pedal was introduced in the early ’80s. From Stevie Ray Vaughan to Michael Landau, the simple Tube Screamer is the overdrive heard ’round the world.

• Tone: Adjusts the Midrange EQ level, true to the original Tube Screamer’s Tone knob.

Tube Drive

Based on*the Chandler Tube Driver®, originally designed by keyboardist Brent Butler to add grind and girth to his Farﬁsa. Utilizing a 12AX7 preamp tube, the Tube Driver delivers the sweet singing sustain craved by guitarists worldwide.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

FX1 Models

Classic Distortion

Based on* the late ‘70s ProCo Rat, which was the beginning of a new generation of distortion boxes, with a sound that was angrier and more aggressive than a conventional fuzz tone.

• Filter: Functions like the original Rat’s Filter control, which gives you a brighter tone at lower settings, and a darker tone at higher settings.

Heavy Distortion

Based on* the Boss® MT-2 Metal Zone, introduced at the height of the big-hair metal craze of the late ’80s. Heavy and scooped, the tones of this model beg to be chunked upon.

Color Drive

Based on* the Colorsound® Overdriver, which originated from London’s Macari’s Music Exchange in 1965. With a high demand for Tone Benders at that time, brothers Larry and Joe Macari started building their own unique pedals under the name Sola/Colorsound.

• Mid: Adjusts Midrange EQ level - at 50% has no effect on the Mids; below 50% is a cut, above 50% a boost.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

6•5

FX1 Models

6•6

Overdrive

Based on* the DOD® Overdrive/Preamp 250, which was designed to slam the input of a tube guitar amp as well as add distortion. The original had only gain and level controls, but we’ve added Bass, Mid and Treble EQ.

Line 6 Drive

A Line 6 original, this model makes special use of the “Mid” control to emulate different distortion ﬂavors (see below).

• Mid: At minimum, you’ll get the sound of a ‘70s-style fuzz box clone. As you adjust it towards 50%, you’ll get a more modern, high gain sound like the Rat or the Boss® Super Distortion. Turning it up to maximum, you’ll get the gritty bite typical of a Sola Sound Tone Bender.

Line 6 Distortion

Another Line 6 original, this model is out of control. Sure, it’s massive. Yes, it’s over the top. But it’s a great distortion model.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

FX1 Models

Boost Comp

Based on* the MXR® Micro Amp. This effect was used to “push” the front-end of nonmaster volume tube amps in order to achieve a cranked sound at less than stadium levels.

• Drive: Adjusts the amount of gain.

• Comp: Higher settings increase the compression amount, similar to that of an MXR® Dyna Comp.

Red Comp

Based on* the MXR® Dyna Comp. Parameters offered are just like the original:

• Sustain: Higher settings add more compression, thus more sustain and squishy goodness.

6•7

• Level: Adjusts the overall volume level - higher settings offer an output boost.

Blue Comp

Based on* the Boss® CS1 Compression Sustainer with the Treble switch off.

• Sustain: Higher settings add more compression, thus more sustain.

• Level: Adjusts the overall volume level - higher settings offer an output boost.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

FX1 Models

6•8

Blue Comp Treb

Just like the Blue Comp above, based on* the Boss® CS1 Compression Sustainer, but with the Treble switch on.

Vetta Comp

A Line 6 custom creation compressor from the Line 6 Vetta.

• Sensitivity: Functions as a threshold control - higher settings reduce the threshold (resulting in greater compression).

• Level: Adjusts the overall volume level - higher settings offer an output boost.

Vetta Juice

Another Line 6 original - use this one for some compression, and/or to add a nice boost.

• Amount: Functions as a variable compression ratio - higher settings add more compression.

• Level: Adjusts the boost level, with up to +30dB of gain.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

FX1 Models

Fuzz Pi

Based on* the Electro-Harmonix® Big Muff PI®. America’s answer to the British fuzz pedals, the Big Muff PI® was known more for its sweet sustain than for its buzz.

Octave Fuzz

Based on the coveted Tycobrahe Octavia “fuzz plus octave” effect. The Octavia used an audio output transformer and 2 germanium diodes to rectify the guitar signal, creating the high octave type sound, such as Jimi Hendrix used on “Purple Haze.”

Jet Fuzz

6•9

Based on* the Roland® Jet Phaser/AP-7. As Roland states in their catalog from the ’70s: “...the Jet Phaser is a phase shifter producing dynamic jet sounds for rock guitar.”

• Feedback: Controls the amount of feedback, higher settings producing more of the “jet plane” sonic sweep.

• Tone: Adjusts the EQ.

• Speed: Controls the rate of the phasing effect.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

FX1 Models

6•10

Sub Octave Fuzz

Inspired by the PAiA Roctave Divider, which combined a double octave shift with a fuzz effect, resulting in deep fat square wave distortion. Parameters offered are:

• Sub: Controls the amount of Sub octave content.

Buzz Saw

Based on the Maestro® Fuzz Tone. Legend has it that the sound of this pedal was inspired by a broken and buzzing mixer channel heard in Nashville in 1961.

Facial Fuzz

Based on* the Arbiter® Fuzz Face, the infamous circular stompbox that hit the London music scene in 1966. It’s best known for its association with guitar legend Jimi Hendrix.

Jumbo Fuzz

Based on* the Vox® Tone Bender. The classic Tone Bender sound can be heard all over the early Led Zeppelin albums, and is especially apparent on Communication Breakdown.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

VARIOUS Swoosh Models

Spring (Reverb)

Based on a studio spring reverb. The spring reverb’s characteristic resonant sound was created by springs suspended inside a metal box.

• Decay: Sets the length of time the reverb effect sustains (sometimes also referred to as “Dwell” on old spring reverb units).

• Time: Conﬁgures the “pre-delay” time, before the wet reverb effect is heard, up to 200 milliseconds.

• Tone: Adjusts the tone of the “wet” reverb signal only.

FX1 Models

‘63 Spring (Reverb)

Based on a 1963 brown self-contained spring reverb head unit. Best known for great surf guitar tone.

• Decay: Sets the length of time the reverb effect sustains (sometimes also referred to as “Dwell” on old spring reverb units).

• Time: Conﬁgures the “pre-delay” time, before the wet reverb effect is heard, up to 200 milliseconds.

• Tone: Adjusts the tone of the “wet” reverb signal only.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

6•11

FX1 Models

Particle Verb

A new kind of reverb effect which turns your chords into a lush modulated pad in STABLE mode. CRITICAL mode is similar, but with a slight rise in pitch. In HAZARD mode, all stops are removed.

• Dwell: Essentially a decay parameter, which adjusts the length of time the reverb tail lasts.

• Condition: Choose between STABLE, CRITICAL and HAZARD here for some different reverb experiences!

• Gain: Sets overall output level of the effect.

6•12

Graphic EQ

Here’s a classic 5 band graphic EQ with boost or cut of 12dB for each Band, at 80Hz, 220Hz, 440Hz, 1.1kHz and 2.2kHz.

Studio EQ

This is an API-style EQ with constant Q and Soft Clipping output with Level control.

• Lo Freq & Lo Amount: Selects low frequency (75-1400Hz) and adjusts its level +/- 11dB.

• Mid Freq & Mid Amount: Selects midrange frequency (200-8000Hz) and adjusts its level +/- 11dB.

