- •I. Introduction
- •II. Quick Guide
- •III. Guitar Setup
- •IV. Pod Setup
- •V. Amp/Distortion Tone
- •VI. Cabs and Mics
- •X. Faq and Links
- •XI. Wish List
- •XII. Effects
- •XIII. Glossary
- •I. Introduction
- •VIII. Tips and Pitfalls
- •IX. Troubleshooting Guide
- •I. Frequency Response
- •XIII. Change Log Appendix a – Line 6 Effect Processing Diagrams Appendix b - Line 6 Effect Processing Table
- •I. Introduction
- •Section Overview
- •II. Quick Guide
- •I. Top Ten Tweaks
- •A. Quirks
- •Input Settings Global/Patch Option
- •Volume Knob/Ch. Vol. Functionality
- •Input 2
- •B. Patch-building Tips
- •C. High-Gain Amp Roundup
- •D. Cabs/Mics Roundup
- •F. Distortion Effects Roundup
- •G. Gain Staging
- •H. Eq Effects Roundup
- •I. Top Ten Tweaks
- •J. Killing Fizz
- •K. Mids for Metal
- •L. Dual Cab
- •M. Noise Gate Usage
- •P. Output Modes
- •Q. Input Settings
- •III. Guitar Setup
- •A. New Strings
- •B. String Gauge
- •C. Action
- •D. Fret Buzz
- •E. Intonation
- •F. Pickups
- •I. Single-Coil vs. Humbuckers
- •II. Pickup Position
- •III. Signal-to-Noise Ratio
- •IV. Frequency Response
- •V. Actives vs. Passives
- •VI. All about Blackouts
- •VII. Pickup Height on Passives
- •VIII. Pickup Height on Actives
- •IX. Pickup Suggestions
- •G. Bridge
- •I. Body/Fret board/Tuners/Neck-through/etc.
- •IV. Pod Setup
- •I. Simple Guide for Settings
- •II. Where Confusion Sets In
- •III. Global eq
- •A. Understanding Output Modes
- •I. Simple Guide for Settings
- •II. Where Confusion Sets In
- •III. Global eq
- •IV. Live-Voiced Cabs
- •V. Cab/Mic Simulation
- •VI. Bass Boost
- •VII. Output Mode Feature Chart
- •B. Internal Signal Routing
- •C. Running Direct (pa/board/computer or daw/monitors/headphones)
- •I. Simple method (no real amp)
- •II. Using a real amp as a pre-amp
- •D. Running to an amp ("live")
- •I. Amp without effects loop
- •II. Pod as Effects Only after pre-amp
- •III. Simple setup for amp with effects loop
- •IV. 4 Cable Method
- •E. I Tried This and It Doesn't Sound Good
- •F. Dual Output
- •G. Wet/Dry/Wet Output
- •H. Multiple Instruments/Independent Paths
- •I. Input Settings Global/Patch
- •Input 2
- •Impedance
- •J. The Effects (fx) Loop
- •K. The Mixer Block
- •L. Effects Order/Position
- •Noise Suppressors/Gates
- •Chorus/Phaser/Flanger
- •Delay/Reverb
- •Pitch Shifters
- •M. Gain Staging
- •I. Principles
- •II. Practice
- •V. Amp/Distortion Tone
- •A. Distortion Types/Overview
- •I. Frequency Chart
- •C. Gain Staging/Layering Distortions
- •D. High-Gain Amps
- •I. Park 75
- •II. Plexi Bright
- •IV. Uberschall
- •V. Dual Rectifier
- •VI. Fireball
- •VII. Elektrik
- •VIII. Dual Rectifier "Pre"
- •IX. Slo Overdrive
- •X. Doom
- •XI. Epic
- •E. Distortion Effects
- •I. Tube Drive
- •II. Screamer
- •III. Classic Distortion
- •IV. Overdrive
- •V. Facial Fuzz
- •VI. Line 6 Distortion
- •VII. Line 6 Drive
- •VIII. Others
- •F. Power Amp d.E.P.'s
- •G. Dual Amps
- •H. "Full" vs. "Pre"
- •I. The Elusive Pure Clean Tone
- •J. Noise Gates
- •VI. Cabs and Mics
- •I. Introduction
- •A. Cab/Mic Overview
- •Ignore General Frequency Response...
