Page of 106
Pilot's Handbook
An in-depth exploration of the revolutionary technologies and pulsing
tonal pleasures that power your POD Pro, plus insider information on its
optional companion Line 6 foot controllers – the Floor Board and FB4.
Electrophonic version available at and on accompanying CD. Revision C.

   Also See for LINE 6 POD PRO

   Related Manuals for LINE 6 POD PRO

   Summary of Contents for LINE 6 POD PRO

  • Page 1

    Pilot’s Handbook An in-depth exploration of the revolutionary technologies and pulsing tonal pleasures that power your POD Pro, plus insider information on its optional companion Line 6 foot controllers – the Floor Board and FB4. Electrophonic version available at and on accompanying CD. Revision C.

  • Page 3

    A Line 6 Twang with Slapback Echo – modeled after Fender Deluxe meets Bassman B Line 6 Crunch #2 with Room Reverb – modeled after Plexi + more tone range C Line 6 Blues – modeled after Marshall JTM-45 meets Budda Twinmaster D Line 6 Insane with Echo &...

  • Page 4

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

  • Page 5

    Get On-line: Line 6 Internet Resources ........

  • Page 6

    CHAPTER 6: POD E FFECTS Deep Editing: Where to Look for More Info ........6•1 POD Onboard Effects .

  • Page 7

    MIDI Sysex Commands ..........9•3 POD / POD Pro / Flextone II ToneTransfer via MIDI ......9•3 Transferring All Sounds .

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    UICK TART UIDE “M ’ !” ANUAL T NEED NO STINKING MANUAL UICK TART UIDE 1 • 1 “M ’ !” ANUAL T NEED NO STINKING MANUAL If you’re using your POD for recording, set the rear panel L switch to ‘STUDIO,’ and connect POD’s 1/4 inch or XLR TUDIO outputs to your mixer or recorder inputs, or connect headphones.

  • Page 9

    Line 6 products and technologies. The Line 6 web site is one of the most effective ways for us to bring you what you need. Through the Internet, we can give you instant access to all kinds of great, free stuff to make you and your POD ever more powerful.

  • Page 10

    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.

  • Page 11

    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.

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    1. The Line 6 modeling process is a patented, 100% digital software-based technology exclusive to Line 6. 2. Line 6 Modeling is not sampling, nor is it solid state; no special guitar, pickup, or cabling is needed. ’...

  • Page 13

    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.

  • Page 14

    With your POD, you get a constantly-expanding universe of sounds, and the ability to use those sounds with the POD series – POD Pro and the original POD – or the Flextone II series amplifiers. Visit our ToneTransfer Web Library at, or one of the many other sources popping up for sound...

  • Page 15

    RONT ANEL ONTROLS RONT ANEL ONTROLS 2 • 1 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.

  • Page 16

    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.

  • Page 17

    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...

  • Page 18

    RONT ANEL ONTROLS 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 2 • 4 on a non-master volume guitar amp, higher settings give you more “dirt.” Tone Controls - Continuing to the right of the Drive knob...

  • Page 19

    RONT ANEL ONTROLS 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.

  • Page 20

    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...

  • Page 21

    RONT ANEL ONTROLS 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.

  • Page 22

    RONT ANEL ONTROLS 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 2 • 8 get a Presence boost, brightening your tone.

  • Page 23

    RONT ANEL ONTROLS 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: 2 •...

  • Page 24

    MIDI. Details are in the Deep Editing & MIDI Control chapter. ANEL ONNECTIONS 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.

  • Page 25

    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).

  • Page 26

    ANEL ONNECTIONS 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. 2 • 12 Tuner Output –...

  • Page 27

    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.

  • Page 28

    ANEL ONNECTIONS tool possible, whether you’re going to be in the studio or on stage, recording direct- to-disk, or pumping a stadium full of sound through a wall of 4x12 cabs. 2 • 14 Studio Mode – Flick the Live/Studio switch to the Studio position, and you get a pair of XLR balanced +4dBu outputs, as well as a pair of 1/4 inch unbalanced -10dBV connections.

  • Page 29

    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...

  • Page 30

    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.

  • Page 31

    ETTING TUDIO TUDIO WITCH ETTING TUDIO If you’re going to be using your POD in a recording situation, here’s what you need to know to get set up. See the next chapter if you’re using your POD for live performance. The numbers in black boxes below refer to the back cover foldout’s POD illustration.