• Output: Adjusts the overall output level of the EQ (-18dB to +18dB).

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

FX1 Models

Parametric EQ

This EQ features Hi shelf, Low shelf and a fully parametric band with Gain control.

• Lows, Highs: Adjusts the low frequencies (a high pass ﬁlter) & high frequencies (a low pass ﬁlter).

• Freq, Q and Gain: These 3 parameters make offer a single parametric “band” EQ ﬁlter. Set the frequency to center the band and use the Gain to boost or cut this frequency. The Q is used to widen or narrow the adjacent frequencies that are included.

4 Band Shift EQ

A 4 band graphic EQ tool, but with an added “Shift” option to adjust the Bands’ frequencies.

• Lo Freq, Low Mid, Hi Mid and High: Each of these 4 Band parameters are adjustable with a Cut or Boost of 12dB.

6•13

• Shift: Moves the center frequency of all Bands up or down. Above 50% it’s probably great for guitar - below 50%, probably great for bass.

Mid Focus EQ

This is essentially a Hi Pass Filter and a Low Pass Filter both with frequency and gain control used together to create a Band-Pass.

• HP Freq & HP Q: Selects the High Pass ﬁlter frequency and its curve.

• LP Freq & LP Q: Selects the Low Pass ﬁlter frequency and its curve.

• Gain: Adjusts the overall gain level.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

FX1 Models

6•14

Slow Filter

This triggered ﬁlter rolls off the high end of your tone, with adjustable speed. You get a choice of having your tone sweep from dark to bright (Up mode), or bright to dark (Down mode). The Q lets you further shape your tone by creating a sharp boost at the point of the high end roll off.

• Speed: Sets the speed of the ﬁlter sweep.

• Speed: Selects the center frequency.

• Q: Sets the width of the ﬁlter, changing the sound of the sweep.

• Filter: Selects between two modes - Up or Down.

• Mix: Sets the balance of the “Dry” and “Wet” signals. At 0% you will hear strictly dry guitar; at 100% you will hear the wet signal only.

Tron Down

Inspired by the Mu-Tron® III envelope follower, part auto-wah, part triggered ﬁlter. The original Mu-Tron® had an up/down switch. This model emulates the Mutron® III with its switch in the “down” position.

• Frequency: Determines the high and low settings of the ﬁlter sweep.

• Q: Sets the width of the ﬁlter.

• Range: Selects High or Low frequency focus of the ﬁlter effect.

• Type: Selects a ﬁlter type - Low Pass, Band Pass, or High Pass.

• Mix: Sets the balance of the “Dry” and “Wet” signals. At 0% you will hear strictly dry guitar; at 100% you will hear the wet signal only.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

FX1 Models

Tron Up

Just like the Tron Down model, this emulates the Mu-Tron® III envelope follower, but with the up/down switch set to “up.” Parameters are the same as listed above.

Q Filter

This is essentially a wah “parked” in one position to create that unique, notched kind of sound (such as if you want to get your Schenker on). With the Q Filter, this effect is programmable and repeatable. The available parameters are:

• Frequency: Controls ﬁlter frequency (like the position of a wah pedal).

• Q: Controls the width of the ﬁlter.

6•15

• Gain: Sets the mount of gain boost the effect gives to your guitar signal.

• Filter: Selects the type of ﬁlter (Low Pass, Band Pass, or High Pass).

• Mix: Sets the balance of the “Dry” and “Wet” signals. At 0% you will hear strictly dry guitar; at 100% you will hear the wet signal only.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

FX1 Models

6•16

Ring Modulator

Ring modulators are for those special times when you want different, distinctive, weird, strange and otherwise non-traditional guitar sounds. With Mix set under 100%, some of your dry guitar sound will be heard. At 100%, there are no rules.

• Speed: Adjusts the modulation rate.

• Depth: Adjusts the modulation depth.

• Shape: Adjusts your wave shape from Sine to Square.

• AM/FM: Select AM (amplitude modulation) or FM (frequency modulation). Set to minimum for AM, maximum for FM, or anywhere in-between to blend the two.

• Mix: Adjust the balance of “Dry” and “Wet” signals. Experiment with different Mix levels for different effects.

Dimension

Based on* the Roland® Dimension D, one of the ﬁrst true stereo chorus units that featured two separate delay lines working off the same oscillator. These independent chorus effects were then panned between the stereo outputs, resulting in a wide stereo image. Various combinations of the on/off switches provide a rich, smooth chorus.

• Switch 1, 2, 3 & 4: Each of these four Switch parameters offers its own On or Off setting.

• Mix: Adjusts the balance of “Dry” and “Wet” signals. Keep it set near max for the best chorus sound.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

FX1 Models

Frequency Shifter

Another classic effect from the world of modular synths. Similar to a ring modulator, but a ring modulator gives you both up and down shifted frequencies. Here you can select just the up or down shifted frequencies, or set it to stereo. The available parameters are:

• Frequency: Chooses the frequency for which you want the modulation centered.

• Mode: Sets the type of audible shift - Up, Down or Stereo.

• Mix: Adjusts the balance of “Dry” and “Wet” signals. Feel free to experiment here for different sounds.

Rotary Drum

6•17

Based on* a Fender® Vibratone, which features a rotating drum surrounding a 10” speaker. The styrofoam drum has two slots, and the cabinet has three (left, right and top). The drum rotates with a vertical motion, sending sound spinning in all directions.

• Speed: Select between two speeds of drum rotation, Fast or Slow.

• Depth: Adjusts the modulation depth. Higher settings yield a greater wobble effect.

• Tone: Overall Tone of the Rotary effect.

• Drive: Higher levels add an overdriven effect to ad some “dirt” to the signal.

• Mix: Sets the balance of “Wet” and “Dry” signals. For best results, set at or near maximum.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

FX1 Models

6•18

Rotary Drum & Horn

Based on a Leslie® 145, originally designed for the Hammond® B3. The 145 features two sound sources: the lower part of the cabinet, which has a 12” speaker surrounded by a motorized rotary drum, and the upper enclosure, which houses a spinning horn.

• Speed: Select between two speeds of drum rotation, Fast or Slow.

• Depth: Adjusts the modulation depth. Higher settings yield a greater wobble effect.

• Horn Depth: Adjusts the depth of only the Horn sound..

• Drive: Higher levels add an overdriven effect to ad some “dirt” to the signal.

• Mix: Sets the balance of “Wet” and “Dry” signals. For best results, set at or near maximum.

PITCH Swoosh Models

Smart Harmony

Finally, a Line 6 intelligent harmonizer effect! Select a Scale, Key and Shift value and our DSP algorithms will do the rest, producing a perfect harmony note along with your guitar riffs. The available parameters are:

• Key: Select the Key you’ll be playing in.

• Scale: Select the Scale you’d like to use (also see table below).

• Shift: Determines the interval value for the desired harmony note.

• Mix: Sets the balance or your dry + harmony notes.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

FX1 Models

The Smart Harmony effect automatically detects your guitar’s single-note pitch and shifts it to match a user-selected key and scale. A choice of keys is provided; consult the table below to achieve other scalic modes.

• Choose your key on the left, then your mode on the top.

• The cell where the two connect is the key to choose to get to the mode you’d like. For example, for C - Lydian, the scale you want is G Major.