- •...Unless Frequencies are Missing
- •Response or Noise?
- •Using Res. Level to improve snr
- •Taming the Low End
- •Tonal Nuances
- •Dual Cabs
- •Using Cab/Mic Choices for eq Purposes
- •B. Cab Selection for Direct Tones
- •I. My Favorites
- •II. General Tips
- •III. Hiway 4x12
- •IV. Tread V-30 4x12
- •VI. Greenbacks 4x12
- •VII. Uber 4x12
- •VIII. Brit-t75 4x12
- •IX. Other cabs
- •C. Cab Selection for Live Tones
- •D. Mic Selection
- •I. Sm57 On/Off Axis
- •II. Dynamic Mics
- •III. Condenser Mics
- •IV. Ribbon Mics
- •E. Dual Cabs
- •I. Introduction
- •II. Getting the Patch Ready
- •III. Phase Correction
- •Cab/Mic Delay Times Matrix/alternate Google Cloud version/pdf version
- •IV. Eq'ing the tone
- •V. Other Amp Settings
- •VI. E.R. Settings
- •VII. Dsp Management
- •VIII. My Favorite Combinations
- •Res. Level
- •A. Classifying the Frequency Spectrum
- •B. How to eq a Hard Rock Tone
- •C. The Pod hd's eq Effects
- •I. Graphic eq
- •II. Parametric eq
- •III. Studio eq
- •IV. 4 Band Shift eq
- •VI. Q Filter
- •D. Eq'ing your Patch
- •E. Fizzy Spots
- •VIII. Tips and Pitfalls
- •A. Tone Matching
- •B. Branching/Evolving Patches
- •C. Setlist Tips
- •D. Effect Switching/Tips
- •E. Recording Tips
- •F. Monitoring
- •G. Dsp Allocation/Advice
- •H. Mesa Boogie Mark II/IV tone
- •I. Clean Boost
- •J. Leveling Patches
- •K. Clarifying Confusing Volume Controls
- •I. The Pad Switch
- •II. The master Knob
- •III. Amp/Channel Volume aka volume Knob
- •IV. Mixer Levels
- •V. Master d.E.P.
- •L. Clipping
- •I. Input Clipping
- •II. Signal Clipping
- •III. Effects Clipping
- •IV. Clipping external devices
- •V. "Digital Clipping" (Crossover Distortion) on "Full" Amp Models
- •M. Bad Monitoring
- •I. Acoustic Tone
- •II. Bad Monitors
- •III. Bad Room
- •IV. Low Volume
- •N. Wrong Output Mode
- •O. Gain Staging
- •P. Outside vs. Inside Mix
- •Q. Relying on Others' Patches
- •IX. TroubleShooting
- •A. Too much noise
- •B. Tone is fizzy/noisy
- •C. Tone is harsh
- •D. Tone has digital clipping
- •E. Tone is muffled
- •F. Distortion is muddy/fuzzy/farty
- •G. Distortion is dirty/gritty
- •H. Tone is thin
- •I. Software Knobs move on their own
- •J. I'm Getting dsp Limit Reached Errors
- •X. Faq and Links
- •A. Frequently Asked Questions
- •I. Tone
- •Is the tone better when using Input 2: Variax (or another unused input)?
- •Should I use "full" or "pre" amp models?
- •Where should I set the master knob?
- •What does the Master dep do for amps models where there was no master volume on the original?
- •II. Output/Routing Can I output dual output modes with the hd-500 or Pro?
- •Can I output w/d/w (wet/dry/wet)?
- •Can I reamp over usb?
- •Why can't I get any output from Channel b?
- •Why don't I have stereo output?
- •III. Usage How Should I Level my Patches?
- •Why can't I get a natural volume swell with the Exp. Pedal?
- •How do I use the Pitch Glide?
- •IV. Compatibility/Hardware Does the Pod hd work with Gearbox?
- •Can I use hd-XXX patches on hd-yyy?
- •What is the differences between the Pod hd models?
- •Can I use a different power adapter?
