® POD® HD400 Advanced Guide An in-depth exploration of the features & functionality of POD HD400 Electrophonic Limited Edition
Table of Contents Setup Details........................................................................... 1•1 Setup Options................................................................................................. 1•1 Pedal Calibration............................................................................................ 1•4 Factory Restore................................................................................................ 1•5 Features & Functionality...............................
WAH Menu.................................................................................................... 4•5 VOL Menu...................................................................................................... 4•5 FX Loop Menu................................................................................................ 4•6 MIDI DUMP................................................................................................... 4•8 Amp, Cab & Mic Models....................................
Reverb Models......................................................................... 9•1 Parameter Details............................................................................................ 9•1 Reverb Models................................................................................................ 9•2 Wah Models........................................................................... 10•1 Using the Pedal......................................................................................
Line 6, POD, DT50, DL4, MM4, FM4, DM4, Verbzilla,Vetta, CustomTone, Variax, L6 LINK and Line 6 Monkey are trademarks of Line 6, Inc. All other product names, trademarks and artists’ names are the property of their respective owners, which are in no way associated or affiliated with Line 6. Product names, images, and artists’ names are used solely to identify the products whose tones and sounds were studied during the Line 6 sound model development for this product.
Setup Details Setup Details In this chapter, we’ll cover the options found within the POD® HD400 Setup screen, calibrating your device’s on-board pedal and performing a Factory Reset. This Guide covers POD HD400 with Flash Memory version 1.10 installed. Your device may have an earlier firmware version, therefore, you should check for and install the 1.10 (or the latest available) Flash Memory version. Please see “Appendix A: Line 6 Monkey™” on page A•1 for instructions.
Setup Details • ComboFrt: For connecting into the front input of a typical combo amp (this is the default setting). 1•2 • ComboAmp: For connecting to the power amp of a combo amp (such as when connecting into the amplifier’s FX Loop “Return” jack). • StackFrt: For connecting into the front input of a typical amp head. • StackAmp: For connecting to the power amp of an amp head. AutoFX • AutoFX - Disabled: Selecting an Amp Model from the Amp knob does not alter any FX models or settings.
Setup Details Footswitch Mode 1•3 Just to make things even more flexible, we’ve offered two types of behaviors for how the MODE switch accesses the “Preset,” “Pedal” and “Looper” footswitch modes. (Please also see your POD HD400 Pilot’s Guide for more about the MODE footswitch.) • Normal: Sets the “Normal” behavior, where each click of the MODE footswitch incrementally selects one of the three modes: Preset Mode (green LED), Pedal Mode (amber LED) and Looper Mode (red LED).
Setup Details Tap Tempo Light 1•4 • TpLite - AlwaysOn: The TAP light on the device will flash constantly, showing the current tempo setting. This is the initial default setting. • TpLite - AlwaysOn: The TAP light will flash only 8 times, immediately after a new Tempo value is set, and then remain unlit. Firmware Version This SETUP screen displays your device’s firmware-flash memory version. This is an informational screen only - press the Nav. Disc down button to get to the next Setup item.
Setup Details Factory Restore There may be times when you’d like to reset your POD HD400 to its original factory settings. To do a Factory Restore, first back up any Presets you’d like to keep (“POD HD400 Edit Software” on page 2•7), then follow these steps: NOTE: This process also performs a Pedal Calibration, and it is necessary that you complete all the steps listed here when dong a Factory Restore. However, if you want to perform only a Pedal Calibration, please see “Pedal Calibration” on page 1•4. 1.
Setup Details 5. You are next prompted to press and hold the pedal’s “toe” switch: 1•6 6. Press the pedal firmly all the way forward to click the toe switch and hold this position for a few seconds until you see the next prompt. 7. As instructed, move the pedal to the minimum “heel” position and press the D switch. 8. Move the pedal to the maximum forward position (but do not click the toe switch) and press D. 9. At this point, the pedal is calibrated but not saved.
Features & Functionality Features & Functionality It is recommended that you first review the POD HD400 Pilot’s Handbook included with your device to become familiar with the hardware controls, inputs & outputs. In this chapter, we’ll go into more detail on the major features & functionality offered on POD® HD400. Tuner Mode The Tuner is available whenever your POD HD400 MODE switch is set to “Pedal On/Off” or “Presets” Mode. To enter Tuner mode, press and hold the TAP button.
Features & Functionality The FX1, FX2 & FX3 knobs are what we refer to as the “Smart FX” controls, in reference to their clever design. Spin one of these 3 knobs to quickly and easily load one of the currently assigned FX Models and useful, pre-configured settings for it. Turning an FX knob all the way counter-clockwise disables the effect. 2•2 Each Smart FX knob includes 3 “Swoosh” categories, as indicated by the labeling around the knob.
Features & Functionality • Edit the FX Model’s Parameters - You can dive deeper and access numerous parameters for any effect model by pushing the PRESETS knob and entering Edit Mode. Please see page 4•1 for details on Edit Mode. 2•3 • To retain your customized FX settings, save your Preset before calling up a new one. Noise Gate POD HD400 includes two handy tools for reducing unwanted noise: Noise Gate and Noise Reduction.
Features & Functionality FX Loop The FX Loop that is built into your POD HD400 can be controlled with several options, including, “Pre” or “Post” positioning and level control. These options are accessed in the Edit Mode - please see “FX Loop Menu” on page 4•6. 2•4 Tap Tempo Tap Tempo is the term we use to refer to the “system” tempo value that is accessed via the TAP button on your POD HD400 device. Simply stomp rhythmically on the TAP button in 1/4 note beats to set your Tap Tempo.
Features & Functionality Pitch Glide Either of these WAH or VOL modes can alternatively be assigned to control the Pitch Glide effect. This pedal assignment setting is found among the effect’s Edit Mode settings - see “Pitch Glide” on page 6•20. Pedal assignment for any of these 3 FX is saved individually with each Preset. When controlling the Pitch Glide effect, you’ll see both the WAH and VOL LEDs illuminated.
