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Line 6 POD 2.0 User Manual

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3. Channel Channel Channel Channel D Bank 4 Channel A Channel B Channel C Channel D N UJ W W W U1 A w N Channel 7 Manual Mode Channel B Channel C Channel D UJ a ___ CmmelB 10 _ CmmeC CmmeD 2 __ 3 B CmmeB NEM NN Channel C o 15 __ 5 o O APPENDIX D MIDI CONTROLS I of 3 pages Sound Diver Transmitted MIDI us dd Parameters Range Received MIDI Range Amp Model Selects Amp Model 0 15 transmitted from Amp Model knob 0 Tube Preamp 1 32 Other Amp Models 232 treated as 32 0 127 0 127 0 127 0 127 Rev 0 63 OFF 64 127 ON 0 127 0 127 Drive 0 127 Drive 2 only if NO TRANSMIT Amp Type Layer 0 127 lt d 0 127 Treble 0 127 Bright Switch Trans Off 0 On 127 Presence On Off Hold TAP turn TREBLE Channel Volume 0 127 Gate Threshold NO TRANSMIT Rev 0 63 OFF 64 127 ON Gate Decay NO TRANSMIT Effect Select Knob Effect Tweak Distortion On Off Adds Preset Amount of FB SWITCH 127 Drive OFF 0 Or hold POD TAP turn DRIVE Drive Boost 4dB Boost of Channel FB SWITCH ON 127 Volume OFF 0 Or hold POD TAP turn CH VOLUME Rev 0 63 OFF 64 127 ON EQ presence Bump Adds a Presence Boost FB SWITCH ON 127 OFF 0 Or hold POD TAP turn TREBLE Rev 0 63 OFF 64 127 ON Noise Gate On Off Trans Off 0 On 127 Rev 0 63
4. POD Pro and Bass POD are also available POD Pro is ToneTransfer compatible with POD and includes effect loop digital out and more Bass POD is the POD for bass guitar Flextone Series A selection of combos plus a high powered head bring you Tone ransfer compatibility to run all your POD sounds AX2 212 The most tweakable Line 6 amplifier AX2 matches Line 6 modeling technology with extensive multi effects in an all in one 100 Watt 2x12 combo Spider Series 6 Amp Models and built in FX in our lowest price amps Stomp Box Modelers A mass of modeled vintage effects in three stomp boxes Delay Modeler includes Tape and Analog Delays 14 Second Loop Sampler and more Modulation Modeler includes classic Choruses Flangers Phasers Rotary Speakers Tremolos and more Distortion Modeler brings you a collection of Distotion Fuzz and Overdrive models Amp Farm Plug in software for Pro Tools TDM systems puts Line 6 modeling right into your high end computer music system Requires Pro Tools TDM hardware Amp Farm is distributed by Digidesign contact them directly for pre sales information Digidesign 3401 A Hillview Ave Palo Alto CA 94304 Email prodinfo digidesign com or telephone 800 333 2137 from USA or 650 842 7900 Surf www digidesign com APPENDIX F WARRANTY INFO Line 6 Limited Warranty Information Sending in your registration card allows us to register key information so that we may handle problems fas
5. Pilot s Handbook for version 2 0 software An in depth exploration of the revolutionary technologies and pulsing tonal pleasures of POD plus the insider info on the optional Line 6 foot controllers the Floor Board and FB4 An electrophonic version is available on the included CD Rom and at www line6 com Revision This equipment has been tested and found to comply with the limits for a Class B digital device 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 POD Line 6 Amp Farm Flextone II and Line 6 logos are all trademarks of Line 6 Pro Tools and TDM are trademarks of Digidesign Emagic and SoundDiver are trademarks of Emagic Software Mackie and 1202VLZ are trademarks of Mackie Arbiter Fender Marshall Matchless Mesa Boogie Soldano Vox and other amplifier and effect models are all trademarks of their respective owners which are in no way affiliated or associated with Line 6 These trademarks of other manufacturers are used solely for the purpose of describing certain amplifier tones modeled after some of the most popular sounds of these classic amps and effects 9 SUIT JO GOd eu pue 9 eur 992 400 4 dOd 9 eur sdwe dIssej gt eseu spunos
6. amp Verb modeled after 1989 Soldano X88 Preamp Fuzz Box modeled after Arbitor Fuzzface Tube Preamp for direct recording of non guitar instruments Line 6 Twang with Slapback Echo modeled after Fender Deluxe meets Bassman Line 6 Crunch 2 with Room Reverb modeled after Plexi more tone range Line 6 Blues modeled after Marshall 45 meets Budda Iwinmaster Line 6 Insane with Echo amp Verb guaranteed to make you shred Small Tweed 2 modeled after 1 960 Fender Champ Boutique 3 modeled after Budda Twinmaster Black Panel 2 modeled after 1 965 Blackface Fender Iwin Brit Class 3 with Echo modeled after 960 Vox ACI5 Brit Class A 2 modeled after 1960 Vox AC 30 California Crunch 1 modeled after Mesa Boogie Mark Clean Channel California Crunch 2 modeled after Mesa Boogie Mark IlC Drive Channel Boutique 1 with light slapback modeled after Dumble Overdrive Special Clean I POVP Jowa Jow Jow 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 modeled after some of the most popular sounds of these classic amps and effects Fender Marshall Vox Dumble Matchless Mesa Boog
7. shaping Crank up the Drive control and take no prisoners Small Tweed 2 Hold Tap Small Tweed Modeled after a 1960 Tweed Champ this is a great sound when the Drive is cranked not bad clean either These amps were originally designed to be sold to beginners but rock and rollers quickly discovered that you could get a great distorted sound at fairly low volume levels Many of the classic guitar solos of the 50 s were recorded through a Champ The Champ had no tone control only volume With your POD it s easy to get a classic Champ tone Just leave all the Bass Middle and Treble controls parked at 12 o clock which means they are flat making no contribution to the tone Still we d hate to waste those things so we figured out a way to put the Bass Middle and Treble controls to work without mucking about with the authenticity of this Amp Model When using this Amp Model all these tone controls are applied after the Amp Model processing which essentially lets you EQ up your tone as you would do on a mixing console after recording your amp Remember for the authentic emulated sound of the Champ set all the tone controls at 12 o clock MODELED AMPS amp CABS WHICH AMPS AND CABS ARE MODELED Boutique 3 Hold Tap Tweed Blues This model is based on a Budda Twinmaster head The Budda has a great warm Class A sound This was Budda s first offering The Budda philosophy is all about power tube distortion Simplicity is t
8. 0 63 OFF 64 127 ON Chorus Flange Speed Chorus PreDelay if type Chorus Rotary Speed Slow Fast NO TRANSMIT NO TRANSMIT 0 127 0 63 SLOW 64 127 FAST Rotary Max Speed NO TRANSMIT Tremolo Speed Tremolo Depth NO TRANSMIT Cabinet Type Selects Cab Simulation gt 5 treated as 15 0 2 3 4 5 7 8 9 2 5 5 5 5 5 5 NO TRANSMIT 5 5 5 7 7 eo 1 1 15 Cab Models A I R Ambience Level 0 127 NO TRANSMIT APPENDIX E LINE 6 CONTACT CUSTOMER SERVICE Hope you enjoy your POD If you have any questions or comments our diligent support staff can be contacted at 805 379 8900 weekdays 8am 6pm Pacific Time via our website www line6 com or via email support line6 com To ensure that your support experience is a pleasant one we recommend taking some notes for yourself before you call That way you ll remember to ask everything you want to ask the first time and be able to get back to POD ing ASAP OTHER LINE 6 PRODUCTS Our full line of affordable amplifiers feature the same great tones as POD along with built in effects programmable channels foot control options MIDI and more We also have POD Pro Bass POD and the Stomp Box Modelers series effect pedals Learn about the full line up at the Line 6 web site www line6 com or by contacting our sales or support staff via email sales line6 com or support line6 com or phone 805 379 8900 POD Series
9. 69 596 1 V XOA 0961 Uey 9661 xnj q 796 uewsseg 1 666 Japuay 746 aAu nous SJU ueap 9 aur ujduajs eugsnpu 9 aur adepuur piu 9 aur uraj Ainjua 3517 9 aur paseg Zn ules IH paipay weg 1H 719 34g s njg 34g y 55 19 sse jaueg sanig peam ews jake 9 au aM 9 aur youn 9 aur uea 9 aui japow dwy STAGOW dV More great sounds for your POD are at www line6 com E Big Rectifier with Delay amp Room Reverb Black Panel with Compression amp Spring Reverb Vox AC 30 Top Boost Marshall JTM 45 with Room Reverb Line 6 Clean with Compression Line 6 Crunch with Room Reverb Line 6 Drive with Delay Line 6 Layer with Light Chorus amp Delay POD Small Tweed with Room Reverb modeled after 1952 Fender Deluxe Tweed Blues modeled after 1959 Fender Bassman Black Panel with Tremolo amp Spring Reverb modeled after 1965 Fender Deluxe Modern Class A modeled after 1 996 Matchless Chieftain Brit Class A with Echo modeled after 1963 Vox AC 30 Top Boost Brit Blues modeled after 1965 Marshall J TM 4 5 Brit Classic modeled after 1968 Marshall Plexi Brit Hi Gain modeled after 1 990 Marshall JCM 800 Rectified modeled after 924 Mesa Boogie Dual Rectifier Tremoverb Modern Hi Gain with Echo
10. P 2 2 2 P P 9 OjO OJO 3s Sis ss Line 6 Insane Way too many hours of shredding Post Small Tweed 2 60 Tweed Fender Champ O O O O O Boutique 3 Budda Twinmaster head Black Panel 2 65 Blackface Fender Twin Tube Preamp Tube Instrument Preamp Brit Class 3 60 Vox AC 15 Brit Class A 2 60 Vox AC 30 non Top Boost OJO Spring Yes N California Crunch 1 California Crunch 2 Boutique Rectified 2 Pos Modern Hi Gain 2 Pos Boutique 2 Dumble Overdrive Special Drive Channel Post Jazz Clean 87 Roland JC 120 Pr Post prin oa P P P P P P P o o OJO 3 3 2 O APPENDIX B EFFECT PARAMETERS Effect Tap Tweak Compressor n a Ratio There 5 Compressor ratios 1 4 1 2 1 3 1 6 1 and co l Higher settings squeeze your volume more Tremolo Tremolo Speed Depth The tremolo was designed with the characteristic Fender tremolo shape Chorus Chorus Speed Range of Square wave rack type chorus setup subtler than Choruses Chorus 2 Chorus 2 Chorus Speed Range of Sine wave LFO approximately 10 feedback emulates an old Choruses Roland 1 for classic stomp box type sound Flanger Flanger Speed Range of Light flange Flangers Flanger 2 Flanger Speed Heavier flange inverted and with deeper range Flangers Rotary Speaker Rotary Speed This emulates a class
11. amp that we modeled had its presence circuitry set up Tremolo Chorus The Trem Chorus on off switch lets you kick your tremolo and pitch mangling effects it says chorus but it s really chorus flanger tremolo or rotary speaker on and off Light on effect on Light off effect off Delay The Delay on off switch turns your Delay effects on light on Or off light off Reverb Bet you can guess this one already Light on reverb o rama Light off bone dry THAT S USING YOUR FEET FLooR BoARDb THE FULL FEATURED FOOT Effect On Off Settings Stored With Programmed Channels OK this part s mostly for the people who fret about all the little details that make other people think Wow you re way too concerned about all the little details What happens if you turn some of these handy effects off and on and then you save your sound into one of your POD memories The effect on off status gets stored too Cool Now what happens when you decide to head over to your friends house to show them how cool your POD is and you jump on your bike and decide taking the Floor Board along is too much hassle so you leave it behind pump the pedals with your POD bouncing along in its attractive Line 6 carry bag strut into your friends place trying not to look like you re out of breath plug in your POD recall your FAVORITE sound from the handy channel select buttons go to play that incredibly classic sounding Ultimate Tremolo ton
12. changed the circuitry away from the Fender 6L6 power tube heritage and moved to an EL34 tube another major tone difference was due to the necessary output amp power supply transformer changes See we told you we spent some time looking into all this stuff All this mucking about added up to create a tone forever linked with Rock Guitar Amps of this era didn t have any sort of master volume control so to get this sound you d have to crank your Mark III Super Amp to max just the thing to help you really make friends with the neighbors Hendrix used Marshalls of this era 20 years later Van Halen s first two records owed their brown sound to a 100 watt Plexi In order to get a crunch sound out of a Plexi you would likely crank up the input volume and the tone controls to 10 You ll find that the Brit Classic in keeping with our basic make it sound a whole lot like the original concept is set up to do pretty darned near the same thing Max out the Middle and Treble knobs and turn Bass to about 9 or 10 o clock on your POD when using this Plexi inspired Amp Model and you can treat those nice neighbors to a tasty slice of fat rock tone Brit Hi Gain Turn to this Amp Model to conjure up tones of the coveted JCM 800 one of Marshall s most universally acclaimed modern amps This updated version of the Plexi continued Marshall s heritage with added gain and edge for a new generation of rock guitarists One of the biggest difference
13. here s the procedure Start by having POD in normal operating mode no MIDI button lit and selecting the sound you want to transfer You can make edits to it if you like the POD is about to transfer whatever settings you make active So once you ve got the sound you want press MIDI Now press Save Use the Up button to change from A to P which means you only want to transfer ONE sound to the receiving MIDI recorder Start the MIDI recorder going and then press Save again to make the transfer or press anything else to abort Then you probably have to press STOP on your MIDI recorder If you want to send another single sound select it on your POD and press MIDI then Save then Up Set your recorder to receive again Press Save on POD to execute the dump And press STOP on your MIDI recorder Deep Editing amp MIDI Control Emacic SouNDDIVER SOFTWARE EMAGIC SOUNDDIVER SOFTWARE The Emagic SoundDiver software included on your POD Tools CD is an editor librarian program that turns your computer into a POD control station Check http www line6 com for the latest update for this software SoundDiver lets you store POD sounds on your computer and edit POD sounds on screen with access to extra parameters not available when using POD on its own Included on the CD are installation instructions and an electronic user guide Please refer to them for instruction and for information on Emagic s technical support services You will ne
14. is a smaller amp one instead of two 12 speakers with a warmer more woody sound Once again the original amp had only a single tone control a treble cut We faithfully modeled that and then slipped in some post Amp Model Bass and Middle contouring Set the Bass and Middle in neutral 12 o clock or halfway up and play with the Treble control to get yourself some of those classic British invasion sounds Brit Class A 2 Brit Class A This Amp Model is based on the Normal Channel of a Non Top Boost Vox AC 30 As we mentioned in reference MODELED AMPS amp CABS WHICH AMPS AND CABS ARE MODELED 4 10 to the Vox AC 30 Top Boost the early Vox amps were the first designed especially for electric guitar Hey some early amps from other manufacturers have Accordion inputs Polka anyone and used Class A power amp designs rather than the much more common Class AB type We were lucky enough to find what we are told was one of Bryan Adams favorite AC 30s for recording Lenny Kravitz happened to be using it the week before we began testing It was one of the gems in a great collection of vintage amplifiers offered for rental in Los Angeles where Line 6 is located We later bought this amp and continued to hone our emulation of it to bring you the Amp Model it inspired in the POD This is definitely a good place to start to get yourself some of those classic British invasion sounds Like the AC 15 above the AC
15. same as kicking on the Distortion at the Floor Board details in Chapter 7 As you do this the Channel A light comes on if you turn the Distortion on Delay Repeats Bass Knob Hold down and keep holding down the Tap button as you turn the Bass knob to set Delay Repeats any time you re using a Delay effect More Delay details are in the Effects Chapter Delay Level Middle Knob Hold down and keep holding down the Tap button as you turn the Middle knob to set Delay Level any time you re using a Delay effect More Delay details are in the Effects Chapter Presence Bump On Off Treble Knob Hold down and keep holding down the Tap button as you turn the Treble knob up past twelve o clock and you get a Presence boost brightening your tone Same as the EQ boost on the Floor Board details in Chapter 7 As you do this the Channel C light comes on if you turn the Presence circuit on Volume Boost On Off Chan Vol Knob Hold down and keep holding down the Tap button as you turn the Chan Vol 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 Drive Boost at the Floor Board details in Chapter 7 As you do this the Channel B light comes on if you turn the Drive Boost on Reverb Decay Time Reverb Knob Hold down and keep holding down the Tap button as you turn the Reverb knob to set Reverb Decay Time the app
16. sound or setup to another With POD program changes change from one channel to another So for instance when POD receives program change number 1 it will select Bank 1 Channel A When it gets program change number 2 it will select Bank 1 Channel B And so on as the chart in Appendix C shows MIDI Controllers MIDI controller messages allow you to control a device s parameters in real time So for instance you can use a MIDI controller to vary the setting the of the POD Drive control or the Reverb level Each of POD s parameters are mapped to a MIDI controller so you can take full control of your POD The chart in Appendix D lists each POD parameter the controller assigned to it and how that controller affects POD Note that the wah and Deep Editing amp MIDI Control MIDI Basics volume pedals of the Floor Board also transmit MIDI controller messages via MIDI when used with your POD To minimize zipper noise when controlling parameter changes via MIDI try making gradual rather than sudden changes to POD settings MIDI Sysex Commands Sysex stands for System Exclusive Sysex commands are special commands that only a particular device understands they are exclusive to that device as opposed to the more generic kind of program controller and other messages that almost all MIDI devices understand POD uses Sysex to transmit the sounds that are programmed in its memory to another device or to receive new