  • Page 32

    ETTING TUDIO UTPUTS UTPUTS 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. 3 • 2 When you’re introducing POD to the other equipment in your studio, be sure you are plugging its outputs into line level inputs on your other gear, as opposed to microphone level or guitar level inputs.

  • Page 33

    ETTING TUDIO UTPUTS Unprocessed Guitar Out – “Unprocessed!? I thought this POD thing was supposed to process my sound and make it sound like a wall of Marshalls!” Don’t worry, your POD does that, but we’ve also given you this handy connection to help you get up to other mischief.

  • Page 34

    Analog Stereo Outputs – Your POD gives you two pairs of analog stereo outputs. The XLR connections give you a +4dBu balanced signal with the Line 6 A.I.R. processing for speaker/mic/room simulation. The 1/4 inch connections give you this same signal unbalanced at -10dBv for connecting to equipment that prefers these levels.

  • Page 35

    ETTING TUDIO UTPUTS Digital Outputs and Clock – Your POD includes connections for both AES-EBU and S-PDIF format, 24 bit digital output, as well as a connection for digital clock: 3 • 5 When hooking up the digital outputs, make sure you set the selector switch for either AES-EBU (that’s the big XLR connector) or S-PDIF (that’s the little RCA/phono connector).

  • Page 36

    UTPUTS 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 eager to please, won’t be able to instruct you on how to configure your whole studio worth of new digital recording equipment and tell you why it is that your digital audio program conflicts...

  • Page 37

    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...

  • Page 38

    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 3 •...

  • Page 39

    ETTING TUDIO TOMP OXES TOMP OXES Got some old stomp boxes you want to run your guitar through in addition to POD? No problem. 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).

  • Page 40

    ETUPS TUDIO WITCH ETUPS If you’re going to be using your POD as a preamp with your power amplifier and speaker cabinets, and or for its direct output to a house mixer, P.A. or other live performance sound system, here’s what you need to know to get set up: 4 •...

  • Page 41

    POD. Also, 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 without wires. Don’t forget to set the front panel Input Select switch the Line Input position.

  • Page 42

    Studio hookups) but can also be used for other things. Like, if you have a stage tuner you’d like to use with your POD Pro, you can feed it with this unprocessed output, so that it gets a nice clear signal to do its tuning thing with.

  • Page 43

    ETUPS UTPUTS Analog Stereo Outputs – Your POD gives you two pairs of stereo outputs to use in Live Mode. One pair feeds your on-stage power amp and speaker cabinets, and the other pair sends a separate direct out to the house mixer or P.A.

  • Page 44

    ETUPS ABINET UNING ABINET UNING Your POD can be tuned for optimal performance with a variety of speaker cabinets when in Live Mode. By default, your POD expects be plugged into a power amplifier driving one or more closed-back cabinet(s), and it tailors the Live Mode sound at its 1/4 inch outputs to work well with the tone that’s typical for these speaker cabinets.

  • Page 45

    ETUPS TOMP OXES Digital Outputs and Clock – Your POD includes connections for both AES-EBU and S-PDIF format, 24 bit digital output, as well as a connection for digital clock: 4 • 6 Unless you’re really into the direct-digital way of life, you’re probably not using these for your live setup.

  • Page 46

    POD’s input, which lets you pedal yourself to cleaner or dirtier tones. (The volume pedal of the Line 6 Floor Board – which we are about to describe – does all this too, and can also change position for each channel you choose.)

  • Page 47

    You can do that with your POD Pro, too, if you like, as we are about to describe: Generally, you want to make your connections to POD’s 1/4 inch outputs, and 4 •...

  • Page 48

    ETUPS POD T AKES hold the Save button while powering up your POD. POD’s 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. The Cabinet Tuning Mode you select will be remembered by your POD, so you don’t have to re-set it every time you power up.

  • Page 49

    ETUPS POD T AKES 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).

  • Page 50

    5 • 1 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 here.

  • Page 51

    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 5 • 2 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.

  • Page 52

    & C ODELED HICH MPS AND ODELED 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.

  • Page 53

    & C ODELED HICH MPS AND ODELED Modern Class A - 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).

  • Page 54

    & C ODELED HICH MPS AND ODELED 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 & 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.

  • Page 55

    & C ODELED HICH MPS AND ODELED 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.