Features & Functionality Output Mode Options As briefly described in the POD HD400 Pilot’s Guide, the OUTPUT MODE switch on the back panel of your device allows you to change the type of output signal that is fed to the analog BALANCED, UNBALANCED OUTPUT* and PHONES jacks, as well as to the USB Record Send and the L6 LINK™ output. 2•6 The OUTPUT MODE switch The MASTER VOLUME knob on the back of your device controls the overall level of these outputs.
Features & Functionality • DUAL Mode: This option offers more performance flexibility, routing the LIVE Mode signal to the left BALANCED and UNBALANCED outputs and a great sounding mic’d amp tone to the right outputs. This allows you to send a mono signal tailored for a guitar amp, while simultaneously routing a mono mic’d cab signal to a mixer or recorder! POD HD400 Edit Software Be sure to visit line6.
Working with Presets Working with Presets POD® HD400 includes the ability to store up to 128 Presets within its internal memory. These Presets are found within the Bank and Channel locations on the device, numbered 01A to 32D. In this chapter we’ll cover accessing and saving Presets on POD HD400. For details on editing the many Tone parameters saved within Presets, please refer to “Edit Mode” on page 4•1.
Working with Presets Bank & Channel Footswitches POD HD400 also offers Preset selection completely “hands-free” by way of the Preset Mode. Place the POD HD400 footswitches into Preset Mode by pressing the MODE switch until the lower (green) LED is lit (also see “Footswitch Mode” on page 1•3). This configures the 4 footswitches to the right to function as A, B, C & D Channel switches.
Working with Presets Saving Presets If you’ve edited any of your Tone settings, and/or if you want to rename or move the current Preset to a new Preset location, you can use the Save function. Press the SAVE button and you’ll see it start flashing red. To follow are the steps for saving the currently loaded Preset. Up/Down selects the next/previous location as the destination Left/Right selects one of the 14 text characters - the selected character flashes Rotate knob to edit selected text character.
Edit Mode Edit Mode Within this chapter, we’ll cover the Edit Mode within POD® HD400, which provides access to all the editable Tone parameters that are saved within a Preset, as well as several “global” settings and system functions. Accessing Edit Mode To enter Edit Mode, press the PRESETS knob, then use Nav.
Edit Mode SETUP Menu The parameters in this menu allow configuration of your POD HD400 hardware. Please see “Setup Details” on page 1•1 where these settings are described. The Edit Mode - SETUP menu AMP Menu 4•2 The AMP menu offers several parameters that affect the Amp/Preamp models, as well as the ability to select a different Speaker Cabinet or Mic Model for the current Amp. Please see “AMP Edit Mode” on page 5•3 for details on all these parameters.
Edit Mode FX2 Menu The FX2 menu offers access to all editable parameters for each model within the FX2 category. Use the Model - Select option to choose the desired model, and you’ll then be able to access its individual parameters. Please see “FX2 Models” on page 7•1 for details on all FX2 parameters. The Edit Mode - FX2 menu 4•3 FX3 Menu The FX3 menu offers access to all editable parameters for each model within the FX3 category.
Edit Mode GATE Menu The GATE menu offers access to all editable parameters for the Noise Reduction and Noise Gate. These tools can be used together or separately on any Preset to reduce unwanted buzz & hum from your guitar input signal. All settings made here are stored individually for each Preset. Mode 4•4 • Off - Disables both the Noise Reduction and Noise Gate. • Gate - Enables only the Noise Gate. • NR - Enables only the Noise Reduction. • Gate+NR - Enables both the Noise Reduction and Noise Gate.
Edit Mode WAH Menu The WAH menu offers selection of any Wah model. This setting, as well as the Wah enabled/disabled state and pedal assignment, are stored individually for each Preset.* The Wah model is enabled and disabled automatically via the status of your POD HD400 pedal (as indicated by the WAH and VOL LEDs next to the pedal). Please also see “Pedal Control” on page 2•4 and “Wah Models” on page 10•1 for more details.
Edit Mode Minimum & Maximum These two parameters allow you to configure the Volume level for the “heel” and “toe” positions of the Volume pedal, respectively. Adjust these as desired if you want something other than the normal behavior. For example, set Min to 100% and Max to 0% if you want to “reverse” the Volume pedal action! 4•6 FX Loop Menu The FX Loop SEND and RETURN jacks on the back of POD HD400 allow you to patch in any number of external pedals or rack FX.
Edit Mode • Pre - Positions the FX Loop before the Amp model (and between FX1 and FX2, if these FX are also set “Pre”). • Post - Positions the FX Loop after the Amp model (and between FX1 and FX2, if these FX are also set “Post”) within the signal flow. Send & Return Levels Use these options to attenuate the Send level fed into your external FX and the Return level fed from your external FX back into the POD HD400 signal path.
Edit Mode MIDI DUMP This setting configures what specific MIDI SysEx data is fed out to the POD HD400 MIDI Out port when performing a MIDI Dump. When this MIDI menu is displayed in Edit Mode, the TAP button will initiate the MIDI Dump. Also see “Appendix B: MIDI” on page B•1. • Current - Sends only data for the currently loaded Preset. 4•8 • All - Sends all data for all 128 Presets.
Amp, Cab & Mic Models Amp, Cab & Mic Models This chapter provides details on the 16 exemplary Guitar Amp Models, all of which have been newly developed by our team of sound engineers for POD® HD400, and presented to you in full “HD” glory! Also covered here are details on Preamps, pairing a different Speaker Cab or Mic Model with any Amp and additional Amp - Edit Mode options.