17. sounds from another device This exchange of data is typically called a dump The emagic SoundDiver software included on your POD Tools CD uses Sysex commands to dump POD programs to your computer for backup and editing and to send programs from your computer to POD You can also have your POD exchange sounds with a POD POD Pro or Flextone II series amplifier via Sysex directly by hooking one to the other with a MIDI cable The following sections tell you how all this works 8 3 Deep Editing amp MIDI Control POD POD Pro FLEXTONE II TONETRANSFER VIA MIDI POD POD PRO FLEXTONE Il TONE TRANSFER MIDI If you just want to transfer sounds directly from POD to POD or between a POD and a Flextone II or POD Pro follow the directions below You ll need a standard MIDI cable to do the deed Connect the MIDI OUT of the transmitting device POD POD Pro or Flextone II to the MIDI IN of the receiving device Transferring All Sounds To overwrite all sounds in the receiving device with the sounds in the transmitting device 8 4 POD or POD Pro is transmitting make sure that the MIDI button is lit up and press the Save button The POD s single digit display will say A which means send All sounds via MIDI and the Save button will flash as if to say press me again to start sending If you do press Save a second time the entire memory of the transmitting POD will be dumped into the brain of the receiving POD
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19. stored setting the arrows will both light up The Amp Model and Effects knobs don t give you the left or right arrows on their own they will only light the two arrows together when you have the knob in the right place After you ve done this for every knob and noted the Tap speed you can write down the settings on the Programmer s sheet take it home enter it in your own POD and write the anthem for a future or past generation And be sure to thank us in the album s liner notes To check that you ve got everything 63 just right once the knobs are set you can also switch to Manual Mode and see if the sound changes It shouldn t unless the Tap speed is different If that sounds too complicated and you have a MIDI cable handy flip ahead to Chapter 8 Deep Editing amp MIDI Control to find out how to swap sounds between two PODs with MIDI It s also possible to swap POD sounds on computer using the emagic SoundDiver software for both Macintosh and Windows computers that s included on the CD with this manual EDIT MODE Alright so let s say you ve got that sound you saved in one of POD s handy channels and you want to add some more Bass No problem If you haven t already selected the memory you want then go ahead and get on those Up and Down buttons to recall the sound Now grab the Bass knob and crank it up The word EDITED lights up to the left of POD s single digit display letting you know that
20. tape in tiny increments to get this effect Since the part of the tape reel they pressed on is called the flange you can see how the effect got its name As soon as someone figured out how to get this effect electronically it was no longer rare and was probably used a little too much for the next several years We ve got two flavors of flanging available on POD both of which closely model the tone of an old ADA flanger stomp box Flanger is a light flange with no pre delay and is subtler than Flanger 2 which is inverted and has a deeper range depth The Effect Tweak knob gives you a range of Flanger effects from just a bit to Holy Cow Tap dials in the speed POD EFFECTS POD ONBOARD EFFECTS Rotary This effect simulates the effect of a mic d rotating high frequency speaker horn like on a Leslie Listening to this effect in stereo through headphones could cause motion sickness Rotary speakers have two speeds slow and fast We ve set up POD s Rotary Speaker emulation to select a fixed slow speed if you tap slowly and a fixed fast speed if you tap quickly When you switch from one speed to the other you ll notice that the speed doesn t change immediately but gradually changes from one speed to the other just as a real rotating speaker s speed would ramp from one setting to the other The Effect Tweak knob controls the amount of Doppler effect pitch modulation Tap controls the speed Delay Sometimes referred to as echo o
21. the Effect Tweak knob to change the speed or tempo of your effects This is especially useful if you are trying to nudge your Tap setting to just the right value See the Effects chapter the back cover foldout and Appendix B for Effect Parameters to learn exactly what Tap controls for each of the Effect settings 20 HOLD Functions The Tap button also lets you access second layer of POD features Amp Models 17 32 Cab Model selection Delay Feedback Delay Level Reverb Decay Time a Presence Boost a Volume Boost and a Drive Boost Here s the detail Amp Models 17 32 Hold down and keep holding down the Tap button as you turn the Amp Models knob to select Amp Models 17 32 Appendix A lists these Amp Models and details about them Chapter 4 describes them Cab Model Select Effects Knob Hold down and keep holding down the Tap button as you turn the Effects knob to select Cab Models The cab models are labeled in gray You ll find a list of the Cab Models at the end of Chapter 4 Drive Boost On Off Drive Knob Hold down and keep holding down the Tap button as you turn the Drive 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 CONTROLS amp CONNECTIONS 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
22. the light turns off Turn it on again and notice how the hiss magically disappears POD EFFECTS COMBINED EFFECTS COMBINED EFFECTS The rest of the effects are combinations of Delay and one other effect They should be fairly self explanatory Tap sets the delay speed for all these effects Remember that the Delay Repeats Tap Bass knob and Delay Level Tap Middle knob controls are also available with all these effects Details are in the Tap HOLD description in Chapter 2 Delay Compressor Tweak controls Compression Ratio Delay Tremolo Tweak automatically controls both speed and depth to give you a variety of Tremolos If you want more fine control of the Tremolo use the Tremolo without Delay effect setting Delay Chorus Tweak spins you through a variety of chorus settings Delay Chorus 2 Tweak spins you through a variety of chorus settings Delay Flanger Tweak spins you through a variety of flanger settings Delay Flanger 2 Tweak spins you through a variety of flanger settings Delay Swell Well here s one we haven t explained before Swell is like an automatic volume pedal that will give you a very even volume swell with each note or chord you play Effect Tweak controls the attack speed of the volume swell You can of course achieve a similar effect by using a Line 6 Floor Board with POD and riding its volume pedal by using a MIDI pedal or other controller or turning the volume knob on your guita
23. tutorial on how to save your sounds to the computer but we figured we should give you one or two other tips m pass POD SSS Editing a Channel Memory Program The SoundDiver window shown on the left shows you the contents of your POD s memory a Iser Programs Bass POD actually but let s not be picky Out Port Modem Big To edit any one of your POD s channel memories Thru Ch SoundDiver calls these User Programs just een 3 Bm Tweed Driven double click its name in the list and you ll get an Timeout Cris 6 Send Pause ms 300 POD Autocwell 01 editing window Play Delay mz ati Bassman Echo Transmit Request Request The Transmit and Receive commands are Irene mp en available in SoundDiver s MIDI menu These Hold transmission 6 commands instruct SoundDiver to Transmit ania or Receive information to your POD based 3014 MIDI Thru on what youhave selected in SoundDiver So UND for instance if you click on one of the Reset Controllers channels programs in the name list of the Maximum Volume window above and then choose the Transmit command SoundDiver will understand you want to Transmit this sound to your POD in other words the parameters that define the sound are sent from the computer to POD so now they both have the same information what was in the computer has been copied to the POD as well If you clicked on one of the names in
24. will minimize this problem But if you find yourself in a tight studio setup needing to lay down some quick tracks and being pestered by CRT induced buzz you may find it helpful to do as we have sometimes done set up your track to record and start your pre roll reach up and flick your computer monitor s power switch off record your guitar part stop your recording flick the monitor back on and check out the buzz free playback GETTING SET UP SCENARIO ONE IN THE STUDIO Pedal Power POD has a couple of foot control options the Line 6 Floor Board and FB4 While we ll go into all the details in a later chapter for now it s good to know that the FB4 is a four button foot switch that allows you to select between four POD channels and Tap your effect speeds tempos Its big brother the Floor Board allows hands free selection of any of the sounds programmed in your POD s channels plus a wah pedal a volume pedal stomp box style individual on off control of POD effects Tap control of effect speeds tempos and tuner control Whichever Line 6 foot controller you choose it will plug into the POD 7 Pedal jack You can also control your POD with a standard MIDI control pedal GETTING SET UP SCENARIO ONE IN THE STUDIO So Bic TIME CONNECTIONS You can run your POD in a send return type configuration even with a reasonably sophisticated four or more track recorder or a native computer audio system You ll ideally want more tha
25. you can plug them into the POD headphone output to make sure that it sounds the same as what you hear through your system Before you strap the phones on your ears be careful that the headphones aren t too loud since their level is set by the Output Level too GETTING SET UP SCENARIO ONE IN THE STUDIO BiG TiME CONNECTIONS With bigger setups including a mixer and a multi track recorder or with new fangled setups like computer based and stand alone Digital Audio Workstations you ve got a couple choices If you re a MIDI computer user you ll also want to check out the Deep Editing amp MIDI Control chapter to learn about the complete MIDI control available with the POD including the SoundDiver editor librarian program that s included on the POD Tools CD First Time s a Charm Make sure the POD switch 6 is set to DIRECT The normal thing to do is plug your guitar into POD and then connect your POD s 4 dBu stereo TRS 1 4 left and right outputs to the inputs of your system the POD outputs are also perfectly happy connecting to 10 dBV and unbalanced equipment POD will process your guitar as you play and you can print that processing to tape or disk as you make your tracks For most situations you may find this is perfect Changing History But there is another option that can give you the exciting ability to go back in time and change your amp and effect settings weeks after you ve recorded your guitar tra
26. 30 NTB has only a single treble control so POD s Bass and Middle controls here are set up for boost after the Amp Model processing to add a little extra flexibility without compromising the accuracy of the model The 12 o clock setting on these controls is flat response California Crunch 1 Hold Tap Brit Blues The first of the boutique amp makers was probably Mesa Boogie Boogie made their mark in the late 70 s and early 80 s by adding master volumes and more gain stages to amps with Fender style circuitry You can hear the Fender heritage but with more punch in the mids This model is based on the Clean Channel of the classic Boogie Mark with the enhancements of the version of the Mark circuitry design California Crunch 2 Hold Tap Brit Classic And this Amp Model emulates the Drive Channel of the Try your Santana licks here Boutique 1 Hold Tap Brit Hi Gain Based on the Clean Channel of the Dumble Overdrive Special The Dumble Overdrive Special is one of those incredibly expensive custom amps that most people never get a chance to actually get close to in this lifetime Each incarnation of the Dumble magic is a little bit different because each of these amps is hand built for a specific customer and voiced to match their playing and desires With that in mind we based this Amp Model on the analysis of several different Dumble Overdrive Specials Despite this tuning to the individual o
27. AOA XO4 19341A AVLIND JLVWILIN IHL uL 3183 a Tad I ol Q TVANVA 803 NOLLNG LIT NOLLDS LIT dVL SNOLX314 Q 9 TANNVHOD e snoy zze 07 puejoy 86 jauuey 20906 adupsaag e quinq 1 pea Jadng 15 69 1314193 jeng 8009 esay 46 j uuey uea ajquing auueg 18009 esay 69 auueg ue l ep 318009 ESIH C9 1s00g doj uou 0 JY 09 XOA 09 Japuaj a eppelg 49 peau Jaysewuim eppng durey paam 9 duippaAus jo sanoy Auew 00 Ae JajseuiuiM eppng sjaaw f reyse HEM 0G EYMEN 89 uewisseg pue axnjaq Japuay Q gt ueap zef dweaig TH anbynog zznj TH TH peymey Paray 1 anbynog ueg IH TH eroe Qissej yug TH peo auesu 9 aur 4ade 9 sanjg 9 aur 9 aur TH puna 9 9 Buem 9 aur uea 9 116 11 Sjopoj 31504 siy 03 uang pue dej dweaid yuawnaysul paseq aqn dweaig aqn epag LJ ZZN 5096 3504 pea ouepjos 696 18009 esay 7661 008 9961 Ald 896 SH WL
28. 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 light will stop flashing and the sound is stored at the location you chose replacing the sound that was stored there before Doesn t get much simpler than that After the sound is stored you can bring it back any old time by simply pressing the Up and Down buttons to call up the location where you stored it See Chapter 7 to learn how to do all this with your feet on the Floor Board If you decide that you don t want to store the sound after you ve got all the lights blinking pressing Tap or Manual or Tuner or Noise Gate or MIDI CREATING amp STORING SOUNDS TONETRANSFER buttons will abandon the save Save mode will also be canceled if you don t press any buttons for 5 seconds after having pressed Save TONE TRANSFER POD Sounds on the Web Your POD gives you access to a constantly expanding world of sounds Visit the Tone Transfer Web Library at www line6 com and you ll find a growing collection of sounds for your POD created by Line 6 users around the world The SoundDiver software included on the CD with this manual will help you store organize and transfer your sounds Your POD Sounds Transfer to POD Pro and Flextone Il The sounds of your POD are compatible with POD POD Pro and the Flextone II series amplifiers so you can use your sounds with any of these products Use your POD in the studio or for pra
29. DITING amp MIDI CONTROL Out tobe ett hae en RRO ACCA cM Ran ha eth M CIN Get ae eed PLC te eae et pat aste fune ne aA Caen BIB e ER MIDEP DEC DOS ecu voe aet bdo aie MIDI Conmolle wes et Svsex Commands ed tyra sheet heel eels thus Emane oound Diver OONA idee serra iua dete hri POD POD Pro Flextone II ToneTransfer via MIDI 2 ccc eens WAT Set IN AI OOM nots hd d BAS Ble WIG hee SOME ecco Sa ed S er og betur Beant Mackin ha est edd wierd au ud es Quad Ga hoe SS packing Up POD Programs to Other Devices ses ot ou ud bee RR e ICA ORO REN sade ee eek Jranstermng ODIO demande teda bes Otber Things You Gam WG with MUI stern gode Gel amin Changing POD Channels with MIDI Program Changes Tweaking POD Tones with MIDI Fall POD S sse d om we aes wee Ghee Step by Step Wit SOUDU Diver oa esie aes eek Be beat ha deel dle td i d e ees Sound iver Setup 653 deese ARM ee ee APPENDIX Amp Models amp Associated Parameters Effect Parameters Tapping Tweaking amp More MIDI Pr
30. EAK The compression is pre Amp Model processing so its like having a compressor pedal POD EFFECTS POD ONBOARD EFFECTS Tremolo Modeled after the classic Fender tremolo The Effect Tweak knob controls the depth Tap controls the speed The tremolo speed will be twice as fast as you tap and twice as fast as the Tap light flashes allowing you to set fast tremolos without having to tap like a madman Chorus You ll find two different chorus sounds in POD Chorus 1 is modulated by a square wave so it sounds more like a rackmount effect type chorus Chorus 2 is modulated by a sine wave with more feedback so it has a richer harmonic content with more movement Chorus 2 was massaged to closely approximate the classic tone of an old Roland CE 1 box The Effect Tweak knob 5 3 spins you through range of chorus settings from subtle to extreme Tap controls the speed of the effect By the way if you want to get a really slow chorus you have to tap really slow try about 6 or 7 seconds between taps And if you don t like that remember that you can always set your tempo by holding down the Tap button and then twisting the Effect Tweak knob to wherever you want to go Flanger Flanging is that familiar jet plane whoosh you remember from recordings of the 70 s Originally the effect was used rarely mostly because engineers had to use finger pressure on one of the tape reels so they could slow down and speed up the
31. FOOT Tap Tempo Now then how about that handy Tap Tempo thing on your POD Sure would be nice to be able to change the speed of your effects without taking your hands off your guitar wouldn t it That s what the Tap Tempo EX4 foot switch is for The light to the left of it you ve already probably been entranced by it as it pulses away flashes just like che Tap Tempo button on your POD to let you know the speed of your effect To change this speed all you ve got to do is tap on this Tap Tempo switch Tuner Well Tap Tempo Tuner switch really Hold that puppy down for a second or more 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 If you d rather appear more professional don t worry the volume pedal still works Play a note on your guitar and the Floor Board will show you what it is in that handy display EE Play that string again spin its tuning key so it goes sharp and flat and the six LEDs above the bottom row of Floor Board switches give you a light show The idea is that the LEDs to the left light if you re flat The LEDs to the right light if you re sharp And the two LEDs in the center will light at the same time when you ve got it just right Give any one of the Floor Board s switches a stomp and the tuner disappears just as swiftly as it came and you re right back to Channel Select M
