Line 6 POD Pro User Manual

Pilot’s Handbook

An in-depth exploration of the revolutionary technologies and pulsing tonal pleasures that power your POD Pro, plus insider information on its optional companion Line 6 foot controllers – the

Floor Board

and

FB4

Electrophonic version available at www.line6.com and on accompanying CD. Revision C.

PRO

THE GUITAR RECORDING & LIVE SOUND SOLUTION

POD

flangers

for better slapback

speaker, a la the Leslie

volume more.

characteristic Fender shape.

choruses setup; subtler than Chorus 2

choruses emulates an old Roland CE-1 for

classic stomp box-type sound.

flangers

DIGITAL SYNC

44.1KHz 48 KHz EXTERNAL

DELAY/CHORUS 2

DELAY/CHORUS 1

DELAY/TREMOLO

DELAY/COMPRESSOR

1 x

DELAY

1x12

FLANGER 2

ROTARY SPEAKER

FLANGER 1

CHORUS 2

TAP

MIDI

NOISE

19 18

TUNER

MANUAL SAVE

LINE INPUT GUITAR INPUT

DELAY/FLANGER 1

4x12

CHORUS 1

(HOLD)

GATE

DELAY/FLANGER 2

DELAY/SWELL

OFF

BYPASS

1x8

(CAB SELECT)

COMPRESSOR

TREMOLO

TWEAK

EFFECT

LEVEL

REVERB

VOLUME

CHANNEL

15 16 17

INPUT CLIP

1311

SIGNAL

knob to select Cab Models.

Hold TAP and turn the Effects

(EFFECT/TAP SPEED)(BOOST ON/OFF)(PRESENCE ON/OFF)(DISTORTION ON/OFF) (DELAY LEVEL) (DIGITAL OUT GAIN)(DELAY FEEDBACK)

010010

010 010

EFFECT SETUPSAMP MODELS 1-16:

Effect Tap Tweak Notes

Bypass n/a n/a Turns off the effects

Compressor n/a Ratio Higher settings "squeeze" your

Tremolo Tremolo Speed Depth The tremolo was designed with the

Chorus 1 Chorus Speed Range of Square wave LFO, "rack" type chorus

Chorus 2 Chorus Speed Range of Sine wave LFO, approx. 10% feedback;

Flanger 1 Flanger Speed Range of Light Flange

1960 Vox AC-15

1964 Fender Blackface Deluxe

Line 6 1x12

1967 Vox AC-30

1995 Matchless Chieftain

Line 6 2x12

Line 6 4x10

CAB MODELS:

Type: Based On:

1x8 1960 Fender Tweed Champ

1x12s 1952 Fender Tweed Deluxe

2x12s 1965 Fender Blackface Twin

4x10s 1959 Fender Bassman

knob to select Amp Models 17-32.

Hold TAP and turn the Amp Models

Flanger 2 Flanger Speed Range of Heavier flange with more feedback

Rotary Speaker Rotary Speed Depth This emulates a classic spinning

Delay Delay Time Delay Level Very quick delays will have no repeats

1978 Marshall with stock 70s

1968 Marshall Basketweave Greenbacks

Line 6 4x12

4x12s 1996 Marshall with Vintage 30s

OFF No Cab. Try it on non-guitar signals.

Delay Swell Delay Time Swell Time Volume swell

FLEXTONE: TAP LIT BUTTON FOR TAP TEMPO / HOLD LIT BUTTON FOR MANUAL

BRIT HI GAIN

BRIT CLASSIC

BRIT BLUES

BRIT CLASS A

MODERN CLASS A

AMP MODELS EFFECTS

BLACK PANEL

TWEED BLUES

SMALL TWEED

LINE 6 INSANE

POWER

POD PRO FRONT PANEL

REDUCED SIZE BACK COVER FOLDOUT FOR ELECTROPHONIC PILOT'S GUIDE

RECTIFIED

MODERN HI GAIN

DRIVE BASS MIDDLE TREBLE OUTPUT

FUZZ BOX

(AMPS 17-32)

TUBE PREAMP

LINE 6 CLEAN

LINE 6 CRUNCH

LINE 6 DRIVE

PHONES GUITAR INPUT

(HOLD TAP FOR ALTERNATE FUNCTIONS)

4 2

AMP MODELS 17-32:

Tap plus... Amp Model Based on:

(Line 6 Clean) Line 6 Twang Fender Deluxe and Bassman, with more tone control range

(Line 6 Crunch) Line 6 Crunch #2 ’68 Marshall Plexi 50 watt with more tone control range

(Line 6 Drive) Line 6 Blues Marshall JTM-45 meets Budda Twinmaster meets Line 6

(Line 6 Insane) Line 6 Layer Line 6 Clean meets Psychotic Drive

(Small Tweed) Small Tweed #2 ’60 Tweed Fender Champ

(Tweed Blues) Boutique #3 Budda Twinmaster head

(Black Panel) Black Panel #2 ’65 Blackface Fender Twin

(Modern Class A) Brit Class A #3 ’60 Vox AC 15

(Brit Class A) Brit Class A #2 ’60 Vox AC 30 non-Top Boost

(Brit Blues) California Crunch #1 ’85 Mesa Boogie Mark IIc+ Clean Channel

(Brit Classic) California Crunch #2 ’85 Mesa Boogie Mark IIc+ Drive Channel

(Brit Hi Gain) Boutique #1 Dumble Overdrive Special Clean Channel

(Rectified) Rectified #2 ’95 Mesa Boogie Dual Rectifier Head

(Modern Hi Gain) Modern Hi Gain #2 ’89 Soldano SLO Super Lead Overdrive

Amp Model Based on:

Line 6 Clean Line 6 21st Century Clean

Line 6 Crunch Line 6 Thick Grindage

Line 6 Drive Line 6 Industrial Strength Overdrive

Line 6 Insane Way too many hours of shredding

Small Tweed ’52 Fender Deluxe

Tweed Blues ’59 Fender Bassman

Black Panel ’65 Fender Deluxe

Modern Class A ’96 Matchless Chieftain

Brit Class A ’63 Vox AC 30 with Top Boost

Brit Blues ’65 Marshall JTM-45

Brit Classic ’68 Marshall Plexi 50 watt

Brit Hi Gain ’90 Marshall JCM-800

Rectified ’94 Mesa Boogie Dual Rectifier Tremoverb Combo

Modern Hi Gain ’89 Soldano X88R Preamp

(Fuzz Box) Boutique #2 Dumble Overdrive Special Drive Channel

(Tube Preamp) Jazz Clean ’87 Roland JC-120

Fuzz Box ’60’s Dallas Arbiter Fuzz Face

Tube Preamp Tube-based instrument preamp

2325 26

* Fender, Marshall, Vox, Budda, Dumble, Matchless, Mesa Boogie, Soldano, Roland, Arbiter, and other amplifier and effect models are all trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely for the purpose of describing certain

amplifier tones produced using Line 6's modeling technology. Line 6's modeling technology provides the Flextone with a wide variety of sounds and effects modeled after some of the most popular sounds of these classic amps. Line 6, POD, Floor Board, the Line 6 logo and the POD logo are trademarks of Line 6, Inc.

