Pod Pro

Front Panel

Power Switch - Left side of front panel. Flip to bring your POD to life. Guitar Input - Right side of front panel. Plug your guitar in here. There is also a line level input on the back for use when you are re-amping (processing tracks playing back from tape or disk), or when you are processing non-guitar line level sources. This is also great for the line level output from many wireless systems. Make you sure you set the... Input Select Switch - Right side of front panel. This switch selects either the front panel Guitar Input or the rear panel Line Input. Pick one. Phones - Left side of front panel. Plug in your headphones here for silent practicing. Volume’s set by the Output Level knob. The headphone amplifier is designed to provide hot signals for a variety of headphones. As a result, you can get very loud output from this connector. Be sure to set levels carefully so you don’t blow your head off when listening to your POD through your phones. 1 2 3 4 FRONT PANEL CONTROLS 2 • 2 Output - Far right knob in the “knob trench.” Controls the overall output level of POD. Also sets the headphone level. This setting is not saved when you store settings into one of the POD’s memory locations. Changing the Output level does not change your tone. So you can get the tone you want at any volume level. POD will give the best signal-to-noise ratio performance when you have the Output level control at max. With the Output level control turned down low, you may get extra hiss that obviously ain’t what you want. In order to allow you to set the Output level as high as possible with recording, mixing, and other studio gear, be sure you are plugging POD’s outputs into line level, not microphone or guitar level inputs, when you have Studio Mode selected (via the rear panel switch described in the following pages). Line level inputs should allow you to turn POD’s Output level up all the way (or close to it) and thereby get the best sound possible. If your gear has inputs that function as mic/line level inputs, start by setting the trim for those inputs to the minimum level, and set POD’s Output to max, when setting levels. Manual Button - In the middle of your POD. Press this button to light it and activate “Manual” Mode. In this mode, wherever the knobs are set is what you’re hearing. Move knobs around to change sounds. Or.... Channel Up/Down Buttons - To the left of the Manual button. The POD has 36 channel locations (POD is like a 36-channel amp, or an effects processor with 36 memory locations) that store a huge variety of complete ampand- effect selections pre-programmed by the tone mavens at Line 6 to rock your world. They are arranged in nine banks of four channels each. (The four are called A, B, C, and D.) You can think of each bank as a sort of virtual four-channel guitar rig – and you’ll find that the same layout is used on the optional Line 6 foot controllers for POD (the Floor Board and FB4) which are discussed later in their own chapter. You access POD channels by pressing the Up and Down buttons. Tap either button to move to the next channel in the bank; press and hold down either Up or Down button to jump from bank to bank. If you had been in Manual Mode, 5 6 7 FRONT PANEL CONTROLS 2 • 3 the Manual button’s light will go off to let you know you’re not in Manual – the “where-the-knobs-are-is-how-POD-sounds” – Mode anymore. When recalling a channel, its settings will not be reflected by the present knob positions – like you may have the physical Bass knob pointing at minimum, whereas the just-recalled channel has this control set to max. To change anything, just grab the knob you want and tweak. More on all that later. Amp Models - Top left knob on the POD with words all round it. When you spin this knob, it’s essentially like changing what electronic “circuitry” is running inside POD to make your amp sound. (Also see Modeled Amps and Cabs in Chapter 5.) We’ve arranged the Amp Models around the knob so you get (starting from the bottom) Line 6’s four custom sounds first. From there, the models go clockwise from “cleanest” (Small Tweed) to “dirtiest” (Fuzz Box). And then we finish up with the Tube Preamp designed for processing non-guitar sources (though the depraved amongst you will be able to get some tasty guitar tones there as well). You have a selection of 32 Amp Models from this knob. To access models 17-32, hold down the 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 (as described in another page or two). In fact, all amp-related settings are automatically loaded when you turn the Amp Models knob. Drive, Bass, Mid, Treble, Cab, Reverb type, etc. will all be determined by the Amp Model you choose – giving you a ready-to-rock sound with the turn of just this one knob. Once you get familiar with POD, you can change these Amp-associated settings to customize the settings of each of the Amp Models to fit your tastes. Note that when you’re in Manual Mode then Drive, Bass, Mid, Treble, and Channel Volume are set by the knob positions instead of being automatically set with the amp selection. Complete details are coming up in Chapter 7. 8 FRONT PANEL CONTROLS 2 • 4 Drive - Far left knob in the “knob trench.” 