Mode

Key Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian

A

B

C

D

E

F

G

A Maj G Maj F Maj E Maj D Maj C Maj Bb Maj

B Maj A Maj G Maj Gb Maj E Maj D Maj C Maj

C Maj Bb Maj Ab Maj G Maj F Maj Eb Maj Db Maj

D Maj C Maj Bb Maj A Maj G Maj F Maj Eb Maj

E Maj D Maj C Maj B Maj A Maj G Maj F Maj

F Maj Eb Maj Db Maj C Maj Bb Maj Ab Maj Gb Maj

G Maj F Maj Eb Maj D Maj C Maj Bb Maj Ab Maj

6•19

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

FX1 Models

Pitch Glide

This is the Line 6 Pitch Glide effect, designed to be used with the on-board POD HD400 pedal. Set your heel and toe values as desired, then glide between them.

• Position: Manually adjusts the pedal position, allowing you to tweak the effect without actual pedal control.

• Pedal:*

• Choose Wah:Glide to have your pedal’s Wah mode control the Pitch Glide effect.

• Choose Vol:Glide to have your pedal’s Vol mode control the Pitch Glide effect.

• Choose Don’tCtl to use the effect manually, without pedal control.

• Heel: Sets the amount of pitch shift for the “toe” position of your pedal.

6•20

• Toe: Sets the amount of pitch shift for the “toe” position of your pedal.

• Mix: Adjusts the balance of “Dry” guitar signal and “Wet” (pitch-shifted) signal.

* Note: This Pedal assignment is retained when saving your Preset. You’ll see that the HD400 Pedal’s WAH and VOL LEDs both lit to indicate when the pedal is switched to control Pitch Glide - see “Pedal Control” on page 2•4.

Attack Synth

Inspired by a Korg® X911 Guitar Synth. The Attack Synth model features one of the waveforms used in the original X911, along with a few of the unique wave shaping functions we found on the unit we modeled.

• Speed: Controls the attack time.

• Frequency: Controls the stop frequency of the ﬁlter (VCF on the X911).

• Wave: Selects Square, Pulse Width Modulation or Ramp for the waveform.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

FX1 Models

• Pitch: Sets the Pitch of the effect over a two octave range.

• Mix: Adjusts the balance of “Dry” guitar signal and “Wet” signal.

Synth String

Based on* the Roland® GR700 Guitar Synth, which has some of the coolest analog synth sounds designed for guitar. The Synth String model is based on one of the signature sounds of the GR700.

• Speed: Sets the speed of the vibrato-y pulse width modulation.

• Frequency: Controls a low pass ﬁlter tone control.

• Attack: Conﬁgures the attack time.

• Pitch: Sets the Pitch of the effect over a two octave range.

• Mix: Adjusts the balance of “Dry” guitar signal and “Wet” signal.

Growler

For the Growler, we modeled yet another great-sounding GR700 tone and fused it with the characteristics of the Mu-tron III®, resulting in a model that gives you combined usercontrollable pitch and pulse width modulation.

• Speed: Dials in the speed of the vibrato-y pulse width modulation.

• Frequency: Controls the center frequency of the ﬁlter.

• Q: Sets the width of the ﬁlter.

• Pitch: Controls the Pitch of the synth over a two octave range.

• Mix: Adjusts the balance of “Dry” guitar signal and “Wet” signal.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

6•21

FX1 Models

Synth-O-Matic

This model features waveforms captured from a collection of vintage analog synths, including a Moog® Modular and an Oberhiem® Synthesizer Expander Module.

• Frequency: Selects the frequency for which the ﬁlter will be centered.

• Q: Sets ﬁlter width to add more or less emphasis on the selected frequency.

• Wave: Selects one of the eight synth waveforms.

• Pitch: Controls the Pitch of the synth sound.

• Mix: Adjusts the balance of “Dry” guitar signal and “Wet” signal.

6•22

Bass Octaver

We received several user requests for a clean low octave effect, so we’ve included a bass octaver similar to the model we feature in our LowDown bass amps.

• Tone: Adjusts the overall tone of the effected signal.

• Normal: Controls the level of your original signal (allowing you to balance it with the octave signal).

• Octave: Controls the level of the pitch-shifted, octave signal.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

FX1 Models

V-Tron

Here’s the mutant offspring of a Mu-Tron III® envelope ﬁlter* and a Voice Box effect. With the V Tron, your guitar “speaks” with an almost human voice in response to your playing.

Each time you strike a new note or chord, the vowel sequence will be “spoken.” You can choose whether to go from Start vowel to End vowel only (Up), or have it turn around and come back again (Up/Down).

• Start: Sets the starting vowel sound (A, E, I, O or U).

• End: Sets the ending vowel sound (A, E, I, O or U).

• Speed: Adjusts how long it takes to “speak” from the Start to the End vowel.

• Mode: Selects either Up or Up/Down.

• Mix: Adjusts the balance of “Dry” guitar signal and “Wet” signal.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Tube Driver® is a registered trademark of Butler Audio, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Tube Screamer® is a registered trademark of Hoshino Gakki Co. Ltd. DOD® is a registered trademark of DOD Electronics Corp. Boss® is a registered trademark of Roland Corp. Colorsound® is a registered trademark of Sola Sound Limited Corp. Maestro® is a registered trademark of Gibson Guitar Corp. Arbiter® is a registered trademark of Arbiter Group PLC. Vox® is a registered trademark of Vox R&D Limited. Electro-Harmonix® and Big Muff Pi® are registered trademarks of New Sensor Corp. MXR® is a registered trademark of Dunlop Manufacturing, Inc. Teletronix LA-2A is a registered trademark of Universal Audio Inc.

6•23

FX2 MoDelS

The FX2 category of models includes a wide assortment of Modulation, Filter & Tremolo FX from the Line 6 M13 Stompbox Modeler. In this chapter we’ll describe the various parameters of the FX2 Models in detail. The following parameters are all accessible within Edit Mode for the FX2 category of models. Please see “Edit Mode” on page 4•1 for details on entering and navigating the Edit Mode features.

Parameter Details

Below is a Reference Table listing all parameters for the FX2 models. See the following sections for descriptions of each model and its available parameters.

FX2 Models - Parameter Reference Table

Model Parameters

MOD Swoosh

Analog Chorus Speed Depth Chrs/Vibrato Tone Mix

Analog Flanger Speed Depth Feedback Manual Mix

U-Vibe Speed Depth Feedback Vol Sensing Mix

Phaser Speed Depth Feedback Stages Mix

Dual Phaser Speed Depth Feedback LFO Shape Mix

Barberpole Phaser Speed - Feedback Mode

Panned Phaser Speed Depth Output Pan Speed Mix

Script Phase Speed - - -

Pitch Vibrato Speed Depth Rise Time Vol Sensing Mix

FILTER Swoosh

Seeker Freq Q (Width) Speed/Tempo Steps Mix

Throbber Freq Q (Width) Speed/Tempo Wave Mix

Spin Cycle Freq Q (Width) Speed/Tempo Vol Sensing Mix

Obi-Wah Freq Q (Width) Speed/Tempo Filter Type Mix

Voice Box Start Vowel End Vowel Speed/Tempo Auto Mix

Mix

-

FX2 Models

7•1

FX2 Models

Opto - Tremolo Speed Depth Shape Vol Sensing Mix

Bias Tremolo Speed Depth Shape Vol Sensing Mix

Pattern Tremolo Speed

Panner Speed Depth Shape Vol Sensing Mix

TREMOLO Swoosh

Pattern 1 Pattern 2 Pattern 3 Pattern 4

Common Parameters

When you enter Edit Mode for any FX2 model, you’ll see several parameters available. FX2 models offer the following common parameters:

Model Select

Allows you to choose from among the list of FX2 models.

