Mono-Summing vs. Stereo Effects

Many of the effects will sum to mono before processing. In other words the stereo input signal is mixed down to a mono signal, processed, then split back into a stereo signal with equal left/right fields. This means anytime you use a mono-summing effect, you will get identical left/right output. If you use a stereo effect before a mono-summing effect, the stereo aspect of it will be eliminated. Thus, you should use stereo effects last in the chain. The most common mono-summing effects are the dynamic and distortion effects, as well as the amp blocks. EQ, delay, and reverb effects are stereo.

Appendix A has diagrams that show how the four types of processing are applied inside the effects.

Appendix B has a table that tells you which type of processing each effect uses.

Use Channel A Only for Single-Amp Patches

The easiest way to design your patches if you are not using dual amps is to place everything in Channel A (the top line after the signal path split). Then you mute Channel B in the mixer and pan Channel A to center. You may have to select an amp model before being able to move the amp block into Channel A.

This means Input 1 is routed to Channel A and Input 2 is routed to Channel B where it is muted. Thus, you don't have to worry about the Input 2 issue. Also, it means the Mixer is the last piece of your chain and can be used to set the final output volume of the patch, allowing you to keep earlier volume settings conservative, so you don't max out the internal signal resolution or get other unwanted clipping.

As mentioned above, Channel A is a stereo signal, so you still retain all stereo effects.

Signal Routing

Input 1 is sent to the left field of the initial stereo signal, and Input 2 to the right field. When the signal hits the channel split, the left field goes to Channel A and the right to Channel B. So you can use two different instruments in the Pod as long as you do not place any mono-summing effects in front of the channel split, and select different input sources for Input 1 and 2.

Mono-summing Outputs

The 1/4" unbalanced outputs sum to mono if only one of the outputs has a cable inserted. If you want to use the left 1/4" output and right XLR output, you have to put a dummy cable (attached to nothing else) in the right 1/4" output. The XLR outputs never sum to mono.

MASTER Knob

This knob only affects analog output volume (1/4", XLR, and headphones). The manual recommends setting it to max for the best signal-to-noise ratio. I agree, but sometimes this means you are clipping whatever you are running the Pod into. Then you have to back off a bit. Also, when running the four cable method with some amps like the Peavey ValveKing and 6505 that do not have a true Master Volume knob, you have to use the Pod's MASTER knob to control your volume and may end up setting it far lower than max.

Input Settings Global/Patch Option

Even though the Input Settings are located in the System Menu, they are not necessarily global. There is a setting on that page that determines whether they apply globally or per patch. I like to use per patch. Even though I almost always use the same Input 1/2 settings, I occasionally change Input Impedance.

VOLUME Knob/Ch. Vol. Functionality

The VOLUME knob (Ch. Vol on the amp block in HD Edit) is a tone-independent volume control that affects the output level of the amp block. The Master DEP is what should be used to get a "pushed" power section, not this control. I recommend keeping this knob at conservative levels (~50% or less), otherwise you can get unwanted clipping - either of sensitive downstream effects like many of the EQ's or of the Pod's internal digital resolution.

Input 2

I like to set Input 2 to Variax. This isn't an issue if you put everything in Channel A for a single amp patch as mentioned above; however, I often run dual amp patches. Input 2: Guitar/Same seems to create a slight phasing effect, which becomes very apparent when running a mono-summing effect such as a Distortion effect before the path split. It also seems to create a louder than expected signal that pushes effects and amps harder than they seem to be designed. For example, with Input 1 and 2 set to Guitar, a Screamer effect in front the path split distorts, even at 0% Drive. Or for a Blackface Dbl amp model in front the path split, you will get crossover distortion even at very low Drive settings, sometimes even 0%.

If you have already created single amp patches where you did not put everything in Channel A, try changing Input 2 to Variax (or Mic or some other unused input) and make this a global setting and demo all your patches. You may need to add gain/compression to your earliest effect(s) to get them back to the distortion or compression or volume level you want, but they will likely sound a bit more crisp and responsive.

Date: 2016-01-03; view: 1053