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 - Continuing to the right of the Drive knob... Bass, Middle, Treble. Just like a regular guitar amp, only when you change Amp Models, the response and interactivity of the controls changes, too – to act like the tone controls of the original amp that inspired the Amp Model you’ve selected. POD also has a Presence bump that can be switched on and off when you hold the Tap button and turn the Treble knob. The detail is in the Tap (HOLD) Functions section that begins in another couple pages or so. Channel Volume - This knob controls the relative volume level of the “channel” you are playing through. Use this to balance levels between the sounds you store in two different POD channels (say between your rhythm and lead tones). In general, you want to set the Channel Volume as high as possible to insure you’re getting the best signal-to-noise ratio performance. Reverb Level - How much reverb do you want today? Spin this knob to set the reverb level. Two flavors of reverb live inside POD; a model of a spring reverb, and a room reverb tone. Which you get depends on which Amp Model you select. Generally speaking, if the amp that inspired a given Amp Model had a spring reverb, that’s what you’ll get. If the amp didn’t have a reverb (like the 1968 Marshall “Plexi” which inspired the Brit Classic model), you’ll get the room. Chapter 5 and Appendix A run down the details. Effect Tweak - This knob varies the effect you’ve chosen. Turn it up and 9 10 11 12 13 FRONT PANEL CONTROLS 2 • 5 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. Effects/Cabs - Top right knob on POD with words all round it. This knob selects which effect or combination of effects you get (once again, all the details on effects are in the POD Effects chapter). This knob also allows you to choose Cabinet Models, and mix ’n’ match them with the Amp Models. To choose a Cabinet Model, hold the TAP button and turn this knob; the available cabinets are labeled in gray around the knob. Choosing an Amp Model (via the Amp Models knob) will also automatically select an appropriate cabinet; you can customize this Amp/Cab pairing, as described in Chapter 7. Tuner - Button in the middle of POD. Press that puppy and – shazam! Instant digital chromatic tuner. All POD’s Amp Model and effects processing are bypassed so you can hear those questionably-tuned strings clearly, should you choose to do so. Play a note on your guitar and POD will show you what it is on that handy single-character display; all notes are displayed as naturals or flats, so you’ll see A instead of G . Play that string you’re trying to tune again, spin its tuning key so it goes sharp and flat, and two little red arrows below the Tuner button will give you a light show. The idea is that the left pointing arrow will light if you’re sharp. The right pointing arrow will light if you’re flat. And both arrows will light at the same time when you’ve got it just right. Give any one of POD’s buttons a push and the tuner disappears just as swiftly as it came and you’re right back to normal POD operation. Tuner Volume - You can adjust the tuning volume of your POD by turning the Channel Volume knob while the tuner is active (this doesn’t affect the volume of your not-in-tuner-mode POD sound). Alternatively, if you have a Floor Board connected, the volume pedal will control the tuner volume, too. 14 15 F RONT P ANEL C ONTROLS 2 • 6 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”. Noise Gate - Another button in the middle of POD . Turns on and off the POD’s built in Noise Gate. More Noise Gate details in the POD Effects chapter. 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, flange, 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 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 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. Tap (HOLD) Functions - The Tap button also lets you access a second layer of POD features: Amp Models 17-32, Cab Model selection, Delay Feedback, Delay Level, Digital Out Gain, a Presence Boost, a Volume Boost, and a Drive Boost. You can get to these functions by holding down the Tap button while tunring one of POD Pro’s knobs; this is good when you just need to make a quick tweak and 16 17 17 F RONT P ANEL C ONTROLS 2 • 7 then get back to the regular knob functions. If you want to live on the alternate functions for a while (say while taste-testing all the Cab Models with a particular sound you’ve got going) you can latch the alternate Tap functions by pressing down the Tap and Manual buttons at the same time. All the knobs will now perform their secondary, gray-labeled functions until you press the Tap button again to disable this latched mode. While you’re latched on the secondary functions, POD Pro flashes its Tap light on and off slowly to remind you the knobs are doing their secondary jobs. Here’s the detail on each of the things you can do with the Tap (HOLD) functions: 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 5 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 5 , and on the back cover foldout. 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 control set low and the output control set high. It boosts your guitar signal before it reaches the Amp Model, so that you hit the model harder and get a dirtier sound. This is just the same as kicking on the Distortion at the Floor Board (details in Chapter 8 ). 