P. Output Modes

For more on output modes, see the setup page.

There's a lot of confusion over output modes, but they're really not that tricky. Most only affect what the cab block does. If you select "no cab", most of the output modes don't do anything. The basic rule of thumb is to select the output mode for how you have the Pod hooked up. Stack is for full or 1/2 stacks (or closed-back 2x12's). Combo is for open back combos. Power amp is for running the Pod into a guitar power amp or a guitar amp's an effects loop return. Front is for an amp's guitar input. Studio/Direct is for direct to PA/mixing board, headphones, or DAW (when you're not using IR's to simulate a cab).

Output modes were designed so that you could dial in a patch using one output mode and hooked up to the appropriate real gear, then switch output modes for other gear and get the same tone. In reality, your tone will never be the same between different gear, despite changing output modes. Don't expect them to work this way, but they do offer slight compensations that may help get closer to that ballpark sooner.

You should use Studio/Direct if you want to use the cab/mic simulation provided in the Pod. This would be useful if you are recording directly to a DAW (and not using IR's in that DAW), running direct to the PA/mixing board, or are using headphones.

Other output modes use "live-voiced cabs". The mic model selected has no impact on the tone. The selected cab simply EQ's your tone mildly to slightly mimic the response of the cab, when run through a real guitar cab (or IR). This is no substitute for a mic'ed cab or IR. Without one of those, the tone will be very harsh.

The difference between stack and combo modes is that combo has a bass boost. Since combo amps generally have less bass, the idea was that the bass response would be consistent between gear. Again, it won't be magically the same between gear, but it can get you close.

The front output modes additionally include a crude global EQ designed to help neutralize any pre-amp coloration that will occur when plugging into the front input of an amp. A pre-amp does more than change the frequency response, so don't expect this output mode to truly neutralize a pre-amp. It's almost always best to run the Pod output into the effects loop return of a real amp.

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Q. Input Settings

For more on this, see here.

I recommend turning the Pad switch on the unit to Pad rather than Normal if you use "high-gain" humbucker pickups. This will prevent you from getting input clipping and can make your signal a bit more manageable inside the Pod's signal chain.

The default input settings are Input 1: Guitar + Aux + Mic + Variax, Input 2: Same. This is not ideal for Input 1 - all the noise from unused inputs is getting into your signal. Change this to Guitar if you're only using a guitar into the Pod.

As for Input 2, the best "rule" to go by is to set Input 2 to Variax (or Mic or Aux - any unused input) by default. (I prefer Variax because it is a digital signal, so there's no input noise.) If you're using dual amps and aren't getting output from Channel B, you need a mono-summing effect in front the channel split. Any Dynamic (Gate, Compressor) or Distortion effect will work. If you can't fit one of those effects, try using the FX Loop and using a patch cable to force mono-summing. The FX Loop can be a little noisy; you may prefer to use Input 2: Same/Guitar.

The "problem" with Input 2: Guitar/Same is that when it is doubling Input 1, it introduces a slight delay to one of the signals. This leads to a phasing sound, comb filtering, and a looser feel. It is much more noticeable on distorted patches, and it's worst when using a mono-summing effect in front of the channel split. Once I became aware of the impact on tone, I can't tolerate hearing it anymore. I'd prefer to add noise to my patch via the FX Loop than use Input 2: Guitar/Same, but you may feel differently, especially for a patch with low distortion.

The immediate impact of changing Input 2 to null is a reduced signal level. This can lead to tonal changes, as the signal level impacts how much compression/distortion effects and amps will add to the signal. You should still be able to get plenty of distortion for high-gain patches, but you may be able to get your clean patches a bit cleaner.

As for impedance, I usually set it to Auto per Patch, which almost always means 1M. If you have a noise gate first in your chain, you're using 1M. If you go right into an amp, you're using 1M. Some of the wahs and distortions use lower values, particularly the fuzzes, but they are usually behind a gate or an EQ. In general higher settings mean brighter tone with tighter response and sharper attack. If you find your tone is too sharp/bright, you can try to lower this value, but I find you'll have more control pre-EQ'ing your tone. I use "per patch" just in case I would ever want to set this fixed to something lower for a particular patch.

For instance, if a Screamer is my first effect, I prefer 1 M over the Auto 230 K (real Tube Screamer is 500 K). Also, if my patch is DSP-demanding and I want only a minor pre-EQ to remove some grit from the tone but can't afford it, I may use 230 K instead of 1 M. For my darker guitar, I use 3.5 M to give it just a bit more brightness and a sharper attack.

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