32. LINE 6 SHALL IN NO EVENT BE OBLIGATED FOR ANY INCIDENTAL OR CONSEQUENTIAL DAMAGES THAT MAY RESULT FROM ANY DEFECT OR WARRANTY CLAIM EXPRESSED OR IMPLIED Some states do not allow the exclusion or limitation of incidental or consequential damages or limitation on how long implied warranties last so some of the above limitation or exclusion may not apply to you This warranty gives you specific legal rights and you may also have other rights which vary from state to state This warranty only applies to products sold and used in the United States of America and Canada Line 6 shall not be liable for damages or loss resulting from negligent or intentional acts of shipper or his contract affiliates You should contact the shipper for proper claims procedures in the event of damage or loss resulting from shipment
33. MIDI Channel to A for all In MIDI ese 8 15 this is known as Omni mode Here are some basic steps to ensure communication with the POD 1 When you get the dialog box stating that no new device is found click on the button that says Manually You will be dropped in the Memory Manager window of SoundDiver 2 On the left hand side of the Memory Manager window you will see a list of parameters Make sure that the Out Port is set to the driver for the External MIDI As different companies have different driver names there s no one set name but the selection should be fairly obvious Deep Editing amp MIDI Control SouNDDiver SETUP TROUBLE SHOOTING 8 16 3 Make sure that the Device ID is set to I 4 On the right hand side of the Memory Manager click on the title bar that says User Programs This will highlight all 36 of the user preset locations that are currently blank 5 Now click on the left most icon in the upper left of the Memory Manager It should look like a little keyboard with an arrow coming out of it and a small question mark This requests the current programs from the POD At this point you should see all the patch names fill in and you re good to go APPENDIX A AMP MODELS Please note that Fender Marshall Vox Boogie Soldano Roland Matchless Budda Arbiter and other amplifier model designations and effects are all trademarks of their respective owners which are in no way associated or affiliated
34. OFF 64 127 0 APPENDIX D MIDI CONTROLS 2 of 3 pages Sound Diver Transmitted MIDI Received MIDI Range Parameters Range Delay Delay always available _ available OnOf FB SWITCH 127 Lesen a eerie Rev 0 63 OFF 64 127 ON Delay Time 0 3150 mS 128 equal NO TRANSMIT 0 127 steps Double precision with Delay Time NO TRANSMIT 62 0 127 control for Delay Time gives 4 bit precision Reverb always available On Off FB SWITCH ON 127 Rev 0 632 OFF 64 127 ON Reverb Type Spring Hall NO TRANSMIT 37 Rcv 0 63 SPRING 64 127 HALL Reverb Diffusion i _ NO TRANSMIT 0 127 Reverb Density NO TRANSMIT 0 127 Compression Ratio off 1 4 1 2 1 NO TRANSMIT 42 0 21 off 22 44 1 4 1 3 1 6 1 infinity 45 67 2 1 68 90 3 1 91 113 6 1 114 127 infinity l Wah Wah Pedal On Off On Off FB SWITCH 127 Rev 0 63 OFF 64 127 ON OFF 0 o o WE E MH _ Wee eem Wy DWmema Post Tube Drive 64 127 AFTER TUBE NOTANT Tap Tempo TAP BUTTON OR FB 64 64 127 Tap SWITCH TRANSMITS 127 APPENDIX D MIDI CONTROLS 3 of 3 pages Sound Diver Transmitted MIDI Control Parameters Range Chorus Rotary Tremolo FB SWITCH ON 127 On Off Chorus Flange Depth NO TRANSMIT Chorus Flange Feedback 2 NO TRANSMIT 0 63 negative 64 127 positive Received MIDI Range Rev
35. Output Level A Word of Caution POD s Output Level control is setup with enough gain available to drive into almost any piece of equipment Consequently it also has plenty of power available to overdrive the input of your guitar amp which you don t want since it will add extra distortion that will color the sound so you don t hear the true POD tones So set it pretty low at first then you can experiment with higher settings 3 13 Tuning Your Amplifier When you re having your POD take over another guitar amplifier it s a good idea to start off with that amp in neutral What is neutral you ask Well if you only have one volume control on your amp set it low enough to get a clean tone that ensures POD s sounds come through as purely as possible If you have a master volume in addition to a volume control on the input set them both so that the first volume doesn t overdrive the master volume so you re getting a clean tone This will vary from amp to amp but usually the input volume is going to be less than the master volume to get a clean non distorted sound If you have passive tone controls try setting your mid control at max and your treble and bass controls at zero this is actually flat equalization wise on most amps Active tone controls may vary but just be sure you re not overdriving the amp so the POD tone comes through without extra coloration Once you get going you can tweak the amplifier setting
36. a blender control fully left you ve got big bottom 21st Century Clean and fully right you ve got paint peeling Ultra drive Set it anywhere in between and you get to have your cake and smear it all over your audience too Small Tweed Modeled after a 1952 wide panel Fender Tweed Deluxe this Amp Model will snarl with the best of them The original amp had only a single tone control essentially a Treble roll off We set up the Treble knob to give you this Treble roll off when using this Amp Model Which left us with the Bass and MODELED AMPS amp CABS WHICH AMPS AND CABS ARE MODELED Middle knobs just sitting there That just didn t seem right so we figured out a way to put those knobs to work without mucking about with the authenticity of this Amp Model s treble tone control We set up the Bass and Middle as post Amp Model controls which essentially lets you EQ up your tone as you would do on a mixing console after recording your amp Set the Bass and Middle knobs at halfway to put them in neutral and try the Treble knob somewhere above halfway for a classic Tweed sound Tweed Blues The classic 59 Fender Bassman 4x10 combo was the amp that started it all instant rock and roll tone Originally a bass guitar amp the Bassman became a Blues staple for 6 string guitarists It has the fat bottom end you d expect from a bass amp but also has the Fender twang on the top The Bassman was the blueprint for POD s T
37. abinet Which is the same sort of tone you find here Tube Preamp Not even close to being a guitar amp but once we got started we just couldn t stop ourselves The thinking went like this Once people get this POD it s gonna be so great that they re gonna wish they could use it for everything warming up keyboards crunching up drums fuzzing up vocals We ve gotta give em something to do that So we did The Tube Preamp Amp Model lets you warm up any sound source the way producers and engineers often do in the studio with vintage tube gear For more edge on vocals try running your vocal tracks through POD Or punch up or munch up a synth bass track by sending it through POD and cranking up the drive and EQ controls to suit your taste Although this is not actually a guitar amp model you can even get some great guitar tones out of it Also try using it as a direct box for bass When you do this stuff you want to use the Drive control like a mix knob on a reverb to control how much processing you want to hear You generally don t want to mix the pre POD sound with the post POD sound because of the comb filtering that results Instead jack the sound source right into POD and then only monitor it post POD processing With the tone controls at 12 o clock the EQ is flat Line 6 Twang Hold Tap Line 6 Clean This model draws on our analysis of the 60s Fender blackface Deluxe amps and the 50s Fender Bassman I
38. and lay down a track on your recorder Then you can play back the track and switch amps effects whatever welcome to the digital software revolution And for an even more revolutionary experience be sure to check out the MIDI Mania section below plus the Deep Editing amp MIDI Control chapter to learn how to automate it all By the way don t monitor the pre POD and post POD guitar signals at the same time as you ll get comb filtering that will mess up your sound Scary huh Level Headed When setting levels in any of the above scenarios watch carefully for the CLIP indicator to light on your POD it s just under the and Down buttons This lets you know you re clipping the POD input and so you need to turn down the signal you re feeding it You should also be sure you don t send too little level to POD As with any audio device this will result in poor performance Radiation Alert You re also likely to find especially if you are using a guitar with single coil pickups that it is quite easy to pick up some serious noise from any computer monitor you might have in your studio CRT displays are after all just special purpose ray guns that shoot photons at you all day long Your guitar pickups receive and amplify the electro magnetic fields that your display radiates and you hear this in your audio signal as buzz and hum Moving farther from the CRT and turning your guitar so it does not directly face the computer s display
39. are is included on the POD Tools CD for sound editing storage on a computer 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 Manual Button In the middle of the 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 that store a huge variety of complete amp and effect selections pre programmed by the tone mavens at Line 6 to rock your world They are arranged in nine banks of four channels each The four are called A B C and D You can think of each bank as a sort of virtual four channel guitar amp and you ll find that the same layout is used on the optional Line 6 foot controllers for POD the Floor Board and FB4 which are discussed later in their own chapter You access POD channels by pressing the Up and Down buttons Tap either button to move to the next channel in the bank press and hold down either Up or Down button to jump from bank to bank The Manual button s light goes off to let you know you re not in Manual the where the knobs are is how POD sounds Mode anymore When recallin
40. arent size of the Reverb More Reverb details are in the Effects Chapter Effect Speed Effect Tweak Knob Hold down and keep holding down the Tap button as you turn the Effect Tweak knob to fine tune the current Effect s speed More Effect details are in the Effects Chapter CONTROLS amp CONNECTIONS OFF e DELAY LEVEL PRESENCE e OFF DELAY VOLUME e FEEDBACK BOOST OFF ON 10 DRIVE REVERB BOOST DECAY AMP MODELS 17 32 CAB SELECT 10 BRIT CLASS A 3 OUTPUT BLACK PANEL 2 LEVEL BOUTIQUE 3 SMALL TWEED 2 LINE 6 INSANE LINE 6 BLUES LINE 6 CRUNCH 2 LINE6 TWANG BOUTIQUE 2 JAZZ CLEAN 1 _ BRIT CLASS A 2 apud CALIFORNIA CRUNCH 1 r CALIFORNIA CRUNCH 2 BOUTIQUE 1 RECTIFIED 2 2 2 MODERN HIGAIN 2 Ne on 1 23 3 3 cs 1 Hold the TAP button to access these features Save When you want to store your own tweaked up sounds in your POD this button is the key Exactly how it works is detailed in Chapter 6 Creating amp Storing Sounds But you re probably impatient so here are the basics When you are using one of the pre programmed POD sounds the POD s 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 t
41. b You can also set the Reverb Decay Time by holding the TAP button and turning the Reverb knob this allows you to adjust the apparent size of the reverberant space There are two basic reverbs in your POD a model of a spring reverb and a standard digital room reverb The reverb type is chosen when you select an Amp Model You can customize this Amp Model Reverb Type pairing as described in Chapter 6 Generally speaking if the amp that inspired a given Amp Model had a spring reverb we give you the spring reverb If the amp didn t have a reverb like the 1968 Marshall Plexi which inspired the Brit Classic model we ve given you the room reverb The back cover foldout and Amp Models Appendix run down the details on the standard pairings or the Amp Models Reverb Types Compressor A compressor squeezes your sound so that the softer sounds are louder and the louder sounds won t be too loud and jump out at you It helps to even out your playing and can also be used to give increased sustain Compression is often expressed in ratios like 2 1 or 5 1 The higher the ratio the less difference there is between your softest and loudest playing The Effect Tweak knob will control the compression ratio There are 5 settings 1 4 1 2 1 3 1 6 1 and 1 The figure eight on its side means infinity With Effect Tweak set to max you get infinite compression which is the same as ins a limiter larl No SO 4 EFFECT TW
42. ck off your guitar s volume knob just a little Notice how the tone control response changes as MODELED AMPS amp CABS WHICH AMPS AND Cass ARE MODELED this Amp Model s Drive is changed clean settings are crisp and present while more driven settings will mellow the high end This is typical of what you get from a Deluxe and is nicely captured here The Deluxe itself has only Bass and Treble controls Leaving us once again with the prospect of a knob with nothing to say for itself But fear not in this case we ve set up POD s Middle knob so you can add some post Amp Model Midrange contouring for a little more flexibility Once again set the Middle knob to its neutral 12 o clock position for the classic Deluxe sound Tweaked up right this tone will cut through and sing Modern Class The 96 Matchless Chieftain which was studied for the Modern Class A selection is a very expensive handmade amp The Matchless has an EL34 powered modern class A design hence this model s name and a unique tone largely due to the complicated EQ scheme The sound is sort of future retro Its soft clipping is typical of Class A amplifiers almost a hi fi sound in a great rock n roll amplifier Brit Class A Music was changing in the early 60 s and guitarists were asking for more brilliance amp twang So the Jennings Company makers of Vox amps decided to add Treble and Bass controls and an extra 12AX7 gain
43. cks bringing you flexibility and creative control during mixdown that you could never get with a traditional guitar amplification system It s like this the simple setup just described in the preceding paragraph is basically like taking a reverb running your vocal mic s preamp into it and printing the reverb processed sound to your recorder s track Now you ve got that vocal performance with that reverb setting on tape or disk The more often used studio setup is to record the vocal to your recorder s track dry using an effect send on your mixer s tape return channel to send the vocal to the reverb to audition the effect processing as you record your track Then when it s time to mix you can make final decisions about the verb to insure that it s fitting in with the rest of your tracks You can use a completely different verb if you want to or no verb at all all your possibilities are open You can use POD like this in an effect send return set up and get great advantages of flexibility for your guitar tracks Here s how this configuration works plus other hook up details GETTING SET UP SCENARIO ONE IN THE STUDIO Direct Injection First thing to do to play the send return game is get your guitar to deliver a direct input to your recorder or mixer or the input of your computer based audio system How about just plugging the guitar s output into a mixer channel Guitar pickups like to feed into a high im
44. ctice and then transfer your sounds to a Flextone II amp for your gigs For more information on POD Pro or the Flextone II series amps visit www line6 com Swapping POD Channels With Friends OK so you go over to a friend s house who also had the good taste and intelligence to buy a POD They ve created this awesome sound that s stored in the Bank 1 Channel A location You ve got to have this sound so you can write the song that s going to make you rich but your friend forgot to make a copy of the Sound Programmer s Sheet on the back of the POD manual and write down his settings Perhaps we can learn a valuable lesson from this always back up your work Do you have to give up your dreams of rock and roll success and spend the rest of your life cleaning bird cages to pay the bills Luckily we thought this one through in CREATING amp STORING SOUNDS EDIT MODE advance We provided you with a way to get those settings Just press and keep holding the Save button on your friend s POD and turn any one of the POD s knobs except the Output Level knob that one s not saved into programs Don t worry holding down the Save button won t cause your settings to be altered or cause Save Mode to be entered Instead you ll notice one of the little arrows below the Tuner button will light up The arrow tells you which way to turn the knob so that it will match the stored memory s setting for that control When the knob position exactly matches the
45. cts 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 amp 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 stomp box on steroids for practice or as a creative digital signal processing tool and heck why should it be just one we think you ll agree that POD is about the most amazing thing to happen to electric guitar since well since the guitar amplifier its
46. d grunge bands but has also been used more subtly by artists like Eric Clapton This is a good Amp Model to use if you want to get a current Van Halen or Joe Satriani sound The POD Modern Hi Gain Amp Model is based on one of Mike Soldano s rackmount preamps Talk about high gain preamp tube distortion The X88R we studied to create this Amp Model would have been the rage for Los Angeles studio use in the late 80s Fuzz Box Although not technically an amp we felt that the unique tonal qualities of the classic 1960 s Arbiter Fuzz Face earned it a place among the amps modeled to create POD s Amp Models This fuzz box used broad frequency transistor based clipping The result is a buzzing kind of distortion that has become popular again with the alternative and grunge set Jimi Hendrix was among the first guitarists to popularize the Fuzz Face in the States but our model is considerably dirtier than the tones found on Are You Experienced Try playing Satisfaction by the Stones or the lead from American Woman by The Guess MODELED AMPS amp CABS WHICH AMPS AND CABS ARE MODELED Who Liberal use of the Bass Middle and Treble controls will let you go beyond the tones that the Fuzz Face could deliver enabling you to discover your own unique recipe for those elusive fuzz tones in your head Just a note when recording Purple Haze Jimi didn t even use an amp he just went straight from a Fuzz Face to an Orange power amp to a 4x12 c