  • Page 56

    Line 6 Twang This model draws on our analysis of (Hold Tap + Line 6 Clean) the '60s Fender blackface Deluxe amps and the '50s Fender Bassman. (It 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...

  • Page 57

    “traditional” clean guitar tone and a particularly tweaked-up variant of the Line 6 Drive. The Drive knob acts as a blender control – fully left you’ve got big bottom 21st Century Clean, and fully right you’ve got paint-peeling Ultra-drive.

  • Page 58

    & C ODELED HICH MPS AND ODELED 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 The classic blackface Fender Twin (Hold Tap + Black Panel) (in this case, a 1965 Twin) was a real workhorse.

  • Page 59

    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.

  • Page 60

    (Hold Tap + Fuzz Box) Special Drive Channel (just described). If you like 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...

  • Page 61

    Tap button and turning the Effects knob: 1960 Fender Tweed Champ 1x12s 1952 Fender Tweed Deluxe 1960 Vox AC-15 1964 Fender Blackface Deluxe Line 6 1x12 5 • 12 2x12s 1965 Fender Blackface Twin 1967 Vox AC-30 1995 Matchless Chieftain...

  • Page 62

    POD E FFECTS DITING POD E FFECTS DITING 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 on Macintosh and Windows computers, and can turn your computer into a POD command station.

  • Page 63

    POD E FFECTS POD O NBOARD FFECTS Reverbs - Reverb 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 knob.

  • Page 64

    POD E FFECTS POD O NBOARD FFECTS 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.

  • Page 65

    POD E FFECTS POD O NBOARD FFECTS 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.

  • Page 66

    POD E FFECTS POD O NBOARD FFECTS 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).

  • Page 67

    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 guitar with your the heel of your picking hand.

  • Page 68

    & S REATING TORING OUNDS SING THE HANNEL ROGRAM EMORIES & S REATING TORING OUNDS SING THE ANUAL EATURES 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 preamp, 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...

  • Page 69

    Your POD gives you access to a constantly-expanding world of sounds. Visit the ToneTransfer Web Library at 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.

  • Page 70

    & S REATING TORING OUNDS 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.

  • Page 71

    & S REATING TORING OUNDS & E USTOMIZING ODELS FFECTS that you’ve 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 what’s called Edit Mode since you’ve done just that: edited a stored channel.

  • Page 72

    ODELS FFECTS Controls affected by the Amp Models Knob Amp Model Cabinet Model Drive Drive 2 (if Amp Model is Line 6 Layer) * Bass Middle Treble Bright Switch (if available on Amp Model) * Channel Volume Distortion On/Off (Hold Tap, turn Drive to set)

  • Page 73

    & S REATING TORING OUNDS & E USTOMIZING ODELS FFECTS 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.

  • Page 74

    POD’s memory to its factory-programmed state, hold down the Up and Down buttons as you turn on the power. That’ll blow your POD’s memory and reset it just like it was when it left the Line 6 factory. Warning: This will erase ALL the channels, as well as the custom amp and effect settings you might have created.

  • Page 75

    LOOR OARD EATURED ONTROLLER ’ SING 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 FB4. LOOR OARD EATURED ONTROLLER Using the Floor Board with POD lets you access many features that are not available otherwise.

  • Page 76

    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...

  • Page 77

    ’ SING LOOR OARD EATURED ONTROLLER 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 –...

  • Page 78

    ’ SING LOOR OARD EATURED ONTROLLER 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 foot switch is for.

  • Page 79

    ’ SING LOOR OARD EATURED ONTROLLER 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.

  • Page 80

    ’ SING LOOR OARD EATURED ONTROLLER 2. E FFECT Alright. So that wah pedal was pretty fun, but now you want to get down 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.

  • Page 81

    ’ SING LOOR OARD EATURED ONTROLLER 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.

  • Page 82

    ’ SING LOOR OARD EATURED ONTROLLER 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.

  • Page 83

    ’ SING FB4: S IMPLE ONTROL FB4: S IMPLE ONTROL 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.

  • Page 84

    Deep Editing & MIDI Control: MIDI B ASICS & MIDI C DITING ONTROL MIDI B ASICS 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.

  • Page 85

    Deep Editing & MIDI Control: MIDI B ASICS all) for the MIDI channel. When in Omni mode, POD will transmit MIDI information 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 sound or setup to another.