7•2

Routing

Sets the FX2 model’s position within the signal ﬂow - Pre or Post.

• Pre: Sets the effect before the amp.

• Post: Sets the effect after the amp (which is the tonal equivalent of placing the delay/echo effect within an amp’s FX Loop).

FX2 Models

Tap Control

Set this option to Control to have the Modulation speed of your FX2 models follow whatever tempo you “tap” into your POD HD400, using the TAP button. Set this parameter to Don’t Ctl and the FX2 models’ Speed parameter can be adjusted to any speed you like, regardless of the current Tap Tempo. The TapCtl setting is a “persistent” parameter and not stored with your Preset. Also see “Tap Tempo” on page 2•4.

Speed

Adjusts the modulation/oscillation/tremolo speed for the FX2 models.* The following behaviors apply:

• If the TapCtl parameter (see previous item) is set to Don’tCtl, you can adjusts the Modulation Speed manually, independent of the current Tap Tempo. This Speed value is stored per Preset.

7•3

• If the TapCtl parameter is set to Control, the Modulation Speed follows the current Tap Tempo. If you stomp out your desired 1/4 note rhythm on the TAP footswitch, this will set a new Tap Tempo, and FX2 models will then follow this new tempo.

* Note that the FX2 Filter swoosh models offer slightly different Speed parameter options, as detailed within the following model’s descriptions, as applicable.

Depth

Adjusts the intensity of the pitch-modulation, wobble or throb, depending on the type of effect. Higher settings yield more dramatic results.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Uni-Vibe® and MXR® are registered trademarks of Dunlop Manufacturing, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Boss® and Roland® are registered trademarks of Roland Corp. Leslie® is a registered trademark of Suzuki Musical Instrument Manufacturing Co. Ltd. Fender® is a registered trademark of Fender Musical Instruments Corp. Hammond is a registered trademark of Hammond-Suzuki. Mu-Tron® is a registered trademark of Zajac, Henry A., Jr. A/DA® is a registered trademark of Rocket Ampliﬁcation LLC DBA A/DA Limited Liability Company. Reticon® is a registered trademark of Reticon Corporation.

FX2 Models

7•4

Feedback

Many Mod & FX offer a Feedback option. This controls the amount of delayed signal that is fed back into the effect. Higher settings can provide more dramatic textures.

Mix

Sets the balance of the “Dry” and “Wet” signals. At 0% you will hear strictly dry guitar; at 100% you will hear the effected signal only. For Chorus, Flanger & Phase FX, results are typically best with the Mix set between 0 to 50%. For Vibrato, Tremolo, Pitch and Filter FX, try the Mix at 90 - 100%. No rules here though, so feel free to experiment!

Note that the Script Phase and Pattern Tremolo FX2 models do not offer a Mix parameter. Their dry/wet balance is “ﬁxed” just like the classic pedals that inspired them!

MOD Swoosh Models

Analog Chorus

Based on* the classic stomp box chorus, the Boss® CE-1. The CE-1 came onto the music scene in 1977 and made waves with its big, warm chorus tones.

• Chorus/Vibrato: Selects Chorus or Vibrato.

• Tone: Adjusts overall Tone of the Chorus effect.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Uni-Vibe® and MXR® are registered trademarks of Dunlop Manufacturing, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Boss® and Roland® are registered trademarks of Roland Corp. Leslie® is a registered trademark of Suzuki Musical Instrument Manufacturing Co. Ltd. Fender® is a registered trademark of Fender Musical Instruments Corp. Hammond is a registered trademark of Hammond-Suzuki. Mu-Tron® is a registered trademark of Zajac, Henry A., Jr. A/DA® is a registered trademark of Rocket Ampliﬁcation LLC DBA A/DA Limited Liability Company. Reticon® is a registered trademark of Reticon Corporation.

FX2 Models

Analog Flanger

This is our model of the classic MXR® Flanger. It’s known for a very warm-sounding ﬂange, featuring a bucket brigade analog circuit design and a uniquely shaped waveform.

• Manual: Adjusts the delay time for the ﬂanging effect.

U-Vibe

Essentially a four-stage phase shifter, the legendary Uni-Vibe® is best known for its watery texture and sultry tones. Made famous by the late, great Jimi Hendrix.

• Volume Sensitivity: Adjusts the sensitivity - Play harder and the U-Vibe effect speeds up, play softer and it slows down.

Phaser

Based on* the MXR® Phase 90, a four-stage phaser that has a relatively subtle sound compared to other phasers, but it has a lush, organic quality to it.

• Stages: Choose the number of phase stages, which determines the degree of out-ofphase-ness.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Uni-Vibe® and MXR® are registered trademarks of Dunlop Manufacturing, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Boss® and Roland® are registered trademarks of Roland Corp. Leslie® is a registered trademark of Suzuki Musical Instrument Manufacturing Co. Ltd. Fender® is a registered trademark of Fender Musical Instruments Corp. Hammond is a registered trademark of Hammond-Suzuki. Mu-Tron® is a registered trademark of Zajac, Henry A., Jr. A/DA® is a registered trademark of Rocket Ampliﬁcation LLC DBA A/DA Limited Liability Company. Reticon® is a registered trademark of Reticon Corporation.

7•5

FX2 Models

Dual Phaser

Based on* the Mu-Tron® Bi-Phase, a multi-stage phaser known for its big jet sound. Our Dual Phaser gives you the lush, offset phasing that made the Bi-Phase a classic.

• LFO Shape: Minimum is a Sine wave and maximum is a Square wave.

Barberpole Phaser

A classic effect from the world of modular synths. Instead of being driven by a classic LFO, this phaser sounds like it is rising in the UP mode, and sounds like it is falling in the DOWN mode. Stereo mode gives you both up and down.

7•6

• Mode: Selects the modulation mode - Up, Down or Stereo.

Panned Phaser

Modeled from the Ibanez® Flying Pan, a 4-stage phase shifter with panner built in. The original featured a 3-position switch to assign phasing to the left, right, or center.

• Output: Assigns the Phaser output to the Left, Center or Right channels.

• Pan Speed: Higher values result in faster panning.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Uni-Vibe® and MXR® are registered trademarks of Dunlop Manufacturing, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Boss® and Roland® are registered trademarks of Roland Corp. Leslie® is a registered trademark of Suzuki Musical Instrument Manufacturing Co. Ltd. Fender® is a registered trademark of Fender Musical Instruments Corp. Hammond is a registered trademark of Hammond-Suzuki. Mu-Tron® is a registered trademark of Zajac, Henry A., Jr. A/DA® is a registered trademark of Rocket Ampliﬁcation LLC DBA A/DA Limited Liability Company. Reticon® is a registered trademark of Reticon Corporation.

FX2 Models

Script Phase

A new model Based on* a hand wired ‘74 MXR® Phase 90. We’ve kept this one simple, offering just a Speed control like the original.