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 F RONT P ANEL C ONTROLS 2 • 8 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 8 ). As you do this, the Channel C light comes on if you turn the Presence “circuit” on. Volume Boost On/Off (Chan Vol Knob): 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 8 ). As you do this, the Channel B light comes on if you turn the Drive Boost on. Digital Out Gain (Reverb Knob): This control allows you to add extra gain at your POD’s digital output. This is useful when you are recording with clean or other low level tones. For instance, if you have the Drive knob set low and your tone controls turned low as well, you may find that you aren’t able to get your digital out level near peak even with the Channel Volume knob at max. This is because you aren’t getting the gain contribution of the Drive control, and the gain boosts of the tone controls. We’ve provided you with extra gain in the digital domain to compensate for this, so that you can get a hot digital output from your POD with this sound. To do this, hold down, and keep holding down , the Tap button as you turn the Reverb knob to set the volume level at POD’s digital outputs. Turning this knob to max adds an extra 12dB of gain at the digital out to help you get fulllevel digital output with clean or lower volume sounds. Turning this control to minimum adds no extra gain to the digital output. Please note that when you add extra gain here, it IS possible that you could clip the digital output if you are using a high gain sound , so be sure to monitor the digital output signal as you are recording to insure everything’s hunky dory. Effect Speed (Effect Tweak Knob): 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 . F RONT P ANEL C ONTROLS 2 • 9 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 7: Creating & Storing Sounds . But you’re probably impatient, so here are the basics: When you are using one of the pre-programmed POD sounds, POD’s single-digit number display will be lit, telling which bank you are in – 1 thru 9 – and one of the channel letters – A thru D – will be lit also. If you turn one of POD’s knobs, you’ll notice the word “EDITED” will be lit to the left of that single-digit display. This is a reminder to you that you have tweaked the memorized channel, and that you should save it if you want the memory to remember the tweak. To save your changes, press the Save button . The button 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 D in each of POD’s nine numbered banks. Pick one to store your sound in, and press that Save button a second time. The button’s light will stop flashing, and the sound is stored at the location you chose, replacing the sound that was stored there before. Doesn’t get much simpler than that. After the sound is stored, you can bring it back any old time by simply pressing the Up and Down buttons to call up the location where you stored it. (See Chapter 8 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 started that Save button a-flashin’, 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 MIDI - This button is used to set POD’s MIDI channel and dump sounds via MIDI. Details are in the Deep Editing & MIDI Control chapter.

REAR PANEL

Here’s the part where we go behind-the-scenes of your POD Pro. Looking at the rear panel, we’ll start from the left side: Line Level Input & Output - The two jacks illustrated below. These 1/4" connectors carry line level signals into and out of your POD, and run signals that are unbalanced at -10 dBV level. If you want to use the Line Level Input, be sure to set the front panel switch to the Line Input position. 19 3 REAR PANEL CONNECTIONS 2 • 11 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. Don’t forget to set the front panel Input Select switch to the Line Input position. Hardware Amp Farm – Line 6’s Amp Farm software is sort of like a software POD that runs on a Pro Tools system. One of the things that Amp Farm lets you do is record un-processed guitar to disk, while hearing it processed non-destructively by the Amp Farm plug-in software. You hear the sound of the amp simulation as you track, but you haven’t committed it to the recording. (This is much like the way you would handle reverb when recording a vocal; you record naked vocal to the track, while using reverb as you monitor the post-tape/disk signal or a separate feed off the signal before it goes to the track.) The line level in/out on your POD Pro let you do this. Plug the Unprocessed Guitar Out into your recorder, and plug the output of that track into the Line Level Input (or feed the line level input via an effect send that gets signal from the recorded track). Now you can hear your POD processing as you track, but you haven’t committed your guitar tone choice to tape. That means you can change from a modeled Marshall to a modeled Boogie during the mix stage, once you see how your tracks are fitting together. Or you can change Cab Models or any other aspect of your sound. Don’t forget to set the front panel Input Select switch to the Line Input position. 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 3 3 REAR PANEL CONNECTIONS 2 • 12 products to process it. The line level input on your POD Pro helps you make the connections to these signals. Don’t forget to set the front panel Input Select switch to the Line Input position. Tuner Output – Want to use a stage tuner with your POD? The Unprocessed Direct Out is a perfect signal source. Wireless Guitar Connection – Many wireless guitar systems have a line level output. You can plug it into the POD Pro rear panel Line Level Input, and you’re ready to rock. Don’t forget to set the front panel Input Select switch to the Line Input position. Stereo Effect Loop - POD Pro’s Stereo Effect Send and Return are pre- Master Volume. When it comes to cabling, there are important things to know: Use The Right Cable! While hooking up your effect send/return, be sure to