Amp, Cab & Mic Models About Default Amp Settings We’ve designed each Amp Model to include its own “default” settings to provide a good starting point. This means that whenever you change to a different Amp Model via the Amp Selector knob, the Amp will automatically load a predetermined Cab & Mic model, as well as Amp Tone settings designed to complement the Amp.
Amp, Cab & Mic Models AMP Edit Mode The AMP Edit Mode menu offers several options for customizing your Amp options.
Amp, Cab & Mic Models Cab Model Selection When selecting a new Amp Model, the Amp automatically loads a default, matched speaker cabinet model (see “Cab Model Descriptions” on page 5•10). But you can use the CabMdl option to choose any of the 16 available Cabs for any Amp Model: Switching to a different cab can offer a surprising amount of variation in the tone and texture of the current Amp Model, so feel free to experiment! Your Cab Model selection is retained with each individual saved Preset.
Amp, Cab & Mic Models E.R. (Early Reflections) This option adds the amount of reflective “room tone” that is mixed with your Amp tone. 0% adds no early reflections and 100% adds the maximum amount. Bypass Volume This is a volume control strictly for the level heard when the Amp Model has been disabled (and when the FX ONLY feature is active - see page 5•6). This can be handy to adjust your device’s output level when using it just for the FX models.
Amp, Cab & Mic Models • Selecting a new Amp Model does not load the Amp’s “default” settings for these 6 knobs. Instead, all 6 knobs’ settings remain as-is, unless you turn the knobs. • Selecting any Preset will automatically exit Manually Mode and load the new Preset, including its last saved Amp Model, Amp Model Mode, Tone & Reverb knob settings. FX Only Mode It is also possible to use the “FX Only” mode if you prefer to keep the Amp, Cab & Mic models’ processing bypassed.
Amp, Cab & Mic Models Amp Model Descriptions To follow are descriptions of the 16 HD Amp Models included within POD HD400. Blackface Double (CLEAN Red) Based on* the Normal input of a ‘65 “Blackface” Fender® Twin Reverb®, with the Bright switch off. This amp is considered by many to be the quintessential, high headroom clean tone machine, with its glassy high-end and plenty of snap for chick’n pick’n moments. Hiway 100 Custom (CLEAN Green) Based on* the Brilliant channel of a Hiwatt® Custom 100 (DR103).
Amp, Cab & Mic Models Blackface ‘Lux (BLUES Green) There’s nothing like the sound of the classic* Fender® “Blackface” Deluxe Reverb®, the Holy Grail for many blues, country and roots rockers, and that is exactly what you get! We used the Normal channel input. Divide 9/15 (BOUTIQUE Red) Here’s our take on the EL84 circuit of one amplifier quickly becoming a modern classic the Divided By 13 9/15. Note that we’ve configured the Amp Tone knobs to mimic those of the actual amp.
Amp, Cab & Mic Models Brit Plexi J-45 (CRUNCH Red) Based on* a 1965 Marshall® JTM-45 MkII head, complete with KT66 power tubes and a gold Plexiglas front panel. The tasty overdrive of this amp is the definition of rock guitar crunch! Descended from the design of the Fender® Tweed Bassman®, the JTM-45 was the first Marshall® amplifier to go into production - and the rest is rock history.
Amp, Cab & Mic Models Cab Model Descriptions To follow are descriptions of each of the available Cab Models. (For the list of Cabs that are loaded automatically with each Amp, see “Default Cab & Mic Models” on page 5•2.) 2x12 Blackface Dbl Based on* an open-back Fender® “Blackface” Twin Reverb® cabinet, containing 2 x 12 inch Jensen® speakers. 4x12 Hiway Based on* a closed-back Hiwatt® cab, including 4 x 12 inch Fane® 12287 50w speakers.
Amp, Cab & Mic Models 1x12 Blue Bell Based on* an open-back Vox® AC-15 combo cabinet, including one 12 inch Celestion® Alnico Blue speaker. 2x12 Silver Bell Based on* an open-back Vox® AC-30 combo cabinet, including 2 x 12 inch Celestion® Alnico Silver Bell speakers. 4x12 Greenback 25 Based on* a closed-back Marshall® cabinet, including 4 x 12 inch Celestion® G12M “Greenback” speakers.
FX1 Models FX1 Models This chapter provides parameter details on the FX1 set of Models, which includes a plethora of “Stomp” effects (Distortions, Fuzzes, Compressors, Filters and more) from the Line 6 M13 Stompbox modeler. The following parameters are all accessible within Edit Mode for the FX1 category of models. Please see “Edit Mode” on page 4•1 for details on entering and navigating the Edit Mode features. Parameter Details Below is a Reference Table listing all parameters for the FX1 models.
FX1 Models 6•2 Model Jet Fuzz Sub Octave Fuzz Buzz Saw Facial Fuzz Jumbo Fuzz Drive Drive Drive Drive Drive Spring ‘63 Spring Particle Verb Graphic EQ Studio EQ Parametric EQ 4-Band Shift EQ Mid Focus EQ Slow Filter Tron Down Tron Up Q Filter Ring Modulator Dimension Frequency Shifter 80Hz LowFreq Lows Low HPFreq Speed Freq Freq Freq Speed Switch 1 - Rotary Drum Rtry Drm W/Hrn Speed Speed Parameters Fdbk Tone Bass Sub Bass Mid Bass Mid Bass Mid VARIOUS Swoosh Decay Time Decay Time Dwell Gain 220Hz 4
FX1 Models Model Smart Harmony Pitch Glide Attack Synth Synth String Growler Synth-O-Matic Bass Octaver V Tron Position Speed Speed Speed Freq Start (Vowel) Parameters PITCH Swoosh Key Scale Heel Pedal Freq Wave Freq Attack Freq Q (Width) Q (Width) Wave Tone Normal End (Vowel) Speed Shift Toe Pitch Pitch Pitch Pitch Octave Mode Mix Mix Mix Mix Mix Mix Mix Common FX1 Parameters When you enter Edit Mode for any FX1 model, you’ll see several parameters available.
