Getting a good sound out of this unit is pretty hard work (IMO), the factory preset's aren't the best. Line 6 POD HD400 Demo Line 6 POD HD400 Review 4 Admin 2015-06-11 23:31:11 If Goldilocks were to choose a Line 6 POD HD series pedal, she would undoubtedly moan about the abundance of pedal switches and the sheer mass of the 500 and whine about the relative daintiness of the 300.

Line 6 were amongst the first to create realistic‑sounding modelled guitar amps and effects. Does their latest offering keep them at the front of the pack? DSP chips have evolved considerably since the original Line 6 Pod was launched, and the extra power available for the new Pod HD500 has provided the opportunity for the designers at Line 6 to refresh their range (Line 6 say there's up to 10 times more computing power in the top of the range new‑generation Pod than in the originals). The new HD series includes more detailed algorithms, and the company have added a huge number of 'stomp' and studio effects, as well incorporating a 48‑second looper that can be used pre‑ or post‑effects. Line 6 also say that the extra power allows them to make their amp models behave even more like the real thing, especially when you pull down the guitar volume to clean up the amp sound. The HD series of Pods comes in three versions, the HD300, HD400 and HD500. Because stomp effects are routinely controlled by foot, the HD‑series Pods all come in a floor‑Pod pedal format, rather than the familiar red kidney shape, and they also include the ability to function as a two‑channel USB recording interface for your computer.

I'll focus on the top‑of‑the‑range HD500 model here, but it's worth mentioning that the cheaper models are not cut down as much as you might think, so it's worth checking the Line 6 web site for details of the different models if you're planning a purchase. When it comes to connectivity, the HD500 has it all. There's a quarter‑inch guitar input jack, a quarter‑inch aux input jack, a mini‑jack stereo input for MP3 players and a balanced XLR mic input with gain trim (but, alas, no phantom power). Brother vx710 manual. There's also a digital input for a Line 6 Variax Guitar, and MIDI connections (In and Out/Thru) on two DIN sockets.

On the output side, there are two balanced XLRs for the left and right channels (which are duplicated on unbalanced quarter‑inch jacks), a stereo effects loop and a quarter‑inch stereo headphone jack. A USB port enables connection to a computer — both for recording and playback, and for managing the Pod using the free Pod HD Edit software, which is downloadable from Line 6's web site. The unit also includes a new protocol called 'L6 Link' that allows compatible products to share information. A current example is the DT50 guitar amplifier, where changes made on the Pod are reflected in the DT50 amp settings, and vice versa. Power comes from an included universal‑voltage adaptor with snap‑on connectors for all the standard international sockets.

This is fair enough, but I really wish manufacturers would stop using flimsy cables and domestic connectors for such devices: they really don't fill me with confidence in a live setting, where a heavy‑duty cable and substantial locking connector would serve much better. For recording, the HD500's internal sample rate is fixed at 48kHz, but an on‑board sample‑rate converter means that you can sync it to sample rates from 44.1kHz to 96kHz. The audio output is fixed at 24‑bit. Line 6's own driver software also allows for latency‑free monitoring, by mixing the processed sound from the Pod with the DAW return — a common approach in budget audio interfaces — so that you can hear the guitar sound with effects while recording but without suffering any latency delay other than the minuscule processing time of the Pod itself. The HD500's rear panel is unusually well stocked with inputs and outputs in various formats.

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