pocket pod reference manual (rev a) - english

8/7/2019 Pocket POD Reference Manual (Rev A) - English

http://slidepdf.com/reader/full/pocket-pod-reference-manual-rev-a-english 1/32

In-Depth Reference Manual

An in-depth exploration o the technologies and

pulsing tonal pleasures o Pocket POD.

www.line6.com/manuals

Rev A

®

®



The serial number can be ound in the battery compartment o your Pocket POD. It’s the number thatbegins with “(21)”. Please note it here or uture reerence:

WARNING: To reduce the risk o re orelectric shock, do not expose this appliance torain or moisture.

CAUTION: To reduce the risk o re or electric shock,do not remove screws. No user-serviceable parts inside. Reerservicing to qualied service personnel.

NOTICE: This equipment has been tested and ound to comply with the limits or a Class B digital device pursuantto Part 15 o FCC Rules. Operation is subject to the ollowing two conditions: (1) This device may not cause harmul

intererence, and (2) this device must accept any intererence received, including intererence that may cause undesiredoperation.

The lightning symbol within a triangle means“electrical caution!” It indicates the presenceo inormation about operating voltage andpotential risks o electrical shock.

The exclamation point within a trianglemeans “caution!” Please read theinormation next to all caution signs.

You should read these Important Saety Instructions

Keep these instructions in a sae place

Beore using your Pocket POD, careully read the applicable items o these operating instructions and saetysuggestions:

1. Obey all warnings in the Pocket POD manual.

2. Only use non-rechargeable alkaline batteries or the Line 6 model DC-1 power supply.

3. For maximum battery lie, always unplug the guitar cable when not in use or extended periods o time.

4. Do not place near heat sources, such as radiators, heat registers, or appliances which produce heat.

5. Guard against objects or liquids entering the enclosure. Do not place the unit near water.

6. Do not step on cords. Do not place items on top o cords so that they are pinched or leaned on. Payparticular attention to the cord at the plug end and the point where it connects to the unit.

7. Do not perorm service operations beyond those described in this Reerence Manual. In the ollowingcircumstances, repairs should be perormed only by qualied service personnel:

• liquidisspilledintotheunit • anobjectfallsintotheunit

• theunitdoesnotoperatenormallyorchangesinperformanceinasignicantway

•theunitisdroppedortheenclosureisdamaged

8. Clean only with a damp cloth.

9. Prolonged listening at high volume levels may cause irreparable hearing loss and/or damage. Always besure to practice “sae listening.”

Pocket POD In-Depth Reerence Manual © 2007, Line 6, Inc.

SERIAL NO:



Please Note:

Line 6 and POD are trademarks o Line 6, Inc. Allproduct names, trademarks, and artist names are theproperty o their respective owners, which are in no

way associated or afliated with Line 6. Product names,

images, and artist names are used solely to identiythe products whose tones and sounds were studiedduring Line 6’s sound model development. The use o these products, trademarks, images and names doesnot imply any cooperation or endorsement.



Table of Contents

Controls & Connections ........................................................1•1

Presets & Tuner ......................................................................2•1

Recalling Presets ............................................................................................ 2•1

Saving Presets ................................................................................................. 2•2

Tuner .............................................................................................................. 2•3

Tuner Reerence Frequency ........................................................................... 2•3

Tuner Pass-Through Volume.......................................................................... 2•3

Tuner Sensitivity ............................................................................................ 2•3

Complete Factory Reset ................................................................................. 2•4

Modeled Amps & Cabs ..........................................................3•1

Which Amps and Cabs Are Modeled? .......................................................... 3•1

Cabinet Models ............................................................................................ 3•11

Cabinet Tuning Mode .................................................................................. 3•12

Eects ......................................................................................4•1

Single Eects .................................................................................................. 4•1

Combined Eects ........................................................................................... 4•3

Noise Gate ..................................................................................................... 4•4

Eects Knob and Tap Button Summary ......................................................... 4•5

Appendix A: Amp and Cabinet Models ...............................A•1



Controls & Connections

1•1

Controls & ConneCtions

1 4-way Navigation Button – This button is your gateway to many o theabulous eatures in your Pocket POD. By pressing on the top, bottom, and sides o thebutton, you’ll be able to navigate Up, Down, Let, and Right to access the ollowingunctions:

Presets – There are over 300 amazing-sounding presets in Pocket POD. Many o them have been dialed in by some great artists. Use the 4-way Button to browse thevarious categories o tones to nd the ones that inspire you to rock out. See Chapter2 or more details.

Master Volume – To adjust the overall volume o Pocket POD, hold down the Saveand Tap buttons and press the Up or Down button.

Amp Models – There are 32 Amp Models in Pocket POD. Hold down the Savebutton and press the Up or Down button to choose one. See Chapter 3 or moreino.

Eect Models – There are 15 Eect Models to choose rom in Pocket POD. Holddown the Save button and press the Let or Right button to nd the one that’s rightor you. See Chapter 4 or more details.




1•2

Gate Threshold – To adjust the threshold o the built-in Noise Gate, hold down theSave and Tap buttons and press the Let or Right button. See chapter 4 or moreino.

2 Display – This is where Pocket POD will tell you what’s going on. You’ll see thingslike preset categories, preset names, control settings, Amp and Eect Model names, tunerreadings, etc.

3 Drive – This knob controls how hard you’re driving the input o a chosen AmpModel, and just like the input volume control on a non-master volume guitar amp, higher

settings give you more “dirt.”You can access the Bass tone control by holding down the Save button and turningthe Drive knob. When you change Amp Models, the response and interactivity o thiscontrol changes. For example, when you select Black Panel, the tone controls operate likethe original amp that Model was based on*, the Fender® Deluxe Reverb®. This also goesor the Mid and Treble tone controls described below.

4 Eects – This knob varies the eect you’ve chosen. Turn it up and the eect willgo deeper, louder, aster, longer or just plain more. To turn o the selected eect, turn thisknob all the way down. The speed o the eect (delay, tremolo, chorus, fanger, rotaryspeaker simulation) is set by the Tap button (described below). I you choose the Bypasseect, the Eects knob will, o course, not change anything.

Hold down the Save button and turn the Eects knob to access the Mid tone control.