FX1 Models GAIN Swoosh Models Common Gain FX Parameters The following parameters are found in several of the Gain Swoosh models: • Drive: Adjusts the amount of overdrive/distortion/fuzz. • Bass: Adjusts Bass EQ level. • Mid: Adjusts the Midrange EQ level. • Treble: Adjusts Treble EQ level. • Output: Adjusts the overall volume level - higher settings typically offer an output boost. The following model descriptions include parameters that differ from the above items.
FX1 Models Classic Distortion Based on* the late ‘70s ProCo Rat, which was the beginning of a new generation of distortion boxes, with a sound that was angrier and more aggressive than a conventional fuzz tone. • Filter: Functions like the original Rat’s Filter control, which gives you a brighter tone at lower settings, and a darker tone at higher settings. Heavy Distortion Based on* the Boss® MT-2 Metal Zone, introduced at the height of the big-hair metal craze of the late ’80s.
FX1 Models Overdrive Based on* the DOD® Overdrive/Preamp 250, which was designed to slam the input of a tube guitar amp as well as add distortion. The original had only gain and level controls, but we’ve added Bass, Mid and Treble EQ. Line 6 Drive 6•6 A Line 6 original, this model makes special use of the “Mid” control to emulate different distortion flavors (see below). • Mid: At minimum, you’ll get the sound of a ‘70s-style fuzz box clone.
FX1 Models Boost Comp Based on* the MXR® Micro Amp. This effect was used to “push” the front-end of nonmaster volume tube amps in order to achieve a cranked sound at less than stadium levels. • Drive: Adjusts the amount of gain. • Comp: Higher settings increase the compression amount, similar to that of an MXR® Dyna Comp. Red Comp 6•7 Based on* the MXR® Dyna Comp. Parameters offered are just like the original: • Sustain: Higher settings add more compression, thus more sustain and squishy goodness.
FX1 Models Blue Comp Treb Just like the Blue Comp above, based on* the Boss® CS1 Compression Sustainer, but with the Treble switch on. Vetta Comp A Line 6 custom creation compressor from the Line 6 Vetta. 6•8 • Sensitivity: Functions as a threshold control - higher settings reduce the threshold (resulting in greater compression). • Level: Adjusts the overall volume level - higher settings offer an output boost.
FX1 Models Fuzz Pi Based on* the Electro-Harmonix® Big Muff PI®. America’s answer to the British fuzz pedals, the Big Muff PI® was known more for its sweet sustain than for its buzz. Octave Fuzz Based on the coveted Tycobrahe Octavia “fuzz plus octave” effect. The Octavia used an audio output transformer and 2 germanium diodes to rectify the guitar signal, creating the high octave type sound, such as Jimi Hendrix used on “Purple Haze.” Jet Fuzz Based on* the Roland® Jet Phaser/AP-7.
FX1 Models Sub Octave Fuzz Inspired by the PAiA Roctave Divider, which combined a double octave shift with a fuzz effect, resulting in deep fat square wave distortion. Parameters offered are: • Sub: Controls the amount of Sub octave content. Buzz Saw 6•10 Based on the Maestro® Fuzz Tone. Legend has it that the sound of this pedal was inspired by a broken and buzzing mixer channel heard in Nashville in 1961.
FX1 Models VARIOUS Swoosh Models Spring (Reverb) Based on a studio spring reverb. The spring reverb’s characteristic resonant sound was created by springs suspended inside a metal box. • Decay: Sets the length of time the reverb effect sustains (sometimes also referred to as “Dwell” on old spring reverb units). • Time: Configures the “pre-delay” time, before the wet reverb effect is heard, up to 200 milliseconds. • Tone: Adjusts the tone of the “wet” reverb signal only.
FX1 Models Particle Verb A new kind of reverb effect which turns your chords into a lush modulated pad in STABLE mode. CRITICAL mode is similar, but with a slight rise in pitch. In HAZARD mode, all stops are removed. • Dwell: Essentially a decay parameter, which adjusts the length of time the reverb tail lasts. • Condition: Choose between STABLE, CRITICAL and HAZARD here for some different reverb experiences! • Gain: Sets overall output level of the effect.
FX1 Models Parametric EQ This EQ features Hi shelf, Low shelf and a fully parametric band with Gain control. • Lows, Highs: Adjusts the low frequencies (a high pass filter) & high frequencies (a low pass filter). • Freq, Q and Gain: These 3 parameters make offer a single parametric “band” EQ filter. Set the frequency to center the band and use the Gain to boost or cut this frequency. The Q is used to widen or narrow the adjacent frequencies that are included.
FX1 Models Slow Filter This triggered filter rolls off the high end of your tone, with adjustable speed. You get a choice of having your tone sweep from dark to bright (Up mode), or bright to dark (Down mode). The Q lets you further shape your tone by creating a sharp boost at the point of the high end roll off. • Speed: Sets the speed of the filter sweep. • Speed: Selects the center frequency. • Q: Sets the width of the filter, changing the sound of the sweep.
FX1 Models Tron Up Just like the Tron Down model, this emulates the Mu-Tron® III envelope follower, but with the up/down switch set to “up.” Parameters are the same as listed above. Q Filter This is essentially a wah “parked” in one position to create that unique, notched kind of sound (such as if you want to get your Schenker on). With the Q Filter, this effect is programmable and repeatable. The available parameters are: • Frequency: Controls filter frequency (like the position of a wah pedal).
FX1 Models Ring Modulator Ring modulators are for those special times when you want different, distinctive, weird, strange and otherwise non-traditional guitar sounds. With Mix set under 100%, some of your dry guitar sound will be heard. At 100%, there are no rules. • Speed: Adjusts the modulation rate. • Depth: Adjusts the modulation depth. • Shape: Adjusts your wave shape from Sine to Square. • AM/FM: Select AM (amplitude modulation) or FM (frequency modulation).
