Line 6 POD HD500 Owner's Manual

POD® HD500

®

Advanced Guide

An in-depth exploration of the features &

functionality of POD HD500

Electrophonic Limited Edition

Table of Contents

Overview ................................................................................. 1•1

Home Views ................................................................................................... 1•1

Tuner Mode .................................................................................................... 1•3

Tap Tempo ...................................................................................................... 1•4

Connections ................................................................................................... 1•4

POD HD500 Edit Software ............................................................................ 1•5

System Setup ......................................................................... 2•1

Accessing System Setup ................................................................................. 2•1

Page 1, Setup:Utilities Options ..................................................................... 2•2

Page 2, Setup: Utilities Options .................................................................... 2•3

Page 3, Setup: Input Options ......................................................................... 2•4

Page 4, Setup: Output Options ...................................................................... 2•8

Page 5, Setup: S/PDIF Output Options ......................................................... 2•9

Page 6, MIDI/Tempo Options ...................................................................... 2•10

Page 7, Setup: Variax Options ..................................................................... 2•11

Page 8, James Tyler Variax Tuning Options ................................................ 2•16

Page 9, Setup: L6 LINK Audio ................................................................... 2•17

Page 10, Setup: L6 LINK Control ............................................................... 2•17

Features & Functionality ....................................................... 3•1

Amp Blocks .................................................................................................... 3•3

Mixer Block .................................................................................................... 3•4

Moving FX Blocks .......................................................................................... 3•5

Expression Pedal & Variax® Knob Controller Assignment ......................... 3•7

FX & Amp Block Footswitch Assignment .................................................. 3•10

Dynamic DSP ............................................................................................... 3•14

Set Lists & Presets ................................................................. 4•1

Working with Set Lists ................................................................................... 4•1

Working with Presets ..................................................................................... 4•4

Saving Presets ................................................................................................. 4•6

FX Edit Mode ......................................................................... 5•1

Accessing FX Edit Mode ................................................................................ 5•1

FX Loop .......................................................................................................... 5•3

Amp, Cab & Mic Models ........................................................ 6•1

Amp Model Positioning ................................................................................. 6•1

Selecting Amp, Cab & Mic Models .............................................................. 6•3

Editing Amp Parameters ................................................................................ 6•7

Amp & Cab Edit Display ............................................................................... 6•7

Amp/Preamp Models ................................................................................... 6•12

Cab Models .................................................................................................. 6•15

FX Models ............................................................................... 7•1

Dynamics Models ........................................................................................... 7•1

Distortion Models .......................................................................................... 7•2

Modulation Models ........................................................................................ 7•3

Filter Models .................................................................................................. 7•5

Pitch Models .................................................................................................. 7•6

Preamp+EQ Models ....................................................................................... 7•9

Delay Models ................................................................................................ 7•10

Reverb Models ............................................................................................. 7•11

Volume/Pan & Wah Models ........................................................................ 7•13

Looper Mode .......................................................................... 8•1

Looper Footswitch Controls & Performance View ....................................... 8•1

Looper Settings .............................................................................................. 8•5

USB Audio .............................................................................. 9•1

The Line 6 USB Audio Driver ...................................................................... 9•1

The Line 6 Audio-MIDI Devices Panel ........................................................ 9•3

Mac® - Line 6 Audio-MIDI Devices ............................................................. 9•4

Windows® - Line 6 Audio-MIDI Devices ..................................................... 9•8

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

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

Line 6 Variax Updates ................................................................................... A•3

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

MIDI Input & Out/Thru ................................................................................ B•1

Bank & Program Change Messages ............................................................... B•3

Using POD HD500 as a MIDI Controller Device ......................................... B•5

Line 6, POD, DT50, DT25, Variax, James Tyler, Vetta, L6 LINK, CustomTone 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.

Copyright © 2012 Line 6, Inc.

Overview

Overview

Welcome to the POD® HD500 Advanced Guide. This guide contains in-depth details
of the POD HD500 features and functionality. Please be sure to also read through your
POD HD500 Pilot’s Guide for basic info on POD HD500 and this Guide will take it
from there! In this chapter, we’ll present an overview of the main screens and features to

get you started.

This Guide covers POD HD500 with Flash Memory version 2.0 (or later) installed.
Please use Line 6 Monkey to check for and install the latest updates for your device - see

“Appendix A: Line 6 Monkey™” on page A•1.

Home Views

The place to start is in one of the Home View screens. Press the VIEW button to

SAVE

S

E

E

T

R

S

P

rotate through the 3 available Home Views. While in any of these Home View
screens, you can turn the PRESETS knob and call up a Preset in the current

HOLD FOR SYSTEM & I/O

VIEW

Setlist, or push the PRESETS knob to select from among other Set Lists!

Signal Flow View

The Signal Flow View displays all Amp & FX “Blocks” and their ordering for the current
Preset. As you’ll see in several of the following chapters, this is the screen where you’ll
“select” the desired Block to perform other actions, such as choose a new Amp or FX

Model, edit its parameters, move its position, and more.

1•1

Currently loaded Preset
location and title

Use the and Nav.

Parallel Paths A (upper)
and B (lower) with Mixer
Block

Disc buttons to select the
desired Block

FX Blocks within
“Pre” position

Amp Blocks Looper

FX Blocks within
“Post” position

The items within the Signal Flow View

The signal ow architecture of each Preset is comprised of 3 main sections where Amp &
FX Blocks can be positioned: Pre, Post and parallel Paths A & B.

Overview

1•2

At the bottom of the Signal Flow View screen, you’ll see up to four parameters that are
accessed using the Multi-function knobs 1-4.

Accessing parameters with the Multi-select Knobs

These parameters are specic to the currently selected Block and allow you to choose new
Models & edit parameters. Or, you can dive deeper in the Edit Mode and access additional
settings in other screens, as covered in the following chapters.

Performance View

The Performance View screen displays the FX and/or Presets that are currently assigned
to your POD HD500 footswitches. Footswitches FS5 - FS8 can be congured to either
toggle FX On/Off, or to select Preset channels (see “Page 1, Setup:Utilities Options” on

page 2•2).

FX assignment for FS1-FS8 ABCD assignment for FS5-FS8

These FX assignments for FS1 - FS8 can be edited for each Preset (see “FX & Amp Block

Footswitch Assignment” on page 3•10). When the Looper is active, the Performance

View screen displays a set of Looper functions (see “Looper Mode” on page 8•1).

Big User View

This screen simply provides you with one BIG display of the currently loaded Preset
number - convenient for dark stages!

The Big User View

Tuner Mode

To enter Tuner mode, press and hold the TA P button. A few options are available, adjusted
using the Multi-function knobs.

Overview

1•3

The Tuner screen

Pluck an individual string on your guitar and you’ll see the name of the note displayed.
When the graphic bar is to the left of center, your string is at; when it is to the right, your
string is sharp. When the bar is within the center range, triangles will appear above and
below it, indicating your string is in tune.

Overview

USB

PHONES AUX IN

L/MONO RIGHT TRS STEREO

FX RETURN

LEFT RIGHT

BALANCED OUTPUT

L/MONO R/MONO

UNBALANCED OUTPUT FX SEND

OUT/THRUINPUT

MIDI

OUT

S/PDIF

POWERGUITAR IN

PEDAL 2

LINE

STOMP

MIC LEVEL

CD/MP3

INPUT

L6 LINK

VARIAXMIC

9VDC 2.5A Min

CONNECT TO L6 LINK ONLY

• Reference (Knob 1): If you’d like to tune to a reference other than standard 440Hz,
select from 425 to 455Hz.

1•4

• Audio (Knob 2): Select Mute to silence POD HD500 output while tuning, or select
Bypass to hear your guitar dry.

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

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 HD500 device. Stomp rhythmically to set your
Tap Tempo. Alternatively, you can set a numerical Tempo value within Setup (see

“Page 6, MIDI/Tempo Options” on page 2•10). This setting is saved per Preset.

You’ll see the LED on the TA P switch blink to indicate your current Tap Tempo BPM.
Tempo-based FX (Modulation, Filter & Delay FX) that offer a Tempo Sync parameter can
optionally be set to a note division of this Tap Tempo value.

Connections

Please refer to your POD HD500 Pilot’s Guide for descriptions of the rear panel
connections. You’ll nd more details on their specic uses within the following chapters
as well!

POD HD500 Edit Software

Be sure to visit line6.com/software to download the Line 6 POD® HD500 Edit software

- the free patch editor/librarian for Mac® and Windows® computers. Using POD HD500
Edit and a USB connection you can easily create, audition, customize, backup/restore
and save an unlimited number of Tone Presets for your device. You can even utilize POD
HD500 Edit while simultaneously using the L6 LINK or MIDI connections!

Overview

1•5

The POD HD500 Edit application

SyStem Setup

In this chapter, we’ll cover the options for conguring your POD® HD500 system settings.

Note that some System Setup options are “global” settings (they persist always, regardless of
the current Preset) while others are saved individually per Preset, as noted in the following
sections. You’ll want to be sure to save your Preset after changing settings of the latter type
in order to retain them.

Accessing System Setup

To access the System Setup options, press and hold the VIEW button. Here you can
congure several device functions, Input & Output settings and more.

SAVE

S

E

E

T

R

S

P

System Setup

2•1

HOLD FOR SYSTEM & I/O

VIEW

Use the Nav. Disc buttons to navigate through the several Setup pages.

System Setup

Page 1, Setup:Utilities Options

2•2

The top portion of the screen lists the Flash Memory and USB Firmware versions currently
installed on your POD HD500 device. The lower portion of the screen offers four options,
adjustable using the Multi-function Knobs 1 - 4.

• Footswitch Mode (Knob 1): Congures the function of POD HD500 footswitches

FS5 through FS8 for either “Pedalboard Mode” or “Preset Mode” (see “Bank &

Channel Footswitches” on page 4•5). This setting is global.

Note that you can reference all current footswitch assignments in the Performance View
screen, which will change its display according to the Footswitch Mode you choose here.
See “FX & Amp Block Footswitch Assignment” on page 3•10.

• Amp Knobs Display (Knob 2): When set to “On,” allows the LCD screen to
momentarily display the actual Amp Tone Knob values whenever adjusting any
physical amp knob. This setting is global.

• Looper FS Display (Knob 3): When the LOOPER footswitch is toggled On to engage
Looper Mode, the Performance View screen automatically changes to display Looper
footswitch functions (see page 8•1). This setting is global. The two selections here
offer the following behaviors when Looper Mode is active:

• All Views: Shows the Looper controls in the LCD regardless of the currently

selected View.

• Performance View: Shows the Looper screen as the Performance View screen
(and allows the 3 Home View screens to still be displayed when toggling the

VIEW button).

Note that the Looper display’s icons represent what each footswitch will do when pressed,
and not the function that the Looper is currently performing.

• Trails (Knob 4): When set to “On,” allows the echo repeats and/or decay of Delay
and Reverb FX to continue when the Model is toggled Off. With the Trails option
“Off” the decay is muted instantly when toggling the Model Off. This setting is

saved per Preset.

• The FX Loop also utilizes Trails - bypassing the FX Loop with this feature enabled
causes the Return to remain active while the Send is shut Off.

• The Trails feature does not provide a “spillover” of the FX decay when changing

Presets.

Page 2, Setup: Utilities Options

System Setup

2•3

The options at the bottom of the screen are as follows - all are global settings:

• LCD Contrast (Knob 1): Adjusts the screen’s contrast.

• Tap Tempo LED (Knob 2): Choose “On” to have the LED light for the TAP
footswitch ash to indicate the current Tap Tempo value. Choose “Off” to have it

remain unlit.

• AC Frequency (Knob 3): All HD Amp Models include simulation of AC hum, typical
of the AC Vacuum Tube Heater component - an important part of the tonality of
a tube amplier. Set the AC Rate to match that of the USA (60Hz) or UK (50Hz)
frequency for authenticity. (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 amplier that POD HD500 may be plugged into.)

System Setup

Page 3, Setup: Input Options

2•4

The Inputs Setup page allows you to select which of the device’s audio inputs are used as
the “source” – sort of like a built-in, programmable patchbay. There is also a control which
adjusts the Guitar input impedance.

• Input 1 and Input 2 Source (Knobs 1 & 2) - Select the physical input(s) that you
want to be the “source” fed into the signal path. Note that you can choose different
Sources to independently feed each signal path, or choose Same to feed a common
Source into both paths.

• The Variax and Variax Mag Input Source options are provided for Line 6 Variax®
guitars when connected into the POD HD500 VARIAX Digital Input (VDI).

• With a James Tyler® Variax® (JTV), the “Variax” Input Source receives the

Model or Magnetic signal, depending on the JTV’s Model switch settings.* The
“Variax Mag” Input Source receives only the JTV’s Magnetic Pickup signal.

*Note: With a JTV in use, the “Variax” Input Source selection also recalls whether you
were using mags or models per preset, allowing you to pick up exactly where you left off –
no need for manual selection or input changes.

• If you own a rst-generation Variax instrument, it is recommended to choose the
Variax Input Source option. Please also refer to your Variax documentation.

• Guitar In-Z (Knob 3) - Select the input impedance of the Guitar input. This feature
affects tone and feel because your guitar pickups are being loaded as they would be
by an effect pedal or a tube amplier.

Note: The Guitar In-Z setting affects the GUITAR IN input only. Please see the Impedance
Ratings table at the end of this section to reference the input impedance of each individual
model.