5 Delay – I you’ve chosen the Delay eect or a combo eect with delay, this knobsets the mix level o the Delay; let or min and right or max. I you’re running a non-delayeect, turning this knob automatically loads the corresponding combo eect, then sets themix level o the Delay. This knob doesn’t do anything when you choose the Rotary eect.See Chapter 4 or more ino.

Hold down the Save button and turn the Delay knob to access the Treble tone

control.

6 Chan Vol – This knob controls the relative volume level o the “channel” you areplaying through. Use this to balance levels between the sounds you store in the dierentPocket POD memory locations. In general, you want to set the Chan Vol as high as

* All product names are trademarks o their respective owners, which are in no way associated or afliated with Line 6.

These product names, descriptions and images are provided or the sole purpose o identiying the specifc products that were

studied during Line 6’s sound model development. FENDER® and DELUXE REVERB® are registered trademarks o Fender Musical Instruments Corporation.




1•3

possible to ensure you’re getting the best signal-to-noise ratio.

Hold down the Save button and turn the Chan Vol knob to set the Reverb level. See

Chapter 4 or more ino.

7 Save/Hold or Alt Features – When you want to store your own tweaked-up sounds into one o the 124 User Preset locations, press this button. More ino on howto save can be ound in Chapter 2.

This button also acts as a “shit” key – press and hold while turning a knob or pressingthe 4-way Button to access its secondary unctions. Or, you can press this button or 2seconds to lock the “shit” eature. This allows you to have direct control o the secondaryunctions without holding the Save button. I you’ve locked the “shit” eature, pressingthe Tap button releases the lock and returns the unit to normal operation.

8 Tap/Hold For Tuner – Tap this button a couple o times and the eect speedwill match the speed you tapped. The light will blink at the current eect rate.

Press and hold this button or more than 2 seconds to activate the tuner. Press again to exittuner mode. See Chapter 2 or details.

9 CD/MP3 In – This is the 1/8-inch stereo input where you plug the output o your CD or MP3 player into Pocket POD so you can jam along to your avorite tunes. To

balance the music with your guitar you’ll need to adjust the output volume on your CDplayer or MP3 player.

10 Amp Out – This is a mono 1/4-inch output that is perect or connecting yourPocket POD to a guitar amp.




1•4

11 Direct Output/Phones – OK, this should be easy. This is a stereo 1/8-inchoutput or headphones, a P.A. or recording device.

12 DC Input – You can power Pocket POD here using the optional Line 6 DC-1external power supply. The optional DC-1 provides 9.6 volts DC, 200 mA and has center-negative polarity.

13 Guitar In – Dude, plug in here. You should use only a standard, 1/4-inch monoguitar cable.

You’ll notice that there is no power switch on Pocket POD. This is it! When you plug in,Pocket POD will automatically power-up. To extend the lie o your batteries, it’s a goodidea to unplug your guitar cable when you’re not using it or a long time.

14 USB – You can connect Pocket POD to your Macintosh or Windows computervia the included USB cable and it’ll automatically show up as a MIDI device. No driversare needed!

The USB connection also acts as a power switch – as long as you have batteries installedor the DC-1 power supply connected, Pocket POD will come to lie when you connectit to your computer via USB. However, keep in mind that the USB connection does

NOT power or recharge your Pocket POD, so or maximum battery lie, make sure anddisconnect the USB cable when you’re not using it or a long time.

For tweak heads, the Vyzex Pocket POD editor/librarian sotware is available as aree download rom www.line6.com/sotware. The program runs on Macintosh andWindows computers, and can turn your computer into a Pocket POD command station.It let’s you take “ull control”, and do everything that can be done rom your Pocket




1•6

lie possible, turn the Reverb knob to its minimum position to turn o the Reverb. O course, only you can decide whether battery lie is more important than great tone!

16 Belt Clip – Use this handy clip to attach Pocket POD to your belt, guitar strapor anything else that makes it convenient or you to take great tone with you. Ever wonderwhat those small ront pockets on your jeans are good or? They’re the perect place to clipyour Pocket POD when you’re on the go!



Presets & Tuner

2•1

P resets & tuner

Recalling PresetsPocket POD includes over 300 presets to cover a wide range o tones and styles. Manypresets have been dialed-in by some o today’s infuential artists! These presets storecomplete amp-and-eect selections and settings that you can call up at the touch o abutton. O these presets, there are 124 User Preset locations that you can use to store yourown custom tones.

With so many presets, we had to come up with a convenient way or you to browse throughthem all. So, the presets have been split up into the ollowing Categories:

Band –• These are the presets dialed-in by artists themselves. There are separate“olders” or each artist. These presets are read-only and cannot be erased, but theycan be modied and saved to one o the 124 User Preset locations.

Style –• Presets organized by style, instrument or song. Again, there are separate

olders or each type. These too are read-only and cannot be erased, but can bemodied and saved to one o the 124 User Presets.

User –• 124 great-sounding presets that you can overwrite with your own customtones. These presets are organized into 31 olders with 4 presets per older. A FactoryReset (described later in this chapter) will restore these presets to their actorydeaults.

To recall a preset, use the 4-way Nav Button as shown below:



Presets & Tuner

2•2

When recalling a preset, note that its settings will not be refected by the present knobpositions – like you may have let the Drive knob at minimum whereas the just-recalledchannel has this control set to max.

To change anything, just grab a knob and tweak.

To recall a preset rom a dierent category or dierent older, press the Let buttonrepeatedly until you get to the “Browse By:” screen, then use the 4-way Nav Button asbeore.

Saving Presets

You can edit any o the Pocket POD presets or create one o your own and store it to oneo the 124 User Preset locations. To save ollow these steps:

Press the• Save button. The display will fash.

I you’ve modied a User Preset, you’ll go to that User Preset’s location. I you’ve•modied any other preset, you’ll go to User Preset location 01A.

Use the• Up or Down button to select the User Preset location where you want tostore the new preset.

Press the• Save button. The display will stop fashing.

I you want to rename the new preset, use the• Let and Right buttons to pick acharacter and the Up and Down buttons to change that character.

Press the• Save button.All user controls are saved at their current state.•

To cancel a save, press the Tap button or allow the unit to have 5 seconds o inactivitysince the last press o a button.