A Big Rectifier with Delay & Room Reverb B

Black Panel with Compression & Spring Reverb C Vox AC-30 Top Boost D Marshall JTM-45 with Room Reverb

BANK 1BANK 2BANK 3BANK 4BANK 5BANK 6BANK 7BANK 8BANK 9

A Line 6 Clean with Compression B

Line 6 Crunch with Room Reverb C Line 6 Drive with Delay D Line 6 Layer with Light Chorus & Delay

A Small Tweed with Room Reverb – modeled after 1952 Fender Deluxe B

Tweed Blues – modeled after 1959 Fender Bassman C Black Panel with Tremolo & Spring Reverb – modeled after 1965 Fender Deluxe D Modern Class A – modeled after 1996 Matchless Chieftain

A Brit Class A with Echo – modeled after 1963 Vox AC 30 Top Boost B

Brit Blues – modeled after 1965 Marshall JTM-45 C Brit Classic – modeled after 1968 Marshall “Plexi” D Brit Hi Gain – modeled after 1990 Marshall JCM 800

A Rectified – modeled after 1994 Mesa Boogie Dual Rectifier Tremoverb B

Modern Hi Gain with Echo & Verb – modeled after 1989 Soldano X88 Preamp C Fuzz Box – modeled after Arbitor Fuzzface D Tube Preamp – for direct recording of non-guitar instruments

A Line 6 Twang with Slapback Echo – modeled after Fender Deluxe meets Bassman B

Line 6 Crunch #2 with Room Reverb – modeled after Plexi + more tone range C Line 6 Blues – modeled after Marshall JTM-45 meets Budda Twinmaster D Line 6 Insane with Echo & Verb – guaranteed to make you shred!

More great sounds for your POD are at www.line6.com

Fender, Marshall, Vox, Dumble, Matchless, Mesa Boogie, Roland, Soldano, Arbiter, and other

amplifier and effect models are all trademarks of their respective owners, which are in no way

associated or affiliated with Line 6. These trademarks of other manufacturers are used solely

for the purpose of describing certain amplifier tones produced using Line 6's modeling technology.

Line 6's modeling technology provides Line 6 products with a wide variety of sounds and effects

A Small Tweed #2 – modeled after 1960 Fender Champ B Boutique #3 – modeled after Budda Twinmaster C Black Panel #2 – modeled after 1965 Blackface Fender Twin D Brit Class A #3 with Echo – modeled after 1960 Vox AC15

A Brit Class A #2 – modeled after 1960 Vox AC 30 B

California Crunch #1 modeled after Mesa Boogie Mark IIC+ Clean Channel C California Crunch #2 modeled after Mesa Boogie Mark IIC+ Drive Channel D Boutique #1 with light slapback – modeled after Dumble Overdrive Special Clean

A Rectified #2 modeled after 1995 Mesa Boogie Dual Rectifier Head B

Modern Hi Gain #2 modeled after 1989 Soldano SLO Super Lead Overdrive C Boutique #2 – modeled after Dumble Overdrive Special Drive

modeled after some of the most popular sounds of these classic amps and effects.

D Jazz Clean with Chorus – modeled after Roland JC 120 Jazz Chorus

Rev A

The serial number can be found on the back panel of your POD Pro. Please note it here for future reference:

SERIAL NO:

WARNING:

electric shock, do not expose this appliance to rain or moisture.

CAUTION:

pursuant to Part 15 of FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.

The lightning symbol within a triangle means “electrical caution!” It indicates the presence of information about operating voltage and potential risks of electrical shock.

To reduce the risk of ﬁre or

This equipment has been tested and found to comply with the limits for a Class B digital device

CAUTION:

do not remove screws. No user-serviceable parts inside. Refer servicing to qualiﬁed service personnel.

To reduce the risk of ﬁre or electric shock,

The exclamation point within a triangle means “caution!” Please read the information next to all caution signs.

POD Pro Pilot’s Handbook © 2000, Line 6, Inc. Line 6, POD, POD Pro, Bass POD, Flextone, Floor Board, FB4, AX2, and Amp Farm are trademarks of Line 6, Inc. All other product trademarks are property of their respective owners.

YOU

SHOULD READ THESE IMPORTANT SAFETY INSTRUCTIONS

EEP THESE INSTRUCTIONS IN A SAFE PLACE

Before using your POD Pro, be sure to carefully read the applicable

items of these operating instructions and the safety suggestions.

1. Obey all warnings on the POD Pro and in this Pilot’s Handbook.

2. Do not place near heat sources, such as radiators, heat registers, or appliances which produce heat.

4. Guard against objects or liquids entering the enclosure.

5. Connect only to AC power outlets rated 100-120V or 230V 47-63Hz (depending on the voltage range of the unit; refer to the back panel). Current ratings should be 400mA for the 120V range and 200mA for the 230V range.

6. Do not step on power cords. Do not place items on top of power cords so that they are pinched or leaned on. Pay particular attention to the cord at the plug end and the point where it connects to the amp.

7. Unplug your POD Pro when not in use for extended periods of time.

8. Do not perform service operations beyond those described in the POD Pro Pilot’s Handbook. In the following circumstances, repairs should be performed only by qualiﬁed service personnel:

•liquid is spilled into the unit

•an object falls into the unit

•the unit does not operate normally or changes in performance in a signiﬁcant way

•the fuse is blown (replace with 400mA timed fuse for 120V, and 200mA timed fuse for 230V)

•the unit is dropped or the enclosure is damaged

9. Prolonged listening at high volume levels may cause irreparable hearing loss and/or damage. Always be sure to practice “safe listening.”

CHAPTER 1: Q

ANUAL

? I DON’T N

Register and Get Great Free Stuff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1•1

Get On-line: Line 6 Internet Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1•2

NTRODUCTION

Modeling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1•3

Amp & Cab Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1•4

There’s Magic in the A.I.R.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1•5

Customizing your Amp Models and Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1•7

ToneTransfer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1•7

UICK START GUIDE

EED NO STINKING

: W

ELCOME THE

POD...