use a stereo cable to connect them to other devices. If you are connecting to a device with separate left and right inputs or outputs, you’ll want to use a standard “insert” cable, which gives you a single stereo quarter inch connector for the POD 3 3 REAR PANEL CONNECTIONS 2 • 13 Pro end, and two mono quarter inch connectors for the two ins or outs of your other device. Note: If you use a mono cable, you will only get one side of the signal on the send, and when using a mono cable for the return, the returned signal will only be fed to one of your POD Pro’s outputs (the left one). And Note: You probably won’t want to use stomp box-type effects in this loop, as they aren’t usually designed to take line level signals. Most likely you’ll want to plug your guitar straight into the stomp box, and then go from the stomp box to POD Pro’s front panel guitar input. Live/Studio Mode, XLR & 1/4 inch Outputs - One of the powerful features of your POD Pro is its Live/Studio Mode and associated XLR and 1/4 inch connections. We’ve designed these to give you the most versatile guitar REAR PANEL CONNECTIONS 2 • 14 tool possible, whether you’re going to be in the studio or on stage, recording directto- disk, or pumping a stadium full of sound through a wall of 4x12 cabs. Studio Mode – Flick the Live/Studio switch to the Studio position, and you get a pair of XLR balanced +4dBu outputs, as well as a pair of 1/4 inch unbalanced -10dBV connections. Both carry the same signal – including the A.I.R. processing for speaker/mic/room emulation – and you can use whichever connections are most appropriate for interfacing with your recording gear. Live Mode – Move the Live/Studio switch to the Live position, and you get independent signals on the 1/4 inch and XLR outputs: • The 1/4 inch connections are now carrying your signal – without speaker/ mic/room simulation – to your on-stage power amp and cabinets. This lets you drive your backline for a wall of stadium filling sound, or a more modest power amp/cab setup for your personal on-stage pleasure. REAR PANEL CONNECTIONS 2 • 15 • The XLR jacks have been magically transformed into a pair of mic level outputs with ground lift, suitable for plugging into the typical on-stage mic snake to feed your direct signal to the house mix or P.A. This signal’s specially-tuned speaker simulation gives you perfect sound without having to hassel with mics on your speaker cabinets – plus the signal bleed and other challenges that come with them. Remember this signal is mic level, so you’ll want to connect it to a mic level (not line level) input on the house mixer or P.A. Digital Outputs and Clock - Your POD includes connections for both AES/EBU and S/PDIF format 24 bit digital output. Use these to track your POD direct to your digital input recording system (note that the loop does not affect the digital outputs). The External Digital Clock In connector receives a clock signal from your digital mixer or recorder, synchronizing POD’s digital output to your system. POD’s front panel Digital Sync switch determines its output sample rate (44.1KHz or 48KHz), and whether it will sync its output to the external clock source (in that case, the sample rate syncs to the sample rate of the incoming digital clock). Please see your digital mixer/recorder documentation for information on configuring its digital clock. The Line 6 technical support crew, though they may be friendly, talented, and always eager to please, won’t be able to instruct you on how to configure your entire studio worth of new digital recording equipment, and tell you why your digital audio program conflicts with your financial management software. Nevertheless, we don’t want you floundering around in there all by yourself, so here are a couple handy tips that should allow you to incorporate your POD in an already-configured studio: Generally, you’re gonna have one of two situations: • Situation Number Uno – If your digital recorder/mixer has a clock output – like on a Digidesign Pro Tools 888, a MOTU 2408, a Yamaha 02R digital 20 REAR PANEL CONNECTIONS 2 • 16 mixer, etc. – you will want to make it the clock master (generally called something like “Internal Sync”), and set POD’s Digital Sync switch to External. POD will then derive its sample rate from your recorder/mixer, and output a digital signal perfectly synced to the rest of your system. • Situation Number Dos – If your system doesn’t have a clock output – like a Digidesign Audiomedia, Digi 001, Digital Audio Labs Card D, etc. – you’ll set POD’s Digital Sync switch to 44.1 or 48 (not External), and set your recorder to sync to its digital input (which is coming from POD). MIDI In & Out - Connect POD to your MIDI equipment to select channel memories (via Program Change messages) or automate POD settings (via controllers and/or Sysex). Emagic SoundDiver software is included on the accompanying CD for sound editing/storage on a computer, as well as ToneTransfer access to the sounds from the Line 6 Web Library or other sources. The POD MIDI OUT connects to another device’s MIDI IN; its MIDI IN goes to another device’s MIDI OUT. Please also see Chapter 9, Deep Editing and MIDI Control, to setup your MIDI gear with POD and find out what MIDI can do for POD and you. Pedal Connector - Looks like a telephone connector on steroids. This is where you connect the optional Line 6 Floor Board or FB4 foot controllers. Chapter 8 hips you to the wonders of these foot controllers, and the tremendously positive impact they can have on your life.