47. daptor you can get from Line 6 it s described on the POD Tools CD Rom and the Line 6 web site where it can also be purchased We know this is a shameless plug to get you to buy more gear but what the heck you just may want some And a POD carry case GETTING SET UP SCENARIO ONE IN THE STUDIO Gimme Some A I R If you re plugging POD s output into anything other than a guitar amplifier s input flip the KJ A I R switch to its DIRECT position In this mode the A LR DSP is active and you are getting a virtual version of the speaker cabinet air microphone experience that s so good you may never use a regular guitar amplifier and microphone set up again The POD 1 4 TRS outputs are versatile merrily sending their magic tones into 4dBu balanced or 10dBu unbalanced inputs Quality cables are obviously recommended for best performance Pick the Right Inputs If you re hooking your POD up to a recorder mixer or other equipment be sure you are plugging its outputs into line level inputs on your other gear as opposed to microphone level or guitar level inputs This will insure that you get the best signal to noise ratio lots of juicy guitar tone not too much hiss with POD Some equipment uses the same physical inputs for mic amp line level sources allowing you to trim low level signals like mics up to a high level at the inputs If you are plugging your POD into one of these inputs try setting the trim to minimum and
48. e list of all 32 user memories will then be highlighted to show that they are all selected clicking on the header bar is a handy select all user memories command Dut Port Miodem All Thru Ch Velocity Timeout m 200 Send Pause mz 300 Play Delay 50 Patchbay 1 Auto Request NONE Gm Tweed Driven Dumble Rotary POD AutoSyell 1 Bassman Echo POD Crunch we Rm POD Drive Bly POD Layer Dl Small Tweed TI 9 Brit Class Brit Classic Brit Hi Gain Rectified Modern Hi Gain 8 1 Step 7 Macintosh Now notice that there are two menus in this window Entry and Options From the Entry menu choose Save as Selected Entries as shown below Emmouns 0 em Load and transmit File 31 Initialize 8 1 Rename SES Surt o Hl fier Build Library 1 Save as Editable Entries Export Append to Library 3859 All Entries Selected Entries 5 Bassr men known Entries Play Delay mz 1 1 Deep Editing amp MIDI Control STEP BY STEP WITH SOUNDDIVER SoundDiver will give you a standard Save File dialogue box A pop up menu at the top of the dialogue box will say Libraries letting you know you are about to save your library to the SoundDiver Libraries folder Power HD Save File as You can click on this Librar
49. e that you know is going to have your friends turning pale and quivery with envy even if they do think you re too concerned about all the little details and then it hits you you turned the tremolo off from the Floor Board and stored the channel like that Feel foolish don t you Let that be a lesson never leave your Floor Board behind Especially when there are friends to impress But we hate to see you suffer So here s how to save your bacon just grab the Effect Tweak LT knob and give it a spin Magically your tremolo is back to make you a hero once again That s because a particular effect s on off status is overridden if you tweak that effect s setting So Tremolo Chorus on off comes on when you move the Effect Tweak knob to change your Tremolo Chorus Flanger or Rotary Speaker setting Ditto if its Drive or Delay or Reverb But only if the Floor Board s not connected See bunch of little details Getting a headache aren t you The important thing is if you save channels with effects on or off and then you don t have your Floor Board no worries we ve made sure it doesn t cause you problems That s it for the Floor Board section Fun wasn t it By the way if you don t have your Floor Board handy and want to set the EC Presence Distortion or Drive Boost on off functions you can do it by holding Tap and turning the Treble Chan Vol and Drive knobs respectively The details are in Chapter 2 s discussion of the Tap co
50. ed to have a MIDI interface for your computer in order to use the SoundDiver software Emagic makes interfaces as well as a line of software and hardware for music recording that you should check out for use with your POD See the Step By Step with SoundDiver section later in this chapter for an introduction to using the SoundDiver software as well as the SoundDiver Troubleshooting section 8 7 Emagic can be reached in the U S by phone at 530 477 1051 or at their German headquarters 49 4101 495 0 They re also on the internet at http www emagic de and can be emailed at info emagic de U S customers note that the web and email addresses are de not com because Emagic is headquartered in Germany A list of Emagic distributors is under the Apple Menu in the SoundDiver Macintosh software Mac If you re using Windows this list is available from the Welcome Window when you start up SoundDiver or from the Help Menu gt Emagic Distributors MIDI interfaces are also made by Mark of the Unicorn www motu com MIDI Man www midiman com and others Deep Editing amp MIDI Control OTHER THINGs You CAN Do WITH MIDI 8 8 OTHER THINGS YOU CAN DO WITH MIDI In addition to using the Emagic SoundDiver software on the POD Tools CD to edit and store POD sounds or using a MIDI connection for Tone Transfer between a POD POD Pro and Flextone II MIDI also gives you what you need for Changing POD Channels with MIDI Progra
51. elf 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 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 d
52. em You can place the stomp box es between the guitar and the DI box if you re using one or between the guitar and your mixer input if you re feeling wild and running without a DI Make sure the stomp box isn t overdriving your mixer channel or DI and make sure that the stomped and then DI d signal doesn t overdrive your mixer s input You can also experiment with putting your GETTING SET UP SCENARIO ONE IN THE STUDIO 3 10 stomp boxes just before or after POD most anything might work depending on the specific gear you re working with and the sound you re trying to achieve When setting your levels be sure to try your loudest strumming hottest pick up combination and your maximum volume boost from the stomp box es at the same time to make sure the resulting clamor gets through the signal chain cleanly MIDI MANIA And for yet more control and who can ever get enough those of you with MIDI capable studios will find that your POD lets you control everything via MIDI This is especially powerful with the send amp return setup described above Using MIDI you can automate any POD parameter So for instance you could start recording a track with your guitar going direct to tape and POD s MIDI output recording to your MIDI sequencer and as you track switch from one POD memory to another from the front panel or your foot controller tweak your reverb up a bit twiddle the tone knobs switch from one amp to an
53. esign 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 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
54. ess oe bk wee ERES 3 11 Gimme Some A I R The All Important Air Switch and How Set 11 3 11 POD Takes Over Using POD as Tone Shaping Front End for a Guitar Amp 3012 Cabinet Tuning Modes Correctly Tuning POD for your 5 3012 POD Output Level Wordtot Ie to sarki ihe es i 3013 Tuning Your Amplifier Setting Up your Guitar Amplifier to Host 3013 POD Live Hook Up Illustrations Pictures to Help you Get Connected 3014 Stomp DOXCS IVE Sc TUS cuf teo ans ose tinal p is 3e15 Pedal Power Foot Control Options or POD oss eie ct Sb EE Pee Mee Np 3 16 CHAPTER 4 MODELED AMPS amp 5 4e CHAPTER 5 POD EFFECTS T Deep Editing Where to Look for More Info 5e Where toLookfor More nU RP DRE Ee ERN XE Ee a bao DoD Onboard E PE tes aise teda e EORR 6 gt 5e lS TET EU EN LUSIT EE 5 2 SOUS ee CETERAE ee 5e DE 5 3 dec e ts 5 3 eee ee Se 5 3 INO Cally eo
55. fferent 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 e 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
56. fore 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 12 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 produ
57. from POD to some other MIDI device for backup like say a MIDI file player or a hardware sequencer or keyboard workstation things work pretty much the same way as they do for POD to POD transfers But we ll spell it out anyway You ll need a standard MIDI cable to get everybody talking Connect the MIDI OUT of your POD to the MIDI IN of the receiving MIDI devices Press the MIDI button on POD and check to see what MIDI channel it is set to Use the Up and Down buttons to set it to the same channel that your MIDI device is expecting to receive on Or alternatively change your other MIDI device to match the POD MIDI channel whichever ya wanna do is just fine so long as they both end up talking on the same MIDI Channel Transferring All Sounds To dump all the programmed sounds from POD to your MIDI recorder make sure that the POD MIDI button is lit up and press the POD SAVE button The POD s single digit display will say A which means send All sounds via MIDI and the Save button will flash as if to say press me again to start sending Start your MIDI recorder Now if you do press Save a second time the entire memory of your POD will be dumped to the receiving MIDI device Pressing any other button on POD will abort the transfer You also probably have to press STOP on your MIDI recorder once the transfer is complete Transferring Only Some Sounds To transfer only one or more individual sounds from POD to your MIDI recorder
58. ftware 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 TAP button and turn this knob the available cabinets are labeled in gray around the knob Choosing an Amp Model will automatically select an appropriate cabinet you can customize this Amp Cab pairing as described in Chapter 6 LE Tuner Button in the middle of the 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 Gt 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 Tuner Volume You can adjust the tuning volume of your POD by turning the Chan Vol knob while the tuner is active this doesn t affect the volume of your not in tu
59. g a channel its settings will not be reflected by the present knob positions like you may have left the Bass knob at minimum whereas the just recalled channel has this control set to max To change anything just grab the knob you want and tweak More on all that later CONTROLS amp CONNECTIONS Amp Models Bottom 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 4 We ve arranged the Amp Models around the knob so you get 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 for processing non guitar sources New with Version 2 0 software you have a selection of 32 Amp Models from this knob earlier versions could access only 16 To access models 17 32 hold down the TAP button and turn the Amp Models knob 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 below In fact with Version 2 0 software all amp related settings are automatically loaded when you turn the Amp Models knob Dri
60. g properly so you hear things like the Rotary Speaker emulation correctly in mono If you have headphones connected POD will always run stereo Cj A I R Mode Between Left and Right Outputs We discussed the benefits of POD s output in the first chapter of this handbook When you re setting up with POD here s the thing to know if you re plugging your POD into a guitar amplifier to use POD as a front end to change the amp s tone flip the Mode switch to AMP and set your amp for a clean tone This defeats the speaker microphone room tone simulation of the A I R processing If you re using POD in almost any other setup plugging direct into a mixer recorder PA power amplifier etc you want the DIRECT position of this A I R switch When running into an amp be sure NOT to plug in headphones as they will override the A I R switch position and turn on so that things sound right in the headphones but wrong on your amp See Chapter 3 to learn how to tune POD for your setup Foot Pedal Connector Top of POD illustration Looks like telephone connector on steroids This is where you connect the optional Line 6 Floor Board or FB4 foot controllers CONTROLS amp CONNECTIONS EJ MIDI In amp Out Top right of POD illustration 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 softw
61. he POD single digit display This is a reminder to you that you have tweaked the memorized channel CONTROLS amp CONNECTIONS 2 10 and that you should save it if you want the memory to remember the tweak To save your changes press the Save button EX The button will start to flash Press the Up and Down J buttons and you will see that you are switching through memory locations A B C and D in each of POD s nine numbered banks Pick one to store your sound in and press that Save button a second time The button s light will stop flashing and the sound is stored at the location you chose replacing the sound that was stored there before Doesn t get much simpler than that After the sound is stored you can bring it back any old time by simply pressing the Up and Down buttons to call up the location where you stored it See Chapter 7 to learn how to do all this with your feet on the Floor Board 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 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 sta
62. he key With relatively low front end gain highly interactive tone controls and tube rectifier sag it s great at getting a classic cranked sound for small gigs and recording Once again since the Twinmaster has no mid control we ve added a little bonus in the form of some post Amp Model mid contouring available via POD s Middle control As usual set this control to 12 o clock to get groovy with the unadorned Budda style vibe Black Panel 2 Hold Tap Black Panel The classic blackface Fender Twin in this case a 1965 Twin was a real workhorse Everybody used it from jazz and country players to serious rockers I remember seeing Johnny Winter at a concert where both he and Rick Derringer am I dating myself or what were using six Twins stacked in a pyramid each We were in the second balcony and it was REALLY loud even all the way back there The Twin has a lot of tonal flexibility and is at home in a great many different situations It never gets extremely overdriven and dirty mostly just louder a lot louder This is the amp for the classic surf sound Dial up the spring reverb switch on the tremolo crank up the volume and look out for bikinis Brit Class A 3 Hold Modern Class A Here s another Vox inspired Amp Model This model is based on Channel of a wonderful 1960 AC 15 The sound is similar to that of the Vox AC 30s that were studied for Brit Class A and Brit Class A 2 Amp Models but this
63. he sounds you store in two different POD channels say between your backing and lead tones In general you want to set the Chan Vol as high as possible to insure you re getting the best signal to noise ratio performance 15 Reverb 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 The back cover foldout Chapter 4 and Appendix A run down the details 16 Effect Tweak This knob varies the effect you ve chosen Turn it up and the effect will go deeper louder faster longer or just plain more The speed of the effects delay tremolo chorus flanger rotary speaker simulation is set by the Tap 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 CONTROLS amp CONNECTIONS 17 Effects Cabs This knob selects which effect or combination of effects you get once again all the details on effects are in the POD Effects chapter New with Version 2 0 so
64. ic spinning speaker a la the Leslie Delay Speed Delay Level Very quick delays will have no repeats for better slapback Delay Delay Speed Compression There are 5 Compressor ratios 1 4 1 2 1 3 1 6 1 1 Compressor Ratio Higher settings squeeze your volume more Delay Tremolo Delay Speed Range of The delay speed is set for a short slapback 100 ms Tremolos Delay Delay Speed Range of Chorus uses a Square wave LFO no feedback This is the Chorus Choruses rack type chorus setup Delay Delay Speed Range of Chorus 2 uses a Sine wave LFO approximately 10 Chorus 2 Choruses feedback This emulates an old Roland for classic stomp box chorus sound Delay Flanger Delay Speed Range of Light flange Flangers Delay Flanger 2 Delay Speed Range of Heavier flange inverted and with deeper range Flangers Delay Swell Delay Speed Swell Attack Automatic volume pedal swells Swell is a slow ramp up or Speed swell of volume when you play each note APPENDIX C MIDI PROGRAM CHANGES POD channels can be selected via MIDI program changes Some devices number programs starting at zero Some start at one We start at zero Manual Mode and then work our way along through the stored channels as shown in this table POD Channel MIDI Program POD Channel MIDI Program Bank 6 0 n E 04 Channel Channel Channel Channel D Channel A Channel B Channel C Channel D O O N NINN Oo
65. ich is doing its part to shape the tone of your POD Of course we have sometimes found that small open back combos sound better with the A I R switch in the DIRECT position you may want to experiment with both for your set up If you don t want the A I R DON T connect headphones to POD as they will override the A LR switch and turn the extra processing on so things sound right in the headphones and wrong on the amp Connect a standard guitar cable from the POD left output POD s mono output to the input of the guitar amplifier or plug in both Left and Right if you have a stereo setup Cabinet Tuning Mode Your POD can be tuned for optimal performance with a variety of systems when the A LR switch is set to its AMP position By default your POD expects be plugged in before an open backed cabinet If you want to plug into something else you ll want to change the Cabinet Tuning Mode To do this hold the Save button while powering up your POD The display will show a letter for one of the Cabinet Tuning Modes press the Up and Down arrows to pick the mode then press Save Use Mode when POD is amp your speaker cabs are feeding power closed back ideal for 4x12 cab Bo O feeding power amp open back ideal for 1x12 cab C default in front of combo head open back ideal for 1x12 or 2x12 cab in front of combo head closed back ideal for 4x12 cab GETTING SET UP SCENARIO Two POD PLays LIVE POD
