Line 6 POD PRO Manual
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|bfpetit||5:53pm on Sunday, August 22nd, 2010|
|Very impressive cleaner!!!!! WORKED PERFECTLY ON MY LAPTOP LCD SCREEN!!!! Very good, but beware of installation This Guitarport-Rifftracker setup is a really elegant piece of work.|
|suseuser04||7:07pm on Sunday, May 23rd, 2010|
|The Line 6 pod studio gx is a audio interface which makes it possible to connect your guitar, keyboard or microphone to your laptop or pc.|
|karlgren||1:43pm on Wednesday, March 10th, 2010|
|How long have you been using it? About one month. - Which feature do you like the most / the least?|
|digidude||10:19am on Wednesday, March 10th, 2010|
|A great little device This is a great little device that comes with good amp simulation software.|
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POD Pro Manual Intro - Rev C Page 1 Monday, September 11, 2000 10:56 PM
An in-depth exploration of the revolutionary technologies and pulsing tonal pleasures that power your POD Pro, plus insider information on its optional companion Line 6 foot controllers the Floor Board and FB4.
Electrophonic version available at www.line6.com and on accompanying CD. Revision C.
REDUCED SIZE BACK COVER FOLDOUT FOR ELECTROPHONIC PILOT'S GUIDE
POD PRO FRONT PANEL:
TUNER NOISE GATE TAP (HOLD)
MODERN CLASS A BRIT CLASS A BLACK PANEL BRIT BLUES TWEED BLUES BRIT CLASSIC SMALL TWEED BRIT HI GAIN LINE 6 INSANE RECTIFIED LINE 6 DRIVE MODERN HI GAIN LINE 6 CRUNCH FUZZ BOX LINE 6 CLEAN TUBE PREAMP
REVERB LEVEL OUTPUT (CAB SELECT) EFFECT TWEAK
INPUT CLIP SIGNAL
DRIVE MIDDLE TREBLE
44.1KHz 48 KHz EXTERNAL DELAY DELAY/COMPRESSOR ROTARY SPEAKER 2x12 DELAY/TREMOLO FLANGER 2 DELAY/CHORUS 1 FLANGER 1 DELAY/CHORUS 2 CHORUS 2 DELAY/FLANGER 1 LINE INPUT GUITAR INPUT CHORUS 1 DELAY/FLANGER 2 TREMOLO 1x8 OFF DELAY/SWELL COMPRESSOR BYPASS
THE GUITAR RECORDING & LIVE SOUND SOLUTION
(HOLD TAP FOR ALTERNATE FUNCTIONS) (DISTORTION ON/OFF) (DELAY FEEDBACK)
0 (DELAY LEVEL) 10
(PRESENCE ON/OFF) (BOOST ON/OFF) (DIGITAL OUT GAIN) (EFFECT/TAP SPEED)
Hold TAP and turn the Effects knob to select Cab Models.
AMP MODELS 1-16:*
Type: 1x8 1x12s
AMP MODELS 17-32:*
Hold TAP and turn the Amp Models knob to select Amp Models 17-32.