Presets & Tuner

2•3

Tuner

Press and hold the Tap button or 2 seconds to enter tuner mode. The display will briefy

show the current Tuner Reerence Frequency, then the Tuner Display. Play a note on yourguitar and Pocket POD will show you the pitch and tuning in the display. All notes aredisplayed as naturals or fats, so you’ll see “Ab” instead o “G#” and so on. The display willtell you whether you’re sharp, fat or in tune as ollows:

To exit tuner mode, press the Tap button.

Tuner Reerence FrequencyWhen in Tuner Mode, you can change the tuner reerence requency by using the Delay knob. By deault, the unit has a tuner reerence requency o A440, but it can be adjustedrom A436 to A445. The display will show you the requency selected. This setting isautomatically saved and will be recalled the next time you enter Tuner Mode.

Tuner Pass-Through Volume

When in Tuner Mode, turn the Chan Vol knob to set the Tuner Pass-Through Volume.This is how loud you want your sound to be when you’re tuning up. You can also turnChan Vol all the way down to mute your sound completely when tuning. This setting isautomatically saved and will be recalled the next time you enter Tuner Mode.

Tuner Sensitivity

When in Tuner Mode, use the Drive knob to set the Tuner Sensitivity. This is like a noisegate just or the tuner – it’ll reduce the hiss and noise guitar systems tend to put out so thatthe tuner doesn’t give you alse note readings. This setting is automatically saved and willbe recalled the next time you enter Tuner Mode.

P & T



Presets & Tuner

2•4

Complete Factory Reset

I or any reason, or just or the sheer mad joy o it, you decide you need to reset your

Pocket POD to its actory-programmed state, then boldly do this:

Hold the• Save and Up buttons while you plug in to the Guitar In jack.

Pocket POD will power up and display “Factory Init?”.•

The display will show “Yes=Save No=Tap”.•

To go ahead with the reset, press the• Save button. To cancel without resetting, press

the Tap button.

Keep in mind that a Factory Reset will reset all the 124 User Presets to their actory-deault settings.

M d l d A & C b



Modeled Amps & Cabs

3•1

Modeled AMPs & CAbs

Which Amps and Cabs Are Modeled?There are 32 Amp Models and 16 Cabinet Models living within your Pocket POD. The

ollowing is a list o all Models available, along with a description o the original equipment

that inspired them. See Appendix A or a summary.

“Line 6 Clean”. To create this Amp Model, we essentially grated the crisp top end o a

solid state amp to a rich, satisying tube amp-style bottom.

“Line 6 Twang”. Glassy high end, plus the snap and bite o a vintage tube amp. Things

don’t really get too crunchy until you get to the top range o the Drive knob.

“Line 6 Blues”. This tone is based on* the ’65 Marshall® JTM-45 Bluesbreaker but

incorporates wider range tone controls. Once you get into higher Drive settings, this Amp

Model begins to transition into a variant o the Budda Twinmaster (a high end boutiqueamp) or sweeter overdrive tonality.

“Line 6 Crunch”. Our “boutique” sound. Not too clean, but not too raging. Great or

modern blues or jazz, this sound should be like a ne cognac, smooth and warm going down,

but with a nice kick. The Mid control is located beore the Amp Model’s Drive, but the

Bass and Treble controls are placed ater the Drive or maximum range.

“Line 6 Crunch #2”. Looking or a 50 watt tube head tone with better EQ? Scoop out the

mids even at high drive settings.

“Line 6 Drive”. Our version o the modern, super-saturated, high gain, lead amp; smooth,

yet biting. All the tone controls here are post-Amp Model or maximum control with

minimum muddiness. It’s like playing through a collection o amps simultaneously – a studio

technique that has made possible some o the greatest guitar tones o modern recordings.

“Line 6 Layer”. Line 6 Clean meets Line 6 Drive. As we’ve already mentioned, many

guitarists and producers have experimented with running multiple amps simultaneously,

with each amp making a contribution to the overall tone. The Drive knob acts as a blender



studied during Line 6’s sound model development. MARSHALL® is a registered trademark o Marshall Amplifcation,Plc.

Modeled Amps & Cabs



Modeled Amps & Cabs

3•2

control – ully let you’ve got big bottom 21st Century Clean, and ully right you’ve got

paint-peeling ultra-drive. Set it anywhere in between, and you get to have your cake and

smear it all over your audience, too.

“Line 6 INSANE”. Our goal here was to provide you with as much input gain distortion

as possible short o complete meltdown. You get ridiculous, rich tube drive to shame the

distortion o pretty much any amp on the planet while still retaining tonal denition and

character. As a result, you get lots o bottom end and cabinet character with tons o wide-

ranging tone shaping. Crank up the Drive control and take no prisoners!

“Tube Preamp”. Not even close to being a guitar amp, but once we got started, we justcouldn’t stop ourselves. The thinking went like this: ‘Once people get this Pocket POD,

it’s gonna be so great that they’re gonna wish they could use it or everything – warming

up keyboards, crunching up drums, uzzing up vocals. We’ve gotta give ’em something to do

that!’ So we did. The Tube Preamp Amp Model lets you warm up any sound source the

way producers and engineers oten do in the studio with vintage tube gear. For more “edge”

on vocals, try running your vocal tracks through Pocket POD. Or punch up (or munch up)

a synth bass track by sending it through Pocket POD and cranking up the Drive and EQ

controls to suit your taste. Although this is not actually a guitar amp model, you can even get

some great guitar tones out o it. Also try using it as a direct box or bass. When you do this

stu, you want to use the Drive control like a mix knob on a reverb to control how much

processing you want to hear. You generally don’t want to mix the pre-Pocket POD sound

with the post-Pocket POD sound because o the comb ltering that results. Instead, jack the

sound source right into Pocket POD and then only monitor it post-Pocket POD processing.With the tone controls at 12 o’clock, the EQ is “fat.”

“Jazz Clean”. Based on* the classic Roland® JC-120. This

transistor amp was known or a strident clean sound and built-

in stereo chorus. When using the Jazz Clean Amp Model, try

cranking up the Treble or a shimmering clean sound that’ll cut

through just about any mix. It’s also perect or that 80’s “newwave” sound. Alternatively, try backing o on the Treble and

turn up the Bass and Mid or a darker jazz tone. It’ll give you an

essentially fat response, providing a balanced tone across the ret


These product names, descriptions and images are provided or the sole purpose o identiying the specifc products that werestudied during Line 6’s sound model development. ROLAND® is a registered trademark o Roland Corporation.