ANUAL

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1•1

CHAPTER 2: C

Front Panel Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2•1

Rear Panel Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2•10

CHAPTER 3: S

Live/Studio Mode Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3•1

Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3•1

Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3•2

Re-Amping and Processing Line Level and Non-Guitar Signals . . . . . . . . . . . . . . . . . . . 3•7

Stomp Boxes: Using Them with POD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3•9

Radiation Alert: Hum Induced by Computer Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . 3•9

CHAPTER 4: L

Live/Studio Mode Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4•1

Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4•1

Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4•2

Cabinet Tuning Modes: Correctly Tuning POD for your Speaker Cabinets. . . . . . . . . . . 4•5

Stomp Boxes: Using Them with POD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4•6

Pedal Power: Foot Control Options for POD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4•7

POD Takes Over: Using POD as a Front-End for Another Guitar Ampliﬁer . . . . . . . . . . 4•8

ONTROLS

ETTING UP IN THE STUDIO

IVE SETUPS

ONNECTIONS

& C

CHAPTER 5: M

ODELED AMPS

& C

ABS

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5•1

CHAPTER 6: POD E

Deep Editing: Where to Look for More Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•1

POD Onboard Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•1

Reverbs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•2

Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•2

Tremolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•3

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•3

Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•3

Rotary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•4

Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•4

Noise Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•5

Combined Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6•6

FFECTS

CHAPTER 7: C

Using the Manual Mode Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7•1

Using the Channel Program Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7•1

ToneTransfer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7•1

POD Sounds on the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7•2

Your POD Sounds Transfer to PODs and Flextone II Series Ampliﬁers . . . . . . . . . . 7•2

Swapping POD Channels with Friends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7•2

Edit Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7•3

Customizing Amp Models and Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7•4

Activating Customization Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7•7

Memory Reset: Returning your POD to its Factory-Programmed State of Mind . . . . . . . 7•7

CHAPTER 8: T

Floor Board: The Full-Featured POD Foot Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•1

Getting Connected. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•1

Two Modes:

REATING

HAT’S USING YOUR FEET

& S

TORING PROGRAMS

1. Channel Select Mode

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•2

Banks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•2

Channel Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•3

Manual Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•3

Editing and Saving POD Channels with the Floor Board . . . . . . . . . . . . . . 8•3

Tap Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•4

Tuner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•4

Wah Pedal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•5

Volume Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•5

2. Effect On/Off Mode

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•6

Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•6

CHAPTER 8: T

FB4: Simple Foot Control for POD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•9

HAT’S USING YOUR FEET

continued

Drive/Boost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•6

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•7

Tremolo/Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•7

Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•7

Reverb. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8•7

Effect On/Off Setting Stored with Programmed Channels . . . . . . . . . . . . . 8•8

CHAPTER 9: D

MIDI Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•1

What’s MIDI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•1

MIDI In/Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•1

MIDI Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•2

MIDI Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•2

POD / POD Pro / Flextone II ToneTransfer via MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•3

Transferring All Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•3

Transferring Some Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•4

Backing Up POD Programs to Other Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•5

Transferring All Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•5

Transferring Some Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•5

Emagic SoundDiver Software for Deep Editing and ToneTransfer . . . . . . . . . . . . . . . . . . 9•6

Other Things You Can Do with MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•7

Changing POD Channels with MIDI Program Changes . . . . . . . . . . . . . . . . . . . . . . 9•7

Tweaking POD Tones with MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•7

Full MIDI Automation of POD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•7

Step-By-Step With SoundDiver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•6

SoundDiver Setup Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•14

EEP EDITING

& MIDI C

ONTROL

MIDI Program Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•2

MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•2

MIDI Sysex Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9•3

APPENDIX

A: Amp Models & Associated Parameters B: Effect Parameters: Tapping, Tweaking & More C: MIDI Program Changes D: MIDI Controls E: Line 6 Contact: Customer Service & Other Line 6 Products F: Warranty Info & Instructions for Obtaining Factory Service

UICK START GUIDE

“M

ANUAL

DON’T NEED NO STINKING MANUAL

? I

!”

UICK

“M

ANUAL

1. If you’re using your POD for recording, set the rear panel LIVE/ STUDIO switch to ‘STUDIO,’ and connect POD’s 1/4 inch or XLR outputs to your mixer or recorder inputs, or connect headphones.

2. If you’re using your POD as a preamp into a power amp and speaker cab(s), set the rear panel L connect POD’s 1/4 inch outputs (not the XLRs) to your amp inputs.

3. Connect your guitar to the G switch above the jack to ‘GUITAR INPUT.’

4. Connect the rear panel P switch to ﬁre up. (Keep the volume down on your amp or mixer in case of audible pops at POD’s outputs during power up).

5. Select an A

6. Set the C to your heart’s desire. OUTPUT LEVEL sets output level. (Clever!)

7. Pick an E LEVEL so you’re happy with the sound. Tap the TAP button to set the speed of the selected effect.

8. Browse the pre-programmed settings using the U Or press the MANUAL button for a “Manual Override” that gives you where-the-knobs-are-is-how-it-sounds operation.

9. What number 9? You’re already up and running!

TART

? I

DON’T NEED NO

MP MODEL.

HANNEL VOLUME to max and the BASS, MID, and TREBLE

FFECTS setting and adjust the EFFECT TWEAK and REVERB

UIDE

or:

STINKING MANUAL!”

IVE/STUDIO switch to ‘LIVE,’ and

UITAR INPUT JACK and set the toggle

OWER and ﬂip the front panel POWER

P/DOWN arrows.

1 • 1

But wait, before you go any further, ﬂip to the inside back cover of this manual and notice that it folds out. The idea is to have this handy pictorial reference always opened out while you’re thumbing through the manual. If you photocopy the back of it, you’ll have a handy template for making a note of your favorite POD

settings. Now then, before you run off....

REGISTER AND GET GREAT FREE STUFF!

Included in this manual is a handy, postage-paid card for you to send back to us to register your purchase, and let us know a little about yourself. It is

very important

QUICK START GUIDE: GET ON-LINE

1 • 2

that you ﬁll that registration card out right now, and send it to us in the mail or jump on the internet and register at the Line 6 Support Center – www.line6.com.

How come? Well, for one thing, it gets you all set up for warranty service should you ever have a problem with your POD. (Warranty info is at the end of this manual.) It also ensures that we will be able to contact you if new software versions or other enhancements are offered – cutting edge technology and all that.

GET ON-LINE

Here at Line 6, our mission is to bring powerful new technologies to musicians. As part of that mission, we focus great effort on making the Internet a valuable resource for every one of our customers. You may already have surfed the Line 6 site at http://www.line6.com when you were considering your purchase, and found all the information already there on Line 6 products and technologies.

The Line 6 web site is one of the most effective ways for us to bring you what you need. Through the Internet, we can give you instant access to all kinds of great, free stuff to make you and your POD ever more powerful. Like easy email access to our product support experts, handy tips & tricks, electronic versions of this and other documentation, the latest news of what’s happening with Line 6 and the

products we make for you, and....

Line 6 ToneTransfer and Discussion Forums: Visit the web site, and you’ll ﬁnd a powerful way to connect to other POD and Flextone II users. Swap sounds, get and give advice, and generally hang out and get POD-a-licious, all from the privacy of your own comfy computer chair!