66. ie Roland Soldano Arbiter and other amplifier and effect models are all trademarks of their respective owners which are in no way Rectified 2 modeled after 1995 Mesa Boogie Dual Rectifier Head Modern Hi Gain 2 modeled after 1989 Soldano SLO Super Lead Overdrive Boutique 2 modeled after Dumble Overdrive Special Drive Jazz Clean with Chorus modeled after Roland JC 120 Jazz Chorus Rev D CHAPTER 1 QUICK START GUIDE MANUAL I DON T NEED No STINKING MANUAL lel Register dnd Ger Great Pree Stull su sa desde lei Get On line Line 6 Internet Resources 5544s ERS 1 2 INTRODUCTION WELCOME THE POD Moe a bb m i iod atra baat tae le urna eat 1 3 AanpouscC ab Motels 8 d uut ticles 1 4 TUE tud DEL Ede OR ate hes ei ES 1 5 Customiing your Amp Models and ia 44 eds 1 7 Tone VAIS gt Data 1 7 CHAPTER 2 CONTROLS amp CONNECTIONS 2e1 CHAPTER 3 GETTING SET UP SUBE IC Pe ete ete is EE CO ET T LETT 3e SCENARIO ONE IN THE STUDIO Mount Up Mounting Accessories Available for POD EAR eee iG ha eem vade 3e Gimme Some A I R The All Important Air Switch a
67. ies pop up menu to navigate to another place if you want to save this library file some place else You can also change the name of your library by typing one here we recommend something like POD Factory Sounds and then you complete the Save by clicking Save 8 12 Step 7 Windows On Windows the Entry menu is at top of the screen with File and the rest of em From it choose Save as gt Selected Entries SoundDiver will give you a standard Save File dialogue box The SoundDiver software s Libraries folder has been automatically selected for you as the destination for your library file You can change the name of your library by typing one here we recommend something like POD Factory Sounds and then complete the Save by clicking the Save button 7 36 selected 4 Module Model Jd Device ID Data Type Location Date jJ Time 4 Size Comment Deep Editing amp MIDI Control STEP BY STEP WITH SOUNDDIVER Step 8 As a final check to make sure everything went as it should choose Open from the File menu and open the library you just saved You should see a window similar to the one at the left listing all 36 of your POD s memories Congratulations You ve now backed up the memory of your POD and gotten started with SoundDiver s library features in the process 8 13 Deep Editing amp MIDI Control STEP BY STEP WITH SOUNDDIVER A Few Other SoundDiver Tips We re done with the
68. ke the Dumble sound you might also want to check out the Line 6 Crunch model it was created to deliver a similar kind of tone Jazz Clean Hold Tube Preamp This Amp Model is modeled after the classic Roland JC 120 This transistor amp was known for a strident clean sound and built in stereo chorus When using the Jazz Clean Amp Model try cranking up the Treble for a shimmering clean sound that ll cut through just about any mix It s also perfect for that 80 s new wave sound Alternatively try backing off on the Treble and turn up the Bass and Middle for a darker jazz tone It ll give you an essentially flat response providing a balanced tone across the fret board for jazz chord melodies or single line phrasing MODELED AMPS amp CABS WHICH AMPS AND CABS ARE MODELED Cabinet Models The following Cabinet Models are available on POD and are accessed by holding the Tap button and turning the Effects knob You will probably want to use this Cabinet model with the Tube Preamp model for non guitar sources It is selected by default when you pull up the Tube Preamp Amp Model The Cabinet Model is automatically selected by the Amp Model You can customize these Amp Cabinet pairings as described in Chapter 6 POD EFFECTS DEEP EDITING POD EFFECTS DEEP EDITING For tweak heads and MIDI philes we ve included a handy MIDI editor librarian program which is made by emagic and called SoundDiver The program runs o
69. l 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 direct recording output The 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 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 the
70. ld be like a fine cognac smooth and warm going down but with a nice kick The Mid control is located before the Amp Model s Drive but the Bass and Treble controls are placed after the Drive for maximum range Line 6 Drive Our version of the modern super saturated high gain lead amp smooth yet biting All the tone controls here are post Amp Model for maximum control with minimum muddiness Again this unique overdrive tone was created by merging different tone shaping elements from different high gain amps It s like playing through a collection of amps simultaneously a studio technique that has made possible some of the greatest guitar tones of modern recordings Line 6 Layer builds on this idea with even more versatility With POD you can get this same kind of rich multi amp tone out of one combo a feat that wouldn t be possible with traditional guitar amps Line 6 Layer Line 6 Clean meets Line 6 Drive As we ve already mentioned many guitarists and producers have experimented with running multiple amps simultaneously with each amp making a contribution to the overall tone Stevie Ray Vaughn for example would split his guitar signal to drive a Marshall Fender Vibroverb and Dumble Steel String Singer simultaneously to get some of the great sounds on his records This Amp Model was produced by superimposing a traditional clean guitar tone and a particularly tweaked up variant of the Line 6 Drive The Drive knob acts as
71. m Changes The most basic thing to do with POD via MIDI is change channels You may have a foot controller or other device that sends MIDI program change messages Hook its MIDI OUT to POD s MIDI IN set the MIDI Channels of both devices to be the same and refer to the chart in Appendix C to see what program number on the foot controller will select which POD Channel Note that both Manual Mode and the Tuner can be selected with MIDI Program Change messages You can also send MIDI Program change messages to POD from a MIDI sequencer to allow you to change POD sounds automatically in sync with your sequences To minimize zipper noise when controlling parameter changes via MIDI try making gradual rather than sudden changes to POD settings Tweaking POD Tones with MIDI Controllers If you have a hardware MIDI fader box assignable MIDI controllers on a keyboard or a stand alone or computer software based MIDI sequencer you can take control of any POD parameter via MIDI The chart in Appendix D lists which POD parameter is controlled by which MIDI Controller Remember to make sure that the MIDI Channels have been set properly when first setting up your POD with the gear that will control it Full MIDI Automation of POD When you use POD with a MIDI sequencer you can automate any POD parameter using MIDI Controller messages This allows POD to give you the same kind of capabilities as Line 6 s acclaimed Amp Farm software plug in softwa
72. making one a virtual clone of the other Pressing any other button on the transmitting POD will abort the transfer saving the receiving POD Flextone II POD Pro from the big brainwash Flextone ll is transmitting These instructions are also printed on the back of the Flextone II near the MIDI jacks Hold the Save button and then press the Manual button The Channel A B C D lights will flash on the Flextone II Press and release D button then press Save The entire memory of the transmitting Flextone II will be dumped into the brain of the receiving POD so the POD now has all the same sounds as the Flextone II Pressing any other button on the transmitting Flextone II will abort the transfer saving the receiving POD from the big brainwash Transferring Only Some Sounds To transfer only one or more individual sounds from one POD to another here s the procedure POD or POD Pro is transmitting Start by having POD in normal operating mode no MIDI button lit and selecting the sound you want to transfer You can make edits to it if you like the POD is about to transfer whatever settings you make active So once you ve got the sound you want press MIDI Now press Save Use the Up button to change from A to P Deep Editing amp MIDI Control POD POD Pro FLEXTONE II TONETRANSFER VIA MIDI which means you only want to transfer ONE sound to the receiving POD Press Save again to make the transfer or press anything else to ab
73. marks of their respective owners which are in no way associated or affiliated with Line 6 These marks and names are used solely for the purpose of describing certain amplifier tones produced using Line 6 s modeling technology The Line 6 modeling technology provides POD with a wide variety of sounds and effects modeled after some of the most popular sounds of the classic amps effects and artists mentioned There are 32 Amp Models living within your POD plus 16 Cab Model selections When you turn the Amp Models knob you select an Amp Cab combination You can then mix n match different cabs with the amp by holding the Tap button and turning the Effects knob Chapter 6 tells you how you can customize these amp cab combinations We list all the Amp Models and the Cabinet Models below and describe the original equipment that inspired them Line 6 Clean To create this Amp Model we essentially grafted the top end of a JC 120 Roland s popular Jazz Chorus solid state combo onto the bottom end of a classic Marshall JTM 45 tube head to give you the crisp and clear top end of a solid state amp but with a rich satisfying tube amp style bottom MODELED AMPS amp CABS WHICH AMPS AND CABS ARE MODELED Line 6 Crunch Our boutique sound Not too clean but not too raging We spent some time with a rare Dumble combo and picked up a few tricks from it to put together this tone Great for modern blues or jazz this sound shou
74. mps like this set at about 10 o dock GETTING SET UP SCENARIO Two POD PLAYs LIVE POD Into a Power Amplifier Driving Speaker Cabinets lt LEFT MONO RIGHT if stereo OO Start with your amp knobs set to TONE controls set flat OUTPUT VOLUME Set as high as possible Stomp Boxes Live Setups amp You If you ve been playing guitar for a while you probably have some favorite pedals that you dig And even though POD has now graced your life with some pretty hip digital effects you probably still want to have the option of keeping those old pedals in your arsenal No problem Just remember that if you re going to use POD with those other effects boxes in front of your amp you ll need to think about where to place everybody in the line up If you have a distortion pedal or wah try positioning it in between your guitar and your POD Reverb and delay should generally go after the POD before the input that you are using to feed POD sound to your amp And things like compressor chorus flanger phaser tremolo and vibrato might work either before or after your POD depending on what sound you re looking for Putting a volume pedal after POD lets you control the volume without changing the tone Or put it before POD to control how hard you re driving POD s input which lets you pedal yourself to cleaner or dirtier tones If your amp has a line level effects loop you probably won
75. n 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 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 CONTROLS amp CONNECTIONS be sure you are plugging POD s outputs into line level not microphone or guitar level inputs 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 try to set the trim for those inputs to the minimum level and POD s Output Level to maximum when setting levels Left amp Right Output Top left of POD illustration These are balanced 1 4 TRS connectors and ready to rock with pro 4 dBu balanced equipment They will also work happily with unbalanced 10 dBV equipment and standard guitar cables If you are running POD mono use the Left output POD is smart if it sees that only the left output and no headphones are connected it will switch to mono summing the effects processin
76. n Macintosh and Windows computers and can turn your computer into a POD command station It lets you take remote control and do everything that can be done from your POD s front panel plus a bunch of other cool stuff like saving and swapping sounds on the computer as well as accessing additional effect parameters that lurk deep within the heart of POD All the details are in the Deep Editing amp MIDI Control chapter Once you ve looked over the basic information below on the POD effects you may want to check out that chapter to find out about the extras that a POD computer MIDI connection can bring you POD ONBOARD EFFECTS In addition to all the great Amp Models built into POD there are some great sounding effects To pick which effect you want to hear turn the Effects 17 Knob When you first select the Effect you want your helpful POD will preset the effects parameters so you re instantly ready to go with a great sound you can also customize this effect preset as described in Chapter 6 You can adjust the character of the effect you ve chosen by tapping the Tap EX J control and turning the Effect Tweak 16 knob like so POD EFFECTS POD ONBOARD EFFECTS Reverbs Reverb EJ is the effect that makes it sound like something is in a room It s basically a whole bunch of echoes smeared together to give you a sense of sound in an ambient space With POD reverb is always available You control how much with the Reverb kno
77. n 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 CONTROLS amp CONNECTIONS CONTROLS amp CONNECTIONS 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 Right edge of POD Flip this to bring your POD to life EJ Input Bottom right side of POD illustration Plug your guitar in here You techies will want to know this is a mono unbalanced connection Phones Bottom left side of POD illustration 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 4 Output Level Far left knob on the POD illustratio
78. n to some business with the rest of your POD effects This is where we get to light up that top arrow of the pair that the Mode Select switch points to Press the Mode Select switch EX to get that arrow lit Now notice that the six stomp switches that we were using for the Channel Select Mode also have an alternative set of labels This top row reads Distortion Drive EQ Trem Chorus Delay and Reverb but you re already seeing that on the handy fold out illustration and on the Floor Board itself right OK just checking And you sent in your registration card right It always makes us really happy to get those things The light above a stomp switch will be on if the effect that it controls is on The light will be off if the effect it controls is off There goes that easy to use technology again Distortion The Distortion on off switch works kinda like a distortion pedal with the distortion control set low and the output level cranked With a distortion pedal you kick the Distortion on and your sound is more distorted You kick it off and your sound is less distorted Same thing here What this does in actuality is increase the drive of your POD so you re hitting the Amp Model a little harder on the input Distortion always can add more Drive to your sound even if the Drive knob is already crammed up to max Thus finally you can get everything turned up louder than everything else Drive Boost Depending on when you buy
79. n two channels out and in on your computer system if you want to mix guitar with other instruments Computer users Plug your guitar into the computer s input preferably using a DI to get the signal level right Make sure the POD A LR switch is set to DIRECT Plug the output of the computer into POD and send your guitar signal from the computer through that output and listen to the POD output cranking out great amp tone as you play Remember to check for the CLIP light 10 to make sure yov re not overdriving POD s input Multi trackers Plug your guitar into the multi track s input preferably using a DI to get the signal level right Make sure the POD A I R switch J is set to DIRECT Take the output from the track on your multi track and feed it into your POD adjusting the level output to POD so you don t light that CLIP indicator In order to monitor POD through the multi track the recorded guitar signal has to be able to go from tape or disk to POD without you having to hear it otherwise you ll hear both the direct and POD processed guitar at the same time which ain t no good So you want a multi track with direct output from one or more channels or pre fader effect sends which means you can turn the monitor level for the track all the way down while still feeding signal from it to the POD via its effect send STOMP BOXES Got some old stomp boxes you want to run your guitar through in addition to POD No probl
80. nd How to Set It 0 eee eee eee 302 Picking The Right Inputs Line Level Inputs Are The 302 Ready to Play Anywhere The Versatile POD Works with Systems Large amp Small 302 Boom Boxes ex Small Portable E Oir SARS 303 Big Time Connections POD Setup in High End Studios ss 446 ss eden tbe ic ett waar ae hase 304 First Time sa Charm Simple POD Operation 4244 pan bak be awh anes 304 Changing History Setting Up POD for More Versatile Processing amp Later Tweaking 304 Direct Injection Direct Guitar Signal 305 Return to Sender Setting Up POD in a Send Return Configuration 305 Level Headed Setting set os ox ad gt 307 Radiation Alert Computer Monitors as a Source 8 307 Pedal Power Foot amp ontrol Options sor PO Sos ooa nm ele at ade qt ees Eu uou Rescue tabes 3 8 Not So Big Time Connections POD Setup in Small Studios s 1434 VI EE 309 Stompeboxcss Using POD conte ten Stu tet cante bl nt Rente tend esed eons 309 MIDI Mania Controlling POD with MIDI deo od ina band as fura qud pede nase EN Sas ed 3010 SCENARIO TWO POD PLAYS LIVE Mount Mounting Accessories Available for POD 595242 hes ch