• The Auto option dynamically sets the input impedance to match the input
impedance of the very rst Amp or FX model in your POD HD signal chain.

• Or, you can manually select from a variety of impedance values from low to high
(22k, 32k, 70k, 90k, 136k, 230k, 1M, or 3.5M). A lower value will typically result
in some high frequency attenuation, lower gain and overall “softer” feel. A higher
value provides full frequency response, higher gain and overall “tighter” feel.

• Inputs Setup (Knob 4) - Determines whether the other 3 options in this Inputs
screen are applied per preset, or globally.

• Preset - Recalling a preset will load the Input 1 Source, Input 2 Source and Guitar
In-Z parameter settings as last saved with the individual preset.

• Global - Once the “Global” option is selected here, the other three Input options’
values on this Setup page (Input Sources 1 and 2, and Guitar In-Z) are utilized
globally, regardless of their values that are saved with each individual preset. The
Input values you choose on this Setup page are then retained independently for
the Inputs Setup - Global option. When you change the Inputs Setup back to
“Preset,” the Input options’ values saved with each individual preset are once
again utilized.

System Setup

2•5

Note: Saving a preset while this option is set to “Global” will write the current global
Inputs and Guitar In-Z values to the individual, saved preset.

Amp & FX Model - Guitar Input Impedance Ratings

Model Guitar Input Impedance

(Ohms)

Amps & Preamps

All Amp & Preamp Models 1M

Distortion FX

Screamer 230k

Color Drive 136k

Buzz Saw 230k

System Setup

2•6

Amp & FX Model - Guitar Input Impedance Ratings

Model Guitar Input Impedance

(Ohms)

Facial Fuzz 22k

Jumbo Fuzz 90k

Fuzz Pi 22k

Octave Fuzz 230k

All Other Distortion Models 1M

Dynamics FX

All Dynamics Models 1M

Modulation FX

Dual Phaser 230k

U-Vibe 90k

Analog Chorus 22k

All Other Modulation Models 1M

Filter FX

All Filter Models 1M

Pitch FX

All Pitch Models 1M

Delay FX

Multi Head 22k

Analog Echo 230k

Analog w/Mod 90k

All Other Delay Models 1M

Preamp + EQ FX

All Preamp & EQ Models 1M

Reverb FX

All Reverb Models 1M

Wah FX

Weeper 90k

All Other Wah Models 1M

System Setup

Amp & FX Model - Guitar Input Impedance Ratings

Model Guitar Input Impedance

(Ohms)

Volume & Pan FX

All Volume and Pan Models 1M

FX Loop

FX Loop 1M

About Source Input Signal Routing:

It is important to note how POD HD500 actually routes Source Inputs 1 and 2 through
Amp & FX Blocks that are positioned “Pre” position. The following behaviors apply:

• In a conguration with no Amp or FX Blocks in Pre, Input 1 is fed only to Path A
and Input 2 only to Path B. Therefore, this is the best conguration if you want to
retain discrete Input Sources into Paths A & B.

• Placing an Amp Block or an active mono FX Model in Pre results in a “mix-down”
of Input Sources 1 & 2, feeding the same, combined signal into each Path A & B.

• Placing a Stereo FX Model in Pre results in the left channel FX output being fed to
Path A and its right output to Path B.*

2•7

• The Mixer Block’s Volume and Pan options provide independent control for Path
A & B outputs before they are fed through any Blocks positioned “Post” the Mixer.

• By setting Input 2 to “Same,” this effectively routes your Input Source to both stereo
Paths A & B (which is how you can feed one guitar input into two Amp Models and/
or parallel FX, for example).

*Please also see “Model Types and Mono/Stereo Signal Routing” on page 3•6 for more
about how mono and stereo FX affect your signal chain.

System Setup

Page 4, Setup: Output Options

The Mode setting on this page allows you to congure the type of signal fed to your POD

HD500 analog outputs to optimize for direct recording versus connecting to an external

amplier.

2•8

Note that this Mode setting affects the signal fed to several POD HD500 outputs: Balanced,
Unbalanced & Phones outputs as well as USB Record Send & L6 LINK audio outputs.

Knob 1 selects the Output Mode. This is a global setting.

• Studio/Direct: Typically the best option when connecting “Direct” to a mixing
console or recording device. This signal includes “Studio” Cab Models, Mic Model
and an “AIR” convolution to best emulate a mic’ed amp within a room.

• Combo and Stack settings: Optimizes your tone for connecting to an external
amplier. The signal includes “Live” Cab Models,with no Mic Model or “AIR”
convolution, with a special EQ curve added for each.

• Combo Front & Stack Front: For connecting into the front input of a typical
combo amp or amp head + external cab, respectively. When choosing either of
these Modes, you’ll see the following additional options for further tone shaping:

• Lows (Knob 2): Attenuates the low frequencies.

• Focus (Knob 3): Increases the overall midrange.

• Highs (Knob 4): Attenuates the high frequencies.

• Combo Power Amp & Stack Power Amp: For connecting to the power amp of a
combo or head amp.

TIP: When using the Combo or Stack options and connecting into a tube amplifier, we also
recommend that you choose a Preamp Model from the Amp Model menu (rather than one
of the “Full” Amp Models). HD Preamp Models include no power amp emulation, making
them typically better suited for this connection. 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!

Page 5, Setup: S/PDIF Output Options

System Setup

2•9

These options are strictly for conguring the signal fed to the S/PDIF OUT. Use this 24­bit digital connection when connecting to the S/PDIF input of other devices, such as a

computer audio interface or digital mixing console.

Note: When connecting to another digital device, it is best to clock the external device to
follow POD HD500 to maintain proper synchronization - please see your digital device’s
documentation for its digital clock features.

• S/PDIF Output (Knob 1): Selects the type of output mode signal: Match Outputs
(uses the setting as congured on the Setup:Outputs screen - see page 2•8) or Dry
Input (your Source Input signal with no Amp, Cab, Mic, “E.R.” or FX processing

applied).

• Sample Rate (Knob 2): Selects the sample rate: 44.1kHz, 48kHz, 88.2kHz or 96kHz.
When connecting to another device’s S/PDIF input, always be sure to set both units
to utilize the same sample rate.

• S/P Level (Knob 3): Increases the amplitude of the S/PDIF signal: 0 dB.

System Setup

Page 6, MIDI/Tempo Options

2•10

• MIDI Channel (Knob 1): Sets the “System” MIDI Channel that POD HD500
utilizes for both receiving and sending MIDI communication via the MIDI DIN
Input/Output. Choose any individual Channel 1 - 16, or “Omni” for all Channels.*
This is a global setting.

*Note: The MIDI Channel selected here also affects the MIDI Channel settings utilized by
L6 LINK - see “Page 10, Setup: L6 LINK Control” on page 2•17.

• MIDI Out/Thru (Knob 2): Allows the MIDI Out DIN to be switched between a
MIDI Output versus MIDI Output + Thru.

• Tempo Sync (Knob 3): The “Speed” or “Time” parameters of all tempo-based FX
(Modulation, Pitch & Delays) can optionally be set to a note value to follow the
(Knob 4) Tempo BPM value. This Tempo Sync option is a global setting that allows
you to choose whether the FX follow the Tap Tempo as a per-Preset value or globally.

• Preset: Tempo settings are saved and recalled on a per Preset basis.

• Global: Tempo information stored within any Preset is ignored. When saving a
Preset while this option is set to “Global,” the current tempo value will be saved
with the Preset.

• Tempo (Knob 4): Enter in a specic “Tap Tempo” for your current Preset (as opposed
to stomping rhythmically on the TA P footswitch). This value is saved individually

per Preset.

Page 7, Setup: Variax Options

Setup Page 7 - No Variax connected Setup Page 7 - James Tyler Variax connected

As illustrated above, Setup page 7 will display additional, model-specic options when a
Variax instrument is connected to the POD HD500 VARIAX (VDI) input. The specic
Variax family and its rmware version are displayed at the top right of the screen when
the Variax is connected. Available options and behaviors displayed will differ depending
on the Variax type and model you have connected, as described in the following sections.
With any Variax connected to the VDI input, the Knob 1 option functionality is as follows.

System Setup

2•11

• Variax Control (Knob 1): Choose whether you want to assign all your Variax settings
on this Setup pg 7 screen on a per Preset basis or Globally.*

• When set to “Preset,” all the parameter settings shown on the Variax Setup screens
(Setup pages 7 & 8) are saved and recalled individually per POD HD500 preset.
You’ll see additional options in the screen when you have a Variax connected and
choose “Preset.”

• When set to “Global,” this provides complete manual control over all Variax
functions, regardless what Variax settings you may have saved within the POD

HD500 presets.

*Note: For a James Tyler Variax (JTV) this will also determine whether the guitar’s Mag/
Model switch selection (as heard through the “Variax” Input Source option) will be recalled
per Preset or Globally.

Also note that the Setup Pg 8 - JTV Tuning Options are not affected by this Variax Control
setting - the Tuning settings are saved per Preset.

System Setup

2•12

James Tyler® Variax®

All James Tyler Variax (JTV) family guitars are supported. Also see “Page 8, James Tyler

Variax Tuning Options” on page 2•16 for even more JTV options!

• Variax Control (Knob 1): See page 2•11.

• Model (Knob 2): Selects the Variax Model & pickup position setting. Choose the
“Don’t Force” option if you prefer to not have the JTV local Model changed by the
Model value saved within the POD HD500 presets.

• Local Control (Knob 3): Determines whether the JTV Volume and Tone knobs, and/
or toggle switch are to remain active or be “locked.” When locked, the knob/switch
no longer controls the JTV guitar’s local functions for the Modeled output of the
guitar.*

*Note: When utilizing the Magnetic output mode on the JTV guitar, only the Volume knob
is “Locked” by any of the Local Control - Locked settings. For the Magnetic output, the
Tone and Pickup switch functions remain unlocked even when set to “Locked” via Knob

3. This feature allows you to freely use the JTV Tone knob or Pickup selector switch when
the JTV is in the Magnetic pickup output mode, while keeping the Modeled settings still
“locked” if you prefer these Modeled settings to remain unchanged when you toggle back
to Modeled output mode!

Also note that when any of these JTV controls are locked, changing the JTV guitar’s Model
Encoder knob automatically always resets all to unlocked.

• Setting the JTV Volume and/or Tone knobs to “Locked” can be desirable when the
knobs are assigned to remotely control any POD HD500 Amp or FX parameters

- see “Expression Pedal & Variax® Knob Controller Assignment” on page 3•7

for details.

James Tyler® is a registered trademark of James Tyler Guitars.

System Setup

• Tone (Knob 4): Allows the JTV Tone knob value to be saved with the current preset,
or applied Globally, per the Variax Control (Knob 1) setting.

Variax Electric

All rst generation Variax Electric Guitars are supported.

• Variax Control (Knob 1): See page 2•11.

• Model (Knob 2): Selects the Variax Model & pickup position setting. Choose the
“Don’t Force” option if you prefer to not have the Variax guitar’s model changed by
the Model value saved within the POD HD500 presets.

• Local Control (Knob 3): This feature is not applicable for rst generation Variax
instruments, therefore, no options are available.

• Tone (Knob 4): Allows the Variax guitar’s Tone knob value to be saved with the

current preset, if desired.

2•13

System Setup

2•14

Variax Acoustic 700

For a Variax Acoustic Guitar, you’ll see two Setup pages, 7a and 7b, to accommodate the
additional controls. Multifunction Knobs 1, 2 & 3 are common controls, shown on both
Setup pages. Knob 4 is unique on each page.

• Variax Control (Knob 1): See page 2•11.

• Model (Knob 2 - pgs. 7a & b): Selects the Variax Acoustic Model. Choose the “Don’t
Force” option if you prefer to not have the JTV local Model changed by the Model
value saved within the POD HD500 presets.

• Local Control (Knob 3 - pgs. 7a & b): This feature is not applicable for Variax
Acoustic, therefore, no options are available.

• Mic Position (Knob 4 - pg 7a): Changing this value simulates changing the mic
position on the acoustic from closer to further from the soundhole.

• Comp (Knob 4 on pg 7b): Selects the amount of compression effect applied to the

Variax Acoustic tone.

System Setup

Variax Bass 700 & 705

For a Variax Bass, you’ll see three Setup pages, 7a, 7b & 7c to accommodate all the controls
on the Bass. Multifunction Knobs 1, 2 & 3 on all pages are common controls. Knob 4 on
each page is unique.

2•15

• Variax Control (Knob 1 - pgs. 7a, b & c): See page 2•11.

• Model (Knob 2 - pgs. 7a, b & c): Selects the Variax Bass Guitar Model. Choose the
“Don’t Force” option if you prefer to not have the Variax Bass Model changed by the
Model value saved within any POD HD500 preset.

• Blend (Knob 4 - pg. 7a): Adjust this controls the balance between a neck and bridge
pickup tone on the Bass.

• Bass (Knob 4 - pg. 7b): Adjusts the amount of bass frequencies.

• Treble (Knob 4 - pg. 7c): Adjusts the amount of treble frequencies.

System Setup

Page 8, James Tyler Variax Tuning Options

The Page 8 Setup screen offers Tuning options for James Tyler Variax guitars.* These allow
you to congure and edit alternate tunings for your connected JTV guitar, which can be
saved right along with any POD HD500 preset!

2•16

*Note: This tuning functionality is only available for James Tyler Variax family guitars.
If no JTV (or any first-generation Variax) is connected, this screen offers no accessible
options.