Modeled Amps & Cabs



Modeled Amps & Cabs

3•3

board or jazz chord melodies or single-line phrasing.

“Small Tweed”. Based on* a 1952 “wide panel” Fender® Tweed Deluxe Reverb®. This

Amp Model will snarl with the best o them. The original amp hadonly a single tone control, essentially a treble roll o. We set up the

Treble knob to give you this treble roll o when using this Amp

Model, which let us with the Bass and Mid knobs just sitting

there. That just didn’t seem right, so we gured out a way to put

those knobs to work without mucking about with the authenticity

o this Amp Model’s treble tone control. We set up the Bass and

Mid as post-Amp Model controls, which essentially lets you EQup your tone as you would do on a mixing console ater recording

your amp. Set the Bass and Mid knobs at halway to put them in

“neutral,” and try the Treble knob somewhere above halway or a classic Tweed sound.

“Small Tweed #2”. Based on* the 1960 Fender® Tweed Champ®. This is a great sound

when the Drive is cranked (not bad clean, either). These amps were originally designed to be

sold to beginners, but rock and rollers quickly discovered that you could get a great distorted

sound at airly low volume levels. Many o the classic guitar solos

o the 50’s were recorded through a Champ®. The Champ® had no

tone control, only volume. With your Pocket POD, it’s easy to get

a classic Champ® tone. Just leave all the Bass, Mid, and Treble

controls parked at 12 o’clock, which means they are “fat,” making

no contribution to the tone. Still, we’d hate to waste those things,so we gured out a way to put the Bass, Mid, and Treble controls

to work without mucking about with the authenticity o this Amp

Model. When using this Amp Model, all these tone controls are

applied ater the Amp Model processing, which essentially lets you

EQ up your tone as you would do on a mixing console ater recording your amp. Remember,

or the authentic emulated sound o the Champ®, set all the tone controls at 12 o’clock.



studied during Line 6’s sound model development. FENDER®, DELUXE REVERB®, and CHAMP® are registered

trademarks o Fender Musical Instruments Corporation.

Modeled Amps & Cabs



Modeled Amps & Cabs

3•4

“Tweed Blues”. Based on* the classic ’59 Fender® Bassman® 4x10 combo. The amp that

started it all – instant rock and roll tone. Originally a bass guitar amp, the Bassman® became

a Blues staple or 6-string guitarists. It has the at bottom end you’d expect rom a bass amp

but also has the Fender® twang on the top. The Bassman® was the “blueprint” or PocketPOD’s Tweed Blues. Incidentally, when Jim Marshall built his rst amps with Ken Bran

they were heavily infuenced by the early Bassman®. One o the

interesting things about the Bassman® is just how interactive the

Mid and Treble controls are. The Mid control isn’t a bandpass,

as in most tone control setups. Instead, it’s almost like a second

Treble control. The two are additive, so i you’re running the

Mid knob higher than halway up, you’ll nd that the Treble

control might give you more bright than you really want. On the

other hand, when you turn the Mid knob down, you’ll probably

want to boost the Treble. The Bassman®, like many o the amps

modeled or Pocket POD, didn’t have a master volume. So to get

the kind o 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. WithPocket POD, you can get that kind o tone at a bedroom or studio level – or through your

headphones even! Try a Drive setting o about 4 or 5 – it’s guaranteed to dredge up the best

R&B licks you know.

“Brit Blues”. Based on* the Marshall® 1964-65 JTM-45 head.

Although the sound normally associated with Marshall® Plexi

amps comes rom the 100-watt models o the late 60’s, it is the 50-watt JTM-45 that was the inspiration or the next in Pocket POD’s

line up o Amp Models. Complete with block logo (predates the

“scrolled” Marshall® logo) and a gold Plexiglas (Plexi) ront panel,

the JTM-45 marked the beginning o Marshall’s transition rom

a mellower Fender®-like tone to the distinctive bright “crunchy”

sound o the later Marshalls.

* All product names are trademarks o their respective owners, which are in no way associated or afliated with Line 6.These product names, descriptions and images are provided or the sole purpose o identiying the specifc products that

were studied during Line 6’s sound model development. FENDER®

and BASSMAN®

are registered trademarks o FenderMusical Instruments Corporation. MARSHALL® is a registered trademark o Marshall Amplifcation, Plc.

Modeled Amps & Cabs



p

3•5

“Black Panel”. Based on* the blackace Fender® Deluxe Reverb®. The Holy Grail or

many blues, country, and “roots” players has been a blackace Fender® Deluxe Reverb®. Ater

listening to quite a ew candidates or modeling, we stumbled upon

an extremely cool amp rom 1964. Most players love a DeluxeReverb® when it’s turned up to about 7 or a nice gritty sound

that cleans up when you back o your guitar’s volume knob just a

little. Notice how the tone control response changes as this Amp

Model’s Drive is changed; clean settings are crisp and present,

while more driven settings will mellow the high end, which is

similar to the response o an actual amplier. We’ve set up the

Mid knob or this model, so you can add some post-Amp Model midrange contouring or a

little more fexibility. Once again, set the Mid knob to its “neutral” 12 o’clock position or

the classic sound o a Fender® Deluxe Reverb®.

“Black Panel #2”. Based on* a 1965 blackace Fender® Twin

Reverb®. A real workhorse, everybody used it, rom jazz and country

players to serious rockers. I remember seeing Johnny Winter at aconcert where both he and Rick Derringer – am I dating mysel

or what? – were using six Twins stacked in a pyramid each. We

were in the second balcony and it was REALLY loud even all the

way back there. The Twin has a lot o tonal fexibility and is at

home in a great many dierent situations. It never gets extremely

overdriven and dirty, mostly just louder; a lot louder. This is the

amp or the classic sur sound. Dial up the spring reverb, switch on the tremolo, crank up thevolume, and look out or bikinis.