81. ner mode POD sound Alternatively if you have a Floor Board connected the volume pedal will control the tuner volume too Tuner Reference Want a different reference than A 440Hz When you re in the tuner mode turn the Middle knob on POD while watching the display Hey it changes You can set the reference frequency anywhere from 436 445 Hz This setting is stored so you don t have to reset it every time you turn on POD if you decide you want to be different or if that piano in your rehearsal room has decided 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 CONTROLS amp CONNECTIONS LE Noise Gate Turns on and off the POD s built in Noise Gate More Noise Gate details in the POD Effects chapter 20 This control sets and displays the current tempo or speed of delay tremolo chorus flange rotary speaker To use the Tap control just tap the button at the tempo you want For Chorus and Flange effects the speed is actually displayed by the blinking of the button and set at twice the speed of the effect so you don t have to count to 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 Tap button and turn
82. ngs POD The boxed numbers throughout the following text refer to the fold out illustration Getting Connected So how s that Floor Board work exactly Well the very first thing is to plug it into your POD with the handy cable that came with your Floor Board We recommend you turn your POD off first but you do whatever you feel like it s your amp Then plug in your guitar turn on your POD scared you didn t we and just press that Volume Pedal on the far right side of the Floor Board ETzlall the way forward so you can hear something THAT S USING YOUR FEET FLoor THE FULL FEATURED FOOT Two MODES The first thing to know is that the Floor Board has two modes of operation Channel Select Mode and Effect On Off Mode The Mode Select switch 23 chooses which mode you re in Mine Looks Funny Your Floor Board may look a little different than the one illustrated on the POD manual s fold out back cover Older Floor Boards have the label Select Sound instead of Channel Select We decided to change the name to Channel Select for this mode since that s in fact what you do with it We changed Sound A B C D to Channel A B C and D too However the Floor Board s decorated it works the same CHANNEL SELECT MODE Let s start with Channel Select Mode Note the line that traces from the Mode Select switch EE and points to the two light up arrows below The top arrow lights if you ve selected Effect On Off and the bo
83. ntrol THAT S USING YOUR FEET FB4 SIMPLE CONTROL FoR POD FB4 SIMPLE FOOT CONTROL FOR POD The FB4 gives you basic control over channel switching with POD We tried to make it as simple as possible Turn off your POD Connect the FB4 to your POD with the thoughtfully included connection cable Turn on your POD Select Channel A B C or D by pressing the appropriate button on the FB4 The channel s light will be lit to indicate that the channel is selected If you press and hold down the button below the light for about a second your POD will switch to Manual Mode If you tap the button below the light two or more times it will set the Tap Tempo speed And finally if you unplug the FB4 from your POD and tap on one of its switches nothing will happen Note The FB4 is always selecting sounds from the currently chosen POD Bank Use the Up Down arrows on your POD to select a different bank Deep Editing amp MIDI Control MIDI Basics DEEP EDITING amp MIDI CONTROL MIDI BAsics What s MIDI MIDI Musical Instrument Digital Interface is a communications protocol designed to let various music making machines exchange information It allows one device to control another and several devices to all be used together in coordination In Out POD has two MIDI connections In amp Out You connect POD to other MIDI devices by connecting MIDI cables to these connections Each connection is a one way street information fl
84. ode What if you want to tune to a different reference than A 440Hz When you re in the tuner mode turn the Middle knob on your POD while watching the display on the Floor Board Hey it changes You can set the reference frequency anywhere from 436 445Hz This setting is stored so you don t have to reset it every time you turn on the amp if you decide you want to be different or if that piano in your rehearsal room has decided to be different THAT S USING YOUR FEET FLooR BoARD THE FULL FEATURED FOOT Wah Pedal So how about that wah pedal It s the one on the left Get yourself planted with your foot on there nice and comfortable Now press down with your toes let go and do it again You should see a little light turning on and off to the left of the wah pedal When the light s on the wah s on When the light s off the wah s off Neat Incidentally the POD wah is modeled after a late 60 s Vox wah with plenty of growl in the heel back position Now then turn the wah light on switch to the Black Panel Amp Model set your Drive to about 5 and do a little fast rhythm playing while you rock back and forth to the beat on that pedal Hang a disco ball unbutton your shirt to your navel assuming you don t have it that way all the time hang some gold chains around your neck and get ready to party You can do subtle things with the wah pedal too like turning it on just a tiny bit and leaving it there just barely care
85. ogram Changes MIDI Controls Line 6 Contact Customer Service amp Other Line 6 Products Warranty Info amp Instructions for Obtaining Factory Service AMO gt QUICK START GUIDE MANUAL DON T NEED NO STINKING MANUAL QUICK START GUIDE MANUAL DON T NEED NO STINKING MANUAL I Turn the POD OUTPUT LEVEL control all the way down to zero 2 Plug the POD LEFT and RIGHT OUTPUTS into your recorder or mixer s input or plug the left output into your guitar amplifier s input Or connect headphones to the PHONES jack on your POD 2 If you re plugged into a guitar amp set A I R switch to Otherwise set it to DIRECT 3 Plug the power adapter into the POD POWER CONNECTOR then plug the other end into an AC wall socket 4 Connect your guitar to the POD INPUT JACK 5 Flip the POWER switch near the POD power connector to fire up 6 Select an AMP MODEL 7 Set the CHAN VOL to max and the BASS MID and TREBLE to your heart s desire OUTPUT LEVEL sets the output level duh 8 Pick an EFFECTS setting and adjust the REVERB LEVEL and EFFECTS TWEAK so you re happy with the sound Tap the TAP TEMPO BUTTON to set the speed of the selected effect 9 Browse pre programmed settings using the UP DOWN arrows You can press the MANUAL button for a Manual Override that gives you where the knobs are is how it sounds operation 10 What number 10 You re already up and running But wait be
86. ols like the Reverb Tone you need to use a hardware MIDI controller or setup an on screen fader or other controller on your software MIDI sequencer to transmit the correct MIDI Controller number on POD s MIDI Channel To minimize zipper noise when controlling parameter changes via MIDI try making gradual rather than sudden changes to POD settings 8 9 Deep Editing amp MIDI Control STEP BY STEP WITH SOUNDDIVER 8 10 STEP BY STEP WITH SOUNDDIVER Step Hook your POD up to your computer s MIDI interface Use both the MIDI IN and MIDI OUT connections for bi directional communication so POD can talk to your computer and the computer can talk to POD Remember that POD s OUT connects to the computer s IN and the computer s OUT connects to POD s IN Make sure POD is powered on Step 2 Install the SoundDiver software on your computer We ve included SoundDiver installers on the accompanying CD We also strongly recommend that you surf the Support pages at www line6 com to check for an updated version of the SoundDiver installer Run the SoundDiver installer to get SoundDiver installed on your machine Now with your POD hooked up to the computer via MIDI and powered on launch the newly installed SoundDiver software Step 3 First you ll see the splash screen with Emagic s contact info including information on upgrading to the full version of the SoundDiver software You ll chen get a dialogue box to
87. ort One last important step the receiving POD POD Pro will now have its Edited light lit or if its a Flextone its Save light will be flashing In either case the sound you transferred is waiting to be stored into a memory location You must press Save on the receiving POD POD Pro Flextone II choose a destination and then press Save again to confirm that you really want that transferred sound to get stored at that location in the receiving POD POD Pro Flextone II Flextone is transmitting These instructions are also printed on the back of the Flextone II near the MIDI jacks Hold the Save button and then press the Manual button The Channel A B C D lights will flash on the Flextone II Press and release C button then press Save again to make the transfer or press anything else to abort One last important step the receiving POD will now have its Edited light lit and has the sound you transferred waiting to be stored into a memory location You must press Save on the receiving POD choose a destination and then press Save again to confirm that you really want that transferred sound to get stored at that location in the receiving POD s memory 8 5 Deep Editing amp MIDI Control BAckiNc POD PROGRAMS TO OTHER DEVICES 8 6 BACKING UP POD PROGRAMS TO OTHER DEVICES Its recommended that you backup the sounds programmed into your POD so that you can restore them in case of some future disaster If you want to transfer sounds
88. other whatever Stop recording and replay the track with the POD getting MIDI back from your sequencer and POD will make all the same moves as when you were recording You can even replay the track this time with only the MIDI track record enabled and the guitar track in playback and do all the automation tweaking you want right from the POD s knobs and buttons or your foot controller Or you can go in and edit those MIDI messages and make POD do something else Pretty neat huh Be sure to read the Deep Editing amp MIDI Control chapter if you plan to venture into this realm GETTING SET UP Scenario Two POD PLAyYs LIVE SCENARIO Two POD PLAYS LIVE If you re going to be using your POD in a live situation as either the front end for a guitar amplifier or for its direct output to a sound system here s what you need to know to get set up 3 11 Mount If you perform live you ll probably want to have the POD in a handy spot on stage One of the easiest ways to get it there is with the optional POD mic stand amp top adaptor you can get from Line 6 it s described on the POD Tools CD Rom and the Line 6 web site where it can also be purchased We know this is another shameless plug to get you to buy more gear but what the heck this really is a handy little item to get the POD s righteous red aluminum chassis wherever you need it for mid show tweaking And that custom POD carry case is just the bomb No
89. ows from the OUT of one device to the IN of another device To allow information to flow back you must connect a second cable from IN to OUT POD SENDS INFO TO YOUR OTHER GEAR THRU THIS CABLE AND RECEIVES INFO THRU THIS CABLE Deep Editing amp MIDI Control MIDI Basics 8 2 MIDI Channel MIDI allows 16 different channels of information to be transmitted and received through one MIDI cable The MIDI channel is independent of and has nothing to do with POD s channels for storing individual sound programs You tune POD in to listen to a particular MIDI channel like choosing a channel on a TV or a station on a radio and make sure the device that you want POD to listen to is transmitting on that same MIDI Channel To sec POD s MIDI channel press the MIDI button which will light up The single digit display will show you the channel POD is currently tuned in to Use the Up and Down arrows to select a different MIDI channel POD will display channels 10 16 by lighting up the decimal point to the right of the single digit So 2 means channel 12 You can also set POD to listen to all channels Omni mode by selecting A for all for the MIDI channel When in Omni mode POD will transmit on MIDI channel 1 MIDI Messages MIDI allows several different kinds of messages each with a different purpose MIDI Program Changes Program change messages tell a device to switch from one
90. pedance load at least 300 KOhms impedance 3 5 1 MOhm is ideal for the best results Most mixer inputs are relatively low impedance and therefore don t deliver ideal guitar tone you will tend to get a darker squashed sound if you plug the guitar in directly To avoid this we recommend buffering your guitar s signal before the mixer with a quality DI box or tonally transparent instrument preamp Look for a unit that delivers clean uncolored sound Steer clear of amp simulators You can use a guitar preamp as long as it is clean with a flat frequency response no tone shaping With that said you can sometimes get acceptable results plugging direct into a line level mixer channel if you have a guitar with hot active pickups since the active electronics output can have relatively low impedance For instance we ve sometimes plugged a guitar right into a channel on a Mackie 1202 VLZ cranked up the trim and gotten acceptable results Don t try to plug into a microphone level mixer input if you ve got active pickups because the extremely low impedance of mic inputs will load the active circuitry down too much Return to Sender Next we re gonna look at how you d connect your POD to a send and a return from your system Which you don t have to do but it gives the flexibility we talked about in the Changing History section a page or two back Configure things the way you would with a reverb you
91. r slap back The Effect Tweak knob controls the level Tap controls the delay time in other words how far apart the echoes are spaced from each other When you are using quicker delay times we cut down the number of repeats so you can get those rockabilly and surf slap back sounds You can fine tune the number of delay repeats by holding the Tap button and turning the Bass knob set the delay level by holding the Tap button and turning the Middle knob and fine tune your delay time by holding the Tap button and turning the Effect Tweak knob By the way we let you set the maximum delay level high enough that your delay s echoes can be louder than your direct signal You may find this handy for getting delay effect setups like U2 s The Edge is known for If you re using POD with a Floor Board or MIDI control the delay is always available even when some other effect is selected Just switch it on from the Floor Board Delay On Off switch or from the Emagic Sound Diver software or with a MIDI Controller message Appendix D lists MIDI Controllers POD EFFECTS POD ONBOARD EFFECTS Noise Gate POD includes a built in noise gate intended to reduce the hiss and noise guitar systems tend to put out when you re not playing especially at high gain settings since high gain means that noise is turned up along with your guitar sound The Noise Gate is on when its button 19 is lit Any time you want to disable the noise gate press the button so that
92. r with your the heel of your picking hand Or spin the Effects knob here and have POD do the job for you CREATING amp STORING SOUNDS USING THE CHANNEL PROGRAM MEMORIES CREATING amp STORING SOUNDS USING THE MANUAL MODE FEATURES When you are using your POD in Manual Mode all of the controls are active and the sound of POD always reflects the knob settings Sounds just like any ordinary guitar amp or pedal doesn t it Who says technology is threatening You know you re in Manual Mode by the way whenever the Manual button is lit but you probably already figured out that part Play with the knobs until you get a sound that you really like At this point you can either follow tradition and put tiny little pieces of tape on POD or mess it all up with grease pencil to mark your favorite settings or you can take a bold step into new technology and save your sound to one of POD s memory locations Which we re about to tell you how to do 6 1 in the next section of the manual appropriately titled USING THE CHANNEL PROGRAM MEMORIES So there you are with a sound that you really like wouldn t it be nice to be able to call it up any time you want it That s simple once you have it stored into one of the 36 POD channel memory locations How do you do it Just press the Save button EX It will start to flash Press the Up and Down buttons and you will see that you are switching through memory locations A B C and
93. re for Pro Tools TDM systems without the Pro Tools system Deep Editing amp MIDI Control OTHER THINGs You CAN Do WITH MIDI The POD front panel knobs all send out appropriate MIDI controllers as do the wah and volume pedals of the optional Floor Board foot controller that you can record into a MIDI track as you play through your POD along with a MIDI sequence Follow the Return to Sender hook up instructions in Chapter 3 to set up your audio Hook your POD s MIDI OUT to a MIDI IN on your sequencing setup Hook a sequencer MIDI OUT to POD s MIDI IN and make sure POD and your sequencer are set to the same MIDI Channel To allow MIDI controlled automation you need to set up a MIDI track in your sequencer to record the data flowing from POD s MIDI OUT Set up a MIDI track to receive POD s MIDI output record enable it and start the sequencer recording Slowly turn POD s Drive knob all the way up and then all the way down as your sequencer records and then stop your sequencer Now look at the data that s been recorded into the POD MIDI track on your sequencer You ll see that you ve recorded MIDI controller 413 messages This is the controller that s assigned to POD Drive parameter Play back the recorded MIDI track as you play through POD or play back recorded direct guitar audio through POD and you ll hear the Drive changes that you recorded into your MIDI track To automate POD parameters that aren t accessible from front panel contr
94. reverb to taste and start recording incredible mic d INTRODUCTION WELCOME THE POD up sound The included SoundDiver MIDI control software lets you use a Macintosh or Windows computer to do deep editing of these and other POD parameters With it you can design your own custom rig making new combinations of Amp Model and cabinet microphone emulation and adjusting the contribution of the spread of the sound as well 1 7 The 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 New with version 2 0 software 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 6 has all the details TRANSFER With your POD you get a constantly expanding universe of sounds and the ability to use those sounds with POD POD Pro 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 AND AWAY WE Go So now that you know what s i