Already on the Internet? Great! Visit us often and check out the late-breaking news and the other resources there. Not on the Internet yet? This may be the time to make the big jump, and thereby ensure that you will get all the great resources we can offer for you and your POD.

INTRODUCTION: WELCOME THE POD...

INTRODUCTION

WELCOME THE POD...

Thank you for inviting POD home with you. Whether you use your POD as a direct recording miracle, a powerhouse preamp, for practice, or as a creative digital signal processing tool – and heck, why should it be just one? – we think you’ll agree that POD is about the most amazing thing to happen to the electric guitar since – well, since the guitar ampliﬁer itself. POD mines the tonal heritage of the past forty years of guitar ampliﬁer design and matches it up with the kind of digital signal processing magic that will still be ahead of its time in the next century.

How does POD help you create a guitar tone that is out of this world, and then get that tone wherever you need it? Easy! It’s…

MODELING

Modeling: just what is it, and why is it so important? (By the way, you sent in that registration card or did it on the web, right? OK, just checking.)

1 • 3

Tubes, we can all agree, are the heart and soul of every legendary guitar amp and are responsible for the warm, harmonic-rich tone quality of those amps. Solid state devices (transistors) are simply unable to duplicate tube warmth and performance. And “hybrids” – a tube in a circuit along with a bunch of transistors – are really a vain attempt at warming up a transistor-based tone. They fall short in any comparison to a 100% tube circuit. So that’s it – tubes or nothin’, right? Well, not

any more....

You see, the engineers at Line 6, being an adventurous lot, and totally pumped about this whole guitar tone thing as well, decided to stock up on the coffee, bust out the engineering equipment, and get down to learning everything there is to know about tubes. Riding high on the caffeine wave, they began a three-year project to analyze and map out exactly how different types of tubes respond under various conditions typical of guitar ampliﬁer design. How tubes process an input

INTRODUCTION: WELCOME THE POD...

1 • 4

signal, how the signal is colored and shaped, at what point it begins to distort, the quality and characteristic of the distortion – complicated stuff, but all analyzable as electronic data. A guitar pickup output, after all, is an electronic signal, and tubes are really just a complex form of signal processing.

The Line 6 engineers also directed their caffeine-enhanced attention to a study of guitar speaker cabinets, and the important part they play in communicating great guitar tone.

Having sussed it all out, the Line 6 engineers were then able to apply their digital expertise to develop software which simulates the signal processing of tubes and other electronics, as well as the speaker cabinets, entirely within the digital domain. Cool, huh?

This revolutionary DSP (digital signal processing) software-based modeling technology gives Line 6 the power to create super silicon-based life forms like POD: a tonally mind-blowing, multi-FX packed, shiny red wonder box with

ultimate ﬂexibility for creating awesome guitar tone....

AMP & CAB MODELS

This modeling know-how allowed Line 6 to create software Amp and Cab Models modeled after a collection of ampliﬁers and speaker cabinets recognized by guitarists the world over as true “tone classics.” We got these amps and cabs together, cranked ’em up, and had a look at the electronic data generated by the tubes, transformers, capacitors, plate and grid voltages, tone control curves – and the whole mess of components and elements unique to each ampliﬁer design. This research led to the creation of Line 6’s software Amp and Cab Models. These models were tweaked up through careful, scientiﬁc A/B comparisons to the gear that inspired them, with an ear open for the effects of different volume levels and settings of the originals’ tone and gain controls. The gain and equalization characteristics of the modeled amps were carefully measured so that changes to amp knobs on the models would mirror the effects of these changes on the originals as closely as possible. We’re talkin’ major attention to detail here. Tone control center frequencies, slopes, and cut/boost range were painstakingly analyzed, and we also carefully attended to the effect of presence switches, “bright” channels, and other model-speciﬁc factors. Not only that, but since these old amps have highly interactive circuits, we paid careful attention to the way that the

INTRODUCTION: WELCOME THE POD...

setting of one knob changes the way that another knob on the amp behaves. All in an effort to make our Amp and Cab Models as much like the amps and cabs we modeled as possible.

The resulting Amp and Cab Models are the foundation of POD. Now, then – here are a couple of things we want to be completely crystal clear on:

1. The Line 6 modeling process is a patented, 100% digital software-based

technology exclusive to Line 6.

2. Line 6 Modeling is not sampling, nor is it solid state; no special guitar,

pickup, or cabling is needed.

THERE’S MAGIC IN THE A.I.R.

POD delivers its modeling tones through another innovation: Line 6's A.I.R. direct recording output. The A.I.R. (acoustically integrated recording) technology is the result of intensive research and careful study of the tonal characteristics produced by the interaction of ampliﬁers, cabinets, speakers, microphones and the recording room during the recording process.

The direct output of many preamps, ampliﬁers and direct box-style amp replacements available today offer some limited form of cabinet simulation or speaker emulation. Those that happen to be more than simple high end roll offs have little or no control options. These cabinet simulations cannot reproduce the markedly different tones of different cabinets which arise from the choice of speakers, wood, and other design elements. They also fail to reproduce the signiﬁcant tonal contribution of microphone selection and placement, and do nothing to reproduce the subtle ambience of the recording space.

1 • 5

The result is the familiar dissatisfaction with direct recording products – even those that deliver a reasonably usable basic tone fail to reproduce the “life” of the guitar sound, and destroy the proper feel in the process. It is as if your guitar strings became heavier and less responsive, like they just went up a couple of gauges when you plugged into your direct box. And your sound lost its life.

POD's combination of Amp Models and A.I.R. technology provides superior direct tones by recreating all the elements contributing to a great recorded guitar sound, and giving you that tone with the same feel as playing through a real amp and speaker cabinet:

INTRODUCTION: WELCOME THE POD...

1 • 6

• The effect of the guitar ampliﬁer electronics is emulated by the Amp Model you choose. Each model was developed from extensive study of a classic ampliﬁer treasured as a tone classic.

• In a guitar amp, once the guitar signal passes through the electronics, it is output to one or more speakers in a speaker cabinet. The speciﬁc design of the speakers, how many there are, and how they are arranged contributes signiﬁcantly to your guitar tone, as does the construction and resulting tone of the wood box itself. A Marshall head driving a single 12-inch speaker in an open-back cabinet, for instance, will sound dramatically different from the same head driving a 4x12 closed-back cabinet. Line 6 has carefully constructed virtual software speaker cabinets that emulate the contribution made by real speaker cabinets to great guitar sound.

• Once the sound makes it out of the speaker cabinet, the next important link in the recording system is the microphone that receives that sound. Guitar recordists select different microphones, and arrange them in different placements, to get particular sounds. A microphone pointing directly into the cone of a speaker will hear something different than one positioned off-axis. Line 6 carefully analyzed the coloring that standard microphones add to the guitar sound, as well as the effects of different mic placement techniques, and developed a set of cabinet simulations that give you the tone of great speaker cabinet and microphone combinations.