• Variax Tuning (Knob 1): Choose “Don’t Force” if you do not want the POD HD500
preset to affect the local tuning on your JTV guitar. Choose “Custom” to create a
tuning of your own, which can be saved with the current preset.

• String Select (Knob 3): Select the desired guitar string, 1 though 6, for which you
want to change the pitch.

• Note Offset (Knob 4): Choose the amount of half-steps, positive or negative, for
which you want to raise or lower the pitch of the selected string. The resulting note
will then be displayed on the tuning graphic at the top of the screen. For example,
in the screenshot above, we’ve altered the low E string down two half-steps to a D
note.*

*Note: The offset value will always be accurate - the note labels displayed assume the guitar
is tuned to standard pitch (E, A, D, G, B, E), with the A using a 440Hz reference pitch.

Page 9, Setup: L6 LINK Audio

These options congure the POD HD500 audio signal fed to up to four Line 6 DT50™/
DT25™ ampliers using the L6 Link connection.* These settings are saved per Preset.

*Note: For details on using the POD HD500 L6 LINK connection with DT amplifiers,
please see the additional documentation available at http://line6.com/support/manuals/.

• Amp 1 - Amp 4 - Select the audio signal you want fed to each DT amplier:

• Choose the main output signal (Left, Right, Left/Right summed).

• Choose the output of one specic Amp Model (Amp Model A or Amp Model B).

System Setup

2•17

Page 10, Setup: L6 LINK Control

These options allow you to dictate how up to four connected Line 6 DT50 or DT25
ampliers each “follow” the POD HD500 Amp Models & settings. Parameters 1 - 4
correspond to L6 LINK connected DT ampliers 1 - 4, respectively.

System Setup

2•18

• Each DT amplier can be set independently to follow either the current Preset’s

Amp Model A or Amp Model B.

• The DT amplier automatically congures its power amp Topology settings to
match the selected Amp Model A or B.

• The DT amp controls are also synced to the selected Amp Model A or B.

• Alternatively, you can select a MIDI Channel to set the DT amp’s MIDI
communication channel. This effectively sets the respective DT amp to utilize its
own internal Amp Model (rather than the POD HD500 Amp Model), and “syncs”
its front panel controls with other DT amps that are set to the same MIDI Channel.

Features & Functionality

FeatureS & FunctiOnality

Ready to dive deeper? In this chapter, we’ll go into more detail on the major features &

functionality offered on POD® HD500.

FX Blocks

For each Preset there are always a total of 8 FX Blocks, each capable of loading any FX
Model, (or the FX Loop - see next section). When in the Signal Flow View screen, select
any FX Block and you’ll see options at the bottom of the screen, adjustable using the
Multi-Function Knobs 1-4.

3•1

The Signal Flow View with an FX Block selected

• Knob 1 - Model Type: Select from among the FX Model categories.

• To load no effect in the selected Block, choose “None.” You’ll see the Block
then appear “Null,” as shown below. A Null FX Block can still be moved and
loaded with a new Model at any time. Setting unneeded FX Blocks to None is
a great way to minimize your tone’s DSP usage (see “Dynamic DSP” on page

3•14).

FX Blocks with the Model set to “None”

• Knob 2 - FX Model: Choose the desired Model from the Model Type list.

Features & Functionality

• Knob 3 - FX Parameters: Choose from up to 5 adjustable parameters. Alternatively,
double-press the ENTER button to access all the Model’s parameters in one screen -

see “FX Edit Mode” on page 5•1.

• Knob 4 - Parameter Value: Adjusts the value for the currently selected parameter.

Each FX Block also offers the following features:

3•2

• On/Off: Toggle the FX Block “On” or “Off” by pressing the ENTER button once.
When Off, your signal ows through the FX Block unprocessed.

• Move FX Position: Each FX Block can be moved throughout signal chain, providing
complete routing exibility. Place any FX Model before the Amp (“Pre”), after
the Amp (“Post”), or within one of the parallel Paths A & B - see “Amp Model

Positioning” on page 6•1 for details.

• Saved Per Preset: All FX Block positions, their loaded FX Models and all FX
parameter values within the tone are saved with each Preset.

FX Loop

For any one of the 8 FX Blocks, you can load the FX Loop rather than an FX Model. This
allows you to position the POD HD500 hardware FX Loop anywhere you like within the
current signal path - even within one of the parallel Paths A or B!

The Signal Flow View with the FX Loop selected

Note that it is necessary to set one of the FX Blocks within your Preset to the “FX Loop”
before you’ll hear the signal fed through your SEND & RETURN device connections.

Features & Functionality

Access options for the FX Loop at the bottom of the Signal Flow View, or in the Edit Mode
screen. You can also toggle the FX Loop “On” or “Off” by pressing the ENTER button
once. The FX Loop’s position and all its parameter values are saved per Preset. Please also

see “FX Loop” on page 5•3.

Amp Blocks

A single Amp Block can be placed in the “Pre” or “Post” signal ow positions, or within
parallel Path A. Or, two Amps can be used if positioned within the Paths A & B, as shown
below. Much like FX Blocks, Amp Blocks can be toggled On/Off and include several
editable parameters. But there’s quite a bit more available for Amps as well, so please refer
to the dedicated chapter “Amp, Cab & Mic Models” on page 6•1 for details!

3•3

A Preset with two Amp Blocks

Features & Functionality

Mixer Block

The Mixer is permanently positioned at the end of the parallel Paths A & B and provides
individual Level and Pan controls for each Paths’ output before fed to the “Post” position.
When the Mixer is selected in the Signal Flow View, its four parameters are available at
the bottom of the screen, accessible using the Multi-function Knobs 1-4.

3•4

The Signal Flow View with the Mixer Block selected, showing its 4 parameters

• Volume A (Knob 1): Controls the volume level of the Path A output. 0 dB is unity

gain.

• Volume B (Knob 2): Controls the volume level of the Path B output. 0 dB is unity

gain.

• Pan A (Knob 3): Adjusts the left/right stereo balance of the Path A output.

• Pan B (Knob 4): Adjusts the left/right stereo balance of the Path B output.

Features & Functionality

Moving FX Blocks

Any of the 8 FX Blocks can be moved throughout your tone’s signal ow, providing
tremendous routing exibility. To move any FX Block, start within the Signal Flow View
and select the FX Block to be moved. Press the MOVE button and you’ll see the selected
FX Block appear “raised” to indicate it is now moveable.

ENTER

AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

Pressing the Move button to reposition an FX Block

The FX Block can now be moved as follows:

• Use the Nav. Disc buttons to move the FX Block to the desired position.

• Move the FX Block into either Path A or B, and place it before or after an Amp
Model within the path. Use the Nav. Disc buttons to move the FX Block to
the opposite path. This allows you to run your effect in “parallel” and blend the
individual Path A & B outputs using the Mixer’s Level & Pan options!

• Once the FX Block is in the desired position, press the MOVE button again to drop

it into place.

• Amp Blocks can be moved into xed positions within the Pre or Post signal path
areas, or within the Paths A & B - see “Amp Model Positioning” on page 6•1.

• The Looper can also be selected and moved either to the start (“Pre”) or end (“Post”)
of the signal ow - see “Looper Mode” on page 8•1.

3•5

Features & Functionality

Model Types and Mono/Stereo Signal Routing

It is important to note that some Models (all EQs, Wahs & Volume, and some Modulations,
Filters, Pitches and Delays, as well as the FX Loop) preserve a stereo output within the
signal chain, while others (all Dynamics, Distortions, all Amps & Preamps, and other
various Models) are mono FX and do not. The POD HD500 Inputs 1 & 2 are fed into
the signal chain as stereo (see “Page 3, Setup: Input Options” on page 2•4). Therefore,
wherever a mono FX or Amp Model is inserted, the Left & Right channels of this stereo
signal is “mono-ized” and heard as a two-channel mono signal at the Model’s output. To

3•6

follow are a few examples:

• As shown above, if you place the Ping Pong Delay (a stereo-output FX Model) after
any other FX and/or Amp Models, you’ll hear its delay repeats bounce back and
forth between your Left and Right outputs.

Ping Pong Delay

No mono-output FX or Amp follows Delay

Ping Pong Delay

A Distortion (mono) FX Model follows Delay

• If you place the Ping Pong Delay immediately before a mono FX Model (as shown
above, left) or Amp Model within the same Path (shown above, right), you’ll hear
its delays “mono-ized,” equally through both the Left and Right outputs.

• The FX Loop is capable of stereo, just like any stereo-output FX Model, provided
that you utilize a stereo cabling conguration from the SEND jack, through your
pedals/rack devices, and back into the RETURN jacks.

Ping Pong Delay

An Amp Model Follows Delay, within same Path

Features & Functionality

• The above rules also apply within each of the parallel Paths A and B, since
these are each stereo signal paths as well. The Mixer Block offers Pan controls to
independently adjust the stereo balance of each of these Paths before they are fed
into the rst “Post” FX (or Amp Block, if the Amp is placed here), immediately
following the Mixer.

• Please also see “Amp Model Positioning” on page 6•1 for additional signal ow

information.

Expression Pedal & Variax® Knob Controller Assignment

POD HD500 includes two Pedal Modes, EXP 1 and EXP 2 for the “on-board” Pedal,
each of which can be assigned to any FX Model or FX Loop parameter, for endless control
possibilities.* Or, when an Expression Pedal is connected to the PEDAL 2 input on the
back of POD HD500, the on-board Pedal controls EXP 1 and Pedal 2 controls EXP 2.
The EXP 1 and EXP 2 Pedal Modes can each be assigned to control independent FX
parameters. These EXP 1 & EXP 2 assignments and all settings made here are saved per

Preset.

*Note that when you add a Wah FX Model to your tone, the “Position” parameter for
the Wah is automatically assigned to EXP 1. Likewise, when adding a Volume or Pan
FX Model, its Position parameter is automatically assigned to EXP 2. This will result in
multiple items assigned to these EXP Pedals if you already have existing Pedal assignments.
For all Factory Presets that already include a Wah, Volume or Pan, these are typically
already assigned as well. You can change these Pedal assignments, and/or create your own
for other FX parameters - read on!

EXP 1 and EXP 2

When no additional Pedal is connected to the PEDAL 2 input, the on-board Pedal‘s
“Toe Switch” will toggle between the control of Pedal Modes EXP 1 and EXP 2.
The red EXP 1 and green EXP 2 LEDs illuminate to indicate the current Pedal
Mode. (It is also possible to manually assign other functions to the Toe Switch - see

“Using the EXP Pedal Toe Switch” on page 3•13.)

3•7

Features & Functionality

PHONES AUX IN

L/MONO RIGHT TRS STEREO

FX RETURN

LEFT RIGHT

BALANCED OUTPUT

L/MONO R/MONO

UNBALANCED OUTPUT FX SEND

OUT/THRUINPUT

MIDI

OUT

S/PDIF

LINE

STOMP

CD/MP3

INPUT

VARIAXMIC

EXP 1 and EXP 2 with Pedal 2 Connected

PEDAL 2

Optionally, you can connect a 2nd Expression Pedal (such as a Line 6 EX-1
Expression Pedal) to the PEDAL 2 input. With a Pedal 2 connected, the on-board
Pedal controls only EXP 1, and Pedal 2 controls only EXP 2. Whenever a Pedal 2

is connected, you’ll see the EXP 1 & EXP 2 LEDs both lit.

Variax Knobs as Controllers

3•8

It is also possible to assign the Volume and/or Tone knob of any Line 6 Variax guitar to
control any POD HD500 Amp or FX parameter. Note that when assigning a Variax knob
to remotely control a POD HD500 parameter, you might nd it preferable to “Lock”the
knob’s Local Control option, so that it does not simultaneously affect the Variax guitar’s
Volume or Tone - please see “Page 7, Setup: Variax Options” on page 2•11 for instructions.

Controlling Amp & FX Parameters

Conguring the Expression Pedal and Variax Knob controller assignments is done within
the Controller Assign screen. In the Signal Flow View, select the Amp or FX Block for
which you’d like to create a controller assignment, then double-press the MOVE button.
For our example, we’ll select our Delay FX block in the Signal Flow View and congure it
to be controlled via the EXP-1 Pedal:

Tip! Expression Pedal and Knob Controllers are capable of driving up to 50+ POD HD
parameters simultaneously, making it possible to morph between sounds with a single Exp.
Pedal or Knob move. Simply repeat the following steps to assign a common Controller to
multiple parameters within the same Preset.

ENTER

AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

Features & Functionality

The Controller Assign screen is then displayed specically for the selected Model. In our
example, it is the Digital Delay W/Modulation. Use the Multi-function Knobs 1-4 to
congure the controller assignment options.

The Controller Assign screen

• Parameter (Knob 1): Select the parameter for the current Model that you want to
control.* In our example, we’ll choose the Mix parameter.

3•9

• Controller (Knob 2): Select the controller that you want to assign to the parameter.
Choose Off to have no assignment, or choose EXP 1, EXP 2, Variax Vol or Variax

Tone.

• Minimum Value (Knob 3): Set the parameter value you’d like for the Pedal’s “heel”
or Knob’s minimum position.

• Maximum Value (Knob 4): Set the parameter value you’d like for the Pedal’s “toe”
or Knob’s minimum position.