95. rted saving press the Tap 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 your own taste so your customized version of the amp or effect comes up instantly when you turn Amp Models or Effects See Chapter 6 for the details on that MIDI This button is used to set MIDI channel and dump sounds via MIDI Details are in the Deep Editing amp MIDI Control chapter GETTING SET UP SCENARIO ONE IN THE STUDIO GETTING SET UP The numbers in black boxes below refer to the back cover foldout s POD illustration ALL PURPOSE BASICS Plug POD s power supply into the wall and connect it to the power input on the right edge 1 of your POD Plug the output of your guitar to the POD Input Ed If you want to listen to POD with headphones plug them into the Phones jack If you re gonna be PODding in a recording studio you ll want to check out Scenario One below If you re using POD for practice or live gigs flip forward a few pages and read up on Scenario Two SCENARIO ONE IN THE STUDIO If you re going to be using your POD in a recording situation here s what you need to know to get set up Mount Up When you re looking for the perfect spot to put your POD you ll want to know about the optional POD mic stand amp top a
96. s here is that the tone controls are located after the preamp tubes We worked with a 1990 JCM 800 with Master Volume to develop this model Incidentally some versions of JCM8005 get their distortion from clipping a diode The amp we modeled uses tube for distortion This is the metal sound Marshall made famous Although not MODELED AMPS amp CABS WHICH AMPS AND CABS ARE MODELED many people play Marshalls clean it s a great tone so you should also be sure to check out this model with a low Drive setting too Of course you can always pump up the drive and rage Rectified This model is modeled after a 1994 Mesa Boogie Dual Rectifier Tremoverb You can use this Amp Model to get that tight high gain sound used by bands like Dream Theater or Metallica Boogie made their mark in the late 70 s and early 80 s by adding master volumes and more gain stages to amps with Fender style circuitry You can hear the Fender heritage but with more punch in the mids The Boogie Dual Rectifier s tone controls are post distortion and as with the tone sections of most of the amps we based our models on the individual controls interact with each other and with the Drive With high drive settings you can scoop the mids and crank the bottom end for some great Seattle grunge sounds Modern Hi Gain The Soldano sound is intensely overdriven and also has EQ after the preamp distortion This oversaturated tone is well suited to thrash metal an
97. s to suit your tastes Try to set the POD Output Level so you re not overdriving the input of the amp be sure the switch is in the AMP position and you should be in business If you have a guitar amp with an effect return or a jack that lets you connect directly to the input to the power amp you can plug POD s output right into that connection to bypass the tone controls of the amp and avoid their coloring POD s tones GETTING SET UP ScENARIO Two POD PLAvs LIVE 3 14 POD Live Hook up Illustrations Pictures are handy Here are a few you may appreciate In all cases plug the left output of your POD into your amp s input for mono operation Experiment to get the best from your setup try the A I R switch in the DIRECT position this can work great with smaller amps and also try other knob settings on your amp POD As Front End for a Combo Amp or Head IO OOO Start with your amp knobs set to MID set to maximum BASS TREBLE set to minimum REVERB EFFECTS turned off DRIVE or other tone set clean INPUT MASTER VOLUME set for clean sound OUTPUT VOLUME Set as high as possible most amps like this set at about 10 o dock POD In Insert Return of a Combo Amp or Head RETURN G DOOOOOO N Start with your amp knobs set to MID BASS TREBLE INPUT DRIVE or other tone set to minimum REVERB EFFECTS turned off OUTPUT VOLUME Set as high as possible most a
98. select English or German SoundDiver is made by Emagic a German company Step 4 Macintosh Then you ll configure your ports make sure you are plugged into the right port on your mac Modem Printer or USB and that you ve checked the box for this port before hitting the OK button in the Preferences dialogue box Step 4 Windows SoundDiver will now probably give you a series of dialogue boxes to OK regarding MIDI ports These will say something like Port XXXX no longer exists and will include an OK button Typically you ll get two dialogues referring to SoundBlaster ports and eight referring to Unitor ports the Unitor is a particular MIDI interface Go ahead and OK all these dialogue boxes and then SoundDiver should give you the dialogue box we re about to describe in step 5 Deep Editing amp MIDI Control STEP BY STEP WITH SOUNDDIVER Step 5 SoundDiver should now establish communication with your POD like we said above make sure you have both MIDI In and MIDI Out connected to allow this and will give you a dialogue box asking if you d like to Request Device s Memories OK this dialogue and SoundDiver sucks all the sounds out of your POD and opens them in a window titled POD or something similarly inventive Step 6 You ll have a window that looks about like the one on the left A Use your mouse to move your on screen arrow pointer to the User Programs header bar as shown and click once Th
99. sponding light is lit above its Floor Board Channel Select switch right OK step on this switch a second time and hold it for at least a second Boom You ll find yourself transported directly to Manual Mode The Floor Board display will show a zero To get back out of Manual Mode press either Bank Up or Bank Down foot switch and you ll be switched right back to wherever you were when you entered Editing and Saving POD Channels with the Floor Board The basic story on editing the programmable POD channels is in the POD Effects Chapter With a Floor Board you ll find that the display EE will show an E for Edited whenever you ve edited a channel It will display 5 Save if you press the Save button on your POD in preparation for saving a channel When you decide you want to save an edited channel you can select any of the locations via the Floor Board as your destination Here s how EDIT A CHANNEL S SETTINGS TO YOUR LIKING 2 PRESS THE SAVE BUTTON ON YOUR POD 3 PICK THE MEMORY BANK YOU WANT TO STORE TO WITH THE BANK UP AND BANK DOWN SWITCHES ON THE FLOOR BOARD 4a ON YOUR POD PICK THE CHANNEL MEMORY LOCATION A B C OR D YOU WANT TO SAVE TO WITHIN THE SELECTED BANK AND 5 PRESS THE SAVE BUTTON TO COMMIT YOUR MASTERPIECE TO YOUR POD s MEMORY 4B SKIP 4A AND 5 AND JUST KICK YOUR CHOSEN FLOOR BOARD CHANNEL SELECT SWITCH TWICE TO SAVE INTO THAT CHANNEL THAT S USING YOUR FEET FLooR BOARD THE FULL FEATURED
100. ssing your sound But then that s not as much fun as playing the theme to Shaft is it Volume Pedal 7 5 Not nearly as fun as wah pedal but arguably more useful and it doesn t require you to have Very Large Hair to use it convincingly Put your foot up on that thing ET It s the one on the far right Press the volume pedal forward with your toes for loud and back with your heel for quiet The volume pedal is tapered for a very musical swell It starts out slow and then gets faster as you move your toe down very much like an Ernie Ball volume pedal Many guitarists used to switch potentiometers in their volume pedal if they wanted to gradually swell an extremely overdriven tone POD is hip enough to know about this When you select a low gain Amp model to the left hand side of the 16 position switch POD automatically chooses the normal volume pedal taper and sets up the volume pedal to control the guitar s volume before the preamp Then when you select a high gain amp type your POD changes the taper and re patches the volume pedal location to be post preamp as this is the more valuable position for a volume pedal with this kind of amplifier tone With the SoundDiver software you can change the Volume Pedal position amp tapers as you like with any Amp Model THAT S USING YOUR FEET FLooR BOARD THE FULL FEATURED FOOT 2 EFFECT ON OFF MODE Alright So that wah pedal was pretty fun but now you want to get dow
101. stage incidentally this additional circuit became known as Top Boost The AC 30 with Top Boost was the amp made famous by many British invasion bands Much of the unique character of the Vox sound can be attributed to the fact that Class A amps overdrive in a very different way than Class AB Brian May of Queen Mike Campbell of Tom Petty s Heartbreakers and The Edge of U2 have also used classic AC 30s to make their music On this Amp Model POD s Middle control acts like the Cut knob on the AC 30 Although usually played fairly clean a cranked AC 30 has a great saturated lead tone a la Brian May on the early Queen albums A non Boost AC 30 is modeled for POD s Brit Class A 2 Amp Model which comes up in a few more pages MODELED AMPS amp CABS WHICH AMPS AND CABS ARE MODELED Brit Blues This Amp Model is based on a circa 1964 65 JTM 45 head with block logo predates the scrolled Marshall logo complete with a gold Plexiglas Plexi front panel although the sound normally associated with Plexi amps comes from the late 60 s 50 watt version that was the inspiration for the next in POD s line up of Amp Models The JTM 45 marked the beginning of Marshall s transition from a mellower Fender like tone to the distinctive bright crunchy sound of the later Marshalls Brit Classic Modeled after the infamous Marshall Plexi coveted by tone connoisseurs the world over By this time ca 1968 Marshall had completely
102. t Use SO eae ds i edited duties 5 4 504 DSR oe i Se che eo M abate gto E ae ta a 5e5 us s acto ic e s ent rk m EE e DR oda fol e Une o 5e6 CHAPTER 6 CREATING amp STORING PROGRAMS Using the Manual Mode Features 13 4 de pae OUO UI PEE OC see Ae eh Using the Channel Propran Vic stot ee e rede p Td Od Vb an POD Soundsom tie Webs ee eS 692 Your POD Sounds Transfer to POD Pro and Flextone II Series Amplifiers 692 Swappime POD o or dor en duo t ats e ra ded dac eer 692 Edit Mode ri exse dao ert vb RUP Bh nie dawg Bas uae e Tan dot da 693 Cistomizine Amp Modeland obe ore dtes es 694 About ustom anon ebbe CS ep Dee eae 6 4 dE HEC on Mode na a e D tae aes ke 696 Memory Reset Returning your POD to its Factory Programmed State of Mind 69 CHAPTER 7 THAT S USING YOUR FEET Floor Board The Full Featured POD Foot Controller POD Poot Controller oe CNS SS SS Make aes 1 wo Modes 1 Channel Select Mode 2 WYRE
103. t includes the classic Fender glassy high end plus the snap and bite of these vintage amps Things don t really get too crunchy until you get to the top range of the Drive knob The tone controls provide more range than the blackface Deluxe or Bassman Line 6 Crunch 2 Hold Tap Line 6 Crunch This sound was crafted during our studies of the 68 50 Watt Marshall Plexi But unlike the Plexi this MODELED AMPS amp CABS WHICH AMPS AND CABS ARE MODELED Amp Model provides more wide ranging tone controls With the Plexi once you re overdriven the tone controls really don t do much but POD will allow you to scoop out the mids even at the highest Drive settings Line 6 Blues Hold Tap Line 6 Drive This tone is based on the 65 Marshall JTM 45 Bluesbreaker but incorporates wider range tone controls Once you get into higher Drive settings this Amp Model begins to transition into a variant of the Budda Twinmaster a high end boutique amp for sweeter overdrive tonality Line 6 Insane Hold Tap Line 6 Layer Our goal here was to provide you with as much input gain distortion as possible short of complete meltdown You get ridiculous rich tube drive to shame the distortion of pretty much any amp on the planet sort of like a Dual Rectifier on 10 being used as a preamp for a Soldano while still retaining tonal definition and character As a result you get way lots of bottom end and cabinet character with tons of wide ranging tone
104. t want to try to hook your effect send into the POD input since POD s input was designed for guitar level inputs you can use just the return as mentioned above with your guitar plugged right into POD 3 15 GETTING SET UP ScENARIO Two POD PLAYvs LIVE 3 16 Pedal Power POD has a couple of foot control options the Line 6 Floor Board and FB4 While we ll go into all the details in a later chapter for now it s good to know that the FB4 is a four button foot switch that allows you to select between four POD memories and Tap your effect speeds and tempos Its big brother the Floor Board allows hands free selection of any of the sounds programmed in your POD s channels plus a wah pedal a volume pedal stomp box style individual on off control of POD effects Tap control for effect speeds tempos and tuner control Whichever you Line 6 foot controller you choose it will plug into the POD 7 Pedal jack You can also control your POD with a standard MIDI control pedal MODELED AMPS amp CABS WHICH AMPS AND CABS ARE MODELED MODELED AMPS amp CABS WHICH AMPS AND CABS ARE MODELED Note For the following description of the Line 6 Amp Models and other references that you will find throughout this manual please be aware that Fender Marshall Vox Boogie Soldano Peavey Roland Matchless Arbiter ADA Leslie and other amplifier model designations and the names of musical artists and groups and effects are all trade
105. ter and inform you of advance information upgrades and other news Thanks in advance for filling out your registration card and sending it to us And good luck in your music Line 6 Inc warrants this product when purchased at an Authorized Line 6 Dealer in the United States of America or Canada to be free of defects in materials and workmanship for a period of one year from the date of original purchase only upon completion and return of the Line 6 Warranty Registration form within 30 days from date of purchase Please contact your distributor for information on warranty and service outside USA and Canada During the warranty period Line 6 shall at its option either repair or replace any product that proves to be defective upon inspection by Line 6 Line 6 reserves the right to update any unit returned for repair and reserves the right to change or improve the design of the product at any time without notice This warranty is extended to the original retail purchaser This warranty can be transferred to anyone who may subsequently purchase this product within the applicable warranty period by providing Line 6 with all Warranty Registration information for the new owner and proof of transfer within 30 days of the purchase Final determination of warranty coverage lies solely with Line 6 This is your sole warranty Line 6 does not authorize any third party including any dealer or sales representative to assume any liability on behalf of Line 6 or
106. the list and then chose Request that would instruct SoundDiver to Request this sound from your POD in other words the parameters that define the sound are sent from POD to the computer so now they both have the same information what was in POD has been copied to the computer as well Keep these commands in mind any time your POD and computer don t seem to be dealing with the same information you can use Transmit and Request to get your POD and computer back in sync Deep Editing amp MIDI Control SOUNDDIVER SETUP TROUBLE SHOOTING SOUNDDIVER SETUP TROUBLE SHOOTING There are a couple of considerations with SoundDiver and Windows sound card systems Here are some troubleshooting hints courtesy of Line 6 s own product support hero George Van Wagner 1 SoundBlaster type cards have more than one MIDI driver The system will usually default to the driver for the built in synth on the card rather than the external MIDI port This means that you must select the correct driver before SoundDiver can see the POD 2 MIDI cables must run from out to in and vice versa don t connect POD s MIDI In to your computer s MIDI In connect POD s MIDI In to your computer s MIDI Out Think of it in terms of the direction that information is flowing out of the POD in to the computer Out of the computer in to the POD 3 MIDI channels must be set to the same value The quickest way to ensure communication is to simply set the POD
107. to make any warranty for Line 6 Line 6 may at its option require proof of the original date of purchase in the form of a dated copy of the original authorized dealer s invoice or sales receipt Service and repairs of Line 6 products are to be performed only at the factory see below unless otherwise authorized in advance by the Line 6 Service Department Unauthorized service repair or modification will void this warranty To obtain factory service Contact Line 6 at 805 379 8900 8AM to 5 30 PM Monday through Friday Pacific Time and request the Product Support department or email support line6 com If necessary you will be given a return authorization RA number Products returned without an RA number will be returned to you at your sole expense Pack the product in its original shipping carton and attach a description of the problem along with your name and a phone number where Line 6 can contact you if necessary Ship the product insured and freight prepaid to Line 6 Product Support 6033 De Soto Avenue Woodland Hills CA 91367 DISCLAIMER AND LIMITATION OF WARRANTY THE FORGOING WARRANTY IS THE ONLY WARRANTY GIVEN BY LINE 6 AND IS IN LIEU OF ALL OTHER WARRANTIES ALL IMPLIED WARRANTIES INCLUDING WARRANTIES OF MERCHANTABILITY AND FITNESS FOR ANY PARTICULAR PURPOSE ARE HEREBY EXCLUDED UPON EXPIRATION OF THE APPLICABLE EXPRESSED WARRANTY PERIOD LINE 6 SHALL HAVE NO FURTHER WARRANTY OBLIGATION OF ANY KIND EXPRESSED OR IMPLIED
108. 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 5 The Line 6 modeling process is a patented 100 digita
109. ts will all start a flashing and you can let go of those buttons now You have entered the Customization Mode where you get to put your very own stamp on the settings called up by the Amp Models and Effects knobs To understand how this Customization works we ll start with an explanation of what happens when you turn the Amp Models and Effects knobs Turning the Amp Models knob picks an Amp Model and turning the Effects knob picks an effect right Actually each of these knobs is setting a number of parameters behind the scenes When you pick an Amp Model POD sets the following controls to values determined by the Amp Models knob CREATING amp STORING SOUNDS CUSTOMIZING AMP MODELS amp EFFECTS Controls affected by the Amp Models Knob Middle T Wah Minimum You only get access to these extra controls via the SoundDiver software or MIDI In the same way turning the Effects knob sets all che parameters related to the effect you choose Customization allows you to store your own personal favorite adjustments for all these parameters so they live on the 16 positions of the Amp Models and Effects CREATING amp STORING SOUNDS CUSTOMIZING AMP MODELS amp EFFECTS knobs This way when you turn the Amp Models knob to the Rectifier position you ll get your personal Rectifier with all the controls in the list above set for your very own version of the Rectifier Same thing for the Effects your Chorus Tremolo etc is al