“Boutique #1”. Based on* the Clean Channel o the Dumble® Overdrive Special. The

Dumble® Overdrive Special is one o those incredibly expensive, custom amps that most

people never get a chance to actually get close to in this lietime. Each incarnation o the

Dumble® magic is a little bit dierent, because each o these amps is hand built or a specic

customer, and voiced to match their playing and desires. With that in mind, we basedthis Amp Model on the analysis o several dierent Dumble® Overdrive Specials. Despite

this tuning to the individual owner, these ampliers tend to have a number o eatures in

common; the clean channel is very sensitive to attack and dynamically responsive, and the


were studied during Line 6’s sound model development. FENDER

®

, DELUXE REVERB

®

, and TWIN REVERB

®

are registered trademarks o Fender Musical Instruments Corporation. DUMBLE® is a registered trademark o Howard

Alexander Dumble.

Modeled Amps & Cabs



3•6

drive channel has a thick, liquid, singing sustain that doesn’t lose string denition when

driven hard. Pocket POD’s tone controls on this Amp Model are quite subtle, like those o

the Dumble® itsel.

“Boutique #2”. Based on the Dumble® Overdrive Special Drive Channel. I 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 o tone.

“Boutique #3”. Based on* a Budda Twinmaster head. The Budda philosophy is all about

power tube distortion. Simplicity is the key. With relatively low ront end gain, highly

interactive tone controls, and tube rectier “sag” it’s great at getting a classic cranked soundor small gigs and recording. Once again, since the Twinmaster has no mid control, we’ve

added a little bonus in the orm o some post-Amp Model mid contouring available via

the Mid control. As usual, set this control to 12 o’clock to get groovy with the unadorned

Budda-style vibe.

“Caliornia Crunch #1”. Based on* a Mesa/Boogie® Mark II-C+.

The rst o the “boutique” amp makers was probably Mesa/Boogie®.Boogie made their mark in the late 70’s and early 80’s by adding

master volumes and more gain stages to amps with Fender®-style

circuitry. You can hear the Fender® heritage but with more “punch”

in the mids. This model is based on the Clean Channel o the

classic Mesa/Boogie® Mark II-C, with the enhancements o the “+”

version o the Mark II-C circuitry design.

“Caliornia Crunch #2”. Based on* the Drive Channel o the Mesa/Boogie® Mark II-C+.

Try your Santana licks here.

“Brit Class A”. Based on* the Vox® AC 30. Music was changing

in the early 60’s and guitarists were asking or more brilliance &

twang. So the Jennings Company, makers o Vox® amps, decided

to add Treble and Bass controls (and an extra 12AX7 gain stage,

incidentally); this additional circuit became known as Top Boost.

The AC 30 with Top Boost was the amp made amous by many



studied during Line 6’s sound model development. DUMBLE® is a registered trademark o Howard Alexander Dumble.MESA/BOOGIE® is a registered trademark o Mesa/Boogie, Ltd. FENDER® is a registered trademark o Fender Musical

Instruments Corporation. VOX® is a registered trademark o Vox R&D Limited.

Modeled Amps & Cabs



3•7

British invasion bands. Much o the unique character o the Vox® sound can be attributed

to the act that Class A amps overdrive in a very dierent way than Class AB. Brian May o

Queen, Mike Campbell o Tom Petty’s Heartbreakers, and The Edge o U2 have also used

classic AC 30s to make their music. On this Amp Model, Pocket POD’s Mid control actslike the Cut knob on the AC 30. Although usually played airly clean, a cranked AC 30 has

a great saturated lead tone, a la Brian May on the early Queen albums.

“Brit Class A #2”. Based on* the Normal Channel o a Non-Top Boost Vox® AC-30. As

we mentioned, the early Vox® amps were the rst designed especially or electric guitar (Hey,

some early amps rom other manuacturers have Accordion inputs! Polka, anyone?), and used

Class A power amp designs, rather than the much more commonClass AB type. We were lucky enough to nd what we are told was

one o Bryan Adams’ avorite AC 30s or recording. Lenny Kravitz

happened to be using it the week beore we began testing. It was

one o the gems in a great collection o vintage ampliers oered

or rental in Los Angeles, where Line 6 is located. We later bought

this amp, and continued to hone our emulation o it to bring you

the Amp Model it inspired in the Pocket POD. This is denitely

a good place to start to get yoursel some o those classic British

invasion sounds. Like the AC 15, the AC 30 NTB has only a single treble control, so Pocket

POD’s Bass and Mid controls here are set up or boost ater the Amp Model processing to

add a little extra fexibility without compromising the accuracy o the model. The 12 o’clock

setting on these controls is fat response.

“Brit Class A #3”. Based on* Channel 1 o a wonderul 1960

Vox® AC 15. Here’s another Vox-inspired Amp Model. The sound

is similar to that o the Vox® AC 30s that were studied or Pocket

POD’s Brit Class A and Brit Class A #2 Amp Models, but this

is a smaller amp (one, instead o two, 12” speakers) with a warmer,

more “woody” sound. Once again, the original amp had only a

single tone control – a treble cut. We aithully modeled that andthen slipped in some post-Amp Model bass and mid contouring.

Set the Bass and Mid to neutral (12 o’clock, or halway up) and

play with the Treble control to get yoursel some o those classic



studied during Line 6’s sound model development. VOX® is a registered trademark o Vox R&D Limited.

Modeled Amps & Cabs



3•8

British invasion sounds.

“Brit Classic”. Based on* the inamous Marshall® Plexi. Coveted by tone connoisseurs

the world over. By this time (ca. 1968) Marshall® had completelychanged the circuitry away rom the Fender® 6L6 power tube

heritage and moved to an EL34 tube; another major tone dierence

was due to the necessary output & power supply transormer

changes. (See, we told you we spent some time looking into all this

stu.) All this mucking about added up to create a tone orever

linked with Rock Guitar. Amps o this era didn’t have any sort o

master volume control, so to get this sound you’d have to crankyour “Mark III Super Amp” to max – just the thing to help you

really make riends with the neighbors. Hendrix used Marshalls

o this era; 20 years later Van Halen’s rst two records owed their

“brown sound” to a 100-watt Plexi. In order to get a crunch sound

out o a Plexi you would likely crank up the input volume and the tone controls (to 10!).