Effect Bypass Compressor Tremolo Tap n/a n/a Tweak n/a Ratio Tremolo Speed Depth
Chorus 1 Chorus 2 4x10s 4x12s Flanger 1
Chorus Speed Range of choruses Chorus Speed Range of choruses
Notes Turns off the effects Higher settings "squeeze" your volume more. The tremolo was designed with the characteristic Fender shape. Square wave LFO, "rack" type chorus setup; subtler than Chorus 2 Sine wave LFO, approx. 10% feedback; emulates an old Roland CE-1 for classic stomp box-type sound. Light Flange Flanger 2 OFF Flanger Speed Range of flangers Flanger Speed Range of flangers Rotary Speaker Rotary Speed Depth Delay Delay Swell Delay Time Delay Time Heavier flange with more feedback This emulates a classic spinning speaker, a la the Leslie Delay Level Very quick delays will have no repeats for better slapback Swell Time Volume swell
Amp Model Line 6 Clean Line 6 Crunch Line 6 Drive Line 6 Insane Small Tweed Tweed Blues Black Panel Modern Class A Brit Class A Brit Blues Brit Classic Brit Hi Gain Rectified Modern Hi Gain Fuzz Box Tube Preamp
Based on: Line 6 21st Century Clean Line 6 Thick Grindage Line 6 Industrial Strength Overdrive Way too many hours of shredding 52 Fender Deluxe 59 Fender Bassman 65 Fender Deluxe 96 Matchless Chieftain 63 Vox AC 30 with Top Boost 65 Marshall JTM-Marshall Plexi 50 watt 90 Marshall JCM-Mesa Boogie Dual Rectifier Tremoverb Combo 89 Soldano X88R Preamp 60s Dallas Arbiter Fuzz Face Tube-based instrument preamp
Tap plus. (Line 6 Clean) (Line 6 Crunch) (Line 6 Drive) (Line 6 Insane) (Small Tweed) (Tweed Blues) (Black Panel) (Modern Class A) (Brit Class A) (Brit Blues) (Brit Classic) (Brit Hi Gain) (Rectified) (Modern Hi Gain) (Fuzz Box) (Tube Preamp)
Amp Model Line 6 Twang Line 6 Crunch #2 Line 6 Blues Line 6 Layer Small Tweed #2 Boutique #3 Black Panel #2 Brit Class A #3 Brit Class A #2 California Crunch #1 California Crunch #2 Boutique #1 Rectified #2 Modern Hi Gain #2 Boutique #2 Jazz Clean
Based on: Fender Deluxe and Bassman, with more tone control range 68 Marshall Plexi 50 watt with more tone control range Marshall JTM-45 meets Budda Twinmaster meets Line 6 Line 6 Clean meets Psychotic Drive 60 Tweed Fender Champ Budda Twinmaster head 65 Blackface Fender Twin 60 Vox AC Vox AC 30 non-Top Boost 85 Mesa Boogie Mark IIc+ Clean Channel 85 Mesa Boogie Mark IIc+ Drive Channel Dumble Overdrive Special Clean Channel 95 Mesa Boogie Dual Rectifier Head 89 Soldano SLO Super Lead Overdrive Dumble Overdrive Special Drive Channel 87 Roland JC-120
INTRODUCTION: WELCOME THE POD.
WELCOME THE POD.
Thank you for inviting POD home with you. Whether you use your POD as a direct recording miracle, a powerhouse preamp, for practice, or as a creative digital signal processing tool and heck, why should it be just one? we think youll agree that POD is about the most amazing thing to happen to the electric guitar since well, since the guitar amplier itself. POD mines the tonal heritage of the past forty years of guitar amplier 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! Its
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 thats 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 amplier design. How tubes process an input
INTRODUCTION: WELCOME THE POD. 14
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 exibility for creating awesome guitar tone.
parameters. With it, you can design your own custom rig, making new combinations of Amp Model and cabinet/microphone emulation, and adjusting the contribution of the spread of the sound as well. And when youre playing live using POD as a preamp, youll get a speciallytailored direct out with speaker simulation optimized to feed the house mix or P.A. The A.I.R. direct recording output is exclusive to Line 6. In combination with Line 6's Amp Models, it is the key to POD's phenomenally satisfying direct recording sound.
CUSTOMIZING YOUR AMP MODELS AND EFFECTS
You can customize the settings for each of PODs Amp Models and Effects. This way, when you pull up an Amp Model or Effect via their knobs, youll get your very own favorite setting for that amp or effect, without having to do a lot of knob twiddling. Chapter 7 has all the details.
With your POD, you get a constantly-expanding universe of sounds, and the ability to use those sounds with the POD series POD Pro and the original POD or the Flextone II series ampliers. 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 whats in store, its time to experience POD for yourself. Grab your favorite axe, plug in to POD, and ip back to the handy Quick Start Guide on the rst page of this chapter if you havent already been through that. Then, press ahead to the POD Grand Tour.
FRONT PANEL CONTROLS
If you havent 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 youre thumbing through the manual. And if you photocopy the back of it, youll 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 foldouts illustrations.
Power Switch - Left side of front panel. Flip to bring your POD to life.
2 Guitar Input - Right side of front panel. Plug your guitar in here. There is also a line level input on the back for use when you are re-amping (processing tracks playing back from tape or disk), or when you are processing non-guitar line level sources. This is also great for the line level output from many wireless systems. Make you sure you set the.