• The guitar amp, cabinet, and microphone don't just sit in empty space. The room that they are in contributes importantly to the guitar sound you will record. Reverb can be used to capture the basic character of the space, simulating the effect of the sound reﬂecting off the room's walls, ﬂoors and ceiling. But there are other subtle details that have more to do with the “spread” of the sound as it passes through the air between the speaker and microphone. This ﬁnal component is the key to the sense that the listener is in one position in the room, and the guitar sound is in another position, and that the two are separated by a mass of air that sound spreads through to reach the listener.

All of these important sound-shaping components are accounted for in Line 6's POD. Turn the Amp Model knob to call up the ampliﬁer emulation you want. POD automatically matches that ampliﬁer with an appropriate cabinet and microphone setup, and gives you the sound of that setup coming through the air of a recording space. You can add reverb to taste, and start recording incredible mic'd up sound. The included SoundDiver MIDI-control software lets you use a Macintosh or Windows computer to do “deep editing” of these and other POD

INTRODUCTION: WELCOME THE POD...

parameters. With it, you can design your own custom rig, making new combinations of Amp Model and cabinet/microphone emulation, and adjusting the contribution of the “spread” of the sound as well.

And when you’re playing live using POD as a preamp, you’ll get a speciallytailored direct out with speaker simulation optimized to feed the house mix or P.A.

The A.I.R. direct recording output is exclusive to Line 6. In combination with Line 6's Amp Models, it is the key to POD's phenomenally satisfying direct recording sound.

CUSTOMIZING YOUR AMP MODELS AND EFFECTS

You can customize the settings for each of POD’s Amp Models and Effects. This way, when you pull up an Amp Model or Effect via their knobs, you’ll get your very own favorite setting for that amp or effect, without having to do a lot of knob twiddling. Chapter 7 has all the details.

TONETRANSFER

With your POD, you get a constantly-expanding universe of sounds, and the ability to use those sounds with the POD series – POD Pro and the original POD – or the Flextone II series ampliﬁers. Visit our ToneTransfer Web Library at www.line6.com, or one of the many other sources popping up for sound exchange. The sounds you collect transfer seamlessly between POD, POD Pro and Flextone II series amps, so wherever you go, all your sounds can make the trip.

1 • 7

AND AWAY WE GO....

So, now that you know what’s in store, it’s time to experience POD for yourself. Grab your favorite axe, plug in to POD, and ﬂip back to the handy Quick Start Guide on the ﬁrst page of this chapter if you haven’t already been through that.

Then, press ahead to the POD Grand Tour....

FRONT PANEL CONTROLS

If you haven’t already done so, turn to the inside back cover of this manual and notice that it folds out. Ooh, pretty pictures! The idea is to have this essential pictorial reference always opened out while you’re thumbing through the manual. And if you photocopy the back of it, you’ll have a handy template for making a note of your favorite settings. The boxed numbers that pop up throughout the manual correspond to the numbers on the foldout’s illustrations.

Power Switch - Left side of front panel. Flip to bring your POD to life.

Guitar Input - Right side of front panel. Plug your guitar in here. There is

also a line level input on the back for use when you are re-amping (processing tracks playing back from tape or disk), or when you are processing non-guitar line level sources. This is also great for the line level output from many wireless systems. Make you sure you set the...

2 • 1

Input Select Switch - Right side of front panel. This switch selects

either the front panel Guitar Input or the rear panel Line Input. Pick one.

Phones - Left side of front panel. Plug in your headphones here for silent

practicing. Volume’s set by the Output Level knob. The headphone ampliﬁer is designed to provide hot signals for a variety of headphones. As a result, you can get very loud output from this connector. Be sure to set levels carefully so you don’t blow your head off when listening to your POD through your phones.

FRONT PANEL CONTROLS

Output - Far right knob in the “knob trench.” Controls the overall output

level of POD. Also sets the headphone level. This setting is not saved when you store settings into one of the POD’s memory locations. Changing the Output level

2 • 2

does not change your tone. So you can get the tone you want at any volume level.

POD will give the best signal-to-noise ratio performance when you have the Output level control at max. With the Output level control turned down low, you may get extra hiss that obviously ain’t what you want. In order to allow you to set the Output level as high as possible with recording, mixing, and other studio gear, be sure you are plugging POD’s outputs into line level, not microphone or guitar level inputs, when you have Studio Mode selected (via the rear panel switch described in the following pages). Line level inputs should allow you to turn POD’s Output level up all the way (or close to it) and thereby get the best sound possible. If your gear has inputs that function as mic/line level inputs, start by setting the trim for those inputs to the minimum level, and set POD’s Output to max, when setting levels.

Manual Button - In the middle of your POD. Press this button to light it

and activate “Manual” Mode. In this mode, wherever the knobs are set is what

you’re hearing. Move knobs around to change sounds. Or....

Channel Up/Down Buttons - To the left of the Manual button.

The POD has 36 channel locations (POD is like a 36-channel amp, or an effects processor with 36 memory locations) that store a huge variety of complete ampand-effect selections pre-programmed by the tone mavens at Line 6 to rock your world. They are arranged in nine banks of four channels each. (The four are called A, B, C, and D.) You can think of each bank as a sort of virtual four-channel guitar rig – and you’ll ﬁnd that the same layout is used on the optional Line 6 foot controllers for POD (the Floor Board and FB4) which are discussed later in their own chapter. You access POD channels by pressing the Up and Down buttons. Tap either button to move to the next channel in the bank; press and hold down either

Up or Down button to jump from bank to bank. If you had been in Manual Mode,

FRONT PANEL CONTROLS

the Manual button’s light will go off to let you know you’re not in Manual – the “where-the-knobs-are-is-how-POD-sounds” – Mode anymore. When recalling a channel, its settings will not be reﬂected by the present knob positions – like you may have the physical Bass knob pointing at minimum, whereas the just-recalled channel has this control set to max. To change anything, just grab the knob you want and tweak. More on all that later.

Amp Models - Top left knob on the POD with words all round it. When

you spin this knob, it’s essentially like changing what electronic “circuitry” is running inside POD to make your amp sound. (Also see Modeled Amps and Cabs in Chapter 5.) We’ve arranged the Amp Models around the knob so you get (starting from the bottom) Line 6’s four custom sounds ﬁrst. From there, the models go clockwise from “cleanest” (Small Tweed) to “dirtiest” (Fuzz Box). And then we ﬁnish up with the Tube Preamp designed for processing non-guitar sources (though the depraved amongst you will be able to get some tasty guitar tones there as well).

You have a selection of 32 Amp Models from this knob. To access models 17-32, hold down the TA P button and turn the Amp Models knob.