You’ll nd that the Brit Classic, in keeping with our basic “make-it-sound-a-whole-lot-like-

the-original” concept, is set up to do pretty darned near the same thing. Max out the Mid

and Treble knobs and turn Bass to about 9 or 10 o’clock on your Pocket POD when using

this Plexi-inspired Amp Model and you can treat those nice neighbors to a tasty slice o at

rock tone.

“Brit Hi Gain”. Based on* the Marshall® JCM 800. Turn to

this Amp Model to conjure up tones o the coveted JCM 800,one o Marshall’s most universally-acclaimed modern amps. This

updated version o the Plexi continued Marshall’s heritage with

added gain and edge or a new generation o rock guitarists. One

o the biggest dierences here is that the tone controls are located

ater the preamp tubes. We worked with a 1990 JCM 800 with

Master Volume to develop this model. Incidentally, some versions

o JCM800s get their distortion rom clipping a diode. The amp wemodeled uses a tube or distortion. This is the metal sound Marshall

made amous. Although not many people play Marshalls clean, it’s

a great tone; so you should also be sure to check out this model with a low Drive setting, too.

* All product names are trademarks o their respective owners, which are in no way associated or afliated with Line 6.These product names, descriptions and images are provided or the sole purpose o identiying the specifc products that were

studied during Line 6’s sound model development. MARSHALL®

is a registered trademark o Marshall AmplifcationPlc.

Modeled Amps & Cabs



3•9

O course, you can always pump up the drive and rage....

“Modern Class A”. Based on* a Matchless Chietain. The ’96

Matchless Chietain, which was studied or the Modern Class Aselection, is a very expensive handmade amp. The Matchless has an

EL34-powered “modern class A” design – hence this model’s name

– and a unique tone (largely due to the complicated EQ scheme).

The sound is sort o “uture retro.” Its sot clipping is typical o

Class A ampliers; almost a “hi-” sound in a great rock and roll

amplier.

“TreadPlate”. Based on* a 1994 Mesa/Boogie® Dual Rectier®

Tremoverb. You can use this Amp Model to get that tight, high

gain sound used by bands like Dream Theater or Metallica. Mesa/

Boogie® made their mark in the late 70’s and early 80’s by adding

master volumes and more gain stages to amps with Fender®-style

circuitry. You can hear the Fender® heritage but with more “punch”

in the mids. The Dual Rectier’s tone controls are post-distortionand, as with the tone sections o most o 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 or some great Seattle grunge sounds.

“TreadPlate #2”. Based on* a 1995 Mesa/Boogie® Dual Rectier® head. As with the

Tremoverb combo that was modeled or the TreadPlate Amp Model, the Dual Rectier®

was part o Boogie’s more modern, high gain approach or that “big hair” sound. In contrast

to the earlier Boogies, the Dual Rectier’s tone controls have more infuence at high gain

settings, so you can scoop the mids and increase the bottom end.



studied during Line 6’s sound model development. MESA/BOOGIE

®

and RECTIFIER

®

are registered trademarks o Mesa/Boogie, Ltd. FENDER® is a registered trademark o Fender Musical Instruments Corporation.

Modeled Amps & Cabs



3•10

“Modern Hi Gain”. Based on* the Soldano X88R. The Soldano

sound is intensely overdriven, and also has EQ ater the preamp

distortion. This oversaturated tone is well-suited to thrash metal

and grunge bands, but has also been used more subtly by artists likeEric Clapton. This is a good Amp Model to use i you want to get

a Van Halen or Joe Satriani sound. The Pocket POD Modern Hi

Gain Amp Model is based on one o Mike Soldano’s rackmount

preamps. Talk about high gain preamp tube distortion! The X88R

we studied to create this Amp Model would have been the rage or

Los Angeles studio use in the late ‘80s.

“Modern Hi Gain #2”. Based on* a Soldano SLO – Super Lead Overdrive – head. Unlike

the X88R preamp used or the Pocket POD Modern Hi Gain Amp Model, the SLO includes

a presence control, plus other little details that give it a bit o a dierent sound. With the

Drive control cranked way up, you’ll get sustain or days.... Go out’n’ave a bite – when you

come back it’ll still be sustaining!

“Fuzzbox”. Based on* the Arbiter® Fuzz Face. Although not technically an amp, we eltthat the unique tonal qualities o the classic 1960’s Arbiter® Fuzz Face earned it a place

among the amps studied to create Pocket POD’s Amp Models.

This uzz box used broad-requency transistor-based clipping. The

result is a buzzing kind o distortion that has become popular again

with the alternative and grunge set. Jimi Hendrix was among the

rst guitarists to popularize the Fuzz Face in the States, but ourModel is considerably dirtier than the tones ound on “Are You

Experienced.” Try playing “Satisaction” by the Stones, or the lead

rom “American Woman” by The Guess Who. Liberal use o the

Bass, Mid, and Treble controls will let you go beyond the tones

that the Fuzz Face could deliver, enabling you to discover your own unique recipe or those

elusive uzz tones in your head. Just a note: when recording “Purple Haze”, Jimi didn’t even

use an amp – he just went straight rom a Fuzz Face to an Orange® power amp to a 4x12cabinet. Which is the same sort o tone you nd here...


were studied during Line 6’s sound model development. ARBITER® is a registered trademark o Arbiter Group, Plc.

ORANGE® is a registered trademark o Orange Personal Communications Services, Limited.

Modeled Amps & Cabs



3•11

Cabinet Models

The ollowing Cabinet Models are available in Pocket POD. When you choose an Amp

Model, you actually select an amp/cab combination. See Appendix A or the details. Youcan also mix ‘n match dierent cabs with the amp by using the Vyzex Pocket POD editor/

librarian sotware, which is available as a ree download rom www.line6.com/sotware.

Cab Model Based on*

1x8 1960 Fender® Tweed Champ®

1x12s 1952 Fender®

Tweed Deluxe Reverb®

1960 Vox® AC-15

1964 Fender® Blackface Deluxe Reverb®

Line 6 1x12

2x12s 1965 Fender® Blackface Twin Reverb®

1967 Vox® AC-30

1995 Matchless Chieftain

Line 6 2x12

4x10s 1959 Fender® Bassman®

Line 6 4x10

4x12s 1996 Marshall® with Vintage 30s

1978 Marshall® with stock 70s1968 Marshall® Basketweave with Greenbacks

Line 6 4x12

No Cab You will probably want to use this Cabinetmodel with the Tube Preamp model for non-guitar sources. It is selected by default when

you pull up the Tube Preamp Amp Model.


