 |
 |
|
|
Hardware
Review |
|
|
Hardware Review by Doug Cornell, guitarist of The Dirt Surfers Tested with:
1963
Gibson Melody Maker Manufactured by: Line 6
Line 6, a company fairly new to the guitar amplification game, have based their business model on manufacturing modeling amplifiers. I've had the pleasure to play around with various Line 6 performance amplifiers, but I was really most interested in their POD 2.0 desktop model. I have been recording my electric guitar in my home studio for more than 10 years, and have used nearly every budget solution I could find. The emphasis is on budget, since my own resources are limited. My philosophy is to use the least expensive tools that still manage to get the job done. In some of my most recent recordings (with my band, The Dirt Surfers), I have plugged my 1963 Gibson Melody Maker directly into the microphone input of my Sound Blaster Live! audio card. Before you scream "YOU IDIOT!," please realize that my goal is to create very clean and simple instrumental surf-rock. I use Cakewalk Home Studio for my recording software, and have used Cakewalk's AMP F/X plug-in to simulate some basic tones. The problem with this setup is that I am forced to record all of my guitars with an unprocessed tone, because the AMP F/X plug-in only works in a post-process application. For example, I'd record a guitar solo, then only hear the amp simulation distortion upon play-back. This is not an efficient way to record, but it works.
Now that I've got my greasy mitts on a POD, I can hear the tones I'm playing as I play them. I plug my guitar into the POD, select an amp simulation, and the sweet tones I have been seeking are instantly blasting through my earphones. The POD 2.0 is a sturdy little bean-shaped device. The case is made from cast aluminum, and feels very substantial. A large array of knobs and buttons are cleverly arranged on the front of the unit. The POD features one guitar input, one headphone output, a midi-in and midi-out port, a foot-pedal port, and left and right audio outputs. A small "air" switch, located on the back of the POD, allows you to simulate air moving from a speaker cabinet. Very cool. Other controls include:
The POD is delivered with an A/C power supply, tone-transfer CD, and a cleverly written (and often funny) manual. Setting-up the POD I was anxious to get to work on a new song, so I turned on the POD and began evaluating tones. Right away, I discovered the "British Class A" sim, which sounds exactly like a 1963 Vox AC 30 Top Boost, which is the amp the Beatles and most of the early 60's surf bands used. The POD is delivered with 16 pre-programmed effects for each amp sim. Since the POD comes with 32 amp models, you might never get around to testing every sound the device is capable of. And if this doesn't seem like enough tones for you, there are hundreds more tones available on the Line 6 website. I plugged the POD into the MIC input of my sound card, but immediately discovered that this is NOT the way to record guitar. The POD produces a lot more volume than a microphone, and the result was a very distorted recording. OK, so maybe the manual needs to be looked at. Line 6 recommends taking signals from both the left and right outputs and connecting them to a stereo input on your tape-deck or sound card. After scrounging up the necessary cables and adapters, I soon had the POD correctly plugged into my computer. My Sound Blaster Live! had no trouble handling the input, and I used the SB Live's own mixer utility to set the volume levels. Recording, easy as 1, 2, 3 It only took a moment to establish the proper recording levels. Once done, I played around with the preset tones. Using the "British Class A" sim as a starting point, I began testing the presets. A "Line 6 Twang with Slapback Echo" setting sounded exactly like the tone I was seeking, so I began recording the song's main theme. For the rhythm guitar tracks, I used the "British Class A" sim with a gritty "black panel (1965 Blackface Fender Twin) preset. I was pleased that adjusting the reverb didn't affect the basic preset sounds, and I happily dialed-in a bit of good ol' surf reverb. It's important to note that if you close your eyes, you'll swear the reverb is coming from a vintage spring unit. I also found the built-in tuner to be a valuable addition. Press a button, and you are taken from your tone modeling mode to the tuner. The tuning display (based on blinking arrows) is very easy to use and is extremely accurate. No more out of tune "B" strings! The POD also includes an integrated noise gate, which was helpful in eliminating the annoying "buzz" generated by close proximity to a computer monitor. Other Uses It's easy to imagine other uses for the POD. Want to use your favorite POD tones at gigs? Take the POD to your live shows and plug it into your amp or PA. In fact, a new breed of amplifiers designed specifically for the POD (and other modeling devices) are beginning to appear. I'm trying to get my hands on Power Engine 60 by Tech 21. This 60W, 1x12 amp has no distinct tone of its own, and is designed to blast the POD's tones without any coloration at all. Conclusion I'm just beginning to test the capabilities of the POD 2.0. So far, I'd say that the POD is the coolest guitar amp I've ever had the pleasure use. A new tool like the POD can invigorate your passion for guitar, and will help you unearth the melodies you've had floating around in your head. The unit's ease-of-use and headphone jack may encourage you to practice more too, and every guitarist knows you just can't get enough practice. |
|
|
|
Copyright © 2003-2006 hitsession.com all rights reserved