FX1 Models Frequency Shifter Another classic effect from the world of modular synths. Similar to a ring modulator, but a ring modulator gives you both up and down shifted frequencies. Here you can select just the up or down shifted frequencies, or set it to stereo. The available parameters are: • Frequency: Chooses the frequency for which you want the modulation centered. • Mode: Sets the type of audible shift - Up, Down or Stereo. • Mix: Adjusts the balance of “Dry” and “Wet” signals.
FX1 Models Rotary Drum & Horn Based on a Leslie® 145, originally designed for the Hammond® B3. The 145 features two sound sources: the lower part of the cabinet, which has a 12” speaker surrounded by a motorized rotary drum, and the upper enclosure, which houses a spinning horn. • Speed: Select between two speeds of drum rotation, Fast or Slow. • Depth: Adjusts the modulation depth. Higher settings yield a greater wobble effect. • Horn Depth: Adjusts the depth of only the Horn sound..
FX1 Models The Smart Harmony effect automatically detects your guitar’s single-note pitch and shifts it to match a user-selected key and scale. A choice of keys is provided; consult the table below to achieve other scalic modes. • Choose your key on the left, then your mode on the top. • The cell where the two connect is the key to choose to get to the mode you’d like. For example, for C - Lydian, the scale you want is G Major.
FX1 Models Pitch Glide This is the Line 6 Pitch Glide effect, designed to be used with the on-board POD HD400 pedal. Set your heel and toe values as desired, then glide between them. • Position: Manually adjusts the pedal position, allowing you to tweak the effect without actual pedal control. • Pedal:* • Choose Wah:Glide to have your pedal’s Wah mode control the Pitch Glide effect. • Choose Vol:Glide to have your pedal’s Vol mode control the Pitch Glide effect.
FX1 Models • Pitch: Sets the Pitch of the effect over a two octave range. • Mix: Adjusts the balance of “Dry” guitar signal and “Wet” signal. Synth String Based on* the Roland® GR700 Guitar Synth, which has some of the coolest analog synth sounds designed for guitar. The Synth String model is based on one of the signature sounds of the GR700. • Speed: Sets the speed of the vibrato-y pulse width modulation. • Frequency: Controls a low pass filter tone control. • Attack: Configures the attack time.
FX1 Models Synth-O-Matic This model features waveforms captured from a collection of vintage analog synths, including a Moog® Modular and an Oberhiem® Synthesizer Expander Module. • Frequency: Selects the frequency for which the filter will be centered. • Q: Sets filter width to add more or less emphasis on the selected frequency. • Wave: Selects one of the eight synth waveforms. • Pitch: Controls the Pitch of the synth sound. • Mix: Adjusts the balance of “Dry” guitar signal and “Wet” signal.
FX1 Models V-Tron Here’s the mutant offspring of a Mu-Tron III® envelope filter* and a Voice Box effect. With the V Tron, your guitar “speaks” with an almost human voice in response to your playing. Each time you strike a new note or chord, the vowel sequence will be “spoken.” You can choose whether to go from Start vowel to End vowel only (Up), or have it turn around and come back again (Up/Down). • Start: Sets the starting vowel sound (A, E, I, O or U).
FX2 Models FX2 Models The FX2 category of models includes a wide assortment of Modulation, Filter & Tremolo FX from the Line 6 M13 Stompbox Modeler. In this chapter we’ll describe the various parameters of the FX2 Models in detail. The following parameters are all accessible within Edit Mode for the FX2 category of models. Please see “Edit Mode” on page 4•1 for details on entering and navigating the Edit Mode features. Parameter Details Below is a Reference Table listing all parameters for the FX2 models.
FX2 Models Opto - Tremolo Bias Tremolo Pattern Tremolo Panner Speed Speed Speed Speed TREMOLO Swoosh Depth Shape Depth Shape Vol Sensing Vol Sensing Mix Mix Pattern 1 Pattern 2 Pattern 3 Pattern 4 Depth Shape Vol Sensing Mix Common Parameters When you enter Edit Mode for any FX2 model, you’ll see several parameters available. FX2 models offer the following common parameters: Model Select Allows you to choose from among the list of FX2 models.
FX2 Models Tap Control Set this option to Control to have the Modulation speed of your FX2 models follow whatever tempo you “tap” into your POD HD400, using the TAP button. Set this parameter to Don’t Ctl and the FX2 models’ Speed parameter can be adjusted to any speed you like, regardless of the current Tap Tempo. The TapCtl setting is a “persistent” parameter and not stored with your Preset. Also see “Tap Tempo” on page 2•4. Speed Adjusts the modulation/oscillation/tremolo speed for the FX2 models.
FX2 Models Feedback Many Mod & FX offer a Feedback option. This controls the amount of delayed signal that is fed back into the effect. Higher settings can provide more dramatic textures. Mix Sets the balance of the “Dry” and “Wet” signals. At 0% you will hear strictly dry guitar; at 100% you will hear the effected signal only. For Chorus, Flanger & Phase FX, results are typically best with the Mix set between 0 to 50%. For Vibrato, Tremolo, Pitch and Filter FX, try the Mix at 90 - 100%.
FX2 Models Analog Flanger This is our model of the classic MXR® Flanger. It’s known for a very warm-sounding flange, featuring a bucket brigade analog circuit design and a uniquely shaped waveform. • Manual: Adjusts the delay time for the flanging effect. U-Vibe Essentially a four-stage phase shifter, the legendary Uni-Vibe® is best known for its watery texture and sultry tones. Made famous by the late, great Jimi Hendrix.