- •Can I modify my Pod hd to gain more dsp power?
- •Do you take tone requests?
- •B. Links
- •I. General
- •II. Forums
- •III. Pod hd References
- •B. Amps
- •C. Utilities
- •D. Routing
- •F. Footswitches/controls/Midi
- •G. Effects
- •H. Dsp Saving Features
- •I. Devkit
- •XII. Effects
- •A. Preferred Effects
- •I. Chorus
- •II. Flanger
- •III. Compressors
- •IV. Reverb
- •V. Delay
- •B. Dialing in the Flangers
- •C. Substitutes
- •D. Ordering
- •XIII. Glossary
- •I. Frequency Response
- •A. Signal-Based Terms
- •I. Clipping
- •II. Distortion
- •III. Signal
- •IV. Noise
- •V. Signal-to-Noise Ratio (snr)
- •VI. Impedance
- •VII. Signal Chain
- •VIII. Mono
- •IX. Stereo
- •X. Field
- •XI. Balance
- •I. Frequency Response
- •VII. Shelf
- •VIII. Peak/Valley
- •II. Fizz
- •III. Buzz
- •IV. Grinding
- •V. Crunchy
- •VI. Chunky/Punchy
- •VII. Fuzzy
- •VIII. Cold
- •IX. Warm
- •XIV. Change Log
- •Appendix a – Line 6 Effect Processing Diagrams
- •Appendix b - Line 6 Effect Processing Table
- •Appendix c – Cabinet/Mic Phase Correction Timing Data
- •Appendix d – dsp Usage of Effects
C. Running Direct (pa/board/computer or daw/monitors/headphones)
Use this method if you want to run the Pod straight into a PA system, mixing board or mixing board for live purposes or a computer/DAW, home stereo, or headphones for recording or practicing. The Pod will completely simulate a guitar rig - amp (including pre-amp and power amp) and speakers (including cabinet). If you want, you can disable some of these features and use other gear to get that tone - like a speaker simulator device or a convolution reverb device/software that is using an impulse response (IR) designed to mimic a guitar cabinet.
You can additionally use effects from the Pod or use external effects, placing them before the Pod or in its effects loop (or even after if you use 1/4" or XLR output).
Running this way generally means you must choose "Studio/Direct" as your output mode, to enable cab/mic simulation (see output modes section), unless you are running external speaker simulation (such as an IR). Otherwise, your tone will be very harsh. Even in this case, I still recommend using "Studio/Direct" output mode and using the "no cab" option for your cabinet selection, simply to reduce complication.
However I should point out that you can use the cab models with a non-"Studio/Direct" output mode as a mild EQ effect, and it will sound relatively natural with an external speaker simulator/IR. I don’t recommend this, as it seems to dial out some of the high end, which is the area most difficult to dial in with the Pod; but it may be fruitful to experiment with if you don't mind losing some highs.
Here are a few guidelines to keep in mind for this connection type:
If connected via USB, the Pod ASIO driver control panel has a default option of adding +18 db to the signal. This will often push it into clipping. If you have clipping, try turning this off.
The Pod's ASIO driver is pretty low latency, if your computer is powerful enough to handle it. I've never had good experiences with high-quality audio over USB, so I connect via SPDIF to a firewire interface. My latency is extremely low (3 ms). I get no pops or clicks with 128 buffer size.
Connecting digitally to a DAW (or an advanced mixing board) via USB, SPDIF, or AES avoids converting the sound to analog then back to digital, which will add a bit of noise and distortion into the tone.
If you're using the 1/4" output(s) from the Pod and also using external effects, it's likely better to place them after the Pod's output rather than in its effects loop, to save on a possibly unnecessary D/A/D conversion. For other output connections or if your effects are level-sensitive, this might not be possible.
The 1/4" outputs will sum to mono if only one of the two outputs is being used. In contrast, the XLR outputs will never sum to mono.
The effects loop send connection is actually a 3-ring stereo connection. If you know what you're doing, you can use this as an additional unbalanced output.
1/4" unbalanced cable is subject to interference, often produced by florescent lighting. Use XLR where possible for better tone, especially where long runs of wire are necessary.
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