3 Input Select Switch - Right side of front panel. This switch selects either the front panel Guitar Input or the rear panel Line Input. Pick one.
4 Phones - Left side of front panel. Plug in your headphones here for silent practicing. Volumes set by the Output Level knob. The headphone amplier 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 dont blow your head off when listening to your POD through your phones.
15 Tuner - Button in the middle of POD. Press that puppy and shazam! Instant digital chromatic tuner. All PODs 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 ats, so youll see A instead of G. Play that string youre trying to tune again, spin its tuning key so it goes sharp and at, 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 youre sharp. The right pointing arrow will light if youre at. And both arrows will light at the same time when youve got it just right. Give any one of PODs buttons a push and the tuner disappears just as swiftly as it came and youre right back to normal POD operation. Tuner Volume - You can adjust the tuning volume of your POD by turning the Channel Volume knob while the tuner is active (this doesnt affect the volume of your not-in-tuner-mode POD sound). Alternatively, if you have a Floor Board connected, the volume pedal will control the tuner volume, too.
POD Pro Manual Ch. 2 - Rev C Page 6 Monday, September 11, 2000 10:57 PM
Tuner Reference - Want a different reference than A=440Hz? When youre 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 dont 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 theres only one digit in the POD display, all we display is the last number, so if you set the tuner to reference 441 Hz, youll see 1.
16 Noise Gate - Another button in the middle of POD. Turns on and off the PODs built in Noise Gate. More Noise Gate details in the POD Effects chapter.
17 Tap - And yet one more button in the middle of POD. This control sets and displays the current tempo or speed of your effects delay, tremolo, chorus, ange, or 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 set and displayed by the blinking of the button at twice the speed of the effect so you dont 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 cant tap as fast as Bruce Lee. You can also simply hold the Tap button and turn 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 to learn exactly what Tap controls for each of the Effect settings.
POD Pro Manual Ch. 2 - Rev C Page 10 Monday, September 11, 2000 10:57 PM
REAR PANEL CONNECTIONS
your own taste, so your customized version of the amp or effect comes up instantly when you turn Amp Models or Effects. See Chapter 7 for the details on that.
19 MIDI - This button is used to set PODs MIDI channel and dump sounds via MIDI. Details are in the Deep Editing & MIDI Control chapter.
Heres the part where we go behind-the-scenes of your POD Pro. Looking at the rear panel, well start from the left side:
Line Level Input & Output - The two jacks illustrated below. These 1/4"
connectors carry line level signals into and out of your POD, and run signals that are unbalanced at -10 dBV level. If you want to use the Line Level Input, be sure to set the front panel switch 3 to the Line Input position.
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So what can you do with these jacks? Lots of stuff:
Re-Amping One of the things that made the original POD a valued tone tool was its value in re-amping of guitar tracks. Say somebody has already recorded some guitar tracks, and you are now mixing them. If the guitars seem to need a bit more edge, or some other tone shaping, you can run your outputs from your tape or disk tracks into the POD and make magic. Dont forget to set the front panel Input Select switch 3 to the Line Input position.
Hardware Amp Farm Line 6s Amp Farm software is sort of like a software POD that runs on a Pro Tools system. One of the things that Amp Farm lets you do is record un-processed guitar to disk, while hearing it processed non-destructively by the Amp Farm plug-in software. You hear the sound of the amp simulation as you track, but you havent committed it to the recording. (This is much like the way you would handle reverb when recording a vocal; you record naked vocal to the track, while using reverb as you monitor the post-tape/disk signal or a separate feed off the signal before it goes to the track.) The line level in/out on your POD Pro let you do this. Plug the Unprocessed Guitar Out into your recorder, and plug the output of that track into the Line Level Input (or feed the line level input via an effect send that gets signal from the recorded track). Now you can hear your POD processing as you track, but you havent committed your guitar tone choice to tape. That means you can change from a modeled Marshall to a modeled Boogie during the mix stage, once you see how your tracks are tting together. Or you can change Cab Models or any other aspect of your sound. Dont forget to set the front panel Input Select switch 3 to the Line Input position.