FX2 Models Dual Phaser Based on* the Mu-Tron® Bi-Phase, a multi-stage phaser known for its big jet sound. Our Dual Phaser gives you the lush, offset phasing that made the Bi-Phase a classic. • LFO Shape: Minimum is a Sine wave and maximum is a Square wave. Barberpole Phaser A classic effect from the world of modular synths. Instead of being driven by a classic LFO, this phaser sounds like it is rising in the UP mode, and sounds like it is falling in the DOWN mode. Stereo mode gives you both up and down.
FX2 Models Script Phase A new model Based on* a hand wired ‘74 MXR® Phase 90. We’ve kept this one simple, offering just a Speed control like the original. Pitch Vibrato Based on* the Boss® VB-2 vibrato, which featured a bucket brigade analog circuit that produced a lively vibrato. Its big claim to fame was the “Rise Time” control. Thanks to this clever circuit, each time you kicked it on, it sped up to where you last had it set. • Rise: Adjusts the rise time - Lower levels produce a longer rise time.
FX2 Models PITCH Swoosh Models Common Pitch FX Parameters The following parameters are found in several of the FX2 Pitch Swoosh models: • Frequency: Selects the center frequency for the filter(s) in use. • Q: Sets the frequency width of the filters. • Speed/Tempo: Adjusts the modulation rate, oscillation rate, or the time it takes to cycle through the effect’s filters.
FX2 Models Throbber Inspired by* the Electrix® Filter Factory. Like the LFO section of the Filter Factory, the Throbber alters the brightness of your tone with an emphasis on a specific frequency that you can select. Throbber is perfect for those Electronica sounds. • Speed/Tempo: Adjusts the oscillation rate. • Wave: Selects between four different wave shapes. Spin Cycle Inspired by Craig Anderton’s Wah/Anti-Wah. This one is a stereo dream! Two wahs panned left and right, sweeping in opposite fashion.
FX2 Models Voice Box Inspired by Vocoders, this model gives your guitar a sound that’s typical of a classic “talk box,” without the need to stick a slimy tube in your mouth. It shifts between a starting and ending vowel sound as you play, automatically. • Speed/Tempo: Set how long it takes to “speak” from Start to End vowel. • Start: Sets the starting vowel sound (A, E, I, O or U). • End: Sets the ending vowel sound (A, E, I, O or U).
FX2 Models Bias Tremolo This Model emulates* a classic Vox® tremolo circuit design. Bias tremolo produces a deep, 3-dimensional tremolo with a wide stereo spread. • Shape: The minimum setting is a sign wave and max is a square wave. • Volume Sensitivity: Adjusts how much the tremolo will respond to your playing Louder input signals speed up the tremolo and lower input slows it down. Pattern Tremolo A 4-step sequenced tremolo. Inspired by the fantastic GoatKeeper pedal by Lightfoot Labs.
FX3 Models FX3 Models This chapter contains details on the POD® HD400 FX3 models, which include a collection of our best Delay & Echo models from the famous Line 6 M13 Stompbox Modeler and Echo Pro units. The following parameters are all accessible within Edit Mode for the FX3 category of models. Please see “Edit Mode” on page 4•1 for details on entering and navigating the Edit Mode features. Parameter Details Below is a Reference Table listing all parameters for the FX3 models.
FX3 Models Model Auto Volume Echo Sweep Echo Sweep Echo Studio Reverse Delay Time Time Time Time Parameters SWEEP ECHO Swoosh Fdbk Mod Depth Swell Time Fdbk Sweep Speed Sweep Depth Fdbk Sweep Speed Sweep Depth Fdbk Mod Speed Mod Depth Mix Mix Mix Mix Common Parameters When you enter Edit Mode for any FX3 model, you’ll see several parameters available. Unless otherwise noted in the individual Model descriptions, all FX3 models offer the following common parameters.
FX3 Models Tap Control Set to Control to have all FX3 models’ Delay time follow the current Tap Tempo, which you can define by using the TAP button. Or, set to Don’t Ctrl to ignore the Tap Tempo and manually set a Delay Time. See the next Time/Tempo parameter for the details on the resulting behaviors of the Tap Control setting. The TapCtl setting is a “persistent” parameter and not stored with your Preset. Also see “Tap Tempo” on page 2•4. Time / Tempo Sets the Delay/Echo repeat time.
FX3 Models Feedback Sets the number of repeats for the Delay/Echo. The higher the setting, the greater number of repeats. Mix Sets the balance of the “Dry” and “Wet” signals. At 0% you will hear strictly dry guitar; at 100% you will hear the delay/echo only. To follow are descriptions of each of the FX2 models included on POD HD400. We’ve also included details about additional parameters & unique functionality for each. DELAY Swoosh Models 8•4 Digital Delay This model is a Line 6 original.
FX3 Models Digital Delay With Modulation Use this model to add a chorus effect to your digital delays. The modulation is applied to the delay repeats only for a chorus-like effect, but leaving your direct sound unaffected. • Speed: Higher levels result in faster modulation. • Depth: Higher levels result in a greater intensity of pitch modulation. Analog Echo Based on* the Boss® DM-2, an analog echo unit treasured for the warm, distorted tones it produced.
FX3 Models Echo Platter The Echo Platter model was originally inspired by the Binson Echorec. The dry signal path had such a cool tone that we decided to include it in our original model. • Wow/Flutter: Adjusts the emulated tape’s wow and flutter amount. • Drive: Adjusts the amount of distortion created by the tube electronics and tape saturation. Echo Platter Studio The Echo Platter “Studio” version is essentially the same as the Echo Platter model described above.
FX3 Models Stereo Delay This is another Line 6 high resolution digital delay, with separate delay times available for L and R channels. Some players set one side as a fast echo with many repeats, and the other slow with just a few repeats. In place of the common “Time” and “Feedback” parameters, you’ll see these options: • Left Delay Time: The delay time or the left channel only - displayed in milliseconds or BPM, according to your TAP CONTROL setting (see page 8•3).