* Note: As stated on page 3•7, when adding any Wah or Volume/Pan FX Model to your
tone, their Position parameters are automatically assigned to the EXP 1 & EXP 2. These
Wah & Volume/Pan EXP assignments will remain in addition to other parameters you
assign, resulting in your Pedal controlling multiple parameters. Be sure to remove any
unwanted Model’s EXP assignment in the Controller Assign screen.

Features & Functionality

To create controller assignment to an FX Loop parameter, simply select the FX Loop Block
within the Signal Flow View and go to the Controller Assign screen, as described above.

3•10

Note: When a Controller is assigned to any FX Model parameter, manually editing this
parameter’s value will result in changing the Controller’s MIN or MAX value. For example,
if the EXP-1 Pedal Controller is assigned to a Wah FX Model’s Position parameter, select
the Wah Model, go to its Edit View screen, and select the Position parameter. If you turn
multifunction knob #4 when the Pedal is near the “heel” position, the MIN value is
adjusted. If you turn the knob when the Pedal is near the “Toe” position, the MAX value
is adjusted.

FX & Amp Block Footswitch Assignment

The Controller Assign options for the FX Loop

Each of the FS1 through FS8 footswitches, as well as the Exp Pedal’s “Toe Switch” can
be congured to toggle any of the FX or Amp Blocks On/Off. You can reference the
current Preset’s FX footswitch assignments by pressing the VIEW button to display the
Performance View screen. The assignments for FS1-FS8 will differ depending on your
current Setup - FS Mode setting (see “Page 1, Setup:Utilities Options” on page 2•2):

FX assignment for FS1-FS8 ABCD assignment for FS5-FS8

Features & Functionality

Note that when Looper Mode is active, the Performance View displays a set of Looper­specific footswitch functions, as covered in “Looper Footswitch Controls & Performance

View” on page 8•1

.

Assigning an FX or Amp Block to a Footswitch

From the Signal Flow View, select the FX or Amp Block that you want assigned to one of
your footswitches. As an example, we’ll select the Delay FX Block. Then Press and hold
the ENTER button to display the Footswitch Assign screen.

ENTER

AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

3•11

Select the desired Amp or FX block, then press and hold the ENTER button

The Footswitch Assign screen, with a Delay FX Model selected

Features & Functionality

Use Multi-function Knob 1 to select the footswitch to which you want this FX Block
assigned - choose FS1 through FS8, the EXP Toe Switch, or None to remove the Block’s
assignment. The following behaviors apply:

• If a footswitch already has an FX or Amp block assigned: The existing Block remains
assigned, and selecting this footswitch additionally assigns your new Block. When
referencing the Performance View, you’ll see the footswitch display a “Multi” graphic
to indicate this. You can congure 2 or more parameters to the same footswitch to
toggle them On/Off simultaneously - or, have one toggle On while another Toggles

3•12

Off!

TIP: To reference current footswitch assignments, when in the Footswitch Assign screen,
use the Nav. Disc buttons to select each Block, and look at the Knob 1 setting for each
at the bottom of the screen.

Indicates multiple Blocks assigned to a footswitch

• When a footswitch has no Block assigned: You’ll see the N/A graphic displayed in
the Performance View for the respective footswitch.

Indicates no Blocks assigned to a footswitch

Features & Functionality

Using the EXP Pedal Toe Switch

As noted in “Expression Pedal & Variax® Knob Controller Assignment” on page 3•7,

when adding a Wah or Volume/Pan Model to your tone, their Position parameters are
automatically assigned to the EXP 1 and EXP 2 Pedal Modes. Most Factory Presets already
include this Wah/Volume switching pre-congured for you. But the Toe Switch assignment
is not set automatically for newly added FX Models, so here is how to set this up manually.

• With the Wah Model selected, go to the FS Assign screen and assign its FX Block to
the EXP TOE SWITCH, following the instructions above. This allows the Wah to
be toggled On/Off via the pedal Toe Switch.

Assigning an FX Block to the on-board pedal’s “Toe Switch”

3•13

Further, if you have a different FX parameter (such as the Volume - Position) being
controlled by the opposite EXP Pedal Mode, you’ll likely nd it useful to have the Toe
Switch toggle both the FX On/Off alternately, so that only the desired Model is active
while being controlled. For example, say you have a Preset where the Wah is controlled by

EXP 1, and the Volume by EXP 2:

Note: If you have an additional Pedal connected to PEDAL 2, you may not want to use
the following configuration, since the Wah and Volume are already controlled by the two
Pedals individually.

• Click the EXP TOE SWITCH switch so that the red EXP 1 LED is lit.

Features & Functionality

• In the Signal Flow View, select the Volume FX block and toggle it “Off” using the

ENTER button. You should now see the Wah “On” and the Volume “Off.”

3•14

Wah in “On”

Volume is “Off”

• Repeat the previous Footswitch Assign steps for both the Wah and the Volume,
assigning each to the EXP TOE SWITCH.

• Now whenever you click the EXP TOE SWITCH to EXP 1 for this Preset, the
Volume is switched “Off” and the Wah is switch “On” and is controlled by the Pedal

- and vice versa when switching to EXP 2.

• Be sure to save to retain these settings with your Preset!

Dynamic DSP

We’ve offered up a whole lot of sound possibilities in POD HD500, and it can take some
serious Digital Signal Processing (DSP) to run these goodies. Rather than limit your
creative potential with fewer Models or signal routing options, we chose to implement a
“Dynamic DSP” system, which dynamically assigns DSP resources to accommodate your
tone congurations. When creating a tone that utilizes several heavy-hitting DSP Models,
it is possible to surpass the amount of processing power available. In these cases, you’ll see
the DSP LIMIT REACHED indicator appear, and the current Model is bypassed to allow

your tone to remain active.

DSP Limit alert is
temporarily displayed

Currently selected Model
is automatically bypassed,
with DSP message shown
here

Signal Flow View - displaying DSP Limit alert

Features & Functionality

In the above example, trying to change the Model for a 2nd Amp placed our tone over
the DSP limit. Therefore, the DSP LIMIT REACHED message is shown temporarily, and
the Amp B Model we selected is automatically bypassed, as indicated by the DSP Over
message. When the DSP Limit is reached, you have a few options to free up DSP resources.

• Try using different Amp Models. Some of the HD Amp Models require more DSP
power than others, so try switching to a different Amp Model.

• Use only one Amp Model rather than two.

• Try toggling Amp and/or FX Models “Off” or set the Block’s Model to “None,” (see

“FX Blocks” on page 3•1). Some FX types, such as Pitch Shifters and Reverbs,

utilize DSP more heavily.

Note: Setting an Amp or FX Block to “None” reduces the Block’s DSP usage more
substantially than toggling its Model to “Off.”

• Once you’re happy with your customized tone, save it so that you can recall it later.

3•15

Working with Presets

Set liStS & preSetS

This chapter covers all you need to know about working with Set Lists and Presets to

manage all your POD® HD500 Tones.

Be sure to also check out the free Line 6 POD HD500 Edit software. It can be used to
create, customize & manage an unlimited library of POD HD500 Set Lists & Presets right
on your Mac® or Windows® computer! See “POD HD500 Edit Software” on page 1•5.

Working with Set Lists

POD HD500 stores 64 Presets within each of its 8 Set Lists. The big idea here is that you
can load any one of these Set Lists to then gain access to any of its Preset locations - where

you can save your complete settings to, or load a Preset from.

Accessing Set Lists

Push the PRESETS knob to display the Set Lists screen.

4•1

SAVE

S

E

E

T

R

S

P

HOLD FOR SYSTEM & I/O

VIEW

The Set Lists screen

Load a Set List: Use the and Nav. Disc buttons, or turn the PRESETS knob to
select any Set List, then press the ENTER button. This immediately loads the selected
Set List, making all its Presets available. Note that your previously loaded Preset is
automatically closed, and the Preset of the same Bank/Channel location number from
the new Set List is loaded.

Working with Presets

Rename a Set List: With the desired Set List selected, press the SAVE button to display
the Rename Set List screen.

4•2

To edit the Set List name, use Multi-function Knob 3 to select the desired character,
then use Knob 4 to edit the character. Once complete, press SAVE again to commit
your new name, and you’ll be returned to the Set Lists screen. Or, just press PRESETS
button to return to the Set Lists screen without committing any name changes.

SAVE

S

E

E

T

R

S

P

HOLD FOR SYSTEM & I/O

VIEW

Arranging Presets within Set Lists

While in the Set Lists screen, double-press the ENTER button to display the list of Presets
in the current Set List, where you can reference each Preset’s Bank/Channel location, load
a Preset, or rearrange the Presets into in any order you like.

The Set List - Presets screen

Working with Presets

ENTER

AMP & FX ON / OFF

Load a Preset: Use the Nav. Disc buttons, or turn the PRESETS knob to select any
of the 64 locations, or use the Nav. Disc buttons to navigate through the list one
Bank at a time. Press the ENTER button to immediately load the selected location’s

Preset.

Move a Preset: Here is an example where we’ll move the “HIWAY 100” Preset from
location 2A to location 2C.

• Select location 2A for the “HIWAY 100” Preset, then press the MOVE button.
You’ll see the selected Preset appear “raised” to indicate it is now moveable:

DBL PRESS TO ASSIGN CTL

MOVE

• Use the Nav. Disc buttons or PRESETS knob to select the 2C destination location.
Note that as you select a new Bank/Channel location, the resulting Preset order
is displayed on the screen. For our example, “HIWAY 100” is inserted into 2C,
resulting in the Presets from the original location (2A) to the destination (2C) to

move up one slot:

“Hiway 100” moved from 2A to 2C

• Once you’ve placed the Preset over the desired channel location, press the MOVE
button again to “drop” it into the slot.

4•3

Working with Presets

SAVE

HOLD FOR SYSTEM & I/O

VIEW

P

R

E

S

E

T

S

• Repeat the above steps to rearrange any additional Presets as desired. To commit

4•4

Working with Presets

Each of the 8 Set Lists within POD HD500 includes 64 Channel locations for holding
Presets. These Set Lists and Presets are all retained in your POD HD500 internal memory.
Each Preset includes all current FX & Amps in use, all their parameters, their position
within the signal ow, footswitch & pedal assignments, Mixer settings, as well as input &
output options and other Setup options, as indicated throughout this Guide.

all your changes, you must next press the PRESETS button - you’ll see the
“Saving” screen displayed to indicate this process.

The Set List Saving screen

Accessing Presets

From any of the Home View screens, simply turn the PRESETS knob to increment through
the current Set List. The currently loaded Bank/Channel number and Preset name are
displayed at the top of the Home View screen. (Note that you’ll need to save your current
Preset before loading a different one if you wish to retain any changes made!)

Turn the PRESETS knob to increment through Presets

Alternatively, you can access Presets that reside within any Set List from within the Set
List - Preset screen (see page 4•1), or by using the POD HD500 Footswitches.

Working with Presets

ENTER

DBL PRESS TO ASSIGN CTL

MOVE

AMP & FX ON / OFF

SAVE

HOLD FOR SYSTEM & I/O

VIEW

P

R

E

S

E

T

S

Bank & Channel Footswitches

Preset selection is completely “hands-free” by way of the Bank Up , Bank Down and
Channel A, B, C, D (FS5 - FS8) Footswitches. Note that you’ll need to set the System - FS

Mode setting to “ABCD” to allow FS5 - FS8 to instantly access the Channel locations -
see “Page 1, Setup:Utilities Options” on page 2•2.

Bank Up & Down Channel A,B,C,D footswitches (FS5 - FS8)

• Press the A, B, C or D switch to instantly recall its Channel location within the
currently selected Bank.

4•5

• To navigate through Banks, press the Bank Up or Bank Down footswitch and you’ll
see the Queued Bank screen displayed, with the current Bank/Channel ashing:

The Queued Bank screen - the next Bank is queued

• Continue pressing the Bank Down or Bank Up footswitch and you’ll see the previous/
next Bank’s A, B, C & D Channels & their Presets “queued,” as shown above. Then
press the A, B, C or D footswitch to load the respective Preset from the desired Bank.

Working with Presets

Saving Presets

To retain any customization you may have performed on your Preset, or if you want to
rename or move the current Preset, you can use the Save function. Whenever your current
Preset is in an “unsaved” state, you’ll see an asterisk appear in the Signal Flow View.

Asterisk indicating Preset is in an unsaved state

4•6

Remember to always save your Preset before calling up a different Preset to retain any
changes you may have made!

Press the SAVE button to display the Save Preset screen.

The Save Preset screen

Use the Multi-function Knobs 1-4 to choose your Save functions.

• Set List (Knob 1): Choose any one of the 8 Set Lists here in which you’d like to save
your Preset. By default, you’ll see your currently loaded Set List.

• Destination (Knob 2): Choose the specic Bank/Channel location within the
selected Set List to save your Preset. Note that this will permanently overwrite the

Preset within the destination location once you commit the save.

Working with Presets

• Cursor & Character (Knobs 3 & 4): To rename your Preset, select a character with
Knob 3, then use Knob 4 to edit the selected character.

TIP! For speedy preset naming... The Nav Disc buttons may be used to move the cursor left
& right. Pressing down clears the currently selected character. Pressing up cycles through
the first character of Upper Case, Lower Case, Numeric, and blank.

Once you’ve completed the above settings, press the SAVE button to commit. Or, to
cancel the save, press the PRESETS knob or VIEW button.

4•7

FX edit mOde

Within this chapter, we’ll cover the Edit Mode for FX, which provides access to all editable
parameters for the FX models and the FX Loop. (For info on Amp Models, see “Editing

Amp Parameters” on page 6•7.) All changes made in the Edit Mode are saved per Preset.