110. ttom arrow lights if you ve chosen Channel Select mode Give that Mode Select switch a kick if necessary and get that lower arrow Channel Select lit Banks The two left most stomp switches on the bottom row on your handy back cover foldout Floor Board diagram are labeled Bank Down and Bank Up A Bank is a section of POD memory that holds four channel settings The POD has nine memory banks total These memory locations come pre loaded with some tasty little tones created at Line 6 but you can change them into whatever you want and store those changes back into one of the memory locations You know which Bank you ve got because the Floor Board s display 25 will show you the same thing as your POD The Floor Board notes that you can press the Bank Up amp Down buttons at the same time to switch between Preset and User Banks This only applies to some of our guitar amplifier products not to POD THAT S USING YOUR FEET FLooR BoARD THE FULL FEATURED FOOT Channel Select So now that we ve got this whole Bank thing down let s move onto the other four switches on the bottom row These let you pick which of the four channels A B C or D you want to use in the bank you ve selected Pick your Bank EZ hit one of the Channel Select switches 5 and you re ready to roll Manual Mode Hey what about Manual Mode Don t worry you can get there any time Let s say you have a particular Channel selected The channel s corre
111. twisting POD s Output Level and Chan Vol knobs up to maximum If your equipment has a couple of open line level only inputs you ll probably get better performance by plugging into these rather than the wide ranging mic to line level trimmed inputs Ready To Play Anywhere POD makes friends easily It s right at home next to a multiple hundred thousand dollar bajillion input SSL console and will just as happily do its thing with your portable cassette recorder Here s how to hook up starting from the simple stuff and working our way up the recording system food chain GETTING SET UP SCENARIO ONE IN THE STUDIO BOOM BOXES amp SMALL PORTABLE STUDIOS Connect the output of the POD E to the input of your system Ideally you want to connect both right and left outputs to your gear and run stereo Make sure the A LR switch 6 is set to DIRECT plug your guitar into the guitar input and away you go Set your POD Output Level 4 so that you re getting plenty of signal feeding into your gear but not so loud that it s overdriving your system and distorting Try turning the Amp Model knob 1 to POD Clean set POD s Drive FE to the 9 or 10 o clock position and Chan Vol Now play with the POD Output Level knob and any input volume control on your system so you can get the maximum sound level out of your POD without going so far that you overdrive the input and cause unwanted distortion If you ve got some headphones handy
112. ustomization Mode The first thing to do is get an Amp or Effect setting that you really like and want to store to the Amp Models or Effects knob This amp or effect setting can come from a factory preset one of your own edits a sound you downloaded off the web or a sound you ve tweaked up in SoundDiver Whatever its source all you have to do is get that sound into your POD so it s active and you re playing though it With that done you ll hold and keep holding the Save button then press the Manual button The Save Manual A and B lights will all start a flashing and you can let go of those buttons now You have entered the Customization Mode If you use the Up Down buttons to select A now you will instruct your POD that you want to save your present Amp settings to live on the Amp Models knob If you select B your POD will understand that you want to save your current effects setting to the Effects knob And then you ll press the Save button to finalize your choice Got it Here are the steps in handy list form Get an amp or effect you love happening on your POD 2 Hold Save and press Manual Save Manual A and B lights flash 3 Use Up Down arrows to select A Amps or B Effects 4 Press Save to complete the deed MEMORY RESET If for any reason or just for the sheer mad joy of it you decide you need to reset your POD s memory to its factory programmed state hold down the Up and Down buttons as you turn on the po
113. ve 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 set by the knob positions instead of being automatically set with the amp selection Complete details are in Chapter 6 Drive Knob to the left of the button panel This knob controls how hard 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 Following the arc of knobs up and to the right Bass Middle Treble Just like a regular guitar amp only when you change Amp Models CONTROLS amp CONNECTIONS 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 Tap button and turn the Treble knob The detail is in the Tap HOLD Functions 2 5 section that begins in another couple pages or so LZ Chan Vol This knob controls the relative volume level of the channel you are playing through Use this to balance levels between t
114. w back to educational stuff Gimme Some A I R When you re playing live with POD you ve got a choice of setups You can plug straight out of the POD s outputs into the house system for awesome tone without the hassle of mics and cabinets and all that other stage setup You can also choose to run POD into a power amp and speaker cabinets using it as a preamp Or you can plug your POD in between your guitar and a guitar amplifier so the POD acts as a tone shaping front end for the amp For plugging into a PA or other sound system flip the KJ A I R switch to its DIRECT position In this mode the A I R DSP is active and you are getting a virtual version of the speaker cabinet air microphone experience that s so good you may never use a regular guitar amplifier and microphone set up on stage again The POD 1 4 TRS outputs are versatile merrily sending their magic tones into 4dBu balanced or 1OdBV unbalanced inputs Quality cables are obviously recommended for best performance GETTING SET UP ScENARIO Two POD PLAYvs LIVE 3 12 POD Takes Over If your POD is running into a power amp or speakers or into the front end of a guitar amplifier you generally want to switch the 6 switch to the AMP position This disables the part of the digital signal processing which is simulating a speaker moving air and microphone which you probably don t want because you ve got a real physical speaker right there in the guitar amp wh
115. want to be able to track your guitar unprocessed and audition the POD processing as you are playing or tracking So for instance if you have a mixer with direct outputs from some or all of its channels along with a separate tape or disk recorder you ll do something like this GETTING SET UP SCENARIO ONE IN THE STUDIO SET A I R SWITCH TO DIRECT AUDIO FROM RECORDER FEEDS POD or Effect Send Stereo Input DIRECT GUITAR FEEDS RECORDER INPUT Multi track tape or Track Input disk base recorder Track Output PLUG GUITAR IN HERE WITH D I BOX Effect Return or Stereo Input Mixer Channel Return To Sender Illustration Hooking up POD to a mixer send return FEEDS TAPE RETURN Plug the guitar into your DI Plug the DI into a mixer channel with a direct out Set the trim on your channel so your input levels look good Plug the direct output from the mixer channel into one of your recorder s track inputs and set the recorder to monitor the input to that track Connect the recorder s track output to another mixer channel input that has a direct output Plug that direct output into your POD s input and plug the POD outputs into one of your mixer s stereo GETTING SET UP ScENARIO ONE IN THE STUDIO channel inputs Make sure the POD A I R switch is set to DIRECT You should be all ready to play your guitar and hear it POD processed
116. ways just one knob click away So where is stuff going to be saved exactly If you re customizing the Amp Model then you ll be saving to the knob position of the selected Amp Model For instance if your sound uses the Rectifier and you do the Customized Save of the Amp settings you will now get those settings whenever you turn the knob to the Rectifier position Alternatively if your sound uses the Small Tweed then doing the Customized Save will save your settings there Your POD will choose the correct place to store the information regardless of the present physical position of the Amp Models encoder so don t worry you can t accidentally copy your Modern HiGain settings to the Small Tweed position Same deal goes for the effects your POD knows whether you re using Tremolo or Rotary Speaker or whatever and will save to that knob position So what if you re not sure which Amp Model or effect you are using right now and want to find out before you make your Customization That s easy too Just press and keep holding the Save button and turn the Amp Models or Effects knob Once you have them in the right position both the arrows for the tuning indicator will light up The Tap light will also light solid if your Amp Model is part of the second layer of models 17 32 So now that you know exactly what you re getting yourself into lets get to it CREATING amp STORING SOUNDS RESET Activating C
117. weed Blues Incidentally when Jim Marshall built his first amps with Ken Bran they were heavily influenced by the early Bassman One of the interesting things about the Bassman is just how interactive the Mid and Treble controls are The Mid control isn t a bandpass as in most tone control setups Instead it s almost like a second treble control The two are additive so if you re running the Middle knob higher than halfway up you ll find that the Treble control might give you more bright than you really want On the other hand when you turn the Middle knob down you ll probably want to boost the Treble The Bassman like many of the amps modeled for POD didn t have a master volume So to get the kind of tone that the Bassman can deliver at higher gain settings you had to crank it up loud enough to do some serious damage to anyone who might be standing close by With POD you can get that kind of tone at a bedroom or studio level or through your headphones even Try a Drive setting of about 4 or 5 it s guaranteed to dredge up the best RGB licks you know Black Panel The Holy Grail for many blues country and roots players has been a blackface Fender Deluxe Reverb Of course now that POD s here that may all change After listening to quite a few candidates for modeling we stumbled upon an extremely cool 64 Deluxe Most players love a Deluxe when it s turned up to about 7 for a nice gritty sound that cleans up when you ba
118. wer That ll blow your POD s memory and reset it just like it was when it left che Line 6 factory Warning This will erase ALL the channels as well as the custom amp and effect settings you might have created So be sure and ask yourself Do I really want to do this If the answer is yes go on ahead with your bad self THAT S USING YOUR FEET FLooR BoARD THE FULL FEATURED FOOT THAT S USING YOUR FEET You really get the most out of your POD with a foot controller Two different foot controllers can be used Line 6 s Floor Board and FB4 FLOOR BOARD THE FULL FEATURED FOOT CONTROLLER FOR POD Using the Floor Board with POD lets you access many features that are not available otherwise This all steel chassis oh so stylish foot control wonder gives you plenty of stuff A volume pedal A wah pedal with a Crybaby style toe down on off switch so you can kick the wah effect in and out Stomp box style on off control of your POD s effects Channel switching Plus Tap Tempo and Tuner control If you haven t already discovered the back panel foldout get set for a surprise If you have go ahead and jump to the next paragraph Still here Alright flip to the inside back cover of this manual Hmm looks like the cover is all folded up Unfold it and hey presto It s your very own POD road map The idea is to have this handy pictorial reference always opened out while you re breezing through this manual and becoming an expert on all thi
119. with Line 6 These marks and names are used solely for the purpose of describing certain amplifier tones produced using Line 6 s modeling technology The Line 6 modeling technology provides POD with a wide variety of sounds and effects modeled after some of the most popular sounds of the classic amps and effects mentioned here Volume Amp Model Based On Pedal Position Bright Switch Yes Spring Yes Yes Yes Room Line 6 Clean Line 6 2156 Century Clean Line 6 Crunch Line 6 Thick Grindage P P Line 6 Drive Line 6 Industrial Strength OD Post oom Line 6 Layer Line 6 Clean meets Psychotic Drive Post 2 2 2 2 2 2 2 P w ojo 1 39 9 3 3 3 3 Small Tweed Tweed Blue Black Pane Modern Class A N N N prin prin Brit Class A 63 Vox AC 30 with Top Boost Ye D P P P P P P S P Brit Classic 68 Marshall Plexi 50 watt Brit Hi Gain 90 Marshall JCM 800 Post Rectified 94 Mesa Boogie Dual Rectifier Tremoverb Combo Post Modern Hi Gain 89 Soldano X88R Preamp Post Fuzz Box 60 s Dallas Arbiter Fuzz Face Post re re re re re re re re re re re re re re re re re re re e Brit Blues 65 Marshall TM 45 Line 6 Twang Fender Deluxe and Bassman with more tone control range Line 6 Crunch 2 68 Marshall Plexi 50 watt with more tone control range Line 6 Blues Marshall TM 45 meets Budda Twinmaster meets Line 6 P P P
120. wner these amplifiers tend to have a number of features in common the clean channel is very sensitive to attack and dynamically MODELED AMPS amp CABS WHICH AMPS AND CABS ARE MODELED responsive and the drive channel has a thick liquid singing sustain that doesn t lose string definition when driven hard POD s tone controls on this Amp Model are quite subtle like those of the Dumble itself Rectified 2 HoldTap Rectified This Amp Model is modeled after a 1995 Mesa Boogie Dual Rectifier head As with the Tremoverb combo that was modeled for the POD Rectified Amp Model the Dual Rectifier was part of Boogie s more modern high gain approach for that big hair sound In contrast to 4ell the earlier Boogies the Dual Rectifier s tone controls have more influence at high gain settings so you can scoop the mids and increase the bottom end Modern Hi Gain 2 Hold Tap Modern HiGain This sound is modeled after a Soldano SLO Super Lead Overdrive head With snake skin tolex and everything Unlike the X88R preamp used for the POD Modern Hi Gain Amp Model the SLO includes a presence control plus other little details that give it a bit of a different sound With the Drive control cranked way up you ll get sustain for days Go out n ave a bite when you come back it ll still be sustaining Boutique 2 Hold Tap Fuzz Box Based on the Dumble Overdrive Special Drive Channel just described If you li
121. y 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 INTRODUCTION WELCOME THE POD 1 6 and speaker cabinet e 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 n 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 di
122. you ve made a change to your stored channel memory and if you like it CREATING amp STORING SOUNDS CUSTOMIZING AMP MODELS amp EFFECTS better that way you should use the Save button to save it This is what s called Edit Mode since you ve done just that edited a stored channel To commit your edit to POD s memory press Save and it will start to flash Press it a second time and the sound will be stored into the currently selected memory If you want to choose a different memory location for the save then use the Up and Down buttons once you ve got Save flashing and pick the memory you want If you don t want to save your edit that s OK too just ignore the Save button If you decide not to save after pressing Save you can touch the Tap Manual Tuner Noise Gate or MIDI button to abandon saving Keep in mind that if you switch to another channel without saving your edit all your sound changes made during that edit will be forgotten 6 4 CUSTOMIZING AMP MODELS amp EFFECTS New with Version 2 0 software you can customize the settings that are called up by the Amp Models and Effects knobs Using this powerful new feature you can pack your POD with all the special sound genius that only you possess and have this brilliance available instantly at the turn of a single knob Here s how it works About Customization Mode Hold and keep holding the Save button then press the Manual button The Save Manual A and B ligh
123. your Floor Board you may find that the Drive Boost switch is just labeled Drive instead What gives While the switch does control Drive on our older AxSys 212 Digital Guitar Amplification Systems for our later products like POD it s actually set up to give you a volume boost Our users asked us to put in this capability an easy to use volume boost cut control so here it is The idea is that you can use this for a lead boost when you want to get a bit of extra volume and jump out over the band or a rhythm cut when you THAT S USING YOUR FEET FLooR THE FULL FEATURED FOOT want to drop your volume back a bit like when you switch from lead to rhythm parts With Drive Boost on the light is lit at the Floor Board you re getting the full boosted volume With Drive Boost off your volume is backed off a bit In light of all this good stuff newer Floor Boards label this control Drive Boost Of course we fully expect that those vintage Floor Boards will be highly prized in the future because of this EQ The EQ on off switch will kick in a presence boost of 6 9 dB depending on which amp model is chosen The abbreviation dB stands for decibels a measure of sound volume A presence boost of 6 9 dB is just a fancy way of saying your sound gets a bit brighter In keeping with our attention to amp tone detail the frequency range covered by the presence boost varies according to how the original

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