Pitch Vibrato

Based on* the Boss® VB-2 vibrato, which featured a bucket brigade analog circuit that produced a lively vibrato. Its big claim to fame was the “Rise Time” control. Thanks to this clever circuit, each time you kicked it on, it sped up to where you last had it set.

• Rise: Adjusts the rise time - Lower levels produce a longer rise time.

• Volume Sensitivity: Adjusts how much the vibrato responds to your playing - Louder input speeds up the vibrato, and a lower input slows it down.

7•7

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Uni-Vibe® and MXR® are registered trademarks of Dunlop Manufacturing, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Boss® and Roland® are registered trademarks of Roland Corp. Leslie® is a registered trademark of Suzuki Musical Instrument Manufacturing Co. Ltd. Fender® is a registered trademark of Fender Musical Instruments Corp. Hammond is a registered trademark of Hammond-Suzuki. Mu-Tron® is a registered trademark of Zajac, Henry A., Jr. A/DA® is a registered trademark of Rocket Ampliﬁcation LLC DBA A/DA Limited Liability Company. Reticon® is a registered trademark of Reticon Corporation.

FX2 Models

PITCH Swoosh Models

Common Pitch FX Parameters

The following parameters are found in several of the FX2 Pitch Swoosh models:

• Frequency: Selects the center frequency for the ﬁlter(s) in use.

• Q: Sets the frequency width of the ﬁlters.

• Speed/Tempo: Adjusts the modulation rate, oscillation rate, or the time it takes to cycle through the effect’s ﬁlters. As described in “Speed” on page 7•3, this parameter’s behavior changes according to the setting currently in use for the FX2 TapCtrl parameter.

• If TapCtl is set to “Don’tCtl,” this parameter is displayed as Speed and is manually adjustable in Hz. It does not follow the Tap Tempo. Push the PRESETS knob and turn to ﬁne tune the value.

• If TapCtl is set to “Control,” this parameter is displayed as Speed and automatically follows the Tap Tempo BPM.

7•8

The following model descriptions include parameters that differ from the above items.

Seeker

Inspired by* the Z-Vex Seek Wah. This effect feeds your guitar signal through 8 “parked wah” ﬁlters set at varying positions, resulting in a synth-like pulsation.

• Speed/Tempo: Adjusts the time it takes to cycle through the effect’s ﬁlters.

• Steps: Sets the number of ﬁlter steps in the sequence, from 2 to 9.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Uni-Vibe® and MXR® are registered trademarks of Dunlop Manufacturing, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Boss® and Roland® are registered trademarks of Roland Corp. Leslie® is a registered trademark of Suzuki Musical Instrument Manufacturing Co. Ltd. Fender® is a registered trademark of Fender Musical Instruments Corp. Hammond is a registered trademark of Hammond-Suzuki. Mu-Tron® is a registered trademark of Zajac, Henry A., Jr. A/DA® is a registered trademark of Rocket Ampliﬁcation LLC DBA A/DA Limited Liability Company. Reticon® is a registered trademark of Reticon Corporation.

FX2 Models

Throbber

Inspired by* the Electrix® Filter Factory. Like the LFO section of the Filter Factory, the Throbber alters the brightness of your tone with an emphasis on a speciﬁc frequency that you can select. Throbber is perfect for those Electronica sounds.

• Speed/Tempo: Adjusts the oscillation rate.

• Wave: Selects between four different wave shapes.

Spin Cycle

Inspired by Craig Anderton’s Wah/Anti-Wah. This one is a stereo dream! Two wahs panned left and right, sweeping in opposite fashion. Additionally, the wahs are sweeping from min to max automatically, and they react to playing volume.

7•9

• Speed/Tempo: Adjusts the rate of the spin.

• Volume Sensitivity: Sets the way volume will affect the speed of the effect.

Obi Wah

Based on* the Oberheim® Voltage Controlled Filter, a classic Sample and Hold ﬁlter, which creates changes in tone by randomly emphasizing certain frequencies.

• Speed/Tempo: Sets the rate of the random ﬁlter changes.

• Type: Selects the type of ﬁlter used (Low Pass, Band Pass or High Pass).

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Uni-Vibe® and MXR® are registered trademarks of Dunlop Manufacturing, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Boss® and Roland® are registered trademarks of Roland Corp. Leslie® is a registered trademark of Suzuki Musical Instrument Manufacturing Co. Ltd. Fender® is a registered trademark of Fender Musical Instruments Corp. Hammond is a registered trademark of Hammond-Suzuki. Mu-Tron® is a registered trademark of Zajac, Henry A., Jr. A/DA® is a registered trademark of Rocket Ampliﬁcation LLC DBA A/DA Limited Liability Company. Reticon® is a registered trademark of Reticon Corporation.

FX2 Models

7•10

Voice Box

Inspired by Vocoders, this model gives your guitar a sound that’s typical of a classic “talk box,” without the need to stick a slimy tube in your mouth. It shifts between a starting and ending vowel sound as you play, automatically.

• Speed/Tempo: Set how long it takes to “speak” from Start to End vowel.

• Start: Sets the starting vowel sound (A, E, I, O or U).

• End: Sets the ending vowel sound (A, E, I, O or U).

• Auto: Select among 4 different start-to-stop vocal transition settings for shifting back and forth between the Start vowel and End vowel. This shifting follows the setting on the Speed control.

TREMOLO Swoosh Models

Opto Tremolo

Based on* the tremolo circuitry of the 1965 Fender® Deluxe Reverb® ampliﬁer, which features a pulsing light source directed at a photo resistor.

• Shape: Choose from classic smooth tremolo to dramatic sci-ﬁ throb.

• Volume Sensitivity: Adjusts how much the tremolo will respond to your playing - Louder input signals speed up the tremolo and lower input slows it down.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Uni-Vibe® and MXR® are registered trademarks of Dunlop Manufacturing, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Boss® and Roland® are registered trademarks of Roland Corp. Leslie® is a registered trademark of Suzuki Musical Instrument Manufacturing Co. Ltd. Fender® is a registered trademark of Fender Musical Instruments Corp. Hammond is a registered trademark of Hammond-Suzuki. Mu-Tron® is a registered trademark of Zajac, Henry A., Jr. A/DA® is a registered trademark of Rocket Ampliﬁcation LLC DBA A/DA Limited Liability Company. Reticon® is a registered trademark of Reticon Corporation.

FX2 Models

Bias Tremolo

This Model emulates* a classic Vox® tremolo circuit design. Bias tremolo produces a deep, 3-dimensional tremolo with a wide stereo spread.

• Shape: The minimum setting is a sign wave and max is a square wave.

• Volume Sensitivity: Adjusts how much the tremolo will respond to your playing - Louder input signals speed up the tremolo and lower input slows it down.

Pattern Tremolo

A 4-step sequenced tremolo. Inspired by the fantastic GoatKeeper pedal by Lightfoot Labs.

• Pattern 1 through Pattern 4: Each of these allow the individual choice of pattern type. Select 1 through 16 tremolo pulses per step; or you can MUTE the step, SKIP the step, or pass FULL audio. Plenty of sonic options here!

Panner

The Panner model makes your sound constantly pan back and forth between the left and right stereo channels. If you decide to run it in mono, you’ll basically hear tremolo.

• Shape: Choose the wave shape - Minimum for Triangle, 50% for Sine, maximum for Square.