Accessing FX Edit Mode

First press the VIEW button to display the Signal Flow View screen.

SAVE

S

E

E

T

R

S

P

HOLD FOR SYSTEM & I/O

VIEW

FX Edit Mode

5•1

The Signal Flow View - Modulation FX Block selected

Use the Nav. Disc buttons to select the Block you wish to edit. In our example above,
we’ve selected the rst Block, which currently has a Modulation Model loaded. While in
the Signal Flow View, you can edit a few options for the selected Block’s FX Model using
the Multi-select Knobs 1 - 4. However, by entering the Edit Mode screen, you’ll have
instant access to all parameters. Double-press the ENTER button to display Edit Mode.

ENTER

AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

The FX Edit Mode - Modulation:U-Vibe FX Model loaded

FX Edit Mode

Use the Multi-Function Knobs 1- 4 to access the respectively numbered options at the
bottom of the Edit Mode screen.

While the Edit Mode screen is displayed, these knobs access the following functions.

Knob 1 - Type

Select the type of FX Model you want to insert into this Block location. You’ll see the
selected Type displayed at the top of the screen, as well as a handy Model On/Off indicator

5•2

at the right.

The Multi-Function Knobs

• None: Choose “None” to remove any FX Model from the Block.

• FX: Choose from the list of FX types.

• FX Loop: Not technically an FX Model, but the device’s FX Loop can be inserted
and its options edited much like one! See “FX Loop” on page 5•3.

Knob 2 - Model

Choose the specic Model for the current FX Type. You’ll see the selected FX Model
displayed at the top of the screen.

Knob 3 - Parameter

Use the Nav. Disc buttons to select from among the parameters that are displayed. The
“selected” parameter is indicated by the arrow at the left.

FX Edit Mode

Knob 4 - Value

Set the value for the selected parameter.

As shown above, some parameters utilize numerical values, while others utilize a graphical
bar display.

5•3

FX Loop

The FX Loop can be inserted into any one FX Block. .

The FX Loop Edit Mode screen

FX Edit Mode

Adjust the Parameter & Value settings the same as with any FX Model. These FX Loop

Edit Mode settings are saved per Preset.

Note: Use the LINE-STOMP switch on the back of POD HD500 to choose between levels
for Rack FX versus Pedals. This Send parameter can then be used to further fine-tune the
level fed to your connected devices.

5•4

TIP: Most FX and FX Loop parameters can optionally be assigned for Expression Pedal
control! See “Expression Pedal & Variax® Knob Controller Assignment” on page 3•7.

• Send: Reduces the level fed out the FX Loop SEND to your external devices.

• Return: Adjusts the level of the signal received into the stereo FX Loop RETURN
jacks.

• Mix: Blends the FX Loop signal that with the POD HD tone signal. When set to
100%, the full POD HD500 signal is fed to the SEND. When set to 0%, your input
signal bypasses the FX Loop completely, so that you’ll hear only your POD HD

processed signal. Be sure to set the Mix to less than 100%, or toggle the FX Loop
Block “Off,” if you do not have a complete connection between the device’s SEND
& RETURN jacks, or you’ll hear only silence from the output of POD HD500!

Amp, Cab & Mic Models

amp, cab & mic mOdelS

This chapter provides details on selecting & editing the exemplary HD Guitar Amp &
Preamp Models, all of which have been newly developed by our amazing team of sound
engineers for POD® HD500! Also covered here are details on Speaker Cabs, Mic Models

and putting Amp Models to use.

Amp Model Positioning

Each Preset includes the ability to run one or two Amp or Preamp Models. Much like
each FX Block, the Amp Block can be repositioned using the MOVE button (please see

“Moving FX Blocks” on page 3•5 ). Here we’ll cover the impact on your signal ow when

placing the Amp in different positions.

*Note: Looking for a Mic Preamp Model? You can find the Vintage Pre Model located
within the “Preamps+EQ” category of any FX Block. Having this Preamp Model within
the FX Blocks (rather than in the Amp Blocks) allows you the flexibility of using it with or
without the Amp models, and positioning it anywhere in the signal chain. See “Preamp+EQ

Models” on page 7•9

for more info.

6•1

Amps Within Paths A & B

You’ll nd that a number of the Factory Presets already utilize this type of conguration.
When moving the single Amp Model into the parallel Paths A/B from the “Pre” position
(before the Path A/B split) or “Post” position (after the Mixer Block), a 2nd Amp B Block
is automatically created in Path B. In this conguration, the top amp is referred to as Amp
A and the other Amp B.

Amp A Amp B

Amp Models within Paths A & B

Behaviors for this conguration are:

Amp, Cab & Mic Models

• Each Amp Block can be individually set to a different Amp or Preamp Model,*
edited and enabled/disabled.

*Note: Some Amp/Preamp Models utilize more DSP than others. You may find it necessary
to bypass or remove some FX Models to enable two simultaneous Amps - see “Dynamic

DSP” on page 3•14

• The Amp Blocks cannot be moved within the A or B Paths, however, it is possible
to move any FX Blocks before or after the Amps within either Path.

• Specic behaviors apply for moving an Amp Block out of the parallel Paths A/B:

• Select Amp A, push the MOVE button, then the Nav. Disc button. This
removes Amp B from the tone and moves Amp A to the Post position, where it
is placed directly after the Mixer (and before any “Post” FX).

• Select Amp A, push the MOVE button, then press the Nav. Disc button. This
removes Amp B from the tone and moves Amp A to the Pre position, where it is
placed just before the Path A/B split (and after any “Pre” FX).

6•2

• For the above actions, pressing MOVE when Amp B is selected has no function.

Amp Block in Pre or Post Positions

for more info.

Only a single Amp Block can be used within either of these positions.

Amp A

Amp in “Pre” position (before Path A & B)

With the Amp in Pre, as shown above, the single amp feeds both Paths A & B. You can
always move FX into either Path A or B, in which case they’ll behave as “Post Amp” FX,
yet be in parallel, with each Path’s output controlled by the Mixer’s A & B Level and Pan.

Amp, Cab & Mic Models

Note that when utilizing both Inputs 1 & 2 (or when using “SAME” for either of these
Input options) the two Input signals are combined to allow them to be fed into any Amp or
mono FX Model within the Pre position, which can result in a hot signal level. Reduce your
instruments’ volume as needed to avoid overloading your Pre-positioned Models.

Amp A

Amp in “Post” position (after Path A & B)

With the Amp in Post as shown above, the parallel Paths A & B are fed into the input
of the Amp.* You can still move FX into either Path A or B, in which case they’ll be in
parallel, with each Path’s output individually controlled by the Mixer’s A & B Level and
Pan options to allow you to custom blend them before they hit the Amp.

*Note: All Amps & Preamps behave as “mono” Models, which impact the stereo output
of any FX Models positioned before them within the signal flow. For more info, please see

“Model Types and Mono/Stereo Signal Routing” on page 3•6.

Selecting Amp, Cab & Mic Models

Press the VIEW button to display the Signal Flow View and use the Nav. Disc to select

Amp A or Amp B.

The Signal Flow View - Amp B selected

6•3

Amp, Cab & Mic Models

Once an Amp Model is selected, you’ll see the 4 editable Amp options at the bottom of
the screen, accessible via the Multi-function knobs 1 - 4.

• Knob 1 - Selects the Amp Model.

• Knob 2 - Selects the Cab Model.

• Knob 3 - Selects the Mic Model.

• Knob 4 - When the current Preset includes two Amp models, this selects which
Amp (the Amp within Path A or B) is controlled by the Amp Tone knobs.

As you change the Amp Model (Knob 1), you’ll also see that default Cab and Mic models
are automatically selected for each Amp or Preamp (see “About Default Amp Settings”

on page 6•5). But you can use Knobs 3 & 4 to select any Cab and/or Mic you like. These

settings are saved per Preset.

Attention Bass Players: Try the Flip Top Bass Amp Model for some thump! Note that this
Model loads with a matching 1x15 Flip Top speaker cab, as well as a full set of Mic Model
options for stellar bass tones. (And yes, you can indeed select any other Cab with the Flip

6•4

Top Bass Amp Model, or choose the Flip Top Cab with any Guitar Amp Model!) See the
following sections for details about these models.

Amp and Preamp Models

We’ve included a complete set of “Preamp” versions of each Amp as well. Choose one
of these to obtain the tone of just the preamp stage of the amp - recommended when
feeding your POD HD500 output into an external amplier, or when using the L6 LINK™
connection.*

A Preamp Model is selected for Amp B

Amp, Cab & Mic Models

*Note that, whether an Amp or Preamp is selected, the additional application of Cab and
Mic Models is dependent upon the SETUP:OUTPUT settings. Please see “Page 4, Setup:

Output Options” on page 2•8

The overall volume levels among the different Preamp Models varies - this is normal. The
Preamp sections of each of the classic ampliers we modeled are indeed quite different,
and we’ve set the Preamps’ default values to best match the type of power amp into which
they are intended to fed. Tweak the DRIVE and VOLUME knobs to optimize the level for
your specic needs!

.

Amp Block States

The Amp Blocks have 3 available states: On, Off (bypassed) or Disabled (sometimes
referred to as a “Null” state for the Block).

6•5

Amp Block “On” Amp Block “Off” Amp Block “Disabled” (Null Block)

About Default Amp Settings

Whenever you change to a different Amp or Preamp Model, predetermined Cab &
Mic models are automatically loaded, as well as Amp Tone Knob settings designed to
complement the Amp type. As noted throughout this chapter, you can certainly switch to
a different Cab and/or Mic Model - just be sure to save your Preset to retain these changes.

Amp, Cab & Mic Models

Mic Models

To follow is a list of all Mic Models. Note that all Guitar Amp’s Cabs offer a selection of 8
Mics, and the 1x15 Flip Top Bass Cab offers its own selection of 8 Mic Models.

6•6

Mic Model Descriptions

Mic Name Based On...*

Guitar Cab Mic Models

57 On Xs

57 Off Xs

409 Dyn

421 Dyn

4038 Rbn Coles 4038 Ribbon

121 Rbn

67 Cond

87 Cond

Shure® SM57 Dynamic, On Axis

Shure® SM57 Dynamic, Off Axis

Sennheiser® MD 409 Dynamic

Sennheiser® MD 421 Dynamic

Royer® 121 Ribbon

Neumann® U67 Condenser

Neumann® U87 Condenser

Bass Cab Mic Models

57 On Xs

421 Dyn

12 Dyn AKG® D12

112 Dyn AKG® D112

20 Dyn EV® RE20

7 Dyn Shure® SM7B

40 Dyn Heil® PR40

47 Cond Neumann® U47

Shure® SM57 Dynamic, On Axis

Sennheiser® MD 421 Dynamic

*

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, 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. DBA Rover Labs. AKG® is a registered trademark of Harman International Industries, Incorporated. EV® is a registered trademark of Electro Voice, Incorporated. Heil® is a registered trademark of Heil Sound Ltd.

Amp, Cab & Mic Models

Editing Amp Parameters

To toggle the selected Amp model On or Off

Press the ENTER - AMP ON/OFF button once. Toggling the Amp “Off” results

ENTER

AMP & FX ON / OFF

To adjust the Amp Tone

Turn any of the Amp Tone knobs to adjust the desired settings for the selected Amp.

in bypassing the Amp, Cab and Mic processing.

The Amp Tone knobs

Whenever you adjust any of the Amp Tone knobs, you’ll see the “Momentary” AMP EDIT
LCD screen temporarily displayed, showing the actual values of the Tone knobs for both
current Amp A & Amp B Models (depending on your Amp Knobs Display setting, see

“Page 1, Setup:Utilities Options” on page 2•2). Also see the next section for more about

the AMP: EDIT options.

Amp & Cab Edit Display

Double-press the ENTER button to access the Amp & Cab Edit screens. You’ll see up to 5
pages of options here, allowing you to ne-tune Amp, Cab and Mic settings.* All settings
in these screens are saved per Preset.

*Note: When the selected Amp Model is a “full” Amp Model, you will see five Amp Edit
pages, with pages 2 & 3 offering additional “deep-editing” power amp-related functions,
and pages 4 & 5 offering deep-edit Cab functions, as described below. When the selected
Amp Model is a Preamp, you will see only three Amp Edit pages, which offer the same
options as the Amp/Cab Edit pages 1, 4 and 5 described below. Use the Nav. Disc left &
right arrow buttons to access all available pages.

6•7

Amp, Cab & Mic Models

Amp Edit - Page 1

• With both Amp Models On: You’ll see the screen’s respective controls update as
you adjust the Amp Tone knobs, as shown above. Note that the black “dots” around
each knob indicate its last-saved value. You can also still access the Amp, Cab &
Mic Model and Amp A/B selections via the Multi-function Knobs 1-4 while this

6•8

screen is displayed.

ENTER

AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

Page 1 of the Amp:Edit Screen - both Amps are On

Page 1 of the Amp:Edit Screen - Amp A Bypassed

• With an Amp Model Off: You’ll see only a VOL knob, as shown above for Amp A.
This is a separate parameter strictly for the Amp Model’s Bypass Volume. Use the

VOLUME knob on your device to adjust this, and its value is stored separately with

the Preset for whenever the Amp Block is Bypassed.

Amp, Cab & Mic Models

Note that the VOLUME knob does not control the level at all for a “Null” Amp Block.