Non-Guitar Processing Another thing people like to do with both POD and Amp Farm is process everything else but guitars. Drums, vocals, keyboards, entire mixes you name it, people are using Line 6 modeling
POD Pro Manual Ch. 2 - Rev C Page 12 Monday, September 11, 2000 10:57 PM
products to process it. The line level input on your POD Pro helps you make the connections to these signals. Dont forget to set the front panel Input Select switch 3 to the Line Input position.
Tuner Output Want to use a stage tuner with your POD? The Unprocessed Direct Out is a perfect signal source.
Wireless Guitar Connection Many wireless guitar systems have a line level output. You can plug it into the POD Pro rear panel Line Level Input, and youre ready to rock. Dont forget to set the front panel Input Select switch 3 to the Line Input position.
Stereo Effect Loop - POD Pros Stereo Effect Send and Return are preMaster Volume. When it comes to cabling, there are important things to know:
Use The Right Cable! While hooking up your effect send/return, be sure to
use a stereo cable to connect them to other devices. If you are connecting to a device with separate left and right inputs or outputs, youll want to use a standard insert cable, which gives you a single stereo quarter inch connector for the POD
POD Pro Manual Ch. 2 - Rev C Page 13 Monday, September 11, 2000 10:57 PM
Pro end, and two mono quarter inch connectors for the two ins or outs of your other device. Note: If you use a mono cable, you will only get one side of the signal on the send, and when using a mono cable for the return, the returned signal will only be fed to one of your POD Pros outputs (the left one). And Note: You probably wont want to use stomp box-type effects in this loop, as they arent usually designed to take line level signals. Most likely youll want to plug your guitar straight into the stomp box, and then go from the stomp box to POD Pros front panel guitar input.
Live/Studio Mode, XLR & 1/4 inch Outputs - One of the
powerful features of your POD Pro is its Live/Studio Mode and associated XLR and 1/4 inch connections. Weve designed these to give you the most versatile guitar
POD Pro Manual Ch. 2 - Rev C Page 14 Monday, September 11, 2000 10:57 PM
tool possible, whether youre going to be in the studio or on stage, recording directto-disk, or pumping a stadium full of sound through a wall of 4x12 cabs.
Studio Mode Flick the Live/Studio switch to the Studio position, and you get a pair of XLR balanced +4dBu outputs, as well as a pair of 1/4 inch unbalanced -10dBV connections. Both carry the same signal including the A.I.R. processing for speaker/mic/room emulation and you can use whichever connections are most appropriate for interfacing with your recording gear.
Live Mode Move the Live/Studio switch to the Live position, and you get independent signals on the 1/4 inch and XLR outputs:
The 1/4 inch connections are now carrying your signal without speaker/ mic/room simulation to your on-stage power amp and cabinets. This lets you drive your backline for a wall of stadium lling sound, or a more modest power amp/cab setup for your personal on-stage pleasure.
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The XLR jacks have been magically transformed into a pair of mic level outputs with ground lift, suitable for plugging into the typical on-stage mic snake to feed your direct signal to the house mix or P.A. This signals specially-tuned speaker simulation gives you perfect sound without having to hassel with mics on your speaker cabinets plus the signal bleed and other challenges that come with them. Remember this signal is mic level, so youll want to connect it to a mic level (not line level) input on the house mixer or P.A.
Digital Outputs and Clock - Your POD includes connections for both AES/EBU and S/PDIF format 24 bit digital output. Use these to track your POD direct to your digital input recording system (note that the loop does not affect the digital outputs).