2 • 3

When you choose an Amp Model, a Cabinet Model is also loaded automatically. For instance, when you choose the Brit Hi Gain model (based on the classic Marshall JCM 800 head), a Cabinet Model based on a Marshall 4x12 will be loaded with it. You can choose a different cabinet via the Effects/Cab knob (as described in another page or two).

In fact, all amp-related settings are automatically loaded when you turn the Amp Models knob. Drive, Bass, Mid, Treble, Cab, Reverb type, etc. will all be determined by the Amp Model you choose – giving you a ready-to-rock sound with the turn of just this one knob. Once you get familiar with POD, you can change these Amp-associated settings to customize the settings of each of the Amp Models to ﬁt your tastes. Note that when you’re in Manual Mode then Drive, Bass, Mid,

Treble, and Channel Volume are set by the knob positions instead of being automatically set with the amp selection. Complete details are coming up in Chapter 7.

FRONT PANEL CONTROLS

Drive - Far left knob in the “knob trench.” This knob controls how hard

2 • 4

you’re driving the input of the chosen Amp Model. Like the input volume control on a non-master volume guitar amp, higher settings give you more “dirt.”

Tone Controls - Continuing to the right of the Drive knob... Bass, Middle,

Treble. Just like a regular guitar amp, only when you change Amp Models, the response and interactivity of the controls changes, too – to act like the tone controls of the original amp that inspired the Amp Model you’ve selected. POD also has a Presence bump that can be switched on and off when you hold the Ta p button and turn the Treble knob. The detail is in the Tap (HOLD) Functions section that begins in another couple pages or so.

Channel Volume - This knob controls the relative volume level of the

“channel” you are playing through. Use this to balance levels between the sounds you store in two different POD channels (say between your rhythm and lead tones). In general, you want to set the Channel Volume as high as possible to insure you’re getting the best signal-to-noise ratio performance.

Reverb Level - How much reverb do you want today? Spin this knob to

set the reverb level. Two ﬂavors of reverb live inside POD; a model of a spring reverb, and a room reverb tone. Which you get depends on which Amp Model you select. Generally speaking, if the amp that inspired a given Amp Model had a spring reverb, that’s what you’ll get. If the amp didn’t have a reverb (like the 1968 Marshall “Plexi” which inspired the Brit Classic model), you’ll get the room. Chapter 5 and Appendix A run down the details.

Effect Tweak - This knob varies the effect you’ve chosen. Turn it up and

FRONT PANEL CONTROLS

the effect will go deeper, louder, faster, longer or just plain more. The speed of the effects (delay, tremolo, chorus, ﬂanger, rotary speaker simulation) is set by the Ta p switch (coming up in a page or two). For all the inside poop, look at the back cover foldout, Appendix B for Effect Parameters, and the POD Effects chapter. If you set the Effects knob to Bypass, Effect Tweak will, of course, not change anything.

Effects/Cabs - Top right knob on POD with words all round it. This knob

selects which effect or combination of effects you get (once again, all the details on effects are in the POD Effects chapter). This knob also allows you to choose Cabinet Models, and mix ’n’ match them with the Amp Models. To choose a Cabinet Model, hold the TA P button and turn this knob; the available cabinets are labeled in gray around the knob. Choosing an Amp Model (via the Amp Models knob) will also automatically select an appropriate cabinet; you can customize this Amp/Cab pairing, as described in Chapter 7.

Tuner - Button in the middle of POD. Press that puppy and – shazam!

Instant digital chromatic tuner. All POD’s Amp Model and effects processing are bypassed so you can hear those questionably-tuned strings clearly, should you choose to do so. Play a note on your guitar and POD will show you what it is on that handy single-character display; all notes are displayed as naturals or ﬂats, so you’ll see A instead of G . Play that string you’re trying to tune again, spin its tuning key so it goes sharp and ﬂat, and two little red arrows below the Tuner button will give you a light show. The idea is that the left pointing arrow will light if you’re sharp. The right pointing arrow will light if you’re ﬂat. And both arrows will light at the same time when you’ve got it just right. Give any one of POD’s buttons a push and the tuner disappears just as swiftly as it came and you’re right back to normal POD operation.

2 • 5

Tuner Volume - You can adjust the tuning volume of your POD by turning the Channel Volume knob while the tuner is active (this doesn’t affect the volume

of your not-in-tuner-mode POD sound). Alternatively, if you have a Floor Board connected, the volume pedal will control the tuner volume, too.

RONT PANEL CONTROLS

2 • 6

Tuner Reference -

the tuner mode, turn the it changes! You can set the reference frequency anywhere from 436-445 Hz. This setting is stored so you don’t have to reset it every time you turn on POD if you decide you want to be different (or if that piano in your rehearsal room has decided to be different). Since there’s only one digit in the POD display, all we display is the last number, so if you set the tuner to reference 441 Hz, you’ll see “1”.

Noise Gate -

POD’s built in Noise Gate. More Noise Gate details in the

Tap -

displays the current tempo or speed of your effects – delay, tremolo, chorus, ﬂange, or rotary speaker. To use the want. For Chorus and Flange effects, the speed is actually set – and displayed by the blinking of the button – at 23 between taps if you want to set up a really... slow... chorus. And for Tremolo the tapped tempo is displayed and set at half the speed of the Tremolo effect, so you can get fast tremolo settings even if you can’t tap as fast as Bruce Lee. You can also simply hold the or tempo of your effects. This is especially useful if you are trying to nudge your setting to just the right value. See the

Appendix B

And yet one more button in the middle of POD

to learn exactly what

Want a different reference than A=440Hz? When you’re in

Middle

Another button in the middle of POD

Ta p

button and turn the

knob on POD while watching the display. Hey,

. Turns on and off the

POD Effects

. This control sets and

Ta p

control, just tap the button at the tempo you

twice the speed of the effect

Effect Tweak

Effects

Ta p

controls for each of the Effect settings.

so you don’t have to count to

knob to change the speed

chapter, the back cover foldout, and

chapter.

Ta p

Tap (HOLD) Functions -

second layer of POD features: Amp Models 17-32, Cab Model selection, Delay Feedback, Delay Level, Digital Out Gain, a Presence Boost, a Volume Boost, and a Drive Boost.

You can get to these functions by holding down the of POD Pro’s knobs; this is good when you just need to make a quick tweak and

The

Ta p

button also lets you access a

Ta p

button while tunring one

RONT PANEL CONTROLS

then get back to the regular knob functions. If you want to live on the alternate functions for a while (say while taste-testing all the Cab Models with a particular sound you’ve got going) you can latch the alternate the

Ta p

and

Manual

buttons at the same time. All the knobs will now perform

their secondary, gray-labeled functions until you press the

Ta p

functions by pressing down

Ta p

button again to disable this latched mode. While you’re latched on the secondary functions, POD Pro ﬂashes its

Ta p

light on and off slowly to remind you the knobs are doing their

secondary jobs.