• Use the Multi-Function knobs 1 - 4 to adjust the options at the bottom of the screen:

• Knob 1: Select the desired Amp or Preamp Model.

• Knob 2: Select the desired Cab Model (also see the Page 4 options).

• Knob 3: Select the desired Mic Model (also see the Page 4 options).

• Knob 4: Choose between adjusting controls for Amp A or Amp B. (This option
is available on all AMP EDIT screens.)

Amp Edit - Page 2

Page 2 offers three options that affect the power amp characteristics of your Amp Model.

6•9

Page 2 of the Amp:Edit Screen (not displayed for Preamp Models)

• Knob 1: Use this Master Volume to adjust the amount of power amp distortion. This
parameter is highly interactive with all other power amp parameters - the lower the
Master is set, the less effect the other controls will have.

• Knob 2: Setting the Sag to minimum offers a “tighter” responsiveness, and turning
clockwise provides more “touch” dynamics & sustain.

• Knob 3: Controls how much heater hum & AC ripple interacts with your tone. At
the maximum setting things get really freaky.

Amp, Cab & Mic Models

Amp Edit - Page 3

Page 3 offers two more options that affect the power amp characteristics.

Page 3 of the Amp:Edit Screen (not displayed for Preamp Models)

• Knob 1: Changes the Bias of the power tubes. Set to minimum to achieve a very
“cold” Class AB biasing. At maximum the amp is operating in Class A.

6•10

• Knob 2: The Bias Excursion determines how the power amp tubes’ voicing reacts
when they are pushed hard. Set low for a tighter feel. Set high for more tube
compression. This parameter is highly reactive with the DRIVE & MASTER settings.

• Knob 3: Has no function on this page.

Amp Edit - Page 4

Here you’ll nd Microphone and Speaker Cabinet options.

Page 4 of the AMP:EDIT Screen (appears as Page 2 for Preamp Models)

Amp, Cab & Mic Models

Note: If you selected “No Cab” for your Cab Model, these Mic and Early Reflections
settings will perform no function since no Speaker, Mic or Early Reflections processing is
applied.

• Knob 1: Sets the amount of “early reections.” Higher values add more reective

room sound to your Amp tone.

• Knob 2: Applies low frequency attenuation - helpful to tighten up the low end of

your tone.

• Knob 3: Selects the Mic type (see the Mic Model table on page 6•6).

Note: If you select the 1x15 Flip Top Bass Cab Model, you’ll see a unique set of Mic Models
in this list, best suited for Bass.

Amp Edit - Page 5

Here you’ll nd even further “deep-editing” parameters for the Speaker Cab, allowing you
to surgically rene the the feel and frequency response to your personal taste.

• Knob 1: Adjusts the overall level of the modeled speaker Resonance, which results
in a more “lively,” brighter response on higher settings. Increasing the Resonance
Level will cause the overall volume to increase as well.

• Knob 2: Adjusts the low frequency level of the modeled speaker resonance. Just as
the name implies, increasing the value on this knob adds more low end “Thump” to
the Cab tone.

6•11

Amp, Cab & Mic Models

• Knob 3: Adjusts the Decay time of the modeled speaker resonance. This control
provides the feel of a “tighter” speaker cone at lower values and a “looser” speaker
at higher values.

Note: The above three Cab parameters are interactive - As the Resonance Level is decreased
so are the effects of the Thump and Decay parameters. Thump and Decay are applied to
the modeled speaker resonance, therefore, if the Resonance Level is set to a minimum, the
effects of Thump and Decay parameters will not be audible.

Resonance Level, Thump, and Decay controls will only be audible when the POD is in
Studio/Direct output mode.

Press the HOME button, or double-press the ENTER button to exit the AMP:EDIT screen
when done. Be sure to save your Preset to retain customized Amp Model settings.

6•12

Amp/Preamp Models

To follow is a table showing the classic ampliers upon which all our HD Amp/Preamp
Models are based.* For more details, please also check out the POD HD Model Gallery,
available from http://line6.com/support/manuals/.

POD HD Amp/Preamp Models

Amp/Preamp Model Based On...*

Amp Disabled When selected, no Amp Model is loaded

Blackface Double Normal ‘65 “Blackface” Fender® Twin Reverb®, Normal input channel

Blackface Double Vibrato ‘65 “Blackface” Fender® Twin Reverb®, Vibrato input channel

Hiway 100 Hiwatt® Custom 100

Super O ‘60s Supro® S6616

Gibtone 185 Gibson® EH-185

Tweed B-Man Normal ‘59 Fender® Tweed Bassman®, Normal input channel

Tweed B-Man Bright ‘59 Fender® Tweed Bassman®, Bright input channel

Blackface ‘Lux Normal Fender® “Blackface” Deluxe Reverb®, Normal input channel

Blackface ‘Lux Vibrato Fender® “Blackface” Deluxe Reverb®, Vibrato input channel

Divide 9/15 Divided By 13 9/15

* 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®, Twin Reverb®, Bassman® 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. Mesa/Boogie® and Dual Rectifier® are registered trademarks of Mesa/Boogie, Ltd. Engl® is a registered trademark of Beate Ausflug and Edmund Engl. 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. Supro® is a registered trademark of Zinky Electronics. Ampeg® and Portaflex® are registered trademarks of Loud Technologies, Inc.

Amp, Cab & Mic Models

POD HD Amp/Preamp Models

Amp/Preamp Model Based On...*

PhD Motorway Dr. Z® Route 66

Class A-15 ‘61 “Fawn” Vox® AC-15

Class A-30 TB Vox® AC-30 “Top Boost”

Brit J-45 Normal ‘65 Marshall® JTM-45 MkII, Normal input channel

Brit J-45 Bright ‘65 Marshall® JTM-45 MkII, Bright input channel

Plexi Lead 100 Normal ‘59 Marshall® “Plexi” Super Lead 100, Normal input channel

Plexi Lead 100 Bright ‘59 Marshall® “Plexi” Super Lead 100, Bright input channel

Brit P-75 Normal Park 75, Normal input channel

Brit P-75 Bright Park 75, Bright input channel

Brit J-800 Marshall® JCM-800

Bomber Uber 2002 Bogner Uberschall

Treadplate Mesa/Boogie® Dual Rectifier®

Angel F-Ball Engl® Fireball 100

Line 6 Elektrik A face-melting Line 6 original

Flip Top Ampeg® B-15NF Portaflex® bass guitar amp

6•13

Amp Control Labels

For some Amp Models, you’ll see slightly different labels for the Amp Tone knobs displayed
in the Amp:Edit screen. In the cases where the classic amps we’ve modeled include special
knob controls, we’ve emulated their behaviors accordingly. These are listed as follows:

• Super O: 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:

Super O Amp:Edit screen

* 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®, Twin Reverb®, Bassman® 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. Mesa/Boogie® and Dual Rectifier® are registered trademarks of Mesa/Boogie, Ltd. Engl® is a registered trademark of Beate Ausflug and Edmund Engl. 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. Supro® is a registered trademark of Zinky Electronics. Ampeg® and Portaflex® are registered trademarks of Loud Technologies, Inc.

• Divide 9/15: The Divided by 13 amp offers two interactive channels. The DRIVE
knob controls the “clean” channel, and the BASS knob is being used as the Drive
knob for the “dirty” channel. The MID & TREBLE knobs behave like the amp’s
Tone & Cut knobs.

Divide 9/15 Amp:Edit screen

• Class A-15 & Class A-30TB: Following the Vox® design, we’ve labeled the MID
knob as “Cut” for these two Amp Models - turning the knob counter-clockwise
reduces the high-end frequencies.

Class A-15 & Class A-30TB Amp:Edit screen

* 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®, Twin Reverb®, Bassman® 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. Mesa/Boogie® and Dual Rectifier® are registered trademarks of Mesa/Boogie, Ltd. Engl® is a registered trademark of Beate Ausflug and Edmund Engl. 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. Supro® is a registered trademark of Zinky Electronics. Ampeg® and Portaflex® are registered trademarks of Loud Technologies, Inc.

Cab Models

To follow is a table showing the classic speaker cabinets upon which our Cab Models are
based.*

POD HD Cab Models

Cab Model Based On...*

No Cab Choosing this option applies no Speaker, Mic or Early Reflections

processing to your Amp Model.

212 Blackface Double Fender® “Blackface” Twin Reverb® combo cabinet, 2x12 inch

Jensen® speakers

412 Hiway Hiwatt® cabinet, 4x12 inch Fane® 12287 50 watt speakers

6x9 Super O Supro® S6616 combo cabinet, one “6x9” size speaker

112 Field Coil Gibson® EH-185 combo cabinet, 1x12 Field Coil Speaker

410 Tweed ‘59 Fender® Tweed Bassman® combo cabinet, 4x10 inch Jensen®

alnico speakers

112 BF ‘Lux Fender® “Blackface” Deluxe Reverb® combo cabinet , one 12 inch

Oxford 12K5-6 speaker

112 Celest 12-H Divided By 13 9/15 combo cabinet, one 12 inch Celestion® G12H

Heritage (70th anniversary) speaker

212 PhD Ported Dr. Z®, Z Best cabinet, 2x12 inch Celestion® speakers (one G12H

Heritage and one Vintage 30)

112 Blue Bell ‘61 “Fawn” Vox® AC-15 combo cabinet, one 12 inch Celestion®

Alnico Blue speaker

212 Silver Bell Vox® AC-30 “Top Boost,” 2x12 inch Celestion® Alnico Silver Bell

speakers

412 Greenback 25 Marshall® cabinet, 4x12 inch Celestion® G12M “Greenback”

speakers

412 Blackback 30 Marshall® cabinet, 4x12 inch Celestion® Rola G12H30W

“Blackback” speakers

412 Brit T-75 Marshall® cabinet, 4x12 inch Celestion® G12T75 speakers

412 Uber Bogner Uberschall cabinet, 4x12 inch Celestion® speakers (2 x

G12T75 and 2 x Vintage 30 speakers)

412 Tread V-30 Mesa/Boogie® cabinet, 4x12 inch Celestion® Vintage 30 speakers

412 XXL V-30 Engl® Pro cabinet, 4x12 inch Celestion® Vintage 30 speakers

115 Flip Top Ampeg® Custom Design, CTS 15 inch speaker

* 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®, Twin Reverb®, Bassman® 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. Mesa/Boogie® and Dual Rectifier® are registered trademarks of Mesa/Boogie, Ltd. Engl® is a registered trademark of Beate Ausflug and Edmund Engl. 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. 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. Ampeg® and Portaflex® are registered trademarks of Loud Technologies, Inc.

FX mOdelS

POD HD500® includes a plethora of amazing FX Models, primarily from the popular
Line 6 M13 Stompbox Modeler! This chapter provides Reference Tables showing all POD
HD500 FX Models by category, as well as details on their parameters. FX Model parameters
are all accessible within the Edit Mode. Please see “FX Edit Mode” on page 5•1 for details

on Edit Mode features.

TIP: For more details about the POD HD500 FX Models, please also check out the POD

HD Model Gallery

com/support/manuals/

Dynamics Models

Model Parameters

Noise Gate Threshold Decay -- -- -­Hard Gate Open Threshold Close Threshold Hold Decay -­Tube Comp Threshold Level -- -- -­Red Comp Sustain Level -- -- --

Blue Comp Sustain Level -- -- -­Blue Comp Treb Sustain Level -- -- -­Vetta Comp Sensitivity Level -- -- -­Vetta Juice Amount Level -- -- -­Boost Comp Drive Bass Comp Treble Output

and M13 Advanced Guide documents, available from http://line6.

.

Dynamics FX Models - Parameter Reference Table

FX Models

7•1

Common Parameters

The following parameters are common to most Dynamics FX Models.

• Threshold: For compressor FX, lower values result in greater compression, along
with an automatic makeup gain stage dependent upon the Threshold setting.

• Sustain: Some compressors include Sustain, which is much the same as a Threshold
control, but functions in reverse - higher settings add more compression and thus
more sustain and squishy goodness.

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

FX Models

Distortion Models

7•2

Distortion Model - Parameter Reference Table

Model Parameters

Tube Drive Drive Bass Mid Treble Output
Screamer Drive Bass Tone Treble Output
Overdrive Drive Bass Mid Treble Output
Classic Dist Drive Bass Filter Treble Output
Heavy Dist Drive Bass Mid Treble Output
Color Drive Drive Bass Mid Treble Output
Buzz Saw Drive Bass Mid Treble Output
Facial Fuzz Drive Bass Mid Treble Output
Jumbo Fuzz Drive Bass Mid Treble Output
Fuzz Pi Drive Bass Mid Treble Output
Jet Fuzz Drive Fdbk Tone Speed Output
Line 6 Drive Drive Bass Mid Treble Output
Line 6 Distortion Drive Bass Mid Treble Output
Sub Octave Fuzz Drive Bass Sub Treble Output
Octave Fuzz Drive Bass Mid Treble Output

Common Parameters

The following parameters are common to most Distortion FX Models.

• Drive: Adjusts the amount of overdrive, distortion or 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 offer an output boost.