The External Digital Clock In connector receives a clock signal from your digital mixer or recorder, synchronizing PODs digital output to your system. PODs front panel Digital Sync 20 switch determines its output sample rate (44.1KHz or 48KHz), and whether it will sync its output to the external clock source (in that case, the sample rate syncs to the sample rate of the incoming digital clock). Please see your digital mixer/recorder documentation for information on conguring its digital clock. The Line 6 technical support crew, though they may be friendly, talented, and always eager to please, wont be able to instruct you on how to congure your entire studio worth of new digital recording equipment, and tell you why your digital audio program conicts with your nancial management software. Nevertheless, we dont want you oundering around in there all by yourself, so here are a couple handy tips that should allow you to incorporate your POD in an already-congured studio: Generally, youre gonna have one of two situations: Situation Number Uno If your digital recorder/mixer has a clock output like on a Digidesign Pro Tools 888, a MOTU 2408, a Yamaha 02R digital
Re-Amping One of the things that made the original POD a valued tone tool was its value in re-amping of guitar tracks. Here in Los Angeles where Line 6 is headquartered, you can walk into any number of top-tier studios and see a shiny red kidney bean shaped thingy hanging around the control room, ready to massage the pre-recorded tracks that have been brought in for mixing. Say somebody has already recorded some guitar tracks, and you are now mixing them. If the guitars seem to need a bit more edge, or some other sort of further tone shaping, you can run your outputs from your tape or disk tracks into the POD and make magic. Dont forget to set the front panel Input Select switch 3 to the Line Input position.
Hardware Amp Farm Line 6s Amp Farm software is sort of like a software POD that runs on a Pro Tools system. One of the things that Amp Farm lets you do is record un-processed guitar to disk, while hearing it processed non-destructively by the Amp Farm plug-in software. You hear the
sound of the amp simulation as you track, but you havent committed it to the recording. (This is much like the way you would handle reverb when recording a vocal; you record naked vocal to the track, while using reverb as you monitor the post-tape/disk signal or a separate feed off the signal before it goes to the track.) The line level in/out on your POD Pro let you do this. Plug the Unprocessed Guitar Out into your recorder, and plug the output of that track into the Line Level Input (or feed the line level input via an effect send that gets signal from the recorded track). Now you can hear your POD processing as you track, but you havent committed your guitar tone choice to tape. That means you can change from a Marshall-inspired model to a Boogie-based tone during the mix stage, once you see how your tracks are tting together. Or you can change Cab Models, effects, or any other aspect of your sound. Combine this with MIDI, and you can have full automation of your POD, too. See Chapter 9 for MIDI details. Dont forget to set the front panel Input Select switch 3 to the Line Input position.
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 Middle knobs just sitting there. That just didnt seem right, so we gured out a way to put those knobs to work without mucking about with the authenticity of this Amp Models treble tone control. We set up the Bass and Middle as postAmp 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.
POD Pro Manual Ch. 5 - Rev C Page 3 Monday, September 11, 2000 10:59 PM
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 youd expect from a bass amp but also has the Fender twang on the top. The Bassman was the blueprint for PODs Tweed Blues. Incidentally, when Jim Marshall built his rst amps with Ken Bran they were heavily inuenced 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 isnt a bandpass, as in most tone control setups. Instead, its almost like a second treble control. The two are additive, so if youre running the Middle knob higher than halfway up, youll nd that the Treble control might give you more bright than you really want. On the other hand, when you turn the Middle knob down, youll probably want to boost the Treble.
The Bassman, like many of the amps modeled for POD, didnt 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 its guaranteed to dredge up the best R&B 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 PODs 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 its turned up to about 7 for a nice gritty sound that cleans up when you back off your guitars volume knob just a little. Notice how the tone control response changes as this Amp Models 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.
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 14 Knob. When you rst select the Effect you want, your helpful POD will preset the effects parameters so youre instantly ready to go with a great sound (you can also customize this effect preset as described in Chapter 7). You can adjust the character of the effect youve chosen by tapping the Tap 17 control, and turning the Effect Tweak 13 knob like so.
POD EFFECTS: POD ONBOARD EFFECTS
Reverbs - Reverb 15 is the effect that makes it sound like something is in a
room. Its 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 knob. 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 7.) Generally speaking, if the amp that inspired a given Amp Model had a spring reverb, we give you the spring reverb. If the amp didnt have a reverb (like the 1968 Marshall Plexi which inspired the Brit Classic model), weve given you the room reverb. The 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 wont 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 gure eight on its side means innity. With Effect Tweak set to max, you get innite compression, which is the same as having a limiter. )
The compression is applied pre-Amp Model processing, so its like having a compressor pedal.
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 ashes), allowing you to set fast tremolos without having to tap like a madman.