• Volume Sensitivity: Sets how much the Panner responds to your playing - Input level speeds up or slows down the panning rate.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Uni-Vibe® and MXR® are registered trademarks of Dunlop Manufacturing, Inc. Ibanez® is a registered trademark of Hoshino, Inc. Boss® and Roland® are registered trademarks of Roland Corp. Leslie® is a registered trademark of Suzuki Musical Instrument Manufacturing Co. Ltd. Fender® is a registered trademark of Fender Musical Instruments Corp. Hammond is a registered trademark of Hammond-Suzuki. Mu-Tron® is a registered trademark of Zajac, Henry A., Jr. A/DA® is a registered trademark of Rocket Ampliﬁcation LLC DBA A/DA Limited Liability Company. Reticon® is a registered trademark of Reticon Corporation.

7•11

FX3 MoDelS

This chapter contains details on the POD® HD400 FX3 models, which include a collection of our best Delay & Echo models from the famous Line 6 M13 Stompbox Modeler and Echo Pro units. The following parameters are all accessible within Edit Mode for the FX3 category of models. Please see “Edit Mode” on page 4•1 for details on entering and navigating the Edit Mode features.

Parameter Details

Below is a Reference Table listing all parameters for the FX3 models. See the following sections for descriptions of each model and its available parameters.

FX3 Models - Parameter Reference Table

Model Parameters

DELAY Swoosh

Digital Delay Time Fdbk Bass Treble Mix

Digital Delay w/ Mod Time Fdbk Mod Speed Mod Depth Mix

Analog Echo Time Fdbk Bass Treble Mix

Analog w/Mod Time Fdbk Mod Speed Mod Depth Mix

Echo Platter Time Fdbk Wow/Flutter Drive Mix

Echo Platter Studio Time Fdbk Wow/Flutter Drive Mix

Low Res Delay

Stereo Delay Left Time Left Fdbk Right Time Right Fdbk Mix

Ping Pong Delay Time Fdbk Time Offset Stereo Spread Mix

Dynamic Delay Time Fdbk Threshold Ducking Mix

Tape Echo Time Fdbk Bass Treble Mix

Tape Echo Studio Time Fdbk Bass Treble Mix

Tube Echo Time Fdbk Wow/Flutter Drive Mix

Tube Echo Studio Time Fdbk Wow/Flutter Drive Mix

Multi-Head Delay Time Fdbk Head 1 & 2 Head 3 & 4 Mix

Time Fdbk Tone Resolution Mix

TAPE ECHO Swoosh

FX3 Models

8•1

FX3 Models

Auto Volume Echo Time Fdbk Mod Depth Swell Time Mix

Sweep Echo Time Fdbk Sweep Speed Sweep Depth Mix

Sweep Echo Studio Time Fdbk Sweep Speed Sweep Depth Mix

Reverse Delay Time Fdbk Mod Speed Mod Depth Mix

Model Parameters

SWEEP ECHO Swoosh

Common Parameters

When you enter Edit Mode for any FX3 model, you’ll see several parameters available. Unless otherwise noted in the individual Model descriptions, all FX3 models offer the following common parameters.

Model Select

Allows you to choose from among the list of FX3 Delay & Echo models.

8•2

Routing

Sets the FX3 model’s position within the signal ﬂow - Pre or Post.

• “Pre” sets the effect before the amp.

• “Post” sets the effect after the amp (which is the tonal equivalent of placing the delay/echo effect in an amp’s FX Loop).

FX3 Models

Tap Control

Set to Control to have all FX3 models’ Delay time follow the current Tap Tempo, which you can deﬁne by using the TAP button. Or, set to Don’t Ctrl to ignore the Tap Tempo and manually set a Delay Time. See the next Time/Tempo parameter for the details on the resulting behaviors of the Tap Control setting. The TapCtl setting is a “persistent” parameter and not stored with your Preset. Also see “Tap Tempo” on page 2•4.

Time / Tempo

Sets the Delay/Echo repeat time. The following behaviors apply:

• If the TapCtl parameter (see above) is set to Don’tCtl, this parameter appears as

Time and the PRESETS knob adjusts it in single millisecond (ms) increments. The

FX3 models will use this ms value for their Time and will ignore the current Tap Tempo.

• Push and hold the PRESETS knob while turning to adjust the value by 20 ms increments.

• This Time value is stored within a Preset.

• If the TapCtl parameter is set to Control, this parameter appears as Tempo and displays and follows the current Tap Tempo BPM. Turning the PRESETS knob adjusts by .1 BPM increments to allow ﬁne-tuning.

• Or, push the PRESETS knob while turning to adjust by full BPM values.

• If you stomp out your desired 1/4 note rhythm on the TAP footswitch, this will set a new Tap Tempo, and FX3 models will then follow this new BPM value.

8•3

FX3 Models

DELAY Swoosh Models

Feedback

Sets the number of repeats for the Delay/Echo. The higher the setting, the greater number of repeats.

Mix

Sets the balance of the “Dry” and “Wet” signals. At 0% you will hear strictly dry guitar; at 100% you will hear the delay/echo only.

To follow are descriptions of each of the FX2 models included on POD HD400. We’ve also included details about additional parameters & unique functionality for each.

8•4

Digital Delay

This model is a Line 6 original. With 32-bit ﬂoating point processing and a true stereo audio path, it’s one of the best digital delays you’ll ﬁnd in a ﬂoor FX unit. Use it when you want a clean delay effect.

• Bass: Adjusts the bass EQ for the “wet” signal.

• Treble: Adjusts the treble EQ for the “wet” signal.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Maestro® is a registered trademark of Gibson Guitar Corp. Roland® and Boss® are registered trademarks of Roland Corp. Electro-Harmonix® is a registered trademark of New Sensor Corp. T.C. Electronic® is a registered trademark of T.C. Electronic A/S Corp. Reticon® is a registered trademark of Reticon Corporation.

FX3 Models

Digital Delay With Modulation

Use this model to add a chorus effect to your digital delays. The modulation is applied to the delay repeats only for a chorus-like effect, but leaving your direct sound unaffected.

• Speed: Higher levels result in faster modulation.

• Depth: Higher levels result in a greater intensity of pitch modulation.

Analog Echo

Based on* the Boss® DM-2, an analog echo unit treasured for the warm, distorted tones it produced. This model is great for creating more experimental delay sounds.

• Bass: Adjusts the bass EQ for the “wet” signal.

• Treble: Adjusts the treble EQ for the “wet” signal.

Analog Echo With Modulation

This model is Based on* the Electro-Harmonix® Deluxe Memory Man. This pedal uses the “bucket brigade” chip regarded for its unique analog tone, and adds an adjustable chorus circuit applied to the echoes only, leaving the direct sound unaffected.

• Speed: Higher levels result in faster modulation.

• Depth: Higher levels result in a greater intensity of pitch modulation.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Maestro® is a registered trademark of Gibson Guitar Corp. Roland® and Boss® are registered trademarks of Roland Corp. Electro-Harmonix® is a registered trademark of New Sensor Corp. T.C. Electronic® is a registered trademark of T.C. Electronic A/S Corp. Reticon® is a registered trademark of Reticon Corporation.

8•5

FX3 Models

Echo Platter

The Echo Platter model was originally inspired by the Binson Echorec. The dry signal path had such a cool tone that we decided to include it in our original model.