Modulation Models

Modulation Models - Parameter Reference Table

Model Parameters

Pattern Tremolo Speed Step 1 Step 2 Step 3 Step 4
Panner Speed Depth Shape VolSens Mix
Bias Tremolo Speed Level Shape VolSens Mix
Opto Tremolo Speed Level Shape VolSens Mix
Script Phase Speed -- -- -- -­Panned Phaser Speed Depth Pan Pan Spd Mix
Barberpole Phaser Speed -- Fdbk Mode Mix
Dual Phaser Speed Depth Fdbk LFO Shp Mix
U-Vibe Speed Depth Fdbk VolSens Mix
Phaser Speed Depth Fdbk Stages Mix
Pitch Vibrato Speed Depth Rise VolSens Mix
Dimension Sw1 Sw2 Sw3 Sw4 Mix
Analog Chorus Speed Depth Ch Vib Tone Mix
Tri Chorus Speed Depth Depth2 Depth3 Mix
Analog Flanger Speed Depth Fdbk Manual Mix
Jet Flanger Speed Depth Fdbk Manual Mix
AC Flanger Speed Width Regen Manual -­80A Flanger Speed Range Enhance Manual Even Odd
Frequency Shifter Freq Mode -- -- Mix
Ring Modulator Speed Depth Shape AM/FM Mix
Rotary Drum Speed Depth Tone Drive Mix
Rotary Drm/Hrn Speed Depth Horn Dep Drive Mix

FX Models

7•3

FX Models

Common Parameters

The following parameters are common to most Modulation FX Models.

• Speed: Adjusts the modulation/oscillation/tremolo speed for the effect, with higher
settings providing faster rates. Note that the Speed can be adjusted to a Hz value or

Note Division:

• Choosing a Hz value provides a specic modulation speed in cycles per second.

• Choosing a Note Division value provides a time that is based on the current Tap
Tempo (see “Tap Tempo” on page 1•4).

• Depth: Adjusts the intensity of the modulation. Higher settings result in more
extreme pitch bending, wobble or throb, depending on the effect.

• Fdbk (Feedback): 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% no effect is added to
your signal; 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 and Rotary FX, try the Mix at 90 - 100%. Feel free to experiment!

7•4

Note that the Script Phase, Pattern Tremolo , AC Flanger & 80a Flanger do not offer a Mix
parameter. Their dry/wet balance is “fixed” just like the classic pedals that inspired them!

Filter Models

Filter Models - Parameter Reference Table

Model Parameters

Voice Box Speed Start End Auto Mix
V-Tron Start End Speed Mode Mix
Q Filter Freq Q Gain Type Mix
Vocoder Mic Input -- Decay Mix
Seeker Speed Freq Q Steps Mix
Obi Wah Speed Freq Q Type Mix
Tron Up Freq Q Range Type Mix
Tron Down Freq Q Range Type Mix
Throbber Speed Freq Q Wave Mix
Slow Filter Freq Q Speed Mode Mix
Spin Cycle Speed Freq Q VolSens Mix
Comet Trails Speed Freq Q Gain Mix
Octisynth Speed Freq Q Depth Mix
Synth O Matic Freq Q Wave Pitch Mix
Attack Synth Freq Wave Speed Pitch Mix
Synth String Speed Freq Attack Pitch Mix
Growler Speed Freq Q Pitch Mix

FX Models

7•5

Common Parameters

The following parameters are common to most Filter FX Models.

• Frequency: Selects the center frequency used by the effect.

• Q: Adjusts the frequency width of the lter in use.

• Speed: Adjusts the rate of the model’s modulation or oscillators, can be adjusted to

a Hz value or Note Division:

• Choosing a Hz value provides a specic modulation speed in cycles per second.

• Choosing a Note Division value provides a time that is based on the current Tap
Tempo (see “Tap Tempo” on page 1•4)

FX Models

Pitch Models

7•6

• Mix: Sets the balance of the “Dry” and “Wet” signals. At 0% no effect is added to
your signal; at 100% you will hear the effected signal only. For most Filter FX, try the
100% setting to achieve the full weirdness factor.

Pitch Models - Parameter Reference Table

Model Parameters

Bass Octaver Tone Normal Octave -- -­Pitch Glide Pitch -- -- -- Mix
Smart Harmony Key Shift Scale -- Mix

Pitch FX Model Parameters

Since these FX are a bit more complex, we’ve provided examples of each Pitch FX Model’s

Edit Mode screen and parameter descriptions.

Bass Octaver

• Tone: The overall tone of the effect.

• Normal: Controls the volume of the dry signal.

• Octave: Controls the volume of the processed, octave signal.

FX Models

Pitch Glide

This effect is best used by assigning your POD® HD500 pedal to the Pitch parameter to
“wham” out some wild pitch-bending effects!

• Pitch: Manually lets you select the Pitch. For best results you’ll want to set your heel
and toe values using your POD HD500 pedal!*

• Mix: Controls the balance of wet & dry signals.

*Note: To assign your pedal, double tap on the MOVE button and choose “Pitch” as
the parameter to be controlled (see “Expression Pedal & Variax® Knob Controller

Assignment” on page 3•7

to allow your pedal to sweep the full Pitch range, and set the MIX to 100% to hear only
the pitched signal.

). Try setting the MIN VALUE to 0% and the MAX to 100%

7•7

Smart Harmony

FX Models

7•8

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.

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

• Scale: Select the Scale you’d like to use (see the following instructions and table).

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

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 A Maj G Maj F Maj E Maj D Maj C Maj Bb Maj
B B Maj A Maj G Maj Gb Maj E Maj D Maj C Maj
C C Maj Bb Maj Ab Maj G Maj F Maj Eb Maj Db Maj
D D Maj C Maj Bb Maj A Maj G Maj F Maj Eb Maj

E E Maj D Maj C Maj B Maj A Maj G Maj F Maj
F F Maj Eb Maj Db Maj C Maj Bb Maj Ab Maj Gb Maj

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

Smart Harmony Model - Scale Reference Table

FX Models

Preamp+EQ Models

Preamp+EQ Models - Parameter Reference Table

Model Parameters

Graphic EQ 80Hz 220Hz 480Hz 1.1kHz 2.2kHz
Parametric EQ Lows Highs Freq Q Gain
Studio EQ Low Freq Low Gain Hi Freq Hi Gain Gain
4 Band Shift EQ Low Low Mid Hi Mid Hi Shift
Mid Focus EQ Hi Pass Freq Hi Pass Q Low Pass Freq Low Pass Q Gain
Vintage Pre Gain Output Phase Hi Pass Filter Lo Pass Filter

Common Parameters

The following parameters are common to EQ Models.

• Frequency (as well as Low, Mid, High): Selects the center frequency or range for the
particular EQ Band. (The Graphic EQ model includes “xed” Bands where the gain
is adjustable for each.)

• Q: Adjusts the frequency width or shape of the frequency band lter.

• Gain: Adjust the output level of the particular Band. (The Gain parameters accessed
by Multi-function Knob #4 adjust the overall output level.)

Vintage Pre

This Model is a vintage-voiced, mono tube mic preamp based on* the Requisite® Y7
vintage Tube Mic Preamp, excellent for use with your Mic source input, Variax acoustic
guitar models, or even in conjunction with Bass or Guitar Amps, anywhere in the signal
path, to provide some nice tube warmth.

*

Requisite® is a registered trademark of Requisite Audio Engineering.

7•9

FX Models

7•10

• Gain: Dial in the amount of input gain - higher levels will add some tube distortion.

• Output: Determines the nal output level, capable of a signicant signal boost.

• Phase: Choose 0 for normal, or 180 to reverse the phase. (It can sometimes be
necessary to reverse the phase of one mic’ed signal when combined with another, to
correct for a resulting “hollow,” out-of-phase sound.)

• HPF: A High Pass Filter to reduce bass frequencies. Increase this Hz value to choose
where the low frequency reduction begins.

• LPF: A Low Pass Filter to reduce treble frequencies. Decrease this KHz value to
choose where the high frequency reduction begins.

Delay Models

Delay Models - Parameter Reference Table

Model Parameters

Ping Pong Time Fdbk Offset Spread Mix
Dynamic Dly L Time L Fdbk R Time R Fdbk Mix
Stereo Delay Time Fdbk Thresh Ducking Mix
Digital Delay Time Fdbk Bass Treble Mix
Dig Dly W/Mod Time Fdbk ModSpd Depth Mix
Reverse Time Fdbk ModSpd Depth Mix
Lo Res Delay Time Fdbk Tone Res Mix
Tube Echo Time Fdbk Wow/Flt Drive Mix
Tube Echo Dry Time Fdbk Wow/Flt Drive Mix
Tape Echo Time Fdbk Bass Treble Mix
Tape Echo Dry Time Fdbk Bass Treble Mix
Sweep Echo Time Fdbk Swp Spd Swp Dep Mix
Sweep Echo Dry Time Fdbk Swp Spd Swp Dep Mix
Echo Platter Time Fdbk Wow/Flt Drive Mix
Echo Platter Dry Time Fdbk Wow/Flt Drive Mix
Analog W/Mod Time Fdbk ModSpd Depth Mix
Analog Echo Time Fdbk Bass Treble Mix
Auto-Volume Echo Time Fdbk ModDep Swell Mix
Multi-Head Time Fdbk Heads 1-2 Heads 3-4 Mix

Common Parameters

The following parameters are common to most Delay FX Models.

• Time: Adjusts the delay/repeat time, with higher settings providing longer delays.
Time can be adjusted to a MS value or Note Division:

• Choosing a MS value provides a specic time in milliseconds.

• Choosing a Note Division value provides a time that is based on the current Tap
Tempo (see “Tap Tempo” on page 1•4).

• Fdbk (Feedback): Sets the number of delayed repeats.

• Depth: Some delays include modulation. These will typically include a Depth
parameter to adjust the intensity of the pitch modulation applied to the repeats.

• ModSpd: Control the speed of the pitch modulation.

• Mix: Sets the balance of the “Dry” and “Wet” signals. At 0% no effect is added to
your signal; at 100% you will hear the delayed signal only.

Reverb Models

FX Models

Reverb Models - Parameter Reference Table

Model Parameters

Plate Decay PreDelay Tone Mix
Room Decay PreDelay Tone Mix
Chamber Decay PreDelay Tone Mix
Hall Decay PreDelay Tone Mix
Echo Decay PreDelay Tone Mix
Tile Decay PreDelay Tone Mix
Cave Decay PreDelay Tone Mix
Ducking Decay PreDelay Tone Mix
Octo Decay PreDelay Tone Mix
Spring Decay PreDelay Tone Mix
‘63 Spring Decay PreDelay Tone Mix
Particle Verb Dwell Condition Gain Mix

7•11

FX Models

7•12

Common Parameters

The following parameters are common to all Reverb Models, with the exception of the
Particle Verb Model, which we’ve described separately.

• Decay: Sets the length of time the reverb effect sustains.

• Predelay: Congures the time before the reverb effect is heard.

• Tone: Adjusts the overall Tone of the wet reverb signal. Higher settings provide a
brighter, more reective reverb quality.

• Mix: Sets the balance of the dry & wet signals, from 0% (dry signal only) to 100%
(wet reverb signal only).

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. The parameters for this model differ from the other Reverbs:

• 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.

Volume/Pan & Wah Models

The Volume/Pan and Wah sets of Models are all just waiting to be put to use with your
POD HD500 pedal! To follow is info on the FX parameters & some tips on using them.

When you add any Volume or Wah model to your tone, they are automatically assigned to
be controlled with your POD HD500 Expression Pedal! Please see “Expression Pedal &

Variax® Knob Controller Assignment” on page 3•7

Volume/Pan Models - Parameter Reference Table

Model Parameter

Volume Volume Level
Pan Pan L-R Balance

Volume

for more information.

FX Models

7•13

Volume: Adjusts the signal level. 100% is unity gain. This parameter can be accessed
via the Multi-function knob at any time. With your EXP Pedal assigned to control the
Volume, you’ll see this Volume parameter visually adjust with the pedal as well.

FX Models

7•14

Pan

• Pan: Adjusts the signal balance sent to the let and right stereo channels. 0% sends
full left, 50% sends equally left & right, and 100% sends full right.

The audible effect heard when using the Pan can differ quite a bit depending on the
position in your signal chain and what types of FX follow it. Here are a few examples:

Before Path A & B split

Pan positioned before Path A & B split

When placed here, your guitar signal is panned left to Path A and right to Path B. This
can be a cool way to “blend” the sounds of two Amp models.

After Path A & B Mixer

Pan positioned after Path A & B Mixer

In this position, the stereo left & right signals fed into the Pan is determined by your
Mixer Pan settings. The Pan effect then pans these signal to the left and right main
outputs. Obviously, you’ll only benet from using the Pan in this post-Mixer position
when utilizing both the left and right outputs from POD HD500.

Placing a Mono Output FX Model after the Pan

FX Models

7•15

Mono FX Model (EQ) positioned after Pan

Just as with all stereo FX Models, when a mono FX Model is placed after the Pan, the
Pan Model’s output will become “mono-ized, as described in “Model Types and Mono/

Stereo Signal Routing” on page 3•6. Therefore, you’ll typically want to avoid placing

a mono FX Model later within the same signal path as the Pan Model.

FX Models

Wah Models

Wah Models - Parameter Reference Table

Model Parameters

Fassel Position Mix
Conductor Position Mix
Throaty Position Mix
Colorful Position Mix
Vetta Wah Position Mix
Chrome Position Mix
Chrome Custom Position Mix
Weeper Position Mix

Common Parameters

Each Wah offers the following two parameters:

7•16

• Position: This controls the “sweep” of the Wah. Any Wah Model is best used with
this parameter assigned to your pedal, however, you can also access this parameter
with the Multi-function Knob, such as to dial in a “parked” Wah tone.