Here’s the detail on each of the things you can do with the Tap (HOLD) functions:

2 • 7

Amp Models 17-32:

you turn the

Amp Models

these Amp Models and details about them.

Cab Model Select (Effects Knob): Ta p

button as you turn the

are labeled in gray. You’ll ﬁnd a list of the Cab Models at the end of

Hold down, and

keep holding down

, the

Ta p

knob to select Amp Models 17-32. Appendix A lists

Effects

Chapter 5

Hold down, and

knob to select Cab Models. The cab models

describes them.

keep holding down

Chapter 5

button as

, the

and on the back cover foldout.

Drive Boost On/Off (Drive Knob): Ta p

button as you turn the

Drive

Hold down, and

keep holding down

, the

knob up past twelve o’clock, and you get the kind of extra ‘dirt’ that you’d expect from a Distortion pedal with the distortion control set low and the output control set high. It boosts your guitar signal before it reaches the Amp Model, so that you hit the model harder and get a dirtier sound. This is just the same as kicking on the (details in

Chapter 8

). As you do this, the Channel A light comes on if you turn

Distortion

at the Floor Board

the Distortion on.

Delay Repeats (Bass Knob):

button as you turn the

Bass

Delay effect. More Delay details are in the

Delay Level (Middle Knob):

button as you turn the

Middle

Hold down, and

keep holding down

, the

Ta p

knob to set Delay Repeats any time you’re using a

Effects Chapter

Hold down, and

keep holding down

, the

Ta p

knob to set Delay Level any time you’re using a

RONT PANEL CONTROLS

2 • 8

Delay effect. More Delay details are in the

Presence Bump On/Off (Treble Knob): down

, the

Ta p

button as you turn the

Effects Chapter

Hold down, and

Treble

knob up past twelve o’clock, and you

keep holding

get a Presence boost, brightening your tone. Same as the EQ boost on the Floor Board (details in

Chapter 8

). As you do this, the Channel C light comes on if

you turn the Presence “circuit” on.

Volume Boost On/Off (Chan Vol Knob): down

, the

Ta p

button as you turn the

Chan Vol

Hold down, and

keep holding

knob up past twelve o’clock, and a Volume Boost kicks in. This boosts volume without extra ‘dirt’ – like for a lead boost. This is the same as kicking on

Chapter 8

). As you do this, the Channel B light comes on if you turn the Drive

Drive/Boost

at the Floor Board (details in

Boost on.

Digital Out Gain (Reverb Knob):

This control allows you to add extra gain at your POD’s digital output. This is useful when you are recording with clean or other low level tones. For instance, if you have the

Drive

knob set low and your tone controls turned low as well, you may ﬁnd that you aren’t able to get your digital out level near peak even with the

Channel Volume

knob at max. This is because you aren’t getting the gain contribution of the Drive control, and the gain boosts of the tone controls. We’ve provided you with extra gain in the digital domain to compensate for this, so that you can get a hot digital output from your POD with this sound. To do this, hold down, and turn the

Reverb

knob to set the volume level at POD’s digital outputs. Turning

keep holding down

, the

Ta p

button as you

this knob to max adds an extra 12dB of gain at the digital out to help you get fulllevel digital output with clean or lower volume sounds. Turning this control to minimum adds no extra gain to the digital output.

Please note that when you add extra gain here, it IS possible that you could clip the digital output if you are using a high gain sound

, so be sure to monitor the digital output signal as you are

recording to insure everything’s hunky dory.

Effect Speed (Effect Tweak Knob): Ta p

button as you turn the

speed. More Effect details are in the

Effect Tweak

Effects Chapter

Hold down, and

keep holding down

knob to ﬁne tune the current Effect’s

, the

RONT PANEL CONTROLS

Save -

this button is the key. Exactly how it works is detailed in

Storing Sounds

When you want to store your own tweaked up sounds in your POD,

Chapter 7: Creating &

. But you’re probably impatient, so here are the basics:

When you are using one of the pre-programmed POD sounds, POD’s single-digit number display will be lit, telling which bank you are in – 1 thru 9 – and one of the channel letters – A thru D – will be lit also. If you turn one of POD’s knobs, you’ll notice the word “EDITED” will be lit to the left of that single-digit display. This is a reminder to you that you have tweaked the memorized channel, and that you should changes, press the and

save

Down

it if you want the memory to remember the tweak. To save your

Save

button . The button will start to ﬂash. Press the Up

buttons and you will see that you are switching through memory

locations A, B, C, and D in each of POD’s nine numbered banks. Pick one to store your sound in, and press that

Save

button a second time. The button’s light will stop ﬂashing, and the sound is stored at the location you chose, replacing the sound that was stored there before. Doesn’t get much simpler than that. After the sound is stored, you can bring it back any old time by simply pressing the Up and

Down

buttons to call up the location where you stored it. (See

Chapter 8

learn how to do all this with your feet on the Floor Board).

If you aren’t using one of the pre-programmed POD sounds – you’re in Manual mode, and you’re just getting the sound of where the knobs are set – you can store that state into a memory location the same way. Press

Save

, use the

Up and Down

buttons to choose a place to save to, and press Save again.

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You may want to audition the memorized POD “preset” sounds before you start saving anything. Note the ones you can live without as locations you can save over.

If you decide you don’t want to store the sound after you’ve started that Save button a-ﬂashin’, press the Ta p , Manual, Tuner, Noise Gate, or MIDI button to cancel the save. (The save will also be canceled if you don’t press any buttons for 5 seconds after having pressed Save.)

The Save button also lets you customize any of the Amp Models and Effects to

REAR PANEL CONNECTIONS

your own taste, so your customized version of the amp or effect comes up instantly when you turn Amp Models or Effects. See Chapter 7 for the details on that.

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MIDI - This button is used to set POD’s MIDI channel and dump sounds

via MIDI. Details are in the Deep Editing & MIDI Control chapter.

REAR PANEL CONNECTIONS

Here’s the part where we go behind-the-scenes of your POD Pro. Looking at the rear panel, we’ll start from the left side:

Line Level Input & Output - The two jacks illustrated below. These 1/4"

connectors carry line level signals into and out of your POD, and run signals that are unbalanced at -10 dBV level. If you want to use the Line Level Input, be sure

to set the front panel switch to the Line Input position.

So what can you do with these jacks? Lots of stuff:

REAR PANEL CONNECTIONS

Re-Amping – One of the things that made the original POD a valued tone

tool was its value in re-amping of guitar tracks. Say somebody has already recorded some guitar tracks, and you are now mixing them. If the guitars seem to need a bit more edge, or some other tone shaping, you can run your outputs from your tape or disk tracks into the POD and make magic. Don’t

forget to set the front panel Input Select switch to the Line Input position.