FX3 Models Dynamic Delay This effect was made popular by* the TC Electronic® 2290 Dynamic Digital Delay. It features a “smart” volume control for your delay effect’s echoes, which sets the loudness of the delays based on how hard you play. When you stop playing in between phrases, the delay level increases for a dynamic effect. • Threshold: The breakpoint where the automatic volume control stops working and lets the echoes through at full volume.
FX3 Models Tape Echo Studio This is essentially the same as the Tape Echo model described above. But for this model, we’ve kept the dry signal with a flat frequency response rather than emulate the original units’ dry signal sonic character. Tube Echo Based on* the classic ‘63 Maestro® EP-1, the first of a series of “Echoplex” designs featuring a cartridge of looped 1/4” tape that passed over separate record and playback heads.
FX3 Models Multi-Head Echo Based on* the Roland® RE-101 Space Echo, which had multiple stationary heads. You change delay times by switching amongst these heads, and you can play back on multiple heads at the same time to get multi-tap delay effects. In addition to the common parameters listed above, you’ll also see these options: • Head 1-2: Turns heads 1 & 2 on and off, together or individually. • Head 3-4: Turns heads 3 & 4 on and off, together or individually.
FX3 Models Sweep Echo For this model we started with the tone of our EP-1 delay emulation, then added a sweeping filter effect to the delay repeats. By design, the dry signal does not have a flat EQ response, allowing the character of the original EP-1 device to be retained (see the following “Studio“ version if you prefer an unadulterated dry signal). • Speed: Rate of the sweep effect. • Depth: Intensity of the sweep effect.
Reverb Models Reverb Models This chapter describes the 8 Reverbs we’ve ported from the Line 6 M13 Stompbox Modeler. All Reverbs are stereo, and typically sound best in the “Post” position, at the end of your FX chain. Parameter Details All Reverb models offer the same set of parameters. When you enter Edit Mode for any Reverb model, you’ll see the following options. Model Select Allows you to choose from among the list of Reverb models.
Reverb Models Decay Sets the length of time the reverb effect sustains (sometimes referred to as “Dwell” on older reverb units). Tone Adjusts the overall Tone of the wet reverb signal. Higher settings provide a brighter, more reflective reverb quality. Mix Sets the balance of the dry & wet signals, from 0% (dry signal only) to 100% (wet reverb signal only). Mix is persistent for all Reverbs (your Mix level will stay the same when you load a different Reverb model).
Reverb Models Room Simulates the acoustic properties of a classic echo chamber, which was a room used in early recording studios for reverb effects. Room reverbs consist mainly of early reflections. Chamber An elongated ambient space such as a hallway, stairwell or elevator shaft creates this reverb type. Lots of decay on tap here. Hall This model simulates the sound of a concert hall or large open space with a strong reverb tail. Imagine a gymnasium, performance hall, or cathedral.
Reverb Models Octo Creates a lush, ambient space. Its dense, harmonic decay is controlled by Knob 1 (Decay Time). Octo is very effective when using volume swells. Tile This model emulates the acoustic reflections of a tiled room, such as a bathroom or shower, with clearer/brighter, discreet early reflections. Echo Another Line 6 original. This is a lush echo with reverb, and distinct repeats as it decays.
Wah Models Wah Models These pages provide details on the 8 Wah models, which were derived from the Line 6 M13 Stompbox Modeler and Vetta amplifier. Use your POD HD400 on-board pedal to put these models to use just like a classic Wah. Using the Pedal To utilize your POD HD400 on-board pedal to control the Wah, simply press the pedal all the way forward and toggle the “toe switch” so that the Wah LED indicator is lit - see “Pedal Control” on page 2•4.
Wah Models Fassel Simulates the sonic properties of the coveted Fassel inductor, which is one of the reasons the Crybaby® Super, the Wah on which this model based,* is a classic. Chrome Based on* a Vox® V847, a successor to the original Clyde McCoy wah. Clyde is a trumpet player, but guitarists everywhere thank him for suggesting Vox® create this effect. Weeper Based on* the Arbiter Cry Baby®. Another variation of the original wah with a different inductor and other component choices.
Wah Models Colorful Based on* the Colorsound® Wah-fuzz. We only modeled the wah section of course. This pedal is different in that it was an inductor-less design, utilizing a different circuit to get its funky frequency resonance. Throaty Modeled after the RMC Real McCoy Custom© wah, one of the most highly regarded, boutique wah pedals around. Chrome Custom Modeled after a custom modified Vox® 847 wah, with just a bit more attitude than the Custom Wah.
Using the Looper Using the Looper The Looper in POD® HD400 offers you up to 24 seconds of mono recording time, as well as the ability to record overdubs, play on-demand and more, all via several handy footswitches. Looper Controls When you engage the Looper mode, the four bottom row switches will control the Looper, providing hands-free operation of the Looper functions.
Using the Looper 3 REC/OVERDUB - To record a loop, step on this switch and POD HD400 will immediately start recording whatever you play for up to 24 seconds. Step on it a 2nd time and your recorded loop will begin to play back immediately, with Overdub mode activated (the switch’s LED will flash to indicate Overdub mode). Once you have a loop recorded, you can layer an overdub on top of your current loop. Simply play back the loop and step on the flashing REC/OVERDUB switch.
Using the Looper 3. Toggle the PRE/POST switch to “POST” (lit) to Record Amp+FX. (This will allow you to use a different Preset for your guitar input when playing over the recorded loop, if desired.) 4. Step on the REC/OVERDUB switch and strum a clean rhythm. Make sure you hit the downbeat accurately, so that when you play back the loop it will start exactly on the beat. This is especially important if you want the loop to be rhythmically correct when it cycles around. 5.