• Mix: Sets the balance of the “Dry” and “Wet” signals. At 0% no Wah effect is added
to your signal; at 100% you will hear the Wah-effected signal only. Try lowering the
Mix to less than 100% for a more subtle effect!

Using the Looper

ENTER

DBL PRESS TO ASSIGN CTL

MOVE

AMP & FX ON / OFF

lOOper mOde

The Looper in POD® HD500 offers you up to 48 seconds of mono recording time (in
Half-Speed Mode) or 24 seconds recording time (in Normal Mode), as well as the ability
to undo, record overdubs, playback Loops at half speed, in reverse, and more!

Looper Footswitch Controls & Performance View

When you engage the Looper mode, the POD HD500 footswitches control the Looper
according to their gold-colored function labels, providing hands-free operation.

The Looper footswitch controls

Additionally, the LCD Performance View displays the behavior of several Looper functions.
You can think of these as “this is what will happen when the respective footswitch is
pressed” indicators. Press the VIEW button to show this screen whenever you use the
Looper. (Also see the Looper FS Display options - “Page 1, Setup:Utilities Options” on

page 2•2.)

The Performance View, Looper functions

8•1

Using the Looper

To follow are descriptions for each of the footswitch functions and Performance View
while Looper mode is active.

PLAY ONCE - Pressing the FS2 switch plays your recorded Loop (including overdubs, if

you’ve recorded any) for one cycle. Cool for triggering a pre-recorded phrase on demand!

• While playback is active, the Play/Stop icon appears as “STOP,” to indicate

PRE/POST - Toggling the FS3 switch determines the position of the Looper in your Signal

Flow, which dictates whether Amp & FX processing is added to your guitar signal during
the recording of your Loop, or only for the Loop’s playback.

LOOPER - Toggles Looper Mode On/Off. When this switch’s LED is lit, the POD

HD500 Looper Mode is active. The Performance View screen will display the
Looper functions when the Looper is active, as shown above.

UNDO - Use the FS1 switch to “undo” the last recorded overdub. You can press

this footswitch while actively in Overdub-Record mode, Loop Playback mode, or
while stopped and only the last recorded overdub is erased. This function will not
erase the originally recorded Loop.

that it can be pressed to stop playback immediately.

8•2

• PRE (FS3 switch light is Off): Your guitar signal is recorded unprocessed (i.e. - the
Loop is recorded “pre” Amp & FX processing). When played back, the Loop audio
is mixed with incoming guitar to feed the current Preset’s Amp & FX processing.
If you change Presets or tone settings while set to PRE, you’ll hear them applied to
your Loop playback.

• When the Looper is set to PRE, the Pre/Post icon appears as “POST,”
to indicate that pressing the PRE/POST footswitch will set the Looper

to POST.

• POST(FS3 switch light is on): Your guitar signal is recorded processed (i.e. - the
Loop is recorded “post” Amp & FX processing). When played back, the Loop audio
is mixed with incoming guitar AFTER the guitar signal has been processed through
the Amp and FX. This provides the ability select a new Preset which is applied only
on your guitar input, while the Loop plays back with the original recorded Preset
tone!

Using the Looper

• When the Looper is set to POST, the Pre/Post icon appears as “PRE,”
to indicate that pressing the PRE/POST footswitch will set the Looper

to PRE.

Note: If you record your Loop in POST mode and then switch to PRE for Loop playback,
this results in the current Amp+FX to be applied to the Loop playback (where the Loop was
already recorded with Amp+FX applied). Be aware that this can cause the Loop playback
to be significantly louder!

REC/OVERDUB - To record a Loop, step on the FS5 switch and POD HD500 will

immediately start recording. The footswitch will remain lit while recording is active.
You’ll see the Performance View display the following:

• The Record function shows “DUB IN.” Pressing the REC/OVERDUB
switch will immediately put you into Overdub-Record mode.

• If you press REC/OVERDUB at this time, whatever you play will be
recorded on top of the original Loop recording, and you’ll see the
Performance View indicator show “DUB OUT.” Press the switch again
to stop the overdub recording.

• The Play/Record function shows “STOP” to indicate that pressing the

PLAY/STOP switch will stop playback & recording.

Once you have a Loop recorded, you can layer an overdub on top of your current Loop at
any time. Simply play back the Loop and step on the REC/OVERDUB switch while the
Loop is playing. Your new live guitar will be recorded on top of your previously recorded
Loop. You can repeat this step and layer as many overdubs as you like!

Note: If you press REC/OVERDUB while Loop playback is stopped, this will always

record a new Loop, and any previously recording will be discarded.

8•3

Using the Looper

PLAY/STOP - Press the FS6 switch to toggle Play/Stop for your recorded Loop. If you are

actively recording a Loop, press this switch to stop recording set your Loop “out” point.
The FS6 switch remains lit whenever playback is active.

• While playback is active, the Play/Stop icon appears as “STOP.”

1/2 SPEED - Press the FS7 switch to toggle the 1/2 Speed feature On/Off. The FS7 switch

remains lit whenever 1/2 Speed is active.

Note that you can use the 1/2 Speed option for recording as well as playback. Specific
behaviors apply to each - please see “1/2 Speed Operation” on page 8•5.

• When 1/2 Speed is active, the Speed icon appears as “FULL.”

• When 1/2 Speed is Off, the Speed icon appears as “1/2.”

8•4

REVERSE - Press the FS8 switch to toggle the Reverse Play feature On/Off. All Loop

playback is backwards when on. The FS8 switch remains lit whenever Reverse is active.

• When Reverse is active, the Reverse icon appears as “FWD.”

• When Reverse is Off, the Reverse icon appears as “REV.”

Using the Looper

Looper Settings

Press the VIEW button to display the Signal Flow View screen and select the Looper to

access several additional settings.

The Signal Flow View screen, Looper options

• 1 Playback - Use Multi-function Knob 1 to adjust the Looper playback volume. You
may nd it useful to turn this down a bit so that your live guitar can be slightly

louder.

• 2 Overdub - Use Multi-function Knob 2 to adjust the level at which all Overdubs are
recorded. This level does not affect the level of your original Loop recording.

• 3 Hi Cut & 4 Lo Cut - Use Multi-function Knobs 3 & 4 to adjust these EQ options,
to reduce the treble and bass of your Loop playback. It can be helpful to reduce these
to optimize the “mix” of your Loop playback with your live guitar. These controls
reduce the High and Low frequencies more as you raise their values.

1/2 Speed Operation

The Looper utilizes both the 1/2 Speed and Full Speed options for recording and playback.
These options directly affect the maximum Loop recording time.

POD HD500 Looper Record Time

Full Speed 24 Seconds maximum

1/2 Speed 48 Seconds maximum

8•5

Using the Looper

Specic behaviors apply, as follows:

• Full Speed: When set to Full Speed before recording, the Looper provides up to 24

• 1/2 Speed: When set to 1/2 Speed before recording, the Looper provides up to 48

seconds max. recording time.

• Playback of the recorded Loop at the Full Speed setting is heard just as recorded.

• If you change the setting to 1/2 Speed, your recorded Loop is played back at half
speed, as well as pitched one octave lower.

seconds maximum recording time.

• Playback of the recorded Loop at the 1/2 Speed setting is heard just as recorded.

• If you change the setting to Full Speed, your recorded Loop is played back at
double speed, as well as pitched one octave higher.

8•6

uSb audiO

In this chapter, we’ll cover the USB audio capabilities of POD® HD500. With the
installation of the Line 6 USB audio driver, you can use POD HD500 as a high quality
audio interface for your Mac® or Windows® computer!

The Line 6 USB Audio Driver

Before you connect POD HD500 to your computer, it is recommended that you download
and install the free Line 6 POD HD500 Edit software. This installs the necessary Line 6
USB Audio Driver*, as well as the Line 6 Monkey update utility (also see “Appendix A:

Line 6 Monkey™” on page A•1).

*NOTE: As of the POD HD500 USB Device Driver version 5.7.0, Mac OS® X 10.4
(Tiger®) is no longer supported. To use the POD HD500 USB connection with a Mac®
running OS® X 10.4, you’ll need to download and install the earlier POD HD500 Driver
version 5.1.2, available from http://line6.com/software/.

USB Audio

The Line 6 Software Downloads site - selecting the POD HD500 Edit software

Once installation is complete, just connect your device directly to a USB 2.0 port on your
computer and power On your POD HD500. Note that POD HD500 requires the use of a
USB 2.0 port on your computer (not into a USB hub).

Also see the POD HD500 Edit Installer Guide and the POD HD500 Edit Pilot’s

, available from http://line6.com/support/manuals.

Guide

9•1

USB Audio

Audio Routing

When using the POD HD500 USB connection, the audio driver manages several tasks.
The driver feeds the processed guitar signal out the USB Record Send to your computer
and receives playback audio from the computer. It also grabs the processed guitar signal
before routing it to the Record Send, to provide a low latency monitor signal, and then
mixes the monitor signal with the playback audio and feeds this combined signal to your

POD HD500 analog outputs.

Note that all USB audio is muted whenever a L6 LINK™ connection is active between
POD HD500 and a DT50™ or DT25™ amplifier.

Mix of monitor signal + playback
audio fed to analog outputs

Playback audio
from computer

9•2

Record Send audio
to computer

USB audio routing provided by the Line 6 USB audio driver

The POD HD500 Record Send

As shown above, the Record Send is the virtual “pipeline” that carries your POD HD­processed, 24-bit digital signal across the USB connection, making it available to your

audio software as an input signal for recording.

The POD HD500 Record Send appears as an available audio input/recording device
within your audio software. Simply select this Send as the input for your audio track and
you’ll be able to record your POD HD500 signal. The level of the signal fed to the Send is
affected by your POD HD500 controls: Mixer block Volume A & B, Amp Model Drive &
Volume, FX Model Gain controls, Volume Pedal, etc., (but not the Master Volume knob).
For the best recording quality, watch the input meters provided in your software and adjust
your level to be at least halfway up, but never “clipping.”

Note that the type of audio signal fed to the Record Sends is controlled by the Output

setting found in the POD HD500 Setup:Outputs screen. For most USB recording

Mode

situations, you’ll likely want to set this to “Studio/Direct.” Please see “Page 4, Setup:

Output Options” on page 2•8

for more info.

The Line 6 Audio-MIDI Devices Panel

USB Audio

The Line 6 Audio-MIDI Devices utility is the place where you congure various audio
driver settings. The options in the Line 6 Audio-MIDI Devices dialog are slightly different
if you are on a Mac® versus a Windows® system. See the following descriptions that
match your setup: For Mac® see next section, or for Windows® see page 9•8.

9•3

USB Audio

Mac® - Line 6 Audio-MIDI Devices

Launch the Line 6 Audio-MIDI Devices utility from within the Mac®
System Preferences. This utility provides access to several driver options.

Line 6 Audio-MIDI Settings - Driver Options (Mac®)

2

1

3

4

5

6

9•4

7

The Line 6 Audio-MIDI Settings window - Driver page

1

Device Selector: Select your POD HD500 here. If you have more than one supported

Line 6 audio device connected, each will be selectable in this list.

2

Driver Version: Displays the current device’s installed driver version number.

3

ESN: Displays the current device’s unique Electronic Serial Number.

4

Driver/Inputs & Recording Selector: Choose between displaying the two pages of the

Driver Options window. (Also see “Inputs & Recording Page” on page 9•5.)

5

Run Audio MIDI Setup: Mac® Core Audio interface driver settings are congured in

the Mac OS® X Audio MIDI Setup utility. This button launches this dialog for you (see

“Mac OS® X Audio MIDI Setup Utility” on page 9•6).

USB Audio

6

Sample Rate Converter Active: You’ll see this indicator light up whenever the device

is operating at a sample rate other than its native 48kHz rate. In addition to 48kHz, POD
HD500 supports 44.1kHz, 88.2kHz and 96kHz rates by utilizing an internal sample rate
converter. Please check your specic software’s documentation for details on conguring

its audio sample rate.

7

USB Audio Streaming Buffer: Adjusts the buffer size for the audio responsiveness of

the Input Monitoring signal. Basically, the default setting should be ne for most systems,
but if getting audio dropouts or working with large CPU demands on your system, raise the
slider a notch or two to the right until it alleviates the problem.

Inputs & Recording Page

8

9

The Line 6 Audio-MIDI Settings window - Inputs & Recording page

8

Record Sends List: Displayed here are the Record Sends for the current Line 6 device

that will be available to your audio software. For POD HD500 you’ll see the one, stereo
“1-2 Main Out” Record Send.

9•5

USB Audio

9

Hardware Monitor Level: This slider independently controls the volume of your

processed guitar tone output for monitoring (the signal fed to the device’s main outputs).
It does not affect the level of the signal 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.

If using POD HD500 as the audio interface for recording into a DAW application, then
your DAW may also offer its own “software monitoring” function. You may want to
use the DAW’s software monitoring in some scenarios, such as if you want to hear your
guitar signal processed with plug-ins on the DAW track. When utilizing DAW software
monitoring, you’ll want to set this slider’s level to minimum to allow you to hear only the
DAW software monitoring signal.

Mac OS® X Audio MIDI Setup Utility

POD HD500 utilizes the Mac® Core Audio driver type, making it a compatible audio
interface for practically any Mac® audio/multimedia software. As with most Core Audio
devices, some settings are found in the Audio Devices page of the Mac® Audio MIDI
Setup dialog.

9•6

A

B

C

The Audio MIDI Setup utility - Mac OS® X 10.5*