CREATING & 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 friends POD and turn any one of the PODs knobs (except the Output Level knob that ones not saved into programs). Dont worry, holding down the Save button wont cause your settings to be altered or cause Save Mode to be entered. Instead, youll 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 memorys setting for that control. When the knob position exactly matches the stored setting, the arrows will both light up. (The Amp Model and Effects knobs dont 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 youve done this for every knob and noted the Tap speed, you can write down the settings on the Programmers 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 albums liner notes. To check that youve got everything just right, once the knobs are set, you can also switch to Manual Mode and see if the sound changes. (It shouldnt, unless the Tap speed is different.) If that sounds too complicated, and you have a MIDI cable handy, ip ahead to Chapter 9: Deep Editing & MIDI Control to nd out how to swap sounds between two PODs with MIDI. Its also possible to swap POD sounds on computer, using the emagic SoundDiver software for Macintosh and Windows computers thats included on the CD with this manual. In fact, the ToneTransfer Library at www.line6.com has a whole library of POD sounds available for you.
Alright, so lets say youve got that sound you saved in one of PODs handy channels, and you want to add some more Bass. No problem. If you havent 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 PODs single-digit display, letting you know
CREATING & STORING SOUNDS: CUSTOMIZING AMP MODELS & EFFECTS
that youve made a change to your stored channel memory, and (if you like it better that way) you should use the Save button to save it. This is whats called Edit Mode since youve done just that: edited a stored channel. To commit your edit to PODs memory, press Save and it will start to ash. 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 youve got Save ashing and pick the memory you want. If you dont want to save your edit, thats 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.
Turns off the effects.
Ratio Depth Range of Choruses Range of Choruses Range of Flangers Range of Flangers Depth Delay Level Compression Ratio Range of Tremolos Range of Choruses Range of Choruses Range of Flangers Range of Flangers Swell Attack Speed
There are 5 Compressor ratios: 1.4:1, 2:1, 3:1, 6:1, and Higher settings squeeze your volume more. The tremolo was designed with the characteristic Fender tremolo shape. Square wave LFO, rack type chorus setup; subtler than Chorus 2.
Sine wave LFO, approximately 10% feedback; emulates an old Roland CE-1 for classic stomp box-type sound. Light ange. Heavier ange; inverted, and with deeper range. This emulates a classic spinning speaker, a la the Leslie. Very quick delays will have no repeats for better slapback. There are 5 Compressor ratios: 1.4:1, 2:1, 3:1, 6:1, and Higher settings squeeze your volume more. The delay speed is set for a short slapback (100 ms). Chorus 1 uses a Square wave LFO, no feedback. This is the rack type chorus setup. Chorus 2 uses a Sine wave LFO, approximately 10% feedback. This emulates an old Roland CE-1 for classic stomp box chorus sound. Light ange. Heavier ange; inverted, and with deeper range. Automatic volume pedal swells. Swell is a slow ramp-up, or swell of volume when you play each note. :1.
Delay Speed Delay Speed Delay Speed
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:
Bank 1 Channel A Channel B Channel C Channel D Bank 2 Channel A Channel B Channel C Channel D Bank 3 Channel A Channel B Channel C Channel D Bank 4 Channel A Channel B Channel C Channel D Bank 5 Channel A Channel B Channel C Channel D
Bank 6 Channel A Channel B Channel C Channel D Bank 7 Channel A Channel B Channel C Channel D Bank 8 Channel A Channel B Channel C Channel D Bank 9 Channel A Channel B Channel C Channel D Manual Mode Tuner
APPENDIX D: MIDI CONTROLS
Sound Diver Parameters Amp Model Notes Selects Amp Model Transmitted MIDI Range 0-15 transmitted from Amp Model knob Control # 12
(1 of 3 pages)
Received MIDI Range 0 = Tube Preamp, 1-32 = Other Amp Models >32 treated as 32 0-127 0-127
Drive Drive 2 (only if Amp Type = Layer) Bass Mid Treble Bright Switch Presence
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 faster and inform you of advance information, upgrades, and other news. Thanks in advance for lling 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 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 dealers 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 modication will void this warranty.
To obtain factory service:
Contact Line 6 at (805) 379-8900, 8AM to 5:30 PM Monday through Friday (Pacic Time) and request the Product Support department (or email firstname.lastname@example.org). 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
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