These product names, descriptions and images are provided or the sole purpose o identiying the specifc products that werestudied during Line 6’s sound model development. FENDER®, CHAMP®, DELUXE REVERB®, TWIN REVERB®,

and BASSMAN® are registered trademarks o Fender Musical Instruments Corporation. VOX® is a registered trademark

o Vox R&D Limited. MARSHALL® is a registered trademark o Marshall Amplifcation Plc.

Modeled Amps & Cabs



3•12

Cabinet Tuning Mode

The Amp Out on your Pocket POD can be tuned or optimal perormance with a variety o

systems. By deault, your Pocket POD expects to be plugged-in to the instrument input o acombo amp or head with an open-backed cabinet. I you want to plug in to something else,

you’ll want to change the Cabinet Tuning Mode. To do this, do the ollowing:

Press and hold the• Save and Down buttons while plugging in the guitar input.

Ater startup, the display will show “Cab Select”.•

The display will show current cabinet tuning selection.•Press the• Up or Down buttons to change selection as ollows:

Use Mode... when Pocket POD is... & your speaker cabs are...

A feeding a power amp input closed back (ideal for 4x12 cab)

B feeding a power amp input open back (ideal for 1x12)

C (deault) feeding an instrument input open back (ideal for 1x12 or2x12)

D feeding an instrument input closed back (ideal for 4x12)

Direct feeding a recording device,

mixer, live P.A., etc.

not connected

Press• Save to store the selection.

Eects



4•1

effeCts

Single Eects

In addition to all the great Amp Models built into Pocket POD, there are some greatsounding eects. To pick which eect you want to hear, hold the Save button whilepressing the Let or Right button. When you rst select the eect you want, your helpulPocket POD will preset the eect’s parameters so you’re instantly ready to go with a greatsound. You can adjust the character o the eect you’ve chosen by turning the Eects knob.

Reverb – Reverb is the eect that makes your guitar sound like it is in a room. WithPocket POD, reverb is always available. You can control the Reverb Level with the Reverb knob. To turn the reverb o, rotate the knob all the way to the let.

There are two basic reverbs, both rom the original POD®; a spring reverb Model and astandard digital room reverb. The reverb type is automatically chosen when you select anAmp Model and generally speaking, i the amp that inspired a given Amp Model had a

spring reverb, we give you a spring reverb. I the amp did not have a reverb, we’ve givenyou the room reverb. Below is a list o reverbs that are loaded with each Amp Model:

Amp Model Reverb Type Amp Model Reverb Type

Small Tweed Room Modern Class A Spring

Small Tweed #2 Room TreadPlate Room

Tweed Blues Spring TreadPlate #2 Room

Brit Blues Room Modern Hi Gain Room

Black Panel Spring Modern Hi Gain #2 Room

Black Panel #2 Spring Fuzz Box Room

Boutique #1 Room Line 6 Clean Room

Boutique #2 Room Line 6 Twang Spring

Boutique #3 Room Line 6 Blues Room

California Crunch #1 Spring Line 6 Crunch Spring

California Crunch #2 Spring Line 6 Crunch #2 Room

Brit Class A Room Line 6 Drive Room

Brit Class A #2 Room Line 6 Layer Room

Brit Class A #3 Room Line 6 INSANE Room

Brit Classic Room Tube Preamp Room

Brit Hi Gain Room Jazz Clean Room

Eects



4•2

Delay – Sometimes reerred to as echo or slap back, delay essentially repeats your soundin interesting and groovy ways. The Delay knob controls the Delay Level, the Eects knob controls Delay Feedback, and the Tap button controls the Delay Speed – in other

words, how ar apart the echoes are spaced rom each other. To use the Tap button, just tapit at the tempo you want and the delays will change to match the tempo that you tapped.When you are using quicker delay times, we cut down the number o repeats so you can getthose rockabilly and sur slap back sounds. By the way, we let you set the maximum delaylevel high enough that your delay’s echoes can actually be louder than your direct signal.You may nd this handy or getting delay eect setups like U2’s The Edge is known or.

Compressor – A Compressor “squeezes” your sound so that the soter sounds arelouder and louder sounds won’t jump out at you. In other words, it helps to even out yourplaying, and can be also be used to give increased sustain. Compression is oten expressedin ratios, such as 3:1 or 6:1. The higher the ratio, the less dierence there is between yoursotest and loudest playing. The Eects knob controls compression ratio. There are vesettings: 1.4:1, 2:1, 3:1, 6:1, and ∞:1. With the Eects knob set to max, you get innitecompression, which is similar to having a limiter.

Tremolo – Modeled ater* the classic Fender® tremolo. The Eects knob controlsthe depth; Tap controls the speed. The tremolo speed will be twice as ast as you tap (andtwice as ast as the Tap light fashes), allowing you to set ast tremolos without having totap like a madman.

Chorus – You’ll nd two dierent chorus eects in Pocket POD. Chorus 1 ismodulated by a square wave, so it sounds more like a “rackmount” type chorus. Chorus

2 is modulated by a sine wave with more eedback, so it has richer harmonic content.Chorus 2 was massaged to closely approximate* the classic tone o an old Roland® CE-1 box. The Eects knob spins you through a range o chorus settings rom subtle toextreme; Tap controls the speed o the eect. By the way, i you want to get a really slowchorus, you have to tap really slow – try 6 or 7 seconds between taps.



studied during Line 6’s sound model development. FENDER

®

is a registered trademark o Fender Musical InstrumentsCorporation. ROLAND® is a registered trademark o Roland Corporation.

Eects



4•3

Flanger – Flanging is that amiliar “jet airplane taking o sound” you’ve heard oncountless recordings rom the 70’s; just listen to “Barracuda”, by Heart or example.Originally the eect was rarely used, since engineers had to use nger pressure on one

o the tape reels. This pressure slowed the speed o the tape in tiny increments creatingthis eect. The part o the tape reel they pressed on is called the “fange”, so you can seehow the eect got its name. Eventually, the eect could be produced electronically andwhen it became available in guitar stomp boxes, it became standard equipment or mostguitarists.