• Wow/Flutter: Adjusts the emulated tape’s wow and ﬂutter amount.

• Drive: Adjusts the amount of distortion created by the tube electronics and tape saturation.

Echo Platter Studio

The Echo Platter “Studio” version is essentially the same as the Echo Platter model described above. However, on this one we’ve kept the dry signal path unadulterated, for when you prefer a normal signal from your dry guitar.

8•6

Low Res Delay

Low bit resolution can create a unique sort of grunge and noise that is sometimes just the sound you’re looking for, and that’s what the Low Res Delay model provides.

• Tone: Adjusts the tone of the “wet” delay signal only.

• Resolution: Sets the audio ﬁdelity of delay signal, adjustable from a grungey 6 bits to a hi-ﬁ 24 bits.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Maestro® is a registered trademark of Gibson Guitar Corp. Roland® and Boss® are registered trademarks of Roland Corp. Electro-Harmonix® is a registered trademark of New Sensor Corp. T.C. Electronic® is a registered trademark of T.C. Electronic A/S Corp. Reticon® is a registered trademark of Reticon Corporation.

FX3 Models

Stereo Delay

This is another Line 6 high resolution digital delay, with separate delay times available for L and R channels. Some players set one side as a fast echo with many repeats, and the other slow with just a few repeats. In place of the common “Time” and “Feedback” parameters, you’ll see these options:

• Left Delay Time: The delay time or the left channel only - displayed in milliseconds or BPM, according to your TAP CONTROL setting (see page 8•3).

• Left Feedback: The number of repeats for the left channel only.

• Right Delay Time: The delay time or the right channel only - displayed in milliseconds or BPM value, according your TAP CONTROL setting.

• Right Feedback: The number of repeats for the right channel only.

Ping Pong Delay

The ever-popular Ping Pong Delay has two separate channels of delay, panned left and right, with the output of each channel ﬂowing into the other for dramatic, cascading stereo delay results.

• Delay Time: The delay time for the left channel only.

• Offset: This sets the right channel delay time as a percentage of the left channel delay time. Try using fractional values for interesting rhythmic effects!

• Spread: The minimum position is mono, while max results in wide stereo.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Maestro® is a registered trademark of Gibson Guitar Corp. Roland® and Boss® are registered trademarks of Roland Corp. Electro-Harmonix® is a registered trademark of New Sensor Corp. T.C. Electronic® is a registered trademark of T.C. Electronic A/S Corp. Reticon® is a registered trademark of Reticon Corporation.

8•7

FX3 Models

TAPE ECHO Swoosh Models

Dynamic Delay

This effect was made popular by* the TC Electronic® 2290 Dynamic Digital Delay. It features a “smart” volume control for your delay effect’s echoes, which sets the loudness of the delays based on how hard you play. When you stop playing in between phrases, the delay level increases for a dynamic effect.

• Threshold: The breakpoint where the automatic volume control stops working and lets the echoes through at full volume.

• Ducking: Adjusts the level of the repeats; higher settings “duck” the delay volume more greatly (reduce the delay volume based on the threshold of the input signal).

Tape Echo

8•8

Based on* the solid state Maestro® EP-3, with transistors instead of tubes for the sound electronics. The EP-3 used the same basic mechanical design as the original Echoplex, including the looped 1/4” tape. Unlike the Tube Echo Model, which gives you control of wow, ﬂutter and distortion, our EP-3 emulation is designed to give you a less distorted tape emulation with adjustable tone controls. The original units did not have a ﬂat EQ response in the dry signal path, so we’ve also applied this character to the dry signal path in this model (see the following “Studio“ version if you prefer an unadulterated dry signal).

• Bass: Adjusts the bass EQ.

• Treble: Adjusts the treble EQ.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Maestro® is a registered trademark of Gibson Guitar Corp. Roland® and Boss® are registered trademarks of Roland Corp. Electro-Harmonix® is a registered trademark of New Sensor Corp. T.C. Electronic® is a registered trademark of T.C. Electronic A/S Corp. Reticon® is a registered trademark of Reticon Corporation.

FX3 Models

Tape Echo Studio

This is essentially the same as the Tape Echo model described above. But for this model, we’ve kept the dry signal with a ﬂat frequency response rather than emulate the original units’ dry signal sonic character.

Tube Echo

Based on* the classic ‘63 Maestro® EP-1, the ﬁrst of a series of “Echoplex” designs featuring a cartridge of looped 1/4” tape that passed over separate record and playback heads. The original unit colored its dry signal path with a bit of tube sweetness, so we’ve also applied this character to the dry signal path in this model (see the following “Studio“ version if you prefer an unadulterated dry signal).

• Wow/Flutter: Controls the tape emulation wow and ﬂutter effect.

• Drive: Adjusts the emulated tube distortion and tape saturation.

Tube Echo Studio

This is essentially the same as the Tube Echo model described above. But for this model, we’ve kept the dry signal with a ﬂat frequency response rather than emulate the original unit’s dry signal sonic character.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Maestro® is a registered trademark of Gibson Guitar Corp. Roland® and Boss® are registered trademarks of Roland Corp. Electro-Harmonix® is a registered trademark of New Sensor Corp. T.C. Electronic® is a registered trademark of T.C. Electronic A/S Corp. Reticon® is a registered trademark of Reticon Corporation.

8•9

FX3 Models

SWEEP ECHO Swoosh Models

Multi-Head Echo

Based on* the Roland® RE-101 Space Echo, which had multiple stationary heads. You change delay times by switching amongst these heads, and you can play back on multiple heads at the same time to get multi-tap delay effects. In addition to the common parameters listed above, you’ll also see these options:

• Head 1-2: Turns heads 1 & 2 on and off, together or individually.

• Head 3-4: Turns heads 3 & 4 on and off, together or individually.

When using the Multi Head Delay model, you’ll ﬁnd there are many possible combinations of delay effects. Try experimenting with the combinations of Heads’ On/Off parameters.

8•10

Auto Volume Echo

This model gives you two effects in one. The ﬁrst is an auto-volume fade-in, like the attack time on a synthesizer’s envelope generator. Higher Swell settings will give you a longer swell time, so that the sound slowly fades in. The second is an echo, complete with tapestyle wow & ﬂutter modulation.

• Depth: Higher levels result in a greater intensity of “wow & ﬂutter.”

• Swell: Sets the ramp time for the auto-volume swell.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Maestro® is a registered trademark of Gibson Guitar Corp. Roland® and Boss® are registered trademarks of Roland Corp. Electro-Harmonix® is a registered trademark of New Sensor Corp. T.C. Electronic® is a registered trademark of T.C. Electronic A/S Corp. Reticon® is a registered trademark of Reticon Corporation.

FX3 Models

Sweep Echo

For this model we started with the tone of our EP-1 delay emulation, then added a sweeping ﬁlter effect to the delay repeats. By design, the dry signal does not have a ﬂat EQ response, allowing the character of the original EP-1 device to be retained (see the following “Studio“ version if you prefer an unadulterated dry signal).

• Speed: Rate of the sweep effect.

• Depth: Intensity of the sweep effect.

Sweep Echo Studio

This is essentially the same as the Sweep Echo model described above. But for this model, we’ve kept the dry signal with a ﬂat frequency response rather than emulate the original unit’s dry signal sonic character.