Hardware Amp Farm – Line 6’s Amp Farm software is sort of like a software POD that runs on a Pro Tools system. One of the things that Amp Farm lets you do is record un-processed guitar to disk, while hearing it processed non-destructively by the Amp Farm plug-in software. You hear the sound of the amp simulation as you track, but you haven’t committed it to the recording. (This is much like the way you would handle reverb when recording a vocal; you record naked vocal to the track, while using reverb as you monitor the post-tape/disk signal or a separate feed off the signal before it goes to the track.) The line level in/out on your POD Pro let you do this. Plug the Unprocessed Guitar Out into your recorder, and plug the output of that track into the Line Level Input (or feed the line level input via an effect send that gets signal from the recorded track). Now you can hear your POD processing as you track, but you haven’t committed your guitar tone choice to tape. That means you can change from a modeled Marshall to a modeled Boogie during the mix stage, once you see how your tracks are ﬁtting together. Or you can change Cab Models or any other aspect of your sound. Don’t forget to set the front panel Input Select switch to the Line Input

position.

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Non-Guitar Processing – Another thing people like to do with both POD

and Amp Farm is process everything else but guitars. Drums, vocals, keyboards, entire mixes – you name it, people are using Line 6 modeling

REAR PANEL CONNECTIONS

products to process it. The line level input on your POD Pro helps you make the connections to these signals. Don’t forget to set the front panel Input Select

switch to the Line Input position.

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Tuner Output – Want to use a stage tuner with your POD? The

Unprocessed Direct Out is a perfect signal source.

Wireless Guitar Connection – Many wireless guitar systems have a line level output. You can plug it into the POD Pro rear panel Line Level Input, and you’re ready to rock. Don’t forget to set the front panel Input Select switch

to the Line Input position.

Stereo Effect Loop - POD Pro’s Stereo Effect Send and Return are pre-

Master Volume. When it comes to cabling, there are important things to know:

Use The Right Cable! While hooking up your effect send/return, be sure to

use a stereo cable to connect them to other devices. If you are connecting to a device with separate left and right inputs or outputs, you’ll want to use a standard “insert” cable, which gives you a single stereo quarter inch connector for the POD

REAR PANEL CONNECTIONS

Pro end, and two mono quarter inch connectors for the two ins or outs of your other device.

Note: If you use a mono cable, you will only get one side of the signal on the send, and when using a mono cable for the return, the returned signal will only be fed to one of your POD Pro’s outputs (the left one).

And Note: You probably won’t want to use stomp box-type effects in this loop, as they aren’t usually designed to take line level signals. Most likely you’ll want to plug your guitar straight into the stomp box, and then go from the stomp box to POD Pro’s front panel guitar input.

2 • 13

Live/Studio Mode, XLR & 1/4 inch Outputs - One of the

powerful features of your POD Pro is its Live/Studio Mode and associated XLR and 1/4 inch connections. We’ve designed these to give you the most versatile guitar

REAR PANEL CONNECTIONS

tool possible, whether you’re going to be in the studio or on stage, recording directto-disk, or pumping a stadium full of sound through a wall of 4x12 cabs.

2 • 14

Studio Mode – Flick the Live/Studio switch to the Studio position, and you

get a pair of XLR balanced +4dBu outputs, as well as a pair of 1/4 inch unbalanced -10dBV connections. Both carry the same signal – including the A.I.R. processing for speaker/mic/room emulation – and you can use whichever connections are most appropriate for interfacing with your recording gear.

Live Mode – Move the Live/Studio switch to the Live position, and you get independent signals on the 1/4 inch and XLR outputs:

• The 1/4 inch connections are now carrying your signal – without speaker/ mic/room simulation – to your on-stage power amp and cabinets. This lets you drive your backline for a wall of stadium ﬁlling sound, or a more modest power amp/cab setup for your personal on-stage pleasure.

REAR PANEL CONNECTIONS

• The XLR jacks have been magically transformed into a pair of mic level outputs with ground lift, suitable for plugging into the typical on-stage mic snake to feed your direct signal to the house mix or P.A. This signal’s specially-tuned speaker simulation gives you perfect sound without having to hassel with mics on your speaker cabinets – plus the signal bleed and other challenges that come with them. Remember this signal is mic level, so you’ll want to connect it to a mic level (not line level) input on the house mixer or P.A.

Digital Outputs and Clock - Your POD includes connections for both

AES/EBU and S/PDIF format 24 bit digital output. Use these to track your POD direct to your digital input recording system (note that the loop does not affect the digital outputs).

The External Digital Clock In connector receives a clock signal from your digital mixer or recorder, synchronizing POD’s digital output to your system. POD’s front panel Digital Sync switch determines its output sample rate (44.1KHz or 48KHz), and whether it will sync its output to the external clock source (in that case, the sample rate syncs to the sample rate of the incoming digital clock).

2 • 15

Please see your digital mixer/recorder documentation for information on conﬁguring its digital clock. The Line 6 technical support crew, though they may be friendly, talented, and always eager to please, won’t be able to instruct you on how to conﬁgure your entire studio worth of new digital recording equipment, and tell you why your digital audio program conﬂicts with your ﬁnancial management software. Nevertheless, we don’t want you ﬂoundering around in there all by yourself, so here are a couple handy tips that should allow you to incorporate your POD in an already-conﬁgured studio:

Generally, you’re gonna have one of two situations:

• Situation Number Uno – If your digital recorder/mixer has a clock output – like on a Digidesign Pro Tools 888, a MOTU 2408, a Yamaha 02R digital

REAR PANEL CONNECTIONS

mixer, etc. – you will want to make it the clock master (generally called something like “Internal Sync”), and set POD’s Digital Sync switch to

External. POD will then derive its sample rate from your recorder/mixer,

2 • 16

and output a digital signal perfectly synced to the rest of your system.

• Situation Number Dos – If your system doesn’t have a clock output – like a Digidesign Audiomedia, Digi 001, Digital Audio Labs Card D, etc. – you’ll set POD’s Digital Sync switch to 44.1 or 48 (not External), and set your recorder to sync to its digital input (which is coming from POD).

MIDI In & Out - Connect POD to your MIDI equipment to select channel

memories (via Program Change messages) or automate POD settings (via controllers and/or Sysex). Emagic SoundDiver software is included on the accompanying CD for sound editing/storage on a computer, as well as ToneTransfer access to the sounds from the Line 6 Web Library or other sources. The POD MIDI OUT connects to another device’s MIDI IN; its MIDI IN goes to another device’s MIDI OUT. Please also see Chapter 9, Deep Editing and MIDI Control, to setup your MIDI gear with POD and ﬁnd out what MIDI can do for POD and you.

Pedal Connector - Looks like a telephone connector on steroids. This is

where you connect the optional Line 6 Floor Board or FB4 foot controllers. Chapter 8 hips you to the wonders of these foot controllers, and the tremendously positive impact they can have on your life.

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