USB Audio USB Audio In this chapter, we’ll cover the USB audio capabilities of POD® HD400. With the installation of the Line 6 USB audio driver, you can use POD HD400 as a high quality, 24-bit audio interface for your Mac® or Windows® computer! This allows you to jam along with your computer’s music collection, or record your POD HD-infused guitar tones directly with any popular DAW software.
USB Audio Audio Routing When using the POD HD400 USB connection, the audio driver manages several tasks. The driver feeds the processed guitar signal out the USB Record Send to your computer and receives playback audio from the computer. It also grabs the processed guitar signal before routing it to the Record Send, to provide a low latency monitor signal, and then mixes the monitor signal with the playback audio and feeds this combined signal to your POD HD400 analog outputs.
USB Audio Once you’ve selected POD HD400 as your audio interface within your audio software, you’ll see the POD HD400 Record Send appear as an available audio track input in your software project. Simply select this Send as the input for the track and you’ll be able to record your guitar signal.
USB Audio Line 6 Audio-MIDI Settings - Driver Options (Mac®) 1 2 3 4 5 6 1 Device Selector: Allows selection of any connected Line 6 USB audio device. If you have more than one supported device connected, each will be selectable in this list. 2 Driver Version: Displays the current device’s installed driver version number. 3 ESN: Displays the current device’s unique Electronic Serial Number.
USB Audio 6 USB Audio Streaming Buffer: This slider adjusts the buffer size for the audio responsiveness of the Input Monitoring signal. Basically, the default setting should be fine for most systems, but if getting audio dropouts or working with large CPU demands on your system, raise the slider a notch or two to the right until it alleviates the problem.
USB Audio A System Settings: • The Default Input and Default Output options allow you to choose the audio interface you want your Mac® audio applications to use by default. If you want this to be your Line 6 device, select it here. • The System Output option allows you to choose which audio interface the Mac® System sounds are played through.
USB Audio Windows® - Line 6 Audio-MIDI Devices The following settings are the same for Windows® XP, Windows Vista® or Windows® 7, unless otherwise noted. You can launch the Line 6 Audio-MIDI Devices from within the Windows® Control Panel. On Windows® systems, POD HD400 offers both a DirectSound and ASIO® recording driver for maximum compatibility with audio & multimedia software applications.
USB Audio 1 Device Selector - Allows selection of any connected Line 6 USB audio device. If you have more than one supported device connected, each will be selectable in this list. 2 Driver Version - Displays the current device’s installed driver version number. 3 ESN - Displays the current device’s unique Electronic Serial Number. 4 Driver Operation (Windows® XP) - These options are only applicable for when an application utilizes the POD HD400 device via the Windows® DirectSound® driver.
USB Audio POD HD400 selected as the Default Playback Device You can also click on the Properties button in the Sound dialog to access the default format settings for the POD HD400 Sample Rate and Bit Depth when used with Windows® multimedia applications. (Note that if you are using an audio application that is set to utilize the ASIO® driver for your Line 6 device, then ASIO® communicates directly with the device, and these “default format” settings do not apply.
USB Audio 5 ASIO® Driver Settings • ASIO® Client: If you are running audio software that is using POD HD400 as its ASIO® audio device, the name of the software will appear here. If not in use by an ASIO® software, “none” is displayed here. • Buffer Size: The ASIO® buffer size in use. As your DAW software documentation will likely tell you, the ASIO® Buffer Size will affect the “responsiveness” and “latency” of the DAW software.
Appendix A: Line 6 Monkey Appendix A: Line 6 Monkey™ Line 6 Monkey™ is the free, intelligent updater software that can be used to keep your POD® HD400, as well as related Line 6 products, up to date. Line 6 Monkey is installed automatically on your Mac® or Windows® computer along with the POD HD400 USB device drivers. If you have not yet installed the USB device drivers, you’ll need to do so now to utilize POD HD400 with your computer - please see “USB Audio” on page 12•1.
Appendix A : Line 6 Monkey Register Your Hardware A•2 If you have not already done so, you’ll be prompted to Register your connected Line 6 hardware. Registration may be required to obtain some updates and/or to activate some Line 6 products for use with your computer. It’s a painless process really, so click that Register button and fill in the blanks on the Web page.
Appendix A: Line 6 Monkey As an example, the above screenshot shows Monkey has detected that a newer Firmware - Flash Memory version is available. In this scenario you can select the Flash Memory item and click Update Selection. Be sure to read the prompts carefully and Monkey will assist you in performing the update in minutes.
Appendix B: MIDI Appendix B: MIDI In this Appendix, we’ll cover the POD® HD400 MIDI functionality. POD HD400 includes the ability to send and receive MIDI System Exclusive and MIDI control data via the USB connection. MIDI SysEx Functionality POD HD400 utilizes its USB connection to send or receive MIDI System Exclusive (SysEx) “dumps” of Preset data. This allows you to utilize any 3rd party SysEx application on your Mac® or Windows® computer to capture, backup and restore your device’s Presets.
Appendix B: MIDI MIDI Dump - Backing Up Presets To perform a MIDI Dump, connect your POD HD400 to your computer’s USB port and prepare your MIDI software to receive MIDI data from the device. Enter the Edit Mode on POD HD400, and navigate to the MIDI menu. Here you’ll see the following options: B•2 • Current - Sends only data for the currently loaded Preset. • All - Sends all data for all 128 Presets.
Appendix B: MIDI To restore all Presets If your selected SysEx file contains all 128 Presets (i.e. - you used the MIDI Dump “All” setting above to create the file), you can send this data to POD HD400 to replace all its existing Presets: Note: It would be a good idea to follow the MIDI Dump - Backing Up Presets settings before proceeding if you want to backup your device’s existing Presets before overwriting them! • There is no special “receiving mode” to select on POD HD400 - it will always receive MIDI.