Two fangers are available in Pocket POD. Flanger 1 is a light fange with no pre-delay,and is subtler than Flanger 2, which is inverted, and has a deeper range (depth). TheEects knob gives you a range o fanger eects rom just a bit to Holy Cow! Tap dials inthe speed.

Rotary – This eect simulates* the eect o a mic’d, rotating high requency speakerhorn, like on a Leslie®. Rotary speakers have two speeds: slow and ast. We’ve set up PocketPOD’s Rotary Speaker emulation to select a xed slow speed i you tap the Tap buttonslowly, and a xed ast speed when you tap the Tap button quickly. When you switch

rom one speed to the other, you’ll notice that the speed doesn’t change immediately, butgradually changes rom one speed to the other, just as a real rotating speaker’s speed wouldramp rom one setting to the other. The Eects knob controls the amount o Dopplereect (pitch modulation); Tap controls the speed.

Combined Eects

The rest o the eects are combinations o Delay and one other eect. They should beairly sel-explanatory. Tap sets the delay speed or all these eects.

“Delay Comp” – Delay/Compressor. The Eects knob controls CompressionRatio.

“Dly Tremolo” – Delay/Tremolo. Eects automatically controls both speed anddepth to give you a variety o Tremolos.

“Dly Chorus 1” – Delay/Chorus 1. Eects spins you through a variety o Chorussettings.

“Dly Chorus 2” – Delay/Chorus 2. Eects spins you through a variety o Chorus


were studied during Line 6’s sound model development. LESLIE®

is a registered trademark o Suzuki Musical InstrumentManuacturing Co. Ltd.

Eects



4•4

settings.

“Dly Flange 1” – Delay/Flanger 1. Eects spins you through a variety o Flanger

settings.

“Dly Flange 2” – Delay/Flanger 2. Eects spins you through a variety o Flangersettings.

“Delay Swell” – Well, here’s one we haven’t explained beore. Swell is like anautomatic volume pedal that will give you a very even volume swell with each note orchord you play. Eects controls the attack speed o the volume swell. You can, o course,

turn the volume knob on your guitar with the heel o your picking hand. Or spin theEects knob here and have Pocket POD do the job or you!

“Bypass” – You guessed it. This bypasses all eects.

Noise Gate

Gate – Pocket POD also includes a built-in noise gate, intended to reduce the hiss andnoise guitar systems tend to put out when you’re not playing, especially when using a highgain setting (since high gain means that noise is turned up along with your guitar sound).You can control the gate threshold by holding the Save and Tap buttons while pressingthe Let or Right buttons – press the Right button or more gating and Let or less.

Repeatedly pressing the Let button will eventually turn the noise gate o.

Eects



4•5

Eects Knob and Tap Button Summary

A summary o the various eect-model-specic parameters that can be adjusted using the

Eects knob and Tap button is shown below:

Effect Model Effects Knob Tap Button

Compressor Compression Ratio none

Tremolo Tremolo Depth Tremolo Speed

Chorus 1 Chorus Depth Chorus Speed

Chorus 2 Chorus Depth Chorus SpeedFlange 1 Flanger Feedback Flanger Speed

Flange 2 Flanger Feedback Flanger Speed

Rotary Amount of Doppler effect (pitch modulation) Rotary Speed

Delay Delay Feedback Delay Speed

Delay/Compressor Compression Ratio Delay Speed

Delay/Tremolo Tremolo Speed Delay SpeedDelay/Chorus 1 Chorus Depth Delay Speed

Delay/Chorus 2 Chorus Depth Delay Speed

Delay/Flanger 1 Flanger Feedback Delay Speed

Delay/Flanger 2 Flanger Feedback Delay Speed

Delay/Swell Swell Attack Time Delay Speed

Bypass none none



Amp Model Name Default CabinetModel

Small Tweed Line 6 1x12

Small Tweed #2 1960 Fender® TweedChamp®

Tweed Blues 1959 Fender® Bassman®

Brit Blues 1996 Marshall®

withVintage 30s

Black Panel 1964 Fender® Black-face Deluxe Reverb®

Black Panel #2 1965 Fender® Black-face Twin Reverb®

Boutique #1 1996 Marshall® with

Vintage 30sBoutique #2 1996 Marshall® with

Vintage 30s

Boutique #3 1996 Marshall® withVintage 30s

California Crunch #1 1996 Marshall® withVintage 30s

California Crunch #2 1996 Marshall® withVintage 30s

Brit Class A 1967 Vox® AC-30

Brit Class A #2 1967 Vox® AC-30

Brit Class A #3 1960 Vox® AC-15

Brit Classic 1996 Marshall® withVintage 30s


These product names, descriptions and images are provided or the sole purpose o identiying the specifc products that werestudied during Line 6’s sound model development. FENDER®, CHAMP®, DELUXE REVERB®, TWIN REVERB®,

and BASSMAN® are registered trademarks o Fender Musical Instruments Corporation. VOX® is a registered trademark

o Vox R&D Limited. MARSHALL® is a registered trademark o Marshall Amplifcation Plc.

APPendix A: AMP And CAbinet Models

Amp Model Name Default CabinetModel

Brit Hi Gain 1996 Marshall® withVintage 30s

Modern Class A 1995 MatchlessChieftain

TreadPlate Line 6 4x12

TreadPlate #2 1996 Marshall®

withVintage 30s

Modern Hi Gain Line 6 4x12

Modern Hi Gain #2 1996 Marshall® withVintage 30s

Fuzz Box Line 6 4x12

Line 6 Clean Line 6 4x10

Line 6 Twang 1964 Fender® Black-face Deluxe Reverb®

Line 6 Blues 1995 MatchlessChieftain

Line 6 Crunch Line 6 1x12

Line 6 Crunch #2 1996 Marshall® withVintage 30s

Line 6 Drive Line 6 4x12

Line 6 Layer Line 6 4x12

Line 6 INSANE Line 6 4x12

Tube Preamp none

Jazz Clean Line 6 2x12

pocket pod reference manual (rev a) - english

Documents