Reverse Delay

As the name implies, whatever you play on guitar is played back in reverse, delayed by the amount you adjust using the Delay Time parameter. Set the Mix to 100% if you want to hear only the reversed signal. In addition to the common parameters listed above, you’ll also see these modulation options:

• Speed: Higher levels result in faster modulation.

• Depth: Higher levels result in a greater intensity of pitch modulation.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Maestro® is a registered trademark of Gibson Guitar Corp. Roland® and Boss® are registered trademarks of Roland Corp. Electro-Harmonix® is a registered trademark of New Sensor Corp. T.C. Electronic® is a registered trademark of T.C. Electronic A/S Corp. Reticon® is a registered trademark of Reticon Corporation.

8•11

reverb MoDelS

This chapter describes the 8 Reverbs we’ve ported from the Line 6 M13 Stompbox Modeler. All Reverbs are stereo, and typically sound best in the “Post” position, at the end of your FX chain.

Parameter Details

All Reverb models offer the same set of parameters. When you enter Edit Mode for any Reverb model, you’ll see the following options.

Model Select

Allows you to choose from among the list of Reverb models.

Routing

Reverb Models

Sets the Reverb model’s position within the signal ﬂow - Pre or Post.

• “Pre” sets the effect before the amp.

• “Post” sets the effect after the amp (which is the tonal equivalent of placing the delay/echo effect in an amp’s FX Loop).

Pre-Delay

Conﬁgures the time before the reverb effect is heard.

9•1

Reverb Models

Sets the length of time the reverb effect sustains (sometimes referred to as “Dwell” on older reverb units).

Adjusts the overall Tone of the wet reverb signal. Higher settings provide a brighter, more reﬂective reverb quality.

Decay

Tone

Mix

9•2

Sets the balance of the dry & wet signals, from 0% (dry signal only) to 100% (wet reverb signal only). Mix is persistent for all Reverbs (your Mix level will stay the same when you load a different Reverb model).

Reverb Models

To follow are descriptions of each of the Reverbs you’ll ﬁnd using the Model Select option.

Plate

Plate reverbs consisted of a thin metal sheet suspended inside a box. Dampening the metal plate was a method for adjusting the reverberant effect.

Reverb Models

Room

Simulates the acoustic properties of a classic echo chamber, which was a room used in early recording studios for reverb effects. Room reverbs consist mainly of early reﬂections.

Chamber

An elongated ambient space such as a hallway, stairwell or elevator shaft creates this reverb type. Lots of decay on tap here.

Hall

This model simulates the sound of a concert hall or large open space with a strong reverb tail. Imagine a gymnasium, performance hall, or cathedral.

Cave

A Line 6 original. Cave is a surreal, cavernous echo chamber. Deﬁnitely deep.

Ducking

Built using a ‘Hall’ model but with a ducking effect. The volume of your reverb is “ducked” (reduced) while you’re playing, and increases when you pause between phrases.

9•3

Reverb Models

Octo

Creates a lush, ambient space. Its dense, harmonic decay is controlled by Knob 1 (Decay Time). Octo is very effective when using volume swells.

Tile

This model emulates the acoustic reﬂections of a tiled room, such as a bathroom or shower, with clearer/brighter, discreet early reﬂections.

Echo

Another Line 6 original. This is a lush echo with reverb, and distinct repeats as it decays.

9•4

Wah MoDelS

These pages provide details on the 8 Wah models, which were derived from the Line 6 M13 Stompbox Modeler and Vetta ampliﬁer. Use your POD HD400 on-board pedal to put these models to use just like a classic Wah.

Using the Pedal

To utilize your POD HD400 on-board pedal to control the Wah, simply press the pedal all the way forward and toggle the “toe switch” so that the Wah LED indicator is lit - see

“Pedal Control” on page 2•4.

Note that it also possible to assign the Wah pedal to alternatively control the FX1 Pitch Glide model - please see “Pitch Glide” on page 6•20.

Model Select

When you enter Edit Mode for any Wah model, you’ll see the option select your desired Wah model Select here. Just turn the PRESETS knob to select your desired model. The Wah model selection is stored with the saved Preset.

Wah Models

To follow are descriptions of each of the available Wah models.

Vetta

A Line 6 original - our sound designers’ take on an old classic, as included with the legendary Line 6 Vetta ampliﬁers.

10•1

Wah Models

Fassel

Simulates the sonic properties of the coveted Fassel inductor, which is one of the reasons the Crybaby® Super, the Wah on which this model based,* is a classic.

Chrome

Based on* a Vox® V847, a successor to the original Clyde McCoy wah. Clyde is a trumpet player, but guitarists everywhere thank him for suggesting Vox® create this effect.

Weeper

Based on* the Arbiter Cry Baby®. Another variation of the original wah with a different inductor and other component choices.

10•2

Conductor

Based on* the Maestro® Boomerang. According to original advertising material, this was not a ‘wah-wah’ pedal, but a ‘wow-wow’ pedal.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Maestro® is a registered trademark of Gibson Guitar Corp. Crybaby® are registered trademarks of Dunlop Manufacturing. Arbiter® is a registered trademark of Arbiter Group PLC. Inc. Vox® is a registered trademark of Vox R&D Limited. Colorsound® is a registered trademark of Sola Sound Limited Corp.

Wah Models

Colorful

Based on* the Colorsound® Wah-fuzz. We only modeled the wah section of course. This pedal is different in that it was an inductor-less design, utilizing a different circuit to get its funky frequency resonance.

Throaty

Chrome Custom

Modeled after a custom modiﬁed Vox® 847 wah, with just a bit more attitude than the Custom Wah.

* All product names used in this manual are trademarks of their respective owners, which are in no way associated or afﬁliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development. Maestro® is a registered trademark of Gibson Guitar Corp. Crybaby® are registered trademarks of Dunlop Manufacturing. Arbiter® is a registered trademark of Arbiter Group PLC. Inc. Vox® is a registered trademark of Vox R&D Limited. Colorsound® is a registered trademark of Sola Sound Limited Corp.

10•3

Line6 POD HD400 Advanced Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Setup Details

Setup Options

Pedal Calibration

Factory Restore

Features & Functionality

Tuner Mode

Smart FX

Noise Gate

Volume

FX Loop

Tap Tempo

Pedal Control

L6 LINK™

Output Mode Options

POD HD400 Edit Software

Working with Presets

Accessing Presets

Saving Presets

Accessing Edit Mode

Edit Mode

SETUP Menu

AMP Menu

FX1 Menu

FX2 Menu

FX3 Menu

REVERB Menu

GATE Menu

WAH Menu

VOL Menu

FX Loop Menu

MIDI DUMP

Amp, Cab & Mic Models

Parameter Details

AMP Edit Mode

Manual Mode

FX Only Mode

AutoFX SETUP Parameter

Amp Model Descriptions

Cab Model Descriptions

Parameter Details

FX1 Models

GAIN Swoosh Models

VARIOUS Swoosh Models

PITCH Swoosh Models

Parameter Details

FX2 Models

MOD Swoosh Models

PITCH Swoosh Models

TREMOLO Swoosh Models

Parameter Details

FX3 Models

DELAY Swoosh Models

TAPE ECHO Swoosh Models

SWEEP ECHO Swoosh Models

Parameter Details

Reverb Models

Reverb Models

Using the Pedal

Model Select

Wah Models

Wah Models