  • Page 86

    If you just want to transfer sounds directly from your POD Pro to another POD Pro, or between a your POD Pro and a Flextone II or POD, 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.

  • Page 87

    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 the trasnmitting POD in normal operating mode (no MIDI button lit), and selecting the sound you want to transfer.

  • Page 88

    Deep Editing & MIDI Control: POD P ACKING ROGRAMS TO THER EVICES POD P ACKING ROGRAMS TO THER EVICES It’s 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 from your 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.

  • Page 89

    Deep Editing & MIDI Control: MAGIC OUND IVER OFTWARE MAGIC OUND IVER OFTWARE The Emagic SoundDiver software included on the accompanying CD is an editor/ librarian program that turns your computer into a POD control station. Check 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.

  • Page 90

    In addition to using the Emagic SoundDiver software on the accompanying CD to edit and store POD sounds, or using a MIDI connection for ToneTransfer between a POD, POD Pro, and Flextone II, MIDI also gives you what you need for: Changing POD Channels with MIDI Program Changes The most basic thing to do with POD via MIDI is change channels.

  • Page 91

    Deep Editing & MIDI Control: MIDI THER HINGS O WITH 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.

  • Page 92

    Deep Editing & MIDI Control: TEP WITH OUND IVER TEP WITH OUND IVER Step 1 - 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).

  • Page 93

    Deep Editing & MIDI Control: TEP WITH OUND IVER 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”...

  • Page 94

    Deep Editing & MIDI Control: TEP WITH OUND IVER 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.

  • Page 95

    Deep Editing & MIDI Control: TEP WITH OUND IVER 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.

  • Page 96

    Deep Editing & MIDI Control: TEP WITH OUND IVER A Few Other SoundDiver Tips We’re done with the tutorial on how to save your sounds to the computer, but we figured we should give you one or two other tips: Editing a Channel Memory/Program - The SoundDiver window shown on the left shows you the contents of your POD’s memory.

  • Page 97

    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.

  • Page 98

    Deep Editing & MIDI Control: OUND IVER ETUP ROUBLE SHOOTING 3. Make sure that the Device ID is set to 1. 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.

  • Page 99

    Line 6. These marks and names are used solely for the purpose of describing certain amplifier tones produced using Line 6’s modeling technology.

  • Page 100

    B: E PPENDIX FFECT ARAMETERS Effect Tweak Notes Bypass Turns off the effects. Compressor Ratio There are 5 Compressor ratios: 1.4:1, 2:1, 3:1, 6:1, and Higher settings “squeeze” your volume more. Tremolo Tremolo Speed Depth The tremolo was designed with the characteristic Fender tremolo shape.

  • Page 101

    C: MIDI P PPENDIX ROGRAM HANGES 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...

  • Page 102

    D: MIDI C PPENDIX ONTROLS (1 of 3 pages) Sound Diver Transmitted MIDI Control Notes Received MIDI Range Parameters Range Amp Model Selects Amp Model 0-15 transmitted from 0 = Tube Preamp, Amp Model knob 1-32 = Other Amp Models >32 treated as 32 Drive 0-127...

  • Page 103

    D: MIDI C PPENDIX ONTROLS (2 of 3 pages) Sound Diver Transmitted MIDI Control Notes Received MIDI Range Parameters Range Delay (always available) On/Off FB SWITCH ON=127 Rcv: 0-63=OFF, 64-127=ON Delay Time 0-3150 mS, 128 equal 0-127 0-127 steps Double-precision with Delay Time, 0-127 0-127...

  • Page 104

    D: MIDI C PPENDIX ONTROLS (3 of 3 pages) Sound Diver Transmitted MIDI Control Notes Received MIDI Range Parameters Range Chorus/Rotary/Tremolo On/Off FB SWITCH ON=127 Rcv: 0-63=OFF, 64-127=ON On/Off Chorus/Flange Speed 0-127 0-127 Chorus/Flange Depth 0-127 0-127 Chorus/Flange Feedback 0-63 negative, 0-63 negative, 64-127 positive 64-127 positive...

  • Page 105

    POD, Bass POD, and the Stomp Box Modelers series effect pedals. Learn about the full line up at the Line 6 web site ( or by contacting our sales or support staff via email ( or or phone: (805) 379-8900.

  • Page 106

    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.

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